La Russe polka

I’ve stumbled across this one in several places, geographically and put to various dance purposes… It is sometimes also notated as 4/4. This notation is taken from recordings of melodeon player Bob Cann. Hopefully other transcriptions, for comparison, will collect here and I will try to remember to return with at least one other offering some other possibilities…

I was sure I had at least one recording of it somewhere on file as played in Ireland, having come across it in the North/Ulster, and elsewhere around that isle. I’ll keep looking…

It was also played in Cymru / Wales…

Harry Bradley and Teada recorded a similar tune. I’m not sure whether they play it as a polka or a march.

Slainte ~ Harry eh, I’d love to see a transcription of that, and from Teada. Which albums?

This melody/dance did the rounds. I’d also be interested in what alternate names Harry and Teada had for this, as well as their take and style on it…

I’ve got a good name for it. It’s spelled “D-A-G”.

This daggy tune is often used in Dashing White sets.

Right you are Donald, nor does it end there…

I see the DAG King has made comment too… 😎

As always, it’s never the fault of the tune, it’s who’s drivin’ it…

I actually quite like this tune. It’s probably the key change, especially going back to G for the A part.

Though I wouldn’t play it as presented here - it’s got too many sixteenth notes which tends to mask the inherent melodic rhythm.

It’s a transcription of someone else’s playing of it. I was hoping others would offer their take on it here in the comments, and I’ve other transcriptions I may also add…

What would the world be without DAG tunes to balance things out, eh?

Come on Donald, give us a transcription, and Slainte. I’ll match you with another if you do… 😉

The transcription above was minimal, just some of the melodic treatment, just notes and minus any other twiddles and points of well chosen short silences…

That said, the version of the A-part given is pretty typical, including those sixteenth notes. As said, some transcribe this as 4/4, which would make those 1/8 notes…

X: 1
T: La Russe
M: 4/4
L: 1/8
R: polka
K: Gmaj
G2 |:
G2 BB B2 dd | d2 g2 g2 fg | a2 g2 e2 c2 | e2 d2 dcBA |
G2 BB B2 dd | d2 g2 g2 fg | e2 d2 d2 F2 |[1 A2 G2 G4 :|[2 A2 G2 G3 B ||
K: Dmaj
|: A2 d2 ddcB | A2 a2 aaff | g2 f2 ggee | ffec ddcB |
A2 d2 d2 cB | A2 a2 a2 f2 | g2 f2 g2 e2 |[1 d4 d2 cB :|[2 d4 F4 |]

& slightly simplified ~

X: 2
T: La Russe
M: 2/4
L: 1/8
R: polka
K: Gmaj
|: GB/B/ Bd/d/ | dg gf/g/ | ag ec | ed d/c/B/A/ |
GB/B/ Bd/d/ | dg gf/g/ | ed dF | AG G2 :|
K: Dmaj
|: Ad dc/B/ | Aa af | g>f ge | f/g/a/g/ f/e/d/B/ |
Ad/d/ dc/B/ | Aa af | g>f ge | d4 :|

Sorry, c, was away doing the housework!
I would normally expect to hear something like:

X: 3
T: La Russe
M: 2/4
L: 1/8
K: G
G/G/| GB Bd | dg gf/g/ | ag ec | ed d/c/B/A/ |
GB Bd | dg gf/g/ | ed dF |[1 AG GG/G/ :|[2 AG GA |
|: Ad dB | Aa af | g3/2f/ fe|e | f/g/a/g/ f/e |
Ad dB | Aa af | g3/2f/ fe |[1 d2 dA:|[2 d2 d/c/B/A ||

wich is just like X: 2 above.

Sorry. Complete mess. Should have read:

X: 3
T: La Russe
M: 2/4
L: 1/8
K: G
G/G/ |: GB Bd | dg gf/g/ | ag ec | ed d/c/B/A/ |
GB Bd | dg gf/g/ | ed dF |[1 AG GG/G/ :|[2 AG GA |
|: Ad dB | Aa af | g3/2f/ ge | f/g/a/g/ fA |
Ad dB | Aa af | g3/2f/ "g|[1 d2 dA :|[2 d3/2e/ d/c/B/A/ ||

or even:
X: 34
T: La Russe
M: 2/4
L: 1/8
Q: 1/4=120
K: G
G/G/ |: GB Bd | dg gf/g/ | ag ec | ed d/c/B/A/ |
GB Bd | dg gf/g/ | ed dF |[1 AG GG/G/ :|[2 AG GA |
|: Ad dB | Aa af | g3/2f/ ge | f/g/a/g/ fA |
Ad dB | Aa af | g3/2f/ ge |[1 d2 dA :|[2 d3/2e/ d/c/B/A/ ||