Page:A Dictionary of Music and Musicians vol 4.djvu/490

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474

WINDSOR TUNE.

In 1592 the tune appears in Este's 'Whole Booke of Psalmes,' containing the Church Tunes, and 'other short tunes usually sung in London and most places of the Realme.' It is marked as being one of the latter, and must therefore have been in use for some little time previously. In Este's Psalter it is harmonised by George Kirby as follows, the melody in the tenor:—

${ << \new Staff << \new Voice \relative b' { \omit Score.BarNumber \key d \minor \time 2/2 \stemUp bes1 | c2 a ^~ | a g ^~ | g fis | g bes | %end line 1 a1 \bar "||" r2 f | bes1 | a2 d | c1 | bes \bar "||" %end line 2 f2 bes ^~ | bes g | d'2. c4 | bes2 c | a1 \bar "||" %end line 3 g2 a ^~ | a bes | c a | b\breve*1/2 \bar "||" } \new Voice \relative d ' { \stemDown d1 | bes2 c | d1 _~ | d2 a | d d | %end line 1 d1 | r2 d | g1 | e2 d4 f _~ | f ees c2 | d1 | %end line 2 d2 f _~ | f ees | d fis | g ees | d1 %end line 3 d2 d _~ | d d | ees d | d\breve*1/2 } >> \new Staff << \new Voice \relative g { \clef bass \key d \minor \stemUp g1^\markup \small "Tune." | g2 a | bes1 a | g2 g | %end line 1 fis1 | r2 bes | d1 | c2 bes ^~ | bes a | bes1 | %end line 2 bes2 d ^~ | d c | bes a | g g | fis1 | %end line 3 bes2 a ^~ | a g | g fis | g\breve*1/2 } \new Voice \relative g { \stemDown g1 | c,2 f | d1 _~ | d2. c4 | bes2 g | %end line 1 d'1 | r2 bes | g1 | a2 bes | f'1 | bes, | %end line 2 bes2 bes _~ | bes c | g d' | ees c | d1 | %end line 3 g2 fis _~ | fis g | c, d | g,\breve*1/2 } >> >> }$

Damon and Kirby merely harmonised the melody, but whoever was its composer, it is only an adaptation of the tune set by Dr. Tye to the third chapter of his curious work, 'The Actes of the Apostles, translated into Englyshe Metre … with notes to eche Chapter, to synge and also to play upon the Lute,' 1553. Here we find the first, third, and fourth strains of Windsor, and a fragment of the second. For the sake of comparison Dr. Tye's tune is subjoined, reduced into score in modern clefs.

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The crotchet C is probably a misprint for D.

In Este's Psalter the tune has no distinctive name, but in 1615 it was inserted in the Scottish Psalter published by Andro Hart, as 'Dundie.' In Ravenscroft's Psalter, 1621, it is marked as an English tune, and is doubly named 'Windsor or Eaton.' The tune was popular in Scotland,^[1] and this, coupled with the Scottish form of its earliest name led to the belief that it was indigenous to that country.

In Hart's Psalter of 1615 the melody alone is given:—

Dundie Tune.

${ \relative d { \clef tenor \key d \minor \time 2/2 \cadenzaOn\override NoteHead.style = #'petrucci \stemUp d1 d2 e f e d d c1 r\breve %end line 1 f1 a2 g f g f1 r\breve f1 a2 g f e d d c1 r\breve %end line 2 f1 e2 d d c d\longa \bar "||" } }$

Here a slight variation occurs in the second strain, and the leading note is omitted in the

↑ Burns, in his 'Cottar's Saturday Night,' refers to this tune:—

'Perhaps Dundee's wild warbling measures rise,
O plaintive Martyrs, worthy of the name.'

Care must be taken not to confound it with the 'Dundee' of Ravenscroft, which is the 'French tune' of the Scottish Psalter.

[1] Burns, in his 'Cottar's Saturday Night,' refers to this tune:—

'Perhaps Dundee's wild warbling measures rise,
O plaintive Martyrs, worthy of the name.'

Care must be taken not to confound it with the 'Dundee' of Ravenscroft, which is the 'French tune' of the Scottish Psalter.

[1]