MEL BAY PRESENTS

MB21123BCD

MEL BAY PUBLICATIONS, INC. • #4 INDUSTRIAL DRIVE • PACIFIC, MO 63069

R

BY DREW BEISSWENGER AND GORDON MCCANNBY DREW BEISSWENGER AND GORDON MCCANN

Thank you for choosing a Mel Bay eBook.

Your purchase includes additional media and can be downloaded from our web site at:

http://www.melbay.com/download.asp?ProductID=21123BCDEB

Step 1:

On www.melbay.com, navigate to the product page of the item you purchased From the tabs

choose Downloads. Or you can click the link above to go directly to download section in step 2.

Step 2:

From the Downloads page please select Download Extras button

Step 3:

All the audio from your product will be included in a Zip file. The Zip file will be downloaded to

your computer. These are in the MP3 format. The download time varies from product to product.

If possible use a high speed internet connection such as DSL or Cable for quickest downloads.

Uncompress the downloaded file. In Windows systems you can right click the file and choose

Extract All. For Mac double click to extract the zip files. You can now play the tracks in the

MP3 player of your choice.

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

32

33

34

35

36

37

CD contentsFort Smith

Razorback Waltz

Rugged Road

Tom and Jerry

Fan Me While I Dream

Wink the Other Eye

Paddy Won't You Drink Some Cider

Missouri Mud

Hog House Rag

Roses of Ava Moore

I Hung My Jawbone

Lost Indian

Cornwallis's Surrender

Grand Picnic

Finley Creek Blues

Old Blue Mule

Old Blue Mule

Little Creek Rag

Old Gray Eagle

Ozark Moon

Butter the Other Side

Willott's Hornpipe

Forty Drops

Marmaduke's Hornpipe

Fire on the Mountain

Natchez Under the Hill

Sunflower Hornpipe

Mississippi Sawyer

Sharecropper's Blues

Charleston No. 1

Hollow Poplar

Flock of Birds

Valley Forge

We're Gonna Hunt the Buffalo

Grey Eagle

Fred Kirchner's Tune

Green Valley Waltz

Cover Photo by Mark Wilson, Used by Permission.Pictured: Melvin Lawrence, Alton Jones and Gordon Peacock.

© 2008 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069. ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A.

No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher.

Visit us on the Web at www.melbay.com — E-mail us at email@melbay.com

1 2 3 4 5 6 7 8 9 0

MEL BAY PRESENTS

BY DREW BEISSWENGER AND GORDON MCCANN

2

TABLE OF CONTENTSPreface by W.K. McNeil 6Introduction 7Historical Overview 10Musical Style and Notation 16Map of the Ozarks 21

FEATURED FIDDLERS1. Combs, Donald “Cotton” 22

Fort Smith (CP) 22I Don’t Love Nobody (CM) 23Razorback Waltz (MG) 24Maggie (CM) 25Westphalia Waltz (CP) 25

2. Enloe, Lyman 26Back in ’89 (EL) 27Brickyard Joe (EL) 27Chinese Breakdown (EL) 28Coming Thru the Rye (EL) 28Forgotten Waltz (NT) 29Old Judge Parker (EL) 29Sleepy-Eyed Joe (EL) 30Rugged Road (ER) 30Soap Suds (ER) 31Sugar in the Coffee (EL) 31Ten Nights in a Bar Room (EL) 32

3. Fountain, Roger 32Katy Hill (FS) 33Bile Them Cabbage (FO) 33Liberty (FS) 34Tom and Jerry (FS) 35

4. Galbraith, Art 36Arkansas Turnback (GA) 36Coming Up the Pike (GA) 37Daddy Blues (GS) 37Dixie Blossoms (GA) 38Down Home Waltz (GA) 38Durang’s Hornpipe #2 (GS) 39Kiss Me Waltz (T2) 39Ladies Fancy (GA) 39McCraw’s Ford (GA) 40Piedmont (GS) 40Possum Trot (MG) 41Rocky Mountain Hornpipe (GA) 41Shamus O’Brian (GA) 41Sunday Night Reel (GA) 42Waverly (GA) 42Wink the Other Eye (MG) 42

5. Goforth, Gene 43Boatin' Down the River (T1) 43

Darkies' Dream (T1) 44Money Musk (GG) 45Dusty Miller (GG) 45Eminence Breakdown (GG) 46Nine Mile (T1) 46Quail Is a Pretty Bird (GG) 47Ragged Bill (T1) 47Rocky Road to Denver (T1) 48

6. Hartje, Lacey 48Breakdown in A & D (T2) 49East Tennessee Blues (MG) 49Fan Me While I Dream (MG) 50Jasper County Breakdown (T2) 51Pickin' Cotton Down South (T2) 51Turkey Tracks (T2) 52Whiskers (T2) 52

7. Hensley, Violet 53Jericho (T1) 53Mate to the Hog Waltz (T1) 54Paddy Won’t You Drink Some

Cider (HV) 54Rose Nell (T1) 54Sam Moore Waltz (T1) 55Uncle Henry (T1) 55

8. Herd, Jim 55Betty Lou Waltz (T3) 56Hold Old Bald While I Dance

w/ Josie (T3) 56 Knocking Around

the Kitchen (T3) 56Sally Johnson (T3) 57Seabolt Quickstep (T3) 57 Tennessee Grey Eagle (T3) 58Tennessee Wagoner (T3) 58Twinkle Little Star (T3) 59

9. Holt, Bob 59Arkansas Two-Step (HB) 60Bear Creek Sally Goodin (T1) 60Carroll County Blues (HB) 61Doc Brown's Dream (HB) 61Going Across the Sea (HB) 62Hop Up, Kitty Puss (HB) 62

Got a Little Home to Go to (1) (HB) 62

Got a Little Home to Go to (2) (HB) 63

Lost Indian (HT) 63Missouri Mud (HT) 64Molly Put the Kettle On (HB) 64Ninth of January (HB) 64Old Charlie Deckard (HB) 65Old Country Waltz (HB) 65Rabbit in the Pea Patch (HB) 66Rattlesnake (HB) 66Red Hills Polka (HB) 67Sally Goodin (HB) 67Sally Went A-Hunting (HB) 68Shoe Cobbler’s Blues (HB) 68Wolves A-Howling (HB) 69

10. Johnson, Vesta 69Durang’s Hornpipe (MG) 70Fat Meat and Dumplings (IO) 71Hog House Rag (MG) 71Orvetta Waltz (MG) 72She Ought to Been a Lady (IO) 72

11. Johnston, Dean 73Chinky Pin (T2) 74Crystal Stream Waltz (T2) 74Frisky Jim (T2) 75Florida Blues (MG) 75Lantern in a Ditch (T2) 76Turkey Knob (T2) 76Waldo (T2) 77

12. Johnston, Gary 78Down Home Rag (T2) 78Annie Laurie (JG) 79Roses of Ava Moore (MG) 80Whistling Rufus (MG) 81

13. Jones, Alton 82Jeff City (T3) 82Lost Indian (T3) 83Mama Blues (T3) 83Milk Cow Blues (T3) 84Sadie (T3) 84

3

Uncle Joe Will Your Horse Pack Double? (T3) 85

14. Jordan, Lon 85Dutch Hop (AF) 86George Booker (AF) 86Granny Will Your Dog Bite (AF)86I Hung My Jawbone (AF) 87Natchez Under the Hill (AF) 87Tom and Jerry (AF) 88

15. Long, Sam 88Sandy Land (E1) 89Echoes of the Ozarks (E1) 90Seneca Square Dance (E1) 90

16. Mize, Seth 91Billy in the Lowground (WO) 92Black Jack Davy (R1) 92Hell Among the Yearlings (WO) 93Lost Indian (OC) 93Baby with Black Face

and Shiny Eyes (WO) 94Wang Wang Blues (OC) 95

17. Moody, Kermit 96Bunker Hill (HM) 97Eighth of January (HM) 97Oklahoma Wagoner (HM) 98Rover (HM) 98Waltz of the Ozarks (HM) 99

18. Morrison, Absie 100Battle of New Orleans (UA) 101Bonaparte’s Retreat (WO) 101British March (WO) 102Cornwallis's Surrender (WO) 102Cripple Turkey (UA) 102Irish Washerwoman (WO) 103Natchez (WO) 103Nelly Gray (WO) 104Ozark Waltz (E1) 104My Pretty Little Girl’s Gone

(WO) 105Virginia March (WO) 105

19. Pashia, Charlie 106Grand Picnic (MG) 107Coleman Waltz (MG) 107Flowers of Edinboro (MG) 108La Guignolee (IO) 108

20. Rickman, Glenn 109Big Muddy (MG) 109Devilish Mary (MG) 110Doc Jessup’s Schottische (MG) 110Finley Creek Blues (MG) 111

Old Stillhouse Burning Down (MG) 111

Old Blue Mule (MG) 112Peacock Rag (MG) 112

21. Robertson, Lonnie 113A & E Rag (RL) 114Bluebird Waltz (RL) 114Brown Leaf Rag (RL) 115Caney Mountain Hornpipe

(RL) 115Fiddler's Blues (RL) 116Darky's Dream (RL) 116Hazy Hills Waltz (RL) 117Jump Fingers (RL) 117Kaiser Waltz (RL) 118Lady of the Lake (RF) 118Lady on a Steamboat (RL) 119Little Creek Rag (RM) 119Lonesome Polly Ann (RL) 120Lonnie's Breakdown (RL) 120Lonnie's Hornpipe (RL) 121Malindy (RL) 121Maple Sugar (RF) 122Natural Bridge Blues (RL) 122Old Parnell (RL) 123Old Time Breakdown in A (RL)123Ozark Mountain Waltz (RL) 124Rag in C (RL) 124Rock All the Babies to Sleep

(RL) 125Rosebud Reel (RL) 125Saddle Old Kate (RL) 126Taney County Breakdown (RL)126

22. Silvey, H.K. 127Broken Down Gambler (T3) 127Clark Waltz (T3) 128Old St. Joe (T3) 128Home Brew Rag (T3) 129

23. Snow, Cecil 130Lone Star Rag (SC) 131Old Grey Eagle (SC) 131Old Cajun Waltz (SC) 132Ozark Moon (SC) 132

24. Stoneking, Fred 133Birdie in a Snowbank (SS) 134Blackberry One Step (SS) 134Blackberry Waltz (SS) 135Burt County Breakdown (SS) 135Butter the Other Side (ST) 136Buzzard in a Pea Patch (SS) 136Cherry Blossoms (SS) 137Dance Around Molly (SS) 137Humansville (SS) 138

Horse and Buggy-O (SS) 138In Old Arkansas (T2) 139Missouri Rag (ST) 139Needle in a Haystack (SS) 140Old Gray Goose (SS) 140Sugar Betty Ann (SS) 141

25. Stoneking, Lee 142Muddy Weather (SM) 143Old Indiana (SM) 143Polk County Breakdown (SL) 144Rolling Stone Breakdown (SL) 144Walk Along John (SM) 145Willott’s Hornpipe (SL) 145

26. Teague, Howe 146Arkansas Hop (T1) 147Cluckin' Hen (T1) 147Everything (T1) 148Marmaduke’s Hornpipe (TH) 148Forty Drops (TH) 149Nine Mile (T1) 149White River (T1) 150Wabash Foxtrot (T1) 150

27. Walden, Jim "Skeeter" 151Broken-Legged Chicken (UA) 151Everybody Schottische (UA) 152Fire on the Mountain (UA) 152Muddy Water (UA) 153Natchez Under the Hill (UA) 153Puncheon Floor (UA) 153Soldier’s Joy (UA) 154Woody’s Hornpipe (UA) 154

28. Wallace, Jesse 155Nubbin (T1) 156Old Joe Redbird (T1) 156Old Leather Bonnet with a Hole

in the Crown (T1) 156On the Rock (T1) 157Sunflower Hornpipe (WJ) 157

29. Walsh, Bob 158Hazel’s Quadrille (WB) 159Missouri Waltz (WB) 159Ragtime Annie (WB) 160Waltz of the Ozarks (WB) 161

30. Wood, Emanuel 162Flop-Eared Mule (MG) 163Hawk’s Caught a Chicken

(MG) 164Lighthouse (IO) 164Mississippi Sawyer (MG) 165Spokane Waltz (MG) 165

4

A SAMPLING OF 50 OTHER GREAT OZARKS FIDDLERS

Sources Referenced 206Characteristics of the Ozarks Fiddle Tunes in this Book 210Index of Tunes, Alphabetical 211Alternate Titles and Referenced Tune Titles 213Recordings on the CD 216

1. Baker, VernSearcy County Rag (E1) 167

2. Ball, EarlHelen’s Waltz (T2) 167Spotted Pony (T2) 168

3. Beeler, JimKate-Kaylee Breakdown (T3) 169Sharecropper’s Blues (BJ) 169

4. Bennet, LesterWinter Flower Polka (BL) 170

5. Bilyeu, GlenBill Cheatum (BF) 171

6. Bilyeu, WillieCharleston No.1 (GF) 171

7. Birkhead, I.ORobinson County (E2) 172

8. Box, CleesonLaughing Boy (MG) 172

9. Bryan, CliffHollow Poplar (MG) 173

10. Campbell, RaymondFlock of Birds (MG) 173Flunky Butt (MG) 174

11. Chism, JohnBirmingham (E1) 174Cotton-Eyed Joe (E1) 175Hog-Eye (E1) 175Jaw Bone (E1) 176

12. Collins, EarlLittle Dutch Girl (CE) 176Snowbird in the Ashbank (CE) 177

13. Conley, BillGoodbye, My Honey,

I'm Gone (T3) 17814. Curbow, Ray

Around the World on a Dime (T2) 178

Pig Ankle Blues (T2) 17915. DePriest, Ralph

Cripple Creek (AT) 17916. Dillard, Sr., Homer E.

Cripple Creek (DH) 180Napper (DP) 180

Old Bald Eagle (DH) 18117. Driftwood, Jimmie

Valley Forge (HM) 181We’re Gonna Hunt the Buffalo

(HM) 18218. Dykes, Henley

Look Out Gal I See a Booger (MG) 182

Salt Creek (MG) 18319. Edgin, George

Corn Dodger #1 Special (E1) 18320. Fellows, Buster

Buster Fellows Tune (MG) 184Old-Time Waltz (MG) 184

21. Fuller, AnsonBath House Blues (E1) 185

22. Gardner, FrankFt. Smith Breakdown (E1) 185

23. Goforth, CecilHamilton Ironworks (T1) 186New Five Cents (T1) 186

24. Handle, AudreyDrowning Creek Blues (T1) 187

25. Haslag, LeRoyRanger Waltz (HL) 187

26. Hawkins, RuthRachel (T2) 188

27. Helton, GeorgeJinny Nettles (OT) 188

28. Helton, IkeGrey Eagle (BD) 189Zack Wheat’s Piece (BD) 190

29. Herndon, JudeFred Kirchner’s Tune (MG) 190

30. Hughes, ArlinSix by Eight (HM) 191Green Valley Waltz (HM) 191

31. Hughey, RonYellow Gals (HR) 192

32. Hutchison, Uncle DickDelaware County Blues (HD) 192

33. Jackson, StanNewhouse (T1) 193

Sam Taylor’s Tune (T1) 19334. Lackey, Brian, and Clark Duncan

Going Down the River (E2) 19435. Lancaster, Buddy

Arkansas Traveler (MN) 19436. Larkan, Bob

Kansas City Reel (E2) 195Paddy Won’t You Drink Some

Good Old Cider (SA) 19537. Morrison, Fate

Whoa Mule (R1) 19638. Mustain, Bill

Last Waltz (T2) 196Taylor Brown (T2) 197

39. Politte, JoeOld Man Portell’s Tune (IO) 197Unnamed Tune (IO) 198

40. Reaves, Isaac “Ike”Rattler Treed a Possum (E2) 198

41. Scott, NoelBranson Rag (T3) 199

42. Scott, RufeDrunkard’s Hiccoughs (AF) 199Dry and Dusty (AF) 200Uncle Joe (AF) 200

43. Sharp, TedPike’s Peak (E1) 201

44. Thomas, RaymondSoldier’s Joy (T2) 201

45. Smith, LeonardSteamboat Blues (T2) 202

46. Tinnon, BenPlow Boy Hop (E2) 203

47. Von Allmen, DeanSoppin’ the Gravy (MG) 203

48. Watkins, FrankBay Rooster (WF) 204

49. Weddington, ParaleeVictory Waltz (HM) 204

50. Younger, SamMason's March (T1) 205

5

SOURCE CODES FOR RECORDINGS OF EACH FIDDLE TUNE(See Sources Referenced on Page 206 for More Information)

(AF) = American Folklife Center (field recordings)(AT) = Arkansaw Travellers, Echoes from the Ozarks(BJ) = Jim Beeler, Remember Me(BD) = Drew Beisswenger Collection(BF) = Bilyeu family field recording(BL) = Lester Bennet, Old Time Fiddler(CE) = Earl Collins, That’s Earl(CM) = Cotton Combs, My Fiddle and I(CP) = Cotton Combs, Parkin’ Lot Jammin’(DH) = Dillards, Homecoming and Family Reunion(DP) = Homer Dillard, Precious Memories(E1) = Echoes of the Ozarks, Vol. 1(E2) = Echoes of the Ozarks, Vol. 2(EL) = Lyman Enloe, Fiddle Tunes I Recall(ER) = Lyman Enloe, Rugged Road(FO) = Roger Fountain, Cloggin’ Jiggin’ Waltzin’ Two-Steppin’(FS) = Roger Fountain, Some Old Favorites(GA) = Art Galbraith, Dixie Blossoms(GF) = Art Galbraith field recording(GS) = Art Galbraith, Simple Pleasures(GG) = Gene Goforth, Emminence Breakdown(HB) = Bob Holt, Got a Little Home to Go to(HT) = Bob Holt, That’s the Way I Heard It…(HD) = Uncle Dick Hutchison, Old Time Fiddlin’(HL) = LeRoy Haslag, Reflections of a Missouri Fiddler(HM) = Max Hunter Collection (field recordings)(HR) = Ron Hughey, Country Fiddlin’ Ozark Style

(HV) = Violet Hensley, Old-Time Hoedowns(IO) = I'm Old But I'm Awfully Tough(JG) = Gary Johnston, Johnston Fiddling(MG) = Gordon McCann Collection (field recordings)(MN) = Music of the Ozarks (National Geographic)(NT) = Now That’s a Good Tune(OC) = Ozark Folk Center(OT) = Old-Time Fiddler’s Repertory, Christeson(R1) = Rackensack Vol. 1(RF) = Lonnie Robertson, Fiddle Tunes Ozark Style, Vol. 2(RL) = Lonnie Robertson, Lonnie’s Breakdown(RM) = Lonnie Robertson, Missouri Fiddling(SC) = Cecil Snow, Country Boys, Sounds From the Ozarks(SL) = Lee Stoneking, Echoes of the Ozarks(SM) = Lee Stoneking, Missouri Old Time Fiddlin’(SS) = Fred Stoneking, Saddle Old Spike(ST) = Fred Stoneking, Butter the Other Side(T1) = Traditional Fiddle Music of the Ozarks Vol. 1(T2) = Traditional Fiddle Music of the Ozarks Vol. 2(T3) = Traditional Fiddle Music of the Ozarks Vol. 3(TH) = Howe Teague, Ozarks Memories (UA) = University of Arkansas (field recordings)(WB) = Bob Walsh, Old-Time Ozark Fiddlin’(WJ) = Jesse Wallace, Stone County Fiddler(WF) = Frank Watkins, Ozark Fiddlin’(WO) = John Quincy Wolf Collection (fiddle recordings)

At Silver Dollar City, June 27, 1970. The three musicians in front are Violet Hensley, Art Galbraith, and Emanuel Wood.

Cou

rtes

y of

Art

Gal

brai

th's

fam

ily.

6

Preface

American traditional fiddling received little scholarly attention before 1944, when Sam Bayard publishedHill Country Tunes about fiddle music in western Pennsylvania. Since then a fairly large number of Americanfiddle music books have been published. These have focused typically on traditions in regions such as theNortheast, Appalachia, Texas, Louisiana, and Canada. Notably, some works such as Mel Bay Publications’Old-Time Fiddling Across America (1989) by David Reiner and Peter Anick have presented a preliminaryinventory of regional American styles. Surprisingly, however, the rich and vital fiddle traditions in the Ozarksregion, located primarily in northern Arkansas and southern Missouri, have rarely been explored. One of theexceptions is Ira W. Ford’s tune collection Traditional Music of America (1940). As the book’s title indicatesFord had a much broader emphasis than the Ozarks, but he did spend some time in the southern Missouritowns of Branson and Nevada. Another exception is R.P. Christeson’s two-volume The Old-Time Fiddler’sRepertory (1973 and 1984). While he did include Ozark fiddlers in his survey, Christeson’s main concern wasMissouri fiddling outside of the Ozarks.

Thus, Gordon McCann and Drew Beisswenger are virtually dealing with terra incognita in this, the firstcomprehensive volume devoted exclusively to traditional Ozark fiddling. Both bring impressive credentials tothis work. Beisswenger, Head of the Music Library at Missouri State University, is the author of an excellentstudy of an Appalachian traditional fiddler and, as a result has refined musical transcription to the fine art it is.McCann, a retired businessman, has compiled the largest and most significant collection of Ozark fiddlemusic. Beginning over thirty years ago he spent hours with old-time fiddlers throughout the Ozarks recordingtheir tunes and biographical data about them. His only motivation was the best one, a love of the music.Acting entirely on his own without the benefit of grants he amassed thousands of melodies from hundreds ofmusicians, most of whom were not visited by other collectors. Some of the fruits of his research can be heardon a three volume set Traditional Fiddle Music of the Ozarks, issued on the Rounder label.

So, here is an introduction to the fiddle music of the Ozarks, organized around the lives and playing stylesof thirty legendary fiddlers such as “Cotton” Combs, Lyman Enloe, Art Galbraith, Bob Holt, Lon Jordan, SamLong, Absie Morrison, Lonnie Robertson, and Howe Teague. The fiddle music of fifty other great Ozarks fid-dlers such as Bob Larkan, Leonard Smith, Raymond Campbell, Dick Hutchison, Ruth Hawkins, and JudeHerndon is also represented here, all by the two persons most qualified to showcase traditional Ozark fiddling.

W.K. McNeil

The Ozark Folk Center

Mountain View, Arkansas

7

Introduction

We hope that whether you are a fiddler or a researcher you will find this book on Ozarks fiddle musicinteresting and useful. The two of us, Drew Beisswenger and Gordon McCann, teamed up to write it becausewe each have different sets of knowledge and skills that, when combined, allow us to present the informationin a well-rounded manner. Drew Beisswenger is a music librarian, ethnomusicologist, and amateur fiddlertrained in musical transcription and analysis. Gordon McCann has been collecting and “seconding” (playingguitar accompaniment for) Ozarks fiddle music for over 30 years, and he has a personal knowledge of most ofthe fiddlers and tunes in this collection. We discussed aspects of the book throughout its development, and inevery sense it has been a collaborative effort. In general, Beisswenger was responsible for completing themusical transcriptions, writing most of the text, and assisting with the research. McCann focused more on con-ceptualizing the work as a whole, finding information, locating recordings and photos, communicating withthe fiddlers and their families, and obtaining permissions.

Our decision to organize the tunes around the fiddlers is, first of all, a reflection of our respect for themusicians, and second, an outgrowth of our belief that presenting tunes apart from their performers and historyonly gives partial information. Even if you are interested only in learning tunes from this book, you will bene-fit much from taking the time to explore the details surrounding the fiddlers, the tunes, and the region.Knowing these details will allow you to interpret the tunes at a deeper level, and will put you in a better posi-tion to honor, respect, and credit the people and places that have created and nurtured the tunes. The tune his-tories, though not exhaustive, should give anyone interested in conducting more extensive research a good run-ning start. The meticulous nature of the musical transcriptions and the information presented regardingrhythms, patterns, scales, timings, and other melodic elements are such that researchers and fiddlers can ana-lyze and understand the tunes, as they are played by particular fiddlers in particular performances, at a fairlydeep level.

We have tried to offer a good balance of Ozarks fiddlers and tunes, but the methods we used to find thatbalance have involved some arbitrary decisions. Our collection does not present all of the region’s fiddlers andtunes, both of which might number in the thousands. And we are not suggesting that all of the tunes in thiscollection are associated exclusively, or even primarily, with the Ozarks. In fact most of the tunes are played inother regions such as the Appalachians and central Missouri. But all of the tunes here are, or have been atsome point, popular and widely played in the Ozarks, and the specific performances of the tunes we are pre-senting contain stylistic elements often associated with the region. It is not our intention to present the tunestranscribed in this book as official or definitive versions; if fact some of the tunes here are unusual renditions.All of the tune transcriptions represent a portion (usually one time through) of a single performance by onefiddler who will likely play the tune slightly differently than other Ozarks fiddlers. In fact a single fiddler willlikely play the tune a little differently each time through. Variation is a hallmark of traditional Ozarks fiddlemusic, and this study could easily have included dozens of versions of each tune. Although we chose not tofocus so extensively on variations, we did include two or more versions of some tunes that have the same orsimilar titles. Variations can also be explored in tunes that are closely related melodically but have differenttitles (the tune histories will help unravel these qualities). We have included a few tunes that were composedby the fiddlers who performed the tunes; in those cases the tunes were typically “signature” tunes that werewell-known and well-liked in the fiddler’s community. By and large, however, we have focused on older fid-dlers and older traditional tunes that appeared to us to have significant and long-lasting connections to theregion. Current contest-style fiddlers and their tunes, younger old-time fiddlers, and revivalist fiddlers (or oneswho grew up outside of an active Ozarks fiddle tradition) are not highlighted as much as senior fiddlers whowere raised in Ozarks communities that have maintained fiddle traditions for many generations. For that rea-son we have not included the region’s talented younger fiddlers, many of whom would acknowledge a debt tofiddlers featured in this book. Some practical and subjective factors influenced our choices. By necessity weonly included fiddlers about whom we were able to locate recordings and biographical information. In two

8

cases, surviving relatives of deceased fiddlers chose not to give us permission to include those fiddlers. Wealso have focused primarily on performances of tunes that can be heard on commercially-available recordings.We felt that, in general, people would find this book most helpful if they could access recordings of the tran-scribed tunes. This preference for tunes from commercial recordings was not absolute, however, and many ofthe tunes in this collection are from unreleased field recordings, especially the field recordings of GordonMcCann.

The tune histories usually include, in addition to general historical information, selected sources (withauthor and page number information along with abbreviated title information when necessary) containingadditional information or other musical transcriptions of the tunes. These sources are described in full in the“Sources Referenced” at the end of the book. One of the best sources for further study is an online sourcecalled “Fiddler’s Companion,” developed by Andrew Kuntz (http://www.ibiblio.org/fiddlers/). That source, towhich we referred often in writing this book, not only outlines much historical information and likely tuneconnections, but also includes lengthy lists of written sources and commercial recordings. In our tune histories,we occasionally mention other tunes that seem to us to be similar or related, but we want to point out that thetune relationships we propose are in many cases based on subjective determinations, or perhaps coincidence.Relationships we hear or imagine might not be heard by the fiddlers who played the tunes (just as we some-times feel puzzled by similarities heard by other fiddlers and researchers). In the future, perhaps detailed stud-ies of more individual tunes and tune families will clarify these possible relationships.

The authors recommend that fiddlers resist the temptation to take this book to jam sessions or to performthese tunes for audiences exactly as they are written. The tunes are part of oral traditions and generally Ozarksfiddlers, most of whom do not read music, are expected to bring their own personal interpretations to tunes.Also, the subtleties of the music are best learned by watching and playing with other fiddlers or, if no fiddlersare nearby, by listening to recordings. The musical transcriptions will help fiddlers understand what is happen-ing within specific performances of tunes, but they cannot convey the complex sounds that a skilled fiddlercan make. A fiddle student who sight-reads the music without having first listened carefully to performancesor recordings will likely fail to include important stylistic elements, especially those related to bowing. Werecommend that, after you get acquainted with the transcription and stylistic elements of a tune, you feel freeto modify small elements to suit your individual tastes. Keep in mind, however, that it is best to credit peoplewho have influenced you, and to resist altering the primary stylistic elements and structures lest you sound likeyou are mocking, disrespecting, or denigrating the music.

Since the 1970s Mark Wilson and Gordon McCann, in conjunction with John Harrod, Guthrie Meade,Morgan MacQuarrie and others, have recorded a large collection of field materials across North America in aneffort to preserve vital segments of local traditional music. The group has thus far published, through RounderRecords and under the heading "The North American Traditions Series," 12 projects from the Ozark region, aswell as four others from the musically contiguous Missouri Valley region (see www.rounder.com/rounder/natfor current listings). These include a three-volume series titled Traditional Fiddle Music of the Ozarks that fea-tures performances by 28 different fiddlers. Three other fiddle CDs are each devoted to individual Ozarks fid-dlers: Fred Stoneking, Lonnie Robertson and Bob Holt. Almost all of the Ozarks fiddle tunes on these CDswere recorded and jointly produced in the 1990s by McCann and Wilson, both of whom have graciouslyallowed the tunes to be transcribed for this book.

Rounder Records has played a significant role in the documentation of Ozarks fiddle music. The companysupported the field work conducted by Wilson and McCann by supplying sound equipment and travel expens-es for their joint recording ventures, and by publishing these important recordings to little commercial advan-tage. They also have released other Ozarks-related recordings apart from “The North American TraditionsSeries.” These include Ozark Folksongs and Gene Goforth’s Emminence Breakdown. Bill Nowlin of RounderRecords has generously given us permission to employ all of the Rounder selections used in this book.Musical arrangements of most of these Rounder tunes have been copyrighted on behalf of their performers byHappy Valley Music, BMI, and any intended commercial use of these numbers should be directed to that com-

9

pany. John Hartford Music, BMI, has given us permission to transcribe several selections from Gene Goforth’sEmminence Breakdown, produced by the late John Hartford. Fiddlers and researchers of Ozarks fiddle musicwould gain much by obtaining copies of all these Rounder CDs, which contain approximately 40% of thetunes transcribed in this collection.

Mark Wilson, with the assistance of Gordon McCann and others, wrote most of the liner notes for theOzarks-related Rounder CDs, and those liner notes typically contain over 30 pages of detailed and importanthistorical, biographical, and interpretive information. We drew much of our information about the fiddlers andtunes from Dr. Wilson's liner notes, and additionally he offered valuable advice and support as we worked onthis project. We have benefited much from his fieldwork, research, and help, and we want to acknowledge hiscontribution. A SPECIAL NOTE: In reading the information about the tunes, you will often see statementscredited to Mark Wilson but without any source identification. In those cases, assume the statements weredrawn from the liner notes of the CD from which the transcribed tune was taken.

We want to thank all of the fiddlers and their families who supported us in producing this book. The initialmusical transcription work for this book was completed through a summer faculty fellowship grant fromMissouri State University to Beisswenger. In the later stages of preparation, Missouri State University allowedBeisswenger to devote some time and equipment to the project. We have benefited from research that precededus, and we want to offer a special thank you to Mark Wilson, Andrew Kuntz, Gus Meade, Samuel Bayard,Charlie Walden, Bill McNeil, Charles Wolfe, and Howard Marshall whose research has been especially help-ful. The lengthy bibliography at the end of the book lists the other people whose work we have used.Christopher C. King of County Records generously offered us permissions to include transcriptions of tunesfrom various County Record CDs, including the remarkable two-CD Echoes of the Ozarks. And, as mentionedearlier, the support of Bill Nowlin of Rounder Records has been much appreciated. Bill McNeil’s encourage-ment and Preface for this book are much appreciated. He passed away soon after writing the Preface, and weare all painfully aware of the absence of this man who did more than anyone else to research and write aboutOzarks folk music. Some recordings or photographs for this book were obtained through the generosity of theUniversity of Arkansas Libraries Special Collections, the Ozark Folk Center, the Arkansas HistoricalCommission, the Archives at the University of Central Arkansas, the College of the Ozarks, and the RegionalStudies Center at Lyon College. The fiddlers and their family members were critical to the successful comple-tion of this book. Many staff members at libraries and archives we contacted were generous and helpful.Individuals who were especially helpful, in addition to those already mentioned and the family members of thefiddlers, include Hugh Ashley, Judy Blackwell, Brooks Blevins, Jimmy Bryant, Kay Burton, Christie Carter,Jim Coombs, Nancy Beisswenger, Tom Dillard, Earl Evans, Scott Fischer, ElliottHancock, Sarah Hartwell,Tricia Hearn, Karen Horny, Ellen Massey, Neosha Mackey, Fred Pfister, Rachel Reynolds, John Richards,Gwen Simmons, Dennis Stroughmatt, Linda Sutton, and Vivian Williams. Many other people offered valuableassistance, and I hope they all know they are appreciated.

AUTHORS’ NOTEFor the sake of historical accuracy, we have presented the music and text in their original wording. Somemusic may contain racially insensitive titles. However, we felt that it was important to depict these fiddletraditions accurately, thus representing not only the musical but the social mode of the era and genre. Bypresenting this historically significant music, we do not mean in any way to condone, perpetuate or pro-mote unfortunate racial stereotypes.

10

Historical Overview

A visitor to the Ozarks might conclude, after traveling through the region for a month or two, that theregion’s fiddle music is mainly oriented toward the intricate “contest style” often featured at fiddle competi-tions today. These competitions do, in fact, represent the primary arena for most contemporary fiddler, espe-cially young fiddlers. A deeper look at the region, however, reveals an extensive network of older fiddle tradi-tions that combine Appalachian-style square dance fiddle tunes with blues, rags, singing games, minstrelsongs, and various other musical forms, most of which began to circulate in the rural Ozarks before radioswere introduced in the 1920s. These older fiddle traditions, often with qualities that are particular to theOzarks, are the ones we will explore in this book.

The Ozarks is a hilly region located primarily in southern Missouri and northern Arkansas, with small por-tions stretching into Kansas and Oklahoma. It is a geographically old area with, for the most part, rocky soiland hardwood forests. The Osage tribe lived in the Ozarks before European-American settlement, and anecdot-al evidence suggests some exchange of musical and other cultural ideas might have occurred between NativeAmericans and European-American settlers (see the notes for the tune “We’re Gonna Hunt the Buffalo”).

The earliest European-American group to settle in the region was French, and these settlers built towns pri-marily near the western side of the Mississippi River in the 1700s. Scattered hunting and trading posts werealso being established in the interior of the Ozarks, creating an independence-loving sometimes lawless“mountaineer” culture that occasionally interacted closely with the Native American tribes. French culture waseventually overwhelmed by the influx of settlers from Tennessee, Kentucky, Virginia, and the Carolinas whobegan to pour into the region in large numbers beginning in the early 1800s. These settlers, who found theregion similar to their earlier homes in the Appalachians or its foothills, were typically second and third gener-ation Americans with distant English, Scots-Irish, or German ties. Some settlers immigrated directly fromGermany, Italy, and other European countries and established communities that maintained strong old-worldcultural traditions. Increasingly settlers derived their livelihood more from livestock and crops than from ahunting rifle, but a well-diversified array of food-gathering activities was the norm for most subsistence farm-ers. A number of distinctive cultural traditions and world-views became widespread in the region, and eventoday some older Ozarkers wish a “State of the Ozarks” had been created to reflect their regional identity moreaccurately.

We have only a few documents that indicate the existence of fiddle music during the earliest settlementperiod in the Ozarks. For example Dorrrance found documentation of violin players among the early Frenchsettlers in 1771, and Schoolcraft reported seeing dancing in the Ozarks in 1819 (Dorrance, p. 36; Schoolcraft,p.15). But it is logical to assume that many musically-inclined early settlers came with their fiddles. Somefiddlers featured in this book, such as Absie Morrison, Jim Herd, Alton Jones, and Seth Mize, reported thattheir ancestors brought their fiddles and fiddle music with them from Tennessee or elsewhere. The idea thatsettlers in the Ozarks brought their fiddles is also supported by the fact that many of the older Ozarks fiddletunes, which were usually passed down through oral traditions, have been widely played by fiddlers in theAppalachians and other Southern regions.

In the decades to come, many music styles—classical music, band music, sacred music, vocal folk songs,popular sheet music, etc.—began to flourish in the region, but in most small-farm rural communities fiddlemusic was played in a number of settings. Occasionally fiddlers enjoyed playing alone for their own enjoy-ment, or they would exchange songs, tunes, and stories with family and friends at various evening get-togeth-ers (where some unexpected instruments such as pump organs and cellos were familiar sights). Most often,fiddle music was associated with social dances, called “hoedowns,” “frolics,” or “square dances” depending onthe community. For many early rural Ozarkers, who often needed to endure long days of physically demandingwork, news of an upcoming social square dance was welcomed. In the 1800s, such dances were typically held

11

in homes—the furniture would be moved to the front lawn—and it would be hosted by a family requestinghelp with some kind of work.

Gerald Schultz describes these work-dance events from the mid-1800s: “Log-rollings, house-raisings, andquilting bees were forms of labor which were usually done cooperatively and made the occasion of merrymak-ing. In rolling logs from cleared land [or rolling them into piles and burning them], the settler depended uponhelp from his neighbors. Gert Geobel, who came from Franklin County in 1834, relates that ‘there was a timewhen I was invited to more than 20 such log-rollings every spring. Altho, for a long time, I was the only work-er on our farm, and consequently all work ceased during my absence, I dared not decline such an invitation,because every year I was dependent upon the help of my neighbors myself…. Dances often followed log-rollings and house-raisings. Usually the orchestra consisted of only one fiddle. Old and young took part in thesquare dances, reels and flings” (Schultz, p. 169).

Doug Mahnkey recalled that in the 1920s the work-dances were largely replaced by house dances or houseparties that were held for their own sake. At these dance gatherings, which might have included a game ofpitch (a card game) in a side room, each dancer was expected to pay—often a dime—to the musician or bandfor each dance or set of dances. The dancing itself also changed somewhat over time. For example, the handswing of the 1800s evolved into the waist swing, to the chagrin of some old-timers (Cralle, p. 92). Mahnkeywrote: “It mattered not how cold the weather, every week we were off to some mountain cabin for a play partyor square dance…. These gatherings provided good entertainment, and entire families attended, little childrenand all. The children, when they grew sleepy, stretched out on the large beds in the back bedroom and I haveseen a score of them sleeping on these occasions while their mothers and fathers danced into the small hoursof the morning. There were no baby sitters in those days…. There were some dances where Lum [Lum Booth,a local fiddler] did not like to go, giving as his reason that the crowd was ‘too rough’ or that those holding thedance were not of good name. Once when Lum learned that I had been going to some of these ‘off limit’dances he reprimanded me… ‘Don’t never have nothin’ to do with nobody that is any ornier than you air’”(Mahnkey, p. 65-66).

Phot

o by

Tow

nsen

d G

odse

y; u

sed

with

per

mis

sion

. Fro

m O

zark

s M

ount

ain

Fol

k: T

hese

Wer

e th

e L

ast,

p. 9

3.

12

While dances were often fun family gatherings, some dances were indeed rather rough. Reports from trav-elers to the Ozarks in the early 1800s indicate dances were often associated with drinking (Cochran, p. 3). Inwriting about the rural Ozarks in the early 1900s, Walter Cralle reported, perhaps partly in jest, that “in somesections only the ‘drinkin’ swearin’ shootin’ attended the square dance. The others might attend the play partyand there, although the figures of the dance were the same, the accompaniment was furnished by the songssung by the dancers themselves” (Cralle, p. 88). Bob Holt said that in Douglas County, Missouri, during the1930s the organizers of a house dance often tried to inform only selected individuals about the event, but thatoften everyone, including troublemakers, somehow ended up knowing about it. Some writers, such as CoraPinkley Call (p. 25), reported that square dancing in the early 1900s was not considered appropriate in com-munities where social activities revolved primarily around the church (Call, p. 25). Cansler (p. 38) suggests thechurch’s antipathy toward fiddle music in the Ozarks was probably not as strong in the 1800s, when drinkingwhiskey was more commonplace. To some degree, however, opposition to dancing can be traced back to theearly 19th century camp meeting movement and the strict moral codes that movement often emphasized.McDonald (p. 66), in writing about the song “Wicked Polly” (Laws, p. 232, #H6) as performed at revivals inArkansas, includes lyrics that connect Polly’s life of sin and descent into hell solely to the following vice:“She went to frolics, dance and play.” Curiously, many fiddlers have enjoyed playing hymns on their fiddles,seeking perhaps to build a stronger bridge between their music and the church communities. Also many fid-dlers have been “saved” by the church later in life, and have chosen to incorporate religious music into theirrepertoire for that reason. Since the mid-1900s, the negative view of fiddling held by churches has subsidedsomewhat as dances have become more family-friendly and as festivals have offered socially-acceptable ven-ues for fiddlers.

Dances were also occasionally held at other social events, such as picnic and reunions. These annual sum-mer events were often significant in rural communities, and attracted visitors from surrounding counties.Picnics often included—in addition to food, games, social opportunities, and a mule-powered merry-go-round—a square dance on an outdoor wooden platform constructed for the event. As with the house dances,the dancers were expected to pay the musicians for each dance or set of dances. At some of these platformdances, the rowdiness and drinking were even more of a problem than they were at the house dances because,as Cralle explains, no attempt was made “to regulate the type of participants” (Cralle, p. 96). Fiddlers todayemphasize, however, that in their experiences the organizers of dances, no matter where they were held, typi-cally dealt firmly with people who were inebriated or caused any kind of trouble.

Unk

now

n ph

otog

raph

er; p

ostc

ard

with

hea

ding

“D

anci

ng a

t an

Oza

rk P

icni

c, 4

52 H

all P

hoto

Co.

”

13

Many older Ozarks fiddle tunes were derived from various music traditions from Great Britain, includingScottish bagpipe music, but increasingly tunes were linked to American sources. Ballads, folk songs, playparty games, hollers, and ditties (short sung rhymes) from both Anglo-American and African-American tradi-tions had been circulating in the Ozarks since it was settled, and these sung pieces sometimes became fiddletunes. From the mid-1800s through the 1920s, a number of new music and song traditions developed that alsoinfluenced Ozarks fiddle music. These include minstrel songs, popular sentimental songs, ragtime music,blues, western swing, and honky-tonk music. Popular dances—often European derived—such as the waltz, thetwo-step, and the polka were increasingly integrated into the square dances and influenced the fiddle styles.The large-scale hiring by the lead mines, the logging companies, and the railroad companies, along with theclose proximity of the Ozarks to music centers such as Kansas City, Sedalia, St. Louis, Memphis, the Delta,and Tulsa caused the influence of varied and newer music styles on fiddle repertoires to be significant in somecommunities in the region. No one could point to a single Ozarks fiddle music style. While most fiddlers,especially the rural ones with limited financial means, were choosing to perpetuate the older styles, many fid-dlers began to focus more on modern styles.

As part of the growth of the stage-shows, minstrel-shows, and circus shows in the mid-1800s, a humoroussketch became popular nationally around the fiddle tune “The Arkansas Traveler.” Because it featured a dim-witted, but sometimes clever, mountain man character, the sketch further entrenched an already strong stereo-type of the Arkansas Ozarker as a backward, lazy, dirty, unintelligent, goofy-acting person who could occa-sionally offer quaint wisdom. Early string band musicians often dressed the part of the hillbilly in an attemptto make their performances more commercially successful. The stereotype continued to gain strength through-out the 20th century with popular media creations such as the comic strip “Li’l Abner” and the television show“Beverly Hillbillies.” In the second half of the 20th century tourism developers in the Ozarks created success-ful tourist attractions and music venues that sometimes exploited the humorous hillbilly image of the region.For more details, see the notes for the tune “Arkansas Traveler.”

In the 1920s interest in learning and performing traditional songs and tunes in the Ozarks grew in partbecause of the introduction of radio programs and 78-rpm phonograph recordings. Violins became inexpensiveand easy to obtain through mail order catalogs, and old-time string bands, featuring both fiddle tunes andsongs, were increasingly formed within families and communities throughout the Ozarks. As live radio pro-grams became more numerous in the late 1920s and 1930s, local old-time string bands were increasingly fea-tured. A number of these bands, such as Edgin's Corn Dodgers, Pope's Arkansas Mountaineers, and theMorrison Brothers Band, released 78-rpm recordings (several of which have been transcribed for this book)

The

Ark

ansa

s T

rave

ler,

Scen

e in

the

Bac

k W

oods

of A

rkan

sas.

Cur

rier

& I

ves,

N.Y

., 18

70

14

and enjoyed modest commercial success. Subsequent commercial developments in the country music field,such as the growth of 1940s honky-tonk and bluegrass styles, influenced the direction some Ozarks fiddlerstook with their music. KWTO in Springfield was among the major radio stations in the region that featuredstring bands and early country music.

Since the 1800s the scenic qualities of the Ozarks have attracted tourists, who occasionally have supportedperformances by local traditional musicians. Locations such as the Joplin, Missouri, developed a strong reputa-tion for their nightclubs. Towns such as Eureka Springs, Arkansas, which began as a resort town in 1879,attracted residents during the summer months from nearby cities such as Kansas City to their cooler weather,beauty, and healing springs. In the 1950s, major venues that featured the music of the Ozarks began to open.For example, in 1953 “The Ozark Opry” opened in Osage Beach, Missouri, and in 1959, the “BaldknobbersHillbilly Jamboree Show” opened in Branson, Missouri. The large theme park, “Silver Dollar City” inBranson, Missouri, opened in 1960. Springfield’s 1940s KWTO radio program “Corns-A-Crackin’, whicheventually evolved into the nationally-syndicated 1950s live television program “The Ozark Jubilee,” estab-lished Springfield as a country music center. The tourism of the region grew even more following the creationof a network of dams in the early 1960s. Branson, Missouri, in particular, became a major tourism center.Fiddlers, especially those who performed contemporary styles, found more venues for their music.

Other more community-oriented events have nurtured and influenced Ozarks fiddle music. We know thatsmall local fiddle competitions have been held in the United States since the 1700s, and such events were like-ly organized occasionally as part of town fairs and picnics in the Ozarks in the 1800s. Eventually some fiddlecompetitions became larger and more formal. A large fiddle convention was held just south of the Ozarks inHot Springs, Arkansas, around 1915 (see Mark Wilson’s notes to Rounder CD 0435 under “New Five Cents”).A 1926 fiddle competition in Joplin, Missouri, attracted about 4,000 listeners (see Sam Long’s profile). Thesecompetitions represented a positive venue for fiddlers, who had often been associated with the sometimesvolatile square dances. On the less positive side, the judges and audience members at the competitions havetended to favor the fancier modern fiddling styles over the older styles with deeper roots in the Ozarks, andtoday older styles are rarely heard at competitions. Folk festivals, often organized by the growing number offolklore enthusiasts and collectors, offered another arena for folk musicians to feel honored and respected. In1934 in particular the Ozarks experienced a folk festival boom. Not only were folk festivals held in Eureka

The

Mor

riso

n Fa

mily

, c. 1

930s

; Pho

to b

y V

augh

n B

rew

er; C

ourt

esy

of K

ay B

urto

n, a

nd th

eU

nive

rsity

of

Cen

tral

Ark

ansa

s; U

sed

with

per

mis

sion

.

15

Springs, Rolla, West Plains, and Springfield, but the first National Folk Festival was held in that year near theedge of the Ozarks in St. Louis, Missouri (Blevins, p. 141). In 1941 the famed “Stone County FolkwaysFestival” was held in Blanchard Springs, Arkansas. Eureka Springs organized the first annually-held continuousfolk festival in 1948, but the most well-known annual festival in recent decades has been the Arkansas FolkFestival which began in 1963 in Mountain View, Arkansas. Most important in identifying and spotlighting thetraditional artists of the Ozarks were folklore fieldworkers such as Vance Randolph, John Quincy Wolf, MaxHunter, Alan Lomax, and, later, W.K. McNeil and Gordon McCann. As the organizers of the festivals and com-petitions were increasingly struggling with pressures to feature popular folk-style musicians with few links tothe Ozarks, the fieldworkers were freer to focus on the musicians with deep roots in Ozarks communities.

Since the 1973, the Ozark Folk Center, an interpretive museum and performance complex in MountainView, Arkansas, run by Arkansas Parks and Recreation, has been especially important in highlighting and sup-porting the folk music of the Ozarks. Before then, Mountain View had already established itself as a center forOzarks traditional music with its thriving music gatherings on the town square, an annual folk festival, andweekly performances by an organization called the Rackensack Society, which was organized in 1963 and ledby the influential songwriter/musician and tireless promoter of Ozarks folk music Jimmie Driftwood.Driftwood also played a significant role in the creation of the Ozark Folk Center. The Center became a majorvenue for Ozarks folk music performers, and also for Ozarks folklore scholarship through the research activi-ties of folklorist Dr. Bill McNeil. Both older traditional Ozarks musicians and younger revivalist musicians(many of whom have created newer traditions that are as complex and rich as those of the older rural Ozarksmusicians) have looked to Mountain View to find opportunities to share their music, dances, and crafts.

Informal music and dance gatherings have been especially important in supporting Ozarks fiddle music.Community square dances, often held now in community halls, continue to highlight fiddle music, especiallythe fast breakdown tunes but also to a lesser degree two-steps, waltzes, and polkas. These community dancessometimes have distinctive qualities. For example, square dances in Douglas and Taney Counties, Missouri,feature dances where each square has its own caller, and where elaborate jig-dancing steps and locally-devel-oped dance steps are often seen. Sadly, the appeal of these local square dances seems to have been dwindlingin recent years, but history shows us that the popularity of these traditions sometimes goes in circles. Evenmore important than the dance traditions have been the informal jam sessions and house parties. One especial-ly influential jam session in southwest Missouri was hosted by Emanuel Wood on the square in Ozark,Missouri, from 1950 through the late 1970s when the building in which it was held fell down. In 2000, a sam-

Fred

Sto

neki

ng a

t jam

ses

sion

in M

ount

ain

Hom

e, A

rk.,

late

199

0s; P

hoto

by

Gor

don

McC

ann;

U

sed

with

per

mis

sion

16

pling of 15 current community jam sessions active in southwest Missouri was documented (seehttp://library.missouristate.edu/projects/jamsessions/). Readers will notice in reviewing the information aboutthese jam sessions that fiddle music was often, though not always, featured. House parties are similar to jamsessions, but typically they are smaller and held in someone’s home.

Fiddle music in the Ozarks is currently in flux, and the older traditions are not as strong as they once were.Some fiddlers moved away to seek better jobs; as early as the 1940s many Ozarkers sought jobs in northern orwestern states, especially Washington State. Many well-known senior Ozarks fiddlers have passed away, espe-cially in the last five years. A network of local square dances that was strong as recently as three years ago haslargely ceased to exist, in part because square dance fiddlers have passed away. It is possible that another cycleof square dance fiddlers and dancers will start up again soon. Most young fiddlers today focus on the fiddlecontests, along with the tunes and stylistic elements that tend to lead to success at these events. It is hard toblame young fiddlers for taking this direction, and for seeking the praise and admiration audience membersoften shower on them at the contests, but perhaps eventually more of these young fiddlers will choose to usetheir talents to support the deep and wide-ranging traditions associated with the community square dances andjam sessions. The region and its artistic heritage would certainly be strengthened if some of these fiddlersmade that choice.

Musical Style and Notation

Exploring regional styles is not easy. A person taking on that task must look not only at the general culturalpreferences in a region but also, in order to discover any meanings behind those preferences, at the emotionaland belief-based associations residents of a region have developed to the region’s varied and changing culturaltraditions. The idea that a regional fiddle style could exist would seem to presuppose that exceptional regionalfiddlers have, in addition to talent, a special connection to a region’s evolving essence or spirit, and to theinvisible paths of tradition in the region’s music. Identifying these fluid connections and paths cannot beaccomplished with any certainty. Fiddlers often have different personal preferences, different skill levels, anddifferent connections to the traditional and popular music styles from inside and outside of the region. Also theresidents in a region, as well as the researchers who study a region, will sometimes be influenced, if only sub-consciously, by arbitrary political boundaries, exaggerated notions of isolation, the purposeful marketing ofideas about a region by businesses and chambers of commerce, and various personal or community agendas.The authors of this book understand that locating regional style is an elusive activity.

At the same time, the authors believe that through various means we can get accurate glimpses of theimportant stylistic elements in a region’s fiddle music. By formally analyzing the music, for example, we candiscover important recurring patterns. Such analyses might reveal, for example, that what some people haveinterpreted as a strange-sounding musical passage, an off-key note, or an unintended pause is actually a wide-spread quality of the music in a region. And then through interviews and biographical studies we can begin tosee how fiddlers feel, reflect, connect, and assign values regarding their music. By exploring the music fromvarious angles, and in a holistic manner, some stylistic elements become apparent.

Attempting to define the qualities of a regional style is a worthwhile endeavor because, for one reason,communities are sometimes placed in the position of needing to face powerful political and business forcesthat can compromise their traditions. Consider the following scenarios regarding fiddle music. (1) A localRotary Club decides to sponsor an Ozarks traditional fiddling contest, and several hot Texas swing fiddlersenter. (2) A well-intentioned school teacher uses as an example of Ozarks fiddle music a recording of “OrangeBlossom Special” (a dazzling bluegrass virtuosic tune that has little connection to Ozarks traditional fiddlemusic). (3) A fieldworker hired by a local arts agency to document local folk music and square dance tradi-tions focuses on dance groups sponsored by the United Square Dancers of America, a national organizationthat teaches standardized figures rather than regional variations. (4) Members of a small chamber of commercelament the existence of a local folk festival because they mistakenly believe that local residents would benefitmore from a progressive image. (5) Musicians in a small community try to mobilize opposition to plans by

17

their young mayor to tear down an old school house that has been used for thirty years for weekly jam ses-sions and square dances. In all of these scenarios, people would benefit from an ability to clarify the nature ofan Ozarks regional fiddle tradition. We must acknowledge that, although some general stylistic qualities andtendencies can be isolated, a single Ozarks fiddle style does not exist. The following styles, described brieflyand informally based on our general impressions, can be found in the Ozarks, sometimes even in the music ofa single fiddler.

• Older tunes, often with open tunings, plucked strings, “crooked” patterns, slightly slower speeds than square dance tunes; British or American roots; often with connections to the Appalachian region.

• Breakdowns for square dancing; fast; regular timings and patterns; reels and transformed hornpipes; British or American roots.

• Minstrelsy-based tunes; from 19th century minstrel shows, often with words and African American elements; pentatonic; animal themes; sometimes offensive lyrics; often played as breakdowns.

• Old-world tunes connected to Germany, France, Scotland and other countries; examples include many schottisches, polkas, and waltzes.

• Waltzes; often with German roots, but transformed for contests into elaborate and heavily-chorded tunes.

• Parlor tunes; slightly slower; crisp, more “classical” sounding; less bow shuffling; meant more for listening than for dancing; often with piano accompaniment; most common in middle Missouri.

• Two steps, blues, ragtime; based on ragtime, blues, or early country music progressions; often based on popular songs.

• Bluegrass music; based on the style first popularized in the 1940s; fast, with Scruggs-style banjo playing; often accompanying songs; includes some tunes such as “Orange Blossom Special” that featurechording, specialized licks, “trick” fiddling, and scale patterns rather than easy-to-identify melodies.

• Contest style; slower elaborate style that highlights single string playing, specialized scales and arpeggios, ornamentation, chromatics, and prearranged variations; based in a Texas style; fiddlers tend to know fewer tunes, but know those tunes very well.

• Western swing and modern country; often connected to country music bands and with links to swing or jazz-based improvisational patterns; similar to, but typically slower than, bluegrass styles.

This list of styles might suggest to some people that an Ozarks fiddle music style could not exist, but if welook deeper we can begin peel away some layers and better understand some of the divisions. For example, thefinal three styles, though popular in the Ozarks, represent fairly recent commercially-oriented music forms andare therefore somewhat less important in this study of longstanding Ozarks fiddling traditions. Also, an impor-tant element of regional style is the balance of tune types in the repertoire of individual fiddlers. For example,fiddlers in the Ozarks and in Kentucky might play some tunes in a similar manner, but the repertoire of a fid-dler in the Ozarks might include a higher percentage of rag tunes. It is our general contention that, during thelate 19th century and the first half of the 20th century, when fiddle music was probably experiencing its hey-day in the Ozarks, regional stylistic elements based on a variety of geographic and cultural factors particular tothe Ozarks emerged. For example, the immense popularity of community square dancing and the growing pop-ularity of ragtime music in the region beginning around 1900 both influenced Ozarks fiddle styles.

In the section below, we will explore some of the technical qualities of the 308 Ozarks fiddle tunes, whichwe hope represent a fairly balanced collection of the older traditional styles. For each of these tunes, weentered 40 fields of data into a database. Much of the data in the fields relates to technical information aboutwhich many fiddlers might have little if any knowledge. Often, but not always, fiddlers simply ehave little

18

interest in the technical musical qualities of their tunes and will avoid discussing musical elements beyondkeys. A more detailed breakdown of data from the database is included at the end of this book. The list below,derived from the database results, gives us basic information that when combined with reflections from thefiddlers help us understand the music.

1. Compound triple-meter tunes played with time signatures such 6/8, 9/8, and 12/8, often called jigs in the British Isles, are almost completely absent from the Ozarks.

2. The keys of G (28%), A (26%), and D (23%) are most popular. The key of C is about half as popular as those keys. The keys are F, Bb, E, and B are also used, but rarely. They are more popular in central Missouri.

3. Most tunes (72%) are played in a major scale, but most of these major-scale tunes (64%) contained slightly high and/or low notes. Typically the 4th scale note is slightly higher, and the 7th scale note is slightly lower. Hexatonic or pentatonic scales are played in 21% of the tunes. Few “modal” tunes, which usually feature alternating major scales built on the I and flatted VII notes of the tonic, are found in the Ozark.

4. The standard EADG tuning is by far (80%) the most common tuning, but EAEA (7 %) and C#AEA(3%) tunings are fairly well represented. Rarely heard tunings include DADD, DADA, DADG, DGCG, and BGEB.

5. Most tunes have two parts (81%), with eight measures per part (46%), in an AABB pattern (50%), but a large number of other interesting combinations exist. Tunes might have as few as one part and as many as five. Some fiddlers vary how many times they play through each part of a tune, and some tunes are “crooked” or include parts and measures in unusual sizes. Having said that, it appears that, when compared with Appalachian fiddlers, Ozark fiddlers more often prefer their tunes to be squared off, with standard part and measure sizes.

6. Surprisingly, either the A or B parts might have the highest melody line, and in the same percentage of times (41% have higher A parts, and 41% have higher B parts). This would suggest that always calling the A part the coarse or low part and the B the fine or high part is not accurate.

7. The more popular types of tunes are breakdowns (60%) and, in distant second and third places, rag/blues tunes (11%) and waltzes (11%). The fairly widespread appearance of rag/blues tunes represents another way Ozarks traditions probably differ slightly from Appalachian traditions. Avariety of other kinds of tunes such as marches, polkas, schottisches, hops, and foxtrots can be found occasionally in the Ozarks.

8. Usually (84%) the tunes do not begin with a “potatoes” introduction, and usually (70%) tunes do not end with a “shave and a haircut, two bits” ending. Such introductions and endings tend to be used more often by fiddlers who play in public performance settings.

9. Bowing patterns and special licks are surprisingly rare in the Ozarks. Both the Nashville Shuffle (D-UDU-DU) and the Virginia Shuffle (DU--DU--) are rarely used (the D stands for down bow, and the U stands for up bow). The “scoop” lick (my phrase for a lick that involves playing a note with an up bow and, while continuing the up bow stroke on the same note, bearing down and hitting a note onthe higher string) is fairly rare, although it is played slightly more often by older fiddlers. In general, it appears that, although Ozarks fiddlers use their bows in creative and rhythmic ways, recurring bowing patterns are more widely used in the Appalachian region.

10. Unison notes, double stops, and slurs are not unusual in the Ozarks, but in only a small percentage of tunes (6%-15%) are these elements used often throughout a tune. Relatively unadorned melody lines appear to be preferred by many Ozarks fiddlers.

11. Regarding guitar chording, the “Missouri Chord Progression” (used, for example, in “Ten Nights in a Bar Room”) is used in about 35% of the tunes, and the circle of fifths chord progression, which means that the final four or five chords of a part progress in a circle of fifths, is present in about 5% of the tunes, generally in the rag and blues tunes. Not all rag and blues tunes include this progression, however.

19

These kinds of technical data give us a rough idea of what listeners will hear from most Ozarks fiddlers.We want to emphasize that different fiddlers in the Ozarks often play in varied or individualized styles, someof which appear to be opposites stylistically. Keep in mind that when exploring regional style we are lookingnot only at general preferences, but also at how various stylistic elements are balancing, coexisting, and influ-encing each other in the region.

To draw full comparisons of Ozarks fiddle styles with fiddle styles of other regions, similar transcriptionand analysis projects for those other regions would need to be completed and compared. In many cases, I sus-pect the style elements would not change as much as the balance of those elements. We can, however, makesome general observations based on our personal acquaintances with various other traditions (which are, weadmit, based partly on our informal impressions). When compared with most Appalachian fiddlers, Ozark fid-dlers appear to prefer to play a fairly clean, crisp, and fast melody line with more single note bowing andfewer complex bowing patterns and licks. Also, tunes tend to be more “squared up” (not crooked). There arecertainly exceptions to this rule, and fiddlers such as Seth Mize and Emanuel Wood play in styles similar tothose of many Appalachian fiddlers. In general, though, it appears the Appalachian region has supported astronger “listening tune” tradition that values open tunings, unusual timings, syncopated bowing patterns, andspecialized ornamentation and licks. In the Ozarks, on the other hand, it appears traditional fiddlers have tend-ed to focus more on fast driving square dance fiddling, and increasingly throughout the 20th century, waltzes.Radio fiddlers such as Lonnie Robertson, who have tended to play a clean style less suitable for dancing, haveinfluenced many regional fiddlers. Ozark fiddlers are also more likely to play rags, blues, or sentimental popu-lar songs.

Mark Wilson, in his liner notes for the three-CD Rounder collection titled Traditional Fiddle Music of theOzarks, takes the idea of an Ozarks regional fiddle style a step further and proposes the existence of threeOzark fiddle style sub-regions. He acknowledges that his sub-regions are somewhat artificial, and that in form-ing them he was concerned primarily with southern Missouri, but his divisions are thought-provoking. His firstregion comprises the hilly eastern edge of the Missouri Ozarks, northern Arkansas, and a portion of Oklahoma.Wilson suggests this region features a prominence of tunes that are highly melodic and that use dischord orscordatura tunings (other than the standard EADG tuning). His second region focused on the relatively flatlands that surround Springfield, Missouri, and that continue north. In that region he found that older tunes,leisurely tempos, shuffle bowing patterns, and drones were common. In the Springfield-Joplin area he found agreater emphasis on urban and African-American-influenced tunes, while north of there the fiddle music tend-ed to be characterized by standard square dance tunes. These dance tunes were, however, connected stylistical-ly more to areas north of the Ozarks than to Tennessee. In describing his third region, which centers on whathe calls the “border counties” of Ozark and Taney Counties in Missouri, Wilson uses words and phrases suchas “riffs,” “riffing tunes,” and “clipped articulation.” He explains that the fiddling style there often features“short melodic phrases that are alternately articulated within tonic and dominant modes. The main accent ineach measure is heavily emphasized with a strong application of Scotch snap and very brisk bow strokes—indeed, the clipped rhythmic patterns to which this bowing gives rise constitutes the basic hallmark of thestyle” (vol. 3, p. 1). See the three-CD Rounder collection mentioned above for more on Wilson’s analysis ofOzarks fiddle music sub-regions and history. I might add to Wilson’s regions the border of Arkansas andOklahoma where some Texas and swing stylistic elements appear to be integrated into the tunes more often.

Howard Marshall, in discussing fiddle traditions from throughout Missouri, distinguishes the Ozarks stylesfrom those of the “Little Dixie” region in the middle of the state and from those of northern Missouri (linernotes to Now That’s a Good Tune). In both the Little Dixie and northern regions, Marshall found that melodieswere more intricate, more varied in terms of key and chord accompaniment, often more German based, and attimes more African-American based (slavery was more common in the middle of Missouri). He also believed,through his own experiences with playing fiddle music, that performing fiddle tunes in religious services wasfairly common in middle Missouri. In northern Missouri, he found the fiddle music to be crisp, complex, slow,and with stronger links to northern U.S. fiddle traditions. It appears that regarding the use of “clean, crisp”melody lines, northern Missouri ranks highest, the Appalachian region ranks lowest, and the Ozarks ranks inthe middle.

20

Other writers have attempted to define the Ozarks’ fiddle style. Charlie Walden points to Bob Holt and hisfast driving style with “an economy of motion in both his bowing and left hand technique” as representativeof Ozarks fiddling (see his “Missouri Old-Time Fiddling Traditions” website). Writing about Ozarks folkmusic in general, W.K. McNeil believes that, when compared to traditional musicians in the Appalachians,Ozarks traditional musicians tend to use fewer minors scales and are more likely to be influenced by non-Anglo-Saxon groups such as the French and the African-Americans (McNeil, Ozark Country, p. 98-99).Reiner and Anick suggest the repertoire tends to be divided between, on one hand, “fast breakdowns” with“choppy saw strokes” and, on the other hand, “smoothly-bowed” leisurely paced tunes such as those playedby Art Galbraith (p. 120). They also point out that the percentage of tunes created in the United States, asopposed to those with British ancestry, seems to be fairly high. Linda Burman-Hall, who suggested that an“Ozark Mountain style” was one of four main fiddle sub-styles in the Southern U.S. region, points out thatvaried tempos were more common. She found that scordatura, flattened bridges, and melodic variations—though used occasionally in inconsistent ways—were less common. She points to the widespread use of dou-ble-stopped tonic notes, and to an unusual tendency to play exaggerated dotted notes “fingered rather thanbowed” (p. 61). In discussing American fiddle traditions, Chris Goertzen proposes that cultural traditionsappeared to have moved westward fairly easily from the east coast to the Ozarks, where they eddied or cir-cled around. He suggests that, because of this dynamic, tunes played in Texas tend to be of more modern thanthose played in the Ozarks and regions east of there (p. 459). Although these and other studies help us con-sider aspects of regional fiddle styles, a large-scale unified effort to analyze and compare styles throughoutthe United States has yet to be completed. Such a study would be valuable, not only in allowing us to betterunderstand these rich music traditions, but also in helping fiddlers and fiddle enthusiasts honor, maintain, andprotect traditions that continue to have meaning in many communities.

Regarding the musical transcriptions by Drew Beisswenger, the symbols should be fairly clear to anyonefamiliar with Western musical notation, but a few aspects merit clarification. The up and down arrows overnotes indicate the notes are slightly higher or lower, but not enough to justify a sharp or flat symbol. A paren-thesis around a note indicates the note is either questionable or barely heard. An “X” note head means thenote is played pizzicato, usually with the fingering hand, or in some other unusual manner explained in thetune’s notes. Each tune transcription typically includes, after the tune itself, additional measures that representintroductions, endings, and variations. The “variations” measures offer selected variations for particular meas-ures; typically many more variations exist in the tunes. The locations of the variations are indicated by sym-bols such as “V1,” “V2,” “V3,” etc. These symbols stand for “Variation 1,” “Variation 2,” “Variation 3,” etc.,and when a symbol such as “V2” is placed over a measure in the tune, it corresponds to the variations meas-ure(s) marked “V2” at the end of the transcription. Occasionally, more than one measure at the end will bemarked with a symbol such as “V1”; in those cases, I am presenting more than one variation for a singlemeasure in the tune. In cases where a variation lasts several measures, it continues until a bold measure lineappears. The bowing slurs are based on Beisswenger’s best judgments. In most cases, the slurs can be heardwithout much difficulty in a slowed-down recording of a performance, but occasionally fiddlers play in astyle that makes bowing changes difficult to determine. Beisswenger felt it was important to include slursbecause bowing is a key component in determining style (as explained earlier in this chapter). For the mostpart Beisswenger was transcribing sound recordings, not video recordings (the exceptions are “Roses of AvaMoore,” “Orvetta Waltz,” and “Napper,” all of which include bowing symbols), so in most cases he wasunable to determine what direction the bow was going. You can often deduce the bowing directions byassuming a fiddler began a melodic passage with a down bow, but this is certainly not always true. Someexperimentation might be necessary. When choosing how to identify a tune’s key, I sometimes made alter-ations when fiddles were not tuned to a standard pitch or tuning scheme. For example, if a fiddle was tunedDGCF (tuned down from the more standard EADG) or DGDG (tuned down from the more standard EAEA) Igenerally transposed the tunes played to the more standard tuning. I did this for two reasons. First, fiddlersoften tend to think in terms of fingering positions and patterns rather than actual pitch. For example, SkeeterWalden introduced his “Broken-Legged Chicken” by saying it was in the key of D, and it would have been inthe key of D if his fiddle had not been tuned down one note. Keep in mind that fiddlers in the past typicallydid not use standard-pitch devises such as tuning forks, and even if they did they probably would have rarely

21

felt a need to use them. The second reason I adjusted tunings occasionally (e.g. changing DGDG to EAEA)was for practical reasons: transcriptions are more usable to fiddlers who read music when the top two stringsare tuned to E and A. While I believe this was a good decision, I acknowledge that some fiddlers might viewtunings with the same intervals, such as DGDG and EAEA, as being substantially different (EAEA will indeedhave a louder brighter sound). To clarify the nature of the key and tuning for a particular tune, see the tune’snotes where I always describe any transposing activity unless the fiddle was only slightly out of tune. Theremaining elements of the music transcriptions should be fairly easy to understand.

MAP OF THE OZARKSScholars offer different theories regarding the boundaries of the Ozarks. Some have expansive views and

suggest, for example, that significant portions of middle Missouri and southern Illinois should be included.The region is established roughly by four rivers: the Missouri and the Mississippi on the northeast corner, theArkansas on the south, and the Neosho on the west. A typical boundary showing the region’s northern edgeruns close to but does not include the cities of St. Louis and Jefferson City. To the west, the region usuallyincludes small sections of Kansas and Oklahoma. Most maps include the Boston Mountains in Arkansas aspart of the southern Ozarks, but exclude the city of Little Rock. The eastern edge of the region follows a diag-onal line from Little Rock through Poplar Bluff and on to the Mississippi River.

Map

Cou

rtes

y of

Nat

iona

l Geo

grap

hic

22

FEATURED FIDDLERSCotton Combs

Donald “Cotton” Combs (1921-1984), also known as “Ol’Cotton,” was based primarily in Fayetteville, Arkansas. He was oneof 10 siblings. When Combs was seven years old, his uncle Jim Clarktaught him to play a few tunes on a cigar box fiddle Clark made.Later, another relative named John Copeland gave Combs a fiddle hehad made. When he was seven or eight years old, Combs won a fid-dle contest for which the prize was a job playing with the HappyHanks Show and he traveled with the show for quite some time. As ayoung man, after returning home from an overseas tour of duty in theMarines, Combs worked to hone his fiddling skills. His work paidoff, and he won several fiddle contests. He decided to try his luck outWest, and moved to California where he performed with a number ofmusicians including the Farr Brothers of the Sons of the Pioneers,Bob Wills’ musicians, the Old Rasussens, and other Western andWestern swing groups of that era. He eventually decided to moveback to Arkansas, and was invited to play with Frankie Kelley’s bandthe Arkansas Playboys. Combs developed a style that was crisp andclear, and he became well-known as an eclectic fiddler capable ofplaying bluegrass, Western swing, blues, rags, popular songs, and, ofcourse, Ozarks breakdowns and waltzes. He also wrote songs andtunes such as “In the Good Ole Ozarks” and one version of“Razorback Waltz,” and he cut at least two LP records. Among his

many followers and admirers was Ozarks fiddler Billy Matthews, who describes Combs as “a wiry little guy”who was often accompanied by guitarist J. J. Curry. They were, according to Matthews, “ the Ozark old timemusic evangelists who mercilessly cut a swath back and forth throughout the Ozarks playing everywhere pos-sible, driving a big Cadillac, and ‘sipping on cider’; and occasionally stopping to drop a line in the ol' fishinghole” (http://www.geocities.com/banjobilly_m/index_a.html). Combs often performed at fiddle competitionsand festivals—he won the Arkansas State Fiddlers Contest—and regularly played at venues such as SilverDollar City in Branson, Missouri, the Ozark Folk Center in Mountain View, Arkansas, and the Walnut ValleyFestival in Winfield, Kansas. His reputation at the Walnut Valley Festival was such that the organizers of theevent created a belt buckle in his honor. Through his many travels, Combs became known to fiddle enthusiaststhroughout the country.

&

#

C ..

h»128

œ

œ

œ

œ

↑

œ œ œ↓ œ œ œ

œ

G

œ œ œ œ↓

œ œ

œ œ œ œ↓

œ œ œœ

œœ

œœ

œ œ œ

↑G/E G

œ œ œ↓

œ œ œœ œ œ œ

↓œ œ œ œ œ œ œ œ

œ œœ

&

#

.

...

1

œ œœ œ

œœ œ

↑G/E G

2

œ œœ œ

˙

G/E G

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œœ œ œ

œœ

œ

œ œ œ œœ

œ œ œœ œ œ

œœ

˙

G/D

œ œ œœ

œ

œ œ œœ

G

&

#

.

.œ œœ

œ

œ œ

œ

.

.

œ

œ

J

œ

œ

œœ œ

œ

D

œ œœ œ

œœ œ

↑G

œœœœ

œœ

œ œ œœ

œ œœœœ

œœ

œœ œ œ

œœ œœ

œœ

œœ

œœ œ œ

œ œ

1

œœ œ

œ˙

˙

G/E G

G/E G D G

Fort Smith As played by Cotton Combs in Parkin’ Lot Jammin’ (Gillian Recording Studio, c. 1970s); time: 2/2; key: G; scale: major (some unstable 7th, high 4th); pattern: AABACCAACCADDAADDA (A=8,B=8,C=4,D=8); tuning: standard

A

B

C V1

*To B, C or D

To A

To A

Cou

rtes

y of

the

Oza

rk F

olk

Cen

ter

Track #1

23

œ ˙

&

#

.

.

2

œœ œ

œœ

œ

œ

œ

œ

↑G/E G

œ œ œœ

œ œ œœ

œ œ œœ œ œ

œ

œ œ œœ

œ œ œœ

œ œ œœ

œ

D

œ œ œœ

œ

œ œ

G

œœ œ œ

œ œ œ œ

&

#

.

.

œ œ↓

œ œ œœ œ

œ

D1

œ œœ œ

œ

œ

G2

œ œ œ œ œœ œ œ

D

œ œ œœ

œœ œ

↑G

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

bb

œœ

œœ

œœ

œœ

œœ

œœ

G

&

#

œœ

œœ

œœ

œœ

œ

œ

œ

œ

↑

œ œ œ œ ˙

G/E G

œ œ œœ œ

œ œ œ œ œ œœ

.

.œœ j

œ

G/E G

œ œ œ œ œ œœ œ

œœ œ ˙

˙

u

œ œœ

œ œ œœ

œ

D

Introduction

Ending from * Variation V1

To A

To A

This popular Ozarks fiddle tune was named after the western Arkansas town of Fort Smith. Combs’s version is unusual in that it appears tohave four parts. Southern Missouri fiddlers Bob Holt (Rounder CD 0432), H.K. Silvey (Rounder CD 82161-0437-2), and Lonnie Robertson playthe tune with two parts similar to Combs’s parts A and D. Combs combines his four parts in various ways, and his understanding of the parts break-down is not easy to determine. Notice in the pattern breakdown outlined above that he only plays the B part once near the beginning, and that healways returns to the A part after playing any of the other parts. In the second half of the tune he appears to settle into playing AADD, which wouldcorrespond to the versions by Holt and Silvey. A tune with generally similar melodic patterns is “Ft. Smith Breakdown” (in this book). Thede (p.104) suggests the melody to “Fort Smith” might have links to an early cavalry division of the U.S. Army stationed at Fort Smith, or alternately to aSwedish tune renamed “Fort Smith” by an immigrant Fort Smith musician named Bottefur. Bill McNeil says the tune is also known as “Rabbit inthe Grass” (Bittersweet, Vol. 9, no. 3, Spring 1982). Similar tunes include “Coming Up the Pike” (in the book) and “Old Buzzard” (Titon, p. 141).Kentucky fiddler Owen “Snake” Chapman (Rounder CD 0418) plays a similar tune called “Nubbin Ridge.” Charlie Walden lists “Old Fort Smith"on his list of “One Hundred Essential Missouri Fiddle Tunes." Other musical transcriptions are in Brody (p. 111), Christeson 2 (p. 75), Harrison (p.263, two versions), Phillips 1 (p. 91), and Thede (p. 104). Meade (p. 784) links Doc Roberts’ similar-sounding “Old Buzzard” to “Big-EyedRabbit.”

&C .

.

h»122

œ œ# œœ

œœ

œ œœ œ

C˙˙

œœ œœ œœ

œ

C7

œ œ œ

œ œ œœ

F

.˙œ œ#

Cœ

œœ

œ

œ œœ œ ˙

˙œœ œœ œœ

œ

œ œ œ# œ œ œ

D.

.

˙

˙

œ œ#

G

&

œ œ œœ

œ œœ œ

C˙˙

œœ œœ œœ

œ

C7

œ œ œ

œ œ œœ

F

.˙œ œ

C

œœ

œœ

œ œœ œ

F

œœ œ .œ

J

œ

C A

œ œœ

œ œ œœ œ

D G

œœ ˙

œ

œ

C

&

œ

œ

.

.

œ

œ

J

œ

œ

œ

œ

œœ

œ

œ

.

.

œ

œ

j

œ

C7

œ

œ

œ

œ

œœ

œœ

œ

œ

œœ

F

.

.˙

˙

œ

œ

œ

œ

Cœ

œ

.

.

œ

œ

J

œ

œ

œ

œ

œœ

œ

œ

.

.

œ

œ

j

œ

œ œ

œ

œ

œ

# œ

œ

œ

œ

œ

œ

D.

.

˙

˙

œœG

&

œ.œ

J

œ œ

C

œœ œ

œ ..

œœ

J

œœ

œœ

.

.

œ

œ

J

œ

œ

œ

œ

F

.

.˙˙

œ œ

C

œ œ œœ

œ œœ

œ

œ

F

œœ œ .œ

J

œ

C A

œ œœ

œ œ œœ œ

D G

œœ ˙

œ œ

C

&

œœ

œ œ

œ

œœ œ œ( )

œœ œ

œ œ œœ

œ

œ œ œœ œ œ œ

œ

F

˙ œ œ

œœ

↓C

œ œ

↓

œ œ

œ

œœ œ œ œ

œ œœ œ œ

œœ .œ

j

œœ#

œ œ œ

D

.˙ œ œ

G

&

.

.œ œ œ

œ œœ œ œ

œ œ œœ œ

œ œ œb œ œ œ œœ œ

F

œœ ˙ œ

œ

œ

C

œœ œ

.œ

J

œ

Fœ

œ œ œ œœœ œœ

C Aœœ œ œ

œ

œ

œ

œ

D G

.˙œ œ#

C

&

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œb

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

C

œ

œ

œ

œ

œ

œ

œ

œ

œ œ#

œœ

Œ ˙

˙

u

C

.

.˙˙

œœ

œœ

œœ

œœ

.

.œœ

j

œ œœ

œ œœ

œœ

œ

I Don’t Love Nobody As played by Cotton Combs in My Fiddle and I (Rooster Records RLP-001, c. 1970s); time: 2/2; key: C; scale: major (some unstable 7th, high 4th); pattern: ABCA(first half)B(second half)A(first half)B(second half)CB (all 16); tuning: standard

A

B

C

Introduction Ending from *Variation V1

*

V1

This tune is derived from a ragtime song by the same title copyrighted in 1896 by Lew Sully, but Sully might have reworked an older song.The song, originally with inflammatory lyrics and published with Sully pictured in black face, was popular among fiddle bands throughout theSouth in the 1930s.

24

Words for the song typically include the chorus, “I don't want to get married, always want to be free; I don't love nobody, nobody loves me;All they want is my money, they don't care for me; I don't want to get married, I just want to be free.” Ozarks fiddler Art Galbraith also recorded it(Rounder 0133) and he wrote that he had heard many fiddlers play the tune. Other musical transcriptions are in Brody (p. 139), Christeson 1 (p.179, “Piece”), Phillips 2 (p. 67), Randolph IV (p. 298, “I Love a Nobody”), and Randolph/Cohen (p. 384). Meade (p. 485) lists 18 early commer-cial recordings, the earliest being by Gid Tanner (1924); others include the Dixie String Band (1924) and Earl Johnson (1927).

& 4

3

q»98

j

œ œ

œœ

.œ j

œ

œ

œ

œ

œ

C

˙˙#

œ

œ

œ

œ

↑E

.

.œœ j

œ

œ

œ

œ

œ

F

˙˙

3

œ œ œ

C

œ

œ œ

œ

œ

œ

F

œ

œ

œ

œ

œ

œ œ

3

œ œ œ

G

.

.œœ

j

œ

3

œœ

œ

C˙

œ

œ

œ

G

&

.

.

œ

œ

j

œ

œ

œ

œ

œ

C

˙˙#

œ

œ

œ

œ

↑E

.

.œœ j

œ

œ

œ

œ

œ

F

˙˙

3

œ œ œ

C

œ

œ

œ

œ

œ

œ

œ

F

œ

œ

œ

œ

œ œ

œ œ œœ

G

˙˙

3

œ

œ

œœ

œ

œ

b

C

œ

œbœœ œ

œ

C7

&

.

.œœ

j

œ

œ#

↓

œœ

œ

œ

↓F

˙˙

3

œœ

œœ

bb œ

œ

G

.

.

œ

œ

j

œ

œ#

3

œ

œ

œ

œ œn

C

œœœ

œœ

œœ

b

Am

œœ

#œœ

œ

œœ

œ

D

œ

œ#

œ

œ

œ

œ

b

n

œ

œ

.

.

œ

œ

j

œœ

3

œ

œ

œœ

œœ

bb

G

œœ œ# œ

œ

œ

G7

&

.

.

œ

œ

j

œ

3

œ

œ

œ œ

œ#

C

˙˙#

œ

œ

œ

œ

↑E

.

.œœ j

œ

œ

œ

œ

œ

F

˙˙

3

œ œ œ

C

œ œ

œ

œ

œ

œ œ

œ

œ

F

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

G

.

.œœ

j

œœ

œœ

œœ

C

˙˙

œ

œœ

&

.

.œœ j

œ

3

œœ

œ

œ#

œœ

#

C˙˙

#

3

œœ

œ

œ#

œœ

E.

.

œ

œj

œ

3

œ

œ

œœ

œ

F

˙˙

œ œ#

Cœ

œ œ

œ

œ

œ

Fœ

œ œ

œ

œ

Gj

œ

j

œ.œ

J

œ

3

œ

œ œ

C

˙

3

œœ

œœ

œœ

##

G7

&

.

.œœ j

œ

3

œœ

œ

œ#

œœ

#

C˙˙

#

3

œœ

œ

œ#

œœ

E.

.

œ

œj

œ

3

œ

œ

œœ

œ

F

˙˙

œ œ#

Cœ

œ œ

œ

œ

œ

Fœ

œ œ#

œ

œn

œ

œ

G

.

.

œ

œ

j

œ

œ

œ

œ

œb

C

˙

˙

b œ

œ

C7

&

.

.

œ

œ

J

œ

œ

# œ

œ

œ

F˙

˙

3

œ œ# œn

G..

œœ

J

œ

œœœ œ

œ

C˙˙

œœ

Am..

œœ

#

J

œ

œ#

œœ

œ

œ

n

Dœœ

œ

œ

3

œœ

œœ œœ

.

.

œ

œ

j

œœ

3

œ

œ

œœ œ

œ#

#

G

œœ œ#

3

œ

œ

œ

œœ

G7

&

.

.œœ j

œ

3

œœ

œ

œ#

œœ

#

C˙˙

#

3

œœ œ

œ#

œœ

E˙

˙

3

œ

œ œ œ

œ

F

˙

˙œ œ#

C

œ œ

œ

œ

œ

œ œ œ#

F

œœ

œœ

œœ œ

œ

G

˙

˙

œ

œ œ œ œ

C

˙

œ

œ

œœ

G7

&œ

œ

œ

œœ œ

œœ

œ

œ

œ

.

.

œ

œ

J

œ

œ

œœ

U

.

.

˙

˙

u

.œ

j

œ

3

œœ

œ

C

˙˙#

œ œb

E

.œ

j

œ

œ

œ

F

œœ œ# œn

œ

G

.œJ

œ

3

œœ

œ

C

Razorback Waltz

A

B

Ending from *

*

Alt. A

Alt. B

(G)

(G)

(C) (C)

(G) *

To A

Variations V1 V2

V1 V2

As played by Cotton Combs (Gordon McCann Collection, field recording); recorded 2/24/79 or 2/25/79; time: 3/4; key: C; scale: major (w/chromatics); pattern: AABB (8,8,8,8); tuning: standard

Cotton Combs is credited by some as the composer of “Razorback Waltz,” but I have heard that different tunes are sometimes given that title.In any case, Combs clearly brings his personal touch and extraordinary chording skills to this version of the tune. It resembles “Roxanna Waltz”written by bluegrass legend Bill Monroe and popularized by his fiddler Kenny Baker (compare versions of “Roxanna Waltz” in Brody, p. 237, andPhillips 2, p. 303). The A part of “Razorback Waltz” is somewhat similar to the B part of the well-known “Tennessee Waltz,” and the basic chordstructure of the tune as a whole is reminiscent of old-standbys such as “Little Old Log Cabin in the Lane.” This transcription is from a recordingwith an unknown second fiddler playing harmony, making it difficult at times to know the precise notes played by Combs.

Track #2

25

&

#

C

h»108

œ

œ

˙

˙

œ

œ

œ

œ

G

˙ œ œ .˙

œ

œ

C

œ˙

œœ

˙

œœ

G

˙ œ œ# œ ˙˙ œœ œ œ œ

D

˙˙ Œ

œ

œ

˙

˙œ œb œ

G

˙ œ œ

.

.˙

˙

œ

œ

œ

œ

C

œ

œ

.

.œ

œ

j

œ

œ

œ

œ

œ

œb

Am

&

#

˙

˙

œœ

G

˙

œ œ œ

D

˙

˙

œ

œ#

œ

œ

œ

œ

G

˙

˙

œ

œœœ#

˙˙ œ

œ#

œœ

C

˙˙

œœ

↓œœ

.

.˙

˙

œ

œ

G

œ

.œ

J

œœ ˙˙ œ œ

A

˙˙#

œ œ œ ˙ œ œœ

œ

D

˙

œ œ

&

#

œœ œ

3

œœ

œ œ

G

˙ œ œ .˙

œ

œ

C

œ˙

œœ

Am

˙

œœ

G

˙

œ œ œ

D

.˙ œ œ

G

˙‰

J

œ œ

œ œœ

œ œ œœ

œ œ

↑G

œœ

œ œœ œ

œœ

œb œ .œ

J

œ

C

&

#

œb

↑

œœ

œ‰

j

œŒ

œœ

œ

œœ

œ œœ

Gœ

œ œ œœ

œœ

œ

œœ

œ

œ œ

œ

œ œ

D

œœ

œ

œ œ#œ

œ

œœ

œ œ ˙

G

œ œœ œ œ

œ œ œœb œ .œ

J

œ

C

&

#

œbœ

œœ

‰

j

œŒ

œœ

œ

œœ

œ œœ

Gœ

œ œ œœ

œœ

œ

D

œ œ œ

œœ

œ

G

˙

œ

œœœ# ˙ œ œ

Dœ

œ œ

œ œ œ œœ

G

œœ œ œ

˙

˙

u

D G

Maggie As played by Cotton Combs in My Fiddle and I (Rooster Records RLP-001, c. 1970s); time: 2/2; key: G; scale: major (some unstable 7th, high 4th); pattern: ABCBABCB with much variation (all 16); tuning: standard

A

B

C

To B Ending from *

*

This popular song, with the fuller title “When You and I Were Young, Maggie,” was written by James Austin Butterfield (1837-1891) and lyri-cist George Washington Johnson in memory of Maggie Clark of Glanford, Ontario, who died in 1865 of tuberculosis. Fiddler’s Companion pointsout that it became popular both in the U.S. and in Great Britain, and that in Ireland it was sometimes called “Nora.” The song, which recalls thepleasant days when the singer and Maggie were young, circulated widely in oral tradition both as a song and a fiddle tune. Combs uses the melodyto improvise various jazz-type licks commonly associated with Texas-style fiddle music. A copy of the original 1866 sheet music is in Jackson (p.238), and the music and lyrics are included in a number of popular song collections (e.g. Boni, p. 183). Other musical transcriptions are in Brody(p. 139) and Phillips 2 (p. 67). Meade (p. 287) lists ten early commercial recordings, the earliest being by Fiddlin’ John Carson (1923); othersinclude Riley Puckett (1924), and McMichen’s Melody Men (1927).

&

#

4

3 ..

q»120

œ

œ

˙˙

œœ

G

˙˙

œ

œ˙˙

œœ

œ

œ˙˙ œ

œ

.

.œœ

j

œ

œ

œœ

œœ

˙˙ œ

œ#

#˙˙

œœ œ

œ#

D

˙˙

œ.

.

œ

œ

j

œœ

œ .œ

3

œ œ œœ

œ œ œ

&

#3

œ œœœ

.

.œœ

j

œœ ..

œœ

j

œ œ œ œœ

œ œ œœ œ œ# œn ˙

˙

œ

œ

œ

œ

G

œ

œ

Œ œ

œ

˙˙

œœ

.

.œœ

j

œœ

œ

œ

œ

œ

b

b

˙

˙

œ

œ

œ

œ

&

#

˙

˙

œ

œ

.

.œœ

j

œ

œœ

œœ

˙˙ œ

œ#

#˙˙

œœ œ

œ#

D

.

.œœ

j

œ

œ.

.

œ

œ

j

œœ

œ .œ

3

œ œ œj

œ œœ œ œ

œ

œ

.

.œœ

œœ œ œ œ

&

#

.œ

j

œ œ œ œœ

œ œ œœ œ

œ œœ

j

œ

j

œ˙ œ œ

G

˙

3

œ œ

↑œ

œ

Œ

3

œœ

œ

Gœ

Œ

3

œœ

œ œ

‰ J

œ œ

˙

œ

œ

.

.œœ

J

œ

œœœ œ

œ

&

#

˙

˙

œ

œ#

˙˙

œœ

œœ

D

˙˙

3

œ œ œ

œ

Œ

3

œ œ œ

œ œ

Œ

3

œ œ œœ œ œ .œ

J

œ œ œ œ œ .œ

J

œ# œ œ œ œ# œn

œ

˙

˙

œ

œ

œ

œ

G

&

#

˙

˙

3

œ œ

↑œ

œ

Œ

3

œ

œ

œ

œ œ

Œ

3

œ

œ

œœ œ œ œ

˙

œ

.

.œœ

J

œ

œœœ œ

œ˙

˙

œ

œ#

˙˙

œœ

œœ

D

˙˙

3

œ œ œ

œ

Œ

3

œœ

œ

&

#

.

.

œ

Œ

3

œ œ œœ œ œ .œ

J

œ œ œ œ œ

3

œ œ

↑œ œ œ# œ œ œ

œ œœ

3

œ œ œ .œ

j

œ

G

˙

œ

œœ œ

œ œ

œ

G.

.

˙

˙

U

Wesphalia Waltz As played by Cotton Combs in Parkin’ Lot Jammin’ (Gillian Recording Studio, c. 1978); time: 3/4; key: G; scale: major (some high 4th); pattern: AB (32,32); tuning: standard

A

B

Ending from *

*

26

Gordon McCann says Cotton Combs called this tune “West Sedalia Waltz” (Sedalia is a small city in central Missouri), and points out thatmany fiddlers occasionally changed the titles of tunes slightly either because they did not understand the words correctly or so they could connecttitles to something familiar. “Wesphalia Waltz” is played throughout the United States and Canada, and likely gained much of its popularity in theOzarks through the fiddle contests (which Cotton Combs often entered). Its high standing in the Ozarks is such that some fiddlers believe it is anOzarks tune (e.g. Lonnie Robertson included it on his album Fiddle Tunes Ozark Style). Charlie Walden lists “Westphalia Waltz" on his list of “OneHundred Essential Missouri Fiddle Tunes." The tune is widely thought to be written as an unnamed waltz (and later named after Westphalia, Texas)in 1946 by Cotton Collins, the fiddler for the Texas band Lone Star Playboys. According to Fiddler’s Companion, however, some fiddle researcherssuch as Sara Lee Johnson argue the waltz is likely connected to the Polish song "Pytala Sie Pani" (“What the Woman Said”). Paul Wells (p. 24)points to evidence the tune was written by Vince Icadona, who performed in the 1930s with the Dallas band, the Crystal Springs Ramblers. Othermusical transcriptions are in Brody (p. 289), Perlman (p. 169), Phillips 2 (p. 324), Silberberg (p. 167), Wells (p. 24), and on Charlie Walden’s web-site http://www.missourifiddling.com/Music/Westphalia1.htm.

Lyman Enloe

Lyman Enloe (1906-1997) was born and raised on a farmbetween Jefferson City and Eldon, Missouri, in a region sometimescalled “the upper Ozarks.” He starting playing rhythm guitar forhis brother, his uncle “Pink” Enloe, and his father, Elijah “Lige”Enloe, who often played fiddle in a “smooth” style for dances inCole County. Lige passed away when Lyman was in his upperteens, and Lyman began working at a shoe factory in JeffersonCity. In his free time, he would occasionally play backup guitar forwell-known Jefferson City fiddler Tony Gilmore. In 1925 Enloemarried Myrtle Howser, and the couple eventually had sevendaughters and two sons. In 1928, when he was 22, he decided totry to learn to play the fiddle, using an old small-sized one hisfather had left him. His wife jokingly asked him to play outside sono one would think she was screaming. Two years later he wasplaying regularly at radio station WOS (now KWOS) in JeffersonCity. He began entering fiddle contests, and won some of them (notrophies then, just five or ten dollars). In the mid 1930s, the familymoved to the country and farmed, mainly dairy farming, for tenyears. Enloe says his fiddle saved them from going hungry a fewtimes during the Depression, when he earned much-needed dollarsplaying for square dances. In 1947, they moved to Kansas City to

start a painting and decorating business, and they remained in the Kansas City area for the rest of their lives.He rarely played fiddle during the years he was working. In 1966, Enloe began to meet other musicians at themonthly meetings of the Old Fiddlers Association of Kansas City, and before long a bluegrass group called theBluegrass Association was formed. The group played its first bluegrass festival at Dixon, Missouri, in 1971,and stayed together for 13 years. The band members kept their day jobs, and traveled on weekends to perform.Through his years with the group, Enloe became friends with top bluegrass fiddlers such as Kenny Baker andBryon Berline. He never played much fiddle backup for songs, preferring instead to intersperse his old-timefiddle tunes between bluegrass songs. Enloe played on several albums, and his most famous one, with theother members of the Bluegrass Association backing him up, was Fiddle Tunes I Recall (Cavern CustomRecording 41038, 1973; reissued on County CD-2707, 1993). In the 1980s he won numerous awards from theSociety for the Preservation of Bluegrass Music in America (SPGMA). Known as a smooth fiddler with astrong repertoire of Ozarks and mid-Missouri tunes, he continued to attend jam sessions and bluegrass festi-vals into the 1990s. [See Nancy Cardwell’s article and Bill Shull’s book for more information about LymanEnloe.]

Cou

rtes

y of

Gor

don

McC

ann

27

&

#

#

#

C ..

h»140

3

œœ

œœ œœ œœ œ

œ

œœ

œ

œ œ

A

3

œœ

œœ œœ œœ œœ ..œœ

J

œœ œœ

œœ

œ

œ œœ

œ œ œ œ œœ

œ

œ

œœ

œœ

E

œœ œœ

œ

œœ

œ

œ œ

A

&

#

#

#

.

...

3

œœ

œœ œœ œœ œœ ..œœ

J

œ

œœ œ

œ

œœ œ œ œ

œœ

1œ

œ

œ

œ

œœ

œ

œ

3

œœ

œœ œœ

E A2œ

œ

œ

œ

œœ

œ

œ

3

œ œ œ

E Aœ œ

œ œ

œœ

&

#

#

# œ œ œ œœ

œ œ œœ œ œ œ œ œ

œ œ

œ œ œ œœ

œ

œ

Eœ œ œ

œœ

A

œ œ œ œœ

œ œ œ œ œœ

œ

œ

œ

œ œœ

œ

&

#

#

#

.

.

1œ

œ

œ

œ

œœ

œ

œ

3

œ œ œ

E A2

D.C.

œ

œ

œ

œ

œœ

œ

œ

3

œ

œ

œœ

œœ

E A

œœ

œœ œ

œœ

E Aœ œ œ

œ œn œ œ œ œœ

œ

œ

œœ

˙

˙

u

E A

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ

J

œ

œ

F#m

Back in ’89 As played by Lyman Enloe in Fiddle Tunes I Recall (County CD-2707, 1993); recorded c. 1973; time: 2/2; key: A; scale: major; pattern: AABB (8,8,8,8); tuning: standard

A

B*

Ending from *Variation V1

V1

V1

In the album notes, Enloe states he learned this tune as a young boy from his Uncle “Pink” Enloe, but Bill Shull recalls he also called it one ofhis father’s old tunes. Shull believes Enloe did not have a name for the tune, and that in the 1930s a radio announcer named “Captain Jack” Hineyof WOS gave it the title. The tune appears to be related to a family of tunes under titles such as “Sweet Ellen” (Bayard, p. 202), “Village Hornpipe”(Ford, p. 101), “Last of Callahan” (Thede, p. 49), and “Old Dubuque” (Christeson 1, p. 65). All of these other tunes, however, are typically playedin D instead of A, so the connection is tenuous. The B part is reminiscent of Lonnie Robertson’s tunes “Taney County Breakdown” (B part) and “A& E Rag” (A part) (both in this book). Another musical transcription of Enloe’s “Back in ‘89” is in Shull (p. 9).

&

#

C ..

h»126

œ

œ

œ

œœn œ œ œ

œœœ

G

œ œœ œ œ œœ

œœ œ

œœn œ œœ

œœ

œœ

œ œ œ œ œ œœ

œ

œ

D

œœ œ œœ

œœ

œœ

œœ

G

&

#

.

...œ œ œ œ

œœ

œ

œ

œ œ œ œœ œ œ

D1

œœ œ

œ

œ œ

œ

œ

G2

œ

œœ

œn

↑

œ

œ

D Gœ

œ œ œ œ œ œ œ œœ œ œ œ

œ œ

œ

&

#

.

.

œœ œ œ œ œ œ œ

Dœ

œ œ œ œœ

œœ

Gœ œ œ .œ

J

œ

Gœ œ œ

œ œ œœ œ œ œ œ œ œ

œ œœ œ

œ œ œ œœ

œœ

D G

&

# œ œ œ œ œœ œ œ

œœ œ œ

œ œ œ œ œ œ œ œ œœ œ

œ

DD.C.

œœ œ œ œ

œ œ

G

œœ}

œ

œœ œ

.œ

œ

G

œœ œ œ

œ

œ

Œ

&

#

œœ

œœ

œœ

œœ

œœ

Œ

œœ

œ

œ

Œ

D G

œ

œ

Œ œ

œ

Œ œ

œ

Œ Ó

œœn œ

œœ œœ

œœ

œœ

œœ

œ œ œ œ œ œœ

œœ œ œ

œ œ œœ

œ

Brickyard Joe As played by Lyman Enloe (Gordon McCann Collection, field recording); recorded 10/17/87; time: 2/2; key: G; scale: major (some low7th); pattern: AABBAAC (A=8,B=4,C=8); tuning: standard

A

B

C

Ending from *

*

Variation V1

V1

To A or C

To A

V1 V2

V1 V2

Enloe, who learned this tune from Jefferson City native Tony Gilmore, calls it a “straight, old, hoedown and square dance tune” (County CD-2707). He said his rendition was also influenced by a 78 rpm recording, but he cannot recall the performer (perhaps it was Fiddlin’ Doc Robertslisted below). The tune has also been recorded in Kentucky, and Titon (p. 50) points to similarities to the tune “Martha Campbell.” AnotherMissouri tune, played in the key of D, with a similar A part is called “The Dead Slave” (Christeson 2, p. 56). Central Missouri fiddler PeteMcMahan plays a tune called “Fiddler’s Hoedown” (CD VRCD 366) which has a B part that is similar to the A part of “Brickyard Joe.” Texas fid-dler Captain McKinney recorded the tune in 1929 for Okeh Records. Charlie Walden lists “Brickyard Joe" on his list of “One Hundred EssentialMissouri Fiddle Tunes." You can also hear Enloe playing “Brickyard Joe” on his Fiddle Tunes I Recall CD. Other musical transcriptions are inBrody (p. 56), Christeson 1 (p. 89), Phillips 1 (p. 36), and Titon (p. 50). Meade (p. 799) lists one early commercial recording by Fiddlin’ DocRoberts (1928), and references 12 other performances, all from Kentucky.

28

&

#

# C ..

h»136 3

œ

œ

œ

œ

œ

œ

↓

œ

œœ œ œ

œ

œ

œ

D

œœ

œœ

œœ

œœ

œ

œ

œ

œ

œ

œ

œœ œ œ

œ

œ œ œ œœ œœ œœ œ

œ

œ

œ

A

œ

œ

œœ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

#.

.

œ

œ

j

œ

œ

&

#

# œ

œ

œ

œ

œœ œ œ

œœ œ

œœœ

œœ

œœ

œ

œ

œ

œ

Dœ

œ

œœ œ œ

œœœ œœ œ œ œ œ œ

œœ

œ

œ

œ

œ

œ

œ

œ

œœ

œœœœ

œœ

œœ

˙˙

G

&

#

# ..

3

œœ

œœ œœ œœ œœ ..œœ

J

œœ

Aœœ

.

.œœ

J

œ œœ

œ

œ œ

œœ# œ œ

œœ

œœ

˙˙

3

œ

œ

œ

œ

œ

œ

Dœ

œ

œœ œ

œ

œœœ

œ œ œœ

œ œ

&

#

# œœœ œ

œ

œœ œ

œ..

œœ

J

œœ œœ œ

A

œ

.

.

œ

œ

J

œ

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ J

œ œ œ œœ œ

œœ

œ œ œ œœ

œ œ

Dœ

œœ œ

œ

œ

&

#

#

œœ

œ œ œœ

œ œ œ œ œ œœ œ

w

w

Gœœ

œœ œœ œœ ..œœ

J

œœ

Aœœ

.

.œœ

J

œœ

œ

œ

œ

œ

œœ# œ œ

œœ

D.C.œœ

˙˙

œœ

Dœ

œ œ œœ

˙

˙

u

D

Chinese Breakdown As played by Lyman Enloe in Fiddle Tunes I Recall (County CD-2707, 1993); recorded c. 1973; time: 2/2; key: D; scale: major (some high 4th); pattern: AAB (16,16,16); tuning: standard

A

B

Ending from *

*

Enloe learned this tune from one of his father’s friends named Lee Carpenter of Eldon, Missouri. “Chinese Breakdown” is played throughoutthe U.S. and parts of Canada, and some fiddlers prefer playing it in C. The tune’s origin is unclear. In a Fiddle-L discussion Joel Shimberg said hehad heard that Fred Roe of the Walker Mt. String Band had composed it. A similar melody is played as the theme for the “Looney Tunes” televisioncartoon show. Other musical transcriptions are in Brody (p. 67), Phillips 1 (p. 49), and Silberberg (p. 21). Meade (p. 871) lists 19 early commercialrecordings, the earliest being by the Dixie String Band (1925); others include the Scottsdale String Band (1927) and Clayton McMichen, et al(1929).

&

#

#

#

C ..

h»138

3

œ

œ

œ œ œ œ œ œ

œœ

œ

œ

A

œ œœœœ œ œ

œ

œ œ

↓D A

œ œ

↓œ œ œ

œ œ œ œœ

œ

œ

œ œœ

œ

œœ↓

Eœ œ œ œ

œœ

œ

œ

A

œ œ œœ œ

œ

œ œ↓

D A

&

#

#

#

.

...

œ œ

↓œ œ œ

œ œ œ

1œœ

œ

œ

œ œœ

œ

3

œ œ œ

E A2œœ

œ

œ

œ œ˙

˙

E A

œ

œ

œ

œ

œ

œ

œ œ œ

œ

œ œn œ

œ

œ

œ

œ

œ œ œ œ œ

D

œ œ œ

œ

œ

↓

œ œ

œ

œ œ↓

E

&

#

#

#

.

.

œ

œ œ œ œ œœ

A

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ œ

œ

œ

œ

œ

œ

œ

œ œ œ œ œ

D

œ œ œ

œ

œ

↓

œ œ œ œ↓

E1

œœ œ

œœ

œœ

œ

n

b

œ

œ

#

n

A2 œ

˙

˙

3

œ

œ

œœ

œœ

E A

&

#

#

#

.

. œœ œœ œ œ

œœ

↓œ œ

œ

œ

œ

œ œ

œ

œ

œœ

œ

œœ

œœ

œœœ

œœ œ

D A

œ

œ

œ

œ œ œ œ œ œœ

E

œ œ œ œ œ œ œ

A

œ

œ

œ

œ œ œœ

œ

œ

œœœ œ

œœ œ

œœ

œœ œ

D A

&

#

#

#

.

.

1œ

œ

œ

œ œœ

œ

œ

3

œ

œ

œœ

œœ

E A2

D.C.

œ

œ

œ

œ œœ

œ

œ

œ

œ

3

œ œ œ

E Aœ

↓

œ œ œ

↓˙

u

E A

œœ

œ

œ

œ

œ

œœ

3

œ

œ

œœ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

↑

œ œ œ

œ

Coming Through the Rye As played by Lyman Enloe in Fiddle Tunes I Recall (County CD-2707, 1993); recorded c. 1973; time: 2/2; key: A; scale: major (some low 7th); pattern: AABBCC (8,8,8,8,8,8); tuning: standard

A

B

C

Ending from *

V1

Variations V1 V2

V2

*

Enloe learned this tune also from Tony Gilmore of Jefferson City, Missouri, in the 1920s. It is not the tune usually associated with the title“Coming Through the Rye.” Enloe’s tune as a whole resembles the three-part tune “Billy Martin,” and its relative “Ace of Spades.” To my ears, theA part is similar to “Cripple Creek,” the B part is in the “Little Brown Jug” family of tunes, and the C part is similar to “Temperance Reel.” Theliner notes on Enloe’s recording also suggest a similarity to “Stony Fork” as played by West Virginia fiddler Ellis Hall. Usually the title “ComingThrough the Rye” is associated with a song written or adapted by the Scottish poet Robert Burns titled “Comin’ Thro’ the Rye, Poor Body,” withthe chorus: “O, Jenny’s a’ weet, poor body; Jenny’s seldom dry; She draigl’t a’ her petticoatie; Coming thro’ the rye.” More well-known lyricsinclude, "Gin a body meet a body comin' through the rye, Gin a body kiss a body, need a body cry?" The song was published in the Scots MusicalMuseum, 1796, no. 417, and the tune has been identified as “The Miller’s Wedding” (see Dick, p. 140, 406). The tune was earlier published byRobert Bremner (c. 1760s), who is credited as the composer. Throughout the 20th century the song was recorded by various jazz, folk, and countryartists. As a fiddle tune, “Coming Through the Rye” is usually similar to the Robert Burns song, and is often played as reel-waltz combinationcalled “The Rye Waltz” (see Ford, p. 137, with parody of lyrics on p. 443). The connection of Enloe’s tune to the ones associated with the Burnssong is unclear, but the tune might have changed slowly through the centuries as it made its way to the Ozarks.

29

&

#

4

3 ..

q»118

3

œ œ œ# œ‰

J

œ œ# œ

Gœ œ# .œn

J

œ œ

3

œ œ œœ

œ

C D

˙

˙

œ

œ

œ

G

˙ œ# œ œ .œ

j

œ

œn˙˙

œœ

œœ

D

&

#

œœ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

˙˙

œœ

œœ

G

œœ

œ

œœœ œ œ œ

œ

œ

œ

œ

˙

˙

C

.

.

˙

˙

˙

˙

œ œ

D

œœ# œ œ œ œ

œœ

˙ œ œ

G

&

#

.

.˙œ œ œ

.

.

œ

œ J

œ ˙

˙Œ Œ

.

.

œ

œ J

œ.

.

œ

œ

J

œ

œ

œ

œ

œ

œ

œœ œ

œ œ œ œ

Cœ

.œ

J

œ

œ

.

.

œ

œ J

œ œ œ

D

&

# œ œ

↑œ œ œ

.

.

œ

œ J

œ œ œ

Gœ œ œ

..œœ

J

œ#

↓œ œ

Cœ œ œ

↑œ œ

Am

.

.

œ

œJ

œ œ œ

D

œœ# œ œ œ œ

œœ

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

G

&

# D.C.

œ

œ

Œ œœ

œ

↑

.˙

G

j

œ

œœ œ

Œ Œ˙˙ œ

œ#

#

œœ

œ

œ

.

.œœ

J

œ ˙

˙

œ

œ

œ

œ

œ

œ

œ

œœ

œ

˙˙

3

œœ

œ

œ

œ

œ

œ

œn

˙

˙

˙

˙

œ

œ

œ

œ

Forgotten Waltz

A

B

Ending from *

*

Variations V1 V2 V3

V1 V2

V3

As played by Lyman Enloe in Now That’s a Good Tune (Grey Eagle Records; University of Missouri Cultural Heritage Center, 1991); recorded 12/27/87; time: 3/4; key: G; scale: major (some high 4th, low 7th); pattern: AAB (16,16,16), often AB; tuning: standard

When Lyman Enloe had the measles as a 17-year-old, Lee Carpenter of Eldon came over to visit with Lyman’s father Lige Enloe, and eventu-ally the two adults got around to playing fiddle tunes. Lyman learned this waltz while listening from his sickbed. Other musical transcriptions are inPhillip 2 (p. 255) and Shull (p. 31, Enloe’s version). See the liner notes for the LP Now That’s a Good Tune and Fiddler’s Companion for moreinformation.

&

#

C ..

.

.

h»136

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ œœœ

G

œ œœœ œœ

œœ

œœ œœ

œœ

œ œœ œ œ

œœ

1, 2, 3

œ œœœ œ

↓

œœ œ

↓

œ

D G4

œ œœœ

œœ

œ œ

D G

&

#

.

.

œ œ œ œœ œ

œœ

œ

œ

œ

œ œœ

œ œ œ œ œ œ œ œœ œ œ œ

œœœ œ

↓

œœ

œ œ

D Gœ œ œ œ œ

œ œ

œœ œ

œ

œ

œœ

↓..

œ

œ

J

œ

œ

&

#

.

.

œ

œ

œ œœ œ œ

œ

1

œ œœœ œ

↓

˙˙

D G2

D.C.

œ œœœ œ

↓

œ œ œ

D G

œ œœœ

œœ

œ

D Gœ œ œ

œ œœ

œ œœ

œ œœ

↓

˙˙

u

D G

Old Judge Parker As played by Lyman Enloe in Fiddle Tunes I Recall (County CD-2707, 1993); recorded c. 1973; time: 2/2; key: G; scale: major (some low 2nd, 3rd, 7th); pattern: AABB (4,4,8,8); tuning: standard

A

B

Ending from *

*

Enloe said his rendering of this tune includes elements from several versions he heard. Also called “Take the Shackles Off” and “Take YourShackles Off of Me,” the tune is named after Isaac Charles Parker, the “hanging judge” of Fort Smith, Arkansas, who purportedly sentenced 164men to be hung between 1875 and 1896. As detailed in Fiddler’s Companion, he presided over a portion of Arkansas and much of the “untamedWest” that later became Oklahoma. Oklahomans Woody Guthrie and Bobby Barnett both sang songs about the famous judge. Another musical tran-scription is in Thede (p. 103).

30

&

#

#

#

C ..

h»138

œ œ

œœ

œ

œ œ œ

œœ

œ

œœ œ œ

œœ

œ œ

œ

œœ

œ

œ œ œ

œ œ œ œœ œ œ œ œ

œœ

œ

œ œ

œ

œ

œœ

œ

œœ œ œ

œœ œ

œ

œœ

œ

œ œ œ

&

#

#

#

.

...

1œ œ œ

œœ

œ

œ

œ

œ

œ

2œ œœ œ

œ œ

œ

œ

œ

œ

œ œ œ œ œ# œ

œ

œ œ œ œœ œœœ œ

œ œ

œœ

œœ œ

œ

œœ

œ œ œ œ œ œ œ

œœ œ œ œ œ# œ

œ

&

#

#

#

.

.

œ œ œ œœ œœ

œœ œ

œœ œ

œ

œœ

œ

œ œ œ

1œ œœ œ

œ œ

œ

œ

œ

œ 2

D.C.

œ œ œœ

œ

œ

œ

œ

œ

œ œ œ œ

œ

œ

3

œ œ œ

œ

3

œ œ œ œ

œ œ œœ

œœ

↓

œ

œ

˙

˙

u

Sleepy-Eyed Joe As played by Lyman Enloe in Fiddle Tunes I Recall (County CD-2707, 1993); recorded c. 1973; time: 2/2; key: A; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

A

B

Ending from **

Enloe does not remember where he learned this tune. He says he is aware that several different tunes have this title. Charlie Walden lists“Sleepy Eyed Joe” as one of his "One Hundred Essential Missouri Fiddle Tunes." The tune is similar to “Sleepy Joe” in Christeson 1 (p. 19). ThisEnloe performance is also transcribed in Phillips 1 (p. 224).

&

#

C

h»124

œ

.œ œ œ œ œ

↓œ œ

G

œ œ œœ

œ œœ

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œ œ

C

œ œ œ œ œ œœ

œ œ œ œ œ œ œ

G

œ œ œœ

œ

œœœ

&

#

.

...

œ œ œ œ œœ œ œ

D1

œ

.

.˙˙

G2

œ˙˙

œ

G

œ œ

↓œ œ œ

œ

œ

œ œ œ œ œ

œ

C

œ œ

j

œ œ œ œ œ œ œ

D

&

#

.

.

œ œ œœ

œœ œ œ œ œ œ œ

œ

œ

G

œ œ œ œ œœ

œ

C

œœ

œ œ œ œ œ œ

œ

DD.C.œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

Gœ

œ

.

.

˙

˙œ œ œ œ œ œ œ

&

#

œ œ œœ

œ œœ

œ œ œ œ œ

↓

œ œ œ

↓C D

œœ œ

œ˙

˙

u

G

œ œ œœ

œœ

œœ

↓

œ

œ œ

↑

œœ

œ

œœ

œ œ œ œ œ œ

Rugged Road

A

B

Ending from **

Variations V1 V2

V1

V3

As played by Lyman Enloe at the University of Chicago Folk Festival, February, 1990 (Gordon McCann Collection, field recording); time: 2/2; key: G; scale: major (some low 6th, 7th); pattern: AABB (8,8,8,8); tuning: standard

V2

V3

On his album titled “Rugged Road,” Enloe appears to list this tune is one of his own compositions, but in the liner notes to Now That’s A GoodTune (p. 56) Walden identifies “Rugged Road” as a tune Enloe learned as a 17 year old from Lee Carpenter. Given the tendency of fiddlers torework existing tunes, perhaps there is an element of truth in both statements. Other musical transcriptions are in Shull (p. 18) and Silberberg (p.134).

Track #3

31

&

#

#

#

C ..

h»134

3

œœ

œœ œœ œœ œœœœ œœ œœ

œ œœ

A

œœ œ œ œœ

œ

œ œ œœ

œ

œœ

œœ œœœœ œœ

œœ œœ œ

œœ

œœ œœ œœ ..œœ j

œ

E

œœ œœœœ œœ œœ

œœ œœ

A

&

#

#

#

.

...œœ œœ œœ œ

œœ

œ

œ

œ œœ

œ œœœ œœ

œœ œ œ œ

œœ

1

œœ

œœ œœ œœ œœ œœ œœ

E A2

œ

œ

œœ œœ œ

œ

œ

3

œœ

œœ œœ

A E A

œœ œœ œ œ œ

œ œ

↑

&

#

#

#œ œ œ œ

œœ

œ

œœ

œ

œ

œœ

œœ œœ œœ œœ œ

œœ

œœ

œœ œœ œœ œœ œœ# œœ

E

œœ œœ œ œ

œ œ

A

œ œ

œœ

œ

.

.œœ

J

œœ

D

&

#

#

#

.

.

œ

œ

n œœ œ

œœ œ œ

œ œœ

E1

œ

œ

œœ œœ œ.œ

J

œœ

A2

D.C.

œ

œ

œœ œœ œœ œœ œœ

œœ

E A

œ

œ

œœ

œœ œ œ œ œ

A

..œœ

j

œœ ..œœ J

œ

E A

&

#

#

# œœ œ

œœ œ

œ

œ

œœ

œœ

œ

œœ

˙

˙

E Aœ

œ

} œ

œ

}

œœ œ œ

œœ œ

œ œ

˙

˙

u

E A

œ

œ

œœ œœ œœ œœ œœ œœ

œ

œ

œ

œ

œœ

œ

œ

œœ

œœ

œœ

Soap Suds

A

B

Ending from *

*

As played by Lyman Enloe in Rugged Road (SPBGMA Bluegrass Records SRS-7602, 1976); recorded c. 1976; time: 2/2; key:A; scale: major (some high 4th, low 7th); pattern: AABB (8,8,8,8); tuning: standard

Variations V1 V2

V1

V2

Enloe learned this tune, also called “Soapsuds Over the Fence” (or according to Vance Randolph “Pouring Soapsuds Over the Fence”), in 1948from John Journagan from Kansas City. The tune begins like other older A tunes such as “Tom and Jerry” that feature much double-note playing onthe A and E notes. It has been played throughout the Appalachian region and in southern states from Georgia to Texas. Texas fiddler CaptainMcKinney recorded the tune in 1929 for Okeh Records. Other musical transcriptions are in Harrison (p. 332), Phillips 1 (p. 227) Shull (p. 13,Enloe’s verion), and Silberberg (p. 147). Meade (p. 794) lists “Soapsuds Over the Fence” as an early commercial recordings by Lowe Stokes &Clayton McMichen (1930).

&

#

C ..

h»130

œ

œ

œ

œ

œ

œ

œ œ œœœ

G

œœ

œ

œ

œ ˙

˙

C

œ

œœ

œ

œ

œj

œ

œ œ œœœ

G

œ œ œœ

œ

˙˙

D

œ

œœ

œ

œ

œœ œ œ

œ

G

œœ

œ œ œ œ œ

œ

C

&

#

.

...

œœ

œ}

œœ œ œ œ

œœœ

G1

œ œ œœ

œ

œ

.

.œœ

j

œ

œ

D G2

œ œ œœ

œ

œ

.

.œœ

J

œ

D G

œ œœ œ œ œ œ œ œ œ ˙

˙

Em

&

#

.

.

œ œ œ œ œœ œ œ

œ

G1

œ œœœ œ

↓

.

.œœ

J

œ

D G2

D.C.

œ œœœ œ

↓

.

.œœ

j

œ

D G

œ œ œœ

œ

˙

˙

u

D G

œ

œœ

œ

œœ œ œ

œœœ

Sugar in the Coffee-O As played by Lyman Enloe in Fiddle Tunes I Recall (County CD-2707, 1993); recorded c. 1973; time: 2/2; key: G; scale: major; pattern: AABB (8,8,4,4); tuning: standard

A

B

Ending from *Variation V1

V1

*

In the liner notes, Enloe states he learned his version of this widely-known tune from a commercial recording he heard around 1953, but BillShull states Enloe learned a version of the tune earlier from his Uncle Pink. Thede (p. 106) collected the following lyrics in Oklahoma: “Sugar'shigh and sugar's low; But I'll take sugar in my coffee-o; How in the hell's the old folk know; That I'll take sugar in my coffee-o.” Bob Holt, whosaid this was one of his father’s favorite tunes, associated the tune with the more disturbing words: “I asked that gal to be my wife; She hacked atme with an old Case knife; I asked another and she said no; But I’ll take sugar in my coffee-o.” Bayard (p. 244) suggests a possible relationship tothe Pennsylvania tune "Up Jumped Jinny with Her Shirt Tail Torn." Talley (p. 25) includes an African-American song called “Sugar in Coffee” thatappears to be related. Fiddler’s Companion suggests that other close variations on the tune include "She Wouldn't Give Me Sugar in My Coffee"played by Uncle Dave Macon's and "Little More Sugar in My Coffee” played by Fiddlin' John Carson. Other musical transcriptions of fiddle ver-sions are in Christeson 2 (p. 129), Harrison (p. 338), Silberberg (p. 152), and Thede (p. 106).

32

&

#

# C ..

h»138

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œ œ

œ

↓D

œ

œ

˙

˙

œ

œ

œ

œ

↓

œ

œ

œ

œœ œ œ

œœœ ˙

˙

œ

œ

œ

œ

↓A

œ

œ

œ

œ

œœ

œ

D

œ œ

↓œ œœ

.

.œœ

J

œœ

Gœ

œœœ œ œ œ

↓œ œ

œ

A

&

#

# ..

.

.

1œ

œœœ

œœ

œœ

œœ

↓D

2œ

œœœ

œœ

œœ

œ œ

Dœ œ œ

œ œ œ œ

œœ ˙

˙œ œ œ

œ œ œ œ œ œ

˙

˙

œ œ

Aœ œ œ

œ œ œ œ

œ

D

&

#

# ..

œ œ œœ œ œ œ

œ

G

œ œ œ

œ œœ

œ œ

A1

œœ

˙

˙

œ œ

D2

D.C.

œœ

˙

˙

œ

œ

œ

œ

œ

œ

D

œœ

œœ

œœ

œœ

œœ

↓

D

œ

œ}œ œ œ

œ

œ œœ œ

œ

œ

Œ

A D

Ten Nights in a Bar Room As played by Lyman Enloe in Fiddle Tunes I Recall (County CD-2707, 1993); recorded c. 1973; time: 2/2; key: D; scale: major (some low 7th); pattern: AABB (8,8,8,8); tuning: standard

A

B

Ending from *

*

Enloe doesn’t remember how he learned this tune. He also is not sure this is the correct name, but says it is the name he knew it by. His recordproducer cites similarities to Tommy Jackson’s “Lead Out,” which is also called “Love Somebody” and “Darling Child.” Fiddler’s Companion con-nects the tune more generally to a family of 14 tunes, including “Chinky Pin” and “My Love She’s But a Lassie Yet” (see “Chinky Pin” in thisbook for more information).

Roger FountainRoger Fountain (1948-) of Pineville, Arkansas, began

playing fiddle when he was 13 years old. He learned fromhis father Claude Fountain and from other old-time fiddlerssuch as Lee Skidmore. He also learned from listening to theradio and recordings. In the early 1970s, he performed fortwo years at the famous Lee Mace’s Ozark Opry in OsageBeach, Missouri. In the mid-1970s he moved back toArkansas to work for Baxter Labs in Baxter County, and hehas worked there for 32 years. Not long after his return toArkansas, his activities as a fiddler began to grow. Heplayed in a band with Gene Williams of Horseshoe Bend,Arkansas, and then with the Izard County Boys from 1977-84. In 1976 he began performing at the Ozark Folk Center innearby Mountain View, Arkansas. In 1983 he joined theLeatherwoods, a band based in Mountain View that playsprimarily folk songs, bluegrass music, fiddle tunes, and earlycountry music. That group, which often performs at theOzark Folk Center and surrounding venues, has releasedabout a dozen cassettes or CDs. Fountain is also featured onabout half a dozen cassettes by the Izard County Boys, andhas released two solo fiddle CDs. His honors include blue-grass fiddle awards for three years straight—1978-80—bythe SPGBMA (Society for the Preservation of BluegrassMusic in America), and numerous fiddle contest awards.Fountain describes his playing as representative of an older-

style square dance style, and as one well-suited to accompanying old-style country music. His favorite nationalfiddlers include Tommy Jackson, Kenny Baker, Bobby Hicks, Paul Warren, and Chubby Wise. In addition toplaying fast driving square dance music, Fountain is skilled at playing impressive bluegrass-style breaks thatare consistently crowd-pleasers. Currently, in addition to playing with the Leatherwoods, Fountain performswith a country music band called Rambling Rose of Melburne, Arkansas.

Cou

rtes

y of

the

Oza

rk F

olk

Cen

ter

33

&

#

C ..

h»135

œ

œ#

œ

œ

œ

œ

œœ

œ œ œœ

œ œ

Gœ

œ œ œœ

œ œ œ

œ œœ œ œ

œœ œ œ

œ œ œ œ œ

œ

œ

œ

D..

œ

œ

J

œ

œ

œ

œ œ œœ œ

Gœ

œœ

œ œ} œ œ œ

C G

&

# œ œ œ œœ

↑

3

œ œ œ œ œœ œœ œ œ

œ œ œœ

œœ

D G

œœ# œœ

˙˙

3

œœn œœ

œ

œ œ œ

œ

œ

œ

œ

œœ œ œ

œ œ œ œœ# œ œn œ œ œœ œ

œ œ œœ

↑

œ œœ

D G

&

#

œœœœ

œœ

œœ œ œœ

œœ œ

œœ

œ œ œ œ œ œœ

3

œ œ œ œ œœ œœ œ œ

œ œ

œ

œœ

.œ

D G

j

œ

œ

.

.

˙

˙

œ

œ

œ œ œ œœ

↑

œ

œ

œ

œ œ

œ

j

œ

œ

˙

˙

˙

˙

&

#

.

.

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

D

j

œ

œ

˙

˙

˙

˙

Gœ

œ

n

b œn

œ

œ œ

œ

œ œ œœœ œ œ œ œ œ

↓

œ œ œ œ

↑œ œ

↑œ

↑

œ œœ

œœ

D Gœ

œ#

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

&

# œ

œ#

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ#

œ

œ

œ

œœ

œ œœœœ

œœ

œ

œ

œ

œ

D Gœ

œ

œ œ œ œ œ œœ

↑

œ œ œœ

œ

œ

œœ

œœ

D G

œ œ œ œœ œ œ

œ

œ

œ œ œ œ œœ

œ

œ

˙

˙

u

D G

Katy Hill As played by Roger Fountain with the Izard County Boys in Some Old Favorites (self produced cassette); recorded c. 1980; time: 2/2; key: G; scale: major (some high 4th, low 7th); pattern: ABC (8,8,8); tuning: standard

A

B

C

Introduction

Ending from *

*

This tune is a standard throughout much of the South and Midwest, perhaps in part because of its wide distribution through early commercialrecordings by artists such as Fiddlin’ Arthur Smith and Bill Monroe. The tune is often connected to “Sally Johnson” (in this book), and NorthCarolina fiddler Tommy Jarrell thought the tune was derived from “Piney Woods Gal.” Numerous other Ozarks fiddlers such as Jim Herd andLonnie Robertson have recorded versions of the tune. Other musical transcriptions are in Brody (p. 154), Christeson 1 (p. 100), Phillips 1 (p. 130),and Silberberg (p. 81). Meade (p. 770) lists seven early commercial recordings, the earliest being by Ellen Sisson (1925); others include BillChitwood (1927), Lowe Stokes, Riley Puckett & Fate Norris (1928), and Bill Monroe (1940).

&

#

#

#

C ..

h»146

œ

œ

œ

œ

œœ

œœ

œœ

œœ

œ

œ

œ

œ

œœ

A

œœœœ

œœ

œœ

œœ

œœ œœ

D

œ

œ

œœ

œœ

œœ

œœ

œ

œ

œ

œ

œœ

A

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

E

œœ

œœ

œœ

œœ œœ

œ

œ

œ

œ

œ

œ

A

œœ

œœ œœ œ œ œ

œ

D

&

#

#

#

.

...

œ œ

œ

œ œœ

œ

œ

œ

œ

œ

œ

œ

œ

A E1œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

A2œ

œ

˙

˙

œœ

œœ

A

œœ œœ œœ œ œœ œœ

3

œœ

œœ œœ œœ œœ œœ œœ

œœ

↑œœ œœ œœ œœ œœ œ

œ

&

#

#

#

.

.

.

.œ

œ

œ

œ œœ

œ

œœ

œœ

↑E

œœ œœ œœ œœ œœ œœ

œœ

œœ

A

œœœœ

œœ

œœ

œœ

œ

œœœ œœ

D

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

E1œ

œ

œ

œ

œ

œ

œ

œ

œœ

œœ

↑A

2œ

œ

˙

˙

œœ

bn

A

&

#

#

#

.

.

œœ

œœ

œ

œ œœ

œ

œ

œ

œ œœ

œœ

œœ

œœ

œœ

œœ

D

œœ

œœ

œœ

œœ

œœ

œœ

A

œ

œ

œ

œ

œ

œ

œ

œ

œœn

E

œœ

œ

œ

œ

œ œœ

œ

œ

œ

œ

A

œœ

œœ

œœ œ

œ

œ œ

D

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ œœ œ

E

&

#

#

#

.

.

1,2

œ

˙

˙

œœ

bn

A3

D.C.

œ

œ

˙

˙

œ

œ

œ

œ

A

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

3

œ

œ

œ

œ

œ

œ

Aœ

œ

œ

œ

œ

œ

œ

œ

3

œ

œ

œ

œ

œ

œ

œ

œ

œœ œœ

œ

œ

œ

œ

œœ

œ

œ Œ

&

#

#

#

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

j

œ

œ

Œ

E A

œœ

œœ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œœ

œ

œ

œ

œ

œœ

œœ

œœ

œ

œ

œœ

œ

œ

œ

œ

œœ

œœ

œœ

œ

œ

œ

œ œœ

œ

œ

œ

œ œœ

œœ œ

œœœ

œœ œ

œœœ

œœ

œœ

&

#

#

#

œœ

œœ

œ

œ

œ

œ œœ

œ

œ

œ

œ œœ

œœ œ

œ

œ œœ

œœ

œ

œ œ

œœ

œœ

œ

œ

œ

œ œœ

œ

œ

œ

œ œœ

œœ œ

œ

œœ

œœ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

bn

Bile Them Cabbage As played by Roger Fountain in Cloggin’ Jiggin’ Waltzin’ Two-Steppin’ (self-produced CD); recorded 2000; time: 2/2; key: A; scale: major (some high 4th); pattern: AABBCC (8,8,8,8,8,8); tuning: standard

A

B

C

Introduction Ending from **

Variations V1V2 V3 (the whole C part)

V1

V2

V3

34

Usually called “Bile [Boil] Them Cabbage Down,” this song tune is widely played throughout the U.S. and has been commercially recordedby many fiddlers. Ralph Rinzler linked the tune to the English country dance tune "Smiling Polly," but most scholars link it to early African-American sources. Words to the tune typically include some variation on the verse, "Bile them cabbage down, bake that hoecake brown; The onlysong that I can sing is ‘Bile Them Cabbage Down.’" A fiddle bowing pattern called the “Nashville shuffle” is typically featured in this tune. With asimple melody and driving beat, the tune is often used by fiddlers (such as Fountain) in contests and commercial venues as a crowd pleaser toshowcase fancy licks and bowing techniques. Other musical transcriptions are in Bayard (p. 173), Botkin (Play-Party, p. 145), Brown V (p. 290),Phillips 1 (p. 33, 40), and Thede (p. 69). Meade (p. 790) lists 17 early commercial recordings, the earliest being by Uncle Dave Macon (1924); oth-ers include Riley Puckett (1924), and Fiddlin’ John Carson (1924).

&

## C .

.

h»96

r

œ

œ

œ

œ

œ

œ

# œ

œ

œœ

œ

œ

œœ

D

œ œ# œ œœ

↓

œ œ œ

˙

˙

œ

œœ œ

G

œ œ œ œ œ↑

œ œœ↑

œ œœ

œ œœ

D

œ

œ

œœ

œœ œ

↑œ œ œ œ

↑œ œ œ

œœœ

œœœ

œœ

A

&

## .

...

1.œœ

œœœ œ

œœœ

œ

œ

œ

œ

#

D2.

œœœ

œœ œ

œ˙˙

D3

œœ

œœ œœ œœ œœ œœ œœ

œœ

D

œœ

œœ œ

œ

œ

↑œ

œ

œœ

3

œœ

œœ œœ œœ œœ œœ œœ

œœ

œœ

˙˙

˙˙

A

&

## .

.

3

œœ

œœ œœ œœ œœ œœ œœ

œœ

D

œœ

œœ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œœœ

œœ

œœ

œœœ

œœ

G1.

œœœ

œœ œ

œ˙˙

D2.

D.C.

œœœœ

œœ

œœ

œœ

œ

œ

œ

œ

#

D

œœ

œœ

œœ

œœ

œœ

œœ

œœ

&

##

œœ

œœ

œœ

œœ

j

œ

œ

œ

œ

œ

œ

#3

œœ

œ

œ

œ

œ

œ

œ

œ

œœ œ œ œœ

D

œœ

œœ

œœ

œœ

œœ

Œ

A D

œœ œœ œœ œœ œœ

œœ

œœ

œœ

j

œ

˙

˙u

A D

œ

œ

œœ

œœ œ œ œ

œ

j

œœ

œ œ

œ

œ

Liberty As played by Roger Fountain with the Izard County Boys in Some Old Favorites (self produced cassette); recorded c. 1980; time: 2/2; key: D; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

A

B

Ending from *

Introduction

Variations V1

V1

*

V2

V2

“Liberty” is widely played throughout the U.S. and Canada, and is very popular in the Ozarks. A simple version of the tune is often used toteach beginning young fiddlers. Curiously, the tune might not have been popular in Missouri and the Midwest until relatively recently. R.P.Christeson reported that only one fiddler ever played the tune for him, and Ford does not include the tune in his collection. Charlie Walden includes“Liberty” on his list of "One Hundred Essential Missouri Fiddle Tunes." Other musical transcriptions are in Brody (p. 168), Christeson 1 (p. 61),Phillips 1 (p. 140), Silberberg (p. 90), and on Charlie Walden’s website http://www.missourifiddling.com/Music/Liberty.htm. Meade (p. 792) lists13 early commercial recordings, the earliest being by Fiddlin’ John Carson (1925); others include Herschel Brown (1928), and Gid Tanner & HisSkillet Lickers (1928). Subsequent recordings by Bob Wills and Tommy Jackson further popularized the tune.

35

&

#

#

#

C ..

h»130

œœ

œœ œœœœ œœ œœ œœ

œœ œœ

A

œ œœ

œ œ œ œ

œ}

œœ}

œœ

œœ œ

œœ

œ

œ

œ

œ

œ

œ

œœ

œ œ œ œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

E

œœ

œœ œœœœ œœ œœ

œœ œ

A

&

#

#

#

.

...œ œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œœ

œœ œ œ œ

œ1œ œœ œ

œœ

œ

œ

œ œœ

œœ

E A2œ œœ œ

œœ

œ

œ

œ

œ

œ

œ

œ

E A

œœ

œ

œ

œ

œœ œ

œ

œ

œ

œ

↓œ

œœ œ œ

œ œ œ

D

&

#

#

#

.

.

œœ

œœ œ œ œ œ

Eœ

œ

œ

œœ

œ œ œ

A

œœ

œ

œœ

œ

œ œ œœ

œ œ œœ œ œ

D

œœ

œœ œ œ œ œ

E1œ œ

œ

œ

œœ

œ

œ

œ

A

&

#

#

#

.

.

2˙

˙

œ

œœœ œ#

A

œœ œœ

œ

œ œ

œœ

j

œ

œœ# œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œœ œœœ œ œ œ

œ œ œ œ œœ œ

œ

œ

œ

œœ

E

œœ œœ

œ

œ

œ

œ

œœ

œœ

A

&

#

#

#

.

...

œ œ œ œœ

œ

œ

œ

œ

œ

œ

œ

œ

D

œ œ œœ œ œ œ

œ

E1œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

A2œ œ

œœ

œ

œœ

œ

œ

œ

œ

œ

œ

E A

œœ

œ

œ œœ

œœ

œ

œ œœ œœœœ

œœ

œ œœ

œœ œ

œ

D

&

#

#

#

.

.

œœ

œœ

œœ

œœ

œ

œ œœ

A

œœ œœ œœ

œœ

œ

œ

œ

œ

œ

œ

E

œœ

œ

œ œœ

œ

œ

œœ

œ

œ

œ

œ

A

œœœœ

œœ

œœ

œœ

œœ

œ

D

œ

œ œœ

œ

œœ œ

œ œ œœ

E1

3

œ œ œ œ œœ

œ

œ œ

œœ

A

&

#

#

#2

D.C.

3

œ œ œ œ œœ

œ

œ œœ

œœ

E A

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œœ

œœ

œ œœ œœ

œ

œ

œ

œ

3

œ

œ

œ

œ

œ

œ

E Aœ

œ

œ

œ

œ

œ

œ œ œ œ œ œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

&

#

#

#œœ œ œ œ œ

œœ œ

œœ

œ

œ

œ

œœ

œ

œ œ Œ

E Aœ

œœ œ œ

œ

œ

œœ

œ

œœ

œ

œ œ

œ

œœ

œ

œœ

œ œ

œ œ

œ

œœ

œ

œ œ

œ

œ œœ œ

œ

œœ

œœ

˙˙

œœœœ

œœ

˙˙

Tom and Jerry As played by Roger Fountain with the Izard County Boys in Some Old Favorites (self produced cassette); recorded c. 1980; time: 2/2; key: A; scale: major; pattern: AABBCCDD (all 8); tuning: standard

A

B

C

D

Introduction Ending from *

*

Variations V1V2 V3

V1 V2

V3

This popular tune, a favorite at fiddle contests, appears to be associated more with states west of the Mississippi River than with theAppalachians and the deep South, although it can be heard throughout the South. Several theories exist regarding the title. Thede (p. 50) suggests itrefers to a whiskey drink concoction. Many fiddlers today connect it to the cartoon characters (created in 1939). Marshall (notes to McMahanVRCD 366, p. 13) points out that Tom and Jerry are traditional names for mules in Missouri. Fiddler’s Companion suggests a possible connectionto the characters in the 19th century book “Life in London” by Pierce Egan. It is unclear whether the fiddle tune title is connected to any of thesemeanings. “Tom and Jerry” features double-string passages that are similar to other tunes in this book such as the “Sally Goodin” family of tunes,“Soap Suds,” and “Taney County Breakdown.” According to Gordon McCann, Pete McMahan said part of this tune came from the tune “OnceUpon a Cheek,” and that part of the tune sounds like “Bull at the Wagon Tongue.” Fiddler’s Companion speculates about a possible connection tothe tunes “Scotch” (see Cole, p. 45) and “Highland Laddie” (see Merryweather, p. 63). An unrelated “Tom and Jerry” tune is in Howe (p. 81).Other musical transcriptions are in Brody (p. 278), Christeson 1 (p. 23), Cole (p. 45), Phillips 1 (p. 242), Thede (p. 50), and on Charlie Walden’swebsite http://www.missourifiddling.com/Music/TomJerry.htm. Meade (p. 731) lists nine early commercial recordings, the earliest being by CharlesD’Almaine (1905); others include Uncle Dave Macon (1927), and the Log Cabin Fiddlers (1929). Another version of this tune is in this book underLon Jordan.

Track #4

36

Art GalbraithArt Galbraith (1909-1993) was born near McCraw’s Ford

on the James River, just east of Springfield, Missouri. Bothsides of his family came from Tennessee, and they had strongScots-Irish ancestry. The Galbraith side of the family includedseveral fiddlers, including Art’s great grandfather Andrew (adance master and veteran of the War of 1812) and his uncleTobe. Tobe, who Galbraith heard often as a boy, was a smoothfiddler and influenced young Galbraith’s playing toward thatstyle. Galbraith graduated from Southwest Missouri StateTeacher’s College (now Missouri State University) in 1934,and pursued a teaching career for four years. He became adeptat playing a variety of instruments including fiddle, lap steel,mandolin, and tenor banjo. Fiddle was his primary instrumentas a member of a local band called Rex P. Kreider and theOzarks Sashayers, and for a short time he studied how to playviolin music. Teaching was a difficult career path during theDepression, and he decided to take a job with the U.S. PostOffice in Springfield, where he worked until he retired in1966. Between 1935 and the end of World War II, he playedfiddle less frequently as he focused on his work responsibili-ties and family (wife Margaret and sons Mark and Tom). Inthe late 1940s, he began to perform more, playing for the rap-

idly expanding square dance groups and at events such as the 1952 National Folk Festival in St. Louis. He also began along tradition of attending the weekly Saturday evening music gatherings at Emanuel Wood’s old store in Ozark,Missouri, located 10 miles south of Springfield, which continued until just before Wood died in 1981 (Wood is also fea-tured in this book). At one of those gatherings in 1976, Galbraith met guitar player and folk music collector GordonMcCann. The two became a performing duo, and before long were receiving national recognition, playing at venuessuch as the Wolf Trap Festival, the San Diego Festival, and the Frontier Folklife Festivals in St. Louis. In 1980,Galbraith and McCann released an album of fiddle tunes called Dixie Blossoms (Rounder 0133), followed two yearslater by the album Simple Pleasures (Rounder 0157). The albums feature some of Galbraith’s more unusual tunes and asmall number of original tunes. Galbraith and McCann performed regularly until Galbraith’s death in 1993 from astroke. Often called the James River fiddler, Galbraith was known for his elegant clean-but-not-flashy style of playing.He enjoyed music parties, avoided performing in contests but judged many, and encouraged young fiddlers to allow theirindividual personalities to guide their fiddling.

&

#

# C ..

h»114

œœ œœ œ

œ

œœ œ} œ œ

D

œ

œ

œ

œ

œ

œ

œ œ œ œœ œ œ

œœ

œ œ œ

G(Em)

œœ

œ

œ

œœ

œ œœœ

A

œ

œ

œœ

œœ œ

↑D

œ œ œ œ œœ

œ œ

G

&

#

# ..

.

.œ

œ

œ} œ œ œ

œ

œ} œ

œ

A1œ

œœœ œ

œœ

œœ

œœ

D2œ

œœœ œ

œœ œ œ

A D

œ œ œœ œ} œ œ œ

œ œœ

œœœ œœ œœ œœ œ œ œ œ

œ

Em

œœ œ œ

œ œ

œ

A

&

#

# ..

œ œ œœ

œ œ œ œ

œ

D

œ œ œœ

œ

œ

G

œ œ œ œ œœ œ

œ

A1

œœ œ

œœ

œ

œ

œ

œ

D2

D.C.

œœ

œ œœ

œ

œ

œœ

œœ

A D

œœ œ

œœœ

A D

˙˙

Ó

œœ

œ œ œ

œ

œ œ

Arkansas Turnback As played by Art Galbraith in Dixie Blossoms (Rounder Records 0133, 1981); recorded 1979 or 1980; time: 2/2; key: D; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

A

B

Ending from **

Variation V1

V1

Galbraith learned this tune from Willy Bilyeu of Ozark, Missouri, around 1955. Bilyeu told Galbraith that although he called it this title, it wasreally some “old hornpipe.” Another musical transcription of Galbraith’s version is in Phillips 1 (p. 18).

Cou

rtes

y of

Gor

don

McC

ann

37

&C

h»114

œ œ

œ

œ

œ

œ

œ

œ œœ

C

œ

œ

œ

œ œ œ œ œœ œ

œ

œ œ œ œ œœ œ

œ œ

œ

.œ

j

œ

œ

G C

œ

œ

œ œ œ œ œœ œ

œ

œ œ œ œ œ œ# œj

œ

œœ œ œ œ œ

œ

&

.

...

1

œœ œ

œ œ

.œ

j

œ

G C 2

œœ œ

œ

.œ

j

œ}

G Cœ

œ

œ œ# œ œ œ œC

œœ œ œ œ

œ

œ œ œ œ œ# œ œ œœ

œ œ œ.œ

J

œ

Am

&

.

.œ œ œ

j

œœ# œ œ œ

Cœ

œ œ œ œ œ

œ œ↑

˙.œ j

œ.œ j

œœ œ œ œ œ œ

œ

1

œœ œ

œ

œ

j

œ}

G C 2D.C.

œœ œ œ

.œ

j

œ

G C

œœ œ ˙

˙

u

Coming Up the Pike As played by Art Galbraith in Dixie Blossoms (Rounder Records 0133, 1981); recorded 11/13/79 or 4/18/80; time: 2/2; key: C; scale: Lydian (high 4th); pattern: AABB (8,8,10,10); tuning: standard

Ending from *

*

A

B

One of the Bilyeu fiddlers taught this tune to Galbraith around 1960. Meade (p. 801) points out that the A part of the tune resembles “FortSmith” (in this book), and he lists two American Folklife Center recordings of the tune by William Bilyeu (1943) and Delbert McGrath (1942).

Galbraith says he has heard this tune played fast and slow, and that it is structured in a way that allow fiddlers to make changes easily. He alsodescribed it as one that people often ask him to play. Although in the key of G, the tune begins with an E chord and slowly moves through the cir-cle of fifths to the G chord. This progression is probably more associated with ragtime than blues, but some classic county blues songs (such as“Salty Dog Blues”) do contain similar chord patterns.

&

#

C ..

h»114

œ.

.

˙

˙

œ

E

.

.

˙

˙

} œ

œ œ.

.

˙

˙

œ

œ

A

.

.

˙

˙

3

œœ

œœ œœ œœ

œœ

œ œ œœœ

D

œœn

œœ#

œœ œ œ œ œ

œœ

&

#

.

...

.

.œœ

j

œ œ

œ œ

œœ

G1

.˙

œ

2

.˙ œ

œ

œ

œ

œ ˙

˙

E

œ

œ

œ

œ

œ

œ

œ# ˙

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

A

&

#

.

.

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœœ œœ

œœ

œ œ œœœ

D

œ

↑

œ œ œ œ œ œœ

œ

.œj

œ œ œ œœ

œ

G1

.˙ œ

œ

2

.˙

œ

œ}

&

# œœ œœ ˙˙

E

œœ œœ œœ œ ˙˙.œ#

J

œœ œ œ œ

A

œ œ# œœ

œ œ œ

œ œ œ

œœ

œ œ œœœ

D

œ

œ

↑

œœ

œœ œ œ œ œ

œœ

&

#

.œj

œ œ œ œœ

œ

G

.˙

œ œœ œ .œ

J

œ

E

œœ#

..œœ j

œ œ

↑œ# œ

œœ œ œ

A

œ œ# œœ

œ œ œœ

&

#

œ œ œœ œ œ

œœ

D

œ œ œ œ œ œœ

œ

.œj

œ œ œ}œ

œ

G D.C. (or to B)

.˙

œ

ww

u

G

.

.

˙

˙

œ

.˙#

œ

.˙# œ

Daddy Blues

A

B

Ending from *

*

Variation V1

V1

As played by Art Galbraith in Simple Pleasures (Rounder Records 0157, 1983); recorded c. 1982; time: 2/2; key: G; scale: major (some high 4th, 1st, 6th, low 7th); pattern: ABCDAABCDBB (all 8); tuning: standard

C

D

38

&

#

C ..

h»110

œœ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ œ}

G

œ

œ

œ

œ

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

œ œœ œ

j

œœ œ

œ œ

œ

C

.˙ œ

G

œ

œ

œ

œ

œ

œ

œ œœ œ

œ˙

˙

œ

œ

œ

œ

œ

œ

Em

&

#

..œœ

j

œ œ

œ

œ

œ

A

..˙˙ œ

œ

D

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œœ

G

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œœ œ œ œ

œ œœ

C

.˙ œ œ#

G

œœ

œœ

œ œ œ

C

&

#

.

... 4

6œ

œ

œ

œ

œ

œ

œ œœ œ

œ œ

G Em

œ

œ

œ

œ

œ

œ

# œ

œœ

œ

œ

n

A D1

.˙ œ

œ

œ

œ

G2

.˙ œ œ

G

œœ

˙

˙

C

˙

˙

œ œ œ# œœ

&

#

C ..˙

˙

.

.

˙

˙

œ

G

œœ œ œ œ

œ œœ

C

œœ

œ

œ

œ

œ œœ

œ œ

œ

G Em

œ

œ

.

.

œ

œ

j

œœ

œ

A D1

.˙ œ œ

G2

D.C.

.˙ œ

œ

œ

œ

G

œ

œ œ œ œœ

œ

œ

Œ œœ

Œ

Dixie Blossoms As played by Art Galbraith in Dixie Blossoms (Rounder Records 0133, 1981); recorded 11/13/79 or 4/18/80; time: 2/2; key: G; scale: major; pattern: AABB (16,16,7,7); tuning: standard

Ending from *

*

A

B

A cousin of Galbraith’s who fought in World War I often played this tune, and it was one of Galbraith’s mother’s favorites. The tune is strong-ly associated with Galbraith because he named his first album after it, and because his recording of the tune is played at the beginning of the televi-sion documentary series called OzarksWatch produced by Missouri State University. Other southern Missouri fiddlers such as Raymond Campbellalso played it, but Galbraith suggests his version is a little different. The tune, with the full title “Dixie Blossoms March-Two-Step,” was written byragtime and song composer Percy Wenrich (1887-1952) in 1906 (see the sheet music and listen to a midi file at Colin D. MacDonald's websitehttp://www.ragtimemusic. com/ wenrich.html). Wenrich was born in the Missouri Ozarks town of Joplin, which was then a mining and gamblingtown that supported a fairly strong ragtime music community. Bob Darch argues that Joplin, with its famous House of Lords Saloon that bookedmany top ragtime artists, is the birth place of ragtime (Randolph, Bibliography, vol. 1, p. 18). Most of these ragtime pianists were AfricanAmerican, and a young Wenrich, who was white, got a Sedalia gambler named Lionel “Babe” La Tour to take him around to hear the music. As ateenager, Wenrich was already playing piano in front of a downtown music store. He left Joplin at the age of 21 and moved to Chicago, then laterto New York, and enjoyed several decades of success as “The Joplin Kid” writing song hits such as “Put On Your Old Grey Bonnet” and ragtimehits such as “Peaches and Cream.” It has been noted that his connection to Missouri folk tunes often came through in his compositions. A publishedversion of Wenrich’s “Dixie Blossoms” can be found in Ragtime Rarities. The liner notes to the LP I’m Old But I’m Awfully Tough suggest that asimilar tune in Reynolds County, Missouri, is called “Chicken Pie” (p. 11). Other musical transcriptions of Galbraith’s version are in Phillips 2 (p.41) and Reiner (p. 122).

&

#

#

4

3 ..

.

.

q»126

œ œ

˙˙

œœ œ

D

œ œ

œ

œ

.

.˙˙

G

˙˙ œ œ

Em

œ œœ œœ œ

A

œ œ œ

œ}

˙

˙

œ

œ

œ

œ

D1œ

œ

Œ œ

œ œ

2œ

œ

Œ

œ

D

&

#

#

.˙˙ œ œ ˙ œ

œ

G

˙ œ œb

Em

œœ

œ

Aœ

œ

œ˙ œ

œ

D

˙ œ œ↑

˙ œ˙ œ œ ˙ œ

œ

G

&

#

# ˙ œ œb

Em

œœ

œ œ

Aœ œ œ ˙ œ œ

DD.C.

œŒ œ

œ œ

œ

œœ

D

˙

Œ

˙

˙

œ

œ

œ œ œ

œ

œ

˙

˙

œ

œ

Down Home Waltz As composed and played by Art Galbraith in Dixie Blossoms (Rounder Records 0133, 1981); recorded 11/13/79 or 4/18/80; time: 3/4; key: D; scale: major; pattern: AAB (8,8,16); tuning: standard

A

B

Ending from ** Variation V1

V1

Galbraith learned this tune late in his life, in the late 1960s, from the playing of local fiddler Warren Dykes and from a Canadian version. Foranother musical transcription of Galbraith’s version, see Phillips 2 (p. 253). Also, see Bayard for a similar unnamed waltz (p. 567).

39

Galbraith’s version of this tune differs from the usual “Durang’s Hornpipe” (in this book). The difference is most prominent in the B part,which in Galbraith’s #2 includes large upward jumps in the first and second measures and a full downward scale in the fourth measure. This tunehas also been recorded by Lonnie Robertson, and by non-Ozarks fiddlers such as Benny Thomasson. The differences between “Durang’s Hornpipe#2” and the regular “Durang’s Hornpipe” seem to vary, and it is possible that, in some cases, fiddlers simply added the “#2” to designate any estab-lished regional variation. Notice, for example, that the B part of “Durang’s Hornpipe 2” as transcribed in Brody (p. 95) bears little resemblance toGalbraith’s version. According to Gordon McCann, Galbraith connected the tune to “London Hornpipe.” Mark Wilson hears in Galbraith’s versiona close connection to “Rocky Mountain Goat.”

This tune has been played throughout the South, and appears to be derived from the waltz "Il Bacio" ("The Kiss") composed by Luigi Arditiaround 1862 (an online version is at http://scriptorium.lib.duke.edu/sheetmusic/b/b09/b0987/). In the 1920s, the tune was recorded under the title“Kiss Waltz” by Charlie Poole and the North Carolina Ramblers (1926), and by Texas fiddler Captain McKinney (1929). In recent decades, it hasbeen especially popular among Missouri fiddlers. Meade (p. 841) lists two other early commercial recordings, both by W.T. Narmour & S.W. Smith(1929, 1934).

&

#

# C ..

h»116

œœ œœ œ}œ œ

œœ œ œ

D

œ

œ

œ

œ

œ

œ

œ œœ œ

j

œ

œ

G

œœ

œ

œ œ œœ

D

j

œœ

œœ

œ

œ œœ

œ

A

œœ œ

œœ œ œ

D

&

#

# ..

.

.œ

œ

œ œ

↓œ

œ œœ

G

œ

œ} œ œ

↑œ

œœ

œ

A1

œœœ œ œ

œœ

œœ

D 2..

œœ

J

œœœ

3

œœ

œœ œœ

D

œœ

œœ

œ œ œ

œ œ

œ

œ

.

.

œ

œ

J

œ

G

&

#

# ..œ

œœ

œ œ œ j

œ

œ

D

œ œ œ œ œ

↑

œ œ œ

A

œ

œ}

œœ

œ œ œ

œ

D

œ

œ

œ

.

.

œ

œ J

œ

Gœ

œœ

j

œ

œ œ

œ

œ œ œ

A1

.

.œœ

J

œœœ

œœ

œœ

D

&

#

#

2

D.C.

.

.œœ

J

œœ

œœ

3

œœ

œœ œœ

D˙˙

˙˙

D

œœœ œ

œœ œ œ

j

œœ œ œ

↓œ

œ œœ

œ œj

œœ

œ

œ œ œœ

œ

œ

œ

œ œ œ œj

œ

œ

Durang’s Hornpipe #2 As played by Art Galbraith in Simple Pleasures (Rounder Records 0157, 1983); recorded c. 1982; time: 2/2; key: A; scale: major (some high 4th, 5th, low 7th); pattern: AABB (8,8,8,8); tuning: standard

Ending from * Variations V1

V1

*

A

B

V2

V2

&

#

4

3 ..

q»130

œ

œ

œ˙

˙

œ

œ

œ

G

œ

œ

œ œ œ œ

œ

œ

œ

œ

œ

œ

œ

C

˙ œ œ

Am

˙ œ

Dœ œ œ œ œ œ

œ

G

˙

œ

œœ

œ

œ œ œ œ œ œ œ œ

œ

œ

œ

œ

œ

œ

œ

C

&

# #

#˙ œ œ

Am

˙ œ

Dœ œ œ œ

œ œ

G˙ œ œ ˙ œ œ

Dœ œ œ

œœ œ œ# ˙ œ œ

œ

œ

œ

.

.

œ

œ J

œ

Aœ œ œ

&

#

# ..

n

#œ

œ œ œ#

D˙

œ œ↑

A7˙ œ œ

Dœ œ œ œ œ

œ œ œ# œ˙ œ œ ˙

˙

œ

œ

œ

Aœ œ œ .˙

D

˙

˙

n

œ

œ

Cœ

œœ

G

.˙

Kiss Me Waltz As played by Art Galbraith in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 1/9/81; time: 3/4; key: G and D; scale: major; pattern: AB (16,16); tuning: standard

Ending from *

*

A

B

&

#

# C ..

h»114

œ œ œ œ œœ

œ œ

œ

D

œ œ œœ

œ

œ œ œ œ

G

œ œœ

œ œ

D

œ œ œœ

.

.

œ

œ œ œ

A

œ œœ

œ œ

œ

D

œ œ

œ

œœ} œ

œ

œ œœ

œ

G

&

#

# ..

.

.

œ œ

œœ œ œ

j

œ

œ

A1œ œ

œ

œ œ œ

œ œ

D 2œ œ œ œ œ œ

œDœ œ œ

œ œ œ œœ

A

œ œ œœ œ

œ œœ

B7

œœ

œ œ œ

E

&

#

# ..œ

œ œ œ œ œœ

Aœ œ œ

œ œ œ œœ

D

œ œœ œ

œ œœ

œ

G

œ œ

œœ œ œ

j

œ

œ

A1œ œ

œ

œ œ œ œ

œD 2

D.C.

œ œ œ œ œ

œ œ

Dœ œ œ

j

œ

˙˙

U

Ladies Fancy As played by Art Galbraith in Dixie Blossoms (Rounder Records 0133, 1981); recorded 11/13/79 or 4/18/80; time: 2/2; key: D; scale: major; pattern: AABB (8,8,8,8); tuning: standard

A

B

Ending from *

*

40

Galbraith always associated this title with this tune, but he’s aware there are other tunes with this title. He learned it from members of his fam-ily. Randolph listed this title as an Ozarks tune in 1954, but says it is also known as “Rye Straw.” Galbraith’s tune does not appear to resemble“Rye Straw.” Lonnie Robertson plays a similar tune called “Caney Mountain Hornpipe” (in this book).

&

#

C ..

h»110

œ

.

.

œ

œ

j

œ œ

œ

G

œœ œ

œ œ œœ

œ

œ

œ

œ

œ

œ

œ

œ œ œ œœ

.˙

œ

.œ

j

œ œ

œ œ œœ

œ œœ œ œ

œ

œ

(Em)

œ œ œ ˙

A

&

#

œ

œ

œœ

œœ œ œ

œ

œ

D

.

.œœ

j

œ œœ

↓

œ

↓

G

œœ œ

œ œ œœ

œ

œ

œ

œ

œ

œ

œ

œœ œ œ

œ

œ

.˙ œ œœ œœ œœ œ œ

œ}

œ œ

Cœ œ œ

œ œœ

œ œ

G Em

&

#

.

.

œ œ œœ œ

œ œœ

A D1

.œ

j

œœ

œœ

œ

G2

.œ

j

œœ

œœ

œ

œ

œ

œ

↑G

œ œœ œ œ

œœ œ

Gœ

œ

œ œœ

œœ

œ

.

.

œ

œ J

œ œ œœ

Em

.œ

J

œ œ œ œ

G

&

#œ œ

œ œ œ œ œ œ œœ

œ œœ œ œ

˙ ˙

A

œ

œ

œ

œ

œ

œ

œ œ œ

œ

D

œ

œ œ œœ

œj

œ œ

Gœ

œ

œ œœ

œœ

œ

œ

œ

œ

œ

œ

œ œ œ œœ

œ

&

#.˙ œ œœ œœ œœ œ œ œ œ

Cœ œ œ

œ œœ

œ

G Emj

œœ œ œ

œ œœ œ œ

œ

A DD.C.

.œ

j

œœ

œœ

œ

G

œ

œ

˙

G

w

u

McCraw’s Ford As played by Art Galbraith in Dixie Blossoms (Rounder Records 0133, 1981); recorded 11/13/79 or 4/18/80; time: 2/2; key: G; scale: major; pattern: AAB (16,16,16); tuning: standard

A

B

Ending from *

*

*

“McCraw’s Ford” is the name of a river crossing on the James River near Springfield, Missouri. In recent decades the name has been corrupt-ed by the public to “McGraw’s Ford,” which disturbed some members of the McCraw family. One elder McCraw was known to tell people whostopped to ask directions to the “McGraw” place, “Never heard of it!” and then walk away. The story of the fiddle tune is that a country doctornamed Brown fell asleep in a buggy crossing the ford one night, dreamed the tune, and woke up when the hack lurched into the deeper water. Hethen rode home and played the tune. Many people call it “Brown’s Dream” or “Doc Brown’s Dream” (in this book). Galbraith’s family memberslearned it from that doctor, who brought Galbraith into the world, and they in turn taught it to young Galbraith. The tune’s A part is also similar tothe tunes “Fat Meat and Dumplings” and “Green Corn.”

&

#

# C ..

h»116

J

œ œ

œ

œ œ

œ

œœ

œ

Dœ

œœ

œ œ

œ œ

œ œ œ œ œœ

↑Aœ œ} œ

œœ

œ

œ œ œœ

œœ

Dœ

œœ

œ

G

&

#

# ..

.

.œ

œ} œ œ œ œ œ œ

A1

œœ

.œ

J

œ

D 2

œœ

œ

˙˙

A D ˙ œ œ œœ œ}

œ œ}

œ œ}

œ œ}

Em.œ

J

œ œ œ œ

Aj

œœ œ

œ œœ

D

&

#

#

4

6 .. C

œœ œ

œœ

œœ

œœ

œœ

œ

œ œ œ œœ

G Em

œœ

œj

œ

œ

œ œ œ

A1œ œ œ

œ

.

.˙˙

œœ

D 2D.C.

œ œ œœ

.

.˙˙ œ œ

A Dœ

œ

˙˙

UA

D

Piedmont As played by Art Galbraith in Simple Pleasures (Rounder Records 0157, 1983); recorded c. 1982; time: 2/2; key: D; scale: major; pattern: AABB (8,8,8,8); tuning: standard

Ending from **

A

B

Galbraith learned this tune from his Uncle Tobe, and was under the impression it might have been an old tune from Scotland. Another musicaltranscription of Galbraith’s version of the tune is in Phillips 1 (p. 184).

41

&

#

#

#

C ..

.

.

h»112

œ

œ

œ

œ

œ

œ.œ

j

œ

A

œ œ œ œ œ œ

Dœ

œœ

œœ

œ

B7œ

œ œ œœ

œœ

Eœ œ

œœ œ

œ

A

œ œ œ œ œ

œ

D

œœ

œ œœ

↑

œ

E1

œœ .œ J

œ

A

&

#

#

#

.

.

2

œœ ˙

E A

˙

˙

.œ

j

œ

œ œ

.œ j

œ

D

œœ

œœ

↑

œ

B7

œ œ

œ

.

.

œ

œ J

œ

E

œ œ œ œ œœ

A

œ œ œ œ œ

œ

D

œ œ

œœ

œ

E

&

#

#

#

.

.

1

œœ ˙

A2

D.C.

œœ œ

œ œ

E A

œœ œ Œ

E Aœ œ œ

œ œœ œ

œ

œœ

œœ

œœ œ

œœ

œ

œœ œ

œ

œ œ œ œ œ œ

œ

œ

œ

œ

œ

.

.

œ

œ J

œ

Possum Trot As composed and played by Art Galbraith (Gordon McCann Collection, field recording); recorded 3/18/81; time: 2/2; key: A; scale: major; pattern: AABB (8,8,8,8); tuning: standard; also on Dixie Blossoms (Rounder Records 0133, 1981)

A

B

Ending from *

*

Variations V1 V2V3

V1 V2

V3

This tune is one of Galbraith’s compositions from the early 1950s. It does not appear to be related to the “Possum Trot” in Phillips 1 (p. 187).

&

#

# C ..

h»116

œœ œœ œœ œ

œ

œœ

œ œ

D

œœœ œ

œœ

œœ œœ œ

œ

œœ

œ

œ

œœ

œ

œ

œ

œ

œ

.

.œ

œ

j

œœ

A

œœ œ

œ

œ œ

œ

œ

œ

D

.œ

J

œ œ

œ

G

&

#

# ..

.

.œ œ œ œ œœ œ œ

A1

œœ

.

.

œ

œ

j

œ

D 2

œœ ˙

A D œœ œ œ œ œ œ œ œ œ œ œ œ

œ

G

D.C.

œ œ

œ

œ œ œœ œ œ

D

&

#

# ..

œœ ..œœ J

œ

Aœ

œ œ œ œ œ

Dœ œ œ œ œ œ œ

œ

G

œœ œ

œœ œ œ

A1

œœ ˙

D 2

œœ .œ

j

œ

A D

œœ ˙˙

u

Rocky Mountain Hornpipe As played by Art Galbraith in Dixie Blossoms (Rounder Records 0133, 1981); recorded 11/13/79 or 4/18/80; time: 2/2; key: D; scale: major; pattern: AABB (8,8,8,8); tuning: standard

Ending from *

*

A

B

Galbraith learned this tune in the 1920s from his uncles Tobe and Mark, both fiddlers. They had told him it was the oldest piece they knew,and that they could trace it back to the 1820s. Galbraith said he and his mother used to envision an Indian dance with this tune, perhaps because ofthe thumping quarter-note passages that appear throughout the piece. A similar tune is called “Zack Wheat’s Tune” (in this book) by some Missourifiddlers. Fiddler’s Companion has linked the tune to the “Sweet Ellen” family of tunes (see “Lighthouse” in this book). Another musical transcrip-tion of Galbraith’s version of this tune is in Phillips 2 (p. 221).

&

#

4

3 ..

q»128

œ

œ

œ

œ

œ œœ

œ

œ

G

œ œ

œ

œ

œ

œ}

œœ

œ

C

œœ œ œ

G

.œ

j

œ œœ

œ œœ

œ

Em

˙

˙#

œ œ

œ

A

˙

˙

œ

œ

œ

Dœ œ

œ

œ

œ

G

œ œ

œ

œ

œ

œ

œœ

œ œ

C

&

#

.

.

.œ

J

œœ

œ

Am

œœ

œ

G

œ

œ œ

D

˙ œ œ

G1

˙

œ

œ 2

˙ œ

˙˙ œ œ

Emœ œ œ

˙

˙

˙

˙

œ

˙˙ œ œ œ œ œ

&

# ˙ œ œ

Bmœ œ œ œ œ œ

œ

œ

œ

G

œ œ

œ

œ œ

œœ

œ œ

C.œ

J

œœ

œ

Am

œœ

œœ

G

œ

œ œ

D

˙ œ œ

G D.C.

˙

œ

œ

œ

œœ

G

˙

Œ

Shamus O’Brien As played by Art Galbraith in Dixie Blossoms (Rounder Records 0133, 1981); recorded 11/13/79 or 4/18/80; time: 3/4; key: G; scale: major; pattern: AAB (16,16,16); tuning: standard

Ending from **

A

B

Galbraith learned this tune relatively late, in the mid-1970s, only three years before recording it on his Dixie Blossoms LP. He believes heprobably first heard it played by Cyril Stinnett. Fiddler’s Companion says the tune, often called “Shamus O’Brien’s Waltz,” is derived from a songwritten in 1867 by Will S. Hays titled “Sheamus O’Brien: Answer to Nora O’Neal.” Hays published “Nora O’Neal” in 1866. Folklore collectorVance Randolph found sung versions of “Shamus O’Brien” in both Missouri and Arkansas (see Randolph VI, p. 259). The tune has been found inArizona, Michigan, and at various locations in the United States, Canada, and Ireland. Charlie Walden includes “Shamus O’Brien” on his list of"One Hundred Essential Missouri Fiddle Tunes." Other musical transcriptions are in Ford (p. 140 and 383; p. 405 has words only), Harrison (p.374; “Shammy O’Brien”), and Randolph IV (p. 259).

42

&

#

C ..

h»112

œ œ œ œ œ œ œœ œ

œ

œ

Gœ œ œ

œ œœ

œ

œ

œ

œ

œ œ œ œ œ

œ œœ

œœ œ œ

œ œ

Emœ œ œ œ œ

œ œ

œ

œ

Gœ œ œ

œ œœ

œ œ

C

&

#

.

...

œ

œ

œ œ œœ œ

D 1

œœ œ

j

œ œ

œ

œ

G 2

œœ œ

˙

˙

D G

œ

œ

œ œ œ œœ

œ œ

œ

œœ œ

œ

D.C.

œ œ œ œ œœ

œœ

œ

œ

œœ

˙

˙

D

&

#

.

. 4

6C

œ œ œ œ œœ

œ œ

œ

G

œ

œ˙

C

œ œ œ œ œ œ œœ

D 1

œ

œœ

œ

˙˙

G 2

œ

œœ

.˙

œ

œ

œD G

œ œ œ œ œ

D G

.

.˙˙

u

Sunday Night Reel As composed and played by Art Galbraith in Dixie Blossoms (Rounder Records 0133, 1980); recorded 11/13/79 or 4/18/80; time: 2/2; key: G; scale: major; pattern: AABB (8,8,8,8); tuning: standard

Ending from **

A

B

Galbraith composed this tune while sitting on his front porch one Sunday night around 1960, so he gave it this title. He says he has played itsuccessfully for square dances.

Galbraith identifies “Waverly” as a Scottish tune, and says he learned it from his uncle Tobe. He did not play it after first hearing it, however,but instead remembered it much later and then worked it out on his fiddle. Some fiddlers in the Ozarks, such as Lee Stoneking and Bob Holt, play asimilar tune called “Hell Agin the Barn Door.” Galbraith’s timing in the B part, with the 3/2 measures, is unusual.

&

#

C

h»104

˙

˙

.œ

J

œ

Gœ

œ œœ

œ œ œ œ œ œœ

œ œ œ

œ

Em

œ

œ

œ œœ

œ œ

.

.

œ

œ J

œ.œ

J

œ

Gœ

œ œœ

œ œ

C

œ œ

œ}

œ œœ

D

&

#

.

. 2

1C .

.

1

.˙ œ

G2

˙

G

œ œœ œ œ

œ œ

G

œ œ œ œœ œ œ œ

j

œœ œ œ

œœ œ œ

œ

Em

œ

œ

œ œœ

œ œ

œ œœ œ œ

œ œ

G

&

#

2

1 .. 2

1C

œ œ œ œœ œ œ œ

C

œ œ œ œ œœ

D1

˙

G2

D.C.

˙

G

œ œ œb œ œœ

D

œ

œ

œŒ

Gœ œ œ

œ œ œ

œ œ œ œ œ œœ

Wink the Other Eye

A

B

Ending from *

*

As played by Art Galbraith (Gordon McCann Collection, field recording); recorded 5/15/83; time: 2/2; key: G; scale: hexatonic major (no 4th, rare 7th); pattern: AABB(all 8); tuning: standard

Variations V1

V1

Galbraith learned “Wink the Other Eye” from Lonnie Robertson. The fiddle tune, which according to Fiddler’s Companion has been most pop-ular in the adjoining states of Kentucky, Tennessee, and Missouri, is apparently based on the song “Then You Wink the Other Eye” written by W.T.Lytton (with, in some sources, G. Le Brunn) around 1890. A copy of the sheet music can be viewed at the Lester S. Levy Collection of Sheet Musicat Johns Hopkins University (http://levysheetmusic.mse.jhu.edu/). The song is about a cheating husband and a manipulating woman who oftenmake statements and then “wink the other eye.” Other musical transcriptions are in Christeson 2 (p. 172) and Phillips 2 (p. 172). Meade (p. 856)lists three early commercial recordings, the earliest being by Theron Hale & His Daughters (1928); others include Jess Young’s Tennessee Band(1929), and the Hack’s String Band (1930).

&

#

C

h»116

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

G

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œœœ œ

œ

œ

œ

œ

œ

j

œ œ œœ

œ

œ

œ

œœ

œ œ

Em

œ œœ œ

œ

œœ

œ œ

G

œœ

œ

œ

œ

œœ

œ œ

C

&

#

.

. 2

3C

2

3œ œ œ œœ

œœ œ

Am

œœ

œ

œ

œœ

œ œ

D G.œ

J

œ œ œ} œ œœ

œ œ

G

œ œ œ œœ

œœ œ œ

œ

j

œ œ

œ

œœ œ

Em

œ œ œ œ œ œ œœ

œ œ

G C

&

#

C

œ œ œ œœ œ œ

AmD.C.

œœ

œ

œ

œj

œ

œœ œ

D G

œ

œ œœ œ

œ œ

G

œœ œ ˙

u

œ

œ œ œ

œ

œ œ

œ

œœ

œ

œ

œœ

œ œ

œ

Waverly As played by Art Galbraith in Dixie Blossoms (Rounder Records 0133, 1981); recorded 11/13/79 or 4/18/80; time: 2/2; key: G; scale: hexatonic major (no 4th, rare 7th); pattern: AAB (8,8,6); tuning: standard

A

B

Ending from *

*

Variations V1 V2

V1

V2

Track #6

43

&

#

C ..

h»112

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

G

œ

œ

œ

œ

œ œœ œ

œœœ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ œ

œ

œ œ

œ

œ œ

œ

œ

œ

œ

œ

Dœ

œ

œ

œ

œ

œ

œ œ œ

œ

G

œœ

œ œœ

œœœ

&

#

.

...

œ œ œ œ œ

œ

œ

↑1

œœ œ

œ

œœ

œ

œ

œ

œ

D G2

œœ œ

œ

œœ

œ

œ

D G

œ

œ

œœ

œœ œ œœ

œœ

œœ

œœ

b œnœ œ œ

œ

œ

œ œ œ œ œœœœ

&

#

.

.œœ

œœ

b œnœ œ œ

œ

œ

D

œ

œ

œ œœœ œœ

œœ

G

œœ

œœ

b œnœ œ œ

œ

œ

œ œ œ œ œ

œ

œ

œ

↑1

œ

œ

œ œ

œœ

œœ

œ

œ

D G2

D.C.

œ

œ

œ œ

œœ

œœ

œ

œ

œ

œ

D G

&

#

œœ œ

œ

œœ

œ

œ

œ

œ

D Gœ œ

œ

œ

œ

œ

œ

bœ

œ œ œ

↑

œœ œ

œœ

œœ

œœ

D G

œœ œ œ

œœ

œ œ œœ œ

œ

œ

œ

œ

D G

w

w

u

Boatin’ Down the River As played by Gene Goforth in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 10/1/97; time: 2/2; key: G; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

Ending from *

*

A

B

Gene GoforthGene Goforth (1921-2002) was a versatile fiddler,

able to play the more progressive sounds of bluegrassmusic with luminaries such as Bill Monroe, and alsothe older dance tunes (featured here) learned duringhis childhood near Eminence, Missouri. He had strongopinions about fiddling, however, and often lamentedthe fast “wild” playing of young bluegrass fiddlers.From an extended family of fiddlers, including hisfather Richard “Dink” Goforth and his younger broth-er Cecil (also in this book), Gene began playing fiddleas a young child and was performing publicly atsquare dances when he was around eight years old. Inaddition to being influenced by local fiddlers such as

his father, his uncle Dee Goforth, and Roy Wooliver, Gene eventually enjoyed learning from recordings and radio pro-grams that featured nationally popular fiddlers such as Arthur Smith, Howdy Forrester, and Benny Martin. After servingin the Army during World War II, Goforth settled near St. Louis in High Ridge, Missouri, to work as a heavy equipmentoperator. In the 1950s, in addition to playing at informal jam sessions he began performing with Roy Queen's "TheBrush Apes." He also made guest appearances with major bluegrass artists such as Bill Monroe and Kenny Baker whenthey were passing through the area. For many years he played with Dub Crouch and Norman Ford in the BluegrassRounders, and during the 1970s he was often spending weekends performing with the group at bluegrass festivalsthroughout the South. Generally uncomfortable being recorded, Goforth did not play fiddle in a commercial recordinguntil 1974 when he joined the Bluegrass Rounders’ on their LP Next Train South (Professional Artist 7433-22). At aboutthe same time he also released his own LP, with accompaniment by the Bluegrass Rounders, titled Strike Up the Bow(Professional Artist PAS7433-21). Later, he was featured on two major recording projects about regional fiddling: "NowThat's A Good Tune": Masters of Traditional Missouri Fiddling (Grey Eagle 001, 1989), and Traditional Fiddle Music ofthe Ozarks, Vol. 1 (Rounder CD0435, 1999). Most notably, in 1997 he recorded a CD of fiddle tunes titled EmminenceBreakdown (Rounder CD0388, 1997), due in part to the initiative and assistance of his friend John Hartford. Hartford,who first played with Goforth informally in the 1950s and who later pointed to him as a major influence, went on tobecome a major country/bluegrass entertainer. Through the 1990s, in addition to performing occasionally, Goforth taughtfiddling to young people, and he was selected as a master artist under Missouri’s Traditional Arts ApprenticeshipProgram.

Phot

o by

How

ard

W. M

arsh

all;

1995

; use

d w

ith p

erm

issi

on; G

ene

Gof

orth

teac

hing

Mat

t Wya

tt w

ith A

llen

Wya

tt on

gui

tar.

44

Goforth learned this tune from Roy Wooliver, a local musician Goforth first heard when he was around 13 years old. Wooliver had varied resi-dences around Dent County and surrounding counties, and he played often in the towns of Eminence, Winona, and Salem. Known as an exception-al fiddler, Wooliver performed for a period in the 1940s on KMOX radio in St. Louis. He struggled to find work, however, and was known as adrifter. It has been said he never owned a fiddle, and that more than once he was jailed for theft. Sadly, no recordings of Wooliver’s legendary fid-dle playing have been found. Little is known about this tune. Its A part resembles tunes in this book such as “Taney County Breakdown” and “A &E Rag” (see notes to that tune) and is very close to the A part of a Kentucky tune titled “Shippensport,” or “Shipping Port” (see Titon, p. 174, andPhilips 1, p. 220). The B part resembles tunes in this book such as “Fort Smith” and “Dance Around Molly.”

&

#

# C

h»110

œ

œ

œœ

œœ œœ œœœœ œœ

D

œœœœ œ œ œ

œ

œ

œ œ

G/B D

œœ

œ

œœ

œœ

G

j

œ œœ œ œ

œœ

œœ œœ

A

œ

œœ

œœ œœ œœœœ œœ

D

œœœœ œ œ œ

œ

œ

œ œ

G D

&

#

# ..

.

.

œœ

œ

œœ

œœ

G A1

œœ œ

œ ˙˙

D2

œœ œ

œ ˙˙

A D

œœ

œœ

œ œ œœ œ œ

œ

œœ œ œ œ

œœ

œœ

œœ

G

&

#

# .. 2

1Cœ

œ œ œ

œœ

œœ œœ

A

œ œ œœ

œ œ œœ

D

œ œœ

œœ

œ

œ œ

G D

œœ

œ

œœ

↓œ

œ

G

œœ œ

œn ˙˙

A D

œœ

œ

œœ

œœ

œœ œ

œ œ œœ

G/B

&

#

# œœœ

œœ

œœ œ

œœ œ œ

œ

D A

œœ œœ œ

.œ

œ œ

D G/B

œœ œ œ

œœœ œ œ

A

œœœ œ

œœ

œœ

œœ

D G/B

œœœ

œœ œ œ

œ œ œ

œ

D A

œœ œœ œ

œ

œ œ

D G/B

&

#

#

œœ œ

œ

↓

œ

œœ↑

A D

œ œœ

œœ

œœ

œœ œ œ œ œ

œœ

œ

œ

œ

œ

œ

↑G/B D

œœ

œœ

œœ

œœ

œœ

G/B

œœ œ œ œœ

œ

œ

œ

œ

œ

œ

↑A

œœ

œœ

œœ

œœ

œœ

D

&

#

#œ œ œ

œœ

œ

œ œ

↓G/B D

œ

œœ

œ

œœ

œ œœ

A GD.C.

œœ œ

œ

↓

œ

œ

œ

A D

œ

œœ

œ

œ œ œ# œ

G A

œœ œ

œ

˙

˙

D

œ

œœ œœ˙˙

u

Darkies’ Dream As played by Gene Goforth in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 6/22/97; time: 2/2; key: D; scale: major (some high 4th; low 7th); pattern: AABBCD (8,8,8,8,9,9); tuning: standard

A

B

C

D

Ending from **

Goforth learned this tune from his uncle Lawrence (“Uncle Dee”), who apparently learned it from a French musician who lived around Potosi,Missouri. Potosi is in a northern Ozarks area where French settlements and traditions have been strong (See “La Guignolee” in this book for moreinformation about that region). “Darkies’ Dream” was composed by George L. Lansing, a Boston banjo player from the 1880's, and was publishedin New York in 1891 (for images of the sheet music see http://ucblibraries.colorado.edu/cgi-bin/sheetmusic.pl?RagDarki&Rag&main). Lansing’sthree-part piece in F is certainly related to this fiddle tune. The A part is similar, and the other two parts have at least shades of similarities, but inhis four-part tune Goforth has replaced or added several melodic passages. Fiddler’s Companion says the tune, which is sometimes played as aschottische, can be found in many Appalachian states as well as Arizona. The site points to research by John Hartford that suggests the tune“Essence of Sugar Cane” is known to have inspired Lansing’s piece, and it also suggests links to the tunes “Darkey Dan" and "The Wind Blow YouAway." Mark Wilson discovered that an early Missouri version can be found in W.H. Morris’ Old Time Violin Melodies, and that an Irish tune is inthe Roche Collection (III, p. 53). Goforth prefers his guitarist to tune his low E string down to D on this tune. Compare Lonnie Robertson’s versionof the tune included later in this book. Other musical transcriptions are in Bayard (p. 392), Phillips 2 (p. 38), and Roche (III, p. 53). Meade (p. 856)lists two early commercial recordings, the earliest being by the East Texas Serenaders (1928) under the title “Acorn Stomp” (listen to the secondtune in this two-tune medley).

45

&

#

#

#

C ..

.

...

h»110

œ

œ

œ

œ

n œ

œ

œ

œ

œ

œ

œ

œ œœ

œ

Aœ

œ

↓œ

œœ

œœ

œ

Eœ œ

.œœ

œ

œ

œ

œœ

A1œ

œœ œ œ œ

œ

œ

œ

œ

œ

E A2œ

œ œ œ œœ œ œ

œ

E A

œ

œ

œœ

œœœœ œœ

œœ œœ

&

#

#

#

.

...œœ

œœ œœ œœ œœ

œœ œœ œ

œ

œœ œœœœ œ œ œ œ

1œ

œ

œ œ œ œœ œœ œ

œ

E A2œ œ œ œ œ

œ

œ

œœ

E A

œ œœ

œ

œœ

œœ

œ

œ

œœ

œ

œœ œ œ œ

œ

E

&

#

#

#

.

.

œ

œ

œœ œ œ

œ

œœ

œœ

œ

AD.C.

œ

œœ œ

œ œœ œ

œ

E A

œ œœ

œ œ œœ

œ

œ

œ

œ

E Aœ

œ

œœ

œ œ

œ

œœ

œ

œ œ

œœn

œœ#

œœ

œ

œ Œ

E A

w

u

œ

œ

œ œ œ œ œœ

œ

Money Musk As played by Gene Goforth in Emminence Breakdown (Rounder CD0388, 1997); time: 2/2; key: A; scale: major (some low 7th, 3rd); pattern: AABBCC (8.8,8,8,8,8); tuning: standard

AB

Ending from *

* C

Variation V1

V1

Goforth calls this tune “Roy Wooliver’s Money Musk” on his Emminence Breakdown CD because it was known as Wooliver’s version (thisCD includes a number of recorded interview excerpts about the eccentric Wooliver). This tune, which Jabbour (p. 18) calls “one of the most famousreels in British-American tradition,” is more melodically complex than most, and is equally complex historically. It was composed by Daniel Dow(1732-1783) who gave it the title “Sir Archibald Grant of Monymusk’s Strathspey” in his Thirty Seven New Reels and Strathspeys, published c.1780. It became popular throughout Britain and North America, except, according to Jabbour, for the Southern states where it has rarely beenfound. The Fiddler’s Companion, in its massive five pages of sources and background on the tune, suggests “The Countess of Airly" might havebeen an earlier title for the tune. Charlie Walden includes “Money Musk” on his list of "One Hundred Essential Missouri Fiddle Tunes." Othermusical transcriptions (among many) are in Bayard (p. 329), Brody (p. 194), Bronner (p. 32, 87), Christeson 1 (p. 15), Cole (as a reel p. 31, as astrathspey p. 128), Ford (p. 52, dance calls on p. 114), Harrison (p. 296), Haywood (p. 52), Howe (p. 74), Jarman (p. 75), Krassen (Appal. Fiddle,p. 70), Phillips 1 (p. 155), and Wells (p. 13). Meade (p. 717) lists 11 early commercial recordings, the earliest being by William B. Houchens(1923); others include John Baltzell (1923), and Henry Ford’s Old Time Dance Orchestra (1926).

&

#

#

#

C ..

h»116

œ

œ

œ

œ

œ œ œ œ œn

↑E

œ œ œn

↑œ œ

œ œ

œ

D

œœn œ œ œ

œ

œ

Eœn

œ œ

œœ œ

œ œ

B

œœ

œœ

œœ

œœ

œœ

E

œœ

œ

œ

œ œ

œ

↓œ œn

&

#

#

#

.

...

œ œ œn

↑œ œ

↓

œ

↑œ œ

↑D

œœn

↑œ œ

↓œ

œ

œ

œ

Eœn

œ œ

œœ œ

œœ

B1

œœœ œœ œœ œœ œœ

E2

œœœ œœ œœ œœ

œ

E

œ œ œ œ œ

↓

œ

œ

&

#

#

#

2

3

œ

œ

œ

œ

œ œ œ œ

↓

œ œ œ

↓

œ œ œ œ œ œ œ œ

↓

œ

œ

œœ

↓

œ œ

B

œ ˙ œ

E

œ œ œ

↓

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ

↓

œ œ œ

↓

œ œ œ œ œ

&

#

#

#

C ..

œ œ œ

↓

œ

œ

œ œ œœ œ œ œ

œ

œœ œœ# œ

B1

.

.˙˙

œ

E2

D.C.

.

.˙˙

œ

œ

E

‰

J

œœ

œœ

nb

œœ

#n

˙˙

E

ww

U

œ œ œ œ

œ

œ

œ

œ

Dusty Miller As played by Gene Goforth in Emminence Breakdown (Rounder CD0388, 1997); time: 2/2; key: A; scale: Mixolydian (low 7th with few exceptions, some low 2nd, 3rd, high 4th); pattern: AABB (10,10,10,10); tuning: standard

A

B

Ending from **

V1

Variation V1

Goforth calls this tune “Dink’s Dusty Miller” on his Emminence Breakdown CD because he learned it from his father Richard “Dink” Goforth.He calls it “the old way” of playing this popular nationally-known fiddle tune. Notice that the parts are ten measures long instead of the usual eight,and that one measure has three beats instead of two. Fiddler’s Companion suggests there are eight different melodies connected to the title, sounraveling the full background of the tune is a daunting task. Other musical transcriptions are in Bayard (p. 74), Brody (p. 96), Christeson 1 (p. 22),Cole (p. 66), Harrison (p. 258), Krassen (Appal. Fiddle, p. 53, 82), Phillips 1 (p. 78), and Silberberg (p. 39-40, two versions). Meade (p. 705) listsone early commercial recording by Capt. Moses J. Bonner (1925), and references other books and recordings.

© 1997 John Hartford Music. Used by Permission.

© 1997 John Hartford Music. Used by Permission.

46

&

#

# C ..

h»112

œ œ œ œ↓

œœ œ œ

œ

D

œ œ

œ œ œœ

œ

œ

œ

œ

œ

œ

œ œœ œ œ œ

œ œ œ

œ

œœ œ œ

A

œ

œœ œœ œœ œœ œ œ

&

#

# ..

œ œ↓

œœ œ œ

D

œ œ

œ œ œœ

œ

œ œ

œ œ œœ

↓

œ œœ œ œ œ

œœ œ

A1œ

œ œœ

œ

œ œ

D2œ

œ œœ

œ

3

œ œ œ

A D

&

#

# ..

œ œ

œ œ œœ

œ

œ

œ

œ

œ

œ

œ

œ œœ œ œ

œ

↓œ œ œ

œ œ œœ

œœ œœ œœ œœ

œœ}

A

œ

œ

œ

œ

œ

œ œœ

œ

œ

D

œ

œ

œ

œœ

œ

œ

œ

œœ œ

&

#

# ..œ

œ

↓œ œ œ

↓œ

œ œ

A1œ

œ œœ

œ

œ

3

œ œ œ

D2

D.C.

œœ œ

œœ

œ

œ

œ

œ

œ

A D

œœ œ

œœ

œ

œœ

↓

A D

œ œ

↓œ

œ œœ

œ œ œœ œ œ

œ

↓

˙

A D

w

w

u

Eminence Breakdown As played by Gene Goforth in Emminence Breakdown (Rounder CD0388, 1997); time: 2/2; key: D; scale: major (some low 7th, 6th); pattern: AABB (10,10,8,8); tuning: standard

A

B

Ending from **

Goforth grew up in Eminence, Shannon County, Missouri, and this tune is named after that town. John Hartford, in his notes for Goforth’s CDtitled Emminence [sic] Breakdown, links the tune to the following other tunes: “Paddy on the Railroad,” “Corkonian Reel,” “Merry Blacksmith,”“The Boys of the Lake,” “The Railroad,” The Police Jacket,” and “The Shepherd on the Gap.” The A part resembles Alton Jones’s “Sadie” (in thisbook), and an unnamed Bill Katon breakdown in Christeson 2 (p. 59).

&

#

C ..

h»126

œ

œ

œ œ

œ

œ

œ

œ œœ

G

œ œ œœ œ œ

œ

œ œ œ

œœ œ œ

œ

D

œ œ

œ

œ

œ

œ

œ œ œ

G

œ

œ

œ

œœ

œ

œ œ

↑œ œ œ œ œ

&

#

.

...œ

œ œœ œ

œœ

D1

.

.œœ

j

œœ

œœ

œ

œ

œ

œ

G2

.

.œœ

j

œœ

œœ

œ

œ

G

œ

œ

œœ œ

œœ

œœ œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

↑C

&

#

.

.œœ œ œ œ

œ

œ

G

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

↑

œ

œ

œ

œ

œœ

œœ

D1

.

.œœ

j

œœ#

œœn

œ

œ

G2

D.C.

.

.œœ

j

œœ

œœ

œ

œ

œ

G

.

.œœ

j

œœ#

˙˙n

u

G

Nine Mile As played by Gene Goforth in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 6/22/97; time: 2/2; key: G; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

Ending from **

A

B

This tune, which Goforth learned from his dad, is different from the “Nine Mile” played by Howe Teague (in this book), and is also differentfrom “Nine Miles Out of Louisville” made popular by Kentucky’s Buddy Thomas (Rounder CD 0032). Goforth also recorded the tune on his LPStrike Up the Bow (Mark Wilson calls it “a more bluegrassy version”). The tune is possibly a distant relative of the fiddle standard “BlackberryBlossom.”

© 1997 John Hartford Music. Used by Permission.

47

&

#

#

#

C ..

h»108

œ

œ

œ

œ

œœ

œœ

œœ ˙˙

A

3

œœ# œœ œœ œœ

œ

œ œ

œ

œ œ

œœ

œœ œœ# œœn œœ

.

.œœ

J

œœ œœ œœ

œœ

D

œœ œœœœ ˙˙

A

&

#

#

#

.

...

3

œœ# œœ œœ œœ

œ

œ œ

œ

œ

œ

œ

œœ

↓œ

œ

œ œ

↓

œ

↓E

1

œœ

3

œœ œœ œœ œ

œ

œ

A2

..œœ

j

œœ œœ

œ

A

œ

œ

œ

œœn

↑

œ œœn

↑

&

#

#

#œœ œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ œb œ œn

↑

..˙˙ œ œœœœ œœ œœ ˙˙ œœ#

↓œœ

œœ

.

.

œ

œ

J

œ

œ

œœn œ#

œ

œ œn

↑

œ#

E

&

#

#

#

.

.

1

..˙˙ œœ

A2

D.C.

..˙˙

œ

œ

A

Œ

œb ˙n

u

A

3

œ

œ

œœ

œœ œœ œœ# ˙˙ ..

˙˙

œn œ œ

œ

n œ

œ ˙˙

Quail Is a Pretty Bird As played by Gene Goforth in Emminence Breakdown (Rounder CD0388, 1997); time: 2/2; key: A; scale: Mixolydian (low 7th, some high 4th, low 3rd ); pattern: AABB (8.8,8,8); tuning: standard

A

B

Ending from * Variations V1 V2

V1 V2

*

The tune is known in Kentucky and West Virginia as “Sandy Boys,” which is often associated with West Virginia fiddler Edden Hammons.Fiddler’s Companion identifies “Sandy Boys” as an early minstrel song that appears in a couple of music books in the 1840s and the 1850s.Goforth could have played this tune in EAEA tuning, which is probably more typical for the tune, but in this version he plays an E flat note in theending, suggesting a standard tuning. Other musical transcriptions, under the title “Sandy Boys,” are in Krassen (Masters, p. 78) and Songer 1 (p.173).

&b

b

C ..

h»114

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œœ

œœ

Bb

œœ

œ

˙ œ œ œ œœn

œœ

F

œ œn œ œ œœ œ

œ

Bb

œ

œ

œœ

œœ

œœ

œ

˙

&b

b..

n

b ..

œ œ œ œœn

œ œ

F1

œœ

œ

œ

œ œ

œ

œ

œ

œ

œ

Bb

2

œœ

œœ œ

œ

œ œ

Bb

œ œ œœ

œ œ œœ

F

œ

œ

œ

œ

œ

˙

˙

œ œ œ œ œœ

œ

C

&b .

. b

bœ œ œœ

œ

œœ œn

F

œ œ œœ

œ œ œœ

œ

œ

œ

œ

œ

˙

˙

œ œ

↑œ œ œ

œ↑

œœ↑

C1

.

.

˙

˙ œ œ

F2

D.C.

˙ œ

œœ

F

œœ

œœ œ

œ

Œ

Bb

Œ

.˙

u

Ragged Bill As played by Gene Goforth in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 10/1/97; time: 2/2; key: Bb and F; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

Ending from *

*

A

B

Goforth learned this tune, about which I have little information, from Roy Wooliver. Vance Randolph includes the title “Ragged Ass Bill” inhis list of Ozarks tunes published in 1954, but its connection to this tune is unknown. The A part to Goforth’s tune is similar to versions of “SallyGardens” (Brody, p. 246), “Grand March o’ Normal” (Bayard, p. 216), and “Dow Everly” (Bayard, p. 87). The key change is reminiscent of tunesin the “Flop-Eared Mule” family of schottisches, but can also found other tunes such as “Down Home Rag” and “Lonnie’s Hornpipe” (in thisbook).

© 1997 John Hartford Music. Used by Permission.

48

This is another tune Goforth learned from Roy Wooliver. Mark Wilson calls it a hornpipe, and it resembles the classic tunes “TemperanceReel” and “Teetotaler.” Bayard (p. 239) calls it “Oh My Foot,” and lists alternate titles “The Peeler’s Jacket,” “The Fisher’s Hornpipe,” and“Where’s My Other Foot.” Fiddler’s Companion also connects the tune to the title "The Devil in Georgia." Other musical transcriptions (amongmany), usually under the titles “Temperance Reel” or “Teetotaler,” are in Bayard (p. 239), Brody (p. 274), Cole (p. 9, 16), Ford (p. 92), Kerr’s 1 (p.35), Krassen (Appal. Fiddle, p. 62), and Phillips 1 (p. 238). Meade (p. 734) lists nine early commercial recordings under “Temperance Reel,” theearliest being by Joseph Samuels (1919); others include Ted Sharp, Hinman & Sharp (1933) under the title “Where’s My Other Foot.”

Lacey HartjeLacey Hartje (1926-) is a left-handed fiddler with a colorful his-

tory that includes square dances, barroom dances, touring bands,radio programs, USO tours, and even popular music orchestras. Hisfather, Oliver, was an active fiddler from central Arkansas. He metLacey’s mother at a picnic in Fort Smith where he was playing fora mule-powered merry-go-round while someone else beat straws(or used thin sticks to beat out a rhythm on the fiddle strings as thetune was played). They got married and moved to Joplin, Missouri,where Lacey was born. Oliver died when Lacey was young, butLacey had a chance to hear him play and inherited a love for fiddlemusic from him. When Lacey was a teenager, his brother Claudegave him a fiddle, and Lacey began to figure out some tunes. In aninterview with Mark Wilson, Lacey recalled a dramatic event thatsoon followed, and that quickly launched him into the spotlight.Wilson relates the drama in the following narrative: “Three monthslater [after getting his first fiddle], Lacey was asleep when somemusicians from the nearby ‘Tom’s Club’ rousted him from his bedone night. They had been having a dance contest over at the clubwhen their fiddler had become so drunk that he had fallen out ofhis chair. Lacey protested, ‘But I’ve never played for anyone except

for sitting around here with my brother-in-law…’ but they carted him away to Tom’s Club anyway where fourhundred people were waiting to resume the contest. Lacey then tried to warn the bandleader, Stanley Dugger,that he couldn’t play very well, but Stanley replied, ‘That’s okay. You just take off and we’ll keep up withyou.’ Afterward, Dugger took him home and paid him five dollars (the full band had only been given $7.50 forthe evening’s work). But soon after Lacey had gotten back to sleep, Stanley returned. ‘Oh oh,’ Lacey whis-pered to his brother, ‘I bet he’s come to get his five dollars back!’ But, no, the club’s owner had fired the otherfiddler—‘the dancers told us that you kept much better time than he did anyway’—and wanted to hire Lacey

&

#

C ..

h»114

œœ

œ œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ œ

G

œ

œ

œœ

œ œ œ œœ

œ

œ œœ œ œ

œ œ

↓

œ

œ

œœ

œ œœ œ

œ

œ œœ

D

œ

œœœ

œ

œ

œœ

œ œ

↑

G

&

#

.

...

œ œœ

œ œ œ œœ œ œ œ œ

œœ œ

œ

œ

1

œ œœ œ

œœ œ œ

œœ

D G2

œ œœ œ

œœ œ

œ œ œ

D G

œ

œœ

↑œœ

↑

œ

œœ œ œ

œ

Emœ

œ

œœ œ œ œ œ

&

#

.

.œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ

Gœ œ

œœ œ œ œ œ

œ

œœ

↑œœ

↑

œ

œœ œ œ

œ

Emœ œ

œ œ œ œ œœ

œ œ œœ

œ œœ

œ

G1

œ

œ

œ œ

œœ œ

œ œ œ

D G

&

#2

D.C.

œœ œ

œœ œ

œ

œ

œœ

D G

œœ œ

œœ

œœ

œ œ

D Gœ œ œ

œ

œbœ

œ œ œ œœ œ

œœ

œœ

3

œ œ œ

D G

œœb œ œ

œœ

œ œ œœ

œ

œ

œ

œœ ˙

˙

u

D G

Rocky Road to Denver As played by Gene Goforth in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 10/1/97; time: 2/2; key: G; scale: major (some low 7th, 3rd, high 4th); pattern: AABB (8,8,8,8); tuning: standard

A

B

Ending from **

Cou

rtes

y of

Gor

don

McC

ann

49

(who was 19 at the time). ‘Be ready to go in a couple of hours—we’ve got a radio show to play at KFSB at6:45 in the morning’” (Wilson’s liner notes for Rounder CD82161-0436-2). After touring with Stanley Duggerand his Arkansas Ramblers for a while, and building up a number of bar-fight memories, he joined the Armyand played on USO tours. After his discharge, he joined Chris Jeeter’s Western swing band, but soon becamedisenchanted with the band leader’s financial interactions. Hartje became a skilled tool maker, moved to thewest coast for 11 years, and played with a number of popular music bands and orchestras on the side. Sincemoving back to Missouri, he has enjoyed playing fiddle at various jam sessions. Listeners accustomed to hear-ing standard square dance tune are often delighted to hear his popular and swing repertoire. He lists among hismajor influences professional fiddlers such as Tommy Jackson, Benny Martin, and Dale Potter. Hartje alsoenjoys composing tunes, two of which are included below.

&

#

# C ..

h»126

œ œ œ œœ}

œ

œ

D

œ˙ œ œ

G

œ œ œœ

œ

œ

A

œ œ œœ œ œ œ œ

D

œ œ œœ

œ

œ œ˙ œ œ

G

œ œ œœ

œ

œ

A

&

#

# ..

#

#

#

.

.

1j

œ

j

œ

.œ

J

œ œ

œ

D2

j

œ

j

œ

.œ

J

œ œ œ

D

œœ œ œ œ

œ

A

œ œ œ œœ œ œ

œ œ œ œj

œœ œ œ œ

E

œœ

œœ œœ œ œ œ œ œ

&

#

#

#

.

.

n#

#

œ œ œ œ

œ

A

œ œ œ œœ œ œ

œ œ œœ œ

œœ

E1

œœ

œœ œœ œœ œœ

œ œ

A2

D.C.

œœ

œœ œœ œœ œœ

œ

A

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

&

#

#

#

#

#

œ

œ

œ

œ

œ

œ

œ

œ œ

j

œ

.œ

J

œ œ

œ

œ

D

œ

œ

œ œ œœ

œ

3

œ œ œ œ œœ œœ

œ

œ

˙

˙

u

A Dœ œ

œ œ

œœ

œ œ œ œœ œœ œ œ

.œ œ œ œ

œ

œ

Breakdown in A & D

A

B

Introduction

Ending from *Variation V1

V1

As played by Lacey Hartje in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 6/23/97; time: 2/2; key: D and A; scale: major; pattern: AABB (8,8,8,8); tuning: standard

*

Hartje’s B part for this well-known tune is a little different and more complex than most versions. Bob Cox credits east Tennessee native andlongtime old-time fiddle champion Charlie Bowman (1889-1962) with composing the tune in the early 1920s. In his biography about Bowman,Cox reports that Bowman had not yet named the tune when he was preparing to record it in 1926. Fellow band member and sometimes bandleader

Hartje thinks he learned this tune from Lonnie Robertson.

&C .

.

h»106

œ œ

↑œ# œ œ œ

œœ œ œ

œ

Cœ

œœ

œ

œ œœ œ

œ œ œœ

œ œ œœ

F

œ œ œœ

œ œ

↑

œ œ œ œ# œ œ

œ

œ œ œ œ

C

œ œ œ œ# œ œ œœ

A7

&

œ œ# œœ# œ

œœ

D

œ œ# œ œ œœ œn

↑Gœ œ œ

œœ œ œ

œ

Cœ œ œ

œ

œ œœ œ

œ œ œ j

œ œ

œ œ œœ

F

j

œ

œ

J

œ œ œœ œ œ œ# œ œ

œ

œ œ œ œ

C

&

œ œœ œ œ# œ œ œ œ

A

œ œ œœ

œ œ œ

D G

˙

˙

œ œ

œ

œ

œ

b œ

C

œ œ œ

œœ

œœ œœ œœ œœ œ œ œ# œ œœ œ œ

C7

œœ œ œ œ œ œ

F

&œ

œ œ œ œ œ# œ œ

C

œ œ œ œ

œ

œœ

œ

œ œ œ œ

↓

œ œ œ œ# œ

œ

A

œ œ#

↓

œœ# œ

œœ

D

œ œ# œ œ œœ œ

Gœ œ œ

œœ œ œ

œ

Cœ œ# œ

œ

œ œœ œ

C7

&

.

.œ œ œ

œœ œ œ

œ

F

œ œ œœ

œ œœ

œ

œ œ# œ

œ

œ œ œ œ

C

œ œ œ œ# œ œ œ œ

A

œ œ œœ

œ œ œ œ

D G

œœœ œ œ

↑œ

↑œ#

C

œ Œ ˙

˙

u

C

East Tennessee Blues

A

B

As played by Lacey Hartje (Gordon McCann Collection, field recording); recorded 4/23/97; time: 2/2; key: C; scale: Lydian (high 4th); pattern: AB (16,16); tuning: standard

*Ending from *

50

Al Hopkins suggested the title “East Tennessee Blues.” Bowman consented, but later acknowledged that he was unsure the title was suitablebecause the tune was not a blues piece (Cox, p. 58). Fiddler’s Companion links the tune to “Poca River Blues,” “Honeysuckle Rag.” "Hey, Mr.Muskrat," and "Huckleberry Blues." Other musical transcriptions are in Brody (p. 98), Christeson 2 (p. 113), Krassen (Appal. Fiddle, p. 75),Phillips 2 (p. 46), Songer 2 (p. 56), and Silberberg (p. 42). Meade (p. 870) lists 11 early commercial recordings, the earliest being by Al Hopkins &His Buckle Busters with Charlie Bowman on fiddle (1926); others include Elmer Bird (with A.J. Ball on fiddle) and Bob Wills (1936).

&

#

4

3 ..

q»110

j

œ œ œ# ˙

3

œ œ# œn

G

œ œ œœ

3

œ œ œ

G/F#

œ

œ

œ

œ

œ

œœ

œ#

œ

œ

œœ

Em˙

˙

œœ œ œ œ

Gœ

œ œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ œœ

œ œœ

&

#..

œœ

J

œ

œ

œœ

œœ

↓D

.

.œœ

j

œ

œ

œ

œ

œœn

.

.œœa

j

œœ

3

œœ

œœn

œ

œ

œ

œ

œ

œ

œœ œ œ

œ

œ

Am7

.

.œœ

j

œ

œ

œ

œ

œœn

D

.

.œœa

J

œ

œ

3

œ

œ

↑

œœ#

œœ

Am7

&

#œœ

œœ

bn

.

.œœ

n#

J

œ

œ

Dœ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œœ

D7

œ

œ

œ

œ

œ

œ

œ œ œ

œ

G˙

˙ œ

œ

œ

D7

œ

œ

œ

œ

œ

œ

# œ

œ

G

œ

œ

œ

œ

œ

œ

3

œ œ œ#

Bm

&

#œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Em˙

˙

œ

œ œ

œ

Gœ

œ

œ

œ

œ

œ

œ

œb

œ

œn

3

œ

œ

n↑

œ

œ

œ

œ

↑œ

œ

œ

œ

œœ

G7˙˙

œœ

œœ

#

↑C

.

.œœ

N

J

œ

œ

œ

œ

n œ

œ

#

Am

&

# .

.

œ

œ

J

œ

œb

œ

œn

œ

œ

#

Cœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

.

.œ

œ

J

œ

œ

3

œœ œ

G

˙

˙

↑ 3

œ œ# œn

Em

.

.œœ#

j

œ

œ

œ

œ

œœ

A

œœ

œ

œ

œ

œ

œ

œœœ

D

.

.œœ

j

œœ

œœ

œœ

G

&

#

.

.œœ œ

œ

}

} œ

œ œ œ#

œœ

œ

œœœ

rit.

œœœœ

œ

œ

œ

œ

# œ

œ

˙

˙ Œ œ œ œ

œ œœ

œ

œœ œœ œœ œœ œœ# œœn œ

œ

˙

˙

3

œ

œ œ œ œ œœ

œ

œ

œ

œ

œ

œ œ#

Fan Me While I Dream

A

Ending from *

*

V1

Variations V1

V2

V2

As played by Lacey Hartje (Gordon McCann Collection, field recording); recorded 2/2/92; time: 3/4; key: G; scale: major (with many chromatic notes); pattern: A (32); tuning: standard

Hartje says that as a boy he heard this heavily-chorded and chromatic waltz played by a classically-oriented fiddler in Joplin named FredGentner Dalton, nicknamed Doogie (soft g). Hartje recalled, “When I was 19, Doogie was 60 or 65, but he told me that when he was 19, there wasan old boy 60 or 65 called Fat Eddings… and he wrote a tune called “Fan Me While I Dream.”…. That song was never… published or copyrightedor nothing. And I know part of it… I’ll do part of it… Now there’s another part to that that goes up high” (interview with Gordon McCann on2/2/92). Hartje implied that he could not remember all of the variations on the tune played by Doogie. His story places the tune around 1905. I canfind no more information about a tune called “Fan Me While I Dream,” but it uses a 32-bar chord progression that was popular during the ragtimeera in the late 1800s and early 1900s. The “Bill Bailey” chord progression, as it is sometimes called because it is used in the song “Won’t YouCome Home, Bill Bailey,” is found in a number of tunes and waltzes from that period including “Under the Double Eagle” and “Over the Waves.”“Fan Me While I Sleep” might have been written to capitalize on the popularity of the similar-sounding waltz “Over the Wave” (written in 1891 byJuventino Rosas under the title “Sobre las Olas”), which did have a higher second part. The noted chord progression is also used in “ColemanWaltz” and “Shoe Cobbler’s Blues,” two other waltzes in this book.

Track #5

51

&

#

#

#

C ..

h»128

œ

œ

œ

œ

œœ

œœ œ

œ

œ œ œ œœ

œ

A

œœ

œœ œœœ œ œ œ

œœ

œ

D

œ

œ

œœ

œ

œ

œ

œ

œœ

œœ œœ

œ

œ

A

œ

œ

˙

˙

œ

œ

œ

œ

E

œœ

œœ œœ œ œ œ

œœ

A

œœ

œœ œœœ œ œ œ

œœ

œ

D

&

#

#

#

.

...

œœ

œœ œœ

œ

œ

œ

œ œ œœ

E1

œœ

œœ œœ œ œ

œ

œ

œ

œ

A2

œœ

œœ œœ œœ œœ

œ

œ

A

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œœ

œœ œœ œ œ

D

œ

œ

œœ

œ œ

œœ

œœ œœ

œ

œ

A

&

#

#

#

.

...

œ

œ

œ

œ

œ

œ

œ

œ

E

œ

œ

œ

œ

œœ œ

œ

œ

œœn œœ

œ

œ

A

œ

œ

œ

œ

œœ

œœ œ

œœ

œ

œ

œ

œ

D

œœ

œœ œœ

œ

œ

œ

œ œ œœ

E1

œœ

œœ œœ œœ œœ

œ

œ

A2

œœ

œœ œœ œœ œœ

œ

œ

œ

œ

A

&

#

#

#œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œœ

œœ œœ œœ œœ

œœ

Aœ œ œ

œ œ

œ

œ œ

œ

œœ œœ

œ

œ

œ

œ

œœ

˙

˙

E A

œ

œ

œ

œ

œœ œ

œ

œ

œœ

œ

œ

œ

œ

œœ

œœ œ

œ

œ

œ Œ

E A

Jasper County Breakdown

*

Introduction Ending from *

A

B

As composed and played by Lacey Hartje in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 6/23/97; time: 2/2; key: A; scale: major; pattern: AABB (8,8,8,8); tuning: standard

This is one of Hartje’s compositions, named after the county in which Joplin, his home town, is located.

&

#

#

#

C ..

h»116

œ

œ

œ

œ

œ

œ

œœ

œœ

œœ œœ

A

œœœœ œœ œœ œ

œ

œœ

œœ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ œœ

D

.

.˙

˙

œ

œ

A

œ

œ

œ

œ

œœ

œœ

œœ œœ œœœœ œœ œœ œ

œ

œœ

œœ

œ

œ

&

#

#

#œœ œ œ œœ

œ

œ

œœ

B7

.

.˙

˙

œ

œ

œ

œ

E

œ

œ

œ

œ

œœ

œœ

œœ œœ

A

œœœœ œœ œœ œ

œ

œœ

œœ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ œœ

D

.

.˙

˙

œ

œ

A

&

#

#

#

œ

œ

œœ œœ œœ œœ

œ

œ

œ

œ

D

œœ

œœ œœ œœ œœ œœn

œœ#

A F#m7

œœ

œ

œ

œ

œ

œœ

œ

œ œ œœ

B7 E

œœ

œœ œœ œœ œœ

œ

œ

A

œ

œ

œ

œ

œœ

.

.œ

œ

j

œœ

œœ

œ

œ œœn

↑

œ

œ

œ

œ#

œ

œ

&

#

#

#

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

œ œœ

D

.

.˙

˙ œ

œ

A

œ

œ

œ

œ

œœ

.

.œ

œ

j

œœ

œœ

œ

œ œœn

↑

.

.œ

œ

j

œœ

↑

œ

œ

.

.

œ

œ

j

œ

œ

œ

œ

œœ

B7

.

.

˙

˙

œ

œ

œ

œ

E

&

#

#

#

œ

œ

œ

œ

œœ

.

.œ

œ

j

œœ

A

œœ

œ

œ œœn

↑

˙

˙

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

œ œœ

D

.

.˙

˙

œ

œ

A

œœ

œœ œœ œœ œœ

œ

œ

œ

œ

D

œœ

œœ œœ œœ œœ œœn

œœ#

A F#m7

&

#

#

#

.

.

œœ

œ

œ

œ

œ

œœ

œ

œ œ œœ

B7 E

œœ

œœ œœ œœ œœ œœ

A

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œ œ

œœ œ œ œ

œœ

œ

A

œœ œ œ

œ˙

E A

w

w

u

Pickin’ Cotton Down South

A

B

As played by Lacey Hartje in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 11/4/95; time: 2/2; key: A; scale: major (some low 3rd); pattern: AB (16,16); tuning: standard

IntroductionEnding from *

*

Hartje thinks this tune was played by Tommy Jackson as a radio theme in the late 1940s. The tune uses a country rag-style chord progressionsimilar to that used in more popular tunes such as “I Don’t Love Nobody” and “Natural Bridge Blues” (both in this book).

52

&C .

.

h»126

œ œ# œ œ# œ œ œ

œœ œ

C

œ œ œ œ œœ

œ œ œ œ œ œœ œ œœ œ

œ˙

œ œ

G

œ œ

œ

œ

˙

˙

œ

œ

œœ œ œ

↑

œ œ œœ œ œ

œœ

œ œœ œ

&..

œœ

j

œœ

œœ

œ œ#

Cœ œ# œ œ œ

œ

œœ œœ œ œ œ œ

œ œ œ œ œ œœ œ œœ œ

œ

œ

œ œœ# œ œ

G

œ œ œœ œ œ œ

œ œœ œ œ œ œ œ œ

&œ œ œ

œœ œ œ œ œ œ œ œ œ œ

C

.œ

j

œ œœ œ œ œ œ œ œ

œ œ œ œ œ œ

↑

œ.œ

j

œ œ

œ œ

G

œ œ œ

˙

˙

&

œ

œ

œœ œ œ

↑

œ œ œœ œ œ

œœ

œ œœ

œ

œ

œ

œœ

œœ

œœ

œœ œœ

œœ

C

œœ

œœ

œœ

œ œ œ

↑

œœ

œ

œ

œ

œ

# œ

œ œ œ

œ œ œ œ œ œ œ œ

↑

œ.œ

j

œ œ

œ

G

&

.

.

œ œ œœ œ œ œ

œ œœ œ œ œ œ œ

œ œ œ œ

œœ œ œ œ œ œ œ œ

œ œ#

C

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ œ}

C

œ œ œœ œ

œ

œœ

œœ œ œ

œ

œœ

Œ

G C

Turkey Tracks As composed and played by Lacey Hartje in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 6/23/97; time: 2/2; key: C; scale: major (some high 1st, 4th); pattern: AB (16,16); tuning: standard

A

B

Ending from *

*

This is another one of Hartje’s compositions.

&C .

.

h»88

œ

3

œ œ# œ œ

œ

œ#œ

œ .œ

J

œ#

Aœ

œ#œ

œ œ œ# œ# œ œ

œ#œ

œ .œ

J

œ#

D

œ

œ#}œ

œ œ œ# œ œ œ œ œ

œ œ œ œœ

Gœ#

œœ

œ œ œ œ œ

&

œ œ œœ

œ œ# œ œ

Cj

œ

œ

œ œ

3

œ œ

↑

œ œ

œ# œ# œ

œ#œ

œ .œ

J

œ#

Aœ

œ#œ

œ œ œ# œ# œ œ

œ#œ

œ .œ

J

œ#

D

œ

œ#œ

œ œ œ# œ œ œ

œ œ œ# .œ

J

œ

G

&

œ#œ

œœ œ œ œ œ œ œ œ

œ œ œ œ œ

C

.œ

J

œ œ œb œ

œœ ˙˙

A

œœ œ# œœ œ œ œ œ

œœ#

œ œ œ# ˙

D

œ œ# œ œ œ œ

↓

œœ œ

œ œ œ# .œ

J

œ

G

&

œ œ# œ œ œ œœ

œ œ œ œ œ œ œ# œ œ

C

œœ

3

œ œ# œ œ

œœ œœ œœ# œœ œœ ..œœ

J

œœ

A

œœ œœ# œœ œœ

3

œ# œ# œ œ

œ#

œ œ œ# œ œ œ

D

&

.

.

œ œ œ œ œ œ œ# œn œ

œ œ œ# .œ

J

œ

Gœ œ# œ œ œ œ

œœ œ

œ

œ œ œ

œ œœ

C

œ œ œ

3

œ œ œ œ

œ# œ#

œ

œ œ œ œ œ

C

œ Œ

˙

C7

Whiskers As played by Lacey Hartje in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 6/23/97; time: 2/2; key: C; scale: major (w/chromatics); pattern: AB (16,16); tuning: standard

*Ending from *

A

B

Hartje heard this tune as a boy in Joplin, Missouri. Early ragtime composer Percy Wenrich, who also grew up in Joplin, reported he based aportion of his 1905 hit “Peaches and Cream Rag” on a tune called “Whiskers” (see the sheet music and listen to Wenrich’s “Peaches and CreamRag” as a midi file at Colin D. MacDonald's website http://www.ragtimemusic.com/wenrich.html). In his liner notes, Mark Wilson suggests“Whiskers” is typical of the kinds of tunes that preceded, and inspired, the ragtime movement in the 1890s. It is possible “Whiskers” circulated inoral tradition beginning in the late 1800s and was never published (even now, I cannot find a published ragtime piece called “Whiskers”). Themusical structure of the tune is often associated with the more well-known “Stone’s Rag,” composed in the 1920s by Oscar Stone who performedon the Grand Old Opry in the 1920s and 1930s (“Stone’s Rag” is almost identical to “Lone Star Rag,” which is in this book under Cecil Snow. Themelodic contours of Hartje’s version of “Whiskers” are, however, quite different than those generally associated with “Stone’s Rag.” The StriplingBrothers recorded “Whiskers” in 1934. Ozarks fiddler Jim Beeler played the tune with the title “The Taney County Special,” and RaymondCampbell used the title “The Devil’s Ball.” Fiddler’s Companion connects the tune to “Steve’s Rag.” Wilson speculates a possible connection to“Salty Dog Blues.” Ozarks fiddler Art Galbraith recorded a less elaborate version of “Whiskers” on his Simple Pleasures LP, and a musical tran-scription of that version is in Phillips 2 (p. 165). Meade (p. 867) links this tune to “Stone Rag” (p. 866), and “Alabama Jubilee” (p. 497).

53

Violet HensleyViolet Hensley (1916- ) is one of the most public fiddlers in

the Ozarks, having been a regular performer at Silver DollarCity and other venues for decades. She was born on October 21,1916, on her family’s farm in Montgomery County, Arkansas,outside of Mt. Ida and near Norman. Her father, GeorgeWashington “Wash” Brumley, was born in 1874 to parents whosettled in that area after growing up in Tennessee (JoshuaBrumley) and Georgia (Rebecca Jane Crawford). Hensley tells astory of how her father Wash, at the age of 14, wanted to learn toplay the fiddle but was frustrated by his fiddling older brotherwho would not let him use his instrument. In defiance, Washmade a fiddle from scratch, without a pattern, simply by study-ing the outside of a completed fiddle. Violet also began makingfiddles as a teenager (15), and by the time she was 18 years oldshe had made four. She began playing the fiddle earlier whenshe was 12 years old. It was unusual for a woman to play thefiddle at that time, and she knew of no other women fiddlers inher neighborhood. That did not deter her, and she was often seenplaying at square dances with her father. In 1935, when she was18, she married Adren Hensley. He did not like going to dances,

and for the most part Violet set aside her fiddling to raise nine children. Twenty-five years later, in 1959, theHensleys moved to Yellville, Arkansas, and two years later she decided to enter a talent contest at a localschool. Violet won first place playing “Eighth of January.” Adren changed his mind about fiddle music, andbegan to support Violet’s fiddling. Violet started to making fiddles again, and before long she was working atSilver Dollar City in Branson, demonstrating her fiddle making and fiddle playing skills. A crowd pleaser, shewould sometimes jig dance and play the fiddle on her head at the same time. In time her energetic personalityand musical abilities led to appearances on Captain Kangaroo, On the Road with Charles Kuralt, the ArtLinkletter Show, the Smithsonian Folklife Festival, To Tell the Truth, Regis and Kathy Lee, the DisneyChannel, the Ralph Emery Show, and What Do You Know. She has made a number of recordings, primarily topreserve the tunes of her family. In 2004, Hensley received a “Living Treasure Award” from the Arkansas ArtsCouncil. In 2006, she had 32 grandchildren, 38 great-grandchildren, and six great-great-grandchildren. Shecontinues to play often with her daughter Sandy Flagg on guitar, and occasionally with her daughter LawonnaNelson who plays “the jawbone of a jackass” to keep rhythm. At the time of this writing, Hensley had made73 fiddles, and she continues to teach a number of students how to make and play fiddles.

&

#

#

#

C2

1C

h»110

%

˙ œœ

.œ

J

œ œ œ œ

A

œœ

œœ œ œ

œœ

œœ

œ œ œœ

œœ

œœ

œ

œœœ œ œ œ

œœ

œœ œ œ

œ

&

#

#

#

2

1Cœ

œœ

œ œ œœ

œœ

œœ

œ

œ œ œ œ œ¿ ¿

¿ ¿

¿ ¿

¿

¿¿ ‰

j

œ

œ

œ

œ

œ

œ

¿ ¿¿ ¿

¿ ¿

¿

¿œ œ œ œ œ

œ

&

#

#

#

.

. 2

1 .. 2

1C

œœ

œ

œœ

œ

œ

œ

A

œœ

œ

œ œœ

œœ

D

œœ

œœ

œœ

œ

œœ

œ

œ

œœ

œ

œ

œ

A1

œ

œ

œ

œ

E2

D.S.

.œ

œ œ

E

œ

.

.

˙

˙

u

E A

Jericho

*

As played by Violet Hensley in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 10/4/97; time: 2/2; key: A; scale: major; pattern: ABCC (9,4,5,5); tuning: C#AEA

Ending from *

A

B

C

Hensley learned this tune, played in “cross-tuning,” from her father Wash Brumley. She told Linda Higginbotham (p. 16) that she considered ita family tune, and that she had never heard anyone outside of her family play it. The arpeggio-style playing on the C part is unusual, and is playedin what could be considered a slow waltz time. Mark Wilson suggests “Jericho” and “The Walls of Jericho” are versions of the same tune. Two

Cou

rtes

y of

Gor

don

McC

ann

54

Virginia and North Carolina recordings of “The Walls of Jericho” are on the LP set Old Originals (Rounder 0057-0058). Munsey Gaulney, whorecorded the tune on that LP set, believes the tune “Jericho” depicts Joshua’s activities as his army demolished the city of Jericho. Randolphincludes “Walls of Jericho” in his 1954 list of Ozarks fiddle tunes. Bob Holt’s father used to give the title “The Walls of Jericho” to the tune Bobcalls “Bear Creek Sally Goodin” (in this book). Although those two tunes, as played by Hensley and Holt, are clearly not the same tune, Hensley’stune and “Bear Creek Sally Goodin” both includes plucked strings, so a distant relationship is possible. Another musical transcription of one ofHensley’s performances of this tune is in The Old-Time Herald (Vol. 9, No. 5, Fall 2004, p. 17).

&

#

C ..

h»118

œ œ

œ

œ

œ

œ œ œ œ œ

œ

Gœ œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ ˙˙ œœ

œ

œ

œ

œ

D

œ

œ

œœ

œ œœ

œœ

œ œœ

œ

œ

œ

œ

œj

œ œ

œœ

œ

&

#

.

.˙˙

œœ œ

œ

œ

œ

G

œ

œ

œj

œœ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

C

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œœ

G D

˙˙

œ

œ

œ

G

‰ œ

œ

˙˙

u

G

Mate to the Hog Waltz

Ending from *

A

B*

As played by Violet Hensley in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 10/4/97; time: 2/2; key: G ; scale: major; pattern: AB (8,6); tuning: standard

She also learned this tune from her father Wash Brumley. Hensley explains that long ago Brumley did not remember the name of this tune, butthought it was a good companion tune to “The Hog Waltz.” Thus this new tune title was created. Both of these tunes are actually reels, not waltzes.

&

#

# C

h»126

œ œ

œœ

œœ

œœ œœ

D

œ œ œœ œ

œ

œ

œ

œ

œ

œ

œ

G

œœ œ

œœ œœ œœ

A

œ œœ

↓

œœ

↓

œ

œ

œ

œ

D

œ œ

œœ

œœ

œœ œœœ œ œœ œœ

œ

œ

œ

œ

G

&

#

# .. 2

3

œ œ

œœ

œœ

œœ œœ

A

œ œœ

↓

œœ

↓

œ

œ

œ

œ

D

.œ

J

œ œ œ

œœ

œœ

œœ

œ

œ

œ

œ

.œ

J

œ

↓œ

œ

œ

Dœ

œ

œ œ œ

œ

G.œ

J

œ œ œ# œœ œ

œ

œ

œ

A D

&

#

# C ..

œ œœœ œ œ

œ

D.C.

œœœ

œœ

œ

œ

œ

œ

œ œ œ œ œ œœ

D

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

G

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

A

œœœ

œœ

œ

œ

œ

œ

D

œœœ

œœ œ

œ

œ

u

D

Paddy Won’t You Drink Some Cider

A

B

Introduction Ending from *

*

As played by Violet Hensley in Old-Time Hoedowns (John’s Recording Studio LP 999967); recorded c. late 1970s; time: 2/2; key: D; scale: major (some high 4th, low 3rd); pattern: ABB (10,5,5); tuning: standard; intro replaces first half of A part

I have included two versions of this tune in this book, the other being by Bob Larkan, to show how tunes can vary. Hensley’s version is inter-esting because it includes extra beats and extra measures that are not typically played with the tune. Brown III (p. 74) connects the tune to the titles“Sweet Cider” and “Pretty Little Black-Eyed Susan,” and includes lyrics that replace Paddy with Sallie. Fiddler’s Companion connects the tune tothe titles "Davy, Davy," "Sailing Down the River," and "Old Grey Goose." Other musical transcriptions are in Brody (p. 215), Ford (p. 41),Harrison (p. 310-311), Phillips 1 (p. 180), and Thede (p. 53). Meade (p. 387) lists three early commercial recordings, the earliest being by G.B.Grayson & Henry Whitter (1927); the others are Arthur Tanner (1930) and J. E. Mainer (1938). Riley Puckett & Clayton McMichen also recordedthe tune in 1929 with lyrics that begin, “You be the horse and I’ll be the rider; Go to Betty Watson’s to get some cider; Paddy won’t you drinksome, Patty won’t you drink some; Paddy won’t you drink some good old cider.” The repeating “Patty won’t you drink some” section correspondswith Hensley’s A part.

&

#

C ..

.

. 4

5

h»96

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

G

œ œ œœ

.

.

˙

˙

œ

œ

œ

œ

œ

œ

.

.

œ

œ

j

œœ

œ

.˙ œ œ œ œœ

C

œ

œ

œ

œ

œ

œ

œ

œ

G

œ

œ

œ œ

œ

œ

œ

D

.

.

˙

˙

œ

œ

œ

œ

G

w

w

w

w

œ

œ

œ

œ

Rose Nell As played by Violet Hensley in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 10/4/97; time: 2/2; key: G; scale: major; pattern: A (9); tuning: standard

Variation V1Endingfrom *V1*

This it one of the first tunes Hensley played on the fiddle, and she learned it from her father when she turned 12 in 1928. Mark Wilson pointsout that the tune bears little resemblance to the 19th century song, “I’d Rather Be with Rosy Nell.” To me the tune is vaguely reminiscent of“Froggy Went A-Courting” (See “Birmingham” in this book).

Track #7

55

&

#

4

3 ..

h»184

.

.

œ

œ

œ.œ

J

œ œ œ

Gœ œ œ œ

.œ

J

œ œ œ

Cœ œ

œ.œ

J

œ œœ

D7

œ œ œ

.

.

œ

œ J

œ œ

œ

œ

G

.œ

J

œ œ.œ

j

œ

J

œ œ œ

&

#

œ œ œ œ.œ

J

œ œ œ

Cœ œ œ

œ œ œ œ œ œ œ

↑D7

œ œ œ

.

.

œ

œ

J

œ

œ

œ

œ

œ

G

˙

˙

œ œ œœ œ

˙

˙

œ

œ

œ

&

#

.

.˙˙ œ

œ

˙

˙

œ œ œœ œ

˙

˙

œ

œ

œœ

˙˙ œ

œ

˙

˙

œ .

.

œ

œ J

œ œ œ

↑D7

œ œ œ

.

.

œ

œ J

œ œ œ

G

.

.

œ

œ J

œ œ

œ

.

.

˙

˙

u

G

Sam Moore Waltz

A

B

* Ending from *

As played by Violet Hensley in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 10/4/97; time: 3/4; key: G; scale: major; pattern: AB (16,12); tuning: standard

Sam Moore was one of Hensley’s father’s friends from Almo, near Mt. Ida, Arkansas.

&

#

# C .. 2

3C

h»106

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

D

.

.

œ

œ œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ œœ

.

.

œ

œ

J

œ

œ

↓œ

œ

œ

œ

œ

œ

Aœ

œ

œœ

œ œ œ

œ

D

œœ

.

.

˙

˙

œ

œ

œ

œ

œ

œ

&

#

# .. 2

3

.

.

˙

˙

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ .

.

˙

˙

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ.

.

˙

˙

œ

œ

œ

œ

œ

œ

œœ

œ

œ œ

œ .

.

˙

˙

œ

œ

œ

œ w

w

w

w

Uncle Henry

A B

* Ending from * VariatV1

As played by Violet Hensley in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 1time: 2/2; key: D ; scale: major; pattern: AB (6,8); tuning: DADD

Hensley learned this unusual tune, played with the fiddle tuned down to DADD creating a strong droning effect, from her father. She did notconnect it to any title, however, until she heard a man in Dardenelle, Arkansas, call it “Uncle Henry.” Mark Wilson suggests it might be a re-work-ing of the song “Goodbye, My Honey, I’m Gone.” It appears to have no connection to “Uncle Henry’s Reel” as played by Canadian fiddlers such asDon Messer and Graham Townsend (and as presented in Phillips 1, p. 247). To me, the tune is vaguely reminiscent of the tune “Uncle Joe.” As aninteresting side note, in Hensley’s above recording of the tune her daughter Lawonna Nelson plays jawbones.

Jim HerdJames Burton Herd (1919-2002) was born in Eastview, Missouri, not far

from Theodosia. With a strong sense of history, he tells of his great grandfa-ther Mitchell Herd’s emigration to America from England in 1789 with hisfiddle. Jim’s grandfather Herd fought in the Civil War and was known toplay the fiddle in his unit. William Herd and Nancy Elizabeth Bray, Jim’sparents, had family roots in Tennessee and moved to Taney County in 1904.They raised cattle and hogs on the open range. Herd said he grew up listen-ing to fiddler Lonnie Robertson, and that he knew Bob Holt’s family. He saidhe could not say when he started playing fiddle because the music wasalways a part of his life. Jim’s brothers George, Alfred, and John also playedfiddle and other instruments. They often played for square dances, whichaccording to Herd were always accompanied by breakdown tunes and fastdancing; waltzes and two-steps were rarely heard during that period. AfterWorld War II he moved to St. Joseph, Missouri, and then in 1951 he movedto Washington State, where he settled in the Sunnyside area. ManyMissourians traveled to Washington State and other northwestern statesaround that time for better employment opportunities. Determined to play histunes “in the exact style” of his father, Herd did not change his fiddling style

to match that of the Northwest. Still, his living room was full of trophies from winning fiddle contests, including the1991 senior division of the National Oldtime Fiddlers' Contest at Weiser, Idaho. In 1999, Herd released a CD titled OldTime Ozark Fiddling (Voyager VRCD 340) containing 25 fiddle tunes. [Information from Mark Wilson’s liner notes toRounder CD82161-0437-2 and from Herd’s liner notes to the Voyager CD VRCD 340.]

Cou

rtes

y of

Bar

ry B

row

er a

nd V

oyag

er R

ecor

ds

56

&b

b

4

3

q»166

j

œœ œœ .

.œœ

j

œœ

œœ

Bb

˙ œn .œ

J

œn œ œ

Bb7

.œ

j

œ œ

Eb

.

.œœ

j

œœ

œœ

F7œ

↑œn

↑œ# .œ

J

œ# œ œ.˙

Bb

˙

œ œ ..

˙˙

.

.œœ

j

œ

œn

↓

.œ

J

œn œ œ

Bb7

&b

b...œ

j

œ œ

Eb

.

.œœ

j

œœ

œœ

F7œ#

↓

œn

↓

œ#

↓

œ œ œ œ

↑œ œ

↑

.œ

↑

J

œ œ

Bb

˙ œœ

.

.œœ

J

œ œ œ œ

↑

œ œn

Bb7

.œ

J

œn œ œ

Eb

.œ

j

œ œ ..

˙˙

F7

&b

b...

.œœ

j

œ

œ# .œ

J

œ#

↓œ œ

↓

.˙

Bb

˙

œ œ ..

˙˙

.

.œœ

j

œ

œn .œ

J

œn œ œ

Bb7

.œ

j

œ œ

Eb

.

.œœ

j

œœœ

F7œ

↑œn

↑œ

↑

œ œ œ œ œ œ .œ

J

œ œ

Bb

œ

œ œœ

Bb

.

.˙˙

u

Betty Lou Waltz

A

B

As played by Jim Herd in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 8/19/97; time: 3/4; key: Bb; scale: major (some high 1st, 4th, 5th, 6th); pattern: ABBBBB... (17,18), after one time through A, only B is played; tuning: standard

* Ending from *

Herd describes this as an old tune, but one he did not hear his father play.

&C .

.

h»124

œ

œ

œ

œ œ

C

œ

œ

œ

œ

œ

œ

œ œ œ œ œ œœ

˙˙

G

œ

œ

œ

œ

œ

œ

œ œj

œœ œ

œ

œ

œ

C

œ œ

œ

œ

œ

œ

œ

œ

œ œ

F

œ œœ œ

œ

œ

œ

G1

.

.

œ

œ

j

œ

œ

œ

œ

œ œ

C2

.

.

œ

œ

j

œ

œ

˙

˙

C

&

..œœ

J

œœ œœ œœ

œ œ œ œ

.œ

J

œ œœ

Gœ œ œ œ œ

..œœ

J

œœ œ

œ

C

œœ

œ

œ œœ

œ œ

F

œœ œ

œ

œ

œ

G

D.C.˙

˙

œœ œ

D

Π.

.

˙

˙

u

C

Hold Old Bald While I Dance with Josie

As played by Jim Herd in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 8/19/97; time: 2/2; key: C; scale: hexatonic major (no 4th); pattern: AB (8,8), occasionally AAB; tuning: standard

*Ending from *

A

B

Similar tunes in the Ozarks are also called “Arkansas Hoedown,” “Wagner One Step,” and “Humansville” (in this book, with the A and B partsswitched). Mark Wilson suggests a possible connection to “Hawks and Eagles,” and to a tune known as “The Fun’s All Over” in West Virginia andVirginia. The title might be associated with the play party lyrics, “The fiddler’s drunk and we can’t dance josie.” The josie was the name of an1840s dance that was also included in the title of the popular minstrel song and fiddle tune “Jim Along, Josie.”

&

#

C ..

.

.

h»120

œœ œ

œ œ

↑œ œ œ

Gœ

œ˙ œ

↑

œ œœ œ œ

œ

D1

œ ˙˙

œ œ

G2

œœ œ

œ

Gœ

œ œ œ œ œ

&

#

2

3C .

.

œ œ œ.œ

J

œ œœ

D Gœ œ œ

œœ œ œ œ œ œ œ œ œ

D.œ

J

œ œ

œœ

G

œœ œ

↑œ œ œ œ

œ˙ œ

↑

œ œœ œ œ

œ

D

&

#

.

... 2

3

1

œ ˙˙

œ œ

G2

œ ..

˙˙

G

œ œ œœ œ œ œ

œ œ˙

.œ

↑

j

œ œ œ

D1

œ œ œ œ œ œ

G2

D.C.

œ œ œ œ.˙

œ œ

D G

&

#

C œ œœ

œœ

Œ

G

w

u

œ

↑

œ œ

↑

œ œ œ

↑

œ

↑

œ

↑

œ œ œ

↑

œœ

↑

œœ

œ œ œ œ œ ˙ œ œ œ œ

œ

Knocking Around the Kitchen

As played by Jim Herd in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 8/19/97; time: 2/2; key: G; scale: major (slightly high 4th); pattern: AABAACC (4,4,5,4,4,4,4); tuning: standard

V1

Variations V1 V1 V1V2

V2

V3

V3

Ending from *

*A B

A

C

57

Herd’s title derives from the associated lyrics: “Knock around the kitchen ‘til the cook comes in, the cook comes in, the cook comes in; Knockaround the kitchen ‘til the cook comes in, the poor old cook comes in.” Mark Wilson says that Dean Johnston calls this tune “If You Can’t Standthe Heat, Get Out of the Kitchen.” Herd’s version appears to be different from a tune often associated with that title in Missouri, which is a D & Atune similar to “Richmond Cotillion” (see Brody, p. 229) and “Redman’s Reel” (see Ford, p. 116). For example, Lyman Enloe version of “HangingAround the Kitchen Till the Cook Comes Home” is similar to “Richmond Cotillion” (the notes to Now That’s a Good Tune indicate he learned thetune from the Kessinger Brothers, who recorded the tune under the title “Richmond Polka” so it is unclear why Enloe titled it as he did). Herd’stune is probably more associated with the Kentucky tune “Cuttin’ at the Point” (see Phillips 1, p. 64). Fiddler’s Companion clearly points to thisconnection. Notice that I included two identical A parts, one at the beginning and one after the C part. This is the clearest way I could come up withto communicate the AABAACC pattern. Meade (p. 799) lists two early commercial recordings, the earliest being by Charles Wilson (1932) underthe title “Cuttin’ at the Point;” the other one is by Jess Hillard (1933).

&

#

C2

3C

h»128

œ

œ

œ

œ

œ.œ

J

œ

Gœ œ œ

œ œ

↑.œ

J

œ œœ œ œ œ

..œœ

J

œœ œœ

Em

œ

œ.œ

J

œ

↑Gœ

œ œ œ œœ

C

œ œ œ œœœ

D

&

#

2

3C

œ œ œ œ œ œ

œ

œ

G

œ

œ

œ

.

.

œ

œJ

œœ

œ œ œœ œ œ

œ

.

.

œ

œJ

œœ œ œ

.œ

j

œ œ œ

Em

œ

œ

.œ

J

œ

G

œœ œ œ

œ œ

C

&

#

œ

œ œ

↑œ

œ

Dj

œ

œ œ œœ œ

œ

G

œ œ œ..

œœ

j

œ œ œ œœ œ

œ œ j

œ

œ

˙˙

.

.œœ

j

œ œœ

˙

˙ œ

D

œ œ œ..

œœ

j

œ

G

&

#

2

3

œœ œ

œ œ œ œ œ

C

œœ

œ

œ

D

œ œ œ œ œ

œ

œ

Gj

œ

œ œ œ

œœ

.œ

j

œ

œ

DG

w

w

u

j

œ

œ œ œœ œ ˙

œ

œ

œ.œ

J

œ.œ

J

œœ œ œ œ

œ

Sally Johnson As played by Jim Herd in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 8/19/97; time: 2/2; key: G; scale: major; pattern: ABCBCBAAB (all 8); tuning: standard

A

B

C

Ending from *

*

Variations V1(when to A)

V1

V2 (when from A) V3

V2 V3

To B

To Cor A

Herd plays an older hoedown version of this tune which is often “souped up” by fiddlers competing in fiddle contests. In his liner notes MarkWilson points out that some people believe “Sally Johnson” and “Katy Hill” are variants of the same tune, but he argues they are more likely dis-tinct tunes that are “in the process of collision.” He suggests that occasionally a tune with a forgotten title is assigned the name of a similar tune,and then the two tunes begin to merge over time within a region. Although the high parts of “Sally Johnson” and “Katy Hill” have similarities, thelower parts tend to be quite different. In general, it is more likely E minor chords will be used in “Sally Johnson.” Writing about Oklahoma fiddletunes, Thede tells a story of how in 1884 “Sally Johnson” was learned by a 70 year old acquaintance who learned it when he was 10. If this is true,the tune was being played in 1814. In this book, “Lady On a Steamboat” is a similar tune. Other musical transcriptions are in Christeson 1 (p. 93),Harrison (p. 326), Phillips 1 (p. 211), and Thede (p. 92). Meade (p. 769) lists eight early commercial recordings, the earliest being by EckRobertson (1924); others include the Cartwright Brothers (1927) and the Kessinger Brothers (1929); most performers were from Texas.

&

#

# C ..

h»124

œ œ œ œœ œ

↑œ œ

↑D

œœ

.

.œœ J

œ# œ œ œ œ œ↑

œ↑

G

œœ

œœ

œ œ

Dœ œ .œ

J

œ œ˙

œ œ œœ

.œ

J

œ

A

œ˙

3

œœ

œœ œœ

D

œœœ œ œ

œ

&

#

# ..œ œ

œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

.œ

J

œ

G

œ˙

3

œœ

œœ œœ

D

œœ œ.œ

j

œœ

˙

œ œœ

˙

˙

A

œ œ œœ

œ

œ œ

D

œ œ œœ

œ

Œ

U

D

w

u

œœ œ œ œ œ

Seabolt Quickstep As played by Jim Herd in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 8/19/97; time: 2/2; key: D; scale: major (some high 4th, 5th); pattern: AB (8,8); tuning: standard

A B

Ending from *

V1

Variation V1

*

Herd told Mark Wilson this quickstep tune was named after Sissie Seabolt, a dancer from Hancock County, Tennessee. Wilson suggests thesekinds of quicksteps were once popular along the Kentucky/Tennessee line. This particular quickstep has a melodic rhythm similar to “Got a LittleHome to Go to.”

58

&C .

.

h»126

œ œ# œ œ œ

C

œœ

œ œ œœœ

œ œ# œ œ œœ ˙

œ

œ

G

œœ

œœ

œ œ

C

œœ

œ œ œœ

œ

œ

F

œ

œ

œ œ œ œ

œ

G1

˙

˙

œ

œ

œ œ

C2

˙

˙

œ

œ œ

C

&

.

...

œ

œ

œ

œ œ

œ œ

œ

œ

œ

œ

œ œ

œ œœ œ

œ

œœ

œ œ

G

œ œœ

œ œ œœ

œ

œ œ

œ œ

C

œ œ

œ

œ œ

œ œ

F

.

.

œ

œ

j

œ œ œ œ œ

G1œ ˙

˙ œ

œ

œ

œ

C2

D.C.

œ ˙œ œ#

C

w

w

u

C

Tennessee Grey Eagle As played by Jim Herd in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 8/19/97; time: 2/2; key: C; scale: major (some high 4th); pattern: AB (8,8), sometimes AABB; tuning: standard

*

Ending from *

A

B

This version of “Grey Eagle,” in the key of C, sounds significantly different from the most common “Grey Eagle” played in the key of A (seeIke Helton’s version in this book). It also differs from Cecil Snow’s unusual “Grey Eagle,” also in the key of A (in this book). Herd’s tune couldwith some imagination be viewed as a distant variation of the popular standard in the key of A, but it could just as easily be a version of a com-pletely different tune. Missouri fiddler Cyril Stinnett, as well as Seattle fiddler Ruthie Dornfeld and others, also play C versions of “Grey Eagle,”but those versions generally are more similar melodically to the standard A version than to Herd’s. Fiddler’s Companion lists five different versionsof “Grey Eagle” tunes, exemplifying the difficulties involved in unraveling the histories and relationships of the tunes associated with that title.Mark Wilson points out that Jim Herd was aware that “Grey Eagle” was connected to a race horse. Charlie Walden includes a C version of “GreyEagle” (as well as the standard A version) on his list of "One Hundred Essential Missouri Fiddle Tunes." Musical transcriptions of two C versionsof “Grey Eagle,” as well as the standard A version, are in Phillips 1 (p. 106). For more history on “Grey Eagle,” and for more details about the racehorse connection, see the notes to Ike Helton’s version.

&C

h»130

œ œœ ˙

˙œœ

C

œœ œ# œ œ# œ

œœ œ œ

œ˙˙

G

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ# œ ˙˙

œœ

C

œœ œ# œ œ# œ

œœ

F

&

.

.

œ œ œ œœ œ#

G

.

.œœ

J

œœ

œœ

œ

œ

C

œ

œ

œœ

.

.œœ

j

œ œœ œ

œœ œ

œ ˙˙ œ œ

G

œ

œœ

œ œ œ ˙˙

.

.œœ

j

œ

C

&

.

.

œœ œ œ œ œ

F

œ

œ œ œœ

G1

.

.œœ

J

œœ

œœ

œ

œ

C2

D.C.

.

.œœ

J

œœ

œœ

œ œ

C

.

.œœ

J

œ œ œœ

C

œ

œ

3

œœ œ œ

ww

u

œ œ œ œœ œœ

œœ

Tennessee Wagoner As played by Jim Herd in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 8/19/97; time: 2/2; key: C; scale: Lydian (high 4th, some high 2nd); pattern: ABB (8,8,8); tuning: standard

Ending from **

Variation V1

V1

A

B

A standard among fiddlers in the Ozarks and nationally, “Wagoner” was, like the most widespread version of “Grey Eagle,” initially namedafter a race horse that competed in Louisville, Kentucky, in 1839 (see Ike Helton’s “Grey Eagle” for more details). The horse’s name was Wagner;in time the spellings “Wagoner,” “Waggoner,” and “Wagonner” became more widespread for the tune’s title. The tune contains a number of melodicpassages similar to those in other tunes, and Fiddler’s Companion outlines research that has linked the tune to “The Belle of Claremont Hornpipe,”“Billy in the Lowground,” “The Gaberlunzie-Man,” “Johnny Cope,” “Keep Off the Grass,” “Mississippi Sawyer,” and “Rolling River.” The titleoften includes the name of a state, presumably to indicate slight variations. Tennessee appears to be the state most often used in such titles, but onecan find titles that include state names such as Missouri, Kentucky, Arkansas, Texas, Georgia, and Oklahoma (see “Oklahoma Wagoner” in thisbook under Kermit Moody). Other musical transcriptions are in Arkansas Arkie (p. 28, with square dance calls), Bayard (p. 137), Brody (p. 283),Christeson 1 (p. 40), Ford (p. 28), Krassen (Appal. Fiddle, p. 76), Krassen (Masters, p. 17), Maley (Devil’s Box, March 1980, p. 22), Phillips 1 (p.250), Rainer (p. 144), Thede (p. 34), and Titon (p. 188). Meade (p. 728) lists 24 early commercial recordings, the earliest being by Uncle Am Stuart(1924); others include Doc Roberts & Dick Parman (1927), Reaves’ White County Ramblers (1928), Eck Robertson (1929), Gid Tanner & HisSkillet Lickers (1930), and Fiddlin’ John Carson (1934); various state names are used.

59

&

#

C

h»120

œ œ œ œ œœ

G

.œ

J

œœ œ œ œ œ œ

œœ œ

C

.˙œ

G

œ œ œ œœ

œ˙

œ

œ œ œ œœ#

œ œ œ

A

œ œ

œ

œ

œ œ

D

&

#

2

3C .

.

œ œ œ œ œ

↑

œ

œ

.œ

j

œ

G

œœ œ œ

œ

C

.œ

j

œ œœ œ

G

œœ œ

œ

œ œ

œ

œ

œ

œ

œ

˙

˙

œ

↑œ œ

œœ œ œ

D

˙˙˙

G

œ .

.

˙

˙

u

G

Twinkle Little Star As played by Jim Herd in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 8/19/97; time: 2/2; key: G; scale: major (some high 4th); pattern: A (15); tuning: standard

* Ending from *

A

This tune, popular throughout the South, likely derives from a popular song from 1879 by Fred MacEvoy called “Twinkle, Twinkle Little Starsor Meet Me at the Bars.” Mark Wilson points out that Herd’s tune, and most other versions of the tune, differ somewhat from the original song, butthat Ford’s transcription of the tune does appear, in general, to match the song’s melody. Fiddler’s Companion suggests that another version issometimes called "Twinkle Twinkle Little Stars Schottische" (see Phillips 2, p. 156), and that a third version, sometimes called “Little Star,” is gen-erally associated with Fiddlin’ Arthur Smith (see Phillips 2, p. 157). Other musical transcriptions are in Brody (p. 281), Brown V (p. 415),Christeson 2 (p. 108), and Ford (p. 51, p. 401 with lyrics). Meade (p. 855) lists eight early commercial recordings, the earliest being by W.T.Narmour & S.W. Smith (1928); others include Smith’s Garage Fiddle Band (1928), Charlie Poole & Roy Harvey (1930), and Bob Wills (1938).

Bob HoltBob Holt (1930-2004) was recognized nationally for his contribu-

tions to Ozarks fiddle and dance traditions in 1999 when he wasawarded a National Heritage Fellowship from the NationalEndowment for the Arts. His national reputation was also strength-ened through his activities as a performer and teacher at venues suchas the National Folk Festival, the Augusta Heritage Center, and theFestival of American Fiddle Tunes. Born and raised near Ava,Missouri, Holt remembered that rural life was difficult when he wasgrowing up, but he also recalled a strong sense of community. Peopleoften got together to visit, work, and play music. His uncle “Node”sang while playing a banjo and his mother sang ballads such as “LittleMohee.” His father John, known for his ability to whistle tunes, wasan avid fan of fiddle music and square dancing. “He’d rather I’d havebeen a fiddler as a doctor,” Holt alleged. At first, Holt was not inter-ested in playing fiddle, preferring the harmonica and mandolin. Afterhis father bought him a fiddle, however, Holt slowly began learning to

play fiddle tunes. He credits local fiddlers such as Charlie Deckerd with showing him tunes, but recalls that music wasrarely taught and learned in any formal sense. In large part Holt transferred to fiddle the tunes he already knew on man-dolin, and he figured out techniques for bowing on his own. In the mid-to-late1930s, radios and 78 rpm recordings werebecoming more available in the area, and Holt enjoyed learning music from commercial artists such as the SkilletLickers, Doc Roberts, Arthur Smith, and from Ozarks fiddlers Buster Fellows and Lonnie Robertson. He played in acountry band for several years in his early 20s, but says they were never paid any money. In general, earning a living inDouglas County was difficult, and when he was 23 years old Holt decided to move to Buffalo, Iowa, where he workedin various machine shops, as a cabinet maker, and as a barber. He also played fiddle in a country band formed by Harleyand Betty Newberry. He longed to work for himself, however, and decided in 1965 to move back to Ava where he ran adairy farm on his family property. He began playing fiddle in the area occasionally, but music and dance traditions werenot strong at that time. Aside from a few annual gatherings, such as Hootin’ ‘n’ Hollerin’ in Gainesville, few dances wereheld. But interest in folk music was growing nationally, and organizers of events such as the Frontier Folklife Festival inSt. Louis began to invite Holt to perform. He became motivated to get back into playing fiddle music in earnest, andbegan to work with other musicians and dance enthusiasts such as Edna Mae Davis of Ava to organize regional events.In time, monthly square dances were being held in Ava, Cabool, and outside of Forsyth at Taney Center. Weekly jam ses-sions, such as the one at McClurg, attracted more and more musicians. Harley and Betty Newberry eventually moved

Phot

o by

Jul

ie H

enni

gan;

use

d w

ith p

erm

issi

on

60

down to the Ozarks, and they along with Steve Youngblood and Holt formed a band that often played for local squaredances. Holt was best known for playing fast breakdowns at these dances, where four-couple groups “jig danced” as theymoved and where each square had its own caller. Other kinds of dances such as waltzes, two-steps (often danced to oneof Harley Newberry’s honky-tonk songs), polkas, and do-si-does (which are mixers) were also featured. Holt’s ability toteach young people to fiddle was recognized and supported through the Folk Arts Apprenticeship Program of theMissouri Folk Arts Program. His commercial recordings, with longtime second (guitar accompanist) Alvie Dooms andothers, include the self-produced cassettes, Rabbit in the Pea Patch and The Way I Heard It (both with the State of theOzarks String Band), Got a Little Home to Go to (Rounder CD0432), and with other fiddlers in Traditional Music of theOzarks, Vol. 1 (Rounder CD0435). [Information drawn largely from Holt’s liner notes to Rounder CD0432 and fromMark Wilson’s liner notes to Rounder CD0435.]

&C .

.

h»134

œ

œ

œ

œ

œ

œ œœ

œ

œ

C

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œœ

œ

œ

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

G

œ

œ

œ œ

œ

œ

.

.

œ

œ J

œ œ œ

œ

œ

œ

œ œœ œ

œ

œ

œ

œ

œ

&

.

...

1

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

C 2

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

Cœ

œ œ

œ

œ

œ

œœ

.

.

œ

œ

J

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ œ

œœ

.

.

œ

œ

J

œ

œ

œ œ œœ .œ

J

œ

G

& 2

3 .. C C

œ œ

˙ œœ œ œ

œœ

D.C.

œ œ

œ

œ œ.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

C

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

Œ

G Cw

w

u

Arkansas Two-Step As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: C; scale: hexatonic major (no 4th); pattern: AABB (8,8,8,8); tuning: standard

A

B

Introduction Ending from **

Holt recalls that almost all of the dance fiddlers who played when he was young knew this tune, and that they often started dances with it.Among those early fiddlers were Johnny Wilkerson and Fonzo Driscoll. Holt said that many of these C tunes sounded similar, and that sometimesthey were difficult to distinguish.

&

#

#

#

C ..

h»140

œœ

œ œ œœ

œ œ

œœ

A

œœ œ

œ

œ œ œ

D

œœ

œ

œ

œ

œ

œ œœœ œœ

A1

œœœ

œœ œœ

œœ

E2

œœœ

œœ œœ

œœ

E

&

#

#

#

.

...

œ

¿¿ œ œ¿

¿

œœ œœ

A

œœœ

œœ œœ œœ

œ

œ

¿¿ œ œ¿

¿ œ

1

œœ

œ œ œœ

œ

E (A )2

D.C.

œœ

œ œ œœœ

E (A )

&

#

#

#

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œ

œœ

œ œ œœœ

E A

ww

u

œœ

œ

œ

œ

œ

œ œ œ œ

œ..

œœ

A

œ œ# œœ

œ œ

œ

D

Bear Creek Sally Goodin As played by Bob Holt in Traditional Fiddle Music of the Ozarks,Vol. 1 (Rounder CD0435, 1999); recorded 6/25/97; time: 2/2; key: A; scale: pentatonic major (no 4th, 7th); pattern: AABB (4,4,4,4); tuning: C#AEA

A

B

Introduction Ending from *

*

Variation V1

V1

Reminiscent of “Sally Goodin” (compare Holt’s version of “Sally Goodin” transcribed later in this section), this tune also has some distin-guishing elements, such as a B part with plucked strings. Holt’s tuning (C#AEA) for this tune is often associated with “Black Mountain Rag,” andaccording to Mark Wilson the tuning is surprisingly widespread in the Ozarks. Another fiddle tune “Bear Creek” (or “Bear Creek’s Up”) has beenfound at various locations in the South and Southwest. Thede (p. 108) includes an Oklahoma version of “Bear Creek,” which she says can be tracedto Missouri, with the words, “Bear Creek is up, Bear Creek is muddy; Can’t get across, to see my honey; Bear Creek is up, Bear Creek is swim-min’; Hell’s filled up with Buffalo wimmin’; ha, ha, ha…” (Thede, p. 108). At various points in Thede’s version, the fiddler W.S. Collins includes“a blood-curdling falsetto yell.” Writing about a Mississippi version of “Bear Creek’s Up,” Tom Carter and Gary Stanton describe a Mississippiversion of “Bear Creek Up” as a regional variant of “Sally Goodin” (notes to the LP Great Big Yam Potatoes). Yet another tune titled “Bear CreekHop” is of special interest here because the B part typically involves plucking and bowing strings in a manner similar to Holt’s technique in thistune. It is possible that someone decided to combine the general melodic contours of “Sally Goodin” with the plucking sounds of “Bear CreekHop” to come up with “Bear Creek Sally Goodin.” Bear Creeks exist in the Ozarks, but they also exist other places where this tune title can befound (see notes to Great Big Yam Potatoes for a Mississippi connection). Bob Holt said his dad also called the tune “The Walls of Jericho,” whichis possibly related to another plucked-strings tune called “Jericho” (in this book). Randolph points out that in a 1929 issue of Ozark Life, HildredSmith described “Bear Creek Sally Goodin” as a famous Ozark dance tune (Randolph III, p. 350). Musical transcriptions for related tunes are inThede (“Bear Creek,” p. 108), Christeson 1 (“Bear Creek Hop,” p. 7), and Phillips 1 (“Bear Creek Hop,” p. 20). Other similar tunes include “OldCharlie Deckard,” “White River,” and “Broken-Legged Chicken” (all in this book).

61

&

#

C .. 2

3

h»86

œ œ# œ

œ œ œn↑

œ↑

œ œ œ#

G

œ

œ œ œn

↑œ

↑œ œ œ# œ

œ œ œn↑

œ↑

œ œ œ# œ# œ œ œ œ œ œ# œ œ œ œ œn

↑

œ œ œ œ œ

&

#

C2

3C .

.

œ

œ œ œb

↑œ

↑

œ œ œ

C

œ

œ œ œb

↑œ

↑

œ œ œ œ

œ œ œb

↑

œ

↑

œ œ

œ œœ œ

œ ˙ œ œ œ

G

˙ œ œ œœ

1œ œ

œœ œ œ œ œ

&

#

2

3C

2œ œ

œœ ˙ œ

œœ

œœ

œœ

œ

œ

œœ

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ

œœ

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ

œ

œœ

D

œ

œ

œœ

œ

œ

œœ

G

&

#

2

3C

2

3

œ

œ

œœ

œ

œ

œ

œ

œœ

œœ

D.C.

˙ ˙ œ œ œ œ

œ

œ

œœ

œ

œ

œ

œ

œœ

Œ Œœ œ œ

œ œ œ ˙

˙

˙

˙

œ

œ œœ œb œ œ

œœ

œ œœ

Carroll County Blues As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: G; scale: major (some low 3rd, 7th, high 4th); pattern: AAB (11,11,7); tuning: standard

Ending from **Variation V1

V1

A

B

This is one of Holt’s most popular fiddle tunes, especially as a two-step on the dance floor. He heard Lonnie Robertson play it, and also heardan old 78 recording of the tune by Narmour and Smith. From those sources, he worked out his own version. According to Fiddler’s Companion,which cites writings by David Freeman, Henry Young, and Norman Mellin, this tune was likely composed by fiddler Will T. Narmour (1889-1961)who named it after his home county, Carroll County, in north-central Mississippi. Narmour recorded it with Shell (Sherril) W. Smith, and in 1929that recording went on to be Narmour and Smith’s biggest hit recording. Smith's wife recalled that Narmour may have heard the tune either whis-tled or hummed by a black farmer, and then “worked the tune out” for the duo. Another source suggests Doc Bailey took Narmour out to see awhite farmer and learned the tune from him. Yet another account offers that the tune was composed by Gene Clardy, one of Narmour’s mentors onthe fiddle. Narmour and Smith recorded other "Carroll County Blues" tunes, hoping to capitalize on the popularity of their first hit, but these latervariations never became as popular as the first. For more information about Narmour and Smith, see the notes to “Charleston No. 1” (in this book).“Carroll County Blues” is not constructed in the standard 12-bar blues pattern, but it does have many characteristics of blues music, including theuse of blues notes and long held notes. Other musical transcriptions are in Brody (p. 63), Phillips 2 (p. 29) and Reiner (p. 115). Meade (p. 882) listsfive early commercial recordings, the earliest being by W.T. Narmour & S.W. Smith (1929); others include the Doc Roberts Trio (1933).

&

#

C ..

h»136

3

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

G

œ

œ

œ

œ

œ

œœ œ

œ

œ

œœ

œœ œœ œ œ œ œœ

œœ

D

œ œ œ œœ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

G

œœ œ

œ œ

œ

œ

&

#

.

.œ œ œ œ

œ

œ œ

œ

œ œ œ˙ œ .œ

j

œ

J

œœ œ

Cœ œ œ

œ œ œ œ

↓Gœ œ œ

œ œœ œ

œ œ

D 1

˙

˙

œ

œ

3

œ

œ

œ

œ

œ

œ

G 2

˙

˙

œ

œ

œ

.œG

&

#

.

.

œœ

œ œ}œ

œ œ

↓œ œ œ

œ œœ

œœ

œ œ œ œ œ œœ

œ œ œ œ œ

Dœ

œœ œ œ

œ œ

Gœ œ œ

œ}œœ

œ œ

C

œ œ œ œ œœ œ œ

D

&

#

.

.

1

œœœ

œœ

j

œœ

G 2

D.C.

˙

˙

œ

œ

3

œ

œ

œ

œ

œ

œ

G

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

3

œ

œ

œ

œ

œ

œ

œ œ œ œ œœ œ

D

œœ

Œ ˙˙

u

G

Doc Brown’s Dream As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: G; scale: major (some low 7th); pattern: AABB (12,12,8,8 ); tuning: standard

A

B

IntroductionEnding from *

*

For the story behind this tune, see the notes to Art Galbraith’s “McCraw’s Ford,” which appears to be another version of the same fiddle tune.Holt learned this tune from a tape of Ross Burke, who was raised in the Missouri Ozarks but moved to California in the 1920s. Holt said he had notheard anyone else play this tune, but acknowledges the similarity to Galbraith’s “McCraw’s Ford.” The melody resembles other tunes such as“Green Corn,” “Hot Corn Cold Corn,” “California Breakdown,” “Fat Meat and Dumplings,” “Black Oak Ridge,” and “Hughes’ Breakdown.” Holtalso plays a tune called “John Brown’s Dream” which is completely different.

62

&

#

# C ..

h»120

3

œ œ

↑œ œ

œ œ œ œ œ

œ

D

œ œœ œ

œ

3

œ œ œ œœ œ œ œ œ

œ

œ œœ

œ

œ

3

œ œ œ

Aœ

œœ

œ œ œœ

D

œ œœ œ

œ œœ

G

&

#

# ..

.

.

œ œœ œ œ

œ œ

A1

..˙˙

3

œ œ œ

D2

..˙˙ œœ œœ

D

œœ œœ# œ œ œ œ

œœ# œœ œœ ..œœ

J

œœ

A

œœ œ œ œœ œ œ

œ

œ

œ

œ

œ

.œ

J

œœ

D

&

#

# ..

œœ œ œ œ œ œ

A

œ œœ œ

œ œœ

D

œ œœ œ œ

œ œ

A1

..˙˙ œœ

D2

D.C.

..˙˙

3

œ œ œ

D

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

3

œ œ

↑œ

œœ

œœ ..˙˙

u

D

Going Across the Sea As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: D; scale: hexatonic major (no 7th); pattern: AABB (8,8,8,8); tuning: standard

Introduction Ending from **

A

B

This tune is popular throughout the South, especially Kentucky and Tennessee. Holt learned it from Bill Conley, who learned it from listeningto his father Bye Conley’s banjo version. Holt believes his version of the tune came from Tennessee. The most well-known version is perhaps byUncle Dave Macon, the Grand Ole Opry star who recorded it in 1927. Often accompanied by floating verses found in other tunes such as “Old JoeClark” and “Shady Grove,” the fiddle tune has been linked to “Wish I Had a Needle and Thread” (see Brown III, p. 143), “Italy,” and StephenFoster’s “Angelina Baker.” The tune might be related to the play-party song “I’m Going to Cross the Sea” (Randolph III, p. 393) but I cannot locatea transcription or recording to compare. Other musical transcriptions are in Phillips 1 (p. 13, titled “Across the Sea”), Thede (p. 106, titled “Acrossthe Sea”), and Titon (p. 81). Meade (p. 529) lists four early commercial recordings, the earliest being by Uncle Dave Macon (1927).

Holt describes “Hop Up Kitty Puss” as his father’s all-time favorite tune, and he remembers hearing him singing the following words to thetune: “Hop up, Kitty Puss, hop up higher; Hop up, Kitty Puss, your tail’s in the fire; Poor little Kitty Puss, poor little fella; Poor little Kitty Puss,died in the cellar.” Holt suspects it was originally a play party game, and The Frank C. Brown Collection of North Carolina Folklore does includethe similar “Poor Little Kitty Puss” in a “Play-Party and Dance Songs” chapter (Brown V, p. 78). Thede links her version, with only vague similari-ties to Holt’s tune, to “Black-Eyed Susie” (p. 89). Holt’s B part is similar to the A part of “The Scolding Wife” (Christeson 1, p. 6). There appearsto be no relationship between Holt’s tune and the tune “Kitty Puss” popularized by Kentucky’s Buddy Thomas.

&

#

# C ..

h»132

œ œ œ œ œœ

.œ

J

œ

D

œ˙

œ œ œœ œ œ .œ

J

œ œ ˙ œ œ œ œ œœ

j

œ.œ

J

œ œ˙

œœ œ œ œ

œœœ

œœ œœœ

A

&

#

# ..

.

.

1

œ

œ

˙

˙

œ œ

D2

œ

˙

˙

œœ

D

œ œ

œ

œœ

œœ

œœ œœ œœ

œœ

˙˙

œœ œ œ

œ

œœ

œœ

œœ œœ œœ

œ

œ

˙

˙

œœ œ œ

œ

œœ

œœ

œœ œœ œ

&

#

# ..œ

œ˙˙ œ

œœœ œœ œ

œœœ œ

..œœ

j

œœ

A1

œ

œ

˙

˙

œœ

D2

D.C.

œ

˙

˙

œ œ

D

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ œ œ

œ

œ

.

.

˙

˙

u

D

œ œ œ œ .œ

J

œ

D

Got a Little Home to Go to (1) As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: D; scale: hexatonic major (no 7th); pattern: AABB (8,8,8,8); tuning: standard

Introduction Ending from **

Variation V1

V1A

B

Holt plays two different tunes with this title (both included in this book). In both cases, the repeating rhythmic patterns in the tunes’ melodiesappear to match the rhythm of the spoken phrase “Got a Little Home to Go To” (with a dotted note quarter note on the third beat), but in most otherways the tunes are quite different. This first one is played in D with the fiddle in standard tuning. Mark Wilson says it is also called “Get Out of theWay of the Federals,” and he places it in the same family of tunes with “Shoot the Turkey Buzzard,” “Old Coon Dog,” and “Seneca Square Dance”(in this book). He also suggests a similarity to “Pretty Little Girl with a Blue Dress On.” The tune bears a resemblance to a Fiddlin’ John Carsontune called “Hell Bound for Alabama.” Thede (p. 18) links the tune, in large part because of the lyrics, to another Ozarks tune called “Saddle OldKate” or the slightly different “Saddle Old Spike” (see Lonnie Robertson’s version of “Saddle Old Kate” in this book). Thede’s version of the tune

&

#

C ..

.

...

h»134

3

œ œ œ œ

œ

œ œ

œ

œ

œœ œ

G

œ œ œ œ œ

(C)

œ œ œ œœ œ œ

(D)

1

œ œ œœ œ œ œ

D

2

œ œ œœ œ œ œ

œ

D G

œ œ œ œ œ œ œ

œ

œ œ

œ

œ œ œ

œ

œ œ

œ

œ œ œ œœ

&

#

.

.

1

œ œœ

œ œ œ œ

D G

2

D.C.

œ œœ

œ œ œœ

D G

œ œœ

œ œ œœ

u

œ œ œ œœ œ œ

œ œ œ œœ

œ œ

œ œ

œ

œ œ œ œ œœ

œ œ œ

œ

œ œ œ œœ œ

œ

Hop Up Kitty Puss As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: G;scale: hexatonic major (no 7th); pattern: AABB (4,4,4,4); tuning: standard

AB

Ending from ** Variations V1

V1 V2

V2 V1

63

includes the lyrics: “Oh saddle ole Mike I tell you, for I’m goin’ way to leave you; I’m going way to Texas to eat cawn break an’ ‘lasses; Got a lit-tle home to go to, got a little home to go to; Oh, I’ve got a little home to go to, oh, I’ve got a little home to go to.” Arkansas fiddler SkeeterWalden, apparently drawing from the “Texas” portion of the lyrics given by Thede, calls the tune “I’m On My Way to Texas to Eat Cornbread and‘Lasses.” Thede mentions that an Arkansas version of the lyrics replaces that line with, “Goin’ back to Arkansas to eat corn bread and possum jaw.”Other lyrics are in High (p. 23), and in Botkin (Play-Party, p. 92), who links the song to a play-party fragment. Both Ford (p. 101) and Christeson(vol. 1, p. 67) link the tune to versions of “Hell Among the Yearlings,” and Ford’s melody is indeed similar.

&C .

. 4

5C

h»116

œœ œœ œœ œ œœ œœ ..

œœ

J

œœ

œœ ˙˙j

œœ

œœ œœ œ œœ œœ ..

œœ

j

œ œœ œ ˙˙

œœ œœ œœ œ œœ œ ..

œœ

J

œœ

œœ ˙˙ œœ

&

.

...

œœœ œœ .

.œœ

j

œ

1

œ ˙˙

œœ œœ

2

œ ˙˙ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œœ

œ œ ˙ œ

œ

œ

œ

œ

œ

œ œ

.

.œœ

J

œœ

œœ ˙˙ œœ œœ

&

.

.

œœ œœ œœ œœ ..

œœ

j

œ

1

œ ˙˙ œ œ

2D.C.

œ ˙˙

œœ œœ

œ œ

œ

œœ

œ

˙˙

˙

u

œ ˙˙

œœ œœœ

œ œ

œ

.

.œœ

j

œ œ œ

œ

œ

œ

.

.œœ

j

œ

œœ œœ ..

œœ

j

œ

Got a Little Home to Go to (2) As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: A; scale: pentatonic minor (no 2nd, 6th); pattern: AABB (8,8,6,6); tuning: EAEA

A

B

Ending from * Variations V1

V1

V2

V2 V3

V3V4 V4*

Holt’s second version of “Got a Little Home to Go To” is played with his fiddle tuned to EAEA. Its droning qualities, pentatonic scale, andirregular meter suggest it is a very old version, or at least played in a very old style. The rhythmic elements of the melody are similar in both ver-sions, and it is possible they represent two tunes that earlier branched off from the same tune. On his CD, Holt explains he learned this versionlong ago from Doc Gentry, a country doctor and fiddler who worked in Douglas County. Gentry told Holt the tune came into the area before 1900from a fiddler named Bob Wood who had moved up from Arkansas. The story goes that Wood was dating a woman when another man, out ofjealousy, killed him on a saloon porch.

&

#

#

#

C ..

.

.

h»132

œœ

.

.

œ

œ

œ

œ

œ

œ

œœœ

œ

œ

œ

œ

œœ

A

œ œ

œ

œœœ œ œ œ

œœ

œ

œ

œ

œ

œ

œœ œ œ

œ

1

œ œ

œœ

œ œ œœœ

E A2

œœ œ

œ œ œ œ

E A

&

#

#

#

.

...

œœ œœ ˙˙ œœ

A

œœœœ œœ œ .

.œœ

J

œ œœ œ œ

œ œ œ

œ œ

1

œœ œœ

œ œ œœœ

E A2

œ

œœ œœ œ œ œ œ

œ

E A

&

#

#

#

.

...

œ

œ

œ

œ œn œ

3

œ

œ

œ

A

œ

œ

œ œ œn œ œœ

œ

œ

œ

œ œ

↓

œ œ œœ

1

œ œœ

œ œ œ œ

œ

E A2

D.C.

œ œœ

œ œ œ œœœ

E A

&

#

#

#

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

.

.

œ

œ

œ œœ

œ œ œ œ

u

E A

œ

œœœ

œœœ

œ

j

œ œ

œœ

.œ

œ

œ œ œ œ œ

œ

.œ

œ

œ œ œ œ œ œ

œ

Lost Indian

A

B

Ending from **

As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: A; scale: hexatonic major (no 4th, some low 3rd); pattern: AABBCC (4,4,4,4,4,4); tuning: C#AEA

Introduction Variations V1 V2 V3

V1

V2 V2 V3C *

Holt apparently learned this version of “Lost Indian” from listening to John Wills (Bob Wills’ father) play the tune on the radio. He said thatduring World War II Bob Wills, who was by then a famous Western swing band leader, would occasionally bring his father onto a radio program toplay. Later, Holt heard John Wills on Johnny Lee’s Saturday radio show. When talking with Mark Wilson, Holt said of John Wills’ playing, “Whenhe played ‘Lost Indian,’ it just about curled your hair.” A large number of fiddle tunes have the title “Lost Indian.” For a fuller discussion of theseversions, see the notes for Alton Jones’s version of “Lost Indian” (in this book). Holt’s version does seem to have a strong Texas connection, and israrely found in the Ozarks. The beginning of the B part likely represents an Indian whoop or yell. The tune uses a C#AEA tuning, and is possiblyone of the predecessors of “Black Mountain Rag.” Alton Jones plays a version of “Lost Indian” that resembles Holt’s “Ninth of January” (both inthis book). A third tune titled “Lost Indian,” played by Seth Mize, is also in this book.

64

&

#

# C ..

h»136

œ

.œ œœ

œ

œœ

œ

}œ

œ

œ

œ

Dœ œ œ œ œ œ

œ œ

↑Gœ

œ

œ

œœ

œ

}œ

œœ

œ

D

œ œ œ œ œ

œ

œ

œ

↑Aœ

œ

œ

œ

œ

œœ

œ

œœ

œ

Dœ œ œ œ œ œ

↑œ

↑

œ œ

G

&

#

# ..

.

.

œ œ œœ œ œ œ

œ

A1

.

.œœ

J

œœœ

œ

.œ

D2

.

.œœ

J

œœœ

œœ

œœ œœ

D

œœ œœœ œ

œ œ œ œ

↓

œj

œ

œ œ œ œœ

G

œœ œ œœ

œ

D

.

.

œ

œ

j

œœ

œ

A

&

#

# ..

œ œœ œ

œ œ

D

œ œ

↓œ

œ œ œ œœ

œ

G

œ

œ

œ œœ

œ

œ

A1

.œ

j

œ œ

3

œ

œ

œœ

œœ

D2

D.C.

.œ

j

œ œ

œ

.œ

D

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œ

.œ

œ

Œ ˙˙˙

}

u

D

Missouri Mud

A

B

Ending from *

*Introduction

As played by Bob Holt in The Way I Heard It... (self-produced cassette, c. 1997); recorded c. 1997; time: 2/2; key: D; scale: major; pattern: AABB (8,8,8,8); tuning: standard

Holt plays a version of this tune that is similar to the version played by Nebraska fiddler Bob Walters, which has been transcribed in bothChristeson 1 (p. 57) and Phillips 1 (p. 154). Charlie Walden includes “Missouri Mud” on his list of "One Hundred Essential Missouri FiddleTunes." The tune is also known as “Stuck in the Mud.”

&

#

# C ..

h»134

œ

œ

œ

œ

œ

œ

œ

œ

œœ œ

D

œœ œ

œ œ œ œ

(G )

œœ

œ

œœ œ

D

..œœ

J

œ œ

œ œ

Aœ

œœ

œ

œœ œ

D

œœ œ

œ œ

œ}œ œ

G

œ œ œœ œ œ

œœ

A

&

#

# ..

.

.

1

œ œœ

œ œ

œœ œ

D 2

œ œœ

œ œ

œœ

A D

œ

œœ

˙˙

œœ

œ

œ œœ

œœ

œ

œœ

œœ œ œ

œ œ œœ

œ œ œœ

œ œ

œœ

A

œ

œœ

œœ

œ

œœ

œœ

œ

œ

D

&

#

# ..

œœ

œœ

œ

œœ œ

G

œœ œ

œœ œ œ

œ

}

AD.C.

œ œ œœ œ œ

œ œ

Dœœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ œ

œ

œ

œœ œ œ

œ œ œœ

œ

w

w

u

œœ œ œ

œ œ

Molly Put the Kettle On As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: D; scale: major; pattern: AABB (8,8,8,8); tuning: standard

A

B

Ending from *Introduction

V1

Variation V1*

Holt thinks he learned this off of one of Lonnie Robertson’s radio programs. Holt, who as a boy idolized Robertson, had a chance to visit withhim when they both performed at a St. Louis folk festival in the late 1970s. On this recording of the tune, Holt begins by calling it an “unnamedtune,” suggesting the title is not firmly in his mind. A similar tune, “Minnie Put the Kettle On,” is played by a number of other Ozarks fiddlers suchas Ray Curbow, who plays that tune with three parts. Both of these tunes differ from “Polly [or Molly or Jennie] Put the Kettle On” as it is playedin other U.S. regions and Great Britain.

&

#

# C ..

h»144

œœ œ

œ}

œ

œ

œœ œ

D

œ œ}œ œœ œ œ œ

G

œ

œ

œ

œœ œ

D

œ œ} œ œ œœœ

A

œ

œ}

œ

œ

œ

œ œ

œ

D

œ œ} œ œœ

œœ

Gœœ œ# œ œ}œ œn

œ œ

A

&

#

# ..

.

.

1œ

œ œœ

œ

œ

D2œ

œ œœ

œ œœ

A D

œœœ œ}

œœ œ

œ œ œœ œ œ

3

œœ

œœ œœ œ

œ}

œœ

œœ œ

œœ œ œ

œ œœ

A D

œœœ œ}

œœ œ

œ œ œœ œ œ

œœ

&

#

# ..

œ œ œœ}

œ œ œ

D.C.œ

œ

œ

}œœ

œ œœ

A Dœœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ œ

œ œœ

œ

Œ

A D

œ œ œ

œ œœ

œ œ œœ œ œ

˙

˙

G D

œœ œ

œœ œ

œ

œ

G

œœ

œ

œ œ˙

˙

u

A D

Ninth of January As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: D; scale: hexatonic major (no 4th); pattern: AABB (8,8,8,8); tuning: standard

A

B

Introduction Ending from **

This is Holt’s recollection of Charlie Deckard’s version of the tune “Eighth of January.” Holt said he got tired of hearing people say this tunewas different from “Eighth of January,” and decided to call it “Ninth of January.” He added, however, that he thought there was an old recording ofa tune by the name of “Ninth of January” on a reissue record, but he could not identify the record. He didn’t know about the tune’s connection toAndrew Jackson until Jimmy Driftwood made the tune “Eighth of January” famous by using it as the melody to his song “The Battle of NewOrleans.” Alton Jones calls this tune “Lost Indian” (in this book) or “ Old-Time Eighth of January.” A similar Oklahoma tune called “The LostIndian” is in Thede (p. 31). See a fuller background to the more popular tune “Eighth of January” in this book under fiddler Kermit Moody.

Track #8

65

Holt learned this tune from the whistling of his father, who said he heard it at square dances when he was a young man. Charlie Deckard, whooften played the tune, was a well-known fiddler during Holt’s childhood. Holt met Deckard a few times, but never heard him play the fiddle. Hedid, however, know other members of the Deckard family, who lived near McClurg, Missouri, and who were well-known for their fiddling anddancing abilities. In the sixties when he returned from Iowa, Holt became reacquainted with the tune through the fiddling of Martin Deckard. Holtwas unaware of any title of the tune, so he simply called it “Old Charlie Deckard.” It has some older qualities, such as a C#AEA tuning andplucked strings, and is similar in a number of ways to “Bear Creek Sally Goodin,” “White River,” and “Broken-Legged Chicken” (all in this book).Thede (p. 96) calls a similar tune “Jenny Nettles” (different from the “Jinny Nettles” in this book).

&

#

#

4

3 ..

h»146

œœ œ œ

œœ

œœ

D

..œœ

j

œœ œ œ œœ

œ

œœ

œ œœ œ œ œ

œ

œ œ↑

Gœ

œ œ œ

D

œ œ œ œ œ œ

E

œ œ œ œ œ œ

A

&

#

#

œ

œœ

œœ

D

..œœ

j

œ œ œ œœ

œ

œœ

œ œœ œ œ œ

œ

œ œ↑

Gœ

œ œ œ

D

œ

œ œ

A

œ œ œœ œ

D

&

#

#œ œ œ œ œ

œ.œ

j

œ œ œ œœ

œ

œœ œ œ œ

.œ

J

œ œ œ

A

.œj

œ

J

œ œ œ œœ

œ œ

œ œ œ œ œœ

&

#

# ..

œ œ œ œ œœ

D

.œ

j

œ œ œ œœ

œ

œœ œ œ œ

.œ

J

œ œ œ

A

.œ

J

œ œ œ œ œ œ.œ

j

œœ œ

D

œ

œœ

.

.

˙

˙

u

Old Country Waltz As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 3/4; key: D; scale: major (some high 4th); pattern: AB (16,16); tuning: standard

A

B

Ending from **

Holt learned this from Missouri fiddler Cyril Stinnett, and he thinks it might have been brought down from Canada. The Canadian link seemslikely because most recordings of the tune are by fiddlers in or near Canada. Of special note, the tune was recorded by an unidentified fiddler on aCanadian-published LP titled 25 Old Tyme Fiddle Hits. That LP was first released in the 1960s under the Canadian Arc label (Arc FH-25-2 or ArcFH2), and then re-released in 1972 on Minnesota’s K-Tel label (K-Tel FH 1). The K-Tel LP, which was advertised on U.S. television, likelyincreased the popularity of this tune in the U.S. and Canada. Other musical transcriptions of the K-tel recording of the tune are in Brody (p. 77) andat Charlie Walden’s website http://www.missourifiddling.com/Music/CountryWaltz.htm.

&

#

#

#

C ..

h»134

œ

œ

œ

œ

œ

œ

œ œ

œœœ

œ

œ

Aœ

œœ

œ

œ

œ œ

œœœ

œ

œ

(D) Aœ œ œ œ

œœ œœ œn œœ# œ œœ

E Aœ œ œ œ

3

œœ

œ# œ œœ

œ œ œ œ œ

&

#

#

#

.

...

œ œœ

œœ

œ

1

œn œœ# œ œœ

œ

E A 2

œn œœ# œ œœ

E A

œ

œ

¿¿˙ œ

A

œœ œ œ

œœ

œ

¿¿˙ œ œ

œ œ œœ

œ

œ

E A

œ

¿¿˙ œ

&

#

#

#

.

.œœ œ œ

œœ

..œœ

J

œ œ œ œ

1

œœ œ œ

œœ

œ

E A 2D.C.

œœ œ œ

œœ

œ

œ

œ

Eœ

œ œ œœ

œ

œ

E A

w

w

u

œ œ

œ

œ œœ

œ œ œ œ œ œœ

Old Charlie Deckard As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: A; scale: hexatonic major (no 7th, some low 3rd); pattern: AABB (8,8,8,8); tuning: C#AEA

A

B

Ending from *

Variations V1 V2

V1 V2

*

66

&

#

# C ..

h»138

œ

œ

œ œ œ œ œœ

œ œ

D

œ

œ

œ

œ œ œ

B mœ œ œ œ œ

œœ œ

Dœ œ œ œ

j

œ œ œ œœ

Aœ œ œ œ

œœ œ

D

&

#

# ..

.

.

œ

œ

œ

œj

œ œ œ

B mœ œ œ œ œ

œœ œ

A1œ

œ œ

œ

œœ

œD 2œ

œ œ

œ

œœ

D

œ œ œ œ œœ

œ

B m

&

#

# ..

.

.œ œœ œ œ œ œ œ œ œ œ œ œ

œ

œ

œ

1

œœ œ œ

œ

œ

œ œ

A D 2

œœ œ œ

œ œœ

A D

œœœœ

œœ

œœ

œœ œ œ

œ œœ œ œ

3

œœ

œœ œœ

&

#

# ..

.

...

œœœœ

œœ

œœ

œ œœ œ œ

œ œœ

A D

œœœœ

œœ

œœœ

œ

œœœ

œ

œ œ œ œ œ œ œœ

œœ

1

œœœ œœ

œœœ œœ

A D

&

#

#

2D.C.

œœœ œœ

œœœ

3

œ œ œA Dœœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œ

œ

œ

œ œ œœ

œ

œ

œ

œ œœ

D

œœ œ œ

œ

œ œ

A D

w

u

œ œ œ œ œ œœ

œ

Rabbit in the Pea Patch As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: D; scale: major; pattern: AABBCCDD (8,8,4,4,4,4,4,4); tuning: standard

Introduction Ending from **Variation V1

V1

A

B

C

D

Holt learned this tune from the banjo playing of his Uncle Noah, who learned it from Corbin Potter. The Potters, like the Deckards, were amusical family that lived in the McClurg, Missouri, area. In his CD liner notes Holt wrote, “The Potter that was famous for playing it had got killedin 1922, way before I was born, but my dad knew him. But there was a younger brother Earl that I knew. I got him to come to my house in Iowaone time when he was up there for a visit. He played the tune as best as he could remember and so I just kinda put the versions together. I have noidea of whether it’s anywhere like the original tune or not. There aren’t any words to it that I know about.” I quote this passage because Holt’s tuneis, indeed, different than any other version of the tune I can find (although the low part, which is similar to the low part in “Ninth of January”seems to be in most versions). Many performances of the tune, such as the well-known one by the Red Clay Ramblers, appear to be based on a1927 recording by Uncle Dave Macon, who according to Fiddler’s Companion composed the tune and lyrics. Another early recording reveals thetitle has been connected to a play-party game with a “Skip to My Lou” melody. The A part of Christeson’s rendition of the tune “Peaches andCream” resembles the A part of Holt’s tune (see Christeson 2, p. 54). Meade (p. 531) lists four early commercial recordings, the earliest being byUncle Dave Macon (1927); others include the Pickard Family (1928), and Vernon Dalhart (1931). Meade (p. 811) connects the tune to “Gray Caton the Tennessee Farm,” “The Spotted Pony,” and “Snow Shoes.”

&

#

#

#

C ..

h»144

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

Aœ

œœ

œ

œ

œ œœ

œ

œ

œ

œœ

œ

œ

œœ

œ œ œ œœ œ œ

œ

œ

œ

œ

E Aœ

œœ

œ

œ

œœ

œ

œ

œœ

œ œ œœ

œ

œ

&

#

#

#

.

...

œ

œœ

œ œ œœ

œ

1œ œ œ œ

œœ

œ

œE A 2œ œ œ œ

œœ

œ œœ

E A

œœ œœœ œ œ œ œ œœ œœ

œ œœ œ

œ

œ œ

œ

œœ œ œ

œœ

œ œ œ œ œœ œ œ œœ

E A

&

#

#

#

.

...

.

...œœ œ

œ œ œœ

œ œœ œ

œ œœ œ

œ

œ œ œ

œœ

œ

œ

œ

œ

œœ

œ

1œ œ œ

œ œ œ œœ

E A 2œ œ œ

œ œ

œ

œ

œE A 3œ œ œ

œ œ œœ œœ

E A

œœ

œœ

œ

œ

œœ

œ

œ

&

#

#

#

.

.œ

œœ

œ œ œœ

œ

œœ

œ

œœ

œ œ œ œœ œ œ

œ œ

E A

œ

œœ

œ

œ

œœ

œ

œ

œœ

œ œ œœ œ

œ

œœ

œ

œœ

œ

D.C.

œ œ œœ

œ

œ

œ

E A

&

#

#

#œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œœ œ

˙

˙

E Aœ œ

↓œ

œ œœ

œ œ œœ

œ

œ œ˙

˙

E A

œ œ œœ œ œ

œ œ œ œœ

˙

˙

E A

Rattlesnake As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: A; scale: pentatonic major (no 4th, 7th except ending); pattern: AABB/AAB/AAB/CCBB/AABB/AABB/CCBB (all 8); tuning: standard

A

B

CTo A To B To C

Introduction Ending from *

*

Holt learned this tune from the banjo playing of his Uncle Noah, who learned it from Charlie Deckard. Fiddler’s Companion says the tune hasstrong connections to Arizona, and Arizona fiddler Kenner C. Kartchner does play the tune (although Holt’s version is more complex). Other musi-cal transcriptions are in Phillips 1 (p. 194; he relates the tune to “Hangman’s Reel”) and Kartchner (p. 269).

67

&

#

# C ..

h»128

œœ œ

œ

œ˙

.œ

J

œ

D

œ

œ

œœ

œ

˙.œ

J

œ œ œ.œ

j

œ

œ œ# œ œ œ œ

Aœ œ# œ œ œ œ œ œ œ# œ

&

#

#

œ œ œ#↓ œ

˙.œ

J

œ

D

œ œœ

œ

˙.œ

J

œ œ œ˙

œ œ# œ œ œ œ

Aœ œ# œ œ œ œ œ œ œ œ .œ

j

œœ œ

D

&

#

#˙˙ .œ

j

œ

D

œ œœ

œ

j

œ

œ

˙

˙

.œ

J

œ œ

œœ

œ˙

˙

.

.

œ

œ J

œ

A

œœ œ œ ˙

˙

.

.

œ

œ

j

œ

œ

D

œ

œœ

œ œ ˙˙ ˙˙

&

#

# ..œ œ

œœ

˙

˙

.

.

œ

œ

j

œ

œ

.

.

˙

˙

œ œ# œ œ# œ œ œ œ

Aœ œ# œ œ œ œ œ œ œ œ œ .œ

J

œ

œ

œ

D

œŒ

˙

˙

u

D

Red Hills Polka As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: D; scale: major (some high 4th); pattern: AB (16,16); tuning: standard

Ending from **

A

B

Holt learned the tune from the Allen Street Band, based in Springfield, Illinois, who learned it from Gary Harrison. According to Holt, the tunehas been linked back to an elderly woman who knew it but could not remember the title. Since she lived in Red Hills, she decided to call it “RedHills Polka.” Holt says polkas were not played in the region when he was young, but that they became more popular during World War II whenpolkas were often played on the radio. Also, many Ozarkers looking for work moved up to northern states, where polkas were more popular, andthen returned to the Ozarks to retire. So Holt tries to play a few polkas at every dance. Gordon McCann heard that this tune might have beenderived from a German march.

One of Holt’s most popular tunes at dances, “Sally Goodin” is also popular nationally. In the late 1800s it was also well-known as a play-partysong. Holt says most of the fiddlers in the region play the tune with only two parts, unlike Texas-style fiddlers who tend to add numerous parts orvariations. Holt does add a third part every other time through the tune (see the part pattern above for a more detailed breakdown of one of his per-formances). Randolph collected the song in 1922 from Carrie Baber of Pineville, Missouri, and her lyrics began, “I had a piece of pie, and I had apiece of pudding; I gave it all away, to see Sally Goodin; Swing Sally Goodin, swing Grandma, Everybody rag to please grandpa” (Randolph III, p.350). The swing-at-a-square-dance theme is also apparent in a 1959 field recording by Alan Lomax of Neil Morris of Mountain View, Arkansas.

&

#

#

#

C ..

h»142

œœ

n œ# œ œ œœ œ œ

A

œœ œ œ

œœ œ œ

œ œ œœ

œ

œ œœ

œ œ œœ œ œ

E A

œ œ œœ œ œ œ œ

œ œ œœ

œ œ

œ

&

#

#

#

.

...

œœ œ œ

œ

œ œœ

œ œ œœ œ œ

E A

œ

œœ

œœ œœ œ

Aœ

œ œ œœ œ œ .œ

J

œ œœ œ œ

œ œ œœ œn œ œ

E A

œ

œœ

..œœ

J

œœ

&

#

#

#

.

...

œœ œ œ

œ œ œ œ

œœ œ

œœ

œ œ

1

œœ œ œ

œ œœ

œœ

E A 2

œœ œ œ

œœœ

n œ#

E A 3

œœ œ œ

œ

œ œE A

œ œœ

œœ

œ œ

œœ œ œ œ

œ

œ

&

#

#

# œ œ

œ œœ

œ œ œ œœ œ œ œ

E Aœ œ

œ œœ œ

œ œ œ

œ œ œ œœ œ œ

œ œœ

œ œ œ œ œœ œ œ

œ

œ

E Aœ

œœ œ

œœ

&

#

#

# œ

œœ œ

œ œ œœ œ

œ

œœ œ

œœ œ œ œ œ

œ œ œ œ

E Aœ

œ œœ œ

œœ

œ

œ

œ œœ œ œ

œ œ

œ

œ œœ œ

œœ œ œ œ œ

œ œ œ

œœ

E A

&

#

#

#

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

n œ#œ

œ œ œœ

œœ

E Aœ œ œ

œ œœ

œ œ œœ

œ

œ œœ

œ Œ œ œ œœ œ œ

œœ œ œ

œœ

œ

œ

Œ

E A

Sally Goodin As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: A; scale: major (some low 7th); pattern: AABB/AABB/CB/AABB/AABB/CBB/AABB/CB (A=8,B=8,C=16); tuning: standard

Introduction Ending from *

*

A

B

CTo A To B To C

To B

68

Morris sings the song, with mouth bow accompaniment, as a square dance call using verses such as, “Sally Goodin and then your maw; And thenthe girl from Arkansas” (see Rounder CD 1707). The tune is best known, however, as an instrumental fiddle tune well suited for improvisation, andit is often played at contests to show off fancy licks. Eck Robertson’s 1922 recording of the tune established it as a fancy show tune, and it has beenrecorded innumerable times by fiddlers since then. Bayard suggests the tunes "Sally Goodin," "Old Dan Tucker," and a Pennsylvania version of"Rye Whiskey" are related. See Holt’s related tune “Bear Creek Sally Goodin” earlier in this section. Other musical transcriptions are in ArkansasArkie (p. 22, “Sallie Goodwin,” with square dance calls), Bayard (p. 229), Brody (p. 246), Brown III (p. 126, words), Brown V (p. 69, tune), Ford(p. 64, tune; p.209, dance call; p. 419, song lyrics), Phillips 1 (p. 210), Randolph III (p. 350), Randolph/Cohen (p. 403), Stilley (p. 80), Thede (p.32), and Titon (p. 170). Meade (p. 767) lists 29 early commercial recordings, the earliest being by Eck Robertson (1922); others include Fiddlin’John Carson (1923), the Skillet Lickers (1929), Uncle Dave Macon (1925), and George Edgin (1932), under the title “Blue Mountain SallyGoodin.”

&C .

...

h»124

œ

œ

œ

œ

œ œœ

œœ

œ

C

œ œ œ œ œœœ

F

œ œ œ œ œ œ œ œ

G

œ œ œ œ

œ œ œ œœ

œ

œ

C

œ œ œ œ œ œ

F

œ œ œ œ œ œ œ

œ

G1

.

.

œ

œ

j

œ

œ

œ

œœ

œ

œ

œ

C

&

2

.

.

œ

œ

j

œ

œ

œ

œ

œœ

Cœœ œœ œ œ œ œ

œœ œ œœ

œ œ

œ

œ

œœ

œœ œ œœ œ œ

œ œ

œœ

œ

œ

œœ

œœ œ œ

œœœ

G

œœ œ œ œ œ œ œœœ

C

&

.

.

œœ œ œ œ œœ

œ

œ

F

œ œ œ œ œœ œ

œ

G

œ

œ

œœ

œœ œ œ

œ

œ

œ

Cœ

œ

œ

œ

œ

œœ œ

↓

œ œ œ œ œœ œ

œ œ œ œ œœ œ

œœœ

œœ œœ

œ

œœ

œ

œœ

œ œ

G

&

.

.

œ œ œœ

œ œ œ œ

C

œ œ œœ œ œ

œœ

F

œœ œ œ œ œ

œ œœ

G D.C.

œ

œœ

œœ œ œ

œ

œ

œ

C

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œ

œ

œ

œ

œ

œœ

œœ

˙˙

U

Sally Went A-Hunting As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: C; scale: major; pattern: AABCC (8,8,8,8,8); tuning: standard

A

B

C

Introduction Ending from **

Holt learned this tune from Floyd Blankenship, Sam Exline, and Bye Reid, all of whom said they learned it from a blacksmith named BillConley. He was the grandfather of the Bill Conley who lives today in Mountain Grove, Missouri, and who is currently active as a fiddler and banjoplayer (his music is featured later in this book).

& 4

3

q»160

œ œ œœ œ

œ

C

œ

œ œ

œ œ ˙ .œ

j

œ œ œ œ œ œ œ

œ œ

œ œ œ œ.˙

G

.˙ .œ

j

œ œ œ œ

3

œ œ œ œ

œ œ ˙

&

.˙ œ œ# œn œ

œœ

œ

←

œ

←

.˙

C

.œ

j

œ œ œ œœ œ

œ œ

œ œ

œ œ ˙ .œ

j

œ œ œ .œ

J

œ œ œ œ œ œb œ

C7

&

.

...˙˙

F

..˙˙

.œ

j

œ œ

.œ

J

œ œ# œ .œ

J

œœ

œ

C

œ œ# œ œ œœ

A 7

œœ

œ œ œ

D

œ

œ œ

G

.

.

œ

œ J

œ œ œ

œ

C

.

.

œ

œ J

œ œ œ œ

œ œœ

œ œ

C

&

œ

œ œœ

œœ ..œœ

j

œ œœ

F.œ

J

œ œ œ œ

œ

œœ œ

Gœ

œ

œ

3

œ œœ ..œœ

J

œœ œœ

C..œœ

J

œœ œœ

œœ œ

œ œœ

œ œ

&

.

.

œ

œ œœ

œœ ..œœ

j

œœ œœ

F.œ

J

œ œ œ œ

œ

œœ

œ

Gœ

œ œ œ.

.

˙

˙

C1

.

.

œ

œ

j

œœ œ

↓ 2

D.C.

.

.

œ

œ

j

œ œ œ œ

œœ

œ ..

˙˙

u

Shoe Cobbler’s Blues As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 3/4; key: C; scale: major; pattern: AAB (32,16,16); tuning: standard

A

B

Ending from **

Holt learned this waltz from Waldo Burke of Dogwood, Missouri. According to Holt, many members of Burke’s extended family played thefiddle, and it seemed to him that if a tune included some kind of blues sound (which in this tune might have meant sliding notes), the Burkes tend-ed to call it blues whether or not it was a blues tune in the usual sense of the word.

69

&

#

#

#

C

h»144

œœ œœ œ œ œœ

œ

Aœ œ œ œ

œ œ

œ

œ

œ

œ œ œ

œœ

œ œ œœ œ

œœ œœ œœœ

œ

E Aj

œ

œ

..œœ

J

œœ œœ œœ œ

&

#

#

#

.

.

œœ œœ

œ œ œ œœ œ

œ

œœ œ œ

œ œ

œœ œœœ œ œ

E A

œ œ œœ

œœ œœ œ

A

œ œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ œ œ

œœ

œ

œ œ œœ œ

&

#

#

#

.

.

1

œœ œœœ œ œ œ

E A 2

D.C.

œœ œœ œœœ

œ

E Aœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œœ œœ œ

œ

œœ

œ

œ

œ

œE A œ œ œ

œ œœ

œ œ

&

#

#

#

œœ

œ

œ œ˙

˙

E A

œ œ œœ œ œ

œ œ

œ

œ œ

œ œ˙

˙

E A

œ œ

œ

œœ œ œ

œ œ

œ œ

œœ

œ œ œœ œ

œœ œœ

œ œœ

œ œ

Wolves A-Howling

A

B

IntroductionEnding from **

Variations V1

V1

V2

V2 V1

V3

V3

As played by Bob Holt in Got a Little Home to Go to (Rounder CD0432, 1998); recorded 1997; time: 2/2; key: A; scale: pentatonic major (no 4th, 7th); pattern: ABB (8,4,4); tuning: EAEA

Holt learned this tune, which has been popular in the Ozarks for many decades. , in large part from hearing his father hum it and his UncleNoah play it on the banjo. He also heard it played on one of his grandmother’s 78 rpm records, but he could not remember the fiddler’s name.Although he believes the tune was generally played as an instrumental in the Ozarks, Holt remembers the words sung on the old 78 were, “Don’tyou hear the wolves a-howlin’; All round my poor little darling’? Four on the hillside and two in the holler; They’re gonna get her, I’ll bet you adollar.” Fiddler Earl Collins, also born in Douglas County, says his father W.S. “Willie” Collins used to sing the following similar verse to the tune:“Don’t you hear those wolves a-howlin’; Howlin’round my pretty darlin’; Six on the hillside, seven on the holler; And they’ll get her, I’ll bet you adollar” (see notes to the DVD The Films of Bess Lomax Hawes). He mentions that some fiddlers in his region would howl at certain spots in thetune. Tom Rankin and Gary Stanton suggest the tune is mainly played in the "Old Southwest", or the states of Alabama, Mississippi, Arkansas,Oklahoma and Texas (liner notes to Great Big Yam Potatoes). Mark Wilson shows evidence the tune is connected to “Pretty Girl Going Down theRiver,” which is also played in the Ozarks. In his notes to Gene Goforth’s rendition of the tune (Rounder CD0388), John Hartford connects the tuneto “Poor Little Darlin’,” “Cotton-Eyed Joe,” and “Sheeps and Hogs Walkin’ Through the Pasture.” Other musical transcriptions are in Phillips 1 (p.260) and Thede (p. 133). Meade (p. 711) lists one early commercial recording by the Stripling Brothers (1929). Another recording of this tune isplayed by Holt on Traditional Fiddle Music of the Ozarks, Vol. 1.

Vesta JohnsonVesta Wilson Johnson (1922- ) has established herself as

one of the top traditional fiddle players in Missouri, whichis especially notable because few woman from her genera-tion learned to play the fiddle. Her connection to central andnorthern Missouri fiddle traditions is stronger than is herconnection to Ozarks traditions, but she spent much of heradult life living either in the Ozarks or on the northern edgeof the Ozarks on the outskirts of St. Louis. Plus, as a fiddleperformer, teacher, and recording artist she has influenced anumber of fiddlers in the Ozarks. Johnson was born in LinnCounty in northern Missouri, where her parents and a num-ber of her relatives played fiddle music. In an interview forthe producers of the 1977 LP album I’m Old But I’mAwfully Tough (p. 19), she stated that her father’s ancestors

had been in Missouri for many generations, and that her mother’s ancestors, originally from Virginia, settled in Missouriafter living in Kentucky and Ohio. At the age of seven she began to play the fiddle while trying to sell Christmas sealsfor a school fundraiser. In that same interview, she explained, “When this old cousin of my mom’s was staying with us,he promised me he’d buy a dollar’s worth [of Christmas Seals] but I had to learn to play the fiddle, and he had an oldfiddle there so he started teaching me to play the fiddle. He had this finger off [was missing a finger], so he only hadthese three. That’s why I’m only a three-finger fiddler today.” She successfully learned “Golden Slippers” and soon after

Phot

o by

How

ard

W. M

arsh

all

70

&

#

# C ..

h»120

œ

œ

œ

œ œ

œœ œ

œ

œ œ

œœ œ

D

œ œ

œ

œ

œ œ œ œœ

œ

œ

G

œ

œ œ

œœ œ

œ

œ œ

œœ

œ

œ

D

œ

œ

œ œ œ œ œ œ

A

œ

œ

œ

œ

œ

œ

œ

œ œ

œœ

œœ

D

&

#

# ..

.

.œ œ

œ

œ œ œœ œ

G

œj

œœ œ œ

œ

œ

œ œ

œ

A1

.œ

J

œ œ

œ

œ

D2

.œ

J

œ œ œ

œ

œ

D

œ œ

œ

œ œ# œ

œ

œ

œ

œ

&

#

# œ œ œœ œ

œ œ œ

G

œ œ œ œ

œ œ œ œ

D

œœ

œ

œ œ œ œ

œ

œ

œ

A

œ

œ

œ œ

œ

œ# œ

œ œ

œ

D

œ œ œœ œ

œ œ œ

G

&

#

# ..œ œ œ œ

œ œ œ

œ

A1

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

D2

D.C.

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

D

œ

œ

Œœ

œ

Œ

D

œ

œ

œ œ

œ

œ

œ œ

œ

œ

œ

œ œ œ œ

œ œ œ œ

A

B

Ending from * Variations V1

Durang’s Hornpipe

V2

V1

V2

*

As played by Vesta Johnson (Gordon McCann Collection, field recording); recorded 9/12/04; time: 2/2; key: D; scale: Lydian (high 4th); pattern: AABB (8,8,8,8); tuning: standard

that he proudly took his dollar to school. Although her interest in playing the fiddle was not always encouraged becauseof her gender, she persevered and at the age of nine was playing for square dances at a neighbor’s home. AmongJohnson’s childhood memories is one of seeing Dennis Wolfsgale, a former slave, playing banjo and fiddle around thecourthouse square in nearby Chillicothe. In 1935, when she was around 13 years old, her family moved to a farm inYukon, a small southern Missouri town northwest of Cabool. In 1940 she married Steve Johnson, who soon after then leftto fight in World War II. He eventually returned home, carrying a fiddle he presented to Vesta, and the couple moved tothe St. Louis area where they established a permanent home. She rarely played fiddle again until the mid 1960s, when herchildren were grown and when young folk music enthusiasts began to encourage her to play more. Before long Vesta andSteve were hosting jam sessions that outgrew their house. In 1974 they started an organization called the “MissouriFiddlers and Country Music Association” to address the growing interest in the music. In time she became a MissouriState Fiddle Champion, a Master Fiddler for the Traditional Arts Apprenticeship Program in Missouri, and a popular per-former with her grandson Steve Hall who accompanies her on guitar. In talking with her about her inclusion in this book,she wanted us to point out that her mother is a fiddler who, at 103 years old, still plays occasionally. [Information primari-ly from the liner notes to I’m Old But I’m Awfully Tough.]

Popular in the Ozarks and other regions in the U.S., this tune was composed in 1785 by a Mr. Hoffmaster, a German dwarf in New York, forJohn Durang (1785-1816). Durang, who took violin lessons from Hoffmaster, was an actor and dancer who performed in John B. Ricketts’s circus,purportedly the first circus in America.. The folk process has changed the tune substantially from the original work, however, and many variationsexist. Fiddler’s Companion points to sources that link the tune to a New England dance tune titled "The Lady of the Lake,” and to a reel played onthe Cork-Kerry border of Ireland. Fiddler’s Companion also lists 25 sources that contain musical transcriptions. Of the sources I have used most inthe book, musical transcriptions can be found in Bayard (p. 341), Brody (p. 94), Bronner (p. 34, 68), Christeson 1 (p. 63), Cole (p. 94), Ford (p.53), Harrison (p. 258), Haywood (p. 44), Howe (p. 77), Jarman (p. 77), Kerr’s 2 (p. 38), Krassen (Appal. Fiddle, p. 82), Phillips 2 (p. 192), andThede (p. 116). Meade (p. 744) lists nine early commercial recordings, the earliest being by Don Richardson (1916); others include John Baltzell(1924), Clayton McMichen (1927), and the Kessinger Brothers (1929). In this book, compare Art Galbraith’s “Durang’s Hornpipe #2.”

71

&C .

.

h»126

3

œ œ œ œ

œ

œ

j

œ

.œ

J

œ

C

œœ œ œ œ

œ œ

œœ œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

G

œ

œ

œ

œ

œ œ œ

œ

œœ

.œ

J

œb

↑

œœ œ

↑C

&

.

...

œœ œ

œœœ œ œ

œœœ œœ

œœ

œœ

œ

œœ œ œ

œœœ

G1

œœ œ œ œ

3

œ œ œ

C2

œœ œ œ œ

3

œ œ# œ

G Cœ œ# œ œ œ œ œ

&

.

.œœ

J

œ œ œ œ

œ

œ

œ

œœ

œœ œ œ œ œ œ

G

œ

œ

œ œ

œ

œ œ œ

œ

œ# œ œ

œ

# œ œ

œ

œ œ œ

œ

C

œ

œ

œœ

œœ œ œ œ œ œ œ

œœ

œœ œ œ œ œ œ

G

&

.

.

1œ j

œœ œ œ œ

œ

œ

œ

C2

D.C.

œ j

œœ

œ

œ

œ

œ œ

œ

œ œ œ œ

G C

œ j

œœ œ

œ

œœœ

3

œ œ œ

G C

œœ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œj

œœ

œ

œ

œ

œ

œ

œ

œ

˙

u

G C

A

B

Ending from *

Fat Meat and Dumplings

*

As played by Vesta Johnson in I’m Old But I’m Awfully Tough (Missouri Friends of Folk Arts MFFA 1001, 1977); recorded 1975 or 1976; time: 2/2; key: C; scale: Lydian (high 4th); pattern: AABB (8,8,8,8); tuning: standard

Johnson learned this tune, which appears to be primarily a Missouri tune, from Cyril Stinnett of Oregon, Missouri, who learned it from hisfather. Stinnett’s version is transcribed in Christeson 2 (p. 43), and it is interesting to see that, while it is generally the same tune as Johnson’s,many differences are apparent. The tune is linked melodically to other tunes in the “Green Corn” family of tunes (see “Doc Brown’s Dream”).Fiddler’s Companion links it to “Knocking on the Door.” Other musical transcriptions are in Christeson 2 (p. 43) and Phillips 1 (p. 83, ArtGalbraith’s version). In both of these transcriptions the A & B parts are the opposite of Johnson’s.

&

#

C ..

.

...

h»122

œœœœ

œœ œ œ œ œ œ

G

œœ

}œ œ œ œ œœ

œœ

œœ œ œ œ œ

œ

œ

1

œ

œ œ

œ

œ œ

œ

œ

œœœœ

D G2

œ

œ œ

œ

œœ

œ

œ

œ

œ

D Gœ œ œ œ œ œœ

&

#

.

.

œœ

œ œ .œ

J

œœ œ œ œ œ œ

1

œ œ œ

œ

œœ

œ

œ

œ

œ

D G2

D.C.

œ œ œ œ

œ

œœ œœ

œœ

D G

œ

œ œ

œ

œ

˙˙

u

DG

œœ œ œ

œ

œ

œ

œœœœ

AB

Ending from *

Hog House Rag As played by Vesta Johnson (Gordon McCann Collection, field recording); recorded 6/17/90; time: 2/2; key: G; scale: hexatonic major (no 4th); pattern: AABB (4,4,4,4); tuning: standard

*V1

Variation V1

This tune, which Johnson learned as a young girl from her uncle Clarence Wilson of Chula, Missouri, is unusual, and I know of no other fid-dlers who play it. Mark Wilson suggests a possible link to the tune “Jeff City."

Track #9

72

Johnson told Charlie Walden she learned this tune as a girl in Chillicothe, Livingston County, Missouri (see Now That’s a Good Tune, p. 53).At that time she didn’t know the title. Later a pianist friend said she remembered playing the tune from sheet music and that it was called “OrvettaWaltz.” On their American Memory website, the Library of Congress has a copy of “Orvetta Waltz” by E.B. Spencer (see http://memory.loc.gov),and I can find no similarity to Johnson’s tune except for the widespread use of a dotted note at the beginning of measures. It is possible Johnson’sfriend was making the association based on that rhythmic element. Another transcription of Johnson playing the tune is in the liner notes to NowThat’s a Good Tune (p. 53).

&

#

4

3 ..

.

.

q»148

œ

œ

≥

œ œœ

≤

œ

≤

œ

G

œ

≥

œ

≤

œ

≥

œ

≤

œ œ

C

œ

≥

œ

œ œ

≤

œ œ

G

œ

≥

œ œœ

≤

œ œ

œ

.

.

œ

œ

≥

j

œ

≤

œ œ

D

.œ

≥

J

œ

≤

œ

œ

≥

œ

≤

œ

≥

œ

≤

G1

œ

œ

≥

œœ œ

≤

œœ

œ

2

.

.

œ

œ

≥

j

œ

≤

œ œ#

&

#

.

.

.œ

≥

j

œ

≤

œ œ œ

œ

≥

œ

œ

≤

œ

≤

œ œ

≥

œœ

≤

œ

≤

œ

C

œ

≥

œœ

≤

œ

≤

œ

A m

.œ

≥

J

œ

≤

œ œ

≥

D

œ

≤

œ

≥

œ

≤

œ œ œ

≥

œ

≤

œ

œ

≥

œ

œ

≤

œ

≥

œ

≤

G

.œ

≥j

œ

≤

œ œ .œ

≥

j

œ

≤

œ œ

&

#

.

.

œ

≥

œœ

≤

œ

≤

œ

C

œ

≥

œœ

≤

œ

≤

œ

A m

.œ

≥

J

œ

≤

œ œ

↑

≥

D

.œ

≤

j

œ

≥

œ œ

≤

œ

≥

œ

≤

œ

≥

œ

1

.œ

≤

j

œ

≥

œ œ

≤

G 2

D.C.

˙

≥

œ

≤

œ}

G

œ

≥

œ

≤

œ

≥

G

.˙

u

≥

œ

≥

œ

≤

œ

≥

œ

≥

œ

≤

œ

≥

œ

≤

œ

≤

œ œ

A

B

Ending from * Variations V1

Orvetta Waltz

* V2

V1

V2

As played by Vesta Johnson (Gordon McCann Collection, field recording); recorded 9/12/04; time: 3/4; key: G; scale: major (some high 4th); pattern: AABB (8,8,16,16); tuning: standard

&

#

# C ..

h»124

œ

œ .œ

J

œ œ œ œ

D

œ œ œœ

œ

œ

œ

œœ

G

œœ

œ

œœ œ œ œ

D

œœ

œ

œ œ œœ œ œœ

A

œ œ .œ

j

œ

D

œ œ œœ œ

œ

œ

G

œœ œ

œ

œ

œ œ œ

œ

A

&

#

# ..

.

.

1.œ

J

œ œ œ

œ

D2

.œ

J

œ œœ œ

Dœ œ œ œ œ

œ œ œ œœ œ œ

G

œ œ œœ œ œ œ

D

œœ

œ

œ œ œœ œ œ

A

œ œ .œ

j

œ

D

&

#

# ..œ œ œ

œ œ œ

G

œj

œ

œ œœ œ œ œ

A1

.œ

J

œ œœ œ

↑D2

D.C.

.œ

J

œ œ œœ

D

.œ

J

œ œ

œ œ

D

œœ œ œ œ

œ

œ œœ

œ

œ œ œœ

œ

Œ

A D

˙

˙

A

B

Ending from *

She Ought To Been a Lady

*

As played by Vesta Johnson in I’m Old But I’m Awfully Tough (Missouri Friends of Folk Arts MFFA 1001, 1977); recorded 1975 or 1976; time: 2/2; key: D; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

Johnson’s mother plays this tune, and it has been in her family for a couple of generations. Johnson also recalled that Ed Daurighty played thistune at the Tina dances. The liner notes to the LP I’m Old But I’m Awfully Tough (p. 19) state that Johnson’s mother remembers hearing a neighborman play the tune and sing words to it (I have been unable to locate any words to this tune). It is likely related to the Irish reel “Beaux of OakHill,” which first appeared as “The Two Sisters” in Knauff’s 1839 Virginia Reels. For more information about the “Beaux of Oak Hill” connection,see the notes to Fred Stoneking’s similar tune “Birdie in a Snowbank” (in this book).

73

Dean JohnstonDean Johnston (1919-2007) of Lamar, Barton County, Missouri,

was from a family of musicians that went back at least four genera-tions. According to one of his family’s traditions, a fiddle originallyowned by Johnston’s great grandfather must be passed down fromfather to oldest son, as long as that son wanted to learn to play.Johnston inherited that fiddle but acknowledges that, in part becauseit was transported for so many years in a flour sack, it is more of akeepsake than a good performance fiddle. He was born in Adair,Oklahoma, but when he was 14 years old his father moved the fami-ly back to his home state of Missouri. The oldest of eight children,Johnston remembered hearing his father play fiddle for housedances when he was four or five. At those dances, the hosts wouldmove their furniture into their yard. Musicians would play in thedoorway, and dancers would square dance in the two connectedrooms. Johnston pointed out that his father, who was known forplaying loud, worked hard to make a living and never knew morethan six or eight tunes. Occasionally, his father would also hostmusic jam sessions, where, Johnston recalled, local Indians wouldoccasionally come and play. Johnston started playing when he was12, largely through his own initiative. While his father, who wasoften working out of town, was in Colorado, Johnston and a neigh-bor fixed up an old fiddle. The neighbor ended up doing much of

the work, hand carving the bridge, keys, and bow. They used sewing thread instead of horse hair for the bow.“Soldier’s Joy” was the first tune he learned. Initially, he played everything he learned in the key of G, andthen ventured into the key of A and beyond. He learned primarily by listening to his father and, later, to com-mercial fiddlers such as Arthur Smith, Tommy Jackson, Howdy Forrester, Kenny Baker, and Byron Berline. Inhis travels as an employee of electric and phone companies, he was often able to meet other amateur fiddlersand to learn from them. He also pointed to Missouri fiddlers Lonnie Robertson, Cyril Stinnett and LymanEnloe as major influences. Unlike many current old-time fiddlers who dislike the popular contest-style fiddlemusic, Johnston was impressed by the intricate tunes many young people played. Johnston, a Master Teacherin Missouri’s Traditional Arts Apprenticeship Program, continued to perform at festivals, contests, and jamsessions until just before he died in 2007.

Cou

rtes

y of

Gor

don

McC

ann

74

&

#

# C ..

h»132

œ œ

↑œ œ

↑œ

œ œ

↑œ œ

œ

↑D

œ ˙˙

œ œ

↑œ œ œ

œ œ œ œ œ œ

˙ œ œ

↑Aœ œ œ

œ œ œ œœ

D

œœ

œœ .œ

œ œ

G

&

#

# ..

.

.œ œ œ œ œ

↑

œ œ œœ

↑A

1

œ˙

3

œ œ œ

D2

œœ ˙

œœ

D

œœ œ œ

↑

œ œ

↑

œœ

↓

œœ œ

œ œ œœ

œ

œœ œ

œœ œ œ œ

œ

&

#

# ..

.

.

œ

œ

j

œ

œ

œ œ

œ

A

œœ œ œ œ

œœ œ

D

œ

3

œ œ œ œœ

↑

œ œ

G

œœ

œœ

œ

œ

}œ

œœ

↑A

1œ ˙

˙

œœ

↓D

2

D.C.

œ ˙˙

œœ

D

&

#

#

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œ œ

↑œ œ

œ œŒ

D

œœœ

j

œ œ œœ œ œ

œ œœ

j

œ œœ œ

Œ

Chinky Pin

A

B

Introduction Ending from *

*

As played by Dean Johnston in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 12/14/97; time: 2/2; key: D; scale: major (some high 4th, 1st, low 7th); pattern: AABB (8,8,8,8); tuning: standard

Johnston learned this tune from his father, who called it “Love Somebody.” It is widely played in the U.S. and Britain, and is often associatedwith the Scots tune “My Love Is But a Lassie Yet.” Gordon McCann says he has heard fiddlers in the Ozarks call this tune “the tune with 1,000titles.” The phrase “Chinky Pin” is apparently a corruption of the word “Chinquapin,” which is a type of chestnut tree or its edible nuts. CharlesWolfe (see Wolfe, p. 107) speculates that when the Kessinger Brothers recorded “Chinquapin” in 1929, a clerk at the Brunswick record label man-gled the title. Fiddler’s Companion links it to a long list of titles: "Big Town Fling," "Buffalo Nickel," "Darling Child," "Farmer Had a Dog,""Fourth of July," "Hair in the Butter," "I Am My Mamma's Darling Child," "Lead Out," "Love Somebody," "Midnight Serenade," "My Love She'sBut a Lassie Yet," "Old Kingdom," "Pig Town Fling," "Richmond Blues," "Sweet Sixteen," "Ten Nights in a Bar Room" (in this book, with the Aand B parts switched), "Too Young to Marry/Get Married," and "Yellow Eyed Cat." The tune “Big Muddy” (in this book) is also related. Arkansasfiddler Sam Younger calls the tune “Missouri Mule.” Other musical transcriptions are in Arkansas Arkie (p. 2, “My Love Is but a Lassie ‘O,” withdance calls), Howe (p. 123, “My Love Is But a Lassie Yet”), Phillips 1 (p. 50) and Christeson 1 (p. 53, as “My Love Is But a Lassie”). Meade (p.716) lists 15 early commercial recordings under the primary title “Too Young to Marry,” the earliest being by Sid Harkreader & Uncle Dave Macon(1924); others include Luke Highnight’s Ozark Strutters playing “I Love Somebody” (1928), and the Kessinger Brothers (1929).

&b

4

3 ..

q»122

j

œ œ

œœ œ œœ œœ

œœ œ

F

˙ œœ

œ.œ

J

œ œ

B b

.œj

œ œœ

F

œœ œœ œœ œ# œœ

.œ

J

œ

3

œ œ œ.

.

œ

œ

j

œ œ œ

C

.œ j

œ œ

œœ

&b œœ œœ œœ

œœ œ

F

˙œ

œ œ .œ

J

œ

J

œ

B b

.œj

œ œœ

F

œ œœ œœœ

œœ

.œ j

œœ

œ

C

.

.

œ

œ

œ œ œ œ

F

˙

œ

œ œ œ œ œ œœ

&b

.œ

J

œ

œ

œ

A

.œ

J

œ

3

œ œ œœ

F

.œj

œ

j

œ

œœ

œœ œœ œœ œ# œœ

.œ

J

œ

3

œ œ œ ..

œ

œ

j

œ

œ

œ

œ œ

C

˙

œ

œ œ œ

3

œ œ œ œœ

F

&b .

.

.œ j

œ œ

œ

A

.œ

J

œ

3

œ œ œœ

F

.œj

œ

j

œ

œœ

œœ œœ œœœ

œœ

.œ j

œ

3

œœ

œ

C

.

.

œ

œ

œ

œ

œ

œb

œ

œn

œ

œ

F

˙

˙œ

œ œ

œœ

F

˙

˙

u

Crystal Stream Waltz

*

As played by Dean Johnston in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 12/14/97; time: 3/4; key: F; scale: hexatonic major (no 4th); pattern: AB (16,16); tuning: standard

Ending from *

A

B

Dean Johnston learned this waltz from northern Missouri fiddler Nowlin Boone, who performed it with his wife on piano. The tune appears tobe associated primarily with Missouri fiddlers. Other musical transcriptions are in Christeson 2 (p. 161) and Phillips 2 (p. 249).

75

&

#

#

#

C ..

h»132

œ

œ œ œ

œœ

œ

œ

œœ

œ

œ

A

œ œœ

j

œ œ œœ

œ

œ œ œ œ

j

œœ œ

j

œœ

œ œœ

j

œ œ œ œœ œ

E

œ œ œ œ œœ œ

A

œ œœ œ œ

œœ

D

œ œ œ œ

œ œ

E

&

#

#

#

.

...

1œœ œ

œœ

œ

A2œ

œ œœ

.œ

œ œ

E Aœ œ œ œ

œ œœ œ œ

œœ œ

œ œœ œ

œ œ œ œœ œ œ œ

œ œ .œ

J

œ

Eœ œ œ œ œ

œ œœ

A

&

#

#

#

.

...

œ œœ

œ œ œœ œ

D

œ œ œ œ

œ œ

E1

œœ

j

œ œœ

.œ J

œ

A2

D.C.œ

œ œœ

œ

œ

A

œ

œ

Aœ œ œ

œ

3

œ œ

↓

œ œ œ œœ œ

œ˙

E A

w

u

Frisky Jim

*

A

B

Ending from *

As played by Dean Johnston in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 12/14/97; time: 2/2; key: A; scale: hexatonic major (no 4th); pattern: AABB (8,8,8,8); tuning: standard

Johnston learned this tune from an elderly fiddler named Steve Charles in Prior, Oklahoma, in the early 1930s. Charles played it with anAEAE tuning, but Johnston preferred to play it in standard tuning. Christeson reports that Bob Walters’ father learned the tune around 1905, andthat he had not heard the tune played by other fiddlers. Mark Wilson suggests Walters was probably responsible for much of the tune’s popularity inthe Midwest because of his radio broadcasts. Wilson also cites a popular minstrel song from the 1840s titled “Happy, Frisky Jim,” but says he can-not detect any melodic relationship (see Randolph III, p. 180; also read lyrics and listen to a version of “Happy Frisky Jim” on the Max HunterOnline Folk Song Collection, http://www.smsu.edu/folksong/maxhunter/0434/index.html). Notice the similarities between this tune and Johnston’sversion of “Waldo” (in this book). The B parts of Johnston’s “Frisky Jim” and Stoneking’s “Dance Around Molly” are almost the same. Othermusical transcriptions are in Christeson 1 (p. 4) and Phillips 1 (p. 92).

&

#

# C

h»110

j

œ

œ œ œ œœ œ

D

œœ

œœ œ

œ œ œœ

↓

œ œœ œ œ

œ œ œœ

œœ œ œ œ

œ

œœ œ œ

↓œ

œ

G

œ œœ

œ œ œœ

œ

&

#

# ..

œ œ œœ œ œ œ

œ

D

œœ

œ

œ œ} œ œ œœ œ œ

œ

œ

œ

œ

œ œn

A

œœ œ œ

œ

œ

œ

œ

œ

œn œœ

œ œ œœ

1.

.

˙

˙

œ

œ

œ

D

&

#

#

2˙˙

œœ

œœ

D

œœ .œ

J

œ œ

.œ˙˙

œœ

œ

œ

œn œœ .œ

œ œ

.œ˙˙

œœ œ œ œ œ œ œ

œ œ œ œœ

G

&

#

#

œ œœ

œ œ œœ œ

œn œ œœ œ œ

œ œ

D

œœ

œœ œ

œ œ œ œœ

œœ œ œ œ œ

A

œ

↓

œ œ

.

.œœ

J

œ œ

œ œœ œ œ

œ œ

&

#

# œ˙˙

œœ

œn

D˙˙

œœ

œœ

œœ

œœ

œœ

œ

œ

˙

˙

œ

œœœ

œœ

œ

œœœ

œ

œœœ

œ

˙˙

œœ

œœ

œœ

˙˙

œœ

œœ

œœ

œœ

G

&

#

# œœ

œ

œ

.

.˙

˙œœ

œ

œœœ

œ

œœœ œ

œ

D

˙˙

œœ œ œ œ œ œ œ œ

œ

œ

œ

œ œn

A

œœ œ œ

œ

œ

œ

œ

œœ œ œ

↑œ œ œ

œœ

œ

Œ

˙˙

u

D

&

#

#

œ œ œ œœ

œ

D

œœ

œœ œ

œ

œn œœ

œn œ œœ œ œ œn œ œ œ œ œ œ œ œ

j

œœ œ

j

œœ œ

œœ

œ

G

œ

œ œ œœ œ

œ

&

#

#

œ œ œœ œ œ

œ œ

D

œœ œ

œ œœ œ œ œ

↓œ

œœ œ œ œ œ

A

œ

↓

œ œ

˙˙

œ

œ œœ œ œ

œ œ

.

.

˙

˙

œ

œ

œ

D

&

#

#

œ œ œ œ

D

œ œ œ œœ

œ œœ

œ œœ

œœ

œœ

œœ œn

œœn

œœ

œœ

œœ

œœ œ œ

œ œ œ œ œ œœ

œœ

G

œ

œ œ œœ

œœ

œ

Florida Blues

A

B

C

Variations V1A

V2

V1B

V1

V2

As played by Dean Johnston (Gordon McCann Collection, field recording); recorded 12/15/96; time: 2/2; key: D; scale: major (some low 3rd, 7th); pattern: AAABAAC (12,12,12,12,12,12,12); tuning: standard

To A or B

To C

To A

76

A challenging tune, “Florida Blues” is usually played only by the more accomplished Ozarks fiddlers. In listening to Johnston play this tuneon another occasion, I noticed he appeared to play the three parts in a relatively random order. Fiddlin’ Arthur Smith is credited with being thecomposer of the tune, which has parts that follow a standard 12-bar blues progression. Lonnie Robertson played it on one of his LPs (CEP 212).Other musical transcriptions are in Brody (p. 108) and Reiner (p. 105). Meade (p. 884) lists one early commercial recording by the Arthur SmithTrio (1937).

Johnston learned “Turkey Knob” from Cyril Stinnett. It was recorded by Tommy Jackson and Clark Kessinger, and their versions might haveinfluenced both Stinnett and Johnston. The tune is similar to “Dance Around Molly” (in this book), and it’s A part is similar to the B part in severaltunes such as “Fort Smith” and “Lonesome Polly Ann.” Another musical transcription is in Christeson 2 (p. 19).

&

#

# C

h»128

œ

œ

œœ

œœ

œœ œœ œ

D

œ œ œœ

3

œ œ œ œœ œ œ œ œ

œ œ œœ œ

œ œ

œ

œ

A

œœ

œœ œœ

œœ

œœ œ

D

œ

œ œœ œ œ

œœ œ œ œ œ

œ

&

#

# ..

.

...

œ œ

j

œ œœ

.œj

œ

A D

œœ œ œ œ

œ œ↑

œ œ œœ œ

œ œ œ

œ

œœ œ œ œ œ œ 1

œœ œ œ

œœ

œ œ

A2œ

œ œ

œœ

.œ

J

œ

A D

œœ œ œ

œ# œ œ

&

#

# ..

œœ œ

œ œ œœ

œ

œ œœ œ œ

œ# œœ

1œ œ œœ œ

œ œ

A2

D.C.

œ œ œœ œ

œ

A Dœ œ œ œ

œ

Œ

A D

w

w

u

œœ œœ œœ œ

œœ œ

œ

œ œœ œ œ

œœ

Lantern In a Ditch

A

B C

Ending from * Variation V1

V1

As played by Dean Johnston in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 12/14/97; time: 2/2; key: D; scale: major (some high 4th); pattern: AABBCC (8,8,4,4,4,4); tuning: standard

*

Johnston learned this tune from Cyril Stinnett, who likely learned it from Nebraska fiddler Bob Walters. Folklorist Howard Marshall, in aFiddle-L posting, wrote that Bob Walter got the tune from Casey Jones, whose father John Henry Jones composed the tune in the late 1920s. LeanaHughes, one of Jones's daughters, told Marshall that John, Casey, and she were walking home after a square dance in Ray County, just east ofKansas City, when one of them dropped their lantern in a ditch. They had to walk the rest of the way home in the dark. Jones memorialized theincident by giving the title "Lantern in the Ditch" to a tune he composed soon after that. According to Fiddler’s Companion, the tune is primarilyassociated with Iowa, Missouri, and Nebraska. Charlie Walden includes “Lantern in a Ditch” on his list of "One Hundred Essential Missouri FiddleTunes." Other musical transcriptions are in Christeson 1 (p. 53) and Phillips 1 (p. 136).

&

#

#

#

C ..

h»132

œ œœ

œ œœ œ

œ

A

œ œœ

œ œœ œ

œ œ œ œ œœ

œ œ œ œ œ œœ œ œ

œœœ œ

E

œœ

œ œœ œ

œ

A

œ œœ œ

œ œ œœ

D

&

#

#

#

.

...

œœ œ œ œ

œ œ

œ

E1

œœ

œ œ œ .œ

œ œ

A2

œœ

œœ .œ

j

œ

E A

œ œ œœ

œ œœ

œœ

œœ

↓œ

œ œ œ œœ œ

œ œ œœ

.

.

œ

œ

œ œ œ œ↑

œ œœ œ œ

œœ

E

&

#

#

#

.

.

œ œ œœ

œ œœ

œ

A

œœ œ

↑œ œ œ œ œ

Dœ↑

œ œ œ

↑œ

œ œ œ

E1

œœ

œœ .œ

j

œ

A2

D.C.

œœ

œœ .œ j

œ

E A

œœ

œœ ˙

E A

w

w

u

Turkey Knob

A

B

*Ending from *

As played by Dean Johnston in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 12/14/97; time: 2/2; key: A; scale: major (some high 1st, 4th, low 7th); pattern: AABB (8,8,8,8); tuning: standard

77

&

##

#C .

.

h»134

œ œ œ œ œ œ œ

↓

A

œ œ œ œ œ œ œ œœ œ œ œ œ œ

E

œ œ œ↓

œ œ œ œ œ

œ œ œ œ œ œ

A

œ œ œ œ œ œ œ

&

##

#..

.

.œ œ œ œ œ œ œ

E1

.œJœ œ

œ

A2

.œJœ œ

œ œA

œ œ œ œ

œ œ œ↑

œ œ↓

œœ œ œ œ œ œ œ

œœ

.

.œœ J

œ

E

&

##

#..

œ œ œ œ œ œ œ œ

œ œ œ œœœ œ œ

A

œ œ œ↓

œ œ œ œ

D

œ œ œ œ œ œ œ

E1

.œj

œ œœ œ 2

D.C.

.œj

œ œ

œ

&

##

#

.œJœ œ

3

œ œ œA

œ œ œ œ œn œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

u

E Aœ œ

↓

œ œ

œœœ

œœ œ œ

Waldo

A

B

As played by Dean Johnston in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 12/14/97; time: 2/2; key: A; scale: major (some high 4th, low 7th); pattern: AABB (8,8,8,8); tuning: standard

*

Ending from *Variation V1

V1

He learned this tune either from Lonnie Robertson or Lyman Enloe. Howard Marshall says that some older Missouri fiddlers connect this tuneto a Kansas City fiddler and violin dealer named John Jernigan (liner notes to Now That’s a Good Tune). Parts of “Waldo” are similar to Johnston’sversion of “Frisky Jim” (in this book), and the tune is sometimes linked to “George Booker” (in this book). Other musical transcriptions are inPhillips 1 (p. 251, Enloe’s version), Songer 2 (p. 220), and the LP Now That’s a Good Tune (p. 54, which includes Dean Johnston’s version, withthe A & B parts switched).

The Johnston family at Compton Ridge Campground, May 18, 1991.

Cou

rtes

y of

Gor

don

McC

ann

78

Gary JohnstonGary Johnston (1937- ) lives in Nevada, Missouri, about 30

miles from where he grew up in Lamar, and 65 miles north ofJoplin. He has a special skill for playing unusual rags, lushwaltzes, and difficult Missouri tunes, and is well known by fid-dlers throughout southern Missouri. Raised in a family whereeveryone, including his mother, father, and seven siblings,played music, Johnston says he was eight years old before hefound out everyone didn’t play music. He started playing fiddlewhen he was around six or seven years old. Although he learnedmuch from his fiddling father and guitar-playing mother, hepoints to his brother Dean (also featured in this book) as his pri-mary influence as a fiddler. His brother Don is also a distin-guished fiddler, and continues to perform often in the region. Asa young man, Johnston played for square dances, working hardfor three or four dollars a night. For decades the Johnston familyplayed at regional events, such as the Lamar Fair. For 30 years,he was a member of a country band called the Leavell Brothers.Outside of his family, Johnston most admired the playing ofMissouri fiddler Cyril Stinnett, but he also points to a long listof major fiddlers such as Byron Berline and Lyman Enloe as

strong influences. Johnson earned his living primarily as a carpenter, and is currently semi-retired. In com-menting on the current state of fiddle music, he says he regrets that the old square dances are largely a thing ofthe past in his region and that most of the old-time fiddlers have died. In his own large family, only one of hissons, Beau, has decided to play fiddle, and he has become an accomplished contest fiddler. In recent years,Johnston has played primarily at jam sessions and contests (and served as a contest judge), but he has occa-sionally ventured out to larger venues. A few years ago, for example, he performed and led a workshop at theChicago Folk Festival. In 2005, he released a self-produced CD titled Johnston Fiddling, that includes 31 fid-dle tunes, six performed by his son Beau.

&

#

C ..

h»128

œ œ

œ

# œ

œ

nœ

œ

œ

œ

˙

˙

œ

œ

œ

œ

G

œ

œ

œ

œ

œœ œ œœ

↑

œ

œœ

œœ

œœ

œœ

œœ

œœ œ œ

œœ

œœ œ œ

œœ œ œ ˙˙ œœ œœ

D

œœ

œœ

œœ œœ œœ

œ œ

&

#

œ˙˙

œœ œ

G

œœ

œ

œ œ

↓

œ œ

œœ

œ

˙

˙

œ

œ

œ

œ

↑

œ

œ

œ

œ

œœ œ œ

↑

œ

œœ

˙˙

œœ œ œ œ

œœ œ œ œ

œœ œ œ ˙˙ œœ œœ

D

&

#

.

.

#

#

œ œ œ

3

œ œ œ œœ œ

˙˙

œœ

œœ

G 1

œœ

œ œ

œ

# œ

œ

n

2

˙˙

œ

œœ

œœ

œœ ˙˙ œœ œœ

D

œ œœ

œ œ

œ

↓

œ œœ œ

˙˙

œœ

œœ

&

#

#

˙˙

œ

œ

œœ œœ œœ œœ œ œ œ

œ

A˙

˙

3

œ œ œ

œ

œ

œ

œœ

œœ

˙˙

D ..

œœ

J

œœœ œ

œ

œ ˙˙

œœ œ œ œ

↑

œ œ

œ

œ

œ

œ

œ

œœ

&

#

# n

#œœ

œœ

.

.œœ

J

œ

œœœ

œœ

œ

œ

œœ œœ œœ œœ œ œ

œ

A˙

˙

3

œ œ œ œ ˙˙

œœ œ

D D.C.

˙n.œ

J

œ#

œ œ

œœ

œ œ œ

œ

Gœ

œ

œ

œ

œ

œ

œ

œ Œ

Down Home Rag

A

B*

Ending from *

As played by Gary Johnston in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 12/14/96; time: 2/2; key: G and D; scale: major (some high 4th, low 7th); pattern: AAB (16,16,16); tuning: standard; much variation each time through

Cou

rtes

y of

Gor

don

McC

ann

79

Johnston learned “Down Home Rag” from Lyman Enloe, who described it on his LP Fiddle Tunes I Recall as “quite a bit different” from otherversions. The title does appear to be attached to different tunes, including one in Christeson (vol. 1, p. 14), and a ragtime piece composed in 1911by Wilbur Sweatman (view at http://ucblibraries.colorado.edu/cgi-bin/sheetmusic.pl?RagDown&Rag&main). Johnston’s version features a keychange, similar to that of other rags such as “A & E Rag” (in this book), and much chording and sliding, including a third position slide in the Bpart. In general, the tune tends to feature a driving shuffle more than a melody, especially in the A part.

&

#

#

4

3 ..

q»114

3

œœ

œ

œ œ

œ

œ

œ

œœ

œœ

œœ œœ

œœ

D

œœ

.

.œœ

œœ œ

œ

œ

œ

n

D7

œ

œ

nœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

↑G

.

.

œ

œ

J

œ

3

œœ œ

Em3

œœ œœ# œœ

œœ

œœ

œ

œ

œ

œ

D

&

#

#

..œœ

j

œ

œ

3

œ œœ

œœn

.

.œ

œ

j

œ

œ

œ

œ

œœ

↑A

.

.œœ

œ

œ

œœ œ

œœ

œ

œ

œ

œ

œ

œ

œœ

œœ œœ

œœ

D

œœœœ

œœ œ

œ

œ

œ

n

D7 3

œ

œ

n œ

œ

œ .

.

œ

œ

œœ

G

&

#

# .œ

J

œ

œ

3

œœ œ

Em3

œœ œœ# œœ

œœ

œ

œ

œ

œ

œœ

D

œ

œ

œœ

œœ

œ

œ

œœ

œ

œ

œ

œ

A

.

.œœ

j

œœ

œœ

œ

œ

D

œœ

œœ

œœ

œ

œ

3

œ

œ

œœ

œœ œœ

.

.œœ

œœ

œœ

œ

œ

œœ

&

#

#..œœ

J

œœ œ

œ

œœ

A

œœœ

œ

œ

œ

œ

œ

œ

œ

D.

.

œ

œ

J

œ

œ

œ# œ

œ

n .

.

œ

œJ

œœ œ ..œœ

J

œœ œ

œ}

œœ

A

œ œ .œ

J

œ

F#m

&

#

#

.œ œ œ

3

œ œœ

œ

œ

.

.œ

œ

œ

œ œ œn

G

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

3

œœ œœ# œœ

œœ

œœ

œ

œ

œœ

œ

œ œ

D

.

.œœ

j

œ

3

œ

œ

œ

œ

œ

B m

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

D

&

#

# ..œœ œ

œœœ

œ

œ

œœ

œ

œ

œ

œ

A

.

.œœ

j

œ

œ

↑

œœ œœ

D

œœœœ

œœ

œœ

3

œœ

œ

œ

œ

œœœ

œ

œ

œ

œ

D

.

.

˙

˙

u

3

œ

œ

n œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

G

&

#

#.

.

œ

œ

œ

œ

œ œ

œœ

Em

œ œœn

œœ#

œœ

3

œœ

œ

œ œ

D..

œœ

J

œœ œœ œœ

A

.

.

œ

œ

j

œ

3

œœ œ

G

œœ œœ# œœ

3

œn œ œ

D

œœ œ

œœ

œ œ

D

Annie Laurie

A

B

Ending from **

As played by Gary Johnston in Johnston Fiddling (self-produced CD, 2005); recorded c. 2005; time: 3/4; key: D; scale: major (some low 7th, 3rd, high 4th, chromatics); pattern: AB (16,16); tuning: standard

Variations V1

V2 V3 V4

V1

V2 V2

V3

V4

Johnston plays this old Scottish love song and air as a waltz, and he uses lush chords throughout. The piece is usually presented in print andrecorded sources as a song in 4/4 time. A number of slightly different accounts of the song’s history exist, but most researchers seem to agree thatin the late 1600s William Douglas, of Fingland, Scotland, wrote the lyrics for Annie Laurie, the daughter of Sir Robert Laurie, the first baronet ofthe Maxwellton family. The story goes that she ended up marrying someone else. Later in the 1830s, Lady Jane Scott, formerly Alicia AnnSpottiswoode (1810-1900), purportedly amended and added lyrics, and composed the melody. In other accounts, the lyrics Lady Jane Scott ampli-fied were written earlier in the 1820s by Allen Cunningham, who possibly lifted some lyrics from an existing song titled “John Anderson My Jo.”“Annie Laurie” was popular among the British soldiers during the Crimean War, and it went on to be a favorite “parlor song” well into the mid-1900s. For more tune history see the online “Traditional Ballad Index” at California State University (http://www.csufresno.edu/ folklore/ ballads/FSWB150A.html). Another musical transcription of the tune, but in 4/4 time, is in Jarman (p. 80), and the song can be found in a number of popu-lar song compilations. Meade (p. 222) lists three early commercial recordings, the earliest being by Billy Bishop (1927); others include Bill Boyd& His Cowboy Ramblers (1938) and Cliff Bruner’s Texas Wanderers (1939).

80

&

#

#

#

4

3 ..

h»124

J

ϳ

3

œ

≤

œœ# œœn ..

œœ

≥œœ

≤

œœn œ# œn

A

.

.

œ

œ

≥j

œ

œ

≤

œ

œ

œ

œ

œ

œ

œ

œ

E

.

.œœ

≥3

œ

≤

œœ œœ

œ

œ œœ

A

.

.œœ

≥

j

œœ

≤

œ

œ

œœ œ

A 7

œ

œ

≥

œœ

œ

œœ

≤

œ

D

&

#

#

#œœ

≥

œœ

œœ

œ

≤

3

œ œ œ

A

.

.œœ

≥

œœ

≤

œœ

œ

œ œœ

œœn

E

.

.œœ

≥ j

œ

≤

3

œœ œœ# œœn

E7

.

.œœ

≥

J

œœ

≤

3

œœ œ œ

A

œ

œ

≥

œœ

œœn œœ

≤ 3

œœ

œ

œ

œ

œ

A 7

œœ

≥

œœ

≤œ

œ

≥

D

&

#

#

#

.

.

œ

œ

≤

œ

œ

œ

œ

œ

≥

3

œ œn œ

D#dim7

œœ

≤

œœ# œ

œ

œ

œ

≥

œœn

A

œœ

≤

œ

œ œœ

œœ

≥

œ

œ œ

E

..œœ

≤

j

œœ

↓≥

œœ œœ

A

1

œ

œœ≤

œœ œœ

≥

œœ# œœn

2

œœ œœ

≤

œ

œ

œœ

œ

œ

≥

œœ

&

#

#

#œ

œ

œ

œ

≤œ

œ

œ

œ

n≥

A

œ

œ

≤

œ

œ

œ

œ

œ

œ

n

≥

œ

œ

3

œ

œ

œœ

œ

A 73

œ

œ

≤

œ

œ

œ

œ

œ

œ

œ

≥

œ œ

D

œ

œ

≤

œœ

œœ

≥

3

œœœ

œœn

œ

œ

≤

œ#œ

œ

≥œ

œ

œ

œ

œ

œ

≤

B 7

œ

œ

3

œ

œ

≥œ

œ

œ

œ

œ

œ

œ

œ

&

#

#

# ..

œœ

≤

œœ

≥

œœ

↑œ

œ œœ

≤

E7

.

.

œ

œJ

œ

œ

≥

œ œ

œ

œ

œ

œ

œ

≤

œœ≥

œœ#

3

œœn

≤

œ œ

A

3

œœ

≥

œ œ

3

œ

œœ

≤

œ

œ

œ

œ œœ

œ

œ

œœ

œ

≥

œ

œ

œœ

œ

D

.œ

≤

J

œ

œ

≥

3

œ œn œ

D#dim7

œœ

≤

œœ# œ

œ

œœn

≥

A

&

#

#

#œœ

≤

œ

œ œ

œ

œœ

≥

œœ œœ

E

..œœ

≤j

œœ

≥

œœ œœ

AD.C.

œ

œœ

≤

œœ œœ

≥

œœ# œœn

œœ

≥

œ

œ

≤

œ

œ

≥

A

˙

˙

u

≤

.

.

œ

œ

≥j

œ

œ

≤ 3

œn œœ

œ

œ

.

.

œ

œ

≥

j

œœn

≤ 3

œœ

œ

œ

œ

œœœ

œœ

≥

œœ

3

œ

œ œœ

Roses of Ava Moore As played by Gary Johnston (Gordon McCann Collection, field recording); recorded 6/24/04; time: 2/2; key: A; scale: major (many chromatics); pattern: AAB (16,16,16); tuning: standard

*Ending from * Variations V1 V2 V3

V1V2

V3

A

B

Johnston said he can’t remember who showed him this elaborate waltz, which features his chording skills, but that it was might have beenByron Berline, along with Johnston’s brother Dean and various other Missouri fiddlers. He learned the tune relatively late in his life, and has playedit at contests and dances. It was composed by the famous Scots fiddler and composer J. Scott Skinner (1843-1927), who published it in the 1920swith the title “Rose Bud of Allenvale.” Fiddler’s Companion lists a number of other variations on the title including “Rose of Sharon Waltz," "Roseof Allendale," and "Rose(bud) of Avonmore." The source also quotes, without a reference, Missouri fiddle scholar Howard Marshall, who statesthat Missouri fiddler’s generally call the tune "Rose of Sharon" (possibly from a Howdy Forester LP), "Rosebuds of Aviemore," or "Rosebuds ofAvamore." The last title, and Johnston’s, are possibly spelled that way because many people in the Ozarks are aware of the southern Missouri townof Ava (home to fiddler Bob Holt and other old-time musicians). Gordon McCann says some fiddlers say “Ever More” instead of “Ava More” inthe title. Other musical transcriptions are in Perlman (p. 174, “The Rosebud of Allenvale”), Phillips 2 (p. 301, “Rose of Sharon Waltz”), Silberberg(p. 133, “Rose of Sharon”), and on Charlie Walden’s website, http://www.missourifiddling.com/Music/RoseofAvonmore.htm (“Rose of Avonmore,”based on Howdy Forrester’s version). Fiddler’s Companion lists other musical transcriptions from books I do not own, including Hunter’s FiddleMusic of Scotland, no. 38, and Matthiesen’s Waltz Book II (p. 49).

Track #10

81

&

#

C ..

h»120

3

œ œ œ œ œ

œœ

œ œ œ

Gœ œ œ

œ

œ

œ

œ

œ

œ œ

↑

œ œœ

œ œ œ œ œ# œ œ œ

↓

œ

3

œ œ œ œ œ

œœ

œ œ œ œœ œ

œ œœ œ œ

&

# œ

œ

œ œ œ œ

↓

œ œ œ

↓Aœ

œ œœ

œ œ œ œ#

D

œ œœ

œœ

œœ œ

œ

Gœ œ œ œ

œ œ œ# œ œœ

œœ

œ œ œ œ# œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ

↓

&

# œ œ œ œœ œ œ#

C

œ œœ

œ œ œœ

G

œœ

œ

œœ œ œ

œœ

œ

œœ

D

œœ

3

œœ

œ

œ

œ

œ

œ

œ

œœ

G.

.

œ

œ

J

œ

œ

˙

˙

œ

œ

œ

œ

œœ

↓œ

œ œœ œœœœ

œœ

œœb

↓D

&

# ˙

˙

↓œ

œ

œœ

œœ

œœ

˙˙

œœ

œœ

œ

œ

œœ

œœ# œœ

˙

˙

Gœ

œ

œ

œ œ

œ

œ

œ

˙

˙

˙

˙

œ

œ

.

.œœ

J

œœ

œœ

œ

œ# œœ

&

#

.

.˙ ˙

˙

C

œ

œ

œ

œ œœ œœ#.

.

œ

œJ

œœ œ œœ

œ

G

œœ

œ

œ

œœ

œ

œ

} œ

œ

} œœ

œ

œ

D

.

.˙˙

œœ

œ

œ

G

.

.˙˙

3

œ œ œ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

&

#

œœ

œœ

œœ

œœ

3

œ œ œ œ œ

œœ

œ œ œ

œ

Gœ

œ

œ

œ

œ

œ

œ

œ Œ œœ

œœ

œœ

˙˙

œœ

œ

œœœ œ

œ

j

œ

œ

˙˙

˙

˙

œ

œ

œ

œœ

œœ

Whistling Rufus

A

B

Ending from *

* Introduction

Variation V1

V1

As played by Gary Johnston (Gordon McCann Collection, field recording); recorded 12/15/96; time: 2/2; key: G; scale: major (usually high 4th, some high 2nd, 5th, 6th, some low 3rd, 7th); pattern: AB (16,16); tuning: standard

Johnston said he learned this from Lyman Enloe, probably in the 1960s. He describes it as a fun tune, not a hoedown. The original music,which closely matches Johnston’s, was written in sheet music form as a march, two-step polka, or cake-walk, in 1899 by Kerry Mills (see the sheetmusic online at the Digital Sheet Music Project in the University of South Carolina Music Library http://sheetmusic.library.sc.edu/SearchMusicPrint.asp?MID=371& page=1). Accompanying minstrel-type lyrics were added later by M. Murdock Lind. Randolph collected the song in oral tra-dition in 1941, and the lyrics in that version were about a whistling black man who visited a party because he liked chicken and wine (Randolph II,p. 367). Fiddler’s Companion links the tune to “Way Down South.” Other musical transcriptions are in Brody (p. 291), Phillips 2 (p. 166),Randolph II (p. 367) and Randolph/Cohen (p. 241). Meade (p. 484) lists 17 early commercial recordings, the earliest being by Gid Tanner & RileyPuckett (1924); others include Ernest Thompson (1924), McLaughlin’s Old Time Melody Makers (1928), the Kessinger Brothers (1929), and ArkieThe Arkansas Woodchopper (1941).

82

Alton JonesAlton Jones (1918-2002) was born in Big Creek, Missouri.

He lived on a farm outside of Theodosia for most of his life,except for a brief stay in Cody, Wyoming, around 1941. Inaddition to raising cattle, he occasionally drove a milk truckand a school bus. His mother’s side of the family, theWilhoits, came from Tennessee and were highly musical. She(Clemy Wilhoit Jones) was a singer and guitarist, and seven oreight of her brothers played the fiddle. Alton especiallyremembered his uncles Alfred and John. Uncle John actuallytraveled the country in a wagon and a team of horses, per-forming with his daughter he called “Alta, the Girl with theGolden Voice.” Most of the Wilhouts had scattered throughoutArkansas, Missouri, and Oklahoma by the time Alton and hisbrothers began playing, however, so their primary influenceswere local Missouri fiddlers. Lonnie Robertson’s fiddling wasespecially influential to them. Although brothers Alton,Tilford, and Paul were all good fiddlers, they didn’t playtogether often. Jones explains, “Each had a different way ofplaying, and we didn’t bother with one another’s tunes.”

Occasionally Jones played for dances and picnics, but his style is best suited for listening. His short distinctivebow strokes are well-suited to the blues, rags, and early popular songs he enjoys playing most. [Informationfrom Mark Wilson’s liner notes to Rounder CD82161-0437-2].

&

#

C ..

h»112

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

G

œœ

œ œ œœ

œ

œœ

œ

œœ œ

↓

œœ

œœ

œœ œ œ

œ

D

œ

œ

œ

œ

œ

œ

œ œ

œ œ

G

œœ

œ œ œœ

œ

C

œœ

œ

œœ

œ

œ œ

D

œœ

œ œœ

œ œ

G

&

#

.

...

j

œ

.œ

J

œ œœ œ

Gœ œ œ

œ œ œ œœ œ

œ œ œ œœ

œ œœ œ

D

.

.

œ

œ

J

œ

œ

œ

œ

œ œ

Gœ œ œ

œ œ

Cœ œ

œ œœ œ œ

DD.C.

œœ

œ

œ œ ˙

G

w

w

u

G

Jeff City

A

B Ending from *

*

As played by Alton Jones in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 6/24/97; time: 2/2; key: G; scale: major; pattern: AABB (8,8,8,8); tuning: standard

Jones learned this tune from a game warden from Warsaw, Missouri. “Jeff City” is short for Jefferson City, the capital of Missouri located nearthe northern edge of the Ozarks. The tune resembles an unnamed breakdown in Christeson’s collection (see Christeson 1, p. 110, second break-down). He identifies it as a Bill Caton (also spelled “Katon”) tune, and according to Kerry Blech some Missouri fiddlers call the tune “Katon’sHornpipe” (Songer 2, p. 261). Mark Wilson suggests a possible connection to “Hog House Rag” (in this book) as played by Vesta Johnson. Thetune also bears some resemblance to the Kessinger Brothers’ tune “Wild Goose Chase.” Other musical transcriptions are in Phillips 1 (p. 123, titled“Jefferson City”) and Songer 2 (p. 98).

Cou

rtes

y of

Gor

don

McC

ann

83

&

#

# C ..

.

. 2

3

h»110

œ œœ

œ œœ œ

D

œœ œ œ

œœ

œ œ

(G)

œ

œ œœ œ

(A)1œ

œ œ œœœ œœ

œœ

A2œ

œ œ œ˙˙

A D

..œœ

J

œj

œ œœ

œ

A

œœ œ

œ.˙

œ

œ

D

&

#

# C ..

.

. 2

3

œ

œœ

œ

œ

D

œœ

œœ œ œ

œœ

œœ

œ

œ

œ

1

œœ œ œ

œ

œ

œ

A D2

D.C.

œœ œ œ

˙

˙ œ

3

œ œ œ

A D

&

#

# C œœ

œœ œ œ

œ

D

œ œn œ#œ

œ œ œœ œ œ

œ œœ

œ

œ

Œ

A D

œœ

œ œœ œ

œœ œ

œœ

Lost Indian (or Old-Time Eighth of January)

A

B

Ending from *

*

Variations V1

V1

V2

V2

As played by Alton Jones in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 6/25/97; time: 2/2; key: D; scale: major; pattern: AABB (4,6,4,4); tuning: standard

[yell,3,1]

[yell,3,1] [yell,2,1][yell,1,2]

Jones learned this version of “Lost Indian” from his Uncle John Wilhoit. Mark Wilson suggests it is probably a Tennessee import. Ozarks fid-dle music authority Jim Nelson states he always heard Jones call this tune “The Old-Time Eighth of January,” and it does resemble Bob Holt’s“Ninth of January” (in this book). Holt named the tune “Ninth of January” to avoid confusion with the more well-known version of “Eighth ofJanuary.” Melvin Lawrence, who played guitar with Jones, also suggests the existence of some connection between Jones’s “Lost Indian” and“Eighth of January” when, at the end of Mark Wilson’s recording of the above tune, Lawrence said, “If you wound that up with ‘Eighth of January’it a been awfully good.” Alton’s tune resembles “The Lost Indian” in Thede (p. 31), and is possibly a distant relative of the version widely associat-ed with Ed Haley (see Brody, p. 178). When recording Alton’s tune, Wilson asked Jones to play the tune again, three times through, whileLawrence whooped or hollering in the “old-time way.” Each of these whoops lasts about two measures and is sung on the tonic note; sometimes hedrops down to the fifth note at the end of the whoop. I show the locations of Lawrence’s whoops in the transcription with the word “yell” followedby two numbers. The first number indicates whether it occurred during the first, second, or third time through the tune, and the second number indi-cates whether Jones was playing the first or second time through a part. I cannot say whether the spacing of the whoops was purposeful or random.A large number of fiddle tunes have the title “Lost Indian.” Jones’s tune is clearly not related to the nationally-known version similar to “CherokeeShuffle,” which is also played in the Ozarks. Other regional tunes titled “Lost Indian” include Bob Holt’s C#AEA tune (in this book), which helinks to John Wills (Western swing fiddler Bob Will’s father), and Seth Mize’s (in this book), which is reminiscent of “Drunkard’s Hiccoughs” or“Rye Whiskey.” To my ears, Jones’s tune and the more widely-known version of “Eighth of January” (in this book) are similar only in the secondpart. For versions of “Lost Indian” similar to Jones’s see Brody (p. 178) and Thede (p. 31).

&C

h»90

œ

œ œ œ

œ

œ œ

C

œ œ œ œ œ œ œœ} j

œ

j

œ..œœ

J

œ œ

œœ

F

j

œ..˙˙ œœ

œ

œ œ œ œœ œ

G.œ

J

œ œ

œ

↑

œœ

&

.

...

1̇

˙˙

˙

C.

.

˙

˙

œ

œ

2˙˙

˙˙

C

.˙ œ

.œ

j

œ œœ œ œ ˙ œ œ œ .œ

J

œ œ œ

(F)

œ œ ˙ œœ

F

&

.

.

œ

œ œ œ œœ œ

G.œ

J

œ œ

œ œœ

1̇

˙˙

˙

C.

.

˙

˙

œ

œ

2˙˙

˙˙

C D.C.

.˙ œ˙˙

˙˙

C

.

.

˙

˙

Œ

Mama Blues

A

B

As played by Alton Jones in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 6/25/97; time: 2/2; key: C; scale: major; pattern: AABB (8,8,8,8); tuning: standard

* Ending from *

Jones thinks he learned this from a recording by the Kessinger Brothers, but I cannot locate a Kessinger Brothers recording with this tune(although some of their blues and rag tunes such as “Kanawha County Rag” have a similar structure). The title “Mama Blues” is used for a numberof different songs and tunes, but most of them are either novelty tunes (e.g. with a harmonica making the sound of a child calling for his mother) orregular 12-bar blues numbers. The background of Jones’s “Mama Blues,” which is more of a rag tune than blues, is unclear. Lonnie Robertsonlearned it from Jones and renamed it “Rag in C” (in this book).

84

&

#

#

#

C ..

h»110

˙

˙

œœ

œ œ œ œ

A

œ

œ

œ

œ

.˙

œ œ œ œ ˙ œnœ œ œ

œœ

œœ œœ ˙˙ œœœœ

œœ

˙˙

œœ

œœ

n

↑œœ

↑

œ

œœ

↑

œ œœn

œœ#

.

.œœ

J

œœ œœ

œ

œ

œ

œ

&

#

#

#

2

3C

˙˙

n

œ œ

D

j

œœn œ œ

œ

œ

œœ#

œœ œœ

œ

œ œ j

œœn œ œ

œ œ˙

˙

˙

˙

A

˙

˙

˙

˙

.

.

˙

˙

œ œ œœœ

œœ

œœ œœ ˙˙

E

&

#

#

#

2

3C

.

.

ww œœ

˙ œ˙

œœn ˙#

œ œ w

A1

œ ˙

˙

œœ

2

w

œ œ .˙ œ œn œ œ w œ œ œ œ ˙

˙

˙ ˙ wn

&

#

#

#

2

3C

œ œn œ#

œ j

œœn œ œ œ

œ œ œ

D

œœn œ#

œœ

œ

œœœ

œ

œœ œ

œœ œ œ

œ

Aj

œœn œ œ j

œœ œ œ œ

˙˙

œœ

œ

œœœ

œ

œœ

œ

œœ

&

#

#

# œœ

œœ

Eœ œ ˙ œ

œœœ# œ

œ

œ œ œœ

œ

œœ

˙ ˙

˙

A

˙ ˙

˙

w

w

D.C.

Œ

˙ œœ Œ œ

œ

Œ

A

œ

œ

Œ œ

œ

Œ œ

œ

Œ Ó

Milk Cow Blues

A

B

Ending from **

As played by Alton Jones in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 12/15/96; time: 2/2; key: A; scale: major (some low 3rd, high 7th); pattern: AAB (21,21,23); tuning: standard

This tune, which features Jones’s bluesy playing style, is usually attributed to Kokomo Arnold who recorded it in 1934. It was covered by var-ious jazz bands, including Bob Crosby and his Bobcats, soon after that. Also, western swing artists such as Johnny Lee Wills and country artistssuch as the McGee Brothers recorded the song and featured it in their appearances. Jones learned this tune from hearing Johnny Lee Wills play it.Gordon McCann says that some people in Jones’s community believe Jones made up this tune while milking a cow one morning.

&

#

# C ..

h»112

œ ˙œ œ

Dœ

œœ œ œ

œ œ œ

œ œœ

œœ

œ œ œœ œ œ

œ

Aœ

œ œ œ œ

3

œ œ

↑œ

Dœ

œœ

œ œœ œ

↓G

&

#

# ..

.

.

œ

œ œœ

œ

œœ

A

œœ œ œ

œ

œ

œ

D

œ œ œ œœ

œ œ

D

œœ œ œ

œ œ

œœ

œœ œ œ œœ

œ œ œœ œ œ} œ œ

œœœ

A

&

#

# ..

œœ œ œ œœ

œ œ

D

œœ œ œ

œ œ

G

œœ

œ œ œ œ

œœ

AD.C.

œœ œ œ

˙

˙

D

œœ œ œ

˙˙

u

A D

œ œ œœ

œœ

Dœ

œœ

œ œœ œ

Sadie

A

B

Ending from *Variation V1

V1

*

As played by Alton Jones in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 6/24/97; time: 2/2; key: D; scale: major; pattern: AABB (8,8,8,8); tuning: standard

Jones learned this tune, which he described as one of his most popular tunes, from Allan Jennings, a part-time blacksmith and fiddler whowould often whistle while he worked at his forge. Like many Ozarkers, Jennings moved to California but returned to the Ozarks for visits occasion-ally. Roger Cooper suggests this tune resembles “Durham’s Reel,” and both Jones and fiddler Art Galbraith agreed that “Sadie” and “Lay YourGood Money Down” are the same tune. Mark Wilson suggests the bluesy elements of the tune point to African-American roots (Galbraith learned“Lay Your Good Money Down” from family members who learned it from African-American fiddler Bud Price of Strafford, Missouri). The song“Sadie Ray” is found in Ozarks folk song collections (Randolph IV, p. 282, and High, p. 30), but the connection of the tune to that song is unclear.The A part of Jones’s “Sadie” resembles his own “Jeff City.” The B part resembles that of Bob Holt’s “Ninth of January.”

85

&

#

#

#

C ..

h»104

j

œœ œ

œœ

œ œœ

œ

A

œ œœ œ œ œ œ

œ œ œ

œœ

D

œœœœ

œœ

œœ

œ œ œœ

œ œ œ

Eœ œ œ

œ œ œœ œ

&

#

#

#

.

...

œœ

œ œ œœ œ

œ

1

œ˙

œ œ

A2

œ˙

˙

œA

œ

œ

œ

œ

œ œœ

œ

œ œ˙

˙

˙˙

œœ

œ

œ

Dœ

œ œ œ œ œ œ œ

B 7

&

#

#

#

.

.

œ

œ œ œ

œ

œ œ œ

E

œ œ# œ œœœœ

œœ œ œ

œ

↑

œ œ œœ œ

œ

1

œ˙

œA

2

D.C.

œ˙

œ

A

œœ

œ Ó

A

w

u

Uncle Joe Will Your Horse Pack Double

A

B

As played by Alton Jones in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 12/15/96; time: 2/2; key: A; scale: major; pattern: AABB (8,8,8,8); tuning: standard

*

Ending from *

Jones learned this tune from Johnny Masters, a Cherokee fiddler from Jay, Oklahoma. Mark Wilson writes that Masters learned many tunesfrom the late Uncle Dick Hutchinson, the great fiddler from Disney, Oklahoma (featured later in this book). Hutchinson played a tune with thesame title that sounds like “McCloud’s Reel” or simply “Uncle Joe,” which can be found with the lyrics, “Will your horse pack double, Uncle Joe,Uncle Joe; Don’t mind the weather when the wind don’t blow.” Some other musicians in southern Missouri, such as J.R. Johnston, also associatethe “McLeod’s Reel” melody with the longer title “Uncle Joe, Will Your Horse Pack Double?” Curiously, Jones’s tune, which is has the same chordstructure as “Mama Blues” above, seems to be much different. Mark Wilson suggests that titles might have gotten switched or that Jones’s tunemight be a relatively new tune connected to an old title. See a more standard version of “Uncle Joe” in this book under Rufe Scott.

Lon JordanLon Jordan of Farmington, Arkansas,

is perhaps best known as a fiddler whorecorded 41 tunes for Ozarks folkloreresearcher Vance Randolph in 1941 and1942. Jordan was 65 years old at the time.I have been unable to find much informa-tion about Jordan, but we know he won anumber of fiddle contests and played fordances all over Arkansas, Oklahoma, andTexas. He stated at one time that he couldplay nearly 200 tunes. He enjoyed playingolder unusual tunes, and our photo of himindicates that like many older fiddlers heheld his fiddle tucked between his left armand chest. Also, the photo suggests he pre-ferred to hold his bow a significant dis-tance up the stick. At the same time, how-ever, he was able to play in a clean andcrisp style often associated with modernfiddlers. Jordan’s bellowing introductions

to his tunes are as memorable as the tunes themselves. He was also a guitarist, and can be heard playing back-up guitar on some of Randolph’s 1942 recordings of banjo player Booth Campbell.

Cou

rtes

y of

the

Oza

rkia

na C

olle

ctio

n at

the

Col

lege

of

the

Oza

rks

86

The Dutch Hop is a German-Russian or Volga German polka music form and dance that became especially popular in Colorado after WorldWar II, but I cannot confirm whether this tune is connected to that tradition.

This tune has fairly strong connections to Scotland and Ireland. Similar tunes can be found under the titles "The Marquis of Huntley'sFarewell" in Marshall's Scottish Airs (1822), and "Keeper Hill" in O’Neill (Oak, p. 147). Fiddler’s Companion says the tune appears as “GeorgeBooker” in Virginia Reels, Vol. 3 (1839), and that in the twentieth century it was recorded primarily in the middle Appalachian states and Arkansas.It is not played often in the Ozarks today. The B part is reminiscent of the A part in the “Green Corn” family of tunes (see “Doc Brown’s Dream”).Other musical transcriptions are in Brody (p. 117), Krassen (Appal. Fiddle, p. 84), Krassen (Masters, p. 19, 88), and Phillips 1 (p. 95, two versionsincluding Am Stuart’s). Meade (p. 704) lists one early commercial recording by Uncle Am Stuart (1924), along with numerous other sources.

“Granny Will Your Dog Bite” has been linked melodically to many tunes, including “Betty Martin,” “Sally in the Garden, “Tippy/GippyJohnny Get Your Hair Cut,” and, from in this book, “Hog Eye” and “Fire on the Mountain.” Thede (p. 83) connects it to “Old Mother Gofour” and“Polly Put the Kettle On.” Bayard (p. 40) suggests the possibility of strong Norwegian connection. The tune is found throughout the country andhas links both to white and African-American traditions. It is often accompanied by lyrics that include close variations on “Granny will your dogbite, no, child no.” The verses then proceeds with similar questions to Granny about other animals or objects. Thomas Talley, in Negro FolkRhymes, prints related lyrics under the title "Chicken in the Bread Tray" (p. 6). The tune has been used as a play-party song, but probably more inthe Appalachians than in the Ozarks and Midwest (it does not appear in collections by Randolph, Botkin, or McIntosh). Peggy Seeger connects thetune to the play-party game “Johnny Get Your Hair Cut,” but some Appalachian fiddlers think of “Johnny Get Your Hair Cut” and “Granny Will

87

Your Dog Bite” as different tunes. Other transcriptions include Bayard (p. 40), Brown V (p. 119, as “Chicken in the Bread Tray,” and see BrownIII, p. 205), Christeson 1 (p. 3), Ford (p. 36, and see “Tip Toe, Benny Martin” on p. 58), Harrison (p. 269), Phillips 1 (p. 102), Seeger (p. 142, as“Johnny Get Your Hair Cut”), Thede (p. 83), and Titon (p. 86). Meade (p. 706) lists one early commercial recording by Crockett’s KentuckyMountaineers (1928), plus many other references.

This tune, with its distinctive C part that includes large interval jumps and syncopation, has only vague similarities to the tune usually associ-ated with the title “Jawbone,” as played in this book by John Chism. Jordan does, however, clearly associate the tune with that title, and sings thefollowing verse while playing a B part: “Hung my jawbone on the fence, hain’t seen nothing of my jawbone since.” That line is also present inChism’s version. Numerous cases exists where those lyrics “float,” or are used with different melodies. For example, Kentucky fiddler James Craseuses similar lyrics in his version of “Give the Fiddler a Dram.” Other verses Jordan sings (as best I can decipher) while playing the B part in theabove tune include: “I went up the new cut road, at (pat?) the tavern (tapping?) and the toe (toad?); Every time that toad (?) would sing, Tomp (?)would (tapped and?) cut the pigeon wing;” and “Old blue hen from up the roost (flew up the roof?), old grey possum pulled a ruse (?).” I indicatedin the “pattern” section above where these verses are sung. Tune title variations include “Jawbone,” “The Jawbone Song,” and “Old Joe Bone.”Some people link "Jawbone" to "Dance All Night with a Bottle in your Hand" and "Give the Fiddlers a Dram," but I hear little resemblance. Othermusical transcriptions of various “Jawbone” tunes are in Botkin (Play-Party, p. 72), Brown V (p. 314), Ford (p. 103), Krassen (Appal. Fiddle, p.57), Nathan (p. 464), Phillips 1 (p. 171), Randolph II (p. 333) and Randolph/Cohen (p. 222). Meade (p. 762) lists, under the title “Walk Jawbone,”two early commercial recordings, the earliest being “Pope’s” 1928 version (in this book); the other is by the Carter Brothers & Son (1928).

Jordan introduces this tune by saying, “It sounds a lot like ‘Turkey in the Straw’ but still there’s a difference.” It does indeed sound similar,and in turn links to “Old Zip Coon.” Chase (p. 208) also connects it to the English Morris dance tune “Old Mother Oxford,” and Jabbour suggests aconnection exists to the English country dance melody "The Rose Tree." According to Fiddler’s Companion, “It was first published in this countryin George P. Knauff's Virginia Reels, volume I (1839), and the title was mentioned in a humorous dialect story called ‘The Knob Dance,’ publishedin 1845, and set in Eastern Tennessee.” Wolfe writes that by 1899 it had become a category tune (one that everyone was required to play) for a fid-dlers' contest in Gallatin, Tennessee. Thede suggests the title refers to 19th century Natchez, Mississippi, when the river town was divided into twosections: “The Bluff” where the law-abiding and peaceful inhabitants lived, and “Natchez Under the Hill,” where the rowdy and lawless folks, oftenboatmen from the Mississippi River, spent their nights. This book includes two other versions of “Natchez Under the Hill” as played by AbsieMorrison and Skeeter Walden. Morrison connects the tune to Natchez, Mississippi, and it’s involvement in the Battle of New Orleans fought onJanuary 18, 1815. Other musical transcriptions are in Bayard (p. 276), Brumley (p. 38), Chase (p. 208), Ford (p. 56, 59), Harrison (p. 298-299),Phillips 1 (p. 162), and Thede (p. 113).

&

#

#

#

C

h»112

œœ

œ

œ

œ

œ

œ œ œœ

œ

œ œ

œœ

œ

œ

œ

œ

œ œ

œ

œ

œ

# œ

œ

œ

œ œ

œ

œ œ

œ œ

œ

œ œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

&

#

#

#

.

...

œ œ

œ

œ œœ

œ

œ

œ

œ

œœ

œ

œ

œ œ œ

œ

œœ

œ

œ

1

œ

œ

œœ œœ œœ ˙˙

2

œ

œ

œœ œœ œœ œœ

3

œ

œ

œœ œœ œœ œœ œœ œœ œ

œ œ œœ

œ

œ

œ

œ

œ œj

œœ œ œ

œ

œ

œ

œ

&

#

#

#

.

.

œœ

œœ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œœ œœ œœ œœ œœ

œœ

œ œ œ œœ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ œ

œ

œ

œ œ œ

1œœ

œ

œœ œ œb

œ

œ

3

œ

œ

œœ

œœ

&

#

#

# 2

D.C.

œœ

œ

œ

œ

œ

œ ˙

œœ

œ œ œ œ ˙ œœ œ œ œ

œœ

œ œ œ œœ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œœ

œ œ œ œ œ

œ œ

œ

Natchez Under the Hill

A

B

Ending from * Variations V1 V2

V1

V2

*V3

V3

As played by Lon Jordan (American Folklife Center, field recording, collected by Vance Randolph); recorded 10/25/41; time: 2/2; key: A (F#); scale: major; pattern: AABB (8,8,8,8); tuning: C#F#C#F#, transcribed up 1 1/2 notes to EAEA

Track #11

88

&

#

#

#

C ..

.

.

h»116

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œœ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œœ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

n œ

œ

œ

œ

œ

œ

1œœ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

&

#

#

#

.

...

2œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œœ

œ

œ

œœ

œ

œ

œœ

œœ

œœ

œœ

œœ

œ œ œ œ œ œ œ œ

œœ œ

œ

D.C.œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

&

#

#

#œœ

œ

œ

œ

œ

œ

œ

˙

˙

œ

œ

œœ

œ

œ

œ œ

œ

œœ œ œ

œœ

œ

œ œ

œœ œ

œ

œ

œœ

œ

œ

œ œ

œ

œœ

Tom and Jerry

A

B

Ending from *

*

Variations V1 V2

V1 V2

As played by Lon Jordan (American Folklife Center, field recording, collected by Vance Randolph); recorded 10/25/41; time: 2/2; key: A (F); scale: major; pattern: AABB (4,4,4,4); tuning: CFCF, transcribed up two notes to EAEA

Sam LongSamuel William Long (1876-1931) established himself in 1926

as the first commercially-recorded fiddler with connections to theOzarks region. His clean straightforward style, with few rhythmic ormelodic embellishments, was well suited to early recording studios.Sometimes called “Fiddlin’ Sam Long of the Ozarks,” he was bornOctober 22, 1876, in Scranton, Kansas. His father William B. Long,whose ancestors came from Pennsylvania, was a fiddler, and he for-bade young Sam from playing his treasured instrument. Sam, withthe help of his mother, would secretly play it during his father’sabsence, and before long the family, including William, was proudof young Sam’s talent. When Sam was nine, his father moved thefamily to Burns, Kansas, near Wichita. As a young adult in the1890s, Sam moved to California and for four years played music ina number of venues. He then returned to the Midwest, this time tothe lead and zinc mining area in Jasper County, Missouri, located inthe southwest part of the state where Missouri, Oklahoma, andKansas come together. He moved to the region because his family

had relocated there. In 1904 Long married Bertha Eudora “Bea” Rickman in Carthage, Missouri, and he wentto work as a miner. He and Bea lived in Jasper County for about a eight years, raising four young children andresiding during at least some of that period in Webb City, adjacent to the city of Joplin. In 1912 Long began toexperience lung problems and decided to try farming, but soon after that he returned to mining, this time inCommerce, Oklahoma, where he worked independently sinking shafts by contract. He lived in Commerceuntil 1927, often performing and repairing musical instruments on the side. Occasionally he played for squaredances, where he also enjoyed demonstrating his skills as a jig dancer. A pianist usually accompanied him, butpianos were not always available and Long would occasionally play with guitarists. Long enjoyed entering fid-dle contests, including a massive two-day one held in Joplin, Missouri, in 1926. The event was organized bythe Independent Order of Odd Fellows (no. 287) and the Zinc Rebekah Lodge. It was described in the Joplin

When Jordan recorded this older open-tuning version of “Tom and Jerry” in 1941, the tune was well established throughout the South, perhapsin part because of its easy availability on 78 rpm records. In recent decades it has become a highly stylized standard in the fiddle contest circuit.See Roger Fountain’s longer four-part version in this book for comparisons and for more background information and references. The two parts ofJordan’s version roughly approximate the A and D parts of Fountain’s version. Fountain’s eight-measure “hokum shuffle” D part is shortened byJordan to a four-measure passage that is similar to the verse part of “Little Brown Jug.”

Cou

rtes

y of

the

Oza

rk F

olk

Cen

ter

89

Globe newspaper as “probably the greatest fiddlers contest ever held in the region,” and as the “first popularpriced entertainment” held in Joplin’s new Memorial Hall. The event was heavily promoted and advertised inthe newspaper before it was held. It included substantial prize money and ninety-six smaller prizes rangingfrom a sack of flour to a thoroughbred Rhode Island Red rooster. The winner also won a trip to New Castle,Pennsylvania, to record commercially for Gennett Phonograph Records. The contest attracted a staggeringeighty-eight fiddlers (no violinists or sheet music allowed) from four states, and about 4,000 listeners.Individual contestants had an opportunity to play in any or all of twelve separate “events,” each of whichincluded prizes and highlighted a particular tune or theme as follows: “Arkansas Traveler (everyone together),“My Old Kentucky Home,” “Devil’s Dream,” “The Girl I Left Behind Me,” “Irish Washerwoman,” “ArkansasTraveler,” “Swanee River,” contestant’s own choice, “Wagoner,” “Listen to the Mocking Bird,” “Fisher’sHornpipe,” Odd Fellows own choice, and “We Won’t Go Home Until Morning” (everyone together). Somedetails about these tune-based events vary, so the list above includes thirteen events. Long won first prize inthe over-all contest, and at New Castle, Pennsylvania, he recorded four fiddle tunes: “Echoes of the Ozarks,”“Sandy Land,” “Seneca Square Dance,” and “Listen to the Mockingbird.” The records were well received andsold well not only in his home region but throughout the country as well. Royalties from the sale of recordswere also supposed to be part of the grand prize, but apparently they never materialized. In 1928 Long againwon the Joplin fiddle contest, this time beating out seventy-six other contestants. He was not listed in thenewspaper as a contestant in the 1927 contest (Charlie Andrews won). His lung condition had caused him toleave mining and to make several trips to drier climates in Arizona and Texas. He eventually decided to staywith an uncle in Kansas, where he died on May 5, 1931, at the age of 54. He was buried in Burns, Kansas. Hiswife moved to Joplin and died in 1972 at the age of 90. Sam Long’s links to the traditional fiddle styles of theOzarks are uncertain. During his life he was connected primarily to the flat prairie lands of Kansas, Oklahoma,and western Missouri and to the complex cultural landscape of Joplin’s mining industry. His associations withthe typical farming communities in the hills of the Ozarks (and their often-fast-and-rhythmic dance square fid-dling) were less strong. Still, he was clearly successful playing for contests in or around the Ozarks region,and has had a significant impact on the region because of his recordings. Many future fiddlers would list SamLong as being among their major influences. [Information obtained from W.K. McNeil’s article, “In Search ofFiddlin’ Sam Long,” and The Joplin Globe, Jan. 24, 28, 29, 30, 31, 1926.]

Fiddlers in Arkansas and its neighboring states often call this tune “Sandy Land” or “Great Big Taters in the Sandy Land,” while in otherregions of the country it might more commonly be called “Sally Ann” or “Sail Away Ladies.” This is not an absolute rule, however, and Arkansasfiddler Skeeter Walden says that he has heard the tune called “Grease That Wooden Leg Sally Ann.” Ford suggests the tune, which he said is called“Steve’s Tune” is some areas, was possibly written by a man named Steve who, around 1860, succeeded in planting a large potato crop in sandysoil. “Sandy Land” was known widely as a play party song in the early 20th century, and typically included lines such as “Great big taters in thesandy land,” “Mighty good living in sandy land,” and “Sift your meal and save your bran.” For a description of the play party song, see Dudley (p.8) who connects it to another play party song called “Brown Jug,” and Botkin (Play-Party, p. 302), who points to possible links to an African-American dancing song. Long’s version of “Sandy Land” is somewhat different melodically than most of the play-party songs with that title,although they all have the tell-tale drawn-out Saaaandy Land (or Saaaally Ann). The play-party songs tend to focus more on the tonic and thirdscale notes, and shift tonally in a way that is similar to “Skip To My Lou.” Long’s version is most similar to one in the Lomax’s American Balladsand Folk Songs (p. 236), in which the authors group the song with African-American-related songs (most of them, including “Sandy Land,” use aderagatory word for African-Americans in the lyrics). The lyrics for the songs in the Lomax’s book might represent those heard by Long. A number

& # C .. ..h»136 œ œ œ œ œ

G

œ œ œ œ .œ Jœ œ œ œ œ œ œC(D)

1

œ œ œ œ œ œ œC

2

œ œ œ œ œ œG œ œ œ œ

& # ...œ Jœ œ œ œ œ œ œ œ œ œC(D)

1 .œ jœ œ œ œC

2D.C.

.œ jœ œ œ œG

.œ jœ u̇G

œ œ œ œ œ œ œ œ3

œ œ œ œ œ œ œ

Sandy Land

Ending from **

Variation V1

V1A B

As played by Sam Long in Echoes of the Ozarks, Vol. 1 (County CD-3506, 1995); recorded Jan./Feb. 1926; time: 2/2; key: G; scale: pentatonic major (no 4th, 7th); pattern: AABB (4,4,4,4); tuning: standard

90

of researchers also link the tune to a song with strong Ozarks connections titled “The Hound Dawg Song” (“Every time I come to town, the boyskeep kicking my dog around”). This song was published in 1912 but it might have been circulating as early as the mid-1800s (see Folk Songs ofN.A., Lomax, p. 315, and Randolph III, p. 278). Other musical transcriptions of the tune are in Botkin (Play-Party, p. 302), Brody (p. 125), Ford (p.39, 179), Phillips 1 (p. 103, two versions), Rohrbough (p. 28, and a similar tune “Doughboy” on p. 70), Stilley (p. 104, with lyrics), Thede (p. 80),Tobitt (p. 3, play-party game), Titon (p. 38), and the LP Great Big Yam Potatoes (liner notes under the title “Great Big Taters”). Meade (p. 768)lists 14 early commercial recordings, primarily under the title “Sally Ann.” The earliest recording with the title “Great Big ‘Taters in Sandy Land”was by Eck Robertson (1929). Also, Meade (p. 769) lists five early commercial recordings of “Sail Away Ladies,” notably one by Uncle DaveMacon (1927). Meade links “Sail Away Ladies” to a 1925 version of “Girl I Left Behind Me” performed by Sic Harkreader & Uncle Dave Macon.The Blue Ridge Highballers call the tune “Darneo.”

&

#

C ..

h»136

˙œ

œ œ .œ œ œ

G

œ˙ œ œ

œœ œ œ .œ œ œ

C

œ˙ œ

œœ œ

.œ

j

œ

G

œ .œ œ œ œ œ œ œ .œ

J

œ

D

.˙

œ œ

&

#

œœ œ œ œ œ

G

œ˙ œ œ

œœ œ œ œ œ

C

œ˙ œ

œœ œ

.œ

j

œ

G

œ˙

œ œ

D 3

œœ

œœ œœ œœ ˙˙ .˙ œ

G

&

#

œ

œ

œ

.

.

œ

œ

œ

œ

œ

œ

C

œ

œ

˙ œ œ œ œ .œ

J

œ

.˙

3

œ

œ

œ

œ

œ

œ

œ

œ

˙ œ œ

G

œ

.œ

J

œœ

.˙

œ œ

D

œœ œ œ œ

3

œ œ œ

G

œ˙ œ œ

&

#

.

.

œœ œ œ œ

3

œ œ œ

C

œ˙ œ

œœ œ

.œ

j

œ

G

œ˙

œ œ

D 3

œœ

œœ œœ œœ ˙˙ .˙

œ œ

G

w

u

G

Echoes of the Ozarks

A

B

Ending from **

As played by Sam Long in Echoes of the Ozarks, Vol. 1 (County CD-3506, 1995); recorded Jan./Feb. 1926; time: 2/2; key: G; scale: major; pattern: AB (16,15); tuning: standard; tuned 1/2 note high on recording

The tune appears to be related melodically to the song “Little Old Log Cabin in the Lane,” which was written in 1871 and became especiallypopular after Fiddlin’ John Carson recorded it in 1923. Fiddler’s Companion suggests “Echoes of the Ozarks” was possibly one of many songswritten to capitalize on the earlier popularity of “Little Old Log Cabin in the Lane.” A Civil-War-era song, “Kingdom Coming,” has a chord struc-ture that is similar to “Echoes of the Ozarks,” with a shift to the IV chord at the beginning of the B part. The fiddle tune “Soppin’ the Gravy” (inthis book), which is often linked to “Kingdom Coming,” has an A part that might be viewed as a more elaborate version of the A part to “Echoes ofthe Ozarks.” Fiddler’s Companion also suggests a possible connection to “Georgia Boys," and Ford says his version has similarities to “The YellowRose of Texas” (p. 178). Charlie Walden includes a Bb version of “Echoes of the Ozarks” on his list of "One Hundred Essential Missouri FiddleTunes.” The tune is also known as “Echoes of the Hills.” Other musical transcriptions of the tune are in Christeson 1 (p. 178), Ford (p. 123), andPhillips 1 (p. 80).

&

#

C ..

.

.

h»140

œ œ

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ

j

œ

œ

G

œ

œ

.

.

œ

œ

j

œ œ œ

œ

œ

œ

œ

œ

.

.

œ

œ

j

œ

œ

C

œ

œ

˙ œ

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ

j

œ

œ

G

œ

œ

.

.

œ

œ

j

œ

œ

œ

œ

œ œ œ œœ œ

D1

.

.

˙

˙

œ

G 2

.˙

œ œ

G

&

#

.

...

œ œ œ œœ

G

œ˙

œ œ œ œ œ .œ

J

œ

Cœ

˙œ œ œ œ œ œ

œ

G

˙œ œ œ œ œ œ œ

œ œ

œ

D1

.

.

˙

˙

œ œ

G 2D.C.

.

.

˙

˙

œ

œ

G

w

u

G

Seneca Square Dance

Ending from *

*

As played by Sam Long in Echoes of the Ozarks, Vol. 1 (County CD-3506, 1995); recorded Jan./Feb/ 1926; time: 2/2; key: G; scale: hexatonic major (no 4th); pattern: AABB (8,8,8,8); tuning: standard

A

B

The tune appears to be associated largely with Arkansas and Missouri, and its title is likely related at least indirectly to the Seneca Indians ofOklahoma. For example, perhaps the town of Seneca, Missouri, initially named after the Indian tribe, was the source of the tune title (Seneca,Missouri is located just twenty miles south of Joplin where Sam Long lived much of his life). Bob Holt plays a similar tune he calls “Flop OldTurkey Buzzard,” Alton Jones of Theodosia calls it "Seneca War Dance," and Cliff Bryan of West Plains calls it "Got No Little Home to Go to" (inthis book, compare Bob Holt’s two versions of “Got a Little Home to Go to”). Silberberg (p. 144) calls a similar tune “Shoot the Turkey Buzzard.”Fiddler’s Companion connects it to many other tunes: "Georgia Boys," "Higher Up the Monkey Climbs," "John Hoban's Polka," "Running from theFederals," and “Waiting for the Federals." Arkansas Arkie calls it “I Got a Girl in the Valley” (p. 4, with square dance calls). Other musical tran-scriptions are in Ford (p. 122), and Phillips 2 (p. 125).

91

Seth MizeSeth Newton Mize

(1901-1977) was bornand raised in the arearound Landis andMarshall, Searcy County,Arkansas. He says he isof Irish-German extrac-tion, and that all “his peo-ple” (known ancestors)came from Tennessee. Hebegan playing the fiddlewhen he was 14 or 15years old, and learnedmany of his tunes fromhis grandfather. In his lateteens he also began play-ing guitar, singing, andcomposing songs. Duringthat time, while occasion-ally playing fiddle in theevening for house dances,he worked at the RushCreek zinc mines duringthe day. The work and the

life of the miners were rough; Mize recalled frequent fights and the easy availability of “wildcat” liquor. Hephilosophized, “A man had to be rough to stay there with them. You had to be rough to leave” (c. 1965, WolfCollection, Lyon College, “My Old Buddy,” interview by George Fisher). Once, he barely got out alive whenthe Evening Star Mine caved in, and he recalls a time at the Red Cloud Mine when a cable broke and a carloaded with ore crashed into the commissary. The square dances were sometimes rough also, as evident inMize’s following narrative: “Well, I went to a dance, and an old buddy that I run with all the time—when Iwas ‘round about 23 years old—we all got into a fight, and an old boy there, he jumped up and knocked hissister down, and I laid him flat to his back. So that started it. So everybody got to fighting, and they had outtheir knives, and we carried in a load of rocks, and we piled them up behind the heating stove. So wheneverwe got this all to going good, the boy throwed the rock, and he knocked out the lights. And then that started it.We went to throwing rocks, and of course the hair and hide was a-flying” (“My Old Buddy” interview).Between the ages of 27 and 63 he rarely played music, focusing instead on working hard to make a living inthe mines, in the timber trade, and by farming. In 1950 he moved to neighboring Stone County, and in the1960s he became involved in the jam sessions around the courthouse in the county seat of Mountain View. Hebegan to perform on Friday nights as part of the musical performances run by the Rackensack Society, formedin 1963. He quickly became a popular performer—as a fiddler, a singer, and a jig dancer—and was invited toperform at other venues such as Silver Dollar City. When the Ozark Folk Center was established in MountainView in 1973, he performed there a number of times before his death in 1977. The above photo is of Mizeplaying with Bookmiller Shannon and Lonnie Avey at the Ozark Folk Center. His fiddle music is among thefinest examples of the older Ozarks style, but Mize is probably best known for his ability to sing and writesongs that captured the life and drama of life in the region. [Biographical information was drawn from variousinterviews with Mize by George Fisher and Jimmy Tramel in the 1960s, housed in the Wolf Collection, LyonCollege and available online at http://www.lyon.edu/wolfcollection/songs/alphasongs.html#m. Other informa-tion was drawn from the book The Faces of Rackensack.]

Cou

rtes

y of

the

Oza

rks

Folk

Cen

ter

92

&C .

. 2

3C

h»114

œ

œ

œœ

œœ

œœ œ œ

œ

œ

œ

œœ

œ

œ

↓C

œ

œ

œ

œœ}

œ

œ œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

G

œj

œœ œ

..œœ œœ œ ..œœ

j

œ

C

j

œ

œœœ œ

œ

œ

œ

œ

œ

&

œœ

œœ

œœ œ

œ

œ

œ œ

œ

.

.

œ

œ

j

œ

œ

œ

œ

œ œ

œ

G

œ œ

œ

œ

œ

œ œœœ

}

œ}

Cj

œ.œ

J

œj

œœ œ œ

œ œœ

œœ

j

œ

œ œ

œ

œ}

œ œ œ œj

œœ œ œ

Am(G)

&

.

.

œ œœ

œ

.

.

œ

œ J

œ

Am

.œ

J

œ œ œ œ

Cœ œ

œœœ œ

œ

œ

œ œ œ

œ

œ

œ

œ

œœ

œ

G

œ œœ œ

œ

œ œ

↓

œœ

(C) C

œ œ

œ

œ œ

œ

œ œœœ

u

Cœ œ œ œ

œœ

Billy in the Lowground

A

B

Ending from *

*

Variation V1V1

As played by Seth Mize (John Quicy Wolf Collection, Lyon College, field recording, recorded by George Fisher); recorded 1960s?; time: 2/2; key: C; scale: hexatonic major (no 4th); pattern: AB (8,8); tuning: standard

Mize’s version of this nationally-popular tune has some distinctive qualities such as a fourth measure with an extra beat. In its lengthy narra-tive about the tune, Fiddler’s Companion points to a number of researchers (such as Christeson, Goertzen, and Hartford) who suggest the tune canbe traced to the Scottish tunes "Braes of Auchentyre" and "Beaus of Albany." It also suggests connections to tunes such as “The Belles ofTipperary,” “Johnny in the Nether Mains,” “Blue Bonnets,” and “Jinny in the Lowlands” Bayard and Stenhouse-Johnson speculate the tune mightbe linked to an 18th century British song called "O Dear Mother (Minnie) What Shall I Do?" Krassen (Appal. Fiddle, p. 74) proposes a connectionto the Irish tune “The Kerryman’s Daughter.” Cauthen (p. 156) found a source that reported the tune was played in Perry County, Alabama, in 1827.It also appears in George P. Knauff's Virginia Reels, vol. III. Other musical transcriptions include, among many others, those in Bayard (p. 192),Brody (p. 42), Christeson 1 (p. 41), Ford (p. 65), Krassen (Appal. Fiddle, p. 74), Phillips 1 (p. 24), Silberberg (p. 10, two versions), Songer 2 (p.23), Thede (p. 78), and Titon (p. 40). Meade (p. 720) lists 12 early commercial recordings, the earliest being by Eck Robertson (1922); othersinclude Fiddlin’ John Carson (1923), Fiddlin’ Powers (1924), and the Kessinger Brothers (1929).

&

#

C ..

h»146

3

œ

œ

œ

œ

œ

œ

œ

œ

œj

œ.œ

J

œ

G

œœ

œœœ œ œ

œœ œ œ

œœ

C

œ

œ

œ

œ

˙

˙

œ

œ

G.œ

↓

J

œ

↓œ œ œ

œ œœ

œ œ}

œ}

&

#

œ œ œ œn œ#

D

.œ

j

œ ˙

G

œ

œ

œ

œ

œ

œ

œ œœ œn œ œ œ

œœ

œœ

œ

œ

œ œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

&

#

.

.œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œn œ

œ

œ

œ

œœ

œ

œœ

œ

œ

œ œ œ œ

↓D

.

.

œ

œ

j

œ

œ

˙

˙

G

.

.œœ

j

œœ

˙˙

u

G

3

œ

œ

œ œ↓

œ↓

œ↓

œ↓ œ œ

œj

œ

œœ

œœ

œœ

Black Jack Davy As played by Seth Mize in The Rackensack, Vol. 2 (Rimrock LP 279); recorded c. 1972; time: 2/2; key: G; scale: hexatonic major (no 4th, some low 7th, 1st); pattern AB (8,8); tuning: standard

A

B

Ending from *Variations V1

V2

V1V2

*

This tune is connected to a ballad known to folk song researchers as Child No. 200, “The Gypsy Laddie,” and variations of this ballad can befound in many published collections of American ballads. Ballad scholar Francis James Child described it as an English ballad, originally Scottish,published first in the early 18th century (Child IV, p. 61). It has been sung often in the Ozarks, and is in the Ozarks song collections by Belden (p.73), Rainey (p. 32) , Randolph I (p. 152), and Randolph/Cohen (p. 49). Bill McNeil explores a variant of the song from Zack, Arkansas, called“When Carnal First Came to Arkansas” (McNeil, “Carnal,” p. 26). In ballad sources I have located, I have not found an accompanying melody tothis ballad that appears to match Mize’s melody, although the general melodic contours of are occasionally similar. Thede’s Oklahoma fiddle tunewith the same title (p. 51) does not appear to resemble Mize’s. This is perhaps Mize’s special interpretation of the tune or an unusual version fromhis grandfather. Meade (p. 3) lists three early commercial recordings, the earliest being by Mr. & Mrs. I.G. Greer (1929); the other two are by CliffCarlisle (1939) and the Carter Family (1940).

93

&

#

C ..

h»142

j

œ

j

œ.œ

J

œ œ

3

œ œ

↓œ œ

œ œ œ œ œ œ œ

↓œ œ œ œ œ

œ

1œ

œ œ œœœ

2œ

œ œ œœ

œœ œœ

œœ

œœ œ

j

œ

.œ

j

œ

&

#

œœ

œœ œ œ

œœ œœ

œœ

œœ

œ œ œœ œ

j

œœ

œœ

œœ œ œ

œœ œœ

œœ œ œ

œœ

œœ œ œ œ

œ œ œœœ œ

j

œœ œ

œ œ œ œ

œ

D.C.

j

œœ

œœ

œœ œ œ

œœœ

&

#

2

3

4

5C

4

5C .

.

œ œn œ œ

œ}

œœ œ œ œ œ œ

œ

œ

˙˙

↓} œ

œ

↓

œ} œœ œ

œ

œ œœ

œœ œœ

œœ

.

.œœ

j

œœ

.

.œœ

j

œœ

j

œœ

œœ

œœ œ œ œ

œ

œœ œ

œ

œœœœ

œœ

œœ œ œ

œœ

&

#

.

.j

œœ

œœ

œœ œ œ

œœ œ

1

œœœœ

œœ œ œ œ œ

2j

œœ

œœ

œœ œ œ

œœ

œ

j

œœ

œœ

œœ œ œ

œœ

œ

Œ

U

œ

œ

œ

œ

Œ

œœ} œ œ œ

œ

œ

.œ

J

œ œœ œ œ

œ œ œœœ

Hell Among the Yearlings

A B

Ending from *

*

(first time through)A B (first time through)

Variation V1

V1

As played by Seth Mize (John Quicy Wolf Collection, Lyon College, field recording); recorded 4/22/67; time: 2/2; key: G; scale: hexatonic major (almost pentatonic,no 4th, 2 passing tone 7th); pattern usually AAB (4,4,8) but varied; tuning: standard; second time through

This version of “Hell Among the Yearlings” is unusual, although other Arkansas fiddlers such as Skeeter Walden play similar versions. Themost well-known version of the tune, first recorded by Clark Kessinger in 1928, does not appear to have any relationship to Mize’s tune. It seemsto me Mize’s tune resembles a variety of other tunes such as “Fat Meat and Dumplings” (A part), “Sally Goodin” (B part), the French-Canadiantune “Newlyweds’ Reel,” and the Shetland Islands tune “Faroe Rum.” These connections are possibly coincidental, given the limited movement ofthe melody line. Fiddler’s Companion confirms that the title “Hell Among the Yearlings” is a floater often associated with unrelated tunes. CharlieWalden includes the title on his list of "One Hundred Essential Missouri Fiddle Tunes." For a discussion about tunes connected to the title “HellAmong the Yearlings,” see Bayard (p. 232), Fiddler’s Companion, and Meade (p 786).

&

#

4

3

q»164

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œœœ

œ

œ

œ

œ

œ

œ

œ

œœ œ

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œœ

œ

œœ

œ

œ œ œœ

œ œ œ œœ

œ

œ

œ

œ

œ

œ.

.

.

œ

œ

œ

j

œ

œ

œ

œ

&

#

4

2j

œ œœ

œ œ

œ

œ

.œ

œ

.œ

œ

.

œ œ œ œ

œœ

œ

.œ

œ

.œ

œ

. œœ œ

œ

œ

.œ

œ

.œ

œ

.œ œ œ œ œ

œ

œ

.œ

œ

.œ

œ

.˙ œ œ

œ

œ

.œ

œ

.œ

œ

.œ

œ

.œ œ

œ

3

œ œ œ

œ

œ

.œ

œ

.œ

œ

.œ

œ œ œœ

œ

.œ

œ

.œ

œ

.œ œ

œ œ

œ

œ

.œ

œ

.œ

œ

..˙

˙

˙

œ

œ

œ

œ

œ

œ

œ

&

#

4

3

4

5c

4

3

4

5

4

3œ

˙ .˙œ

œ.˙ œ œ œ

œœ œ w

j

œ

œœ

œ œœ

œ

œ œ.

.

œ

œ

j

œ œ

œ

œ

œ

.

.

œ

œ

j

œ

J

œœ œ œ

œ œ

œ

œ

&

#

4

2

4

3œ œ œ

œ œœ œœ

œœ

œœ œ

œ

œ

œ

œ

œ

œ

œœ œ œ

œ œ œœ

œ œ œ œœ

œ

œœ

œ

œ

}

œœ

.

.

˙

˙

œ

œ

œ œ

œ

Œ

œ

œ

œ

œ

Ó

œ œœ

œœ œ œ

Lost Indian

A

B

Ending from *

*

[In B part, upper notes sung; lower notes fiddle] An old In - dian was lost on the win - ding trail while he tra - veled through them drea - ry dark hills

C [In C part, fiddle and vocal "ooo" in unison] D

*

[Variation of A]

To B or C

To A orrepeat

To D orrepeat

To B

As played and sung by Seth Mize (Ozark Folk Center, 7E.871, field recording by Glenn Ohrlin); recorded 12/19/66; time: 3/4; key: G; scale: pentatonic major (no 4th, 7th); pattern: ABABACDBACCDBACABACDBBACD (A=8,B=10,C=7,D=9); tuning: standard

Variation V1

V1

Verses sung with B part:1. An old Indian was lost on the winding trail while he traveled through them dreary dark hills2. You can hear his lost yells on the winding trail while he traveled on through them dreary black hills3. The old Indian was alone in the dreary black hills but he keeped on hollering the lost Indian yell4. He met Kit Carson and Buffalo Bill and he showed them way out of them dreary black hills5. I met Kit Carson and Buffalo Bill, was a-going a-mining (minding?) in the dreary black hills6. One morning way early, a morning in May, I met Kit Carson a-going away7. He was going away with Buffalo Bill, as they going way mining (minding?) in the dreary black hills

Track #12

94

Seth Mize is one of few Ozarks fiddlers who can (or will) sing while playing their fiddles. This remarkable song about a lost Indian, completewith falsetto whoops, apparently combines elements of the fiddle tune “Drunkard’s Hiccoughs” (in this book), elements of the cowboy song “TheDreary Dark Hills,” and new material. Mize said in 1966 that he had known the song for 50 years, but he often told interviewers he had knownsongs or tunes for 50 years so his statements along those lines were probably not precise. Also it is very possible that Mize, known as an excellentsinger and songwriter, pulled together elements of songs and tunes he heard when he was young. The tune “Drunkard’s Hiccoughs,” which is close-ly related to “Jack o’ Diamonds” and “Rye Whiskey,” has a rich history as a fiddle tune and a song about a man who gambles and drinks too much.The melody lines in all of the parts in Mize’s tune appear to be variations only on one part often played with “Drunkard’s Hiccoughs” or “RyeWhiskey,” tunes which often have three or four parts (see a four-part version of “Rye Whiskey” in Beisswenger, p. 178; in that version, and inFord’s “Drunken Hiccoughs,” p. 126, the B parts resemble Mize’s tune). Notice that in the first measures of each of his parts Mize reaches, in asimilar manner, from a third to a fifth scale note. The song “The Dreary Black Hills” can be found in a number of early cowboy song collections,including John Lomax’s Cowboy Songs (p. 177). It was occasionally sung in Missouri, as described by Belden (p. 349). Alan Lomax (Folk Songsof N.A., p. 329) proposes “The Dreary Black Hills” was first published as a broadside in San Francisco and was composed by entertainer DickBrown. The song is about a man who warns people not to give up their trade to go prospecting in the dreary dark hills around Cheyenne. At first,the connection between this song and Mize’s song seemed weak; their only similarities appeared to be the phrase “dreary dark hills” and the 3/4time (although with different melodies). Then I noticed a verse of the song in Alan Lomax’s book (Folk Songs of N. A., p. 339) that I did not findin any other version of the song. The verse is as follows: “One morning so early, one morning in May; I met Kit Carson a-goin’ away; He wasgoin’ away with Buffalo Bill; He was goin’ a-minin’ in the dreary Dark Hills.” Compare that verse to lines 5, 6, and 7 in Mize’s tune. I am still puz-zled by Lomax’s inclusion of that verse in his version of the song, which he credits as coming from his father’s Cowboy Songs. The song inCowboy Songs does not include the verse in question. In any case, it seems likely the song has some connection to Mize’s song tune. For othersources for musical transcriptions and historical information related to “Drunkard’s Hiccoughs,” see the notes for Rufe Scott’s version of that tunein this book. Meade (p. 380) lists 12 early commercial recordings of “Jack of Diamonds,” the earliest being by Ben Jarrell (1927); others includeJules Allen (1928) and the Louisiana Rounders (1937). See Alan Lomax (Folk Songs of N.A., p. 329, 339) for more information about the song“Dreary Dark Hills.”

&

#

C ..

h»148 3

œ

œ}

œ

↑

œ œœ œœ j

œ

j

œ

.œj

œ œ œ œ œœœ œ

œ œ œ œœœ œ œ œ

œ

} œ œœœœ

œœ œ

œœ

œ

œ

œ œ œ œ

œ

œ

œ

œ

&

#

œ œ

œ

œœ

œ œ

œ

œœ œ

œ

œ

œ

œ œ œ

↑

œ œœ œ œ œœ œ

œ œ

↑

œ œ

œ

œ œœ

œ

œ œ

œ

œ

œœ

œ œ œ

œœ œœ

œœ œ œ œ

œœ

&

#

œ

œ

œœ

} œœ

œœ œ

œ

.

.

œ

œ

œ

œ

œ œ

↓

œ

œ

œœ

j

œ œ

œ

œœ .œ

J

œœ

œ

œ

œ œœ œ

œœ œœ

œ

œœ

œœ

œœ

œœ œ

œ

œ

œ œ œ œ œ œœ œ

&

#œ

œ.œ

j

œ œ

œ

œ œ œ œ œ

œ œ œœœ

œœ

œœ œ

œœ

œ œn œ œ œ

œ œ œ œ œ œ

œ

œ

œ

œ

œ

↓

œ

↓

œ œ

œ

œ œ œ

œ

œ

}œ

↑

&

#.œ

J

œ œ œ œn œ œ œ

œ œ

↑œ œ œ œ

œ

œ

œ

œ

œ

œ

œ œ œœ œ œœ œ

œ œ

↓

œœœœ œ

œœ œ

œ

.

.

œ

œ

œ

œ

œ œ} œœœ

&

#

.

.œœ œ

œœ

œ}

.œ

J

œœ

œ œ œœ œ

œ œœœ

œœ œ

œœ

œ

œ

œ

œœœ œ

.

.œœ

j

œ

rit.

œ

Œ

œœ

œ

u

Baby with Black Faceand Shiny Eyes

A

B

Ending from **

As played by Seth Mize (John Quicy Wolf Collection, Lyon College, field recording, recorded by Jimmy Trammel); recorded 4/22/67; time: 2/2; key: G; scale: major (some high 4th, low 7th); pattern AB (16,16); tuning: DADG

“Baby with Black Face and Shiny Eyes” is the title I am using here to replace the actual title, which begins with the word “nigger.” A strongargument could be made that, to maintain scholarly integrity and to avoid whitewashing the truth, I should use the actual title in the tune list. WhileI have decided not to list the highly-offensive full title, I want to recognize that some Ozarks fiddle tunes have links to songs with demeaning lyricsof the sort often associated with minstrelsy and “coon song” traditions. Fiddle traditions flourished and grew during the turn of the twentieth centu-ry, when songs that lampooned groups such as African-Americans, Irish, German, and Jews were featured in much popular music. Additionally, likemuch of the South, the Ozarks has had a long and complex history of struggles with racism against African-Americans, especially before the 1960s.The lyrics to Mize’s tune can be heard on a 1928 recording of “Little Ol’ Nigger Baby” by the Arkansas band Dr. Smith’s Champion Horse HairPullers (the band with fiddlers Bryan Lackey and Clark Duncan plays a version of “Going Down the River” included in this book). These lyrics,which as far as I know Mize did not sing, are confusing and perhaps were not meant to make sense. The verses describe a large man with a razor,and the chorus describes a baby with “rubber feet,” with no apparent connection between the two. Hear that 1928 recording in full on the CD set

95

Somewhere in Arkansas. I do not know the origin of the song, but it is likely from the “coon song” era that ran from 1895 to 1915. The tune seemsto me to resemble that of the popular 1940s Grandpa Jones song “Eight More Miles to Louisville,” which in turn is similar to the earlier song “BigBend Gal.” Regarding the tuning, I concluded he must have lowered the high E to a D because that would seem necessary to play the two-notechord he plays in measures 6 and 10 (with A and D notes). In other passages it appears likely he is playing in standard tuning, so I remain some-what puzzled about the tuning.

&

#

C ..

h»88

J

œœ œ# œ œ

œ œ# œ œ œ œ œ œ# œœ œ œ# œ œ

↑

œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ œœœ œ

œ

œœ œ œœ œ œ

œ

œ

œ

&

#

œ

œ

œ œ œ

œ

œ œ

œ

œ œ

↓œ

↑

œ œ œ œ

œ

# œ œœ œ

œ

œ

œ

œœ

œœ

œ

œ

œ

œ .œ œœ

œ œ

œ

˙

˙

œ

œ

↓

œ

&

#

2

3Cœ

œ ˙œœ

œ

œ œ

œ

œ

} œ

œ

œ ˙œœ

œœ œ œ œœ

œj

œœ œ œ

œ

œœœ œ .

.

œ

œ J

œ œ œ œ œ œ

œ

œ

œœ

&

# œœ œœ œ

œ

œ

œ

œ œ

œ

œ

œ

œ œ

↑

œœ

œ

œ œ

œ œœ

œ

œœ œ

œ

œ

œ}

œ .œ

J

œ œ œ œ œœ œ œ œ œ œ

&

#

.

. 4

3C

j

œœ œ# œ

œœ œ

œ œœ

œœ

œ

œ

œ

œ œ

œ

œ

œ

˙

˙

œ

œ

œœ œ#

œ

œ

œ œœ

˙

u

j

œ

˙ œ œœ œ

œ

œ

œ

œ

œ

Wang Wang Blues

A

B

Ending from **

C

As played by Seth Mize (Ozark Folk Center, 7E.871, field recording by Glenn Ohrlin); recorded 12/19/66; time: 2/2; key: G; scale: major (some high 2nd, 5th); pattern: ABC (8,8,8); tuning: standard

Variation V1 (begins tune)

V1

A tune titled “Wang Wang Blues” was composed in 1920 by Gus Mueller, Buster Johnson and Henry Busse, who were members of PaulWhiteman’s big band, which first recorded it. Soon lyrics were added by Leo Wood and the song was recorded by Van and Schenck of the ZiegfieldFollies, Mamie Smith, and others. Often cited as being among the first jazz hits, it quickly became a big band standard and was recorded by thebands of Duke Ellington, Benny Goodman, Fletcher Henderson and others. The tune, which is structured more like a ragtime tune than a bluestune, was also recorded in the 1920s and 1930s by country and Western swing bands, usually as an instrumental piece (as far as I can tell). Mize’sversion of the tune resembles the jazz standard in some ways, but has some significant differences also. For comparison, view the sheet musiconline at the Indiana State University web site http://library.indstate.edu/level1.dir/cml/rbsc/kirk/PDFs/sm1921_wang.pdf. To hear another Ozarksversion of the tune, with even more obscure connections to the original, refer to Violet Hensley’s version on Rounder CD435. Meade (p. 889) listsfive early commercial recordings, the earliest being by the Red Mountain Trio (1928); others include Sid Harkreader & Blythe Poteet (1928), andBob Wills (1935).

96

Kermit MoodyKermit Moody (1909-1977) was a

major fiddler in the area around MountainView, Stone County, Arkansas. He wasborn in Batesville, Arkansas, locatedabout 40 miles east of Mountain View,and began playing the fiddle when he was14. As a teenager, he played music withhis brothers and uncles and learned mostof his repertoire. He moved to StoneCounty as a young man and settled there.In the mid-1960s be began playing at theFriday evening music gatherings organ-ized by the Rackensack Society, and con-tinued to be active in the activities of theSociety for many years. In the early1970s his playing was featured on one ofthe Society’s albums (see the tune “Waltzof the Ozarks” below). Around that time,fiddle music collector R.P. Christeson

became acquainted with Moody, who owned and operated a car garage, and Christeson discusses Moody’smusic in one of his books (see Christeson 2, p. xv). Moody occasionally enjoyed composing fiddle tunes,including “Lisa Waltz” recorded by folk music collector Max Hunter at a recording session on September 16,1969. During that session, when Moody played 18 tunes (several transcribed below), Hunter explained in arecorded narrative that the quality of the music was somewhat compromised by the use of various speakers.Apparently the musicians enjoyed amplifying their music through speakers, even though they were in a smallroom. The ways musicians have used small amplifiers and speakers at house parties and jam sessions contin-ues to be an interesting aspect of Ozarks folk music. Hunter described his session as follows: “Now Kermit’splaying an old time fiddle, and Elmer his brother is playing guitar, and Hubert Hinkle, the banker here atMountain View, is playing the banjo. And Kermit’s got a little house out behind his house. It used to be thesmoke house, and he’s converted it into what he calls his playhouse. It’s real nice, and this is where the guysget together and do some taping and playing, when they don’t get together in the homes. And Kermit’s got abig stereo recorder thing here with two speakers. And I thought there was something that I couldn’t figure outwhat was going on, and he’s got that recorder on, and not only are we picking some of the sound on the mic,but also getting some sound out of those two big speakers. They like it this way…. Kermit’s got his recordergoing, Elmer’s got his recorder going, and I got my recorder going…. But now these guys get together, oh,just all over Mountain View or anywhere, several times in a month, and they can make some music out of this.I don’t think the tape is going to be as good as I’d like to, but you don’t ask a man to turn his tape recorder offwhen you’re visiting in his home, I don’t think. I’m not going to, so, but I think it’s going to be some goodmusic” (9/16/69 Max Hunter field recording).

Ker

mit

Moo

dy w

ith O

tis J

ohns

on a

nd C

harl

es J

ohns

on, C

ourt

esy

of th

e O

zark

Fol

k C

ente

r.

97

&

#

#

#

C ..

h»130

œ

œ

œ

œ

œ œ œ œœ

A

œ

œ

˙

˙

œ œ

↓œ œ

↓

œ œ œœ

œœ

œ

..œœ

J

œ

↑œ œ œ

↓Eœ œ œ œ œ

œ

A

œ ˙˙ œ

œ

D

&

#

#

#

.

...œ

œ œ œ œ}œ

E1

œ

œ

œ œ œ

œ œ

↓A2

œ

œ

œ œ

œ

œ œœ

œœ

↓A

œ œ

œ

œ œœ

œ

œ

˙

˙

3

œ

œ

œœ

œœ œœ

œœ œ œ

œ .œ

j

œ œ œ œ œ

E

&

#

#

#

.

...œ œ

œ

œ œœ

A

œ ˙

˙

œ

œ

œ

œ

œ

œ

œ

œ œ œ œ œ

↓E

1

.œ

J

œ œœ œ

↓A2

D.C.

.œ

J

œ

œ

œ

œ œ

↓Aœ

œœ œ œ

œ

A

œœ œ œ

œ

œ Œ

E A

Bunker Hill

A

B

Ending from **

As played by Kermit Moody (Max Hunter Collection, field recording); recorded 9/16/69; time: 2/2; key: A; scale: hexatonic major (no 4th, some low 7th); pattern: AABB (8,8,8.8), sometimes three A; tuning: EAEA

This tune, with the distinct feel of a march, is similar to the “Bunker Hill” played by fiddler Absie Morrison, whose family might have broughtthe tune to the Ozarks. Morrison links the tune to the Battle of Bunker Hill fought during the Revolutionary War (McCulloh, p. 96). Moody’s rendi-tion of “Bunker Hill” appears to be different from the ones in Bayard (p. 281) and O’Neill (Walton’s edition, p. 137). See a musical transcription ofMorrison’s similar version in McCulloh (p. 96).

A standard among Southern fiddlers, “Eighth of January” is named after Andrew Jackson’s victory over the British in New Orleans on January8, 1815. Technically, the Battle of New Orleans occurred after the War of 1812 had ended, but many historians describe the Battle of New Orleansas the final decisive battle in the War of 1812. Ford (p. 192) and others suggest the tune was called “Jackson’s Victory” until after the Civil War,when Jackson’s reputation was no longer strong. Fiddler’s Companion states that Tom Carter (1975, unknown source) suggests the tune is a rela-tively modern piece and that it was refashioned from an older tune called "Jake Gilly" (or “Old Jake Gilly”). Tom Rankin (liner notes to Great BigYam Potatoes) suggests that although the tune may be older than the 1815 battle, it does not have an obvious British antecedent. Samuel Bayardbelieves the tune is related to a Pennsylvania version of “Chase the Squirrel” (p. 23). Ozarks-native Jimmy Driftwood wrote lyrics to the tune in1936 while teaching in Timbo, Arkansas, purportedly to make history more interesting to his students (see Streeter, p. 20). In 1959 country musicsinger Johnny Horton recorded Driftwood’s song, which was titled “The Battle of New Orleans,” and it became one of the country’s best-sellingsingles (see a printed version of the song in Collected Sing Out, p. 172). As a result the fiddle tune is occasionally called “The Battle of NewOrleans.” The tune itself is likely quite old and resembles a number of singing games such as “Old Dan Tucker” and “Girl’s A-Fooling” (seeRohrbough, p. 52, 71). Ozarks fiddler Bob Holt plays another version of “Eighth of January,” which he calls “Ninth of January” (in this book) andwhich resembles Alton Jones’s “Lost Indian.” Other musical transcriptions are in Brody (p. 99), Christeson 2 (p. 65), Ford (p. 63, story on p. 192),Krassen (Appal. Fiddle, p. 50), Phillips 1 (p. 80), Phillips 2 (p. 46), and Thede (p. 114). Meade (p. 766) lists five early commercial recordings, theearliest being by the Arkansas Barefoot Boys (with Cyrus Futrell on fiddle) (1928); others include Dr. Humphrey Bate (1928), and Texas CowboyTrio (Kentucky Woodchoppers) (1930).

&

#

# C ..

.

...

h»122

œœœœ

œœ

œœ

œ

↑œ œ œ

œ

D

œœ œ œ

œ œ

3

œœ

œœ œœ

G

œœ œ œ œœ œ

œ

A1œ

œ œœ

œ

œœœœ

D2œ

œ œœ

œ

3

œœ

œœ œœ

D

œœ œ œ œ œœ

&

#

# ..

.

.œ

œ

œœ œ œ

œœ

œœ œœ œ œ œœ œ

1

œ

œ œ œœ

3

œœ

œœ

↑

œœ

A D2

œ

œ œ œœ

œ

œ œ

A D

œœ œ

œœ

œœ

œ œ œ œ

↑A

&

#

# ..

œ œ œ

↓œ œ

↑œ œ

↑D

1œœ œ

œ

œœ œ œ

A D2

D.C.

œœ œ

œ

œœ œœ

œœ

A D

œœ œ œ

œ

3

œ

œ œ œ

A D

œœ

œœ œ œ œ

œœ œ œ

œ

œ

Œ

A D

&

#

#

ww

U

œœ œ œ

œ œ

œœ

œœ

œ

œ

œœ œ

œ

œ

œ

œ œœ

œ

œœ

œœ œ œ œ

œ

œœ

œ œœ

3

œœ

œœ œœ

œ œœ

œœ

œ

Eighth of January

Ending from *

*

Variations V1 V2 V3 V3 V4

A

C

B

As played by Kermit Moody (Max Hunter Collection, field recording); recorded 6/16/69; time: 2/2; key: D; scale: major (some high 4th); pattern: AABBCC (4,4,4,4,4,4); tuning: standard

V1

V2 V3 V4

98

&C

h»120

˙˙ ..

œœ

J

œ

Cœ ˙ œ œ œ œ œ

œ œ

G

.

.

œ

œ

j

œ

œ

œ

œ

œœ

C

˙˙ ..

œœ

J

œ

œ ˙

œ

œ

œ

œ

œ

œ

œ

œ

œ}œ

G

œ œ

œ

œ

œ

œ

œ

œœ

C

&

.

...

˙˙ ..

œœ

J

œ

œ ˙ œ œ œ œ œœ œ

G

.

.

œ

œ

j

œ

œ

œ

œ œœ

C

œœ

œœ

œœ

œœ œ

.

.

œ

œ

j

œ

œ

œœ

œ

F

˙

˙

œ œ œœ

G1œ œ

œ

œ

œ

œ

œ œ œœ

&

2

D.C.

œ œ

œ

œ

œ

œ

œ

œœ.

.

œ

œ

j

œ

œ

œŒ

C

w

w

u

..œœ œœ œœ ..œœ

J

œ œœ œœ# œœ œn ..

œœ

J

œ œœ œœ ..

œœ

J

œ

œ

œ

œ

œ

.

.œœ

j

œ

œ

œ

œ

œ

œ œ œœ

Oklahoma Wagoner

Ending from *

*

Variations V1 V1 V1

V1

As played by Kermit Moody (Max Hunter Collection, field recording); recorded 9/16/69; time: 2/2; key: C; scale: major; pattern: ABB (12,4,4), sometimes A ends after measure 8; tuning: standard

A

B

V2

V2

This tune has noticeable, but distant, melodic connections to the more standard versions of “Wagoner.” The 12-measure A part, in which meas-ures 1-4 and 9-12 are almost identical, appears to be distinctive in Moody’s version. Glenn Rickman plays a similar but more elaborate version of“Oklahoma Wagoner,” with a standard eight-measure A part, and he says it used to be called “Big Creek.” The B part is similar to the B part in LonJordan’s “Tom and jerry” and is similar to the A part in tunes such as “Little Brown Jug” and “Rachel” (in this book, with links to other similartunes). For more information about the Wagoner family of tunes, and the tendency to connect state names to the titles, see Jim Herd’s version of“Tennessee Wagoner” in this book.

&

#

#

#

C

h»124

œ œ

↓˙ .œ

J

œ

↓Aœ œ

↓

œœ œ œ œ

œ

œ

œ

œ

œ

œ œœ œ .œ

J

œ œ

œ œ

↓˙ .œ

J

œ

↓œ œ

↓

œ ˙˙ œ

œœ œ

E7

..œœ

J

œ œ

3

œ

œ

œ

œ

œ

œ

#

&

#

#

#œ

œ œ œ

Aœ

œ œ œœ

œ

œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ

↓

.œ

J

œ œ œ œ œ œ œ œ œœ œ#

↓

œ œ

↓œ œœ œœ

œ œ œœ œ œ œ

E

.œ

J

œ œ

œœ

œœ

A

&

#

#

#

.

.

œ œ œ œ œ

œ

A

œ œ#

↓œ œ

↓œ

œ

œ

œ

œ

œ œ

œ

œ

œ œ œ

E

.œ

J

œ œ

œ

A

œ œ œ œ œ

œ

œ œ#

↓œ œ

↓œ

œ œ

œœ œ œ

œ

E7

&

#

#

#

œ œ#

↓œ œ

↓œ œœ œœ

œ œ œ

Aœ

œ œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ œ œ

œ

œ

œ

œ

œ

3

œ œ œ œ œ œ œ œœ œ#

↓

œ œ

↓

œ œœ

&

#

#

#

.

. 2

1C

œœœ œ œ

œ œ œ œ

E1

.œ

J

œ œ

œœ

œœ

A2

D.C. or to B

.œ

J

œ œ

œ œ↓

A

˙

A.œ

J

œœ œ œ

œ œ œ.œ

j

œ

E A

.˙œ œ

œ œ œœ

œ

Œ

Rover

*

A

B

Ending from *

As played by Kermit Moody (Max Hunter Collection, field recording); recorded 9/16/69; time: 2/2; key: A; scale: Lydian (high or neutral 4th, some low 7th); pattern: ABBBBBAB (all 16 ); tuning: EAEA

I have been unable to find information about this interesting open-tuning tune, which I chose from a 1969 field recording of Kermit Moody byMax Hunter. Fiddler’s Companion lists four fiddle tunes titled “Rover,” all Scottish or Irish, but none appear to resemble Moody’s tune. To myears, Moody’s tune contains some of the melodic elements in the popular 1940s Grandpa Jones song “Eight More Miles to Louisville” and the ear-lier “Big Bend Gal,” but the connection is certainly not strong.

99

&

#

#

4

3 ..

q»164

œ

œ

œœ

..œœ

j

œ

œ

D

.

.œœ

j

œ

œ œ œ .œ

j

œ

œ

˙˙

œ œ œ .œ

j

œ œœ

œ œ œ ˙œœ

A

˙ œ œ .œ

j

œ œ œ}

&

#

# ..

˙ œœ

œ œ œ œ

j

œ

˙ œ.œ

j

œ# œn

↓

œ# œ œ œ œ œ ˙ œ œ

↓D

1.œ

j

œ œ

œ

œ

œ

2.œ

J

œ

œ œ#

&

#

#œ

œ}

œ

. œ œ#

↓Dœ œ œ

↑

œ#

↑œ .œ

J

œ# œ

œ ˙

œ œ# œ

œ

. œ œ# œ œ œ

↑

œ#œ .œ

J

œ#

↓œ

œ

A

˙ œœ

&

#

#œ

œœ œ œ œ

↑

œ}

œ œ

↑œ#

↑œ .œ

J

œ#

↓œ

œ˙

œœ

œ œœ

œœ

œ œ œ

↑œ œ

↑

œ#

↑œ ˙ œ œ

D˙ œ

œ

&

#

#œ

œœ œ# œ œ œ

↑

œ#

↑œ .œ

J

œ#

↓œ

œ ˙ œ

œ

œ œ œ

œ

œ# œ

œ

œ

œ

œ œ œ œ

↑

œœ

↓

œ} ˙˙

œœ œ

G

˙˙

œ

œ}

&

#

#

.œ

J

œ#œ

œ

.œ

J

œ

↑

œ#

↑

œ

↑œ

↑.œ

J

œ œ œ

D

.œ

J

œ œ œ œ

œ

œ

.

.

œ

œ J

œ

A.œ œ# œ œ

œ œ

œ œœ

œ

D

.

.˙˙

u

Waltz of the Ozarks

A

B

As played by Kermit Moody in Rackensack, Vol. 1 (Rimrock LP 278, 1972); recorded c. 1972; time: 3/4; key: D; scale: major (some high 4th, 5th, w/chromatics); pattern: AAB (16,16,32); tuning: standard; played one time through

Christeson also transcribed Moody’s rendition of this tune (Christeson 2, p. 142), played in the same year as the above recording. It is perhapsuseful to compare the two transcriptions of this tune, which is of unknown origin but has an obvious Ozarks connection. Bob Walsh plays a com-pletely different tune with this title (in this book).

100

Absie Morrison

From a large extended family of fiddlers, Absie—also spelled Apsie—Morrison (1876-1964) attracted theattention of major folk music collectors such as John Quincy Wolf, Vance Randolph, and Alan Lomax becauseof his strong sense of history, his engaging personality and speech, and his distinguished older-style fiddleplaying. He was born in 1876 on a farm in Searcy County, Arkansas, and lived his whole life there. Proud ofhis Scots heritage, he claimed to own the fiddle his great-grandfather brought from Scotland just before theRevolutionary War began in the United States. Ozarks performer Jimmie Driftwood, who knew Morrison well,said he was under the impression that one of Morrison’s great great great grandfathers stowed away on a shipwith his fiddle and came to America, where he joined George Washington’s army (Max Hunter interview,8/30/69). Morrison’s ancestors first settled in Virginia, then moved to Tennessee in 1812, lived briefly insouthern Illinois in 1840, and finally settled in Arkansas around 1842. A farmer and fiddle maker throughouthis life, Absie Morrison often played at local square dances, fiddle contests and, especially in the 1950s, folkfestivals in Arkansas and nearby states. He ventured briefly into commercial music in 1930 when he and histwin brother Abbie, along with three of Abbie’s sons, traveled to Memphis to record for the Victor label. Underthe assigned name “The Morrison Twin Brothers Band” (or according to one interview “The Ozark TwinFiddlers”), they recorded at least two fiddle tunes, “Dry and Dusty” and “Ozark Waltz.” Morrison enjoyedtalking about war history—many of his ancestors fought in American wars—and he accompanied a number ofhis fiddle tunes with stories about their connections to wars. While Morrison seems to indicate at times thattunes were written simply to commemorate battles, he also believes that some of his war-related tunes wereactually played at important moments during the Revolutionary War (as he described in his introductions totunes such as “Natchez,” “Virginia March,” “British March,” and “Cornwallis’s Surrender”) or during theCivil War (as he described in his introductions to tunes such as “Gettysburg March”). See Judith McCulloh’sarticle (in bibliography) for more about Morrison’s history-related tunes. In addition to playing a vast numberof breakdowns, song tunes, waltzes, and many old-sounding tunes with unusual rhythms, Morrison made,according to his estimates, around 75 fiddles. Near the end of his life, he reported that his sons were not inter-ested in carrying on the family tradition of playing the fiddle, pointing out that “they’re just interested in rais-ing fine Hereford cattle” (Lawless, p. 160).

Phot

o by

Ern

ie D

eane

; Abs

ie &

Abb

ie M

orri

son;

Ark

ansa

s Fo

lk F

estiv

al a

t Mou

ntai

n V

iew

, Ark

.,A

pril

19-2

0, 1

963;

Cou

rtes

y, A

rkan

sas

His

tory

Com

mis

sion

101

&

#

C2

3 .. 2

3C .

.

h»118

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ œ œœ œ

œ

1œ œ œ œ

œ

œ

œ

œ

œ

œ

œ

œœœ

2œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

.œ

J

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

&

#

2

3C

2

3 .. 2

3

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ œ œ œ ˙

˙

j

œ.œ

J

œ œ œ œj

œ

.˙œ

œ

œ

œ

2œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

.œ

J

œ

2D.C.

œ œ œ

œ

œ

œ

œ

œ

œ

œ

œœœ

&

#

C2

3

˙

j

œœ œ œ œ œ œ œ

.˙œ

œ

œ

œ

œ œ œ œ œ œ œœœ

œ œ

œ

œ

œ

œ œ

œ

œ

œ

˙

&

#

C2

3C

œ œ œ

œ

œ œ œ

œ

œ œ œ œœ œ œ œ œ œ œ

œ

.˙œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

.œ

J

œ

œ

œ œj

œœ œ

œ œ

œ

Battle of New Orleans As played by Absie Morrison (University Folklore Collection; University of Arkansas, field recording); recorded 4/23/62; time: 2/2; key: G; scale: major; pattern AAB’BAABBAAABBAAA; (A=3,B=6,B’=5); tuning: standard; 2nd time through

A B

Ending from *Introduction

First B part, first time throughVariation V1

V1 *

B’

This tune has no apparent connection to the song “The Battle of New Orleans” written by Jimmie Driftwood and based on the tune “Eighth ofJanuary” (in this book). Morrison told McCulloh he associated his tune with a story, that he changed slightly during different tellings, about hisgrandfather’s uncle (or brother), a tall stout man named John Sidney Morrison, who fought in the 1815 Battle of New Orleans (McCulloh, p. 99-100). The story goes that he and an African-American soldier named Jack (or Bob) Johnson were lying behind a bale of cotton when they spottedBritish General Edward Pakenham. They both (or Johnson alone) shot and killed him. The story’s accuracy is doubtful since most sources reportPakenham was killed by a cannonball.

&

#

# C2

1C

h»92

œ œ œ œ

œ

.

.

œ

œ

j

œ.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ ˙

˙

j

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

j

œ.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

&

#

#

4

6C

4

6C

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

w

w

œ œ œ ˙˙ ..œœ œ œ˙˙

œ

œ

œ

œ

œ

œ

↓œ

œ

œ

œ

↓

œ

œ

œ

œœ

œ

œ

.

.

˙

˙

œ œ œ ˙˙ œœ œ œ

&

#

#

4

7 ..

˙

˙

œ

œ

œ

œ

œ

œ

↓ œ œ œ œœ

w

w

œ

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ

j

œ

œ

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

j

œ .

.

œ

œ

j

œ œj

œ œ

1

.

.

˙

˙

3

œ

œ

œ

œ

↓œ

œ

œ

œ

3

œ

œ

œ

œ

↓œ

œ

œ

œ

&

#

#

4

7C .

. 2

1C

2

.

.

˙

˙

3

œ œ œ œ

3

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œJ

œ.œ

J

œ

œ

j

œœ

œ

↓œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ.

.

œ

œ J

œj

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ.

.

œ

œ

J

œ

œ

&

#

#

4

7 .. C

4

7

.

.

œ

œ

J

œ

œ

œ

œ

œ

œ

œ

œ

œ.

.

œ

œ

J

œ

œ

œ

œ

œ

œ

1..˙˙

3

œ

œ

œ

œ

œ

œ

œ

œ

3

œ

œ

œ

œ

œ

œ

œ

œ

2..˙˙

œ

œ

œ

œ

œ

œ ˙

˙

Ó

.

.

˙

˙

3

œ

œ

œ

œ

↓

œ

œ

œ

œ

3

œ

œ

œ

œ

↓

œ

œ

œ

œ

Bonaparte’s Retreat As played by Absie Morrison (John Quicy Wolf Collection, Lyon College, field recording); recorded Aug. 1959?; time: 2/2; key: D; scale: major (some low 7th, 3rd); pattern ABABCCBA(special ending)ABCBABAB (A=8,B=12,C=8); tuning: DADD

A

B

C

Go to B Ending from *

*

Variation V1 when repeating A)

V1

In his field recording of this tune, Wolf asked Morrison if this was “Napoleon’s Retreat,” and Morrison said, “Yeah.” But to McCulloh,Morrison identified the tune as “Bonaparte’s Retreat” (McCulloh, p. 98), and it does indeed resemble the tune often associated with “Bonaparte’sRetreat.” Bonaparte’s full name was Napoleon Bonaparte, so perhaps Morrison thought the title could go either way. Also, it is possible Morrisonwas trying to be agreeable with the well-known collector Wolf. In any case, I have decided to use the title Morrison told to McCulloh because it ismore widely used by fiddlers in the South. In his interview with McCulloh, Morrison suggests the tune has French and bagpipe connections: “Nowthat comes right after [‘Dry and Dusty’]…. That was played at the Battle of Waterloo [1815 in Belgium].… Now that’s bagpipe music on the fid-dle…. That was when (Bonaparte) had to give back, had to give up the battle…. This is in what’s called minor key now…. It’s French music.”Fiddler’s Companion describes six different tunes titled “Bonaparte’s Retreat.” The most widely printed one appears to be an Irish tune (vaguelysimilar to “Red Haired Boy”) that Bayard suggests is a member of the “Lazarus” and “Gilderoy” tune families (p. 198). Morrison’s tune is a dis-tinctive interpretation of a tune often played with a DADD tuning in the southern U.S., and sometimes linked to an Irish march/waltz called “TheEagle’s Whistle” (Bayard, p. 200). Notice that Morrison’s C part is basically the A part played an octave higher. The most famous version of“Bonaparte’s Retreat” (similar is some ways to Morrison’s) was played by Kentucky fiddler William H. Stepp. Composer Aaron Copland used

102

Stepps’s version in his well-known orchestral suite titled “Hoedown.” Other musical transcriptions of versions similar to Morrison’s are in Bayard(p. 199), Brody (p. 52), Ford (p. 129), Lomax (Our Singing Country, p. 54-55), and Thede (p. 36-37). Compare Irish tunes such as “The Eagle’sNest” (Petrie, p. 76) and “O’Donovan’s March” (Roche II, p. 54). Meade (p. 720) lists 12 early commercial recordings, the earliest being by A.A.Gray (1924); others include Gid Tanner & His Skillet Lickers (1929) and the Arthur Smith Trio (1936). Hear an online recording of Morrison’s tuneat: http://www.lyon.edu/wolfcollection/songs/morrisonfiddletunes.html.

&

#

8

6

qk»74

.œ œ

œ J

œ

œ

J

œ .œ

œ

œJ

œ .œ œ

J

œ .

.

œ

œ œ J

œ.

.

œ

œ

.

.

œ

œ

œ

J

œ .œ .œ œ

J

œ .œ œ

J

œ.

.

œ

œ

œ

J

œ

œ

.

.

œ

œœ#

↓ j

œ

œ

.

.

œ

œœ#

↓ j

œ

œ

.

.

œ

œ

.

.

œ

œ

œ

œ J

œ.

.

œ

œœ

j

œ

œ

&

#

.

.

.

.

œ

œ

œ

j

œ

œ

.

.

œ

œ

.

.

œ

œ

œ

j

œ

œ

œ

œ

j

œ .

.

œ

œ

œ

œ

J

œ .œ œ

j

œ

œ

.

.

œ

œ

œ

œ

j

œ

œ

.

.

œ

œ

.

.

œ

œ

œ

œ J

œ.

.

œ

œœ

j

œ

œ

.

.

œ

œ

œ

j

œ

œ

.

.

œ

œ

.

.

œ

œ

œ

j

œ

œ

.

.

œ

œ

British March As played by Absie Morrison (John Quicy Wolf Collection, Lyon College, field recording); recorded Aug. 1959?; time: 6/8; key: G; scale: Lydian (high 4th); pattern: AB (9,5); tuning: standard; from the middle of performance; could be fast waltz

A

BEnding from **

Morrison told McCulloh that the tune “British March” was played during Cornwallis’s 1781 surrendered to Washington’s army, which essen-tially ending the Revolutionary War (McCulloh, p. 97). In particular, he reported that the British played this tune after they surrendered and whilethey were stacking their arms as Washington’s army stood guard. Hear an online recording of Morrison playing this tune at:http://www.lyon.edu/wolfcollection/songs/morrisonfiddletunes.html

&

#

C ..

.

.

h»118

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

↑

œ

œ

œ œœ œ

œœ

œœ

œ

œ

œ

œ œ

œ

œ œ

œ

œœ

œ

œ

œ

œœœ

œœ

˙˙

&

#

.

. 2

3 .. C

œ

œ

œ œ œ œœ œ

œ

D.C.œ œ œœ œ œ œ œ ˙

˙

œœ

œ

œ

œ

œ

˙

˙

u

œ

œ

œ

œ

œ

œ

œ œ œ œ

Cornwallis’s Surrender As played by Absie Morrison (John Quicy Wolf Collection, Lyon College, field recording); recorded Aug. 1959?; time: 2/2; key: G; scale: major (some high 4th); pattern AABB (4,4,2,2); tuning: standard

Ending from *

A

B

*

Variation V1

V1

Morrison did not play this tune for McCulloh, and Wolf’s recording has no information. Like the above “British March,” this tune is presum-ably connected to Cornwallis’s surrender in 1781. Its melody resembles “Dance All Night,” or “Give the Fiddler a Dram.” Notice that the B part isvery short, only two-measures long. Interestingly, Fiddler’s Companion references a 1989 article by Rosenbaum (no citation) that suggests “DanceAll Night” might have links to Unionist loyalties because one verse he recorded mentions hanging Jeff Davis. I know of no other musical transcrip-tions to “Cornwallis’s Surrender,” but you can compare versions of “Dance All Night” in Christeson (p. 104), and Phillips 1 (p. 97, as "Give theFiddler a Dram"). Hear an online recording of Morrison playing this tune at: http://www.lyon.edu/wolfcollection/songs/morrisonfiddletunes.html.

&

#

C

h»124

3

œ œ œ œ œ.œ

J

œ œœ

œ œ

œ

œ

3

œ œ œ œ œ.

.

œ

œ J

œ œ

œ

œœ œ

œ

œ

œ

.œ

J

œ.

.

œ

œ

j

œ

&

#

.

...

.

.œ

œ

œœ œ

œ

œ œ.

.

œ

œ

œœ

œ

œ œ œ

œ

œ

œ

œ œ

œ

œ œ

œ

œœ

œ

œ œ

œ

œ œ .

.

œ

œ

j

œ

D.C.

œ

œ

œœ œ œ œ

Cripple Turkey As played by Absie Morrison (University Folklore Collection; University of Arkansas, field recording); recorded 4/23/62; time: 2/2; key: G; scale: major; pattern: (intro end of A)BABBAA (A=6,B=4); tuning: standard; recording fades out

A

B

Starts here

Bob Wills recorded this tune in 1936, and more recently Iowa fiddler Al Murphy included it on his CD (1997). Both of these fiddlers, howev-er, appear to have used the tune as a jumping off point for improvisation, much like fiddlers often do with "Sally Goodin." It is difficult, therefore,to determine if Morrison's tune is similar to the tunes played by Wills and Murphy. Meade (p. 711) links "Crippled Turkey" to the tune "Say OldMan, Can You Play the Fiddle."

Track #13

103

&

#

C ..

h»88

œ

œ

œ#

↓

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ

j

œ

œ

œ œ

↓

œœ

œ

œ

œ

œ œ#

↓

œ

œ œ

œ

œ

œ

œ

œ œ

œ

œ œ œ

œ

œ

œ

&

#

.

. 4

5C .

.œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

1

œ

œ

œœ

œ

œ œ

œ

œœ œ

2

œœ

œ œ ˙

˙

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ œ

œ

œ

œ

œ œ œ

œ œ

œ

&

#

.

. 4

3Cœ

œ

˙

˙

œ

œ

} œ

œ

}

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

} œ

œ

} œ

œ

}

œ œ}

œ œ

œ

↓ 1œ

œ

˙

œ

œ

œ

œ

œ

œ

2

D.C.

œ

œ

œ

œ œ

↑œ

œ

œ

Ó œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Irish Washerwoman As played by Absie Morrison (John Quicy Wolf Collection, Lyon College, field recording); recorded Aug. 1959?; time: 2/2; key: G; scale: major (some high 4th, low 3rd); pattern: AABB (8,8,8,8); tuning: standard

Ending from * Variation V1V1 *

A

B

“Irish Washerwoman” is widely played throughout North American and Great Britain, but it is almost always played in 6/8 jig time.Morrison’s version, which is in 2/4 time, is a testimony to the tune’s pervasiveness even in regions where 6/8 time tunes are rarely played. Fiddler’sCompanion offers a full history of “Irish Washerwoman,” which is included in numerous British printed sources as early as the 1600s, and inAmerican sources as early as the 1700s. In the above recording of the tune, Morrison offers the following cryptic remark at its conclusion: “Whythat’s played in hog [?], calling the diggers [?], and that’s the reason old Ford plays it all the time for them to dance.” At least we can gather fromhis remark that his unusual version of the tune was often played at dances in Morrison’s locale. Vance Randolph identifies a 6/8 song sung in theOzarks with lyrics he associates with “Irish Washerwoman” (see Randolph III, p. 21). In this book, “Old Blue Mule” has a similar melody (whichin turn resembles “Skip to my Lou”). Fiddler’s Companion lists over 30 printed musical transcriptions of the “Irish Washerwoman.” Some of thesetranscriptions are in Bayard (p. 415; also see p. 583 for a schottische version), Brody (p. 140), Bronner (p. 55, 89), Cole (p. 57), Ford (p. 43), andThede (p. 118). Meade (p. 812) lists 18 early commercial recordings, the earliest being by Charles D. Almaine (1904); others include MellieDunham (1926), Doc Roberts & Asa Martin (1928), and the Kessinger Brothers (1930). Hear an online recording of Morrison playing this tune at:http://www.lyon.edu/wolfcollection/songs/morrison4fiddletunes.html.

&

#

#

#

C .. 4

5C .

.

h»112

œœ

œœ œœ œœ œœ œœ

œ

œœ œœ œœ

œ

œœ œœ œœ œœ

œ

œœ œœ œœ

œ œ

œ œœ 1

œ œ œœ œ

œn œ

2œ œ œ

œ œœn .œ

J

œ œ

œ

œ

œ

œ

œ

œ œ œ

œ

&

#

#

#

4

5 .. Cœœ œœ œœ

œœ œ

œœn œœ œœ œœ

œœ œ

œ œ

1

œœn œ

œ

œ

œ

œ

œœ œœ œ

œ

œ

œ

2

D.C.

œœ

œ

n œ

œ

œ

œ

œ

œ

œœ œœ

œ

œ

œ œœ œ

œn œœ

œ

œ

œ

œ

œ œœ

Natchez As played by Absie Morrison (John Quicy Wolf Collection, Lyon College, field recording); recorded Aug. 1959?; time: 2/2; key: A (G); scale: Mixolydian (low 7th); pattern: AABB (4,4,4,4); tuning: DGDG, transposed to EAEA; middle of performance

A B

Ending from *Variation V1

V1*

This is a version of “Natchez Under the Hill,” a tune often connected to the more well-known “Turkey in the Straw.” In Morrison’s version,the “Turkey in the Straw” connection is weak, but it can be detected in the first two measures of each part. When discussing “Natchez” withMcCulloh (p. 98), Morrison suggests it was played in Natchez, Mississippi, when General Jackson landed there and marched his army down tofight in New Orleans. Morrison plays several other tunes, such as “Eighth of January” and “Battle of New Orleans” (both in this book) that com-memorate that famous battle fought January 8, 1815. See Lon Jordon’s version of “Natchez Under the Hill” for more information and sources, andsee a third version of “Natchez Under the Hill” under Skeeter Walden. Hear an online recording of Morrison playing this tune at:http://www.lyon.edu/wolfcollection/songs/morrison4fiddletunes.html.

104

Morrison’s “Nelly Gray” includes irregular timings, but on the whole it is a surprisingly accurate instrumental rendering of the popular 19thcentury song “Darling Nelly Gray,” written in 1856 by Ohio teacher-minister-songwriter Benjamin Russell Hanby (he also wrote the Christmasclassic “Up on the Housetop” and many other songs). The lyrics describe a man pining away because his love, a slave named Nelly Gray, wastaken away in chains to work in the Georgia fields. In the end he meets her in heaven. A sentimental song likely written for the minstrel stage, iteventually fueled the abolitionist movement because of its stark and disturbing images. A photocopy of the original sheet music is in RichardJackson’s Popular Songs of Nineteenth-Century America (p. 53). In his notes, Jackson cites sources that indicate the song is based on real-life char-acters Joseph Shelby and Nelly Gray (for more information, see Congressional Record, 89th Congress, First Session, 1965). The song entered oraltradition, and even became a play-party game (see Botkin, Play-Party, p. 253). It was recorded often in the 1920s and after, and like many of theminstrel songs by Hanby’s contemporary Stephen Foster, “Nelly Gray” has become an American standard. Other musical transcriptions are inBronner (p. 122), Jarman (p. 14), Kerr’s 2 (p. 45), Perlman (p. 154), and numerous compilations of classic American popular music. Meade (p.463) lists 18 early commercial recordings, the earliest being by the Stanley Trio (1924); others include Riley Puckett (1924), Vernon Dalhart(1925), Al Hopkins (1927), and Carson Robison (1930). Hear an online recording of Morrison playing this tune at: http://www.lyon.edu/wolfcollection/songs/morrison4fiddletunes.html.

&b

4

3 ..

q»212

.œ

j

œ œ

F

œœ

œ

œ

.œ

j

œ œ œ œ œ œ.œ

j

œ œ

C7

œ œ œ

.œ

j

œ œ œ

F1

˙

œ œ

2

˙ œœ

&b .

...

.œ

J

œ œ œ

F

˙ œ.œ

j

œ œœ ˙ œ

˙ œ

C7

œ œ œ

.

.

œ

œ

j

œ œ

œ

œ

F1

˙

˙

œ

œ

2

D.C.

˙

œ œ

.˙

F

Ozark Waltz As played by the Morrison Brothers in Echoes of the Ozarks, Vol. 1 (County CD-3506, 1995); recorded 6/3/30; time: 3/4; key: F; scale: major; pattern AABB (8,8,8,8); tuning: standard

Ending from *

*A

B

Ozarks folklorist Bill McNeil described this tune, which the Morrison Brothers played in their 1930 recording session in Memphis, as a tradi-tional tune. The brothers played the tune as a fast waltz—too fast for dancing—but perhaps they were following instructions from whoever directedthe recording session. A simple but catchy tune, it is not often played in the Ozarks today. Meade (p. 843) lists two early commercial recordings:the one transcribed above and one by Earl & Joe (1930). Meade also suggests the tune was connected to a turn of the century popular song.

&

#

C .. 2

3C

2

3C

h»134

œ

œ

œ

œ

j

œ

˙

˙

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

} œ

œ

}œ

œ

}œ

œ

œ wj

œ œ œ ˙

˙

˙

˙

œ œœ

œ

œ w

w

œ

œ

œ

œ

˙˙

˙

œœ

œ

œ œœœ

œ

œ

œ

œ

œ

&

#

2

3C

2

3C

œ

œ

} œ

œ

}

œœ œ w

j

œ

œ

j

œ œ œ ˙

˙

œ

œ

œ œœ

œ

œ

œœ

↓

w ˙

˙

˙

˙

œ

œ

œ ˙

˙

œ

œ

œ ˙

˙

œ

œ

œ œ

œ

œ

œ

œ

œ

œ œœ

˙

˙

œ

œ

œ

œ

&

#

2

3C

2

3 .. C

œ œœ

œ w

w

˙

˙

œ

œ

œ

œ

˙

˙

œ

œ

œ œœ

œ

œ

œ

œ

œ

œ

œ

} œ

œ

} œ

œ

}œ œ ˙ ˙

˙

j

œ œ œ ˙

˙

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

↓

w

w

œ

œ

œ

œ

˙

˙

Ó

Nelly Gray As played by Absie Morrison (John Quicy Wolf Collection, Lyon College, field recording); recorded Aug. 1959?; time: 2/2; key: G; scale: major (some low 7th); pattern: AB (14,15); tuning: D#G#C#F# transcribed to EADG; 6/8-type beat occasionally

A

B

Ending from *

*

105

&

#

C .. 2

3 ..

h»108

3

œ

œ

œ œ.œ

j

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ}œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

↑1œ

œ

œœ

œ

œ

œ

œœ

œ

} œœ

œ

}œ

œ

œ

&

#

2

3C .

.

2œ œ

œ

œ

œ

œ

œœ

œ

} œœ

œ

}

œ

œ œ œ œœ

œ}

˙

}̇

œ

œ}

œ

œ}

↓œ œ

œœ#

↓œ

œ

œ

œ

œ}

œ

œ

œ

œ

&

#

.

.

1

œ

œ

œœ

œ

} œœ

œ

}

œ}

œ 2

D.C.

œ œœ

} ..œ

œ} j

œ

œ œœ

} œœ

} Œ

3

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Virginia March As played by Absie Morrison (John Quicy Wolf Collection, Lyon College, field recording); recorded Aug. 1959?; time: 2/2; key: G; scale: major (some high 4th); pattern: AABB (4,4,4,4); tuning: DGCF, transposed to EADG; 2nd time through

A

B

Ending from **

Variation V1

V1

Morrison told McCulloh (p. 102-103) that several pieces were played when Lee surrendered to Grant in 1865 at Appomattox during the CivilWar. This tune in particular, which Morrison described as Lee’s favorite piece, was purportedly played in honor of Lee’s home state while the con-federate soldiers were stacking up their arms. Morrison said that his wife’s father was one of Lee’s soldiers stacking the guns on that occasion.Describing his own opinion of the tune, Morrison said, “I think it’s an awful good tune…. Don’t believe there ever was a better tune than that. Itbeats ‘Under the Double Eagle’ awful bad.” (see McCulloh, p. 103). I cannot find more information about this short tune. Hear an online recordingof Morrison playing this tune at: http://www.lyon.edu/wolfcollection/songs/morrisonfiddletunes.html.

&

#

C .. 2

3

h»110

œ œ.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œ œ œœ

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

3

œ œ œ œ œ

œ

œ

œ

œ

œ

œ.

.

œ

œ J

œ œ

œ

œ œ

œ

&

#

C2

3œ

œ

œ

œ

œ} œ}

œ

œ

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ œ œ .

.

œ

œ J

œ œ

œ

j

œœ

œ

3

œ œ œ œ œ

œ

œ œ

œ

œ

œ

3

œ

œ

œ

œ

œ

œ

œ

œ

.

.

˙

˙

œœ

&

#

C2

3C

œ

œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

3

œ

œ

œ

œ

œ

œ

œ

œ

.

.

˙

˙

œ

œ

œ œ œ

œ

œ

.

.

˙

˙

œ

œ

œ

œ

œ œ œ œ .

.

˙

˙

œ

œ

œ œ j

œ

œ œ œ œ

œ

&

#

2

3

2

1 .. C

œ œ

œ

œ

œ

œœ œ

3

œ œ œ œ .

.

˙

˙

œ

œ

œ œ œ

œ

œ

.

.

˙

˙

œ

œ

œ

œ

3

œ œ œ

œ

œ

œ

.

.

œ

œ

J

œ˙

Ó œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

My Pretty Little Girl’s Gone As played by Absie Morrison (John Quicy Wolf Collection, Lyon College, field recording); recorded Aug. 1959?; time: 2/2; key: G; scale: major; pattern AB (12,10); tuning: standard

Ending from *Variation V1

V1

*

A

B

It appears this is one of Morrison’s favorite tunes, as he played it during recording sessions for Alan Lomax, John Quincy Wolf, and MaryParlor’s University of Arkansas folklore students. Although it is irregular in many ways, the tune is well constructed and shows nicely Morrison’spreferences regarding melodic movement, cadences, and timing. I can locate little information about the tune. The A part reminds me of the song“Rag Pat” (see Rounder 82161-1108-2) and the B part reminds me of the B part of “Redwing,” but connections to these tunes is not strong. Hear anonline recording of Morrison playing this tune at: http://www.lyon.edu/wolfcollection/songs/morrison4fiddletunes.html. Morrison can also be heardplaying this tune on Alan Lomax’s CD Southern Journey: Ozark Frontier (Rounder CD 1707).

106

Charlie PashiaCharlie Pashia (1909-1994) was a major fiddler in

the French community around Old Mines, Missouri. Weare featuring him in this book not only because of hisabilities as a fiddler, but also because he can serve as arepresentative of the many Ozark fiddlers who are asso-ciated with ethnic communities, most notably Frenchand German communities, that have maintained strongties to old-world traditions. Charlie Pashia was born inRabbitville, Missouri, Washington County, Missouri. Hisfather was a fiddler who died when Charlie was only 5years old. A story is told among his family members thatsoon after his father’s death, Charlie climbed onto thebed, got his father’s fiddle and bow off the wall, andbegan to teach himself to play. As a teenager he wasoften playing for dances in the community. Throughouthis adult life he earned his living by cutting timber, min-ing tiff, and farming, but he continued to enjoy playinghis fiddle. For a while, he and his three eldest childrenplayed in a band for local events, typically only gettingpaid what was collected “in the hat.” Pashia oftenenjoyed performing at festivals, special occasions, sen-ior citizens centers, and small bars. In 1977, an organi-zation called the Missouri Friends of the Folk Arts tooka special interest in his music. He was featured on an LPthe organization produced titled I’m Old But I’m Awfully

Tough, and he was recruited by the organization to play his fiddle music on a tour of the New England states.On that tour, while playing with his youngest son on guitar, he became known as a jolly man who enjoyedplaying the music he loved for crowds. In addition to playing the fiddle, Pashia also tap danced and demon-strated strong skills at playing the piano, the organ, the guitar, the accordion, the banjo, the spoons, and thesaw. Using a crisp even fiddling style with few slurs, he played many of the older tunes from the French com-munity, but also enjoyed playing modern tunes such as “Orange Blossom Special,” “The Missouri Waltz,” and“Faded Love.” On a less serious side, he would sometimes play tunes such as “The Star Spangled Banner” onhis musical saw, and—as seen in the photo above—he would sometimes delight his audiences by playing hisfiddle in unusual ways.

Cou

rtes

y of

Cat

heri

ne P

ashi

a V

illm

er

107

&

#

# C ..

h»128

œ œœ

œ

œœ

.œœ œ

D

œ œœ

œ

œœ œ

œ

œœ

œœ

.œœ

A

œ œ œœ œ

œ

œ

œ

œ œ œœ

œ

œœ

.œœ œ

D

œ œœ

œ

œœ

G

&

#

# ..

œ œœ

œœ

.œœ

↑A

1

œ œ œœ

œ œ

œ

D2

œ œ œœ

˙

˙

A D

œ œ œ

œ œ

œ œ œ œ œ

↑œ œ

œ

Gœ œ

œ œ œœ

D

&

#

#œ œ œ œ œ

œ œ

A

œ œœ œ

œ

D

œ œœ œ œ

œ

G

œ œœ

œœ œ

œ

↑A

D.C.

œ œ œœ

↑

œ

œ

œ

œ

D

œ œ œœ

œ

œ

Œ

A D

Grand Picnic As played by Charlie Pashia (Gordon McCann Collection, field recording); recorded 9/2/78; time: 2/2; key: D; scale: major (some high 4th, 3rd); pattern: AAB (8,8,8), AB after first time; tuning: standard

Ending from **

A

B

This tune, which is increasingly being played nationally, is often associated with the Old Mines community in Missouri and its two mostfamous fiddlers: Charlie Pashia and Joe Politte (who is featured later in the book). The LP I’m Old But I’m Awfully Tough includes a version of thetune by Joe Politte, who said he learned it from Jules Boyer. Gordon McCann suggests the tune is a very old French tune, one that possibly camewith the French communities when they settled in the northern Ozarks in the 1720s. Parts of the tune are reminiscent of the well-known “Turkey inthe Straw.” Charlie Walden includes “Grand Picnic” on his list of "One Hundred Essential Missouri Fiddle Tunes." Other musical transcriptions arein Christeson 2 (p. 62, Politte’s version), Phillips 1 (p. 101, Politte’s version) and Songer 1 (p. 86).

&b

4

3 ..

q»154

œ œn.œ

j

œ œn œ

F

.œ

j

œ œn œb

Fdim7

œœ

œ œ œ

œ

F

œ

œ œ œ œ œœ

œœ œ œ œ

œ

œœ

œ œ

.œ

j

œœ

œ

C

œ œ œ

&b

œ

˙

˙

œ

œ

œ œ

↑

œ .œ

j

œ

3

œ œ œ œ œ œ

3

œ œ œ

.

.

.

˙˙

}̇

C

œœ

œ

#n

n

}˙

˙

C+

˙

˙

œ

œ

œ

F

œ

œ

œ

œ

œ

˙

˙ œn œ .œ

j

œ œn œb

Fdim7

&b

œœ

œ œ œ

œ

F

œ

œ œ œ

3

œ œ œn œ

œ œ

œ

œ

œ

œ

œ

œ

# œœ

F+

.œ

J

œ œœ

Bb

.œ

3

œ œn œ

3

œ œ œ œœ

3

œœ

œ.œ

J

œœ

E

&b .œ

j

œœ

F

œ

↑

œ

œ

œ

D

.

.

˙

˙

G

.

.

˙

˙

C

˙

˙

œ

œ

F

œ

œ

œ œ œ

œœ œ

œ

œ

œ

œ

œ

œ œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ

&b

œ

œ#

œ

œ

œ

Bb

œ œ œ.œ

j

œœ

œ

F

œ

œ œ

œ

œœ

œ œ œ

œ

œ

œ

œ œ œ

œ œ

œ

œ

œ

œ

œ

œ

œ œ œ œ# œ œ

œn

œ

œ

G

&b

˙

˙n

œ

œ

œ

œ

œ

œ

œ

œ

Cœ

œ

œ

œ

#

n

œ

3

œ

œ

œ œ

œ

œ œ

œ

œ

Fœ

œ

3

œ œ œ œ

œ

.

.

œ

œ

J

œ

œ

œ

œ œ

↑œ ˙ œ

œ

Bb

œ œ œ.˙

F

&b .

.œ œ œ ˙ œ œ œ

Bb

˙

3

œ œ œ

E

.œ

j

œœ

œ

F

œ œ œ

œ

œ

D

.

.

˙

˙

G

.

.

˙

˙

C

.

.

˙

˙

F

œ

œ œ œ

œ

œ

Ó

G

œ

œ

Ó

C

œ

œ

œœ

F.

.

˙

˙

U

Coleman Waltz

*

As played by Charlie Pashia (Gordon McCann Collection, field recording); recorded 9/2/78; time: 3/4; key: F; scale: major (w/chromatics); pattern: AB (32,32); tuning: standard

A

B

Ending from *

Pashia stated during the above recording session that he named this waltz after the late Ralph Coleman, a friend of his who used to play thetune. Pashia also said this was not the only waltz he called “a Coleman waltz.” This waltz follows the “Bill Bailey” chord progression popular inragtime music.

Track #14

108

&

#

C ..

h»128

œ œ œœ

œ

œ œ œ œ

G

œœ

œœ œ# œ œ œ œ œ œ œ œ œ

j

œœ œ

D

œ œ œœ œ œ œ

œ œ œ œ œ œœ

œ

œ

G

œœ œ œ œ œ œ

œ

C

&

#

.

...

œœ œ

œœ œ œ

œ

D1

œœ

œœ œ œ

œœ œ

G2

œœ œ œ œ

œ œ

D Gœ

œ

œ

œœ

œ

œ

œ œ œ œ œ œ œ

↑œ œ œ

↑C

œœ

œœ œ

↑œ œ œ

D

œ

œœ œœ œœ

œœ

Em

&

#

.

.

œ

œœ

œœ

G

œ œ œ œ œ œ œœ

C

œœ œ

œœ œ œ

œ

D1

œ œ œœ œ œ

œ

œ

œ

G2

D.C.

œœ œ

œ

œ

œ

œ

œ œ œ

D G

œ œœ

œ

œ Œ

D G

œ œ œœ

œ œ œœ œ

œ œ

œœ

Œ

D G

Flowers of Edinboro

* Ending from *

A

B

As played by Charlie Pashia (Gordon McCann Collection, field recording); recorded 9/2/78; time: 2/2; key: G; scale: major (some high 1st); pattern: AABB (8,8,8,8); tuning: standard; guitar chords for part B often varied

Originally from Scotland (as the title suggests), this tune is now played throughout Great Britain and North American. According to Fiddler’sCompanion, the tune was first published in 1742 under the title "My Love's Bonny When She Smiles on Me" in A Curious Collection of ScotsTunes II by James Oswald, who is usually credited with being the tune’s composer. Seven years later, in 1749, the tune was published as "TheFlower of Edinburgh." In 1787, the word “flower” became plural, and the tune’s title has been widely published that way since. In Ireland itbecame a popular hornpipe. The tune was included in Clement Weeks’s 1783 New Hampshire collection (as “Flowers of Edenburgh”), and inGeorge Krauff’s 1839 Virginia Reels, vol. 3. In the past century the tune has became increasingly popular in English country dances, EnglishMorris dances, and New England contra dances. It was possibly introduced to the southern United States through the settlement schools, but thetune, with its challenging melodic jumps and unusual second-part chord progression, has never been very popular in the South. The tune’s appear-ance in southern Missouri is curious. Its popularity in the French community of Old Mines might be expected, but it is also played by fiddlers suchas Art Galbraith who are rooted in the more mainstream Ozarks fiddle traditions. Galbraith described it as an old tune that came down through hisfamily from his great grandfather, Andrew Galbraith, who was a dancing master in east Tennessee and a veteran of the War of 1812. Fiddler’sCompanion lists 49 published musical transcriptions of the tune, including, in my collection, ones in Bayard (p. 326), Brody (p. 109), Cole (p. 21),Haywood (p. 47), Howe (p. 78), Jarman (p. 42), Kerr’s 1 (p. 23), O'Neill (Oak, p. 208), Perlman (p. 61), Phillips 1 (p. 90), and Reiner (p. 52).Meade (p. 715) lists nine early commercial recordings, the earliest being by Charles D’Almaine (1905); others include John Witzmann (1920), andJohn Balzell (1928).

&

#

C ..

.

.

h»118

œ œ œ

↓

œ œ œ œ œœ œ

œ œœœ œ œ œ œ

œ œœ œ œ œ œ œ

↓

œ œ œ œ œœ œ

œ œœ

œ œ œ œœ œ

˙

œ œ œ œ œ

&

#

.

. 2

3C

œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ

1

œ œ œ œ ˙

2

œ œ œ œ œ œ œ

3

œ œ œ œ ˙

œ œ œ .˙

œ

&

#

4

5C

2

3.˙

œ

.˙ œ .œ

j

œ .œ

j

œ œ œœ

œ.˙ j

œ

3œ œ œ .˙

œ .˙

œ

.˙ œ .

.

œ

œ

j

œ .œ

j

œ œ œœ

œ.œ

j

œ

&

#

C œœ .œ

J

œ œœ œ

œ œ œœ .œ

J

œ œœ œ œ œ œ œ œ

↓

œ œ œ œ œœ œ

œ œœœ œ œ œ œ

œ œ

œ

˙

˙

u

La Guignolee As played by Charlie Pashia in I’m Old But I’m Awfully Tough (Missouri Friends of Folk Arts MFFA 1001, 1977); recorded 1975 or 1976; time: 2/2; key: G; scale: major (some low 7th); pattern: AABBABBABC (A=8,B=7,C=19); tuning: standard

When returning to A When going to C

A

C

B

Loose Rhythm

This tune (also spelled “La Guillanee” and “La Gui-Annee”) was recorded in the mid-1970s by members of the Missouri Friends of the FolkArts as part of their research on the French community in Old Mines, Washington County, Missouri, located in the northern Ozarks about 60 milessouth of St. Louis. One of their informants, Rose Pratt, told them the story of La Guignolee, a New Year’s Eve tradition in which a group of menwould blacken their faces, knock on doors, sing the Guignolee song to the inhabitants, eat, and dance. Ms. Pratt sang the song, and then fiddlersCharlie Pashia and Joe Politte (Politte mainly playing chords) performed an instrumental fiddle version, transcribed above. For more informationabout this tradition, see the liner notes to the LP I’m Old But I’m Awfully Tough (p. 22) and the liner notes to Dennis Stroughmatt’s CD. Additionalhistorical information and musical transcriptions of the tune and song are in Harrison (p. 112, 430) and McIntoch (p. 3).

109

Glenn RickmanGlenn (also spelled Glen) Rickman (1901-1982)

played in a distinctive older style that featured slides andslurs, but at the same time he, like many Ozarks andMissouri fiddlers, generally preferred playing a single-note melody line. He was born two miles east of Hurley,Missouri, in a two room log house. Although his immedi-ate family members did not play fiddle music, three of hisgrandfather’s brothers and his wife’s grandfather did. Hisinterest in playing the fiddle began when he saw threemen playing “Sleepy Lou” with a mandolin, guitar, andfiddle in front of the Appleby Hotel in Clever, Missouri,in 1913. A year later at the age of 13 he began trying toplay the instrument. His father owned a fiddle but couldnot play it, and once when most of the men in the neigh-borhood were out with their hounds because of a pantherscare, Rickman picked it up and started working out thetune, “Devilish Mary.” Before long he was earning a littlemoney playing for local square dances. In 1919,Rickman’s father bought him his first fiddle. In 1922,while a young man living in Washington state, he married

his wife, Shorty. The couple moved back to Hurley and Rickman drove a dray wagon. According to him, adrayman hauled chicken and eggs, and similar items, to where they would be shipped out by train. He thenworked as a fireman before beginning a 40-year career as an engineer for the Missouri Pacific Railroad. Aftera full life that included playing for many square dances and raising five children, he retired in 1968. A storyhas circulated that Rickman went blind later in life from decades of looking in the fire boxes of steam engines.[See Gage’s article in Bittersweet for more biographical information]

&

#

# C ..

.

.

h»112

œ

œ œ œ œœ œ œ œ œ

D

œ˙

œ

œ

œ œœ œ œ œ œ œ

˙

œ

Aœ œ œ

œ œ œ œœ

D

œœ

œ œ œ œ

G

œ

œ œ œ œ

A1œ

œ

˙˙

œ

œ

D2œ ˙

˙ œ

D

&

#

# ..

.

.

œ

œœ

œœ

œ

D

œ

œ

œœ

œ œœ

œœ

œ œ œ

œœ ˙

œ

A

œ œ

↓œ

œ œ œ œœ

D

œœ

j

œ.œ

J

œ

G

œ

œ}œ œ œ œ

œ}

A1œ ˙

˙

3

œ œ œ

D2

D.C.

œ ˙˙

œ œ

D

œ

œ

.

.˙˙

D

Big Muddy

A

B Endingfrom *

*

As played by Glenn Rickman (Gordon McCann Collection, field recording); recorded 11/15/80; time: 2/2; key: D; scale: major; pattern:AABB (8,8,8,8); tuning: standard

Rickman does not remember where he learned this tune, but he said he played it at many square dances. In an interview with McCann, herecalled playing “Big Muddy” at a dance in 1931 when a big fight broke out over half a pint of moonshine. The melody is sometimes referred to as“the tune with a thousand names,” and is often linked back to the Scottish tune “My Love She’s But a Lassie Yet” (or “My Love Is But a LassieYet”). In this book, similar tunes are under the titles “Ten Nights in a Barroom” (with switched A and B parts) and “Chinky Pin.” See the notes for“Chinky Pin” for more information.

Cou

rtes

y of

Elle

n M

asse

y

110

&

#

#

#

C ..

h»112

œœn œ œn œ œ

œ œ

Aœ œ œn

œ œ œ# œ œ œ# œ

.œ

J

œœn

˙ œ# œ

E

œ œ# œ

œ

3

œ œ œn

A(G)

&

#

#

# œ œ œnœ œ

j

œœ

D

œ œ œ

œ

œœ

œn

↑E

j

œn.˙

œ

A

œ

œœ œ

œn œ œ œ œnœ œ œ œ œ

œœ œ

œn œœ œœ œœ œœ œœ

œ œ

E

&

#

#

#

.

.

œ

œœ œ

œn

A

œ œ œ œnœ

j

œ

œœn

Dœ œ œ

œ

↓œ

œ

↓E

.œ

j

œ œ œ

œ

A

.œ

j

œ œ Œ

œ œ# œ œœ

œœn

Devilish Mary

A

B

Ending from * Variation V1*

V1

As played by Glenn Rickman (Gordon McCann Collection, field recording); recorded 9/20/80; time: 2/2; key: A; scale: Mixolydian (low 7th, some high 4th); pattern: AB (8,8); tuning: standard

Rickman says this is the first fiddle tune he learned to play. With its heavy use of a lowered 7th tone and its modal quality, he tune does indeedappear to be quite old. His uncle Henry would play it and sing it with the following lyrics: “When I was young and in my prime, I thought I’dnever marry; The first pretty girl I come across, ‘Madam won’t you have me?’; The first girl I come across, she was from Londonderry; Her hairwas combed and wavy black, we called her Devilish Mary; We hadn’t been married about one week, till I thought I married the devil; She poppedher fist right in my face, and knocked me down with a shovel.” A widespread American ballad, "Devilish Mary" (Laws Q 4/Sh 149, p. 276) is oftensung in the Ozarks. In Randolph III (p. 188), the melody for Charley Short’s ballad version resemblances Rickman’s fiddle tune, except Short’smelody is in a minor key. In the A part, Short sings the verses of the ballad, and in the B part he sings a nonsense rhyme: “Come a tidy ridy rink-tum, tidy rinka day, come a tidy ridy rinktum derry, come a ridy ridy rinktum tidy rinka day, and they called her devilish Mary.” Cohen (p. 332)reports that in the Ozarks “Devilish Mary” is played as a fiddle tune as often as it is sung. Brunnings (p.73) suggests the tune is similar to “KatyCruel.” Harrison (p. 281) has a similar tune titled, “Jump in the Well, My Pretty Little Miss.” Another musical transcription of the fiddle tune is inThede (p. 101). Many folk song collections include the song. Meade (p. 14) lists ten early commercial recordings, the earliest being by Gid Tanner& Riley Puckett (1924). The melodies in these different versions tend to vary widely, but the metrical patterns are often similar.

&

#

C ..

.

...

h»84

œ œ œ œ

↓œ

œ œœ

œ

Gœ œ œ œ œ

œ œ

G(Em) Emœ œ œ

œ œœ

œœ}

G1

œœ

↑

œ œ œ œ œ

œ

œ

D G2

œœ

↑

œ œ œ

œ œ

D G

œœ

œ

œ œœ

œœ

&

#

.

.œœ

↑

œ œ œ œ œ œ

Em

œœ œ œ

œœ

G1

œœ

↑

œ œ œ

œ œ

D2

D.C.

œœ

↑

œ œ œ

œ œ

D G

œœ œ œ œ

Œ

D G

œ œœ

œ

œœ

œ œ œ œ

œ œ

Doc Jessup’s Schottische

A B

Ending from *

*

Variation V1

V1

As played by Glenn Rickman (Gordon McCann Collection, field recording); recorded 11/15/80; time: 2/2; key: G; scale: major (some high 4th); pattern: ABAABB (4,4,4,4,4,4); tuning: standard

The tune, with a strong dotted schottische rhythm that I did not indicate in the transcription, is named after a Dr. John Jessup of Hurley,Missouri. Gordon McCann believes Rickman and others were simply unaware of a title for the tune, so they called it after the person who taught itto them. Rickman’s wife Shorty said Doc Jessup was the nicest doctor she’d even known. Always wearing a derby hat, he would occasionally comedown to the Rickman house and play fiddle while Rickman seconded (accompanied) him on piano. A well-known dance fiddler, Jessup toldRickman that one winter he played for 17 dances. Another musical transcription of the tune, as played by Art Galbraith, is in Phillips 1 (p. 72).

111

&

#

# C2

3C

h»76

J

œn œœ

œn œ#œ

œn œ#

Dœ

œn œ#œ .œ

j

œ œœ œ œn œ œ

œœ ˙

G Dœ

œœn œ#

œœn œ#

œœn œ#

œ .œ

J

œœ

&

#

#œœ œ œ#

œ œ œ œ œ

Eœ œ œ œ œ œ œ

Aœ

œœn œ#

œœn œ#

Dœ

œ œœ .œ

j

œ œœ œ œ

↓œ œ

œœ

G

&

#

#

4

3C

˙

œ œ

D

œœ œ œ œ œ œ

œn

G

œœ œ œ

œn

↑

œ œ œ

D B7

œœ œ œ

œ œ œ

E A

.˙œn œ#

Dœ

œœ œn

œœ œ œ

&

#

#

2

3Cœn

œ œ œ ˙ œœ

œ

œ

œ

œ œœ

G

˙˙

Dœ

œœ œ œ

œ œ œ œnœ œ œ ˙

B7

œœ

œ œ œ œ œ œ .œ

J

œ

E Aœ

œœ œ œ

œ œ

œ

D

&

#

#

œœ

œ œ ˙

œ œ œœ œ œ œ

œ

G

œ

œ œ œn œ .œ

J

œ

G(B7)

œœ

œ œ œœ œ œ

D

œnœ œ œ ˙

B7

œœ

œ

œ

œ

œ œœ

E A

œŒ Ó

D

&

#

#

œ œ œœ

œ œœ œ œ

D

œœ œ

œ œ œ œ

œ œœ œ œ

œ œ œœ

G

.˙ œ œ

D

œœ

œ œœ œ œ

œœ œ

œ œ œ œ œ

B7

&

#

#

œ œ œ œ œ#œ œ œ

E

œ œ œ œ œ œ œ

œ

A

œœ œ

œ œœ œ œ

D

3

œ œ œ .œœ œ

œ œ œ œ

œ œœ œ œ

G

œ œ œœ

.œ

j

œ

D

&

#

#

œœ œ œ œ œ œ œ

D(G)

œœ

œ˙

B7œ œ œ œ œ

œœ œ

Aœ

œ œ

œœ

œœ

Œ

Dœ

œn œ#œ œ

œ œnœ

.˙

œ œ œœ œ œ

.œn

j

œ

Finley Creek Blues

A

B

C

"Now here’s the part ol’ Bob [Jude Herndon] put there:"

Variations V1V2

V3

V2

V1V1

V3

As played by Glenn Rickman (Gordon McCann Collection, field recording); recorded 11/15/80; time: 2/2; key: D; scale: major (some high 4th, low 7th, unstable 3rd); pattern: ABC (15,15,16); tuning: standard; played one time through

Rickman learned this tune, which might be described as a slow ragtime two-step, in the 1930s. Gordon McCann says fiddlers in the regiongenerally believe the tune was composed by Zed Tennis, who played fiddle for Springfield radio station KWTO during its early years. Finley Creekis a river that flows primarily through Christian County, just south of Nixa, Missouri, and feeds into the James River. Listen to Jim Beeler’s versionon Traditional Fiddle Music of the Ozarks, Vol.3, and to Bob Holt’s version of the tune on Got a Little Home to Go to. Notice that in the abovetranscription, Rickman adds a lower part that Jude Herndon plays, and in doing so seems to indicate that although he knows Herndon’s lower parthe prefers not to include it in his version.

&C .

.

h»108

3

œ œ# œ œœ

œ œ œ œ œ

C

œ œ œœ

œœ œœ œœ œœ

œ œ

œœ

G

œœ œœ œœ œœ œœ œ œ#

Cœ

œ œ#œ œ œ œ

œ œœ œœ

œœ œœ œœ œ œ œ œ

œ œ œœ

G

&

.

.j

œ

.œ

J

œ œ

œ œ#

C

œ œœ

œ

.œ

œœ œ

œ

.œj

œ

F

œœ œ œ

G

œ œ œœ œ œ# œ œ

C

œœœ

œ œ œœ œ

œ

.œj

œ

F

œ œ œ œ œ

G

œ œ œ œ œœ œ#

C

The Old Stillhouse IsA-Burning Down

A

B

As played by Glenn Rickman (Gordon McCann Collection, field recording); recorded 9/20/80; time: 2/2; key: C; scale: major (some high 4th); pattern: AB (8,8); tuning: standard; ends suddenly (phone)

Rickman says he has also heard this tune called “Possum & Taters.” The “Old Stillhouse” title appears to be connected to different melodies(for example tunes with similar titles but seemingly unrelated melodies are played by Bob Holt, in C#AEA tuning, and Bill Graves). Mark Wilsonsuggests there are two primary branches of tunes with this title (liner notes to Rounder 82161-0436-2). Although it is unclear that either Rickman orHolt knew any words to the tune, Bill Graves sings a verse that seems to pull words from the songs “Shortening Bread” and “Pretty Polly Ann:”“Put on the tea pot; put on the pan; I’m going to marry you, pretty Polly Ann; The old still house is all burnt down (2x)” (Rounder 82161-0436-2).

Track #15

112

Rickman’s tune might have distant connections to the tunes “Dance All Night” and “Sally Went A-Hunting.” In the late 1920s, the Skillet Lickersrecorded the similar “Possum & Taters” in a medley titled “Possum Hunt on Stump House Mountain.”

&

#

C ..

h»112

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

G

œ

œ

œœ

œ

œ# œ

œ

œ

œ

j

œœ# œ œ

œœ

œœ

œœ

D

œœ

œ

œ

œ

↓

œœ œ

œœ

œ

œ

œœ

œ

G

œ

œœ

œ

œ

œ

# œ

œ

œ

œ

C

&

#

.

...œ œ œ

œœ

œœ

œ

D1

.œ

j

œ

↓

œ œ

œ

œ

œ

G2

.

.œœ

j

œ œ

œ œ

D G

œ œ}

œ œn œ œ œ œ œ œœ œœ

↑œœ .

.œœ

↑

J

œ

C

œ

œ œ# œ œ œ œ

A7(D)

œ

œ

œ œ

↓

.œj

œ

D

&

#

.

.œ

œœ

œ œ œ œn

G

œ œœ œœ

œœ ˙˙

C

œ œ œœ

œœ

œ

œ œ

D1

œœ œœ

œœ

œœ

œ œ

G2

.

.œœ

j

œœœœ

œ œ

Gœ œ œ œ

œ œœ

œ œ œ œ

↑œ

œ

&

#

œ

↑

œ œœ

œœ

œ

œœ

D

œœ

œ œ œœ œ œ œ œ œ

œœ

G

œ œ œ œ œœ

C

œ# œ œœ

œœ

œ

œ œ

DD.C.

.

.œœ

j

œœœœ œ

œ

œ

œ

G

œœ

Œ

œ

œ Œ

G

&

# œ œ œ

œ œœ

œ œ

G

œœ œ œ

↓

œ œ}

.œ œœ

↑

œ œ

↑œ œ

↑

œ

D

œœ œ œ

œ

œ œ

↑(Am)

œœ}

œ}

œœ

j

œ

œ œ

G

œœ œ œ

↓

œ œ œ

C

œ œ œœ

œœ

œ

œ œ

D

.œ

j

œ

↓

œ

œ œ

G

Old Blue Mule

A

B

C

Ending from *

*

"A Rebel cousin played this:"

To part C

As played by Glenn Rickman (Gordon McCann Collection, field recording); recorded 9/20/80; time: 2/2; key: G; scale: major (some high 4th, low 7th); pattern: AABBC (8,8,8,8,8); tuning: standard

“Old Blue Mule” or “Blue Mule” has been widely played by old-time fiddlers in the Ozarks. Both Bill McNeil and Gordon McCann believethe tune has been most popular in Missouri. Rickman’s version is unusual in that it includes three parts instead of two. Bob Holt plays two partswhich are similar to Rickman’s A part and his “rebel cousin” part. Art Galbraith, according to Rickman, plays the same tune without the C part.Rickman’s heavy use of a raised fourth scale note (C#) gives the tune a distinctive older sound. After playing the tune in the above recording ses-sion, Rickman announced he would next play an additional part that one of his “Rebel” cousins played, and in doing so he was perhaps indicatingthat his own way was the “Union” version. His Civil War reference also suggests the tune is quite old. The A part resembles the popular song “Skipto My Lou.” The B part includes a I-IV-II-V chord progression (reminiscent of the B part to “Sailor’s Hornpipe”) that is rarely heard in old-timefiddle tunes in the Ozarks. Mark Wilson suggests the tune also resembles “Nancy’s Got a Pretty Dress On” and “Austin Breakdown” (notes toRounder CD 0435). In this book, Absie Morrison’s reel version of “Irish Washerwoman” is similar to Rickman’s tune. Other musical transcriptionsare in Harrison (p. 304) and Silberberg (p. 13). Meade (p. 789) lists two early commercial recordings, the earliest being by Bob Miller’s HinkyDinkers (1930); the other one is by Jess Hillard & His West Virginia Hillbillies (1933).

&

#

# C ..

h»104

œ œ œ œ œ

œ œœ

œ œ

D

œ

œ œ œn œ

.œ

J

œ œœ

G

w

E

œ œn œ# œœ œ œ

A

œ œn œ# œœ

œ œ

&

#

# ..

.

.

œœ œ œ

œ œœ

D1

œ œ œ œ

↑w

D2

œ

˙ œ# œ œ# œ œ œ œ

B7

œ œn œ# œ œ# œn œ# œ œ œ œ

↑œ œ

E

˙ .œ

J

œ

&

#

#

2

3 .. 2

3Cœ

.œ

J

œ œ

A

œ œ œ œœ

œ œ

1˙ œ

œ

œ œ# œ

↑D2

D.C.

.˙

œ œ œ œ

D

œ œ œ œœ

œ œ œ

D

œœ

œ

Œ

A D

œ œ œœ œ œ œ

œ

&

#

#

2

3œ œ œ

œ# œ

œ

œ œ

œœ œ œ

œ œ œ œœ œ œ œ

œ œ

Œ

A D

œ

œ œ œ

j

œ

‰ Œ

œ œ

Œ

A D

œ œ œ œ œ œ

œ œ œ œ œœ

œœ

Peacock Rag

A

B

Ending from * *

As played by Glenn Rickman (Gordon McCann Collection, field recording); recorded 9/20/80; time: 2/2; key: D; scale: major (w/chromatics); pattern: AABB (8,8,7,7); tuning: standard; 2nd time through

Variation V1 (first time through)

V1

Rickman also jokingly called this rag tune “Struttin’ Bird.” Popularized by Arthur Smith in a 1930 recording, the piece possibly has links tothe turn of the century ragtime era. Fiddler’s Companion suggests the tune is also known as "Starlight Clog," "Nightingale Clog," "The Mason-Dixon Schottische," "Parkersburg Landing" (Ed Haley) and "Limber Neck Blues" (Narmour and Smith). Other musical transcriptions are in Bayard(p. 387), Brody (p. 215), Christeson 1 (p. 152), and Phillips 2 (p. 97). Meade (p. 870) lists one early commercial recording by Arthur Smith (1940).

Track #16 & 17

113

Lonnie RobertsonLonnie Robertson (1908-1981) was able to make a sub-

stantial part of his living playing fiddle, mandolin, guitar,and songs for radio stations, a rare achievement for a tradi-tional musician from the Ozarks. Many senior fiddlersthroughout the region point to him as a primary influence.Fiddle scholar R.P. Christeson wrote of Robertson, “Herewas the best Missouri fiddler I ever heard” (Christeson 2, p.xvi). Robertson was born in Longrun, Missouri, into a musi-cal family with a fiddle-playing father, Jarrett. At firstRobertson’s primarily instrument was guitar. Guitarists wererare and sought-after then; pump organs or fiddle sticks wereoften the only accompaniment (or “second”) for fiddlers atsquare dances and house parties. He began to focus more onfiddle at the age of 13, when his father died. For a periodRobertson only knew how to play in “cross-tuning” or“dischord” tuning as his father often did, and was delightedwhen a man in a store in Hammond showed him how to tune

his fiddle in standard tuning. When he was 15, he moved to St. Joseph, Missouri, to work in a packing plantand he began to listen to 78 rpm recordings of old-time musicians such as Clark Kessinger, and Gid Tannerand the Skillet Lickers. He also began playing with a band on KFEQ. After meeting and marrying teacherThelma Jones, Robertson tried farming but ended up back at the packing plant in St. Joseph. Always on thelookout for musical career opportunities, he landed a job as a fiddler at WNAX radio in Yankton, SouthDakota. Seeking more pay, he joined forced with Roy McGeorge, switched to mandolin, and began singingbrother-duet-style songs and doing comedy back at KFEQ. In the years that followed, “Lonnie and Roy”worked at WAAW (Omaha, NE), KFAB (Lincoln, NE), a Dallas company that supplied transcriptions for “bor-der” radio stations, and KOAM (Pittsburg, KA). Robertson began to play fiddle more, and even hosted a dailyradio show called “The Fiddle Dusters.” Pay was always low, however, and eventually the duo broke up.Lonnie and Thelma, with the occasional help of their young son Jarrett, began performing as “The DownHome Folks” around Missouri and at KMA in Iowa. In 1944, they moved to Springfield, Missouri, and builtup a large following through their work at KWTO. They went on to complete stints at WSVA (Harrisburg,VA), WDZ (Tuscola, IL), and KUOZ (Siloam Springs, AR), and again at KOAM (Pittsburg, KA). The rigor-ous life of short-term radio work took its toll, and they decided to retire from professional entertaining in themid-1950s. They operated a motel in Theodosia, Missouri, until the early 1960s and then moved toSpringfield. Lonnie and Thelma continued to perform in the area occasionally, and Lonnie released a series of“vanity” fiddle recordings through the Caney Mountain/Rimrock label. He passed away in 1981. In 1996,Rounder released a CD (Lonnie’s Breakdown, Rounder CD0375) featuring Robertson playing 34 tunes in thecrisp, clean, fast style for which he had become so well known.

Cou

rtes

y of

Gor

don

McC

ann

114

&

#

#

#

C ..

h»132

3

œ œ œ œ œ

3

œ œ œ œœ

Aœ

œ

œ œ œ œ œœ œ

œœ

œœ

œœ

œ

E

œœ

œ œ œœ

œ

œ œ œ œœ œ

œ

Aœ

œ

œ œ œ œ œœ

D

œœ

œœ

œœ

œœ

E

&

#

#

#

.

.

#

#

#

#

1

œ

œœ

œ œ

œœ

A 2

œ

œœ

œ ˙˙

E Aj

œ

œ

.

.

œ

œ

j

œ

œ

˙

˙

Ej

œ

œ

˙

˙

˙

˙ .œ

J

œ œœ œ œ

B7œ

œ œj

œœ

œ œœ

.

.

œ

œ

j

œ

œ

˙

˙

E

&

#

#

#

#œ

œ

œ

œ

œ

œ

œ} ˙

˙ .œ

J

œ œœ œ œ

B7œ œ œ ˙

E

.

.

œ

œ

j

œ

œ

œ

œ

œ œ œ œ œ# œ œ œœ œ œ œ œ œ

œ

œ

B7œœ

œœ œ œ

œœ

&

#

#

#

# n#

#

#

œ œ œ

œ

œ

œ œ œœ œ

Eœ œ

œœ œ œ

œ œ œ œ œœ œ œ

B7D.C.

œœ œ œ œ œœ

E

œ

œ

œ

œ .œ J

œ

A.œ

J

œ œ œ

Œ œ œœ Œ

E A

A & E Rag

A

B

Ending from *

*

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 1965; time: 2/2; key: A and E; scale: major; pattern: AAB (8,8,16); tuning: standard

&

#

#

#

4

3

q»158

œ

œ

œ œ œ

œ

œ

A

œ

œ

œ

œ

œ

œ

œ œ..œœ

j

œœ œœœ

..œœ

J

œ œ.

.

œ

œ

j

œ

œ

œ

E

œ

œ

œ

œ

œ

œœ

œ œœ œ œ

œ

A

œœ œ œ œ œ œ œ

œ

&

#

#

#

œ

œ

œ

œ

œ

œœ

œ

œ

œ..œœ

j

œœ œœœ

..œœ

J

œœ œœ

œ

œœ

œœ

E

œ

œ

œ

œ

œ

œœ

œ

œ

j

œ

œ

j

œœ

..œœ

j

œœ œœ

A

˙˙

œœ

œœ

œœ œœ œœ œœ

.œ

J

œ

3

œ

↓œ œ

&

#

#

#œœ

œœ œœj

œœ œ

œ˙

3

œ œ œ

œ

œœ

œœ

E

œ

œ

œ

œ

œ

œœ

œ

œ

œœœ œ œ

œ

A

œœ

œ

œœ

œœ œœ œœ œœ

.œ

J

œ

3

œ

↓œ œ œ

œœœ œœ œ œ

œ

&

#

#

#

˙

J

œ

œ

œœ

œœ

E

œ

œ

œ

œ

œ

œœ

œ

œ

j

œ

œ

j

œœ

..œœ

j

œœ œœ

A

˙˙

œ

˙

˙œ

˙

˙

↓

œ

œ

.

.

œ

œ

œœ œ œœ .

.œœ

J

œ œ

œ

œœ

œœ

E

œ

œ

œ

œ

œ

œœ

œ

œ

&

#

#

#

.

.œœœ œ œ

œ

A

œœ

œ

.

.

œ

œ J

œ

œ

œ

œn œ# œn

œ

œ

.

.

œ

œ

œœ œ œœ .

.œœ

J

œ œœ œ

œœ

œœ

E

œ

œ

œ

œ

œ

œœ

œ

œ

j

œ

œ

j

œœ

..œœ

j

œœ œœ

A

˙˙ œ œœ Œ œ

œ

A

œ

œ

Ó

Bluebird Waltz

A

B

C

Ending from **

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 1965; time: 3/4; key: A; scale: major (some low 7th, 3rd); pattern: ABC (16,16,16); tuning: standard

The title “Bluebird Waltz” is, according to Mark Wilson, associated with several different tunes. Vance Randolph heard an Ozarks version of“Blue Bird Waltz” in the 1940s, but we do not know how it sounded. The “Bluebird Waltz” transcribed here, which was released by Robertsonoriginally on LP Caney Mountain CEP 207, was possibly written by Robertson. If so, it certainly shows his creative and technical abilities. Manywaltzes, and fiddle tunes in general, include recurring four-measure phrases, and this is true with “Bluebird Waltz.” If we divide each of the three16-measure part into four-measure phrases, we find that each part follows an abac pattern. We also find that the b phrases in all of the parts arealmost identical and that the c phrases (the last four measures) in all of the parts are almost identical. Stated another way, the B and C parts eachonly include one four-measure melodic phrase not present in the A part. Yet these relatively small changes are varied enough to make the tune inter-esting. The online “Folk Music Index” suggests a connection to “Canary Waltz” exists, and “Old Cajun Waltz” (in this book) shows some similari-ties. Meade (p. 829) lists two early commercial recordings, the earliest being by the Collier Trio (1928); the other one is Big Chief Henry’s IndianaString Band (1929). I have only been able to listen to the Big Chief Henry version, and can confirm the tune is different from Robertson’s.

This tune, which Robertson also called “Buck Fever” on his Caney Mountain LP 229, is similar to the Kentucky tune “Old Flannigan.”According to Fiddler’s Companion, a story is told that “Old Flannigan” was brought to Kentucky by a Texan named Brack Flannigan, who taught itto John Hall, who taught it to Frank Miller, who recorded it with the Blue Ridge Mountaineers in 1929. With no name for the tune, the groupnamed it after Brack Flannigan. The story is a little suspicious, however, because the tune is similar in parts to the more well-known fiddle tune“Old Mother Flanagan,” which is typically played in the key of A throughout. It would be logical to imagine that “Old Flannigan,” which like “A &E Rag” includes a B part in the key of E, is a modified version of “Old Mother Flanagan.” Actually, the A part of “A & E Rag” is similar to the Aparts of many fiddle tunes, including “Saratoga Hornpipe” (see Bayard, p. 238; he also references the tunes “Old Time,” “Away Back,” “Queer’sHornpipe,” and “Kitty O’Neill”), “Snapping Jig” (see Ford, p. 82), “Duncan’s Reel” (see Christeson 1, p. 18), “Ace of Spades” (Phillips 1, p. 13,with an alternate title “Billy Wilson”), “Shippensport” or “Shipping Port” (Titon, p. 174, and Philips 1, p. 220), and an unnamed Bill Driver break-down (see Christeson 1, p. 37). The Irish tune “Kitty O’Neill” is cited by researchers other than Bayard, but in looking at it in one of O’Neill’s col-lections (Rock Chapel, p. 14), I cannot see how that D minor tune is connected. Other musical transcriptions of “Old Flannigan” are in Phillips 1(p. 170, the Frank Miller version) and Songer 1 (p. 149).

115

&

#

C ..

h»132

œ

œ

œ

œ

œœ

œ

œ

G

œ œ œœ

˙

3

œ œ œ œ œ œ

œ .œ

J

œ œ

œœ

œ

œ

D

œ œ œ œ œ

œ œ œ œ œ# œ œ œ

&

#

.

...

œœ

œ œ œ œ# œ œ

1

.

.

˙

˙

œ

œ

G 2

.

.

˙

˙

œ œG

œ

œœ

œ

.œ

J

œ œ

œ

œ

œ

œ

œ

œ œœ œ

œj

œ

œ

..œœ

J

œ œ

3

œ œ œ

↑D

&

#

.

.

œ .œ

J

œ œ œ

↑

œ œ œœ

œ œ œ œ œ

↑œ œ œ œ

↑

œ œ

1

˙ œœ

œ œG 2

D.C.

.˙

j

œ œœ

G

œŒ

˙

˙

u

G

Brown Leaf Rag

Ending from *

*

A

B

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 1966; time: 2/2; key: G; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

The tune to “Brown Leaf Rag” appears to be closely related to an early country song recorded by Fiddlin’ Arthur Smith, Roy Acuff, and othersin the late 1920s and 1930s called “Walking in My Sleep.” In fact, the fiddle tune is often called “Walking in My Sleep” in Missouri (see PeteMcMahan, Voyager VDCD 366) and elsewhere. Songer 2 (p. 221) lists Fiddlin’ Arthur Smith as the composer of “Walking in My Sleep” with acopyright date of 1930. Mark Wilson suggests “Walking in My Sleep” might have been derived from “Brown Leaf Rag.” Fiddler’s Companion sug-gests a connection to “Little Brown Hand,” and the online “Folk Music Index” suggests “Walking in My Sleep” is connected to “Boggy Road toTexas,” “Just an Old Rag in G,” and “Trumpey’s Hornpipe.” A musical transcription of the similar “Walking in My Sleep” is in Songer 2 (p. 221).Meade (p. 530) lists several early recordings of the song “Walking in My Sleep.”

&

#

# C ..

h»132

œ œœœ

œ œ œ

œ œ

D

œ œ œœ œ

œœ

œ œ œ œœ œ œ œ

œ

œ œ œ œ œ œ œ

A

œœ œ œ

œ œ

D

œ œ œœ œ

œœ

œ

G

&

#

# ..

.

.œ œ œœ œ œ œ

œ

A1

œœ

↓

œ

œœ œ

œœœ

D 2

œœ

↓

œœ œ

œœ

A Dœ œ

œ œ œœ↑

œœ œ

œ œœ

œœ œ œ

œ œ

œœ œ œ

œœ œ

œœ

A

&

#

# ..

œ œœ œ œ

œ

Dœ

œ œ œœ

œ

œœ

G

œ œœ œ

œ œ œ

↑A1

œœ œ œ

œ

œœ

D 2

D.C.

œœ œ

œ œ œ

3

œ œ œ

A D

œœ œ

œ˙

A D

ww

u

Caney Mountain Hornpipe

A

B

Ending from **

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 1965; time: 2/2; key: D; scale: major (some low 7th, high 4th); pattern: AABB (8,8,8,8); tuning: standard

The tune was apparently composed by Lonnie Robertson and named after a mountain near Long Run, Missouri, where Robertson grew up.“Bull Run Picnic” in Christeson 1 (p. 100) has a similar A part in the key of G. Robertson initially released the tune on his LP Caney MountainCEP 102.

116

&

#

#

#

4

3 ..

q»128

.

.œœ

œ

œ .œ

j

œ œ .œ

A

.œ

j

œ

3

œ œ œ..œœ

J

œ

3

œ œ œ

Dœœ

œœ œœ

j

œ

3

œ œ œ

Aœ

œ

œœ

œœ

œœ j

œ

3

œ œ œ

&

#

#

#

.

...

.œ

j

œ œ

E

œ œ ˙

A1

.œ

j

œ œ.œ

2

˙

œ

œ

œj

œ

.

.œœ

j

œ

œ

3

œ œ œ

D

j

œ

œ

..œœ

J

œ œ œ

↓

œ .œ

j

œ

.œ œ

A

&

#

#

#

.

...œœ

j

œœ

œœ œ

œ

œ

œ

œ

œ

œ j

œ

3

œ œ œ.œ

j

œ œ

E

.˙

A1

˙

œ œ

2

D.C.

.œ

j

œ œ œ œœ

œ

œ

A

..˙˙

u.œ

j

œ

3

œ œ œ

Fiddler’s Blues

A

B

Ending from ** Variation V1

V1

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 3/26/79; time: 3/4; key: A; scale: major; pattern: AABB (8,8,8,8); tuning: standard

Mark Wilson points out this is not the same as Arthur Smith’s 1936 recording of “Fiddlers Blues” (see Phillips 2, p. 49) Nor is it like othertunes with similar titles such as “Talking Fiddle Blues” and “Opry Fiddler’s Blues” (which are typically show tunes that, it seems to me, combineelements of “Cherokee Shuffle” and “Orange Blossom Special”). In fact, Robertson’s “Fiddler’s Blues” is actually a waltz tune, without any obvi-ous characteristics of blues music, except perhaps the inclusion of a few sliding notes. This selection was recorded in 1978 at Gordon McCann’shouse, with Gordon on guitar.

&

#

C

h»132

œ œ œ œ œ œœ

G

œ œœ œ œ

œ œ œ œ œ œœ œ œ

↑œ œ œ

œ œ œ}œ

œ œœ

D

œ œ œ œ œ œœ

G

œ œœ œ œ

œ œ œ

C

&

#

.

...

œ œ œœ œ

↑œ œ œ

D1

œœ œ œ œ œ

œ

G 2

œœ œ œ œ

3

œ œ œD G

œ œ œ œœ œ œ

œœ

œ

œœ œ œ œ

œ œ œ œ œœ œ œ

&

#

.

...

.

.

œ

œ œ œ .œ

J

œ

Dœ œ œ œ œ

œ œ œ

Gœ

œ

œœ œ œ œ œ

Cœ œ œ

œ œœ œ œ

D1

œœ œ œ œ œ

G 2

œœ œ œ .œ

j

œ

D G

œœ

œ œœ

œ

&

#

.

.

œœ

œœ œ œ œ

œ œœ

œœ œ œ œ œ œ

œœ œ

↑

œœ œ

D

œœ

œ œ œ œœ

G

œœ

œœ œ œ œ

œ

C

œœ

œœ œ œ œ œ

D

œœ œ œ œ œ

œ

œ

œ

G

Darky’s Dream

A

B

C

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 1966; time: 2/2; key: G; scale: major (some high 4th); pattern: AABBCC (8,8,8,8,8,8); tuning: standard; no ending, played in a medley

Compare this version of “Darky’s Dream” with Gene Goforth’s version (called “Darkies’ Dream”) earlier in this book. Robertson’s is in thekey of G and Goforth’s is in D, and only the A parts have strong melodic similarities. A detailed comparison of these versions with the original1891 George L. Lansing composition, in the key of F, would be interesting. My brief comparison indicates to me that the A parts of all three aresimilar, and that the other parts occasionally have shades of similarities. For more information about “Darky’s Dream” and to access the originalsheet music online, see the notes to Goforth’s version.

117

&

#

#

4

3 ..

q»112

j

œ œ œ

j

œ

j

œ.œ

j

œ

3

œ œ œ

D

œœ

œœ œœœ œ œ

œœœ

œœ œœ œ

3

œ œ œ

G

˙

˙ œ œ œ

D

..œœ

j

œ

3

œ œ œ

œœ

œœ œœ œ

3

œ œ œ

˙

˙

œ

œ

.

.œœ

A

&

#

#˙

˙

œ œ œ.œ

J

œ

3

œ œœ

D.œ

J

œ3

œ œœ œ

œ

œœ

œœ

3

œ œ œ œœ

F#

˙

3

œ œ œ

D

..œœ

j

œ œœ œ

œ

œœ

œœ

œ

3

œ œ œ

A

..˙˙

D

&

#

#

˙˙

3

œ œ œ.œ

J

œ

3

œ œœ

.œ

J

œ œ

œ.œ

3

œ œ œ œœ

F#

˙

˙3

œ œ œ

D.œ

J

œ

3

œ œœ

.œ

J

œ

3

œ œ

↑

œ..

œ

œ

j

œ

œ

œœ

A

&

#

#˙

˙

3

œ œ œ.œ

J

œ

3

œ œœ

D

h»108

.œ

J

œ

3

œ œœ

.œ

3

œ œ œ œœ

F#

˙

3

œ œ œ

↓D

..œœ

j

œ œœ œ

œ

œœ

œœ

œ

3

œ œ œ

A

..˙˙

D

&

#

#

4

1

8

3C

œœ

j

œ

j

œ

j

œ ..œœ

j

œ œ œ œ œ

↑D

..œœ

j

œœ

3

œ œ œ.œ

j

œ œ œœ

G

.

.œ

œ

j

œ

œ

œ

œ

œœ

œœ œœ

D

..œœ

j

œ œ œ œ œ

↑

.œ

j

œœ œ œ

œ

&

#

#˙

˙

œ

œ

œœ

A

.

.œ

œ

j

œœ œ œ

.œ

J

œ œ œœ œ

D.œ

J

œ œ œœ

.œ

j

œ œ œœ

F#

˙

˙ œ

œœ œ

D

..œœ

j

œ œœ

œ

œœ œ œ

œ

A

˙˙ ..œœ

j

œ

D

&

#

#

˙

œ œ œ.œ

J

œ œ œœ œ

D

˙

3

œ œ œ œ

œ œ œ œ œœ

F#

˙

œ œ œ

D.œ

J

œ œ œœ œ

.œ

J

œ œ œ

↑

œœ

˙

˙

œ

œ

œœ

A

&

#

#

4

3 ..˙

˙

œ œ œ.œ

J

œ œ œœ œ

D.œ

J

œ œ œœ

.œ

j

œ œ œ

↑

œ

F#

˙ œ œ œ

D

.œ

j

œ œœ

œ

œœ œ œ

œ

A

˙˙ ..œœ

j

œœ

D

œœ

‰

U

j

œ .œœœ

œœ

Hazy Hills Waltz

A

B

Ending from *

*

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 1966; time: 3/4; key: D;scale: major; pattern: AB (32,32); tuning: standard

This tune, part waltz and part slow 2/4 tune, was composed by Robertson and was originally issued in the 1960s on Caney Mountain CEP 208.After Lonnie and Thelma retired from touring in the mid 1950s, they ran a hotel called the Hazy Hills Resort at Theodosia, Missouri, on Lake BullShoals. Lonnie told Gordon McCann the up-tempo B part of the tune is a variation of “Texas Quickstep.” Mark Wilson suggests the idea of chang-ing the timing from a waltz to a two-step halfway through the tune might have come to Robertson through listening to the popular Leake CountyReveler’s 1920s recording of “Wednesday Night Waltz”.

&C .

.

h»118

œ œœ

œ

œœ

œ

C

œœ

œœ

œœ

œ œœ

œœ

œ

G

œœ

œœ

œ

œœ

œ

œ

œ

œœœ

œ

C

œœ

œœ

œœ

œ

F

œœ

œœ

œ œ œœ

G

&

.

...

1

œœ

œœ

œœ

œœ

œ œ

C 2

œœ

œœ

œœ

œœ œ

œ

G C

œ œ

↓

œ œœ

œ

œœ

œ œ œ œ# œ œ œ œ œ œœ œ

œ

œ œ

G

œ œ œ œ œ œœ œ

œœ

œ œœ

œ

œœ

C

&

.

.

œ œ œ œ# œœ

œ

Fœ œ œ

œ œ

↑

œ

œ œ

G1

œ œ œ œ

œ œ

C 2

D.C.

œ œ œ œ

œ œ

G C

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œ œœ

œ

œœ

u

Œ

Jump Fingers

A

B

Introduction Ending from **

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 4/18/78; time: 2/2; key: C; scale: major; pattern: AABB (8,8,8,8); tuning: standard

Robertson learned this tune, which Mark Wilson describes as a “parlor novelty piece,” from Bob Walters. Walter’s niece Sue Walters said thatGeorge “Jeffie” Pounds, who claimed he wrote the tune, was playing it in a barber shop while Walters was getting a haircut. After listened a fewtimes, Walters played it back so well that the exasperated Pounds rushed out of the shop (liner notes to Rounder CD0375). Pound’s old fiddle nowbelongs to Gordon McCann. Charlie Walden includes “Jump Fingers” on his list of "One Hundred Essential Missouri Fiddle Tunes." A recording ofWalter’s playing the tune is on Christeson’s LP, and a transcription of Walter’s version is in Christeson 1 (p. 41).

118

&

#

#

4

3 ..

q»114

j

œ œ œ

j

œ

œ

j

œ

œ

.

.

œ

œ

j

œ

œ

œ

œœ

D

j

œ

œ

..œœ j

œ œ œ.œn

j

œ œœ

F

.œ

j

œ œ œ

Dj

œ

œ

j

œ

œ

.

.

œ

œJ

œœ œ

œ

j

œ

œ

..œœ

j

œ

3

œ œ œ œ

&

#

#œ

œ

œœ

œœ ˙˙

A

..œœ J

œ

3

œœ

œ.œ

j

œ

3

œn œ œ œœ

D

j

œ

œ

..œœ j

œ œ œ.œn

j

œ œœ

F

.œ

j

œ

j

œ

3

œ œ œ

D

œœœ œœ œ j

œ

3

œ œ œ

&

#

# ..

.

..œ

j

œœ œ

A

j

œ

œ

..˙˙

D 1

.œ

j

œ œ œ

2

˙ œ œ œ œ

œ

3

œ œn œ œ œ

œ

œœ

œœ

œ

3

œ œn œ œ ..

œœ

3

œ œ œ œœ

˙˙ œœ

&

#

#

œ œ œ

œ

3

œ œn œ œ œ

œ

œœ

œœ

œ

3

œ œn œ œ.œ

j

œ œ œ

A

.œ

J

œ

3

œ œ œ

.œ œ œœ

œ

Dœ œ œ

œ

œ.œn

J

œœ

œ

F

&

#

# ....œœ

œ œ

3

œ œ œ

D

œœœ œœ œ j

œ

3

œ œ œ.œ

j

œœ œ

A

j

œ

..˙˙

D 1

˙ œ

2

D.C.

.œ

j

œ œ œ

œœ

œ

œ

.

.

˙

˙

Kaiser Waltz

A

B

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 1/17/79; time: 3/4; key: D; scale: hexatonic major (no 4th, some low 3rd, 7th); pattern: AABB (16,16,16,16); tuning: standard

Ending from **

&

#

# C ..

h»132

œœ

œœ

↑

œœœ œ œ œ œ œ

↑D

œ œ

↑

œ œ œœ œ œ œ œ

œ

œ

œ œœ œ œ œ œ

G

œ œ œœ œ œ

œ

œ

œ

A

œ œ œœ

œ

œ

} œ œ

&

#

# ..

.

.œ œ œ œ œ

œ œ#1

œœ œ œ

œ

D2

œ œ œ œ œ œ œ œ

A

.˙œ

œœ

D

œœ œ œ œœ

œ

.

.

˙

˙

œ œœ

œ œ

3

œ œ œ œ.

.

˙

˙

œ œ

A

&

#

# ..

œ œ œ œ œ

j

œœ

œ œœœœ

˙˙

œœ œ œ

œ œœ œ œ

↑

œ œ

1

.˙œ

↑

œ

D2

D.C.

.˙

œœ

œœ

↑D

œ

Œ

˙˙

u

D

œ œ œ œ œ œ œœœ .

.˙

˙œ œ

Lady of the Lake

A

B

Ending from **

Variations V1 V2

V1

V2

As played by Lonnie Robertson in Fiddle Tunes, Ozark Style, Vol. 2 (Caney Mountain Records CLP-233); recorded c. 1978; time: 2/2; key: D; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

Several tunes have this title (Fiddler’s Companion lists nine). Robertson’s “Lady of the Lake” closely matches a version played by Missourifiddler Cyril Stinnett, and Robertson might have learned it from Stinnett. Robertson included the tune on his Fiddle Tunes, Ozark Style, Vol. 2 LP,which suggests he viewed it as a regional tune. It is widely known outside of the Ozarks, however, and Donna Hebert connects it to Ottawa Valleyin Ontario, Canada (Fiddle-L, March 29, 2006), where it was played by fiddler Graham Townsend. Like “Maple Sugar,” this tune might havemigrated down from Canada, or equally plausible Townsend might have picked it up during a U.S. tour. Other musical transcriptions of versionssimilar to Robertson’s are in Phillips 1 (p. 136, version 4, Cyril Stinnett), Phillips 1 (p. 135, version 1, Kentucky fiddler Art Stamper), andSilberberg (p. 87, version 2, Greg Canote). Three other often-cited versions of “Lady of the Lake” that are different from Robertson’s include: (1)an English/Irish G jig version found in O’Neill (Walton’s, p. 80), and Kennedy (p. 47); (2) an A modal version often connected to Henry Reed’s“Ducks on the Pond” and included in Knauff’s 1839 Virginia Reels; this version can be found in Phillips 1 (p. 135, version 1), Silberberg (p. 87,version 1), and Songer 1 (p. 122); and (3) a popular New England tune in G, often connected to a contra dance with the same name, found inReiner (p. 50), Silberberg (p. 87), Songer 1 (p. 123, version 2), and Phillips 1 (p. 134, version 2); this contra dance tune has been connected to anunnamed Henry Reed tune (called “Polka in G” on the “Fiddle Tunes of the Old Frontier” website) and popularized by Alan Jabbour; this tune issometimes linked to “Off to California” and “Portsmouth Hornpipe.” Other tunes are also connected to the title “Lady of the Lake,” such as a NewEngland jig in D found in Cazden 1 (p. 12) and a version in Howe that resembles “Old Molly Hare” (Howe, p. 59). Meade (p. 746) lists a recordingby Mellie Dunham’s Orchestra (1926, similar to “Off to California”); he also suggests a possible connection to “Ebenezer” (p. 808) and referencesGuy Farmer of Galax, Virginia (1941 field recording).

Robertson said he learned this tune, which he spelled “Kyser Waltz,” from someone who learned it from one of Alton Jones’s uncles. That uncle brought thetune back from Germany after World War I but did not know the name of the tune, so it became known as “Kaiser Waltz” after German Kaiser Wilhelm. MarkWilson points out that the story is curious, since the tune “sounds more bluesy than Prussian” (Rounder CD 0375). Robertson’s tune bears no resemblance to “KaiserWaltz” (or “Emperor Waltz”) by Johann Strauss II.

119

&

#

C

h»124

˙.œ

J

œG

œ œ œœ œ œ

œœ

œ œ œœ

œ œœ œ

œ œ œ œ

D.œ

J

œ œœ

œ œG

œœ œ œ

œ

œœ œ

C

&

#

.

...

œœ

œ œ œœ

œD

œœ œ

œ œ œ œ

G

.

.˙˙

œ œ

G

œœ œ œ

œ œ œ

.

.œœ

j

œ

œ˙˙

.

.

œ

œ

j

œœ

˙

˙

Em

œœ œ œ œ

œœ œ

G

&

#

.

.œœ œ œ

œ œ œ

Cœ œ œ

œ œ

œœ œ

DD.C.

œœ œ

œ

˙

G

w

w

u

.œ

J

œ œœ

œ œG

œœ œ œ

œ

œœ œ

œœ

œœ œ

œ

œ

Lady On a Steamboat

Variation V1

V1

Ending after *

A

B

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 4/18/78; time: 2/2; key: G; scale: major; pattern: AABB (8,8,8,8); tuning: standard

*

This tune was recorded in 1978 at Gordon McCann’s house, with Gordon on guitar. It is often associated with Kentucky, especially since theKentucky duo Burnett & Rutherford’s recorded a popular version of the tune in 1927. The general melodic contours of that version and Robertson’sare similar, but they also have significant differences. The Missouri version of the tune is perhaps linked more to the playing of Nebraska fiddlerBob Walters. His version of the tune is transcribed in Chisteson 2 (p. 77). Walters also plays a close variation on the tune called “Ladies Round theBend” (Christeson 1, p. 103). Robertson’s practice of moving to an E minor in the B part seems to be distinctive to him. See transcriptions of theBurnett & Rutherford version in Phillips 1 (p. 134), and a similar Kentucky version in Titon (p. 112). A closely related tune is “Po’ Black Sheep” inPhillips 1 (p. 185). In this book, “Sally Johnson” is a similar tune. Meade (p. 782) lists six early commercial recordings, the earliest being byBurnett & Rutherford (1927); others include the Kessinger Brothers (1929) under the title “Tug Boat.”

&

#

#

#

C

h»140

œœ

œ

œ

œ

œœ œ œ œ

↓A

œ œ œœ œ

œœ

œ œ œœ œ

œ

œ

j

œ

œ

j

œœ

.

.œœ

J

œ œ œ œ

E

œ œ œœ œ œ œ

↓A

œ œ œœ œ

œœ

D

&

#

#

#

.

...

œœ

œœ œ œ

œœ

E

œœ

↓

œ

œ˙˙

Aœ

œ œ↓ œ œ

œœ œ œ

œœ œ œ

œ

œ

œ

œ œœ œ

œ œ

œ

↓œ œ œ œ œ#

E

&

#

#

#

.

.

œ

œ œœ

↓œ

œœ

Aœ œ

œœ œ œ

œœ

D

œœ

œœ œ œ

œœ

ED.C.

œœn

œ

œ˙˙

A

w

w

u

Aœ

œ œj

œœ œ œ œ

Little Creek RagA

B

Ending from *

*

Variation V1

V1

As composed and played by Lonnie Robertson in Missouri Fiddling (Caney Mountain Records CEP-207); recorded c. 1960s; time: 2/2; key: A; scale: major (some low 7th); pattern: AABB (8,8,8,8); tuning: standard

Lonnie composed this tune. It would have been interesting to ask him why he called it a rag because, as far as I can see, it has none of the syn-copated passages, rag chord progressions, chromaticism, or slower tempos normally associated with rags. He seems to play this tune as a lightning-fast hoedown. Perhaps in titling tunes Lonnie occasionally focused more on how a title rolled off his tongue than on how well it described thepiece.

Track #18

120

&

#

#

#

C ..

.

.

h»122

¿ Œ ¿¿ Œ ¿

¿

Œ

¿

¿

Œ œœ œœ œœœœ œœ œœ œœ

A

œœ

œœ œœœœ ..œœ

J

œœ

(D)

œœ œœ œœ

œœ œœ œœ œ

(E ) 1

œ

œ œœ ˙

˙

E 2

œ

œ œœ .

.œ

œ

j

œ

E A

&

#

#

#

.

.

œœ

œ œ

j

œœ œ

A

œ

œ œ œ œ œ œœ œ

œœ

œ œ œ œ œ

œ œœ

œœ œ

E

œœ

œœ œ œ œ

A

œ

œ œ œ œ œ œœ

D

œœ

œ œœ œ œ

E

&

#

#

#

.

...

.

.

1

œ

œ œœ

œœ œ

A 2

œ

œ œœ

˙

E A¿

œ

œ ¿

œ

œ

A¿

œ

œ

˙

˙

(D)

¿œ

œ ¿ œ œ

(E ) 1

œ

œ œœ

œ

œ

œ

E 2D.C.

œ

œ œœ

.œ

j

œ

E A

œ

œ œœ ˙

˙

E A

¿ Œ ¿¿ Œ ¿

¿

Œ

˙

˙

u

Lonesome Polly Ann

A

B

CEnding from *

*

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 1977; time: 2/2; key: A; scale: hexatonic major (no 4th); pattern: AABBAABCCBAABBCCBAAB (A=4,B=8,C=4); tuning: C#AEA

[yell,2,1]

[yell, 3,1]

As a young man, Robertson played all of his tunes in open tuning such as C#AEA, but as he become more established as a fiddler he rarelyreturned to those tunings. This open-tuning tune, originally from his LP CLP 232 Fiddle Tunes, Ozark Style, is perhaps a good example of one ofRobertson’s early Ozarks tunes. Missouri fiddler Pete McMahan plays a similar tune he calls “Pretty Polly” (on the LP Now That’s a Good Tune).In fact, Gordon McCann remembers that Robertson earlier called this tune “Pretty Polly” but changed it to “Lonesome Polly Ann” so no one wouldclaim he was copying McMahan’s version. Howard Marshall suggests the fiddle tune might be connected to the ballad “Pretty Polly Ann,” anOzarks version of Child ballad no. 4 “Lady Isabel and the Elk Knight.” Another ballad titled “Pretty Polly,” which has links to the British broadside“The Gosport Tragedy” (see Ebsworth’s Roxburghe Ballads, VIII, 143, 173), has also been collected in the Ozarks. The relationship of either ofthese ballads to Robertson’s “Lonesome Polly Ann” is unclear, however. With the possible exception of Randolph’s C version of “Pretty Polly Ann”(see Randolph I, p. 45), which also resembles the popular song “Polly-Wolly-Doodle,” I can find no melodic similarities between any of the balladsand Robertson’s tune. As he did with Alton Jones’s recording of “Lost Indian” (in this book), Melvin Lawrence adds some vocal “whooping” toRobertson’s recording of “Lonesome Polly Ann.” The whoops last about one or two measures and are sung on the tonic note; sometimes Lawrencedrops down slightly at the end of the whoop. I have indicated the location of the whoops in the transcription with the word “yell” followed by twonumbers. The first number indicates whether it occurred during the first, second, third, or fourth time through the complete tune, and the secondnumber indicates whether Jones was playing the first or second time through a part. I cannot say whether the spacing of the whoops was purposefulor random. Mark Wilson points out that fiddle tunes with variations on the title “Polly Ann” were recorded a number of times by the Library ofCongress in the 1930s, and that commercial recordings by later fiddlers such as Howdy Forrester and Bob Will’s fiddler Jesse Ashlock have beenreleased. Meade (p. 826) lists two early commercial recordings of “Polly Ann,” but they are both waltzes. Because several different fiddle tunes areassociated with “Polly Ann,” it is difficult to determine relationships.

Robertson enjoyed composing fiddle tunes, and this tune is probably one he composed. We cannot be sure, however, because often tunes titlesincluded the name of a fiddler simply because other fiddler’s learn the tune from that fiddler. This tune was originally released on Caney CEP 102.The same tune, to which Christeson assigned the generic title “Tune,” is also in Christeson 2 (p. 48). Christeson describes it as “another tune fromLonnie Robertson.”

&

#

# C ..

h»138

3

œ œ œ œœœ

œœ œ

œ œ œ

D

œœ œ œ œ œ œ

œ œœ œ œ œ œ

œ œ œœ œœ œ œ œœ œœ

œ

A

œ œ œœ œ

œ œ œ

D

œœ œ œ œ œ œ

œ

G

&

#

# ..

.

.

œ

œ

œ œœ

œ

A1

œœ œ

œœ

œœ

D2

œœ œ

œœ

œœ

A D

œœ

œ œœ

↑

œ œœ

œœ

œ œœ

œœ œ œ

œ œ œ œ œ œ œ œ

A

œœ

œ œœ

œ

D

&

#

# ..

œœ

œœ

œ œ

G

œ œ œœ œ œ

œœ

A1

œœ

œ

œœ œ

œœœ

D2

œœ

œ

œ œ œœ

œœ

A D

œœ œ

œ˙˙

A D

ww

u

œœ

œ œœ œ œ œ

œœ œ

œ œ œ

Lonnie’s Breakdown

A

B

Ending from * Variations V1 V1

*

V1

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 1965; time: 2/2; key: D; scale: major; pattern: AABB (8,8,8,8); tuning: standard

121

&b

b

C ..

h»116

œœ œ

œœ

œœ

œ

Bb

œ

œ

œœ

œœ

œœ œ

œœ

œœ œ œ

œ

F

œ

œœn œ œ œ œ œ

œ

œœ

œ

œ

Bb

œ

œ

œœ

œœ

œœ

Eb

œœ

œœ

œ œ œœ

F

&b

b..

n

b ..

1

œœ œ

œ œ œœ

Bb

2

œœ œ

œ œ œ œ

F Bb

œœ

œœ

œœ

œ

F

œ

œœ

œ

œ

œœ œ œ

œœ

œœ œ œ

œ

C

œœ œ œ œ

↑

œ œœ

œœ

œœ

œœ

œ

F

&b .

. b

b n

b

œ

œœ

œ

œ

œœ œ

Bb

œœ

œœ

œ œ œœ

C1œ

œ œœ œ

œ œ

F2

D.C.

œœ œ

œ œœ œ

F

œœ œ

œ ˙

Bb

ww

u

œœ

œœ

œ œ œ

œ

Lonnie’s Hornpipe

Ending from *Variations V1V1

A

B*

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 12/6/79; time: 2/2; key: Bb and F; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

Robertson learned this tune in northern Missouri but he could not recall its title. He performed it often throughout his career, and it eventuallybecame associated with his name. The tune’s melody includes a significant number of jumps of a third interval or greater, and often includes chordarpeggios. Although not uncommon in hornpipes and schottisches throughout the country, these large-interval melodies are rare in the Ozarks. Also,key changes in Ozarks reels and hornpipes are rare (and only slightly more common in Ozarks waltzes and rags). The tune might have originated asa schottische. Schottisches, which are often played in the German communities in central and northern Missouri, are more likely to include keychanges. “Lonnie’s Hornpipe” is also transcribed in Christeson 1 (p. 36). Christeson recorded it in 1950 from Nebraska fiddler Bob Walters, whosaid he learned it from Robertson.

&C .

...

.

.

h»122

œ

œ œœ

œ

j

œ

œ

j

œœ

˙˙ ˙˙

Cœœ œœ œœ œ œœ œ

(F )

œ œ œœ

œ œœ

(G )

œœ œ œ

œ œ œ

G (C )

œ

œ

œ

œ

œ

œ

œœ œ œ œ

C

œœ œ

œ

&

.

...

œ œ œ œ œœ œ œ œ œ œ

œ œ œ

G

œœ

œ

œ

œ

œ œ œ œ

C

œœ œ

œ œ

Fœ œ œ

œ

œ œœ

G

œœ œ œ

œœ

Cœ

œ

œ

œ

œ

œ

œ œ

œ

œ œ

&

.

.

œœ œ œ œ œ

Fœ

œ œ œ

œ

œ

œ

œ œ

C(G )1œ

œ œ

œœ

œ

G 2D.C.

œ œ œœ

œœ

œ

œ

G C

œ

œ œ ˙˙

G C

ww

j

œ

œ

j

œœ

..œœ

J

œœ# œœ œœ œœ œœ œœ œ œ

Malindy

A B

C

Ending from * Variation V1

V1

*

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 12/17/77; time: 2/2; key: C; scale: major; pattern: AABBCC (4,4,8,8,4,4); tuning: standard

The tune, which Mark Wilson believes contains elements of early ragtime music, is also played by Missouri fiddlers Lyman Enloe, CyrilStinnett and Nebraska fiddler Bob Walters (using the title “Old Melinda”). Jesse Wallace learned “Old Malindy” from Frank Waters, who called it“Muddy Water” (see Rounder CD 0435, under Jesse Wallace). The tune’s connection to the play party game “O Belinda” is distant at best, but theB part of Robertson’s tune shows some similarities (see Old Songs, Chase, p. 43, with the tune often associated with Haydn’s “Surprise Symphony”and “Ten Little Indians”). Charlie Walden includes “Old Malinda” on his list of "One Hundred Essential Missouri Fiddle Tunes." Other musicaltranscriptions of the tune are in Christeson 1 (p. 38) and Songer 2 (p. 148) both of which order the parts BCA as identified above; the versionplayed by Lyman Enloe and Bob Walters (ordered CAB as identified above) is in Phillips 1 (p. 151).

122

&

#

#

#

C ..

h»138

œ

œ

œœ

œœ ˙˙ ˙˙

A˙˙ ..œœ

J

œ

œ}

œ œ œœ œ

œ

œ

œ

œ

œœ

œœ

.

.œœ

J

œœ

↑œœ

˙

˙

œœ

E˙˙ .

.œœ

J

œœ

œ

œ..œœ œœ

œ

œ

œ

A

&

#

#

#œœ

œ

œ

œœ

œœ ˙˙ ˙˙ ˙˙ ..œœ

J

œ œ œ œœ œ œ

œ

œ

œœ

œœ

.

.œœ

J

œœ

↑œœ

˙

˙

œœ

E˙˙ .

.œœ

J

œœ œ

..˙˙

A

&

#

#

#

.

.

#

#

#

# ..

1

˙˙

œœ

œœ

2

˙˙ œ œ ˙

˙

.

.

œ

œ J

œ

E

œœ

œ

œ œ

œ

œ

œ

œ

œ

.

.

œ

œ J

œ œ

œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

B7

&

#

#

#

#œ

œ œ œ œ œ œ œœ

E

œ œ œ œ ˙

˙

.

.

œ

œ J

œ œœ

œ

œ œ œ œ

œ

œ

œ

œ œ œ

œ œ œ

&

#

#

#

# ..

n#

#

#œ

œ

œ

œ

œ

œ

œ

œ

œ œ

B7œ

œ œ œ

3

œœ

œœ œœ œœ ..œœ

J

œ

E1˙

œ œ

2

D.C.

˙ œœ

œœnœ

.œ

j

œœ œ

A

œœ Œ œœ Œ

Maple Sugar

A

B

Ending from *

*

As played by Lonnie Robertson in Fiddle Tunes, Ozark Style, Vol. 2 (Caney Mountain Records CLP-233); recorded c. 1978; time: 2/2; key: A and E; scale: major (some high 4th); pattern: AABB (16,16,16,16); tuning: standard

The tune was written by Ontario fiddler Ward Allen, and is known primarily as a Canadian and New England tune. I am including it herebecause Robertson liked it so much he used it as the opening theme for one of his radio programs, and in turn it became well known to his listeningaudience. According to Fiddler’s Companion, the version Robertson plays, in the keys of A and E, is more popular in Canada than the UnitedStates. The tune, with a fast beat that keeps the guitarists busy, has a fairly slow-moving melody line. This is the opposite dynamic of most Ozarkstunes. Other musical transcriptions are in Bayard (p. 358, in G and D), Perlman (p. 162, in D), and Phillips 2 (p. 83, in A and E).

&

#

#

#

C ..

h»104

œ œ œ œ œœ

œ œœ œ

A

œœ

œ œ.œ

J

œ œ œ œ œ œ œœ

D

œ

˙

˙

œ œ

A

œœ

œœ

œ œœ œ œ

œœ œ

.œ

J

œ œ œ œ œ œ# œ

B7

&

#

#

#œ œ œ œ œ œ

E

œ œ œœ

œ œœ œ

A

œœ

œ œ.œ

J

œ œ œ œ œ œ œœ

D

œ

˙

˙

œ

A

œ œ œ œ œ œœ

D

œ

œ

œ œœ

œ

œ

œ

A F#

&

#

#

#

.

.

œ œœ

œ œ œœ œ

B7 E1

..˙˙ œœ œœ

A 2

ww

A ˙˙ ˙

˙

D

œœ

œ

œ

œœ

œœ œœ œ œœ

A˙˙ ˙

˙

D

œœ

œ

œ

œœ

œœ œœ œ œœ

A˙˙ ˙

˙

D

&

#

#

#œœ

œ

œ

œœ

œœ œœ œ œ

œ

A

œ œ œœ

œ œ œœ

œ

B7

.

.

˙

˙

œ œ

E

œœ

œœ

œ œœ œ

A

œœ

œ œ.œ

J

œ œ œ œ œ œ œœ

D

œ

˙

˙

œ

A

&

#

#

#

œ œ œ œ œ œœ

D

œ œ œœ

œ

œ

œ

A F#

œ œœ

œ œ œ œœ œ

B7 ED.C.

..˙˙ œœ œœ

A

œœ œ

œ

œœ

œœ œ œ œ

œœ œ œ œ

↑œ

œ œ

œ˙ œ

œ

Œ Ó

A

Natural Bridge Blues

A

B

Ending from **

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 5/23/79?; time: 2/2; key: A; scale: major; pattern: AAB (16,16,16); tuning: standard

This tune was written by Tommy Magness (1911-1972) who played with top bluegrass and country artists such as Bill Monroe, Roy Acuff,and Fiddlin’ Arthur Smith. According to Fiddler’s Companion, he wrote and recorded the tune in 1941 while he was a member of Roy Hall and hisBlue Ridge Entertainers. Lonnie and Thelma occasionally sang the following lyrics with the tune: “Oh, the Natural Bridge Blues is a killin’ me, Idon’t know what to do; Makes no difference where I roam, I feel so sad and blue; Every night when I lay down, in my dreams I see; That oldbridge a standin’ there, I hear it calling me.” Meade (p. 886) lists one early commercial recording by Roy Hall (1941). Later old-time artists such asCurly Ray Cline and Fred Cockerham also recorded the tune.

123

&

#

# C ..

h»122

œ œ

↑œ œ œ œ œ

Dœ œ

↑œ œ œ

œ œ

œœ œ œ

œ œ œœ œ

G

..˙˙

3

œ œ

↑œ

Dœ œ œ œ œ œ œ œ œ œ

œ

œ

&

#

#œœ

œœ œœ œœ œœ œ œ

E

œ œ

↑œ

œ œ œœ

œ

Aœ œ œ œ œ

Dœ œ

↑œ œ œ

œ œ œ œœ œ

œœ

œ↑

G

w

F#

˙ ˙

Gœ œ

œ œ œ

3

œ œn œ

D B7

&

#

# ..

.

.œœ œ œ œ

œ œ

œ

E A1˙

˙

œ

œ

œ

œ

3

œ œ œ

D2

.

.

˙

˙œ

œ

œœ

œœ œœ

D

œœ œœœ œ œ

œ œ œœ

œ œ œœ

œ œ œ œ œ œ œœ

G

..˙˙

œœ

œœ

D

&

#

#

œœ œ œ œ œœ œ œ

œ

œ

œœ

œ.œ J

œ œ œ œ œ

↑E

œ œ

↑

œ œ œ œ

↑

œ œ

A

œ œœ œ œ

D

œ œ œœ

œ œ œœ

œ œ œ œ œ œ œ œ

G

&

#

# ..

œ œ .˙

F#

˙ ˙

Gœ œ

œ œ œ

↑œ œ

D B7

œœ œ œ œ

œ œ

œ

E A1

.˙

œ

œ

œœ

œœ œœ

D2

D.C.

.˙

j

œ

3

œ œ œ

D

œœ œ œ œ

œ œœ

E A

œ

œœ

œ

œ

Œ

D

Old Parnell

Ending from **

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 1971; time: 2/2; key: D; scale: major (some high 4th); pattern: AABB (16,16,16,16); tuning: standard

A

B

Robertson learned this tune from Missouri fiddler Casey Jones, who was another radio fiddler. It was also recorded by the well-knownNebraska/Iowa/Missouri fiddlers Bob Walters, Cyril Stinnett, and Dwight Lamb. The Kessinger Brothers and Benny Thomasson recorded it underthe title “Hotfoot” in the key of C. Mark Wilson believes the tune is structurally similar to calk walk tunes and might be related to “WhistlingRufus.” Gordon McCann suggests the tune might be named after the controversial member of the British Parliament, Charles Stewart Parnell(1846-1891), who became the leader of the Irish nationalist movement during the years 1880-1882. The tune, as performed in 1950 by Bob Walterunder the title “Old Parnell Reel,” is in Christeson 1 (p. 162). Christeson mentioned in his notes that he remembers hearing the tune played live onWIBS radio in Topeka, Kansas, during the early 1950s.

&

#

#

#

C ..

h»122

3

œ

œ

œœ

œœ œœ œœ

œ

œ œ œ

A

œœ

œœ

œ

œ

œ

œ

œœ

œ œœœ œ œ œ œ œ

œ œ œ œœ

œ

E

œœ œœ

œ œ œ

A

œœ

œœ œ œ

D

&

#

#

#

.

...

œœ œ

œ œ œ

E1

œœ œ

œœ œ

œœœ œœ

A 2

œœ œ œ ˙˙

E Aœœ

œœ ˙˙ œ œ œœ

œ

œœ

œœ œœ œœ

3

œ œ œ œ œ œ

œ

œ œ œ

G

&

#

#

#

.

.œ œ œ œ œ œ œœ œœ œœ œ

œ

œ

œ

œ œ œ

A

œœ

œ

œœ

œœ œœ œœ œ œ œ œ œ

œ œ œ

↑E

1

œœ œ

œ˙˙

A 2

D.C.

œœ œ

œ

j

œœ

œœ œœ

E A

&

#

#

#

œœ œ

œœœ

œœ

Aœ œ œ

œœ œ œ œ œ

œ œ

œ˙˙

w

u3

œœ

œœ œœ œœ œ œ œ œœ œœ

œœ

œœ œœ ..œœ

J

œœ œœœn

œ œ

Old-Time Breakdown in A

A

B

Variations V1

V1

V2

V2Ending from *

*

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 7/9/78; time: 2/2; key: A; scale: major; pattern: AABB (8,8,8,8); tuning: standard

Little is known about this tune. Mark Wilson suggests it seems to belong to the “Dusty Miller” family of tunes. It was recorded in 1978 atGordon McCann’s house.

124

& 4

3 ..

q»150

œ œ#.œ

j

œ œ œ#

C

œœ

œ..œœ

J

œœ œœ œ.œ

j

œ œ.œ

j

œ

3

œ œ œ

G

..œœ

j

œœ œœ

œ

œ

œ

œ

œ

œ

œ œ œ# ˙ œ œ#

↓C

.œ

j

œ œ œ#

&œ

œ

œ..œœ

J

œœ œœ œ.œ

j

œ œ

œœ

œ œ

G

œœ

œœ œ œ ˙ œ

C

˙œ œ

↑

œ œ œ œ# œœ

œ

œ

œ œ

↓ œœ

↓œ œ

↓

&

œœ

œ.œ œ œ

3

œ œ œ

G

..œœ

j

œœ œœ

œ

œ

œ

œ

œ

œ

œ œ œ# .œ

j

œ œ œ

C

œ œ œ œ# œœ

œ

œ

œ œ↓ œ

œ↓

œ œ↓

œœ

œ

œœ

œ œ

G

& œœ

œœ œ œ œ

œœ

œœ

œœ

C

˙˙

œ

.

.

œ

œ J

œ œ

œ

.

.œœ

J

œ

œ

3

œœ œœ#

œ.œ

J

œ œœ .œ

j

œœ .œ œb œ

3

œ œ œ

G

..œœ

j

œœ œœ

œ

œ

œ

œ

œ

œ

œ œ œ

↑

&

.

.

˙

œ

C.

.

œ

œ J

œ œ

œ

.

.œœ

J

œ

œ

œœ œ

.œ

J

œ œœ .œ

j

œœ

œœ

œ œ

G

œœ

œœ œ œ œ

œœ

œœ

œœ

C

˙˙

œ œ

˙ œ œ

Ó

Ozark Mountain Waltz

A

B

C

Ending from **

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 4/18/78; time: 3/4; key: C; scale: major (some high 4th); pattern: ABC (16,16,16); tuning: standard

Robertson composed this tune and recorded it in the 1960s on his LP CEP 102. Mark Wilson suggests, however, that it is likely tradition-basedand that it is reminiscent of the melody that accompanies the song “Babes in the Woods.” Fiddler’s Companion states the waltz contains segmentsof other tunes, but doesn’t identify them. Pete McMahan also wrote and recorded a tune called “Ozark Mountain Waltz” (on the LP Now That’s aGood Tune) but it is not similar to Robertson’s tune.

&C .

.

h»100

˙

˙œ

œ

œ# œ œ

œ œ œ

C..œœ

J

œœ œ œ

œ

C7

œ œ œœ œ

œœ

F

..œœ

J

œœ

#˙˙

D

.œ

j

œ œ œ œ

G

3

œ œ# œ œ œ œ

œ œœ˙ œ

œ œ

Cw

&

.

.

œ œ# œ œ

œ œ œœœ œœ œœ

œœ œ œ

œ

C7

œ œ œœ œ

œœ

F

..œœ

J

œœ

#˙˙

D

œœœ

œœ œ œ œ œ

G

3

œ œ# œ œ œ œ

œ œœ œ œ .

.

œ

œ

j

œ œ

C1

w

w

&

2

.

.

˙

˙

œ œœ

œœ œ œ

œ

˙˙˙

C7

3

œ œ œ œ œ œ œ

F

ww

D3

œ œœ œ œ œ œ

↑œ

G

3

œ œ œ œ œ œ

œ œœ˙ œ

œ œœ

C.˙

œ œ

&

œœ

œ œ œœ

˙

˙

˙˙

œ œ œ œ œ œ œ œ

F

ww

D3

œ œœ œ œ œ œ œ

G

3

œ œ œ œ œ œ

œ œœ œ ˙

˙

œ

œœ œ

CD.C.

w

w

.œ œ œœ œ

œ

C

˙

˙

˙

˙

Rag in C

Ending from **

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 4/18/78; time: 2/2; key: C; scale: major (some high 4th); pattern: AAB (16,16,16); tuning: standard

A

B

Robertson learned this tune from Ozark County fiddler Alton Jones, who called it “Mama Blues” (in this book). It is interesting to compare thetwo tunes to see stylistic differences. The tune, as played by Robertson, is also transcribed in Christeson 2 (p. 32) with the generic title “Tune.”Christenson writes that it is “somehow reminiscent of the A part of ‘Stone’s Rag’ played in blues fashion.”

125

&

#

4

3 ..

q»152

œ œ œ œ œ

G

œ

↑œ œ

↑œ

C

œœ

œœ

œ

œ

G

˙

˙

œ œ œ

œ œ

D

œ

3

œ œ œ œ

˙

œ

œ

G˙

˙œ œ œ œ œ

&

#

.

...

œ œ œ

↑œ

C

œœ

œœ

œ

œ

œ

G

˙

˙

œ œ œ

œ

œ

œ

œ

D

œ

3

œ œ œ œ œ ˙

˙

G1

˙

˙

œ œ

2

.

.

œ

œ

j

œ œ œ

Gœ

œ

œ

œ

œ

&

#

œ

œ

œ

œ

œ

C

œ

œ

œ

œ œ

Gœ

œ œ œ œœ

œ œ

œ

œ

œ

œ

œ

Dœ œ œ

œ

3

œ œ œ œ

œ

œ

œ œ

Gœ

œ œ œ

œ

œ

œ

œ œ

œ

œ

œ

œ

C

&

#

.

.œ

œ œ œ œ

Gœ

œ œ œ œ œ œ

œ

œ

œ œ

œ

œ

Dœ œ œ

œ

3

œ

↑

œ œ œœ

.œ

J

œ

GD.C. œ

œ œ

œ œ

3

œœ œ œ

.œ

D

œ

œœ

G

.˙

u

Rock All the Babies to Sleep

A

B

Ending from *

*

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 4/18/78; time: 3/4; key: G; scale: major (some high 4th); pattern: AABB (16,16,16,16); tuning: standard

This waltz is derived from a song with the same title about a mother who liked to go out gallivanting at night, leaving her husband to rock allthe babies to sleep. Robertson learned to play the tune while working at a radio station in Shenandoah, Iowa. The song, which was recorded by anumber of early country artists in the 1920s and 1930s, has been collected in the Ozarks by Vance Randolph, Alan Lomax, and Max Hunter. MarkWilson suggests the song is likely a Victorian age stage Irish song modeled on the traditional song “Rocking a Cradle” (not to be confused with thefiddle tune “Rock the Cradle Joe”). O’Neill (Rock Chapel, p. 96) includes a slow 6/8 air titled “Rocking the Cradle” that includes passages that arevaguely similar Robertson’s tune. The song has other titles, including “Hush-A-Bye,” “The Old Man's Lament,” and “Tossing the Baby So High.”Lomax found that some songs in the “Get Along Little Dogies” family occasionally have a similar-sounding chorus about caring for a baby “that’snone of my own” (see Folk Songs of N.A., p. 357). Meade (p. 145) lists 13 early commercial recordings, the earliest being by George Riley Pickett(1924); others include Uncle Dave Macon (1926), Leake County Revelers (1928), and, of special note, Jimmie Rodgers (1932). To hear an Ozarksrendition of the song with a melody that closely matches Robertson’s A part, and with a B part that includes some wonderful yodeling, listen toNeal Morris’s version recorded in 1959 by Alan Lomax (Ozark Frontier, Rounder CD 1707).

&b

b

C ..

h»114

œœ

œ

œœ

œ

œ œ œ œ œ

Bb

œ œ œ œœ

œ œ œ œœ

œ œ œ œ œ

œ œœ

œ œ

œ œ

F

œœ

œ œ œ œ œ

Bb

œ œ œ œœ

œ œ œ

Eb

œœ

œœ œ œ œ

œ

F

&b

b..

.

.

1

œœ

œ œ

œn

œ

œ

Bb2

œœ

œ œ œ

F Bb

œœ œ œ

œœ

œœ

œ

œ œ œ œ œ

œ œ œ œ œ œ œœ œ

œ œ œ œ œ œ

œ

F

œœ œ œ

œœ

œ

Bb

&b

b..

œœ

œ œ œ œ œ

Eb

œ œ œ œ œ œ œ œ

F1

œ œ œœ .œ

J

œ

Bb 2

D.C.

œ œ œœ .œ

j

œ

F Bb

œ œ œœ ˙

F Bb

w

w

u

œ

œ

œ œ œ œ œ œ

œ

œ œ œ œ œ

Rosebud Reel

A

B

Ending from **

Variations V1 V1

V1

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded c. 1966; time: 2/2; key: Bb; scale: major; pattern: AABB (8,8,8,8); tuning: standard

Also known as “Mountain Ranger Hornpipe,” “Rosebud Reel” appears to have some Scottish roots as it was published in Glasgow around1880 in Kerr's Collection of Merry Melodies for the Violin. It has become a popular fiddle tune in New England and the Midwest. Mark Wilsonreports that his recording of Robertson playing this tune includes no title, and that he and Charlie Walden determined the title. Gordon McCannconfirms that Robertson often called this tune “Rosebud Reel.” McCann also reports that Robertson told him during a 2/20/77 recording session,“This is one of mine,” which means Robertson was claiming authorship of the tune. It is certainly possible that he arranged an existing tune to hisliking. Other musical transcriptions are in Christeson 2 (p. 26-27, as played by Bob Walters), Cole (p. 10, 102; reprinted in Ryan, p. 33, and in thenotes to Rounder CD 0375), Ford (p. 112, titled "Mountain Ranger"), and Phillips 1 (p. 203). Meade (p. 740) lists one early commercial recordingby George Stehl (1920).

126

&

#

#

#

C ..

h»120

œœ œœ

3

œ œ œ .œ

J

œ

A

3

œ œ œ œœ

œ

œ

œ

œ

œœ

..œœ

J

œ œj

œ˙

œ

œ

œœ

Eœœ

œœ œœ œ.

.

œ

œ

J

œ

A

œ œ.œ

j

œ

D

&

#

#

#

.

...

œ

œœ

..œœ

J

œ

E1

œ ˙˙ œœ

A 2

œ ˙˙ œœ œœœœ

Aœœ œœ

œœ

.

.œœ

j

œ œ œ ..

œœ

j

œ œ œ..œœ

J

œ œ ˙˙ œœ

œœ

E

&

#

#

#

.

.œœ œ

œ

œ

œ

œ

œ

.œ

j

œ

A

œ œœ

œœ

œ

D

œ

œœ

..œœ

J

œ

E1

œ ˙˙ œœœœ

A 2D.C.

œ ˙˙ œœ

A

œ ˙˙

œœ œ œ œ œ

œœ œ œ œœ

↓

A

&

#

#

#

œœ œ

œ˙

E A

w

u

œœœ

œœ

.œ

J

œ œ œ ..

œœ

j

œ

œ

j

œ

3

œœ œ œ œ œ

œ œœ œ

œ

œ

œ

.

.

œ

œ

j

œœ

œ œ œ œœ

Saddle Old Kate

Ending from *

V1V2

V2Variations V1

V3

V3

V4

V4

A

B

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 1978; time: 2/2; key: A;scale: major; pattern: AABB (8,8,8,8); tuning: standard

*

Robertson learned this tune from Alton Jones, who also taught it to other Ozarks fiddlers such as Fred Stoneking. Jones learned it from Ozarksfiddler Dallas Robirds, and nearby Arkansas fiddler Jesse Wallace learned his version from Frank Watkins in the mid-1930s. Often played in theOzarks, this syncopated tune, though distinctive in a number of ways, resembles some versions of “Got a Little Home to Go to.” Mark Wilson sug-gests it is also similar to “Don’t You Cry, My Honey” as performed by the Skillet Lickers in the early 1930s. In the notes to his CD Saddle OldSpike (Rounder 0381) Ozarks fiddler Fred Stoneking tells an amusing story, which he heard from Bill Mustain, about two brothers in the 1920swho disagreed how a tune should be played, so one called it “Saddle Old Spike” and the other called it “Saddle Old Kate.” The tunes remain slight-ly different. For more information about this tune, see the notes for the tune “Got a Little Home to Go to” (in this book).

&

#

#

#

C ..

h»136

3

œ

œ

œœ

œœ œœ œœ œ œ

œœ

A

œ œœ

œ œ

œ œœ

œ œœ œ œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

E

œœ œœ œ œ

œœ

A

œ œœ

œ œ

œ œ œ

D

&

#

#

#

.

...

œ œ œ œ œ œ œœ

E1

œœ œ

œœœ œ

œœœ

A 2

œœ œ

œœœ

œœ

A œ œœ œ

œ

œ

Aœ

œ

œ œ œœ œ

œn œ œœ œ

œ œœ

&

#

#

#

.

.œ

œ œ œœ

œ

œ

Eœ œ

↑ œ œ

œ

œ

Aœ

œ

œ œ œœ œ

œ

Dœ

œœ

œœ

œ

œ œ

↑

E1

œœ œ

œœœ

œœ

A 2

D.C.

œœ œ

œœœ œ

œœœ

E A

œœ œ

œ˙˙

E A

w

w

u

Taney County Breakdown

A

B

Ending from **

As played by Lonnie Robertson in Lonnie’s Breakdown (Rounder CD0375, 1996); recorded 1965; time: 2/2; key: A; scale: major (some low 7th, high 4th); pattern: AABB (8,8,8,8); tuning: standard

Robertson composed this tune, and told Gordon McCann in an interview, “[I was] playing at Rockaway Beach, Missouri, for a dance and I justworked this up … for a square dance. And they liked it and I played it again. I didn’t have no name for it … so I named it for where we were play-ing.” The B part is reminiscent of “Back in ‘89” (B part) and “A & E Rag” (A part) (both in this book). “Taney Mountain Breakdown” was origi-nally released on Robertson’s LP CEP 102 from the 1960s.

127

H. K. SilveyHubert K. Silvey (1934-), like many Ozarkers, left the region

to find work early in his adult life but eventually he came backand has been a fixture in the old-time fiddling community insouthern Missouri for over 30 years. His family connections toDouglas and Ozark Counties in Missouri are strong and stretchback to Charles Silvey who brought his family to southernMissouri in the 1830s. When H.K. was 11, one of his aunts beganto teach him how to play guitar, and before long he was backingup his uncle Jess Silvey, a fiddler. A few years later, when he wasaround 15, he began playing the mandolin, and soon after that thefiddle. At first, he secretly played his uncle Jess’s fiddle, butbefore long Jess and another uncle were encouraging him, lettinghim borrow their fiddles and teaching him tunes. H.K. says Jess,who emphasized the importance of listening carefully to the musicto determine chords and melodic changes, was especially influen-tial in his musical training. When he played fiddle publicly for thefirst time at a music party, H.K. surprised his mother who waspresent and did not know he had been playing fiddle. She wasapparently pleased because when he was 18 she gave him his firstfiddle, which she had purchased through a mail order catalog.Silvey began fiddling as much as possible, and on a number ofoccasions his mother came into his bedroom at midnight andinstructed him to put his fiddle away. For a year or so he played

for local square dances and once at a Fourth of July picnic. In 1953, at the age of 19, Silvey moved to Wichita,Kansas, to work for the Boeing Company. When possible he also played for square dances and clubs inWichita, where he expanded his musical abilities into a number of styles and instruments that included leadguitar. He later worked and played music in New Mexico, and then in the 1960s moved to Denver, Colorado,where his activities included regular performances for radio station KLAK. After living for a short period inLittle Rock, Arkansas, he moved to Louisiana where he became interested in bluegrass and played fiddle witha bluegrass band for seven years. In 1973 he moved back to Missouri, and began dairy farming nearTheodosia. He started playing for square dances again, and was the featured fiddler for 18 years atGainesville’s annual Hootin’ and Hollerin’ Festival every September. He appears often at other festivals andjam sessions such as the one on Monday nights at McClurg.

&

#

C

h»118

j

œ

œ

.

.

œ

œ J

œœ œb œn œ

Gœ

œ œ œœ œ œ œ œ œ œ œ

œœ

œ œ œœ œ œ

œœ

œ

œ

œ

D

œ

œ

œ

œ

œ

œ

œœ œb œn œ

G

&

#

.

...

œœ

œœ œ

œ

œ œ œ

C

œ œ} œœœ œ œ

œœ

D

œœ

↓

œ œ œ œœ

œœ

G

3

œ œ œ œ œ œœ œ

œ

œ

œ œ œœ

œ

œ

œ

œ

œœ

œ

œ œœ œ

œ

œœ œ œ

&

#

.

.

œœ œ

œ œ œ

œ

œ

D

3

œ

œ

œ

œ

œ

œ

œ

œ

œ œœ œ

œ

œ

œ

G

œ œœ

œ

œ œœ

œ

C

œœ

↓

œ œ

œ

œ

œ

œ

œ

œ œ

DD.C.œ

œ œœ

œ

œ

œ œœœ

G

œœœœ

œœ

œœ

œœ

œœ

œœ

œœ

&

#

œœ

œœ

œœ

œœ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ œ œ

G

œœ

œ

œ

œ

œœ

Œ

D G

œ

œ

œ

œ

.

.

˙

˙

.œ

J

œ œ œ œ

œ

œ

œ

œ

œ

œ

œœ

œœ œ œ

œ œœ œ œ

œœ

Broken Down Gambler

Introduction

Ending from *Variations V1 V1 V2

V1

V2

As played by H. K. Silvey in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 10/3/97; time: 2/2; key: G; scale: hexatonic major (no 4th; some low 7th); pattern: AABB (8,8,8,8); tuning: standard; second time through

*

A

B

Cou

rtes

y of

Gor

don

McC

ann

128

H.K. Silvey learned this tune from his uncle Jess Silvey, who apparently learned it from a 1930s recording by Gid Tanner and the SkilletLickers. Mark Wilson points out that H.K. Silvey’s treatment is more melodic compared to the shuffle-bowing style of the Skillet Lickers. He goeson to say that he believes that, generally speaking, Ozarks fiddlers tend to place more emphasis on melody than on bowing patterns when comparedto Appalachian fiddlers. Silvey’s version also involves using slides, especially in the first measure. Fiddler’s Companion suggests this is primarily anorth Georgia tune. Meade (p. 786) believes the tunes has similarities to “Waynesburgh,” “Bitter Creek,” and “Scott No. 2.” In this book, “BayRooster” and “Katy Hill” have similar A parts. Another musical transcription is in Phillips 1 (p. 38). Meade (p. 786) lists two early commercialrecordings, the earliest being by Lowe Stokes, Riley Puckett and Gid Tanner (1930).

&

#

#

#

4

3 ..

q»146

œ

œ

œœ

œœ

↓

..œœ

j

œœ œœ œœ

A

.

.œœ

J

œ

œ

œ

œœ

3

œœ

œœ

↑œœ œœ œ œ œ œ

œ

j

œœ

œœ œ œ œ œ

œ

œ œ

E

œœ

.

.œœ œ

œ

3

œ

œ

œœ

œ

œ œ

&

#

#

#3

œœ

œœ œœ œœ œ œ œœ

A

œ

œœ

3

œ

œ

œœ œ œ

œ

↓

œ

œ œœœœ

3

œ œ œ œœ

3

œœ

œœ œœ œœ œ œ œ œ œ œ

œ

œœ œ œ œ œ

œ

3

œ œ œ

↓E

&

#

#

#

œ

3

œ œ

↑œ

œœ

œ œ ˙

A

œœ

œœ

3

œ œ œ

↓œ .œ

J

œ œ

œœ

3

œ œ

↓

œ œ

3

œ œ

↓œ œ œ œ œ

Dœ œ œ

3

œ œ œ

3

œ œ# œ œ œ œ

œ

A

&

#

#

#

œœ

œ œn

↓

œœ œ œ œ œ

œ

œ œ

E

œ œ

œ œ œ œ œ œ œ

A

œ œ œœ œ .œ

J

œ↑

œ œ

Dœ

œ

3

œ↑

œœ œ

œœ

3

œ œ œ

A

&

#

#

#

.

.œ

œ}

œœ

œ

œ œ

E3

œ œ œ œœœ

œ œ

A

..œœ

j

œœ

œ

œ

œœ

j

œ œj

œ

œœ

.œ

↑

A

.˙

u

œ

œ

œœ

œ

œ

.

.

œ

œ

J

œ œ œœ

.

.œœ

J

œœœœ

œ

œ

.

.œœ

J

œ

œœœ

œ

Clark Waltz As played by H. K. Silvey in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 6/25/97; time: 3/4; key: A; scale: major (some high 4th, 1st; low 3rd, 7th); pattern: AB (16,16); tuning: standard; V4 is similar to first part of B for four measures

Ending from **

Variations V1 V2V3

V2V1

V3

V4

A

B

Silvey learned this tune from Lonnie Robertson. Art Galbraith also recorded it under the title “Red Hawk Waltz.” Charlie Walden includes“Clark’s Waltz” on his list of "One Hundred Essential Missouri Fiddle Tunes."

&C .

.

h»118

œ œ# œ œ œ œ œ# œ

œ

C

œ œ œ œ œ œœ œ œ

œ œ

œ

œ

œ

œ œ œ

G(C)

3

œ œ œ œ œ œ œ œ#

Gœ œ# œ œ œ œ œ

œ

C

œ œ œ œ œ œ œ œ

F

&

.

...

œ œ# œœ œ

œ

œ

œ

œ

œ

G1

.œ

J

œ œœ œ#

C2

.

.

œ

œ

j

œ

œ

œ

œ œ

œ

œ

œ

C

œ

œ

œ

œ œœ

œ

œ œ

œ œ

œœ œ œ

œ œ œ#œ œ œ œ œ

œ# œ œ

œ

G

&

.

.œ

œ

œ

œ

œ œ œ œ œ

↑

œœ

œ

œ œœ œ

œ œ

C

œ

œ

œ œ œ œœ œ œ#

F

œœ

œ œ œœ œ œ

G 1

œœœœ

œœ

œ

œœœ œ

œ

œ

œ

C2

D.C.

œœœœ

œœ

œ

œœœ

œ œ#

C

&

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œ œ#

œœœ

œœ

œœ

œ œ

C

œ œ œœ œ

œœ œ œ

œœ

œ œ œœ

Œ

G

œœœœ

œœ

œœ

œœ

œœ

C

Œ

œœ œœœœ

œœ

u

G C

Old St. Joe

A

B

Introduction

As played by H. K. Silvey in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 6/25/97 ; time: 2/2; key: C; scale: Lydian (high 4th); pattern: AABB (8,8,8,8); tuning: standard

Ending from *

*

This is another tune H.K. Silvey learned from his uncle Jess Silvey, who said he learned it by listening to Arthur Smith on the radio. MarkWilson says, however, that he is not aware of any recording of this tune by Arthur Smith. It was also played by Lonnie Robertson, who guessed itreferred either to Old Joe or St. Joe, both towns in Arkansas. “Old St. Joe” was also a nickname for early St. Joseph, Missouri. It does not appear tobe related in any obvious way to the tune “Old Joe” (see Phillips 1, p. 172, second version, and Christeson 1, p. 40), popularized by Tennessee fid-dler Sid Harkreader’s 1927 recording and often played in the Missouri. It also does not appear to be related to another tune called “Old Joe” (seePhillips 1, p. 172, first version, played by Oscar Stone) or to “St. Joe Hornpipe” (see Phillips 2, p. 222). Fiddle tunes sometimes do evolve overtime, and it is possible “Old St. Joe” does in fact relate to one of those other “Joe” tunes.

129

&b C .

.

h»114

œ œ

↓

œœ œ œ œ

œœ

F˙

˙ j

œœ œ

œœ œ œ

œ

œ

Bb

.˙ œ œ

F

œœ œ œ œ

œœ

˙˙

D7

œœ œ œ œ

œœ

G

&b

œ œœ œ œ

œ

œ œ

C

œœ œ œ œ

œœ

F˙

˙œ œ

œœ œ œ

œ

œ

Bb

.˙ œ

œ#

Fœ œ# œ œ œn œ œ

Bb

œ œœ œ

↑œ œ œ

œ

F D7

&b b

b

œ# œn œœ

œ œœ

œ

G C

œœœ

˙˙

œ

œ

œ

œ

F

œ

œ

œ

œ

œ œœ œn

Bb

œ œ œ œn œœ

œœ œ

↑

œ œ

↑

œ œ œœ

œ

Eb

.˙œ

œ

œ

œ

Bb

œ

œ

œ

œ

œ œœ œn

↓

&b

b

œ œ œ œn

↓

œœ œ

Gm

œ œ œ œ œn œ œœ

œ

n

C

œ œn œ œ œœ

œ

œ

œ

b

F

œ

œ

œ

œ

œ œœ œn

↓Bb

œ œ œ œn

↓

œœ

œœ œ œ œ œ œ œ

œ

œ

Eb

&b

b..

n

b

.˙ œ

œ

Bb

œb œ œ œ œ œ

Eb

œ œœ œn

↓

œ œ œœ

Bb G

œb œ œœ

œ œœ

œ

C F

˙

œ

œœ

œ

œ

œ

#

n

Bb

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œ

↓

œœ

Œ ˙˙

u

F

Home Brew Rag

IntroductionEndingfrom *

A

B

As played by H. K. Silvey in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 6/25/97; time: 2/2; key: F and Bb; scale: major (some high 4th, 1st; low 3rd); pattern: AB (16,16); tuning: standard

*

H.K. Silvey learned this tune, which he occasionally calls “Fruit Jar Rag,” from his uncle Jess Silvey, who learned it from a 1927 recording byLowe Stokes and his North Georgians. Stokes’s version (with Dixieland instrumentation) includes, in the B part, lyrics about a man’s praise of thepower of home brew. Other musical transcriptions are in Maloy (Devil’s Box, Winter 1983, p. 24) and Phillips 2 (p. 64, 65). Meade (p. 873) lists sixearly commercial recordings, the earliest being by Lowe Stokes (1927); others include the McClung Brothers & Cleve Chaffin (1929), and DocRoberts (1934).

Jam session at McClurg, MO, June 19, 2006. The musicians facing forward are Alvie Dooms, Ashley Hull, and H.K. Silvey.

Cou

rtes

y of

Gor

don

McC

ann

130

Cecil Snow

Cecil J. Snow (1918-1991) was born in Clayton,Oklahoma, but was best known as a fiddler in FortSmith, Arkansas, where he lived after his retirement.He represents a style that merges the fiddling stylesof the Ozarks and Oklahoma/Texas. His tunes have astrong old-time sound, but he often uses what I callthe “swing bow” pattern, which is more typical ofTexas swing fiddlers. In that pattern two eighth notesare slurred together with a single bow stroke andbegin on off-the-beat notes. For example, in a meas-ure divided by eight eighth notes, the second andthird notes might be slurred. You can see Snow’saffinity for this bowing pattern even in his hoedownssuch as “Old Gray Eagle” below. Another fiddlerfrom the border of Arkansas and Oklahoma, CottonCombs (in this book), also played with a “swingbow” pattern occasionally. Snow learned to play thefiddle, and learned many fiddle tunes, from hisfather. As a young man he moved to California tofind work, and there met and married his wife Helen.For a while the two managed a lamp and shade busi-ness, and then moved to Oregon where he worked for20 years in a post office. After his retirement in 1983,they moved to Texas and then decided to settle in

Fort Smith, Arkansas. There he began to play his fiddle more, and eventually joined a group called theCountry Boys that featured him with John Richards on guitar. Around 1989 Snow and Richards produced twocassettes of fiddle music called Old-Time Fiddlin’ & Pickin’, Sounds from the Ozarks and The Country Boys,Sounds from the Ozarks (or Sounds from the Ozarks Vol. II). Snow shows his love for playing waltzes on hisfirst cassette, which includes 13 of them. The cassettes as a whole shows his interest in a wide range of stylesthat include old-time, blues, Western Swing, marches, hornpipes, bluegrass, schottisches, and popular songtunes. Snow enjoyed playing his fiddle mainly for fun, and he rarely played in formal settings. According tohis wife he never played for a square dance, and only entered one fiddle contest (the “National” in Weiser,Idaho). He was, however, one of the best fiddlers in the western Arkansas Ozarks.

Cou

rtes

y of

Hel

en M

. Sno

w

131

&C

h»114

œœ

œœ œœ œœ œ

œ œ

Cœ œ

œ œœ

3

œœ œ œ

œœ œ œ

œ

œ

œ

œ

œ œ

F

œ œœ

.œ

j

œ œœ

œ ..

œœ

j

œ

œ

G

œ

œ

œ

j

œ

.œ

J

œ œ œœ

œ œ œ œ

&

œœ œœ ˙˙ œœ

C

.

.œœ

œœ#

œœ œœ œœœ œ œ œ

œ œœ

œœ

œ

œ œœ

œœ œœ œœœ œ

F

œ œœ

.œ

j

œ œœ

œ ..

œœ

j

œ

G

œ

œ

œ

j

œ

.œ

J

œ

&

œ œ œœœ œœ

œœœ .

.

˙

˙

œœ œ

Cœ œ

œ œ

œ œœ

œ œœ

œ œ œœ œ œ œ

œ œ

j

œ œ œœ

œ

F

œ œœ

œ œ

œ œœ

œ ..

œœ

j

œ

œ

G

&œ

œ

œ

j

œ

.œ œ œ œ œœ

œ œ œ œœœ œœ ..œœ

J

œ œœ

Cœ œ

œ œ

œ œœ

œ œ œœ œ

œ œœ

œ œ œœ œ

œ œœ

F

œ œœ

œ œ œ

œ

&œ

œœ .

.œœ

j

œ

œ

G

œ

œ

œ

j

œ

.œ

J

œ œ œ œœœ œœ œ

œœœ w

w

C

.

.œœ

j

œ œœ

3

œœ

œœ œœ œœ œ œ œœ

3

œœ

œœ œœ ..œœ

j

œ

œ

œ œ

F

&

œ œœ

.œ

j

œ œœ

œ ..

œœ

j

œ

œ

G

œœ

j

œ

.œ

J

œ œ œ œ œ œ œ œœœ œœ ˙˙ œœ

C

.œ

j

œ œœ

œœ

œœ œœ œœ œœœ

œ

& œœ

œœ ..œœ

j

œ

œœ œ

F

œ œœ

.œ

j

œ œœ

œ ..

œœ

j

œ

œ

G

œ

œ

œ œœ œ œ œ œ œ

œœ œœ œœ

œœ .

.

˙

˙

œœ

C

.

.

˙

˙

œ

œ#

C

œ

œ

# œ

œ

j

œ

œ

n

#

.

.

œ

œ

↓

w

w

u

A

B

Ending from *

Lone Star Rag

CTo Aor C

To B

*

As played by Cecil Snow in The Country Boys, Sounds from the Ozarks (self produced cassette, c. 1989); time: 2/2; key: C; scale: major; pattern ABCBCBAB (all 16); tuning: standard

“Lone Star Rag” appears to be virtually identical to “Stone Rag.” “Stone Rag” was written by Oscar Stone, the fiddler for the early Nashvillestring band Dr. Humphrey Bate’s Possum Hunters. It was first recorded in 1928 by Paul Warmack's Gully Jumpers featuring fiddler CharlieArrington, who was according to Fiddler’s Companion a friend of Oscar Stone’s. “Lone Star Rag” was popularized by Bob Wills in his recordingfrom 1940. Because Wills’ version included many improvisational passages, it might have been conceived as a stylized interpretation of “StoneRag.” Snow’s C part appears to be unusual, and might simply be a variation on the A part (he always plays the B part after both the A and C parts).Kerry Blech suggests that the earlier “Whiskers" is similar, and it might have been Stone’s inspiration for “Stone Rag” (although Lacey Hartje’s“Whiskers” in this book does not seem closely related melodically). Musical transcriptions of “Stone Rag” or “Stone’s Rag” are in Brody (p. 266),Christeson 1 (p. 153), Phillips 2 (p. 137), and Songer 2 (p. 195). Phillips 2 also includes a “Lone Star Rag” (p. 80) performed by Bill Boyd, but itappears to be a different tune. Meade (p. 867) lists seven early commercial recordings under the title “Stone Rag,” the earliest being by PaulWarmack (1928); the earliest recording of “Lone Star Rag” is by Bob Wills (1940).

&

#

#

#

C ..

h»106

œ

œ

œ

œ

œœ

œœ ..œœ

J

œœ

A

œ

œ

œœ œ œ

œ

œ

œ

œ

œœ

œ

œ

œ œ œœ

œœ

œ

œ

E1

œœ

œœ œœ

œ

œ œ

œ

œ

œ

œ

A2

œœ

œœ œœ œ ˙

A

&

#

#

#

.

..

.

œ

œ

j

œ œ

œ

œ

.

.œœ

j

œ

œ

œœ

œœ

D

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œœ œ

E

œ

œ

œ

œ

œœ

˙˙

A

.

.

œ

œ

j

œ

œ œœ

œ

œœœ

œ

œ

œœ

œ œ

D

&

#

#

#

.

.œ

œ œ œ œœ

œœ

œ

œ

E1

œœ œ œ ˙

A2

D.C.

œœ

œœ œœ œ

.

.

œ

œ

J

œ

œ

E A

œœ œ œ

˙

˙

E A

w

u

œ œ œ œ œœ

œœ

œ

œ

œœ

A

B

Ending from * Variation V1

Old Gray Eagle

V1

As played by Cecil Snow in The Country Boys, Sounds from the Ozarks (self produced cassette, c. 1989); time: 2/2; key: A; scale: pentatonic major (no 4th, 7th); pattern AABB (4,4,8,8), sometimes AAB; tuning: standard

*

I have included three versions of “Grey Eagle” in this book. Besides this one, Ike Helton plays a fairly standard version and Jim Herd plays amore unusual C-key version. Snow’s version is similar to a version transcribed in Thede (p. 137) from the playing of Pottawatomie County,Oklahoma, fiddler Bill Evans. Evans said he associates the tune with a poignant story about an eagle and a tomcat getting into a fatal fight while

Track #19

132

&

#

#

#

4

3

q»158

j

œ

œ

œœ

œ

œ

A

œœ

œœ

œ œ œ œ œœ

œ

œ œ.œ

J

œ

œ

œœ

œ œ

.

.

œ

œ

j

œ

E

œ

œœ œ œ œ

œ œœ

œ œ œ œ

œ

œœ

œ

œ

œ

œ

&

#

#

#

œ

œ œ œœ

œ

œ

A

œœ

œœ

œ œ

œ

œ œ œœ

œ

œ

œ

œ

œ

.

.

œ

œ

J

œ

œ

œœ

œ

œ

œ

œ

.

.

œ

œ œ

œ

œ

E

œ

œ

œœ œ œ

.œ

J

œ œ œœ

˙

˙

œœ

œ

A

&

#

#

#

.

.

œ

œœ

œ

œœ↓

œ .œ

J

œ

œ

œœ

œ

œ

œ

œ

.

.

œ

œ

J

œ

œ

E

œ

œ

œ

œ

œ œ œ œ

œ œœ

œ œ œ œ œ

œ

œœ

œ

œ

œ

œ

œ

œ œ œœ

œ

œ

A

&

#

#

#

.

.œœ

œœ

œ œ œ œœ

œ

œ œ.œ

J

œ

œ

œœ

œ œ

.

.

œ

œ

J

œ

œ

E

œ

œ

œœ œ œ

.œ

J

œ œ œœ

1˙

˙

œœ

œœ

A2

D.C.

.

.

˙

˙

A

œ

œ

œœ

œ

A˙

˙

U

A

B

Ending from *

Old Cajun Waltz As played by Cecil Snow in The Country Boys, Sounds from the Ozarks (self produced cassette, c. 1989); time: 3/4; key: A; scale: hexatonic major (no 4th); pattern ABBBABB (A=16, B=15); tuning: standard

*

I know little about this beautiful waltz. It bears a slight resemblance to Lonnie Robertson’s “Canary Waltz” and to his “Bluebird Waltz.”Occasionally, fiddlers in the Ozarks will mention that a certain tune is Cajun, but—as is the case with words like blues and rag—the way individualfiddlers define the word Cajun is not always clear. Louisiana, where most French-derived Cajun music is found, is just below Arkansas, and itwould be reasonable to assume that some Cajun tunes drifted up to the Ozarks.

&

#

#

4

3 ..

q»150

J

œ œ œœ

œ

œ

D

œœœ

œ

3

œ œ

œ

œ

œ

œ

œ

œ

G

.œ

j

œ œ œ œœ

œ œ

A

œ œœ œ œ œ œ œœ œœ œ

œ˙˙

œœ

œ

D

&

#

# ..

œ œœ

œ ..

œœ

j

œ œ

œ

œ

œ

œ

œ œ

3

œ œ œ

G

.

.œœ

j

œ œ œ œœ

œ œ

A

œ œ œ œ œ œ œœ

œœ

1

˙˙ œœ

œ

œ

D

&

#

#

2

..˙˙

D

œ

œ

œœ

œœ œ}

œœ

œœ

œœ œœ œ

œ

œ

œ

œ

œ

œ

œœ

œ

G

.

.œœ

j

œ œ

↓

œ œœ

œ œ

A

œ œ œ œ œ œ œœ œœ œœ

˙˙

œœ

œ

œ

D

&

#

#

œ

œ

œœ

œ ..

œœ

j

œ œ

œ œ

œ

œ œ

œ

G

.œ

j

œ œ œ œœ

œ œ

A

œ œ œ œ œ œœ

œœ

D.C.

˙˙ œœ

œ

œ

D

œ œ œœ

œ

D.

.

˙

˙

u

A

B

Ending from *

Ozark Moon As played by Cecil Snow in The Country Boys, Sounds from the Ozarks (self produced cassette, c. 1989); time: 3/4; key: D; scale: major (some low 7th); pattern AAB (16,16,16), often AB; tuning: standard

*

In playing this beautiful waltz, Snow often bows across the measure lines. The technique adds both a loping kind of rhythm and a strong for-ward motion. One eight-measure melodic passage is repeated often. If we include repeats and disregard ending measures, the pattern of eight-meas-ure phrases for the complete tune would be AAAABA. I can find little information about the history of this waltz. A number of Ozarks fiddlerssuch as Lonnie Robertson, Bob Holt, and Glenn Rickman played the tune, but surprisingly the tune is primarily associated with Washington Statefiddler Joe Pancerzewski. Pancerzewski (1905-1991) recorded a fairly elaborate version of “Ozark Moon Waltz” on his LP Fiddling Moods of JoePancerzewski (Voyager VRLP 327-S, 1980). Another Washington fiddler, Gil Diesecker, also recorded the tune and reported he learned it fromMonte Stephens at Weiser, Idaho. Ozarks fiddlers such as Snow and Rickman lived in the Northeast for periods of time, and it is interesting tospeculate about the tune’s origin and history. A musical transcription of Joe Pancerzewski’s version of “Ozark Moon Waltz” is in the Devil’s Box(Vol. 31, No. 2, Summer 1997, p. 36).

airborne. Snow lived on the Arkansas/Oklahoma border, and perhaps this version is linked primarily to Oklahoma. On the other hand, the tune isalso popular in the Portland, Oregon, region (see Songer 2, p. 77, 254), and Snow might have learned it while he lived in Oregon. It gets complicat-ed because the notes in Songer 2 point out that Thede’s book was at least occasionally used as the source for Oregon fiddlers. The A part resemblesthe old standard “Cindy,” and the B part has a driving rhythm and a catchy climbing melody that make the tune especially distinctive (somewhatreminiscent of the A part of “Rachel”). Missouri Ozarks fiddler Bill Graves plays a similar tune called “Fort Gibson” on his Sugar in the CoffeeCD. For more historical information about “Grey Eagle,” see Ike Helton’s version. Another musical transcription of Snow’s version is in Thede (p.137).

Track #20

133

Fred Stoneking

Fred Stoneking (1933-) was born into a large familyof musicians. He said, “All my brothers play fiddles, allof them play guitars, and all of them play banjo; andthat’s pretty much true of my sisters too.” Speakingabout the passion his father Lee (also featured in thisbook) felt for fiddle music, Fred says, “Many nights I’dfall asleep to the sound of the fiddle and wake up to findDad still a-playing; or maybe he’d go to sleep himselfand get up early and start all over again” (both quotesfrom liner notes to Rounder CD 0381). He grew up nearClinton, Missouri, on a farm without electricity wherelarge fields of row crops were plowed with horses.Square dances were held in homes, with the fiddler inthe doorway, or at a couple of dance halls in nearbytowns such as Deepwater and Urich. Members of theStoneking family, including Fred, were often responsiblefor the music at these dances. Fred was in the KoreanWar in early 1950s, and after he was discharged he livedin California and Wyoming for a few years before set-tling in Arizona for 12 years. He decided to move backto Missouri and bought a place near Clinton where heworked as a welding foreman for 18 years. Before themid-sixties Stoneking usually played guitar or banjo, butafter watching his father win a hundred dollars in a fid-dle contest, Stoneking decided to focus more on fiddle.In 1966 Stoneking won his first fiddle contest (beatinghis father, among other fiddlers), and since then he has

been active in the Midwest fiddle contest “circuit.” Stoneking has many memories of fiddlers and judges whowere dishonest in these contests, and he says he tries not to take the events too seriously. He also played back-up guitar on a regular basis for the late great fiddler Pete McMahan, among others. After his welding job inClinton ended, he worked for a short time in Nebraska at an alfalfa company and then settled in theSpringfield, Missouri, area. He played fiddle in Branson at Silver Dollar City, and performed for a while withthe Horse Creek Band. He also performed at the nearby Shepherd of the Hills theatre. When the area grew andtraffic tie-ups became widespread, Stoneking decided to focus on building and repairing (and of course play-ing) musical instruments. One of his joys now is seeing his children Alita and Luke build reputations as con-test fiddlers. Just as Stoneking won fiddle contests against his father, so has Alita beaten her father in contests,but Stoneking encourages her, saying, “It just tickles me to death to have one of my kids beat me doing some-thing that I’m trying my best to do.” [Information and quotes from liner notes to Rounder CD0381.]

Cou

rtes

y of

Gor

don

McC

ann

134

&

#

# C ..

h»118

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

D

œ œ

œ

œ

}œ œ

œ}

œœ œ

œ

G

œ œ#

↓œ

œ œ

œœ œ

D

œœœ œ œ

œœ

œ œœ

A

œœ

œ

3

œ

œ

œœ

↓

œ

œ

œ

œ

œ

œ

œ

œ

D

&

#

# ..

.

.œ œ œœ œ

œ}

œœ œ

œ

G

œ œ#

↑œ

œ œ

œœ œ

A1œœ

œœ

œœ

œœ

œ

œ

D2œœ

œœ

œœ

œœ œœ

œœ

A D

œœ œ œ œ#

↓œ œ

↓œ

œ œ

œ

œ

œ

œ

œ

œœ œ œ

G

&

#

# ..

œ œ#

↓œ

œ œ

œœ œ

D

œœœ œ œ

œœ

œ œ

A

œœ œ#

↓œ œ

↓œ

œ

œ

Dœ

œ

œ

œ

œ

œ

œœ œ œ

G

œ œ#

↓œ

œ œ

œœ œ

A1œœ

œœ

œœ

œœ œœ

œœ

D

&

#

#

2D.C.

œœ

œœ

œœ

œœ

œ

œ

A D

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œœ œ œ

œœ

œ

œœ

↓

A D

œ œ

↓œ

œœ

œ œœ œœ

œ

3

œ

œ

œœ

œ

œ

˙

˙

A D

Birdie in the Snowbank

A

B

Ending from ** Introduction

As played by Fred Stoneking in Saddle Old Spike (Rounder CD0381, 1996); recorded 1995 or 1996; time: 2/2; key: D; scale: hexatonic major (no 7th; some high 4th); pattern: AABB (8,8,8,8); tuning: standard

“Birdie on a Snowbank,” which is similar to Vesta Johnson’s “She Ought To Been a Lady” (in this book), is part of the large family of tunesconnected to “Beaux of Oak Hill,” an Irish tune. The list of similar tunes and alternate titles in Fiddler’s Companion includes: “The Boys of OakHill,” The Beau of Oak Hill,” “The Boys of Bluehill,” “Boys from the Hill,” “Slieve Gorm,” "Jenny Baker," "Lonesome Katy,” “Two Sisters,”“Twin Sisters,” “The Old Ark’s A-Movin,” "Keep the Old Ark Rolling," “Hell on the Wabash,” “Boys of North Tyne,” and "Silver Lake." Meade(p. 727-728) adds as related tunes “”Reel Du Debutant,” “Turkey in the Straw,” “John Baltzell’s Reel,” “Raisin’ ‘Ell,” and “Sheep and the HogWalking Through the Pasture.” The first published version of the tune appeared in 1839 in Knauff’s Virginia Reels under the title “The TwoSisters.” The tune under the title “Beaux of Oak Hill” was published in the 1883 Ryan’s Mammoth Collection. While the tune is perhaps most popu-lar in Great Britain and northern U.S. states, it’s appearance in the collections by Ford and Christeson (see list below) suggest the tune has a historyin the Midwest. Also, Henry Reed of Virginia played a similar tune he called “Sally Ann Johnson” (see Alan Jabbour’s “Fiddle Tunes of the OldFrontier” website at http://memory.loc.gov/ammem/hrhtml/hrhome.html). Other musical transcriptions are in Bayard (p. 117; “Silver Lake”), Brody(p. 54; “The Boys of Bluehill”), Christeson 1 (p. 74; “Breakdown,” first one), Cole (p. 28; “Beaux of Oak Hill”), Ford (p. 57, “Lonesome Katy”),Howe (p. 76), Jarman (p. 75; “Beaux of Oak Hill”), Kennedy (p. 7, "Beaux of Oakhill" and “Boys of Blue Hill”), Kerr’s 2 (p. 116, “Beaux of OakHill”), O'Neill (Walton, p. 154, “The Boys of Bluehill”), O'Neill (Krassen; p. 197; "Boys of Bluehill"), O'Neill (Rock Chapel, p. 316; “Boys ofBluehill"), Phillips 1 (p. 123; “Jenny Baker”), Phillips 2 (p. 94; “The Old Ark’s A-Moving”), Roche III (p. 64, ‘The Boys of Bluehill”), and Ryan’s(p. 52; “Beaux of Oak Hill”). Meade (p. 727) lists seven early commercial recordings, the earliest being by Charles D’Almaine (c. 1913, “Fisher’sHornpipe Medley”); others include William B. Houchens (1922; “Turkey in the Straw”), Tommy Dandurand & His WLS Barn Dance Group (1927;“The Beau of Oak Hill”), and McLaughlin’s Old Time Melody Makers (1928; “Raisin’ ‘Ell”).

&b C .

.

h»110

œ œ œ œ œ œ œ

œ œ

F

œ œœ

œ œœ

œœ

œ œ œ œ

œœ œ

œœ

Bb

œœ œœ œœœ

œ

œ

œ

œ

œ

Fœ œ œ œ œ

œ

œ

œ

œœ œ

œ

œ œ œœ

&b

œ œ œn œ

↑

œ œ

↑

œœ

Gœœ

œœ

œœ

œœ

œj

œœ

Cœ

œœ œ œ œ

œ

œ

œ

Fœœ

œ

œœ

œœ œ

œ œœ

œœ œ œ œ œ

œœ

œœ

Bb

œœ œœ œœœœ œœ œœ

F

&b œœ

œ œ œœ œ œ œ

œœ œ œ

œœ œ œ œ

Bb

œ œ œ œ œ œ œœ

C

œ

œ

˙

˙œ

.œ

F

œœ œ œ œ œ

↓

œ œ œ œ

↓

œ œœ

˙˙ œ œ œ

œ œ œ œj

œ

œ œ

Bb

&b

œ

˙

˙œ œ

F

œ œ

↓

œ œ œ œ œ œœ

œœ

œ œœ œœ œœ

n œ œ œ œ œœ

œ

G

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

↑C

œ œ

↓

œ œ

↑

œ œ

↑

œ œ

F

œœ

j

œ

œœ

œ

œœ

œœ

&b .

.œ œ œœ

↓

œ œ œœ

Bb

œ

œ

˙

˙œ œ

↑F

œ œ

↓

œ œ

↑

œ œ

↑

œ œœ

œ

j

œ

œœ œœ œœœœ

œœ

œœ œ œ

œ œ œ œœ

Bb

œœ

œœ œ

œœ

œ

œ

œ

F

œ

œ

Œ

˙

˙

u

Fœ

œœ œ œ œ

œ

œ

œ

Blackberry One StepA

B

Ending from *Variation V1

*

As played by Fred Stoneking in Saddle Old Spike (Rounder CD0381, 1996); recorded 1995 or 1996; time: 2/2; key: F; scale: major (some high 4th, 5th, low 6th); pattern: AB (16,16); tuning: standard

V1

Stoneking learned this tune, which is a companion to “Blackberry Waltz,” from his father.

135

&b

4

3 ..

q»154

œ œ.œ

J

œ œ œ

F.œ

J

œœ

œ

œ

œ

œ

Bb

œœ œ

œ œœ

F

..œœ

J

œ œ

↑œ œ œ œ œ œ

œ

C

œ

œ

œ

œ œn œ

&b

œ œœ œ

œ

F

..œœ

J

œ

œ œ

œ

.

.

œ

œ

J

œ

œ

#

n

œ

œ

œn œ

3

œœ œ

œ

œ

œ

œ

Bb

œ œ

œ

œœ œ

œ

F

..œœ

J

œ œ

↑

œ

&b

œ œ œ œ œ œ

œ

C

œ

œ

œ

} œ

œ

}œ œ

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

F

˙

˙œ œ

↑

œ œ

↑

œ œ .œ

j

œ œ œ

Bb

&b

œ œ

↑

œ œœ œ

F

..œœ

J

œ œ

↑œ œ œ œ œ œ

œ

C

.

.

œ

œ J

œ œ œ œ œœ œ

œ

F

..œœ

J

œ

3

œ

œ œ

&b

œ œ œ œ .

.

œ

œ

j

œ œ œ

Bb

œ œ

↑

œ œœ œ

F

..œœ

J

œ œ

↑œ œ œ œ œ

œœ œœ

C

œ œ œ œ œ

&b

.

.œ

œœ

œ

œ

œœ

œœ

F

.

.œœ

j

œ

œ œ

œ

œœ

œ

œ

C

œœ œ

œ

œ

œ

F

.

.

˙

˙

u

.œ

J

œ# œ œn

œ œ œ œœ œœ#

Blackberry WaltzA

B

Ending from *

*

Variations V1 V2

V1

V2

As played by Fred Stoneking in Saddle Old Spike (Rounder CD0381, 1996); recorded 1995 or 1996; time: 3/4; key: F; scale: major (some high 4th, 2nd); pattern: AB (16,16); tuning: standard

He learned this tune, which as in large part a waltz version of the above “Blackberry One Step,” from his father.

&

#

#

#

C ..

h»124

œœ

œ

œ

œ

œ

œœ

œ

œ œœœ

œœ œœ

A

œœœœ

œœ œœ

œ œ œ

œ œ œ œœ

œ

œ

œœ

œœ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ

E

œ

œ

œœ

œ œœœ

œœ œœ œœœœ

œœ œœ

œœ

œœ

j

œ œœ

&

#

#

#

.

...

œœ œ

œ œ œœ

œ

œ œ

1

œœ

œœ œœ œœ œœ œœ

œ

œ œœ

A2

œœ

œœ œœ œœ œœ

œ

œ

œ

œ

Aœ

œ

œ

œ

œ

œ

œœ œ œ

œ œ œœ

œœ œœ

œ

œ œœ

œ

œ

œœ

œ œ œ œ œ œ

&

#

#

#

.

.

œœ

œ

œ

œ

œœ

.

.œ

œ

j

œ

Eœœ

œœ

.

.œœ

J

œœ

œœ ˙

˙œ œ œ œ œ œ œ

œœ

œ

œ œ

1..

œœ

J

œœ œœ œ œ

œ

↓A2

D.C.

œœ

œœ œœ œœ œœ

œ œ

A

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

&

#

#

#

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

œœ

œ

œ

œ

œ

œ

œ↓

Aœ œ œ

j

œ

œœ

j

œ

œ œ œœ

œ

œ

œ

œœ

œ

œ Œ

E A

œ

œ

œœ

œ œ œœœ œœ

œ œ œ œœ œœ

œ

œ

œ œ

Burt County Breakdown

Introduction

Ending from *

A

B

Variations V1 V2

V1

V2

*

As played by Fred Stoneking in Saddle Old Spike (Rounder CD0381, 1996); recorded 1995 or 1996; time: 2/2; key: A; scale: major; pattern: AABB (8,8,8,8); tuning: standard

Stoneking learn this tune from Ozarks fiddler Lacy Hartje. The tune was also recorded by Central Missouri fiddler Howard Marshall (inFiddling Missouri), who described the tune as one played by well-known Midwest fiddlers Cyril Stinnett, Pete McMahan, Charlie Walden, andDwight Lamb. The tune is likely linked ultimately to Nebraska fiddler Bob Walters, who lived in Burt County, Nebraska.

136

Stoneking calls this tune one of his own. Around 20 years ago he’d been playing the tune for a while and was unable to think of a name. Onemorning at breakfast his wife Evelyn burnt one side of a piece of toast, and proceeded to butter the light side. Stoneking, who wanted the butter onthe burnt side to mask the burnt taste, suggested, “Butter the other side.” He decided it was a good title for his tune. He says he would call it a reelor round dance tune. It could perhaps be considered in the “Katy Hill” family of tunes.

&

#

# C ..

h»124

œ

œ

œœ

œœ œœ

œ

œ

œ

œ

œ

œ

œœ œ œ œ

œ

œ œœ œœ

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ œœ

œ

œ

œœ

œ

œ œœ œ œ œœ œ

œœ

œ

œ

œ

œœ

œœ œœ

œ

œ

œ

œ

œ

œ

œœ

œœ

&

#

# ..

.

.œ œ œ œœ œœ

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ œœ

œ

œ

œœ

œ

œ œ

1

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

œ

œœ

2

œ

œ

œœ

œ

œ

œœ

œ

œ

œ œ œœœ œ œ

œ œ œœ œ œ œ œœ œ

œœ

œ

œ

œ

œ

œ

&

#

# ..

œœœ

œœ œ œ œ œ œ œ œœ œ

œœ

œ

œ

œœ œ

œœ œ œ

œ œ œœ œ œ œ œœ œ

œœ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ œœ

œ

œœ

œ

œ œ

1

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

œ

œ œ

&

#

#

2

D.C.

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œœ

œ

œœ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ œ œœ

œ

œ œœ œœ

œ

œ

œ

œœ

œ

œ

Œ

Buzzard in a Pea Patch

A

B

Introduction Ending from **

As played by Fred Stoneking in Saddle Old Spike (Rounder CD0381, 1996); recorded 1995 or 1996; time: 2/2; key: D; scale: major; pattern: AABB (8,8,8,8); tuning: standard; solo fiddle piece

Stoneking learned this tune from a recording by Kentucky fiddler Buddy Thomas, who played the tune under the title “Turkey in a Pea Patch”on his Kitty Puss album (Rounder CD0032). The tune is played by another Missouri fiddler, Charlie Walden, who also recorded it as “Turkey in aPea Patch” in his CD titled “Patt n’ Possum” (PP-006). A musical transcription of the similar “Turkey in a Pea Patch” in Songer 2 (p. 211).

&

#

C ..

h»126

j

œ

œ œœ

œ œ œ

œ

œ

G

œ œœ

œ

œ œœœ œ

œ œ œ œœ œ

œœ œ

œ œ#

↓œ œ œ

Dœ œ œ œ œ

œ œ

œ

G

&

#

.

...

œ œœ

œ

œ œœ œ

C

œœ

œ

œ œœ œœ

D1

œœ œ œ

œœ

œ

œ

G2

œœ œ œ

œœ

œœ

œ

D G

œœ

œœ œ œ

œœ

œœ

œœ

œ œ j

œ œ œ

œ

œ

œ

&

#

.

.œ

œ

œ

œ

œ

œ

œ

œ

œœ œœ

œœ œ œ

œœ

œœ

œ

D

œœ

œœ œ œ

œœ

œ

G

œ

œ

œœ

œ

œ

œ

œœ œ œ

C

œ

œ

œœ

œ

œ

œ

œœ œ

D1

œœ œ œ

œœ

œœ

œ

G

&

#2

D.C.

œœ œ œ

œœ

œD G

œœ

œœ

œœ

œœ

œœ

œœ

œœ œœ

œœ

œœ

œœ

œœ

j

œ

œ

œœ œ œ

œœ

j

œ

œ

D Gœ œ œ

œ œ

œœ œ

œœ

œœ œ œ œ#

D G

&

#

œœ

œ œ œ œn œœ

F

œ œ œ œ

˙

˙

u

D G

œ œœ

œ

œ œœœ

œœ

œœ

œ œ œœœ

œœ

œ

œœ

œ œœ

œ

œ

œ

œœ

œ

œ

œ

œœ œ

Butter the Other SideA

B

Ending from **

V1

V2

Introduction

Variation V1 V2 (always played 2nd time through B part) V2

As composed and played by Fred Stoneking in Butter the Other Side (self produced cassette); recorded c. 1980s; time: 2/2; key: G; scale: Lydian (high 4th, some low 7th); pattern: AABB (8,8,8,8); tuning: standard

Track #21

137

&

#

C ..

h»118

œœ

œ

œ

œ

œœ

œ

œœ œ œ

œœ

G

œ œœ

œœ

œœ

œœ

œ

œ œ œœ

D

œ

œ

œœ

œ œ œœ œ œ œ œ œ

↓

œœ œ œ

œ

G

œœ

œ

œœ œ œ

œ

œœ œ œ

œœœ

œœ

œ

œ

œ

œ œœ

D

&

#

.

...

œ

œ

œœ

œ œ œœ œ

œœ

1

œœœ œ œ

œœœ

œ

œ

G2

œœœ œ œ

œœ

œ

œ

œ

œ

↑G

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

C

œ

œ

œ

œ

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œœ œ

œ

G

œœ

œœ œ œ

œœ

œ œ

D

&

#

.

...œ œ

œ

œ

œ

j

œœ

œ

# œ

œ

œ

œ

œ

œ

G

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

C

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œ

œ

G

œœ

œœ œ œ

œœ

œ

œœ

D1

œœœ œ

œ

œœœ

œ

œ

œ

œ

#

G2

œœœ œ œ

œœ

œ

œ

G

&

#

œ

œ

œ

œ

.

.

œ

œ

J

œ

œ

œ

œ

œœ

œ œ œœ

D

œ œœ œœ

œœ œ œ œ œ œ œ œ

œ œœ

G

œœ œ

œ

œ

3

œ œj

œ œ œ œ œ œ œ œœ

D

&

#

.

...

#

#œ œ

œ œœœ

œ œ œ

1œ œ œ œ œ œ

œ

œœ

G2

œ œ œ œ œ

œœ

œ

œ

G

œ

œœ

œ

œœ œ œ

œœ

D

œ œœ

œœ

œœ

œ

œ œ œœ

A

œ

œ

œœ

œ œ œœ œ œ

&

#

# ..

œ

œœ

œ œœ

œ

œ œ

D

œœ

œ

œœ œ œ

œœ œ œ

œœœ

œœ

œ

œ œ œœ

A

œ

œ

œœ

œ œ œœ œ œ

1œ

œœ œ œ

œœ

œœ

œ

œ

D2

D.C.

œ

œ

œ .

.

œ

œ

n

J

œ

D

&

#

œœ

œœ

œœ

œœ

œœ

œœ œœ

œœ

œœ

œœ

œœ

œœ

œ

œ

œ

œ

œ œ œœœ

œ

Gœ œ œ

œ œ

œ

œ œœ

œ

œ œœ

œœ

Œ

D G

œœ

œ

œj

œœ œ

Cherry Blossoms As played by Fred Stoneking in Saddle Old Spike (Rounder CD0381, 1996); recorded 1995 or 1996; time: 2/2; key: G and D; scale: major; pattern: AABBCCDD (all 8); tuning: standard

A

B

C

D

Variation V1Introduction

*

Ending from *

Stoneking learned this tune on the fiddle contest circuit from a fiddler in California. Notice that the D part is, for the most part, the A partshifted to the key of D. Also the chord development, such as the quick move to the V chord (D or A) in the second measures of parts A, C, and D,is unusual. These kinds of melodic and chordal qualities, rare in traditional tunes, do suggest the tune is fairly progressive. At the same time, partsA and D make use of two-string melodic patterns common in older tunes such the above “Burt County Breakdown.” “Cherry Blossoms” bringstogether the old and the new.

&

#

#

#

C ..

h»124

œœ

œ

œ

œ

œ

œœ

œ

œ

œœ

œœ

..œœ œœ œœ œœ œœ œœœœ œœ œœ œ

œœ

œ œœ

œ

œ

œœ

œ

œ œœœ œœ œœ œœ œœ œœ

œœ œœ œœ œ

œœ

œ œœ

&

#

#

#

.

.

œ

œ

œœ

œ

œ œœœ œœ œœ œœ œœ œœ

œœ œœ œœ œ

œœ

œ

œ

œœ

œœ œœ œœ œœœ

œ

œ

œ

œ

1œœ

œ

œ

œ œœ

œ

œ

2œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

n

&

#

#

#

.

.

œ

œ

œ

œ

œ

œ

œœ œ

œœ œ

œ

œ

œœ

œœ

œ

œn œ œ œ œ œ

↓œ œ

↓œ

œ œ œ œ

œœ

↓œ œ

↓œ

j

œœ œ

œ œ

œ

&

#

#

#

.

.

œ œœ

œ

œœ

œœ œ

œœ

œ

œœ

œ œ œœ

œœ

œ

1œ œ

œœ

œ

œœn

œ

œ

œ

œ

œ

œ

œ

œ

n 2

D.C.

œ œœ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

&

#

#

#

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

œ

œœ

˙

˙

œ

œ

œ

œ

œ

œ

œ œœ

œ œœ œœ

œ

œ

œ œ˙˙

U œ œ œ œ

œ œ œ↓ œ

œ œ œœ œœ

œ

œ

œ

œ

œ

œ

œ

œ

n

Dance Around Molly As played by Fred Stoneking in Saddle Old Spike (Rounder CD0381, 1996); recorded 1995 or 1996; time: 2/2; key: A; scale: major (some low 7th); pattern: AABB (8,8,8,8); tuning: EAEA

A

B

Introduction

Ending from *Variation V1

V1

*

138

Stoneking learned this tune, widely played in Missouri, from central Missouri fiddler Pete McMahan who also recorded it. Mark Wilsonbelieves it likely came into Missouri through Tommy Magness’s early 1950s recording with Roy Acuff’s band. Fiddler’s Companion offers the fol-lowing story: “Magness composed the tune one night after a gig when eating in a restaurant with his band. A waitress named Molly started banter-ing with the band and got them to play a tune so she could dance to it. The tune, which he either composed on the spot or composed in commemo-ration of the event, became ‘Dance around Molly.’” The website goes on to say, however, that the tune might in fact be traditional, and that it wasplayed by Magness’s contemporary J.E. Mainer. It is similar to other tunes, and utilizes a number of widespread melodic elements and techniques(including some from Stoneking’s three above tunes). The A part resembles the A part to tunes such as “Turkey Knob” (in this book), and it is alsosimilar to the B parts in tunes such as “Fort Smith” and “Lonesome Polly Ann” (both in this book). The B part is almost the same as the B part toDean Johnston’s “Frisky Jim” (in this book; compare A parts too). Charlie Walden lists “Dance around Molly” among his “One Hundred EssentialMissouri Fiddle Tunes.” Another musical transcription is in Phillips 1 (p. 65).

&C .

.

h»118

œœ œœ œœœ

œ œœ œœ œœ

C

œœœ

œ œœ œœ œ œ

.

.

œ

œ

J

œ

œ

œ

œ

œ

œ

G

œ

œ

œ

œ

œ

œ

œœ œ œ œ

œ

œ

œ

œ

œ

œœ œœ

œœ œœ œœ ..œœ

C

œœœ

œ œ œœ œœ œ

œ

F

&

.

...œ

œ

œ œ œ œ œ œ œ œ

G1œ œ

œœœ

œœ

œœ

œœ œœ

C2œ œ

œœœ

œœ

œœ

œ

œ

œ

œ

G C

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ œ œ œ œ œ œœ œ œ

œ

œ

œ

œ

œ

œœ

œ

œ œœ œ

G

&

.

.

œœ

œ œ œœ œ

œ

œœ

œœ œ œ

œ œ

œ

œ

C

œ œ

œ

œ œ œœ œ œ

œ

F

œ

œ

œ

œ

œ œ œ œ œ

G1œ œ

œœ

œœ

œœ

œœ

C2

D.C.

œœ œœœ

œœ

œœ

œœ œœ

G C

&

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œœ œ œœœ

œœ

œœ

œœ

C

œœ œ œ

œ

œ œœ

œ œœ

œ

œœ

œœ

Œ

G C

ww

u

œ

œ

œœ

œœ

œœ

œ

œ

œœ

œ

œ

.

.œœ

Humansville As played by Fred Stoneking in Saddle Old Spike (Rounder CD0381, 1996); recorded 1995 or 1996; time: 2/2; key: C; scale: hexatonic major (no 4th); pattern: AABB (8,8,8,8); tuning: standard

A

B

Introduction Ending from * Variation V1

*

V1

This tune is named after the Polk County, Missouri, town of Humansville. Stoneking learned it from Ozarks fiddler Dean Johnston, whobelieves he learned it from Humansville resident Shorty Pruitt. Another Humansville fiddler Earl Ball (featured later in this book) learned it fromhis grandfather Bishop. Ball says he has also heard the tune called “Kansas City Rag,” and Gordon McCann suggests the tune might have originallybeen called “Kansas City Rag” (a piece by that title was composed by James S. Scott in 1907). Mark Wilson connects the tune to the Kentuckytune “The Fun’s All Over,” and to “Hold Old Baldy While I Dance with Josie” (in this book). Marshall (p. 54) suggests Iowa fiddler Dwight Lambplays a similar tune called “Padgett,” attributed to Nebraska fiddler Bob Walters. Compare musical transcriptions for “The Fun’s All Over” and“Padgett” in Phillips 1 (p. 93 and 180 respectively).

&

#

#

#

C ..

h»124

œ

œ

œœ

œœ œœj

œ

œœ

3

œ œn œj

œ

œ

œ

œ

œ

A

œœ

œœ œœ œœ œœ œœ

œ

œ

œ

œj

œ

œ

j

œœ

œœ œœ œœœœ œ œ œœn œ

œœ

œ

œ

œ

œœ

œ

œ

œ

œ

œœ

E

œœ

œ

œ

œœ

3

œ

œ

œœn

œ

œ

œ

œ

œ

œ

A

&

#

#

#

.

...

œœ

œœ œœ œœ œœ œœ œœ

D

œœœn

œ œœ œ

↓

œ œœn

↓

œ

E1

œœn œœ œœ œœ œœ œ

œ

œœ

A2

œœ œœ œœ œœ œœ

œ

œ

.

.

œ

œ

E A

œ

œ

œ œœ

œ

œ

œ

œ

œ

œ

œ

D

&

#

#

# œœ œ œ œ

œ œ œœ œœ

œœ œœ œœ œœ œœ œ

A

œ œ œ œœ œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ

œ

D

œœ œ

j

œœ œ

œ

œ

œœ

œœ œœœ

œ

nœ œ œn

œ œœn œœ#

E

&

#

#

#

.

.

1

œœ œœ œœ œœ

œ

œ

.

.

œ

œ

A2

D.C.

œœ œœ œœ œœ œœ œ

œ œ

E A

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œœ

œœ Œ

˙

u

E A

œœ

œ œ œœ œ œœ

Horse and Buggy-O As played by Fred Stoneking in Saddle Old Spike (Rounder CD0381, 1996); recorded 1995 or 1996; time: 2/2; key: A; scale: major (some low 3rd, 7th); pattern: AABB (8,8,8,8); tuning: standard

A

B

Introduction Ending from *Variation V1

V1

*

Stoneking said he learned this tune from Jim Hoover, a bluegrass musician from Atlanta, Georgia. Kentucky fiddler Art Stamper also recordedthe tune under the title “Old Horse and Buggy” (County 2729). A distinctive element of Stoneking’s version is his use of G natural notes in the sec-ond to the last measure of each part.

139

&

#

#

#

4

3 ..

q»138

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

A

œ

œ œ#

œ

œ

œ

œ

œ

œ

n

n

C#

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

D

3

œœ

œ œ œœ

œ

œ œœ

Bm

œ

œ

œ

œ

œœ

œœ

œ

œ

E

œ

œ

œ

œ

œ œ œ œ

œ

&

#

#

#œ

œ

œœ

œœ

œ

œ œ œœ

A

œ

œ

œ

œ œœ œ

œ

E

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

A

œ

œ

œ

œ#

œ

œ

œ

œ

œ

œ

n

n

C#

œ

œ

œ

œ

œ

œ

œ œ

œ

D

3

œœ

œ œ œœ

œ

œ œœ

Bm

œ

œ

œ

œ

œœ

œœ

œ

œ

E

&

#

#

# #

#

#

#œ

œ

œ

œ

œ œ

œ

.

.

œ

œ

j

œœœœ

A

.

.œœ

J

œœ

œ

œ œ œœ

œ

œœ œœ œœ

Eœœ œœ

œœ

œœ œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

B.

.

œ

œJ

œ

œ

#

n

œ

œ#

&

#

#

#

#

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ œ

œ

œ œ œ œœ

E

œ

œ

œ

œ œœ

3

œ

œ

œœ

œ

œ

œ

œ

œœ

œ

œœ

œœ œœœœ œœ

œœ

œœ œ

œ

œ

œ

œ œ

œ

œ

œ

B

&

#

#

#

# ..

n#

#

#.

.

œ

œJ

œ

œ

#

n

œ

œ#

˙

˙œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

.

.

œ

œ

J

œ

œ

3

œ

œ

œ

œn œ

œ

E

˙

˙

n

œ

œ..

œœ

œœ

œœ œœ

A

œœ Ó

In Old Arkansas As played by Fred Stoneking in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 11/2/95 time: 3/4; key: A and E; scale: major (some chromatics); pattern: AB (16,16); tuning: standard

A

B

Ending from *

*

Stoneking learned this waltz comes from his father Lee, but little else is known about this chromatic multi-keyed tune. Mark Wilson suggeststhe harmonic structure of the tune is sometimes associated with so-called “Mexican” waltzes of the Victorian era.

&C .

.

h»124

œœ# œœ œœœ œ œ œ œ

Cj

œ

œ

œœ

.

.œœ

J

œ

œ

œ

œ

œ

œ

œœ

œœ

œ

œ

œœ

œ œœ

œœ

˙˙

œœ œ

F

œ œœ

œ œ œœ œ

G

œj

œ œ œ œ œ œ œ œ

&

.

...

œ œ# œ œ œ œ œ œ1

œœ

œœ

œœ

œ

œj

œ œ œ

Cœ

œœ œ œ œ

↑œ œœ

G2

œ œœ œ œ

œ œ

C

œ œ œ œ œ œ#

↓

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

&

.

.œ œ œ

œ

œ œœ œ œ

œœ

j

œœ œ œ œ

F

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

G

œ

œ

œ

œ

œ

œ

œ

↑

œ œ

œ œ œ œ

œ

œ œ œœ œ

1

œ

œ

œ œ œœ œ

C

&œ œ œ

œ

œœ

œœ

œœ

G2

D.C.

œ

œ

œ

œ

œ

œ

œœœ œœ

C

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ# œœœ œ

œ

œ

œ

œ

œ

œ

œ

œœ

C

œœ

œ

œœ

j

œœ œ

œ œ œ

&œ

œ

œœ

˙˙

G C

œ œœ œ œ œ#

↓

œ œœ

œ œœ ˙

˙

u

G Cœ

œ

œœ

œœ

œ

œ

œœ

œ

œ

œ

œj

œ

œ œœ œ œ œ œ œ

œ œœ

œœ

œœ œœ

œ

œœ œ œ œ

œ œb œœ œ

Missouri Rag

A

B

Ending from **

V1

Variation V1V2 V3 V4

V3

V2

V4

As played by Fred Stoneking in Butter the Other Side (self produced cassette); recorded c. 1980s; time: 2/2; key: C; scale: major (some high 4th, 1st); pattern: AABB (8,8,8,8); tuning: standard

Stoneking’s father Lee (featured earlier in this book) composed this nice rag tune. One occasionally hears it played outside of the Stonekingfamily; for example, Ozarks fiddler Jesse Craig plays it. The tune is built on a well-known rag chord progression found in classics such as “DillPickle Rag,” and “Cotton Patch Rag,” and also found in this book in the tunes “Lone Star Rag,” “Oak Leaf Rag,” “and “Mama Blues” (also called“Rag in C”). In “Missouri Rag,” the melody line in the A part leads the guitarist to stay on the C chord through the third measure where a guitaristswould normally change to an F, or F plus D7. It has other elements often found in rag fiddle tunes such as chromatics and syncopated passages,especially in the fifth measure of each part. Christeson notates a similar-sounding Lonnie Robertson C tune that he simply calls “Tune” (Christeson2, p. 32). Chisteson points to a possible connecton to “Stone’s Rag.”

140

&

#

#

#

C ..

h»120

œ

œ

œ

œ

n œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

Aœ

œ

œ

œ

↓œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

↓F#mœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œ

A

œ œ

œ

œ œœ œœ

.

.

œ

œ

œ

œ

n

Eœ

œ

œ

œ œ

œ

œ

œ

œœ

œ

œ

Aœ

œ

œ

œ

↓œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

↓F#m

&

#

#

#

.

...

œ

œ

œ

œ

œ œ

œ

œ

œ

œœ œ

A1œ

œœ

œ œœ

œ

œ

œ

œ

œ

œ

œ

n œ

œ

E A2œ

œœ

œ

œœ

œ

œ

œ

œ œ

E A

œ œ

œ

œ

œ

œ

œ

œ¿

¿

¿

¿

œ

œ

œœ œ œ œ

œœ

(D)

œ œ

œ

œ

œ

œ

œ

œ

(E)

¿

¿

¿

¿

&

#

#

#

.

.

1œ

œ

œ

œ

œ œœ œœ

œ

œ

E2

D.C.

œ

œ

œ

œ

œ

œ

œœ œœ

.

.

œ

œ

œ

œ

n

E A

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

nœ œ œ œœ œ

œœ

œ

œ œ œ

œ œœ

œ œ œœ

œ

œ

œ

œœn

œ

œ

œ

œ Œ

Needle in a Haystack As played by Fred Stoneking in Saddle Old Spike (Rounder CD0381, 1996); recorded 1995 or 1996; time: 2/2; key: A(G); scale: major (some low 7th); pattern: AABB (8,8,4,4); tuning: DGDG transposed to EAEA

A

B

Introduction Ending from **

Stoneking learned this “cross-tuned” tune from his father Lee, who would sometimes say that such tunes were in “an off color key.” Fred uti-lizes the older technique, common among cross-tuned tunes, of plucking the strings with his left hand during portions of the B part. Mark Wilsonpoints out that the contours of this tune are similarity to “Shortening Bread.”

&C

h»118

œœ œ œ œ

œ œœ œœ

Cœ

œ

œœ

œœ œ œ

œ œœ œ

↑Am

œ œ

↑

œ œœ

œ

œœ œ

Cœ

œœ

œ œ œG

œœ œ

j

œœ œ

œ œœ œœ

C

œœ œ

j

œœ œ

œ œ

œ

F

&

.

...œ

œ œ œj

œ œœ œœ œ

↑G1

œ œ

↑

œ œœœ

œœ

œ

œ

}

}

C 2

œ

œ

œ œœœ

œœ œ

G C

œ œ œ œ œ

œ

Am

j

œ

œ

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

(C)

œ œ œ œœœ œ

œ# œ

Am

œœ œ

j

œœ œ

œ

œ œ

F

&

.

.

œ œ œ œ œ œ œ œœ

Am

œœ œ œ

œœ œ œ

œ

(C)

œ œ œ œ œ œ œ œ

œœ

G1

œœ œ

œ

œœ

œœ

œ

œ

C 2D.C.

œœ œ

œ

œœ

œœ

œ}

G C

œœ

œ

œœœ

œœ

&

œœ œ œ

œ

œ œœ

œ œœ

œ œ

œœ

˙˙

œ

œ œœ

œ œœ œ œ

œœ œ œ

œ œœœ

œ œ œ

œœ

œœ

œ

œœ#

œœ œ

j

œœ œ

œ œœ

œ

œ œœ œ œ œ

œœ

Old Gray Goose As played by Fred Stoneking in Saddle Old Spike (Rounder CD0381, 1996); recorded 1995 or 1996; time: 2/2; key: C; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

A

B

Ending from *

Variation V1 V2 V3

V1

V2

V3 *

Stoneking said he learned this tune from a tape of an unidentified California fiddler on the contest circuit. The tune title can be found in anumber of sources (e.g. O’Neill and Ford), but the tunes in those sources do not resemble Stoneking’s. Mark Wilson suggests Stoneking’s version issimilar to other C tunes such as “Old Joe” that begin their B parts with A minor chords.

141

&

#

C ..

h»118

œ œ

œ

↑

œ œœ œ œ

œ

G

œ œ œœ œ

œœ œ œ

↑

œ œ œ œ œ œj

œœ œ œ œ œ

œ

œœ

œ œ

↑

D

œ œœ œ œ

œ

G

œ œ œœ œ

j

œ

œœ œ œ

↑

C

&

#

.

...œ œ

œœœ œ œ œ

D1

œ œ œ œœ

œœ

œ œ

↑

G2

œ œ œ œœ

œœ

œ

œ

œ

D Gœ œ œ œ œ

œ œ œ

œ

œœ œ

j

œœ œ

œ œ

Cœ œ œ œ œ

œ œ

œ

œ

G

&

#

.

.

œ œœ

œ

œ œœœ œ

Dœ

œ

œ œ œœ œ œ

Gj

œ

œ œ œj

œœ œ

œ œ

Cœ œ œ œ œ

œ œ œ

↑

D1

œœ

œœ œ

œœ

œ

œ

G2

D.C.

œœ

œœ œ

œœ

œ œ

↓

D G

&

#

œœ

œœ

œœ

œœ

œœ

œœ œœ

œœ

œœ

œœ

œœ

œ œ

œ

↑

œœ

œ œœœ

œ

D Gœ œ œ

œ œœ

œ œœ

œ

œœ

œœ

œ

D G

œœ

œ œ œ œ œœ

œ œœ œœ

œ

œ

œ

œ

Œ

D G

Sugar Betty Ann

A

B

IntroductionEnding from *

As played by Fred Stoneking in Saddle Old Spike (Rounder CD0381, 1996); recorded 1995 or 1996; time: 2/2; key: G; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

*

He learned this tune from his father, who is the only person he ever heard play it. The title appears in a 1954 list of Ozark fiddle tunes pub-lished by Vance Randolph. “Sugar Betty Ann” appears in Ford (p. 125) but Ford’s version is more similar to the tune “Sally Goodin” than toStoneking’s tune. Fiddler’s Companion suggests possible links to “Pretty Polly Ann(a),” “Betty Ann” (linked to fiddler John Wills), and the song“Little Betty Ann.”

Fred and Lee Stoneking.

Cou

rtes

y of

Fre

d St

onek

ing.

142

Lee StonekingLee Roy Stoneking (1907-1989), father of

Fred Stoneking profiled above, was a majorfiddler in the upper Ozarks, and many fid-dlers credit him and his vast repertoire withimpacting their music. He was born in HenryCounty, Missouri, about 90 miles northwestof Springfield, and came from a large familyof fiddlers. His father Frank, known as a fastsmooth fiddler, began to show Lee how toplay the instrument when Lee was aroundseven years old. As an adult Stoneking was afarmer, plowing rows with horses and plant-ing crops on over 40 acres, but his passionfor playing music was always strong. In the1930s and 1940s he was the leader of a groupcalled Lee Stoneking and the StonekingBrothers, which included his brothers Virgiland Young. As some of his children grew intoadulthood they began to play more with theband, which was playing somewhere almostevery weekend. Often the band played athouse dances where dancers were expected topay the band 25 cents per set, but severalcommercial venues also invited the group toplay on a regular basis. At a restaurant calledthe Log Cabin Café, located between Clintonand Urich, the well-fed customers oftendanced to the music of Stoneking’s band on

Friday and Saturday nights. In the late 1940s, a band composed of Stoneking and three of his sons playedoften at dance halls in Urich and Deepwater, where dancers paid around 50 cents per person to get in. Thehalls were typically crowded with up to 12 sets, each of which had its own caller. Stoneking’s family grewlarger and larger, in part because he remarried, and he eventually had 13 children. In the early 1950s, hishealth was such that managing a large farm was difficult and, as his son Fred explains it, his father proclaimedone day, “We going to seek out our fortune” in Laramie, Wyoming. While there, Stoneking and some membersof his family formed a musical group called “The Ozark Mountaineers.” The cold weather was too much forthem, however, so he and his family returned to Missouri where he continued to be active as a fiddler. Fiddlecontests were often held during town fairs, and Stoneking typically entered about a half a dozen per year, oftenwinning. In the early 1970s, he made two albums of fiddle tunes, Echoes of the Ozarks and two years laterMissouri Old-Time Fiddlin’. The liner notes on his Echoes of the Ozarks LP state, “He has won over a dozenfiddle contests and has placed fourth in the United States in his age bracket.” Stoneking also developed aninterest in making fiddles, and by the early 1970s he had made over 20. His son Fred states that on the day hisfather died at the age of 83, he could still play as smooth as silk.

Phot

o fr

om C

over

of

the

Mis

sour

i O

ld T

ime

Fid

dlin

’LP;

Use

d C

ourt

esy

of F

red

Ston

ekin

g

143

&

#

C

h»104

.œ

J

œœ

œ œ œ

G

œœ œ œ œ

œ œ œ

œ œ œœ

œ œ œœ

œ œ œ œ œœ œ

Dœ œ œ œ

œœ œ œ

G

œœ œ œ œ

œ œ œ

C Cm

œœ œ œ œ

œ œ œ

D

&

#

.

...

1

œœ œ

œ

œœœ

œ

G2

œœ œ

œ

œœœ

œœ

D G

œœ

œœ

œ

œ œœ

œ œœ

œœ

œ œ œœ œ

œœ

œ

œ

œ œœ

œ œœ œ œ œ œ

œ œ

D

œœ

œœ

œ

œ œœ

œ

G

&

#

.

.

œœ

œ

œ œ œ œ œ

C Cmœ

œ œ œœ œ œ

œ

D1œ

œ

œ

œ

œ œ

œœ

œ

œ

G2

D.C.

œœ œ œ

œ

œœ

œ

D G

œœ

œ

œ

œ œ

˙˙

D Gœ

œ œ œœ œ

Em

œ œ

œ

œ

œ

˙

˙

U

D Gœ œ œ

œœ œ œ

A

B

Muddy Weather

Ending from *Variation V1*

As played by Lee Stoneking in Missouri Old Time Fiddlin’ (Graphic Recording, c. 1970s); time: 2/2; key: G; scale: major; pattern: AABB (8,8,8,8); tuning: standard

V1

Lee Stoneking associated this tune with the title “Nigger Fever” but in a concert where an African-American was present he decided to thechange the title to the first phrase he could think of: “Muddy Weather.” The tune has circulated widely in the United States through the playing ofMissouri fiddler Geoff Seitz and Washington fiddler Armin Barnett. Fiddler’s Companion suggests the tune has also been called “Nigger Weather.”“Boatin’ Down the River” (in this book) and “Shippensport” (or “Shipping Port”) have similar A parts. Another musical transcription is in Phillips 1(p. 160).

&

#

C

h»96

œ œ œ˙

˙

œ œ œ

G˙

œ œ œ

œ

G7œ .

.œœ

J

œœ

œœ

C˙˙

œ œ œ

Am˙ œ œ

D.œ

J

œ œ œ œ˙

˙

œ

œ

œ

œ

œ

œ

œ

œ

G

&

#

˙

˙

œ œ œ˙

˙

œ

œ

œ œ

˙

œ œ œ

œ

G7œ .

.œœ

J

œœ

œœ

C˙˙

œ œ

Am

.œ

j

œ œ œ

D

œ

œ œœ

œ

œ

œ

˙˙

œœ

œœ

œœ

œœ

G

˙˙

œ œ

&

#

.

.

˙

˙

.

.

œ

œ

j

œ

G

.

.

˙

˙

œ œn

G7

œ

œ

œ œ

œ

œ

C

˙

˙

œ œ

Am

.œ

j

œ

↑

œ œ

D

œ œœ

œ˙ œ œ œ œ

G

˙ œ œ ˙

˙

.

.

œ

œ

j

œ

œ

&

#

.

..

.

˙

˙

œ œn

G7

œ

œ

œ

œ

C

˙

˙

œ œ

Am

.œ

j

œ

↑

œ œ

D

œ œ œ œ

˙

˙

œ

œ

œ

œ

œ

œ

œ

œ

G1

˙

˙ œ œ

2

˙

˙

œ œ ˙

.œ

J

œ

œ

&

#

˙

˙

œ

œ

œ œ œ

G7œ œ

œœœ

œœ

œœ

C

˙˙

œ œ œ

Am.œ

J

œœ œ

D

œ œœ œ# ˙

˙

œ

œ

œ

œ

œ

œ

œ

œ

G

˙

˙

œ œ ˙

.œ

J

œ

œ

.

.

˙

˙

œ œ

G7

&

# œ œœ

œœ

œœ

œœ

C

˙˙

œ œ œ

Am.œ

J

œœ œ

D

œ œ œ

œ

œ

œ

˙˙

œœ

œœ

œœ

GD.C.

˙˙

œ œ œ

œ

œ

.

.œœ

j

œ

œ

œœ œ

œ

G

˙

˙

˙

U

D G

As composed and played by Lee Stoneking in Missouri Old Time Fiddlin’ (Graphic Recording, c. 1970s); time: 2/2; key: G; scale: major (some low 7th, high 1st); pattern: ABC (16,16,16), B sometimes repeated; tuning: standard

A

B

Ending from *

Old Indiana

C

*

A slower tune well suited to a two-step dance, or when played slightly faster a polka, “Old Indiana” was written by Lee Stoneking around thelate 1960s according to Fred Stoneking. Although Fred said it never had words, it has a song-like quality, and in fact is melodically similar in partsto the popular Guy Massey song from the 1920s titled alternately “The Prisoner’s Song,” “I Wish I Had Someone To Talk To,” and “Meet MeTonight In the Moonlight” (among other titles).

144

&

#

#

#

C ..

h»122

œœ

œœ œœ œœ œœ œœ œœ œœ œœ

Aœ

œ œ

œœ œ œ

œœ

œ

œœ œœ œœ œœ œœ œœ œœ

œœ œ œ

œœ

œ

œœ

œ

œ

œœ

E

œœ œœ œœ œœ œœ œœ œœ

A

&

#

#

#

.

...

œœ œ

œœ œ œ

œœ

D

œœ

œœ œœ œœ œœ œœ

œ

œ

œœ

E1œ

œ

œ

œ œœœ œœ

œœ

œœ

A2œ

œ

œ

œ œœœ œœ

œ

œ

E A

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

&

#

#

#

œ œ œœ œ œ œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œœ

œ

œ

E

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

A

œ œ œœ œ œ œ

D

&

#

#

#

.

.

œœ

œœ œœ œœ œœ œœ

œ

œ

œœ

E1œ

œ

œ

œ œœœ œ

œ

œ

A2

D.C.

œ

œ

œ

œ œœœ œ

œœ

œœ

E A

œ

œ

œ

œ œœœ ˙

E Aœ

œ œ

œœ œ

œœ œ œ

œœ

œ

œœ

˙

˙

E A

A

B

Ending from *

Polk County Breakdown

*

As played by Lee Stoneking in Echoes of the Ozarks (Big K Studio, c. 1970s); time: 2/2; key: A; scale: hexatonic major (no 4th); pattern: AABB (8,8,8,8); tuning: standard

A popular fiddle tune in Missouri, “Polk Country Breakdown” was possibly learned by Stoneking and other Ozarks fiddlers though the 1949Columbia recording of the tune by fiddler Tommy Magness with Roy Acuff's Smoky Mountain Boys. Fiddler’s Companion suggests Magness com-posed the tune. Other sources list Magness as the arranger. Tracking down the background of the tune is complicated by the fact that so manySouthern and Midwestern states (including Missouri and Tennessee) have Polk Counties. Charlie Walden includes “Polk County Breakdown” in hislist of "One Hundred Essential Missouri Fiddle Tunes."

&

#

#

#

C ..

h»120

œœ

œœ œœ œ œœ œ œ

œ

A

œ œ œœ

œœ

œ œœ

œ

œ

œœ

œœ œ

œ

œœ œ œ

œœ

œ

œ œ

œœ

œ

œ

œ œ œ œ

œ

E

œ œ œ

œœ

œ

œ œœ

A

&

#

#

#

.

...œ œ œ

œœ œ œ

œœ

œ

œ

D

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œœ

E1œ

œ

œœ

œ

œ œ œ œœ

œœ

A2œ œ

œœ

œ œ œ

œœ

œœ

E A

œœ œ œ œ œ œœ

œ

&

#

#

# œœ œ

œœ œ œ

œœ

œ

œ œ œ œ œ œ œœ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ œœ

œ

œ

E

œ œ œ œ œ œœ

œ

Aœ

œ œ

œœ œ œ

œœ

Dœ œ œ

œ œ œ œœ

œœ

E

&

#

#

#

.

.

1œ

œ

œœ

œ

œ œ œ

œœ

œœ

A2

D.C.

œ

œ

œœ

œ

œ œ œ œœ

œœ

E A

œ

œ

œœ

œ

œ œ œ Œ

E A

œœ œ œ œ

œœ

œ

œ

œ

œœ

œœ

˙˙

U

E A

œ œ œ œ œ œœ

œ

œ

A

B

Ending from * Variation V1

Rolling Stone Breakdown

V1

*

As composed and played by Lee Stoneking in Echoes of the Ozarks (Big K Studio, c. 1970s); time: 2/2; key: A; scale: pentatonic major (no 4th, 7th); pattern: AABB (8,8,8,8); tuning: standard

“Rolling Stone Breakdown” was composed by Lee Stoneking.

145

&

#

C ..

.

.

h»112

œœœ

}œ

œœ

œ

œ

G

œœ

œ œœ

œ

œ

œ

(C)

œ œœ

œ

œ

œ

(D)1

œœ œ œ

œœ

œœ

D2

œœ œ œ

œœ œ

œ

œ

œ

D G

œ

œ

œ œ ..œœ

J

œ

&

#œ œ

œ œ

œ œ œœ

œ œ .œ

J

œœ

œ

œ œ œ

œ

œ

œ

œ

œ

D

œ

œ

œœ ..œœ

J

œ

G

œ œœ œ

œ

Cœ œ œ

œ

D

&

#

.

.

1œ

œ œ œ œ

œ

œ

œ

œ

œ

G2

D.C.

œœ œ œ

œœ œ

D G

œœ œ œ ˙

D Gœ

œ

œœ œ œ œ œ ˙

˙

D G

œœ œ œ

œœ

œ

œ

AB

Ending from *

Walk Along John

Variation V1

V1

*

As played by Lee Stoneking in Missouri Old Time Fiddlin’ (Graphic Recording, c. 1970s); time: 2/2; key: G; scale: pentatonic major (no 4th, 7th); pattern: AABB (4,4,8,8); tuning: standard

An old and well known Ozarks fiddle tune, “Walk Along John” has a long history. In 1844, a minstrel song called “Walk Along John” waspublished and has been attributed variously to Dan Emmett, J. Sanford, or J.P. Carter. This song was possibly based on an older slave “corn song”called “Shock Along, John” (see Allen, p. 67). The chorus of this song typically ends with, “Walk along John, de fifer's son, Ain't you glad yourday's work's done.” This song entered oral tradition and even became a play-party song , which was recorded in Indiana in the 1910s (see Wolford,p. 220, 301), and in the Ozarks in 1942 (see Randolph II, p. 383, learned in 1880s). The tune and melody to this song do not, however, appear to berelated to Stoneking’s “Walk Along John.” At some point another song with the same title entered oral tradition. This song featured the chorus,“Walk Along John with your paper collar on,” and uses a melody similar to Stoneking’s tune. It was recorded commercially as a fiddle tune in 1928by the Ozarks string band Luke Highnight’s Ozark Strutters, and was presented by Botkin (Play-Party, p. 342) as an Oklahoma play party game.Fiddler’s Companion called this version of “Walk Along John” a Midwest variant of the tune “Stoney Point.” Musical transcriptions of the firstminstrel-song version of the tune are in Nathan (p. 452), P. Seeger (p. 134), Randolph II (p. 383), and Wolford (p. 220). An online copy of the sheetmusic for this minstrel song version is at the Lester S. Levy Collection of Sheet Music Site (John Hopkins University) at http:// levy sheetmusic.mse.jhu.edu/. Charlie Walden includes “Walk Along John” on his list of "One Hundred Essential Missouri Fiddle Tunes." Other musical transcrip-tions of the second (Stoneking’s) version of the tune are in Botkin (Play-Party, p. 342), Christeson 1 (p. 91), P. Seeger (p. 134), Phillips 1 (p. 251,three variations), Stilley (p. 63), and Thede (p. 135). Fuller lyrics for the second version are in Botkin (Play-Party, p. 342) and Marshall (p. 12).Meade (p. 758) lists two early commercial recordings, the earliest being by Luke Highnight & His Ozark Strutters (1928); the other is Bob Miller& his Hunky Dinkers (1929).

&

#

# C ..

h»118

œ œ œœœ œ œ

œœ

D

œœ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œœ

œ œ œ œ œœ œ œ

œœ

A

œ

œ

œœ œ œ

œœ

D

œœ

œ

œ œ

œ

œ

œ

G

œ œ œ

œ

œ œ œœ œ

A

&

#

# ..

.

.

1

œœ œ œ œ œ œœ

D2

œœ œ œ œ œ

œ

A D

œœ œ œ .œ

J

œœ œ œ

œœ œ œ

œ œ

G

œœ œ œ .œ

J

œ

D

œ œ œœœ .

.

œ

œ J

œ

A

œœ œ œ .œ

J

œ

D

&

#

# ..

œ œ œœœ œ

œ

œœ œ

G

œœ

œœ œœ œ

œœ œ œ

A1

œœ

œ

œ

œ œ œ

œ

D2

D.C.

œœ

œ

œ

œ œ œ œ

A D

œœ

œ

œ

œ œ ˙

A D

œ œ œœ œ œ

œœ

œœ

œœ

˙˙

u

A D

A

B

Ending from *

Willott’s Hornpipe As played by Lee Stoneking in Echoes of the Ozarks (Big K Studio, c. 1970s); time: 2/2; key: D; scale: hexatonic major (no 7th); pattern: AABB (8,8,8,8); tuning: standard

*

Lee Stoneking learned this tune from Leon Fitch, who lived in the Missouri bootheel. This is an example of a tune that, on one hand, standsalone as a distinctive and dynamic tune and, other the other hands, seems to have possible connections to many other tunes. The tune as a whole issimilar to “Sweet Ellen” (see Bayard, p. 202), “Dubuque” or “Old Dubuque” (see Christeson 1, p. 65), “Possum Up a Gum Stump” (see Phillips 1,p. 187, second version), and “Muddy Road to Kansas” (Harrison, p. 297-298). These connections, in turn, point to other tunes in this collectionsuch as “Back in ‘89” and “Rocky Mountain Hornpipe.” The A part of the tune closely resembles the “Off to California” family of tunes (seeBrody, p. 203), and the B part closely resembles the B parts in a number of tunes such as “Lantern in a Ditch” and “Goodbye My Honey, I’mGone” (both in this book). Mark Wilson points to a connection to the “Johnson Boys.” Conversely, Stoneking’s tune has no apparent connection tothe “Willott’s/Willet’s Hornpipe” tunes in Cole (p. 91), Phillips 2 (p. 233), or Higgins (p. 4). I have no other references for Stoneking’s version of“Willott’s Hornpipe,” but to explore the comparisons I mention above, good starting points are Bayard under “Sweet Ellen” (p. 202) and Fiddler’sCompanion under “Dubuque.”

Track #22

146

Howe TeagueHowe Teague (1913-2005) was born in a

log cabin above Stone Hill Branch outside ofSalem in Dent County, Missouri. Except for arailroad job he held in St. Louis during WorldWar II, he lived in Dent County all his life.His maternal great-grandparents, originallyfrom Ireland, lived in Arkansas before mov-ing to Missouri. His paternal grandparents,also from Ireland (and known as theMacTigues), came to Missouri throughTennessee in the 1850s. When Teague wasseven or eight he traded a pig for a fiddle. Noone in his family played music, but he got itin his head that he wanted to play fiddlemusic. He learned a few tunes such as “PopGoes the Weasel” and “Arkansas Traveler”from his father, who whistled the tunes, andhe learned a number of tunes from 78 recordsby groups such as the Skillet Lickers. He toldMark Wilson about a period when he learneda tune by pushing the record around on a bro-ken Victrola with his finger (liner notes toRounder CD0435). A local fiddler namedAlbert Hogan couldn’t make it to a squaredance, so the dancers invited the nervous

nine-year-old Teague to play, with no accompaniment, while sitting on a neighbor’s lap. He says it probablysounded pretty rough, but that the dancers somehow managed. He learned to read music with the help of hisneighbor Lattie Crandell, and for a while he played with a small local orchestra led by one of his uncles, buthe enjoyed the sound of the traditional fiddlers more and decided to focus on learning by ear. In his late teens,Teague began to learn tunes from Orville Cassidy, who had moved into the area from Arkansas and eventuallymarried one of Teague’s aunts. In addition to playing traditional tunes, Cassidy played popular, ragtime, andblues tunes, which were especially attractive to Teague. Later, local fiddler Roy Wooliver taught Teague tunesfrom his vast repertoire. After World War II, Teague worked for 25 years for the Highway Department, butcontinued during that time to play for hundreds of dances and shows in the Salem area. He sometimes playedwith local or visiting professional musicians such as Stringbean, and Rodney and Doug Dillard. He alsoworked with radio stations in Rolla and Salem. With the help of Grand Ole Opry performer Zeke Clements,Teague recorded an LP album around 1968 titled Square Dance Music, Ozark Fiddlin’ by Howe Teague.Eighteen years later, around 1986, he released another album of fiddle tunes called Ozark Memories. He wasfeatured on two Ozarks fiddle music compilations, the LP Now That’s a Good Tune and the CD TraditionalFiddle Music of the Ozarks, vol. 1. Among his interesting reflections about fiddle music are that the applausemeter in fiddle contest should be brought back (to avoid dishonest judging), that professional dancers on tele-vision caused square dancers in the region to dance faster, and that he feels uncomfortable accepting invita-tions to play at church because of the historical animosity between the church and fiddle music. Teague playedhis fiddle often right up until he died at the age of 91. [Information was drawn primarily from Mark Wilson’sliner notes to Rounder CD 0435, from Amy Skillman’s liner notes to Now That’s a Good Tune, and from histwo LP albums.]

Phot

o fr

om th

e c3

gue’

s R

ecor

d A

lbum

Squa

re D

ance

Mus

ic

147

&

#

#

#

C

h»122

..œœ

J

œœ œœ œœ

A

œœ

œœ œ œ

œœ

D

œ

œ

œœ œœ œœ œœ œ œ

Aœ

œ œ œœ œœ

œ

œ

œ

E

œœ

œœ œœ œœ œœ œœ

A

&

#

#

#

.

...

œœ

œ

œ

œœ

œ œ œ œœ

œœ

D

œœ œ œ œœ œ œœ

A1œœ

œ

œ

œ œ˙

˙

E A2œœ

œ œ œ.

.

œ

œ j

œn

E A

œœœ

œ œœ

œœ

œ œ

&

#

#

#

.

...

œ œœ œ œ

œ œ œœ œ œ

œ

D

œ œœ

œ

œ œœ œ

œ œ œ

A

œ œ œ œ

E

¿¿

¿¿

A

¿

¿

¿

¿¿¿

¿¿

¿¿

¿¿

D

¿¿

¿¿

¿¿

A

¿

¿

¿

¿

&

#

#

#

.

. 2

3

1

¿¿ ¿¿

¿

¿

¿

¿

E2

D.C.

¿¿ ¿¿

¿

¿

¿

¿

E

œœ œ œ

˙

˙

E A

œ

œ œ

œ

œ œ

œ

œ

œ

œ Œ

œ

œ

œ

œ Œ

E A

¿¿

¿¿

¿¿

¿

¿

¿

¿

¿¿ ¿¿

¿

¿

¿

¿

Ó

A

B

Ending from *Variations V1

Arkansas Hop

C

*

V1

V2V2

As played by Howe Teague in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 10/7/97; time: 2/2; key: A; scale: major; pattern: AABBCC (8,8,4,4,4,4); tuning: EAEA

Teague learned this tune from Roy Wooliver, who also taught fiddler Gene Goforth many tunes. Mark Wilson calls the tune a cousin of “RyeStraw.” It also has some similarities to “Paddy Won’t You Drink Some Good Old Cider” (in this book). During the C part, Teague strums the stringslike a guitar.

&

#

#

#

C ..

h»106

œœ œœ œœ ..œœ

J

œœ

A

œœ œ œœ

œœ

œœ œœ œœ œ œœ œœ œœ

œœ œœ œ œ

œ

1

œœœ œœ ˙˙

˙

E2

œœœ œœ ..

.

œœ

œ

j

œ

E A

&

#

#

#

.

...

œ œ

œœ œ

œœ œœ œœ œ

œ

œœ

œ

œ

œœ œœ œ

œ œ

œœ

œ

œ

œœœ

↑

œœ

↑ 1

œœ œ

↑

œœ

œ

œ

E2

œœ

↑

œ

↑

œ

↑

˙

˙

E A

&

#

#

#

.

...

¿ ¿¿

¿¿

¿œœ ˙

˙

¿ ¿¿

¿œœ œ

œ

1

œœ œ

œœ

.

.œ

œ

j

œ

E2

œœ œ

œœ

.

.œ

œ

j

œ

E A

&

#

#

#

œœœ œœ œœ Œ

E A

œ.

œ

œ.

œ

œ.

œœ

.

œ

œ.

A

œœ

.

œœ

.

œœ.

Œ

E A

œœ œœ œœœœ œœ œ

œœœ œœ œ œ

œœ œœ œœœœ ¿

¿¿ ¿

¿

A

B

Ending from * Variations V1

Cluckin’ Hen

C

V2

V1

V2

As played by Howe Teague in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 6/21/97; time: 2/2; key: A; scale: major (some high 6th, 3rd, 2nd); pattern: AABBAABBAACCBBAABBAAA (all 4); tuning: C#AEA

To A, B, or C

To A

To B

*

Teague said he learned this tune from a saloon scene in a cowboy movie. While his source makes the regional connection of his version of thistune uncertain, the qualities Teague brought to the tune, such as plucked strings and an open tuning, are common in many older Ozarks tunes.Tunes with titles such as “Cluck Old Hen,” “Cluckin’ Hen,” and “Cacklin’ Hen” are widespread in the South, the lower Midwest, and elsewhere.These tunes, along with tunes that include the word “chicken,” typically include sections that resemble in some way the sound of a chicken cluck-ing, crowing, or squawking, but the tunes are often different. The two most prominent versions are probably the Appalachian “Cluck Old Hen” thatfeatures a minor sliding sound with lyrics such as “Cluck old hen, cluck and squall, you ain’t laid an egg since way back fall” (see Appal. Fiddle,Krassen, p. 35), and “Cacklin’ Hen,” popular with old-time and bluegrass players, that features a B part with the large fast interval jump in imita-tion of a chicken clucking (see Brody, p. 60). “Chicken Reel” is another popular tune that features the sound of the chicken squawking on the veryfirst note (see the similar “Searcy County Rag” in this book). Teague’s tune might be a distant relative to “Cacklin’ Hen” or to other versions of“Cluckin’ Hen” (see Brody, p. 60, 69), but Teague’s has many distinctive qualities. In the Ozarks the clucking hen type tunes often have a ratherfast frantic-sounding quality, while Teague’s version has a relatively slow, “lonesome ” (to use his word) sound. Violet Hensley’s tune “Jericho” hassome similarities, as does Teague’s “White River” (both in this book). Fiddler’s Companion does a good job of sorting out the various “hen” and“chicken” tunes.

148

&b C .

.

h»60

J

œ œ

œœ

œ œ

œœ

œ

F

œ œ œ œ#.œ

J

œ

Bb G7

œ

œ œnœ

œœ œ

↓

œ

C7

œ œ

3

œ œ

œj

œ œœ œ œ

F C7œ

œœ

œ œ

œœ

œ

F

œ œ œ œ#.œ

J

œ

Bb G7

&b

œ

↑œ

œ

œ

↑

œœn

œ

œ}

œ.œ

C7

œ

œ

œ

œ

œ

œ

3

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

F

œ œ œœ œ

œ œ œ

œœ œ œ œ# .œ

j

œ

Bb G7

œœ

↓j

œœ

œœ

œ œ

↓

œ

C7

&b .

.œ œ

3

œ œ

œ.œ

œ œ

F C7

œ œ œœ

œ œ œ

œ

F

œ œ œ œ# .œ

j

œ

Bb G7

œœ

œœ

œœ œ

↓

œ

C7

.˙œ œn œ

F

œ

œ

œ

˙

U

F

A

B

Ending from *

Everything As played by Howe Teague in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 6/21/97; time: 2/2 (dotted feel); key: F; scale: major (some high 4th, chromatics); pattern: AB (8,8); tuning: standard

*

Teague learned this tune from his uncle Orville Cassidy. Mark Wilson suggests the tune is possibly related to the song “Everything” written byHarold Levey and Kenneth Webb.

&

#

# C ..

h»136

œœ

œœ œ

œ

œ# œ œ œ œ

D

œ œ œœ

œ

↑

œ

G

œ œœ œ œ œ œ

œ

D

œ

œœ œ œ œ

œ

A

œ œ œœ# œ œ œ œ

D

&

#

# ..

.

.œ œ œœ

œ

↑œ

œ

Gœ œ

œœ œ

œœ

œ

A1

.

.œœ

J

œœ

œœ

œœ

D2

.

.œœ

J

œœ

œœ

œ

D

œœ

œœ œœ œœ œœ œœ

&

#

#œœ œœ œœ œ

œœ œ œ

œ

œ œœ

œ

œ œ

A

œ

œ

œ œœ

œ

œ

œœ

œœ œœ œœ œœ œœ

D

œ œ œœ

œœ

œ

œ

G

œ œ

œ œœ

↓

œ œ œ

A

&

#

# ..

1

œ œ œ œ

œœ

œœ

D2

D.C.

.œ

j

œ œ

œ

œ

D

œœ œœ œ œ œ

œœ œ

œœ

œ œ œ œ

œ

œ

œ

œ

œ

œœ

œœ

œœ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

A

B

Variations V1

Marmaduke’s Hornpipe

V2 (with bouncing bow)

V1

V2

As played by Howe Teague in Ozark Memories (Gold Standard, c. 1986); recorded c. 1986; time: 2/2; key: D; scale: major (some high 4th, low 7th); pattern: AABB (8,8,8,8); tuning: standard; part of medley

Often played in Missouri and Arkansas, the tune is likely named after the former Confederate general and governor of Missouri JohnSappington Marmaduke (1833-1887). For a thorough history of governor Marmaduke, the tune, and the hornpipe in general, see Howard Marshall’sarticle titled “Marmaduke’s Hornpipe.” Christeson writes that in central Missouri the tune was often associated with the great Boone County fiddlerDaniel Boone Jones (see Christeson 1, p. 50), who was probably most active as a fiddler around the 1920s. Songer suggests the tune is similar to“Damon’s Winder” (which uses a C natural in measures four and five) and also references “Cricket on the Hearth,” “Rocky Mountain Goat,” and“Grand Hornpipe” (see Songer 1, p. 258). Gordon McCann says he knows a number of Ozarks fiddlers who call the tune “Cricket on the Hearth.”Fiddler’s Companion adds “Dan Jones” as a related tune. Charlie Walden includes “Marmaduke’s Hornpipe” on his list of "One Hundred EssentialMissouri Fiddle Tunes." Teague listed the tune transcribed above as “Mormaduke’s Hornpipe” in his Ozarks Memories LP, and we assumed (hope-fully correctly) that it was misspelled. Other musical transcriptions are in Christeson 1 (p. 50), Marshall (Marmaduke’s, p. 114-115, two versions),Phillips 2 (p. 206), Songer 1 (p. 131), and Charlie Walden’s website http://www.missourifiddling.com/Music/Marmaduke.htm. Meade (p. 785) listsone early commercial recording under the title “Hell Up Flat Rock” by Jess Hillard (1933); he also references the tunes “Deer Walk” and “HellAmong the Yearlings,” and mentions Missouri fiddlers Cyril Stinnet, Vesta Johnson, and Bunk Williams.

Track #24

149

&b C .

.

h»118

œ œ

↑œ

œ œ

œœ œ œ

œ

F

œ œ œ

œœ

œ œ

↑œ

œ œ

œœ œ œ

œœ œ œ

œ œ

œœ

C7

œœ œ œ œ œ œ œ.œ

J

œ

&b

2

3C

œ œ œ œœ

œ

F(C7)

œ œœ

œ.˙

œ œœ

œ

œœ œ œ

œ

F

œ œ œ œ œ œ œ.œ

j

œ œ

œœ

.˙ œ œ

Bb

œ œ# œ œœ œ œ

↑

œ œ

&b .

...œ œ

↑

œœ

œ

œ

F D7

œ œ œ

œœ

œœ

œ

G7 C71

.˙

j

œ

œ

F2

.˙

œ œ

F

œ œn œ

œ œœ

œœ

.˙ œ œ œ œn œ

œ œœ

œœ

&b

.˙œ

œ

C7

œ œ# œ œ

œ

œ

↑

œ œ

j

œ

.˙ œn œ

↑œ œ œ

œ

j

œ

œ œœ

˙ œ œ œ

œ}

F

œœ

œœ

˙.œ

j

œ

&b .

.œœ œ œ

œœ

.˙ œ œ

Bb

œ œ# œ œœ œ œ

↑

œ œ œ œ

↑

œœ

œ

œ œn

F D7

œ œ œ

œœ

œœ

œ

G7 C71

.˙

œ œ

F2.

˙ œœ

œ

F

&b

2

3C

2

3C

3

.˙ œ

œ

F

˙

↑

œ œ œ.œ

j

œ.˙

œ œ œ

↑

œ œ

↑

œ

œ

œœ

.˙ œ

œ}

œœ

↑

.œ

j

œœ

.œ

j

œn .˙

œœ œ œ œ œ œn

œ œ

G7

&b

2

3C˙ œ œ œ œ

C7

œœ .œ

j

œœ

F

œ œ œœ

.˙

œ œ œœ

œœ

œ œ

↑

œ

↑

œ œ œ.œ

j

œn

A D7

œ œ œ

œœ

œœ

œ

G7 C7

œ œ

œ

˙

˙

u

F

&b

œ œœ

œ œœ œ

œ

C7

œœ œ

œ œœ œ œ# œ œ œ

œœ œ œ

œœ œ œ œ œ œ# œ

œ

œ

œ œ œ

↑œ

.˙ œ œ# œ œ

↑

œœ

↑œ œ

↑

œ œn

A

B

Variations V1

Forty Drops

To A

To C C

V2 V3

V3

As played by Howe Teague in Ozark Memories (Gold Standard, c. 1986); recorded c. 1986; time: 2/2; key: F; scale: major (some high 1st, 2nd, 4th, 5th, chromatics); pattern: AABBAABC (A=16, B=16, C=14); tuning: standard; fiddle tuned slightly high

V1

V2

Sometimes called a “country rag,” this tune was recorded in the 1920s and 1930s by stringbands such as Andrew and Jim Baxter (an African-American father/son duo from Georgia), and the Stripling Brothers. Another musical transcription is in Phillips 2 (p. 52, 53; two versions).

&

#

# C

h»112

..œœ

J

œœ œœ œ

œ

D

œœ œ

œœ œ œ

œœ

œ

j

œ.

.

œ

œ

J

œ

œ

œ

œ

œ

œ

A

œ œ œ œ œ œ

œ

œœ

..œœ

J

œœ œœ œœ

D

œ œ œœ

œ

œ

..œœ

J

œœ

&

#

# ..

.

...

œœ œ

œ œœ

œ

œœ

œ œ

.

.

.

˙

˙

}̇

A D

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

1

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

A D

&

#

#

2

D.C.

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

A D

œ

œ

œ œ .œ˙

˙

u

A Dœ œ

œ

œœ

.

.œœ

J

œœ

↓œœ œ

œœ

œ

œœ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

A

B

Ending from * Variations V1

Nine Mile

V2

V2

V1

As played by Howe Teague in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 6/21/97; time: 2/2; key: D; scale: pentatonic major (no 4th, 7th); pattern: AABB (8,8,4,4), last time through 3 Bs; tuning: DADD

*

This “Nine Mile,” learned from Roy Wooliver, is a different tune from Gene Gofoth’s “Nine Mile” (also in this book). Two tunes with thesame name is not unusual, but in this case it is surprising because both Teague and Goforth learned tunes from Wooliver. The A part of this versionis similar to the A part of Kentucky fiddler Buddy Thomas’s “Nine Miles Out of Louisville.” A shortened title can suggest a newer version, but inthis case Teague’s DADD tuning suggest his tune is probably older that Thomas’s. The A parts to both tunes seem to belong to the “Green Corn”family of tunes (see “Doc Brown’s Dream”). The DADD tuning is unusual in the region, but can be found in other Ozarks tunes such as VioletHensley’s “Uncle Henry” (in this book). Teague prefers that his accompanist, or “second,” tune the guitar’s E bass string down to a D, perhaps tofurther accentuate the D drone sound.

Track #23

150

&

#

#

#

C ..

.

.

h»112

.

.

œ

œ

J

œ

œ

œ

œ

œ

œ

Aœ œ

œ

œ œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœœ

œ

œ

œ

œ

œ œ

œ œ

œ œœœ œœ

E

œœ œœ œœ œœ œœ œœ

A

&

#

#

#

.

.œœ œœ

œ œœ œ

œ

.

.

.

œ

œ

œ}

œœ

œ

œ

œ

œ

œ

œ œ œ

œ

E

œœ

œ œœ

œ

œ

œ

œ ¿

¿

¿¿ ¿

¿

¿¿

A

œ

œ

œ

œ

œ

œ

œ

œ ¿

¿

¿¿œ œ œ œ

œœ œ

œ

&

#

#

#

¿

¿

¿¿ ¿

¿

¿¿œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

E

œ œ œ

œ

œ

œ œ

œ

œ

œœ

œ

¿

¿

¿¿ ¿

¿

¿¿

A

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ ¿

¿

¿¿œ

œ

œ

œ œ œœ

œ ¿

¿

¿¿ ¿

¿

¿¿œ

œ

œ

œ

œ

œ

œ

œ

&

#

#

# D.C.E

œ œ œ œ

œ

œ

œ

œ

œ

œ

œ

j

œ.

‰ ‰ j

œ.

œ.

œ

œ.

A

Œ œœ

.

œ

œ.

Œ

E Aœ

œœ œ}

œœ œ

œœ œœ œœœœ

↓

œœ œœ

œœ œ œ œ

œ œœ

œ

œ

œ

œœ

↓

A B

Ending from * (bounce bow) Variations V1

White River

V1V2

V2

C

As played by Howe Teague in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 6/21/97; time: 2/2; key: A; scale: major; pattern: AABBC (4,4,4,4,8), tuning: C#AEA

*

Teague played this tune, probably named after the White River in northern Arkansas and southern Missouri, when he was young (Now That’s aGood Tune, p. 57). He told Gordon McCann he thought he learned it from Roy Wooliver, and that another Salem fiddler named Buck Sullivanoften played it. The skill with which Teague plays the C part, with both bowed and plucked strings, in notable. Gene Goforth plays the tune, alsowith a C#AEA tuning, on his Emminence Breakdown CD, but Goforth always plays the C part, as identified above, after the A and B parts. Thetune is similar to “Old Charlie Deckard,” “Bear Creek Sally Goodin,” and “Broken-Legged Chicken” (all in this book), all of which resemble partsof “Old Dan Tucker.”

&

#

# C

h»94

%

.

.˙˙ œœ œ

œ

œ

œ

œ

œ œ œœ œ

↑

œ

D

œœ

œ œ .œ

J

œ

↓D7

œ œ œœ

œ

œœ œ

G

j

œ

.

.

˙

˙

œœ œœ

D

œœ

œ œ œœ œ

↑

œ œœ

œ œ .œ

J

œ

B7

&

#

#œ

œœ

œ# œ

œ œœ

E.

.

˙

˙œ œ

A

œœ

œ œ œœ œ

œ

D

œœ

œ œ .œ

J

œ

↓D7

œ œ œ

œ

œ

œ

œœ œ

G

œœ

œœ

œ

˙˙ œ œ

D

œœ

œ œ œœ

œ œ↑

G

&

#

# ..

œ↑

œœ↑

.œ

J

œ↑D B7

œ# œ œ œ œœ œ œ

E A..

˙˙

œ œ

↑Dœ œ œ œ œ

œ œœ

œ œ .œ

J

œ

D7

œ œ œœ

œ

œœ œ

G

œœ

œœ ˙˙

œ œ

Dœ œ œ œ œ

œ

&

#

#

œœ

œ œ .œ

J

œ

B7

œœ

œœ# œ

œ œœ

E.

.

˙

˙

œ œ

Aœ œ œ œ

↓œ

œ

D

œœ

œ œ .œ

J

œ

↓D7

œ œ œ

œ

œ

œœ

œ œ

G

œœ

œœ ˙˙ œ œ

D

&

#

# ..

œœ

œ œ œœ

œ œ

↑G

œ

↑

œœ

↑.œ

j

œ

j

œ

J

œ

↑D B7œ# œ œ œ œ

œ œ œ

E A1œœ

œœ

œœ

nb

œœ

#n

œ œ

D2

.

.˙˙ œ

œ

D˙

˙

˙

˙

œ

œ œ}

œ

œ œ œ œ œ œ

D7

&

#

# œ œ œœ

œ

œœ œb

G

œœ

œœ ..œœ

j

œœ

œ

D˙

˙

.

.

œ

œ

J

œ

œ

œ

œ œ}

œ

œ œ œ œœ

B7

œ œ œœ

œ

œœ

œ

E˙

˙

œ

œ œ

œ

œ

A˙

˙

.

.

œ

œ

J

œ

œ

D

&

#

#

œ

œ

œ} œ

œ œœ œ

D7

œ œ œœ

œ

œœ

œ œ œ

G

œœ

œœ ˙˙ œœ œ

D

œœ

œ œ œœ

œ œ

↑G

œ

↑

œœ

↑.œ œ

↑œ#

↓D B7œ œ œ œ œ

œ œ œ

E AD.S..

.˙˙

œ œ

D

œœ œ

œ ˙

˙

u

D

A

B

Wabash Foxtrot

C*

Ending from *

As played by Howe Teague in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 6/21/97; time: 2/2; key: D; scale: major (some high 4th, 5th, low 7th); pattern: ABBCABBAB (all 16), tuning: standard

Teague learned this slow country rag from his uncle Orville Cassidy. Teague also played a version of the tune on his Ozark Memories LP, wherehe identifies it as traditional. The foxtrot was a dance step introduced by Harry Fox in the early 1913, and was earlier associated with an African-American community in New York City. Accompanied by ragtime music, the dance derived from the rag and one-step dances, and evolved within afew years into the faster quickstep. It is unclear to me whether the foxtrot as a musical form ever became distinctive from ragtime music. Curiously,“Wabash Foxtrot” is similar stylistically to “Natural Bridge Blues” (in this book) and other so-called blues tunes used for two-step dancing.

151

Jim “Skeeter” WaldenJames Madison “Skeeter” Walden (1879-1956),

was from Busch, a small north Arkansas town nearEureka Springs in Carroll County. In 1951, herecorded about 90 fiddle tunes plus a few songs forIrene Carlisle and Don West, and these recordingsreveal a fiddler of exceptional talent. He also wasapparently acquainted with Vance Randolph, who ispictured with him here. Walden spoke about himselfonly rarely on the recordings, but he did explain thathe was called “Skeeter” because as a young boy withhis permanent teeth growing in, he was teased for notbeing able to say “skeeter plane” very well. Hereported that an ancestor James C. Walden, born in1822, came to the Ozarks in 1850 (Missouri in 1850,and Arkansas in 1856), and that this Walden was afaith doctor who could heal and stop bleeding bylicking and rubbing his finger. He also said that hisbrother gave him a fiddle brought from England by a

man named Greenwood, who then lost the instrument playing freeze out poker. “Evening Shade Waltz” wasthe first fiddle tune Walden learned. He was involved in several musical activities: playing for dances, callingdances, singing songs, and writing songs. Some of his versions of tunes such as “Soldier’s Joy” and “Dry andDusty” are quite different from the tunes usually associated with those titles. Walden’s father, Henry P., is list-ed in some genealogy sources with a last name “Walling,” but this might be an error.

&

#

# C ..

.

.

h»130

œ œ

↑œ

œ œ

↑œ œ œ œ œ œ

œœ œ œ œ œ

œœ

œ œ œ œ œ œœ

œœœ œ œ œ œ œ

œœ

&

#

#

œ œ œ œœ

œœœ œ

œ

œ

œ

œ

œ

œ œœ

œ

œœ œ

œ œœ

œœ œ œ œ œ œ œ

œ œ œ œœ

œ œ

œ

œ

&

#

#

œ œœ

œœ œ

D.C.œ œ œ œ

œœ

œœ œ

œ

œ

œ

‰œ

œ

œ

œ

œ

œ

Œ

œ

œ

˙˙

u

œ œ œ œœ

œ œ œ

&

#

#

œ œ œ.œ

J

œ œ œ œ œœ

œœœ œ

œœ œ œ

œœ

œœ

œœ œ œ

œœ

œœ œ œ œ œ ˙

A B

Ending from * Variations V1

Broken-Legged Chicken As played by James "Skeeter" Walden (Mary Celestia Parler Collection, University of Arkansas, field recording); recorded 11/18/51; time: 2/2; key: D (C transposed up to D); scale: hexatonic major (no 7th, some high 4th); pattern: AAB (4,4,8); tuning: DGCF transposed to EADG

V3V2V2 V2

V2

V1V2 V3

*

Fiddler’s Companion reports that “Broken-Legged Chicken” has been popular in Arkansas and on the Cumberland Plateau along the Kentuckyand Tennessee border. It also reports that the tune has been played by the Kentucky African-American string band the John Lusk Band. The tune,which Walden plays in a lowered standard tuning, is melodically similar to several tunes in this book in a C#AEA tuning such as “White River,”“Bear Creek Sally Goodin,” and “Old Charlie Deckard.”

Phot

o C

ourt

esy

of S

peci

al C

olle

ctio

ns, U

nive

rsity

of A

rkan

sas.

152

&

#

# C

h»86

œœ

œœ œ œ

œœ

œœ

œœ

↓

œ œ

œœ

œ

œ œ œœ

œœ œ# œ œ œ

œj

œ

œ œ

œœ

œœ

↓

œj

œ œ

œœ

œœ

œœ

↓

œ œ

œ

œ

œ œ œj

œ œ œ

↑œ œ

&

#

# ..

.

.

œ

œ

œœœ œ œ œ

œ

œ œ œ œœ œ œ

œ œœ œ œ

3

œ œ

↓

œ œœ

œœ

3

œ œ œ

1

œ

œ↑

œ œ œ œ

œ

œ

2

D.C.

œ

œ↑

œ œ œœœ

œ

œ

œœ

˙˙

˙

u

}

A

B Ending from *

Everybody Schottische As played by James "Skeeter" Walden (Mary Celestia Parler Collection, University of Arkansas, field recording); recorded 11/18/51; time: 2/2 (dotted feel); key: C (strings tuned one note down) transposed up to D; scale: major (some high 4th, low 7th); pattern: ABB (8,4,4); tuning: DGCF, transcribed as if EADG

*

Schottisches are often in the repertoire of older Ozarks fiddlers. Walden introduces this one by saying, “There was two or three names for it,but most everybody called it ‘Everybody Schottische.’” Walden also calls this tune “Cat Run Up the Plum Tree.” The A part is similar to“Rochester Schottische,” and the B part is similar to “Little Brown Jug” (see Bayard, p. 402, 406). Two musical transcriptions of “Everybody’sSchottische” from Illinois are in Harrison (p. 382-383). These two versions have three parts with shifting keys; in one D, A, G and in the otherD,A,D. The A parts are similar to that in Walden’s tune, but the other parts appear to be different..

&

#

#

#

C .. 2

3C

h»128

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

↓œ œ

↓œ

œ œ œ œ œœ

œœ

1

œ œœ ˙

2

œ

œ

œ .œ

j

œ œ

3

œ œ œ œ œ

œœ œ

œœ

.

.

œ

œ

j

œ

&

#

#

#

2

3

œ œ

œ œœ

œ

œ

œœœ

.

.

œ

œ

j

œœ œ

œœ œ

œ ˙

˙

œ œ œœ

œ

œ

œœ

D.C.

œ œœ ˙ œ œ

œ ˙

u

œœ œ œ

œœ

œ œ œœ .œ

j

œ œ

3

œ œ œ

A B

Ending from * Variations V1

Fire on the Mountain As played by James "Skeeter" Walden (Mary Celestia Parler Collection, University of Arkansas, field recording); recorded 11/18/51; time: 2/2; key: A (G transposed up to A); scale: major (some low 7th); pattern: AAB (4,4,8); tuning: DGCF, transcribed as if EADG

* V2

V1V2

This tune is widely known throughout the United States. It is often compared to the tunes “Hog-Eye” (in this book) and “Betty Martin,” andFiddler’s Companion states that some versions of the tune have been connected to “Sally Goodin” and “Shortening Bread.” Bayard (p. 41) says thefirst American publication of the tune, under the title “I Betty Martin” was in 1801. It was published with the title “Free on the Mountain” in 1814or 1815. Opie (p. 318) reports that a song with the line “Fire on the Mountain, run, boys, run” was published in Boston in an 1825 nursery bookMother Goose’s Quarto. In 1842, the line was also included in Robert Chambers’ Popular Rhymes of Scotland. Opie connects the song to the min-strel song and play-party song “Jim Along Josie,” and an 1840 publication of that song’s chorus confirms strong similarities (Nathan, p. 435). Ames(p. 298) includes among her memories of Missouri play-parties in the 1880s the song “Jim Along Jo” with the words “Cat’s in the cream jar, run,girls, run! Fire on the Mountain, fun, boys, fun! Hey, Jim a long, Jim a long, Josie! Hey, Jim a long, Jim a long, Jo!” Following another historicalangle, Wilkinson (p. 72) suggests “Fire on the Mountain” is related to a Norse halling tune, for which Grieg published a setting in 1875. Waldensays he has heard different words sung to this tune, including “Fire on the mountain, run boys run,” and “All little Indians don’t drink whiskey, alllittle Indians don’t get drunk.” Walden’s version, which is in the key of A throughout, differs from many popular versions of the tune in which theB part shifts to the key of D and then ends with a brief return to the key of A. Charlie Walden includes “Fire on the Mountain” on his list of "OneHundred Essential Missouri Fiddle Tunes." Versions similar to Walden’s are transcribed in Phillips 1 (p. 86, version 1B) and Krassen (Appal.Fiddle, p. 72). Compare other versions in Bayard (p. 41), Brody (p. 106), Phillips 1 (p. 85, 86), and Titon (p. 72). Meade (p. 705) lists 14 earlycommercial recordings, the earliest being by Uncle Am Stuart (1924); others include Fiddlin’ John Carson (1926), and Gid Tanner & His SkilletLickers (1928).

Track #25

153

This book includes three versions of “Natchez Under the Hill” (see others by Lon Jordan and Absie Morrison) because tunes with that titlehave often been played by fiddlers in the Ozarks. Usually the tunes bear a resemblance to the fiddle standard “Turkey in the Straw,” also called“Old Zip Coon.” With Walden’s tune, however, the connection seems distant at best. The first measure of Walden’s B part is reminiscent of thebeginning of the A part in “Turkey in the Straw” and Walden’s A part includes a sixth scale note that repeats in the middle, which is vaguely similarto what occurs in the B part of “Turkey in the Straw.” Other than that, the tunes seem unrelated. It seems to me Walden’s tune is more related to Gtunes such as Absie Morrison’s “Cripple Turkey” and Seth Mize’s “Hell Among the Yearlings.” Walden’s tune is distinctive in that it includes along measure with three E quarter notes in the middle of each part. For a fuller history of the tune “Natchez Under the Hill,” read the notes to LonJordan’s version.

&

#

C ..

.

...

h»128

œ œ œœ

œ œ œ œœ

œ œ œœ œœ

œ

œœ œ œ

œ œ œœ œ œ

œ œ œœœ

œ œ

œ

œ œ œ

&

#

.

.

œ œ œ œ œ œ œ œ œœ œ

œœ œœ

1

œœ

œ œ œ

œ

œ

œ

œ

2

D.C.

œœ

œ œ œ œ œ

œ

œ Œ

œ

œŒ w

w

u

A B

Ending from *

Puncheon Floor As played by James "Skeeter" Walden (Mary Celestia Parler Collection, University of Arkansas, field recording); recorded 11/18/51; time: 2/2; key: G (F transposed up to G); scale: pentatonic major (no 4th, 7th); pattern: AABB (4,4,4,4), somtimes AAABBB; tuning: DGCF, transcribed as if EADG

*

Several tunes with little connection to each other have the title “Puncheon Floor.” Fiddler’s Companion connects various tunes with that titleto “Lost Train Blues,” “White Mule,” and “Richmond Cotillion.” The tune is similar in structure to some other G tunes such as “Hop Up KittyPuss.” Coincidentally, “Puncheon Floor” includes a section with thumping E quarter notes like the previous tune (possible connections?). Rankinand Stanton describe a Mississippi version with a B part that is, like Walden’s, similar to “Katy Hill.” Compare versions in Ford (p. 57) and Phillips1 (p. 190, 191).

Walden said after he played this tune, “That’s one of the old ones.” I can find little information about the tune. The fieldworker in one ofWalden’s 1951 field recordings identified the tune as “General Clayborn,” but on the above 1951 recording Walden himself introduced it as“Muddy Waters.” Bayard says the title is associated with a number of different tunes in Pennsylvania, including one similar to “Durroch’sHornpipe” (Bayard, p. 65), which is not similar to Walden’s tune. Vance Randolph listed “Muddy Waters” as an Ozarks fiddle tune in 1954.

&

#

#

#

C ..

.

.

h»128

œ œ œ œœ œ

œ

œ

œ œ œœ

j

œ.œ

J

œœ

œ

œ

œ œ

œ

œœœ œ œ œ œ œ

œœ

œ œ œœ

œœ

3

œ

œ

œ œ œ œœ

j

œ

˙˙ œ

œœ œ

œ ..œœ

j

œœ œœ

œ

œ

œ

œ

&

#

#

#

.

...

œ œœ

˙

˙

œn œ

˙

œœ œ œ

œj

œ œ œ œœ

↑j

œ

˙

˙

œn œ

˙

œœ œ œ

œ œ œ

D.C.

.œ

j

œœ œœ

œ

œ

œ

œ ˙œœ Œ

œ

Œ

˙

˙

u

œœ

œœ

œ œ

A

B Ending from * Variation V1

Muddy Waters As played by James "Skeeter" Walden (Mary Celestia Parler Collection, University of Arkansas, field recording); recorded 11/18/51; time: 2/2; key: A (F transposed up to A); scale: hexatonic major (no 4th, some low 7th); pattern: AABB (8,8,7,7), sometimes AB; tuning: CFBbEb, transcribed as if EADG

V1

*

Track #26

154

&C .

.

h»128

J

œ œ œ

œ œœ

œ œ

œ

œœœ

œœ j

œœ œ

œœ œ

œœ œ œ œ œ œ

œ

œ

œ œ

œ œœ

œ œ

œ

œœ

œœ

œœ j

œœ œ

œ œœ œ œ

&

.

...

.

.

œ

↓

œ

œ

˙˙

œ œ œ œ# œ œ

œ œ œ œ œ œ œ œ œ œ

↑œ

j

œœ D.C.

j

œ œ œ# œ œ œœ œ

œ

œ

œn

.

.

œ

œ

j

œ œœ

œœ

Œ

œ

œ

˙˙

u

A

B Ending from *

Soldier’s Joy As played by James "Skeeter" Walden (Mary Celestia Parler Collection, University of Arkansas, field recording); recorded 11/18/51; time: 2/2; key: C; scale: major (some high 4th); pattern: ABB (8,4,4), sometimes AABBB; tuning: DGCG

*

In this book, I am including two unusual versions of the classic fiddle tune “Soldier’s Joy” (see also Raymond Thomas’s version). Walden’sversion, in the key of C and with a very unusual tuning, has an A part unlike any I have heard with “Soldier’s Joy.” It seems to me this A part has aschottisch or polka quality not unlike “Flop -Eared Mule” (leaving me expecting a key change to G). The B part of Walden’s tune, though similar tothe standard B part in “Soldier’s Joy,” is shorter than usual, with only four measures. See Thomas’s version for more information about the tune“Soldier’s Joy,” and see “Flop-Eared Mule” (in this book) for more information about that tune.

&

#

C ..

h»126

3

œ œ œ œ

œ

œœ œ

œ œ œ

œ

œ œ

œœ œ œ

œ

œ

œœ

œ

œ

œœœ

œœ

œ

œ

œ

œ

œ

œ œœ œ œ

œ

œ

œ œœ

&

#

.

.

œ œ œj

œ œ œ œj

œ

œ œ

1

œœ œ

œ

œœœ

3

œ œ œ

2

œœ œ

œ

œœœ

œ œ

œœœ

œœ

œ œ

œ

œœ

œ œ œ œ

œ œœ

j

œ œ œ œ œ

&

#

œ œ

œ

œ

œ

œ

œ

œ œœœ œ

œ

œœœ œ

œ œ

œœ œ

œ œ

œ

œ œ œ

œœ

œœ œ œ œ

œ

œ

œ

œ

œ

œ

œ

œœœ œ

œ

œœ

œ

&

# œœ œœœ

œ

œ

œ œ

œ œ

œ

œ œ œ œ œj

œ

œ œ

D.C.

œ œ œœ œœœ

3

œ œ œ œœœ œ œ

œœ

Œ

.

.

œ

œ J

œ œ

œ

œ

œŒ

œ

œ

œ

œ Œ

A

B

Ending from *

Woody’s Hornpipe As played by James "Skeeter" Walden (Mary Celestia Parler Collection, University of Arkansas, field recording); recorded 11/18/51; time: 2/2; key: G (E transposed up to G); scale: major; pattern: AAB (8,8,12); tuning: C#F#BE, transcribed as if EADG

*

I have found no background to the tune “Woody’s Hornpipe,” but it appears to be the same as “Mountain Hornpipe” except with an unusual12-measure B part. Compare “Mountain Hornpipe” and other related titles in Bayard (p. 219), Cazden (p. 60), Cole (p. 102, “Douglas’ Favorite”),Ford (p. 71, “Doug’s Favorite”), Haywood (p. 47), Howe (p. 78, “Douglass Favorite, or Mountain Hornpipe”), Krassen (p. 85), O’Neill (RockChapel, p.324, “The Mountains of Kerry”), and Phillips 2 (p. 209).

155

Jesse WallaceJesse Moore Wallace (1907-2006) was born in Stone

County, Arkansas. His parents, Arthur and Mary, had afarm on Livingston Creek, near the White River. As achild, Wallace occasionally attended house dances wherethe fiddler only knew a few cross-tuned pieces theywould play over and over all night long. He especiallyremembers watching his Uncle Dickie step to the centerof the square and “jig” dance to the tune “Sugar in theHill.” One fiddler he remembers was Wayne Sulliven,who cross tuned his fiddle specifically to create a bag-pipe sound. When Wallace was 16, in 1924, he moved toIndependence County. Soon after that he bruised his leg,which eventually became infected and was diagnosed asosteomyelitis. He spent much of that year in bed. Whenhe was able Wallace would sometimes play on a tin fid-dle his brother gave to him. In time, a neighbor namedEd Paisley loaned Wallace a fiddle, and he began learn-ing tunes. After his recovery, he ordered a fiddle fromSears, Roebuck & Co., and he still plays that fiddletoday. He worked on various farms in northern Arkansas,and often played his fiddle with his brother Olen on gui-tar. In 1928, he bought a phonograph and began to learntunes from records. In 1929, the family moved toMcPherson in Baxter Co., near Calico Rock. He met 15-year-old Euna Rose Watley, who soon after that moved toKansas City. After a six year courtship that involved

many letters, she and Wallace were married in 1937 in Kansas City. After farming for a short period inArkansas the couple moved to Kansas City where they lived until 1971. They retired to Mountain Home, andWallace rekindled his interest in playing the fiddle, entering fiddle contests often. He also enjoyed learningmore tunes, and often played at festivals and jam sessions. Around 1979, he issued his own LP titled StoneCounty Fiddling featuring some of his older tunes as well as some newer tunes he learned from fiddlers PeteMcMahan and Lyman Enloe. [For more information about Wallace’s life, see Nellie Engler’s article.]

Phot

o by

Mar

k W

ilson

; use

d w

ith p

erm

issi

on

156

&C

h»128

œ↓

œ œ# œ œ œ

C

œ

œ

3

œœ œ

œ

3

œœ œ

œ↓

œ œ

↑œ œ

œ œ

œ œ œ œ

3

œ œ œ

Amœ

œ œ↑

œ œ œ

C

œ

œ

œ œœ œ

œ

F

œ œœ œ œ

œ

G~

~~

&

.

...

1

.

.

œ

œ J

œœœ

3

œ# œ œ

C2

.

.

œ

œ

j

œ

œ

œ

3

œ œ œ

C

œ

œ œ# œn œœ œ œ

œ

œ

œ

œ

œœ œ

œ

œ

œ

œ

œ œ œœ

œœ œ œ œ

œ

G

œ

œ

œ œ œ

œ

↑

œ

œ

œ œ

&

.

.œ

œ œ œ œœ œ œ

œ

œ

œ

C

œ

œœ œ œ œ

œ

œ

œ

œ

œ

œ

œ

F

œ

œ

œœœ œ œ œ

œ

G1

.

.

œ

œ

j

œ

œ

œ

œ.œ

C2

D.C.

.

.œœ

J

œœœ

œ

C

.

.

œ

œ

j

œ

˙

˙

C

~~~

A

B

Ending from *

Nubbin

*

As played by Jesse Wallace in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 6/26/97; time: 2/2; key: C; scale: major (some high 4th, unstable 1st); pattern: AABB (8,8,8,8); tuning: standard

Wallace learned this tune in the mid-1920s from Albert Lawrence, but he told Mark Wilson he was unsure about whether “Nubbin” was thecorrect title. Occasionally he simply called the tune “Albert’s Tune.” Vance Randolph listed the title “Come Get Your Nubbin” in his 1954 list ofOzarks fiddle tunes, but its connection to Wallace’s tune is unknown. Kentucky fiddler Owen “Snake” Chapman (Rounder CD 0418) plays a tunecalled “Nubbin Ridge,” but it appears to be the same tune as “Fort Smith” (in this book). The B part of Wallace’s “Nubbin” is similar to the B partof “Padgett” (see Christeson 2, p. 43).

&

#

C ..

h»124

œ œ

œœ

œ œ œ œ

G

œ

œ œ œ œ œ œ

C

œ œ

3

œ œ œ

↑œ

œ

.œ

G

œ œœ œ œ

œ

D

œ

œœ

œ œ œ œ

G

œ

œ

œ

œ

œ

œ œ œ œ

C

&

#

.

...

œ œ

j

œœ œ

œ

œ œœ

œ

œ

D1

œœ

œ

œœœ

œœ

œœ

œ

G2

œœ

œ

œœœ

œœ

œœ œ

G

œœ œ

œ œ œ œ œ œ ˙

œœ œ œ

œ œ œ

œœ

&

#

.

.

œ œ œ

œ

œ

œ

D

œ

œ

œ œ œ œ œ

G

œ ˙œ œ

↑C

œ œ œ œ œœ

œ

D1

œ ˙˙

œœ

G2

D.C.

œ œœœ

œ

G

œ .˙

G

˙

˙

Ó

A

B

Ending from *

Old Joe Redbird

*

As played by Jesse Wallace in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 6/26/97; time: 2/2; key: G; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

Wallace learned the tune as “Redbird” from Henry Woods who played the tune in Old Joe, Arkansas. He decided to call it “Old Joe Redbird”or “Woods’ Redbird” to distinguish it from the other tunes called “Redbird.” It does not appear to be connected to “Redbird Hornpipe” (Phillips 2,p. 219), “Oklahoma Redbird” (Phillips 2, p. 211), “Red Bird Reel” (Christeson 1, p. 16), or a version of “Redbird” that includes octave jumps,which Thede calls the “redbird call” (Thede, p. 152, and Phillips 1, p. 197 under “Redbird 1”). Wallace’s version of “Redbird” appears to connectvaguely with one part in Clark Kessinger’s version of “Redbird,” but the brief similarity might be coincidental (see Kessinger’s version in Phillips1, p. 197, under “Redbird 2”; compare Wallace’s A part with Kessinger’s C part). The chord progression in the A part of Wallace’s tune suggests itmight be considered part of the “Little Brown Jug” family of schottische tunes.

&

#

C ..

.

.

h»124

œ

œ

œ

œ œ œ œ œ œœ

G

œ œ œ œ œn œ œ↑

œ

F

œ œ œ œ œ œ œœ

G1œ œ œ œ œn œ œ œ

F2œ œ œ œ œn œ

œ

G F

&

#

.

...

.

.

œ œ

↓œ œ œ œ œ

œ}

G

œ œ œ

↑œ œ œn œ œ

F

œ œ œ œ œ œ œ œ

G1

œ œ œœ

œœ

œ

œ

œ

2

œ œ œ œœœ

œ

œ œ œ œœ œ

œœœ

œ

&

#

.

.œ œ

3

œ œ œ œ œ œ

Fœ œ œ

œ œ œ

↑

œœ

G1

œ œ œ œ œ œ

œ

œœ

D G2

D.C.

œ œ œ

œœ

œœ

œ œ

œ

D G

œ œ œ œ œ œ

œ

D G

œ

œ

Œ Ó œ œ

↑œ

œ œœ œ

A

B

Ending from *

Old Leather Bonnet with a Hole in the Crown

C

*

As played by Jesse Wallace in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 6/26/97; time: 2/2; key: G; scale: major (some high 4th; low 7th); pattern: AABBCC (4,4,4,4,4,4); tuning: standard

Variation V1

V1

157

Wallace learned this tune, which is an instrumental version of one his grandmother’s songs, while he was a 16-year-old boy bedridden with aleg infection. A number of songs include the title line in their verses, including “The Arkansas Boys,” “The Old Leather Bonnet,” “When You GoA-Courtin’,” “The Arkansas Sheik,” and “Come All You Virginia Girls.” Mark Wilson found a version of the song in The United States Songster,published in 1836. All of these songs warn women not to go “courtin’” in certain undesirable locations including ones where the women do notdress well enough. For example, one of Randolph’s versions of “The Old Leather Bonnet” includes the following verse: “When you go to meeting,I’ll tell you what they wear; A tow sack dress and that is their best; A tow sack dress greased all around; And a old leather bonnet with a hole in thecrown” (Randolph III, p. 224). Wallace said that farm women did in fact pull their hair through a hole in their bonnets so wind wouldn’t blow thehat away (liner notes to Rounder CD0435). Most of the melodies published with the songs listed above do not appear to be connected to Wallace’stune, but a version of “Arkansas Sheik” recorded commercially by Clayton McMichen and Riley Puckett in 1931 is almost identical to Wallace’stune. Wallace learned the tune eight years before that recording was made, but perhaps a song similar to “Arkansas Sheik” was circulating in folktradition during Wallace’s childhood. A distinctive element in Wallace’s tune and “Arkansas Sheik” is the repeating alternation of F sharp and F nat-ural notes in a G tune. For more information see Randolph III (p. 12, 223), and Lomax (Folk Song U.S.A., p. 56, 74). Also see the notes for “ComeAll You Virginia Girls” at California State University Fresno’s The Traditional Ballad Index athttp://www.csufresno.edu/folklore/ballads/R342.html.

&

#

C ..

h»126

œ œ œ

œ œ

↓

œ œœ

G

œ

œœ œ

↓

œœ

œ œ œ œ

↓

œ œ œ œ œ

D

œœ

3

œ œ œ

œ

œ}

œ.œ œ

œœ œ

↓

œœ

œœ

G

œ œœ œ

↓

œœ

3

œ œ œ

C

&

#

.

...

œ œ œ œ œ œ œ

D1

œœ

œœ œ

↓

œœ

œ œ

G2

œœ œ œ

↓

œœ œ

œ

œœ

D G

œœ

œ# œ œ œ œ œ œ œ

œ}œ

C

œ œ œ œ œ

↑

œ œ

&

#

.

.œœ œœ œœ œœ œœ œœ

D

œœ

œ œ œ#œœ œœ œœ œœ œœ œœ

C

œœ œ œ œœ œ œ

1

œœ

œœ œ

↓

œ œ

œ

œœ

D G2

D.C.

œœ

œœ œ

↓

œœ

œ œ

D G

œ œœ

œœ œ

↓

˙

u

D G

A

B

Ending from *

On the Rock

*

As played by Jesse Wallace in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 6/26/97; time: 2/2; key: G; scale: major (some high 4th, low 2nd, 7th); pattern: AABB (8,8,8,8); tuning: standard

Wallace learned this tune when he was a teenager in the early 1920s from local fiddler Albert Lawrence. He did not remember a title for thetune so he called it “On the Rock,” after the rocky shelf on which Lawrence’s house sat. The A part is similar to the A part in a number of populartunes such as “Jack of Diamonds” (one version), “Wake Up Susan,” “Mason’s Apron,” and “Big Sandy River.”

&

#

# C ..

h»122

œœ œ œ œ

œ œ œ œœ

D

œ œ↑

œ œœ œ

↓œ

œ œœ

œ

œ

œœ

œ œ œ œ ˙

œœ

Aœ œ œ

œ œ œ œœ

D

œ œ

↑

œ œœ œ

↓œ

œ

G

œœ

œ

œ

œœ

œ œœ

A

&

#

# ..

.

.

1

œ˙

œœ

D2

œ˙

3

œ œ

↑

œ

D

œ œœ œ

œœ

œ

œœ

œ œ œ œœ

œœ

œ

œ œ

œ

œ

œ

œœ

œœ

œ

œ œœ

A

œ

œ

œ

œ

œœ

œœ

œ

œ œœ

œ œœ œ

œœ

œ

œ

D

&

#

# ..

œœ œ

œ

œ œœ

œœ

G

œ

œ

œ

œ

œ

œ

œœ

œœ

œœ

A1

.

.œœ

↓j

œœ

œœ

3

œ œ

↑

œ

D2

D.C.

.

.œœ

j

œœ

œœ

3

œ œœ

D

œœ

œœ

œœ

œœ

Œ œ œ œœ œ œ

œ

œ}

œ œ œœ

œ

Œ

œ

œ

œ

œ

œœ

œœ

œ

œ

œœ

œœ

A

B

Ending from * Variation V1

Sunflower Hornpipe

V1

As played by Jesse Wallace in The Stone County Fiddler (Graphic Recording, c. 1979); recorded c. 1979; time: 2/2; key: D; scale: major (some high 4th; low 7th); pattern: AABB (8,8,8,8); tuning: standard

*

Wallace learned this tune from Lyman Enloe, who was possibly responsible for its popularity in the Ozarks. The tune is similar to the fiddlestandards “Cricket in the Hearth” and “Marmaduke’s Hornpipe” (in this book). Another musical transcription is in Phillips 2 (p. 227, LymanEnloe’s version).

Track #27

158

Bob WalshBob Walsh (1929-1990) is best known for his tireless work

developing and maintaining fiddling activities in the Ozarks.Born in West Eminence in Shannon County, a scenic area insouth-central Missouri, he learned to play fiddle at the age offive on an instrument brought over from County Cork, Ireland,by his paternal grandfather. Walsh’s father, Otha, was also agood fiddler and often hosted musical jam sessions at his storeand post office. House dances were common then, and Walshremembered that everyone would “jig” dance while they dancedthe figures (in contrast to many contemporary square danceswhere, according to Walsh, they would run instead of dance). Inaddition to admiring the playing of his father, Walsh idolized thefamous fiddler Arthur Smith and tried to emulate his style. In1949 Walsh married Hazel, and for 37 years he worked with theMissouri Department of Conservation as a law enforcementsupervisor. Walsh’s life was increasingly busy, and starting whenhe was about 21 he quit playing the fiddle. He rarely played fid-dle for the next 25 years, until the early 1970s when young peo-

ple began to show an interest in his music. His devotion to fiddle music came back with force, and soon hewas taking leadership roles in state and national organizations devoted to fiddling. He became one of the nineoriginal certified judges of the National Fiddlers Association, and on many weekends he was traveling throughthe country judging fiddling contests. In the 1980s on their Cape Fair farm, he and Hazel hosted an annual hogroast and fiddler’s convention. The event grew so large they decided to invite the Sims family, who ran theCompton Ridge Campground near Branson, Missouri, to take it over, which they did. The States of the OzarksFiddlers Association meeting at Compton Ridge Campground has become a semi-annual four-day event withfiddlers from throughout the Midwest and the South in attendance. Bob Walsh led successful drives to havethe fiddle proclaimed the official state musical instrument of Missouri, Oklahoma, and Arkansas. His effortsinvolved years of writing legislation and testifying before hearings. Later in his life, he enjoyed the role ofteacher, and at one point he had over 30 students. Designated a master folk musician, he also taught fiddlingthrough Missouri’s Traditional Arts Apprenticeship Program. His devotion to fiddle music, and his vast reper-toire of tunes that included about 300 waltzes and close to 600 hoedowns, earned him the name “Mr. Fiddle”by a Springfield television station. [For more information about Walsh’s life see Clay Anderson’s article.]

Cou

rtes

y of

Gor

don

McC

ann

159

&

#

# C ..

h»120

œ œœ

œ œ œ œ œœ

D

œ œ

œ œœ œ œ

↓

œ œ œ œœ

œ

œ

œœ

œ

A

œ

œ

œ œ

œ

œ

œ

3

œœ

œœ œœ œœœ œ œ œ œ

œ

D

œ œ

œ œœ œ œ

&

#

# ..

#

#

#

.

.œ œ œœ

œ

œ

œœ

œ

A1œ

œ

œ

œ

œ

œ

œ

œœœ

œœ

D2œ

œ

œ

œ

œ

œ

˙

˙

D

.

.

œ

œ

j

œ

œœ

œ

œ

Aœ

œ

œ

œ

œ

œ ˙

˙

.œ j

œ

œœ œ

œ

E

&

#

#

#

.

.n

n#

.

.

œ œ œœ

..œœ

J

œ} .œ

J

œ œœ

œ

œ

Aœ

œ

œ

œ

œ

œ.

.

œ

œJ

œ} .œ j

œ

œ

œ

œœ

œ

œ

œ

E1˙

˙œœ

œœ

A2 .

.

˙

˙ œ

A

.˙

J

œ

G

&

#

.

.

#

#

œ

œ

.œj

œ}

œœ œ œ

Dœ

œ

↓

œ

œ˙

3

œ œœ œ œ

Gœ

œ

.

.œœ

J

œ}œ

œ œ

œ

œ

D1œ œ œ

œ

G2

D.C.

œ œ

œ

œ

œ

œ}œ}

G

œ

œ

Œ œ

œn

œ

œ#

u

G

A

B

Ending from *

Hazel’s Quadrille

C

*

As played by Bob Walsh in Old Time Ozark Fiddlin’ (self-produced cassette); recorded ?; time: 2/2; key: D, A, and G; scale: major; pattern: AABBCC (8,8,8,8,8,8); tuning: standard

Walsh composed this tune for his wife Hazel.

&

#

4

3 ..

q»112

œ œ œ œ œ

œ

œ

œ

#.

.

œ

œ J

œ œœ

G

..œœ

j

œ œ œ#

D

.

.

œ

œ J

œ œ œ

G

.˙

.

.

œ

œJ

œœ

œ .

.

œ

œ

j

œ œ

œ

œ#

D

.

.

œ

œ J

œ œ œ

G

œ œ œnœ

&

#

.

.

œœ .œ

j

œ

C

œœ

œ

3

œœ

œ œ

œ .œ

j

œ

G

œ

œ

œ

E

..œœ

j

œœ

3

œœ œœ œœ

A

.

.œ

œ

j

œœ

œœ œœ# ..œœ

J

œ œœ

D1

..œœ

j

œ

œ

œ

œ

&

#

.

.

2

œ

œ œ#

E

.˙

A

.œ

J

œœ œ

D

˙ œ œ

G

˙ œ œ.˙

Em

.œ

J

œ œ

œ

B7

.œ

J

œ œ œ

Em

j

œ˙ œ œ .œ

J

œ

↓œ .œ

Am

.œ

j

œ œ œ#

&

#

.œ

J

œ œœ j

œ˙ œ

œ

Em

.˙

.œ

J

œ œ

œ

B7

..œœ

J

œ œ œ

Em

j

œ˙

3

œ œ œ.œ

j

œ œœ

G

.œ

j

œ œ

F#m

˙ œ#

Em

.˙

D

&

#

.

.

œ

œ J

œ œœ

G

..œœ

j

œ œ œ#

D

.

.

œ

œ J

œ œ œ

G

.˙

.

.

œ

œ J

œ œœ ..œœ

j

œ œ

œ

œ

œ

#

D

.

.

œ

œ

j

œ

œ

œ

œ

œ

G

œ œ œnœ

&

#

.

.

œœ .œ

j

œ

C

œœ

œ

3

œœ

œ œ

œ .œ

j

œ

G

œ

œ œ#

E

.˙

A

.œ

J

œœ œ

D

˙ œ œ

GD.C.

˙ œ œ œœ

œœ

œ

œ

œ

œ

œ

œ

#

#

G.

.

˙

˙

U

A

B

Ending from *

Missouri Waltz

*

As played by Bob Walsh in Old Time Ozark Fiddlin’ (self-produced cassette); recorded ?; time: 3/4; key: G and Em; scale: major and minor (some chromatics); pattern: AABB (16,15,32,32); tuning: standard; in this recording he does not return to the A part, so I cannot supply a second ending for the B part; includes twin fiddling (second fiddle not notated).

“The Missouri Waltz,” first published in 1914 by the Forster Publishing Company, is the state song of Missouri. The melody was purportedlywritten by John Valentine Eppel and arranged by Frederick Knight, but some researchers believe it was composed earlier by Jelly Settles (seeHoward Marshall’s liner notes for Voyager VRCD 366, p. 18). The lyrics were added by James Royce under the pseudonym James Royce Shannon.The waltz became especially popular in 1944 when it was played at the Democratic National Convention where Harry Truman was nominated forvice-president, and it became the official state song of Missouri in 1949. The original lyrics, written in a minstrel style reminiscent of StephenFoster, contain words that were offensive even in the 1940s, and a number of words such as “Mammy” and “darkies” were changed. An example ofone of the original verses is: “Hush-a-bye, ma baby, go to sleep on Mammy’s knee; Journey back to Dixieland in dreams again with me; It seemslike yo’ Mammy was there once again; And the darkies were strummin’ that same old refrain.” As a fiddle tune, the waltz has probably been playedprimarily by fiddlers who perform at public events such as competitions, festivals, and concerts where listeners might request the tune. I have rarelyheard the waltz, with its unusual and difficult chord progression in the B part, played at community jams and square dances. Although the tune isprobably played mainly by Missouri fiddlers, it is also played in other states west of the Mississippi. For example, Fiddler’s Companion reports thatthe tune was an old standby for Kenner C. Kartchner, the early 20th century Arizona fiddler. Another musical transcription is in Phillips 2 (p. 283).Meade (p. 357) lists eight early commercial recordings, the earliest being by E.F. “Poss” Acree (1924, harmonica); others include McMichen’sMelody Men (1927), and the Ranch Boys (1935).

160

&

#

# C ..

h»134

œœn

œœ#

œœ œ

œ

œœ

œ

œ

œ œ

D

œœ

œ

œ œœ

œ œ œœœ

œ

œ œœœ œ

œ œœ

œ

œœ

œœ

œœ ..

œœ

J

œ

œ

A

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œœ

œœ

œœ

œœ

œ

œ

&

#

# ..

.

.

œ

œ

œ

œ

œœ

j

œ

œ

œ

œ

œ

œ

œ

œ œ

1œ

œ œœ œ œ œ

œ..

œ

œ

D2œœ

˙˙

œ

œ

œ

œ

#

↓Dœ

œ

œ

œ

œ

œ

#

↓

œ

œ

œ

œ

3

œ

œ

œ

œ

œœ

˙˙

œ

œ

œ

œ

↑œ

œ

œ

œ

œ

œ

# œ

œ

œ

œ

œœn

œ

œ

˙

˙

œ

œ

œ

œ

G

&

#

#

œ

œ

# œ

œ

œ

œ

œœ œœ

œ

œ

œ

œ œ

Aœ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œœ

œœ

j

œ

œœ œœ

œ

œ

œ

œ œ

œ

œœ

œœ

œœ œœ

œ

œ

.

.

.

œ

œ

œ

œ

Dœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

&

#

#.œ

j

œ.

.

œ

œ

n

j

œ

œ

œ

œ

˙

˙

œ

œ

œ

œ

G

œ

œ

œ

œ

œ

œ

œ

œ

œ

↓

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

D

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

Aœœ

œœ

œœ

œœ œ

œ

D

œ

œ

œ

œ

.

.

œ

œ

œ

œ

œ

œ

œ

œ

D

&

#

#

.

.

˙

˙

œ

œ

œ

œ

↑œ

œ

œ

œ

œ

œ

œœ ..

˙˙

œœ

œ

œ

A

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œœ

œ

œ

œ

œ

œ

œ

œœ

œœ

œœ œœ

œ

œ

œ

œ œ

œ

œœ

œœ

œœ œœ

œ

œ}

œ

œ

œ

œ

D

&

#

#

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œ

œ

œ

œ

œ

œ

œ

œ

↑œ

œ

œ

œ

.

.

œ

œ

j

œ

œ

.

.

œ

œ

n

j

œ

œ

œ

œ

˙

˙

œ

œ

œ

œ

G

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

D

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

A

&

#

# n

#

.

.

œœ

œœ

œœ

œœ

œ

D

.

.

˙

˙

œ

œ

G

.

.

˙

˙

œ

œ

œ

C

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

D

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

G

œ

œ

˙

˙

œ

œ œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ J

œ

C

&

#

.

.

#

#œ

œ

œ œ œ

œ

œ

œ

œ

œ

œœ

œ

DD.C.

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

G

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœn

œœ#

œœ

œœ

œœ↓ œ

œ

3

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

&

#

# n

#

œœ œ œ

œ œœ

œ œ œ

œ

œ œœ

œ

œ

œ

œ

œ

œ

œ œ

œœ

˙

u

œ

œ

œ

œœ œ

œœ

œ

œ œ

œ œ œœ

œ œ œœ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ œ

œ

œ

œ

œ œ

œ

œ

œ

As played by Bob Walsh in Old Time Ozark Fiddlin’ (self-produced cassette); recorded ?; time: 2/2; key: D and G; scale: major (some high 4th; chromatics); pattern: AABCDD (8,8,16,16,8,8); tuning: standard

A

B

Introduction Ending from *

Variations V1

Ragtime Annie

C

D

V2

V2

V1

*

“Ragtime Annie” is widely known throughout the United States. Fiddler’s Companion points to fiddle researchers such as Miles Krassen andGuthrie Meade who suggest the tune is relatively new, perhaps from around 1900 when ragtime music was at its peak in popularity. Texas fiddlerEck Robertson recorded the tune commercially in 1922, and progressive fiddlers often point to his recording as one of their sources. The tune isplayed with two or three parts. The third part, which includes a key change and bears some resemblance to “Little Brown Jug,” is played by Walshin the above performance, but it is rarely played by other fiddlers in the Ozarks. The longer version is, however, often played by fiddlers—withmany of whom Walsh would have associated—in northern regions of Missouri and throughout regions west of the Mississippi. Eck Robertson’spopular early recording had three parts, so this longer version can be found to some degree throughout the U.S. According to Fiddler’s Companion,Missouri fiddler Howard Marshall believes the third part has been a vital part of the tune in Missouri for many years. Gordon McCann reports that,when Bob Walsh was judging a fiddle contest in which “Ragtime Annie” was played, he would take off points if the fiddler did not play the thirdpart. Stacy Phillips suggests the tune "Going Uptown" is related, and Arkansas Arkie Woodchopper calls the tune “Raggin’ On.” Other musicaltranscriptions are in Arkansas Arkie (p. 18 “Raggin’ On,” with 2 parts, includes square dance calls), Brody (p. 225, with 3 parts), Christeson 1 (p.171, with 3 parts), Ford (p. 44, with 2 parts), Krassen (Appal. Fiddle, p. 48, with 2 parts), Phillips 2 (p. 107, 108, includes 2 versions, one with 3parts), Reiner (p. 130, with 3 parts). Meade (p. 873) lists 18 early commercial recordings, the earliest being by Eck Robertson (1922); othersinclude Al Hopkins (1926), and the Kessinger Brothers (1930).

161

&

#

4

3 ..

q»120

œ œ

↑

˙ œ œ

G

˙

˙

œ

œ

œ

C

.

.

œ

œ

j

œ

œ

3

œ

œ

œ

œ

œ

œ

D

.

.

˙

˙

Gœ

œ

œ

œ

œ

œ

œ

œœ œ œ

3

œ œ œ# œ œ œ# œnœ

œ œn

D

.œ

j

œ œ

.œ

&

# œœ#nœœ#

œœ

œœ

œœ œœ#n œœ œ

œœœ

.

.œœ

J

œ#œ œ

œ.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

œœ

.

.œœ

œœ

œœ ..

œœ

œ

œ

œœ

œ

œ

œ

œ

˙

˙

œ

œ

œ

œ

G

˙

˙ œ œ œ#

&

#

˙ œ œ ˙

˙

œ

œ

œ

C

.

.

œ

œ

j

œ

œ

3

œ

œ

œ

œ

œ

œ

D

.

.

˙

˙

Gœ

œ

œ

œ

œ

œ

œ

œœ œ œ œ œ ˙ œ œ

œ

C..

œœ

J

œ œ œ

&

#

.

.

œ

œ

œœ

œ

œ

œœ

œ

œœ œ

œ œœ

œ

œ

G

œ

œ

œœ

œ

œ

œ

œ

D

3

œ œ œ

3

œ œ œ

3

œ œ œ ˙˙

œœ œ

G 1

˙˙

3

œ œ œ#

2

.

.˙˙

œœ

œœ

œ

œ

G

&

#

4

2

4

3

4

2

4

3

4

2

œœ

œ œ œ

œ

œ œ œœ

C

.˙

Dœ

œ

œœ

œ

œ

œœ

œ œ œœ

œœ

œ

œ

G.˙

œœ

œ

œ

œœ

&

#

4

2

4

3

4

2

4

3

œœ

œ œ œ

œ

œ œ œœ

C

œ ˙

˙

Dœ

œ

œœ

œ

œ

œœ

œ œ œœ

œœ

3

œ œ œ

G DD.C.

˙

œœ

œœ

G

œ

œœ

œ

œ

œ .

.

˙

˙

u

A

B

Ending from *

Waltz of the Ozarks

*

As played by Bob Walsh in Old Time Ozark Fiddlin’ (self-produced cassette); recorded ?; time: 3/4; key: G; scale: major (some high 4th); pattern: AAB (30,30,16); tuning: standard

I have been unable to find any background information on this elaborate waltz, which is completely different from the “Waltz of the Ozarks”played by Kermit Moody (in this book). Walsh told Gordon McCann in a 5/10/85 interview that this was his own arrangement of the tune. With itschromaticism and extra-beat measures in the B part (rendering the tune almost impossible to use for dancing), the tune is well suited to the stageand competition venues Walsh enjoyed most.

162

Emanuel WoodEmanuel Wood (1900-1981) was born and raised

among the rocky hills of Taney County, Missouri,located on the border of Missouri and Arkansas. Hetold the producers of the LP album I’m Old But I’mAwfully Tough (p. 11-12) that his ancestors came fromEngland and initially settled in North Carolina. Hisfather Thomas Wilson Wood, a Civil War Union-sideveteran originally from Kentucky, was 74 years oldwhen Emanuel was born. Thomas’s home wasdestroyed in the Civil War, and he moved first toIllinois and then to Kansas. Thomas did not care forthe flat prairies, though, and finally decided to settlein Taney County, where the terrain was similar to hisnative Kentucky. He outlived his first wife, and mar-ried a second time to Matilda Diadamie Essary, whowas Emanuel’s mother. Emanuel recalled that hischildhood in Taney County was difficult, and thatpeople often relied on hunting for food. He points tohis uncle Jess Essary as a primary influence in hisdevelopment as a fiddle player: “When I was about10, 11 years old my uncle came down to our placeand sit there. We had us a fiddle made out of a cigar

box and he’d sit and play that ‘til midnight, and I’d sit right by him and listen to it and finally I got to where Icould play it” (p. 11). Emanuel also points to his grandfather, A.J. “Pap” Essary, as a musical influence:“Granddad played the fiddle and granddaddy was a jig dancer and he was a part Indian and his hair hung waydown here and twisted up in rolls, one on each side. He was a blacksmith and he done a lot of hunting” (p.11). Wood explained that his grandfather would often trick turkeys into thinking that he and his horse were acow by attaching a bell to the horse. In 1922, Wood married Fern Hobbs and began earning a living by farm-ing, hewing railroad ties, and taking odd jobs. On April 14, 1923, the couple moved north to the town ofOzark in Christian County (he marked that date in his 1923 Farmer’s Almanac), and eventually they had fourchildren. He worked at various agricultural and hauling jobs until 1938, when he purchased a dairy farm andbegan delivering bottles of milk to surrounding residents. Around 1950, Wood bought a second-hand store onthe town square in Ozark, and on July 27 of that year he hosted his first Saturday night musical gatheringcalled “Emanuel Wood’s Ozark Opry.” From then until the late 1970s, he and his family along with his musi-cian friends would play fiddle music and songs to a small listening audience. The players varied from week toweek and included anyone that walked in with an instrument. The musicians would range from top-notch fid-dlers such as Emanuel Wood, Art Galbraith, and Raymond Campbell to beginning guitar players and noviceswith all levels in between. The music event moved to other locations in the late 1970s, and then ceased whenWood died in 1981. Gordon McCann’s interest in documenting Ozark old-time music began in the mid-1970safter he began attending the Ozark Opry. He describes his first visit in the following narrative: “So we wentdown there, and on the northeast corner of the square in Ozark there were two little old false-front store build-ings, one story. And there was a brick building here, here’s a false front, and here’s a false front, probably fromthe late 90s [1890s] or turn of the century, you know, wooden; the kind you see in the movies. And the one inthe middle is where the Emanuel Wood’s Ozark Opry was. And I remember, got out of the car, and we walkedup to the door there, and there was one bulb hanging down from the ceiling. And where it used to be the win-dow display here, before, the musicians were setting. And then all around here in the back of the room wereall these people setting there. And then in the center, wasn’t anything but a pot bellied stove down towards theback… I just stood there spellbound watching this, you know… This was their Saturday night, and they wereall my grandparents age, just about, or my parents age. And … they’d square dance some and jig dance

Cou

rtes

y of

Bar

ry B

erge

y

163

some…. And the floor, it was loose from the wall over here, and when people were sitting in those chairsalong the wall, and people were dancing out here, you’d see their heads [the ones who were sitting] going likethat [up and down]…. It was literally a roar of sound. Nobody was in tune, but you could still kind of hear thefiddle. Emanuel Wood was a fiddler, Art Galbraith was a fiddler, I met Raymond Campbell there, was a fid-dler, and then there were a couple of others that were really not very good. And then there were banjos andguitars, and maybe a mandolin or something…. And then there was Mrs. Posey from Ava, had an electric gui-tar with a little amplifier, and that was the only electrical instrument you had… At times, someone would bewatching me, and he’d look down, and he’d get his fingers set, and then he’d hit a D one beat behind me, andhonest to goodness, then a guy sitting next to me was watching him, and he’d do the same thing. So you hadthis ‘Row, Row, Row Your Boat’ effect to where it got to be there was no sound to it, it was just a roar becausenobody was playing the chords at the same time.” [Interview of Gordon McCann on 6/10/05 by DrewBeisswenger.]

&C .

.

h»108

j

œ

œœ œœ œœ œœ œœ œ œœ œœœ

œ

C

œ

œ

œ

œ

œ

œ .œ

j

œœ

œ

œ

œœ œ

œœ œ

G

œ œœ

œ

œ

œ

œ

œ

œœ œœ

C

&

.

.

œœ œ# œœ œœn œœœ

œ

œ

œ

œ

œ

œ

œ

œ

œ œœ œ

œœ œ

œœ œ

G1

.œ

j

œ œ

j

œ

œœ œœ

C 2

.œ

j

œ œ

œ œ

œ

C

&

#

.

.

œ

œ

œ

œ

œ œ

œ

œ œ

œ

G

œ œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

D

œ œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

G

œ

œ

œ œœ

œœ œ

œ

&

#

.

.

n

œ œ

œœ

œœ

œ

œœœ

œ

œ

œ

œ

œ

œ œ œ œ

œ

D1

.

.

œ

œ

j

œ

œ

œ

œ

œ œ

œ

œ

œ

G 2D.C.

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

G

.œ

j

œœ

œœ

Œ

Fœ

œ

œ œœ

œœ

œ

Flop-Eared Mule

A

B

Ending from *

*

Variation V1

V1

As played by Emanuel Wood (Gordon McCann Collection, field recording); recorded 5/23/76; time: 2/2; key: C and G; scale: A part is pentatonic major (no 4th or 7th), B part is hexatonic major (no 4th, almost no 7th); pattern: AABB (8,8,8,8); tuning: standard; beginning not recorded; A part below second time through.

“Flop-Eared Mule,” sometimes with slightly different titles such as “Lop-Eared Mule” and “Big-Eared Mule,” is a standard fiddle tune playedthroughout the U.S. With a key change rarely heard in reels, the tune appears to have been played often as a schottische or polka in the past. In1864, Adam Couse claimed authorship of an almost identical tune (except with an added third part) published as sheet music under the title “DetroitSchottische” (compare for yourself by viewing a copy at the Library of Congress’s American Memory website: http://memory.loc.gov/cgi-bin/query/D?mussm:1:./temp/~ammem_ ms9d::). The sheet music, which sold well, might represent the tune’s original source, but because the tunedoes not appear to have been called “Detroit Schottische” often, it is certainly possible Couse derived his composition from an existing traditionaltune. Bronner says the tune is often called “The Barn Dance” in New York State (p. 228), and Lovett calls it “Military Schottische/Barn Dance” (p.100). Bayard connects the tune to a number of different titles such as “Coming Over the Mountain” and “Hell Amongst the Slavish” (p. 107). Fordsuggests a similarity exists to “College Hornpipe” (p. 157). Thede says the tune is also called “Monkey in the Barbershop” (p. 129), and Christesonincludes similar tunes under the generic titles “Breakdown” (p. 74, second one) and “Schottische” (p. 159, first one). Fiddler’s Companion says thetune is sometimes called “Asheville” in western North Carolina, and points to a number of other related tunes such as “Karo,” “Bluebell Polka,”“The Curlew Hills” and “Little Pet Polka.” “Green Mountain Polka” as played by the Scottdale String Band is also similar. “Washington Quadrille”also resembles “Flop-Eared Mule.” Other musical transcriptions are in Arkansas Arkie (p. 8, “Big Ear’d Mule,” with dance calls), Bayard (p. 101),Brody (p. 108), Bronner (p. 162), Cazden (p. 60, “Big Eared Mule”), Ford (p. 121 & 157), Phillips (p. 89), Silberberg (p. 45), and Thede (p. 129,with words from an African-American banjo song titled “De Ole Mule’s Tail”). Meade (p. 804) lists 40 early commercial recordings under varioustitles, the earliest being by William B. Houchens (1923, titled “Big-Eared Mule”); others include Uncle Jimmy Thompson (1926), Ernest Stoneman(1927), Fiddlin’ Powers (1927), Doc Roberts (1928), Kessinger Brothers (1929), the Skillet Lickers (1930), and Arkie the Arkansas Woodchopper(1941).

164

&

#

#

#

C

h»128

œ

œ

œ

œ

œ

œ

œ

œ

A

œ œ œœ

œœ

.œ j

œ œ

œ

œœ

œ

œ œ œœ

œ.œ

j

œ œ

œœn}

Eœ œ œn

œ œ œ

A

œ œ œœ

œœ

.œ

J

œ

D

&

#

#

#œ

œ œ œ œœœ

œœ

E

..œœ

J

œœ œœ

œ œ

œ œ

œ

œ œ

A

œœ œ

œ

œ œ

˙˙

œ

œ

œ

œ

œœ

œ

œ œ œœ

œ.œ

j

œ

œ

œ

œ

œ

E

&

#

#

#

.

.

œ

œ

œ

œ

œ

œ œ

A

œ

œ œ

œœ

˙˙

D

œ œœ

œ

œ

œ œ

œ

œ œ

E

..œœ

j

œœ œœ

3

œ œœ

A

..œœ

j

œ

œ

œ Œ

A

œ œ œœ

œœ

.œ

J

œœ

Hawk’s Caught a Chickenand Flew to the Woods

A

B

Ending from **

Variation V1

V1

As played by Emanuel Wood (Gordon McCann Collection, field recording); recorded 8/13/77; time: 2/2; key: A; scale: major (some low 7th); pattern: AB (8,8); tuning: standard

Wood’s version of this tune is unusual in that the A part ends with a dominant E chord, instead of resolving back to the A chord. Fiddler’sCompanion, citing Charles Wolfe, states the tune has strong connections to east-central Kentucky. Doc Roberts, from that region, recorded the tunein 1930. Lyrics to the tune, which would correspond to the B part in Wood’s version, tend to be similar to, “Wake up John, get your gun; Hawk’sgot a chicken and gone” (those words were sung by Kentucky banjo player Vernon Judd on Rounder 394). The tune is often linked to “Little BettyBrown.” Another musical transcription is in Phillips 1 (p. 108). Meade (p. 784) lists four early commercial recordings under the titles “Did YouEver See the Devil, Uncle Joe?” (compare with “Uncle Joe” in this book), “Little Betty Brown,” and “Hawk’s Got a Chicken;” the performer of“Hawk’s Got a Chicken” was Doc Roberts (1930).

&

#

# C

h»140

œ œ œœœ ˙˙

D

œœ

œœ œœ ..œœ

j

œ œ œ

œœ

œ œ œœ œ œ œ œ œ œ

œœ

œ œ œœ

œœ

A D

œ œ

œ

œ œœ

œ

œ œ

œœ

œœ œœ ..œœ

j

œ

&

#

# ..

.

.œ œ

œœ

œ œ œ œœ

œœ

1

œ œœ

œ

œ œ œ œ

œ

A D2

œ œ

↑

œ

œ œ

œ

œ

3

œ

œ

œ

œ

œ

œ

A Dœ œ

œ

œ œ# œ œn

↓

œ œ

œ

œ œ œ œœ œ

.œ

J

œ

œ

œ

œ

œ œ

œ

G

&

#

# ..

œ

œ

œ œ

œ

œ

œ

œ

œ

œœ

(A)

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

D

œ œ

œ

œœ œ œ œ

œ œ

.œj

œ

œ œœ

œœ

AD.C.

œ œ œ œœ œ œ

œ

œ

D

œ œ œ

œ œ œ

Œ

A D

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

A

B

Ending from *Variation V1

Lighthouse As played by Emanuel Wood in I’m Old But I’m Awfully Tough (Missouri Friends of Folk Arts MFFA 1001, 1977); recorded 1975 or 1976; time: 2/2; key: D; scale: pentatonic major (no 4th, 7th); pattern: AABB (8,8,8,8); tuning: standard

*V1

Wood learned this tune from Art Galbraith. The liner notes to the LP I’m Old But I’m Awfully Tough identify “Lighthouse” as a fairly commonMissouri tune and connect it melodically to “Old Dubuque” and “Five Miles Out of Town.” Fiddler’s Companion links “Old Dubuque” to a largenumber of other tunes, including "Duck River," "Fiddling Phil," "General Lee," "Mabel," "Muddy Road to Kansas," "Sally in the Green Corn,"“Possum Up a Gum Stump," and “Off to California." Uncle Dick Hutchison calls the tune “Trouble on the Nine Mile.” Harrison (p. 323) includes asimilar tune titled “Rolling River.” Charlie Walden includes “Old Dubuque” on his list of "One Hundred Essential Missouri Fiddle Tunes." Othermusical transcriptions are in Brody (p. 93, “Dubuque”), Christeson 1 (p. 65, “Old Dubuque”), Ford (p. 101, “Village Hornpipe”), Howe (p. 89,“Village Hornpipe”), and Phillips (p. 76, “Dubuque”). Meade (p. 731), who links “Lighthouse” to “Village Hornpipe,” lists five early commercialrecordings, the earliest being by William B. Houchens (1923) under the title “Bob Walker;” another includes Capt. Moses J. Bonner (1925) underthe title “’Ma’ Ferguson.” Meade also references other tune titles, including “Old Dubuque,” “Sweet Ellen,” “Lonesome Hill,” “Hell Broke LooseIn Georgia,” and “Indian Eat the Woodpecker.”

165

&

#

# C ..

h»110

j

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œœ

Dœ œ

œœ œ œ œ

j

œ œ↑

œ œ

↑œ œ

œ

Gœ œ

œœ œ

œ

œ

œ

œ

œ œœ

D

œ

œ

œ œ

œ

œ

œ

œ

œ

œ œœ

œ œ

œœ œ

œ

A

&

#

# ..

1œœ

œœ

œœ œ

œ

œœ

œ

œ

D2œœ

œœ

œœ

œœ

œ

D

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

j

œ

œ

œœ

œ

œ

œœ

A

œ

œ

œœ

œ

œ

œ

œ

œ œœ

œ

&

#

# ..

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

D

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œœ

œ

œœ

œ

A

œœ œ

œ

œœ

3

œ

œ

œ

œ

œ

œ

D

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

&

#

# ..œ œ œ

œ

œ

œ

œœœ

œœ

(G)

œœ

œœ œ

œ

œ

œ

œœ œ œ

œ

œ œ

œ

œœ

œœ

œœ

D

œ

œ

œ

œ

œœ

œ œ œ

œ

œœ

œ

œ

œœ

œ

œ œ

œ

œ

œ

A1

..œœ

j

œœ œœ

3

œ

œ

œœ

œ

œ}

D 2

D.C.

..œœ

j

œœ œœ

œ

œ

œ

œ

D

Mississippi Sawyer

A

B

C

As played by Emanuel Wood (Gordon McCann Collection, field recording); recorded 12/10/77; time: 2/2; key: D; scale: major (some high 5th); pattern: AABCC (8,8,8,8,8); tuning: standard; recording ends in middle of tune

Wood’s version of “Mississippi Sawyer,” one of the most widely-played fiddle tunes in the South, has a few distinguishing qualities. In thethird and fifth measures of the A part, Wood reaches up to B notes when most fiddlers would be stepping down. The chord changes are not consis-tent applied, giving the tune a crooked feel at times, and for portions of this performance the guitarist chooses simply to play the D chord through-out. Wood includes a third part, which appears to be the A part an octave lower. The tune has a long history, stretching back at least to when a simi-lar tune called “Downfall of Paris” was published in 1806, if not earlier (view samples of later 1850s sheet music editions of “Downfall of Paris” atthe Library of Congress’s American Memory website http://memory.loc.gov/ammem/). The lyrics to that song appear to call for the success ofBritain against Bonaparte (dating it to around 1804). Fiddler’s Companion reports the tune also appeared in Knauff’s 1839 Virginia Reels, vol. IV,under the title “Love from the Heart” (curiously the collection also includes a tune titled “Mississippi Sawyer” which does not resemble our tune).Other titles of the tune include “Downfall of Adam,” and “Mississippi Jubilee.” According to Charles Wolfe, a Mississippi sawyer is an uprootedtree bobbing on the surface of the Mississippi River (see liner notes to Rounder LP 1023), but Ira Ford believes the phrase refers to a well-knownsawmill owner who worked at the confluence of the Ohio and Mississippi rivers, and who is credited with composing the tune (Ford, p. 183). Thetune was considered a major contest tune in Tennessee in the late 1800s, and Missouri fiddler Charlie Walden includes it in his "One HundredEssential Missouri Fiddle Tunes." Other musical transcriptions are in Arkansas Arkie (p. 24, with square dance calls), Bayard (p. 298, whichincludes a long list of sources for “Downfall of Paris”), Brody (p. 191), Christeson 1 (p. 63), Ford (p. 32, story on p. 183), Phillips 1 (p. 153),Reiner (p. 85), Silberberg (p. 101), Songer 1 (p. 137), and Thede (p. 117, two versions). Meade (p. 721) lists 23 early commercial recordings, theearliest being by Don Richardson (1916); others include Al Hopkins (1926), Uncle Jimmy Thompson (1926, titled “Karo”), Ernest Stoneman(1927), Gid Tanner, et al (1928), Kessinger Brothers (1929), and Arkie the Arkansas Woodchopper (1941).

& 4

3 ..

q»165

.œ œ œ

œ

œ

œ

œ

œ

C

œ

œ

œ

œ

œ

œ

.œ

J

œ œœ

œ

œ

.œ œ œ

œ

œ

œ

.

.

œ

œ

œ}

œ

œ

œ .œ œ .œ

J

œ.œ

œ

G

˙

.œ œ

&œ

œ

œ

œ

.

.

œ

œ

œ}

C

œ

œ

œœ œœ ..œœ

J

œ ..œœ œj

œ œœ .

.

œ

œ

œ

œ

.

.

œ

œ

j

œ

œ

.

.

œ

œ

œ

œ

G

.

.

œ

œ

j

œ

œ

.

.

œ

œ

œ

œ

j

œ

œ

.

.œœ

J

œ..

œœ œ

œ

C

&

.

...

1˙˙

.œ œ

2

.

.

œ

œ

j

œj

œ

.

.

œ

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ

œ

œ

œ

œ

.œ œj

œ

œ

j

œ

œ

b.

.

œ

œ œ

..œœ

J

œ ..œœj

œ œ œ

œ

œ

œj

œ}

.

.

œ

œ

œ .

.

œ

œ

j

œ .œ œ

œ

G

&œ

œ

.

.

œ

œ

œ.

.

œ

œ

œ

˙

˙

.

.

œ

œ

œ

œ

.

.

œ

œ

j

œ

.

.

œ

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ

œ

œ

Cœ

œ

.

.

œ

œ

œ

œ

.

.

œ

œ

œ

œ

..œœ

J

œœ ..œœ œ œœ .

.

œ

œ

œ

&

.

..

.

œ

œ

j

œ .œ œ

G

.œ

j

œ

.œ œ œ

œ

œ

œ

.œ œ

C1˙˙

˙

.

.

œ

œ

œ

œ

2

D.C.

˙˙

.œ œ

˙˙

.

.œœ œ

Cœœ Ó .

.

œ

œ J

œ..

œœ œ ..

œœ

J

œ .œ œ

Spokane Waltz

A

B

Ending from * Variation V1V1

As played by Emanuel Wood (Gordon McCann Collection, field recording); recorded 12/10/77; time: 3/4; key: C; scale: hexatonic major (no 4th); pattern: AABB (16,16); tuning: standard

*

Emanuel Wood learned “Spokane Waltz” from his uncle Jess Essary. Essary, who would often play music at the Woods’ house when Emanuelwas growing up, eventually moved to Spokane, Washington. Emanuel decided to name this tune, for which he did not know a title, in honor of hisuncle’s move to Spokane. Another recording of Wood playing this beautiful waltz is on the LP I’m Old But I’m Awfully Tough.

Track #28

166

Em

anue

l Woo

d’s

Oza

rk O

pry,

c. l

ate

1970

s; P

hoto

by

Bar

ry B

erge

y; U

sed

with

per

mis

sion

.D

anci

ng a

t Em

anue

l Woo

d’s

Oza

rk O

pry,

c. l

ate

1970

s; P

hoto

by

Bar

ry B

erge

y; U

sed

with

per

mis

sion

.

167

A SAMPLING OFOTHER GREAT OZARKS FIDDLERS

Vern Baker

&C .

...

h»130

.

.

œ

œ

j

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

C

œ

œœ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œœ

œ

œ

œ

(G)1

œœ

œ œ

œ

œ

œ

œ

œ

œ

œ

G C2

œœ

œ œ

œ

.

.

œ

œJ

œ

G C

&

.

.

.œ

J

œ œœ

C

œœ œ

œ˙ œ œ# œ œ œ œ œ œ

G

œ œœ

˙˙

C.œ

J

œ œœ œ

œ œ

œœ

œ

&

.

.

œ

œ

œ

œœ œ

↑œ œ

G1

œ œ œ

œ

˙˙

C2

D.C.

œ œœ œ

œ

œ

œ

œ

œ

G C

œ œ

œ˙

˙

u

G Cœ œ# œ œ œ œ œ œ œ œ œ

œ

˙˙

A

B

Searcy County Rag

Ending from *Variations V1

V2

V1V2

As played by Vern Baker with Ashley’s Melody Men in Echoes of the Ozarks, Vol. 1 (County CD-3506, 1995); recorded 10/2/29; time: 2/2; key: C; scale: Lydian (high 4th); pattern AABB (4,4,8,8); tuning: standard; 2nd fiddler playing also (not transcribed)

*

Vern Baker of Zack, Arkansas, was one of two Arkansas fiddlers who played with the band “Ashley’s Melody Men” (the other was AnsonFuller, also represented in this book). In the recording transcribed above, Baker and Homer Treat precede the tune with a humorous banter aboutplaying the tune, and continue to joke and banter throughout the tune with band leader Hobart Ashley joining in. Baker was from a musical family,and from the 1930s through the 1950s his brother James Britt Baker was a successful Jimmie Rodgers style country singer under the name EltonBritt (Vern Baker was for a period a member of one of Britt’s bands). The town of Zack is in Searcy County, which is in a scenic part of ruralnorthern Arkansas. The A part of the tune “Searcy County Rag” is similar to the A part of “Chicken Reel.” The B part is similar to one of the partsin Clark Kessinger’s version of “Jake Gillie” (see Phillips 1, p. 171). Meade (p. 781) also connects “Searcy County Rag” to “Jake Gillie,” which isa Kentucky/West Virginia tune sometimes associated with “Eighth of January.” It appears to me, however, that aside from the B part of “JakeGillie” I mentioned (which Phillips identifies as an alternate B part), the tunes have little connection.

&

#

#

#

4

3 ..

q»170

œ œ

œœ

œ

œ

A

œ

œ

œ

œ

œ

œ

j

œœ

œ

œ

œ

j

œ

3

œ œ œ œ

œ œ œ œœ

œœ œœ

œ œ œ..

œ

œ

.

.

œ

œ

(D)

.

.

œ

œ

j

œ

œ

œ

œ

D

&

#

#

#

3

œ

œ

œ œ œ œ œœ

A

.

.œ

œ

j

œœ œ œ œ

œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

↑

œ

œ

3

œ œ œ œ

œ œ œ œœ

œœ œœ

œ

œœ

œœ

↑œ

œœ

E

&

#

#

#œ

œœ

œ œ

3

œ œ

↓

œ œ œ œ œ

↓A.œ

J

œ

↓œ œ

↓Dœ

j

œ œ œ

3

œ œ

↓

œ œ œœ

↑œœ

œœ

↑A..œœ j

œœ œ

↑

&

#

#

#œ

œœ

Eœ

œœ

œj

œ

œ.œ œ

3

œ œ œ.œ

J

œ œ œ

A.œ

J

œ

↓œ œ

↓Dœ œ œ

3

œ œ œ

3

œ œ œœ

↑œœ

œœ

↑A

&

#

#

#

.

.

..œœ

J

œ œ œ

↑œ

œœ

Eœ

œœ

œ œ œœ

.

.

œ

œ

J

œ

œ

œ

œ

œ

œ

↓A

.

.

œ

œ j

œ

œ œ

œ

œ œœ

A

.

.˙˙

œœ

bb

œœ

#n Œ

Helen’s Waltz

A

B

Ending from **

As played by Earl Ball in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 10/6/97; time: 3/4; key: A; scale: major (some high 4th, low 2nd, 7th); pattern: AB (16,17); tuning: standard

Earl Ball

168

&

#

#

#

C ..

h»132

œ œ œ œ œ œ œ

œœ

œ

œ

A

.œ

j

œ œ œ œœ

D

œ œ œœ

œœ

œœ

E

.œ

œ œ œ œ

œ œœ

œ œ œœ

œœ

œ

A

œ œ œ œ œ œ œœ

D

&

#

#

#

.

...

œ œ œœ

œœ

œ

E1

œ ˙

œ

œ

A2

œ œ œœ

œœ

œœ

A

œœ œœ œœ

œœ

œœ œ œ œ œ

œ œ œ œ œ

.

.

œ

œ

j

œœ

œœ

œ

E

&

#

#

#

.

.œ œ œ œœ œ œ œ œ

œœœ

..œœ œœ œœ œ œ œ œœ

A

œœ

œ œ œœ œ œ

D

œ œ œ œœ

œœ

œ

E1

œ˙˙

œœœ

A2

D.C.

œ˙˙

œ

œ

A

&

#

#

#

œ œ œœ

˙

Aœ

œ œ

œœ œ

œ œ œ œœ œ

˙˙

U

E A

œ œ œ œ œ

↓

œ

œ

œ

œ œ œ œ œœ

œ œ œœ œ œ

œ œ œ œ œ

œœ

œ œ œ œ œœ

A

B

Ending from *Variations V1

Spotted Pony

V2 V3 V4

V1

V2

V3V4

As played by Earl Ball in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 10/6/97; time: 2/2; key: A; scale: major; pattern: AABB (8,8,8,8); tuning: standard

*

The title “Spotted Pony” appears to be connected to at least two different tunes. The idea is supported by both Phillips 2 (p. 229) and an onlinesource called “Folk Music Index” (a third tune with that title is in Christeson 1, p. 34, but it is possibly a mistitled version of “Oklahoma Redbird”).Of the two versions, the one that is probably most popular throughout the South is often called “Snowshoe” in the Ozarks. The other version of“Spotted Pony,” which “Folk Music Index” believes has a strong Missouri connection, is the one played here by Ball. He learned the tune fromAndy Beaty of Humansville. Charlie Walden, in his tune annotations for the LP Now That’s a Good Tune (p. 52), suggests that Beaty’s daughter,Carol Hascall, was especially influential in popularizing this version of “Spotted Pony” in Missouri. Hascall said the family learned the tune whileliving in Oklahoma, and that she attributes it to Uncle John Wills, the father of the late Bob Wills of Western Swing fame. It seems to me the A partof this version of the tune resembles the A part of “Rachel” and the B part resembles the B part of “Marmaduke’s Hornpipe.” Not all Missouri fid-dlers play this Hall/Beaty version of the tune. For example, Pete McMahan prefers to play the version that resembles “Snowshoe” (see Phillips 1,“Spotted Pony 2”). Neither version of “Spotted Pony” appears to have been recorded by early 20th century fiddlers, so the tunes might be relativelynew. Charlie Walden includes “Spotted Pony” on his list of "One Hundred Essential Missouri Fiddle Tunes" (no mention of which version of thetune, but probably the above one because he states it is in the key of A; the “Snowshoe” version is generally in D). Meade (p. 811) suggests a con-nection between “Spotted Pony” and “Rabbit in the Pea Patch” exists. Other musical transcriptions of the above version of “Spotted Pony” are inPhillips 1 (p. 229, “Spotted Pony 1”), and Silberberg (p. 101, “Missouri Spotted Pony,” played in C).

As a boy, Earl Ball (1928-2008) of Humansville, Missouri, would listen to fiddle tunes played by his grandfather Amos Bishop, who migratedto Missouri from Kentucky. Ball, who for many years was best known as a guitarist, did not start playing fiddle tunes seriously until the early1960s. Among Ball’s major fiddle music influences, beside his grandfather, were Buster Fellows (for whom Ball often accompanied on guitar) andFred Stoneking. Ball told Mark Wilson that the above waltz is an unidentified one he learned from his grandfather Bishop. In the past, Ball usuallycalled the tune “Granddad Bishop’s Waltz,” but when recording the above performance he decided that since it didn’t have an official name any-way, he would honor his wife Helen by naming it after her.

169

Jim Beeler

&

#

C ..

h»142

œ œ œ œ œœ œ

œ

G

œ œœ

œœ œ

œ

œ

œ

œœ

œœ

œœ

œœ

œ œ

D

œ

↑

œ œ

↑

œ œ

œ œ œ œœ

œ œ

œ

G

œ œ œ œœ œ

C

&

#

.

...œ œ œ

œœ œ œ

œ

D1

œœ

œœ

œœ œœ

œ œ

G2

œœ

œœ

œœ œœ

œ

œ

G

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œœ

œ

œ

D

&

#

.

.œ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

œ œ œ

œ

œ

œ

œ

œ

œ

G

œ œ œ œ œ œ

C

œ œ

œœ œ

œœ œ

œ

œ

œ

œ

D 1

œ

œ

œ

œ

œœ

œœ

œ

œ

G2

D.C.

œ

œ

œ

œ

œœ

œœ

œ

œ

œ

G

&

#

œœœœ

œœ

œœ

œœ

œœ

œœ œœ

œœ

œœ

œœ

œ œ

œ

œ

œ

œ

œœ

œœ

œœ

bb

G

œœ

œ

œ œ œ œ œ

œ

œ

œ

œœ

œ

œ

˙

˙

D G

œ

œ œ œ œœ

œ

œ œ œ

œ

œ œ

œ

œ

œ

œ

œ

Œ

A

B

Introduction Ending from *

Kate-Kaylee Breakdown As played by Jim Beeler in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 1/28/97; time: 2/2; key: G; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

*

Jim Beeler (1938-2004) was born in Old Kissee Mills, Missouri. Fiddlers who influenced him included Harold Cook, Arch Moore, LonnieRobertson, Clint Johnson, Buster Fellows, Jim Webster, Alfonso Driskell, and Uncle Marvin Thurman. He began to play for dances in TaneyCounty when he was around 12 to 14 years old, and in recent decades he could often be seen playing fiddle or guitar for dances in Douglas Countyand the surrounding area. He indicated to Mark Wilson that occasionally he was unsure whether he modified an existing tune or made it up himself,and such is the case with this tune. He said he had played it as long as he could remember and that it was named after his great niece and grand-daughter.

&

#

# C ..

h»82

j

œ

œ

œœ

œœ

œ

œœ

œn œ

œœœ

œ

œ

D

œœ

œœ

œ

œœ

.œj

œ

œ

œœ

œœ

œ

œœœ

œ

œ

n œ

œœœ

œœ

œ

œ

n œ

œœ

œ œ œ œ œ œ œœ œn œ œ

œ

G

&

#

#

œœ œ œ

j

œœn œ œœ

œœ œœ

œœ œœ œœ

D

œœ

œœœ

œ œ œœ œ œ œœ œ œ

œ œ

A

œœ œ .œ

J

œ

&

#

# ..

.

.

œ œ œ œœ

œ

3

œœ œ

1..

œœ

J

œ..

œœ

j

œ

œ

D2

.

.œœ

J

œ œœ

œ

œ

D

œœ œ œ œn œ œ

œ œœ œ œ .œ

J

œ œœ

œ œ œœ œ œ

&

#

# œn

↑

œ œ

œ œ œ œ

D7

œ œ œœ œ œ œ œ

G

j

œœn

j

œœ

j

œ

3

œ œ œœ

..˙˙ œœ œœ

↓

D

œœ

œœ

œœ œ œœ œ œ œ

œ œ œœ œ

A

&

#

# ..

œœ œ

j

œ.œ

J

œ œ œ œ œœ

œ

3

œœ œ

1..

œœ

J

œ œœ

œ

œ

œ

D2

D.C.

.

.œœ

J

œ..

œœ

j

œ

œ

D

œ‰

J

œn œ œ œœ œ

D

œ

œ

œ

j

œ

œ

œœ

Œ

A D

Sharecropper’s Blues

A

B

Ending from *

*

As played by Jim Beeler in Remember Me (self-produced cassette); recorded 1980s-90s?; time: 2/2; key: D; scale: major (some low 3rd, 7th); pattern: AABB (12,12,12,12); tuning: standard

Occasionally the term “blues” is used to refer loosely to various different kinds of slower tunes, but in this case the tune actually does follow astandard 12-bar blues progression. Two-step round dances in the Ozarks are often danced to blues tunes such as “Sharecropper’s Blues,” which fid-dlers play in a bouncy upbeat manner. This tune, which demonstrates Beeler’s mastery of this two-step blues style, was often linked to Oklahomafiddler Uncle Dick Hutchison, who described the tune as one of his “own arrangements” (notes to Hutchison’s Old Time Fiddlin’ LP). Mark Wilsonsuggests this tune and “Drowning Creek Blues” (in this book) are possibly connected.

Track #29

170

Lester Bennet

&

#

C ..

h»122

œ œ

↑œ

œ

œ

œ œ

G

œœ œ

œ

œ œ œ œ

↓œ œ

œ

œ œ œ˙

œ œ

D

œ

œ œ œœ

˙ œ œ œœ

.œ

J

œ œ

œ

˙œ œ

G

&

#œ

œ

œ

œœ

˙

œ œ œ œ

↓œ œ œ œ œ

˙

œ

Cœ œ

↑œ œ œ

œ œ œ œ œ œ

↓œ

œ

œ

G

œ œ œ

↑

œ

œ œ

D

.œ

j

œœ œ

œœ

G

&

#

œœ

œ

œ

j

œ

.˙ œ œ œ

œ œ œœ œ .˙

j

œ

œœ

D

œœ

œ

œ

.˙ œ œ œœ œ œ

œ œ ˙ œ œ

G

œ œ œœ

&

#

.

.

.˙ œ œ œœ œ œ

.˙

œ

Cœ œ

↑œ œ œ

œ œ œ œ œ œ

↓œ

œ

G

œ œ œ

↑

œ

↑œ œ

D

œ˙˙

œ œ

↑G

ww

u

G

œ

œ œœ

œ œ œ œ œ

œ

A

B

Ending from *

Variations V1

Winter Flower Polka

V2

V1

V2*

As played by Lester Bennet in Old Time Fiddler (self-produced cassette, 1981); recorded c. 1981; time: 2/2; key: G; scale: major (some high 4th, 1st, low 2nd); pattern: AB (16,16); tuning: standard

Lester Bennet (1913-1988) was buried with his family in Scotland County, Missouri. Fiddler’s Companion identifies “Winter Flower Polka” asan American polka. Phillips has transcribed a version of the tune, similar to Bennet’s version, from Texas fiddler Forrest Daugherty (Phillip 2, p.357). This suggests the tune might be associated primarily with areas west of the Mississippi. A polka titled “Winter Flower” (or the French “Fleurd’hiver”) was written by Franz Apt (1819-1885) and published in New York by Wm. A. Pond in the 1870s, but that French polka is a different tune(thank you to Dartmouth University Libraries for locating that piece).

Phot

o of

Les

ter

Ben

net;

unkn

own

phot

ogra

pher

, cou

rtes

y of

the

Oza

rk F

olk

Cen

ter

171

Glen Bilyeu

&

#

#

#

C ..

h»114

œ œ œ œœ

œ œ œ

A

œ œ œ œ œ œœ œ

œ œ œœ

œ œ œ

D

œ œ œœ œ

œ œœ

œ œ œœ

œ œ œ

A

œ

↓

œ œ œ œ œœ

œ

&

#

#

#

.

...

œ œ

œ

œ

œ

œ œ œœ

E1œ

œ œœn œ

œ œ

A2œ

œ œœn œ

j

œ

œ

œ

E A

œ œ œ œ œœ œ

œ œ œ œ œ œœ œ œ œ œ œ

œ œ

&

#

#

#

.

.

œœ

œœ œ œ œ#

E

œ œ œ œ œœ œ

œ

A

œ œ œ œ œ œœ

Dœ œ œ œ œ œ

↑

œ

E1œ

œ œœn œ œ

œ

œ

A2

D.C.

œœ œ œ œ œ

œ œ

E A

œœ œ

œ

↑

˙

E A

A

B

Ending from *

Bill Cheatum

*

As played by Glen Bilyeu (Bilyeu family field recording); recorded 1972; time: 2/2; key: A; scale: major; pattern: AABB (8,8,8,8); tuning: standard

Glen Bilyeu (1919-1977) was from Walnut Shade, Taney County, Missouri, and was a guitarist for many years before focusing on fiddle. Amember of the well-known musical Bilyeu family (brother to Willie mentioned below), Glen worked for the State Highway Department. “BillCheatum” is a tune widely played throughout the South. Fiddler’s Companion cites the research of Charles Wolfe, who discovered that the tune wasa fiddle contest category tune in 1899 in Gallatin, Tennessee (The Devil's Box, Vol. 14, No. 4, 12/1/80). There, each fiddler would be required toplay a version, and the fiddler with the best rendition would win a prize. Christeson suggests the tune might not have entered Missouri until themid-1940s (Christeson 1, p. 24). Other musical transcriptions are in Brody (p. 41), Christeson 1 (p. 24), Krassen (Appal. Fiddle, p. 68), Phillips 1(p. 24), and Thede (p. 103). Meade (p. 776) lists nine early commercial recordings, the earliest being by Eck Robertson (1922, as an unnamed partof the “Brilliancy Medley”); others include the Allen Brothers playing “Cheat ‘Em,” and Arthur Smith (1940).

Willie Bilyeu

&C .

. 2

3C .

.

h»112

œ

œ

œ

œ

œ

œ

œ ˙

C

œ

œ

œ

œ

œ

œ œ

œ

œ

œ œ

œ œ

œ

œœ œ

œœ

(Am) (G)1

œ œœ

œ j

œ

.œ

j

œ

G C2

œ œœ

œ

j

œ

.œ

œœœ œ

G C

œ œ œ

œ}

œ

œ

}

œ

œ

œ

}

œ

&

.

. 2

3œ

œ

}

œ

.œœ œ

œœ œ

œ

œ œœ

œ}

(G)1œ

↓œ œ œ

j

œ œ œ œ

(C)2

œ œ œœ

˙

C

œ œ œ .œ

J

œ

C

œ

↓ œ↑

œœ œ œ œ

œ œ

&C

œ

œ œ œ œ

Am

D.C.

œ œ œœ

œ œ œ

G C

œ œ œ

œ

œœ

œ

œ

œ

C

œœ œ

œ

œ œ

Œ

G C

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œœ

œ œœ œ

œ œ œ œ.œ

J

œ

A B

Ending from *Variations V1

Charleston No. 1

V1 V2

V2 V3

V3

As played by Willy Bilyeu (Art Galbraith field recording); recorded 1969; time: 2/2; key: C; scale: pentatonic major (no 4th, 7th, except ending); pattern: AABBC (all 4 measures, sometime 4 As); tuning: standard

C

*

William Efton “Willie” Bilyeu (1902-1973) was raised along the Christian-Taney County line (Glenn, p. 195). A member of a well-knownfamily of musicians and a dairy farmer, he is often cited as one of the finest fiddlers in the region. He recorded 24 tunes for Vance Randolph in1943. In 1929, the popular Mississippi duo W.T. Narmour and S.W. Smith released “Charleston No. 1” on the flip side of their popular “CarrollCounty Blues” (in this book). William T. Narmour (fiddle) and Shellie W. Smith (guitar) composed “Charleston No. 1” after the nearby town ofCharleston in Tallahatchie County, Mississippi. That recording went on to be a top selling record of 1929. Both tunes were almost certainly basedon local African-American music, and “Charleston No. 1” in particular is similar to the tune “Done Gone.” Later the duo tried to capitalize on thesuccess of the disc by releasing other tunes called “Carroll County Blues No. 2,” “Charleston No. 2,” “Carroll County Blues No. 3,” and CharlestonNo. 3.” In 1934 they re-recorded the original tunes with different accompaniment and called them “The New Carroll County Blues” and “The NewCharleston No. 1.” In his books, R.P. Christeson (see Christeson 2, p. 33) seems to have switched titles for “Charleston No. 1” and “Charleston No.2.” He acknowledged that both tunes in his collection were “recalled” from 78s; he apparently he did not have the original recordings. SomeOzarks fiddlers, such as Jesse Wallace, play both “Charleston No. 1” and “Charleston No. 2,” and some Ozarks fiddlers, such as Jude Herndon,play a version of “Charleston No. 1” that sounds very similar to “Done Gone” (with a minor B part). In his version above, Bilyeu starts on whatNarmour would have considered the C part. Fiddler’s Companion suggests “Charleston No. 2” and “Charleston No. 3” are linked to “Silver StarHornpipe” and “Sailor’s Hornpipe” respectively. Other transcriptions of “Charleston No. 1” are in Christeson 2 (p. 33) and Phillips 1 (p. 46).Meade (p. 882) lists six early commercial recordings of “Charleston No. 1,” the earliest being by Narmour and Smith (1929, 1934); others includethe Doc Roberts Trio (1933). Meade also references recordings of “Charleston No. 2” and “Charleston No. 3,” all played by Narmour and Smith.

Track #30

172

Iiton O. Birkhead

Birkhead (b. 1865) was, according to Charles Wolfe’s liner notes, the primary fiddler on this 1931 recording, with A.E. Ward (1874-1934)playing second fiddle. The two Arkansas fiddlers played an octave apart during the B part; I chose to transcribe the higher part but it is possible thelower part would have typically been played by a solo fiddler. This tune was actually recorded, with slightly different variations, by two Ozarksbands in the early 1930s: the version above and one by Ted Sharp, Hinman & Sharp (both versions can be heard on the Echoes of the Ozarks CDs,County CD-3506 and CD-3507). Because it has rarely been recorded elsewhere, it is, according to Fiddler’s Companion, associated primarily withArkansas. The tune is similar to the more widely played “New Five Cents” (in this book), and the B part is similar to the B part in “Grey Eagle.”Fiddler’s Companion includes a story, emphasizing it is “without verification,” that the tune title is connected to a scheme in the early 20th centuryto persuade five counties in western Virginia to secede from the state of Virginia and to form a place called Robinson County. The website also con-nects the tune to “Ruffled Drawers” and to Uncle Dave Macon’s “Country Ham.” Another transcription is in Phillips 1 (p. 200). Meade (p. 785)connects this tune to “New Five Cents.”

Cleeson Box

&

#

# C ..

h»132

œ œ

œ œj

œœ↑

œ œ œ œ œ œ œ œ œœ œ

œ

œ œ œ↑

œ œ œ˙˙

œ

œ

œ

œ

.œ

J

œœ œ œ œ œ œ œ œ œ

œ

&

#

# ..

.

.œ œœ œ œ

œ

1

..œœ

j

œœ œœ œœ

2

..œœ

j

œœ œœ

œ œ

↑œ

œ œ œ

œ

œœ

œ œ œ œ

œ œœ œ œ œ œ œ

&

#

# ..

œ ˙ œ œ

↑œ

œ œ œ

œ

œœ

œj

œœ œ œ œ

œ œ œ

3

œ œ œ œ

1..

œœ

J

œœœ

œ œ 2D.C.

.

.œœ

J

œœ

œœ

3

œ

œ

œœ

œœ ..œœ

j

œœ œœ

Œ

A

B

Ending from *

Robinson County

*

As played by I.O. Birkhead and Albert.E. Ward with Birkhead & Lane in Echoes of the Ozarks, Vol. 2 (County CD-3507, 1995); recorded 10/25/31; time: 2/2; key: D; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard; one of the fiddlers plays an octave lower on the B part (not transcribed)

Cleeson Box (1919-) of Wright County, Missouri, plays in an older rustic style reminiscent of many older Appalachian fiddlers. “LaughingBoy” is usually thought of as an A tune (often in EAEA tuning) played by Texas-style fiddlers such as Benny Thomasson and Jim “Texas Shorty”Chancellor. Kentucky fiddler Kenny Baker, who learned the tune from Benny Thomasson’s playing, recorded the tune in 1968. It is possible thatKenny Baker’s recording popularized the tune throughout the Appalachian and Ozarks regions. Regarding why Box didn’t play the tune in theusual key of A, he told Gordon McCann he “just liked it better in G.” Another musical transcription is in Phillips 1 (p. 138, Kenny Baker’s ver-sion).

&

#

C ..

h»112

j

œ

œ

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

G

œ

œ

œ

œ

œ

œ œ

œœ œ œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Em

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

G

œœ

œ

œœ œ

œ œ

œ

œ

œ

C

&

#

.

...

œœ

œ

œ

œ

œ œ

œ

œ œ

D1

œ

œ

} ˙

˙

œ

œ

œ

œ

G2

œ

œ

} ˙

˙

œ

œ

G

œ

œ

œœ

œœ

œ

œ

↑

œœ

œœ œ

↑

œ

œ œ

↑

œ

œ œ œ œœ œ œ

œ

œœ

j

œ œ œ

œ

œ œ

&

#

.

.

œ

œ

˙

˙œ

œ

Em

.

.œœ

j

œ

↑

œ œ

↑

œ

G

œ œ

↑

œ

œ œ œ œœ

↑

œ

↑C

œ

œ

œ œœ

œ œ œ

↓D 1

œ

˙

˙

œ

œ

œ

œ

G 2 D.C.

œ

œ

œ

œ

œ

œ

œ

œ

G

&

#

œ

œ}

˙

˙

œœ

G

œœ œ

œœ œ

œ

œœ

œ

œ

œ

œ œœ

œ

œ

œ

Œ

D G

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œœ

œ œ œœ œ

œ

œ

œ

œœ œ œ œ .œ

j

œ

A

B

Ending from *Variations V1

Laughing Boy

V1

V2

V2

*

As played by Cleeson Box (Gordon McCann Collection, field recording); recorded 6/3/04; time: 2/2; key: G; scale: pentatonic major (no 4th, 7th, some high 2nd, unstable 3rd); pattern: AABB (8,8,8,8); tuning: standard

173

Cliff Bryan

Cliff Bryan (1927-), from Pomona, Missouri, is a major old-time fiddler in south-central Missouri. The Missouri Arts Council has designatedhim a Master Folk Artist, and he has taught a number for fiddlers through that program. He plays what some fiddlers call the “short-bow” style, andoften uses upbow strokes on the principal beats of a tune. Like many fiddlers, he played little while raising his family. “Hollow Popular” is oftenthought of as an old tune by fiddlers in the Ozark, but it might have entered the region in the 1930s through the radio performances of the famousTennessee fiddler Fiddlin’ Arthur Smith, who described it to his grandson Ernest as his favorite tune and as the first tune he played at the Grand OleOpry (see Songer 1, p. 246). Although Smith did not record the tune until the 1960s, many Ozarks fiddlers would have been able to hear him play itearlier on the radio. On the other hand, the tune might have been played in the Ozarks much earlier than the 1930s. The tune was also played bymiddle Missouri and Nebraska fiddlers Cyril Stinnett and Bob Walters. “Folk Music Index” links the tune to “Nine Miles Out of Louisville,” andMeade (p. 788) suggests the tune is similar to “Three Forks of Sandy.” The B part shows some similarities to the A part of the “Green Corn” familyof tunes. Other musical transcriptions are in Brody (p. 136), Christeson 1 (p. 86), Phillips 1 (p. 114), and Songer 1 (p. 98, 246).

Raymond Campbell

&

#

C ..

h»114

œ

œ

œ#

↓

œœ œ

œœ œ

G

œ œ

↓

œ œ# œ œ œ

œ œ

œ

œ

œ œ

œ

C

œ œ œœ œ

œœ

œ œœ œ} œ œ#

↓œ œ

G

&

#

.

...

œœ œ œ# œ œ œ

œ} œ œ œ œ œ œœ œ

D1

.

.œœ

j

œœ

œœ

œ œ#

G2

œœ œ

œœ

œ

œœ

œœ

D G

œ

œ

œ

œ

.

.

œ

œ J

œ

↓

&

# œ œ

↓œ

œ œ œ# œ œ

œ

œ œ œœ

œ

Dœ œ œ œ# œ œ œ

œ œ œ

œ

œœ œ

↑

œ œ

Gœ

œ œ œ#

↓œ

œ œ œ

œ

C

&

#

.

.

œœ

œ œ œ œ œœ

D1

œœ œ

œœ

œ

œœ œ

œ

G2

D.C.

œœ œ œ

œ

œ

œœ

œ œ

D G

œœ œ

œœ

œœ œ

D G

w

u

A

B

Ending from *

Hollow Poplar As played by Cliff Bryan (Gordon McCann Collection, field recording); recorded 12/27/03; time: 2/2; key: G; scale: major (some high 4th, 1st, low 7th); pattern: AABB (8,8,8,8); tuning: standard

*

&

#

C

h»100

œ

œ

˙

˙

œ

œ

G

œ œ

↓

œ

œ œ œ

↓

œ

œ œ œ

œ œ

œ

œ

œ

C

˙

˙

œ

œ

œ œ œ

Gœ

œ

˙

˙

œ

œ

œ œ

↓

œ

œ œ œ

↓

œ

Emœ œ œ

œ œj

œ

œ œ

A

&

#˙ œ œ

Dœ

œ

œ

œ

œ

œ

˙

˙

œ

œ

G

œ œœ

œ œ œœ

œ œ œ

œ œ

œ

œ

œ

C

.

.

˙

˙ œ œ#

G

œ œ# œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

C

œ œ œœ œ

œ œ

G Em

&

#

.

.œ œ œœ

œ œ œ

A D1

˙ œ œ œ

œ

œ

G2

.˙

œ œ

G

œ œ œœ

œ œ œ

œœ ˙

˙œ œ# œ

œ œœ

œ œ œ

C

.˙œ

œ

&

#

œ œ œœ

œ œ œ

œ

G

˙ œ œ œ œ œœ

œœ

œ œ œœ

A

œœœ œ œ

œ œ

D

œ œ œœ

œ œ œ

œ

G

œ ˙˙

œ œ# œœ œ

œœ œ

C

&

#

.˙œ

œ

œ œ œ œ œ œ#

G

œ œ# œœ œ

œ œ

Em

œ œ œœ

œ œ œ

A D D.C.

˙ œ œ œ

œ

œ

G

œ

œ

œ

œb

˙

˙n

u

Gœ

œ

˙

˙

œ

œ

A

B

Ending from * Variation V1

Flock of Birds

V1

As played by Raymond Campbell (Gordon McCann Collection, field recording); recorded 6/12/76; time: 2/2; key: G; scale: major (w/chromatics, some low 5th); pattern: AAB (16,16,16); tuning: standard

*

Track #31

Track #32

174

Raymond Campbell (1905-1977) was a major fiddler in Christian County, Missouri. “Flock of Birds” is a ragtime-style tune about which Iknow little. Ozarks fiddler Art Galbraith, who played the tune slightly differently, said he had known the tune since 1930 (notes to his LP SimplePleasures). Galbraith said he had not heard anyone else besides Raymond Campbell play the tune. Gordon McCann states, however, that he hasheard it played by other Ozarks fiddlers such as Emanuel Wood.

&C .

.

h»104

œ œ œ œ œœ œ œ œ

œ

C

œœ œœ# œœ œœ

˙˙ œ œ

œ

œ œ œœ

œ

F

œœ œ

↑œ

œ œœœ

C

œ# œn œœ

œ œ œœ

œ

F

&

.

.

œ œ œœ œ

œœ œ

C

œ œ# œ œ# œ œ# œ

Dj

œ#.

.

˙

˙

3

œ œn œ#

Gœ œ œ œ

œ.œ#

J

œn

C

œ œ œ ˙

&

œ œœ

œ œ œœ

œ

F

œ œ œœ œ

œœ

C

œœ œœ

œ

œœ

.œ œ.œ

œ

F

œ œ

↑œ

œœœ

œ œ

↑C

œ œœ

œ œ œœ

œ

Flunky Butt

Introduction

As played by Raymond Campbell (Gordon McCann Collection, field recording); recorded 1976; time: 2/2; key: C; scale: major (w/chromatics); pattern: A (8); tuning: standard; began with intro, then always A; ends abruptly

Variation V1

V1A

The only lyrics Campbell ever heard to this tune were, “I thought I heard somebody say, flunky butt, flunky butt, take it away.” The tune is amusical and historical curiosity. Musically, when Campbell plays the tune it never resolves, or never really comes to an end, but instead alwaysleaves the listener “hanging” on the five chord at the completion of the eight-measure tune. In Campbell’s performance above, after several timethrough the tune he ends abruptly in the middle of the sixth measure. Mark Wilson identifies the tune as historically significant because it can betraced to the late 19th century ragtime movement (Rounder CD 82161-0436-2, p. 5-6). Also called “Buddy Bolden’s Blues” and later “St. LouisTickle,” the tune and song have unclear beginnings. Often the song “Funky Butt” is described as a folk song with connections to Missouri (seeJasen p. 47) and Arkansas (see Randolph and Legman p. 176) and as one that was eventually used in popular songs such as “St. Louis Tickle” (seeJasen, p. 14, 47). One story about the background of “Funky Butt” is that it is derived from an 1880s New Orleans song about a “Miss Suzie”shouting, “Open the window.” The song was then modified by one of the sidemen in cornet-player Buddy Bolden’s jazz band, and called “FunkyButt Blues.” Buddy Bolden, who was most popular around 1900, eventually made it his signature song. Its lyrics included the line, “Thought Iheard Buddy Bolden say; Funky butt, funky butt, take it away.” It later became known as “Buddy Bolden’s Blues.” The song “St. Louis Tickle,”probably derived from “Funky Butt Blues,” was a hit at the St. Louis World’s Fair in 1904, and became a standard ragtime piece. Another storyabout “Funky Butt” is outlined by Randolph and Legman (p. 173-176), who suggest the song is connected to a 1910 New Orleans brothel, where amisbehaving client was given a drink concoction that caused him to vomit and defecate in his pants. After being further humiliated by the womenin the house, the client was thrown out by a bouncer or bully named “Mr. Bolden.” The next day a judge quickly sentenced the man, stilluncleaned, to 30 days sweeping streets, and then exclaimed, “Take ‘im away! … He’s nasty, he’s dirty… Take ‘im away!” Further complicatingmatters regarding the tune’s background, Mississippi John Hurt sings a version of “Funky Butt” that recounts various negative qualities in women.Another musical transcription is in Randolph and Legman (p. 173, 175).

John Chism

&

#

#

#

C ..

h»136

œ œ œ œœ

œ œ

A

œ œ œœ œ œ œ

˙

˙

œ

œ

œ

œ

œœ

œœ œœ œœ

œ

œ

œœ œœ œœ

œ

œ

œ

œ

œœ

˙˙ œ

œ

œ

œ

œœ

œœ œœ œ œ

&

#

#

#

.

.

œ

œ

œ

.

.œœ

J

œ

œ

œ

œ

œ

œ

œœ

œ

œ œ œ

D

œœ

œ œ œ

A

œ

œ

˙

˙

œ œ œ

œ

.

.

˙

˙

A

œ œ œ

œœ

œ œ œœ œ œ

Birmingham

Ending from **

V1

Variation V1

As played by John Chism with Pope’s Arkansas Mountaineers in Somewhere in Arkansas, Vol. 1 (Fulbright College of Arts and Sciences, University of Arkansas, 1995); recorded 2/6/28; time: 2/2; key: A; scale: pentatonic major (no 4th, 7th); pattern: A (11); tuning: EAEA

175

Fiddler John Chism and his guitarist son Wallace were members of the group “Pope’s Arkansas Mountaineers,” which enjoyed some successafter their Memphis recording session in 1928. The group was formed by John D. Pope and his son Milton, who were the owners of Pope’s Pianoand Music Store in Searcy, Arkansas. The Social Security Death Index includes a John H. Chism of Searcy, White County, Arkansas, who was born9/23/1877 and died 7/15/68, but I have not been able to confirm that this person is the same John Chism. The melodic and lyric structures of thefiddle tune “Birmingham” are similar to those that accompany other songs such as “Going Around the World,” “The Crawdad Song” (“You Get aLine and I’ll Get a Pole”), “Frog Went A-Courting,” “Baby Mine,” “Sugar Babe,” “Sweet Child,” “Banjo Pickin’ Girl,” and the spiritual “ThisTrain.” “Banjo Pickin’ Girl” in particular often has verses about going to places, as does “Birmingham” which begins with the verse: “I’m goingdown to Birmingham, darling (2X); I’m going down to Birmingham, shoes and stockings in my hand, baby.” The tune’s structure possibly hasancient ties because the nursery song “A Frog He Would a Wooing Go” is, according to Fiddler’s Companion, mentioned in a 1549 work titledComplaint of Scotland. Other musical transcriptions are in McNeil (Southern, p. 58, “Banjo Pickin’ Girl”), Sharp (II, p. 357, “Sugar Babe”), and, inmany sources using various titles related to a frog’s courtship, including Belden (p. 494), Brewster (p. 226), Brown V (p. 85), McDonald (p. 87),McIntosh (p. 49), and Randolph I (p. 404). Meade (p. 516) lists five early commercial recordings of “Going Around the World,” the earliest beingby Emry Arthur (1928); others include the Coon Creek Girls singing “Banjo Pickin’ Girl” (1938), and Roy Acuff singing “Living On the Mountain,Baby Mine” (1939); he also references early commercial recordings of “The Crawdad Song” and “Frog’s Courtship.”

&

#

#

#

C ..

h»126

j

œ

œ

œœ

œœ œœ œœ œœ

œœ

A

œœœn œ œ .

.œœ

J

œœ

œœœ

œ

œ œ

œ

œœ œ

œ

œœ

1

œœ œœ œœ.

.

œ

œ

j

œ

2

œœ œœœœ œ

œ

œ

œ

œ

&

#

#

#

.

...

œœ

œ œ

œ

œ œœœœ

A

œœ

œœ

œœ

œœ

œ œœ

D

œœ œ

œ

œ

œ

œ

œ

œœ

A1

œœ œœ œœ œœ œ

œ

œ

œ

E A2

D.C.

œœ

œœ

œœ

œœ

.

.

œ

œ

j

œ

E A

œœ

œœ

œœ

œœ ˙

˙

E A

Cotton-Eyed Joe As played by John Chism with Pope’s Arkansas Mountaineers in Echoes of the Ozarks, Vol. 1 (County CD-3506, 1995); recorded 2/6/28; time: 2/2; key: A; scale: Mixolydian (low 7th); pattern: AABB (4,4,4,4); tuning: EAEA

Ending from **

A

B

The tune “Cotton-Eyed Joe” is widely-known nationally. It appears to have especially strong ties to Texas, where at least as early as the 1880sit was also a heel and toe dance. Dorothy Scarborough calls it an authentic slavery tune song, and its syncopated qualities do suggest possibleAfrican-American elements. An often-heard verse lyric is: “Where did you come from, where will you go? Where did you come from Cotton-EyedJoe?” Thede described it as a simple tune to which fiddlers generally added their own personal touches (p. 26). The version here has the followingverse: “Want to go to church and couldn’t get to go; I had to stay home with Cotton-Eyed Joe.” Jabbour (p. 61) points to a likely relationship to aMississippi version of “Dusty Miller.” Other musical transcriptions are in Brody (p. 74), Christeson 1 (p. 20), Ford (p. 60), Harrison (p. 251),Jarman (p. 19), Phillips 1 (p. 56), Silverberg (p. 27, two versions), Songer 2 (p. 42), and Thede (p. 26). Meade (p. 778) lists six early commercialrecordings, the earliest being by the Dykes’ Magic City Trio (1927); the above 1928 “Pope’s” recording is listed next; others include Gid Tanner &His Skillet Lickers (1928), Lowe Stokes & Clayton McMichen (1930); and Fiddlin’ John Carson (1927, similar to “Dusty Miller”).

&

#

#

#

C ..

h»124

œ

œ

œ

œ

œ

œ

œ

œ œ

œœ

œœ

A

œ

œ

œœ

↓

œ

œ

œœ

Eœ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

Aœ

œ œœ .œ

J

œ

œ

E Aœ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ œ œ

œ

↓

œ

œ

œœ

↓E

&

#

#

#œ œ œ œ

œ

œœ œ

œ

A

œ

œ

œ

œ

œœ}

↓

œ

œ

..œœ

j

œœ

E A

œœ œœ œ œ œ

œœ

œœœ

.

.

œ

œ

n

j

œ

D

œ œ œ} œœ

œ œ œ œ .œ

j

œ

A

&

#

#

#

.

.œœ œ

œœ œ œ

œœ

œ

œ

n œœ

D

œ œ œ œœ

œœ

œ

œ

œ

œ

œ

.

.

œ

œ

j

œ

Aœ

œ

œ

œ

œ

œ

œœ

œœ

œ

œ œœ

↓

.œ J

œ

E Aœ

œ œœ

↓

˙

u

E A

Hog-Eye As played by John Chism with Pope’s Arkansas Mountaineers in Echoes of the Ozarks, Vol. 1 (County CD-3506, 1995); recorded 2/6/28; time: 2/2; key: A; scale: major (some low 7th); pattern: AB (8,10); tuning: EAEA

A

B

Ending from *

*

A hog-eyed man is possibly a wall-eyed man but the term has other, sometimes sexual, meanings as well (see Fiddler’s Companion). The tuneis similar to a number of other song tunes, including from this book “Granny Will Your Dog Bite” and “Fire on the Mountain.” Bayard discussesthe tune’s popularity in Pennsylvania and suggests a possible Norwegian connection (Bayard, p. 43). In the performance here the lyrics, whichsome writers have linked to “lechery” (Cohen/Seeger/Wood, p. 67), begin with the verse: “Chicken in the breadpan kicking up dough; Sally willyour dog bite? No, child, no; Sally’s in the garden sifting sand; Sally’s upstairs with a hog-eye man.” It is possible that two separate “Hog-EyeMan” songs developed, one represented here and the other described by Botkin (Treasury, p. 836) as a Negro shanty. In that second song, a womenexpresses her interests in a hog-eye man, which is a phrase sometimes attached to workers on a type of barge along the California coast during thedays of the days of the “forty-niners” (c. 1849). Other musical transcriptions similar to Chism’s version are in Bayard (p. 40, “Hog-Eye an’ aTater”), Brody (p. 136), Cohen/Seeger/Wood (p. 67), Sharp (II, p. 360) Phillips 1 (p. 113), and Titon (p. 91). Meade (p. 706) lists one early com-mercial recording, with the title “Sally In the Garden,” by Crockett’s Kentucky Mountaineers (1928); he also references several other sources.

176

&

#

#

#

C ..

h»120

œ

œ

œ

œ

œœ œ

œ

œ

œ

œ

œ

Aœ

œ

n

3

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œ

œ

œ œœ œ œ

œn ..œœ

j

œœ

E A

œœ

œœ œ œ

œ

&

#

#

# œn œ œ .œJ

œ œj

œ œn œ œœ

œ œœ

œ

n .

.

œ

œ

J

œ

E A

œœ

˙˙

œ

œ

œœ œ œ

œnœ

œ

œœ

E

.œ

J

œ œ œ œ œœ

A

&

#

#

#

.

.œ œœ

↓

œ

.

.

œ

œ

j

œ

E A

œ

œ

.

.œœ

J

œ

œ

œœ œ œ

œnœ

œ

œœ

E

.

.

œ

œ

J

œ

œ

œ

œ

œ œ

œ

œœ

A

œ œœn

↑

œ

.

.

œ

œ

j

œ

E A

œ œœn

↑

œ

˙

˙

u

E A

Jaw Bone

A

B

Ending from *

*

As played by John Chism with Pope’s Arkansas Mountaineers in Echoes of the Ozarks, Vol. 1 (County CD-3506, 1995); recorded 2/6/28; time: 2/2; key: A; scale: Mixolydian (low 7th); pattern: AB (8,8); tuning: EAEA

The jawbone of a cow is still used by some fiddle bands (e.g. Violet Hensley’s family band) for percussion. It has strong connections to 19thcentury minstrelsy, both as an instrument and a stock character. This song possibly entered the Ozarks through traveling minstrels or medicine showperformances, and was then learned by Ozarks bands who wanted to emulate the popular style. Some have linked its melody to Dan Emmett’s min-strel song “Jordan is a Hard Road to Travel” (popularized in 1927 by Uncle Dave Macon). Botkin (Play-Party, p. 72) reports that fragments of thesong “Jawbone,” which he describes as a slave song, were used as a play party song in pre-World War II Oklahoma. Silas Sexton Steele published“Walk Jawbone” for minstrel performer Cool White in 1844, and Mark Wilson points out that a version of the tune was also claimed by E.H.Brower (liner notes to Rounder CD 0435). Wilson also suggests, however, that the relationship of these two published songs to Chism’s tune isdoubtfu1. Brunnings points to a relationship to “Down in Shilow Town” (p. 155). A related tune is “I Hung My Jawbone” (in this book) played byLon Jordan. The above version of “Jawbone” contains several sung verses, the first being: “Little old man come riding by, say, ‘Old man, yourhorse will die. If he dies, I’ll tan his skin, if he lives I’ll ride him again.’ [Chorus:] Walk jaw bone and walk away, walk jaw bone both night andday; Jaw bone walk and jaw bone talk, jaw bone eat with the knife and fork; Walk jaw bone and walk away, walk jaw bone both night and day.”Other musical transcriptions are in Ford (p. 103), Krassen (Appal. Fiddle, p. 57), Nathan (p. 464), Phillips 1 (p. 171), Randolph II (p. 333),Randolph/Cohen (p. 222), and Silberberg (p. 73). Meade (p. 762) lists two early commercial recordings under the title “Walk Jawbone,” the earliestbeing by the “Pope’s” 1928 one transcribed above; the other is by the Carter Brothers & Son (1928).

Earl Collins

&

#

#

#

C ..

h»136

œœ

œœ œœ œ œ

↓œ œ

œ

A

œ œ œ œ œœ

œ

œœ

œœ œ œ œ

↓œ

œ œ œœ

..œœ

J

œœ œœ œœ

œœ

E

&

#

#

#

.

.

œœ œ œ

↓œ œ

A

œ œ œ œœ œ œ

œ

œ

œ

œ

œœ

œœ

œ

œ

œ œœ

E1

.

.

œ

œ

J

œ

œ

œ

œ

œœ

œœ

A2

.œ

j

œ

œ

œ

œœ

..œœ

A

&

#

#

#

.

.

œœ œœ œœ œœ œœ œœ .

.œœ

J

œœ

œœ

œœ

œœ œ

œœ œ

œœ œœ

.

.œ

œ

J

œ

œ

œ

œ

œ

E

œ

œ

œ œ œ

œ

œ

œ

œ

œ

D

&

#

#

#

.

.

œ œ œ œœ œœ

œ

œ

œ

œ

œ

œ

A

œœ

œ

œ

œœ

œ

œ

œ

œ œœ

E1

.

.

œ

œ

J

œ

œ

œ

œ

œœ

..œœ

A2

D.C.

.

.

œ

œ

J

œ

œ

œ

œ

œœ

œœ

A

J

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

&

#

#

#œ

œ

œ

œ

œ

œ

œ

œ

œœ

œœ œœ

œœ

œ œ œ

œ

œœn

E

j

œœn

˙˙ œœ

œœ

Aœ œ œ

œ œ œ œ œœ

œ

œ

œ

œœ

˙

˙

E A

œ œ œ œœ œ

œ œ

&

#

#

#

œœ œ œœ Œ

E A

œ œ œ œ œ œ

œ

œ

œœ

œ œ œ œ

œœ

œ

œ

œœ

..œœ

J

œœ œœ œœ

œœ œœ œ œ

œ

œ

œ

œœ

.

.

œ

œ

J

œ

œ

œ

œ

œœn

œœ#

Little Dutch Girl

A

B

Ending from *

*

As played by Earl Collins in That’s Earl (Briar Records SBR-4204, 1975); time: 2/4; key: A; scale: major (some low 7th); pattern: AABB (8,8,8,8); tuning: standard

Introduction

Variations V1 V2 V3 V4

V1 V2

V3V4

©1975 by Kentucky Colonel Music: Earl Collins, author, BMI. Courtesy of Sierra Records. Used by Permission.

177

Earl Collins (1911-1975) was born in Douglas County in southern Missouri. From a long line of fiddlers, he was already trying to play tuneson a cigar box fiddle when he was three or four years old. When he was seven, he secretly started playing his father’s fiddle, and before long hisfather, who was hoping all along Earl would want to play the fiddle, gave him the instrument. In 1917, the Collins family moved—in part due tofrustration with the rocky soil in Douglas County—to Wynnewood, Oklahoma, and then on to Shawnee, Oklahoma, where they stayed. Earl Collinsmarried in 1931 and moved to Los Angeles, California, in 1935. He held several different jobs and continued to play fiddle at various venues, butpeople sometimes took advantage of him, and between 1950 and 1965 he rarely played fiddle music. His two sons convinced him to get back intofiddling in 1965, and between then and his death in 1975, he developed a reputation as an exceptional fiddler. His 1975 LP That’s Earl is wellknown in the old-time music community, and Bob Holt learned a number of tunes from that album. Earl, along with his father W.S. (Willie) and hisyounger brother Max, are featured in Marion Thede’s The Fiddle Book, which focuses on Oklahoma fiddle music (often similar to Ozarks fiddlemusic). Bess Lomax Hawes’s 1970 film Say Old Man Can You Play the Fiddle (now on a compilation titled The Films of Bess Lomax Hawes) fea-tures Earl Collins’s fiddle music, and includes a lengthy interview transcript (available to read online at http://www.mediageneration.net/Films/Bess/master.pdf). The title “Little Dutch Girl” appears to be associated with two different tunes in the Ozarks. One of the tunes is also called“Going Down the River” (in this book), and the other tune is presented here. (An American play-party song with the tune of “Did You Ever See aLassie” is also called “Little Dutch Girl” but I am not aware that it has been collected in the Ozarks.) Both Earl Collins, who learned the tune fromhis father, and Bob Holt report they heard this version of “Little Dutch Girl” played in Douglas County when they were young. In his liner notes tothe LP That’s Earl, Tom Sauber points out that the tune Collins calls “Little Dutch Girl” is called “Liza Jane No. 3” in Thede (p. 44) and includesthe lyrics, “I’ll go down the new cut road; And Liza down the lane; I’ll throw my hat in the corner fence; And scare poor Liza Jane.” Thede alsoincludes in her book a tune titled “Little Dutch Girl” (p. 85) but it resembles the tune I have called “Going Down the River” in this book. Mostpuzzling is that Thede’s “Little Dutch Girl,” which is not the version Earl Collins plays, is linked to Earl’s father, W.S. Collins. Perhaps W.S. knewboth versions of “Little Dutch Girl.” Other musical transcriptions of Earl Collins’s version are in Phillips 1 (p. 142), Silberberg (p. 91), Songer 2 (p.117), and Thede (p. 85, “Lisa Jane No. 3”).

&

#

#

#

C ..

h»132

3

œ

œ

œœ

œœ œœ œœ œœœœ œœ œ

A

œœ

˙˙ œ

œ

œœ

œœ œœ œœ œœ œœ œ

œ ˙

˙

œ

œ

œœ

œœ

E

œœ œœœœ

œœ œœ œ

A

œœ

˙˙

œœ

œœ

D

&

#

#

#

.

...

œœ œœ

œœ œœ

œœœ

E1

œœ ˙˙

3

œ

œ

œœ

œœ

A2

œœ ˙˙

œœ ¿

A

¿¿ ¿¿

¿

¿¿¿

¿

¿¿¿

¿¿ ¿¿

¿

¿¿¿

¿

¿

¿

¿

} ¿

¿¿¿

¿¿ ¿¿

¿

¿¿¿

¿

¿

¿

¿

} ¿

¿¿¿

œœ œœ

&

#

#

#

.

.

1

œœ ˙˙

œœ

œœ

E2

œœ ..

˙˙

E

œœ œœ œœ œœ

œœ

A

œœ˙

˙œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœœ

œœ

œœ ˙˙

œœ# œœ

&

#

#

#

œœ œœ# œœ œœ œœ

œœ œœ˙

˙œœ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œœœ

ED.C.

œœ ˙˙

3

œ

œ

œœ

œœ

A

œœ œœ ..

˙˙

U

A

œœ œœ œœ œœ

œœœ

œœ

œœ œœ

¿

¿¿¿

¿

¿¿¿

¿¿ ¿¿

Snowbird in the Ashbank

A

B

Ending from **

Variations V1 V2

C

As played by Earl Collins in That’s Earl (Briar Records SBR-4204, 1975); time: 2/4; key: A; scale: Lydian (high 4th, only played once); pattern: AABBC (8,8,8,8,16); tuning: C#AEA

Collins learned this C#AEA tune from his father, W.S. Collins. Most of the B part is played by sliding or shaking the bow along the finger-board (the notes with the X noteheads are played in this way). This technique can be viewed in The Films of Bess Lomax Hawes, in which editorBarbara LaPan Rahm comments in her notes that Collins’s “bow hand flutters like a bird dusting itself in the ashes.” This title is attached to severaldifferent Southern tunes, some of which have been linked to “Jordan Is a Hard Road to Travel,” “Say Old Man Can You Play a Fiddle,” and “Paddyon the Turnpike.” Fiddler’s Companion, which lists three versions, sorts through this matter nicely. As far as I can see, no other tunes with this titleare similar to Collin’s tune. The A part resembles the A part of “Horse and Buggy-O” (in this book), and Reiner (p. 125) suggests a similarity to“Dry and Dusty” (in this book). Another musical transcription of Collin’s version of this tune is in Reiner (p. 125).

©1975 by Kentucky Colonel Music: Earl Collins, author, BMI. Courtesy of Sierra Records. Used by Permission.

178

Bill Conley

&

#

# C ..

h»124

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

œœ

œ

œ

œœ

D

.

.

˙

˙

œ

œ

œ

œ

œ

œ

œœ œ

œ

œ

œ œœ

˙

œ

œ

œ œ

A

œœ

œ œ

œ

œœ

œ

D

œ œœ œ œ

œ

œ

œ

œ

œ

G

&

#

# ..

.

.œ

œ œœ

œ

œ

œœ œ

œœ

A1

.

.

˙

˙

œ

œ

œ

œ

D2

w

w

Dj

œœ

œ œ œ œ œ œœ

œ

œœ œ œ

œ œ

œœ œ œ œ œ œ

œ œ ˙ œ œ

Bm

&

#

# ..

.

.

œœ

œœ

œ

œ œ

D

œ

œ

œœ œ œ

œ œ

œ

G

œ œœ œ œ

œœ œ œ

A1

.

.

˙

˙

œ œ

D2

.

.

˙

˙

œ

œ

œ

œ

D

œœ

œ œœ œ œ œ

œœ œ œ

œ œ œ

œ

œ

œ

&

#

# ..

œœ

œ œ

œ

œ

œ œœ

˙

œ

œ

œ œ

A

œœ

œ œ

œ

œœ

œ

D

œ œœ œ œ

œ

œ

œ

œ

œ

G

œœ

œ

œœ

œœ œ œ

AD.C.

.

.

˙

˙

œ

œ

œ

œ

D

˙

˙

˙

˙

u

D

A

B

Ending from *

Goodbye, My Honey, I’m Gone

C*

As played by Bill Conley in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 9/17/97; time: 2/2; key: D; scale: hexatonic major (almost pentatonic, no 7th, one 4th); pattern: AABBCC (all 8); tuning: standard

Bill Conley (1946-) of Mountain Grove, Missouri, comes from a large extended family of musicians. For much of his early life he playedbanjo, but he decided to focus more on playing the fiddle after becoming a friend of and accompanist for fiddler Bob Holt (also featured in thisbook). Conley learned this tune from Paul Jones, the brother of Alton Jones (featured in this book). Mark Wilson suggests it is likely derived from achoral song of the later minstrel era. He also points out some similarities to “I Wish I Was a Mole in the Ground,” and to Violet Hensley’s versionof “Uncle Henry” (in this book). The Grant Brothers recorded the tune (basically Conley’s A part repeated over and over, sometimes with lyrics) in1929. Their lyrics included verses such as: “Goodbye, my honey, I’m gone; Oh, goodbye, my honey, I’m gone; I’m going far away but I’ll think ofyou each day; Oh, goodbye, my honey, I’m gone.” The addition of the B and C parts in Conley’s version is curious. The B part resembles the Bparts in other tunes such as “Willott’s Hornpipe” and “Sweet Ellen,” and the C part is the same as the A part except for the first two measures,which (it seems to me) resemble the beginning of “Arkansas Traveler.” Meade (p. 479) also lists an early commercial recording by the PickardFamily (1929). A musical transcription is in Phillips 1 (p. 43) under the title “Bye-Bye My Honey, I’m Gone,” but only the ending phrase of eachpart seems to resemble Conley’s version.

Ray Curbow

&C .

.

h»100

œœ

##

œœ

œ

œ

œœ

œ œ

œ œ

Cœœ

œ

œ

œ

œ

œ

œ

.

.

œ

œ

J

œœ#

œœ

œ œ

œ#

œ

œ

œ

œ

œ

œœ

D7œœ#

œ

œ

œ

œ

.

.

œ

œ œ œ

↑œ œ œ œ œ œ œ

G7

& 2

3C .

.

œ œœ

œ œ œ œ œ œœ œ

œ

1

.

.

˙

˙

œœ

##

œœ

C2

.

.

˙

˙

3

œ œ œC

œ œ œ

.œ œ œ œ œ œ œ œœ

œ

œ

œ œ œ œ œœ œ

F

&

.˙

3

œ œ

↓œ

Cœ œ

œ}œ œ} œ œ œ œ œ œ

œ

œ

A7

œ œ} œ œ œ œ# œ œ œ

œ

D7.

.

˙

˙

œœ

Gœ œ

œ}.œ œ œ

Cœ œ œ œ œ

œ

C7

&

œ œ œ œ œ œœ œ

F

.˙ œ œ

C

œ œ œ œ œ œ} œ

F

œœ œ

.œ

J

œ

C A7

œ œ# œ œœ œ œ

œ œ œ

œ

D G D.C.

.

.

˙

˙

œœ

C

œœ œ

œ œœ

Œ

C

ww

u

A

B

Ending from *

Around the World On a Dime

As played by Ray Curbow in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 10/5/97; time: 2/2; key: C; scale: major (some high 4th, low 7th); pattern: AAB (7,7,16); tuning: standard

*

179

Ray Curbow (1936-) lives in the Missouri town of Blue Eye, where the Missouri/Arkansas state line runs through the center of Main Street.He began playing fiddle and banjo as a boy in church near his hometown of Ridgedale, Missouri. A number of his ancestors settled in southernMissouri and Oklahoma. Curbow told Mark Wilson he learned this tune around the 1970s from the late Ozark, Missouri, fiddler Johnny Boyd. Astory is told that earlier Boyd and his twin brother were sitting on a porch in Ozark, Missouri, playing music when an old African-American manwalked by with a fiddle in a sack. He asked if he could play with them, and eventually he played this blues tune. Curbow said he and Johnny arethe only fiddlers he has ever heard play the tune this way. Wilson suggests the tune is stylistically similar to many Western Swing songs of the1930s, but also believes many such tunes were played by Midwest dance fiddlers who were not influenced by commercial recordings. The tune isnot similar to any of the “around the world” songs or tunes I have been able to locate.

&

#

# C .. 4

5C

h»82

J

œ

œ

œ

œœ↑

œœ

œ œ

œ

Aœ

œœ

↑œ

œœ œ œ œ œ

œ œ œœ

D

œ

œ

œ

œ

œœ

˙˙

j

œ

œ œ œ œ

↑œ

œœ œ

œ

A

&

#

#

œ

œœ↑

œœ

œ œ

œœ œ# œ œ œn

.˙ œ œ

↑D

œ œ

↑œ

œœ œ

œ

Aœ

œœ

↑

œœ

œ œ œ œ œ

œ œ œœ

D

&

#

#

4

5C .

.œ

œ

œ

œ

œœ

˙˙

œ œ œ œ œœ

Œ

œ œ

G

œ œ œ

œ

Œ

œ œ

D B7j

œ œ↑

œ œœ Œ œ œ

E A1

.˙œ œ

↑D2œ

˙˙ œ

œ œ

D

&

#

#œœ

œœ œ

j

œ œ œ œ œ

A

œœ

œœ œ œ œ œ

œœœ œ

œ œ œ

Dj

œœ

œœ

œœ

œœ œ

œ œ œ œœœ

j

œ œ œ œ œ

A

œœ

œœ

j

œ œ œ œœ

&

#

#

4

5œ œœ œ œn œ

D.˙ œ œ

↑œ œ

↑œ

œœ œ

œ

Aœ

œœ↑

œœ

œ œ œ œ œ

œ œ œœ

D

œ œ

œ

œœ

˙˙

œ œ

&

#

# C œ œ œœ

Œ

œ œ

G

œ œ œ

œ

Œ

œ œ↑

D B7j

œ œ↑

œ œœ Œ œ œ

E A

œœ œ

œœ œ

D

ww

u

A

B

Pig Ankle Blues As played by Ray Curbow in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 10/5/97; time: 2/2; key: D; scale: major (some high 4th, 5th, low 7th); pattern: AAB (16,16,16); tuning: standard; played one time through; could use first ending of A part at * in B part to return to beginning

*

In discussing this tune with Mark Wilson, Curbow seemed to indicate that John (Johnny Boyd?) played this tune. Most fiddlers call it “PigAnkle Rag” and played it faster at “rag speed.” “Pig Ankle Rag” has probably been circulating in the Ozarks for many years. Joel Shimberg statesthat he learned it from Uncle Dick Hutchison of Disney, Oklahoma. In 1928, a similar tune was recorded under the title “Pig Ankle Strut” as a jugband piece by the Memphis-based band Gus Cannon and his Cannon’s Jug Stompers. Other musical transcriptions are in Brody (p. 217) andPhillips 2 (p. 100, first version).

Ralph DePriest

&

#

C ..

.

...

h»140

œœ œ œ œ .

.œ

œ

œ

œ

œœ

Gœœ

œœ

œœ

œ

œ

œ

œ œ}

C G

œ œ œ

œ

œ

œ

œ

œ

œœ œ

œ

1

œ œ œœ œ

œœ

D G2

œ œ œœ œ œ

œ

œ

œ

D G

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œœ œ}

&

#

.

.œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ œœ œœœ

1

œ œ œ

œ œ œ

œ

œ

œ

D G2

D.C.

œ œ œ

œœ œ

œ}œ}

D Gœ œ œ .

.œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

A B

Variations V1

Cripple Creek

V2

V1

V2

As played by Ralph DePriest with the Arkansaw Travellers in Echoes from the Ozarks (Rimrock ALP 109, 1971); recorded c. 1971; time: 2/2; key: G; scale: pentatonic major (no 4th, 7th); pattern: AABB (4,4,4,4); tuning: standard; ending played by other instrument

Ralph DePriest (1925-2006) was born in Marshall, Arkansas, and was raised in Everton. In 1960 he moved to the area around Hardy, where heworked for the State Forestry Commission. He started playing fiddle music when he was seven or eight years old, and learned from various familymembers, including his father, his grandfather, an uncle, and a great uncle. His father instructed a youthful Ralph not to bother the fiddle that hungon the wall, which only made Ralph want to play it more. For many years he performed as “The Fiddlin’ Colonel” at the Arkansaw Traveller Folk

180

&

#

# C ..

h»136

œ

œ

≥

œ

œ

œ

œ

œ

œ

≤ .

.

œ

œ

≥

J

œ

œ

≤

D

œ

œ

≥˙

˙

≤œ

œ

≥

œ

œ

œ

œ

≤

.

.

œ

œ

≥

J

œ

≤

œ

≥˙

˙

≤

œ

≥

œ

A

œœ

œ

≤.œ

≥

J

ϲ

ϳ

j

œ.œ

≤

J

œj

œœ

≥

œ

≤

&

#

# ..

.

.œ

≥

œ

œ

≤ j

œ

.ϳ

j

œ

≤ 1œ≥

˙

≤œ

œ

≥

D2

ϳ

˙

≤

œ

≥

œ

≤

D

œ

œ

≥

œ

≤

œ

≥

œ

≤

.

.œœ

≥

j

œœ

≤

œœ

≥

œ

≤

œ œ

œ

≥

œ

≤

œ

≥

œ

≤

&

#

# ..

1œ

≥

œ

≤

œ

≥

œ

≤

œ

≥

œ

≤

A D2

D.C.

œ

≥

œ

≤

œ

≥

œ

≤

œ

≥

œ

≤

A D

œ

≥

˙

≤

œ

≥

œ œ œ

≤

.œ

≥

J

œ

≤

œ

≥

œ

≤

œ œ œ œ

≥

œœ œ

≤

œ

≥

œ

œ

œ

œ œ

≤

&

#

#ϳ

˙

≤

Œ œ

≥

œ

≤ ..

œœ

≥

J

œœ

≤œœ

≥˙˙

≤œ

œ

œ

œ ˙

j

œ

œ

.

.

œ

œ

≥

J

œ

œ

≤

œ

≥˙˙≤

œ

≥œœ œœ œœ

≤..œœ

≥

J

œœ≤

œ

≥

œ

≤

œ

≥

œ

≤

œ

≥

œ

Napper

A

B

Ending from *

*

As composed and played by Homer E. Dillard, Sr., in Precious Memories (Oral History of the Ozarks Project, 1992); recorded c. 1991; time: 2/2; key: D; scale: major; pattern: AABB (8,8,4,4); tuning: standard

Variations 1V1 V2 V3

V1 V2

V3

Dillard composed this tune, first on harmonica, when he was a teenager. Similar is some ways to “Take Me Back to Tulsa,” the tune is afavorite among some members of the Dillard family. See “Sam Taylor’s Tune” (in this book) for another example of a tune similar to “Take MeBack to Tulsa.”

Theatre in Hardy. The Theatre, managed largely by Ozarks folk music collector Leo Rainey, was open from 1968 to 1990. “Cripple Creek” hasbeen a mainstay in American fiddle music into the unknown past. Virginia fiddler Henry Reed said he learned it in 1900, and we know it wasplayed in the Appalachians in 1909 (Perrow, p. 180) and 1917 (Sharp II, p. 358, 416, “Gone to Cripple Creek”). It was recorded by many string-bands in the 1920s, and has appeared on well over 100 commercial recordings since then. The tune’s popularity before the 20th century is unclear,and its popularity in the Ozarks was possibly never as strong as it was in the Appalachians (I cannot locate it in any of my Ozarks published collec-tions). It is, however, fairly well-known in the Ozarks. Vance Randolph mentioned it in his 1954 list of fiddle tunes in the Ozarks, and GordonMcCann has recorded Ozarks fiddlers playing the tune 118 times. The accompanying lyrics typically contain a chorus similar to: “Goin’ up CrippleCreek, goin’ in a run; Goin’ up Cripple Creek to have a little fun; Goin’ up Cripple Creek, goin’ in a whirl; Goin’ up Cripple Creek to see my girl.”The physical Cripple Creek referenced in the song is unknown but has been linked to Cripple Creeks in Colorado (and to regional labor disputesthere in the 1890s) and Virginia. Henry Reed suggested the tune had strong ties to Texas. Botkin (Treasury, p. 898) suggests the creek is locatednear Asheville, N.C. Fiddler’s Companion does a good job of sorting out those theories. Other musical transcriptions are in Arkansas Arkie (p. 34,with square dance calls), Brody (p. 79), Brown V (p. 213), Ford (p. 94), Lomax (Folk Songs of N.A., p. 232), Phillips 1 (p. 61), Thede (p. 109),Sharp II (p. 358), and Stilley (p. 34). Meade (p. 774) lists 19 early commercial recordings, the earliest being by Sam Jones (1924); others includeFiddlin’ Powers (1924), Gid Tanner & Riley Puckett (1924), and Fiddlin’ John Carson (1927). Alternate titles in Meade’s list include “Red Creek,”“Going Up Brushy Fork,” and “Shootin’ Creek.”

Homer E. Dillard, Sr.

&

#

#

#

C ..

.

.

h»136

œ œ œ œœ œ

œ

A

œ œœ

œœ œ

œ

D A

œœ œ

œ

œœ œ œ œ

œ

1

œ œ œœ

œ

œ

œ

œ

œ

œ

E A2

œ œœ œ

œœ

E A

&

#

#

#

.

...

œœ

˙˙

œœ

A

œœ

œ

œ

œœ

œ

œ

3

œ

œ œ œ œ œ œ œ œ œ

œ

1

œ œ œ œœ

j

œ

œ

œœ

E A2

D.C.

œ œ œ œœ

3

œ

œ

œ

œ

œ

œ

E A

.

.

œ

œ

j

œ

œ

˙

˙

A

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

D A

Cripple Creek

A

BEnding from *

*

As played by Homer E. Dillard, Sr. in The Dillards: Homecoming and Family Reunion (Flying Fish FF 215, 1981); recorded between 8/7/79 and 8/9/79; time: 2/2; key: A (G); scale: hexatonic major (no 7th); pattern: AABB (4,4,4,4); tuning: EAEA (transposed up from DGDG)

The recording of this second version of “Cripple Creek” is actually in the key G, like the previous version, but I transposed it up to A becauseDillard tuned his fiddle down to DGDG, which corresponds to the more popular open tuning EAEA. His fingering patterns for this tune generallymatch those of someone playing in the key of A, thereby motivating me to transpose the tune (see the introduction in this book for more on myrationale for transposing in this manner). Otherwise the two versions of “Cripple Creek” are similar, except most notably that Dillard begins thesecond part with long syncopated notes and DePriest plays a string of eighth notes. Homer E. Dillard, Sr., (c. 1913 – c. 1993) of Salem, Missouri,was most famous for his children, who went on to become the popular bluegrass and folk-rock band the Dillards in the 1960s. The Dillards, whocontinue to perform today, are perhaps best known nationally for their performances as the Darling Family, a fictional band that appeared on theAndy Griffith Show in the 1960s. Homer Dillard, who learned to play fiddle from his father while growing up around Dixon, Tennessee, playedoften as an adult with his guitarist wife Lorene (whom he married in 1933) and created a household in which music was a daily part of family life.A gregarious man, he occasionally played fiddle, harmonica, and jig danced at the same time. Dillard learned many tunes, initially on a fiddle thatonly had two strings, from his father John W. Dillard.

181

&

#

#

#

C

h»132

œ

œ

œ

œ

œœ

œœ

A

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œœ œ œ œ}

œ

œ

E A

œ

œ

œ

œœ

œœ

œœ

&

#

#

#œ œ

œœ œ

œ

œœ

œ œ

œ

œ

œ œ

œœ œ

œ

œœ œ œ œ

œ œ œœ}

œ

E A

œ œ œ

j

œœ

œœ

œœ œ

œ œ œ œ

œ

œ

œœ

œœ

œ

œ

&

#

#

#

.

.

œ

œœ œ

œœ

œœ

œœ œ œ œ œ œ œœ

œœ

E A

œœ œ œ

œœ

œœ

œ

œ

œ œ œ œ œ œœœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ œ œ œ

œ

œ

E A

Old Bald Eagle As played by Homer E. Dillard, Sr. in The Dillards: Homecoming and Family Reunion (Flying Fish FF 215, 1981); recorded c. 1981; time: 2/2; key: A (G); scale: hexatonic major (no 4th, only one 7th); pattern: ABAB(as vocal)ABABA(as vocal)BAB(1/2)A(as vocal)BAB(?)(double ending pattern) (16,16); tuning: EAEA

A

B

Doubleending pattern

Written by Homer E. Dillard, this tune/song, which was popularized through its inclusion on a Dillard’s album, has an A part similar to thepopular fiddle tune “Sourwood Mountain” and a B part similar to the B part of Ike Helton’s “Grey Eagle.” Dillard’s tune is played like a fiddle tunewith verses interspersed (see tune pattern above). The first verse of the song is, “Old bald eagle on a fine bluff; That old birdie lives in the rough;When he flies he flies high; If you listen you can hear him cry.” Other verses describe the bald eagle’s cry, and chide hunters not to shoot the bird.Dillard’s tune/song does not appear to be related to the “Old Bald Eagle” recorded by Cecil Sharp in 1917 (Sharp II, p. 374) or to Jean Ritchie’sKentucky play-party song with that title (Folkways FC 7054). The tune ends with a “shave and a haircut, two bits,” or a double ending pattern, butI could not hear what the fiddle was playing because it was overpowered by other instruments.

Jimmie Driftwood

&

#

#

#

C ..

.

...

h»126

œ œœ œ œ œ

œœ

œ

nœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

nœ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ œœ œ œ

œ

œ

œœ

œœ

œ

œ œ

œ

œ

&

#

#

#

œœ

œœ

œ

œ œœ œ

œ

œœ

œœ œ œ œ

œ

œ

œ

œœ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œœ

œœ

œ

œ œœ œ

&

#

#

#

.

...œ

œ

œœ

œ œ œœ

œ

œ

œœ

œ œ œœ

œ

œ

œ œ

œ

n œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œn

↑

œ

œ

œ

œ

œ

œ œ œœ

œ

œ

œ

œ

œ

n œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

&

#

#

#

.

...œ

œ

œ

œ

œ

œ

œœ œ

œ

œ

œ

œ

œ

œ

œœ œ œ œ

œœ

œœ

œ

œ œœ œ

œ œ œ œ œ

œ

œ œ œœ

œ œ œœ œ

&

#

#

#

.

.

œ œ œ œ

œ

œœ

œœ

œ

œ

œ œœ

œ

œ

œ œœ

œ

œ

œ

œ œœ

œ

œ

œ

D.C.

œœ œ œ

œ

œ

œ

œœ

œ œ œ œ

œ œ œ œ œ œ œ

A B

Ending from *

Valley Forge

C

D

*

As played by Jimmie Driftwood (Max Hunter Collection, field recording); recorded 8/30/69; time: 2/2; key: A; scale: hexatonic major (no 4th, some low7th, unstable 3rd)); pattern: AABBCCDD (4,4,8,8,4,4,8,8); tuning: EAEA

A multi-instrumentalist from a musical family, Jimmie Driftwood (1907-1998) of Timbo, Arkansas, was born James Corbett Morris andchanged his name to Jimmy or Jimmie Driftwood in the 1950s. After a career as a school teacher he reached national prominence in the late 1950sas a singer-songwriter with original songs such as “Battle of New Orleans” and “Tennessee Stud.” In 1959, he won the “Song of the Year” GrammyAward for “The Battle of New Orleans,” and in 1962 he became a member of the Grand Ole Opry. He was a strong advocate for Ozarks folk musicand heritage, and helped to establish the Rackensack Folklore Society in 1963 and, later in 1973, the Ozark Folk Center. He also hosted his ownJimmy Driftwood Barn auditorium in Mountain View, Arkansas, beginning in 1976. For more information about Driftwood, refer to Richard KentStreeter’s biography The Jimmy Driftwood Primer. Driftwood learned “Valley Forge,” named after the famous Revolutionary encampment nearPhiladelphia, from fiddler Absie Morrison (read more about Morrison and his war-related tunes elsewhere in this book). Driftwood plays it in oneof the open tunings he said his father and his father’s brothers often used when playing the fiddle. In his introduction of the tune to Max Hunter,Driftwood said, “It’s said that Morrison played this tune for the soldiers [at Valley Forge]. They’d make up tunes in those days for anything thathappened.” According to Songer 2 (p. 302), Ramona Jones, who lived much of her life in Arkansas, was responsible for the tune’s popularity on thewest coast. Notice that the D part is the same as the B part, but an octave lower. Other musical transcriptions are in Phillips 1 (p. 249) and Songer 2(p. 217).

Track #33

182

The tuning of the fiddle for this tune is very unusual, in an E minor chord. The fiddle strings, usually tuned in intervals of a fifth, are all tunedclose together in intervals of thirds and one fourth. Driftwood, known for his storytelling skills, suggests a possible Native American link whenintroducing the tune before playing it for folk music collector Max Hunter is 1969: “I had two uncles, half brothers to my daddy, [who] spent theirearly years in Indian territory, and they were great fiddlers. And they tuned their fiddles in different tunings to what most people play today, andone of the tunings was an open tuning, and I’ll sound the strings [plucks the strings]…. And this is an old tune called ‘We’re Gonna Hunt theBuffalo,’ and I don’t know if these were Indian tunes or whether they were not, but I do know that these boys played them, and they were with theIndians. They lived with the Indians, a long time. It was something to hear them tell about the Green Corn dance, and they actually became mem-bers of the Green Corn. It was sort of like a political party, the Green Corn thing was, with the Indians, so they told me, sort of like it, and theybelonged to that. And they ate dog cooked in a big pot, and all that sort of thing. But anyhow, this is one of the tunes.” The tune does not appear tobe related to the play-party song, once popular in the Midwest and elsewhere, usually called “Shoot the Buffalo,” but it could be a highly stylizedderivative of that song (which usually has a melody reminiscent of the song “Brennan on the Moor”). That play-party song, with a recurring line inthe chorus, “We’ll rally round the canebreak, and shoot the buffalo,” is about a group of people traveling to buffalo country. A good introduction tothe early scholarship of that play-party song is in Botkin (Play-Party, p. 308) and Randolph III (p. 307). The only other musical transcription I havefound of Driftwood’s tune is, curiously, in the northwest U.S. collection of tunes by Susan Songer (Songer 1, p. 105, 248, “Hunting the Buffalo”)says the tune came to her through a British Columbia fiddler who learned it from a fiddler in Ohio.

Henley Dykes

&

#

C

h»128

œ œ œ œœ

Gœ

œ œ œ œ œœ

œ

j

œœ œ œ œ

œ œ

œ

œ œ œ# œ œ

Dj

œœ œ œ

œœ

Gœ œ

œ œ œ œœ

œ

C

&

#

.

.

j

œœ œ œ

œ œœ

D

œœ

œ œœ

.œœœ

G

œœœœ

œ œ

↑

œ œ œœ

œ

œ œœ œ

œœ

œb

↑

œ

↑

œ œn

œ

œœ œ œ

œœ œ

D

&

#

œ œ œœ

œ œ œ

G

œœ

œ œœ œ œ

C

œb

↑

œ

↑

œ œn

œ

D

œœ œ œ

œœ

œ

œœ

G

œb

↑

œ œnœ

œ œ œœœ

œœ

œ œœ œ œ

&

#

œb

↑

œn œ œ

œ D.C.œ

œ œ œœ

œ

œ

œ

œ

D

œœ

œœ

œœ

œœ

œœ

œœ

œœ œœ

œœ

œœ

œœ

˙˙ œ œ œ œ

œ

.œœœ

Gœ œ œ

œ œn œ œ œ

&

#

œœ œ œ

œœ

œ œn œœ œ

œœ œ

œœ

œ œ œœ

œ

Œ

D Gœ

œ œœ œ œ

œ

œ

œ œ ˙

œ œ œœ

œ œ œ

Look Out Gal I See a Booger

A

B

Ending from *

*

Introduction

Variations V1 V2 V3

V1 V2

V3

As played by Henley Dykes (Gordon McCann Collection, field recording); recorded 3/1/77; time: 2/2; key: G; scale: major (some high 4th, low 7th, 3rd); pattern: AAB (8,8,12 and 8,8,8); tuning: standard; played through twice, 2nd B only 8 measures

Henley Eugene Dykes (1920-1995) was raised in Greene County, Missouri, and came from a family of fiddlers. He has played with a numberof bands, including the bluegrass band the Barrrier Brothers, which enjoyed some popularity in the 1950s. I cannot find any information about thistune with the humorous title, but it appears to be in the “Katy Hill” family of tunes.

&

#

C

h»118

œœ œœ œœ

# œ œœ œ

œœ

#

↓

œœ

# œœ

↓

œœ

œ

œœœ œ

œœ œœ

œœ

# œœ

#

↓

œœ

œœ

œœ

œ œ œ

↑

œœ œœ

œœ

œ

# œœ

œ

#

↓

œœœ

œœœ

œœ

œ

#

↓

œœ

œ

# œœ

↓

œœ œ

œœ

œœ

œ

&

#

.

...

œœ

œ

# œœœ

œœ

œ

#

↓

œœœ

œœ

œ

œœ

œ

↓

œœ

œœ

œ

↓1

œœ œ

œ˙˙

2

œœ œ

œ

.

.

.

œœ

œ

j

œ

œ œ

œ

œ

œ

œ

œœ

œ

œ

œ œœ

œ œ œœ

↑

œ

œ œ

œ

œ

œ

œ œœ

&

#

.

. 2

3

œ

œ

œœ

œœb

œœ

#n

œ œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

↑

œ œ œœ

↑

œ

œœ

# œœ

œœ

œ

#

↓

œœ

œœ

œ

œœ

œ

↓

œœ

œ

œœ

œ

↓

D.C.œœœ

œœ

.

.

.

œœ

œ

j

œ

œœ œ

œ ˙

u

˙

U

A

B

Ending from *

We’re GonnaHunt the Buffalo

As played by Jimmie Driftwood (Max Hunter Collection, field recording); recorded 8/30/69; time: 2/2; key: E; scale: minor (some high 6th, 7th, low 5th, 7th); pattern: AABB (8,8,8,8); tuning: BGEB

*

Track #34

183

&

#

#

#

C ..

h»118

œ œœ

œ

œ

œ

œœ œ

œœ

œ

A

œœ

œ œœ œ œ

œ œ

↓

œ

œœ œ

↑

œœ

E

œœ

œ

œ

œ œ œ œ

œ œœ

œ

œ

œœ

œ œ œœ

A

&

#

#

#

.

...

œœ

œ œœ œ œ œ

D

œ œ œœ œ œ

œ œ

E1

œœ

œ

œ œœ

œ œ

A2

œœ œ œ

œ œ œ

E A

œ

œ ˙

&

#

#

# œ œ

↓œ

œ œ œ

↑

œœ

œ

œnœ œ œ œ œ œn

œœ

œ œ œ œ œ

E

œ

œ ˙

A

œ œ

↓œ

œ œ œ

↑

œœ

D

&

#

#

#

.

.

œ

œnœ œ œ œ œ œn

E1

œœ

œ œœ œ œ

A2

D.C.

œœ

œ œœ

œ œ

E A

œœ

œ

œ œœ

œ

œœ

E Aœ œ œ

œœn œ œ œ

&

#

#

#

œœ œ œ

œ œ œn œ œœ# œ œ

œ

œn œœ

œ œ˙

u

E A

œœ

œ œœ

œœ œ

œ œ

↓

œ

œœ œ

↑

œœ

Salt Creek

A

B

Ending from *

*

V1

Variation V1

As played by Henley Dykes (Gordon McCann Collection, field recording); recorded 3/1/77; time: 2/2; key: A; scale: major (some high 4th, low 7th, 3rd); pattern: AABB (8,8,8,8); tuning: standard

This version of “Salt Creek” is different from most versions played in Virginia and West Virginia, where the melody usually starts out like“Red Haired Boy” and then moves into a modal quality in which G and F chords alternate. Dyke’s version seems more “squared off,” without asmany of the unusual timings, syncopations, and notes (except for the G natural notes in the B part) more often found in the Appalachians. Thissquaring off practice is, perhaps, the result of a slightly greater focus in the Ozarks on square dance tunes and group playing. “Salt Creek” is gener-ally thought to be the name bluegrass legend Bill Monroe gave to his band’s 1963 version of the traditional tune “Salt River,” popularized earlierby Clark Kessinger’s in his 1929 recording of the tune. Fiddler’s Companion suggests the name might have been changed to avoid confusion withthe tune “Big Sandy River,” and perhaps other business-related factors influenced that decision as well. Alan Jabbour proposes in his “Fiddle Tunesof the Old Frontier” website that Monroe changed the name in honor of a creek in Indiana that ran near the site of his annual Bean BlossomFestival. Jabbour also points to banjoist Don Stover, who called the tune “Salt River,” as the likely source for Monroe’s “Salt Creek.” Whatever thetruth behind the “Salt Creek” title, the two titles have become more interchangeable in recent decades. Bluegrass musicians still tend to use the title“Salt Creek” more, and old-time fiddlers still tend to use the title “Salt River,” but either title might be found in either tradition. To my ears, the Apart of Dyke’s “Salt Creek” has taken on many of the melodic elements of the tune “Miller’s Reel,” and the B part is similar to that in tunes such as“Back in ‘89” and “Taney County Breakdown” (both in this book). Fiddler’s Companion summarizes the research of a number of scholars who linkthe tune “Salt River” to “Red Haired Boy,” “Horny-Knick-a-Brino,” “Molly Maguire,” “Pateroller,” and “Lonesome John” (to name a few). AlanJabbour in the website mentioned above suggests possible links to “Muddy Roads" and "Paddy on the Turnpike." Bayard also links “Salt River” to“Paddy on the Turnpike” (p. 340). Musical transcriptions of “Salt River” (all Appalachian-based versions) are in Brody (p. 248-249, two versions),Krassen (Appal. Fiddle, p. 37), Krassen (Masters, p. 71), and Phillips 1 (p. 212-213, two versions). Christeson 1 (p. 21) includes “Salt River Reel,”which is also similar to “Red Haired Boy” but with a distinctive B part that begins on a D chord. Meade (p. 706) lists two early commercial record-ings of “Salt River,” both by the Kessinger Brothers (1929).

George Edgin

& # C .. ..h»124 œ œ œ œ ˙G .˙ œ œ œ œ œ œ œ œ œC .˙ œ œG œ .œ Jœ œ ..˙˙ œA œ .œ Jœ œ

D1 .˙ œ œG

2 .˙ œ œG

& # .. ..œ œ œ œ œ œ œ œG

œ œ œ œ œ œ œœ œœD

œœ œ œ œ œ œ œ œG D1œ œ œ œ œœ œœ œœ

G2œ œ œ œœ œœ œ œD G

& # .. 23 C 23 .. 23œ œ œ œ œ œ œG .œ Jœ œ œ œ œ œ œœD(F) D

œœ œ œ œ œ œ œG1 .œ Jœ œ œ œ œ œ œ

D(F) D G2 .œ Jœ œ œ œ œ œ œ

D(F) D G

Corn Dodger #1 Special

A

B

C

As played by George Edgin with George Edgin’s Corn Dodgers in Echoes of the Ozarks, Vol. 1 (County CD-3506, 1995); recorded 3/18/32; time: 2/2; key: G; scale: hexatonic Lydian (high 4th, no 7th); pattern AABBBBCCDDEE, then varied (A=8, all others 4); tuning: standard

184

Audie “Buster” Fellows (1911-1991), from around Bolivar in Polk County, Missouri, was a towering fiddler—literally and figuratively—in thecountry music industry in Springfield, Missouri, where he performed for radio station KWTO. According to Bob Holt, Fellows (usually pronounce“Fellers”) was rare in his ability to play modern fiddling styles as well as old-time tunes for square dances. A number of major fiddlers in theMissouri Ozarks, such as Bob Holt, Jim Beeler, and Earl Ball, point to Buster Fellows as a major influence. Fellows did not know the name of thistune. Gordon remembers that Lonnie Robertson used to play the tune also.

George Edgin (1897-1957), of Ozark, Arkansas, was a painter who played fiddle and guitar with the group George Edgin’s Corn Dodgers(also called The Arkansas Corn Dodgers and The Ozarkers). The group made a number of commercial records in the late 1920s and early 1930s(W.K. McNeil’s liner notes for Somewhere in Arkansas, p. 16). According to McNeil, Edgin claimed to have written “Corn Dodger #1 Special,” butthe tune is clearly derived from the popular fiddle tune “Cluck Old Hen” (sometimes called “Cacklin’ Hen”). The link to “Cluck Old Hen” is rein-forced by the lyrics sung by the group: “When the old hen cackles, she cackles in a lot; Next time she cackles she cackles in a pot.” The other threeparts are perhaps further melodic “explorations” based on the B part. The E part has a distinctive-sounding Lydian (raised 4th) scale, which is notunusual in older tunes. The whooping and crowing made by the group are reminiscent of the popular 1920s/1930s Georgia stringband Gid Tannerand his Skillet Lickers. Fiddler’s Companion includes a collection of lyrics associated with the tune “Cluck Old Hen.”

Buster Fellows

&C

h»114

œ œ

↓

œ œ œœ œ œ

C

œ œ œœ œ œ œ

œ œ

œœ œ#

Gœ œ œ

œ#œ œ

œ œ

↓

œ œ œœ œ œ

C

&

.

...

œ œ œœ œ œ

Fœ

↑œ œ

↑œ œ

œ

↑ œ œ

Gœ

↑œ

↑œ œ ˙

C˙

˙

œ

œ

œ

œ

œ

œ

Amœ œb œ œ

œ œ œ

&

.

.

œ

œ

œ

↓

œ

œ

˙

Gœ œ œ

œ#œ

œ œ œœ

œœ

œ

œ

.

.

œ

œ

œ œ

↑Amœ œb œ œ

↑

œœ

œœ

œ

œ œ œ œ œœ

œb œ

G

&

.

.

D.C.œ œ œ œ ˙˙

C

œ œ œœ œ œ

↑

œ œ œ

C

œœ

œœ

˙˙

u

G C

œœ

œ

œ

œ

œ

.

.

œ

œ J

œ

↑œ œb œ œ

œœ

œ œ# ˙

˙

œ

œ

œ œ#

Buster Fellows Tune

A

B

Ending from *

*

Variation V1

V1

As played by Buster Fellows (Gordon McCann Collection, field recording); recorded 3/6/87; time: 2/2; key: C; scale: major (some high 4th, 5th, low 7th); pattern: AABB (8,8,8,8); tuning: standard

& # C .. .. ..œ œ œ œ œ œ œG œ œ œ œ œ œ œ

D

œ œ œ œ œ œ œG D

1œ œ œ œ œ œ œG

2œ œ œ œ œœ œ œD G

œ œ œ œ# œ œ œ œG

& # ..œ œ œ œ œ œ œ œD

œ œ œ œ# œ œ œ œG D

1œ œ œ œœ œœ œ œG

2

D.C.œ œ œ œœ œœ œ œD G œ œ œ œ œœ Œ

D G .œ Jœ œ œC G

Œ œœ œœ ŒD G

Ending from *

DE *

& 4

3 ..

q»140

œ œ

j

œ œœ œ œ

C

œœ œ œ œ

œ

œœœ

F

..œœ

J

œœ œ

D7

œœ

œ œ

G

3

œ œ œ œ œ œ

3

œ œ œ œ

C

.œ

j

œ œ œ

G7

&œ

œ œ œ

C

œœ œ œ œ

œ

œ

F

..œœJ

œ

3

œ œ œ

D7

œœ

œ œ

G

3

œ œ œj

œ œ œœ

œ

œ

œ

œ œ œ œ

C

.

.œœ

J

œ œ œ↑

.œ

J

œ œ œ œ œ

&

.œ

J

œœ œ œ

j

œœ

œœ œ

F

.œJ

œj

œ

3

œ œœ

D7

œœ œ œ œ œ

G

3

œ œ œ œ œ œ

3

œ œ œ œ

œ}

C

.œ J

œ}

3

œ œ œ#

G7.œ

J

œj

œ œ

3

œ œ œ

C

D7 G

Old-Time Waltz

A

B

As played by Buster Fellows (Gordon McCann Collection, field recording); recorded 3/6/87; time: 3/4; key: C; scale: major (some high 4th); pattern: AB (16,16); tuning: standard

V1

V2

185

3 3

&

.

.

.œ

J

œœ œ

C7

œœœ

œœ œ

F

.œ

J

œœ

œ}

D7

œœ œ

↑œ œ}

G

3

œ œ œ œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ

C

˙

œ œ

↑

˙˙ œœ

D7

œ œ œœ œ

G

&

œ

↓œ#

↓œ

↓œ œ œ j

œœ

j

œ

œ œ œ j

œ œ

œ

C

œœœ

Ó

.œ

J

œ

3

œ œ œ..

œœ

J

œœ œ œ

.

.œœ

j

œ ˙˙ œ

œœ

↑

3

œ œ œ

3

œ œ œ

3

œ œ œ

Ending from **

Variations V1V2

Fellows called this tune “a regular old time waltz” that, as a 12-year-old, he often heard a cousin from Maries County play. He could notremember a title for the tune. It appears to be the same tune Paralee Weddington calls “Victory Waltz” (in this book). In comparing the two ver-sions, you will notice that Fellows version is more elaborate.

Anson Fuller

&C .

.

h»106

œœ

œœ œœ

œœ œœ

œœ

œ

œœœ

œœ

Cœœ œœ

œœ

œœ

œœ œ

œœœ œ

œœ

œœ

œœ

œ

œœœ

œœ

F

œœ œœ

œœ œœ

œœ

œœ

œœ œœ

œœ

œœ

œœ

œ

œœœ

œœ

Gœœ œœ

œœ

œœ

œœ œ

œ

&

.

...

œœ œœ

œœ œœ

œœ

œ

œœœ

œœ

œœ œœ

œœ

œœ

œœ œ

œœœ œ

œœ

œœ œ

œœ

œ

œ#

œ

œ

↑ 1

˙

˙

œ

œ

œ œœœ

C2

.

.

˙

˙

œœ

C

œœœ

œ œ œœ œ œ

C

œ œ œœ

œ

œb

œ

œœ

œ

œ

& 2

3C

2

3 .. 2

3C

œ

œ

œ

œ

œ

œ

œ

œ

.

.

˙

˙

œ

œ

F

œ

œ

œ œj

œ œœ œ

œ œ

G1

œœ

œœ

##

œœ

˙˙

œœ œn

œ œ

C2

D.C.

œœ

œ

œ#

˙

˙

œ

œ

œ

œœ

G C

œœ œ

œœ œ

œ

œ

œœ

œ

œ

œ

œ

↑G

w

w

u

C

A

B

Ending from *

Bath House Blues

*

As played by Anson Fuller with Ashley’s Melody Men in Echoes of the Ozarks, Vol. 1 (County CD-3506, 1995); recorded 10/2/29 ; time: 2/2; key: C; scale: major; pattern AABB (10,10,5,5); tuning: standard

Anson Fuller (c.1907-1936) was one of the two fiddlers—the other one was Vern Baker—who played for Hobart Ashley’s group “Ashley’sMelody Men” from Marshall, Arkansas. The group, also called “Ashley’s Melody Makers” and “The Hobart M. Ashley Singers,” included HobartAshley on steel guitar and his son Hugh (b. 1915-; still manages the Ashley Music Store in Harrison, Arkansas) singing in a yodeling style reminis-cent of Jimmie Rodgers. They recorded in Memphis and Dallas in 1929, 1930, and 1932. “Bath House Blues” is an unusual highly-inventive fiddletune, reminiscent of some early ragtime and blues guitar tunes. In the A part, Fuller moves his fingering hand up and down the A and E strings witha recurring chord lick. The B part, with uneven timing, includes a high melody that twice collapses into lower chords. Hugh Ashley tells us hebelieves “Bath House Blues” was written by himself and Homer Treat. He recalls that, a few weeks before a recording session, Hobart Ashleywould sometimes ask them to come up with new tunes. [Some information from Charles Wolfe’s liner notes to the above CD, and W.K. McNeil’sliner notes to Somewhere in Arkansas.]

Frank Gardner

&

#

C

h»140

œ

œ

œ

œœ œ œ

G˙

˙œ œ

œ

œ œ œ

œ œœ œ œ

œ˙˙

œ

œ

œ} œ

œ

œ

œ

œ

œœ œ œ

œ

œœ œ œ œ œ œ œ œ

œ œœ œ œ

&

#

.

. 2

1C .

. 2

1 .. C .

.

1

˙˙

œœ œ œ

2

˙˙

œ

œ

œœ

œœ œœ œœ ˙˙

G

œ

œ

œ

œ

œ

œ

œ..

œœ

j

œ œ ..

œœ

œ

œ

œ

œ#

œœ

D1

˙

˙

G2

.

.

˙

˙

œ œ

G

œœ œ œ œ œ

&

#

.

. 2

1C

œœ œ œ

œœ œ œ

œœ

œ#

1

œ

œ

˙

˙

œ œ

2

D.C.

˙

˙

w

w

œ

œ

œ œ

œ œ œ œ

œ

œ

œ

Gœ

˙ œ

œ

œ}˙˙ ˙˙

G

œœ œ œ œ œ

G

A

B

Ft. Smith Breakdown

C

V3 V3V2Variations V1Ending

from *

*V2

V1

As played by Frank Gardner with Luke Highnight’s Ozark Strutters in Echoes of the Ozarks, Vol. 1 (County CD-3506, 1995); recorded 11/22/28; time: 2/2; key: G; scale: pentatonic major (no 4th except in one run, no 7th); pattern: AABBCC (8,8,4,4,4,4) and then various; tuning: standard

Little is known about Frank Gardner, who played fiddle for Luke Hignight’s Ozark Strutters, based around Hot Springs, Arkansas. The populargroup, with leader Luke Hignight on banjo and harmonica, lived south of the Ozark Mountains but represented well the stringband music playedover the radio in Arkansas. The group recorded five (according to Wolfe) or six (according to McNeil) sides in Memphis in 1928. “Ft. SmithBreakdown” is vaguely similar to the more popular fiddle tune “Fort Smith” (in this book), but it is clearly a different tune. The B part, with itsmelody that rapidly moves downward, is especially distinctive. Other musical transcriptions are in Brody (p. 111) and Phillips 1 (p. 91).[Information from Charles Wolfe’s liner notes to the above CD, and W.K. McNeil’s liner notes to Somewhere in Arkansas.]

186

&

#

# C ..

h»128

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

D

œ œ œ œœ œ œ

↑

œ œœ

œœ

↑œ

œ

œœ œœ œœ œœ œœ

j

œœ œœ œ

œ

A

œ

œ

œ

œ œ œ

D

œœœ œ œ

œ œ œœ

G

&

#

# ..

.

.œ œœ

↑

œœ

œ

œ

œ œœ

A1

.

.œœ

j

œ œœ

œ

D2

.

.œœ

j

œœ

œœ

œœ

D

œœ

œœ œ

↑

œ

œœ œ œœ

↑

œœ

œœ

↑

œœ

œœ œ œ

↑

œœ

œœ

↑

œœ

œ.

.

œ

œ

j

œ

œ

œ

œ

œœ

œ

œ

A

&

#

# ..œ œ œ

œœœ œ

œœ

œ

D

œ œœ

œ œ œ œœ

G

œ

œ œ œ œœ↑

œ

œ

AD.C.

.

.

œ

œ J

œb œ

œ

œ œ œ

D

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

Œ˙

˙

u

D

A

B

Introduction Ending from *

New Five Cents

*

As played by Cecil Goforth in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 6/22/97; time: 2/2; key: D; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

Goforth told Mark Wilson he learned this tune as a boy from fiddlers around his home, but that he didn’t know the tune’s title until he heardPaul Warren play it with Earl Scruggs. The tune is also known as “Buffalo Nickel,” which suggests the tune was created in 1913 when buffalo nick-els were first made. In contemplating how a relatively new tune could have such a wide circulation throughout the South, Mark Wilson proposes itmight have been popularized quickly through fiddle conventions such as the one circa 1915 in Hot Springs, Arkansas. Another possibility, ofcourse, is that the tune existed with other titles before then. Thede includes the tune “Finger Ring” with an alternate title “I Wish’d I Had a NewFive Cents” (Thede, p. 66). Her melody to the song, which she calls a fusion of African-American and white elements, is only vaguely similar toGoforth’s, but Thede includes lyrics that might have accompanied both melodies. The chorus to her song includes the words, “Wisht I had a fingerring (or, new five cents); Wisht I had a dime; Wisht I had a finger ring (or, new five cents); To give that gal o’ mine.” The verses are about variousnegative aspects of a “yeller gal,” an “old gray mare,” and an “ole blind hoss.” Goforth’s version of “New Five Cents” is similar to “RobinsonCounty” (in this book), and its B part is similar to the B part in Ike Helton’s version of “Grey Eagle.” Other musical transcriptions are in Phillips 1(p. 164), Thede (p. 67), Songer 2 (p. 143), and Titon (p. 138). Meade (p. 785) lists three early commercial recordings, the earliest being by PaulWarmack (1928) under the title “Five Cents;” others include I.O. Birkhead & Robert M. Lane (1932) under the title “Robinson County,” and TedSharp, Hinman & Sharp (1933) under the title “Hell Among the Yearlings.”

Cecil Goforth

&

#

# C ..

.

.

h»118

œ œœ

œ

œ

œ

œœ

œ

œ

œ

D

œ œ œœ œ œ

œœ

G

œ œœ

œ

œ œœ œ

œ

D (A)

œœ œ

œ œ œœœ

A D

.œ

œœ

œ

œ

œœ

D

œ

œ

œ œœ œ œ

œœ

&

#

# ..œ

œ

œœ

œ

œ œœ œ

œ

D.C.œ

œ œœ œ œ

œœ

A D

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ

œ œ œ

↓

œ œ

D

œœ œ

œ

˙˙

u

A D

A B

Introduction Ending from *

Hamilton Ironworks As played by Cecil Goforth in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 6/22/97; time: 2/2; key: D; scale: pentatonic major (no 4th, 7th); pattern: AABB (4,4,4,4); tuning: standard

*

Cecil Goforth (1936-), a left-handed fiddler originally from Eminence, Missouri, worked in factories and drove a truck in the St. Louis andSalem areas for much of his life. Like his brother Gene (featured in this book), Cecil learned many of his tunes from his father Richard “Dink”Goforth. Cecil learned “Hamilton Ironworks” from Gene, who learned it in the 1950s from Roy Wooliver. According to Gene, who also recordedthe tune (Rounder CD 0388), Wooliver might have composed the tune, which never seemed to spread much beyond their area until recently.Commenting on why Wooliver might have chosen not to take credit for the tune, Marshall writes, “The culture of fiddlers was that fiddlers whomade up tunes generally attributed them to someone else, usually older fiddlers than themselves. So Wooliver never owned up to having composedit” (unreferenced quote from Fiddler’s Companion). The actual Hamilton Iron Works was active in the 1880s near Sullivan, Missouri, about 65miles southwest of St. Louis at the current location of Meramec State Park. For photos of the old furnace see http:// web.umr.ed u/~cwatkin/cwome/article20,21,&22combined.htm. The tune has become more well-known in recent years because it was a favorite of singer/instrumentalist JohnHartford, who was a close friend of Gene Goforth’s. Hartford recorded a somewhat more elaborate version of the tune on his last album, which hetitled “Hamilton Ironworks” (Rounder CD 82161-0442-2). Sadly, Hartford died in 2001 before the CD was released. In his notes, Hartford suggest-ed the tune was similar to “Piper’s Lass” (see Ryan’s, p. 38). Another musical transcription of the tune is in Phillips 1 (p. 107, Hartford’s version).

187

Audrey Handle

&

#

# C

h»78

.˙

œ

D

œœ

œ

œœ

œ

œ

œ œ

œ

œ œœ

œ

œ

˙

˙

˙

˙

œ œ œ˙ œ œ œ

Gœ

œ œ œœ

œ

œnœ

œ œœ

œ

œ

3

œœ

œ

œ

œ

œ ˙˙

D

&

#

# ..

.

.

˙˙ œœ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ

w

w

A

œœ œ

œ

œ œœ

œ

œnœ

œ œœ

œ

œ

3

œœ

œ

œ

œ

œ ˙˙

D1

˙˙ œœ

œ

œ

2

˙˙

œ

œ

œ

œ

œ

œ

D

ww

&

#

#ww œ œ

œœ

œ

œ

œ œ ww ˙˙

œ œ

œ

œ

œ

.˙ œ œ

Gœ

œ œœ œb

œœ

œ

3

œ œ œ ˙˙

D

˙˙ œœ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ

A

w

w

&

#

#

2

3 .. C

2

3œœ œ

œ

œ œœ

œ

œnœ

œœ

œ

3

œœ

œ

œ œ ˙˙

D1

˙˙ œœ œœ

œ

œ

œ

œ

œ

œ

2

D.C.

˙˙ œœ

œ

D

œœ

œ

œ

œ œ

œ œ

D

˙Ó

˙˙ œœ œ

œ

œ

œ

œ

œ

œ

D

A

B

Ending from * Variation V1

Drowning Creek Blues

V1

As played by Audrey Handle in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 8/3/97; time: 2/2; key: D; scale: major (some low 7th); pattern: AAB (13,13,14), sometimes one A or two Bs; tuning: standard

*

Handle (1930- ) of Jay, Oklahoma, was of mixed Cherokee and German ancestry. He was first inspired to play the fiddle by an uncle, HubertGriffin, who would visit from Florida. The most influential fiddler in the region was Uncle Dick Hutchison, and Mark Wilson suggests it is possible“Drowning Creek Blues” was derived from one of Hutchison’s popular tunes titled “Sharecropper’s Blues” (in this book). “Drowning Creek Blues”contains a number of African-American elements, such as slides and a modified 12-bar (expanded to 13 and 14 bars) blues pattern.

LeRoy Haslag

&

#

#

4

3 ..

q»142

œ

˙

œ

D

j

œ

˙

œ

.œ

J

œ œ œ œ

3

œ œ œ œ

œœ

œ œ

A

˙ œ ˙ œ œ

D

˙

œ

&

#

#

œ

Œ œ

j

œ˙

œ

.œ

J

œ œ œ œ

3

œ œ œ œ

œœ

œ

A

œ œ œ ˙

3

œ œ œ

D

.˙n

&

#

.œ

j

œ œ

œ

G

œœ

œ.œ

J

œ œ œ

Am

˙

3

œ œ œ œœ

œ

D

œ œ# œn ˙ œ œ

↑G

˙

œ

œ

œ.œ

j

œ œ

œ

&

#

.

.œœ

œ.œ

J

œ œ œ

Am

˙œ

œ œœ

œ

D

œ

3

œ œ œ œ ˙ œ œb

G

˙ œ

œ œ œn

D

j

œ

j

œn .˙#

u

Ranger Waltz As played by LeRoy Haslag in Reflections of a Missouri Fiddler (Nashville Record Production, NR 21420, c. 2004); recorded c. 2004; time: 2/2; key: D & G; scale: major (some high 4th); pattern: AB (16,16); tuning: standard

A

B

Ending from *

*

LeRoy Haslag (1940-), born in Loose Creek, Missouri, began playing fiddle for Lee Mace’s Ozark Opry at Lake of the Ozarks, Missouri, in1963. For many years he worked as a Missouri State Trooper while continuing to perform at various venues as a fiddler. Though he has sufferedfrom Parkinson’s disease since 1994, he finds that his tremors often subside when he plays his fiddle. “Ranger Waltz” is on Missouri fiddlerCharlie Walden’s list of "One Hundred Essential Missouri Fiddle Tunes." Interestingly, the tune was apparently written in the 1950s by QuentinRatliffe, a Washington state saxophone player for a polka dance band called the Mom and Dads (see Fiddler’s Companion). It is unclear whobrought the tune to central Missouri, but fiddler Charlie Walden learned it from Missouri fiddlers Jake Hockemeyer and others. Another musicaltranscription is in Christeson 2 (p. 157).

188

George Helton

&

#

#

#

C

h»146

.œ

J

œ œœ

œœ

↓Aœ

.œ

↓œ

œ œ.œ œ

œ

œœ

œ œ œ œ

œ œœ

œ

œ œ œœ

œ

œ

E.

.

œ

œ J

œ œœ

œ

œ

œ

↓Aœ

.œ

↓œ

œ œ œ œ

D

&

#

#

#

.

...

.

.

œ

œ œ .œ œœ

E

œœ

œ œ œœ

œœ

A

˙

˙

˙

˙

A

¿

¿

¿

˙

˙

œ œœ

œ œ

(D)

¿

¿

˙

˙

˙

˙

(E)

¿

¿

¿

1

œ

œ

œ

œ

œ œœ

œ

œ

E

&

#

#

# 2

D.C.

œ

œ œ

œ œœ

œ

œ

A

˙

˙

˙

˙

˙

˙

˙

˙

j

œ

œj

œ

œ œ .œ œ.œ

A

œœ

œ œ œœ

œ

œœ

Eœ

œ Œ Ó

A

A

B

IntroductionEnding from *

Jinny Nettles

*

As played by George Helton in Old-Time Fiddler’s Repertory (edited by R.P. Christeson, University of Missouri Press, 1976); recorded 1956; time: 2/2; key: A; scale: major (some low 7th); pattern: AABB (8,8,4,4); tuning: EAEA, fiddle sounds about a note higher on recording

Fiddle music collector R.P. Christeson jokingly wrote that “anyone by the name of Helton and living in the general area of Dixon, Missouri, inthe 1920s was a fiddler” (Christeson 1, p. xii). He described George Helton, from Meta in Maries County, as a fiddler who “plays vigorously”many of the older tunes of the region, and he includes musical transcriptions of a couple of George Helton’s tunes recorded in the 1950s. Althoughhe did not transcribe Helton’s lightning-fast version of “Jinny Nettles” in either of his books, Christeson did include it in his two-disc 1976 com-panion LP album. “Jenny Nettles” has a rich history in Scotland and England, and can be found in a number of collections stretching back to theearly 1600s. A song version of “Jenny Nettles” (also called “I met ayont the cairnie”), about a woman spotted walking away from the market withher baby, is in David Herd’s 1776 publication Ancient and Modern Scottish Songs, Heroic Ballads. An online sung version with a transcription is athttp://www. ltscotland.org.uk/nq/ resources/musicofscotland/scotsong/ascotsong.htm (called a Scots dance song, with Jo Miller singing).Instrumental dance-tune versions of this song can be found in Kerr’s 1 (p. 9) and Gow (tune 259). Fiddler’s Companion includes a lengthy discus-

Ruth Hawkins

&

#

# C ..

h»120

œ œœ

œ œ

œ œœ

œ

œ

œ

D

œ œœ œ

œ œœ œ

G

œ œj

œ

œ œ

œœ

œ

œ œ

œ

A

œ œ

œ œœ œ

œ œ

D

œ œ

œ œ

œ œœ œ

œ œœ œ

œ œœ œ

G

&

#

# ..

.

.œ œ

œ œ

œœ œ œ

œ

A1˙˙

œœ œ

D2˙˙

˙˙

D.

.

œ

œ

J

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ

j

œ

œ œ

œ œ

œ œ

œ

œ

œ

œ

A

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

&

#

# ..

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Dœ

œ

œ

œ

.

.

œ

œ

j

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

A1˙˙

.

.œœ

J

œ

œ

D2

D.C.

˙˙

˙˙

D

œŒ œ

œ

Œ

D

w

w

u œœ

œ œ

œ œœ œ

A

B

Ending from * Variation V1

Rachel

V1

*

As played by Ruth Hawkins in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 6/17/97; time: 2/2; key: D; scale: hexatonic major (no 7th); pattern: AABB (8,8,8,8); tuning: standard

From Neosho, Missouri, Ruth Hawkins (1923-) with her sister Lillian Baker and brother Dave performed in the 1940s and early 1950s as thecountry western yodeling group “Dave and the Prairie Sweethearts.” They were heard playing at rodeos, theaters, USO shows, and on Joplin radiostations. In the 1980s, after raising their families, the members of the group began performing again. Dave died in 1993, and the two sisters beganto perform throughout the Midwest as “The Hammer Sisters.” In 2005, Ruth was inducted into the “Old Time Fiddlers Hall of Fame.” The tune“Rachel” can be found throughout much the South, due perhaps in part to Tommy Jackson’s commercial 78 rpm recording of the traditional tune.Major central Missouri fiddlers such as Taylor McBaine and Charlie Walden have played the tune. With its distinctive chord arpeggios in the Apart, the tune has been linked to “St. Louis Quick-Step,” “Texas Quick Step,” “California Quick Step” (by W.V. fiddler Sam Hacker), and “Short’sAddition” (by Kentucky fiddler Buddy Thomas). Harrison offers southern Illinois versions titled “Gypsies in the Wood,” and “Little Rock.” The Apart might also be viewed as part of the “Little Brown Jug” family of tunes, and is similar to the B parts to other tunes in the book such as “OldGrey Eagle” and “Oklahoma Wagoner.” Both Jarman (p. 33) and Thede (p. 145) include the similar tune “Texas Quickstep,” and Jarman calls atune with a similar A part “The Old Homestead” (p. 12). James “Skeeter” Walden’s “Tom Hickey” is a similar tune. Jeff Titon (p. 175) points to asimilarity to the Kentucky tune “Smokey Hornpipe.” Other musical transcriptions are in Christeson 2 (p. 58), Harrison (p. 317-318, multiple ver-sions), and Phillips 1 (p. 193). Meade (p. 807) connects the tune to “Cowboy’s Dream.”

189

sion of this tune’s history. The Ozarks tune “Jinny Nettles” or “Jenny Nettles” appears, however, to have little melodic connection to this olderBritish song tune, which is generally played in a minor scale (although with imagination one can see vague similarities). Helton’s version of “JinnyNettles” includes stylistic elements common in older Ozarks tunes, such as an open tuning, plucked strings, and a scoop pattern in the B part.Randolph called it an Ozarks tune in 1954, and it likely has a long history in the region. A distant British connection to Helton’s tune is still proba-ble (even if not to the British “Jenny Nettles”) because it is similar to a number of Irish and Scottish tunes such as “The Maid of Argyle’s” (Cole, p.37; also in Cole see the identical “Muldoon’s Favorite,” p. 39), and “Kilwinning’s Steeple” (Cole, p. 43; also see the almost identical “The Clock inthe Steeple,” O'Neill, Walton’s, p. 98). The tune bears some resemblance to the classic British tune “Money Musk” (in this book) and the Scottishtune “Grieg’s Pipes” (Perlman, p. 104). Ozarks fiddler Cecil Goforth plays a version of “Jenny Nettles” that is similar to Helton’s (see Rounder CD0435). Curiously, an Oklahoma tune called “Jenny Nettles” in Thede (p. 96) does not seem to be closely connected to Helton’s tune, but is almostidentical to Bob Holt’s version of “Old Charlie Deckard” (also with open tuning and plucked strings). Mark Wilson suggests that a scrambling oftune titles might have occurred somewhere in the past (notes to Rounder CD 0435).

Ike Helton

&

#

#

#

C ..

h»126

œœ

œœ œœ œœ

œ

œ œ

œ œ œœ

œ

A

œ œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œœ

œœ

œ œœœ œœ œ œœ œœ

E

œœ

œ

œ

œ

œ œ

œ œ

œœ

œ

A

&

#

#

#

.

...œ œ œ œ œ

œœ

œœ

D

œœ œ

œ

œ

œ

œ œœ

œ

E1œ œ œ œ

œ œœ

œœ

A2

œœ œ œ œœ

œ

œ œ

E A

œœ

œœ

œœ

œœ

œ

œ

&

#

#

#œœ œœ œ

œœœ œœ œ

œ

œ œœ œ

œœœ

œœ

œœ

œ

œ

œ

œ

œ œ

œ

œœ

œ

œ œ

œ œ

E

œœ

œœ

œœ œ

œ

œœœ

A

œ œ œœ

œœ œœ œ

œ

œ

œ

œ

œ

↓D

œ œ

↓œ

œ œ œœ œ

œ

E

&

#

#

#

.

.

1œœ

œ œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

A2

D.C.

œœ

œ œ œœ

œ œœ

œœ

E A

œœ œ œ

œ

œ

œœ

↓E A

œ œ

↓œ

œ œ œœ

œœ

œ œ œ˙

˙

œœ

‰ j

œœ

œœ

œœ

Œ

œ

œ ˙

u

A

B

Ending from *

Grey Eagle As played by Ike Helton (home recording from Paul Helton) recorded: ?; time: 2/2; key: A; scale: major; pattern: AABB (8,8,8,8); tuning: standard

*

Ike Helton (1907-1983) of Maries County, Missouri, was part of a large family of Heltons who played fiddle music, mainly around Dixon,Missouri (see Christeson 2, p. vii). The fiddle music of another member of the Helton family, George Helton, is represented in the previous tune.Ike Helton’s lively and syncopated version of “Grey Eagle” (unlike the versions by Jim Herd and Cecil Snow in this book) is recognizable as themost common version found throughout the U.S. It has a fairly clear lineage to a William C. Peters tune published in 1840 titled “Gray EagleCottilions,” and named (like “Waggoner”) after a racehorse in Louisville, Kentucky, in 1838 or 1839. Useful historical information, as well as aphotocopy of that 1840’s publication, are in the liner notes to Traditional Fiddle Music of the Ozarks, Vol. 3 (p. 26). That tune is almost identical toa c. 1800 Scots tune titled “The Miller of Drone” (see Cole, p. 124; Perlman, p. 197; and Gow, number 73), often attributed to either Neil orNathaniel Gow. Cazden includes both “Grey Eagle Hornpipe” and “The Miller of Drone” in his 1945 Catskills Mountains collection (p. 43), sug-gesting that although they are similar some fiddlers view them as different tunes. Mark Wilson discovered that a surprising number of fiddlers inthe Ozarks and the Midwest were generally aware that the tunes “Grey Eagle” and “Waggoner” were connected to race horses. Since he did notfind such an awareness in eastern Kentucky, he proposed the possibility that the tunes entered the Ozarks before they entered eastern Kentucky.Fiddler’s Companion, in its lengthy and detailed discussion of “Grey Eagle,” links the tune to “Ostinelli's Reel” and “Ducks on the Pond.” Theonline Folk Music Index also points to similarities to “Sugar Grove Blues” and “First Month of Summer.” See the two other versions of “GreyEagle” in this book for more information. Incidentally, Gordon and I assumed the title to this tune, which we heard on an unlabeled homemade cas-sette tape of Ike Helton. Charlie Walden includes “Grey Eagle” on his list of "One Hundred Essential Missouri Fiddle Tunes." Other musical tran-scriptions are in Bayard (p. 60, key of G), Brody (p. 127), Cazden (p. 43), Christeson 1 (p. 12, three parts), Ford (p. 86, also see his related “ForkedDeer,” p. 45), Haywood (p. 46, as a hornpipe), Krassen (Appal. Fiddle, p. 73), Phillips 1 (p. 106, three versions, one in A and two in C), Phillips 2(p. 197, as “Grey Eagle Hornpipe,” four parts), Songer 2 (p. 79, with two other versions), and Titon (p. 88). Meade (p. 787) lists three early com-mercial recordings, the earliest being by J.D. Harris (1924); others include Lowe Stokes (under the title “Katy Did”) (1929), and Roland Cauley &Lake Howard (1934).

Track #35

190

In his 1973 transcription of “Zack Wheat’s Piece,” Christeson said the only fiddler he had ever heard play this tune was another member of theHelton family, George Helton (see Christeson 1, p. 65). In hearing Ike Helton play a similar tune on a cassette with no documentation, we assumedit was also “Zack Wheat’s Piece” but Helton might have called it another title such as “Rocky Mountain Hornpipe” (in this book), which is whatArt Galbraith calls a similar tune. According to Christeson, Zack Wheat was a well-known earlier fiddler from near Argyle, Missouri, not far fromwhere the Helton family lived. Christeson, who knew the Heltons and had a strong knowledge of Missouri fiddle music and traditions, was in agood position to know the tune’s true background. Fiddler’s Companion suggests, however, that it is tempting to wonder if the tune might havebeen connected to an early baseball player named Zack Wheat who was born in the northern Missouri town of Hamilton in 1888. He was inductedinto the Baseball Hall of Fame in 1959. “Zack Wheat’s Piece” has become fairly well-known throughout Missouri, and Charlie Walden lists it in his"One Hundred Essential Missouri Fiddle Tunes." Bayard suggests the tune is similar to a Pennsylvania schottische played by Cooney Tressler (seeBayard, p. 381-382). Another musical transcription of “Zack Wheat’s Piece” is in Christeson 1 (p. 65).

Jude Herndon

&b C .

.

h»112

œ

↓

œœ

œ œ

œ

↓

œ œ œ

œ

F

œ œ œ

œ .œ

j

œ# œ

œ œœ œ

œ œœ

Bb

.˙

œ œ

F

œ

œ œ

œ œ

œ œ

œ œ œ œ œ œœœ

.œ

D7

&b

œ œ œnœ œ œ

G

œ œ ˙

œ œ

C

œ

œ œ

œ œ

œ œ

œ

F

œ œ œ

œ œ œ œ# œ

œ œœ œ

œ œœ

Bb

.˙ œ œ#

F

&b .

.

œ œœ œ œ

Bb Bdim

œ

œ œ œ

œ œ

↓F D7

œ

↓

œ œœ

œ œ œ

G C1

.

.˙˙ œ

F2

.

.˙˙

œœ

F

œœ œ œ œ œ œn

C

œœ œ œ œœ œ

&b œ

œ œ œ# œ œ œ œn

F

œ œ œœ

œ

œ#

œ

œ

œ

œ#

œ

œ

œ

œ

D

œ

œ#

œ

œ

#

n

œ

œ

œ

œ#

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Gm

œ

œ

œ œ œ œ œn

&b œ

œ œ œ œ œn

C

œœ œ œ

œ œ œ œœ œœœ œ œ œ .˙ œ

œ#

œ

œ

œ

œ#

œ

œ

œ

œ

D

œ

œ#

œ

œ

#

n

œ

œ

œ

œ#

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

Gm

&b œ œ œ œ œ œn

↓

œœ œ œ œ œn

↓C

œœ œ œ œ œ œ

œ

œ œœ œ

œ

œ

œ

FD.C.

.

.

˙

˙

œœw

w

œ

œ

Œ

œ

œ

Œ

œœ

œœ

œb œ œ œ

A

B

Ending from * Variation V1

Fred Kirchner’s Tune As played by Jude Herndon (Gordon McCann Collection, field recording); recorded 12/7/76; time: 2/2; key: F; scale: major (some high 1st, 4th, low 2nd, 3rd); pattern: AAB (16,16,20); tuning: standard

*

V1

Julian E. “Jude” Herndon (1897-1979), also called “Bob” Herndon my some people, lived in Nixa, Missouri, and was an influential fiddler inthe region just south of Springfield. As a 12-year-old, he would sometimes take a train to downtown Springfield and listen to two African Americanmusicians, Jay Lyle and Little Barnes, who played guitar and mandolin respectively. He learned songs such as “Make Me a Pallet on the Floor”from them and took the tunes back to Nixa, where other musicians learned them (and continue to play them). Regarding the above tune, fiddlerFred Kitchner was a regular at many round and square dances in and around Springfield, Missouri, in the 30s and 40s. Herndon did not know thename of this rag-style tune so he gave Kirchner’s name to it. The A part is reminiscent of “I Don’t Love Nobody” and other tunes with the circle offifth ending chord pattern.

&

#

# C ..

h»114

œœ

œœ

↑

œœ œ œ

œœ# œ œ

D

œœ

œœ

œœ

œœ

œœ

œœ œœ œ œ œ

↓

œœ

œ

œ˙

˙

œœ

œœ

↑A

œœ œœ œœ

œ

œ

œ

œ

# œ œ

D

œœ

œœ œœ

œœ

œœ œ

G

&

#

# ..

.

.œ œ œœ œ

œ œ œ

A1

œœ

˙

˙

œœ

œœ

D2

œœ

.

.

˙

˙

Dœ œ# œ œ œ œ œ œ œ œ

↓œ

œ

œ œ

G

œ

œ

œ œ# œœ œ

œ

œ

D

œ .

.

˙

˙

A

&

#

# ..

œ œ# œ œ œ œ

œ

Dœ œ œ œ

↓œ œ

↓œ↑

G

œ

œ œ œœœ

œ œ œ

œ

A1

œœ

.

.

˙

˙

D2

D.C.

œœ

˙

˙

œœ

œœ

D

œœ

˙

˙

Œ

D

œ

œ

Œ Ó

A

B

Ending from *

Zack Wheat’s Piece As played by Ike Helton (home recording from Paul Helton) recorded: ?; time: 2/2; key: D; scale: major (some high 4th, low 3rd); pattern: AABB (8,8,8,8); tuning: standard

*

Track #36

191

Arlin Hughes

&

#

C ..

h»122

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

Gœ œ œ œ

œœ

œ

œ

œ œ

œ

œ œ

œ

(D)œ œ œ œ

œœ

œ

œ

Dœ œ

œ

œ œ

œ

Gœ œ œ

œ

œ

œ

œ

œ

œ

œ

&

#

.

...

œ

œ

œ

œ

.

.

œ

œ

J

œ

œ

D1

.

.

œ

œ

J

œ

œ

œ

œ

œ

œ

œ

œ

G2

œ

œ

˙

˙

œ

œ

G

œœ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œœ

œ

œœ

œ

&

#

.

.œœ

œœ œœ œœ œœ œ

œ

œœ

D

œœ

œ

œ

œ œ

œ

G

œ

œ

} œ

œ

} œ

œ

}

œ

œ

œ

œ

}

œ

œ

œ

}

œ

œ

(C)

œ

˙

˙

œ

œ

œ

D1

.

.

œ

œ

J

œ

œ

œ œ

œ

œœ

G2

D.C.

.

.

œ

œ

J

œ

œ

œ

œ

œ

œ

œ

œ

G

&

#

2

1C

œ

œ Œ

Gœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œŒ

œ

œ

œ

œ Œ œœ œ œ œ

œ

œ

œ

Œ

œœ

.

.œ

œ

˙

˙

u

œ

œ

œ

œ

œ

œ

œ

œœ

˙

˙

œ

œ

œ

œ

A

B

Ending from *Variations V1

Six by Eight

V2

V1

V2

As played by Arlin Hughes (Max Hunter Collection, field recording); recorded 4/14/75; time: 2/2; key: G; scale: hexatonic major (no 4th); pattern: ABB (8,8,8), sometimes AABB; tuning: standard

*

Arlin Hughes (1914-2006) lived in Winslow, Arkansas, located about 20 miles south of Fayetteville. Folk song collector Max Hunter collectedsongs and fiddle tunes from him in 1975. Hughes was a farmer and often appeared at fiddle events in northwest Arkansas. Other than this tune’svague similarities to “Green Corn” (A part), and “Soldier’s Joy” (B part), I cannot report any information about it. Tunes with the phrase “six byeight” in their titles are not uncommon, but those tunes are usually played in 6/8 time (possibly leading to the phrase “six by eight”), not 2/4 likethis one. “Six by eight” was also a standard measurement for railroad ties.

&

#

4

3

q»168

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

G

.

.

œ

œJ

œ œ œ

↓.

.

œ

œ

j

œ œ

œ

œ

œ

.

.œœ

j

œœ

œœ œ

œ

œ

œ

œ

œ

œ

œ

j

œ ˙

˙

œ

œ

œœ

œœ œœ œœ œœ

D

œœ

œ

œ

œ

œ

&

#

.

.œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

G

j

œ

˙

˙

œ

œ

œ

œ

↓

.

.

œ

œ

j

œ œ

œ

œ

œ

˙˙

œœ

œ}

œ

œ

œ

œ

.

.

œ

œ

j

œ

œ

.

.

œ

œ

œ}œ}œ

D

.

.œœ

j

œœ

œœ

G

˙˙

œœ

&

# .œ

J

œ

↓

œ œ

Cœ œ œ .

.

œ

œ J

œ# œ œ

G

.

.œœ

j

œœ

œœ

.œ

J

œ œ

œ}

Cœ

œ œ

œ

œ..œœ

j

œœ œœ

D

œ œ

œ

œ

&

#

.œ

J

œ œ

G.œ

J

œœ

C.œ j

œ œ œ

G

.

.œœ

j

œœœ œ

œ

œ

œ

.

.

œ

œ

j

œ

œ

.

.

œ

œ

j

œ

œ

œ œ

œ

D

.

.œœ

j

œœ

œœ

GD.C.

˙˙

œœ

&

#

j

œ˙

Œ

Gœ

Ó

Cœ

Ó

G

˙˙

œœ

œœ

Ó œ

œ

Ó

D

œÓ

G

.

.˙˙

u

Green Valley Waltz

A

B

Ending from *

*

As played by Arlin Hughes (Max Hunter Collection, field recording); recorded 4/14/75; time: 3/4; key: G; scale: Lydian (high 4th, some low 6th, 2nd); pattern:AA(with verse)BA(with verse)BA(with verse)B (all 16); tuning: standard

Hughes plays his fiddle and sings at the same time, a rare skill in the Ozarks (Seth Mize and Lon Jordan in this book could do it also). Thelyrics he sings with this tune include: “Who will shoe your lovely little feet; Who will glove your hand; Who will kiss your red rosy lips; Whoo-whoo-whoo-whoo.” This verse is usually associate with an 18th century Child ballad (No. 76) titled "The Lass of Roch Royal” (also called “LordGregory” and other titles) but it is considered a “floating” verse found in a number of songs, such as the Carter Family song "The Storms Are onthe Ocean.” According to Fiddler’s Companion, “Green Valley Waltz” is associated primarily with Tennessee and Oklahoma, but it is often playedin the Ozarks. Other musical transcriptions are in Harrison (p. 362), Phillips 2 (p. 265) and Thede (p. 146). Meade (p. 153) lists 13 early commer-cial recordings, the earliest being by John D. Foster & Jesse D. James (1927); others include Dick Burnett & Lynn Woodard (1929), and theOzarkers with George Elgin on fiddle (1932). Fiddler’s Companion suggests that early recordings of the tune by the Roane County Ramblers andFiddlin’ Arthur Smith were particularly influential. You can access an online recording of the above tune at the Max Hunter Folk Song Collectionwebsite: http://www.missouristate.edu/folksong/maxhunter/1553/.

Track #37

192

Uncle Dick Hutchison

&

#

#

#

C .. 2

3C

h»90

œ

œ

œ

œ

œœ œ

œ

œœœ

œ

œ

n œ

œœ

œ

A

œœ

œœ

œ

œœœ

œ

œ

n œ œ œœn

œœ

œ œ œ

œœ œ

œn

↓œ# œ

↑

œ

œœ

œœ

œn œ œœ

D

&

#

#

#

œœ

œ œ

œ

œ

œ

n œ œœ

œ œ œœ œ

œ œ˙ œ œ œ

œ

A

œœ œœ œ œ

œ œœœ

œ œ œœ

œ œ œ

Eœ

œ œ œ œ

œ

&

#

#

#

.

. 2

3

2

3C .

.œ

œ œœ œ œ

œ œ

1

..˙˙

œ

œ

œ

œ

A2

..˙˙

œ œ œ œ

A3

..˙˙

œ

.œ

J

œ

A

.

.˙

˙

œœ

A

˙˙ œœœ œ

œ œœ œ

œn

↑

œ œœ œ

&

#

#

#

.˙œ œ œ

œœ

œ

œ œ œœ

D

œœ

œ œ œn œ œœ

œ œ œœ œ

œ œ˙ œ œ œ

œ

A

œœ œœ œ œ

œ œœ

A ↓

Delaware County Blues

A

B*

C

To A To B To C

As played by Uncle Dick Hutchison in Old Time Fiddle (Self-produced LP, 119, c. 1970); recorded c. 1970; time: 2/2; key: A; scale: major (some low 3rd, 7th); pattern: AABACABA (A=12,B=13,C=14); tuning: standard

Ron Hughey

&

#

#

#

C

h»126

..œœ

J

œ œ œ œ œ

A

œ œ

↑œ œ œ œ œ œ

œ œ œ œ œœ œ œ

G

œœ œ œ œ

œ œ œ

D

œ œ œœ œ œ

œœ

A

œ

œœ œœ œ.œ

J

œ

&

#

#

#

.

.œœn

œœ

˙

˙˙

G A.œ

J

œ œ œ œ

↑

œ œ

↑œ œ

.œ

J

œj

œ.œn

J

œ œœ œ œn

↑

G

œœn

œœ

œ

œ

œœ œ œ

D

œ

œ œœ œ œ œ

↑

A

&

#

#

#

œ œ

↑œ œ

.œ

J

œ œn œ œ œ œœ œ œn

↑

GD.C.

œœn

œ

œ

˙

˙

D

J

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙ œœn

œœ

œ

œ Œ

G Aœ œ œ

œ œ œ œ œœ

&

#

#

#

œ œ œœ œ

.œ Œ

E Aœ

œ œœ œ œ

œ

œ œœ œ

œ

œ Œ

E A

œ

œœ œœ œ.œ

J

œ œ œœn

œœ

˙

˙œ œ œ œ

.œ

J

œ

œ

œ

œ

œ

œ

n œ

œ

œ œœ œ œn

↑

Yellow Gals

A

B

Ending from * (1st)

*

Introduction

V1

V2 V3

Variations V1 V2 V3

As played by Ron Hughey in Country Fiddlin’ Ozark Style (American Heritage Music Corporation AH-401-511, c. 1973); recorded 12/3/73; time: 2/2; key: A; scale: Mixolydian (low 7th, some low 3rd, high 4th); pattern: AAB (7,7,8); tuning: standard

Ron Hughey (1914-1974) was born and raised in South Greenfield, Missouri, about 40 miles northwest of Springfield. He grew up in a familythat valued square dancing—his father was a caller—and Hughey began fiddling when he was seven. At the age of 13, Hughey’s family, like manyother Ozarkers, decided to move west and ended up in Fowler, California (near Fresno) where he remained (Kentucky fiddler Dad Crockett ofCrockett’s Mountaineers also ended up there). A tall man who often sported a cigar, Hughey was well-known in California as a square dance fid-dler, a contest fiddler, and a fiddler for various bands. He had a loud, clean, and fast playing style, but at the same time he held his fiddle in a “rus-tic” manner by tucking it into his chest and swiveled it to economize on his bowing motion. He also tended to plant his index finger, possiblyinjured from welding work, on the nut and to finger primarily with his other three fingers. Regarding “Yellow Gals,” a crooked “modal” tune oftenassociated with him, Hughey said he had never heard it played outside of his family. Fiddler’s Companion points out that the term “yellow gals”sometimes refers to mulatto women, and it links one version of the tune to “Buffalo Gals.” Vance Randolph listed the tune “Yellow Gal” as a tradi-tional Ozark Mountain fiddle tune in 1954. A musical transcription of a similar version of “Yellow Gals” played by Vermont fiddler Pete Sutherlandis in Phillips 1 (p. 262). Meade (p. 471 lists one early commercial recording under the title “Yellow Gal” by Georgia singer and banjo player LandNorris (1924), but Norris’s song, similar melodically to the song “Shady Grove” (the major chord version), does not seem to be related to Hughey’stune. Also, Leadbelly recorded a song titled “Yellow Gal” several times in the 1940s, and the phrase “yellow gal” appears in a number of African-American songs dating back to 1850s minstrelsy (Mead, p. 471, citing Newman White’s American Negro Folk-Songs), but these African-Americansongs appear to be unrelated to Hughey’s fiddle tune (although tunes do change over time). [Much information from this profile is from HankBradley’s article, “Ron Hughey—Some Memories.”]

193

Uncle Dick Hutchison (1897-1986) lived in Disney, Delaware County, Oklahoma, in the northeast corner of state, which is usually consideredpart of the Ozarks. An old-time fiddler skilled at playing standard old-time repertoire as well as unusual blues and rag tunes, he entered and wonscores of fiddle contest, released albums, and influenced many Ozarks fiddlers. Regarding the tune “Delaware County Blues,” the album liner notesstate, “This is one of Dick’s own arrangements and named after Delaware County, Oklahoma.” Missouri fiddler Alton Jones, who plays the tune onRounder CD 82161-0437-2, credits Hutchison as his source (curiously, Jones’s version on the CD sounds more like “Molly Put the Kettle On”which Hutchison has recorded as “Minnie Put the Kettle On,” so it is possible titles became mixed up at some point).

Stan Jackson

&

#

#

#

C

h»122

œ

œ

œ

œ

œœ

˙˙ œœ

œœ

A

œœ œ œœ œ ..

œœ

J

œ

œ

œœ

˙˙ œ

œ

œœ

œœ

œœ œœ

œ

œ

.

.

œ

œ

J

œ

E A

j

œœ

˙˙ œœ

œœ œœ œ œ

œ

œ

œ

œœ

œœ

œœ

&

#

#

#

.

...

œœ

˙

˙œœ

œœ

œœ œœ

œ

œ

.

.

œ

œ

J

œœ

E A

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

A

œ

œ

œ

œ ..

œœ

j

œ

œ

œ

œ

..œœ œ œœ

D.C.

œ

œ

œœ

..œœ

J

œœ

E A

œ

œ

œœ

˙˙

u

rit.

E A

A

B Ending from *

Newhouse

*

As played by Stan Jackson in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 8/19/97; time: 2/2; key: A; scale: hexatonic major (no 7th); pattern: ABB (8,4,4); tuning: standard

&

.˙œ œ œ

˙ œ œ œ

&

#

#

# œœ œ œ

œœ œ œ

Eœ

œ œ œ œ

œœ

œ œœ œ œ œ

œœ

œ

œ

œ

..˙˙

œ

œ

œ

œ

Aœ↓

œ œ œœ

œ œ œœ œ

3

œ œn œ# œ

&

#

#

#

œœ œ œ œn

œœ

œ œœn

↑

œ œœ œ

..˙˙

œ œœ

œœ

œn

↑

œ œœ

D

œœ

œ œ œn œ œœ

œ œ œœ œ

œ œ

&

#

#

#

˙ œ œ œœ

A

œœ œœ œ œ

œ œœœ

œ œ œœ

œ œ œ

Eœ

œ œ œ œ

œœ

œ œœn

↑

œ œœ

œ

œ

D.C.

..˙˙

œ

œ

œ

œ

A

œœ ˙

U

AEnding from *

CTo A

Stan Jackson (b. 1927) grew up in Searcy County, Arkansas, where several members of his family played fiddle music and sang old songs. In1948, his father moved the whole family to Washington State because of the better weather and economic conditions. Jackson’s major influenceswere Lonnie Robertson and Grand Ole Opry fiddlers such as Tommy Jackson and Howdy Forrester. Although bluegrass music has attracted himmore in recent decades, he continues to play the Ozarks square dance tunes of his childhood. He learned this syncopated tune from his brother,Frank, who learned it from their father. Unlike Stan, who plays the tune in standard tuning, Frank played it in AEAC# tuning.

&

#

C ..

h»118

œ œœ œ

œœ

œœ

œœ

œœ

G

œœœœ

œœ

œœ

œœ

œ

œ

œœ

œœ

œœ

œœ

œœ#

.

.œœn

j

œœ œ

œœœ œœ œ œ œ

œ

D

œœ

œœ

œœ

œœ œœ

œ

œ

&

#

.

...

œ œ

œœ

œœ œœ

.

.œœ

œ œ œ œœ œ œ œ

œ

œ

œ

œœœ œ

œ

G

œ

œ œ œ œ

œ

G

3

œ œ œ œ œ œ œ

œ

œ

œ

œ œœ

œ œ œ

&

#

.

.

œ

œ œ œ↓

œ œ œ

œ

Dœ

œ

œ œ œ

↑œ œ

œ œ œ œ œ

↑œ œ œ œ œ

œ œ œ œ

œ

D.C.

œ˙˙

œ

G

œ œ œ œ œ# œ

Gw

w

U

A

B

Ending from *

Sam Taylor’s Tune

*

As played by Stan Jackson in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 8/19/97; time: 2/2; key: G; scale: major (some high 1st); pattern: AABB (8,8,8,8); tuning: standard

Jackson learned this tune from Louis Guthrie, a native of Ava, Missouri, who like Jackson moved to Washington state. The tune is possibly aprogenitor for the similar-sounding Bob Wills classic “Take Me Back to Tulsa.” Mark Wilson also points out similarities to the tunes “SmokeBehind the Clouds,” and “Going Down to Memphis.” In southeast Tennessee a similar tune is called “Cincinnati” by fiddler Blaine Smith (PineBreeze 003). “Napper” (in this book) also appears to be in the “Take Me Back to Tulsa” tune family.

194

Buddy Lancaster

&

#

# C ..

h»136

œ

œ œ

œ

œ œ œœ

œœ

œ

D

œ

œ

œœ

œœ œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œœ

œœ

A

œ

œ

œœ

œ

œ

œ

œ œ œœ

œœ œœ œœ œœ

œœ

œœ

œ

œ

D

œ

œ

œœ

œ

œ

œ

œ

œ œ

↓

œœ œ œ œ œ œ

&

#

# ..

.

.

1

œœ

œ

œ

œ

œ

œ

œ

œ

œ œœ

œœ

A D2

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

A Dœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

D

œ

œ

œœ

œœ œ

œ

3

œ

œ

œ

œ

œœ

G

œœ œœ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Dœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Aœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

D

&

#

# ..

œ

œ

œœ

œœ œ

œ

3

œ

œ

œ

œ

œœ

↓G

œœ œ

œ

œ

œ œ œ œ œ

A1

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

D2 D.C.

œœ

œ

œ

œ

œ

œ

œ

œ

œ œœ

œœ

A D

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

D

Œ

œ

œ

œœ

Œ

A D

A

B

Introduction Ending from *

Arkansas Traveler

*

As played by Buddy Lancaster in Music of the Ozarks (National Geographic Society 07703, 1972); recorded c. 1972; time: 2/2; key: D; scale: major (some low 7th); pattern: AABB (8,8,8,8); tuning: standard

Buddy Lancaster (1936-2005) was born and raised in Mountain View, Arkansas, where he was well known as a fiddler and an active partici-pant in the Rackensack Society, which began in 1963 to promote Ozarks folk music. In addition to playing for the National Geographic albumdescribed above, he performed in Washington, D.C., and elsewhere. “Arkansas Traveler” is, without a doubt, the most well-known fiddle tune withOzarks connections, and possibly the most well-known fiddle tune in the South. Vance Randolph wrote, “Both words and music are usually credit-ed to Colonel Sandford C. Faulkner, a well-known Arkansas character who died near Little Rock in 1875. The story is that Faulkner was on a polit-ical mission in the wilds of Pope County, Ark., near Russellville, in 1840, when he met the mountain fiddler who figures in the song”(Randolph/Cohen, p. 284). Apparently Faulkner, who enjoyed public speaking in a dramatic style, often regaled audiences with a story about aquestion and answer conversation between a distinguished gentleman lost in the mountains with a dim-witted, or perhaps brilliantly witty, mountainman. Soon a minstrel-show-style humorous dramatic sketch was created based on the story, and it became popular nationally. In this dramaticsketch, which was performed well into the 1900s, a fiddler would typically play one part of the tune, stop to have a humorous question and answerinteraction with the traveler, and then continue to alternate music with humorous verbal exchanges. One example of a verbal exchange one mighthave heard is: “Traveler: ‘Well, sir! Will you tell me where this road goes to?’ Native: ‘It ain’t never went nowhere, not since I been a-livin’ here.’”(Randolph/Cohen, p. 286). The liner notes for Lancaster’s recording describe a variation on the sketch in which the traveler teaches the B part ofthe fiddle tune to the native, who only knew the A part. At that point the native promptly embraces him, feeds him, hands him a jug of mountaindew, and feeds his horses. The sketch likely helped solidify the hillbilly caricature in the American psyche. That caricature was prominent in theearly Grand Ole Opry, in 1960s and 1970s television comedies such as “Beverly Hillbillies” and in the variety show “Hee Haw.” Even today, thehillbilly caricature is featured in a number of country music shows in the Ozarks, especially around Branson. For a full history of “The Arkansas

Brian Lackey

&

#

#

#

#C .

...

h»110

œ œ œ œ œ œ

E

œ œ œœ œ œ œ œ œ œ œ œ œ

œ œ œœ

œ œ œ œ œ

Bœ œ

.œ

J

œ

E

&

#

#

#

# ..

œœ œ œ œ œ

œœ œ œ

œ

D.C.

œ œœ

œ œ œ œ œ

B

œ œœ

œ œ œ œ

B

w

U

E

Going Down the River As played by Bryan Lackey and Clark Duncan with Dr. Smith’s Champion Horse Hair Pullers in Echoes of the Ozarks, Vol. 2 (County CD-3507, 1995); recorded 9/12/28; time: 2/2; key: E; scale: pentatonic major (no 4th, 7th); pattern: AABB (4,4,4,4); tuning: standard

A B

Ending from **

Two fiddlers are playing an octave apart on the above recording by the group Dr. Smith’s Champion Hoss Hair Pullers of Calico Rock,Arkansas. Charles Wolfe writes that Lackey was the lead fiddler and that Clark Duncan was playing the lower part, which is not notated above(liner notes, County CD-3507). Lackey was born in 1896 in Calico Rock, Izard Co., Arkansas. The lyrics sung on the recording are “floating,” orones that are fairly self-contained and might appear in different songs. Most of the verses relate to a man complaining about his lazy wife. Theverses that include the tune title are: “Oh, little girl, if you don’t do better; I’ll build me a boat and I’ll sail down the river; Boat begin to rock and Ibegin to quiver; Oh, little girl, I’m going down the river.” The fiddle tune is also played in the Ozarks under the title “Little Dutch Girl” (anotherversion of “Little Dutch Girl” is in this book) which Jimmie Driftwood sings with lyrics almost identical to the ones above, but with “little girl”replaced with “my little Dutch girl” (see Mike Seeger’s Third Annual Farewell Reunion, Rounder CD 0313). Fiddler’s Companion says the tune iscalled “Sandy River” in western N.C., and also connects the tune to the titles “Sailing Down the River” and “Davy, Davy.” Other musical transcrip-tions are in Brody (p. 121) and Phillips 1 (p. 98). A similar tune under the title “Little Dutch Girl” is in Thede (p. 85). Meade (p. 782), lists fourearly commercial recordings under the titles “Boatin’ Up Sandy,” “Walking in the Parlor,” “Davy,” and “Going Down the River;” the earliest is AlHopkins (1927) with “Boatin’ Up Sandy.” Tunes currently called “Boatin’ Up Sandy” are generally quite different from the above tune.

195

Traveler” sketch, which spawned several publications and a famous painting, see Fiddler’s Companion and Randolph/Cohen (p. 286). The tune“Arkansas Traveler” has usually been recorded as a purely instrumental tune since the 1920s, when the commercial recording of country musicbegan. It continues to be among the most popular fiddle tunes in the Ozarks and elsewhere in the U.S. Charlie Walden includes the tune on his listof "One Hundred Essential Missouri Fiddle Tunes." Other musical transcriptions are in Arkansas Arkie (p. 12, with square dance calls), Bayard (p.267), Brody (p. 25), Cole (p. 4), Ford (p. 46, with dramatic script on p. 188), Howe (p. 83), Jarman (p. 38), Krassen (Appal. Fiddle, p. 44), Phillips1 (p. 17), Randolph III (p. 22, with dramatic script), Randolph/Cohen (p. 284), and Titon (p. 34). Meade (p. 759) lists 47 early commercial record-ings, the earliest being by Eugene Jaudas (c. 1912); others include Fiddlin’ John Carson (1924), Gid Tanner & Riley Puckett (1924), Fiddlin’ DocRoberts (1927), the Kessinger Brothers (1928), and Eck Robertson (1929).

Bob Larkan

&

#

#

#

C ..

h»140

œ

œ

œ

œ

œ

œœ œ œ œn

œ

A

œœ

œ

œ

œ

œ

œ

œ

3

œ œ œ œœ

œœ œ œ œ

œœœ

E

œ œœ

œ

œœ

œ

œ œœ œœ

œ

œœ œ

œ

œœ

œ

A

œ

œœ

œœ œ œ œ œ

&

#

#

#

.

. 2

3C

œœ

œœ œ œ

œœœ

E1œ

œœ

œ

3

œœ

œœ œœ œœ

A2œ

œœ

œ

3

œœ

œœ œœ ..˙˙

E A

œœ

œœ œœ ..œœ

J

œn œ œ œœ

œ

œ

œ œœ

œœ .

.

œ

œJ

œœ œ œ

œ

E

&

#

#

# œ œ œœ

œ œ œœ

œœ

œœ

œœ ˙˙ œœœn

A

œ œ œœ

œ

œ

œ œœ

œœ .

.

œ

œJ

œœ

œ œ œ

ED.C..

.

œ

œJ

œ œ 3

œ

œ

œœ

œœ

A

œ œœ

œ

œ ˙˙

u

A

A

B

Ending from *

Kansas City Reel

*

As played by Fiddlin’ Bob Larkan & His Music Makers in Echoes of the Ozarks, Vol. 2 (County CD-3507, 1995); recorded 2/22/28; time: 2/2; key: A; scale: pentatonic major (no 4th, some low 7th); pattern AB (8,8), occasionally AAB; tuning: standard

Bob Larkan (1870-1942) lived around Hazen in Prairie Co., Arkansas, but he was born in New York and grew up in Centralia, Missouri. For aperiod he played for radio stations in Kansas and Mexico. His well-traveled performance background is apparent in his crisp, clean, and even style.Fiddler’s Companion suggests “Kansas City Reel” is primarily connected to Arkansas, perhaps become of the 1928 recording transcribed above.Other musical transcriptions are in Christeson 1 (p. 25, titled “Breakdown”), Phillips 1 (p. 136), and Songer 1(p. 117). Meade (p. 732) suggests thetune’s A part is similar to “Richmond Polka,” and that the B part is similar to “Lardner’s Reel.”

&

#

#

#

C

h»140

œ œœ œ

œœ œ œ

j

œ œ œ

A

œ œ œ œ

˙

œœ

œœ

↓œ œ œ

œ

œ

œ

3

œœ

œœ œœ ˙˙ œ œ

↓E

œ

œœ œ œ

œ

↓œ œ

A

œ œ œ œ

˙

&

#

#

#

.

.œœ

œœ

↓œ œ œ

œ

E

œœ œ œ

œ

œ

A

œœ

œœ œœ œœ œœ œœ

A

œ

œ

œ

œ

œ

œ

œ œ œ

D

..œœ

J

œœ œœœ

A

œ œ œ œ

E

œœ

œœ œœ œœ œœ œœ

A

&

#

#

#

.

.œ

œ

œ

œ

œ

œ

œ œ œ

D

œ

œ œ↓

œ œ œ œ œ

E1

.˙

œ

œ

A2

D.C.

..˙˙

3

œ œ œ↓

A

.

.

œ

œ

J

œ

œ

œ

œ

3

œ

œ

œ

œ

œ

œ

A˙

˙ Ó

œ

œœ

œ

œ

œ↓

œ œ

A

B

Ending from * Variation V1

Paddy Won’t You Drink Some Good Old Cider

V1

As played by Fiddlin’ Bob Larkan in Somewhere in Arkansas, Vol. 1 (Arkive Music,Center for Arkansas and Regional Studies, University of Arkansas, 1997); recorded 1928; time: 2/2; key: A; scale: major (some low 7th); pattern: AB (8,8), first time through ABB; tuning: standard

*

Compare this 1928 version of “Paddy Won’t Your Drink Some Good Old Cider” with the one by Violet Hensley (in this book). The parts areswitched and substantial differences exist, including different keys. In both versions, however, one part stands out (in the B part in Larkan’s ver-sion) that accompanies the lyrics, “Paddy won’t you drink some, Patty won’t you drink some; Paddy won’t you drink some good old cider.” Andin both versions the distinctive downward step movement corresponding to the words “good old cider” clues us to the identity of the tune. For moreinformation about the tune’s background, see the notes accompanying Violet Hensley’s version.

196

Bill Mustain

&

#

4

3 ..

q»146

œœ œ

œ

œœ

œ

œ

œ

G

˙˙

œ

œ œ œ œ œœœ

œœ

C

œ

œ

œ

œ

œ

œ

œ œ œ

Am

œœ œ

œœ

œ

œ

D

˙

˙

œ# œ œ

œ

œ œœœ

œœ

&

#

œ œ

œ

˙

˙

G

œ

œœ

œ

œ

œ

œ

˙ œ œ œ œ œœœ

œœ

C

œ œ

œ

œ

œ

œ œ œ œ

Am

œœ œ

œœ

œœ

œ

œ

D

œ

œ œ œ œœ

œ

œ

&

#

.

.œœ

j

œœ

œœ

œ

œ

G

˙˙

œ

œ

œ# œ œ# œœ œ

œ œ

œ

œœ œ œ œ

œ œbœ

œ œ

C

.œ

j

œ œ œ

Am

œœ

œ

œ

œ

œ

œ

œ

D

&

#˙

˙

œ# œ œ

œ

œ œ

œ

œ

œ

œ

œ œ

œ

˙

˙

G

œ

œ

œ

œ

œ

œ

œ œ

↑

œ œ

œ

œ œ

œ œ

œ

œ

œ

œ

œ

œ

œ

.œ

j

œœ

œœ

C

œ œ

œ

œ

œ œ œ

↑Am

&

#

.

.

œœ œ

œœ

œœ

œ

œ

D

œ

œ œ œ œœ

œ

œ

œœœ

œœ

œœ

œœ

œ

œ

G

˙˙

œ œ

.

.œœ j

œ œœ

G

.

.

˙

˙

u

A

B

Ending from *

The Last Waltz As played by Bill Mustain in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 6/26/97; time: 3/4; key: G; scale: major (some high 4th); pattern: AB (16,16); tuning: standard

*

Fate Morrison

&

#

C ..

h»126

œœ

œœ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

G

œ

œ

˙˙

œ

œ

œ

œ

œ œ œ œ

↑

œ

.

.

˙

˙ œ

œ

D

œ

œ

œ

œ

œ

œ

.

.

œ

œ

œ œ

&

#

.

...

œ.œ œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ œ œ œ

œ

œ

œ

œœœ .

.˙˙

œœ

G

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ ˙

˙

œ

œ

œ

œ

œ œ œ œ

œ

.

.

˙

˙

œ

œ

D

&

#

.

.

œ

œ

œ

œ

œ œ œ.

.

œ

œ

J

œ

œ

œ œ œ

œ

œ

œ

œ

œ

œ œ œ œ œ œ

œ

œ

œ

œœ œ

D.C...

˙˙

œœ

G

ww

u

œœ

œ

œ

} œ

œ

} œ

œ

}œ

œ

} œ

œ

}œ

œ

}

G

A

B

Ending from * Variation V1

Whoa Mule As played by Fate Morrison in Rackensack, Vol. 1 (Rimrock LP 278, 1972); recorded c. 1972; time: 2/2; key: G; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

*

V1

Fate Morrison (1905-c. 1988) was born in Clinton, Arkansas, and his family moved to Stone County when he was less than one year old. Hebegan playing fiddle when he was 12, and during the later part of his life performed at venues such as Silver Dollar City. He was also active as amusician for the Friday night “musicals” in Mountain View sponsored by the Rackensack Society. “Whoa Mule,” often linked to 19th centuryAfrican-American traditions and minstrelsy, seems to be the most widely-used title for this popular song tune, but other titles such as "The Kickin'Mule" and ”Johnson’s Old Grey Mule” are also common. These other titles, however, are also used for slightly different tunes. For example,Fiddlin’ John Carson’s 1920s recording of “The Kicking Mule” is a completely different tune. Christeson suggests that two completely different“Whoa Mule” tunes exist, and he titles them “Whoa Mule No. 1” (somewhat similar to Morrison’s tune) and “Whoa Mule No. 2.” (attributed toVee Latty), but Christeson underestimated the number of tunes connected to the title. Often a fiddler or banjo player playing a variation on this tunewill use his or her instrument to imitate a mule’s “hee haw” during the tune. When lyrics accompany the tune, the verses are often “floating,” orcan be found in other songs, and the chorus is typically something like, “Whoa, mule, whoa [or “Whoa mule, you kicking mule”]; whoa, mule, Isay; Well, I ain't got time to kiss you now; my mule done run away.” Another close variation is, “Whoa, mule, I tell you, Miss Liza, you keep cool;I ain't got time to kiss you now; I'm busy with my mule." The “Miss Lisa” connections can also be heard in a version of the chorus’s second line,“Just hop right in, Miss Liza, and hold on to the sleigh.” White suggests a likely connection exists to the “Liza Jane” song (Brown III, p. 567,“Kicking Mule”). Ford suggests the lyrics to “Whoa Mule” are sometimes sung to the tune “Old Soldier,” also known as “Red-Haired Boy” (Ford,p. 295, 38). Thede believes that “Whoa Mule” has some connection to “Flop Eared Mule” (Thede, p. 130). See Fiddler’s Companion for moreabout variations in the lyrics. Other musical transcriptions of “Whoa Mule,” not always similar to Morrison’s, are in Christeson 2 (p. 87, “WhoaMule No. 1”), Christeson 2 (p. 129, “Whoa Mule No. 2”), Ford (p. 295, with words), Lomax (Folk Songs of N.A., p. 231, “Kicking Mule,” withwords), Phillips 1 (p. 256), and Thede (p. 130, with words). Meade (p. 524) lists 21 early commercial recordings, the earliest being by the StanleyTrio (1924), Riley Puckett (1924), Uncle Dave Macon (1926), and Gid Tanner & His Skillet Lickers (1934).

197

Bill Mustain (1922-2000) lived most of his life in Hartsburg, Missouri, where he was a contractor. In 1970 he moved to Mountain Home,Arkansas, where he occasionally hosted jam sessions at his store “The Fish and Fiddle Shop.” He began playing fiddle at the age of seven, and listsLee Stoneking (also featured in this book) among him major influences. Mustain describes this as an old tune from around his childhood home inHartsburg. Mark Wilson found a number of melodies titled “The Last Waltz,” and in his liner notes writes that Mustain’s tune is similar to oneplayed by Howdy Forrester (except that Forrester’s has a different high part). Vesta Johnson and Pete McMahan, both of central Missouri, haverecorded versions of “The Last Waltz” that are similar to Mustain’s. “The Last Waltz” published by Ford (p. 136) does not appear to be the sametune.

&

#

# C

h»116

œœ

œœ œœ œœ œœ œœ

D

œ œ œ œ œœ

œ

œœ

œ

œ œ œ œ œ œ

œ

œ œœ

œ

˙

A

œœ

œœ œœ œœ œœ œœ

D

œœ œ œ œœ

œ

œ

œœ

G

&

#

# ..

.

.œ

œ œ œ œ œ œ

œ œ

A1œœ

œœ

œœ

œœ

œ

D2œœ

œœ

œœ

œœ œ

œ

A D

j

œ

.œ

J

œ œœ œ œ

œ

œ

œ

œ œ

œ

œ œ œ

œ

œ œ œ œ œ œ œ œ

œ

&

#

# ..

œ œœœ œ ˙

˙

A..

œœ

J

œœœ œ œ

œ

D

œ

œ œ

œ

œ œ

œ

œ

G

œ œj

œ œ œ œ œ œ

œ œ

A1œœ

œœ

œœ

œœ œ

œ

D2

D.C.

œœ

œœ

œœ

œœ

œ

œ

A D

œœ œ œ

œœ

œ

Œ

A D

A

B

Ending from *

Taylor Brown As played by Bill Mustain in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 6/26/97; time: 2/2; key: D; scale: major; pattern: AABB (8,8,8,8); tuning: standard

*

Mustain’s grandfather learned this tune from fiddler Taylor Brown. It is perhaps a distant cousin of “Marmaduke’s Hornpipe” (with the A andB parts switched).

Joe Politte

&

#

# C ..

.

...

h»126

J

œ œ œ œœ

œ

œ

œ

D G

œœ œ œ œ œ

A

œœ

œœ œ œ

œ

D G1

œœ œ

œ œ

œ

œ

A D2

œœ œ

œ œ

œœœ

A D

œ œœ œ œ œ œ

œœ

œœ œ

œœ

œ

œœ

&

#

# ..œ œ

œœœ œ œ

œœ

œ

œ

œ

œ

œœ

œ

œ

œœ

A

œ œœ

œœ œ

œ

œœ

D

œœ

œœ œ

œœ œ œ

œ

œ

G

œ œ# œ œ œ œœ

D G1

œœ œ

œ

œœ

œ

œ

œ

A D2

D.C.

œœ œ

œ

œ

œ

œ

œ

œ

œ

A D

&

#

#œ

œ œœ

œ

œ

Œ

A D

.

.

œ

œœ

œ

œ

œ

œ

œ

œ

Œ

œ

œ

n œœ

#

Œ

œ œ œœ œ

œœ

œœ

œœ

œ

œœ

3

œ

œœ œœ œœ œœ œ œœ

œ œ œ œœ

A B

Ending from * Variations V1

Old Man Portell’s Tune

V1 V2 V3

V1 V2

V3

As played by Joe Politte in I’m Old But I’m Awfully Tough (Missouri Friends of Folk Arts MFFA 1001, 1977); recorded 1976; time: 2/2; key: D; scale: major (some high 4th); pattern: AABB (4,4,8,8); tuning: standard

*

Joe Politte (1900-1983), like Charlie Pashia, was a fiddler from the French cultural region in Washington County, Missouri, about 60 milessouth of St. Louis. His occupations included wagoneer, mule-trader, and miner. He named this fiddle tune after Clay Portell who taught it to him.Some confusion surrounds the title of this tune. First, Dennis Stroughmarr told me the tune would more accurately be called “Clay Portell,”because another tune is often associated with the title “Old Man Portell” in the Washington County region. Second, the album liner notes to I’m OldBut I’m Awfully Tough state, “R.P. Christeson collected the same piece in Nebraska from Uncle Bob Walters who called it ‘Hell Agin the BarnDoor,’” but it is unclear that Politte himself ever called it that. It is very possible the liner notes should have said that Politte’s “Old Man Portell’sTune” was similar to Bob Walter’s versions of “Buck Reel” (see Christeson 1, p. 52), which is very similar except the A and B parts are switched. Ihave been unable to locate a recording of Walters’ “Hell Agin the Barn Door,” but I have heard a recording of Bob Walter’s friend and fellow fid-dler Dwight Lamb play a version he learned from Walters (Rounder 82161-0529-2). I have also heard a version of the tune played by Bob Holt,who I understand played the same version as Lee Stoneking (this version is similar to “Waverly,” in this book). Neither of these different versionsof “Hell Agin the Barn Door,” both of which occasionally use an E minor scale, resembles “Old Man Portell’s Tune,” so titles probably becameconfused at some point. The connection of “Old Man Portell’s Tune” to “Hell Agin the Barn Door” has clearly occurred because of the liner notesto I’m Old But I’m Awfully Tough. Stacy Phillips transcribed Politte’s above tune (Phillips 1, p. 109) and called it “Hell Agin the Barn Door” (hetold me in an email it was because of the liner notes to I’m Old But I’m Awfully Tough). As a result of Phillips’ transcription, major online sourcessuch as “Fiddler’s Companion” and “Folk Music Index” identify Politte’s tune as “Hell Agin the Barn Door.” In looking through my available tune-books, the only other similar tunes I could find to Politte’s tune were a couple of Irish Munster reels in Petrie (p. 225, nos. 889 and 890).

198

Isaac “Ike” Reaves

&

#

# C ..

.

.

h»116

œ

œ

œ

œ

œœ

œ

œ

œœ

..œœ

J

œ

œ

D

œœ

œœ ˙˙ œ

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ

J

œ

œ

G

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

D

œ

œ

œœ

œ

œ

œœ

..œœ

J

œ

œ

œœ

˙˙ œ

œ

œ

œ

(G)

œ

œ

œ

œ

œ œœ

A1

..˙˙

œœ

œœ

D

&

#

# ..

.

.

2..œœ

J

œœ œœ

œ

œ

œ

œ

D

œ

œœ œ œ

œœ œ

.œ

J

œ

G

œœ œ œ

œ

D1

œ

œ

œ œ.œ

j

œ

A D2 D.C.

œ

œ

œ œ ˙

A D

œ œ œ ˙˙

u

A D

œœ œ œ œ

œœ

œœ œœ ..œœ

J

œ

A

B Ending from *

Rattler Treed a Possum

*Variation V1V1

As played by Isaac "Ike" and Ira Reaves with the Reaves White County Ramblers in Echoes of the Ozarks, Vol. 2 (County CD-3507, 1995); recorded 4/27/28; time: 2/2; key: D; scale: pentatonic major (no 4th, 7th); pattern: AABB (8,8,4,4); tuning: DADA

Isaac “Ike” Reaves (c. 1887-1967), with his brothers Ira and Loyd, recorded 12 sides in 1928 with the Reaves White County Ramblers, a bandbased around McRae, Arkansas (Charles Wolfe’s liner notes to County CD-3507 and W.K. McNeil’s liner notes to Somewhere in Arkansas). Thebackground of this tune is unknown to me, but with its pentatonic scale and animal-related lyrics it likely has African-American or minstrel roots.The above tune includes the first verse: “Rattler treed a possum (X3), up a ‘simmon tree.” The third version is peculiar, with the words, “Raccoonsaid to the possum (X3), where’d that monkey go?” Unlike raccoons and possums, monkeys are not native to the United States, which leads usagain to consider the possibility of African or African-American origins. The rhythmic pattern of the tune is reminiscent of “Got a Little Home toGo to” (in this book).

&

#

# C ..

h»128

œ œ

œœ

œ

œ

D

œ œ œœ

œ

œ œ œ œ

œœ

œ

œ

œ

œ œ œ œ œ œ

œœ

A

œ

œ

œ

œœ

œ

œ

œ

œ

D

œ œ œ œœ

œ œ œ

G

œ œ

œ œœ

œ

œ

œ

D G

&

#

# ..

.

.œ

œ œœ

œœ

œœ

A D

œ œ

↑œ œ œ œ

œ

œ œœ œ œ

œ œ œ œ œ œ œ œ# œ œ œœ

œ œ œ œœ œ œ

A

œœ

œ œ œ œ œ

œ

D

œœ œ œ

œ œ œœ

G

&

#

# ..œ

œ œœ

œ

œ

œ

œ

D G1

œœ œ

œ œ

œ

œ

A D2

D.C.

œœ œ

œ œ

œ œ œ œ

A D

œœ œ

œ

œœ

Œ

A D

œ

Œ

˙˙

u

œ œ œ œ

↑

œ

œœ œ œ œ

œœ

œ œ

œ

œ œ

œœ

œ

œ

œ

œ

A

B

Ending from *

Variations V1

Unnamed Tune

V2 V3

V1 V2

V3

*

As played by Joe Politte in I’m Old But I’m Awfully Tough (Missouri Friends of Folk Arts MFFA 1001, 1977); recorded 1976; time: 2/2; key: D; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard

Politte learned this beautiful unnamed tune from Kerick Portell, one of his wife’s relatives. Researcher and fiddler Dennis Stroughmatt, wholearned the tune from Washington County fiddler Roy Boyer, said the tune was indeed generally unnamed but that in recent years he and membersof the Old Mines community decided to call it "Old Mines Reel." For that reason, fiddlers today might call the tune “Old Mines Reel” or "Reel dela Vieille Mine".

199

Noel Scott

&b C .

.

h»132

3

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ œœ

œ

F

.

.

œ

œ

j

œ

œ

œœ

œ

œ

œ

œ

œ

œœ œ

œ

œ

œ œ

œ}

C7

.

.

œ

œ

j

œ

œ

j

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œœ œ

œ

F

&b .

...

.

.

œ

œ

j

œ

œ

j

œ œœ

œ

œ

œ

œ

œ

œœ

œœ

œ œ

œ

C7

œ

œ

.

.

œ

œ

œ

œ

œ œ

œ

3

œ

œ

œ

œ

œ

œ

F

œ

œ

œœ

.

.œœ

j

œœ

F

œœœ

œ

œ œ œ œœ œ

&b .

.

œ

œ

œ

œ

œ

.

.

œ

œ

j

œ

C7

œ

œ œ œ

œ œ œ

↓

œœœ

œœ

.

.œœ

j

œ

F

œœœ œ œ œ

œ œ œ

œ œ

œ

œ

œ œ œ

↓C7

D.C.

œœœ

œœ

œœ

œ

œ

œ

œ

F

œ œ .˙

u

F

A

B

Ending from *

Branson Rag

*

As played by Noel Scott in Traditional Fiddle Music of the Ozarks, Vol. 3 (Rounder CD82161-0437-2, 2000); recorded 6/25/97; time: 2/2; key: F; scale: hexatonic major (no 4th, some low 7th); pattern: AABB (8,8,8,8), ABB first time through; tuning: standard

Noel Scott is a truck driver and musician from Wasola, Missouri. He learned “Branson Rag” from Jim Herd, who learned it in 1935. Back thenBranson, Missouri, was not the tourist town it is today. Curiously, Seattle fiddler Armin Barnett plays a more elaborate version of the tune. Anothermusical transcription is in Phillips 2 (p. 25, Barnett’s version).

Rufe Scott

&

#

#

#

4

3 .. c

4

3 ..

q»208

œ

œ

œ

œ

œœ ..œœ

j

œœœœ

˙ œ œ œ

œœœ œœ ˙˙ œœ

3

œœ œœ

↓

œ œœ œ œ

œœ

œ

œ

œ

œ

..œœ

j

œœ

1

˙˙

œ

œ

œ

œ

2

..

.

˙˙

}̇

&

#

#

#

.

.

˙

˙

¿

¿

¿

.

.

˙

˙

¿

¿

¿

.

.

˙

˙

¿

¿ œ

œ

˙

˙

œ..œœ

J

œ œœ œœ ˙˙ Ó ¿

‰

J

œ

œ

˙

˙

¿

¿

¿

.

.

˙

˙

¿

¿

¿

.

.

˙

˙

¿

¿ œ

œ

˙

˙

&

#

#

#

.

... c .

.œ

œ

.

.

œ

œ

j

œ

œ

.

.

œ

œ

j

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ œ

œœ

˙

˙

3

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ œ

œ

œ

œ

˙˙

1

˙˙œ œ

2

D.C.

..˙˙

œ

œœ

Drunkard’s Hiccoughs

A

B

C

As played by Rufe Scott (field recording, American Folklife Center, collected by Vance Randolph); recorded 10/17/41; time: 3/4; key: A; scale: hexatonic major (no 7th); pattern: AABCCAAB (A=8,B=12,C=7); tuning: C#AEA; second time through; C part includes severals errors and false starts.

Loose rhythm

Rufe Scott (1872-1963) was a left-handed fiddler and a long-time attorney in Galena, Stone County, Missouri. He played in an older style,often with open tunings and plucked strings, and was one of few highly educated professional men in the region who recognized the rich qualitiesof Ozarks old-time fiddle music. He was recorded by Vance Randolph in 1941. The melody to “Drunkard’s Hiccoughs,” played in waltz time with aC#AEA tuning, is similar to the melody associated with songs such as “Jack of Diamonds,” “Rye Whiskey,” and “Way Up on Cinch Mountain.”Bayard suggests the piece, as either a dance or a song, is linked to many other titles including “Johnnie Armstrong,” “Todlen Hame,” “Bucach,Robi Donadh Gorrach,” “The Wagoner’s Lad,” “The Cuckoo,” “My Name is Dick Kelly,” and “The Lame Beggar” (Bayard, p. 567). Bayard addsthat these titles are only “a few of the most widely used” ones. Jabbour adds that the tune is often associated with the lyric group “Blue-Eyed Gal,”which would include “Fly Around My Pretty Little Miss,” “Susananna Gal,” and others (Jabbour, p. 32). My sense is that “Drunkard’s Hiccoughs”is, when compared with those others tunes, more likely to have a section with plucked strings, which imitate hiccups (the hiccups are often verbal-ized as well). The parts of the tune, which for some fiddlers number four or five, are often different or ordered differently. Scott, who stopped play-ing the tune abruptly (perhaps he forgot the tune or was uncomfortable playing into a tape recorder), plays three parts to “Drunkard’s Hiccoughs”but he might have known more. Randolph includes three song versions, one of which begins with the following lyrics: “I’ll tune up my fiddle an’rosin my bow; I’ll make myself welcome wherever I go; (Hic!) Where shall I go? (Hic!) Where shall I stay? (Ha-choo-oo!) Will I ever get home?I’ll go home an’ I’ll go to my bed, an’ they’ll rattle th’ old brandy keg over my head” (Randolph III, p. 134). Other musical transcriptions are inBayard (p. 566), Brody (p. 92), Ford (p. 126), Randolph III (p. 133), Randolph/Cohen (p. 343), Reiner (p. 92), and Thede (p. 54). Meade (p. 381)lists seven early commercial recordings, the earliest being by Fiddlin’ John Carson (1925); others include Clayton McMichen & Gid Tanner (1926)and Reaves’ White County Ramblers (1927).

200

The tune “Dry and Dusty,” played here with the rarely-heard DADD tuning, appears to be associated primarily with Arkansas, Missouri, andadjacent states. Fiddler’s Companion points to different theories about the title’s meaning, including ones related to the difficult Midwest weatherconditions and the need to have a drink. The Morrison Brother Twins of Arkansas, with Absie Morrison (featured in this book), recorded a well-known version of the tune in 1930 (see Echoes of the Ozarks Vol. 1, County CD 3506, and a musical transcription in Reiner, p. 121). I chose to useScott’s version because of its exceptional ornamentation and its interesting extended melody, necessitating an extra measure at the end of the Bpart. Charlie Walden includes the tune on his list of "One Hundred Essential Missouri Fiddle Tunes." Absie Morrison associates the tune with“Bonaparte’s Retreat” and with French music (see notes to “Bonaparte’s Retreat” in this book). Other musical transcriptions are in Christeson 1 (p.68), Harrison (p. 257), Phillips 1 (p. 75, two versions), Reiner (p. 121), and Thede (p. 48). Meade (p. 711) lists only the Morrison Twin Brotherscommercial recording transcribed above; he also mentions early field recordings from Arkansas (Lon Jordan) and Kentucky (Alva Green).

&

#

C ..

h»124

œ

œ

œ

œ

œœ

œ

œ

œ

œœ œ

œ

œ

œ

œ œ œœ

œ œ œ

œ

œ œ

↑œ

œ œœ

œœ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

↑œ

œ œœ œ}

œ

œ

œ œ œ

œœ œ

&

#

.

...

..œœ

J

œœ œœ œœ œœ œœ œ

œ œ œ œœ œ

œ

œ

œ

œ}

œ

œ

œœ œ

œ

œ œ

œ

œ

œ

œ

œ œ œ#j

œ

œ

œ

œ

œ œœ

œœ œ œ œ œ œ

&

#

.

.

œ œ œ

œ

œ

œ

œœ œ œ œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œœ ..œœ

J

œœ œœ œœ œœ œœ

D.C.

œ œ œ œ œœ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Uncle Joe

A

B

Variation V1

V1

As played by Rufe Scott (field recording, American Folklife Center, collected by Vance Randolph); recorded 10/17/41; time: 2/2; key: G; scale: major (some high 4th); pattern: AABB (8,8,8,8); tuning: standard; recorded in the middle of performance

One of the most popular and enduring tunes in Britain and North American, “Uncle Joe” is also known as “Miss McLeod’s Reel,” “Hop LightLadies,” and “Did You Ever See the Devil, Uncle Joe?” Lomax (p. 228) prefers to think of “Uncle Joe” as the name of the song, and “MissMcCloud’s Reel” as the name of the tune, but musicians (such as Scott) do not always hold to that rule. Randolph suggests a possible connection tothe old minstrel song “Jump Jim Crow,” but it is possible his informant simply “floated” a verse from “Uncle Joe” (See Randolph II, p. 323).Fiddler’s Companion points to similarities with “Billy Boy,” “Walk Jaw Bone,” and “Green Mountain.” Bronner says the tune has been played incentral New York state under the title “Virginia Reel.” The verses to the song vary, but often include, “Did you ever go to meeting, Uncle Joe,Uncle Joe [3x]; Well, I don't mind the weather if the wind don't blow; [Chorus] Hop high ladies and the cakes all dough [3x]; I don't mind theweather if the wind don't blow.” It appears the tune was first published between 1784 and 1806 in the Scots music collections by Neil or NathanielGow (Gow, no. 304, “Mrs. McLeod of Rasay”) with the note "Communicated by Mr. McLeod; An original Isle of Skye Reel." Fiddler’sCompanion points to anecdotal evidence that it was played in Ireland as early as the 1770s, and that the tune was possibly a reworking of the jig“The Campbells Are Coming.” O’Neill included the tune in all of his Irish music collections. Joyce Cauthen found evidence that “Miss McLeod”was played in Alabama as early as 1827 (p. 156). Other musical transcriptions of the tune, under various titles, are in Arkansas Arkie (p. 20, “MissMcLeod’s Reel,” with square dance calls), Bayard (p. 210), Brody (p. 192), Bronner (p. 26, 119), Brown III (p. 119, “Hop Light, Ladies”), BrownV (p. 61, musical transcription), Lomax (Folk Songs of N.A., p. 228, "Uncle Joe"), Cohen/Seeger/Wood (p. 64-65, "Hop High Ladies, the Cake'sAll Dough”), Cazden (p. 19, “Mountain Reel”), Cole (p. 29, "Miss McCloud's"), Ford (p. 31, “McLeod’s Reel”), Ford (p. 47, “Uncle Joe”), Gow(no. 304), Haywood (p. 53, “Miss McLeod’s Reel”), Jarman (p. 46, “Miss McLeod’s Reel”), Kennedy (p. 24, "May Day"), Kerr’s 1 (p. 5, “Mrs.McLeod”), O'Neill (Walton’s, p. 117), O'Neill (Rock Chapel, p. 263), O'Neill (Oak, p. 134), Phillips 1 (p. 71), Songer 1(p. 136, 260), Thede (p.100, and see p. 99 as “Hop High Ladies,” with is largely a different tune), and Titon (p. 187). See Fiddler’s Companion for information about addi-tional musical transcriptions. Meade (p. 723) lists 41 early commercial recordings, usually under the titles “Miss McCloud’s Reel” or “Hop LightLadies,” the earliest being by Charles D’Almaine (1905); others include Fiddlin’ John Carson (1925) under the title “Hop Light Lady,” Bob Larkan(1928) under the title “McLeod’s Reel,” and Fiddlin’ Doc Roberts (1931) under the title “Did You Ever See the Devil, Uncle Joe.” Meade also ref-erences “Mountain Reel,” “Wild Hogs in the Red Brush,” and “Knickerbocker Reel.”

&

#

# C ..

h»116

3

œ

œ

œœ

œœ œœ œœœ œœ œ œ

œ

œ

œ

œ

œ

3

œœ

œœ

↓

œœ

œ

œ

œœ

œœ

↓

œœ œ

œ

œ œ œ œ œ

.œ

J

œ

œ

3

œ

œ

œœ

œœ œœ œœœœ œœ œœ œœ

œœ

œ

œ

.

.

œ

œ J

œ

&

#

# ..

.

.

œ

œ œ œ œ œœ

œ

œ

1

œ

˙

œ œ œ

2

œ

˙

˙3

œœ œœ œœ œ

˙

˙

œœ œ

˙

˙3

œ œœ œœ œ

œ

œ

3

œ

œ

œ

œ

↓

œ

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ

j

œ

œ

↓

œ œ.

.

œ

œ

j

œ

œ œœ œ

.

.

œ

œ

j

œ

3

œœ œœ œœ

&

#

#

4

6C .

. 4

7

œœ

œ

3

œ

œ

œ

œ

↓

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ

œœ

œœœœ

œ œ œ

œ

1

œ

œ

œ

œ

œ

œ

œœ ..

œœ

2 D.C.

œ˙

3

œ

œ

œœ

œœ

œœ

œ

}œœ

↑

œ

3

œ œ œ

œ

œ

j

œ

œ

..œœ

j

œ œ œ œ œ œœ œ œ

Dry and Dusty

A

B

Variations V1 V2

V1

V2

E1

As played by Rufe Scott (field recording, American Folklife Center, collected by Vance Randolph); recorded 10/17/41; time: 2/2; key: D; scale: major (some low 7th, 3rd); pattern: AABB (8,8,9,9); tuning: C#G#C#C# transposed to DADD; in measure marked E1, I removed an apparent false start

201

Ted Sharp

&C .

.

h»134

œ œ

œ

œ

œ

œ

œ

œœ

œ

œ œ

C

œ

œ œ œœ

œ œ

œ

.

.

œ

œJ

œœ œ œ

œ

G

œ

œ œ œ

œœ

œ œ

œ

œ œœ

œ

C

œ

œ œ œœ

œ œ

j

œ

œ

œ

&

.

...

œ

œ

œœ œ œ

œ œ

œ

G1

.

.˙˙

œ

œ œ

C2ww

C

..œœ

J

œœ

œœ

œ

œ œœ œ œ

œœ

.œ

J

œ

œ

œ

œ

œ œ

Fœ œ œ œ œ œ

œ

&

.

.

.œ

J

œ œ œœ

Cœ

œœ œ .œ

J

œœ

œœ œ œ

œ œ

œ

G1˙˙

œœ œ œ

C2

D.C.

.

.˙˙

œ œ

C

œ Œ œ

œ

Œ

C.œ

J

œœ

œœ

œ

A

B

Pike’s Peak

Ending from * Variation V1

V1

*

As played by Ted Sharp, Hinman & Sharp in Echoes of the Ozarks, Vol. 1 (County CD-3506, 1995); recorded c. 11/8/33; time: 2/2; key: C; scale: hexatonic major (no 4th); pattern: AABB (8,8,8,8); tuning: standard

Little in known about the Ted Sharp who recorded this tune, but some scholars have linked his clean playing style to the Ozarks (see linernotes to County CD-3506). His 1933 recording of “Pike’s Peak” has become a classic. The Kessinger Brothers recorded with tune in the 1920sunder the title “Rat Cheese Under the Hill” (perhaps a take off on “Natchez Under the Hill”), but Sharp’s crisper version of the tune under the title“Pike’s Peak” seems to have become most well-known. The tune’s connection to “Natchez Under the Hill,” which is often linked to “Turkey in theStraw,” is certainly possible since “Pike’s Peak,” especially its B part, is similar to “Turkey in the Straw.” Fiddler’s Companion also links the tuneto “Prosperity Special.” Other musical transcriptions can be found in Phillips 1 (p. 184) and Songer 1 (p. 160). Meade (p.787) connects this tune to“Rat Cheese Under the Hill,” and lists three early commercial recordings, the earliest being by the Kessinger Brothers (1929); the other two are theone transcribed above and one by Bob Wills (1938).

Raymond Thomas

&

#

#

#

#C .

.

h»116

œ œ œ œœ

↓

œ

œ

œ

œ œ

œœ

œ

E

œ œœœ œœ œ

↓

œ œ œœ

↓

œ

œ

œœ

↓

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

B7

œ œ œœ}

œœ

œœ

œœ

œ

E

&

#

#

#

# ..

.

.œ œ

œ œœ œœ œ œ

Aœ œn œ# œ œ œ œ œœn

B71

œœ œœ œœœ œn

E2

œœ œœ œœ œœ œ œ

Eœ

œ œ

œœ

œ œ œ œœ

œ

œ œ

A

&

#

#

#

# ..

œœ œ

œ

œœ œ

E

œ œ œ œœ œ

œ

œ

œ

B7œ

œœ}

œ

œ}œ

↑œ

E

œ œ œœ

œ

œ œ

Aœ œn œ# œ œ œ œ œœn

B71

œœ œœ œœ œ œ

E

&

#

#

#

#

2

D.C.

œœ œœ œœ œ œ

E

œœ œœ œœ œœ

E

œœ œœ

j

œ œ œj

œ

œ œ œ œ œ œ

↓

œ

œ

Œ œ

œ.

œ

œ.

œ

œ.

œ

œ.

œ

œ.

œ

œ.

œ

œ.

œ

œ.

œ

œ.

Œ

B7 E

Soldier’s Joy

A

B

Ending from *

*

As played by Raymond Thomas in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 12/18/97; time: 2/2; key: E; scale: major (some low 3rd, 7th); pattern: AABB (8,8,8,8); tuning: standard

From Barry County, Missouri, Raymond Thomas (1927-) is best known as the fiddler for the group Country Colors, which performs often atthe McDowell Gold Jubilee in McDowell, Missouri. He was born into a musical family, and enjoyed playing backup guitar for many years beforeconcentrating on the fiddle beginning in 1972. He credits Dean Johnston (also featured in this book) as a major influence. Regarding “Soldier’sJoy,” I have included two unusual versions of this famous fiddle tune in this book. One is by Skeeter Walden, who plays both parts differently thanmost fiddlers, and this version by Raymond Thomas who plays the tune in the key of E (he also plays it in the more commonly-used key of D.) Itwould be difficult to overestimate the popularity of “Soldier’s Joy” in European and North American fiddle traditions. Fiddler’s Companion sug-gests it is “one of, if not the most popular fiddle tune in history.” Also called or related to titles such as “French Four,” “The King’s Head,” “Paydayin the Army,” “I Love Somebody,” and “Rock the Cradle Lucy,” the tune can be dated to British collections beginning in the 1770s. It subsequentlyspread to other parts of Europe (if it was not there already) and to North American, where it has been found in virtually every region. For a goodreview of the history and scholarship related to the tune, see Fiddler’s Companion. Charlie Walden includes “Soldier’s Joy” on his list of "OneHundred Essential Missouri Fiddle Tunes." Other musical transcriptions are in (to name just of few sources) Arkansas Arkie (p. 58, with squaredance calls), Bayard (p. 303), Brody (p. 262), Bronner (p. 71, 110), Cazden (p. 62), Christeson 2 (p. 61), Cole (p. 24), Ford (p. 49), Haywood (p.42, as a hornpipe), Howe (p. 75), Karpeles (p. 42), Kennedy (p. 2), Kerr’s 1 (p. 3), Krassen (Appal. Fiddle, p. 15, 45), O'Neill (Walton’s, p. 150),O'Neill (Rock Chapel, p. 305), O'Neill (Oak, p. 183), Perlman (p. 71), Phillips 1 (p. 227, two versions), Roche II (p. 12), Shaw (p. 383), Stilley (p.93), Thede (p. 118), Titon (p. 178). Meade (p. 713) lists 37 early commercial recordings, the earliest being by Samantha Bumgarner & Eva Davis(1924); others include Fiddlin’ John Carson (1925), the Kessinger Brothers (1929), and the Skillet Lickers (1929).

202

Leonard Smith

&C .

. 2

3C

h»100

œ œ œ œ# .˙↑

œ↑

Cœ

œ↓

j

œ.œ

J

œœœ œ

œ#

# œœn

(F) C

˙˙

.

.œœ

J

œœ

œ œ

↑

œœ

œœ

˙˙

˙˙

F

&

œœ œ œ œ œ œ œ .˙

œ

C

œ œ œ œ œ œ œ œ

F

œ œœ

œ

C

œ œ

œœ

œœ

œœ œ œ œ

F

œ œ œ

œ

œ

C˙

˙

œ

œ œ

↓G

&

.

.

œ

œ

↓

œ

œ#

œ

œ

œ œ œ

œœ œ

œœ

.

.œœ

J

œ#

C

œœ œ œ#

.

.œœ

j

œœœ œ œ

C F

ww

u

C

j

œœ

Œ Ó œ œ œ œ œœ

œ œ

A

Ending from * Variation V1

Steamboat Blues

V1

As played by Loenard Smith in Traditional Fiddle Music of the Ozarks, Vol. 2 (Rounder CD82161-0436-2, 2000); recorded 2/17/98; time: 2/2; key: C; scale: major (w/chromatics); pattern: A (15) repeated; tuning: standard

*

Leonard Smith (1911-2000), who grew up in Lead Hill, Arkansas, was a remarkable one-armed fiddler who played his instrument by holdingthe bow between his crossed legs and moving the fiddle up and down. He lost his arm in a gunshot accident when he was 22. After living out westfor a number of years, he settled near Stark City, Missouri, where he enjoyed building, repairing, and playing fiddles. Around the mid-1970s, herecorded a fiddle music album titled Fiddle Tunes by Leonard Smith, the One-Armed Fiddler (self-produced Ashley Studio, NR11813). The back-ground of Smith’s “Steamboat Blues” is a mystery. It is different from Cow Cow Davenport’s “Steamboat Blues,” and is unlike melodies connectedto other similar titles such as “Steamboat Whistle Blues” (Roy Acuff) and “Steamboat Bill” (Kessinger Brothers). Smith’s tune is interesting in thatthe first seven measures suggest a standard 12-bar blues progression is coming, but then he shifts to a four measure section that alternates betweenthe F chord and the C chord before playing a relatively standard four-bar blues ending.

203

Ben Tinnon

&b

b

C ..

h»112

œ

œ œ

œœ

œ

œœ

œ

œ

Bb

œ

œ

œ

œ œ œ œ œ

œ# œœ

œ œœ

œ œœ

œ# œœ œ

œ œn œ

œ# œœ

œ œœ

œ œ

Eb

œ

œ#

↓

œœ œ

œ œn œ

&b

b..

œœ œ

œ œ œ œj

œœ

Bb

œ

œ

œj

œœ œ œ œ

j

œ

œ

œœ

œœ

œœ

œœ

œœ

œœ

œœ œ

Cm7 F1

˙ œ

œ

œ

œ

Bb

2

˙ œ

œ

3

œ

œ

œ

œ

œ

œ

Bb

&b

b..

œ œ œ œ .œ

J

œ# œ œ œ œ .œ

J

œ

Eb

œ œ œ œ œ œ œ œ œ œœ

œ .œ

j

œ

œ

Bb

œ

œ

œœ

œœ

œ œœ

œ

œ

œ

œ œ œ .œ

J

œ

&b

b..

œ œ œœ œ œ œ œ

Cm71

.˙

3

œ œ œ

F2

œ œ œœ œ

œœ

Cm7 F D.C.

.

.

˙

˙

œ

Bb

˙ œ

œ 3

œ œ œ

Bb

œ

œœ

œ œ œ œ œœ

œ

Œ

F Bb

A

B

Plow Boy Hop

Ending from *

*

As played by Ben Tinnon with the Grinnell Giggers in Echoes of the Ozarks, Vol. 2 (County CD-3507, 1995); recorded 11/26/30; time: 2/2; key: Bb; scale: hexatonic major (no 4th); pattern AABB (10,10,8,8); tuning: standard

Charles Wolfe suggests that Ben Tinnon likely wrote this tune, which later became a favorite among other traditional fiddlers (see liner notesto County CD-3507). Fiddler’s Companion states that the tune is also known as “Plowboy Rag.” I cannot find a consistent definition of a “hop” fora piece of music or a dance, but it appears that it might have been used by some dancers as a fairly generic term for energetic hopping dances suchas polkas and schottisches. Another musical transcription of this performance is in Phillips 2 (p. 102).

Dean Von Allmen

&

#

# C ..

h»114

œ œ œœ

œ

↓

œœ

œ œ œ

D

œ

œ

œj

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œœ œ œ œ

œœ

œ

œ

œ ..

œœ

j

œ

A

œœ

œœ

œœ œ

œ

œ

œ

œœ

œ

D

&

#

# ..œ

œœœ

œœ

œœ œ

œ

G

œ

œ

œ

œ

œ œ

œœ

œ

A1œ œ

œœ

˙˙

D2œ œ

œœ

œ

œ

œ

œœ

D

œœ œ œ œ œ

œœ

œ

œ

&

#

# œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

.

.

œ

œ

œ

œ

œ œœ œ œ œ

œœ

œ

œ

œ ..

œœ

j

œ

A

œœ

œœ

œœ œ œ

œœ

œ

œ

D

œœ

œœ

œœ

œœ œ

œ

G

&

#

#œ œ œ œ

œœ

AD.C.œ œ

œœ

œ œ

Dœ œ

œœ

œ

œ

Œ

D

œ

œ

œ

œœ œ

œ œ

œ

œ

œ œ œœn

rit.

œ ˙˙

#

u

A Dœ œ œ

œœ œ œ

œ

&

#

#

2

3Cœ œ œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œœ œ œ

œœœ

œ

œ ˙˙

.

.œœ

j

œ

ww

.

.œœ

J

œ

œœœ œ

œ

.

.

œ

œ

j

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

A

B

Ending from * Variations V1

Soppin’ the Gravy

V2 (when A part played twice)

V1 V2

*Usually just use 2

As played by Dean Von Allmen (Gordon McCann Collection, field recording); recorded 12/27/03; time: 2/2; key: D; scale: major; pattern: AB (8,8), only once AAB; tuning: standard

Dean Von Allmen (1925-) was raised in Rover, Oregon County, Missouri. He started playing fiddle music when he was 10 years old, andrecalls that all of his five brothers also played fiddle. Bill Ellison and Edward French were especially helpful in teaching young Von Allmen to playfiddle tunes. He has performed with singers such as Seth Crabtree, and currently plays with the group Sunny Side Up. “Sopping the Gravy” is oftenlinked melodically to an 1861 minstrel song by Henry Clay Work (1832-1884) called “Kingdom Coming.” Also called or related to “The Year ofJubilo,” “Massa's Gone Away,” and “The Doodletown Fifer,” this older song continues to be well known as a Civil War era melody, but it is rarelysung any more. The similarity between “Kingdom Coming,” which is often played as a crisp and fairly slow march, and the fast-paced “Soppingthe Gravy” might be coincidental. Comparing the two melodies, we can see that the B part of Von Allmen’s “Soppin’ the Gravy” is similar to thebeginning of “Kingdom Coming,” but beyond that the connections are less clear. “Soppin’ the Gravy” has been recorded by fiddlers since the1920s, and in recent decades it has been especially popular in the contest circuit. Another musical transcription is in Phillips 1 (p. 228). Compare

204

Parelee Weddington

& 4

3 ..

q»144

œ œ œœ œ œ

C

œœ œ

œ

œ œ œ œ

F

.œ

J

œœ

œ}œ

œœ

Gœ œ œ œ œ œ œ œ

C

˙ œ œ œ˙

œœ œ œ

& œ œ œ

F

.œ

J

œœ œ

œœ

Gœ œ œ ˙

˙

œ

œ

C

˙

˙

œ œ œ œ œ œ œ.œ

J

œ œ

œ œ

F

.œ

J

œœ

œ

œœ

œ

G

&

.

.

œ œ œ œ œ œ œ œ

C

.œ

J

œ

œ œ œ œ œ œ œ.œ

J

œ œ

œ œ

F

.œ

J

œœ œ œ

œœ

Gœ œ œ ˙

˙

œ

œ

C

.

.

œ

œ

j

œœ œ

A

B

Victory Waltz As played by Parelee Weddington (Max Hunter Collection, field recording); recorded 3/7/68; time: 3/4; key: C; scale: major; pattern: AB (16,16); tuning: standard; recording ends in middle of tune

Parelee Weddington (1910-1997) lived in Busch, near Eureka Springs, Carroll County, Arkansas. Among her performing groups was a string-band called the Beaver-Butler Holler Philharmonic, consisting of her, her sister and daughters, plus Ray Baldridge and Tom Thomas. A number of“Victory” waltzes are played in Britain, but they do not appear to be related to this beautiful waltz from the Ozarks. Another version of this waltz isplayed by Buster Fellows with a generic title “Old Time Waltz” (in this book). Weddington’s version is fairly straight-forward while Fellows’ ver-sion is more elaborate.

musical transcriptions of “The Year of Jubilo” in Brody (p. 294) and Ford (p. 339, with words), and see a copy of the original sheet music for“Kingdom Coming” in Jackson (p. 106). Meade (p. 763) lists one early commercial recording by the Kessinger Brothers (1929). He also connectsthe tune to “Year of Jubilo” (p. 466).

Frank Watkins

&

#

C

h»146

œœ œ œ œ œ œ

Gœ œ œ œ œ

œœ

œ œ

C

œœ œ œ œ œ œ œ

Gœ↑

œ œœ œ œ

œœ

D

œœ œ œ œ œ

Gœ œ œ œ œ

œœ

œ œ

C

&

#

.

.

œ œ œ œ œ œ œ œ

Dœ↑

œ œœ œ œ œ œ

G

œ œ œ œœ

œœ œ

G

œœ

œ œ œ œ œ œ œ œ œœ œ œ

œ œ œœ œ œ

œœ œ

D

&

#

.

.œœ œ

œ

œ

œ

œ

œ

œ

œ

œ œ

G

œœ

œ œ œ œœœ

œ

C

œ œœ œ œ œ

œ

D1

œ œ œœœ œ œ

œœ œ

G2

D.C.

œ œ œœœ œ œ œœ

.

.œœ

G

&

#

2

1Cœ

œ

j

œ

œ œ œ œœ œ

œ

œ œ œ

G

œ

œœ œ

œœ

Œ

D G

œ œœ œ

œ

œ œ

œœ œ

œœ œ œ

œœ œ œ

œ œ

œ

œ œ

œ

œ œ œ œ

↑œ

œ œ œ œœœœ œœ

Bay Rooster

A

B

Ending from *

*

Variation V1 V2

V1

V2

As played by Frank Watkins in Ozark Fiddlin’ (HoBart Records, 1960s?); time: 2/2; key: G; scale: major (some high 1st, 4th); pattern: ABB (8,8,8); tuning: standard; first full time through; recording begins in middle of tune

Frank Watkins was from Harrison, Arkansas. Fiddler Jesse Wallace said he learned this tune and others from Watkins in 1934. In the 1940sWatkins played often with musician and songwriter Hugh Ashley, who in 2006 still managed a music store in Harrison. The following quote is fromHugh Ashley talking about Watkins, "He was noted in this part of the country as one of the pure authentic old-time fiddlers, and back in the earlyradio days of KHOZ [Harrison, Ark.] I had him on a number of programs and did quite a lot of work with him. I wrote the song ["The OldFiddler"] around one of his tunes, where he used an old-time tuning, the old 'A' tuning. Originally I recorded it with him on my own label, Hobnob.I sang on it, and had Frank playing with someone beating the strings, in the old-time way.... I had played a lot with Frank Watkins, the old-time fid-dler, and I wrote these tunes in a way that they could be done by a singer, up tempo square dance tempo" (Rosenberg/Wolfe, p. 85). Bill Monroerecorded Ashley’s "The Old Fiddler" in 1950, and some people speculate the tune was Monroe's inspiration for his famous song "Uncle Pen,"which he wrote later that same year.” (Rosenberg/Wolfe, p. 85) Around the 1960s, Watkins released an album titled Ozark Fiddlin’, that includedtraditional fiddle tunes and one of his originals, “Watkins’ Hoedown.” “Bay Rooster,” which is apparently unique to the Ozarks, is a good exampleof Watkins’ lightning-fast breakdown style. Mark Wilson places the tune in the “Katy Hill” family of tunes. In this book “Broken Down Gambler”has a similar A part.

205

Sam Younger

&

#

C ..

h»112

œ

œ

œœ

œœ

œœ œ œ

œ

œ

œ

G

.˙œ

œ œ œ œœ œ .˙

œ

œ œ œœ œ œ œ

.˙ œœ

C

œ œœ œ œ

œœ

&

#

.˙œ œ

G

œœ œ

œ

œ

œ

œ.œ

˙

œ

œ

œ

œ

œ

œ œ

œ

œœ œ œ

œ

œ œœ

˙

˙

œœ

.œ

J

œ œ œ œ

D

&

#

.

.

œ .œ

J

œ œ

G1

.˙

œœ

2.˙

œ œ œ

œ

œ

.

œ

œ

.

œ

œ

.

G

œ

œ

.

œ .œ

j

œœ

œ

œ

.

œ

œ

.

œ

œ

.

œ

œ

.

œ

œ

œ œb œ œ œœ

œ

œ

œ

œ

.

œ

œ

.

&

#

2

3C

œ

œ

.

œ

œ

œ

œ

œ

œ

œ

œ œœ

œ

œ

œ

.

œ

œ

.

œ

œ

.

œ

œ

.

.

.œ

œ J

œ.˙ œ œ

œ œœ œ

D.C.

.˙

œ

œ

œ

œ

œ œ œœ œ

G

œœ

Œ ˙˙

u

A

B

Ending from *

Mason’s March

Bounce bow Bounce Bounce

Bounce

Arco Arco

ArcoArco

*

As played by Sam Younger in Traditional Fiddle Music of the Ozarks, Vol. 1 (Rounder CD0435, 1999); recorded 4/5/97; time: 2/2; key: G; scale: hexatonic major (no 4th, one 7th); pattern: AAB (16,16,10); tuning: standard

Sam Younger (1925- ) was born in Oklahoma, but has lived most of his life in Mountain View, Arkansas. For many years he played fiddle atthe Ozark Folk Center, and he was featured in a series of cassettes (at least four) of songs and fiddle tunes by the Ozark Folk Center staff band.Commenting on the background of “Mason’s March,” Younger told Mark Wilson, “It was played by the Masons—they used to have a charter at St.James, although it was Buckhorn then. Old man Younger played the fiddle and I reckon they played it at funerals” (liner notes to RounderCD0435). Younger clarified for Gordon McCann that the tune was definitely played by a fiddler at the grave site, and that this fiddler would walkin front of the casket as the pallbearers carried it from the hearse to the grave. Younger also used to play a companion piece titled “Mason’s Waltz.”

206

Sources ReferencedBooks and ArticlesAllen, William Francis, Charles Pickard Ware, and Lucy McKim Garrison. Slave Songs of the United States. New York: Dover, 1995, 1867.Ames, Mrs. L.D. “The Missouri Play-Party.” The Journal of American Folklore 24 (July-Sep. 1911): 295-318.Anderson, Clay M. “Bob Walsh—The State of the Ozarks Fiddle Champion.” Ozarks Mountaineer 38 (March-April 1989): 50-51.Arkansas (Arkie) Woodchopper [Luther Ossenbrink]. Square Dance Calls with Music and Instruction. Chicago, Ill.: M.M. Cole, 1940.Bayard, Samuel. Dance to the Fiddle, March to the Fife. University Park: Pennsylvania State University Press, 1982.Beisswenger, Drew. Fiddling Way Out Yonder: The Life and Music of Melvin Wine. Jackson: University Press of Mississippi, 2002.Belden, Henry M. Ballads and Songs Collected by the Missouri Folk-lore Society. Columbia: University of Missouri, 1955.Blevin, Brooks. Hill Folks: A History of Arkansas Ozarkers and their Image. Chapel Hill: University of North Carolina Press, 2002.Boni, Margaret Bradford. The Fireside Book of Favorite American Songs. New York: Simon and Schuster, 1952.Botkin, Benjamin A. A Treasury of American Folklore. New York: Crown, 1944.Botkin, Benjamin Albert. The American Play-Party Song. New York: Ungar, 1963.Bradley, Hank. “Ron Hughey—Some Memories.” The Old-Time Herald 6, No. 3 (Feb.-March 1998):26-27, 56.Bremner, Robert. A Collection of Scots Reels or Country Dances. London: Robt. Bremner, 1768.Brewster, Paul G. Ballads and Songs of Indiana. Bloomington: Indiana University, 1940. Brody, David. The Fiddler's Fakebook. Oak Publications: New York, 1983.Bronner, Simon J. Old-Time Music Makers of New York State. Syracuse, N.Y.: Syracuse University Press, 1987.Brown, Frank C, and Newman I. White, eds. The Frank C. Brown Collection of North Carolina Folklore. 7 vols. Durham, N.C.:

Duke University Press, 1952-1964.Brumley, Bob, and Sharon Bole. Albert E. Brumley's America's Memory Valley. Powell, Mo.: Albert E. Brumley & Sons, 1992.Brunnings, Florence E. Folk Song Index. New York: Garland, 1981.Burman-Hall, Linda C. “Southern American Folk Fiddle Styles.” Ethnomusicology 19 (Jan. 1975): 47-65.Cardwell, Nancy. “Lyman Enloe: A Stylist of the Old-Time Fiddle.” Bluegrass Unlimited 23 (January 1989): 61-64.Call, Cora Pinkley. Within My Ozark Valley. Eureka Springs, Ark.: Times-Echo, 1956.Cansler, Loman D. “The Fiddle and Religion.” Missouri Folklore Society Journal 13-14 (1991-1992): 31-43.Carlin, Richard, ed. The Gow Collection of Scottish Dance Music. New York: Oak, 1986.Cauthen, Joyce. With Fiddle and Well-Rosined Bow. Tuscaloosa: University of Alabama Press, 1990.Cazden, Norman. 542 Dance Tunes for Violin & Piano: Complete. Publisher unknown, 1958.Chambers, Robert. Popular Rhymes of Scotland. Detroit: Singing Tree Press, 1969, 1870.Chappell, W., and Joseph Woodfall Ebsworth. The Roxburghe Ballads. 9 vols. in 8.New York: AMS Press, 1966, 1871.Chase, Richard. American Folk Tales and Songs. New York: Dover , 1971, 1956.Chase, Richard. Old Songs and Singing Games. New York: Dover, 1972, 1938.Child, Francis James. The English and Scottish Popular Ballads. 5 vols. New York: Dover, 1965, 1882.Christeson, R.P. The Old-Time Fiddler's Repertory, Vol. 1. Columbia, Mo.: University of Missouri Press, 1973.Christeson, R.P. The Old-Time Fiddler's Repertory, Vol. 2. Columbia, Mo.: University of Missouri Press, 1984.Cochran, Robert. Our Own Sweet Sounds: A Celebration of Popular Music in Arkansas. Fayetteville: University of Arkansas Press, 1996 Cohen, John, and Mike Seeger, eds. Old-Time String Band Songbook. New York: Oak, 1976.Cole, M.M. One Thousand Fiddle Tunes. Chicago, Ill.: M.M. Cole, 1940.Collected Reprints from Sing out! The Folk Song Magazine: Volumes 1-6, 1959-1964. Bethlehem, Pa.: Sing Out Corp., 1990. Cox, Bob L. Fiddlin’ Charlie Bowman: An East Tennessee Old-Time Music Pioneer and His Musical Family. Knoxville:

University of Tennessee Press, 2007.Cralle, Walter O. “Social Change and Isolation in the Ozark Mountain Region of Missouri.” Ph.D. diss., University of Minnesota, 1934.Dick, James C. The Songs of Robert Burns; and Notes on Scottish Songs. Hatboro, Pa.: Folklore Associates, 1962.Dorrance, Ward Allison. The Survival of French in the Old District of Sainte Genevieve. Columbia: University of Missouri, 1935Dow, Daniel. Scottish Music, Reels & Strathspeys. Edinburgh, Scotland: J. Brysson, c. 1780.Dudley, R.E., and L.W. Payne, Jr. “Some Texas Play-Party Songs.” From Thompson, Stith, ed. Round the Levee. Austin:

Texas Folklore Society, 1935.Engler, Nellie. “How a Stone County Farmer Became a Stone County Fiddler: A Biographical Sketch: Jesse Moore Wallace.”

Unpublished manuscript, April 14, 1997.Faces of Rackensack. Mountain View, Ark.: Stone County Leader, 1972.Ford, Ira W. Traditional Music of America. Hatboro, Pa.: Folklore Associates, 1965.Gage, Allen. “Old-Time Fiddling: A Traditional Folk Art with Four Ozark Musicians.” Bittersweet 9 (Spring 1982): 48-65.Glenn, Wayne. The Ozark’s Greatest Hits. Self published, 2005.Godsey, Townsend. Ozarks Mountain Folk: These Were the Last. Branson, Mo.: Land Press, 1977.Goertzen, Chris. “American Fiddle Tunes and the Historic-Geographic Method.” Ethnomusicology 29 (Autumn, 1985): 448-473.Greene, Hank. Square and Folk Dancing. New York: Harper & Row, 1984.Guntharp, Matthew G. Learning the Fiddler's Ways. University Park, Pa.: Pennsylvania State University Press, 1980.Harrison, Garry, and Jo Burgess. Dear Old Illinois: Traditional Msic of Downstate Illinois. Bloomington, Ind.: Pick Away Press, 2007.Haywood, Ernest, and Ernest Newton. Country Dances: Jigs, Reels & Strathspeys. London: Keith Prowse Music Pub. Co. Ltd., 1933.Herd, David. Herd Ancient and Modern Scottish Songs, Heroic Ballad.s 2 vols. Edinburgh: Scottish Academic Press, 1973.Higgins, M. Original Dances, Waltzes & Hornpipes for the Violin. Columbia, Mo.: Missouri State Old Time Fiddlers Association, 1992, 1829.Higginbotham, Linda. “Violet Hensley: The Whittling Fiddler of Yellville, Arkansas.” The Old-Time Herald 5 (Fall 2004): 14.High, Fred. Old, Old Folk Songs. Berryville, Ark.: Publisher unknown, 1940s?.Howe, Elias (edited by Patrick Sky). Howe’s 1,000 Jigs and Reels. Pacific, Mo.: Mel Bay, 2001; originally Boston, Mass.: Elias Howe, c. 1867.Hunter, James. The Fiddle Music of Scotland. [Great Britain] : Chambers, 1979 Jackson, Richard, ed. Popular Songs of Nineteenth-Century America. New York: Dover, 1976.

207

Jarman, Harry E., and Bill Hansen. Old Time Dance Tunes. New York: Broadcast Music, 1951.Jasen, David A., and Trebor Jay Tichenor. Rags and Ragtime: a Musical History. New York: Dover, 1989, 1978.Johnson, Helen Kendrick. Our Familiar Songs and Those Who Made Them. New York: Anro, 1974, 1909.Johnson, James, and Robert Burns. The Scots Musical Museum: 1787-1803. Portland, Or.: Amadeus Press, 1991, 1853.Karpeles, Maud, and Kenworthy Schofield, eds. A Selection of 100 English Folk Dance Airs. New York: Hargail, 1976? Kennedy, Peter. The Fiddler's Tune Book. New York: Hargail, 1951.Kerr, James S. Kerr's Collection of Merry Melodies for the Violin, Books 1-4. Pub. by James S. Kerr, Glasgow, c. 1880 (?).Kartchner, Kenner C. Frontier Fiddler: The Life of a Northern Arizona Pioneer. Tuscon: University of Arizona Press, 1990.Knauff, George. P. Virginia Reels. 4 vols. Baltimore, F.D. Benteen, 1850.Krassen, Miles. Appalachian Fiddle. New York: New York: Oak, 1973. Krassen, Miles. Masters of Old-Time Fiddling. New York: Oak, 1983.Langstaff, Nancy, and John Langstaff. Jim Along, Josie. New York: Harcourt Brace Jovanovich, 1970.Lawless, Ray M. Folksingers and Folksongs in America. New York: Duell, Sloan and Pearce, 1965.Laws, G. Malcolm. Native American Balladry. Philadelphia, American Folklore Society, 1964.Lomax, Alan, et al. The Folk Songs of North America. Garden City, N.Y.: Doubleday,1960.Lomax, John A. Cowboy Songs and Other Frontier Ballads. New York, Macmillan, 1933.Lomax, John, et al. Folk Song U.S.A. New York: New American Library, 1975. Lomax, John, et al. Our Singing Country. Mineola, N.Y.: Dover, 2000.Lovett, Benjamin G. Good Morning: Music Calls and Directions for Old-Time Dancing as Revived by Mr. and Mrs. Henry Ford.

Dearborn, Mich.: Unknown publisher, 1943.Mahnkey, Douglas. Bright Glowed My Hills. Point Lookout, Mo.: School of the Ozarks Press, 1968.Marshall, Howard W. “Marmaduke’s Hornpipe: Speculation on the Life and Times of a Historic Missouri Tune.”

Missouri Folklore Society Journal 13-14 (1991-1992): 101-122. [This whole journal issue is devoted to fiddling in Missouri.]Marshall, William. Marshall's Scottish Melodies, Airs, Strathspeys, Reels, Jigs. Harrisville, N.H.: Fiddlecase Books, 1978.Massey, Ellen Gray, ed. Bittersweet Country. Garden City, N.Y.: Anchor Press/Doubleday, 1978.Matthiesen, Bill. The Waltz Book II. Unknown publisher, 1995 McCulloh, Judith. "Uncle Absie Morrison's Historical Tunes." Mid-America Folklore 3 (Winter 1975): 95-104.McDonald, Grant. "A Study of Selected Folk-Songs of Southern Missouri." M.A. thesis, State University of Iowa, 1939.McIntosh David S. Folk Songs & Singing Games of the Illinois Ozarks. Carbondale, Southern Illinois University Press, 1974.McNeil, W.K. “In Search of Fiddlin' Sam Long of the Ozarks.” In Country Music Annual 2000, eds. Charles K. Wolfe and James E. Akenson.

89-100. Lexington: The University Press of Kentucky, 2000.McNeil, W.K. “Ozark Folksongs—Carnal in Arkansas.” Ozark Mountaineer 26, No. 7 (Aug., 1978):26.McNeil, W.K. Ozark Country. Jackson: University Press of Mississippi, 1995.McNeil, W.K. Southern Mountain Folksongs. Little Rock: August House, 1992.Meade, Guthrie T. Country Music Sources. Chapel Hill, N.C.: University of North Carolina Press, 2002.Merryweather, James, and Matt Seattle. The Fiddler of Helperby. Northumberland, England: Dragonfly Music, 1994.Merryweather, James. Merryweather's Tunes for English Bagpipes. Northumberland, England: Dragonfly Music, 1989.Morris, W.H. Old Time Violin Melodies. Columbia, Mo.: Missouri State Old Time Fiddlers Association, 1992, 1927.Mother Goose's Quarto of Nursery Rhymes. New York : McLoughlin Bros., 1858-1886?Nathan, Hans. Dan Emmett and the Rise of Early Negro Minstrelsy. Norman: University of Oklahoma Press, 1977.O’Neill, Francis, and Miles Krassen, O'Neill's Music of Ireland. New York: Oak, 1976.O’Neill, Francis. O’Neill’s Music of Ireland. Ho-Ho-Kus, N.J.: Rock Chapel Press, 1979, 1903.O'Neill, Francis. The Dance Music of Ireland: 1001 Gems. Dublin, Ireland: Walton's Musical Instrument Galleries; Pacific, Mo.:

Mel Bay, 1986, 1907.Opie, Iona Archibald, and Peter Opie. The Singing Game. Oxford: Oxford University Press, 1985.Oswald, James, and David Rizo. A Second Collection of Curious Scots Tunes. London : Charles and Samuel Thompson, 1760s.Perlman, Ken. The Fiddle Music of Prince Edward Island. Pacific, Mo.: Mel Bay, 1996.Perrow, E. C. “Songs and Rhymes from the South.” The Journal of American Folklore 28 (Apr. - Jun., 1915): 129-190.Petrie, George, ed. Petrie's Complete Irish Music: 1,582 Traditional Melodies. New York: Dover, 2003.Phillips, Stacy. The Phillips Collection of Traditional American Fiddle Tunes, Vol. 1. Pacific, Mo.: Mel Bay, 1994.Phillips, Stacy. The Phillips Collection of Traditional American Fiddle Tunes, Vol. 2. Pacific, Mo.: Mel Bay, 1995.Rainey, Leo. Songs of the Ozark Folk. Branson, Mo.: Ozarks Mountaineer, 1981.Randolph, Vance. "The Names of Ozark Fiddle Tunes." Midwest Folklore 4 (1954):81-86.Randolph, Vance. Ozark Folksongs. 4 vols. Columbia, Mo.: State Historical Society of Missouri, 1946-1950.Randolph, Vance, and Norm Cohen. Ozark Folksongs. Urbana: University of Illinois Press, 1982.Randolph, Vance, and G. Legman. Roll Me In Your Arms. Fayetteville: University of Arkansas Press, 1992.Randolph, Vance, and Gordon McCann. Ozark Folklore: An Annotated Bibliography. 2 vols. Columbia:

University of Missouri Press, 1972, 1987.Reiner, David, and Peter Anick. Old-Time Fiddling Across America. Pacific, Mo.: Mel Bay, 1989.Riddle, Almeda. A Singer and Her Songs. Baton Rouge, Louisiana State University Press, 1970.Roche, Frank. The Roche Collection of Traditional Irish Music. New York: Oak, 1982.Rohrbough, Lynn. Handy Play Party Book. Delaware, Ohio: Cooperative Recreation Service, 1940.Rosenberg, Neil V., and Charles K. Wolfe. The Music of Bill Monroe. Urbana: University of Illinois Press, 2007.Ryan, William Bradbury (edited by Patrick Sky). Ryan’s Mammoth Collection of 1050 Reels and Jigs. Pacific, Mo.: Mel Bay, 1995;

originally Boston, Mass.: Elias Howe, 1883.Seeger, Ruth Crawford. American Folk Songs for Children. Garden City, N.Y. Doubleday, 1948.Schoolcraft, Henry R. Schoolcraft in the Ozarks. Van Buren, Ark.: Press-Argus, 1955.Schultz, Gerard. Early History of the Northern Ozarks. Jefferson City: Mo.: Midland Printing Company, 1937.Sharp. Cecil James. English Folk Songs from the Southern Appalachians. London: Oxford University Press, 1952.Shaw, Lloyd. Cowboy Dances. Caldwell, Idaho: Caxton Printers, 1948.

208

Shull, Bill. Uncle Pink and Other Missouri Fiddle Tunes from Lyman Enloe. Columbia, Mo.: Missouri State Old Time Fiddlers Association, 1993.

Silberberg, Eugene. Fiddle Tunes I Learned at the Tractor Tavern. Seattle?: The Author, 2002.Songer, Susan, and Clyde Curley. The Portland Collection. Privately published. 1997.Songer, Susan, and Clyde Curley. The Portland Collection, Volume 2. Privately published. 1997.Streeter, Richard Kent. The Jimmy Driftwood Primer. Calhoun, Ga.: J. Driftwood Legacy Project, 2003.Stilley, John. “The Stilley Collection of Ozark Folk Songs.” Mid-America Folklore 20 (Spring and Fall issues, 1992).Talley, Thomas W. Thomas W. Talley’s Negro Folk Rhymes. Knoxville: University of Tennessee Press, 1991.Thede, Marion. The Fiddle Book. New York: Oak, 1967.Tichenor, Trebor, ed. Ragtime Rarities. New York : Dover, 1975.Titon, Jeff Todd. Old-Time Kentucky Fiddle Tunes. Lexington, Ky.: University Press of Kentucky, 2001.Tobitt, Janet E. Skip to My Lou. New York: Girl Scouts, 1958.Wilkinson, Winston. "Virginia Dance Tunes." Southern Folklore Quarterly 6 (March 1942): 1-10.Wolf, John Quincy. Life in the Leatherwoods. Memphis: Memphis State University Press, 1974.Wolfe, Charles K. The Devil's Box: Masters of Southern Fiddling. Nashville, Tenn.: Vanderbilt University Press, 1998. Wolford, Leah Jackson. The Play-Party in Indiana. Indianapolis, Indianapolis Historical Society, 1959.

Sound Recordings and VideosAmerican Fiddle Tunes. Rounder 18964-1518-2, 2000.Arkansaw Travellers. Echoes from the Ozarks. Rimrock ALP 109, 1971.Beeler, Jim. Remember Me. Self produced cassette, c. 1980s.Bennet, Lester. Old Time Fiddler. Self-produced cassette, 1981.Bottle of Wine and Gingercake. Pine Breeze 003. c. 1977.Christeson, R.P. Old-Time Fiddler's Repertory. University of Missouri Press 8666, 1976. Two-LP album.Collins, Earl. That’s Earl. Briar Records SBR-4204, 1975.Combs, Cotton. My Fiddle and I. Rooster Records RLP-001, c. 1970s.Combs, Cotton. Parkin' Lot Jammin' . Gillian Recording Studio, c. 1978.Dillards. Homecoming and Family Reunion. Flying Fish Records FF 215, 1981.Echoes of the Ozarks, Vol. 1. County CD-3506, 1995.Echoes of the Ozarks, Vol. 2. County CD-3507, 1995.Enloe, Lyman. Fiddle Tunes I Recall. County CD-2707, 1993.Enloe, Lyman. Rugged Road. SPBGMA Bluegrass Records SRS-7602, 1976.Fountain, Roger. Cloggin' Jiggin' Waltzin' Two-Steppin'. Self-produced CD, 2000.Fountain, Roger. Some Old Favorites. Self-produced cassette, c.1980.Galbraith, Art. Dixie Blossoms. Rounder 0133, 1981.Galbraith, Art. Simple Pleasures. Rounder 0157, 1983.Goforth, Gene. Emminence Breakdown. Rounder CD0388, 1997.Graves, Bill. Sugar in the Coffee. Missouri State Old Time Fiddlers Association MM-34254-2; 301-CD, 1997.Great Big Yam Potatoes. Mississippi Dept. of Archives and History, 1985.Hawes, Bess Lomax. The Films of Bess Lomax Hawes, Media Generation 2003.Haslag, LeRoy. Reflections of a Missouri Fiddler. Nashville Record Production, NR 21420, c. 2004.Hensley, Violet. Old-Time Hoedowns. John's Recording Studio, LP 999967, c. 1970s.Herd, Jim. Old Time Ozark Fiddling. Voyager VRCD 340, 1999.Holt, Bob. The Way I Heard It. Self-produced cassette, c. 1997.Holt, Bob. Got a Little Home to Go to. Rounder CD0432, 1998.Hughey, Ron. Country Fiddlin’ Ozark Style. American Heritage Music Corporation AH-410-511, c. 1973.Hutchison, Uncle Dick. Old Time Fiddlin’. Self-produced LP, 119, c.1970.I'm Old But I'm Awfully Tough. Missouri Friends of Folk Arts MFFA 1001, 1977.Jeter, Luke. The Sound of Country Music. Music Mountain Enterprises, c. 1970s.Johnston, Gary. Johnston Fiddling. Self-produced CD, 2005.Kentucky Old-Time Banjo. Rounder CD 0394, 1999.McMahan, Pete. 50 Old-Time Fiddle Gems. Voyager VRCD 366, 2005. 2-CD set.Mize, Seth. Ozark Folk Center 7E.871, field recording by Glenn Ohrlin, 19 Dec. 1966.Music from the Ozarks. Folkways FS 3812, 1964.Music of the Ozarks. National Geographic Society 07703, 1972.Music of the Ozarks: 1984 Brandywine Mountain Music Convention. Heritage HRC 060, 1985.New England Traditional Fiddling: An Anthology of Recordings, 1926-1975. JEMF Records. 1978.Now That's a Good Tune: Masters of Traditional Missouri Fiddling. Grey Eagle Records;

University of Missouri Cultural Heritage Center, 1991.Ozark Frontier: Ballads and Old-Timey Music from Arkansas. Southern Journey, Vol. 7. Rounder CD 1707.Precious Memories: The Music Life of Homer Dillard. Oral History of the Ozarks Project, 1992. Videocassette.Rackensack, Vol. 1. Rimrock LP 278, c. 1972.Rackensack, Vol. 2. Rimrock LP 279, c. 1972.Ritchie, Jean. Children's Songs and Games from the Southern Mountains. Folkways FC7054, 1957.Robertson, Lonnie. Fiddle Tunes, Ozark Style, Vol. 1. Caney Mountain Records CLP-232.Robertson, Lonnie. Fiddle Tunes, Ozark Style, Vol. 2. Caney Mountain Records CLP-233.Robertson, Lonnie. Missouri Fiddling. Caney Mountain Records CEP-207,c. 1960s.Robertson, Lonnie. Lonnie's Breakdown. Rounder CD0375, 1996.Snow, Cecil. The Country Boys, Sounds from the Ozarks. Self produced cassette, c. 1989.Somewhere in Arkansas. Arkive Music,Center for Arkansas and Regional Studies, University of Arkansas, 1997. 3 CD set.

209

Stoneking, Fred. Saddle Old Spike. Rounder CD0381, 1996.Stoneking, Fred. Butter the Other Side. Self produced cassette, c. 1970s.Stoneking, Lee. Echoes of the Ozarks. Big K Studio, c. 1970s.Stoneking, Lee. Missouri Old Time Fiddlin'. Graphic Recording, c. 1970s.Thomas, Buddy. Kitty Puss: Old-Time Fiddle Music from Kentucky. Rounder CD0032, 1998, 1976.Teague, Howe. Square Dance Music. Gold Standard, c. 1968.Teague, Howe. Ozark Memories. Gold Standard, c. 1986.Traditional Fiddle Music of the Ozarks, Vol. 1. Rounder CD 0435, 1999.Traditional Fiddle Music of the Ozarks, Vol. 2. Rounder CD 82161-0436-2, 2000.Traditional Fiddle Music of the Ozarks, Vol. 3. Rounder CD 82161-0437-2, 2000.Wallace, Jesse. The Stone County Fiddler. Graphic Recording, c. 1979.Walsh, Bob. Old Time Ozark Fiddlin'. Self-produced cassette, c. 1970s.Watkins, Frank. Ozark Fiddlin’. HoBart Records, c. 1960s.

Liner NotesGalbraith, Art, and Charles Wolfe. Notes for Art Galbraith, Dixie Blossoms. 0133, Rounder, 1981.Galbraith, Art, and Mark Wilson. Notes for Art Galbraith, Simple Pleasures. 0157, Rounder, 1983.Hartford, John. Notes for Gene Goforth, Emminence Breakdown. CD0388, Rounder, 1997.Jabbour, Alan. Notes for American Fiddle Tunes. 18964-1518-2, Rounder, 2000.Marshall, Howard W. Notes for Pete McMahan, 50 Old-Time Fiddle Gems. VRCD 366, Voyager, 2005. 2-CD setMarshall, Howard W., Charles Walden, and Amy Skillman. Notes for Now That's a Good Tune. Grey Eagle Records;

University of Missouri Cultural Heritage Center, 1991.McNeil, W.K. Notes for Somewhere in Arkansas. Arkive Music,Center for Arkansas and Regional Studies, University of Arkansas, 1997. 3 CD set.Olin, Julia, Jim Olin, and Barry Bergey. Notes for I'm Old But I'm Awfully Tough. MFFA 1001, Missouri Friends of Folk Arts, 1977.Rankin, Tom, Gary Stanton, and Tom Sauber. Notes for Great Big Yam Potatoes. Mississippi Dept. of Archives and History, 1985.Wells, Paul F. Notes for New England Traditional Fiddling: An Anthology of Recordings, 1926-1975. JEMF-105, JEMF, 1978.Wilson, Mark. Notes for Bob Holt, Got a Little Home to Go to. CD0432, Rounder, 1998.Wilson, Mark. Notes for Fred Stoneking, Saddle Old Spike. CD0381, Rounder, 1996.Wilson, Mark. Notes for Lonnie Robertson, Lonnie's Breakdown. Rounder CD0375, 1996.Wilson, Mark. Notes for Traditional Fiddle Music of the Ozarks, Vol. 1. CD 0435, Rounder, 1999.Wilson, Mark. Notes for Traditional Fiddle Music of the Ozarks, Vol. 2. CD 82161-0436-2, Rounder, 2000.Wilson, Mark. Notes for Traditional Fiddle Music of the Ozarks, Vol. 3. CD 82161-0437-2, Rounder, 2000.Wolfe, Charles K. Notes for Echoes of the Ozarks, Vol. 1. CD-3506, County, 1995.Wolfe, Charles K. Notes for Echoes of the Ozarks, Vol. 2. CD-3507, County, 1995.

Archival CollectionsAmerican Folklife Center, Library of Congress, Washington, D.C.Beisswenger, Drew, Collection. Private Collection, Springfield, Mo.Hunter, Max, Folk Song Collection, Springfield Greene County Library and Music Dept. Missouri State University, Springfield, Mo.McCann, Gordon, Collection, Private Collection, Springfield, Mo.Ozark Folk Center, Mountain View, Ark.Parler, Mary Celestia, Papers, 1950-1980, Special Collections, University of Arkansas Libraries, Fayetteville, Ark.Wolf, John Quincy, Collection, Lyon College, Batesville, Ark.

Web SitesAmerican Memory. Library of Congress. http://memory.loc.gov/ammem/Banjo Billy (Billy Matthew) Website. http://www.geocities.com/banjobilly_m/index_a.htmlCylinder Preservation and Digitization Project, University of California, Santa Barbara http://cylinders.library.ucsb.edu/Digital Sheet Music Collection. University of Colorado. http://ucblibraries.colorado.edu/cgi-bin/sheetmusic.pl?RagDarki&Rag&main“Fiddle Tunes of the Old Frontier: The Henry Reed Collection” (recorded by Alan Jabbour).

http://memory.loc.gov/ammem/hrhtml/hrhome.htmlFiddler Magazine. Issue on Missouri Fiddling. http://www.fiddle.com/issues/fall96.html).Fiddler's Companion (Andrew Kuntz). http://www.ibiblio.org/fiddlers/Folk Music Index. http://www.ibiblio.org/folkindex/Jam Sessions in Southwest Missouri. http://library.smsu.edu/projects/jamsessions/Kirk Collection, Indiana State University. http://library.indstate.edu/level1.dir/cml/rbsc/kirk/kirk-idx.htmlLevy, Lester S., Collection of Sheet Music, Johns Hopkins University. http://levysheetmusic.mse.jhu.edu/Max Hunter Folk Song Collection, Missouri State University (Michael F. Murray). http://www.missouristate.edu/folksong/maxhunter/Meramec State Park. http://web.umr.edu/~cwatkin/cwome/article20,21,&22combined.htmMusic of Scotland, Scots Songs. http://www.ltscotland.org.uk/nq/resources/musicofscotland/scotsong/ascotsong.htmOld Joe Clark. http://home.freeuk.net/pdcmusic/rosinators/oldjoeclark.htmlOld-Time Music Homepage (David Lynch). http://www.oldtimemusic.com/FHOFBowman.htmlRagtime Music (Colin D. MacDonald). http://www.ragtimemusic.com/wenrich.html)Seattle Western Swing Music Society. http://www.seattlewesternswingmusicsociety.comSheet Music Collection. University of South Carolina. http://sheetmusic.library.sc.eduTraditional Ballad Index. California State University, Fresno. http://www.csufresno.edu/folklore/BalladIndexTOC.htmlWalden, Charlie. “Missouri Old-Time Fiddling.” http://www.missourifiddling.com/Walden, Charlie. “Missouri Old-Time Fiddling Traditions.” http://www.missourifiddling.com/MO_FID_TRADITIONS.htmWalden, Charlie. “One Hundred Essential Missouri Fiddle Tunes.” http://www.missourifiddling.com/One_Hundred_Essential.htmWolf, John Quincy, Folklore Collection. Lyon College. http://www.lyon.edu/wolfcollection/

210

Characteristics of the Ozarks Fiddle Tunes in this BookTime Signature2/2— 268 (87%)3/4— 39 (12.7%)3/4 & 1/2 —1 (.3%)

KeyG—86 (27.9%)A—79 (25.6%)D—72 (23.4%)C—39 (12.7%)F—9 (2.9%)E—3 (1%)Bb—3 (1%)D/G—3 (1%)G/D—3 (1%)A/E—3 (1%)Bb/F—2 (.6%)B—1 (.3%)C/G—1 (.3%)D/A—1 (.3%)D/A/G—1 (.3%)F/Bb—1 (.3%)G/Em—1 (.3%)

ScaleMajor, total—221 (71.8%)

Major, clean—70 (22.7%)Major w/off notes—137 (44.5%)Major w/chromatics—9 (2.9%)Major, off notes/chrom—5

(1.6%)Hexatonic Major—46 (14.9%)Pentatonic Major—20 (6.5%)Lydian—12 (3.9%)Mixolydian—6 (1.9%)Minor—1 (.3%)Pentatonic Minor—1 (.3%)Hexatonic Lydian—1 (.3%)

Part PatternAABB—154 (50%)AB—46 (14.0%)AAB—32 (10.4%)AABBCC—13 (4.2%)ABB—9 (2.9%)ABC—6 (1.9%)A—6 (1.9%)AABBC—4 (1.3%)AABBCCDD—4 (1.3%)AABCC—2 (.6%)Various—32 (10.7%)

Number of Parts2—249 (80.1%)3—43 (14%)4—9 (2.9%)1—6 (1.9%)5—1 (.3%)

Size of Parts (Measures)All 8—142 (46.1%)All 16—47 (15.3%)All 4—20 (6.5%)8,8,4,4—6 (1.9%)4,4,8,8—5 (1.6%)4,4,8—4 (1.3%)

8,4,4—4 (1.3%)8,8,4,4,4,4—3 (1%)All 32—4 (1%)All 12—2 (.6%)All 15—2 (.6%)8,8,7,7—2 (.6%)8,8,16—2 (.6%)10,10,8,8—2 (.6%)Various—63 (20.1%)

Which Part is HigherAB—126 (40.9%)BA—126 (40.9%)ABC—9 (2.9%)BAC—7 (2.3%)CBA—7 (2.3%)BCA—5 (1.6%)CAB—5 (1.6%)ACB—4 (1.3%)ABCD—3 (1%)Various—11 (3.6%)

TuningStandard—270 (87.7%)EAEA—21 (6.8%)C#AEA—9 (2.9%)DADD—4 (1.3%)DADA—1 (.3%)DADG—1 (.3%)DGCG—1-(.3%)BGEB—1 (.3%)

Metronome (h=half note;q=quarter note; q.=dotted quarter)h=60-69—1 (.3%)h=70-79—2 (.6%)h=80-89—8 (2.6%)h=90-99—7 (2.3%)h=100-109—20 (6.5%)h=110-119—78 (25.3%)h=120-129—80 (26%)h=130-139—51 (16.6%)h=140-149—20 (6.5%)q.=70-79—1 (.3%)q=90-99—1 (.3%)q=110-119—7 (2.3%)q=120-129—7 (2.3%)q=130-139—2 (.6%)q=140-149—6 (1.9%)q=150-159—7 (2.3%)q=160-169—6 (1.9%)q=170-179—1 (.3%)q=180-189—1 (.3%)q=Over 200—2 (.6%)Dotted q=74—1 (.3%)

Type of TuneBreakdown—184 (59.7%)Rag/Blues—35 (11.4%)Waltz—35 (11.4%)Listening— 17 (5.5%)Song Tune—13 (4.2%)Hornpipe—9 (2.9%)Hop—3 (1%)March—3 (1%)Polka—2 (.6%)

Schottische—2 (.6%)Waltz-Song—2 (.6%)Foxtrot—1 (.3%)One-Step—1 (.3%)Quadrille--1 (.3%)

Plucked Strings?No—298 (96.8 %)Yes—10 (3.2%)

Nashville Shuffle?No—279 (90.6%)Some—22 (7.1%)Often—7 (2.3%)

Virginia Shuffle?No—307 (99.7%)Some—1 (.3%)Often—0 (0%)

1-1-1-3-1-1 Shuffle?No—292 (94.8%)Some—14 (4.5%)Often—2 (.6%)

Other 3-Note Shuffle Patterns?No—158 (51.3%)Some—142 (46.1%)Often—8 (2.6%)

Swing Bow Pattern?No—291 (94.5%)Some—16 (5.2%)Often—1 (.3%)

Waltz Measures Split?No—274 (89%)Yes—34 (11%)

Hokem Pattern?No—304 (98.7%)Yes—4 (1.3%)

Composed by Fiddler?No—296 (96.1%)Yes—12 (3.9%)

Scoop Pattern at End?No—247 (80.2%)Some—34 (11%)Often—27 (8.8%)

Scoop Pattern Elsewhere?No—263 (85.4%)Some—36 (11.7%)Often—9 (2.9%)

Begin with Long Bow?Often—164 (53.2%)No—120 (39%)Some—24 (7.8%)

Bow Across Measures?Some—179 (58.1%)Rare—91 (29.5%)Often—38 (12.3%)

Shave and a Haircut?No—216 (70.1%)Single—58 (18.8%)Double—34 (11%)

Unison Notes?Rare—170 (55.2%)Some—120 (39%)Often—18 (5.8%)

Double Stops?Some—162 (52.6%)Rare—100 (32.5%)Often—46 (14.9%)

Pump Bowing?Rare—282 (91.6%)Some—22 (7.1%)Often—4 (1.3%)

Potatoes Intro?No—259 (84.1%)Single—46 (14.9%)Double—3 (1%)

Slurs?Some Consistent—208 (67.5%)Often Consistent—49 (15.9%)Rare Consistent—28 (9.1%)Some Varied—19 (6.2%)Rare Varied—2 (.6%)Often Varied—2 (.6%)

Missouri Chord Progression?No—202 (65.6%)Some—59 (19.2%)Yes—47 (15.3%)

Circle of Fifths Endings?No—282 (91.9%)Yes—16 (4.9%)

Slides?Rare—204 (66.2%)Some—77 (25%)Often—27 (8.8%)

Crooked PartsNo—255 (82.8%)Yes—53 (17.2%)

Crooked MeasuresNo—262 (85.1%)Yes—46 (14.9%)

Year Recorded1990s—109 (35.4%)1970s—87 (28.2%)1980s—31 (10.1%)1960s—26 (8.4%)1950s—17 (5.6%)1920s—14 (4.5%)2000s—10 (3.2%)1940s—9 (2.9%)1930s—5 (1.6%)

211

Index of Tunes, Alphabetical1. A & E Rag 1142. Annie Laurie 793. Arkansas Hop 1474. Arkansas Traveler 1945. Arkansas Turnback 366. Arkansas Two-Step 607. Around the World on a Dime1788. Baby with Black Face

and Shiny Eyes 949. Back in ’89 2710. Bath House Blues 18511. Battle of New Orleans 10112. Bay Rooster 20413. Bear Creek Sally Goodin 6014. Betty Lou Waltz 5615. Big Muddy 10916. Bile Them Cabbage 3317. Bill Cheatum 17118. Billy in the Lowground 9219. Birdie in a Snowbank 13420. Birmingham 17421. Black Jack Davy 9222. Blackberry One Step 13423. Blackberry Waltz 13524. Bluebird Waltz 11425. Boatin' Down the River 4326. Bonaparte’s Retreat 10127. Branson Rag 19928. Breakdown in A & D 4929. Brickyard Joe 2730. British March 10231. Broken Down Gambler 12732. Broken-Legged Chicken 15133. Brown Leaf Rag 11534. Bunker Hill 9735. Burt County Breakdown 13536. Buster Fellows Tune 18437. Butter the Other Side 13638. Buzzard in a Pea Patch 13639. Caney Mountain Hornpipe 11540. Carroll County Blues 6141. Charleston No.1 17142. Cherry Blossoms 13743. Chinese Breakdown 2844. Chinky Pin 7445. Clark Waltz 12846. Cluckin' Hen 14747. Coleman Waltz 10748. Coming Thru the Rye 2849. Coming Up the Pike 3750. Corn Dodger #1 Special 18351. Cornwallis's Surrender 10252. Cotton-Eyed Joe 17553. Cripple Creek 17954. Cripple Creek 18055. Cripple Turkey 10256. Crystal Stream Waltz 7457. Daddy Blues 3758. Dance Around Molly 13759. Darkies' Dream 4460. Darky's Dream 11661. Delaware County Blues 19262. Devilish Mary 11063. Dixie Blossoms 3864. Doc Brown's Dream 6165. Doc Jessup’s Schottische 110

66. Down Home Rag 7867. Down Home Waltz 3868. Drowning Creek Blues 18769. Drunkard’s Hiccoughs 19970. Dry and Dusty 20071. Durang’s Hornpipe #2 3972. Durang’s Hornpipe 7073. Dusty Miller 4574. Dutch Hop 8675. East Tennessee Blues 4976. Echoes of the Ozarks 9077. Eighth of January 9778. Eminence Breakdown 4679. Everybody Schottische 15280. Everything 14881. Fan Me While I Dream 5082. Fat Meat and Dumplings 7183. Fiddler's Blues 11684. Finley Creek Blues 11185. Fire on the Mountain 15286. Flock of Birds 17387. Flop-Eared Mule 16388. Florida Blues 7589. Flowers of Edinboro 10890. Flunky Butt 17491. Forgotten Waltz 2992. Fort Smith 2293. Forty Drops 14994. Fred Kirchner’s Tune 19095. Frisky Jim 7596. Ft. Smith Breakdown 18597. George Booker 8698. Going Across the Sea 6299. Going Down the River (E2) 194100. Goodbye, My Honey,

I'm Gone 178101. Got a Little Home

to Go to (1) 62102. Got a Little Home

to Go to (2) 63103. Grand Picnic 107104. Granny Will Your Dog Bite 86105. Green Valley Waltz 191106. Grey Eagle 189107. Guignolee 108108. Hamilton Ironworks 186109. Hawk’s Caught a Chicken 164110. Hazel’s Quadrille 159111. Hazy Hills Waltz 117112. Helen’s Waltz 167113. Hell Among the Yearlings 93114. Hog House Rag 71115. Hog-Eye 175116. Hold Old Bald

While I Dance w/ Josie 56 117. Hollow Poplar 173118. Home Brew Rag 129119. Hop Up, Kitty Puss 62120. Horse and Buggy-O 138121. Humansville 138122. I Don’t Love Nobody 23123. I Hung My Jawbone 87124. In Old Arkansas 139125. Irish Washerwoman 103126. Jasper County Breakdown 51127. Jaw Bone 176

128. Jeff City 82129. Jericho 53130. Jinny Nettles 188131. Jump Fingers 117132. Kaiser Waltz 118133. Kansas City Reel 195134. Kate-Kaylee Breakdown 169135. Katy Hill 33136. Kiss Me Waltz 39137. Knocking Around

the Kitchen 56138. Ladies Fancy 39139. Lady of the Lake 118140. Lady on a Steamboat 119141. Lantern in a Ditch 76142. Last Waltz 196143. Laughing Boy 172144. Liberty 34145. Lighthouse 164146. Little Creek Rag 119147. Little Dutch Girl 176148. Lone Star Rag 131149. Lonesome Polly Ann 120150. Lonnie's Breakdown 120151. Lonnie's Hornpipe 121152. Look Out Gal

I See a Booger 182153. Lost Indian 63154. Lost Indian 83155. Lost Indian 93156. Maggie 25157. Malindy 121158. Mama Blues 83159. Maple Sugar 122160. Marmaduke’s Hornpipe 148161. Mason's March 205162. Mate to the Hog Waltz 54163. McCraw’s Ford 40164. Milk Cow Blues 84165. Mississippi Sawyer 165166. Missouri Mud 64167. Missouri Rag 139168. Missouri Waltz 159169. Molly Put the Kettle On 64170. Money Musk 45171. Muddy Water 153172. Muddy Weather 143173. My Pretty Little Girl’s Gone 105174. Napper 180175. Natchez Under the Hill 153176. Natchez Under the Hill 87177. Natchez 103178. Natural Bridge Blues 122179. Needle in a Haystack 140180. Nelly Gray 104181. New Five Cents 186182. Newhouse 193183. Nine Mile 149184. Nine Mile 46185. Ninth of January 64186. Nubbin 156187. Oklahoma Wagoner 98188. Old Bald Eagle 181189. Old Blue Mule 112190. Old Cajun Waltz 132191. Old Charlie Deckard 65

212

Emanuel Wood’s Ozark Opry, c. 1976;Art Galbraith, Raymond Campbell, Emanuel Wood, Gordan McCann,

Jude Herndon, Byron Kelly (behind bass), Thelma Wood Hermilla, Rex Wood

Cou

rtes

y of

Gor

dan

McC

ann

192. Old Country Waltz 65193. Old Gray Goose 140194. Old Grey Eagle 131195. Old Indiana 143196. Old Joe Redbird 156197. Old Judge Parker 29198. Old Leather Bonnet

with a Hole in the Crown 156199. Old Man Portell’s Tune 197200. Old Parnell 123201. Old St. Joe 128202. Old Stillhouse

Burning Down 111203. Old Time Breakdown in A 123204. Old-Time Waltz 184205. On the Rock 157206. Orvetta Waltz 72207. Ozark Moon 132208. Ozark Mountain Waltz 124209. Ozark Waltz 104210. Paddy Won’t You Drink

Some Cider 55211. Paddy Won’t You Drink

Some Good Old Cider 195212. Peacock Rag 112213. Pickin' Cotton Down South 51214. Piedmont 40215. Pig Ankle Blues 179216. Pike’s Peak 201217. Plow Boy Hop 203218. Polk County Breakdown 144219. Possum Trot 41220. Puncheon Floor 153221. Quail Is a Pretty Bird 47222. Rabbit in the Pea Patch 66223. Rachel 188224. Rag in C 124225. Ragged Bill 47226. Ragtime Annie 160227. Ranger Waltz 187228. Rattler Treed a Possum 198

229. Rattlesnake 66230. Razorback Waltz 24231. Red Hills Polka 67232. Robinson County 172233. Rock All the Babies to Sleep125234. Rocky Mountain Hornpipe 41235. Rocky Road to Denver 48236. Rolling Stone Breakdown 144237. Rose Nell 54238. Rosebud Reel 125239. Roses of Ava Moore 80240. Rover 98241. Rugged Road 30242. Saddle Old Kate 126243. Sadie 84244. Sally Goodin 67245. Sally Johnson 57246. Sally Went A-Hunting 68247. Salt Creek 183248. Sam Moore Waltz 55249. Sam Taylor’s Tune 193250. Sandy Land 89251. Seabolt Quickstep 57 252. Searcy County Rag 167253. Seneca Square Dance 90254. Shamus O’Brian 41255. Sharecropper’s Blues 169256. She Ought to Been a Lady 72257. Shoe Cobbler’s Blues 68258. Six by Eight 191259. Sleepy-Eyed Joe 30260. Snowbird in the Ashbank 177261. Soap Suds 31262. Soldier’s Joy 154263. Soldier’s Joy 201264. Soppin’ the Gravy 203265. Spokane Waltz 165266. Spotted Pony 168267. Steamboat Blues 202268. Sugar Betty Ann 141269. Sugar in the Coffee 31

270. Sunday Night Reel 42271. Sunflower Hornpipe 157272. Taney County Breakdown 126273. Taylor Brown 197274. Ten Nights in a Bar Room 32275. Tennessee Grey Eagle 58276. Tennessee Wagoner 58277. Tom and Jerry 35278. Tom and Jerry 88279. Turkey Knob 76280. Turkey Tracks 52281. Twinkle Little Star 59282. Uncle Henry 55283. Uncle Joe Will Your Horse

Pack Double? 85284. Uncle Joe 200285. Unnamed Tune 198286. Valley Forge 181287. Victory Waltz 204288. Virginia March 105289. Wabash Foxtrot 150290. Waldo 77291. Walk Along John 145292. Waltz of the Ozarks 161293. Waltz of the Ozarks 99294. Wang Wang Blues 95295. Waverly 42296. We’re Gonna Hunt

the Buffalo 182297. Westphalia Waltz 25298. Whiskers 52299. Whistling Rufus 81300. White River 150301. Whoa Mule 196302. Willott’s Hornpipe 145303. Wink the Other Eye 42304. Winter Flower Polka 170305. Wolves A-Howling 69306. Woody’s Hornpipe 154307. Yellow Gals 192308. Zack Wheat’s Piece 190

213

A & E Rag, 27, 44, 79, 126 Ace of Spades, 28, 114 Acorn Stomp, 44 Across the Sea, 62 Alabama Jubilee, 52 Albert’s Tune, 156 Angelina Baker, 62 Arkansas Boys, 157 Arkansas Hoedown, 56 Arkansas Sheik, 157 Arkansas Traveler, 89, 146, 178 Asheville, 163 Austin Breakdown, 112 Away Back, 114 Babes in the Woods, 124 Baby Mine, 175 Bacio, Il (The Kiss), 39 Back in ’89, 126, 145, 183 Banjo Pickin’ Girl, 175 Barn Dance, 163 Battle of New Orleans,

64, 97, 103, 181 Bay Rooster, 128 Bear Creek Hop, 60 Bear Creek Sally Goodin, 54, 65,

68, 150, 151 Bear Creek Up, 60Bear Creek’s Up, 60 Bear Creek, 60 Beau of Oak Hill, 134 Beaus of Albany, 92 Beaux of Oak Hill, 72, 134Belle of Claremont Hornpipe, 58 Belles of Tipperary, 92 Betty Ann, 141 Betty Martin, 86, 152 Big Bend Gal, 95, 98 Big Creek, 98 Big Muddy, 74 Big Sandy River, 157, 183 Big Town Fling, 74 Big-Eared Mule, 163 Big-Eyed Rabbit, 23 Bile [Boil] Them Cabbage Down,

34 Bill Bailey, 50, 107 Billy Boy, 200 Billy in the Lowground, 58 Billy Martin, 28 Billy Wilson, 114 Birdie in a Snowbank, 72 Bitter Creek, 128 Black Mountain Rag, 60, 63 Black Oak Ridge, 61 Blackberry Blossom, 46 Blackberry One Step, 135 Blackberry Waltz, 134 Black-Eyed Susie, 62 Blue Bird Waltz, 114 Blue Bonnets, 92 Blue Mountain Sally Goodin, 68 Blue Mule, 112 Bluebell Polka, 163 Bluebird Waltz, 132 Blue-Eyed Gal, 199 Boatin’ Down the River, 143

Boatin’ Up Sandy, 194 Bob Walker164 Bob Walker, 164 Boggy Road to Texas, 115 Bonaparte’s Retreat, 200 Boys from the Hill, 134 Boys of Bluehill, 134 Boys of North Tyne, 134 Boys of Oak Hill, 134 Boys of the Lake, 46 Braes of Auchentyre, 92 Breakdown, 134, 163, 195Brennan on the Moor, 182 Brilliancy Medley, 171 British March, 100 Broken Down Gambler, 204 Broken-Legged Chicken,

60, 65, 150 Brown Jug, 89 Brown’s Dream, 40 Bucach, Robi Donadh Gorrach, 199Buck Fever, 114 Buck Reel, 197 Buddy Bolden’s Blues, 174 Buffalo Gals, 192 Buffalo Nickel, 74, 186Bull at the Wagon Tongue, 35 Bull Run Picnic, 115 Burt County Breakdown, 137 Bye-Bye My Honey, I’m Gone,178Cacklin’ Hen, 147, 184 California Breakdown, 61 California Quick Step, 188 Campbells Are Coming, 200 Canary Waltz, 114, 132Caney Mountain Hornpipe, 40 Carroll County Blues No. 2, 171 Carroll County Blues No. 3, 171Carroll County Blues, 171 Cat Run Up the Plum Tree, 152 Charleston No. 1, 61 Charleston No. 2, 171 Charleston No. 3, 171 Chase the Squirrel, 97 Cheat ‘Em, 171 Cherokee Shuffle , 83, 116Chicken in the Bread Tray, 86, 87 Chicken Pie, 38 Chicken Reel, 147, 167Chinky Pin, 32, 109 Chinquapin, 74 Cincinnati, 193Cindy, 132 Clark’s Waltz, 128 Clay Portell, 197 Clock in the Steeple, 189 Cluck Old Hen, 147, 184 Cluckin’ Hen, 147 Coleman Waltz, 50 College Hornpipe, 163 Come All You Virginia Girls, 157 Come Get Your Nubbin, 156 Comin’ Thro’ the Rye,

Poor Body, 28 Coming Over the Mountain, 163 Coming Up the Pike, 23

Corkonian Reel, 46 Cornwallis’s Surrender, 100 Cotton Patch Rag, 139 Cotton-Eyed Joe, 69 Countess of Airly, 45 Country Ham, 172 Cowboy’s Dream, 188 Crawdad Song, 175 Cricket in the Hearth, 157 Cricket on the Hearth, 148 Cripple Creek, 28 Cripple Turkey, 153 Crippled Turkey, 102 Cuckoo, 199 Curlew Hills, 163 Cuttin’ at the Point, 57 Damon’s Winder, 148 Dan Jones, 148 Dance All Night with a

Bottle in your Hand, 87 Dance All Night, 102, 112Dance Around Molly, 44, 75, 76 Darkey Dan, 44 Darkies’ Dream, 116 Darling Child, 32, 74 Darling Nelly Gray, 104 Darneo, 90 Davy, Davy, 54, 194 Davy, 194 De Ole Mule’s Tail, 163 Dead Nigger, 27 Dead Slave, 27 Deer Walk, 148 Detroit Schottische, 163 Devil in Georgia, 48 Devil’s Ball, 52 Devil’s Dream, 89 Devilish Mary, 109 Did You Ever See a Lassie, 177 Did You Ever See the Devil,

Uncle Joe?, 164, 200 Dill Pickle Rag, 139 Dink’s Dusty Miller, 45 Dixie Blossoms March

Two-Step, 38 Doc Brown’s Dream, 40, 71, 86,

149 Don’t You Cry, My Honey, 126 Done Gone, 171 Doodletown Fifer, 203 Doug’s Favorite, 154 Doughboy, 90 Douglas’ Favorite, 154 Douglas’s Favorite, 154 Dow Everly, 47 Down Home Rag, 47 Down in Shilow Town, 176 Downfall of Adam, 165 Downfall of Paris, 165 Dreary Dark Hills, 94 Drowning Creek Blues, 169 Drunkard’s Hiccoughs, 83, 94 Dry and Dusty, 100, 101, 151, 177Dubuque, 145, 164 Duck River, 164 Ducks on the Pond, 118, 189

Duncan’s Reel, 114 Durang’s Hornpipe #2, 70 Durang’s Hornpipe, 39 Durham’s Reel, 84 Durroch’s Hornpipe, 153 Dusty Miller, 123, 175 Eagle’s Nest, 102 Eagle’s Whistle, 101 Ebenener, 118 Echoes of the Hills, 90 Echoes of the Ozarks, 89 Eight More Miles to Louisville,

95, 98Eighth of January, 53, 64, 83, 101,

103, 167Emperor Waltz, 118 Essence of Sugar Cane, 44 Evening Shade Waltz, 151 Faded Love, 106 Farmer Had a Dog, 74 Fat Meat and Dumplings, 40, 61, 93Fiddler’s Hoedown, 27 Fiddling Phil, 164 Finger Ring, 186 Fire on the Mountain, 86, 175 First Month of Summer, 189 Fisher’s Hornpipe Medley, 134 Fisher’s Hornpipe, 48, 89 Five Cents, 186 Five Miles Out of Town, 164 Fleur d’hiver, 170 Flop Eared Mule, 196 Flop Old Turkey Buzzard, 90 Flop-Eared Mule, 47, 154Flower of Edinburgh, 108 Flowers of Edenburgh, 108 Fly Around My Pretty Little Miss,

199 Forked Deer, 189 Fort Gibson, 132 Fort Smith, 33, 44, 76, 138, 156,

185 Fourth of July, 74 Free on the Mountain, 152 French Four, 201 Frisky Jim, 77, 138 Frog He Would a Wooing Go, 175 Frog Went A-Courting, 175 Frog’s Courtship, 175 Fruit Jar Rag, 129 Ft. Smith Breakdown, 23 Fun’s All Over, 56, 138 Funky Butt Blues, 174 Funky Butt, 174 Gaberlunzie-Man, 58 General Clayborn, 153 General Lee, 164 George Booker, 86, 77Georgia Boys, 90 Get Along Little Dogies, 125 Get Out of the Way of the

Federals, 62 Gettysburg March, 100 Gilderoy, 101 Girl I Left Behind Me, 89, 90 Girl’s A-Fooling, 97

Alternate Titles and Referenced Tune Titles

214

Give the Fiddler a Dram, 87, 102 Going Around the World, 175 Going Down the River, 94, 177Going Down to Memphis, 193 Going Up Brushy Fork, 180 Golden Slippers, 69 Gone to Cripple Creek, 180 Goodbye, My Honey, I’m Gone,

55, 145 Gosport Tragedy, 120 Got a Little Home to Go to, 57,

90, 126, 198 Got No Little Home to Go to, 90 Grand Hornpipe, 148 Grand March o’ Normal, 47 Granddad Bishop’s Waltz, 168 Granny Will Your Dog Bite, 175 Gray Cat on the Tennessee Farm,

66 Gray Eagle Cottilions, 189Grease That Wooden Leg

Sally Ann, 89Great Big Taters, 90 Great Big Taters in the Sandy

Land, 89, 90 Green Corn, 40, 61, 71, 86, 149,

173, 191 Green Mountain Polka, 163 Green Mountain, 200 Grey Eagle Hornpipe, 189 Grey Eagle, 58, 131, 132, 172,

181, 186 Grieg’s Pipes, 189 Gui-Annee, 108 Guillanee, 108 Gypsies in the Wood, 188 Gypsy Laddie, 92 Hair in the Butter, 74 Hanging Around the Kitchen Till

the Cook Comes Home, 57 Hangman’s Reel, 66 Happy Frisky Jim, 75 Hawk’s Got a Chicken, 164 Hawks and Eagles, 56 Hell Agin the Barn Door, 42, 197 Hell Among the Yearlings, 63,

148, 153, 186 Hell Amongst the Slavish, 163 Hell Bound for Alabama, 62 Hell Broke Loose In Georgia, 164 Hell on the Wabash, 134 Hell Up Flat Rock, 148 Hey, Mr. Muskrat, 50 Higher Up the Monkey Climbs, 90 Highland Laddie, 35 Hog Eye, 86 Hog House Rag, 82 Hog Waltz, 54 Hog-Eye an’ a Tater, 175 Hog-Eye Man, 175 Hog-Eye, 152 Hold Old Baldy While I Dance

with Josie, 138 Honeysuckle Rag, 50 Hop High Ladies, the Cake's

All Dough, 200 Hop Light Ladies, 200 Hop Light Lady, 200 Hop Up Kitty Puss, 153 Horny-Knick-a-Brino, 183

Horse and Buggy-O, 177 Hot Corn Cold Corn, 61 Hotfoot, 123 Hound Dawg Song, 90 Huckleberry Blues, 50 Hughes’ Breakdown, 61 Humansville, 56 Hunting the Buffalo, 182 Hush-A-Bye, 125 I Am My Mamma’s

Darling Child, 74I Betty Martin, 152I Don’t Love Nobody, 51, 190I Got a Girl in the Valley, 90 I Hung My Jawbone, 176 I Love a Nobody, 24 I Love Somebody, 74, 201 I met ayont the cairnie, 188 I Wish I Had Someone

To Talk To, 143 I Wish I Was a Mole

in the Ground, 178 I Wish’d I Had a New Five Cents,

186 I’d Rather Be With Rosy Nell, 54 I’m Going to Cross the Sea, 62 I’m On My Way to Texas to Eat

Cornbread and ‘Lasses, 63 If You Can’t Stand the Heat,

Get Out of the Kitchen, 57 In the Good Ole Ozarks, 22 Indian Eat the Woodpecker, 164 Irish Washerwoman, 89, 112Italy, 62 Jack of Diamonds, 94, 157, 199 Jackson’s Victory, 97 Jake Gillie, 167 Jake Gilly, 97 Jawbone, 87, 176 Jawbone Song, 87 Jeff City, 71, 84 Jefferson City, 82 Jenny Baker, 134 Jenny Nettles, 65, 188, 189Jericho, 60, 147 Jim Along Jo, 152 Jim Along, Josie, 56, 152 Jinny in the Lowlands, 92 Jinny Nettles, 65, 189 John Anderson My Jo, 79 John Baltzell’s Reel, 134 John Brown’s Dream, 61 John Hoban's Polka, 90 Johnnie Armstrong, 199 Johnny Cope, 58 Johnny Get Your Hair Cut, 86, 87 Johnny in the Nether Mains, 92 Johnson Boys, 145 Johnson’s Old Grey Mule, 196 Jordan is a Hard Road to Travel,

176, 177 Jump in the Well, My Pretty

Little Miss, 110 Jump Jim Crow, 200 Just an Old Rag in G, 115 Kanawha County Rag, 83 Kansas City Rag, 138 Karo, 163, 165Katon’s Hornpipe, 82 Katy Cruel, 110

Katy Did, 189 Katy Hill, 57, 128, 136, 153, 182,

204Keep Off the Grass, 58 Keep the Old Ark Rolling, 134 Keeper Hill, 86 Kerryman’s Daughter, 92 Kickin' Mule, 196 Kilwinning’s Steeple, 189 King’s Head, 201 Kingdom Coming, 90, 203Kiss Waltz, 39 Kitty O’Neill, 114 Kitty Puss, 62 Knickerbocker Reel, 200 Knob Dance, 87 Knocking on the Door, 71 Kyser Waltz, 118 Ladies Round the Bend, 119 Lady Isabel and the Elk Knight, 120Lady of the Lake, 70 Lady On a Steamboat, 57 Lame Beggar, 199 Lantern in a Ditch, 145 Lardner’s Reel, 195 Lass of Roch Royal, 191 Last of Callahan, 27 Lay Your Good Money Down, 84 Lazarus, 101Lead Out, 32, 74 Lighthouse, 41 Limber Neck Blues, 112 Lisa Waltz, 96 Listen to the Mockingbird, 89 Little Betty Ann, 141 Little Betty Brown, 164 Little Brown Hand, 115 Little Brown Jug, 28, 88, 98, 152,

156, 160, 188Little Dutch Girl, 194 Little More Sugar in My Coffee, 31Little Ol’ Nigger Baby, 94 Little Old Log Cabin in the Lane,

24, 90 Little Pet Polka, 163 Little Rock, 188 Little Star, 59 Living On the Mountain,

Baby Mine, 175 Liza Jane No. 3, 177 Liza Jane, 196 London Hornpipe, 39 Lone Star Rag, 52, 139 Lonesome Hill, 164 Lonesome John, 183 Lonesome Katy, 134 Lonesome Polly Ann, 76, 138 Lonnie’s Hornpipe, 47 Looney Tunes, 28 Lop-Eared Mule, 163 Lord Gregory, 191 Lost Indian, 64, 97, 120Lost Train Blues, 153 Love from the Heart, 165 Love Somebody, 32, 74 Ma’ Ferguson, 164 Mabel, 164 Maid of Argyle’s, 189 Make Me a Pallet on the Floor, 190Mama Blues, 124, 139

Maple Sugar, 118 Marmaduke’s Hornpipe, 157, 168,

197 Marquis of Huntley's Farewell, 86 Martha Campbell, 27 Mason’s Apron, 157 Mason’s Waltz, 205 Mason-Dixon Schottische, 112 Massa's Gone Away, 203 May Day, 200 McCleod’s Reel, 200 McCloud’s Reel, 85 McCraw’s Ford, 61 McGraw’s Ford, 40 McLeod’s Reel, 85 Meet Me at the Bars, 59 Meet Me Tonight In the

Moonlight, 143 Merry Blacksmith, 46 Midnight Serenade, 74 Military Schottische/Barn Dance,

163 Miller of Drone, 189 Miller’s Reel, 183 Miller’s Wedding, 28 Minnie Put the Kettle On, 64, 193 Miss McCloud’s Reel, 200 Miss McLeod’s Reel, 200 Miss McLeod, 200 Mississippi Jubilee, 165 Mississippi Sawyer, 58 Missouri Mule, 74 Missouri Spotted Pony, 168 Missouri Waltz, 106 Molly Maguire, 183 Molly Put the Kettle On, 193 Money Musk, 189 Monkey in the Barbershop, 163 Mormaduke’s Hornpipe, 148 Mountain Hornpipe, 154 Mountain Ranger Hornpipe, 125 Mountain Ranger, 125 Mountain Reel, 200 Mountains of Kerry, 154 Mrs. McLeod of Rasay, 200 Mrs. McLeod, 200 Muddy Road to Kansas, 145, 164Muddy Roads, 183 Muddy Water, 121 Muldoon’s Favorite, 189 My Love Is But a Lassie O, 74 My Love Is But a Lassie Yet, 74,

109My Love She’s But a Lassie Yet,

32, 74, 109My Love's Bonny When She

Smiles on Me, 108 My Name is Dick Kelly, 199 My Old Kentucky Home, 89 Nancy’s Got a Pretty Dress On, 112Napoleon’s Retreat, 101 Napper, 193 Natchez Under the Hill, 103, 201Natchez, 100 Natural Bridge Blues, 51, 150 New Carroll County Blues, 171 New Charleston No. 1, 171 New Five Cents, 172 Newlyweds’ Reel, 93 Nigger Baby with Black Face

215

and Shiny Eyes, 94 Nigger Fever, 143 Nigger Weather, 143 Nightingale Clog, 112 Nine Miles Out of Louisville, 46,

149, 173 Ninth of January, 83, 84, 63, 66, 97Nora O’Neal, 41 Nora, 25 Nubbin Ridge, 23, 156 O Belinda, 121 O Dear Mother (Minnie)

What Shall I Do?, 92 O’Donovan’s March, 102 Oak Leaf Rag, 139 Off to California, 118, 145, 164 Oh My Foot, 48 Oklahoma Redbird, 156, 168, Oklahoma Wagoner, 58, 188 Old Ark’s A-Movin, 134 Old Blue Mule, 103 Old Buzzard, 23 Old Cajun Waltz, 114 Old Charlie Deckard, 60, 150,

151, 189 Old Coon Dog, 62 Old Dan Tucker, 68, 97 Old Dubuque, 27, 145, 164 Old Fiddler, 204 Old Flannigan, 114 Old Fort Smith, 23 Old Grey Eagle, 130, 188 Old Grey Goose, 54 Old Homestead, 188 Old Hornpipe, 36 Old Horse and Buggy, 138 Old Jake Gilly, 97 Old Joe Bone, 87 Old Joe Clark, 62 Old Joe, 128, 140 Old Kingdom, 74 Old Leather Bonnet, 157 Old Malinda, 121 Old Malindy, 121 Old Man Portell, 197 Old Man's Lament, 125 Old Melinda, 121 Old Mines Reel, 198 Old Molly Hare, 118 Old Mother Flanagan, 114 Old Mother Gofour, 86 Old Mother Oxford, 87 Old Parnell Reel, 123 Old Soldier, 196 Old Time Waltz, 204 Old Time, 114 Old Zip Coon, 87, 153 Old-Time Eighth of January, 64, 83 Once Upon a Cheek, 35 Opry Fiddler’s Blues, 116 Orange Blossom Special, 106, 116Ostinelli's Reel, 189 Over the Waves, 50 Ozark Moon Waltz, 132 Ozark Waltz, 100 Paddy on the Railroad, 46 Paddy on the Turnpike, 177, 183Paddy Won’t You Drink Some

Good Old Cider, 147 Padgett, 138, 156

Parkersburg Landing, 112 Pateroller, 183 Payday in the Army, 201 Peaches and Cream Rag, 52 Peaches and Cream, 38, 66Peeler’s Jacket, 48 Piece, 24 Pig Ankle Rag, 179 Pig Ankle Strut, 179 Pig Town Fling, 74 Piney Woods Gal, 33 Piper’s Lass, 186 Plowboy Rag, 203 Po’ Black Sheep, 119 Poca River Blues, 50 Police Jacket, 46 Polka in G, 118 Polly [or Molly or Jennie]

Put the Kettle On, 64 Polly Put the Kettle On, 86 Polly-Wolly-Doodle, 120 Poor Little Darlin’, 69 Poor Little Kitty Puss, 62 Pop Goes the Weasel, 146 Portsmouth Hornpipe, 118 Possum & Taters, 111, 112 Possum Hunt on Stump House

Mountain, 112 Possum Up a Gum Stump, 145, 164Pouring Soapsuds

Over the Fence, 31 Pretty Girl Going Down

the River, 69 Pretty Little Black-Eyed Susan, 54Pretty Little Girl with

a Blue Dress On, 62 Pretty Polly Ann(a), 111, 120, 141 Pretty Polly, 120 Prisoner’s Song, 143 Prosperity Special, 201 Put On Your Old Grey Bonnet, 38 Pytala Sie Pani, 26 Queer’s Hornpipe, 114 Rabbit in the Grass, 23 Rabbit in the Pea Patch, 168 Rachel, 98, 32, 68 Rag in C, 83, 139 Rag Pat, 105 Ragged Ass Bill, 47 Raggin’ On, 160 Railroad, 46 Raisin’ ‘Ell, 134 Rat Cheese Under the Hill, 201 Razorback Waltz, 22 Red Bird Reel, 156 Red Creek, 180 Red Haired Boy, 101, 183 Red Hawk Waltz, 128 Redbird Hornpipe, 156 Redbird, 156 Red-Haired Boy, 196 Redman’s Reel, 57 Redwing, 105Reel de la Vieille Mine, 198 Reel Du Debutant, 134 Richmond Blues, 74 Richmond Cotillion, 57, 153Richmond Polka, 57, 195 Robinson County, 186 Rochester Schottische, 152

Rock the Cradle Joe, 125 Rock the Cradle Lucy, 201 Rocking a Cradle, 125 Rocky Mountain Goat, 39, 148Rocky Mountain Hornpipe, 145,

190Rolling River, 58, 164 Rose Bud of Allenvale, 80 Rose of Allendale, 80 Rose of Sharon Waltz, 80 Rose of Sharon, 80 Rose Tree, 87 Rose(bud) of Avonmore, 80 Rosebuds of Avamore, 80 Rosebuds of Aviemore, 80 Roxanna Waltz, 24 Roy Wooliver’s Money Musk, 45 Ruffled Drawers, 172 Running from the Federals, 90 Rye Straw, 147 Rye Waltz, 28, 40Rye Whiskey, 83, 68, 94 Rye Whiskey, 199Saddle Old Kate, 62 Saddle Old Spike, 62, 126Sadie Ray, 84 Sadie, 46Sail Away Ladies, 89, 90 Sailing Down the River, 54, 194Sailor’s Hornpipe, 112, 171 Sallie Goodwin, 68 Sally Ann, 90 Sally Ann Johnson, 134 Sally Ann, 89 Sally Gardens, 47 Sally Goodin, 35, 60, 93, 102,

141, 152 Sally in the Garden, 86, 175 Sally in the Green Corn, 164 Sally Johnson, 33, 119 Sally Went A-Hunting, 112 Salt River Reel, 183 Salt River, 183 Salty Dog Blues, 33, 52 Sam Taylor’s Tune, 180 Sandy Boys, 47 Sandy River, 194 Saratoga Hornpipe, 114 Say Old Man, Can You Play

the Fiddle, 102, 177Schottische, 163Scolding Wife, 62 Scotch, 35 Scott No. 2, 128 Searcy County Rag, 147 Seneca Square Dance, 62, 89 Seneca War Dance, 90 Shady Grove, 62, 192 Shammy O’Brien, 41 Shamus O’Brien’s Waltz, 41 Sharecropper’s Blues, 187 She Ought Been a Lady, 134 She Wouldn't Give Me Sugar in

My Coffee, 31 Sheamus O’Brien: Answer to

Nora O’Neal, 41 Sheep and the Hog Walking

Through the Pasture, 134 Sheeps and Hogs Walkin’

Through the Pasture, 69

Shepherd on the Gap, 46 Shippensport, 44, 114, 143 Shipping Port, 44, 114, 143 Shock Along, John, 145 Shoe Cobbler Blues, 50 Shoot the Buffalo, 182 Shoot the Turkey Buzzard, 62, 90 Shootin’ Creek, 180 Short’s Addition, 188 Shortening Bread, 111, 140, 152 Silver Lake, 134 Silver Star Hornpipe, 171 Sir Archibald Grant of

Monymusk’s Strathspey, 45 Skip to My Lou, 66, 89, 103, 112 Sleepy Joe, 30 Sleepy Lou, 109 Slieve Gorm, 134 Smiling Polly, 34 Smoke Behind the Clouds, 193 Smokey Hornpipe, 188 Snapping Jig, 114 Snow Shoes, 66 Snowshoe, 168 Soap Suds, 35 Soapsuds Over the Fence, 31 Sobre las Olas, 50 Soldier’s Joy, 151, 191 Soppin’ the Gravy, 90 Sourwood Mountain, 181 Spotted Pony, 66 St. Joe Hornpipe, 128 St. Louis Quick-Step, 188 St. Louis Tickle, 174 Star Spangled Banner, 106 Starlight Clog, 112 Steamboat Bill, 202 Steamboat Whistle Blues, 202 Steve’s Rag, 52 Steve’s Tune, 89 Stone Rag, 52, 131Stone’s Rag, 52, 124, 139 Stoney Point, 145 Stony Fork, 28 Storms Are on the Ocean, 191 Struttin’ Bird, 112 Stuck in the Mud, 64 Sugar Babe, 175 Sugar Grove Blues, 189 Sugar in Coffee, 31 Sugar in the Hill, 155 Surprise Symphony, 121 Susananna Gal, 199 Swanee River, 89 Sweet Child, 175 Sweet Cider, 54 Sweet Ellen, 27, 41, 145, 164, 178Sweet Sixteen, 74 Take Me Back to Tulsa, 180, 193 Take the Shackles Off, 29 Take Your Shackles Off of Me, 29 Talking Fiddle Blues, 116 Taney County Breakdown, 27, 35,

44, 183 Taney County Special, 52 Teetotaler, 48Temperance Reel, 28, 48 Ten Little Indians, 121 Ten Nights in a Bar Room, 74, 109Tennessee Stud, 181

216

Tennessee Wagoner, 98 Tennessee Waltz, 24 Texas Quick Step, 188 Texas Quickstep, 117, 188 Then You Wink the Other Eye, 42 This Train, 175 Three Forks of Sandy, 173 Tip Toe, Benny Martin, 87 Tippy/Gippy/Johnny Get Your

Hair Cut, 86 Todlen Hame, 199 Tom and Jerry, 31 Tom Hickey, 188 Too Young to Marry/Get Married,

74 Tossing the Baby So High, 125 Trouble on the Nine Mile, 164 Trumpey’s Hornpipe, 115 Tug Boat, 119Tune, 120, 124Turkey in a Pea Patch, 136 Turkey in the Straw, 87, 103, 107,

134, 153, 201 Turkey Knob, 138

Twin Sisters, 134 Twinkle Twinkle Little Stars

Schottische, 59 Twinkle, Twinkle Little Stars, 59 Two Sisters, 72, 134 Uncle Henry’s Reel, 55 Uncle Henry, 149, 178 Uncle Joe, 55, 85, 164 Uncle Pen, 204 Under the Double Eagle, 50, 105 Unnamed Tune, 64 Up Jumped Jinny With Her Shirt

Tail Torn, 31 Uptown, 160 Victory Waltz, 185 Village Hornpipe, 27, 164 Virginia March, 100 Virginia Reel, 200 Waggoner, 58 Wagner One Step, 56 Wagoner’s Lad, 199 Wagoner, 58, 89, 98, 189 Wagonner, 58 Waiting for the Federals, 90

Wake Up Susan, 157 Waldo, 75 Walk Jaw Bone, 200 Walk Jawbone, 87, 176Walking in My Sleep, 115 Walking in the Parlor, 194 Walls of Jericho, 53, 54, 60 Waltz of the Ozarks, 96 Washington Quadrille, 163 Watkin’s Hoedown, 204 Waverly, 197 Way Down South, 81 Way Up on Cinch Mountain, 199 Waynesburgh, 128 We Won’t Go Home Until

Morning, 89 Wednesday Night Waltz, 117 West Sedalia Waltz, 26 What the Woman Said, 26 When Carnal First Came to

Arkansas, 92 When You and I Were Young,

Maggie, 25 When You Go A-Courtin’, 157

Where’s My Other Foot, 48 Whiskers, 131 Whistling Rufus, 123 White Mule, 153 White River, 60, 65, 147, 151 Whoa Mule No. 1, 196 Whoa Mule No. 2, 196 Wild Goose Chase, 82 Wild Hogs in the Red Brush, 200 Willet’s Hornpipe, 145 Willott’s Hornpipe, 178 Wind Blow You Away, 44 Winter Flower, 170 Wish I Had a Needle and Thread, 62Won’t You Come Home,

Bill Bailey?, 50 Woods’ Redbird, 156 Year of Jubilo, 203 Yellow Eyed Cat, 74 Yellow Gal, 192 Yellow Rose of Texas, 90 You Get a Line and

I’ll Get a Pole, 175 Zack Wheat’s Tune, 41

Recordings on the CDAll used with permission

1. Fort Smith. As played by Cotton Combs in Parkin' Lot Jammin' (Gillian Recording Studio, c. 1970s).2. Razorback Waltz. As played by Cotton Combs (Gordon McCann Collection, field recording); recorded 2/24/79.3. Rugged Road. As played by Lyman Enloe at the University of Chicago Folk Festival, February, 1990 (Gordon McCann Collection, field

recording).4. Tom and Jerry. As played by Roger Fountain in Some Old Favorites (Roger Fountain); recorded c. 1980.5. Fan Me While I Dream. As played by Lacey Hartje (Gordon McCann Collection, field recording); recorded 2/2/92.6. Wink the Other Eye. As played by Art Galbraith (Gordon McCann Collection, field recording); recorded 5/15/83.7. Paddy Won't You Drink Some Cider. As played by Violet Hensley in Old-Time Hoedowns (John's Recording Studio LP 999967); recorded c.

late 1970s.8. Missouri Mud. As played by Bob Holt in The Way I Heard It... (self-produced cassette, c. 1997); recorded c. 1997.9. Hog House Rag. As played by Vesta Johnson (Gordon McCann Collection, field recording); recorded 6/17/90.10. Roses of Ava Moore. As played by Gary Johnston (Gordon McCann Collection, field recording); recorded 6/24/0411. I Hung My Jawbone. As played by Lon Jordan (American Folklife Center, field recording, collected by Vance Randolph); recorded 10/25/41.12. Lost Indian. As played and sung by Seth Mize (Ozark Folk Center, 7E.871, field recording by Glenn Ohrlin); recorded 12/19/66.13. Cornwallis's Surrender. As played by Absie Morrison (John Quicy Wolf Collection, Lyon College, field recording); recorded Aug. 1959?14. Grand Picnic. As played by Charlie Pashia (Gordon McCann Collection, field recording); recorded 9/2/78.15. Finley Creek Blues. As played by Glenn Rickman (Gordon McCann Collection, field recording); recorded 11/15/80.16. Old Blue Mule. As played by Glenn Rickman (Gordon McCann Collection, field recording); recorded 9/20/80.17. Old Blue Mule. As played by Glenn Rickman (Rebel version).18. Little Creek Rag. As composed and played by Lonnie Robertson in Missouri Fiddling (Caney Mountain Records CEP-207); recorded c. 1960s.19. Old Gray Eagle. As played by Cecil Snow in The Country Boys, Sounds from the Ozarks (self-produced cassette, c. 1989).20. Ozark Moon. As played by Cecil Snow in The Country Boys, Sounds from the Ozarks (self produced cassette, c. 1989).21. Butter the Other Side. As composed and played by Fred Stoneking in Butter the Other Side (self produced cassette); recorded c. 1980s.22. Willott's Hornpipe. As played by Lee Stoneking in Echoes of the Ozarks (Big K Studio, c. 1970s).23. Forty Drops. As played by Howe Teague in Ozark Memories (Gold Standard, c. 1986); recorded c. 1986.24. Marmaduke's Hornpipe. As played by Howe Teague in Ozark Memories (Gold Standard, c. 1986); recorded c. 1986.25. Fire on the Mountain. As played by James "Skeeter" Walden (Mary Celestia Parler Collection, University of Arkansas, field recording);

recorded 11/18/51.26. Natchez Under the Hill. As played by James "Skeeter" Walden (Mary Celestia Parler Collection, University of Arkansas, field recording);

recorded 11/18/51.27. Sunflower Hornpipe. As played by Jesse Wallace in The Stone County Fiddler (Graphic Recording, c. 1979); recorded c. 1979.28. Mississippi Sawyer. As played by Emanuel Wood (Gordon McCann Collection, field recording); recorded 12/10/77.29. Sharecropper's Blues. As played by Jim Beeler in Remember Me (self-produced cassette); recorded 1980s-90s?30. Charleston No. 1. As played by Willy Bilyeu (Gordon McCann Collection, field recording); recorded 1969.31. Hollow Poplar. As played by Cliff Bryan (Gordon McCann Collection, field recording); recorded 12/27/03.32. Flock of Birds. As played by Raymond Campbell (Gordon McCann Collection, field recording); recorded 6/12/76.33. Valley Forge. As played by Jimmie Driftwood (Max Hunter Collection, field recording); recorded 8/30/69.34. We're Gonna Hunt the Buffalo. As played by Jimmie Driftwood (Max Hunter Collection, field recording); recorded 8/30/69.35. Grey Eagle. As played by Ike Helton (home recording from Paul Helton) recorded: ?36. Fred Kirchner's Tune. As played by Jude Herndon (Gordon McCann Collection, field recording); recorded 12/7/76.37. Green Valley Waltz. As played by Arlin Hughes (Max Hunter Collection, field recording); recorded 4/14/75.

217

Drew Beisswenger, Head of the Music Library at Missouri State University in Springfield, has beeninvolved in researching the traditional music of the South for over 25 years. He held positions in public sectorfolklore including Folk Arts Coordinator for the Arkansas Arts Council, and Manager of the Regional StudiesCenter at Arkansas College (now Lyon College). His previous books on fiddle music include Fiddling WayOut Yonder: The Life and Music of Melvin Wine (University Press of Mississippi), Beau Solo: 12 Cajun FiddleTunes Transcribed from Michael Doucet's CD (Mel Bay Publications), and The World’s Hottest Fiddlers (MelBay Publications). He has recieved a Fulbright Scholar Program award to teach and research in Cork, Ireland,and has been awarded a Foundation Award for Research by Missouri State University. Beisswenger earned aPh.D. in ethnomusicology from the University of Memphis, and in addition to teaching library courses heteaches courses on world music and Ozarks traditional music at MSU.

Gordon McCann has been collecting fiddle tunes and documenting fiddle-related events in the Ozarks,especially in the Missouri Ozarks, since the mid-1970s. He has an indexed field recording collection of over65,000 Ozark fiddle tunes if one includes variations. As the guitarist for famed Ozarks fiddler Art Galbraith,McCann performed nationally at venues such as the National Folk Festival at Wolf Trap, the New Orleans1984 World’s Fair, and the Smithsonian’s American Folklife Festival. He co-wrote a book with VanceRandolph on Ozarks folklore sources, and co-produced six Rounder CDs featuring traditional Ozarks fiddlemusic. Widely considered an expert on Ozarks folk music traditions, McCann has served on advisory panelsfor the National Geographic Society and the National Endowment for the Arts. In recent years, he has pro-duced television programs on Ozarks heritage and sponsored a series of concerts featuring young Ozarks fid-dlers. In 2002, the governor of Missouri awarded McCann the prestigious Missouri Arts Award for his far-reaching work. McCann is a retired businessman and lives in Springfield, Missouri.

The Authors