Crystal Schottische: Difference between revisions

Revision as of 21:45, 25 May 2012

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Theme code Index	37L15L 33H1H1H
Also known as	Two-Step Schottische
Composer/Core Source
Region	United States
Genre/Style	Old-Time
Meter/Rhythm	Schottische/Schottis/Jennkka/Reinlander
Key/Tonic of	G
Accidental	1 sharp
Mode	Ionian (Major)
Time signature	4/4
History	USA(Central), USA(Mid Atlantic)
Structure	AABCDD
Editor/Compiler	Elias Howe
Book/Manuscript title	Book:Diamond School for the Violin
Tune and/or Page number	p. 54
Year of publication/Date of MS	1861
Artist
Title of recording
Record label/Catalogue nr.
Year recorded
Media
Score ()

CRYSTAL SCHOTTISCHE. American, Schottische. USA; Missouri (presumably Ford's version), Pennsylvania. G Major ('A' and 'C' parts), D Major ('B' part), & C Major ('D' part). Standard tuning (fiddle). AABCDD (Ford): AABB (Bayard). Bayard (1944) identifies this tune as a favorite schottische, in various forms (some of which differ markedly from the sheet music), all over western Pennsylvania. See also Henry Reed's "Kiss Waltz (2)" (a schottische, despite the title) which employs part of "Crystal Schottische" as the third part. The time was recorded as "Two-Step Schottishe" by Leizime Brusoe (who played in his early days in Canada) on 78RPM. Folk versions of "Crystal Schottische" (albeit differing markedly from the original) can be traced to the "Crystal Schottische" composed by William Byerly and published in New York in 1853, around the time the schottische was introduced to America as a dance form (from Germany, where it was loosely based on Scottish dance). American songster Stephen Foster included in a collection called The Social Orchestra (1854), arranged for violin and flute, with accompaniment by a second violin and bass; his only known venture into strictly instrumental music, aimed at a parlor audience.

Sources for notated versions: Mrs. Sarah Armstrong, (near) Derry, Pennsylvania, November 18, 1943 [Bayard, 1944]: Thoma Patterson (Elizabeth, Pa., 1930's), Steffy (1949), Levi Hall (Fayette County, 1944), James Taylor (Greene County, Pa./Wetzel, W.Va., 1930's) [Bayard, 1981].

Printed sources: Bayard (Hill Country Tunes), 1944; No. 36 (listed as untitled "Schottische"). Bayard (Dance to the Fiddle), 1981; No. 422, pp. 399-401. Ira Ford (Traditional Music in America), 1940; p. 157. Henry Ford (Good Morning), 1941; p. 79. Howe's (Diamond School for the Violin) 1861; p. 54.

Recorded source: Rounder CD1518, Various Performers - "American Fiddle Tunes" (1971. Played by Leizime Brusoe).

X:1
T:Crystal Schottische
M:C
L:1/8
B:Ira Ford - Traditional Music in America (1940)
Z:AK/Fiddler's Companion
K:G
B>G F>A G2D2|Bd b>a g4|f2A2f2e2|d>F G>A B2A2|
B>G F>A G2D2|Bd b>a g4|f2A2 e2F2|G>A G>F G4:|
K:D
A>g f>e ^d2e2|f2 f>g a4|b2 e>f g2c2|({e}d>)c d>e f4|
A>g f>e ^d2e2|f2 f>g a4|b2 e>f ag Bc|d2d2 d4||
K:G
B>G F>A G2D2|BD b>a g4|f2A2f2e2|d>F G>A B2A2|
B>G F>A G2D2|Bd b>a g4|f2A2 e2F2|G>A G>F G4||
K:C
C>E G>c e2c2|E>G c>e g3a|(g2 f)B (e2 d)F|(c2 B)E A2G2|
C>E G>c e2c2|E>G C>e g3a|(g2 f)B (ed) AB|c2c2 c4:||

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-'''CRYSTAL SCHOTTISCHE'''. American, Schottische. USA; Missouri (presumably Ford's version), Pennsylvania. G Major ('A' and 'C' parts), D Major ('B' part), & C Major ('D' part). Standard tuning. AABCDD (Ford): AABB (Bayard). Bayard (1944) identifies this tune as a favorite schottische, in various forms (some of which differ markedly from the sheet music), all over western Pennsylvania. See also Henry Reed's "[[Kiss Waltz (2)]]" (a schottische, despite the title) which employs part of "Crystal Schottische" as the third part. The time was recorded as
+'''CRYSTAL SCHOTTISCHE'''. American, Schottische. USA; Missouri (presumably Ford's version), Pennsylvania. G Major ('A' and 'C' parts), D Major ('B' part), & C Major ('D' part). Standard tuning (fiddle). AABCDD (Ford): AABB (Bayard). Bayard (1944) identifies this tune as a favorite schottische, in various forms (some of which differ markedly from the sheet music), all over western Pennsylvania. See also Henry Reed's "[[Kiss Waltz (2)]]" (a schottische, despite the title) which employs part of "Crystal Schottische" as the third part. The time was recorded as "Two-Step Schottishe" by Leizime Brusoe (who played in his early days in Canada) on 78RPM. Folk versions of "Crystal Schottische" (albeit differing markedly from the original) can be traced to the "Crystal Schottische" composed by William Byerly and published in New York in 1853, around the time the schottische was introduced to America as a dance form (from Germany, where it was loosely based on Scottish dance). American songster Stephen Foster included in a collection called '''The Social Orchestra''' (1854), arranged for violin and flute, with accompaniment by a second violin and bass; his only known venture into strictly instrumental music, aimed at a parlor audience.
-"Two-Step Schottishe" by Leizime Brusoe (who played in his early days in Canada) on 78RPM. Folk versions of "Crystal Schottische" (albeit differing markedly from the original) can be traced to the "Crystal Schottische" composed by William Byerly and published in New York in 1853, around the time the schottische was introduced to America as a dance form (from Germany, where it was loosely based on Scottish dance). American songster Stephen Foster included in a collection called '''The Social Orchestra''' (1854), arranged for violin and flute, with accompaniment by a second violin and bass; his only known venture into strictly instrumental music, aimed at a parlor audience.
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