A|:d2 d f2 f a2 a f2 d|g2 e f2 d cde ABc|
d2 d f2 f a2 a f2 d|g2 e f2 d cBA d2 A:|
|:F2 A E2 A F2 A d2 c|B2 d A2 d G2 e cBA|
F2 A E2 A F2 A d2 c|Bcd ABc d3 d2 A:|
|:f2 e d2 c B2 A G2 F|G2 A B2 e dcB A2 A|
f2 e d2 c B2 A G2 F|1 G2 B A2 F GFE D2 A:|2 G2 B A2 F GFE D3||
Jig in D. The choppy, single-stroke bowing of the A- and B-parts contrasts with the flowing slurs given here in some of the C-part. From the manuscripts of John Clare (1793-1864). ‘Bang Up’ was a catchphrase of the early 19th century, meaning ‘excellent’, or ‘smashing’; I came across it in a book by George Borrow, ‘Lavengro’ (1851) or ‘The Romany Rye’ (1857), but didn’t mark the quote - please send an email if you find it. You might like this fiddle-related Borrow snip, though:
‘On the following day there was much feasting amongst the Romany chals of Mr Petulengro’s party. Throughout the forenoon the Romany chies did scarcely anything but cook flesh, and the flesh they cooked was swine’s flesh…I did not, like the others, partake of the pork, but got my dinner entirely off the body of a squirrel which had been shot the day before by a chal of the name of Piramus, who, besides being a good shot, was celebrated for his skill in playing on the fiddle. During the dinner a horn filled with ale passed frequently round, I drank of it more than once, and felt inspirited by the draughts. The repast concluded, Sylvester and his children departed to their tent…I was about to fall asleep also, when I heard the sound of music and song. Piramus was playing on the fiddle, whilst Mrs Chikno, who had a voice of her own, was singing in tones sharp enough, but of great power, a gipsy song, Poisoning The Porker.’
- George Borrow, The Romany Rye, Chapter 7
…there are too many tunes in the database already which have no explanation, no description of where the tune came from, and too many tunes taken wholesale from books or other people’s sites. It’s my opinion that you can be better than that, because you’re interested in tunes, like I am. Like a few people here are. If you post a tune, do ME a favour and tell me where your transcription came from. A great number of people will say it doesn’t matter - and maybe they’re right - but it matters to me. I like to know if a tune comes from a record, and maybe on the liner notes it’ll say where the artist learned it from, and who and why and where. It adds to our knowledge of how tunes are spread. I know, for example, how "Campbell’s Farewell to Redcastle" became popular in the U.S. and I can pinpoint the year it happened. That’s important to me, and actually forms the basis of one of my life’s passions. Come into the fold, Edgar - be brilliant!
I knew that last gin wasn’t a good idea. 🙂
Source and the appearance of comments
I got this tune from a local fiddler friend who I have known for about five years and with whom I play every year at an event in Cumbria (just passed so I am trying to capture versions of some of the material I don’t already have in my own collection). These tunes don’t always come with a "full service history" and I guess in similar vein to master-pupil transfer in the aural tradition, the information on origins is only as good as the last passing on (and sometimes in The Tradition not even the name appears to get passed on). The tune appears currently to be regarded by some as "Cumbrian" which I cannot corroborate further (and have floated a separate Discussion about recently).
It’s a weird phenomenon, but sometimes when I post a tune with a brief comment, no further comments are added, but when I leave a tune for a couple of days or less without a note, lots of comments appear, including comments asking for comments. 🙂 I’m really grateful for the backgroud provided linking to John Clare etc. which I did not know up until now. I do regard the history of a tune as an integral part of it - I think I added a similar comment on this site in respect of LE McCullough’s whistle tunebook once, and one of my favourite tunebooks is Mel Bay’s Complete irish Fiddle Player by Pete Cooper as much for the background and photos as for the tunes themselves, although I do like his versions. This imagery can be distorted, however: When I first heard the tune Chief O’Neill’s Favourite (which is in turn one of my favourite tunes) I formed the impression that the title must refer to one of the old clans and I was mentally aligning it with the Battle of Aughrim and some of the old clan marches in some misty image of medieval Ireland. Imagine my surprise when I discovered the title referred to an Irish American Chief of Police - after some mental discomfort i have adjusted the imagery, but it’s not quite the same anymore.
It’s a shame that when you search for a tune name on the site it does not scan the tunes listed in recordings. So it’s only when I posted this that the link to Peter Cooper’s recording came up linked by title. This would have allowed me to track back to Peter Cooper’s website and find some additional background
Nigel’s Last Gin would make an excellent name for a tune someday should I ever compose one! I got this from notation written out by my friend…before that..??
Ana Crusis would make an excellent name for a tune someday should I ever compose one! In terms of music theory - you are probably right - I gave up "classical" exams etc several decades ago and theory was my least favourite part - I might enjoy it ore these days but I’m not rushing to find out. I have my own particular way of setting ABCs - I have noticed there are quite a lot of variations used by people for setting ABC. I like to close the tune with the right number of note lengths - It’s probably theoretically wrong but I seem compelled to do it
The lead in A note (or ‘anacrusis’ ?*?) is often followed by a regular barline by many people ( A | d2….etc ) but I like to put the ‘open repeat’ in my ABC’s so set as follows A |:d2…etc In this particular tune an A is used in similar fashion leading into all of the three parts so I represent this through…A :| in the endings of preceding parts - otherwise I would distinguish using |1… :|2… ||. Because when I stop the tune I would hold for D3 D3 (and not ‘borrow back’ to D3 D2) that is why I personally write out the end in that particular way. If I was wrting out a set I might do D3 D2 lead in note for next tune……to instead
Finally just ot point out that I set this as a slide although it is described to me as a Jig (and my source was in 6/8). It sounded much more like a slide to me - but maybe that’s not relevent if it’s not Irish (like Scottish 9/8 tunes aren’t supposed to called Slip Jigs…)
Enough comments yet? 🙂
Thanks for that, and in the cold light of morning, I do apologise for my wagging finger.
Anacrusis, as you rightly surmised, is the Sunday name for "lead-in" notes, or "pick-up" notes. In folk music collections, there are conventions which are at odds with classical music. For example, a classical musician would expect a start repeat mark at the beginning of every B part of a tune - folk musicians understand that it’s taken for granted. Usually tunes are played more than once, which is why we’d normally follow the convention that if an anacrusis is used, the end of the tune reflects that, so that you’d include the lead-in notes at the beginning of the repeat.
Having said that, we’re more forgiving and more adaptable, so it’s not the biggest deal in the world.
G & T & more comment ~ wandering off the pavement and into the trees… 😉
Who’s forgiving? 😀 But it does make a certain sense, all else aside, for a tune to finish on its tonic, where that can and does happen, or where it hangs on the dominant, etc…
But now to more important subjects, gin, and there are some damned nice ones being made nowadays, and lovely straight up. However, my wife loves Gin & Tonic, and it has to be good on both sides of that, not rubbing alcohol, and none of that awful tonic with artificial sweeteners, YUCK! And how do we prepare it, well, fresh squeezed lime juice is another must, and we’ve stumbled into a great result in experimenting when we had too many tangerines around. They were peeled, and then cut in half, and then the half segments, dripping, were separated and put into a glass, then the lime juice, then the gin, then the tonic. All cold. AND, if you’ve a freezer that will allow it, keep your gin for such things there.
Now, ice and alcohol, and this one from my da who spent some time in Antarctica. It seems som fool folk kept their brew outside in the snow. While it didn’t freeze, being a high alcohol content, the story goes that when one of them tipped it back ~ as it went down its temperature caused things it touched to freeze and his heart stopped, he died. Whether or not that’s an old wives tale or not, or an old sailor’s, who knows for sure. I’d bet there’s something on the Internet to say one way or t’other.
It’s a ‘bang up’ brew…
A single jig ~ which in its nature fits well here…
P.S. you’ve an extra bar line here ~ | Bcd ABc | d3 d2 A :|
"Bang Up" ~ low down 😎
T: Bang Up
R: single jig
|: D |\
G2 G B2 B d2 d B2 G | c2 A B2 G FGA DEF |
GDG BGB ded BG/A/B | c2 A BAG FED G2 :|
|: D |\
[B,2B2] D [A,2A2] [Dd] [B,2B2] D G2 F | E2 G D2 G [C2c2] A FED |
[B,2B2] D [A,2A2] [Dd] [B,2B2] D G2 F | E2 G D2 G FEF G2 :|
|: A |\
B2 A G2 F E2 D [C2c2] [B,B] | [C2c2] [Dd] E2 A GFE D2 c |
B2 A G2 F E2 D [C2c2] [B,B] | [C2c2] [Ee] [D2d2] [B,G] [CF][B,E][A,F] [G,2G2] :|
Given also are options for the D-limited instrument…
There is a hornpipe with the same name on the CD ‘Hampshire Dance Tunes’ which is a collection of recordings from the Pyle family manuscript (1822). The liner notes say it is also published in Townsend "1st Collection of English Country Dances".