Difference between revisions of "TTA"

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| style="color:#000;padding:2px 5px" | <div><font face="Century Gothic" size="2">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.</font>  
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| style="color:#000;padding:2px 5px; text-align: justify; direction: ltr" | <div><font face="sans-serif" size="2">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.</font>  
 
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<font face="Century Gothic" size="2">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.</font>   
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<font face="sans-serif" size="2">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.</font>   
 
<br>
 
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<font face="Century Gothic" size="2">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''?</font>   
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<font face="sans-serif" size="2">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''?</font>   
 
<br>
 
<br>
<font face="Century Gothic" size="2">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.</font>
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<font face="sans-serif" size="2">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.</font>
 
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'''<font face="Century Gothic" size="2">''Andrew Kuntz & [[User:WikiSysop |Valerio Pelliccioni]]''</font>'''
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'''<font face="sans-serif" size="2">''Andrew Kuntz & [[User:WikiSysop |Valerio Pelliccioni]]''</font>'''
 
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'''<font face="Century Gothic" size="2">[[Special:UserLogin|Please register as a user]]</font>'''</big> <font face="Century Gothic" size="2">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 [[Help:Page_validation|reviewed by an editor]], become part of this community project. Serious user/contributors may become editors through the TTA's [[Help:Page_validation#Autopromotion|autopromotion]] process, in which quantity and quality of entries allows increased levels of permission to edit and review the entire index. <br>
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'''<font face="sans-serif" size="2">[[Special:UserLogin|Please register as a user]]</font>'''</big> <font face="sans-serif" size="2">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 [[Help:Page_validation|reviewed by an editor]], become part of this community project. Serious user/contributors may become editors through the TTA's [[Help:Page_validation#Autopromotion|autopromotion]] process, in which quantity and quality of entries allows increased levels of permission to edit and review the entire index. <br>
 
Above all, the developers wish you joy in the use of the TTA.</font>
 
Above all, the developers wish you joy in the use of the TTA.</font>
 
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Latest revision as of 12:14, 16 May 2019

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.

May 21 2019  Featured tune:           YELLOW STOCKINGS

North Bridge of Edinburgh

The tune dates from the 16th century and is a member of a very large tune family. Henry Playford first printed it in 1698 in his Dancing Master (under the title "Mad Moll (1)", a dance named for Mary "Moll" Frith, and amateur actress and professional pickpocket), and later in his 1703 edition with another dance under the title "Virgin Queen." In 1705 Dean Swift adapted a nursery song to it beginning "Here my kitten, my kitten" ("O my Kitten"). The title "Yellow Stockings" for the tune appear in dancing master Daniel Wright's North Country Frisks (1713) and (as "Yallow Stockings") in his Extraordinary Collection of Pleasant and Merry Humour's never before Published, Containing Hornpipes, Jiggs, North Cuntry Frisks', Morris's, Bagpipe Hornpipe's, & Round's with Severall Additonal fancis added. fit for all those that play Publick" (c. 1715). John and William Neal printed it in their Choice Collection of Country Dances (Dublin, 1726).

As a vocal melody it can be heard in Charles Coffee’s ballad opera Boarding School (1733), The Cobler of Preston (1732), and it was published in a folio of songs from Henry Brooke’s Jack the Gyantqueller (London, 1749). Thomas Moore used it as the vehicle for his lyric "Fairest Put On Awhile." Sir John Hawkins mentioned the tune in this quote regarding tavern entertainment from his 1576 A General History of the Science and Practice of Music:

...Fidlers and others, hired by the master of the house; such as in the night season were wont to parade the city and suburbs under the title of Waits...Half a dozen of fidlers would scrape "Sellenger's Round", or "John Come Kiss Me", or "Old Simon the King" with divisions, till themselves and their audience were tired, after which as many players on the hautboy would in the most harsh and discordant tones grate forth "Greensleeves," "Yellow Stockings," "Gillean of Croydon," or some such common dance tune, and the people thought it fine music.

There are two main versions of “Yellow Stockings,” both sharing the first strain. One version follows the “Yellow Stocking,” “Mad Moll,” “Peacock Follows the Hen” versions, predominant in England, while the other follows “Yellow Stockings,” “The Kitten,” “Hey My Kitten” titles, predominant in Ireland. The version given in Ryan’s Mammoth Collection/Cole’s 1000 belongs to the Irish strain. The collector George Petrie included an untitled Irish version in his collection of 1855 (Stanford/Petrie, No. 101, p. 25). R.D. Cannon, in his article “English Bagpipe Music” (Folk Music Journal, 1972) suggests the progenitor of this very large tune family is the Scots “Up with Aley.” Other variant titles include “Brose and Butter,” “Drops of Brandy/Whiskey,” “The Faraway Wedding,” “The Honeymoon,” “Jerry Houlihan,” “The Dusty Miller,” and “Hey My Nanny/Nancy.”


YELLOW STOCKINGS full Score(s) and Annotations and Past Featured Tunes



X: 62 % T:Yallow Stockings M:9/4 L:1/4 S:Wright 1713 F:trillian.mit.edu/~jc/music/abc/mirror/http://www.goodbagpipes.com/wright.abc Z:p K:C B | c>BAAEAAEB | cA/B/cAEABGB | c>BAAEAAEA | B2GG>AGBG || B | c/B/c/d/eB2AAEA | c/B/c/d/e B2A BGB | c>deB2AAEA | BdgBdgBG || B | c>dagaA2B | c/B/c/d/egfgG2A | c>de/f/agaA2B | c>de/f/ g2dBG || B | c/d/c/B/A GEG C2B | cBAGEFG2B | c/d/c/B/AGE/F/GC2c | B2gd>ed/c/BG || B | cegc/d/e/f/gBGB | cegga/g/f/e/fdB | cegcegBGB | cBAGEGA,2 ||

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.


Latest Tunes



Help Getting started

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Navigation: Registered users can navigate the Traditional Tune Archive for information in a number of ways.

  • Search. The Search function is located at the top left, and can be used to search the entire index for any key word.
  • Alphabetically by tune title. Under “The Archive” on the SideBar on the left is “All Tunes”. Click on “All Tunes” to open up the list of tune titles in the TTA arranged in alphabetical order, 200 titles to a page. At the top of the page is an alphabetical breakdown that serves as a shortcut to pages. Clicking on any title will bring one to the music and tune fields. Once the tune appears, clicking “Tune Discussion” at the bottom of the page (below the notation) will open up the narrative information on the tune.
  • Query the Archive. The “Query the Archive” function under “The Archive” in the sidebar can be used to draw down reports from the TTA in either in single items or in a number of combinations. One might, for example, use a single item query to run a report in the TTA for a particular composer/core source. Clicking on the arrow at the right of the bar draws down a list of composer/core sources, or one may be typed in. For example, clicking on “Bill Pigg” and then the “Run Query” tab at the bottom left will result in a list of all compositions listed in the TTA that the Northumbrian piper either composed or is the core source for. Reports may also be run in combinations, as, for example, by selecting “William Marshall” as a composer/core source, “Three Flats” for the number of accidentals, and “Major” for the Key/Mode. This will result in a report of all Eb Major compositions of Scottish fiddler/composer William Marshall that are indexed in the TTA.
  • Drill Down. Cumulative information about TTA entries can be found in the “Drill Down” under “The Archive” in the SideBar on the left.
  • Tune Books/Magazines in the TTA can be accessed under “Publications” in the left side bar. These are reproductions of publications for which access has been granted to the TTA by the copyright holder, under the Creative Commons license.