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D.C.

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The Negro Hornpipe or Sand Jig, with it’s change from major to minor between the first and second
parts, is typical of it’s genre.
 Hole in the Wall Clog Dance
trad.
3 3

3 3 3 3 3 3
3 3 3

1 2

In common with many late 19thC hornpipes, The Hole in the Wall Clog dance probably has it’s
roots in the American or British Music Hall. Dancing of all kinds was popular in the music hall, with
clog dancing being no exception. Clog dancers often competed with each other in ’challenge
dances,’ which were sometimes adjudicated by auditors stationed underneath the stage, the better to
hear the accuracy of the steps.
 Violetta Hornpipe
trad.

3
3

Concert Hornpipe
trad.

4
4

1 2

3
1 2
D.S.
Haymarket Hornpipe
trad.

1 2

Saratoga Hornpipe
trad.
 College Hornpipe
The Sailor’s Hornpipe
trad.

This well known tune remains extremely popular in both England and America. It is probable that
the tune is derived from an old sailor’s song called ’Jack’s the Lad.’ The melody has become
associated with the nautical hornpipe type of dance which became a popular solo step−dance on the
stage at the end of the 18th century, and, in fact, it is popularly known as ’The Sailor’s Hornpipe’
today.
 Wonder Hornpipe
trad.
3
1

The Wonder Hornpipe is of note for its inclusion in Wm. C. Honeyman’s Strathspey, Reel and
Hornpipe Tutor, where it appears in three different settings, one each in his three hornpipe playing
styles: Sand Dance, Newcastle, and Sailor’s. It is important to note that Honeyman associates one
particular style of playing with the Newcastle area. To quote from Honeyman’s companion volume
’The Violin and How to Master It’ ’It would be wrong to omit mention of the Newcastle style of
bowing hornpipes. The Newcastle Hornpipe is a slower composition than the sailor’s, and designed
chiefly for clog dancing. Like the strathspey, it is often agreeably varied by triplets, which are
bowed and not slurred.’ This is not to say that this particular approach is unique to Newcastle,
elsewhere this approach is described as the Manchester style, it is however an indication of the
significant regard with which Newcastle musicians were held in latter part of the nineteenth century.

Washington Hornpipe
trad.

1 2
 Stop Hornpipe
trad.
1

1 2

Centennial Hornpipe
trad.

1 2

1 2
D.C.
 President Garfield’s Hornpipe
Harry Carleton
1

1 2

The composition of President Garfield’s Hornpipe can be attributed to Harry Carleton, a prolific
composer of Hornpipe’s Reels and Jigs. President James A. Garfield, the twentieth U.S. chief of
state (elected in 1880) was assassinated by a lone anarchist, a European immigrant, shortly after
taking office, making his one of the shortest terms in that office. Harry Carleton also composed
General Sheridan’s Reel and President Grant’s Hornpipe.

Hampton’s Hornpipe
trad.

Hampton’s Hornpipe can be found in Ryan’s Mammoth Collection of fiddle Tunes (Boston 1883)
under the title Wade Hampton’s Hornpipe. Wade Hampton was born in Charleston on March 28,
1818. He was a member of one of the richest families in the antebellum South. He owned and
operated many plantations in Mississippi and South Carolina. It is probable that the melody was
composed by Frank Livingstone who also composed the Cincinnati (Lancashire) Clog and the City
Of Savannah Hornpipe which can be found in Kerrs Merry Melodies and Ryan’s Mammoth
Collection.
 Whiddon’s Hornpipe
W. H. Whiddon

3 3
3

3
3
Whiddon’s Hornpipe can also be found in Kerr’s Merry Melodies and it would seem reasonable to
assume that the composer is W. H. Whiddon who also composed the Norfolk Hornpipe.

Bamford’s Hornpipe
trad.
1

1 2
Hill’s Hornpipe
James Hill?
3

3
 Bank’s Hornpipe
Mrs Taff
Parazotti
3 3
3
2
4

Bank’s Hornpipe is often attributed to Parazotti, the grandson of an Italian violinist who settled in
Glasgow. The melody appears first in print in 1881, in Kohlers’ Violin Repository, under the title
’Mrs. Taff’. The aforementioned Mrs. Taff was a woman who resided on the West coast of Scotland
and was Parazotti’s patron for a time. It is thought that she was the owner of the house in which
Parazotti composed his tune. Signor Parazotti is said to have been inspired by the sights and sounds
of a river in spate and translated that experience into this composition.Bank’s Hornpipe was
recorded by Scott Skinner in the 1920s, as part of his ’Celebrated Hornpipes’ medley. This
demanding melody is often used as a showpiece, particularly among Shetland fiddlers The tune is
often preceded by the slow strathspey ’The Dean Brig o’ Edinburgh.’
 Acknowledgements
In this annotated edition transcription was by Pete Dunk with historical notes added by Mike Hirst.
The printed source is held by Mike Hirst as part of a private collection. Images scanned from the
source are available online through The FARNE Folk Archive:
http://www.asaplive.com/archive/detail.asp?id=X0001001