Serpentiner och Konfetti (Streamers and Confetti) is a fantastic reijländer tune by Swedish melodeon player Mats Edén. We’re not trying to play it in a particularly Swedish way, also I somehow only played the B section once on the video – apologies, it had been a long day!
Here are the dots for the tune:
We varied the rhythm by anticipating (or ‘pushing’) some of the main beats in the melody and also in the chord sequence – dots can be found here.
Here’s Kit White’s no. 2, a tune I know from various sessions. I’ve had trouble tracking down who Kit White was or is – it’s not a good phrase to Google, though if you need a teeth whitening kit then I can tell you that have lots of options available, see also the drummer from the White Stripes and white football uniforms – and the Vaughn Williams Library archives (one of my ‘go to’ sources) doesn’t have any records of either the tune or the person. I have however found him listed as performing melodeon on a recording of traditional music from Yorkshire made in 1950, so that’s a start! My version differs slightly from some of the notated versions I’ve found, as so often happens in traditional music. Here’s the video, with a slow version, a faster version with variations and the chord rhythm:
Here are the dots for the standard version of the tune:
The variations we tried involved switching the rhythms around in the A and B parts, and using the chord rhythm:
The notation for the variations is here.
‘The Girl With the Blue Dress On’ is a chirpy polka that turns up in English and American traditions as a ceilidh tune, contra tune and as a North-West Morris tune.
There is a simplified version here, and a more decorated version written out in full with the ‘tumbles’ (embellishments at the end of phrases that connect up the different sections) and the alternative chord sequence here.
Here are the dots, PDF and video for the Dark Girl Dressed in Blue, also known as The Duchess (at least to me and Kerry Fletcher, can’t find it listed as this anywhere else!) and as Over the Waterfall in Old Time circles, albeit with the A and B sections reversed. There appears to be a song version of the tune dating back to about 1850, with lyrics by music hall star Harry Clifton (1824-1872), though recordings I can find are to a slightly different though seemingly related tune.
Here are the video, dots and PDF of the Holborn March, which was published in ‘Wright’s Compleat Collection of Celebrated Country Dances’ in 1740.
Here’s the faster, frillier version:
Here’s Soldier’s Joy, video from Laurel, basic dots from me! PDF here.
Here’s the video and dots for Bagpipers. PDF here.
Tunbridge Beauties is a tune from ‘The New Country Dancing Master’ collection by Walsh and Randall from 1711. It’s been recorded by Boldwood on their fantastic ‘Feet Don’t Fail Me Now’ album.
Here are the dots (PDF here), with a basic version and an ornamented, phrased copy.
Below are the basic dots for the groove (PDF here) that we created to accompany the tune.
This is a jaunty polka by Devonshire fiddler Fred Pidgeon (yes, I know I’ve spelled his name differently in the title, but this is now the tune and his surname are normally written respectively). I’ve kept the chords simple to bring out the cheerful, bouncy character, though you could substitute a few Em or maybe some C chords in instead of some of the G majors – have an experiment! Stephen suggested using a G maj7 in place of the D chords in the first two bars – I like this, but try also replacing the D chords in the fourth and seventh bars with a D6 chords to fit with the slightly dreamy feel that this creates. We found that the harmony in the B part also fits the tune of the A part, so there are lots of possibilities!
Here are the dots (tune with chords, tune with suggested phrasing and ornaments, and harmony) with a PDF available here..
Wednesday Night is a fabulous 16 bar tune recorded as a ‘Country Dance’, and it exists in both the English and Welsh traditions (as Nôs Fercher in Welsh). The earliest record of it I can find is in a collection by William Clark of Lincoln published in 1770, though it seems to turn up in a few different collections at around that time. Here’s the tune, harmony, bass line and chords – I’ve not written out a separate chord chart due to the way the chords fit with the rhythm of the tune. I’ve also added a version with suggested phrasing and ornaments.