This comes from Playford’s collection, a well-known c17 tune source. As far as I could follow the recorded tune, this is how the Co. Durham group Horseplay do it.
The first part’s identical to that of The March Of The King Of Laois. The obvious question is, which tune copied the other.
The tune fits the Highland Bagpipe / Piob Mor note range like a glove, taking up a single major octave with a flat seventh at the top. The "Laois" tune as played normally today has one note played above this range.
The "Washington" tune would certainly have fitted the GHB or Piob Mor, but it might also have been devised for mouth-blown English bagpipes with a flat top seventh. Wherever it arose, though, this tune might have been the ancestor of The March Of The King Of Laois.
The Washingtons were a noble family in Northern England with their main seat in Lancashire (I think) and a smaller one in Co. Durham, near Washington New Town. The latter seeks to attract visitors because of connections with George Washington, but it’s understood these are very tenuous.
The one g in the tune is meant to be natural, not sharp.
The proper speed is slower than the midi.
“March Of The Kings Of Laois”
Key signature: D Mixolydian
Submitted on July 12th 2002 by Mark Cordova.
Uh oh, another toe of Playford’s corpse has entered the room. Let’s hope it isn’t a precursor to the whole corpus… 😉
“Washington’s March” ~ D Mixolydian
The following is a note-for-note transposition of this, nicholas’s transcript, making the key change for agreement & comparison with "March Of The Kings Of Laois":
K: D Mixolydian
|: A2 F A2 D | A2 F A2 D | B>AG A2 F |G>AF E2 D :|
|: B2 A B2 E | B2 A B2 E | E<BA B2 E | c<dF E3 :|
|: F3 G3 | A>dA A>GF | G2 F E>DE/F/ | D3 D3 :|
- Again, the one ‘c’ in the above transcription should be natural, not sharp.
Tis the nature of D Mixolydian nicholas, the ‘c’ is natural…
A Mixolydian has only two sharps, F & C, the relative Major being D…
D Mixolydian has only one, F, the relative Major being G…