Annotation:Dusinberry March (The): Difference between revisions

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DUSINBERRY MARCH, THE. AKA - "The Jutenberry March." American, March (2/4 time). USA, southwestern Pa. C Major. Standard tuning (fiddle). AA'BB'. Bayard (1981) calls this one tune in a "presumptive tune family," by which he means a group of seemingly related tunes which may have been derived from one particular one, or developed from an ancestral version, or cognate with one another; it is, however, impossible to trace. The march here is similar to the today well known "Scotland the Brave" (also known as "Scotland Forever" or "Brave Scotland"). Other tunes that have a general resemblance, according to Bayard, are "Tin Ware Lass (The)," "Whistling Mike" and "Pewter Mug (1)" (which he thought were closely related to Irish collector P.W. Joyce's harp tune "Ladies Dressed in Their Garments So Green (The)"); also the Pennsylvania collected "Star of Bethlehem." Derivative seemed to him Smith's (The Scotish Minstrel, Vol. VI, 1820; p. 38) "Loch-na-Gar". The title given here is ambiguous, his source having pronounced it 'Dusinberry' in 1946 and 'Jutenberry' in 1960; he was clear that the had learned it from a great-uncle who had been wounded in the leg while playing it in some Civil War engagement, and said the bullet "stopped the tune and the fifer too." (p. 256).

Source for notated version: Harry Queer (Westmoreland County, Pa., 1946), who had the tune from a great-uncle [Bayard].

Printed sources: Bayard (Dance to the Fiddle), 1981; No. 302, p. 256.

Recorded sources:

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-'''DUSINBERRY MARCH, THE'''. AKA - "The Jutenberry March." American, March (2/4 time). USA, southwestern Pa. C Major. Standard tuning (fiddle). AA'BB'. Bayard (1981) calls this one tune in a "presumptive tune family," by which he means a group of seemingly related tunes which may have been derived from one particular one, or developed from an ancestral version, or cognate with one another; it is, however, impossible to trace. The march here is similar to the today well known "[[Scotland the Brave]]" (also known as "[[Scotland Forever]]" or "Brave Scotland"). Other tunes that have a general resemblance, according to Bayard, are "[[Tin Ware Lass (The)]]," "[[Whistling Mike]]" and "[[Pewter Mug (1)]]" (which he thought were closely related to Joyce's harp tune "[[Ladies Dressed in Their Garments So Green (The)]]"); also the Pennsylvania collected "[[Star of Bethlehem]]." Derivative seemed to him Smith's ('''The Scotish Minstrel,''' Vol. VI, 1820; p. 38) "[[Loch-na-Gar]]". The title given here is ambiguous, his source having pronounced it 'Dusinberry' in 1946 and 'Jutenberry' in 1960; he was clear that the had learned it from a great-uncle who had been wounded in the leg while playing it in some Civil War engagement, and said the bullet "stopped the tune and the fifer too." (p. 256).
+'''DUSINBERRY MARCH, THE'''. AKA - "The Jutenberry March." American, March (2/4 time). USA, southwestern Pa. C Major. Standard tuning (fiddle). AA'BB'. Bayard (1981) calls this one tune in a "presumptive tune family," by which he means a group of seemingly related tunes which may have been derived from one particular one, or developed from an ancestral version, or cognate with one another; it is, however, impossible to trace. The march here is similar to the today well known "[[Scotland the Brave]]" (also known as "[[Scotland Forever]]" or "Brave Scotland"). Other tunes that have a general resemblance, according to Bayard, are "[[Tin Ware Lass (The)]]," "[[Whistling Mike]]" and "[[Pewter Mug (1)]]" (which he thought were closely related to Irish collector P.W. Joyce's harp tune "[[Ladies Dressed in Their Garments So Green (The)]]"); also the Pennsylvania collected "[[Star of Bethlehem]]." Derivative seemed to him Smith's ('''The Scotish Minstrel,''' Vol. VI, 1820; p. 38) "[[Loch-na-Gar]]". The title given here is ambiguous, his source having pronounced it 'Dusinberry' in 1946 and 'Jutenberry' in 1960; he was clear that the had learned it from a great-uncle who had been wounded in the leg while playing it in some Civil War engagement, and said the bullet "stopped the tune and the fifer too." (p. 256).
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