Yankee Doodle Dandy

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Yankee Doodle Dandy

(The Traditional Tune Archive)   Browse Properties Browse/:Yankee Doodle Dandy
 Theme code Index   1H2H1H2H 1H2H1H7
 Also known as    
 Composer/Core Source    
 Region    United States
 Genre/Style    Contra, Military
 Meter/Rhythm    Air/Lament/Listening Piece, March/Marche
 Key/Tonic of    D
 Accidental    2 sharps
 Mode    Ionian (Major)
 Time signature    2/4
 History    
 Structure    AB, AAB, AABB, AABBA'A'B'B'
 Editor/Compiler    Rev. James Pike
 Book/Manuscript title    Rev. James Pike music manuscript collection
 Tune and/or Page number    
 Year of publication/Date of MS    1730
 Artist    
 Title of recording    
 Record label/Catalogue nr.    
 Year recorded    
 Media    
 PDF Score    (1)   
Yankey Doodle


Yankee Doodle Dandy






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:| |:d2 BG|dB =c2|ABAG FG A2|d2 BG|Bd =c2|ABce|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|: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:|]

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:| |:g2 ec|eg f2|dedc|Bc d2|g2 ec|eg f2|defa|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) Z:AK/Fiddler’s Companion K:D ddef|ddec|ddef|d2c2|ddef|ddec| AABc|d2d2::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:|]

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:| |:G|ccde|ccBG|ccde|c2 BG|cc de|fe dc| 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|| |:B|ee fg ee dB|ee fg e2 dB|ee fg ag fe|BG cd e2 ez/f2e/2| dBcd e2e2::c>d cA cd e2|B>c BA G2B2| c>d cA cd e2|c>e df e2e2|c>edf e2E:|

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:|]

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 :||: d2 BG | Bd =c2 | ABAG | FG A2 | d2 BG Bd =c2 | Adce | d2d2 :|]