Annotation:Reel vielle essence

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X:1 T:Reel vieille essence M:2/2 L:1/8 B:J.A. Boucher – “Le Repertoire du Violoneux” (1933, No. 41, p. 24) B:“Le Repertoire du Violoneux” (Nouvelle édition 2018 par Jean Duval) [1] K:F c|fgaf gfec|defd cBAc|fgaf gfec|1 dfeg f2zc| fgaf gfec|defd cBAG|FEFG ABcc|dfeg f2z:| |2 dfeg fefg|afge fdec|defd cBAG|FEFG ABcc|dfeg f2z|| |:G|AFcA BGAF|GECE F2 zG|[M:1/2]ABcc|1[M:2/2]dfeg f2zG:|2dfeg fdcB|| |:AFcA dccB|AFcA BGGB|AFAc dBdf|1 eceg fdcB:|2 eceg f2z||

REEL VIELLE ESSENCE (Old Essence Reel). French-Canadian, Reel (cut time). F Major. Standard tuning (fiddle). AABB'CC'. Boucher researcher Jean Duval finds the reel is cognate with the Scottish "Lord Moira." Curiously, however, the first (and most distinctive) strain of "Lord Moira" is absent from Boucher's reel. Instead, Duval finds the second and third strains of the Scottish reel form the first and second strains of Boucher's tune. The title harkens to the several "Essence" tunes of the mid-19th century American minstrel-inspired variety stage repertory, vehicles for a type of early tap dance^[1]

↑ Tap dances, such as the "The Essence of Old Virginia" for example, were originally rapid and pigeon-toed dances performed on the minstrel stage. In the 1870s the speed of the dance was reduced by African-American minstrel Billy Kersands, who popularized the adaption. The Essence would later be refined by the Irish-American minstrel George Primrose into a graceful Soft Shoe, or Song-and-Dance, to become the most elegant style of tap dancing on the musical stage.

of the same name. Musically, however, Boucher's tune differs from the American essences.

Additional notes

Printed sources : - J.A. Boucher (Le Repertoire du Violoneux),1933; No. 41, p. 24.

See also listing at :
Jean Duval's 2018 edition of Boucher's 1933 Le Répertoire du Violoneux [2].

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↑ Tap dances, such as the "The Essence of Old Virginia" for example, were originally rapid and pigeon-toed dances performed on the minstrel stage. In the 1870s the speed of the dance was reduced by African-American minstrel Billy Kersands, who popularized the adaption. The Essence would later be refined by the Irish-American minstrel George Primrose into a graceful Soft Shoe, or Song-and-Dance, to become the most elegant style of tap dancing on the musical stage.

[1] Tap dances, such as the "The Essence of Old Virginia" for example, were originally rapid and pigeon-toed dances performed on the minstrel stage. In the 1870s the speed of the dance was reduced by African-American minstrel Billy Kersands, who popularized the adaption. The Essence would later be refined by the Irish-American minstrel George Primrose into a graceful Soft Shoe, or Song-and-Dance, to become the most elegant style of tap dancing on the musical stage.

[1]