~ Marches & Two-Steps ~

~• Marches •~

• New England Tradition, Farewell To The Hollow. Whistler's Music, CDWM 9860, 1988 and 1991.

• Written for April Limber, fidder for New England Tradition. The melody is transcribed as written except in the A part measure 3. Bob wrote it with a B, but April always played it with an A; that's how I wrote it. See Deanna's March for additional details.

• New England Tradition, Farewell To The Hollow. Whistler's Music, CDWM 9860, 1988 and 1991.

• Written for Deanna Stiles, flute player for Old New England. The transcription is based on how April played it on the New England Tradition recording.

• April's, Pete's and Deanna's Marches were played by New England Tradition as a set in that order. In the late 1980s we still danced to marches pretty frequently and this was my favorite march set. April's March is the brightest of the three. Pete's is a bit darker, and Deanna's is the darkest and most complex although perhaps the most interesting.

• Chords are identified as accurately as possible from Bob's playing on the New England Tradition recording.

• Isidore Soucy, Dansons avec Isidore Soucy, Lafleur et Montpetit. Carnaval C-520, 1968.

• Rod & Randy Miller, New England Chestnuts Vol. 2, Alcazar Records FR 204, 1981.

• This tune produces quite a variety of chord sets. The chords here are based on the playing of Randy Miller on New England Chestnuts Vol. 2. I'm unsure about the A chords, but they work nicely.

• Canterbury Country Dance Orchestra, Mistwold (F&W Records, F&W 5, 1974).

• The tune is also sometimes played in G.

• Canterbury Country Dance Orchestra, Mistwold. F&W Records, F&W 5, 1974.

• Glenn Towle was a young and enthusiastic dancer who unfortunately died of leukemia at a young age. Dudley wrote this tune in his honor.

• There is also a transcription in G, from a recording of a Canterbury Orchestra reunion in 1992. The melody is about the same but there are some differences in chord choices.

• The bass line goes nicely with the chords. Here's what Bob McQuillen was playing to the best of my ability to pick it out.

• ||  AE    | AE | BE  | F#G#    | AE    | AE    | BG#     | AA

•     AE    | AE | BE  | BG#     | AE/F# | AC#   | eG#     | AA ||

• ||  AE    | AE | BE  | F#E     | AC#   | DD#   | eG#     | AA

•     AE    | AE | BE  | e/DC#/B | AE    | AC#/D | eG#     | AA ||

• ||: AE/F# | AD | C#B | AE      | AA/B  | C#D   | ee/f#   | e/D/C#/B

•     AE/F# | AD | C#B | AB/C#   | DC#   | BA    | G#F#/G# | AA :||

• Canterbury Country Dance Orchestra, Reunion, June 13, 1992.

• Glenn Towle was a young and enthusiastic dancer who unfortunately died of leukemia at a young age. Dudley wrote this tune in his honor.

• There is also a transcriptioin in A, from the Mistwold record, recorded in 1994. reunion in 1992. The melody is about the same but there are some differences in chord choices.

• The bass line goes nicely with the chords. Here's what Bob McQuillen was playing to the best of my ability to pick it out.

• ||  GD   | GD | AD | AD | GD   | GD | AD   | GG   |

•     GD   | GD | AD | AD | GD   | GD | DE/F | GD   ||

• ||  GB   | cc | BB | A/D/E/F#  | GB | cA   | dE/F | GG |

•     GG   | cc | BB | A/D/E/F#  | GB | cA   | dE/F | GD |

• ||: GG/A | BA | GD  | GD | GB/c | dA | GG         | DD  |

•     GG/A | BA | GF# | EE | AA   | AG | DD/E//F#// | GG :||

• Ralph Page (publisher), Northern Junket,. Vol. 13, No. 11, Pg. 26 (June 1981).

• This march is one of Ralph Page's lesser known tunes, but certainly a very nice one. There is some discussion of the chords elsewhere on the web site in the About Fiddle Tunes section.

• Canterbury Country Dance Orchestra. F&W Records, F&W 3, 1972, both melody and chords.

• The B7 alternate chord is how I play the tune; I think it adds to the tune. Likewise the G7 is my chord; Bob McQuillen played a G chord.

• Farm & Wilderness String Band Tunebook. Compiled by Christy Keevil and Henry Darley Chapin. Plymouth, Vt., Farm & Wilderness, 1980.

• The Farm & Wilderness Tunebook should probably be given credit for quite a few tunes in this collection. It was one of my first tunebooks, and I learned a lot from it.

• Aimé Gagnon, Violoneux d'origine. TB-147-CD, 1998.

• This is a Scottish tune, possibly really a strathspey. It's not really suitable for most New England dance although it might work for a Gay Gordons.

• I have also presented a four-part version of this tune. In the last two measures of both parts I often play the chords as | A D | A/C# E7/B |], frequently as block chords.

• Fireside String Band, Square Dance Tunes for a Yankee Caller (F & W Records, F75-FW-6, 1976.

• This version of the tune was found by Rod Linnell, who inspired the source record, on a recording by the Jim Cameron Scottish Country Dance Band (Gay Gordons, London LL 1581, 1956). Note that with four parts it doesn't include the usual B part.

• Canterbury Country Dance Orchestra, Mistwold. F&W Records, F&W 5, 1974.

• Canterbury Country Dance Orchestra, Mistwold. F&W Records, F&W 5, 1974.

• The tune was originally recorded in Bb, although Dudley now is more likely to play it in G.

• Choose Your Partners, Smithsonian Folkways SFW CD 40126, 1999, Old New England playing.

• The melody is as Bob wrote the tune. The chords aren't given so to the best of my ability I've included the chords he used on the Old New England track on Choose Your Partners. Note that the second time through the tune his bass lines and chords were rather different!

• In the Chord Book I've included a basic set of chords that should work just fine.

• New England Tradition, Farewell To The Hollow. Whistler's Music, CDWM 9860, 1988 and 1991.

• Written for Pete Colby, banjo player for New England Tradition.

• April's, Pete's and Deanna's Marches were played by New England Tradition as a set in that order. Pete's March seems to have ended up as the most popular of the three.

• Chords are identified as accurately as possible from Bob's playing on the New England Tradition recording.

• Canterbury Country Dance Orchestra. F&W Records, F&W 3, 1972.

• This tune is played in both G and A so I included both here.

• Canterbury Country Dance Orchestra. F&W Records, F&W 3, 1972.

• This tune is played in both G and A so I included both here.

• Lisa Ornstein who learned it from Henri Landry who learned it from Thomas Pomerleau. This is a fairly simplified version.

• The chords are my best guess of Martine Billette's accompaniment for André Brunet on a YouTube video. I'm fairly confident about the E-major chord in the B part.

• Farm & Wilderness String Band Tunebook. Compiled by Christy Keevil and Henry Darley Chapin. Plymouth, Vt., Farm & Wilderness, 1980.

• A couple chords have been modified. The alternative chords are listed as "special chords for the last time through", but these days they're played at other times as well.

• Rod & Randy Miller, Castles in the Air, Fretless FR 119, 1975.

• The melody and chords are pretty close to how Rod and Randy Miller played it.

• Ralph Page Book of Contras. London: English Folk Dance and Song Society, 1969. Chord suggestions by Leigh Dyer.

• There are fairly substantial differences between the version in the book and the tune as played by Rod and Randy Miller.

• When Sarah brought this in to the band we all agreed that it was very similar to something, but it was different enough to be a separate tune. So it became Sarah's Slightly Different March even though there were varied opinions about from what it differed slightly.

• Canterbury Country Dance Orchestra, Swinging on a Gate, Front Hall Records, FHR-03, 1974.

• This is kind of a marchy sort of reel; It could have been classified as a reel.

~• Canadian Two-Steps •~

• Andy De Jarlis & His Early Settlers. London EB 44, 1962.

• As played by Marcel Robidas, Dover, NH fiddler.

• As played by Ward Allen, Memories of Ward Allen, Mousehole Music PM-08-29; originally on Ward Allen Presents Maple Leaf Hoedown, Vol. 1, Sparton SP 203.

• * The downward slide is about a half step from the C#; it's actually part of the note before the slide symbol.

• Although named as a march, I think it has more in common with Canadian two-steps, so I have classified it as such.

• This is a slightly simplified version. He played some parts, especially the ending of the B part, differently each time. There is another version that tries to show many of his variations.

• As played by Ward Allen, Memories of Ward Allen, Mousehole Music PM-08-29; originally on Ward Allen Presents Maple Leaf Hoedown, Vol. 1, Sparton SP 203.

• There is a once-through version elsewhere. Ward Allen played many parts of the tune differently each time through. This version attempts to show many of his variations, especially the ending of the B part.

• Matilda Murdoch plays Some of her own. Paff Inc. PF-0003.

• Here is a transcription of this excellent two-step as she plays it. Especially in the A part she sometimes plays the sixteenth note pairs as triplets. Some people prefer a G chord as noted in the B part.

• Andy De Jarlis, Manitoba's Golden Fiddler. Don Mills, Ontario, BMI Canada, 1969.

• As written by Andy De Jarlis; also presented as played in New Hampshire.

• As played in New Hampshire; also presented as written by Andy De Jarlis.

• This was a favorite of Elise Nichols who played for Boston-area dances probably in tue 1950s or 1960s. One night square dance George Hodgson was looking for a tune for a square dance and she suggested this tune; it quickly became one of his favorites. I learned it at the West Hopkinton NH square dance and started playing it a lot, and it was picked up by other local musicians. A few years later Frank Ferrel brought it in to Maine Fiddle Camp and it became moderately popular among campers.

• Ward Allen Presents Maple Leaf Hoedown (Sparton, SP-203, 1954).

• Ward Allen's recordings are available on CD from Valley Heritage Radio and probably elsewhere as Memories of Ward Allen vol. 1-4.

• Sequence: On the recording Ward Allen played it A2B2ACA2B2A. A more usual sequence would be A(ABAC - repeat as desired)A. In other words start and end with an A part, and play the ABAC sequence as desired. If the repeats are omitted, the second endings should be used.

• This transcription is as accurate as possible for melody, timing and slurs. I leave out double-stops to avoid too much complexity. As they are important, I recommend listening to Ward Allen's recording to learn it. I have also included a transcript of the square dance version of the tune in the Squares section.

• This is as we play it in New Hampshire, which differs slightly from the tune as written by Andy De Jarlis (presented elsewhere) in terms of melody and also has somewhat different chord choices.

• Andy De Jarlis, Canadian Fiddle Tunes from the Red River Valley, Book 2. Toronto, BMI Canada Limited, 1961.

• This is as written by Andy De Jarlis. I also present a version as we play it in New Hampshire, which differs slightly in terms of melody and also has somewhat different chord choices.

• Simon St. Pierre, At Sam Rouleau's, 6-4-95, with Sam Rouleau & Joe Pomerleau.

• The resemblance to Scotland the Brave is obvious. I know nothing about the origin of the tune although I know it was played now and then at the Wednesday Night Soirees at Marcel Robidas' in Dover, NH.

• The first version has the core melody and plays correctly from an abc reader.

• The second version is transcribed from Simon's playing as accurately as I could, but it doesn't play back correctly from an abc reader.

• Marcel Robidas (Dover, NH), played frequently at the Wednesday Night Soirées.

• Graham Townsend wrote this tune with two parts. Marcel Robidas from New Hampshire and Simon St. Pierre from Maine only play the first part. This transcription is based on the playing of Marcel Robidas. I present some of Marcel's variations as well.