Having done a lot of dancing and playing for dancing, allow me to
   suggest that the decision might depend on whether or not there are a
   bunch of sweaty people out there in front of you saying, "That didn't
   sound like the end of the tune.  Should I bow/curtsie?  Or keep
   dancing?"  If there are dancers, end on a tonic whenever possible.
     Alec MacLean


   In a message dated 6/18/2011 1:43:28 A.M. Pacific Daylight Time,
   rich...@lizards.force9.co.uk writes:

        There are many tunes, especially slip jigs, and quite a few
     Peacocks,
        which as written,  end on a note that implies we're about to go
     back to
        the beginning and start again, but isn't really in itself an
     endi-
        ...
        Many players stop there on the last time through, and don't play
     the
        note which seems to want to come and end it, pointing out that it
     ain't
        in the script so you don't play it.
        It's a matter of taste whether you like a hanging in the air,
        imperfect/interrupted/whatever cadence, type of ending, or
     whether you
        like to add the extra back-home note on the last time. Since I've
     only
        got dots and some recordings, mostly of modern players, to go on,
     I
        have no hard evidence as to how it was really done back in the
     day.
        Some tunes I like that way, with others my instinct is to add the
        implied final note, especially if playing for dancers. (It
     doesn't have
        to be a Jimmy Shand type "Taraaa", of course!)
        So I wonder if it's done that way because it really was
     traditional, or
        because people who, like me, only have what was written down, are
        slavishly not playing un-written dots, despite the fact that we
     happily
        accept that dots are necessarily an imperfect shorthand, (Cf
     hornpipe
        rhythms, non-notated grace notes in many traditions, and so
     forth); so
        we stop because the person notating it didn't bother making an
     extra
        "last time bar". Or did the traditional musicians who'd learned
     it from
        their great-uncle who had it from - and so on, actually play it
     that
        way?
        Please could those of you, like Anthony and others, who have
     played
        with the survival of the "living tradition" (whichever one!)
     offer any
        help?
        Thanks and best wishes,
        Richard.
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