ASCAP spies are everywhere!
Cynthia M. Van Ness
Hi, gang,
Forgive the melodramatic subject line. It's the only memorable line I
recall from a strange, experimental play I saw years ago, and I finally
have a chance to use it.
It seems to be true. I don't have the details, but it seems that the
president of the contra dance organization in a neighboring city has been
invoiced by ASCAP. Like we rake in huge profits after paying the
caller, band, and rent...
Anyone have any advice to offer? As a dance organizer, I suspect I'll be
getting an ASCAP nastygram sooner than I'd like. Maybe someone can
explain why performing folk tunes, which I thought were in the public
domain and no one's intellectual property, infringes on copyright.
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=--=-=-=-=-=-=-
Cynthia Van Ness, M.L.S., af...@freenet.buffalo.edu
Genealogy, Buffalo pages: http://www.buffnet.net/~allemand/aboutcv.htm
*Clean, dependable, hard-working. What kind of monster have I become?*
Bob Stein
<af...@freenet.buffalo.edu> wrote:
}Forgive the melodramatic subject line. It's the only memorable line I
}recall from a strange, experimental play I saw years ago, and I finally
}have a chance to use it.
}
}It seems to be true. I don't have the details, but it seems that the
}president of the contra dance organization in a neighboring city has been
}invoiced by ASCAP. Like we rake in huge profits after paying the
}caller, band, and rent...
}
}Anyone have any advice to offer? As a dance organizer, I suspect I'll be
}getting an ASCAP nastygram sooner than I'd like. Maybe someone can
}explain why performing folk tunes, which I thought were in the public
}domain and no one's intellectual property, infringes on copyright.
We had this problem last year.
We chose to ignore them, and we haven't been bothered since.
They will send you impressive looking documents that seem to spell
legal trouble. They will invite you to join at a "bargain rate".
Once again, just ignore them. They usually will not persist after a
few phone calls.
-Bob S
--
Bob Stein, squeeze at voicenet dot com (Reply by using this e-mail address in
proper form)
Kerry Blech
traditional music, hoping that their reputation will
scare people into forking over money to them, though
the few people who compose tunes in traditional styles and
register them with these clearing houses rarely recieve
a real royalty payment. Ignore them, and they usually
go away. If not, look for a hit man who can be paid
off in old Merle Haggard LPs (poetic justice).
Regards,
~Kerry
Cynthia M. Van Ness wrote:
>
> Hi, gang,
>
> Forgive the melodramatic subject line. It's the only memorable line I
> recall from a strange, experimental play I saw years ago, and I finally
> have a chance to use it.
>
> It seems to be true. I don't have the details, but it seems that the
> president of the contra dance organization in a neighboring city has been
> invoiced by ASCAP. Like we rake in huge profits after paying the
> caller, band, and rent...
>
> Anyone have any advice to offer? As a dance organizer, I suspect I'll be
> getting an ASCAP nastygram sooner than I'd like. Maybe someone can
> explain why performing folk tunes, which I thought were in the public
> domain and no one's intellectual property, infringes on copyright.
>
> -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=--=-=-=-=-=-=-
> Cynthia Van Ness, M.L.S., af...@freenet.buffalo.edu
> Genealogy, Buffalo pages: http://www.buffnet.net/~allemand/aboutcv.htm
> *Clean, dependable, hard-working. What kind of monster have I become?*
--
Blec...@WolfeNet.com
"When you get above the clouds, you can do just as you choose."
- The Rector Trio, Asheville, NC 1930
Steve & Leda Shapiro
You can, as suggested, ignore them..it usually works.
if this doesn't, and it did not with us..I made a case, using setlist
samples of public domain tunes..
basically saying that our bands did not use copyrighted material..only the
old, traditional tunes.
and they stopped threatening after a while.
Leda
Bob Stein wrote in message <300919991553207423%sque...@voicenet.com>...
>In article <FIvqu...@freenet.buffalo.edu>, "Cynthia M. Van Ness"
><af...@freenet.buffalo.edu> wrote:
>
>}Forgive the melodramatic subject line. It's the only memorable line I
>}recall from a strange, experimental play I saw years ago, and I finally
>}have a chance to use it.
>}
>}It seems to be true. I don't have the details, but it seems that the
>}president of the contra dance organization in a neighboring city has been
>}invoiced by ASCAP. Like we rake in huge profits after paying the
>}caller, band, and rent...
>}
>}Anyone have any advice to offer? As a dance organizer, I suspect I'll be
>}getting an ASCAP nastygram sooner than I'd like. Maybe someone can
>}explain why performing folk tunes, which I thought were in the public
>}domain and no one's intellectual property, infringes on copyright.
>
Mark Gaines
stand collect so little in "fees" versus the cost of a lawsuit. Very
expensive. The trouble with the law to day is lawyers!
Don Ward
This is one of the organizations that square dance callers belong to.
For less than $100 a year you get a license to play and and all ascap/bmi
music in the world.
When you get the letter from ascap reply with a copy of membership and
they go away instead of just lurking.
Their spies are on retainers and any money the collect is money in the
bank no matter how small.
Been there and done that... problem solved.
Don Ward
dw...@loop.com
Ralph Barthine
> You can stop all the hassel by joining the Amerian Callers Association.
> This is one of the organizations that square dance callers belong to.
> For less than $100 a year you get a license to play and and all ascap/bmi
> music in the world.
Can a dance organization purchase a single license? I was under the
impression those licenses covered an individual caller.
rb
Christopher C Stacy
about the CALLERLAB agreement. It covers individual callers,
not organizations, and does not apply to festivals. It also
only covers square dancing, and not companion activities (such as
contras or round dances or anything else.) Does the ACA contract
have those kinds of restrictions? The cost of the CALLERLAB
license package is significantly more than you cite for ACA - it's
based on the number of dances that you put on durin the year.
(Maybe the ACA license is better?)
David A. Kaynor (Amherst RSD)
ASCAP frightened a little nonprofit group in Springfield,
Massachusetts into shutting down a few years ago.
The group had a shoestring budget and felt itself unable
to afford either the licensing fee or the risk of litiga-
tion should ASCAP take them to court, even if the outcome
proved unfavorable to ASCAP.
As a result, a number of us lost our small but nice lunch-
time gig in a nice room among nice elderly listeners. Our
elderly listeners lost a fun, stimulating lunchtime immer-
sion in music by developing local musicians and the exper-
ience of being part of our growth. The nonprofit group
lost something they enjoyed and of which they were justi-
fiably proud.
ASCAP took this away from us.
When BMI came after me a few years later, I acquired their
800 number and actually got through to the individual whose
name was on the (rather forceful) letter. We talked.
He pointed out that square dancing uses much material for
which they are entitled to collect licensing fees. When
he heard that almost all our material is either in the
public domain or our own, he suggested I send him my tune-
list so he could tell me if I was playing anything needing
licensing. I countered that since he was the one asking
for money, proper business required that he send his to me.
Some huffing and puffing came over the phone line, followed
by the weak-voiced assertion that they are responsible for
thousands and thousands of titles, which prompted me to
acknowledge the enormity of the task, assure him that I
would await it with the utmost patience, and wonder aloud
if it might not have been sensible to have that list ready
before contacting me in the first place.
He said it was just plain impossible, out of the question.
I would have to send mine to him.
I said, Well, I'm just too busy.
I said, If you're ever in Greenfield, stop by the contra
dance and see if I'm playing any of your stuff, and at that
point, we can talk.
It became clear to us both that he had absolutely no idea
what a "contra dance" might be.
I recounted my ASCAP tale for him and asked him if BMI
wanted to be known for similarly depriving local musicians
of work. He said no, of course not, but rules are rules.
Anyway, we parted on reasonably cordial terms.
With friends and colleagues, I had a number of subsequent
conversations on the matter which yielded no factually
informed, legally defensible viewpoints. But we had a
general sense that if you refrain from playing any of Jay
Ungar's tunes, you're probably safe from BMI, and if you
stay away from tunes of the "Arkansas Traveler"/"Golden
Slippers" ilk and singing-squares material derived from
old pop songs, ASCAP would gain nothing by forcing you
into court.
In other words, play it safe...literally. And just lay
low.
Unfortunately, the basic question just don't go away: Is
there any way a composer can receive reasonable rewards
for his or her work without a fat bureaucracy getting even
fatter and, in addition to gobbling down money which you'd
think really ought to go to said composer, hurting musicians
and the small organizations which enable them and their com-
munities to support and enrich each other?
David Kaynor
bogus address
daka...@k12.oit.umass.edu (David A. Kaynor (Amherst RSD)) writes:
> if you refrain from playing any of Jay Ungar's tunes, you're probably
> safe from BMI, and if you stay away from tunes of the "Arkansas
> Traveler"/"Golden Slippers" ilk and singing-squares material derived
> from old pop songs, ASCAP would gain nothing by forcing you into court.
Arkansas Traveller is in Kerr's Merry Melodies volume 1, published in
1875. Kerr died in 1893 so nobody's going to come after you demanding
his royalties. How likely is it that the composer of an American tune
that had got to Scotland by 1875 would have still been alive in 1929
(cutoff date under the 70-year rule)?
I play regularly in a pub session that once got a visit from the British
equivalent of ASCAP. The players (I wasn't there at the time) told the
guy "we don't play anything after 1900 here" and proceeded to spend four
hours demonstrating the point. (This was in 1997, when they could have
played Scott Skinner or G.S. MacLennan, but they didn't think of it).
They never saw him again.
What makes this particularly sick in the UK is that these organizations
calculate the shareout based on their estimates of how much playtime a
composer gets across the country in all media, not the actual figure for
a specific venue or event (even if you tell them). As measured on the
bottom line, they assume you're playing Andrew Lloyd Webber and *he*
gets what you pay them, while someone like Addie Harper, who you might
really be playing and who could use the money, gets nothing.
---> email to "jc" at this site: email to "jack" or "bogus" will bounce <---
Jack Campin: 11 Third Street, Newtongrange, Midlothian EH22 4PU; 0131 6604760
http://www.purr.demon.co.uk/purrhome.html food intolerance data and recipes,
freeware logic fonts for the Macintosh, and Scots traditional music resources
KMsSavage
c??) spiritual. That is, unless Michael Jackson or somebody purchased the
entire canon of traditional folk tunes and that was in the box.
--Karen M.
following this thread with interest; I'm a caller, not the band's musical
director!
The Martins
: public domain or our own, he suggested I send him my tune-
: list so he could tell me if I was playing anything needing
: licensing. I countered that since he was the one asking
: for money, proper business required that he send his to me.
Yay, David! Go get 'em, Tiger!
: I said, If you're ever in Greenfield, stop by the contra
: dance and see if I'm playing any of your stuff, and at that
: point, we can talk.
How sweet it is! Let them come to us. They can sit there and write down
the names of the tunes as we play them.
BMI is a little easier to deal with than ASCAP. Isn't ASCAP the one that
demanded royalties from the Girl Scouts for singing songs around the
campfire? I sympathize with songwriters and performers whose deserve fair
royalties for their work. Many creative people are being ripped off in the
general commercial entertainment and advertising world. What is disgusting
are the publishing houses that get the rights to old public domain songs
and tunes and then demand payment, as thought they were the starving
artists who create. I wonder what percentage of that royalty money
actually gets to the artist?
Bill Martin
Donna Richoux
> I believe "Golden Slippers" is also public domain, being an old (mid 18th
> c??) spiritual. That is, unless Michael Jackson or somebody purchased the
> entire canon of traditional folk tunes and that was in the box.
It's old (1879), but it was composed. Searching on the Web turns up
various versions and reports, such as this:
http://www.lll.hawaii.edu/esl/bley-vroman/contra/dances/golden.html
QUOTE
The popular singing square dance "Golden Slippers" is sung to the tune
of the original song (1879) by the African-American composer James A.
Bland (1854-1911). Bland wrote many other well-known songs, including
"In the Evening by the Moonlight," and "Carry Me Back to Ole
Virginny"--state song of Virginia until it was retired in 1997 amid some
considerable controversy. He is also famous for adding a fifth string to
the banjo--the "Bland banjo."
END QUOTE.
Digital Tradition has the lyrics somewhat modernized (Bland wrote in
strong minstrel-show dialect.) I find it too irreverent to call a
"spiritual" but I could see it being a "camp meeting song."
Whether or not it is still copyright protected would depend, I suppose,
on whether Bland's heirs had renewed it?
Best wishes --- Donna Richoux
Kerry Blech
>
> Unfortunately, the basic question just don't go away: Is
> there any way a composer can receive reasonable rewards
> for his or her work without a fat bureaucracy getting even
> fatter and, in addition to gobbling down money which you'd
> think really ought to go to said composer, hurting musicians
> and the small organizations which enable them and their com-
> munities to support and enrich each other?
David,
Thanks for recounting your experiences. My second-hand
recounting of tales includes the stories of various friends of mine
over the years who are composers (songs and tunes) who registered
with ASCAP and/or BMI and have received nothing for their
troubles in return. Then there is the story of singer-songwriter
John Bassette, of the Akron, Ohio area who was singing at
a local coffeehouse that happened to have an ASCAP goon sitting
in the audience, who tried to nail the venue for the performance
of song in his "book." It turns out, it was Bassette's song, and
he was singing it. He walked into the confrontation between
the ASCAP hitman and the coffeehouse manager, interrupted the
goon with, "If you want money from him for my song, I'll
speed things up and take that cash myself, sir. It seems you
are pretty intent on collecting on my behalf, yet your
organization has never paid me anything." If I'm not mistaken,
Hank Bradley has similar experiences (I think with BMI) for his
original dance tune compositions.
A couple years later, in that same coffeehouse (Boulder Junction,
in Uniontown, Ohio), word got out that an ASCAP goon would be
monitoring an evening show, one at which my band would be
performing, so the owner of the venue asked that we make sure
no copywritten material be on our setlist. It was pretty easy
to do that, as most of our material is/was public domain or
very old, but to make sure, we eliminated any Carter Family material
we might have been inclined to perform -- note that a lot of
songs that A.P. Carter claimed and registered with ASCAP
existed "in tradition" 30 years or more before A.P. registered them.
The same thing goes on with dance tunes, for instance, Clayton
McMichen registered and copywrote "Boil Them Cabbage Down" in
1938 (despite recordings of it by others from the 1920s). I'd
wager that McMichen had wanted to copyright only his lyrics,
but his family insists that he composed the tune as well.
All this lead up to my personal interests of seeking out rare
and old tunes to play at dances, pieces that cannot possibly be
controlled by BMI and ASCAP. I don't recall ever hearing of
ASCAP or BMI drones coming to or hassling Seattle dance venues,
though I think years and years ago they harrassed the old
G-Note Tavern, but not necessarily for the music at dances,
more probably for the concerts there.
Ugh...
Kerry
Eric Root
>As measured on the bottom line, they assume you're playing Andrew Lloyd
Webber and *he* gets what you pay them, while someone like Addie Harper,
who you might really be playing and who could use the money, gets
nothing.
Actually, what IRRC I've always heard is that it's the same way in the
States: BMI and ASCAP in addition to slipping spies into folk venues
also monitor each radio station about an hour a year and then set up
their percentages. You might have written a half-dozen tunes that get
played a few hundred times a year on a folk station, but if they don't
notice it or it doesn't rise above their minimum threshhold, you may
have 20 bucks coming to you and Garth Brooks 2 million, but you get
nothing and he gets 2 million 20....
Funny you should mention Addie Harper, I've had the Barrowburn Reel on
the brain for weeks now. I know this is OT for a dance newsgroup (OK,
manditory content: how "bout them contra corners?) but it doesn't help
the situation when the big fish in the small pond of folk music are
sloppy about giving credit; I'm talking about, for instance, Sharon
Shannon calling Barrowburn Reel traditional on her _Each Little Thing_
CD. I'm sure a zillion local folkies are now playing that tune thinking
it's traditional, and maybe even perpetuaing it in self-and-little-folk
label CD's. And Sharon Shannon is enough of a big name that it could
get noticed and end up on some documentary, and Addie not get anything
for it. For a young folk musician, that kind of thing could mean the
difference whether or not a child has to skip a doctor's visit; for an
older musician (as I gather Addie is?) it could me the difference
whether _he_ has to skip the visit.
The whole business is a damned shame.
Eric Root, passing hearsay and urban legend around the electronic
campfire
"No need to use that concertina, son; no one here will hurt you..."
bogus address
Kerry Blech <Blec...@Wolfenet.com> writes:
> All this lead up to my personal interests of seeking out rare and old
> tunes to play at dances, pieces that cannot possibly be controlled by
> BMI and ASCAP.
I have the 200 tunes from volume 1 of Aird's Scottish collection of 1778
on my website. Many of them should work for more modern dances. Volume
3 will be along soonish, I've got a rough transcription done by somebody
else and I'm slowly checking my way through it to fix the many mistakes.
My file says 1782, I need to change that; turns out that the oldest-
dated copy is in America, labelled 1778, so it must have been printed
that year. It got to America despite war having just broken out, and
despite the book having loads of military marches that I'd have thought
one side might want to classify as munitions and the other as enemy
propaganda.
Note though that Aird's settings are pretty weird by modern standards.
Many are intended for the flute where the fiddle would be the normal
present-day choice.
There are a couple of hundred more Scottish tunes on my website, some
more danceable than others. For some, you might be the first to dance
to them for 200 or 300 years. However, we know the Aird tunes got to
America and we don't for most of the other things I reproduce.
Neal Rhodes
>
> Kerry Blech <Blec...@Wolfenet.com> writes:
> > All this lead up to my personal interests of seeking out rare and old
> > tunes to play at dances, pieces that cannot possibly be controlled by
> > BMI and ASCAP.
>
> I have the 200 tunes from volume 1 of Aird's Scottish collection of 1778
> on my website. Many of them should work for more modern dances. Volume
Thanks for the reference! I took the liberty of listing the titles
below, which I find fascinating. It's frequently refreshing to bypass
historical writings and go straight to the original documents.
You noted lots of marchs and quicksteps which, I suspect, reflect their
importance. There was a need for a variety of good marching tunes to
get raw recruits marching in time. And they would have been scored
for flute because it's tough to play fiddle and march.
The titles are such a hoot. We tend to view our long dead ancestors
as pictures in a frame, not living individuals with a strong sense of
humor. (or maybe even humour too) Pulling a name for a tune out of
thin air always seems to be a kind of Rohrschat/Ink Blot/Stream of
Consciousness test for me. I find it fascinating what was in their
collective stream of consciousness. My favorite is:
My Mother's ay Glowring o'er me.
Thanks again.
T:The Ranting Highlandman.
T:The White Cockade
T:Quick Step. 25th Regt.
T:The Lads of the Village.
T:I'll Touzle your Kurchy.
T:The Lady's play thing, or Gen Howe's March.
T:The Oyster Wives rant.
T:Muillean Dubh
T:The Black Mull
T:The Black Mill
T:Quick Step. 17 Regt.
T:Quick Step. 21th. Regt.
T:The Moon and Seven Stars.
T:The Grand Parade.
T:The Corporal.
T:The Queen of Hearts.
T:The Duke of Gloucesters Quick March.
T:The Irish Hautboy.
T:Bung Your Eye.
T:Quick Step Old Buffs.
T:Quick Step 71st. Regt.
T:For a' that and a' that.
T:The 22nd. Regts. Quick Step.
T:Jollity.
T:The Campbell's are coming.
T:Jackson's Morning Brush.
T:The Miners of Wicklow.
T:Carlen is your Daughter Ready.
T:Lango Lee.
T:Turkish March.
T:The Widows Rant.
T:Rob: Down.
T:The Bath Medley
T:Gentle Ann.
T:Wood Nunrich fair
T:Highland Laddie.
T:The Recruiting Officer.
T:Thro' the Lang Muir.
T:Wandering Willie
T:We'll gang nae mair to yon Town.
T:White Jock.
T:Quick Step the Troopers.
T:Quick March 8th. Regt.
T:Had the Lass till I win at her
T:Warkworth Castle.
T:My Wifes a Wanton wee thing.
T:The Hay makers.
T:The high way to Dublin.
T:The Lee Rigg.
T:Dance in Queen Mab.
T:The Millers Rant.
T:The Royal Glasgow Volunteer's Jig.
T:Major's Maggot.
T:Willie was a Wanton Wag.
T:St. Patricks Day in the morning.
T:The Cow behind the Haycock.
T:The Black Dance.
T:The Lads of Dunse.
T:Cottillon
T:The Carle he came o'er the Craft.
T:Quick Step Genl. Burgoynes.
T:East Nook of Fife.
T:Irish Billy.
T:Johnie's Grey Breeks.
T:Johnie's Grey Breeks. for the Ger: Flute
T:Hopeton House.
T:Sweet Molly
T:Albina.
T:My Mother's ay Glowring o'er me.
T:A Health to Betty
T:Katy's Answer
T:The Marquis of Granby's delight.
T:The Female Hero.
T:Lango Lee. New way.
T:The faithfull Shepherd.
T:The Ducks dang o'er my Dadie.
T:The Deuks dang oer my Daddie
T:The bairns gat out wi an unco shout
T:The Cream Pot.
T:Sr. Alexr. Mc.Donald's Reel.
T:Bonny Breast Notes.
T:Quick Step. La Prominade.
T:Quick Step. Turkish.
T:Duncan's Dance.
T:Little House under the Hill.
T:Miss Ramsay's Reel.
T:Roast Beef.
T:A Spanish Jigg.
T:Allemande.
T:The Fyket.
T:I's rather have a piece than a Kiss of my Jo.
T:Charles Street Bank.
T:Miss Katie Hall's Reel.
T:Rural Felicity
T:Haste to the Wedding
T:Trip to the Dargle
T:Carrick Fergus
T:The Small Pin Cushion
T:Tulloch Gorm.
T:Quick Step 37th Regt.
T:McDonalds Quick Step.
T:The Female Rake.
T:Quick Step 4th. Regt.
T:Port Patrick.
T:The Highlandman Kiss'd his Mother.
T:Well done Jock.
T:The Bottom of the Punch Bowl.
T:Quick Step 15th. Regt.
T:Where will our Goodman lye.
T:Cupid's Recruiting Serjeant
T:Kiss me Sweetly.
T:Marquis of Granby - Shambuy.
T:Quick Step Fusileers.
T:Cacina
T:Queensberry House.
T:You're Welcome Charlie Stewart
T:Yanky Doodle.
T:Lady Charlote's Delight.
T:Big Bowwow.
T:Pady Whack
T:La Damoselle.
T:The Cameronian's Rant.
T:Linky Lanky.
T:Soldiers Joy.
T:The Ranting Roaring Highlandman.
T:Push about the Jorum.
T:Nancy Dawson
T:Quick Step 43d. Regt.
T:Marionets.
T:Major Montgomerie's Quick Step.
T:My Lodging is on the Cold Ground.
T:Believe Me If All Those Endearing Young Charms
T:The Royal Glasgow Volunteers Farewell.
T:Steer her up and had her gaan.
T:many other variants of "Stir her up and get her going"
T:Bab at the Bouster.
T:The Dainty Besom Maker.
T:Lather awa' wi' your Oak Stick
T:Tom Tullus's Hornpipe.
T:Fy let us a' to the Bridal.
T:The Parson in his Boots.
T:Sweet Mally
T:Quick March 42d. Regt.
T:Quick March by Mr. Handel
T:The Long Room of Scarbrough.
T:The Drummer
T:Green Sleeves.
T:Miss Gunning's Delight.
T:Dainty Davie
T:My Peggy is a Young thing.
T:The Wauking of the Faulds
T:The Parson in the Suds.
T:Up wi't Ailly now.
T:The Wonder
T:2d. Quick Step. 42d. Regt.
T:A Lovely Lass to a Friar Came.
T:2d. Quick Step of 15th. Regt.
T:Sukey Bids me.
T:The Major
T:The Dumb Glutton.
T:Norickystie or the Wild Irish Man.
T:March des Gen's d' Armes.
T:Wilke's Wrigle.
T:The Deil's Awa wi th' Exciseman
T:Major Jas. Campbell's Quick Step W.F.R.
T:Shiling O'Gairey
T:Chiling O Guiry
T:Shulen a Gurie
T:and an unbelievable number of alternate attempts to spell it
T:Old Plantation Girls.
T:The Merry Dancers.
T:Irish Trott.
T:O gin ye were dead Gudeman.
T:The Polygon
T:Sam Jones
T:The Braes of Angus
T:Lary Grogan
T:Quick March Scots Royals.
T:Quick Step 30th. Regt.
T:The Lasses of Dunse
T:Shantruish.
T:Willie's Auld Trews
T:Sean Triubhas Uilleachan
T:Deil Stick the Minister
T:This is No My Ain Hoose
T:This is No My Ain Plaid
T:The Amorous Goddess.
T:Borlum's Reel.
T:La Nouvelle Angloise.
T:Pompey ran away.
T:Grace's Farewell
T:2d. Quick Step 30th. Regt.
T:Colr. Archd. Campbells Quick Step.
T:Quick Step 2d. Batn. Royals.
T:Pease upon a Trencher.
T:Quick March 19th. Regt.
T:Lord Kelly's Reel.
T:Quick Step. Fencibles
T:The Hammermen's March, or Tinkers Occupation.
T:Clout the Cauldron
T:The Fornicator (Burns)
T:The Taylor's March.
T:The Weavers March or 21st. of August.
T:The Free Mason's March.
T:Free and Accepted Mason
T:The Cordwainer's March.
T:Mr Nairne's Strathspey [Daniel MacLaren]
T:The Revd. Patrick Macdonald of Kilmore [Alexander Campbell]
T:Lord Balgonie's Favorite [Niel and Nathaniel Gow]
T:Gloomy Winter [Robert Tannahill]
T:the theme from The Piano [Michael Nyman]
T:The Gardener's March.
T:Dainty Davie
T:The three Sheep Skins.
T:Capt. Campbel of Aird's Quick Step W.F.R.
T:Ranger's Frolick
T:The Wrights Rant.
T:The Stool of Repentance
T:Lord Glencairn's Quick Step. W.F.R.
T:Lass if I come near you.
T:Quick Step West Fencibles.
T:Lesslie' March.
T:Leslie's March
T:Blue Bonnets over the Border
T:A Spanish March.
T:Come hap me with thy Petticoat
T:Leith Wynd
T:Aldridge's Allemande.
T:The Whipman Laddie
T:Come ashore Jolly Tar & your Trousers on.
T:The Cuckoo's Nest
T:Tristram Shandy.
T:A Trumpet Air
T:Quick Step 32d. Regt.
T:A Rock & a wi Pickle Tow.
T:Lassie wi the Yellow Coatie.
T:Irish Lilt.
T:Buttered Pease.
T:Stumpie
T:There's nae luck about the house.
T:Sailor's Rant.
T:Sae braley as I was Kiss'd Yestreen
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Neal Rhodes MNOP Ltd (770)-
972-5430
President Lilburn (atlanta) GA 30247 Fax:
978-4741
ne...@mnopltd.com
http://www.mnopltd.com/
bogus address
Neal Rhodes <ne...@dexter.mnopltd.com> writes:
>bogus address wrote:
>> I have the 200 tunes from volume 1 of Aird's Scottish collection of 1778
>> on my website. Many of them should work for more modern dances.
> as pictures in a frame, not living individuals with a strong sense of
> humor. (or maybe even humour too) Pulling a name for a tune out of
> thin air always seems to be a kind of Rohrschat/Ink Blot/Stream of
> Consciousness test for me. I find it fascinating what was in their
> collective stream of consciousness. My favorite is:
>
> My Mother's ay Glowring o'er me.
...the words for which are by Allan Ramsay (who probably did some mild
bowdlerization on a now-lost folk song) and can be found in Orpheus
Caledonius, 1725/1733, which has been reprinted in facsimile. It's the
classic tune for the limerick verse form. There are many variants of
the melody going back to "Stingo" in Playford's Dancing Master, 1651.
I have an early 18th century text for a tune in the same family which is
so jaw-droppingly obscene I haven't yet managed to find the right occasion
to sing it in public. It has a twist that makes "Eskimo Nell" look polite.
I know the story behind a lot of Aird's titles but didn't want to bloat
the file too much with my notes. Ask for anything you're curious about.
david
I am struck by how many titles I recognise from the English canon.
(both Traditional and from 17th and 18th centuries)
I had a similar experience while looking into tunes that are used for
Irish dancing several years ago when my sons were doing Irish Dance.
Then I found that tunes(eg Soldiers Joy) that I regarded as English were
very popular for Cowboy Dancing(Shaw et al).
I guess that this just goes to show that you can't keep a good tune
down. Or a good song for that matter.
I did hear that the Scots were looking for good tunes and dances for
their polite society ( as opposed to "peasants" or "folk") around the
turn of the 17th century and into the 18th and so they took
"Cakledonian" sounding dances and tunes for their own.
Who cares?
It does give rise to some interesting speculation.
By the way Soldier's Joy was first published in Sweden(according to John
Kirkpatrick) and the Norwegians have a three part version.
By the way, Iam a dancer hece my interest in tunes.
David Mills
Cynthia M. Van Ness
Many thanks to all who contributed ASCAP horror stories to this forum. I
passed a few on to the dancer/attorney in the next city.
As always, David Kaynor is hands-down the best story-teller we've got.
His ASCAP tale deserves a wider audience.