Annotation:Opera Reel (1): Difference between revisions

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'''OPERA REEL [1].''' AKA and see "[[Celebrated Opera Reel (2)]]," "[[Duke of Cornwall's Reel]]," "[[Grand Opry Reel]]," "[[McDonagh's Reel (4)]]," "[[Tommy Gunn's Reel]]." American, Irish, Scottish, English; Reel. USA; Missouri, New York, New Hampshire, New England, southwestern Pennsylvania, Michigan. D Major (most versions): C Major (Howe/Accordeon). Standard or DDae (Bronner) tunings (fiddle). ABCD (Silberberg): ABCDD (Christeson): AABBC (Ruth): AABBCCDD (Bayard, Brody, Ford, Gow, Howe, Kennedy, Linscott, Sweet): AA'BBCCDD (Phillips): ABBCCD (Cole, Miller & Perron): ABBCCDD (Bronner). Bayard (1981) did not find it in any collection older than the early 19th century (however, earlier printings did ~~exist--see~~ below). According to Linscott (1939) the tune "was fitted for a contra dance performed on the stage." Bronner (1987) thinks there may be stage origins for the tune on the strength of his observation that "besides producing light operas, popular theaters and chautauquas often did vernacular versions or even parodies of opera," though he admits the tune sounds Scottish or Irish. Apparently as another speculation, he also suggests the "operatic" triplet pattern in the third part "probably suggested the name of 'Opera Reel' in its early forms." There is also a rumor floating about the the reel is made up of strains from different French operas, although this appears to be completely erroneous. Tony Parkes and Steve Woodruff (1980) state the tune was an early 19th century American melody likely modeled on the multi-part Irish and Scottish reels of the 18th century and was particularly popular in the 1850's. Indeed, the "Opera Reel" appears in the 1823 music manuscript book of H. Canfield (Hartford, Conn.), '''A Choice Selection of Flute Melodies'''.

'''OPERA REEL [1].''' AKA and see "[[Celebrated Opera Reel (2)]]," "[[Duke of Cornwall's Reel]]," "[[Grand Opry Reel]]," "[[McDonagh's Reel (4)]]," "[[Tommy Gunn's Reel]]." American, Irish, Scottish, English; Reel. USA; Missouri, New York, New Hampshire, New England, southwestern Pennsylvania, Michigan. D Major (most versions): C Major (Howe/Accordeon). Standard or DDae (Bronner) tunings (fiddle). ABCD (Silberberg): ABCDD (Christeson): AABBC (Ruth): AABBCCDD (Bayard, Brody, Ford, Gow, Howe, Kennedy, Linscott, Sweet): AA'BBCCDD (Phillips): ABBCCD (Cole, Miller & Perron): ABBCCDD (Bronner). Bayard (1981) did not find it in any collection older than the early 19th century (however, earlier printings did exist—see below). According to Linscott (1939) the tune "was fitted for a contra dance performed on the stage." Bronner (1987) thinks there may be stage origins for the tune on the strength of his observation that "besides producing light operas, popular theaters and chautauquas often did vernacular versions or even parodies of opera," though he admits the tune sounds Scottish or Irish. Apparently as another speculation, he also suggests the "operatic" triplet pattern in the third part "probably suggested the name of 'Opera Reel' in its early forms." There is also a rumor floating about the the reel is made up of strains from different French operas, although this appears to be completely erroneous. Tony Parkes and Steve Woodruff (1980) state the tune was an early 19th century American melody likely modeled on the multi-part Irish and Scottish reels of the 18th century and was particularly popular in the 1850's. Indeed, the "Opera Reel" appears in the 1823 music manuscript book of H. Canfield (Hartford, Conn.), '''A Choice Selection of Flute Melodies'''.

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''OPERA REAL. 80 Steps.''

''Note. – Form sets of five or six couples only in each. First couple balance, down the centre to foot of ~~set--second~~ couple'' ''balance, down to foot of ~~set--four~~ right and left at ~~foot--both~~ couples up the centre, first couple down outside and remain''

''Note. – Form sets of five or six couples only in each. First couple balance, down the centre to foot of set—second couple'' ''balance, down to foot of set—four right and left at foot—both couples up the centre, first couple down outside and remain''

''at the foot.''

</blockquote>

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''Printed sources'' : - Adam ('''Old Time Fiddlers' Favorite Barn Dance Tunes'''), 1928; No. 63.

''Printed sources'' :

Adam ('''Old Time Fiddlers' Favorite Barn Dance Tunes'''), 1928; No. 63.

Bayard ('''Dance to the Fiddle'''), 1981; No. 133, p. 73.

Brody ('''Fiddler's Fakebook'''), 1983; p. 209.

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Edmund Lee ('''Mrs. Parker's Selection of Scotch Tunes, Strathspeys and Reels'''), Dublin, n.d.; p. 9 (early 19th century).

Linscott ('''Folk Songs of Old New England'''), 1939; p. 70.

Low ('''An Instructor ~~for the Dulcimer~~'''), Boston, 1858.

Low ('''The Dulcimer Instructor'''), Boston, 1858.

Miller & Perron ('''New England Fiddler's Repertoire'''), 1983; No. 93.

Page, ''Northern Junket'', vol. 1, no. 1, April 1949; p. 16.

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''Recorded sources'': - Alcazar Dance Series FR-203, Rodney Miller – "New England Chestnuts" (1980).

''Recorded sources'':

Alcazar Dance Series FR-203, Rodney Miller – "New England Chestnuts" (1980).

Edison 51278 (78 RPM), Jasper Bisbee (Michegan), 1923.

F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band."

@@ Line 10: / Line 10: @@
 <div style="text-align: justify; direction: ltr; margin-bottom: 90px; margin-left: 70px; margin-right: 120px;">
 <br>
-'''OPERA REEL [1].''' AKA and see "[[Celebrated Opera Reel (2)]]," "[[Duke of Cornwall's Reel]]," "[[Grand Opry Reel]]," "[[McDonagh's Reel (4)]]," "[[Tommy Gunn's Reel]]."  American, Irish, Scottish, English; Reel. USA; Missouri, New York, New Hampshire, New England, southwestern Pennsylvania, Michigan. D Major (most versions): C Major (Howe/Accordeon). Standard or DDae (Bronner) tunings (fiddle). ABCD (Silberberg): ABCDD (Christeson): AABBC (Ruth): AABBCCDD (Bayard, Brody, Ford, Gow, Howe, Kennedy, Linscott, Sweet): AA'BBCCDD (Phillips): ABBCCD (Cole, Miller & Perron): ABBCCDD (Bronner). Bayard (1981) did not find it in any collection older than the early 19th century (however, earlier printings did exist--see below). According to Linscott (1939) the tune "was fitted for a contra dance performed on the stage." Bronner (1987) thinks there may be stage origins for the tune on the strength of his observation that "besides producing light operas, popular theaters and chautauquas often did vernacular versions or even parodies of opera," though he admits the tune sounds Scottish or Irish. Apparently as another speculation, he also suggests the "operatic" triplet pattern in the third part "probably suggested the name of 'Opera Reel' in its early forms." There is also a rumor floating about the the reel is made up of strains from different French operas, although this appears to be completely erroneous. Tony Parkes and Steve Woodruff (1980) state the tune was an early 19th century American melody likely modeled on the multi-part Irish and Scottish reels of the 18th century and was particularly popular in the 1850's. Indeed, the "Opera Reel" appears in the 1823 music manuscript book of H. Canfield (Hartford, Conn.), '''A Choice Selection of Flute Melodies'''.
+'''OPERA REEL [1].''' AKA and see "[[Celebrated Opera Reel (2)]]," "[[Duke of Cornwall's Reel]]," "[[Grand Opry Reel]]," "[[McDonagh's Reel (4)]]," "[[Tommy Gunn's Reel]]."  American, Irish, Scottish, English; Reel. USA; Missouri, New York, New Hampshire, New England, southwestern Pennsylvania, Michigan. D Major (most versions): C Major (Howe/Accordeon). Standard or DDae (Bronner) tunings (fiddle). ABCD (Silberberg): ABCDD (Christeson): AABBC (Ruth): AABBCCDD (Bayard, Brody, Ford, Gow, Howe, Kennedy, Linscott, Sweet): AA'BBCCDD (Phillips): ABBCCD (Cole, Miller & Perron): ABBCCDD (Bronner). Bayard (1981) did not find it in any collection older than the early 19th century (however, earlier printings did exist—see below). According to Linscott (1939) the tune "was fitted for a contra dance performed on the stage." Bronner (1987) thinks there may be stage origins for the tune on the strength of his observation that "besides producing light operas, popular theaters and chautauquas often did vernacular versions or even parodies of opera," though he admits the tune sounds Scottish or Irish. Apparently as another speculation, he also suggests the "operatic" triplet pattern in the third part "probably suggested the name of 'Opera Reel' in its early forms." There is also a rumor floating about the the reel is made up of strains from different French operas, although this appears to be completely erroneous. Tony Parkes and Steve Woodruff (1980) state the tune was an early 19th century American melody likely modeled on the multi-part Irish and Scottish reels of the 18th century and was particularly popular in the 1850's. Indeed, the "Opera Reel" appears in the 1823 music manuscript book of H. Canfield (Hartford, Conn.), '''A Choice Selection of Flute Melodies'''.
 <br>
 <br>
@@ Line 20: / Line 20: @@
 <blockquote>
 ''OPERA REAL.   80 Steps.''<br>
-''Note. – Form sets of five or six couples only in each. First couple balance, down the centre to foot of set--second couple'' ''balance, down to foot of set--four right and left at foot--both couples up the centre, first couple down outside and remain''
+''Note. – Form sets of five or six couples only in each. First couple balance, down the centre to foot of set—second couple'' ''balance, down to foot of set—four right and left at foot—both couples up the centre, first couple down outside and remain''
 ''at the foot.''
 </blockquote>
@@ Line 41: / Line 41: @@
 </font></p>
 <p><font face="sans-serif" size="3">
-<font color=red>''Printed sources''</font> : - Adam ('''Old Time Fiddlers' Favorite Barn Dance Tunes'''), 1928; No. 63.
+<font color=red>''Printed sources''</font> :
+Adam ('''Old Time Fiddlers' Favorite Barn Dance Tunes'''), 1928; No. 63.
 Bayard ('''Dance to the Fiddle'''), 1981; No. 133, p. 73.
 Brody ('''Fiddler's Fakebook'''), 1983; p. 209.
@@ Line 60: / Line 61: @@
 Edmund Lee ('''Mrs. Parker's Selection of Scotch Tunes, Strathspeys and Reels'''), Dublin, n.d.; p. 9 (early 19th century).
 Linscott ('''Folk Songs of Old New England'''), 1939; p. 70.
-Low ('''An Instructor for the Dulcimer'''), Boston, 1858.
+Low ('''The Dulcimer Instructor'''), Boston, 1858.
 Miller & Perron ('''New England Fiddler's Repertoire'''), 1983; No. 93.
 Page, ''Northern Junket'', vol. 1, no. 1, April 1949; p. 16.
@@ Line 74: / Line 75: @@
 </font></p>
 <p><font face="sans-serif" size="3">
-<font color=red>''Recorded sources'': </font> <font color=teal> -  Alcazar Dance Series FR-203, Rodney Miller – "New England Chestnuts" (1980).
+<font color=red>''Recorded sources'': </font> <font color=teal>
+Alcazar Dance Series FR-203, Rodney Miller – "New England Chestnuts" (1980).
 Edison 51278 (78 RPM), Jasper Bisbee (Michegan), 1923.
 F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band."