Ceolas: The Fiddler's Companion

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AANDOWIN AT DA BOW(E). Shetland, Shetland Reel. Shetland, widely known in the islands. G Major. Standard. AAB (Hunter): AABB' (Cooke). A good example of an indigenous Shetland reel, states Peter Cooke, identified by Anderson & Georgeson (1970) as supposed to have been composed by a fiddler from Muckle Row, Shetland. Tom Anderson (1978) explains the title refers to the action of keeping a fishing boat steady in one place by means of "iddling" with the oars while the lines are out. The 'bow' referred to in the title is a marker buoy. Cooke (1986) prints the following text sung with this dance tune, of more recent composition than the tune and in oral tradition in the Shetlands in the 1970's:
No gaen forward, no gaen trow
Bidin aboot ae place, Aandowin at da bow.
Source for notated version: A. Peterson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1991; pg. 24. Anderson & Swing, (Hand Me Doon Da Fiddle); No. 25. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 15, pg. 65. Hunter (Fiddle Music of Scotland), 1988; No. 194. Topic 12TS379, Aly Bain & Tom Anderson - "Shetland Folk Fiddling, Vol. 2" (1978).
T:Aandowin at da bow
R:Reel
M:4/4
K:G
A|\BGAG E2D2|BGAG BGAd|BGAG E2D2|GABA G3:|\g|gdB AGE2|egdg egdg|egdB AGE2|g2gg afg2|gdg egdg|egdB AGED|GABG E2D2|GABA G3||

ABERDEIN'S CURRANT. Scottish. The title likely refers to the dance currant, named for Aberdeen. The name Aberdeen is multi-cultural in origin, with the Brittonic prefix 'Aber-', meaning 'mouth', coupled with a river name, Don, for a word meaning 'mouth of the Don', over time becoming Aberdeen (Matthews, 1972). The tune was composed by James Lauder in 1584.

ABERGENNY. English, Welsh; Country Dance Tune (2/2 time). G Minor. Standard. AB (Mellor): AABB (Barnes, Raven). The Welsh or Brittonic prefix 'Aber-' means 'mouth', and was attached to names of rivers. Thus Abergenny means the 'mouth of the Genny,' but probably refers to Abergavenny in Monmouth according to Kidson, "which is sufficiently Welsh county in manner and customs to be musically included." Kidson also points out the tune bears a strong resemblance to "Cold and Raw." The tune appears in the 1665 and later editions of Playford's Dancing Master. Barnes (English Country Dance Tunes), 1986. Mellor (Welsh Dance Tunes), 1935; pg. Raven (English Country Dance Tunes), 1984; pg. 18.

ABE'S RETREAT. AKA and see "The Battle of Bull Run," "Manassas Junction." Old-Time, Breakdown. USA, W.Va. A Mixolydian. Standard, AEAE or GDGD (Harvey Sampson). AABB. The alternate title makes it clear that the Abe referred to is Abraham Lincoln, who, as President, was Commander in Chief of the Union army which met a disastrous defeat at the Battle of Bull Run (or, in the South, the Battle of 1st Manassas), Virginia, July 21st, 1861. Another famous West Virginia fiddler, Burl Hammons, plays a similar tune, according to Bill Hicks (1975), and remembers a song connected with the tune having to do with Noah's Ark, with the refrain "forty days and forty nights." Sources for notated versions: collected in the 1950's from W.Va. fiddler Emory Bailey by Dr. Malvin Artley of Elon College, N.C., via the Red Clay Ramblers (N.C.) [Spandaro]; Paul Kotapish (Berkeley, CA, c. 1970's) [Songer]. Songer (Portland Collection), 1997, pg. 17. Spandaro (10 Cents a Dance), 1980; pg. 47. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band - "Flat Foot in the Ashes" (1986/1994. Learned by Calhoun County, W.Va., fiddler from his father and brother Homer). Cassette C-7625, Wilson Douglas - "Back Porch Symphony." Flying Fish 009, Red Clay Ramblers - "Stolen Love" (1975).
T:Abe's Retreat
L:1/8
M:C|
K:A Mix
AdBG A2 cd|efgd e4|A2BA GABA|G E2 G E4|AcBG A2 cd|efgd e3a|
B2a2g2 ed|c A2 B A4:|
|:a3g agef|g2f2 e4|agba gaba|g e2 g e4|a3g agef|g2f2 e3a|b2a2g2 ed|c A2 B A4:|

ALBANY BEEF. AKA and see "Buckley's Favorite/Fancy," "After the Sun Goes Down," "From Night Till Morn," "Lord St. Clair's Reel." The city of Albany, New York, by the way, was originally settled as Willemstadt by the Dutch and renamed Albany by the English when they gained control of the Hudson, in honor of James, Duke of York and Albany. The name Albany itself is a northern English variant of the ancient name Albion, referring to Britain.

ALL IN A GARDEN GREEN. AKA and see "Gathering Peascods," "The Maid in the Moon (Morn)." English, Dance Tune (2/2 or 4/4 time). G Major (Karpeles, Merryweather, Raven): D Major (Laufman): F Major (Chappell). Standard. AB (Chappell): AABB (Karpeles, Laufman, Merryweather, Raven). The earliest published version extant can be found in John Playford's first edition of The English Dancing Master (1651), though the tune appears earlier in William Ballet's Lute Book (1594), and therefore is probably older than the seventeenth century. In fact, it was already considered part of the established traditional repertoire in Playford's day (Pulver, 1923), the mid-17th century. A ballad was registered with the Stationers' Company (an early form of copyrighting, and mandatory at the time) in 1566 called "All in a garden green, between two lovers," which may or may not have been sung to the tune that later appeared in Ballet's MS and Playford. A further reference can be found in A Handefull of Pleasant Delites (1584) in which mention is made of "An excellent Song of an outcast Lover, to All in a Garden green." Whether these early references referred to the melody printed in Playford is not known, for the opening line, remarks Kines (1964), is common to many songs of the period. It begins:
***
All in a garden green two lovers sat at ease,
As they could scare be seen among, among the leafy trees.
***
Kines attributes the marrying of the "All in a garden green" poem to the air "Gathering Peascods" in William Ballet's book to the musicologist Chappell in the mid-19th century. Merryweather notes that variants of the tune appeared on the Continent, including the Dutch Unter den Linden Grune by Sweelinck, and Onder de Lindegroene by Vallet. Not only was the tune used for ballads and country dancing, continues Merryweather, but it was also absorbed into church hymnody, set, for example to psalm 47 ("All people clap your hands, Sing laud unto the Lord"). Chappell (1859) also prints a version in 6/4 time from the Fitzwilliam Virginal Book. Chappell (Popular Music of the Olden Times), 1859, Vol. 1; pgs. 79-80. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 21 (appears under the dance title "The Maid in the Moon"). Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 74. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 27. Merryweather (Merryweather's Tunes for the English Bagpipe), 1989; pg. 39. Raven (English Country Dance Tunes), 1984; pg. 25. Harmonia Mundi 907101, The King's Delight - "17c. Ballads for Voice & Violin Band" (1992).

ALL IN/ON A MISTY MORNING. AKA and see "The Friar and the Nun," "Wiltshire Wedding," "London 'prentice," "A Beggar Got a Beadle." English, Air. Chappell (1859) finds early references to a ballad called "Frere and the Nunne" in accounts dating from 1542 and 1592. John Gay prints the tune under the title "Before the barn door crowing," from a song in his Beggar's Opera (1729), but the air also appears in other ballad operas. It appears in Pills to Purge Melancholy as "The Wiltshire Wedding" (and twice with other names); and in Playford's Dancing Master (1650) and Musick's Delight on the Cithren (1666) as "The Friar and the Nun." Raven (English Country Dance Tunes), 1984; pg. 57.

ALL YOU THAT MUST TAKE A LEAP (IN THE DARK). English, Air. The tune was published by John Gay in his Beggar's Opera (1729) under the title "Would I might be hanged." The original, according to Kidson (1922), refers to a song "upon the execution of two criminals by Mr. Ramondon." Raven (English Country Dance Tunes), 1984; pg. 70.

ALLIE CROKER. AKA - "Ally Croaker," "Ally Crocker," "Alley Crocker." AKA and see "Alas My Little Bag," "Stick the Minister," "The Shamrock Cockade." Scottish, Irish, English, American, Canadian; Reel, Country Dance. USA, New England. D Major. Standard. AB (Kerr's, Messer): ABB (Brody): AABB (Miller & Perron, Sloanaker, Sweet). This song, as "Ally Croker," was written and music composed by Lawrence (Larry) Grogan of Johnstown Castle, County Wexford, who was reknowned as a "gentleman piper" and composer of Irish airs (Grogan, by the way, was the first performer on the improved version of the Irish pipes called the uilleann or (archaically) Union pipes). It is his most famous composition. Both the air and song date from 1725, according to Crofton Croker, with single sheet editions of the song from c. 1730 and c. 1740 extent. The lyrics describe the vagarancies of a disappointed suitor of Miss Alicia Croker, the sister of Edward Croker, High Sheriff of County Limerick (for more on Larry Grogan and Alicia Croker see T.C. Croker's Popular Songs of Ireland). It quickly found favor and was adopted by ballad singers, inform Flood (1906) and O'Neill (1913), and was soon introduced into the play Love in a Riddle (1729), Sam Foote's comedy The Englishman in Paris (1753, in which the lyrics were slightly revised and the tune called "Ally Croaker," by which spelling it usually appears after this date), and Kane O'Hara's Midas (1760). The tune was printed by Rutherford c. 1754 in his Choice Collection of 60 Country Dances.
***
In 1803 the air was wedded by George Colman to a song entitled "The Unfortunate Miss Bailey" and Tom Moore used it for his lyric "The Shamrock." The English musicologist Chappell claimed the air was English because of its appearence in "Love in a Riddle," however, Flood asserts Larry Grogan is the author/composer due to a reference to the tune by Pierce Creagh of County Clare in his 1730 "The County of Limerick Buck Hunt." Creagh may have been partisan though, for he and Grogan were great friends (Creagh even named one of his race horses after him-- "Larry Grogan" won at least one purse for its owner). "Allie Crocker/Croaker" continued to be in vogue throughout the century and was the air set to the song "The Shamrock Cockade," popular in Munster with the Irish Volunteers (1774-1784). It is one of the "lost tunes" from William Vicker's 18th century Northumbrian dance tune manuscript. Brody (Fiddler's Fakebook), 1983; pg. 21. Cole (1001 Fiddle Tunes), 1940; pg. 8 (appears as "Ally Croaker"). Kerr (Merry Melodies), Vol. 1; No. 9, pg. 22. Messer (Way Down East), 1948; No. 6. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 26, pg. 26. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 135 (Appears as "Alice Crocker's Reel"). Sweet (Fifer's Delight), 1964; pg. 47. Fretless 119, Rodney and Randy Miller- "Castles in the Air."
T:Allie Crocker
L:1/8
M:C|
K:D
Ad dc d2df|ed cd ef ga|fd dc d2df|ed cB AG FE|
Dd dc d2df|ed cd ef ga|fd dc d2df|ed cd ef ge:|
|:fa a^g a3a|ba gf ef g2|Ag gf g2gb|ag fe de f2|
Ad dd dc cc|cB BB BA AA|Ag gf g3b|ag fe d2d2:|

ALMAN, ANON. English, Country Dance (2/2 time). G Major. Standard. AABBCC. The title is a derivative of the French "allemande", referring to a supposedly German style dance characteristically moderate in tempo. Published before 1730. Raven (English Country Dance Tunes), 1984; pg. 7.

ALMANE DELORNE. Scottish. The title is a derivative of the French "allemande," referring to a supposedly German style dance characteristically moderate in tempo. From the Skene Manuscript, c. 1620. Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers," Vol. 2.

AMELIA'S WALTZ [1]. AKA - "Amelia." American, Waltz. USA, New Hampshire. D Major. Standard. AA'BB'. This waltz was composed in 1981 by New Hampshire accordionist and composer Bob McQuillen (Peterboro, N.H.) for three-and-a-half year old Amelia Stiles, daughter of Deana Stiles, a flute player friend who played with Dudley Laufman's Canterbury Country Dance Orchestra. McCutcheon relates that "current legend" has it that Amelia was named because of the fact that her family lived in a house built around a shipping crate for Amelia Earhart's plane. Deana Stiles has been a member of Dudley Laufman's Canterbury Country Orchestra and currently plays with McQuillen in the trio "Old New England." The tune has proved quite popular at New England dances, an instant classic. McQuillen apparently prefers the title to be simply "Amelia." Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), Vol. 1, 1991; pg. 12. Matthiesen (Waltz Book I), 1992; pg. 11. McQuillen, Bob's Notebook #5, 1981. Alcazar FR 2204, Rodney and Randy Miller - "New England Chestnuts, Vol. 2" (1981). BM-91, Buddy MacMaster - "Glencoe Hall." Greenhays GR 710, John McCutcheon - "Fine Times at Our House" (1982. Learned from Rodney and Randy Miller). Smithsonian Folkways SFW CD 40126, Bob McQuillen & Old New England - "Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire" (1999). Whistlers Music, New England Tradition - "Farewell to the Hollow."
T:Amelia's Waltz
M:3/4
L:1/8
S:Gregory Taylor, Ir-trad, april 1997
K:D
"D"D3E3D2|"D"D2F3E|"Bm"D2F2BF|"F#m"A3FA2|\
"G"B2G3B|"D"A2F3E|"Bm"D2B3^A|"G"B4A2|
"D"D3ED2|"D"D2F3E|"Bm"D2F2BF|"G"B3cD2|\
"G"d2e2f2|"A"e2c2A2 :|"A"A3fag|"D"f2a3b|
"D"a2f2df|"A"e3cb2|"A"A3cfe|"Bm"d3cd|\
"Bm"f3ed2|"F#m"c3BA2|"F#m"F3EF2|"G"G2B3G|
"D"F2A2d2|"A"e3ce2|"D"f2d2f2|"G"g3fg2|\
"D"a2f2e2|"A"a2e2c2|"D"d4 |>|

ANDY McGANN'S NO. 2. AKA and see "John McGrath's Composition." Irish, Reel. "Andy McGann's No. 2" also refers to "The Humours of Scariff" due to its being famously recorded by McGann, a New York City Irish-American fiddler, with "Andy McGann's" (also known as "Andy McGann's No. 1").
T:Andy McGann's No2
T:John McGrath's Composition
M:4/4
L:1/8
K:D
d ~F3 AGFE|D2FD EDB,D|A,DFA (3Bcd AF| ~E3 D E2FA|
1 d ~F3 AGFE|DEFD EDB,D|A,DFA (3Bcd AF| EA,CE D2FA:|
2 ~d3 B ~c3 A|~B3 d AGFE|D2FA (3Bcd AF|EA,CE D2FA||
d2 fd edfd|~B3 d AGFE|D2FA (3Bcd AF|1 ~E3 D E2FA|
d2 fd edfd|~B3 d AGFE|D FA (3Bcd AF|EA,CE D2FA:|
2 ~E3 D E2de|faba f ~d3| ~B3 d AGFE|D2FA (3Bcd AF|EA,CE D3 ||

ANDY RENWICK'S FERRET. Irish, English; Pipe Reel. A Dorian. Standard. AA'BB'. The ferret of the title supposedly refers to a human being. Composer credits for this modern melody are usually attributed to piper Gordon Duncan (Craob Rua) and a United Kingdom musician named "Gordon Lincoln" is credited by Perlman. Source for notated version: Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 105. Lochshore CDLDL 1215, Craob Rua - "The More That's Said the Less the Better" (1992).

ANE ALMAN MORELSS. Scottish. The title is derivative of the French term "allemande," referring to a style of German dance, characteristically moderate in tempo. Williamson suggests the title refers to an allemande used among Scottish Morris dancers, and notes that Morris dancing in that country was first referred to by James I (1406-37) in his poem "Christkirk on the Green." From the Skene MS, c. 1620. Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers," Vol. 2.

ANNIE LAURIE. Scottish, Air (4/4 time) or Strathspey. D Major. Standard. One part (Bain): AAB (Neil): AABB (Kerr). Neil (1991) writes that the air and a portion words were written by Lady Jane Scott (1810-1890), after an old ballad composed by Douglas of Fingland in honor of Annie, the youngest daughter of Sir Robert Laurie, 1st Baronet of the Maxwelton family, whose seat of Maxwelton was located on the banks of the valley of Bairn in Dumfriesshire, Scotland. Sir Robert and Annie were lovers, though secret ones, who had met at a ball in Edingburgh; they trysted often in the woods around Maxwelton, but Robert, committed to the Jacobite cause, was eventually forced to flee the country. J. Murray Neil (1991) informs us: "It is said the Annie was very slim and graceful. She was a classic beauty with a longish face, large blue eyes and brown hair, which she left unpowdered, contrary to the custom of the day. Her hands and feet were small so that the reference in the ballad ("Like dew on the gowan lying, Is the fa' o;' her fairy feet") would seem to be based in fact." Lady Scott's song enjoyed great poplarity, which only waned after the Second World War. She was the eldest daughter of her generation of the Spottiswoode family and married John Scott, the third son of the Duke of Buccleugh. He died in 1860, but ten years later Lady Jane inherited the estates of her family of origin, near Lauder in Berwickshire, and, in accordance with her father's will, returned to her maiden name, Alicia of Spottiswoode, when she assumed the property. As a parlor song it was popular in the English speaking world in the late Victorian era [Neil]. The great Scots composer William Marshall wrote a strathspey in her honor (see "Lady John Scott"). Bain (50 Fiddle Solos),1989; pg. 41. Kerr (Merry Melodies), Vol. 4; No. 42, pg. 7. Neil (The Scots Fiddle), 1991; No. 35, pg. 45. Rounder 0089, "Oscar & Eugene Wright: Old Time Fiddle and Guitar Music from West Virginia."

ANTIGONISH POLKA [1]. Canadian, Polka. Canada, Cape Breton. D Major. Standard. AABB'. The title refers to a town in Nova Scotia. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Fitzgerald), 1997; No. 209, pg. 82. Front Hall FHR-024, Fennig's All-Star String Band - "Fennigmania" (1980. Learned from a recording by Cape Breton fiddler Winston 'Scotty' Fitzgerald, who himself learned the tune from a 78 RPM disc by Antigonish fiddler Hugh A. MacDonald).

ARGLYE('S) BOWLING GREEN. AKA and see "The Braes of Glencoe." Scottish, Reel. C Major. Standard. AB (Gow/Repository): AAB (most versions). The melody appears in the Drummond Castle Manuscript, inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Pert by Dav. Young, 1734," which in the early 1970's was in the possession of the Earl of Ancaster at Drummond Castle. However, perhaps not aware of that work, Glen finds the earliest appearence of the piece in Bremner's 1757 collection (pg. 70). It has been suggested that the 'bowling green' title is an Englished corruption of the Gaelic "buaile na greine" (sunny cattle-fold). A melody by this name ("Argile's Bouling Green") appears in the Holmain Manuscript (1710-50), a six-page book of instructions for country dances. The name Argyll derives from the Gaelic 'Airer Gaedel', or 'coast of the Gaels,' and refers to the area of Scotland first invaded by the Irish tribes in the 5th century. Source for notated version: George MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]. Gow (Completre Repository), Part 4, 1817; pg. 31. Kerr (Merry Melodies), Vol. 2; No. 85, pg. 12. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 120. Perlman, 1996; pg. 119. Stewart-Robertson (The Athole Collection), 1884; pg. 66. Surenne (Dance Music of Scotland), 1852.
T:Argyle Bowling Green
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C
E|C2c2 cded|cdcA G^FED|C2c2 cded|cBcE D3:|
c|GecE GEEA|GecE G2 GA|GecE GEEF|GAGE D2Da|
gec'e geea|gec'e g2ga|gec'e geef|gage d2d||

ARGYLE IS MY NAME. Scottish, Jig. D Major. Standard. AABB. The name Argyll derives from the Gaelic 'Airer Gaedel', or 'coast of the Gaels,' and refers to the area of Scotland first invaded by the Irish tribes in the 5th century. Kerr (Merry Melodies), Vol. 1; No. 15, pg. 32.

ARGYLL REEL. Scottish, Reel. The name Argyll derives from the Gaelic 'Airer Gaedel', or 'coast of the Gaels,' and refers to the area of Scotland first invaded by the Irish tribes in the 5th century. Green Linnet SIF-1094, Capercaillie - "Sidewaulk" (1989).

ARIZONA STOMP. Old-Time, Breakdown. The tune was composed by fiddler Huggins Williams of the East Texas Serenaders. The name Arizona had humble origins, and was first used by Spanish explorers referring to 'the little spring'. It was used by a mining company which brought it to public notice and it soon came to represent an entire territory of the American southwest (Matthews, 1972). County 410, "The East Texas Serenaders, 1927-1936" (1977).

ARIZONA WALTZ. Old-Time, Waltz. D Major. Standard. AA'B. The name Arizona had humble origins, and was first used by Spanish explorers referring to 'the little spring'. It was used by a mining company which brought it to public notice and it soon came to represent an entire territory of the American southwest (Matthews, 1972). Source for notated version: Clem Myers [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 238.

AROUND THE HOUSE AND MIND THE DRESSER. Irish, Slide (12/8 time). D Major. Standard. AABB. Ciaran Carson references the title in his book Last Night's Fun (1996), in regards to his observations on the spatial changes a room undergoes during a ceili:
***
When a ceili is made the dimensions of the room change subtly as the
talk includes some news of the outside world. Music starts up, and the
dimensions alter once again as dancers take the floor and those not
dancing make space and squeeze up against each other, backs to the
wall. 'Around the House and Mind the Dresser'. The room seems to
expand or contract in Tardis-like defiance of the laws of time and space. (pg. 114)
***
Shanachie 79026, Chieftains - "Bonaparte's Retreat." Shanachie SHA79027, the Chieftains - "Live."
T:Around the House and Mind the Dresser
M:12/8
L:1/8
C:D Major
S:Trad.
R:slide
D:Chieftains "Live"
Z:Gary Chapin
K:D Major
g|f2d A2=c B2A G2g|f2d ABc d3 d2g|f2d A2=c B2A G3|fag fBc d3 d2:!:a|
f2g agf e2f gfe|f2g agf e3 g3|f2g agf e2f g2{a}g|gfe ABc d3 d2:||

AS A SOLDIER AND A SAILOR (WERE WALKING ONE DAY). Irish, Air (3/4 time). A Major. Standard. AB. The melody appears in George Petrie's "Music of Ireland" (Dublin, 1882) with four related tunes collected by Joyce, who referred to them in his "Ancient Irish Music." See also "The Prison of Clonmel" for a related air. Source for notated version: "From Mr. Joyce" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 771, pg. 193.

ASHLEY'S FLAG. AKA - "Astley's Flag," "Distillery Hay." English, Reel. England, North-West. B Flat Major. Standard. AABB. The tune first appears in Longman, Lukey & Broderips's Bride's Favourite Collection of 200 Select Country Dances, Cotillions and Allemands (London, 1776). Transported to America it appears as "Astley's Flag" in Joshua Cushing's Fifer's Companion (pg. 49) printed in 1805 in Salem, Massachusetts, and in the Elisha Belknap manuscript, compiled in Framingham, Massachusetts, in 1784 as "Distillery Hay" (a title which refers probably to the circle-eight dance figure called a 'hey' or 'hay'). Knowles (Northern Frisk), 1988; No. 100.

ATHOLE BROSE. AKA and see "Buckingham House," "The Dogs Amongst the Bushes," "Niel Gow's Favorite." Scottish, Canadian; Reel or Strathspey. Canada; Prince Edward Island, Cape Breton. D Mixolydian or D Mixolydian/Major (Dunlay & Greenberg, Perlman). Standard. ABB (Skye): AABB (Gow, Kerr): AA'BB (Athole): AA'BB' (Perlman). "Athole Brose is, according to one recipe, a drink made from the water in which oatmeal has been soaked, mixed with honey and whisky. Stirred with a silver spoon, it is bottled and kept until needed" (Alburger, 1983). Alburger (1983) and Collinson (1966) credit composition to Abraham MacIntosh {b. 1769} (whose father was Robert 'Red Rob' Macintosh, also a fiddler and composer of notable ability), who first published it under the title "Buckingham House," first appearing in his father's Third Book. Glen (1891) and Emmerson (1971) remark that such belief is largely based on an ascription to 'Mackintosh, junior' in his father's third book, though it could refer to Abraham's brother Robert (though the latter did not publish any collection). Since the sub-title was "Niel Gow's Favourite," and it appears in Gow's Third Collection of Strathspey Reels (Edinburgh, 1792), it has often been mistakenly credited to that famous fiddler. The following lines appear in Alexander Whitelaw's Book of Scottish Song (1844):
***
You've surely heard o' the famous Niel,
The man that played the fiddle weel;
I wat he was a canty chiel,
And dearly loved the whisky, O
And aye sin' he wore tartan hose,
He dearly lo'ed the Athole Brose;
And wae was he, yu may suppose,
To bed 'farewell to whisky', O.
***
Cape Breton fiddlers play it as a strathspey in the key of D, where it is often the vehicle for stepdancing. It is also often the practice on the island to play the reel "General Stewart" (AKA "Lady Muir MacKenzie") following it (Dunlay & Greenberg, 1996). Cape Breton fiddler Jackie Dunn, in her thesis "Tha Bals na Gaidhlig air a h-Uile Fidhleir" (The Sound of Gaelic is in the Fiddler's Music), 1991, remarks that there is known to have been Gaelic words to "Athole Brose." In Ireland the melody is known as "The Dogs Amongst the Bushes." Sources for notated versions: Fr. Angus Morris (Cape Breton) [Dunlay & Greenberg]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 73, pg. 111. Carlin (The Gow Collection), 1986; No. 5. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 75. Gow (Collection), 1792. Kerr (Merry Melodies), Vol. 2; No. 148, pg. 17. MacDonald (The Skye Collection), 1887; pg. 73 & 74. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 189. Stewart-Robertson (The Athole Collection), 1884; pg. 118. ATL 8835, Dave MacIsaac & Scott MacMillan - "Live" (1993). CAT-WMR004, Wendy MacIsaac - "The 'Reel' Thing" (1994). Decca 14030, CX 005, Angus Allan Gillis (c. 1936). DMP6-27-2-4, Doug MacPhee - "The Reel of Tulloch" (1985). Nimbus NI 5383, Buddy MacMaster - "Traditional Music from Cape Breton Island" (1993). Paddledoo Music PAD 105, Alasdair Fraser - "Scottish Fiddle Rally, Concert Highlights 1985-1995" (1996).
T:Athole Brose
L:1/8
M:C|
R:Strathspey
B:The Athole Collection
K:D
A|:F>D D/D/D A,>DD>G|F>D D/D/D G<B A>G|1 F>D D/D/D A,<D D>=F|
E/=F/G C>E c>GE>G:|2 F>D D/D/D A,<D D>=F|E/=F/G C>E c<G E>C||
|:D<d d>c d>ed>c|A<d d>e =f>de>c|dd=f>d e>df>d|=c>dc>G E<C G>E:|

ATHOLE CUMMERS, THE [1]. AKA and see "Bog An Lochan." Scottish, Strathspey. E Minor. Standard. AABBCDD' (Kerr): AA'BB'CD (Athole). The title first appears in Bremner's 1757 collection (pg. 78), according to Glen. Athole (or Atholl) derives from the Gaelic ath Fodla, generally translated as New Ireland, and stems from the first invasion of the northern land by the Irish tribe the Scots in the 7th century (Matthews, 1972). The Scottish dialect word 'cummer' probably refers to a girl or woman, the title then meaning 'Athole Lasses'. It has been suggested that 'cummer' was derived from the Old French word 'commere', which itself is probably an elided form of 'comme mere', which translates as "like mother." Kerr (Merry Melodies), Vol. 1; 4th Set, No. 3, pg. 5. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 10. Stewart-Robertson (The Athole Collection), 1884; pg. 252.
T:Athole Cummers
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:E Minor
F|:E/E/E ~E2 E>FB>F|E/E/E ~E2 F<D A>F|E/E/E ~E2 D>FB>A|1
B<d A>d F>DA>F:|2 B<dA<d F<D D>d||
|:B<E B>A B<E E>e|B<E B>A F<D D>d|B<E B>A d>ef>e|1
d/^c/B/A/ d>A F<D D>d:|2 d/^c/B/A/ d>A F<D D>f||
e/e/e e2 d>fb>f|e/e/e e2 f>da>f|e/e/e d2 d>fb>f|g<eb<e df/g/ a>f|
g>eb>e g<e b>e|g<e b>e df/g/ a<f|g<eb<e d>ef>e|d/^c/B/A/ d>A F<DD<d||
B<E B>A B<E E>e|B<E B>A F<D D>d|B<E B>A d>ef>e|
d/^c/B/A/ d>A F<D D>d|B<E B>A B<E E>e|B<E B>A F<D D>d|
B<E B>A d>ef>e|d/^c/B/A/ dA F>DD||

AULD ROBIN GRAY [1]. Scottish, Slow Air (4/4 time). G Major (Hunter): F Major (Neil). Standard. One part (Hunter): AB (Neil). The air which superseded the older air was composed by the Englishman Rev. W. Leeves (1748-1828), rector of Wrington in Somerset, to words composed by the Lady Anne Barnard (nee Lindsay, born 1750, the eldest daughter of the 5th Earl of Balcarres in Fife). The melody was set to a song by Lady Barnard, who wrote her lyrics to the favorite tune of one Suphy Johnson of Hilton. Suphy, incidently, became "one of the intelligent eccentrics of Edinburgh society--the girl who, as an experiment, was left to educate herself, who dressed in an oddly masculine manner, who practised blacksmithing as a hobby, and played the fiddle!" (Emmerson, 1971). Lady Barnard had the reputation of being comely, quick witted, and vivacious and has been referred to as 'the daughter of a hunderd earls' (Neil, 1991). She married at the rather advanced age of 43 to one Andrew Barnard, Bishop of Limerick, who died in 1807. Lady Anne apparently preferred her work to remain anonymous and shunned publicity, however, Neil (1991) tells the story that, on one occasion, she sang "Auld Robin Gray" for Lady Jane Scott (the writer of the modern "Annie Laurie"), who remarked "that she had sung it as if it were her own, and if Lady Barnard would give her a copy, she would keep the secret" (Neil, 1991). The following is one verse composed by Lady Anne (who either originally set the words to the Scottish tune "The Bridgroom Grat" or composed the original air herself):
***
I gang like a ghaist and I carena to spin,
I darena think o' Jamie, for that wad be a sin;
But I'll do my best a gude wife to be,
For auld Robin Gray is kind to me.
***
The real Robin Grey was a shepherd on her father's estate of whom the children were rather fond, but the tale related in the song seems to have been fashioned from fantasy. It tells of a young woman, forced by poverty to wed an elderly man, Auld Robin Grey, though she loves young Jamie. She is forced to endure a number of travails, such as Jamie going off to sea, her father breaking his arm, her mother sick, her marriage, but the final sorrow was supplied by Lady Anne's younger sister, Elizabeth, who suggested "steal the cow, sister Anne", and the verse was completed. The melody was a favorite piece de resistance of many Scottish fiddlers, including J.S. Skinner in the latter 1800's. Davie's Caledonian Repository. Hunter (Fiddle Music of Scotland), 1988; No. 8. Neil (The Scots Fiddle), 1991; No. 15, pg. 21.

AULD SWARRA. AKA - "Da Auld Swarra Jupie." Shetland, Air ("Lament"). G Major. Standard. ABB'. The tune is a lament for fishermen who died in the many disasters during the Haff Fishing in the 19th century, when men set out in sixtereens, six-oared open fishing boats. "Superstition forbade any man to be mentioned by name," explain Aly Bain and Tom Anderson, and instead his clothes were lamented; as Purser (1992) says, "probably the only thing he could have been identified by anyway." Swaara refers to the thick woolen undergarment worn by fisherman of that time. Anderson states the melody was played in the North Isles of Shetland for many years, but thinks it might be a variant of a tune from outside the borders of the Islands. Anderson prints Peter Fraser's version, which is "somewhat similar" to John Stickle's published tune. Cooke (1986) says: "...The abrupt pitch changes suggest Norse origins and the name 'Swarra' is Norse." Purser (1992) states: "Its uneven phrases and rough-hewn shape are dignified at the same time, and have echoes of the Norwegian style too." Sources for notated versions: from the playing of "the late" Peter Fraser of Finnigarth, Waas, Shetland [Anderson]; John Stickle (Shetland) [Purser]. Anderson, 1979 (Haand Me Doon Da Fiddle). Purser (Scotland's Music), 1992; Ex. 5, pg. 231. Topic 12TS379, Aly Bain and Tom Anderson - "Shetland Folk Fiddling, Vol. 2" (1978).

AY(E) ME. AKA - "The Simphony" [sic]. English, Country Dance Tune (cut time). C Major. Standard. ABB (Sharp): AABB (Kidson, Raven). A "longways for eight" dance tune first published in Playford's English Dancing Master of 1651 and later editions. Apparently not much more is known about the tune. The great 19th century English collector Chappell is silent about it and Kidson could find no references to it, though he supposed it to be the tune to "some plaintive ditty of the 17th century." Kidson (Old English Country Dances), 1890; pg. 1. Raven (English Country Dance Tunes), 1984; pg. 44. Sharp (Country Dance Tunes), 1994; pg. 45.

BABA, MY BABY (Baba Mo Leanabh). Scottish, Slow Air (6/8 time). F Major. Standard. ABB. "The editor has often listened (to this charming lullaby) with delight to his father singing this air; it is so far preferable to the set of it now bandied over the country, as not to admit of the smallest comparison" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 79, pg. 29.
T:Ba-ba my Baby
T:Babà mo leanabh
L:1/8
M:6/8
S:Fraser Collection
K:D Minor
F/G/|A2d d>ef|A2G F2 z/F/4G/4|AAA fed|c<A~c d2 d/e/|f>ef g2B|
A>BG A<F z/F/4G/4|A>Bc B<Gc|A2F G2||
|:A|f>ef g2^g|a>b/a/^g/ a2 z/A/|
f>ef g2^g|a>b/a/^g/ a2 z/a/4=g/4|f>ef g2 z/B/|A>BA A<F z/F/4G/4|
A>Bc B<Gc|A2F G2:|

BABBITY BOWSTER/BOLSTER. AKA - "Bee-Ba-Babbity." AKA and see "Country Bumpkin," "Who learned you to dance and a towdle." Scottish, Jig. This common Scottish melody (which Emmerson {1972} states is "yet on the lips of every Lowland child") first appears in the Skene Manuscript (1620) under the title "Who learned you to dance and a towdle," and later was printed by Stewart in his Reels (c. 1768) as "Country Bumpkin" and by Aird in Airs (1782) as "Bab at the Bowster." A tune by this title shows up as a fugue theme in Barsanti's overture in G, op. IV no. 9, c. 1750. Flett & Flett (1964) explain that "Babbity Bowster" is the name of a kissing dance once widely performed as the last dance at country dances in Scotland, though the name changed from region to region. In the Borders and Aberdeenshire it was known as "Babbity Bowster," a corruption of "Bob at the Bolster," in Fife and Lanarkshire as "Bee Bo Bobbity," in the Highlands and the Isles under the Gaelic titles "Ruidhleadh nam Pog" (The Kissing Reel), "Dannsadh nam Pog" (The Kissing Dance), and also by the English names "Blue Bonnets," "The Bonnet Dance," "The Bonny Lad," "Pease Strae" and "The White Cockade." In Orkney (where it was danced as late as 1925) it was called the "Lang Reel," "The Swine's Reel", "The Reel of Barm" or as "Babbity Bowster." The dance began with a man displaying a twisted handkerchief who then selected a woman, spread the handkerchief on the floor and both knelt and kissed. Then it was her turn to join the dance and to select another from the audience to kiss and join the dance. There were many variations of steps and endings, and in some regions it was customary for the man to escort the woman home whom he had chosen during the dance. A poetic description is given in Alexander Fordyce's piece A Country Wedding (1818):
***
...but custom is pressing
That Bob at'e Bowster be danced ere you go
We must close in the door, tho' constraint be distressing,
Bestman, let us see where the napkin you'll throw:
***
That's plenty o' capers, come, kiss and be done, Sir,
Another, another, and round, round you go
The circle increases; that squeak in the tune, Sir,
Is meant, by the fiddler, more kissing to show.
***
Flett & Flett make the connection of this dance with an earlier and very similar dance called "The Cushion Dance" or "Joan Sanderson," which was danced at court at the time of the Restoration. The 'bolster' of the Scottish title was in fact the 'cushion' referred to in the English name, and refers to the small pillow that was used at one time before the handkerchief was substituted.

BACCA PIPES JIG (GREENSLEEVES). AKA and see "Greensleeves". English, Morris Dance. A Dorian (Bacon {Bampton, Hinton}, Karpeles, Raven): G Major (Bacon {Ascot-Under-Wychwood}). Standard. AB (Bacon {Ascot}): AAB (Bacon {Hinton}): AABB (Karpeles, Raven): ABA'B'A''B''A'''B'''(Bacon {Headington}). From the Ascot-under-Wychwood, Bampton, and Headington areas of England's Cotswolds. 'Bacca' pipes refers to the long-stemmed clay tobacco pipes (sometimes called 'churchwarden' pipes), which were crossed and placed on the ground (in the manner of some sword dances) whilst a solo jig was danced between them. Although not related to the tune it is interesting to note that the term 'bacca-pipes' in lower class English slang of the early 19th century referred to whiskers curled in small close ringlets. Bacon (The Morris Ring), 1974; pgs. 26, 197, & 204. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 36. Raven (English Country Dance Tunes), 1984; pg. 74. EFDSS CD03, William Kimber - "Absolutely Classic: The Music of William Kimber." Topic 12T249, William Kimber - "The Art of William Kimber" (William Kimber played the anglo concertina for Headington Quarry Morris on Boxing Day, 1899, when Cecil Sharp first encountered them, which led to a morris dance revival).
T:Bacca Pipes Jig (Greensleeves)
L:1/8
M:6/8
K:A Dorian
c3 c2e|d2c B3|c2B A3|B2A G3|(c3 c2)e|d2c B3|c2A B2G|A3 A3||
g2f g2e|d2B G3|g2f g2e|a2f d3|g2f g2e|d2c B3|c2d e2d|A3 A3||

BACA(C)H BUIDHE, AN (Lame Yellow Beggar). AKA and see "Bacach Buidhe Na Leige" (The Yellow Beggar of the League), "The Lame Yellow Beggar," "The Wild Geese," "Johnnie Armstrong," "Todlin Hame," "The Meeting of the Waters." Irish, Air (4/4 time). B Flat Major (O'Sullivan/Bunting): G Major (Flood). Standard. AAB (Flood): ABB (O'Sullivan/Bunting). The great Irish collector Edward Bunting's 1840 publication attributes composition of this melody to the famous Ulster harper Rory Dall O'Cahan in the year 1650. Though born in Ulster, O'Cahan performed primarily in Scotland, and this tune is "said to have been composed by him in reference to his own fallen fortunes, towards the end of his career." {See note for "Give Me Your Hand" for more information on O'Cahan). Audiences heard the air in "The Beggar's Wedding" (1728), an opera by Charles Coffey of Dublin, and it was printed in the score in 1729. The title was reported by the Belfast Northern Star of July 15th, 1792, as having been a tune played by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week. Bunting, who was in attendance at the festival, claimed to have noted it from harper Charles Byrne in his manuscript, though he attributes harper Daniel Black in 1792 as the source in his 1840 published work. The melody may also be found in Neales' Celebrated Irish Tunes, pg. 26 and Holden's Old Established Tunes, pg. 36, reports O'Sullivan (1983), and is a variant of the melody known variously as "Johnnie Armstrong," "Todlen Hame," "Rye Whisky," "Jack of Diamonds," "Drunken Hiccups," etc. Flood, 1905; pg. 80. Murphy (A Collection of Irish Airs and Jiggs, 1809 or 1820; pg. 22. O'Sullivan/Bunting, 1983; No. 20, pgs. 34-35.

BAKASKIE. Scottish. Robin Williamson thinks the title may refer to Sir William Bruce of Balcaskie, the architect of Holyrood Palace, which stands in Edinburgh today (rebuilt between 1671 and 1679). The air appears in the Panmure MS #9454 Seventy-Seven Dances, Songs and Scots Airs for the Violin, c. 1675. Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2."

BALANCE THE/A STRAW [1]. AKA and see "From the Man I Love," "The Tulip," "Lads a Bunchum," "The Captain and His Whiskers." English (originally), American; Country and Morris Dance Tune (4/4 time). G Major. Standard. AABB (Bacon, Ascot-Under-Wychwood): AABCC (Raven, Bledington version): AAB, CCB, CCB (Mallinson, Bledington versin). The melody and title are derived from the chorus of the first and last stanzas of a popular song by James Oswald (died c. 1769), sung in the opera The Reprisal and first performed in London in 1757. The opening line contains the alternate title by which it was known--From the Man I Love--and both titles appear in period references from England and the United States. As a morris dance tune it was collected in the Ascot-under-Wychwood, Bledington, and Brackley England, areas during the latter 19th century (when most morris tunes were sought out and recorded). Ernest MacMillan identifies a tune having this title in an instrumental setting of 1759, though the melody is unrelated to the one here referenced, being clearly a version of "Wearing of the Green." Bacon (The Morris Ring), 1974; pgs. 21, 93, & 104. Mallinson (Mally's Cotswold Morris Book), Vol. 2 (Bledington version), 1988; No. 21, pg. 12. Raven (English Country Dance Tunes), 1984; pg. 80.

BALLINDERRY (AND CRONAN). Irish, Air (6/8 time). B Flat Major (O'Sullivan/Bunting): G Major (Heymann). Standard. AB. Ballinderry, O'Sullivan (1983) remarks, is on the edge of a small lake close to Lough Neagh, the largest lake in Ireland, and Bunting states the words to the tune refer to locations within the region. The tune also appears in Clairseach na nGaedheal, part III, 1903. The air is really a simple folk air with a second part attached (which Bunting termed the "cronan"); this second part is somewhat curious and was explained by Professor Eugene O'Curry in 1862. Curry identified the crónán as "the low murmuring accompaniment or chorus, in which the crowd took part at the end of each verse," and that the sound was produced in the throat "like the purring of a cat" (quoted in Heymann, 1988). George Petrie, writing in Bunting's 1840 volume, states that the peasantry of Counties Down and Antrim sang "many rude and ludicrous verses" to the air, one of which goes:
***
Its purty to be in Ballinderry,
Its purty to be in Aghalee
Its purty to be in George's Island
Sitting under an Ivy tree
***
Source for notated version: air and words were noted by the Irish collector Edward Bunting form Dr. Crawford of Lisburn in 1808. Heymann (Secrets of the Gaelic Harp), 1966; pgs. 75, 77 & 78. O'Sullivan/Bunting, 1983; No. 56, pgs. 86-87.

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 O' FORTH, THE. Scottish, Air (4/4 time). D Major. Standard. AABB. The air, referring to the Firth of Forth, was composed by Edinburgh dancing master, singer, and composer James Oswald (b. 1711) and published in his Curious Collection of Scots Tunes. Oswald left for London in 1741 where he continued to compose and publish. Neil (The Scots Fiddle), 1991; No. 9, pg. 11.

BANKS OF HELICON, THE. Scottish. "From a manuscript of 1566, printed by Stenhouse, the tune to a song composed in very florid style to celebrate the beauties of the unfortunate Mary, Queen of Scots, whose troubles were in that year soon to begin, with the murder of her favourite, David Riccio, in March. Helicon, in Greek mythology, is a mountain sacred to the Nine Muses, where flows the Fountain of Hippocrene, often referred to as the source of poetic inspiration" (Williamson). Flying Fish FF358, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 1."

BANTRY BAY HORNPIPE (Cuain Beantraige). AKA and see "Union Hornpipe." Irish, Hornpipe. G Major. Standard. ABB (Miller & Perron, Moylan): AABB (Allan's, O'Neill {4 versions}, Tubridy). Collector and compiler Captain Francis O'Neill was quite taken by the tune, calling it "one of the most delightful traditional hornpipes in existence." The name Bantry is derived from the Gaelic ben, meaning 'horn' and refers to mountains. Thus Bantry is 'the peaks by the sea shore.' Sources for notated versions: learned off an old 78 RPM recording of Michael Hanafin by accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; Source for notated version: O'Neill learned the tune from an accomplished West Clare flute player (and Chicago police patrolman) named Patrick "Big Pat" O'Mahony, a man of prodigious physique of whom he said: "the 'swing' of his execution was perfect, but instead of 'beating time' with his foot on the floor like most musicians he was never so much at ease as when seated in a chair tilted back against a wall, while both feet swung rhythmically like a double pendulum" [O'Neill, Irish Folk Music]. Allan's Irish Fiddler; No. 108, pg. 27. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 66. Moylan (Johnny O'Leary), 1994; No. 290, pg. 168. O'Neill (1915 ed.), 1987; No. 309, pg. 153 {an altered version to that which appears in O'Neill/Krassen}. O'Neill (Krassen), 1976; pg. 168. O'Neill (1850), 1903/1979; No. 1573, pg. 292. O'Neill (1001 Gems), 1907/1986; No. 823, pg. 142. Phillips (Fiddlecase Tunebook), 1989; pg. 10. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 25. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993). Flying Fish FF70572, Frank Ferrel - "Yankee Dreams: Wicked Good Fiddling from New England" (1991). Leader LEACD 2004, "Martin Byrnes" (1969). Revonah Records RS-932, the West Orrtanna String Band (Pa.) - "An Orrtanna Home Companion" (1978. Learned from Martin Byrnes and Kevin Burke).
T:Bantry Bay
L:1/8
M:4/4
R:Hornpipe
K:G
A|BGAG EGDE|G2 GF GBAG|EAAB cBAG|A/B/A GB A3B|
cece BdBd|ABAG E/G/E D2|BGAG EGDE|G2 GF G3:|
|:B|d2 eB dBGB|e2 ed e3f|gfed BGBd|g/a/g fa g2 ef|gbgf eged|
BGAG E/G/E D2|BGAG EGDE|G2 GF G3:|

BANTRY LASSES [1]. Irish, Air (3/4 time). G Mixolydian. Standard. AB. The name Bantry is derived from the Gaelic ben, meaning 'horn' and refers to mountains. Thus Bantry is 'the peaks by the sea shore.' O'Neill (1850), 1903/1979; No. 404, pg. 70.

BARNERS OF FALKIRK, THE. English, Reel. England, Northumberland. D Dorian. Standard. AABB. The title refers perhaps to the famous Falkirk Tryst, or cattle market at Falkirk, Scotland, which drew Highlanders from all over the Highlands. As a focal point of Highland culture during the period of the Tryst, a bagpipe competition developed, first held in 1781 and won in that year by one Patrick MacGregor, with second place honors going to a MacArthur. The third place finisher was old John MacGregor, once personal piper and attendant to Bonnie Prince Charlie Stuart. Although the old man had been wounded at the Battle of Culloden in 1745, his piping skills remained intact and he became the piper to Campbell of Glenlyon. The next year, at age 74, he tried again and won second prize (Collinson, 1975). Seattle (William Vickers), 1987, Part 3; No. 451.

BARNYARDS OF DELGATY, THE. Scottish, Air ("Bothy Ballad"). A Major. Standard. AB. The ballad "Barnyards of Delgatie" refers to the home farm of Delgatie Castle, Turriff, an impressive house built by the Hays of Errol. See also note for William Marshall's reel "Lady Duff of Delgaty." Hunter (Fiddle Music of Scotland), 1988; No. 363.

BATH CARNIVAL. AKA and see "Keppel's Delight." English, Country Dance Tune (6/8 time). A Major. Standard. AABB. First published in 1777. The Roman name for Bath was Aquae Sulis, the 'waters of Sulis' (Sulis was a Celtic goddess with affinities to Minerva), referring to the hot springs found there, but when the English conquered the territory they called it simply 'the baths,' later simply Bath (Matthews, 1972). For many years it was part of the Anglo-Saxon kingdom of Mercia, and its abbey was chosen by Dunstan as the site of the first major coronation in 973 when Edgar was crowned King of the English with his queen Elfrida. Bath regained notoriety as a spa in the 18th century when much of the town center was rebuilt, and received patronage from George III and his queen, Charlotte, and after, George IV, and it is to this era that the title speaks. The Assembly Rooms at Bath, part of the spa, were built in the 1740's and were in the form of a long, rectangular space to accommodate country dancing. Barnes (English Country Dance Tune), 1989. Johnson (Twenty-Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 1.

BATH MEDLEY. English, Country Dance Tune (6/4 time). G Major. Standard. AABB. The Roman name for Bath was Aquae Sulis, the 'waters of Sulis' (Sulis was a Celtic goddess with affinities to Minerva), referring to the hot springs found there, but when the English conquered the territory they called it simply 'the baths,' later simply Bath (Matthews, 1972). For many years it was part of the Anglo-Saxon kingdom of Mercia, and its abbey was chosen by Dunstan as the site of the first major coronation in 973 when Edgar was crowned King of the English with his queen Elfrida. Bath regained noteriety as a spa in the 18th century when much of the town center was rebuilt, and received patronage from George III and his queen, Charlotte, and after, George IV. Barnes (English Country Dance Tunes), 1989.

BATTLE OF KINLOCH LOCHY, THE. AKA - "Blar Leine." Scottish, Slow Air. G Minor. Standard. AABB. The event at Kinlochlochy (the head of Loch Lochy) in 1544 was a fierce clan conflict between the MacDonalds of Lochaber and Glengarry (aided by the Camerons) against the Clan Fraser, aided by the Grants and Clan Chattan. It arose from a dispute regarding the chieftanship of the Clanranald; the MacDonalds supported one Ian Moideartach (John Moydartach or John of Moidart), while the Frasers promoted Ranad Gallda or Galda (Ronald Gualda), the grandson of the chief of the Clan Fraser, Lord Lovat. The King's agent in the north of Scotland, the Earl of Huntly, took the opporunity to punish Clanranald for their plundering of the lands of the Grants, and marched north with his army, joining with the Frasers, Grants, Clan Chatten and others. This alliance succeeded in placing Ronald Gallda in charge of Moidart, but on the return journey Huntly, who now led the force, divided them at a stream flowing into Loch Lochy. One part of this divided force, comprised of the Frasers under Gallda, along with men of Urquhart and Glen Morrison, was set upon by Ian Moideartach and his men as they came to a narrow pass the the south end of the Loch. A great defeat was dealt to the Frasers and Gallda was slain, along with Lord Lovat and many of the clan gentry. Neil (1991) says "it was probably one of the fiercest battles that has ever been fought by the clans involved and many of the traditions regarding it still persist in Highland song and story." Captain Simon Fraser, who composed the tune, erroneously translated the alternate title as having to do shirts, but Neil maintains the name "Blar Leine" came from the ground the battle was fought on--the Gaelic 'blar' being a plain or field, and 'leine' signifying a wet plain, and, in fact, he says there are several place names in the area of the battle such as Lianachan and Lianda which refer to marshy ground. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 8, pg. 3. Neil (The Scots Fiddle), 1991; No. 153, pg. 197.
T:Battle of Kinloch Lochy
T:Blar Leine
L:1/8
M:3/4
S:Fraser Collection
K:C Minor
G>^F|G2 B2 c>=B|c2 d2 e>c|d2 g2 fg|c2 BG e>c|d2 g2 b>d|c2 BG e>g|
d2 c2 d/c/=B/c/|G4:|
|:E/F/G/B/|e4 f/e/d/c/|d2 c2 (3cdf|g4 g/f/e/d/|e2 G2 f/e/d/c/|d2 g2 b>d|
c2 BG e>g|d2 c2 d/c/=B/c/|G4:|

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.

BEBE CREOLE (Creole Baby). Cajun, Waltz. USA, southwestern Louisiana. C Major. Standard. A(Vocal A)A(Vocal B)B(Vocal A)A(Vocal B)B(Vocal A)A. Raymond Francois explains that the term Creole refers to having origins in the French part of Louisiana. He notes the term has shifted meaning along racial lines only in modern times, with blacks from the region now referring to themselves as Creole while whites call themselves Cajun (formerly a derogatory term). A related song is "C'est Pas la Peine Tu Brailles." Source for notated version: Dennis McGee (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 43-46. Old Timey Records OT-108, Dennis McGee.

BEER BARREL POLKA. Czeck, Polka. USA; N.Y., Pa. C Major. Standard. AA'BB'CD. The tune was composed by Jaromir Vegvoda with Vasek Zeman and first published in Prague in 1934 under the title "Skoda Lasky" (Lost Girl) or the "Modranska polka." As "The Beer Barrel Polka" it was published in New York in 1939, but as Fuld (1966) annecdotally reports, the National Broadcasting Company refused to air the complete title as it made reference to an alocholic drink, therefore, on NBC stations it was known as "The Barrel Polka." Apparently from the eastern European and German populations in the country, it entered the popular mainstream and was picked up by fiddlers such as Harry Daddario, from Union County, Pa. Source for notated version: Robert Wise [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 333. F&W Records 1, "F&W String Band."

BEGGING WE WILL GO, A. English, Scottish; Air (4/4 time). C Major. Standard. One part. Chappell (1859) states that this tune was the prototype of several "A...we will go" titles, including "A Hunting we will go," "A fishing we will go," "A bowling we will go", and "A hawking we will go." The song was introduced in Brome's comedy The Jovial Crew or The Merry Beggers performed in the Cockpit in Drury Lane, in 1641. It is printed in Playford's Choice Ayres (1685), Loyal Songs (1685), and Pills to Purge Melancholy, and appears in several ballad operas including The Quaker's Opera. Verses were collected in the tradition in England in modern times that are nearly identical to those in Choice Ayres. They begin:
***
There was a jolly beggar, he had a wooden leg;
Lame from his cradle, and he was forced to beg.
***
Peter Kennedy, in Folksongs of Britain and Ireland (p. 497), gives a later verse to the tune, thought to reference the habit of James V of Scotland travelling in disguise:
***
I fear no plots against me, I live in open cell;
Then who would be a King, when beggars live so well.
***
A Scottish verse describes a typical beggar of the times:
***
Afore that I do gang awa, I'll let my beard grow strang,
And for my nails I winna pare, for beggars wear them lang.
I'll gang to some greasy cook and buy frae her a hat,
Wi' twa-three inches o the rim, a-glitterin' ower wi' fat.
***
Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 42.

BEHIND THE BUSH IN THE GARDEN (Taob-iar De'n Sgeac Annsa Gairdin). AKA and see "The Bush Below the Garden" (Shetland), "Fly Buckle Your Belt," "I Won't Do Work" (Cape Breton), "I Sat in the Valley Green," "More Power to Ye," "Over the River/Water to Charlie," "Royal Charlie," "Se'n Righ atha ahuin is fear linn" (We Prefer Our Own King), "Times Are Mighty Hard," "We Have No King But Charley," "Wha'll Be King But Charlie." Irish, Single or Double Jig. A Minor or C Mixolydian (O'Neill, Songer): D Minor (Stanford/Petrie). Standard. AAB (O'Neill/1915, Songer): ABB' (Stanford/Petrie): AABB (Carlin, Sweet): AABB' (O'Neill/Krassen, 1001 & 1850). Ken Perlman (1979) believes it is melodically related to the old-time tune "Kitchen Girl" and to the Northumbrian jig "Elsie Marley." Source for notated version: "As played by Pat Cunningham, a famous W. Meath piper" [Stanford/Petrie]. Carlin ("Master Collection"), 1984; No. 266, pg. 151. O'Neill (1915 ed.), 1987; No. 203, pg. 109. O'Neill (Krassen), 1976; pg. 76. O'Neill (1850), 1903/1979; No. 1114, pg. 210. O'Neill (1001 Gems), 1907/1986; No. 398, pg. 79. Songer (Portland Collection), 1997; pg. 26. Stanford/Petrie (Complete Collection), 1905; No. 769, pg. 192. Sweet (Fifer's Delight), 1964; pg. 33. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993. Learned from Andy McGann and Paddy Reynolds). Globestyle Irish CDORBD 085, John & Julia Clifford with Maurice O'Keefe- "The Rushy Mountain" (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians). Shanachie 29004, "Andy McGann and Paddy Reynolds." Front Hall FHR029, Fourgone Conclusions - "Contradance Music from Western Massachusetts."
T:Behind the Bush in the Garden
L:1/8
M:6/8
R:Single Jig
S:O'Neill - 1001 Gems (398)
K:A Minor
A/B/|c2A AGE|c2A AGE|G2G GAE|G3 E2B|c2d e2a|g2e d2e|c2A BAG|A3 A2:|
|:A/B/|c2B c2d|efe e2d|c2B c2d|e3 G2G|1 c2B c2d|efe e2d|cBA BAG|A3 A2:|2
c2d e2a|g2e d2e|c2A BAG|A3 A2||

BEN NEVIS. AKA and see "I'm Owre Young to Marry Yet," "Old Virginia," "The Kilt is My Delight," "The Ruffian's Rant," "Lady Frances Wemys' Reel," "Coig na Scanlan," "Roy's Wife of Aldivalloch." Scottish, Strathspey. D Mixolydian (Kerr): D Major (Carlin/Gow). Standard. AABB. The Gaelic ben, or horn, refers to a mountain. Carlin (The Gow Collection), 1986; No. 437. Gow (Complete Repository), Part 3, 1806; pg. 33. Kerr (Merry Melodies), Vol. 2; No. 153, pg. 18. Stewart-Robertson (The Athole Collection), 1884; pg. 102.
T:Ben Nevis
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:D
F|D/D/D D>B A>FA>B|D/D/D D>B A>FE>F|D/D/D D>B ABde|
f<d e>f F<d E:|
|:B|A<F d>F A<F d>F|AF/F/ d<F B/A/G/F/ E>F|A<F d>F A>Bd>e|
f<de>f F<d E:|

BIDDY MARTIN (Bidí Mháirtín). AKA and see "(Hi) Betty Martin," "Tip Toe Fine." Irish, Polka. D Major. Standard. AB (Breathnach): AABB (Mallinson). Breathnach (1985) said his source, Leahy, told him this tune was much referred to in dancing schools as the steps of the reel set to it were easy for youngsters.
**
Hie, Biddy Martin, tip toe, tip toe,
Hie, Biddy Martin, tip toe, tie.
**
Source for notated version: accordion player Tim Leahy, 1968 (Listowel, Co. Kerry, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 111, pg. 62. Mallinson (100 Polkas), 1997; No. 39, pg. 15. Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978. Learned from accordion player Jackie Daly).

BINNY'S JIG(G). AKA and see "Dusty Miller," "Hey the Dusty Miller." Scottish, Jig. C Major. Standard. AABB. From the Blaikie Manuscript (usually dated 1692), and from the time before the rise in popularity of the reel and strathspey, when "the English thought of the jig as being the most representative type of Scottish music" (Alburger, 1983). "Binny's Jig" resembles "Dusty Miller" only in the first strain. The English collector Chappell sometimes referred to the tune as "Benny's Jig." Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 6c, pg. 22.

BLUE RIBBON AT THE BOUND ROD. AKA and see "Blue Ribbon Scottish Measure." Scottish, Reel. C Major. Standard. One part. The air appears in the Skene Manuscript (c. 1615) and was reprinted in Dauney's Ancient Scottish Melodies (1838). It was adapted and printed by the Gows in Complete Repository (11, 1802) as "Blue Ribbon Scottish Measure." Robin Williamson speculates that the title may refer to a gathering staff for soldiers or a boundary road, and notes that the border at Berwick on Tweed was called the bound rod at one time. Another version of the tune is "Lord of Carnarvon's Jig." Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 25, pg. 127.
T:Blew Ribbenn at the Bound Rod
L:1/8
M:C
B:Skene Manuscript (c. 1615)
K:C
G2|E2 C2 EFGE|DCB,A, B,CDB,|E2 C2 EFGE|c4 d2 cd|
edcA cAGE|GEDC D2 G2|E2 cd e2 d2|C4 G4||

BLUE RIBBON SCOTTISH MEASURE. AKA and see "Blue Ribbon at the Bound Rod." Scottish, Scottish Measure or Strathspey ("Slowish"). F Major. Standard. AABB. The tune was later renamed by Niel Gow, but was originally published in the Skene MS., c. 1610, as "Blue Ribbon at Bound Rod." Robin Williamson speculates that the title may refer to a gathering staff for soldiers or a boundary road, and notes that the border at Berwick on Tweed was called the bound rod at one time. The melody was published by Gow in his Repository, Part Secondt, 1802, under the above title. It is correctly classified as a Scottish Measure, having the characteristic emphasis on the first three beats of the bar, with the phrase beginning on the up-beat. Carlin (Gow Collection), 1986; No. 12. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 24, pg. 127. Gow (Complete Repository), Part 2, 1802; pgs. 4-5. Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2" (Skene version).
T:Blue Ribbon Scottish Measure
L:1/8
M:C
S:Gow - 2nd Repository
K:F
cB|A2F2F2 GA|{A}c2G2G2 cB|A2 G>F F2ag|f4 c2 fg|(ag)fd (fd)cA|{A} d2G2G2 cB|
BAGF a2 ga|f4 f2:|
|:(3c/d/e/|(fe)dc defg|{fg}a2g2g2 (c/d/e)|(fe)dc defc|{B}A4 f3g|
(ag)fe (fd)cA|{A}d2G2G2 cB|(BA)GF {F}a2 ga|f4f2:|

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||

BLACK MOUNTAIN RAG. Old-Time, Bluegrass; Rag. A major. AEAC# or GDAC. AA'BB'CC'. "One of the most popular fiddle tunes in modern history..." (C. Wolfe). The piece became popular in the late 1930's. It was claimed by fiddler Leslie Keith (who is featured on the very first recordings of the Stanley Brothers), who said he wrote it in the early 1940's after taking "a little bit of" 'The Lost Child', and " a little of two or three of the Carter Family's tunes." He named it "Black Mountain Blues" after the name of a mountain in Cumberland County, Tenn., however, "The Lost Child" is the basic melody for the tune. Curly Fox changed the name from "Black Mountain Blues" to "Black Mountain Rag" on his 1947 recording for King, which eventually sold over 600,000 copies (Charles Wolfe, The Devil's Box, Dec. 1982, pgs. 3-12). Several 'black mountains' have been suggested as the one referred to in the title, including one of the tallest peaks east of the Mississippi, Mount Mitchell. Mitchell was apparently called by various names in the past, beginning with Grey Eagle (due to a rock formation on its side). Later it became known as Black Mountain because of the dark appearance of the balsams at the top. The tune appears in a list of "traditional" fiddle tunes common to the Ozark Mountains, compiled by musicologist/folklorist Vance Randolph in 1954. It was also a favorite "trick" fiddling tune in the Texas tradition. Brody (Fiddler's Fakebook), 1983; pg. 48. United Artists 9801, "Will the Circle Be Unbroken" (various artists). Rounder 0073, "The White Brothers, Live in Sweden." Vanguard VSD 45/46, "The Essential Doc Watson." Vanguard VRS 9152, "Doc Watson." County 703, Benny Thomasson - "Texas Hoedown." Elektra 7285, The Dillards with Byron Berline - "Pickin' and Fiddlin.'" Antilles 7014, "Country Gazette, Live." Mercury SRM 1-1058, Vassar Clements - "Superbow." County 730, Kenny Baker - "Baker's Dozen." Folkways FA 2398, "New Lost City Ramblers, Vol. 3." Folk Star 613(2764) - "Glen Neaves and the Grayson County Boys (Va.)." Mercury 6246 - Tommy Jackson. King Records 562, Curly Fox (Ga.) {1946}. Caney Mountain Records CLP 228, Lonnie Robertson (Mo.) - "Fiddle Favorites."

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).
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BLACKBIRD, THE [4]. American, "Piece" or Air. G Major. Standard. One part. Originally an Irish air, preserved by Pennsylvania fiddlers ("to their credit", says Bayard {1981}, who seems quite taken by the tune). "In this region it is not played as a dance, although dance versions have been recorded elsewhere, but as a 'piece' (i.e. a folk instrumental tune with no function beyond that of entertainment), or a 'dead march', which is what the players of both versions (see also 'Napoleon Crossing the Rhine' [2]) given here understand it to be. Joyce, notes that the air 'was played everywhere by pipers and fiddlers' (Joyce, 1909, p. 181); and in the course of tradition it has split into several rather sharply differentiated versions, of which our A represents the one seemingly best known. Our B version gives the air its usual American title of 'The Blackbird'. It is under this name that most country musicians in western Pennsylvania known the tune. To judge from collected and printed versions, 'The Blackbird' has undergone more extensive re-creation by some of its players in American than in the old country. It would appear that old-country players generally keep the main outlines of the air in tact, even though they may alter mode, tempo and rhythm. In western Pennsylvania the editor has recovered more than one version in which variation has involved truncation, reversal of the order of parts, displacement of some phrases as to relative location or pitch, and even the introduction of new turns to replace the old, familiar ones. Such changes may be observed in 'The Blackbird' (Martin version). Sometimes they cause the fine qualities of a tune to evaporate. But apparently the majestic movement of this tune has not been impaired by the alterations which (this) version has undergone. The extent to which popular re-creation may transform a tune without producing an entirely different melody could hardly be better exemplified than by these two sets. What has fixed the name of 'The Blackbird' upon the tune in this country, and made it a frequent name in Ireland, is the fact that, although it is primarily an instrumental tune here, it is also a vocal melody there, and is often set to a song of loyalty to the Young Pretender. In 1651 the royalist ballad-printer Richard Burton issued a broadside entitled 'The Ladies Lamentation. For the losse of her Land-lord', a song in two parts and eight stanzas lamenting the misfortunes and exile of Charles II. This ballad refers to Charles in the first stanza as the 'Black-bird (most Royal)' {Zimmerman, in his "Songs of the Irish Rebellion," printes sex verses of a song entitled "The Royal Blackbird."} In Ireland at a later period, the song-makers loyal to the house of Stuart seized on the piece with its symbolism so convenient to their necessities, and remade it--cutting it down to five stanzas, deleting all specific reference to the career of Charles II, giving prominence to the Blackbird symbol, modernizing the language, and introducing other variations. Thus remade, the song was understood to refer to Charles Edward Stuart, the famous 'Prince Charlie'--and in this guise it has persisted in tradition until the present day. It was also in Ireland, apparently, that this revision of the old Caroline ballad became attached to the tune represented by our version 'A' --a tune which Padraic Colum finds hard to associate with defeat, because of its beauty and pride. Along with this air, the song travelled to America, and the editor has recovered a fragment in Greene County. But the many instrumental versions of the tune in Pennsylvania doubtless reflect a tradition quite independent of the actual song, although its name has impressed itself upon the melody everywhere.
**
'The Blackbird' has had recent local tragedy associated with it as well as 'old, unhappy, far-off things'. A persistant tradition in southwestern Pennsylvania asserts that in Washington County a man once shot his son for singing this tune. The shooting actually occurred; but whether this tune is the one which occasioned it is not so certain. In 1822 a man named William Crawford was living at Horseshoe Bottom in Fallowfield Township, Washington County. He had been in the British army during the War of 1812, and was so ardently pro-English that he proudly styled himself 'Old Britannia.' He did not get along well with the rest of his family, and his son Henry used to snatch at every opportunity maddened the old man, and Henry sang it in his presence continually--despite threats of murder, to which no one paid much attention. On July 30, 1822, Crawford had a 'manure-hauling frolic' at his home. Henry appeared, and disregarding warnings, commenced 'The Blackbird,' when his father got his gun, took deliberate aim, and shot his son, killing him almost instantly. Crawford was hanged February 21, 1823. At his trial and thereafter he displayed an indifferent and contemptuous attitude toward the proceedings, and acted with what was taken for blasphemous levity and defiance. A full account of the tragedy--from which the above abstract was made--may be seen in Earle R. Forrest, 'History of Washington County Pennsylvania' (Chicago: S.J. Clarke Co., 1926), I 370, 374-6. The source just cited acconts for the father's reaction by stating that 'The Blackbird' was 'a popular patriotic American song of the day' (p. 374). If so, it could hardly have been the Jacobite piece associated with our tune; but it is not impossible that there was a patriotic native song set to this air at one time. At any rate, tradition has definitely associated the tune with this tragedy, which is frequently mentioned when the air is played in southwestern Pennsylvania. Other Pennsylvania instrumental versions of the air are Bayard Coll., Nos. 38, 90, 278...An unusual vocal set appears in Walker, The Southern Harmony, No. 43, to 'Hark! don't you hear the turtle dove, The token of redeeming love'; and the same is in the James edition of The Original Sacred Harp (1911), No. 208, with a note stating that the air appeared also in the Sacred Harp of 1844, and was taken from Dover's Selection, p. 154" (Bayard, 1944). A 3/4 time version appears in the John Carroll Manuscript compiled between 1804 and 1812 at Fort Niagra in New York. Musicologist Paul Tyler says Carroll was evidently a military fifer who was an aspiring fiddler. Paul Wells cites George Pullen Jackson (in his book Another Sheaf of White Spirituals) who finds the "Blackbird" melody used for American hymns prior to the Civil War, such as a piece called "Melody" from the Knoxville Harmony of 1838 and a more distanced variant for "Turtle Dove" from Southern Harmony (1835). Source for notated version: "Emery Martin, (near) Dunbar, Pennsylvania, October 14, 1943, learned from his father" [Bayard, 1944]: Numerous southwestern Pa. fiddlers [Bayard, 1981]. American Veteran Fifer, No. 91. Bayard (Hill Country Tunes), 1944; No. 88. Bayard (Dance to the Fiddle), 1981; No. 177A-H, pgs. 131-134.

BONNIE BANKS O' LOCH LOMOND. Scottish, March or Air (4/4 time). G Major. Standard. AB (Neil): ABC (Kerr). The tune is one of the most famous of Scots airs and appears to be based melodically on "Kind Robin." It is thought to date from the year 1746, and the lyrics are supposed to refer to one of Bonnie Prince Charlie's ill-fated followers who was about to be executed for rebellion. His sweetheart had come to Carlisle, perhaps to seek his release, but he told her he would be taking the 'low road', or grave, back to Loch Lomond, where they had spent their happiest hours.
***
O, ye'll tak' the high road
And I'll tak' the low road,
And I'll be in Scotland afore ye;
But I and my true love will never meet again,
On the bonnie, bonnie, banks o' Loch Lomond.
***
Kerr (Merry Melodies), Vol. 3; No. 407, pg. 45. Neil (The Scots Fiddle), 1991; No. 113, pg. 151.
T:The Bonnie Banks of Loch Lomond
B:Allan's Violin Gems
Z:Nigel Gatherer
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L:1/8
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G2 G2 G2 Bd|e4 d2 d2|e2 ge d2 Bd|cBAG E2 DE|GGBd e2 dB|A4 G2|]

BONNIE BLUE FLAG. AKA and see "Whistle On Your Way." American, March and Song Air (6/8 time). USA; Alabama, Pa. G Major. Standard. AB (Bayard): AABB (Kerr, Sweet). A popular Southern Civil War composed song and show tune that quickly became the national anthem of the Confederacy and later entered fiddle and dance folk repertory (especially through discharged soldiers). Besides being an anthem, it was also used as a march air in the Confederacy and, after the war, in other areas of the country (such as southwestern Pennsylvania for one) in martial (i.e. fife and drum) repertory. Samuel Bayard (1981) states it was a favorite in that region of Pennsylvania, although its Southern origins were not always known. Some editors, such as Sigmund Spaeth in History of Popular Music in America, have claimed this tune is derived from a 6/8 time Irish air "The Irish Jaunting Car," although that ditty is also sung to other melodies. Others do not see the connection, and Paul Wells, for one, seems to think a more likely candidate for origins of "Bonny Blue Flag" is the Irish tune "Wearin' o' the Green." It was the repertory of northwest Alabama fiddler D. Dix Hollis, as listed in the Opelika Daily News of 4/17/26. The chorus refers to the official flag of the Confederacy:
***
Hurrah, hurrah, for Southern rights, hurrah!
Hurrah for the Bonnie Blue Flag that bears the single star.
***
See also the cognate tune "Coleman's March" [2]. Source for notated version: George Fisher (Somerset County, Pa., 1962) [Bayard].Bayard (Dance to the Fiddle), 1981; No. 547, pg. 489. Kerr (Merry Melodies), Vol. 3; No. 292, pg. 32. Sweet (Fifer's Delight), 1964; pg. 28. Homestead Records 103, Hoyt Ming and His Pep Steppers - "New Hot Times!"

BONNIE BLUE WALTZ. Old-Time, Waltz. USA, Ky. "A fast waltz also known to Dick Burnett (Ky.) and a favorite in area coal camps" (Bobby Fulcher). Perhaps a reference to the "Bonnie Blue Flag" of the Confederacy? In the repertoire of African-American Kentucky fiddler Cuje Bertram, it appears on a home tape he made in 1970 for his family.

BONNY BREAST KNOT(S), THE. AKA and see "The Breast Knot," "Bonny Breist Knots," "Daddy Shot a Bear" (Pa.), "Jaybird" (Pa.), "Lady's Breast Knot," "Looking Glass," "The Pennsylvania Fifers" (Pa.). English, Reel or Country Dance Tune (2/2 time). England, Northumberland. D Major. Standard. AAB (Barnes): AABB (Kennedy, Raven). The country dance "Bonny Breast Knots" has been known since about 1770, according to Flett & Flett (1964), and long had a special place at Scottish weddings. Up until about 1900 in Roxburghshire and West Berwickshire, Scotland, it was always performed as the first dance after the wedding supper, with the bride and groom leading off with the best man and bridesmaid. Its status in the wedding rituals may be what is referred to in the song "The Briest Knots," quoted by Flett & Flett:
***
'Syne off they got a' wi' a fling,
Each lass unto her lad did cling,
And a' cry'd for a different spring,
The bride she sought the breast-knot.
***
Barnes (English Country Dance Tunes), 1986. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 47, pg. 23. Raven (English Country Dance Tunes), 1984; pg. 166. Antilles (Island) AN-7003, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1973).
T:Bonny Breast Knot
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|:g|fdfd fa ag/f/|ecec eg gf/e/|fdfd faac|dAAG F2 D:|

BONNY NELL. English, Country Dance Tune (6/8 time). G Major. Standard. AB. Chappell states the tune was originally a ballad tune, though the words had been lost by his time. He found a few references to the ballad, one as early as 1622 when it was mentioned in The Anatomie of the English Nunnery at Lisbon and was apparently a favorite with the nuns of the convent. The melody appears in Apollo's Banquet for the Treble Violin (1670). Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 23.

BONNY PORTMORE. AKA and see "Peggy Levin," "Peggi Ni Leavan," "Peggy na Leavien." Irish, Slow Air (3/4 or 3/8 time). D Mixolydian (O Boyle): D Dorian (Darley & McCall): E Mixolydian (O'Sullivan/Bunting). Standard. One part (O'Boyle): AB (Darley & McCall): ABC (O'Sullivan/Bunting). The Irish collector Edward Bunting (1840) found the tune a favorite air in County Antrim around the area of Ballinderry. He states:
**
Portmore, an old residence of the O'Neill's, stood on the
banks of Lough Beg, a small and shallow, but picturesque,
sheet of water adjoining Lough Neagh. The ivy-clad ruins
of the old church still stand on a neighbouring eminence,
which in summer forms a promontory, and in winter is
surrounded by the waters of the lake. On the plantation of
this part of the country in 1611, Portmore became the property
of Lord Conway, who built a manison here, of which there are
still some traces. (O Boyle states Conway built the castle on the
ruins of a more ancient fortress in 1664, but that it was neglected
after his death and finally, in 1761, most of the buildings were removed.)
This was a favourite retreat of Doctor JeremyTaylor, when Bishop
of Dromore; and the tree under which he used to sit, to hear this
melody sung by the peasantry was pointed out until some years
ago. (O Boyle states this oak was referred to as the 'ornament tree',
some fourteen yards in circumference, which was blown down in
1760 and sold for lumber). The air is probably as old as the time of
the O'Neill's in Ballinderry, to whose declining fortunes there would
appear to be an allusion in the first stanza of the English words, which
are still sung with it:
Bonny Portmore, you shine where you stand
And the more I think on you the more my heart warms.
But if I had you now, as I had once before,
All the gold in all England would not buy you, Portmore!
**
O'Sullivan (1983) notes that nothing is known of the Peggy Leavan of the alternate title, whose name is misspelt in Irish, and whose name in English would by Peggy or Margaret Levinge. Sources for notated versions: MS of Mr. A Lowe (Fairview, Ireland) which contains many tunes by piper Hugh O'Beirne (Mohill, Co. Leitrim), 1846 [Darley & McCall]; either the harper Arthur O'Neill or Ulster harper Daniel Black at Glenoak, 1796 (the former is cited in Bunting's MS, the latter in his 1840 volume) [Bunting]. Darley & McCall (The Darley & McCall Collection of Traditional Irish Music), 1914; No. 53, pg. 23 (appears as "Peggy Levin"). Ó Boyle (The Irish Song Tradition), 1976; pg. 50. O'Sullivan/Bunting (Bunting's Ancient Music of Ireland), 1983; No. 109, pgs. 156-157.

BONNY SWEET ROBIN. AKA and see "My Robin to the Greenwood Gone." Irish, English. D Dorian. Standard. ABB. According to Flood (1906) and Chappell (1859), the tune dates from the 16th century and is referred to by Shakespeare in Hamlet when Ophelia sings:
**
For bonny sweet Robin is all my joy.
**
The original ballad lyrics have been lost, but the air is mentioned as the vehicle for a Christmas carol in 1642, and for a ballad entered at Stationers' Hall in April, 1593. Flood, of course, claims the tune's provenance as Irish, and Chappell as English. It is sometimes attributed to Thomas Simpson (1582-1630). Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c. Ballads for Voice and Violin Band" (1992).
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|:A2d2c2|B3AG2|c3BAG|F3ED2|c3B AG|F3G A2|G3FE2|D6:||

BOOT SHUFFLE. American, Reel. G Major. Standard. AA'BB'. A French-Canadian sounding tune composed by Portland, Oregon, whistle, bouzouki and saxophone player Todd Sivlerstein, after hosting the Quebec band La Bottine Souriante ('Smiling Boot' - the name refers to a boot whose sole has worked loose, causing it to flap when one walks) for a weekend. Songer (Portland Collection), 1997; pg. 35.

BOVAGLIE'S PLAID. AKA "Roualeyn's Plaid." Scottish, "Pastoral" or Slow Air (4/4 time). A Major. Standard. AAB. From the Logie Collection, composed by J. Scott Skinner. The 'Roualeyn' of the alternate title (Skinner's original title for the tune) refers to Roualeyn Gordon Cumming, a famous local eccentric character of Fort Augustus in the 19th century. Neil (1991) tells several charming anecdotes of this man who was a big game hunter in Africa for a time, and who dressed in full Highland kit when he came to town, though donned only in shirt and stockings in the country on hot days. A congenial and well mannered man, he was sometimes to be found in the woods of Glenmoriston where he sought hazel to make walking sticks, when he was not puttering about his showroom where he housed his trophies. He was a great friend of the huge village blacksmith, Donald Cumming, who himself was blessed with "a high intellect and warm personality. They both died within a short period of one another and Fort Augustus lost two of its outstanding characters" (Neil, 1991). The title 'Bovaglie's Plaid' is from a description of Queen Victoria's of a location on the farm or place of Bovaglie, thought to be near Crathie in Deeside, in which a belt of trees seemed to her to stand in the shape of a plaid. The melody was one of the tunes recorded as played by the composer on tour in 1921, late in his life, in a set romantically entitled "Spey's Fury's." Caoimhin Mac Aoidh points out the the first few bars of "Bovaglie's" overlap with "The Lowlands of Holland." Hunter (Fiddle Music of Scotland), 1988; No. 24. Neil (The Scots Fiddle), 1991; No. 85, pg. 115. Skinner (The Scottish Violinist), pg. 36. Comhaltas Ceoltoiri Éireann CL 13, "Tommy Peoples." Rounder 7020, Alex Francis MacKay - " A Lifelong Home - An Dachaidh Dha Mo Shaoghal." SG155, Alasdair Fraser - "The Road North." Natalie MacMaster - "Road to the Isles."
T:Bovaglie's Plaid
M:C
L:1/8
C:J Scott Skinner
Q:100
Z:transcribed by John Erdman
K:A
A|"D"(FE/C/) "A"E>F A>B c>A|"D"dc/B/ "A"{B}(ec) "Bm"{c}BA (F/A)
z/|"A"(FE/C/) (E>F) A>B"D"c>d|
"A"ec/A/ "E7"G/d/z/G/ "A"{G}A2 A::e|"A"ag/a/ (3 ecA "D"(3 fdA "A"(3
ecA|(3(CEA) (3(cea) "E"{cd}c>B(B>e)|
"A"ag/a/ (3ecA "D"(3(FAd) "A"(3 (EAc)|"Bm"(3(DFB) "E7"(E/d/)z/G/ "A"{G}(A2
A) e|"A"{g}a(4b/a/g/f/ (3ecA "D"(3fdA "A"(3ecA|
"A"ae/d/ cB/A/ "E"B>BB A/G/|"D"(FG/A/) "A"(EG/A/) "Bm"(DG/A/) "A"{CD}(3
CB,A,|(3(ECA,) "E7"G,/D/z/G,/ "A"(A,2 A,):|

BOYNE WATER, THE [1] (Briseadh na Bóinne). AKA and see "As Vanquished Erin," "The Battle of the Boyne Water," "Bayne Water" (W.Va.), "Barbara Allan" (Pa.), "The Bottom of the Punch Bowl," "Boyne Water Quickstep," "Cameronian Rant," "The Cavalcade of the Boyne," "Come Kiss Wi' Me, Come Clap Wi' Me," "Findlay," "King William's March," "Lass If I Come Near You," "Leading/Driving the Calves," "Leading the Calves in the Pasture," "Native Swords," "One Pleasant Morning Beside the Glen," "Playing Amang the Rashes," "Praises of Limerick," "The Rashes," "Rosc Catha na Mumhan," "Sheila Ni Gowna," "Song of the Volunteers," "Such a Parcel of Rogues in a Nation," "To Look for My Calves I Sent My Child," "The Wee German Lairdie" "Wha the Deil Hae We Gotten For a King," "When the King Came O'er the Water." Irish, Air or March (4/4 time). A Dorian (Breathnach, O'Neill, Perlman, Roche): E Minor (Joyce). Standard. AB (most versions): AA'BB (Breathnach). The name Boyne itself is derived from the name of the goddess Boinn, literally 'cow-white', "a name well suited to a pastoral people whose wealth was chiefly in cattle" (Matthews, 1972). The name of the tune, however, commemorates the Battle of the Boyne (named for the Boyne River in County Meath, eastern Ireland, though the battle itself was fought three miles west of Drogheda), fought July 1st, 1690, in which the English monarch King William III defeated the Irish forces under King James II. "It has always been, and still is, very popular among the Orangemen of Ulster (for it dashed the hopes of the Irish for religious freedom and the Stuarts for Kingship). The ballad follows the historical accounts of the battle correctly enough. The air is well known in the south (of Ireland) also, where it is commonly called Sebladh na n-gamhan, 'Leading the Calves,' A good setting is given by Bunting in his second collection: the Munster and Connaught versions are given by Petrie in his Ancient Music of Ireland, vol. II, p. 12. I print it here as I learned it in my youth from the singing of the people of Limerick, not indeed to 'The Boyne Water' of Ulster, but to other words (given below). My setting differs only slightly from that of Bunting; and it is nearly the same as I heard it played some years ago by a band on a 12th of July in Warrenpoint" (Joyce).
***
Samuel Bayard (1981) believes "Boyne Water" was composed in the seventeenth century, and thinks it has always been more of a vocal air rather than an instrumental tune. As witnessed by the myriad of titles in the beginning of this entry, it has been a popular air in the British Isles and, as Bayard states, "altogether, the forms suggest that it has undergone a long traditional development." He believes the second half may have been the original tune, with the first half being fashioned out of elements from earlier strains. Bronson discerns the origins of the whole tune family in a Scottish melody found in the Skene Manuscript of c. 1615. Flood (1913) dates the tune from c. 1645, long before the famous battle, though how he arrived at this date is obscure. Cowdery (1990) believes it may be from a reference to a melody published by Petrie (1855), called "To Seed for the Lambs I Have Sent My Child," in which the latter writer declared, "in its superior purity of expression, and in its passionate depth of feeling, affords intrinsic evidence of an original intention, and consequent priority of antiquity, which will not be found in that which I consider to be the derived from of it called 'The Boyne Water.'" O'Neill (1913) concludes the same Gaelic airs printed by Petrie are early antecedents of "Boyne Water," Nos. 1529 ("A Long mo Gamain" {To look for my calves I sent my child"}) and 1530 ("An Tuainirc na nGainna". Breathnach (1985), in CRE II (No. 124), gives a polka setting and remarks it was used for the last figure of the Clare polka set, and says that "Rosc Catha na Mumhan" (The Munster War-Cry) is sung to this air.
***
However old it actually is in oral tradition, Bayard (1991) finds the earliest printed appearances of the tune in William Graham's Lute Book of 1694 (as "Playing Amang the Rashes") and in D'Urfey's Pills to Purge Melancholy (where it appears as an untitled air). The melody remained in popular usage throughout the British Isles for well over two hundred years. Robert Burns set three songs to it in Johnson's Scots Musical Museum, and it was the vehicle for the Scots songs "The Wee, Wee German Lairdie" and "Andro and His Cutty Gun" (the latter from Alan Ramsay's 1740 edition of the Tea-Table Miscellany). In Ireland, Sir Thomas Moore used the melody for his c. 1825 song "As Vanquished Erin." The air was widespread in American usage, often heard as the tune the popular song "Barbara Allan" was sung to, which fact has been noted by several writers (Bayard, Cowdery, Cazden). It is, for example, identified by Cowdery (1990) as one of four tunes which carry the tale of "(Bonny) Barbara Allen" (the second strain of both Joyce's version and Bunting's "To seek for the Lambs..." is the portion of the Irish tune which corresponds to the America "Barbara Allen"). As "The Battle of the Boyne" it was included in a Philadelphia chapbook of 1805, and, under the title "The Buoying Water," as an instrumental piece in the 1790 Whittier Perkins Book (Cazden, et al, 1982). According to Bronner (1987), it was used for an 1815 hit American blackface minstrel song by Micah Hawkins called "The Siege of Plattsburgh" or "Backside Albany." Cazden prints it with the Catskill Mountain (N.Y.)-collected song "A Shantyman's Life," which he states can be found in most collections of lumber camp songs. O'Neill (1913) lists "Boyne Water" as one of the "splendid martial airs" of Irish music.
***
The political connotations of "The Boyne Water" long remained attached to the melody, even after it was imported to North America. Bayard (1981) relates that the mere playing of the tune in the presence of Catholic Irish in western Pennsylvania "could bring on a mass attack," and repeats the Fayette County story of an old Irishman digging potatoes in the garden while his wife followed along beside him picking the up in a sack. She absent-mindedly began singing the air, upon which he turned around and, incensed, brained her with one blow of his spade. In fact, Pennsylvania fifers declined to play the tune for Bayard at gatherings, fearing to destroy the harmony of the group with "political pieces." Sources for notated versions: George Strosnider (Greene County), Hiram Horner (Westmoreland County), Mrs. Sarah Armstrong (Westmoreland County) {All Southwestern Pa.} [Bayard]; flute and whistle player Micko Russell, 1969 (Doolin, Co. Clare, Ireland) [Breathnach]; Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident of Montague) [Perlman]. Bayard (Dance to the Fiddle), 1981; No. 317A-D, pgs. 271-273. Breathnach (CRE II), 1976; No. 124, pg. 66. Gow (Beauties), 1819. Joyce (Old Irish Folk Music and Songs), 1909; No. 151 and No. 377, pgs. 183-184. O'Neill (1850), 1903/1979; No. 204 & No. 260, pg. 45. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 208. Roche Collection, 1982; pg. 8, Vol. I, No. 4.
T:Boyne Water [1]
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:E Minor
ED|B,2 B2 B>cdB|AGFE D2 E>F|G2 FE BAGF|(E3D) B,2 E>D|B,2 B2 B>cdB|
AGFE D2 EF|G2 FE B>AGF|E4 E2||E>F|A2B2d2 e>f|e>d cB A3A|B2e2 e>def|
(e3d B2) Bc|dcde d2 cB|A>GFE D2 EF|G2 FE B>A GF|E4E2||

BOYS IN BLUE. American, Scottish; Reel. G Major ('A' part) & D Major ('B' part). Standard. AA'BB'. The title refers, perhaps, to Civil War soldiers on the Union side, whose uniforms were blue. Cole (1001 Fiddle Tunes), 1940; pg. 28. Kerr (Merry Melodies), Vol. 2; No. 285, pg. 31.

BOBBY CASEY'S JIG. AKA - "Scully Casey's Jig." Irish, Jig. A Mixolydian (Feldman & O'Doherty). Standard. AABB. Bobby Casey was a renowned fiddler from West Clare; Scully was his father. A version is published as an untitled double jig published by Breathnach (Vol. 3, 1985; No. 16, pg. 9), from the playing of fiddler Kevin Burke and accordion player Jackie Daly.
***
Irish guitarist Paul de Grae relates the story of the north London pub called 'The Case is Altered' (actually there were several pubs with that name), a name that stems from a centuries old expression meaning "things are different now." Another story exists for the oldest of the 'Case Altered' pubs, that had supposedly been established by a veteran from Wellington's army during the Napoleonic Wars who had been invalided out. The soldier had been wounded during the Spanish campaign and had been hospitalized in a commandeered villa called La Casa Alta, a name transformed and brought home. Bobby Casey liked to go to the pub on a Sunday, says Paul, leading some to playfully refer to it as "Casey's Altar!"
***
Source for notated version: fiddler Peter Turbit [Feldman & O'Doherty]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3, No. 60. Feldman & O'Doherty (The Northern Fiddler), 1978; pg. 233 (appears as second "Untitled Jig" on page). Green Linnet SIF 3002, Kevin Burke & Jackie Daly - "Eavesdropper" (1981).

BOG OF GIGHT, THE. Scottish; Strathspey. A Major. Standard. AB (Gow, Honeyman, Kerr, McGlashan, Skye): AA'BB' (Athole). One of the first tunes composed by Scottish fiddler William Marshall (1748-1833), Steward for the Duke of Gordon, who became an enthusiastic patron of Marshall's musical work. The Bog of Gight is a morass in the parish of Bellie in Banffshire, in the middle of which stood for strategic reasons the former stronghold of the Gordons and where Gordon Castle now stands. The castle was built on the Bog in 1479 by George Gordon, the 2nd Earl of Huntly, who was sometimes referred to as "The Gudeman of the Bog." Later the Duke of Gordon was known as the "Cock of the North." "Cairney Burn," a famous song by the poet Lady Nairne, was written to the melody. Carlin (The Gow Collection), 1986; No. 484. Gow (Complete Repository), Part 2, 1802; pg. 24. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 19. Kerr (Merry Melodies), Vol. 2; No. 11, pg. 4. MacDonald (The Skye Collection), 1887; pg. 31. McGlashan (A Collection of Reels), c. 1786; pg. 28. Stewart-Robertson (The Athole Collection), 1884; pg. 16.
T:Bog o' Gight, The
L:1/8
M:C
S:Strathspey
B:The Athole Collection
K:A
e>fe>c A>c A<E|F>EF>A B/B/B B>c|1 e>fe>c A>c A<E|F>AE>C A,/A,/A, A2:|2
c<e f>e d>cB>A|G>AB>c A/A/A A2||
a>b a<e a>ba<e|f>ef>a b/b/b b2|1 a/b a<e f<ac<a|B>A B<c A/A/A A2:|2
a>e f<a e>f c<e|B>AB>c A/A/A A2||

BONAPARTE CROSSING THE ALPS. AKA and see AKA and see "Battle of Waterloo," "Bonaparte Crossing the Rhine" (Irish) [2], "Bonaparte Crossing the Rockies," "Bonaparte's March," "Bonaparte's Retreat" (Pa.), "Napoleon Crossing the Alps," "Oro, Welcome Home," "The Diamond," "Peter Gray" (Pa.). Irish (originally), Candain, American; March. Canada, Prince Edward Island. A Dorian. Standard. AABB. "The wide diffusion, extensive ramification and probable great age of this Irish air have been discussed already in the notes to other versions in this collection (see notes for 'Bonaparte's Retreat'). The present version must also represent a fairly antique development of the tune; it has a strongly impressed character of its own, and may readily be traced in Irish tradition. Though some of its variants serve for songs or dances, most of them have the same strong, martial swing as the one given here. Petrie unhesitatingly calls it 'an ancient clan march' (see Petrie, pp. 251, 356), although he does not assign it to any particular Irish sept. Joyce, on the other hand, declares it to ba a wedding march, or 'hauling-home' song-tune, since it was used in his boyhood in County Limerick to accompany the progress of a newly-married couple home from church (see Joyce 1909, pp. 130, 131). Its frequently occurring Irish name, "Oro, 'Se do bheatha a'bhaile!' (Oro, Welcome Home), and two or three lines of verse quoted by Joyce, would be convincing were we not aware by this time of its protean variety of form and multiplicity of functions in the tradition. As a matter of fact, this version, like the ones already cited, goes under other names in Ireland beside 'Welcome Home'; while these words also befin the refrain to a Gaelic Jacobite song sometimes sung to it. We can only conclude that the statements of Petrie and Joyce were both partially correct: the tune, like other old and well known ones in our tradition, has been used for a number of purposes. In southwestern Pennsylvania this version is definitely a marching tune. Another local set is Bayard Coll. No. 352, from Greene County. When the volunteers from the communities of Pine Bank and Jollytown, in that county, went to camp at the time of the Civil War, they marched to the stately music of this tune as played by a 'martial band' (drums and fifes) made up of local folk musicians. Although this 'Welcome Home' form of the air is strongly individualized, it cannot be separated from the other sets, discussed under our Nos. 44-48, to which its variants continually show resemblance and relation. Intermediate or transitional forms have been recorded, some of which were listed under Nos. 44-48; others are referred below...A still more specialized march form of the 'Welcome Home' version goes in Irish tradition by the name of '(Fare Thee Well) Sweet Killaloe'. Variants are found in Joyce 1909, No. 824 and O'Neill's Irish Music, No. 100. A greatly simplified dance-tune form of this 'Killaloe' version is also current in western Pennsylvania under ('floating') titles of 'Jennie Put the Kettle On' and 'Nigger in the Woodpile'. Sets are in Bayard Coll., Nos. 21, 64. 'The American Veteran Fifer' also has a variant, No. 122" (Bayard, 1944)."/ Bayard (1981) cites it as a member of the "Lazarus" tune family (identified in part by a subtonic cadence in the 1st and 3rd tune lines, with a tonic cadence in the 2nd and 4th tune lines; which is a feature of medieval music, he says).
**
Perlman (1996) remarks that the tune was played by the regionally famous PEI fiddler Lem Jay on New Years' Eve over Charlottetown (PEI) radio during the 1930's. Source for notated version: Johnny Morrissey (1913-1994, Newtown Cross and Vernon River, Queens County, Prince Edward Island) [Perlman].
**
PRINTED SOURCES: Bayard (Hill Country Tunes), 1944; No. 89. Cole (1001 Fiddle Tunes), 1940; pg. 63 (appears as 'The Diamond'). The Feis Ceoil Collection, No. 67 (equals JIFSS, No. 15, pg. 18). Hannagan and Clandillon, 'Londubh and Chairn, No. 57 (Welcome Home Jacobite Song; and note mention ibid., p. 28, of a Tyrone version of the tune to the same piece). Hardings All-Round Collection, No. 32. Henebry (Handbook), p. 148 (two sets); Hogg (Jacobite Relics), I, 3, II, 138. JIFSS, No. 2, p. 35; No. 12, p. 17; No. 15, pp. 18 (see above). Johnson (The Scots Musical Museum, edition of 1853) II, No. 298. Joyce (Old Irish Folk Music and Song), 1909, Nos. 275, 281, 729. Kennedy (Fiddlers Tune Book), Vol. 2; pg. 7. Kennedy-Fraser, 'From the Hebrides, pp. 96-98. Linscott (Folk Songs of Old New England), 1939; pg. 69. Kerr (Merry Melodies), Vol. 1; pg. 11. O'Neill's Irish Music, Nos. 178, 205. O'Neill (Music of Ireland), Nos. 58, 1809 (same set as in O'Neill's Irish Music), and 1824. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 99. Petrie, Nos. 926, 983, 1056 (to Welcome Home Jacobite Song), 1425. Roche Collection, Vol. 2; No. 231. Scanlon, p. 63, 'Battle Call of the Fianna' (close to Petrie 983, 1425). C.J. Sharp (English Folk-Chanteys), No. 7. Smith (The Scottish Minstrel), I, 106, 107, IV 58, 59. Stokoe & Bruce, 1886, Northumbian Minstrelsy, p. 183 (appears as "Cuckold Come Out o' the Amrey"). Green Linnett GLCD 1155, Martin Hayes - "Under the Moon" (1995).
T:Bonaparte Crossing the Alps
T:Napoleon Crossing the Alps
L:1/8
M:C|
K:G
cB|A2 AB AGEG|cd (3edc d2 (3e^fg|aged cAGE|G2 (3GGG G2 cB|
A2 AB AGEG|cd (3edc d2 (3e^fg|aged cAGE|A2 (3AAA A2:|
|:e2|aged cde^f|gega g3e|aged cAGE|G^FGA G2 cB|A2 AB AGEG|
cd (3edc d2 (3e^fg|aged cAGE|A2 (3AAA A2:|

BONAPARTE CROSSING THE RHINE [1]. AKA and see "Bonaparte's Retreat," "Bruce's March," "Caledonian March," "The Freemanson's March," "Napoleon Crossing the Rhine," "Ranahan's March," "Sherman's March (to the Sea)," "The Star of Bethlehem." Old-Time, March (cut time). D Major. Standard or ADAE. AAB (Phillips/1995): AABB (most versions). Samuel Bayard (1944) was quite familiar with the origins of this tune, a common march tune in his primary collecting area of western Pennsylvania, and one which circulated under a variety of names including (in Fayette County) "Bruce's March" and (in Greene County) "The Star of Bethlehem." A Pennsylvania bandmaster gave Bayard the name "Ranahan's March," which he said commemorated a local bandmaster. As with several of the other 'Bonaparte'-titled tunes it is sometimes confused with similar names; for example, Bayard once heard it played by a New Jersey fiddler who gave it the ubiquitous name of "Bonaparte's Retreat." Fiddler Mack Snodderly played a slow, dirge-like version of the tune and called it "Dying on the Field of Battle."
**
"The Greene County title (i.e. "Star of Bethlehem") suggests that the air may formerly have been sung to a once popular religious piece of the same name, beginning:
***
When marshalled on the nightly plain
The glimmering host illumed the sky.
***
But this hymn is now usually associated with the air 'Ye Banks and Braes of Bonnie Doon' in southwestern Pennsylvania and elsewhere. And there is no other indication thus far that (this tune) has been anything but an instrumental march tune in the Middle Atlantic area. We know, however, that it was used as a hymn melody in the South. Its currency in southern tradition is attested by two distinct versions used with a couple of the favorite pieces in the shapenote hymn books of fasola singers. One of these, a close variant of (this tune) appears in Swan, The New Harp of Columbia (1867), No. 148 as 'France'; the other, representing a quite different--somewhat more vocal--development of the air, is entitled 'Family Bible' in Walker, The Southern Harmony (1835), No. 20, and Cayee, The Good Old Songs (1913), No. 217. This second version is listed by Professor George Pullen Jackson among the eighty most popular tunes in the fasola song books: see 'White Spirituals in the Southern Uplands', p. 146, tune No. 63 and references. Other Pennsylvania sets are Bayard Coll., Nos. 35, 50. A variant called 'Caledonian March' appears in Howe's School for the Violin, pg. 17. Although the air sounds Scottish, it has not yet been traced outside this country. A tune bearing some resemblance to it occurs, in Smith, The Scottish Minstrel, IV, 12, 'The Pride of the Broomlands'; and another, still closer, occasionally appears in the commercial fiddle-tune books as 'Lochnagar': e.g., Cole, p. 124; White's Excelsier Coll., p. 70; Kerr, No. 214" (Bayard, 1944).
***
Source for notated version: Tony Marcus [Phillips]. Bayard (Hill Country Tunes), 1944; No. 90. Brody (Fiddler's Fakebook), 1983; pg. 51. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 23. June Appal 003, John McCutcheon - "How Can I Keep From Singing?" (1975). Rounder 0035, The Fuzzy Mountain String Band- "Summer Oaks and Porch" (1973. Learned from John Summers, Marion, Indiana).

BONAPARTE'S RETREAT [1]. Old-Time, Texas Style; March, Reel. USA; Texas, Oklahoma, Arkansas, Missouri, North Carolina, Kentucky, northeast Alabama, Mississippi, southwestern Va., West Virginia, Pennslyvania. D Major (most versions, though one version in A Major was collected from Mississippi fiddler John Hatcher in 1939). DDAD or DDAE. ABB. A classic old-time quasi-programmatic American fiddle piece that is generally played in a slow march tempo at the beginning and becomes increasingly more quick by the end of the tune, and meant to denote a retreating army. One folklore anecdote regarding this melody has it that the original "Bonaparte's Retreat" was improvised on the bagpipe by a member of a Scots regiment that fought at Waterloo, in remembrance of the occasion. The American collector Ira Ford (1940) (who seemed to manufacture his notions of tune origins from fancy and supposition, or else elaborately embellished snatches of tune-lore) declared the melody to be an "old American traditional novelty, which had its origin after the Napoleonic Wars." He notes that some fiddlers (whom he presumably witnessed) produced effects in performance by drumming the strings with the back of the bow and "other manipulations simulating musket fire and the general din of combat. Pizzicato represents the boom of the cannon, while the movement beginning with Allegro is played with a continuous bow, to imitate bagpipes or fife."
***
In fact, the tune has Irish origins, though Burman-Hall could only find printed variants in sources from that island from 1872 onward. "It has been collected in a variety of functions, including an Irish lullaby and a 'Frog Dance' from the Isle of Man" (Linda Burman-Hall. "Southern American Folk Fiddle Styles," Ethnomusicology, Vol. 19, #1, Jan. 1975). Samuel Bayard (1944) concurs with assigning Irish origins for "Bonaparte's Retreat," and notes that it is an ancient Irish march tune with quite a varied traditional history. The 'ancient march' is called "The Eagle's Whistle" or "The Eagle's Tune," which P.W. Joyce (1909) said was formerly the marching tune of the once powerful O'Donovan family. Still, states Bayard, the evidence of Irish collections indicates that it has long been common property of traditional fiddlers and pipers, and has undergone considerable alteration at various hands.
***
Bayard's primary scope of collecting was in western Pennsylvania in the mid-20th century, where he found the tune still current in fiddle repertoire, though he remarked on its popularity in various parts of the South. His Pennsylvania version has a somewhat simpler melodic outline than most of the other recorded American sets, and, although he notes that these sets vary considerably--even in the number of parts which a version may contain--he finds they are clearly cognate, and all show resemblance's and common traits indicating derivation from the "The Eagle's Whistle." In Southwestern Pennsylvania the march origins were lost and instead "sets of the tune have been recast into the form--and given title-- of 'The Old Man and Old Woman Quarrelin' (Scoldin', Fightin'),' and thus present an alternation of slow and quick parts. Other Pennsylania sets are Bayard Coll., Nos. 81, 84, 252; and see notes to ('Old Man and Old Woman Scoldin'). These refashioned 'Old Man and Woman' sets differ somewhat among themselves, indicating that they have been traditional in their altered form for some time; but whether they assumed this form before their importation into America, or whether the alteration took place here, with an older tune of the type of 'Old Mand and Old Woman Scoldin'' as model, is uncertain. F.P. Provance stated that the fifer from whom he learned this tune played it as a retreat in Civil War days" (Bayard, 1944).
***
According to Blue Ridge Mountain local history the tune was known in the Civil War era. Geoffrey Cantrell, writing in the Asheville Citizen-Times of Feb., 23, 2000 relates the story of the execution of three men by the Confederate Home Guard on April 10th, 1865, the day after Lee's surrender at Appomattox.Courthouse. That news would not have been known to them, given the difficult, but it is documented that Henry Grooms, his brother George and his brother-in-law Mitchell Caldwell, all of north Haywood County, North Carolina, were taken prisoner by the Guard-no one knows why, but the area had been ravaged by scalawags and bushwackers, and the populace had suffered numerous raids of family farms by Union troops hunting provisions. The village of Waynesville had been burned two months earlier, and the citizenry was beleaguered and anxious. Cantrell writes: "The group traveled toward Cataloochee Valley and Henry Grooms, clutching his fiddle and bow, was asked by his captors to play a tune. Realizing he was performing for his own firing squad Grooms struck up Bonaparte's Retreat." When he finished the three men were lined up against an oak tree and shot, the bodies left where they feel. Henry's wife gathered the bodies and buried them in a single grove in Sutton Cemetery No. 1 in the Mount Sterling community, the plain headstone reading only "Murdered."
***
The Kentucky Encyclpedia gives another story which mentions "Bonaparte's Retreat" in connection with an execution. It seems that a Colonel Solomon P. Sharp, a former attorney general of Kentucky, was murdered in the middle of a September night in 1825 by an unidentified assailant who stabbed him in his chest. Sharp had political enemies, all of whom had alibis, but who had circulated rumors that he had seduced one Ann Cook of Bowling Green, fathering her illegitimate child in 1820. Suspicion soon shifted to Ann's husband, Jereboam Beauchamp, who married her after the birth of the supposed love-child but who was infuriated at the circulating handbills containing the rumor. Beauchamp was dully arrested, tried in Frankfort in May, 1826, found guilty and was sentenced to death by hanging. Ann could not bear to be parted from him and somehow gained permission from the jailer to stay with him in his jail cell. The couple tried unsuccessfully to commit suicide by taking an overdose of laudanum, but were still permitted to share the cell. Another suicide attempt with a smuggled knife was made on the day of the execution, with somewhat better results. Ann, mortally wounded, was taken to the jailers house for treatment, but Beauchamp was hustled to the gallows lest he die from his wounds before the sentence was carried out. He proved too weak from his wounds to stand and had to be supported, but he was presumably able to hear the strains of "Bonaparte's Retreat" played before he made the leap, as he had previously requested. Ann and Jereboam were buried in a joint grave in Bloomfield, Kenctucky, graced by a tombstone engraved with an eight-stanza poem written by Ann.
***
The tune was cited (by Mattie Stanfield in her book Sourwood Tonic and Sassafras Tea) as having been played by Etowah County, Alabama, fiddler George Cole at the turn of the century (Cauthen, 1990). Musicologist/folklorist Vance Randolph recorded the tune from Ozark Mountain fiddlers for the Library of Congress in the early 1940's. Ed Haley (1883-1951) of Ashland, eastern Ky., played the tune so skillfully that "one old-timer, after hearing Haley play ("Bonaparte's Retreat") declared that 'if two armies could come together and hear him play that tune, they'd kill themselves in piles" (Wolfe, 1982). Haley toured regionally in Kentucky and West Virginia It was "Bonaparte's Retreat" that was the first tune Braxton County fiddler Melvin Wine (1909-1999) learned at the age of nine. His father, Bob, played the fiddle and young Melvin practiced when the elder Wine was out cutting timber or working as a farmhand for neighbors. He finally worked up the nerve to play for his father, and it proved a successful entrée, for afterwards which Bob taught him tunes he had learned from his own father, Nels, and Grandfather "Smithy" (Mountains of Music, John Lilly ed., 1999, pg. 8).
***
Another Kentucky fiddler, William H. Stepp (of Leakeville, Magoffin County, whose name, Kerry Blech points out, is sometimes erroneously given as W.M. Stepp, from a misreading of the old abbreviation Wm., for William), appears to be the source (through his 1937 Library of Congress field recording) for many revival fiddlers' versions. Stepp's version of the tune was transcribed by Ruth Crawford Seegar and was included in John and Alan Lomax's volume Our Singing Country (1941). The Crawford/Seegar version has been credited as the source Aaron Copland adapted for a main theme in his orchestral suite "Hoedown." {Lynn "Chirps" Smith says he has even heard people refer to the tune as "Copland's Fancy" in recent times!}. North Georgia fiddler A.A. Gray (1881-1939) won third place honors playing the tune at the 1920 (10th) Annual Georgia Old Time Fiddler's Association state contest in Atlanta, and four years later recorded it as a solo fiddle tune for OKeh Records. Sources for notated versions: J.S. Price (Pottawatomie County, Oklahoma) [Thede]: F.P. Provance, Point Marion, Pennsylvania, September 19, 1943, who learned it from Sam Waggle, fifer, of Dunbar [Bayard, 1944]: Marion Yoders (Greene County, Pa., 1962) [Bayard, 1981].
***
PRINTED SOURCES: Bayard (Hill Country Tunes), 1944; No. 87. Bayard (Dance to the Fiddle), 1981; No. 238, pg. 199. Brody (Fiddler's Fakebook), 1983; pg. 52. Ford (Traditional Music in America), 1940; pg. 129. Lomax (Our Singing Country), pg 54-55 (appears as "Bonyparte"). Thede (The Fiddle Book), 1967; pg. 36-37. Caney Mountain Records CLP 228, Lonnie Robertson (Mo.), c. 1971-72. County 202, "Eck Robertson: Famous Cowboy Fiddler." County 546, "Arthur Smith and His Dixieliners, Vol. I." County 703, Benny Thomasson- "Texas Hoedown." County 756, Tommy Jarrell- "Sail Away Ladies" (1976). County 790, Leftwich & Higginbotham - "No One to Bring Home Tonight" (1984). Folkways FA 2325, Mike Seeger- "Old Time Country Music." Folkways FA 2366, The Watson Family (N.C.) - "The Watson Family Album." Folk Legacy Records FSA-17, Hobart Smith - "America's Greatest Folk Instrumentalist." Heritage XXXIII, Jay Ungar & Neil Rossi - "Visits" (1981. Learned from a 1937 Library of Congress recording of Lakeville, Ky., fiddler W.M.Stepp). Okeh 40110 (78 RPM), A.A. Gray (1924). Philo 1023, Jay Ungar and Lyn Hardy- "Songs Ballads and Fiddle Tunes" (1975. Learned from Kentucky fiddler W.M. Stepp via Library of Congress recording). Rounder 0010, "The Fuzzy Mountain String Band" (1972. Learned from Alan Jabbour). Rounder 0057, Sherman Wimmer (Franklin County, Va.) - "Old Originals, Vol. 1" (1978. Learned from Will Willit, nephew and protege of influential Franklin County fiddler Fount Kinrea). String 802, Emmett Lundy (Galax, Va.) - Library of Congress Recording. Transatlantic 341, Dave Swarbrick- "Swarbrick 2." Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999. Learned from Audrain County, Missouri, fiddler Warren Elliot in 1967). Yazoo Records, W.M. (William) Stepp - "Music of Kentucky, Vol. 1" (reissue of the 1937 Stepp recording by Alan Lomax. Stepp can be heard on the recording saying in the midst of fiddling: "This is the bony part....That was the bony part").

BRAES OF TULLYMET, THE. AKA and see "The Barrack St. Boys," "Birnie-boozle," "Braes of Tullymet," "Brides Away," "The Bride to Bed," "Brides to Bed," "The British Naggon," "Cheese It," "Corney is Coming," "Crawford's Reel," "D. Dick's Favourite," "The Honeymoon," "I saw her," "Kelly's Reel," "Miss Grant of Grant," "Miss Wilson," "Merry Bits of Timber," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge." Scottish, Strathspey or Highland Schottische. G Minor/Dorian (Alburger, Gow, Honeyman, Kerr/Vol. 2, Skye, Williamson): E Minor (Kerr Vol 1). Standard. AAB (Athole, Cranford, Gow, Honeyman, Hunter, Kerr, Skye): AABB (Williamson): AABB' (Kerr, Vol. 2): ABCDEFF (McGlashan). The braes, or hillsides, referred to in the title lie in Perthshire. Robert Petrie (1767-1830) is often credited with the composition of this tune, though he himself did not claim it. Alburger (1983), doubting the ascription, notes that it was published before his birth. Petrie was born in Kirkmichael in Perthshire, where he garnered the local reputation as a profligate and fiddler (a not uncommon combination). As a young man he won either a prized silver bow in a fiddle contest at Edinburgh or a cup at a competition in Aberdeen in 1822, or both. He published four collections of reels and strathspeys and country dances between 1790 and 1796. "It is an interesting aside that (Petrie's birthplace) Kirkmichael was famous for the number of its ghosts, spirits, and fairies. Many places with the word "michael" in the name were so noted, probably because the early Christians were in the habit of building churches to that saint on the site of the confluence of ancient druidical lines of force. These were called "ley lines" or "dragon lines," and St. Michael was often represented with his foot on a dragon's neck. The Spauldings, the lairds of Ashintully at Kirkmichael, died out entirely from the effects of a death curse put upon them by a tinker they had hanged for trespassing" (Williamson, 1976). Glen (1891) finds the earliest appearence of the tune in print in Neil Stewart's 1761 collection (pg. 64), and another early printing is in McGlashan's 1780 Collection. The Braes of Tulliemet is the name of a Scottish country dance from Selkirkshire, one of the fifteen or so either wholly or in part in strathspey tempo (Flett, 1964). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 36, pgs. 59-60. Cranford (Winston Fitzgerald), 1997; No. 159, pg. 63. Gow (Complete Repository), Part 1, 1799; pg. 8. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 26. Hunter (Fiddle Music of Scotland), 1988; No. 167. Kerr (Merry Melodies), Vol. 1; No. 2, pg. 19 (Highland Schottische, appears as "Braes of Tulimet"). Kerr (Merry Melodies), Vol. 2; No. 210, pg. 23. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 29. MacDonald (The Skye Collection), 1887; pg. 134. Stewart-Robertson (The Athole Collection), 1884; pg. 185. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 64 (appears as "Braes of Tullimet"). Greentrax CDTRAX 9009, John 'Dancie' Reid (1869-1942) - "Scottish Tradition 9: The Fiddler and his Art" (1993). Rounder RO7023, Natalie MacMaster - "No Boundaries" (1996).
T:Braes of Tullymet, The
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:G Minor
c|A<d d>c d>c d<f|A>Fc>F d>Fc>F|A<d d>c d>cd>g|f>d cB/A/ G2G:|
d|g>d g<b g>d g<b|f>c f<a f>c f<a|g>d g<b g>d g<b|f>d cB/A/ g2 g>d|
g>dg>b dg/a/ b>g|f>c f<a cf/g/ a>f|g<d d>=e f>ga>g|f>d d/c/B/A/ G2G

BRAGG'S RETREAT. AKA and see "Forked Deer." Old-Time, Breakdown. USA, Mississippi. D Major. ADAE. AABB. The tune, known usually as "Forked Deer," is older than the title, which undoubtedly refers to the unfortunate Confederate general Baxton Bragg of the western theatre of the American Civil War. Mississippi Department of Archives and History AH-002, Stephen B. Tucker (1939) - "Great Big Yam Potates: Anglo-American Fiddle Music from Mississippi" (1985).

BRAVE LEWIE ROY. Scottish, Air (2/4 time). C Major. Standard. One part. The title may refer to one of the French kings, Louis Roi (King Louis), remarks Nigel Gatherer. Kerr (Merry Melodies), c. 1875, Vol. 3; No. 411, pg. 43.
T:Brave Lewie Roy
B:Kerr's Third Collection
M:2/4
L:1/4
Z:Transcribed by Nigel Gatherer
K:C
c2 A>G|G2 e>d|c2 A>G|GA c2|d2 de|g2 eg|a2 ge|de g2|
c2 A>G|G2 e>d|c2 A>G|GA c2|d2 de|g2 eg|a2 ge|d2 c2|]

BREAKDOWN. A rather obscure term that is nowadays generically applied to any fast reel-like tune, especially in North American tradition. The Oxford English Dictionary defines the term as "a riotous dance in the style of the Negroes" and gives the first use of "breakdown" in a dance or musical sense in New England Tales (1864): "Don't clear out when the quadrilles are over, for we are going to have a break-down to wind up with." Suggestions for the origins of the term vary. One thought is that it derives from the wagon trains of the American frontier, when a fiddler's wagon would 'break down', giving him a chance to take a rest and pull out his fiddle before doing the repair work. Another thought is that fiddlers would vie with each other in fiddle contests until all would 'break down' from the speed and competition except the winner. However, the most likely explanations are proffered by Paul Gifford who identifies a breakdown as a type of dance performed in the slave quarters, along with "cut the pigeon," "pat Juba," "double shuffle," and others. Gerry Milnes cites Roger Abrahams who, in his book Singing the Master, describes ritualized corn shuckings in the ante-bellum South in which the corn was first 'broken-down' out of the fields, collected and shucked, after which there would be a time for relaxation and merriment (though not before the Master was hoisted on shoulders and ritually walked around the house-hence the term 'walk-around' for some old American dance tunes). It may have been this sort of affair referred to in Craigie's A Dictionary of American English, which gives the first example of the term 'breakdown' from 1819: "Lay at Point Pleasant, where Whiting and I visited a Virginia break-down."
***
The term was picked up by blackface minstrels on both sides of the Atlantic and from there entered popular fiddle tradition. Paul Gifford, for example, finds an1877 English reference which cites "Clog-dancers, or nigger duettists, at a Music Hall with a breakdown" (Oxford English Dictionary). Earlier English references record "Lotta, the charming little actress who plays the banjo and dances break-downs" (1875), and in 1864: "She...heard a long impromptu song composed in her honour, with a banjo and breakdown accompaniment."
***
In Canada and the northernmost US regions a breakdown refers to the third change of a square dance set. The traditional tune for the change is a reel at a faster tempo. In southern England, a breakdown is/was a step dance which continued while the musician took a few bars (8/16/32) rest.

BREFNI O'REILLY. Irish, Reel. G Major. Standard. AA'BB'. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Ed's son Joseph explains that the title refers to one of the "landed names" of Cavan and of the same, older region called Brefni. Reavy (The Collected Compositions of Ed Reavy), No. 30, pg. 32

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-SAILED BOAT, THE. Irish; Reel, Highland or Strathspey. Ireland, County Donegal. The tune is a County Donegal adaptation of the Scottish strathspey "Peter Baillie." According to Caoimhin Mac Aoidh, the title comes from the Kilcar area and references the story of a young woman, daughter of a wealthy local man, whom her father had betrothed to a rich man she did not want to marry. Instead, she gave her heart to a young fisherman from the area, and when her disapproving father found out he forbade her ever to see her lover. She and the young man contrived to meet in secret, and arranged that should he be able to meet her he would use a brown sail on his return from fishing in Donegal Bay, and if he could not he would show his white one. The lovers continued to meet for some time, planned their independence, and when they had enough saved they eloped. The first tune played at the hauling home dance was this strathspey, which as it was untitled was given the name "The Brown-Sailed Boat" by the fiddlers in honor of the couple. Green Linnett GLCD 3090, Mairead Ni Mhaonaigh & Frankie Kennedy - "Ceol Aduaidh" (1983/1994).

BROWN'S DREAM [1]. AKA and see "Herve Brown's Dream," "John Brown's Dream," "Little Rabbit," "Pretty Little Miss," "Red Steer" (Tenn.). Old-Time, Breakdown. USA: Round Peak, western N.C.; Galax and southwest Va.; Tenn. A Major. Standard or AEAE (Tommy Jarrell). AABBC. According to Miled Krassen (1973) the title of this tune was originally "Herve Brown's Dream," but was shortened to 'Brown's Dream' in common usage. As the tune circulated, the surname Brown came to be identified with the most famous personage of the era with that name, the abolitionist John Brown, and references to the obscure Herve (who may or may not have composed the tune) became rare. Mt. Airy, North Carolina, fiddler Tommy Jarrell had the tune from his father, fiddler Ben Jarrell, and Tony Lowe. Source for notated version: Henry Reed (Va.) [Krassen]. Krassen (Appalachian Fiddle), 1973; pgs. 66-67. Crockett Family, 78 RPM (appears as "Little Rabbit"). Old Homestead OHCS191, Dykes Majic City Trio (Eastern Tenn.) [appears as "Red Steer"] {originally recorded for Brunswick, 1927}. In the repertoire of Fiddlin' Cowan Powers 1877-1952? (Russell County, S.W. Va.) and recorded by him in 1924 for Victor, though unissued.

BRUNTSFIELD LINKS. Scottish, Strathspey. From the Sharpe MS., composed by Robert Ferguson in the latter 1700's. Bruntsfield Links refers to a place in Edinburgh.

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||

BUMPER(S,) SQUIRE JONES. AKA and see "Thomas Morres Jones." Irish, Air (6/8 time). D Major. Standard. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Though not often added, a coma should appear in the title after the first word rendering the title's meaning a cup filled to the brim in toast to Squire Jones ('bumpers'). Thus the song belongs in the group of O'Carolan's bacchanalian compositions, for which he was justly famous, though the English paraphrase of the original Gaelic was not written until 1730 when it was rendered by Arthur Dawson, Baron of the Exchequer. In fact, O'Carolan composed the song prior to October, 1729, according to an entry in the diary of young Charles O'Conor, a harp pupil of the bards, who wrote: "Wednesday, 8th. I got Squire Jones from him today, and no thanks to him for that." There has been some speculation that the tune was originally composed by a London dancing master and published by Playford in 1703 as "The Rummer," although Donal O'Sullivan, in his definitive work on O'Carolan, concludes that the commonalties of the two tunes are not enough to sustain the assertion. O'Sullivan does conclude that the English lyrics were penned by Dawson and that they are far superior to O'Carolan's "indifferent" Irish lyric. The composition was publicly championed for O'Carolan by Bunting, after he found attributions in the 1780 issue of the bard's tunes by S. Lee and in The Hibernian Muse (c. 1787). The tune is in Himes' reissue of O'Carolan's tunes, c. 1800-10, though Hime did not credit it to the harper when he printed it in New Selection...Original Irish Airs (c. 1800).
**
The Squire Jones referred to, states Flood (1906), was Thomas Morris Jones of Moneyglass, Co. Leitrim, and not, as Bunting asserts, Mr. Jones of Moneygalss, Co. Antrim. O'Neill (1913) relates that while enjoying the hospitality of the Squire O'Carolan composed a song for him, as was his custom. There are two versions of what happened next, and either a man named Moore or one Baron Dawson, overheard the harper composing in private in his rooms. Thinking to play a jest on the blind bard, the personage (who was musically trained) memorized the melody and even wrote his own words to it, and when O'Carolan played and sang the composition the next day it was vigorously asserted that the melody was not newly composed, but an old song, and the Baron (or Moore) played his version. O'Carolan, of course, flew into one of his famous rages, but was eventually mollified by explanations and not a few toasts. The song was sung the year Squire Jones died by the famous English tenor Thomas Lowe at the Theatre Royal, Aungier Street, Dublin on December 8th, 1743, at a benefit given by Madamoiselle Chateauneuf, and it must have been a showcase number for him as the song with music was printed over a decade later (in 1754) in the Liverpool-published Muses Delight with the note "sung by Mr. Lowe." The song and tune appear The Gentleman's Magazine (1744) including dance directions along with the note that James (or Jack) Beard sang it in The Provok'd Wife, and song and tune also appear in The Merry Medley, or A Christmas-Box for Gay Gallants and Good Companions, II (1745). The song (without the tune) was printed in The Canary Bird (1745) and the tune was printed by Thumoth in 12 English and 12 Irish Airs (c. 1745) where it is identified as English. Finally, it appears in Henry Brooke's opera Little John and the Giants, performed in Dublin in 1748 as Jack the Giant Queller. In none of the above was a composer or author credited. A reference to the song is made in Smollett's novel Peregrine Pickle (1751). Complete Collection of Carolan's Irish Tunes, 1984; No. 65, pg. 58. O'Neill (Krassen), 1976; pg. 230. O'Neill (1850), 1903/1979; No. 639, pg. 114.
T:Thomas Morres Jones or Bumper Squire Jones
C:Turlough O'Carolan
S:Carolan: The Life, Times and Music of an Irish Harper
S:by Donal O'Sullivan
Z:transcribed by Paul de Grae
M:6/8
L:1/8
A/G/ | FDD D2 E | F/G/AF G/A/BA | BEF G2 A/G/ |
FED d2 e | fed edc | dBe cAc | dDD D ||
f/g/ | afa dfa | bgb efg | faf ged | cAA A2 g |
f/g/af geg | f/g/af geg | fed cBc | dDD D2 ||

BUNCH OF KEYS, THE [1]. AKA and see: "Ewe with the Crooked Horn," "Flowers of Limerick" "The Mills Are Grinding," "Old Town Reel," "Paddy On the Turnpike" [2] (Cole), "Telephone Reel," "Yellow Heifer." Irish, Reel. G Dorian (Gm) {Brody}: G Major {O'Neill}: G Major/Mixolydian (Cranitch). Standard. AABB (Brody): ABC (O'Neill): AABBCC (Cranitch). The title refers to door keys, or, as Paul de Grae suggests, it may refer to the winged seeds (called keys) of the ash tree (fabled in Irish folklore), which hang in bunches before dropping. Sources for notated versions: Kevin Burke (Co. Clare, Ireland) [Brody]; Paddy Ryan [Bulmer & Sharpley]. Brody (Fiddler's Fakebook), 1983; pg. 59. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 16. Cranitch (Irish Fiddle Book), 1996; No. 80, pg. 155. O'Neill (Krassen), 1976; pg. 162. Copley DWL-9-617, Jack Wade- "Ceili Music From Ireland." Folkways FW 8876, Kevin Burke- "Sweeney's Dream." Folkways FG 3575, Barry, Gorman, Ennis, and Heaney- "Irish Music in London Pubs." Paddy Glackin & Paddy Keenan - "Doublin'" (1978). Piping Pig Records PPPCD 001, Jimmy O'Brien- Moran - "Seán Reid's Favourite" (1996. Learned from Séamus Ennis).
T:Bunch of Keys, The
T:Flowers of Limerick, The
S:Sean Ryan, fiddle (Chris Delaney collection)
Z:Transcribed by Paul de Grae
R:reel
M:4/4
L:1/8
K:GMix
DG{A}G^F G3 A|BGdG eGdG|DCDE F2 ~FG|AF (3FFF dFcF|
AGG^F ~G3 A|B2 GA Bc d2|(3^fga ge fdcA|BGA^F DGGF||
DGG^F G3 A|BG (3GGG cGBG|DCDE F3 G|AF ~F2 CFA,F|
DGG^F ~G3 A|B2 GA Bc d2|(3^fga ge fdcA|BGA^F DGGB||
dgg^f g2 dg|bg ~g2 bga^f|d^cde f2 ~fg|af ~f2 cfaf|
dgg^f ~g3 a|bga^f gf d2|(3^fga ge fdcA|BGA^F DGGB||
dgg^f g2 dg|bg ~g2 bga^f|d^cde f2 ~fg|af ~f2 cfaf|
dg ~g2 dg ~g2|bga^f gf d2|(3^fga ge fdcA|BGA^F DGGA||
BG ~G2 BGdG|BG ~G2 (3Bcd gd|AF ~F2 AFcF|AF ~F2 ABcd|
BG ~G2 DG ~G2|BAGA Bc d2|(3^fga ge fdcA|BGA^F DGGA||
BG ~G2 DCB,D|BG ~G2 (3Bcd gd|AF ~F2 CFA,F|AF ~F2 ABcd|
BG ~G2 DG ~G2|BAGA Bc d2|(3^fga ge fdcA|BGA^F G4||

BUNGALO, THE. Scottish, Reel. A Major. Standard. One part. One of the tunes composed and inlcuded by J. Scott Skinner in his 1921 concert tour set romantically named "Spey's Fury's." The 'bungalo' refers to the cottage in Forgue which Skinner's friend, the 'Laird o' Drumblair', gave to the musician rent-free for several years. Hunter (Fiddle Music of Scotland), 1988; No. 228. BM-91, Buddy MacMaster - "Glencoe Hall."

BURNING OF THE PIPER'S HUT, THE. Scottish, Reel; New England, Polka. B Minor. Standard. AABB. Williamson (1976) remarks that the English general Cumberland received the sobriquet 'Butcher' after the defeat of the Jacobite forces of Bonnie Prince Charlie at Culloden in 1746, such was the savagery of his reprisals and cruelty toward prisoners of the engagement. In the aftermath of the rising a series of laws were passed which aimed to suppress the Highland culture and break forever the power of the ancient clans in order to prevent any such rebellion from again happening. Thus, highland dress and the wearing of clan tartan was prohibited on pain of death, arms were banned, and, attesting to the power of traditional music to evoke emotion, pipers were outlawed (there is some dispute however, regarding whether the pipes were actually included in these bans). In fact, reports Williamson, the kilt continued to be prohibited until 1782, forcing the Highlanders to wear trews. "Any clergyman who did not pray in church expressly for George of Hanover could be transported for life, and those who attended such services were liable to fine and imprisonment. This was in force till 1792. The ("Burning of the Piper's Hut") probably refers to these times." Source for notated version: Bobby McLeod [Williamson]. Miller & Perron (Irish Traditional Fiddle Music), 1978; No. 35 (polka). Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 50. Beltona BL 2610 (78 RPM), Bobby McLeod.

BUTCHER BOY, THE. Irish, Dance Tune (2/4 time). D Major. Standard. AB. Listed as a 'jig' in Cole's 1001, referring to a type of old-time banjo tune-style rather than the Irish 6/8 jig. Cole (1001 Fiddle Tunes), 1940; pg. 81.

BUTLERS OF GLEN AVENUE, THE. AKA and see "The Roaring Barmaid." Irish, Reel. G Major. Standard. AABB. Composed by banjo player Tony "Sully" Sullivan, who lives in England and who has published several collections of session tunes. The title refers to friends of his, Maire and the late Johnny Butler who lived in Glen Avenue, Blackley. Johnny was the leader of The Manchester Céilí Band, who performed at St.Brendan's. Sullivan (Sully's Irish Music Book, Vol. 1), 1979.
T:Butlers of Glen Avenue, The
M:6/8
L:1/8
S:Setting: Noel Kilkenny
R:Jig
K:G
DEG EDB, | DEG ~B3 | DEG ABe | dBe dBA |
DEG EDB | DEG ~B3 | dB/c/d gfe | dBA G3:||:
gab age | deg ~B3 | gab gab | dB/c/d e2d |
gab age | deg ~B3 | dB/c/d gfe | dBA G3:||

BUY BROOM BUZZEMS. English, Scottish; Country Dance and Song Tune (3/4 time). England, Northumbria. G Major. Standard. AB. "This unique little ballad, quaint and simple alike in music and words, is popularly attributed to William Purvis, commonly called 'Blind Willie', one the the most worthy and famous of the Newcastle eccentrics. He was the son of John Purvis, waterman, and born about the beginning of 1752, having been baptized at All Saints Church on the 16th February of that year. This eccentric character never enjoyed the faculty of sight, and many still living remember the sosy, contented, and sightless face of Willie as he trudged along the streets without a covering on his head. Several attempts were made by presenting him with a hat to induce him to wear one; but after having borne the infliction for a day or two, it was thrown aside, and the 'Minstrel', as he was called, again appeared uncovered, preferring the exposure of his hoary but well-thatched pate to the pelting of the pitiless storm. Blind Willie was perfectly acquainted with all the streets, lanes, and chares of his native town, and made his way everywhere without a guide, only using a long stick. His happy, contented nature made him a universal favourite with all ranks of society; and he had his regular places of call, where he was always welcome and duly served. At the inns and public houses of the town Blind Willie's presence in the taproom was a sure attraction, and his voice and fiddle in harmony, singing some quaint local ditty, gave never failing delight to his appreciative audiences. 'Buy Broom Buzzems' was usually considered to be Willie's chef-d'oeure, and he was in the habit of adding new verses, either made by himself or made for him, having no connection with the original theme. They have, therefore, been omitted here. Blind Willie died in All Saint's Poorhouse on 20th July, 1832, upwards of eighty years of age" (Bruce & Stokoe). Raven (English Country Dance Tunes), 1984; pg. 134. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 118. Welling (Welling's Hartford Tune Book), 1976; pg. 18.
T:Buy Broom Buzzems
L:1/8
M:3/4
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:G
GB de cA|GB de c2|GB de cA|BG GE c2||
A2A2 FD|GG GB c2|A2 AG FD|GB cA G2||

BYRNE'S HORNPIPE [3]. Scottish, Hornpipe. B Minor. Standard. AABB. Williamson (1976) believes there are several possibilities as to the person referred to in the title, including a Border minstrel named Burne the Violer, a famous Irish giant named Charles Byrne (who Williamson says died in Margate at the age of twenty-three after requesting that his coffin, which measured nine feet, four inches, be thrown into the ocean because of his fears his body would be medically dissected), and finally the Irish blind fiddler Michael Byrn (who was hired by the notorious Captain Bligh at the beginning of the ill-fated voyage of The Bounty). Kerr (Merry Melodies), Vol. 3; No. 337, pg. 36. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 57.

CAPTAIN JINKS/JINX. AKA and see "Down the Ohio." American (originally), Canadian; Single Jig and Air. USA; Pa., New York State: Canada, Ottawa Valley. G Major (Bronner, Ford, Guntharp, Roche, Shaw): D Major (Bayard, Begin, Phillips, Sweet). Standard. AB (Begin, Shaw, Sweet): AAB (Guntharp, Phillips): ABB (Bayard): AABB (Bronner, Ford, Roche). The title is taken from a popular song of the 19th century, "Captain Jinks of the Horse Marines," which Sigmund Spaeth (A History of Popular Music in America) states was composed by an English music hall singer named William Horace Lingard who came to America in 1871. Confirming that Lingard wrote the lyrics, Denes Agay (Best Loved Songs of the American People, pgs. 156-157) however, credits the music to a T. Maclagan. Musicologist Sam Bayard (1991) traces the tune "ultimately (and indirectly)" back to a piece called "The Mill Mill O," a commonly printed and played duple time march from the 18th and early 19th centuries, and to the jig "Merrily Danced the Quaker('s Wife)," one of which was derived from the other. Another researcher cited by Bayard traces the melodic material in these tunes all the way back to 14th century plain-chant, although Bayard himself does not confirm or deny that line of thinking. He does believe that the mid-19th century tune known as "Captain Jinks" (and also the melody "Hundred Pipers") is an offshoot of the first part of the Mill air, via "The Quaker's Wife." It was listed as having been commonly played in the Orange County, N.Y. area for dances in the 1930's (Lettie Osborn, New York Folklore Quarterly, pgs. 211-215), about the same time Bayard collected the melody from western Pennsylvania sources, and Norman Cazden collected it from Catskill Mountian, N.Y. dances of the era. The original words to the song begin:
***
I'm Captain Jinks of the Horse Marines,
I feed my horse on corn and beans,
And often live beyond my means,
Tho a captain in the army.
***
Bronner (1987) notes that the lyrics reinforce the tune's connection to dancing:
***
I teach young ladies how to dance,
How to dance, how to dance,
I teach young ladies how to dance,
For I'm the pet of the army.
***
Bruce E. Baker communicates that he finds reference to the tune in WPA-collected narratives from 1937 with former slaves in South Carolina (reprinted in Edmund L. Drago's Hurrah For Hampton: Black Red Shirts in South Carolina During Reconstruction, Fayetteville: University of Arkansas Press, 1998, pg.100). One interviewee, Charley Barber, born near Winnsboro, Fairfield County, South Carolina, remembered the piece from his slavery days. He recalled "Captain Jenks" (sic) thus:
***
A tune was much sung by de white folks on de place and took wid de
niggers. It went lak dis:
'I'm Captain Jenks of de Horse Marines
I feed my horse on corn and beans.
Oh! I'm Captain Jenks of de Horse Marines
And captain in de army!'"
***
Sources for notated versions: Floyd Woodhull, 1976 (New York State) [Bronner]; Archie Miller (Lewisburg, Pa.) [Guntharp]; Walter Neal (Armstrong County, Pa., 1952) [Bayard]; Don Woodcock [Phillips]; caller George Van Kleek (Woodland Valley, Catsekill Mtns., New York) [Cazden]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Adam, No. 11. Bayard (Dance to the Fiddle), 1981; No. 596, pg. 523-524. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 69, pg. 79. Bronner (Old Time Music Makers of New York State), 1987; No. 17, pg. 80. Cazden (Dances from Woodland), 1945; pg. 16. Cazden, 1955; pg. 15. Ford (Traditional Music in America), 1940; pg. 120. Guntharp (Learning the Fiddler's Ways), 1980; pg. 77. Kraus, pg. 65. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 361. Roche Collection, 1982; Vol. 2, pg. 23, No. 249. Shaw (Cowboy Dances), 1943; pg. 379. Sweet (Fifer's Delight), 1964/1981; pg. 19. Victor 36401A (78 RPM), Woodhull's Old Tyme Masters, 1941.
X:1
T:Captain Jinks
L:1/8
M:6/8
S:Shaw - Cowboy Dances
K:G
B2D D^CD|E2D G2B|A2c E2F|G2A B3|B2D D^CD|E2D G2B|
A2c E2F|G3G3||c2c ccc|c2B B3|B2A A3|A2G G3|c2c ccc|
c2B B3|B2A AB^c|d3 d3||
X:2
T:Captain Jinks
L:1/8
M:6/8
K:D
f2d ABA|{B/c/}(B2A) [D2d2]f|efg (B2c)|(d2e)(f2g)|aba A>AA|
[D2B2]A d2 (3fgf|efg (B2c)|e2[Dd] [Dd]Ad||[B3g3] [Bg]ag|
(f2d) Adf|e^de ede|fdB B/c/BA|[B3g3] gag|(f2d) f>gf|e>^de e>f^g|
a>ba (ag)||

CARDEUSE ET LE GRAND TRIOMPHE, LA. French-Canadian, Reel. Canada, Québec. G Major. Standard. AABBCC'. A cardeuse refers to the person who performs the task of carding wool. La Cardeuse is supposedly a dance from the St. Jean region of France, brought to the New World by French immigrants to Québec. The step-dance "La Cardeuse" is from the Saguenay region of Quebéc. Guy Bouchard notes that, while this 'crooked' tune was quite popular in the past, modern fiddlers seem to have forgotten it. Source for notated version: fiddler Lisa Ornstein (Maine) [Remon & Bouchard]. Remon & Bouchard (25 Crooked Tunes, Vol. 2: Québec Fiddle Tunes), 1997; No. 2 (appears as "La cardeuse"). Voyager 322, Louis Boudrealt - "Old Time Fiddler of Chicoutimi, Québec" (1977, 1993). Les Tétes de violon - "Le talencourt." Daniel Roy - "Au tour du flageolet."

CARMAN'S WHISTLE, THE. English, Air (6/4 or 6/8 time). D Major. Standard. One part (Kines): AABB (Chappell, Raven). The air, harmonized by the famous English composer William Byrd, appears in both the "Fitzwilliam Virginal Book" and "My Lady Nevells Virginal Book" (1591), as well as Jane Pickering's "Virginal Book" and a British Museum Eg. MSS. 2,046. Chappell (1859) decided the popular sixteenth century ballad "was not suitable for publication" in his book, being risque by Victorian standards. The unexpurgated lyrics are printed by Kines (1964) and contain the usual double entendres of such bawdy songs of the period:
***
When he had played unto her
One merry note or two,
Then was she so rejoiced
She knew not what to do.
"Oh, God-a-mercy, carman,
Thou art a lively lad;
Thou hast as rare a whistle
As ever carman had." (Kines)
***
Chappell explains that in the sixteenth and seventeenth centuries carriages and coaches were introduced from Europe and the trade of carter or carman developed. These individuals "appear to have been singularly famous for their musical abilities; but especially for whistling their tunes." Chappell and Pulver (1923) reference several works which allude to the musical skill of the carmen; one is Ben Jonson's Bartholomew Fair (I,1) when Waspe says:
***
I dare not let him walk alone, for fear of learning idle tunes, which
he will sing at supper and in the sermon times! If he meet but a carman
in the street, and I find him not talk to keep him off him, he will whistle
him all his tunes over at night, in his sleep. (Act i., sc. 1)
***
Shakespeare has Falstaff say of Justice Swallow in Henry IV, Part II, Act 3, that he "Sang the tunes he heard the carmen whistle and swore they were his Fancies or his Good-nights." Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 253. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 57. Raven (English Country Dance Tunes), 1984; pg. 8.

CASTLE OF DROMORE, THE. AKA and see "My Wife is Sick (and Like to Die)," "October Winds." Scottish, Irish; Air (6/8 time, "with feeling"). D Major. Standard. AB. The words below are from an 18th century song, rewritten by Sir Harold Boulton (1859-1935), an English baronet who arranged and edited several song collections and adapted some Irish and Scotch folk songs (see also "Skye boat song"). Boulton also wrote "The Loch Tay Boat Song."
***
October winds lament around the castle of Dromore.
Yet peace is in its lofty halls, a phaisde ban a stor,
Though autumn winds may droop and die, a bud of spring are you,
(Sing hush-a-bye, lul, lul, lo, lan, sing hush-a-bye, lul, lul, loo. )
***
Bring no ill will to hinder us, my helpless babe and me,
Dread spirits of the Blackwater, Clann Eoghain's wild banshee;
And holy Mary pitying us in Heaven for grace doth sue.
***
Take time to thrive, my ray of hope, in the garden of Dromore;
Take heed, young eaglet, till thy wings are fairer fit to soar.
A little rest, and then the world is full of work to do.
***
The song was recorded by the Scottish group the Corries, and proved a popular version. Ted Hastings points out that the Scottish version refers to "Drumore," near Campbeltown, in Argyll, while the Irish version refers to "Dromore," located in Co. Down, only a few miles away across the Irish Sea. He suspects the names have a common origin. Graves (The Irish Song Book), 1895. O'Neill (1850), 1979; No. 52, pg. 9. Stanford/Petrie (Complete Collection), 1905; No. 509, pg. 129 (appears as "My Wife is Sick").
T:Castle of Dromore
T:October Winds
S:Clancy Bros. and Tommy Makem (both on "CB&TM" and "Hearty & Hellish")
Z:Jerome Colburn
M:6/4
L:1/4
K:C
E/F/ | "C"G2 G G2 G | "F"A2 G "C"G2\A/B/ | "F"c2 F "Am"E2-E/ F/ |
"C"G4 z\A/B/ | "Am"c2 C C2 C | "G"D2 C "C"CD | "F"F2 A "G7"G2 F |
"C"G4 z\A/B/ | "Am"cd c "G"Bc B | "F"A>B A "G"G2\F | "C"E2 G "G7"FE D |
"C"C3 ||\"Am"E2 G | "G7"F>E D B,2 F | "C"E2 C "Am"E2 G |
"G7"F>E D B,2 B, | "C"C4 z |]**

CASTLEBAR RACES. AKA and see "The Black Hoe," "Castlebar Jig," "The Castlelan Races," "The Mist in the Meadow," "Morrison's Fancy," "The Rakes of Castlebar," "The Thrush in the Straw," "The Thrush in the Strand." Irish, Double Jig. "The Castlebar Races" was a derisive reference to the rapid withdrawl of the British Army back to their barracks during one of the skirmishes on the march to take Sligo Town by the combined forces of the Irish and French under Humbert during the Irish Rebellion of 1798. The English forces, which greatly outnumbered their foes, took up position at Sion Hill just outside Castlebar and greeted Hubert with cannon fire as he approached. The general decided to regroup and to divide his troops, sending them left and right to attack the English flanks. In an inspiriation of guerilla warfare, the Irish drove a herd of cattle ahead of them causing confusion in the English ranks in the center, which was capitalized upon by an effective bayonet charge by Irish and French forces causing the English to retreat down Staball Hill. Another attack occurred at Main Street Bridge which the English defended for some time with forces from the Longford and Kilkenny militias and a Scottish regiment called Frazier's Fencibles, but eventually they too were routed and fled towards Tuam and Athone in the famous 'races of Castlebar.' The Irish/French victory has been described by Thomas Pakenham in The Year of Liberty as "one of the most ignominious defeats in British military history". Unfortunately, the combined forces were eventually stopped and the defeated outside Colooney, just short of their goal. Today there is a monument at the site to Teeling, one of the Irish leaders of the force. Humbert surrendered and he and his French troops were allowed to depart. The Irish were not treated as prisoners of war, but rather as traitors.

CATCHES AND GLES (Glees). Scottish, Northumbrian; Jig. D Major. Standard. AABB. One of the "missing tunes" of Vickers' 1770 Northumbrian dance tune manuscript. The title perhaps refers to the 'Catch', or a canon for three or more voices (where a great deal of skill was needed by the singers for each voice to 'catch' up his part at the right point) which was very popular in the 17th century. Some of the best texts of the catch at this later time, according to Pulver (1923), were constructed so that the entries of the different singers resulted in amusing and often suggestive or risqué word-combinations. McGlashan (Collection of Scots Measures), 177?; pg. 2.
T:Catches and Glees
L:1/8
M:6/8
B:McGlashan - Collection of Scots Measures
K:D
dfa afd|ged cBA|dfa afd|gec d3:|
|:ged cBA|ged cBA|afd afd|gec d3:|

CAILÍN TIGHE MOIR. AKA and see "Captain O'Kane." Irish, Air. The melody appears under this title in The Bunting Manuscripts in the library of Queen's University. Bunting wrote in pencil alongside the air, "A good set of the 'Wounded Huzzar'", a reference to Thomas Campbell's song "The Wounded Hussar" which was sung to a variant of the tune.

CAIRDING O'T, THE. AKA and see "Queensbury's Scots Measure." Scottish, Reel or Scots Measure. A Major (Kerr, Songer): G Major (Hunter). Standard. AB (Kerr, Hunter): AABB (Songer). The melody has been set as a reel, pipe march, scots measure and an air. The title refers to the carding (in Scots dialect 'cairding') of wool, or the labor of straightening and ordering with a carding comb. Hunter (1988) finds the earliest appearance of the tune in print in Margaret Sinkler's Manuscript (c. 1710), where it is called "Queensbury's Scots Measure." Aird published it (in his Selections, 1788) under the title "Salt Fish and Dumplings." As an air it can be found as the vehicle for the words "Come Taste the Cup," and the Robert Burns song which goes:
***
The cardin o't, the spinnin o't,
The warpin o't, the winnin o't;
***
Henderson (Flowers of Scottish Melody), 1935. Hunter (Fiddle Music of Scotland), 1988; No. 308. Kerr (Merry Melodies), Vol. 2; No. 4, pg. 3. Songer (Portland Collection), 1997; pg. 44 (appears mistakenly as "The Cairin' O't"). Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1983). "James F. Dickie's Delights" (1976).

CALIFORNIA. American, Reel. G Major. Standard. AABB. The name California was given to the land on the Pacific coast of North America, supposedly by Cortez, who officially called it Santa Cruz. Cortez mistakenly thought the rather parched bit of real estate was an island (i.e. Baja California) and he and his men began to refer to it as California after a Spanish romance book about an island populated by women. Composed by Frank Livingston. Cole, 1940; pg. 41.

CALIFORNIA BLUES. Old-Time, Country Blues. USA, Alabama. D Major. Standard. AABB. Recorded (and composed?) by Alabama fiddler Charles Stripling for Decca in 1936. The name California was given to the land on the Pacific coast of North America, supposedly by Cortez, who officially called it Santa Cruz. Cortez mistakenly thought the rather parched bit of real estate was an island (i.e. Baja California) and he and his men began to refer to it as California after a Spanish romance book about an island populated by women. Source for notated version: Charlie Stripling (Ala.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 27.

CALIFORNIA COTILLION. Old-Time, Cotillion or Polka (?). G Major. Standard. AA'BB'. "California Cotillion" comes from the Ballard Branch Bogtrotters' recording for the AFS/Library of Congress, around 1941. Galax, Va., fiddler Eck Dunford remarked to the collector Lomax that he learned "California Cotillion" from a fellow Galax musician, Hicks Ring, who had moved to Nebraska, then returned with "tunes he learned from the Germans." The name California was given to the land on the Pacific coast of North America, supposedly by Cortez, who officially called it Santa Cruz. Cortez mistakenly thought the rather parched bit of real estate was an island (i.e. Baja California) and he and his men began to refer to it as California after a Spanish romance book about an island populated by women. Source for notated version: Jere Canote [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 27.

CALIFORNIA GIRLS. AKA and see "Carmel Mahoney's." Irish, Reel. C Major. Standard. AABBCC. The name California was given to the land on the Pacific coast of North America, supposedly by Cortez, who officially called it Santa Cruz. Cortez mistakenly thought the rather parched bit of real estate was an island (i.e. Baja California) and he and his men began to refer to it as California after a Spanish romance book about an island populated by women. Taylor (Where's the Crack?), 1989; pg. 8 (appears as "Californian Girl"). Kells Records, Brendan Begley - "We Won't Go Home Till Morning."

CALIFORNIA HORNPIPE. AKA and see "California Dance," "Limber Neck Blues," "Mason-Dixon Schottische," "Nightingale Clog," "Parkersburg Landing," "Peacock Rag," "Rustic Dance," "Rustic Hornpipe," "Starlight Clog." American, Hornpipe. F Major. Standard. AABB. The name California was given to the land on the Pacific coast of North America, supposedly by Cortez, who officially called it Santa Cruz. Cortez mistakenly thought the rather parched bit of real estate was an island (i.e. Baja California) and he and his men began to refer to it as California after a Spanish romance book about an island populated by women. Cole (1001 Fiddle Tunes), 1940; pg. 113.

CAMERONIAN('S) RANT, THE. Scottish, Reel. G Major (Kerr): F Major (Athole, Gow, Skye). Standard. AAB (Kerr): AABCCD (Athole, Gow, Skye). Glen (1891) finds the melody first in print in Robert Bremner's 1757 collection (pg. 82), though an early version also appears in the 1768 Gillespie Manuscript. Cowdery (1990) assigns the tune to the "Rakish Paddy" family of tunes, which also includes the famous Scottish piece "Caber Feidh." They are related, he finds, in unusual ways; the motifs and "diagnostic tones" of the "Cameronian" are one beat behind "Caber" in both strains. The two tunes have different cadences however, and on the whole do not sound like arrangements of each other but rather as discrete and distinctive melodies. Another related melody is "John Patterson's Mare," which is a jig-time version of "The Cameronian Rant." Cazden (et al, 1982) discusses "The Cameronian Rant" in connection with "The Boyne Water" and its variants, especially the Scottish melody "Andro and His Cutty Gun," and he remarks that the Scots poet Robert Burns adapted the tune for his satirical "Battle of Sherra-Moor (Sheriff-Muir)" after obtaining the melody from James Oswald's Caledonian Pocket Companion.
**
The name Cameronian refers originally to a militant 17th century sect called "Society People" or "Cameroians" from their founder, Richard Cameron, "a field preacher who advocated a particularly uncompromising from of covenanted Christianity" (David Hackett Fischer, Albions Seed, pg. 616) in the south and west of Scotland. As a splinter group, Cameronians were hunted like animals by the authorities of the day who eventually hanged several leaders, but many survived with religion and fighting spirit intact. The British authorities finally admitted defeat in stamping out the group, but to contain them they hit upon the idea of co-opting them by recruiting members of the sect for the fight against the Roman Catholic highlanders to the north. The result was the fighting regiment called the Cameronians, the only regiment in the British army to bear the name of a religious learder. Mustered in the late 17th century, the regiment first saw battle in 1689 when 1,200 recruits broke a veteran force of 5,000 Jacobites, and earned a reputation for fierceness. In line with their militant religious origins each enlisted man was required to carry a bible in his kit, and even in the 20th century the regiment carried arms to church. Gow (Complete Repository), Part 1, 1799; pg. 30. Kerr (Merry Melodies), Vol. 1; Set 2, No. 6, pg. 4. MacDonald (The Skye Collection), 1887; pg. 143. Stewart-Robertson (The Athole Collection), 1884; pg. 203.
X:1
T:Cameronian Rant, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:F Major
f|cF F/F/F cFAF|cF F/F/F c2 Ac|BG G/G/G BGAG|BG G/G/G c2 A:|
G|Fffg fdcA|Fffg fdcA|Ggga gfed|gfga gfed|dffg fdcA|FAcf e2 cf|
e/f/g df e/f/g de|fgag fcd||
|:f|cFdF cFAf|cF F/F/F c2 Ac|BGdG BGAG|BG G/G/G c2A:|
G|Fffg fdcA|Fffg fdcA|Ggga gfed|gfga gfed|cffg fdcA|FAcf e2 cf|
e/f/g df e/f/g de|fgag fcd||
X:2
T:Cameronian Rant, The
L:1/8
M:C|
S:McGlashan - Strathspey Reels (pg. 16
K:F Mixolydian
f|c>F F/F/F c>FAf|c>F F/F/F c2 A>d|B>G G/G/G B>G A>d|B>G G/G/G c2 A:|
G|Fff>g fdcA|Fff>g fdcA|Ggg>a gfed|dgg>a gfed|cff>g fdcA|Fff>g e2 cf|
e/f/g dg e/f/g dg|e/f/g dg e2 d||
|:f|cFdF cFAf|cF F/F/F c2 Ad|BGdG BGAd|BG G/G/G c2A:|
G|FfFf g/f/e/d/ c/d/c/A/|FfFf g/f/e/d/ c/d/c/A/|GgGg a/g/f/e/ d/c/B/A/|
GgGg a/g/f/e/ d/c/B/A/|FfFf g/f/e/d/ c/d/c/A/|FfFf e2 cf|e/f/g/e/ d/e/f/d/ e/f/g/e/ d/e/f/d/|
e/f/g/e/ d/e/f/d/ e2d||

CAMP MEETING NO. 2. American, (Sand) Jig {cut time}. A Major. Standard. ABBCCD. Similar to "Camp Meeting." The tune is listed as a "jig" in Cole, which refers to a type of American plantation-based dance tune and not the Irish 6/8 jig. Cole (1001 Fiddle Tunes), 1940; pg. 83.

CAMPBELL'S FAREWELL TO REDCASTLE. See "Campbell's Farewell to Red Gap," "Steph's Reel." Scottish, March (2/4 time). A Mixolydian. Standard. AABB' (Gatherer, Martin). The Campbell referred to in the title may by the Captain Robert Campbell of Glenlyon, who led troops in the massacre of Glencoe Pass in 1692. Redcastle is a village on the north side of Beauty Firth approximately 100 miles from Glencoe, whose castle was built in 1179 (it claims to be the oldest inhabited castle in Scotland). The Scots Guards Standard Pipe Settings suggests that "The Sweet Maid of Glendaruel" follow "Campbell's Farewell to Redcastle." Glendaruel is on the way to Tighnabruaich from Glencoe and is nearly as far to the south as Redcastle is to the north. Gatherer (Gatherer's Musical Museum), 1987; pg. 46. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 1. Ross, William Ross's Collection of Pipe Music (1875).
T:Campbell's Farewell to Redcastle
T:Campbell's Farewell to Red Gap
S:Various books & records
Z:Nigel Gatherer
M:2/4
L:1/8
K:A
E|AA/B/ cc/d/|ea e>d|cA AB/c/|dd/B/ =GE|
AA/B/ cc/d/|ea e>d|cB/A/ =G/A/B/G/|A2 A:|]
=g/f/|ea a=g/f/|ea e>d|cA AB/c/|1 dd/B/ =G g/f/|
ea a=g/f/|ea e>d|cB/A/ =G/A/B/G/|A2 A:|2
dd/B/ =GE|A/B/c/d/ c/d/e/f/|e/f/g/a/ e>d|cB/A/ =G/A/B/G/|A2 A|]

CANNY CUMBERLAND. English, Jig. England, North-West. D Major ('A' part) & D Mixolydian ('B' part). Standard. AABB. Cazden (et al, 1982) briefly mentions a British song by this title whose tune is a strain of his Catskill Mountain (New York) collected minor-key song "The Cumberland Crew." Despite the similarity in titles the tune printed by Knowles and Cazden's do not appear to be similar, and he may be referring to another tune used for the song "Canny Cumberland." Knowles (Northern Frisk), 1988; No. 120.

CAOINEADH UÍ NÉILL (O'Neill's Lament). Irish, Air. The title may refer to Hugh O'Neill, who took part in the Battle of Kinsale and the Flight of the Earls at the beginning of the 17th century. RTE Records, "Denis Murphy: Music from Sliabh Luachra".

CHARLESTON NO. 1. Old-Time, Breakdown. USA, Mississippi. C Major. Standard. AABB. The melody (which is related to "Done Gone;" similar primarily in the first part) was composed by Willie Narmour (Carroll County, Mississippi), and became a hit in 1929. English authority Tony Russell suggests: "The several 'Charleston's' they (Narmour and Smith) recorded are essentially hornpipes; their roots seem to lie in North Britain." Charles Wolfe explains that this tune had nothing to do with the dance craze of the 1920's, but rather refers to an area in Mississippi. Christeson credits only "old 78's" for his version, which could be Narmour's, Roberts', or another version. In fact, Roberts' version is a cover of Narmour's popular composition, and the story goes that Roberts' recording company, Gennett, gave him a copy of Narmour's recording and told him to learn it for his next recording session. See also related "Done Gone" [2]. Source for notated version: Doc Roberts (Ky.) [Phillips]. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; No. 46, pg. 33. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 46. Conqueror 8104 (78 RPM), Doc Roberts (1933). County 412, Fiddling Doc Roberts - "Old Time Tunes" (1983). County 529, Narmour & Smith - "Traditional Fiddle Music of Mississippi, Vol. 2." Gennet GE 16640 (78 RPM) Tweedy Brothers (W.Va.: Harry, George, and Charles played twin fiddles and the piano), 1930.

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|]

CHARLOTTETOWN'S CENTENNIAL BREAKDOWN. Canadian, Reel. The title refers to Charlottetown, Prince Edward Island, Canada, named for Queen Victoria's grandmother (replacing the charming French name "Port la Joie"). Apex AL 1613, "The Best of Don Messer and his Islanders, Vol. 6."

CHEAT, THE. AKA and see "Cheat or Swing," "The Coquette," "In My Cottage Near a Wood." American, Country Dance Tune (4/4 time). USA, New England. D Major. Standard. AABCBC (Linscott): ABCD (Ford). The tune was commonly played for played for the dance "Ninepin Quadrille" or "The Cheat" in New England. Bayard (1981) traced this tune and pronounced it 'international', having found variants with diverse names from the European continent as well as the British Isles and America. He believes the original antecedent for the tune to be from France, and that there were two main versions: an earlier one (1700's) and a later one (early 1800's to modern times), but both very popular in their time. "The Cheat" belongs to the later group, and was well known as a song and dance air in France as "Dedans mon Petit Reduit" and "La Bonne Aventure O Gue" (see Bayard, 1981; pgs. 250-251 for sources), and in Britain and America under the titles listed in the beginning (see Bayard for references). Source for notated version: from the manuscript of Elizabeth Foster Reed (1796-1823), a book of ballads and dance tunes; unpublished, but in the hands of her descendants [Linscott]. Ford (Traditional Music in America), 1940; pg. 61. Linscott (Folk Songs of Old New England), 1939; pg. 101. Alcazar Dance Series ALC 202, Sandy Bradley - "Potluck & Dance Tonite!" (1979).

CHERISH THE LADIES (Alltri Na Mna). Irish, Double Jig. Ireland; Munster, Co. Sligo, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard. AABB (Allan, Roche): AABB' (Joyce): ABC (Stanford/Petrie): AABBCA (Cole): AABBCC (Williamson): AABBCD (Mitchell): AABBCDDEE (Brody): AABBCCDDEE (O'Neill/Krassen): ABBCDDEE (Moylan): AABBCCDDEEFF (O'Neill/1850 & 1001). "A popular jig" (Williamson). O'Neill (Irish Folk Music, pg. 94) says: "Dr. Petrie refers to it as a Munster jig, yet none whom the writer heard play it in any style were natives of that province. In its original form of two strains it was one of Jackson's jigs, and Dr. Petrie's opinion receives corroboration by finding a simple version of the tune in Dr. Joyce's Old Irish Folk Airs and Songs, just published." O'Neill remarks again in Irish Minstrels and Musicians (1913, pg. 183) the tune has been ascribed to the famous 18th century County Limerick composer Walker 'Piper' Jackson. Goodman (vol. iv, pg. 2) prints a tune called "Thought" attributed to Jackson which is a version of "Cherish," and this may be the source of attributions to that musician (see note for "Thought" for the several alternate and related titles). County Sligo/New York City fiddler Michael Coleman made a much-admired recording of this tune in the 1930's. Paddy Glackin recorded a three part version, of which the first and last sections correspond to the 'A' and 'B' sections in Joyce. Sources for notated versions: "Taken down from the playing of Ned Goggin the Glenosheen fiddler" [Joyce]; from the manuscript collection of retired businessman and Irish music enthusiast John Gillan, collected from musicians in his home county of Longford and the adjoining Leitrim [O'Neill]; accordion player Johnny O'Leary (Sliabh Luachra region, Kerry), recorded at a recital at Na Píobairí Uilleann, February, 1981 [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; "A Munster jig. From Mrs. Close" [Stanford/Petrie]. Allan's Irish Fiddler, No. 24, pg. 6. Brody (Fiddler's Fakebook), 1983; pg. 64. Cole (1001 Fiddle Tunes), 1940; pg. 72. Joyce (Old Irish Folk Music and Song), 1909; No. 25, pg. 15. Mitchell (Dance Music of Willie Clancy), 1993; No. 94, pgs. 82-83. Moylan (Johnny O'Leary), 1994; No. 36, pgs. 21-22. O'Neill (Krassen), 1976; pg. 19. O'Neill (1850), 1979; No. 730, pg. 136. O'Neill (1001 Gems), 1986; No. 29, pg. 21. Roche Collection, 1982; Vol. 1, pg. 39, No. 88. Ryan's Mammoth Collection. Stanford/Petrie (Complete Collection), 1905; No. 921, pg. 234. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 80. Claddagh CC14, Chieftains- "Chieftains 4" (1972). Gael-Linn CEF060, "Paddy Glackin." Shanachie 79024, "Chieftains 4" (1983).
X:1
T:Cherish the Ladies
L:1/8
M:6/8
S:Joyce - Old Irish Folk Music
K:D
dFF AFF|DFA AGF|GEE BEE|GBA GFE|dFF AFF|DFA AGF|ABd efg|fdd d3:|
|:d3 fed|afd fed|c>de/f/ gfg|ece gfe|fga bag|agf edc|dcB AGF|GEF GFE:|
X:2
T:Cherish the Ladies
L:1/8
M:6/8
S:O'Neill - 1001 Gems (29)
K:D
(3A/B/c/|dFF AFF|DFA AGF|BEE GEE|GBA GFE|dFF AFF|DFA AFA|Bcd efg|fdd d2:|
|:(3A/B/c/|dfd cec|dfd AGF|BEE GEE|GBA GFE|dfd cec|dfd AGF|Bcd efg|fdd d2:|
|:A|dfd cec dfd AGF|BzE GzE|GBA GFE|dGd cFc|dGd A2G|A>Bc/d/ efg|fdd d2:|
|:B|Add fdd|add fdd|A/B/cd gfg|ece gfe|agf bge|afd cBA|(3f/g/a/ B2 AGF|GEF GFE:|
|:f2f afd|fed cde|g2g gfg|ece gfe|agf bge|afd cBA|fdB AGF|GEF GFE:|
|:DFA dAF|DFA BGE|DFA dAF|GEF GFE|DFA DGB|DFA d2e|fdB AGF|GEF GFE:|

CHESHIRE ROUNDS [1]. English, Country Dance Tune (3/4 time). D Major. Standard. AABB. This melody appears in Playford's Dancing Master (2nd and subsequent editions), Walsh's Compleat Country Dancing Master (vol. i), and Gay's Polly and other ballad operas. The Cheshire Rounds was also a once-popular dance, and Chappell (1859) found several references to its performance:
***
In Bartholomew Fiar, at the Coach-house on the pav'd
stones at Hosier-Lane end, you will see a Black that dances
the Cheshire Rounds to the admiration of all spectators."
(Play-bill by Dogget, 1691. In fact, the only known portrait
of Dogget shows him dancing the Cheshire Round.)
***
John Sleepe now keeps the Whelp and Bacon in Smithfield
Rounds, where are to be seen a young lad that dances a
Cheshire Round to the admiration of all people." (Playbill)
***
It is one of the tunes called for by "the hobnailed fellows"
in A Second Tale of a Tub (8vo, 1715).
***
The name Cheshire is an ancient contraction of Chestershire. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 167. Raven (English Country Dance Tunes), 1984; pg. 15.

CHEVY CHASE. English, Air (3/4 time). England, Northumberland. G Major. Standard. One part. The ballad is referred to as far back as Elizabethan times. As to the 'correct' music for "Chevy Chase," Chappell (1859) states that several tunes were printed to the ballad of that name; these tunes themselves had alternate names in many cases, and, further confusing the issue, later ballads were directed to be sung to the tune of "Chevy Chase" so that often it is not known exactly which of the many tunes is being referred to. See Chappell's note for the tune for a detailed explanation. A "Chevy Chase" air was published by John Gay in his The Beggar's Opera (1729). Williamson's recorded version is from a mid-17th century manuscript from the Edinburgh University Library, printed by Ritson, 1783 (Williamson repeats each half of the printed melody, as it seemed to him a more likely fit for the ballad tune). Historically, Chevy Chase refers to the Battle of Otterburn (1388), the scene of a Border affray between Percy, Lord of Newcastle and the Border chieftain Douglas, in which Percy was defeated. The battle is also called the Chase of the Cheviot, because the plunder raid on England which Douglas jokingly described as a hunt (or chase) involved crossing the Cheviot Hills in northern England, hence the title. "This melody has been played by Northumbrian small-pipe players from time immemorial as the air to which the old ballads of Chevy Chase were sung. It is regarded as 'the gathering tune' of the ancient and noble house of Perry, and is played by the Duke of Northumberland's piper on all public and festive occasions. Tradition is certainly in its favour as the correct Chevy Chase melody and an original small-pipe tune" (Bruce & Stokoe). Raven (English Country Dance Tunes), 1984; pg. 69. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 145. Flying Fish FF358, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 1."
T:Chevy Chase
L:1/8
M:3/4
S:Bruce & Stokoe - Northumbrian Minstelsy
N:"Slowly and smoothly"
K:G
zA|BA G3A|BA G3B|ce d3B|B2A2 zB|ce d3B|dB G3d|eg B3A|G4||

CHICKEN REEL [1]. Old-Time, Breakdown. USA, Widely known. D Major. Standard or ADAE. AABB (Brody, Ford, Phillips, Ruth, Spandaro, Sweet, Thede): AABBC (Bayard {Ireland}): AABBAACC (Krassen {Higgins}): AABBCDDAABBC'C' (Krassen {Summers}). The first published version under the above title was a piano composition in 1910 by Joseph M. Daly, a nineteen year old from Boston, who may have either recorded an existing folk melody or "composed" it from folk strains (Fuld, 1966, 1971). Regarding those folk strains, Bayard (1981) vaguely states that the tune may have been of Scottish or Irish in origin, and makes general reference to tunes in O'Neill without citing them. Though the tune is usually played in two parts several fiddlers have added variations. Krassen says Indiana fiddler John Summers, whose roots were in the northern, New England tradition, had B and C parts which were probably composed by him and identifies the latter as a strain commonly found in hornpipes. Bayard collected another 'C' part from southwestern Pa. fiddler Walter Ireland and generally found the versions from that area of the country had little of the pronounced sliding that accompany the tune in the South. The melody was in the repertoire of Arizona fiddler Kenner C. Kartchner since the early 20th century and Bronner (1987) notes it was commonly played for dances in New York state at that time (often in combination with the tune "Black Cat"). It was also known to mid-20th century Pa. dance fiddler Harry Daddario (Buffalo Valley, Pa.) and was in the repertiore of African-American fiddler Cuje Bertram (Cumberland Plateau region, Ky.), recorded by him on a 1970 home recording, made for his family. The tune was recorded from Ozark Mountain fiddlers by musicologist/folklorist Vance Randolph for the Library of Congress in the early 1940's. Bronner (1987) states that the tune was a favorite in New York because of its instant recognizability and by the fact that it was easily used in combination with other tunes for variety or added length for dance sets. Beside dance band sources, the tune was used by martial bands in Pennsylvania and brass bands in central New York. Sources for notated versions: Charlie Higgins (Grayson County, Va.) [Krassen]; John Summers (Indiana) [Krassen]; George Unger (Oklahoma County, Oklahoma) [Thede]; Hornellsville Hillbillies (New York State) [Bronner]; Walter Ireland, Hogg, Amasiah Thomas, Marion Yoders (southwestern Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 327A-D, pgs. 292-293. Brody (Fiddler's Fakebook), 1983; pg. 66. Bronner (Old-Time Music Makers of New York State), 1987; No. 21, pg. 91. Cazden (Dances from Woodland), 1945; pg. 21. Cazden (Folk Songs of the Catskills), 1955; pg. 37. Ford (Traditional Music in America), 1940; pg. 41. Krassen (Masters of Old Time Fiddling), 1983; pg. 39-40 and 133-136. Phillips (Traditional American Fiddle Tunes), 1994; pg. 48. Ruth (Pioneer Western Folk Tunes), 1948; No. 117, pg. 39. Spandaro (10 Cents a Dance), 1980; pg. 13. Sweet (Fifer's Delight), 1964/1981; pg. 66. Thede (The Fiddle Book), 1967; pg. 116. American Heritage 19A, Loyd Wanzer- "Plain and Fancy Fiddlin.'" County 538, Charlie Monroe- "On the Noonday Jamboree." Edison 50653 (78 RPM), Joseph Samuels (appears as 2nd tune of "Devil's Dream Medley"). Folkways FA 2381, "The Hammered Dulcimer Played by Chet Parker" (1966). Gennett 7110 (78 RPM), Doc Roberts. Gennett (78 RPM), Tweedy Brothers (W.Va., 1924). Kicking Mule 206, The Cental Park Sheiks- "Kicking Mule's Flat Picking Guitar Festival." Marimac 9017, Vesta Johnson (Mo.) - "Down Home Rag." Point Records P-229, J.O. La Madeleine - "Canadian Jigs and Reels." Rounder 0194, John W. Summers - "Indiana Fiddler" (1984). String 801, The Tune Wranglers- "Beer Parlor Jive."
T:Chicken Reel [1]
L:1/8
M:C|
K:D
(=f|^f)dAF DFBF|AABF A3 (=f|^f)dAF DFBB|Addc d4:|
|:a>faf d3d|f2f2 e4|afaf dcBA|Addc d4:|

CINDY [1]. AKA and see "Cindy in the Summertime," "Cindy in the Meadows," "Get Along Home (Miss) Cindy," "Git Along Cindy," "J'etais au Bal," "Old Time Cinda," "Run Along Home, Cindy," "Whoop 'Em Up Cindy," Old-Time, Song and Breakdown. USA; Arkansas, North Carolina, Tennessee, Kentucky, Georgia, Mississippi. D Major (most versions): G Major (John Brown). Standard or ADAE. AB (Brody): AABB (Phillips/1989 {the 'B' part is 'crooked' in Phillip's version}): AA'BB (Phillips, 1994). A widely known frolic tune, appearing in many folk music collections and even old elementary school songbooks. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954, and was recorded for the Library of Congress in 1939 by Mississippi fiddler John Brown. A very popular Cajun version of the tune, probably borrowed from the American song, is "J'etais au Bal" (I Went to the Dance Last Night). Verses set to the tune are many, including several "floaters":
***
Cindy in the summertime, Cindy in the fall,
Can't have Cindy all the time, don't want Cindy at all.
Chorus
Get along home, get along home,
Get along home, Cindy, fare you well.
***
You ought to see my Cindy, she lives way down South,
She's so sweet the honey bees all swarm around her mouth.
***
Wish I had a needle as fine as it could sew,
I'd sew that gal to my coat-tail, and down the road I'd go.
***
Went upon the mountain, to give my horn a blow,
Hollered back to Cindy, oh yander she go. (Rosenbaum)
***
When I was a little lad, about six inches high,
I used to court the pretty girls to hear the old folks cry;
Get a-long down, down Big Sandy, Get a-long down, down Big Sandy,
Get a-long down, down Big Sandy, that's the place for you. (Thomas & Leeder)
***
The Big Sandy River, referred to in Thomas & Leeder's lyric, forms the border between Kentucky and West Virginia and flows into the Ohio River at Catlettsburg, Ky. It was a flat-boat trade route before the advent of the railroads. See also similar stanzas printed by African-American collector Thomas Talley in Negro Folk Rhymes (1922) under the title "She Hugged Me and Kissed Me." Sources for notated versions: New Lost City Ramblers [Brody]; Alan Block [Phillips]; Fox Fraley (Lawrence County, Ky., 1911) [Thomas & Leeder]. Brody (Fiddler's Fakebook), 1983; pg. 69. Phillips (Fiddlecase Tunebook), 1989; pg. 10. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 53. Rosenbaum (Folk Visions and Voices: Traditional Music and Song in North Georgia), 1989; pgs. 12-13. Thomas and Leeder (The Singin' Gathering), 1939; pg. 23. County 405, "The Hill-Billies." County 518, Pope's Arkansas Mountaineers- "Echoes of the Ozarks, Vol. I" (appears as "Get Along Home Miss Cindy"). County 544, Clayton McMichen- "Georgia Fiddle Bands, Vol. 2." Folk Legacy Records FSA-17, Hobart Smith - "America's Greatest Folk Instrumentalist" (appears as 1st tune of "Banjo Group #2"). Folkways FA 2399, New Lost City Ramblers- "Vol. 4."

CLANCY'S. Irish, Reel. C Major. Standard. AABB. The title may refer to Willie Clancy, the great County Clare piper. McNulty (Dance Music of Ireland), 1965; pg. 6.

COCK O' THE NORTH [1]. AKA and see "Auntie Mary" {Irish}, "Joan's Placket (Is Torn)" {English}, "Jumping John/Joan," "We Must All Wait Till My Lady Comes Hone." Scottish, English, Canadian; Jig, 6/8 March, and Morris Dance Tune. Canada; Cape Breton, Prince Edward Island. A Major (Hunter, Johnson, Kennedy, Miller & Perron, Perlman, Raven): G Major (Bayard, Bullen, Kerr, Sweet, Wade). Standard. AB (Bullen): AAB (Bayard, Hunter): AABB (Johnson, Kennedy, Miller & Perron, Raven, Sweet, Wade): AA'BB' (Kerr, Perlman). The 'Cock o' the North' was an honorary title of the (fifth and last) Duke of Gordon, who held sway over the northern part of the Scottish Highlands (from a note in a monograph on William Mashall printed in his 1845 Collection). Chappell alleges the earliest reference to the tune (under the title "Joan's Placket") is in an entry in Pepys' diary for June 1667. Bayard (1981) and Kidson (1915) both trace the tune to the 17th century, where they find the titles for this tune were "Jumping John/Joan" and "Joan's Placket (Is Torn)." It was published by Oswald (Vol. 10) c. 1758, by Feuillet in Recueil de Contredanses (1706) in Paris, and by Playford in the 1674 and 1686 editions (and all subsequent editions) of his Dancing Master, each time under the title "Jumping Joan." In fact, a Shetland reel version of the tune from the island of Whalsay collected in modern times still goes by the name "Jumping John" (Cooke, 1986).
***
The dance and ballad air was assumed into martial repertory, and it has been recorded that the melody helped win Gordon Highlander Piper George Findlater the Victoria Cross in 1897. It seems that while leading the charge storming Dargai Heights with other pipers, he was shot through both legs; "undaunted, he propped himself against a boulder, and continued to play" the stirring air to encourage the successful action (Winstock, 1970; pg. 212). Kidson (1915) relates another military story of its earlier use in the seige of Lucknow during the Indian Mutiny of 1857. The British were initially hard pressed and were for some time beseiged in various locations in the city by native Indians. Signals had been regularly sent between the forces defending parts of the beseiged town, and those under attack in the Residency quarters. A drummer boy named Ross, after the signalling was over, climbed to the high dome from which signals were sent and despite harrassing fire from the Sepoys he sounded "Cock o' the North" in defiance, rallying the English with his bravery (though being a drummer, exactly how he 'sounded' the tune remains a mystery, ed.)
***
In England, Andrew Bullen (Country Dance and Song, May 1987, Vol. 17, pg. 11). suggests there is some evidence to think that "Cock of the North" was the tune traditionally used in the famous horn dance of Abbots Bromley, Staffordshire (currently performed in most Christmas Revels pagents). "This standard version," he states, "taken from Pruw Boswell's 'Morris Dancing of the Lancashire Plain', is used in the Wigan St. John's Dance." Wade records that the tune is still used for a single step dance in the North-West Morris tradition.
***
Perlman (1996) notes that this tune was remembered by many Prince Edward Island fiddlers as the very first tune they tried to play.
***
Miscellaneous notes: The tune was used by the Scots poet Robert Burns for his song "Her Daddie Forbad and Her Minnie Forbad." In America, it was given to Bayard that there was an obscene New England song to the tune called "Chase Me, Charlie," but he did not hear it. It has been asserted that a trumpet version of the tune was played at the execution of Mary Queen of Scots in 1587, but this cannot be substantiated and it is not credited. It is not, as has been proposed by Johnson-Stenhouse, the progenitor of "Lillibulero." Sara Lee Johnson (1986-87) says the tune is often heard at the Old Michegan Fiddler's Association gatherings. Sources for notated versions: Hiram Horner (fifer from Fayette and Westmoreland Counties, Pa., 1960) [Bayard]; Elliot Wright (b. 1925, Flat River, Queens County, Prince Edward Island; now resident of North River) [Perlman]. Bayard (Dance to the Fiddle), 1981; No. 580, pg. 513. Bullen, Country Dance and Song, May 1987, Vol. 17, pg. 11. Hunter (Fiddle Music of Scotland), 1988; No. 299. Jarman (Old Time Fiddlin' Tunes); No. or pg. 19. Jarman, 1951; pg. 66. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), Vol. 7, 1986-87; pg. 6. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 36. Kerr (Merry Melodies), Vol. 2; No. 311, pg. 34. McDonald (Gesto), 1895; pg. 135. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 43. Page, Heritage Dances of Early America; No. or pg. 41. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 141. Raven (English Country Dance Tunes), 1984; pg. 105. Ross, 1934, Army Manuel of Bagpipe Tunes; Book 1, pg. 10. Sweet (Fifer's Delight), 1964/1981; pg. 21. Wade (Mally's North West Morris Book), 1988; pg. 14.-
T:Cock o' the North
L:1/8
M:6/8
K:A
cdc cBA|cde f2e|cdc cBA|B3 e2d|cdc cBA|Ace B=GB|A3 A3:|
|:a2e f2e|a2e f2e|cdc cBA|BcB B2e|a2e f2e|a2e f2e|cAc B=GB|A3 A3:|

COCK UP THY/YOUR BEAVER. English, Scottish; Jig (6/8 or 6/4 time). England, Northumberland. C Major. Standard. AABBCC. The title, I believe, refers to a beaver top-hat, popular in the late 18th and early 19th century among fashionable men; to 'cock up' in this sense would be either to wear it at a rakish angle, to tip it or to brush it so as to make it more presentable. "The consistent disparity between Bars 4 & 8 is noteworthy, being repeated thus in each strain. C.f. Bewick's Pipe Tunes, No. 33. Although different in detail, these versions have more in common with each other than with others encountered, e.g. Playford (c. 1725), No. 248; Mooney (Choicest Tunes/Lowland Pipes), pg. 11. A long variation set is found in Playford's Division Violin of 1684, now republished, edited by Margaret Gilmore. In her Concordances, she mentions other versions under the names 'The Horse-race' and 'Newmarkett', but on a first glance 'Cock up thy Beaver' seems to have little in common with our 'Newmarket Races', Vickers No. 288. However, if one extracts the most basic underlying harmony from the Playford divisions, one gets: I,I/II,II/I,I/I,I/IV,I/II,II/I,I/I,I. Comparing this sequence with our No. 288 (and other versions, see Note), one finds it is the same, but displaced, starting at Playford's Bar 7. Alternately, Playford's version starts with Vickers' Bar 3. The tunes obviously became separated at an early date and developed independently. The final curiosity is that the tune common to Vickers and Bewick has the same harmony as Vickers' 'Horse and Away', if one makes some allowances for ambiguity between I and VI chords (relative major and minor)" (Seattle)./ The tune appears in the 1768 Gillespie Manuscript of Perth. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Complete Collection of Carolan's Irish Tunes, 1984; No. 204, pg. 137 (variations by Turlough O'Carolan). Seattle (William Vickers), 1987, Part 3; No. 455. Maggie's Music MMCD216, Hesperus - "Early American Roots" (1997).

COCK'S TAIL, THE. AKA - "The Cocktail." AKA and see "Dublin Reel." Irish. Ireland; Donegal, Fermanagh. The tune is sometimes miss-named "The Cocktail Reel." A County Donegal version of "The Dublin Reel" (Cathal McConnell calls it an unusual version of "Dublin Reel"). In the repertoire of Vincent Campbell, and of John and Mickey Doherty, who learned from their father. Caoimhin Mac Aoidh remarks that Mickey Doherty sometimes occasionally called it by the title "The Wagtail Reel," referring to a small black and blue-ish white bird. The Wagtail features a long tail that bobs about nervously, giving rise to its name-in Irish, Gleasog. Compass 7 4287 2, Cathal McConnell - "Long Expectant Comes at Last" (2000. Learned from Eddie Duffy, a flute player from Drumcruhan, County Fermanagh).
T:The Cocktail
M:4/4
L:1/8
Q:210
S:setting: Noel Hill
R:Reel
K:D
DF{A}FE ~F3E | DF~F2 ABGE | DF{A}FE DFAd | cABG EFGE :||
A3B A2GA | (3AAA GA BG (3GGG | A2AG EFGB | =cBAG EFGB |
A2AB (3AAA GB | ABGA BG (3GGG | AaaA aAag | fdec dBAF || D

COILANTOGLE. Scottish, Strathspey. G Minor. Standard. AABB. "Coilantogle, at the foot of Ben Ledi in Perthshire, was for long an important ford on the river Teith, and was a key point on the ways to the North. Sir Walter Scott refers to it as such in his poem 'The Lady of the Lake' (Williamson, 1976)." Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 63.

COILLTE CRÍONA, AN. Irish, Reel. E Minor. Standard. AB. Breathnach (1963) calls the tune a twin of "Pat Tuohey's Reel." The title literally means 'the old woods' and refers to the birthplace of Sligo fiddler Freddy Finn. Source for notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland), who had the tune from Finn [Breathnach]. Breathnach (CRE I), 1963; No. 179, pg. 70.

COLD AND RAW. AKA - "Cold and Rought." AKA and see "Stingo," "Oil of Barley," "Lulle Me Beyond Thee," "The Farmer's Daughter." English, Scottish, Irish; Country Dance and song tune. The air was published by Playford in his Dancing Master (1651) under the title "Stingo, or Oyle of Barley," and it carried that title through all editions until 1690, when the name is changed to "Cold and Raw." The Dancing Master kept the latter until the last, 1728, edition. Kidson (Groves) thinks the "Stingo" title may have originated with a ballad called "A Cup of Old Stingo" printed in Merry Drollery Complete. The "Cold and Raw" title comes from D'Urfy and is the beginning of a song called "The Farmer's Daughter."
***
As with many popular ballad tunes, many songs were set to it, leading to a variety of titles. In different editions of D'Urfy's Pills to Purge Melancholy it appears as the aformentioned "The Farmer's Daughter," a song whose first appearance was in D'Urfy's Comes Amores (1688). John Gay printed the tune under his song title "If any wench Venus's girdel wears," from The Beggar's Opera (1729). Emmerson {1971} claims Gay's song is a parody of the 'Scottish' song "Cold and Raw," however, Sharp (1907) declines to believe the Beggar's Opera version is a parody, and points out that Gay was not a musician but rather employed the services of a German, Pepusch, by name, to note down and arrange the airs which Gay sang to him. "It needs but a cursory examination of this opera to see that the airs are anything but faithful transcriptions of genuine peasant-tunes...'Cold and Raw' is converted to a minor tune with a minor 6th and a sharpened leading tone..." Scottish versions are usually called "Cold and Raw," but it can also be found as "Up in the Morning Early." Grattan Flood (1906) characteristically identifies the melody as an Irish bagpipe tune of the mid-17th century, though Kidson (1922) and most writers ascribe Anglo-Scottish origins.
***
The English composer Henry Purcell used the tune as a bass part for a Royal Birthday Ode in 1692. Kidson refers to the "well-known" anecdote related by Sir John Hawkins who recalled that Queen Mary asked Mrs. Arabella Hunt, in composer Purcell's presence, if she could not sing "Cold and Raw," one of her favorite melodies. This was seen (by Hawkins) as an affront to Purcell and an indication that the Queen was tired of Purcell's compositions. His response was to use the tune in her next, 1692, birthday ode.
***
One of the "lost tunes" from William Vickers 1780 Northumbrian dance tune manuscript is called "Cauld and Raw the Wind Doth Blaw," and is presumably this tune (see note for "Up in the Morning Early"). Raven (English Country Dance Tunes), 1984; pg. 50 ("Cold and Raw"), pg 37 ("Stingo"). Flying Fish FF-407, Robin Williamson - "Winter's Turning" (1986).

COLONEL W. MARSHALL OF THE 79th REGIMENT OF FOOT. Scottish, Strathspey. C Major. Standard. AB. Composed by William Marshall (1748-1833). The Colonel Marshall referred to in the title was Marshall's third (and only surviving) son, also named William, who served in the Napoleonic Wars and lost his right arm at the battle of Quatre Bras, just prior to Waterloo. He retired to live in the house built by his father, Newfield and was remembered as a popular figure in the district of Aberlour/Craigellachie in his later years (Cowie, The Life and Times of William Marshall, 1999). It was he who honored his father with a gravestone in Bellie Cemetery, Fochabers. The Colonel's regiment, the 79th Regiment of Foot was also known as The Queen's Own Cameron Highlanders, and although a Scottish regiment it usually had a number of Englishman in it at any one time (Farwell, 1981). Marshall, Fiddlecase Edition, 1978; 1845 Collection; pg. 14.
T:Colonel W. Marshall of the 79th Regiment of Foot
L:1/8
M:C
S:Marshall - 1845 Collection
K:C
E/F/|G>A G<E G>AGE|c>d e/d/c/B/ A/G/F/E/ (DE/F/)|G>A G<E G>A G<f|
E<c g>e d2 c||e/f/|g>a g<e g>a g<e|(fg/a/) (a/g/)f/e/ fdd(e/f/)|g>a g<e c>d c>G|
(A<a) (g>f) e2 de/f/|g>a g<e g>a g<e|(fg/a/) (a/g/)f/e/ fdd(e/f/)|
c>d c<G A>c (B/A/)(G/F/)|E>G c/e/g/e/ d2c||

COME ASHORE, JOLLY TAR, WITH YOUR TROUSERS/TROUSERS ON. AKA and see "The Cuckoo," "Cuckoo's Nest," "Come Ashore," "The Trowsers On," "Jacky Tar," "An Spealadoir," "The Reaper," "I do confess thou art sae fair." Scottish, Reel. E Minor: D Minor (Kidson). Standard. AB: AABBCC (Kidson). The tune was published twice by late 18th century Glasgow publisher James Aird (in his A Selection of English, Irish, and Foreign Airs, adapted for the Fife, Violin and German Flute, vol. I, c. 1775 or 1776), probably because of its association with the popular stage character dance 'The Sailor's Hornpipe', which Emmerson (1971) says was referred to as 'Jacky Tar' in that city's dancing schools of the time. See note for "Cuckoo's Nest." Aird (Selection), Vol I, 1782; No. 190. Kidson (Old English Country Dances), 1890 (reprinted 1983); pg. 15 (from a MS. dated "Falkirk, 1824").

COME LIVE WITH ME, AND BE MY LOVE. English, Air (3/4 time). B Flat Major (Chappell): A Minor (Kines). Standard. One part (Kines): ABB (Chappell). The air appears in W. Corkine's The Second Book of Ayres (1612), and also in Steevens' Shakespeare, from a MS. which once belonged to Sir John Hawkins. The ballad is from the sixteenth century, according to Chappell (1859) who finds several references to it in literature. The first verse goes:
***
Come live with me and be my love,
And we will all the treasures prove.
That hills and valleys, dale and field,
And all the craggy mountains yield.
***
Marlow's tragedy The Jew of Malta, c. 1591, contains the first two lines of a song to the air:
***
Thou, in whose groves, by Dis above,
Shall live with me, and be my love.
***
Walton's Angler (1653) alludes to the song:
***
It was a handsome milkmaid, that had not attained so much age
and wisdom as to load her mind with any fears of many things
that will never be, as too many men often do; but she cast away
all care, and sung like a nightingale; her voice was good, and the
ditty fitted for it" it was that smooth song which was make by Kit
Marlow now at least fifty years ago.
***
It seems spurious to Kines (1964) that Christopher Marlow should have written the song, for the verses appear in a shortened form in Shakespeare's "Sonnet to sundry notes of music" and parts of verses 2 and 3 are quoted in The Merry Wives of Windsor (Act III, Scene 1). For other references see Chappell's notes on the song. Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 123. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 25.

COME O'ER THE BOURN, BESSIE TO ME. AKA and see "Over the broome, Bessy," "Browne Besse, sweet Besse, come over to me." Irish, English; Air (3/2 time). F Major/G Mixolydian. Standard. AB. This melody is claimed as Irish in origin by Flood (1906), who dates it from the second half of the 16th century (it should be noted that Flood made many claims for Irish provenance of old British Isles tunes). Flood, however, states it was a very popular melody in England. Chappell (1859) dates it earlier than Flood, to the early part of the 16th century, and gives stylistic reasons why this is so: "No melody in the Mixolydian mode which begins, like this...as if in the scale of F, is at all likely to have been composed later than the first quarter of the century." In the British Museum Chappell found a composition written "no later" than 1530 which begins with the first phrase of the tune as it appears in Dorothy Welde's book, and refers to something earlier still, but well-known at the time. Walker (1924) agrees with Chappell regarding the antiquity of the melody, and says it is "very probably of (an) earlier date than (its) first occurrence in Elizabethan collections." It was mentioned by Shakespeare in King Lear (act iii, sc. 6):
***
Wantest thou eyes at trial, Madam?
Come o'er the bourn, Bessy, to me.
***
It appears in Dorothy Welde's Lute Book, and the University Library of Cambridge's Lute MSS (Dd. xiii. II). The first verse goes:
***
Come o'er the bourn, Bessy,
Come o'er the bourne Bessy,
Sweet Bessy come over to me.
And I shall thee take,
And my dear lady make
Before all other that ever I see. (Kines)
***
Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 121. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pgs. 54-55.

COME YE OWER FRAE FRANCE. AKA and see "The Keys of the Cellar," "The Marchioness of Tweed-dale's Delight." English, Old Hornpipe (3/2 time). G Dorian. Standard. One part. Note: The song is a satire of the Hanoverian King George I ("Geordie Whelps"), who became King of England and Scotland in the 18th century. George transplanted to England an assortment of mistresses and characters, the fromer being impoverished gentlewomen from Germany, providing Jacobite songwriters with a broad target and much ribald glee. Several of these imported characters come in for derision: Madame Kilmansegge, Countess of Platen, is referred to as "The Sow" in many Jacobite songs, while the King's favorite mistress, the lean and haggard Madame Schulemburg (afterwards named Duchess of Kendall) was given the name of "The Goose". She is the
"goosie" in "Come Ye Ower Frae France," while the "blade" is one Count Koningsmark. John, Earl of Mar, was nicknamed "Bobbing John," an interesting character in Scottish history. Mar (1675-1732) was a disaffected Tory minister who had served as one of the Scots commissioners during the Union negotiations (to unite the kingdoms of Scotland and England), however, once it was passed he came to understand it was a terrible mistake. To remedy this he raised the Jacobite standard at Braemar in 1715 on behalf of James, the Old Pretender and became one of the leaders of the rebellion. Opposed by the The Duke of Argyll with 35,000 government troops, Mar and his clansmen fought at Sheriffmuir near Stirling in November, 1715. Although at first it appeared that the 'Highland Charge' would carry the day, the Hanoverian professionals wavered but held and eventually gained the upper hand, driving the Highlanders back into the mountains. By February, 1716, the rebellion was quelled and Mar sailed with James for France and permanent exile.
***
CAM YE O'ER FRAE FRANCE
***
Cam ye o'er frae France?
Cam ye down by Lunnon? (Lunnon = London)
Saw ye Geordie Whelps
And his bonny woman?
Were ye at the place
Ca'd the Kittle Housie? (Kittle Housie = Cat House or Brothel)
Saw ye Geordie's grace
Riding on a goosie?
***
Geordie he's a man
There is little doubt o't;
He's done a' he can
Wha can do without it?
Down there came a blade
Linkin' like my lordie; (Linkin' = tripping along)
He wad drive a trade
At the loom o' Geordie.
***
Though the claith were bad, (claith = cloth)
Blythly may we niffer; (niffer = haggle)
Gin we get a wab, (wab = length of cloth)
It makes little differ.
We hae tint our plaid, (tint = lost)
Bannet, belt and swordie,
Ha's and mailins braid -- (ha's and mailins = houses and farmlands)
But we hae a Geordie!
***
Jocky's gane to France,
And Montgomery's lady;
There they'll learn to dance:
Madame, are ye ready?
They'll be back belyue (belyue = quickly)
Belted, brisk and lordly;
Brawly may they thrive (brawly = well)
To dance a jig wi' Geordie!
***
Hey for Sandy Don!
Hey for Cockolorum!
Hey for Bobbing John,
And his Highland Quorum!
Mony a sword and lance
Swings at Highland hurdie; (hurdie = buttock)
How they'll skip and dance
O'er the bum o' Geordie!
***
Loesberg (Traditional Folksongs and Ballads of Scotland, Vol. 1), No. 1. COOK 038, Ewan MacColl - "Black and White." HR 102, Tannahill Weavers - "The Old Woman's Dance." Ossian OSS 103, Ewan MacColl - "The Jacobite Rebellions." Shanachie 79045, Steeleye Span - "Parcel of Rogues." Dick Gaughan - "No More Forever."
T:Come Ye Ower Frae France
L:1/4
M:3/2
K:G Dorian
BG GD G2|BG GB A/B/c/A/|BG G>D G2|{cB}AF FA A/B/c/A/|
Gg g>^f g2|Gg ga b/a/g|Gg a/g/f/e/ f2|{d}cA FA d/c/B/A/:|

CONTERALLER'S RANT. Scottish, "Strathspey Reel." The dance figure, not the tune, is found in the Menzies MS (1749) contained in the Atholl Collection of the Sandeman Library, Perth. It is the first recorded reference to the form strathspey.

CONTRADICTION (REEL), THE ("An Friotraideacd" or "Cor an Breagnugad"). AKA and see "Miss Gunning's Fancy," "Miss Gunning's Reel." Scottish (originally), Canadian, Irish; Reel. Canada, Cape Breton. A Major. Standard. ABCD (O'Neill): ABCCD (Cranford). Paul Cranford (1994) suggests "The Contradiction" is a 19th century Irish-American title for an older tune by the Scottish composer William Marshall (1748-1833), who published it as a three-part setting (O'Neill's 'A', 'B' & 'D'). The fourth part was added in the 1884 Boston publication Ryan's Mamouth Collection and repeated by O'Neill at the beginning of the 20th century. Cranford states that the four-part version was preferred in Cape Breton by influential early-to-mid-20th century fiddlers Angus Chisholm, Dan R. MacDonald, and Winston Fitzgerald, and thus to modern Cape Breton musicians. Breathnach (CRE II), 1976; No. 135, pg. 73 (appears as "Gan ainm/No title"). Cranford (Brenda Stubbert's), 1994; No. 12, pg. 5. O'Neill (1850), 1903/1979; No. 1503, pg. 278. O'Neill (1001 Gems), 1907/1986; No. 724, pg. 127.
T:Contradition Reel, The
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (724)
K:A
e|c2 {d}(3cBA BEED|CEAc dfed|c2 {d}(3cBA GABc|defg afed|c2 {d}(3cBA BEED|
CEAc dfed|c2 {d}(3cBA GABg|afec A/A/AA||g|aA A/A/A aAcA|GBEB GBEg|
aA A/A/A aAcA|GBEB cAAg|aA A/A/A aAcA|GBEB EBEg|agfe fedc|dEFG A2||
e2|aec'e aec'e|ged'e bed'e|c'ee'e c'ee'e|dcBA EA A2| aec'e aec'e|ged'e bed'e|
c'ee'e c'ee'e|dcBA EA A2||cefe cefe|dcBA BE E2|cefe cefe|fagb afed|cefe cefe|
(3fga ec BE E2|ecea fdfa|gbeg ae fd||

COOLUN/COOLIN, THE (An Chuilfhionn) AKA- "An Cuilfion Le Atrugad," "An Cuilrionn," "The Coulin," "The Coolin," "Cuilin." AKA and see "In This Calm Sheltered Villa," "Had You Seen My Sweet Coolin," "Oh! Hush the Soft Sigh," "Oh! The Hours I Have Passed," "Though the Last Glimpse of Erin," "The Lady of the Desert." Irish, Slow Air (3/4 time). D Major (Gow): G Major (Ó Canainn, O'Neill/1915 & 1850, Roche): F Major (Joyce). Standard. AB (Joyce, O'Neill/1850, Sullivan): AAB with variations (Roche): AA'B (Ó Canainn): AABB (Gow). "The Queen of Irish Airs" maintains Francis O'Neill (1913). There are many versions of this ancient and celebrated air "of which Bunting's and Moore's are not among the best: they are both wanting in simplicity," states Joyce (1909), who prints the tune as collected by Forde from Hugh O'Beirne (a Munster fiddler from whom a great many tunes were collected). He considers Forde's version "beautiful...(and) probably the original unadulterated melody," and adds that it is similar to the version he heard the old Limerick people sing in his youth during the 1820's. Flood (1906) states it is probable the air dates from the year 1296 or 1297, believing it must have been composed not long after the Statute, 24th of Edward I, in 1295, which forbade those English in Ireland (who were becoming assimilated into the majority Gaelic culture) to affect the Irish hair style by allowing their locks to grow in 'coolins.' The original song, told from a young maiden's point of view, berates those Anglo-Irish who conformed to the edit by cutting their hair, and praises the proud Irishman who remained true to ancestral custom (the Gaelic title "An Chuilfhionn," means 'the fair-haired one'). The Irish Parliament passed another law in 1539 forbidding any male, Irish or Anglo-Irish, from wearing long or flowing locks of hair--this enactment, relates Flood, is the supposed impetus for the claim that Thomas Moore wrote the song and tune of "The Coolin," which was printed by Walker in 1786.
***
The tune was played by Irish harper Charles Fanning for the first prize (ten guineas) at a harp festival organized at Grannard in 1781. Fanning, then 56 years old, won a similar contest eleven years later at the Belfast Harp Festival with the same air (Flood, 1906), though Bunting (who was in attendance, recording the tunes played) says he was not the best performer but used modern variations on the tune which was much in vogue with young pianoforte players at the time. It was well known enough to have been mentioned by name by the Belfast Northern Star of July 15th, 1792, as having been one of the tunes played in competition by one of ten Irish harp masters (i.e. by Fanning) at the last great convocation of the ancient harpers, the Belfast Harp Festival, held that week.
***
In the alternate title for the tune, "The Lady of the Desert," the word 'Desert' may refer to "Dysert" (though it has the same meaning), a place name in several parts of Ireland, including North Kerry. Bunting's source Hempson claimed to have his version from Cornelius Lyons, a North Kerry musician.
***
Sources for notated versions: the Irish collector Edward Bunting noted the tune from the harper "Hempson, at Magilligan in 1796," who learned his set with variations from the famous harper Cornelius Lyons (of the Barony of Clanmaurice) who composed them in 1700 (Lyons, a friend and companion of O'Carolan, had built his reputation as the arranger of variations in a more 'modern' style to old melodies such as this and "Eileen a Roon"); Joyce prints the version collected by Forde from Hugh O'Beirne, a reknowned fiddler from Ballinamore in the mid-19th century; "From Taig MacMahon, as sung in Clare" [Stanford/Petrie]; fiddler James O'Neill (Chicago) [O'Neill]. Carlin (Gow Collection), 1986; No. 537. Gow (Complete Repository), Part 2, 1802; pg. 10. Hime (Pocket Book), c. 1810; pg. 33. Holden (Old Established Tunes), 1806-7; pg. 28. Joyce (Old Irish Folk Music and Song), 1909; No. 564, pg. 299 (appears as "The Coolin"). Kinloch (100 Airs), c. 1815; No. 25. McFadden (Scotch, English, Irish and Foreign Airs), volume V, 1790-7; pg. 29. Mooney (History of Ireland), 1846; pg. 532. Murphy (Irish Airs and Jigs), 1809; pg. 8. Ó Canainn (Traditional Slow Airs), 1995; No. 103, pg. 88. O'Farrell (National Pipe Music), 1797-1800; pg. 33. O'Farrell (Pocket Companion), 1801-10; No. 122. O'Neill (1915 ed.), 1987; No. 46, pg. 30 (with variations). O'Neill (1850), 1979; No. 89, pg. 16 (with nine variations). O'Sullivan/Bunting, 1983; No. 119, pgs. 168-170. Roche Collection, 1982; Vol. 1, pg. 22, No. 43. Stanford/Petrie (Complete Collection), 1905; Nos. 598 & 599, pgs. 150-151. Sullivan (Session Tunes), Vol. 3; No. 40, pg. 17. Walker (Historical Memoirs of the Irish Bards), part X, 1786; pg. 8. Green Linnet SIF 1084, Eugene O'Donnell - "The Foggy Dew" (1988).
T:Coolun
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|:A>G|~F>E(D>E)(FG)|A>^G ABcA|~d>c (de/f/) ed|(d2c2) d>c|
~B2 (B/c/d/c/) (e/d/)(c/B/)|A2 (FA)d>A|(c/B/)(A/G/) F2 E2|D4:|

COPE'S MARCH. Scottish, March. The dance figure but not the music appears in the Menzies Manuscript (1749) contained in the Atholl Collection of the Sandeman Library, Perth. The title undoubtedly refers to the general Johnny Cope (see "Johnny Cope"), an Englishman whose forces were routed by the Scottish.

CORDWAINERS' MARCH, THE. AKA - "Cordwinders." English, March. A march attached to a trade (like "The Taylors' March," the "Freemason's March" etc), in this case a reference to shoemakers who used cord in their work. Aird.

CORN RIGGS (ARE BONNY). Scottish (originally), Irish, English; Reel. Scotland, Lowland region. England; Northumberland, northwest England. Ireland, County Donegal. D Major (Hall & Stafford, Kerr, Lerwick, Kennedy, Miller & Perron, Raven, Sweet): G Major (Athole, Emmerson, Wade, Williamson). Standard. AAB (Athole, Emmerson): AABB (Hall & Stafford, Kennedy, Kerr, Lerwick, Miller & Perron, Raven, Sweet, Wade, Williamson): AABBCCDDEEFFGGHHIIJJ (Hall & Stafford {includes variations). The 'riggs' referred to in the title specifically are furrows of a newly plowed field, though the title is taken to mean fields of grain.
**
This tune, a Scottish Measure, dates from the 17th century and has had currency in both "old" and "new" sets. The new set has words written to it by the Scottish national poet Robert Burns, and is still popular, while an "old set" of the tune was printed in the Panmure 9454 MS, Seventy-Seven Dances, Songs and Scots Airs for the Violin (c. 1675). Munro wrote a variation sonata based on the tune published in 1732 (Collection of Scots Tunes) and it was his idea to combine the Scottish air-jig form with the Italian sonata da camera. The melody was ascribed to Robert McIntosh by Mr. John Glen who added it in hand in his copy soon after it was published (in the McLean Collection by James Johnson in Edinburgh in 1772).
**
Chappell (1859) asserts that the melody was taken from an English tune called "Sawney was tall and of noble race," a song in Thomas D'Urfey's play The Virtuous Wife. Emmerson (1971) also suggests the prototype for "Corn Riggs" is the melody "Sawney," which he says can be found in John Playford's Appolo's Banquet (Fifth Ed., 1687), and he prints both tunes together. Similarly, it was the opinion of G. Farquhar Graham, writing in The Popular Songs and Melodies of Scotland (Glasgow 1893), that "...setting aside historical evidence, of which there is plenty, whoever will look at the air without prejudice, must see that it has no Scottish characteristics whatever, and that its flowing English style is apparent from the first bar to the last." John Glen in Early Scottish Melodies (1900, pg. 51), admits the tune is "somewhat of an English character." Along with the previously mentioned sources, other stage works incorporated the melody, and it was used, for example, by Allan Ramsay in his ballad opera The Gentle Shepherd (1725), which was published three years before Gay's Beggar's Opera made the genre famous. Also in England the piece was used as a vehicle for a polka step in the North-West Morris tradition (Wade), and the title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. It is one of the "missing tunes" from William Vickers' 1770 manuscript of Northumbrian melodies. Corn Rigs is also the name of a country dance frequently taught by country dance masters in Scotland in the 19th century. Caoimhin Mac Aoidh (1994) remarks that the tune and dance were well-known in County Donegal, and states "its popularity may be inferred by the existence of at least three versions of the tune which is widespread throughout the county including a very masterful one by (fiddler) Mickey Doherty."
**
Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 22, pg. 126. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 22. Jarman, Old Time Fiddlin' Tunes; No. or pg. 20. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 14, pg. 7. Kerr (Merry Melodies), Vol. 1; No. 1, pg. 24. Lerwick (Kilted Fiddler), 1985; pg. 9. Miller & Perron (101 Polkas), 1978; No. 92. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 79. Northumbrian Pipers' Tune Book, Vol. 2; pg. 2. Raven (English Country Dance Tunes), 1984; pg. 165. Stewart-Robertson (The Athole Collection), 1884; pg. 148. Sweet (Fifer's Delight), 1964/1981; pg. 63. Wade (Mally's North West Morris Book), 1988; pg. 19. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 47. Topic 12TS382, New Victory Band - "One More Dance and Then" (1978, learned from Yorkshire melodeon player George Tremain).
X:1
T:Corn Riggs are Bonny
L:1/8
M:C|
K:D
|:dc de f2 ed|cB cd e2 A2|dc de fg ef|d2a2a2 (3ABc|dc de f2 ed|cB cd e2A2|
Bc dB ed cB|A2d2d2 (3ABc:|
|:d2a2 fga2|cB cd ec A2|d2a2 fg ef|d2 ab a2 (3ABc|d2a2 ba gf|gf ed cd eA|
Bc dB ed cB|A2d2d2A2:|
X:2
T:Corn Rigs
L:1/8
M:C|
R:Country Dance
B:The Athole Collection
K:G
D|G3A cBAG|FEFG A2D2|G3A BcAB|G2de d2D2|G3A cBAG|
FEFG A2D2|EFGE AGFE|D2G2G3:|
D|G2d2 BcdG|FEFG A2D2|G2dc BcAB|G2de d2D|G2d2 edcB|
cBAG F2D2|EFGE AGFE|D2G2G3D|G2d2 BcdG|FEFG A2D2|
G2 dc BcAB|G2de d2ef|gfed edcB|cBAG GFED|EFGE AGFE|
D2G2G3||

CORRIMONY (Coire Mhonaidh). Scottish, Strathspey. A Major. Standard. AB (Fraser): AABB' (Kerr). This tune "is a tribute of respect from the editor to the worthy author of the Celtic Antiquities, perhaps the individual, in point of taste and knowledge, most sapable of appreciating the merits of the present work,--his unqualified approbation having been the first stimulus to the editor's undertaking it {James Grant of Corrimony, advocate author of the 'Origin of Society', 'Thoughts on the Origin and Descent of the Gael,' &c., is here referred to. Corrimony lived to be the father of the Scottish bar, and died in 1835, aged 92. He is buried in Caldh Churadain, Glen Urquhart}" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 102, pg. 39. Kerr (Merry Melodies), Vol. 2; No. 35, pg. 7.
T:Corrimony
T:Coire Mhònaidh
L:1/8
M:C
Q:140
S:Fraser Collection
K:A
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E<C C>E A,EC<F|E<C C>E F>E C<F|E<C C>E A,>EC>c|A<F E>C (B,2 B,)||
f|e<c a>c b>ca>f|e<ca>g f>e c<f|e<c a>c b>ca>g|b/a/g/f/ a>c B2 Bf|e<c a>c b>ca>f|
e<c a>g f>e c<f|e>cd>B c>A B<G|A<F E>C (B,2 B,)||

COTTAGE MAID, THE. Irish, Air (4/4 time). F Mixolydian. Standard. AB. "Song composed by Larry Dillon of Tipperary, a noted and successful classical teacher of the early part of the last century. The air of this song was published by me for the first time in my Ancient irish Music, to which the reader is referred for more information" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 393, pg. 201.

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
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COVER THE BUCKLE. AKA and see "The Blooming Meadows," "The Hag in Her Praskeen." Irish. O'Neill (1913) finds references to this title confusing as to whether it was a tune or a dance. It is mentioned by Charles Lover in his song "Darby the Blast," a part of which goes:
***
As he plays 'Will I Send for the Priest?'
Or a jig they call 'Cover the Buckle.'
***
Hall's Ireland, of about the same date, relates an infatuated swain telling of his observing the object of his affections, Kate Leary, "covering the buckle, and heel on toe on the flure" opposite his rival in a dance. O'Neill cites a source, a respected County Leitrim piper born in the beginning of the 19th century named James Quinn, who lived near Chicago for many years, played a double jig he called "Cover the Buckle" or "The Hag and Her Praskeen" (which O'Neill states is generally known as "The Blooming Meadows"). O'Keefee and O'Brien's A Handbook of Irish Dance lists "Cover the Buckle" with figure or set dances which are irregular in structure. O'Neill finally quotes Shelton Mackenzie, born at Mallow, County Cork, in 1809. In an article on dancing masters Mackenzie describes:
***
...that wonderful display of agility known in my time as 'Cover the Buckle'-a
name probably derived from the circumstance that the dancing master, while
teaching, always wore large buckles in his shoes, and, by the rapidity of motion
with which he would make his 'many twinkling feet' perpetually cross, would
seem to 'cover' the appendages in question.
***
Furthermore, while instructing his students the dancing master would encourage them by saying, "That's the way," "Now a double cut," "Cover the buckle, ye divel," "Oh then, 'tis he that handles his feet nately" etc.

CRAIGELLACHIE LASSES, THE. Scottish, Jig. D Major. Standard. AB. Composed by Willaim Marshall (1748-1833). Craigellache is Gaelic for 'windy' (craig) rock (aileach), and refers to two rugged outcropings in Bannfshire. Neil (1991) relates the westernmost (or upper) rock marked the boundary between Strathspey and Badenoch and was the wartime rallying point of the Clan Grant. The lower rock is located at the confluence of the Spey and Fiddich rivers and marks the point where the parishes of Aberlour, Hnockando and Boharin meet. The clan's crest incorporates the image of a mountain in flames to commemorate the old clan practice of lighting fires on the top of both rocks to call the clan to war. Similarly, the clan's armorial motto is "Stand Fast Craigellachie." Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 4. Neil (The Scots Fiddle), 1991; No. 66, pg. 91.
T:Craigellachie Lasses, The
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M:6/8
S:Marshall - 1845 Collection
K:D
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AFD DFA|ECA, A,B,C|D3D2f/g/|afd afd|gec gec|fdA fdA|ecA ecA|BGB dcB|
AFA Bcd|Bgf e>dc|d3 D||

CRIPPLE CREEK. AKA- "Going Up/Down Cripple Creek," "Going Up/Down Brushy Fork," "Going Up/Down Shootin' Creek." Old-Time, Bluegrass; Breakdown. USA, Widely known. A Major (Brody, Phillips): C Major (second of Thede's versions): G Major (Ford). Standard, AEAE, ADAE, AEAC#. AABB (Brody, Phillips, Thede): AABBCC (Ford): AA'BBCC' (Phillips/1994). The tune had and still has wide currency throughout the South. There have been several suggestions about the origin of the title and tune, although no definitive information has been found. Folklorist Alan Jabbour, of the Library of Congress found that the oldest Appalachian fiddlers he collected from could recall the first time that they had heard "Cripple Creek," leading Jabbour to speculate that the title might have something to do with the Cripple Creek, Colorado, labor troubles. Gold had been discovered there in 1891 and the labor disputes date from 1903-1904. Many think the tune and title older however, and point out a likely candidate for the title origins include the Cripple Creek that flows through Grayson and Carroll Counties in Virginia, emptying into the New River.
**
This ditty, or similar rhymes, was collected with the tune from various sources:
**
Goin' up Cripple Creek, goin' on the run,
Goin' up Cripple Creek, have some/a little fun.
**
North Carolina banjo player and singer Charlie Poole recorded the song with the North Carolina Ramblers, adding verses which referred to the Shooting Creek region of Franklin County, southwest Virginia, famous for many years as a center for distilling homemade whiskey (becoming notorious for the commodity during the Prohibition). Poole was a frequent visitor, according to Tom Carter and Blanton Owen (1978).
**
Oh gals, you'd better look sweet,
'Cause there's plenty a more liquor on Shootin' Creek.
Oh gals, you'd better keep still,
'Cause there's plenty a more liquor in them Ivory Hills. (Charlie Poole)
**
In the Mid-west it was recorded from Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist Vance Randolph for the Library of Congress. Sources for notated versions: J.S. Price (Pottawatomie County, Oklahoma, and Claude Keenan, Oklahoma County, Oklahoma) [Thede]; Benny Thomasson (Texas) [Phillips/1989]; Clark Kessinger & Benny Thomasson [Phillips/1994]. Brody (Fiddler's Fakebook), 1983; pg. 79. Ford (Traditional Music in America), 1940; pg. 94. Phillips (Fiddlecase Tunebook), 1989; pg. 14. Phillips (Traditional American Fiddle Tunes), 1994; pg. 61 (two versions). Thede (The Fiddle Book), 1967; pg. 109-110. American Heritage 515, Mark O'Conmner- "You Be the Judge." Columbia CL 2134l, Flat and Scruggs- "Live at Vanderbilt University." County 703, Vernon Solomon- "Texas Hoedown." Davis Unlimited 33015, Doc Roberts (Ky.) - "Classic Fiddle Tunes." Edison 51789 (78 RPM, 1925), and Victor (78 RPM, 1924) Fiddlin Cowan Powers (b. 1877, S.W. Va.). Folkways FA 2426, Doc Watson (N.C.) - "At Folk City." Gennett 5635B (78 RPM), 1925, Tweedy Brothers (W.Va.). Gennett 6336 (78 RPM), Doc Roberts (Ky.). Heritage XXIV, Tommy Jarrell - "Music of North Carolina" (Brandywine, 1978). Missouri State Old Time Fiddlers' Association, Cyril Stinnett - "Plain Old Time Fiddling." OKeh 40336 (78 RPM), The Hill Billies (1925). Rounder 0058, Albert Hash, Paul Spencer, Jones Baldwin (Va.) - "Old Originals, Vol. II" (1978). Rounder 1823, Jimmie Strothers - "Deep River of Song: Black Appalachia-String Bands, Songster and Hoedowns." Tradition Records TLP 1007, Hobart Smith- "Instrumental Music of the Southern Appalachians" (1956). Voyager 309, Benny and Jerry Thomasson (Texas) - "The Weiser Reunion: a Jam Session" (1993). Marie Rhines- "Tartan and Sagebrush."
T:Cripple Creek
L:1/8
M:2/4
S:Frank Maloy, Devil's Box, Vol. 22, No. 3, Fall 1988, pg. 52.
K:A
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(E/F/)A/B/ AA/B/|(B/c/)e/c/ (B/A/)F/A/|(B/c/)e/c/ EA/B/|(B/c/)e/c/ (B/A/)F/D/|
(E/F/)A/B/ A:|

CROSS REEL(, DA). AKA and see "Cross Rig," "General Howe," "The Lasses of Stewarton." Shetland, Reel. D Major/G Major. Standard. AABCDAA (Brody): AABB (Anderson). According to Cooke (1986) the tune is a counsin to the Scottish tune "The Lasses of Stewarton" (Stewartown, Stewingtown) {also the name of a country dance first published c. 1794}, though the Shetland versions are usually asymmetrical and the Scottish not. "One Shetland version is shown in Ex. 12 and it is likely that it is derived from the Scottish tune but that fiddlers and dancers modified it in early days so that it fitted their preference for asymmetrical structures. The tune was danced in Whalsay (the tune is also known on that island as "General Howe") during this century, where I was told that to perform it they had to do a 'double dancing turn' (i.e. dance for twice as long)" (Cooke, 1986). Source for notated versions: Tom Anderson (Shetland) [Brody], Bobbie Peterson (Tingwall Mainland, Shetland) [Cooke]. Anderson (Ringing Strings), 1983, pg. 61. Brody (Fiddler's Fakebook), 1983; pg. 80. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 12, pg. 62. Philo 2019, Tom Anderson and Aly Bain- "The Silver Bow."
T:Cross Reel
L:1/8
M:C
K:D
"D"fage f2 f2|"D"ABAF D3 f|"D"gfed "C"=c2 c2|1"C"EDEF "G"G2 e2:|2
"C"EDEF "G"G3 A||
K:G
"G"B2 BG "D"AFAF|"G"B2 BG "D"A3 A|"G"B2 BG "D"AFAD|"D"EDEF "G"G3 D||
K:G
"D"FGAc "G"BGBG|"D"AFAF d4|"D"FGAc "G"BGBG|"D"AFAF "G"G3 A||
K:D
"D"defg afde|"D"fdfg a2 fe|"D"defg afdf|"C"e=cef g2 ge|"D"defg afde|"D"fdfg a2 ag||

CUAIRT DONNCHAIDH DO'N MHEINN GUAIL (Duncan's Trip to the Coal Mines). Cape Breton, Strathspey. A Major. Standard. AB. John Campbell (Dunlay and Reich). The 'coal mines' referred to are probably Cape Breton's Mabou Coal Mines. The tune resembles "Lady Elizabeth Lindsay," composed by Nathanial Gow (1763-1831) in the key of B Flat (as printed in MacDonald's Skye Collection). Dunlay and Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 30. Rounder 7009, Doug MacPhee- "Cape Breton Piano." Cape Breton's Music Tape CX 35, Donald MacLellan (Celtic 35); JC 124, John Campbell- "Cape Breton Violin" (as "Traditional Strathspey").

CUCKOO'S NEST [14] (Nead na Cuaiche" or "Nead an Cuaic"). See "Cuckoo Hornpipe." AKA and see "All Around," "Captain Moss's," "Come Ashore," "Come Ashore, Jolly Tar, With Your Trousers On," "Coo Coo's Nest," "I do confess thou art sae fair," "Jacky Tar" (Hornpipe), "The Mower," "The Mountain Top," "An Spealadoir" (The Mower), "The Trowsers On," "The Yellow Heifer." British Isles, Old-Time, Bluegrass; Hornpipe, Reel, Breakdown. D Major (Brody, Carlin {setting #1), Kerr, Moylan, Phillips/1995 {setting #1}: D Dorian (Roche, 1st setting): G Major (Harding, Merryweather & Seattle, Mulvihill, O'Neill/Krassen & 1001, Phillips/1995 {setting #2}, Roche {setting 2}: E Aeolian (O'Neill/Krassen -1st setting): A Dorian (Phillips): A Major (Carlin, setting #2). Standard. AB (Begin): AABB (Brody, Harding, Kerr, Moylan, Phillips, Roche, O'Neill, Phillips and Carlin {1st settings}): AABC (Mulvihill): AABBCC (Kennedy, Merryweather & Seattle, O'Neill/Krassen, 1001 & 1915, Roche, and Carlin {2nd settings}).
***
An extremely popular English melody known throughout the British Isles and British North America whose title, the 'cuckoo's nest,' commonly referred to female pubic hair and accompanying anatomy. It dates to at least the early 18th century. James Aird's printing in his Selection of Scotch, English, Irish and Foreign Airs, Vol. 1 (1782, pg. 66) includes an interesting fourth strain, not found in other sources. Matt Seattle (1987, 1994) believes the tune to originally have been a Scots Measure in D Minor with the title "Come Ashore Jolly Tar (with) Your Trousers On," but notes that many versions of this tune exist, with quite substantial variation between them, in major and minor keys (he remarks that the Northumbrian William Vicker's late 18th century setting is evidently minor, despite the key signature). The title appears in numerous 18th and 19th century dance collections, and made Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. In Jacobite Relics (1819) James Hogg prints a song to the melody, commenting: "It must have been a great favourite in the last age, for about the time when I first began to know one tune from another, all the old people that could sing at all, could sing "The cuckoo is a bonny bird." He prints the following words to the tune:
***
The cuckoo's a bonny bird when he comes home,
The cuckoo's a bonny bird when he comes home;
He'll fley away the wild birds that hank about the throne,
My bonny cuckoo when he comes home.
***
The Cuckoo's Nest is also the name of a Scottish country dance, which, though increasingly rare, was danced in parts of the country (e.g. West Berwickshire) through the 19th century.
***
The 18th century Munster poet Eoghan Rua O Suilleabhain used the tune for his poem "An Spealadoir." Doolin, north County Clare tin whistle player Micho Russell also associated the tune with a 'spailpin,' or wandering harvest laborer (he called the tune "The Man that cuts the hay with the Scythe"). Bayard (1944) and Breathnach (1985) both cite the collector Father Henebry (A Handbook of Irish Music, pgs. 170-1) who was convinced that the third part of the Irish versions was modern (i.e. in his time, c. 1900), and "was tastelessly added to the original two parts or the air." Breathnach (1985) also notes that many songs were written to the air, and gives a verse from Seán Ó Dálaigh's collection of a rural love ballad popular in Munster:
***
Tá páircín bheag agamsa
de bhán, mhín, réidh;
Gan claí, gan fál, gan falla léi,
ach a haghaidh ar an saol;
Spealodóir do ghlacfainnse,
Ar task na d'réir an acara,
Bé acu sud do b'fhearr leis,
nó páigh in aghaidh an lae.
(Literal translation by Paul de Grae:)
I have a small little field
white, smooth, ready;
without fence, without hedge, without wall,
but its face to the world:
I'd take a mower
on a task or by the acre,
whichever he'd prefer,
or paid by the day.
***
Breathnach thinks the "An Spealdoir" (by which it is commonly known in Ireland) title stems from this verse.
***
In America, the melody was included in New Windsor, Connecticut, musician Giles Gibbs' MS collection of 1777, Henry Beck's flute manuscript of 1785 (pg. 56), and Clement Weeks' collection of dances made in 1783. It was even preserved in a chime clock of the period manufactured by New Windsor, Connecticut, clockmaker Daniel Burnap. The tune remains a popular staple at New England contra dances to this day. In other American traditions, the title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Similarly, in modern times in the United States the tune has been assumed into Texas fiddling tradition, probably derived from Canadian or Midwestern sources (Guthrie Meade & Mark Wilson).
***
Sources for notated versions: "loosely based on the playing of Dave Swarbrick" (England) [Phillips/1989]; piper Seamus Ennis (Ireland) [Breathnach]; from "an old music book of 1723" [Bunting]; from a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]; Ruthie Dornfeld and James Chancellor [Phillips/1995]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at a recital at Na Píobairí Uilleann, February, 1981 [Moylan]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Aird (Scotch, English, Irish and Foreign Airs), volume I, No. 190 (appears as "Come ashore Jolly Tar"). Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 22, pg. 37. Breathnach (CRE III), 1985; No. 221, pg. 101. Brody (Fiddler's Fakebook), 1983; pg. 81. Carlin (Master Collection), 1984; pgs. 163-164, No.'s 291-292 (arrangements by John Kimmel). Harding's All Round Collection, 1905; No. 52, pg. 16. Jarman, Old Time Fiddlin' Tunes; No. or pg. 23. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 27, pg. 14 [note for note the same as Raven's version]. Kerr (Merry Melodies), Vol. 4; No. 282, pg. 30. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 28, pg. 35. Mulvihill (1st Collection), 1986; No. 26, pg. 96 (appears as "Cuckoo's Nest No. 1," identical to O'Neill's 1850 2nd setting). O'Neill (1915 ed.), 1987; No. 321, pg. 158. O'Neill (Krassen), 1976; pg. 205 (two settings). O'Neill (1850), 1903/1979; Nos. 1733 & 1734, pg. 322. O'Neill (1001 Gems), 1907/1986; No. 913, pg. 156. O'Sullivan/Bunting, 1983; No. 110, pgs. 157-158. Phillips (Fiddlecase Tunebook), 1989; pg. 14. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 188. Raven (English Country Dance Tunes), 1984; pg. 177 (appears as "The Cuckoo's Nest {New}" and is the same version as O'Neill's second setting). Roche Collection, 1982; Vol. II, pg. 19 and Vol. 3, pg. 60, No. 170. Russell (The Piper's Chair), 1989; pg. 26 (appears as "The Man that cuts the Hay with the Scythe"). Sannella, Balance and Swing (CDSS). Stanford-Petrie (Complete Collection), 1905; No. 1206. Seattle (William Vickers), 1987, Part 2; No. 289. Folkways FS 3809, Dan White and John Summers- "Fine Times at Our House." Fretless 103, "Clem Myers: Northeast Regional Old Time Fiddle Champion 1967 & 1970." Fretless 201, Jerry Robichaud- "Maritime Dance Party" (1978). Front Hall 017, Michael and McCreesh- "Dance, Like a Wave of the Sea" (1978. Learned from the playing of Martin Carthy & Dave Swarbrick). Kicking Mule 204, Pat Dunford- "The Old-Time Banjo In America." Rounder 0046, Mark O'Conner- "National Junior Fiddle Champion." Rounder 0060, Brother Oswald and Charlie Collins- "Oz and Charlie." Sonet SNTF 764, Dave Swarbrick and Friends- "The Ceilidh Album." Tara Records 1009, Seamus Ennis - "The Fox Chase" (1977).
T:Cuckoo's Nest, The [14]
L:1/8
M:C|
R:Hornpipe
S:O'Neill - 1001 Gems (913)
K:G
dc|BABA GBdg|fdcB cedc|BABG FGAB|c2A2 A2dc|
BABA GBdg|fdcB cedc|BABG FGAc|B2G2G2:|
|:Bc|dBGB dBGB|dcBA G2 AB|cAFA cAFA|cBAG F2BA|
GABc d2g2|fdcB cedc|BABG FGAc|B2G2G2:|
|:Bc|dggf gabg|afd^c d2 de|=fede ^fgaf|gfdB cedc|
BABA GBdg|fdcB cedc|BABG FGAc|B2G2G2:|

CUPID'S COURTESIE. AKA and see "I Am So Deep in Love." English, Air (3/4 time). G Minor. Standard. AB. Chappell (1859) finds the song in the Roxburghe Collection, Pepys Collection, and the Douce Collection, and notes it was licensed to Coles, Wright, Vere and Gilbertson in March, 1655. The copy in the Roxburge Collection he dates to the reign of Charles II, when it was referenced as having been sold by booksellers, but the Roxburge editor, Payne Collier, mentions a MS. copy dated 1595 where it is called a "most pleasant Northern tune." As was common with most ballad tunes, it was the vehicle for several other songs. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 99.

CUSHION DANCE, THE [1]. Scottish, Jig. A Major. Standard. AABB. The cushion dance is a kissing game/dance. The dance was mentioned by a lawyer and antiquary named Selden (d. 1654) in his "Table Talk": "...the court of England is much altered. At a solemn dancing you had the grave measures, then the corantoes and galliards, and this kept up with ceremony, at length to the Trenchmore and the Cushion Dance then all the company dances, lord and groom, lady and kitchen maid, no distinction. So in our court in Queen Elizabeth's time gravity and state were kept up. In King James' time, things were pretty well, but in King Charles' time there has been nothing but the Cushion Dance, omnium gatherum, tolly polly, hoity come toity" (Robin Williamson). Chappell (1859) describes the dance fully, quoting from Playford's Dancing Master, and quotes references to it from Elizabethan times to a political parody of 1704 called "The Cushion Dance at Whitehall, by way of Masquerade. To the tune of 'Joan Sanderson.'" See also the note for "Babbity Bowster." Carlin (The Gow Collection), 1986; No. 417. Gow (Complete Repository), Part 3, 1806; pg. 27.
T:Cushion Dance, The [1]
L:1/8
M:6/8
S:Gow - 3rd Repository
K:A
e3 f3 {ef}|edc B2A|~F>GA E2c|{c}d2c B2A|
e3f3 {ef}|edc B2a|ecA F2E|~F3 A2:|
|:e|(ac')e (ac')e|bd'e bd'e|ac'e ac'e|gbe gbe|
ac'e ac'e|bd'e bc'd'|c'ba f2e|(f3 {ef} a2):|

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.

DANIEL OF THE SUN [2] (Dónall na Gréine). AKA and see "The Leg of Duck," "The Bonny Highlander," "The Bottle of Brandy," "Bucky Highlander," "Bully for you," "Daniel Drunk," "From the Court to the Cottage," "Girls of the West", "I gave to my Nelly," "The Leg of the Duck," "Nelly's Jig," "O my Dear Judy," "O My Dear Father Pity your Daughter," "Petticoat Loose," "Potatoes and Butter," "She is/She's the girl that can do it," "Sonny/Sunny Dan," "Thady/Tady you Gander," "Teddy you Gander," "'Tis sweet to think," "The Western Jig," "You May Talk as You Please." Irish, Double Jig or Air. G Major. Standard. AB. Some similarities to version #1. Source Micho Russell indicated the Gaelic title of the song translated literally as "Daniel of the Stroke," referring to someone with sunstroke. It was a fairy tune, said Micho, and told the story of a man who lived in a small thatched house by the side of the road. The man became very ill, but was able to rise and happened to go out to the road one night where he met a stranger who inquired after his health. The man replied that he was indeed very sick, "and I cannot get better." The stranger said that if he was able to play this tune until morning he should be allright, and proceeded to lilt a tune which was listened to very carefully. Upon returning to his dwelling, the man practised the tune on his old tin whistle, and sure enough, by morning's light his sickness was gone. Breathnach (1976) prints the beginning of the song:
**
Comaion is frolic chuir Artúr a bhailis
Ar Dhónall na Gréine;
Má chuala sibh a thréithe
Go gcaithfeadh sé seachtain ag ól I dtíi leanna
'S ná titfeadh néal air,
B'annamh dith céille air.
**
Arthur Wallace put an obligation and a frolic
On Dhónall na Gréine;
If you heard of his traits,
That he would spend a week drinking in an ale house
And that gloom would never fall on him,
And that folly was a rarity with him (Literal translation by Paul de Grae).
**
The song appears in Seán Ó Dálaigh's Poets and Poetry of Munster (1849), though not usually sung to the version Breathnach gives. Breathnach says it is apparently in praise of Dhónall na Gréine, though "it is a complete pretence." He remarks that in districts in which Irish was formerly spoken a common lilt survives, which goes "Dónall ar meisce is a bhean ag ól uisce is na leanaí ag béicigh, na leanaí ag béicigh" (Donall drunk and his wife drinking water and the children roaring, and the children roaring). English ditties to the tune go by the title "From the Court to the Cottage," "Girls of the West," "I gave to my Nelly," "Thady you Gander," and "Tis sweet to think." Source for notated version: flute and whistle player Micko Russell, 1967 (Doolin, Co. Clare, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 10, pg. 7. Russell (The Piper's Chair), 1989; pg. 7.

DARGASON/DARGISON. AKA and see "Sedan(n)y," "The Melody of Cynwyd," "Country Courtship," "Irish Washerwoman." English, Air and Country Dance Tune (6/4 or 6/8 time). F Major. Standard. One part. The earliest printing of this "circular" or "endless" tune was in Thomas Ravencroft's Pammelia (London, 1609, pg. 30), which would date it probably to the 16th century--it appeared in that work in altered form under the title "Oft have I ridden upon my Grey Nag". Chappell (1859) finds several references to it in early sixteenth century literature, including Ben Jonson's Tale of a Tub:
**
But if you get the lass from 'Dargison,'
what will you do with her?
**
It was later printed in the 1650-1 edition of Playford's Dancing Master (pg. 71) where it was already considered quite old and part of the traditional repertoire, and in the 1794 edition of Edward Jones's Musical and Poetical Relicks of the Welsh Bards (London, pg. 129) under the title "The Melody of Cynwyd." Some sources maintain the tune was the precursor to the (in its time) well-known tune "Country Courtship," which in turn evolved into the even more well-known "Irish Washerwoman" of 19th and 20th century popularity, however, Fuld (1971) states that the song apparently developed independently of the melodically similar "Washerwoman" tune. Little is known regarding the title, however, 'darg' is a Middle English word which means 'a day's work' and both 'darger' and 'dargsman' are forms which refer to day laborers; thus 'dargeson' may also mean a day laborer. The Dargason melody was used by the English composer Gustav Holst in his Second Suite in F (for Concert Band), where it appears in the powerful climax to the final movement. Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pgs. 230-231. Sharp (Country Dance Tunes), 1909/1994; pg. 24.

DARK LOUGH NA GAR (Loc Dorca Na Gar). AKA - "Dark Loch na gCaor," "Dark Lochnagar." Irish, Air (6/8 time). D Major. Standard. AABB. Gearoid O' hAllmhurain believe this tune may have been learned in County Clare from Scottish sappers in the 1830's who were sent to the region as part of the British survey of the country. Whatever its origins, it became the melody of a popular 19th century song circulated on ballad sheets (the ballad gives reference to the Scottish battle of Culloden, in 1746). Recorded by Clare piper Robbie Hannon. Piper Jimmy O'Brien-Moran says it was a favorite of Willie Clancy's. O'Neill (1850), 1903/1979; No. 477, pg. 83. Piping Pig Productions PPPCD001, Jimmy O'Brien-Moran - "Seán Reid's Favourite" (1996).

DARK SLENDER BOY, THE [2]. AKA and see "Black Slender Youth," "Black Slender Boy," "White Cassidy," "An buacaill Caol Dub." Irish, Air (3/4 time). G Major. Standard. AA'B (Roche): AB (O'Neill). George Petrie thought the original works of the song to be lost and that "the various songs now sung to it are quite unworthy of being associated with it." The 'unworthy' song he was referring to was composed by Séan Aerach Ó Seannacháin (c. 1760), who bemoans the dark slender bottle of whiskey, the cause of his misfortunes. O'Neill (1915 ed.), 1987; No. 31, pg. 24. Roche Collection, 1982; Vol. 1, pg. 14, No. 25. Piping Pig Records PPPCD 001, Jimmy O'Brien- Moran - "Seán Reid's Favourite" (1996).

DAVISTOWN. AKA and see "The Stick Beat," "Old Stick Beat March," "Old Seven Spot," "Old Number Seven," "Taylor's March," "Frank Keeney." American, March (2/4 time). USA, southwestern Pa. D Major. Standard. AB. Davistown is a village in southeastern Greene County, Pa. Bayard (1981) notes this march tune was "universally" known to local fifers, but infrequently played by fiddlers. The "stick beat" in the alternate titles refers to the accompaniment by the drum corps, which beat time on the edge of the drum and with stick-agianst-stick to the music. Bayard was not able to trace the tune or component strains outside of the region. Source for notated version: Marion Yoders (Greene County, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 228H, pgs. 188-189.

DAY DAWES, THE [3]. Scottish, English. The melody appears in the Straloch MS, an early 17th century lute book. Emmerson (1971) says it is not particularly Scottish in character and "may possibly be the English version referred to in several sixteenth-century English sources."

DEIL TAK THE WARS. Scottish. "First printed in England in D'Urfey's Pills to Purge Melancholy, 1698. Who knows to which war it refers. Probably the Civil War, or some Border conflict. The Scots made a number of successful forays into England during the 17th century (Williamson)." Flying Fish FF358, Robin Williamson - "Legacy of the Scottish Harpers."

DELANEY'S JIG. AKA and see "The Tynagh Jig." Irish, Jig. The title refers to piper Denis Delaney of Ballinasloe.

DEVIL AMONG THE MANTUA-MAKERS. Scottish, Reel. A Major. Standard. AAB. "Named so, at the request of a Lady in (Elgin) Moray-Shire" (Marshall). Mantuas were a woman's loose gown, called a mantie or mantua in the 17th and 18th centuries from the French word manteau. Alternately, it referred to a mantle fashionable in the second and third decade of the 19th century, also for women, derived from the custom of wearing a "plaid". However, since they were of open crochet or lace work, they didn't hide the face and thus were more stylish for dance assemblies. A dictionary also equates the term 'mantua-makers' with dressmakers, and says a mantua is a "woman's loose outer skirt." Mantuas were manufactured as an Edinburgh women's cottage industry in small workshops or at home. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 19.
T:Deil Among the Mantua-Makers
M:4/4
L:1/8
Z:Andrew Kuntz
K:A
|: ~c3d edcd | efga fedc| ~c3d edcd | fedc c2B2 :|
|| ~E3G BGEG | ABcd ecAc | E3G BGEA | cAec c2B2
| E3G BGEG | ABcd ecAc | dfdB cecA | dBAG A2A2 ||

DEVIL'S DREAM [1] (Aisling An Diabail). AKA and s see "The De'il Among the Tailors," "Satan's Nightmare." See note for "Parody." British Isles, Canadian, American, Old-Time; Reel or Hornpipe. USA; Connecticut, New Hampshire, Maine, Pennsylvania, New Jersey, New York, Michigan, Tennessee, Mississippi, Arkansas, Missouri, Kentucky. England, Shropshire. Canada; Quebec, Prince Edward Island. A Major (most versions): G Major (Hardings, Shaw). Standard. One part (Burchenal, Lowinger): AABB (most versions): AABBCC (O'Neill/1001): AABCDEFG (Kerr). Despite its occasional appearance in the South, it is known as a Northern tune. Linscott (1939) thought the tune to be of Irish origins, but it has since been rather easily traced to a Scottish reel, "The De'il Among the Tailors," composed c. 1790, and it appears in the Scottish Kerr collection (Vol. 4) as "Devil's Dream." In America it has almost invariably been known by the "Dream" title, while in the British Isles it is always found under the Tailor/Taylor title--notwithstanding its appearance in Kerr as "Devil's Dream," which may have been evidence of a transatlanctic return of the piece. Bayard (1981) notes that the tune, like "Soldier's Joy," has been transplanted to Scandinavia. It was of the tunes cited by Lettie Osborn (New York Folklore Quarterly) as having been commonly played for dances in Orange County, New York, in the 1930's. Linscott recorded a dance, also called "Devil's Dream," for which this tune was played in Hinsdale, N.H., and Burchenal (1918) also printed a New England contra dance of the same name to the tune. It was in the repertoire of Arizona fiddler Kenner C. Kartchner, who said of it "plenty old and difficult to play properly." New Englanders Tolman and Page (The Country Dance Book) have this to say about the tune: "All fiddlers are jealous of their accomplishments, you know, and it is an absolute impossibility to be accepted into their clan unless one can perform both 'Devil's Dream' and 'Speed the Plow' in a creditable manner, preferably with home-made variations. Old Theophilus (Parse) Ames used to say that a fiddler without his own version of 'Devil's Dream' was of 'as much account as a string of wampum in the Washington mint'" (pg. 112). Boone County, Missouri, fiddler Cyril Stinnet (1912-1986) probably didn't agree, for although it was the first tune he learned on the fiddle at age 8, he once later remarked he did not much care for the piece. The tune was rumoured (in New Jersey, for one place) to have been composed by Satan himself (and played on the 'devil's box', or the fiddle) {Cauthen, pg. 202}. It was in the repertories of fiddlers Uncle Jimmy Thompson (1848-1931) {Texas, Tenn.), Harry Daddario (Union County, Pa.), and Henry Ford's late 1920's champion Mellie Dunham (Maine). It was recorded in the early 1940's from Ozark Mountian fiddlers by musicologist/folklorist Vance Randolph for the Library of Congress./ Thomas Hardy, English novelist, fiddler and accordion player, mentions the tune in his The Return of the Native:
***
The air was now that one without any particular beginning,
middle, or end, which perhaps among all the dances which
throng an inspired fiddler's fancy, best conveys the idea of
the interminable - the celebrated 'Devil's Dream'. The fury
of personal movement that was kindled by the fury of the
notes could be approximately imagined by these outsiders
under the moon, from the occasional kicks of toes and
heels against the floor, whenever the whirl round had been
of more than customary velocity.
***
Sometimes lyrics such as these have been attached to the tune:
***
Forty days and forty nights
The Devil was a-dreaming,
Around the bark, old Noah's ark
The rain it was a-streaming.
The monkey washed the baboon's face,
The serpent combed his hair,
And up jumped the Devil
With his pitchfork in the air. (Ford)
***
Sources for notated versions: Dennis McClure (Willimantic, Conn.) [Linscott]; John Dingler, 1977 (central New York State, learned from his father) [Bronner]; eight southwestern Pa. fiddlers [Bayard]; Bill Monroe (Ky.) [Lowinger]; Kelly Jones (Mo.) [Phillips]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resides in Montague) [Perlman]. Adam, No. 68. Ashman (The Ironbridge Hornpipe), 1991; No. 26a, pg. 7. Bayard (Dance to the Fiddle), 1981; No. 334A-H, pg. 314-317. Brody (Fiddler's Fakebook), 1983; pg. 85. Bronner (Old Time Music Makers of New York State), 1987; No. 41, pgs. 159-160. Burchenal, 1918; pg. 14. Cazden, 1955; pg. 36. Cole (1001 Fiddle Tunes), 1940; pg. 30. DeVille, No. 77. Ford (Traditional Music in America), 1940; pg. 62. Hardings All-Round Collection, 1905; No. 182, pg. 58. Jarman (Old Time Fiddlin' Tunes); No. or pg. 4. Kerr (Merry Melodies), Vol. 4; No. 27, pg. 6. Linscott (Folk Songs of Old New England), 1939; pg. Lowinger (Bluegrass Fiddle), 1974; pg. 18. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 119. O'Malley and Atwood (Seventy Good Old Dances), pg. 12. O'Neill (1850), 1903/1979; No. 1564, pg. 290 (listed as a hornpipe). O'Neill (1001 Gems), 1907/1986; No. 815, pg. 141. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 108. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 68. Raven (English Country Dance Tunes), 1984; pg. 163. Ruth (Pioneer Western Folk Tunes), 1948; No. 19, pg. 8. Shaw (Cowboy Dances), 1943; pg. 390. Sweet (Fifer's Delight), 1964/1981; pg. 53. Syms, pg. 9. Trim (Thomas Hardy), 1990; No. 21. White's Excelsior Collection, pg. 42. American Heritage 516, Jana Greif- "I Love Fiddlen.'" Biograph RC6006, Bottle Hill- "A Rumor in Their Own Time." CCF2, Cape Cod Fiddlers - "Concert Collection II" (1999). County 747, Clark Kessinger- "Sweet Bunch of Daisies." Decca 31540, Bill Monroe & the Bluegrass Boys." Edison 50653 (78 RPM), Joseph Samuels, 1919. Elektra 217, Eric Weisberg and Marshall Brickman- "Folk Banjo Styles." F&W Records 4, "The Canterbury Country Dance Orchestra Meets the F&W String Band." Folk Legacy FSA-15, Lawrence Older - "Adirondack Songs, Ballads and Fiddle Tunes" (1963). Folkways FTS 31036, Roger Sprung- "Grassy Locks." Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker (Grand Rapids, Michigan)" (1966). Folkways 8826, Per's Four--"Jigs and Reels." Fretless Records 101, "The Campbell Family: Champion Fiddlers." Gennett 6121 (78 RPM, Uncle Steve Hubbard and His Boys, c. 1928. Legacy 120, Jean Carignan- "French Canadian Fiddle Songs." Recorded for the Library of Congress, 1938, by Patrick Bonner, St. James, Beaver Island, Michigan; on Library of Congress 1014A2 by Jilson Setters (Ky.), 1937; and, again for the Library of Congress in 1939 by eighty-year-old Lauderdale County, Mississippi fiddler Stephen B. Tucker. Philo 1040, Jay Ungar and Lyn Hardy- "Catskill Mountain Goose Chase" (1977. Learned from Putnam County, N.Y. fiddler Bud Snow).
T:Devil's Dream
M:C|
L:1/8
K:A
|: eg | agae agae | agae fedc | dfBf dfBf | dfBf gfeg |
agae agae | agae fedc | Bcde gfed | cABc A6 :|
|: ed | ceAe ceAe | ceAe fedc | dfBf dfBf | dfBf gfed |
ceAe ceAe | ceAe fedc | Bcde gfed | cABc A6 :|

DEWY MORNING, THE. Irish, Air (3/4 time). F Minor/Dorian. Standard. AB. Stanford (1902) refers the "Molly Ashoreen" as a similar melody. Source for notated version: "Mr. MacDowell" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 454, pg. 114.

DRAG HER AROUND THE ROAD (Tarraing thar timpeall an Bhóthair í). AKA and see "The Pullet," "The Pullet and the Cock." Irish, Reel. E Minor ('A' part) & G Major ('B' part). Standard. AB. The alternate titles are from Petrie's Complete Collection (1905). Probably a reference to the old Irish custom of holding dances at crossroads. Cherish the Ladies recorded the tune as "The Pullet." Source for notated version: flutist Éamonn de Stabaltún (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 112, pg. 47.
T:Drag Her Around the Road
T:Pullet, The
R:Reel
M:4/4
L:1/8
K:Gm
dGGF G2BG|GFDG FGBc|dGGF G2FG|1 BcdB cABc:|2 BcdB cedc||\
B2dc Bdfd|edcd deef|d3c Bdfg|fdBd cedc|\
B2dc Bdfd|edcd e3a|bgfd egbg|fedB cABc||\

DRY AND DUSTY [1]. Old-Time, Breakdown. USA; Arkansas, Missouri. D Major. DDAD or Standard. AABB. The tune was recorded for the Library of Congress from Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist Vance Randolph. Ken Perlman (1979) relates that whenever an Ozark fiddler wanted a drink while playing for a dance he played this tune as a cue that he was feeling "Dry and Dusty". Reiner & Anick (1989) suggest the title refers rather to the "drought and dust endured by settlers on government-provided, free land claims in the West." A variant of the usual "Dry and Dusty," in DADD tuning (the same tuning the Morrison Twin Brothers used), appears as an untitled tune on Texas fiddler Eck Robertson's County LP (County 202). Sources for notated versions: Gus Vandergriff (Pulaski County, Missouri) [Christeson]; Morrison Twin Brothers (Ark.) [Reiner & Anick]; Lynn 'Chirps' Smith [Phillips]. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 68. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 121. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 75. Caney Mountain Records CLP 213 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965-66. County 518, Morrison Twin Brothers String Band (Ark.) - "Echoes of the Ozarks" (orig. rec. 1930). County 790, Leftwich & Higginbotham - "No One to Bring Home Tonight" (1984). Marimac 9000, Dan Gellert & Shoofly - "Forked Deer" (1986). Rounder 0320, Bob Carlin & John Hartford - "The Fun of Open Discussion."

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:||

DOHERTY'S REEL [1]. AKA and see "Docherty's Reel," "The Gwebarra (Bridge) Reel," "Johnny Doherty's Reel," "The Killarney Boys of Pleasure," "The New Fashioned Habit." Irish, Reel. A Minor. Standard. AABB. The title is a reference to the famous County Donegal fiddler, the late John Doherty (1895-1980) who came from a family of tinkers and musicians who travelled Donegal. The "Gweebarra Reel" is often mis-titled "Doherty's Reel." Carlin (Master Collection), 1984; pg. 131, No. 224.

DONEGAL JIG, THE. AKA and see "The Milestone" [2]. Irish, Jig. A composition of the classically-trained Irish musician Arthur Darley, who collected and performed traditional music in the early 20th century and who lived for a time in Dunkineely, County Donegal. The tune entered tradition and was collected in The Northern Fiddler from the playing of Donegal fiddler Danny O'Donnell (though it was misnamed as "The Milestone"). The name Donegal is Gaelic for 'castle of the strangers.' Caoimhin Mac Aoidh was able to ascertain that the O'Donnell/Doherty piece printed in The Northern Fiddler was a composite of two of three different four-part double jigs that Doherty had learned from Darley. The "The Donegal Jig" is parts 5-6-7-8 of Doherty's piece, while parts 1,2,3 and 4 are a separate untitled Darley composition (the third Darley jig does not appear in The Northern Fiddler). Mac Aoidh states that, "for the record, John preferred to play them the other way around than as they are listed" in the book.

DOODLETOWN FIFER, THE [2]. AKA - "Doodletown Fiddler." AKA and see "Year of Jubilo," "Kingdom Coming." American, March (2/4 time). USA, southwestern Pa. D Major. Standard. AABA. This tune is easily recognized as the more common "Kingdom Coming", derived from a minstrel song credited to Henry Clay Work ("The Year of Jubilo"). There was a now abandoned village called Doodletown in the heart of the Hudson Valley's Harriman State Park, but there is no evidence that is the Doodletown referenced. Source for notated version: George Fisher (fifer from Somerset County, Pa., 1962) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 173, pgs. 124-125.

DORCHESTER HORNPIPE. English, Hornpipe. England, Dorset. B Flat Major. Standard. AABB. Dorchester, the chief town of Dorset, was established and named by the Romans Durnovaria, with the first element of the name derived from the Welsh dwrn, meaning 'a clenched fist', probably in reference to the Iron Age hill fort near the town. Trim (Thomas Hardy), 1990; No. 56.

DORCHESTER MARCH. English, March. D Major. Standard. AB. Huntington found a notation in Emmerson indicating this march was in a manuscript collection of 1768. Winstock (1970) says the march was common in the Revolutionary War period in the British army. Dorchester, the chief town of Dorset, Oxfordshire, was established and named by the Romans Durnovaria, with the first element of the name derived from the Welsh dwrn, meaning 'a clenched fist', probably in reference to the Iron Age hill fort near the town. The missionary Birinus baptized Cynegils of Wessex at the town and founded the first bishopric of Wessex in the year 634. Huntington (William Litten's), 1977; pg. 38.

DOUN (IN) YOUN BANKS. Scottish, Reel. Instructions for a dance to this tune were written down in 1752 by John McGil, dancing master at Girvan, for his students. The tune appears in the Skene MS of c. 1610. Robin Williamson says it is possibly the same air referred to as "By a Bank as I Lay," which was performed for Elizabeth I at Killingworth in 1575. Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2."

DOWN BESIDE ME (Sin Sios agus sios liom). AKA and see "Lie up with me and lie down with me." Irish, Air (cut time). G Major. Standard. AABB. Breadan Breathnach points out that this composition is probably the first Irish air with associated lyrics to have appeared in print, along with a relative called "The Bands of Banna," and reproduces a British broadside sheet of the song which appeared c. 1714 with the note "An Irish song sung by Mr. Abell at his consort at Stationers Hall." Samuel Bayard reports the earliest set he saw was in The Merry Musician, or a Cure for the Spleen, Pt. 1, printed in London in 1716, also labled an Irish song likewise referencing "sung by Mr. Abel at his Consort at Stationers-Hall." Several early collections carried the melody, finds O'Sullivan (1983), including Wright's Aria di Camera (c. 1730), Neale's Celebrated Irish Tunes (c. 1726), Thompson's Hibernian Mus (c. 1786), Holden's Collection of Old-Established Irish Slow and Quick Tunes (1806) and Holden's Collection of Most Esteemed Old Irish Melodies, book I (post 1806). A tune by this title has been attributed in some sources as an early composition of the 18th century harper Turlough O'Carolan, though it is not mentioned as such by either Bunting or his editor O'Sullivan. Sources for notated versions: the Irish collector Edward Bunting variously attributed his sources to "Denis a Hempson, Hugh Higgins and Mrs. Bristow, who was taught it by Dominic Mungan" (MS. version), "D. Black, Harper in 1796" (index, 1840 collection) and "from the performance of Dominic Mungan, the celebrated harper the father of Bishop Warburton" (introduction, 1840 collection). O'Sullivan/Bunting, 1983; No. 38, pgs. 59-60.
T:Sin sios agus liom
T:Down Beside Me
L:1/8
M:C|
S:Merry Musician, 1716, 327
K:E
e4 g4|e4 B4|=d3d d2e2|c4 B4|e2 e2 ef g2|B3c B2 G2|c3B c2 AG|F4 E4||
G3 F G2A2|B4 B4|c3B cd e2|d4 B4|e4 G4 c4 F4|B3c B2 G2|F4 E4||

DICKSON COUNTY BLUES [1]. Old-Time, Breakdown. D Major. Standard. AABB. Composed by Arthur Smith; the title refers to Dickson County, Tennessee, where the fiddler lived. Source for notated version: Arthur Smith (Tenn.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 39. Bluebird 6369, Arthur Smith. County 546-547, "Fiddlin' Arthur Smith and His Dixieliners."

DUCDAME. English. The tune is probably the Irish "Eileen Aroon." The title is an Anglicized form of the Gaelic "An D-tiocfard", or 'will you come', which is sung twice in the third verse of "Eileen Aroon." Shakespeare makes reference to this tune in the 5th scene of "As You Like It."

DULCINA. English, Air (4/4 and 3/4 time). C Major. Standard. ABCD. The ballad, which is sometimes attributed to William Brade (1560-1630), appears in Giles Earle's Song Book of 1626. Chappell (1859) finds the earliest reference to the tune from the May, 1615, records of the Stantioners' Company, when it was transferred from one printer to another. Numerous songs were written for the tune throughout the 17th century, including "As att noone Dulcina rested." Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pgs. 160-161. Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c Ballads for Voice and Violin Band" (1992).

DUMBARTON'S DRUMS. AKA and see "Scotch Tune." Scottish, Scottish Measure and Air. F Major/D Minor. Standard. AABB. Emmerson (1972) characterizes this (and other Scottish Measure tunes) as a "slightly different style of Scottish double hornpipe air." The melody was first published in England as a generically-titled "Scotch Tune" in John Playford's Apollo's Banquet (Sixth Ed., 1690). In its native Scotland the song and tune proved durable and popular; it earliest appears in the Skene Manuscript from the early seventeenth century (c. 1615-1630) and subsequently was published in over 20 sources before 1793. The Gow's printed it in their Repository, Part Second, 1802. Robert Burns referred to it as a "West Highland" air in his manuscript notes. It appears in O'Farrell's Vol. III (1810/20) pg. 55.
***
"Dumbarton's Drums" is the oldest tune played for a march-past in the British army, i.e. when a regiment passed in review in front of an inspecting officer on formal occasions. In 1881 all the British army infantry regiments were ordered to submit for appraisal by the Horse Guards (the headquarters of the army) all the tunes used for such occasions. The Royal Scots Regiment (who used "Dumbarton's Drums") did not obey, and to this day the march, which continues to be used, has never been officially approved.
***
It was the Celtic population of Scotland that gave the name Dun Breattan (now Dumbarton), 'the fort of the Britons', to the stronghold of that people on the Clyde (Matthews, 1972). In more modern times Dumbarton has long been a county town on the north side of the Forth of Clyde, about fifteen miles from Glasgow, and is the principle town of the county of Dunbartonshire. It featurs a castle on the drumlin known locally as Dumbarton Rock. See note for "Dumbarton Castle" for more information on Dumbarton.
***
An early version of the song begins:
***
Dumbarton's drums beat bonnie, O
When they mind me of my dear Johnie, O;
How happie am I
When my soldier is by,
While he kisses and blesses his Annie, O!
'Tis a soldier alone can delight me, O,
For his graceful looks do invite me, O;
While guarded in his arms,
I'll fear no war's alarms,
Neither danger nor death shall e'er fright me, O.
***
Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 19, pg. 125.

DUNCAN DAVI(D)SON. AKA and see "Duncan Davie," "1812" (USA), "1812 Quickstep" (USA), "The 1812 March," "Gentle Ann," "Handy Andy's Highland Fling," "Maggy's Weame Is Fu I Trow," "Shakkin Trews," "Welcome Here Again," "The Wind That Shakes the Barley" (Shetland), "Ye'll Aye Be Welcome Back Again." Scottish, Strathspey. E Major (Gow, Hunter): D Major (Athole, Cole, Gow, Honeyman, Kerr). Standard. AB (Cole, Honeyman). AAB (Gow): AABB and variations (Gow, Hunter): AABB' (Athole, Kerr). Variations from the 18th century in the then-fashionable Haydenesque style (which Hunter identifies as "Italianate") appear in Carlin and Hunter's editions, composed by Nathaniel Gow (not Niel Gow, as is sometimes asserted). The confusion stems from the fact that the tune was published in Niel Gow's 1784 Strathspey Reels -- the collection was edited and published by his son Nathaniel however, who added the variations). Glen (1891) believes its ancestral tune to have been "Strick Upon a Strogin" in the Leyden MS of 1692 (Bayard {1981} remarks, "he may be right, but I see no special reason for thinking so."). The most common names for the tune have been "Duncan Davidson" and "Ye'll Aye Be Welcome Back Again," of which the latter, according to Glen, is the older form (he also thinks Burns composed the David title). Glen (1891) finds the earliest appearences of the tune in print in Alexander M'Glashan's 1780 collection (pg. 14), and, as "Duncan Davie," in Joshua Campbell's 1778 collection (pg. 31). See note for "Ye'll Aye be Welcome Back Again" for more information. Carlin (Gow Collection), 1986; No. 46. Cole (1001 Fiddle Tunes), 1940; pg. 128. Gow (Complete Collection), Part 1, 1799; pg. 34. Graham (Popular Songs of Scotland), 1908; pg. 205. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 11. Hunter (Fiddle Music of Scotland), 1988; No. 39. Johnson (Scots Musical Museum), Vol. 2; No. 149. Kerr (Merry Melodies), Vol. 1; Set 28, No. 3, pg. 17. Scot (Scottish Country Dance Book), Book 7, No. 4a (with references). Stewart-Robertson (The Athole Collection), 1884' pg. 94. Wilson (A Companion to the Ballroom), 1840; pg. 45.
T:Duncan Davidson
L:1/8
M:C
S:Honeyman - Tutor
K:D
D>FA>B A<F A2|D>Fd>B A<F E2|D>FA>B A<FA<g|f>de>f d<d d2|D>FA>B A<F A2|
D>Fd>B A<F E2|D>FA>B A<F A>g|f>de>f d<d dg||f>e d/ef/ g>fe>d|c>Ae>A f>Ae>g|
f>e de/f/ g>fe>d|c>de>f d<d dg|f>e de/f/ g>fe>d|c<A e>A f>Ae>g|
(3fga (3def (3gfg (3Bcd|(3efe (3dcB (3ABA (3GFE||

DUNKELD BRIDGE. AKA and see "Jerry Hayes." Scottish, Reel. F Major. Standard. AAB. This was the last tune the great Scottish fiddler and composer Niel Gow (1727-1807) composed in his lifetime. The name Dunkeld means the 'fort of the Caledonians' and refers to the people that dominated the central lowlands of Scotland during the time of the Romans (Matthews, 1972). Celtic monks, driven from Iona, established themselves there in the year 729 and Kenneth Macalpin made Dunkeld the ecclesiastical capital of his combined kingdom of the Scots and Picts in 849. Dunkeld has been much fought over. It was raided by Vikings in 903 and by Malcolm of Moray in 1027; it was the site of MacBeth's victory over Crinan and Maldred in 1045. In 1689 Captain Munro massacred an army of Highland supporters of James VII there. See also the Irish relative "Jerry Hayes." Carlin (The Gow Collection), 1986; No. 244. Hunter (Fiddle Music of Scotland), 1988; No. 261. Stewart-Robertson (The Athole Collection), 1884; pg. 223.
T:Dunkeld Bridge
L:1/8
M:C|
R:Reel
N:"Last tune composed by Niel Gow"
B:The Athole Collection
K:F
c|~f2 af egce|~f2 af gbeg|~f2 af egcb|afge ~f2f:|
c|AFcA fcdB|AcfA GFEC|AFcA fcdB|AFGE ~F2FB|AFcA fcdB|
AcfA GFEC|AFcA dBcb|afge ~f2f||

DUNKELD HERMITAGE. Scottish, Reel. E Aeolian. Standard. AAB. Composed by Niel Gow (1727-1807). The name Dunkeld means the 'fort of the Caledonians' and refers to the people that dominated the central lowlands of Scotland during the time of the Romans (Matthews, 1972). Celtic monks, driven from Iona, established themselves there in the year 729 and Kenneth Macalpin made Dunkeld the ecclesiastical capital of his combined kingdom of the Scots and Picts in 849. Alexander I revived the bishopric in 1107. Dunkeld has been much fought over. It was raided by Vikings in 903 and by Malcolm of Moray in 1027; it was the site of MacBeth's victory over Crinan and Maldred in 1045. In 1689 Captain Munro massacred an army of Highland supporters of James VII there. Carlin (The Gow Collection), 1986; No. 245. Glen (Glen Collection of Scottish Music), Vol. 2, 1895; pg. 48. Stewart-Robertson (The Athole Collection), 1884; pg. 259.
T:Dunkeld Hermitage
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:E Minor
e|E/E/E B2 GEBG|FdAd FDAF|E/E/E B2 GEBG|AFdF E/E/E E:|
g|e/e/e g2 bege|d/d/d fd adfd|e/e/e g2 bege|dBdF E/E/E Eg|
e/e/e g2 bege|d/d/d fd adfd|gbfa efde|AFdF E/E/E E||

DUNKELD HOUSE [1]. AKA and see "Frogs' Frolic." Scottish, Jig. E Minor. Standard. AAB (Gow, Hunter): AABB' (Johnson). Composed in the hexatonic mode by Niel Gow (1727-1807) around the 1770's for his patron John Murray, the Duke of Atholl -- Dunkeld House in Perthshire was one of the latter's residences, and lies "no more than a stone's throw" from Inver, the birthplace of the great fiddler. Gow's remains repose in the churchyard of Little Dunkeld. Johnson (1983) says the tune, which has "an unmistakeable air of friendship (for Murray) about it," is still popular in Scotland. It was first published in Gow's First Colletion of Strathsepy Reels (1784). The name Dunkeld means the 'fort of the Caledonians' and refers to the people that dominated the central lowlands of Scotland during the time of the Romans (Matthews, 1972). Celtic monks, driven from Iona, established themselves there in the year 729 and Kenneth Macalpin made Dunkeld the ecclesiastical capital of his combined kingdom of the Scots and Picts in 849. Dunkeld has been much fought over. It was raided by Vikings in 903 and by Malcolm of Moray in 1027; it was the site of MacBeth's victory over Crinan and Maldred in 1045. In 1689 Captain Munro massacred an army of Highland supporters of James VII there. Source for notated version: Niel Gow's Strathspey Reels [Johnson]. Carlin (The Gow Collection), 1986; No. 328. Collinson (The Traditional and National Music of Scotland), 1966; pg. 219. Hardie (Caledonian Companion), 1992; pg. 43. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 85, pg. 229.

DUNLAVIN GREEN. Irish, Air (3/4 time). Ireland, County Wicklow. D Major (Darley & McCall): E Flat Major (Stanrford/Petrie). Standard. One part. The original song made reference to the execution of Irish rebels in 1798 at Dunlavin. Petrie notes: "Set in the county of Wicklow." Source for notated version: "the late" John McCall (Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Irish Traditional Dance Music), 1914; No. 58, pg. 25. Stanford/Petrie (Complete Collection), 1905; No. 859, pg. 214.

DUNNOTTAR CASTLE. Scottish, Slow Strathspey or Pastoral. D Major. Standard. AAB. The castle of Dunnottar is an ancient and impressive ruin which perches commandingly on the cliffs not far south of Stonehaven. The site has been fortified since the 12th century and rises some 160 feet above the sea. A single entrance is through a one doorway, protected by a portcullis and several rows of gunports, then up steps and finally through a tunnel to the main courtyard. Historical references to it abound: it was captured by William Wallace in his war against the English in 1296. Edward III gained the castle in the 1330's, only to be cast out my Moray. Later in the century it became the property of the Keiths, who exchanged a property in Fife for it. By the 16th century it was one of the most formidible fortresses in Scotland. In the 17th century it was besieged by Montrose in 1645 and by Cromwell in 1651, and was held for William and Mary in 1689. During the Jacobite era the Earl Marischal lost the castle in 1715 with the defeat of the Stewarts, and as a result the Duke of Argyll partially destroyed it the next year.
***

DUNS(E) DINGS A'. AKA- "Mr. Sharpe's Favorite." Scottish, Reel. A Mixolydian. Standard. AAB (Williamson): AABB' (Athole, Neil). The title refers to Duns, a small ancient town high in the Border hills, and until 1975 the county town of Berwickshire. The title "Dunse dings a'" means 'Dunse beats/surpasses all.' The town rests at the foot of a hill called Duns Law, which, in 1639 was the camp of an army of the Covenant who by its presence secured the right of the people to remain Presbyterian, despite King Charles II's desire to return the land to Episcopacy. One of the greatest mediaeval philosophers John Duns Scotus, 1265-1308, was born there. Scotus was renowned throughout Europe, lectured in Oxford and Paris, and died in Cologne. He upheld the separability and independence of the rational soul from the body; a humanist, he believed in the primary importance of the individual will. Unfortunately, his views were the object of severe criticism and scorn (by, for one, his rival Thomas Aquinas), especially from puritanical factions who coined the term "dunce" in derision. John Duns evidently also had a wit that Winston Churchill would have approved of, for the King of France once provokativley asked the learned man how far it was between a 'Scot' and a 'sot', and received the reply "Just this table!" John Glen (1891) finds the earliest appearence of the tune in print in Neil Stewart's 1761 collecton (pg. 43). Carlin (The Gow Collection), 1986; No. 246. Kerr (Merry Melodies), Vol. 2; No. 2, pg. 3. MacDonald (The Skye Collection), 1887; pg. 16. Neil (The Scots Fiddle), 1991; No. 26, pg. 35. Stewart-Robertson (The Athole Collection), 1884; pg. 19. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 51. Beltona BL2128 (78 RPM), The Edinburgh Highland Strathspey and Reel Society (1936).
T:Duns Dings A'!
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:A
e|ceef aecA|ceeg a3e|ceeg aecA|B=GGB =g2 g>B:|
|:cAeA fAcA|cAeg a2ae|1 cAeA fAe=c|B=GGB =g2gB:|2 cA ec fde=c|
B=GGB -G2G2||

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.

ERSKINE'S LAMENT. AKA - "Master Erskine's Lament, Killed at the Battle of Pinkie." Scottish. Williamson relates that a "lover's goodnight" called "Departe, Departe" was written to this tune, perhaps by Alexander Scott in the mid-16th century. The original title is given as the alternate. One Arthur Erskine was the Master of Mary Queen of Scots' household, but since the battle of Pinkie was fought when she was a little girl it is unlikely that this was the Erskine referred to. Williamson suggests it may have been his father who was killed. Henry VIII endeavoured to force a union between the young Mary and his son Edward in the so-called "Rough Wooing" in which his troops made a series of military expeditions into Scotland to "kill, burn, and spoil." After Henry died the warfare was contunued by Protector Somerset, as Henry's son Edward (VI) was too young; it was Somerset who defeated a Scottish force at the battle of Pinkie, near Musselburgh, in 1547. Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2."

ERYRI WEN (White Snowdon). Welsh, Air. G Major. Standard. AABB. The tune first appears in Edward Jones' Musical and Poetical Relicks of the Welsh Bards, 2nd ed., 1794. The title refers to Mount Snowdon, a 3,559 foot peak located in North Wales; the tallest in Wales, if not England, and a favorite climb of hikers. On a clear day one can see Ireland from the top, which is also accessible by geared railway.
**

EVERYONE TO THE PUNCHEON. AKA - Everybody to the Puncheon." Old-Time, Breakdown. USA, West Virginia. D Major. Standard. AABB. Charles Wolfe (1997) characterizes this piece as a construct of Kanawha County, West Virginia, fiddler Clark Kessinger's (1896-1975), pieced together from parts of different tunes. Puncheon refers to a type of wooden floor made from split logs. Source for notated version: Clark Kessinger (W.Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 82.

FEADGHAIL AN AIRIMH {CONNDAE AN RIGH} [1] (Ploughman's Whistle, King's County). Irish, Slow Air (3/4 time). F Minor. Standard. One part. The Irish collector Edward Bunting was given the tune by another contemporary Irish collector, Petrie. Bunting was sorely confused regarding this tune, however, mixing references to it up with a similarly titled tune called "Ploughman's Whistle, Queen's County;" this, however, led Petrie, the source for the King's County tune, to correct Bunting and clarify the issue himself in his Ancient Music of Ireland (1855). O'Sullivan Bunting, 1983; No. 126, pg. 182.

FENWICK O' BYWELL. AKA and see "Horse and Away To Newmarket," "Newmarket Races," "Galloping Ower the Cow Hill." English, Jig. England, Northumberland. G Major. Standard. AABB. "This tune appears in John Peacock's 'Collection of Airs for the Northumbrian Small-pipes,' as 'Newmarket Races,' and in Robert Bewick's MS collection as 'Galloping Ower the Cow Hill.' The two former of these titles refer to a ballad once sung to the tune, celebrating a match at Newmarket between a mare called Duchess, belonging to the then Fenwick of Bywell, and a celebrated Newmarket racehorse. Tradition states that the north country horse won the race (which was run in heats), but with nothing to spare. We have heard the ballad sung by an old jockey about forty years ago (c. 1840), but it is now lost, and we can only recall to memory the first two lines-
***
Fenwick o' Bywell's off to Newmarket,
He'll be there or we get started.
***
The tune has a suspicious resemblance to the Irish air 'Garryowen,' but as played by Northumbrian pipers, it has sufficient individuality to entitle it to a place in this collection" (Bruce & Stokoe). Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 171.
T:Fenwick o' Bywell
L:1/8
M:6/8
S:Bruce & Stokoe - Northumbrian Minstrelsy
K:G
g|edc BAB|GBG B2g|edc BAG|AfA c2g|
edc BAB|GBG B2G|c>de/f/ gdB|AgA c2:|
|:e|GGd BBg|GGd B2g|GGd BBg|AgA c2e|
GGd BBg|GGd B2G|c>de/f/ gdB|AgA c2:|

FAITHLESS NANCY DAWSON. AKA and see "A-Rovin." English, Country Dance Tune (4/4 time). D Major. Standard. One part. The title may refer to the Nancy Dawson who was a famous stage dancer in London in the 1760's. Barnes (English Country Dance Tunes), 1986. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 27 (appears as "A-Roving").

FALLEN HERO, THE. Scottish, ("Pathetickly") Slow Strathspey. A Major. Standard. AB. Composed by Nathaniel Gow (1763-1831), fiddler, composer, music publisher and bandleader; son of the famous Scots fiddler/composer Niel Gow. The title refers to the British naval hero, Lord Admiral Nelson. Carlin (The Gow Collection), 1986; No. 56. Gow (Complete Repository), Part 3, 1806; pg. 8.
T:Fallen Hero, The
L:1/8
M:C
S:Gow - 3rd Repository
K:A
{AB}c>B AR (E<C) E2|E>F Ad/c/ {c}B>A B2|{AB}c>B AF (E<C) E2|
E>F A(d/c/) (cB) A2|{AB}c>B AF (E<C) E2| E>F Ad/c/ {c}B>A B2|
{AB}c>B AF (E<C) E2|E>F A(d/c/) (cB) A2||(c<e) e>f {f}ec e2|
(c<e) e>f (f/e/)(c/A/) B2|(c<e) e>f {f} ec e2|E2 (d/c/)(B/A/) (cB) A2|
(c<e) e>f {f}ec e2|(c<e) {A}a>f (f/e/)(c/A/) B2|{AB}c>B AF (EC) E2|
E>F A(d/c/) cB A2||

FALLS OF RICHMOND. Old-Time, Breakdown. USA, West Virginia. A Aeolian or Dorian ('A'and 'B' parts) & A Major ('C' & 'D' parts). AEAE (Brody, Phillips): ADAE (Kuntz). AABCB (Brody): AABBCCDDBB (Kuntz, Phillips, Songer). "Falls of Richmond" has been a popular piece among old-time revivalists but its original associations were with the Hammonds family of West Virginia. Burl Hammonds called the tune "Falls of Richmond," in the plural. The title refers to the small waterfalls, or rapids, on the James River at Richmond, rather than, as some have supposed, the 1865 capitulation (or "fall") of that city, the capital of the Confederacy during the American Civil War (Allan Jabbour points out Richmond 'fell' not only in the Civil War, but in the Revolutionary War as well). The falls of the James mark the farthest navigable point on the river, leading to the development of Richmond. Phillips (1994) and Songer (1997) note the fourth part is credited to Marty Somberg of Dexter, Michigan. Source for notated version: Ruthie Dornfeld (Seattle) [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 101. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 82. Songer (Portland Collection), 1997; pg. 75. Bay 217, Any Old Time - "Ladies Choice." Rounder 0035, Fuzzy Mountain String Band- "Summer Oaks and Porch" (1973. Learned from Burl Hammons, Marlinton, W.Va.). Rounder 0128, The Backwoods Band - "Jes' Fine" (1980. Version learned from Marty Somberg). Rounder 0132, Bob Carlin - "Fiddle Tunes for Clawhammer Banjo" (1980. Learned from the Fuzzy Mountain String Band's 1973 recording).
T:Falls of Richmond
L:1/8
M:2/4
N:Parts are ABCDB
K:A Dorian
D/|E/D/E/G/ A(G|G)A/B/ c/B/c/D/|E/D/E/G/ Ac/A/|B/A/G A2|
E/G/A/B/ A2|GA/B/ c/B/c/d/|e>c Ac/A/|B/A/G A2:|
|:e>c Ac/A/|B/A/G/A/ c/B/c/d/|B/c/e/g/ e/c/A/c/|B<G A2|
A/c/e/c/ A/c/e/c/|B/A/G/A/ c/B/c/d/|B/c/e/g/ e/c/A/c/|B<G A2:|
K:A Mix
|:e/ a e ac'/a/|b/a/c'/a/ b/a/c'/a/|e/ a e/ ac'/a/|b/a/b/b/ a2:|
|:a/|d'/a/c'/a/ b/a/b/a/|d'/a/c'/a/ b>a|d'/a/c'/a/ b/a/b/e/|f2 e:|

FAREWELL DARLING YOUTH (Soraidh slan do'n ailleagan). Scottish, Slow Air (4/4 time). A Major. Standard. AAB. "The Gaelic song usually associated with this melody, was composed to a lady of the family of MacKenzie, Bart. of Gairloch, in Ross-shire. The words sung by the editor's father referred to a youth going abroad. Mr. Campbell, in his 'Albyn's Anthology,' gives the name of this air to no less than two of the few Highland melodies contained in it" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 4, pg. 2.
T:Farewell darling Youth
T:Soraidh slan do'n ailleagan
L:1/8
M:C
S:Fraser Collection
K:A
c/>B/|A>EF>E A>FE>c|B>A FG A2 zE|A>EF>E A>FE>c|d>feG A3:|
A/B/|c>de>f e>cA>f|e>dc>d e3f|e>cB>A A>FE>c|BA F>G A2 zA/B/|
c>de>f e>dc>d|d>cf>e a3f|e>cB>A A>FE>c|B>A FG A3||

FAREWELL TO THE CREEKS. AKA - "Banks of Sicily" (Song). English/American, Jig. D Major. Standard. AABB. "Farewell to the Creeks" is a well-known north country tune composed by Pipe Major James Robertson of Banff. According to Norman Kennedy, the 'Creeks' refers to the Native-American tribe the Creek Indians and not streams. It is the vehicle for Hamish Henderson's popular song "The Highland Division's Farewell to Sicily," also called "Banks of Sicily," composed while he was Intelligence Officer for the Highland Division in World War II. G. W. Lockhart (in Fiddles and Folk, 1998) relates that Henderson had been viewing the smoke curling from Mt. Etna's crater in the distance behind the Pipes and Drums of the division's 153 Brigade, when the band launched into "Farewell to the Creeks." "Without hindrance," said Henderson, "the words came flowing to me."
***
The pipie is dozie, the pipie is fey-
He winna come roon for his vino the day.
The sky ow'r Messina is unco an' grey,
And a' the bricht chaulmers are eerie.
***
"Banks of Sicily" was the first recording made by the Whistlebinkies, on a Hamish Herderson compilation album in 1976. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 20. Front Hall FHR08, Alistair Anderson - "Traditional Tunes" (1976).

FAREWELL TO WHISKEY [1] (Slan Le N-Uisge Beata). AKA - "Neil/Niel Gow's Farewell to Whiskey." AKA and see "Go rabh slan leis an ól," "Goodbye Whiskey" (Pa.), "The Ladies Triumph," "Murphy's Favor," "My Love is But a Lassie," "The Rose in the Garden," "Young America Hornpipe." See also related tune "Twin Sisters" (New England). Scottish (originally), Canadian, English, Irish, American; Strathspey (originally), Slow Air, Country Dance, Polka, Reel, or March (2/4 time). Canada; Cape Breton, Prince Edward Island, Ontario. USA, New England. B Flat Major (Alburger, Carlin, Dunlay & Greenberg, Dunlay & Reich, Gow, Hunter, MacDonald, Neil): A Major (Begin); slow air, country dance, polka, reel or march version often played in G Major (Athole, Brody, Cranitch, Mallinson, Martin, Miller & Perron, Moylan, O'Neill, Raven, Roche & Williamson, Sweet, Tubridy). Standard. AAB (Dunlay & Greenberg, Neil): AABB (most versions). The original was composed by the famous Scottish fiddler Niel Gow (1727-1807) who identified it as a lament on the occasion of the British government's prohibition of using barley to make whiskey in 1799 due to the failure of the crop in Scotland in that year (see the companion tune "Welcome Whiskey Back Again"); it appears in his First Collection, 2nd edition (1801), and reappears in his Fifth Collection (1809). Gow was known to frequently and heartily imbibe, and his reputation for drinking seemed almost as well known as his skill on the fiddle. Verses were written to Gow's tune (appearing in 1804) illustrating his distress at the event (in fact Niel himself noted in the original composition that it gave voice to "the Highlander's sorrow at being deprived of his favourite beverage"), which begin:
***
You've surely heard o' the famous Niel,
The man that played the fiddle weel;
I wat he was a canty chiel,
And dearly loved the whisky, O.
And aye sin' he wore tartan hose,
He dearly lo'ed the Athole brose;
And wae was he, you may suppose,
To bid 'farewell' to whisky, O.
and end:
Come, a' ye powers of music, come!
I find my heart grows unco glum;
My fiddle-strings will no play bum
To say farewell to whiskey, O.
Yet I'll tak my fiddle in my hand,
And screw the pegs up while they'll stand,
To mak a lamentation grand,
On gude auld highland whiskey, O.
***
Neil (1991) relates a well-known anecdote about Gow and his quick wit, and which also possibly refers to his consumption of whiskey:
***
It concerns his answer to a friend's query regarding the distance
between Perth and Dunkeld, which Niel had just completed after
an evening of fiddling, namely, that it was not the length of the
road which had bothered him but its breadth.
***
Another anecdote is told by Drummond (Perthsire of Bygone Days) of Neil Gow and this particular composition to the effect that when Niel first heard 'James' (probably Daniel) Dow play "Farewell to Whiskey," "he pulled his bonnet over his eyes, and rushed to the door," overcome with emotion at the rendering. While colorful, the story is false (similar tales have been told of Pagannini and others), for Dow would have had to have performed it eighteen years after he had been in the grave! Gow's slow air quickly became popular, and soon was transformed into dance versions at faster tempos. Cape Breton variations are thought to be by Donald John "the Tailor" Beaton, according to Doug MacPhee (Dunlay & Greenberg); the tune is played as a slow air on Cape Breton, as it was originally written. Paul Cranford reports that some Cape Breton musicians play the tune and variations transposed down a half-step to the key of 'A' Major and tune the fiddle to AEAE. Co. Kerry accordion player Johnny O'Leary played the tune as a polka, pairing it with "The Dark Girl Dressed in Blue." New England fiddlers often play the tune in G Major as a reel for contra dancing; the tune has been a standard there for many years.
**
Sources for notated versions: Mary (Beaton) Macdonald (Cape Breton) [Dunlay & Greenberg, Dunlay & Reich]; Strathspey (New England) [Brody]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in concert at Na Piobairi Uilleann, February, 1981 [Moylan]; Cosmas Sigsworth (b. 1917, Corrville, Central Kings County, Prince Edward Island; now resident of Cardigan) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 72, pgs. 109-110. Begin (Fiddle Music from the Ottawa Valley), 1985; No. 73, pg. 83. Brody (Fiddler's Fakebook), 1983; pg. 102. Carlin (The Gow Collection), 1986; No. 57. Cranitch (Irish Fiddle Book), 1996; No. 48, pg. 143. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 141. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 68. Hunter (Fiddle Music of Scotland), 1988; No. 47. MacDonald (The Skye Collection), 1887; pg. 136. Mallinson (101 Polkas), 1997; No. 11, pg. 5. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 15 (appears as "Neil Gow's Farewell to Whisky"). Miller & Perron (101 Polkas), 1978; No. 46. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 134. Moylan (Johnny O'Leary), 1994; No. 55, pg. 32. Neil (The Scots Fiddle), 1991; No. 99, pg. 134. O'Neill (1915 ed.), 1987; No. 103, pg. 57 (march version). O'Neill (1850), 1979; No. 1825, pg. 343 (march version). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 97. Raven (English Country Dance Tunes), 1984; pg 149 (appears under the title "The Ladies Triumph"). Roche Collection, 1982, Vol. 2; No. 350, pg. 62 (march version). Sannella, Balance and Swing (CDSS). Stewart-Robertson (The Athole Collection), 1884; pg. 153. Sweet (Fifer's Delgiht), 1964/1981; pg. 60. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 11. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 67. Claddagh CC5, Dennis Murphy & Julia Clifford (both from Sliabh Luachra, Co. Kerry) - "The Star Above the Garter." DMP6-27, Doug MacPhee - "Cape Breton Piano II" (1979). F&W Records 3, "The Canterbury Country Orchestra Meets the F&W String Band." Front Hall FHR-023, Michael, McCreesh & Campbell - "The Host of the Air" (1980). Greentrax CDTRAX 9009, Albert Stewart - "Scottish Tradition 9: The Fiddler and his Art" (1993). Kicking Mule 216, Strathspey- "New England Contra Dance Music" (1977). Shanachie 33004, James Morrison- "The Pure Genius of James Morrison." Smithsonian Folkways SFW CD 40126, Rodney Miller - "Choose Your Partners: Contra Dance & Square Dance Music of New Hampshire" (1999).
X:1
T:Farewell to Whiskey
L:1/8
M:C|
K:G
GE|D2G2B2GB|A2E2 EF GE|D2G2B2AB|d2B2B2d2|
e2g2B2d2|cB AG A2B2|D2G2 BA GA|B2G2G2:|
|:Bc|d2B2g2d2|cB AG A2Bc|d2Bd g2d2|e2g2g2d2|
ef ge d2Bd|cB AG A2B2|D2G2 BA GA|B2G2G2:|
X:2
T:Neil Gow's Farewell to Whiskey
L:1/8
M:C|
R:Country Dances
B:The Athole Collection
K:G
B,/A,/|G,G/A/ B/A/G/B/ AE EF/G/|DG/A/ B/A/G/B/ dBB>d|
e/f/g/f/ e/d/B/d/ c/B/A/G/ A>B|D/E/G/A/ B/A/G/A/ BGG:|
|:B/c/|dB GB/d/ c/B/A/G/ AB/c/|dBgB dgg>d|
e/f/g/f/ e/d/B/d/ c/B/A/G/ A/c/B/A/|D/E/G/A/ B/A/G/A/ BGG:|

FIDDLE. The term is now used as a coloquialism for a violin, though in antiquity it referred to a specific instrument, the 'fithele'. The word itself is Anglo-Saxon in origin and was the name for a pear-shaped, four-stringed instrument with two small round soundholes, depicted in old manuscripts, though perhaps it meant, as sometimes today, any four-stringed instrument. Chaucer mentions the word in the Prologue to the "Canterbury Tales." In modern times fiddle is the usual term for the folk violin, indistinguishable in construnction from a classical violin, though sometimes with a flattened arc in the bridge to make the strings easier to 'drone', or play at the same time.

FIELD OF BANNOCKBURN, THE. Scottish, Pipe March (2/4 time). A Mixolydian. Standard. AB (Neil): AABB (Skinner). Composed by the most famous Scots fiddler, J. Scott Skinner, who published it in his "Harp and Claymore" collection in the latter part of the 19th century. The title refers to the famous victory of Robert the Bruce, King of the Scots (1274-1329), at the end of his seven year struggle with the forces of England under Edward II. Robert was by far the more skillful commander, while Edward was weak and foolish, and though the Plantagenet had twice the number of men (along with, it is rumoured, the bones of his father, Edward I, the 'Hammer of the Scots', in the forefront of his army) he fell prey to superior generalship, luck, and a final ruse by the wiley Scot. Neil (The Scots Fiddle), 1991; No. 58, pg. 81. Skinner (The Scottish Violinist, with variations), pg. 30.

FINGALIAN AIR, A (Fonn air Dàin Féinne). Scottish, Slow Air (3/4 time). C Major. Standard. AABB. "This Fingalian air was acquired through the predecessor of Mr. Fraser of Leadclune, referred to in note No. 28 ('An Air to Which Ossian in recited')" {Fraser}. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 129, pg. 51.
T:Fingalian Air, A
T:Fonn air Dàin Féinne
L:1/8
M:3/4
S:Fraser Collection
K:C
G2|c4G2|c4 c/d/c/B/|A2d2B2|c4 d>e|a4g2|g>a g2f2|e4 d>e|a4 c>d|e4d3|c4:|
|:e>d|c4B>A|G4c>B|A2d2B2|c4d>e|a4g2|g>a g2f2|e4 d>e|a4 e>d|c4B2|A4:|

FINNEGAN'S WAKE [1] (Torran UíFinnguine). AKA - "Tim Finnegan's Wake." AKA and see "(An) Bhean Spáinneach," "Doran's Ass," "The French Musician," "Paddy Doyle," "The Spanish Lady." Irish, New England; Air (cut time), Polka or March (2/4). D Major (Mallinson, Miller & Perron, Taylor): C Major (O'Neill): G Major (Tubridy). Standard. AB (O'Neill): AABB (Mallinson, Miller & Perron, Taylor. Tubridy). A tune derived from a comic "stage-Irish" song, which Bayard (1981) says was known in Pennsylvania as a folk song called "Dolan's Ass." The first part of the tune, he observes, is perhaps older than the second. Cazden (et al, 1982) report that Edwin Ford Piper gives 1884 as the date for the first appearance of the song "Finnegan's Wake," while Charles Kennedy uses the date of about 1870 for the piece he identifies as an "Irish-American vaudeville" work. The sheet music was listed as published in New York by Wm. A. Pond Co. in 1864, while a different reference from the same year names the air to the song as "The French Musician." The Journal of the Folk Song Society, Vol. IV, pg. 294, gives three sets of the air, two from the early 18th century and one from camp meeting spirituals known in Britain and the U.S. (all sets resemble the first strain of "Finnegan's Wake"). The song "Willie Taylor" is sometimes sung to this tune in Ireland. Sources for notated versions: Hiram Horner (Westmoreland and Fayette Counties, Pa., 1960), Henry Yeager (Centre County, Pa., 1930's), Fred Miller and Glen Gelnette (Jefferson County, Pa., 1949) [Bayard]; set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]. American Veteran Fifer, No. 62. Bayard (Dance to the Fiddle), 1981; No. 184A-C, pgs. 140-141. Mallinson (100 Polkas), 1997; No. 93, pg. 36. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 57. O'Neill (1850), 1903/1979; No. 265, pg. 46. Ostling, pg. 23. Roche Collection, Vol 2; No 298 (4th figure and 1st tune of a quadrille). Taylor (Music for the Sets: Blue Book), 1995; pg. 21. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 6.
T:Finnegan's Wake
L:1/8
M:C|
K:D
|:F3F F2E2|F2A2B2A2|d3d d2A2|B2A2E4|F3F F2E2|F2A2B2A2|d3d d2A2|B2c2d4:|
|:d3d d2e2|d2c2B2A2|d3d d2e2|d2e2f4|d3d d2e2|d2c2B2A2|B3c B2A2|B2c2d4:|

FINNIS JIG. American, Dance Tune (2/4 time). D Major. Standard. AABB. Has part of "Razors in the Air," an old minstrel tune, in it. American 2/4 tunes were sometimes called 'jigs', perhaps in a reference to 'jig tunes', a derogatory term for African-Americans. Ford (Traditional Music in America), 1940; pg. 69.

FIRST OF AUGUST. AKA and see "Glorious First of August," "The Weaver's March," "The Galland Weaver," "Twenty-First of August," "Frisky Jenny," "The Tenth of June," "Come Jolly Bacchus," "Charles of Sweden," "The Liffey Banks." English. The title commemorates the accession of King George I, in 1714, according to Kidson (Groves), who believes Jones is wrong when he asserts it refers to the traditional date of the Britonnic Celtic festival of Lammas, one of the four great pagan festivals in the calendar year, or to the paying of Welsh tithes. The tune is sometimes claimed as Welsh as it was printed in that country in 1802 with the suggestion of antiquity, however, as "Frisky Jenny" the same melody appears in Playford's Dancing Master of the mid-17th century and was long a favorite in England. The claim for Welsh provenance has no merit, according to Kidson (Groves), who believes that it is probably Swedish (see his article in The Musical Times, Sept. 1895, pg. 593).

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:|

FLEE OVER THE WATER. Scottish, Reel ("Slowish"). A Major. Standard. AAB. A reference undoubtedly to Bonnie Prince Charlie and Scotland's Wild Geese (expatriots). Carlin (The Gow Collection), 1986; No. 255.

FLOATING CROWBAR, THE. AKA and see "The Rathcroghan Reel." Irish, Reel. D Major/Mixolydian. Standard. AABB. Cairan Carson (Last Night's Fun, 1996) says he has heard this tune attributed to fiddle player Brendan McGlinchey. The tune is closely related to "The Cameronian." Taylor (1992) speculates that "It is quite possible that the title is a tongue-in-cheek name given by some wag when no name was known by him or her." However, it seems that the term 'floating crowbar' has meaning in the building trades, where it refers to either a type of switch employed by electrical engineers, or to setting concrete (i.e. the concrete is ready when it can support, or 'float', the weight of a crowbar). Source for notated version: fiddler Paddy Ryan [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1976, Vol. 4, No. 24. Taylor (Crossroads Dance), 1992; No. 23, pg. 18. Green Linnet GLCD 1200, Lunasa - "Otherworld" (1999). Shaskeen - "My Love is in America." Artie McGlynn - "McGlynn's Fancy" (1994).

FLOWERS OF EDINBURGH [1] (Blata Duin-Eudain). AKA - "Flooers o' Edinburgh." AKA and see "Cois Lasadh/Leasa" (Beside a Rath), "Flowers of Donnybrook," "My Love's Bonny When She Smiles On Me," "My Love was Once a Bonny Lad," "Rossaviel," "To the Battle Men of Erin," "Old Virginia." Scottish (originally), Shetland, Canadian, American; Scots Measure, Country Dance Tune or Reel: English, Reel, Country or Morris Dance Tune (4/4, cut or 2/2 time); Irish, Reel or Hornpipe. Originally from Scotland, Lowlands region. USA; New England, southwestern Pa., Missouri, New York, Arizona. Canada; Prince Edward Island, Cape Breton. G Major (most versions): Morris version in D Major (Mallinson). Standard. AB (Bacon, Kerr): AAB (Bain, Mitchell): AABB (most versions): AA'BB (Phillips). Gow and others credit composition of the melody to James Oswald (Gow). Its earliest appearance in print is in Oswald's c. 1742 collection of Curious Collection of Scots Tunes (II), which appeared in London and contained the "Flowers" tune as a "crude" song entitled "My Love's bonny when she smiles on me." He printed the melody again in 1750 with the words "My love was once a bonny lad." The first version of the song and tune with the title "The Flower of Edinburgh" appeared in The Universal Magazine, April, 1749. That same year it was printed in John Johnson's Twelve Country Dances for the Harpsichord. Oswald himself republished it in 1751 in his volume Caledonian Pocket Companion under the title "The Flower of Edinburgh."
***
As regards the title, the convention "Flower of..." usually referenced a woman, although in the case of "Edinburgh" the plural form was appended at some point and stuck. The plural title appears in Herd's Scots Songs (without music) and in The Scots Musical Museum (1787, No. 13). Gow notes parenthetically in his Complete Repository (Part 4, 1817) that the 'flowers' of Edinburgh did not refer to comely females but in fact referenced the magistrates of the town. Some say the 'flowers' were female, although the females in question were prostitutes. It has also been suggested that the title refers to the stench of the old, overcrowded urban Edinburgh-a city fondly referred to as "Auld Reekie", which does not bespeak of a putrid, reeking smell, but rather comes from the Norwegian word røyk, meaning smoke. Thus 'Auld Reekie' refers to the pall of smoke that once hovered over the city, having been constantly spewed forth by its hearths. Finally, the 'flowers of Edinburgh' has been taken to refer to the contents of chamber pots which were, in the days before modern sewage systems, once disposed of by being thrown into the city streets (with or without the shouted warning "Gardez l'eau!" or "Mind yourself!"). Paul de Grae finds this latter interpretation in modern times incorporated by novelist Ian Rankin in one of his Inspector Rebus crime novels. Rebus, an Edinburgh detective, is being addressed by an "hard man" whose warning narrowly averted the Inspector's stepping in canine excrement. It will help to know human waste is called keech or keach in Ulster and Scotland (similar to the French caca, Italian cacca, Finnish and Icelandic kakku, and German kaka):
:***
"Know what 'flowers of Edinburgh' are?"
"A rock band?"
"Keech. They used to chuck all their keech out of the
windows and onto the street. There was so much of it
lying around, the locals called it the flowers of Edinburgh.
I read that in a book."
***
The renowned County Donegal fiddler, John Doherty (1895-1980) had his own idiosyncratic take on the title. In the notes for the album "The Floating Bow," Alun Evans writes of Doherty:
***
I can only say that I never found him to be other than exhilarating
company. Yet he was hard to pin down on detail, for in his mind fact and
fantasy were so tightly interwoven as to be indivisible - at least he led
you to believe so. He would tell how James Scott Skinner had composed the
tune 'The Flowers of Edinburgh' after a Miss Flowers with whom he was
besotted at the time. John must have known that this didn't ring true but a
story was a story, perhaps an example of the 'true Celtic madness' which is
said to be 'not psychotic but merely a poetic confusion of the real and the
imagined.'
***
English morris versions are from the Bampton area of England's Cotswolds and the North-West (England) tradition (where it is used as the tune for a polka step). Editor Seattle remarks of William Vickers' Northumbrian country dance version that it is "A fine setting with some distinctive 18th century touches."
***
In America the melody has also been used for country dances for over two hundred and twenty years. It was included by Greenland, New Hampshire, dancer Clement Weeks in his MS dance collection of 1783, and by Giles Gibbs (East Windsor, Ellington Parish, Connecticut) in his 1777 fife manuscript (Van Cleef & Keller, 1980). In the latter MS it is also called "Darling Swain." As "Old Virginia (Reel)" it was printed by George P. Knauff in Virginia Reels, volume II (Baltimore, 1839). Much later it was cited as having commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly), and was in the repertoire of Arizona dance fiddler Kenner C. Kartchner in the early twentieth century. The title also appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Howard Marshall writes that Art Galbraith (d. 1992) of Springfield, Missouri, "had the most famous version in his area which was handed down through his family from at least 1840. Art's version is distinctive for its retention of the old 'extra beat' that has been lost in other versions." This famous Scottish reel is as well known to Pennsylvania fiddlers as it is to country players everywhere in the area of British folk music tradition, says Bayard (1944), and is one tune to which a single title has been transmitted intact through the generations of folk process.
***
In Ireland "Flowers of Edinburgh" is most common rendered as a hornpipe. The Irish "Cois Leasa" (Beside a Rath) is a version of this tune, maintains O'Neill (Dance Music of Ireland), who perhaps found it in Haverty's 100 Irish Airs, 2nd series, 1859, where "The Flowers of Edinburgh" is given in parenthesis as an alternate title for the "Rath" tune. Bayard (1981) agrees with O'Neill, though Sullivan (Bunting Collection) and Alfred Moffat do not, and the connection is not addressed in the Fleischmann index (Sources of Irish Traditional Music, 1998). Stanford/Petrie notes his Arranmore-collected Irish tune "Rossaveel" is "the old form of 'Flowers of Edinburgh.'" Finally, a version is played under the title of "The Flower of Donneybrook" in Ireland.
***
Sources for notated versions: Fennigs All Stars (New York) [Brody]; John Kubina, (near) Davistown, Pennsylvania, September 3, 1943 (learned from traditional players in Pittsburgh) [Bayard]; Gilpin, Yaugher, Hall, Wright, Shape (all southwestern Pa. fiddlers whose versions were collected in the 1940's) [Bayard]; Arnold Woodley (Bampton, England) via Roy Dommett [Bacon]; Art Stamper (Mo.) [Phillips]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Elliot Wright (b. 1935, North River, Queens County, Prince Edward Island) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Bacon (The Morris Ring), 1974; pgs. 46, 57, 81. Bain (50 Fiddle Solos), 1989; pg. 33. Bayard (Hill Country Tunes), 1944; No. 54. Bayard (Dance to the Fiddle), 1981; No. 340A=E, pgs. 326-327. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 46, pg. 55. Brody (Fiddler's Fakebook), 1983; pg. 109. Burchenal (Rinnce na h-Eireann), p. 24. Calliope, pg. 28. Carlin (The Gow Collection), 1986; No. 256. Gow (Complete Repository), Part 4, 1817; pg. 16. Hardie (Caledonian Companion), 1992; pg. 32 (includes variations by Bill Hardie). Harding's Orig. Coll., No. 177. Hogg (Jacobite Relics), II, p. 129. Henderson (Flowers of Scottish Melody), 1935 (includes sets of variations). Howe's School for the Violin, p. 34. Howe's Diamond School for the Violin (1861); pg. 44. Hunter (Fiddle Music of Scotland), 1988; No. 310. Jarman (Old Time Fiddlin' Tunes); No. or pg. 6. JEFDSS, I, 82, second half of 'Birds-a-Building' equals the second half of No. 54. Jigs and Reels, p. 12. Johnson (Scots Musical Museum, edition of 1853), Vol. I, No. 13. Johnson, S.L. (Twenty-Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 5. Kerr (Merry Melodies), Vol. 1; No. 1, pg. 23. Lerwick (Kilted Fiddler), 1985; pg. 19. Levey, No. 4. Mallinson (Mally's Cotswold Morris Book), 1988, Vol. 2; No. 30, pg. 16. Mallinson (Enduring), 1995; No. 19, pg. 8. Miller & Perron (New England Fiddlers Repertorie), 1983; No. 122. Mitchell (Dance Music of Willie Clancy), 1993; No. 88, pg. 79. Neal (Esperance Morris Book), pt. II, p. 29. O'Neill (1915 ed.), 1987; No. 350, pg. 171. O'Neill (Krassen), 1976; pg. 208. O'Neill (1001 Gems), 1907/1986; No. 920, pg. 157. O'Neill (1850), 1903/1979; No. 1746, pg. 325. Perlman (The Fiddle Music of Prince Edward Island) 1996; pg. 61. Petrie, No. 372. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 90. Reavy (The Collected Compositions of Ed Reavy), No. 86. Reiner (Anthology of Fiddle Styles), 1979; pg. 52. Robbins, Nos. 28 & 152. Saar, No. 29. Seattle (William Vickers), 1770/1987, Part 2; No. 384. Sharp and Macilwaine (Morris Dance Tunes), Set V, pp. 2,3 (same version printed in other Sharp folk dance books). Sharp (Country Dance Tunes), 1909/1994; pg. 6. Smith (Scottish Minstrel), III, 25. Calliope (4th edition, 1788), p. 28. Stewart-Robertson (The Athole Collection), 1884; pg. 146. Sweet (Fifer's Delight), 1964/1981; pg. 59. Tolman (Nelson Music Collection), 1969; pg. 12. Wade (Mally's North West Morris Book), 1988; pg. 22. White's Unique Coll., No. 71. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 53. Breakwater 1002, Rufus Guinchard- "Newfoundland Fiddler." Edison 52313 (78 RPM), John Baltzell (Mt. Vernon, Ohio), 1928 {appears as "Flowers at Edingurgh"} [Baltzell was taught to play the fiddle by minstrel Dan Emmett]. Front Hall 01, Fennigs All Stars- "The Hammered Dulcimer." Glencoe 001, Cape Breton Symphony- "Fiddle." Kicking Mule 209, Ken Perlman- "Melodic Clawhammer Banjo." North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Olympic 6151, The Scottish Festival Orchestra- "Scottish Traditional Fiddle Music" (1978). Philo 1008, "Kenny Hall." Sonet 764, Dave Swarbrick and Friends- "The Ceiledh Album." Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999. Learned from the playing of Missouri fiddler Art Galbraith).
X:1
T:Flowers of Edinburgh
L:1/8
M:C|
R:Country Dance
B:The Athole Collection
K:G
GE|D3E G3A|BGdG cBAG|FGFE DEFG|AFdF E3F|
D3E G3A|BGBd efge|dcBA GFGA|B2G G2:|
|:d|gfga gbag|fdfg fagf|edef gfed|B2 e>f efge|dBGB B/c/d cB|
egfa g2fe|dcBA GFGA|B2G2G2:|
X:2
T:Flowers of Edinburgggg
M:2/4
L:1/8
S:Bruce Molskey
R:Old-time
Z:M. Reid 27-Jan-199
K:G
D2|G3 D|ED B,D|G2 G2|BA Bd|cB AG|FG FE|DE FG|A4|A,4|ED EF|G3 A| BA Bc|d2
ef|ga ge|dB GB|A2 Ac|B2 F2 |1 G4-|G2:|2 G4-|G4 |:g3 a|b2 ag|fe fg|a2
A2|e3 f|gf ed|B2 e2|e2 ef|g2 e2|dB GB| Bd- dB|d2 ef|gf ef|ga ge|dB GB|A2
Ac|B2 F2|1 G4-|G4:|2 G4-|G2|]
X:3
T:Flower of Edinburgh
S:Twelve Country Dances for the Harpsichord, 1749.
Q:60
Z:Transcribed by Bruce Olson
L:1/4
M:C|
K:G
(3 G/F/E/|D3/2E/G3/2A/|B/G/ B/d/{c/}BA/G/|{G/}F3/2E/ D/E/ F/G/|\
A/F/ d/F/EF/E/|D/E/ F/D/G3/2A/|(3B/A/G/ (3 B/c/d/ e3/2g/|\
d/B/ A/G/EG/A/|BG/A/G||d|g/f/ g3/4a/4 f/4a/4b/ a/g/|\
f/e/ f3/4g/4 f/4g/4a/ g/f/|e/d/ e/f/ g/f/ e/d/|\
Bee3/2 g/8f/8e/4|d/B/ A/G/dc/B/|e/d/ e/f/ g3/2g/8a/8b/4|\
c/B/ A/G/ EG/A/|BGG|]
X:4
T:Flowers of Edinburgh
S:Scots Musical Museum, #13 (1787)
Q:60
Z:Transcribed by Bruce Olson
L:1/4
M:C
K:F
C/|C3/2 D/F3/2G/|(A/F/) (c/F/) {B/}AG/F/|\
~E3/2D/ C3/4D/4 E3/4F/4|G/E/ c/E/ ~D3/2E/|\
C3/2D/F3/2G/|~(A3/4G/4A/) c/d (d/4e/4f/)|\
(B/A/) (G/F/) {A}/G (F/G/)|A~G3/4F/4F||(c/4d/4e/)|\
(f3/4e/4f/) g/ (f/4g/4a/) ~(g/f/)|\
~(e3/4d/4e/) f/ (e/4f/4g/) ~(f/e/)|\
(d3/4c/4d/) e/ (f/e/) (d/c/)|Ad3/4e/4 d(d/4e/4) f/|\
{c/}A G/F/c(B/A/)|d/c/d/e/ .g3/2 {g/a/} A/|\
(B/A/) G/ F/ GF/G/|A~G3/4F/4F|]
X:5
T:Flowers of Edinburgh
S:from the playing of Dave Swarbrick,
S:from "The Ceilidh Album" (?)
Z:Transcribed by Nigel Gatherer
N:An English morris version?
M:2/4
K:G
L:1/8
D|GG BG/B/|dB g>e|dB B/A/G/A/|BG ED|
GG BG/B/|dB g>e|dB B/A/G/A/|BG G:|]
d|g2 f>e|Be e>f|g2 f/g/f/e/|Be eg/e/|
d/B/G/B/ dd|e/d/e/f/ gg/e/|dB B/A/G/A/|BG G:|]

FLOWERS OF THE FOREST [1]. Scottish, Lament (4/4 time). G Mixolydian. Standard. AB. This melody, the "old air" (also called "The Liltin"), appears earliest under this title in the Skene Collection, a lute manuscript of c. 1615-20. The lament makes reference to the Battle of Flodden Field, fought in Northumberland on the 9th of September, 1513, when the Scots army of James IV was soundly defeated by the English under Thomas Howard, Earl of Surray. During the fray a majority of the Scots nobility, as well as the supporting army, were slain. "'Flowers of the Forest' refers to the Scots who came from Ettrick Forest, the name given to the ancient district of Selkirkshire and Peebleshire and possibly part of Clydeside. The town of Selkirk, the 'favoured Forest Queen', dominated the area which was used by royalty for hunting and the 'Forest' boasted the finest archers in Scotland" (Neil, 1991). The melody is a more ancient version of the tune than that of version #2, which is better known. Words were set to this tune by Jane Elliot ("The Floo'ers o' the Forest") and others.
***
I've heard them liltin at the ewe milkin',
Lassies a liltin' before dawn o' day,
Now there's a moanin' on ilka green loanin,
The Flowers o' the Forest are a' wede away. (Jane Elliot)
***
Neil (The Scots Fiddle), 1991; No. 51, pg. 70. Flying Fish FF358, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 1."

FLYING COLUMN, THE [2]. AKA and see "The Flying Column," "Gardiner's Favorite," "The London Lasses," "The Sunny Banks." Irish, Reel. Ireland, County Sligo. D Major. Standard. AB. A distanced version of #1. Paul de Grae points out the Bulmer & Sharpley tune is actually "Farewell to Ireland" (in O'Neill as "Farewell to Erin" and in Breathnach's CRE III as "Austin Tierney's" {No. 111}) with the parts reversed. The Flying Column refers to moblie IRA attack units in the Irish war for independence from England 1918-1921. Source for notated version: fiddler Peter Horan (b. 1926, Kilavil, Co. Sligo) [Flaherty]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3, No. 17. Flaherty (Trip to Sligo), 1990; pg. 66. Shanachie 34009, "Frankie Gavin with Alex Finn" (reissue, originally released in 1977).

FOREHEID OF THE SIXEREEN, DA. AKA and see "Andrew's Spring." Shetland, Shetland Reel (asymmetrical reel). Shetland, Whalsay (?). C Major. Standard. AA'BB'. Refers to the bow of a boat. Source for notated version: Andrew Poleson (Shetland) [Cooke]. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 9, pg. 60.

FORFAR HUNT, THE. Scottish, Reel. B Minor. Standard. AAB (Lerwick): AABB' (Athole). Composition credited to A. Allan by MacDonald. Forfar, in Angus, is the supposed site of the last great battle between the Picts and the Scots in 845, before Kenneth MacAlpin united the kingdoms. The 'hunt' refers to a genteel hunting and social club. Lerwick (Kilted Fiddler), 1985; pg. 22-23. MacDonald (The Skye Collection), 1887; pg. 66. Stewart-Robertson (The Athole Collection), 1884; pg. 133.
T:Forfar Hunt
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:B Minor
BFBc d2df|ceAa fedc|BFBc d2df|cAec dBB:|
|:BbBc defd|cAec acec|1 BbBc defd|cAec dBB2:|2
BFBc dcde|fdec dBB2||

FORKED DEER, (THE). AKA - "Forked Buck," "Forky Deer," "Forked-Horn Deer," "Forked Deer Hornpipe," "Long-Horned Deer." AKA and see "Deer Walk," "Bragg's Retreat," "Van Buren." Old-Time, Breakdown. USA, Widley known. D Major. Standard or ADAE. AABB (most versions): AA'BB (Phillips) {Many older versions have several more parts than the two that are commonly played in modern times. Clay County, W.Va., fiddler Wilson Douglas, heir to an older tradition, plays the tune in three parts, as did his mentor French Carpenter. Roscoe Parish of Coal Creek, Va., also had a third part. Blind northeastern Kentucky fiddler Ed Hayley played a five part version, as did Charlie Bowman and Kentuckian J.W. Day}. John Johnson, an itinerant man originally from West Virginia who had artistic talent in several areas, had a version that had six parts, played ABACCDEFDEF (son of a jailer, he was said to have "fiddled his way in and out of most jails from West Virginia to Abiline"). Johnson (1916-1996) visited Kanawha County, West Virginia, fiddler Clark Kessinger (1896-1975) just a week before he died, an encounter from which he remembered:
***
I went and played the fiddle for him, played The Forked Deer.
Clark said, "That's not The Forked Deer." "Well," I said, "I
don't know whether it's The Forked Deer or not, but I learned
it from a record Arthur Smith made when I was a kid, and I
know the tune's way older than I am." And Clark said, "That
ain't The Forked Deer." But you see, I play six parts of The
Forked Deer and he just played two. So I suppose that's the
reason why he said that wasn't The Forked Deer. I learned that
whole tune just like Arthur Smith played it. I've heard lots of
other fiddlers put just two parts to it. (Michael Kline, Mountains of Music, John Lilly ed. 1999).
***
R.P. Christeson (1973) notes that the tune bears considerable resemblance to a Scottish tune named "Rachel Rae," which can be found in some of the older Scottish tune collections (and which in America was printed in such collections as White's Solo Banjoist, Boston, 1896). He notes that some fiddlers play the first part of this tune differently than the Missouri version he gives, and use a portion of "The Forked Deer" as published in George Willig's or George P. Knauff's Virginia Reels (Vol. 1, No. 4, Baltimore, c. 1839)--which appears to be the first time the "Forked Deer" tune appears in print. It has been suggested (by William Byrne) that the title "Forked Deer" is a corruption of 'Fauquier Deer', referring to the name of a county in northern Virginia. Others believe it may have derived from association with the Forked Deer River in Tennessee. Apparently, it was asserted in a fictionalized traveller's account (published in the late 1880's by Dr. H.W. Taylor) entitled "The Cadence and Decadence of the Hoosier Fiddler" that the title referred to a Deer river and its tributaries (i.e. 'the forks of the Deer'). John Hartford and Pat Sky have speculated the original title may have been "Forked Air," meaning a crooked melody. Indeed, Paul Tyler reports the "Forked Air" title was used in a 1950 notebook in which A. Hamblen noted down tunes played by his grandfather and brought to Brown County, Indiana, from Virginia in 1857. The tune, as "Forkadair," appears in W. Morris's Oldtime Viloin Melodies: Book No. 1, and the "Forkedair Jig" is a title Gerry Milnes (1999) says was used in a minstrel-era version.
***
Miles Krassen (1973) remarks the tune is very popular through most of the southern Appalachians, though it was not played for the most part by Galax, Va., style bands. Tommy Jarrell, quintessential Round Peak (near Mt.Airy, N.C./Galax, Va.) fiddler learned the tune in Carroll County, southwestern Virginia, where he listened to his father-in-law, Charlie Barnett Lowe play it on the banjo with local fiddlers Fred Hawkes and John Rector. It is one of the tunes mentioned in the humorous dialect story "The Knob Dance," published in 1845, set in eastern Tenn. (C. Wolfe), and was also known before the Civil War in Alabama, having been recalled by Alfred Benners in Slavery and Its Results as played by slave fiddler Jim Pritchett of Marengo County. The tune was mentioned by William Byrne who described a chance encounter with West Virginia fiddler 'Old Sol' Nelson during a fishing trip on the Elk River. The year was around 1880, and Sol, whom Byrne said was famous for his playing "throughout the Elk Valley from Clay Courthouse to Sutton as...the Fiddler of the Wilderness," had brought out his fiddle after supper to entertain (Milnes, 1999). Charles Wolfe (1982) remarks it was popular with Kentucky fiddlers, especially in eastern Kentucky (a remark probably based on recordings of regional fiddlers Ed Hayley and J.W. Day). It was one of the few sides cut in the first recorded session of American fiddle music in June, 1922, for Victor--a duet between Texas fiddler Eck Robertson and Henry Gilliland (though unissued). The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph in the early 1940's from the playing of Ozark Mountain fiddlers. Alternate titles "Forked-Horn Deer" and "Forked Deer Hornpipe" appear in a list he compiled of traditional Ozark Mountain fiddle tunes.
***
Ira Ford's (1940) rather preposterous story of the origins of the title is as follows: "The old dance tune, 'Forked Deer', is easily traceable to the days of powder horns, bullet molds and coonskin caps. Like many other very old tunes of American fiddle lore, it had its origin on the isolated frontier and this one has been traced to the first settlers along the Big Sandy River, the border line of Virginia and Kentucky. In the family which preserved this tune, the story, handed down through several generations, credits the authorship to a relative, a noted fiddler of pioneer days. This kinsman was also a famous hunter. There was a spirit of friendly rivalry in the hunt, much the same as there were championships in other lines of activities, and he had established a reputation as a champion deer hunter by always bringing in a forked deer. The forked deer, or two-point buck, was considered prime venison. As a token of admiration for the hunter as well as the fiddler, his friends set the following words to this popular dance tune which comes down to us as 'Forked Deer'.
***
There's the doe tracks and fawn tracks up and down the creek
The signs all tell us that the roamers are near,
With the old flint-lock rifle Pappy's gone to watch the lick,
With powder in the pan for to shoot the forked deer.
***
Sources for notated versions: J.P. Fraley (Ky.) and The Highwoods String Band (N.Y.) [Brody]: Will Hinds (Haskell County, Oklahoma) [Thede]: George Helton (Dixon, Missouri) [Christeson]; Frank George and John Rector (W.Va., Va.) [Krassen]; Charlie Bowman (Ga.?) [Phillips/1989]. Brody (Fiddler's Fakebook), 1983; pg. 110. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 64. Ford (Traditional Music in America), 1940; pg. 45 (the first part is similar to some versions of "Grey Eagle"). Frets Magazine, Vol. 3, No. 7, July 1981. Johnson (The Kitchen Musician: Occasional Collection of Old-Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), No. 2, 1982/1988; pg. 5. Krassen (Appalachian Fiddle), 1973; pg. 43 (includes one 'B' part variation). Phillips (Fiddlecase Tunebook: Old Time), 1989; pg. 20. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 91. Thede (The Fiddle Book), 1967; pg. 135. Songer (Portland Collection), 1997; pg. 80. Cassette C-7625, Wilson Douglas - "Back Porch Symphony." Columbia 15387 (78 RPM), Charlie Bowman (1929). Condor 977-1489, "Graham & Eleanor Townsend Live At Barre, Vermont." County 202, "Eck Robertson: Famous Cowboy Fiddler." County 527, Charlie Bowman (East Tennessee) and His Brothers- "Old-Time Fiddle Classics, Vol. 2." County 707, Major Franklin- "Texas Fiddle Favorites." County 756, Tommy Jarrell- "Sail Away Ladies" (1976. Learned from Fred Hawks, though Tommy's father Ben Jarrell also played it). Flying Fish FF-009, Red Clay Ramblers - "Stolen Love" (1975). Flying Fish FF-055, Red Clay Ramblers - "Merchant's Lunch" (1977). Front Hall FHR-021, John McCutcheon - "Barefoot Boy with Boots On" (1981. "Inspired by" J.P. Fraley and Tommy Hunter). June Appal 007, Tommy Hunter- "Deep in Tradition" (1976. Learned from his grandfather, James W. Hunter of Madison County, N.C.). Kanawha 301, French Carpenter (W.Va.). Library of Congress (2742-A-3), 1939, by H.L. Maxey (Franklin County, Va.) {as "Forky Deer"}. Marimac 9000, Dan Gellert & Shoofly - "Forked Deer" (1986. Ed Haley's version, "without the 5th part"). Missouri State Old Time Fiddlers' Association, Cyrill Stinnett (1912-1986) - "Plain Old Time Fiddling." Morning Star 45003, Taylor's Kentucky Boys - "Wink the Other Eye: Old Time Fiddle Band Music from Kentucky, Vol. 1" (1980. Originally recorded in 1927 for Gennett). Ok 45496 (78 RPM), The Fox Chasers. Rounder 0037, J.P. and Annadeene Fraley- "Wild Rose of the Mountain." Rounder 0045, Highwoods String Band- "Dance All Night." Rounder 1010, Ed Haley- "Parkersburg Landing" (1976). Rounder 0047, Wilson Douglas- "The Right Hand Fork of Rush's Creek" (1975. Learned from French Carpenter, the tune appears as "Forked Buck"). Rounder 0058, John Rector (western Va.) - "Old Originals, Vol. II" (1978). Rounder 0194, John W. Summers - "Indiana Fiddler." Vetco 506, Fiddlin' Van Kidwell- "Midnight Ride." Vetco 102 (reissue), Jilson Setters (under the name Blind Bill Day). Victor 21407 (78 RPM), Jilson Setters (Blind Bill Day, b. 1860 Rowan Cty., Ky.), 1928. Voyager 340, Jim Herd - "Old Time Ozark Fiddling." Also recorded by Frank George and John Summers, French Carpenter and Uncle Am Stuart (b. 1856, Morristown, Tenn.){for Vocalation in 1924 under the title "Forki Deer"}.
T:Forked Deer
L:1/8
M:C|
K:D
|:(3ABc|defg a2fa|g2gb agfe|defg a2fa|gfed cABc|defg a2fa|g2gb agfe|
dAFD GBAG|FDEF D3:|
|:(A|A2)A2c4|ABAF E2 EF|A2AB c2cA|BAFE FD3|A2A2c4|ABAF E2FE|
D2ED FDGD|FDEF D3:|

FORKS OF SANDY [1]. AKA and see "Three Forks of Sandy," "Three Forks of Big Sandy," "Roll 'em Up Sandy." Old-Time, Breakdown. USA; western North Carolina, Virginia, West Virginia, Kentucky. G Major. Standard. AABB. The title refers to the Big Sandy River on the West Virginia/Kentucky border, the (3) forks being the Big Sandy River, Levisa Fork and Tug Fork. Oscar Wright maintained the song was popularized in his area of West Virginia (Mercer County) by North Carolina banjo player and band leader Charlie Poole and his fiddler Posey Rorer when they played the area in 1916, 17 or 18. He claimed to have learned it directly from Rorer. West Virginia fiddler Clark Kessinger (1896-1975), who probably learned the tune as a boy in the Kanawha Valley, recorded the melody in 1930 for Brunswick Records (as "Three Forks of Sandy") {Wolfe, Mountains of Music, John Lilly ed. 1999}. Sources for notated versions: Charlie Poole (N.C.) [Brody]; Clark Kessinger (W.Va.) [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 111. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 241. Columbia 15106-D (78 RPM), 1926, Charlie Poole and the North Carolina Ramblers. County 747, Clark Kessinger- "Sweet Bunch of Daisies" (appears as "Three Forks of Sandy"). Flying Cloud FC-023, Kirk Sutphin - "Fiddlin' Around." Historical HLP-8005, Charlie Poole and the North Carolina Ramblers - "1926-1930: A Young Boy Left His Home One Day" (1975). June Appal 007, Thomas Hunter- "Deep in Traditon" (1976. Appears as "Three Forks of Big Sandy." Learned from Manco Sneed of Cherokee, N.C.). Rounder 0089, Oscar and Eugene Wright- "Old-Time Fiddle & Guitar Music From West Virginia." Rounder 0392, John Hartford - "Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard" (1996).

FORNESBRUNEN AFTER JOHANNES DAHLE. Norwegian, Lydarslatter (listening tunes, 2/4 time). Norway, Telemark District. A Mixolydian. ADAE. One part. A listening ganger known as the "tearfull slatt (piece)." One of the most ancient slatts -- the legend and music were recorded in the mid-19th century. "The symphonic poems of Hardanger fiddle music." The title refers to a courageous horse whose morbid task it was to transport dead bodies of plague victims of the medieval black death through the desolate stretches of Mosstand to the Rauland Chruch in south-cental Norway. The tune is programmatic, in that the listener may hear musical renderings of the "sound made by horse's hoofs struggling through deep snow, of the eventual stumble due to a broken snowshoe, of the whinnying for help and of the death cry of the horse, who expires as human help arrives just too late" (Hopkins, 1986). Source for notated version: Johannes Dahle (Tinn, Telemark, Norway) [Hopkins]. Hopkins, 1986; Ex. 6, pg. 112.

FORTUNE MY FOE [1]. AKA - "The Hanging Tune." Irish, English; Slow Air (3/4 time). E Minor (Williamson): F Major (Flood). Standard. AABB. This 16th century Irish tune was used, according to Flood (1906), in 1576 for a ballad on the death of a great patron of music, Walter Devereux, Earl of Essex, in Dublin, entitled "Welladay, or Essex's Last Goodnight." The tune appears in several early collections, including William Ballet's Lute Book (1593), Fitzwilliam Virginal Book (where the setting is by the famous English composer William Byrde {1528-1625}), and William Foster's Virginal Book (1624). It was licensed as a ballad in 1565-6 and is mentioned in Shakespeare's The Merry Wives of Windsor (Act II, Scene 3, where Falstaff says, "I see what thou wert, if Fortune thy foe were not, Nature thy friend."). In fact, various songs and ballads came to be sung to the tune, including an early ballad "Titus Andronicus Complaint," on which Shakespeare founded his play, and most of these songs seem to have been about themes of gloom, misery, and death; Chappell (1859) says "Indeed, its mournful character was so thoroughly established that none but the most lugubrious matter seems ever to have been sung to it." The tune appears as "Farewell, Fair Armelia" which appears in Luke Wadding's (the Bishop of Ferns) A Pious Garland of Godly Songs for the Solace of his Friends and Neighbors in their Afflictions, 1680. Early references, according to Flood, also date from 1649-50 from a "contemporary chronicle" which described Irish pipers attached to Lord Inchiquin's army which drew off from Naas to the march of "Fortune My Foe." In 1676 the tune (as it appears in Playford's Choice Airs and Songs) was used by Irishman Thomas Duffet for (one) setting of his lyric "Since Coelia's My Foe" (another setting is set to "Limerick's Lamentation"). "'Fortune My Foe' was sung and played so frequently at public executions that it became known as 'The Hanging Tune'...'Fortune My Foe' originated in Ireland. The setting written here is believed to be the earliest version" (Williamson, 1976). Source for notated version: Playford [Flood]. Flood (A History of Irish Music), 1906; pgs. 218-219. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 39.

FORTY-SECOND HIGHLANDER'S FAREWELL, THE. Scottish, Pipe March (2/4 time). B Minor. Standard. AA'B. The 42nd Highlanders, known as the Black Watch, were one of the most famous units in the British Army, originally composed of Scots Highlanders. As with many old British regiments, the Black Watch acqurired its own distinctive lore and customs over the centuries. They were, for example, given the privaledge of wearing a red vulture feather on their bonnets in recognition of the regiment's gallantry at the battle of Guildermalson in 1794. Another story goes that during the Indian Muntiny its troopers found a huge gong in a bullock cart and appropriated it; ever after it was used to sound the hours wherever the regiment was stationed. Like many Scots regiments the Watch ws known for its drinking; on return from the victory of Waterloo they had to be doled out their pay in installments, else the regiment would have disintigrated from the huge benders of its troops. The officers drank as well--an English officer gazetted to the regiment would be required to wash down a Scots thistle with a glass of whiskey, making him an honorary Scotsman. The Black Watch had their share of defeats; they were beaten back by the backwoods riflemen of Andrew Jackson and the Battle of New Orleans, and in 1884 Dervishes temporarily broke a British square of which the Black Watch formed a part during the battle of Tamai. A reference to the latter by another regiment in a pub would invariably provoke a brawl (Farwell, 1981). Kerr (Merry Melodies), Vol. 3; No. 419, pg. 47. Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1983).

GALLOPING O'HOGAN. AKA and see "Rakes of Clonmel." Irish, Air and Jig. G Major ('A' part) & G Mixolydian ('B' part). Standard. AABB. The ballad refers to the daring exploits of Dónall Ó hÓgáin, a scout with Patrick Sarsfield's Jacobite forces in the daring attack on the Williamite siege train at Ballyneety near Dundrum, County Tipperary, on August 11th, 1690. The first part is related to "My Last Fall" (Pa.), and in a more general way, "A Night at the Fair." Roche Collection, 1983, Vol. 1; No. 94, pg. 41.

GAME PLAYED IN ERIN GO BRAGH, THE. Irish, Jig. Ireland, Munster. D Dorian. Standard. AB. The title refers to the penchant of the Irish to defend themselves forcefully and physically when slighted. Source for notated version: from 16 year old Peggy Cudmore [Joyce]. Joyce (Ancient Irish Music), 1890; No. 84, pg. 86. Roche Collection, 1983, Vol. 1; No. 34, pg. 17.

GARDENER'S SON, THE. AKA - "The Willow Tree." Irish, Air (4/4 time). A Minor. Standard. One part. "Versions of this song are current in England and Scotland as well as in Ireland. The English version may be seen in Chappell's Popular Music of the Olden Time, p. 522; there called 'The Willow Tree'; and the Scotch in Wood's Songs of Scotland, III. 84, 85. I give here from memory three verses as I heard them sung by the people of the south of Ireland; and I know a fourth which has the same play on the words 'thyme' and 'rue' as is found in the English and Scotch versions. The song conveys a warning to young maids not to let young men too easily steal 'this heart of mine, mine': in other words, to be cautions about too readily falling in love. As with the words, so with the air. The English and Scotch versions will be found with the words, as referred to above. Our Irish version, which is given here, was published by me for the first time in my Ancient Irish Music, with two verses of the song. Evidently all three are derived from one common origin" (Joyce).
***
When I was a maiden fair and young,
I flourished in my prime, prime,
Till a proper tall young man came in,
And stole this heart of mine, mine,
And stole this heart of mine.
***
Joyce (Old Irish Folk Music and Song), 1909; No. 381, pg. 189.
T:Gardener's Son, The
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:A Minor
cB|A2 AG E2 DE|G2G2G2 Bd|e2e2d2e2|c4 E2 cd|e2e2d2e2|A2 AG E2 DE|
G2G2 G>ABd|c4 B3c|A3G EDEG|A6||

GARRYOWEN (Garad-Eogan Le Atrugad). AKA - "Garry/Gary Owen." AKA and see "Auld Bessy," "Battle of Limerick," "The Bivouac (of the Dead)," "Bosom that Beats," "Daughters of Erin," "Finnegan's Dream," "Hurrah for the Women of Limerick," "Let Bacchus' sons not be dismayed," "O! Friendship will smile," "The Scotch Laddie," "We May Roam Thro' This World." Irish (originally), Scottish, English; Jig and (in England) North-West Morris Dance Tune. G Major (Cole, Ford, O'Neill, Phillips, Trim, Sweet, Wade): F Major (Gow, Harding): A Major (Kerr): D Major (Russell). Standard. One part (Russell): AAB (Gow): AABB (Cole, Ford, Harding, Kerr, O'Neill, Sweet, Wade): AABB' (Phillips). "Garryowen," the name of a suburb of Limerick, was written c. 1770-1780 supposedly in honor of the moneyed young hooligans who ran riot in the Irish county at the time. Garryowen translates as "Owen's garden." Samuel Bayard, however, finds the first printed appearance of the tune in Aird's 1787 Collection under the title "Auld Bessy." Another early Irish printing is in O'Farrell's Pocket Companion. After its use in a pantomime called Harlequin Amulet, produced in 1800, the jig gained great popularity as a fife and fiddle tune. It is sometimes (mistakenly) attributed to 'Jackson of Cork', a reference to the famous 18th century uilleann piper and composer Walter "Piper" Jackson. Doolin, north County Clare, tin whistle player Micho Russell described it as a "very old jig," often played for the dance called the 'plain set' in Clare and surrounding Irish counties.
***
In the United States it was adopted as a favorite marching air by General George Custer's 7th Cavalry, an association which helped to popularize the jig throughout country following Custer's demise. "It had been said that the 7th acquired the song through Captain Miles Keogh, an Irishman and a former member of the Papal Guard, but it seems unlikely that (its American use) can be ascribed to a particular person, since 'Garryowen' appeared in a number of Civil War songsters, and was therefore presumably well known to any number of American soldiers in 1861-1865 -- dates preceding Keogh's association with the 7th" (Winstock, 1970; pgs. 102-104).
***
The melody was cited as having commonly been played at Orange County, New York country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly) and it was used as a tune for a single step in the English North-West morris dance tradition. Queen Victoria requested the tune of piper Thomas Mahon (along with "St. Patrick's Day" and "Royal Irish Quadrilles") during her first visit to Ireland in 1849, and the piper was thus "surprised when he learned that not only the Queen, but the Prince Consort was familiar with the best gems of Irish music" (O'Neill, 1913). His performance pleased the Queen and she directed that he might thenceforth bear the title "Professor of the Irish Union Bagpipes to Her Most Gracious Majesty, Queen Victoria."
***
Words were set to the jig melody at some point, and go:
***
Let Bacchus' sons be not dismayed
But join with me, each jovial blade
Come, drink and sing and lend your aid
To help me with the chorus:
***
Chorus:
Instead of spa, we'll drink brown ale
And pay the reckoning on the nail;
No man for debt shall go to jail
From Garryowen in glory.
***
We'll beat the bailiffs out of fun,
We'll make the mayor and sheriffs run
We are the boys no man dares dun
If he regards a whole skin.
***
Our hearts so stout have got no fame
For soon 'tis known from whence we came
Where'er we go they fear the name
Of Garryowen in glory.
***
Adam, 1928; No. 26. Aird (Selections), Vol. 3, 1788; No. 600 (appears as "Auld Bessy"). American Veteran Fifer, 1927; No. 59. Carlin (The Gow Collection), 1986; No. 502 (appears as "Gary Owen"). Cole (1001 Fiddle Tunes), 1940; pg. 63. Ford (Traditional Music in America), 1940; pg. 118. Gow (Complete Repository), Part 2, 1802; pg. 30. Harding's Original Collection, 1928; No. 7. Harding's All-Round, 1905; No. 187, pg. 59. Howe (Diamond School for the Violin), 1861; pg. 49. Jarman (Old Time Fiddlin' Tunes), No. or pg. 16. Kerr (Merry Melodies), Vol. 1; No. 17, pg. 37. Old Fort Snelling Instruction Book for the Fife, 1974; pg. 61.O'Neill (1850), 1903/1979; No. 971, pg. 180. O'Neill (1001 Gems), 1907/1986; No. 1001, pg. 172 (includes variations). Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 365 (appears as "Gary Owens"). Robbins, 1933; No. 69. Russell (The Piper's Chair), 1989; pg. 23. Saar, 1932; No. 5. Sweet (Fifer's Delight), 1964/1981; pg. 22. Trim (Thomas Hardy), 1990; No. 52. Wade (Mally's North West Morris Book), 1988; pg. 4. Winstock (Music of the Redcoats), 1970; pg. 103. Edison 50870 (78 RPM), Joseph Samuels, 1919 (appears as 1st tune of "St. Patrick's Day Medley").
X:1
T:Cary Owen (sic)
L:1/8
M:6/8
S:Gow - 2nd Repository
K:F
f|~fcB ~AGF|A>BA A2f|~fcB ~AGF|GAG G2f|~fcB ~AGF|
ABA A2d|c>de f2A|GAG G2:|
A/B/|(A/B/c)A ~c2A|c2A c2f|d2B d2B|d2B d2e|f2g {fg}a2g|f2d c2A|
cde f2A|GAG G2 A/B/|{AB}c2A {AB}c2A|{AB}c2A c2f|d2B d2B|
d2B d2e|f2g {fg}a2g|f2d c2A|cde f2A GAG G2||
X:2
T:Garryowen
L:1/8
M:6/8
S:O'Neill - 1001 Gems (1001)
K:G
g/f/|edc BAG|B>cB Bgf|edc BAG|ABA Agf|edc BAG|B>cB B2 B/c/|def gdB|A>BA A2:|
|:B/c/|d2B d2B|dec dgf|e2c e2c|efd e2f|g2a b2a|gfe edB|def gdB|A>BA A2:|
|:g|e/f/ge dBG|BGB Bgf|e/f/ge dBG|AFA Agf|e/f/ge dBG|BGB BAB|def gdB|ABA A2:|
|:B/c/|dBg dBg|dBg d2g|ecg dcg|ecg e2f|g2a b2a|gfe dcB|def gdB|ABA A2:|
|:B/c/|d2B g2B|b3 bag|f2g a2b|c'ba gfe|d2B g2B|b3 bag|def gdB|ABA A2:|
|:c/B/|A2B c2c|B2c d2d|e/f/gd gbd|e/f/gd e2f|g2d b2d|gfe dcB|def gdB|ABA A2:|

GATES OF THE YELLOW TOWN, THE (Geaftai Bhaile Buí). Irish, Slow Air (4/4 time). Ireland, Northern Ireland. G Major. Standard. One part. According to Ó Canainn (1978) this is one of the great songs of the northern Irish tradition. It is in the sean-nos repertoire and is in the form one of a complaint about women and they touble they give to men. Interestingly, Harry O'Prey points out that one line of the song goes:
***
Focal ar bith mná, ní chreidfidh mé go bráth,
Mur' bhfá' mise scríobhtha 'mBéarla é"
***
Meaning: "I will never again believe any promise from a woman unless I get it written in English." He says: "The reference to English is, of course, due to its being the only language acceptable to officialdom in Ireland, thus carrying with it all the power and influence of the State. The same promises in Irish would not have been worth the paper they were written on." O'Boyle/Ó Baoill (Ceolta Gael/Songs of the Gael), Mercier Press, Dublin,1975; p.56. Ó Canainn (Traditional Slow Airs), 1995; pg. 15.

GENERAL, THE [2]. AKA and see "The Drunken Sailor," "Brigade March," "Old Number Four," "Old Three-Part Two-Four." American, March (2/4 time). USA, southwestern Pa. G Major. Standard. AABBCC. The title refers most likely to its use as a tune calling soldiers for camp-duties in the Civil War. See Bayard's (1981) note for "The Drunken Sailor." Source for notated version: John Kirkpatrick (elderly fifer from Indiana County, Pa., 1950) [Bayard]. Bayard (Dance to the Fiddle),, 1981; No. 224E, pg. 182.

GENERAL McKAY. Scottish, Reel. C Mixolydian. Standard. AAB. Composed by Donald Dow. Perhaps this refers to Major General Mackay who led William of Orange's forces in their defeat at the hands of Lord ("Bonny") Dundee at the Battle of Killiekrankie, 1689. Carlin (The Gow Collection), 1986; No. 402. Gow (Complete Repository), Part 3, 1806; pg. 22.
T:General McKay's Reel
L:1/8
M:C|
S:Gow - 3rd Repository
K:C
e|c(CC>)E G3_B|AF EC DF_B,D|(C/D/E/F/) GE G2 c>G|Aagf ecc:|
e|(c/d/e/f/) gc acgc|ecge fdde|(c/d/e/f/) gc acgc|ecgc G(cc>)e|
(c/d/e/f/) gc acgc|fdec B>cd(f|e>)c GE FAG_B|Aag>f ecc||

GENERAL TAYLOR'S MARCH. American, March (2/4 time). USA, southwestern Pa. D Major. Standard. AB. A formerly popular southwestern Pa. fife march. The title refers perhaps to Zachary Taylor, a general during the Mexican War of 1846-47, hero of the battles of Palo Alto, Resaca de la Palma and Buena Vista, and later elected (on the strength of his martial popularity) the 12th President of the United States. Sources for notated versions: Hoge MS, Marion Yoders (Greene County, Pa., 1961), Frank St. Clair (Greene County, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 330A-C, pgs. 302-303.

GILDEROY [1]. Scottish (originally), English, Irish; Reel and Air. A Minor. Standard. AABB. An earlier, minor key, relative of what was later called "The Red Haired Boy" family of tunes. Caoimhin Mac Aoidh explains that the name 'Gilderoy' is an English corruption of the Gaelic words 'Giolla Ruaidh'; giolla is generally taken to mean a servant or a young person, while ruaidh literally means red, though when used in conjunction with a person it refers to red hair. Interestingly, he mentions that in modern Scotland and Ireland hunting and fishing stalkers or guides are still referred to in anglicised form as 'Gilles'. The hero of the ballad "Gilderoy" was a historical personage, a Scottish freebooter of the notorious Clan MacGregor, seven of whose gang were taken by the Stewarts of Athol and hanged in Edinburgh in July, 1638. Robin Williamson maintains the ballad was well known as far away as England by the middle of the 17th century, a decade or two later. An early printing appears in the Gillespie Manuscript of Perth, 1768. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 28, pg. 14. Raven (English Country Dance Tunes), 1984; pg. 188. Flying Fish FF 358, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 1."

GIRL I LEFT BEHIND ME, THE [1] (or "An Spailpin Fanach"). AKA and see "As Slow Our Ship," "Brighton Camp," "The Gal I Left Behind Me," "Pretty Little Girl" (I Left Behind Me), "An Spailpin/Spalpeen Fanach," "The Rambling Laborer," "The Wandering Harvest Labourer." Old-Time, American, Irish, Scottish, English; March, Two-Step, Polka, Set, Sword, Country and Morris Dance Tune (2/4 time). G Major (almost all versions): A Flat Major (O'Sullivan/Bunting): C Major (Ashman). Standard. One part (Linscott, Raven): AB (Bayard, O'Sullivan/Bunting, Shaw): AABB (Ashman, Brody, Ford, Kennedy, Perlman, Phillips, Sweet, Tubridy): AABBCC (Hall & Stafford).
***
There are many conflicting theories about the exact origins and dates of the tune that is claimed vociferously by both the English and Irish. "The Irish name, according to Bunting (1840), is 'The S(p)ailpin Fanach' or "The Rambling Laborer.' The music and words were printed in Dublin in 1791, although it was known much earlier. It is claimed by one authority that this tune originated when Admirals Hawke and Rodney were watching the French Fleet off the coast in 1758. Still another opinion assertes that in Queen Elizabeth's time it was very popoular and was played when a man-of-war weighed anchor or when a regiment moved in or out of town." (Linscott, 1939). "The song derives from an old British marching song; Spaeth identifies it with an Irish folk-tune, first written down in 1800...(also closely related to) "Brighton Camp" to which William Chappell (1893) assigns the date 1758 (See note on "Brighton Camp" for more details, esp. regarding Chappell's research). Kidson (Groves) can date it with confidence only from 1797, from a manuscript collection then in his possession. Fuld (1966) insists that the manuscripts Chappell refers to have not been located, and despite the persistent thought that the tune was known as "Brighton Camp" no printings of the melody under that name have been found to exist. Kidson (Groves) does find evidence of the melody as "Brighton Camp," although not before its publication in The Gentleman's Amusement c. 1810. Alfred Moffat, for one, in his Minstrelsy of Ireland (pg. 14) maintains that while it may be true that the British knew the tune in 1758-59 during the encampments of Rodney and Hawke, it still is quite possible the air was imported from Ireland, citing its "Irish flavour" and its resemblance to the Irish melody "The Rose tree in full bearing."
***
Moffat maintains Bunting's version "is a mere parody on the genuine air," an opinion that Kidson (Groves) agrees with, saying the Bunting's elaborate version (as with Moore's) "quite destroy the strongly marked rhythm of the simple marching form." Chappell and Bunting communicated about "The Girl I Left Behind Me," the latter writing in 1840 to the English musicologist: "It is a pretty tune, and has been played for the last fifty years, to my knowledge, by the fifes and drums, and bands of different regiments, on their leaving the towns for new quarters." Some writers maintain that Bunting may have been conservative in his date and say that there is evidence that "The Girl I Left Behind Me" was often played in the years before the American Revolution when a British naval vessel set sail or and army unit left for service abroad. This may have inspired Thomas Moore write his song "As slow our ship," published in Irish Melodies in 1818, to the air "Girl I Left Behind Me."
***
"The Girl I Left Behind Me" has a long and illustrious history in America. Dolph (1929) prints a standard text popular at the time of the Civil War, which was a great favorite with Gen. George Custer, and is still the official regimental song of the 7th Cavalry (see also "Garryowen"). "My grandfather tells me that he heard it played by bands in both armies at the Battle of Pea Ridge, Arkansas, in 1862" (Vance Randolph, Ozark Folksongs, Vol. III, 1980). Cauthen (1990) finds reference to its being played during the Civil War in an account by Georgia fiddler Ben Smith of the 12th Alabama Infantry; she calls it a "show tune" which was popularized during that war and which entered folk tradition through discharged soldiers. The United States army troop [The Old Guard] at Fort Snelling, Minesota, considered it a favorite in the 19th century. Today it remains in use by the army and is played at the United States Military Academy at West Point as part of the medley for the cadets' final formation at graduation.
***
Notwithstanding its popularity as a song or martial air, "The Girl" gained renewed currency as a dance tune in the South. Linscott (1939) remarks that in New England it was a great march favorite and that it "has always been popular as a country dance tune." The piece was a 'catagory tune' in an 1899 Gallatin, Tenn., fiddle contest; each fiddler would play his (or her?) rendition, with the best version winning a prize (C. Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80). It was cited as having commonly been played at Orange County, New York country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly), and was in the repertoire of Arizona fiddler Kenner C. Kartchner whose hey-day was in the early 20th century. Also in repertories of Uncle Jimmy Thompson (1848-1931) {Texas, Tenn.) as "The Girl I Left Behind," Mainer Mellie Dunham (Henry Ford's champion fiddler in the late 1920's), and Buffalo Valley, Pa., dance fiddlers Harry Daddario and Ralph Sauers. It was recorded for the Library of Congress by folklorist/muicologist Vance Randolph in the early 1940's from Ozark Mountain fiddlers.
***
The English novelist Thomas Hardy, himself an accordionist and fiddler, mentioned 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.
***
Morris and sword dance versions in this setting of the tune have been collected from the Abingdon, Handsworth, Bampton, Longborough, and Lichfield, England, areas, {the latter has a 'C' part which is the tune 'Here we go round the Mulberry bush...'}. In Scotland "The Girl I Left Behind Me" was the name of a solo dance with twelve steps and was performed to "The Girl..." melody. This Scottish dance was transported to Cape Breton and entered dance tradition there where it was performed during the 19th century.
***
Sources for notated versions: harper Arthur O'Neill, 1800 (Ireland) [Bunting]; John McDermott (New York State, 1926) [Bronner]; 10 southwestern Pa. fifers and fiddlers [Bayard, 1981]; William Garrett with Hack's String Band [Phillips]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; caller George Van Kleeck (Woodland Valley, Catskill Mtns., New York) [Cazden]; Angus McPhee (b. c. 1924, Mt. Stewert, Queens County, Prince Edward Island) [Perlman]. American Veteran Fifer, No. 64. Ashman (The Ironbridge Hornpipe), 1991; No. 2b, pg. 1. Bayard (Dance to the Fiddle), 1981; No. 338A-J, pg. 322-325. Brody (Fiddler's Fakebook), 1983; pg. 119. Bronner, 1987; No. 4, pg. 27 (appears as last tune of "Virginia Reel Medley." Bruce-Emmett (Fifer's Guide), 1880; pg. 52. Bunting, 1840; pg. 43. Cazden (Dances from Woodland), 1945; pg. 9. Cazden, 1955; pg. 14. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pgs. 187-188 (appears as "Brighton Camp"). Ford (Traditional Music in America), 1940; pg. 116. Hall & Stafford, 1974; pg. 12. Hazeltine (Instructor in Martial Music), 1820; pg. 29. Howe, Diamond School for the Violin, 1861; pgs. 51, 61, 62. Hulbert, 182?; pg. 19. Jarman (Old Time Fiddlin' Tune)s; No. or pg. 7. Karpeles (A Selection of 100 English Folk Dance Airs), 1951; pg. 31. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 55, pg. 27. Kerr (Merry Melodies), Vol. 3; pg. 41. Linscott (The Folk Songs of Old New England), 1939; pg. 79-80. Moffat, (202 Gems), pg. 8. Neal (Esperance Morris Book), 1910; pg. 19. Old Fort Snelling Instruction Book for the Fife, 1974; pg. 35. O'Malley, 1919; pgs. 26, 35. O'Neill (1850), 1903/1979; No. 972. O'Neill (1001 Gems), 1907/1986; No. 972, pg. 167 (appears as "The Spalpeen Fanach"). O'Sullivan/Bunting, 1983; No. 57, pgs. 87-90. Ostling, 1939; pg. 10. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 153. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 97. Raven (English Country Dance Tunes), 1984; pg. 94. Riley (Flute Melodies), 1814; Vol. 1, No. 349. Sharp (Country Dance Tunes), Set 1, 1911; pg. 1. Sharp (Sword Dance Tunes), 1911-1913; Book 1, 5, Book 3, pgs. 4 & 12. Shaw (Cowboy Dances), 1943; pg. 382. Sweet (Fifer's Delight), 1964/1981; pg. 45. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 10. White's Excelsior Collection, 1907; pg. 72. Augusta Heritage Records 003, Ernie Carpenter, "Elk River Blues: Traditional Tunes From Braxton County, W.Va." (appears as "Pretty Little Girl I Left Behind Me"). Brunswick (78 RPM), John McDermot (central N.Y.), 1926 (appears as last tune of "Virginia Reel Medley"). Cassette C-7625, Wilson Douglas - "Back Porch Symphony." Mag, Hubert and Ted Powers- "Powers Town Music." Edison 51381 (78 RPM), Jasper Bisbee (Mich.), 1923. Folk Legacy Records FSA-17, Hobart Smith - "America's Greatest Folk Intsrumentalist" (appears as middle tune of "Banjo Group 2"). Gennett 6826 (78 RPM), Doc Roberts (Ky.). OKeh 45150 (78 RPM), Franklin Co., Va., fiddler Howard Maxey {1882-1947} (1927). Paramont 3017 (78 RPM), 1927, John Baltzell (Mt. Vernon, Ohio). RCA Victor LCP 1001, Ned Landry and His New Brunswick Lumberjacks - "Bowing the strings with Ned Landry." Tradition TLP 1007, Richard Chase - "Instrumental Music of the Southern Appalachians," 1956. Victor 36402A (78 RPM), Woodhull's Old Tyme Masters (N.Y.), 1941. Voyager 340, Jim Herd - "Old Time Ozark Fiddling."
T:Girl I Left Behind Me, The
L:1/8
M:2/4
S:Shaw - Cowboy Dances
K:G
g/f/|ed c/B/A/G/|AG E>F|GG G/A/B/c/|d2 B(g/f/)|ed c/B/A/G/|AG E>G|FA DE/F/|
G2G2||GB de/f/|gd B>G|Bd ef|g2 f(g/f/)|ed c/B/A/G/|AG E>G|FA DE/F/|G2G2||

GIRL OF THE (BIG) HOUSE, THE ("An Cailín Na Tig Moir" or "Cailín an Tí Mhóir"). AKA - "Girl of the House." AKA and see "The Housekeeper." Irish, Double Jig or Air. D Major (O'Neill): D Mixolydian (Breathnach). Standard. AABB (O'Neill): AABB' (Breathnach). The title may refer to the maid of the manor, and is usually called "The Housekeeper" in English, says Breathnach (1976). Petrie (who printed it in his first collection, 1855) notes it was a once a very popular dance tune in the counties of Cork, Kerry and Limerick, "in all of which it is considered to be very ancient, and to have been originally used as a march." Goodman prints a different setting under the title "The House Keeper" (No. 82), while Levey gives it as "The Girl of the House." Alan Ward, in the booklet to the recording "Music from Sliabh Luachra," concludes that the Denis Murphy/Julia Clifford version came from Tom Billy Murphy:
***
"... as, for instance, the characteristic rapid notes linking the
end of the second part with the re-commenced first part [i.e.two groups of quadruplets played in the time of three] follow the same pattern as those linking the second and third parts of the well-known jig from Tom Billy transcribed as no. 48 in CRE2 and played by Denis and Julia on SAG ['The Star Above the Garter']."
***
Sources for notated versions: fiddler Denis Murphy, 1966 (Gneeveguilla, Co. Kerry, Ireland) [Breathnach]; the collector P.W. Joyce [Petrie]. Breathnach (CRE II), 1976; No. 40, pg. 23. Ceol (The Man and His Music), ii, 4. Goodman (Tunes of the Munster Pipers), I, pg. 35. Levey, ii, 68. O'Neill (1850), 1903/1979; No. 196, pg. 34 (appears as "The Girl of the Big House"). O'Neill (1001 Gems), 1907/1986; No. 998, pg. 172 (appears as "The Girl of the Big House"). Roche Collection, 1983, Vol. 1; No. 98, pg. 43. Stanford/Petrie (Complete Collection), 1905; No. 995. Julia Clifford - "Humours of Lisheen."
T:Girl of the Big House, The
L:1/8
M:6/8
S:O'Neill - 1001 Gems (998)
K:D
{G}F2D {A}G2E|AGE EDD|{G}F2D {A}G2E|AGE d2z|
{G}F2D {A}G2E|AGE EDD|D=cA GFE|{G}FDD {F}EDD:|
|:ABA AGF|GAG GFG|ABA cAG|Add d2e|fed cAG|FGF GFE|
dcA GFE|{G}FDD {A}EDD:|

GLASGOW FLOURISH. AKA and see "Miss Admiral Gordon." Scottish. John Glen (1891) finds the earliest printing of this tune in Joshua Campbell's 1778 collection (pg. 65). The title comes from the motto of the city of Glasgow, 'Let Glasgow Flourish'. The title also refers to a Scottish country dance in hornpipe time. Glasgow is Gaelic for 'green hollow.'

GLENBEIGH HORNPIPE. AKA and see "Ballybunnion Hop," "Curlew Hills," "James Cannon's Barn Dance," "McDermott's Barndance," "McDermott's Hornpipe," "Morrison's Polka." Irish, Hornpipe. G Major. Standard. AABB. The "Glenbeigh Hornpipe" title comes from the group De Danann, while "Curlew Hills" is from James Morrison's recording. "McDermott's Barndance" is the name on Paddy Killoran's record and Paddy Taylor called it "Morrison's Polka." The "Ballybunnion Hop" title is a barndance setting of the tune from concertina player Gearoid O hAllmhurain, and Kerry fiddler Máire O'Keeffe also refers to this tune as a Donegal barndance (even though Ballybunnion is in north Kerry). Despite the confusion of hornpipe-polka-barndance titles, the tune is correctly catagorized a barndance. County Sligo/New York fiddler Michael Coleman recorded the tune as "James Gannon's Barn Dance" in 1927 (both Morrison and Coleman had lessons from fiddler James Gannon). Glenbeigh is in south County Kerry. Source for notated version: De Danann (Ireland) [Sullivan]. Sullivan (Session Tunes), Vol. 3; No. 26, pg. 10. John Brosnan - "The Cook in the Kitchen" (apparently miss-labeled as "The Chaffpool Post," which Philippe Varlet believes came about because the two tunes were paired together on a 1976 John and James Kelly album).
T:Glenbeigh Hornpipe
M:4/4
L:1/8
R:Hornpipe
N:This is really a barn dance.
N:"Hornpipe" noted above only to get the right lilt.
D:John & James Kelly
Z:Lorna LaVerne
K:G
(3DEF | GABc dg(3fga | g2B2 d3B | ceAB c2cA | BdGA BcBA |
GABc dg(3fga | g2B2 d3B | ceAB cAFG | AGGF G2 (3DEF |
GABc dg(3fga | g2B2 d3B | ceAB c2cA | BdGA BcBA |
GABc dg(3fga | g2B2 d3B | ceAB cAFG | AGGF GA(3Bc=c |
d2b2 c2a2 | Bggf gdBG | FGAB cAFA | GFGA BA(3Bc=c |
d2b2 c2a2 | Bggf gdBG | FGAB cAFG | AGGF GA(3Bc=c |
d2b2 c2a2 | Bggf gdBG | FGAB cAFA | GFGA BA(3Bc=c |
d2b2 c2a2 | Bggf gdBG | FGAB cAFG | AGGF G2 |

GLENLIVET, THE [1]. AKA and see "Minmore Schottische." Scottish, Strathspey or Highland Schottische. A Major. Standard. AB (Hardie, Skinner): AAB (Hunter): AA'B (Alburger). The tune was composed by J. Scott Skinner (1848-1927), in honor of the famous Scotch whisky founded by George Smith, who owned an illicit still in Upper Drummin. In 1797, according to Moyra Cowie (1999), the parish of Glenlivet had some 200 stills in operation, and, along with stills in neighboring parishes, they distilled the finest malt liquor for local consumption and export. The following lines preface the melody in Skinner's Elgin Collection:
***
Scott Skinner's made anither tune
The very dirl o't reached the moon
Till ilka lassie an' her loon
Commenced to dance fu' frisky O.
***
Another literary reference to the whisky in conjunction with fiddling was penned by R.P. Gillies, describing the effect of James Hogg, "the Ettrick Shepherd", on Edinburgh society. Hogg was a noted poet and a keen fiddler as well:
***
...cast utterly into the shade by an illiterate shepherd, a man
also who seemed to give himself no thought or care about
his own works, but to be engaged day after day, or rather
night after night, in scraping on the fiddle, singing his own
ballads, and, with the help of Glenlivet, making himself and
others uproariously happy.
***
Source for notated version: Bill Hardie (Scotland) [Hardie]. Alburger, 1983; Ex. 113, pg. 189. Hardie (Caledonian Companion), 1992; pg. 74. Hunter (Fiddle Music of Scotland), 1988; No. 132. Skinner, (The Elgin Collection). Skinner (The Scottish Violinist), pg. 8.

GLORIOUS FIRST OF AUGUST. AKA and see "First of August," "Come Jolly Bacchus," "The Tenth of June," "Frisky Jenny," "Twenty-First of August," "The Gallant Weaver," "The Weaver's March," "Charles of Sweden." English. The title date refers to the acession of King George I, in 1714.

GOING UP TO HAMBURG. Old-Time, Breakdown. USA, Mississippi. G Major. Standard. Tom Rankin (1985) reports that the tune is local to the northern Mississippi area. The title refers to a locale on the Tennessee River, just across the state line from Mississippi in Hardin County, Tennessee. Rankin thinks the melody may have begun as a holler and evolved into a fiddle tune, citing the tune's almost unison following of the vocal line.
**
Well Shane
Going up to Hamburg, pretty little lady,
Going up to Hamburg, yes I am;
Going up to Hamburg, pretty little lady,
Going up to Hamburg to get me a dram.
**
Mississippi Department of Archives and History AH-002, John Hatcher (Tishomingo County, Miss.) - "Great Big Yam Potatoes: Anglo-American Fiddle Music from Mississippi" (1985. Originally recorded for the Library of Congress in 1939).

GOL NA mBAN SAN ÁR (Lament of the Women in Battle). Irish, Slow Air (3/4 time). G Major. Standard. One part. The title is variously translated as "The Lament of the Women in Battle" or "The Crying of the Women in the Slaughter." The title has been thought to have been inspired by a number of different battles; some think it refers to the Battle of Aughrim in 1691, between the Jacobite forces and the British troops and their allies under the Dutch general Ginkel. Breathnach (1997) says the piece relates to the victory of Lord Inchequin at Knockinnoss, County Cork, in 1647 (see note for "Macalisdrum's March" for another tune connected with this battle). The last of the old Kerry pipers, Michael O'Sullivan (who admittedly had some extremely idiosyncratic and 'eccentric' notions), maintained it was about the battle of Cnoc an Áir, in which Fionn Mac Umhaill defeated Meargach and his hosts with great slaughter. A piping piece, it programmatically simulates the march of the troops to battle, the struggle itself, and the women lamenting the slain in the aftermath. It appears in the appendix to Walker's Historical Memoirs of the Irish Bards (1786) and Thompson's Hibernian Muse (1786), although in the latter collection in appears under the title "An Irish Dump" (dump meaning here a lament or sad tune). According to music historian Gearóid Ó hAllmhuráin (1998), a cylinder recording still exists from the 1890's of blind Micí Chúmba Ó Súilleabháin/Micheal O'Sullivan playing the piece. Breathnach (1997) expands on this to explain that O'Sullivan competed in the Feis Ceoil held in Dublin in 1899, in which he tied for second place. He also was an entrant in the competition for unpublished airs, which could either be submitted by manuscript or could be played into an Edison phonograph. Those thought worthwhile would be notated and the cylinders scraped for further use, however, by some bit of luck or twist of fate, the 1899 cylinders were retained and survived to the present day. Moreover, an account of O'Sullivan playing at the Feis appeared in the Irish-American journal Gael (New York) in July 1899:
***
Michael O'Sullivan is also blind, and is named in his own country Micahel
Dall. He is the last of a long line of pipers and has a great store of airs. The
impatience of the audience however, prevented his being asked very
minutely regarding them before the other competitions commenced.
He however, played Gol na mBan san Ár. This was an important contribution.
It is the Lamentation of the Women amidst the Slaughter. There are five
lamentations, one for each province.
***
As noted above, O'Sullivan could harbour odd ideas. He attributed his not taking top honors in the competition to his landlady feeding him fairy butter, the effect exacerbated by the malign influence of the dead man's trousers he was wearing (Breathnach explains the piper had been outfitted with a ready-made suit when departing for the Feis, and nothing would convince him that it had not been taken from a funereal corpse).
Ó Canainn (Traditional Slow Airs), 1995; No. 116, pg. 99.
T:Gol Na mBan San Ár
T:Lament of the Women in Battle
M:3/4
L:1/8
Q:70
R:Air
B:Traditional Slow Airs of Ireland, Tomas Ó Canainn
Z:Transcribed by Paul Kinder
K:G
B2 dBAG|B2 dBAG|A2 ABAG|A2 ABAG|!
B2 dBAG|B2 dBAB|G3 BAB|G3 BAG|!
e2 degd|e2 dBAG|A2 ABAG|A2 ABAG|!
e2 degd|e2 dBAG|B2 dBAB|G3 BAB|!
G3 BAG|B2 dBAG|B2 dBAG|A2 ABAG|!
A2 ABAG|B2 dBAG|B2 dBAB|!
G3 BAB|G3 BAG|G6|!

GOOD WIFE ADMIT THE WANDERER (A Bhean An Taigh Nach Leig Thu Steach Am Fear A Tha AIr Fogairt). Scottish, Slow Air (2/4 time). B Flat Major. Standard. AAB. "This air has reference to Prince Charles in wandering from the place of his defeat to the Isle of Skye (Skye)."/ "This air has an interesting incident attached to it. Prince Charles is known to have sustained extreme hardship in wandering on his way from the place of his defeat {i.e. Culloden} to the Isle of Skye, often remaining all night, in the cold month of April, in the open air, without approaching house or cabin. Overpowered with an effort to which he must have been so unaccustomed, it was necessary to send one of his servants to entreat for quarters. From the hesitation and impatience of this individual, anxious yet afraid to communicate his request to the goodwife, and uncertain but she might accept of a bribe in case of speedy prusuit; the air at first represents him as scarcely whispering his request in broken sentances; but, on finding they were likely to be well received, hi acquires more confidence, and the second part seems to picture a composure, however temporary, at their success" (Fraser). The tune was probably written by Fraser (Alburger). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 122, pg. 48. Hunter (Fiddle Music of Scotland), 1988; No. 51. MacDonald (The Skye Collection), 1887; pg. 191.
T:Good wife admit the wanderer
T:A Bhean an taigh nach leig thu steach am fear a tha air fògairt
L:1/8
M:2/4
S:Fraser Collection
K:B_
(3F/G/A/|B d B z/d/4c/4|B d B z/d/4e/4|fdBF|G3 (3F/G/A/|B d B z/d/4c/4|
B/B/ d/d/ B d/e/|ffff|B3:|(3B/c/d/|e>fg>e|f>ed>f|e>d f>F|G3 (3F/G/A/|
B d B z/d/c/|B/B/ d/d/ B d/e/|ffff|B3 (B/c/d/|e>fg>e|b>gfd|fdBF|G3 (3F/G/A/|
B>F G/F/E/D/|d/c/d/e/ f/g/a/b/|f>d c2|B3||

GRAINE M(H)AOL (or "Graine Ua Maille") [1]. AKA and see "Grace O'Malley," "Ma, Ma(, Ma)," "Granuile," "Granu Weal" (Englished version of the Gaelic). Irish, Slow Air (6/8 time). G Dorian. Standard. AAB (O'Neill): AABB (O'Sullivan/Bunting). 'Granuaile,' explain O'Sullivan (1983) and George-Denis Zimmerman, is a female name which has become yet another allegorical reference to Ireland, at least in the last century, though unlike other female names symbolizing the island Granuaile was a real person. Granuaile (Grana Uile, or other spellings) was one Grace O'Maly or O'Malley, who lived at Carrick a owly, at an inlet in the bay of Newport, County Mayo, from abut 1530 to 1600. The name Graine Maol means 'bald Graine', a sobriquet derived from her father when she was a teenager and shaved her head so as to disguise herself to run away to sea. Graine, or Grace, was the daughter and widow of two Irish chiefs in that part of Ireland, freebooters who plundered the coast of the region on sea-raids. At the height of her fame Grace commanded a fleet of galleys and was regarded by the English authorities as a force to be conciliated. She later married Sir Richard Bourke, bearing three sons and one daughter by him. Recognising that English influence and might was becoming increasingly threatening to her roving depredations, Grace decided to make her peace with Queen Elizabeth and travelled to England. She gained an audience with the monarch and through an interpreter sought an accommodation. O'Sullivan quotes Anthologia Hibernica, volume II (July 1793):
***
The Queen, surrounded by her ladies, received her in great state.
Grana was introduced in the dress of her country: a long mantle
covered her head and body; her hair was gathered on her crown
and fastened with a bodkin; her breast was bare, and she had a
yellow bodice and petticoat. The court stared at her with surprise
at so strange a figure, when one of the ladies perceived that Grace
wanted a pocket handkerchief, which was instantly handed to her.
After she had used it she threw it into the fire. Another was given
her, and she was told by an interpreter that it was to be put in her
pocket. Grace felt indignant at this intimation and applying it to her
nose threw it into the fire, declaring that in her country they
were much cleanlier than to pocket what came from their nostrils.
After having made her peace, she returned to Ireland and landed in
a little creek near Hoath{Howth}.
***
The alternate title "Ma, Ma, Ma" comes from a peculiar sound the pipes make at intervals during the song, explains the Irish collector Edward Bunting (1840). O'Sullivan finds the tune in print in several old collections including Cooke's Selection of 21 Irish Airs (1793), O'Farrell's Pocket Companion for the Irish or Union Pipes (1801-10), volume IV, pg. 99, and Stanford-Petrie, No. 1455 (the last two appearances are variations of Cooke's version). Joyce included it in his Irish Music and Song. Words to the melody appear in O'Daly's Poets and Poetry of Munster, volume II, pgs. 92-93, and in Hardiman's Irish Minstrelsy, volume II, pg. 143 (which he claims are the original words). Cazden (et al, 1982) notes the title and variants of it may be found associated with a number of different texts and tunes, and that famously it was the Gaelic name for the tune strain "The Foggy Dew," though in Bunting's book "Graine Mhaol" and "The Foggy Dew" are different tunes. Source for notated version: the index to Bunting's 1840 collection gives that the tune was noted from "MacDonnell the piper in 1797." O'Neill (1850), 1903/1979; No. 546, pg. 95. O'Sullivan/Bunting, 1983; No/ 46, pgs. 73-76.
T:Granu Waile or Ma-Ma
L:1/8
M:6/8
S:O'Neill (MOI 546)
N:"Slow"
K:G Minor
A|(d=ef) (d/c/)(B/A/)(G/^F/)|(G2G) (G2 A/B/)|(cAf) (d/c/)(B/A/)(G/E/)|F2F F2 (d/=e/)|
f=ef (d/c/)(B/A/)(G/^F/)|(Gg)g g(g/b/)(a/g/)|{fg}(f=ef) (d/c/)(B/A/)(G/^F/)|(GGG) G2:|
(3d/=e/f/|g(d/c/)(B/A/) g(d/c/)(B/A/)|(GGG) G2 (3c/d/=e/|f(d/B/)(A/G/) f(c/B/)(A/G/)|
(FFF) F2 (d/=e/)|f (3=e/f/e/d g (3f/g/f/=e|a (3g/a/g/^f g(g/b/)(a/g/)|
{fg}(f=ef) (d/c/)(B/A/)(G/^F/)|(G2G) G2||

GRAVE OF WOLFE TONE, THE (Uaim Uolfe Tone). Irish, Air (3/4 time, "plaintive"). G Dorian. Standard. One part. The title refers to the great Irish patriot and martyr of the 18th century. O'Neill (1850), 1903/1979; No. 456, pg. 80.

GRAY'S INN MASKE. AKA and see "Poor Tom," "Mad Tom," "New Mad Tom of Bedlam." English, Air and Country Dance Tune (4/4 and 6/4 time). G Dorian/G Major. Standard. AABCDEF. Gray's Inn was one of the four great Inns of the Temple Barr to which lawyers allied themselves in 17th century England. Prior to the Commonwealth, Grays Inn, along with Inner Temple, Lincoln's Inn and Middle Temple, held annual revels which included music and dancing. During the reign of James I the inns, singly or in pairs, presented masques at the royal court. Chappell (1859) remarks that the air was used, as the name implies, as accompaniment to a suite of dances in a Masque, though he admits there is no way of knowning whether it was written for that purpose or rather as a song. He does believe it to be "considerably older" than the 1650 Dancing Master date because one of the ballads was directed to be sung to the tune of "Mad Tom" which was "lately sung at the Curtain, Holywell;" the Curtain Theatre was all but closed by 1625, and "Mr. Collier, in a note to Heber's catalogue, even gives the date of one of the performances of the tune at that theatre as 'about 1610.'" He further states that the air has been ascribed variously to Purcell and to Henry Lawes, however, these assertions are speculative and, in fact, the music was in print before Purcell was born. Lawes was said by Sir J. Hawkins to have been mentioned as the composer in Choice Ayres and Antidote against Melancholy, however Chappell finds no reference to him in those works. The air appears in Playford's English Dancing Master (1650), Antidote against Melancholy (1669), and his Choice Ayres (1675). It also appears in the ballad operas Penelope (1720) and The Bay's Opera (1730). Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pg. 179. Raven (English Country Dance Tunes), 1984; pg. 47. Familiar Records 59, Pyewackett - "The Man in the Moon Drinks Claret" (1982).

GREASY COAT. AKA and see "Old Greasy Coat." Old-Time, Breakdown. USA, West Virginia. A Dorian. Standard. ABCC. There are several meanings for the term 'greasy coat.' It is an old-time euphemism for a condom, but it has also been suggested the term refers to an unwashed fleece (i.e. still retaining the lanolin), and a Confederate soldiers coat, worn, greasy and dirty from overuse. A verse attached to the tune goes:
***
Well I don't drink and I don't smoke,
And I don't mess with the greasy coat... ('wear no' is sometimes substituted for 'mess with the')
***
Source for notated version: Ruthie Dornfeld [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 102. Folkways FTS 31062, "Ship in the Clouds: Old Time Instrumental Music" (1978. Learned from Burl Hammons, Pocahontas County, West Virginia).

GREASY STRING [1]. AKA and see "Bring Back My Old Coon Dog." Old-Time, Breakdown. USA; Indiana, Virginia. A Major: G Major. AEAE or Standard. AABBCC (Kuntz): AAAABB (Phillips). The title "Greasy String" probably refers to a slippery fiddle string. Tommy Jarrell sang a verse with "mash down harder on that greasy
string." The high part of the tune is related to "Shoot the/that Turkey Buzzard," while the low part closely resembles "Cripple Creek." The tune was frequently found in the 1970's among older fiddlers in Ashe, Alleghany, Patrick (see Patrcik County natives Taylor and Stella Kimble's privately released record "How Sweet the Sound") and Grayson counties in Virginia. Mt. Airy, North Carolina, fiddler Tommy Jarrell learned the tune from his Uncle Charlie Jarrell, though he was the only one Tommy remembers playing it (Tommy's version is very similar to Taylor Kimble's). Sources for notated versions: Tommy Jarrell via Liz Slade (Yorktown, New York) [Kuntz]; Lotus Dickey (Indiana) [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 103. County 756, Tommy Jarrell - "Sail Away Ladies" (1976).
T:Greasy String [1]
L:1/8
M:2/4
Z:Liz Slade
K:G
|:G,|[G,/D/](D/E/)E/ G/(E/G/)(A/|B/)(B/d/)(A/ c>)(A|B/)A/B/(D/ E/)(D/E/)G/|A>G [GB]:|
|:(e|g)e/d/ (e/g/)(e/d/)|e/(d/B/)(D/ G>)(e|g/a)(g/ a/)g/e/A/|B/c/d/c/ d>(e|g/)(a/b/)a/ g/e/d/e/|
e/d/d/(A/ B>)A|B/A/B/D/ E/D/E/G/|AG [GB]:|
|:c|e2g2|e2 d>(A|B/)A/B/(B/ A/)(D/E/)D/|A/G/G G:|

GREAT BIG TATER(S) IN SANDY LAND. AKA - "Great Big Taters." AKA and see "Sandyland," "Better Quit Kickin My Dog Around," "Sail Away Ladies." Old-Time, Breakdown. USA; Oklahoma, Missouri, Arkansas, Texas, Alabama, Mississippi. A Major: G Major (W.E. Claunch, Kuntz, Sweet). AEAE or Standard. ABB (Rankin): ABB' (Phillips/Wills): AABB' (Sweet): AABBCC (Phillips/Eck Robertson). The melody is directly related to "Sail Away Ladies" (and thus to "Sally Ann") and some indicate it is merely a variant of that tune, though the title "Great Big Taters" and its variations is considerably disseminated in the South and Old Southwest. Arizona fiddler Kenner C. Kartchner knew a tune by this title in the very odd key of C Major (for this kind of tune), which he learned from Frank Pruitt, about 1900. The title was one of those in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954, and it was mentioned in an article entitled "Fiddler's Jubilee" in the Fayette Banner (Fayette County, Alabama) of January 2, 1908 (Cauthen, 1990).
***
Another of Ira Ford's (1940) improbable tales goes: "From a fiddler who played 'Great Big Taters in Sandy Land' as his favorite tume, comes the following tradition obtained by the writer thirty years ago. The fiddler was then a man more than seventy years old, who had 'larned' the 'chune' when a you fellow of twenty, from the 'feller' who composed it (c. 1860?). It appears that Steve, the composer homesteaded 160 acres of land in the rough sandstone hills in a remote section of the country, it being the only land left open for homesteading. Steve was engaged to be married to a beautiful young girl of the community and the wedding was to take place as soon as he developed his farm and got his place built. He broke the new ground, which was all in patches on the tops of the hills, the remainder of the farm consisting of steep rocky hillsides and gullies. As his first crop he planted oats and corn. The oats only came up a few inches and the corn did not even make 'nubbins'. So the wedding had to be postponed. The boys teased Steve considerably about trying to make a living on the sandy land, but he took it all good-naturedly, as did the girl. That same year there was a shortage in the potato crop, and, as the land around there was not suitable for potato growing, the farmers had to pay exorbitant prices for the potatoes they had to ship in. Betty, Steve's girl, suggested that he plant potatoes for his next crop. The following spring he planted all his ground accordingly, to the great amusement of his friends. But their amusement was changed to astonishment when that fall Steve harvested 300 bushels to the acre of high grade potatoes and sold them to the farmers as a good price. The wedding was elaborately celebrated with a big supper, followed by a dance that lasted until morning. This tune, composed by Steve and afterwards played at all the dances, was commonly known as 'Steve's Tune', but it was Betty who originated the verses. To get even with those who had 'poked fun' at Steve and his sand farm, she invented the verses, singing them at the dance that night much to the amusement of the guests."
***
Thede says the Henry Hilderbrand referred to in the lyrics which she collected with the Oklahoma version given in her book was a farmer who lived near West Plains, Missouri, and that Eli was a mule.
***
Great big tater in the sandy land,
Plow it up Henry Hilderbrand;
Great big tater in the sandy land,
Git there Eli of you can. (Thede)
***
Great big taters in sandy land,
We-all dig 'em out as fast as we can.
The folds all buy 'em from a foolish man,
Raisin' great big taters in sandy land.
***
Sow them oats, but you can't get a stand,
Corn won't grow in that sandy land.
Folks won't think you're much of a man,
If you can't make a livin' on sandy land. (Ford)
***
Sift the meal and save the bran,
Goodby gals I'm goin' in
Raise big taters in sandy land,
Raise big taters in sandy land. (W.E. Claunch)
***
Sources for notated versions: Eck Robertson (Texas) and Earl Collins (Oklahoma/Texas) [Brody, Phillips]; Bob Wills (Texas) [Phillips]; Jubal Anderson (Pottawatomie County, Oklahoma) [Thede]; Liz Slade (Yorktown, New York) [Kuntz]. Brody (Fiddler's Fakebook), 1983; pg. 125. Ford (Traditional Music in America), 1940; pg. 39. Kuntz, Private Collection. Phillips (Traditional American Fiddle Music), Vol. 1, 1994; pg. 103 (two versions). Rankin, 1985; Notes to "Great Big Yam Potatoes: Anglo American Fiddle Music from Mississippi." Ruth (Pioneer Western Folk Tunes), 1948; No. 43, pg. 16. Sweet (Fifer's Delight), 1964/1981; pg. 75. Thede (The Fiddle Book), 1967; pg. 80-81. Briar 0798, Earl Collins- "That's Earl." County 517, Eck Robertson and J.B. Cranfill- "Texas Farewell." Folkways 31062, Ship in the Clouds- "Old Time Instrumental Music" (1978. Learned from Bruce Molsky). Gennet 3255 (78 RPM_, Sam Long (1926. Appears as "Sandy Land"). Mississippi Department of Archives and History AH-002, W.E. Claunch - "Great Big Yam Potatoes: Anglo-American Fiddle Music from Mississippi" (1985). Rebel 1515, Curly Ray Cline- "My Little Home in West Virginia." Sonyatone 201, Eck Robertson- "Master Fiddler." Victor 40205 (78 RPM), Eck Robertson (1929. 2nd fiddle by Dr. J.B. Cranfill).
T:Great Big Taters in Sandy Land
L:1/8
M:2/4
S:Liz Slade
Z:Transcribed by Andrew Kuntz
K:G
e/f/|g/f/g/e/ e/(A/d)|(e/ e) (e/ e)(e|e/)f/e/(A/ d/)A/B/(B/|d>)B dd|
g/a/g/e/ e/(A/d)| )|(e/ e) (e/ e)(e|e/)f/e/(A/ d/)A/B|A>B (A A/):|
|:(A/|B/)A/B/B/ A/D/G|(G/ B) (G/ B)B/c/|d/B/d/A/ B/D/E|(A/ B) (A/ B>)(A|
B/)A/B/B/ A/D/G|(G/ B) (G/ B)(D|D/)D/B A/B/A/(D/|A/ B) (G/ B)z/:|
|:(D|D/)D/B A/(D/G)|(G/ B) (G/ B/)A/B|1 D/D/B/(B/ A/)B/A/D/|
(G/ B) (G/ B):|2 d/A/B/B/ A/B/A/D/|G/ [GB] G/ [GB]||

GREEN FIELDS OF GLENTOWN, THE (Páirceanna Glasa Bhaile an Ghleanna). Irish, Reel. Ireland, County Donegal. A Minor. Standard. AABBCC. Composed by County Donegal fiddler Tommy Peoples in the late 1960's, though it is still popular with fiddlers of the region. Caoimhin Mac Aoidh believes it may originally have been a two-part tune to which Peoples attached a third part (or variation of the second part). The title refers to the townland of Peoples' uncle's home in east Donegal, outside the village of St. Johnston, and the next townland to Peoples' in Donega. Peoples remarks: "It is a beautifully hilly area where one can look across the river Foyle to counties Tyrone and Derry. It'smain claim to fame was a slate quarry that operated in the early half of this century. The quarry holes are still there, hundreds of feet deep with very deep water. They are easily accessible and not recommended to anyone afraid of heights." Source for notated versions: fiddler Tommy Peoples (Donegal) [Breathnach, Bulmer & Sharpley]. Breathnach (CRE III), 1985; No. 184, pg. 83. Bulmer & Sharpley (Music from Ireland), 1976, Vol. 4, No. 39. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Comhaltas Ceoltoiri Éireann CL13, "Tommy Peoples" (1976). Philo PHI 1152, "Sharon Shannon." Randy Miller - "The Lore of the Fingerboard" (1990).
T:Green Fields of Glentown, The
M:C|
L:1/8
K:A Minor
EA,~A,2 E2DB,|G,B,~B,2 G,A,B,D|EA,~A,2 E2DE|GBeB dBAB|
eB~B2 eBdB|AE~E2 DG,B,G,|A,E~E2 E2DE|GEDB, B,A,~A,2:|
|:A2EA cAEA|G2DB, G,A,B,D|EA~A2 GABd|edBA aged|
bg~g2 afge|dB~B2 GEDB,|A,E~E2 E2DE|GEDB, B,A,~A,2:|
|:A2EA cAEA|aged bage|dG~G2 DGBd|gded Bdgd|
e2Be eBdB|AE~E2 DG,B,G,|A,E~E2 E2DE|GEDB, B,A,~A,2:|

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||

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Ceolas > Tunes > Fiddler's Companion

The Fiddler's Companion

Ceolas > Tunes > Fiddler's Companion