'
Immediately afterwards, however, Sympson seems to forget his own
remarks, for he says the name is derived from Gallia, 'the country
whence it came.'
On page 117 he speaks of _Corants_, _Sarabands_, _Jiggs_, _Country
Dances_, etc., as 'things so common in each one's ears' that he 'need
not enlarge his Discourse' to them.
There is a capital bit of patriotism on page 118, which deserves
quoting, first, because at the time it was entirely justifiable;
secondly, because it shews us that in 1667, instrumental music had at
last decidedly parted company with vocal part-writing, and had an
independent existence. 'You need not seek Outlandish Authors,
especially for Instrumental _Music_; no Nation (in my opinion) being
equal to the _English_ in that way; as well for their excellent as
their various and numerous Consorts, of 3, 4, 5, and 6 Parts, made
properly [on purpose] for Instruments, of all which (as I said)
_Fancies_ are the chief.' For 'Consort,' see _Two Gent._ III, ii, 83;
and for 'Fancies,' _Hen. IV. B._ III, ii, 323.
Hawkins (1776) does not add much of interest to the above account of
the Elizabethan dances, except (p. 704) that there is no authority for
a Jigg having generally a pointed (_i.e._, dotted) note at the
beginning of every bar. There is, however, a 'Jegge' given in Stainer
and Barrett's Dict. of Musical Terms, dated 1678, where the 'pointed'
note is quite characteristic.
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