Important note: If you are reading this in a word processor (e.g. Word, Pages, TextEdit), please scroll down past the file header and the horizontal line to the first “tune”. It’s labeled “X:1: and then “T:How to Use This Document”. It should tell you what you need to know to use this document productively without getting too confused. %abc-2.2 I:abc-charset utf-8 % File Header (including top two lines). This includes information to be used % in all the tunes (fonts, spacing, etc.) % Note: If you take the abc code for one tune and omit this Header, many things will look % very different. % A single percent sign makes everything after it a comment, not used by the software. % Two percent signs causes what’s after it to be a postscript command. % The following defines the fonts to be used in these tunes. %%font Palatino-Roman %%font Palatino-Bold %%font Palatino-Italic %%font Palatino-BoldItalic %%font Arial-bold %%font Cambria % Here we say how much space to use and other related stuff %%topspace .8in %%composerspace 0.4cm %%musicspace .4cm %%staffsep 50pt % Separation between staffs %%maxstaffsep 100pt % (minimum, maximum space allowed) %%scale 0.7 % Overall scale of tunes; smaller for a few tunes %%stretchlast 0.25 % Controls whether last staff is a full or partial line % Now we define which fonts are used for title, composer, chords, etc. %%titleleft 0 %%titlefont Palatino-Bold 20 %%composerfont Palatino-Italic 14 %%tempofont Palatino-Roman 14 %%gchordfont Palatino-Roman 14 %%partsfont Palatino-Italic 14 %%annotationfont Palatino-Roman 14 %%textfont Palatino-Roman 16 % Adds page numbers, defines labels to be used and which fields will print %%footer "$P" % Page number %%shiftunison 0 % One note head for unison drones %%infoname Z "Transcription: " % Defines what label is %%infoname S "Source: " % used for each field %%infoname D "Discography: " %%infoname N % Puts Notes at the end %%infoname N "Notes: " % Restores Label to Notes %%writefields P false %%writefields QSDZN % Which fields to print %%pdfmark 1 % Adds marker for each tune for creating tune list % Defines shortcuts for slides, trills U: s = !slide! U: t = !trill! % ________________________________________________________ X:1 T:How to Use The abc Documents K: %%begintext These tunes are written out in abc notation. This is a way of writing out music as plain text. It can be converted into standard musical notation, and can be played back as well by abc software which is generally free. Here are a few useful things to know about this abc file. 1. Right before this introduction is the file header, a set of commands that set up which font is used for which part of the tune, margins, spacing of tune elements, etc. It might look rather scary, but you can largely ignore it. 2. Important: if you copy one or a couple tunes to a new document, you should copy the file header too. If you don’t it will still work but will look different on screen or printed out. 3. After the file header are the tunes. Each tune contains a tune header, which tells the software the title, meter, key, etc. That is followed by the tune body, which contains the code for the music itself. 4. To use an abc document, just open it in abc software, or paste the contents of the file into a web-based abc reader (see below), and the software will do the rest. If you change the file extension from txt to abc, you can double-click to open it in the abc software. Your computer may give you scary messages about changing the extension. Just ignore them; in this case it’s completely safe. Here are a few links you may find useful. The abc Notation Home Page . Lots of information and links to free abc software. EasyABC. Widely used abc software, available for Mac, Windows, Linux. Go to for lots of information about it from the person who originally wrote it. Go to for the latest version. abcConverter. A web site that lets you paste in abc code and converts it to sheet music or to a playable midi file. Use this if you don’t want to bother with abc software. JC’s ABC Tune Finder. . John Chambers’ tune finder lets you search for abc tunes; it includes nearly all abc tunes on the internet. If the link doesn’t work, try . %%endtext %%newpage % ________________________________________________________ X:210 T:Happy Acres Two Step S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. D:Don Messer and His Islanders. The Down East Dance Music of Don Messer and His Islanders, D:Apex LA-1637, 1965. As YouTube video, . C:Cecil "Cec" McEachern (PEI, ca. 1926–2014). N:Simon played it in the AAB sequence, as did Marcel Robidas (Dover, NH) and other Canadian fiddlers. N:Shortly after composing it, Cec McEachern played it without repeats on the Don Messer recording listed above. Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. M:2/4 L:1/8 K:D ((3A/B/c/ d)f |\ "D" a2a>(a | "D" b)a fd | "D" F3A | "D" d/c/B/A/ G/F/E/D/ |\ "A7" C2-C/(D/E/)F/ | "A7" G2F>G | "D" B(A/B/ A)G | "D" A ((3A/B/c/ d)f | "D" a2a>(a | "D" b)a fd | "D" F3A | "D" d/c/B/A/ G/F/E/D/ |\ "A7" C2-C/(D/E/)F/ | "A7" GA B/B/c | "D" d2d>e |1 "D" d :|2 "D" d>(d || K:A c)d |\ "A" e ((3a/g/a/ e)c | "A" E>F tED | "A" CE A/A/c | "A" e>c tBA |\ "E7" G>(A B)c | "E7" d>(d c)d | "A" ((3f/g/f/ e/)f/ ed | "A" [ec]2 [ec]>(d | "A" e) ((3a/g/a/ e)c | "A" E>F t(ED) | "A" CE Ac | "A" e>(c tB)A |\ "E7" G>A Bc | "E7" de fg | "A" a2a>(b | "A" a) || %%vskip 25 K:D "^Ending - after a second A part"(d/B/) |\ A/G/F/E/ D[Fd]/[Fd]/ | [Fd] |] X:220 T:Quebec Reel S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. D:Graham Townsend. Salutes Canada's Centennial, Banff RBS 1258, 1967. D:Same, as YouTube video, . Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. M:4/4 L:1/8 K:D (AG) |\ "D" FAdA FAdf | "G" e2 .[BG]2!accent!.[GB]2z>d | "A7" ((3cdc) cA (cB)AG | "D" (FA)AB A2 AG | "D" FAdA FAdf | "G" e2 .[BG]2!accent!.[GB]2z>(d | "A7" [ec]2)cB (Ac)ec | "D" (d[df])[df][df] [df]2 :| |: b2 |\ "D" a2fd Adfa | "G" (gf)ga gggg | "A7" {b}a2ec (Ac)ec | "D" (dcd)f a2b2 | "D" aAfd Adfa | "G" ((3agf) ga g2gg | "A7" (b, at 3:54. D:Simon St. Pierre. Field Recorders' Collective, FRC206, 2006. “Unnamed”, track 30. D:Andy De Jarlis. Tribute To Jim Magill, London Records GA.1001, 1965. C:Jim Magill (Ireland 1902 – Ontario 1954). N:Sequence: AAB; end on A-part. Each A part is 16 measures, or double length. Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. M:6/8 L:1/8 K:G ef |:\ "G" ggg ged | "G" BGG GAB | "C" cdc {c}tB2A | "A7" EEE E2 (e/g/ | "D7" f)ff fed | "D7" fff tf2e | "D7" ddd ded | "G" B3 Bcd | "G" ggg ged | "G" BGG GAB | "C" cdc {c}tB2A | "A7" EEE E2 (e/g/ | "D7" f)ff fed | "D7" fff tf2e | "D7" ddd def |1 "G" gag g2 (e/f/):|2 "G" gag g2 || |:((3D/E/F/ |\ "G" G2)G GDB, | "G" GDB, GDB, | "G" G2G GAB | "C" cdc {c}tB2A | "D7" F2F FED | "D7" FED FED | "D7" FAB {c}tB2A | "G" G2G G2 :| X:250 %%scale .65 T:Bow on the String T:Bowing the Strings (Ned Landry's title) S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. C:Ned Landry (New Brunswick, born 1921). N:Only repeat A part the very first time you play the tune. N:The way he plays it here is fairly crooked, as you may have noticed. Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. M:4/4 L:1/8 K:A "A" s e2ee s e2ee & e2ee e2ee | "A" s e2 x6 & e2e=g (fe)cA |\ "D" s A2AA s A2AA & s A2AA s A2AA |"D" s A2Ac (BA)FA & A2 x6 | [M:2/4] "A" E3A |[M:4/4] "A" c2cc {Bc}B2A2 | "E7" G2BG GBGG | "E7" cGGB GGB(B | "A" s e2)ee s e2ee & e2ee e2ee | "A" s e2 x6 & e2e=g (fe)cA |\ "D" s A2AA s A2AA & s A2AA s A2AA | "D" s A2Ac (BA)FA & A2 x6 | [M:2/4] "A" E3A | [M:4/4] "E7" c2B2 GBGB | "A" A2(e^g) fecB |1 "A" !0!A2!0!A!0!A !0!A2z2 :|2 "A" A2AA "A7" A2 (Bc || "D" d2)fd dfdd | "D" addf ddfd | "A" ccec cecc | "A" fcce ccec | "B7" ^ddfd dfdd | "B7" b^ddf dd[fd]([fd] | "E7" e2)eg begb | [M:6/4]"E7" egbe gbeg bee(c | "A" [M:4/4]s e2)ee s e2ee & e2ee e2ee | "A" s e2 x6 & e2e=g (fe)cA |\ "D" s A2AA s AAAA & s A2AA s AAAA | "D" s A2Ac (BA)FA & A2 x6 | [M:2/4] "A" E3A | [M:4/4] "E7" c2B2 GBGB | "A" A2(e^g) fecB | "A" A2AA A2 |] %%vskip 25 "^Introduction"[eA]2[eA][eA] [eA]2[eA][eA] | [eA]2[eA][eA] [eA]2[eA][eA] || y60 ||\ "^Variation, B part mm. 1-2"f2af faff | d'ffa ffaf || y60 || [M:6/4]"^Ending" fece Acec [ca]2z2 |] X:260 %%scale .57 %%topspace .65in T:Roseanna Waltz T:Roxanna Waltz (Baker’s original title) S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. D:Kenny Baker. Master Fiddler,County Records 2705, 1993. As YouTube D:video, . Originally recorded 1972. C:Kenny Baker (Kentucky, 1926–2011). N:Play with a slightly dotted rhythm. The weighting and duration of Simon’s notes are uneven, usually N:somewhere between a dotted and a triplet rhythm. Listening to a recording of him playing the tune will be N:the most helpful. You can download a recording at http://www.mainefiddlecamp.org/roseanna-waltz/. Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. M:3/4 L:1/8 K:C E>G |: "C" c3(c d){cd}c | "E" B3(B c){Bc}B | "F" (&A3 &A3 &)[] G EC | "C" G,4 ((3A,B,C) |\ "F" [A,F]4 ((3A,B,C) | "G7" E4{EF}E>D | "C" C2E2 A>E | "G7" G3 G A>B | "C" c3(c d){cd}c | "E" B3(B c){Bc}B | "F" (&A3 &A3 &)[] G EC | "C" G,4 ((3A,B,C) |\ "F" A,4 ((3A,B,C) | "G" E4{EF}E>D | "C" C3D tC>=B, | "C7" _B,4C2 || "F" [A,F]3C F_E |\ "D7" D3D ^FG | "C" c3(c d){cd}c | "E" B3(B c){Bc}B | "F" (&A3 &A3 &)[] G EC | "C" G,4 ((3A,B,C) |\ "F" [A,F]4 ((3A,B,C) | "G7" E4{EF}E>D | "C" C4-{CDCD}C>D | "C" C3 C E>G :| %%vskip 15 "^Ending (replaces last 2 mm. final B)" C2(3ECE (3GEG | [Ec]4 |] X:261 %%scale .57 %%topspace .65in T:Roseanna Waltz (core version) T:Roxanna Waltz (Baker’s original title) S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. % D:Kenny Baker. Master Fiddler,County Records 2705, 1993. As YouTube % D:video, . Originally recorded 1972. C:Kenny Baker (Kentucky, 1926–2011). N:Play with a slightly dotted rhythm. The weighting and duration of Simon’s notes are uneven, usually N:somewhere between a dotted and a triplet rhythm. Listening to a recording of him playing the tune will be N:the most helpful. You can download a recording at http://www.mainefiddlecamp.org/roseanna-waltz/. Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. M:3/4 L:1/8 K:C E>G |: "C" c3c dc | "E" B3B cB | "F" A3G EC | "C" G,4 ((3A,B,C) |\ "F" A,4 ((3A,B,C) | "G7" E4ED | "C" C2E2 AE | "G7" G3 G A>B | "C" c3c dc | "E" B3B cB | "F" A3G EC | "C" G,4 ((3A,B,C) |\ "F" A,4 ((3A,B,C) | "G" E4ED | "C" C3D C=B, | "C7" _B,4C2 || "F" A,3C FA | "F" d3c Bc | "C" G3A GE | "C" G4 E2 |\ "D7" D3D ^FA | "D7" d3c dc | "G7" B3B c^c | "G7" d3F EG | "C" c3c dc | "E" B3B cB | "F" A3G EC | "C" G,4 ((3A,B,C) |\ "F" A,4 ((3A,B,C) | "G7" E4ED | "C" C4C2 | "C" C4 :| "^Ending (replaces last 2 mm. final B)" C2 E2 G2 | c4 |] X:270 %%annotationfont Cambria 16 T:Running Water C:Graham Townsend (Ontario, 1942–1998) S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. D:Don Messer. The Everlasting Don Messer and His Islanders, MCA 17008, 1970. As YouTube D:video, < https://youtu.be/XJe9-WMTmzc>. D:Graham Townsend. North American Fiddle Champion …, Arc Records AS 817. Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. N:Simon played the G natural on the E string a bit sharp much of the time. In the B part he played them N:closer to G# than to G natural. These notes are indicated by up arrows. %%annotationfont Palatino-Roman 14 M:4/4 L:1/8 K:G D(C |\ "G" B,G,)B,D GFGB | "G" edce dBGB | "D7" {Bc}BAFD ^CDEF | "G" GABG DED(=C | "G" B,G,)B,D GFGB | "G" edce dBGB | "D7" {c}BAFD ^CDEF | "G" GBAF G2 :| |: z2 |\ "Em" [Be]3[Be] [Be]2 (ef | "Em" "^↑"g)fe"^↑"g feB2 | "Em" [Be]4 ef"^↑"ge | "D" f2B2 "Em" e2z2 | "Em" [Be]3[Be] BB (ef | "Em" "^↑"g)fe"^↑"g fed2 | "D7" Adfe dc(Bd) | "D7" cAFA "G" G2 :| %%vskip 25 "^Ending, gradually quieter" |: E2EE E2E2 |E2EE E2E2 |E2EE E2E2 |E2EE E2E2 :| X:280 %%scale .6 T:Flannagan’s Polka S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. N:The last measure is three full beats because of the three note pickup at the top of the tune. N:This tune could have been written in 4/4 time with double-length measures. It is noted here in 2/4 N:because dancers and dance musicians expect each measure to be one polka step and two measures to be N:the length of a balance. M:2/4 L:1/8 K:C g ^f=f |:\ "C"e2 & e2 [] G2- | "C" Gc- c/B/c | "F" d2A2- | "F" A>(B c/)c/Bc | "G7" a2B2- | "G7" B(g^f)g | "C" c'e g2- | "C" gg^f=f | "C" e2G2- | "C" Gc>Bc | "F" d2A2- | "F" A>(B c/)c/B/c/ | "G7" b2a2 | "G7" {^f}ggAB |1 "C" [Ec]2[Ec]>[Ec] | "C" {[Ed]}[Ec] g ^f=f :|2\ "C" cc/A/ G/(F/E/D/) | [M:3/4] "C" C/C/E/G/ !fine!cz "G" B>c || [M:2/4][L:1/16 ][K:G] |: "G" ddBd g2(ge) | "G" ddB(G DG)Bd | "D7" (cB)AG FDEF | "D7" GABc d2(Bc) | "G" ddBd g2(ge) | "G" ddB(G DG)Bd |1 "D7" (cB)AG FDEF | "G" (G[GB])[GB][GB] [GB]2 (Bc):|2\ "D7" cB)AG FDEF |[M:3/4] "G" (G[GB])[GB][GB] [GB]2 |][K:C] X:281 %%scale .6 T:Flannagan Polka (core version) S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. N:The last measure is three full beats because of the three note pickup at the top of the tune. N:This tune could have been written in 4/4 time with double-length measures. It is noted here in 2/4 N:because dancers and dance musicians expect each measure to be one polka step and two measures to be N:the length of a balance. L:1/8 K:C g ^f=f |:\ "C"e2 [] G2- | "C" Gc Bc | "F" d2A2- | "F" Ac Bc | "G7" a2B2- | "G7" Bg^fg | "C" c'e g2- | "C" gg ^f=f | "C" e2G2- | "C" Gc Bc | "F" d2A2- | "F" Ac Bc | "G7" b2a2 | "G7" ggAB |1 "C" c2cc | "C" cg ^f=f :|2\ "C" cc GE | [M:3/4] "C" CE/G/ !fine!cz "G" B>c || [M:2/4][L:1/16 ][K:G] |: "G" d2Bd g2ge | "G" ddBG DGBd | "D7" cBAG FDEF | "D7" GABc d2(Bc) | "G" d2Bd g2ge | "G" d2BG DGBd |1 "D7" cBAG FDEF | "G" G2BB B2c2:|2\ "D7" cBAG FDEF |[M:3/4] "G" G2BB B2 |][K:C] X:290 T:Montreal Reel S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. D:Don Messer. Don Messer & His Islanders - 4, Apex AL 1611, 1949. D:Andy De Jarlis and His Early Settlers. Swing Your Partners, London Records EBX 4174, 1972. As D:YouTube video, . Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. M:4/4 L:1/8 K:G (GE |\ "G" D2)D2G2B2 | "G" d4-d(d ^cd) | "G" e2d2 B2G2 | "D7" [FA]4-[FA]G FE |\ "D7" D2D2 FFA2 | "D7" e4-ee de | "D7" {fg}f2e2 d2F2 |1 "G" G6 :|2 "G" G4G2 || |: (ef) |\ "G" ggga g2 ((3fgf) | "Em;G" edef e2d2 | "C" cccd c2(B/c/B) | "A7" A4-Ae fg |\ "D7" a2ab aag2 | "D7" f3(g f/g/f)e2 | "D7" dd^cd e2f2 | "G" g4 g2 :| %%vskip 25 "^Ending: play after 2nd A part"AB | cdef gedc | BB [GB]2!accent![GB]2 |] X:300 %%annotationfont Cambria 16 T:Black Velvet Waltz S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. C:Rossie Mann (Ontario, dates unknown) Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. N:Anne Lederman: "Rossie Mann was one of the original fiddlers on the long-running N:country radio/variety show from Wingham Ontario called the CKNX Barn Dance." N:In the B part note the three EF sequences in which Simon plays the F quite sharp. N:In the 3rd m. from the end of each part, beat 3 is longer (see example, bottom line). N:The top line of chords are alternative chords that are often played although not on this recording. %%annotationfont Palatino-Roman 14 M:3/4 L:1/8 K:C G, A,B,|\ "C" C3 (B, C)E | "C7;C" G2 E2 C2| "F" F3 (E F)A | "F" c2 tB2 A2|\ "C" C3(B, C)E | "Am;C" G2 F2 tE2 | "D7;G7" D3 E DC| "G7" B,3 G, A,B,| "C" C3 (B, C)E | "C7;C" G2 E2 C2| "F" F3 (E F)A | "F" c2 tB2 A2|\ "C" G3(^F G)B| "G7" d2 A2 B2 | "C" [c3E2] B cd|1 "C" c3 :|2 "C" {cd}c2 || |: e2 "^↑"f2 |\ "C" g3^f ga | "C7;C" g2 e2 d2| "F" {cd}c3c c>(d| "F" c/d/c) e2 "^↑"f2 |\ "C" g3 ^f ga | "Am;C" {ga}g2 t=f2 e2| "D7;G7" g4-g>(a | "G7" g/a/g) e2 "^↑"f2| "C" g3^f ga | "C7;C" {ga}g2 e2 d2| "F" {cd}c3c c>(d| "F" c/d/c) (B/c/B A2) |\ "C" G2 G^F GB| "G7" d2 A2 B2 | "C" [c3E2] B cd | "C" c2 :| %%vskip 25 "^Ending (replaces last 2 mm.)" c2G2E2 | C4 |] y60 ||\ "^Rhythm, mm. 14, 48" d2 (3:2:3A-AB-B2 || X:310 T:Frenchie's Reel S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. C:Ward Allen (Ontario 1924-1965) & Mel Lavigne (Ontario, 1919–1994). Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. N:Although the tune was written in Bb, Simon played it in F. N:He also dropped two beats (4/4 to 2/4) from the eighth measure of the B part. M:4/4 L:1/8 K:F cB |\ "F" Acfg afc(B | "F" Ac)fg (af)(gf) | "C7" ecgc bcg(c | "C7" Ac)gc bcg(c | "F" Ac)fg afc(B | "F" Ac)fg (af)(gf) | "C7" ecgc bgeg | "F" ((3fgf) eg f2 :| cB |\ "F" A2 ff cf(Ac) | "F" f(Ac)f (Ac)fc | "Bb" B2ff dfBd | "Bb" fBdf Bdf(d | "C7" c2)gg egce | "C7" ggeg ceg(b | "C7" a)geg (fe)fg | [M:2/4] "F" f2 cB || [M:4/4] "F" A2 ff cf(Ac) | "F" ffcf (Ac)fc | "Bb" B2ff df(Bd) | "Bb" f(Bd)f (Bd)fd | "C7" ccgg egce | "C7" ggeg ceg(b | "C7" ag)eg fefg | [M:2/4] "F" f2 |] X:320 T:Growling Old Man and Old Woman S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. N:Simon plays the A part differently than most modern contradance fiddlers do, although other N:Canadian fiddlers play it this way too. Simon plays it with C sharps rather than the usual C natural. N:The B part is mostly in A mixolydian (G natural instead of G sharp). N:The Em chord in the B part is often used instead of the G although it wasn't used on this recording. M:4/4 L:1/8 K:Am ((3B,A,G, |\ "A" A,2)^CE AECE | "G" G,2B,D GDB,D | "A" A,2^CE AECE | "G" DDB,G, "A" A,2 {B,}A,G, | "A" A,2)^CE AECE | "G" G,2B,D GDB,D | "A" A,2^CE AECE | "G" DDB,G, "A" A,2 :| [K:Amix]|: ee |\ "A" (ef)ed (cd)ef | "G" (ge)d=c (BG)GB | "A" (ef)ed (cA)cd | "Em;G" (ea)a^g "A" a2 ef | "A" (gf)ed (cd)ef | "G" (ge)d=c (BG)GA | "Am" (BG)AF (GF)GE | "G" (D=C)B,G, "Am" A,2 :|[K:Am] X:330 T:Home Sweet Home Reel T:Quadrille de chez nous T:Also known as Reel de Tadoussac, Glise de Sherbrooke, La Grande Chaine S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. D:Joseph Alllard. "Quadrille de chez-nous", Victor, "His Master's Voice" 263514-B (78 RPM D:record), 1928. As YouTube video, . Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. N:The C chords listed as alternates aren't used on this recording. They were used with this tune by N:Joseph Allard on his 1928 recording (see above) and by many other Canadian and New England musicians N:since. The tune is based on the song "Home, Sweet Home" written by Sir Henry Bishop (1823) for the N:opera "Clari, or the Maid of Milan". The opera and the song's words were written by John Howard Payne. M:4/4 L:1/8 K:G DG |\ "G" B2BB (cB)ce| "C;G" d2dc (BG)Bd| "D7" (cd)cB AAFA| "G" (de)dc (BG)(DG)| "G" B2BB (cB)ce| "C;G" d2dc (BG)Bd| "D7" (cd)cB AAFA| "G" (G[GB])[GB][GB] [GB]2:| |:(ef) |\ "C;G" g2gf (ef)ge| "G" d2dc (BG)Bd| "D7" (cd)cB AAFA|( "G" de)dc (BG)(Dd)| "C;G" g2gf (ef)ge| "G" d2dc (BG)Bd|"D7" (cd)cB AAFA| "G" G2[GB][GB] [GB]2:|\ %%vskip 25 "^Ending (replaces last m.)"GGAB cdef | [Bg]2 |] X:340 T:Antiquite #2 S:As played by Simon St. Pierre and the Kennebec Valley Boys. The Woods of Maine, Revonah RS 920, 1975. D:Gérard Joyal. Ti-Noir, London SDS 5041, as “Le reel Antiquité no. 1” Z:Melody, chords and lots of careful editing by Emeline Dehn-Reynolds and Peter Yarensky. N:This is basically Paddy on the Turnpike, except the last beat of each part is dropped. N:Simon accompanied himself with his feet; there is no chord accompaniment on the record. N:"They call it "Antiquite No. 2"... Oh, they start, oh, early in the 1800s, you know... N:People up in Canada, they was real poor. And they did no have no guitar that time, N:so... No piano, no money to buy piano neither. And they was crazy about that N:fiddle music! You know everybody was play the fiddle. So, they play the fiddle N:and they find out the ways, you know, to chord with that. So they use the feet. N:It's the only thing they have for square dance, you know." -Simon St. Pierre, 1973 M:4/4 L:1/8 K:G "G" DFGG G2 GG | "G" (BG)dG eGdG | "F" (DE)=FG FEFc | "F" A=FcF dFcF | "G" (D=F)GG (G^F)GA | "G" (BA)Bc defg | ("D7" fe)dB cBAc | [M:2/4]"G" BG G2 :| M:4/4 |: "G" g2dg Bgdg | "G" ggbg (ag)eg | "F" =ffc(f Ac)fg | "F" =ffaf g(fef) | "G" ggdg Bgdg | "G" ggbg agef | "D7" gedc BdAd | [M:2/4]"G" (BG) [GB]2 :| %%vskip 25 "^Ending (after one A part, replaces last 2 mm.)"\ (fe)dB cBAB | BGGG BG !accent![GB]2 |]