carlb - Posted - 04/02/2010:  09:18:47

The Story of Valley Forge and the Switch from A to D

Certain real names have been omitted to protect their identity (since I haven’t asked their permission to use their names, and it’s really not important anyway). Entries are in chronological order with some minimal editing of the text of the emails (which appear with quotation marks).

I wrote in an email:
“Just this morning (March 30, 2010) I sat down to play along with the Ramona Jones' recording that was made when she appeared at the Brandywine Mountain Music Convention in 1980. I hadn't realized that she played it in A with the fiddle tuned AEAE even though I listened to the recording a couple of times over the past year. It is neat that way, now that I've sat down and played along with the recording. Does anyone know when the tune got switched from A to D and who did the switching [I did post this on Fiddle-L]? I did find on the Internet that she learned it from Jimmy Driftwood, who learned it from the fiddler Absie Morrison, and his dad and uncles played the tune. There's also a transcription in Drew Beisswenger's book ""Ozarks Fiddle Music" which can be found on the Internet at:
books.google.com/books?id=kMnt...ed=0CAYQ6

If this URL is too long, search Google with the two terms "Valley Forge" "Jimmy Driftwood", it'll be near the top.

This transcription isn't exactly like what she played on the recording I sent you, but it's close.”

Well, I wrote to the person who those of us learned it from at Uncle Sam's after a Tuesday night dance in Philadelphia back in the late 1970s. Here's the explanation. It's rather plausible.

I wrote:
“Hi, It's been a long time. This morning I sat down with the Ramona Jones recording (Bandywine, 1980) and discovered, not only how much we've changed the tune, but also that it was in A (AEAE). Since I usually credit you with teaching us the tune, while at Uncle Sam's after a Tuesday Night dance, who did you learn it from and do you know who switched it to the key of D?”

The person replied, March 30, 2010 at 7:31pm
“Hi Carl,
I hope you are well. Oddly enough I learned the tune in NC, in or around 1977; I think it was at the Mecklenburg Shriner's Benefit Fiddler's Convention. Maybe the year before, or the year of my move to Philadelphia. Who taught it to me? I remember [the other person] used to play it on harmonica, and he is certainly the one who told me it was a Ramona Jones tune (though she got it from someone else). There was an earlier (earlier than 1980) recording of her playing it [Ramona Jones’ vinyl recording “Lady’s Fancy”] - I will ask [the other person]. I am sure I first played it in D, but if I learned it from [the other person] that might make sense because one harmonica is about as good as the next - keys are less of an issue. Glad you got it all figured out and are playing it the right way now.”

However, on listening to the 1986 recording of [the other person] on harmonica, he did play it in A, but with only three parts similar to now how we play it in D. So there appears to be no definitive answer as to how Valley Forge got switched from A to D.

Well, that’s where it stands now. I will upload two versions, one in A (that I learned directly from a Ramona Jones recording) and one in D (as I play in now from the way I learned it in the 1970s).
fiddlehangout.com/myhangout/mu...p?id=2081

One other point, my main problem with the tune in D three-part version, is that I learned it with an A chord in the 2nd part. Now, somebody, and I don't know whom for certain, but it has become widespread in this area and maybe others, changed it to a C chord in the 2nd part. I really hate it that way because I love the transition back and forth from the modal D/C sound to the major D/A sound especially in the transition from the 2nd part to the 3rd part. I have had arguments with some about this. Many do not believe me. I have now re-learned it in A (AEAE) and enjoy it there. It's even more major sounding then the version in D.

OTJunky - Posted - 04/02/2010:  10:06:29

I don't know where the tune comes from - or how it got changed to D. I'm glad to learn that it comes from the Morrison Brothers.

I have heard it played in C. I think you can hear that here...

planetbanjo.com/

Just wanted to say though that it's wonderful to know that somebody else is as geeky about this stuff as I am...

--OTJ

M-D - Posted - 04/02/2010:  15:00:33

An old tune that was known through-out this area of the Ozarks by many old-timers. While the Morrison twins knew it, and it was known in the Morrison family, I dont think it went out into the hills via them, though. Some in this area played it in broken A, some in D. Go figure.

RobBob - Posted - 04/03/2010:  05:37:33

I can hear that part going to the V chord instead of VII like Carl points out but everyone around here plays it with the VII chord and those old time dissonances and quirks are not always welcomed by some fiddlers. The changes in tune paths through chords reflects the cultural changes have been at work for , well ever.

ironworker - Posted - 04/03/2010:  06:29:39

thanks for posting both vers. ,carl.
don't know of a soul around here that plays this tune today- i'm jumping on it right now!

michael ford

OTJunky - Posted - 04/03/2010:  06:31:06

quote:

---

Originally posted by M-D

An old tune that was known through-out this area of the Ozarks by many old-timers. While the Morrison twins knew it, and it was known in the Morrison family, I dont think it went out into the hills via them, though. Some in this area played it in broken A, some in D. Go figure.

---

M-D - Posted - 04/03/2010:  06:56:25

AEAE

harwilli55 - Posted - 04/03/2010:  07:11:11

This is what I really like about this site. Background, history, styles, and new ( to me) stuff to learn.

What a fascinating narrative Carl....keeping alive not just the tunes, but the historical perspective keeps me in awe. Then, you play both versions in addition to your narrative....that makes it just downright satisfying.

I can see that the folk process will be working here in VA. Between Mike and myself, I am sure these versions, along with history will propagate and embed itself into our local culture.

Harlan