untries, as a dance instrument for Jotas and other dances [fn]. In the Spanish province of Pontevedra singing is accompanied by the instrument, which repeats the melody.
In the last two centuries the blind hurdy-gurdy players in Spain assumed the duties of the organ-grinder in Germany, who used this instrument to present Moritaten [need definition] and Bänkelliedern.[need definition] Since the hurdy-gurdy was played almost exclusively by blind persons in Spain, who in addition presented Moritaten, [need definition] the lack of sight of the musician was used in Spanish to characterize these Moritaten [need definition] as "romance de ciego" [fn].
In the province of Pontevedra the pieces from the repertoire of a blind hurdy-gurdy player show, with one exception, the range of a ninth (ex. 53). The melodies are folk tunes with strong rhythmical accents which indicate their use as dance songs. The hurdy-gurdy used for this music had a tonal range of two octaves, from g' to e''' or g''' [fn]. In the melodies there are however notes which lie below g', which leads to the supposition that either all instruments were not tuned alike, or that they were tuned higher and lower.
In Belgium the hurdy-gurdy was known up until the end of the 19th century. It was played in Spa in the Ardennes in 1840, in the country around Hesbaye in 1885 and in the Ourthe Valley in 1890 [fn]. The French influence on the construction of Belgian hurdy gurdies, which are possibly also
French instruments, is indicated by the term "tièsse di dj'vâ", which is the same as 'tête de cheval', [trans: SB: "horse's head"] so called on account of the shape of the body. [Something missing here?] the French 'vielle en luth' [fn]. "lute-shaped hurdy-gurdy".]
As in Spain the repertoire of the hurdy-gurdy in France consists mainly of dance pieces, and the instrument was also used to accompany songs (ex. 54). Aside from dance music, marches are very frequently played in France on the instrument. They are particularly suited for the still widespread practice of using hurdy-gurdies and bagpipes for church processions and feast days (ex. 55). in contrast to the Spanish method of playing the hurdy-gurdy, in France not only are folk dances with simple melodies played, but there are also pieces with runs and quick ornaments (ex. 56). When used as a dance instrument the dance rhythm is marked with the help of the hurdy-gurdy's trompette, whereby the melody is accented as well. This rhythm which is the basis of the corresponding dance is indicated in the dance melodies by dotted rhythms (ex. 57).
As in other countries the hurdy-gurdy and the musette have the same repertoire in France. This is not just expressed by the frequent use of both instruments together. The one instrument can be used for the other as well, depending upon which instrument is available. Dance melodies whose titles indicate their origin from the bagpipes belong as well to the repertoire of the hurdy-gurdy, as for example "La Chevre" (ex. 58), a name which refers to the bagpipes, also called 'chevrette' in France. Similarly another dance piece played on the hurdy-gurdy has the title "Le cornemuseux de Marmignolles" (ex. 59).
Aside from the march, polka, gigue and above all the bourrée (see page 60), which was danced by couples "offen ohne Anfassen zur Sackpfeife oder Drehleier" [trans: JW: "(dancing) apart, without touching, to the bagpipe or hurdy-gurdy"][fn]. Waltzes are especially popular. They are widespread throughout the whole of France as 'musette' waltzes andare especially popular today in the repertoire of accordion orchestras or of accordion soloists. Presumably
the name of the waltz 'musette' is related to the French bagpipes called 'musette', which means that this name was transferred to the piece itself from the instrument on which this dance was originally played. As early as the 18th century 'musette' denoted a slow dance, for which a drone sounding below the melody was characteristic.
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Alden and Cali Hackman