This week's winner is Rose of Avonmore, which was submitted as an Irish Traditional tune. I am not familiar with it, and am on the road, posting the winner from my phone, so once again, I am going to rely on some of our other helpful members to link to notation and videos!!
ROSE BUD OF ALLENVALE, THE. AKA and see "Rose of Sharon Waltz," "Rose of Allendale," "Rose(bud) of Avonmore," “Rosebud of Allenvale,” “Roses of Ava Moore.” Scottish (originally), Canadian, Old-Time; Air (6/8 time) or Waltz. A Major. Standard tuning. AB. Composed by the great Scots fiddler and composer J. Scott Skinner (1843-1927), originally published in the 1920's in his Cairngorn Series #9. The title sometimes appears as "The Rose of Allendale" and similar variants, and can be found in Midwest America under the title "Rose of Sharon Waltz." (“The Rose of Allendale” is also the name of another famous melody, in common time), and “Roses of Ava Moore.” Missouri fiddler Howard Marshall writes: “we call this "Rose of Sharon" (for those of us who may have learned it off Howdy Forester's old LP) or "Rosebuds of Aviemore" (there is a town in the Scottish Highlands south of Inverness named Aviemore; I've been there), or "Rosebuds of Avamore" (maybe a reference to the Ozark town of Ava MO where fiddler Bob Holt lives).” Missouri fiddler Gary Johnston (b. 1937) seems to emphasize this in his title “Roses of Ava Moore”, and Gordon McCann (Ozark Fiddle Music, 2008) says it is sometimes called by regional fiddlers as “Roses of Ever Moore.” Source for notated version: George MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]. Hunter (Fiddle Music of Scotland), 1988; No. 38. Matthiesen (Waltz Book II), 1995; pg. 49. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 174. X:1 T:Rose Bud of Allenvale, The M:6/8 L:1/8 R:Air C:J. Scott Skinner Z:AK/Fiddler’s Companion K:A (e/d/) | c>dc BAB | (A3 A2)c | d>ef ecA | (B3B2) e/d/ | c>de ABc | d2e f2 g/a/ | eAd c2B | (A3 A2) || c/d/ | e>f=g f2e | (d3d2)e | f>ga g2f | (e3e2) f/g/ | aec A2=G | FAd f^gf | eAd c2B | (A3A2) ||
As far as I can tell, this is the title of an old-time waltz which seems most popular in the Missouri Ozarks, where it also goes by the names "Rose of Sharon Waltz", "Rosebud of Avonmore", "Roses of Ava Moore" and others. It may be derived from "Rosebud of Allenvale" by the Scottish fiddler James Scott Skinner. I've also seen the suggestion that the tune is also known as "Rose of Allendale", but if so it has nothing to do with the song of that title. My version is from the web site of the Blackford Fiddle Group at: http://www.blackfordfiddlers.org.uk/...20Avonmore.pdf Played as a quartet of two mandolins, octave mandolin and tenor guitar. 1921 Gibson Ajr mandolin Mid-Missouri M-0W mandolin Mid-Missouri M-111 octave mandolin Ozark tenor guitar I've also come across this other (and somewhat simpler) version of the tune: http://www.missourifiddling.com/Musi...20Avonmore.pdf In addition, there are lots of versions under the above other titles, all somewhat different. Martin [Edit: Michael and I were posting at the same time -- looks like the Fiddler's Companion confirms most of what I said, but is more positive on Scott Skinner's authorship.]
Martin that was a lovely rendition of a charming tune! For those that want it, here's Skinners original manuscript: And here's a link to a recording of Skinner playing the piece, what's interesting is how very slow it is, I mean really slow!
Thanks, John -- I had seen Skinner's original edition too, and it's why I was a bit cautious to say it's the same tune. The obvious difference is that Skinner's air quite definitely isn't a waltz, unlike the Missouri old-time tune of that name. Martin
I learned "The Rosebud of Allenvale" many years ago from a Scottish fiddler, we used to play this as a waltz for contra dances. For a change I used my mandonator & my tenor banjo for the mando parts and piano for the accompaniment.
Great stuff from Martin and David. Here is the arrangement by Charlie Walden with arpeggio backing.
Great inspiration from all submissions. I play it on mandolin and bouzouki with guitar accompaniment. And the Austrian Alps once again. I try to get used to this multi-track procedure so that I can do it with less effort.
Been absent from SAW for some time and-oh what I missed! Nice tune, nice versions. I especially like the mandonator but... I have more than enough stringed instruments. Sure gonna try this tune! Should work fine with a classical guitar accompaniment.
Backing track courtesy of Guitar Pro. I must apologize for my parrots, they are really rowdy today... in their favor I must clarify that today is a bright sunny day after quite heavy rains, they are happy...
Lovely tune, nicely paced, Jairo. I don’t recall your parrots featuring in other videos of yours that I’ve listened to…
John, those parrots are my worst detractors...they're not my fans...they always remind me to record at night to avoid them...
Nice tremolo as usual, Jairo. May we get a video or at least photo of your parrots next time, please?
Your usual precise, controlled and sensitive rendition, Jairo. Now, I am a real bird lover, but those parrots are something else. Perhaps lock them in a soundproof room with my furnace and refrigerator? (Edited to explain that my furnace and refrigerator are my parrot equivalent, not some cruel and unusual punishment devised for the poor creatures.)
I decided to re-record this piece, because in the previous one the participation of my parrots was somewhat annoying...
I prefer this parrot-less version, Jairo.
Hahaha yeah i think it was a good idea to leave those crazy birds out
You've deleted the parrot version, Jairo? They'll take their revenge somehow. Well, your playing is just as lovely as first time round and the overall effect is indeed better. (I don't know if you have followed the discussion on another thread about including birdsong in soundtracks.)
John, in the past I've posted some tracks with my birds intruding... but this time I think they went too far , so I re-recorded it...
I never heard the parrot-version, but the one you replaced it with is very beautiiful, Jairo!
Almost eight years ago, I anounced, that I would try this tune, one week ago, I found an arrangenent for three fiddles on Eric Allan's website: https://www.ericallanscottishmusic.co.uk/
Very nice, Christian! Eric Allan's website is a great source for three-part harmonies -- I need to see whether we can use his setting of this tune for our group, as we do play a number of his other arrangements. I had forgotten that we are including "Rosebud of Allenvale" in the thread for "Rose of Avonmore", the American version of that tune. Frank had mentioned he was working on the tune (in his thread for Skinner's "Rose-Acre"), so maybe this revival will act as a pointer to post his version here when it is ready. Also, both Frithjof and I have recorded "Rosebud of Allenvale" as a set with "Wild Rose Of The Mountain" and posted in the thread for that tune. Here is mine, from 2021: Mid-Missouri M-0W mandolin Vintage Viaten tenor guitar Martin
Christian, there is no doubt that harmonies give a piece of music more body and density... your version is masterful in that sense... congratulations!
This is very good indeed, Christian. Immaculate coordination of the three parts and a beautiful final effect. Thanks also for introducing me to that website, which I didn't know. There are several arrangements that I may try. Likewise, Martin, I really enjoyed yours - very tight playing.
Christian, its a joy to listen to your playing of this beautiful arrangement.
Great version, Christian. Martin, I already commented on your version away back when I started the original "Wild Rose of The Mountain" thread back in April 2021; you also mentioned a link at that time to my now-defunct Soundcloud track posted away back February 2011. I had completely forgotten those old Soundcloud recordings after I closed my Soundcloud account!
Thanks a lot Jairo, Richard, Frithjof and John, I will record some more pieces from Eric's website.
For what it's worth, I did bring Eric's arrangements of "Rosebud of Allenvale" and "Rose-acre" to our weekly group session yesterday, and they worked very nicely just sight-read from the printouts. Martin
Sorry forgot you, Thanks Martin!
Beautiful renditions by All! I missed the parrot one, darn. And as previously advertised... Thanks for the Listen!
Congratulations from a Scotsman who is also a great fan of Scott Skinner, Frank. A lovely job on this one (as usual).
Congratulations from a humble lover of good music...
Lovely, Frank, with really skilful ornamentation.
Frank, once again you inspired me to tackle a Skinner air, and for this many thanks. My version is based on Skinner's manuscript which I accessed from the Aberdeen University Skinner archive. The notation has a cello accompaniment and is not marked for repeats of either A or B parts, so I ignored the cello part and wrote a harmony part which I played on my octave. The tune is repeated three times here, with octave, mandolin and then both taking the melody. Backing is guitar, with chords chosen to suit the harmony part. Four tracks on this mix. The pictures were taken a few evenings ago on the shores of The Holy Loch here at home at about 8.30 pm.
John, listening to your musical arrangement I can only think of musical mastery...it has everything: feeling, taste, ability with different instruments, deep musical knowledge...and all wrapped up in one person...
Gosh, Jairo. You are more than generous with your response on this one. Thanks so much.
Beautifully crafted, John. I love the harmony line - I have been thinking about composing harmony parts for tunes in my repertoire and you are inspiring me. And beautifully played too, of course.
Two great new roses! What I like about Frank's approach is, that he always has that kind of imprvisational unpredictability. You never know exactly, what will happen in the next bar. A very tasteful arrangement, John, played masterfully.
Many thanks, Richard and Christian. Your kind comments are much appreciated.
Thank-You Guys! John, so many adjectives to chose from. But brilliant fits your take here. I wish I did mine slower now. That last go around, with harmony was just fantastic. I heard Skinner play this in my research, and he played it even slower. Nice work/play John!
Thanks, John and Frank -- two great versions, each playing to your respective strenths. John is taking it very slowly, like Skinner did originally, and it lets the air breathe and unfold. I agree with Frank that it also makes me think I should have taken it slower -- we did it slow with our group last week although maybe not quite as slow as this. I also fully agree with Christian regarding Frank's "improvisational unpredictability", which is a great way to describe the appeal of his playing. I really envy those who can learn a tune by ear and internalise it in this way, so that it emerges intuitively and sensitively with decorations and improvisations but always stays true to the spirit of the tune. Great stuff! Martin
You make an interesting point about learning a tune rather than just playing from the notation, Martin, and how it seems to free the player up quite a bit. I have always noted the intense concentration you have in your own videos as your eyes seem glued to the notation on the stand which appears in your recordings. When you can play without having to look at the music as you play you find that you have a much more fluid approach to the tune. I am very aware of this in my own playing and recording and recently while accompanying a small fiddle group rehearsing for a wee concert we did back around Christmas I suggested that we play something that we knew without having to look at the score as a way of winding down at the end of the practice. We played Da Slockit Light, that great Tom Anderson slow air, and they were really pleased with how much more fluid it sounded when they were freed from having the score up in front of them.
Thanks for two new masterfully recordings of The rose … by Frank and John. This is one of my favorite tunes. For both my recordings (above and in the thread mentioned by Martin) I played it with sheet music in front of me. Meanwhile, I play it most time by hart. [I took two weeks off from SAW and found more than 20 new recordings. It will need some (happy) time to listen to all of them.]
Many thanks, Frithjof. Thanks too for your comment on using the notation and also playing by heart - I like your idea of playing by heart rather than playing by ear! You are right too about having to catch up with the postings if you have a break from the group - I am having a few days off this week from today, so will look forward to some new postings when I come back home.
