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Please note this is an archived topic, so it is locked and unable to be replied to. You may, however, start a new topic and refer to this topic with a link: http://www.banjohangout.org/archive/352561
BANJOJUDY - Posted - 03/28/2019: 16:44:19
It has been a long time since I have presented a Tune of the Week, so I hope I'm up for the task.
For the March 29, 2019, I have chosen “Peek-A-Boo” waltz, a lovely waltz easily playable on clawhammer banjo in double-D tuning.
Why I Chose This Tune:
In October, 2014, I was fortunate to play this waltz with Alan Jabbour in a concert. When we rehearsed, Alan commented that he was almost embarrassed by the speed on the version that appears on the Hollow Rock Stringband recording. He slowed the timing down, and we played what you will find online.
Here’s the link to the video (the waltz begins at the 5:12 mark.) . youtube.com/watch?v=GHi_BCKaJO0
I transcribed his commentary from that performance below:
Here’s a waltz called, “Peek-a-Boo Waltz.” I love this waltz. It’s a great American waltz. People know it all over the country. North, south, west. You know I was teaching in the Montana Fiddle Camp, and I was teaching this waltz in the cafeteria, and the lady in the cafeteria came out and was standing in the doorway, listening.
So, I went over afterwards, and I said, “Oh, do you know that tune?” And she said, “Yes, there’s words to it.” And, before the week was out, our little group that I taught the tune to was playing it in a concert at the end of the week, and the lady from the cafeteria, was coming and singing it for us. But, every time I play it in the audience, this hasn’t happened yet here, it’ll happen if there is someone from Sweden in the audience, will come up and say to me, “You know, that tune is a Swedish tune.”
“I know, I know!” But the fellow you, shall I say purloined it, was an American music master who composed American words to it. And the words were very interesting. He named it “Peek-a-Boo” waltz, and the words were very modern sounding. This was the 1870’s, but it was like in the voice of a father who was coming home after working all day and playing peek a boo with his little boy.
And so, it’s a very sweet song. And it’s, “Peek-a-boo, peek-a- boo, you rascal you, I see you hiding there.” You don’t want to hear me sing it.
And, it’s a great dance tune. It kind of has a lilt to it.
Lyrics:
The melody, with lyrics, was recorded by Uncle Dave Macon, and by fiddler J.C. Glasscock of Steppvile, Alabama, for Gennett Records in 1927, and I’ve written the lyrics from that recording below:
On a cold winter's eve when business is done
And to your home you return,
What a pleasure it is to have a bright, bouncing boy,
One that you love to admire
You'll hug him, you'll kiss him, you'll press him to your heart,
what joy to the bosom it will bring,
Then you'll place him on the carpet and hide behind the chair,
And to please him you'll commence to sing.
Chorus:
Oh, peek-a-boo, coochee coochee coo
Come from behind the chair,
Oh, peek-a-boo, you rascal you,
I see you hiding there.
Oh, peek-a-boo, coochee coochee coo
Come from behind the chair,
Oh, peek-a-boo, you rascal you,
I see you hiding there.
Verse 2:
When I am away from my home and at work,
He's at home with his mama's care so dear,
All the whole day long, you can hear his little song,
Echoing so calm and so clear,
His playthings on the floor, he's happy evermore,
What joy to his mama's heart he brings,
Then you'll find him on the carpet and watching at the door,
For me when I come home to sing
Chorus 2:
Oh, peek-a-boo, you rascal you
Come from behind the chair,
Oh, peek-a-boo, I see you,
I see you hiding there
Oh, peek-a-boo, coochee coochee coo
Come from behind the chair,
Oh, peek-a-boo, you rascal you,
I see you hiding there.
Banjo Tablature:
I don’t write tablature, but I uploaded a video of myself playing this with closeups of my hands so anyone who wants to learn by watching what I did can do so. Here’s that link:youtube.com/watch?v=Y81nGCdSo8w.
However, my good, very kind friend, Yigal Zal, was kind enough to tab out what I played in the video. You can locate the tablature here:banjohangout.org/tab/browse.as...p;v=23641
David Brooks tabbed this out. hangoutstorage.com/banjohangou...22011.pdf It is very similar to the Perlman version I located in a February, 2001 Banjo Newsletter.
There are tabs also in the May, 1986 and November, 1980 Banjo Newsletters, but I don’t know who wrote them or how easy or complex they might be. If anyone has access to those tab files, it would be interesting to learn who tabbed them and perhaps we could see what was written in those issues.
Additional Youtube Links:
Ward Allen on Fiddle - youtube.com/watch?v=TIp7MB5VIhY
Ned Landry on Fiddle - youtube.com/watch?v=u64HBc1ppkQ
Joel Hooks - Posted - 03/29/2019: 08:30:09
What a great tune, and another piece of the puzzle that I find fascinating.
Composed by Wm. J. Scanlan and published in 1881, (with a fair assumption that composition was near the publication date from what we know about the business) it is an interesting song in form but not unusual.
Here is the original score, check out that full color title page (which is rare for that era)! levysheetmusic.mse.jhu.edu/col...n/048/073
George Lansing, a very popular banjoist and teacher who published uncountable numbers of compositions and arrangements included this in an 1885 Instruction book which I scanned and posted here--
archive.org/details/MonarchBan.../page/n23
Here comes the puzzle. The original score and the banjo arrangement both have the verse in 4/4 common time then the signature changes to 3/4 for the chorus. There was no "waltz" in the title, that was added when it became a "old time" tune.
There are two recordings of Macon playing this in the Bear Family set, one studio and one live broadcast cut. In both recordings he follows the banjo score nearly exactly in both melody and accompaniment (divided accompaniment through the same chord progression) handling the time change seamlessly. I took it one step further and played along with the recording while sight-reading the banjo score. The only changes seems to be a clawhammer intro on the recording. Makes you wonder.
While the banjo arrangement is presented in the key of A, it is actually intended to be played in the key of C with the banjo in "standard tuning" (sometimes called dropsy today). If you are curios about this search BHO for my name and "A notation" for an explanation. It is a little confusing but made sense at the time.
It is interesting that the "old time" version has dropped the common time verse and from your wonderful video I have learned that it is all played in 3/4.
This is despite Macon recording it in the originally composed format.
Thanks for sharing!
hendrid - Posted - 03/29/2019: 09:10:00
The Session has sheet and midi and discussion on this song'
thesession.org/tunes/13450
Edited by - hendrid on 03/29/2019 09:11:15
Joel Hooks - Posted - 03/29/2019: 10:10:31
quote:
Originally posted by hendridThe Session has sheet and midi and discussion on this song'
thesession.org/tunes/13450
Very good!
Here is "Peek-A-Boo Waltz"
loc.gov/resource/sm1883.01052.0/?sp=2
That explains where the common time went. I'll play through the waltz this evening and see what changed.
janolov - Posted - 03/29/2019: 12:44:35
The Peek-A-Boo Waltz seems to have a close relation to a traditional Scandinavian tune Svensk-Anna's Waltz (or Swedish Anna's Waltz or Svensk-Annas Vals). Here are some youtube clips: youtube.com/watch?v=r6P1AMvOJtA, and youtube.com/watch?v=mWm30NvZUJM, and youtube.com/watch?v=DjOazmzG6y8
Here are also notation: stefanlinden.se/L/vals%20Svens...%20Da.pdf
"According to thesession.org:
"Svensk Anna" (Swedish Anna) was not named due to her being Swedish (though she was), but it was due to the farm she belonged to (a “gårdsnamn” - farm name - used to distinguish one Nils or Anna from another - found in the Northern Isles of Scotland too, for example "Jimmy o’ the Bu", or " Maggie o’ Holm"). Svensk Anna Olsdotter (1892-1973) of Svenskgården ("The Swedish Farm"), by Boda village in Dalarna, played the cittra (chord zither) and apparently was quite a character. The tune, however, came to Boda from Anna’s mother (possibly an "Anna" too), who heard it played by a brass band in a seaside town in northern Sweden, where she was working as a "domestic".
Edited by - janolov on 03/29/2019 12:44:57
JanetB - Posted - 03/30/2019: 09:50:08
A treat to have you once again present a TOTW, Judy. You were certainly blessed to record this with Alan Jabbour himself and your playing portrays the melody beautifully.
To add a little variety and challenge to myself I attempted to arrange an Art Galbraith fiddled version which is in my iTunes. He uses triplets in different places than Alan and did some syncopation I copy. I didn't repeat the A and B parts in this recording, though Art did.
Thanks also to Joel, Don, and Jan for adding to the rich history of Peek-a-Boo Waltz. From Alan's story about a Swedish tune I understand Jan's comment. I've heard the tune on my Hollow Rock String Band CD, but never would have suspected all that's behind the song.
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