by three couples. The figures of the reel differ slightly according to the locality; their chief feature is their circular character, the dancers standing face to face and describing a series of figures of eight. The music consists of 8-bar phrases, generally in common time, but occasionally in 6–4. The Irish reel is played much faster than the Scotch; in Yorkshire an ordinary hornpipe-tune is used. The following example, 'Lady Nelson's Reel,' is from a MS. collection of dances in the possession of the present writer.
![\relative g'' { \key g \major \time 4/4 \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
\repeat volta 2 { g4 d8 g e d c b | a' e fis g fis d d fis |
g4 d8 g e d c b | d a b c b g g4 }
\repeat volta 2 { d8 g b g d' b c a | g b d e c a a b |
g b d g e g a f | \acciaccatura f e d e f \afterGrace d2 { e16([ f]) }
g4 d8 g e d c b | a' e fis g fis d d fis |
g4 d8 g c, g' b, g' | a, c b a b g g4 } }](http://upload.wikimedia.org/score/b/l/bl527i8385h18gpimpc2hodxc3ekjhi/bl527i83.png)
An example of the Danish reel will be found in Engel's 'National Music' (London, 1866).
One of the most characteristic Scotch reels is the Reel of Tulloch (Thulichan):—
Others, equally good, are 'Colonel McBean's Reel,' 'Ye're welcome, Charlie Stuart,' 'The Cameronian Rant,' 'Johnnie's friends are ne'er pleased,' and 'Flora Macdonald.'
For the slow Reel see Strathspey.
REEVE, William, born 1757; after quitting school, was placed with a law stationer in Chancery Lane, where his fellow writer was Joseph Munden, afterwards the celebrated comedian. Determined however upon making music his profession, he became a pupil of Richardson, organist of St. James, Westminster. In 1781 he was appointed organist of Totnes, Devonshire, where he remained till about 1783, when he was engaged as composer at Astley's. He was next for some time an actor at the regular theatres. In 1791, being then a chorus singer at Covent Garden, he was applied to to complete the composition of the music for the ballet-pantomime of 'Oscar and Malvina,' left unfinished by Shield, who, upon some differences with the manager, had resigned his appointment. Reeve thereupon produced an overture and some vocal music, which were much admired, and led to his being appointed composer to the theatre. In 1792 he was elected organist of St. Martin, Ludgate. In 1802 he became part proprietor of Sadler's Wells Theatre. His principal dramatic compositions were 'Oscar and Malvina,' and 'Tippoo Saib,' 1791; 'Orpheus and Eurydice,' partly adapted from Gluck, 1792; 'The Apparition,' 'British Fortitude,' 'Hercules and Omphale,' and 'The Purse,' 1794; 'Merry Sherwood,' 1795; 'Harlequin and Oberon,' 1796, 'Bantry Bay,' 'The Round Tower,' and 'Harlequin and Quixote,' 1797; 'Joan of Arc,' 'Ramah Droog' (with Mazzinghi), 1798; 'The Turnpike Gate' (with Mazzinghi), and 'The Embarkation,' 1799; 'Paul and Virginia' (with Mazzinghi), 1800; 'Harlequin's Almanack,' 'The Blind Girl' (with Mazzinghi), 1801; 'The Cabinet' (with Braham, Davy, and Moorehead), and 'Family Quarrels' (with Braham and Moorehead), 1802; 'The Caravan,' 1803; 'The Dash,' 'Thirty Thousand' (with Davy and Braham), 1804; 'Out of Place' (with Braham), 1805; 'The White Plume,' and 'Au Bratach,' 1806; 'Kais' (with Braham), 1808; 'Tricks upon Travellers' (part), 1810; and 'The Outside Passenger' (with Whitaker and D. Corri), 1811. He wrote music for some pantomimes at Sadler's Wells; amongst them 'Bang up,' by C. Dibdin, jun., containing the favourite Clown's song, 'Tipity wichet,' for Grimaldi. He was also author of 'The Juvenile Preceptor, or Entertaining Instructor,' etc. He died June 22, 1815.
REEVES, John Sims, son of a musician, was born at Shooter's Hill, Kent, Oct. 21, 1822. He received his early musical instruction from his father, and at 14 obtained the post of organist at North Cray Church, Kent. Upon gaining his mature voice he determined on becoming a singer, and in 1839 made his first appearance in that capacity at the Newcastle-upon-Tyne Theatre, as Count Rudolpho in 'La Sonnambula,' and subsequently performed Dandini in 'La Cenerentola,' and other baritone parts. The true quality of his voice, however, having asserted itself, he placed himself under Hobbs and T. Cooke, and in the seasons of 1841–42 and 1842–43 was a member of Macready's company at Drury Lane, as one of the second tenors, performing such parts as the First Warrior in Purcell's 'King Arthur,' Ottocar in 'Der Freischutz,' and the like. He then went to the continent to prosecute his studies, and in a short time afterwards appeared at Milan as Edgardo in Donizetti's 'Lucia di Lammermoor' with marked success. Returning to England he was engaged by Jullien for Drury Lane, where he made his first appearance on Monday, Dec. 6, 1847, as Edgar in 'The Bride of Lammermoor,' and at once took position as an actor and singer of the first rank. 'His voice had become a pure high tenor of delicious
