Two mazurkas for you. Mazurka Sainte Colombe (#123) and Tiro l’Auto (varsovienne) (#130). I’m not sure what the varsovienne thing is — there are a number of tunes with that appellation, and they have a rhythmic similarity, but I don’t know if it’s a particular dance or if it’s just supposed to indicate its provenance coming as a waltz from Vienna (even though it’s a mazurka). So there.
I learned these two from Sylvain Piron’s website nearly 25 years ago. They are Valse á Cadet and Valse d’Ernest Lurde. For some reason I thought they were in the Bal Folk Tune Book. They are NOT. But they are kickass waltzes and I invite you to wallow in their kickassedness.
I was wearing a great hat in this one. But then cropped it out so you could spend time with the trees.
Here’s a deep dive. This is a great one that I have in a number of sources, and have been playing for years. You may not hear, but the third note is a sharp 4th (E, in this case, because it’s played in Bflat), and it’s such a fleeting note, but so essential!
And here’s Henri Momboisse, from back in the day. Much ornamentation. Chromatic Button Accordion. A swifter instrument for a swifter time.
Also, the tune has a lyric, and here’s the group Wazoo doing a fantastic arrangement.
When I got my first flat keyed accordion (the Dino Baffetti in F/Bb/Eb), I asked the band if we could do some flat tunes just because. This was the first. A set of bog norm bourrées in three performed at Port City Blue — in Portland, ME — about a year ago. The tunes are 1. Bourrée Droite 2. Bourrée de St. Pierre 3. Bourrée d’Egletons.
Here’s a humble but wonderful waltz, found in Mally’s Bal Folk tune book (actually, I found it in the Massif Central Tune Book, pink volume). Playing it on the Baffetti almost entirely on the F row. I am including it in the Bal Folk Tune Book Project, even though I recorded this before starting that project. This was done before I got (more) tech savvy, so the sound is a little thin.