Rocking Yukon Gold
The varmint Soapy Smith lived and died in the hellishly cold northland up by the Russian border and the Soapy blog blogs about a part of the Library of Congress subsite on the joint history of Alaska and Russia which contains a goldmine of information, artifacts, documents and photographs on the Klondike gold rush era history.
I went prospecting in there and stumbled across a a dusty reading room with cowboy-era footage from Alaska. I especially liked an Edison clip from 1901 entitled Rocking Gold in the Klondike
.
CREATED/PUBLISHED
Thomas A. Edison, Inc., 1901
NOTES
From a single-camera position, the film shows sluice boxes as they are operated by gold miners in the Klondike gold fields.
Cameraman: Robert K. Bonine; Location: Yukon Terr., Canada
Copyright H4088, May 6, 1901; 31 ft., FLA3065 (print) FRA0408 (neg.)
I though about posting the clip on Soupgreens.com, and then I thought of Marco Raaphorst's Klankbeelds, where he does a soundtrack for a photograph, and I decided to do a little soundtrack.
Dodworth’s video
Here's a video of Dodworth's Five Step Waltz on guitar.
YouTube link: http://www.youtube.com/watch?v=g_4vWMjQd9I.
YouTube embed:
My chops with iMovie are getting better, and I did a little editing for the first time ever for the sake of inserting Ken Burns shots of the sheet music. I don't know how to sync the sheet music up with the performance, though.
Also, I now know how to edit out mistakes, but I didn't do that here. Probably I will do it in the future because it makes the music better.
Dodworth’s Five Step Waltz
This is an 1877 tune written by Mr. C. Nolf. I learned it from sheet music at http://library.duke.edu/digitalcollections/hasm.a2315/.
Dodworth was a dance instructor who wrote a book on how to dance. In the book he made up a way to do the waltz in 5/4. C. Nolf wrote this song, which is a waltz in 5/4, so there would be music for people to use with Dodworth's whacky dance.
I want people to reuse my music in videos, so copyright on this recording is Creative Commons Attribution-ShareAlike 3.0 unported. Or pretty much any other license if you can be bothered to email me at lucas@gonze.com to ask.
I left a few little booboos in. They weren't too bad. With a little editing this could be cleaned up to Playboy standards, so if you need edits to use the music feel free to ask.
Here's straight up audio files, unencumbered by video:
- Dodworth's Five Step Waltz (Ogg FLAC)
- Dodworth's Five Step Waltz (MP3)
- Dodworth's Five Step Waltz (Ogg Vorbis)
- Dodworth's Five Step Waltz (AIFF)
This song scared the hell out of me when I first found it. The printout sat around for a long time before I got the courage up to try it. But as it turned out the writing has a comfortable and natural flow that carries you right along.
30 seconds by here
While I was drinking coffee this morning it struck me that it might be useful to someone to have 30 seconds of instrumental guitar alone to reuse for an announcement, ad, or connector between segments. Something along the lines of clip art.
The melody is based on the traditional song "Jesus Will You Come By Here." The feel is like ragtime. The instrument is a National Estralita resonator guitar, a Lace pickup, a Tube MP preamp, and Audacity . It took about 15 takes to get everything just right.
Creatively, this was fun to do. I like minimalism.
Legally, I hereby put this work in the public domain. You can use it in any Creative Commons work, or even in a television commercial. You don't even have to give credit, though I would appreciate it.
Pompey Ran Away
"Pompey Ran Away" is a colonial American piece of music. It comes our way via an African player - probably a 1st generation African captive living as a slave - and a Scottish tourist who wrote down what he heard and published it when he got home. It is a missing link between African music and American music influenced by African immigrants. It is a living document of the survival of African music in the new world. Mind boggling!
I learned it from this fragment of sheet music:

I came across that in "Sinful Tunes and Spirituals" By Dena J. Epstein, which describes the music this way:
[It lacks] any distinctive African flavor, sounding much like other non-African dances. Presumably much was lost in the transcription, as the tunes were filtered through the ears and musical sensibilities of a musician bred in the European tradition. Perhaps only the dance steps retained African elements, but it is at least possible that African aspects of the tunes may still be identified.
Because of what the author said about the lack of African sound I didn't expect to find any, but it looked easy enough to try the tune out so I gave it a quick shot while I was reading. It's tricky to play, like a tongue twister. There's no apparent form, just this circular pattern made of short melodic fragments. The major scale of the melody could easily be an Irish fiddle tune, the author is right about that. But the way the motifs are woven together could never be from that source. I stuck with the tune for a couple days and when I eventually mastered it enough to really know what it was supposed to sound like what I found was something unmistakeably west African, maybe from Ghana or Mali, which is also where most slaves came from.
In my final version I tried to create variation by using a few different octaves, doubling notes, using harmonics, and shifting the accent. But I have no idea how to play in any African style of any kind; anything African you hear in this was always there.
other versions
There's a purely Mali-flavored version by Bob Carlin and Cheick Hamala Diabate over at Rhapsody. This feels very different than what got written down back in the day. I doubt it sounds all that much like what that poor fucking slave dude was playing, whoever he was. But it probably is indicative of what the music of his childhood sounded like.
My favorite version is by a gourd banjo player named Pete Ross. It keeps the characteristic circular rhythm which implies west Africa without being full bore west African. I found it among the samples for David Hyatt's gourd banjo store.
The other versions that I found were all in 4/4 and sounded miles away from what was written down. For example, this is the version by Carson Hudson Jr.. Still, I loved the sound of his band (with the wicker rattle and simple drum) and I found his writing about the song cool:
Among runaway notices printed in 18th century Virginia newspapers there appear occasional references to fugitive slaves who play upon the banjo, banger, or banjar. This curious piece, with its constant repetition of phrase, is from "A Selection of Scotch, English, Irish, and Foreign Airs"(1782). It is subtitled "A Negro Jig (Virginia)." It is performed on a gourd banjo, accompanied by a wicker rattle and goatskin drum.
performance notes
I play it as a cross between country (representing the celtic fiddle influence) and an African kalimba player I heard once in Washington Square Park (representing the west African roots). Also there's some punk rock in there. 80s Sonic Youth was on my mind for some reason.
The instrument is a 1965 Gibson SG going through a 12 watt National-Dobro amp made in the 1940s. The tone of this combo is incredible. I really love it. But it only works in place as a loud as a bar, because the amp makes a lot of white noise. That's what the white noise in the recording is.
My creative work here is hereby in the public domain.
roots of New Orleans funeral music
Today's YouTube masterpiece is a morbid bluesy number with a Spanish tinge that was published in 1857. I discovered it because Jelly Roll Morton quotes it in "Dead Man Blues." This song is still around in the New Orleans funeral style that Jelly Roll was riffing on -- you hear this tune as the gothic minor snippet before things get happy.
But in that context you never get to hear the whole thing, just a little snatch of it, so what I did here is let it keep rolling out all the way to the end. Then at the end I quote the beginning of "Yellow Dog Rag" by W. C. Handy, as if that was going to be the uptempo number the whole thing was setting up.

In 1839, beset by the recent deaths of her husband, brother, sister, and infant son, twenty-seven-year-old mary Dana began to pour out her grief in verse.
Lyrics:
Flee as a bird to your mountain
Thou who art weary of sin
Go to the clear flowing fountain
Where you may wash and be clean
Fly, for th'avenger is near thee
Call, and the Savior will hear thee
He on His bosom will bear thee
O thou who art weary of sin
O thou who art weary of sin
He will protect thee forever
Wipe ev'ry falling tear
He will forsake thee, O never
Sheltered so tenderly there
Haste, then, the hours are flying
Spend not the moments in sighing
Cease from your sorrow and crying
The Savior will wipe ev'ry tear
The Savior will wipe ev'ry tear
I learned from two sheet music sources -- the Library of Congress digitization of the 1885 publication and Stan Sanderson's Lilypond transcription at Mutopia, where you can also get MIDI.
The recording is under a Creative Commons BY SA 3.0 license. The guitar is a National Estralita. The video was made with Garageband, iMovie HD, and the built in camera in my laptop. Needless to say there's a Nick Cave / Tom Waits influence in the singing and a Flamenco influence in the guitar.
Moving Day
New on YouTube: "Moving Day", a 1906 song that Charlie Poole recorded in 1929. Played here as a cross between a dirty blues and a country fingerpicking rube song.
Production notes: National Estralita acoustic guitar with glass bottleneck; iMovie HD; Garageband for audio processing.
The bottleneck riffs are copied from brass band parts in the 1906 Arthur Collins recording, which I got on Archive.org.
The song is by Harry Von Tilzer and Andrew Sterling. Original sheet music available on thehackley.org.
This recording is under a Creative Commons Attribution-Sharealike 3.0 license.
widow’s music video for her son
ringtone
YouTube
MP4 video
FLAC
Ogg Vorbis
duration: 4:52
license: BY-SA
key: A
time signature: 3/4
lyrics,
sheet music,
tablature
As part of my blog series on mother songs, this post is my recording of the 1893 tear jerker "A Widow's Plea For Her Son."
The guitar was a 2007 National Estralita Deluxe. The microphone was a Sure SM 81 pre-amplified with an ART Tube MP3. I recorded on a Macbook using iMovie HD, the 2006 version, and the built-in video camera.
An important tip for this kind of setup is that the audio will have a high-pitched whine unless you use an external mic.
I did about fifteen takes, counting false starts. This is a quarter or less of my normal count.
The setting was next to the window in my workroom right around noon, when the sunlight floods in and creates strong contrasts.
The microphone is positioned just above the camera frame. This is to emphasize the singing.
I did the audio processing in Garageband. First I doubled the original mono source by importing the movie twice into the same Garageband file. In one of those tracks I applied the "guitars/big wheels" filter to give the guitar presence. In the other track I applied the "vocals/male basic" filter to enhance the resonance of my voice. I mixed them back together with no panning to minimize a seasick side-effect caused by the "big wheels" filter otherwise.
The copyright on the composition is in the public domain, so my version is absolutely legal.
My recording here is permissively licensed under the terms of the Creative Commons Attribution-Sharealike license version 3.0 unported, which means more or less that you can copy and reuse as long as you use the same license and link back to here. If you need another license, like a non-commercial license, just email lucas at gonze dot com to get permission.
Deep River Blues
Under a Creative Commons Attribution-Sharealike 3.0 unported license as always, here's my version of the Delmore Brothers / Doc Watson tune "Deep River Blues," via YouTube:
Also available in MP3, Ogg Vorbis and Ogg Flac.
This is an old song but not 19th century by any means. I'm posting it because (1) it's been too long since I posted new music and this was the nearest thing at the tip of my fingers and (2) it's a great fit for my new 2007 National Estralita, which I bought because it's loud enough for unamplified shows and love because the sound is so thick and warm.
Frog in the Well
This post is a recording of a civil war fife and drum tune called "Frog in the Well." It's short and simple.
MP3 version: Lucas Gonze -- Frog in the Well (MP3) (1:12)
FLAC version: Lucas Gonze -- Frog in the Well (FLAC) (1:12)
As always, this recording is licensed under the Creative Commons Attribution-Sharealike license, and you are welcome to ask for a version under a different license (like a fully commercial license or a CC non-commercial license.
Update: for tablature and sheet music, see the followup post to this one.
Centennial Grand March

This is a recording of an 1876 tune called "Centennial Grand March". It's a bit tricky, and when I first tried it on stage about a year ago it scared the hell out of me. Now that I've got it down it's a lot of fun to play. I love the chromatic melodies, the way the parts tell a story, and the mood.
This is my third recording of work by W. L. Hayden, the composer. I did a couple pieces from Hayden's Star Collection of Guitar Music, from which I learned Celebrated Shoo Fly Galop and Must I, Then.
MP3: Lucas Gonze - Centennial Grand March
FLAC: Lucas Gonze - Centennial Grand March
Sheet music: at the Library of Congress web site.
Feel free to share and remix per the terms of the Creative Commons Attribution-Sharealike 3.0 unported license.
Technical notes
I got rid of the high pitched background whine in my first video by using an external iSight video camera rather than the one built into my laptop. To use an external camera you have to use iMovie 06 rather than the more recent 08 version, so I switched to 06, and it turned to be a lot better and easier to use.
Also, I got a more full and punchy sound by switching from the built-in mic to an external one, a Sure SM81.
Your Southern Can Belongs to Me
My first YouTube -- a version of Blind Willie McTell's "Your Southern Can Belongs to Me:"
Lots of caveats for this song, because it's my first try at video and I don't have my chops together yet. There's some high-pitched noise that I couldn't get rid of, it's just a short clip, I didn't use the right mic, stuff like that. But I'm really happy about video as a content type for this site. It makes a lot of sense to do my recordings with video, since the performances are always live and edit-free. In the future I'm hoping to do both a video and a standalone MP3 of every recording.
Carrie Waltz, v2

This post is my second recording of D. E. Jannon's 1854 piece Carrie Waltz. I previously blogged it about a year ago on blog.gonze.com.
MP3:
Carrie Waltz, version 2 (2:27)
I redid it because I've gotten better since then. Now I know to make a song start strong in the first couple seconds, to make the lines more fluid and improvisational, and to mash the guitar right onto the mic for a hotter recording.
Sheet music here:

Versions of the recording in other file formats:
You are free to share and remix this recording per the terms of the Creative Commons Attribution-ShareAlike 3.0 US license.
Slightly on the Mash
This is a recording of an 1885 song called "Slightly on the Mash". It's a happy number for drinking, dancing and goofing off.
MP3:
Slightly on the Mash Schottische
(1:53)
The Guadalupe Watershed was an area of intense activity during the California Gold Rush, with the quicksilver mines within Santa Clara County supporting the gold refinement process.Maybe Pianissimo was a musician who had gone west to strike it rich.
Dancing
This song is a dance called a schottische. Per Wikipedia, Schottische was popular in Victorian era ballrooms (part of the Bohemian "folk-dance" craze) and left its traces in folk music of countries as distant as France, Spain (chotis), Portugal (choutiça), Italy and Sweden.
Musically this is an intricate little tune which feels like an evolutionary step on the way to ragtime and eventually jazz. Wikipedia says At the start of the 20th century in the Southern United States the schottische was combined with ragtime; the most popular "ragtime schottische" of the era was "Any Rags" by Thomas S. Allen in 1902.
If you want to dance along at home, it goes like this: step step step hop, step step step hop, step hop step hop step hop step hop. Posh dancers did it like this:
Knuckledraggers were probably more like this:
Playing along
Free culture
There is code to embed a player for the song in another web page:
Ella Waltz
MP3:
Lucas Gonze -- Ella Waltz
This post is a recording of the composition Ella Waltz
by D.E. Jannon, which was published in 1854.
It is the third of a set of three waltzes by D.E. Jannon. I have also blogged recordings of Amy Waltz and Carrie Waltz. I don't consider the series finished because I want to redo the Amy one, but who knows whether I'll really come up with a better version in the end. It takes a ton of practice and a lot of trial and error with the arrangement to make one of these recordings, and I have other tunes that I want to move on to.
As I was learning the 3 waltzes I made up a back story for them. In my imagination they are named after D.E. Jannon's three daughters. They are ordered from oldest to youngest. Amy is a teenager, Ella is a little kid, Carrie is in-between. Amy is going through a phase where she is hustling all the time and in a hurry to get away from her parents. Ella has been falling down, dropping things, running into stuff, and generally being accident prone. Carrie is moderate in all things.
The original writing on this tune had dead spots, places where the writing was thin or weak and needed fixing, so I rewrote many of the parts. My version isn't as simple as the original, which is a loss, but it sounds better.
By the way, I got the name of this tune slightly wrong while I was working, and even though I corrected it in the end some of the metadata and file names are wrong. Right: Ella. Wrong: Emma.
These recordings are released under the terms of the Creative Commons Attribution-ShareAlike 3.0 license per my boilerplate licensing statement.
This blog entry is a repost from my tech blog, where I was putting music before I created this blog.
Ogg Vorbis: Lucas Gonze -- Ella Waltz
spirit rappings
Lucas Gonze - Spirit Rappings (mp3)

August 20, 1852, Wednesday Page 2 of the New York Times Mr. ORVILLE HATCH, of Franklin, Conn., has become insane, he having devoted considerable attention to the subject of Spirit Rappings. Mr. HATCH is a farmer, and has been instrumental in introducing many important improvements in agriculture into the town in which he resides.
Madame Pamita, whose performances involve both spiritualism and really old American music, sent me a pointer to sheet music for an 1854 tune called "Spirit Rappings", presumably because it's a great number for Halloween. This post is my version of it.
Since I did a vocal part for once, the mix has the guitar and vocal parts hard panned to left and right so you can pull out the singing and do karaoke.
This recording is under a Creative Commons ShareAlike-Attribution 2.0 license. See also my boilerplate copyright statement.
Ogg Vorbis version: Lucas Gonze - Spirit Rappings (vorbis)
This blog entry is a repost from my tech blog, where I was putting music before I created this blog.
Celebrated Shoo Fly Galop
This post is a recording of Celebrated Shoo Fly Galop
by W.L. Hayden, which was published in 1877.
I like the way this rocks out. It's a fun uptempo dance tune. Also I dig the idea of the celebrated shoo fly, which reminds me of a Mark Twain story called "The Celebrated Jumping Frog of Calaveras County:"
In compliance with the request of a friend of mine, who wrote me from the East, I called on good-natured, garrulous old Simon Wheeler, and inquired after my friend's friend, Leonidas W. Smiley, as requested to do, and I hereunto append the result. I have a lurking suspicion that Leonidas W. Smiley is a myth; that my friend never knew such a personage; and that he only conjectured that, if I asked old Wheeler about him, it would remind him of his infamous Jim Smiley, and he would go to work and bore me nearly to death with some infernal reminiscence of him as long and tedious as it should be useless to me. If that was the design, it certainly succeeded.
So what kind fly is a shoo
fly, anyway? There is no such thing. It's a folksy expression along the same lines as like flies to shit
or keg flies.
For example, the shoo flies in this 1915 recipe for shoo fly pie don't mean the pie is made of bugs, they mean it's sticky and sweet:
How does shoo fly pie taste? According to this person who made it, your mileage may vary:
To me this pie did not smell good or look good but Darrell's co-workers seemed to like it.
The dance is something called a galop. I come across a lot of galop music and references to the galop, so it must have been popular. The Polka History of Dance explains it this way:
The popularity of the polka led to the introduction of several other dances from central Europe. The simplest was the galop or galoppade which was introduced into England and France in 1829. Dance position was the same as for the waltz or polka, with couples doing a series of fast chassés about the room with occasional turns. Music was in 2/4 time, often merely a fast polka. The galop was particularly popular as the final dance of the evening.
And wikipedia says:
In dance, the galop, named for the fastest running gait of a horse (see gallop), a shortened version of the original term galoppade, is a lively country dance, introduced in the late 1820s to Parisian society by the duchesse de Berry and popular in Vienna, Berlin and London. In the same closed position familiar in the waltz, the step combined a glissade with a chassé on alternate feet, ordinarily in a fast 2/4 time. The galop was a forerunner of the polka, which was introduced in Prague ballrooms in the 1830s and made fashionable in Paris when Raab, a dancing teacher of Prague, danced the polka at the Odéon Theatre, 1840.
The galop was particularly popular as the final dance of the evening. The "Post horn Galop" written by the cornet virtuoso Herman Koenig was first performed in London, 1844; it remains a signal that the dancing at a hunt ball or wedding reception is ended.
There are mistakes left in the recording. Unedited solo acoustic instrumentals on guitar are an unforgiving form, and I'm not yet good enough to get a perfect take within a reasonable amount of time and labor. The medium is like watercolor painting in the sense that no corrections are possible. The hardest part for me is the tradeoff between passion and correctness. I can do a version with no ugly mistakes pretty reliably, and I can do something which is passionate and musical any time I'm in the right mood, but I can't consistently do both at the same time. At the same time, the sonic clarity of 1-track real-time acoustic playing means that I can't avoid a hard phrase by mumbling it or cover it up by emphasizing whatever is on other tracks.
I learned this song from David Allen Coester's digitization of "Hayden's Star Collection of Guitar Music." There is no composer in the original publication, and Hayden is credited as the arranger rather than the composer, but I gave Hayden the composition credit by default. Here is the sheet music:
These recordings are released under the terms of the Creative Commons Attribution-ShareAlike 3.0 license per my boilerplate licensing statement.




Lucas Gonze -- Celebrated Shoo Fly Galop
