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The Trumpet Hornpipe
WILF DARLINGTON
mass-marketcultures. . . becomeprogressivelyhazy,particularlyin
Westernsocieties'.6But an attemptat studyingthe effect on tra-
ditionalmusic-makingof the purveyingby the mass mediaof part
of tradition'spropertymightwell provefruitless,unlesssomechange
in that traditioncould be causallylinkedto the mediathemselves.
What is certainlytrue is the tendencyof the influenceof radio,
television, and commercialdiscs to deprive traditionalmusic of
variety.Wherea playerlearneda tunefroma live performancethere
always remainedthe possibilitythat he or she might forget some
part of it and improvise in its place, or remember some part of it
inaccurately. Where a player learned a tune from a disc he or she
could keep replaying it until the recorded version was learned, note
for note. (I shall provide an example below in support of this idea
from the playing of Tom Edmondson.) The teacher of a tune is
hierarchically superior to his student, and this superiority seems
emphasized when the tune is learned from a recording.
The 'Trumpet Hornpipe' is probably one of the best known of
traditional dance tunes - certainly among the general public -
through its use as an introduction to the animated television series,
Captain Pugwash. The first of these ten-minute animated cartoons
was transmitted on BBC Television on 8 October I957. Over eighty
Captain Pugwash adventures were made and broadcast during the
next eighteen years. Many of them have been given repeat trans-
missions both in the United Kingdom and abroad. Captain Pugwash
has been seen in Australia, New Zealand, South Africa, Germany,
Iran, and Hong Kong. Many of the programmes which were made
in colour are available as videos from BBC Enterprises.The origin
of the tune which introduced Captain Pugwash, more particularly
of bars 5 and 6 of the B section and the harmonic problems they
pose, has been a matter of interest to me for many years. The tune
is generally played as in Figure i. (For the purpose of comparison
musical references and transcriptions will be given in the key of G
irrespectiveof their original key.)
The chronology of the tune, so far as I have been able to
ascertain, is as follows. The 'Trumpet Hornpipe' appears in hand-
written collections of tunes from about the beginning of the nine-
teenth century, although it may be older. It appears in a number of
commerciallypublished collections towards the end of the nineteenth
and beyond the turn of the present century. With the upsurge of
Z78 WILF DARLINGTON
.~~~~~~~~~~~J
e) e3 J liL.
A; ii' 3 * _@ _
f___F
ig i I__ w we
'rmpet orpie'
AA
ut -
T
J~J.
_
~ ~~~id~JT. 12 W2.
i OH '^_
Figure 2
O'Neill variant, Bars S and 6, B Section.
Z8Z WILF DARLINGTON
A -
Figure 3
Bass Part Derived from Figure 2.
Figure 4
Bass Part Derived from Figure 3.
A-
. '-t, - e i'Dll, G
Figure 5
'The Entertainer',
Bars13 and I4, A Section.
284 WILF DARLINGTON
FN Ij I ^.
I IA m W_ u _ _ _ ____
Figure 6
'Alexander's Ragtime Band'.
Quotationusedby permissionof International
MusicPublishing.
The Trumpet Hornpipe 285
Figure 7
Harmony of the Flattened Submediant.
Figure 8
'Over There'.
Quotation used by permission of International Music Publishing.
_~~~~~~~~:
Ml 9
Figure 9
'Rock-a-bye your Baby with a Dixie Melody'.
Quotation used by permission of International Music Publishing.
The Trumpet Hornpipe 287
~~it
3,
I~~i __
3
J,
Figure io
'Trumpet Hornpipe', Tune with Descending Bass Figure.
z88 WILF DARLINGTON
^
r
I
,W - 94 P+9 Fz-
Figure i i
Will Starr Variant of Figure io.
Figure 12
Fall Variant of the DescendingBass.
Wis
Figure 13
Tony Hall Variantof Bars5 and 6, B Section.
The Trumpet Hornpipe z89
On the three remaining recordings, Bakerloo Junction (Rz6, 1978),
BrianGulland and RichardHarvey (Rz7, I982), and the Clydesiders
(Rz8, 1983),the descendingchromaticfigurehas been takenby the
tune. Thereis no real bass on any of them;two of them (Rz6 and
Rz8) have a harmonicallyuncertainguitaraccompaniment and two
tune players.One of them sustainsthe G, while the otherplays the
chromaticfigure.
It is not unknownfor accompaniment figuresto becomeabsorbed
into the tune. Compare,for example,the singingof 'GuideMe O
Thou GreatRedeemer',to the tune 'Cwm Rhondda'.s2Just before
the last line of each verse,the words 'Feedme now and evermore'
are sung to the dominantnote. Whilethe sopranoand tenor notes
are held on '-more'the altos and bassessing a risingarpeggioof the
chordto the word 'evermore'(seeFigure14). Butin popularsinging
of this hymn(at sportingfixtures,for example)it is commonto hear
everyonesingingthe tune;and insteadof holdingthe long dominant
note, the tendencyis to addthe arpeggiofigure.Anyonewho wished
to note down the tune from such singingcould not be expectedto
;eparatethe tune from the arpeggiowhich did not belongwith it.
It is the case that the untrainedear cannoteasily identifythe notes
of accompanimentparts under a melody; but when the melody
includesa long held note, or a repeatednote, such an ear is able to
pick out lower accompanimentparts. Anyone learningthe hymn
would do so as they heardit. The barsof the 'TrumpetHornpipe'
in questionare similarin the respectthat the tune containssuch a
repeatednote. It is a possibilitythat the downwardmovingchro-
maticfigurewas absorbedinto the tune of the 'TrumpetHornpipe'
in the same way.
fee
feed nwad
rme r r
me now and ev - er - more, ev - er-more
Figure 14
'Cwm Rhondda', Bars ii and It.
290 WILF DARLINGTON
Figure 15
Tom Edmondson Variant of Bar 4, B Section.
G D
:
G
*4 ir-
JTJJ^i^. .
r'
Gt(R4) D
r
A
r;r
D
li:
^ ^cl~ Em(R5,R20R30)
3
15 3_
G C C (R4R30) D
Am (R5,R20)
Figure 16
Comparison of Shand's and Edmondson's Harmonization.
292 WILF DARLINGTON
jji,i i I 11rr
G G7 c Cmin
Figure 17
Chords Given in Ceol na Fidhle.
_L~~~~~~ I
Figure i8
Rising Bass Part Commonly Used.
G C A
Figure I9
'Spirit of Adventure' Harmonization.
The Trumpet Hornpipe z95
G G7 C EB7 G D7 G
Figure 20
Harmony Including Augmented Sixth.
Italian (Eb, G,C$), the French (Eb, G, A, C$) and the German (Eb,
G, Bb, C$).54 No-one seems to know how these chords acquired
their nationalist names. They sound equally good resolving onto a
D chord or a G chord, either of which is suitable for the 'Trumpet
Hornpipe'.
The only remainingquestion is, what are accordionists supposed
to do, as few will have a button for these chords?However, another
look at the German sixth will reveal that if the Ct is considered a
D7, then the chord is also an Eb7 chord, which is available on a
good many accordions. Incidentally, in the Scott Joplin rag 'The
Cascades'55the composer harmonizes the descending chromatic bass
with a German sixth.
And so, finally, my suggestion for the last four bars of the
'Trumpet Hornpipe' is given in Figure zo.
Appendix
RECORDINGS OF THE 'TRUMPET HORNPIPE'
tober-December, i89z); in book form (London: Osgood, Mcllvaine, I897), revised in Wessex
edition(London:Macmillan,i9iz), Parti, Chapterz.
I F. E. Hardy,The Lifeof ThomasHardy:I840-I928 (London:Macmillan,i96Z), p. 20.
6 Michael Pickering, 'Recent Folk Music Scholarship in England: A Critique', Folk Music
Journal,6 (I990), 37-64 (p. 58).
Ton' Nish (Knutsford)Private Collection, John Roose MS, no. 835, 'Trumpet Waltz'. This
manuscript comes from Hulme, Manchester; the date is uncertain, but is probably early
nineteenth century.
8 Lilla M. Fox, Instrumentsof Processional Music (London: Lutterworth Press, I967), p. 6z.
John F. Russell and J. H. Elliott, The Brass Band Movement (London: Dent, I936), p. 57.
Bands: The Brass Band Movement in the igth and 20th Centuries, ed. by Trevor Herbert
(Milton Keynes and Philadelphia:Open University Press, I99I).
11 Adam Carse, The History of Orchestration (London: Kegan Paul, Trench, Trubner, I925),
p. z09.
12 Reg Hall, I Never Played to Many Posh Dances (Rochford: Musical Traditions, I990).
Hall, p. 3I.
14 Alastair J. Hardie, The Caledonian Companion (London: E.M.I. Music, I98I; republished,
Edinburgh:Hardie, i992), p. 66.
'5 'Over There', song, USA, words and music by George M. Cohan (London and Sydney:
Chappell;New York:Leo Feist,I917).
16 Vaughan Williams Memorial Library, Moore MS, 4494 QM, no. io8. This manuscript of
tunes by John Moore of Wellington, Shropshire, is dated ii April 1837. See The Ironbridge
Hornpipe: A Shropshire Tune Collection from John Moore's Manuscripts, ed. by Gordon
Ashman (Blyth, Northumberland:Dragonfly, I99I), p. 44.
17 Roose MS, no. 938, 'Lascelles Hornpipe'.
18 Wilfred Darlington (Sale) Private Collection, Anthony Metcalfe MS, p. 43, 'Baloon Horn-
pipe'. This manuscript bears the inscription 'Anthony Metcalfe, Lowther', and probably dates
from the early nineteenth century.
19 Kohlers' Violin Repository of Dance Music, 36 vols, ed. by W. B. Laybourn (Edinburgh:
Kohler, i88i), vi; republished in 3 vols (Edinburgh:Kohler, I885), I, 44.
20 James S. Kerr, Kerr's First Collection of Merry Melodies for the Violin (Glasgow: J. S.
Kerr,[i9z0]), no. z7.
21 William C. Honeyman, The Strathspey, Reel, and Hornpipe Tutor (Dundee: Honeyman
Music, I898; republished Blyth, Northumberland:Dragonfly, I988), p. 55.
22 Francis O'Neill, O'Neill's Music of Ireland (Chicago: Lyon & Healy, 1903), nos I586 and
I587.
23 Christine Martin, Ceol na Fidhle: Highland Tunes for the Fiddle, Vol. 2 (Tain, Scotland:
Taigh na Teud, I986), p. 41.
24 James Hunter, The Fiddle Music of Scotland (Edinburgh:Chambers, 1979; republished,
Edinburgh: Hardie,I988), no. 3z6.
2" Hardie,p. 66.
Z98 WILF DARLINGTON
26 Honeyman, p. 55.
27 'Elite Syncopations', piano solo, USA, by Scott Joplin (St Louis, Missouri: John Stark,
190Z).
28 'The Cascades', piano solo, USA, by Scott Joplin (St Louis, Missouri: John Stark, I904).
29
'The Entertainer',piano solo, USA, by Scott Joplin (St Louis, Missouri: John Stark, l90z).
30 See note IS.
31 'Alexander's Ragtime Band', song, USA, words and music by Irving Berlin (London:
B. Feldman;New York:Ted Snyder,I9II).
32 Martin,p. 4-1.
3 H. K. Andrews, The Oxford Harmony, Vol. z (London: Oxford University Press, 1950),
PP. 44-66.
34 C. H. Kitson, Elementary Harmony, 3 vols (London: Oxford University Press, i9z0), III,
43.
3' Edward A. Berlin, Ragtime: A Musical and Cultural History (Berkeley: University of
CaliforniaPress,I980).
36 'Maple Leaf Rag', piano solo, USA, by Scott Joplin (Sedalia, Missouri: John Stark and
Son, I 899).
37 'Oh You Beautiful Doll', song, USA, words by Seymour Brown, music by Nat D. Ayer
(London: Redwood Music; New York: Remick Music, i9ii).
38 'The Honeysuckle and the Bee', song, USA, words and music by Albert Fitz and William
Penn (New York: Sol Bloom; London: Francis, Day & Hunter, I9OI).
3 'Give my Regards to Broadway', song, USA, words and music by George M. Cohan (New
York: E. B. Marks Music; London: B. Feldman, 1904).
40 'The Tiddle-Y Pom', song, USA, words by Arthur Davenport, music by H. G. Pelissier
(New York:JosephWilliams,I909).
4''California Here I Come', song, USA, words and music by Buddy de Sylva, Al Jolson &
Joseph Meyer (London: B. Feldman; New York: M. Witmark, 1924).
42 See note I5.
43 'Blaze Away', piano solo, USA, by Abe Holzmann (New York: Leo Feist; London:
B. Feldman,I90I).
4 'Rock-a-bye your Baby with a Dixie Melody', song, USA, words by Sam Lewis and Joe
Young, music by Jean Schwartz (New York: Waterson, Berlin, and Snyder; London:
B. Feldman/Redwood Music, I9I8).
" Kitson, p. 45.
46 'Pasadena', song, USA, words by Grant Clarke and Edgar Leslie, music by Harry Warren
(New York: Clarke and Leslie Songs; London: Lawrence Wright Music, I9z3).
4 'Who Were You With Last Night', song, UK, words and music by Fred Godfrey and Mark
Sheridan(London:B. Feldman,i9iz).
48 'Nellie Dean', song, USA, words and music by Harry Armstrong (New York: M. Witmark;
London, B. Feldman, I905).
49 'The Sunshine of your Smile', song, USA, words by Leonard Cooke, music by Lilian Ray
(London:Francis,Day & Hunter,19I3).
50 'They Didn't Believe Me', song, USA, words by Herbert Reynolds, music by Jerome Kern
(London: Francis, Day & Hunter; New York: T. B. Harms, 1914).
s' 'Country Gardens', piano solo, UK, Percy Grainger (London: Schott, I919).
52
'Cwm Rhondda', hymn tune, by John Hughes (1873-I932), in many hymnbooks: see, for
example, Hymns Ancient and Modern Revised, 8th imp. (Norwich: CanterburyPress, I989),
no. z96b.
53 Alphabetical Catalogue of E.M.I. Records (London: E.M.I.
1958).
54 Kitson, p- 43.