Yankee Doodle Dandy



Annotations 

X:1 T:Yankey Doodle M:2/4 L:1/8 B:Rev. James Pike music copybook (1730, Somersworth, New Hampshire) Z:AK/Fiddler's Companion K:D d2ef|dfec|d2 ef|d2 cA|d2 ef|gfed|cABc|d2d2:|  X:1 T:Yankee Doodle M:2/4 L:1/8 S:Barton - The Disappointment; or, The Force of Credulity (1767, Air IV) Z:AK/Fiddler's Companion K:G (D|G) G A B|G G (F D)|G G B|G2 F(D|G) G A B|c B (AG)|F D E F |G2 G2||   X:1 T:Yankee Doodle M:2/4 L:1/8 R:March S:Thomas Nixon Jr./Joseph Long copybook (c. 1776-78) Z:AK/Fiddler’s Companion K:G g2ab|gbaf|g2 ab|g2 fd|g2 ab|c'bag|fdef|g2g2:|   X:1 T:Yanky Doodle M:2/4 L:1/8 R:Country Dance B:Aird – Selection of Scotch, English, Irish and Foreign Airs, vol. 1 (1782, No. 102, p. 36) N:Lines 5 & 6 of Aird's "Yanky Doodle" together are "What a Beau Your Granny was (1)" N:AKA "Over the Moor to Betty." Z:AK/Fiddler’s Companion K:D ddef|ddec|ddef|d2c2|ddef|ddec|AABc|d2d2:|   X:1 T:Yankie Doodle M:2/4 L:1/8 R:March B:Robert Mackintosh – “A Fourth Collection of New Strathspey Reels, also some Famous old Reels” (1804, p. 37) N:Dedicated to the Dutchess [sic] of Manchester N:Robert “Red Rob” Mackintosh (c. 1745-1808) was a Scottish violinist and N:composer active in Edinburgh at the end of the 18th century. Originally from N:Tullymet, near Pitlochry, Perthshire. He moved to London in the last decade N:of his life. Z:AK/Fiddler’s Companion K:D ddef|ddec|ddef |d2c2|ddef |ddec|AABc|[F2A2d2][FAd]:|   X:2 T:Kitty Fisher’s Jig L:1/8 M:6/8 S:Rimbault, Leisure Hour, p. 90, 1876 N:Supposedly from Walsh’s Collection of Dances for the Year 1750 K:C c2c d2e|c2c B2G|c2c d2e|c3 B2G| c2c d2e|f2e d2c|B2G A2B|c3 c3|| A2A A2G|A2B c3|G2A G2F|E3 G3| c2c d2e|f2e d2c|B2g A2B|c3c3||   X:3 T:Return of Ulysses, to Ithaca L:1/8 M:2/4 S:Musical Tour of C. Dibdin, p. 342, 1788 K:C G|c cde|cc BG|c cde|cc BA|c cde|fedc| BGAB|c z c z|fefg|afdc|BGAB|czcz:| BG AB|c2c2|AA GF|GA _BB|BA GF|c2 GG|AAGF| GA _B =B/A/|BG AB|c2c2|feff|afdc|BGAB|c2C2:|   X:4 T:Adzooks, old crusty, why so rusty L:1/8 M:C S:Arnold – Two to One (1784) K:E B|eefg eedB|eef(g e2) dz/B/|e(efg) agfe|dBcd e2E|| dBcd e2e2::c>d cA cd e2|B>c BA G2B2| c>d cA cd e2|c>e df e2e2|c>edf e2E:|  <section begin=X10 /> X:1 T:Untitled M:2/4 L:1/8 R:March N:A version of "Yankee Doodle." S:Seth Johnson – Woburn Fife Manuscript (c. 1807-40?, pp. 32-33) N:The tune is categorized as a march only due to its inclusion N:in a fifer’s ms., however the Woburn Fife Manuscript also contains N:dance tunes that may or may not have been employed as marches. Z:AK/Fiddler’s Companion K:D (3ABc|d>f e>f|d>fe>c|d>fe>f|d2 c>A|d>fe>f|g>fe>d| c>AB>c|d2d:||:z|d>cB>G|B>d c2|A>BA>G| F>G A2|d>cB>G|B>d c2|A>dc>e|d2 d:|] <section end=X10 /> <section begin=X13 /> X:1 T:Yankee Doodle M:2/4 L:1/8 R:March B:A. Robinson Jr. - ”Massachusetts collection of martial musick: containing a B:plain, easy and concise introduction to the grounds of martial musick” B:(Exeter, 1820, p. 58) B: https://archive.org/details/massachusettscol00exet/page/64/mode/2up Z:AK/Fiddler’s Companion K:Dmix d2 BG|dB c2|ABAG|FG A2|d>d BG|Bd c2|ABce|d2d2:| <section end=X13 /> <section begin=X15 /> X:18 T:Yanky Doodle. Roose.0053 M:2/4 L:1/8 Q:2/4=75 B:John Roose MS, Manchester, 1850 Z:Village Music Project. Steve Mansfield, 2019 K:D ddef | ddcA | ddef | d2 cA |\ ddef | gfed | cABc | d2d2 :| dcAG | AB c2 | AABc | d2d2 :| <section end=X15 /> <section begin=X18 /> X:5 T:Yankee Doodle M:2/4 L:1/8 S:William Sydney Mount manuscripts. N:The tune appears on a page with a handwritten playing guide for the fife or tin N:whistle, addressed to John B. Mount and dated March 26th, 1861. At the bottom of the N:page he says: “For musical instructions, ask your Father, or, look at his instruction N:book, about time & the characters of the notes & the proportion they bear to each N:other. ‘Howe’s Violin Instructor’ will teach you. If you will apply yourself. I hope you N:will. WSM.” Elias Howe, of Boston, published several instructors and tutors in the N:mid-19th century, as well as a massive collection of tunes called Musician’s Omnibus. N:The ‘A’ part is the part that is now familiar to modern ears, however, the ‘B’ part N:appears to be in a transitional phase from 18th century versions, such as that printed by N:Aird (1782) and the one familiar to us today. Modern versions have dropped the ‘c’ N:natural note, a modal feature, and remain in the major key. Z:Transcribed by Andrew Kuntz K:D d2 ef | dfec | d2 ef | d2 cA | d2 ef | gfed | cABc | d2d2 :| <section end=X18 />
 * d2 BG|dB =c2|ABAG FG A2|d2 BG|Bd =c2|ABce|d2d2:|]
 * E>=F D C|D ^F G2|D>E D C|(B,C) D2|E>=F E C|E ^F G G |D G F A |G2 Gz:|]
 * g2 ec|eg f2|dedc|Bc d2|g2 ec|eg f2|defa|g2g2:|]
 * d2 BG|BG B2|=c2 AG|FG A2|BG =c2|AB^cA|d2d2:|
 * dfeg|fdec|dfeg|f2 ed|dfeg|fdec|AABc|d2d2:|
 * d2 BG|Bd=cB|ABAG|FGAB|=cdcA|Bd=cA|AB^cA|d2 d>g:|
 * fdec|dBAg|fdef|B2 Ag|fdec|dBAF|A2 Bc|d2 dg:|
 * FAAd|BAAG|FAAd|B2 AG|FAAd|BAAF|A2 Bc|d2d2:|
 * a2 af|a2 ag|f2e2|a2 af|gfef|A2 Bc|d2d2:|
 * (B/A/B/c/) Bd|(A/G/A/B/) Ad|(B/A/B/c/) Bd|BAGF|(B/A/B/c/) Bd|(A/G/A/B/) Ad|A2 Bc|d2d2:|]
 * d2 BG|BG B2|=c2 AG|FG A2|d2 BG|BG B2|AB^cA|[F2A2d2][FAd]:|]
 * G|ccde|ccBG|ccde|c2 BG|cc de|fe dc|
 * B|ee fg ee dB|ee fg e2 dB|ee fg ag fe|BG cd e2 ez/f2e/2|
 * dd ef|dfec|d>d ef|d2 cz|dd ef|gf ga|AB c(3A/B/c/|d3d:|
 * ddBG | AB c2 | ABAG | FG A2 |\
 * d2 BG | Bd =c2 | ABAG | FG A2 | d2 BG Bd =c2 | Adce | d2d2 :|]

<section begin=X1 /> <section end=X1 /> <font face="sans-serif" size="4"> Annotations __NOTITLE__