Tunes
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Artist Composer | Artist Contributing | Artist Lyrics | Artist Translation | Midi File | Notes | Sheet Music |
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Piet se banjo | |||||||
Piet Grootman | |||||||
Piccanin Baandans | |||||||
Perdewa Polka | |||||||
Peet se dinge | van Staden, Peet |
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Pappegaai Polka | |||||||
Outydse wals | |||||||
Outydse Barndans | |||||||
Oudste Wals | |||||||
Oudag Settees van WG Coetzee | |||||||
Ou tyd Settees | |||||||
Ou Tante Koos | |||||||
Ou Standerton Settees | |||||||
Ou kieriebout Polka | |||||||
Ou Kalkoen | |||||||
Ou Frans se polka | |||||||
Ossewa (comp S.C. de Villiers) | |||||||
Ossewa (comp Jan Swart) | |||||||
Orkes Wals | |||||||
Opskommel / Perel / Mielieblare Settees |
Perel se settees, Mielieblare settees |
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Opruk Vastrap | |||||||
Op walsmaat | |||||||
Op laas Polka | |||||||
Oom Willie Settees | |||||||
Oom Koos se mazurka | |||||||
Oom Jan se wals | |||||||
Oom Ben se polka | |||||||
Onthou jy nog | |||||||
Ons Troudag Wals | |||||||
Ons jool saam Vastrap | |||||||
Onder die wolkombers Polka | |||||||
Onder die Afrikaanse maan Wals | |||||||
O, my ma Polka | |||||||
O! Susanna | |||||||
Noodshulp Vastrap | |||||||
Nielsie se vastrap | |||||||
Nellie sê tog ja Vastrap | |||||||
Neef Frans se polka |
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Na die vaalhaar toe Vastrap | |||||||
My vader was 'n dopper | |||||||
My suikerpoppie Barndans | |||||||
My skoonste roos | |||||||
My oupa se perd Polka | |||||||
My ou rietdak huisie | |||||||
My mooi Carolina Wals | |||||||
My hut aan die vlakte se soom | |||||||
Môrester Wals | |||||||
Môrester Polka (Vier Springbokke) | |||||||
Môre stêr Polka | |||||||
Mooi rooi bekkie Polka |
This song was written in 1905 by French composer Vincent Scotto (with words by Henri Christiné), but is mostly remembered as a big hit for Josephine Baker in the 1920s. http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=... Pier Paul Marsalès,dit Polin (1863-1927), chansonnier - Vincent Scotto composer «Fat jolly old Polin, whose songs creation portrays the happy-go-lucky lot of common soldier. He reels in from the wings, convulsed with laughter over some recent adventure, the result of which has put him in the guard-house for ten days. He is fairly bursting his red-trousered uniform with merriment as he begins his first verse. [] He is manipulating the while a red cotton handkerchief, which is never still; now it mops his round genial face, now it is twisted nervously into a rope and jammed into his trouser's pocket [] His last verse is smothered in chuckling glee; little jets of cleverly chosen words manage, however, to get over the footlights to his listeners.» pourqu'j'finisse mon service je suis gobé d'une petite http://victor.library.ucsb.edu/index.php/matrix/detail/1000004429/5976o-... http://en.wikipedia.org/wiki/Henri_Christiné The son of a French Savoyard watchmaker,[2] Christiné was born in Geneva, Switzerland. He began by teaching at the lycée in Geneva, while pursuing his interest in music and playing organ in a local church. He married a cafe singer whose troupe was passing through Geneva, and went with her to Nice where they were married.[3] He made his home in France, writing songs firstly for his wife and then for popular singers such as Mayol, Dranem, and Fragson. He also conducted for music-hall at the Place Clichy. Although Christiné wrote some opérettes for the Scala theatre in Paris before the First World War, his career took off when he had his operetta Phi-Phi staged the day of the Armistice on 11 November 1918, with words by Albert Willemetz and Fabien Solar and which ran for three years at the Bouffes-Parisiens. This success was followed by Dédé in 1921, Madame (1923) and J'adore ça (1925). These works were in the forefront of a new fashion in music-theatre: sparkling, witty, jazzy musical plays.[4] Christiné's tunes are often based around repeated refrains of six or seven notes (a 'hook') which made them catchy and popular for contemporary audiences.[5] In the 1930s Christiné contributed to the renewed fashion for more large-scale spectacular musicals, with pieces for the Théâtre du Châtelet in Paris, Au temps des Merveilleuses and Yana; for these he wrote the more vibrant numbers, while Richepin did the romantic songs.[6] "Le Bonheur, Mesdames" and "Le Flirt ambulant" were rearrangements of his songs from the 1900s.[7] He died in Nice, France. Phi-Phi and Dédé are still occasionally revived in France. |