|
Page 3 |
Thanks to Dave Goldman for help with the computer. 2P |
|
Page 3 |
Ann Waldbaum is now Ann Kosinski. 2P |
|
Page 4 |
About the Editors (updated)
Susan Songer
has enjoyed music as long as she can remember. In grade school, she
played piano and eagerly participated in square dancing during P.E.
classes. She played folk songs on guitar with informal groups during and
just after college. Susan moved to
Portland
with her family in 1982 and set up a psychology practice shortly
thereafter. She discovered contra dancing in 1986 and loved it
immediately. In 1989, she took up fiddle and revisited the piano. Three
years later, she was playing these instruments regularly for dances with
her husband, Lanny Martin, in various bands all named after various
aspects of cats. Now, she also plays piano for dances and dance camps in
a number of other configurations and has tutored beginning fiddlers
several times at the Festival of American Fiddle Tunes. Susan is founder
and director of the Portland Megaband, an orchestra of about 70 dance
musicians that plays for special contra dances at least once a year.
Susan has retired from psychology and now pursues music activities full
time.
Clyde
Curley
got his first guitar in 1959 when he was in 9th grade and has been
playing folk music ever since on an increasing arsenal of instruments.
He bought his first fiddle after stumbling into the incipient folk scene
in the Bay Area while at
San Francisco
State in the ’60s. He moved to
Oregon
in 1970 to begin a 31-year career teaching high school English and raise
a family. Another career of sorts began to unfold, and Clyde found
himself playing in a variety of bands specializing in several musical
styles. Clyde has extensive experience as a musician and teacher at
contra dance camps and music festivals. In
Portland
he played in a couple of different bands for two different long-running
dances at the Fulton Park Community Center and did a fair amount of
recording. Now in retirement from teaching, he lives in Friday Harbor,
Washington, where he continues to play for dances (sometimes with his
wife, Susan, on piano), while attempting to unveil the secrets of
Quebecois fiddling, his newest passion. Clyde is also currently teaching
himself to write fiction by hacking away at a murder mystery set in
Portland.
Susan
and Clyde,
along with fiddler George Penk, have recorded a companion CD to The
Portland Collection titled, A Portland Selection: Contra Dance
Music in the Pacific Northwest. 7P |
|
Page 8 |
We have identified composers for 102 of the tunes. 7P |
|
Page 18 |
Reel des Accordéonistes
should have a D chord at the beginning of the measures A-2 and -6. 2P |
|
Page 30 |
The Billy Church Memorial Breakdow - Correct title is Cat on a Leash
© Anita Dolen, 1982. Used by Permission. All Rights Reserved. Please
read "Notes on the Tunes" concerning the title of this tune. 4P |
|
Page 53 |
The Convenience Reel -
Correct
title is Mark McLaughlin’s Reel © Olcan Masterson, 1978. Used by
Permission. All Rights Reserved. Please read "Notes on the Tunes"
concerning the title of this tune. 6P |
|
Page 55 |
Cotton Baggin' -
The
pick-up note to the B part is a
D rather than an F sharp. 3P |
|
Page 63 |
Don Tremaine's Reel
by Graham Townsend. © Copyright 1961, Graham Townsend Publications, All
Rights Reserved. Used by Permission. 2P |
|
Page 79 |
Flat Footed Henry
- play
just as written for contra dances. 7P |
|
Page 96 |
High Road to Linton
- C and D parts by Bobby MacLeod. © 1957 Kerr's Music Corporation. All
Rights Reserved. Used by Permission. 3P |
|
Page 120 |
Kittens on Catnip
- The last note of the tune is a C natural. 6P |
|
Page 131 |
Marmaduke's Hornpipe
- Correct title is Damon's Winder. Please read "Notes on the
Tunes" concerning the title of this tune. 3P |
|
Page 150 |
Old Joe
should
have an Am chord on the first beat of measure B-3 in the B part. 6P |
|
Page 154 |
Paddy Fahy’s #1 -
Correct
title is Paddy Fahey’s Reel No. 1 © Paddy Fahey. Click
here for updated version of the
tune as composed by Paddy Fahey. All Rights Reserved. Used by
Permission. 7P |
|
Page 157 |
The Pat the Budgie Breakdown by Graham Townsend. © Copyright 1961, Graham
Townsend Publications, All Rights Reserved. Used by Permission. 2P |
|
Page 187 |
The
Southwest
Bridge
by Dan R. MacDonald. © Copyright 1975, Cameron Music Sales. All Rights
Reserved. Used by Permission. 2P |
|
Page 197 |
Tone Row
by Brendan Tonra. ©1958 Brendan Tonra. All Rights Reserved. Used by
Permission. Original tune title was Tonra's Jig. Brendan supplied
these chords for the B part:
||: D D | G G | D Bm | Em A | D D | G G | D G | A D :|| 3P |
|
Page 211 |
Wizard’s Walk
should have an Em chord on the 2nd beat of measure A-4. 7P |
|
Page 218 |
The Atholl Highlanders
can be heard on The Piper's Broken Finger, a recording by Boys of
the Lough. 2P |
|
Page 222 |
The Billy Church Memorial Breakdown - Substitute this note: “I learned
this tune from
California
musician Chuck Aronson at Weiser. For a long time I didn't know its
name, so Dan Compton helped me name it. Here we have yet another fully
folk-processed tune: Colorado fiddler Anita Dolen wrote it in 1982 when
she was moving from Boulder to Denver. She says that as she was driving
to her new place with a friend, "we saw this lady walking her cat on a
leash down the sidewalk. It looked so oddly funny we started laughing."
She knew she had a name for a tune she had just written, "Cat on a
Leash." It apparently got into circulation pretty quickly, since Chuck
learned it at the Galax Fiddlers Convention.” 4P |
|
Page 231 |
The Convenience Reel -
Substitutue this note: “Sue Songer learned this tune at the
Suttle Lake dance camp in the Oregon Cascades in the fall of ’95from the
Massachusetts contra dance band Uncle Gizmo. She says it was “a smash
hit.” At some point in its travels, the name “Convenience” attached
itself to this melody, which was originally titled in 1978 “Mark
McLoughlin’s Reel” by its composer, Olcan Masterson. He wrote it “for
Mark McLoughlin, who had a session bar in Dundalk, Co. Louth, Ireland.”
Dan Compton reminds us that this is a signature tune of the Seattle
Irish band The Suffering Gaels.” 6P |
|
Page 235 |
Don Tremaine's Reel
was composed by the late Graham Townsend who named it for the emcee of
Don Messer's Jubilee, a Canadian television show. 2P |
|
Page 236 |
Dunbar -
John
Hartford is now deceased. 6P |
|
Page 237 |
Evit Gabriel
has been recorded by the Québec band Ad Vielle Que Pourra on their album
Come What May. 2P |
|
Page 238 |
Fair Jenny’s Jig
- Correct spelling is Kirston Koths. 6P |
|
Page 240 |
Festival du Voyageur -
click
here to see “Festival du
Voyageur” as played by Steve Trampe. 2P |
|
Page 241 |
Galen's Arrival
is a reel. 2P |
|
Page 245 |
Hell Broke Loose in Georgia was recorded by Ruthie Dornfeld on her album
with The American Cafe Orchestra, Egyptian Dominoes. 2P |
|
Page 245 |
The High Road to Linton
- Substitute this note: “Sue Songer learned this tune at Port Townsend
from fiddler David Reich (formerly from Portland, now living in Madras,
Oregon). David is an authority on
Cape
Breton fiddle music and has, on occasion, been a resource on this topic
at the Fiddle Tunes Festival. Andrew Dunn of the Kerr Music Corporation
in Glasgow informs us that the C and D parts were composed by the late
Bobby MacLeod, a piano accordion player from
Tobermory,
Scotland. Bobby wrote an extra four parts of the tune to tack on to the
first two parts, which are traditional. Of the four parts he wrote, two
have landed in the tune bags of a good many musicians--his C and F part
(although the latter has undergone a key change). A version of the tune
that is virtually the same as the one printed here can be heard on a CD
from Scotland called Fiddlers.” 3P |
|
Page 248 |
The Hungry Rocks
is also known as "Lucy Farr's Jig." 2P |
|
Page 248 |
Ice on the Road
- In this version (as played by George Penk), both C notes in measure 4
(the last measure in the first staff) should be natural rather than
sharp. 4P |
|
Page 255 |
Leaping Lulu
- The IV chord ending of the A part is a tribute to Ashley Hutchings. 2P |
|
Page 258 |
Marmaduke’s Hornpipe
- Substitute this note: “I taped Armin Barnett fiddling this tune on the
porch of the schoolhouse at Fiddle Tunes in ’94 with a whole passel of
other musicians, including Jere Canote on guitar. Something distinctly
odd seemed to be going on in the 3rd and 4th measures of the tune. The
low C note in the melody seemed to clash with Jere’s choice of an A
chord in a way that made the tune sound like a car crash every time
those measures came around! I learned the tune from the tape, then
played it at Wannadance Uptown in Seattle for Missouri fiddler Geoff
Seitz who said it sounded very close to "Marmaduke’s Hornpipe," with the
exception of the measures in question. A subsequent colloquy on this
piece of music with both Armin and Kerry Blech has turned up its true
name in this particular configuration: "Damon’s Winder." Armin learned
the tune under this name from
Seattle
fiddler Barry Schultz, who most likely got it from the "true" source, a
1934 recording by
Kentucky
fiddler J.W. Day, who played under the pseudonym Jilson Setters. There
is a tune called "Marmaduke’s Hornpipe," which uses a low C# in
those 3rd and 4th measures. In fact, there is a family of tunes that are
melodically similar: "Cricket on the Hearth," "Rocky Mountain Goat,"
"Grand Hornpipe," and others. The A chord was borrowed by Jere from "Marmaduke’s"
and laid on to "Damon’s Winder" in a way that may seem harsh to modern
ears but is not so uncommon in old recordings. In sum, we have a tune
with two names that comes from a fiddler with two names presented in a
book by two editors who harvested the tune from two different
contemporary fiddlers! One more interesting slice of trivia from Kerry:
"A winder is a kind of dance set in Kentucky where the figure ‘winds.’””
3P |
|
Page 259 |
Millbrae
- The alternate chords should have a repeat sign at the end of the A
part. 2P |
|
Page 263 |
Music for a Found Harmonium - The original was written by the late Simon
Jeffes of
London, who told us it was "composed in 1982 on a harmonium found
sitting on top of a pile of discarded builders’ wood." 3P |
|
Page 266 |
Paddy Fahey’s Reel No. 1
-
Substitute this note: “This lovely Irish reel is one of those tunes that
comes out of hiding every now and then just to let us know it’s there.
Once played, it goes back to its beauty sleep like a fairy princess
until awakened again. I learned it from Ruthie Dornfeld many years ago.
According to Randal Bays, Mr. Fahey himself—the composer of the tune
“lives in East Galway and still plays occasionally in pubs.” I always
suspected there was some sort of magic potion in that stout they serve
over there!” 7P |
|
Page 267 |
The Pat the Budgie Breakdown -
Substitute this note: “Hm. Is this
what you do to your budgie when it’s successfully learned to swear like
a sailor in the presence of your in-laws? Or is this what you name your
budgie if (as has always been the case in my experience) you are
uncertain about its sex? As it turns out, there was a real Pat the
budgie who was wont to perch on the fiddle bow of Graham Townsend, who
composed the tune and named it after his feathered friend. Sue Songer
and Lanny Martin play this tune, which they got from an album called
Barking Mad by the Irish group Four Men and a Dog.” 2P |
|
Page 269 |
The Quarry Cross
was learned from The Fiddlecase Book of 101 Polkas by Jack Perron
and Randy Miller. 2P |
|
Page 272 |
The Sailor's Wife
was recorded on Tradition Today by Kerry Elkin and by The Pacific
Yews of Seattle on Fog on the Sound. 2P |
|
Page 275 |
Seanbhean na gCartai
- Fran Slefer tells us it means "Old Woman of the Cards," or possibly
"Old Woman from Carty." 2P |
|
Page 278 |
The Southwest Bridge
was composed by Dan R. MacDonald. 2P. |
|
Page 280 |
Tater Patch
- Eleanor Coalson, daughter of composer Charlie Lowe, is now deceased.
4P |
|
Page 285 |
Tone Rowe
- Substitute this note: “Sue Songer and Lanny Martin like to play this
danceable Irish jig. Sue learned it from Kevin Burke. The unusual name
of the tune perhaps comes from the metamorphosis inflicted on words by
the folk process. Brendan Tonra of Boston (originally from Ireland)
tells us: "This was the third tune I composed in 1957. The first time I
played it in public was at a fleadh in Longford in 1958. In 1960 I heard
recordings of Sean Maguire playing Tonra’s Jig and also a recording of
the Liverpool Ceili Band playing the same tune, so it’s been going round
ever since." (Ed. note: A fleadh is a music festival in Ireland usually
associated with competitions in fiddle, flute, whistle and pipes--and
also with mighty sessions in pubs that go into the wee hours.) Wild
Asparagus recorded a particularly nice version of it on their album
Call of the Wild.” 3P. |
|
Page 291 |
Barde, Barde. Disques Direction DLP-10010, 1977. 3P |
|
Page 300 |
Country Dance and Song Society - add: office@cdss.org; www.cdss.org. 3P |
|
Page 301 |
Virginia Reel, The is Key of D instead of Key of G. 4P |
|
Page 302 |
Billy Church Memorial Breakdown, The is Key of A instead of Key of D. 4P |
|
Page 304 |
Add: Damon’s Winder see Marmaduke’s Hornpipe. 3P |
|
Page 305 |
Add: Eddie Kelly’s see Hungry Rocks, The. 7P |
|
Page 305 |
Add: Lucy Farr’s see Hungry Rocks, The. 7P |
|
Page 306 |
Add: Lafferty’s see Woman I Never Forgot, The. 7P |
|
Page 307 |
Add: Reel Saint-Simeon or Reel San Simeon see Saint-Antoine, Reel.
2P |
|
Page 307 |
Add: Tonra’s Jig see Tone Row. 3P |
|
Page 309 |
Order Form address has changed to:
Susan Songer
PMB #242
6327-C
S.W. Capitol Hwy.
Portland, OR 97239-1937
There are no other changes to the Order Form. 4P & 7P |
¯