Annotation:Beauties of the Ballroom: Difference between revisions

Latest revision as of 23:11, 24 April 2023

X:1 T:Beauties of the Ballroom M:6/8 L:1/8 C:Traditional S:Arranged by Buddy MacMaster R:jig K:G a|:efe ed^c|B^cA DGE|AB=c dBG|1 A3a3:|2 A3 e a2|| |:a2 d' c'ba|gfa g2 d|cBc gfe|dgd B2 G| cBc d^cd|ed=c BAG|Bge dBG|1 A3 e a2:|2 A6 || |:A,B,G, A,2 B,|E3E2 D|B,A,G, G,2B,|D3D2 B,| A,B,G, A,2 B,|A, A2A3|(4GFED (4EFGB,|1 A,6:||2 A,3 A,2a||

BEAUTIES OF THE BALLROOM. AKA and see "Lads of Leith (1) (The)," "She's Fair and Fause." Canadian, Jig (6/8 time). Canada, Cape Breton. A Minor (Cranford/Holland): A Mixolydian/Dorian (Dunlay & Greenberg). Standard tuning (fiddle). AA'BB'CC'. Originally a Scottish tune called "The Lads of Leith" set in G Minor in James Oswald's c. 1747 The Caledonian Pocket Companion, remarks editor Paul Stewart Cranford (1995), who says the A Minor setting was introduced to Cape Breton repertoire by Little Jack MacDonald. Dunlay and Greenberg (1996) find that in modern times the jig appeared in J. Scott Skinner's Beauties of the Ballroom as the third figure of "Ettrick Vale Quadrille" with no name^[1]; on Cape Breton it took its name from the title of Skinner's volume. The more demanding parts of Skinner's setting were omitted by Cape Breton fiddlers, but his fourth part became the third part of the island settings, played an octave lower than Skinner's.

Additional notes
Source for notated version : - Buddy MacMaster (Cape Breton) [Dunlay & Greenberg].

Printed sources : - Cranford (Jerry Holland's), 1995; No. 209, p. 60. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; p. 108. Susan Songer with Clyde Curley (Portland Collection vol. 3), 2015; p. 23.

Recorded sources : - BM-91, Buddy MacMaster - "Glencoe Hall." Boot Records BOS 7231, Jerry Holland - "Master Cape Breton Fiddler" (1982). Marquis ERA-181, David Greenberg - "Bach Meets Cape Breton"(1996. Appears as "The Lads of Leith").

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↑ Some editions supply supply the name "She's Fair and Fause."

[1] Some editions supply supply the name "She's Fair and Fause."

[1]

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 {{TuneAnnotation
 |f_tune_annotation_title= https://tunearch.org/wiki/Annotation:Beauties_of_the_Ballroom >
-|f_annotation='''BEAUTIES OF THE BALLROOM.''' AKA and see "[[Lads of Leith (1) (The)]]," "[[She's Fair and She's Fause]]." Canadian, Jig (6/8 time). Canada, Cape Breton. A Minor (Cranford/Holland): A Mixolydian/Dorian (Dunlay & Greenberg). Standard tuning (fiddle). AA'BB'CC'. Originally a Scottish tune called "The Lads of Leith" set in G Minor in James Oswald's c. 1747 '''The Caledonian Pocket Companion''', remarks editor Paul Stewart Cranford (1995), who says the A Minor setting was introduced to Cape Breton repertoire by Little Jack MacDonald. Dunlay and Greenberg (1996) find that in modern times the jig appeared in J. Scott Skinner's '''Beauties of the Ballroom''' as the third figure of "[[Ettrick Vale Quadrille]]" with no name; on Cape Breton it took its name from Skinner's volume. The more demanding parts of Skinner's setting were omitted by Cape Breton fiddlers, but his fourth part became the third part of the island settings, played an octave lower than Skinner's.
+|f_annotation='''BEAUTIES OF THE BALLROOM.''' AKA and see "[[Lads of Leith (1) (The)]]," "[[She's Fair and Fause]]." Canadian, Jig (6/8 time). Canada, Cape Breton. A Minor (Cranford/Holland): A Mixolydian/Dorian (Dunlay & Greenberg). Standard tuning (fiddle). AA'BB'CC'. Originally a Scottish tune called "The Lads of Leith" set in G Minor in James Oswald's c. 1747 '''The Caledonian Pocket Companion''', remarks editor Paul Stewart Cranford (1995), who says the A Minor setting was introduced to Cape Breton repertoire by Little Jack MacDonald. Dunlay and Greenberg (1996) find that in modern times the jig appeared in J. Scott Skinner's '''Beauties of the Ballroom''' as the third figure of "Ettrick Vale Quadrille" with no name<ref>Some editions supply supply the name "[[She's Fair and Fause]]." </ref>; on Cape Breton it took its name from the title of Skinner's volume. The more demanding parts of Skinner's setting were omitted by Cape Breton fiddlers, but his fourth part became the third part of the island settings, played an octave lower than Skinner's.
 |f_source_for_notated_version=Buddy MacMaster (Cape Breton) [Dunlay & Greenberg].
 |f_printed_sources=Cranford ('''Jerry Holland's'''), 1995; No. 209, p. 60. Dunlay & Greenberg ('''Traditional Celtic Violin Music from Cape Breton'''), 1996; p. 108. Susan Songer with Clyde Curley ('''Portland Collection vol. 3'''), 2015; p. 23.