At the end of the year, 2007, Julie McGonigal hung up her crotchets
and quavers after many years providing monthly tunes for the Folk
Rag.
since then ALAN CRAIG has been pleased to provide
this service for everyone. Thanks Alan!
Happy Playing !
FANTASTIC TUNE RESOURCE
www.bbc.co.uk/radio2/r2music/folk/sessions/
A virtual session where one may play along.
GLASGOW GAELIC CLUB
This month's tune is a typical Scottish 6/8 march with its 'cut and point' rhythm (dotted quaver, semi-quaver, quaver) and its use of the Scottish 'snap'. These tunes are often played as jigs, but this tends to smooth out the notes to quavers and they lose their cheeky swing (but they're still good jigs!). The Glasgow Gaelic Club is great piper's march and is likely to have been composed by William Gunn (1788-1867), a piper with the club in the 1800s. The tune is first published in Gunn's Caledonian Repository of Music Adapted for the Bagpipes in 1848 and is famously recorded by Jimmy Shand (1908-2000) in the 1930s. Sir James Shand MBE (to give him his proper title) was one of most prolific recording artists of his day, and is noted to have recorded more tunes than the Beatles and Elvis Presley together - a remarkable feat for a wee baldy Fifeshire lad who was born into a mining family of nine. Happy Playing, Alan Craig |
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MIDNIGHT ON THE WATER
Here's another tune I picked up at the Bundanoon DanceFest in June (I know I keep banging on about that festival, but it really was great!). This lovely waltz is generally credited to the great Texas fiddler, Luke Thomasson, although it was his son, Benny, who popularised it. Midnight on the Water seems to have evolved in this form somewhere around 1900, but there is considerable evidence that it is Luke's version of an earlier tune called Old Paint. Indeed, John A. Lomax, the renowned American folklorist, has recorded a version of Old Paint as a song by Jess Morris, a contemporary of Luke Thomasson. This is a particularly attractive waltz, and is best played a little plaintively; it doesn't resonate so well at country dance tempos. However, it's a great slow waltz and ideal for harmonies. Happy Playing, Alan Craig |
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BRISK YOUNG LADS
The Brisk Young Lads is a lovely Irish jig that I learned at the DanceFest weekend in Bundanoon in June. Although it has been credited to Tom Doyle, it is likely of older provenance as it appears in the O'Neill's 1001 Collection. Scottish pipers play this tune as a 6/8 march, and they call it the Big Headed Man or There Came a Young Man. Keep an eye out for a sneaky G# in a couple of places. Happy Playing, Alan Craig |
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MR BEVERIDGE'S MAGGOT
Here's an English country dance that was popular in the early 18th century. Mr Beveridge was a famous dancing master in the 1680s who devised particular longways set dances called 'maggots' (from the Italian maggioletta, a small trifling), and these were done in 3/2 time (an early version of the modern hornpipe). Some months ago, I presented a similar tune called The Cheshire Rounds, a perfect companion to Mr Beveridge's Maggot. Our 'maggot' hit the big time in 1995 when it was used for a dance sequence in the BBC's mini series of Jane Austen's Pride and Prejudice. This scene has the dark and dour Mr Darcy forced to dance with the coquettish Lizzie, and you can view it on YouTube at www.youtube.com/watch?v=JUC4hmCyxZ0 In the clip, the music is quite slow; however, I've presented it at more the 'peasant' hornpipe speed rather than the 'courtly' tempo that was popular in the dance assembles of Austen's era. I've also given alternative notes (in both the midi file and the music) for the 'D' tin whistle - this avoids notes that are out of range or require half-holing. Happy Playing, Alan Craig |
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DOON THE BROOM
Following up on my 'contra' theme from last month, I'd like to offer a tune that is said to be a big favourite with American contra dancers. Doon the Broom is noted as a traditional Scottish march, but it's not one I'd heard before and I have no information on its history, except that The Fiddler's Companion website gives it the alternative titles of The Clans and The Old Crossroads. I played Doon the Broom with the band at the Bundanoon DanceFest in June, and thought it was a ripper little tune. It was part of a contra dance set that included Rally 'Round the Flag and The Year of Jubilo, two famous American marches. The only hitch is that the first bar-and-a-half seems almost identical to the Rights of Man hornpipe -- but you'll get over it! Happy Playing, Alan Craig |
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THE GRUMBLING OLD MAN and
the GROWLING OLD WOMAN
In recent months I seem to keep bumping into contra / French Canadian tunes. Everywhere I go, someone is asking for or playing these delightful tunes, and I'm very pleased to say that I've managed to learn a few of late. I first heard The Growling Old Man and the Grumbling Old Woman at this year's Port Fairy Folk Festival when it was played by the very exciting guest band Les Chauffeurs à Pieds, and I thought it was just great. So, I was really delighted when it turned up in the workshop music for the Bundanoon DanceFest in June (one of the best festivals I've ever been to). These Québécois tunes are really exciting, and often quite simple to play. The GOM&GOW (the name is so long, it's best to use the acronym!) is also called La Chicaneuse (meaning "quarrelsome woman") or La Disputeuse. One part grumbles, the other growls, and I'm sure you'll work out which is which! As a footnote, I've been to two excellent festivals this month. The first, at Bundanoon (in the Southern Highlands on the Canberra-Sydney road), is primarily a dance workshop festival, but musicians get in at the ridiculously low price of $10 and get to play from 9:30am to midnight for 3 days. It's a small, friendly and intimate festival and all the music is made available on the festival website before the weekend starts. I had a complete ball (literally) and wouldn't miss it for chips. Information can be found at the Bush Traditions website: www.bushtraditions.org/bunders.htm I also managed to get to one day of the Maleny Celtic Winter School. It also was a buzz with great workshops for all levels for many instruments. I'll definitely be going for the full weekend next year! Information at: www.malenyceltic.org And the good news is that there is another workshop weekend happening at Alexandra Headlands in September. You'll find information about this in the Folk Rag or from: www.fiddlesticks.co.nz/sunshinefiddlecamp - I hope to see you there! Happy Playing, Alan Craig |
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INISHEER
This month's tune is lovely air that has become quite popular with session musicians here in Brisbane. Inisheer was written by Thomas Walsh, the son of a noted dance bandleader in Dublin. He formed the band "An Beal Bocht" in 1980, a band that had a sound and style in the "Planxty" tradition. Thomas himself had a sound musical training at the College of Music and plays tin whistle, accordion, clarinet and saxophone. Nowadays, he performs with his band Turlough, which appears all around Ireland. Inisheer (Gaelic: Inis Oirr) means 'east island', and is the smallest of the Aran Islands in Galway Bay. This was the ancient home of the O'Briens, and can only be reached by ferry or plane. The cargo ship Plassey was wrecked on its rocky shores in 1960, but the 11-man crew was rescued by the islanders. The wreck was later washed ashore and is now a tourist attraction. Thomas's original version of Inisheer was the opening track of his 2004 album Ethnic Tears. He later put lyrics to the tune, and the song version can be found on his 2007 album The Plassey on the Rocks. Turlough have also recently released an album called Canyon Moonrise. All of these CDs can be obtained from Crashed Music at their website: www.irishmusicshop.ie My thanks to Thomas and Crashed Music for their permission to reproduce this beautiful and moving air here in the Folk Rag. Happy Playing, Alan Craig |
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STARRY NIGHT FOR A RAMBLE
This old waltz is still popular with bush bands today, but originated in England in the 1850s as a music hall song in 6/8 time. No doubt the song came to Australia with the gold rushes, but Ron Edwards (Aussie folklorist) located this 3/4 version in 1985 during his research into broadsides in the UK. Although I've only ever played it as a tune, it does have words, and these ones were collected by John Meredith in Orange, NSW, in 1955: It's a starry night for a ramble, through the flowery dell;
Happy Playing, Alan Craig |
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OFF SHE GOES
This tune is almost certainly of English origin, although it did appear in an Irish collection in 1790 and a Scottish collection in 1799. Off She Goes, however, is popular throughout the British Isles and has a French-Canadian version called La Danse des Sutins. Tradition has it that it was the tune played by the fiddler as the ship left harbour, but it is also well recorded as a country dance tune throughout the 19th century. I have given it here as a 12/8 slide, the way it is popularly played in West Kerry. The tune is also known as Peel the Willow, which has a decidedly country dance sound about it. I would like to thank all the subscribers who bought a copy of my Session Tunebook Collection last month, and for all the kind words of support regarding our Tune of the Month here in the Folk Rag. It is really heartening to know that there are so many people interested in traditional tunes. The Session Tunebook Collection will remain on sale at $25 until the end of Easter, and I'd love to see any Folk Rag readers who are going to the National Folk Festival at our Session Tunebook launch during the festival (don't forget to bring your instruments). Happy Playing, Alan Craig |
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MOYA'S POLKA
This month's tune comes from the pen of one of our local artists, Mark Davidson. Mark has just recorded an album with a mixture of country, blues and Celtic music (keep an eye out for details in the Folk Rag. One of the tracks is this really bright polka, which Mark wrote for his sister, Moya. I've presented Moya's Polka in the format Mark recorded it on his album. It is actually a tune in 3 parts, but played AB-AB-AC-AB, the third part appearing only the once. This is an unusual structure for traditional tunes, but works very well. As Mark observed himself, it is possible that diddley-eye players may re-structure the tune, and I can see it played AB-AC-AB, or ABC-ABC-AB, or even ABC-ABC! However it ends up, it's still a really nice dance polka. Well done, Mark! Happy Playing, Alan Craig |
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OVER THE HILLS
Here's a really nice little Irish jig that was originally collected from the playing of the piper Police Sergeant James Early in Chicago at the end of the 19th century. What with Captain Francis O'Neill (the famous Chief O'Neill) and other police officers like John McFaddan, Patrick O'Mahony, Bernard Delany and countless others, Chicago must have been a session-players' heaven in the 1890s. O'Neill's remarkable Music of Ireland is one of the great treasures of Celtic culture, and is a work assembled directly from the playing of ex-pat Irish musicians living in Chicago between 1890 and 1905. Happy Playing, Alan Craig |
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HIGHLANDER'S KNEEBUCKLE
The first tune for 2011 is an Irish single jig commonly found set as a reel. The Highlander's Kneebuckle is a popular piper's tune and was known in the early 1800s. Many call it Pat Ward's Jig, and it gets that name from Pat Mitchell, a piper who died in 1927. Pat learnt it from the famous Seamus Ennis, who learnt it from his father, who learnt it from .... you guessed it, Pat Ward! Who Pat Ward learnt it from is anyone's guess. I have no idea who calls it Leather Buttons, or why, but most sources give it as an alternative name. Happy Playing, Alan Craig |
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WHISH, CAT, FROM UNDER THE TABLE
Here's a lovely single jig that is often called Huish the Cat or Wallop the Cat (though I don't like the thought of the last). There is a collected version of this Irish tune from 1802, where it was said to be from the playing of the harpist Charles Byrne Whish, Cat is claimed to be a variant of Jackson's Humours of Panteen, a jig probably written by the piper Walter Jackson in the 18th century. The tune has appeared in both Kerr's and O'Neill's, and was once a song with these opening lines: Whish, cat, from under the table,
Happy Playing, Alan Craig |
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THE SWEETNESS OF MARY
This month I'm presenting a beautiful strathspey that I've just decided to include in my upcoming Session Tunebook series. I heard Terry Jacob playing this at a session at the Celtic Corner in Manly. Terry has a lovely touch on the melodeon, and I was immediately taken by the beautiful cadences of this delightful tune. I remembered hearing a recording of The Sweetness of Mary by Alasdair Fraser, the great Scottish fiddler, and I couldn't wait to get home to learn it. The tune is, in fact, written by a piano player from Prince Edward Island in Canada, and there were recordings of it as far back as the 1960s. It first appeared in print in the Cape Breton Gaelic language newspaper Am Braighe. Mary Brettell, who was at the Celtic Corner session as well, thought that this tune was dedicated to her - but, according the the Fiddler's Companion website, Joan Boes wrote it in honour of St. Mary (sorry MaryB). The Sweetness of Mary was originally in the key of A, but I've presented it here and in my Session Tunebook in G, which will be more comfortable for a larger number of instruments. This is a stately tune that should be played slower than the usual strathspey; indeed, it has been recorded as an air. Thank you Terry for a really good one. Happy Playing, Alan Craig |
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SCAN TESTER POLKA (No 2)
Scan Tester was a renowned anglo concertina player from Sussex. He was born as Lewis Tester in 1886, but had acquired the nickname of scantalope as a boy and was, thereafter, known to everyone as Scan. His dad owned the Green Man pub at Horsted Keynes, and young Scan grew up there doing step dancing and learning the concertina, melodeon and fiddle with his brothers Trayton and Will. He formed Tester's Imperial Jazz Band after WWI, but mainly played and
taught quadrilles, schottisches and polkas. Scan eventually came to the attention of the English
Folk Dance
and Song Society, and during the '60s was to play at folk clubs and hotels, and even the
Royal Festival Hall. Scan's best known tunes are simply called
Scan Tester's #1 Polka and Scan Tester's #2 Polka, and
these are still favourites with box players today. Alan Craig |
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THE MUDGEE SCHOTTISCHE
"Schottische" is German for "Scottish dance", but it isn't. Well, it isn't Scottish. The Schottische, as we know it, developed as a 'slow polka' in Bohemia and entered ballroom programmes around 1849. Although it wasn't overly popular to begin with, it wasn't long before the Scots introduced a version known as the Highland Schottische, a dance that combined the polka-like movements with strathspey-styled footwork. This version was an immediate success and appeared in dance programmes all over the world. The Highland Schottische was particularly popular in colonial Australia and survived as a ballroom favourite until at least World War II. The Mudgee Schottische comes from the playing of Fred Holland and was collected by John Meredith in 1957 in Mudgee, New South Wales. I first heard it on a Bushwacker's dance album in the 1970s. Alan Craig |
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THE STONE COURT
The Stone Court originally appeared in a Royal Scottish Country Dance book that was collected and arranged by Margaret T W Rae, a prolific collector, writer and producer of music for country dancing. Although The Stone Court looks like a single jig at first appearance, it is more properly defined as a two-step. Other well-known two-steps include Jimmy Shand's White Heather Club (or Six-Twenty Two-Step), John Philip Sousa's Washington Post March, and the outstanding Boston Two-Step by Luke Everett. The two-step is a dance form that was particularly popular in the early 1900s, and was somewhat related to the polka. It is largely characterised by movements that include two forward slide steps followed by two faster ones. Although this dance form has now mostly faded from dance repertoires, the tunes are wonderfully rhythmic and can be used for any jig/slide type dance. I learnt The Stone Court from John Colville many years ago and still play it for bush dancing. Alan Craig |
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MAGGIE IN THE WOODS
Here's a West Kerry polka that was popularised by The Chieftains. It is sometimes known as Maggie in the Corner, but it also bears a strong resemblance to the Scartaglen Polka, otherwise called the Humours of Ballydesmond. There are words to this tune:
If I had Maggie in the woods, Polkas in West Kerry are usually played at breakneck speed, but they are still great at a country dance tempo. Alan Craig |
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THE MILLER'S MAGGOT
This month's tune can be played as a single jig or a slide. Slides are normally written in 12/8 time and are traditionally played quite fast so that there are only two beats to the bar. The slide also has some relationship to the hornpipe. However, these distinctions are disappearing, and most session musicians these days treat single jigs and slides as the same. A single jig is simply a 6/8 tune where most beats are made up of two notes: a crotchet and a quaver. Double jigs are ones where the predominant structure has 3 quavers (like a triplet) for each beat. Of course, most jigs are made up of combinations of both. The Miller's Maggot is a traditional Irish jig that is quite popular throughout the world, but its title has nothing whatsoever to do with a soft-bodied legless larva. The archaic meaning of maggot is a whimsical fancy and, in the 16th and 17th century, meant a "small or slight tune" (i.e. not a serious one). However, the Irish have yet another meaning that I prefer: "a small liquid measure". Perhaps we should call our tune The Miller's Dram. Alan Craig |
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NEIL GOW'S LAMENT
Neil (Niel or Neal) Gow (1727-1807) was one of Scotland's legendary fiddlers. He composed or arranged over 80 famous pieces, and his works represent a formidable part of Scottish country dance music to this day. Neil Gow had two wives, both named Margaret, but the title of this tune actually refers to the first. How so? Well, the tune was originally published as Neil Gow's Lament for His Wife but later publishers inserted the "Second". Now, the 'second' wife here is not meant to be Margaret Urquhart, but a reference to the story that Neil Gow's fiddle was his 'second wife'. So, there's no need to feel sorry for Margaret Wiseman, his first wife and mother of his only children. This beautiful air (which should be played slowly and with emotion) is normally written in 6/8 time, but it can easily be adapted as a waltz. Alan Craig |
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ASTLEY'S RIDE
country dance
This country dance, or hornpipe, commemorates a famous clown act from Astley's Circus in the late 1700s. This equestrian performance was known as Billy Button's Ride to Brentford. Our tune was collected from Oxford street musicians in 1789, so Astley's Circus and Billy Button's performances were obviously quite famous by then. Philip Astley himself was a colourful character who, before creating his famous circus, had served as a cavalry officer, and was noted for having once saved the Duke of Brunswick's life. Astley's Ride is an engaging melody that also became very popular with Scottish country dance bands: they usually call it Drumley's Ride, but I have absolutely no idea why. The tune can be played as a country dance, galop, polka or hornpipe. Alan Craig |
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BROCHAN LOM
Orange and Blue
This month's tune is a Scottish/Shetlands strathspey that is suitable for any schottische. The Gaelic name is Brochan Lom, which means 'thin porridge', but it has become attached to the East Lothian country dance Orange and Blue. There is also a Welsh variant of the tune called Allt-y-Caethiwed. The strathspey is a Scottish form that really has no equivalents in other traditions. It is characterised by the the 'pointed' nature of the expression where the brevity of semi-quavers is exaggerated. The rhythm of each beat usually consists of a dotted quaver and a semi-quaver ('cut' note), though often the 'cut' note is the first of the two which gives a particular feel that is immediately identifiable as Scottish. The tunes are also usually interspersed with triplets. While these tunes are used for the particular strathspey steps of highland dancing, they are also widely used for the schottische, a form of country dance that was widely popular in Australia during the colonial era. There is also a jig version of Orange and Blue - but I'll keep that for another day! Alan Craig |
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GALWAY BELLES
69th Street Polka / Last Chance Polka
The Galway Belles is a very attractive polka from County Kerry. I remember hearing this tune many years ago and only just came across it again recently. The cadences, to my ear, have a very Scottish lilt about them and, indeed, it can be played very effectively as a march; however, there is no evidence of it being earlier than the County Kerry version. This tune seems to be popular in the US where it is usually called the Last Chance Polka. Alan Craig |
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FIERY CLOCKFACE
A typical 12/8 jig
This tune is a typical 12/8 jig, sometimes called a slide. It was written in the early 1800s by the blind Northumberland fiddler 'Bobby' Nunn who made his living by writing tunes and songs. This one was originally written as as song called The Fiery Clock Feyce; it was about a drunk seeing the moon's reflection in the river by St Nicholas Cathedral in Newcastle. The song gradually became a fiddle tune and is also known as the Pin Reel (but it's not). The difference between 12/8 and 6/8? Well, it's all in the emphasis. In 6/8 (like 2/4), the first beat of the bar is emphasised (strong); the second is not (weak). This gives a pulse like this: S W | S W |, etc. (like a sailor with a wooden leg). In the 12/8 (as in a 4/4) there are four beats per bar, and these are stressed: strong, weak, medium, weak (S W M W | S W M W | etc.). Well, that's the theory. Alan Craig |
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BOVAGLIE'S PLAID
A Plaintive Air
This month's tune is a plaintive, slow air from the pen of the legendary J. Scott Skinner, one of Scotland's greatest fiddlers and composers. Skinner originally named the tune for Roualeyn Cumming, a well-known personality in Fort Augustus, Scotland. However, when Queen Victoria described a copse of trees on Bovaglie Farm (Deeside) as looking like a "plaid", Skinner changed the name to Bovaglie's Plaid in honour of Her Majesty. I guess the Queen had a little more pull than Roualeyn, who was a famous nut-case! Chris Duncan, our own legendary fiddler from Newcastle, NSW, has a wonderful version of it on his Fyvie's Embrace album. This beautiful tune can be played quite slowly (Chris plays it very slowly), so don't be panicked by the fistful of notes in the fourth last bar. Alan Craig |
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BLACK BEAR MARCH
I've always loved the Black Bear. It's one of those tunes you always hear pipe bands play at the end of the day, and is usually the last tune played at the Edinburgh Tattoo. However, it's origin isn't necessarily Scottish and is a tune often played by military bands throughout the world. The Black Bear can be played as a march (as I have it here) or equally effectively as a hornpipe. But put it together with a few country dance tunes and watch the dancers lift as you rip into it! Fantastic! Alan Craig |
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HUMOURS OF WHISKEY
Dever the Dancer / Bridge of Athlone
A 9/8 jig (slip jig)
I came across this tune by accident a couple of years ago and thought it had a particularly nice feel about it. The Humours of Whiskey (whisky is spelt with an 'e' in both Ireland and America) goes under a number of names: Dever the Dancer, Bridge of Athlone or The Peeler's Return (peeler meaning policeman). John McKenna, the famous flute player from County Leitrim, made a landmark recording of this tune in 1934 for the Decca label. Slip jigs give a sense of having no place to stop - the end always leads you right back to the start as the final chord is almost never the tonic. I like to think of them as the groundhog days of traditional tunes - so, take a deep breath before you start! Alan Craig |
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THE STRAND HORNPIPE
first published in Kerr's Caledonian Collection
The Strand Hornpipe was published early in Kerr's Caledonian Collection and is known all over the British Isles. Sometimes it is called The Lass on The Strand and is often confused with the Belfast Hornpipe (which it's not). While hornpipes are not particularly useful for most folk dancing, they are great tunes for listening and playing. They can be played slow or fast, but don't forget to maintain the 'point and cut' nature of the rhythm or it will start sounding like a rant or reel and higher speeds. This one is suitable for fiddle, whistle, tenor banjo, kaisatsuko or Alaskan nose-flute. :-/ Alan Craig |
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CHESHIRE ROUNDS
An English country dance
There's been a flurry of interest in this tune lately, so I thought it might be a good subject for this month's Folk Rag. The Cheshire Rounds was originally a Welsh processional dance (probably with a pre-Christian heritage) and the tune was first published in 1696. It appeared again in John Playford's English Dancing Master of 1703. Interestingly, it also became the earliest recorded dance in Australia when it was mentioned in the Sydney Gazette in 1803. The tune for the Cheshire Rounds is in the now rare 3/2 time signature, which was the common timing for hornpipes until the early nineteenth century. If you have trouble with the timing, think of it as a very slow 3/4 waltz - that should see you right! Alan Craig
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TOM BLACKMAN'S WALTZ
I have no idea who Tom Blackman was, but if this waltz is any reflection on him, then he was a pretty good guy. I've been playing this tune at bush dances forever and I know it's popular throughout the country with bush bands. I probably originally learned it from the Bogaduck Out of Tune Book sometime way back when. Dale Riddle requested this tune after recently hearing Rantan play it at the Kookaburra Club. For dances, we always include it in a set with Starry Night for a Ramble and Springtime Brings on the Shearing - great tunes all. Alan Craig
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CADDAM WOODS
A Scottish tune by Adam Rennie
Caddam Woods is a spectacular tune written by the renowned Scottish fiddler Adam Rennie. Adam lost a leg in the First World War, but survived to become a legend in Scotland for his outstanding musicianship. So great was his prowess, that he was awarded Neil Gow's fiddle at the 1932 Perth Music Festival for his contribution to Scottish music. This tune has a couple of challenging parts, but it is well worth the perseverance needed to get it right. Dance bands usually like to play the A# diminished chord, but this can be substituted with an F#7 for easier playing. Transposition to G is also an option (although it is traditionally played in A). Anyone wanting a transposed score and midi file can me. Alan Craig
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MY MOTHER
Mo Máthair
Dale Riddle begged me if I'd do some more Scottish tunes (I think). So, here's an old Gaelic air that was at one stage a Jimmy Shand signature piece. My Mother (Mo Máthair in Gaelic) is a great tune that can be played as a plaintive air or country dance waltz. The midi file provided has it as a strict waltz tune to make it easier to learn. Alan Craig |
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DILL PICKLE RAG
A ragtime tune
I've noticed a few folkies have been showing an interest in ragtime tunes of late, and I've heard some great pieces like Levi Jackson's Rag and Tiny's Rag at sessions. So, to start the year off, here's a good one from the turn of last century: The Dill Pickle Rag. There is a third part to this tune (drops to C) which is sometimes played, so folks wanting the extra bit can contact me and I'll send them the full piece. Alan Craig
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SEVEN JUMPS
A Danish folk tune
Seven Jumps is a Danish folk tune and dance - and that's all I know about it. I learnt this from Mike Jackson (Melbourne) many years ago and it's a quiet, simple and sedate little piece. It can be played on any folk instrument. Alan Craig
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THE FIRST OF AUGUST
A traditional country dance tune
There are dances called The First of August in both English and Scottish country dancing, but I suspect this tune is likely to be English or Welsh in origin. Actually, I haven't a clue! I'm just going by the style and some references in the literature, as I cannot find an example of the tune anywhere. If any reader knows the origin, I'd love to hear. This is another piece I collected from Canberra musician and composer, Ian Blake (of Pyewackett fame) - one day I'll ask him where he got it! In the meantime, it's a lovely tune that is easy to play on most folk instruments, so have fun. Alan Craig
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THE HILLS OF GLENORCHY
A traditional piper's tune
This Dorian mode jig is part of every highland piper's repertoire, but it's also known in Ireland, England, Cape Breton and Canada. It appeared in Alexander Mackay's collection in 1805 under the title Braes of Glenorchy, though it is sometimes referred to as the Hills of Glenurchie (a misspelling). In Northumbria they know it as The Wild Hills of Wannie and in Ireland there is a version called The Rollicking Boys of Tandaragee. Whatever it's called, this is a great jig that can also be played as a march (pipe bands often do). Alan Craig
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THE FANØ POLKA
A traditional tune from Denmark
The Fanø Polka is traditional tune from Denmark, quite typical of the fiddle music from that land. Fanø is an island just off the southwest coast of Denmark. I learnt this tune from Ian Blake, originally of Pyewackett, who performs regularly in Europe and has a great wealth of these tunes. Ian now lives in Canberra and is an outstanding musician, orchestrator and performer. This tune is suitable for most traditional folk instruments, but watch out for the C♯ in the 4th bar of the second part. Alan Craig |
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PETRONELLA
A Scottish country dance tune
The old traditional tune, Petronella, is a specific type of Scottish tune that the Irish like to call a polka (though it's not, as the polka has a specific rhythm of its own). In fact, these country dance tunes are not phrased like the better known reels and are best thought of as tunes in 2/4 rather than 2/2 or 4/4. The tune is, of course, for a Scottish country dance of the same name and can be grouped with tunes like the Dashing White Sergeant, Rose Tree or Davy, Davy, Knick Knacks. The Petronella is widely played in Scotland, NE England, Donegal (where they call it a 'highland'), and in the American South as a popular old-timey dance. My mothers name was Patronele, and as a kid I used to think the dance was named after her! Of course, it isn't, and is probably no younger than the mid-nineteenth century. Alan Craig |
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THE MORPETH RANT
Northumbrian rant
Here is an English dance tune suitable for most folk instruments. The Northumbrian rant is very popular in the North East and has a feeling somewhere between a reel and a hornpipe. The Morpeth Rant was originally composed by William Shield in the 1700s and has had a dance of the same name associated with it for over 200 years. The tune is sometimes called the Ivy League Hornpipe or Jim Clark's and is known in Scotland, Ireland and New England (USA). Earlier printed versions are often in B♭ with a slightly different B part, but I learnt this version from the Canberra fiddler, Bob McInnes. |
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THE RACKETY OLD BANJO
fiddle/tenor banjo tune
I originally wrote this tune as solo break for Rantan's version of Brisbane Ladies, but later included as part of a medley in our Bush Dance! series. A few years later I was chuffed to hear some Melbourne box players ripping into it at a festival. They'd tinkered with a few notes here and there and played it in E minor, which I think suits button box better. Here it is as a fiddle/tenor banjo tune, but I'm afraid it's not a suitable piece for tin whistle in any key!
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MULL of the COOL, HIGH BENS
Muile nam Fuar-bheann Mor
This traditional waltz is a quintessential Scottish country dance tune and has been recorded by just about everyone. I've known it since I was a child, and it should be in every folk-dance musician's repertoire.
Note the F chord seven bars from the end. It's not a mistake, but one you wouldn't normally guess. Scottish country dance bands love these little twists and it's what makes their music so special. This is a great traditional Scottish jig that is related to the strathspey Cutting Bracken (Tha Mi Sgith) or Cutting Ferns. It has been recorded by Jimmy Shand and the Cunningham Brothers and is as good a jig as you'll ever find. I learned this version from David South, and the arrangement is from Rantan Bush Band.
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DRUMMOND CASTLE
Scottish jig
This is a great traditional Scottish jig that is related to the strathspey Cutting Bracken (Tha Mi Sgith) or Cutting Ferns. It has been recorded by Jimmy Shand and the Cunningham Brothers and is as good a jig as you'll ever find. I learned this version from David South, and the arrangement is from Rantan Bush Band.
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DRUMLEY'S REEL
A Scottish country dance tune
Drumley's Reel, sometimes called Drumley's Hornpipe or just plain Drumleys, is a favourite Scottish country dance tune. It is perfect for the Circassian Circle or any other country dance requiring that feel. The tune is traditional and the earliest reference I can find is a recording by Jimmy Shand on a Parlophone 7" EP in 1963, though he may well have recorded it earlier.
I simply cannot remember where I collected this tune, but I have a feeling it may have other titles: so folks, let me know if you have an alternative name for it. It doesn't appear by this name in any of the old Scottish dance music collections I have.
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Thanks to Alan Craig for transcribing & arranging this month's tune. HAPPY PLAYING!
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MRS KEEL
Mrs Peel is almost certainly a composition by 17th century blind harpist Turlough Carolan, but is not one commonly heard. I say almost certainly as there is much confusion about many tunes attributed to Carolan. He is often credited as the author of tunes he never wrote (e.g. Twa Bonnie Maidens known erroneously as George Brabazon II). However, this tune seems firmly in the style he was famous for and there are no other contenders for its authorship.
This is a plaintive air that demands a bit of passion when played. I often like to run down to an A note at the end: this evokes a mixolydian Am chord that seems to resolve more satisfactorily than the dorian Dm. But that just taste.
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The Five Toed Yowies
Words/music by Peter Dobe
Preamble:
© Peter Dobe 2007
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I Saw Three Ships
English Christmas carol
This lesser-known Christmas carol is believed to be of English
origin rom the Victorian era.
The author of the verses and composer are unknown.
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Evening Three-Step
Old time dance tune
I have adapted this tune from a tape made by Alan Becker of a long ago session hosted by Mark Schuster and Maria Zann and hope it is still recognisable!
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The Cradle Song
Scottish pastoral melody
This sweet, peaceful air by Scottish composer James Scott Skinner appeared in his collection of pastoral melodies and heroic airs entitled The Harp and Claymore, published late 19th century. A lovely recording of this tune can be found on Australian Scottish-style fiddler Chris Duncan's CD Fyvie's Embrace. It is also known as the Highland Cradle Song.
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June Apple
American Old-Timey tune
The lead-up is one of the figures for a quadrille. This one was collected by John Meredith during the 50s from a mouth organ and piano player, Lindsay Carr, from the Mudgee area. It bears a more than passing resemblance to an English Morris jig, The Perfect Cure.
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Lindsay Carr's Lead-Up
Collected Australian tune
The lead-up is one of the figures for a quadrille. This one was collected by John Meredith during the 50s from a mouthorgan and piano player, Lindsay Carr, from the Mudgee area. It bears a more than passing resemblance to an English Morris jig, The Perfect Cure.
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Morgan Magan
O'Carolan composition
This tune was composed by O'Carolan in honour of Morgan Magan of Togherstown, County Westmeath, Ireland, who died in 1738.
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Wounded Hussar
Slow Air
This haunting slow air is common throughout the British Isles. There is a slightly different version in O'Neill's Music of Ireland, where it is published as Captain O'Kane in the O'Carolan compositions section. A rather nice recording can be found on Setting It Right by The Band of the Rising Sun.
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Coloured Aristocracy
American old-timey tune
An old favourite has finally made it to the Folk Rag pages! Thanks go to Dale Riddle, who many years ago, introduced to Brisbane session players this lively old-timey tune from America. It sounds great played on fiddle, mandolin, banjo, hammered dulcimer... need I go on!
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March from "Oscar and Malvina"
An 18thCentury march
I have included something different this month -
a march from the ballet "Oscar and Malvina" written by Maria
de Caro around 1793. It is thought that Oscar and Malvina came
from the Ossianic literature created by James MacPherson in
the late eighteenth century. Oscar was one of his characters from
the 'Tales of Fionn MacCumhail'. Play this
one with lilt and bounce!
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Twinkle in the Eye
Schottische
Alan Becker introduced me to this jaunty schottische - he heard Mark Schuster play it at a session some years ago and thinks that it was one of the tunes collected from Sally Sloane (by John Meredith?). Any further info would be welcome.
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CHRISTMAS EVE
Traditional Irish reel
This three-part Irish reel, played by Galway-style fiddler Tommy Coen, was broadcast on RTE radio on Christmas Eve 1955. It has been known by that name since that time, but has also been called Tommy Coen's and The Christmas.
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KATE KELLY'S
Collected Australian tune
This Australian waltz has an 'A' part remarkably similar to Bill Cooper's Waltz, collected by Rob Willis from Bill Cooper of Forbes. The 'B' part has a lovely melodic line. The 11th of November marks the 126th anniversary of Kate Kelly's brother Ned's demise.
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Road to Boston
A Tune from America
Also known as On the Road to Boston, this tune was popular with the Colonial troops during the American War of Independence, and is widely used as a dance tune in Australia. Back in the late 70s, Steve Cook introduced to Brisbane tune players the 'alternative' version, Road to Istanbul, in G minor. The tune is the same, but with B flats, E flats and F sharps!
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The Arran Boat
A Traditional Scottish Tune
This old traditional tune, named for the Scottish Isle of Arran, is also known as the Arran Boat Song, Highland Boat Song and Queen Mary's Escape from Loch Leven Castle. Under the title of Highland Boat Song, one Robert Allan (1774-1841) wrote words for the tune, about Mary Queen of Scots' escape from the castle in May 1568.
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Whitehaven Volunteers
An English tune
This lively martial tune is from the north-west of England.
A version can be found in 'A Northern Lass - Traditional
Dance Music of North-West England' by Jamie Knowles.
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Dotty's Jig
Dotty's Jig was field-recorded by June Nichols in 1994 during a session with Stanthorpe button accordion player Sharon Doro, and is regularly played by The Champion Moreton Bay Band. I have recently discovered that this tune was collected about twenty-five years ago from Charlie Batchelor of Bingara, NSW by Chris Sullivan and Mark Rummery, and was recorded as Harry Reeves' Jig, by Jane Brownlee and David De Santi, on Australian Traditional Dance Tunes Vol. 2 - A Swag of Treasures.
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Carolan's Draught
This is one of Irish harper O'Carolan's better-known compositions. Born in 1670, he lost his sight due to smallpox at the age of eighteen, and sponsored by Mrs. MacDermott Roe, studied the harp, before venturing around the country by horse, with an attendant. A fondness for whiskey might have been the inspiration for this tune!
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Kemp's Jig
An English tune
William Kemp (or Kempe), colleague of Shakespeare, was a well-known dancer and comic actor of the late 16th/early 17th centuries. His famous solo Morris jig, danced in nine days from London to Norwich, was rewarded by the Mayor of Norwich with a life pension, and is regularly re-enacted today.
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Prince Charlie's Quickstep
An 18th century Scottish tune
This Scottish tune dates from the time of the Jacobite rebellion of 1745 which ended with the defeat of the Highland Army of Prince Charles Edward Stuart by the Royal Troops of George II at the battle of Culloden on 16th April 1746 . It appears that the famous 18th century fiddler Niel Gow had this tune in his repertoire as it is included in a comprehensive recording of tunes composed or played by him (A Tribute to Niel Gow by Ron Gonnella). Niel Gow played for Prince Charlie at a social gathering at Dunkeld House, Perthshire, and, impressed by the Jacobite cause, joined the Prince's forces. He left the army at Stirling , but continued his support for the Jacobites. The source of this tune was Duchess Anne's Music Book, but her identity is unknown at this stage. I have adapted some of the music to improve playability.
The 260th anniversary of the battle of Culloden will be commemorated at the Cairn, Culloden Battlefield, on Saturday 15th April 2006.
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Snow Waltz
A collected tune of European origin
This lovely traditional waltz (Schneewaltzer) is popular in Europe, particularly in Germany and Austria. Sharon Doro of Stanthorpe collected it from Heinz Krahling and recorded it on her 1992 album Portrait. An internet search reveals many recordings of this waltz as well as a hand-written manuscript.
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The Swedish Dance
Despite the confusing title, this is an English 6/8 tune collected in the early 20th century by Cecil Sharp from Mr. Swallow of Little Guiting, and was used for the dance 'Three in Advance'. It has been transcribed from the 1981 LP 'Gamesters Pickpockets and Harlots' by the Old Swan Band.
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The Boar's Head Carol
The Boar's Head Carol was first published in 1521 by Wynken de Worde in Christmasse Carolles. Its origins are presumed to date back to the fifteenth century. For over five hundred years it has been continually sung on Christmas Day for the bringing of the boar's head to table at Queen's College, Oxford , in England .
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Enrico
Enrico (other titles Jacob, Waterloo Fair or Henryco) is a tune of unknown origin. It became popular with English fiddlers after its publication in the Thomas Hardy collection. Play this one at a nice steady English reel pace.
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An Mionnán ar an Sliabh
an Irish Slip Jig
This five-part Irish slip jig (An Mionnán ar an Sliabh in Irish) has been played at many a session and has been recorded by countless musicians over the years. A version can be found in O'Neill's 1001 Gems, but the one here was transcribed about 25 years ago from Brisbane session players
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Traditional Tune from Tröndelag
Swedish tune
Here is another interesting Scandinavian tune (aren't they all!) suggested by Dale Riddle and transcribed from Jigsaw's Cutting Up the Floor. The minor keys give it a mysterious feel. Watch out for the accidentals!
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A Mazurka
a collected Australian Tune
This pretty mazurka was collected from the late Jacko Kevans many years ago by Sharon Doro of Stanthorpe. Neither Jacko nor Sharon could put a name to it. As far as we are aware, this tune is not widely known amongst Brisbane Aussie tune players, and we would like to hear from anyone further afield who knows about this mazurka.
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