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{{SheetMusic
{{SheetMusic
|f_track=St Annes Reel.mp3
|f_track=Wilson Douglas - Arkansas Traveler.mp3
|f_pdf=St Anne's Reel.pdf
|f_pdf=Arkanses_Traveller.pdf
|f_artwork=AcousticG.jpg
|f_artwork=Douglas.jpg
|f_tune_name=St. Anne's Reel
|f_tune_name=Wilson Douglas
|f_track_title=St._Anne's_Reel
|f_track_title=Biography:Wilson Douglas
|f_section=abc
|f_section=
|f_played_by=[https://soundcloud.com/jdsaviator Jeff Smith]
|f_played_by=[https://open.spotify.com/track/1hKAZBfwChht04eHpiHKMB?si=dc4bced15cb64b2a Wilson Douglas]
|f_notes=The reel, well-known in a number of genres in the English-speaking world as St. Anne's Reel, was first recorded by Montreal fiddler Willie Ringuette as Quadrille du loup garou - 4ème partie" (1927), followed by a 78 RPM issue by another Montreal fiddler, Joseph Allard (1873-1947), as Reel des esquimaults (1930).
|f_notes=Wilson Douglas: Rush Fork, Clay County, West Virginia 1922 - 1999.
|f_caption=AKA – St. Agathe. AKA and see Burravoe Rattler (The), Reel de la Baie Ste. Anne (La), Reel des esquimaults, Ste Agathe. Canadian (originally), American, Irish; Reel. Canada; Québec, New Brunswick, Prince Edward Island, Cape Breton. D Major. Standard tuning (fiddle). AB (Reiner & Anick, Silberberg): AABB (Begin, Brody, Cranford/Holland, Jarman, Mallinson, Martin & Hughes, Miller & Perron, O'Neill, Perlman, Sweet, Taylor): AA'BB' (Phillips).
|f_caption=In the evening we’d sit out there and look to the head of Booger Hole and my father used to sit there on that front porch - and like I said, he very seldom relaxed - but when he tuned that old 5-string banjo up, he’d play that banjo - it was so doggone lonesome that it was pitiful and you could hear it all over this country...
|f_source=[https://soundcloud.com/jdsaviator/st-annes-reel Soundcloud]  
|f_source=[https://open.spotify.com/track/1hKAZBfwChht04eHpiHKMB?si=dc4bced15cb64b2a Spotify]  
|f_pix=420  
|f_pix=420  
|f_picpix=200
|f_picpix=200
|f_article=[[St._Anne's_Reel | '''St. Anne's Reel''']]
|f_article=[[Biography:Wilson Douglas | '''Wilson Douglas''']]


was popularized by Radio and TV fiddler [[wikipedia:Don_Messer|Don Messer]] (printed under the title “Sainte Agathe” in his 1948 '''Way Down East''' collection<ref>Note that the reel was printed as "Sainte Agathe" in Messer's printed collections of music, but on Don Messer and His Islander's 78 RPM recording of the tune (Apex 26291) in 1950 the tune appeared on the label as "[[St. Anne's Reel]]."</ref>), and his version has been assimilated into several North American and British Isles traditions and remains a staple of fiddlers’ jam sessions. When asked to play a Canadian tune, for example, American fiddlers generally will play “St. Anne’s” first.  
...there’s so many things come into my mind. It was twelve miles from where I was raised over to Lorie Hicks’ where Ed Haley’d come to. He’d play until about twelve o’clock at night, and he got tired, he’d quit. I was really not conscious of coming back home. I’d ride a bike, had an old trap of a bicycle; and if a gang didn’t gather up to go in an old ’29 Model A Ford truck, we’d start walking, maybe somebody’d come along in an old car and pick us up. Or we’d start in time to walk it – Lord! It was twelve miles! And I’d come back home and I wasn’t really conscious of when I left and when I got there. I was just dazed with that fiddle.


It was in the repertoire of Cyril Stinnett, who epitomized the "North Missouri Hornpipe Style" of Mid-West fiddling, and the reel has become a part of the repertory of most Missouri fiddlers. Missouri 'received wisdom' is that Canadian tunes were learned from listening to Canadian radio broadcasts in the hey-day of the big AM band stations, which could be heard clearly in the northern part of the state, but whether "St. Anne's" was actually learned from broadcasts in unknown.  Alternatively, "St. Anne's" may have been brought back by contest fiddlers in the 1960’s who attended the renowned contests in Weiser, Idaho, and in Canada.  
And it was just like a dang carnival, you know. We just sat and never opened our mouth and, like I said, he’d scare them fellers, them fellers never tried to play. Doc White asked him one night, said, “Ed, how do you play them tunes without changing keys?” “Well,” he said, “Doc. I change them with my fingers!” He wasn’t being sarcastic with Doc, he liked Doc.


Rounder Record's Mark Wilson says its popularity in the United States dates from the 1950’s after it was recorded by Nashville fiddlers such as Tommy Jackson (whose influential playing was revered by fiddlers throughout the country). Perlman (1996) similarly states the tune entered Prince Edward Island tradition from radio broadcasts from Québec, but that it has become more elaborate (especially in western PEI) over the years to suit the rhythms of the local step-dancing.
Well, when he’d take a notion to go back to Kentucky, we’d beg him to stay another week. Doc White would say, “Now Ed, listen. They’s a gang of people coming from Roane County, you can make some money. Now, you stay another week.” Ed was bad to swear. Well, they’d talk him into it. Maybe he’d make four or five dollars a night.
}}


The earliest notational transcription of “St. Anne’s” appears to be in the Jarman collections of the 1930’s and 1940’s, where the arrangement is credited to fiddler John Burt with a copyright date of 1937.
X:0
}}
T:Arkanses Traveller [sic] [1]
M:2/4
L:1/8
S:William Sydney Mount manuscripts
N:Mount annotates his manuscript page with “Stony Brook (Long Island, New York)
N:August 22nd, (18)52” and “As played by P(?).J. Cook.” At the end of the first part is the
N:note “octave 2nd time,” meaning presumably that probably the first eight bars are to be  
N:played an octave higher as a variation when the whole tune is repeated, probably with
N:the two bar ending that Mount entered at the top of the page. Interestingly, Mount’s
N:manuscript predates the first known publication of the melody, in Buffalo, N.Y., by
N:Blodgett & Bradford in 1858, although the tune and the story of the traveler and the
N:country fiddler were known to be in circulation some two decades beforehand,  
N:stemming probably from plantation sources and then to the minstrel stage.
Z:Transcribed and annotated by Andrew Kuntz
K:D
V:1 clef=treble name="0."
[V:1] (D/E/)F/D/ B,B,/D/ | A,A,/B,/ DD | EE FF | D/E/F/D/ B,D |
(D/E/)F/D/ B,(B,/D/) | A,A,/B,/ DA | (d/c/)(d/A/) (B/d/)(A/G/) | (F/D/)(E/F/) D2 :|
|:(a/g/)f/a/ (g/f/)e/g/ | (f/e/)d/f/ (e/c/)A2 | d/d/d e/e/e | (f/e/)d/f/ e2 |
(a/g/)f/a/ (g/f/)e/g/ | (f/e/)d/f/ (e/c/)A | (d/c/)d/A/ (B/d/)A/G/ | (F/D/)E/F/ D2 :|]

Revision as of 19:42, 14 June 2024



In the evening we’d sit out there and look to the head of Booger Hole and my father used to sit there on that front porch - and like I said, he very seldom relaxed - but when he tuned that old 5-string banjo up, he’d play that banjo - it was so doggone lonesome that it was pitiful and you could hear it all over this country...
Wilson Douglas

Played by: Wilson Douglas
Source: Spotify
Image: Wilson Douglas: Rush Fork, Clay County, West Virginia 1922 - 1999.

Wilson Douglas

...there’s so many things come into my mind. It was twelve miles from where I was raised over to Lorie Hicks’ where Ed Haley’d come to. He’d play until about twelve o’clock at night, and he got tired, he’d quit. I was really not conscious of coming back home. I’d ride a bike, had an old trap of a bicycle; and if a gang didn’t gather up to go in an old ’29 Model A Ford truck, we’d start walking, maybe somebody’d come along in an old car and pick us up. Or we’d start in time to walk it – Lord! It was twelve miles! And I’d come back home and I wasn’t really conscious of when I left and when I got there. I was just dazed with that fiddle.

And it was just like a dang carnival, you know. We just sat and never opened our mouth and, like I said, he’d scare them fellers, them fellers never tried to play. Doc White asked him one night, said, “Ed, how do you play them tunes without changing keys?” “Well,” he said, “Doc. I change them with my fingers!” He wasn’t being sarcastic with Doc, he liked Doc.

Well, when he’d take a notion to go back to Kentucky, we’d beg him to stay another week. Doc White would say, “Now Ed, listen. They’s a gang of people coming from Roane County, you can make some money. Now, you stay another week.” Ed was bad to swear. Well, they’d talk him into it. Maybe he’d make four or five dollars a night.

...more at: Wilson Douglas - full notes




X:0 T:Arkanses Traveller [sic] [1] M:2/4 L:1/8 S:William Sydney Mount manuscripts N:Mount annotates his manuscript page with “Stony Brook (Long Island, New York) N:August 22nd, (18)52” and “As played by P(?).J. Cook.” At the end of the first part is the N:note “octave 2nd time,” meaning presumably that probably the first eight bars are to be N:played an octave higher as a variation when the whole tune is repeated, probably with N:the two bar ending that Mount entered at the top of the page. Interestingly, Mount’s N:manuscript predates the first known publication of the melody, in Buffalo, N.Y., by N:Blodgett & Bradford in 1858, although the tune and the story of the traveler and the N:country fiddler were known to be in circulation some two decades beforehand, N:stemming probably from plantation sources and then to the minstrel stage. Z:Transcribed and annotated by Andrew Kuntz K:D V:1 clef=treble name="0." [V:1] (D/E/)F/D/ B,B,/D/ | A,A,/B,/ DD | EE FF | D/E/F/D/ B,D | (D/E/)F/D/ B,(B,/D/) | A,A,/B,/ DA | (d/c/)(d/A/) (B/d/)(A/G/) | (F/D/)(E/F/) D2 :| |:(a/g/)f/a/ (g/f/)e/g/ | (f/e/)d/f/ (e/c/)A2 | d/d/d e/e/e | (f/e/)d/f/ e2 | (a/g/)f/a/ (g/f/)e/g/ | (f/e/)d/f/ (e/c/)A | (d/c/)d/A/ (B/d/)A/G/ | (F/D/)E/F/ D2 :|]

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