Annotation:Malbrook: Difference between revisions

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It was a popular English country dance tune that appears in a number of printed dance collections and instrumental tutors, the earliest being Longman, Lukey and Broderip's '''Bride's Favourite Collection of 200 Select Country Dances, Cotillons''' (London, 1776). It continued to be included in collections through the second decade of the 19th century.

It was a popular English country dance tune that appears in a number of printed dance collections and instrumental tutors, the earliest being Longman, Lukey and Broderip's '''Bride's Favourite Collection of 200 Select Country Dances, Cotillons''' (London, 1776). It continued to be included in collections through the second decade of the 19th century. Gilchrist (1940) notes: "I have here printed the 18th-century version (the name is sometimes corrupted to "Mall Brook" or "Moll Brooks," etc.) as found with negligible variation in several of these fiddlers' books, to demonstrate how the plaintive little folk-tune, with its falling cadences and lack of any climax, has been transformed in England, where it became very popular by its adaptation to jovial use as "For he's a jolly good fellow" and "We won't go home till morning"--the rising bellow on "fe-el-low" or "mo-or-ning" being an entirely British embellishment, as an outlet for enthusiasm, or sign of Bacchanalian high spirits. (Has the likeness of the tune to the "[[Queen's Jig]]" of the Dancing Master ever been noticed?)."

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-It was a popular English country dance tune that appears in a number of printed dance collections and instrumental tutors, the earliest being Longman, Lukey and Broderip's '''Bride's Favourite Collection of 200 Select Country Dances, Cotillons''' (London, 1776). It continued to be included in collections through the second decade of the 19th century.
+It was a popular English country dance tune that appears in a number of printed dance collections and instrumental tutors, the earliest being Longman, Lukey and Broderip's '''Bride's Favourite Collection of 200 Select Country Dances, Cotillons''' (London, 1776). It continued to be included in collections through the second decade of the 19th century. Gilchrist (1940) notes: "I have here printed the 18th-century version (the name is sometimes corrupted to "Mall Brook" or "Moll Brooks," etc.) as found with negligible variation in several of these fiddlers' books, to demonstrate how the plaintive little folk-tune, with its falling cadences and lack of any climax, has been transformed in England, where it became very popular by its adaptation to jovial use as "For he's a jolly good fellow" and "We won't go home till morning"--the rising bellow on "fe-el-low" or "mo-or-ning" being an entirely British embellishment, as an outlet for enthusiasm, or sign of Bacchanalian high spirits. (Has the likeness of the tune to the "[[Queen's Jig]]" of the Dancing Master ever been noticed?)."
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