'
Also he calls the lavolte 'a lofty jumping.' Morley (1597) speaks of
the Volte, and says it is characterised by 'rising and leaping,' and
is of the same 'measure' as a coranto. These statements do not all
agree with the 'Orchesographie.'
4. Jigg [later Gigue, and Jig]. The name comes from Giga (Geige), a
sort of fiddle in use during the 12th and 13th centuries. The oldest
jigs are Scottish, and were 'round dances' for a large number of
people. As for the time of the Jig tunes, those of the 18th century
were certainly written in a triple rhythm, like 3/8, 6/4 or 12/8. The
Jegge of 1678, mentioned above, is in quick 6/4 time. But 'The
Cobbler's Jig' [Appendix], 1622, and a Jigg by Matthew Locke, dated
1672, in his 'Compositions for Broken and Whole Consorts of 2, 3, 4,
5, and 6 parts,' are very decidedly in quick 4/4 time, and have no
such characteristics as a 'dotted note' anywhere about them. Moreover,
Bull's 'The King's Hunting Jigg,' is also in quick 4/4 time, with a
similar absence of dotted notes. This last example is probably earlier
than 1600. At any rate it was a lively dance, as we can learn from
Hamlet.
_Hamlet_ II, ii, 504. The _1st Player_ recites a speech.
_Polonius._ This is _too long_.
_Hamlet._ It shall to the barber's, with your
beard.--Pr'ythee (to the _1st Player_), say on: _he's for a
jig, ... or he sleeps_.
5.
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