The Haynes Family Manuscript

A manuscript of tunes hand written by musicians from this family who played for dancing in the Willamette Valley, Oregon, in Pioneer times. Suitable for historians of mid to late 19th century popular dancing in America and musicians in general who are interested in music from this period in American history.

65 Tunes in Standard Music Notation, with suggested chords. History of the manuscript and the musicians that played dances from it, annotations about the tunes, etc.

Edited and typeset in SCORE from the original hand written manuscript by Vivian Williams.

68 pages, 8.25 X 10.75 inches, soft cover, perfect bound

$20.00 Postpaid within the U.S.

The Story of the Manuscript

This manuscript of sixty-five dance tunes was handed down through several generations of the Haynes, Shuck, and Adams families who came West over the Oregon Trail from Ohio, Kentucky, Iowa and Missouri between 1847 and 1853. They settled on Chehalem Mountain, near Newberg, Yamhill County, in the Willamette Valley of western Oregon, where they raised grain, strawberries and raspberries, orchard fruit and other crops. Several members of the family worked at a local grain mill, and others were carpenters. Many of the family members were musical, and over the years several people contributed tunes to the manuscript, from which they played dances over the period from around the 1860s to the 1890s. Several individuals’ handwritings (tune titles and music notation) appear in the manuscript.

The manuscript contains examples of many of the popular dance forms of the middle and late nineteenth century. About half the tunes in the manuscript are quadrille tunes. In addition, the manuscript contains a number of couple dance tunes, over half of them waltzes, along with galops, polkas, schottisches, mazourkas, and varsouviennes. The tunes in the manuscript are written as single melody lines, with no harmony parts and only a few chords, which are easily playable as double stops on a violin. Since the violin was the most common dance instrument of the era, it can be assumed that the tunes were intended to be played on it. Some of the tunes can be found in published sheet music of the era; others may have been original compositions of the contributors.

The manuscript was inherited by Marilyn Shollenberger, who owns Marilyn's Music Plus in Baker City, Oregon, where it was displayed on a piano in the store. Marilyn wrote in the preface: "It's amazing the manuscript has survived through five generations of my family. I believe it has survived because our family has always placed a great deal of importance on our heritage. I am so thankful that I have possession of this manuscript and that I have the opportunity to pass its contents on to anyone interested in pioneer music today." The only other manuscripts from pioneer Oregon that were used for dancing, which we know of, are some of the ones played from by the band in Oregon's Aurora Colony. This is a rare opportunity to see and share the music that actually was danced to in the pioneer Pacific Northwest.

The Transcriptions

The music from the manuscript has been set in the SCORE music engraving computer program. The original order has not been retained. Obvious errors were corrected, while some idiosyncratic notations were left as in the original. This is sometimes a judgment call: one person’s error can be another person’s alternate setting!

There is nothing “authentic” about the chords in this book; no chords were written in the manuscript. They are merely suggestions, added by Vivian and Phil Williams, according to their own preferences, in order to make the tunes more immediately accessible to casual players. Musicians should feel free to alter them according to their own taste and skill level. Some of the “mystery tunes” may have been original compositions of the contributors. It has not been practical to make an exhaustive search for the probable source of every single tune: there is room for much more research on this subject.

The Tunes

Following is a listing of the tunes in the book, preserving the names and spellings as they appear in the manuscript. The tune names in brackets [ ] were not in the original manuscript, but were discovered by research by the editor. The book includes research notes with the original names of the tunes and their source, where known. Some of the tunes appear in tune books of the 1850s through the 1870s, some were identified from collections of sheet music of the period and personal knowledge of the editor. Most are relatively unknown to contemporary fiddlers and dance musicians. The tunes run the gamut from relative simple to ones requiring a fairly high degree of technical mastery of the instrument.

Angelina Quadrille Nos. 1 - 5
Combination Quadrille Nos. 1 - 5
Little Bo Peep Quadrille Nos. 1 - 5
Les Rats Quadrille Nos. 1 - 4
French Lancer's Quadrille Nos. 1 - 2, 4 - 5
Elfintaz Quadrille No. 1
No. 5 of Papa Quadrille
Jig Cotillion
Amusement Nos. 1 - 3
Lancers Quadrilles Nos. 1- 5
Germania Quadrilles Nos. 1 - 5

Cornflower Waltz
(Unnamed waltz No. 1)

Heliotrope Waltz
Fancy Waltz
McCoy's Waltz
Parting Waltzes [by] E. Weisenburn
My Idea Waltz [by] [Lambert]
No. 70 Waltz [by] Sabitzky
Waltz Without a Name
Waltz from J. Woolsey (No. 1)
Waltz from J. Woolsey (No. 2)
Waltz from J. Woolsey (No. 3)
Peri Waltz
(Unnamed waltz No, 2)

Helter Skelter Galop
Jupiter Mazourka
Slumber Polka

Ring o' Poppies Polka
Peter Schottische
Laura Schottische
Bridal Varsouvienne
Varsouvienne [by] W.E.C.
Mazourka [by] W.E.C.
Schottich [by] W.E.C.
Rose Polka

Sallie Water [Babies on our Block]
Grand March [by] E. A. McCoy
[Bass part for Grand March]
Grand March [by] E. A. McCoy



Sample pages from the book in PDF format: (Click on an image below to view the page full size.)


Please see the "Haynes Family Manuscript Addenda" for the latest corrections and additions to the first printing.

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