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Festival Waltz – Fiddle Tune a Day – Day 30

January 30, 2012 By 1 Comment

Festival Waltz is a beautiful waltz that I have long enjoyed playing, and have played at many fiddle contests. My happiest memory of this tune was playing it at the High Plains fiddle contest when I was fourteen or so along with Sally Johnson and Beaumont Rag. It was the first time I won first place at a fiddle contest, and boy it sure felt good.

 

Festival Waltz according to the Fiddler’s Companion

FESTIVAL WALTZ. Bluegrass, Waltz. USA, Missouri. A Major. Standard tuning. AA (Brody): ABB’ (Matthiesen). Composed (copyrighted 1972) by Kenny Baker, longtime fiddler for Bill Monroe and the Bluegrass Boys. It has become a popular “contest” waltz, prone to embellishment. Source for notated version: Bo Bradham (Charlottesville, VA) [Matthiesen]. Brody (Fiddler’s Fakebook), 1983; pg. 103‑104. Matthiesen (Waltz Book II), 1995; pgs. 18-19. American Heritage 516, Jana Greif‑ “I Love Fiddlin.’”  County 736, Kenny Baker‑ “Kenny Baker Country.” County 2705, Kenny Baker – “Master Fiddler.” Missouri State Old Time Fiddlers’ Association, Lyman Enloe (b. 1906, Mo.).  Rounder 0046, Mark O’Conner‑ “National Junior Fiddle Champion.” Ruthie Dornfeld – “American Cafe Orchestra.” Pete Jung & Bo Bradham- “Moving Clouds.”

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Staten Island Hornpipe – Fiddle Tune a Day – Day 22

January 22, 2012 By Leave a Comment

Today, I stopped into Gib’s New York Bagels, and thought, “This would be a great place to play my fiddle tune a day.” So after grabbing a half-dozen chocolate chip bagels, I asked the girl at the counter if she minded if I recorded my fiddle tune a day there. Of course, she said sure, and turned down the overhead music so that I could get a good recording. Since Gib’s is a “New York” Bagel shop, I thought it only fitting to play Staten Island Hornpipe.

I heard this tune a few years back, and the C chord in the b part really caught my attention. I’m a big fan of songs that give you something that is a little out of place to jar your ears a bit. I hope you enjoy it as much as I do.

 

 

History of Staten Island Hornpipe from the Fiddler’s Companion

STATEN ISLAND (HORNPIPE). AKA and see “The Arranmore Ferry,” “Burns’ Hornpipe,” “None So Pretty [2].” Scottish, English, Irish, American; Hornpipe. USA; New England, southwestern Pa. Ireland, County Donegal. D Major. Standard tuning. AABB (most versions): AA’BB’ (Harker/Rafferty). “Staten Island Hornpipe” was first printed in James Aird’s Selection of Scotch, English, Irish, and Foreign Airs (vol. II, 1782), printed in Glasgow, identical to version played today. I suspect that the title may have associations with the large contingent of British troops that were stationed on Staten Island during the American Revolution, and, since period army references abound in Aird’s period collection, he may have obtained it from British military sources. Others have convincingly argued that the title refers to Isla de los Estados, located just east of Tierra del Fuego off the coast of Argentina, a welcome landmark to sailors which marked a successful passage of Cape Horn and the beginning of the last leg of the journey home. The island was first claimed by the Dutch in the 16th century and named after their governing state council, hence Staten Island (the same rationale for New York’s Staten Island). There is even a State Island in the Atlantic Arctic region, mapped in 1695, and it is possible (though much more unlikely) the title derived from it. A version appears in the 1823-26 music manuscript book of Lincolnshire musician Joshua Gibbons under the title “Scotch Hornpipe.”

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“Staten Island Hornpipe” appears in a few musician’s manuscripts from North England in the 19th century, though none predate Aird. It was reintroduced I in traditional circles during the 1960’s “folk revival” in the United Kingdom (and America, for that matter), largely through the playing of English fiddler Dave Swarbrick. Burchenal (1918) associates the tune with the New England contra dance The Haymakers, or The Merry Haymakers, and indeed, in the intervening years the tune has gained strong associations with American contra dance music, so that it is often mistaken for an American tune. From contra-dance musicians it has even been imported into American “old-time” repertoire, and has been even called an “Appalachian standard,” which it by no means is. Any associations to the Staten Island ferry (e.g. the ‘c’ natural notes in the ‘B’ part being likened to the toots of a steam whistle) are spurious. Bayard (1981) sees a general resemblance to “The Athole Volunteers March” printed in McDonald’s Gesto Collection.

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In Donegal the tune is known as “Arranmore Ferry,” although it has been absorbed into Irish repertoire under its usual title in modern times. Irish versions tend to differ from Scottish and American versions, sometimes centering in the mixolydian rather than major mode (see Mike Rafferty’s version, for example), and sometimes being played as a reel. Sources for notated versions: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) and Hoge Ms (a fife MS from Pa., 1944) [Bayard]; Danny Gardella [Phillips]; Stephanie Prausnitz [Silberberg]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Aird (Selection), vol. II, 1782; No. 83, pg. 30. Bayard (Dance to the Fiddle), 1981; No. 318A‑B, pg. 274. Brody (Fiddler’s Fakebook), 1983; pg. 266. Burchenal, 1918; pgs. 4‑5 (appears as “Haymakers” [2]). Cole (1000 Fiddle Tunes), 1940; pg. 97. Harker (300 Tunes from Mike Rafferty), 2005; No. 255, pg. 78. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 46. Hunter (Fiddle Music of Scotland), 1988; No. 314. Jarman (Old Time Fiddlin’ Tunes); No. or pg. 30. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 14. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 2. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 5, pg. 3. Kerr (Merry Melodies), vol. 1; No. 8, pg. 21. Miller & Perron, 1983; No. 129. Phillips (American Fiddle Tunes), vol. 2, 1995; pg. 226. Raven (English Country Dance Tunes), 1984; pg. 172. Ryan’s Mammoth Collection, 1883; pg. 133. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 150. Spandaro (10 Cents a Dance), 1980; pg. 3. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 60 (appears as “Scotch Hornpipe”). Sweet (Fifer’s Delight), 1965/1981; pg. 56. Tolman (Nelson Music Collection), 1969; pg. 18. F&W Records 1, “F&W String Band.” Front Hall 05, Fennigs All Stars‑ “Saturday Night in the Provinces.” June Appal 014, John McCutcheon‑ “The Wind That Shakes the Barley” (1977. Learned from Richard Blaustein). Kicking Mule 209, Hank Sapoznik‑ “Melodic Clawhammer Banjo.” North Star RS0009, “The Wind in the Rigging: A New England Voyage” (1988). Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977).

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Whiskey Before Breakfast – Fiddle Tune a Day – Day 21

January 21, 2012 By Leave a Comment

When we decided to go out for breakfast this morning, I thought, “That’s a perfect opportunity to record a breakfast oriented Fiddle Tune a Day.” And, so I brought my fiddle with me to Cafe Bluebird, and decided to play a little Whiskey Before Breakfast. As it turned out, I ran into my friend, Robert Cline, Jr. there, and I sent him home to get his guitar. And after breakfast, we played a little Whiskey Before Breakfast.

 

 

The History of Whiskey Before Breakfast according to the Fiddler’s Companion

WHISKEY BEFORE BREAKFAST. AKA and see “Spirits of the Morning.” Canadian (originally), Old‑Time; Breakdown. D Major. Standard tuning. AABB. A widely known tune, often mistaken for an old traditional old‑time tune (it was even listed on one album as “an Irish tune which has been popular in America for a number of years”). It has generally been credited to the mid‑twentieth century by Manitoba, Canada, fiddler and composer Andy de Jarlis (known for his fine waltzes) probably on the strength of his copyrighted arrangement (it is a common practice among music publishers to copyright arrangements of traditional tunes). ” “Whiskey Before Breakfast” was included in de Jarlis’ book Canadian Fiddle Tunes from Red River Valley (1957), where he is credited for the arrangement only.  According to Paul Gifford, the tune’s popularity in the United States is fairly recent, probably stemming from its inclusion on a Voyager Records LP called “More Fiddle Favorites,” by Canadian fiddle champion Lloyd Sexsmith, who probably learned it from de Jarlis (sometimes DesJarlis). It is often used as musical accompaniment for the quadrille ‘Reel of Eight’ in Canada. Gibbons (1982) notes that “Whiskey” is a favorite of Metis (native American) dance troupes in Western Canada, and in this connection Gifford suggests that de Jarlis learned the tune from Metis fiddler Teddy Boy Houle’s father (de Jarlis himself had Metis blood). It seems that de Jarlis and the elder Houle were up playing till dawn with the aid of libation before finally passing out.  On finally awaking, de Jarlis remembered the last tune they played and perhaps gave it the “Whiskey” name. Perlman (1979) identifies it as coming from Canada’s Maritime provinces where it is called “Spirits of the Morning.” It has been pointed out by several sources that the ‘A’ section is similar to the older melodies “Liverpool Hornpipe,” “Great Eastern,” “Bennett’s Favorite” and the Irish reels “Silver Spire” and “Greenfields of America,” however, the original source for all these tunes may be “Speed the Plow.” Folksinger/multiinstrumentalist Mike Cross wrote words to the melody which have become popular in Bluegrass circles (Bryan Bowers also recorded his song). Sources for notated versions: Frank Lowery (Prince Georges, British Columbia) [Gibbon]; Clem Myers [Phillips]; Dick Barrett [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 290. Frets Magazine, April 1989; pg. 64. Gibbons (As It Comes: Folk Fiddling From Prince George, British Columbia), 1982; No. 3, pgs. 14‑15 (includes variations). Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pgs. 254-255 (two versions). Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 168. Sing Out!, 198‑, pg. 75. Spandaro (10 Cents a Dance), 1980; pg. 20. American Heritage 19A, Loyd Wanzer‑ “Plain and Fancy Fiddlin.’” Bay 204, “The Arkansas Sheiks.” Fretless 103, “Clem Myers: Northeast Regional Fiddle Champion 1967 & 1970.” June Appal 003, John McCutcheon ‑ “How Can I Keep From Singing?” (1975. Learned from Ben Hensley, Speedwell, Tenn.). London EBX 4118, Andy DeJarlis ‑ “Backwoods Fiddle Tunes.’ Marimac 9017, Vesta Johnson (Mo.) ‑ “Down Home Rag.” Missouri State Old Time Fiddlers Association 002, Taylor McBaine (Mo.) ‑ “Boone County Fiddler.” Revonah RE‑924, “The West Orrtanna String Band” (1977). Rounder 0063, Norman Blake‑ “Whiskey Before Breakfast.” Voyager 304, Dick Barrett‑ “More Fiddle Jam Sessions.”

Whiskey Before Breakfast Lyrics:

Early one morning ‘fore the sun could shine
I was walkin’ down the street, not feelin’ so fine
I saw two old men with a bottle between’ em
And this is the song that I heard them singin’

chorus: Lord protect us, Saints preserve us
We been drinkin’ whiskey ‘fore breakfast

I passed by the steps where they were a’ sittin’
I couldn’t believe how drunk they were gettin’
I said “Old men you been drinkn’ long?”
“Long enough to be singin’ this song”

They handed me a bottle, said, “Take a little sip”
And it felt so good, I just couldn’t quit
So I took a little more, next thing I knew
There were three of us sittin’ there singin’ this tune

One by one everybody in town
Heard our ruckus and they all came down
Pretty soon all the streets were a-ringin’
With the sound of the whole town laughin’ and singin’

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President Garfield’s Hornpipe – Fiddle Tune a Day – Day 19

January 19, 2012 By 2 Comments

President Garfield’s Hornpipe is a tune I have long enjoyed playing. I grew to like it listening to a Tony Furtado Redording, where he played it as part of a medley, and I then learned it out of the Fiddler’s Bible. It has a fun bowing rhythm in the A part (first part), and the syncopation of the notes in the B part (second part), is really fun to play. I know that some of what I am writing here is musically geeky, and I’m ok with that. If you don’t want to read it, you can play the video, or skip to the tune history at the end.

I enjoy playing in flat keys, and Bb might be my favorite. And I think hornpipes work especially well in Bb. Add some syncopated rhythms and you have the perfect storm. Honestly, the B part of this tune might be the coolest notes pattern of any hornpipe I have played.

 

The History of President Garfield’s Hornpipe according to the Fiddler’s Companion

PRESIDENT GARFIELD’S HORNPIPE. AKA and see “Garfield’s Hornpipe,” “Blue Water Hornpipe,” “High Level [2].” American, Canadian; Hornpipe. USA; New England, Missouri. Canada; Prince Edward Island, Cape Breton. B Flat Major (Brody, Cole, Kerr, Martin & Hughes, Miller & Perron, Perlman, Phillips): D Major (Sweet). Standard. AABB (most versions): AA’BB’ (Martin & Hughes). President James A. Garfield, the twentieth U.S. chief of state (elected in 1880) was assassinated by a lone anarchist, a European immigrant, shortly after taking office, making his one of the shortest terms in that office. The composition is credited to Harry Carleton in Ryan’s Mammoth Collection (1883), but it is known as a New England tune. As “Garfield’s Hornpipe” it is on Missouri fiddler Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Northumbrian concertina player Alastair Anderson introduced the tune into Northumbrian repertoire, finding it in Kerr’s Merry Melodies, but also being influenced by hearing New England fiddler Rodney Miller play it. Sources for notated versions: Rodney Miller (Antrim, N.H.) [Phillips]; Kenny Chaisson (b.c. 1947, Bear River, North-East Kings County, Prince Edward Island; now resident of Rollo Bay) [Perlman]. Brody (Fiddler’s Fakebook), 1983; pg. 221. Cole (1000 Fiddle Tunes), 1940; pg. 101. Kerr (Merry Melodies), Vol. 2; pg. 42. Martin & Hughes (Ho-ro-ghedllaedh), 1990; pg. 42. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 100. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 115. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 216. Ryan’s Mammoth Collection, 1883; pg. 137. Sweet (Fifer’s Delight), 1965/1981; pg. 42. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster – “Fit as a Fiddle” (1993). Fretless 119, Rodney and Randy Miller‑‑”Castles in the Air.” Glencoe 001, Cape Breton Symphony‑ “Fiddle.” Green Mountain GMS 1052, “No Curb Service Anymore: The Pine Island Band.” Philo 119, Rodney and Randy Miller‑ “Castles in the Air.” Rounder 7008, “Jerry Holland.” Boys of the Lough – “To Welcome Paddy Home.” Topic Records, Alistair Anderson – “Corby Crag” (1978). Paul O’Shaughnessy & Paul McGrattan – “Within a Mile of Dublin.” 422 – “One.”

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Good for the Tongue – Fiddle Tune a Day – Day 17

January 17, 2012 By Leave a Comment

Tonight, I attended the ISES vendor showcase in Denver. There were lots of wedding and event vendors to meet and schmooze with. And, the fancy desserts were awesome, especially the ‘smores in a cup with peanut butter and graham crackers covered in dark chocolate ganache, with a little dollup of toasted marshmallow cream mousse on top (courtesy of the Food Guy Catering). As I was eating this yumminess I was trying to pick a fiddle tune to record, and Good for the Tongue seemed like and obvious choice.

I first heard this song as part of a medley along with Bee’s Wings Hornpipe recorded by Danita Rast (now Gardner) back in the early 90′s. She’s a great fiddler and if you haven’t heard her play, you should. I have also heard it played as part of the College Hornpipe medley (Mark O’Connor’s version). I thought the tune was really cool, so I worked it up. Enjoy!

 

History of Good for the Tongue According to the Fiddler’s Companion

GOOD FOR THE TONGUE. AKA and see “Jenkin’s Hornpipe,” “The Stoney/Stony Steps,” “The Washington Hornpipe.” American, Breakdown or Hornpipe. USA; Nebraska, Missouri. B Flat Major (Christeson, Cole, Ford, Howe, Phillips, White): A Major (Silberberg, Songer). Standard tuning. AB (Silberberg): AABB (most versions). The melody’s presence in Ryan’s Mammoth Collection (1883) suggests this was once a brass band tune (as was, for example, “Ned Kendall’s Hornpipe”), a genre popular in the mid-19th century, and originally meant to be played on an instrument that featured ‘tonguing’ articulation of notes, like a coronet. Missouri fiddler Cyril Stinnett (1912-1986) thought it one of the more difficult tunes in his repertoire. Northwest U.S. fiddlers have changed the original key to A major. See also the closely related tune “White Fish in the Rapids.” Sources for notated versions: Bob Walters (1889-1960, Burt County, Nebraska) [Christeson, Phillips]; Deborah and Creighton Lindsay (Portland, Oregon) [Songer]; Cathie Whitesides [Silberberg]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 25. Cole (1000 Fiddle Tunes), 1940; pg. 92. Ford (Traditional Music in America), 1940; pg. 96. Howe (1000 Jigs and Reels), c. 1867; pg. 80.Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 195. Songer (Portland Collection), 1997; pg. 85. Ryan’s Mammoth Collection, 1883. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 54. White’s Unique Collection, 1896; No. 142, pg. 25. Great Meadow Music CD 2008, Bob McQuillen and Friends – “Old New England” (1996). Missouri State Old Time Fiddlers’ Association, Bob Walters – “Drunken Wagoneer.” Laurie Andres – “Fantastic Hornpipe” (1991. learned from Bob Childs and Greg Boardman, who had the tune from Maine dance musician Otto Sopher).

 

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Nymrod Hornpipe – Fiddle Tune a Day – Day 15

January 15, 2012 By 1 Comment

Nymrod Hornpipe (Nimrod Hornpipe) is one of those tunes that is guaranteed to tie your fingers in knots. In my opinion, it’s one of the trickiest tunes to get through clean. (Stick around for the second time through to hear it faster.) And while I didn’t get through it perfectly, I think I at least did the tune justice. While the official origins of this tune reference a ship named Nymrod (or Nimrod), I think that it’s tricky enough that it could be a reference to the original Nimrod, the head builder of the tower of babel. The name is probably saying that we who try to play it are foolhardy. Either way, I hope you enjoy it. :)

Origins of Nymrod Hornpipe According to the Fiddler’s Companion

NYMROD HORNPIPE. AKA – “Nimrod Hornpipe.” American, Hornpipe. B Flat Major. Standard tuning. AABB. Composition credited to one G.L. Tracy in Ryan’s Mammoth Collection (1883). George Lowell Tracy (1855-1921) was a young man who later composed light opera and composition books, according to musicologist Charles Wolfe. Evidently Tracy arranged music as well, for one publication from the 1880’s indicates an Arthur & Sullivan work was arranged by him. Al Smitley suggests the tune may have been named for the ship Nimrod, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews. There have been several ships named Nimrod (which means ‘great huntsman’), including a British warship, H.M.S.NIMROD, an 18 gun, 100-foot-long brig whose duty it was in the War of 1812 to patrol the coastal waters of Cape Cod, Rhode Island and Connecticut, enforcing the British blockade of American shipping. On January 14, 1814, the Nimrod, commanded by Nathaniel Mitchell, Esq., bombarded Falmouth, Massachusetts on Cape Cod from noon until evening. No one was injured during the attack, but many houses in the vicinity of Shore and Main Street were damaged. On June 13, 1814, Nimrod trapped and burned Falmouth’s fleet in Wareham Harbor where 17 ships had taken refuge.The next day the brig went aground in Buzzards Bay. The high tide was not sufficient to free the brig, so in an act of desperation the crew lightened the Nimrod by dropping some of her armament overboard. The lighter ship was then floated free, and the British escaped before being captured by American militiamen. Years later, divers discovered the abandoned cannons and they were raised from the depths.

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The tune in Ryan’s/Cole’s is probably named for another Nimrod, however. This Nimrod was built in Liverpool in 1843 for the Cork Steamship Company and was a 177 foot-long, 583 ton, paddle steamer with a three-masted schooner rig to augment the engine. It is chiefly remembered for the tragedy of its demise, a sensation in its day and widely reported. On the night of February 27th, 1860, just off St. David’s Head, Pembrokeshire, Dyfed, the Nimrod was observed by another ship to have set its sails and that her engines had stopped. Upon being hailed and asked if he needed help, the Captain of the Nimrod, a Scotsman named Lyall, asked the price of a tow but could not agree to the terms offered.  Since the seas were moderate he believed he could make it back to port under sail. Unfortunately, as the night wore on the winds picked up, the weather worsened dramatically, and  the Nimrod could make no headway. Finally, it was driven onto the cliffs of St. David’s Head, and was dashed to pieces with the loss of life of all aboard, 45 souls. Despite spying the ship in imminent distress, there was nothing the local inhabitants could do as there was no way down the 100-foot cliff. They could only watch in horror as they listened to the cries for help of the drowning people. It was reported that Captain Lyall was last seen clutching the stern rail with his head in his hands.

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The Nimrod

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Among the passengers that drowned was a woman who happened to be on board because of a somewhat odd occurrence the previous week. Her husband was Captain Wigham, of the schooner Wendlydale which was bound for Bremen with logwood when he became insane on the Atlantic crossing. The schooner put into Cobh, Ireland, where the ship’s agents put him into lodgings. The owners contacted his wife in Newcastle and she travelled to Liverpool only just in time to catch the Nimrod as it was leaving the quay. The unfortunate woman never arrived in Ireland to nurse her poor husband.

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