Annotation:Ten Pin Hornpipe

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X:1 T:Ten Pin Hornpipe M:C L:1/8 R:Hornpipe B:Elias Howe – Musician’s Omnibus Nos. 6 & 7 (Boston, 1880-1882, p. 595) B: Z:AK/Fiddler’s Companion K:D AG|(FA)(dc) d2 (AG)|(FA)(dc) d2 A^G|.A.c.e.d cBAG|.A.c.e.d cBAG| (FA).d.c d2 .A.G|(FAdc) d2A2|(Bc).d.B (cd).ec|f2d2d2:| |:ef|(gf).g.e c2 ec|(dc) .d.B A2 GF|(GA).B.G (FG).A.F|(E^D).E.F E2 ef| (gf).g.e c2 ec|(dc).d.B A2A2|(Bc).d.B (cd).e.c|f2d2d2:|

TEN PIN HORNPIPE. AKA and see "Cameron's Favorite," "Dan Cameron's Favorite," "Miss Gayton’s Hornpipe," "Sailor's Hornpipe (3)." American, Hornpipe (whole time). D Major. Standard tuning (fiddle). AABB. Originally bowling pins were tall and slender, almost conical, with slight tapers at each end. However, it was hard to get high scores with these pins, so bowling alleys in New York City about 1850 began to use the familiar larger, bottle-shaped pins. These allowed higher scores, but around the year 1881 (when this tune was published) a Worcester, Massachusetts, billiards player, John Monsey, reinvented the older form of the game with conical pins, but adapted the rules so the the fallen pins ("deadwood") remained in the lane, thus increasing the score. Tactics about using "deadwood" became an integral part of the revived game, called Candlepin bowling, and became particularly popular in New England and eastern Canada, coexisting with large-pin bowling, although its popularity has waned considerably in modern times.

Fr. John Quinn finds the tune in O'Neill's collections as "Sailor's Hornpipe (3)."

Additional notes

Printed sources : - Elias Howe (Musician’s Omnibus Nos. 6 & 7), Boston, 1880-1882; p. 595.

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