FOLK MUSIC OF THE UNITED STATES Music Division

Recording Laboratory AFS L62 American Tunes From the Archive of Folk Song

Edited by Alan Jabbour

LIBRARY OF CONGRESS WASHINGTON

INTRODUCTION

Traditional fiddling in America has its reper­ and record s have brought into their homes. torial and stylistic roots in the British Isles of the This record ing feat ures a small selectio n of eighteenth century, where, in sofar as the written older traditional fiddl e tunes from various parts record may be trusted, elemen ts of the part icul ar of the country. It can hardl y convey the amazin g cultural milieu conspired to generate a new cl ass variety of older traditional styles and repertory, of instrumental tun es out of the ancient stock of and it does not even attem pt to represent modern British folk melody and the new leaven of the developments in A merica n fiddling. But it can Baroque violin. T hi s new class of tunes proved perhaps se rve as a useful introduction to tradi· to be so popular and so te nacious that it ab­ tional fiddling fo r the scholar, student, or en­ sorbed and survived dozens of subsequent dance thusiast whose exposure has been limited to and instrumental vogues through the nineteenth books, co mmercia l recordings, and fiddl ers' co n­ and well into the twentieth century, creating in ve ntions, none of which co nvey adequately the meanwhile th ousa nds of tun es patterned on what a diligent collector is apt to enco unter on the earl y models. Indeed, a number of indi­ visits to the homes of older traditional fi ddlers. vidu al instrument al tunes th at fo und their way A ll th e tunes of thi s reco rd are fro m instan­ int o print in later eightee nth centu ry Brit ish taneous disc recordings made in the 1930s and publications not onl y survived but fl ourished 1940s by the staff of the Archi ve of Folk Song in folk tradition up to the present day. or by independent scholars who contributed The fidd le, whi ch was the most favored instru­ their work to the Archi ve. Nearly all the items ment for this class of tu nes, was brought to we re record ed in the fie ld, frequentl y under diffi­ America by British se ttlers and quickl y took cult conditions. Side A of the record fea tures hold. The vari ous A merican trad itional styles fidd lers from the Nort h, Mid wes t, and West; of playing the instru ment suggest that Irish and side B featu res the South. The styles range fro m Scottish or North Country influences predomin­ intricate to sim ple, fl uid to choppy, metricall y ate despite the numerical dominance of English regul ar to sy ncopated , and the technical abilit y settlers; groups with strong mu sical traditions ranges fro 111 dazzling to prosa ic. M ost of the may be expected to exert an influence out of popular or once-popular forms are represe nted­ pro portion to thei r numeri ca l strength . 1fi sh reel or breakdown, hornpipe, jig, quadrille, influence in repertory and style seems espec iall y schottische, highl and fling, and quickstep-but stro ng, but the co rrelation is not easy to reco n­ a few are omitted, co nsp icuously th e waltz, slow struct, for the branches of the traditional tree march in 4/4, and so ng ai r. have fl owered in different ways. Whether the The notes supply info rm at ion on the histo ri es va rieties of American fi ddling style preserve Iris h of the tunes a nd add comments on the tech­ styli stic habits or have developed indigenously nique and style of the pa rticular renditions. The cannot be answered sim ply by I istening to mod­ lists of tune va ri ant s are by no mean s complete, ern Irish fiddl ers, fo r fidd ling in I rei and cur­ but they give an idea of the age and geographical rently bears the stamp of Michael Coleman, dist ribution of th e tunes. No text or title va ri ants M ichael Gorm an, and ot hers who culti va te an are included, and I have see n or hea rd every tune intricate style peculi ar to Count y Sligo. The va riant listed. Vari ants fro m published reco rd­ alchemies of culLure in any case ca n be ex pected ings have been onl y sporadicall y included be­ to defy simple solution. cause they proba bly had little or no influence on Fiddling remains, in one fo rm or another, one these particul ar fid dlers' rend itions and th eir in­ of the mos t vita l folk music traditions in America clusion would greatly swell the size of the pam­ today. Many old er fiddl ers and a few yo ung Ones phl et. To provid e a geographical sampling, how­ still play the traditional rcpertory that one would eve r, T ha ve included va ri ant s from un publ ished have encountered 50 or even 100 years ago, a nd reco rdings access ioned in th e A rchi ve of Folk many yo ung fid dlers have enthusiasticall y taken Song (AFS) through about 1950. In most cases up variet ies of in strumental m us ic such as blue· the list of va ri ants from the Archi ve co uld be grass or western swing which rad io, telev ision, doubled by in clu ding access ions up to the present day, but this would prove cumbersome. The A special word of thanks is due to seve ral AFS number is the accession number assigned people who ass isted in the preparation of this to the recording in the Archive's catalogs and recording and its notes: Mrs. Rae Korso n, for­ files, and the last name in an AFS entry is the merly Head of the Archive of Folk Song , init iall y name of the collector. Complete citations to the encouraged me in the project: Joscph Hickef>on, printed sources in the lists may be found in the the Archive's Reference Librarian, lent hi s skill bibliography at the end of the pamphlet. Because in gathering helpful inform ation and read the of its importance in the hi story of the tunes, the acco mpanying pamphlet criticall y in it s earlier original publication date of a reprinted or revised stages; Mrs. Patricia Markland , the Archive"!) work is give n in the list, but other bibliographic I ndexer-Secretary_ labored long over typing and information refers to the later edition. The fol ­ reg ularizing fo rm at in the drafts of the pa m­ lowing abbreviations are used throughout the phlet: J ohn Howell , Assistant Recording Engi­ variant li sts: nee r for the Library's Reco rding Laboratory, worked valiantly editing the recording from the acc. accompanied gtr guitar original instantaneous di scs: and Guthrie Meade acen accordion hca harmonica supplied information about variants on early bjo banjo mand mandolin pu blished recordings. dbl bass double bass pno pian o dule dulcimer rec. record ed fdl fiddle vel vocal

2 Ai-FRENCH FOUR [Soldier's Joy]. AFS 4177 1941 by Robert Draves. The recordings include B I. Leizime Brusoe, fiddle, Rhinelander, a few items played by his orchestra, which Wis. , August 31, 1940, Robert F. Draves accompanied him on clarinet, double bass, and and Helene Stratman-Thomas. accordion. It is interesting to note that his tempos for reels and hornpipes are slightly slower when If one were to select the fiddle tune most he plays with the orchestra; possibly he delighted widely known and played in Great Britain and in showing off his splendid technique when he North America, the choice wo uld probably be played alone but relapsed into standard dance "Soldier's Joy." John Glen lists a Scottish publi­ tempos when bis orchestra accompanied him. cation of the tune in Joshua Campbell's 1779 In any case he is certainly not the only musician collection (see Glen, I, xvii). It appears in nearly to adopt different tempos when asked to play every sizable collection of fiddle tunes from the without the customary accompaniment. nineteenth arid twentieth centuries, usually classed The comments in Robert Draves's field notes as a reel or country dance, and it has passed to "Hornpipe" (AFS 4189 AI) throw some light into circulation on continental Europe (see upon Mr. Brusoe's musicianship and general Bayard, No. 21). The three eighth notes at the end relationship to fiddling tradition: of many of the phrases in printed sets suggest that the tune may originally have been conceived It was over ten years ago that someone at radio station as a hornpipe, but in America, at least, it is WGN set this number, one of Mr. Brusoe's own com­ generally used for reels, square dances, and other positions, in music notation. Mr. Brusoe produced the group dances; hence the dance title "French mu sic for me (he can't read a nOle) and it was inter­ esting to discover as I followed the score that there Four" in Leizime Brusoe's version. Sets recorded was not one single departure even after this period of in the field show considerable variation in detail more than ten yea rs. from performer to performer, but the main out­ lines of the tune are rarely altered. The stability The observation cannot be verified without see­ is doubtless a result of the tune's widespread and ing the score, but Mr. Brusoe played some of regular use, which serves together with the rein­ the same tunes at different recording sessions, forcement of printed authority to correct aberra­ and it is a fact that he varies his renditions tions from the norm . The most persistent tradi­ much less than most traditional fiddlers. Despite tional variations from the printed norm are the the speed and technical complexity of his rendi­ substitution of scalar for arpeggiated treatment tions, he seems to have worked out uniform of the beginning of each musical phrase. In the renderings which were memorized and repro­ South the tune sometimes appears with the so ng duced with a minimum of incidental variation. "I Love Somebody." Tn this and other ways he is representative of a Leizime Brusoe, whose fiddling introduces class of musician who, with a background in folk thi s recording, was born in Canada of French­ tradition, became professional or semiprofes­ Canadian extraction some seventy years before sional and moved in wider musical circles, emerg­ Robert Draves and Helene Stratman-Thomas ing as an intermed iary of sorts between folk tra­ recorded him in 1940. He learned to play the dition and the musical "outside world." Though fiddle as a boy in Canada from his eld er brother. fortune or temperament never allowed him to He was unable to read mu sic, acquiring his become a Don Messer or lean Carignan, students British-American repertory entirely by ear. After of folk culture are obliged to ponder the im­ moving to the United 'States he gained some portance of musicians of his class to the history prominence in Wisconsin as an outstanding tradi­ of traditional instrumental music. tional fiddler. In 1926 he won the Chicago His rendition of "Soldier's Joy" resembles fiddlers' contest sponsored by the Herald Ex­ standard printed sets rather closely, with the aminer, one of th e rash of oldtime fiddling con­ addition of several individual fl ourishes. The tests that swept the country in that year with the background rhyt hm is explained by Draves: encouragement of Henry Ford. He was recorded " In this number Mr. Brusoe beats a rh ythmic three times for the Archive of Folk Song, in accompaniment with his feet just as he did when 1937 by Sidney Robertson, in 1940 by Robert he was a one-man orchestra in his early days in Draves and Helene Stratman-Thomas, and in Canada." .

3 VARIANTS-"Soldier's Joy" unless otherwise 28. Ruth (1948), p. 4, "Soldier's Joy specified No. I, or Kings Head." 29. Ruth (1948), p. 5, "Soldier's Joy No. A. Manuscript sources 2, Best for Quadrille." In 6/ 8. 1. Beck (1786), p. 35. 30. Artley (1955), p. 55, Ex. 21. Anon. 2. Shattuck (ca. 1801), p. 43. fdl, central W. Va., early 1950s. 31. Smith and Hovey (1955). No page B. Printed sources number. 3. McGlashan (ca. 1781) , p. 32, "The 32. Cazden (1955), p. 35. Soldier's Joy." 4. Howe (1851), p. 37. C. Published recordings 5. Ryan (1883), p. 264; One Thousand 33. 78 rpm Victor 20592. Victor Orches­ (1940) , p. 24. 6. Stewart-Robertson (1884), I, p. 150. tra. 34. 33 rpm Old Time Songs and Tunes 7. Winner (1894), p. 78. from Clay County, W. Va., Folk Pro­ 8. White (1896), p. 69. motions FP 11568. Jenes Cottrell, bio. 9. O'Neill (1903), No. 1642; (1907), 35. 33 rpm Hoe Down Fiddle Tunes, No. 868. Rural Rhyt hm 114. DeWayne Wear, 10. De Ville (1905), No. 76. fdl , acc. by Wear Family. 11. Bowman (1908), No. 156, "Wild Bill 36. 33 rpm Play and Dance Songs and Reel." Tunes, Library of Congress AFS L9. 12. Bowman (1908), No. 323, "Yellow The Nashville Washboard Band, James Peaches Reel." This and the preceding Kelley, mand, Nashville, Tenn., 1941. are in all likelihood nonce titles. 13. Roche (1912), II, p. 12, No. 216, "The Soldier's Joy. " D. Unpublished recordings 14. Perrow ( 1915) , p. 185, "I Love 37. AFS 900 B 1. Otis and Vernon Light, Somebody." East Tenn. whites, vel, fdl, Llano, Tex., 1937, 1. Lomax. 1905. 38. AFS 930 A2. E. K. Bowman, fdl, 15. Burchena1 (1918), p. 6. Tobe Hilburn, caller, Abilene, Tex., 16. Dunham (1926), No. 31. 1937,1. Lomax. 17. Fillmore ( 1927) , No. 93, Donated by 39. AFS 947 B. Elic Buckner, fdl, J. C. W. A. Hopkins, Greenville, Ohio. Fowler, gtr, Alva Ruffner, bio, S. C. 18. Sandburg (1927), pp. 140-41 , "Love Simon, caller, Lubbock, Tex., 1937, Somebody, Yes I Do. " J. Lomax. 19. Ryan (1928), p. 5. 40. AFS 1348 BI. E. C. Ball and his 20. Adam (1928), No.2. "as played by string band, Galax, Va., 1937, J. Blind John." Lomax-B. Lomax. 21. Crampton (1930), p. 57, "Sailors 41. AFS 1535 B2. Luther Strong, fdl, Hornpipe." Hazard, Ky. , 1937, A. Lomax-E. 22. Robbins (1933), No. 56. Lomax. 23. figs and Reels (1937), p. 21 , "The 42. AFS 1692 B2. Jimmie Powers, fdl, Soldier's Joy Hornpipe." Turner Powers, bio, Rosie Ledford, 24. Linscott (1939), pp. 110-11. Played gtr, Cincinnati, Ohio, 1938, A. Lomax by Willie Woodward, Bristol, N.H. -E. Lomax. Jimmie Powers was from 25. Bennett (1940) , p. 76. Fiddlin' Bill Indianapolis, Ind. Hensley, fdl , near Asheville, N.C., 43. AFS 1714 A2. Henry Davis, fdl, Ham­ 1940. ilton, Ohio, 1938, A. Lomax-E. 26. Ford (1940) , p. 49. Lomax. 27. Bayard (1944) , No. 21, "The King's 44. AFS 1738 A3. Thomas M. Bryant, Head." Mrs. Sarah Armstrong, fdl, fdl, Evansv ille, Ind., 1938, A. Lomax­ near Derry, Pa., 1943. E. Lomax.

4 45 . AFS 2738 B2. Taylor Houston, fdl , 62. AFS 5268 A I. Ralph Eutsler, mand, Stafford Houston, gtr, Paul Jefferson, Carl Tilden , gtr, Galena, Mo., 1941, bio, Rocky Mount, Va., 1939, Halpert. Randolph. 46. AFS 2971 A3. W. E. Claunch, fdl , 63. AFS 5280 A3. Fred Painter, fdl, Cecil Mrs. Christeen Haygood, gtr, near Stevens and Carl Tilden, gtr, Ralph Guntown, Miss., 1939, Halpert. Eutsler, mand, Galena, Mo., 1941, 47. AFS 2998 Bl. John Hatcher, fdl , Randolph. near Burnsville, Miss., rec. at Iu ka , 64. AFS 5379 A2. Lon Jordan, fdl , Farm­ Miss., 1939, Halpert. ington, Ark., 1941 , Randolph. 48. AFS 3045 B4. Stephen B. Tucker, fdl , 65. AFS 5421 A2. Delbert McGrath, fdl, Meridian, Miss., 1939, Halpert. Day, Mo., 1942, Randolph. 49. AFS 3252 A2. Rindlisbacher group, 66. AFS 5623 A2. Mrs. F. E. Goodwyn, homemade fdl and gtr, Rice Lake, Wis. , fdl , Frank Goodwyn, gtr, Hebbron­ reC. at National Folk Festival, Chicago, vi lle, Tex., 1941 , J. Lomax. 111 .,1937, Robertson. 67. AFS 6055 AI. Frank Cates, fdl, Rock­ 50. AFS 3258 BI. Check Stafford, hca, land, Maine, 194 1, Linscott. ace. by pOD, gtr, acen , and dbl bass , National Folk Festival, Chicago, 111., 68. AFS 6722 A3, " Love Somebody." 1937, Robertson. Effie Wilson, strummed dule, Marrow­ 51. AFS 3305 A2. Willard Lay, hca, bone, Ky., 1942, A. Lomax-Jackson. Arthurdale, W. Va., 1936, C. Seeger. 69. AFS 6722 A4, 5, "Love Somebody." 52. AFS 3717 B3. J. H. Buck, fdl, Mrs. Effie Wilson, dingle bow, Marrow­ V. W. Gifford, pno, V. W. Gifford, bone, Ky. , 1942, A. Lomax-Jackson. trumpet, East Bethel, Vt., 1939, Flan­ 70. AFS 6726 A3, "Love Somebody." ders-A. Lomax. A. K. Smith, bio, Saltville, Va., 1942, 53. AFS 3764 B2. Wade Ward, fdl , Galax, A. Lomax. Va., 1939, P. Seeger-A. Lomax. 7 1. AFS 7267 B2. Jim Hamm, fdl , Hal i­ 54. AFS 4 130 A I , "Fisher's Hornpipe." fax, Nova Scotia, 1944, Creighton. Herman Beeman, fdl , Elick Orr, gtr, 72. AFS 8476 BI. F. M. Howell , fd l, FSA Camp, Visalia, Calif., 1940, Rufus Crisp, bio, All en, Ky., 1946, Todd, Sonkin. M ayo-J amieson-Simon. 55. AFS 4146 B. Earl Stout, fdl , A. L. 73. AFS 8482 AI. Sam Leslie, fdl , Palmer Mitchell, gtr, West George, caller, Crisp, gtr, Allen, Ky., 1946. Mayo­ Firebaugh FSA Camp, Firebaugh, Jami eson-Simon. Calif., 1940, Todd-Sonkin. 74. AFS 8505 AI. Sam Leslie, fdl , Palmer 56. AFS 4177 A2, "French Four." Lei­ Crisp, gtr, Forrest Burchett, caller, zime Brusoe, fdl , Rhinelander, Wis., Emma, Ky. , 1946, Mayo-Jamieson­ 1940, Draves-Stratman-Thomas. Simon. 57. AFS 4208 B2. Pat Ford, hca, from 75. AFS 8515-1 B2. Ernest Vimberly, fdl, Wis., rec. at Shasta Dam, Central Charles Lance and George Smart, gtr, Valley, Calif., 1938, Robertson. Please Taylor, dbl bass, Sam Patri ck, 58. AFS 4219 Bl. John Selleck, fdl , caller, McMinnville, Tenn., 1946, Camino, Calif., I 939\. Robertson. Mayo-Jamieson-Simon. 59. AFS 4227 A2. Mrs. Ben Scott, fd l, Myrtle B. Wi lkinson, bio, Turlock, 76. AFS 8530 B I. Rufus Crisp, bio, Allen, Calif., 1939, Robertson. Ky., 1946, Mayo-Jamieson-Simon. 60. AFS 4944 B3. Emmett Lundy, fdl, 77. AFS 9183 B3. Wordel Martin, fdl, Kelly Lundy, gtr, Jeedy Lundy, bio, Cooperstown, N.Y., area, 1948, Jones. Galax, Va., 1941, A. Lomax-Wiesner­ 78. AFS 9337 BI. Pugs Scott, fdl , acc. by Liss. gtr, Benson, Ariz., rec. at Old Time 61. AFS 5234 B2. Anon. fd l, bio, mand, Fiddlers' Contest, Tucson, Ariz., 1948, Galax, Va., early 1940s, A. Lomax. Wi ley.

5 79. AFS 9338 A2. Bill Bradley, fdl, acc. tion. Mr. Brusoe's version is relatively close to by gtr, Old Time Fiddlers' Contest, tbe original, including all three strains and keep­ Tucson, Ariz., 1948, Wiley. ing close to the melodic line, but it features 80. AFS 9480 B3, "Love Somebody." numerous minor changes. Bascom Lamar Lunsford, vcl, Bun­ The term "schottische" is German for "Scot­ combe County, .c., rec. at LC, 1949. tish" and was used to describe a Continental dance fancied to be in the Scottish style. Things Scottish were in considerable vogue during the first half of the nineteenth century, and this A2-QUADRILLE. AFS 4189 BI. Leizime dance was part of the vogue. The dance was Brusoe, fiddle, Rhinelander, Wis., August introduced into England, then into America, 31 , 1940, Robert F. Draves and Helen Strat­ where it enjoyed a blaze of fasbionability fol­ man-Thomas. lowed by steady popularity for several decades. The dance was picked up in rural areas, then in The quadrille, a popular nineteenth century time consigned to them; at present the schottiscbe dance, frequently used tunes in 6/ 8 time, though lives Chiefly in the memory of a few traditional 2/ 4 and 4/ 4 are also common. Evidently all musicians who generally think of it as a variety that the quadrille required was the basic duple of tunes rather than a dance. The tunes are in rhythm for the steps of the dancers. This qua­ 4/ 4 time, slower than reels, cast in dotted drille is a 6/ 8 version of an intern ational tune eighths and sixteenths with frequent ornaments, most commonly known as "Buffalo Gals" in the and often modulating from strain to strain. They United States. A fuller history of the tune is are known in the South, though they perhaps given in the notes io "Buffalo Girls," B 10 of have flourished more in the North. this recording. Whether this quadrille represents a reworking of "Buffalo Gals" in orth America VARIANTS or is independently derived from Europe cannot A. Printed sources be determined with the evidence now available. I. Byerly ( 1853). Sheet music, arr. for pno. 2. Buckley ( 1855), p. 23, "Crystal Schot­ tisch." A3- TWO-STEP SCHOTTISCHE ICrystal 3. Lovett (1926), pp. 153-54, "Old Schottische]. AFS 4189 A2. Leizime Brusoe, Southern Schottische." fiddle, Rhinelander, Wis., August 3 1, 1940, 4. Dunham (1926), No. 24, "Old Times Robert F. Draves and Helene Stratman­ Shottischc. " Thomas. 5. Ford (1940),p. 157. 6. Bayard (1944), No. 36, "Schottische." The schottisc he was in its American heyday Mrs. Sarah Armstrong, fdl, near Derry, as a fashionable dance in the mid-nineteenth cen­ Pa., 1943. lliry. Shottisches abound in sheet music of the 7. Ruth ( 1948) , p. 33, "Old South Schot­ period, and some collections include schottische tischc. " sections. Created by popular composers of the day, most of them soon faded from popular memory, but a few schottisches passed into traditional circulation and, by virtue of purely musical appeal, survived the demise of the dance in the early twentieth century. Such is the history A4-HIGHLAND FLING. AFS 3279 B3. Lei­ of "The Crystal Schotlisc he," composed by Wil­ zime Brusoe, fiddle, Rhinelander, Wis.. liam Bycrly and published in New York by Jul y 1937, Sidney Robertson Cowell. Firth, Pond and Co. in 1853, which has turned up in the repertories of twentieth century fiddlers Most commercial fiddle-tune collections of the in versions modified from tbe original publica­ nineteenth century contain a few tunes in the

6 category of "highland fling," a reflection of the AS-THE WIND THAT SHOOK THE BAR­ vogue for the dance in nineteenth century Amer­ LEY. AFS 4484 AS. Patrick Bonner, fiddle , ica. Musically the highland flings were charac­ Beaver Island, Mich., 1940, Ivan Walton. terized by dotted eighth and sixteenth combina­ tions replete with the "Scottish snap" pattern This Irish reel appears regularly in published fJ. fJ.. The tunes appropriated for the fiddle-tune collections and sporadically among fling were usuall y Scottish strathspeys, which traditional musicians in norrhern areas of the used the sa me rhythmic combinations, or worked­ United States. The oldest printed versions at over reels; a few new tunes were composed for hand are from the nineteenth century, but the the dance. The fling, like the strathspey and the tune may date from the eighteenth. The Irish sentimental Scottish song, is a manifestation of associations of the title have given rise in thi s the interest of the rest of the English-speaking century to at least three sentimental songs about world in Scottish music of all varieties and in Ireland, all entitled "The Wind That Shakes the "Romantic Scotland" in general. Barley" but none using the instrumental tune. Leizime Brusoe's tune usually goes by the Printed sets of the tune almost always use the name "Lord Moira." It is not listed by John "circular" form so common in British instru­ Glen in his "Analytical Table" of Scottish dance mental tradit:on in stead of ending each strain music before 1784 (Glen, I, xv-xvii), and avail­ by coming to rest on the tonic. A characteristic able evidence suggests that it appeared in print of American instrumental tradition, however, is in Great Britain some time during the early the comparative absence of circular tunes. No nineteenth century_ Mr. Brusoc's rendition is in new circular tunes are created, and older British the traditional fling style-rather slow, orna­ circular tunes are usually modified to provide mented, using dotted eighths and sixteenths with them with clear tonic points of rest in conformity a Scottish snap near the begi nning of the first with what might be called the national musical phrase. taste. This is precisely what has happened to Patrick Bonner's version. Other apparently American characteristics VARIANTS show up in Mr. Bonner's playing, though Beaver Island has been ethnically a "little Ire­ A. Printed sources land," with particularly strong representation I. Astor ( 1808?), p. 7, "Lord Moira's from Donegal (see Walton, pp. 243-50). He Welcome to Scotland." With dance plays vigorously and forthrightly, and he intro­ instructions. duces strong accents on many offbeats. The 2. Gentlemen's Amusement, (ca. gracelike sixteenth-note triplets remind one of 1824) , p. 3, "Loudon's Bonnie Irish fiddling, but the general impression is of a Woods." variety of American instrumental styles. This is 3. Howe (1850) I, p. 40, "Lord Moira's not surprising, for though most varieties of Return from Scotland." Three strains. American fiddling reveal some degree of Irish 4. Howe (1863), lI, p. 121, "Lord influence, aspects of the dominant culture would Moira, or Loudon's Bonnie Woods tend to supplant rather than blend with any and Braes." In "Scotch Airs" section. enclaves of "pure" Irish style, once contact was 5. Ryan (1883), p. 259, "Lord Moira's­ established. And Beaver Island in the earlier Highland Fling." In G, two strains. twentieth century probably had a great deal more Since other sets are in F, and since this musical contact with the outside world than one uses the designation "Highland Walton suggests. The fascination with isolation Fling," Mr. Brusoe's version may has often beguiled collectors even when evidence derive from this set (whether in this of cultural exchange and interplay was every­ or another publication). where for the asking. But one cannot yet be sure 6. Stewart-Robertson (1884), p. 210, of these generalizations about in strumental style, "Lord Moira." Designated "S:low for the fluid, lyrical, ornamented style one asso­ Strathspey." Three strains. ciates with Irish fiddling may not characterize

7 all of Ireland today, much less all of Ireland a Twelve Hornpipes Composed by J. Fishar centuryago. (London, ca. 1780). Fishar may well have com­ posed the tune, although the other tunes in the VARIANTS-"The Wind That Shakes the Bar­ collection seem less idiomatic and made no par­ ley" unless otherwise noted ticular impression upon the folk mind. By the A. Printed sources year 1800 the tune was already in widespread circulation, usually called "Fisher's Hornpipe." 1. Winner (1853), p. 29, "Jig." Popular collections of the nineteenth century 2. Brother Jonathan's Collection (1862), printed it regularly, and by the twentieth century p. 9, "Fit It 1." it had survived to become one of the most popu­ 3. Ryan (1883), p. 40; One Thousand lar hornpipe tunes in Great Britain and America. (1940), p. 22. The duple-time hornpipe (not to be confused 4. Stewart-Robertson (1884), p. 89. with the 3/2 hornpipe still current in the 5. Gill (1898), p. 113, "Creg Willy Sil. eighteenth century) was at the height of its popu­ (Willy Sylvester's Rock.)." From larity on both sides of the Atlantic in the period MSS. of John Clague, the MS. version roughly between 1780 and 1850. The dance is printed with notes in JFSS, VII was executed at a slower pace than reel time and (1924), p. 172. frequently featured fancy footwork. Similar 6. Petrie (1902) , No. 320. dances-probably descendants-are the clogs 7. Petrie (1902), No. 321. that flourished in the latter half of the nine­ 8. O'Neill (1903), No. 1518; (1907) , teenth century and the tap dances of this century. No. 737. Hornpipe tunes, besides being properly rendered 9. Harding (1905), No. 129. at a slower pace than reels, usually employ a 10. DeVille (1905), No. 74. II. Bowman (1908), No. 239, " Wind rhythmic pattern approximating J. 3 J. 3or That Shakes the Barley Reel." 12. Roche (1912), I, p. 75 (No. 199). J2-j J) .The melodic lines often rely heavily 13. Burchenal ( 1929), p. 120. upon arpeggios, reflecting a strong influence of 14. Greenleaf and Mansfield (1933), p. harmonic concepts upon the new popular tunes 376, " Wind Shakes the Barley." Mrs. of the nineteenth century. Peter Lahey, acen, Fortune Harbor, Since the demise of the hornpipe as a dance, Newfoundland, 1929. American hornpipe tunes have tended to be 15. Robbins (1933), No. 25. drawn into the general recl repertory, which 16. Ford (1940), p. 42. call s for a faster tempo. But the hornpipe tunes 17. Bayard (1944), No. 23, "The Wind are often showpieces with rather complicated That Shook the Barley." Whistled left-hand fingerings; executing them at a reel and sung by F. P. Provance as he tempo can easily lead to the sense of harried formerly played it on fd l, Point effort apparent in Mr. Bonner's rendition and, to Marion, Pa., 1943. a sli ghter degree, in the rendition of " Rickett's Hornpipe" on B7 of this recording. Although a B. Unpublished recordings few fiddlers such as Leizime Brusoe have cul­ tivated their left-hand technique to the extent 18. AFS 90 IS A2. Paul Sweeney, fdl , that they can execute complicated hornpipes at Belfast, Northern Ireland, 1943, BBC. a dazzling pace, most fiddlers are more at home with the ordinary reels, where the left hand has A6-FISHER'S HORNPIPE. AFS 4484 B2. fairly simple fingering patterns. Patrick Bonner, fiddle, Beaver Island, Mich., 1940, Ivan Walton. VARIANTS

The earliest known set of this famous horn­ A. Manuscript sources pipe is labeled "Hornpipe I" in Sixteen Colil­1. Adams ( 1795), p. 19, "Fishers Horn­ Ions, Sixteen Minuets, Twelve Allemands and pipe."

8 2. Shattuck (ca. 1801), p. 37, "The 31. 33 rpm 28th A nnual Galax Old Fid­ Fishers Hornpipe." dlers' Convention, Folk Promotions FP12957. Glen Smith, fdl. 32. 33 rpm Texas Fiddle Favorites (Coun­ B. Printed sources ty 707), Major Franklin, fdl. 3. Fishar (ca. 1780), p. 48, "Hornpipe I." D. Unpublished recordings 4. McGlashen (1781), p. 34, Untitled, 33. AFS 1371 AI. Bogtrotters Band, "danced by Aldridge." Galax, Va., 1937, J. Lomax-B. 5. Longman and Broderip (ca. 1786), p. Lomax. 28, "Lord Howes Hornpipe." 34. AFS 3046 A2. Stephen B. Tucker, 6. Winner (1851), p. 4; (1853), p. 6, fdl, Meridian, Miss. 1939, Halpert. "Fishers' or Sailors' Hornpipe." 35. AFS 3276 Bib. Untitled, Thomas 7. Howe (1851), p. 40. Mann, hammered dulc, Ortonville, 8. Howe (1858), p. 50. Iowa, 1937, Robertson. 2d part of 9. Ryan ( 1883), p. 187; One Thousand medley. (1940), p. 95. 36. AFS 3278 A I. Leizime Brusoe, fdl, 10. Ryan (1886), p. 47. Rhinelander, Wis., 1937, Robertson. II. Winner (1894), p. 79. 37. AFS 4177 AI. Leizime Brusoe, fdl, 12. Winner (1894), p. 77, " Durang's Rhinelander, Wis., 1940, Draves­ Hornpipe." Stratman-Thomas. 13. White ( 1896), p. 39 . 38. AFS 4940 BI. Emmett Lundy, fdl , 14. O'Neill (1903), No. 1575; ( 1907) , Kelly Lundy, gtr, Jeedy Lundy, bjo, No. 825. 1st setting. Galax, Va., 1941, A. Lomax-Wiesner­ 15. O'Neill (1903), No. 1576. 2nd setting. Liss. 16. De ViUe (1905), No.6. 39. AFS 5638 B3. AI Brite, fdl, J. H. 17. Bowman (1908), No. 190, " Fisher's Heathcock, gtr, San Antonio, Tex., or Sailor's Hornpipe." 1941 , J. Lomax. 18. Joyce ( 1909), No. 103, "The Black­ 40. AFS 6355 AI. Michael Cruise, fdl. smith's Hornpipe." Learned by Joyce Tucson, Ariz., rec. at Le, 1942, A. in his childhood. On pp. xv-xvi of Lomax-Schwartz. Preface he mentions a set of the tune 41. AFS 6682 B3. Frazier, bjo, Patterson, in a Danish collection. fdl, Nashville, Tenn., 1942, A. Lomax­ 19. Roche (1912), III, p. 63, No. 181 , Work. "Wigs on the Green ." 42. AFS 7114 B2. Untitled "French reel." 20. Burchenal (1918), p. 47. Armand Mongeon, hca, Debert Mili­ 21. Dunham (1926), No. 12. tary Camp, Nova Scotia, 1943, Creigh­ 22. Ryan (1928), p. 17. ton. 23 . Adam (1928), No. 40. 43. AFS 7942 AI. George L. Hawkins, 24. Robbins (1933) , No. 63. fdl, Bethel (?), Ky., rec. at Renfro 25. Jigs & Reels (1937), p. 8. Valley Folk Festival, Ky., 1946, Moser. 26. Linscott ( 1939), p. 77. Edson H. 44. AFS 855 1 B l. Marcus Martin, fdl, Cole, fdl, Freedom N.H. Ararat, N.C., 1946, Mayo-Jamieson­ 27. Ford ( 1940) , p. 39. Simon. 28 . Ruth (1948), p. 10, "Fischer's Horn­ pipe." A7-THE MAID OF KILDARE. AFS 4484 29. Artley (1955), p. 59, Ex. 25. BI. Patrick Bonner, fiddle, Beaver Tsland, Mich., 1940, Tvan Walton.

C PubUshed recordings This seems to be a modification of a reel 30. 78 rpm Vocalion 5017. Al Hopkins & sometimes called "Limerick Lasses" in printed His Buckle Busters, N.C. and Va. collections. The first strain also appears with

9 another second strain under various titles, includ­ fine traditional version has been recorded along ing "The Maid of Argyle." Mr. Bonner's set the Virginia-West Virginia border, however. differs rather markedly from printed sets in the Michael Cruise was born about 1872 in second strain, but the resemblance is never alto­ Chesterfield, 1llinois, and grew up in lllinois and gether obscured. He plays it in the same general Nebraska. He went to Colorado to prospect in style which he uses to render "Wind That Shook the Cripple Creek area after the famous gold the Barley"-a vigorous, straightforward style strike there. Later he moved to southern Ari­ with alternations of an eighth and two sixteenths, zona in another prospecting venture. He plays occasional grace notes, and a few bow-slurs. in a simple, straightforward style with separate bow strokes for each note. His rendition of VARIANTS "Money Musk" is slower than usual renditions but it is otherwise a standard set. A. Printed sources, Type A (1st and 2d strains similar to above) VARIA TS A. Printed sources 1. Ryan (1883), p. 19; One Thousand ( 1940), p. 1I, "Limerick Lasses­ 1. Longman and Broderip (ca. 1780), Reel." Three strains. p. 24. With dance directions. 2. Ryan (1883), p. 49; One ThaI/sand 2. McGlashan (ca. 1786). p. 19, "Sir (1940), p. 25 , "Who Made Your Archd. Grant's Reel." Breeches?-Reel." 3. Peacock (ca. 1801), p. 2. 3. O'Neill (1903), No. 1451; (1907), 4. Knauff (1839), I, No. I, "Killie No. 684, "The Limerick Lasses." Krankie." Three strains. 5. Howe (l851),p.29. 6. Winner (1853), p. 55, "Highland B. Printed sources, Type B (Ist strain similar to Fling." above, 2d strain different) 7. Howe (1858), p. 58. 4. Davie (ca. 1825) , p. 82, " Kincal­ 8. White ( 1880), No. 52, "Money Musk­ drum's Reel." Strathspey." 5. Ryan ( 1883) , p. 67; One Thousand 9. Winner (1882), p. 47, "Highland (1940), p. 35, "The Maid of Argyle's Fling or Money Musk." -Reel." 10. Ryan (1883), p. 61; One Thousand (1940) , p. 31 , "Money Musk-Reel." 11. Ryan (1883) , p. 254; One Thousand AS-MONEY MUSK. AFS 6355 A4. Michael ( 1940) , p. 128, "Money Musk­ Cruise, fiddle, Tucson, Ariz., recorded at Strathspey." the Library of Congress, April 15, 1942, 12. Winner (1894), p. 79. Alan Lomax and Josephine Schwartz. 13. White (1896), p. 20, "Money Musk Reel." "Money Musk" is one of the most famous 14. O'Neill (1903), No. 1361; (1907), reels in British-American tradition. According No. 614, "The Money Musk-Irish to Glen, it was composed by Daniel Dow and Style." published in one of his collections (ca. 1775) 15. De Ville (1905), No. 63. under tbe title "Sir Archibald Grant of Mone­ 16. Bowman ( 1908), No. 280, "Money musk's Reel," becoming a favorite in Scotland Musk or Highland Fling." and spreading into Irish, English, and North 17. Roche (19 12) , II, p. 36, No. 288, American tradition (Glen, I, ix, xvii). Printed "The Monnymusk." sets are legion and have served to stabilize the 18. Burchenal (1918), I, p. 55. tune in some areas. It has turned up regularly in 19. Hinman (1924, 1930), V, p. 69. The twentieth-century American tradition except in commentary refers the reader to Vic­ the South, where evidence indicates that it was tor21616. once current but passed out of circulation. One 20. Dunham (1926), No. 28.

10 21. Lovett (1926), p. 107. refashioning "Haste to the Wedding" into the 22. Adam (1928), No. 59. Ubiquitous reel mold. The popularity of the tune 23. Ryan (1928), p. 18. in America is partly due to its being used as a 24. Crawford (1931), p. 43. quickstep by nineteenth-century militias. 25. Robbins (1933), No. 120. Mrs. Ben Scott was born in Sacramento in 26. Robbins (1933), No. 177, "Highland 1863 and grew up in Monterey County, Cali­ Fling (Scotch)." fornia, where she learned to fiddle. She was 27. Jigs and Reels (1937), p. 19, "Money unable to read music. Her style is simple, Musk Hornpipe." straightforward, and robust-typical of the ma­ 28. Linscott (1939), p. 98. Lewis L. Jill­ jority of fiddlers who never attain a dazzling son, Bernardston, Mass. U[n the early technique but find an established stylistic eighteenth century this tune was plateau which enables them to play with assur­ known as 'The Countess of Airly.' It ance and enthusiasm. Her rendering of the 6/ 8 came from the village of Money Musk, measure is generally a series of even eighth in Aberdeenshire, Scotland." notes. In the South it is more common to play 29. Ford (1940), p. 52. 6/ 8 tunes with a lengthening of the first and 30. Ruth (1948), p. 9. third eighth of each three-note group at the 31. Cazden (1955), p. 31. expense of the second. This trait shows up in the rendition of "Haste to the Wedding" by B. Published recordings Stephen Tucker, B9 on this recording. 32. 78 rpm Victor 20447-A, "Money Musk No. I." Victor Orchestra. VARIANTS C. Unpublished recordings A. Manuscript sources 33. AFS 3278 A2, "Money Musk Med­ 1. Beck (1786), p. 26. ley." Leizime Brusoe, fdI , Rhinelan­ 2. Shattuck (ca. 1801) , p. 36 "Rural der, Wis., 1937, Robertson. The sec­ Felicity." ond part of the medley is "Money B. Printed sources Musk." 34. AFS 5014 B 1, 2. Leizime Brusoe's 3. Chappell (1840), No. 163. With Orchestra: Leizime Brusoe, fdl, Rob­ words.. Reprinted in JEFDSS, III ert McLain, clarinet, Walter Wyss, (1938), p. 210. dbl bass, Emery Olson, accn, Rhine­ 4. Howe (1850), I, p. 55. lander, Wis., 1941, Draves-Stratman­ 5. Winner (1866), p. 6, "Sarah's Young Thomas. Man." Only first strain related. 6. Ryan (1883), p. 105; One Thousand (1940), p. 53. 7. White (1886), p. 69, "Come Haste to A9-HASTE TO THE WEDDING. AFS 4227 the Wedding." B4. Mrs. Ben Scott, fiddle, Myrtle B. Wil­ 8. O'Neill (1903), No. 987; (1907), No. kinson, tenor banjo, Turlock, Calif., Octo­ 208. ber 31 , 1939, Sidney Robertson Cowell. 9. De Ville (1905), No.6!. 10. Harding (1905), No. 110, "01 Haste "Haste to the Wedding" is one of the most to the Wedding." famous 6/ 8 tunes in British and American tradi­ 11. Sharp (1909-22) , II, pp. 8-9. tion. Chappell (National English Airs, No. 163) 12. Roche (1912), II, p. 37, No. 291. traced the tune to a version used in a pantomime 13. Burchenal (1918), p. 42, "Sicilian in 1767; beyond that date its history is shrouded. Circle. " Modern traditional sets have been recorded in 14. Brown, V (1962), pp. 100-101, Great Britain and in nearly every area of the "Johnny, Oh Johnny." Jewell Rob­ United States. A few 4/ 4 tunes recorded or bins, vel, Pekin, Montgomery County, printed in America seem to be the result of N.C., 1921-22.

11 15. Burchenal (1925), p. 104. 34. AFS 3691 BI. L. O. Weeks, fdl, 16. Dunham (1926), No. 39. Springfield, Vt., 1939, Flanders-A. 17. Lovett (1926), p. 112. Lomax. 18. Fillmore (1927), No. 49. Donated by 35. AFS 3820 AI , 3820 A4. Thomas John Benj amin, Michigan. Vol. Inf. Mann, hammered dulc, Ortonville, 19. Morris (l927) ,No.16. Iowa, 1937, Robertson. 20. Adam (1928), No. 15 36. AFS 5322 B2. Lon Jordan, fdl, Mrs. 21. Robbins (1933), No.5, "Come Haste Stella Buchanan, pno, Farmington, to the Wedding." Ark., 1941, Randolph. 22. JEFDSS, III (1938), p. 208. From 37. AFS 6050 BI. Roger Robinson, fdl, Hardy MS., given to Thomas Hardy's Bowdoinham, Maine, 1941, Linscott. father by James Cook, to whose father 38. AFS 6054 A2, "Come Haste to the it originally belonged. Wedding." Frank Cates, fdl, Rock­ 23. Linscott (1939), pp. 88-89, "Come land, Maine, 1941 , Linscott. Haste to the Wedding." Smith Paine, 39. AFS 6075 B2c. Isaac NcNeilly, hca, Wolfeboro, N.H. Springfield, Mass., 1941, Linscott. 24. Thomas & Leeder ( 1939), p. 63, 40. AFS 7267 A2. Jim H amm, fdl , Hali­ " Foot Prints, or Put Your Little Foot fax, Nova Scotia, 1944, Creighton. Right Here." One strain. As Bayard 41. AFS 9017 A. Lilted by John Barratt, suggests, this is the first strain of Belfast, Northern Ireland, 1943, BBC. "Haste to the Wedding" worked over 42. AFS 9183 AI. Wordel Martin, fdl, into waltz time. Cooperstown, N.Y., area, 1948, Jones. 25. Ford (1940) , p. 53, " Haste to the 43. AFS 9206 B3. Ken Faulkner, fdl, Wedding, or Perry's Victory." Devil's Island, rec. at Eastern Passage, 26. Ford (1940), p. III , "Granny Plays Nova Scotia, 1948, Creighton. the Fiddle." In 2/ 4 time. 27. Wilkinson (1942), p. 8. J. H. Chis­ holm, fdl, Greenwood, Va. AIO--PERRY'S VICfORY, AFS 4227 B3. Mrs. 28. Bayard (1944), No. 22. Emery Mar­ Bcn Scott, fiddle, Myrtle B. Wilkinson, tin, fdl, Dunbar, Pa., 1943. banjo, Turlock, Calif., October 31, 1939, 29. Ruth (1948),p.4. Sidney Robertson Cowell.

C. Published recordings Oliver Hazard Perry's victory in the Battle 30. 78 rpm Gennett 6088 ( 1927). Tommy of Lake Erie, September 10, 1813, inspired Dandurand & His Gang of WLS. Also several patriotic songs celebrating the feat, most released on Champion 15354, Silver­ of them published soon after the event. Popular tone 5014, Silvertone 8125, Supertone songsters well into the nineteenth century kept 9158. some of these songs alive, but they seem not to 31. 33 rpm Play and Dance Songs and have made a lasting impression upon American Tunes, Library of Congress AFS L9. traditional repertory, for songs and tunes naming Thomas Mann, hammered dule, Orton­ Perry have not often been collected in traditional ville, Iowa. circumstances during this century. This instru­ mental tune has no apparent connection with the D. Unpublished recordings songs about Perry. 32. AFS 1739 AI, "Irish Washwoman." Thomas M . Bryant, fdl, Evansville, Ind., 1938, A. Lomax-E. Lomax. All- HULL'S VICfORY. AFS 3688 A!. L. O. 33. AFS 1840 B1 , "Green's March." Bas­ Weeks, fiddle, Cavendish, Vt., recorded at com Lamar Lunsford, fdl, New York, Springfield, Vt., November 3, 1939. From N.Y. , 1935, Hibbitt-Greet. 1st strain the Collection of Helen Hartness Flanders is the usual 1st strain; 2d strain is the as recorded for the Library of Congress by high strain of Green's March." Alan Lomax.

12 "Hull's Victory" is one of several tunes and VARIANTS songs celebrating the victory of the Constitution, commanded by Capt. Isaac Hull, over the Guer­A. Printed sources riere off the coast of Nova Scotia on August 19, 1. "Hull's Victory" (with "Salem Cadet's 1812. The earliest ve rsion of this tune yet to March") [1820-25]. Arr. for pno. See appear is dated by Wolfe between 1820 and Wolfe, No. 4391. 1825 (Wolfe, I, No. 4391). It is a thoroughly 2. The Casket (ca. 1830), p. 70. instrum ental tune and no words seem to have 3. Howe ( 1850), I, p. 56. been set to it; songs about Hull's victory, such 4. Howe (1851), p. 40. as John Bray's composition soon after the battle 5. Howe ( 1858), p. 57. and "The Constillllion and the Guerriere" (Laws 6. Rya n ( 1883), p. 205; One Thousand A6) , use other tunes more suited to si nging. (1940) , p. 103. The fiddle tune "H ull's Victory" has appeared 7. White (1896), p. 42. in a number of popular fiddl e-tune collections, 8. O'Neill (1903), No. 1702. This set is but its traditional circulation has been generally in D. confined to New England. The rendition by L. 9. De Ville ( 1905 ), No.8, " Hull's Vic­ O. Weeks shows an interesting traditional modi­ [Ory Hornpipe ." fication of the tune. All the printed sets and 10. Dunham ( 1926 ), 0.18, " Hull's Vic­ other recordings of the tune end the first strain tory Hornpipe:' on the dominant, but this ve rsion converts the 11. Robbins ( 1933) , No. 44. dominant to a tonic final when the strain is 12 . Linscott (1939), p. 87. Willie Wood­ repeated, drawing upon the final phrase of the ward, fdl. Bristol. '.H . second strain for the substitution. Several smaller 13 . Ford (1940), p. 74. variations from the standard printed sets confi rm the impression that this is a good traditional D. Published recordings version. 14. 78 rpm Columbia A3527 (79850). All versions of th e tune are in the key of F. To Don Richardson, fdl, Philip Hauser, some fiddl ers the key does not present problems, pno. Part of medley. but many complain of the difficulty of playing in "the flat keys." The problem is that most fiddle C. Unl>ublished recordings tunes fall in the keys of A, D, and G, where 15 . AFS 3693 AI. Elmer Barton, fdl , there is always a whole [One between the Quechee, Vt., 1939, Flanders-A. open string and first finger and between the Lomax. third and fourth finger, " Hull's Victory" calls for 16. AFS 6050 A 1. Roger Robinson, fd l, semi tones on the A-string and the E-string in Bowdoinham, Maine, 1941 , Linscott. these positions. Whether the failure to adjust to the new left-band position is annoying or sounds out of tune probably varies from musician to All-DUMMER'S REEL. AFS 3696 AI. Elmer musician. It is always possible that technical Barton, fiddle, Quechee, Vt.. November 4. problems, instead of being overcome or avo id ed, 1939. From the Collection of Helen Hartness have become institutionalized, so that the intona­ Flanders as recorded for th e Library of Con­ tion produced by a fiddl e trying to play in F now gress by Alan Lomax. sounds right to him and his community for that key. Such psychological associations of certain The title is a floating title (see Bayard. Hill keys with certain sca lar intonations occur every­ COl/llIry Tllnes, No. 49). The tune is quite sim­ where in instrumental music. Wherever struc­ ilar to a reel in R yan's MammOTh Collection tural limitat io ns cannot be resolved in the direc­ (1883) entitled "Fletcher's Delight." No further tion of preconceived patterns of intonation, new information on the history of the tune is at hand. patterns of intonation are likely to spring up Mr. Barton, who was sixty when this recording and establish themselves as proper under the was made, was born in Danville, Yt. , into a circumstances. Baya rd (1966) deals with some family of mixed British-American and French­ aspects of this general question. Canadian stock. Hi s rendition of the tune makes

13 use of the complicated slurring patterns widely here be called "The New Desmesne," one of its diffused throughout the South and commonly many titles. The second strain seems to be re­ associated with Irish fiddling. Particularly charac­ lated to the usual first strain of "Miller's Reel," teristic of this bowing style is the occurrence of which also is known by many other titles. I have slurs tying odd groups of sixteenth notes, such as found no other clear instance of these two strains being united-indeed, the fact that one is in D m~, into a syncopated pattern. The and one in A makes the union unlikely-but one history of these slurring patterns, which can be tune that may be distant kin to both strains said to be the very soul of this widespread fid­ occurs in Ryan's Mammoth Collection (1883), dling style, is yet to be written, but there is p. 257 ("The Cottage Maids' Fling"). This evidence that it is a venerable style with roots in tune is listed on the jacket of the original disc as British (probably Irish) fiddling of the late "E. Barnet no. 5" (that is, "E. Barton no. 5") eighteenth and the early nineteenth centuries. and is one of six tunes so listed by number in Syncopation in modern popular music may owe Mr. Barton's recordings. The numbered titles much to this traditional style, which, though may not be the musician's system, however, but usually considered a product of the South, occurs Alan Lomax's. in the performances of traditional musicians such The two tunes, like "Bummer's Reel," illus­ as Elmer Barton with cultural roots far from the trate Elmer Barton's "reel style," which uses South. bow-slurs in a manner reminiscent of Irish fid­ dling. The frequent sixteenth-note triplets in VARIANTS "Wake Up Susan" likewise hark back to an Old World instrumental style. A. Printed sources I. Ryan (1883), p. 94; One Thousand VARIANTS-"Wake Up Susan" (1940) , p. 48, "Fletcher's Delight­ A. Printed sources Reel." 1. McGlashan (ca. 1786) , p. 33, "The Isla Reel." Type A (2d strain similar A13---WAKE UP SUSAN/UNNAMED. AFS to 2d of "Devil's Dream"). 3699 BI-2. Elmer Barton, fiddle, Quechee, 2. Davie (ca. 1825), p. 107, "The VI., November 4, 1939. From the Collection Masons' Apron Reel." Type A. of Helen Hartness Flanders as recorded for 3. Howe (1844), III, p. 40, "Mason's the Library of Congress by Alan Lomax. Laddie." Type A. 4. Howe (1882) , VII, p. 622, "The Two The first of these two tunes, "Wake Up DulIers Reel." Type B (2d strain like Susan," is the American version of a well-known this recording) . British-American instrumental reel, often called 5. Howe (1882), VII, p. 627, "Mountain "The Mason's Apron" in Great Britain and in Dew. Straight Jig." Type C (2d strain published collections. The first strain is the like 2d of "Boil Them Cabbage ~'core" strain; with it are united various second Down" ) with two additional strains. strains, including the present second strain, a 6. Ryan (1883), p. 96; One Thousand strf!.in similar to the second of "Devil's Dream," (1940), p. 50, "Mason's Apron­ and a strain suggestive of the well-known "Boil Reel." Type A. Them Cabbage Down." Versions collected in 7. Ryan (1883), p. 28; One Thousand Maine, Vermont, Pennsylvania, West Virginia, (1940), p. 16, "The Masons' Cap­ Mississippi, and Oklahoma suggest that, though Reel." Type A. the tune is not commonly heard today, it once 8. Ryan (1883), p. 39 One Thousand was current throughout the United States. (1940), p. 21. Type B. The second tune in this medley testifies to the 9. Stewart-Robertson (1884), p. 5, complicated nature of tune histories because of "Mason's Apron Reel." Type A. combinations of strains from dilIerent tunes. The 10. White (1896), p. 20. Type B. first strain is drawn from an Irish reel which may 11. White (1902), p. 10. Type B.

14 12. O'Neill (1903), No. 1343; (1907), VARIANTS-"The New Desmesne" No. 598, "The Mason's Apron." Type A. A. Printed sources 13 . Old Time Jigs and Reels (1906), p. 1. Ryan ( 1883), p. 58, One Thousand 39, " Mason's Apron." Type A. (1940), p. 30, "Pat Carney's­ 14. Joyce (1909), No. 357, "Lady Car­ Reel." bury. Reel." M. Flanigan, Dublin 2. Ryan (1883) , p. 52; One Thousand (learned in North Kildare). Type A. (1940), p. 28, "Joe Tanzy's Reel." 15. Roche (1912), I, p. 6 1 (No. 153), 3. Ryan ( 1883), p. 23; Ol1e Thousand "The Mason's Apron." Type A. ( 1940) , p. 13, "Miss Corbett's­ 16. Ford (1940), p. 47, "Picnic Romp." Reel." Type C modified. 4. O'Neill (1903) , No. 1208; (1907), 17. Bayard (1944), No. 70, "The Cottage No. 484. by the Sea, or The Red Headed Girl." 5. O'Neill (1903), No. 1209. Mrs. Sarah Armstrong, fdl, near 6. O'Neill (1903), No. 1526; ( 1907), Derry, Pa., 1943. Type C. No. 744, "Paddy Murphy's Wife." 18. Artley (1955), p. 57 (Ex. 23), "Wild 7. O'Neill (1903), No. 1307; (1907), Horse." Anon . fd l, central West Vir­ No. 570, "Lawson's Favorite." One ginia, early I 950s. Type C. strain different; see "The Maid of Kil­ 19. Thede (1967) , p. 51, "Jack of Dia­ dare," A 7 on this recording. monds, or Fort Worth." Frank Mc­ 8. O'Neill ( 1903), No. 1490; (1907), Graw, fd l, Pottawatomie County, Okla. No. 714, "The Green Jacket." Type C. 9. Old Time Jigs and Reels (1906), p. 41 , "Pat Carney's Reel."

B. Published recordings VARIANTS-"Miller's Reel" 20. 78 rpm Victor 19964 (1926), "Med­ ley of Reels. " Henry Ford's Old Time A. Printed sources Dance Orchestra, E. P. Baxter, ham­ 1. Knauf! (1839) , II, No.7, "Twenty mered du le, unknown tuba and cim­ Second of February." balom. Reissue, 33 rpm Early Rural 2. Coe (1876), p. 26. Attributed to Zeke String Bands, RCA Vintage LPV-552. Backus. TypeB. 3. Ryan (1883), p. 44, "Spirit of 1880 21. 78 rpm Victor 40298 (1929), "Bril­ -Reel." liancy Medley." Eck Robertson, fd l, 4. Ryan (1883), p. 87; One Thousand acc. by his fam ily, Dallas, Tex. (1940), p. 45. Attributed to Zeke 22. 33 rpm Hoe Down Fiddle Tunes, Backus. Rural Rhythm 114, "Stoney Point." 5. Messer ( 1948), No. 13, "The Dusty DeWayne Wear, fdl , acc. by Wear Miller." Family. Type B. B. Published recordings 6. 33 rpm National Oldtime Fiddlers' C. Unpublished recordings Contest and Folk Music Festival, 23 . AFS 3039 A I, "Stony Point." W. A. Weiser, Idaho, June 17-20, 1964. Lue Bledsoe, fdl, H. D. Kin ard, bjo, Berline, fd l, Kansas. Meridian, Miss., 1939, Halpert. Type 7. 33 rpm Fine Times at Our House, C. Folkways FS 3809 (1964) , "Same 24. AFS 6052 B3 , " Irish Ree l." Nathansel Time Today As It Was Yesterday." Young, fd l, Harold Larrabee, bones, John W. Summers, fdl , Marion, Ind. Rockland, Maine, 1941, Linscott. 8. 33 rpm Texas Fiddle Favorites Type C. (County 707). Norman Solomon, fdl.

15 9. 33 rpm Clark Kessinger: Sweet Bunch Tunes, Nos. 86 and 87, for discussion of these of Daisies, Kanawha 306, "Wilson's two tunes. Like Stepp, most Southern fiddlers Hornpipe." Clark Kessinger, fdl, Gene retune their fiddle for "Bonaparte's Retreat," Meade, gtr. Named after host during lowering the G-string to a drone D and dropping visit when Kessinger recalled the tune. the E-string a whole step to D. Modern sets are Unusual version, probably because of occasionall y influenced by Pee Wee Kin g's re· different key (G). working of the tune, popular in the 1950s on radio and phonograph records, which adds the C. Unpublished recordings ubiquitous "Hootchy Cootchy Dance" ("Girls 10. AFS 7225 AS, "Mason's Apron." Jim of Spain" and other names). Hamm, fdl , Bill Hanleu, drums, Hali­ Most traditional renditions of this tune pre· fax, Nova Scotia, 1944, Creighton. serve a stately pace in the manner of the old 11. AFS 9183 B2, "Dusty Miller Reel." 4/ 4 marches. W. M. Stepp characteristically Wordel Martin, fdl, Cooperstown, plays his tunes at an unusually fast tempo, how­ N.Y., area, 1948, Jones. ever, and here he almost doubles the usual tempo of "Bonaparte's Retreat," converting the tune into a breakdown. By a curious combination of circumstances this unusual rendition has been catapulted into national fame. John and Alan BI-BONAPARTE'S RETREAT. AFS 1568 Lomax published Ruth Crawford Seeger's tran­ A2. W. M. Stepp, fidd le, Lakeville, Ky., sc ri ption of it in Our Singing Country (1941). recorded at Salyersv ill e, Ky., October 26, When Aaron Copland was looking for a suitable 1937, Alan Lomax and Elizabeth Lomax. musical theme for the "Hoedown" section of his ballet Rodeo (first produced in 1942), his eye This famous American fiddle tun e is one of a was caught by the ve rsion in the Lomax book, number of marches and dance tun es associated and he adopted it almost for note as the prin­ with Napoleon Bonaparte. Perusal of ea rl y sheet cipal theme of the sec ti on. music and bound coll ections from both sides of the Atlantic turns up such titles as "Napoleon VARIANTS-Only tunes with" Bonaparte" titles Crossing the Rhine," "Bonaparte's March," and "Bonaparte's Retreat," showing that Napoleon's A. Printed sources entire career, as well as his Waterloo, made a I. IFSS, II (1905), pp. 88-89, "The deep impression upon the Anglo-American mind. Island of St. Helena." Sung by an old Indeed, some present-day folk musicians pass soldier in Dublin, noted in her yo uth along with the tunes certain anecdotes or by Mary Oulton, communicated 1892. snatches of traditional hi story concerning Napo­ The notes cite broadside versions. leon. In add ition to the va ri ous instrumental 2. IFSS, II (1905), pp. 89-90, "Boney's tunes, there are songs about the French leader, in St. Helena ." H . Burstow, vel, Hor· and one of them is e1early related melodically sham, Sussex, England, 1904, Ralph to W. M. Stepp's tune. Whether the song or the Vaugban Williams. instrumental tune came first is hard to determine; 3. Sharp (1932), If, p. 245, "Boney's both fo rms seem to be we ll established in Amer­ Defeat." Mrs. Townsley and Mrs. Wil­ ican tradition, particularly in tbe South. son, vel , Bell County, Ky., 1917. Two tunes called "Bonaparte's Retreat" have 4. Chappell (1939), p. 186, "Napoleon." considerable currency in American in strumental Charles Tillett, vcl, Wanchese, N.C. folk tradition. One of them, a "min or" tune 5. Ford ( 1940 ), p. 129. related to a widespread British-American tune 6. Bennett (1940), p. 61. Bill Hensley, family, is current primarily in the Northeast. Tbe fdl , near Asheville, N.C. other, well known throughout the South and 7. Lomax (1941), p. 55, "Bonyparte." represented here by W. M. Stepp's version, may W. M. Stepp, fdl. This is a transcrip­ derive ultimately from an Irish air called "The tion by Ruth Crawford Seeger of the Eagle's Whistle." See Bayard, Hill Country present recording.

16 8. Bayard (1944), No. 87. Whistled by 23. AFS 3001 A3 , "Bonyparte's Retreat." F. P. Provance, Point Marion, Pa., John Hatcher, fdl, luka, Miss., 1939, 1943. Halpert. Mr. Hatcher distinctly calls it "Bony parts of retreat" at the hegin­ B. Published recordings ning of the disc. 9. 78 rpm Okeh 40110 (1924). A. A. 24. AFS 3160 B5, "Boneyparte's retreat." Gray, fdl, rec. in Atlanta. S. F. Russell, strummed dulc, Marion, 10. 78 rpm Victor 21-0111. Pee Wee Va., 1936, Robertson. King. Originally issued in late 1940s. 25. AFS 4944 AI-2. Emmett Lundy, fdl, 11. 78 rpm. Capitol 1652. Kay Starr, vel. Galax, Va., 1941, A Lomax-Wiesner­ Reissued on 33 rpm The Hits of Kay Liss. Includes commentary. Played Starr, Capitol DT 415. faster second time imitating the escape. 12. 33 rpm Hobart Smith of Saltville, Vir­ 26. AFS 5295 B2. Rafe Scott, fdl, Galena, ginia, Folk Legacy FSA-17 (1963). Mo., 1941 , Randolph. Hobart Smith, fdl. 27. AFS 5325 BI. Lon Jordan, fdl, Stella 13. 33 rpm The Watson Family, Folk­ Buchanan, pno, Farmington, Ark., ways FA 2366 (1962). Gaither Carl­ 1941, Randolph. ton, fdl, Doc Watson, gtr. From west­ 28. AFS 5623 B2. Mrs. F. E. Goodwyn, ern North Carolin a. fdl, Frank Goodwyn, gtr, Hebbron­ 14. 33 rpm Tony Thomas: Old Style ville, Tex., 1941, J. Lomax. Texas and Oklahoma Fiddlin', Ta­ 29. AFS 7936 B2. Sherman Cook, koma A-IOl3 (1966). Tony Thomas, strummed dule, acc. by his son on fdl, fdl , Hugo, Okla. Adds "Hootchy Climax, Ky. , 1946, Moser. Cootchy" strain. 30. AFS 8935 B I , "Isle of St. Helena 15. 33 rpm Anglo-American Songs and (Ballad of Boney)." Frank M. War­ Ballads, Library of Congress AFS ner, vel, rec. at LC, 1947. Learned L21. Marcus Martin, fdl , Ararat, N.C., from W. K. Tillett, Wanchese, N.C. 1946. ~ 1. AFS 9488 AI. Bascom Lamar Luns­ ford, fdl, Buncombe County, N.C., C. Unpuhlished recordings rec. at LC, 1949. 16. AFS 1502 A, "Bonyparte's Retreat." George C. Nicholson, fdl, Providence, B2--THE DRUNKEN HICCUPS. AFS 1573 Ky., 1937, A. Lomax-E. Lomax. A3. W. M. Stepp, fiddle , Lakeville, Ky., 17. AFS 1528 B 1. Boyd Asher, fdl, recorded at Salyersville, Ky., October 26, Hyden, Ky., 1937, A. Lomax-E. Lo­ 1937, Alan Lomax and Eli zabeth Lomax. max. 18. AFS 1538 A2, "Bonaparte." Luther "Drunken Hiccups" is equall y well known in Strong, fdl, Hazard, Ky. , 1937, A. the South as a fiddler's showpiece with left-hand Lomax-E. Lomax. pizzicato and as a humorolls song about drink­ 19. AFS 1738 A2. Thomas M. Bryant, ing. The various titles for the song-"Drunk­ fdl, Evansville, Ind., 1938, A. Lomax­ ard's Hiccups," "Rye Whisky," "Jack of Dia­ E. Lomax. monds," "Clinch Mountain," and others-come 20. AFS 1834 A3, "Boneyparte's Retreat." from the floating verses that have attached Bascom Lamar Lunsford, fdl, Bun­ themselves to the lyrics. The song has attracted combe County, N.C., ree. at New a host of verses from other lyric groups such as York, N.Y., 1935, Hibbitt-Greet. the "Wagoner's Lad" and "Old Smoky" songs. 21. AFS2327 A-B I , "Bonyparte." Capt. Its tune is even more widespread, being a variety Asel Trueblood, vcl, St. Ignace, Mich., of the British-American tune family that Bayard 1938, A. Lomax. refers to as the "Toddlen Harne" family (1953, 22. AFS 2743 B4, "Bonyparte's Retreat." p. 132). The tune appears occasionally with the H. L. Maxey, fdl, Ferrum, Va., 1939, "Wagoner's Lad" lyrics in the South, and it is Halpert. well known in connection with the lyric group

17 "Blue-Eyed Gal" ("Fly Around My Pretty Little 11. Randolph, III (1949), p. 136, "Rye Miss," "Susananna Gal," and other titles). Whiskey, Rye Whiskey." Billie Baxter, W. M. Stepp's three strains all appear else­ vel, Argenta, Ark where in the South in association with fiddlers' 12. Sandburg (1950), p. 53 , "Way Up on set-piece renditions of the tune, though they are Clinch Mountain." somewhat removed from the characteristic vocal version of the tune. Evidently the set-piece has B. Published recordings diverged into its own melodic mold and main­ 13. 78 rpm Victor 21635, "Way Up on tains its place in traditional repertories virtually Clinch Mountain." Jilson Setters side by side with the standard song versions. The (pseud. for James W. Day), fd!. left-hand pizzicato is a popular feature of the 14. 33 rpm Anglo-American Songs and set-piece, obviously intended to suggest a hiccup. Ballads, Library of Congress AFS L14, Mr. Stepp's tuning (A-E-A-C#) is another "Jack 0' Diamonds." Bill Nicholson, persistent feature in versions from Virginia to vel, and gtr, Zane Shrader, steel gtr, Texas. New Albany, Ind., rec. at Renfro Val­ ley, Ky., 1946. VARIANTS-Includes only tune variants di­ rectly associated with the "Drunken Hic­ 15. 33 rpm Anglo-American Songs and cups" title and verses. A very brief sampling Ballads, Library of Congress AFS L20, of the "Todd len Harne" group of tunes is "Red Whiskey." Dick Deval, vel, Reed, appended. Okla., rec. at Dallas, Tex., 1946. 16. 33 rpm Instrumental Music of the A. Printed so urces Southern Appalachians, Tradition Rec­ 1. Perrow (1915), p. 129, " The Drunk­ ords TLP 1007, "Drunken Hiccups." ard's Song." East Tennessee, whites, Hobart Smith, fdl , Saltville, Va., 1956, vel,1905 . Hamilton-Clancy-Clayton. 2. Brown, V (1962), p. 44 (F-58), "Jack 0' Diamonds." Bascom Lamar C. Unpublished recordings Lunsford, vel, Buncombe County, 17. AFS 552 B2, "Rye Whisky." Bob N.C., 1921. 3. Brown, V (1962), p. 44 (F-57), Criswell , vel , with {dl , gtr, and bones, "Jack of Di amonds." No singer or Spur, Tex., 1935, J. Lomax. date given. Quite different tune, but 18. AFS 558 B, "Rye Whisky." Lewis H. possibly related melodically to the low Propps, vel and fdl, acc. on gtr, str ain of the instrumental set-piece. Pleasanton, Tex., 1936, J . Lomax. 4. Adam (1928), No. 72, "Rye Whiskey 19. AFS 901 A2, "Rye Whisky." Fdl, gtr, Waltz." and vel, Liano, Tex. , 1937, J . Lomax. 5. Thomas ( 1931), p. 128, "Way Up on 20. AFS 956 A3 , "Rye Whisky." Mrs. C. Clinch Mountain." Jilson Setters, vel C. Griffin, vel, Newberry, Fla., 1937, and fdl, eastern Kentucky. J. Lomax. 6. Lomax ( 1934),p. 170, "Rye Whisky." 21. AFS 1356 B I, "Rye Whisky." Fields 7. Ford (1940), p. 126, "Drunken Hic­ Ward, Mrs. Crockett Ward, and Mrs. coughs." Kate Hill , vcl, Galax, Va., 1937, J. 8. Ruth (1948), p. 8, "Rye Whiskey or Lomax. Drunkard's Hiccoughs, or Jack o' 22. AFS 1700 B, "Rye Whisky." Sergeant Diamonds." Kirkheart, vel and gtr, Edgar Smith, 9. Randolph, III (1949), p. 134, " Drunk­ bjo, Marvin Thornton, fdl, Fort ard's Hiccoughs," Lewis Kelley, vel, Thomas, Ky., 1938, A. Lomax-E. acc. with fdl , Cyclone, Mo. Lomax. 10. Randolph, III (1949), p. 135, Drunk­ 23. AFS 1713 A2, "The Drunken Hic­ ard's Hiccoughs." Fred Painter, vel, cups." Henry Davis, fdl, Hamilton, Galena, Mo. Ohio, 1938, A. Lomax-E. Lomax.

18 24. AFS 1794 B2, "Jack 0' Diamonds." 39. AFS 6108 B, "Jack 0' Diamonds." B. L. Lunsford, vcl, Buncombe Coun­ Jess Morris, vel and fdl, Amarillo, ty, N.C., rec. in New York, N.Y., Tex., 1941 , Morris. 1935, Hibbitt-Greet. 40. AFS 6727 B5 , "Drunkard's Hiccups." 25. AFS 2622 B3 , "Rye Whisky." Frank Hobart Smith, fdl, Charley Debuck, Goodwyn, vel, and gtr, Falfurrias, bjo, Fred Galligher, gtr, Saltville, Va., Tex., 1939, J. Lomax-R. Lomax. 1942, A. Lomax. 26. AFS 2634 B, "Rye Whisky." Elmo 41. AFS 8650 AI, "Drunkard's Song." Newcomer, vel, and fdl, Pipecreek, Asa W. Judd, vel, St. George, Utah, Tex., 1939, J. Lomax-R . Lomax. 1947, Fife. 27. AFS 2770 B2, "Rye Whi·sky." Finley 42. AFS 8932 B6, " Jack 0' Diamonds." Adams, vel, Big Laurel, Va. , ree. at Sam D. Hinton, vel, LaJolla, Calif., Dunham, Ky., 1939, Halpert. rec. at LC, 1947, Emrich-R. Korson. 28. AFS 2974 B2, "Drunkard's Hiccups." 43. AFS 8962 B I, "Rye Whiskey." Mer­ W. E. Claunch, fdl , Mrs. Christeen rick Jarrett, vel, Toronto, Canada, ree. Haygood, gtr, near Guntown, Miss., at LC, 1947. 1939, Halpert. 44. AFS 9479 B2, "Jack of Diamonds." 29. AFS 3216 BI, " Rye Wh isky." Mrs. B. L. Lunsford, vcl, Buncombe Coun­ May Kennedy McCord, vel, Spring­ ty, N.C., rec. at LC, 1949. fie ld, Mo., 1936, Robertson. 30. AFS 3408 A-B I, "Rye Whisky." Woodrow Wilson ("Woody") Guth­ VARIANTS-"Toddlen Harne" family rie, vel and gtr, Okemah, Okla., ree. I. Edmands ( 1893), p. 134, "Daisy." at LC, 1940, A. Lomax-E. Lomax. Anon. singer near Roan Mt. , N.C. 31. AFS 4939 BI, "Drunken Hiccoughs 2. Joyce (1909), No. 527, "The Killiney (Pretty Polly)." Emmett Lundy, fdl , Maiden." Given to Forde by Patrick Kelly Lundy, gtr, Galax, Va., 1941, MacDowell. A. Lomax-Wiesner-Liss. 3. Sharp (1932), n , p. 185 (No. 141 -B), 32. AFS 4939 B2, "Drunken Hiccoughs "The Derby Ram." Mrs. Alice Sloan, (Pretty Polly)." Emmett Lundy, fd l, vel, Barbourville, Ky. , 19 17. Galax, Va., 1941 , A. Lomax-Wiesner­ 4. Sharp (1932),II,p. 206(No. 153-C), Liss. "When Boys Go A-courting." Mrs. 33. AFS 5135 B, "Rye Whiskey." Jesse Fanny Coffey, vel, White Rock, Va., Robinson and Sherman Loop, fd l and 1918. gtr, Visalia, Calif., 1941, Todd-Sonkin. 5. Scarborough (1937), p. 429, "My 34. AFS 5271 B2, "Drunkard's Hic­ Horses Ain't Hungry." Version E of coughs." Fred Painter and Cecil "The Waggoner's Lad." From Bun­ Stephens, vel, fdl , and gtr, Galena, combe County, N.C., Mo., 1941, Randolph. 6. Brown, V (1962) , pp. 517-18, "Hog 35. AFS 5295 B3, "Drunkard's Hic­ Drovers." Otis Kuykendall , vel, Ashe­ coughs." Rufe Scott, fdl , Galena, Mo., ville, N.C., 1939. 1941 , Randolph. 7. Sandburg (1950), p. 52, "John Ad­ 36. AFS 5325 B2, "Rye Whiskey." Lon kin's Farewell ." Jordan, fd l, Stella Buchanan, pno, Farmington, Ark., 1941, Randolph. 37. AFS 5623 B I, "Rye Whiskey." Mrs. B3-RUN NIGGER RUN. AFS 1569 A3. W. M. F. E. Goodwyn, fd l, Frank Goodwyn, Stepp, fidd le, Lakeville, Ky. , recorded at gtr, Hebbronville, Tex., 1941, J. Salyersvill e, Ky., October 26, 1937, Alan Lomax. Lomax and Elizabeth Lomax. 38. AFS 5649 B, "Rye Whisky." Jess Morris, vel and fd l, Dallas, Tex., 1942, Oral history dates this famous American song J. Lomax. to the period immediately following the Nat

19 Turner uprising in Virginia, when curfews were 10. Arnold (1950), p. 121. From Mrs. imposed upon slaves by patrols or "patterollers" Elizabeth Henshaw Pillans, Claiborne, (see Lomax, American Ballads and Folk Songs, Ala. pp. 228-29). Its first appearance in print, how­ 11. Thede (1967), p. 63. Instrumental ever, seems to be the minstrel text and skit in version. White's Serenaders' Song Book (Philadelphia, 12. Thede (1967), p. 63. Song version. 1851), pp. 66-68. In modern times it has turned up regularly in the repertories of both white and B. Published recordings Negro singers and musicians in the South. And 13. 78 rpm Brunswick 275 (1928). Dr. because the custom of setting curfews for Ne­ Humphrey Bate and His Possum groes persisted in some localities well beyond Hunters. Bate was from Tennessee. the Civil War, some of the recorded versions in 14. 33 rpm Afro-American Blues and the Archive of Folk Song include explicit ac­ Game Songs, Library of Congress counts of the meaning of the song. The tune is AFS L4. Mose (Clear Rock) Platt, by nature instrumental and fiddle renditions are vcl, Central State Farm, Sugarland, at least as common as vocal. The refrain of the Tex., 1933. song is set to an old and widespread dance and C. Unpublished recordings play-party tune, appearing variously under the titles "Jim Along Josey," "Fire on the Moun­ 15. AFS 291 AI. Uncle Tom West, tain," "Betty Martin," "Granny Will Your Dog strummed dule and vel, American Bite," and others. Folk Song Festival, Ashland, Ky., Comparing this tune in G with Mr. Stepp's 1934, Thomas. other renditions, one can hear how different keys 16. AFS 882 A3. Georgia S. Baymore, create different fingering and bowing patterns, vel, Jackson, Miss., 1937, J. Lomax. thereby generating their own special flavors. 17. AFS 922 A2. Mrs. Minta Morgan, Some fiddlers are quite conscious of these differ­ vcl, Bells, Tex., 1937, J. Lomax. ences and speak of the advantages and disadvan­ 18. AFS 1381 AS. G. D. Vowell, vel, tages of the more widely used keys. Harlan, Ky., 1937, A. Lomax-E. Lomax. 19. AFS 2973 A3. W. E. Claunch, fdl VARIANTS-Includes only tunes associated and vcl, and Mrs. Christeen Haygood, with the song " Run Nigger Run." gtr, near Guntown, Miss., 1939, Halpert. A. Printed sources 20. AFS 3046 A4. Stephen B. Tucker, fdl, Meridian, Miss., 1939, Halpert. I. Allen, Ware, and Garrison ( 1867), 21. AFS 3 I 15 A. Thaddeus C. Willing­ No. 110. ham, vcl and bjo, Gulfport, Miss., 2. Sharp (1932), II, p. 359. 1939, Halpert. With explanation of 3. Scharborough (1925), p. 12. song. 4. Lomax (1934), p. 229. With com­ ments on tune. 22. AFS 3163 A2. S. F. Russell, vel, 5. Botkin (1937), p. 300. Orville Nich­ Marion, Va., 1936, Robertson. ols, vel, Mountain Park, Kiowa Coun­ 23. AFS 3243 A2-3. Dr. David Mcintosh, ty, Okla., originally from Cordell, vcl, Carbondale, Ill. , rec. at National Washita County. Folk Festival, Chicago, Ill., 1937, 6. Ford (1940), p. 37. Robertson. With explanation of song. 7. Randolph (1948), ll, p. 338. Mrs. 24. AFS 3787 B2. Mrs. J. D. Newman, Marie Wilbur, vel, Pineville, Mo., vcl, Elan College, N.C., 19 39, Collins. 1926. 25. AFS 5377 B2. Lon Jordan, fdl, Farm­ 8. Ruth (1948), p. 20, "Run Niger Run." ington, Ark., 1941, Randolph. 9. Morris (1950), p. 25. From Mrs. J. 26. AFS 5617 B3, "Patterollers." Uncle E. Maynard, Micanopy, Fla. Joe Wilson, vel, Comanche, Tex., rec.

20 at Austin, Tex., 1941 , 1. Lomax. With other nam es. The title "Stony Point" may refer explanation. to the Battle of Stony Point durin g the revolu­ 27. AFS 8508 B, " Pateroller'lI Catch tionary war (July 15 , 1779), in which the You." John Lusk, fdl, Murph Gribble, American assault was led by General "Mad bjo, Albert York, gtr, Campaign, Anthony" Wayne and hi s Pennsylvania regiment. Tenn. , 1946, Mayo-Jamicson-Simon. The battlc captured the imagination of the early 28. AFS 8547 B2. Rufus Crisp, bjo and Republic, and another tune (in 6/ 8 time) ap­ vel, Allen, Ky., 1946, Mayo-Jamie­ pearing in earl y American musical manuscripts son-Simon. and popular publications carries the same com­ memorative titl e. Since th e title "Stony Point B4-THE WAYS OF THE WORLD. AFS Reel" is connected with the present tune in a 1569 A2. W. M. Stepp, fiddle , Lakeville, Pennsylvan'a publication from the Civil War Ky., recorded at Salyersville, Ky., October period, Winner's Music 0/ the Dance (1886), 26, 1937, Alan Lomax and Elizabeth Lo­ it seems reasonable to associate the title "Stony max. Point" with the early battle. For northern fid­ Though this three-part tune is characteristic dlers, however, the most popular title is "Pig­ of a large class of tunes in the key of A which Town Fling." The astonishing variety of titles have been recorded in the upper South, clear and versions of this tune shows that widespread variants have not yet appeared. The fiddlers printed and aural circulation need not bring themselves often refer to such tunes as being "in about stand ardi zation in American in strumental the minors" because the tunes habitually flatten tradition. the seventh degree when it occurs on the E-string John Rector's rendition of "Old Dad" is a (second fin ge r) and sometimes flatten the sev­ fine example of the complexity of bowing which enth on the D-string and the third on the A­ distinguishes the fiddling of many musicians from string. Mr. Stepp's tuning, which raises the the upl and South and points west. A particular "bass" and "counter" (G and D) strings a tone, characteristic of the small reg:on around Galax is is popular for tunes in A. Whether it actuall y makes fingering easier is hard to determine, but his use of bow-slurs in th e pattern jj'JJ mJ. it certainly makes the fiddle resonate more, for But most of the accomplished fidd lers frOmthe the open strings are exploited for playing the upper South regularly employ a highly so­ tonic and dominant, for drones, and for sym­ phisticated and complicated set of bowing pathetic vibration. patt erns, featuring slurs which sy ncopate by tying "The Ways of the World" on Library of Con­ over the beat or even the bar in groups such as gress AFS L2, played on fiddl e by Luther Strong, is an altogether different tune. nTI-.DJJ. Tracing the history of a style is harder th an tracing tunes, but it seems probable BS-OLD DAD. AFS 1352 B2. John Rector, fid­ that these bowing patterns owe a large debt to dl e, Galax, Va., October 23, 1937, John A. rri sh fiddling. Lomax and Bess Brown Lomax. VAR IANTS This is a famous American reel, recorded under a bewildering variety of titles in every A. Printed sources part of the United States. Its earl y history has I. Old Dan Emmit's Original Banjo Mel­ not been clarified, but it may be of British origin. odies, Second Series ( 1844). Reprinted The title "Old Dad," which is used in parts of in Nathan (1962) , pp. 447-49, "My southwestern Virgini a, is related to a minstrel Old Dad." Alternate title on inside of song using the tune published by Dan Emmett in original sheet is "Ole Dad." Three 1844. Emmett did not claim the song as hi s own strains (vcl on 2d and 3d). composition, and, though the words may well 2. Howe (1863), Il, p. 117, "Kelton's be his, it is likely that the tune was already well Reel." known. Fiddlers of the South know the tune as 3. Winner ( 1866), p. 68, "Stoney Point "Wild Horse," "Stony Point," or any of several Reel."

21 4. Howe (1882), VII, p. 635, "Rocky B. Published recordings Point Jig." 25. 78 rpm Vocalion 14919 (1925), "Nig­ 5. Winner (1882), p. 49, "Ji g Cotillion." ger in the Woodpile." Uncle Am Stuart, 6. Ryan (1883), p. 2, "Kelton's Reel, or fdl. Three strains. Stuart was from the Pig Town Fling." Kingsport, Tenn., area. 7. White (1896) , p. 26, "Kelton's Reel (Pig Town Fling)." 26. 78 rpm Gennett (1927), "Buck Creek 8. Harding (1898?), No. 121 , "Warm Gal." Doc Roberts, fdl, acc. by gtr. Stuff." Three st rains. Also released on Cham­ 9. De Ville (1905), No. 66, "Pig Town pion 15500, Silvertone 8180, Super­ Fling." tone 9164, and Chall enge 307. Doc 10. Old Time Jigs and Reels (1906), p. Roberts is from Richmond, Ky. 25, " 'Pig Town' Fling." 27. 78 rpm Okeh 45375 (1929), "Wake 11. Sharp ( 1932), II, p. 352, "Cripple Up Jacob." Prince Albert Hunt's Texas Creek, or Buck Creek Girl." Lizzie Ramblers. Abner, vcl, Oneida School, Clay Coun­ 28. 33 rpm Play and Dance Songs and ty,Ky. , 191 7. Tunes, Library of Congress AFS L9, 12. Sharp (1932), II, p. 352, "Cripple "Pigtown Fli ng." Thomas Mann, ham­ Creek, or Buck Creek Girl." Mrs. Wil­ mered dule, Ortonville, Iowa, 1937. son, vel, Pineville, Bell County, Ky., 29. 33 rpm 281h Annual Galax Old Fid­ 1917. dlers' Convention, Galax, Virginia, 13. Sharp (1932) , II, p. 364, "The Shad." 1963, Folk Pro motions 12957, "Old Mrs. Laura V. Donald, vcl, Dewey, Dad." Fall Creek Ramblers. Va., 1918. One strain. Though the 30. 33 rpm Old-Time Songs and Tunes st rain resembles another we ll-known from Clay County, West Virginia, folk tune, it can be related to the first Folk Promotions 11567, "Wild Horse." vocal strain of Emmett's minstrel set, French Carpenter, fd!. to which it corresponds textually. 14. Hinman (1924), V, p. 50, "First 31. 33 rpm Green Fields of lIIinois, U. of Tuttle Tap." Ill. Campus Folksong Club Records 15. Elsom and Trilling (1927), p. 220, CFV 201 , "Stoney Point." Stella Elam, fdl, southern Illinois. Transcription ~'Co untry Dance ." 16. Fillmore (1927), No. 19, "George and notes in cluded in accompanying Brown's Bonviv3nl ." Arr. by A. F. pamphlet. Hopkins. 32 . 33 rpm More Hoe Down Fiddle Tunes, 17. Morris (1927), No. 25, "Rocky Moun­ Rural Rhythm 121 , "Walk Along tain Hornpipe." Four strains. John." DeWayne Wear, fdl, acc. by the 18. Adam (1928) , No. 27, "Chicken Wear Famil y. Stampede." Three st rains. 33. 33 rpm New Mexico Fiddlin', Century 19. Jigs and Reels (1937), p. 20, "Warm LPS-l , "Stoney Point. " Garland Stuff-Reel." Gainer, fdl , Jim Henry, gtr, Susie 20. Linscott (1939), p. 7 1, "Pigtown Gainer, pno. Fling." Edson Cole, fdl , Freedom, N.H. C. Unpublished recordings 21. Ford (1940) , p. 35, "Wild Horse." Three strains. 34. AFS 287 B, "Wild Horse." Volney 22. Ford (1940) , p. 64, " Hop Along Fraley, hca, Charlie Keeton , fdl, Sally. " American Folk Song F estival, Ash­ 23. Ruth (1948) , p. 3, "Pig Town Fling." land, Ky., 1934, Thomas. 24. Artley, p. 31 (Ex. 4) , "Stony Point." 35. AFS 930 B 1, "Walk Along Jobnny." Anon. fdl , central West Virginia, early E. K. Bowman, fdl , Tobe Hilburn, 1950s. caller, Abilene, Tex., 1937, J. Lomax.

22 36. AFS 1428 BI , "Buck Creek Girls "Hog-Eyed Man" seems to have a fairly wide Won't Go to Sommerset, Buck Creek circulation in Pennsylvania and the upland Girls Won't Go to Town." Farmer South. The tune has regular associations with a Collett, vel, with gtr and rh yt hm eluster of suggestive or downright indecent beating, Middle Fork, Ky., 1937, A. verses; most persistent is the verse "Sally in the Lomax-E. Lomax. garden sifting sand, Susy upstairs with the hog­ 37. AFS 1464 A2, "Buck Creek Girls." eyed man. " The tune is characteristically inclined T. G. Hoskins, vel and fdl, Hyde n, toward the dorian scale or the corresponding Ky. , 1937, A. Lomax-E. Lomax. hexatonic scale lacking the sixth degree. The fact 38. AFS 1519 B2 , "Buck Creek Girls." that it is a two-strain tune, even in most vocal M. Asher, bjo, Hyden, Ky., A. Lomax­ versions, suggests that it is closely associated E. Lomax. with instrumental tradition, where two-strain 39. AFS 1533 AI, "Buck Creek Girls." tunes are the norm. On the fiddle it is always Ambers Deaton, strummed dule, Cody, played in the key of A, the usual key for "play­ Ky., 1937, A. Lomax-E. Lomax. ing in the minors," as man y folk musicians call 40. AFS 1600 Bl , "The Wild Horse." it. Walter Williams, bjo, W. M. Stepp, A Pennsylvania set entitled "Hog-Eye-Jigg," fdl, Salyersville, Ky., 1937, A. Lomax­ published in 1853, shows the tune to be well E. Lomax. over a century old. The "Jigg" classification for 41. AFS 3278 B3 , "Pigtown Fling." Lei­ a 2/ 4 tune refers to the 2/ 4 dances called jigs zi me Brusoe, fdl , Rhinelander, Wis., wh ich were popular on the American minstrel 1937, Robertson. stage in the mid-nineteenth century. Whether 42. AFS 5623 AI, "Soft Soap, or Nigger's "Hog-Eyed Man" was actually used on the min­ Wood-Pile." Mrs. F. E. Goodwyn, fdl , st rel stage or this publication simply added the Frank Goodwyn, gtr, Hebbronville, current term "ligg" to the title is not clear. Some Tex., 1941 , J. Lomax. of the "Hog Eye" verses also crop up in published 43. AFS 6727 A2, " Rocky Mountain." coll ections of sailors' shanties, usi ng another Hobart Smith, fdl , Charley Debuck, tune which may be a distant kin but seems bjo, Fred Galligher, gt r, Saltville, Va., different. 1942, A. Lomax. Luther Strong is from eastern Kentucky. A 44. AFS 6904 B2, "Stony Point." Bill comparison of hi s renditions with the playing of Bilyeu, fdl, acc. by Dee Allen, near W. M. Stepp on this record shows how difficult Day, Mo. , 1943, Randolph. it can be to isolate local or regional styles of fid­ 45. AFS 7759 B3 , "Warm Stuff." Harry dling; though both fiddl ers come from the same Robinson, fdl, Phoenicia, N.Y., 1944, region, their styles are conspicuously different. Hoffman-Worth. Luther Strong's style can probably be considered 46. AFS 8491 Bl, "Wild Horse." Bob more typical of the upper South in general; Bossie Clark, gtr, Prestonsburg, Ky. , Stepp's fluidity is either a local or an individual 1946, Mayo-Jamieson-Simon. peculiarity. 47. AFS 8480-1 Bl, "Wild Horse." Sam Leslie, fdl, Palmer Crisp, gtr, Allen, VARIANTS Ky., 1946, Mayo-Jamieson-Simon. A, Printed sources 48 . AFS 8505 B2, "Wild Horse." Sam Leslie, fd l, Palmer Crisp, gtr, Forrest 1. Winner (1853), p. 75, "Hog Eye­ Burchett, caller, Emma, Ky., 1946, Jigg." Mayo-Jamieson-Simon. 2. Sharp (1932), II, p. 360 (No. 250), Lizzie Abner, vcl, Clay County, Ky. , 1917. Because of a shift in th e tonal B6-THE HOG-EYED MAN, AFS 1535 A2. center, this tune's kinship with the Luther Strong, fiddle, Dalesburg, Ky ., re­ group is somewhat disguised, but it corded at Hazard, Ky., October 18, 1937, seems to correspond to the usual low Alan Lomax and Elizabeth Lomax. strain of "Hog-Eyed Man," and the

23 words provide additional evidence of This number, together with "Fisher's Horn­ kinship. pipe" and "Durang's Hornpipe," is onc of the 3. Sharp (1932), II, p. 361 (No. 251), few hornpipes with wide currency in the upper "The Jackfish." Ebe Richards, vcl, South. "Ricketts' Hornpipc" (or "Ri ckett's Callaway, Va., 1918. Though the Hornpipe," as it is usually written) seems to words are unrelated , this is a elear have been named after John Bill Ricketts, who va ri ant of the "Hog-Eyed Man" tune, was one of the earliest great circus entrepreneurs including both strains. in America. Ricketts came from England to 4. Sandburg (1927), p. 380, "H og-Eye." America in 1792 and was act ive in circus pro­ "A Lusty and lustful song developed motion till about 1800. Circuses under his name by negroes of South Carolin a." Two appeared in New York City, Philadelphia, Nor­ strains, one verse. folk, Charlestown. Albany. Boston, H artford, 5. Thomas and Leeder (1939), p. 66, and Montreal. The earliest set of the tune yet to "Boatin' Up Sandy. " Zeff Burgess, hca, appear is an untitled version. labeled simply eastern Kentucky. First strain is same "Danced by Aldridge," in McGlashan's Collec­ as low stra in of "Hog-Eyed Man"; tion of SCOIS Measures (Edinburgh, ca. 1781). second strain is different. By the 1850s it had become a regular item in 6. Bayard (1944), No. 75, " Hog Eye commercial fiddle-tune collections. It fou nd its an' a 'Tater." Irvin Yaugher, Jr ., fdl, way onto early hillbilly recordings, and modern Mt. Independence, Pa., 1943. Includes field collecting indicates that the tune is known c:.;ome associated rhymes. in nearly every sect ion of the United States. A 7. Bayard (1966), p. 57, Ex. 1. No in­ ve rsion of the tune in 6/ 8 tim e, usually entitled formation on the tune is given. "Sicilian Circle" after a popular dance, appears in a few printed collections and may have en­ B. Published recordings joyed some traditional currency. 8. 78 rpm Brunswick 291 (1928), In the standard printed sets of "Ricketts' "Sally in the Garden." Crockett Fam­ Hornpipe," the second phrase of the high strain ily. Part of medley. uses the same melodic material that makes up the low strain. 1n traditional sets from the upper C. Unpublished recordings South, however, the second phrase of the high 9. AFS 1461 B2. T. G. Hoskins, vel and strain repeats the melodic matter of the first fdl, Hyden, Ky., 1937, A. Lomax-E. phrase, changing it only to introduce the final Lomax. tonic. This is the case with Lu ther Strong's ver­ 10. AFS 1528 B3. Boyd Asher, fdl, sion. Hi s tempo is not not iceably slower than hi s Hyden, Ky., 1937, A. Lomax-E. Lo­ normal reel or breakdown tempo; in fact , th e max. speed is a little taxing upon his techniqu e, for II. AFS 2963 BI , " Hog E ye." Mrs. Bir­ hornpipe tunes often use more complicated fin­ mah Hill Grissom, vel, Saltillo, Miss., gering patterns than reel s. But because hornpipe 1939, H alpert. tunes are no longer associated wit h a special 12. AFS 3045 B I, " Hog Eye." Stephen dance in the South, there is a strong tendency B. Tucker, fdl , Meridian, Miss., 1939, to assimilate them into the general "breakdown" Halpert. repertory. 13. AFS 4176 B2 , "Sally's in the Garden." Information about John Bill Ricketts and John Mrs. Pearl Jacobs Borusky. vcl, An­ Durang, the dancer who made ~'Dura n g's Horn­ tigo, Wis. , 1940, Draves-Stratman­ pipe" famous, may be found in Mates, The Thomas. A mericall Musical Slage before J800 (1962).

B7-RICKETT'S HORNPIPE. AFS 1537 A3. VARIANTS Luther Strong, fiddle, Dalesburg, Ky., re­ corded at Hazard, Ky., October 18, 1937, A. Printed sources Alan Lomax and Elizabeth Lomax. 1. McGlashan (ca. 1781), p. 35.

24 2. Adams (1795), p. 19, "Ricketts' 26. AFS 3044 AI, "Fisher's Hornpipe." Hornpipe." Charles Long, fdl, Sam Neal, beating 3. Howe (1851), p. 38. with straw, near Quitman, Miss., 1939, 4. Howe (1851), p. 55, "Republican Halpert. Sett-Part 6." 27. AFS 3046 B I. Stephen B. Tucker, 5. Howe (1858), p. 48. fdl, Meridian, Miss., 1939, Halpert. 6. White (1880), No.4, "Manchester­ "Southern" form. Mr. Tucker does not Hornpipe." pronounce the name distinctly, and it 7. Ryan (1883), p. 177; One Thousand is listed as " Rake's Hornpipe" in the (1940), p. 89. Archive catalog. 8. White (1896), p. 39. 28. AFS 5325 A3. Lon Jordan, fdl, Stella 9. O'Neill (1903), No. 1578; (1907), Buchanan, pna, Farmington, Ark., No. 827, "The Sailor's Hornpipe." 1941, Randolph. 10. Harding (1905), No. 174. 29. AFS 6355 AI, " Ricker's Hornpipe." 11. Bowman (1908),No.83. Michael Cruise, fdl. Tucson, Ariz., 12. Roche (1912), II, p. 9 (No. 206), rec. at LC, 1942, A. Lomax-J. "The Sailors Hornpipe." Schwartz. 13. Fillmore (1927), No. 111. Donated 30. AFS 855 1 B2. Marcus Martin, fdl, by Dr. Wm. M. Haffner. Ararat, N.C., 1946, Mayo-Jamieson­ 14. Adam (1928), No. 10. Simon. "Southern " version. 15. Thomas (1931), p. 151. The high strain of this set is in the usual VARIANTS-"Sicilian Circle" Southern fashion described above. 16. Robbins (1933), No. 68. I. De Ville (1905), No. 83, "Sicilian 17. Jigs and Reels (1937), p. 22. Circle No. I." 18. Ford (1940), p. 50. 2. Harding ( 1905) , No. 121 , " His Du­ 19. Ruth (1948), p. 14. deen." 20. Cazden (1955), p. 43. 3. Lovett (1926), p. 112. 21. Artley (1955). p. 61 (Ex. 27). 4. Elson & Trilling (1927), p. 200. 5. Robbins (1933) , No. 99, "Circle." B. Published recordings 6. Ford (1940), p. 92. 22. 78 rpm Bluebird B5657 (1934), 7. Ruth (1948), p. 44, "Quadrille or "Tanner 's Hornpipe." Gid Tanner and Virginia Reel (Name Unknown)." His Skillet Lickers; Gordon Tanner, fdl , Gid Tanner, five-string bjo, Riley Puckett, gtr, Ted Hawkins, mand. Re­ BS-CUMBERLAND GAP. AFS 1539 A2. printed on 33 rpm Early Rural SIring Luther Strong, fiddle, Dalesburg, Ky., reo Bands, Victor Vintage LPV-552. corded at Hazard, Ky., October 18, 1937, 23. 33 rpm Traditional Music for Banjo, Alan Lomax and Elizabeth Lomax. Fiddle, and Bagpipes, Kanawha 307. Franklin George, five-string bjo. Blue­ Cumberland Gap in eastern Kentucky, one of field, W. Va. "Southern" version. f the famous openings to the West, is the subject 24. 33 rpm More Hoe Down Fiddle Tunes, of a popular fiddl c tune from the upper South. Rural Rhythm 121 , "Riekets Horn­ In a slightl y simplified form, the tune is also used pipe." DeWayne Wear, fdl, acc. by the for a collection of miscellaneous humorous Wear Family. lyrics about Cumberland Gap. Oral hi story dates. the tune well back into the nineteenth C. Unpublished recordings century. but, though it bears a resemblance 25. AFS 623 A2. A. J. Means, fdl, J. W. to certain Iri sh reels, its origin remains unclear. Means, pno, D. L. Dillingham, caller, Its American distribution before the advent of Austin, Tex., 1936, J. Lomax. recordings seems to ha ve been limited generally

25 to the upper South from the Blue Ridge west, 18. AFS 2852 B4. Mrs. Lena Bare Tur­ but radio and hillbilly records helped extend its byfill and Mrs. Loyd B. Hagie, vel, Elk range in recent years. Park, N.C., 1939, Halpert. 19. AFS 2888 AI. Austin Harmon, vel VARIANTS and bio, near Maryville, Tenn., 1939, A. Printed sources Halpert. 20. AFS 3763 AI. Wade Ward, fdl, 1. Brown, V. (1962), pp. 229-30 Galax, Va., 1939, A. Lomax-P. See­ (F-329). B. L. Lunsford, vel, Bun­ ger. combe County, N.C., ca. 1921. 21. AFS 4788 B8. Bill Hensley, fdl, C. 2. Thomas (1931), p. 136-37. Vel. L. Taylor, bio, Asheville Folk Festival, 3. Lomax (1934), p. 274. Blind James Asheville, N.C., 1941 , A. Lomax­ Howard, vel, Harlan, Ky. Wiesner-Liss. 4. Smith and Hovey (1955). No page number. 22. AFS 4793 B4. Anon. bio, Ashevill e 5. Thede (1967), p. 114. Walter Fenell, Folk Festival, Asheville, N.C., 1941, fdl, Latimer County, Okla. A. Lomax-Wiesner-Liss. 23. AFS 4804 B3. Helton brothers, fdl B. Published recordings and bio, Asheville, N.C., 1941, A. 6. 78 rpm Conqueror 8239 (1933) . Doc Lomax-Wiesner-Liss. Roberts Trio. Roberts is from Rich­ 24. AFS 4941 B I. Wade Ward, bio, mond, Ky. Galax, Va., 1941, A. Lomax-Wiesner­ Li ss. C. Unpublished recordings 25. AFS 7878 A2, B2. Artus M. Moser, 7. AFS 77 A1. Blind James Howard, vel vel Swannanoa, N.C., rec. at Harro­ and fdl, Harlan, Ky., 1933, J. Lomax. gate, Tenn., 1943 , Moser. 8. AFS 826 A3. Aunt Molly Jackson, 26. AFS 7955 B2. Bill Hensley, fdl , Ashe­ vel, Clay County, Ky., rec. at New vilie, N.C., 1946, Moser. York, N.Y., 1935, A. Lomax-Barniele. 27. AFS 8480 B. Sam Leslie, fdl , Palmer 9. AFS 837 AI. Marion Rees, fdl, Zions­ Crisp, gtr, Allen, Ky. , 1946, Mayo­ ville, N.C., 1936, J. Lomax. Jamieson-Simon. 10. AFS 1425 B. Farmer Collett, vel, John 28. AFS 849 1 B2. Bob Bossie Clark, gtr, Brock, bio, Middlefork, Ky., 1937, A. Prestonsburg, Ky. , 1946, Mayo-J amie­ Lomax-E. Lomax. son-Simon. 11. AFS 1463 A2, 1464 AI. T. G. Hos­ 29. AFS 8505 A2. Sam Leslie, fdl, Palmer kins, vel and fdl, Hyden, Ky., 1937, Crisp, gtr, Forrest Burchett , caller, A. Lomax-E. Lomax. Emma, Ky. , 1946, Mayo-Jamieso n­ 12. AFS 1835 A2. B. L. Lunsford, fdl, Simon. Buncombe County, N.C., rec. at New 30. AFS 8544-I A5. Marcus Martin, fdl, York, N.Y., 1935, Hibbitt-Greet. Ararat, N.C., 1946, Mayo-Jamieson­ 13. AFS 1839 B2. B. L. Lunsford, vel and Simon. fdl, Buncombe County, N.C., rec. at 31. AFS 8549 B I. Rufus Crisp, bio, Alien, New York, N.Y., 1935, Hibbitt-Greet. Ky. , 1946, Mayo-Jamieson-Simon. 14. AFS 2757 A4. Mrs. W. L. Martin, vel, Hillsville, Va., 1939, Halpert. 32. AFS 9513 A2. B. L. Lunsford, fdl and 15. AFS 2785 B2-3. Mrs. May Stapleton, vel, Buncombe County, N.C., rec. at vel, Hamiltontown, near Wise, Va., LC, 1949. 1939, Halpert. 16. AFS 2815 B5. Mrs. Hettie Swindel, vel , Freeling, Va., 1939, Halpert. B9-HASTE TO THE WEDDING. AFS 3048 17. AFS 2821 A4. Mrs. Mary Fuller Cain, A2. Stephen B. Tucker, fiddle, Meridian, vel, Clintwood, Va., 1939, Halpert. Miss., May 23, 1939, Herbert Halpert.

26 The history of "Haste to the Wedding" has is redolent with tunes traditional in the upper already been discussed with regard to tbe version South. It is thus reasonable to assume that the on A9 of this recording. Mr. Tucker's rendition tune to "Buffalo Gals," associated with the is interesting for its lengthening of the first and usual "Won't you come out tonight" verses, was perhaps the third of each group of three eighth already popular in the South before it achieved notes, a common trait in the execution of 6/8 national popularity on the minstrel stage. Bayard time in the South. Other field recordings from (Hill Country Tunes, No.1) cites several Con­ the South reveal furtber development of the tinental sets which suggest that th e tune orig­ inated in Germany. trait, resulting in the patterns mmor even Like Bayard's second set (Hill Country Tunes, No. I-B), John Hatcher's Missis sippi set of rnm.The latter pattern is only a step away "Buffalo Gals" shows distinctive departures from from conversion to a full-fledged reel in 2/ 4 or the standard versions of the tune. In particular 4/ 4 time; all that is required is the further addi­ both sets substitute th e second degree, heard as part of a dominant cbord, at the mid-cadence of tion of a fourth note to the group, J. 3J.3 or each strain. Mr. Hatcher, from near Burnsville, Mississippi. was fifty-three at the time of this re­ DD. I have recorded this phenomenon cording. He used the key of A for the tune, myself; it provides evidence that 6/ 8 tunes could remarking that "Alabama Girls" was a newer be converted to regular reel time, not by abrupt tune played in G. recasting of the tune, but by gradual evolution. Stephen Tucker was eighty years old at the VARIANTS-"Buffalo Gals" unless otherwise time of tbis recording and came from Collins­ noted ville, Lauderdale County, Mississippi. A. Printed sources 1. Knauff (1839), IV, p. 8, "Midnight Serenade: Varied." 2. Music of the Ethiopian Serenaders, No. 6 (1848). Sheet music. BIO-BUFFALO GIRLS. AFS 3001 A2. John 3. Hitchcock, VI (1883) , pp. 30-31. Hatcher, fiddle, Tuka, Miss., May 12, 1939, 4. Ames (1911), p. 299, "Angelina." Herbert Halpert. 5. Brown, V (1962), pp. 57-58, "Won't You Walk Out Tonight." Jewell Rob­ Going under a wide variety of titles which bins, vel, Pekin, Montgomery County, su bstitute various localities for Buffalo, the tune N.C., between 1921 and 1924. "Buffalo Gals" is known to old-time fiddlers in 6. Brown V (1962), pp. 58-59, "Ala­ every part of the United States. In the North the bama Gals." Bonnie Wi seman , vel, Up­ tune is usually called "Buffalo Gals," but older per Hinson Creek, Avery County, musicians of the Appalacbian upper South fre­ N.C. , 1939. quently call it "Round Town Gals," and some 7. Dunham (1926), No.3, "Norway musicians under the influence of Nashville re­ Schottiscbe." "Composed by Mellie cordings and broadcasts have adopted the title Dunh am." Not a close version. but "Alabama Gals." Spaeth (A History of Popular apparently "composed" on the model Music in America, pp. 100-101) and others have of "Buffalo Gals." attributed autborship of the song and tune to the 8. Adam (1928) , No. 12. "Buffalo minstrel Cool White (John Hodges), whose Girls. " version appeared in 1844 under the title "Lubly 9. Ball (1931) , p. II , "Cincinnati Girls." Fan." But the set of the tune in Knauff's Vir­In 6/ 8, which may be an interesting ginia Reels ( 1839), entitled '"Midnight Sere­ variation or a mistranscription. nade," clearly precedes the song's vogue on the 10. Lomax (1934) , pp. 288-89, "Louisi­ minstrel stage. In 1839 Knauff was residing in ana Girls. " Farmville, Virginia, and his collection as a whole 11. Ford (1940), p. 53.

27 12. Bayard (1944), No. I-A, "Hagan­ 26. AFS 2547 B2, "Buck Creek Gals." town Gals." Irvin Yaugher, Jr., fdl, Aunt Molly Jackson, vel, New York, Mt. Independence, Fayette County, N.Y., 1939, A. Lomax. Pa., 1943. 27. AFS 2739 B, "Round Town Girl, 13. Bayard (1944), No. I-B, "Johns­ Won't You Come Out Tonight?" Tay­ town Gals." Mrs. Sarah Armstrong, lor Houston, fdl, Stafford Houston, fdl, near Derry, Westmoreland County, gtr, Paul Jefferson, bjo, Mason, call er, Pa., 1943. Rock Mount, Va., 1939, Halpert. 14. Ruth (1948) , p. 2. 28. AFS 3206 B2. May Kennedy McCord, 15. Cazden (1955), p. 40, "Buffalo Girl." vel, Springfield, Mo. , 1936, Robertson. 16. Cazden (1955), p. 22, " Hornbeck's 29. AFS 3258 B2. Check Stafford, hca, First Reel." Not a elose variant. with pno, gtr, accn, and dbl bass, National Folk Festival, Chicago, Ill., B. Published recordings 1937, Robertson. 17. 78 rpm Okeh 40204 (1924), "Ala­ 30. AFS 3277 A I, "Buffalo Girls." bama Gal (Won't You Come Out Thomas Mann, hammered dulc, Or­ Tonight)." Fiddlin' John Carson & tonville, Towa, 1937, Robertson. His Virginia Reelers, northern Georgia. 31. AFS 3358 A3, "Buffalo G irl s." John 18. 78 rpm Columbia 257-D (140147), Stone, hca, Columbia, Calif. , 1939, "Ain't-Ya Comin' Out To-night?" Robertson. Vernon Dalhart, vel, acc. by fdl , gtr, 32. AFS 3360 A2, "Buffalo Girls." John and hca. (Carson Robison and Guy Stone, fd l, Columbia, Calif., 1939. Massey). With "Short'nin' Bread" Robertson. interspersed. 33. AFS 3374 B1, "Buffalo Gals at 19. 33 rpm Jigs and Ree/s, Folkways FW Nome." George Vinton Graham, vel 8826, Glisse a Sherbrooke." Per Nor­ and gtr (?), San Jose, Calif., 1939, gaard, fd l, with acen, pOD, and per­ Robertson. cussion. From Toronto area. Call ed a 34. AFS 3575 B3 , "Roun' Town Gals." French-Canadian tune by Edith Fowke Willis Sigler and Joe Haddix, mand and in notes. gtr, Elkins, W. Va., 1939, Barnes. 35. AFS 4945 B2, "Round Town Girl." C. Unpublished recordings Emmett Lundy, fdl, Jeedy Lundy, bjo, 20. AFS 656 B2-3. Children's group, vcl, Kelly Lundy, gtr and vel, Galax, Va., near Austin, Tex., 1936, J. Lomax. 1941 , A. Lomax-Wiesner-Liss. 21. AFS 907 B 1, "Buffalo Girls." Mrs. 36. AFS 5301 B2. May Kennedy McCord, Minta Morgan, vel, Bells, Tex., 1937, vel and gtr, Springfield, Mo., 1941 , J. Lomax. Randolph. 22. AFS 1541 B I. Howard Collins, 37. AFS 532 1 A2. Lon Jordan, fdl, Mrs. strummed dulc, Smithboro, Ky., 1937, Stella Buchanan, pno, Farmington, A. Lomax-E. Lomax. Ark., 1941 , Randolph. 23. AFS 1714 B3. Henry Davis, fdl, 38. AFS 5424 A I. Delbert McGrath, fdl , Hamilton, Ohio, 1938, A. Lomax­ Day, Mo., 1942, Randolph. E. Lomax. 39. AFS 8037 B4. Michael Cruise, fdl, 24. AFS 1837 B3. Bascom Lamar Luns­ Tucson, Ariz., rec. at LC, 1943, Bot­ ford, vel and fdl , Buncombe County, kin-Langenegger. N.C., rec. at New York, N.Y., 1935, 40. AFS 85 19 A, "Alabama Gals." "Un­ Hibbitt-Greet. . ele" Jim Trentham, fdl, Gatlinburg, 25. AFS 2337 B2, "Buffalo Girls." Tenn., 1946, May-J amieson-Simon. Charles Ketverti s, concertina, New­ 41. AFS 9493 AI , "Buffalo Gals, or berry, Mich., 1938, A. Lomax. Round Town Gals." Bascom Lamar

28 Lunsford, vel, Buncombe County, ities. Nor has its popularity diminished in recent N.C., rec. at LC, 1949. years, for it is an equal favorite among modern 42. AFS 10,492, "Red-Coat Gal." Ivey sq uare dance groups and bluegrass bands and Scott, fdl, Harkers Island, N.C., ca. some singers of the urban folksong revival have 1950, Ritchie-Pickow. picked it up. Though the words of the song vary greatly from version to version, the tune has Bll-GRUB SPRINGS. AFS 3000 A4. John remained quite stable and only a few variants Hatcher, fiddle , luka, Miss. , May 12, 1939, have strayed far from the nann. The tune may Herbert Halpert. thus be regarded as yet another example of the fact that universally known folk songs have This is a tune which has cropped up, in one greater melodic stability than their less popular fonn or another, in the repertory of older fid­ counterparts; the thorough aural circulation, far dlers throughout the South. The high strain is its from changing the tune drasticall y, reinforces persistent feature, while the low strain varies the established norm. The verses of "Old Joe drastically from set to se t. There is no standard Clark" vary greatly only because the spirit of title for th e tune. "Grub Springs" on Library of nonsense encourages conscious variation, addi­ Congress AFS L2 is a different tune. ti on, and deletion. The tune bears resemblances to several British-American tun es documented from an early date, but its precise deriv at ion is VARIANTS not clear. Wayne Perry's version is one of the few A. Printed sources notable departures from the norm; for it adds a I. Coes ( 1876), p. 3, "Watermelon fine third strain (second in his performance) Jig." whi ch has not turned up elsewhere. Most fiddl ers 2. Morris (1927), No. 40, "The Lone­ play the tune in A, but G is not uncommon. some Road." 3. Bennett ( 1940), p. 66, "Georgia VARIANTS Horseshoe." Bill Hensley, fdl, from A. Printed sources western North Carolina. 4. Thede (1967), p. 76, "Dust in the I. Perrow (1912), p. 152, East Tennes­ Lane, or Cotton Pi ckin' Time." see whites, 1905. 2. Sharp (1932), II. p. 259, "Old Joe B. Published recordings Clarke." Mrs. Margaret Jack Todd, vel, Beechgrove, Va. , 1918. 5. 33 rpm Old-Time Songs and Tunes 3. Brown, V (1962) , p. 63. Bascom from Clay County, West Virginia. Lamar Lunsford , vel, Buncombe Folk Promotions 11567, "Shelvin' County, N.C., 192 I. Rock." French Carpenter, fdl , Clay 4. Brown, V ( 1962 ), pp. 66-67. Bascom County, W. Va. Lamar Lunsford , vel, Buncombe County, N.C., 1921. BIl-OLD JOE CLARK. AFS 21 AI. Wayne 5. Brown, V (1962), pp. 65-66, "Old Perry, fiddle, Crowley, La., June 1934, John Joe Clark, or Geo rgi a Buck." Mrs. A. Lomax and Alan Lomax. Myra Barnett Miller, vel , Caldwell County, N.C., between 192 1 and 1924. Just when and where "Old Joe Clark" appeared 6. Brown, V ( 1962), pp. 63-64, "Rock, on the American scene is uncertain , but by the Rock, Old Joe Clark." Jewell Rob­ early part of this century, when the documen­ bins, vel, Pekin, Montgomery County, tary record begins, it was virtuall y universally N.C., between 192 I and 1924. known in the South and parts of th e Midwest. 7. Brown, V (1962), p. 64. G. S. Bl ack, It has been used as a dance tune, a play-party vcl. From a MS . song, and a general nonsense jingle attracting a 8. Brown, V (1962), p. 62. Otis Ku y­ variety of verses into its orbit in va rious 10cal­ kendall, vel, Asheville, N.C., 1939.

29 9. Randolph (1949), lII, p. 376, "Get 28. AFS 842 A3. Mrs. Myra Barnett Mil­ Along Home, Cindy." Contributed by ler, vel, Lenoir, N.C., ree. at Tucka­ Mrs. Rose Wilder Lane, Mansfield, segee, N.C., 1936, J. Lomax. Mo., May 16, 1930. The title is prob­ 29. AFS 850 A3. O. L. Coffey, bjo, ably an error, for "Old Joe Clark," Shull's Mill s, N.C., rcc. at Blowing Ill, p. 324, is to the tune of "Cindy." Rock, N.C. , 1936, J . Lomax. 10. Thomas ( 1931) , p. 106-7. 30. AFS 896 B2. Mrs. Minta Morgan, II. Lomax (1934), p. 277. James How­ vel, Bells, Tex., 1937, J. Lomax. ard, vcl. 31. AFS 899 A2. Carl Light, vcl, Otis 12. Botkin (1937), p. 272. Clayton Black, Light, fdl , Liano, Tex., 1937, J. vel, Cleveland County, Okla. Lomax. 13 . McDowell (1938), p. 76. 32. AFS 925 A2 . Mr. and Mrs. Hobart 14. Ford (1940), p. 12 1. Quite different Fentress, vel, Waco, Tex., 1937, J. from the usual tune, th ough possibly Lomax. related. 33. AFS 986 A2. Mrs. C. S. McClellan, 15. Bennett ( 1940), p. 72. Bill Hensley, vcl, High Springs, Fla., 1937, Morris. fd l, near Ashevill e, N.C. 34. AFS 1342 B3. Theodore Blevins, 16. Thede ( 1967) , p. 28. Emmett New­ strummed dule, Galax, Va. , 1937, B. man, fdl, Delaware County, Okla. Lomax. 17. Thede ( 1967), p. 29 (No. I). Vcl. 35. AFS 1502 B I. George C. Nicholson, 18. Thede ( 1967), p. 29 (No.2). Vcl. fdl , Providence, Ky., 1937, A. Lomax­ Unusual variant, possibly unrelated. E. Lomax. 19. Ruth (1948), p. 35 . 36. AFS 1526 B2. Boyd Asher, fdl, Hy­ den, Ky., 1937, A. Lomax-E. Lomax. B. Published recordings 37. AFS 1531 B2. Luther Strong, fdl, 20. 78 rpm Columbia 15108-D. Gid Hazard, Ky., 1937, A. Lomax. Tanner and His Skill et Lickers with 38. AFS 15 88 A, B I. J. M. Mullin s, vel Riley Puckett. Vel and st ring band. and bjo, Florress, Ky. , 1937, A. C. Unpublished recordings Lomax-E. Lomax. 39. AFS 1694 B I. String band, London, 21. AFS 76 A2. Blind James Howard, vel Ky., ree. at Cincinn ati, Ohio, 1938, and fdl , Harlan , Ky. , 1933, J. Lomax­ A. Lomax-E. Lomax. A. Lomax. 40. AFS 1694 B2 . Ohio string band, Cin­ 22. AFS 197 A I. Mose ("Clear Rock") ci nnati, Ohio, 19 38, A. Lomax-E. Platt, vel, Central State Farm, Sugar­ land, Tcx., 1933, J. Lomax-A. Lomax. Lomax. 23. AFS 200 A3. James ("Iron Head") 41. AFS 1710 B3. Pete Steele, bjo, Ham­ Baker and group of Negro convicts, ilton, Ohio, 1938, A. Lomax-E. vel, Central Sta te Farm, Sugarland , Lomax . Tex., 1933, J. Lomax-A. Lomax. 42. AFS 1837 B I. B. L. Lunsford , vel and 24. AFS 305 B2. Tex Vandergood and fdl , Buncombe County, N.C., rec. in Green Maggard, fdl , gtr, and vcl, New York, N.Y .. 1935, Hibbitt-Greet. America n Folk Song Festival, Ashland, 43. AFS 1994 B. George Roark, vcl and Ky., 1934, Thomas. bjo, Pineville, Ky. , 1938, Barniele. 25. AFS 657 B. Group of men and women, 44. AFS 2086 A3. Rebecca Tarwater, vel, Pond Springs School, near Austin, bjo, from Rockwood , Tenn ., ree. in Tex., 1936, J. Lomax. Washington, D.C., 1936, C. Seeger. 26. AFS 823 B4. Aunt Moll y Jackson, vel, 45. AFS 2898 B2. Sam Harmon , vcl, near Clay County, Ky. , rec. in New York, Maryville, Tenn., 1939, Halpert. N. Y., 1935, A. Lomax-Barniele. 46. AFS 3 I 18 A I . Thaddeus C. Willing­ 27. AFS 841 A I. Marion Rees, fd l, Zion­ ham, vel and bjo, Gulfport, Miss., vi ll e, N.C., 1936, J. Lomax. 1939, Halpert.

30 47. AFS 3165 B2. J. W. Russell, fd1, Rob­ 64. AFS 6722 A 1. Effie wil son strummed ert Russell, Sr. , gtr, Worley Rolen, bio, dulc, Marrowbone, Ky. , 1942, A. Marion, Va., 1936, Robertson. Lomax-Jackson. 48. AFS 3190 Bl. Gilbert Fike, vcl, Little 65. AFS 6726 A2. A. K. Smith, bio, Salt­ Rock, Ark., 1936, Robertson. ville, Va., 1942, A. Lomax. 49. AFS 3258 A3. The Livingston Dance 66. AFS 8475 At. F. M. Howell, fdl, Band, Livingston, III. , rec. at National Rufus Crisp, bio, Allen, Ky., 1946, Folk Festival, Chicago, D1. , 1937, Mayo-J amieson-Simon. Robertson. 67. AFS 8480 A3. Sam Leslie, fdl, Palmer 50. AFS 3311 Bl. Russell Wise, fd1 , Mr. Crisp, gtr, Allen, Ky., 1946, Mayo­ White, gtr, Madison, Fla., 1936, Val­ Jamieson-Simon. iant. 68. AFS 8530 B2. Rufus Crisp, bio, Allen, 51. AFS 3408 B2. Woodrow Wilson Ky. , 1946, Mayo-Jamieson-Simon. ("Woody") Guthrie, vcl, gtr, and 69. AFS 8535 A3. Jay Salyers, bio, Pres­ harm, Okemah, Okla., rec. at Wash­ tonsburg, Ky., 1946, Mayo-Jamieson­ ington, D.C., 1940, A. Lomax-E. Simon. Lomax. 70. AFS 9493 A2. B. L. Lunsford, vcl and 52. AFS 3565 A3. Neil Collin, vcl and bjo, Buncombe County, N.C., rec. at harm, Jim Mills, gtr, McCowan, bones, LC, 1949. Migratory Camp, Indio, Calif., 1939, Valiant. 53. AFS 3575 B2. Bob and Dewey H am­ Bl3-NATCHEZ UNDER THE HILL. AFS rick, fdl and gtr, Elkins, W. Va., 1939, 5317 A3. Lon Jordan, fiddle, Farmington, Barnes. Ark., October 1941, Vance Randolph. 54. AFS 3762 A3. Wade Ward, bio, Galax, Va., 1939, P. Seeger-A. Lomax. As Mr. Jordan observes at the beginning of 55. AFS 3765 AI-2. Fields Ward, vcl this recording, the tune "Natchez Under the Hill" and gtr, Wade Ward, bio, Galax, Va., is a close kin to "Turkey in the Straw." Its pub­ 1939, P. Seeger-A. Lomax. lication in Knauff's Virginia Reels dates it at 56. AFS 4086 AI. J. Paul Miles, bio, least as early as 1839, and it is probably older. Wade Miles, gt r, Vernon Miles, mand, The title refers to Natchez, Mississippi, an im­ Cherry Lane, N.C., 1940, J. Lomax­ portant town in the old riverboat days with a R. Lomax. waterfront section under the bluff which was 57. AFS 4806 Bl. Cyer Boys, vc l, fdl, noted for rowdy profligacy. The tune has been mand, and gtr, Asheville, N.C., 1941 , recorded from the playing of older musicians A. Lomax-Liss-Wiesner. from Virginia to the Ozarks, but its similarity to 58. AFS 4796 A2. Marcus Martin, fdl, "Turkey in the Straw" may be hastening the end Asheville, N.C., 1941 , A. Lomax-Liss­ it its independent existence. Wiesner. Several other tunes closely related to "Natchez 59. AFS 5114 B2. Male vcl for play-party, Under the Hill" sprang up in America during Arvin, Calif., 1941, Todd-Sonkin. the nineteenth century. "Zip Coon" first ap­ 60. AFS 5234 A3. VcI , fdl , mand, bjo, peared in print in 1834; "Turkey in th e Straw," and gtr, in Va., early 1940s, A. Lomax. virtually identical to "Zip Coon" melodically, 61. AFS 5270 B2. Ralph Eutsler, mand, seems to have appeared in 186 1; "Sugar in the Carl Tilden, gtr, Galena, Mo., 1941, Gourd" emerged as yet another title for the tune Randolph. in the nineteenth ce ntury; and the play-party 62. AFS 5305 A3. Will Guilliams, vcl, song "Jolly Is the Miller" frequently employed Farmington, Ark. , 1941 , Randolph. the first strain of the tune, especially in the Mid­ 63. AFS 5315 B3. Lon Jordan, vcl and west. All these have been recorded in twentieth­ fdl , Farmington, Ark., 1941 , Ran­ century folk tradition , with "Turkey in th e dolph. Straw" of course the most widely distributed.

31 The origin of these separate yet intertwined 10. O'Neill (1903), No. 277, "Little Mary strands of tradition has been widely debated. Culinan." "Rose Tree" tune. Fuld, who summarizes the early printed history 11. O'Neill (1903), No. 1520, "Turkey in of "Zip Coon" and "Turkey in the Straw" in the Straw"; (1907), No. 739, "Tur­ The Book 0/ World-Famous Music, cites several kies in the Straw." opinions about British antecedents (pp. 481-82). 12. De Ville (1905), No. 78, "Old Zip I have little doubt that the source is the British Coon." tune "The Rose Tree," which can be traced to 13. De Ville (1905), No. 97, "Turkey in the eighteenth century. The only conspicuous the Straw Buck Dance." difference in the melodic contours is that "The 14. Harding (1905), No. 134, "The Rose Rose Tree" drops to the tonic in the third ph rase Trees," of the second strain, while the American tunes 15. Joyce ( 1909) , No. 460, "Captain Mac thrust. up to the octave for rendering much the Greal of Connemara." Only first strain same melodic material. related, similar to "Rose Tree." Joyce Lon Jordan is a type of fiddler often encoun­ notes that a ninety-eight song called tered in field collecting rather "straight" and pro­ "Johnny Gibbon's March" was written saic stylistically, but good for a steady dance to this air. musician and the possessor of a large repertory. 16. Roche (1912), III, p. 81 (No. 215), Vance Randolph recorded about seventy-five "Turkeys in the Straw." tunes from Mr. Jordan's playing for the Archive 17. Ames (1911), p. 306, "The Jolly Old of Folk Song. Such musicians exist wherever Miller." From Missouri. traditional fiddling is maintained and, though 18. Wedgwood (1912), p. 269, "The Mil­ they are rarely influential stylisticall y, they are ler Boy." From southwestern Ne­ important tradition bearers for repertory. braska, or southern Iowa. 19. Cayce (1913), No. 304, "The Rose Tree. " VARIANTS-"Turkey in the Straw" unless 20. Sharp (1932), II, p. 367, "Yonder otherwise noted. Stands Young Couple." Children at Pine Mt. Settlement School, Harlan A. Manuscript sources County, Ky., 1917. 21. Burchenal (1918), p. 20, "Old Zip 1. Adams (1795), p. 13, "The Rose Coon." Tree." 22. Hinman (1924, 1930), V, p. 84, "Dublin Jig." B. Printed sources 23. Dunham (1926), No.6, "Old Zip Coon." 2. Knoxville Harmony (1838), No. 165, 24. Dunham (1926), No.8. "The Rose Tree." Reprinted in Jack­ 25. Morris (1927), No. 26, "Turky in son (1937), No. 92, with notes on the Straw." history of tune. 26. Fillmore (1927), No. 139. Donated 3. Knauff (1839) , I, No. 11, "Natchez on the Hill." by S. W. Monfort. 4. Howe (1851), p. 43, "Old Zip Coon." 27. Sandburg ( 1927), pp. 94-97. 5. Howe (1858), p. 58, "Old Zip Coon." 28. Adam (1928), No. 22, "Old Zip 6. Winner (1864) , p. 9, "Sugar Gourd." Coon, or Turkey in the Straw." 7. Ryan (1883), p. 44, "Old Zip Coon­ 29. Ryan (1928), p. 20. Reel." 30. Ball (1931), p. 15, "The Miller Boy." 8. Ryan (1883), p. 253; One Thousand From Idaho. (1940), p. 127, "I'll Cloot My John­ 31. Robbins (1933), No. 26, "Old Zip ny's Gery Breeks--Strathspey." "Rose Coon (Country Dance)." Tree" tune. 32. Robbins (1933), No. 158, "Turkey 9. White (1896), p. 72, "Old Zip Coon." in the Straw (Buck Dance)."

32 33. Jackson (1933), p. 166 "My Grand­ 52. AFS 955 A5, "Sugar in the Gourd." ma Lived on Yonder Little Green." Mrs. G. A. Griffin, vel, Newberry, From his mother's singing in 1931, Fla., 1937, J. Lomax. learned in Maine about 1859. 53. AFS 989 B6, "The Jolly Miller." Mrs. 34. Jigs and R eels (1937), p. I. Je ssie P. Hunter, vel, Fort White, Fla., 35. Linscott (1939), pp. 85-85. Edson H. 1937, Morris. Cole, Freedom, N.H. 54. AFS 1342 BI. Theodore Blevins, 36. Linscott (1939), pp. 102-3, "Old Zip strummed dule, Galax, Va., 1937, B. Coon." Willie Woodward, Bristol, Lomax. N.H. 55. AFS 1520 AI, "Natchez under the 37. Lin scott (1939), pp. 157-58, "All Hill." Theophilus G. Hoskins, fdl, Bound 'Round with a Woolen String." Hyden , Ky., 1937, A. Lomax-E. Dr. Frank Allen Hubbard, vel, Taun­ Lomax. ton, Mass. 56. AFS 2632 B. Elmo Newcomer, vel 38. Linscott (1939), pp. 244-45, "My and [dl, Bill Newcomer, bjo, Pipe­ Grandmother Lived on Yonder creek. Tex., 1939, J. Lomax-R. Lo­ Green." Mrs. Ethel Kidder Fuller, vel, max. Assonet, Mass. 57. AFS 3156 A3. Tink Queer, fdl, 39. Ford (1940), p. 56, "Natchez Under Franklin Slaughter and Bill Fowler, the Hill." gtr, Ligonier, Pa., 1936, Robertson. 40. Ford (1940) , p. 59 . 41. Bennett (1940), p. 80. Bill Hensley, 58. AFS 3160 B4. S. F. Russell , strummed fdl, near Asheville, N.C. dulc, Marion, Va., 19 36, Robertson. 42. Messer (1948), No. 52. 59. AFS 3175 B I, "The Miller Boy." 43. Ruth (1948), p. 8. Carl Garrett, vel and gtr, Mrs. Garrett, 44. Smith and Hovey (1955) , no page description of play-party game, Cross­ number. ville, Tenn., 1936, Robertson. 45. Smith and Hovey (1955), no page 60. AFS 3252 A3. "Turkey in the Hay." number, "Sugar in the Gourd." Rindlisbacher group. homemade fdl 46. Cazden (J 955), p. 26. and gtr, Rice Lake, Wis., rec. at 47. Artley (1955), p. 53, "Natchez on the National Folk Festival, Chicago, 111 ., Hill." Anon. fdl, central West Vir­ 1937, Robertson. ginia, early 1950s. 61. AFS 3305 B3. Willard Ley and Doyle 48. Thede (1967), p. 113, "Natchez Pugh, hca, Arthurdale, W. Va., 1936, under the Hill." W. S. Collins, Potta­ C. Seeger. watomie County, Okla; learned in 62. AFS 3360 B3. John Slone. [dl. Colum­ Missouri. bia. Calif., 1939. Robertson. 63. AFS 3405 B2. Harvey Bonnah, vel, C. Published recordings Cleveland. Ohio. 1938, Walton. In 49. 78 rec. Victor 18743, "Turkey in the mock or pidgin French. Straw ( A Rag-Time Fantasie)." 64. AFS 3568 B I. Ernest Sexton. jews Pietro, acen. harp, Visalia. Calif., 1939. Valiant. 50. 78 rec. Victor 20294 (1926), "Sugar From Mi ssouri. in the Gourd." Ernest V. Stoneman 65. AFS 3568 B2. Isaac Tate. gtr and and His Dixie Mountainee rs ; Kahle hca, Zanadia McCrea, tap dancing. Brewer, fdl. Visalia, Calif .. 1939. Valiant. 66. AFS 4226 A4. Mrs. Ben Scott. fdl. D. Unpublished recordings Myrtle B. Wilkinson. tenor bjo. Tur­ 51. AFS 567 A2. J. D. Dillingham and lock, Cali f., 1939, Robertson. friend, fdl and bjo, Austin , Tex., 1935, 67. AFS 4716 B2. Samuel B. Richardson J. Lomax. and hi s father, hea and bones, Little

33 Creek, Del., 1941, Wiesner-Liss-Gil­ 83. AFS 9335 B1. Larry Gage, fd1, acc. dersleeve. by gtr, Old Time Fiddlers' Contest, 68. AFS 4944 A4, B1 , "Natchez under Tucson, Ariz., 1948, Wiley. the Hill, or Turkey in the Straw." Em­ 84. AFS 9339 B1. Mat Kinman, fdl, acc. mett Lundy, fdl, Jeedy Lundy, bjo, on gtr, Old Time Fiddlers' Contest, Kelly Lundy, gtr, Galax, Va., 1941 , Tucson, Ariz., 1948, Wiley. A. Lomax-Wiesner-Liss. 69. AFS 5013 BI, "Zip Coon." Leizime B14--SUGAR IN THE GOURD. AFS 8544·1 Brusoe's Orchestra; Leizime Brusoe, B5. Marcus Martin, fiddle, Ararat, N.C., fdl, Robert McLain, clarinct, Walter September 1946, Margot Mayo, Stuart Wyss, dbl bass, Emery Olson, accn, Rhinelander, Wis., 1941, Draves. Jamieson, and Robert Simon. 70. AFS 5317 A2. Lon Jordan, fdl, Farm­ ington, Ark., 1941, Randolph. The title "Sugar in thc Gourd" is usually 71. AFS 4386 B2-3. Arthur Trail, tapping associated with a "minor" instrumental tune his teeth with pencil, Farmington, popular on the nineteenth-century minstrel stage Ark., 1942, Randolph. and frequently reprinted in subsequent tune collections. In the repertory of fiddlers from the 72. AFS 5673 A2. Hence Barrow, fdl, Odessa, Tex., 1942, J. Lomax. South, however, the title usually calls forth a variant of "Turkey in the Straw" (see B J3 on 73. AFS 6049 B2. Roger Robinson, fdl, this recording). Marcus Martin's tune is neither Bowdoinham, Maine, 1941 , Linscott. of these, and its precise history has not ye t been 74. AFS 6053 BI, 6054 A3, "Old Zip established, though it bears a vague resemblance Coon." Frank Cates, fdl , Rockland, to an old tune locally called "Billy in the Low Maine, 1941, Linscott. Ground" (another floating title) in Virginia and 75. AFS 6057 B2, 6058 A2, "Old Zip West Virgi nia. Coon." Herbert D. Farnham, fdl, Marcus Martin, who has contributed a number Swanville, Maine, 1941, Linscott. of fine recordings to the Archive of Folk Song, 76. AFS 6354 A3. Michacl Cruise, fdl, grew up in Swannanoa, N.C. He lived for a while Tucson, Ariz., rec. at LC, 1942, A. in Ararat, where this number was recorded, but Lomax-J. Schwartz. he returned to Swannanoa and still resides there. 77. AFS 6492 A4. John Wagoner, fdl, He plays with a gracious, fluid style featuring Pete and Vasteen Wagoner, gtr, Elan complex bowing patterns and occasional triplets College, N.C., 1941, Collins. and other left-hand ornaments. His repertory is discussed by Joan Moser in "In strumental Music 78. AFS 7225 B5. Jim Hamm, fdl Bill of the Southern Appalachians: Traditional Fid­ Hanlen, drums, Halifax, Nova Scotia, 1944, Creighton. dle Tunes" (1964) . pp. 1-8. 79. AFS 7759 A2. Harry Robinson, fdl, Phoenicia, N.Y., 1944, Hofmann­ Bls-cOrrON-EYED JOE. AFS 4794 B4. Worth. Marcus Martin, fiddle, Swannanoa, N.C., 80. AFS 8433 A2. John Munch, singing recorded at Asheville, N.C., July 26, 1941 , square dance call, with acen, Lancas­ Alan Lomax. Jerome Wiesner, and Joseph ter, Wis., 1946, Coon. Liss. 8 I. AFS 85 16 B I, "Sugar in the Gourd." Jim Ball. fdl, Doby L. Patterson, gtr, This fine old fiddle tune was recorded by Harvey Oakley, caller, Gatlinburg, Fiddlin' John Carson on the Okeh label in the Tenn., 1946, Mayo-Jamieson-Simon. I 920s. It is possible that Mr. Martin learned his 82. AFS 87 19 BI-2. Myron Crandall, vel, version from Carson's recording. On the other acc. by gtr, Ogden, Utah, 1946, fife . hand, he was already in his 40s when the Carson Singer composed these words himself. recording appeared, and he comes from the same

34 general area of the Appalachians as Fiddlin' VARIANTS John Carson, so both men may have learned the A. Published recordings tune locally. A set of this tune from Mississippi in the Archive of Folk Song, entitled "Dusty 1. Okeh 45122 (1927), "Cotton-Eyed Miller," suggests that the tune once had a wider Joe." Fiddlin' John Carson and His circulation in the South. Virginia Reelers. The title, unlike the tune, is quite well known B. Unpublished recordings throughout the South and Southwest, associated 2. AFS 3002 A3, "Dusty Miller." John with some playful verses which have attached A. Brown, fdl, Iuka, Miss., 1939, themselves to several tunes. Halpert.

WORKS CITED

The following is a list of manuscript and printed sources cited in the body of the notes. The Archive maintains a fuller list pertaining to this subject. A Bibliography of Fiddling, Fiddle Tunes, and Related Dance Tune Collections in North America: In cluding Representative Materials from the British Isles and Scandinavia, compiled by Joseph C. Hickerson with the assistance of Maggie Holtzberg. Copies may be obtained upon request from the Archive of Folk Song, Music Division, Library of Congress, Washington, D.C. 20540. The works are arranged alphabeticall y by the name of the compiler, which, together with the date of publication, comprises the reference in the body of the notes. A few works with­ out credit to compilers are alphabetized by title. The published recordings are not included in this list, but full information on them is given in the notes themselves.

Adam,E. F. Astor, G. Old Time Fiddlers' Favorite Barn Dance Astor's Twenty Four Country Dances for Tunes. St. Louis: E. F. Adam, 1928. the Year 1807. London: G. Astor [1 808?].

Adams, William O. "William O. Adams's Musick Book." 1795. Ball, Leona Nessly. MS, Music Division, Library of Congress. "The Play Party in Idaho." Journal of American Folklore, volume 44, number Allen, William Francis, Charles Pickard Ware, 171, January-March 1931, pp. 1-26. and Lucy MoKim Garriso n. Slave Songs of the United States. 1867. Bayard, Samuel P. Reprinted, New York: Peter Smith, 1951. "American Folksongs and Their Music." Southern Folklore Quarterly, volume 17, Ames, Mrs. L. D. , number 2, June 1953, pp. 122-139. "The Missouri Pl ay-Party." Journal of American Folklore, volume 24, number 93, July-September 1911, pp. 295 -318. Hill Country Tunes: Instrumental Folk Music of Southwestern Pennsylvania. Phila­ delphia: Memoirs of the American Folklore Arnold, Byro n. Society, volume 39, 1944. Folksongs of Alabama. University: Univer­ sity of Alabama Press, 1950. "Scales and Ranges in AnglO-American Artley, Malvin. Fiddle Tunes." In Kenneth Goldstein and "The Wes t Virginia County Fiddl er: An Robert Byington, editors, Two Penny Aspect in the Development of Folk Music Ballads and Four Dollar Whiskey: A Penn­ in America." Ph.D. di ssertation. Chi cago, sylvania Folklore Miscellany. Hatboro, Pa.: Roosevelt University, 1955. Folklore Associates, Inc., 1966, pp. 51-60.

35 Beck, Henry. Chappell, Loui s W. "Henry Beck's Flute Book." 1786. MS, Folk-Songs of Roanoke and Ihe Abermarle. Music Division, Library of Congress. Morgantown, W. Va.: The Ballad Press, 1939. Bennett, David Parker. "A Study in Fiddle Tunes from Wes tern Chappell, Willi am. North Carolin a." M.A. thesis. Chapel Hill: A Col/ection of Nalional English A irs. 2 University of North Carolina, 1940. volumes. London: Chappell, 1840. Botkin , B. A. Coes, George H . The American Play-Party Song. 19 37. Re­ George H. Coes' Album of Music. Boston: printed, New York: Frederick Ungar Pub­ Loui s P. Goullaud, 1876. lis hi ng Co., 1963. Crampton, C. Ward. Bowman, S. A. The Second Folk Dance Book. New York: The J. W. Pepper Col/ection of 500 Reels, A. S. Barn es & Co., 1930 Jigs .. for Violin. Philadelphia: J. W. Pepper, 1908. Davie's Caledonian Repository. Aberdeen: Brother lonathan's Collection of Violin Tunes. James Davie & Co. [ca. 1825]. New York : Firth, Pond & Co., 1862. DeVille, Paul. Brown, Frank C. Reels, Hornpipes, Jigs, Elc.: The Univer­ The Frank C. Brown Collection of North sal Favorite Contra Dance Album. New Carolina Folklore. Volume 5, The Music York and Boston: Ca rl Fischer, 1905. of Ihe Folk Songs, ed ited by Jan Philip Schinhan, Durham, N.C.: Duke University Dunham, Mellie. Press, 1962. "Mellie" Dunham's 50 Fiddlin' Dance Tunes. New York: Carl Fi scher Inc. , 1926. Buckl ey, James, and sons. Buckley's Violin Tunes. New York: Firth, El so m, J. c. , and Blanche M. Trilling. Pond & Co., 1855. Social Games and Group Dances. 1919. 2d edition, re vised and enlarged, Philadelphia Burchenal, Elizabeth. and London: J. B. Li ppincott Co., 1927. A merican Country-Dances, Volume J: Twenly-Eighl COnlra-Dances Largely from Fillmore, Henr y. Ihe New England Stales. New York: G. The A merican Veteran Filer. Revised edi­ Schirmer, 1918. ti on, Cincinnali: The Fillmore Bros., Co. , 1927. Rinnce Na Eirann: National Dances 0/ Ireland. New York: G. Schirmer, 1929. Fishar, J. Byerly, William. Sixteen Corillons, Sixteen Minuets, Twelve The Cryslal Schouisc". New York: Firth, A llemands and Twelve Hornpipes Com­ Pond & Co., 1853. Sheet music. posed by J. Fishar. London : John Ruther­ ford [17 80?]. The Casket, or Musical Pocket Companion. New York: James L. Hewitt [ca. 1830]. Ford, Ira. Tradilional Music of America. 1940. Re­ Cazden, Norman. print edition, Foreword by Judith McCul­ Dances from Woodland. 2d edition, Bridge­ loh , Hatboro, Pa .: Folklore A ssociates, port, Conn.: N. Cazden, 1955. 1965.

36 Fuld, James J. H owe, Elias. The Book of World-Famous Music. New Howe's School for 'he Violin. Boston: York: Crown Publishers, Inc., J966. Oliver Ditson, 185 1.

Gentlemen's Amusement, Consisting of Select Leviathan Collection of Instrumental Music. Airs for the Clarionet. 3 volumes. Philadel­ New York: S. T. Gordon & Son; Boston: phia: G . E. Blade [ca. 1824-25]. Russell & Richardson, 1858.

Gilchrist, Annie G . The Musician's Companion. Three parts, "Songs and Tunes from the Clague Collec­ Boston: Elias Howe, J r., 1844. Also Bos­ tion." Journal of the Folk-Song Society, ton: Oliver Ditson, 1850. volume 7, number 28, December 1924, pp. 117-83. Musician's Omnibus. Volumes 1-7, plus Complete, Triple, Quadruple, and Quin­ tuple editions, Boston: Elias Howe, etc., Gill, W. H . ca. 1863-82. Manx National AlliSic. London : Boosey & Co., 1898. Hull's Victory (with Salem Cadet's March) . Boston: G. Graupner [ca. 1820-25]. Glen, John. The Glen Collection of SCOl/ish Dance "The Island of 51. Helena." Journal of the Folk­ Music. 2 volumes. Edinburgh : John Glen, Song Society, volume 2, number 7, 1905, 1891 -95. pp. 88-90.

Greenleaf, Elisabeth Bristol, and Grace Yarrow Jackson, George Pullen. Mansfield. White Spirituals in the SOflfhern Uplands. Ballads and Sea SOllgs of Newfoundland. Chapel Hill. N.C.: University of North Reprint edition, Foreword by MacEdward Carolina Press, 1933. Reprint edition, Hat­ Leach, Hatboro, Pa.: Folklore Associates, boro. Pa.: Folklore Associates, Inc., 1964. J968. Spiritual Folk-Songs of Early A merica. New Harding, Frank. York: J . J . Augustin, 1937. Reprint edition, Harding's All-Roulld Collection of Jigs, New York: Dover Publications, Inc., 1964. R eels and Country Dances. New York : H arding's Music House, 1905. Jigs and Reel5. Chicago: Belmont Music Co., 1937. Harding's Collection of Jigs, Reels, etc. New York: Harding Music Office, 18987. Joyce, P. W. Old Irish Folk Music and Song5. London: "Haste to the Wedding." Journal of the English Longmans, Green & Co., 1909. Rcpril1l Folk Dance and SOllg Society, volume 3, edition, New York: Cooper Square Pub­ number 3, December 1938, pp. 208-1 0 . lishers, 1965.

Hinman, Mary Wood. K nauff, George P. Gymnastic and Folk Dances. Volume 5: Virginia Reels. 4 volumes, Baltimore: Tap Dances, C logs and J igs. New York: George Willig, J r. , ca. 1839. A. S. Barnes & Co., 1924, 1930. Linscott, Eloise Hubbard. Hitchcock's Collection of Old and New Songs. 7 Folk Songs of Old New England. 1939. volumes. New York: H itchcock's Mus ic Revised edition, Hamden, Conn.: Archon Store, 188 1-83. Books, 1962.

37 Lomax, John A., and Alan Lomax. Morris, W. H. American Ballads and Folk Songs. New Old Time Violin Melodies: Book No.1. York: The Macmillan Co., 1934. Mary St. Joseph, Mo.: W. H. Morris, 1927. Gresham and Edward N. Waters, music editors. Moser, Joan. "Instrumental Music of the Southern Appa­ Our Singing Country. New York: The Mac­ lachians: Traditional Fiddle Tunes." North millan Co., 1941. Ruth Crawford Seeger, Carolina Folklore, volume 12, number 2, music editor. December 1964, pp. 1-8.

Longman and Broderip. Music of the Ethiopian Serenaders. No.6. New Longman & Broderip's Fifth Selection of York: William Hall and Son; Firth, Pond the Most Admired Dances, Reels, Minuets & Co., 1848. & COllilons. London: Longman & Bro­ derip [ca. 1786]. Nathan, Hans. Dan Emmell and the Rise of Early Negro Longman and Broderip's Selection of the Minstrelsy. Norman: University of Okla­ Most Favorite Country Dances, Reels, &c. homa Press, 1962. London: Longman and Broderip [ca. 1780]. Old Time Jigs and Reels for the Violin. Boston: Lovett, Benjamin B. Oliver Ditson Co., 1906. Good Morning: Music Calls, and Directions for Old-Tillie Dancing as Revived by Mr. One Thousand Fiddle Tunes. Chicago: M. M. and Mrs. Henry Ford. Dearborn, Mich.: Cole, 1940. Reprinted from Ryan's Mam­ Henry Ford, 1941. moth Col/ection, q. v.

McDowell, Lucien L., and Flora Lassiter Mc- O'Neill, Francis. Dowell. The Dance Music of 1reland: 1001 Gems. Folk Dances of Tennessee: Old Play Party Chicago: Lyon and Healy, 1907. Gallles of the Caney Fork Valley. Ann Arbor, Mich.: Edward Brothers, 1938. O'Neill's Music of irelalld: Eighteen Hun­ dred and Fifty Melodies. Chicago: Lyon McGlashan, Alexander. and Healy, 1903. Reprint edition, New A Collection of Scots Measures. Edinburgh: York: Daniel Collins [ 1964?]. Neil Stewart [1781]. Peacock, J. A Collection of Reels. Edinburgh: N. Stew­ Peacocks Tunes. Newcastle, England [ca. art [1786]. 1801].

Mates, Julian. Perrow, E.C. The American Musical Stage before 1800. "Songs and Rhymes from the South." New Brunswick, N. J. : Rutgers University Journal of American Folklore, volume 25, Press, 1962. number 96, April-June 1912, pp. 137-55; volume 26, number 100, April-June 1913, Messer, Don. pp. 123-73; volume 28, number 108, April­ Way Down East Fiddlin' Tunes. Toronto: June 1915, pp. 129-90. Gordon V. Thompson, Ltd., 1948. Petrie, George. Morris, Alton C. The Complete Collection at Irish Music. Folksongs of Florida. Gainesville: Univer­ Edited by George Villiers Stanford. 3 vol­ sity of Florida Press, 1950. umes. London: Boosey & Co., 1902-5.

38 Randolph, Vance. English Folk Songs from the Southern Ozark Folksongs. 4 volumes. Columbia: Appalachians. 1917. Revised and enlarged The State Historical Society of Missouri, edition, edited by Maud Karpeles, 2 vol­ 1946-50. umes. London: Oxford University Press, 1932. Robbins Collection of 200 Jigs, Reels, and Country Dances. New York: Robbins Shattuck, Abel. Music Corp., 1933. "A. Shattuck's Book." Ca. 1801. MS, Music Division, Library of Congress. Roche, F. Collection of Irish Airs, Marches, and Smith, Frank H. and Rolf E. Hovey. Dance Tunes. 2 volumes. Dublin: Pigott & The Appalachian Square Dance. Berea, Co., Ltd.; London: Leonard & Co., 1912. Ky.: Berea College, 1955. Revised and enlarged edition, 3 volumes. Dublin: Pigott & Co., Ltd., 1928. Spaeth, Sigmund. A History of Popular Music in America. Ruth, Viola H. New York: Random House, 1948. Pioneer Western Folk Tunes. Phoenix, Ariz.: V. H. Ruth, 1948. Stewart-Robertson, James. The Athole Collecrion of the Dance Music Ryan, Grace L. of Scotland. 1884. Reprint edition, Edin­ Dances of Our Pioneers. New York: A. S. burgh and London: Oliver and Boyd, 1961. Barnes & Co., 1939. Thede, Marion. Ryan, William Bradbury. The Fiddle Book. New York: Oak Publica­ Ryan's Mammorh Collection. Boston: Elias tions, 1967. Howe, 1883. Thomas, Jean. Ryan's Dances, Reels and Jigs. Cincinnati: Devil's Ditties. Chicago: W. Wilbur Hat­ The John Church Co., 1886. fi eld, 1931. Thomas, Jean, and Joseph A. Leeder. Sandburg, Carl. The Singin' Gartherin'. New York: Silver The American Songbag. New York: Har­ Burdett Co., 1939. court, Brace & Co., Inc., 1927. Walton, Ivan H. New American Songbag. New York: Broad­ "Folk Singing on Beaver Island." Midwest cast Music, Inc., 1950. Folklore, volume 2, number 4, Winter 1952, pp.243-50. Scarborough, Dorothy. On the Trail of Negro Folk-Songs. Cam­ Wedgwood, Harriet L. bridge, Mass.: Harvard University Press, "The Play-Party." JOllrnal of American 1925. Reprint edition, Hatboro, Pa.: Folk­ Folklore, volume 25, number 97, July­ lore Associates, Inc., 19 63. September 1912, pp. 268-73.

A Song Catcher in Southern Mountains . White, Charles. New York: Columbia University Press, White's Serenaders' Song Book. Philadel­ 1937. phia: T. B. Peterson, 1851.

Sharp, Cecil J. White's Excelsior Collection of Jigs, Reels, and Country Dance Tunes. 11 volumes. London: Hornpipes. Boston: White-Smith Music Novello & Co., Ltd., 1909-22. Pub. Co., 1896.

39 White's 100 Popular Hornpipes, Reels, Jigs and Winner's Coilecrion of Music for the Violin. Country Dances for the Violin. Boston: 1851. 2d edition, revised and enlarged, Jean White, 1880. Philadelphia: Charles H. Davis and Winner & Shuster; Lee & Walker, 1853. White's Unique Coilection of Jigs, Reels, etc. Boston: White-Smith Music Publishing Co., 1902. Winner's Dance Music. Philadelphia: Sep. Winner & Co., 1866. Wilkinson , Winston. "Virginia Dance Tunes." Southern Folk­ Winner's Dance Folio for the Violin. No lore Quarterly, volume 6, number I , March place given: W. F. Shaw, 1882. 1942, pp. 1-10. Winner, Septimus. Wolfe, Richard. Music and Steps of rhe Round and Square Secular Music in America 1801-1825: A Dances for rhe Violin. Boston: Oliver Dit­ Bibliography. 3 volumes. New York: The son Co., 1894. New York Public Library, 1964.

40 APPENDIX

The following fiddle items appear on long-playing recordings previously issued by the Library of Congress. For a list of records issued since this recording, which include fiddle items, write the Archive of Folk Song, Music Division, Library of Congress, Washington, D.C. 20540. L2 Luther Strong, fiddle , Dalesburg, Ky., L20 McMinnville Garment Factory Workers' 1937. Band, McMinnville, Tenn., 1946. "The Last of Callahan" "The Soldier's Joy" "The Ways of the World" "Give the Fiddler a Dram" "Glory in the Meeting House" Sam Leslie, fiddle, Palmer Crisp, guitar, W. E. Claunch, fiddle and vocal, Mrs. Allen, Ky. , 1946. Christeen Haygood, guitar, near Gun­ "Black Mountain Blues" town, Miss., 1939. "Grub Springs" L21 Marcus Martin, fiddl e, Ararat, N.C., "The Eighth of January" 1946. "Sally Goodin" "Fiddle Tuning" "Cindy" "Sandy River" "G rey Eagle" L5 Wayne Perry, fiddl e, Crowley, La., 1934. "Bonaparte's Retreat" "Acadian Waltz" .. Acadian Blues" L29 Bascom Lamar Lunsford, vocal and fiddle, Buncombe Co., N.C., 1949. Joe Segura, vocal and fiddle , Delcambre, "Booth Kill ed Lincoln" La., 1934. "Petite Fille it Albert Moreau" L54 Monroe Gevedon, vocal and fiddle , West "Joe Ferail" Liberty, Ky., 1937. L9 Enos Canoy, fiddle , Tim Canoy, mando­ "'Barbara Allen" lin, Lola Canoy, guitar, Magee, Miss., Bascom Lamar Lunsfo rd, vocal and fiddle , 1939. Buncombe Co., N.C., 1935 . "Old Blue Sow" "Barbara Allen" "Where'd You Git Yo' Whisky?" L55 Otto Rindlisbacher, fiddle, Mrs. Rindlis­ Enos Canoy, vocal and fiddl e, Jim F. bacher, piano. piano accordion, Rice Myers, beating on straws, Magee, Miss., Lake, Wis. , 194 J. 1939. "' The Swam per's Revenge on the Windfall" "Pore Little Mary Settin' in the Corner" "The Couderay Jig" Osca r Harper, fiddle, Harman Clem, Otto Rindlisbacher, fiddl e (cigar box guitar, HOlner Peters, banjo, Ra y Han­ fiddl e on first item) , Rice Lake, Wis., by, double bass, Bob McClary, caller, 1941. Dallas, Tex., 1942. "Lumberjack Dance Tune" "The Girl I Left Behind Me" "Pig Schottische" "Sall y Goodin" J. C, Fowler, Elic Buckner, and Alva L60 Charles Underwood, fiddle, with guitar, Rufner, st rin g band, S.C. Simon, caller, Price Hill , W. Va., 1940. Lubbock, Tex., 1937. "Payday at the Mine" "Devil's Dream" L61 Russell Wise, fiddle, Mr. White, guitar, "Mississi ppi Sawyer" Madison, Fla., 1936. Ll6 James Muldowney, fiddle , Pottsville, Pa., "Train Blues" 1946. The Ridge Rangers, Cincinnati, Ohio, "Boys on the Hill-Hornpipe" 1938. " Rolling on the Rye Grass-Reel" "The New River Train" Library of Congress Catalog Card Number 72-751842

Available from the Recorded Sound Section, Music Division, Library of Congress, Washington, D.C. 20540