Although some might suggest that the midi isn’t accurate, one thing that it is more accurate in is the length of notes - ie, the ratio of the 4/4 dotted quaver/semiquaver is 3:1 and the 12/8 crotchet/quaver is 2:1. Ok, so here is a “dotted” hornpipe written conventionally and in 12/8 - played from Sibelius as a midi (brace yourself, but at least the midi is sampled mandolin and concertina, recorded as an mp3). O’Neill’s 1001 has a fair smattering of dotted transcriptions. The abundance of examples where they are dotted would make it more than an exception proving a rule. “By the way, hornpipes are rarely dotted in writing.” If it fits a hornpipe, then convention would put it in 4/4, though timing wise, the dotted 4/4 would be less accurate than 12/8. Hearing the tune would probably give an indication as to whether it would suit hornpipe or 12/8 jig (or 6/8 even), but there are certain cliché endings to tunes - the hornpipe three crotchets, for example (which are not usually played as such). I’ll give an example later if I have time. A hornpipe in 4/4 would be much the same:- an example of where the “artificial grouping” of triplets might occur is those runs of triplets in the Belfast hornpipe. “Ī 12/8 can be 1 2 3 4 (with the triplets or crotchet+quaver taking up the beats). “Assuming you don’t move that bar lines in the tune, I still think that the time sig of the tune is reducable to even or odd numbers of beats per bar - which to me equates to either :ġ23 | 123 …regardless of which notes you ‘dot’ or accent. The Irish style of playing isn’t usually consistent with the “dotted” style of notation anyway.Īt least, that’s what I’m telling the beak. Also, this is regarding “dotted” hornpipes - that is hornpipes played in a style that is heard in England, and to an extent, in Scotland, though not all hornpipes are played in that style in either country. 12/8 isn’t just two lots of 6/8 in a bar - though it’s often seen that way. Those who are used to playing (dotted) hornpipes, and seeing them on the page, would know to play them with a lot less emphasis on the dotted notes than written, and would possibly see 12/8 as “wrong”. Mathematically, it’s closer to how the tunes sound. It’s just a result of convention, and how people envisage 4/4 or 12/8 that people feel a hornpipe written in 12/8 is wrong. It’s only where the quavers (in 4/4) are of even length (no dots) that 4/4 is more logical. In 12/8, the three notes fit in naturally. These hornpipes also tend to have triplets, which in the “4/4 family”, involves what is known as “artificial grouping” - three notes fitting in the space of two. there are still four of these sets of two notes to a bar. It’s no different whether they are crotchets followed by a quaver, or a group of four quavers, with the first and third dotted and the second and fourth halved.
In “dotted” hornpipes, there are usually long notes immediately followed with short notes, and how they are grouped on the page is really irrelevant, as you wouldn’t hear that. It depends on how you want to look at it. “I think the 4/4 family usually has even multiple of 4 notes per bar, and the 6/8 family has even multiples of 3 notes per bar.
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