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Welcome to the Traditional Tune Archive
The Semantic Index of North American, British and Irish traditional instrumental music with annotation, formerly known as
The Fiddler's Companion.

Featured Tunes


Listen to the featured tunes of the weekREPASZ BAND MARCH.
Old-Time, March (6/8 time). "Repasz Band March" was the name of a popular 6/8 time march and two-step that was probably composed by Harry J. Lincoln, a composer known for his many marches, although it has also been attributed to Charles G. Sweeley. Both have also been credited with arranging it, although Wikipedia gives that Sweeley merely bought the rights to the piece. It was written in 1901 for the the Repasz Band of Williamsport, Pa. (Lincoln's home town), now the oldest brass band still in existence, formed in 1831. In 1861, the Band enlisted in the 11th Regiment, Pennsylvania Volunteers, and after three months of service, enlisted in the 29th Pennsylvania Volunteers. After the Band completed its second enlistment, the greater part of the musicians next enlisted in the 8th Pennsylvania Cavalry and served until the end of the Civil War, seeing action in the Shenandoah Valley, as well as at Lee’s surrender. At Appomattox Court House they played the “Star Spangled Banner” and “Rally Round the Flag” alternating with a Confederate Army Band who played “Bonnie Blue Flag” and “Dixie.”

The Blue Ridge Ramblers

H. M. Barnes and His Blue Ridge Ramblers recorded the tune in New York in 1929. The large touring Barnes band (whose members hailed from East Tennessee) consisted of fiddlers Dad Williams, Fred Roe and Jim E. Smith, with banjo player Jack Reedy, guitarist Henry Roe, mandolin player Harry Brown, and steel guitarist Frank Wilson. Barnes himself was from Philadelphia, and was the group's business manager and leader but was not a musician. The band was active in the East Coast Loews Vaudeville Circuit during the late 1920s and early 1930s, with various personnel. Charlie Bowman and his daughters Jennie and Pauline Bowman joined the band in 1929. However, the Blue Ridge Ramblers recording was not the first country music recording of the march, for it had been recorded for Gennett Records by Charles W. "Big Red" Tweedy (of the West Virginia based piano and fiddle duet The Tweedy Brothers) as a piano solo in a June, 1924, session in Richmond, Indiana. The recording was issued in the Tweedy Brothers name. Green's String Band also recorded the march in a 1930 Richmond, Indiana, session, also issued on some labels under the 'Green's Sting Band' name, but on the Superior label (Superior 2575) as Dave Dawson's String Band. Tony Russell lists the Kentucky band's personnel as Preston Green (double bass), A. Judson Green and Herman Green (fiddle), and Ila Bassett (guitar).

REPASZ BAND MARCH full annotations and Past Featured Tunes

T:Repasz Band
C:Either Harry J. Lincoln or Charles G. Sweeley
Z:AK/Fiddler's Companion
d^cd edB|GFG BGE|DzB BzB|(B3 B2) d|
d^cd edB|GFG BGE|Dzc czc|(c3 c2)e|
e^de fe=d|czc czd|d^cd edB|GzB BzB|
A^GA (^c2B)|A^GA (^c2B)|A^GA ^AB^c|1 d2z [dfad'] zd:|2 d2z [d2f2a2d'2]z||
|:[d2d'2][^c^c'] [=c2=c'2][Bb]|[A2a2][Gg] [F2f2][Ee]|DEF GA^A|(B3B2)d|
d^cd ed=c|F3 [F3d3]|d^cd edB|G3 [G3d3]|
|:[d2d'2][^c^c'] [=c2=c'2][Bb]|[A2a2][Gg] [F2f2][Ee]|DEF GA^A|(B3B2)A|
GFG AGE|DGA d2d|fed cBA|G2 z [G2B2d2g2]z:|2 G2 z[GBdg]zd||
d^cd edB|GFG BGE|DzB BzB|(B3 B2)d|
d^cd edB|GFG BGE|Dzc czc|(c3 c2)e|
e^de fe=d|czc czd|d^cd edB|GzB B2A|
[E3G3] zFE|DGB d2e|d^cd ^def|g2z [G2B2g2]z||

Why TTA Who builds the Archive

Although we are not trained musicologists and make no pretense to the profession, we have tried to apply such professional rigors to this Semantic Abc Web as we have internalized through our own formal and informal education.

This demands the gathering of as much information as possible about folk pieces to attempt to trace tune families, determine origins, influences and patterns of aural/oral transmittal, and to study individual and regional styles of performance.
Many musicians, like ourselves, are simply curious about titles, origins, sources and anecdotes regarding the music they play. Who, for example, can resist the urge to know where the title Blowzabella came from or what it means, or speculating on the motivations for naming a perfectly respectable tune Bloody Oul' Hag, is it Tay Ye Want?
Knowing the history of the melody we play, or at least to have a sense of its historical and social context, makes the tune 'present' in the here and now, and enhances our rendering of it.

Andrew Kuntz & Valerio Pelliccioni

Please register as a user to make the most of the many functions of the TTA, and enjoy the many ways that information about traditional tunes can be elicited and combined, from simple to complex situations. Users may make contributions, which, when reviewed by an editor, become part of this community project. Serious user/contributors may become editors through the TTA's autopromotion process, in which quantity and quality of entries allows increased levels of permission to edit and review the entire index.
Above all, the developers wish you joy in the use of the TTA.

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