The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

V.A. MACLELLAN’S. Canadian, Reel. Canada, Nova Scotia. A Major. Standard tuning. AAB. Barry Shears identifies V.A. as itinerant musician Vincent MacLellan (1856-1935), originally of Broad Cove, Nova Scotia, a bard and musician who played the fiddle, bagpipe and piano. Several of his poems were published in a book entitled Failte Cheap Breatuinn (1892). Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 58 (pipe setting).

                          

VAGALAND. Shetland, Air (3/4 time). G Major. Standard tuning. AAB. The melody was composed by Shetland fiddler Arthur S. Robertson. The title refers to both Shetland itself and the Shetland poet Thomas Alexander Robertson (b. Walls, 1909‑d. 1973). Neil (The Scots Fiddle), 1991; No. 173, pg. 225.

                       

VAGUES DU ST-LAURENT (LES).

X: 1
T:Les Vagues du St-Laurent
M:4/4
L:1/8
Q:130
C:Aime Gagnon
R:Reel
O:[G
K:G
"G"B4 "C"uc2ue2 | "G"d4 {d}B2 (dB | G2) (BG D2) (DG, |
M:2/4 DG,DG,) |!
M: 4/4 |"G"B4 "C"c2e2 | "G"d4 {d}B2 (dB |G2) (BG D2) (DG, |
M:2/4 DG,DG,) |!
M:4/4 L:1/8 |B4 "C"c2e2 |
M: 6/4|"G"d4 "D"A6 ue2 |
M: 4/4
|d4 A4 | d6"C" c2| B2) "D"(d2 A2) (B2|[1 "G" G2) (DG,DG,DG,):|[2 "* (end)" H G4d2 d2 ||!
M:6/4
|:"G" d2 d2 "C"e2 f2 "Am"g2 a2 |
M:4/4 L:1/8 "G" b6 g2 | b2 g2 "D/F#"a2 f2 |"C"(g3 a) (gfec) |"D"d6 "C"c2 | !
"G" B4 d2 g2 |"D"(f4-fgfe)|[1"D"d4 {d}"C"c2 c2 |"G"B4 d2 d2 :|[2 "D"d3
d "C"(cB"D"AF) | "G" (G2(GG,GG,G"D.C."G,)||"(*tag at the end)" GBd g2b g2||

 

VAILLANCE POLKA MILITARE. Scottish, Polka. G Major. Standard tuning. ABCCDAB. Kerr (Merry Melodies), vol. 2; No. 440, pg. 51. HN4409, Richard Thompson – “Strict Tempo” (1981).

X:1

T:Vaillance Polka Militare

M:2/4

L:1/8

K:G

D|BBBB|dc c/B/c|ffee|ed d/^c/d|BBBB|dc c/B/c|ffed|g/d/B/d/ g2||

aA/A/ Ad/f/|aA/A/ Ad/f/|aA/A/ AA|d/A/d/f e/A/^c/e/|aA/A/ Ad/f/|

aA/A/ Ad/f/|ad/f/ e/A/^c/e/|dd/d/ ^c/c/=c/c/||

K:C

c2 B>A | G2E2| A2 G>F|E2C2| d/e/d/e/ d/g/g/g/|c/d/c/d/ c/g/g/g/|A/B/A/B/ A/d/d/d/ |1

G/A/G/A/ G/d/d/d/ :|2 c/G/E/G/ c2 || B/B/B e/e/e| cA d/d/d| BG A/A/A| A/A/A d/d/d |

B/B/B e/e/e | cA d/d/d|BG A/A/A | d/d/d d/A/d/f/| dd/d/ d/A/d/f/| dd/d/ d/A/d/f/|

d/A/d/f d/A/d/f/ | d/A/d/f/ d/A/d/f/ | dddd|dd^c=c ||

                       

VAIL'S BREAKDOWN. Canadian, Breakdown. G Major. Standard tuning. AABB. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 6, pg. 7.

                       

VALCARTIER SET (Part One). French‑Canadian, Quadrille. A Mixolydian. Standard tuning. AA'BBAA'BB'. The melody is the first part of a six‑part quadrille, known in Valcartier ("a rural community north of Québec City which was settled primarily by Irish and Scottish immigrants") as "the set." The source for the tune (Corrigan) learned the tune from two different relatives, each of whom had a separate 'B' part. Source for notated version: accordion player Keith Corrigan (Valcartier & Sainte‑Foy, Québec) via Lisa Ornstein & Denis Pepin [Reiner & Anick]. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 63.

                       

VALE OF COLOUN, THE. Irish, Air (6/8 time, "not as fast as a jig" {Joyce}). G Major. Standard tuning. AB (Joyce): AAB (O'Neill). Joyce (Old Irish Folk Music and Song), 1909; No. 688, pg. 346. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 64, pg. 40

X:1

T:Vale of Coloun, The

M:6/8

L:1/8

R:Air

N:”Mod.: time well marked.”

S:Joyce – Old Irish Folk Music and Songs (1909), No. 688

Z:AK/Fiddler’s Companion

K:G

D | DGG {A}GFG | ABc d2e | dBG {A}GFG | BAA A2D | DGG {A}GFG | ABc d2e {f/g/} |

DBG AGA | {B}BGG G2 || d | g>ab g>fe | def g2 f/e/ | dBG {A}GFG | BAA A2d |

gbg ege | def g2 f/e/ | dBG {B}AGA | BGG G2 ||

                       

VALE OF LEVEN. Scottish, Reel. A Major. Standard tuning. AB. Compsed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 4; No. 4, pg. 3.

X:1

T:Vale of Leven

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 4

Z:AK/Fiddler’s Companion

K:A

A2 (AB) ABcd|efec eaga|A2 (AB) ABcA|FBBA GABc|A2 (AB) ABcd|

efec eaga|fgag fedc|BcBA GBBe||ceef ecAB|ceef eaga|ceef ecAc|

FBBA GABd|ceef ecAB|ceef eaga|fgag fedc|BcBA GBBe||

                       

VALENCIENNES.  English, Jig. The tune appears in Preston’s Twenty-Four Country Dances (London, 1794). Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol fy Ngwlad/Welsh Music on the Welsh Triple Harp” (1996. Appears blended with the jig “Madame Cordé’s Frolic,” also from Preston).

                       

VALENTIA HARBOR. AKA and see "Amhrán na Leabhar" (Song of the Books), "Cuan Bhéal Inse."  Valentia was the birthplace of the druid Mogh Roith, Servant of the Wheel, who beheaded John the Baptist and is the source of the roof-slates on the British Houses of Parliament. The first transatlantic cable had is eastern terminus at Valentia. The harbor itself (along with nearby Portmagee, named after a redoubtable 18th century female smuggler) was a favorite sheltering place for the American privateer John Paul Jones during the American Revolutionary War.

                       

VALENTIA LAMENT. AKA and see "Amhrán na Leabhar" (Song of the Books), "Suan Bhéal Inse." Irish, Slow Air. See note for “"Amhrán na Leabhar". GN1, Joe Thoma ‑ "Up the Track: Traditional Music from Kenmare."

                       

VALENTINE. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. ABBB (x4), A. Collected from the Cotswold village of Ascot‑under‑Wychwood, Oxfordshire, England. Source for notated version: E. Spring via Roy Dommett [Bacon]. Bacon (The Morris Ring), 1974; pg. 22.

                       

VALENTINE O'HARA. Irish, Air (4/4 time). A Major. Standard tuning. AB. Valentine O’Hara was known as ‘The Flying Irish Highwayman,’ at least in song (there is scant historical record about him). "There was a song to this air telling about—

***

A bold young man named Valentine O'Hara,

Whose friends resided nigh the hill of Tara..

***

'He enlisted'‑‑as Mr. M'Kenzie goes on to say‑‑'but being treated badly, deserted and took to the road. He made a great sum of money, but lost it all in a sudden death at Tyburn.' I suppose the hero of this song is the same as 'Bold Val O'Hara', who has given his name to another air which will be found farther on" (Joyce).

<br>

<br>

Another version starts:

<br>

<br>

I am a daring highwayman. They call me Valentine O'Hara.
I came of honest decent friends nigh to the Hills of Tara.
For seducing of a pretty maid, to England I sailed over,
Leaving my parents almost wild since I became a rover

English versions of the song are called “Allan Tyne of Harrow.”

Joyce (Old Irish Folk Music and Song), 1909; No. 318, pgs. 148‑149.

X:1

T:Valentine O’Hara

L:1/8

M:C

S:Joyce – Old Irish Folk Music

Z:AK/Fiddler’s Companion

K:A

E2|E2 FG A2 GA|B2c2 d3e|d2B2c2A2|F2E3 zE2|E2 FG A2 GA|

B2c2d2 ze|f3d B2G2|B2 A3 z||A2|d3d f2e2|e2c2B2 zc|d2B2c2A2|

F2 E3 zE|E2 FG A2 GA|B2c2d3e|f3d B2G2|B2 A3z||

                       

VALENTINE'S DAY. AKA and see "The Maid in the Moon [2]." English, Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. The tune dates to John Playford’s (1623-1687) first edition of his Dancing Master, 1650. The dance “Valentine’s Day” was introduced to France and was printed by Feuillet in 1700 in his treatise Choregraphie. Feuillet published subsequent editions of his work as the popularity of English country dancing took off on the Continent, several taken from The Dancing Master. In 1679 he included “La Valantine” (Valentine’s Day). Barnes (English Country Dance Tunes), 1986.

                       

VALERIE A. MACKENZIE JIG. Canadian, Jig. Canada, Cape Breton. Composed by Mabou Coal Mines, Cape Breton, Nova Scotia, fiddler Donald Angus Beaton (b. 1912). Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).

                       

VALERIE MACDONALD. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 103, pg. 30.

                       

VALES OF NEWDIREEN, THE. Irish, Air (3/4 time). Ireland, west Limerick. D Mixolydian. Standard tuning. One part. “Old west Limerick song, words composed by Lowney, learned from my father” (Mulvihill). Mulvihill (1st Collection), 1986; No. 14, pg. 121.

X:1
T:The Vales of New Direen
C:words composed by John Downey
B:Mulvihill
D:Martin Mulvihill with Mick Moloney. Traditional Irish Fiddling from County
D:Limerick. also Comhaltas cd.
H:Old West Limerick Song.
N:Martin Mulvihill from his father.
M:3/4

L:1/8

R:Air

Z:Lesl
K:D
G2|A4 GF|D4 E2|F4 D2|G4 FG|A2 G2 F2|D4 D2|(D6|D4) B2|
=c4 B2|=c4 A2|d4 e2|d3 cA2|G3 FG2|A2 B2 c2|(A6|A4) B2|
=c4 B2|=c4 A2|d4 e2|d3 cA2|G3 FG2|A2 B2=c2|(A6|A4) G2|
A4 GF|D4 E2|F4 D2|G4 FG|A3 GF2|D4 D2|(D6|D6)||

 

VALIENT SOLDIER.  English,  D Major. Standard tuning (fiddle). AABB.

X: 1
T:Valiant Soldier 210
M:2/4
L:1/8
Q:1/4=140
C:Trad arr. P J Headford
S:John Clare (1793-1864)
R:air 28=6*2+8*2
O:Northampton MS. 12 Deacon 210
A:Northamptonshire
B:ISBN 0-86300-008-8
Z:P Headford
K:D
|:d|fff2|eg dc|B3f|aab2|af gf/e/|f3:|
|:f|fad2|cB ef|g2fe|fd cA|de fg|b>a ba|fedc|d3:|]

                       

VALLAFIELD. Shetland, Jig. Shetland, Unst. C Major. Standard tuning. AABB. The only Trowie, or fairy, tune from Unst in the Shetlands. The story goes that it was heard by a man coming home from visiting a friend. When he sat down to light his pipe under a rock face, Gullhammer (at the south end of Vallafield), he heard music coming from inside the rock. Frightened, he reached into his pocket for his knife, for in those days it was believed cold steel would ward off enchantment. The tune immediately stopped but he managed to retain the tune in his head and sang it to his daughter when he got home. She played it on her fiddle and gave the tune to others. Anderson (Ringing Strings), 1983; pg. 75. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 12.

                       

VALLEY DOREE. Old‑Time. The title appears in a list of traditional Ozark Mountaind fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

VALLEY FORGE. Old-Time, Breakdown. USA, Arkansas. D Major/Mixolydian. AEae or Standard tuning. ABC (Silberberg): AA'AA"BB'CC' (Phillips). From the playing of Ramona Jones, who may herself have learned the melody from Arkansas singer and instrumentalist Jimmie Driftwood. Jones is credited with popularising the tune among modern old-time fiddlers, although she apparently played the tune in the key of ‘A’ with fiddle crosstuned in AEae. Most modern old-time fiddlers, however, play it in ‘D’. Driftwood, born James Corbett Morris was a schoolteacher who gained fame with his song “The Battle of New Orleans” in 1962. However, he learned “Valley Forge” from fiddler Absie Morrison, whose repertoire contained numerous pieces named for events in American history (here named for George Washington and the Continental Army’s Pennsylvania encampment in the winter of 1777-78). Where Morrison obtained the tune, or if the title “Valley Forge” is his own, is unknown. Sources for notated versions: Ruthie Dornfeld [Phillips]; Stephanie Prausnitz [Silberberg]; Jimmie Driftwood (1907-1998, Timbo, Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 181. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 161. Happy Valley Records PRP 43871/2) – “Ramona Jones - "Back Porch Fiddlin’.” Heritage Records 36, Ramona and Mark Jones ‑ "Women of Old Time Music" (Brandywine, 1980). Rounder CD0364, The Ill-Mo Boys - “The Marimac Anthology: Deep in Old-Time Music.

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

                       


VALLEY HIGHLANDER, THE.  Canadian, Reel. A Minor. Standard tuning. AABB'. Composed by piano player Matthew Cook, editor of The Night in the Kitchen Collection and presently a student at St. Mary's Universtiy, Halifax, Nova Scotia. Cook (Night in the Kitchen Collection), 1996; pg. 21.

                       

VALLEY NEAR SLIEVE NA MON [1], THE. Irish, Air or Waltz.

X:1

T:Valley Near Slieve na mon

R:waltz

S:From the playing of Mike Lennon

B:Jim Coogan's Session Tunes

Z:Music: Jean Lewis

Z:abc's: Michael Hogan

M:3/4

L:1/4

K:G

Bc|:d3|e2 d|G3|D2 G|B3|c2 d|E3|EAG|F3|

D2 E|F2 c|B2 A|GFG|E2 F|1 G3|GBc:|2 G3|GFG||

|:A2^G|A2 B|c3|cdc|B3|G2 A|B3|B2 d|^c3|A2 B|^c2 g|f2 e|

d^cd|c>B c|B>_B=B_B|A2 d|e2 d|e2 d|G3|GDG|B3|c2 d|E3|EAG|

F3|D2E|F2 c|B2 A|GFG|E2 F|G3|1 GFG:|2 G3|G||

 

VALLEY NEAR SLIEVE NA MON [2], THE. Irish, Air (2/4 time). G Major. Standard tuning. AB. O’Neill (1922) says: “This fine air which runs to the unusual number of 14 bars in each part was sent me by a Dublin friend, Mr. M. Flanagan, a distinguished linguist and scholar. In his leisure moments, he enjoys the music of his fiddle, and union pipes, being a skillful perfomer on both instruments.  A brief sketch of his eventful life appears in Irish Minstrels and Musicians.Whether suitable to the meter of the melody or not, Mr. Flanagan's charming verses will be no less appreciated than his music.” The words are by Charles Kickham (b. 1828), author of “Knocknagow,” who was being groomed for the medical profession. Unfortunately, he was deafened and half-blinded by a firearms accident at the age of thirteen. He was sentenced to 14 years imprisonment for Fenian activity and, due to ill-treatment in
prison, was released totally blind. Kickham died in 1882.

***

SLIEVENAMON

Alone all alone by the wave washed strand

All alone in a crowded hall

The hall it is gay and the waves they are grand

But my heart is not here at all

It flies far away by night and by day

To the times and the joys that are gone

And I never will forget the sweet maiden I met

In the valley near Slievenamon.

***

It was not the grace of her queenly air

Nor her cheek of the roses glow

Nor her soft black eyes, nor her flowing hair

Nor was it her lily white brow

But the soul of truth and of melting ruth

And the smile like a summer dawn

That stole my heart away on a soft summer day

In the valley near Slievenamon

***

In the festive hall by the star washed shore

Or wherever my restless spirit flies

My love oh my love shall I neer see you more

And my land will you never uprise

By night and by day I ever ever pray

While lonely my life flows on

To see our flag unfurled and my true love to enfold

In the valley near Slievenamon.

In the valley near Slievenamon

***

Source for notated version: M. Flanagan, Dublin [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Valley Near Sliavnamon, The

M:2/4

L:1/8

S:M. Flanagan, Dublin

Z:Paul Kinder

R:Air

K:G

"Andantino Calamato" d|d2 ed|G2 DG|B2 cd|E2 AG|F2 DE|

F B2 A|G3 d|d2 ed|G2 DG|B2 cd|E2 AG|F2 DE|

F B2 A|G2-G||G|A2 AB|c3 c|BGGA|B2 BB|^c2 AB|^c f2 e|

d3 d/2d/2|ed ^cd|G2 EG|B2 cd|E2 AG|F2 DE|F B2 A|G2-G||

                                   

VALLEY OF KNOCKANURE.  Irish, Waltz. D Major. Standard tuning. AA.

X:1

T:Valley of Knockanure

M:3/4

L:1/8

R:Waltz

K:D

de | f4f2 | e2f2e2 | d4B2 | e2d2B2 | A2F2A2 | B4B2 | (B6 | B4) |

A2 | B23AB2 | d4e2 | f2e2f2 | a4f2 | e3fe2 | d4e2 | (f6 | f4) :|

                       

VALLEY OF SILENCE. Scottish, Slow Air (4/4 time). E Flat Major. Standard tuning. AAB. Composed as an “Elegy” by J. Scott Skinner, and printed in his Harp and Claymore Collection (1904), arranged for violin and piano by F. Efckmann. The music was composed to go with a poem by James Mackintosh, entitled “Napoleon, or The Valley of Silence.” The melody was not meant to be sung to the words, but was rather an atmospheric accompaniment. Hunter (Fiddle Music of Scotland), 1988; No. 65. Skinner (Harp and Claymore Collection), 1904; pgs. 8-9. Skinner (The Scottish Violinist), pg. 39. Olympic 6151, William MacPherson ‑ "Scottish Traditional Fiddle Music" (1978). Tartan Tapes CDTT1004, Paul Anderson – “Heat the Hoose” (1998).

X:1

T:Valley of Silence, The

M:C

L:1/8

R:Air

N:”Adagio”

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:E_

G, | (G,2 C>)E (D=B,)C z/E/ | (D=B,C) c (=BAG)G, | (G,2 C>)E (D=B,).C c |

(=B/G/A/^F/) GB (c2c) || G, | (G,2 C>)E (D=B,) C z/E/ | (DB,C) c (BAG)G, |

(G2 C>)E (D=B,C) c | (=B/G/A/^F/) GB (B2c) || =B | g2 (g>f) e2 ({G,/E/}B2) |

{A,/E/}c.c.c.c ({G,/E/}B3) B, | B,2 .C.D (EG) .B.e | dfaa a3B | g2 (g>f) e2 ({G,/E/}B2) |

({A,/E/}c).c.c.c ({G,/E/}B3) B, | B,2 CD EFGA | G2F2B4 | B,2CD (EF)GA | G2 F>E (E2E)z ||

                                                           

VALLEY SWEET GREEN. Old‑Time. The title appears in a list of traditional Ozark Mountian fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

VALLEY WALTZ. American, Waltz. C Major. Standard tuning. AA'BB. Ford (Traditional Music in America), 1940; pg. 139.

X:1

T:Valley Waltz

M:3/4

L:1/8

R:Waltz

B:Ira Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:C

(ED)|(C2E2)G2|(c2B2)c2|(e6|e4) d2|(c2e2)d2|(c2B2)A2| G3 (EFE)|D6|(D4E2)|

(F4G2)|B6|(B4A2)|1 G3G G2|(G2A2)G2|(E6|E4):|2 G3G G2|(G2F2)D2|

[C3E3][CE][C2E2]|[C2E2][C2E2]||:(ef)|g2c’2e2|(g2f2)e2|c6|G6|(A2B3)B|(c2e3)c|(d6|

d2)(e2f2)|g2c’2e2|(g2f2)e2|F6|A6|B3 (cBA)|(G2F2)D2|[C3E3][CE][C2E2]|[C2E2][C2E2]:|

                       

VALLEYFIELD REEL. French‑Canadian, Reel. D Major. Standard tuning. AABB. Pascal Gemme (of the group Genticorum) says the tune is well-known by fiddlers in Montréal. Valleyfield is a town on the St. Laurence river, southwest of Montréal, not far from the border with New York. Carlin (Master Collection), 1984; No. 56, pg. 43.

X:1

T:Valleyfield

M:2/4

L:1/8

R:Reel

S:Transcribed by fiddler Pascal Gemme (of the group Genticorum)

Z:AK/Fiddler’s Companion

K:D

D/F/A/F/ D/F/A/F/|E/G/A/G/ E/G/B/G/|D/F/A/F/ D/F/A/d/|f/e/d/f/ e/A/e/A/|

D/F/A/F/ D/F/A/F/|E/G/A/G/ E/G/B/G/|D/F/A/F/ D/F/A/d/|f/e/d/c/ d2:|

|:A/d/f/d/ A/d/f/a/|g/f/e/d/ e/A/A/e/|A/B/c/d/ e/A/e/g/|f/d/e/d/ f/d/f/d/|

A/d/f/d/ A/d/f/a/|g/f/e/d/ e/A/A/e/|A/B/c/d/ e/A/e/g/|f/d/e/c/ d2:|

                       

VALS DE MON PÈRE. French-Canadian, Waltz. C Major. Standard tuning. AA’BB’.

X:1

T:Vals de mon père

M:3/4

L:1/8

R:Waltz

Z:AK/Fiddler’s Companion

K:F

E3 E FA | G3 E FA | G2 e3 d | e6 | E3 E FA | G3 E FA | G2 d3 c | d4c2 |

A3 G AB | c2B2A2 | G3 E Gc | e2d2c2 | B3 G Bd | f2e2d2 | c3 B cd |1 c6 :|2 c2G2c2 ||

|: e3 e ef | e2d2c2 | A3 G AB | A2B2c2 | d3 c de | d2B2G2 | g3 g ga | g2G2c2 |

e3 e ef | e2d2c2 | A3 G AB | A2B2c2 | d3 c de | d2B2G2 |1 c3 B cd | c2G2c2 :|2 c (3ccc eg | [e6c’6] ||

 

VALS DU BAMBOCHEUR, LA (The Drunkard's Sorrow Waltz). Cajun, Waltz. G Major. GDgd tuning. ABB. Source for notated version: Balfa Brothers (La.) [Reiner & Anick]. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 154. Rounder 6001, Dewey Balfa ‑ "Louisiana Cajun French Music From the Southwest Prairies."

                       

VALS EFTER PER ROST. See "Per Rost Vals."

                       

VALS FRÅN ÄLVDALEN (Alvdalen Waltz).  Scandinavian, Waltz. A Minor. Standard tuning. AA'BB'. Private Collection, A. Kuntz.

X:1

T:Vals från Älvdalen

M:3/4

L:1/8

S:Andrea Hoag

R:Waltz

K:Amin

E|:(A2 A)B cd|e4 c2|”tr”(c2B2)^G2|”tr”B2 (A^G) AE|(A2 A)B cd|e4 c2|

”tr”(c2B2) ^G2|1 A4 E2:|2 A4 e2||:a2 (a^g) eg|a2 (a^g) eg|a2 a^g e2|

(d3 e)(^f^g)| a2 (a^g) eg|a2 (a^g) eg|a2 a^g e2|c3 Bcd|e2 (dB) ^GB|A4:||                    

                       

VALS FRÅN BODA. Scandinavian, Waltz. E Minor ('A' part) & G Major ('B' part). Standard tuning. AABB. Private collection, A. Kuntz.

X:1

T:Vals från Boda

M:3/4

L:1/8

R:Waltz

K:Emin

FGA|:B3 cBA|B3 cBA|B4 e2|B3 Bef|g4 g2|f4 e2|f6 {gf}|B6|

e4 e2|d3 cBc|B4 A2|G3 FEF|G3 A G2|F3 [EG][D2F2]|(E6|E6:|

|:e4 e2|g3f e2|d6|B6|A3B c2|c2B2A2|B4 c2|d6|

e4 e2|g3f e2|d6 {ed}|B6 {AG}|A3 B cA|D2E2F2|G3 AGF|G6:||

 

VALS FRÅN ORSA. Swedish, Waltz. Sweden, Dalarna. D Major. Standard tuning. AA'BB'CD. The tune was originally printed in the 1974 publication "Latar fran Dalarna" (Tunes from Dalarna) by Paul Backstrom. It is a waltz "efter Blecka" (in the style of a fiddler named Blecka), from the village of Orsa, Dalarna. Matthiesen (Waltz Book II), 1995; pgs. 68-69. Sonet Records, "Tre Spelman, Vals Fran Orsa efter Gossa Anders" (1977).

X:1

T:Vals fraan Orsa

M:3/4

L:1/4

Q:1/4=192

R:Waltz

O:Sweden

A:Orsa

K:D

DF|\

A4A2| AB AG FA| {c}d3c de| d2 cA de|\

f4a2| a2 gf ec| Ac eg fe| d2 Bd BG|

{G}A4 A2| AB AG FA| d3c de| d2cA de|\

f3e fa| a2 gf ec| Ac eg fe| d4:|

|: g2|\

b2 gb gb| ba fd fa| ab ag ec| A2 df a2|\

b2gb gb| a2 fd fa| ab ag ec| d4:|

|: A2|\

A2 d2g2| f3e (d2| d2) gb gb| ab af (d2|\

d)e =f2 f2| e3d =c2| B2 Bd BG| A4 (A2|

A2) f2 a2| g3f g2| A2 d2 f2| e3d e2|\

AB c2d2| B3A B2| ab ag ec| d4:|

P:second voice

A,D|\

D4F2|FG FE DF| A4AB| A2F2A2| \

d4f2| f2 ed cB| AB AG EG| F2D2B,2|\

A,4F2| FG FE DF|

A4AB| A2F2A2| \

d4f2| f2 ed cB| AB AG EG| F4 :|\

|:A2|\

DG BG BG| F2DF Ad| cB AG EG| F2DF AF|

DG BG BG| F2DF Ad| cB AG EG| F4:|\

|:FE|\

D2A2G2| A3G (F2|F2)Ad Bd| AB AG (F2|\

F)A d2d2| =c(A A2)(A2|

A2)GF ED |[A,4E4]E2|\

F2A2d2|e3de2| D2F2A2| c3Bc2| \

AB c2d2| B3^G G2| AB AG EC| D4:|

 

VALS LEARNED FROM BERTIL FERNEBORG. AKA and see "Hokpers Vals."

                       

VALS TIL HANS. Swedish, Waltz. A Minor. Standard tuning. AB. Composed by Greger Siljebo (Goteborg, Sweden) in 1989, dedicated to his musical partner, Hans Rojas. Source for notated version: Greger Siljebo and Hans Rojas via Andrea Hoag and Bruce Sagan (who played it at Ashokan Northern Week in 1992) [Matthiesen]. Matthiesen (Waltz Book II), 1995; pg. 71.

                       


VALSE À ALIDA. Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. Related tunes, according to Raymond Francois (1990), are Marc Savoy's and Gerald Broussard's "Valse de Carencro" (also known as "Valse de Prairie Ronde"), Aldus Roger's "Valse de Midway" and Leopold Francois' "T'as Vole Mon Idee." Source for notated version: Aldus Roger with Phillip Alleman (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 319-320. Swallow Records SW-LP6003, Aldus Roger.

                       

VALSE À BALLOT. Cajun, Waltz. From Cajun fiddler Dennis McGee.

                       

VALSE À BARGOIN. French, Valse (3/4 time). G Major. Standard tuning. AABBCC'. Stevens (Massif Central), vol. 2, 1988; No. 65.

                       

VALSE À BELISAIRE (Belisaire's Waltz). Cajun, Waltz. USA, southwestern Louisiana. A Major. Standard tuning. One part. This popular song is not Cajun in origin. Related songs, according to Raymond Francois (1990), include Roy Acuff's "Precious Jewel," "Phil's Waltz" and "Hills of Roane County." Source for notated version: Nathan Abshire (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 339-341.

                       

VALSE À BONNEJOIE. French, Waltz. G Major. Standard tuning. AA'BB'. A traditional tune from central France. Stevens (Massif Central), vol. 1, 1987; No. 61.

                       

VALSE À BOUFFARD. French, Waltz. D Major. Standard tuning. AABB. Composed by Patrick Bouffard. Stevens (Massif Central), vol. 1, 1987; No. 65.

                       

VALSE À BOUSCATEL. French, Waltz. C Major. Standard tuning. AA'BB'. Stevens (Massif Central), 1987, vol. 1; No. 70.

                       

VALSE À DENIS. French, Waltz.

X:1

T:Valse à Denis

C:Trad Berry

I:France

Q:1/4=150

M:3/4

L:1/4

K:D

|:A2 ^G |A2 B |A2 F |d3 |

A2 ^G |A2 B |A2 F |G3 |

G2 F |G2 A |G2 E |c3 |

A ^G A |c B G |F3 |D2 z |

A2 ^G |A2 B |A2 F |d3 |

B G A |B2 f |(e3 |e2) z |

d c e |d c B |A f3/2 d/ |A3 |

B G A |B c e |d c/d/f/e/ |d2z :|

A B/c/d/e/ |f e/d/c/B/ |A/^G/A/B/A/F/ |G3 |

A/B/c/d/e/f/ |g/f/e/d/c/B/ |A/B/A/G/F/E/ |(F2 D) |

A B/c/d/e/ |f e/d/c/B/ |A/^G/A/B/A/F/ |G3 |

A/B/c/d/e/f/ |g/f/e/d/c/B/ |A/B/A/G/F/E/ |D3 :|

                       

VALSE À DEUX TEMPS. Cajun, Waltz. A Major. Standard tuning. AB. Composed by Varise Connor. The waltz is from Vermilion Parish, to the south of Lafayette where the fiddle is more influential, rather than from the accordion-dominated prairie country to the west of that city. Source for notated version: a field recording of Varise Conner (who may have learned the tune from Bascom Mouton) at a party, made by musicologist Barry Ancelet, via David Greely (Breauxbridge, LA) [Matthiesen]. Matthiesen (Waltz Book II), 1995; pg. 66. David Greely - "La Talle des Ronces." 

                       

VALSE À DONALD.  French-Canadian, Waltz. A Major. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999. Learned from California fiddler Bill Dennehy, who had it from fiddler Brendan Larrissey of Dundalk). Brendan Larrissey – “A Flick of the Wrist” (1994).

                       

VALSE À ERIC. French, Valse (3/4 time). G Major. Standard tuning. AABB'. A modern composition by Eric Elsener. Stevens (Massif Central), vol. 1, 1987; No. 73.

                       

VALSE À FLEURET. French, Waltz. C Major. Standard tuning. AB. Traditional tune from central France. Stevens (Massif Central), 1988, vol. 2; No. 64.

                       


VALSE À GUILBEAU (Guilbeau's Waltz). Cajun, Waltz. USA, Louisiana. G Major. Standard tuning. AB. This waltz was supposed to have been played by a condemned soldier to a general as a last request before his execution before a firing squad. "His handcuffs were removed and he sat on his coffin and played a song which Dennis (McGee) called 'Guilbeau's Waltz.'"  Upon finishing the tune, the soldier asked the general to play for him, and the general complied with a tune called "Napoleon's Waltz."  McGee believed the story to have happened during the Civil War.  See also notes for "Camp Chase [2]," "Gilderoy [2]," "MacPherson's Farewell," and "Last of Callahan" for other, rather similar fiddler's execution tales. Source for notated version: fiddler Dennis McGee (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 157.

                       

VALSE À GUILLEMAN. French, Waltz. G Major. Standard tuning. AA'BB. Stevens (Massif Central), vol. 2, 1988; No. 62.

                       

VALSE À JESSIE. Waltz. Flying Fish 586, “Trian.”

                       

VALSE À JUDET. Franch, Waltz. D Major. Standard tuning. AA’BBCC’.

X:1

T:Valse à Judet             

C:Traditionnel Berry             

I:France             

Q:1/4=200   

M:3/4    

L:1/4   

P:ABBCC

K:D

P:A

A/d/ |:F2 F/A/ |D2 F/A/ |d c =c |

B2 G/B/ |E2 E/G/ |C2 E/F/ |G E A |

F D A/d/ |F2 F/A/ |D2 F/A/ |d c B |

e2 c/A/ |E2 E/A/ |^G2 E/B/ |A ^G/A/ c/B/ |1

A2 A/d/ :|2 A2 A/A/

P:B

|:A ^G/A/ B/A/ |d2 F |

F E/F/ G/F/ |A2 D |C/D/ E/F/ G/A/ |B/A/ ^G/A/ B/A/ |1

c/B/ A/^G/ B/A/ |F D A :|2c3/2 A/ G/E/|D2 A :|

P:C

|B/A/ F/A/ ^G/A/ |B/A/ F/A/ ^G/A/ |d/c/ B/A/ G/F/ |A/G/ E/G/ F/G/ |

A/G/ E/G/ F/G/ |A/G/ E/G/ F/G/ |c/B/ A/G/ F/E/ |1F D A :|2D3 |]

                       

VALSE À KATHLEEN (Kathleen's Waltz). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. AA(Vocal)ABB(Vocal)ABBAABB. The tune was named for a daughter of Sady Courville, Dennis McGee's longtime musical partner. Related tunes, according to Raymond Francois (1990), are Carrie "Mignonne" Royer Miller's "Valse des Grands Bois" [1] and The Walker Brothers' "La Breakdown la Louisiane." See also "Valse de Crowley," Will Kegley's "Valse a Will Kegley," Shirley Bergeron's "Valse de la Belle," Sady Courville's and Dennis McGee's "Valse de l'Anse Maigre" and Joseph Falcon's "Pocheville" (which is a mixture of "Tolan Waltz" in the 'B' part (turn) and "Valse des Grands Bois" in the 'A', or tune. Source for notated version: fiddler Dennis McGee (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 191-192. Swallow Records SW-6030, Dennis McGee.

                       

VALSE À MACAREAU (Macareau's Waltz). Cajun, Waltz. USA, Louisiana. A Major. Standard tuning. AABB. An instrumental waltz. Source for notated version: fiddler Dennis McGee (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 208.

                       

VALSE À NAPOLEON [1] (Napoleon's Waltz). Cajun, Waltz and Two-Step. USA, Louisiana. C Major ('A' part) & G Major ('B' part). Standard tuning. AAB. Francois' source, Cajun fiddler Dennis McGee, claims the tune was played by a general in response to part of the last request of a condemned soldier by the name of Guilbeau.  Just before being executed by a firing squad Guilbeau asked to play the fiddle and speak. The request being granted and handcuffs removed, he proceeded to play "Guilbeau's Waltz" and when he was done he asked the general to play a tune, "Napoleon's Waltz." McGee believes this incident happened during the Civil War. See also "Guilbeau's Waltz" and also tunes with similar "condemned fiddler" legends attached: "Camp Chase [2]," "MacPherson's Farewell," "Last of Callahan." Source for notated version: Dennis McGee (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 235. Swallow Records SW-6030, Dennis McGee.

 


VALSE À NAPOLEON [2] (Napoleon's Waltz). Cajun, Waltz. USA, Louisiana. C Major ('A' part) & G Major ('B' part). Standard tuning. AAABB. A waltz rhythm variation of version #1. Source for notated version: Dennis McGee (La.) [Francois]. Francois (Yé Yaille, Chère!),  1990; pg. 236.

                       

VALSE À PAP (Dad's Waltz). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. AABB(Vocal)A(Vocal)ABBBA(Vocal)BAA(Vocal)A. Source for notated version: Dennis McGee (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 240-241. Morning Star 45002, "The Early Recordings of Dennis McGee (La.) 1929‑1930."

           

VALSE À SYLVIE.  French, Waltz. France, Breton. C Major. Standard tuning. ABB. Composed in 1997 by accordion player Bernard Loffet.

X:1
T:Valse à Sylvie
R:waltz 48
C:B. Loffet
M:3/4
L:1/8
Q:1/4=180
K:C
E|AEAB cB|AE c3E|AEAB cB|AF c3A|
BABc dc|BG d3A|BABc dB|e4-eE|
AEAB cB|AE c3E|AEAB cB|AF c3A|
BABc dc|BG d3B|edcB A^G|A3 ABA||
|:F3 ABA|E3 ABc|d3 Gcd|e3 ABA|
F3 ABA|E4- EE|E^F^GA Bc|A3 ABA|
FABc BA|EABc BA|dG^FG de|eABc BA|
FDEF AF|EdcA Bc|edcB A^G|A4- A:|]

X:2
T:Valse à Sylvie
Z:René Quiniou (http://www.irisa.fr/prive/quiniou)
R:valse
C:Bernard Loffet
A:Bretagne
M:3/4
L:1/8
K:Am  
E | "Am"AE AB cB | "Am"AE c3 E | "Am"AE AB cB | "Dm"AF c3 A |
"G"BA Bc dc | "G"BG d3 A| "G"BG Bc cB | "E"e4- e E |
"Am"AE AB cB | "Am"AE c3 E | "Am"AE AB cB | "Dm"AF c3 A |
"G"BA Bc dc | "G"BG d3 B | "E"ed cB  A^G | "A"A3 ABA |
"D"F3 ABA | "A"E3 ABc | "G"d3 Gcd | "C"e3 ABA |
"D"F3 ABA | "A"E4-EE |  "E"E^F ^GA Bc| "A"A3 ABA |
"D"FA Bc BA | "A"EA Bc BA | "G"dG ^FG de | "C"eA Bc BA |
"D"FD EF AF | "A"Ed cA Bc |"E"ed cB A^G | "A"A4-A E |]

           

VALSE À TANTE ADELE (Aunt Adele's Waltz). Cajun, Waltz. USA, southwestern Louisiana. A Major. Standard tuning. One part. Source for notated version: Louis Cormier (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 468. La Louisiane Records LL-110 & LL-8064, Louis Cormier.

                       

VALSE À TANTE ALEEN, LA (Aunt Aleen's Waltz). Cajun, Waltz and Two-Step. USA, southwestern Louisiana. D Major. Standard tuning. AABB(Vocal)AABBAA(Vocal)AABB. Related songs, according to Raymond Francois (1990), are Iry LeJeune's "Viens m' Chercher," Dewey Balfa's "Je Suis Orphelin," "L'Orphelin" (in Irene Whitfield's book) and "Valse des Musiciens." Source for notated version: fiddler Dennis McGee, Amede Ardoin (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 276-277. Swallow Records SW-6030, Dennis McGee.

                       

VALSE A' 'TIT 'DAM HANKS (Little Adam Hank's Waltz). See "Chere Alice" and "Rainbow Waltz."

                       

VALSE À TOLAN (Tolan Waltz). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. AAB(Vocal)AABBAABB(Vocal)AABB. The song was named for a bartender in Eunice, Louisiana. The song "Pocheville," recorded by accordionist Joseph Falcon in the 1920's, is a mixture of "Tolan Waltz" in the turn ('B' part) and "Valse des Grands Bois [1]" for the vocal. Source for notated version: Chuck Guillory [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 291.

                       

VALSE À VAKERS. Cajun, Waltz. From Cajun fiddler Dennis McGee.

                       

VALSE À WILL KEGLEY. See "Valse des Grands Bois" [1], "Valse a Kathleen."

                       


VALSE ALDOR (Aldor's Waltz). AKA and see "Valse Louise." French-Canadian, Waltz. D Major. Standard tuning. ABB'. Composed by caller, stepdancer and harmonica player Aldor Morin in the 1950's. Lisa Ornstein reveals that Morin probably recorded on 78's with his brother Oscar but eventually became part of the "Famille Soucy" (Isidore Soucy), playing in the 1960's for the television series "Chez Isidore," originating in Montreal, and at the Trinidad Ballroom (Montreal) on Saturday evenings. She states the true name of the waltz is "Valse Louise," and that the "Valse Aldor" title was popularized by accordion player Philippe Bruneau (who subbed on occasion for regular Rene Allain in the "Famille Soucy"). Source for notated version: Last Gaspé Band (Madison, Wisconsin) via Elke Baker [Matthiesen]. Matthiesen (Waltz Book II), 1995; pgs. 64-65. Fresh Fish - "Turning of the Tide."

                       

VALSE AMERICAIN, LA. AKA and see "Valse Philippe," "Homage a Phillipe Bruneau."

                       

VALSE ARMANDINE. AKA - "Valse Claire," "La Valse Denise." French-Canadian, Waltz. C Major. Standard tuning. AA'BB'A"A"'B"B"'. The title was recorded under this title by Québec violinist Fortunat Malouin, and as "Valse Claire" by Les 3 Copains and "La valse Denise" by Tommy Duchesne. Source for notated version: brothers Oscar and Aldor Morin (see note for "Valse Aldor”), via French-Canadian button accordion player Philippe Bruneau (Québec) [Begin]. Begin (Philippe Bruneau), 1993; No. 17, pg. 27.

           

VALSE ARTHUR LECLERC.  French-Canadian, Waltz. From the playing of Keith Corrigan (b. 1933, Valcartier, Qué.). A-L 001, Lisa Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau Samedi d’ été” (2009).

           

VALSE BLEUE, LA. French-Canadian, Waltz. C Major ('A' part) & G Major ('B' part). Standard tuning. ABB. Source for notated version: transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.) who learned it from a record in Montreal called "Tour de Danse...Tour de Valse" [Miskoe & Paul]. Miskoe & Paul (Omer Marcoux), 1994; pg. 48.

                       

VALSE CLAIRE. AKA and see "Valse Armandine."

                       

VALSE CLARISSE. French-Canadian, Waltz. D Major. Standard tuning. ABA'B'. Source for notated version: French-Canadian button accordion player Philippe Bruneau (Québec) [Begin]. Begin (Philippe Bruneau), 1993; No. 15, pgs. 24-25.

                       

VALSE-CLOG DES COTEAUX. French-Canadian, Waltz-clog (3/4 time). D Major. Standard tuning. AA'BB'A"A"'B"B"'. The waltz clog, a tap dance in ¾ time, is thought to be derived from German and British  immigrants after the American Civil War; as a fad it was popular in the early 1900’s, and perfected by Bill “Bojangles” Robinson and others. In French Canada the waltz-clog is the only British inheritance in the traditional step dancing of the region. It was mostly danced in Montreal and owes its influence mainly to Montreal fiddler Jean Carignan. Source for notated version: French-Canadian accordion great Alfred Montmarquette via French-Canadian accordion player Philippe Bruneau (Québec) [Begin]. Begin (Philippe Bruneau), 1993; No. 14, pg. 23. 

                       

VALSE-CLOG DES PYRÉNÉES. AKA and see "Pyrenees Waltz."

                       

VALSE-CLOG GUILMETTE.  French-Canadian, Waltz-Clog (3/4 time). B Minor. Standard tuning. AA’BB’. The waltz clog, a tap dance in ¾ time, is thought to be derived from German and British  immigrants after the Civil War; as a fad it was popular in the early 1900’s, and perfected by Bill “Bojangles” Robinson and others. In French Canada the waltz-clog is the only British inheritance in the traditional step dancing of the region. It was mostly danced in Montreal and owes its influence mainly to Montreal fiddler Jean Carignan. Hart & Sandell (2001) note the tune is often paired with “Valse-clog Lacroix.” Source for notated version: accordion player Joseph Guilmette (1886-1950), Rimouski, Québec, via accordion player Normand Miron (Saint-Béatrix, Québec) [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 53, pg. 88. Philo 2003, “Philippe Bruneau” (1973). Smithsonian Folkways, Joseph Guilmette – “Masters of French Canadian Music, vol. 4” (1982, reissue of original 78 RPM).

 

VALSE-CLOG LACROIX.  French-Canadian, Waltz-Clog. D Major. Standard tuning. AABB. The tune is often preceded by “Valse-Clog Guilmette.” Source for notated version: harmonica player Henri Lacroix (1895-1962), via accordion player Normand Miron [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 55, pg. 90. Philo 2003, “Philippe Bruneau” (1973).

 

VALSE-CLOG MARIE-FRANCE. French-Canadian, Waltz-clog (3/4 time). D Major. Standard tuning. AA'BB'A"A"'B"B"'. A modern composition by French-Canadian button accordion player Philippe Bruneau in honor of Marie-France Cyr, a performer with the Danseurs du St. Laurent. Bruneau incorporated French influences in the piece. Begin (Philippe Bruneau), 1993; No. 82, pgs. 122-123.

                       

VALSE CREOLE (Creole Waltz). Cajun, Waltz. USA, Louisiana. A Major. Standard tuning. One part. The word Creole, notes Raymond Francois (1990), originally denoted those born in the Acadian colony in Louisiana. In modern times the word is used by blacks of French ancestry, while whites of similar background call themselves Cajun (from Acadian, though once it was a derogatory term). Source for notated version: Varise Connor [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 99.


                       

VALSE CRIMINELLE (Criminal Waltz). Cajun, Waltz. USA, Louisiana. A Major. Standard tuning. AA(Vocal)AABB(Vocal)AABBAA. Source for notated version: Mayuse LaFleur and Leo Soileau (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 102-103. Victor Vi-21770 (78 RPM), Mayuse LaFleur & Leo Soileau (1928).

                       

VALSE D'ALLEMAN (Alleman Waltz). Cajun, Waltz. USA, southwestern Louisiana. E Major or C Major. Standard tuning. AA(Vocal)BCA(Vocal)ABC [Francois/Prejean]: One part [Francois/Sonnier]. Alleman is a family name. The song was originally recorded, vocal with fiddle accompaniment, in the key of E major by Leeman Prejean. The C major version is from accordionist Shorty Sonnier, who had an instrument in that key. Source for notated version: 1st version- Leeman Prejean; Raymond Francois (La.); 2nd version- "Shorty" Sonnier (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 321-322 and 323-324. Swallow Records SW-101, Leeman Prejean.

                       

VALSE D'AMOUR I [1] (The Waltz of Love). Cajun, Waltz. USA, Louisianna. A Major. Standard tuning. AABA(Vocal)AABA(Vocal)AABA. Not related to version #1. The melody was recorded by Austin Pitre in the 1960's, but, according to Raymond Francois (1990), it is an old song. Leo Soileau also recorded a version of this song. See also note for "Gabriel." Source for notated version: Austin Pitre (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 17. Swallow Records SW-LP6041, Austin Pitre.

 

VALSE D'AMOUR [2] (The Waltz of Love). Cajun, Waltz and Two-Step. G Major. Standard tuning. AB(Vocal)BAB(Vocal)BAAA. Dennis McGee began playing on the radio at the age of thirteen or fourteen with a friend of the same age, Sady Courville. They were the first twin fiddlers, according to Courville, to be recorded (in New Orleans in 1928),though, as was the case with their early radio broadcasts, they were not paid for their work. Related songs, according to Raymond Francois (1990), are Oren 'Doc' Guidry's and Leroy 'Happy Fats' LeBlanc's "'Tit Maurice." Source for notated version: Dennis McGee (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 19-20. Swallow Records SW-6030, Dennis McGee.

 

VALSE D'AMOUR [3] (The Waltz of Love). Cajun, Waltz. From Leo Soileau. A different tune than version #1 or 2.

                       

VALSE DE BALFA. Cajun, Waltz. USA, southwestern Louisiana. A Major. Standard tuning. One part. Source for notated version: Balfa Brothers (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 335-336. Swallow Records SW-LP6011, Balfa Brothers.

                       

VALSE DE BAMBOCHE, LA (Drunkard's Sorrow Waltz). See "Valse d'Evangeline."

                       


VALSE DE BAYOU CHENE (Bayou Chene Waltz). See also "Valse de Duson." Cajun, Waltz. USA, Louisiana. A Major. Standard tuning. AA(Vocal)BBA(Vocal)BBA(Vocal)B. A related song is "Big Boy Waltz", also by Iry LeJeune, according to Raymond Francois (1990). Bayou Chene is an upper tributary of Bayou Lacassine, and can be found south of Welsh, Louisiana. Source for notated version: Iry LeJeune (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 33-35. Goldband Records GB-LP7741, Iry LeJeune.

                       

VALSE DE BAYOU TECHE [1], LA.(Bayou Teche Waltz). Cajun, Waltz. USA, Louisiana. G Major. Standard tuning. ABA(Vocal)BBA(Vocal)A(Vocal)BA(Vocal)BA. Bayou Teche is described by Raymond Francois (1990) as a "long, sluggish meandering stream" whose name comes from a Choctaw Indian word meaning "big snake." The Acadian people first settled along this stream when transported to Louisiana, navigating it in light boats called pirogues. Source for notated version: Columbus Fruge (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 39-40. Arhoolie CD433, Any Old Time String Band - “I Bid You Goodnight” (1978-1980). Bay 217, Any Old Time ‑ "Ladies Choice" (May be version #2). Old Timey Records OT-108, Columbus Fruge.

 

VALSE DE BAYOU TECHE [2]. Cajun, Waltz. USA, Louisiana. A Major. Standard tuning. One part. A different song and melody than version #1. Source for notated version: accordionist Nathan Abshire (Basile, La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 41-42. Swallow SW-LP6014, Nathan Abshire.

                       

VALSE DE BELISAIRE (Belisaire Waltz). Cajun, Waltz. USA, southwestern Louisiana. La Louisiane Records LL-139, Nathan Abshire.

                       

VALSE DE 'CADIEN (Cajun {Acadian} Waltz). Cajun, Waltz. USA, Louisiana. A Major. Standard tuning. A(Vocal)BBA(Vocal)BBA(Vocal)B. 'Cadien is a shortened version of Acadien (or Cajun in modern vernacular), referring to the French population forcibly dispersed from Nova Scotia (known as Acadia) by the English in 1755 who resettled in the country west of New Orleans at the encouragement of the Spanish, who at the time controlled the region and welcomed settlement by a Catholic people. Various theories have been proferred about the origin of the word Acadia, but it may be that it was derived from an Indian word, aquaddie, referring to the pollok fish found in the banks off Nova Scotia. Source for notated version: Iry LeJeune (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 58-59. Goldband Records GB-LP7741, Iry LeJeune.

                       


VALSE DE CALCASIEU (Calcasieu Waltz). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. One part. Calcasieu is the name of the parish in southwest Louisiana where Lake Charles is located. Raymond Francois (1990) remarks Calcasieu is an Indian word meaning Crying Eagle, the name of a chief who lived there. Related songs are Lee Sonnier's "War Widow Waltz", Ambrose Thibodeaux's "La Valse d'Elton", "Pine Grove Waltz" and "La Valse de la Veuve", Moise Robin's "Quoi C'est T'as?", and "Poor Man's Waltz" (Francois, 1990). Source for notated version: Iry LeJeune (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 60-61. Goldband Records GB-LP7741, Iry LeJeune.

                       

VALSE DE CARENCRO (Carencro Waltz). AKA - "T'as Vole Mon Idee" (You Stole My Mind), "Valse de Prairie Ronde" (Prairie Ronde/Rhonde Waltz). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. AB. Carencro is a town just north of Lafayette, Louisiana. The town's curious name derived from the buzzards abundent in the region when it was unsettled, perhaps, speculates Raymond Francois (1990) because a buzzard rookery was located there. In due course 'carrion crow', or buzzard, became 'Carencro' in among both French and English speaking people. A related song is Aldus Roger's "Valse a Alida". It was a signature tune of Cajun fiddler Cheese Read, who recorded it as “Prairie Ronde Waltz.” Source for notated version: Leopold Francois (the father of Raymond Francois, who called the tune "T'as Vole Mon Idee") [Francois]. R. Francois (Yé Yaille, Chère!), 1990; pg. 62. Swing Cat 1612, “Al Berard & Friends” (appears as “Prairie Rhonde”).

                       

VALSE DE CHATAIGNIER (Chataignier Waltz). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. AAB(Vocal)AAAA(Vocal)A(Vocal)A. Chataignier is not only the French word for chestnut tree, but the name of a community northeast of Eunice, Louisiana, on the road to Ville Platte. A related song is Joe Bonsall's "Dodge City Waltz", according to Raymond Francois (1990), though Pitre's version was recorded much earlier. Source for notated version: Austin Pitre (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 68-69. Swallow Records SW-LP6009, Austin Pitre.

                       

VALSE DE COEUR CASSE (Broken-hearted Waltz). Cajun, Waltz. USA, southwestern Louisiana. A Major. Standard tuning. One part. A related song is "Sorrow Waltz." Source for notated version: Jimmy Thibodeaux (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 360-361. Swallow Records SW-LP6028, Jimmy Thibodeaux.

                       

VALSE DE COURVILLE ET McGEE (Courville and McGee's Waltz). Cajun, Waltz. USA, Louisiana. G Major. Standard tuning. BBBAA. Source for notated version: fiddlers Dennis McGee and Sady Courville (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 95. Morning Star 45002, "The Early Recordings of Dennis McGee (La.) 1929‑1930".

                       

VALSE DE CREVE DE FAIM (The Starvation Waltz). Cajun, Waltz. USA, southwestern Louisiana. E Minor. Standard tuning. One part. Raymond Francois (1990) states the song is really a blues tune, though played at a faster tempo, as does Hobo Bertrand, it can be danced like a waltz. A related song is Leopold Francois' "Working Blues." Source for notated version: "Hobo" Bertrand (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 100-101. Goldband Records GB-1136, Hobo Bertrand.

 

VALSE DE CROWLEY. See "Valse des Grands Bois" [1], "Valse a Kathleen."

 


VALSE DE DURALD (Durald Waltz). Cajun, Waltz. USA, Louisiana. G Major. Standard tuning. One part. Related songs are Iry LeJeune's "Duraldo Waltz" and "Duralder Waltz." Source for notated version: Iry LeJeune, Wilson Granger and Raymond Francois (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 119-120. Goldband Records GB-LP7741, Iry LeJeune.

 

VALSE DE DUSON (Duson Waltz). Cajun, Waltz, USA, Louisiana. A Major. Standard tuning. AA(Vocal)BBAABB(Vocal)BBAAAAB. Raymond Francois (1990) identifies Duson as a town west of Lafayette, Louisiana, named for a Saint Landry Parish sheriff, C.C. Duson. Duson is remembered for helping to bring the railroad to southwest Louisiana, laying out the town that bears his name and selling tracts. Related songs are Iry LeJeune's "Valse de Bayou Chene" and Lawrence Walker's "La Valse qui m' Fait du Mal." Source for notated version: Don Guillory and accordionist Aldus Roger (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 121-122. Goldband Records GB-1084, Aldus Roger.

 

VALSE DENISE, LA. AKA and see "Valse Armandine."

 

VALSE D'ENNUI (Lonliness Waltz). Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard tuning. One part. A related song is Chuck Guillory's "Drunkard's Waltz." Source for notated version: Aldus Roger & Phillip Alleman (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 370-371.

 

VALSE D'EVANGELINE. Cajun, Waltz. USA, southwestern USA. A Major. Standard tuning. A(Vocal)B(Vocal)A(Vocal)A. Related tunes, according to Raymond Francois (1990), are Leo Soileau's 1935 "Quand Je Suis Bleu," Jemmy Newman's "Valse du Grand Chenier" and Johnny Janot's "Cajun Bandstand." Source for notated version: Lawrence Walker (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 124-125. La Louisiane Records LL-LP126, Lawrence Walker.

 

VALSE DE FAMILLE (Family Waltz). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. One part. A related song, according to Raymond Francois (1990), is Iry LeJeune's "Big Boy Waltz." Source for notated version: Aldus Roger (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 132-133. La Louisiane Records LL-LP114, Aldus Roger.

 

VALSE DE GRAND BASILE. See "'Tit Maurice."

 

VALSE DE GRAND BOIS, LA. See "Valse des Grand Bois" [1].

 

VALSE DE GRANDE PRAIRIE (Grand Prairie Waltz). Cajun, Waltz. D Major. Standard tuning. One part. Grand Prarie is a town located east of Ville Platte, Louisiana. Raymond Francois (1990) says the song has different moods, with the first verse being a happy one (love gained) while the second is unhappy (love lost). Source for notated version: Joe Bonsall [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 155-156. Swallow Recoreds SW-LP6049, Joe Bonsall.

 


VALSE DE GUEYDON, LA. Cajun, Waltz. USA, La. A variation of "Jol(i)e Blon." Bluebird 2171 (78 RPM), Leo Soileau's Three Aces, 1935.

 

VALSE DE HOLLY BEACH (Holly Beach Waltz). Cajun, Waltz. Holly Beach is a vacation area in Louisiana on the Gulf of Mexico popular with the Cajun population (it is sometimes jokingly referred to as the 'Cajun Riviera'). See note for "Les Bons Temps."

 

VALSE DE HUIT JOURS.  See "Chere Tout-Toute."

 

VALSE DE JOSEPHINE (Josephine's Waltz). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. AA(Vocal)AA(Vocal)AAB(Vocal)AA(Vocal)BA. A related song, according to Raymond Francois (1990), is Lawrence Walker's "Chere Alice." Source for notated version: accordionist Moise Robin and fiddler Leo Soileau (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 185-186. Old Timey Records OT-125, Leo Soileau.

 

VALSE DE KAPLAN [1] (Kaplan Waltz). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. A(Vocal)AB(Vocal)ABA. The town of Kaplan is located near marshland in southwest Louisiana not far from the Gulf of Mexico. According to Raymond Francois (1990), related songs include Varise Connor's "Kaplan Waltz," Angelas LeJeune's "Valse de Pointe Noire" and Don Guillory's "Valse de Kaplan variation." Source for notated version: accordionist Nathan Abshire (Basile, La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 187-188. Swallow Records SW-LP6023, Nathan Abshire.

 

VALSE DE KAPLAN [2] (Kaplan Waltz). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. AA(Vocal)BBAABB(Vocal)BBAABB. Francois opines that the fiddle sounds better tuned down with a C-accordian, which is also better for vocalists. See also related tunes Nathan Abshire's version of "Valse de Kaplan" [1], Angleas LeJeune's "Valse de Pointe Noire" and Varise Connor's "Kaplan Waltz." Source for notated version: Don Guillory (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 189.

 

VALSE DE KAPLAN [3]. See "Kaplan Waltz."

 

VALSE DE KLFY. See "KLFY Waltz."

 

VALSE DE LA BELLE. See "Valse des Grands Bois" [1], "Valse a Kathleen."

 

VALSE DE LA LOUISIANE (Louisiana Waltz). Cajun, Waltz. G Major. Standard. One part. Source for notated version: Aldus Roger, Tunice Abshire (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 401-402. La Louisiane Records LL-LP114, Aldus Roger.

 

VALSE DE LA PRISON. Cajun/Creole, Waltz. Canray Fontenot’s signature tune. Arhoolie CD445, Alphonse “Bois Sec” Ardoin with Canray Fontenot.

 


VALSE DE LA ROSA (Rosa's Waltz), LA. AKA and see "Ma Chere 'Tite Fille." See also "Donnez-moi Mon Chapeau," "Aimer et Perdre."

 

VALSE DE LA VIE. Cajun, Waltz. Written by Pierre Varmon Daigle, author of the book about Cajun music, Tears, Love an Laughter. The song was originally recorded by his son Paul Daigle with the group Cajun Gold. Swallow SW-6131, The Tracy Schwarz Trio - “Mes Amis!”

 

VALSE DE LAFAYETTE. See "KLFY Waltz."

 

VALSE DE L'AMITIE, LA (Friendship Waltz). French-Canadian, Waltz. G Major. Standard. ABB. Source for notated version: transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.) who learned the melody from a record he obtained in Montreal called "Tour de Danse...Tour de Valse" [Miskoe & Paul]. Miskoe & Paul (Omer Marcoux), 1994; pg. 51.

 

VALSE DE l'ANSE MAIGRE. See "Valse des Grands Bois" [1], "Valse a Kathleen."

 

VALSE DE LEBOEUF (LeBoeuf's Waltz). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. LeBoeuf is a family name. Source for notated version: Johnny Richard, "Boy" Fruge, Ray Cormier (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 400.

 

VALSE DE MADAME SOSTEN, LA. AKA and see "Madame Sosthene."

 

VALSE DE MALCHANCEUX (The Unlucky One's Waltz). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. AB(Vocal)CBAB(Vocal). Source for notated version: Lawrence Walker (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 407-409.

 

VALSE DE MARAIS BOULEUR. See "Chere Tout-Toute."

 

VALSE DE MIDWAY. See "Valse a Alida."

 

VALSE DE MINUIT (Midnight Waltz). Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard tuning. One part. Source for notated version: Lawrence Walker (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 426-427. Swallow Records SW-LP6001, Lawrence Walker.

 

VALSE DE MON PÈRE.  French-Canadian, Waltz. D Major. Standard tuning. AA’BB’. The tune was played in G Major by Montréal harmonic player Gabriel Labbé (b. 1938). Source for notated version: Gabriel Labbé, who learned the tune from his father, via Lisa Ornstein (Maine) [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 54, pg. 89. Smithsonian Folkways Records, Gabriel Labbé – “Masters of French Canadian Dance, vol. 3” (1980).

 

VALSE DE MUSICIEN. The title of a 78 RPM recording of “Wednesday Night Waltz” re-titled and re-relaesed in Québec.

 

VALSE DE MUSICIENS (Musician's Waltz). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. A modern song. Source for notated version: Rodney LeJeune (La.) [Francois]. Francois, 1990; pg. 425. Crazy Cajun Records, Rodney LeJeune.

 


VALSE DE NEWPORT (Newport Waltz). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. AABB(Vocal)AABB(Vocal)AABB. Composed by accordionist Dewey Balfa in honor of the famous jazz festival held at Newport, Rhode Island. Source for notated version: Dewey Balfa (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 428-429. Swallow Records SW-LP6011, the Balfa Brothers.

 

VALSE DE OPELOUSAS (Opelousas Waltz). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. Raymond Francois (1990) remarks that the town of Opelousas, Louisiana, is an old city, once the site of an Indian trading post. The name derives from an Indian word for "dark or murky water." The original recording was made in 1959, "...among the first records to be made at Floyd Soileau's studio in Ville Platte." Source for notated version: accordionist Austin Pitre, Aubrey "Cabri" Menier (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 436-437. Swallow Records SW-LP6041, Austin Pitre.

 

VALSE DE POINTE NOIRE (Black Point Waltz). Cajun, Waltz. USA, southwestern Louisiana. A Major. Standard tuning. A(Vocal)AA(Vocal)ABB(Vocal)A(Vocal)ABB(Vocal)ABB. Raymond Francois (1990) remarks that Pointe Noire, which lies near the present-day community of Richard, was named for a point of woods that looks dark or black when viewed from the north, near the site of an old forge. "The area had a reputation for some terrible knife fights in the old days; it was the sort of place where you visit only if you were invited. This area produced many fine musicians." See also the several related versions of "Valse de Kaplan [1]" (Kaplan Waltz). Source for notated version: Angelas LeJeune (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 260-261. Old Timey Records OT-114, Angelas LeJeune.

 

VALSE DE PORT ARTHUR (Port Arthur Waltz). AKA and see "Port Arthur Waltz." La Louisiane Records LL-122, Aldus Roger.

 

VALSE DE PRAIRIE RONDE. AKA and see "Valse de Carencro." Cajun, Waltz. From Gerald Broussard and Marc Savoy. See also related tune "Valse a Alida." Crazy Cajun Records 536, Gerald Broussard.

 

VALSE DE PRISON (Prison Waltz). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. AA(Vocal)AAAABB(Vocal)AA. A related tune is "Manuel's Bar Waltz" in the 'B' part or turn. Source for notated version: Marc Savoy & Dallas Roy; Leroy Broussard (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 454-455. Crazy Cajun Records Cr-Cj-508, Dallas Roy. Goldband Records GB-1048, Leroy Broussard.

 

VALSE DE QUATRE-VINGT-DIX-NEUF ANS. AKA - "Convict Waltz." Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. Related songs, according to Raymond Francois (1990), are Dunice Theriot's and Bobby Leger's "Mermentau Waltz," Iry LeJeune's "Convict Waltz" and Ambrose Thibodeaux's "Valse du Vieux Homme." Source for notated version: Iry LeJeune (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 265-266. Goldband Records GB-LP7740, Iry LeJeune.


 

VALSE DE RENO. See "Reno Waltz."

 

VALSE DE SAINTE MARIE, LA. See "Tous les Deux Pour la Meme."

 

VALSE DE SAMEDI SOIR (Saturday Night Waltz). Cajun, Waltz. USA, southwestern Louisiana. A Mixolydian. Standard tuning. One part. Joseph Falcon made the original recording, though Francois gives the modern version, with no turn or 'B' part. Source for notated version: Dallas Roy (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 463-464. Crazy Cajun Records Cr-Cj-506, Dallas Roy.

 

VALSE DE SEPARATION (Parting Waltz). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. A related song is Ambrose Thibodeaux's "Ridge Road Waltz." Source for notated version: Iry LeJeune (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 274-275. Goldband Records GB-LP7740, Iry LeJeune.

 

VALSE DE TASSEAU (Tasseau Waltz). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. Raymond Francois (1990) explains that tasseau is a Cajun word for sun-dried strips of meat, deriving from the Spanish word 'tasajo.' It is spicy and smoked and can be bought in local markets, being used for seasoning gumbo, sauce piquante, chicken, beans or okra etouffee. There is a community called Tasseau some seven miles southeast of Eunice, Louisiana, where the Indians at one time dried their stips of meat. See also the related song "Valse Penitentiare," by fiddler Leo Soileau and Moise Robin (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 278-279. La Louisiane Records LL-119, Ambrose Thibodeaux.

 

VALSE DE TOUT L' MONDE (Everybody's Waltz). Cajun, Waltz. USA, southwestern Louisiana.  G Major. Standard tuning. One part. Source for notated version: Chester "Pee Wee" Broussard (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 480. Swallow Records SW-LP6045, Chester Broussard.

 

VALSE DE VERTOUJIT. French, Valse (3/4 time). G Major. Standard tuning. AA'BB'. Stevens (Massif Central), vol. 2, 1988; No. 51.

 

VALSE DE VILLE PLATTE (Ville Platte Waltz). Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard tuning. One part. A related song is Harry Choates' "Lawtell Waltz." Source for notated version: fiddler Wallace "Cheese" Reed (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 314-315. La Louisiane Records LL-8135, Wallace "Cheese" Reed.

 

VALSE D'ENNUI, LA (Loneliness Waltz). Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard tuning. One part. A related tune is Chuck Guillory's "Drunkard's Waltz." Source for notated version: Aldus Roger, Phillip Alleman (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 370-371. La Louisiane Records LL-LP114, Aldus Roger.

 


VALSE D'EVANGELINE (Evangeline Waltz). Cajun, Waltz. USA, Louisiana. A Major. Standard tuning. A(Vocal)AABB(Vocal)AABA(Vocal)AAA. Related songs, according to Raymond Francois (1990), are Johnny Janot's "Cajun Bandstand," Jimmy Newman's "Valse du Grand Cheneir" and Leo Soileau's 1935 "Quand Je Suis Bleu." In addition, Dewey Balfa's "Drunkard's Sorrow Waltz" (La Valse de Bamboche) reminds him of this tune. Source for notated version: Lawrence Walker [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 124-126.

 

VALSE DES AMOUREUX. The 78 RPM era recording of “Goodnight Waltz,” re-titled and re-released in Québec for the French-speaking market.

 

VALSE DES CHEROKIS (Cherokee Waltz). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. AA(Vocal)BBAA(Vocal)AABB. Raymond Francois (1990) relates the name Cherokis denotes not only the Indian tribe but also a small tree often used as firewood on the prairie. Related songs are Aldus Roger's and Don Guillory's versions of "Two-Step a' Comeaux." The “Midland Two-Step” is also a duple-time version of the melody. Source for notated version: Ambrose Thibodeaux and Gervais Quibodeaux (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 81-82. La Louisiane Records LL-119, Ambrose Thibodeaux.

 

VALSE DES FRUGES (Fruge's Waltz). Cajun, Waltz. USA, Louisiana. G Major. Standard tuning. AABB(Vocal), etc. An old tune whose lyrics have probably been forgotten, remarks Raymond Francois (1990). A related song is "Old Country Waltz [1]" ("but not the one Lawrence Walker recorded.") Source for notated version: fiddlers Dennis McGee and Ernest Fruge (La.) [Francois]. Francois (Yé Yaille, Chère), 1990; pg. 140. Swallow Records SW-6030, Dennis McGee.

 

VALSE DES GRANDS BOIS [1]. Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. AABB. Francois (1990) had forgotten the words which went with this tune. Related songs include the Walker Brothers' "La Breakdown la Louisiane," Sady Courville's and Dennis McGee's "Valse a Kathleen" and "Valse de l'Anse Maigre," Shirley Bergeron's "Valse de la Belle," Will Kegley's "Valse a Will Kegley," and "Valse de Crowley." Source for notated version: Carrie "Mignonne" Royer Miller (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 143. Greenblatt (Cajun Fiddle Book), 1985; pg. 32.

 

VALSE DES GRANDS BOIS [2]. Cajun, Waltz. Recorded by Dewey Balfa. A different tune than version #1. See also "Valse d'Alleman."

                       

VALSE DES GRANDS CHEMINS (Highway Waltz). Cajun, Waltz. USA, Louisiana. A Major (1st part) & D Major (2nd part). Standard tuning. AAB(Vocal)AAB(Vocal)AABBA. Related songs include Joseph Falcon's "The Waltz that Carried Me to My Grave" and Irene Whitfield's "Mon Coeur est Barre dans l'Armoire." Source for notated version: Iry LeJeune (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 144-145. Goldband Records GB-LP7740, Iry LeJeune.

                       


VALSE DES GRANDS PINS (Waltz of the Big Pines). Cajun, Waltz. USA, southwestern Louisiana. A related song, according to Raymond Francois (1990), is Archange "Coon" Touchet and the Louisiana Aces' version of "La Valse des Grands Pins." Source for notated version: accordionist Blackie Forestier (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 153-154. La Louisiane Records LL-128, Blackie Forestier.  Rounder Records 6003, Archange "Coon" Touchet & the Louisiana Aces.

                       

VALSE DES JEUNES FILLES, LA (The Waltz of the Little Girls). French, Waltz. D Major. Standard tuning. AA'BB'. Matthiesen (Waltz Book I), 1992; pg. 53. Flying Fish, Malcolm Dalglish & Grey Larsen ‑ "Thunderhead."

                       

VALSE DES JONGLEMENTS, LA. Cajun, Waltz. D Major. Standard tuning. AA. Greenblatt (Cajun Fiddle Book), 1985; pg. 9.

                       

VALSE DES JOUETS, LA (The Waltz of the Toys). French‑Canadian, Waltz. D Major. Standard tuning. AA'BB'. Composed by singer and storyteller Michel Faubert (Montreal, Canada) [Matthiesen]. Matthiesen (Waltz Book I), 1992; pg. 54.

X:1

T:Valse des jouets, La

M:3/4

L:1/8

R:Waltz

C:Michel Faubert

S:Transcribed by fiddler Pascal Gemme (of the group Genticorum) http://tradquebec.over-blog.com/archive-1-2007.html

K:D

fe fg fe|dB AF D2|fe fg fe|dB AF D2|ed ef ed|c3 e dB|

AE AB cA|dB AF D2|fe fg fe|dB AF D2|fe fg fe|dB AF D2|

ed ef ed|c3 d cB|AB AF GE|1 D3 A de:|2 D3 d dc||

|:dA FA GA|B3 d dB|cA Bc de|f2 ff df|bfdf bf|g3 e ed|

ce Ac ae|f2d2c2|BF FB BF|G3 e ed|cB AG FE|

F6|GF GA Bc|de f4|ge ce BA|1 d3 d dc:|2 d3 A de||

                       

VALSE DES MECHES (Waltz of the Reed Marshes). Cajun, Waltz. USA, Louisiana. A Major. Standard tuning. AA(Vocal)AABB(Vocal)AABBA. Raymond Francois (1990) comments on the huge marshes (and the mosquitoes!) of south Louisiana near the Gulf of Mexico, "with reeds higher than a man's head."  A related song is Ambrose Thibodeaux's "Ton 'Tit Bec Est Doux." Source for notated version: accordion player Nathan Abshire (Basile, La.), Maurice Berzas (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 233-234. La Louisiane Records LL-139, Nathan Abshire. Swallow Records, Maurice Berzas.

                       

VALSE DES MUSICIENS. See "Valse a Tante Aleen."

                       

VALSE DES NATIONS. French‑Canadian, Waltz. A Major. Standard tuning. AA'BB' (Carlin): AA'BB"A"A"'B" (Begin). This piece was recorded by French-Canadian accordion great Alfred Montmarquette on a 78 RPM disk. Source for notated version: French-Canadian button accordion player Philippe Bruneau (Quebec) [Begin]. Begin (Phillipe Bruneau), 1993; No. 18, pg. 29. Carlin (Master Collection), 1984; No. 88, pg. 57.

                       

VALSE DES OPELOUSAS. Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard. One part. The town of Opelousas, Louisiana, takes its name from an old Indian trading post; the name is Indian for "dark or murky water," states Raymond Francois. The original 1959 recording was among the first records to be made by Floyd Souleau's Ville Platte studio. Source for notated version: Austin Pitre, Aubery "Cabri" Menier (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 436-437.

           

VALSE DES PASTEUREAUX (Shepherd’s Waltz).  French-Canadian, Waltz. Smithsonian Folkways Recordings SFW 40116, Rod Miller - “Mademoiselle, voulez-vous danser?” (Various artists. Learned from an old recording of a Québec fiddler).

           

VALSE DES PYRENEES. AKA and see "Pyrenees Waltz."

                       

VALSE DES ROSES [1]. French‑Canadian, Waltz. G Major (Carlin). Standard. AA'BB'. Carlin (Master Collection), 1984; No. 86, pg. 56.

 


VALSE DES ROSES [2]. French-Canadian, Waltz. D Major. Standard. ABB'. Source for notated version: French-Canadian button accordion player Philippe Bruneau (Québec), learned from his father [Begin]. Begin (Philippe Bruneau), 1993; No. 9, pg. 18. 

                       

VALSE DES VACHERS (Cowboy Waltz).  AKA – “Valse de Vacher.” Cajun, Waltz. USA, southwestern Louisiana. D Major. GDad or Standard tuning. AB (Fret/Doucet): AA(Vocal)BB(Vocal)BAA(Vocal)A(Vocal)B. Dennis McGee recorded the song twice in the 1st half of the 20th century, with different words. He used an open tuning. Related songs, according to Raymond Francois (1990), are Adam Hebert's "My Rope and Spurs" and Shirley Bergeron's "Valse du Passe." “Port Arthur Blues” is a duple-time version of the melody. Source for notated version: Cajun fiddler Dennis McGee via Michael Doucet (La.) [Frets Magazine]; Dennis McGee (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 303-305. Frets Magazine, "Michael Doucet," September 1987; pg. 49. Arhoolie 5036, Beausoleil ‑ "Allons A Lafayette". Morning Star 45002, "The Early Recordings of Dennis McGee (La.) 1929‑1930." Swallow Records SW-6030, Dennis McGee. Swing Cat 1612, “Al Berard & Friends” (appears as “Cowboy Waltz”).

                       

VALSE D'HIVER (Winter Waltz). French-Canadian, Waltz. B Minor ('A' part) & A Major ('B' part). Standard tuning. AABB. Composed in 1988(?) by Danielle Martineau (Ste. Melanie, Quebec), "a thanks to Quebec City accordionist Denis Pepin, for his warmth and friendship." Matthiesen (Waltz Book II), 1995; pg. 67. Green Linnet GLCD 3043, La Bottine Souriante - "La Traversee de l'Atlantique" (1988). Danielle Martineau - "Autrement."

                       

VALSE DU COQ. French‑Canadian, Waltz. C Major. Standard tuning. AA'BB'. Carlin (Master Collection), 1984; No. 87, pg. 56.

                       

VALSE DU COTEAU MAGNOLIA. See "'Tit Maurice."

                       

VALSE DU GRAND CHENIER. See "Valse d'Evangeline."

                       

VALSE DU MALCHANCEUX. Cajun, Waltz. La Louisiane Records LL-LP126, Lawrence Walker.

                       

VALSE DU PASSE (Waltz of the Past). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. See also the related songs "Valse des Vachers" (Dennis McGee) and "My Rope and Spurs" (Adam Hebert). Source for notated version: Shirley Bergeron (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 441-442. Lanor Records 505, Shirley & Alphee Bergeron.

                       

VALSE DU VIEUX HOMME. See "Valse de Quatre-vingt-dix-neuf Ans."

                       

VALSE DU VIEUX QUÉBEC.  French-Canadian, Waltz. G Major. Standard tuning. AA’BB’. Lisa Ornstein (2009) suggests the first strain of this waltz may be derived from the song “Votre p’tit chien, madame,” known to folk of all ages in some parts of France, in French Canada and among the Frenco-American community in New England. Source for notated version: Isidore Soucy (1899, 1963, Montréal) [Ornstein]. Ornstein (Quebec Fiddle Tour), 2009.

 

VALSE ÉCOSSAISE. Waltz. D Major. Standard tuning. AAB. A waltz time setting of “Leaving Lismore.” Helicon identifies it as a “waltz from Cape Breton.” Helicon – “The Titan” (appears as “Isle of Lismore”).

X:1
T:Valse Eccossaise
S:Cathy Boyer
Z:Nigel Gatherer
M:3/4
L:1/4
K:D
D>EF | A2d | BAF | AFE | D>EF | A2A | B    AF | E2 A, |
D>EF | A2d | BAF | A3  | ABd  | F2E | F/E/ D2 | D3   :|
d>cd | B2A | BAF | A3  | d>cd | B2A | B    AF | E3    |
d>cd | B2A | BAF | A3  | ABd  | F2E | F/E/ D2 | D3    |
d>cd | B2A | BAF | A3  | d>cd | B2A | B    AF | E3    |
D>EF | A2d | BAF | A3  | ABd  | F2E | F/E/ D2 | D3   |]

                       

VALSE EVELINE. French-Canadian, Waltz. F Major. Standard tuning. AA'BB'. Rhythmically, the tune is similar to a waltz-clog. Joyal (Joseph Allard), 1994; pgs. 25 & 89. Victor 263744-B (78 RPM), Joseph Allard (1930).

                       

VALSE INDEPENDANCE, LA. See "Love Bridge Waltz."

                       


VALSE JESSY. AKA and see "Jessy's Waltz."

                       

VALSE JOYEUSE, LA. See "Joyous Waltz."

                       

VALSE LOUISE. AKA and see "Valse Aldor."

                       

VALSE PENITENTIAIRE (Penitentiary Waltz). Cajun, Waltz. USA, Louisiana. D Major. Standard tuning. AABB(Vocal)A(Vocal)A(Vocal)

A(Vocal)A(Vocal)A(Vocal)A(Vocal)ABB. A related tune is Gervais Quebedeaux's and Ambrose Thibodeaux's versions of "Valse de Tasseau." Source for notated version: fiddler Leo Soileau and accordion player Moise Robin (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 249-250. Old Timey Records OT-108, Leo Soileau.

                       

VALSE PETIT DEJEUNER. Belgian, Waltz. A modern tune composed by Jean-Charles Lequerre.

                       

VALSE PHILIPPE. AKA and see "Hommage a Philippe Bruneau," "La Valse Americain." French-Canadian, Waltz. G Major ('A' part) & E Minor ('B' part). Standard tuning. AA'BB'. Composed for the melodeon by Gilles Losier (Montreal, Québec), who prefers his own title, "Valse Philippe," for the tune. Matthiesen (1995) says the tune has surfaced in France as "La Valse Americain." Matthiesen (Waltz Book II), 1995; pg. 70.

                       

VALSE POUR LES PETITES JUENES FILLES, LA (The Waltz for the Little Girls). AKA and see “Waltz of the Little Girls.” French, Waltz. Traditional. F Major. Standard tuning. AABB. Flying Fish FF‑266, Malcolm Dalglish & Grey Larsen ‑ "Thunderhead" (1982).

X:1
T:Waltz of the Little Girls, The
D:The Pearl, Phil Cunningham/Aly Bain
C:Trad/Rasmussen
N:Originally in Eb
Z:Nigel Gatherer
M:3/4
L:1/8
K:D
dc BA|F2 FE DE|F2 dc BA|F2 FE DF|G2 GF GA|B2 BA GF|E2 EF GA|
B2 BA Bc|BAdc BA|F2 FE DE|F2 dc BA|F2 FE DF|G2 GF GA|B2 BA GF|
E2 EF GA|Bd/B/ Ac Ac|d2::DF Ad|c2 cB AF|DF BF AF|E3 A Ec|
d2 DF Ad|c2 cB AF|DF BF AF|E3 A Ec|d2:|]

                       

VALSE QU'A FINI DANS l' COIN. Cajun, Waltz and Two-Step. USA, Louisiana. G Major. Standard tuning. AAA'BBAAA'BBA. Source for notated version: fiddler Dennis McGee (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 135. Swallow Records SW-6030, Dennis McGee.

                       

VALSE-QUADRILLE (premiere partie). French-Canadian, Waltz. C Major. Standard tuning. AABB. The waltz-quadrille is a composite dance form consisting of four parts. See also listings under "Waltz Quadrille" for other examples of this hybrid genre. Source for notated version: Montreal accordionist Arthur Pigeon (1884-1966), a member of the popular trio "Les trois copains," along with fiddler Henri Wattier and pianist Edmond Moreau. Pigeon was a student of the great Montreal diatonic accordion player Alfred Montmarquette [Joyal]. Joyal (Joseph Allard), 1994; pgs. 71 & 117. Starr 16370 (78 RPM), Arthur Pigeon (1940).

                       

VALSE QUE J'AIME, LA (The Waltz I Like). See "Chere Petite." La Louisiane Records LL-112, Ambrose Thiboduaux.

                       

VALSE QUI M' FAIT DU MAL, LA. See "Valse de Duson."

           

VALSE VIRGINIE.  French-Canadian, Waltz. Composed by virtuoso accordion player Alfred Montmarquette (1871-1944). Born and raised in New York city, Montmarquette emigrated to Montréal in 1907, where he found success as a musician. By the 1920’s he had established a reputation as a performer and recording artist, although his profligate habits kept him in reduced circumstances and compromised health.  A-L 001, Lisa Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau Samedi d’ été” (2009).

           


VALSE WALTER, LA. French-Canadian, Waltz. G Major. Standard tuning. AABB. Source for notated version: transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.) who learned the melody from a record he obtained in Montreal called "Tour de Danse...Tour de Valse" [Miskoe & Paul]. Miskoe & Paul (Omer Marcoux), 1994; pg. 52. 

                       

VAN BUREN. AKA and see "Forked Deer."

                       

VAN DIEMAN'S LAND. AKA and see “Convict of Van Diemen’s Land,” "The Gallant Poachers." Irish, Air (6/8 time). Ireland, County Donegal. D Dorian. Standard tuning. One part. The title comes from the refrain of the song known as "The Gallant Poachers;" it has become as common a title for the tune as the original. Petrie identifies it as a “Donegal melody.” Source for notated version: “From William Allingham” [Stanford/Petrie]. Caoimhin Mac Aoidh (1994) identifies the source as William Allington, of Donegal, who contributed several airs to the Petrie collection. Stanford/Petrie (Complete Collection), 1905; No. 808, pg. 201.

X:1

T:Van Dieman’s Land

M:6/8

L:1/8

R:Air

N:”A Donegal melody.”

N:”Moderato”

S:Stanford/Petrie (1905), No. 808

Z:AK/Fiddler’s Companion

K:Dmin

F/G/ | A2d d2=B | c2=B AGE | G2E D2D | (D3 D2) D | D2E G2A | {A}(d2B) e2d |

c2A =BAG | (A3A2) G/E/ | D2E G2A | d2B e2d | c2A B>AG | A3 A2 F/G/ |

A2d d>c=B | c2=B (A>G)E | {E}G2E D2D | D3 D2 ||

                       

VAN ROTTERDAM OP DORT. English, Country Dance Tune (cut time). D Minor ('B' part in F Major?). Standard tuning. AABB. The name is Dutch, implying origins in that country; however, the melody is from Straight and Skillern's Two Hundred & Four Country Dances (vol. 1, pg. 20, 1775), reprinted in Skillern’s Compleat Collection of Two Hundred & Four Reels…Country Dances (pg. 92, 1780). Kidson (Old English Country Dances), 1890; pg. 14.

X:1

T:Van Rotterdam op Dort

M:C|

L:1/8
S:Frank Kidson – Old English Country Dances (1890)

Z:AK/Fiddler’s Companion

K:Dmin

A2|d2e2f2g2|a2 gf e2 fg|a2e2f2d2|edcB A2A2|

d2e2f2g2|a2 gf e2 fg|f2 ed ^cdec|d6:|

|:AB|c2A2B2G2|AGAB A2 AB|c2A2B2G2|A6 AB|

c2A2B2G2|AGAB A2 AB|c2A2B2G2|A4 A2:|

                       

VANDALLS OF HAMMERWICH [1]. English, Morris Dance Tune (2/4 time). G Major. Standard tuning. ABBCC [Raven]: ABB (x4), AABB [Bacon, Mallinson]. The melody is used for a stick dance, collected from the village of Lichfield, Staffordshire, in England's Cotswolds. Source for notated version: "Collected form Mr. L. Parkes, leader of the British Legion Band, Lichfield; a member of the city band for 30 years" [Raven]. Bacon (The Morris Ring), 1974; pg. 234. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 4, pg. 4. Raven (English Country Dance Tunes), 1984; pg. 90. Carthage CGLP 4406, Hutchings et al - "Morris On" (1983/1972).

X:1

T:Vandalls of Hammerwich [1]

M:2/4

L:1/8

K:G

G2D2|B2G2|dBGE|D z (DE/F/)|Gz Gz|Gz Bc|

|:d2 dd|d2 ddegfe|d3d|(dc)cc|(cB)BB|dcBA|1 Gz Bc:|2 GzB||

|:GBBB|GBBB|d2 c>c|B3B|GBBB|GBBB|dcAF|1 G2 zB:|2 B4||

 

VANDALLS OF HAMMERWICH [2]. English, Morris Dance Tune (2/4 time). G Major. Standard tuning. ABB ABB ABB ABB AABB. Variant of version #1. From the area of Lichfield, England, "Noted by F.C. Phillips, as remembered by many citizens." Raven includes a quote from the Staffordshire Pleas of the Forest (14th, Jan., 1262): "...a certain heath was burnt by the vills of Hamerwich, to the injury of the King's game..." Raven (English Country Dance Tunes), 1984; pg. 89.

X:1

T:Vandalls of Hammerwich [2]

M:2/4

L:1/8

K:G

B|GB[Bd]B|GB[Bd]B|d2 c>c|B3B|GB[Bd]B|GB[Bd]B|dcAF|G3||

Bc|d2dd|d2dd|egfe|d3d|dccc|cBBB|dcAF|G3:|

                       

VANISHING LEPRECHAUN, THE. Irish, Double Jig. G Major. Standard tuning. AABB. Sullivan (Session Tunes), vol. 3; No. 4, pg. 2.

                       

VAQUERA, LA (The Cowgirl). Tex‑Mex, Schottische. USA, New Mexico. G Major. Standard tuning. AABB. Source for notated version: Cleofes Ortiz (Chotis, New Mexico) [Phillips]. Phillips (Fiddlecase Tunebook), 1989; pg. 45. Ubik C3342, Cleofes Ortiz.

                       


VARGUS'S JIG. Irish, Jig. G Major. Standard tuning. AABB. Darley & McCall note that their source, a flutist and farm laborer named John Ferguson, was the only one in his district who remembered this tune and it began to be called after him ("Vagus being the local equivalent of Ferguson"). Source for notated version: flutist and farm laborer John Ferguson (Rathangan, Co. Wexford, Ireland) [Darly & McCall]. Darley & McCall (Darley & McCall Collection of Irish Music), 1914; No. 78, pg. 36.

                       

VARSOVIANA (Waltz). AKA – “The Waltz Vienna.” AKA and see "The Silver Lake [2]." English, Canadian; Waltz. G Major. Standard tuning. AABB. The 'varsouvienne' is a dance step in which the first part is a waltz hold with a turning and pointing the toe movement, while the second part is a mazurka. The date of 1853 is generally accepted for its introduction among society circles in the British Isles. Jarman, for copyright reasons, credits the tune to one Jim Magill, a Canadian fiddler of the mid-20th century, but the melody is clearly very much older. Bayard believes the tune sounds ‘thoroughly German’. There are several tunes that share one or the other strain, or both, of this tune, including "Kick a Dutchman," "Varsovienne" (Ford), and "Varsovienne" (Boehme), and "Old Mazurka" (Bayard, 1981; No. 650, pgs. 568‑569). The title "Varsovienne" appears in a list of the repertoire of Maine fiddler Mellie Dunham. The elderly Dunham was Henry Ford's champion fiddler in the late 1920's. Hingham, Norfolk, England, hammered-duclicmer player Billy Cooper (1883-1964) knew the tune as “The Waltz Vienna” and said it ws one of the first tunes he ever learned. “I daren’t tell you what we used to sing to it when I was a boy,” he told Reg Hall in 1962. Jarman (Cornhuskers Book of Square Dance Tunes), 1944; pg. 33. Raven (English Country Dance Tunes), 1984; pg. 137 (appears as "The Silver Lake"). Topic TSCD607, Billy Cooper, Walter & Daisy Bulwer – “English Country Music” (2000. Appears as “The Waltz Vienna,”originally recorded 1962).

X:1

T:Varsoviana Waltz

M:3/4

L:1/8

K:G

D>G | B>c B2 D>G | B>c B2 D>G | B2c2B2 | A4 D>F | A>B A2 D>F |

A>B A2 D>F | A2B2A2 |1 G4 D>G :|2 G4 B>c |: d2g2f2 | A4 A>B |

c2e2d2 | B4 B>c | d2g2f2 | A4 A>B | c2 B2 A2 |1 G4 B>c :|2 G4 z2 ||

                       

VARSOVIENNE [1], THE. AKA and see "Father Halpin's Topcoat [2]," "Shoe the Donkey [1]." Irish, Varsovienne or Mazurka (3/4 time). G Major. Standard tuning. AABB, Trio. The varsovienne is a couple dance, whose French title translates as “The Girl from Warsaw,” indicating it had either Polish origins or was devised supposedly in the Warsaw style. The dance consists of one pharse of stepping—heel, toe, chassé, chassé—and on phrase of waltzing. It was introduced into Parisian society in 1853 and quickly became popular, spreading throughout Europe and America. An original composition by Francisco Alonso, it had eight parts, and while traditional musicians have develped melodic variations the tunes they play as the “Varsovienne” or “La Varsoviana” generally relate to some part of the original. The trio section matches the third section of Ford's "Varsovienne" and the first section of Begin's version.

***

An Irish variant of the tune is "Shoe the Donkey," but it is also known by the titles “Verse Vienne,” “La Va”, “Step Waltz,” “Paddy Candy,” “Cock Your Leg Up Hi Ho” and “La Valse Du Pauvre Garçonnet.” Caoimhin Mac Aoidh reports that in County Donegal the tune is sometimes referred to as "The Reverse of Vienna," an interesting distortion of the title. In that part of Ireland 'reversing' is a term used for fiddle duet playing in octaves, and "The Varsovienne" (or "Shoe the Donkey") is a tune that is often played in octaves or in reverse, thus the 'reverse of vienna.' Mac Aoidh says: “Varsovienne - As I understand it, this is understood in Ireland to mean a single tune - the Shoe the Donkey (in its many forms). As such, it is simply a mazurka under a different name; Sligo fiddler Michael Gorman says it was danced much the same way as the Polka Mazurka (there is a 1952 recording of him playing the tune on one of Peter Kennedy’s Folktracks tapes). Native speakers of Irish in Donegal often called it a ‘Reverse of Vienna’ in confusion with the term "reverse" meaning to play in octaves.” Similarly, some dialect pronunciations have led to the word varsovienne being construed as “Verse of Vienna.” County Clare tin whistle player Micho Russell (1915-1994) is remembered fondly for singing the following lyrics to the tune:

***

Take it aisy, take it aisy, take it aisy like me.

Take it aisy, take it aisy, take it aisy like me.

(2nd part)

Take it aisy like me, take it aisy like me,

Take it aisy like me, take it aisy like me.'

***

These were repeated for the duration of the performance. “The Varsovienne” is also a standard Mazurka among Auvergnat musicians on the Continent.

Roche Collection, 1982, vol. 3; No. 150, pg. 49.

X:1

T:Varsovienne, The

M:3/4

L:1/4

Q:"Gaily"

K:G

B3/4c/4|BDB3/4c/4|BDB3/4c/4|ded|A2A3/4B/4|\

ADA3/4B/4|ADA/B/|ced|G2::B/c/|dgf|A2A3/4B/4|\

ced|B2B3/4c/4|BAB|c2A3/4B/4|ced|G2:|

"Trio   Tempo di Redowa"

B/c/|(dB)d|(g2d)|(fe)c|(A2G)|(FA)c|(f2e)|(e/d/)^c/d/e/d/|\

 

VARSOVIENNE [2]. American, Waltz-varsovienne (3/4 time). G Major. Standard tuning. AABBCC. Ford describes the dance, 'The Varsonvienne', on page 234‑235. See note for version #1. Ford (Traditional Music in America), 1940; pg. 150 (appears as "Varsovienne No. 1").

X:1

T:Varsovienne [2]

M:3/4

L:1/8

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

D2 | B3 B B2 | B2A2B2 | c3c c2 | c2B2c2 | d3d d2 | d2e2f2 | a2g2e2 |

d2B2D2 | B3B B2 | B2A2B2 | c3c c2 | c2B2c2 | d3d d2 | d2e2f2 | a3g g2 |

(g2 g2) :: d2 | b3b b2 | b2c’2b2 | e2a2g2 | e4 e2 | a3a a2 | abagfe | d3 edc |

B4 d2 | b3b b2 | b2c’2b2 | e2a2g2 | e4e2 | d2f2a2 | d2f2a2 | g3g g2 | (g2g2) z2 :|

|: d3Bd2 | g4 d2 | f3 ecA | E6 | D2F2A2 | c4e2 | e3 dBG | D6 | d3Bd2 | g4d2 |

f3 ecA | E6 | D2F2A2 | e2d2F2 | B3B B2 | (B2B2) z2 :|

 

VARSOVIENNE [3], LA. French-Canadian, Waltz-varsovienne (3/4 time). C Major. Standard tuning. AA'B. See note for version #1.  Michael Herman is said to maintain the arrangement with the waltz part is Swedish in origin. Source for notated version: French-Canadian button accordion great Philippe Bruneau (Québec) [Begin]. Begin (Philippe Bruneau), 1993; No. 10, pg. 19.

 

VARSOVIENNE [4]. AKA and see "Put Your Little Foot (Right Out/There)." American, Dance Tune (3/4 time). USA, Arizona. G Major (‘A’, ‘B’, ‘C’ ‘D’, ‘E’, ‘F’, ‘G’ I’, ‘J’ parts) & D Major (‘H’ part) {Kennedy}:D Major ('A', 'B' and 'D' parts) & G Major ('C' parts) {Ford} . Standard tuning. AB (Ruth): AABBCCDD (Ford): AABBCCDDEE’FFGGHHII’JJ (Kennedy). A multi-part dance piece, once extremely popular. It is common to hear parts of “Varsoviana” ensconced in various fiddling traditions in Britain, Ireland and North America (see Kennedy’s version for the full piece). Arizona fiddler Kenner C. Kartchner said it was popular at dances for seventy‑five years. See also "The Varsoviana Waltz" for one variation on this tune, and the Native American “Varsovienne [6]” for another. Lloyd Shaw, who wrote Cowboy Dances, taught the Varsouvianna to Gregory Peck and Jennifer Jones for the movie "Duel in the Sun." Ford (Traditional Music in America), 1940; pg. 151 (appears as "Varsovienne No. 2). Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 187, pg. 50. Ruth (Pioneer Western Folk Tunes), 1948; No. 34, pg. 13. Folkways FW8827, Arbuckle, Mikkelson & Clifton - "Old Time Couple Dances" (1961).

X:1

T:La Varsouvienne [4]

M:3/4

L:1/8

S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion

K:D

A>d|f>g f2 A>d|f>g f2 A>d|ff g2f2|e4 A>c|e>f e2 A>c|

e>f e2 A>c|ee f2e2|d3 (ABc)||d2c2B2|A4 e>f|

g2f2e2|a3 (ABc)|d2c2B2|A4 (ef)|g2B2c2|d4||

 

VARSOVIENNE [5]. Irish, Varsovienne (3/4 time). G Major. Standard tuning. AABB. In Ireland a dance called “Shoe the Donkey” is performed to this tune, in which the musicians sometimes tacit on the downbeat of the second part in order that the feet of the dancers hitting the floor is the only thing heard at that moment (Phillipe Varlet). Source for notated version: Frankie Kennedy and M. Mooney (members of Altan, County Donegal) [Sullivan]. Sullivan (Session Tunes), vol. 3; No. 36, pg. 14 (appears as “Verse of Vienna”).

X:1

T:Varsovienne [5]

M:3/4

L:1/8

K:G

GA | ~B3A GE | DB, ~D2 B,D | EC ~E2 CE | DB, D2 GA | ~B3 A GE |

DB, ~D2 B,D | E2F2D2 | G4 :: GA | B2B2 dB | cB c2 DF | A2A2 dc |

BA B2 GA | B2B2 dB | cB c2 DF | A2 Ac BA | G4 :|

 

VARSOVIENNE [6].  American (Indian), Varsovienne (3/4 time). G Major. Standard tuning. AA’BB’. A traditional Native American melody from the village of Gu-Achi, Arizona. West coast fiddler Dave Barton writes: “The similarity to the old-timey varsovienne, “Put Your Little Foot” (see “Varsovienne [4]”), is no accident; both are descendents of an Austrian or French tune ca. 1850. In the reign of Maximillian, Spanish missionairies brought European musical instruments to Mexico, gave them to the Indians, and taught them to play. Over the years, the music evolved. As in the village of Gu-Achi, several isolated regions have developed unique styles.”

X:1

T:Varsovienne [6]

M:3/4

L:1/8

R:Varsovienne

S:Larry Edelman, Rocky Mountain Fiddle Camp, 2004

Z:Transcribed and arranged by Dave Barton

K:G

z3DGB |: ed .B AGB | ed .B AGB | ed B2 (3BcB | A3 DFA |

dc .A DFA |1 dc .A DFA | dc A2 F2 | G3 DGB :|2 dc A2 FA |

fe dc BA | G2G2 (3def ||: g2g2 ga | g4 ga | gf ed cB | A2A2(3efg |

a2a^g ab | a2a2ag | fe dc BA |1 G2G2 (3def :|2 G3 DGB ||

                       

VARVINDAR FRISCA. Swedish, Hambo Tune (3/4 time). A Minor. Standard tuning. AABB. The hambo is a type of couple dance. Thompson, (Fiddler's Almanac), pg. 56.

                       

VAS Y CARREMENT. Cajun. See "T'en As Eu, T'en N'auras P'us." Old Timey Records OT-114, Amede, Ophy & Cleoma Breaux.

                       

VASTOPOL. AKA and see “Seige of Sevastopol.

                       

VAUGHAN'S FAVORITE. AKA and see “Have a Drink with/on Me.” Irish (?), Jig. G Major. Standard tuning. AABB. The tune may possibly be associated with Tom Vaughn, and early blackface minstrel banjo player. Part of the tune do sound like the American folk-song “There’s a hole in my bucket, dear Liza, dear Liza…” Cole (1000 Fiddle Tunes), 1940; pg. 64. Ryan’s Mammoth Collection, 1883; pg. 94.

X:1

T:Vaughan’s Favorite

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(d/c/)|BAG EGD|EGD EGD|BAG EGD|EAA ABc|

BAG EGD|EGD EGD|BAG EGD|E(.G.G) G2:|

|:D|GBd e2d|dgd “tr”B2A|GBd e2d|eaa a(ga)|

bag agf|(gfg/e/) dBA|BAG EGD|E(.G.G) G2:|

           

VAUGHN’S RAMBLE.  English, Jig (9/8 time). A Major. Standard tuning. AABB. The melody was composed by dancing master Nathaniel Kynaston (1683-1757). Although very little is known about him, Kynaston appears to have been active from 1705 to about 1722 in the Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and dances over several publications; this tune is from 1711. The Selattyn parish register in Shropshire records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry” married on August 25th, 1719—although whether this was the dancing master is unknown. Kynaston appears to have been a not uncommon name in Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th century highwayman and Robin Hood figure, who preyed on the wool merchants of Shrewsbury.  Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 137. Wild Goose Records WGS 314, Belshazzar’s Feast – “Mr. Kynaston’s Famous Dance” (2003).

           

VAUNTING, THE. Scottish, Pibroch. A piece of piobaireachd music attributed to Ranald MacAilean Og of Cross on the Island of Eigg (c. 1662-1741), said to have been a good performer on harp and fiddle, though he was best known as a piper (he was Piper of the family of MacDonald of Morar). There are numerous stories and legends about Ranald, colorful and robust. He is said to have been a man of enormous physical strength—he stopped a mill-wheel turning at full speed, and was called upon to hold down the dying chief of Clanranald, Evil Donald (Domhnall Dona Mac ‘ic Ailean), when the Devil came to claim him in payment for a debt Donald owed. Ranald was supposed to have overcome the ghost of a headless woman that was terrorizing the district of Morar and Arisaig. He was known to have been on good terms with the local witches (though he avoided participating in their rites), and they warned him that they had forseen impending danger, saving him from drowning on the river Lochy. In his old age he became blind and bedridden, but scarcely diminished in temper, for if he thought himself neglected by his kin he would lull them into approaching by his pleasant talk and calm demeanor, then cuff them a terrible blow about the head (Sanger & Kinnaird, Tree of Strings, 1992).

                       

VAUXHALL DANCE. English?, Country Dance (6/8 time). F Major. Standard tuning. AABB. Vauxhall Gardens opened in 1660 as a place of entertainment for Londoners, on the south bank of the Thames. It was long one of the most famous of the London pleasure garden spas, where one could find dancing, fireworks and other entertainments. The gardens provided secluded walks and garden havens for privacy, or lit walks for public display. The finest singers and orchestras played for the delight of the crowds. Walpole, in one of his letters, says that at Vauxhall he ‘picked up Lord Granby, arrived very drunk from Jenny’s Whim’ (the latter was a resort in the south-west of London in the fields near Chelsea). The British Magazine reported on a visit to Vauxhall in 1782 by the Prince of Wales, who was able to enjoy the entertainment until the music concluded, and attentions wandered. He was discovered and some ladies in the crowd, anxious to be near the royal celebrity, began to pursue him. They were in turn pursued by the attending gentlemen, with the curious crowd soon joining in. Thus ensued a half-hour chase in which some minor injuries were sustained, along with many ruined dress outfits.

***

Vauxhall, main gazebo.

 

Birds-eye view of Vauxhall Gardens, London

***

Hardings All-Round Collection, 1905; No. 4, pg. 2.

X:1

T:Vauxhall Dance

M:6/8

L:1/8

S:Harding’s All Round Collection (1905), No. 4

Z:AK/Fiddler’s Companion

K:F

c | f2c cdc | A2F FAc | cBA BGE | GFF FAc | f2c cdc | A2F FAc | BGE CEG | F2F F2 :|

|: c | e2e edc | f2f fef | g2g gfe | a2a agf | d2d def | c2c cBA | dcA BGE | F2z F2 :|

                              

VAUXHALL (WALTZ), THE.  English, Waltz. D Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 188, pg. 50.

 

VEGA MANDOLIN. Canadian, Jig. Canada, Cape Breton. D Mixolydian. AABB’CC’CC’. Reminiscent of “Banish Misfortune.” Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 225, pg. 65.

              

VELETA WALTZ.  AKA – “Valeta Waltz.” English, Waltz. Composed by Arthur Morris (Leeds, Yorkshire) in 1899, who also choreographer a special sequence dance to go with it that remained popular on programs for many years. Scottish accordion player and bandleader Jimmy Shand recorded it as “Valeta Waltz.” It was also recorded in 1929 by Scottish accorionist William Hannah. Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008. Learned from accordion player John Nolan).

                                             


VELOCIPEDE HORNPIPE. AKA and see "Highland Hornpipe," "High Level Hornpipe [1]." American, Hornpipe. B Flat Major ('A' part) & F Major ('B' part). Standard tuning. AABB. "Can be used as a Clog" (Ryan). A velodipede was a 19th century bicycle, with pedals attached to the front wheel, knick-named the ‘boneshaker’ descriptive of the experience of riding the contraption. Cole (1000 Fiddle Tunes), 1940; pg. 110. Ryan’s Mammoth Collection, 1883; pg. 147.

X:1

T:Velocipede Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

F2 |: (Bd)(FB) .D.F.B.d | (fb)(df) .B.d.F.B | (ce)(cB) .A.F.C.F | .A.F.c.A (ag)(ec) | (Bd)(FB) .D.F.B.d |

(fb)(df) .B.d.F.B | ((3c=Bc e>)c .A.F.G.A |1 B2 [F2d2][D2B2]F2 :|2 B2 [F2d2][D2B2] || (c/B) |:

A>fc>f A.fc>f | A>FA>c f2 (f=e) | d>fB>f d>fB>f | d>Bd>f b2 (3bgf | =E.Gc>g e>gc>g |

=e>ce>g b>ge>c | {g}(f=e) (3fga b>ge>c |1 f2 [A2f2][A2f2] (cB) :|2 (f=efg) (f_ecA) ||

                       

VELVET'S WALTZ. American, Waltz. A Major ('A' part) & E Major ('B' part). Standard tuning. AA'BB'. Composed by Dale Morris. Source for notated version: Dale Morris [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 320.

                       

VENDANGES, LES.  French, Country Dance (6/8 time). A Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 40.

X:1

T:Vendanges, Les

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 40

Z:AK/Fiddler’s Companion

K:A

A2A | cBA e2e | f2e {b}agf | e2d c2^d | e3 A2A | cBA e2e | f2e {b}agf |

e2d c2^d | e3 :: e>fe | e2{b}a A2A | B2A Bcd | cde {e}”tr”e2c | {c}”tr”B3 efe |

e2{b}a A2A | B2A Bcd | cde “tr”c2B | A3 (ce).A | (ce).A BcA | GFE (ce).A |

(ce).A BAG | A3 (ce).A | (ce).A BcA | GFE (ce).A | (ce).A BAG | A3 :|

                       

VENDOME HORNPIPE. AKA and see “The Independent.” American, Hornpipe. F Major. Standard tuning. AABB. "Can be used as a Clog" (Cole). The title perhaps refers to Boston’s Vendome Hotel (160 Commonwealth Ave.), as so many of the titles in Ryan’s Mammoth Collection have Boston-area associations. It has been a popular name for hotels, however, in imitation of the famous Place Vendome, a Paris square with residences for the wealthy along the sides, and its luxurious Hôtel de Vendôme.  The first section of the Boston hotel was built in 1871, with a second section by architect J. F. Ober completed in 1882, at which time an independent plant designed by Thomas Edision was installed to give Boston it’s first eletrically-lit commercially building..

***

The Vendome Hotel, Boston, c. 1890’s.

***

Darley & McCall print the tune as “The Independent” in the Feis Coil collection. Cole (1000 Fiddle Tunes), 1940; pg. 112. Kerr (Merry Melodies), vol. 2; No. 388, pg. 43. Ryan’s Mammoth Collection, 1883; pg. 148. “Fiddlers Three Plus Two.” Rounder LP7005, Carl MacKenzie – “Welcome to Your Feet Again” (1976. Appears as second hornpipe of “Robert Cormack, Aberdeen” medley). Rounder Heritage Series 1166-11592-2, Carl MacKenzie (et al) – “The Art of Traditional Fiddle” (2001. Appears as second hornpipe of “Robert Cormack, Aberdeen” medley).

X:1

T:Vendome Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

(AB) | c>fe>f d>ba>g | (3fga f>c (3ABc A>F | E>FG>A B>cd>c | (3BAG (3AGF E>dc>B |

A>fe>f d>ba>g | 93fga f>c (3ABc A>F | E>dc>B (3AGF (3GFE | (3FAc (3fcA F2 :|

|: A2 | (3BAG (3AGF (3EGB (3dcB | (3c=Bc (3Acf (3agf (3fed | (3BAG (3AGF (3EGB (3dcB |

(3c=Bc (3Acf (3agf (3edc | (3d^cd (3g^fg (3bag (3fed | (3c=Bc (3geg (3agf (3edc |

(3dfe (3dcB (3AGF (3GFE | (3FAc (3fcA F2 :|

                       

VENETIAN HORNPIPE. American, Hornpipe. F Major. Standard. AABB. Ford (Traditional Music in America), 1940; pg. 97. White’s Unique Collection, 1986; No. 99, pg. 18.

X:1

T:Venetian Hornpipe

M:2/4

L:1/8

S:White’s Unique Collection (1896), No. 99

Z:AK/Fiddler’s Companion

K:F

(a/g/) | fFF (a/g/) | f/e/d/^c/ d (d/=c/) | BGG (g/f/) | e/b/g/e/ [Af] :|

(e/f/) | .a/(f/e/f/) .a/(f/e/f/) | .d/(B/A/B/) .d/(B/A/B/) | .g/(B/A/B/) .g/(B/A/B/) |

.e(c/=B/c/) .e/(c/B/c/) | .A/(F/E/F/) .A/(F/E/F/) | .d/(B/A/B/) .d/(B/A/B/) |

Gc c/d/c/B/ | A[A,F][A,F] :|

                       

VERDIGRIS BOTTOM. Old‑Time, Breakdown. USA. F Major. Standard tuning. AA'BBC. Thede: "'Verdigris Bottom' has reference to the bottom land along the Verdigris River in what is now Oklahoma." Source for notated version: S.A. McReynolds (Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 152‑153.

                       

VERMONT JIG, THE. Irish, Jig. G Major. Standard tuning. AA’BB’C. Composed by Eamonn Flynn, originally from Limerick and now resident of Vermont state. Black (Music’s the very Best Thing), 1996; No. 95, pg. 49.

X:1

T: Vermont Jig

C: Eamon Flynn

Q: 300

R: jig

M: 6/8

L: 1/8

K: G

D |: G,B,D GDB, | CEG cBc | dBG cAF |1 GDC B,CA, :|2 AGF G2 ||

B | dgb afd | gdB cBc | dBG cAF | GDE FGA |

dgb afd | gdB cBc | dBG cAF | AGF G2 ||

B | dgb afd | gdB cBc | dBG cAF | GDC B,CA, |

G,B,D GDB, | CEG cBc | dBG cAF | AGF G2 :|

           

VÉRONIQUE VA VOIR À TA SOUPE.  French-Canadian, In the repertoire of Gaspésie musician Yvon Mimeault (b. 1928, Mont-Louis), played for the first part of a quadrille. The tune is adapted from a song air, whose words go:

***

Véronique, go check your soup,

Because its ready, because its ready;

Véronique, go check your soup,

Because its ready, ready to be eaten.

***

Yvon Mimeault – “Y’etait temps!/It’s About Time.”

           

VERRADENENE GELIEFDEN, DE (The Betrayed Lover).  Dutch, Jig. D Minor. Standard tuning. AB. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 10.

 

VERSE OF VIENNA. See “Varsovienne.

                       

VERTIGO. Scottish, Jig. G Major. Standard tuning. AABB. McGlashan (Collection of Scots Measures), 177?; pg. 1.

X:1

T:Vertigo

M:6/8

L:1/8

R:Jig

B:McGlashan – Collection of Scots Measures

Z:AK/Fiddler’s Companion

K:G

G2G F2F|G2G A3|Bdc BAG|ABG FED|G2G F2F|G2G A3|Bdc BAG|AFG A3:|

dcd D2d|D2d dcB|cBc A,2c|A,2c cBA|G2G F2F|G2G A3|Bdc BAG|AGF G3:|

                       

VERVES DE LA COULEE, LES. Cajun, Reel. D Major. Standard tuning. AA'. Greenblatt (The Cajun Fiddle Tune Book), 1985; pg. 22.

                       

VERY POOR PAY. AKA and see "Three Halfpence a Day."

                       

VERY PRETTY MARTIN. AKA and see "Pretty Betty Martin," "Betty Martin."

                       

VERY THIN SOWANS. AKA and see "The Fife Hunt," "Brochan Lom Tanna Lom."

                       

VESTAPOL. AKA and see “Seige of Sevastopol.”

                       

VESTRI'S HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB. "Can be used as a Clog" (Cole). The title may refer to the English actress, dancer and singer Madame Vestris, who produced comedies and extravaganzas at the elegant little theatre, the Olympic, in the 1830’s. Cole (1000 Fiddle Tunes), 1940; pg. 111. Ryan’s Mammoth Collection, 1883; pg. 148.

X:1

T:Vestri’s Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

F>G | A>FGA> B>cd>B | A>df>e d>cB>A | A>GG>F F>EE>D | E>DE>F E2 F>G |

A>FG>A B>cd>B | A>df>e d>cB>A | A>gb>g f>ed>c | d2f2d2 :|

|: e>f | g>fg>e A2c2 | d>Ad>e f2f2 | g>fg>e A2c2 | d>fe>d c>BA>G |

A>FG>A B>cd>B | A>df>e d>cB>A | A>gf>e c>AB>c | d2f2d2 :|

                       

VETERAN, A. English?, Jig. B Minor. Standard tuning. AABB. Harding’s All-Round Collection, 1905; No. 152, pg. 48.

X:1

T:Veteran, A

M:6/8

L:1/8

R:Jig

S:Harding’s All-Round Collection (1905), No. 152.

Z:AK/Fiddler’s Companion

K:Bmin

B/c/|d2B BcB|F2B B2d|c2A AcA|ecA ABc|d2B BcB|

F2B B2f|fed cBc|Bdc B2::B|B2c d2e|f2g a3|gbg a2f|

ecA A2B|B2c d2e|f2^a bab|fed cBc|F2B B2:||

                       

VEUVES DE LA COULEE (Widows of the Gully). Cajun, Two-Step (4/4 time). D Major. Standard tuning. AA(Vocal)BBAA(Vocal)BBAA(Vocal)BB. Source for notated version: Leroy "Happy Fats" LeBlanc and Oran "Doc" Guidry (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 306-307. La Louisiane Records LL-103, Leroy "Happy Fats" LeBlanc.

                       

VEXED EDITOR, THE. American (?), Quickstep. G Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 70.

X:1

T:Vexed Editor, The

M:2/4

L:1/8

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:G

G/B/d/B/ AA | G/B/d/B/ AA | G/B/d/B/ cc/e/ | d/c/B/A/ GG :|

|: g/d/c/B/ cc | e/c/e/c/ AA | g/d/c/B/ cc/e/ | d/c/B/A/ GG :||

           

VICAR AND MOSES.  English, Jig. F Major. Standard tuning. AABB. This “Vicar and Moses” was published by Charles and Samuel Thompson in their Compleat Collection, vol. 3 (London, 1773).  There is another tune called “Vicar and Moses,” evidently a later song air, that was frequently published (e.g. in the Universal Songster, 1825) and appears in several period musicians’ manuscripts. The coarse song describes the inability of the drunken vicar and his clerk to read the buriel service over a dead child. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 191.

X:191

T:Vicar & Moses

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:F

F2c cAc|dBd f3|F2c cAF|E2F GE[Cc]|F2c cAF|dBd g2f|edc dc=B|c3 [C3c3]:|
|:E3 BGE BGE|E3 BGE AFD|E3 BGE BGE|FGA dcd AFD:||

           

VICAR OF BRAY, THE. AKA and see "The Country Garden(s)." English, Air (4/4 time). D Major. Standard tuning. AB. This popular English song dates from the latter 18th century. The vicar of the title is said to have been one Simon Aleyn, whose parish was in the village of Bray on the Thames, near Windsor, according to Kidson. Aleyn was remarkable for maintaining his position from 1640 to 1688, throughout the intense political and religious turmoil and changes in England at the time; a proverbial saying arose from his tenure, that “the Vicar of Bray will be the Vicar of Bray still.” Nichols, in Select Poems, says that this song "was written by a soldier in Colonel Fuller's troop of Dragoons, in the reign of George I" (Chappell, 1859). Kidson, however, finds an early version of the song printed in the reign of Queen Anne in volume iii of Miscellaneous Writings in Prose and Verse (2nd edition, 1712), by Edward Ward, who had a reputations as a satirical writer. His song or poem is called “The Religious Turncoat,” or “The Trimming Parson,” and begins:
***

I loved no King in forty one

When Prelacy went down

A cloak and band I then put on

And preached against the Crown;

***

The original tune was not the now-familiar “Country Gardens,” but the words instead were set to other well-known song tunes, including “(Oh) London is a Fine Town” and “Bessy Bell and Mary Gray.” For example, “Vicar of Bray” is set to the latter in Walsh’s British Musical Miscellany, vol. I (1734), and this is the tune sung until about 1770 or 1780 (Kidson calls the melody “quite unvocal and inappropriate”). In fact, states Kidson, the use of “Country Gardens” is a late 18th century marriage. The tune appears as “The Country Gardens" in The Quaker's Opera (1728) and other ballad operas. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 122‑123.

                       

VICTOIRES AUTRICHIENNES, LES (The Austrian Victory).  French, Country Dance (2/4 time). C Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass.  The title also comes with the note “du 18. Et 20. Juin 1757” which refers to the electrifying news that Prussian monarch Fredrick the Great had suffered a heavy defeat at the Battle of Kolín by the Austrians under field marshall Leopold Joseph, Count Von Daun, during the Seven Years War. Daubat (Cent Contredanses en Rond), 1757; 1st tune.

X:1

T:Victories Autricheinnes, Les

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757)

Z:AK/Fiddler’s Companion

K:C

[G,2E2c2] cc | (.c.c.c.c) | BcdB | cG EC | [G,2E2c2] cc | BcdB AGD^F | GD G,2 :|

|: {e}”tr”d2 de | dcde | {tr}dcfe | {e}”tr”d4 | “tr”f2 fe | (dc)(fe) | dcdB | c4 :|

                       

VICTOR WILD. AKA and see "Athens," "The Clogher Reel," "The Dublin Lasses [3]," "The Dublin Reel," "Jackson's Reel [2]," "Miss Daly's Reel," "The Shuffle Reel," "The Twelve Locks," "The Twister,” "The Union Reel," "The Westmeath Hunt."

                       

VICTORIA BRIDGE. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 60.

                       

VICTORIA HORNPIPE [1]. Scottish, Hornpipe. A Mixolydian. Standard tuning. AABB. MacDonald (The Skye Collection), 1887; pg. 171.

X:1

T:Victoria Hornpipe [1]

M:C

L:1/8

R:Hornpipe

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:A

e2|a2 e2 dcBA|a2e2 dcBA|(dc)BA =G2 AB|=G2 d2 d2 e^g|a2e2 dcBA|

dcBA ^GBed|c2A2A2:||:(cB)|(AB)cd e2 e=g|f2 df e2 ce|(dc)BA =G2 AB|

=g2 d2 d2 (cB)|(AB)cd e2 e=g|f2 df e2 ce|dcBA ^GBed|c2A2A2:|

 

VICTORIA HORNPIPE [2]. American, Hornpipe.  A Major. Standard tuning. AABB. "As performed by J. Hand” (Ryan). James Hand, to whom several melodies are credited to in Ryan’s Mammoth Collection, way have been a (brass) band leader in Boston in the mid-19th century. Cole (1000 Fiddle Tunes), 1940; pg. 93. Ryan’s Mammoth Collection, 1883; pg. 128.

X:1

T:Victoria Hornpipe [2]

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

(cB) | A>A,C>E A>ce>c | (3.d.e.d (3.c.B.A G>B E>d | c>ed>c d>fe>d | c>ed>c B>dc>B |

A>A,C>E A>ce>c | (3.d.e.d (3.c.B.A G>B E>d | c>ed>c d>bB>d | c>eG>B A2 :|

|: (ed) | c>Ae>c a>ec>A | f>FA>c f>ed>c | d>Bf>d g>fd>B | d>gb>a g>fe>d |

c>Ae>c a>ec’>a | e’>c’a>e c’>ae?c | a>fd>B f>dc>B | A>cE>G A :|

                       

VICTORIA PARK. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AB. Composed by Cape Breton Fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 25.

                       

VICTORIA POLKA. English, Polka. England, Yorkshire. A Major ('A', 'B' 'C' and 'E' parts) & D Major ('D' and 'F' parts). Standard tuning. ABCCDDEFEFABCC. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 101, pg. 56.

                              

VICTORIA WALTZ.  AKA and see “The Exhibition (Waltz),” “The Speaking.” English, Waltz. D Major (‘A’, ‘B’, ‘C’, ‘D’ parts) & G Major (‘E’, ‘F’ parts). Standard tuning. AABCCDDEEFF. “Victoria Waltz” is the name of a fashionable 19th century dance, to which a number of waltz tunes were used as a vehicle, the name “Victoria Waltz” as an alternate title sometimes becoming thus attached. See also note for “Kelso Hiring Fair.” Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 189, pg. 51.

 

VICTOR'S RETURN, THE (Fillead an Claoideadoir). AKA and see “Haugh’s Jig,” “The Inverness Jig [2],” “MacGregor Jig,” “Mac’s Fancy,” “March of Donald Lord of the Isles to the Battle of Harlaw,” “O’Reilly’s Jig,” “The Rover’s Return.” Irish, Double Jig. A Mixolydian. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 38. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 886, pg. 164. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 137, pg. 37.

X:1

T:Victor’s Return, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 137

Z:AK/Fiddler’s Companion

K:Amix

g/f/|eAA fed|eAA f2d|eAA gfe|dBG Ggf|eAA fed|eAA f2d|agf gfe|dBG A2:|

|:B|A2a aba|gef gdB|A2a aba|gfe dcB|A2a aba|gef g2f|gfe efg|dBG A2:|

                       

VICTORY [1] (BREAKDOWN). Canadian, Reel. D Major. Standard tuning. AABB (Messer): AA'BB' (Begin). Composed by Maritime radio and TV fiddler Don Messer. The title presumably refers to the Allied victory in World War II. Source for notated version: French-Canadian button accordion player Philippe Bruneau (Québec) [Begin]. Begin (Philippe Bruneau), 1993; No. 61, pg. 90. Messer (Way Down East), 1948; No. 5. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 25, pg. 26.

X:1

T:Victory Breakdown

R:reel

C:Don Messer

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

A2|A,DFA BAFA|dcdf edAF|GABG FAFA|GFED CDE2|

A,DFA BAFA|dcdf ecAF|GABG FAdf|edce d2:|

|:(3a^ga |fafd Adcd|Bdef g3f|eece aece|defg a2(3a^ga |

fafd Adcd|Bdef g3f|eece aece|d2f2 d2:|

 

VICTORY [2]. AKA and see “Lady Forbes,” “Lady Harriet Hope,” “Miss McDonald’s [2]," "Monday Morning [2].” Irish, Reel. G Major. Standard tuning. AABB. Breathnach inexplicably gives the title as “Miss McDonald’s” in CRÉ III, from the playing of Cork accordion player Jackie Daly and fiddler Kevin Burke. Source for notated version: fiddler Philip Duffy (b. 1966) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 35 (appears as “Unknown”). Kells Music KM9501, Dervish - “Playing with Fire.”

X:1

T:Victory [2]

M:4/4

M:C|

K:G

GBdg edcB|Aaag aABA|GBdg egdB|1 cAdc BGAF:|2 cAdc Bdfa||

~g3a bgag|efga bggf|~g3a bgag|efga bggf|

~g3a bgag|efga bgaf|gbag fagf|edef gedB||

 

VICTORY [3], THE.  Scottish, Reel. F Major. Standard tuning. AABCCB. Composed by Isaac Cooper of Banff (b. 1755-d. 1810 or 1811, although sometimes the year is given as 1820), a music teacher and dancing master. It appears in his Collection of Strathspeys, Reels and Irish Jigs for the Piano-Forte & Violin to which are added Scots, Irish & Welch Airs Composed and Selected by I. Cooper at Banff (London, Edinburgh, c. 1806). The title perhaps refers to the recent victory of Lord Nelson at Trafalgar (October, 1805), as well as his flagship named HMS Victory. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 6.

X:1

T:Victory, The [3]

M:C|

L:1/8

R:Reel

S:I. Cooper of Banff – Collection of Strathspeys, Reels and Irish Jigs (c. 1806)

Z:AK/Fiddler’s Companion

K:F

CFAF B/c/d BG|cBAF E/F/G EC|CFAF B/c/d BG|cABG AF~F2:|

f/g/a fc dBGB|A/B/c AF GE C2|f/g/a fc dBdf|efgb af ~f2|

f/g/a fc dBGB|A/B/c AF GFEC|CFAF Bdfd|cABG AF ~F2||

|:cf.a.f cg.b.g|f2 af e/f/g ec|cf.a.f cg.b.g|afbg af ~f2:|

f/g/a fc dBGB|A/B/c AF GE C2|f/g/a fc dBdf|efgb af ~f2|

f/g/a fc dBGB|A/B/c AF GFEC|CFAF Bdfd|cABG AF~F2||

                       

VICTORY WALTZ.  AKA and see “Old-Time Waltz.” Old-Time, Waltz. USA,

 

VIE D'UN MUSICIEN, LA (The Life of a Musician). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. One part. Raymond Francois (1990) relates a wonderful story about this tune and his source Nathan Abshire:

***

In the late 70's I took some friends who were interested in

Cajun music to meet Nathan at his home in Basile. His wife

was cooking a pot roast and we all sat in the kitchen and

Nathan played this song for us. Nathan said he missed the

drums and was stomping on the floor with his bare feet to

keep time. This shook the little house so much that the pot

fell off the stove and we left soon afterwards.

***

Source for notated version: accordionist Nathan Abshire (Basile, La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 486-487. Swallow Records SW-LP6014, Nathan Abshire.

                       

VIE J'CROYAIS J'VOULAIS, LA (The Life I Thought I Wanted). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. D Major. Standard tuning. One part. Source for notated version: Touchet Brothers, vocal by Reggie Matte (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 488-489. Bee Records BEE-137, Reggie Matte.

                       

VIE MAHEUREUSE, LA (The Unfortunate Life). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. D Major. Standard tuning. ABC(Vocal)BC(Vocal)BCAB. Source for notated version: Walker Brothers (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 308-309. Old Timey Records OT-108, The Walker Brothers.

                       

VIEILLE BRANCHE.  AKA and see “The Old Chap,” “Les Oiseaux dans la Cage,” “L’Oiseaux dans la Cage,” “Birdies in the Cage.” French-Canadian, Jig. G Major. Standard tuning. AA’BB’. Fiddler Pascal Gemme is of the opinion that the tune is “very representative of the Québec city region sound.”

X:1

T:Vieille Branche

M:6/8

L:1/8

R:Jig

O:Québec

S:Fiddler Pascal Gemme (of the group Genticorum)

K:G

B,C|:D2G E2G|DGA B3|BAB dcB|AGA BB,C|D2G E2G|

DGA B3|BAB dcB|1 AGF GB,C:|2 AGF G2d||:d^cd e2d|

B2G D3|d^cd e2d|c2A E3|e^de f2e|c2A E2e|

e^de f2e|d3 dd^c|d^cd e2d|B2G D3|g3 gfg|aee e3|

e^de f2e|d^cd e2d|ded cBA|1 GBA GBc:|2 GBA GB,C||

 

VIEILLES FILLES, LES (The Old Maids). AKA and see "L'Oiseau Bleu" (Blue Bird). French-Canadian, Air and Two-Step (2/4 time). D Major. Standard tuning. AA'BB'. Source for notated version: transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.) who had learned the air while young [Miskoe & Paul]. Miskoe & Paul (Omer Marcoux), 1994; pg. 33.

                       

VIELLARD ET LA VIEILLE DAME. French-Canadian, Reel. D Major. Standard tuning. AABB. A variant of “Bonhomme pis la bonne-femme (Le)”/”Old Man and the Old Woman (The)”.

X:1
T:Le vieillard et la vieille dame
C:Trad
O: Quebec
Q:1/4=120
R:reel
M:2/4
L:1/16
K:D
FG |:ABAF DFAF |GFGB E2ed |cdcB ABcA |dedB A2FG |ABAF DFAF |GFGB E2ed
|cdcB ABcA |dfec d2FG ::AddA d2cB |AccA c2BA |GBBG B2AG |

FGAB F2FG |AddA d2cB |AccA c2BA |GBBG B2AG |Acec d2FG :|

           

VIELLE VALSE DE LA LOUISIANE, LA. Cajun, Waltz. USA, Louisiana. Ambrose Thibodeauz learned this tune from Angelas LeJeune, almost note for note by ear: "When I recorded it, we played it the same way. Angelas was like me, he liked that old waltz a whole lot" (quoted in Francois, 1990).

                       

VIENNA.  English, Country Dance Tune (2/2 time). G Minor. Standard tuning. AABB. The title probably honors the Battle of Vienna, fought in September, 1683. The battle broke the two month long siege of the city by the Turkish forces of Grand Vizier Merzifonlu Kara Mustafa Pasha, and was the high-water mark of the Ottomon invasion of Europe. In the next 16 years the Habsburgs re-established control over Hungary and Transylvania. “Vienna” first appears in John Playford’s Dancing Master, 7th edition (London, 1686), and was retained through the 18th edition (London, 1728) of the long-running series, at that time published by John Young. It was also published in Walsh’s Compleat Country Dancing Master (London, 1718), kept in the editions of that volume issued in 1731 and 1754. Barlow (The Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 259, pg. 66. Paris musician Andre Lorin though enough of the melody and dance to enter it into his copybook in 1685-1687, which he titled “Livre de Contradance Presente au Roy.” Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 137.

X:1

T:Vienna

M:C|

L:1/8

S:Playford – Dancing Master, 7th edition (1686)

N:the ‘f’ notes in measure 6 may be played sharp (as in

N:the 10th edition of the Dancing Master

K:G Minor

G2G2G2g2|f2d2B4|f2d2g2B2|ABcA ^F4|G2b2a2g2|

fgaf g3a|f2d2 de f2|c3 B/c/ d4::g2a4d2|a2 ga b4|

bagf edcB|de f2A4|A2c4d2|edcB f3f|g2d2 edcB|A4G4:|

 

VIENNA WALTZ, THE (FAVORITE).  Austrian, Waltz. B Flat Major. Standard tuning. AABBCCDD. The tune was included in the music manuscript collection of Long Island painter and fiddler William Sidney Mount (1807-1868).

X:1

T:Vienna Waltz, The Favorite

M:3/8

L:1/8

S:William Sidney Mount’s (1807-1868) music manuscript papers

Z:AK/Fiddler’s Companion

K:Bb

~B,>CD/E/|D/F/d/F/d/F/|C/E/c/E/c/E/|D/F/B/F/B/F/|~B,CD/E/|D/F/d/F/d/F/|C/E/c/E/c/E/|[D2B2 z:|

|:z B,/D/F/B/|d/c/=B/c/B/c/|z C/F/A/c/|c/B/A/B/A/B/|B,>CE/F/|D/F/d/F/d/F/|C/E/c/E/c/E/|[D3B3]:|

|:G,/B/E/B,/G/B,/|G,/B,/D/B,/G/B,/|{G}A{G}A{G}A|[B,2F2] D/B,/|G,/B,/E/B,/G/B,/|G,/B,/E/B,/G/B,/|{G}A{G}A F/D/|1 [G,3E3:|2 [G,2E2]|

|:B/c/|B/c/B/c/d/e/|[E2B2] G/B/|{B}AA F/D/|E/G/B, B/c/|B/c/B/c/d/e/|[E2B2] [G/B/]|{B}AA F/D/|[G,2E2]:|2 [G,3E3]||

 

VIENS M' CHERCHER (Come Get Me). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. AA(Vocal)BBAA(Vocal)BBAA. Related tunes, according to Raymond Francois (1990), are Dewey Balfa's "Je Suis Orphelin," Dennis McGee's "Valse a Tante Aleen," Rodney LeJeune's "Valse des Musicians" and "L'Orphelin" (in Irene Whitfield's book). Source for notated version: Iry LeJeune (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 310-311. Goldband Records GB-LP7740, Iry LeJeune.


                       

VIEUX SOULARD ET SA FEMME, LE (The Old Drunkard and His Wife). Cajun. USA, La. From Cajun accordion player Joseph Falcon and his wife Cleoma Breaux.

                       

VILLAGE BELLS [1]. American, Hornpipe. E Flat Major ('A' part) & B Flat Major ('B' part). Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 115. Ryan’s Mammoth Collection, 1883; pg. 154.

X:1

T:Village Bells [1]

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:E_

({c}B>=.A) | B>e G>B E>GB,>E | G,>B,E>G B>Gc>B | A>FD>A G>EC>B, | =A,>GF>E F>_A=A>c |

B>eG>B D>GB,>E | G,>B,E>G B>Gc>B | A>FD>B, =A,>C_A,>D | E>B,G,>G E2 :|

|: ({G}F>.=E) | F>ec>B =A>gf>e | d>ba>b =e>fc>d | e>c=A>e c>AF>E | C>{c}B=A>B F>dc>B |

F>ec>B =A>gf>e | d>ba>b ^f>ge>c | =e>fd>B =A>FE>C | B,>DF>d B2 :|

 

VILLAGE BELLS [2].  American, Strathspey. D Major. Standard tuning. AABB. Ryan’s Mammoth Collection, 1883; pg. 169.

X:1

T:Village Bells [2]

B:Ryan's Mammoth Collection

R:highland fling

Z:Transcribed by Paul de Grae

M:4/4

L:1/8

K:D

(3ABc|d>af>d ~g2 e>c|d>fe>d c<A (3ABc|

d>af>d ~g2 e>d|c<e A>c d2:|:(3ABc|~d2 f>d ~g2 e>c|

~d2 f>d c>de>c|~d2 f>d a>fb>g|f>ed>c d2:|

                       

VILLAGE BOY QUADRILLE, THE.  AKA and see “Garcon Volage,” “Sally Sloane’s,” “Trip to Cottingham.” English, Jig (6/8 time).

 

VILLAGE CAROUSSEL WALTZ. Canadian, Waltz. B Flat Major (‘A’ part) & F Major (‘B’ part). Standard tuning. AB (Begin): AAB (Miskoe & Paul). Composed by Manitoba Métis fiddler Andy de Jarlis. Sources for notated versions: transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.) who had it from a record he obtained in Montreal called "Tour de Danse...Tour de Valse" [Miskoe & Paul]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 22, pg. 35. Miskoe & Paul (Omer Marcoux), 1994; pg. 49.

                       

VILLAGE DELIGHTS, THE. English, Jig. England, North‑West. D Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 101.

                       

VILLAGE FESTIVAL, THE. Scottish, Jig. D Major. Standard tuning. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 4; No. 444, pg. 50.

X:1

T:Village Festival, The

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 444 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

({A/B/c/}d2)A f2A|(d3 d2)z|({A/B/c/}d2)A f2A|(d3 d2)f|e2a aba|f2d dcd|

Bcd fed|cde A2z|({A/B/c}d2)A f2A|(d3 d2)z|({A/B/c}d2)A f2A|(d3 d2)f|

e2a aba|f2d dcd| efg abc’|d’2z d’2z||e3 c2B|(A3 A)(cd)|e2e f2e|(e2d) d3|

d3 B2A|(^G3 G)(Bc)|d2d e2d|(d2c) c3|e3c2B|(A3 A)(cd)|e2e f2e|(e2d) d3|

(f3 f)dB|(e3 e)cA|(d3 d)(B^G)|Acf e2e|(f3 f)dB|(e3 e)cA|Bcd ef^g|a2z [c2a2]z||

                       

VILLAGE GREEN, THE. AKA and see “First Day of Spring.” Piper Mike Carney recorded the tune, usually called “First Day of Spring,” on a cylinder in the early 20th century. Carney taught pipes to Tom Busby in New York.

                       

VILLAGE HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB. Bayard (1981) sees this tune as either a derivative or version of his "Sweet Ellen/Ellum [2]," which also in Pennsylvania has been collected as "Hopple's Hornpipe," "Billy Howard's Tune," or by the floating "Billy in the Low Land," in Missouri as "Old Dubuque,” (see also Missouri fiddler Lymon Enloe’s “Back in ‘89”), and in Oklahoma (and other states) as "Last of Callahan." He sees it as American in origin, and though widespread in this country he cannot trace it to British Isles tradition. Elias Howe (c. 1867) prints contra-dance directions along with the tune. Cole (1000 Fiddle Tunes), 1940; pg. 115. Ford (Traditional Music in America), 1940; pg. 101. Howe (1000 Jigs and Reels), c. 1867; pg. 89. Ryan’s Mammoth Collection, 1883; pg. 152. White’s Unique Collection, 1896; No. 108, pg. 19.

X:1

T:Village Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:White’s Unique Collection (1896); No. 108

Z:AK/Fiddler’s Companion

K:D

(3A,/B,/C/ | D>D D/F/E/F/ | D/F/A/B/ A(B/c/) | d/B/{c}B/A/ F/D/{F}E/D/ |

(3B,B,B, (B,A,) | {A,/B,/C/}D>D D/F/E/F/ | D/F/A/B/ A(B/c/) | d/f/a/b/ a/g/e/g/ |

fdd :: (g/a/) | (a>b) (a/g/).e/.f/ | (g/e/).f/.d/ (e/d/).B/.c/ | d/B/{c}B/A/ A(a/b/) |

(a/g/).e/.f/ (g/e/).f/.g/ | (a>b) (a/g/).e/.f/ | (g/e/).f/.d/ (e/d/).B/.c/ | d/B/{c}B/A/ F/D/E/F/ | (3DDD D :|

                       

VILLAGE IN THE GROVE, THE. AKA and see "The Cottage in the Grove [1]," "Maurice Casey's Fancy," "McGovern's Favorite," "The Conneberry Reel."

                       

VILLAGE MAID. English, Reel. G Major. Standard tuning. AABBCCD. Campbell, 1st Book of New and Favorite Country Dances and Reels, pg. 6. Huntington (William Litten's), 1977; pg. 26.

                       

VILLAGE OF CONG, THE. Irish, Reel. G Major. Standard tuning. AABB.  Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). Cong was the village setting of John Ford’s famous movie “The Quiet Man,” starring John Wayne (as Sean Thornton) and Victor McLaglin (as Squire Danaher). Reavy (The Collected Compositions of Ed Reavy), No. 48, pg. 50.

X:1

T:The Village Of Cong

R:Reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:This is the village of the Quiet Man, where Sean Thornton (John Wayne)

N:squares of against Squire Danaher (Victor McLaglen) in one of

N:Hollywood's legendary donnybrooks. Ed loved the quaintness of this

N:village and the people he met there.

K:G

A | GFDE FEFD | G2 dG eGdG | =FEDC B,CDE | F2 cF dFcF |

G^FGA GFDA | GABc defg | (3agf (3gfe d^cde | =fd=cA G3 :||

f | gfgd BGGe | =fefc AFF^f | gfga (3_bag ag | fgaf dfga |

(3_bag (3agf gfde | =fage fdcA | G2 (3ABc dBcB | GE=FE DEFE  ||

                       

VILLAGE POLKA. Old‑Time, Polka. USA, Eastern Virginia. G Major. Standard tuning. AABB. Source for notated version: Cy Kines (Fauquier County, Virginia) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 161.

                       

VILLAGE QUICKSTEP, THE. AKA and see "The Pennsylvania Quickstep [1]," "Bartlett's Two‑Step," "Minnie Moore." D Major. Standard tuning. AA’BB’CC. The melody was composed by Dr.John C. Bartlett (1808-1877) in 1843, and was popular during the Civil War era. Bartlett lived most of his life in Chelmsford, Mass., after graduating from Bowdoin College (Me.) and Harvard, which he left in 1831. Although medicine was his profession, music was his hobby, and he was chorister of the Unitarian Society and composer of a few popular melodies. “Although of a somewhat aristocratic bearing,” one sketch of him goes, “he was the kindest of neighbours, and a man universally respected for the uprightness of his life.” Mattson (Old Fort Snelling Instruction Book for the Fife), 1974; pg. 87.

X:1

T:Village Quickstep, The

M:6/8

L:1/8

R:Quickstep March

C:John C. Bartlett, 1843

K:D

|:(3A/B/c/|d2d d2d|d2d d2d|fed edc|d2z z2d|e2e e2e|e2e e2f|edc dcB|

A2z z2:||:F/G/|A2 z B2A|A/d/ z z z2 F/G/|A2z B2A|A/e/ zz z2 F/G/|A2z B2A|

f2f d2d|efe cBc|d2z z2::z|(A6|A2)A ABA|(F6|F2)F FGA|(B6|B2)B dcB|

(A6|A2)A AGF|(E6|E2)A2 Bc|d2A2 Bc|d2A2 Bc|d2c d2c|d2z z2:|

                       


VILLAGE REEL. AKA and see "The Pride of the Ball," "Steeple Chase [1]," "The Swallow's Tail Reel," "Miss Wright's Reel," "The Girl with the Handsome Face," "McKenna's Reel," "The Family Estate," "The Pigeon on the Gate [1]," "The Queen's Wedding," "Molloy's Night Cap," "Mollie's Bonnet," "Take your Hand Away," "Joshua Gray." Irish, Reel. This reel also appears in Joyce, 1909; No. 342 (untitled reel) and Bayard (1981), Appendix No. 6, pg. 574 (untitled reel collected from a Prince Edward Island fiddler in the 1930's). JIFSS, Vol. XVII, pg. 39.

                       

VILLAGE TAVERN, THE. Irish, Polka. Green Linnet GLCD 1184, Patrick Street – “Made in Cork” (1997).

                       

VILLAGERS, THE. English, Jig. G Major. Standard tuning. AAB. In addition to the Moore ms. (noted below), the tune appears in the 19th century music manuscript collections of the Welch family (Bosham, Sussex), James Nuttal (Rossendale, east Lancashire, 1830), and Tiller (unknown origin). Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 106a, pg. 43. Callaghan (Hardcore English), 2007; pg. 66.

X:1

T:Villagers, The

M:6/8

L:1/8

R:Jig

K:G

d/c/|B2B cBc|dBG AFD|G2G A2A|Bcd A2d/c/|B2B cBc|

dBG AFD|G2G A2B|cAF G2::d/c/|B2d ded|g2d ded|

B2d B2c|dcB A2d|B2d ded|g2d ded|B2d B2d|cBA G2:|

                       

VILLALAVE. American, Reel. F Major. Standard tuning. AB. Almost a polka. The melody appears in George P. Knauff's Virginia Reels, volume II (Baltimore, 1839).

X:1

T:Villalave

M:2/4

L:1/8

R:reel

B:George P. Knauff – Virginia Reels, vol. II (Baltimore, 1839)

Z:AK/Fiddler’s Companion

K:F

c|(f/a/)c .d.e|(f/a/)c .d.e|(f/e/f/g/) (a/g/f/a/)|gc’ (c’/b/a/g/)|(f/a/)c .d.e|(f/a/)c .d.e|

(f/a/)(c’ c’/)(b/g/e/)|f(a/g/) fc|(f/a/c/e/) (d/f/e/g)|(f/a/c/e/) (d/f/e/g/)|(f/e/f/g/) (a/f/b/a/)|

(g/f/e/d/) (c/d/e/c/)|(f/a/c/e/) (d/f/e/g/)|(f/a/c/e/) (d/f/e/g/)|(f/a/).c’/.c’/ (c’/b/g/e/)|fa/g/ f||

e/f/|g>a (g/f/e/d)|(c/d/e/f/) (g/a/=b/c’/)|g>a (g/f/e/d/)|(c/d/e/c/) Gz|

g>a (g/f/e/d/)|(c/d/e/f/) (g/a/_b/g/)|(f/a/c’/c’/) (c’/b/g/e/)|(f/c/a/g/) f||

                       

VILLAPOURCON. French, Valse (3/4 time). D Major ('A' part) & G Major ('B' part). Standard tuning. AABB'. Stevens (Massif Central), 1988; No. 59.

                       

VILLE PLATTE TWO-STEP. Cajun, Waltz or Two-Step (3/4 time). D Major. Standard tuning. AABB(Vocal)AABB(Vocal)A(Vocal)B(Vocal)A(Vocal)BA. The song was recorded by Cajun fiddler Dennis McGee about 1930. It is really a waltz, though speeded up it suffices nicely as a two-step for dancing. Source for notated version: Dennis McGee (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 312-313. Morningstar Records MS-45002, Dennis McGee.

                       

VILLE PLATTE WALTZ. AKA and see "Valse de Ville Platte."

                       

VILLIKINS AND HIS DINAH. An extensive tune family which includes “Little Peggy's [2]” and “Paddy Whack [1].

                       

VINCENT BLYN'S [2]. Irish, Reel. B Minor. Standard tuning. AAB. Taylor (Where’s the Crack?), 1989; pg. 11.

                       

VINCENT BRODERICK'S. AKA and see “Midsummer’s Night.” Irish, Reel. E Minor. Standard tuning. AA'BB'. There is another County Sligo tune called "Brodericks," though it is a jig. Vincent Broderick is a flute player and composer from East Galway, author of The Turoe Stone collection. Source for notated version: Flute player Colm O'Donnell (b. 1962, Aclare, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 12.

                       

VINCENT CAMPBELL’S (JIG). Irish, Jig. D Major/Mixolydian. Standard tuning. AABB’. The tune is associated with Donegal fiddler Vincent Campbell, and thus may have originated in that county. “Australian Waters” may be an alternate title, played by the late flute player Frankie Kennedy of the group Altan. Source for notated version: piper Fran Meehan (Dublin) [Taylor/Tweed]. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 9. Matt Molloy & Sean Keane – “Contentment is Wealth.”

X:1

T:Vincient Campbell’s

S:Siobhan Egan
M:C|
L:1/8
R:jig
D:Augusta Summer Concert Souvenir: 1997
Z:Devin McCabe
K:D
d2D FED|~=c3 ed^c|dcA GEA|1DED fge:|2DED DFA|
!:~d3 efg|fed cBA|~d3 efg|fdc def|
!gbg ~f3|ecA ABc|dcA GEA|1DED DFA:|2DED fge||

X: 2
T: Vincent Campbell's
S: "Traditional Irish Music" (K.Tweed)
Z: B.Black
L: 1/8
M: 6/8
R: jig
K: D
dDD FED|=cBc ed^c|dAG FGE|DF/G/A f2 e|
d2 D FED|=cBc ed^c|dAF GFE|FAD DFA :|
dcd efg|fAa ecA|dcd efg|fdc def|
gbg faf|ecA G2 e|dAF GFE|1 F/G/AD DFA :|2\
FAd f2 e ||

                       

VINCENT CAMPBELL’S MAZURKAS. AKA and see “Francie Mooney’s Mazurkas,” “Old Donegal Mazurkas.” Irish, Mazurka(s). Ireland, County Donegal. Stockton’s Wing 1st album (appears as “Charlie Lennon’s”).

X:1

T:Vincent Campbell's

R:Mazurka

D:Vincent Campbell ‑ The Brass Fiddle

M:3/4

L:1/8

K:G

DG|B2 BA GB|d2 dB AB|c2 ce dc|Bd g2 DG|

B2 BA GB|d2 dB AB|c2 cA FA|1 G4:|2 G3 ggf||

|:e2 ce ce|d2 dB AB|c2 ce dc|B3 ggf|

e2 ce ce|d2 dB AB|c2 cA FA|1 G3 ggf:|2 G4||

           

VINCENT CRAWFORD’S TUNE.  Old-Time, Breakdown. USA, Kenutcky. From the playing of Vincent Crawford of Avenstoke, Anderson County, Kentucky, recorded in 1979 by Gus Meade and John Harrod. 5 String Productions 5SP05002, The Hoover Uprights – “Known by their Reputation” (2005).

 


VINCENT HARRISON’S JIG. Irish, Jig. G Major. Standard tuning. AABB’. Named for fiddler Vincent Harrison of County Sligo, now a resident of New York City. Source for notated version: fiddler Brian Conway (Westchester County, New York) [Black]. Black (Music’s the Very Best Thing), 1996; No. 43, pg. 22.

X:1

T: Vincent Harrison's

S: Brian Conway

Z: transcribed by B.Black

Q: 350

R: jig

M: 6/8

L: 1/8

K: G

dBG GDB, | G,3 G,B,D | EcB A2 G | FED cBA |

BdB G2 F | EGE C2 E | DGB cAF | AGF G3 :|

GBd g2 f | ecB c2 B | Adf a2 g | faf def |

g2 B Ggf | ecA E3 | DGB cAF | AGF G3 :|

BAB g2 f | e2 c cAE | FEF a2 g | f3 def |

gdB GBd | ecA E3 | DGB cAF | AGF G3 :|

                       

VINCENT'S. AKA and see "Lord St. Vincent," "St. Vincent's Hornpipe," "Vinton's Hornpipe," "The Silver Box," "O'Fenlon's Hornpipe." English?, Hornpipe. G Major. Standard tuning. AABB. See note for “Vinton’s Hornpipe.” Harding’s All Round Collection, 1905; No. 156, pg. 49.

X:1

T:Vincent’s
M:C

L:1/8

R:Hornpipe

S:Harding’s All-Round Collection, No. 156 (1905)

Z:AK/Fiddler’s Companion

K:G

d>c|B2G2G2 B>G|A>GF>E D2 D>C|B,>DG>D A>cA>F|G2G2G2 d>c|B2G2G2 e>d|

^c2A2A2 A>G|F>Ad>f e>gf>e|d2d2d2::d>c|B>GF>G B>GF>G|E>CB,>C E>CB,>C|

A>Bc>B A>GF>E|D>FA>F D2 d>e|d>GF>G e>GF>G|f>de>f g>dB>G|E>FG>A B>GA>F|G2B2G2:|

                       

VINE DRESSERS, THE. English, Jig. England, Shropshire. A Major. Standard tuning. AB. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 97, pg. 39.

                       

VINTON'S HORNPIPE. AKA and see "The Silver Box," "Vincent's Hornpipe," "St. Vincent's Hornpipe," "Lord St. Vincent," "O'Fenlon's Hornpipe." American, Hornpipe. USA; New England, southwestern Pa., Missouri. B Flat Major (Cole, Ford, Howe, Miller & Perron, Page, Phillips, Tolman): C Major: G Major (Bayard): A Major (Bruce & Emmett). Standard tuning. AB (Bayard): AABB (most versions). A very popular hornpipe found in many printed an manuscript collections under a variety of titles, including “Vinton’s Hornpipe,” “Lord St. Vincent(‘s Hornpipe),” “St Vincent’s Hornpipe,” “The Silver Box” and “O’Fenlon’s Hornpipe.” Professor Samuel Bayard thinks the "Silver Box Hornpipe," dated c. 1770 (in Alfred Moffat and Frank Kidson’s Dances of the Olden Time, 1912; pg. 31), is a simple, perhaps early, version of the tune. As “Lord St. Vincent’s,” "St. Vincent's Hornpipe" or “Vincent’s Hornpipe” the hornpipe appears in several 19th century publications and manuscripts. The tune appears under this title in Thompson’s Twenty Four Country Dances for the Year 1799 (pg. 33). It also appears under this title in the mid-19th century music manuscript papers of Long Island painter and musician William Sydney Mount. Shropshire musician John Moore included it in his 1837-1840 music manuscript as “St. Vincent’s Hornpipe,” dropping the ‘Lord’ from the title. John Burks’ music manuscript, dated 1821, has a similar version (as “Vincent’s Hornpipe”) to Moore’s, including being set in the key of B Flat. All of these titles probably honor Admiral Jarvis, Lord St. Vincent, a contemporary of the celebrated Lord Horatio Nelson’s and himself a hero of the Napoleonic Wars and the victor of the Battle of Cape St. Vincent. The title “Vinton’s”, by which the tune appears in the Boston, Massachusetts, publisher Elias Howe’s various editions (from the mid-19th century on) is a probably a corruption of the original title honouring Jarvis. The piece is in the repertoire of Missouri fiddler Kelly Jones (b. 1947) who, having the ability to read music, learned the melody from Cole’s 1000 Fiddle Tunes, as previous generations of sight-reading mid-western fiddlers had learned this and similar tunes from both Cole’s 1000 and its predecessor, Ryan's Mammoth Collection (1883), both Howe publications which included instructions for a contra-dance to the tune. Indeed, the tune seems common to many of Howe’s publications, notes Paul Tyler, and first appears in the 1844 edition of his Musician’s Companion (pg. 61) {containing 18 setts of cotillions arranged with figures, and a large number of popular marches, quick-steps, waltzes, hornpipes, contra dances, songs, &c.&c.}. O’Neill prints the tune as “O’Fenlon’s Hornpipe.” The melody also appears in Old Familiar Tunes, published by Theodore Presser Co. of Philadelphia, Pa. Sources for notated versions: Walter Neal (fiddler from Armstrong County, Pa., 1952) [Bayard]; Kelly Jones (Mo.) [Phillips]; Winston Fitzgerald (Cape Breton) [Cranford]. Bayard (Dance to the Fiddle), 1981; No. 390, pg. 373. Bruce & Emmett’s Drummers’ and Fifers’ Guide, 1862; pg. 26. Cole (1000 Fiddle Tunes), 1940; pg. 90. Cranford (Winston Fitzgerald), 1997; No. 21, pg. 8. Ford (Traditional Music in America), 1940; pg. 109. Harding's Original Collection (1928) and Harding Collection (1915), No. 65. Howe (Diamond School for the Violin), 1861; pg. 45. Howe (1000 Jigs and Reels), c. 1867; pg. 80. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 118. Page (Ralph Page Book of Contras), 1969; pg. 9. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 231. Robbins, 1933; No. 105. Ryan’s Mammoth Collection, 1883; pg. 124. Tolman (Nelson Music Collection), 1969; pg. 18. White's Excelsior Collection, 1907; pg. 49. White's Unique Collection, 1896; No. 109, pg. 19. Missouri State Old Time Fiddlers' Association, Kelly Jones (b. 1947) - "Authentic Old-Time Fiddle Tunes."

X:1

T:Vinton’s Hornpipe

M:C|

L:1/8

K:B_

fd|d2B2 Bc dB|cB AG F2 FE|DF BF dB ed|cB AG F2fe|

d2B2B2gf|e2c2c2cB|Ac fa gb g=e|f2a2f2:|

|:fe|dB AB dB AB|GE DE GE DE|cd ec Bc dB|AB cA F2fg|

fB AB gB AB|aB AB bB AB|FG AB cd cA|B2d2B2:|

                       

VIOLA'S SCHOTTISCHE. American, Schottische. USA, Michigan. D Major. Standard tuning. AABB. Composed by Viola Cox (Michigan). Johnson says it has become a favorite with Michigan hammered dulcimer players. Johnson (The Kitchen Musician’s No. 7: Michigan Tunes), vol. 7, 1986‑87; pg. 1. Ruffwater Stringband ‑ "Michigan Winter."

                       

VIOLET, THE (An t-Sailchuach). Irish, Air (3/4 time, "moderately slow"). G Major. Standard tuning. AABB. Joyce (Old Irish Folk Music and Songs), 1909; No. 708, pg. 354.

X:1

T:Violet, The (An t-Sailchuach)

M:3/4
L:1/8

N:”Moderately Slow”

S:Joyce – Old Irish Folk Music and Song (1909), No. 708

Z:AK/Fiddler’s Companion

K:G

ef | g2f2g2 | e4 f/e/d/c/ | B4A2 | B2d2 ef | e4 ef | g2f2g2 | e4 f/e/d/c/ | B4Ac | B2E2F2 | G4 :|

|: AB | c2c2 dc | B4 cB | A4 AG | A2B2d2 | e4 ef | g2f2g2 | e4 f/e/d/c/ | B4 Ac | B2E2F2 | G4 :|

                       


VIOLET TULLOCH'S HORNPIPE. Shetland, Hornpipe. B Flat Major. Standard tuning. AABB. "This tune was written for Violet Tulloch who, in Tom (Anderson's) opinion, is one of the finest accompanists at the present time. She first started to play in Tom's Dance Band at weekends before she left school, and is an accomplished accordian player and pianist. She accompanies Aly Bain and Tom on their records "The Silver Bow" and "Shetland Folk Fiddling, vol. 2," and is also the accompanist on Willie Hunter's record. She has done many broadcasts and is in much demand for recordings and concerts" (Anderson). Anderson (Ringing Strings), 1983; pg. 51.

                       

VIOLET'S 'D'-WALTZ. Old‑Time, Waltz. USA, Arkansas. D Major. Standard tuning. AA'BB'. Untitled waltz from Violet Hensley; Brad Leftwich and Linda Higgenbotham gave it the above title. Source for notated version: 'Uncle' Jim Pettitt via Violet Hensley (Yellville, Arkansas) [Sing Out]. Sing Out, pg. 32.

 

VIOLETTA HORNPIPE. AKA and see “City Life,” “The Londonbridge Hornpipe,” “O’Keeffe’s Hornpipe [2],” “Showman’s Fancy.” Canadian, Scottish; Hornpipe. F Major (Cole, Craig, Kerr): D Major (Messer). Standard tuning. AABB. The tune appears in Irish collections as “The Showman’s Fancy” and was recorded by several Irish fiddlers in the 78 RPM era. Cole (1000 Fiddle Tunes), 1940; pg. 99. Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 5. Kerr (Merry Melodies), vol. 2; No. 376, pg. 42. Messer (Way Down East), 1948; No. 71. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 117, pg. 72. Ryan’s Mammoth Collection, 1883; pg. 134. White’s Unique Collection, 1896; No. 124, pg. 22.

X:1

T:Violetta Hornpipe

R:Hornpipe

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

FG|A^GAB Adfd|Bdgf edcB|A^GAB AFDF|EDEF E2FG|

A^GAB Adfd|Bdgf edcB|Adfd Bgec|d2f2 d2:|

|:cd|e^def gecA|dcde fdAd|ggff edcd|(3efe (3dcB  A2FG|

A^GAB Adfd|Bdgf edcB|Adfd Bgec|d2f2 d2:|

                       

VIOLETTE, LA. English, Polka-Mazurka (3/4 time). G Major ('A' part) & D Major ('B' part). Standard tuning. ABB'. La Violette, to whom this piece may refer, was a dancer named Eva Maria Veigel who become something of a celebrity of the London Stage in the mid-18th century. She was married to the great actor-manager David Garrick. Trim (Thomas Hardy), 1990; No. 82.

                   

VIRGIL CRAVEN’S BREAKDOWN. Old-Time, Breakdown. USA, North Carolina. Virgil Craven is a hammered dulcimer player from the Carolina flatlands. Marimac 9064D, Lauchlin Stamper & A.C. Overton - “Sally with the Run Down Shoes” (1996).

                   

VIRGIN MARY. AKA see “(An) Phis Fhluich,” “O’Farrell’s Welcome to Limerick.” According to Finbar Boyle, this alternate title for 'An Phis Fhliuch' has no provenance in traditional Irish music “beyond a certain recording by a group of Irish musicians, made in France in the early 1970s.” “Virgin Mary” was a witicism provided by one of the musicians who was asked the name of the tune at the time.

                   

VIRGIN PULLETS. English, Reel. D Major. Standard tuning. ABB. A pullet is a young hen, or perhaps a reference to young women or, derisively, to an opponent's cockfighting entry. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 31.

                   


VIRGIN QUEEN. AKA and see "Riding a Mile [1]," "Cummilum," "Is Cuma Liom," "I Don't Care," "Fairest Put On Awhile," "Mad Moll [1]," "Yellow Stockings." English, Air (9/8 time). A Major. Standard tuning. AAB. The title dates from 1703 when it appeared in the supplement to the 11th edition of Playford's Dancing Master; the tune, however, had previously been published by Playford as "Mad Moll" in his 1698 edition of that work. Swift wrote a song, called "O my Kitten," to the tune. Philippe Varlet suggests that “The Virgin Queen” is the ancestor of the Irish melody "Humours of Whiskey" and is related to the double jigs "Langstrom's Pony" and "The Mooncoin Jig.” Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 74.

 

VIRGINIA.  American, Air. E Minor. Standard tuning. AABB. A shape-note hymn tune by Oliver Bronson, here used as a march by Alstead, New Hampshire, fiddler Randy Miller. Source for notated version: White, Original Sacred Harp, Denson Revision, 1971 [Miller]. Miller (Fiddler’s Throne), 2004; No. 358, pg. 209.

                   

VIRGINIA CINDY. See “Backstep Cindy.

                   

VIRGINIA HORNPIPE [1]. Scottish, Hornpipe. D Minor. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 357, pg. 39.

X:1

T:Virginia Hornpipe [1]

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 3, No. 357 

Z:AK/Fiddler’s Companion

K:Dmin

d>e | f>dc>A F>cA>c | c2 G>c  E>cG>c | f>dc>A F>cA>c | G>Af>g a>gf>e |

f>dc>A F>cA>c | E>cG>c E>cG>c | f>ed>c d>cA>G | F>GE>F D2 :|

|: A2 | d>^cd>e f>ef>g | a>ga>b a>gf>e | d>^cd>e f>ef>g | a>gf>e d>cd>c |

d>Ae>A f>Ag>A | a>ga>b a>gf>e | f>ed>c d>cA>G | F>GE>F D2 :|

 

VIRGINIA HORNPIPE [2]. Scottish, Hornpipe. B Flat Major. Standard tuning. AA’BB. Kerr (Merry Melodies), vol. 4; No. 309, pg. 32.

X:1

T:Virginia Hornpipe [2]

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 309  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Bb

d>e|f>dc>A F>cA>c|c2 G>c E>cG>c|f>dc>A F>cA>c|G>Af>g a>gf>e|

f>dc>A F>cA>c|E>cG>c E>cG>c|f>ed>c d>cA>G|F>GE>F D2 :|

|: A2 | d>^cd>e f>ef>g|a>g>ab a>gf>e|d>^cd>e f>ef>g|a>gf>e d>cd>c|

d>Ae>A f>Ag>A|a>ga>b a>gf>e|f>ed>c d>cA>G|F>GE>F D2:|

                   

VIRGINIA MARCH.  Old-Time, March (cut time). USA, Arkansas. G Major. Standard tuning. AA’BB’. Source Morrison maintained this tune was one of several marches played at Appomatix in 1865 when Lee surrendered to Grant, ending the American Civil War, and, in particular this piece was played when the Confederates were stacking their arms (one of whom was his wife’s father, he believed). Morrison concluded that it was Lee’s “favorite piece.” Morrison also had a tune that he said was played at the stacking of arms at Yorktown (see his “British March”). Source for notated version: Absie Morrison (1876-1964, Searcy County, Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 105.

                               

VIRGINIA MOONLIGHT WALTZ. AKA and see "The Dawn Waltz [2]." American, Waltz. A Major. Standard tuning. ABA. Source for notated version: Brenda Wallace and Danita Rast Hartz [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 321.

                   

VIRGINIA QUICKSTEP. AKA and see "Bonnell's Quickstep," "Bonnell's March," "The Dancing Mustang," "Major Crichton's Delight," "Davy, (Davy,) Knick-Knack/Knick-Knock," "Hoe Cake." American, March (4/4 time). USA, southwestern Pa. D Major (Bayard): G Major (Bayard). Standard tuning. AABB. A march known in the British Isles and the Continent, according to Bayard (1981). The Dutch authority Florimond van Duyse has called the tune a fife or flagolet air and has dated it to the latter 18th or beginning 19th century. Sources for notated versions: James Taylor (fiddler and fifer from Greene County, Pa, and Wetzel County, W.Va., 1930's) and Hoge MS (fife MS from southwestern Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 210C‑D, pg. 165.

                   


VIRGINIA REEL [1]. AKA and see "Lord MacDonald's Reel [4]," "Leather Breeches/Britches." American, Reel. G Major. Standard tuning. AABB. In actuality this is a famous "floating" title applied many and various tunes which have been used for the dance and have claimed the title of "Virginia Reel," including "Sir Roger de Coverly," "Miss McCloud's Reel," "Old Dan Tucker" and others (see Burchenal, 1918). Mark Twain wrote in a letter to the Virginia City Territorial Enterprise dated January, 1863, that: "We consider that any man who can fiddle all through one of those Virginia Reels without losing his grip, may be depended upon in any kind of musical emergency." The dance The Virginia Reel is derived from the English country dance "Sir Roger de Coverly."

***

Paul Tyler finds this vignette in W.H. Venable’s Footprints of the Pioneers of the Ohio Valley: A Centennial Sketch (1888):

***
The old-time apple-cutting was an occasion of unbounded mirth. . . . After
the apples were cut, and the cider boiled, the floor was cleared for a
"frolic," technically so-called, and merry were the dancers and loud the
songs with which our fathers and mothers regaled the flying hours.  The
fiddler was a man of importance, and when, after midnight, he called the
"Virginia Reel," such shouting, such laughter, such clatter of hilarious
feet upon the sanded puncheon floor, startled the screech-owl out of doors,
and waked the baby from its sweet slumber in the sugar-trough. . . .  The
apple-cutting was fifty years ago . . .

***

Ford (Traditional Music in America), 1940; pg. 108.

 

VIRGINIA REEL [2]. American, Reel. A Major. Standard tuning. AB. Morrison prints a dance by the same name for the tune. Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 61.

 

VIRGINIA REEL [3]. AKA and see "Rustic Reel [1]," "Libby Prison Quickstep," "First Western Change," "City Guards," "O Dear Mother My Toes Are Sore [1]."

 

VIRGINIA REEL [4]. AKA and see "My Love is But a Lassie Yet [1]." This title was used as a floater and attached itself to "My Love is But a Lassie Yet" with at least one source in southwestern Pennsylvania.

 

VIRGINIA REEL [5]. AKA and see "Miss McLeod's/MacLeod's Reel [1]." This title was one of the titles collected by Bayard from fiddlers in southwestern Pa. for "Miss McLeod's Reel." It is also the main title under which the tune appears in George Knauff’s Virginia Reels, vol. 1 (published by George Willig in Baltimore, c. 1839?), he included the title “Mrs. McLeod’s Reel” clearly, but in smaller print to the right of the tune.

 

VIRGINIA REEL [6]. Irish, Reel. D Major. Standard tuning. AABB. The tune (which begins on a G major chord) derives its name from a town called Virginia in County Cavan. It was piper Garret Barry’s habit to pair this tune with “Garret Barry’s Reel.” Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell].  Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 32. Mitchell (Dance Music of Willie Clancy), 1993; No. 24, pgs. 42-43. Songer (Portland Collection), 1997; pg. 205. CL46, Brid Meany – “The Irish Tradition” (1994). GlobeStyle: CDORBD 084, Pat Mitchell – “Gentlemen Pipers” (1994). Green Linnet SIF 1058, Molloy/Keane/McGlyn - “Contentment is Wealth.” RSEC 035, Denise Shiel – “Champions of Ireland- Concertina.” Tara 3001, Planxty - “After the Break.” Fresh Fish - “Turning of the Tide” (1992). Topic: 12TS294 (Ossian 71), Pat Mitchell – “Uilleann Pipes” (1976). Dervish – “Harmony Hill.”

X:1

T:Virginia Reel

M:4/4

L:1/8

Q:220

K:D

DBBA B3B | BAdB AFEF | DFFF A3B | AFdB AFEF|

DBBA B3B | BAdB ABde | f2fe defe | dBAF FEE2:|

defe d3A | BAFA BAFA | defe defg | a2bf afed|

effe d3A | BAFA BAFA | defe defg | a2bf afed:|

 

VIRGINIA REEL [7]. Old‑Time, Breakdown. D Major. Marimac 9008, The Lazy Aces String Band ‑ "Still Lazy after all These Years" (1986. Learned from Kyle Creed via Paul Brown).

                              

VIRGINIA WALTZ [1]. French‑Canadian, Waltz. E Major. Standard tuning. AA. Carlin (Master Collection), 1984; No. 89, pg. 57.

 

VIRGINIA WALTZ [2].  English, Waltz. D Major. Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 190, pg. 51.

                              

VIRGINIAN. AKA and see "Cotton‑Eyed Joe" (Ford), "The Rooster Called Rover" (Pa.), "Rooster in the Strawpile" (Pa.). Aird (Selections of Scotch, English, Irish and Foreign Airs ), 1782, vol. 1, No. 155.

                              

VIRGINS ARE LIKE THE FAIR FLOWER. AKA and see "What shall I do to show how much I love her?"


                   

VIRGIN’S FROLICK, THE.  English, Country Dance Tune (3/2 time). G Minor. Standard tuning. AABB. The melody appears in London publisher John Young’s second volume of the Dancing Master, the third edition, 1718. It was also published in the fourth edition of 1728. Young was heir to the long-running Dancing Master series, first published by John Playford in 1651. It was picked up by rival publisher John Walsh and introduced into his Second Book of the Compleat Country Dancing Master (London, 1719). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 137.

 

VIRGIN’S WISH, THE.  English, Jig. D Major. Standard tuning. AA’BB’. The tune appears in London publisher John Johnson’s Two Hundred Favourite Country Dances, vol. 8, issued around the year 1758. The tune also appears in the commonplace book for the violin of Daniel Aborn, later added to by William Megee, begun in 1790 (continuing to around 1809). Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 4.

 

VIRTUOSO [1], THE. English, "Fancy Hornpipe." England, North‑West. F Major. Standard tuning. AA'BB'. Hardings All-Round Collection, 1905; No. 9, pg. 3. Knowles (Northern Frisk), 1988; No. 58.

X:1

T:Virtuoso, The

M:”C

L:1/8

R:Hornpipe

S:Harding’s All Round Collection (1905), No. 9

Z:AK/Fiddler’s Companion

K:F

c/=B>c |: c>AF>C A,>c=B>d | c>AF>C A,>c=B>c | a>fc>A f>cA>F | c>cB>G E>g^f>a |

g>ec>G E>g^f>a | g>ec>G E>g^f>g | b>ge>c B>GE>C |1 F2A2 F>cB>d :|2 F2A2F2 ||

F2 |: F>dB>d f>dB>d | c>BA>G F>Ac>f | e>bg>e c>dB>c | A>cf>a f2F2 |

F>dB>d f>dB>d | c>BA>G F>Ac>f | e>bg>e c>B G>E |1 F2f2f2F2 :|2 F2f2 f>c=B>d ||

 

VIRTUOSO [2], THE. Irish, Reel. B Minor. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, inspired by the movie Amadeus. Black (Music’s the Very Best Thing), 1996; No. 25, pg. 13.

X:1

T: The Virtuoso

C: © B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

E | F2 BF dFBF | dBdg ecAG | F2 BF dFBF | FDEC DB,B,D |

FB B2 dB B2 | df f2 gfeg | fdec dBGB | AFGE FD D :|

A | afge fddA | (3cBA eA fAeA | affa bafe | dBcA Bdef |

afge fddA | (3cBA eA fAeA | dg (3gfg ecAG | FDEC D3 :|

                   

VISCOUNT HAMILTON. Scottish, Reel. F Major. Standard tuning. AABB'. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 3.

X:1

T:Viscount Hamilton

M:C

L:1/8

R:Reel

S:Marshall – 1845 Collection

Z:AK/Fiddler’s Companion

K:F

FCFA FGAf|cAGF D/D/D D2|FCFA FGAf|cAfA F/F/F F2:|

|:fcfa fcfa|gdba g/g/g g2|1 fcfa fcdf|c>BA>G F/F/F F2:|2

facf BgAf|c>B A>G F/F/F F2||

                   

VISCOUNT REIDHAVEN. Scottish, Reel. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). The title since 1701 has been a courtesy title of the eldest sons of the Earls of Seafield. In Marshall’s time, the Viscount was James Ogilvy (1747-1811), 7th Earl of Findlater, 4th Earl of Seafield, Viscount of Reidhaven, Baron of Deskford and Cullen. Ogilvy, or Lord Findlater as he was known, was an unusual peer, to say the least, the heir to vast amounts of land and industrial properties. He was also a confirmed homosexual, and because of “certain unnatural transgressions” he was exiled from England and Scotland. Although he was not welcomed with open arms in Europe because of his proclivities, money talks, and Lord Findlater was able to develop his interest in wine into a burgeoning interest in vineyards near Dresden, Germany. He also invested in public works and gained influence in court, and by 1805 with his confident and secretary, the builder Johann Georg Fischer, he had acquired five out of the eight major vineyards of the region. Next, he employed the master builder Giese from Gotha to build a magnificent palace on Bredemannschen mountain, where today Castle Albrechtsberg rises into the sky. When it was completed it was instantly famous and was called ‘the most beautiful family palace in Dresden.’ Unfortunately, Lord Findlater died the year it was completed, and had little time to enjoy the magnificent views from the tower. His sole heir was the faithful Johann Fischer, to whom the Scotsman had already given Eckberg and the manor of Helfenberg. It was hardly possible to keep his relationship with Findlater secret, and the Scottish relatives vengefully descended upon him. Fischer’s wife, who lived with their children in Helfenberg, divorced him, but Fischer remained true to his friend and patron, and when he died at the age of 87 he was buried in Findlater’s tomb in front of Loschwitzer church. Their mountain palace was eventually taken over by a hotelier and was called ‘Findlaters’, a famous resort for many decades before the middle of the 19th century.

***

Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 6.

X:1

T:Viscount Reidhaven

M:C

L:1/8

R:Reel

S:Marshall – 1845 Collection

Z:AK/Fiddler’s Companion

K:F

~c2 (AB) ~c2 (AB)|cagf ec ~c2|d2 Bd c2 Ac|GdcB (AF) ~F2:|

af ~f2 cfAf|defg af ~f2|bg ~g2 dg=Bg|efga bg ~g2|af ~f2 cfAf|

defg afcA|BdBd AcAc|GdcB AF F2||

                   

VISCOUNTESS DUNCAN. See “Lady Viscountess Duncan.”

                   

VISIT, THE. English, Polka. C Major. Standard tuning. AABB. The melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. The Joseph Kershaw Manuscript, 1993; No. 4.

                   

VISIT TO IRELAND, A (Cuairt Go h-Eirinn). Irish, Jig. G Major. Standard tuning. AA'BB. O'Neill (Krassen), 1976; pg. 21. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 39, pg. 23.

X:1

T:Visit to Ireland, A

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 39

Z:AK/Fiddler’s Companion

K:G

B|ded dBG|Bdd def|gfe dcB|cAA A2 B/c/|ded dBG|Bdd def|gfg ABc|BGG G2:|

|:d|gfg aga|bag fed|gfe dcB|cAA A2d|gfg aga|bag fed|gfg ABc|BGG G2:|

                   

VISIT WITH BILL LAMEY, A. Canadian, Reel. Canada, Cape Breton. D Major/Mixolydian. Standard. ABB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton) to commemorate a session with Cape Breton fiddle master Bill Lamey. Cranford (Jerry Holland’s), 1995; No. 89, pg. 26.

                   

VISZLA’S RAMBLES, THE. Scottish. Composed by Scots accordion player Phil Cunningham.

                   

VIVA EL WEST SIDE. E Minor. Standard. A Tex-Mex tune by way of the Québec group La Bottine Souriante. Great Meadow CD 2007, Mary Cay Brass and Friends – “Green Mountain.” Green Linnet GLCD 3127, Sharon Shannon – “The Best of Sharon Shannon: Spellbound” (1999. Appears as second tune of “The Bungee Jumpers” medley, learned from La Bottine Souriante as “Dedicato a Vares”).

                   

VIVE LA! (THE FRENCH ARE COMING). Irish, March (2/4 time, "with spirit"). D Major (Roche): C Major (Stanford/Petrie). Standard. AB (Stanford/Petrie): AAB (Roche). The tune is a march version of the air usually known as "Loch Erroch Side," "I'm O'er Young to Marry Yet [3]," "Over the Hills to Glory," "The Lass o' Gowrie [1]," or "The Lakes of Sligo." The title refers to the hoped-for intervention of French troops on the side of the Irish in the rebellion of 1798. Stanford/Petrie (Complete Collection), 1905; No. 996, pg. 254. Roche Collection, 1982, vol. 3; No. 46, pg. 13.

                   

VIVE LA BAGATELLE. English, Reel. England, North‑West. A Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 44.

                   

VIVE LA COMPAGNIE. French, March (6/8 time). Ostling, 1939; Nos. 2 and 6. Sweet (Fifer’s Delight), 1964; pg. 24. Wier, 1918, 1920, 1922; pgs. 94 and 484.

                   


VIVE LE ROY (Long Live the King). English, Ballad Air (3/4 time). G Major. Standard tuning. One part. This seventeenth century song appears in Musick's Recreation on the Viol, Lura‑way (1661) and Musick's Delight on the Cithren (1666). Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 209.

X:1

T:Vive Le Roy

M:3/4

L:1/8

R:Air

S:Chappell – Popular Music of the Olden Times  (1859)

Z:AK/Fiddler’s Companion

K:G

G2 G2 G2 | c3 B c2 | c3 d c2 | B4 A2 | G2 G2 A2 | B3 c d2 |

d3 c B2 | A6 || d2 d2 d2 | e4 d2 | c3 d B2 | A4 D2 || G2 F2 G2 |

A4 D2 || G2 F2 G2 | A4 D2 || B3 c d2 | c3 d B2 | B2 A3 G2 | G6 ||

                   

VOISINS, LES.  French, Country Dance (2/4 time). B Flat Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 34.

X:1

T:Voisins, Les

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 34

Z:AK/Fiddler’s Companion

K:B_

b/f/b/f/ d/f/d/f/  | g/e/g/e/ c/e/c/e | f/d/f/d/ B/d/c/B/ | Ac F2 | b/f/b/f/ d/f/d/f/ |

g/e/g/e/ c/e/c/e/ | .f/(d/c/B/) .e/(c/B/A/) | BF B,2 :: F/B/F/B/ d/B/d/B/ | GB E2 |

g/f/e/d/ c/B/A/G/ | Ac F2 | D/F/D/F/ B/d/B/d/ | E/G/E/G/ c/e/c/e/ | A/c/A/c/ f/a/f/a/ | df b2 :|

                   

VOLT. AKA ‑ "La Volta," "Levalto." English, Country Dance Tune (3/8 or 6/4 time). G Major. Standard tuning. AABB (Raven): AABBCCDD'. The tune dates from 16th century, probably originating in Provence. Merryweather (1989) states the dance and tune were especially popular in France in the late 16th century (where it was known as “Levalto” or “Revolto”), and was transplanted to the English court sometime before 1600 when Queen Elizabeth I was reputed to have favored the air. The dance involves the men lifting their partners into the air several times during the second part of the tune. It appears in Michael Praetorius's 1612 Dances from Terpsichore. Raven's version appears to be the middle parts of the one given by Merryweather. La Volta was a popular dance in Scotland (which tended to follow French fashions). La Volta tunes are also commonly found in early Scottish lute books. Michael Robinson finds reference to the dance in Thoinot Arbeau's 1589 volume Orchesographie, an important sources on Renaissance dance, in which it is stated:

***

After having spun around for as many cadences as you wish,

return the damsel to her place, when, however brave a face

she shows she will feel her brain reeling and her head full of

dizzy whirlings; and you yourself will perhaps be no better off.

I leave it to you to judge whether it is a becoming thing for a

young girl to take long strides and separations of the legs, and

whether in this lavolta both honor and health are not involved and at stake.

***

As with many popular dance airs, there were several ballads written to the tune, notably “King Henry II and the Miller of Mansfield” (Chappell). Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 232-233. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 37 & 38 (two versions). Raven (English Country Dance Tunes), 1984; pg. 8.

X:1

T:La Volta

M:3/4

L:1/8

S:Chappell – Popular Music of the Olden Time  (1859)

Z:AK/Fiddler’s Companion

K:G

z2 G2A2|B3A G2|G2 c4|B3 A G2|Bc d2c2|B3A G2|G2 F4|G6:|

||B,C D2 D2|D4 D2|EF G2G2|G4 G2|Bc d2 d2|d3c B2|cB AG A2|G6||

                                       

VOLTA, LA. See "Volt."

                             

VOLUNTEER, THE (An Deontánach). Irish, Reel. G Major. Standard tuning. AABB. Taylor (1992) thinks his version could be a fling, and "a cracking good tune for a lilter." Source for notated version: fiddler Micky Doherty, 1965 (Stranorlar, Co. Donnegal, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 268, pg. 138. Cranitch (Irish Fiddle Book), 1996; No. 60, pg. 148. Taylor (Through the Half-door), 1992; No. 9, pg. 8. Great Meadow Music GMM 2003, “Rodney Miller’s Airdance” (2000). Green Linnett GLCD 1119, Cherish the Ladies - "The Back Door" (1992. Learned from Joe Madden). Shaskeen - "Joys of Life" & "Shaskeen Live." Maire Ni Chatasaigh – “The New Strung Harp.” “Tony Linnane and Pat Sky.”            

                                                           

VOLUNTEERS' JIG, THE. Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 198, pg. 107.

X:1

T:Volunteers’ Jig, The

M:6/8

L:1/8

R:Jig

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

g2d ded | dcB ABc | dBG GAB | AFD D2D | g2d ded | dcB ABc | dgf ed^c | d3 d3 :|

|: a2d ded | b2d d2d | ded dcB | A2F D2D | a2d ded | g2d b2c | B2G AFD | G3 G3 :|

                             

VOLUNTEERS' MARCH, THE. Irish. A favorite march tune of the Irish Volunteers (1774‑1784) composed by Elford and dedicated to Lord Charlemont. It was extremely popular in Ireland at the time and as a symbol of social unrest it featured in the July 9, 1784, "Douglas" riot in Dublin. On that night the Duke of Rutland attended a performance of Home's play "Douglas." At the rising of the curtain the audience demanded the orchestra play "The Volunteers' March,” and, sensing the tenor of the crowd, this was done. Upon attempting to present the play after that the crowd became more restive, angered by the (English) Viceroy's refusal to enact reforms petitioned by the Dublin Corporation, and refused to let the play go on. Instead "The Volunteers' March" was played until the Duke was obliged to leave (Flood, 1906).

              

VOLUNTEERS WALTZ, THE.  English, Waltz. D Major. Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 191, pg. 52.

              

VON WEBER’S FAVORITE WALTZ. American(?), Waltz. G Major. Standard tuning. AABBCC. Howe (Diamond School for the Violin), c. 1861.

X:1

T:Von Weber’s Favorite Waltz

L:1/8

M:3/4

S:Elias Howe – Diamond School for the Violin (c. 1861)

Z:AK/Fiddler’s Companion

K:G

DGB|edBDGB|edBDGB|dcADFA|cBGDGB|edBDGB|edBDGB|dcADFA|G3:|

|:Adf|bafAdf|bafAdf|ageA^ce|gfdAdf|bafAdf|bafAdf|ageA^ce|d3:|

|:G3 DGB|dc A2 z2|D3 DFA|cB G2 z2|D3 DFA|dcA dcA|dcA dcA|G3 z2:|

                   

VOULEZ VOUS DANSER{, MADEMOISELLE?} (Do You Want to Dance?) AKA and see "The Soldier's Glory," "The Life of a Soldier," "Nine-pins (Ninepins) [2]," "Old Amzi Eccles Tune." English, Jig. A Major ('A' and 'C' parts) & E Major ('B' part) {Raven}: D Major ('A' and 'C' parts) & A Major ('B' part) {Trim}. Standard tuning. ABCD (Kerr): AABBCC (Trim). Probably an old ballroom dance, though later the tune had currency as a march. Set in duple time it was transformed into the Quebec reel “La Bastringue.” It appears in several older fiddlers’ manuscripts in England, including the James Hook/Thomas Hardy manuscript from Dorset (as “Vowlaz vowz dancer madamazelle”). In southern England a variant of the tune appears as “Ninepins” or perhaps more recognizably “Oats, Peas, Beans and Barley Grow.” Kerr (Merry Melodies), vol. 1; No. 2, pg. 27. Raven (English Country Dance Tunes), 1984; pg. 115. Trim (Thomas Hardy), 1990; No. 64. Wilson (Companion to the Ballroom), 1840; pg. 91.

X:1
T:Voulez Vous Danser
S:Kerr's Merry Melodies Bk.1 p27
Z:Nigel Gatherer
M:6/8
L:1/8
K:D
f2f f2f  | ede d3  | c2d e2c | d2e f2d | f2f f2f  | ede def | g2f e2d | c3  d3 ||
e2e c2A  | d2f e3  | e2e c2A | d2f e3  | a2a ^g2g | f2f e2e | d2d c2B | A3 a2g ||
f2f f2f  | ede d3  | c2d e2c | d2e f2d | f2f f2f  | ede def | g2f e2d | c3  d3 ||
a2a a2a  | gfg f3  | e2f g2e | f2g a2f | a2a a2a  | gfg fga | b2a g2f | e3  a2f||

X:2

T:Madamoiselle Voulez Vous Dancer

T:La Bastringue

M:4/4

L:1/8

K:D

f2fff2gf | e2e2d4 | c3de2c2 | d2e2f2a2 | f2fff2gf | e2e2d2(3Adf | g3fe2A2 |B2c2d4 :: d 2df afdA |

=c2=ce gecA | d2df afda | gfec d3A | d2df afdA | =c2ce gecA | d2df afda | g fec d4 :||

 

VOYAGE TO INDIA.  English, Country Dance Tune (2/4 time). C Major. Standard tuning. AABB. Goulding (Twenty Four Country Dances for the Year 1808), 1808; No. 7.

X:1

T:Voyage to India

M:2/4

L:1/8

B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)

N:”With proper Tune & Directions to each Dance (as they may be

N:performed at Court, Bath, and all Public Assemblys.”

Z:Transcribed and edited by Flynn Titford-Mock

Z:abcs’s:AK/Fiddler’s Companion

K:C

e/d/|cc dd|e>fgg|ff ee|d/c/d/e/ dG|cc dd|efgg|afdB|c2 c:|
|:e/f/|gg a/g/^f/g/|=ff g/f/e/f/|ee f/e/d/e/|ed d e/f/|gadf|egce|fdcB|Bc c:||

                              

VOYAGEUR, LE (The Traveller).  AKA and see “Reel des Voyageurs,” “Traveller [1].”

                              


VRIE, LA. French, Dance Tune (4/4 time {'A' and 'C' parts} & 6/8 time {'B' part}). A Minor. Standard tuning. AABBC. Traditional tune from central France. Stevens (Massif Central), 1988; No. 115.

                   

VULCAN'S CAVE. AKA and see "Hilly‑go, Filly‑go All the Way," "King of the Cannibal Islands," "Cumberland Reel." English, Jig. The melody appears under this title in the music manuscript copybook of fiddler John Burk, dated 1821.

                   

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