ACADEMY JIG, THE. Scottish (?), Country Dance Tune (6/8 time). G Major. Standard. AABB. Composed by J. Rule. Kerr (Merry Melodies), Vol. 1; No. 28, pg. 30.
AMARILLIS/AMARYLLIS. English, Air or Country Dance Tune (4/4, 2/2 or cut time). E Flat Major (Chappell): G Major (Barnes, Sharp, Watson). Standard. AB (Chappel, Sharp, Watson): AAB (Barnes). The tune appears in many works, including Porter's play The Villain (1663), Merry Drollery Complete (1670), The New Academy of Compliments, and Playford's Dancing Master (1665), Musick's Delight on the Cithern (1666), and Apollo's Banquet (1670). A popular tune, it was used following the convention of the period as the vehicle for numerous 18th century ballads, according to Chappell (1859), including "The Coy Shepherdess; or Phillis and Amintas" (Roxburghe Collection) {from which title the ballad was sometime known as "Phillis (or Amintas) on the new-made hay"}; "'Love in the blossom' or 'Fancy in the bud'" (Roxburghe); "Fancy's Freedom' or 'True Lovers' bliss'" (Roxburghe); "'The True Lovers' Happiness' or 'Nothing venture, nothing have, &c'" (Douce Collection/Roxburghe): "The Cotsall (Cotswold) Shepherds" (Folly in Print, or a Book of Rhymes" {1667}); "'The Virgin's Constancy' or 'The True Lovers' Happiness'" and "'The True Lovers' Happiness' or 'Nothing venture, nothing have'" (Pepys Collection). Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 12-13. Sharp (Country Dance Tunes), 1994; pg. 25. Watson, 1975; No. 8, pg. 9.
BUDGEON IT IS A DELICATE/FINE TRADE, THE. AKA and see "Jolly Miller." English, Air (6/8 time). G Minor (Chappell): A Minor (Scott). Standard. AAB. Chappell (1859) gives that the 'budge' is a particular type of burglar who "slips into houses in the dark, to steal cloaks and other articles near the door." The air appears in the ballad operas The Quakers' Opera (1728), The Fashionable Lady, and Love in a Village (1762), but the song first appeared in The Canting Academy (2nd ed.) of 1674. Scott ascribes the words to Charles Coffey, from his "The Devil to Pay," and notes the tune is the "Jolly Miller," further stating: "It is interesting to notice how a cheerful song like 'The Miller of Dee' which this most usually is, can take on such an obligingly tragic ring under the persuasion of Mr. Coffey."
***
Tho' ravished from my husband's arms,
To dwell in stench and pain,
I'll break thro' all their Majick charms
And liberty regain.
Then sweet Revenge shall calm my woes,
And every grief asswage;
Whilst all who did my bliss oppose
Shall feel my powerful rage.
***
Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 124. Scott (English Song Book), 1926; pg. 14.
CAROLAN'S WELCOME. AKA - "O'Carolan's Welcome." Irish, Air (3/4 time). E Minor. Standard. ABB. Donal O'Sullivan, the primary source for information on Turlough O'Carolan (1670-1738) and his music, identified this as one of the O'Carolan tunes which has come down to us without a title and was one of his melodies "probably composed for patrons whose names have been lost; they have come down to us either with wrong titles or with no titles at all." O'Sullivan finds the tune in the Forde manuscript in the Royal Irish Academy, [Dublin, p. 62] which was reprinted with slight alterations by P.W. Joyce in his Old Irish Folk Music and Songs [London,1909], p. 293. Source for notated version: "The present tune was given to (the collector William) Forde (1795-1850) by Patrick McDowell and is marked 'said to be Carolan's'" [O'Sullivan]; Kit Nelson and Kathrine Gardner (San Francisco, CA) of the band ContraBandits (who knew the tune as "Carolan's Circle Waltz") [Mattiesen]. Complete Collection of Carolan's Irish Tunes, 1984; No. 171, pg. 119 (appears untitled). Matthiesen (Waltz Book II), 1995; pg. 11. Folkways FTS 31098, Ken Perlman - "Clawhammer Banjo and Fingerstyle Guitar Solos." Green Linnet GLCD 1200, Lunasa - "Otherworld" (1999). Rounder 0216, John McCutcheon - "Step by Step" (1986). CBS 36401, Chieftains - "Boil the Breakfast Early." Lunasa - "Otherworld."
X:1
T:O'Carolan's Welcome
M:3/4
L:1/8
Z:Transcribed by Tomas Embréus
K:BMin
|:"part A"dc|B2d>ef2|B2d>ef2|e>fedcB|d2A2A2|d3cB2|e3dc2|dfF2A2|B4:|
|:"part B"dc|B2d>ef2|B2d>ef2|e>fedcB|c2A2A2|a3gf2|b3afe|dfedcd|B4z2:|
|:"part C"f2b>c'd'2|f2b>c'd'2|d'<d'c'babc'|d'2f2f2|g2b/b/gfe|e2g/g/fed|e
2f2a2|b6|b/b/agab2|a/a/fefa2|f/f/edefd|e2c2A2|d3cB2|e3dc2|
1dfF2A2|B6:|2dfedcd|(B6|B2)z2z2|
X:2
T: O'Carolan's Welcome
R: waltz
Z: John Chambers <jc@ ecf-guest.mit.edu > http://eddie.mit.edu/~jc/music/
B: Ossian p.119 #171 (unnamed)
N: The chords are highly variable.
N: The G# in bar 24 is often played natural.
M: 3/4
L: 1/8
K: Am
cB \
| "Am"A2 cd e2 | A2 cd e2 | "Dm"de dc BA | "Em"G/A/B G2 E2 \
| "Am"c3 B A2 | "Dm"d3 c B2 | "Em"ce E2 G2 | "Am"A4 cB ||
| "Am"A2 cd e2 | A2 cd e2 | "Dm"de dc BA | "Em"G/A/B G2 E2 \
| "C"g3 f e2 | "F"a3 g ed | "Em"ce dc Bc | "Am"A4 ||
|| e2 \
| "Am"e2 ab c'2 | e2 ab c'2 | "G7"c'b ag ab | "C"c'2 e2 e2 \
| "Dm"f2 af ed | "C"e2 ge dc | "E7"d2 e2 ^g2 | "Am"Ha6 ||
|| "F"ag eg a2 | "C"ge de g2 | ed cd ec | "G"d2 B2 G2 \
| "Am"c3 B A2 | "Dm"d3 c B2 | "Em"ce E2 G2 | "Am"A4 |]
FRANK GILRUTH [3]. Scottish, Reel. D Major. Standard. AB (Cranford, Hunter): AABB (Honeyman). The companion tune to version #2, also composed by Peter Milne (1824-1908). Hunter (1979) reports that Frank Gilruth (1853-1915) was a teacher of commerce at Dumfries Academy from 1882 until his death; he was born at Sanquhar, Gartly, Aberdeenshire. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 145, pg. 58. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 32. Hunter (Fiddle Music of Scotland), 1988; No. 258.
T:Frank Gilruth [3]
L:18
M:C|
S:Honeyman - Strathspey, Reel and Hornpipe Tutor
K:D
D2 cB ADFA|BEGB ADFA|d2 cB ADFA|Gdce dgfe|d2 cB ADFA|BEGB ADFA|
dcdB ADFA|Bdce fdd:|
|:a|gfed cdBd|AdBd feea|gfed cdBd|AdBd feea|gfed cdBd|AdBd feeg|fafd egec|
dfdB cecA:|
FROM THE FAIR LAVINIAN SHORE. English, Air (4/4 time). G Major. Standard. One part. The song appears in Academy of Compliments (1664). Jackson thought the words to have been by Shakespeare, on manuscript evidence, while the setting was by John Wilson. Kines (1964) says, "it is an early example of many pseudo-pedlar songs which became popular in the 17th century." Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 62.
GIRL I LEFT BEHIND ME, THE [1] (or "An Spailpin Fanach"). AKA and see "As Slow Our Ship," "Brighton Camp," "The Gal I Left Behind Me," "Pretty Little Girl" (I Left Behind Me), "An Spailpin/Spalpeen Fanach," "The Rambling Laborer," "The Wandering Harvest Labourer." Old-Time, American, Irish, Scottish, English; March, Two-Step, Polka, Set, Sword, Country and Morris Dance Tune (2/4 time). G Major (almost all versions): A Flat Major (O'Sullivan/Bunting): C Major (Ashman). Standard. One part (Linscott, Raven): AB (Bayard, O'Sullivan/Bunting, Shaw): AABB (Ashman, Brody, Ford, Kennedy, Perlman, Phillips, Sweet, Tubridy): AABBCC (Hall & Stafford).
***
There are many conflicting theories about the exact origins and dates of the tune that is claimed vociferously by both the English and Irish. "The Irish name, according to Bunting (1840), is 'The S(p)ailpin Fanach' or "The Rambling Laborer.' The music and words were printed in Dublin in 1791, although it was known much earlier. It is claimed by one authority that this tune originated when Admirals Hawke and Rodney were watching the French Fleet off the coast in 1758. Still another opinion assertes that in Queen Elizabeth's time it was very popoular and was played when a man-of-war weighed anchor or when a regiment moved in or out of town." (Linscott, 1939). "The song derives from an old British marching song; Spaeth identifies it with an Irish folk-tune, first written down in 1800...(also closely related to) "Brighton Camp" to which William Chappell (1893) assigns the date 1758 (See note on "Brighton Camp" for more details, esp. regarding Chappell's research). Kidson (Groves) can date it with confidence only from 1797, from a manuscript collection then in his possession. Fuld (1966) insists that the manuscripts Chappell refers to have not been located, and despite the persistent thought that the tune was known as "Brighton Camp" no printings of the melody under that name have been found to exist. Kidson (Groves) does find evidence of the melody as "Brighton Camp," although not before its publication in The Gentleman's Amusement c. 1810. Alfred Moffat, for one, in his Minstrelsy of Ireland (pg. 14) maintains that while it may be true that the British knew the tune in 1758-59 during the encampments of Rodney and Hawke, it still is quite possible the air was imported from Ireland, citing its "Irish flavour" and its resemblance to the Irish melody "The Rose tree in full bearing."
***
Moffat maintains Bunting's version "is a mere parody on the genuine air," an opinion that Kidson (Groves) agrees with, saying the Bunting's elaborate version (as with Moore's) "quite destroy the strongly marked rhythm of the simple marching form." Chappell and Bunting communicated about "The Girl I Left Behind Me," the latter writing in 1840 to the English musicologist: "It is a pretty tune, and has been played for the last fifty years, to my knowledge, by the fifes and drums, and bands of different regiments, on their leaving the towns for new quarters." Some writers maintain that Bunting may have been conservative in his date and say that there is evidence that "The Girl I Left Behind Me" was often played in the years before the American Revolution when a British naval vessel set sail or and army unit left for service abroad. This may have inspired Thomas Moore write his song "As slow our ship," published in Irish Melodies in 1818, to the air "Girl I Left Behind Me."
***
"The Girl I Left Behind Me" has a long and illustrious history in America. Dolph (1929) prints a standard text popular at the time of the Civil War, which was a great favorite with Gen. George Custer, and is still the official regimental song of the 7th Cavalry (see also "Garryowen"). "My grandfather tells me that he heard it played by bands in both armies at the Battle of Pea Ridge, Arkansas, in 1862" (Vance Randolph, Ozark Folksongs, Vol. III, 1980). Cauthen (1990) finds reference to its being played during the Civil War in an account by Georgia fiddler Ben Smith of the 12th Alabama Infantry; she calls it a "show tune" which was popularized during that war and which entered folk tradition through discharged soldiers. The United States army troop [The Old Guard] at Fort Snelling, Minesota, considered it a favorite in the 19th century. Today it remains in use by the army and is played at the United States Military Academy at West Point as part of the medley for the cadets' final formation at graduation.
***
Notwithstanding its popularity as a song or martial air, "The Girl" gained renewed currency as a dance tune in the South. Linscott (1939) remarks that in New England it was a great march favorite and that it "has always been popular as a country dance tune." The piece was a 'catagory tune' in an 1899 Gallatin, Tenn., fiddle contest; each fiddler would play his (or her?) rendition, with the best version winning a prize (C. Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80). It was cited as having commonly been played at Orange County, New York country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly), and was in the repertoire of Arizona fiddler Kenner C. Kartchner whose hey-day was in the early 20th century. Also in repertories of Uncle Jimmy Thompson (1848-1931) {Texas, Tenn.) as "The Girl I Left Behind," Mainer Mellie Dunham (Henry Ford's champion fiddler in the late 1920's), and Buffalo Valley, Pa., dance fiddlers Harry Daddario and Ralph Sauers. It was recorded for the Library of Congress by folklorist/muicologist Vance Randolph in the early 1940's from Ozark Mountain fiddlers.
***
The English novelist Thomas Hardy, himself an accordionist and fiddler, mentioned the tune in scene notes to The Dynasts:
***
A June sunrise; the beams struggling through the window curtains.
A canopied bed in a recess on the left. The quick notes of 'Brighton
Camp' or 'The Girl I Left Behind Me,' strike sharply into the room
from fifes and drums without.
***
Morris and sword dance versions in this setting of the tune have been collected from the Abingdon, Handsworth, Bampton, Longborough, and Lichfield, England, areas, {the latter has a 'C' part which is the tune 'Here we go round the Mulberry bush...'}. In Scotland "The Girl I Left Behind Me" was the name of a solo dance with twelve steps and was performed to "The Girl..." melody. This Scottish dance was transported to Cape Breton and entered dance tradition there where it was performed during the 19th century.
***
Sources for notated versions: harper Arthur O'Neill, 1800 (Ireland) [Bunting]; John McDermott (New York State, 1926) [Bronner]; 10 southwestern Pa. fifers and fiddlers [Bayard, 1981]; William Garrett with Hack's String Band [Phillips]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; caller George Van Kleeck (Woodland Valley, Catskill Mtns., New York) [Cazden]; Angus McPhee (b. c. 1924, Mt. Stewert, Queens County, Prince Edward Island) [Perlman]. American Veteran Fifer, No. 64. Ashman (The Ironbridge Hornpipe), 1991; No. 2b, pg. 1. Bayard (Dance to the Fiddle), 1981; No. 338A-J, pg. 322-325. Brody (Fiddler's Fakebook), 1983; pg. 119. Bronner, 1987; No. 4, pg. 27 (appears as last tune of "Virginia Reel Medley." Bruce-Emmett (Fifer's Guide), 1880; pg. 52. Bunting, 1840; pg. 43. Cazden (Dances from Woodland), 1945; pg. 9. Cazden, 1955; pg. 14. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pgs. 187-188 (appears as "Brighton Camp"). Ford (Traditional Music in America), 1940; pg. 116. Hall & Stafford, 1974; pg. 12. Hazeltine (Instructor in Martial Music), 1820; pg. 29. Howe, Diamond School for the Violin, 1861; pgs. 51, 61, 62. Hulbert, 182?; pg. 19. Jarman (Old Time Fiddlin' Tune)s; No. or pg. 7. Karpeles (A Selection of 100 English Folk Dance Airs), 1951; pg. 31. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 55, pg. 27. Kerr (Merry Melodies), Vol. 3; pg. 41. Linscott (The Folk Songs of Old New England), 1939; pg. 79-80. Moffat, (202 Gems), pg. 8. Neal (Esperance Morris Book), 1910; pg. 19. Old Fort Snelling Instruction Book for the Fife, 1974; pg. 35. O'Malley, 1919; pgs. 26, 35. O'Neill (1850), 1903/1979; No. 972. O'Neill (1001 Gems), 1907/1986; No. 972, pg. 167 (appears as "The Spalpeen Fanach"). O'Sullivan/Bunting, 1983; No. 57, pgs. 87-90. Ostling, 1939; pg. 10. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 153. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 97. Raven (English Country Dance Tunes), 1984; pg. 94. Riley (Flute Melodies), 1814; Vol. 1, No. 349. Sharp (Country Dance Tunes), Set 1, 1911; pg. 1. Sharp (Sword Dance Tunes), 1911-1913; Book 1, 5, Book 3, pgs. 4 & 12. Shaw (Cowboy Dances), 1943; pg. 382. Sweet (Fifer's Delight), 1964/1981; pg. 45. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 10. White's Excelsior Collection, 1907; pg. 72. Augusta Heritage Records 003, Ernie Carpenter, "Elk River Blues: Traditional Tunes From Braxton County, W.Va." (appears as "Pretty Little Girl I Left Behind Me"). Brunswick (78 RPM), John McDermot (central N.Y.), 1926 (appears as last tune of "Virginia Reel Medley"). Cassette C-7625, Wilson Douglas - "Back Porch Symphony." Mag, Hubert and Ted Powers- "Powers Town Music." Edison 51381 (78 RPM), Jasper Bisbee (Mich.), 1923. Folk Legacy Records FSA-17, Hobart Smith - "America's Greatest Folk Intsrumentalist" (appears as middle tune of "Banjo Group 2"). Gennett 6826 (78 RPM), Doc Roberts (Ky.). OKeh 45150 (78 RPM), Franklin Co., Va., fiddler Howard Maxey {1882-1947} (1927). Paramont 3017 (78 RPM), 1927, John Baltzell (Mt. Vernon, Ohio). RCA Victor LCP 1001, Ned Landry and His New Brunswick Lumberjacks - "Bowing the strings with Ned Landry." Tradition TLP 1007, Richard Chase - "Instrumental Music of the Southern Appalachians," 1956. Victor 36402A (78 RPM), Woodhull's Old Tyme Masters (N.Y.), 1941. Voyager 340, Jim Herd - "Old Time Ozark Fiddling."
T:Girl I Left Behind Me, The
L:1/8
M:2/4
S:Shaw - Cowboy Dances
K:G
g/f/|ed c/B/A/G/|AG E>F|GG G/A/B/c/|d2 B(g/f/)|ed c/B/A/G/|AG E>G|FA DE/F/|
G2G2||GB de/f/|gd B>G|Bd ef|g2 f(g/f/)|ed c/B/A/G/|AG E>G|FA DE/F/|G2G2||
"Constitution vs. Guerriere" by Thomas Birch. United States Naval Academy Museum
***
The melody is similar to an old English drinking song and a Scottish dance tune, according to Bronner (1987), and started life as a ballad, though soon entered enduring popular tradition as a dance tune, which he maintains is one of the earliest contra dance melodies composed in America. Paul Wells, of the Center for Popular Music/Middle Tennessee State University, has found an untitled version in a fife manuscript begun in 1807 (which may or may not date the tune, which may have been entered later). It can be found in Elias Howe's 1842 Musician's Companion, Part 1. Burchenal (1918) prints a New England contra dance of the same name as the tune, and Linscott (1939) confirms both the tune and dance's popularity in the region. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. The title appears in a list of Maine fiddler Mellie Dunham's repertoire and was recorded by him in the 1920's or early 1930's. The elderly Dunham was Henry Ford's champion fiddler in the late 1920's.
***
There is a New England dance of the same name, to which this tune was the accompaniment, that travelled far beyond the orders of the region. Lloyd Shaw, in his book Cowboy Dances (1943), writes:
***
It would shock my New England friends to hear an old Colorado
Rancher ask me if I ever danced Hell's Victory. From his description
I was sure of the dance and told him it was Hull's Victory, not Hell's-
Hull's Victory with his famous ship The Constitution. "No, no!" he
says, "it's Hell's Victory! Called it that ever since I was a boy!"
***
Source for notated version: Willie Woodward (Bristol, N.H.) [Linscott, 1939]. Brody (Fiddler's Fakebook), 1983; pg. 137. Bronner (Old Time Music Makers of New York State), 1987. Burchenal (American Country Dances, Vol. 1), 1918; pg. 30. Cole (1001 Fiddle Tunes), 1940; pg. 103. Ford (Traditional Music of America), 1940; pg. 74. Linscott (Folk Songs of Old New England), 1939; pg. 97. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 140. O'Neill (Krassen), 1976; pg. 198. O'Neill (1850), 1979; No. 1702, pg. 316. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 115. Shaw (Cowboy Dances), 1943; pg. 388. Sweet (Fifer's Delight), 1964/1981; pg. 80 (two versions). Alcazar Dance Series FR 203, Rodney and Randy Miller- "New England Chestnuts, Vol. I" (1980). Jonathan Edwards Memorial Foundation JEMF-105, Mellie Dunham's Orchestra - "New England Traditional Fiddling" (1978). Kicking Mule 216, Strathspey- "New England Contra Dance Music."
T:Hull's Victory
L:1/8
M:C|
K:F
fc fa fc fg|ag fe f2AB|c2cd c2cB|AB GA F2c2|
fc fa fc fa|g2g2g2ag|fe dc =Bc dB|c2e2c2c2:|
|:fe fg ag fe|d2B2B2ef|g^f ga ba g=f|e2c2c2 (3cde|
fc fa fc fa|gc gb gc gb|ag fa gf eg|f2a2f2c2:|
HUMORS OF LIMERICK, THE [2]. AKA and see "The Geese in the Bog," "The Green Meadow," "Jackson's Coola," "Jackson's Walk to Limerick," "Jackson's Trip to Limerick," "The Mountain Lark," "Wiseman's Favourite," "Bob Thompson's Favourite," "The Coravat Jig," "Twice Tricked," "The Piper's Frolic," "Na Geabha sa bPortach," "Tuhy's Frolic." Irish, Jig. The tune appears under this title in the John E. Pigot manuscript in the Royal Irish Academy, Dublin.
LACHLAN WITH THE JET BLACK HAIR (Lachlann Dubh). Scottish, Slow Air (6/8 time). E Minor. Standard. AABB'. "The editor took down this air from the singing of Mrs. Campbell, wife of the Reverend Mr. Campbell of the Inverness Royal Academy, who sings a number of Gaelic verses to it with great taste" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 115, pg. 45.
T:Lachlan with the jet black hair
T:Lachlann Dubh
L:1/8
M:6/8
S:Fraser Collection
K:E Minor
B|e>^de B>ef|g>eg f2 e/^d/|e>de Bef|g>b/a/g/ f2e|g>ab bag|b2 e/d/ B2g|
B>A/G/F/ G>A/B/A/|G2 F E2:|
|:e/f/|g>fe Bef|g>eg f2e|g>fe Bef|g>b/a/g/ f2e|g>ab bag|b2 e/d/ B2g|1
B>A/G/F/ G>A/B/A/|G2F E2:|2 B>A/G/F/ G>A/B/a/|g2f e2||
MR. TURNER'S ACADEMY COTILLION. American, Cotillion Tune (2/4 time). G Major. Standard. AABBCCDCCD. Boston, circa 1783: "At intervals I would be in company with a genteel young man who lived with his parents next door to my lodgings. He was a pupil of Mr. Turnner, dancing master. He introducet me in to the school, where I would often go as a spectator or visiter. Mr. Turnner had a great number of scholars of both sexes and wouyld sometimes practice them all together when I would make sure to attend. I learned at once his method and the dances then in vogue. I saw the master's boast lay principally in hornpipes, for he would have his best hornpipe dancer dress'd in a neat sailor's dress. At a practice in the daytime my young friend was one of the hornpipe dancers. In return of friendship I taught him many steps and soon made him the best dancer in the school, by private lessons" (quoted in Morrison, from dancing master John Durang). Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 53. North Star Records NS0038, "The Village Green: Dance Music of Old Sturbridge Village."
NEW ACADEMY, THE. Canadian, Reel. Canada, Cape Breton. D Major/Mixolydian. Standard. AB. A 'double-tonic' tune composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 28.