Annotation:Rosin the Beau: Difference between revisions
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{{TuneAnnotation | |||
= | |f_tune_annotation_title= https://tunearch.org/wiki/Annotation:Rosin_the_Beau > | ||
|f_annotation='''ROSIN THE BEAU.''' AKA and see "[[Boys of the West (2)]]," "[[Old Rosin the Beau]]," "[[Mrs. Kenny]]('s)," "[[Acres of Clams]]," “[[Lord Harry the Swell]],” "[[My Lodging's on the Cold Ground]]." American, Waltz, Air and Contra Dance Tune; Irish, Jig; English, Morris Dance Tune (6/8 time). A Major (Ford, Joyce): G Major (Bayard, Laufman, Mulvihill, Wade). Standard or AEae tunings (fiddle). AB (Bayard, Joyce, Wade): ABB (Ford): AABB (Laufman, Mulvihill). A multi-purposed melody popular as a song and dance air in several genres, in multiple forms and tempos. It is used for a single step in the North-West England morris dance tradition and as a waltz at New England contra dances. Samuel Bayard (1981) noted the air was known to most fiddlers, fifers, and singers in Pennsylvania, as in many parts of the country. He identified a melody by 18th century Scottish cellist-composer James Oswald that appeared in his '''2nd Collection''' (1740’s, p. 25) as a 6/8 "Gigg," that is extremely close to "Rosin," and he wondered if Oswald's was the ancestral tune for the air, or if Oswald himself was influenced by an older air. Further, Bayard found that a tune called “[[Dumfries House]]” in Gow’s '''Complete Repository Part I''' (3rd Ed., p. 13), ascribed to fiddler-composer John Riddle, has a 2nd strain that equals "Rosin the Beau," and a that Welsh harp tune in Bennett's '''Alawon fy Ngwlad''' also is quite close. | |||
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Regarding Irish versions, the Fleishchmann index (1998) gives that the tune was derived from a 17th century Irish tune in 6/4 meter called “[[On the Cold Ground]];” that tune, however, is English, attributed to Matthew Lock from the play '''The Rivals'''. O’Neill ('''Waifs and Strays of Gaelic Melody''', 1922) remarked: “The name ‘Rosin the Bow’ has clung to the writer's memory since childhood, and the tune, like the song about ‘Old Rosin the Bow’ (a nickname for the fiddler) may have passed into oblivion, had not the melody been fortuitously found recently in a faded miscellaneous manuscript collection long discarded by (Chicago Police) Sergt. James O'Neill. A version of it I find is printed in Joyce's '''Old Irish Folk Music and Songs''' (1909).” Irish fiddle master Michael Coleman recorded "Rosin the Beau" on 78 RPM in 1934 under the title "[[Men of the West (1)]]," in a medley paired with "[[Mrs. Kenny]]." | |||
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A version of “Rosin the Beau” was collected by Anne Gilchrist from Newton Heath, Lancashire, where it was used in the villages Rush-cart processional. Her source, Smith Williamson, formerly a bandsman in the Moston and Newton Heath., explained that ‘for want of a name the tune had used to be sung to some doggeral verses of the late Ben Brierley’s…composed when quite a young man at Failsworth.’ The name of the tune used by the Newton Heath dancers was “Lord Harry the Swell," the name of the Brierley's song<ref>Ben Brierley’s doggerel verse was political in nature. "Harry Walmnsley, or “Lord Harry,” as he was better known, was a great swell and magnate in his time. He was the leader of the Church and King party in his day, and he practically controlled the people, body and soul. I could relate incidents connected with his doings, and the way he treated his workpeople, which would open the eyes of people of the present generation. Those who know anything of Failsworth must ever feel thankful to the bold spirits connected with “The Old School” for the way they fought and put down this local magnate “Pinch-Beggar’s Hall” was the house known as Firs Hall, built by the Walmsley family. The reference to the prowess of Walmsley as a smasher of doors applies to the violence used by him and his party on those of ‘The Old School’, whislt “The Lads” were ‘the weaver lads,’ his doughtiest opponents. “Lord Harry” took an action against Brierley for what he did and wrote, and the libel case should have been tried at the Liverpool assizes, but it was eventually settled without a trial, and so Walmsley’s power was for ever broken" [Sim Schofield, "Short Stories about Failsworth Folk", Blackpool, 1905, pp. 145-147] </ref>. | |||
<blockquote> | |||
''My name is Lord Harry the Slasher,''</br> | |||
''And I live at the Pinch-Beggar’s Hall;''</br> | |||
''At the doors I’m a regular smasher,''</br> | |||
''And a banditti I have at my call.''</br> | |||
''I’m a dread to the lads, I assure you,''</br> | |||
''And oft their brave spirits I quell;''</br> | |||
''They will take to their heels in a fury,''</br> | |||
''When they hear of Lord Harry the Swell.''</br> | |||
<br> | <br> | ||
Cho:<br> | |||
''Then hurrah for Lord Harry the Swell,''</br> | |||
''I’m a foe to all that the lads do,''</br> | |||
''While my name is Lord Harry the Swell.''</br> | |||
</blockquote> | |||
The Newton Heath procession was described by Elijah Ridings (1802-): | |||
<blockquote> | <blockquote> | ||
''The Village Festival''<br> | ''The Village Festival''<br> | ||
| Line 32: | Line 40: | ||
</blockquote> | </blockquote> | ||
The title appears in a list of standard tunes in the square dance fiddler's repertoire, according to A.B. Moore in his '''History of Alabama''', 1934. The title appears in a list of traditional Ozarks Mountains fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. | The title appears in a list of standard tunes in the square dance fiddler's repertoire, according to A.B. Moore in his '''History of Alabama''', 1934. The title appears in a list of traditional Ozarks Mountains fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. | ||
The words to "Old Settler's Song" a.k.a. "Acres of Clams," sung to this tune, were written by Frances D. Henry of Olympia, Washington in 1874. The last verse is: | The words to "Old Settler's Song" a.k.a. "Acres of Clams," sung to this tune, were written by Frances D. Henry of Olympia, Washington in 1874. The last verse is:<br> | ||
<blockquote> | |||
I laugh at the world and its shams, | ''No longer the slave of ambition''<br> | ||
As I think of my pleasant condition | ''I laugh at the world and its shams,''<br> | ||
Surrounded by acres of clams. | ''As I think of my pleasant condition''<br> | ||
''Surrounded by acres of clams.'' | |||
<blockquote> | |||
< | |f_source_for_notated_version="Copied...from a MS. evidently written by a skilled fiddler with much musical taste, from Limerick, but the name of the writer nowhere appears" [Joyce]: Hogg (Pa., 1948) [Bayard]. | ||
|f_printed_sources=Bayard ('''Dance to the Fiddle'''), 1981; No. 620, p. 546. Ford ('''Traditional Music in America'''), 1940; pp. 56-57 and p. 127 {discord version} (lyrics included, pp. 56-57). Joyce (Old Irish Folk Music and Song), 1909; No. 352, p. 162. Laufman ('''Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall'''), 1973; p. 15. Mulvihill ('''1st Collection'''), 1986; No. 15, p. 122. O’Neill ('''Waifs and Strays of Gaelic Melody'''), 1922; No. 99. Wade ('''Mally’s North West Morris Book'''), 1988; p. 24. | |||
|f_recorded_sources=Gennett 5702-B (78 RPM), The McNamara Trio (1924. As "Boys of the West"). Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005). Smithsonian Folkways SFW CD 40126, Rodney Miller – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999). | |||
|f_see_also_listing=Alan Ng's Irishtune.info [https://www.irishtune.info/tune/1709/]<br> | |||
Alan Ng's Irishtune.info [https://www.irishtune.info/tune/1709/]<br> | |||
Jane Keefer's Folk Music Index: An Index to Recorded Sources [http://www.rmacd.com/music/macfarlane-manuscript/collection/pdfs/rattling_roaring_willy.pdf]<br> | Jane Keefer's Folk Music Index: An Index to Recorded Sources [http://www.rmacd.com/music/macfarlane-manuscript/collection/pdfs/rattling_roaring_willy.pdf]<br> | ||
Alan Snyder's Cape Breton Fiddle Recordings Index [http://www.cbfiddle.com/rx/tune/t2176.html]<br> | Alan Snyder's Cape Breton Fiddle Recordings Index [http://www.cbfiddle.com/rx/tune/t2176.html]<br> | ||
}} | |||
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Latest revision as of 20:51, 24 November 2023
X:2 T:Rosin the Bow M:6/8 L:1/8 S:Joyce – Old Irish Folk Music and Songs (1909) Z:AK/Fiddler’s Companion K:A E|ABA cBA|f3 a2f|ecA ABc|(F3F2)E| ABA cBA|f3 a2f|ecA BAB|(A3A2)|| c/d/|ece efg|a2f a2f|ecA ABc|(F3 F2)E| ABA cBA|f3 a2f|ecA BAB|(A3 A2)||
ROSIN THE BEAU. AKA and see "Boys of the West (2)," "Old Rosin the Beau," "Mrs. Kenny('s)," "Acres of Clams," “Lord Harry the Swell,” "My Lodging's on the Cold Ground." American, Waltz, Air and Contra Dance Tune; Irish, Jig; English, Morris Dance Tune (6/8 time). A Major (Ford, Joyce): G Major (Bayard, Laufman, Mulvihill, Wade). Standard or AEae tunings (fiddle). AB (Bayard, Joyce, Wade): ABB (Ford): AABB (Laufman, Mulvihill). A multi-purposed melody popular as a song and dance air in several genres, in multiple forms and tempos. It is used for a single step in the North-West England morris dance tradition and as a waltz at New England contra dances. Samuel Bayard (1981) noted the air was known to most fiddlers, fifers, and singers in Pennsylvania, as in many parts of the country. He identified a melody by 18th century Scottish cellist-composer James Oswald that appeared in his 2nd Collection (1740’s, p. 25) as a 6/8 "Gigg," that is extremely close to "Rosin," and he wondered if Oswald's was the ancestral tune for the air, or if Oswald himself was influenced by an older air. Further, Bayard found that a tune called “Dumfries House” in Gow’s Complete Repository Part I (3rd Ed., p. 13), ascribed to fiddler-composer John Riddle, has a 2nd strain that equals "Rosin the Beau," and a that Welsh harp tune in Bennett's Alawon fy Ngwlad also is quite close.
Regarding Irish versions, the Fleishchmann index (1998) gives that the tune was derived from a 17th century Irish tune in 6/4 meter called “On the Cold Ground;” that tune, however, is English, attributed to Matthew Lock from the play The Rivals. O’Neill (Waifs and Strays of Gaelic Melody, 1922) remarked: “The name ‘Rosin the Bow’ has clung to the writer's memory since childhood, and the tune, like the song about ‘Old Rosin the Bow’ (a nickname for the fiddler) may have passed into oblivion, had not the melody been fortuitously found recently in a faded miscellaneous manuscript collection long discarded by (Chicago Police) Sergt. James O'Neill. A version of it I find is printed in Joyce's Old Irish Folk Music and Songs (1909).” Irish fiddle master Michael Coleman recorded "Rosin the Beau" on 78 RPM in 1934 under the title "Men of the West (1)," in a medley paired with "Mrs. Kenny."
A version of “Rosin the Beau” was collected by Anne Gilchrist from Newton Heath, Lancashire, where it was used in the villages Rush-cart processional. Her source, Smith Williamson, formerly a bandsman in the Moston and Newton Heath., explained that ‘for want of a name the tune had used to be sung to some doggeral verses of the late Ben Brierley’s…composed when quite a young man at Failsworth.’ The name of the tune used by the Newton Heath dancers was “Lord Harry the Swell," the name of the Brierley's song[1].
My name is Lord Harry the Slasher,
And I live at the Pinch-Beggar’s Hall;
At the doors I’m a regular smasher,
And a banditti I have at my call.
I’m a dread to the lads, I assure you,
And oft their brave spirits I quell;
They will take to their heels in a fury,
When they hear of Lord Harry the Swell.
Cho:
Then hurrah for Lord Harry the Swell,
I’m a foe to all that the lads do,
While my name is Lord Harry the Swell.
The Newton Heath procession was described by Elijah Ridings (1802-):
The Village Festival
Behold the rush-cart and the throng
Of lads and lasses pass along!
Now watch the nimble morris-dancers,
Those blithe, fantastic antic prancers...
All young fellows, blithe and hearty,
Thirty couples in the party...
Now strike up music; the old tune;
And louder, quicker, old bassoon;
Come bustle, lads, for one dance more,
And then cross-morris three times o'er...
The title appears in a list of standard tunes in the square dance fiddler's repertoire, according to A.B. Moore in his History of Alabama, 1934. The title appears in a list of traditional Ozarks Mountains fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.
The words to "Old Settler's Song" a.k.a. "Acres of Clams," sung to this tune, were written by Frances D. Henry of Olympia, Washington in 1874. The last verse is:
No longer the slave of ambition
I laugh at the world and its shams,
As I think of my pleasant condition
Surrounded by acres of clams.
- ↑ Ben Brierley’s doggerel verse was political in nature. "Harry Walmnsley, or “Lord Harry,” as he was better known, was a great swell and magnate in his time. He was the leader of the Church and King party in his day, and he practically controlled the people, body and soul. I could relate incidents connected with his doings, and the way he treated his workpeople, which would open the eyes of people of the present generation. Those who know anything of Failsworth must ever feel thankful to the bold spirits connected with “The Old School” for the way they fought and put down this local magnate “Pinch-Beggar’s Hall” was the house known as Firs Hall, built by the Walmsley family. The reference to the prowess of Walmsley as a smasher of doors applies to the violence used by him and his party on those of ‘The Old School’, whislt “The Lads” were ‘the weaver lads,’ his doughtiest opponents. “Lord Harry” took an action against Brierley for what he did and wrote, and the libel case should have been tried at the Liverpool assizes, but it was eventually settled without a trial, and so Walmsley’s power was for ever broken" [Sim Schofield, "Short Stories about Failsworth Folk", Blackpool, 1905, pp. 145-147]