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Since the publication of the Bush Dance folio, commonly referred to as The Blue Book, I have been repeatedly asked for an update. Much has happened in the interim years: a busy number of years performing in Sydney with Pinchgut and then Southern Cross; children, and all their concommitant demands; and of course, moving to Penrose and adopting a significantly different lifestyle.

During this time I have not been idle. Arranging the yearly music for the Heritage Ensemble to play at the annual Bush Music Club's Heritage Ball has been a regular challenge for 35 years now. In recent times with Bush Traditions, I have been instrumental in the planning and running of the Goulburn Gathering and the Bundanoon DanceFest, as well as being a regular contributor to the participation programme of the National Folk Festival. In doing this I have arranged and rearranged many dance tunes in many dance sets, and published close to forty single purpose folios.

Still, there is, I believe, a need for a core repertoire of tunes from the amassed collections to be put forward. There have been a huge number of tunes that have come to light since 1984. It is not conceivable to play them all and to do them justice. This collection is an abbreviated personal selection of the best of the tunes arranged in playable sets.

The tunes are presented in my recommended format, one that makes it easy to follow in learning a tune or in the melee of performance. Each line is a single phrase, either four or eight bars depending on the density of notes. Chords are generally kept to a bare minimum except where a tune cries out for a more intricate pattern. Feel free to modify them as you wish. Only rarely were tunes collected with an accompaniment. Chords are presented in a large clear font as requested by pianists and guitarists.

The tune sets are arranged mostly with key changes between tunes as this emphasises the change of tune. Most tunes are in the generally favoured keys of D, G, C, A, Am and Em.

Where I have considered it advantageous to the general playing of a tune I have stripped off the decoration that the recorded player used. My reasons being that decoration of a tune is dependent on both the dexterity of the player and the nature of the instrument he/she played. On recordings I have transcribed, the decoration attempted by an older player who is out of practice or arthritically limited, can fumble the tune and even result in odd bar counts. Musicians who play for example button accordion and fiddle, as did Harry Cotter, decorate the same tune differently on the different instruments. They even decorate differently on other playing of the same tune. So my approach is to encourage players to learn the tune and then decorate it with their own bowing, bellows action, tounging, tremolo, trills and twiddles to keep the tune fresh in each playing. I also recommend listening to sound and video recordings of the traditional players to pick up their nuances of style that simply cannot be presented in music notation.

The Bush Traditions WIKI is a developing resource for further tunes and background and, for those with the appropriate expertise, as a repository for information and music. This project is the brain-child of Ray Mulligan, and it is proving to be a valuable and growing library.

Tribute must be paid to the collectors, transcribers and arrangers of these tunes. Without their enthusiasm we would not have such a wealth of top class tunes to play. I have credited them briefly, and, as accurately as my information goes, in the short notes on each tune below the tune title.

To paraphrase Harry McQueen, I hope this music makes you smile.

Dave Johnson Penrose, NSW June 2017

Jigs

Jigs are written with 6/8, 9/8 or 12/8 time signature with the music divided into 3/8 rhythmic units. The 6/8 jigs included in this collection have a two beat per bar rhythm with a triple count for each beat. 6/8 Jigs can be classified according to their main rhythmic pattern as single or double jigs, though it should be noted that many jigs fit somewhere between the two.

Single Jigs

Single jigs have a predominance of bars with the pattern while

Double Jigs

Double jigs exhibit the pattern

There is an abundance of collected jigs of both types in the Australian tradition. The less frenetic single jigs are often a good choice for dancing as the give a clearer bounce for dancers’ feet. Some 6/8 tunes are played at a march tempo and are suitable for Grand Marches and dances that involve walking steps.

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Reels

Single Reel

Single Reels are tunes in duple time ie two beats to the bar. They can be notated in 2/4, 4/4, Common or Cut Common time signatures, however in this collection they are presented as 2/4. Tunes that are referred to by many as polkas or Irish polkas are considered here as single reels to distinguish them from the tunes with the characteristic polka rhythm appropriate for polka stepping in bush dances.

Bush musicians often referred to their tunes as “Set Tunes”. However, this term gives no hint to the time signature, only indicating that the tune was used for the First Set, The Lancers, The Alberts, etc. Some of the tunes in this section will have “polka” or “set tune” in the title in deference to the person who first named the collected tune.

In Ireland the term "lancer" is sometimes applied to this rhythm, taken from the historical name of the popular quadrille that used this rhythm.

Double Reel

A Double Reel is a reel that is rather busier than a Single Reel. They are written in this collection in 4/4 or Common Time and played with the main emphasis on the first beat and a lighter emphasis on the third beat.

There are many examples in the Australian tradition with particular variants adapted to suit the instruments being played.

Undoubtedly some tunes could be fitted into either a Single or Double category.

Single and double reels can be played “singly” AB or “doubly” AABB.

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Polkas

The origins of the polka are contentious, though we can say with certainty it was European in origin. The polka was introduced to Paris in 1840 and with a wave of “polkamania” it soon became popular in Australia. There were many adaptations of folk tunes and many original compositions that came with the dances. The popularity of the dance in Australia is evident from the number of polkas collected from players all over the country.

What is a polka?

In this collection polkas are distinguished as tunes in 2/4 time with the distinctive rhythmic pattern quaver- quaver- dotted quaver- semiquaver occurring in a significant number of bars. Here’s an example:

This is distinct from the typical Irish “polka” which is categorised in this collection as “single reel” and while it has the same 2/4 time signature it is flatter in rhythm and less suited to the actual polka stepping.

Melody players and accompanists and percussionists should emphasise the polka rhythm to help the dancers get the polka bounce into their movement.

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Hornpipes

The most common use of the term in current Australian folk music refers to a class of tunes in 4/4 time. There are two basic types of common-time hornpipe, ones like the "Sailors' Hornpipe", played in even notes usually a little slower than a reel,

and ones like "The Harvest Home", moving in dotted notes.

Some 19th-century examples mix the dotted and even styles. The form dates back to the mid-18th century or even earlier, but became much more popular in the early 19th century when many fine hornpipes were written.

In Australian history the tradition of hornpipe dancing was a part of the life of sailors on British Navy and merchant vessels. Ships often had a fiddler or penny whistle player to encourage the men to exercise on prolonged journeys. This was adapted around the country as step dancing. Stan Treacy described the privilege of playing fiddle for the best step dancers in the Crookwell area of NSW. Often it became a test of staying power and speed for both dancer and musician.

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Schottisches

The schottische is one of the most commonly collected dance tune forms in Australia. No doubt the popularity of dancing the Schottische and later the Barn Dance encouraged the learning of many a good tune.

The name is German for Scottish and there are similar words in most European languages. The affinity between Scotland and Europe was presumably based on a mutual dislike of the English. Incidentally, Ludwig van Beethoven was commissioned to compose a number of the tunes that we now consider Scottish.

In Australia, the origin of many of these tunes remains a mystery. Some have been adapted from hornpipes from the British Isles. Some have come with European settlers such as the post World War I German migrants. The publishing industry would also have provided a constant source of new tunes with a transmission from squatter’s piano to itinerants’ concertinas, accordions, fiddles and mouth organs. And finally, I’d expect some local compositions, some with hints of half remembered tunes and others fresh and new.

The tunes fit comfortably on the standard concertina, accordion and fiddle and variants recorded are often the result of the tune being bent to fit the instrument. Piano and fiddle versions may have accidental notes from an original score and these are often modified by the scale of the accordion and concertina. The differences can be subtle and hardly noticeable to listeners and dancers. From comparison between sheet music and the collected derivatives it can be seen that complex sections are abandoned for a home-grown alternative. The folk process in action.

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Mazurkas,

Polka Mazurkas

and Varsoviennas

The mazurka is the characteristic step common to these dances. The mazurka (in Polish mazurek, plural mazurki) is a Polish folk dance in triple meter, usually at a lively tempo, and with strong accents placed on the second or third beat. The corresponding music is distinct in its rhythm, with the first two beats of the three-four music emphasised.

These dances must have enjoyed considerable popularity as most bush musicians had a varsovienna in their repertoire and many also had mazurkas and polka mazurkas.

According to dance historian, Peter Ellis, there are distinct styles of dancing the mazurka in NSW and Victoria. In the Mudgee area a slower movement with less bounce was collected, while the Victorians in the Bendigo region dance with a faster bouncier step.

For the varsovienna some of the bush musicians played the mazurka section first and some after the turn-and-point section.

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Waltzes

Waltzes are dance tunes in triple time ie three beats to the bar. They are notated in 3/4 time signature. Waltz music began its popularity when the rather risqué dance was first introduced and became fashionable in Vienna around the 1780s. It became fashionable in Britain during the Regency period though the entry in the Oxford English Dictionary shows that it was considered "riotous and indecent" as late as 1825. The waltz hold became the basis for many other ballroom dances.

Waltz music composers were prolific with countless examples of published scores. Published songs also provided a rich source of simpler waltz tunes. Bill Cooper from Parkes, NSW even learnt a waltz tune from the merry-go-round of a travelling fair.

It is important to communicate a good rhythm to the feet of waltzing dancers. Old fiddlers used bowing pressure to emphasise the three beats of the bar even on long sustained notes. Concertina and accordion players similarly used bellows pressure and left hand chords.

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Quicksteps &

Marches

Quicksteps

A quickstep is a lively step used in marching. Many military regiments have their own regimental march, for example The Barren Rocks of Aden is associated with the Gordon Highlanders regiment.

In ballroom dancing, the Quickstep evolved in the 1920s from the Foxtrot and One-Step. It features three characteristic dance figures: the chassés, where the feet are brought together; the quarter turns; and the lock step.

This dance developed into a very dynamic one with a lot of movement on the dance floor, at a rather brisk tempo, as it was developed to fast-paced ragtime era music.

The dance was popular all through Australia and the country musicians learnt new tunes from records or sheet music or adapted their own tunes to suit the dancers’ requirements. Many of the songs of the period by composers like Jack O’Hagan were used.

Marches

There are a few examples of marches collected from traditional musicians. These reflect the prevalence of brass bands in most country areas. Most towns had a brass band which trotted out their marches for the Anzac Day parade through town and the local country show parades.

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52

Set Dances

A number of dances in the Australian tradition have either a set tune that is characteristically played for that dance or a pattern of time signatures that requires an organised set.

The first group includes dances that were collected in association with a particular tune, such as The Four Sisters' Barn Dance and Frog Puddles. It also includes tunes composed for a particular dance or composed as a variant tune for a particular popular dance, presumably when the musicians were over playing the original tune. Such tunes include the Maxina given here.

The second group includes popular dances like Thady You Gander and The Virginia Reel as well as the Quadrilles, such as The First Set, The Lancers, The Caledonians, The Royal Irish, and La Parisienne.

Collector John Meredith has been credited with devising the series of tunes (reel, jig, march) for the Virginia Reel, which provides variety in the music as well as musical cues for the sections of the dance. Similarly the use of Pop Goes the Weasel as a starter for each time through Thady You Gander initiated by myself provides similar markers for the dancers.

Many tunes have been collected without names but referred to as a tune for the figures or for the sets and so have been identified as Joe Blogg's Set Tune, or the like. However, the term Set Tune, in this context, gives no clue as to the time signature of the tune. In deference to the collector or transcriber I have maintained the naming they have used, within my own taxonomy.

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Index of Tunes

Across the Sea to Erin 8

Ali's Quickstep 52

Annie Shaw's Tune 48

Atlantic One Step 52

Australian Jim 38

Bert Jamieson's Beauty 12

Bert Jamieson's Schottische 36

Bill Cooper's Polka 30

Bill Painter's Short Waltz 66

Binda Polka 30 Black Cat Piddled in the White Cat's Eye 18 Black Man Piddled in the White Man's Shoe 19

Bob in the Washhouse 32

Bowral Jig 2

Brighton Camp 26

Brown Jug Polka 30

Can A Monkey Climb A Tree 20

Captain Jig Of The Horse Marines 11

Champion Axeman, The 64

Charles Cullen's Jig 2

Charlie Doran's Polka 29

Charlie Kyle's Jigs 10

Charlie Kyle's No 1 10

Charlie Kyle's No 2 10

Charlie Kyle's No 3 10 Cheer Boys Cheer, Mother's Got a Mangle 35

Cheer Up Jack 23

Circassian Circle 26

Cock of the North 14

Colin Charlton's Reel 21

Con Klippel's Gypsy Tap 57

Cosgrove's Schottische 37

Dad's Jig from Frank Forde 4

Dashing White Sergeant 25

Day the Ass Ran Away, The 2

Deccan Steet 5

Dick Cribb 22

Donkey Ate My Old Straw Hat, The 33

Eb Wren's Hornpipe 33

Eileen McCoy's Jigs 11

Ernie Goodman's Waltz 42

Ernie Wells' Set Tune 19

Fair Fair with Golden Hair 42

Flannigan's Ball 14

Flannigan's Ball 61

Flowers of Edinburgh 25

Flying Pieman, The 6

Four Sisters' Barn Dance 54

Frank Collins' Jig 5

Frank Forde's Second Jig 13

Fred Holland's Polka 30

Freemantle Station 40

Frog Puddles 55

Garibaldi's March Waltz 56

George Large's Polka 29

Gervasoni Waltzes 47

Girl I Left Behind Me, The 26

Girls of Ivy, The 9

Grand Old Dame Britannia 24

Gypsy Tap 57

Hackett's Schottische 37

Harry Cotter's Jig 9

Harry McQueen's Veleta No 1 63

Harry McQueen's Veleta No 2 63

Harry Reeves' Favourite Shotease 36

Harry Reeves' Waltz 45

Herb Gimbert's First Set Tune 6

Herb Gimbert's Jig 6

Hills of Glenorchy 2

Honest John 11

Hop Scotch Polka, The 16

How Do You Do Schottische 54

Hughie's Waltz 66

Humpty Dumpty 55

Hundred Pipers, A 14

I Want To Go Home Again 11

If You Were the Only Girl In the World 58

Jack and Lil 19

Jack Canny's Reel 17

Jack Charlton's Jig 4

Jack Cumming's Veleta 63

Jack Smith's Waltz 45

Jack's Waltz 48

Jackson's Jig 13

Jig, The 57

Jimmy Jeffreys' Schottische 38

Joe Yates' Jig 7

Joe Yates Polka 62

Joe Yates Second Reel 18

Just As The Sun Goes Down 43

Katie Maloney's Reel 17

Knotted Cord, The 27

Kuraca Polka, The 18

Index of Tunes

Laang Barn Dance 54

Lanagan's Ball 14

Lass She Is From Lancashire, The 26

Lindsay Carr's Lead-up 6

Lindsay Carr's Lead-up 60

Loge and Vivvy's Schottische 35

Maid of Fife 64

Manchester Hornpipe, The 32

Mark Walters' Set Tune 23

Mason's Apron, The 25

Maxina, The 58

McGarry's Third Jig 2

Merrily Danced the Quaker's Wife 61

Mick McGarry's First Jig 3

Mick McGarry's Second Jig 3

Mick Pilley's Varsovienna 40

Monkey Shaved Me Father 32

Moonan Flat Set Tune 20

Moriarty's Jig 3

Mother's Old Red Shawl 23

Mr Emmett's Waltz 42

Mudgee Waltz 46

Murray Moon, The 51

My Love She's But A Lassie Yet 26

Nae Luck Aboot the Hoose 55

New Cut Polka 30

Nightshades 58

Nora Creina 64

Number One 12

Number Three 12

Number Two 12

Off She Goes 55

Off To California 32

Old Bush Shanty 51

Old Schoolmaster, The 21

Old Time Polka One 16

Old Time Polka Two 16

Ollie Watt's Schottische 37

One Wet Afternoon 22

Orotaba Waltz, The 45

Out of the Blue Gums 51

Paddy Godden's Schottische 36

Pine Tree Flat 37

Pop Goes the Weasel 60

Prima Donna Waltz 45

Queer Fella's Schottische 35

Rakes Polka 17

Reedy Lagoon 66

Rita Croker's Set Tune 24

Rita Trautman's Polka 29

Road to Gundagai, The 50

Russ Lynam's Favourite 20

Rye Waltz, The 56

Sadly the Cuckoo Is Calling 44

Salley Gardens 27

See-Saw Polka 29

Silver Spear, The 27

Sing a Song of Sixpence 65

So Fa La 7

Spanish Waltz 46

Spirits of Whisky 4

Stan Treacy's First Set Tune 20

Stan Treacy's Polka 29

Stan Treacy's Schottische 38

Stan Treacy's Set Tune No 1 24

Stan Treacy's Set Tune No 1 65

Stan Treacy's Very Particular Waltz 44

Steampacket Hornpipe, The 33

Susan Colley's Waltz 46

Swedish Masquerade 59

Syd Briggs' Masquerade 59

Teaching Clarence McFayden to Waltz 43

Ted Ward's Jig 65

Teddy Creighton's Step Dance 21

Tempest, The 62

Thady You Gander 60

Tobin's Favourite 2

Tumbarumba Barn Dance 54

Under the Willow 44

Veleta Waltz 63

Virginia Reel Set 64

Walk Around, The 2

Waltz Country Dance 66

Wattle Flat Races 7

Wedding of Lachan McGraw 8

When I Went To Germany 43

When the Rain Tumbles Down 50

Where the Dog Sits on the Tuckerbox 50

White Cockatoo 16

Wild Paddy 45

Year of Jubilo 19

Young Letitia Carey 5