The Portland Collection: Vol. 2

Errata and Addenda as of the 3rd Printing

All of the changes listed below have been made in the second and third printings The Portland Collection: Vol. 2. Measure numbers refer to full measures and ignore pick up measures. We are grateful to the many people whose keen eyes have found errors that we and our editors overlooked and whose knowledge of this music have provided additional information about tunes and composers.

P 3		Add Ellen Hansen to the list of people who assisted us in our quest for details. Add Carol Peining and Eric Schlorff to the list of people who assisted us in the technical production of the book. 2P
P 30	Brasstown	Donna Hébert mailed her tune to us long before the printing deadline. It took the U.S. Postal service 9 months to deliver her letter, which arrived shortly after the book was published. Click here to see Donna’s setting. 2P
P 30	Buzz the 9	Measures A5, A6, and A7: Add the following bass line notes to the chords: \| D D/C \| G/B G/B flat \| D/A \| 2P
P 36	Cattle in the Cane	Courtesy key signature at the end of the 4th line: two sharps only, F sharp and C sharp. 2P
P 50	Dedicado à Jos	Measure A7: change the 6^th note from an F sharp to an E. This is the only change, but it eliminates the need to include measure A7 in the first and second endings. Click here to see the revision. 2P
P 50	The Derry Reel	Measure B8, second ending: add an E chord on the first beat and an A chord on the second beat of this measure. 3P
P 51	Reel Desjarlais	Correct title is “Ti-Jean Bouribal Reel” by Andy De Jarlis, © Berandol Music. Used by Permission. All Rights Reserved. See note for p245 about “Reel Desjarlais” for further information.
P 52	Deuxième Partie du Quadrille…	Measure A3: 2nd chord is D sharp dim rather than Fsharp dim. 3P
P 63	Flying Home to Shelley	Measure A4: the last note should be a C rather than a D. 2P
P 119	Lost Everything	Measures B1 and B5: the last note should be a B rather than an A, and those quarter B notes should tie to the eighth B notes at the beginning of measures B2 and B6. 2P
P 122	Mad River — Alternate Version	Measures B2 and B6, the chord should be E rather than A. 2P
P 136	Monique at the Anvil — Alternate Chords	B part: the repeat sign should be placed at the in front of the Dm starting the 3rd line rather than at the beginning of the 4th line. 2P
P 140	The Reel of Mullinavat	Measure A8: Add eighth notes E and F at the end of the measure. 3P Measure B1 Add repeat sign to beginning of this measure. (will be corrected in 4P)
P 144	The New Stove	Time signature should be 6/8 rather than cut time. 3P
P 158	6/8 du Petit Sarny	Measure B4: eliminate the repeat sign. 2P
P 204	Through the Gates –	Measure A4: eliminate the repeat sign. 2P
P 211	Turkey in the Peapatch	Possible cross tune should be ADAE. 2P
P 214	Le 24 Juin	The second line of the play directions should read: “Or, play ABCB (once through this sequence is twice through a contra dance).” 2P
P 215	Le 24 Juin	Information below the tune should read: “This tune was composed with the following structure: AA, BB, CC, BB, ending on AA with the coda replacing the last 3 measures of A2.” 2P
P 233	Becky’s Mode	Correct spelling is Becky Hollingsworth. 2P
P 235	Billy in the Lowlands	Correct spelling is Emery Bailey. 2P
P 238	The Breakwater Boys Breakdown	The third line from the end should read: “but leaving the C’s natural.” 2P
P 242	The Cincinnati Rag	Correct spelling is Clarence Green. 2P
P 245	Reel Desjarlais	Add to the note: However, hold for late-breaking news! Peter Yarensky of Maine put us on a trail leading to Marcel Meilleur, who played in De Jarlis’s band for many years. Marcel confirms De Jarlis’s authorship of the tune and its true title, “Ti;Jean Bourabal Reel.” Click here for the De Jarlis setting.
P 252	Girl with the Blue Dress On	The second line should read: “New York fiddler George Wilson.” 2P
P 260	J. B. Milne	by Scottish fiddler and composer Angus Fitchett. 3P
P 264	Mary Ann’s Reel	Insert: “with alternate chords played in Portland.” 2P
P 273	Monique at the Anvil	Insert after Bob Pasquarello “who provided the alternate chords.” 2P
P 277	Old John Tate	Correct spelling is Glenn Berry. 2P
P 278	The Other Good Host	Correct spelling is Chris Roe. 2P
P 279	Swing Away	Substitute this note: Sue Songer learned this fine, lively New England tune from me thinging it might make a good Megaband tune. “It has that kind of grand sound.” I learned it from Cathie Whitesides and Laurie Andres, who picked it up from the playing of New York fiddler George Wilson on a 1976 album called New England Contra Dance Music. George tells us that he lifted the tune from a recording in hammer dulcimerist Bill Spence’s collection (a two-record sampler of fiddlers from all across Canada), where it was played in B flat. The the mills of the folk process began to gring. George changed the key to A, partly because, as he says, “I couldn’t play it in B flat.” This is how it appears on the 1976 album. Then, for his 1981 album Fennigmania, Bill Spence recast the tune again, this time in G to better suit his instrument. George obliged, playing it in G on this occasion. The title, too, has undergone a bit of a migration. Although it was called “Swing Away” on the Canadian record, many of the tunes included there were mistitled; George later found it as “The Humours of Boston Hornpipe” in Cole’s 1000 Fiddle Tunes, where it remains in the key of B flat. Whichever key you choose to play it in, whatever you want to call it, this tune has an unmistakable Down East ring to it and is truly great contra dance music. 2P
P 297	Tam Lin	The alternate version is from Rex Blazer. 2P
P 298	Through the Gates	by Russ Barenberg of Nashville, Tennessee. 3P
P 299	Le Tourment	The note should read “We played the tune in G, but Jean-Paul recorded it in C (as notated here)…” 2P
P 305	Willafjord	AKA Wullafjord. 2P
P 320	Blue Jig	Remove from Am list. 3P
P 324		Add: Ti-Jean Bourbal Reel see Reel Desjarlais. 3P Add: Wullafjord see Willafjord 2P