Ceolas: The Fiddler's Companion

Result of search for "... Joe":

ALABAMA GALS. AKA and see "Round-Town Gals," "Buffalo Gals." Old-Time; Breakdown, Song. USA; north Ga., central Ala. G Major. Standard. AABB. This popular melody was in the repertoire of Fiddlin John Carson (north Ga., 1922) under this title. It was predicted (in the Chilton County {Ala.} News of June 1st, 1922) to "vie with the latest jazz nerve wreckers for first place" at a Chilton County convention (Cauthen, 1990). See note for "Buffalo Gals." African-American fiddler Joe Thompson played this tune in GDGD tuning.
***
I know a gal with a wart on her chin,
Her eyes turned out and her ears turned in;
She's a darned good gal for the shape she's in
And I told her just to come out tonight.
***
Alabama Gals won't you come out tonight,
Come out tonight, come out tonight,
Alabama Gals won't you come out tonight,
And dance by the light of the moon.
***
Source for notated version: Woodring and Neithammer (Pa.) [Kuntz]. Kuntz (Ragged but Right), 1987; pg. 323. Marimac Cassette, "Tuesday Nite Live."
T:Alabama Gals
L:1/8
M:2/4
B:Kuntz - Ragged but Right
K:G
(3D/E/F/|G/)F/G/A/ B/A/B/c/|d/e/d/A/ B/A/B/B/|c/d/c/B/ A/F/A/(^c/|d/)e/d/A/ B(3D/E/F/|
G/F/G/A/ B/A/B/c/|d/e/d/A/ B/A/B/c/|d/e/d/A/ B/G/A|G>G G:|
|:e/f/|g/g/f/f/ e/(A/d/)(e/|e/)f/e/A/ B/A/B|c/d/c/B/ Ad|e/dd/ Be/f/|gf/f/ e/A/d|
e/f/e/A/ B/A/B/c/|d/e/d/c/ B/G/A|G3:|

ALFIE'S HORNPIPE. AKA and see "Allen's Reel," "Allen's Hornpipe." Canadian, Hornpipe. A Major ('A' part) & E Major ('B' part). Standard. AABB. The original title for the tune, which was composed by Canadian Webb Acheson. Source for notated version: Joe Panczerowski [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 179.

ALL AROUND THE WORLD. AKA and see "All Around the World," "Cooley's," "The Connemara Rake," "Doherty's," "Grehan's," "John Doherty's," "Johnny Doherty's," "Jolly Beggar," "Matt Molloy's," "The Mistress," "Mot Malloy," "Tinker Doherty's," "The Wise Maid" [1]. Irish, Reel. D Major. Standard. AABB. Source for notated version: fiddler Sean McGuire [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974. Vol. 1, No. 29, pg. 11. Mallinson (Essential), 1995; No. 72, pg. 31. CEF 115, Frankie Gavin (with Paul Brock) - "Tribute to Joe Cooley" (1986). Shanachie 79009, "Planxty" (1973). Shanachie 79073, Noel Hill - "The Irish Concertina" (1988).

ANDY'S REEL. AKA and see "The Earl of Seafield's Reel" [3]. Cape Breton, Reel. Rounder Records 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974).

ANGUS JIG. Canadian, Jig. Canada, Cape Breton. A Major. Standard. AABB'. The title comes from a recording of the tune by Cape Breton fiddler Joe MacLean (who learned it from Angus Chisholm). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 172, pg. 69.

ANT(H)ONY MURRAY('S REEL). AKA and see "Hills of Cape Mabou" (Cnuic Rudha Mhabou), "Lord Murray Strathspey," "Port 'ic Artair" (MacArthur's Tune), "Tilly Plump" (Shetland). Scottish, Reel; Cape Breton, Strathspey. A Major. AEAE. AB. The tune was commonly played in scordatura tuning in Scotland in the 19th century and earlier, and is currently played on Cape Breton in AEAE tuning. "Anthony Murray's Reel" first appears in McGlashan's collection. On Cape Breton the tune is sometimes known as "Christie's Sister" because it was often played following "Christie Cambpell." John Shaw, in the booklet for Topic 12TS354 writes: "According to tradition in the Inverness-Mabou area (the tune) was associated with the family of MacArtair Mor (Big MacArthur) of Mabou Coal Mines, whose father ws born on the Isle of Canna, Inner Hebrides Scotland." Source for notated version: Buddy MacMaster and Mary MacDonald (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 125. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg 15. ACR4-12940, Buddy MacMaster (Appears as "Traditional Strathspey"). EMI E4 80683, John Morris Rankin - "North Country"(1993. Appears as "Lord Murray Strathspey"). Overton 1829-I-LM 88, Dwayne Cote - "Introduction" (1992. Appears as "Cnuic Rudha Mhabou"). RLP 107, Joe MacLean - "And his Old Time Scottish Fiddle" (c. 1967). Rounder 7009, Doug MacPhee - "Cape Breton Piano"(1977. Appears as "Hills of Cape Mabou"). Topic 12TS354, John Willie Campbell - "Cape Breton Scottish Fiddle" (1978. Appears as "Port 'ic Artair"). WRC1-1548, Carl MacKenzie - "And his Sound is Cape Breton"(1981. Appears as "Strathspey").
T:Anthony Murray's Reel
L:1/8
M:C|
S:McGlashan - Strathspey Reels (pg. 15)
K:A
E|C>E A2 C>E A2|AFEB B,/B,/B, B,2|CD/E/AE FEAE|F>AEC A,/A,/A, A2:|
c/d/|e>cAe c<A e>c|d>fe>c B/B/B Bc/d/|e>cAe c<A e>c|d>fe>c A/A/A Ac/d/|
e>cAe c<A e>c|egdf c/c/c c>B|FAEF DFCE|A/G/F/E/ Ac, A,/A,/A, A||

ANYTHING FOR JOHN JOE? (Rud ar bith do Seán Joe?). AKA- "Anything for Jonjo." AKA and see "Anything When You Die," "Julia Cliffords," "Ríl an Lisin." Irish, Reel. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Mixolydian (Breathnach, Moylan): D Major (Cranitch, Tubridy). Standard. AB (Cranitch, Tubridy): AAB (Mallinson): AA'B (Breathnach, Moylan). Source Johnny O'Leary usually paired this tune with "Johnny When You Die," calling the pair "The Sliabh Luachra Reels." See also "The Lisheen Reel" (Ríl an Lisín). Source for notated version: fiddlers Julia Clifford & Denis Murphy (west Kerry, Ireland) [Breathnach]; accordion player Johnny O'Leary (Gneevgullia, Kerry) [Moylan]. Breathnach (CRE III), 1985; No. 164, pg. 76. Cranitch (Irish Fiddle Book), 1996; pg. 82. Mallinson (Enduring), 1995; No. 6, pg. 3. Moylan (Johnny O'Leary), 1994; No. 296. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 17. Cladagh Records CC5, Denis Murphy & Julia Clifford - "The Star above the Garter" (1969).
T:Anything for John Joe
L:1/8
M:C|
K:D
AG|F2 AF G2 BG|F2 AF E2 DE|F2 AF G2 BG|ABcA d2 AG|
F2 AF G2 BG|F2 AF E2 DE|F2 AF G2B2|ABcA d3||
e|f2 af e2 de|faaf e2 de|faaf efed|cABc d3e|f2 af e2 d2|faaf e2d2|
defg a2a2|ABcA d2||

ANYTHING WHEN YOU DIE. AKA and see "Anything for John Joe," "Julia Clifford's." Irish, Reel. D Major. Standard. AAB. Source for notated version: Dennis Murphy and Julia Clifford (Sliabh Luachra region of east Kerry) [Sullivan]. Sullivan (Session Tunes), Vol. 3; No. 55, pg. 22.

APPLES IN WINTER [1] (Uballa I Geimread). AKA and see "General White's Jig," "Kennedy's Jig," "Joe Kennedy's Jig,""The Misfortunate Rake," "Next Sunday is My Wedding Day," "Rattle the Quilt (to Pieces)," "Reice an Mhi-adha," "The Shamrock," "The Squint-Eyed Piper," "Sunday is My Wedding Day," "The Unfortunate Rake." Irish, Double Jig. E Minor (O'Neill, Taylor, Williamson): E Dorian (Moylan, Mulvihill). Standard. AA'B (Taylor): AABB (O'Neill): AABB' (Taylor, Williamson): AA'BCDD' (Moylan). David Taylor (1992) remarks that this tune follows a basic structure found in many minor key Irish tunes: two bars of melody built around the tonic, followed by two in the dominant chord, two more tonic, and finally a bar each of the dominant and tonic. He advances that this is why many tunes that follow this structure can sometimes be confused or mixed up, pointing out similarly sounding, though different tunes, such as "Over the Hills" are frequent. The melody is at least as old as the latter 19th century, for O'Neill (1913) records it was the first jig learned as a boy by Callinafercy, Kilcoleman, County Kerry fiddler and Uilleann piper William F. Hanafin, born in 1875 (who later, as an adolescent, emigrated to Massachusetts). Williamson (1976) states annecdotally that the apple was anciently known as 'the salvation of the poet', and relates the tale of a Welsh bard named Sion Kent who was about to be taken by the Devil. Just in time he managed to catch hold of an apple tree, thwarting the evil one, though at the same time insuring fate, for though untouchable to hell he is unsuitable for heaven and is thus doomed to wander the winds of the world evermore. See also the different, though similar in some respects tune "Old Apples in Winter." Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O'Leary), 1994; No. 233, pgs. 134-135. Mulvihill (1st Collection), 1986; No. 81, pg. 82. O'Farrell, c. 1800, Collection of National Irish Music for the Union Pipes. O'Farrell, "Pocket Companion for the Irish or Union Pipes. O'Neill (Krassen), 1976; pg. 75. O'Neill (1850), 1903/1979; No. 1111, pg. 209. O'Neill (1001 Gems), 1907/1986; No. 300, pg. 64. Taylor (Where's the Crack?), Vol. 1, 1989; pg. 21. Taylor (Where's the Crack?), 1992; No. 58, pg. 41. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 77. Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981). Kicking Mule KM216, Arm and Hammer String Band - "New England Contra Dance Music" (1977). Outlet 3002, Paddy Cronin- "Kerry's Own Paddy Cronin" (1977). Shaskeen Records OS-360, Joe Burke, Andy McGann, Felix Dolan - "A Tribute to Michael Coleman" c. 1965. Shaskeen - "Atlantic Breeze."
T:Apples in Winter
S:Gearóid Ó hAllmhuráin, Traditional Music from Clare and Beyond 11b
Z:Jerome Colburn
M:6/8
K:DDor
c | ADD cDD | AGF EFD | C3 ECE | GAB cdc |\
ADD ~AGA | cde fed | ecA GFE | FDD D2 :: A |\
~d3 dcA | f2 d ecA | ~cdc cGE | CEG cde |1\
~ded dcA | cde f2 g | afa geg | fdc d2 A :|2\
dcA cde | fag fed | ecA GFE | FDD D2 |]**

AS I ROVED OUT. AKA and see "Seventeen on Sunday." Irish, Air. Ireland, Connemara. A Connemara version of a song recorded by sean-nos singer Joe Heaney in 1980, the first part of which is based on the old ballad "The Boyne Water."

ASHMOLEAN HOUSE (Teach Ashmolean). AKA - "Ash Maley House." Irish, Reel. Ireland, Belfast. D Major. Standard. AABB. Breathnach (1996) attributes the composition to Belfast/Derrylin, County Fermanagh, fiddler Tommy Gunn. The Ashmolean is the university museum of Oxford, University, England. A cousin to the tune "Mullingar Races." Sources for notated version: Martin Mulvihill (Bronx, NY), Joe & Willie Kelly, Jerry O'Sullivan (Yonkers, NY) [Black]; County Fermanagh & Belfast fiddler Tommy Gunn via the mid-20th century Liam Donnolly (County Tyrone & Belfast) collection [Breathnach]. Black (Music's the Very Best Thing), 1996; No. 87, pg. 45. Breathnach (CRE IV), 1996; No. 200, pg. 92. Taylor (Crossroads Dance), 1992; No. 25, pg. 19. Green Linnet GLCD 1175, Cherish the Ladies - "New Day Dawning." Green Linnet SIF-1074, Jerry O'Sullivan - "The Invasion" (1987). Green Linnet SIF-104, Jerry O'Sullivan - "The Celts Rise Again" (1990). Green Linnet GLCD 1187, Cherish the Ladies - "One and All: the Best of Cherish the Ladies" (1998. Appears as "Ashmaleen House"). Shaskeen - "My Love is in America."
X:1
T: Ashmolean House
C: Tommy Gunn
S: J. O'Sullivan / Kelly Bros.
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
AF F2 EDB,A, | D2 FD FA A2 | defd efdB | AFDE FE E2 |
AF F2 EDB,A, | D2 FD FAAB | ABde dBAF | A,CEG FD D2 :|
defg a3 b | afdf eB (3BAB | defg a3 b | afdf e3 f |
fd (3ddd ad (3ddd | edBd egfe | dBAF A3 F | A,CEG FD D2 :|
X:2
T:Ashmolean, the
C:Tommy Sands
R:reel
S:Mike Rafferty
H:The Ashmolean is a museum in York (UK),
H:named after its founder, a fellow named Ashmole.
N:Ashmolean House title courtesy of Andrew Kuntz.
D:Jerry O'Sullivan
Z:Lesl Harker [lmh@rcons.com]
M:C
L:1/8
K:Dmix
d3B|:AF~F2 EDBA|D2ED FA A2|defd efdB|AFDE FEE2|
AF~F2 EDBA|D2EDFA A2|ABde dBA2|BDEG FDD2:|
|:defg a~a2b|afdf edBA|defg a2ab|afdf e2eg|
fdd2 Addf|edAd e2fe|dBAF A~A3|BDEG FDD2:|
X:3
T:Ashmolean House
R:reel
C:Tommy Gunn (fiddle), Derrylin, Co. Fermanagh
B:Ceol Rince na hÉireann 4, no. 200
M:4/4
L:1/8
K:D
AF (3FFF EDB,A,|D2 (3FED FAAB|defd efdB|AFDE FEEE|
AF (3FFF EDB,A,|D2 (3FED FAAB|ABde dBAF|A,B,DF ED D2:|:
defg a2 ab|afdf eB{c}BA|defg a2 ab|afdf {g}feef|
fd (3ddd ad (3ddd|edBd egfe|dBAF ABAF|A,B,DF ED D2:|
X:4
T:Ashmolean House
R:reel
Z:Transcribed by Bill Reeder
M:4/4
L:1/8
K:D
"D"AF~F2 EDBA|"D"D2 (3FED FAA2|"D"d2 fd efdB|"D"AFDE "A"FEE2|!
"D"AF~F2 EDBA|"D"D2 (3FED FAAB|"D"ABde dBAF|"A"AFEG "D"FDD2:||!
"D"defg a2ab|"D"afdf "Em"eBB2|"D"defg a2ab|"D"afdf "A"e4|!
"D"fd~d2 Ad~d2|"A"ed^cd egfe|"D"dBAF A2AB|"A"AFEG "D"FDD2:||

AUCHDON HOUSE. AKA- "Twa Craw" (song). AKA and see "Haughton House." Scottish, March. G Major. Standard. AABB. The tune is similar to the melody of the Scottish folksong "Twa Craw:" It as recorded by Joe Ryan (on "An Buchaille Dreoite", where he lists it as a Shetland tune), and as a result has some currency in Irish sessions.
***
There were twa craw, sitting in a tree,
Sitting in a tree, sitting in a tree;
There were twa craw, sitting in a tree,
On a cold and frosty morning.
***
Carlin (Master Collection), 1984; No. 134, pg. 82. Greentrax C9004, Jimmy Johnson (fiddle, with harmonium accompaniment by Pat Sutherland) - "Scottish Tradition - Shetland
Fiddle Music." Philo 1031, Boys of the Lough - "Lochaber No More" (appears as "Haughton House," identified as a Shetland tune).
T:Auchdon House
M:2/4
L:1/8
R:March
Z:Transcribed by Paul de Grae
K:G
GB/G/ DG/D/ |B,/C/ D/B,/ G,A/B/ | cBAG | E2 EF |
GB/G/ DG/D/ | B,/C/D/B,/ G,A/B/ | c/B/c/e/ dF |1 G2 GD :|2 G2 Ge/f/ |:
gfed | ed B>d | cBAG | E2 EF | GB/G/ DG/D/ |
B,/C/D/B,/ G,A/B/ | c/B/c/e/ dF |1 G2 Ge/f/ :|2 G2 G2 ||

AULD RESTIN' CHAIR, DA. Shetland, Air. B Minor. Standard. Composed by the late Shetland teacher, collector, composer and fiddler Tom Anderson, in memory of his grandfather, who first taught him the instrument. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993). GN1, Joe Thoma - "Up the Track: Traditional Music from Kenmare." Green Linnet SIF-1051, Jackie Daly, Seamus & Manus McGuire - "Buttons and Bows" (1984). Topic Records, Tom Anderson & Aly Bain - "The Silver Bow" (1976).

BACON AND CABBAGE. Old-Time. USA, Ky. Recorded for Victor in 1928 by Blind Joe Mangrum (b. 1853), Paducah, Ky., probably the second oldest fiddler to be recorded. "Bacon and Cabbage" and "Bill Cheatam" were his only released sides.

BALLYGAR HERMITAGE. Irish, Jig. G Minor ('A' and 'B' parts) & G Major/Mixolydian ('C' part). Standard. AABB'CC. Composed by Joe Kelly. Ballygar, explains Bill Black, is in the western part of Roscommon, close to the Galway border. Black (Music's the Very Best Thing), 1996; No. 285, pg. 153.
T: Ballygar Hermitage
S: Joe & Willie Kelly
Q: 325
R: jig
Z:Transcribed by Bill Black
M: 6/8
L: 1/8
K: Gdor
A | BAG FDC | DGG DGG | BAG ABc | d^cd gd=c |
BAG FDC | DGG GAB | AGF DCA,- | A,G,G, G,2 :|
A | BGd BGd | BAB dcB | AFc fcB | AFA cBA |
BGd BGd | BAB dcB |1 AFA cBc | AG^F G2 :|
|2 AGF DCA,- | A,G,G, G,2 ||
K: G
B | dgg dgg | gfg bag | c=ff c=ff | cBc ag=f |
dgg dgg | gfg bag | afd cAF | AGF G2 :|

BANKS HORNPIPE. AKA- "Banks of the River." AKA and see "Kinloch's Grand Hornpipe," "Mrs. Taff," "Souvenir of Venice." Scottish, Canadian, Irish; Hornpipe. Canada, Nova Scotia. E Flat Major (Scottish versions): G Major (Black). Standard. AAB (Black, Honeyman): AABB (Brody, Hardie, Hunter). "Composed by Parazotti" is an ascription often found attached to this tune, sometimes called a 'descriptive hornpipe'. The composer's origins were somewhat obscure. Alburger (1983) stated she could find no composer by that name and suggested it could possibly be a set of a piece which was danced to by Mme Pariot, who retired from the London stage to marry in 1809. Alastair Hardie (1992), however, reports that Parazotti did exist and was actually the grandson of an Italian violinist who settled in Glasgow. The tune was inspired by the sights and sounds of a river in spate. The melody appears first in print in 1881 in Kohlers' Violin Repository (Bk. 1) under the title "Mrs. Taff" (whom Hardie explains was a person who resided on the West coast of Scotland and was Parazotti's patron for a time. It is said she was the owner of the house in which Parazotti composed his tune). The piece is similar to the tune "Souvinir De Venice Hornpipe" in the 1883 Ryan's Mammoth Collection. " This tune is credited to L. Ostinelli, an Italian who arrived in Boston in the year 1818. Michael Broyles references this musician in his book Music of the Highest Class: Elitism and Populism in Antebellum Boston:
***
He was keenly aware of the reputation the violin had as a
vernacular instrument in New England. According to several
anecdotes, he was furious when his violin was referred to as a
fiddle or when he was requested to play dance music. Once
when asked by a lady if he was to play for a dance following
a concert, he deliberately cut his violin strings and said 'Veree
story, veree story, madam, you see I can no play.'
***
Ostinelli, of whom little is known, was mentioned in Dwight's Journal of Music in 1859. His lasting cliam to fame is his variation which is often used as a finale today by fiddler's playing "The Banks" (Cranford, 1997). The present title, "Banks," is actually the shortened form of the composer's alternate title "Banks of the River" (according to the late Shetland fiddler, collector, teacher and composer Tom Anderson). Scottish fiddler Charles Hardie (1849-1893) was praised by one of the greatest Scottish violinists of his time, J. Scott Skinner, for his rendition of this tune. "The Banks" is one of the tunes sometimes requested of Shetland fiddlers because it is popularly known that "anything composed in a flat key is considered to be a real test of a fiddler's ability" (Cooke, 1986). Skinner himself recorded the tune in the 1920's as part of his "Celebrated Hornpipes" medley. It is also popular in Nova Scotia. In Scotland it is traditionally preceded by the slow strathspey "The Dean Brig o' Edinburgh." Sources for notated versions: Jean Carignan (Montreal, Canada) [Brody]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Black (Music's the Very Best Thing), 1996; No. 136, pg. 71. Brody (Fiddler's Fakebook), 1983; pg. 34. Cranford (Fitzgerald), 1997; No. 39, pg. 14. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 55. Hardie (Caledonian Companion), 1992; pg. 128. Hunter (Fiddle Music of Scotland), 1988; No. 340. Skinner, Harp and Claymore, 1903. Fiddler FRLP001 Tom Doucet (Nova Scotia/eastern Mass.) - "The Down East Star." Flying Fish FF 70572, Frank Ferrel - "Yankee Dreams: Wicked Good Fiddling from New England" (1991). Folkways FG3531, Jean Carignan- "Old Time Fiddle Tunes" (1968) {third tune of 'Bank'}. Green Linnet SIF-1110, Andy McGann and Paddy Reynolds - "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Outlet 1031, Sean McGuire- "Ireland's Champion Traditional Fiddler." Philo 2001, "Jean Carignan" (third tune of 'Banks Medley'). Philo 2019, Tom Anderson and Aly Bain- "The Silver Bow". Rounder 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974). Shanachie 29009, "Andy McGann & Paul Brady" (McGann learned the tune from Lad O'Beirne). Topic 12T280, J. Scott Skinner- "The Strathspey King."
X:1
T:Banks
T:Banks of the River
T:Mrs. Taff
C:Parazotti
B:The Caledonian Companion, Alastair J. Hardie
N:as played by J. Scott Skinner
R:hornpipe
M:4/4
L:1/16
K:Eb
(3B,CD|E2 G4 (3BGE D2 F4 (3AFD|A,2 c4 de =ABcB _AGFE|
G,2 B4 c2 A,2 c4 de|DEFG AFDF E2[B,2G2][G,2E2]:|:{a}g>^f|
g2[G,2E2][G,2E2] (3gbg f2[B,2D2][B,2D2] (3fgf|
e2 c4 fe dcB=A {A}B2{=e}f2|
(3DBf (3fBD (3DBf (3fBD (3EBg (3gBE (3EBg (3gBE|
=ABcd ecAc BABc B_AGF|[EG,]GBG eGFE DFBF dFED|
CEAE cBAG FGFE DCB,A,|
(3G,EB (3BEG, (3G,EB (3BEG, (3A,Ec (3cEA, (3A,Ec (3cEA,|
DEFG AFDF E2[B,2G2][G,2E2]:|
X:2
T:Banks
T:Banks of the River
T:Mrs. Taff
C:Parazotti
N:transposed from Eb
R:hornpipe
M:4/4
L:1/16
K:G
(3DEF|G2 B4 (3dBG F2 A4 (3cAF|E2 e4 fg ^cded =cBAG|
B,2 d4 e2 C2 e4 fg|FGAB cAFA G2 B2 G2:|:b>^a|
b2 G2 G2 (3bc'b a2 F2 F2 (3aba|g2 e4 ag fed^c d4|
dfaf dfaf dgbg dgbg|^cdef gece dcde d=cBA|
Bded bgdB Adfd afdA|EGcG edcB (3ABA (3GFE D2C2|
B,DGD B,DGD CEGE CEGE|FGAB cAFA G2 B2 G2:|
X:3
T: The Banks
S: McGann / Conway
Q: 300
R: hornpipe
M: 4/4
L: 1/8
K: G
(3DEF|G2 B2 B2 (3dBG|F2 A2 A2 (3cAF | C2 e2 e2 fg | ^cded =cBAG |
B,2 d2 d2 ef | C2 e2 e2 fg | FGAB cAFA | G2 B2 G2 :|
ba | b2 g2 g2 (3bab | a2 f2 f2 (3aba | g2 e2 e2 ag | fed^c d2 D2 |
Fdad Fdad | Gdgd Gdgd | ^cdef gece | d^cde d=cBA |
GBdB gdAG | FAdA fAGF | EGBG edcB | ABAG FEDC |
B,GdG B,GdG | CGeG CGeG | FGAB cAFA | G2 B2 G2 :|
W:
P: original key Eb
K: Eb
(3B,CD|E2 G2 G2 (3BGE|D2 F2 F2 (3AFD|A,2 c2 c2 de| =ABcB _AGFE |
G,2 B2 B2 cd | A,2 c2 c2 de | DEFG AFDF | E2 G2 E2 :|
gf| g2 e2 e2 (3gfg | f2 d2 d2 (3fgf | e2 c2 c2 fe | dcB=A B2 B,2 |
DBfB DBfB | EBeB EBeB | =ABcd ecAc | B=ABc B_AGF |
EGBG eBFE | DFBF dFED | CEGE cBAG | FGFE DCB,A, |
G,EBE G,EBE | A,EcE A,EcE | DEFG AFDF | E2 G2 E2 :|

BANKS OF LOUGH GOWNA, THE (Bruaca Loca Gamna). AKA and see "The Ball (Humours) of Ballynafeidh," "The Clare Jig," "Delaney's Drummers," "John Naughton's," "The Jug of Brown Ale," "The Kitten and the Frog," "Kitty in the Fog," "The Mug of Brown Ale," "Old Man Dillon," "One Bottle More," "Paddy in London" [2], "Paddy O'Brien's," "The Raffle Jig," "The Rambler From Clare," "Shores of Lough Gowna," "The Slopes of Sliabh Luachra," "The Stonecutter's Jig," "Tom Billy's Jig," "Winter Apples," "Young Tom Ennis." Irish, Double Jig. B Minor (DeMarco & Krassen, O'Neill/Krassen): A Minor (Cranitch, Mitchell, O'Neill/1850 & 1001, Taylor). Standard. AABB (Cranitch, DeMarco & Krassen, O'Neill, Taylor): AA'BB (Mitchell). Sources for notated versions: "a composite based on the old duet recording by Paddy Killoran and Paddy Sweeny and also on the recent recording by John Vesey (DeMarco & Krassen, 1978); piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Cotter, No. 17. Cranitch (Irish Fiddle Book), 1996; No. 8, pg. 127. DeMarco & Krassen (A Trip to Sligo), 1978; pgs. 30,44, 58. Mitchell (Dance Music of Willie Clancy), 1993; No. 113, pg. 96. O'Neill (Krassen), 1976; pg. 63. O'Neill (1850), 1903/1979; No. 1060, pg. 200. O'Neill (1001 Gems), 1907/1986; No. 264, pg. 58. Taylor (Behind the Half-Door), 1992; No. 55, pg. 39. Shaskeen Records OS-360, Andy McGann, Joe Burke, Felix Dolan - "A Tribute to Michael Coleman," c. 1965 (appears as "Banks of Lough Gamhna"). Shaskeen - "The Joys of Life."
T:Banks of Lough Gowna, The
L:1/8
M:6/8
S:O'Neill - 1001 Gems (264)
K:A Minor
ABA AGE|EDE G3|ABA AGE|c2d ecA|ABA AGE|EDE G3|cde ged|cAA A2:|
|:cde g2a|gea ged|cde g2a|geg a3|cde g2a|gea ged|cde fed|ecA A2:|

BARE NECESSITIES. English, Waltz. D Dorian. Standard. AB. Composed in 1974 by the English collector, composer and long-time EFDSS champion Pat Shaw (1917-1977). The melody was written for Gladys and Joe Muschamp of Bare, Cheshire, who ran a hardware shop. Shaw suggested the name "Bare Necessities" to them for the enterprise, which they readily accepted. Matthiesen (Waltz Book II), 1995; pg. 4. Varrick C-VR-013, Bare Necessities - "English Country Dances" (1987).

BEAN DUBH A' GHLEANNA (The Dark Woman of the Glen). AKA and see "The Maiden," "Moll Dubh an Gleanna," "The Dark Maiden of the Valley." Irish, Slow Air (3/4 time). Ireland, Connemara. G Major. Standard. One part. The Irish is pronounced 'Ban dhuv an glanna'. This Connemara melody is a variant of "Seamas Og Pluincead" (Young James Plunkett). "The Maiden" and "The Dark Maiden of the Valley" are simpler forms of the tune. Source for notated version: fiddler "Daniel Sullivan of Boston, a native of Millstreet, County Cork," via 'the celebrated Irish piper' Patrick Touhey [O'Neill]. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 96, pg. 82. O'Neill (1850), 1979; No. 6, pg. 2. Green Linnet SIF 1045, Joe Burke - "The Tailor's Choice."
T:Bean Dubh An Ghleanna
T:Dark Woman of the Glen
M:4/4
L:1/8
Q:70
S:Seamus Ennis
R:Air
Z:Paul Kinder
K:G
D|G>AB>c d>>B G3 B/2d/2|g4 a/2g/2e/2f/2 d3 c/2A/2 B4|!
G3 A/2B/2 cB A4 A/2G/2F/2A/2 G6:|(3def g4 (3feg a4|!
(3bba g4 (3aag f/2 d2 c/2A/2 B4|G3 B/2d/2 g4 (3efg a4|!
bc' b2 a2 g4|(3aag f/2 d2 c/2A/2 B>cAF G4|!
(3ABd|g4 a/2g/2e/2f/2 d4 c/2A/2 B4|!
G4 A/2B/2 cB A4|A/2G/2F/2A/2|G6||!

BEARDED FIDDLER, THE. Irish, Jig. D Major. Standard. AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Ed's son Joe explains the title refers to a tramp fiddler named Farley who sold wares throughout Monaghan and Cavan on fair days, with the help of his daughter. "One day Farley played so beautifully that the daughter threw her arms around him in a burst of spontaneous joy. Ed never forgot..." Reavy (The Collected Compositions of Ed Reavy), No. 84, pg. 92.

BEATONS OF MABOU. Cape Breton, Reel. Arhoolie C-334, Joe Cormier - "Masters of the Folk Violin" (1989).

BELLE CATHERINE, LA [2]. AKA and see "Joe's Toes," "Reel des Noces," "Reel de Plus Boudreau." French-Canadian, Reel. A Major. Standard. AABB. According to Quebec musician Benoit Bourque, "La Belle Catherine" is a colloquial French-Canadian term meaning an old maid, or an unmarried woman over the age of 25 (Songer). In the repertoires of fiddlers Joseph Bouchard and Louis "Pitou" Boudreault (Chicoutimi, Quebec); the latter recorded the melody in 1975. Source for notated version: Dave Marshall (Vancouver, B.C.) [Songer]. Songer (Portland Collection), 1997; pg. 27. Opus OP-219, Louis Boudrealt - "Portrait du vieux Kebec, volume 2." Nightingale - "The Coming Dawn."
T:La Belle Catherine
D:Nightingale, "The Coming Dawn"
S:Quebecois
R:reel
M:4/4
L:1/8
Z:Transcribed by Paul de Grae
K:C
EGce d2 c2|EGce d2 c2|Bcde fefg|ag^fg ec c z|
EGce d2 c2|EGce d2 c2|Bcde fefg|ag^fg c2 z2:|:
eg-ge gagf|egeg a2 z2|g2 ^fg bagf|ag^fg ec c z|
gggg gagf|egeg a2 z2|g2 ^fg bagf|ag^fg c2 z2:|

BELLES OF TIPPERARY [2]. AKA and see "The Barrow Castle," "The Blea-berry Blossom," "An Ceolchumann" (The Music Society), "Connacht Lasses," "The Connacht Star," "The Dandy Girl/Lass/Lasses," "The Four Courts of Dublin," "Green Fields to America," "The Kerry Star," "Lamont's Reel," "Jackson's Welcome to Cork," "Johnny Shooting in the Glen," "Kerry Star," "Lamont's," "Mel Roddy's Tune" (northeast Kings County, PEI), "Miss Monaghan," "New Policeman" [1], "O'Connell in Clare," "Shannon's Shores," "Stormy Weather," "The White-haired Piper." Irish, Reel. D Major. Standard. AB (Mulvihill): AABB (Black). Related to "The New Policeman" [1] and "Miss Monaghan" family of tunes. Philippe Varlet finds the first recording of the tune, called "Bells of Tipperary," by Frank Quinn on a 78 RPM released in 1934. Source for notated version: Joe Coleman (New York) [Mulvihill]. Black (Music's the Very Best Thing), 1997; No. 190, pg. 101. Mulvihill (1st Collection), 1986; No. 229, pg. 62 (appears as "Bells of Tipperary"). CCE, Charlie Lennon & Mick O'Connor - "Lucky in Love." Green Linnet SIF 1069, Joe Burke - "Happy to Meet and Sorry to Part." GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle." Michael Cooney - "Happy to Meet and Sorry to Part." Shanachie 34008, "Andy McGann & Paddy Reynolds."
T: The Belles of Tipperary
S: McGann - Conway
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
D2 (3FED FAAB | d2 fe dBBA | B2 AF ABde | fafd fe e2 |
D2 (3FED FAAB | d2 fe dBBA | B2 AF ABdB | FAEG FD D2 :|
agab afdf | gfed cdef | g2 gf gbag | faaf egfe |
dB B2 AF F2 | DF F2 ABde | fedc dBAF | A2 ag fd d2 :|

BILL CHEATUM [1]. AKA - "Bill Cheatem," "Bill Cheatham," "Cheatum," "Cheat 'Em." Old-Time, Breakdown. USA, widely known. A Major. Standard. AABB: AA'BB' (Kaufman). Krassen and others note this is a common fiddle tune throughout the Southern part of the United States, where it probably originated (Christeson says he did not hear the tune in Missouri until the mid-1940's). The tune was a fiddle contest "category" tune in 1899 in Gallatin, Tenn.--each fiddler would play a version, with the best rendition being awarded a prize (C. Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80). Sources for notated versions: Floyd Smith (Cole County, Missouri) [Christeson]: Max Collins (Pottawatomie County, Oklahoma) [Thede]: Krassen credits the Texas based Red Headed Fiddlers and Henry Reed (Va.) for the version he gives in his book: A.L. Steeley & the Red Headed Fiddlers [Kaufman]. Brody (Fiddler's Fakebook), 1983: pg. 41. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; No. 34, pg. 24. Kaufman (Beginning Old Time Fiddle), 1977; pg. 61. Krassen (Appalachian Fiddle), 1973; pg. 68. Lowinger (Bluegrass Fiddle), 1974; pg. 16. Phillips (Fiddlecase Tunebook), 1989; pg. 5. Phillips (Traditional American Fiddle Tunes), 1994; pg. 24. Reiner (Anthology of Fiddle Styles), 1977; pg. 31. Thede (The Fiddle Book), 1967; pg. 103 (appears as "Bill Cheatem"). Alcazar Dance Series ALC 202, Sandy Bradley - "Potluck & Dance Tonite!" (1979). County 515, "Mountain Banjo Songs and Tunes." County 542, Blind Joe Mangrum (b. 1853, Paducah, Ky.) - "Nashville: the Early String Bands, Vol. 2" (originally recorded in 1928 for Victor). County 719, Kenny Baker - "Portrait of a Bluegrass Fiddler" (1968). Front Hall 010, Fennigs All Star String Band - "The Hammered Dulcimer Strikes Again." Kicking Mule 202, John Burke - "Fancy Pickin' and Plain Singing." Library of Congress recording, 1939, W.A. Bledsoe, Meridian, Mississippi. Mountain 301, Kyle Creed - "Blue Ridge Style Square Dance Time." Rounder 0016, Vasser Clements - "Crossing the Catskills." Rounder 0093, Jerry Douglas - "Fluxology." Rounder 7002, Graham Townsend--"Le Violin/The Fiddle."
T:Bill Cheatum [1]
L:1/8
M:C|
S:Jay Ungar
Z:Transcribed by Andrew Kuntz
K:A
[A,2E2] [E2A2] [E4c4]|cBAc BAFE|DFAc d2 de|fgaf ecBc|[A,2E2] [E2A2] [E3c3]B|
cBAc BAcA|dcde fgaf|1 ecBc A4:|2ecBc A3||
|:af|ecea fdfa|gefg a2 af|ecea fdfa|ecAc B2 af|ecea fdfa|gefg a2 (3efg|agae faed|
cABc A3:|

BILL THE WEAVER('S JIG) [1]. AKA and see "An Seanchai Muimhneach." Irish, Jig. Ireland, Slibah Luachra region of the Cork-Kerry border. D Major. Standard. AABBCC. Source for notated version: flute and tin whistle player Bill Murphy (father of fiddlers Denis Murphy and Julia Clifford), known as "The Weaver," via accordion player Johnny O'Leary (Sliabh Luachra region), recorded in concert at Na Piobairi Uilleann, February, 1981 [Moylan]. Moylan (Johnny O'Leary), 1994; No. 60, pgs. 34-35. GN1, Joe Thoma - "Up the Track: Traditional Music from Kenmare."

BILLY BOY [2]. AKA and see "Walk Jaw Bone," "Green Mountain," "Cake's All Dough," "Did You Ever See the Devil, Uncle Joe," "Uncle Joe," "Hop Light/High Ladies," "Miss McLeod's Reel."

BIRDIE [2]. Bluegrass, Breakdown. C Major. Standard. AAB (Phillips): AABB' (Brody). Source for notated version: Kenny Baker [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 44. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 19. County 762, Lyman Enloe - "Fiddle Tunes I Recall." County 714, Kenny Baker and Joe Green - "High Country."

BIRD'S NEST. AKA - "Put Out the Fire." Scottish, Canadian; Reel. Canada; Cape Breton, Prince Edward Island. A Dorian. Standard. AB (Dunlay): AA'B (Perlman). Dunlay and Greenberg (1996) find that the second part of "Ratha Fair" bears some resemblance to the first part of "Birds Nest;" similarly, the first part to "Feargan" (in Kerr's) is also close to the first of "Bird's Nest." Angus Chisholm and Winston Fitzgerald paired the tune with "The Bonnie Lass of Fisherrow" in recordings which have become classic. Gaelic words for the tune were obtained from Lorrie MacKinnon from Archie Neil Chisholm:
**
Tha nead na h-eoin anns a'choille (x3)
Far an d'fhuair an smeorach.
(The bird's nest is in the woods (x3)
Where the thrush is gotten.)
**
Sources for notated versions: fiddler Angus Chisholm, learned this tune from the Gaelic singing of his mother (Cape Breton, Nova Scotia) [Dunlay & Reich]; Peter Chaisson, Sr. (b. 1929, Bear River, North-East King's County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland's), 1995; No. 75, pg. 22. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 66. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; No. 65, pg. 66. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 99. Shears (Gathering of the Clans Collection), 1986. Breton Books and Records BOC 1HO, Winston "Scotty" Fitzgerald - "Classic Cuts" (reissue of Celtic Records CX 40). Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). CX 009, CX 1, SCX 57, and Shanachie 14001, Angus Chisholm - "The Early Recordings of Angus Chisholm." CX 40, Winston Fitzgerald. Decca 14006, The Inverness Serenaders (appears as "Put Out the Fire"). Green Linnet GLCD 1117, Altan - "Harvest Storm" (1992. Learned from accordion player Paddy O'Brian from Co. Offaly, now living in Minneapolis). PKMMCD-17, Peter Chaisson (P.E.I.) - "Road to Rollo Bay." Rounder 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974).

BIT OF GINGER. AKA and see "Joe Derrane's." The tune was obtained from the playing of Paddy Killoran in Jerry O'Brien's Accordion Instructor. The tune is sometimes called "The Lilting Fisherman." O'Brien (Irish Folk Dance Music).

BLESSINGS OF SILVER, THE. Irish, Reel. G Dorian. Standard. AABB'. Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). Ed's son Joe remarks that the tune was written for the 25th wedding anniversary of Lou and Mary Quinn. Reavy (The Collected Compositions of Ed Reavy), No. 10, pg. 10.

BLIND NORA O'NEILL. AKA and see "Blind Norry's," "Lady Louden." Scottish, Reel. C Major. Standard. AABB (Cole): AA'B (Cranford). The melody is also known as "Lady Louden," attributed to William Gow. Cole (1001 Fiddle Tunes), 1940; pg. 11 (appears as "Blind Norry's"). Cranford (Jerry Holland's), 1995; No. 71, pg. 21. Ryan's Mammoth Collecton, 1885 (appears as "Blind Nora"). Rounder 7004, Joe Cormier - "The Dances Down Home" (1977).

BLACK ANNIE. Old-Time, Breakdown and Song Tune. USA; North Carolina, north Georgia. GDGD tuning. Kerry Blech (writing in the Old Time Herald) says the tune is "seldom collected from other black old time musicians (beside Joe and Odel Thompson of the Piedmont region of N.C.), but is found in the repertoires of white musicians." Joe Thompson uses it as one of his tunes of choice for calling in a frolic. Charles Wolfe (1979) suggests that the Georgia Yellow Hammer's piece by this name was probably an old minstrel song. Global Village C217, Joe and Odel Thompson - "Old Time Tunes From the Morth Carolina Piedmont." Folk Legacy Records FSA-17, Hobart Smith - "America's Greatest Folk Instrumentalist" (appears as first tune of "Banjo Group 1"). Rounder 1032, The Georgia Yellow Hammers - "The Moonshine Hollow Band" (1979).

BLACK-EYED DAISY. AKA and see "Oh Where Did You Come From." Old-Time, Breakdown. AEAE tuning. From the repertoire of African-American fiddle/banjo duet Joe and Odell Thompson, although Joe played the tune in GDGD tuning. Similar to "Big Eyed Rabbit."

BLACK JOKE [1]. AKA and see "Black Joker," "Black Jack," "Black Jock," "The Black Joak," "But the House and Ben the House" (Shetland), "Sprig of Shillelah" [1]. English, Scottish, Shetlands; Country Dance, Jig and Morris Dance Tune (6/8 time). England; Northumberland, Yorkshire. G Major (Bacon, Carlin, Cooke, Mallinson, Raven, Vickers): A Major (Bacon, Gow, Merryweather & Seattle). Standard or AEAE (McLean). AB (Bacon {Stanton Harcourt}, Gow): AAB {x6} (Bacon {Ilmington}, Carlin, Cooke (two versions), Mallinson {Adderbury version}): AABB {x4} (Hall & Stafford, Mallinson {Bledington version}, Merryweather & Seattle, Raven, Vickers). "The Black Joke" was a widely popular, vulgar and bawdy street song in England in the early 1700's, though its popularity continued into the 19th century in that country and its colonies (including America). Irregular in form in many versions, its opening phrase has six measures, while the second has ten. It was heard in London as early as 1734 in Henry Carey's burlesque stage piece Chrononhotonthologos where it was called "that lowbrow little tune that has been used as an interval tune for years," referring to the music for dances performed in the entr'acte interval at the playhouses. Early English collections which contain the tune are Johnson's Wrights Collection (London, c. 1742) and Thompson 200 Country Dances Volume II. John Kirkpatrick (1976) dates the tune to 1715 without citing his source.
**
It is played today as the tune for the Lichfield Morris Dance The Barefooted Quaker, and for dances from other morris traditions. Mallinson's morris dance tune versions, for example, are from the Adderbury and Bledington areas of England's Cotswolds, while Bacon's are from the Adderbury, Ascot-under-Wychwood, Bledington, Ilmington, and Stanton Harcourt. A version of the tune from Badby, Northhamptonshire, is known as "Old Black Joe" [1], and lacks the distinctive two measure ending to both parts typical of most "Black Joke" versions. John Kirkpatrick (1976) is of the opinion that the Badby dance "flows more perfectly than any in the Cotswold Morris. No jumps, no jerky backwards movements, no need to fiddle the feet to get them right. An absolute joy." The tune collected with the dance in Bucknell (under the title "Old Black Joe") is perhaps nearest the original.
**
The tune is known as "But the House and Ben the House" in Shetland, and Cooke says some informants gave the first lines as:
But your house and ben your house
This house is like a bridal house.
The tune played by his source from the islands was the one commonly known throughout Britain and Ireland during the 18th century as "The Black Joke" (or Jock). A variety of songs were set to it, all of them bawdy and all concerned with sexual intercourse. "Some of the texts are the creations of music-hall hacks, such as the earliest published verses, entitled 'The Original black Joke, Sent from Dublin', which begin: 'No mortal sure can blame ye man/Who prompted by nature will act as he can'...(song sheet, c. 1720 Mitchell Library, Glasgow). Simple and more direct 'folk' versions were known in Scotland. Burns wrote a parody beginning 'My girl she's airy...'" (Cooke, 1986). The lyrics which appear below are taken from Andrew Crawford's 1826-28 Collection of Ballads and Songs:
**
A wee black thing sat on a cushion
Was hairy without and toothless within
Wi' her black Jock and her belley so white
**
A piper and twa little drummers came there
To play wi the wee thing well covered o'er wi hair
**
The piper went in and he jigged about
The twa little drummers stood ruffling without
**
But when he came out he hang doon his head
He look'd like a snail that was trodden to dead
**
Say's he thay wa'd need to hae something to spare
That meddle wi you or your wee pickle hair. (Cooke)
**
Cooke's informant, John Irvine, played it as a middle tune between two reels for the ceremony of the "bedding of the bride" around the turn of the century. This ceremony, in which the women of the community escorted the bride to her bed, was performed to fiddle music. "The use of the 'Black Joke' in this context is intriguing, Robert Irvine's knowledge of part of the chorus suggests that in earlier days the whole song might have been known and, unless the fiddler was having his own private joke by playing this piece, possibly even sung by the bride's attendants. Genuine bawdry is often found in such situations elsewhere in the world. According to Legman (1964), 'the purpose of such songs...was and is evidently apotropaic, being intended to ward off the evil eye...dangerously present at all moments of happiness, or of success and victory' (The Horn Book, 1964, p. 388). It is likely, too, that such humour served to release anxiety on the part of the young initiate. Finally, if the text were anything like the Crawfurd text, the explicit detail could have served also as a piece of last-minute sex education--an example of how music is sometimes used in a situation that allows one to sing what might be too embarrassing to say" (Cooke, 1986).
**
The Scotch versions are based on an English tune which was known as "Black Jock" in Scotland from about 1735 (Johnson). Johnson thinks the name was changed either on purpose, to 'Scottisize' it (it was known as "Black Jack" in Northumberland), or to distance it from the extremely obscene lyrics. If the latter, the distancing was largely hypocriphal, for the lyrics were well-known throughout the country. The Scots poet Robert Burns (who was no stranger to ribaldry) penned to the melody, in September, 1784, the words "My girl she's airy, she's buxom and gay," one of his earliest bawdy songs:
Her slender neck, her handsome waist,
Her hair well buckl'd, her stays well lad'd,
Her taper white leg with an et, and a, c,
For her a,b,e,d, and her c,u,n,t,
And Oh, for the joys of a long winter night!!!
The tune appears in the McFarlane Manuscript (1740) in a long variation set (18 strains) by Charles McLean, in Bremner's Scots Tunes (1759) in 30 strains, the Gillespie Manuscript (1768), the Sharpe Manuscript (c. 1790) with 18 strains, and a flute MS. of c. 1770; all have basically the same variations, though in different order.
**
In Ireland, Flood (1906) reports that Madame Violante set off a furor in Dublin's Smock-Alley Theatre in December, 1729, when Cummins danced the "White Joke," a set off to the then-popular "Black Joke."
**
American audiences heard the melody as the tune for air 13 in Andrew Barten's ballad opera The Disappointment (New York, 1767).
**
Sources for notated versions: Bremner (Scots Tunes, 1759) [Johnson]; John Mason via Cecil Sharpe (Stow on the Wold, England) [Bacon]; a MS by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Bacon (The Morris Ring), 1974, pgs. 15, 95, 210, 295. Carlin (The Master Collection of Dance Music for Violin), 1984; No. 47, pg. 37. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; pgs. 86-87. Gow (Complete Collection), Part 4, 1817; pg. 10 (appears as "Black Jock"). Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 20 (appears as "Black Jack"). Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 32, pgs. 86-89. Mallinson (Mally's Cotswold Morris Book), 1988; No. 1, pg. 8 and No. 35, pg. 24. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 81, pgs. 48-49 (includes six sets of variations). Offord (John of Greeny Cheshire Way), 1985; pg. 107. Raven (English Country Dance Tunes), 1984; pg. 116 (Black Jack), 81 & 95. Seattle (William Vickers), 1987, Part 2; No. 206. Gourd Music 110, Barry Phillips - "The World Turned Upside Down" (1992). Topic TSCD458, John Kirkpatrick - "Plain Capers" (1976).
T:Black Jock
L:1/8
M:6/8
S:Gow - 4th Repository
K:A
E|E2A AGA|BcB BAB|c>dc cBA|BcB BAF|A3 F2E|EFA A2 E/D/|
(CE)A AGA|(Bd)c BAG|(Ac)e edc|Bdc {c}BAG|~A>Bc ~F>GA|
EFG A2||d|(c2d e2)e|fdf {f}e2d|c2d e>fe|f>ga edc|d2b c2a|BcB {c}BAB|
~c>dc cBA|B>cB BAF|A3 ~F2E|EFA A2d|(cA)c (ec)e|(fd)f e2d|
(cA)c (ec)e|(fd)f {f}e2c|ddd ccc|Bdc B2A|(Ac)e (ed)c|(Bd)c {c}BAG|
~A>Bc ~F>GA|EFG A2||

BLACKBIRD, THE [1] (An Londubh). AKA and see "Once On a Morning of Sweet Recreation," "Bonny Lass of Aberdeen." See "Napoleon Crossing the Rhine" [2] for an American version of the same tune. Irish, English; Slow Air, Set, Long or Country Dance (4/4 time), Reel, Hornpipe. D Major (Allan, O'Neill/1850): D Major/Mixolydian (Cranitch, Moylan, Mulvihill, O'Neill/1001): D Mixolydian (Breathnach, Kennedy, Kerr, O'Neill/1915 & Krassen, Raven, & Roche). Standard. AB (Moylan): AAB (Kennedy, Raven, Roche): AABB (Allan, Breathnach, Cranitch, Mulvihill, O'Neill {4 editions}): AABCBC (Roche). The original song from which the instrumental versions take the title was written c. 1707 in praise of the Old Pretender, according to Flood (1906), who found reference to it as early as 1709 and who noted its printing by Alan Ramsay in 1724 in his Tea Table Miscellany. Other sources date the words from the war of 1688-90. So well understood was the nickname The Blackbird as applied to James I, Flood says, that the Jacobite Earl of Thomond, in 1704, had a horse of that name. Caoimhin Mac Aodha points out that the image of the blackbird, An Lon Dubh, is that of a melodious harbinger of joy in Irish folklore, unlike the raven, crow, rook or jackdaw, which are all associated with death and misfortune. In this spirit of hope the 'Blackbird' name was applied after the Old Pretender to James II and, in the 19th century, to Charles Stewart Parnell.
***
The melody itself became known as a harp air of the latter Jacobite period. Cooke included it in his Selection of Favourite Original Irish Airs arranged for Pianoforte, Violin or Flute (Dublin, 1793). O'Neill (1913) finds a simple setting of the melody in A Pocket Volume of Airs, Songs, Marches, etc., Vol. 1, published by Paul Alday at Dublin about 1800-1803. Breathnach (1963) printed a verse of the song that was in his source's (George Rowley) family:
***
The Maytime is come and the gay flowers are springing,
The wild birds are singing their loving notes o'er;
But all the day long through my lone heart is ringing,
The voice of my blackbird, I'll never so more.
***
Later the melody gained currency as a set-dance tune, and the Scottish editor Kerr noted that the tune was the "Chef D'oeuvre of all the Irish fiddlers" in the latter 1800's, although he never heard any two of them play the tune exactly alike. He claims his version to be a composite of the styles and embellishments he heard. About the year 1930 an itinerant schoolteacher told a young John Kelly: "There are a lot of people playing 'The Blackbird' who can't play it right, but I'm warning you, my boy, never play 'The Blackbird' unless you have all the parts right and the proper tempo. It's the one tune you will always be picked up for if you play it wrong" (quoted in Dal gCais, 1979, pg. 35). James Cowdery (1990) states that it is one of the few tunes found in all parts of Ireland with the same title and the same melodic structure, though variations abound. Donegal fiddler Neillidh Boyle, for example, played an intricate version of "An Londubh" which included a birdsong imitation generated by playing the melody on the bottom strings with the bow and fingering and plucking chords on the top two strings with the left hand at the same time (Mac Aoidh, 1994). An interesting tracing of the aural tradition was outlined by Mac Aoidh who remarks that southwest Donegal fiddler Frank Cassidy learned the tune from the lilting of John Lyons or Teelin. The famous musician and collector Séamus Ennis learned this version, which in turn was passed onto fiddler Tommie Potts, who made a historic recording of the tune. Elsewhere Mac Aoidh states that in south Donegal the air/hornpipe is associated with John and Mickey Doherty and James Byrne as well as Cassidy.
***
In modern titles the song is seldom sung, though the tune is frequently played as a slow air as well as a set-dance and other settings. Breandan Breathnach (1971) states that the original set dance was "said to have been composed by Keily, a Limerick dancing master, over 150 years ago." Cowdry (1990) points out the set-dance's structure--fifteen bars for the 'A' part and thirty for the 'B'--is unique in Irish traditional music. Reel and hornpipe versions are not nearly so widespread in this century, "until some recent recordings (such as "The Bothy Band" in 1977) brought them to more prominence" (Cowdery). Cowdery provides extensive musical analysis of a number of different versions of this tune and tune family in his work The Melodic Tradition of Ireland.
***
Sources for notated versions: Chicago police sergeant and fiddler James O'Neill, Francis O'Neill's collaborator, who learned the tune from his father in County Down [O'Neill]; fiddler George Rowley/Seoirse Ó Roghallaigh (Ireland) [Breathnach]. James Cowdery, in his book The Melodic Tradition of Ireland, has transcribed fifteen versions of the tune from Irish musicians (some contributed more than one version): whistle player Cathal McConnell (a slow-air setting credited to a Fermanagh musician Pat McKenna), fiddler John Kelly (a slow-air setting learned from Donegal fiddler John Doherty), fiddler Denis Murphy, piper Paddy Keenan, piper Seamus Ennis, fiddler Tommy Potts, flutist Peter Broderick, fiddler Michael Coleman, piper R.L. O'Mealy, and piper Johnny Doran. The piece is a popular slow air in County Donegal. Allan's Irish Fiddler, No. 111, pg. 28. Breathnach (CRE I), 1963; No. 207, pg. 84. Cowdery (The Melodic Tradition of Ireland), 1990; pgs. 134-168. Cranitch (Irish Fiddle Book), 1996; No. 95, pg. 164. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 6. Kerr (Merry Melodies), Vol. 1; pg. 41. Mallinson (Enduring), 1995; No. 100, pg. 42. Moylan (Johnny O'Leary), 1994; No. 230, pgs. 132-133. Mulvihill (1st Collection), 1986; No. 2, pg. 109. O'Farrell, 1804-10, Vol. 1, Book 2; pg. or No. 132. O'Neill (1915 ed.), 1987; No. 386, pg. 184. O'Neill (Krassen), 1976; pg. 222. O'Neill, 1910; No. or pg. 343. O'Neill (1850), 1903/1979; No. 1793, pg. 336. O'Neill (1001 Gems), 1907/1986; No. 985, pg. 169 (set dance). O'Neill (1913), pg. 131. Raven (English Country Dance Tunes), 1984; pg. 172. Roche Collection, 1982; Vol. 1, No. 56, pg. 28. Roche Collection, 1982; Vol. 2, No. 270, pg. 29. Gael-Linn CEF 045, "Paddy Keenan" (1975). Intrepid Records, Michael Coleman - "The Heyday of Michael Coleman" (1973). Leader LEA 2004, Martin Byrnes. North Star NS0031, "Dance Across the Sea: Dances and Airs from the Celtic Highlands" (1990). RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993). Shanachie 97011, Duck Baker - "Irish Reels, Jigs, Airs and Hornpipes" (1990). Shanachie 79093, Paddy Glackin & Robbie Hannan - "The Whirlwind" (1995. Slow air and set dance/hornpipe). Shaskeen Records OS-360, Andy McGann, Joe Burke & Felix Dolan - "A Tribute to Michael Coleman" (c. 1965).
X:1
T:Blackbird, The
L:1/8
Q:1/4=160
K:Dmix
d2{ed}c2|:B6{cB}AB c6{dc}BG A8{B}A/G/A/B/c/A/
d4e>dc A4{BA}F2 G6AB A4{BA}F2 D8E2
F6GA f6{gf}e2 d4e2fd A6{BA}F2 G6AB A4{BA}F2 |1 D12 GA :|2 D12||
|:de f6{gf}e d2ef4g a6{ba}g f/g/a/f/ g3ab2 a6{ba}f2 d8eg|
f6{gf}ede f2g a6{ba}g fgaf g4f2 d8efg|
a6{ba}g fgaf g6{ag}e2 f6e{a} dcAB c4B/A/B/c/d/e/f/g/b/ a8|
A6{BA}GE F6{A}GE c4{d}cBc dcA6{BA}F2 G6AB A4{BA}F2 D12:|
X:2
T:Blackbird, The
L:1/8
M:2/4
R:Set Dance
S:O'Neill - 1001 Gems (985)
K:D
d=c|B2d2|=c2B2|ABAG|AB=cA|dcde|dcAF|GAGF|
D2 DE|F2FG|A2 fe|dcde|dcAF|GAGF|D2D2|D2:|
|:de|f2d2|f2g2|abag fgaf|g2 gf|gbaf|gagf|d2 de|fede|f2g2|
abag|fgaf|gagf|d2d2|defg|abag|fgaf|gage|f2 ed|c2AB|
c2 de|defg|a2 z2|A3G|FGAB|=c3e|d^cAF|GAGF|D2D2|D2:|

BLACKTHORN STICK, THE [4]. AKA and see "The Blackthorn," "The Irishman's Blackthorn Stick," "Clear the Road," "Inch of Garth" "Jack McGuire," "The Jolly Clamdiggers," "The Old Blackthorn," "The Rising (of the) Sun" (Eiri na Greine). Irish, Reel. D Major. Standard. AA'B. Source for notated version: Gus Collins (Bronx, NY) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 210, pg. 57. Gael-Linn CEF 044, Joe Cooley - "Cooley." Gael-Linn CEF 161, "Michael Coleman 1891-1945." Green Linnet SIF 1010, "Mick Moloney & Eugene O'Donnell." Intrepid Records, Michael Coleman - "The Heyday of Michael Coleman" (1973). Shanachie 79083, Paddy Glackin and Robbie Hannan - "Whirlwind" (1995. A version handed down from the piping of Wexford/Liberties piper John Potts {1871-1956} through piper Tommy Reck).

BONNIE DUNDEE [2]. Scottish, Jig. G Major (Jarman, Kerr, Miller & Perron, Sweet): A Major (Perlman). Standard. AABB (most versions): AABB' (Perlman). Cited as having been commonly played at country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly). Source for notated version: Johnny Joe and Foncey Chaisson (b. 1918 & 1929, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Jarman (Old Time Fiddlin' Tunes); No. or pg. 17. Kerr (Merry Melodies), Vol. 2; No. 307, pg. 34. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 37. Perlman (The Fiddle Music of Prince Edward Island), 1996. Sweet (Fifer's Delight), 1964; pg. 40.
T:Bonnie Dundee
L:1/8
M:6/8
K:G
ded dBd|gfe d2c|BdD BdB|ABA ABc|ded dBd|gfe d2c|BdG AdF|GAG G3:|
|:GGG GcB|ADD D3|AAA ABc|cBA B2G|BAB cBc|dcd edc|BdG AdF|GAG G3:|

BOYNE HUNT (Seilg na Boinne). AKA and see "Highland Skip," "Molly Maguire" [2], "Molly McGuire's Reel," "The Perth Hunt," "The Perthshire Hunt," "The Sailor's Trip to Liverpool," "Thomas a cartha," "Tom the Blacksmith." Irish, Reel. Ireland, County Donegal. D Major (Cole, Mallinson, O'Neill): D Mixolydian/Major (Mitchell). Standard. AB (Mallinson, Taylor): ABB' (O'Neill/Krassen): AABB (Cole): ABC (O'Neill/1850 & 1001): ABCDEF (Mitchell). The tune was originally a Scottish composition called "The Perthshire Hunt," commissioned for the Perthshire Hunt Ball. An early recording was made by the famous piper Patsy Tuohey on cylinder around 1910. See note also for "Twisting of the Rope" which mentions this tune. See also the related "The Tea Reel." Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann, mid-1980's [Taylor]; Joyce remembered the tune from his childhood in Limerick, c. 1840's. Cole (1001 Fiddle Tunes), 1940; pg. 6. Joyce (Old Irish Folk Music and Songs), 1909; No. 85, pg. 45 (appears as untitled reel). Mallinson (Essential), 1995; No. 4, pg. 2. Mitchell (Dance Music of Willie Clancy), 1993; No. 142, pgs. 112-113. O'Neill (Krassen), 1976; pg. 103. O'Neill (1850), 1903/1979; No. 1241, pg. 233. O'Neill (1001 Gems), 1907/1986; No. 514, pg. 97. Taylor (Music for the Sets: Yellow Book), 1995; pg. 30. Comhaltas Ceoltoiri Éireann CL 13, "Tommy Peoples" (1976). Gael-Linn CEF060, "Paddy Glackin." Paddy Keenan & Paddy Glackin - "Doublin'". Michael Cooney & Joe Burke - "Happy to Meet, Sorry to Part."
T:Boyne Hunt
R:Reel
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:D
BAFA D2 FA|D2 FA BE E2|BAFA D3F|ABde fedB|BAFA D2FA|
D2FA BE E2|BAFA DEFG|ABde fdd||{f}a3f a2 af|gfga be e2|
{f}a3f gedB|ABde fd d2|faaf a2 af|gfga beeg|fgfe dedB|ABde fedB|

BOYS OF TANDRAGEE, THE. Irish, Jig. E Minor. Standard. AB (Moylan): AA'BB (Songer). Sources for notated versions: Joe Burke via accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; Dan Compton (Portland, Oregon) who learned it from the Harrington/O'Sullivan recording [Songer]. Songer (Portland), 1997; pg. 39. Moylan (Johnny O'Leary), 1994; No. 235, pgs. 136-137. Gerry Harrington & Eoghan O'Sullivan - "Sceal Eile."

BOB AND JOAN. See "Boban John," "Bobbing Joan," "Bobbing Joe," "Hey for Stoney Batter," "Fill the Bumper Fair," "Love and Whiskey," "Stoneybatter" [1]. Irish, Air or March (9/8). G Major (E Minor, 'A' part?). Standard. AB (Roche): AABB (Breathnach). A variant of the Scottish tune "Boban John" in a different time. The air was used in the opera The Wife of Two Husbands for the song "Love and Whiskey," to which Thomas Moore later wrote "Fill the Bumper Fair." Breathnach (1963) gives these words:
***
Hi for Bob and Joan,
Hi for Stoneybatter;
Leave your wife at home
Or surely I'll be at her.
***
Crofton Croker mentions "Bob and Joan" in conjunction with James Gandsey (1769-1857), the famous Kerry piper (as reported by Brendan Breathnach in The Man and His Music {1997}). Gandsey, who was nearly blind from smallpox contracted as an infant, nevertheless was an incomparable talent of his time on his instrument, whose talents also included telling a good story, singing a good song and holding his own at capping Latin verses (a skill learned as a youth in a hedge school) with any educated person in the county. Croker describes several musical encounters with Gandsey at Gorham's Hibernian Hotel, at one of which a request was made of the piper for a lively song. "Come boy, scrape away," said Gandsey to his son, a fiddler, and responded by singing "Bob and Joan," to which he had set his own words:
***
To Killarney we will go,
And see fair nature's beauties,
The mountain topped with snow,
And covered with arbutus.
Oh! Then, to hear at night,
At Gorham's, how entrancing,
Old Gandsey play his pipes,
Which steps the maids a dancing!
Tow, row, row, row, row etc.
***
Source for notated version: piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 63, pg. 27. Roche Collection, Vol. II, 1982; No. 343, pg. 61.

BOBBING-A-JOE. See "Bobbing Joe". English, Morris Dance Tune (6/8 time). G Major (Mallinson): A Major (Bacon). Standard. AABB, etc., AA. From the village of Wheatley, Oxfordshsire, in England's Cotswolds. See note for "Bobby and Joan." Bacon (The Morris Ring), 1974; pg. 307. Mallinson (Mally's Cotswold Morris Book), 1988, Vol. 2; No. 32, pg. 16. Topic TSCD458, John Kirkpatrick - "Plain Capers" (1976).

BOBBING JOAN. AKA and see "Bob and Joan," "Bobbing Joe," "Bobbing John," etc.

BOBBING JOE. AKA and see "Bobbing Joan(e)," "Bob(by) and Joan/John," "Bobbin-a-Jo." English, Country Dance Tune (6/4 time). A Minor. Standard. AB (Sharp): AAB (Chappell, Raven). This air appears in Playford's The English Dancing Master (1651) and Musick's Delight on the Cithren (1666). Quite old, it was considered part of the traditional repertoire in John Playford's day (Pulver, 1923), and may be related to the morris tune "Bobbin-a-Joe." As "Bobbing Joane" it appears in several ballad operas, including Gay's Polly (1729), The Bay's Opera (1730), The Mad House (1737), and A Cure for a Scold (1738). Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 312. Raven (English Country Dance Tunes), 1984; pg. 37 (a facsimile copy of Playford's Dancing Master version). Sharp (Country Dance Tunes), 1909/1994; pg. 36. Maggie's Music MMCD216, Hesperus - "Early American Roots" (1997).

BOBBY AND JOAN. AKA and see "Bobbing Joe." English, Morris Dance Tune (6/8 time). G Major (Mallinson): A Major (Bacon). Standard. AABBBB, x4. From the Fieldtown (the village of Leafield, Oxfordshire) area of England's Cotswolds. Related to "Bobbin-a-Joe." The dance from Wheatley is identical to that from Fieldtown, leading John Kirkpatrick (1976) to speculate that there must have been considerable "poaching" of repertoires during the hey-day of morris dancing. The tune is not related to "Bob and Joan"/"Stoneybatter" [1]. Bacon (The Morris Ring), 1974; pg. 150. Mallinson (Mally's Cotswold Morris Book), 1988, Vol. 2; No. 41, pg. 20. Topic TSCD458, John Kirkpatrick - "Plain Capers" (1976).

BRAES O'/OF ELACHIE/ELCHIES. Scottish (originally), Canadian, Jig. Canada, Cape Breton. C Major. Standard. AABB'. The tune was recorded in the 1950's in a medley with "Miss Anderson's" by Joe MacLean (Cape Breton). Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert's), 1994; No. 98, pg. 35. Rounder 7004, Joe Cormier - "The Dances Down Home" (1977).

BRAES OF GLENDOCHART/GLENDOCHERT. AKA and see "Joe Tanzy's," "Mr./Miss/Mrs. Minzies/Menzies of Culdare('s Reel)," "Paddy Murphy's Wife," "Pat Carney's." Scottish, Reel. D Major. Standard. AAB. The tune was likely composed by Alexander McGlashan, in whose publication it first appears (Third Collection, 1786), however, it was retitled "Mr. Menzies of Culdare's Reel" and attributed to Niel Gow in that composer's First Collection (2nd ed.), 1801, some years after McGlashan died. "The Dochart, a river and glen, is in Perthshire near Crianlarich. It is the burying ground for the Macnabs, and has been called "the Macnab country"... "It now is included in the Breadalbane territory, the clan having emigrated to Canada in the first two decades of the present century" (Ordnance Gazetteer of Scotland,1883). Glen (The Glen Collection of Scottish Music), Vol. 1, 1891; pg. 6. McGlashan (Collection of Strathspey Reels), Vol. 3, 1786; pg. 5.
T:Braes of Glendochert, The
L:1/8
M:C
S:McGlashan - Strathspey Reels
K:D Mixolydian
A|FDAF BGAF|EcGc ECCA|DFAF BGAG|FdAd FDD:|
||g|f/g/a da fdad|e/f/g c>g ecgc|f/g/a da fdad|B/^c/d A>d Fddg|
f/g/a da/ fdad|e/f/g cg ecge|afge fde^c|d/^/c/B/c/ dA FD D||

BRAES OF/O' MAR/MARR/MOR, THE [1]. AKA and see "Johnny Will You Marry Me," "Lord McDonald's Strathspey," "Love Won't You Marry Me," "Reel des Noces," "Sir Alexander McDonald," "Sir Alexander McDonald's Reel," "Some Say the Devil's Dead." Scottish, Canadian; Strathspey. Canada; Prince Edward Island, Cape Breton. D Major. Standard. AAB (Gow): AABB (Athole, Kennedy, Kerr, Skye [Old Set version]): AABB' (Perlman, Skye): AABCD (Dunlay & Greenberg/Campbell): AABBCDD (Dunlay and Reich). Attributed to John Coutts of Deeside, and used for the dance the Highland Fling or Highland Schottische. Skinner, in Harp and Claymore, thinks the tune "is almost a parody of "Lord MacDonald's Strathspey." The melody appears in the Drummond Castle Manuscript (also called the Duke of Perth MS), in the possession of the Earl of Ancaster (at Drummond Castle) as a country dance; it is inscribed 'A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734.' In that MS the title is "Sir Alexander McDonald's Reel." Glen (1891) finds the tune earliest in print in Robert Bremner's 1757 collection, Part 3 (pg. 34), where it appears as "Sir Alexander McDonald."
***
Imported by Scottish emigrants to the new world, "Braes of Marr" is considered an old tune in the Cape Breton, Nova Scotia, fiddling repertoire. Dunlay & Greenberg mention that one of Buddy MacMaster's aunts recalled that the strathspey was often played by Domhnull Iain an Taillear (Donald John the Tailor) Beaton (1856-1919). The third turn may be of Cape Breton origins. From there it perhaps entered into French-Canadian fiddling repertoire, for Willie Ringuette recorded the melody as a reel in 1927 under the title "Reel des Noces." Interestingly, Dunaly & Greenberg report that Cape Breton fiddler Jackie Dunn (in her 1991 Master's thesis "The Sound of Gaelic is in the Fiddler's Music") states the strathspey is known to have Gaelic words and is called "'S Math a Dhannsadh" (It is good to dance).
***
In western Ireland the tune is known as "Johnny, Will You Marry Me," and is used for the dance "the Fling;" Irish versions of strathspeys usually are played as reels, without the distinctive dotted rhythm. Set in jig time, an Irish variant is "Kate/Katy Carnery." Sources for notated versions: Dan J. Campbell and Angus Allan Gillis (Cape Breton) [Dunlay & Greenberg, Dunlay and Reich]; Hector MacKenzie (Cape Breton) [Dunlay & Greenberg]; Mary MacDonald (Cape Breton) [Dunlay & Greenberg]; Angus McPhee (b. c. 1929, Mt. Stewart, Queens County, Prince Edward Island) [Perlman]. Carlin (The Gow Collection), 1986; No. 519. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pgs. 68-69 (three versions). Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 50. Gow (Complete Repository), Part 2, 1802; pg. 35. Gow (Complete Repository), Part 3, 1806; pg. 10 ("Original Sett"). Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 12. Hunter (Fiddle Music of Scotland), 1988; No. 90. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 18 (appears as "Some Say the Devil's Dead"). Kerr (Merry Melodies), Vol. 1; No. 4, pg. 19. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 63 & 64 {Old Set}. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 191. Skinner, Harp and Claymore, 1984; pg. 86. Stewart-Robertson (The Athole Collection), 1884; pg. 89 {Old Set}. ACC-49393, Hector MacKenzie- "MacNeil's Highland Ceilidh" (1992). Beltona BL2135 (78 RPM), Edinburgh Highland Strathspey and Reel Society (1936). Celtic 011 (78 RPM), "Dan J. Campbell and Angus Allan Gillis." Culburnie Records CUL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988. A 4-part setting based on Cape Breton fiddlers). Decca 14026 (78 RPM), "Colin Boyd." Rounder 7009, Doug MacPhee- "Cape Breton Piano" (1977). Rounder 7012, Winnie Chafe - "Highland Melodies of Cape Breton" (1979). SA 93130, Donny LeBlanc - "Roisining Up the Bow" (1993). Silver Apple 7588-90193-4, Tommy Basker - "The Tin Sandwich" (1994). Univ. College of Cape Breton 1007, Dan Joe MacInnis- "Celtic Music of Cape Breton, Vol. I."
X:1
T:Braes of Mar
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:D
A/G/|F<A A>B d>ef>e|dA B>d BA/G/|F<A A>B d>ef>d|e>dg>f e2d:|
|:A/G/|F<A A>D FD AG/F/|GE G<E BA/G/|1 F<A A>D FD AG/F/|
(3GBG (3FAF E2D:|2 F<A A>G F>A d>e/f/g|f>dg>f e2d||
X:2
T:Braes of Mar (Old Set)
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:D
A|F<A AB/c/ d>ef>e|dA dB d>ef>d|e<gf<a e2d:|
|:g|f<a a2 f<d a>f|gg|f<a a2 f<d a>f|g<bf<a e2d:|

BRIAN BORU'S MARCH. AKA and see "Brian Borouhme." Irish, March (6/8 time). B Aeolian (Roche): A Minor (Mallinson, O'Neill, Sullivan): A Dorian (Tubridy). Standard. AA'B (Feldman & O'Doherty): AABB (Roche): AABBCC (Mallinson, Sullivan, Tubridy): ABCD (O'Neill). This piece was thought by Dr. Sigerson (writing in The Bards of the Gael and Gall) to evidence Scandinavian musical influence stemming from the Norse invasions of Ireland c. 800-1050, though Grattan Flood (1905) believes him erroneous and asserts the tune hardly dates from the Norse period or even, for that matter, from mediaeval days. It was in the repertoire of the man whom O'Neill calls the "last of the great Irish harpers," Patrick Byrne (c. 1784-1863). O'Neill never heard Byrne play, but an account of a Byrne concert which appeared in The Emerald of New York in 1870 caught his eye. Byrne played for an assemblage in the household of a Dublin gentleman in 1860, and O'Neill quotes from the article:
***
Byrne's command of the harp was complete, the writer tells us. His
touch was singularly delicate yet equally firm. He could make the
strings whisper like the sigh of the rising wind on a summer eve,
or clang with a martial fierceness that made your pulses beat quicker.
After quaffing a generous tumbler of punch, he would say, "Now,
ladies and gentlemen, I am going to play you the celebrated march
of the great King Brian to the field of Clontarf, when he gave the
Danes such a drubbing. The Irish army is far off, but if you listen
Attentively you will hear the faint sound of their music." Then his
fingers would wander over the upper range of strings with so delicate
a touch that you might fancy it was fairy music heard from a distance.
Anything more fine, more soft and delicate than this performance, it is
impossible to conceive. "They are coming nearer!" And the sound
increased in volume. "Now here they are!" And the music rolled
loud and full. Thus the march went on; the fingers of the minstrel's
right hand wandering farther down the bass range. You find it hard
to keep your feet quiet, and feel inclined to take part in the march
music assumes a merry, lightsome character, as if it were played for
dancers. "Rejoicing for the victory!" But this abruptly ceases; there
is another shriek and dischord, jangling and confusion in the upper
bass stings. The harper explains as usual, "They have found the old
King murdered in his tent." Then the air becomes much slower and
singularly plaintive. "Mourning for Brian's death." There is a firmer
and louder touch now, with occasional plaintive effects with the left
hand. "They are marching now with the brave old King's body to
Drogheda." The music now assumes a slow and steady tone, the tone
is lowered, and grows momentarily louder and louder, till finally it
dies away...And all these marvellous effects are produced upon what
is used as a simple dance tune in the south of Ireland (pgs. 81-82).
***
O'Neill (1913) also prints an appreciation of the tune from a German gentleman named Kohl, who heard it played on harp at Drogheda in 1843:
***
The music of this march is wildly powerful and at the same time
melancholy. It is at one the music of victory and of mourning.
The rapid modulations and wild beauty of the air was such that
I think this march deserves full to obtain a celebrity equal to that
of the 'Marseillaise' and the 'Ragotsky.'
***
In Drogheda there at one time was performed a dance to this and similar stately music, called the "Droghedy March" or "Dancing Drogheda," reports O'Neill, though the practice had died out by the time of his writing. It was danced by six men or boys, each wielding a stick or shillelagh. They kept time to the music, he states, "with feet, arms and weapons with their bodies swaying right and left." As the dance progressed the movements became more complicated, mimicking the appearance of a rhythmic fencing or battle. "Brian Boru's March" was identified as a pipe tune in the repertoire of Teelin, Donegal, fiddlers Francie and Mickey Byrne, who, according to Feldman & O'Doherty (1979), probably had the tune from travelling piper Mickey Gallagher (a cousin of Donegal fiddler John Doherty's). See also "Dan Sullivan's Reel," "General McBean," "Colonel McBain," "Sean Frank," "The Devonshire Reel," "The Duke of Clarence Reel," "Sporting Molly." Source for notated version: Francie and Mickey Byrne (County Donegal) [Feldman & O'Doherty]. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 175. Mallinson (Enduring), 1995; No. 96, pg. 40. O'Neill (1850), 1979; No. 1801, pg. 338. Roche Collection, 1982; Vol. II, pg. 58, No. 334. Sullivan (Session Tunes), Vol. 2; No. 50, pg. 21. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 5. Flying Fish FF 355, Critton Hollow Stringband - "By and By" (1985). Front Hall FHR-024, Fennig's All-Star String Band - "Fennigmania" (1981. Learned from the Gallowglass Ceili Band). Green Linnet SIF-104, Joe Burke, Michael Cooney & Terry Corcoran - "The Celts Rise Again" (1990). Green Linnet SIF-1069, Joe Burke , Michael Cooney & Terry Corcoran - "Happy to Meet & Sorry to Part" (1986).
T:Brian Boru's March
L:1/8
M:6/8
K:A Dorian
ed||:cAA Aed|cAA Adc|BGG Gdc|BGG Ged|cAA Aed|cAA A3E|Acd e2d|cAA A:|
|:Acd e2d|e2d edB|GBc d2B|d2B dBG|Acd e2d|e2d e2d|cBA e2d|cAA A3:|
|:cBA a2A|cBA a2A|BAG g2G|BAG g2G|cBA a2A|cBA a2a|efe e2d|cAA A3:|

BRIAN QUINN'S. Irish, Reel. G Major. Standard. AA'BB'. Composed by County Cavan/Philadelphia fiddler Ed Reavy (1898-1988). Joe Reavy's notes give that piano accordion player Brian Quinn is also a successfully established physician in Flemington, New Jersey. Reavy, No. 16, pg. 17.

BRICKYARD JOE [1]. Old-Time, Breakdown. USA; Kentucky, Missouri. G Major. Standard. AABB (Christeson, Brody): AABBA'A'BB (Phillips). The tune is closely related in one part to "Martha Campbell." Sources for notated versions: Tony Gilmore (Missouri) [Christeson]; Doc Roberts (Ky. Learned from Owen Walker, an older black fiddler from Madison County, Ky. Gus Meade thinks 70% of Roberts' repertoire was derived from Walker) [Brody & Phillips]. R.P. Christeson (Old-Time Fiddler's Repertory) 1984; pg. 89. Brody (Fiddler's Fakebook), 1983; pg. 56. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 36. County 762, Lyman Enloe- "Fiddle Tunes I Recall." Davis Unlimited 33015, Doc Roberts- "Classic Fiddle Tunes." Gennett 6535 (78 RPM), Doc Roberts (1928). Missouri State Old Time Fiddlers' Association, Tony Gilmore - "Old Time Fiddler's Repertory" (1976). Morning Star 45004, Doc Roberts - "Wish I Had My Time Again." Vetco 502, "Fiddlin' Van Kidwell."

BRICKYARD JOE [2]. AKA - "Morris Allen's Brickyard Joe." Old-Time, Breakdown. USA, Kentucky. C Major. Standard. One part. In the repertoire of Kelly Gilbert. Source for notated version: Buddy Thomas (Ky.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 36. Rounder CD 0380, Roger Cooper (Lewis County, KY.)- "Going Back to Old Kentucky" (1996. Appears as "Morris Allen's Brickyard Joe").

BRIG O' FEUGH, THE. Scottish (originally), Cape Breton. Composed by J. Scott Skinner for a place in Scotland he visited. Rounder 7004, Joe Cormier - "The Dances Down Home" (1977).

BRIGHTON CAMP. AKA and see "Girl I Left Behind Me," "Blyth Camps," "Bride in Camp," "Spalpeen/Spailpin Fanac/Fanach." English; Air, Morris Dance (Polka Step), March, or Country Dance Tune (2/2 time). England; North-West, Sussex. G Major (most versions): E Flat Major (Chappell, Scott). Standard. One part (Chappell, Scott): ABB' (Sharp): AABB (most versions). The name Brighton is derived from a compound Saxon name (Beorhthelm's tun, or 'Beorhthelm's farm or village') in which the first part is reduced to one syllable. The town of Brighton is in east Sussex and was originally a fishing village that became very popular in the 1760's with the growing fashion for bathing. While still a prince, George IV visited the spa starting in 1783 and purchased an estate nearby, engaging architect John Nash to transform it into the elegant oriental Pavilion which is today a tourist attraction. William IV also stayed there but Queen Victoria found it vulgar and sold it to the Brighton Corporation in 1850 for £50,000.
***
The English musicologist William Chappell (1859) dates the song to 1758, deducing its year from the fact that there were encampments on the coast of England in 1758 and 1759 to watch for the French fleet which had been threatening invasion of the island. When the English navy defeated the French later in 1759, the fears which established the watch camps dissipated and then were ridiculed in pantomime and farce in London. The air was printed in a MS. of c. 1770 once in the possession of a Dr. Rimbault, but also appears in march form in MS. collections of military music of that time. Kidson (Groves) says he can only reliably date it to 1797, from a manuscript collection then in his possession. The English novelist Thomas Hardy, himself an accordionist and fiddler, mentions the tune in scene notes to The Dynasts:
***
A June sunrise; the beams struggling through the window curtains.
A canopied bed in a recess on the left. The quick notes of 'Brighton
Camp' or 'The Girl I Left Behind Me,' strike sharply into the room
from fifes and drums without.
***
Perhaps because the tune was so commonly found throughout English musical tradition it was collected from morris dance musicians from many Cotswold villages, including Adderbury, Bampton, Bidford, Eynsham, and Headington. The Eynsham tune is a bit different than the usual (in the very early 20th century collector Cecil Sharp thought the Eynsham team was the most vigorous morris team he witnessed, and was impressed by their speed and high kicks). It should be noted that Irish claims for provenance of the tune are quite robust (see note for "Girl I Left Behind Me").
***
I'm lonesome since I crossed the hill,
And o'er the moor and valley,
Such heavy thought my heart do fill
Since parting with my Sally.
I seek no more the fine and gay,
For each does but remind me
How swift the hours did pass away
With the girl I left behind me,
With the girl I left behind me.
***
Source for notated version: Joe Trafford (Headington) [Bacon & the Carey MSS]. Bacon (The Morris Ring), 1974; pgs. 34, 62, 143, 197a. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 187-188. Scott (English Song Book), 1926; pg. 8. Sharp (Country Dance Tunes), 1994; pg. 1. Trim (Thomas Hardy), 1990; No. 42. Wade (Mally's North West Morris Book), 1988; pg. 4. Topic TSCD458, John Kirkpatrick - "Plain Capers" (1976).

BRITCHES FULL OF STICHES. AKA and see "O the Breeches Full of Stitches," "The Breeches On," "The Britches," "The Irish Lad's a jolly boy." Irish, Polka. A Major. Standard. AABB. A variant of "Leather Breeches." The tune is in the repertoire of County Clare fiddler Martin Hayes. Peter Wood (in his 1996 book The Living Note: the Heartbeat of Irish Music), remarks on Hayes version:
***
That's an old tune, played in different settings all over the country.
It's a simple tune and his version of it follows Joe Bane, the whistle
player from Feakle. When Bane played it in a session it was like a
lull in the converstation, a breathing space. He learned it from Paddy
Canny's father, Martin's uncle. Listening to Martin play it, it's like
music from a séance--it goes way back, that tune.
***
Mallinson (100 Polkas), 1997; No. 38, pg. 15. Roche Collection, Vol. 2; No. 240, pg. 20. Tayor (Crossroads Dance), 1992; No. 62, pg. 47. Taylor (Music for the Sets: Blue Book), 1995; pg. 7. CCF2, Cape Cod Fiddlers - "Concert Collection II" (1999). Columbia Legacy CK 48693, "The Best of the Cheiftains" (1992). Kicking Mule KM-327, "Scartaglen" (1984. Learned from the playing of Planxty). Shaskeen - "My Love is in America."
T:O, the Britches Full of Stitches
L:1/8
M:2/4
K:A
A>B cA|BA ce|A>B cA|BA FE|A>B cA|BA (3cde|A>B AF|FE E2:|
|:e>f ec|BA (3Bcd|e>f ec|BA FE|e>f ec|BA (3cde|A>B AF|FE E2:|

BROKEN PLEDGE, THE (An Geall Briste). Irish, Reel. Ireland, County Sligo. D Dorian (Flaherty): D Mixolydian (O'Neill/Krassen, Willaimson): D Mixolydian/Dorian (Cranitch): D Major (O'Neill/1850 & 1001). Standard. AABB. There are several thoughts as to the origin of the title. One is that the pledge refers to a love pledge, in which a young couple, soon to be parted due to sea or military service, pledge their affection for one another and promise to remain faithful during the interim. It is also said the title refers to a failed temperance pledge, from the days of the temperance movement. A related Irish tradition says that at the Church asks children at the age of 11 or 12 to promise not to drink before they reach the age of twenty. Needless to say, few achieved the age not having broken the pledge. Occasionally the tune is played in the key of E Minor. Source for notated version: fiddler Philip Duffy (b. 1966, London, now residing in Dublin, Ireland) [Flaherty]. Cranitch (Irish Fiddle Book), 1996; No. 70, pg. 152. Flaherty (Trip to Sligo), 1990; pg. 30. O'Neill (Krassen), 1976; pg. 91. O'Neill (1850), 1903/1979; No. 1178, pg. 222. O'Neill (1001 Gems), 1907/1986; No. 458, pg. 89. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 88. Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - "The Lonesome Touch" (1997). Piping Pig Records PPPCD 001, Jimmy O'Brien- Moran - "Seán Reid's Favourite" (1996. Learned from Séamus Ennis). Shaskeen Records OS-360, Andy McGann, Joe Burke, Felix Dolan - "A Tribute to Michael Coleman."
T:Broken Pledge, The
M:C
L:1/8
Q:250
K:D
dc AG A2 dB | cA GF ED C2 | DE FG Ad ~d2 | Ac Gc Ad fe |
dc AG A2 dB | cA GF ED C2 | DE FG Ad ~d2 | Ac Gc AD D2 :|
|: dc AG A2 de | fe df ed AB | cA GE GA cd | ec ~c2 ea ge |
dc AG A2 de | fe df ed cA | F3 E FG AB | cA GE {F}ED D2 :|

BROWN BUTTON SHOES. Old-Time, Breakdown. USA, northeastern Ky. G Major ('A' part) & C Major ('B' part). Standard. AABB (Phillips): AA'BB' (Reiner & Anick). Source for notated version: Joe Stamper & Morris Allen via Buddy Thomas (Ky.) [Reiner & Anick, Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 38. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 102. Rounder 0032, Buddy Thomas (northeast Ky.) - "Kitty Puss: Old Time Fiddle Music From Kentucky" (1974).

BUFFALO GALS [1]. See "Alabama Gals (Won't You Come Out Tonight)," "Bowery Girls," "Brown Town Gals," "Cincinnati Girls," "Hagtown Girls," "Hagantown Gals" (Pa), "I Danced with the Girl with the Hole in Her Stocking," "Jackto(w)n" {or "Jackstown"} (Pa.), "Jimtown (Gals)," "Johnstown" (Pa.), "Louisiana Gals," "Lubly Fan," "Lushbaugh Girls," "Midnight Serenade," "Old Johnnie Walker" (English Country Dance), "Round Town Gals," "Yellow Gals." Old-Time, American, English; Breakdown, Reel or Polka. USA; Oklahoma, Arkansas, Texas, Mississippi, New York, Pa., Arizona. F Major (Shaw): G Major (most versions). Standard. AB (Shaw, Sweet): AAB: AABB (Phillips). The name Buffalo for the New York town derives from the name of a Native American and was first called Buffalo Creek, becoming simply Buffalo as the town grew. The tune is widespread in American tradition, though as Samuel Bayard (1944) points out, the song is widely disseminated and is now an 'international melody'. Curiously, he thinks the air itself probably originated in Germany, but came to America and was assimilated in 'British style'. Intrumental versions, not surprisingly, are more ornate than vocal settings and display much wider variation, as a comparison of the sources listed below will attest. "Version B ('Johnstown Gals') affords a good example of how the influence of common melodic formulae, combined with tendencies toward attaining easy bowing and fingering will modify the outlines of a tune in instrumental tradition. Version A ('Hagantown Gals') is much like some recorded further south; B is in some ways distinctive...Sets from American tradition are Lomax, American Ballads and Folk Songs, pp. 288-289; Ford, p. 53; Adam, No. 12; and three playparty versions from Texas in Owens, Swing and Turn, pp. 45, 54, 103. (Bayard, 1944). See also "O Dear Mother My Toes Are Sore " [3] for a 6/8 version ('A' part only).
***
In America it is one of the most frequently mentioned fiddle tunes of the entire repertory. It appears listed in the early 20th century repertories of such geographically disparate Arizona fiddler Kenner C. Kartchner and Union County, Pa., fiddler Harry Daddario. Musicologist/Folklorist Vance Randolph recorded the tune from Ozark Mountain fiddler for the Library of Congress in the early 1940's. Cauthen (1990) says the tune had folk origins but was published in 1848 as a minstrel tune. "It was already well known in the gulf town of Mobile, Alabama, in 1846, where a woman who had once been "a flower, innocent and beautiful but long since turned from its stem, trampled, soiled and desecrated" was arrested for drunkenly singing 'Mobile gals, won't you come out tonight' on the streets" (pgs. 13-14). Bronner (1987) says that although the tune had a long traditional history its popularity in America stems from its use in the 19th century popular theater. In the 1840's one Cool White (real name: John Hodges), a blackface performer, sang a tune called "Lubly Fan, Won't You Come Out Tonight" with the popular minstrel troupe the Virginia Serenaders. He claimed to have composed it, and credit is often given to him, but it was first printed on sheet music in New York in 1848 with "author unknown." Alan Jabbour found a tune called "Midnight Serenade" in George P. Knauff's Virginia Reels, volume IV, printed in Baltimore in 1839, that is a set of "Buffalo Gals," and since it preceeds the minstrel era or at least publication of "Lubly Fan," he suggests the tune was at the time in oral tradition at least in the Upland South.
***
Overseas the song can be found in English songsters of the 19th and early 20th centuries; in Scott (1926) it appears as sung by the Ethiopian Serenaders. The tune briefly entered the British top 20 (rising as high as #9) at the end of 1982 when Malcom McLaren, promoter of the punk bands Sex Pistols and Bow Wow Wow, recorded a version consisting of himself vocalizing dance calls to a music track by East Tennessee's Roan Mountain Hilltollers (led by septugenarian fiddler Joe Birchfield) and assorted synthsized sounds, scratching and other arranged noise. Bayard (1944) reports that a German version may be seen in Burchenal's volume Folk-Dances of Germany (p. 21), while three Jugoslav sets he finds strongly resemble his American (Pennsylvania-collected) versions, which serves for his to heighten the suggestion that the tune originally came from Germany (these latter are located in Fr. S. Kuhac, Juznoslovjenske Narodne Popievke (Zagreb), II, (1879), pp. 222-224, Nos. 686-688, to a song entitled "Liepa Mara"). That the melody has also spread into France is evinced by its presence in J. Tiersot, Chansons Populaires Recueillies dans les Alpes Francaises, p. 532. tune 1, a 'Monferine.' Cf. also J.B. Bouillet, Album Aunergnat, p. 25, first part of the 'Bourree d'Issoire'". In East Lothian, Scotland, "Buffalo Gals" was the tune invariably played for the country dance called The Lads of Glasgow, which was performed at regional kirns until the 1930's and in some isolated areas until World War II (Flett & Flett, 1964). The melody was better known in East Lothian as tune for the bothy ballad "Whar'll bonnie Annie lie."
***
A feature of the tune has long been the multiplicity of place names attached to it in the title. Bronner notes it has been called "Jimtown Gals," "Brown Town Gals," "Alabama Gals," "Roundtown Gals," "Johnstown Gals," "Lushbaugh Girls," "Louisiana Gals," "Bowery Gals," "Cincinnati Gals," "Hagtown Gals," and "Hagantown Gals," as well as "Buffalo Gals." He speculates that Buffalo (New York) became the primary city name attached to the title because it was a "common terminal point for the minstrel circuit from New York city to Albany across to westernmost Buffalo, the city's name and its frontier reputation made it an easy and appropriate substitute for performances of 'Lubly Fan'" (pg. 216). Ceclia Conway, in African Banjo Echoes in Appalachia (1995), notes that the term "Buffalo" was used by Native Americans to refer to blacks (as in "Buffalo Soldiers").
***
As I was walking down the street,
Down the street, down the street;
A pretty little girl I chanced to meet,
Oh, she was fair to see.
***
I asked her if she would have some talk,
Have some talk, have some talk;
Her feet covered up the whole sidewalk,
As she stood close to me.
***
I Asked her would she have a dance,
Have a dance, have a dance;
I thought that I might get a chance
To shake a foot with her.
***
I'd like to make that gal my wife,
Gal my wife, gal my wife;
I would be happy all my life,
If I had her by my side.
***
Chorus:
Buffalo gals, ain't you comin' out tonight,
Ain't you comin' out tonight, ain't you comin' out tonight;
Buffalo gals, ain't you comin' out tonight
And dance by the light of the moon. (Ford).
***
Sources for notated versions: Frank Potter (Nowata County, Oklahoma) [Thede]; Hornellsville Hillbillies, 1943 (New York State) [Bronner]; caller George Van Kleeck (Woodland Valley, Catskill Mtns., New York) [Cazden]. Irvin Yaugher Jr., Mt. Independence, Pennsylvania, October 19, 1943 (learned from his father) [Bayard, 1944]; 10 different fife and violin sources from southwestern Pa. given by Bayard, 1981.Bayard (Hill Country Tunes), 1944; No. 1A. Bayard (Dance to the Music), 1981; No. 167A-J, pgs. 113-117. Bronner (Old Time Music Makers of New York State), 1987; No. 20, pg. 90. Cazden (Dances from Woodland), 1945; pg. 13. Ford (Traditional Music in America), 1940; pg. 53. Jarman (Old Time Fiddlin' Tunes); No. or pg. 3. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 56, pg. 28. Miller & Perron (101 Polkas), 1978; No. 26 (polka). Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 40 (two versions). Raven (English Country Dance Tunes), 1984; pg. 145 (appears as "Old Johnnie Walker"). Scott (English Song Book), 1926; pg. 74. Shaw (Cowboy Dances), 1943; pg. 382. Sweet (Fifer's Delight), 1964; pg. 12. Thede (The Fiddle Book), 1967; pg. 119. In the repertoire of Uncle Jimmy Thompson (1848-1931) {Texas, Tenn.}. Flying Fish FF 90468, Critton Hollow - "Great Dreams" (1988). Missouri State Old Time Fiddlers' Association, Vee Latty (1910-1956) - "Fever in the South."
T:Buffalo Gals
L:1/8
M:2/4
S:Shaw - Cowboy Dances
K:F
z2 zC|FG AB|dc A2|cB G2|dc A3C|FG AB|dc A>f|ec BG|F3z||
f/f/e dc/c/|d/cB/ A2|c/BA/ G2|d/cB/ A2|f/f/e dc/c/ d/cB/ A>f|ec/c/ BG/G/|F3 z||

BURKE'S [1]. AKA and see "Baby Gavin," "Charlie Mulvihill's," "Connie O'Connell's," "Coughlan's," "Gallagher's," "Lad O'Beirne's," "The Short Road," "The Silver Vale." Irish, Jig. D Dorian. Standard. AABB. Musicologist Philippe Varlet suspects the tune was called by this title in the 1970's Bulmer and Sharpley collection due to its appearance on the Joe Burke/Andy McGann/Felix Dolan c. 1965 record "Funny Reel" (Shanachie CD 34016). A hand-written note in my copy Mulvihill's collection reads: "a Donegal tune from Lad O'Beirne's crowd." Fiddler Pete Kelly, originally from County Galway, has laid claim to composing the tune, which he called "The Shannonaires Jig," named for the Shannonaires Ceili Band, a children's group organized in NYC in the 1960's for a tour. Kelly lately plays with the Premier Ceili Band, with button accordion player Martin Mulhaire. Sources for notated versions: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; Joe Burke [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2, No. 42. Mulvihill (1st Collection), 1986; No. 38, pg. 73. Green Linnet SIF 1058, Matt Molloy (with Artie McGlynn and Sean Keane) - "Contentment is Wealth."
T:Burke's Jig
T:Connie O'Connell's
B:Bulmer & Sharpley, Music From Ireland, Vol. 2
B:Martin Mulvihill, First Collection of Traditional
B:Irish Music
B:Matt Cranitch, Irish Fiddle Book
M:6/8
L:1/8
N:a c natural note is sometimes substituted for the d sharp note in measure 11
N:in some versions.
Z:Transcribed by Paul de Grae
K:D
dAF AGF|dAF AGF|A,CE GFG|A,CE GFE|
DFA DGB|Ace d2 e|fed cBA|GFE D3:|:
fdf a^ga|fdc d2 f|e^de gfg|efd cde|
fef gfg|aga bag|fed cBA|GFE D3:|

BURNT LEG, THE. AKA and see "The Bonnet Makers of Dundee," "Sweet Mally." Scottish (originally), Canadian; Reel or Strathspey. Scotland, Skye. Canada; Prince Edward Island, Cape Breton. E Dorian (MacDonald, Perlman): E Minor (Cranford). Standard. AA'B (Perlman): AABB (Cranford, MacDonald). The melody is from the Isle of Skye, according to editor MacDonald, however, Paul Stewart Cranford finds the tune printed in earlier collections under different titles: in Aird's 1st (1782) as "Sweet Mally" and in Bremner's 1757 collection as "The Bonnet Makers of Dundee." Cranford mentions that the tune is popular among Cape Breton fiddlers. It was in the repertoire of Cape Breton fiddlers Bill Lamey (who played it as a strathspey) and was recorded by Joe MacLean (as a reel). Source for notated version: Kevin Chaisson (b. 1950, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland's), 1995; No. 141, pg. 41. MacDonald (The Skye Collection), 1887; pg. 71. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 109.
T:Burnt Leg, The
L:1/8
M:C
B:The Skye Collection
K:D
(F/G/)|A>BA>F A>Bd>f|(A>B)A>F E/E/E (EF/G/)|A>B A<F A>Bd>f|F>DE>F D/D/D D:|
(f/g/)|a>fd>f (A<d)f>d|(e>d)f>d e/e/e e(f/g/)|a>f d<f e<df<d|B>AB>d D/D/D F(f/g/)|
a>f d<f (A>d)f>d|(e<d) f>d e/e/e e2|f>de>d B>Ad>F|E>DE>F D/D/D D||

BURRA REEL, THE. AKA and see "Joe Cooley's."

CAT RAMBLES TO THE CHILD'S SAUCEPAN. AKA and see "Mary Willie's." Irish, Slide. D Major. Standard. The title, apparently made up in lieu of the correct name, appears on a recording by Kerry fiddler Johnny Cronin and Joe Burke. Green Linnet GLCD 1134, Cherish the Ladies - "Out and About." Green Linnet GLCD 1187, Cherish the Ladies - "One and All: the Best of Cherish the Ladies" (1998).
T:The Cat's Rambles to the Childs Saucepan
L:1/8
M:12/8
K:D
A3|d2e f2e dcd ~B3|{a}g2e cBA {f}e2A cBA|d2e f2e dcd ~B3|g2e cBA d3 dBA| d2e f2e dcd ~B3|{a}g2e cBA {f}e2A cBA| d2e {fg}f2e dcd ~B3|g2e cBA d3 d2A| d2e f2a baf a2f|{f}e2A cBA {f}e2A cBA| d2e f2a baf a2f|{f}e2A cBA d3 dBA|d2e {g}f2a baf a2f|{f}e2A cBA {f}e2A cBA| d2e f2a baf a2f|{f}e2A cBA d3 d3|

CATTLE IN THE CANE [1]. AKA- "Cattle in the Corn." Old-Time, Bluegrass; Breakdown. USA, Texas. A Mixolydian ('A' part) & A Aeolian ('B' part). Standard. AABB (Brody): AA'BB (Phillips). The melody was recorded by Texan M.J. Bonner in the 1920's. It is often played with a pizzicato feature. See also related tunes "Yearlings in the Canebreak" and "Maggie Grey;" and "Old Grey Cat" for a possible Scottish cognate. Sources for notated versions: Joe Green [Brody]; Sam Bush & Benny Thomasson (Texas) [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 63. Phillips (Traditional American Fiddler Tunes), Vol. 1, 1994; pg. 45. American Heritage 24, Lonnie Peerce- "Golden Fiddle Tunes." County 722, Joe Green- "Joe Green's Fiddle Album" (appears as "Cattle in the Corn"). Marimac AHS #3, Glen Smith - "Say Old Man" (1990. Learned from Joe Green). Omac-2, Berline, Bush, and O'Conner- "In Concert." Shanachie Records 6040, Gerry Milnes & Lorriane Lee Hammond - "Hell Up Coal Holler" (1999. Learned from Wirt County, West Virginia, fiddler Glen Smith). Takoma D-1064, Norman Blake- "Directions."

CABRI WALTZ. Canadian, American; Waltz. American, New England. G Major. Standard. AB (Matthiesen): AA'BB' (Brody). Source for notated version: Fennig's All Stars (N.Y. State) [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 60. Matthiesen (Waltz Book I), 1992; pg. 19. Front Hall 01, Fennig's All Stars- "The Hammered Dulcimer." Vermont Performing Arts League - "A Vermont Sampler." Voyager 306-S, Joe Pancerzewski- "The Fiddling Engineer."

CACKLIN' HEN [1]. See "Old Hen Cackled," "Old Hen She Cackled," "Hen Cackled," "Cluck Old Hen," "Cackling Pullet," "Chicken in the Barnyard," "Old Man Depression Get On Your Way." Bluegrass, Old Time; Breakdown. USA, widely known. G Major. Standard. AABB (Brody, Ruth, Shumway); AA'BB (Phillips): ABBCDD (Thede). Many variants of this widely known tune appear under titles which include the adjective "cluck" or "cackling," often with the word "old" also appendaged (see alternate titles above). It has been a fiddle contest standard, and is often still heard at fiddler's gatherings; for example, it is mentioned in a 1931 account of LaFollette, northeast Tenn., fiddlers' contest, and, in 1899 in a contest in Gallatin, Tenn., "Cackling Hen" was one of the 'catagory' tunes (where each fiddler would play the same tune with the winning version winning a prize {Charles Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80}). The piece was reworked by the early 20th century Georgia group called the Skillet Lickers, and was recorded by them in the early 30's as "Old Man Depression Get On Your Way." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Sources for notated versions: Chubby Wise (Brody), Jubal Anderson (Pottawatomie County, Ok.) [Thede]; Kenner C. Kartchner (Arizona) [Shumway]; Robert Wise [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 60. Ford (Traditional Music in America), 1940; pg. 92. Phillips (Traditional American Fiddle Tunes), 1994; pg. 43. Ruth (Pioneer Western Folk Tunes), 1948; No. 94, pg. 34. Shumway (Frontier Fiddler), 1990; pg. 266. Thede (The Fiddle Book), 1967; pg. 123. Briar 4206, "Scotty Stoneman." Flying Fish 102, New Lost City Ramblers- "20 Years Concert Performances" (1978. Learned from Joe Stewart's Folkways album). Folkways FA2314, Joe Stewart - "American Banjo Scruggs Style." Kicking Mule, Reed Martin- "The Old-Time Banjo in America." Rounder C11565, Fred Price (northeastern Tenn.) - "Rounder Fiddle" (1990). Rounder 0009, Clint Howard, Fred Price & Sons - "The Ballad of Finley Preston." Rounder CD 0383, Mike Seegar and Paul Brown - "Down in North Carolina." Stoneway 104, Chubby Wise- "Chubby Wise and His Fiddle." Stoneway 148, Chubby Wise- "Fiddle Hoedown." Martin, Bogen and Armstrong- "Barnyard Dance." Recorded for OKeh in 1925 by Dedrick Harris (b. 1868) {Tenn., Asheville N.C.}, one of only two fiddle solos he made.

CAKE'S ALL DOUGH. AKA and see "Hop High/Light Ladies," "Miss McLeod's Reel," "Green Mountain," "Walk Jaw Bone," "Billy Boy," "Did You Ever See the Devil, Uncle Joe?" "Uncle Joe."

CALLAHAN'S REEL [2]. AKA and see "Kate Kelly's Fancy." Irish, Reel. G Major. Standard. AABB'. O'Neill (Krassen), 1976; pg. 96. Probably the tune recorded by the Library of Congress, 1938, by Patrick Bonner, St. James, Beaver Island, Michigan (as "Callahan's Reel"). GN1, Joe Thoma - "Up the Track: Traditional Music from Kenmare" (as "Callaghan's")

CAPERS. Canadian, Jig. Canada, Cape Breton. C Major. Standard. AA'BB. A traditional tune. Cranford (Jerry Holland's), 1995; No. 218, pg. 63. Breton Books and Records BOC 1HO, Winston "Scotty" Fitzgerald - "Classic Cuts" (reissue of Celtic Records CX 40). Rounder 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974).

CELINA LE BLANC. AKA and see "Flannigan's Polka." Canadian, Polka. Canada, British Columbia. C Major ('A' part) & G Major ('B' part). Standard. AA'BB'. Source for notated version: Ned Landry (White Rock, British Columbia) via Joe Pancerzewski (northwestern USA) [Reiner & Anick]. Reiner & Anick (Old-Time Fiddling Across America), 1989; pg. 150. Voyager VRLP-306, Joe Pancerzewski - "The Fiddling Engineer."

CHARLIE HUNTER'S JIG. AKA - "Charlie Stuart's Jig." Canadian, Jig. D Major. Standard. AAB (Phillips): AABB (Carlin, Hinds). Not the "Charlie Stewart" in O'Neill. The composition is credited to piano accordion player Bobby MacLeod of Tobermory, Mull. The title probably refers to the late Charlie Hunter of Oban, a radio operator on the MacBrayne steamers which ply the west-coast routes of Scotland." Source for notated version: Graham Townsend (Canada) [Hinds]; Pete Sutherland (Vt.) [Phillips]. Carlin, 1977; pg. 31. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 22. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 362. Atlantica Music 02 77657 50222 26, Richard Wood - "Atlantic Fiddles" (1994). Fretless Records FR200, Yankee Ingenuity - "Kitchen Junket" (1977). Rounder 7004, Joe Cormier - "The Dances Down Home" (1977). Shanachie 79068, Boys of the Lough - "Sweet Rural Shade."
T:Charlie Hunter
C:Bobby MacLeod
S:Bobby MacLeod's Selection of Country Dance Tunes
Z:Transcribed by Nigel Gatherer
M:6/8
L:1/8
A|DFA GBd|Adf a2g|fed Bcd|ecA GFE|
DFA GBd|Adf a2g|fef gec|1edd d2:|2edd d|]
fg|afd d2c|BGG G2F|E^GB e2d|cAA Aag|
fdA FDF|GBd g2g|fef gec|1edd d:|2edd d2|]

CHARLIE'S BROTHER. Canadian, Reel. Canada, Cape Breton. E Dorian. Standard. AAB. Buddy MacMaster and Joe Cormier both recorded this reel before "Prince Charlie." Source for notated version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 85. Celtic CX13, Rodeo Banff 1257, Donald and Theresa MacLellan/The MacLellan Trio - "The Music of Cape Breton" (c. 1950's. Appears as "Reel" after "Flora MacDonald"). Rounder 7004, Joe Cormier - "The Dances Down Home"(1976. Appears erroneously as "Keep it Up").

CHIMES OF DUNKIRK, THE. New England, Contra Dance Tune (4/4 time). D Major. Standard. AABB. Source for notated version: Joe Ryan [Laufman]. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 7.

CHRISTI(E)/CHRISTY CAMPBELL. Canadian, Strathspey or Reel. Canada, Cape Breton. A Major. AEAE or Standard. AB (Dunlay/Hughie and Mary MacDonald): AAB (Dunlay/MacKenzie): AABB' (Dunlay/Campbell). The tune is usually played in 'high bass' (AEAE) tuning on Cape Breton and is a favorite of fiddlers on the island. Dunlay & Greenberg call this the Gaelic version of "The Miller of Drone." Two verses of mouth music for "Cairistiona Chaimbeul" (Christie Campbell) can be found in John Shaw's booklet accompanying Topic 12T354 ("Cape Breton Scottish Fiddle"). Sources for notated versions: Hughie MacDonald, John Willie Campbell, Carl MacKenzie and Mary MacDonald (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pgs. 122-123. ACC-49191, Tara Lynne Touesnard - "Fiddle Fingers" (1990). ACC-49398, Brenda Stubbert - "House Sessions" (1992). Atlantica Music 02 77657 50222 26, Kyle & Lucy MacNeil - "Atlantic Fiddles" (1994). Barra Music Co., The Barra MacNeils - "Rock in the Stream" (1989). Celtic CX 22, Donald MacLellan. CLM 1001, Carl MacKenzie - "And His Sound is Cape Breton" (1981). Celtic CX 017, Dan J. Campbell. EMI E4 80683, John Morris Rankin - "North Country" (1993). NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). NQD-5447, Doug MacPhee - "Cape Breton Master of the Keyboard." Rodeo RLP 107, RBS 1248, Joe MacLean - "And his Old Time Scottish Fiddle" (c. 1967). Rounder 7003, John Campbell - "Cape Breton Violin Music" (1976). Sea-Cape Music ACR4-12940, Buddy MacMaster - Judique on the Floor" (1989). Topic 12T354, John Willie Campbell - "Cape Breton Scottish Fiddle" (1978).

CITACO. AKA - "Citigo." AKA and see "Down to the Wildwood to Shoot the Buffalo." Old-Time, Breakdown. USA, north Georgia. GDAD tuning. The melody is known as a north Georgia tune. It was, for example, in the repertiore of north Georgia fiddler Lowe Stokes (who played with the Skillet Lickers as well as other bands) who learned it under the title "Down to the Wildwood to Shoot the Buffalo." Citaco is/was an area outside Chattanooga, Tenn. Some versions (John Dykes, for example) sound similar to "Cotton Eyed Joe." County 527, The Swamp Rooters (Lowe Stokes) - "Old Time Fiddle Classics, Vol. 2: Original Recordings 1927-1934."

CLANCY'S FANCY REEL (Cor Mic Flanncada). Irish, Reel. G Major. Standard. AB. Not McNulty's "Clancy's Reel." Source for notated version: accordion player Joe Fallon (b. 1935, Collooney, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pgs. 100-101 (appears as "Unknown"). O'Neill (1001 Gems), 1907/1986; No. 801, pg. 139.
T:Clancy's Fancy Reel
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (801)
K:G
dc|BG G2 dBGA|(3BAG Bd egdB|cA (3AAA fcAB|cdef gedc|BG G2 dG G2|
BGBd egdB|cdef gedc|BGAFD G2||Bc|dg g2 bg g2|dggf (3efg dB|
cA (3AAA eA (3AAA|cdef gfef|dg g2 bg g2|dgfg ecdB|cdef gedc|BGAF G2||

COALMINER'S REEL, THE (Fir an Ghuail). AKA and see "More Power to Your Elbow." Irish, Reel. Ireland, County Sligo. G Major. Standard. AABB. The tune was recorded in the 1930's in America by the Flanagan Brothers. Source for notated version: flute player Harry McGowan (b. 1937, Carrowmore, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 157. CIC CD, Marcas a Murchu - "Ó Bhéag go Béal." Gael Linn CEF 115, Frankie Gavin & Paul Brock - "A Tribute to Joe Cooley." Green Linnet GLCD 1184, Patrick Street - "Made in Cork" (1997).
T:Coalminers, The
T:Fir an Ghuail
M:4/4
L:1/8
S:Dan Cummins
Z:transcribed by Liam Hart
R:reel
K:D
|D2DED2DF|A2FD EDB,D|D2DED2FA|dBAFE2FE|
D2DED2DF|A2FD EDB,D|D2DED2FA|dBAFD4:|
|d3 B ABdB|A2 FD EDB,D|d3 B ABde|fedf e2 de|fddd edBd|
A2 FD EDB,D|D2DED2FA|dBAF D4||

COLEMAN'S MARCH [1]. AKA - "Joe Coleman's March." AKA and see "Chapel Hill March," "Green Willis," "Jackson's March," "Joe Dobbins," "The New Rigged Ship," "Old Hickory," "The Raw Recruit." Old-Time, March (cut time). USA, south-central Kentucky. D Major. DDAD. AA'BB. D. K. Wilgus, in his article "The Hanged Fiddler Legend in Anglo-American Tradition," has extensively researched this tune and legend, a variant of the hanged-fiddler legend of "MacPherson's Farewell." Joe Coleman, a shoemaker, was accused of stabbing his wife to death near the town of Slate Fork, Adair County, Kentucky, as recorded in the Burkesville Herald Almanac for 1899. Convicted on circumstantial evidence and the testimony of his sister-in-law who was living with them at the time, Coleman, was tried in nearby Cumberland County and sentanced to death. While being driven to the place of execution in a two-wheeled ox cart, Coleman sat on his coffin and played a tune that has come down as "Coleman's March." Coleman protested his innocence to the last, and there several stories exist of a man confessing, or of "an old lady confessing on her death-bed she had killed Coleman's wife." One account (in the Burkesville Almanac) gives that Coleman's relatives quickly recovered the body, somehow managed to revive him and put him on a steamboat down the Cumberland River to Nashville, from which point he disappeared into the West. Also attached to the tune is the legend that before Coleman was hanged he offered his fiddle to anyone who could play the tune as well as he, and at least one source identified a Kentucky fiddler named Franz Prewitt as the recipient. Prewitt's descendants remembered him as having been indeed a fine fiddler, thought they did not remember any tales connected with his receiving a fiddle. Bruce Greene introduced the tune to old-time "revival" fiddlers in the 1970's, according to Seattle old-time music expert Kerry Blech who gives that Greene had the tune from an old Kentucky fiddler by the name of Gene Conner, who was recorded in January 1962 in Bowling Green, KY, probably by Lynwood Montell and D.K. Wilgus. Connor and played the tune in standard tuning, although Greene and Vermont fiddler Pete Sutherland play it in cross tuning (DDAD). Sutherland's version has been particularly influential in popularizing the tune in modern times. Greene told Blech the tune was played both ways in western Kentucky. Source for notated version: poularized by Pete Sutherland (Vt.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 32. BGR 1003, Don Pedi - "Mountain Magic: Fiddle Favorites for (Mountain) Dulcimer" (1990). Mary Custy & Eoin O'Neill - "With a lot of help from their friends." Marimac 9031, Pete Sutherland - "Eight Miles from Town."
T:Coleman's March
C:Trad (American Old-Time)
D:Cape Cod Fiddlers, Uncle Gizmo, et. al.
R:March
M:4/4
L:1/4
Q:80
Z:Michael Anthony
K:D
A/B/ A/G/ | F2 F E/2F/2 | G>F E/F/ G | A A/B/ A/G/ F/D/ | E>F E F/G/ |
A d c d | B/c/ B/A/ F/E/ D/F/ | E E/F/ G/F/ E | D2 :|
|:D/F/ (3A/B/c/ | d2 d2 | c>d c/B/ A | B B/c/ d/c/ B| A>B A/G/ F/G/ |
A d c d | B/c/ B/A/ F/E/ D/F/ | E E/F/ G/F/ E | D2 :|

COLONEL FRASER (An Ardtaoiseac Fraser). AKA - "Colonel Frazer." AKA and see "The Donaghmore," "Malloy's Favourite," "Molloy's Favourite" [2], "The Green Fields of Ireland," "Molly Brallaghan." Irish, Reel. G Major ('B' and 'D' parts) and G Mixolydian ('A' and 'C' parts) [O'Neill/Krassen & 1915]: G Major (Mitchell, O'Neill/1850 & 1001). Standard. ABCDE (Mitchell): ABCC'DE (O'Neill/Krassen): AA'BCD (O'Neill/1915, 1001 & 1850): AABBCCDDEE (Taylor). Breathnach (1985) says this tune is related to "Malloy's Favourite." The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]. Mitchell (The Dance Music of Willie Clancy), 1993; No. 87, pgs. 78-79. O'Neill (Krassen), 1976; pg. 104. O'Neill (1850), 1903/1979; No. 1246, pg. 234. O'Neill (1001 Gems), 1907/1986; No. 520, pg. 98. Taylor (Music for the Sets: Blue Book), 1995; pg. 28. Gael-Linn CEF 045, "Paddy Keenan" (1975). Shaskeen Records OS-360, Joe Burke, Andy McGann, Felix Dolan - "A Tribute to Michael Coleman" (c. 1965). Conal O'Grada - "The Top of Coom."
T:Colonel Fraser
L:1/8
M:C|
S:O'Neill - 1001 Gems (520)
R:Reel
K:G
dc|:BGAF D>G (A}(3GFG|AFcF dFcF|BGAF DGGg|1 fdcA d2 cA:|2 (3fed cA BG G2||
dggf g2 bg|fdcB ABcA|Gg{a}gf gbag|fdcA BG G2|gfge d2 dc|(3Bcd BG ABcA|
GBAc (3Bcd eg|fdcA BG G2||B>d (3ddd BGdG|AFcF (3ABc AF|B>c (3ddd BGdG|
cAFG AG G2|B>d (3ddd BGdG|AFcF (3ABc AF|(3GAB (3ABc (3Bcd eg|fdcA BG G2||
(3BcB GB (3BdB GB|(3ABA FA (3AcA FA|(3BcB GB (3BdB GB|{d}cAFG AG G2|
(3BcB GB GBGB|(3ABA FA FAFA|GBAc (3Bcd eg|fdcA D2 cA||

COLONEL McBAIN'S (An Ardtaoiseac Mic Baeitine). AKA and see "Boston Rattlers," "Brian Boru," "Col McBain," "Dan Sullivan's Reel," "The Devonshire Reel," "The Duke of Clarence Reel," "General McBean," "Hobb's Favorite," "Johnny's Wedding," "Miss Abercrombie's Reel," "Mother's Delight," "Sean Frank," "Sporting Molly." Scottish (originally), Irish; Reel. G Minor (Cole, Gow, Honeyman, Hunter): E Minor (O'Neill). Standard. AB (O'Neill): AAB (Gow, Honeyman, Hunter, McGlashan): AABB (Cole). Glen (1891) finds the earliest publication of the tune in Robert Bremner's 1768 2nd collection (pg. 101). The tune was first recorded by Galway melodeon player Peter Conlon in 1921, under the title "McBan's Reel" (thought the different spelling may be due to an error by the record company). Irish versions are in E Minor, Scottish in G Minor. Paul Cranford (1997) remarks that he has heard a strathspey setting (in G) of "Colonel McBain's" played by Jonny Wilmot who learned it from his uncle Joe Confiant. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cole (1001 Fiddle Tunes), 1940; pg. 31. Cranford (Winston Fitzgerald), 1997; No. 162, pg. 64. Gow (Complete Repository), Part 1, 1799; pg. 8. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 29. Hunter (Fiddle Music of Scotland), 1988; No. 265. McGlashan (A Collection of Reels), c. 1786; pg. 18 (appears as "Colonel Macbean's Reel"). O'Neill (1850), 1903/1979; No. 1403, pg. 261. O'Neill (1001 Gems), 1907/1986; No. 645, pg. 116. Stewart-Robertson (The Athole Collection), 1884; pg. 185 (appears as "Colonel MacBean"). Gael-Linn Records CEF 165, Máire O'Keeffe - "An Coisir."
T:Colonel MacBean
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:G Minor
c|B/c/d Gd BGdG|A/B/c Fc AFcA|B/c/d Gd BGdG|^F/G/A DF G2G:|
A|~(B2 B)f B/B/B fd|cdcB ABcA|G(gg)a bag^f|g/a/b a^f ~g2 ga|
g/a/b fd ~Bdfd|cdcB ABcA|Bdg^f gdce|dBcA G2G||
T:Colonel McBain
L:1/8
M:C|
R:Reel
B:O'Neill - 1001 Gems (645)
K:E Minor
EF|GBEF GEBE|FADE FDAD|GBEF GEBE|FADF E2 EF|
GBEF GEBE|FADE FDAD|G2 GF GBdB|AFDF E2||EF|
G2 GF GBdB|ABAG FAAF|Eee^d ef|gefd Beef|gfge dedB|
ABAG FGAF|Beed BcdB|AFDF E2||

COLONEL McBAIN'S FANCY. Canadian, Reel. Canada, Cape Breton. A Mixolydian. Standard. AABBA'A'B'B'. This melody apparently was originally a pipe tune, for Barry Shears finds it in David Glen's bagpipe Tutor, Part 2 (1876-1901) in a two-part reel and a three-part strathspey setting. The fiddle version adapts the reel setting plus the third part of the strathspey setting, according to Dunlay & Greenberg. Source for notated version: Donald Angus Beaton and Kinnon Beaton (Mabou, Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; ph. 48. DAB4-1985, Donald Angus Beaton - "A Musical Legacy" (1985). JAD-1, Jackie Dunn - "Dunn to a T" (1995. Appears as "Mrs. Gordan of Cairness"). RDRC 850, Raymond Ellis - "Dedicated to Mom and Dad" (1994. Appears as 2nd "Traditional Reel"). Rodeo RLP 107, Joe MacLean - "And His Old Time Scottish Fiddle"(c. 1967. Appears as 2nd reel after "Ca' the Stirks"). Rounder 7011, Donald Angus and Kinnon Beaton - "The Beatons of Mabou" (1978. Appears as 1st of "Two Traditional Reels" after "Chiste Mhor").

COLONEL THORNTON. Scottish, Strathspey; Canadian, Reel. Canada, Cape Breton. A Minor (Athole): A Dorian (Dunlay & Greenberg, Skye). Standard. ABC (Dunlay & Greenberg): AABBCCBB (Athole, Skye). Scottish collections print the tune as a strathspey, with the third part in the lower octave; Cpae Breton versions have the third part in the higher octave, and are sometimes played without the middle turn (Dunlay & Greenberg). Source for notated version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 49. Gow (Second Collection of Strathspey Reels), 1788. MacDonald (The Skye Collection), 1885; pg. 104. Stewart-Robertson (The Athole Collection), 1884; pg. 67. ACC-4979, Natalie MacMaster - "Road to the Isle" (appears as "Old Traditional Reel"). ATL 0193, Howie MacDonald - "The Ceilidh Trail" (1993. Appears as "The Old King's"). Rounder 7001, Joe Cormier - "Scottish Violin Music" (1974. Appears as 2nd tune in "Miss Lyle" medley). Sea-Cape Music ACR4-12940, Buddy MacMaster - "Judique on the Floor" (1989. Appears as "Old Traditional Reel").
T:Colonel Thornton
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:C
B,|A,/A,/A, E>A, C3E|B,>G,D>G, E>G,D>G,|A,/A,/A, E>A, C>A,E>C|
B,>G,D>B, E2A:|
|:B,|A,<A, A2 E<E A2|G>ED>G B,<G, D>B,|A,<A, A2 E<E A2|GEFD E2A,:|
|:E|C/B,/A, E>A, C/B,/A, E>A,|B,/A,/G, D>G, EG,DG,|C/B,/A, E>G, C/B,/A, E>A,:|
|:B,|A,<A, A2 EE A2|G>ED>G B,<G, D>B,|A,<A, A2 E<E A2|G>EF>D E2A,:|

COME UNDER MY PLADDIE. AKA - "Come Under my Plaidie." AKA and see "Before I Was Married," "Billy O'Rourke's Jig," "The Black Rogue," "Johnny McGill," "Paddy O'Rourke's," "An Rogaire Dubh," "Tibbie Dunbar." Scottish, Jig. G Major. Standard. AB (Kerr): AABB (Cole, Harding, Johnson, O'Neill, Perlman, Robbins, Sweet). The title comes from a song by Hector Macneil of Roslin, Midlothian, from the 18th or early 19th century, and set to the tune "Johnny McGill." The air is properly a Scotch jig (a jig with Scotch measure accents) and was first published in 1778 (according to Glen). Burns also set his lyric Tibbie Dunbar ("O Wilth thou go wi' me, sweet Tibbie Dunbar") to this air. See Bayard's (1981) note to "Johnny McGill" for further discussion and sources. Source for notated version: Peter Chaisson, Sr. (b. 1929, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Cole (1001 Fiddle Tunes), 1940; pg. 53. Harding's Original Collection, No. 132. Jarman (Old Time Fiddlin' Tunes); No. or pg. 17. Johnson (Scots Musical Museum), Vol. 6, 1783; No. 533. Kerr (Merry Melodies), Vol. 1; No. 25, pg. 46. O'Malley, 1919; pg. 7. O'Neill (1850), 1903/1979; No. 915, pg. 170 (appears as "The Black Rogue"). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 128. Robbins, 1933; No. 77. Sweet (Fifer's Delight), 1964/1981; pg. 34. White's Excelsior Collection, pg. 20. Rounder 7004, Joe Cormier - "The Dances Down Home" (1977).

COOKHOUSE JOE. Old-Time, Breakdown. AEAE tuning. Similar in parts to the Skillet Lickers "Pretty Little Widow."

COOLEY'S HORNPIPE. AKA - "Joe Cooley's Hornpipe." Irish, Hornpipe. G Major. Standard. AABB. Composed by Nenagh, County Tipperary, musician Paddy O'Brien. Sources for notated versions: Sean Ryan [Miller & Perron]; Eddie Bolger [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974; Vol. 3, No. 74 (appears as "Coolies"). Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 1. Sullivan (Session Tunes), Vol. 2; No. 43, pg. 18.
T:Cooley's Hornpipe
M:4/4
L:1/8
C:Paddy O'Brien (Tipp.)
R:Hornpipe
K:G
(3def|gG~G2 EGDC|B,G,B,D GBdg|~e2 ce ~d2 Bd| (3cBA BG ~A2 (3def|
gG~G2 EGDC|B,G,B,D GBdg|ecAG FAdc| ~B2 GF G2:||
GA|BGBd edBd|~g2 bg egdB|~c2 ge dGBd|cBA^G ~A2 dc|
BGDC B,DG=F| ~E2 CE DGBd|gfge dBcA|~B2 GF G2 :||

COOLEY'S REEL [1]. AKA and see "Joe Cooley's Reel" [2], "Lutrell Pass," "Reynold's Reel," "Ríl na Tulai," "Tulla Reel." Irish, Reel. E Dorian. Standard. AAB (Carlin, Laufman): AABB (Brody, Mallinson, McNulty, Mulvihill, Songer, Taylor): AA'BB (Miller & Perron, Moylan): AA'BB' (Alewine). The tune is associated with the renowned button accordion player Joe Cooley (1924-1973), originally from Peterswell, County Galway, near the northern boundary of the Sliabh Aughty mountians. Cooley spent much of his later life in an itinerant lifestyle in various cities in America, and back and forth to Ireland. He was a member for a time of the famous Tulla Céilí Band in Ireland.
**
Peter Wood, in his book The Living Note: the Heartbeat of Irish Music (1996), had this to say about Cooley:
**
Cooley's accordion playing made a great impression on all those
who heard him. He had great energy and style. Everything for
him was wrapped up in emotion. There was at the time, and
there have been since, technically better players, faster players,
players who know their way round the box better than Joe did,
but it was always about Joe that you'd find the crowd gathered,
looking at him, watching him drive his whole body behind his
box. You could be standing at the back of a place when Cooley
came to play, the place emptied out into the corners, but when
he strapped on the box and launched into a tune the crowds
would start toward him, even if they didn't know who he was.
He inspired people. Oh, they'd say, can't he make it talk.
**
There are several stories circulating regarding the origins of this extremely popular tune. According to David Taylor (1992) the reel was the composition of Co. Mayo and New York fiddler John McGrath (1900-1955). Philippe Varlet maintains it was the invention of accordion player Joe Mills of the Aughrim Slopes Céilí Band, who originally entitled it "Lutrell Pass." Charlie Piggott, writing in his book co-authored with Fintan Vallely, Blooming Meadows (1998), has yet another version, related to him by Joe's brother Séamus. Its origins date to the 1940's when the teenaged brothers attended a house session in the neighboring county of Clare. There they listened to an old man with a battered concertina playing in front of an open fire (Séamus remembers some of the buttons had been replaced by cigarette ends!), and one tune in particular caught their attention. On returning home the brothers tried their best to remember what the old man had played, staying up through the night working and worrying the remembered fragments until finally the reel took shape. Séamus credits Joe with the first part of their refashioned piece, while himself taking credit for the turn.
**
Sources for notated versions: Jay Ungar (West Hurley, New York) [Brody]; accordion player Johnny O'Leary (Slaibh Luachra region of the Cork-Kerry border), recorded in recital at Na Píobairí Uilleann, November, 1990 [Moylan]; Jim Bly (Co. Roscommon/Northampton, England) & Frank McCollam (Ballycastle, Co. Antrim) [Mulvihill]; set dance music recorded live at Na Píobairí Uilleann, mid-1980's [Taylor]. Alewine (Maid that Cut Off the Chicken's Lips), 1987; pg. 13. Brody (Fiddler's Fakebook), 1983; pg. 74. Carlin (Master Collection), 1984; pg. 117, No. 197. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 35. Mallinson (Essential), 1995; No. 27, pg. 12. McNulty (Dance Music of Ireland), 1965; pg. 7. Miller & Perron (Irish Traditional Fiddle Tunes), 1977; Vol.1, No. 33. Moylan (Johnny O'Leary's), 1994; No. 170, pg. 98. Mulvihill (1st Collection), 1986; No. 7, pg. 2. Songer (Portland Collection), 1997; pg. 54. Taylor (Music for the Sets: Yellow Book), 1995; pg. 21. Avoca 139, Sean Maguire--"Music of Ireland." Fretless 118, Marie Rhines- "The Reconciliation." Gael-Linn Records, Frankie Gavin & Paul Brock - "Tribute to Joe Cooley." Green Linnet 1009, Patricia Conway and Mick Moloney- "Irish Music: The Living Tradition" (appears as "Joe Cooley's Reel"). Greenhays GR 710, John McCutcheon - "Fine Times at Our House" (1982). Philo 1040l, Jay Ungar and Lynn Hardy- "Catskill Mountain Goose Chase" (1977. Appears as third tune of "Four Reels"). Rounder 0111, Russ Barenberg- "Cowboy Calypso." Tara Records, Tony Linnane & Noel Hill. Voyager 320-S, Frank Ferrel- "Fiddle Tunes."
T:Cooley's Reel
L:1/8
M:C|
K:E Minor
EBBA (B2 B)A|~B2 AB dBAG|FDAD BDAG|FDFA dAFD|
EBBA (B2 B)A|~B2 AB defg|afef dBAF|1 DEFD E2 z2:|2 DEFD E2 zf|
|:eB ~B2 eBfB|eB ~B2 gedB|A2 FA DAFA|~A2 FA defd|eB ~B2 eBgf|
eB ~B2 defg|afef dBAF|DEFD E2 z2:|

COR SEOSAM UI CANTA. AKA and see "Joe Cant's Reel."

CORN STALK FIDDLE (AND SHOESTRING BOW). Old-Time, Breakdown. USA, Mississippi. A Major. The tune is perhaps "Cotten Eyed Joe," the title being taken from the lyric:
Corn stalk fiddle, shoe string bow,
All they played was "Cotten Eyed Joe."
Mississippi Department of Archives and History AH-002, Frank Kittrell (Lauderdale County, Miss.) - "Great Big Yam Potatoes: Anglo-American Fiddle Music from Mississippi" (1985. Originally recorded in 1939).

CORNPHÍOPA SHEÁN SEOSAMH MHIG FHIONNÁIN. AKA and see "John Joe Gannon's Hornpipe."

CORNSTALK FIDDLE (AND SHOESTRING BOW). Old-Time, Breakdown. USA; Arkansas. G Major. Standard. AABB. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Thought Davenport's tune is not "Cotten Eyed Joe," the title "Cornstalk Fiddle" may be in some locals a floating or alternate title for "Cotten-Eyed Joe," a line of whose ditty goes:
Cornstalk fidde, shoestring bow,
Look out Boys (or, Play a little tune), says Cotten-Eyed Joe.
Source for notated version: Clyde Davenport [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 56.

COTTEN-EYED JOE [1]. See "Citaco." Old-Time, Breakdown. USA, widely known, but may have originally been a Texas tune. A Major (most versions): G Major (Ford, Kaufman): D Major (Zenith String Band). Standard, AEAE, ADAE, GDAD (Thede, John Dykes). AABB (Perlman): AABBA: AA'BB' (Kaufman). Charles Wolfe has called this tune "a Texas dance-hall anthem" but it has had such widespread currency in the United States that the tune is really a pastiche of melodies using interchangable phrases, the most recognizable of which usually is associated with the verses:
***
Where did you come from, where will you go?
Where did you come from Cotten-Eyed Joe.
***
Marion Thede believes 'cotten-eyed' may refer to a person with very light blue eyes, while Alan Lomax suggests it was used to describe a man whose eyes were milky white from Trachoma. Charles Wolfe (1991) writes that African-American collector Thomas Talley, in his manuscript of stories, Negro Traditions, relateed a story entitled "Cotton-Eyed Joe, or the Origin of the Weeping Willow." The story includes a stanza from the song, "but more importantly details a bizarre tale of a well-known pre-Civil War plantation musician, Cotton Eyed Joe, who plays a fiddle made from the coffin of his dead son."
***
The tune was a favorite of John Dykes (Magic City Trio {Eastern Tenn.}) and it was in the repertoire of Arizona fiddler Kenner C. Kartchner (in the key of G Major) who said a fellow fiddler named Youngblood brought it to the territory from Mississippi around 1890. It was one of the tunes played at the turn of the century by Etowah County, Alabama, fiddler George Cole, according to Mattie Cole Stanfield in her book Sourwood Tonic and Sassafras Tea (1963), and was mentioned in accounts of the DelKalb County Annual (Fiddlers) Convention, 1926-31. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Some verisons are similar to Lowe Stokes (N.Ga.) popular "Citaco." Ken Perlman (1996), who collected the tune on Prince Edward Island, believes Canadian versions probably derived from the playing of radio and TV Maritime fiddler Don Messer (the 'B' part is played with a strong Acadian flavor). See also Bayard's (1981) note to a related tune "The Horse Called Rover" (No. 10, pgs. 20-21).
***
Where'd you come from, where'd you go?
Where'd you come from Cotten-Eyed Joe.
I'd-a been married a long time ago,
If it hadn't a-been for Cotten-Eyed Joe.
***
Cornstalk fiddle and shoestring bow,
Come down gals on Cotten Eyed Joe.
Wanna go to meeting and wouldn't let me go,
Had to stay home with Cotten Eyed Joe.
***
Come a little rain and come a little snow,
The house fell down on Cotten Eyed Joe. (Thede)
***
Hold my fiddle and hold my bow,
'Till I knock the devil out of cotton-eyed Joe. (Ford)
***
I'll make me a fiddle and make me a bow,
And I'll learn to play like Cotten-eyed Joe.
I tun'd up my fiddle, I went to a dance,
I tried to make some music, but I couldn't get a chance.
***
You hold my fiddle and you hold my bow,
Till I whip old Satan out of Cotten-eyed Joe.
I've make lot of fiddles and made lot of bows,
But I never learned to fiddle like Cotten-eyed Joe. (Thomas & Leeder).
***
Thomas Talley gives the following in Negro Folk Rhymes:
***
Hol' my fiddle an' hol' my bow,
Whilst I knocks ole Cotton Eyed Joe.
***
I'd a been dead some seben years ago,
If I hadn' a danced dat Cotton Eyed Joe.
***
Oh, it makes dem ladies love me so,
W'en I comes 'roun' pickin' ole Cotton Eyed Joe.
***
Yes, I'd a been married some forty years ago,
If I hadn' stay's home wid Cotton Eyed Joe.
***
I hain't seed ole Joe, sonce way las' Fall;
Dey say he's been sol' down to Guinea Gall.
***
Sources for notated versions: Highwoods String Band (New York) [Brody]; John Hendricks (Bates, Arkansas) [Thede]; Tommy Magness [Phillips/1994]; Steve Hawkins (Rowan County, Kentucky, 1911) [Thomas & Leeder]; Louise Arsenault (b. 1956, Wellington, East Prince County, Prince Edward Island) [Perlman]. Brody (Fiddler's Fakebook), 1983; pg. 74. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 20. Ford (Traditional Music in America), 1940; pg. 60. Frets Magazine, "Byron Berline: The Fiddle," September 1981; pg. 64. Kaufman (Beginning Old Time Fiddle), 1977; pg. 50. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 86. Phillips (Fiddlecase Tunebook), 1989; pg. 12. Phillips (Traditional American Fiddle Tunes), 1994; pgs. 56 & 57 (two versions). Thede (The Fiddle Book), 1967; pg. 26-27. Thomas & Leeder (The Singin' Gatherin'), 1939; pg. 60. Bay 209, "The Gypsy Gyppo String Band" (1977. Learned from Paul Ermine of Prince Albert, Saskatchewan). Bay 727, "Kenny Hall and the Sweets Mill String Band." Briar 0798, Earl Collins- "That's Earl." Caney Mountain Records CEP 213 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965-66. Cassette C-7625, Wilson Douglas - "Back Porch Symphony." County 506, The Skillet Lickers- "Old Time Tunes, 1927-1931." County 518, Pope's Arkansas Mountaineers- "Echoes of the Ozarks, Vol. 1." County 520, Carter Brothers and Son- "Echoes of the Ozarks, Vol. 3." County 528, Carter Bros. & Son - "Mississippi Breakdown, Traditional Fiddle Music of Mississippi, Vol. 1." County 544, Fiddlin' John Carson- "Georgia Fiddle Bands, Vol. 2." County 756, Tommy Jarrell- "Sail Away Ladies" (1976. Learned after 1925 from a friend, Charlie Lowe, a clawhammer banjoist who heard the tune broadcast on Nashville radio). Fretless 201, Gerry Robichaud--"Maritime Dance Party." Gusto 104, Tommy Jackson- "30 Fiddler's Greatest Hits." Heritage XXIV, Dave Holt - "Music of North Carolina" (Brandywine, 1978). Heritage XXXIII, Zenith String Band (Conn.) - "Visits" (1981. Learned from the Carter Brothers via Vermont/Ohio fiddler Pete Sutherland). June Appal JA 028, Wry Straw - "From Earth to Heaven" (1978. Version learned from Creed Power {Dungannon, VA} and Byard Ray {Shelton Laurel, N.C.}). Mercury SRW 16261, Tommy Jackson- "Instrumentals Country Style." Marimac 9000, Dan Gellert & Shoofly - "Forked Deer" (1986. Version learned from Carter Bros. & Son recording). Marimac 9009, Doris Kimble & Dave Spilkia - "Old Time Friends" (1987). Old Homestead OHCS191, "Dykes Magic City Trio" (Eastern Tenn.) {originally recorded in 1927 on a Brunswick 78}. Rounder 0074, Highwoods String Band- "No. 3 Special" (1977). Rounder 0047, Wilson Douglas- "The Right Hand Fork of Rush's Creek" (1975). Rounder 0193, Rodney Miller - "Airplang" (1985). Rounder CD0262, Mike Seeger - "Fresh Oldtime String Band Music" (1988. With the Ithica, N.Y., group Agents of Terra). Stoneway 143, Ernie Hunter- "All About Fiddling." Tennvale 004, Bruce Molsky- "An Anthology."
T:Cotton Eyed Joe
L:1/8
M:2/4
S:Howdy Forrester, learned from his Uncle Bob; originally transcribed by John Hartford
K:G
A/|B/d/d d>d|f/d/e/f/ d>d|B/A/G/B/ A/G/E/G/|B/A/B D>:|
|:E/|D/E/G/B/ A/G/E/F/|G/A/B/d/ cd/c/|B/A/G/B/ A/G/E/G/|B/A/B D>:|

COTTON EYED JOE [2]. Old-Time, Breakdown. G Major. Standard. AABB'. A variant of version #1, related to "Miss Brown" or "Cousin Sally Brown." Source for notated version: Bob Wills (Texas) and Leah Weiss [Phillips]. Phillips (Fiddlecase Tunebook), 1989; pg. 12. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 56.

COTTON EYED JOE [3]. Old-Time, Breakdown. A Major. Standard. AABB. The main "Cotten Eyed Joe" strains in this unique version have become much more dilluted, especially in the 'B' part. Source for notated version: Jehile Kirkhuff (Pa.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 57.

COTTENWOOD REEL. AKA- "Moreley's Reel." Old-Time, Breakdown; Canadian, Reel. USA, Missouri. Canada, Cape Breton. D Major ('A' & 'B' parts) & G Major ('C' part). Standard or ADAE. AA'BCC (Dunlay & Greenberg/Laam): AABBCC (Dunley and Reich): AA'BBCC' (Phillips). The melody appears to have originated in American tradition, migrating in the reverse direction via New England to Cape Breton. It was recorded in the 1920's by the Happy Hayseeds, a group whose members came from Oregon and California, and may have possibly been learned by Hayseed's fiddler Ivan Laam from his German-born fiddling father, Abe, according to Dunlay & Greenberg (1996). The tune is associated on Cape Breton with Angus Chisholm, however, Winston Fitzgerald stated to Paul Cranford that he himself taught it to Chisholm. As Dunley and Reich point out, internal key changes in tunes are uncharacteristic of Scottish music, the style most Cape Breton tunes are composed in. Sources for notated versions: Arthur Muise (Cape Breton) [Dunlay and Reich]; Vivian Williams (Mo.) [Phillips]; Ivan Laam (Oregon/California) [Dunlay & Greenberg]; Angus Chisholm (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pgs. 80-81. Dunlay and Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 56. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 57. Cape Breton's Magazine Tape, Mike MacDougall- "Mike MacDougall's Tape For Fr. Hector." DMP 6-27-1, Doug MacPhee- "Cape Breton Piano III" (1981). JAD-1, Jackie Dunn - "Dunn to a T" (1995). Rodeo (Banff) RBS 1255, Barbara MacDonald- "Scottish Piano Selections" (as "Moreley's Reel"). Rounder SS-0145, Joe Cormier (Cape Breton) - "Traditional Music on Rounder: A Sampler" (1981). Victor 23774 (78 RPM), The Happy Hayseeds. Voyager VRLP 328-S, "Kenny Hall and the Long Haul String Band" (learned from the Victor 78 RPM recording by The Happy Hayseeds - the Lamb brothers).

COUNTRY DANCE. A purely English dance style, of no particular form but rather distinguished by its steps and manner of performance. Its origins are very early: "it was, in its original state, the merry frolic of the countryman and his lass, free in performance and gay in character" (Pulver, 1923), and may have taken some of its conventions from the varied forms of the Branle. Country Dance reached its early peak in mid-17th century in England, where John Playford and others published numerous collections of both tunes and steps, and where the various forms ("Longways for 6," "Longways for as many as will," "a square-dance for eight," etc.) were danced by nobility and populace alike. Many of the tunes Playford published were already old in his day and part of the traditional repertoire, melodies such as "Dargason," "Blew Cap," "All in a Garden Green," "Bobbing Joe" and others. Pulver reminds us that Playford published during the period of Cromwell's Commonwealth, and remarks "it will be realized how little the Puritan regime interfered with the innocent pastimes of the masses." During the Restoration a fad for things imported included dance forms from the Continent, however, after the Pavanes, Branles, Galliards and such were danced, the evening still ended with jigs and Country Dances. Later, as the country dance was superseded at court altogether, the forms reverted to the populace who kept them alive for centuries, importing them to the various English colonies. The country dance took root especially in the American and Canadian colonies where it was an extremely popular recreation, engendering strong dance traditions which survive to this day. It is interesting to note that the origins of this quintissentially English dance were blurred due to the mania for things foreign, and at one time it was maintained (and still is, in some sources) to have derived from the French 'Contredanse', rather than the other way 'round.

COUSIN SALLY BROWN [2]. AKA and see "Miss Brown." Old-Time, Breakdown. D Major. Standard. AABB. See related melody "Cotton Eyed Joe" [2]. These words are sometimes sung to the 'B' part:
***
Where you goin' my cousin Sally Brown?
Where you goin' my cousin Sally Brown?
***
T:Cousin Sally Brown [2]
L:1/8
M:C|
S:Jay Ungar
K:D
A2B2 d4|e>d B>A d3B|A2B2d2f2|e>d B2 A4:|
|:{f}a2 a2 f2f2|e>d B>A d3B|A2 A>B d2f2|e>d B2 A4:|
"variations"
A2B2d2d2|e>d B>A d3B|A>F A>(B d2) f>d|e>d B>(d A4:|
|:{f}a2a2 f2 (f>d)|e>d B>(A d2) d>B|A>F A>(B d2) e>d|e>d B>(d A4):|

CRAP SHOOTER'S HOP. Recorded on a 78 RPM by Joe Werner and the Riverside Ramblers, an offshoot of the Cajun band the Hackberry Ramblers. A variant is Teddy Boy Houle's "White River Stomp."

CROWLEY'S [1] (Ríl Uí Chruaidhlaoich). Irish, Reel. D Major. Standard. AB (Breathnach, Moylan): AAB (Miller & Perron): AABB (Mulvihill, Taylor). The reel is commonly played along with the second Crowley reel and together are known as "Crowley's Reels." The Irish fiddling master Michael Coleman (b. 1891, Co. Sligo - d. 1945, New York) is the source for most versions of this tune, although accordion player Joe Cooley (Peterswell, County Galway) also helped popularize it. David Taylor (1992) thinks the tune was probably originally called "Crowley's" by Coleman, who, like other Irish musicians, frequently named tunes after his associates. Sources for notated versions: fiddler Tommy Potts (Ireland) [Breathnach]; Michael Coleman (Co. Sligo/New York) [Williamson]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; John Clancy (Bronx, NY) [Mulvihill]; set dance music recorded live at Na Píobairí Uilleann, mid-1980's [Taylor]. Breathnach (CRE I), 1963; No. 137, pg. 55. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 3, No. 41. Moylan (Johnny O'Leary), 1994; No. 309, pg. 178. Mulvihill (1st Collection), 1986; No. 226, pg. 61. Taylor (Through the Half-Door), 1992' No. 34, pg. 25. Taylor (Music for the Sets: Yellow Book), 1995; pg. 18. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 18. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 84. Ace of Hearts AH56, Michael Coleman (reproduction of an old 78 RPM recording). Columbia, Michael Coleman, mid-1930's. Compass 7 4287 2, Cathal McConnell - "Long Expectant Comes at Last" (2000. Learned from the Coleman 78's). Decca Records, Michael Coleman. Gael-linn CEFCD 114, Tony MacMahon & Noel Hill - " "I gCnoc na Graí" ('In Knocknagree'). Green Linnet SIF-1051, Jackie Daly, Seamus and Manus McGuire - "Buttons and Bows" (1984). Green Linnet SIF1122, Kevin Burke - "Open House" (1992). Green Linnet GLCD 1175, Cherish the Ladies - "New Day Dawning." Green Linnet GLCD 1187, Cherish the Ladies - "One and All: the best of Cherish the Ladies" (1998). Philo 2001, "Jean Carrignan" (learned from Coleman's recordings). RCA 5798-2-RC, "James Galway and the Chieftains" (1986).
T:Crowley's [1]
L:1/8
M:C|
K:D
B|A3dB2dB|ADFD ADFD|A3A BABc|dfeg fddB|ADFA B2 dB|ADFD ADFD|
A3A BABc|d2 eg fdde||f3a g2fg|eA c/B/A eA c/B/A|f3a g2 fg|afge fdde|f3a g2fg|
eA c/B/A eA c/B/A|f3a g2 fg|afge fd d||

DAILEY'S REEL. AKA - "Daley's Reel." Old-Time, Bluegrass; Breakdown. USA. B Flat Major. Standard. AABB (Brody): AABB' (Phillips). Source for notated version: Kenny Baker [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 82. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 64. County 775, Kenny Baker- "Farmyard Swing." Joe Green- "Joe Green's Fiddle Album." County 2705, Kenny Baker - "Master Fiddler."

DALEYSTOWN HUNT, THE. AKA and see "The Leitrim Fancy." Irish, Jig. Green Linnet 1069, Joe Burke - "Happy to Meet & Sorry to Part."

DAN LOWRY'S. AKA and see "The Galway Hornpipe," "McDermott's," "McDonough's Clog." Irish, Hornpipe. The title refers to a Dublin theater of the late 19th century. Caoimhin Mac Aoidh (1994) explains that O'Neill's source was a fiddler named Joe Timoney, known in Donegal as Joe Phaedar Sheain O Tiomanai, who was born and raised at Min a tSamhaidh, Fintown, Donegal, and who was the great-great-great-great-great grandson of the reknowned poet Tadhg An Fhile O'Tionamai An Aighe. Timoney emigrated to the United States at the beginning of the 20th century and arrived in San Francisco just after the great earthquake of 1906. O'Neill (Waifs and Strays of Gaelic Melody), 1922.

DAN R'S FAVORITE. Canadian, Strathspey. Canada, Cape Breton. Composed by Cape Breton, Nova Scotia, fiddler Donald Angus Beaton in honor of fiddler Dan R. MacDonald (1911-1976). Rounder 7004, Joe Cormier - "The Dances Down Home" (1977).

DANIEL O'CONNELL. AKA and see "Bundle and Go," "Larry O'Gaff." Irish, Double Jig. D Major. Standard. AABB'. David Taylor (1992) notes that this tune is often confused with the similar, though different, and better-known "Larry O'Gaff" (usually played in G Major). To add to the confusion, the tune in the volume he edits from the playing of the band Shaskeen sounds more like "Larry O'Gaff" transposed to the key of D. Bulmer & Sharpley (Music from Ireland), Vol. 4, No. 51. Taylor (Crossroads Dance), 1992; No. 49, pg. 37. Gael-Linn CEF CD 044, Joe Cooley - "Cooley" (1975). Shaskeen - "My Love is in America."

DELNABO. Scottish, Strathspey. E Minor (Skinner): E Dorian (Perlman). Standard. AAB (Skinner): AABB (Perlman). Composed by J. Scott Skinner (1843-1927). Source for notated version: Kenny Chaisson (b. c. 1947, Bear River, North-East Kings County, Prince Edward Island; now resident of Rollo Bay) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 198. Skinner (The Scottish Violinist), pg. 49. Rounder 7004, Joe Cormier - "The Dances Down Home" (1977).

DESSIE O'CONNOR'S. Irish, Slide (12/8). D Major. Standard. AABB. The 'B' part is similar to "Frieze Breeches." O'Connor was an excellent flute player in the north Connacht flute style and a Capel Street, Dublin, neighbor of fiddler John Kelly. Source for notated version: flute player Dessie O'Connor (Dublin) [Breathnach]. Breathnach (CRE II), 1976; No. 74, pg. 41 (appears as "Gan anim/Untitled"). Green Linnett GLCD 1119, Cherish the Ladies - "The Back Door" (1992). Shanachie 79093, Paddy Glackin and Robbie Hannon - "Whirlwind" (1995. A three-part setting earned from fiddler Dermot and piper Joe McLaughlin of Derry. It is considered by Dublin flute player Mick O'Connor to be of Leitrim origin, according to Caoimhin Mac Aoidh).

DEVIL IN THE KITCHEN, THE [1]. AKA and see "Calum Crubach," "Devil Shake the Half-Breed," "Gurren's Castle," "Miss Sarah Drummond of Perth," "Miss Drummond of Perth," "Mountain Reel" [4], "Our Highland Cousins," "The Prince of Wales Jig," "The Titanic Highland," "Yorkshire Bite" [2]. Scottish, Shetland, Canadian, Irish; (Pipe) Reel, Fling or Strathspey. Ireland, County Donegal. Canada; Prince Edward Island, Cape Breton. A Mixolydian. Standard. AAB (Hunter): AABB (Martin): AABBA'A'BB (Perlman): AABCCD (Skinner). Composed (according to Skinner) as a pipe tune by William Ross, the Queen's Piper, the melody was arranged (and popularized) by J. Scott Skinner (1843-1927) and appears as a two part tune in his Harp and Claymore collection. Skinner later expanded the melody to four parts (variations) in his Scottish Violinist. In pipe collections the tune set as a strathspey is attributed to one John MacPherson and once to a Donald McPhedran (in his own collection). "Devil in the Kitchen" is popular reel in County Donegal. In Scotland it is often used to accompany the Highland Fling. Source for notated version: Gus Longphie (b. 1914, Little Harbor, North-East Kings County, Prince Edward Island; now resident of Souris) [Perlman]. Hunter (The Fiddle Music of Scotland), 1988; No. 120. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 50 (strathspey setting). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 192 (strathspey). Skinner (Harp and Claymore), 1903/4. Skinner (The Scottish Violinist), pg. 11. Celestial Entertainment CECS001, Brenda Stubbert - "In Jig Time!" (1995). Culburnie Records CUL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988). Culburnie COL 113D, Aladair Fraser & Tony McManus - "Return to Kintail" (1999). Rodeo Banff RBS 1066, Dan Joe MacInnis - "The Cape Breton Fiddle of..." (1962). Rounder 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974. Strathspey setting). Rounder RO7023, Natalie MacMaster - "No Boundaries" (1996).

DROWSY/DROUSY/DROWSIE MAGGIE [1] (Mairgreadin Taimeac/Suantac). AKA and see "Sleepy Maggie," "Sleeping Maggie," "Sleepy Moggie," "Pegg in the Settle." Irish, Reel. Ireland; Counties Donegal, Sligo. E Dorian or E Minor ('A' part) & D Major ('B' part). Standard. AB (Cranitch, Feldman & O'Doherty/Byrne, Flaherty, Mulvihill, O'Neill/1850 & 1001, Spandaro, Tubridy): AAB (Kennedy, Roche & Raven): ABB' (Feldman & O'Doherty/Doherty, O'Neill/Krassen): AABB (Brody, Phillips): AABB' (Sweet): AA'BB' (Reiner): AA'BC (Songer): ABCE (Breathnach). A very common reel, the basic form of which is known to most Irish traditional musicians. There is a version of "Drowsy Maggie" particular to County Donegal, where, again, it is a popular reel. A third part to the tune is sometimes played that was first recorded in 1938 by Frank O'Higgins (see abc's below). Liz Carroll, in the notes to her album "A Friend Indeed," says the same third part was composed by the famous accordion player Joe Cooley, but in view of the fact that he would have been 14 at the time of O'Higgins' recording, this seems unlikely. Breathnach's source, Michael "The Master" McDermott (d. 1947), a schoolteacher and fiddler from Pomeroy and Carrigmore, County Tyrone, had two additional parts than the usual two-part setting; the first was similar to O'Higgins, while the fourth is a variation on the third. Sources for notated versions: fiddler Peter Horan (b. 1926, Kilavil, Co. Sligo) [Flaherty]; "from my mother" [Mulvihill]; fiddler John Doherty (1895-1980, County Donegal) [Feldman & O'Doherty]; fiddler Peter Turbit [Feldman & O'Doherty]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O'Doherty]; from the mid-20th century collection of Michael 'Master' McDermott, who got his tunes from local musicians [Breathnach]. Breathnach (CRE IV), 1996; No. 143, pg. 70. Brody (Fiddler's Fakebook), 1983; pg. 91. Cranitch (Irish Fiddle Book), 1996; pg. 86. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 68. Feldman & O'Doherty (The Northern Fiddler), 1979; pgs. 162 & 235. Flaherty (Trip to Sligo), 1990; pg. 70. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 15. Mulvihill (1st Collection), 1986; No. 48, pg. 13. O'Neill (Krassen), 1976; pg. 136. O'Neill (1850), 1903/1979; No. 1425, pg. 264. O'Neill (1001 Gems), 1907/1986; No. 662, pg. 118. Phillips (Fiddlecase Tunebook), 1989; pg. 16. Raven (English Country Dance Tunes), 1984; pg. 178. Reiner (Anthology of Fiddle Styles) 1977; pg. 51. Roche Collection, 1982; Vol. 1, pg. 64, No. 163. Songer (Portland Collection), 1997; pg. 66 (third part from the Massachusetts contradance band The Fourgone Conclusions). Spandaro (10 Cents a Dance), 1969; pg. 18. Sweet (Fifer's Delight), 1964/1981; pg.43. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 23. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 62 (appears as "Sleepy Maggie"). Claddagh CC14, Cheiftains- "Cheiftains 4" (1973). Columbia C33397, Dave Bromberg - "Midnight on the Water" (part of "Yankee's Revenge" medley). Front Hall Records FHR029, Fourgone Conclusions - "Contra Dance Music from Western Massachusetts." Green Linnett GLCD 1117, Altan - "Harvest Storm" (1992. A Donegal version learned from the playing of Con Cassidy, James Byrne and John Doherty). June Appal JA 028, Wry Staw - "From Earth to Heaven" (1978). Maggie's Music MM107, "Music in the Great Hall" (1992). Shanachie 29008, Frankie Gavin- "Traditional Music of Ireland." Shanachie 79024, "Chieftains 4" (1983). Transatlantic 337, Dave Swarbrick- "Swarbrick." Dave Bromberg- "Midnight on the Water" (fifth tune in 'Yankee's Revenge Medley).
X:1
T:Drowsy Maggie
R:Reel
M:4/4
L:1/8
K:E Dorian
"Em"E2BE dEBE|"Em"E2BE "D"AFDF|"Em"E2BE dEBE|1 "Em"BABc "D"dAFD:|2 "Em"BABc "D"dAFA||"D"d2fd "A"c2ec|"D"defg afge|1 "D"d2fd "A"c2ec|
"G"BABc "D"dAFA:|"D"afge fdec|"G"BABc "D"dAFD||
X:2
T:Drowsy Maggie
M:4/4
L:1/8
Z:County Clare setting.
K:D
~E2BE ~E2BE |~E2BE AFDF | ~E2BE GBdB | AFDE FE{G}ED ::\
fedB A4 | fedB AFD2 | e3f gfec | dBAG FDD2 :|
X:3
T:Drowsy Maggie, 3rd part
S:Liz Carroll, A Friend Indeed B 4b
L:1/8
M:C|
Z:Transcribed by Jerome Colburn
K:EDor
dBfB dBfB | A2 eA fAeA | dBfB dBfB | def^g aecf |\
dBfB dBfB | A2 eA fAeA | EGBe aece | d2 ce dAFD |]
X:4
T:Drowsy Maggie, 3rd part
S:Frank O'Higgins
L:1/8
M:C|
Z:Transcribed by Philippe Varlet
K:A
dBfB dBfB | cAeA cAeA | dBfB dBfB | defg aecA |
dBfB dBfB | cAeA cAeA | (3Bcd (3efg aecA | ~B3 c dAFD ||
X:5
T:Drowsy Maggie
S:Michael (Master) McDermott, Tyrone
B:Ceol Rince na hE/ireann 4, Breathnach/Small
M:4/4
L:1/8
Z:Transcribed by Paul de Grae
R:reel
K:EDor
~E2 BE dEBE|~E2 Bc dAFD|~E2 BE dEBB|BABc dAFD|
~E2 BE dEBE|~E2 Bc dAFD|~E2 BE dEBB|BABc dAFA||
d2 fd c2 ec|d2 fd fa{b}af|d2 fd c2 ec|BABc dAFA|
d2 fd c2 ec|d2 fd fa {b}a2|(3bag af {a}gfed|BABc dAFA||
dBfB dBfB|cAeA cAeA|dBfB ~B2 fB|defg aecA|
dBfB ~B2 fB|cAeA cAeA|(3Bcd (3efg aecA|~B2 Bc dAFA||
dff{gf}e dfBf|ce e2 {fe}ceAe|dff{gf}e defg|a{ba}gfg aece|
dff{gf}e dfBf|ce e2 {fe}ceAe|afge fded|B{cB}ABc dAFD||

DRY CREEK REEL. American, Reel or Breakdown. USA, North Dakota. D Major. Standard. AABB (Pancerzewski): AA'BB' (Phillips). Sources for notated versions: learned by Joe Pancerzewski in the 1920's from the four fiddling Nelson brothers, who homesteaded on Dry Fork Creek, near Ginnell, North Dakota, and who were in great demand as square dance fiddlers in the area [Pancerzewski]; Vivian Williams (Seattle) [Phillips]. Pancerzewski (Pleasures of Home), 1988; pg. 17. Phillips (Traditional American Fiddle Tunes), 1994; pg. 75.

DOCTOR GILBERT (An Dochtúir Gilibeart). AKA - "Dr. Gilbert's Fancy Concert Reel." AKA and see "The Dispute at the Crossroads," "The Loughros Point Reel." Irish, Reel. Ireland; County Sligo, Donegal. E Minor. Standard. AABB. "A well known reel of (Sligo/New York fiddler) Michael Coleman's" (Daniel Michael Collins). Caoimhin Mac Aoidh gives that it is most likely that the Dr. Gilbert referred to in the title was a scholar who in 1717 became Vice-Provost and Professor of Divinity at Trinity College, Dublin. His bust is still displayed in the Long room of the Library of the college that houses the Book of Kells. Source for notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 180, pg. 71. Cranitch (Irish Fiddle Book), 1996; pg. 118. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 2, No. 52. Blarney Castle Records BC-509, "Best of Irish Dance Music." Claddagh CC17, Seane Keane - "Gusty's Frolics." CEF 153, Paddy Glackin - "In Full Spate." Comhaltas LP, John Doherty. FFS 002, Pete Cooper - "The Wounded Hussar." Folkways Records, Michael Gorman & Willie Clancy. Green Linnet SIF-104, Seamus Connolly - "The Celts Rise Again" (1990). Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981). Green Linnet SIF-1098, Seamus Connolly - "Here & There" (1989). Green Linnet SIF 1163, Joe Derrane - "Return to Inis Mor." Green Linnet GLCD 1200, Lunasa - "Otherworld" (1999). Green Linnet SIF 3077, John Doherty - "Bundle and Go." IRC Records, Michael Coleman - "The Musical Glory of Old Sligo" (1967). Shanachie 29009, "Andy McGann & Paul Brady." Shanachie 79093, Paddy Glackin & Robbie Hannan - "The Whirlwind" (1995. Appears as "Dispute at the Crossroads").
T:Dr. Gilbert's
M:4/4
L:1/8
R:reel
Z:Barney
K:G
gf|:eB BA ~B3 ^c|dB Ac BA GF|ED B,D (3GGG FG|ED B,D DB, A,B,|
DE ED ED B,D|(3GFE (3FED EF GA|(3B^cd ed (3Bcd gb|ag ed e2 gf:||
e ~B3 g ~B3|de fg af df|~g3 e ~f3 d|eg fd ed Bd|
af df ed B^c|dB AG FA DF|(3B^cd ed (3Bcd gb|ag ed e2 gf:||

DODGE CITY WALTZ. Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard. One part. A related piece is Austin Pitre's "Valse de Chataignier," which is nearly the same as Bonsall's song but recorded much earlier. Source for notated version: Joe Bonsall (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 368-369. Swallow Records SW-LP6049, Joe Bonsall.

DONALD CAMERON'S POLKA. AKA and see "Donald Cameron's Reel." Canadian, Reel. Canada, Cape Breton. G Major. Standard. AABB. Despite the polka appelation Brody identifies the tune as a reel coming from the Shetland Islands. Source for notated version: Joseph Cormier (Cape Breton & Massachusetts) [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 87. Rounder 7004, Joe Cormier- "The Dances Back Home" (1977). Rounder 7006, Theresa and Marie MacLellan- "A Trip to Mabou Ridge."

DONALD STEWART THE PIPER. Scottish, Reel. D Major. Standard. ABB'. Composed by Scottish virtuoso performer and composer J. Scott Skinner (1843-1927), though only first published in J. Murdoch Henderson's Scottish Music Maker (1957), some thirty years after Skinner's death. Hardie (Caledonian Companion), 1986; pg. 19. Green Linnet GLCD 3105, Aly Bain - "Lonely Bird" (1996). Rounder 7004, Joe Cormier - "The Dances Down Home" (1977).
T:Donald Stewart the Piper
L:1/8
M:4/4
K:D
(3DDD FA d3 A |\ dcBA GFED|(3CCC A,C ECA,C|edcB AGFE|(3DDD FA d3 A|
defa gfed|BcdB Aagf|1 edcB AG FE:|2 edcB AG Ac||
|:(3ddd fd Adfa|^gaba =gfed|(3ccc Ac EDCB,|Acea ^ga=ge|(3ddd fd Adfa|
^gaba =gfed|BcdB AdcB|AGFE DAFE:|

DONEGAL TRAVELLER REEL. Irish, Reel. D Major (Carlin): C Major (Mulvihill). Standard. AB. Sometimes also played in A Major. The tune was recorded on a 78 RPM disc by Hugh Gillespie, a Donegal fiddler much influenced by Michael Coleman. The name Donegal is Gaelic for 'castle of the strangers.' Source for notated version: L. Donnelly [Mulvihill]. Black (Music's the Very Best Thing), 1996; No. 60, pg. 31. Carlin (Master Collection), 1984; pg. 127, No. 216. Mulvihill (1st Collection), 1986; No. 158, pg. 43. Green Linnett GLCD 1119, Cherish the Ladies - "The Back Door" (1992. Learned from Joe Madden).
T: Donegal Traveller
S: Hugh Gillespie
Q: 350
Z: transcribed by B.Black
R: reel
M: 4/4
L: 1/8
K: D
d2 FA DAFA | d2 fd Beec | d2 FA DAFA | gbag fddc |
d2 FA DAFA | d2 fd ce a2 | bgaf gefd | ceag fd d2 ||
a^gab afdf | abaf ge e2 | ad d2 Addf | gbag fdde |
a^gab afdf | abaf geef | gbag fagf | egfe fddc ||

DONNA'S GOT A RAMBLING MIND. Old-Time. USA, Piedmont region of N.C. GDGD tuning. In the repertoire of the late Odell Thompson (d. 1994) and Joe Thompson, Black fiddler from Orange County, Piedmont region of N.C. It is one of Joe Thompson's favorite tunes for calling at a frolic.

DON'T YOU WANT TO GO TO HEAVEN, UNCLE JOE? AKA and see "Uncle Joe," "Hop High/Light Ladies," "Did You Ever See the Devil, Uncle Joe."

DOUCETTE'S REEL. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard. AABB. Perlman (1996) says the tune is probably related to the "Bashful Bachelor Hornpipe." Source for notated version: from fiddler Joseph Doucette (b. 1910, West Prince County, Prince Edward Island) who learned the tune in his childhood from his father Joe Doucette, around 1917 [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 57.

DOUGLAS HORNPIPE. AKA and see "Joe MacKinnon's Reel."

DOWD'S NO. 9. AKA and see "The Cow with the Crooked Horn," "Hugh Gillespie's," "Jackson's No. 9," "Summer in Ireland." Irish, Reel. D Major. Standard. AABB'. The tune is attributed to Sligo fiddler John O'Dowd, and is often called "O'Dowd's No. 9." No one knows if there were eight other tunes or not, and if there were they appear to be forever lost. John O'Dowd was the uncle of Joe O'Dowd, and thus the great-uncle of Seamus O'Dowd of the group Dervish. The tune was recorded in the 1940's by Donegal fiddler Hugh Gillespie, who may have obtained it from County Sligo fiddler Michael Coleman (Carson, 1996); the former had emigrated to Boston, the latter to New York. Source for notated version: fiddler Jimmy McHugh [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1976, Vol. 4, No. 16. Taylor (Through the Half-Door), 1992; No. 23, pg. 18. CEF 115, Frankie Gavin & Paul Brock - "Tribute to Joe Cooley" (1988). Green Linnet SIF 1058, Matt Molloy & Sean Keane - "Contentment is Wealth" (1985). Outlet 3002, Paddy Cronin- "Kerry's Own Paddy Cronin" (1977). Shaskeen - "Atlantic Breeze."

DOWN HOME RAG. Old-Time, Country Rag, Breakdown. USA, Missouri. A Major. Standard. AABB. Christeson reports that the Herman Brothers "Hell Among the Yearlings" (Broadway 8165) is this tune. Source for notated version: Tom and Eva (St. Joe, Missouri radio personalities, 1932) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 14. Marimac 9017, Vesta Johnson - "Down Home Rag."

DIAMOND JOE. Old-Time, Breakdown. USA. D Major. ADAE. AB (The 'B' part was composed by New York fiddler Steve Uhrik). Source for notated version: Liz Slade (Yorktown, New York) [Kuntz].
***
I'm gonna buy me a sack of flour
Cook a hoecake every hour,
Diamond Joe better come get me, Diamond Joe.
***
I'm gonna buy me a piece of meat,
Cook me a slice but once a week,
Diamond Joe you better come get me, Diamond Joe.
***
I'm gonna buy me a sack of meal,
Take a hoecake to the field,
Diamond Joe come and get me, Diamond Joe.
***
I'm gonna buy me a jug of whiskey,
I'm gonna make my baby frisky,
Diamond Joe better come get me, Diamond Joe.
***
I'm gonna buy me a jug of rum,
I'm gonna give my Ida some,
Diamond Joe you better come get me, Diamond Joe.
***
Kuntz (Ragged but Right), 1987; pg. 277-278. County 514, The Georgia Crackers (a cover name for the Cofer Brothers)- "Hell Broke Loose in Georgia" (orig. rec. 1927).
T:Diamond Joe
L:1/8
M:2/4
S:Liz Slade
B:Kuntz - Ragged but Right
N:ADAE tuning. Notated as fingered in standard position, not as sounded.
K:D
D/E/ F/F/A/A/||[G>B>](A [G>)B>)](A|[G/)B/)]B/(A A/)D/F|A>B A>(A|B/)D/F/(E/ D)(D/E/|
F)(A A/)D/F/D/|E/D/E/(E/ F/)(F/E)|D>G, A,/G,/A,/A,/|D>[DE] D2:|
|(3A/2B/2c/2|:d/)(e/d/)d/ d/(e/d/)(A/|B/)A/F A(3A/2B/2c/2|d)B/B/ de|
(e/ f) (e/ f) (3A/2B/2c/2|d/)(e/d/)d/ d/(e/d/)(A/|B/)A/F A(D|D/)E/F/F/ A/B/A/(A/|
B/)A/F A(A|A/)(B/A/)D/ F/F/E|DD/D/ F/F/A:|

DID YOU EVER SEE THE/A DEVIL, UNCLE JOE. AKA and see "(Miss) McCloud's Reel," "Miss McLeod's Reel," "Hop Light/High Ladies," "The Cake's All Dough," "Green Mountain," "Walk Jaw Bone," "Billy Boy." Old-Time, Breakdown. USA; southwest Va., eastern Ky. G Major. Standard. AABB'. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 71. Conqueror 8136 (78 RPM), Doc Roberts (Ky.). OKeh 45268 (78 RPM) {1927}, Fiddlin' Cowan Powers 1877-1952? (Russell County, southwest Va.). Rounder Records 0058, John Patterson - "Old Originals, Vol. 2" (1978).

DINNY O'BRIEN'S REEL [1] (Ríl Dhonncha Uí Bhriain). AKA and see "The Last House of Connacht" [2]. Irish, Reel. D Mixolydian. Standard. AABB. Dinny O'Brien was the father of fiddler Paddy O'Brien, who composed the tune is his honor. Sources for notated versions: fiddler Joe Ryan and harmonica player Eddie Clarke (Ireland) [Breathnach]; Frank McCollam (Ballycastle, County Antrim) [Mulvihill]. Breathnach (CRE III), 1985; No. 145, pg. 68. Carlin (Master Collection), 1984; pg. 123, No. 208. Cranitch (Irish Fiddle Book), 1996; No. 55, pg. 146. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 3, No. 56. Mulvihill (1st Collection), 1986; No. 126, pg. 34. Everest Tradition, The Kilfenora Ceili Band (with Tommy Peoples, recorded by Mick Moloney, 1974). Green Linnet SIF 1030, Joe Ryan & Eddie Clark - "Crossroads" (1981). Green Linnet SIF 1165, Joe Burke - "The Bucks of Oranmore." Outlet 1010, Na Fili. Eileen O'Brien - "The Compositions of Paddy O'Brien" (with accordion player Willie Fogarty). Shanachie 34016, Joe Burke, Andy McGann & Felix Dolan - "The Funny Reel." Seamus Thompson - "The Long Mile." John Rea - "Traditional Music on the Hammered Dulcimer." Paddy O'Brien - "Paddy O'Brien Collection." Brogue - "At Boolavogue." Brendan Mulhaire Ceili Band - "Ceili Time in Ireland #2."
T:Dinny O'Brien's Reel
L:1/8
M:C
K:Dmix
fd (3ed^c dcAB|c2 (3dcB cAGE|D2AD EGAB|c3d efge|\
fd (3ed^c dcAB|c3c cAGE|D2AD DGAB|cAGE EDD2::\
fd (3ed^c defg|add2 adfd|ec (3dcB cdef|gcc2 gcag|\
fd (3ed^c dcAB|c2 (3dcB cAGE|D2AD EGAB|cAGE EDD2:|

DUCKS AND THE OATS, THE. AKA and see "Are You Shot?," "Joe Conway's," "The New Tenpenny," "The Tenpenny Bit."

Alexander, The 4th Duke of Gordon
***
It was first published in Marshall's First Collection of 1781, and later appeared in a Gow's Repository (First Part) in 1799. Paul Stewart Cranford (1995) remarks that some of Marshall's tunes have been in oral tradition so long in Cape Breton, Nova Scotia, that local sets have evolved; this is one such tune and numerous Cape Breton versions exist, sometimes distanced from Marshall's original. Dunlay and Greenberg (1996) note that "The Duke of Gordon's Birthday" is often used as a stepdance strathspey on Cape Breton, and Perlman (1996) records that it is the most widely played strathspey on Prince Edward Island (though the tune is distanced from its original form). Gaelic port-a-beul words have become attached to the tune, called "A' Chaora Ruadh" (The Red Sheep), and a verse by Cape Breton storyteller Joe Neil MacNeil can be found in the booklet accompanying Topic 12TS354. In County Donegal, Ireland, the tune is played as a highland where it is well-known under the title "Casey's Pig." Sources for notated versions: Douglas Lawrence of Buckie, a student of Hector MacAndrew's (Scotland) [Hunter]; Margaret (Chisholm) MacDonald (Cape Breton) [Dunlay & Greenberg]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 91. Gow (Complete Repository), Part 1, 1799; pg. 12. Hunter (Fiddle Music of Scotland), 1988; No. 73. Kerr (Merry Melodies), Vol. 1; Set 2., No. 3, pg. 4 (appears as "Duke of Gordon"). MacDonald (The Skye Collection), 1887; pg. 99. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 38. McGlashan (A Collection of Reels), Vol. 3, c. 1786; pg. 2. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 187. Stewart-Robertson (The Athole Collection), 1884; pg. 163. ACC-49398, Brenda Stubbert - "House Sessions" (1992). Appears as "Duke of Gordon Strathspey"). CAT-WMR004, Wendy MacIssac - "The 'Reel' Thing" (1994). Celtic CX 22, Donald and Theresa MacLellan - "The MacLellan Trio" (appears as "Duke of Gordon's"). Celtic CX 052, Donald MacLellan (c. 1950's). DAB4-1985, Donald Angus Beaton - "A Musical Legacy" (1985). Marimac 6501, Eddy Arsenault - "The Old Time Fiddlers of Prince Edward Island" (1993). Marquis ERA 181, David Greenberg - "Bach Meets Cape Breton" (1996). Paddledoo Music PAD 105, Buddy MacMaster - "Scottish Fiddle Rally, Concert Highlights 1985-1995" (1996). Rodeo Banff RBS 1066, Dan Joe MacInnis - "The Cape Breton Fiddle of...(1962. Appears as "Duke of Gordon"). Rodeo RLP 75, John A MacDonald - "Marches, Strathspeys, Reels & Jigs of the Cape Breton Scot." Rounder 7003, John Campbell - "Cape Breton Violin Music" (1976. Appears as "The Duke of Gordon"). Topic 12TS354, Alex Francis MacKay - "The Music of Cape Breton, Vol. 2, Cape Breton Scottish Fiddle" (1978).
T:Duke of Gordon's Birthday, The
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:G
B|G>DG>B G>D G<B|d>Bd>B A/A/A A>B|G>DG>B G>DG>B|1
d>cB>A G/G/G G:|2 D>CB,>A, G,/G,/G, G||
|:d|g>ab>g d/d/d d2|g>ab>g e/e/e e>f|g<be<g d<gB<g|A>GA>B G/G/G G:|
|:D|G>DG>D G>DG>B|d>Bg>B A/A/A AB/A/|G>EG>B G>D E/E/E|
D>CB,>A, G,/G,/G, G,||

DUNPHY'S HORNPIPE ("Crannciuil Uí Duncada" or "Cornphiopa Uí Dhonnchaidh). AKA and see "Miss Dunphy's Hornpipe." Irish, Hornpipe. G Major. Standard. AABB (Breathnach, Mulvihill, O'Neill, Roche, Tubridy): AA'BB (Moylan). Dunphy was a piper and one of Captain Francis O'Neill's sources, and O'Neill named this nameless tune after him. Although Dunphy contributed the melody it was known to another of O'Neill's sources, Father Fielding, had heard his mother lilting it, indicating some circulation in County Kilkenny. Philippe Varlet says there is no evidence of the tune being published prior to O'Neill, however, it is known to this day as a pipers' tune, perhaps in imitation of Dunphy. It was early recorded by some of the great players in Irish music: James Morrison, Michael Grogan, and pipers Neilus O'Cronin, Liam Walsh, Leo Rowsome, William Andrews, and Sean Dempsey. Jim Coogan says the tune was a favorite with accordion Joe Mills, and was "the hornpipe he would always play for dancers." Source for notated version: piper Pat Mitchell, 1972 (Dublin, Ireland) [Breathnach]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border [Moylan]. Allan's Irish Fiddler, No. 73, pg. 19. Breathnach (CRE II), 1976; No. 301, pg. 154. Moylan (Johnny O'Leary), 1994; No. 225, pg. 130. Mulvihill (1st Collection), 1986; No. 31, pg. 98. O'Neill (1915 ed.), 1987; No. 307, pg. 152. O'Neill (Krassen), 1976; pg. 166. O'Neill (1850), 1903/1979; No. 1560, pg. 289. O'Neill (1001 Gems), 1907/1986; No. 810, pg. 140. Roche Collection, 1982; Vol. 3, pg. 59, No. 167. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 12.Gael-Linn CEF 045, "Paddy Keenan" (1975). Green Linnet SIF-1110, "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Piping Pig Records PPPCD 001, Jimmy O'Brien- Moran - "Seán Reid's Favourite" (1996).
T:Dunphy's
M:4/4
L:1/8
R:Hornpipe
D:Eddie Cahil
Z:N. Ishi
K:G
D2|G2BA GB dg|fe ed ec AG|FA DE FG Ac|(3BAG (3AGF GF ED|
G2BA GB dg|fe ed ec AG|FA dB cA FG|AG GF G2:: Bc|
(3ded Bd gd Bd|(3gfg af gd Bd|(3gag fg ed ^cd|ed d^c d2 (3def|
g2 dc (3BdB GB|ec AG (3FAF DF|GB dB cA FG|AG GF G2:||

DUNTROON REELS MEDLEY. Cape Breton, Reels. Rounder 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974).

DUSKY MEADOW. AKA - "Dusty Miller." Canadian, Strathspey. Canada; Cape Breton, Prince Edward Island. A Mixolydian. Standard. AB. Dunlay and Greenberg state there are several theories as to the origin of this strathspey. It is said to have been published by Elias Howe of Boston, who printed several collections in the 19th century, but they were not able to find it; Cape Breton fiddler Bill Lamey, they report, was one who was convinced it came from a book (his accompanist, Lila Hashern, suggested it was from a pipe collection). Famous Cape Breton fiddler and composer Dan R. MacDonald thought it might have been connected with Simon Fraser's unpublished second collection, though Paul Cranford (Little River, Cape Breton) could not locate in his microfilm copy of the manuscript). Joan MacDonald Boes suggests in was 'Little' Jack MacDonald who brought the melody to the attention of Cape Breton fiddlers. Finally, the composed has been attributed to Donald MacLellan, who suggested there existed four parts to it. See also dissertation by Earl V. Spielman entitled "Traditional North American Fiddling" (1969). The alternate title, "Dusty Miller," is the name of several tunes and became attached to "Dusky Meadow" (at least with some Cape Breton musicians) due to its being called by the "Miller" title on a recording by Bill Lamey and Joe MacLean (Kate Dunlay). Source for notated version: Carl MacKenzie (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 31. Celtic 20, Five MacDonald Fiddlers. Celtic CX 043, CX 1, CX51, Bill Lamey & Joe MacLean (c. 1950. Appears as "Dusty Miller"). CLM 1006, Carl MacKenzie - "Celtic Ceilidh" (1986). Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988. Learned from fiddler Kate Dunlay {Wayland, Mass./Ontario). Marimac C-6501, Peter Chaisson - "The Old Time Fiddlers of P.E.I." (1993). Nimbus NI 5383, John Morris Rankin & Howie MacDonald - "Traditional Music from Cape Breton Island" (1993). E25Q 7243 8 82013 2 2, Jonh Morris Rankin & Howie MacDonald - "Grey Dusk of Eve" (1995). RDRC 850, Raymond Ellis - "Dedicated to Mom and Dad" (1994).
T:Dusky Meadow
M:4/4
L:1/8
Z:Toby Rider
K:A Mixolydian
B,| A,>A E<C D<G,D>B,| A,>A E<C F>DE>C| D<EC>E D/2C/2B,/2A,/2 G,>B,| A,>
AE>D C<A,A,>B,|!
,>A E<C D<G,D>B,| A,>A E<C F>DE>C| D<EC>E D/2C/2B,/2A,/2 | D<EC>E D/2C/2
B,/2A,/2 G,>d| c>A e/2d/2c/2B/2 c<A>A|!
g| a>ec>A B
GG>g| a>e c<A e>Ac>A| d<Bc>A d/2c/2B/2A/2 G>g| f<ae>d c>AA>g|!
a>ec>A B<GG>g| a>e c<A e>Ac>A| d<Bc>A d/2c/2B/2A/2 G>g (3faf
>d c>AA||

DUSTY MILLER [2]. AKA - "Miller's Reel." Old-Time, Bluegrass, Canadian, Texas Style. USA; Texas, Missiouri. Unrelated to version #1. A Mixolydian. Standard. AABBCC. The tune is commonly played at mid-western fiddle contests. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]; Joe Greene [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 97. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 22. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 78. Reiner (Anthology of Fiddle Styles), 1977; pg. 66. American Heritage 25, "Poor Richard's Almanac." County 202, "Eck Robertson: Famous Cowboy Fiddler." County 722, Joe Greene- "Joe Greene's Fiddle Album." County 724, Benny Thomasson- "Country Fiddling." Missouri State Old Time Fiddlers' Association, Dwight Lamb (b. 1934) - "Old Ladies Pickin' Chickens." Rounder 0046, Mark O'Conner- "National Junior Fiddle Champion." Rounder 0086, Butch Robbins- "Forty Years Late." Rounder 0235, Alison Krauss - "Too Late to Cry." Rounder C-11565, Alison Krauss - "Rounder Fiddle" (1990). Voyager 319-S, Ace Sewell- "Southwest Fiddlin.'"

EAGLE'S WHISTLE, THE [2]. AKA and see "O'Donovan's March." Irish, Air or March (3/4 time). G Major. Standard. AB. Sources for notated versions: "Taken down from the whistling of James Quain and of Michael Dinneen, both of Coolfree [Joyce]; piper and folklorist Seamus Ennis [Heymann]. Heymann (Secrets of the Gaelic Harp), 1988; pg. 109. Joyce (Ancient Irish Music), 1890; No. 53, pg. 53. "Michael Tubridy." Shanachie 78012, Joe & Antoinette McKenna - "The Best of..."

EARL OF HYNDFORD('S REEL) Scottish, Cape Breton; Reel. C Minor. Standard. AB. Carlin (The Gow Collection), 1986; No. 249. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pg. 4. MacDonald (The Skye Collection), 1887; pg. 187. Stewart-Robertson (The Athole Collection), 1884; pg. 268. Rounder 7004, Joe Cormier - "The Dances Down Home" (1977).
T:Earl of Hyndford
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C Minor
G,|C2 EG cdec|BGFE EB,B,D|C2 EG cdec|BGFD ECCE|C2 EG cdec|BGFE DB,B,D|
ECFD GEAF|GEFD ECC||G|cGEe cgec|Bbfg dfBd|ecge dBGc|BEDG ECCG|
CGEe cgec|GdFB DFB,D|ECFD GEAF|GEFD ECC||

EARL OF SEAFIELD'S REEL, THE [3]. AKA and see "Andy's Reel." Scottish, Reel. D Major. Standard. AB. A 19th century tune composed by Donald Grant, appearing in a collection of 1820. The melody was recorded by Cape Breton fiddler Joe Cormier (like Winston Fitzgerald, a founding member of the Cape Breton Symphony) under the title "Andy's Reel." Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 128, pg. 52. Rounder Records 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974. Appears as "Andy's Reel").

EARLY IN THE EVENING. Old-Time, Reel or Breakdown. USA; North Dakota, Missouri. A Major. Standard. AABB. Sources for notated versions: Joe Pancerzewski learned the tune from the fiddling Nelson Brothers around 1920 (The Nelson brothers, who homesteaded near Grinnell, North Dakota, were four fiddling brothers who were much in demand in the area as square dance musicians); Vivian Williams (Seattle) [Phillips]. Pancerzewski (Pleasures of Home), 1988; pg. 15. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 79.

EEL IN THE SINK, THE. AKA and see "The Hills of Kesh," "The Irishman's Blackthorn." Irish, Reel. A Dorian. Standard. AB (Mulvihill): AAB (Flahery, Taylor). The tune was recorded by melodeon player Frank Murphy as "The Eel in the Sink" in 1928, however, earlier recordings exist under the "Hills of Kesh" title. Sources for notated versions: accordion player Joe Fallon (b. 1935, Collooney, County Sligo) [Flaherty]; Sean Ryan (County Offaly) [Mulvihill]. Bulmer & Sharpley (Music from Ireland), 1976, Vol. 4, No. 33. Flaherty (Trip to Sligo), pg. 99 (appears as "unknown"). Mulvihill (1st Collection), 1986; No. 32, pg. 8. Taylor (Through the Half-door), 1992; No. 17, pg. 14. Shaskeen - "Atlantic Breeze." Shaskeen - "Shaskeen Live."
T:Eel in the Sink
M:4/4
L:1/8
S:Gerry O'Connor, Louth (fiddle)
R:Reel
N:As played
D:Session tape - Ballaghadereen Fleadh, 1977
Z:Bernie Stocks
K:G %ie. Am 1 #
(3.e.f.e AB cde^c | ~d2BG DGBG | (3.e.f.e AB cdea|1 {a}gedB cAag :|2 {a}gedB cAce ||(3.a.b.a ea {b}aged | cdef (3gfg ea | {b}agea {b}ageg | {a}gedB {d}BAce | agea {b}aged | cdef g2 (3e.f.g | afge fdeg | {a}gedB {d}BAA2 ||

EILEEN AROON (Eibhlin a Ruin) [1] {"Eileen My Treasure" or "Darling Eileen"}. AKA - "Aileen Aroon," "Allen A'Roon," "Eib(h)lin A Ru(i)n." AKA and see "An tiocfadh tu a bhaile liom," "An d-tiocfard," "Ducdame," "Erin, the Tear and the Smile," "Robin Adair." Irish (originally), Scottish; Slow Air (3/4 time). D Major (O'Neill): A Major (Flood). Standard. AB (O'Neill): AAB (Flood). One of the oldest tracable tunes in all fiddle literature and still current in the living tradition. Flood (1905) states that it was composed in 1386 by Carrol mor O'Daly {Cearbhall O Dalaigh} (d. 1405), a famous Irish minstrel harper described by old annalists as the 'chief composer of Ireland, and Olair (Doctor) of the Country of Corcomroe,' apparently on the authority of Hardiman. Bunting and Francis O'Neill (1913) give the harpers name not as Carol/Carrol/Carroll but Gerald O'Daly, and Bunting refers to him as a contemporary of Rory Dall O'Cahan, who died in 1653, though he thinks the melody much older and that O'Daly only adapted Irish words to it. Mrs. Mulligan Fox, in Annals of the Irish Harpers gives the 1405 date for the harper's death, and Fitz Gerald speculates that, since the hero of the song says he would spend a cow to entertain his ladylove, that a date of 1450 would be consistent with a time when 'living money' was still in use. No matter what his first name, "O'Daly so captivated Eilleen (Eibhlin) Kavanagh of Polmonty Castle, Co. Carlow (near New Ross, Co. Wexford), that she eloped with him on the eve of her betrothal to a rival lover" (Flood, 1905, pg. 62). An erroneous legend has the song composed by Donogh mor O'Daly, of Finvarra, Cistercian Abbot of Boyle (d. 1244), who was called 'the Ovid of Ireland,' and another version of the song was apparently composed by a 17th poet, also named Cearbhall O Dallaigh. To complicate matters further, James E. Doan (Eigse, volume XVIII, part 1, 1980) concludes there were several poets of the name of Cearbhall O Dalaigh between the 13th and 17th centuries, and suggests that the versions which have survived to the present day in Irish literature and song are really a composite of features of all, a folk-process amalgum. O'Neill (1913) records that the highly romantic story of "Eibhlin a Ruin" and her elopement with Carroll O'Daly was derived from Galway harper Cormac Common's (1703-c. 1790) repertory.
**
The melody was later admired by the German composer Handel during his stay in Ireland, according to Charles O'Conor of Belanagame (Flood, 1906). A note in Pepys' diaries refers to one Joe Harris, an Irish actor in London, singing the song in Gaelic in a performance of Shakespeare's Henry V: "Among other things, Harris, a man of fine conversation, sang his Irish song, the strangest in itself, and the prettiest sung by him that ever I heard" (Flood, 1906, pg. 72). It retained its popularity, being sung at the Smock Alley Theatre, Dublin, in the Christmas season of 1728 by Mrs. Sterling at the end of the opera The Way of the World, and again at that theatre in December 1743 by Mrs. Storer as an interlude during performances of Julius Ceasar. Charles Coffey included it in his 1728 ballad opera The Beggar's Wedding, written after the success of John Gay's Beggar's Opera, and O'Sullivan and O'Neill both find this to be one of the earliest printed versions of the tune. A broadside without printer's imprint and with different words than Coffey's was published about 1740 under the title "Ailen Aroon, an Irish Ballad." See also note for "Robin Adair." Source for notated version: A MS from 1726 [Flood]. Brysson (Curious Selection), c. 1790; pg. 20. Flood, 1905; pg. 62. Hime (Pocket Book), volume IV, 1810; pg. 16. Holden (Old Established Tunes), 1806-7; pg. 29. James Johnson (The McLean Collection), 1772 (Edinburgh); pgs. 28-29 (set by Charles McLean). Kinloch (100 Airs), Part I, c. 1815; No. 10. McFadden (Scotch, English, Irish and Foreign Airs), volume V, 1790-1797; pg. 29. Mooney (History of Ireland), 1846; pg. 535. Murphy (Irish Airs and Jigs), 1809; pg. 27. O'Farrell (Music for the Union Pipes), 1797-1800; pg. 30. O'Farrell (Pocket Companion), 1801-10; pg. 20. O'Neill (1850), 1979; No. 392, pg. 68. Burke Thumoth (12 Scotch and Irish Airs), No. XIII, c. 1745-50. Walsh (Ceol ar Sinsear), Part V, 1920; pg. 18.

EILEEN NÍ RIORDAIN'S. Irish, Polka. GN1, Joe Thoma - "Up the Track: Traditional Music from Kenmare."

ELEANOR KANE'S. AKA and see "Eddie Kelly's." Irish, Reel. G Major. Standard. ABB. Composed by County Cavan/Philadelphia fiddler Ed Reavy (1898-1988) for his friend, pianist Eleanor (Neary) Kane of Chicago (who herself died in 1993). Ed's son Joe states that this is one of his father's "top tunes." Reavy (The Collected Compositions of Ed Reavy), No. 19, pg. 20.

ELIZABETH'S BIG COAT (Cota Mor Ealasaid). AKA- "Effie's Big Coat," "Lassies of Glenaodale," "A Mabou Reel," "Old Timer Reel," "Poirt Mabou" (Port Mhabu). Canadian, Reel. Canada, Cape Breton. A Mixolydian. Standard. AABB (Dunlay & Reich/MacMaster, Dunlay & Greenberg/MacDonald): AABB'CC'DD (Dunlay & Greenberg/Donald MacLellan). The melody is played as both a two and four part reel on Cape Breton, where it is often known simple as "A Mabou Reel" (Poirt Mabou), remark Dunlay & Greenberg (1996). The third and fourth turns have been credited to Ronald MacLellan. The Gaelic mouth-music words for "Cota Mor Ealasaid" are given by John Shaw in the booklet accomanying Topic 12TS354. Sources for notated verisons: Buddy MacMaster (Cape Breton) [Dunlay and Reich]; Mary MacDonald and Donald MacLellan, son of Ronald MacLellan (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pgs. 42-43. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 43. Shears (The Gathering of the Clans Collection), 1986 (four parts). Celtic CX 20, "The Five MacDonald Fiddlers" (c. 1957. Appears as "Lassies of Glenaldale"). Celtic CX 41, Paddy "Scotty" LeBlanc - "This is Sydney" (appears as "Old Timer Reel"). DMP 6-27-1, Doug MacPhee- "Cape Breton Piano III" ('98'. Appears as "Effie's Big Coat," played in four parts). Rounder 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974. Appears as "Lassies of Glenaodale"). Topic 12TS354, Mary MacDonald- "Cape Breton Scottish Fiddle" (1978. Various artists).

ELVY'S SCHOTTISCHE. American, Schottishce. USA, North Dakota. A Major. Standard. ABC. The tune was copied by Joe Pancerzewski from a notebook of friend and fiddler Elvy Osborne. Osborne was born in 1882 in Illinois, but moved to North Dakota as a young man where he tried homesteading. When this failed he moved to the largest town, Minot, and began barbering. Frequently he would hold impromptu jam sessions in his barber shop. Pancerzewski (Pleasures of Home), 1988; pg. 8.

END OF THE LANE. AKA and see "Winder Slide." AKA - "End of the Layne." Old-Time, Breakdown. The title supposedly came about because it was the last piece on a privately-circulated tape recording of old-time fiddler Bert Layne, of Skillet Lickers fame. The tune was not introduced or otherwise identified and, since it was at the end of the tape, it was dubbed "End of the Layne." The original title is Winder Slide, composed by Joe LaRose.

FARRELL O'GARA'S FAVORITE REEL. AKA and see "Last Night in Leadville," "Last Night's Fun," "The Macroom Lasses," "Old Joe Sife," "Stick it in the Ashes." Irish, Reel. A Major. Standard. AABB. See also "More Power to Your Elbow" in O'Neill for a version in the key of 'G' major. Cole (1001 Fiddle Tunes), 1940; pg. 47.
T:Farrell O'Gara's Favorite Reel
L:1/8
M:2/4
S:Cole's 1001
K:A
A/F/|E/A/A/c/ B/A/a/f/|e/c/B/d/ cA/F/A/|E/A/A/c/ B/A/a/f/|e/c/B/c/ AA/F/|
E/A/A/c/ B/A/a/f/|e/c/B/d/ c/A/F/A/|E/A/A/c/ B/A/a/f/|e/c/B/c/ A:|
|:(3e/f/g/|{b}a/g/a/f/ e/a/c/e/|d/B/c/A/ {c}B/A/F/A/|{b}a/g/a/f/ e/a/c'/a/|
b/a/b/c'/ aa/b/|c'/a/f/a/ e/a/c/e/|d/B/c/A/ B/A/F/A/|E/A/A/c/ B/A/a/f/|e/c/B/c/ A:|

FATHER HANLEY'S JIG. AKA and see "The Rambler." Irish, Jig. Copley 78 RPM, Joe Derrane. Shanchie 34008, Andy McGann & Paddy Reynolds.

FATHER PAT'S TOP COAT. Irish, Waltz. GN1, Joe Thoma - "Up the Track: Traditional Music from Kenmare."

FAIRY HURLERS. AKA and see "Walsh's Favourite." Irish, Reel. Caoimhin Mac Aoidh (1994) explains that O'Neill's source was a fiddler named Joe Timoney, known in Donegal as Joe Phaedar Sheain O Tiomanai, who was born and raised at Min a tSamhaidh, Fintown, Donegal, and who was the great-great-great-great-great grandson of the reknowned poet Tadhg An Fhile O'Tionamai An Aighe. Timoney emigrated to the United States at the beginning of the 20th century and arrived in San Francisco just after the great earthquake of 1906. Breathnach (1963) finds the 'A' part is shared with "Lord Wellington." O'Neill (Waifs and Strays of Gaelic Melody), 1922.

FANCY HORNPIPE. Cape Breton, Hornpipe. The "Fancy Hornpipe" is the tune for the dance Mic Mac Rotery. The rotary was a traffic circle near a Mic Mac Indian village. Rounder 7004, Joe Cormier - "The Dances Down Home" (1977).

FAREWELL TO KINSALE. Irish, Slow Air (4/4 time). G Minor. Standard. AB. Source for notated version: "...from the whistling of Joe Martin of Kilfinane Co. Limerick, a rambling working man with a great knowledge of Irish airs and songs, and much natural musical taste" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 180, pg. 90.
T:Farewell to Kinsale
L:1/8
M:C
S:Joyce - Old Irish Folk Music
N:"Slow and with expression"
K:G Minor
G/A/|B>cdg fdcA|G>BAG F3 G/A/|B>cd=e fdBc|dggf g3 g/a/|b>agf df dc/A/|
G>BAF D3 G/A/|B>cdf gd d/e/d/c/|A2 GG G3||G/A/|B>ABc d>=e f/e/d/c/|
dg a/g/f/a/ g3 G/A/|B>cdb afdc|d2ff f3 d/d/|dggf edcA|G>BAG F3 G/A/|
B>cdf gd d/e/d/c/|A2 GG G3||

FAREWELL TRION. Old-Time, Breakdown. USA, Alabama. G Major (Carlin): C Major (Kuntz, Phillips). Standard. AABC (Kuntz): AA'AA'BB'C (Phillips). Played slower than the usual breakdown tempo. The primary source for the tune is fiddler Mack Blalock, of Mentone, Alabama, who had it "from his great-uncle Joe Blalock (b. 1854) who composed it upon returning to Alabama after getting laid off from a mill in Trion, Georgia. James Bryan added a third part to the tune" (Old-Time Herald, Vol. 1, No. 6, Winter 1988-89). Source for notated version: James Bryan (Ala.) with Bob Carlin [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 49. Rounder 0197, Bob Carlin - "Banging and Sawing" (1985).
T:Farewell Trion
L:1/8
M:2/4
S:James Bryon
Z:Transcribed by Andrew Kuntz
K:C
z|e/ g a/ ge|(dc) c2|A/ c d/ c/A/G/A/|c/A/c/d/ e2|e/ g a/ ge|(dc) c2|
A/ c d/ c/A/G/A/|A/G/E/C/ D/C:|
||C/|G,/A,/C/D/ E/G/A/B/|c/B/A (c2|c2 c)c/d/|c/A/G/c/ A/G/E/C/|
D/ E3 C/|G,/A,/C/D/ E/G/A/B/|c/B/A (c2|c2 c)c/d/|c/A/G/A/ c/A/G/E/|
D/C/E/F/||GE/F/ GE/F/|G/A/G/E/ D/C/E/F/|GE/F/ GA/B/|c/A/G/E/ D/C/E/F/|
GE/F/ G>G|G/A/G/E/ D/C/A,/C/|G,/A,/C/D/ E/G/A/B/|c/A/G/E/ D<C||

FIGHT ABOUT THE FIRESIDE. AKA and see "Road to Arisaig," "Strathspey in Memory of Angus Allan Gillis," "White Clover." Canadian, Strathspey; Scottish, Reel. Canada, Cape Breton. C Major. Standard. AAB (Athole, Gow): AABB (Dunlay & Greenberg, Dunlay & Reich, Honeyman, Kerr). A double-tonic tune. Sources for notated versions: Joe Cormier (Cape Breton & Boston) [Dunlay and Reich], Alex Gillis and Alcide Aucoin (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 68. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 66. Gow (Complete Repository), Part 1, 1799; pg. 19. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 15. Kerr (Merry Melodies), Vol. 2; No. 79, pg. 11. Stewart-Robertson (The Athole Collection), 1884; pg. 63. PLP4-1012, Joe Cormier- "The Cheticamp Connection" (appears as "Strathspey in Memory of Angus Allan Gillis"). Decca 14006 (78 RPM), Alex Gillis and Alcide Aucoin/The Inverness Serenaders (appears as "White Clover"). Celtic 57 (SCX 57), The Five MacDonald Fiddlers- "The Fiddlers of Cape Breton" (various artists. Appears as "Road to Arisaig"). CDAB-3 26-1, Kinnon Beaton- "Cape Breton Fiddle I."
T:Fight About the Fireside
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C
c|GcEc Addc|GeEc GcEc|FcEc DddB|cGAF ECC:|
f|ecgc eddf|ecgc acgc|fage dcde|GAcd e2df|ecgc eddf|
ecgc acgc|fage dcde GAcd e2 dc||

FINGER RING. AKA and see "I Wish't I Had a New Five Cents," "New Five Cents." Old-Time, Breakdown/ Song. USA, Oklahoma. D Major. ADAE. AABB. Originally from African-American tradition. Source for notated version: R.E. Perkins (Sequoyah County, Oklahoma) [Thede].
***
I would not have a yeller gal, I'll tell you the reason why,
She'd blow her nose on yeller corn bread and call it pumpkin pie.
***
Refrain
Wish't I had a finger ring (or, new five cents),
Wish't I had a dime;
Wish't I had a finger ring (new five cents),
To give that gal of mine.
***
I would not have a yeller gal, I'll tell you the reason why,
Her neck's so long and yeller I'm afraid she'd never die.
***
Mawsy had a yeller gal, brought her from the South,
Her mouth looked like an old fireplace with the ashes all raked out.
***
Mawsy had an old gray mare I know her mighty well,
If she ever jumps in my corn patch she'd better jump in hell.
***
Mawsy had an old blind horse, he calls him Bawly Sam,
Every tooth in his old head is sixteen inches round.
***
(See "Old Joe Clark," "Old Dan Tucker" for similar floating verses, also the song "Raise a Ruckus (Roughhouse) Tonight")
Thede (The Fiddle Book), 1967; pg. 67.

FIRST MONTH OF SUMMER, THE (An Cead Mi Samrad). Irish, Reel. A Major (O'Neill): D Major (Flaherty): G Major (Mulvihill). Standard. AB (Mulvihill, O'Neill/1850 & 1001): AAB (O'Neill/Krassen): AABB (Flaherty). A version of this tune is the old-time "Grey Eagle." Flaherty's D Major variation could be considered a discrete version of this tune. New York fiddler Andy McGann famously recorded the tune in a set with "The Lads of Laois." Sources for notated versions: fiddler Philip Duffy (b. 1966, London, now of Dublin) [Flaherty]; L. Donnelly [Mulvihill]. Flaherty (Trip to Sligo), 1990; pg. 26. Mulvihill (1st Collection), 1986; No. 156, pg. 42. O'Neill (Krassen), 1976; pg. 98. O'Neill (1850), 1903/1979; No. 1214, pg. 229. O'Neill (1001 Gems), 1907/1986; No. 491, pg. 94. Green Linnet SIF-1110, Andy McGann - "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Shaskeen Records OS-360, Andy McGann, Felix Dolan, Joe Burke - "A Tribute to Michael Coleman" (c. 1965).
T:First Month Of Summer
S:Limerick Junction
Z:Juergen.Gier@post.rwth-aachen.de
L:1/8
M:4/4
K:G
BA|GEEE D2BD|D2BD GABA|GEEE DBBB|DEGA B2BA:|\
GBBB dBeB|dBBB e2eg|dBBd e2dB|BABG ABce|\
dBBB dBeB|dBBB e2ef|gfed edBd|cABG AcBA|]

FISHERMAN, THE. AKA and see "Bit of Ginger," "Joe Derrane's," "The Lilting Fisherman," "Lissalumna Fiddler," "Paddy's Resource."

FISHERMAN'S LILT [2]. AKA and see "Bit of Ginger," "Joe Derrane's," "Lilting Fisherman." Irish, Jig. McNulty (Dance Music of Ireland), 1965; pg. 18.

FISHER'S HORNPIPE (Crannciuil {Ui} Fishuir). AKA "The Fisher's," "Fisherman's Hornpipe." AKA and see "The Blacksmith's Hornpipe" (Ireland {Joyce}), "China Orange Hornpipe," "Egg Hornpipe," "Fisherman's Lilt," "The First of May," "Kelly's Hornpipe" [3], "Lord Howe's Hornpipe," "O'Dwyer's Hornpipe," "Peckhover Walk Hornpipe," "Roger MacMum" (Irish), "Sailor's Hornpipe," "Wigs on the Green" (Ireland {Roche}). English, Irish, Scottish, Shetlands, Canadian, Old-Time, Texas Style, Bluegrass; Hornpipe, Reel, Breakdown. USA & Canada, widely known. D Major {most modern versions}: G Major {often in the Galax, Va. area, also Bayard's version collected in Prince Edward Island}: A Major (Mississippi fiddler Charles Long): F Major {Burchenal, Cranford, Honeyman, Linscott, Miller & Perron, Miskoe & Paul, Perlman, Raven, Phillips/1995, Welling}. Standard or ADAD. AABB (most versions): AA'BB (Perlman): AA'BB' (Miskoe & Paul). On the subject of the title, several writers have posited various speculations on who the 'Fisher' might have been. Charles Wolfe, among others, believes it was originally a classical composition by German composer Johann Christian Fischer (1733-1800), a friend of Mozart's, which thought Samuel Bayard (1981) concurs, noting the tune goes back to latter 18th century England where it was composed by "J. Fishar" and "published in 1780" (Most of the alternate titles he gives {and which appear above} are "floaters"). Van Cleef and Keller (1980) identify the composer as probably one James A. Fishar, a musical director and ballet master at Covent Garden during the 1770's, and note it is included as "Hornpipe #1" in J. Fishar's (presumably James A. Fishar's) Sixteen Cotillons Sixteen Minuets Twelve Allemands and Twelve Hornpipes (John Rutherford, London, 1778). A few years later the melody appeared in England under the title "Lord Howe's Hornpipe" in Longman and Broderip's 5th Selection of the Most Admired Dances, Reels, Minuets and Cotillions (London, c. 1784). McGlashan printed it about the same time in his Collection of Scots Measures (c. 1780, pg. 34) under the title "Danc'd by Aldridge," a reference to the famous stage dancer and pantomimist Robert Aldridge, a popular performer in the 1760's and 1770's. Although it is known in Europe as a hornpipe, it has also been played as a reel for dancing the Shetland Reel in Scotland's Shetland Islands. Linscott (1939) thinks the melody resembles an "ancient" Irish folk tune known as "Roger MacMum," implying it might have been derived from that source.
***
The tune became widely popular in a short span of time. It was already known as "Fisher's Hornpipe" in both England and the newly independent United States when it was written out by the American John Greenwood in his copybook for the German flute of c. 1783. Another 18th century American publication, a 1796 collection entitled An Evening Amusement for German Flute and Violin, was printed in Philadelphia by Carr and contains the hornpipe set in 'D' Major. An American country dance was composed to the tune and first appeared in this country in John Griffith's Collection, a Rhode Island publication of 1788. Both dance and tune became American classics and entered traditional repertory throughout the county. A fiddler with the Moses Cleaveland surveying party (the city of Cleveland, Ohio, is named after him) is recorded as having played "Fisher's" during an impromptu dance on the first evening the party camped on the banks of the Cuyahoga river, as recorded in the diary of a surveyor with the party. It was one of the most widely known fiddle tunes and, along with "Rickett's Hornpipe," the most popular hornpipe played in the Southern Appalachians (although as time went on hornpipes were not generally dropped from the repertoire, certainly as an accompaniment for dancing, but "Fishers" remained in the repertoire as a fiddler's tune which was frequently played when a few musicians would get together for their own enjoyment). The tune retained its popularity, and Jim Kimball states that both "Fishers" and "Ricketts" (along with "Devil's Dream" and "Soldier's Joy") were favorite tunes for the last figure of square dances in western New York state into the early 20th century.
***
Around the Galax, Va., region quite a few fiddlers, like Charlie Higgins and John Rector, play 'Fisher's' in the key of 'G' Major. Tommy Jarrell, of nearby Mt. Airy, N.C., plays the tune in 'D' Major, as did his father, Ben Jarrell, though the tune usually appears in 'F' Major in early collections (the earliest American appearance, John Greenwood's flute MS of 1783, has the tune in 'G,' however). 'F' Major renditions are still common (along with 'D' Major versions) among fiddlers in central and north Missouri-- though relatively rare in the Ozarks region of the state--perhaps because of the because of the influence of the old town orchestras or brass bands (with flat-keyd wind instruments), radio broadcasts from Canadian fiddlers, and local classically trained music professors. Despite the seeming prevalence of the hornpipe set in 'F' major in early publications, Jim Kimball finds that the John Carroll manuscript collection, copied before 1804, gives "Fisher's" in the key of D Major, as does the John Studderd manuscript, c. 1808-1815, and the John Seely manuscript, c. 1819-1830 (Carroll was an Irish-American military musician stationed at Fort Niagara at the time he wrote his manuscript who apparently played both fife and fiddle; Studderd was a native of England prior to emigrating to western New York state in the 1820's; Seely, according to family history, was a fiddler who lived in western New York state for whom "Fishers" was a favorite tune).
***
The title "Fisher's Hornpipe" has been mentioned frequently in periodicals and other printed sources in America over the years. For example, it was recorded as having been one of the catagory tunes at the 1899 Gallatin, Tenn., fiddlers contest; each fiddler would play his version of the tune, with the best rendition winning a prize (C. Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80). Similarly, it was listed in the Fayette Northwest Alabamian of 8/29/1929 as one of the tunes likely to be played by local fiddlers at an upcoming convention (Cauthen, 1990). Moving north, another citation stated it had commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly), while Burchenal (1918) printed a dance from New England of the same name to the tune. A Report of the Celebration Held in August 1914 for the 150th Anniversary of the Town of Lancaster (N.H.) gives the title as one of the tunes and dances performed at a cotillion that month. The title appears in a list of Maine fiddler Mellie Dunham's repertoire (Dunham was Henry Ford's champion fiddler in the late 1920's) and Gibbons (1982) notes it has been "a traditional dance melody familiar to fiddlers throughout Canada." Perlman (1996) notes it has status as one of the "good old tunes" played by Prince Edward Island fiddlers. In the South and Midwest the tune was recorded for the Library of Congress from the playing of Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist Vance Randolph, and (by Herbert Halpert) from the playing of Mississippi fiddlers Charles Long and Stephen B. Tucker in 1939. The Arizona fiddler Kenner C. Kartchner related that it, in modern times, it was "played often at (the) Weiser (Idaho) annual (fiddle) contest" (Shumway), to which Louie Attebery (1979) concurs, calling it part of the "standard fare" of many fiddlers at that festival and contest.
***
In the repertiore of Uncle Jimmy Thompson (1848-1931) {Texas, Tenn.}, and Buffalo Valley, Pa. dance fiddler Harry Daddario. See also "Miss Thompson's Reel," which particularly resembles the "Fisher's" in it's second section.
***
Sources for notated versions: Edson Cole (Freedom, N.H.) [Linscott]: Frank George (W.Va.) [Krassen]; Frank Lowery (Prince George, British Columbia) [Gibbons]; Lorin Simmonds (Prince Edward Island, 1944) [Bayard, 1981]; transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.), who learned the tune when young in Quebec [Miskoe & Paul]; 6 southwestern Pa. fiddlers and fifers [Bayard, 1981]; Ruthie Dornfeld and Major Franklin (Texas) [Phillips/1995 {two different versions}]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, February, 1981 [Moylan]; Dennis Pitre (b. 1941, St. Felix, West Prince County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; set dance music recorded at Na Píobairí Uilleann, in the 1980's [Taylor]. Allan's (Allan's Irish Fiddler), No. 105, pg. 27. Bayard (Dance to the Fiddle), 1981; No. 345, pgs. 332-334 and Appendix No. 3, pg. 573. Brody (Fiddler's Fakebook), 1983; pg. 107. Burchenal (American Country Dances, Vol. 1), 1918; pg. 47. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 57. Cranford (Fitzgerald), 1997; No. 45, pg. 17. Ford (Traditional American Fiddle Tunes), 1940; pg. 39. Gibbons (As It Comes: Folk Fiddling From Prince George, British Columbia), 1982; No. 6, pgs. 18-19. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 40 (two versions, one in Newcastle and Sand Dance style, on in Sailor's style). Jarman, Old Time Fiddlin' Tunes; No. 20, pg. 67. Johnson & Luken (Twenty-Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 4. Joyce (Old Irish Folk Music and Song), 1909; No. 103. Krassen (Appalachian Fiddle), 1973; pg. 79. Kerr (Merry Melodies), Vol. 1; No. 3, pg. 42. Linscott (Folk Music of Old New England), 1939; pg. 77. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 117. Miskoe & Paul (Omer Marcoux), 1994; pg. 31. Moylan (Johnny O'Leary), 1994; No. 63, pg. 36. O'Neill (1915 ed.), 1987; No. 351, pg. 171. O'Neill (Krassen), 1976; pg. 168. O'Neill (1850), 1903/1979; Nos. 1575 & 1576, pg. 292. O'Neill (1001 Gems), 1907/1986; No. 825, pg. 143. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 117. Phillips, 1989 (Fiddlecase Tunebook: Old-Time); pg. 19. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pgs. 1992-193. Raven (English Country Dance Tunes), 1984; pg. 163. Reiner (Anthology of Fiddle Styles), 1977; pg. 26. Roche Collection, Vol. 3, No. 181. Ruth (Pioneer Western Folk Tunes), 1948; No. 23, pg. 10. Spandaro (10 Cents a Dance), 1980; pg. 10. Stewart-Robertson (The Athole Collection), 1884; pg. 297. Sweet (Fifer's Delight), 1964/1981; pg. 42. Taylor (Music for the Sets: Yellow Book), 1995; pg. 14. Welling (Welling's Hartford Tunebook), 1976; pg. 20. Alcazar Dance Series FR 204, "New England Chestnuts" (1981). Breton Books and Records BOC 1HO, Winston "Scotty" Fitzgerald - "Classic Cuts" (reissue of Celtic Records CX 17). Caney Mountain CEP 212 (privately issued extended play album), Lonnie Robertson (Mo.), 1965-66. Claddagh CC5, Denis Murphy & Julia Clifford - "The Star Above the Garter" (appears as "Fisherman's Hornpipe"). County 405, "The Hill-Billies." County 707, Major Franklin- "Texas Fiddle Favorites." County 756, Tommy Jarrell- "Sail Away Ladies" (1986. The only time Tommy's famous fiddling father, Ben Jarrell {who took no active part in his musical education and rarely commented on his son's efforts}, praised his playing in front of him was after hearing the younger fiddler play the tune, remarking "By gawd, that's the best I've ever heard "Fisher's Hornpipe" played"). Elektra EKS 7285, The Dillards with Byron Berline- "Pickin' and Fiddlin.'" F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band." Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker" (1966). Folkways FG 3531, Jean Carignan- "Old Time Fiddle Tunes" (1968). Fretless 101, "The Campbell Family: Champion Fiddlers." Gourd Music 110, Barry Phillips - "The World Turned Upside Down" (1992). North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Rounder 0035, Fuzzy Mountain String Band- "Summer Oaks and Porch" (1973). Rounder 7004, Joe Cormier- "The Dances Down Home" (1977). Smithsonian Folkways SFW CD 40126, Northern Spy - "Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire" (1999). Topic 12T309, Padraig O'Keeffe, Denis Murphy & Julia Clifford - "Kerry Fiddles" (appears as "Fisherman's Hornpipe").
X:1
T:Fisher's Hornpipe
L:1/8
M:C|
K:F
|:c2|fc Ac Bd cB|Ac Ac Bd cB|Ac Fc Bd Gd|Ac FA G2 (3cde|
fc Ac Bd cB|Ac Fc Bd cB|AB cd ef ge|f2a2f2:|
|:ef|ge ce ge bg|af cf af ba|ge ce ga ba|gf ed c2 Bc|
dB FB dB fd|cA FA cA fc|df ed cB AG|F2A2F2:|
X:2
T:Fishers
L:1/8
M:C|
R:Hornpipe
B:The Athole Colletion
K:D
dc|dAFA GBAG|FAFA GBAG|FDFD GEGE|FDFD E2 dc|dAFA GBAG|
FAFA GBAG|FAdf gedc|d2 d2 d2:||:cd|ecAc ecge|fdAd fdaf|ecAc ecgf|
edcB A3A|BGDG BGdB|AFDF AFdA|BdcB AGFE|D2 D2 D2:|

FLAIL, THE [1]. AKA and see "Mr. John Stewart of Grantully." Scottish, Pipe Reel (cut time). A Mixolydian. Standard or AEAE. AAB. Paul Cranford (1994) remarks that the tune was part of Cape Breton Gaelic tradition where it was sung as port-a-beul (mouth music), according to Joe Neil MacNeil of Big Pond, Cape Breton. He further states that influential fiddler Angus Chisholm (Margaree, Cape Breton) played it in scordatura tuning (AEAE). Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton) [Cranford]. Cranford (Brenda Stubbert's), 1994; No. 37, pg. 13.

FLOGGIN', THE ("An Seisd Buailteac" or "Ríl na Lasctha"). AKA - "The Flogging Reel." AKA and see "The Flaggon" (Scottish), "Flogging Reel" (Ire.), "Humours of Bantry Bay," "The Newry Lass," "The Slashing Reel." Irish, Reel. G Major ('A' and 'B' parts) & G Mixolydian ('C' part). Standard. ABC (Breathnach, Mallinson, Mitchell): AABC (O'Neill/1915 & 1001, Taylor): AABCC (Allan's, Gow): AABBC (O'Neill/1850): AABB'CC (O'Neill/Krassen). As "The Flogging Reel" the tune is a popular reel in County Donegal. Breathnach (1976) says it is related to "The Fife Reel." O'Neill (1913) mentions this tune in an anecdote about uilleann piper Patrick Ward, a 19th century farmer-piper of Blackbull, Drogheda. Ward was an accomplished fiddler before he picked up the pipes, but learned, as most did, by ear. His first lesson in writing music was not without difficulty; "having neither pen nor ink, he was told by his teacher, 'a dark man', to burn a furze stick and write with its calcined end. This expedient served fairly well. From that day to this he says that whenever he takes a pen in his hand to write music his mind reverts to "the Flogging Reel," which was the first tune set down in the manner mentioned." The reel was remembered by Kilmaley, County Clare, fiddler, flute player and uilleann piper Peader O'Loughlin as one of the tunes he listened to his father, a flute player, play in the 1930's (Blooming Meadows, 1998). The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). The melody was cited as having commonly been played for country dances in Orange County, New York, in the 1930's (under the title "Flogging Reel") {Lettie Osborn, New York Folklore Quarterly}. Sources for notated versions: concertina player Paddy Murphy, 1969 (Béal an Chreaga, Co. Clare, Ireland) [Breathnach/CRE II]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded live at Na Píobairí Uilleann, mid-1980's [Taylor]; piper Liam Ó Floinn (Kildare) [Breathnach/Man & his Music]. Allan's Irish Fiddler, No. 58, pg. 14. Breathnach (CRE II), 1976; No. 184, pg. 96 ("Ril an Lasctha" {The Flogging Reel}). Breathnach (The Man & his Music), 1996; No. 7, pg. 104. Carlin (The Gow Collection), 1986; No. 254 (appears as "The Flaggon"). Mallinson (Essential), 1995; No. 26, pg. 12. Mitchell (Dance Music of Willie Clancy), 1993; No. 118, pg. 98. O'Neill (1915 ed.), 1987; No. 263, pg. 135 (appears as "The Flogging Reel"). O'Neill (Krassen), 1976; pg. 97 (appears as "Flogging Reel"). O'Neill (1850), 1903/1979; No. 1206, pg. 227 (appears as "Flogging Reel"). O'Neill (1001 Gems), 1907/1986; No. 482, pg. 92 (appears as "The Flogging Reel"). Taylor (Music for the Sets: Yellow Book), 1995; pg. 28. Edison 52499 (78 RPM), John H. "Dutch" Kimmel (accordion player from New York City), 1929. Island ILPS 9501, "The Chieftains Live" (1977). Rounder 7004, Joe Cormier - "The Dances Down Home" (1977. Appears as "The Flaggon").
T:Flogging Reel, The
L:1/8
M:C
S:Breathnach (1996)
K:G
A|BG G2 (3BAG cA|BG G2 (3Bcd gd|BG G2 (3BAG dB|AD F2 AB (3cBA|
BG G2 (3BAG cA|BG G2 (3Bcd gd|(3BcB BG BdcB|AF F2 ABcA||
g3 d BGBd|g2 dg faaf|g3d BG G2|AD F2 AB (3cBA|g3d BGBd|g2 dg faaa|
bgaf (3gfe dB|AGFG AB (3cBA||
(3Bcd gd (3Bcd gd|(3Bcd gd BG G2|(3AcA fc (3AcA fc|(3AcA fc BG G2|
(3Bcd gd edgd|(3Bcd ef g3a|bgaf (3gfe dB|AGFG AB (3cBA||

FLOWER OF THE FLOCK, THE ("Blat Na Treada" or "Scot an Pobuil"). AKA - "Flowers of the Flock." AKA and see "The Fairhaired Boy" (An Buachaillin Fionn), "My Love is Such a Fair One." Irish, Reel. G Major (Mulvihill, O'Neill): A Major (Roche). Standard. AAB. Taylor (1992) believes O'Neill's version and his, from the playing of the band Shaskeen, are, "strictly speaking," incompatible, but this statement is curious, for the two versions are clearly closely related. Other related tunes are "The Rose in the Garden" and "My Love is Such a Fair One," found in Breathnach's Ceol Rince na hÉireann, Vol. 2, No. 150 and Vol. IV, No. 176, respectively. Souces for notated versions: Tony Smith (County Cavan & Dublin) [Mulvihill]; Francis O'Neill learned the tune from a young Limerick man named James Moore during the winter of 1875. Moore, a flute player without an instrument, lived in a cold boarding-house across the street from O'Neill and often availed himself of O'Neill's hospitality ensconcing himself on a "cozy seat on the woodbox back of our kitchen stove" while borrowing O'Neill's flute to play on. Moore, complained a frustrated O'Neill, often did not remember the names of the tunes he played ("a very common failing") and was lost track of when he moved to New York in the spring [O'Neill, Irish Folk Music]. Mulvihill (1st Collection), 1986; No. 55, pg. 14. O'Neill (1915 ed.), 1987; No. 260, pg. 134. O'Neill (Krassen), 1976; pg. 102. O'Neill (1850), 1903/1979; No. 1238, pg. 233. O'Neill (1001 Gems), 1907/1986; No. 512, pg. 96. Roche Collection, 1982, Vol. 1; No. 184, pg. 71. Taylor (Through the Half-door), 1992; No. 30, pg. 22. Shaskeen - "Atlantic Breeze." Green Linnet SIF3011, Bothy Band - "1975." Nimbus NI5415, Martin O'Connor - "Across the Waters." Philo FI 22018, "Jean Carignan Plays the Music of Coleman, Morrison & Skinner" (Carignan learned the tune from a 1907 or 1908 recording by accordionist Joe Derrane).
T:Flower of the Flock
M:C|
L:1/8
K:G Major
DEGA BG~G2 | cABG AGEG | DEGA ~B3 e | dBAc BGG2 :||
~g3 e d2Bd | cABG AGEG | ~g3 e d2Bd | eaag agef |
~g3 e d2Bd | cABG AGEG | DEGA ~B3 e | dBAc BGG2 ||

FLYING INDIAN [1]. AKA and see "Wild Indian." Old-Time, Breakdown. USA, southwestern Va. G Major (Phillips, Spandaro): F Major (Shelor). Standard. AABB (Phillips): AA'BB' (Spandaro). Source for notated version: Danny Gardella [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 90. Spandaro (10 Cents a Dance), 1980; pg. 32. Rounder 0057, Claris & Joe Shelor (Meadows of Dan, Patrick County, Va.) - "Old Originals, Vol. 1" (1978).
T:Flying Indian
L:1/8
M:C
K:G
G4 B2G2|d2B2g3d|ed 2 edB2|1 G2A2 E2D2:|2 G6 d2||
G4 a2ga|b2b2g2d2|ed B2 edB2|1 G2A2E2D2:|2 G8||

FONCEY'S TUNE. Canadian, Two-Step. Canada, Prince Edward Island. D Major. Standard. AA'B. Perlman (1996) believes the tune was converted from a popular song. Source for notated version: Johnny Joe and Foncey Chaisson (b. 1918 & 1929, North-East Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 163.

FOR OLD LANG GINE MY JOE. Scottish. The tune appears in Henry Playford's 1700 collection of Scottish dance tunes. The title is an obvious mis-spelling; 'gine' should be 'syne.'

FORT AT KINCORA, THE. AKA and see "Sherlocks." Irish, Hornpipe. The tune appears in Bulmer and Sharpley under the "Sherlocks" title. Green Linnett GLCD1045, Joe Burke - "The Tailor's Choice."

FOUR AND TWENTY BLACKBIRDS DANCING ON A FAWN SKIN. Old-Time, Breakdown. A Mixolydian. Standard. AABB. Source 'Pappy' Taylor is said to have learned this piece from one Joe Dixon, a fiddler for a circus. Source for notated version: Harvey 'Pappy' Taylor (Effingham, IL) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 92. Rounder CD 0139, Indian Creek Delta Boys - "Young Fogies, Vol. 1."

FURZE BUSH, THE. AKA and see "The Longford Tinker," "The Longford Spinster." Irish, Reel. Source for notated version: Joe Burke [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3, No. 42.

GALLAGHER'S [2]. AKA and see "Baby Gavin," "Burke's," "Charlie Mulvihill's," "Connie O'Connell's," "Lad O'Beirne's," "The Silver Vale." Irish, Jig. Recorded by Donegal musicians Mairead Ni Mahonaigh and Frankie Kennedy. Shanachie Records CD34016, Andy McGann, Joe Burke & Felix Dolan - "The Funny Reel" (c. 1965).

GALTEE RANGERS, THE (Fiannóglaigh na nGeailtí). AKA and see "Callaghan's," "Humours of Galtymore." Irish, Reel. D Major. Standard. AB. Some similarities in parts to "The Blackberry Blossom." Source for notated versions: fiddler Denis Murphy, 1966 (Gneeveguilla, Sliabh Luachra region, Co. Kerry, Ireland) [Breathnach, Bulmer & Sharpley]. Breathnach (CRE II), 1976; No. 201, pg. 104. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3, No. 22. GN1, Joe Thoma, "Up the Track: Traditional Music from Kenmare." Tara Records 3001, Planxty - "After the Break" (appears as "Callaghan's" with Denis Murphy credited as the source). Claddagh CC5, Denis Murphy & Julia Clifford - "The Star above the Garter."
T:Galtee Rangers
M:4/4
L:1/8
S:Kevin Burke/Jackie Daly/Brendan Begley/and someone
Z:Barney
K:D
AF FE FE DE|(3FFF FE FA dB|AF FE FE DE|FA EG FD DB|
AF FE FE DE|(3FFF FE FA dB|AF FE FE DE|AB AG FD (3DDD||
A2 AB AF (3FFF| AB de fe eg|fedB AF AB|1 AB de fe (3eee:||2 AB Be fd
d2||

GALWAY BAY ("Camuis Gaillibe" or "Cuain Gaillim"). AKA and see "Democratic Hornpipe." Irish, Hornpipe. G Dorian. Standard. AABB. O'Neill (1915 ed.), 1987; No. 343, pg. 168. O'Neill (Krassen), 1976; pg. 178. O'Neill (1850), 1903/1979; No. 1619, pg. 301. O'Neill (1001 Gems), 1907/1986; No. 853, pg. 147. Comhaltas Ceoltoiri Éireann CL13, "Tommy Peoples" (1976). Green Linnett GLCD 1155, Martin Hayes - "Under the Moon" (1995). Lochshore CDLDL 1215, Craob Rua- "The More that's Said the Less the Better" (1992). Shanachie 29009, "Andy McGann and Paul Brady" (learned from accordion player Joe Burke).
T:Galway Bay
L:1/8
M:C|
R:Hornpipe
S:O'Neill - 1001 Gems (853)
K:G Minor
GA|BABc dcd^f|g^fga gabg|fdbg fdcd|BAG^F GFDF|
G2 GA BABG|F2 FG AGFD|GABc dcBA|B2G2G2:|
|:g2|gfd^f gabg|gfdf GFDF|BABc dcd=e|fcdB AGFD|
G^FGA BABc|BFdB Afec|d^fga bag=f|d2g2g2:|

GALWAY RAMBLER, THE. AKA and see "Dash to Portobello," "Lord Wellington," "Paddy Finlay's Favourite," "Sean Ryan's," "The Sligo Rambler," "Tiarna Wellington," "Wellington's Reel" [2]. Irish, Reel. G Major. Standard. AB (Mulvihill, Tubridy): AAB (Taylor). Source for notated version: Frank McCollam (Ballycastle, County Antrim) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 25, pg. 7. Taylor (Through the Half-door), 1992; No. 28, pg. 21. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 21. Shaskeen - "Atlantic Breeze" & "Shaskeen Live." Green Linnet SIF 1069, Joe Burke, Michael Cooney, Terry Corcoran - "Happy to Meet, Sorry to Part." Boys of the Lough - "Wish You Were Here."
T:Galway Rambler, The
L:1/8
M:C|
K:G
G2 dG eGdG|(3GAG dB AGED|G3 A BABd|gedB AGED|G2 dG eGdG|G2 dG AGED|
G3A BABd|gedB AGEG2||g3b agab|gabg aged|g3b agab|gedB AGED|g2 bg agab|
gabg a2 ga|bgag egfa|gedB AGEF||

GEOGEHAN'S REEL. AKA and see "Eileen O'Callaghan," "Geoghegan's Favorite," "Geehan's Favorite," "Geoghan's Favorite," "Geoghegan's," "Paddy Canny's." Irish, Reel. Ireland, County Sligo. G Major. Standard. AABB. As "Geaghan's Favorite" it was recorded in 1937 by the Aughrim Slopes Céilí Band, the earliest known recording of the melody. "Grogan's Favorite" is the title on Paddy Canney and P.J. Hayes' famous 1960 recording (in honor of which it is sometimes called "Paddy Canney's"). A version of "Trim the Velvet." The alternate spellings of the name Geoghegan come about through variations in its pronuncition, which is 'Gay-g'n' (rhyming with pagan) in Ireland. Source for notated version: flute player Colm O'Donnell (b. 1962, Aclare, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 16. Green Linnet SIF 1069, Joe Burke, Michael Cooney & Terry Corcoran - "Happy to Meet & Sorry to Part" (1986. Appears as "Geoghegan's"). Paul McGratten - "The Frost is All Over" (1992. Appears as "Geehan's"). Outlet 1010, Na Filí - "Farewell to Connacht" (1971. Appears as "Eileen O'Callaghan").
T:Geaghan's Fancy (sp?)
T:Eileen O'Callaghan's
T:Paddy Canny's
S:Buttons & Bows, 'Gracenotes'
Z:Nigel Gatherer
M:4/4
L:1/8
K:A
A2 cA EAcB|ABce dBGB|A2 cA EAce|efge dBGB|A2 cA EAcB|
ABce dBGB|Ac c/c/c ecAc|efge dBGB||eaag a2 ga|beee begf|
eaag a2 gf|efge dBGB|eaag a2 ga|b2 ba bagf|eaaa c'aag|efge dBGB|]

GEORGE MACINNIS'S FAVOURITE. AKA and see "Joe's Favourite."

GEORGIA BUCK. Old-Time, Breakdown. "Heard in many parts of the South, but relatively rare" (Kerry Blech). The tune is known as a black Southern banjo song. The lyrics, as played by North Carolina banjo player John Snipes, go:
***
Where ya' goin' old rabbit
Where ya' goin' old crow
Goin' in the new-groun' to git my grubbin' hoe
***
Oh me, trouble do I see
Goin' in the new groun' to git my grubbin' hoe.
***
Georgie Buck, Georgie Buck... (John Snipes/Cecilia Conway)
The tune was also in the repertoire of Chapel Hill, North Carolina, guitarist and banjo player Elizabeth Cotten, and was played by African-American fiddler Joe Thompson in GDGD tuning. Global Village C217, (Black fiddle and banjo players) Joe and Odel Thompson - "Old Time Music From the North Carolina Piedmont." Rounder CD 0382, Marvin Gaster - "Uncle Henry's Favorites."

GIN I HAD A BONNIE LASS/LASSIE, LITTLE SLEEP WAD SAIR ME). AKA and see "Go About Your Business," "The North Loch." Scottish, Canadian; Reel. Canada, Cape Breton. G Mixolydian (Dunlay & Greenberg, Dunlay & Reich): G Dorian (Athole, Kerr). Standard. AAB (Athole, Kerr): AABB (Dunlay & Reich). The tune is usually played in G Mixolydian in Cape Breton, though occassionally the 'b' notes are flatted. Similarly, Scottish settings are generally in Dorian, though there are exceptions (such as the setting in the Gesto Collection). The tune is found by Dunlay & Greenberg first in print in Bremner's Collection (1751-1761) under the title "The North Loch." Source for notated version: Duncan MacQuarrie (Cape Breton) [Dunlay & Greenberg, Dunlay & Reich]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 98. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 60. Kerr (Merry Melodies), Vol. 2; No. 211, pg. 23. Lowe (Collection), 1844. MacDonald (The Gesto Collection). Stewart-Robertson (The Athole Collection), 1884; pg. 190. CLM 1000, Carl MacKenzie- "Tullochgorum" (1979). Decca 14023 (78 RPM), The Inverness Serenaders (appears as "Go About Your Business"). Marquis ERAD 169, David Greenberg - "Celtic Memories" (1996). Rounder 7004, Joe Cormier- "The Dances Down Home" (1976. Appears as "Go About Your Business").
T:Gin I Had a Bonny Lassie
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:G Minor
d|BGdG B>cdf|AFcF A2FA|BGdG B>cdg|fdcA G2G:|
f|gagd gbgd|fgfc A2Ff|gagd gbgd|Bdgd B2Gd|gagd gbgd|
fgfc A2FA|BgcA dBbg|fdcA G2G||

GINLEY'S FANCY (Rogha Mhig Fhionnaile). AKA and see "The Day I Met Tom Moylan," "Ivy Leaf," "The Man of the House," "The Merry Thatcher," "Mind My Border," "Mind My Brother," "Miss Kelly's Favorite," "Old Tom," "The New Potatoes," "Sally Grant," "Through the Heather." Irish, Reel. E Minor. Standard. AA'B. Printed in O'Neill as "The Man of the House." Related to "Autumn Leaves," "Handsome Sally" and "Paddy Carthy's Reel." Source for notated version: accordion player Joe Burke (Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 130, pg. 62. Outlet Records SOLP 1015, Joe Burke - "Galway's Own" (1971).

GIRL THAT BROKE MY HEART, THE [1] (An Cailin A Bris Mo Croide). AKA - "Girl Who Broke My Heart." Irish, Reel. Ireland, County Kerry. G Aeolian ('A' part) (Gm) & G Major ('B' part) {Brody}: G Dorian (O'Neill). Caoimhin Mac Aoidh (1994) relates that in County Donegal this tune was played after the marriage vows were exchanged for the bachelors in the congregation while the couple was in the Sacristy signing papers. See also the first part of "Thompson's Reel" for a similar melody. Source for notated version: Kevin Burke (County Sligo/Portland, Oregon) [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 120. O'Neill (1915 ed.), 1987; No. 282, pg. 143. O'Neill (1850), 1979; No. 1176, pg. 222. CCF2, Cape Cod Fiddlers - "Concert Collection II" (1999). Copley DWL-9-617, Jack Wade- "Ceili Music From Ireland." Folkways FW 8876, Kevin Burke- "Sweeney's Dream." Gael-Linn CEF 068, Sean Montgomery- "An Fhidil." Mulligan LUN 021, Kevin Burke- "If the Cap Fits." Outlet 3002, Paddy Cronin- "Kerry's Own Paddy Cronin" (1977). Shaskeen OS-360, Joe Burke, Andy McGann, and Felix Dolan- "A Tribute to Michael Coleman" (c. 1965).

GLENCOE BRIDGE MARCH. Canadian, March (cut time). Canada Cape Breton, Prince Edward Island. D Major. Standard. AABB'. Composed by Cape Breton fiddler Dan R. MacDonald (1911-1976). Source for notated version: Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident of Montague) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 180. Rounder 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974).

GLENDOWAN REEL, THE. AKA and see "The Glendowan Fancy," "The Sligo Maid," "Sligo Maid's Lament." Irish, Reel. The Glendowan area is a mountainous region in the middle of County Donegal. The piece is known by this title among older fiddlers in the county, and still retains some currency today. Source for notated version: Joe Tamoney {sic} (Donegal/USA) [O'Neill]. Caoimhin Mac Aoidh (1994) explains that O'Neill's source was a fiddler named Joe Timoney, known in Donegal as Joe Phaedar Sheain O Tiomanai, who was born and raised at Min a tSamhaidh, Fintown, Donegal, and who was the great-great-great-great-great grandson of the reknowned poet Tadhg An Fhile O'Tionamai An Aighe. Timoney emigrated to the United States at the beginning of the 20th century and arrived in San Francisco just after the great earthquake of 1906. O'Neill (Waifs and Strays of Gaelic Melody), 1922.

GLENTAUN. AKA and see "Dennis Murphy's," "Martin Howley's Reel." Irish, Reel. A variant of "Lord MacDonald's Reel." GN1, Joe Thoma - "Up the Track: Traditional Music from Kenmare." Dennis Murphy & Julia Clifford - "The Star Above the Garter."

GLENVILLE'S DIRK. Cape Breton, Reel. Rounder 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974).

GO ABOUT YOUR BUSINESS. See "Gin I Had a Bonnie Lassie." Rounder 7004, Joe Cormier - "The Dances Down Home" (1977).

GOLD RING, THE [1] ("Fáinne N-Oir" or "Fáinne Óir {Ort}"). AKA and see "The Pharroh," "Tá Fáinne Air." Irish, Jig. D Mixolydian ('A' and 'B' parts) & G Major ('C', 'D', and 'E' parts) {Brody, O'Neill}. Standard. AABBCCDDEEFF (Boys/Lough): AABBCCDDEE (Brody): AABBCCDDEEFFGG (Mallinson, O'Neill): AABCC'DD'EEFG (Mitchell): AABB'CCDD'EEFFGG (Taylor). Known as an uilleann piper's tune (O'Neill says it was a favorite of piper Pat Touhey's). Caoimhin Mac Aoidh relates Seamus Ennis's story of a piper who had the courage to spend a night hiding near a fairy rath to listen to the wonderful music of the little folk. As usual they returned to the rath at sunrise to sleep, the nights' festivity over, and the piper crept out from hiding. On close investigation of the site he found a tiny gold ring on the ground, dropped by a fairy reveller. The very next evening he returned to the rath and hid in the same place to listen again to the music of the wee folk but this time he also overheard the lamenting of a fairy piper over the loss of the ring. The fairy cried that he would grant any wish to get it back, upon which he man stepped from hiding and offered to return the ring, explaining how he found it lost. True to his word the fairy granted the human one wish, and asked the piper to name it. 'The jig I heard the other night,' said the man, who added he could not quite remember it (due to the fairies blocking the memory of their tunes), and the fairy piper granted the wish on the spot-the tune that has ever since been called in memory of the incident "The Gold Ring." The Boys of the Lough relate a very similar story concerning a farmer who surprised a fairy gathering on returning home late one night. It seems the fairies were dancing to the music of a fairy piper, but ran off after being startled by the intruder. The farmer was about to continue his journey home when found a gold fairy ring, left behind after the flight of the fey folk. He managed to return it to the fairies and in exchange they gave him the tune that the fairy piper had been playing when he first surprised them. O'Neill (1913) maintains that pipers converted this jig from a nine-part melody called "The Pharroh or War March," which was obtained from Dr. Petrie in 1835 and printed in Bunting's Ancient Music of Ireland, published in 1840 (the word pharroh seems to Paul de Grae to have been derived from the Irish work faire {pronounced 'far-eh'} meaning watch or wake). Bunting thought the tune to be "very ancient." The Fleischmann index links this tune to "Scots Hall," published by Thompson in his Compleat Collection of 200 Favourite Country Dances, c. 1755, though some think the connection weak. Sources for notated versions: flute player and piper John Ennis, originally from County Kildare [O'Neill]. piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Boys of the Lough, 1977; pg. 16. Brody (Fiddler's Fakebook), 1983; pg. 123. Mallinson (Enduring), 1995; No. 51, pg. 22. Mitchell (Dance Music of Willie Clancy), 1993; No. 139, pgs. 110-111. O'Neill (Krassen), 1976; pg. 72. O'Neill (1850), 1903/1979; No. 708, pg. 132. O'Neill (1001 Gems), 1907/1986; No. 12, pg. 19. Taylor (Music for the Sets: Blue Book), 1995; pg. 12. Claddagh CC17, Sean Keane - "Gusty's Frolics." Claddagh CC39CD, "The Pipering of Willie Clancy, Vol. 2" (1993). Claddagh: CCF 27 CD, Conal O'Grada - "Top of the Croom" (1990). Gael-linn CEFCD 114, Tony MacMahon & Noel Hill - " "I gCnoc na Graí" ('In Knocknagree'). Mulligan 004, "Matt Molloy." Seamus Creagh & Aidan Coffey - "Traditional Music from Ireland." Chieftains - "Cotton Eyed Joe." POSCD0001, Paul O'Shaughnessy - "Stay Another While" (1999). Trailer LER 2090 (or Rounder 3006), Boys of the Lough, "Second Album" (1974). Liam O'Flynn - "The Piper's Call." Brian Mac Aodha - "Throw Away the Keys." Seamus Ennis - "Masters of Irish Music."
T:Gold Ring, The
L:1/8
M:6/8
R:Jig
K:G
d|cAG GFG|cAF GBd|cAG GFG|cAG FAd|cAG GFG|cAF G2E|FAd fed|cAF GB:|
|:d|cAd cAd|cAF GBd|cAd cAd|cAG F2d|cAd cAd|cAF G2E|FAd fed|cAF GBd:||
|:~g3 gdc|BGG GBd|~f3 fcB|AFF FGA|~g3 gdc|BGG GBd|fag fed|cAF GBd:|
|:gdd fdd|gdd fdd|gdd fdd|cAF GBd|gdd fdd|gdd fdd|fag fed|1 cAF GBd:|2 cAF G2A||
B2G ABG|d2G G2A|B2G ABG|cAG FGA|BAG AGF|GFD FGA|f/g/ag fed|cAF G2A|
B2G A2G|d2G G2A|B2G A2G|cAG FED|~B3 c2A|GFD FGA|fag fed|cAF G2||

GRAND PICNIC. Old-Time, Breakdown or Reel. USA, Missouri. D Major. Standard. AABB. The tune is usually attributed to Joe Politte, a fiddler from the Old Mines, Washington County, area of Missouri, south of St. Louis. Politte was one of the few remaining fiddlers of his time who derived from the old French fiddling tradition from settlements along the mid-Mississippi valley. The tune has become a classic among Washington County fiddlers. Sources for notated versions: Joe Politte [Christeson, Phillips]; Ruthie Dornfeld (Seattle) [Songer]. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 62. Old Time Herald, Vol. 4, No. 5; pg. 27. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 101. Songer (Portland Collection), 1997; pg. 86.

GREEN MOUNTAIN [1]. AKA and see "(Did you Ever See the Devil) Uncle Joe," "Hop High/Light Ladies," "Walk Jaw Bone," "Billy Boy," "The Cake's All Dough," "Miss McLeod's Reel." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

GREIG'S PIPES (Píopaí Greig). AKA and see "Cobbler's Hornpipe," "Connolly's Reel," "Craig's Pipes," "The Fiddler is Drunk," "The Foxhunters," "Greg's Pipe Tune," "Gregg's Pipes," "Gun Do Dhuit Am Bodach Fodar Dhomh" (The Old Man Wouldn't Give Me Straw), "The Kerry Huntsman," "Kregg's Pipes," "The Manchester," "Píopaí Greig," "Willy Wink(ie)'s Testament," "Willy Wilky." Scottish, Shetland, Canadian, Irish; Reel. Shetland, Whalsay. Canada; Cape Breton, Prince Edward Island. G Major (Breathnach, Mulvihill, Taylor, Tubridy): A Major (Athole, Cranford, Hardie, Perlman). Standard, AEAE or AEAC#. AABB (Taylor): ABC (Feldman & O'Doherty, Tubridy): ABBC (Mulvihill): AABBCC' (Perlman): ABBCCDD (Cranford/Fitzgerald): AABBCCDD (Athole, Gow, Hardie): AABB'CDE (Breathnach). AEAC# tuning was preferred for "Greig's Pipes" in the 18th century (Johnson, 1983) as it is set, for example in Neil Stewart's 1761 collection, but it is also played in ADAE tuning. Played in AEAE tuning, the tune was employed on the island of Whalsay, Shetland, by fiddlers John Irvine and Andrew Polson as one of the tunes for the "bedding the bride" ritual (Cooke, 1986). AEAE is also a common tuning for the piece on Cape Breton Island, especially with the early-mid 20th century generations of fiddlers, such as Mary Hughie MacDonald and Donald MacLellan (Paul Cranford, 1997) {Winston Fitzgerald, however, played it in standard tuning}. "Greig's Pipes" is a double-tonic tune that is also in the pentatonic scale; a characteristic now-a-days recognized as Scottish, but the double-tonic was also common in English music prior to 1700 when it dropped out of favor in that part of the island. To avoid the need to tune up and retune after playing the piece, it was, according to Charles Milne of Dufftown, the last item of an evening's program (Collinson, 1966). The melody appears in the Gillespie Manuscript of Perth, 1768, and Joshua Campbell's 1778 Collection of Newest and Best Reels (pg.11), though John Glen (1891) finds the earliest printing in Neil Stewart's 1761 collection (pg. 44). A Cape Breton bagpipe setting was printed by Barry Shears in his Gathering of the Clans Collection (1991) under the title "Gun Do Dhuit Am Bodach Fodar Dhomh" (The Old Man Wouldn't Give Me Straw), and Perlman (1996) adds that another Cape Breton title is "Greg's Pipe Tune." A dorian setting of the tune also goes by the name "Gregg's Pipes" in Kerr's 4th. Several Irish versions are found as "Craig's Pipes."
***
In Ireland the tune appears in print in O'Farrell's Pocket Companion, a setting reprinted by O'Neill in Waifs and Strays of Gaelic Melody (288, 1922). O'Neill printed the tune elsewhere under the title "Limber Elbow" (a poor version, says Breathnach), and the first part of the tune appears in his "Edenderry Reel." Other Irish names include "The Kerry Huntsman" and "Connolly's Reel."
***
Sources for notated versions: accordionist Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; Mary MacDonald (Cape Breton) [Dunlay & Greenberg]; John Clancy (Bronx, New York) [Mulvihill]; Hughie McPhee (b. 1924, Elmira, North-East Kings County, Prince Edward Island; now resident of Priest Pond) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; set dance music recorded live at Na Píobairí Uilleann, mid-1980's [Taylor]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O'Doherty]. Breathnach (CRE I), 1963; No. 96, pg. 41. J. Campbell, Newest and Best Reels (c. 1778). Cranford (Winston Fitzgerald), 1997; No. 100, pg. 42. Dunlay & Greenberg (Violin Music of Cape Breton), 1996; pg. 136. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 169. Gow (Complete Repository), Part 1, 1799; pg. 24. Hardie (Caledonian Companion), 1992; pg. 122. Lowe, Collection of Reels and Strathspeys, 1844. Mulvihill (1st Collection), 1986; No. 6, pg. 2. O'Neill (Waifs and Strays of Gaelic Melody); No. 288. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 104. Stewart-Robertson (The Athole Collection), 1884; pg. 16. Taylor (Music for the Sets: Yellow Book), 1995; pg. 20. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 24. Celtic SCX 57, Dan R. MacDonald et al - "The Fiddlers of Cape Breton." Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - "The Morning Dew" (1993). Rodeo RLP 107, Joe MacLean - "And His Old Time Scottish Fiddle" (c. 1967. Appears as "Athole Reel"). Rodeo RLP 59, Dan R. MacDonald - "Fiddling to Fortune with..." Rounder 7009, Doug MacPhee - "Cape Breton Piano" (1977).
X:1
T:Greig's Pipes
L:1/8
M:C|
S:Reel
B:The Athole Collection
K:A
f|eAcA eAAf|eAcA BFFf|eAcA eAcA|B/B/B (cA BFF:|
|:B|cAcA cAAB|cAcA BFFB|cAcA EacA|B/B/B (cA BFF:|
|:A|EA,CA, EA,A,F|EA,CA, FB,B,F|EA,CA, EA,CA,|B,/B,/B, (CE FB,B,:|
|:G|A2 A>E CA,A,E|A2 (AE FB,B,G|A2 A>E CA,EC|B,/B,/B, (CE FB,B,:|
X:2
T:Greig's Pipes
L:1/8
M:C|
K:G
B3 B BAGA|B2 GB AGEG|B3 B BAGB|A2BG AGEG|B3B BAGA|
B2 dB AGEG|B~d3 eBdB|AcBG AGEG||DG G2 DGBG|DGBG AGEG|
DG G2 DGBG|dBAc BGGE|DG G2 DGBG|DGBG AGEG|DG G2 DGBG|
DBAc BGGB||d2 Bd egge|d2 BG AGEG|d2 Bd eg g2|agbg ageg|
D2 Bd egge|d2 BG AGEG|d2 Bd eg g2|a2 bg aged||

GREY EAGLE [1]. AKA and see "Gray Eagle." AKA - "Grey Eagle Hornpipe." Old-Time, Bluegrass, Texas Style; Breakdown, Hornpipe. USA; Alabama, Mississippi, southwestern Va., southwestern Pa., western N.C., eastern Tenn., Kentucky, Missouri, Indiana, Oklahoma, Texas, Arizona. A Major (most versions): G Major (Bayard, W.E. Claunch): C Major (uncommon, but known in the western N.C./ eastern Tenn. area in this key). Standard. AB (Bayard): AABB (Brody, Krassen, Phillips): AA'BB (Shumway): AABBCC (Christeson): AA'BB'CC'D (Frets Magazine). "One of the standard square dance tunes in the key of A Major" (Krassen, 1973), and, in fact it is one of the more commonly played fiddle tunes at mid-western fiddle contests. Several writers have noted the similarity between "Grey Eagle" and the Scottish tune "Miller of Drone," with the "Grey Eagle" melody probably derivative. There are many different sets of this tune collected from folk sources in almost all parts of the South and West; in addition it has made its way into numerous commercial collections, among the first of which is George H. Coes' Album of Music (Boston, 1876). It was one of the older tunes in fiddle repertory in Patrick County, southwest Va., before such tunes were supplanted by tunes more conducive to the fiddle/clawhammer banjo combination -- the tune may also have been called "Ducks on the Pond" (??) (Tom Carter & Blanton Owen, 1976). Bayard (1981) is surprised at the tenacity of the title in the face of so many disperate versions./ Popular with Kentucky fiddlers, remarks Charles Wolfe (1982), who first suggested it was possibly named for the famous Kentucky race horse of 1839. John Hartford ("The Devil's Box") found that the "Grey Eagle" title for the melody known as "The Miller of Drone" became attached to the tune in America following this famous late 1830's race between horses known as "Grey Eagle" and "Wagner." In the repertoire (C Major version) of legendary fiddler J. Dedrick Harris, a Tenn. born fiddler who played regularly with Bob Taylor when the latter ran for Governor of the state in the late 1800's. Harris moved to western N.C. in the 1920's and influenced a generation of fiddlers there, including Osey Helton, Manco Sneed, Bill Hensley, and Marcus Martin./ In the Deep South the melody was in the repertory of Alabama fiddler D. Dix Hollis (1861-1927), who considered it one of "the good old tunes of long ago" (as quoted in the "Opelika Daily News" of April 17, 1926) {Cauthen, 1990}, and was recorded for the Library of Congress in 1939 by Guntown, Mississippi, fiddler W.E. Claunch. It was also one of the tunes listed in the Troy Herald of July 6th, 1926, as having been played at a fiddlers' convention held at the Pike County, Alabama, fairgrounds. / Part of the tune the same as "Ostinelli's Reel" (Cole)./ Arizona fiddler (and Mormon) Kenner C. Kartchner maintained the tune was played by Mormon fiddlers crossing the plains. Sources for notated versions: Kenny Baker [Brody]; Floyd Smith (Cole County, Missouri) [Christeson]; Charlie Higgins (Galax, Va.) [Krassen]; Kenner C. Kartchner (Arizona) [Shumway]; William Shape (elderly fiddler from Greene County, Pa., 1930's) [Bayard]; Byron Berline learned the tune from his father who had it from his friend Frank Mitchell (Enid, Oklahoma) [Frets Magazine]; Jeff Goehring with the Red Mules (Ohio) [Phillips]; Howard Forrester, Robert Rutland & Herman Johnson [Phillips/1995]. Bayard (Dance to the Fiddle), 1981; No. 103, pg. 60. Brody (Fiddler's Fakebook), 1983; pg. 127. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 12. Ford, 1940; pg. 86. Frets Magazine, "Byron Berline: The Fiddle," February 1981; pg. 52. Krassen (Appalachian Fiddle), 1973; pg. 73. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 106 (breakdown versions). Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 197 (hornpipe version). Shumway, 1990; pg. 268. Christeson says the tune also appears in Harding's All-Around Collection of Jigs and Reels (1905, New York) and in 1935 in 100 WLS Barn Dance Favorites (Chicago). Briar 0798, Earl Collins- "That's Earl." County 202, "Eck Robertson: Famous Cowboy Fiddler." County 703, Bartow Riley- "Texas Hoedown." County 705, Sonny Miller- "Virginia Breakdown." County 722, Joe Greene- "Joe Greene's Fiddle Album." County 744, Kenny Baker- "Dry and Dusty." Gennett Records (78 RPM), Taylor's Kentucky Boys (1927. Featuring the only black hoedown fiddler to recorde commerically, Jim Booker). Global Village C-302, Chicken Chokers - "New York City's 1st Annual String Band Contest - 1984." June Appal 007, Thomas Hunter- "Deep in Tradition" (1976. Learned from his grandfather, fiddler James W. Hunter of Madison County, N.C.). MGM E4035, Howdy Forrester - "Fancy Fiddlin' Country Style." Missouri Old Time Fiddlers Association 002, Taylor McBaine (b. 1911) - "Boone County Fiddler." Missouri State Old Time Fiddlers' Association, Dwight Lamb (b. 1934) - "Old Ladies Pickin' Chickens." Morning Star 45003, Taylor's Kentucky Boys - "Wink the Other Eye: Old-Time Fiddle Band Music from Kentucky" (1980. Originally recorded in 1927). Rounder 0068, Mark O'Conner- "Pickin' in the Wind." Rounder 0099, Dan Crary - "Lady's Fancy." Rounder 0100, Byron Berline- "Dad's Favorites." Rounder 0194, John W. Summers - "Indiana Fiddler" (1984). Rounder 0213, The Chicken Chokers - "Chokers and Flies" (1985) Rounder 0215, James Bryan - "The First of May" (1985). Vocalation 14839 (78 RPM), Uncle Am Stuart, 1924, (b. 1856, Morristown, Tenn.). Voyager 309, Benny & Jerry Thomasson - "The Weiser Reunion" (1993). Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999). In the repertoire of Western N.C. fiddler Osey Helton (C Major version).
T:Grey Eagle
Z:Nigel Gatherer
M:4/4
L:1/8
K:A
cB|A2 FA ECA,C|EFAc BABc|A2 FA ECA,C|EF (3ABc e2 (3cec|
A2 FA ECA,C|EFAc (3BcB Ac|eAce dcBG|EGBd (3cec:|]
AF|ecAe cAeA|fdAd fgaf|edce cecA|EGBc dBGB|
AecA ecAc|dABd faeg|abga (3faf ed|ceBc A2:|]

GREY GOOSE, THE [1]. Irish, Jig. G Major ('A' and 'B' parts) & E Minor ('C' part). Standard. AABBCC. Source for notated version: Michael Coleman (Ireland). Phillips (Fiddlecase Tunebook), 1989; pg. 23. IRC Records, Michael Coleman - "The Musical Glory of Old Sligo" (1967). Shanachie Records 33002, Michael Coleman. Shaskeen Records OS-360, Andy McGann, Felix Dolan, Joe Burke - "A Tribute to Michael Coleman" (c. 1965).

GREY OLD LADY OF RAASAY, THE ("Caillach Liath Rasar" or "Cailleach Liath Ratharsair"). AKA - "The Old Lady of Rothesay." Scottish (originally), Canadian; Reel. Canada, Cape Breton. A Mixolydian. Standard. AABB' (MacDonald/Skye): AABBC (Dunlay & Greenberg). A pipe tune attributed to John/Iain Dall MacKay in the Gesto Collection. Source for notated version: Dan Joe MacInnis (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 55. MacDonald (The Gesto Collection of Highland Music), 1895. MacDonald (The Skye Collection), 1887; pg. 116. Shears (Gathering of the Clans Collection), 1991. Rodeo Banff RBS 1066, Dan Joe MacInnis - "The Cape Breton Fiddle of..." (1962. Appears as "The Old Lady of Rothesay"). Rounder 7009, Doug MacPhee - "Cape Breton Piano" (1977).

GRUMBLING RUSTIC, THE (Bodac An Dranntain). AKA and see "Gille na Drobhair" (Gillan the Drover), "Oh My Dear Judy," "You Never Did Hear." Irish, Double Jig or March. D Major. Standard. AABB'. Bayard (1981) states that the basic tune (related also to "Bully For You" and "Domhnall na Greine" {Daniel of the Sun}) was known from the end of the 18th century and published in various early 19th century sources. O'Neill found an elaborate four-part version in McGoun's Repository of Scots and Irish Airs (c. 1800) under the title "Gillan na Drover." An untitled jig (No. 16) in Breathnach's Ceol Rinnce na hÉireann II (1976) has a similar 'A' part. Source for notated version: Joe Cant, an "affable Highlander" [O'Neill]. O'Neill (Krassen), 1976; pg. 26. O'Neill (1850), 1903/1979; No. 809, pg. 151. O'Neill (1001 Gems), 1907/1986; No. 80, pg. 29.
T:Grumbling Rustic, The
L:1/8
M:6/8
S:O'Neill - 1001 Gems (80)
K:D
A|DED AFA|dcd AFD|AGF F2E|AGF F2E|DED AFA|dcd AFD|AFE E2B|AFE E2:|
|:A|DED d2d|edc d2B|AGF F2E|AGF F2E|1 DED d2d|edc d2B|AFE E2B|AFE E2:|2
edc dcB|cBA Bcd|AFE E2B|AFE E2||

GULLANE JIG, THE (Port an Ghalláin). AKA and see "John Mahinny's No. 1," "The Old Bush Jig," "Old Joe's," "Old John's Jig," "Port Sheáin tSeosaimh." Irish, Double Jig. D Major. Standard. AABB. Gullane is a village in the Sliabh Luachra region of County Kerry. The alternate title "John Mahinny's No. 1" is called after John Mahinney Barnard of Gneevegullia, a friend of fiddler Bill "The Weaver" Murphy, father of Denis Murphy and Julia Clifford. Source for notated version: this jig was recorded in Co. Kerry by Breandan Breathnach in November 1970 from accordion player Johnny O'Leary (Sliabh Luachra region of the Cork/Kerry border); O'Leary had the tune from Jimmy Doyle [Breathnach, Moylan]. Breathnach (CRE II), 1976; No. 18, pg. 12. Cranitch (Irish Fiddle Book), 1996; No. 11, pg. 129. Moylan (Johnny O'Leary), 1994; No. 1, pg. 3.

GULLANE POLKA [1]. AKA and see "The Guillane," "The Sliabh Luachra." Irish, Polka(s). Ireland; Sliabh Luachra region of the Cork-Kerry border, Kenmare. D Major. Standard. AABB. Often played in a medley with #2, known collectively as the "Gullane Polkas," though source O'Leary paired #1 with "Jack Sweeney's." Gullane is a hamlet just outside of the west Kerry border town of Rathmore. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region, Kerry), recorded in recital a Na Piobairi Uilleann, February, 1981 [Moylan]. Mallinson (100 Polkas), 1997; No. 96, pg. 37. Moylan (Johnny O'Leary), 1994; No. 45, pg. 27. Taylor (Music for the Sets: Blue Book), 1995; pg. 8 (appears as "The Guillane Polka"). Gael-Linn CEF 092, Julia and Billy Clifford - "Ceol as Sliabh Luachra" (titled after Johnny O'Leary, from whom the had the tune). GN1, Joe Thoma - "Up the Track: Traditional Music from Kenmare."
T:Gullane Polka, The
M:2/4
L:1/8
K:D
Ad BA|DF FE/D/|CE GE|BA F>G|Ad BA|DF FE/D/|CE GE|1 ED D2:|2 ED DE||
|:FE/F/ GF/G/|BA FD|AB/A/ GE|BA FD|FE/F/ GF/G/|BA FD|AB/A/ GE|1 ED
DE:|2 ED D2||

HACK A MOREAU, LE (Moreau's Hack). Cajun, Waltz. USA, Louisiana. A Major. Standard. One part. The hack referred to in the song, according to Raymond Francois (1990), is a horse-drawn cart (later a motor bus) filled with merchandise and poultry cages, a sort of store on wheels which traded along rural routes in Louisiana. A related song is "La Fille a Jasman." Source for notated version: Raymond Francois (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pg. 158. Swallow Records SW-LP6049, Joe Bonsall.

HAGGIS, THE. Scottish, (Pipe) Reel. C Major (Athole, Cranford, Fraser, Kerr, Skye): D Major (Johnson). Standard. AAB (Fraser, Johnson, Skye): AABB (Cranford/Fitzgerald): AABB' (Kerr). Composition of this double-tonic tune is credited to Captain Simon Fraser by MacDonald in his Skye Collection (1887). A haggis is a large Scottish pudding made of the heart, lungs and liver of a sheep, along with suet, onions, oatmeal and seasoning, stuffed into a sheep's stomach and the whole boiled. It is traditional around the New Year. "This is an admirable one of the pipe reels, so often mentioned, wherein the piper compares his bag and chanter to a well stuffed haggis with its pin. Burns, having taken up so many of the same ideas in his excellent poem to a haggis, may have heard the meaning conveyed by the words, though his genius was so original and capacious, that this is mere conjecture" (Fraser). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 118, pg. 48. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 43, pg. 15. Johnson (Airs and Melodies of Scotland's Past), Vol. 10, 1992; pg. 6. Kerr (Merry Melodies), Vol. 2; No. 77, pg. 11. MacDonald (The Skye Collection), 1887; pg. 109. Stewart-Robertson (The Athole Collection), 1884; pg. 62. Breton Books and Records BOC 1HO, Winston "Scotty" Fitzgerald - "Classic Cuts" (reissue of Celtic Records CX 40). Green Linnet SIF 1077, Capercaillie - "Crosswinds" (1987). Rounder 7001, Joe Cormier - "Scottish Violin Music from Cape Breton Island" (1974).
T:Taigeis Agus Dealg Innte
T:Haggis, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C
F|E/F/G Gc GEEF|E/F/G GB c2 ce|E/F/G Gc GcGE|D/D/D _BD F2F:|
g|ecgc eccg|ecge f2fa|ecgc acgc|d/d/d _bd f2 fa|ecgc eccg|ecge fagf|
ecdB cAGE|D/D/D _BD F2F||

HAMMER AND TONGS. Irish, Air (6/8 time). G Major. Standard. ABC. Source for notated version: "...from the whistling of Joe Martin of Kilfinane Co. Limerick, a rambling working man with a great knowledge of Irish airs and songs, and much natural taste" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 181, pgs. 90-91.
T:Hammer and Tongs
L:1/8
M:6/8
S:Joyce - Old Irish Folk Music
N:The chorus is the third part.
K:G
B2|d2d dBd|g3 fed|efe d2d|(d3 d2)d|e2e efg|a2f d2g|efd c2B|(A3 A2)||c|
B2B Bcd|e2c A2c|BdB A2A|(A3 A2) f/g/|a3 gfe|d2c B2d|e2d fed|
G3||age|d2B c2d|e2A A2c|BdB A2A|(A3 A2) f/g/|a3 gfe|d2e B2G|
B2A G2G|(G3 G2)||

HAND ME DOWN THE TACKLE. AKA and see "Drogheda Lasses," "The Drogheda Reel," "The Dangerous Reel," "Hielanman's Kneebuckle," "The Pure Drop," "Reidy Johnson's" [2], "The Road to Drogheda," "Tom Steele." Irish, Reel. D Major. Standard. AABB'. "Haand Me Doon the Tackle," as it is called, is also played in the Shetland Isles. Paddy Glackin identifies it as a tune from the Donegal tradition, and that his is "an interesting version of a well-known reel which is a favorite with pipers." O'Neill calls the tune "Tom Steele," and this was the title used by the Flanagan brothers when they recorded the melody in the 1928. Source for notated version: Dublin piano accordion player/piper Seamus Meehan [Tweed]; set dance session music at Na Píobairí Uilleann, recorded in the 1980's [Taylor].Taylor (Music for the Sets: Yellow Book), 1995; pg. 3. BERCD 001, Arty McGlynn - "McGlynn's Fancy." CC 47, Ronan Browne (with O'Loughlin) - "The Southwest Wind." CK 01, Conor Keane - "Cooley's House." Green Linnet SIF 3051, Frankie Gavin - "Frankie's Goes to Town." Franie Gavin - "Tribute to Joe Cooley." Gael-Linn CEF 137, Sean Maguire - "Portraid." Gael-Linn CEF 145, Various - "Ceol Tigh Neachtain." Gael-Linn CEF 153, Paddy Glackin - "In Full Spate" (1991). NPU 002, Templehouse Ceili Band - "Music for the Sets, Vol. 1." WW 004, Grianan - "Maid of Erin." Floating Bow - John Doherty
Humors of Lissadell - Seamus & Manus McGuire. The Long Mile - Seamus Thompson
Drops of Springwater - Karen Tweed. Return from Fingal - Seamus Ennis
The Jenny C - Oisin.
T:Hand me Down the Tackle
B:Karen Tweed's Irish Choice
M:4/4
L:1/8
Z:transcribed by Juergen Gier
K:D
"D"dD~D2 FDFA|"D"dfaf "A7"gfec|"D"dD~D2 FDFA|"G"BGEF "A7"GABc|\
"D"dD~D2 FDFA|"D"dfaf "Em"gfec|"D"d2cd BdAF|"G"GBEF "A7"GABc:|\
"D"d2fd Adfd|"D"~d2fd "A7"BAFA|"D"dafd Adfd|"G"BGEF "A7"GABc|\
"D"d2fd Adfd|(3B"G"cd ef "Em"g3^g|"A7"afge fded|"A7"BGEF GABc|\
"D"d2fd Adfd|"D"~d2fd "A7"BAFA|"D"dafd Adfd|"G"BGEF "A7"GABd|\
"D"a2 (3ba^g afdf|"G"gfed "Em"cbag|"A7"faec dBAF|"A7"GBEF GABc|]

HAPPY TO MEET {AND SORRY TO PART} ("Is Sultmar An Casad's/Teagmail's Uaigneac An Sgarad/Scaramain" or "Rimead ar Chastail"). AKA and see "You'll go a hunting no more," "Jemmie the Gom," "Sorry to Part," "The Wake Jig," "My Love in the Morning." Irish (originally), New England; Double Jig. Ireland, Counties Galway, Sligo. G Major. Standard. AAB (Cole, O'Neill/1915): AABB (Breathnach, Flaherty, Miller & Perron, Tubridy): AABB' (O'Neill/1850 & 1001): AA'BB' (Taylor). O'Neill could find no previously published version in Irish sources, though he did find one printing in an American volume of miscellaneous dance music (Irish Folk Music, pg. 101). See also the related "Port an tSagairt." Sources for notated versions: flute player Jim Conroy, 1969 (Co. Galway) [Breathnach]; accordion player Joe Fallon (b. 1935, Collooney, Co. Sligo) [Flaherty]; Bob Spence, "a fellow boarder, 1870" [O'Neill]; set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]. Breathnach (CRE II), 1976; No. 28, pg. 17. Cole (1001 Fiddle Tunes), 1940; pg. 55. Flaherty (Trip to Sligo), 1990; pg. 102. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 23. O'Neill (1915 ed.), 1987; No. 177, pg. 97. O'Neill (1850), 1903/1979; No. 807, pg. 150. O'Neill (1001 Gems), 1907/1986; No. 78, pg. 29. Taylor (Music for the Sets: Blue Book), 1995; pg. 30. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 30. RCA 60939, Chieftains - "Another Country."
T:Happy to Meet, Sorry to Part
L:1/8
M:6/8
K:G
dBB BAB|GEF G2A|Bee dBA|B2B gfe|dBB BAB|GEF G2A|Bee dBA|BGG G3:|
|:g2g fed|Bdd def|g2g fed|Bee e2f|g2g fed|Bdd def|gfg eag|fef gfe:|

HARDIMAN'S FANCY. AKA - "Hardiman's." AKA and see "Derrane's," "Joe Derrane's." Irish, Double Jig. D Major/Mixolydian. Standard. AABB. Jerry O'Brien's button accordion tutor (where the tune is given as "Hardiman's Jig") credits the tune to a Martin Hardiman of Chicago. O'Brien taught Boston box player Joe Derrane, and was his musical partner on the latter's early recordings (they recorded this tune c. 1950's). Philippe Varlet believes this tune to be a variant of "The Shores of Lough Gowna." Sources for notated versions: accordion player Joe Derrane (Boston) and "a Chicago fiddler named Hardiman {Martin or Bill} in the late 1940's [Black]; Danny O'Donnell, who said his version derived from the O'Beirne De Witt sponsored melodean collection in Boston [Feldman & O'Doherty]; fiddler Andrew Davie (b. 1928, Cloonagh, Mullaghroe, Keash) [Flaherty]; fiddler Danny O'Donnell (County Donegal) [Feldman & O'Doherty]. Black (Music's the Very Best Thing), 1996; No. 202, pg. 108. Feldman & O'Doherty (The Northern Fiddler), 1978; pg. 182. Flaherty (Trip to Sligo), 1990; pg. 114 (appears as "Unknown"). Taylor (Through the Half-door), 1992; No. 59, pg. 42. Shaskeen - "Atlantic Breeze." De Danann (appears as "Joe Derrane's").
X:1
T:Hardiman's Fancy
T:Derrane's
M:6/8
L:1/8
R:Jig
Z:Philippe Varlet
K:D
~B3 BAF|AFE EFE|DFA def|afe dBA|
~B3 BAF|AFE EFE|DFA def|1 edB Bdc :|2 edB Bcd ||
efe edB|AFF dFF|def afa|bff afa|
bff afa|baf edB|def afe|1 dBB Bcd :|2 dBB Bdc ||
X:2
T: Hardiman's
S: De Danaan / J.Derrane
Q: 325
R: jig
Z:Transcribed by Bill Black
M: 6/8
L: 1/8
K: D
A | BdB BAF | AFE EFE | DFA def | afe dBA |
BdB BAF | AFE EFE | DFA def | edB B2 :|
B | efe edB | AFF dFF | def afa | b2 b afe |
bff afa | baf edB | def afe | dBB B2 :|

HE HAS COME BACK TO ERIN. Irish, Air ("lively", 6/8 time). E Minor. Standard. AB. Source for notated version: "From the whistling of Joe Martin of Kilfinane Co. Limerick, a rambling working man with a great knowledge of Irish airs and songs, and much natural musical taste" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 185, pg. 92.
T:He has come back to Erin
L:1/8
M:6/8
N:"Lively"
S:Joyce - Old Irish Folk Music
K:E Minor
EGE E2D|G2A E2D|d2e B/A/GB|A2G E3|ded d2B|e2d e2g|e>d/B/A/ G2A|B3 B3||
EGE E2D|G2A E2D|B2A B>de/f/|g3 fe(3d/B/d/|ege d2A|B>AG/E/ G2B|AGE D2E|E3 E3||

HELL AGIN' THE BARN DOOR [1]. Old-Time, Breakdown. USA, Missouri. D Major. Standard. AA'BB. Source for notated version: Joe Politte (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 109.

HEY FOR STONEY BATTER. AKA and see "Bob and Joan," "Bóthar na gCloch," "Bobbing Joe," "Bob in Jie," "Bobby and Joan," "Fill the Bumper Fair," "Love and Whiskey," "Stoneybatter" [1]. The melody is printed under this title in J. Clinton's Gems of Ireland (c. 1840, pg. 52).

HIGH CAUL/CAUL'D CAP, THE ("An Caip Cul-Ard" or "Caiop an Cuil Aird").. AKA and see "Bonny Laddie," "Bonnie Lassie," "Bonnie Lass of Livingston," "Cockle Shells," "Donkey Riding," "An Gabhairin Bui," "Highland/Hielan Laddie," "What Shall I Do?" Irish, English; Set Dance (2/4 time), Polka, "Barn Dance" or Country Dance Tune. A Major (Allan, Mallinson): G Major (Kennedy, Mulvihill, O'Neill/1001): F Major (O'Neill/1850). Standard. AABB (Allan, Kennedy, Mallinson, O'Neill): AABB' (Mulvihill). O'Neill (1913) mentions that a special dance was performed to this tune. Source for notated version: "learned from my mother" [Mulvihill]. Allan's Irish Fiddler, No. 112, pg. 28. Kennedy, Vol. 1, 1951; No. 62, pg. 30 (appears as "Bonny Laddie"). Mallinson (100 Polkas), 1997; No. 49, pg. 19. Mulvihill (1st Collection), 1986; No. 11, pg. 121. O'Neill (1850), 1903/1979; No. 1807, pg. 339. O'Neill (1001 Gems), 1907/1986; No. 1000, pg. 172. GN1, Joe Thoma - "Up the Track: Traditional Music from Kenmare."
T:High Caul Cap
L:1/8
M:C
S:O'Neill - 1001 Gems (1000)
K:G
D2|G2 GA B2d2|cBAG BAGA|B2A2A2 GA|B2A2A2D2|GFGA B2d2|
CBAG BcAB|G2E2E2 DE|G2E2E2:|
|:d2|e2g2d2e2|cBAG BAGA|B2A2A2 GA|B2A2A2d2|1 e2g2d2e2|
cBAG BcAB|G2E2E2 DE|G2E2E2:|2 efge dged|BdAc BcAB|G2E2E2DE|G2E2E2||

HIGH ROAD TO SLIGO (Am Bóthar Mór go Sligeach). Irish, Double Jig. D Major. Standard. AAB. Recorded by Joe Burke. Source for notated version: The Bridge Ceili Band [Mulvihill]; accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 33, pg. 14. Mulvihill (1st Collection), 1986; No. 41, pg. 73.

HILLS OF GLENORCHY [1]. AKA - "Hills of Glenurchie" AKA and see "Braes of Glenorchy," "The Jolly Corkonian," "Pat Burke's." Scottish, Canadian; Jig, Quickstep or Pipe March (6/8 time). Canada, Cape Breton. A Mixolydian (Dunlay & Greenberg, Dunlay & Reich): A Mixolydian (Neil): D Dorian (Gatherer): E Dorian/Minor (Cole, Gow, Hinds, Kerr, Martin). Standard. AABB (Cole, Hinds, Kerr, Martin): AABB' (Dunlay & Reich): AABB'A'A'BB' (Dunlay & Greenberg). One of, or perhaps the, earliest setting of the tune is to be found in Alexander Mackay's collection of c. 1805 under the title "Braes of Glenorchy." Dunlay & Reich (whose Cape Breton version seems slightly altered) identify this as a pipe tune usually appearing in E minor; the variations are easier to play in E minor or in A minor an octave down, and the authors say its a good tune for octave harmonies or 'doubling' the melody. Bayard (1981) remarks that the melody should be categorized as one of the "Hillside" group of tunes (See note for "Hillside"). See also variants "Lark in the Morning," "Trip to Galway" and "Katy is Waiting." Gatherer's (1987) first version is a pipe tune, as is Neil's (1991). See also the cognates "The Old Grey Cat," "Smuggler's Reel," the jig "The Rollicking Boys of Tandaragee," and the Northumbrian air "The Wild Hills of Wannie." Lorrie MacKinnon found a Gaelic verse to "Hills of Glenorch" in The Transactions of the Gaelic Society of Inverness (1917), which goes:
***
Loisg a' chailleach a casan air eibhleig (x3)
'S chuireadh i feum air ola nan ron
(The old lady burned her feet on an ember and she used seal oil on it).
***
Source for notated version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg, Dunlay & Reich]. Cole (1001 Fiddle Tunes), 1940; pg. 62. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 106. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 72. Gatherer (Gatherer's Musical Museum), 1987; pg. 19 (two versions). Gow Collection of Strathspey Reels, Part 6, 1822. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 24 (appears as "Hills of Glenurchie"). Kerr (Merry Melodies), Vol. 1; No. 6, pg. 47. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 19. Neil (The Scots Fiddle), 1991; No. 124, pg. 163. Scots Guards - Standard Settings. A & M 79602 2001-2, Ashley MacIsaac. Atlantica Music 02 77657 50222 26, SA93130, Donny LeBlanc - "Atlantic Fiddles" (1994). BM-91, Buddy MacMaster - "Glencoe Hall." Rodeo (Banff) RBS 1255, Barabara MacDonald- "Scottish Piano Selections" (appears in "Medley of Jigs"). Celtic CX049 CX 1, (various artists) Donald & Theresa MacLellan/The MacLellan Trio- "Cape Breton Violins" (appears after "There Came a Young Man"). LC9501, Lee Cremo. Rounder C-7013, Joe Cormier.
T:Hills of Glenorchy [1]
L:1/8
M:6/8
K:E Minor
d|B2E EFE|BAB d2B|A2D DED|AFD FAd|B2E EFE|BAB d2e|dBd AFD|EFE E2:|
|:B|efe edB |efg gfe|ded dAF|d^cd fed|efe edB|efg fef|dBd AFD|EFE E2:|

HILLS OF KESH, THE (Cnocáin na Céise). AKA and see "The Eel in the Sink," "The Irishman's Blackthorn." Irish, Reel. A Mixolydian. AABB. The tune was recorded under the "Hills of Kesh" title in 1921 by the great Galway melodeon player, P.J. Conlon. Source for notated version: accordion player Joe Sheridan (Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 181, pg. 82. Outlet Records SOLP 1022, Seamus Tansey - "Sligo Ceili" (1973).

HILLSIDE, THE [1]. AKA and see "Joe Kennedy's Jig." English, Jig. E Minor. Standard. AABB. Raven (English Country Dance Tunes), 1984; pg. 122.

HILLSIDE, THE [2]. American, Quadrille (6/8 time). G Dorian. Standard. AB. A variation of version #1. Bayard (1981) identifies this as a member of a huge tune group which also includes "The Oysterwives Rant," "The Haughs of Cromdale," "Wate You How the Play Began," "Welcome Home," "(Fare Thee Well) Sweet Killaloe," among others. "Sets belonging more to the 'Hillside' group (Nos. 47 and 48) include Journal of American Folklore, XXXI, 163, to 'The Heights of Alma;' Kidson (Traditional Tunes), pg. 98; H.C. Buck, ed. The Oxford History of Music, Introductory Volume, pg. 195, ''The Drunken Sailor;' Thomas D'Urfey, Songs Compleat (1719), II, 83, and VI, 300; Amy Murray, 'Father Allan's Island, pp. 172-173; Joyce 1872, No. 19; Joyce (Old Irish Folk Music and Songs), 1909, Nos. 73, 155, 193, 241; Petrie, Nos. 318, 319, 1500; O'Neill's Irish Music, Nos. 311, 331; White's Excelsior Coll., p. 15, 'Joe Kennedy's Jig'; Jigs and Reels, p. 4; Hardings Orig. Coll., Nos. 81, 135; O'Neill, 'Music of Ireland', No. 1598; White's Unique Coll., Nos. 8, 10; Hardings All-Round Coll., Nos. 124, 125 (1st part); Robbins, No. 74; Kerr, Nos. 265, 294, 301, 331; Cole, p. 52, 'Joe Kennedy's Jig,' p. 54, 'Katy is Waiting,' p. 58, 'Lark in the Morning,' p. 62, 'Sunday is My Wedding Day,' p. 62, 'Hills of Glenurchie', JEFDSS, I, 143, 'Donald the Dancer;' Costello, 'Amhrain Mhuighe Seola, p. 60, 'ffrench of Tyrone;' Ord, 'Bothy Songs and Ballads,' pp. 39, 52; Scanlon, p. 40, 'The Waves of Torey,' p. 68, 'The Tenpenny'" (Bayard, 1944). See also Bayard's note for "Bonaparte Crossing the Alps." Source for notated version: John Kubina, (near) Davistown, Pennsylvania, September 3, 1943 (learned from Ann Peterson, fiddler, in East Pittsburgh) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 47 (appears as "Quadrille").

HITCHNER'S PHOENIX. Irish, Reel. G Major. Standard. AA'BB'. Composed by Boston accordion player Joe Derrane. The title refers to New York writer Earle Hitchner, who was instrumental in rekindling Derrane's interest in resuming playing Irish traditional music. His first public appearance in several decades was at the 1994 Washington Irish Folk Festival at Wolf Trap, where he was well-received and a musical career revived. "Hitchner's Pheonix" is tune Derrane himself. Black (Music's the Very Best Thing), 1996; No. 362, pg. 192.
T: Hitchner's Phoenix
C: J. Derrane
Q: 350
Z:Transcribed by Bill Black
R: reel
M: 4/4
L: 1/8
K: G
G,B,DG Bdga | bagb agef | g2 fg edBd | (3cBA (3BAG AGEG |
G,B,DG Bdga | bagb agef | gfge dBge |1 dBAd BGEG :|2 dBAB BG Gz ||
(3gag fg edBd | (3cBA (3BAG AGEG | gd^cd edBe | dBGA BA A2 |
|1 (3gag fg edBd | (3cBA (3BAG AGEG | G,B,DG Bdge | dBAd BG Gz :|
|2 ga (3bag efge | (3ded (3BAG ABEG | G,B,DG Bdge | dBAB G2 z2 ||

HIUDAI GALLAGHER'S MARCH. AKA and see "Murphy's Delight." Irish, Jig. Ireland, Co. Donegal. A Mixolydian/Major. Standard. ABB'. A popular march and double jig in County Donegal. Hugh (Hiudi) Gallagher was a Donegal warpiper born in 1876, son of piper Donal Gallagher (born c. 1840). Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O'Doherty]. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 85. Green Linnet SIF 3077, John Doherty - "Bundle and Go." Green Linnet SIF-1109, Altan - "The Red Crow" (1990).

HJOGROVOLTAR. Shetland, Shetland Reel. Shetland, Fetlar. D Major. Standard. AB. An assymetrical Shetland reel with a Scandinavian name indigenous to the island of Fetlar, which was still used for dancing there in the 1970's. Source for notated version: Joe Jamieson (Fetlar, Shetland) [Cooke]. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 10, pg. 61.

HOG ROCKS [2]. AKA and see "Up Jumped Joe In the Middle of It." The 'B' parts of version #1 and #2 seem to Bayard (1981) as though they were derived from a common ancestor.

HOOK AND LINE. AKA and see "Banjo Sam," "Mr. Catfish," "Shout Lula/Lulu." Old-Time, Breakdown. USA; Piedmont region of N.C., east Tenn, northern & eastern Kentucky. GDAD tuning. "Heard in many parts of the South but relatively rare" (Kerry Blech). "Said to be the tune all Kentucky banjo players learn on" (Bill Mansfield). In the repertoire of Dock Boggs (as "Shout Lula"). Charles Wolfe (1982) describes it as a driving banjo tune which he says was recorded by eastern Kentucky musicians in the 1920's. In the repertoire of African-American fiddler Joe Thompson who played it in FCGD tuning. Gennett Records (78 RPM), The Hatton Brothers (1933. Soon after their only session the fiddler and banjoist brothers gave up music, and Jess, the younger brother, became a full-time minister for the Mormon Church). Global Village C217, (Black fiddle and banjo players) Joe and Odel Thompson - "Old Time Music From the North Carolina Piedmont." Old Homestead OHCS 191, "Dykes Magic City Trio" (known as well to him as "Shout Lula"). Yodel-Ay-Hee 008, One Eyed Dog - "Traditional Mountain Tunes" (1993).

HOOKER'S HORNPIPE. Old-Time, Breakdown. USA; north Missouri, Nebraska. G Major. Standard. AABB. The low part is reminiscent of Clayton McMichen's tune "McMichen's Reel." Hooker may refer to the Civil War general Joe Hooker, or, as Howard Marshall points out, to a laborer on a riverboat, a petty thief or pickpocket , a one-masted fishing boat, loggers, etc. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]; Taylor McBaine (Mo.) [Phillips]. R.P. Christeson (Old Time Fiddlers' Repertory, Vol. 1), 1973; pg. 87. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 201. Missouri State Old Time Fiddlers Association 002, Taylor McBaine (b. 1911, Columbia, Mo.) - "Boone County Fiddler." Voyager 340, Jim Herd - "Old Time Ozark Fiddling." Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999. Learned from Taylor McBaine and Jimmy Gilmore of Jefferson City).

HOP HIGH LADIES (THE CAKE'S ALL DOUGH). AKA and see "(Miss) McCloud's Reel," "Mrs. MacLeod Raasay," "Miss McLeod's Reel," "Did You Ever Go To Meetin' Uncle Joe, Uncle Joe?" "Did You Ever See the Devil, Uncle Joe?" "Hop Light Ladies," "Uncle Joe," "Hop Up My Ladies," "Green Mountain," "Knickerbocker Reel," "Billy Boy," "Sally's Hornpipe," "Walk Jaw Bone," "Whitewash Station." Old-Time, Breakdown. USA, Widely known. G Major (usually - Thede published an odd version in G ['A' part] and D ['B' part). Standard. AB. An American 'old-time' version of the Scottish "Miss McCloud's/Miss McLeod's Reel," the main difference being that the old-time version resolves to the tonic on the cadence, while the Scottish tune generally ends on the dominant. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Wade and Fields Ward (Galax, Va.) recorded the tune in 1937 for Alan Lomax (AAFS #1363). Various lyrics to the tune go:
***
Hop high ladies for the cake's all dough (x3)
I don't mind the weather so the wind don't blow
***
The cow kicked Nelly in the belly in the barn
The cow kicked Nelly in the belly in the barn
The cow kicked Nelly in the belly in the barn
And another little snort wouldn't do us any harm
***
Did you ever see the devil, Uncle Joe, Uncle Joe (3x)
Well, I don't mind the weather if the wind don't blow.
***
Did you ever go to meeting, Uncle Joe, Uncle Joe (3x)
Well, I don't mind the weather if the wind don't blow.
***
How'd ya like the weather, Uncle Joe, Uncle Joe (3x)
Huh? What'd you say?
***
Hop high ladies and the cakes all dough (3x)
I don't mind the weather if the wind don't blow.
***
Tennessee entertainer Uncle Dave Macon did not always sing the three repeat lines of the chorus, "Hop High Ladies, (for) cake's all dough," but sometimes substituted instrumental fragments to hold the rhythm. Tom Paley says that Macon's last line occasionally went something like (it is not clear on the recording):
***
How I get enough time, my Lord, I never will know.
***
These words are from the Memphis Jug Band (who called the tune "Whitewash Station"):
***
If you want to go to heaven
I tell you what to do
You put on your sock, a boot or a shoe
You place a bottle of corn in your right hand
That'll send you right over to the Promised Land
***
And if you meet the Devil
You ask him "How'd ya do"
"I'm on my way to heaven don'tcha wanna go too?"
You know there's a place
That'll do just as well
It's called a Whitewash Station
Ten miles from hell.
***
Source for notated version: W.S. Collins (Pottawatomie County, Oklahoma) [Thede]. Ruth (Pioneer Western Folk Tunes), 1948; No. 13, pg. 6 (appears as "Don't You Want to Go to Heaven, Uncle Joe?"). Thede (The Fiddle Book), 1967; pg. 99. Folkways FA 2494, "Sing Songs of the New Lost City Ramblers" (1978). Philo 1042, Boys of the Lough (with old-time mandolinist Kenny Hall) - "The Piper's Broken Finger" (1976). Vocalation 5154 (78 RPM), Uncle Dave Macon.
T:Hop Light Ladies
T:Hop High Ladies
T:Don't You Want to Go to Heaven, Uncle Joe?
L:1/8
M:2/4
S:Ruth - Pioneer Western Folk Tunes (1924)
K:G
G/A/B/c/ d/B/G/A/|BB/A/ BA|GA/B/c/ d/B/G/B/|AA/B/ Az|
G/A/B/c/ d/B/G/A/|BB/A/ Bd|e>d e/f/g/d/|BA Gz:|
|:Gg e/f/g/d/|BB/A/ BA|Gb e/f/g/e/|a>b a2|Gg e/f/g/d/|BB/A/ Bd|
e>d e/f/g/d/|BA G2:|
|:G/G/ g/g/ e/e/g/g/|BB/c/ BA|G/G/ g/g/ e/e/g/g/|a>b a2|G/G/ g/g/ e/e/g/g/|
BB/A/ Bd|e>d e/f/g/d/|BA G2:|

HOP LIGHT, LADIES. AKA and see "Hop High Ladies," "Did You Ever See the Devil, Uncle Joe," "Uncle Joe," "Walk Light Ladies," "Walk Jaw Bone," "Green Mountain," "Billy Boy," "The Cake's All Dough," "Miss McLeod's Reel," "Run Here, Johnny, There's a Bug Done Got on Me." USA; known in parts of Virginia (esp. Patrick County) and Tennessee under this title, and by Alabama fiddler D. Dix Hollis (1861-1927), who considered it one of "the good old tunes of long ago" (as mentioned in the Opelika Daily News of April 17th, 1926). Also played under this title by J.B. Crenshaw (Covington, Ga.) at a 1913 Atlanta, Ga., fiddlers' contest, and it is mentioned in reports of the De Kalb County (Alabama) Annual (Fiddlers) Conventions 1926-31. Under this title the tune was recorded by legendary Galax, Va., fiddler Emmett Lundy and by Steppville, Alabama, fiddler J.C. Glasscock (for the Gennett label, though it was unissued). The title appears in a list of traditional Ozark Mountain fiddle tunes (as does its alternate, "Hop High Ladies") compiled by musicologist/folklorist Vance Randolph, published in 1954. A version played by elderly Franklin County, Georgia, banjoist Mabel Cawthorn was called "Run Here, Johnny, There's a Bug Done Got on Me." County 201, "The Old Virginia Fiddlers...Patrick County, Virginia." Rounder 0057, Frank Dalton and George Wood (Meadows of Dan, Patrick County, Va.) - "Old Originals, Vol. 1" (1978).

HORSE CALLED ROVER, THE. AKA and see "Rooster in the Strawpile," "Cotton Eyed Joe." Old-Time, Breakdown. USA, southwestern Pa. G Major. Standard. ABB. A composite tune, perhaps fashioned in America. The 'A' part is quite old, asserts Bayard (1981), going back to the 16th century and appearing as "Malt's Come Down" (included in the Fitzwilliam Virginal Book arranged by William Byrd). The 'B' part is a common strain which can be found in collections from European countries (Germany), and in the chorus of the American minstrel ditty "Jim Along Josey" (1840). A version of the tune is found in Ford (1940, pg. 60) as "Cotton Eyed Joe", while the oldest set Bayard found was in Aird (Vol. 1, No. 155) as "The Virginian." The tune was collected in Pennsylvania with these words:
***
Had a little horse and I called him Rover,
When he lived, he lived in clover,
And when he died, he died all over.
***
Source for notated version: Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 10, pgs. 20-21.

HOUSE OF HAMMILL, THE. Irish, Reel. E Dorian. Standard. ABC. Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). The tune is named for Reavy's mother's family, Hamills from County Monaghan, who "had a fondness for music and the traditional way of life" according to Ed's son Joe Reavy. Though she played no instrument his mother was an excellent lilter who had a repertoire or hundreds of tunes, many of which she passed on to Reavy. Reavy (The Collected Compositions of Ed Reavy), No. 40, pg. 42. Green Linnet SIF1122, Kevin Burke - "Open House" (1992).
T:The House of Hamill
M:C
L:1/8
C:Ed Reavy
K:D
D|:EB{c}BA BFAF|EB{c}Bc dAFD|EB{c}BA (3Bcd ef|gfec dAFD|EB{c}BA
BFAF|EB{c}Bc dAFD|EB{c}BA (3Bcd ef|gfec dAFA||BE (3EEE dE (3EEE |
BE (3EEE dAFA|BE (3EEE (3Bcd ef|gfec dAFD|BE (3EEE dE (3EEE|
BE (3EEE dAFA|BAGF GBef|gfec dAFA|| B2 ^GB eBGB|{c}BA^GB ADFA|
B ^GB eBGB|=gfec dAFA| B2 ^GB eBGB|{c}BA^GB ADFA|BA=GF GBbf|
gfec dAFD:|E8|

HOUSE ON THE HILL, THE [2]. Irish, Reel. G Major. Standard. Claddagh Records, Paul McGrattan - "The Frost Is All Over." GN1, Joe Thoma - "Up the Track: Traditional Music from Kenmare" (apparently Thoma used to live in a house on a hill up a track on the outskirts of Kenmare, County Kerry).
T:Up the Track
T:The House on the Hill
C:Joe Thoma
M:4/4
L:1/8
R:reel
Z:transcribed by Paul de Grae
K:A
AB | cE ~E2 c3 B | Acec BAFA | cE ~E2 cdcB | Acec B3 d |
cE ~E2 c cB | Acec BAFA | cE ~E2 cdcB | Aced cBAG ||
FD ~D2 DFAF | EGBG ABAG | FD ~D2 DFAF | EGBG A3 G |
FD ~D2 DFAF | EGBG ABAG | F2 EF DFAF | EGBG ABcd ||
~e2 ce aece | dBBA Bcdf | ~e2 ce acec | dBGB ABcd |
~e2 ce aece | dBBA Bcdf | ~e2 ce aece | dBGB A4 ||

INCH ALONG. Old-Time, Breakdown. "Cotten Eyed Joe"??
Inch along, keep a-pushin on,
Inch along, keep a-pushin on,
Get along buddy, keep a-movin, inch along.
Flying Fish FF-336, Pete Sutherland - "Poor Man's Dream" (1984).

INDIAN HORNPIPE. American, Hornpipe. B Flat Major. Standard. AABB. Related to "St. Joe Hornpipe." Source for notated version: Ron West [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 202.

INGONISH JIG. Canadian, Double Jig. Canada, Cape Breton. E Minor. Standard. AABB. Composed perhaps by the late Cape Breton fisherman and fiddler Mike MacDougall (d. 1980), of Ingonish Beach, Cape Breton, Nova Scotia. Dunlay & Greenberg say MacDougall may have composed it, or it may be Irish in origin. Source for notated version: Mike MacDougall (Cape Breton) [Dunlay & Reich]; Jerry Holland (learned from Mike MacDougall) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 114. Dunlay & Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 75. Boot BOS 7231, Jerry Holland - "Master Cape Breton Fiddler" (1982). PLP4-1012, Joe Cormier- "The Cheticamp Connection" (1983. Appears in "Jig Medley in D"). Cape Breton's Magazine Tape, Mike MacDougall- "Mike MacDougall's Tape For Fr. Hector." Green Linnett GLCD 1137, Altan - "Island Angel" (1993. Learned by Ciaran Tourish from the playing of Cape Breton/Massachusetts fiddler Jerry Holland.) Wild Asparagus WA 003, Wild Asparagus - "Tone Roads" (1990).

I COULD HAVE DANCE ALL NIGHT. Irish, Waltz. GN1, Joe Thoma - "Up the Track: Traditional Music from Kenmare."

HUMOURS OF BANDON, THE (Sugra Droiciod-Na-Bandann). AKA and see "Humours of Listivain," "The Jolly Old Woman," "The Merry Old Woman" [3], "Plangsty Callagh," "Terry's Rambles," "(An) tSeanbhean Sultmhar." Irish, Set Dance (6/8 time). G Major/Mixolydian. Standard. AABB. A Whig tune having eight bars in the 'A' part and sixteen bars in the second. It was known as far back as 1690 when the Irish (who had learned it from the supporters of William III) played it when they sacked Kilbrogan (Winstock, 1970, pg. 26). As "The Humours of Listivain" it appears in Jackson's Celebrated Irish Tunes, published in Dublin by Samuel Lee around 1775 (reprinted in 1790), a collection of tunes from gentleman piper Walker 'Piper' Jackson of the townland of Lisduan in the parish of Ballingarry, Aughrim, County Limerick. The tune was still current in 19th century County Limerick, for O'Neill (1913) mentions a retired Chicago policeman colleague remembered having danced it in his boyhood to the piping of Newcastle-West gentleman-musician Jack Moore. The title appears in the John Carroll manuscript of dance music entrusted to the Newberry Library in Chicago. Carroll was apparently stationed at Fort Niagara in the early 19th century and the dates 1804 and 1812 appear contained in the pages of the manuscript. Allan's Irish Fiddler, No. 109, pg. 28. O'Neill (1915 ed.), 1987; No. 391, pg. 187. O'Neill (Krassen), 1976; pg. 224. O'Neill (1850), 1903/1979; No. 786, pg. 146. O'Neill (1001 Gems), 1907/1986; No. 977, pg. 168. Roche Collection, 1983, Vol. 2; No. 272, pg. 30. Shanachie 34013, Liz Carroll - "A Friend Indeed." Shanachie 34016, Joe Burke & Andy McGann - "The Funny Reel."
T:Humors of Bandon
L:1/8
M:6/8
R:Set Dance
S:O'Neill - 1001 Gems (977)
K:G
F|DGG GFG|A/B/AG FGA|BGG GFG|A/B/de fef|
d2e c2A|BAG FGA|BGA FDF|G3G2:|
|:c|dgg gfg|g/b/ag f2a|g/a/gf d2e|f/g/fd c2e|d/e/dc B2d|
c/d/cB G2A|B/c/BG F2A|G/A/GF D2C|DGG GFG|
A/B/AG FGA|BGG GFG|A/B/de fef|d2e c2A|BAG FGA|
BGA FDF|G3G2:|

HUMORS OF CASTLE BERNARD, THE (Sugra Caislean-Bernaird). Irish, Hornpipe. D Major. Standard. AABB. A close versin of this tune is the Donegal hornpipe "Joe Cassidy's Hornpipe." O'Neill (Krassen), 1976; pg. 214. O'Neill (1850), 1903/1979; No. 1770, pg. 330. O'Neill (1001 Gems), 1907/1986; No. 935, pg. 160.
T:Humors of Castle Bernard, The
L:1/8
M:C|
R:Hornpipe
S:O'Neill - 1001 Gems (935)
K:D
f>e|d>fA>d (3DFA d>f|a>fb>f a>gf>e|d>fA>d (3DFA d>f|(3efe (3dcB A>gf>e|
d>fA>d (3DFA d>f|a>fb>f a>gf>e|d>^de>f (3gec (3ABc|d2f2d2:|
|:A2|c>de>f {a}g>ec>A|d>cd>e f>de>f|{a}g>fg>a b>ag>f|(3efd (3cedB A2 A>B|
c>de>f {a}g>ec>A|d>cd>e f>de>f|g>ba>g (3fed (3edc|d2g2d2:|

HUMORS OF LISADEL {Pléaraca Lios an Daill}. AKA "Humours of Lissadell." AKA and see "The Musical Bridge." Irish, Reel. Ireland, County Sligo, Antrim. E Minor. Standard. AABB. The tune was the composition of the great fiddler John McGrath of Co. Mayo and New York (1900-1955), according to his nephew Vincent McGrath, and was originally titled "The Musical Bridge," after a structure in Belmullet. Breathnach (1963) notes that O'Brien has a setting of this tune in his Irish Folk Dance Music (168). The tune was popularized by Paddy Killoran. Sources for notated versions: flute player Éamonn de Stabaltún (Ireland) [Breathanch]; fiddler Fred Finn {1919-1986} (Kiltycreen, Kilavil, County Sligo); Frank McCollam (Ballycastle, County Antrim) [Mulvihill]. Breathnach (CRE I), 1963; No. 191, pg. 74. Flaherty (Trip to Sligo), 1990; pg. 80. Mulvihill (1st Collection), 1986; No. 128, pg. 34. Taylor (Where's the Crack), 1989; pg. 7. Folk-Legacy FSE 78 (LP), "Seamus and Manus McGuire." Green Linnet, Jack Coen - "The Branch Line" (mistakenly labled as "Lads of Laois"). Green Linnet SIF-1110, Liz Carroll, Martin Hayes & Eileen Ivers - "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Green Linnet SIF 1163, Joe Derrane - "Return to Inis Mór." Leader LEACD 2004, "Martin Byrnes" (1969). Philo F12108, Jean Carignan - "Plays the Music of Coleman, Morrison, and Skinner" (appears as one of "Coleman Reels"). Rounder CD7018, Frank Ferrel - "Boston Fiddle: The Dudley Street Tradition." Shanachie, Paddy Killoran - "Back in Town" (reissue of 78 RPM). Martin Byrnes - Martin Byrnes & Reg Hall. Joe Ryan - "An Buachaill Dreoite." Tom Healey & John Duffy - "Memories of Sligo." Salamanca - "Paddy in Paradise." Shaskeen - "Pipe on the Hob." Bobby Gardiner - "The Master's Choice." Kevin Burke - "Sweeney's Dream." The Bothy Band - "1975."
T:Humors of Lisadel
M:4/4
L:1/8
K:EDor
gf|:eB~B2 eBdB|AF~F2 EDB,A,|B,E~E2 B,EGE|FB~B2 FBdf|eB~B2 eBdB|
AF~F2 EDB,A,|B,E{g}ED EFGA|(3Bcd ed e2gf:|:eB~B2 A2FA|d2 df edef|
df~f2 dfbf|afdf edBc|d2 fd BcdB|AF~F2 ABde|~f2ef dfbf|afdf e2gf:||

HUMOURS OF SCARRIFF, THE (Sugra Scairb). Irish, Reel. D Dorian. Standard. AB (Cranitch): AABB (Sullivan). Scarriff is located in east County Clare, and thus this can be considered a Clare tune. Henrik Norbeck points out that Clare fiddler Paddy Canny slides into the 'f' notes in the 'A' part. Cranitch (Irish Fiddle Book), 1996; No. 66, pg. 151. O'Neill (1001 Gems), 1907/1986; No. 776, pg. 135. Sullivan (Session Tunes), Vol. 2; No. 13, pg. 6. Compass 7 4287 2, Cathal McConnell - "Long Expectant Comes at Last" (2000. Learned from a recording of accordion player Joe Burke and fiddler Andy McGann). Green Linnet SIF - 3005, Bothy Band - "Old Hag You Have Killed Me" (1981. Reissue of 1976 Mulligan LP).
T:Humors of Scarriff, The
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (776)
K:D Dorian
Adde f2 ed|cAGc AcGc|Adde f2 ed|cAAG {F}ED D2:|
||ecgc acgc|ecgc ea{b}(3aga|ecgc acec|edcd ed d2|ecgc acgc|
ecgc ea (3aga|ea2a gedB|cAGE {F}ED D2||

HUMOURS OF TULLA, THE (Pléarace na Tulaí). Irish, Reel. D Major. Standard. AB (Cranitch): AABB (Taylor): AA'BB' (Breathnach). Source for notated version: accordion player Joe Cooley (Co. Galway, Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 135, pg. 63. Bulmer & Sharpley (Music from Ireland), Vol. 3, No. 4. Cranitch (Irish Fiddle Book), 1996; pg. 87. Mallinson (Essential), 1995; No. 51, pg. 22. Taylor (Through the Half-door), 1992; No. 37, pg. 26. Gael-Linn Records CEF 044, Joe Cooley - "Cooley" (1975). Shaskeen - "Shaskeen Live."
T:Humours of Tulla
R:Reel
M:C|
K:D
d2Ad BdAB|defd edBc|d2Ad BdAd|(3Bcd ef g2fe|
d2Ad BdAB|defd edBc|d2Ad BdAd|(3Bcd ef g2fg||
a ~f3 d2 fg|a ~f3 g ~e3|a ~f3 d fed|cdef g2 fg|
a ~f3 d2 fg|a ~f3 g ~e3|a ~f3 d fed|cdef g2 fe|

HUMORS OF WESTPORT, THE (Sugra Catair-Na-Mart). Irish, Reel. F Major. Standard. AB (O'Neill/1850 & 1001): AABB (O'Neill/Krassen). See also related "Pretty Peggy" [5]. O'Neill (Krassen), 1976; pg. 91. O'Neill (1850), 1903/1979; No. 1177, pg. 222. O'Neill (1001 Gems), 1907/1986; No. 457, pg. 89. Green Linnet SIF-1110, Seamus Connolly - "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Green Linnett GLCD 1117, Altan - "Harvest Storm" (1992). Green Linnett GLCD 1119, Cherish the Ladies - "The Back Door" (1992). Shaskeen OS-360, Andy McGann, Felix Dolan, Joe Burke - "A Tribute to Michael Coleman" (c. 1965). Seamus Creagh & Aidan Coffey.
T:Humors of Westport, The
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (457)
K:F
f2 fe fcAc|f2 fe fage|fage fcAc|BAGA Bcd|f2 fe fcAc|f2 fe fcAc|
f2 fe fagb|afge fcAc|BAGA BdcB||AFcF dFcF|AFcF BdcB|AFcF dFcF|
BAGA BdcB|AFcF dFcF|AFcF BdcB|Acfa gefc|BAGA Bcde||

HUNTER'S HOUSE. AKA and see "Reavy's." Irish, Reel. G Major. Standard. AABB. Composed by late Irish-American fiddler Ed Reavy (1898-1988, County Cavan/Philadelphia, Pa.), and, with "Maudabawn Chapel," his most frequently played tune in the tradition. Sean McGuire's (Maguire) recording in 1956 on a 78 RPM for His Master's Voice appears to be the first, according to Philippe Varlet. Mallinson (Enduring), 1995; No. 21, pg. 9. Reavy (The Collected Compositions of Ed Reavy), No. 33, pg. 35. CCF 25, Seane Keane - "Jig it in Style" (1990). CEF 167, The Lennon Family - "Dance of the Honey Bee" (1994). SD 003, Christy Dunne - "Plucking Good" (1994). Shanachie 78009, Joe Derrane - "The Tie that Binds." Shanachie SHA34008, Andy McGann and Paddy Reynolds (appears as "Reavy's Reel"). Varrick VR-038, Yankee Ingenuity - "Heatin' Up the Hall" (1989). Paddy Glackin - "The Flags of Dublin." Jolyon Jackson - "Hidden Ground." Sean Maguire -"The Irish Phonograph, Volume 1" (1956). Jimmy Power - "Fifty-odd Years" (1984). The Chieftains - "Chieftains in China." The Chieftains - "Water from the Well." "Music at Matt Molloy's." Na Connery's - "The Session " (appears as "Reavy's").
T:The Hunter's House
R:Reel
C:Ed Reavy
L:1/8
M:2/2
K:G
A|:Bd (3dcd =cAFA|G2 BG dGBG|Bd (3d^cd =cAFA|GBAG FDCA,|DGBG cAFA|
BGAF GABc|defg agfd|cAFA G2 GA:||
B2 gB aBgB|(3BBB gf edcB|A2 ad bdbd|(3ddd af gfed|
B2 gB aBgB|(3BBB gf edcB|cBAg fdBd|cAFA BGGA|B2 gB aBgB|(3BBB gf edcB|
A2 ad bdad|(3ddd af gfed|B2 gB aBgB|(3BBB gf edcB|cBAg fgaf|gdBd cAFA:||

HUPPES TAIAUTS, LES (The Clever Hounds). AKA and see "Hip et Taiau." Cajun, Two-Step (4/4 time). D Major. Standard. One part. The French word 'Huppe', used colloquially, means clever while 'taiaut' comes from the English shout 'tally-ho', and refers to a hound dog -- thus Francois' "Clever Hounds", though there are other interpretations of the title. See also related tunes "Les Haricots Sont Pas Sales," Irene Whitfield's "Hip et Taiaut," Moise Robin's "Les Filles d'Arnaudville," Jimmy Newman's "Hippy Ty-Yo" and Joe Bonsall's "Hippy Ti Yo." Source for notated version: a blend of Joe Bonsall's and Jimmy Newman's versions [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 164-165. La Louisiane Records LL-140, Jimmy Newman. Swallow Records SW-LP6049, Joe Bonsall.

JACK COUGHLAN'S (REEL). AKA - "Jack Coughlan's Fancy," "Kevin Crawford's." Irish, Reel. G Major. Standard. AB. Jack Coughlan was a flute player from Ballinakill, the same part of County Galway as Black's source, Mike Rafferty. Source for notated version: Bill Black learned this tune at Mike Rafferty's retirement party in May 1989. Black (Music's the Very Best Thing), 1996; No. 67, pg. 35. Green Linnet SIF 1045, Joe Burke - "Tailor's Choice." "Joe and the Gabe."
T: Jack Coughlan's
S: Mike Rafferty
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
B | cABA G3 B | AE E2 GEDB | cABA G3 A | BdAc BGGB |
cABA G3 B | AE E2 GEDB | cABA G3 A | BdAc BGGE ||
DBDE GFGA | BA (3Bcd ed B2 | dBde g3 e | dBAc BGGE |
DBDE GFGA | BA (3Bcd ed B2 | dBde g3 e | dBAc BGGB ||

JACK TAR. AKA and see "Pigeon on the Gate" [2], "Pigeon on the Gatepost," "Pigeon on the Pier" [2], "Roddy Joe's Reel," "The Sturgeon Tea," "The Twin Sisters." The title "Jack Tar" for the tune comes from Kings County, Prince Edward Island, where it is one of several titles.

JACKIE DONNAN'S MAZURKA. AKA and see "Joe O'Dowd's (Mazurka)." Irish, Mazurka (3/4 time). D Major. Standard. AABB. A version of this tune appears in the Roche Collection as a redowa called "The Barnacle." Source for notated version: fiddler Jackie Donnan (Co. Down) [Boys of the Lough]. Boys of the Lough, 1977; pg. 15. Transatlantic TRA 311, Boys of the Lough - "Lochaber No More."
T:Jackie Donnan's Mazurka
R:mazurka
Z:id:hn-mazurka-4
M:3/4
K:D
dB|:A2 AF AB|d2 dB df|e2 ed ef|a2 af ed|
A2 AF AB|d2 dB df|e2 ed ef|1 d2 dB dB:|2 d2 dA de||
|:f2 fe de|f2 fe df|e2 ec Ac|e2 e2 de|
f2 fe de|f2 fe df|a2 fd ef|d2 d2 Ad:|
|:f2 f2 ef|d2 d2 dc|B2 BA FA|B2 BA FA|
f2 f2 ef|d2 d2 af|e2 ed ef|1 d2 d2 Ad:|2 d2 d2 dB||

JACKSON'S REEL [2] (Ríl Mhic Eoin). AKA and see "Athens," "Blodgett's Reel," "The Clogher Reel," "Dublin Reel," "Dublin Lasses," "Miss Daly's Reel," "The Shuffle Reel," "The Twelve Locks," "The Twister," "The Union Reel," "Victor Wild," "The Westmeath Hunt." Irish, Reel. G Major ('A' and 'C' parts) & D Major ('B' part). Standard. ABC. A popular reel in County Donegal. Caoimhin Mac Aoidh (1994) lists this as one of the Donegal tunes played with long-bowed double stops, reminiscent of piping. Breathnach (1985) notes the version played in the key of 'C' or 'D' is called "The Dublin Reel," and finds the alternate title "The Dublin Lasses" in County Leitrim and Kerry. In Cole's 1001 Fiddle Tunes it appears as "The Shuffle Reel" and "Miss Daly's." Sources for notated versions: fiddler and cabbie Jean Carignan (Montreal, Canada) [Brody]; Kincora Ceili Band (Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 102, pg. 52. Brody (Fiddler's Fakebook), 1983; pg. 143. O'Neill, 1976 (Krassen); pg. 90 (appears as "Dublin Reel"). Comhaltas Ceoltoiri Eireann CL12, John Joe Gardiner & Kincora Ceili Band - "Ceol Tire" (1976). Philo 2001, "Jean Carignan" (second tune of "Jackson's Medley"). Shanachie 33002, Michael Coleman- "The Legacy of Michael Coleman" (second tune of "Jackson's Medley").

JENNY'S WELCOME TO CHARLIE ("Fáilte Sineid Roim Catal" or "Fáilte Shinéad roimh Chathal"). AKA and see "Jennie and the Weazel," "Jennie and the Weaver," "Jenny Picking Cockles," "The Highway to Holburn." Irish, Reel. Ireland; Counties Donegal, Meath, west Clare, Limerick. D Aeolian (Dm): D Dorian (Cowdery): D Mixolydian (O'Neill/1001): D Mixolydian/Major (Breathnach, Mitchell): D Mixolydian/Dorian (Cranitch): D Major (Mulvihill, O'Neill/1850). Standard. ABC (Breathnach): ABCD (Mitchell, O'Neill): ABB (Williamson): AABBCCDD (Brody, Cowdery, Cranitch): AABB'CCDD'EEFF (Mulvihill). The title of this Jacobite reel refers to the Scottish pretender Bonnie Prince Charlie, also for a time an Irish hope. Cowdery (1990) identifies the melody as a "further development" of the identifying phrases of the old ballad "The Boyne Water." Caoimhin Mac Aoidh maintains the tune (in four parts) was associated with County Donegal in the past, though it has been disseminated to most of Ireland in the present. "The Long Note" is a related tune. Sources for notated versions: Kathleen Collins [Brody]; Nicholas Markey (County Meath, Ireland) via piper Seamus Ennis [Williamson]; piper Seamus Ennis, 1959 (Dublin, Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Tommy O'Connor (Ballyhahill, County Limerick) [Mulvihill]. Breathnach (CRE II), 1976; No. 261, pg. 135. Brody (Fiddler's Fakebook), 1983; pg. 146. Cowdery, 1990; Ex. 45, pg. 118. Cranitch (Irish Fiddle Book), 1996; No. 81, pg. 156. Mitchell (Dance Music of Willie Clancy), 1993; No. 144, pg. 114. Mulvihill (1st Collection), 1986; No. 144, pg. 39. O'Neill (Krassen), 1976; pg. 142. O'Neill (1850), 1903/1979; No. 1456, pg. 270. O'Neill (1001 Gems), 1907/1986; No. 687, pg. 122. Williamson (English, Welsh, Scotch and Irish Fiddle Tunes), 1976; pg. 89. Claddagh CC53CD, Robbie Hannan - "Traditional Music played on the Uilleann Pipes." Claddagh CC39, Willie Clancy - "The Pipering of Willie Clancy, Vol. 2." Cló Iar-Chonnachta CICD098, Tola Custy and Cyril O'Donoghue - "Setting Free." Comhaltas Ceoltoiri CL13, Tommy Peoples. Front Hall 09, How To Change a Flat Tire- "A Point of Departure." Gael-Linn, Paul O'Shaughnessy - "Slogadh 78." "Gael-Linn CEF 022, Sean Keane - "Seoda Ceoil 2" (1969). Green Linnet SIF 1075, Eileen Ivers - "John Whelen & Eileen Ivers: Fresh Takes" (1987). Green Linnet SIF 1101, Eileen Ivers - "Playing with Fire: The Celtic Fiddle Collection" (1989). Outlet 3002, Paddy Cronin- "Kerry's Own Paddy Cronin" (1977). Shanachie 29002, "Kathleen Collins". Shanachie 79001, De Danann- "Selected Jigs, Reels, and Songs." Shanachie 78012, "The Best of Joe and Antionette McKenna." Tara Records, Paddy Glackin - "Doublin'".
T:Jenny's Welcome to Charlie
M:4/4
L:1/8
R:reel
Z:Barney
K:Ddor
D3 B AG E^F|GE cE dE cE|D2 DB AG E^F|GE cE ED DC|
(3DDD DB AG E^F|GE cE d2 cd|ec dB cA GE|1 GE cE ED DC:|
2 GE cE ED D2||:
=f2 fd ef ed|cA (3AAA GA EA|=f2 fd ed cd|ea ag (3ege de|
~=f3 d ef ed|cA (3AAA G2 cd|ec dB cA GE|1 GE cE ED DC:||:
(3aaa ab ag e^f|~g3 a ge dg|ea (3aaa ag ed|ea ag (3ege dg|
a2 ab ag e^f|~g3 a ge dB|A2 (3Bcd ed dg|(3AcA GE ED D2:||:
Ad dc de =fz|Ac (3ccc cA Gc|Ad dc d2 cd|ea ag (3ege dc|
d2 de dc AB|~c3 d cA GE|D2 (3E^FG Ad dc|1 (3AcA GE ED D2:|
2 (3AcA GE ED DC||

JEUNES GENS DE LA COMPAGNE (Young Country Lads) [2]. Cajun, Two Step. USA, Louisiana. G Major. Standard. AA(Vocal)ABBB(Vocal)AA(Vocal)BB. Dennis McGee's song has a different tune than version #1. Related songs, according to Raymond Francois (1990), are Joe Falcon's "Allons a Lafayette" and Aldus Roger's "Lafayette Two-Step." Source for notated version: Dennis McGee (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 175-176. Morning Star 45002, "The Early Recordings of Dennis McGee (La.) 1929-1930."

JULIA CLIFFORD'S (REEL). AKA and see "Anything for John Joe," "Anything When You Die."

JULIA'S WEDDING (Banais Suibain). AKA and see "Kiss Me Joe." Irish, Hornpipe. G Major. Standard. AABB. O'Neill (1915 ed.), 1987; No. 345, pg. 169. O'Neill (Krassen), 1976; pg. 192. O'Neill (1001 Gems), 1907/1986; No. 885, pg. 152.
T:Julia's Wedding
L:1/8
M:C|
R:Hornpipe
S:O'Neill - 1001 Gems (885)
K:G
d>c|B>Gc>A B>GA>F|{A}G>FG>A B>de>f|{a}g>fg>e d>BA>c|
B>GA>F G>DE>F|~G2 B>G A>GE>F|{A}G>FG>A B>de>f|
{a}g>fg>e d>BG>B|A>DE>F G2:|
|:B>c|d>BG>B e>cA>c|{a}g>fg>a g>dB>d|b>ag>b a>gf>a|
g>fg>e d>cB>c|d>BG>B e>cA>c|{a}g>fg>a g>dB>d|
b>ag>b a>gf>a|f>de>f g2:|

JOHN BROWN [2]. AKA and see "Miss McLeod's Reel," "The Virginia Reel," "Old Mammy Knickerbocker" (Pa.), "Nigger in the Woodpile," "(Do You Want to Go to Heaven,) Uncle Joe," "The Enterprise and Boxer." USA, southwestern Pa. G Major. Standard. AB. Not related to version #1. Source for notated version: Henry Bryner (elderly fiddler from Fayette County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 249E, pg. 212.

JOHN HENRY. Old-Time, Breakdown. USA; western North Carolina & Virginia. A Mixolydian. AEAE. AABB. A Galax, Virginia, area tune. African-American fiddler Joe Thompson played a "John Henry" in GDGD tuning. Source for notated version: Liz Slade (Yorktown, New York) [Kuntz]. Kuntz, Private Collection. Fretless FR 160, The Double Decker String Band - "Sentimental Songs and Old Time Melodies" (1981. Learned from the Williamson Brothers and Curry, and the Skillet Lickers). Rounder CD0421, Bruce Molsky - "Big Hoedown" (1997. Learned from Fred Cockerham of Low Gap, North Carolina).

JOHN JOE GANNON'S HORNPIPE (Cornphíopa Sheán Seosamh Mhig Fhionnáin). Irish, Hornpipe. G Major. Standard. AABB. Source for notated version: fiddler Joe Ryan & harmonica player Eddie Clarke (Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 210, pg. 96. Green Linnet Records SIF 1030, Joe Ryan & Eddie Clark - "Crossroads" (1981).

JOHN JOE'S. Canadian, Jig. Canada, Cape Breton. A Major/Mixolydian. Standard. AABB. A "double-tonic" tune composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert's), 1994; No. 95, pg. 35.

JOHN JOE'S JIG (Port Sheáin tSeosaimh). AKA and see "John Mahinney's No. 1." Irish, Jig. D Major. Standard. AA'BB. Source for notated version: whistle player Mary Bergin (Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 23, pg. 12. Gael-Linn Records CEF 071, Mary Bergin - "Feadoga Stain" (1979).

JOHN MAHINNEY'S NO. 1. AKA and see "Gullane Jig," "John Joe's Jig," "The Old Bush," "Old John's Jig." Irish, Jig. The tune is called after John Mahinney Barnard of Gneevegullia, a friend of Bill "The Weaver" Murphy, father of Denis Murphy and Julia Clifford. Recorded by Seamus Creagh and Aidan Coffey.

JOHNNY COPE [2]. Irish, Hornpipe. A Dorian (Bayard, Breathnach, Moylan, Perlman, Roche): A Mixolydian (O'Neill/1850). Standard. ABBCC'CC'DD'EE' (Moylan): AABBCCDD'EEFF (O'Neill/1915): AABB'CC'DEEFF (Breathnach): AA'BBCC'DDEE'FF (Taylor). Breathnach (1985) remarks this hornpipe was borrowed from Scotland, and is sometimes called "General Coope" in Ireland. A set of variations printed in Kohler's Violin Repository (Edinburgh, late 19th century) has been suggested as the source for Padraig O'Keeffe's version of the tune, as well as the G Minor hornpipe "Drunken Sailor." O'Keeffe, a famous fiddler from the Sliabh Luachra region of the Cork/Kerry border in the early-mid 20th century, is often credited with devising the variations, however. Interestingly, Caoimhin Mac Aoidh, who has edited over 1,000 tunes in manscript form written by O'Keeffe, says that the Kerry master's written version was only a two-part tune. Rather than finding variations in Kohler's or other books, it is thought by Sliabh Luachra fiddlers that O'Keeffe either wrote the variations or attached bits of other tunes to round out his version. Paul de Grae writes: "Seamus Ennis learned the six-part 'Johnny Cope from Padraig, and I believe it was from Seamus that Liam O'Flynn got it. Julia Clifford also learned it from Padraig." Alan Ward writes:
***
Of those we visited [in Sliabh Luachra in 1976] the only other local
musician with a version was Joe Conway who played the standard
march as a 'quadrille polka' and also the last two parts of Padraig's
version as a barn dance which he named 'The Doon Roses'. Several
of Padraig's pupils had not heard of it when we asked them, and in
fact Julia may be the only one still playing it regularly.
***
Sources for notated versions: ; fiddler Seán Keane (Ireland) [Breathnach]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), who identified his rendition as fiddler Padraig O'Keeffe's version [Moylan]; Julia Clifford (Sliabh Luachra, County Kerry), who also learned her version directly from O'Keeffe [Treoir]; Peter Chaisson, Jr. (B. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Breathnach (CRE III), 1985; No. 208, pg. 95. O'Neill (1915 ed.), 1987; No. 112, pg. 63. O'Neill (1850), 1979; No. 1812, pg. 340. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 85. Roche Collection, 1983, Vol. 3; No. 202, pg. 78 and No. 196, 2nd tune, 4th figure. Treoir, Vol. 7, No. 3. Taylor (Where's the Crack?), 1989; pgs. 26-27. Gael-Linn Records CEF 069, Séan Keane - "An Fhidil II" (1980). RTE CD174, "The Sliabh Luachra Fiddle Master Padraig O'Keeffe" (recorded by Seamus Ennis in 1949). Shanachie 79011, Planxty - "Cold Blow the Rainy Night." Tara 2006, "Noel Hill and Tony Linnane" (1979. Hill learned the tune from Tony MacMahon and Liam O'Flynn). Topic 12T311, John & Julia Clifford - "The Humours of Lisheen."
T:Johnny Cope
M:4/4
L:1/8
C:Traditional
S:Padraig O'Keeffe
R:Hornpipe
B:
N:Recorded by Seamus Ennis, January 29, 194
D:From RTE 174 "The Sliabh Luachra Fiddle Master
K:ADor
d2{ed}B || A2AB A2Bd | efed B2AG | EG{A}GE GABd | {e}dBGA {d}BAGB |
A2AB A2 (3Bcd | e2A2 {d}BAG2 | (3efg fa gedB |1 {d}BAAB AGEG :||
2 {d}BAAB A2AB ||
c2{d}cB c2G2 | cdef gedB | cBAc e4 | cdec dB{d}BG |
cBcd c2G2 | cdef gedg | ea{b}ag ed{e}dB | A2A2 A2AB :||
c2cB ABAG | ABcd (3efg dc | BG~G2 dG~G2 | (3Bcd ec dB{d}BG |
c2cB ABAG | ABcd efed | ea{b}ag ed{e}dB |1 A2AB A2AB :||2 A2AB A2 (3Bcd||
ea~a2 a2ga | b2a2 {b}aged | eg{a}ge gaba | gaba {b}aged |
ea~a2 a2ga | b2a2 {b}aged | d2ef {a}gedB | {d}BAAB A2Bd :||
e4 edBd | efaf {a}fedB | d4 dBAB | d2fd edBd |
e4 {a}fedf | efaf {a}fedB | ABdf eBdB |1 A2AB A2Bd :||
2 A2AB A2 fg ||
a2e2 ef~f2 | a2e2 ea~a2 | f2d2 ~d3e | f2d2 d2 fg |
a2e2 {a}fedf | efaf {a}fedB | ABdf efdB |1 {d}BAAB A2 fg :||
2 {d}BAAB AGEG |

JOHNNY COPE [3]. Old-Time, Breakdown. USA, West Virginia. A Mixolydian. Standard. AABB (Phillips, Songer): AA'BB' (Krassen). Krassen says Franklin George probably learned this tune from his grandfather, William Washington George, and that the original title was not remembered. The tune bears some resemblance to an "obscure piping version" of "Johnny Cope." General Johnny Cope led the English forces routed by the Scots at the battle of Prestonpans, prior to their subsequent defeart at Culloden. Sources for notated versions: W. Frank George (Bluefield, W.Va.) [Krassen]; Joe Herrmann with the Critton Hollow String Band (W.Va.) [Phillips]. Krassen (Masters of Old Time Fiddling), 1983; pg. 108-109. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 126. Songer (Portland Collection), 1997; pg. 114. Flying Fish 355, Critton Hollow String Band - "By and By" (1985). Folkways FTS 31009, Ken Perlman - "Clawhammer Banjo and Fingerstyle Guitar Solos."

JOHNNY JOE CHAISSON'S REEL. Canadian, Reel. Canada, Prince Edward Island. A Major. Standard. AABB. Perlman (1996) believes the tune is locally composed on Prince Edward Island. Source for notated version: Johnny Joe & Foncey Chaisson (1918 & 1929, Souris, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 100.

JOHNNY JOE LEM'S JIG. Canadian, Jig. Canada, Prince Edward Island. A Major. Standard. AA'BB. A Kings County, Prince Edward Island, tune. Source for notated version: Johnny Joe and Foncey Chaisson (b. 1918 & 1929, Souris, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 139.

JOHNNY WHEN YOU DIE. AKA and see "The Ballina Lass," "Gearrchailiu Chontae Mhuigheo," "The Green Meadows," "The Hag's (Reel)," "The Mayo Lasses," "The Old Maids of Galway," "Over the Moor to Maggie," "Paddy's Gone to France," "Waynesboro," "West Mabou Reel," "The Willow Tree." Irish, Reel. G Major/A Dorian. Standard. AB. The tonality shifts between the two keys. Source O'Leary usually paired this tune with "Anything for John Joe" and referred to them jointly as "The Sliabh Luachra Reels." See also the similar tunes "The Mayo Lasses" and the Cape Breton "West Mabou Reel" (attributed to Dan {Domhnull Iain an Táillear} Beaton {1856-1919}). Paul de Grae reports that the melody was called by his late friend fiddler Paddy O'Sullivan of north Kerry "Into the room, I want you," and explains that fiddlers were often paid with drink (for playing at house dances, etc.). O'Sullivan's title refers to an invitation into the "room" or parlour to be given a mug of porter. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, March, 1987 [Moylan]. Moylan (Johnny O'Leary), 1994; No. 165, pg. 95. Claddagh CC5, Denis Murphy & Julia Clifford - "The Star Above the Garter." Globestyle Irish CDORBD 085, The Kerry Fiddle Trio - "The Rushy Mountain" (1994. Reissue of Topic recordings). Topic 12T309, Padraig O'Keeffe, Denis Murphy & Julia Clifford - "Kerry Fiddles."

JOLLY CORKONIAN, THE (An Corcaigeac Sugac). AKA and see "Braes of Glenorchy," "Hills of Glenorchy" [1], "The House of Clonelphin," "Joe Kennedy's," "Mrs. Martin's Favorite," "Paddy O'Carroll's," "Pat Burke's." Irish, Double Jig. D Major/Mixolydian: D Dorian (O'Neill/1001). Standard. AABB. O'Neill (Irish Folk Music) identifies it as "the original of the march the Scotch call 'The Hills of Glenorchy'" but in fact it appears first in print in Scottish collections. An early setting appears as "Braes of Glenorchy" in Alexander Mackay's collection of c. 1805. Source for notated version: John Carey, a native of Limerick [O'Neill]. O'Neill (Krassen), 1976; pg. 29. O'Neill (1850), 1903/1979; No. 822, pg. 153. O'Neill (1001 Gems), 1907/1986; No. 87, pg. 30.
T:Jolly Corkonian, The
L:1/8
M:6/8
S:O'Neill - 1001 Gems (87)
K:D Dorian
c/B/|AFD DED|AGA cBA|GEC CDC|EDC EFG|AFD DED|AGA cde|dcA GEC|DED D2:|
|:A|ded dcA|dcd fed|cdc cBA|GAB cGE|ded dcA|def fed|cBA GEC|DED D2:|

JOSEPH AND MARGARET CHAISSON. Canadian, Waltz. Canada, Prince Edward Island. A Major. Standard. AABB'. Composed by Bear River, Kings County, PEI, fiddler Peter Chaisson, Jr. (b. 1942). Source for notated version: Johnny Joe & Foncey Chaisson (b. 1918 & 1929, Souris, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 175.

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Ceolas > Tunes > Fiddler's Companion

The Fiddler's Companion

Ceolas > Tunes > Fiddler's Companion