Annotation:Galoppe a Bom Pit: Difference between revisions

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|f_annotation='''GALOPPE A BOM PIT'''.  French-Canadian, Galope (cut time). G Major. Standard tuning (fiddle). A. "Galoppe a Bom Pit" is from the Verret family of Lac-Saint-Charles, Quebec, four generations of remarkable musicians. The source for the tune is 'Pit Jornoch', a nickname for a fiddler named Pierre Verret (no relation), a friend of accordion player Jean-Baptiste Verret (1894-1955).  Jean-Marie Verret, who recorded an album of Pit Jornoch's tunes, is Jean-Baptiste's grandson.  
|f_annotation='''GALOPPE A BOM PIT'''.  French-Canadian, Galope (cut time). G Major. Standard tuning (fiddle). A. "Galoppe a Bom Pit" is from the Verret family of Lac-Saint-Charles, Quebec, four generations of remarkable musicians. The source for the tune is 'Pit Jornoch', a nickname for a fiddler from the next Parish named Pierre Verret (no relation), a friend of accordion player Jean-Baptiste Verret (1894-1955).  Jean-Marie Verret, who recorded an album of Pit Jornoch's tunes, is Jean-Baptiste's grandson. Jean-Marie recalled his father, fiddler Jules Verret (who took tutelage and repertory from Pit Jornoch as a boy):
“My father always considered him to be the greatest fiddler he had ever heard in his life. I was told that Pierre Verret learned his repertoire and style from Charlot Parent from Charlesbourg, which is a few kilometers southeast [ed. of Lac St-Charles], and at the time just a village. <ref>Guy Bouchard, “Quebec Fiddler Extraordinaire Jean-Marie Verret”, Fiddler Magazine’s Favorites, p. 102 [https://www.google.com/books/edition/Fiddler_Magazine_s_Favorites/pRoxDwAAQBAJ?hl=en&gbpv=1&dq=%22pit+jornoch%22+%22pierre+verret%22&pg=PA102&printsec=frontcover]. </ref>
|f_recorded_sources=MF-009, Jean-Marie Verret - "Rend Hommage à Pit Jornoch 1863-1937" (1990).
|f_recorded_sources=MF-009, Jean-Marie Verret - "Rend Hommage à Pit Jornoch 1863-1937" (1990).
}}
}}

Revision as of 06:22, 3 September 2023



X:1 T:Galoppe a Bom Pit S:Pierre "Pit Jornoch" Verret (1863-1937) M:C| L:1/8 D:Jean-Marie Verret ‎–"Rend Hommage à Pit Jornoch 1863-1937" (1990) D:https://www.youtube.com/watch?v=EfFrL4KeELs Z:Transcribed by Andrew Kuntz K:G f-|gfed efde|f2B2d3^c|e2d2 g2e2|f6 df|efgf efge| f2B2d3^c|e2d2 {ga}g2B2 |d6-dd|gfed efde|f2B2d3^c| e3d (g/a/g)fg| e3e e2z2|(a/b/a) ee e2fa|(g/a/g) dd d2ag|fgef d2a2| (g/a/g)- gg g2||Bd|edBd (g/a/g/f/ g)d|edBd (g/a/g/f/ g)d|edBd gdBd|{f}e3e e3f| ed^cd f3f|ed^cd f3f|ed^cd fedf|efed B3d|edBd (g/a/g/f/ g2)| edBd (g/a/g/f/ g2)|edBd gdBd|{f}e3e e3A|ABcd (f/g/f) e2|ABcd e2d2| FGAB cdef|g2 {a}(gf g2)||dg|b3a gagf|[M:6/4]efed B2d2 B2d2 |[M:C|]c3c (3cccc2| c'3b abag |f2a2 e3g|f2a2 e3g |f2a2 d3g|b3a gagf|[M:6/4]efed B2d2 B2d2 | [M:C|][E4c4].[E2c2]zA|ABcd (f/g/f) e2|ABcd e2d2| FGAB cdef|g2 {a}(gf g2)Bd|| P:'A' part variation: f-|gfed efde|f2B2d3^c|e2d2 g2e2|f6 df| efgf efge|f2B2d3^c|e2d2 {ga}g2B2 |d4{e}d2Bd| gfed efde|f2B2d3^c|e3d (g/a/g)fg| e3e e2d'2| a3 e e2b2|(g/a/g) dd d2ag|fgef d2a2|[B3g3]g g2||



GALOPPE A BOM PIT. French-Canadian, Galope (cut time). G Major. Standard tuning (fiddle). A. "Galoppe a Bom Pit" is from the Verret family of Lac-Saint-Charles, Quebec, four generations of remarkable musicians. The source for the tune is 'Pit Jornoch', a nickname for a fiddler from the next Parish named Pierre Verret (no relation), a friend of accordion player Jean-Baptiste Verret (1894-1955). Jean-Marie Verret, who recorded an album of Pit Jornoch's tunes, is Jean-Baptiste's grandson. Jean-Marie recalled his father, fiddler Jules Verret (who took tutelage and repertory from Pit Jornoch as a boy): “My father always considered him to be the greatest fiddler he had ever heard in his life. I was told that Pierre Verret learned his repertoire and style from Charlot Parent from Charlesbourg, which is a few kilometers southeast [ed. of Lac St-Charles], and at the time just a village. [1]


Additional notes





Recorded sources : - MF-009, Jean-Marie Verret - "Rend Hommage à Pit Jornoch 1863-1937" (1990).




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  1. Guy Bouchard, “Quebec Fiddler Extraordinaire Jean-Marie Verret”, Fiddler Magazine’s Favorites, p. 102 [1].