I am obsessed with this tune, a scottish/valse called “Le Cotillon Vert.” Here I am in my kitchen taking a crack at it.
The scottish/valse is exactly what’s on the tin. You dance the A section as a scottish (medium tempo, 4/4 dance), then you switch to a waltz for the B section. Then back to a scottish. Then waltz. Et deliriums cetera. The trick — and it is tricky — is that the ones of the scottish have to be the same distance apart as the ones of the waltz. So, the 1-2-3-4 of the scottish has to fill the same amount of time as the 1-2-3 of the waltz. Got it?
“Le Cotillon Vert” is a bedeviling ear-worm of a tune. A bog norm standard that I found in Sylvain Piron’s tradfrance. Here’s the sheet music:
And here is Sylvain’s recording, a bit scratchy, maybe, played on his Castagnari Giordy:
Sylvain Piron, “Le Cotillon Vert”
You can hear that it’s a bedeviling ear-worm of a tune! A few weeks ago I was listening to cabrette player Dominique Paris
, and heard the same tune, though under the title, “Dis-moi Donc Suzon.” Here it is as part of a set of scottish/valses.
Dominique Paris, “Dis-moi Donc Suzon – Pendant la Messe (scottishs-valses)”
UPDATE: Jim Besser, over at concertina.net, posted this version because I’d asked if anyone had done a concertina version. Thank you, Jim!
In the United States, the fourth thursday of November is Thanksgiving. I love this holiday and love having the opportunity to express my gratitude for the extraordinary blessings in my life, many of which center on the accordéon, its music, and its masters.
- Speaking of masters, first on the list would have be my wife, who has been generally and genuinely supporting of my accordéon efforts during the course of our marriage. Just as one example, she did NOT send back the Castagnari Nik when it arrived in the post last February, when I was at work. Instead, she sent a picture on my phone, and called me up so I could hear how it sounded.
- Thanks to the folks who have willingly discussed with me things accordéon related, including Frédéric Paris, Sylvain Piron, Dave Mallinson, Alexandra Brown, and, most recently, Andy Cutting.
- Thanks to the friends of this blog — whether they know it or not — who have been willing to discuss issues with me as I developed posts. Some have actually written stuff that I’ve published here. Thank you, Andy of Vermont, Chris Ryall, Geoff Wooff, Owen Woods, Steve Mansfield, Chuck Boody, et many al. Tom McDonald — despite being a non-accordéonist — has been a real help just on the blogging and inspiration front.
- Thanks to melodeon.net! Not enough to be said about that friendly, squeeze congregation’s influence on my quality of life! Just today, a quorum from that parish helped talk me off the ledge over a reed that seemed to be going sour.
- Thanks to everyone involved in the collective effort to bring the “La Bourrée” tune book out, a huge important task! The folks at concertina.net really stepped up for this one.
- Thanks to my kids — Max, Brigid, Emma, Julia, and Sarah — who somehow think that it’s cool that their old man plays obscure accordéon music. They continue showing up to my gigs.
- Thanks to Amy and Rob, at the Water St. Cafe, in Gardiner, who have given me a place to play regularly in the past few months, so that I could get my chops into shape.
- Thanks to everyone who reads this blog. Having just crossed the 40,000 hits line, I have no idea, really, who you all are (the occasional comment would go a long way!) … and I monetize the blog in only a very minor way … but this blog was started because I wanted to talk about accordéons with people who wanted to listen to me talk about accordéons. Thank you.
Last week, I had a minor celebration as the hits ticker crossed over the 25K line. For a blog like this one, covering an instrument and music genre that could both be described as obscure, that’s pretty danged good. The title of the blog – a French-ish word that doesn’t actually exist – came from an album I put out in 2003. I created this blog just as a space to explore my fascination and to find others interested in doing the same. It worked!
Some facts that you might find interesting:
- I’ve been averaging about 70 hits a day, though there are spikes when a new piece goes up. There are always a few bots hitting the page, though. At one point, a bot on a friend’s blog took aim at mine and my page a few hundred times over a week. I have no idea why anyone would do that.
- The top referring site, by far, is melodeon.net, followed by concertina.net. Many of the pieces that I’ve written here, have started out as a conversation on one of those boards.
- “Frédéric Paris” is the number one search term that leads here. “Lõõtspill” is number ten.
- Through this whole process, Andy from Vermont, has been a great ally, support, and resource. Thank you, Andy!
This blogging stuff has been a blast, and has inspired me to play more then ever. I appreciate the readers, and will endeavor to continue giving satisfaction. I’m hoping to do an interview with Sylvain Piron, and, fingers crossed, Jean Blanchard. I missed an opportunity when I recently had my Saltarelle worked on and forgot to ask the fettler to take pictures, so I’m hoping to take a pilgrimage to The Button Box and talk extensively with the folks there.
Again. Thanks, everyone.
Over on concertina.net, Kautilya did some research and noticed that the Lique Auvergnate & du Massif Central — the organization that originally published the Recueil — continues in existance! I followed up on this and discovered that one of their “branches” is La Bourrée de Paris. This research was done in the context of a conversation about copyright and permissions, etc. I have sent a note to the president of La Bourrée, letting him know what I’m doing. In other news, folks at concertina.net and melodeon.net have embraced my plea for help and have begun work on putting together some sort of “free to the public” on-line tune book thingamajig.