Stony Steps (2)
X:14 T:Stoney Steps . BHp.14 M:C| L:1/8 R:.Hornpipe Z:vmp. Peter Dunk 2013/15 B:Blackman - A Selection of the most favorite Hornpipes for the Violin ca1810-22 Q:1/2=80 K:A AEcA ecae|fdBA AGFE|FDCD B,CA,c|dfdB AGFE| AEcA ecae|fdBA AGFE|FDCD B,CA,c|dBAG A4:| |:CA,EC AEcA|dfdB AGFE|FGAF E2a2|gfe^d e4| fdB2 ecA2|FAdB AGFE|FDCD B,CA,c|dBAG A2-A2:|
STONY STEPS HORNPIPE. AKA – “Stoney Steps,” “Stone Steps.” AKA and see "Blake's Hornpipe (2), "Brewer's Horse (The)," “Novey Gallows.” English, Irish; Hornpipe. B Flat Major. Standard tuning (fiddle). AABB. A very popular melody in the English repertoire. Attributed to Tyneside fiddler and composer James Hill in Kohler’s Violin Repository (Edinburgh, 1881-1885), but may have simply been passed on by him see Seattle's note for "Blake's Hornpipe (2).” Indeed, Barry Callaghan (2007) notes that it was in widespread circulation before Hill’s day, including in Northumbrian musician William Vicker’s 1770 manuscript collection, and military fifer John Buttery's c. 1780-1816 collection. Callaghan believes it is a stage tune from the late 18th century, and notes it came into widespread circulation throughout Britain. In addition, “Stoney Steps” can be found in the music manuscript collections of William Mittel (New Romney, Kent, 1799), the Welch family (Bosham, Sussex), John Clare (Helpstone, Northants, 1820, as “Novey Gallows”), the Rev. Robert Harrison (Brampton, Cumbria, 1820, as untitled hornpipe), and Joshua Gibblons (see “Stoney Steps (4)”). The first part of the tune only is similar to Chappell’s “Brewer's Horse (The)”. It is the second part of Vicker’s “Blake's Hornpipe (2)" that is cognate with the first part of the “Stony Steps” tune. Levey gives that the tune can be played as a reel as well as a hornpipe.