Annotation:Hey to the Camp

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X: 1 T:Hey To The Camp. (p)1688.PLFD1.300 M:6/4 L:1/4 Q:3/4=90 B:Playford, Dancing Master,7th Ed,2nd.Supp,1688. O:England;London H:1688. Z:Chris Partington <> F: K:C c/d/ecdBG|A/B/cED2C|E/F/GEG2G|c/d/ecd3| c/d/ecdBG|A/B/cED2C|E/F/GGA/B/cc|e/f/gec3:| |:e/f/gegec|f/g/afa2a|e/f/gegec|dGdd3| e/f/gegec|f/g/afa>gf|e/f/gedBG|A/B/cEC3:| L:1/8 Q:180 |:"From Ed 17"defefd |edcBA2|BcdcdFE4D2|FGAGAFA4A2|def2d2e4e2| def2d2edcBA2|Bcd2F2E4D2|FGA2F2A4A2|fgagfed6:| fgagfga2gfed|gab2g2b4a2|fgagfga2f2d2|e2A2e2e4e2| fgagfga2f2d2|gabfgab4b2|fga2f2edcBA2|d2FGA2D6:|

HEY TO THE CAMP. AKA and see "Frost is All Over (1) (The)," "Masque (The)," "Praties are Dug and the Frost is all over (The)," "What Would You do if the Kettle Boiled Over?, What would I do if the Kettle Boiled Over? (1)," "What Would You do if You Married a Soldier?" Scottish, English; Jig (6/8 time). C Major. Standard tuning (fiddle). AAB. The melody first appears in the 9th edition of the Dancing Master (1698) and continued in the long-running series through the 16th edition of 1716 with the title spelled as "Hay to the Camp," while the final two editions of the Dancing Master (ending with the 18th edition of 1728) has the title as "Hey to the Camp." The tune is a version of "The Mask/Masque (The)," also published by Playford in his second supplement to the 7th edition of his Dancing Master of 1688 (and again in the 9th edition, 1698). According to American musicologist Samuel Bayard, the melody date probably to the 1600's. It also appears in London publisher John Walsh's (father and son of the same name) Compleat Country Dancing Master of both 1718 (vol. 1), 1731 (vol. 3, No. 221) and 1754. "Hey to the Camp" can be found in English musicians' manuscripts as well as in printed volumes. It appears in one of the oldest extent of such manuscript collections, the Henry Atkinson manuscript of 1694-95 (as "Camp Jigg", in much the same form as the Playford printing). It can be found as will in Edinburgh fiddler and writing master biography:David Young's MacFarlane Manuscript (c. 1741, No. 91, p. 140), and in the large music manuscript collection of Northumbrian musician William Vickers (1770), and in the c. 1790 copybook of London musician Thomas Hammersley. Expatriate Scottish cellist-composer James Oswald printed an elaborate version with variation sets in his Caledonian Pocke Companion (Book VIII, c. 1755) and the Gow family published it in their Complete Repository Part 2 (Edinburgh, 1802).

The melody has survived as a jig in Irish, Scottish and American traditions. A Pennsylvania version was collected as an untitled cotillion (Bayard, Dance to the Fiddle, 1981; No. 504, p. 460). See note for "annotation:Frost is All Over (1) (The)" for discussion.

Additional notes

Printed sources : - Carlin (The Gow Collection), 1986; No. 468. Gow (Complete Repository, Part 2), 1802; p. 19. Oswald (Caledonian Pocket Companion), London, 1760; Book II, p. 1 & Book VII, p. 1. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 186. Walsh (Complete Country Dancing Master), vol. 3, 1731; No. 221. Walsh (Complete Country Dancing-Master, Volume the Fourth), London, 1740; No. 165. David Young (A Collection of Scotch Airs with the latest Variations, AKA - The McFarlane Manuscript), c. 1741; No. 91, p. 140.

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