Sticking in France for the mo, here’s a polka in C minor. In honour of it being French I’ve ended on the Picardy Third, which keen-eared followers will recognise from the Coventry Carol.
A Scottish. Which means it’s from France (well, it could be from Sweden, but it’s not).
From the “has been in my head forever” collection. To show how a fiddle is really part of the rhythm section in a dance band using proof by contradiction, I did a lot to smooth out the music here and you probably wouldn’t want to dance to this recording at all.
In William Winter’s Quantocks Tune Book: Country Dance and Popular Tunes from the Manuscript of a Nineteenth Century Somerset Village Shoemaker, this appears in a section marked “Some Scottish tunes”. It’s an interesting question (well, it’s a question anyway) how anybody knows where a given tune comes from, or if they don’t, what makes them believe that it is. So what made William Winter (or the editor, I don’t know who categorised it) decide that The Queen of May is Scottish? You could write a whole DPhil on such matters, and indeed I know someone who does.
A pretty standard hornpipe.
We’ll never forget the day I worked out how to fit the words to Rick Astley’s “Never Gonna Give You Up” to this tune. We’ve all tried, but it’s not going to happen.
Another from the file marked “I don’t know where I got this, it’s been in my head forever”.
Whose Laridé? Which Laridé? Not sure. It is one though.
By the way, this is the 100th day of A Dance A Day! Woo! To celebrate, I’ll join the other 50% of Morris Oxford in performing a spot at the Willow and Tool night at the Harvester in Long Itchington.
Time for a little rant. The dance, I don’t have any particular need to vent. This one was composed by 18th century piper and sheepstealer James Allen.
Oh yeah, and I had accidentally turned a one-off borrowing of a mandolin into a long-term loan, so decided to use that before returning it. It’s easier to play than a mandoline.