Liner Notes

CD 375 The Haynes Family Manuscript

The Haynes Family Manuscript contains sixty-five dance tunes, and 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: the tunes are written in at least seven different handwritings. Although it might have originated in Iowa or Missouri, the manuscript was most likely begun in Oregon. It may have been started by Martin Shuck (1806 - 1896), who was born in Kentucky, and was a fiddler and a well-educated man. Or it could have come from his daughter Margaret Lucretia Shuck (born ca. 1844), or from her husband James Haynes. Their son Thomas Martin Haynes (1879 - 1926) was a carpenter, a banjo and guitar player, and a dance fiddler, and he played from the manuscript. He was the grandfather of the current owner of the manuscript, Marilyn Shollenberger, proprietor of Marilyn’s Music Plus in Baker City, Oregon.

Marilyn’s father, Harvey Lauren “Pete” Haynes (1917 - 2000), and her uncle, Thomas Benjamin “Ben” Haynes (1905 - 2001), carried on the family’s musical heritage. Both of them built and repaired musical instruments, and were active in the Blue Mountain Old Time Fiddlers in eastern Oregon. Pete was a champion fiddler, and also played guitar and mandolin. Ben played accordion and fiddle. Although he did not read music, he learned some of the tunes in the manuscript by ear, by having someone else play them from the written music.

The manuscript includes examples of many of the popular dance forms of the middle and late 19th century. The similar assortment of tunes in the Peter Beemer Manuscript, written for a dance band in the mining camp of Warren’s Diggings, Idaho in the late 1860’s, proves that these dance types were common in the pioneer West as well as in the rest of the country. They were not just done at fancy balls for the upper classes: the pioneers who danced to this music came from all walks of society.

Some of the tunes come from printed sheet music of the era; others appear to be original. There are couple dance tunes, half of them waltzes, along with gallops, polkas, schottisches, mazourkas, and varsouviennes.

Over half of the tunes in the manuscript are quadrille tunes, most of them assembled into quadrille sets. A quadrille set is a series of three to six square dances, called “figures” or “changes,” done one after another with only a brief pause in between, by the same groups of dancers with the same partners, and using a different tune for each change. To modern ears many of the quadrille tunes sound more like polkas and marches (including 6/8 marches) than they do like the reels, hornpipes, breakdowns, and jigs that are typically associated with square dancing nowadays. Where possible, we have arranged these tunes so they can be danced as old fashioned quadrilles, with the proper length and the appropriate number of repeats.

1. Cornflower Waltz. English composer Charles Coote wrote and published this popular waltz in the 1850’s or 1860’s. It was in the repertoire of the brass band of the Old Aurora Colony in the Willamette Valley of Oregon, a utopian society with strong musical traditions, founded by German immigrants in 1856.

2. Schottische. This tune has no other name in the manuscript.

3. Angelina Quadrille Figure 1. This was probably the first quadrille set written in the manuscript, appearing on pages 2 and 3. Sheet music for a quadrille by this name is listed in the classified ads section of The Exchange and Mart, London, April 1871. A quadrille by the same name written by A. Palmer is listed in the Music Publishers’ Association Catalog in The Musical Times, London, 1883. “Angeline-Quadrille für Orchestra” by J. Resch is listed in the Hofmeister Monatsberichte, Leipzig, 1881. We don’t know if any of these are the same as the quadrille set in the Haynes manuscript. The first figure of the “Plain Quadrille” or “First Set,” danced once by the head couples and then by the side couples, will fit this tune. For almost all quadrille figures, the dancers wait out the first 8 bars before beginning to dance.

4. Angelina Quadrille Figure 2. The second, third, fourth, and fifth figures of the “Plain Quadrille,” danced twice each by the head couples and side couples, will fit these tunes.

5. Angelina Quadrille Figure 3.

6. Angelina Quadrille Figure 4.

7. Angelina Quadrille Figure 5.

8. Waltz Without a Name. This is the tune’s actual title as written in the manuscript.

9. Slumber Polka. “Schlummer Polka” was written by German composer Ernst Beyer in 1858. It was very popular in America, and was played by several regimental bands in the Civil War. In a review of new publications from Firth and Pond publishers, the November 1860 issue of the New York monthly magazine “The Knickerbocker” declared that this tune was “wrongly named, being in no degree narcotic.”

10. Mazourka by W.E.C. We have no idea who W.E.C. was.

11. McCoy’s Waltz. The manuscript includes a march credited to E. A. McCoy, and this waltz may have come from the same person. Ed McCoy was a cornet player, who with his wife Nellie on piano, played for dances in Grant County in eastern Oregon. He owned a store in John Day, Oregon, in the 1880’s
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12. Les Rats Quadrille Figure 1. This quadrille and the companion set “Les Chats Quadrilles” were composed and arranged for piano by J. Redler and published by Oliver Ditson in Boston in 1853. The original published sheet music included a fifth figure. The first figure of the “Rats Quadrille” as published in Elias Howe’s Complete Ball-room Hand Book, published in Boston in 1858, danced once by the head couples and once by the side couples, will fit this tune.

13. Les Rats Quadrille Figure 2. The second, third, and fourth figures of Howe’s “Rats Quadrille,” danced twice each by the head couples and side couples, will fit these three tunes.

14. Les Rats Quadrille Figure 3.

15. Les Rats Quadrille Figure 4.

16. Laura Schottische. One of the contributors to the manuscript may have composed this tune. Laura was Laura Etta Adams Haynes Ingram, wife of Thomas Martin Haynes, and Marilyn’s grandmother.

17. Unnamed waltz No. 1. In the manuscript there are two waltzes without titles or even designations as waltzes.

18. Helter Skelter Gallop. This tune appears on the first page of the manuscript. It was written in 1863 by German popular dance music composer Carl Faust, with the original title “Über Stock und Stein.” Several editions were published in America, including one by M. Gray in San Francisco and Portland in 1875-1878. An arrangement for Squire’s Cornet Band was published in 1871.

19. Varsouvienne by W.E.C. Another tune from the mysterious W.E.C.

20. Sallie Water. This is the song “The Babies On Our Block” by Edward Harrigan and Dave Braham, which was introduced in January, 1879 in the Broadway hit musical The Mulligan Guard Ball. The chorus includes the words to the old play party “Little Sally Waters.” Under the title “Little Sally Waters,” the tune is used for Figure 5 of the “Mulligan Guard Ball Quadrille,” published in New York by D. Muller in 1879. A novelty polka variant called the Ruchter was danced to the same melody, and that dance was also sometimes called either “Little Sally Waters” or “Babies on Our Block.”

21. Unnamed waltz No. 2. The second of two untitled waltzes in the manuscript.

22. French Lancers Quadrille Figure 1. The manuscript contained no Figure 3 for this quadrille set. The first and second figures of the Lancers Quadrille are normally done to 24 bar tunes played four times; since these tunes in the manuscript are 32 bars long, we play them three times to get the same number of phrases so that the dances will fit.

23. French Lancers Quadrille Figure 2.

24. French Lancers Quadrille Figure 4. One common version of this dance figure normally uses a 16 bar tune played four times; we are playing this 32 bar tune twice to get the same number of phrases.

25. French Lancers Quadrille Figure 5. The Lancers Finale is the only figure where the dancing starts with the first phrase of the music. The third part of the tune is a march.

26. Waltz from J. Woolsey No. 3. Three waltzes in the manuscript are designated “Waltz from J. Woolsey,” but otherwise unnamed. Jack Woolsey was a fiddler who played for dances and owned a saloon in Canyon City, Oregon, in the gold rush days of the 1860’s and 1870’s.

Phil and Vivian Williams were born and raised in Western Washington and grew up listening to, dancing to, and playing the music of the pioneer West. Vivian is the editor and publisher of the Haynes Family Manuscript, and a champion fiddler.

Terry Wergeland received his formal musical education in the San Francisco Bay Area. After relocating to Seattle in his late 20’s, he continued to explore a wide variety of musical activities, including composition, conducting, performance and teaching in classical, jazz and folk idioms on the organ, piano, trumpet and accordion.

All three musicians have played ballroom, contra, and square dances for many years, including repertoire from pioneer times in the Pacific Northwest to the present.

The book entitled “The Haynes Family Manuscript,” containing the entire collection of tunes from the manuscript along with extensive historical information, is available from Voyager.

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