What, Daddy? polka

Also known as What Daddy?.

There are 3 recordings of this tune.

What, Daddy? has been added to 1 tune set.

What, Daddy? has been added to 5 tunebooks.

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Three settings

X: 1
T: What, Daddy?
R: polka
M: 2/4
L: 1/8
K: Ddor
c>A AG|ED EG|c>d eg|ag eg|
c>A AG|ED EG|c>d eg|a2 a2:|
ag ge/g/|ag ge|c>d eg|ag eg|
ag ge/g/|ag ge|c>d eg|a2 a2:|
X: 2
T: What, Daddy?
R: polka
M: 2/4
L: 1/8
K: Amin
|:cA AG|ED EG|c>d eg|ag e2|
cA AG|ED EG|c>d eg|a2 a2:|
|:ag ge|ag ge|c>d eg|ag e2|
ag ge|ag ge|c>d eg|a2 a2:|
X: 3
T: What, Daddy?
R: polka
M: 2/4
L: 1/8
K: Bmin
|:fB BA|FE FA|d>e fa|ba fa|
dB BA|FE FA|d>e fa|b2 b2:|
|:ba af|ba af|d>e fa|ba a2|
ba af|ba af|d>e fa|b2 b2:|

Eleven comments

This tune

This is quite possibly the worst, most incoherent, discordant, shabby polka I have ever had the misfortune to play through…

…on Christmas Day aswell! 🙁

Posted .


I’m wondering if this is in the right key. I’ve never heard the tritone emphasized so much in a tune. Is it supposed to be in c minor?

What, Daddy? polka

It looks like there was a typo in the transcription. Ador or Ddor would make the most sense. The tune is essentially pentatonic with only the notes A C D E G.

What, Daddy? polka

The tritone version as posted could always be slipped into a polka figure for set dancers to see if they’re listening 🙂

What, Daddy? polka

Ddor, not Ador. Ador would imply an F# which would be out of place in this pentatonic tune.
The submitter of this tune, Viking of Kiev, is entitled to alter the ABC as he wishes. The sooner this is done before the tune gets into its printed form, the better.


Ok, guys. That was the problem from the very beginning 🙂.
I am not great expert in keys & modes. Corrected. Thanx).

Ador not Ddor, because the tune clearly resolves to A, not D. An F# as a passing note wouldn’t sound particularly out of place imo.

Key: What, Daddy?

Amin, not Ddor.

What, Daddy?, X:2

From the playing of John Whelan, Cillian Vallely, Jim Eagan, & Robin Bullock, on John’s Passage of Time album.

Some few variations onto X2 which work well:
- A Part, first and fifth bars, "eA AG"
- A Part, eight bar, first repeat, "a2 a>B"
- A Part & B Part, fourth bar, "ag g2"
- A Part & B Part, fourth bars, "ag eg" (as in X1)
- B Part, first and fifth bars, "ag ge/g/" (as in X1)
- B Part, fourth bar, "ag gb"

What, Daddy?, X:3

From the playing of Molly’s Revenge. Leads nicely into The Trip To Dingle.

Another variation which works well is a run down to the d-note in the B Part, as "ba af/e/". The whole B Part could be transposed down an octave too.