A Collection of Contemporary Cornish Waltzes, Reels and Jigs

Original Compositions by JIM PENGELLY

Volume 1 Den Lodenek

Music transcribed and typeset by Alan Pengelly

ALL RIGHTS RESERVED All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review.

Padstow May Day c.1963

This book has been compiled by Alan Pengelly, the son of Jim Pengelly who sadly passed away on 5th January 2014. Many of the tunes in this book have never been played publicly and it was always my ambition to ensure these were made available for others to play, share and enjoy. I always admired my dad’s ability to write great tunes and so it would have been tragic not to! …… So, here they are!

RIP Jim Pengelly (Den Lodenek)

III

Foreword

Jim Pengelly hailed from Padstow in Cornwall where he grew up, hence the name of this book ‘Den Lodenek’ which translated from Cornish means ‘Man of Padstow’. Jim played a very active role throughout his life in promoting the culture and heritage of Cornwall and was awarded a Bardship by The Gorsedh Kernow in 1970 for his services to the Cornish Language. His Bardic name was, of course, ‘Den Lodenek’.

It goes without saying that, as a man of Padstow, Jim was an active participant in the Padstow May Day celebrations on 1st May each year, playing accordion with the Blue Ribbon Oss (photo on page II). For those who have never been to May Day, this is definitely something that needs to be experienced in person to fully appreciate this ancient celebration with the haunting sounds of the May Song and its procession through the streets of Padstow. If you ever thought that more than one accordion playing would be a nightmare, this is definitely an exception to that rule!

Jim was introduced to the traditional Cornish dance scene as an accordion player c.1982 where he joined ‘Cam Kernewek’- a dance group formed in the late 1970s whose purpose was to try and revive interest in Cornish dance. Some of the tunes in this book were written to accompany dances performed by this group throughout the 80s and 90s. Jim was also an integral part of the Cornish dance group ‘Asteveryn’ who subsequently formed in 1997 to continue Cam Kernewek’s legacy.

I have very fond memories of growing up and being introduced to music from all the Celtic regions and my dad’s tunes are no exception. As an accordion player myself, I have enjoyed the challenge that playing some of these tunes presents and it’s fair to say even Jim had his moments with a few of them on some occasions!

From slow waltzes to fast reels, there is an eclectic mix for all tastes and abilities. So….please enjoy!!

IV Contents

An Demedhyans ………………………………………………………... 1

An Dynas ..……………………………………………………………… 2

An Weryn ………………………………………………………..……... 3

Asteveryn Polka ………………………………………………………... 4

Clair Tregenza’s Wedding ……………………………………………... 5

Cornish Medley ………………………………………………………… 7

Cornish Squire ………………………………………………………….. 10

Etek ha Deugans ………………………………………………………... 11

Gretta’s Song …………………………………………………………… 12

Gwer ha Glas …………………………………………………………… 13

Harleigh Polka ………………………………………………………….. 14

Jim’s Jigs ……………………………………………………………….. 15

Miscellany Reel ………………………………………………………… 16

Miss Angela MacTernan ……………………………………………….. 17

Mrs Parkyn’s Jig ………………………………………………………... 20

New Temp Waltz ………………………………………………………. 21

Padstow Pride …………………………………………………………... 22

Pelmelyn Jig ……………………………………………………………. 23

Polka Poppet ……………………………………………………………. 24

Rum and Shrub …………………………………………………………. 25

St Piran’s Marches …………………………………………...………… 26

Tamsyn’s Jig …………………………………………………………… 28

The Bellow Miner Reel ………………………………………………… 29

Tyr – Gwyr – Gweryn ………………………………………………….. 31

Yn Cas ………………………………………………………………….. 32

The Green Plume Mazurka …………………………………………….. 33

V An Demedhyans Literally translates to 'The Wedding'. A lovely simple waltz to be played slowly and with feeling to do it justice.

G E m C D 7 B m                6 G A m D 7 G E m           11 A m D 7 A m D 7 G                  17 G E m C D 7             21 E m C A m D 7 G            26 E m C D 7 G E m             31 A m D 7 G E m A m              36 D 7 A m D 7 G G             

1 An Dynas Literally translated to 'The Castle / Fort', this set of jigs were written for a Cornish dance called 'Dynas Canyke'. Part D is particularly challenging so good luck trying to play it and make it sound tidy! 1999 Intro A A/E G E 7 B m E 7 E 7 A                            Part A  A E 7 F m E 7 B m 5                             E7    E 7 B m E 7 A G  E7 10                               E 7/B A E 7 A G E 7 E 7 B m E 7 A 15                             Part B   F m B m E 7 A B m F m C m F m 21                                  m m 7 m m m 7 m 25 F B E F F B E F                              Part C m m m m 7 29 B A G F E B G F                             B m A G F m E m B m G A 7 B m 33                                 Part D E B 7 A G m C m B 7 E E/B 37                                 G 7 F 7 F m B 7 E E/B B 7 E 41                                   © Jim Pengelly 2 An Weryn Meaning 'The People' and devised for a set dance to commemorate the Cornish people past, present and, hopefully, future. The dance was never finished but no reason not to enjoy, in the meantime, the melodies portrayed below.

Part A1 1, 3 2, 4 A G A E 7 A G A E 7 A m G A                                    

Part B1 1, 3 2, 4 6 F D m G m B G m B G m C 7 C 7 F                                    Part C 1, 3 2, 4 11 A G A E m A G A E 7 A G A M G A                                   Part B2 1, 3 2, 4 17 F D m G m B G m B G m C 7 C 7 F                               Part D   m m m m m m m 22 A D C D C A G A A E                                   1 2 27 F C F E m F C F G 7 A M E 7                                 Part A2 32 A G A E 7 A G A E 7                                 

36 A G A E 7 A G A m G A                           

© Jim Pengelly 3 Asteveryn Polka 'Asteveryn' was a dance group dedicated to the development of Cornish music and dance and was formerly known as 'Cam Kernewek'. Cam Kernewek was the prime mover in 1979, soon to be followed by 'Ros Keltek', in bringing the concept of Cornish music and dance back into the public consciousness and was considered to be a 'legend in its own lifetime'. The evolution of Asteveryn was triggered in 1997 when various members moved on to persue other Cornish ventures. Asteveryn is taken from the saying "Asteveryn agan Ertach" ("Let us replenish our Heritage") and this tune was used for a Cornish dance of the same name created by the dance group in the late 90s. 1984 E m G C D 7 E m G A m B m

                                  

E m C A m E m E m C A m B 7 5 3 3 3 3 3                                

G E m C D 7 G E m G E m G E m C D 7 9                         3    3    

E m C D 7 B 7 C G 7 A m E m A m F 15                                        A m G A m C A m E 7 F C F G 7 A m 20                                 1 2 D G A 7 B m G E m E 7 A 7 A 7 D 25                                  1 2 A 7 A 7 D A 7 D A 7 B m E m B m A 7 D 30                                          

4 Clair Tregenza's Wedding As the name suggests, this was written especially for Claire's wedding at Trevarno Manor in July 2000. The tune is constructed around 4 drones; C, Am, Bm, and D and the sections can be varied to suit any venue and length of procession. 2000 Intro Melody                    

Counter              C drone accompaniment      9                           9                             Am drone accompaniment 17                           17                        Bm drone accompaniment 25                               25

                     29                              29

                   Continud ... © Jim Pengelly

5 Clair Tregenza's Wedding

D drone accompaniment 33                          33                           Bm drone accompaniment 41                               41

                     45                              45

                 D drone accompaniment   49                          49                           C drone accompaniment 57                           57                            

© Jim Pengelly 6 A Cornish Medley Probably one of my favourite sets of tunes composed by father as I still clearly remember hearing his arrangement of this on the accordion from my very early years. I always believed this medley would sound amazing if arranged with an orchestra as it offers such a wonderful array of tempos, key changes and lovely melodies suited to reed, wood and stringed instruments. Hopefully one day! Part A (Allegro) A m C A m C F E 7 F G F G A m F                         

D m G A m G F C E 7 A m F G 7                            1    2   A m G F C E 7 A m F C F C 13

                                   Part B (Andate) 19 F B A F F B                                   

25 A F B F B F B                                32 F B C F B A F                                   F B A F C 7 F 39                                 7 45 B A C F B C F                                B A F F B A F 52                                          Continued .....

7 A Cornish Medley Part C (Allegro) G m B F B G m E F 59                           3 B E F D E C C 7 66                              F F 7 B A B A B 73   3                                    A 80  3 B A B E B                              1 2 86 F B E B F 7 F                         Part D (Lento) 92 B C 7 F [hold...... ] F 7 F F C G                            100 F D m B B C C 7 F A m D m G 7 C C 7 F   3                                Part E (Allegro) 109 G B m E m C A m                  114 B m A 7 D 7 G B m E m C A m                   1 2 122 B m F A m D 7 F A m D                   Continued ....

Part F (Allegro)

128 E m B m E m C D G E m               134 G C D E m E m G C D             

140 E m E m C G E m C 3                      146 E m C B B m E m E m 3                 Fine

© Jim Pengelly 9 Cornish Squire This set of tunes were specifically written to accompany the Cornish set dance of the same name. The Cornish Squire dance was collected and published by the Playford family in the 17th Century but beyond that the origins of the dance are unknown. It was included in Ralph Dunstan's 1929 Cornish Song Book and was adapted by Cornish traditional dance groups in the 1980s. It remains a popular Cornish dance today.

1982 Part A - Cornish Squire 1 2 G C A m D 7 B m C B m D 7 B m D E m 3                                 3  

E m C E m C G E m B m D E m 6 3 3                              3       3  

1 2 C A m B m G E m C A m E m D E m B m D E m 10 3                            3       3    3  

Part B - Perlyn 1 2 m m 7 15 D C D F D C G A D CD                                  1 2 20 G F G E m G C A m D 7 D 7 G E 7                                     

25 A G A G A G A G A                                   

10 Etek ha Deugans The title means "58" (lit: 18 + 40) and was a significant number to its composer at the time - hence the reason why the piece is made up of 58 bars. The tune was used for a Cornish dance of the same name written by Julian Whiting and Tamsyn Whiting (Jims daughter) 1995

G F G F G F G F G                                   G F G F G F G F G 5                                      C A m C F C A m D m G 9 3                                     

C A m C F C A m G C 13 3                                      

A m A m/E A m A m/E A m A m/E 17 3 3                             

A m A m/E G G F F 20 3                          3

C C G G C C 23 3 3

                            3 3

F C 7 F E F C 7 F E F 26  3  3                        3        3   3  

11 Gretta's Song Unfortunately, I have no information as to the history of the tune or who Gretta is. Nevertheless a very pretty tune screaming out for a nice counter melody to accompany it

Part A C F G 7 C A m F G 7 C                                   7 7 m m 7 9 C F G C A D G C Fine                                  Part B

17 D B m E m A 7 B m                        1 2 22 G A 7 D A 7 D                       Part C

m m 27 B D C B A                    

32 E Fm B 7 B Dm                    

m 7 37 C B A E B E                    DC al fine

12 Gwer ha Glas The first public performance of this was at a Gorsedh Concert in Bude in 1993 although the waltz first saw the light of day on an audio cassette by the group 'Cam Kernewek' in 1996. It celebrates the coming together of the colours green and blue (Cornish: gwer ha glas) within the natural environment. 1994 Part A1 G B m C A m D 7 D 7/A C A m B m E m A 7 D 7                                9 G D 7 B m G 7 C A m B m A m D 7 C C m G                                  Part B A m D 7 G D 3 E m C A m C D 7 G 17 3 3                           

25 E m B m C G D 7 3 E m C D 7 C C m G                              Part C m m 7 7 33 D A B F G D E A                                     m m 7 41 D A B F G D A D                                   Part A2 49 G B m C A m D 7 D 7/A C A m B m E 7 A 7 D 7                         Repeat Rallentando as Finale     57 G D 7 B m G 7 C A m B m A m D 7 D 7 C C m G                                 

13 Gwer ha Glas The first public performance of this was at a Gorsedh Concert in Bude in 1993 although the waltz first saw the light of day on an audio cassette by the group 'Cam Kernewek' in 1996. It celebrates the coming together of the colours green and blue (Cornish: gwer ha glas) within the natural environment. 1994 Part A1 G B m C A m D 7 D 7/A C A m B m E m A 7 D 7                                9 G D 7 B m G 7 C A m B m A m D 7 C C m G                                  Part B A m D 7 G D 3 E m C A m C D 7 G 17 3 3                           

13 Harleigh Polka Part A 1985 A m C F D m C G 7 A m                       5 C C 7 F D m C G 7  A m                   9 C G7 A m E m F C D 7 G 7                          13 C G 7 A m E m F C G 7 C fine                             Part B 17 G D 7 E m C A m D 7 C G                               21 G D 7 E m C G D 7 G D 7 G                               25 A m D 7 G G 7 C A m   A 7 D 7                             29 A m D 7 G G 7 C A m D 7 G                             Part C 33 C A m A m G 7 C F G 7 C               37 C A m A m G 7 C F  G 7 C              41 F G 7 F C G 7   G 7 C                    45 F G 7 F C G 7 G 7  C

                      DC al fine © Jim Pengelly

14 Jim's Jigs Origianlly written as additional jigs to the existing Mrs Parkyn's Jig tunes which are featured in this book and of which were specifically written to accompany the Cornish step dance of the same name. However, Jim's Jigs never got used for the dance and therefore never really got played anywhere in public to date and existed only on a bit of manuscript on a PC ... until now.

Part A 1984 G D 7 E m C G D 7 C G                            G D 7 E m C G D 7 C G 5                          B m F m G D E m D  C D 9                           B m F m G D E m D C D 13                           Part B G G F G 17                             1 2 21 E m G C D E m C E m E m C D E m                                

15 Miscellany Reel

1, 3 2, 4 A E 7 Fm Cm D A B m E 7 E 7 A                                         7 m m 7 6 E B C G A E B E                                     10 G E m A m D 7 G E m A 7 D 7                                  G E m A m D 7 A m C D 7 G 14                             

18 E m E m/B E m E m/B D D/A D D/A 3 3                                    22 E m E m/B C A m D B m E m 3                                26 A Fm B m E 7 A Fm B 7 E 7                              

30 A E 7 A D D B m E 7 A                             

16 Miss Angela MacTernan Named after a Scottish dancer who used to regularly attend the celtic festival 'Lowender Peran' in Cornwall with her group 'The Heriot Watt University Dance Group' based in Edinburgh, Scotland. This tune was used for a Cornish dance written and performed by Cam Kernewek back in the 90s and is notably split into two parts. Part A is played in a 'strathspey' style and Part B is a fast part played as a reel.

Intro G D 7 G C G                 Part A E m G A m D 7 G E m C D 7 3                                    B m E m A m D 7 G D 7 G C G 7                                   

G E m G B m G B m E m A m D 7 11                              G E m G B m G B m E m A m D 7 G 15                              E m G A m D 7 G E m C D 7 19                                     B m E m A m D 7 G D 7 G C G 23                                 

G E m G B m G B m E m A m D 7 27                                Continued ...

17 Miss Angela MacTernan

1 2 31 G E m G B m G B m E m A m D 7 G D 7 G A 7                             Part B D A 7 D A 7 D C D A 7 36                                 D A 7 D A 7 D C D A 7 40                              D D/A D A 7 B m B m/F B m D 7 44                           

G G/D G G/D A 7 E 7 A 7 A 7 48                         

D A 7 D A 7 D C D A 7 52                                D A 7 D A 7 D C D A 7 56                                D D/G D A 7 B m B m/F B m D 7 60                           

G G/D G G/D A 7 E 7 A 7 A 7 64                          Continued ... © Jim Pengelly 18 Miss Angela MacTernan

D D C D D C D A 7 68                              

D D C D D C D D 72                            

D D C D D C D A 7 76                              

D D C D D C D D 80                            

D A 7 G A 7 D B m E m A 7 84                                  D A 7 G A 7 D B m E m A 7 D 88                             

D A 7 G A 7 D B m E m A 7 92                                  D A 7 G A 7 D B m E m A 7 D 96                             

19 Mrs Parkyn's Jig Written to accompany the Cornish step dance communicated by Mrs Parkyn from Lostwithiel in 1987, hence the name of tune.

C A m D m G 7 C A m D 7 G 7

                               3   3 1 2 5 C A m D m G 7 F G 7 C C                            3   

3 10 A m A m/E E m E m/B F C G A m                          3    3 3 14 F C D m A m F C G A m                     3      

20 New Temp Waltz

Part A G D Em Bm                             1 2 5 C G Am D 7 D7 G                                  Part B 11 D Bm Em A7                          15 Bm G A7 D                       19 G  C  D 7 B m                       C  G D 7  G  23                        Part C 27 C G D 7 G                          1 2 31 C G D 7 G G                        

21 Padstow Pride The name given in Padstow to the flower 'Valerian'. The tune was written for a set dance (a waltz), yet to be danced, which set out to reflect 'the good fellowship of Padstow' and also to encourage a greater use of what Jim feels is the rapidly disappearing ability to dance a waltz! 1982

Part A 1 G E m C G E m B m G D 7                           2    F C G D 7 G A m D 7 G 9                                E m B m G D 7 G E m 17                     C G F C G G 7 23               final time x2 - rallentando   fine Part B C E m F C E m 29                      F D 7 G G 7 C A m  34               C A m   F C G 7 G 7/B C 39                        Part C 45 A m G A m E m                       1, 3 2, 4 49 F C D m E m C F G A m                                 Return to Part A to rallentando

22 Pelmelyn Jig Jolly set of jigs whose name is an anagram of something (clue: answer on this page). This set also had the addition of a tune called 'North Hill Jig' written by Cornishman Nigel Nethersole, a good friend of Jims.

Pelmelyn Jig 1998 G m B D m B E F 7 G m D m                           m m 7 m  5 G F E B G F G                         9 E m D 7 G 7 C m F B E A 7                             13 E m D 7 G 7 C m F A 7 D m                      Just Any Old Thing

17 D D/A D D/A C G E m A 7                             D B m E m A 7 D C B D 21                              25 A A/E A A/E A A/E E 7                       29 E 7 Fm E 7 Fm E 7 E 7 A                       33 A A/E A A/E A A 7 D                        37 D E 7 A Fm B m E 7 A                       

23 Polka Poppet

Part A D B m G E m                   1, 3  2, 4  5 A 7 B m A 7 A 7 A 7 D A 7 D                            

12 A 7 A 7 D B m E m D B m E 7 A 7                         3 3          3 3   3 3 

20 D B m G E m A 7 A 7 D A 7 D                               Part B m m 7 m 28 G E C A D D G B                                 3  3  G G 7 C A m D D 7 G D 7 G 36                                3  3 

24 Rum & Shrub For the Cornish dance of the same name (written by: Julian Whiting) which tells the story of 'passing the bottle' of rum and shrub between members of the Cornish dance group 'Asteveryn' whilst away at festivals during late night social gatherings. 'Shrub' is an alcoholic cordial which was reputedly used by rum smugglers to mask the salty taste of sea salt that had escaped into the barrels. It is also said to have medicinal properties and is s often mixed as a 50:50 ratio with dark rum. If you are ever in Cornwall, make sure you find a 'proper' pub and try one for yourself! 1985 [Playing Format ABC - ADE] 1, 3 Part A A A/E G A A B m E 7 3 D 1 3 3 3 3 3 3 3 3 3 3                          3      3 3      3   3   2, 4 Part B D A E 7 A D G D D 7/F 5 3 3 3 3 3 3 3 3 3 3 3 3                        3           3                1, 3 2, 4 G D A 7 D 9 3 E 7 3 A 7 3 3 3 3                               3      3   3  3 Part C G G 7/B C A m D 7 D 7/F 12  3 3 3 3 3 3 3 3 3 3 3 3                                         1 2 Part D G D 7 G D 7 G G E m C D 7 15 3 3 3 3 3  3 3 3 3 3                            3 3             3      1, 3 2, 4 G E m A m D 7 G 7 C D 7 G 19 3 3 3 3 3 3 3 3 3 3 3 3 3 3                                              Part E D 7 D 7/F G E m A 7 A 7/C D D 7/F 23  3 3   3 3 3 3 3 3 3 3                                      3 G G 7/B C A m D 7 D 7/F G D 7 G 27  3 3 3 3 3 3 3 3 3 3 3 3                                 3 3            

25 St Piran's Marches Each year on 5th March, St Piran's Day is celebrated in Truro by a procession representing organisations who make use of the black and white flag of St Piran. These marches represent the route the procession takes, thus DRE VANER PERAN - through Pirans flag, ADRO DEH'N DRE - around the town, ARWEDHYOW - symbols, AN GROWS UGHEL - the High Cross

1983

A - Dre Vaner Peran 1 G G C G C G A 7 D 7                                    2 9 G D 7 G G G C                        1 2 15 G G G A 7 D 7 G C G D 7 G                               fine B1 - Adro Dhe'n Dre 1, 3 2, 4 25 D G D G D E 7 A 7 G A 7 D                            

1, 3 2, 4 31 A 7 D A 7 D A 7 D                                B2 1, 3 2, 4 37 G C G C G A 7 D 7 C D G                               1, 3 2, 4 43 D 7 G D 7 G D 7 G                                 C - Arwedhyow 1, 3 49 D D D D D D E 7 A 7                                    Continued ..... © Jim Pengelly

26 St Pirans Marches continued

2, 4 57 G E m A 7 D A 7                 D1 - Crows Ughel 61 G G C G                    

1 2 65 C G E m A 7 D 7 D 7 G                         

71 D 7 D 7 G G A 7 A 7 D 7 D 7 3                               

79 G G C G C G E m D 7 G                                 D2

87 D D G D G                          1 2 92 D E 7 A 7 A 7 D                      97 A 7 A 7 D D E 7 E 7 A 7 A 7 3                               105 D D G D G D A 7 D                              DC al fine

27 Tamsyn's Jig

A Fm B m E 7 A Fm B m E 7 D E 7                                 1 2   6 A Fm B 7 E 7 B 7 E 7                                   11 E 7 A E 7 A E 7                                 1 2   16 A B 7 E 7 E 7 A                                21 D A 7 D D/A G D E 7 A 7 D D/A D D 7                                      1 2 27 G D A 7 D E 7 A 7 D D 7 G D 7                                      1 33 G D 7 E 7 A 7 D D 7 G D 7 G D A 7 D                                         2 39 G D A 7 D G E m G A m D 7 A m D 7                                         1 2 45 G E m A 7 D 7 A 7 A 7 D 7                                   51 A m D 7 G E m A 7 A 7 E m D 7 C D 7 G E m                                       1 2 57 A m D 7 G A m D 7 G                     

28 The Bellow Miner Reel A flowing reel incorporating several anti-social chord changes for the guitarist. Written and arranged to accompany a set dance written and demonstrated by the former traditional Cornsh dance group 'Asteveryn'. From what I recall, a very challenging 4 couple long way set dance where a brief lapse in concentration would end up with everyone dancing tied up in knots!

Intro B m A 7 G A 7 D 2000

               Phase 1 E m D C E m E m C B 7 C 3                        

B 7 C A m A 7 D D 7 G 7                             A m G 7 F E m A m G 7 F E m 11                            

F G 7 A m A m E m F A m C 7 15                       

Phase 2 F B C 7 F D m C 7 B A m 19                                  G m F B C 7 F C 7 F B 23                              

F B C 7 F F B C 7 F 27                       Continued  ...

29 The Bellow Miner Reel

Phase 3 G E m D 7 G F D 7 G E m 31                      

F D 7 G E m G D 7 G A 7 35                          

Phase 4 D E m A 7 B m G D E 7 A 7 39                                 B m A 7 G A 7 D D E m A 7 B m 43                                  G D E 7 A 7 B m D G A 7 D 47                               

30 Tyr-Gwyr-Gweryn (Cornish langauge for Land-Truth-People) Tune written as a lament for Kernow (Cornwall) 1983

D G D B m Fm                           6 1 2 B m Fm E 7 A 7 A 7 D                      11 G D C D                   1 15 G D E 7 A 7                  2 19 C D A 7 D D 7/F                 23  E m D 7 B 7 E m E m D 7                     29 B m B 7/D E m D 7 B 7                34 E m B m B 7/D E m E m  ( )          Slow down to fine    fine

39 G C G E m G C D 7 D 7/F                                47 G C G E m B m B 7/D E m E m                               D.S. al Fine

31 Yn Cas The sort of tune that you can treat like a musical punch bag and rid yourself of some demons. The Cornish have more than their fair share of these hence the title simply means "Into Battle!". The opening and closing phrases reflect the rallying call "Kernow Bys Vyken - Yn Cas!".

Intro 1995 A m G F G 7 A m                   Part A 5 A m A m/E G G/D A m A m/E E m C                  1, 3 9 D m A m E m B m F G 7 A m G                  2, 4 Final time to Coda 13 D m A m F G 7 A m G A m                   Part B 17 A m A m/E C C/G E m G 7 C C/G                    

21 A m A m/E F G 7 A m G A m              DC to suit arrangement Coda 25 A m G F G 7 A m                  Ker.. ..now.. Bys Vyk.. ..en Yn Ca.. ..aaa.. ..as

32 The Green Plume Mazurka Last but hopefully not least, a little taste of a tune I wrote. Having been brought up hearing, playing and dancing to many of the tunes in this book, this had a major influence over my own style of tune writing so included this one as testament to my dad's compositions and that his musical influence and legacy lives on. The inspiration for the tune was my complete inability to dance the lovely Mazurka in Brittany once and the name from the notably large feather earrings worn by the person whose feet I kept standing on whilst trying to learn it.

2013 F m D/F Bm C m                              D B m C m D D 5                           F m A /F B m/D C m/D 9                               3  D B m D F m 13                           B m A C 7 F m 17                          D A C 7 F m 21                       B m A C 7 F m 25                          D A C 7 F m 29                      

Asteveryn Cornish Dance Group (c.2002) Jim Pengelly - far left Alan Pengelly (son) - far right Tamsyn Whiting (daughter) - middle row right

Meur ras!