Ceolas: The Fiddler's Companion

Result of search for "Jig in G":

ADMIRAL RODNEY'S DELIGHT. English, Jig. England, Northumberland. G Major. Standard. AA'BBCC. Admiral Rodney won a spectacular victory (the Battle of the Saints) against a French fleet under Admiral Comte De Grasse in the West Indies in the year 1782. See note for "Rodney's Glory" for more information. Seattle (William Vickers), 1987, Part 3; No. 508.

AITH RANT. Shetland, Jig. G Major. Standard. AABB. A "trowie," or fairy, tune, which tradition holds was heard by a Cunningsburgh carptenter in about 1790, as he was coming home one night after celebrating the completion of a sixareen, or small fishing boat. Hearing sounds emanating from a green mound, the man crept up to it and through a crack in the rock in the moonlight was amazed to spy trowie dancers cavorting to the melody. "Being a noted fiddler, he managed to take down the tune in sol-fa, and when he got gome he played it on his fiddle" (Anderson & Georgeson). Source for notated version: J. Irvine (Roadside, Cunningsburgh, Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 14. Hunter (Fiddle Music of Scotland), 1988; No. 365.

ALL ALIVE [1] (Lan Beoda). Irish, Double Jig. F Minor (Complete Collection...): G Minor (O'Neill {1850}). Standard. AABB. The tune is attributed to blind Irish harper Turlough O'Carolan (1670-1738), thought Donal O'Sullivan, in his definitive work on the bard could find no incontrovertable evidence of its origin. Complete Collection of Carolan's Irish Tunes, 1984; No. 181, pg. 127. O'Neill (1850), 1979; No. 1105, pg. 208. O'Neill (1001 Gems), 1986; No. 295, pg. 64.
T:All Alive [1]
L:1/8
M:6/8
S:O'Neill
K:G Minor
G/A/|BdB cAc|B<GG G2A|BdB cdB|A<FF F2A|
B>AB cBc|d2g gfe|d>cB A/B/cA|BGG G2:|
|:A|Bdg fdB|fdB fdB|Acf cAF|cAF cAF|Bdg fdB|
bag fdB|c/d/ec A/B/cA|BGG G2:|

ALLAN RAMSAY. Scottish, Jig. A Mixolydian. Standard. AAB. Allan Ramsay was the reknowned Scottish composer of several famous works, including the Tea Table Miscellany in the 18th century. Carlin (The Gow Collection), 1986; No. 490. Gow (Complete Repository), Part 2, 1802; pg. 26.
T:Allan Ramsay
L:1/8
M:6/8
S:Gow - 2nd Repsoitory
K:A
f|e2A ~c2A|c/d/eA c2A|dB=G GBd|=gdB G2f|e2A ~c2A|
c/d/eA c2A|ece eca|ecA A2:|
B|Ace ae=g|fdf edc|(B/c/d)B =GBd|=gdB G2B|Ace ae=g|fdf ecA|cde eca|ecA A2B|Ace ae=g|fdf edc|(B/c/d)B =GBd|=gdB G2f|e2A ~c2A|c/d/eA c2A|c/d/ee eca|ecA A2||

ANDREW CAREY [1]. AKA - "Andy Carey," "Andrew Carr." AKA and see "Tipperary Hills," "Scotland," "The Yairds o' Finnigirth." Irish, English, Scottish; Hop Jig (slip jig) and Air. England, Northumberland. D Major (Athole, Cole, Gow, Raven, Roche): G Major (Bruce & Stokoe, Vickers). Standard. AAB (Athole, Gow, Hunter): AABB. The tune's title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800./ Appears as a country dance called "Scotland" in Playford (1709), and as a slower version in "The Yairds o' Finnigirth" from the Shetlands. Bruce & Stokoe print lyrics to the tune, beginning:
***
As I went to Newcastle, My journey was not far,
I met with a sailor lad, His name was Andrew Carr.
And hey for Andrew, Andrew, Ho for Andrew Carr,
And hey for Andrew, Andrew, Ho for Andrew Carr.
***
Bruce & Stokoe, Northumbrian Minstrelsy, 1882; pg. 179 (appears as "Andrew Carr"). Charlton Memorial Tune Book, 1956; pg. 17 (appears as "Andrew Carey"). Cole (1001 Fiddle Tunes), 1940; pg. 78. Gow (Complete Repository), Part 1, 1799; pg. 36. Hunter (Fiddle Music of Scotland), 1988; No. 290. O'Neill (1001 Gems), No. 430 (appears as "Tipperary Hills"). Raven (English Country Dance Tunes), 1984; pg. 130. Roche Collection, 1982; Vol. II, pg. 24. Stewart-Robertson (The Athole Collection), 1884; pg. 138 (appears as "Andrew Carr"). Seattle (William Vickers), 1987, Part 2; No. 306.
T:Andrew Carr
L:1/8
M:9/8
R:Slip Jig
B:The Athole Collection
K:D Major
F2(A A)FA AFD|G2B Bcd c2A|F2A AFA Bcd|A,2 D DEF E2D:|
d2A ABA AGF|E2e efg f2e|d2A AFA Bcd|A,2D DEF E2D|
d2A ABA AGF|E2e efg f2e|d>cB AFA Bcd|A,2D DEF E2D||
T:Andrew Carr
L:1/8
M:9/8
S:Bruce & Stokoe - Northumbrian Minstrelsy
K:G
B2d dBd dBG|B2e efg f2d|B2d dBd def|g2G GAB A2G:|
|:g2e dBG dBG|g2e ege f2d|gfe dBd def|g2G GAB A2G:|

ANDY McGANN'S (JIG). Irish, Jig. G Major. Standard. AABB. McGann is a famous fiddler from New York City, heir to the legacy of the great Co. Sligo and New York City fiddler Michael Coleman, who died in the mid-1940's. Source for notated version: flute player Harry McGowan (b. 1937, Carrowmore, Co. Sligo) [Flaherty]. Bulmer & Sharpley (Music from Ireland), Vol. 3, No. 65. Flaherty (Trip to Sligo), 1990; pg. 160 (appears as bottom "Unknown" tune). Shaskeen Records OS-360, Andy McGann - "A Tribute to Michael Coleman."

ANGRY PEELER, THE (An Sitmoar Feargac). AKA and see "Buachailli Bhaile Mhic Anndain," "Carraig an tSiop," "The Cook in the Kitchen," "The Drunken Gaugher," "The Tromore Jig." Irish, Double Jig. G Major. Standard. AABB. A 'peeler' was, and still sometimes is, a slang term for a policeman in the British Isles, and in America until about 1890. Source for notated version: piper Seosamh Breathnach (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 3, pg. 4 (appears as "Carraig an tSiop"). O'Neill (Krassen), 1976; pg. 59. O'Neill (1850), 1903/1979; No. 1041, pg. 195. O'Neill (1001 Gems), 1907/1986; No. 251, pg. 56.
T:Angry Peeler, The
L:1/8
M:6/8
S:O'Neill - 1001 Gems (251)
K:G
B/c/BA GED|DED GED|BAB dBG|ABA A3|
B/c/BA GED|DED GED|BAB dBG|DEG G3:|
|:B/c/BA Bcd|ege dBG|BAB dBG|FAA A3|B/c/BA Bcd|ege dBG|BAB GED|EGG G3:|

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

ARCHIE MENZIE'S REEL. AKA and see "Bells of St. Louis." Scottish, Canadian, New England; Reel. Canada; Ontario, Cape Breton, Prince Edward Island. F Major (Brody, Cranford, Hunter, Perlman, Phillips, Welling): D Major (Begin, Bohrer/Kibler). Standard. AB (Hunter): AABB (most versions). Composed by Scottish musician John Lowe (1797-1866), father of the Joseph Lowe who published a collection in 1840, who also wrote the classic tune "Rachael Rae." Menzies was originally a Norman name, introduced into Scotland in the half-century after the conquest of England by William the Conqueror. It is a very popular tune among Cape Breton, Nova Scotia, fiddlers. Perlman (1996) notes that Prince Edward Island fiddlers often play the 'b' flat notes almost natural at several points in the tune. Sources for notated versions: the late Graham Townsend (d. 1999, Ontario, Canada) [Brody]; Dawson Girdwood (Perth, Ontario) [Begin]; Winston Scotty Fitzgerald (Cape Breton) [Phillips]; unnamed Canadian fiddler [Bohrer/Kibler]; Francis MacDonald (b. 1940, Morell Rear, North-East Kings County, Prince Edward Island) [Perlman]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 14, pg. 27 (appears as "Archie Menzies Hornpipe"). Bohrer (Vic Kibler), 1992; No. 11, pg. 11. Brody (Fiddler's Fakebook), 1983; pg. 24. Cranford (Jerry Holland's), 1995; No. 147, pg. 42. Hunter (Fiddle Music of Scotland), 1988; No. 259. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 116. Phillips (Fiddlecase Tunebook), 1989; pg. 9. Welling (Welling's Hartford Tune Book), 1976; pg. 17. Avoca 139, Sean Maguire--"Music of Ireland." Breton Books and Records BOC 1HO, Winston "Scotty" Fitzgerald - "Classic Cuts" (reissue of Celtic Records CX17). Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton) - "In Jig Time!" (1995). Celtic 17, "Winston Scotty Fitzgerald." Rounder 7002, Graham Townsend- "Le Violin/ The Fiddle." Rounder 7004, Joseph Cormier- "The Dances Down Home" (1977).
T:Archie Menzies Reel
L:1/8
M:C|
S:From a transcription by Carmelle Begin of the playing of fiddler Dawson Girdwood.
K:D
A,2|:D2 (A,D) FDA,D|FABc dAFD|({E/F/}E2) (B,E) GEB,E|GABc dBAF|
D2 (A,D) FDA,D|FABc dAFD|G2 (EG) (FE)(DE/F/)|1 EDCE D2 (A,B,/C/):|2
EDCE D2 (3ABc||
|:d2 (A>d) f>DA>d|f>de>c d>AFA|e2 (Be) geBe|gefd e(dc>A)|
d2 (A>d) fdAd|fdec dA FD|G>FE>G F>E (3DEF|1 (3EED C>E D2 (3ABc:|2
E>DC>E D2 (A,B,C||

ART McBRIDE [2]. AKA - "Arthur McBride." Irish, Air or Jig. Ireland; Counties Limerick, Donegal. G Major. Standard. AB. P.W. Joyce's air "Arthur McBride," printed in his Old Irish Folk Music and Songs, is almost identical to Petrie's. Joyce collected his version in Limerick in the 1840's, while Petrie's air comes from County Donegal. John Loesberg (1980) states that several versions of the song have been found variously in Scotland, Suffolk and Devon, though the tunes in most cases differ slightly.
***
I had a first cousin called Arthur McBride, he and I took a stroll down by the seaside,
A-seeking good fortune and what might betide, 'twas just as the day was a dawning.
Then after resting we both took a tramp, we met Sergeant Harper and corporal Cramp,
Besides the wee drummer who beat up for camp, with his rowdy-dow-dow in the morning.
***
Stanford/Petrie (Complete Collection), 1905; No. 846, pg. 211.

ATHOLL HIGHLANDERS, THE. AKA - "Athol Highlanders Jig." AKA and see "Lord Athlone's March," "The Three Sisters" (Shetland). Scottish (originally), Irish; Pipe March (6/8 time) or Jig. Scotland, Perthshire. Ireland, Donegal. A Major/Mixolydian (Brody, Hinds, Martin, Neil, Songer, Sweet): G Major (Kerr). Standard. AABB (Kerr): AABB' (Neil): AABBCC (Brody): ABCD (Sweet): AABBCCDD (Hinds, Martin, Songer). The name 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 tune, described sometimes as a Scottish warpipes melody, is dedicated to the private army of the Duke of Atholl, the last private army still legally existing {albeit on a token level} in the British Isles (Boys of the Lough). Musically, the tune contains a characteristic melodic cliché in Scottish music in which a figure is followed by the same or a related figure on the triad one tone below or above (Emmerson, 1971). The original Athole Highlanders (and the ones associated with the tune) were the old 77th Highland Regiment, raised in 1778 and commanded by Colonel James Murray. The 77th served in Ireland and was not engaged in active service, though its garrison services were apparently useful in freeing other units for the conflicts with America and France. They were disbanded in 1783 after those conflicts ended (though the disbanding may have come about because of a mutiny). The tune was later taken up as a march past by the 2nd Battalion of the Cameronians, the 90th Light Infantry, who over the years had shed their Scottish origins. However, when pipers were introduced in 1881 they recollected their Perthshire origins and chose to play "The Atholl Highlanders" (also known in pipe literature as "The Gathering of the Grahams"). Susan Songer notes that when played for contra dances once through the tune is twice through a dance. Source for notated version: the tune was first brought to the Portland, Oregon, area by Seattle accordion player Laurie Andres and Olympia fiddler John Culhane in 1989 when playing at the first Spring Festival, and subsequently entered contra dance repertoire in that region [Songer]. Brody (Fiddler's Fakebook), 1983; pg. 27. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 20 (appears as "Athol Highlanders Jig"). Kerr (Merry Melodies), Vol. 3; No. 265, pg. 29. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 23. Neil (The Scots Fiddle), 1991; No. 117, pg. 155. Songer (Portland Collection), 1997, pg. 21. Sweet (Fifer's Delight), 1964; pg. 37. Banff SBS5406, "Graham Townsend, Champion Folk Fiddler." Green Linnett GLCD 3090, Mairead Ní Mhaonaigh & Frankie Kennedy - "Ceol Aduaidh" (1983/1994). Nimbus NI 5320, Ciaran Tourish et al. - "Fiddle Sticks: Irish Traditional Music from Donegal" (1991). Philo 1042, Boys of the Lough- "Piper's Broken Finger" (1976). Tradition 2118, "Scottish Dances: Jigs, Waltzes and Reels" (1979). Transatlantic 341, Dave Swarbrick- "Swarbrick 2." "Bob Smith's Ideal Band, Better Than an Orchesta" (1977).

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||

BALLINASLOE FAIR ("Aonach Bhéal Átha na Sluaighe" or "Aonac Bel-Ata-Na Sluaigead"). AKA and see "The Blackpool," "The Bohola Jig," "The Fair of Ballinasloe," "Killaloe Boat," "John Conroy's," "(A) Lilt from Home," "Lilting Banshee," "The Miller of Glenmire," "Rita Keane's," "Ryan's Favorite." Irish, Reel. A Dorian ('A' part) & C Major ('B' part) [O'Neill/Krassen]: A Minor ('A' part) & C Major ('B' part) [Breathnach, Miller & Perron, O'Neill/1850 & 1001]. Standard. AB (Breathnach): AAB (Miller & Perron, O'Neill/Krassen): AA'B (O'Neill/1850 & 1001). Source for notated version: fiddler Michael Coleman (County Sligo, Ireland/New York, USA) [Breathnach]. Breathnach (CRE III), 1985; No. 89, pg. 44. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 2, No. 48. O'Neill (Krassen), 1976; pg. 111. O'Neill (1850), 1903/1979; No. 1285, pg. 241. O'Neill (1001 Gems), 1907/1986; No. 550, pg. 102. CBS 36401, The Chieftains - "Boil the Breakfast Early." Columbia Legacy CK 48693, "The Best of the Chieftains" (1992). Green Linnet SIF-1110, "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Intrepid Records, Michael Coleman - "The Heyday of Michael Coleman" (1973). Shanachie Records, "The Classic Recordings of Michael Coleman." Tara 3026, Davy Spillane - "Pipedreams."
T: Ballinasloe Fair
R: Reel
M: C|
K: Ador
~A3B c2BA|GFGA GED2|~A3B cBca|1 gedB c2Bc:|2 gedB cdef||
gc~c2 gcac|gc~c2 Bcde|gc~c2 a2af|gedB cdef|
gc~c2 gcac|gc~c2 B2Bc|~A3B cBca|gedB cdef||
g2gf g2ef|gc~c2 Bcde|gc~c2 a2af|gedB cdef|
gc~c2 gcac|gc~c2 B2Bc|~A3B cBca|gedB c2Bc||
[d2f2]{fg}e/<c/|e<<AB/<c/|[E3B3]|[E2B2]c/<[c/e/]|[d2f2]f/{gfef}>g/|\
[c2a2]a/{bag}>f/|e<<AB|c<<a{ab}a/f/|e<<AB/<c/|\
{Bd}[E2B2]{Bd}[E/B/][D/A/]|[E3A3]|[E2A2]|]

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

BALTIORUM. AKA - "Baltighoran." AKA and see "Baltyoran," "Baulthy Oura." Irish, Slip Jig (9/8 time). G Major (O'Neill): D Major (O'Sullivan/Bunting). Standard. AB (O'Sullivan/Bunting): AABB (O'Neill). The title comes from the Irish "Baal Tighe Abhran," according to Bunting, or "The Song of the House of Baal." Source for notated version: the Irish collector Edward Bunting noted the tune from T. Conlan in 1831, according to the index of his 1840 collection. O'Neill (Krassen), 1976; pg. 80. O'Neill (1850), 1979; No. 1128, pg. 213. O'Sullivan/Bunting, 1983; No. 108, pgs. 155-156 (appears as "Baltighoran").

BANGOR REGATTA. AKA and see "The Old Horned Sheep." Scottish, Jig. A Major. Standard. AA'BB'. The name Bangor was a word for a special kind of plaited wattle fence that apparently was used chiefly by monks, as towns (in Wales and Ireland) with this name began as monasteries (Matthews, 1972). The monastery in Bangor's case was established by St. Deiniol around 525, and several of the later kings of the Welsh kingdom of Gwynedd were buried there. An Irish setting in the key of G Major can be found in O'Neill's under the title "Old Horned Sheep." Kerr (Merry Melodies), Vol. 3; No. 221, pg. 25.

BANISH MISFORTUNE [1] ("Dibir an Mio-ad" or "Ruaig an Mí-ádh). AKA and see "The (Little) Bag of Meal," "Humours of Mullinafauna," "Máire Ní Eidhinn," "Nancy Hines," "Nancy Hynes," "Parish Girl," "Round the Cart House." Irish, Double Jig. D Mixolydian/Major (Breathnach, Brody, Mitchell, Moylan): D Major (O'Neill/1850 & 1001). Standard. ABC (Moylan, Mitchell): AABBCC (Breathnach, Brody, Mallinson, O'Neill/Krassen): AABB'CC (O'Neill/1850 & 1001): ABBCCDEEFF (Mitchell). O'Neill (1001 Gems) prints the tune under the titles "Banish Misfortune," "The Humours of Mullinafauna" and "Nancy Hines," while Roche has it as "The Humours of Mullinafauna" and "The Little Bag of Meal." P.W. Joyce gives it as "The Bag of Meal" and was the first to print it (in his Ancient Irish Music, 1873), according to Brendan Breathnach. "Máire Ní Eidhinn" is the title in Petrie's 1905 Complete Collection of Irish Music, though O'Neill thought the 3-part version he collected from Cronin to be "much superior." Petrie takes his title from the poem "Máire Ni Éidhin" by Raftery, the blind poet of Connacht, which he wrote in honour of one thought the loveliest girl in Ireland, and which is still sung to this tune. Sources for notated versions: elderly fiddler Edward Cronin, originally from Limerick Junction, County Tipperary [O'Neill]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), who first heard it from fiddler Denis Murphy-- "Himself and (piper) Willie Clancy often played it together" [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 38, pg. 16. Brody (Fiddler's Fakebook), 1983; pg. 33. Mallinson (Essential), 1995; No. 99, pg. 43. Mitchell (Dance Music of Willie Clancy), 1993; No. 137, pg. 108 & No. 148, pgs. 116-117. Moylan (Johnny O'Leary), 1994; No. 286, pg. 165. O'Neill (Krassen), 1903/1976; pg. 22. O'Neill (1850), 1979; No. 776, pg. 145. O'Neill (1001 Gems), 1907/1986; No. 53, pg. 25. Claddagh TA4, "Chieftains #2." Front Hall 009, How To Change a Flat Tire- "A Point of Departure." GR705, Paul Brady, Peter Browne, Andy Irvine, Donal Lunny, Matt Molloy & Tommy Potts - "The Gathering" (1981). GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle." Island ILPS 9501, "The Chieftains Live" (1977). Kells Music KM9505, Tommy Keane & Jacqueline McCarthy - "The Wind Among The Reeds." Rounder 0113, Trapezoid- "Three Forks of Cheat" (1979). Festy Conlan - "Breeze from Erin" (1969). Shanachie 79022, Chieftains - "Chieftains 2" (1969).
T:Banish Misfortune [1]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (53)
K:D
A/G/|F2D DED|DEF GFG|A3 cAG|ABc d/c/AG|
F2D DED|DEF GFG|AdB cde|d3 d2:|
|:d/e/|fdd dcd|dfa agf|e2 c/c/ cBc|e/d/ef gfe|1 f2 d/d/ dcd|
dfa agf|g/f/ed cde|d3 d2:|2 fga fga|afd ecA|fed cde|d3 d2||
|:d/e/|f/e/df e/d/ce|d/c/AB cAG|F2D DED|DEF GFG|
A/G/AB cAG|AdB cde|fed cde|d3 d2:|

BANKS OF ALLAN, THE. AKA - "Banks of the Allan." Scottish, Country Dance Tune (6/8) or Jig. D Major. Standard. ABB (Sharp): AABB (Gow, Karpeles, Kerr, Raven). "This tune is also suitable as an accompaniment to Rapper Sword Dance" (Karpeles). See also the Irish variant "The Tailor's Thimble." Source for notated version: the tune was popularized in the mid-1980's in the Portland, Oregon, dance community by accordion player Dennis Rothrock, then with the band Fiddle Head Rock; Rothrock learned it from the Battlefield band recording [Songer]. Carlin (The Gow Collection), 1986; No. 530. Gow (Complete Repository), Book 2, 1802; pg. 38. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 26-27. Kerr (Merry Melodies), Vol. 1; No. 7, pg. 31. Raven (English Country Dance Tunes), 1984; pg. 75. Sharp (Country Dance Tunes), 1909/1994; pg. 59. Songer (Portland Collection), 1997; pg. 22. Topic 2052, Battlefield Band - "Stand Easy" (1979). Topic TSCD468, Battlefield Band - "Opening Moves" (compilation CD).
T:Banks of Allan, The
L:1/8
M:6/8
K:D Major
DE|FGF FED|FAA A2 d|Bdd Add|Bdd Add|
FGF FED|FAA A2 d|BdB AFD|FEE E2 :||
de|fgf fed|faa a2 g|fgf fed|gbb b2 a|
fga efg|def fed|BdB AFD|FEE E2:||

BANKS OF NEWFOUNDLAND, THE [2] (An Fhuiseog ar an Trá). Irish, Jig. G Major. Standard. AAB (Breathnach): AABB (Taylor.) There is another version of this tune in Breathnach's Irish Folk Dance Music (No. 129). Source for notated version: a 1928 recording by P.J. Conlon, via the group Shaskeen (Ireland) [Taylor]; accordion player John Brophy/Sean O Broithe (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 8, pg. 5. Taylor (Crossroads Dance), 1992; No. 45, pg. 34. Shaskeen - "The Mouse Behind the Dresser." Shaskeen - "Shaskeen Live." P.J. Conlon - "From Galway to Dublin" (reissue CD).

BANKS OF THE DEE. English; Waltz, Jig and Morris Dance Tune. G Major. England; Northumberland, Cotswolds. Standard. AABBCCDD (Hall & Stafford, Raven): AABBBCCCBBB, repeat four times (Mallinson). The tune is better known as a morris dance tune, but is occasionally performed as a waltz. Mallinson's morris version is from the Fieldtown area of England's Cotswolds. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 4. Mallinson (Mally's Cotswold Morris Book), Vol. 1, 1988; No. 43, pg. 27. Raven (English Country Dance Tunes), 1984; pg. 113. Topic 12TS382, New Victory Band - "One More Dance and Then" (1978).

BARLEY CAKES [2]. AKA and see "Barley Sugar." Scottish, Jig. G Mixolydian. Standard. AABB. John Glen finds the tune first published in Bremner's 1757 collection (pg. 68). The tune is suggested by the Royal Scottish Country Dance Society (in RSCDS Book 13) as the accompaniment for the dance Barley Bree, a dance in which one turn last 40 bars rather than the usual 32, the whole dance being four turns long. Carlin (The Gow Collection), 1986; No. 389. Gow (Complete Repository), Part 3, 1806; pg. 17.
T:Barley Cakes [2]
L:1/8
M:6/8
S:Gow - 3rd Repository
K:G
c|B2G (B/c/dB)|A2=F (A/B/cA)|B2G (B/c/dB)|~d3g3|B2G (B/c/dB)|A2=F ABc|
dcB cBA|G3G,2:|
|:d|gag fgf|{f}e2d B3|gag f2g|a3d3|c2a B2g|ABG F>ED|G>AB AGF|G3G2:|

BARLEY GRAIN [2]. Irish, Jig. G Major: F Major. Standard. AB. The song in Joyce is from the same source. Source for notated versions: collected by George Petrie in the 1st half of the 19th century from farmer James Quane (Coolfree, Co. Limerick) [Stanford]. Stanford/Petrie (Complete Collection), 1905; Nos. 293 & 294, pg. 73.

BATTERING RAM, THE [1]. Irish, Double Jig. Ireland, Co. Sligo. G Major. Standard. ABC (Flaherty): AABBCC (Brody, Mallinson, Mulvihill, Russell, Sullivan. Tubridy): ABCD (Miller). Doolin, north County Clare, tin whistle player Micho Russell saw the melody as a programmatic piece which reminded him of the battering ram which the English used to evict poor people in Ireland in the 19th century. Each succeeding part represented the increasing force of the ram as it demolished the house. Ciaran Carson, in his book Last Night's Fun (1996) describes flute player Seamus Tansey's rendition:
***
He soars into 'The Battering Ram'-not the standard version, but the
one he got from Jim Donoghue, the great Sligo tin-whistle-player who
perversely played a 'C' whistle ('D' is standard) out of the side of his
mouth, and produced a great strong flute-like tone full of wood and
embouchure and breath, jumping octaves; and he put a funny twist
into this jig; reversing it and generally standing phrases on their
heads. Tansy imputes many of his stylistic traits to Donoghue, and
this tune is a tribute, an hommage, a dedication, Tansey playing it
beautifully as he can because he loves the playing of Jim Donoghue,
and he is beholden to him. (pgs. 60-61)
***
Sources for notated versions: 'Clarke's whistle' {i.e. a conical whistle} player Jim Donoghue, 1910-1990 (Drimacoo, Monasteraden, Co. Sligo, Ireland) [Flaherty]; the Tulla Ceili Band [Mulvihill]; sessions in the Regent Hotel, Leeds, England [Bulmer & Sharpley]. Brody (Fiddler's Fakebook), 1983; pg. 36. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 54. Flaherty (Trip to Sligo), 1990; pg. 178. Mallinson (Essential), 1995; No. 95, pg. 41. Miller & Perron (Traditional Irish Fiddle Music), 1977; Vol. 1, No. 32. Mulvihill (1st Collection), 1986; No. 77, pg. 81. Russell (The Piper's Chair), 1989; pg. 12. Sullivan (Session Tunes), Vol. 2; No. 29, pg. 12. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 35. Front Hall, How To Change a Flat Tire- "A Point of Departure." Shanachie 79021, "Chieftains #1."
T:Battering Ram, The [1]
L:1/8
M:6/8
K:G
B|dBG BAG|dBG G2B|dBG AGE|GED D2B|
dBG BAG|B/c/dG BAG|A3 BAB|GED D2:|
|:B|deg aga|bge edB|deg aga|bge e2b|bag age|ged e/f/ge|dBG AGE|GED D2:|
|:d|B/c/BG A/B/AG|B/c/BD D2B|BAG AGE|GED ded|
B/c/BG A/B/AG|B/c/dG BAG|AGA BAB|GED D2:|

BE QUICK FOR I AM IN HASTE. English, Jig. England, Yorkshire. G Major. Standard. AABB. Source for notated version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 80, pg. 47.

BEAUTIES OF THE BALLROOM. AKA and see "The Lads of Leith." Canadian, Jig. Canada, Cape Breton. A Minor (Cranford/Holland): A Mixolydian/Dorian (Dunlay & Greenberg). Standard. AA'BB'CC'. Originally a Scottish tune called "The Lads of Leith" set in G Minor in James Oswald's c. 1747 The Caledonian Pocket Companion, remarks editor Paul Stewart Cranford (1995), who says the A Minor setting was introduced to Cape Breton repertoire by Little Jack MacDonald. Dunlay and Greenberg (1996) find that in modern times the jig appeared in J. Scott Skinner's Beauties of the Ballroom as the third figure of "Ettrick Vale Quadrille" with no name; on Cape Breton it took its name from Skinner's volume. The more demanding parts of Skinner's setting were omitted by Cape Breton fiddlers, but his fourth part became the third part of the island settings, played an octave lower than Skinner's. Source for notated version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]. Cranford (Jerry Holland's), 1995; No. 209, pg. 60. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 108. BM-91, Buddy MacMaster - "Glencoe Hall." Boot Records BOS 7231, Jerry Holland - "Master Cape Breton Fiddler" (1982). Marquis ERA-181, David Greenberg - "Bach Meets Cape Breton"(1996. Appears as "The Lads of Leith").

BECAUSE HE/I WAS A BONNIE/BONNY LAD (she bid him aye come back). AKA and See "Boney (Bonny) Lad(s)," "Jack's Favourwright (Favorite)." Scottish, Shetland, English, Cape Breton; Country Dance (cut time) or Reel. England, Northumbria. Shetland, Whalsay. G Major (Cole, Raven): A Major (Athole, Gow, Hunter, Kerr, Skye). Standard. AB (Cole, Hunter, McGlashan): AAB (Athole, Gow, Kerr, Skye): AABB (Raven). A popular country dance dating back to at least 1752, according to Alburger (1983), when fiddler and dancing master John McGill of Girvan wrote down the instructions for his pupils. Glen finds its earliest appearence in print in Bremner's 1757 collection (pg. 14). The tune appears, however, in the somewhat earlier Drummond Castle Manuscript, which is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." Young's MS was in the possession of the Earl of Ancaster at Drummond Castle in the early 1970's, and hence its present-day title. It retained its popularity through that century and into the next, for the title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he wrote c. 1800./ The tune, attached to an alternate 'B' parts, turns up in southwestern Pa. as 1) a fife tune (4/4 time) in the repertory of Hiram Horner (1944) who had the tune from a Scots fifer, and known simply as "Old Bagpipe Air" [Bayard, 1981; No. 252, pg. 216], and 2) as a jig called "Nancy Fat" played by fifers in Greene County, Pa., and by one "crippled Jack Anderson" in particular [Bayard, 1981; No. 566, pg. 503]. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 155. Cole (1001 Fiddle Tunes), 1940; pg. 46. Gow (Complete Collection), Part 1, 1799; pg. 23. Hunter (Fiddle Music of Scotland), 1988; No. 118. Kerr (Merry Melodies), Vol. 2; No. 10, pg. 4. MacDonald (The Skye Collection), 1887; pg. 9. McGlashan (A Collection of Reels), 1786; pg. 44. Raven (English Country Dance Tunes), 1984; pg. 183. Stewart-Robertson (The Athole Collection), 1884; pg. 13. Rounder 7011, "The Beatons of Mabou: Scottish Violin Musci from Cape Breton" (1978).
X:1
T:Because He Was a Bonny Lad
L:1/8
M:C|
S:Reel
B:The Athole Collection
K:A
e|c>BA>a (f/g/a (ec|d>fe>c B/B/B ~B>e|c>BA>a (f/g/a (e>c|dfec A/A/A A:|
e|cBAc defd|cAec B/B/B (Bd|cBAc defg|agac A/A/A (Ae|cAeA fA eA|
cAec B/B/B (Bg|afge efec|dfec A/A/A A||
X:2
T:Because He Was a Bonny Lad
L:1/8
M:C
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:G
d|B>Agg e/f/g d>B|c>edB cAAc|B>Agg e/f/g d>B|c>edc BGG:|
|:d|BGdG eGdG|c>edB cAAc|BGdB eGdG|c>edc BGG:|

BEES IN THE CHERRY TREE (Na Beacha sa Chrann Silíní). Irish, Single Jig. G Major. Standard. AABB. Source for notated version: from County Fermanagh flute player James McMahon via Liam Donnelly (County Tyrone) [Breathnach]. Breathnach (CRE IV), 1996; No. 58, pg. 30.

BEES IN THE HEATHER. Irish, Double Jig. Composed by the late North Kerry fiddler Paddy O'Sullivan (Ardfert, Co. Kerry).
T: The bees in the heather
S: Paddy O'Sullivan
R: Double jig
M: 6/8
L: 1/8
P: AABB
Z: Paul de Grae
K: D
A | DED DFA | BdB BAF | ABA AFD | EDE FDB, |
DED DFA | BAB A2 g | fed B2 A | Bdd d2 :||
e | fef def | gfg efg | fef dBA | Bee dBA |
f2 f def | gab efg | fef dBA | Bdd d2 :||

BESSY BELL AND MARY GRAY. Scottish, English; Air and Jig. D Mixolydian. Standard. AABB. The tune was used as an early vehicle for the song "Vicar of Bray," as published in Walsh's British Musical Miscellany (vol. I, 1734). Kidson calls it a "quite unvocal and inappropriate tune" for the song, and it the words to "Vicar" were set to "Country Garden" late in the 18th century. McGlashan (Collection of Scots Measures), 177?; pg. 5.
T:Bessy Bell and Mary Gray
L:1/8
M:6/8
B:McGlashan - Collection of Scots Measures
K:D Mix
A|F>GA ABc|B>AB G2G|F>GA A>BA|d3 (g2f/g/)|aAA ABc|
BAG g2 f/g/|agf gfe|d3f2:|
|:f/g/|afd dfd|gec efg|a/g/f/e/d d>fd|f3 (g2f/g/)|afd faf|gec efg|agf gfe|d3f2||

BEST IN THE BAG, THE (Ceann Is Fearr Annsa Mala). Irish, Double Jig. G Major. Standard. AABB. O'Neill (Krassen), 1976; pg. 33. O'Neill (1850), 1903/1979; No. 852, pg. 158. O'Neill (1001 Gems), 1907/1986; No. 113, pg. 34.
T:The Best in the Bag
B:O'Neill's "Dance Music of Ireland", no. 115
M:6/8
L:1/8
K:G
D|GAG AGA|Bge dBA|GFG AGA|BGE E2 {FE}D|
GAG AGA|Bge dBG|c2 {dc}A BGE|GAG G2:|:d|
gfg efg|fag fed|gfg efg|afd d2 (3d/e/f/|
g2 e a2 f|g2 e dBG|c2 {dc} A BGE|GAG G2:|

BHÍOMLÓG, AN (Gimblet). Irish, Scottish; Slip Jig. G Major. Standard. AABB. The melody appears also in Walsh's Caledonian Country Dances (Book III), No. 20. See also note for "The Gimlet." Breathnach (CRE IV), 1996; No. 38, pg. 21.

BIDDY MALONEY (Brigidin Ni Maoldomnaig). AKA and see "Maloney's Wife." Irish, Double Jig. D Major. Standard. AABBCCDDEEFFGG. Source for notated version: 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]. O'Neill (1850), 1903/1979; No. 1010, pg. 188. O'Neill (1001 Gems), 1907/1986; No. 224, pg. 51.
T:Biddy Maloney
L:1/8
M:6/8
S:O'Neill - 1001 Gems (224)
K:D
A/G/|FGA AFA|AFA AFA|BGG AGF|BGE EGE|
FGA AFA|AFA d2A|B/c/dB Afd|AFD D2:|
|:c/d/|ecA AcA|ecA d2A|GBG FGA|BGE E2 c/d/|ecA dfa|gfe d2A|dcB AFd|AFD D2:|
|:f/g/|a3g3|fed cBA|GBG FGA|BGE E2 f/g/|agf gbg|fed cBA|dcB AFd|AFD D2:|
|:f/g/|af/g/a/f/ dfg|af/g/a/f/ dga|bg/a/b/g/ ega|bg/a/b/g/ efg|af/g/a/f/ bgg|af/g/a/f/ d2A|
B/c/dB AFd|AFD D2:|
|:A|d/e/dc dAF|d/e/dc dAF|GBG FGA|BGE E2A|d/e/dc dAF|d/e/dc dAF|dcd efg|fdd d2:|
|:g|f/g/ab afd|fdf/g/ afd|g2e f2d|efe efg|f/g/ab afd|f/d/fg afd|gfg eag|fdd d2:|
|:g|fdf ece|dcB AGF|GBG FGA|BGE E2g|fdf ece|dcB AGF|B/c/dB AFd|AFD D2:|
T:Biddy Maloney
R:jig
Z:id:hn-jig-243
M:6/8
K:D
F2A AFA|ABA FED|GBG FGA|BGE EAG|
F2A AFA|AFA d2A|Bcd edB|1 AFD D2E:|2 AFD D2d||
|:ecA Bcd|ecA AGF|GBG FGA|BGE E2d|
ecA Bcd|ecA d2A|Bcd edB|1 AFD D2d:|2 AFD D2f||
|:~g3 ~f3|gfe def|~g3 fga|bge e2f|
~g3 ~f3|gfe d2A|Bcd edB|1 AFD D2f:|2 AFD D2E||

BIG FAT GAL'S GOOD I KNOW, BUT A LITTLE FAT GAL'S BETTER O! AKA and see "Shoehammer," "Paddy Got Drunk on Fish and Potatoes." American, Jig. USA, southwestern Pa. G Major. Standard. AB. Christeson's (1973) "Quadrille, No. 188" has a general resemblance to this tune, in the 'A' part only. Sources for notated versions: Irvin Yaugher (Fayette County, Pa., 1946) & Wellington Funk (Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 532A & 531B, pg. 474.

BILL NICHILSON'S 67th. Canadian, Jig. Canada, Cape Breton. G Major. Standard. AABB'. Composed by luthier, fiddler and composer Otis Tomas (Goose Cove, St. Ann's Bay, Cape Breton). Cook (Night in the Kitchen collection), 1996; pg. 16. Cranford (Jerry Holland's), 1995; No. 266, pg. 77. Shanachie SH-78010, Solas - "Sunny Spells and Scattered Showers" (1997).

BILLY/BILLIE IN THE LOW GROUND. AKA and see "Beaus of Albany," "Billy in the Low Land," "Braes of Auchtertyre," "Fiddler's Drunk and the Fun's All Over," "Jinny in the Lowland," "Kerry Fulton's Schottishe," "The Kerryman's Daughter." Old-Time, Bluegrass; Breakdown. USA, known under this title throughout the American South, Midwest, and Southwest. C Major (most versions): D Major (Bayard-Marr). Standard. AABB. See also related tune "Apple Blossum" and the related part 'A' of "Shelvin Rock." Miles Krassen (1973) identifies an Irish version called "The Kerryman's Daughter" which may be cognate or ancestral, while R.P. Christeson suggests it can be traced to the Scottish "Braes of Auchentyre" in (Cole's 1001) {as John Hartford has supported} and "Beaus of Albany" in Howe. Samuel Bayard (1981) agrees with Stenhouse-Johnson in concluding that the tune originated in Britain as a slow 3/4 time song tune from c. 1710 or earlier, called "O Dear Mother (Minnie) What Shall I Do?" He sees the development of the tune as having then split into two branches, and that during the 1740's a 6/8 "giga" or jig form was composed called variously "All the Blue Bonnets Are Over the Border," "Blue Bonnets Over the Border," "Over the Border," or "Blue Bonnets." Later in the century the second branch was fashioned from the original 3/4 tune into a fast duple time (4/4) dancing air which went by several titles including "The Braes of Auchtertyre/ Auchentyre" (the oldest and most common title), "The Belles of Tipperary," and "The Beaus of Albany." These latter tunes are the immediate ancestor of the "Billy in the Lowground" group of tunes in America.
**
The melody is widely disseminated through the United States. Bayard (1944) writes that when he collected the melody it was "current as a marching tune in Greene County, Pennsylvania, and is known to its 'Billy' form of the title farther south (as the tune resembles another Pa. tune called 'Jinny in the Lowlands'). The resemblances between this tune and 'Jinny in the Lowlands' may be fortuitous; but they have at any rate attracted enough notice from the players to cause confusion of the titles..." Tom Carter and Blanton Owen (1976) maintain the tune and title are characteristic of the Franklin, Floyd and Patrick County area of southwestern Virginia, and represent an older fiddle repertoire which predates the later development of stringband or fiddle/clawhammer banjo tunes. "Billy in the Lowground" was played by Arizona fiddler Kenner C. Kartchner for dances in the Southwest at the beginning of the twentieth century (the piece was identified by him as having come to that region from the American South, and assessed it as "a good one"). It was recorded from the playing of an Ozark fiddler for the Library of Congress by musicologist/folklorist Vance Randolph who collected in the early 1940's, and, likewise, by Herbert Halpert (also for the Library of Congress) in 1939 from Tishomingo County, Mississippi, fiddler John Hatcher. Cauthen (1990) collected evidence from period newspapers and other accounts in Alabama and records that it was one of the tunes commonly played throughout every region of that state in the first part of the 20th century. The Marion Standard of April 30th, 1909, reported it was one of the tunes (along with "Miss McLeod") played at a housewarming in Perry County, Ala., in 1827. Elsewhere in the deep South, a Georgia fiddler named Ben Smith, serving with the 12th Alabama Infantry in the Civil War, played the tune in that conflict according to a memoir of the unit. It is also known to have been associated with Kentucky fiddlers (Wolfe, 1982). The famous Kentucky fiddler Dick Burnett related this improbable story about the origin of the tune and title:
**
You know how come them to make that? There was a man a goin'
through an old field one time and he had his fiddle with him and
he walked out on the bank of a sink hole and it broke off and he
fell down in that hole and couldn't get out. He just sat down there
and took his fiddle and played that tune. His name was Billy
something but I forgot his full name. (Charles Wolfe)
**
Early American printings of the piece can be found from the early 19th century onwards. The melody appears under the "Billy/Low Grounds" title in George P. Knauff 's Virginia Reels," volume III (Baltimore, 1839). Folklorist and fiddler Alan Jabbour finds that, in some sources, the title changed around 1800 to "Johnny in the Nether Mains."
**
The tune was in the repertories of Uncle Jimmy Thompson 1848-1931 (Texas, Tenn.), Fiddlin' Cowan Powers 1877-1952? (Russell County, southwest Virginia) [and recorded by him for Victor, though the side was unissued], Bob Wills (Texas), black Kentucky fiddler Cuje Bertram. and Alabama fiddlers Monkey Brown (1897-1972) and D. Dix Hollis. Sources for notated versions: black fiddler Bill Driver (Miller County, Missouri) [Christeson]; Charlie Higgins (Galax, Va.) [Krassen]; David P. Gilpin, 9/22/1943 (played at Connellsville, Fayette County, Pa. but learned at Dunbar, Pa., though Gilpin did not have the title) [Bayard, 1944]; Irvin Yaugher, John Meighen, Frank Lowry, John Filby & Wiley Jobes (from Greene or Fayette Counties, southwestern Pa.) [Bayard, 1981]; James Marr (Mo., age 93 in 1949) [Bayard]; Howdy Forrester via John Hartford [The Devil's Box]; Lowe Stokes (Ga.) [Kaufman]; Billy Baker & Forest Daugherty (Texas) [Phillips]; John Johnson [Phillips]; Clyde Davenport (Indiana) [Phillips]. Adam, 1938; No. 42. Bayard (Hill Country Tunes), 1944; No. 5 (appears as "Reel"). Bayard (Dance to the Fiddle), 1981; No. 234A-E, pgs. 192-194. Bayard (Dance to the Fiddle), 1981; Appendix No. 23, pg. 581. Brody (Fiddler's Fakebook), 1983; pg. 42-43. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; No. 54, pg. 41. The Devil's Box, pg.s 51-53. Fiddler Magazine, Vol. 3, No. 2, Summer 1996; pg. 30. Ford (Traditional Music in America), 1940; pg. 65 (as "Billy in the Low Land"). Kaufman (Beginning Old Time Fiddle), 1977; pgs. 68-69. Krassen (Appalachian Fiddle), 1973; pg. 74 (an irregular version with nine measure parts instead of eight). Lowinger (Bluegrass Fiddle), 1974; No. 21. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 65, pg. 39. Phillips (Fiddlecase Tunebook), 1989; pg. 6. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 25 (three versions). Ruth (Pioneer Western Folk Tunes), 1948; No. 74, pg. 27. Thede (The Fiddle Book), 1967; pg. 78. Welling (Welling's Hartford Tunebook), 1976; pg. 1. Brunswick 239 (78 RPM), Dr. Humphrey Bate and His Possum Hunters {1928) (Nashville, Tenn. Columbia 15209-D (78 RPM), Burnett and Rutherford (1927). Columbia 15620 (78 RPM), Lowe Stokes (1930). County 202, "Eck Robertson: Famous Cowboy Fiddler." County 507, Lowe Stokes (North Ga.) {1930} - "Old Time Fiddle Classics." County 512, The Fiddlin' Bootleggers - "A Day in the Mountains" (orig. rec. in 1928). County 703, Benny Thomasson - "Texas Hoedown." County 733, Clark Kessinger - "The Legend of Clark Kessinger." Davis Unlimited 33015, Doc Roberts (Ky.) - "Classic Fiddle Tunes" (One of the first tunes recorded by this fiddler). Folkways 2337, Clark Kessinger (Va.) - "Live at Union Grove." Gennet 3235 (78 RPM), Doc Roberts (1925). Gennet 6390 (78 RPM), Doc Roberts (1927). Library of Congress 1010A2, Jilson Setters, recorded for Alan Lomax and the Library of Congress in June, 1937. Marimac 9110, Dr. Humphrey Bate and his Possum Hunters - "It'll Never Happen Again: Old Time String Bands Vol. 1." Missouri State Old Time Fiddlers' Association, Casey Jones (1910-1967) - "Rocky Road to Jordon." Missouri State Old Time Fiddlers' Association, Cyrill Stinnett - "Plain Old Time Fiddling." Okeh 40020 (78 RPM), John Carson. Okeh 45397 (78 RPPM), Oscar and Doc Harper. Omac 1, Thomasson, Shorty, Morris, and O'Connor - "A Texas Jam Session." Rounder 0046, Mark O'Connor - "National Junior Fiddle Champion." Rounder 1004, "Ramblin' Reckless Hobo: The Songs of Dick Burnett and Leonard Rutherford." Rounder CD0262, Mike Seeger - "Fresh Oldtime String Band Music" (1988. Appears as part of "Billy in Waynesboro"). Sonyatone 201, Eck Robertson (Texas) - "Master Fiddler." Vanguard VSD 9/10, Doc Watson - "On Stage." Vetco 102, Jilson Setters (under the name Blind Bill Day) {b. 1860, Rowan County, Ky.}, originally recorded on Victor 21407 (78 RPM) in 1928 (as "Billy in the Low Land"). Victor 19372 (78 RPM), Eck Robertson (Texas) {1922}. Recorded by Burnett and Rutherford (Ky.), 78 RPM, and Uncle Am Stuart (b. 1856, Morristown, Tenn.) in 1924 for Vocalation. Voyager 309, Benny and Jerry Thomasson - "The Weiser Reunion: A Texas Jam Session" (1993).
T:Billy in the Lowground
L:1/8
M:C|
S:Jay Ungar
K:C
CA,|:G,A,CD EGAB|cBcd cAGB|ABAG EGAB|1 cAGE DCA,C:|2 cAGE D C3||
|:e g2 e g3 (g|g)age d c3|e a2 e a3 (a|a)bag edcd|e g2 e g3 (g|g)age d c3|ABAG EGAB|
cBGE D C3:|

BILLY PATTERSON('S FAVORITE). AKA and see "The Blackthorn Stick," "Boys of Rockhill/Bockhill," "The Catholic Boys," "The Coachroad to Sligo," The Eagle's Nest," "Fire on/in the Mountain," "Fire in the Valley," "Humors of Bantry," "The Hare on the Mountain," "The Maid on the Green," "The Rose on the Mountain." Irish, Double Jig. G Major. Standard. AABB. Cole (1001 Fiddle Tunes), 1940; pg. 54.

BILLY THE BARBER SHAVED HIS FATHER. Irish, Jig. G Major. Standard. AABB. Cole (1001 Fiddle Tunes), 1940; pg. 73. Ford (Traditional Music in America), 1940; pg. 104 (appears as "Billy the Barber"). Joyce (Ancient Irish Music), 1890; No. 95, pg. 97.

BÍMÍD AG ÓL IS AG PÓGADH NA mBAN (Let's be drinking and kissing the Women). AKA - "Bímid ag Ól" [2]. Irish, Double Jig. G Major. Standard. AB (Petrie): AABB (Breathnach, Mitchell). See also "Let us be drinking," "I court the fair Maidens," "My name is O'Sullivan." Breathnach (1963) states that the tune is named after a song written by Eoghan Rua Ó Súilleabháin c. 1780. This jig is melodically related to "Sean Reid's Reel" (AKA "The West Wind") and the hornpipe "An Buachaill Dreoite." In CRE II (1976) Breathnach noted that the reel "Gilibeart Mhac Fhlannchadha" (Gilbert Clancy) was related to this tune. Joyce's and Breathnach's parts are reversed from each other. The song was said to have been sung by Captain Francis O'Neill in 1870 at Bloomington, Illinois, at his wedding to Anna Rogers, also a lover of traditional music. The song was a favorite of his father's (Carolan, 1997). O'Neill (who led an adventurous early life) was a seaman on the Great Lakes at the time, some three years prior to his joining the Chicago police force. O'Neill prints settings in Music of Ireland (No. 479) and in Irish Music (No. 9) under alternate titles. Breathnach finds versions in Petrie's Ancient Music of Ireland (pgs. 130-131) and in the Stanford/Petrie edition pgs. 1063-1064. Sources for notated versions: piper Willie Clancy/Liam Mac Flannchadha (1918-1973, Miltown Malbay, west County Clare, Ireland) [Breathnach, Mitchell]; from Father Walsh, parish priest at Sneem, bordering on Kenmare Bay [Petrie]. Breathnach (CRE I), 1963; No. 17, pg. 8. Mitchell (Dance Music of Willie Clancy), 1993; No. 7, pg. 32. Stanford/Petrie (Complete Collection), 1905; Nos. 1063 & 1064, pgs. 269-270. Columbia 35612, "The Chieftains" (1978. Played as a three-part tune, the third part not normally played by musicians but sung as a chorus by by the singers of Ballyvourney, West Cork).

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.

BIRD ON THE WING. AKA and see "Mechanic's Hall Jig," "Pea Patch Jig." American, Dance Tune (2/4 time). G Major. Standard. AABB'. Tune is listed as a 'jig' in Cole's 1001, meaning an old-time banjo tune perhaps associated with a type of dancing or a derogatory term for African-Americans; not related to the Irish jig. Cole (1001 Fiddle Tunes), 1940; pg. 83.

BLARNEY PILGRIM, THE (Turasa Blarnaig). AKA and see "Jackson's Rambles," "The Parish Girl." Irish, Double Jig. D Mixolydian/G Major. Standard. AABBCC (O'Neill {3 editions}): AABB'CC' (Mallinson): AA'BB'CC' (Boys of the Lough, Spandaro). There are several places in Ireland all claiming to have the original Blarney Stone. The town of Blarney, County Cork, is the location of Blarney Castle, said to have been the seat of the McCarthy's, the great kings of Munster. A pilgrimage to kiss the blarney stone, which is embedded in the wall of a castle and can only be reached by being dangled out of a window, bestows the gift of eloquent speech. Under the title "The Parish Girl" the melody appears in Stanford/Petrie with the note: "Set about 1800 by Daniel McHourigan." Source for notated version: Metropolitan Opry [Spandaro]. Boys of the Lough, 1977; pg. 18. Mallinson (Essential), 1995; No. 90, pg. 39. O'Neill (Krassen), 1976; pg. 70. O'Neill (1850), 1979; No. 1099, pg. 207. O'Neill (1001 Gems), 1986; No. 291, pg. 63. Spandaro (10 Cents a Dance), 1980; pg. 25. Folkways FTS31098, Ken Perlman - "Clawhammer Banjo and Fingerstyle Guitar Solos." Mulligan LUN00H, "Paul Brady and Andy Irvine." Shanachie 97011, Duck Baker - "Irish Reels, Jigs, Airs and Hornpipes" (1990. Learned from the Mathews Brothers of County Kerry).
T:Blarney Pilgrim, The
L:1/8
M:6/8
S:O'Neill
K:G
DED DEG|A2G ABc|BAG AGE|GEA GED|DED DEG|A2B ABc|BAG AGE|GED D2z:|
|:ded dBG|AGA BGE|ded dBG|AGA G3|g2e dBG|AGA BGE|B2G AGE|GAG G2z:|
|:A2D B2D|A2D ABc|BAG AGE|GEA GED|A2D B2D|A2D ABc|BAG AGE|GED D2z:|

BLOOMING MEADOWS [1] (An Moinfeur Fionnsgotac). AKA and see "Cover the Buckle," "Down the Hill," "Down With the Tithes," "Hag and Her Praskeen," "Humors of Milltown." Irish, Double Jig. G Major. Standard. AAB (O'Neill/1915): AABB (Cole, Joyce, Roche): AABB' (O'Neill/1850 & 1001). Bayard believes the first strain of this tune group was developed from "Bung Your Eye." "Trip it Along," "Humours of Ballinafauna," and "Humors of Castle Comer" are variants. Charlie Piggott, in the essay on Kilmaley, County Clare, fiddler, flute player and uilleann piper Peader O'Loughlin in his book Blooming Meadows (1998), remarks on tunes being disseminated into local, isolated traditions in Ireland by visiting musicians. It is remembered that "Blooming Meadows" was introduced into O'Loughlin's Kilmaley-Connolly, Clare, area by travelling piper Jerry O'Shea many generations ago. Cole (1001 Fiddle Tunes), 1940; pg. 56. Joyce (Ancient Irish Music), 1873/1890; No. 85, pg. 87. O'Neill (1915 ed.), 1987; No. 146, pg. 84. O'Neill (1850), 1903/1979; No. 917, pg. 171. O'Neill (1001 Gems), 1907/1986; No. 304, pg. 65. Roche Collection, 1982; Vol. 1, No. 115, pg. 48 (appears as "Down the Hill").
T:Blooming Meadows, The [1]
L:1/8
M:6/8
K:G
D|(D2G) (G2A)|(B2d) cAG|(F2D) DED|~F3 {A}GED|
DGG (G2A)|BAG ABc|(d2B) cAF|G3 G2:|
|:{d/e/f/}|(g2d) def|(g2a) bag|(f2d) ded|(f2g) afd|
(g2 d) def|(g2a) bag|fed cAF|G3 G2:|

BLOW THE WIND SOUTHERLY (HOME TO MY DEAR). AKA and see "Kinloch (of Kinloch)." Scottish, English; Jig. England, Northumberland. D Major. Standard. AABB (Stokoe): AA'BB' (Carlin). The 'A' part of this tune is the 'B' part of "Over the Water to Charlie," while the second strain is new. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800.
***
Blaw the wind southerly, southerly, southerly,
Blaw the wind southerly, south, or south-west;
My lad's at the bar, at the bar, at the bar,
My lad's at the bar whom I love best.
***
This is evidently a fragment of an older ballad, and is taken from Sharp's Bishoprick Garland. A variation of the last two lines has been sometimes heard from old songs:--
***
Blaw the lad ti' the bar, ti' the bar,
Blaw the lad ti' the bar that I love best. (Bruce & Stokoe, 1882)
***
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 183. Carlin (English Concertina), 1977; pg. 21.
T:Blaw the Wind Southerly
L:1/8
M:6/8
S:Bruce & Stokoe - Northumbrian Minstrelsy
K:G
A|fed AFA|BGB AFA|fed AFA|Bdc d2:|
|:a|f2a e2a|dcd cBA|f2a e2a|ba^g a2a|b2b a2a|
g2g fed|fed Bgf|eBc d2:|

BLOWZABELLA. AKA - "Blouzabella," "Blousy Bella." English, Jig and Air. England, Northumberland. G Major. Standard. AA'BB'CC'DD (Merryweather): AABBCCDDEE (Vickers). The title was taken as a name by a Northumbrian "revival" band of the late 20th century. Merryweather (1989) prints the words to the song which about a bagpiper and his wife, who is affectionately known as "Blowzabella, my bouncing doxie;" they banter about their respective livlihoods but come to agreement in the end, confirming their marital bliss. The song was apparently an 18th century elaboration of a 16th century Italian popular theme, according to Merryweather, and appears in Thomas D'Urfy's 1719 Wit & Mirth or Pills To Purge Melancholy under the title "The Italian Song Call'd Pastorella; made into an English Dialogue." As "Blousy Bella" it appears in a c. 1708 manuscript in the British Museum by G. B. Buononcini, for unaccompanied flute. John Walsh, who published the melody in his Caledonian Country Dance volumes of the mid-18th century, identifies the melody as "Scotch." Merryweather, 1989; pg. 49. Seattle (William Vickers), 1987, Part 2; No. 392. Offord (John of the Greeny Cheshire Way), 1985; pg, 99.

BLUE BONNET [1]. American (? Sounds Scottish), Hornpipe or Jig (even though written in duple time--dotted rhythm can be translated into 6/8). G Major. Standard. AB. Ford (Traditional Music in America), 1940; pg. 197.

BLUE BONNETS OVER THE BORDER [1]. AKA and see "All the Blue Bonnets are Over the Border," "Over the Border," "Blue Bonnets Jig," "Blue Bonnets," "Scotch Come Over the Border" (Pa.). Scottish, Slow Air (6/8 time), Jig, Country Dance Tune or March. B Flat Major (Athole, Skye): D Major (Neil). Standard. AAB. Samuel Bayard thinks this tune was fashioned in the 1740's into a quick dance piece in 6/8 from a slow 3/4 time song tune from about 1710 or earlier called "O Dear Mother (Minnie) What Shall I Do?" This "Blue Bonnets Over the Border" was in turn the basis for a 4/4 version called "Braes of Auchtertyre/Auchentyre," "Belles of Tipperary" and "Beaus of Albany;" out of this group of tunes came "Billy in the Lowground/Low Land." Michael Diack's, on the other hand, has written in his Scottish Country Dances that "Blue Bonnets" is derived from a 17th-century
Scottish tune called "Lesley's March to Scotland." If this is the "Leslie's March" printed by Oswald (1755) and Watts' Musical Miscellany (1731), then the resemblance seems obscure and based on a few motifs. The tune, correctly classified a jig, often appears under the label 'country dance tune' because of its long association with the dance. Neil's (1991) version is an adaptation of one appearing in Uilleam Ross's Collection of Pipe Music (1869), and the piece is said to be a quickstep march of the Black Watch. 'Blue bonnets' is a euphemism for the Scots, stemming from the custom of Jacobite troops to identify themselves with a white cockade worn on a blue bonnet. The white cockade emblem is said to have originated when Bonnie Prince Charlie plucked a wild rose and pinned it to his hat. Lyrics to the tune were written by Sir Walter Scott, who based them on an old Cavalier song (Scott also mentions the song in his novel The Monastery).
***
March! march! Ettrick and Leviotdale,
Why, my lads dinna ye march forward in order?
March! march! Eskdale and Liddesdale,
All the blue bonnets are over the Border.
Come from the hills where your hirsels (i.e. sheep) are grazing,
Come from the glen of the buck and the roe,
Come with the buckler, the lance and the bow
Trumpets are sounding, war-steeds are bounding
Stand to your arms and march in good order
England shall many a day tell of the bloody frey
When the blue bonnets come over the Border.
***
MacDonald (The Skye Collection), 1887; pg. 162. Neil (The Scots Fiddle), 1991; No. 25, pg. 34. Stewart-Robertson (The Athole Collection), 1884; pg. 145. A & M Records 79602 2000-2, Ashley MacIsaac - "Close to the Floor" (1992). Culbernie Records CUL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988). Rounder RO 7023, Natalie MacMaster - "No Boundaries" (1996. A jig setting learned from her uncle, fiddler Buddy MacMaster).
T:Blue Bonnets Ow'r the Border
L:1/8
M:6/8
R:Country Dance
B:The Athole Collection
K:B_
B,3 B,>CD|B>cd B2F|BGG G2g|g>fd c2B|B,3 B,>CD|B>(3c/d/c/) BGF|
G3 FDF|FBD C2B:|
|:Bdf fdB|gfd c2B|Bdf g>ab|B>(3c/d/e/) c2B|Bdf fdB|gfd cBc|G3 FDF|
FBD C2B:|

BLACK AND THE GREY, THE. English, Jig. England, Northumberland. G Major. Standard. AB (Stokoe & Bruce): AABBCCDDEEFF (Peacock). The title, which is an English renaming of the Scottish melody "John Paterson's Mare," appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 188.
Peacock (Peacock's Tunes), c. 1805/1980; No. 28, pg. 11.
T:Black and the Grey
L:1/8
M:6/8
S:Bruce & Stokoe
K:G
d|BGd g2d|gaf g2d|BGd adc|(B3 G2)B|cAe a2e|ab^g a2e|
cAe aed|(^c3 A2) =c|BGd g2d|gaf g2d|BGd gdc|(B3 c2)d|
ece dBd|cAc BA^G|Aa^g aed|(^c3 a2)||=c|BGG dGG|
gGG dGG|BGG gdc|B3 G2B|cAA eAA|gAA eAA|
cAA aed|(^c3 A2) =c|BGG dGG|gGG dBB|BGd gdc|
B3 c2d|ece dBd|cAc BA^G|Aa^g aed|^c3 A2||

BLACK DONALD THE PIPER (Domnall Dub an Piobaire). AKA and see "Lochiel's March," "The Pibroch of Donuil Dhu." Irish, Double Jig. G Major. Standard. AABB. The tune appears to be Scottish in origin, and the name certainly is, for Mac Dhomhnuill Duibh (Black {Mac}Donald) is the Gaelic patronymic of Cameron of Lochiel. O'Neill, 1976; pg. 44. O'Neill (1850), 1903/1979; No. 946, pg. 176. O'Neill (1001 Gems), 1907/1986; No. 172, pg. 43.
T:Black Donald the Piper
L:1/8
M:6/8
S:O'Neill - 1001 Gems (172)
K:G
dBB efg|dBB BAG|dBB efg|dBG A2G|dBB ecc|dBB BAG|A2B cde|dBG A2G:|
|:gdd gee|gdc BAG|gdd gee|dBG A2G|gdd gee|gdc BAG|A2B cde|dBG A2G:|

BLACK HOE, THE. See "The Castlebar Jig," "Castlelan Races," "Morrison's Fancy," "The Rakes of Castlebar," "The Thrush in the Strand." Canadian, Jig. Canada; Prince Edward Island, Cape Breton. G Major. Standard. AABB. Kate Dunlay (1986, 1996) states that this jig is very likely of Irish origin and that Paul Cranford found a variant entitled "Morrisson's Fancy" in O'Neill's Waifs and Strays of Gaelic Melody. Perlman (1996) gives its origin as "Irish." Source for notated version: Reuben Smith (b. 1931, Blooming Point, Queen's County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 120. Dunlay & Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; No. 81, pg. 77. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 130. Shears (Gathering of the Clans Collection), 1986. DAB4-1985, Donald Angus Beaton -"A Musical Legacy" (1985). JC 126, John Campbell - "Cape Breton on the Floor" (1981). Cape Breton Magazine's Tape - Mike MacDougall. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music of Cape Breton" (1978).

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 SLOVEN. AKA and see "Colonel Pickering's March to Lexington." English, Scottish, Amercan; Jig. A Major (Johnson): G Major (Winstock). AEAC# (Johnson) or Standard. AABB. The tune was used for the "Light Infantry Song" in the Revolutionary War by the British army, but originally was a lullaby. Its martial connections were perhaps confirmed by its use in the Revolutionary War by the fife and drum attached to Colonel Pickering's American regiment, as it marched from Salem, Massachusetts to Lexington, on April 19, 1775. The tune is preserved in an old manuscript music book that was kept at the turn of the 20th century at the Essex Institute at Salem, in which it is called "Col. Pickering's March to Lexington." Source for notated version: Brown MS. (Scotland) [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 45, pg. 111. Winstock (Songs and Music of the Redcoats), 1970; pg. 76 (appears as "The Light Infantry Song").
T:Colonel Pickering's March to Lexington
L:1/8
M:6/8
K:G
DEF|GAG AGA|BcB Bcd|GAG AGA|BcB B2G|BAB B2c|
ded dcB|cBA A3|z3 B2c|ded dcB|cAc c2e|cBG GAB|
GFD D3|G3A3|BcB AGA|BcB AGA|GGG G3||

BLACKTHORN STICK [1]. AKA and see "Billy Patterson," "Boys of Bockhill/Rockhill," "The Catholic Boys," "The Coachroad to Sligo," "Daniel O'Connell's Welcome to Parliament," "The Eagle's Nest," "Fire in the Valley," "Fire on the Mountain," "The Hare on the Mountain," "Humours of Bantry," "The Maid on the Green," "O'Connell's Welcome," "The Rose on the Mountain," and "Joys of Wedlock." Irish (originally), New England; Jig. G Major (Allan, Miller & Perron, Spandaro, Sweet): A Major (Kerr, Raven). Standard. AAB (Kerr): AABB (Allan, Miller & Perron, Raven, Spandaro, Sweet, Tubridy). Bayard (1981) thinks the tune "a thoroughly characteristic Irish jig, probably of no great age." Source for notated version: David Street [Spandaro]. Allan's Irish Fiddler, No. 3, pg. 2. Jarman (Old Tyme Fiddlin' Tunes); pg. or No. 16. Kerr (Merry Melodies), Vol. 1; No. 13, pg. 37. Miller & Perron (New England Fidders Repertoire), 1983; No. 2. Raven (English Country Dance Tunes), 1984; pg. 115. Spandaro (10 Cents a Dance), 1980; pg. 44. Sweet (Fifer's Delight), 1964; pg. 38. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 30. Pibroch MacKenzie - "The Mull Fiddler" (1969). Bob Smith's Ideal Band - "Better than an Orchestra" (1977).
T:Blackthorn Stick [1]
T:Coach Road to Sligo
L:1/8
M:6/8
K:G
gfg e/f/ge|dBG AGE|DEG AGA|BdB ABd|gfg e/f/ge|dBG AGE|DEG AGA|BGG G2:|
|:d|edd gdd|edd gdd|Bdd gfe|dBG A2d|gfg age|dBG AGE|DEG AGA|BGG G2:|

BONNETS SO BLUE. AKA - "Bonnets o' Blue" [2]. English; Country and Morris Dance Tune (6/8 time). G Major (Carlin, Mallinson, Wade): D Major (Karpeles, Kennedy & Raven): C Major (Bacon, Barnes). Standard. AB (Carlin): AAB (Raven, Wade): ABC (Barnes, Sharp): AABC (Karpeles & Kennedy): ABCBC (Bacon, Mallinson). The Cotswold morris version is from the village Bucknell, Oxfordshire, area of England (a similar tune was collected in Brackley, Northampton) area of England, where it is a solo jig dance. Wade's version is from the North West (England) morris tradition and is used for either polka or single step. The author of "English Folk-Song and Dance" found the melody in the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway between Churt and Thursley in Surrey), who used, in his younger days, to play the fiddle at village dances. He learned his repertoire from an uncle, Fiddler Hammond, who died around 1870, and who had been the village fiddler before him. The conclusion was that "Bonnets of Blue" and similar old country dance tunes survived in the tradition (at least in southwest Surrey) well into the second half of the 19th century. Bacon (The Morris Ring), 1974; pgs. 107 & 124. Carlin (Master Collection), 1984; pg. 36 (#46). Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 41. Kennedy (Fiddlers Tune Book), Vol.1, 1951; No. 96, pg. 47. Kerr (Merry Melodies), Vol. 2; No. 312, pg. 34 (appears as "Bonnets o' Blue"). Mallinson (Mally's Cotswold Morris Book), 1988, Vol. 2; No. 38, pg. 19. Raven (English Country Dance Tunes), 1984; pg. 103. Sharp (Country Dance Tunes), 1909/1994; pg. 7. Wade (Mally's North West Morris Book), 1988; pg. 9. EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994).
T:Bonnets so Blue
L:1/8
M:6/8
K:D
A|ded def|ABA ABc|dfb afd|efe e2A|ded def|ABA A2b|agf age|(d3d2):|
||e/d/|cde efe|(A3A2)d|cde efg|a3a2g|f2e d2c|B2c d2e|fgf edc|(B3B2)||A|
def def|def d2A|dfb agf|egf e2A|def def|def d2b|agf age|(d3d2)||

BONNIE DOON. AKA and see "Ye Banks and Braes." Scottish, Jig. G Major. Standard. AABB. A waltz setting is in Kerr's Merry Melodies, Vol. 1, pg. 25. Kerr (Merry Melodies), Vol. 4; No. 259, pg. 28. Sweet (Fifer's Delight), 1964; pg. 25.

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

BONNY PIT LADDIE, THE. AKA and see "The Bonny Keel Laddie." English, Jig. England, Northumberland. D Major (Raven, Vickers): G Major (Peacock, Bruce & Stokoe). Standard. AABB (Bruce & Stokoe, Vickers): AABBCC (Raven-Fenwick): AABBCCDDEEFFGG (Peacock). From "A Tutor for the Northumbrian Small-pipes" by J.W. Fenwick, published in late 1800's; "From Mrs. Thompson's Collection" (Fenwick). Most versions seem to have 6-bar strains, though Vickers' does not./ The tune's title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800.
**
The bonny pit laddie, the canny pit laddie,
The bonny pit laddie for me, O!
He sits in his hole as black as a coal,
And brings the white siller to me, O! (Stokoe).
**
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 150. Peacock's Tunes, 1980 (originally c. 1800); No. 39, pg. 18. Raven (English Country Dance Tunes), 1984; pg. 97. Seattle (William Vickers), 1770/1987, Part 2; No. 255.
T:Bonnie Pit Laddie, The
L:1/8
M:6/8
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:G
G|cec B2G|cec dBG|d3 B2G|cec B2G|cec dBG|c3G2:|
|:G|cde fdf|ece dBG|c3 G2G|cde fdf|ece dBG|c3 G2:|

BOOTH SHOT LINCOLN [1]. AKA - "Booth." Old-Time, Breakdown. USA; western N.C., Eastern Tenn. A Major. AEAE or Standard. AAB (Phillips): AABB (Johnson). The tune was in the repertoires of western North Carolina fiddlers Osey Helton and Marcus Martin (from the Black Mountain region). Bascom Lamar Lumsford learned his version ("Booth Killed Lincoln") from Martin, and both sang the song and played the same tune on the fiddle on his recording. On his Library of Congress recording, however, Lunsford introduces the seven-verse song: "The title of this ballad is 'Booth,' or 'Booth Killed Lincoln.' It's an old fiddle tune, and there are a few variants of the song. I heard my father hum it and sing a few of the stanzas when I was just a boy about six or ten years old." After he sings the song he plays the fiddle tune, similar to Martin's version. Most modern versions are based on Martin's recordings of the tune (he was recorded several times in the 1940's by Library of Congress field personnel, including Alan Lomax in 1942), and Martin gave the title variously as "Booth" or "John Wilkes Booth." Scott DeLancey maintains that the "Booth" melody is a breakdown setting of the Irish jig "The Market Town." Source for notated version: Marcus Martin (North Carolina) [Phillips/1994]. Kuntz, Private Collection. Johnson (The Kitchen Musician: Occasional Collection of Old-Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), No. 2, 1988; pg. 11. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 34. AFS L29, "Folk Music of the United States: Songs and Ballads of American History and of the Assassination of Presidents from the Archive of American Folk Song" (contains two 1949 recordings of Bascom Lamar Lunsford playing "Booth Killed Lincoln," collected by Duncan Emrich). Flying Fish FF 266, Malcolm Daglish & Grey Larsen - "Thunderhead" (1982). Marimac 9000, Dan Gellert and Shoofly - "Forked Deer" (1986. Learned from Marc Gunther). Rounder 1509, Bascom Lamar Lumsford - "Songs and Ballads of American History and of the Assassination of Presidents" (originally issued in the early 1950's by the Library of Congress from the Archive of American Folksong).
T:Booth Shot Lincoln [1]
L:1/8
M:2/4
N:AEAE tuning
N:notated as fingered, not as sounded
K:A
A2 EE/E/|D/D/B, D>(D|E/)D/E/F/ G(G|G/)c/B/A/ [G/A/]c/B/A/|G/EE/ E/D/E|
A2 EE/E/|D/D/B, D>f|e/c/B/A/ A/c/B|(G/A)G/ [G2A2]:|
c|:e>(f e)e/e/|f/e/f/(f/ a>)(f|e/)c/B/A/ A/c/B/A/|A/EE/ E/D/E|e>(f e)e/e/|
f/e/f/(f/ a>)(f|e/)c/B/A/ A/c/B/A/|G/AG/ A>c|e>(f e)e/e/|f/e/f/(f/ a>)(f|
e/)c/B/A/ A/c/B/A/|A/EE/ E/D/E| A2 EE/E/|D/D/B, D>f|e/c/B/A/ A/c/B|(G/A)G/ [G2A2]:|

BORING THE LEATHER [2] (Tolladh an Leathair). AKA and see "Come with me now," "The Connaughtman," "Down the back Lane," "The Humours of Ayle House," "The Kilfinane Jig," "The Shoemaker's Fancy," "When you go home." Irish, Double Jig. G Major. Standard. AABB. The jig appears in O'Neill's publication fours times under the titles "Come with me now," "The Humours of Ayle House," "The Kilfinane Jig," and "When you go home," though Breathnach says the key signature is wrong in all of them and sometimes the endings are wrong. Three versions are printed with no name by Petrie (No. 964-6). The "Boring the Leather" name comes from the Goodman Manuscripts. Source for notated version: piper Willie Clancy/Liam Mac Flannchadha (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 6, pg. 5 (appears as "Tolladh an Leathair"). North Star Records NS0038, "The Village Green: Dance Music of Old Sturbridge Village."

BOTH MEAT AND DRINK. Irish, Double Jig. G Major. Standard. AA'BB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). According to Reavy's son Joseph, the tune takes its title from the observation of one "Old Pat Kane", a Wexford expatriate acquaintance of Reavy's who worked on the grounds of an estate near Philadelphia. Kane was fond of porter, "whenever he could get it. He often exclaimed that man needed nothing else to sustain himself in this life. 'It is more than a drink,' he was heard to say-'it's both meat and dhrink'" (Reavy). Reavy (The Collected Compositions of Ed Reavy), No. 79, pg. 87.
T:Both Meat and Drink
C:Ed Reavy
S:Paul O'Shaughnessy
Z:Juergen.Gier@post.rwth-aachen.de
M:6/8
L:1/8
K:G
DGB ~d3|edB dcA|GBd ~g3|bag faf|\
geg fdf|ece gfe|~f3 agf|gdB cAF::\
G2g gbg|dBG GBd|~=f3 fcf|ag=f ag^f|\
~g3 bag|faf gdB|cAG FGA|1AGF GBd:|2AGF GFE|]

BOTTLE OF CLARET, THE. Scottish, Jig. G Major. Standard. AABB. A tune by this name appears in Samuel Holden's Collection of Old-Established Irish Slow and Quick Tunes (1806-07), a member of the "Bottle of Punch" tune family. Kerr (Merry Melodies), Vol. 3; No. 279, pg. 30.

BOY IN THE BASKET, THE. AKA and see "The High Road to Dublin," "An Bothar Mor go Baile Atha Cliath," "The Way to Dublin." English, Slip Jig. England, Northumberland. G Major. Standard. AABB. Seattle (William Vickers), 1987, Part 3; No. 580.

BOYS OF BALLINAMORE, THE (Na Buacaillide Ua Beal-An-Ata-Moir). Irish, Double Jig. G Major/D Mixolydian. Standard. AB. O'Neill had the tune from a seventeen year old fiddler named George West, who, though gifted musically, was somewhat indigent and did not own a fiddle. He had formed a symbiotic musical relationship of sorts with one O'Malley, who did own a fiddle and who eked out a meager living playing house parties despite the loss of a finger from his left hand. O'Malley, however, invariable could only make it to midnight before he got too drunk to bow, at which time West took over his fiddle and finished the night's engagement. "Thus lived the careless, improvident but talented Georgie, until an incident in his life rendered a trip to the far west advisable." O'Neill (1850), 1903/1979; No. 937, pg. 174. O'Neill (1001 Gems), 1907/1986; No. 167, pg. 42.
T:Boys of Ballinamore, The
L:1/8
M:6/8
S:O'Neill - 1001 Gems (167)
K:D Mix
|:d/B/|cAF G2G|ABc AdB|cAF GFG|Ade fed|cAF G2G|ABc AdB|cAF GFG|Ad^c d2:|
|:g|fed efg|ecc gcc|fed efg|age d2d/e/|fed efg|ecc gcc|faf e/f/ge|d2e fed:|

BOYS OF BALLYSADARE/BALLYSODARE, THE [1] (Buacailli Baile-Easa-Dara). Irish, Slip Jig (9/8 time). G Major. Standard. One part (O'Neill/1915 & Krassen): AB (O'Neill/1850 & 1001): AABB (Mallinson, Tubridy). Cranitch (Irish Fiddle Book), 1996; No. 33, pg. 138. Mallinson (Enduring), 1995; No. 89, pg. 37 (appears as "Boys of Ballisodare"). O'Neill (1915 ed.), 1987; No. 217, pg. 116. O'Neill (Krassen), 1976; pg. 81. O'Neill (1850), 1903/1979; No. 1134, pg. 214. O'Neill (1001 Gems), 1907/1986; No. 423, pg. 84. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 38. Green Linnet SIF-1110, Martin Wynne - "My Love is in America: The Boston College Irish Fiddle Festival" (1991).
T:Boys of Ballysadare [1]
L:1/8
M:9/8
K:G
|:D2G G2A B2d|ege d2e .g3|D2G G2A B2G|AGA B2G E2D|D2G G2A B2d|
ege d2e g2a|b2a g2e d2B|~A3 B2G E2D:|
|:B2d {e}d2B d2B|d3 d2f g3|B2d d2B d2B|AGA B2G E2D|B2d d2B d2B|d3 def g2a|
b2a g2e d2B|AGA B2G E2D:|

BOYS OF THE WEST. Irish, Double Jig. G Major. Standard. AABB. Not "Boys From the West" in Roche. O'Neill (Krassen), 1976; pg. 58. O'Neill (1850), 1903/1979; No. 1035, pg. 193.

BOYS OF THOMASTOWN, THE (Buachaillí Bhaile Mhic Anndáin). AKA and see "Away to the Bogs," "The Caffler's Courtship" (Suirighe an Áilteora). Irish, Jig. G Major. Standard. AABB. Breathnach finds the tune related to "Carraig an tSoip" (The Cook in the Kitchen). Source for notated version: tin whistle player Pat White/Padraic de Faoite [Breathnach]. Breathnach (CRE I), 1963; No. 14, pg. 7.

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

BRENDAN BEGLEY'S JIG. AKA and see "The Bog of Allen," "Butcher's March" [2]. Irish, Jig. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard. AABB'. Source O'Leary liked to pair this jig with "Winter Apples" [2]. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region, Kerry), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]. Moylan (Johnny O'Leary), 1994; No. 40, pgs. 24-25.

BRIDE NEXT. AKA and see "My Wife's a Wanton Wee Thing." Scottish, Jig (6/8 or 6/4). D Mixolydian. Standard. AB. A "double-tonic" (e.g. G Major-A Major) tune. Printed in Henry Playford's 1700 collection of Scottish dance airs, Original Scotch-Tunes. In the 18th century it acquired the alternate title "My Wife's a Wanton Wee Thing," still current. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 10, pg. 27. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 10, pg. 26.

BRIDE'S A BONNIE THING, THE. AKA and see "Scotland." Shetland, Scottish; March or Jig. A Major. AEAE or Standard. AABB (Brody, Cooke): AAB (Gow). A Scottish tune played on the Shetland Island of Unst as a march; it is a variation of the tune of the same name printed in early Scottish collections. John Stickle played the tune in the key of G; Tom Anderson in A (AEAE). It was the traditionally played to welcome the bride into the ben (best) room after the wedding. The piece appears in James Oswald's collection, but Glen finds it first printed by Robert Bremner in his 1757 collection (pg. 34). Sources for notated versions: Tom Anderson and Aly Bain (Shetland) [Brody]; John Stickle (Unst, Shetland) [Cooke]. Brody (Fiddler's Fakebook), 1983; pg. 57. Carlin (The Gow Collection), 1986; No. 413. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 31, pg. 84. Gow (Complete Repository), Part 3, 1806; pg. 25. Philo 2019, Tom Anderson and Aly Bain- "The Silver Bow." Shanachie 79002, "The Boys of the Lough" (1973). Trailer LER 2086, Boys of the Lough- "First Album."
T:Bride's a Bonnie Thing, The
L:1/8
M:6/8
S:Gow - 3rd Repository
K:A
eAA ecc|fBB Baf|eAA ecc|eAA ecc|fdd ecc|fBB Baf|eAA ecc|eAA Aaf:|
e2d (f/g/a)f|-g2B Bcd|e2e (f/g/a)f|ece ae=g|fdf ece|f2(B Bc)d|e2e (f/g/a)f|
e2A A2c/d/|e2e (f/g/a)f|(=g2B) Bcd|e2e (f/g/a)f|ece ae=g|fdf ece|f2B Bcd|
e2d (f/g/a)f|e2A Aaf||

BRISK YOUNG LAD('S), THE. AKA and see "Brisk Irish Lad," "Mary the Maid," "Bung Your Eye," "The Jolly Old Man," "There Came A Young Man." Irish, English, American; Slide or Jig. USA, New England. G Minor (Raven): A Minor (Cole, Miller & Perron, Tolman). Standard. AABB. Composition credited to one Tom Doyle in Cole's 1001. Cole (1001 Fiddle Tunes), 1940; pg. 74. Kerr (Merry Melodies), Vol. 1; No. or pg. 31. Miller & Perron (Irish Traditional Fiddle Music), 1983; No. 16. Raven (English Country Dance Tunes), 1984; pg. 118. Tolman (Nelson Music Collection), 1969; pg. 1. F&W Records 2, "F&W String Band 2." Fretless 200a, Yankee Ingenuity--"Kitchen Junket."

BRISTOL FAIR. English, Jig. England, Northumberland. G Major. Standard. AABB. The name Bristol (Glouchestershire) is an Anglo-Saxon name, given as Bricgstow in 1063, 'the meeting place by the bridge.' Seattle (William Vickers), 1987, Part 3; No. 524.

BRITISH HERO, THE. English, Scottish; Jig. England, Northumberland. G Major. Standard. AABB. Glen (1891) finds the tune first in print in Neil Stewart's 1761 collection (pg. 30). Seattle (William Vickers), 1987, Part 3; No. 442.

BUCK IN THE WOODS, THE (An Boc sa gCoill). AKA and see "Out all night," "Molly's Favourite." Irish, Double Jig. Ireland, County Sligo. G Major. Standard. ABB (Flaherty): ABC (Breathnach). Breathnach notes that the first part of this tune is the same as "Humours of Ballingarry," but that O'Neill's second turn is different. Sources for notated versions: flutist Sean Ó Braonain/John Brennan (Ireland) [Breathnach]; fiddler Johnny Henry (b. 1922, Cloonlairn, Doocastle, County Sligo, Ireland) [Flaherty]. Breathnach (CRE I), 1963; No. 15, pg. 8. Flaherty (Trip to Sligo), 1990; pg. 145.

BULLY FOR YOU. AKA and see "Oh My Dear Judy," "The Grumbling Rustic," "Domhnall na Greine" (Daniel of the Sun), "From the Court to the Cottage," "Girls of the West," "I gave to my Nelly," "'Tis sweet to think," "Bucky Highlander," "The Bonny Highlander," "The Leg of the Duck," "Thady/Teddy you Gander," "Sonny Dan," "The Bottle of Brandy," "O My Dear Father Pity Your Daughter," "She is the Girl that can do it," "Nelly's Jig," "Petticoat Loose." Irish (originally), American; Jig. D Major (Cole): G Major (Bayard). Standard. AABB. This tune is called by Bayard (1981) "a familiar traditional Irish march piece," known from the latter 18th century and appearing in several 19th century collections. Irish titles include "Domhnall na Greine" (Daniel of the Sun), "Gille na' Drobhair" (a related tune), "Oh My Dear Judy," and "The Grumbling Rustic." In America the melody was known to have been played in the Civil War by the regimental band of the 63rd Regiment P.V. (apparently made up of musicians recruited in the early years of the conflict from southwestern Pennsylvania); the piece was published in an unknown publication at the end of the 1800's and was collected by Bayard's source from a MS. based on it. Source for notated version: Dr. Phil R. Jack (Pa., 1960). Bayard (Dance to the Fiddle), 1981; No. 607, pgs. 536-537. Cole (1001 Fiddle Tunes), 1940; pg. 65.

BUNG YOUR EYE. AKA and see "Bang Your Eye," "Brisk Young Lads," "High Cauld Cap," "The Jolly Old Man," "Mary the Maid." Scottish, Jig. A Minor. Standard. ABB (Sharp): AABB (Gow, Karpeles, Kennedy, Williamson). This melody was published in the "Bodleian MS" (1740) {named for the library in which it resides--the Bodleian Library, Oxford} and is inscribed A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740. Originally set by Young as a country dance (to which he gives directions), Karpeles notes that this tune is also suitable as an accompaniment to Rapper Sword Dance. Glen (1891) reported he found the tune earliest in print in Robert Ross's 1780 collection (pg. 1), and evidently did not know of the Bodleian MS. Samuel Bayard (1981) believes the piece to be a "recognizable version" of a tune family that includes "Lanigan's Ball," "Lumps of Pudding," "Kittly Alone," "Muirland Willie," and "O As I Was Kist Yestreen." Close variants of the "Bung Your Eye" strain of the family are: "Off to the Hunt", "The Antrim Lasses," "Tatter Jack," "The Boys of Carrigallen," "Mount Your Baggage," and "Bonnie Strathmore."
***
The term 'bung your eye' means to 'shut your eye', a meaning taken from the bung or cork used to stopper a hole in a cask, for example. In the song "The Bold Irishman," an early 19th century broadside sheet ballad which relates the perils of an immigrant in a new land, the phrase 'bung your eye' implies a threat to beat the protagonist until his eyes are shut:
***
A blustering bully with a head like a Turk
Says welcome from Ireland, sweet Paddy from Cork
Arrah turn you round Pat, for I've been a kin
For I never yet see a coat buttoned behind
***
A beef headed butcher was then standing by
Cries Paddy you rogue I'll bung up your eye
Such blustering words made my heart ache
For fear of my eyes not a word dare I speak
***
Paddy prevails in the end, turning the tables on the two bullies:
***
The bully that said he'd bung up my eye,
I tipt him a grinder as I passed by,
I let him to know as he lay in his gore,
That an Irishmans coat was buttoned before
***
See also note to "Lanigan's Ball." Gow (Complete Repository), Part 1, 1799; pg. 21. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 26. Kennedy (Fiddler's Tune Book), Vol. 2, 1954; pg. 42 (appears as "Mary the Maid"). Sharp (Country Dance Tunes), 1909/1994; pg. 58. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976, pg. 50.
T:Bung your Eye
L:1/8
M:6/8
S:Gow - 1st Repository
K:A Minor
E|ABA c2d|e(dc) B2A|GAG B2c|dge dBG|ABA c2d|edc Bcd|e2A AB^G|A3 e2:|
|:B|c>de/f/ g2a|gec gec|G>AB/c/ d2e|dge dBG|c>de/f/ g2a|gec de^g|a2A AB^G|A3 e2:|

BUSH ON THE HILL, THE/A [2]. AKA and see "The Lowdown Jig," "McGlinchey's," "The Old West Clare Jig," "Sean Ryan's (Jig)" [3]. Irish, Jig. A Major (Cranford/Stubbert): G Major (Mulvihill). Standard. AABB. "The Lowdown Jig" is a local Kerry name for the tune. Fiddler Brendan McGlinchey has been credited with composing the tune, though apparently McGlinchey himself has said he did not. He thinks, rather, that it may be one of several tunes collected in America by Ciarán Mac Mathúna in the early 1960's (Paul de Grae). Philippe Varlet identifies that Paddy Killoran recorded it on a 78 RPM after WWII and in a concert at the GPO in Dublin in 1949. Sources for notated versions: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Cranford (Brenda Stubbert's), 1994; No. 85, pg. 32. Mulvihill (1st Collection), 1986; No. 27, pg. 70. Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981). Shanachie 79054, Kevin and Liz Carroll - "Fathers and Daughters."

BUTCHER'S MARCH, THE [1] ("Mairseail na mBuisteiri" or "Triall An Bustoir"). AKA and see "Along with the Girls I'd like to be," "The Boys of Clones," "The Bogt of Allen," "Bloody oul' hag is it tay you want?" "The Butcher's Jig," "Ree Raw." Irish, March or Double Jig. Ireland, County Sligo, County Kerry. G Major. Standard. AAB (Stanford/Petrie): AABB (Breathnach, Cole, Flaherty, O'Neill): AABBCCDDEEFF (O'Farrell). O'Neill (1913) records that the tune was associated with a tradition of butchers performing a long dance on "May-Eve." In the city of Limerick in the 18th century the dance, Rinnce Fada, was witnessed by Sylvester O'Halloran, an eminent native historian. In 'modern' times, states O'Neill, the tune in two strains is danced as a double jig, though he points out the setting in O'Farrell's Pocket Companion for the Irish or Union Pipes (Vol. 2, Book 1, c. 1810) has six parts. Breathnach gives that Sliabh Luachra fiddler Denis Murphy called the tune "Along with the Girls I'd like to be." See also "Rub the Bag." Sources for notated versions: accordionist and fiddler John Keane (Co. Kerry, Ireland) [Breathnach]; fiddler Fred Finn (1919-1986, Kiltycreen, Kilavil, Co. Sligo, Ireland) [Flaherty]. Breathnach (CRE II), 1976; No. 27 [1], pg. 16. Breathnach (CRE II), 1976; No. 21 (appears as "Gan ainm/No title"), pg. 13. Cole, 1940; pg. 70. Flaherty (Trip to Sligo), 1990; pg. 84. O'Farrell (c. 1810). O'Neill (Krassen), 1976; pg. 36. O'Neill (1850), 1979; No. 867, pg. 161. O'Neill (1001 Gems), 1907/1986; No. 127, pg. 36. O'Neill (1913), pg. 429 (reprint of O'Farrell's setting).
T:Butcher's March, The [1]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (127)
K:G
g|fAA eAA|~d2B A2g|fAA eAA|~d2B G2g|fAA eAA|fAA efg|faf gfe|~d2B G2:|
|:B/c/|ded BAB|~d2B A2B|ded BAB|~d2B G2B|ded BAB|~d2B A2g|faf gfe|~d2B G2:|

BUTCHER'S MARCH, THE [2] (Mairseail na mBuisteiri). AKA and see "The Bog of Allen," "Brendan Begley's Jig." Irish, Double Jig. G Major/A Dorian? Standard. AABB (Taylor): AABBCCDD (Breathnach). See also the variant appearing in Breatnach's Ceol Rince na hÉireann, vol. II, no. 21 (pg. 13, appears as "Gan ainm"), from County Clare fiddler Bill O'Mally. Source for notated version: fiddler Mrs. Murphy, 1967 (Co. Cork, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 27 [2], pg. 16. Taylor (Music for the Sets: Blue Book), 1995; pg. 10.
T:Butcher's March, The
M:6/8
S:Tom Ennis & James Morrison
Z:Philippe Varlet
K:G Major
~d3 BAB|dBA A2B|~d3 BAB|dBG G2B|
~d3 BAB|dBA A2g|faf gfe|1 dBG G2B:|2 dBG GBd||
|eAA fAA|edB ABd|eAA gfe|dBG GBd|eAA fAA|
edB A2g|faf gfe|1 dBG GBd:|2 dBG G2B||

BUTCHER'S MARCH, THE [4]. Irish, Double Jig. G Major ('A' part) & A Minor or Dorian ('B' part). Standard. AABB. The original tune was a six-part jig published in the 18th century under the same title; see note for version #1. O'Neill and Taylor have the parts reversed from each other. Source for notated version: "From my mother" [Mulvihill]. Breathnach (CRE II); No. 21, pg. 13 ("Gan Ainm" {untitled}). Mulvihill (1st Collection), 1986; No. 5, pg. 65 (appears as "The Butchers Jig"). O'Neill (1001 Gems). Taylor (Crossroads Dance), 1992; No. 51, pg. 38. Piping Pig Records PPPCD 001, Jimmy O'Brien- Moran - "Seán Reid's Favourite" (1996. Learned from piper Tommy Kearney). Shaskeen - "My Love is in America."

BUTLER COUNTY. AKA and see "Perry's Victory." American, Jig. USA, Southwestern Pa. G Major. Standard. AABB. From the alternate title Bayard dates it to the late 18th century, Perry being the American admiral who was victorious against the British on Lake Erie in the Revolutionary War. He suggests the tune bears resemblance to the Irish "Southern Breeze," and is generally similar to "The Men of Garvagh" and "The Black Dance." Source for notated version: a manuscript by fifer Hoge, 1944 (Greene County, Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 565B, pg. 502.

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:||

BUTTERED PEAS(E) [1]. AKA and see "Highland Wedding" [1], "Jack's Be The Daddy On't," "Reel of Stumpie," "No Man's Jig." English; Air, Reel or Country Dance Tune. England, Northumberland. G Major. Standard. AABB. The tune can be found in James Ralph's Fashionable Lady (1730), and subsequently appeared in English ballad operas of the early 1730's such as John Gay's Achilles (1733, whose version of the words appear below), The Boarding School (1732), The Decoy (1733) and The Whim (1734). It became popular enough to have been transported to the Continent in the 18th century, where, for example it could be heard in Italy as "Piselli al Burro." Angus Mackay arranged the tune for the Highland pipes and called it "The Highland Wedding". See Bayard's note for the Pennsylvania collected "The Drunken Sailor," of which this tune forms the second strain. It is arranged as a duet by W.J. Stafford in Hall & Stafford's Charlton Memorial Tune Book.
***
Should the Beast of the noblest race
Act the Brute of the lowest class;
Tell me which do you think most base,
Or the Lion or the Ass?
***
Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 53. Peacock's Tunes, c. 1805/1980; No. 41, pg. 18. Raven (English Country Dane Tunes), 1984; pg. 142. Scott (English Song Book), 1926; pg. 12. Maggie's Music MMCD216, Hesperus - "Early American Roots" (1997).

CAPTAIN COLLINS. AKA and see "Bob Ridley" (Pa.), "The Bell Cow" (Pa.), "Fifer's March" (Pa.), "The Belling Tune" (Pa.), "Montrose's March" (Playford), "Rock and a Wee Pickle Tow, A" (Stokoe), "The Old Woman Tossed Up in a Blanket" (O'Neill), "The Highlander's March" (Oswald), "O'Sullivan Mor's March" (Roche), "The Ribbels (Rebels) March" (Dovey), "The Cowboy's Jig" (Cole), "Blackeyed Biddy" (O'Neill), Untitled "Air" (Joyce, 1909; No. 836). American, Jig. USA, southwestern Pa. G Major. Standard. AB. Bayard (1981) says the tune is in the standard repertory of fifers in southwestern Pa., and one of the older tunes to be found there, having its origins in the 17th century. It can be found in Playford's Musick's Hand-Maid, editions of 1663 and 1678, his Musick's Recreation of 1669 (where it appears as "Montrose's March"), and in Oswald's 1740 collection. Beside's "Montrose's March" other titles for this tune, well and widely known in the British Isles, have been "The Rock and the Wee Pickle Tow" (Northumbria, Scotland) and "The Old Woman Tossed Up in a Blanket" (Ireland, England), which latter title Bayard says is derived from the nursery rhyme beginning:
***
There was an old woman tossed up in a blanket,
Seventy times as high as the moon.
***
One southwestern Pennsylvania title, "The Belling Tune," derived from the custom of well-known local fifer Sam Palmer to play the tune tune for "serenades," or the welcoming home of the newlyweds "with a hellish din of fife-and-drum, bells, gunshots, beaten metal tubs, firecrackers, etc." (Bayard, 1981). Source for notated versions: Bayard collected the tune from nine southwestern Pa. fifers and fiddlers. Bayard (Dance to the Fiddle), 1981; No. 567A-I, pgs. 504-507.

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)||

CARLISLE RACES. English, Country Dance Tune or Jig. G Major. Standard. AABB. The name Carlisle was originally Caer Leul, caer being Welsh for castle while Leul is a contraction of the Latin form of the name of a Celtic deity known by the Irish as Lug, all processed by Norman clerks who knew nothing of the spelling of either (Matthews, 1972). Carlisle, in Cumbria, was a Celtic settlement since prehistoric times. The Romans garrisoned and fortified it and made it the anchor of the western end of Hadrian's Wall, although as their power waned it was sacked by the Picts in 181 and 367, and then by the Danes in 875. At the end of the first millenium it formed part of the kingdom of Strathclyde, but was conqoured by the Normans in 1092. Carlisle Castle was the first place of imprisonment for Mary, Queen of Scots. Royalist Carlisle fell the Scots in 1645 and it was captured again by Bonnie Prince Charlie in the rebellion of 1745. Knowles (A Northern Lass), 1995; pg. 41.

CARRICKFERGUS [1]. AKA and see "Haste to the Wedding." Irish, Jig. Carrick = rock. The melody, well-known under the title "Haste to the Wedding," was printed by Brysson in his A Curious Selection of Favourite Tunes with Variations to which is appended "Fifty Favourite Irish Airs" (Edinburgh, 1790). Two similar versions appear in the Scottish Gillespie Manuscript of 1768--one version is called a "new set," while another is labled an "Irish reel."
T:Carrick Fergues an Irish Reel
S:Gillespie MS, NLS MS.808
N:transcribed by Jack Campin
M:6/8
K:D
B|\
A>FA A>Bd|ede fdB|AFA (B/c/d)F|E>FE E2B|
A>FA ABd|e>de fdB|A>FA (f/g/a)e|fdd d2:|
f|\
dfa afa|bgb afa|dfa agf|efe (Te2f/g/)|
Ta3 Tf3|ede fdB|AFA (f/g/a)e|fdd d2:|
***
T:Carrick Fergues New Set
S:Gillespie MS, NLS MS.808
N:bar 12 is written |e>fe ef2g2| in the MS
N:transcribed by Jack Campin
M:6/8
K:D
B|\
A>FA A>Bd|(Te>de) fdB|AFA (B/c/d)F|E>FE E2B|\
A>FA Agf|Te>de fdB|A2g (f/g/a)f|d>ed d2:|
f/g/|\
afa def|bab efg|aba agf|e>fe efg|\
a3 {g}f3|Te>de fdB|A2g (f/g/a)f|ded d2f/g/|
af/g/a/f/ df/g/a/f/|ag/a/b/g/ ef/g/a/g/|ag/a/b/g/ a/f/g/e/f/g/|
e>fe e2f/g/|a(f/g/a/f/) ge/f/g/e/|fde fdB|A2g (f/g/a)f|d>ed d2|]

CARRY ME BACK TO OLD VIRGINNY. American, Jig. G Major. Standard. ABB. From the Stephen Foster song, arranged for dancing. Ford (Traditional Music in America), 1940; pg. 107.

CASHEL JIG, THE. Irish, Jig. G Major. Standard. AABB. Cashel is an Irish word derived from the Latin castellum, 'little fort', which the Britons had picked up from the Romans and used in Wales in the form of castel. In the late Roman period the Welsh coast was fortified against Irish raiders, who picked up the work in the course of their adventures (Matthews, 1972). Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 18, pg. 68.

CASTLE JIG [2]. Irish, Double Jig. A Dorian. Composed by Tipperary fiddle player Sean Ryan (d. 1985). It is often played in a set with another Ryan composition, "The Nightingale," and together they are called "Sean Ryan's Jigs," though "Sean Ryan's Jig" has also been used as an alternate for both tunes seperately.
T:Castle Jig
L:1/8
M:6/8
C:Sean Ryan
K:Ador
cBA BAG|AGE DB,G,|~A,3 ~E3|DEG A2B|

CASTLES IN THE AIR. AKA and see "Wee Willie Winkie/Winkle." English, Scottish, Irish; Reel, Schottische or Slow Strathspey. A Major (Roche): G Major (Raven): E Flat Major (Hardie). Standard. AB (Hardie, Kennedy): ABB (Roche): AABB (Cole). The tune is associated with the children's rhyme "Wee Willie Winkie/Winkle." James Dickie transformed the song into a slow strathspey, printed in Hardie's Beauties of the North. Source for notated version: James F. Dickie (Scotland) [Hardie]. Cole (1001 Fiddle Tunes), 1940; pg. 81 (mistakenly listed in the 'Jig' section). Hardie (Caledonian Companion), 1986; pg. 44 (strathspey version). Kennedy (Fiddler's Tune Book), Vol. 1, 1951; No. 44, pg. 22. Raven (English Country Dance Tunes), 1984; pg. 176. Roche Collection, 1982; Vol. 3, pg. 47, No. 145. Fretless Records 119, Rodney and Randy Miller--"Castles in the Air."

CAT IN THE CORNER, THE [1] (An Cat Annsa Cuine). AKA and see "Lady Charlotte Murray" [1], "O'Mahoney's Frolicks," "Puss in the Corner." Irish, Double Jig. D Major (O'Neill): D Mixolydian (Mulvihill). Standard. AABB (O'Neill): AABB' (Mulvihill). Mulvihill turns it into a double-tonic melody. The tune was claimed by Niel Gow as "Lady Charlotte Murry" or "Lady Charlotte Murray's Favorite" and first appears in print in his collection. Source for notated version: "From my mother" [Mulvihill]. Mulvihill (1st Collection), 1986; No. 49, pg. 75. O'Neill (Krassen), 1976; pg. 36. O'Neill (1850), 1979; No. 871, pg. 162. O'Neill (1001 Gems), 1986; No. 129, pg. 36. Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - "The Lonesome Touch" (1997).
T:Cat in the Corner, The [1]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (129)
K:D
A/G/|F2D DFA|dAF AFD|EGE CEC|EGE CEG|F2 D DFA|dAF AFD|GBG EFG|AFD D2:|
|:a/g/|f2d dfa|afd dfa|e2c ceg|gec efg|faf edc|dcB AFA|B/c/dB ABG|FDD D2:|

CAT IN THE HOPPER. AKA and see "Lord Doneraille," "Boys in the Gap," "Laird O' Cockpen." American; Jig. USA, New England. G Dorian. Standard. AABB. Philippe Varlet finds the tune on an old recording by the Four Provinces Orchestra of Philadelphia who called it "If Ever I Go to a Wedding," however, despite that fact that this Irish band recorded it the tune has no known Irish antecedents. Source for notated version: Ruthie Dornfeld (Seattle) [Phillips]. Cole (1001 Fiddle Tunes), 1940; pg. 69. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 361. Tolman (Nelson Music Collection), 1969; pg. 3. Flying Fish FF-266, Malcolm Dalglish & Grey Larsen - "Thunderhead" (1982). Rounder 0215, James Bryan - "The First of May." Smithsonian Folkways SFW CD 40126, Rodney Miller - "Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire" (1999). Varrick VR-038, Yankee Ingenuity - "Heatin' Up the Hall" (1989).
T:Cat in the Hopper
M:6/8
L:1/8
Q:120
K:G Dorian
GF|:DGA B2c| AFF F2A|G2G gfe| fdd d2e|fag fed| {e}dcA B2c|1ded B2c| dBG
G2F:|2ded B2c| dBG G2g|
|:gdg gab| aff fga|~g3 gfe| fdd d2e|fag fed| {e}dcA B2c|1ded d2c| dBG G2g:|2
ded d2c| dBG G3|

CATHOLIC BOY(S), THE [1]. AKA and see "Cathaoir an Phíobáire," "The Piper's Chair." Irish, Air ("spirited") or Double Jig. G Mixolydian/Major. Standard. One part (Petrie): AB (O'Neill): AABB (Breathnach, Roche). The melody is better-known today as "The Piper's Chair." Petrie stated the old Irish name for the tune was lost but that this was the name his source, Clare piper Willie Clancy, used. Sources for notated versions: accordionist Sonny Brogan (County Sligo/Dublin, Ireland), who had the tune from Willie Clancy [Breathnach]; O'Neill credits collaborator and fiddler James O'Neill with the version he prints in his Music of Ireland, though it seems nearly identical with the versions appearing in Petrie's 1855 collection (No. 144) and Roche; the Lord Chief Baron of Ireland on January, 15, 1852 [Petrie]. Breathnach (CRE I), 1963; No. 9, pg. 6. O'Neill (1915 ed.), 1987; No. 44, pg. 29. O'Neill (1850), 1979; No. 18, pg. 4. Petrie (Ancient Music of Ireland), No. 144. Roche Collection, 1982; Vol. 3, pg. 28, No. 91. Stanford-Petrie (Complete Collection), 1905; No. 282. Shanachie 79033, Paddy Maloney & Sean Potts - "Tin Whistles."
T:The Catholic Boys
B:O'Neill's Music of Ireland, no. 18
N:almost identical with the Petrie setting
M:6/8
L:1/8
K:G
D|D<GG GFG|D<BB cBC|d<ed cBA|BGE =F2 {GF}D|
DGG GFG|DBB cBc|d>ed cBA|B<GG G2 ||
d/e//f//| gdB gGg|gdc BAG|F<=ff f>ef|A=FA c_BA|
G<gg g=fe|dcd/e/ =fdc|B/c/dB {cd}cAF|A<GG G2||

CATHOLIC BOYS, THE [3]. AKA and see "Billy Patterson," "Boys of Bockhill/Rockhill," "Blackthorn Stick," "The Coachroad to Sligo," "The Eagle's Nest," "Fire on/in the Mountains" (floating title), "Fire in the Valley," "Geese on the Bog" (floating title), "The Hare on the Mountain," "Humours of Bantry," "The Maid on the Green," "The Rose on the Mountain." Irish (originally), American; Jig. USA, southwestern Pa. G Major. Standard. AABB. Bayard (1981) calls it a typical Irish jig, of no great age. Source for notated version: Hiram Horner (elderly fifer from Fayette County, Pa., 1961) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 444, pg. 413.

CATS IN THE VILLAGE. AKA and see "Ninepins." English, Jig. G Major. Standard. ABC. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 47 (appears as "Ninepins"). Raven (English Country Dance Tunes), 1984; pg. 109.
T:Cats in the Village
L:1/8
M:6/8
K:G
B/c/|d2d e2d|B2B d2c|A2A AGA|B3 G2 B/c/|d2d e2d|B2B d2c|A2A AGA|(G3G2)||
g|fed def|g3 d2B|cec BdB|A2A A2g|fed def|g3 efg|aba gfe|ded cBA||e2e g2g|
fef B2B|c2A F2B|G3 E2B|e2e g2g|fef B2B|c2A F2B|(E3 E2)||

CAT'S MEOW, THE. Irish, Jig. D Major. Standard. AABBCC'. Composed by New York musician Joannie Madden (of the group Cherish the Ladies) in the early 1980's. The tune was recorded by Yonkers, New York, uilleann piper Jerry O'Sullivan. Black (Music's the Very Best Thing), 1996; No. 44, pg. 23.
T: The Cat's Meow
C: Joanie Madden
Z: transcribed by B.Black
Q: 300
R: jig
M: 6/8
L: 1/8
K: D
D | FAd fef | afe dBA | BdB BAF | dAF E2 E |
FAd fef | afe dBA | B/2c/2de fdB | AFE D2 :|
e | fdB AFA | DFA d2 e | gef ged | ced cBA |
fdB AFA | DFA d2 e | gec age | edc d2 :|
d | FAd fef | agf agf | Ace g2 g | gfe gfe |
fef gfg | aga bag |1 faa gec | edc d2 :|
2 fdB gec | dAF D2 ||

CATTLE IN THE CROPS. Canadian, New England; Double Jig. D Major. Standard. AABB. Composed by Jim Magill. Source for notated version: Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 30, pg. 43. Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 6. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 29. Fretless Records 119, Rodney and Randy Miller--"Castles in the Air".
T:Cattle in the Crops
L:1/8
M:6/8
K:D
AF[DA] fed|({B/c/}B)GB g2B|AFA fed|BcB B2B|AFA fed|BGB g2g|f/g/af gec|ded d3:|
|:a2a afd|gab ({b/}a2)g|fga agf|gfg efg|aba afd|gab a2g|f/g/af gec|ded [D3d3]:|

CABER FEIDH (Deer's Antlers). AKA - "Caber/Caper Fey/Fei/Feigh," "Caberfei," "The Cameronian Rant," "The Copperplate," "The Deer's Horn," "Jack Smith's Favorite," "Rakish Paddy." Scottish, Canadian, Shetland; March, Reel and Country Dance. Canada, Cape Breton. C Major (most versions): D Major (Jean Carignan). Standard. AB (most versions): AABB (Begin). A particularly popular reel that has long been a mainstay of Scottish tradition and has been subsumed into the Irish. The earliest record of the tune is in Scottish musician David Young's MS. of 1734, called the Drummond Castle MS (because it was in the possession of the Earl of Ancaster at Drummond Castle) or The Duke of Perth MS, where it is set with variations. The MS is inscribed 'A Collection of the best Highland Reels written by David Young, W.M. & Accomptant." The melody also appears in Young's Bodlein MS (1740, named for the Bodlein Library, Oxford, where it is kept), the McLean Collection (published by James Johnson in Edinburgh in 1772), and in the McFarland MS of 1740 (where it is credited to David Young). In Robert Bremner's 2nd Collection (1768) it is printed in four parts in the key of C (with both f sharp and f natural accidentals). Cooke prints the following words to the tune, collected in the Shetland islands:
***
Mary made away being good luck wi' Teddie
All grown doss (toss?) makin me a dock an piddie.
***
The piece is often played in Scotland as a medley with "The Bob of Fettercairn," and is the tune for the famous Highland Dance called the "Caber Feidh," in which the dancers symbolically simulate the shape of deer's antlers with arms and fingers. From time immemorial a march version has been the clan march and insignia of the MacKenzie clan, "and in the eighteenth and nineteenth centuries it was the official march used to signal the charge of Highland troops" (Cowdery). Pipers generally consider the strathspey, reel and even jig versions of the tune to be relatively recent adaptations; in point of fact, the strathspey version is by Pipe Major W. Ross (a member of the Scots Guards from 1896 to 1918) while the jig is by a modern musician, D. Johnstone. Cape Breton fiddler and editor Paul Stwart Cranford (1995), however, suspects that Bremner's 1768 variations may have been a strathspey setting due to his particular grouping of sixteeth notes.
***
With adaptations made necessary (according to Paul Stewart Cranford) by the scale available to 19th century Irish pipes, the tune also entered into Irish tradition. Despite its Scottish origins, it is a member of the tune family Cowdery (1990) classifies under the Irish reel "Rakish Paddy." See also "Rakish Paddy," "Padraig Reice," "Glastertown's Downfall," "The Castle Street Reel," "Copperplate," "Sporting Pat," "Cameronian Rant." Jean Carignan, taxi driver and famous Canadian fiddler from Montreal Canada, played the tune in the relatively rare (for this tune) key of D Major. Source for notated version: Mike MacDougal (Ingonish, Cape Breton, 1928-1982) via Jerry Holland (Invernesss, Cape Breton) [Cranford]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 25, pg. 38. Cranford (Jerry Holland's), 1995; No. 20, pg. 6. Cranford (Fitzgerald), 1997; No. 117, pg. 48. Hunter (Fiddle Music of Scotland), 1988; No. 186. Kerr (Merry Melodies), Vol. 1; Set 23, No. 4, pg. 14. MacDonald (The Skye Collection), 1887; pg. 117. Sannella, Balance and Swing (CDSS). Stewart-Robertson (The Athole Collection), 1884; pg. 60. Tolman (Nelson Music Collection), 1969; pg. 10. Breton Books and Records BOC 1HO, Winston "Scotty" Fitzgerald - "Classic Cuts" (reissue of Celtic Records CX 40).
T:Cabar Féidh
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C Major
G|~c2ed ~c2GB|~c2GF ECCE|Ddd^c d2Ac|d2AG FDDB|
~c2ed ~c2GB|cGAF ECCE|DEFG ABcA|d2 AG FDD||
f|ecgc acgc|ecgc ecce|fdad bdad|fgag fddf|ecgc acgc|GAcd eccg|
afge fdf^c|d2AG FDD||

CAFFLER'S COURTSHIP, THE (Suirige an Áilteora). Irish, Double Jig. G. Standard. AABB. See also related tunes "Boys of Thomastown" (Buachaillí Bhaile Mhic Anndáin), "Away to the Bogs," and "Carraig an tSoip." Breathnach (1963) complained Roche got the ending of this tune wrong. Roche Collection, 1982; Vol. 3, pg, 27, No. 90.

CAILÍN NA GRUAIGE BUÍ (The Girl with the Yellow Hair). AKA and see "My Love with the yellow locks." Irish, Slip Jig. E Minor/G Major. Standard. AABB. The tune was untitled from Limerick fiddler McEnery, although Breathnach found it under this title in a manuscript from the area (which also gave the name as "My Love with the Yellow Locks"). Source for notated version: James McEnery, 1965 (Castlemahon, Co. Limerick, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 94, pg. 51.

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||

CAMPBELLS ARE COMING, THE [1]. AKA and see "The Burnt Old Man," "Campbell's Frolic," "Hob or/A Nob," "I was at a Wedding in Inverara Town," "O Tommy Come Tickle Me" (Pa.), "The Old Man," "An Seanduine." Scottish (originally), American; Jig, March and Air (6/8 time). USA; Arkansas, New York, southwestern Pa. G Major (Ford, Gow, Harding, Kerr, Mitchell, Sweet): F Major (Emmerson). Standard. One part (Ford): AB (Emmerson): AA'B (Gow, Mitchell): ABB (Harding): AABB (Kerr, Sweet). The melody is punctated like a Scotch Measure in jig time--tunes like this are classified by Oswald and others as "Scotch Jigs." Grattan-Flood, typically and without much evidence, claims the tune is Irish. Another claim is that the tune was composed for a song on or about the period of Mary Queen of Scots' imprisonment in Loch Leven Castle. "The Campbells are Coming" was known as a Whig tune and as such was played by the vanguard of the loyalist Scottish troops, many Clan Campbell, as they marched in opposition to the ill-fated Jacobite rebels of 1715 led by the Earl of Mar (knicknamed 'Bobbing John') [Winstock, 1970]. The Robert Wodrow Correspondence records that in 1716 each of three companies of Argyle's Highlanders entered Perth and Dundee led by a piper playing "The Campbells are Coming," "Wilt thou play me fiar play, Highland Laddie," and "Stay and take the breiks with thee."{see also notes for those tunes}. James J. Fuld in The Book of World Famous Music (1966) notes the tune was mentioned in a letter (probably the one by the aforementioned Wodrow) dated 1716, although it was not printed until 1745 when it appeared in a Scottish collection. Despite mention of the existance of a melody by that name early in the 18th century, Glen (1891) finds the first printed version of the melody not to have been until Robert Bremner's 1757 collection Scots Reels (pg. 83), although it also is said to appear in James Oswald's Caledonian Pocket Companion (c. 1750). Another printing with the "Campbell" title appears somewhat later in the 1768 Gillespie Manuscript from Perth. Further to the south in Britain, the title was included in Henry Robson's list of popular Northumbrian songs and tunes, which he published c. 1800.
**
The melody is to be found as a country dance called "Hob or Nob" in collections earlier than Bremner. It can be found, for example, in Walsh's Caledonian County Dances (4th book) of c. 1745, in Johnson's Collection of 200 Favourite Country Dances (1748), and other contemporary dance books.
**
"The Campbells are Coming" was transplanted to American country dance tradition and appears in repertories of dance fiddlers in New York and Pennsylvania (Harry Daddario, Union County, Pa.). Musicologist/folklorist Vance Randolph recorded the tune for the Library of Congress from Ozark Mountain fiddlers in the early 1940's. Samuel Bayard (1981) also collected the tune from Pennsylvania fiddlers. He notes that the cadences of the 'A' parts are different in modern versions from those in the 18th and 19th century where the tune ended on the major third. He sees the American versions, which end on the tonic, as a "rebellion" against the 'circular' or 'endless' tunes from the British Isles. The cognates of the tune family that "The Campbells Are Coming" belongs to include "The Baldooser," "The Burnt Old Man" and "The Field of Hay," but more importantly Bayard speculates that the popular dance tunes "Miss McLeod's Reel" and "The White Cockade" also derive from the same source. Other writers have also noted the connection with "Miss McLeod's Reel;" Breathnach (1977) and O'Neill (in his introduction to The Dance Music of Ireland) both point out that "The Campbells Are Coming" is the same air as "Miss McLeod" only played in jig time. The Pennsylvania version, altered in the 'B' part, takes its alternate title from the ditty sung to it:
**
O Tommy come tickle me, I'll tell you where;
Just under my navel there's a big bunch of hair. (Bayard).
**
Sources for notated versions: Floyd Woodhull, 1976 (New York State) [Bronner]; Amasiah Thomas (Jefferson County, Pa., 1952) [Bayard]; Irvin Yaugher (Fayette County, Pa., 1946) [Bayard]; Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Bayard (Dance to the Fiddle), 1981; No. 539A-C, pgs. 478-480. Bronner (Old Time Music Makers of New York State), 1987; No. 15, pg. 78. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 81, pg. 160. Ford (Traditional Music in America), 1940; pg. 110. Gow (Complete Repository), Part 1, 1799; pg. 15. Harding's All Round Collection, 1905; No. 189, pg. 60. Jarman (Old Time Fiddlin' Tunes), No. or pg. 17. Johnson (Scots Musical Museum), 1790; No. 299. Kerr (Merry Melodies), Vol. 1; No. 16, pg. 32. Mitchell (Willie Clancy), 1993; No. 90, pg. 80. O'Malley and Atwood (Seventy Good Dances), pg. 11. Sweet (Fifer's Delight), 1964/1981; pg. 18. Tyson (Twenty-Five Old Fashioned Dance Tunes), No. 10. Gennett 6121 (78 RPM), Uncle Steve Hubbard and His Boys, c. 1928. Victor 20537 (78 RPM), Mellie Dunham (appears as last tune of the improbably named "Medley of Reels").

CANNY HOBBIE ELLIOT. English, Slip Jig. England, Northumberland. G Major. Standard. AABB. Verision in Stokoe identical to Vickers'; Seattle says "it is fairly certain that Stokoe used Vickers' MS as one of his sources" (Seattle). "A copy of this tune will be found in Oswald's Caledonian Pocket Companion, 1759; and the late Mr. Thomas Doubleday, in writing of it says: 'There is in Oswald what I should call an authentic and genuine set of this tune ( I forget under what name), and has at its tail more variations that a kite has wisps of hay. It speaks for itself, and as there were Elliott's on both sides of the Border, I don't see the Scotch have any exclusive right to it; besides, the tune being compound triple is in our favour'. In Bell's Rhymes of the Northern Bards, 1812, appears the following short song:--
**
O, canny Hobbie Elliot,
O, canny Hobbie still,
O, canny Hobbie Elliot,
Who lives at Harlow Hill.
Had Hobbie acted right,
As he has seldom done,
He would have kissed his wife,
And let the maid alone. (Stokoe).
**
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 29. Seattle (William Vickers), 1987, Part 3; No. 444.
T:Cannie Hobbie Elliot
L:1/8
M:9/8
S:Bruce & Stokoe - Northumbrian Minstrelsy
K:G
c|B2d c2B ABc|B2d e2f g3|B2d c2B ABc|BAB cGE D2:|
|:c|dB/c/d/B/ dB/c/d/B/ ABc|dB/c/d/B/ dB/c/d/B/ g2e|
dB/c/d/B/ dB/c/d/B/ ABc|BAB cGE D2:|

CANTY OLD MAN, THE. Scottish, Jig. G Major. Standard. AABBCC. 'Canty' means jolly or happy in Scottish dialect. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 204, pg. 79. Kerr (Merry Melodies), Vol. 1; No. 31, pg. 33. Welling (Welling's Hartford Tune Book), 1976; pg. 18.

CAPE BRETON FAVORITE. Canadian, Jig. Canada, Cape Breton. G Major. Standard. AABB. The tune was recorded in the 1960's by Cape Breton fiddler Johnny Wilmot paired with "The Leg of a Duck." Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert's), 1994; No. 130, pg. 45. "Johnny Wilmot: Another Side of Cape Breton." Gael-Linn Records, Maire O'Keeffe - "House Party (An Coisir)."

CAPE NORTH JIG. Canadian, Jig. Canada, Cape Breton. G Dorian (Dunlay & Greenberg/Fitzgerald): A Dorian (Dougie MacDonald). Standard. AA'BB'. Dunlay & Greenberg (1996) believe this tune to be derived from "The Haughs of Cromdale Strathspey" and suggest it was perhaps "another example of Fitzgerald's genius at adapting tunes." Source for notated version: Winston Fitzgerald (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 119. ACC-49195, Dougie MacDonald - "Staying in Tune." Celtic CX 40, Winston Fitzgerald - "Its New." Celtic CX 51, Winston Fitzgerald - "This is Sydney" (2nd in "Medley of Cape North Jigs").

CEANNABHÁIN BHÁNA, NA (The Little Fair Cannavans). Irish, Air or Slip Jig. D Major. Standard. AABB. The melody was lilted as an infant-dawdling song, with appropriate lyrics, and was collected in Connemara from Colm Ó Caoidheáin by Séamus Ennis in the 1940's. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 41. Comhaltas Records, Tommy Keane (1983. Learned from Seamus Ennis). CCF 30, Liam O'Flynn, Sean Keane & Matt Molloy - "The Fire Aflame." Piping Pig Records PPPCD001, Jimmy O'Brien- Moran - "Seán Reid's Favourite" (1996).
T:Na Ceannabháin Bhána
L:1/8
M:9/8
R:Slip Jig
Z:Transcribed by Karen Lowe
K:G
BGG AGE GED|EGD DEG A2c|BGG AGE GED|EGD DEF G2c:|
Bdd edd BAG|Bdd edB A2c|Bdd edd BAG|GED DEF G3:|

CEASE NOT TO ROW BRAVE BOYS (Fhearaibh mo rùin na diultaibh iomairt). Scottish, Jig. C Major. Standard. AAB. This tune "was acquired from Dr. Morison, formerly mentioned as a native of Lews; the words describe a boat or vessel in imminent hazzard, and the hands overpowered with fatigue, whilst one of the number strikes up this ditty to cheer them up, and keep time,-- alluding to the knowledge and skill of their steersman, and the power of Providence to send them instant relief,-- the sure way to obtain which, was by every man performing his duty" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 197, pg. 82.
T:Cease not to row, brave Boys
T:Fhearaibh mo rùin na diultaibh iomairt
L:1/8
M:6/8
S:Fraser Collection
K:C
C|CEE E2G|(EG)F EDC|(CE)E E2c|B>A^G A2c|(CE)E E2G|E(GF) EDC|
CEE Ece|dcB A2c:|
c>eg ceg|(c/B/c/d/)e/f/ gec|cec' (a/g/)f/e/d/c/|deg ~a2 c'|
c>eg ceg|(c/B/c/d/e/f/) gec|(f/e/)d/c/B/A/ GF/E/D/C/|DEG A2e|c>eg ceg|
(c/B/c/d/e/f/) gec|cec' (a/g/)f/e/d/c/|deg ~a2c'|ceg (e<c)e|(d<B)d c>de|
(CE)E (EA)c|B>A^G A2c||

CHALK SUNDAY. AKA and see "Johnny Dennehy's," "Pretty Jane," "Tom Billy's (Jig)" [3], "The White Pony." Irish, Jig and Air. G Major. Standard. AABB. "From Davy Condon, thatcher, of Ballyorgan, 1844. Chalk Sunday was the Sunday after Shrove Tuesday, when those young men who should have been married, but were not, were marked with a heavy streak of chalk on the back of the 'Sunday coat,' by boys who carried bits of cholk in their pockets for that purpose, and lay in wait for the bachelors. The marking was done while the congregation were assembling for Mass: and the young fellow ran for his life, always laughing, and often singing the concluding words of some suitable doggeral such as:--"And you are not married though Lent has come!" This custom prevailed in some parts of Limerick, where I saw it in full play: but I think it has died out" (Joyce). The tune corresponds to the first two parts of "The Dublin Jig" (Bayard, 1981; No. 517, pg. 466). The melody appears as one of "The Farranfore Jigs" by the group Shegui (with John Skelton) on their album "Around the World for Sport" (1980), whose source was given as Sliabh Luachra fiddlers Tom Billy (Murphy) and Jack Dennehy (sic) {Dennehy's home was Farranfore, County Kerry}. O'Neill calls the tune "Pretty Jane" and it appears in Levey's (1973) second collection under the title "The White Pony." See also "Johnny Dennehy's." Joyce (Old Irish Folk Music and Songs), 1909; No. 19, pgs. 12-13.
T:Chalk Sunday
L:1/8
M:6/8
S:Joyce - Old Irish Folk Music
K:G
B/A/|G>AG B>AB|GBd g2e|dBG AGE|A>BA A2 B/A/|G>AG BAB|GBd g2 e|
dBG AGE|G2G G2:|
|:(3d/e/f/|g>ag fed|ede/f/ g2 f/e/|dBG cBc|ABd e2 (3d/e/f/|gag fed|
ede/f/ g2e|dBG AGE|G2G G2:|

CHAMPION [2]. English, American; Jig. USA; Pennsylvania, New England. E Minor ('A' part) & G Major ('B' part) {Raven}: A Minor ('A' part) & C Major ('B' part) {Reiner & Anick}: F Major ('A' part) & D Minor ('B' part). Standard. AABB. The 'A' and 'B' parts are reversed in Stacy Phillips' collection. A variant of this tune is Adam's "Big Chief." Source for notated version: Jehile Kirchuff {1908-1981} (Susquahanna County, Pennsylvania) [Reiner & Anick]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 362. Raven (English Country Dance Tunes), 1984; pg. 122. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 51 (includes harmony part). Sannella, Balance and Swing (CDSS).

CHATSWORTH HOUSE. English, Jig. G Major. Standard. ABC. The melody was originally published in Thompson's Collection of 200 Favourite Country Dances. Chatsworth, Derbyshire, is an Anglo-Saxon name meaning 'Ceatt's farm.' Chatsworth Castle is in Derbyshire and is the home of the dukes of Devonshire near Blakewell in the Peak District. The original mansion was started in 1549 by Sir William Cavendish at the urging of his wife Bess of Hardwick. The present house was constructed between 1687 and 1707. Knowles (A Northern Lass), 1995; pg. 1.

CHEARC AR FAD IS AN tANRAIGH, AN (The Whole Chicken in the Soup). AKA and see "Charming Lovely Nancy," "Nancy Wants Her Own," "I Know Well What Nancy Wants." Single Jig (12/8 time). G Major. Standard. AAB. Denis Murphy's title was "Charming Lovely Nancy" from the song set to the tune, which begins:
**
"I am a maiden going for milk,"
Says Nancy, says Nancy;
"I am a maiden going for milk,"
Says charming lovely Nancy.
"And what would ou do if I followed you?"
Says Jimmy, says Jimmy,
"What would you do if I followed you?"
Says lazy lingering Jimmy.
**
In Tipperary the tune is known as "Nancy wants her own," according to Breathnach (1976), who says it is also related to "I know what Nancy wants," printed in Breathnach's Folk Dances and Music of Ireland. Source for notated version: fiddler Denis Murphy, 1967 (Gneeveguilla, Co. Kerry, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 63, pg. 36.

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:|

CHORUS JIG [1]. AKA - "The Chorus Reel." AKA and see "The Glen Road to Carrick." British Isles, American; Reel. USA, New England. D Major & G Major (Brody, Burchenal, Miller & Perron/1983): G Major {Miller & Perron}: D Major ('A' & 'C' parts) & G Major ('B' part/Phillips: 'B' and 'D' parts/Sweet}. Standard. One part (Burchenal): ABCC or ABAC (ending on the A or B part)[Brody]: AABC (Miller & Perron/1977): ABCD (Sweet): AABCCB (Kaufman): AA'BCC'B (Phillips): AABCCD (Miller & Perron/1983): AABCC'DD (O'Neill). "The 'Chorus Jig' has always been a favorite with pipers. It is an Irish melody whose author and date are unknown. Jigs were originally tunes sung after a play by the clowns. During the 17th century everyone sang them, and the dances were performed by persons of all ranks. They are generally thought of as Irish, but jigs were common in England and Scotland. The word 'jig' applied to a form of thyme and is of uncertain derivation" (Linscott). It is the tune for a country dance of the same name in New England, and although the tune is Irish, the dance figures seem English according to experts. It seems to have been common in dance and tune books by the 1850's, and can be found in an 1822 American collection called The Musical Cabinet (Charlestown, Mass.) and, earlier, in skeletal form in a 1793 manuscript of George Otis (Tony Parkes & Steve Woodruff). Perlman (1996) suggests the contra-dance reel called "Chorus Jig" originated from the jig form of the tune (see "Chrorus Jig" [3]). It was one of the tunes appearing in a repertoire list (and recorded by) of Maine fiddler Mellie Dunham, who was Henry Ford's champion fiddler in the late 1920's. The tune was known as one of the three Doon reels learned from fiddler Cal Callaghan, of Doon, Kerry, popular with Sliabh Luachra musicians. See also "The Doon Reel" [3] and "Gleann Eoghain." Sources for notated versions: Edson H. Cole (Freedom, N.H.) [Linscott]; Alan Block (N.H.) [Phillips]. Brody (Fiddler's Fakebook), 19d83; pg. 68. Burchenal (American Country Dances, Vol. 1), 1917; pg. 25. Kaufman (Beginning Old Time Fiddle), 1977; pgs. 78-79. Linscott (Folk Songs of Old New England), 1939; pg. 72. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol.1, No. 53 (appears as "Chorus Reel"). Miller & Perron (New England Fiddlers Repertoire), 1983; No. 96. O'Neill (1001 Gems), 1986; No. 500, pg. 95 (appears as "Chorus Reel"). Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 51. Sweet (Fifer's Delight), 1964/1981; pg. 43. Alcazar Dance Series FR 203, "New England Chestnuts" (1980). F&W Records 3, "Canterbury Dance Orchestra." Green Linnet SIF-104, Jerry O'Sullivan - "The Celts Rise Again" (1990). Green Linnet SIF-1074, Jerry O'Sullivan - "The Invasion" (1987). June Appal 003, John McCutcheon - "How Can I Keep From Singing" (1975). Meadowlands Records MS1, "Allan Block and Ralph Lee Smith." North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993). Rounder CD7018, Frank Ferrel - "Boston Fiddle: The Dudley Street Tradition." Topic Records, Julia Clifford with Con Curtin and Denis McMahon - "Paddy in the Smoke." Transatlantic 337, Dave Swarbarick- "Swarbrick 2." "Trapezoid." Victor 40121 (78 RPM), Mellie Dunham, 1926.
T:Chorus Jig [1]
L:1/8
M:C|
K:D
AG|F2DF AB AG|FA DF A2d2|D3F AB AF|GF EF G2:|\
K:G
||Bc|dB cA BG FG|Ad ^cd A2b=c|dB cA BG FG|Ac BA G2Bc|
dB cA BG FG|AB cd ef ge|dB cA BG FG|Ac BA G2||\
K:D
|:ag|fd dd fd dd|fd fg ab ag|fd dd fd dd|=cd ef g2:|\
K:G
||Bc|dB cA BG FG|Ad ^cd A2 B=c|dB cA BG FG|Ac BA G2Bc|
d2 (3cdc BG FG|AB cd ef ge|dB cA BG FG|Ac BA G2|]

CHORUS JIG [3]. Irish, Scottish, Canadian; Jig or Strathspey (in 6/8 time - this is another rhythmic variant illustrating the intentional and unintentional variation of folk melodies between triple and duple time). Canada; Cape Breton, Prince Edward Island. D Mixolydian (Gow, Cranford, Kerr, MacDonald): D Mixolydian/Major (Perlman). Standard. AABBCC (Kerr): AABBCCDD (Gow, Skye): AA'BB'CC'DD' (Cranford, Perlman). Gow and Kerr list the tune as "Irish" and McGlashan says it is an "Irish country dance." Perlman (1996) suggests the contra-dance reel called "Chorus Jig" originated from this jig. Source for notated version: Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Carlin (The Gow Collection), 1986; No. 520. Cranford (Winston Fitzgerald), 1997; No. 191, pg. 75. Gow (Complete Repository), Part 2, 1802; pg. 35. Kerr (Merry Melodies), Vol. 4; No. 190, pg. 22. MacDonald (The Skye Collection), 1887; pg. 58. McGlashan (Collection of Scots Measures), c. 1780; pg. 30. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 133.
T:Chorus Jig, The
L:1/8
M:6/8
N:"An Irish Country Dance."
B:McGlashan - Collection of Scots Measures
K:D
B|A2D DED|A2G FED|A2D DED|A3 BAG|A2D DED|A2G FED|
E2=c cBc|G3 GFE:|
|:F2(d d)cd|F2(A A)GA|A3 BAG|F2(d d)cd|F2(A A)GF|E2=c cBc|1
G3 GFE:|2 G3 efg||
|:f2(d d)fd|afd efg|f2(d d)fd|a3 bag|f2(d d)fd|afd dfd|e2(=c c)ef|1 g3 gfe:|2
g3 ABc||
|:dBd cAc|BGB AGF|E2d dcd|A3 ABc|dBd cAc|BGB AGF|E2=c cBc|
(G3 G)FE:|

CHORUS JIG [6] (Damhsa Loineach). Irish, Reel (2/4 time). G Major. Standard. AABBCCB'B'. The melody is dissimilar to other tunes with this title and O'Neill (1910) says it is a version of the "Rocks of Cashel." Although the tune is labled a reel it converts easily into a 6/8 form with only a slight rhythmic alteration (as O'Sullivan {1983} says, "if the rhythm is 'swung' slightly the meter changes to 12/8 time and the piece takes on the movement of a single jig"). Source for notated version: the Irish collector Edward Bunting noted the tune from "Macdonnell, the piper in 1797." O'Sullivan/Bunting, 1983; No. 103, pgs. 149-150.

CHRISTMAS DAY IN THE MORNING [2]. English, Jig and Air. England, Northumberland. C Major (Vickers): G Major (Bruce & Stokoe). Standard. AB (Bruce & Stokoe): AABB (Vickers). Originally "Christenmiss Day In the Morning."
***
Dame get up and bake your pies,
Bake your pies, bake your pies;
Dame get up and bake your pies,
On Christmas Day in the morning. (Bruce & Stokoe)
***
Choicest Scots Tunes/Bagpipe, pg. 12. Seattle (William Vickers), 1987, Part 2; No. 266. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 111.
T:Christmas Day in the Mornin
L:1/8
M:6/8
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:G
G2G G2e|d2c B3|A>Bc B2G|A>Bc B3|G2G G2e|d2c B2d|
edc BAG|A3 G2||d|B>AB G2d|B>AB G2B|c>Bc A2B|
c>Bc A2c|B>AB G2d|B>AB G2d|edc BAG|A3 G2||

CLARE JIG, THE [2]. AKA and see "Old Kilfenora." Irish, Jig. G Major. Standard. AABB. Source for notated version: set dance music recorded at Na Píobairí Uilleann in the late 1980's [Taylor]. Taylor (Music for the Sets: Blue Book), 1995; pg. 1.

CLIFFS OF MOHER, THE (Aillte Motair Ua Ruadain). Irish, Double Jig. A Dorian (Carlin, Cranitch, Moylan, O'Neill/Krassen): G Major (O'Neill/1850). Standard. AAB (Carlin, Moylan, O'Neill/1850 & 1001): AABB' (Cranitch, Mallinson, O'Neill). The Cliffs of Moher are situated on the Atlantic coast northwest of Lahinch, in County Clare. They stretch some eight kilometers from Hag's Head to O'Brien's Tower and reach 200 meters in height. Although the tune is noted in G Major in O'Neill's/1850, it is usually heard played in the A Dorian mode, and indeed, O'Neill's version is quite distanced from modern ones. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; Francis 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: "1/4the '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]. Carlin (Master Collection), 1984; pg. 148, No. 258. Cranitch (Irish Fiddle Book), 1996; pg. 117. Mallinson (Essential), 1995; No. 100, pg. 43. Moylan (Johnny O'Leary), 1994; No. 276, pg. 158. O'Neill (Krassen), 1976; pg. 35. O'Neill (1850), 1979; No. 861, pg. 160. O'Neill (1001 Gems), 1986; No. 121, pg. 35. Green Linnett GLCD 1155, Martin Hayes - "Under the Moon" (1995). Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978). Green Linnet SIF 3037, Silly Wizard - "Golden, Golden" (1985). Leader LEACD 2004, "Martin Byrnes" (1969).
T:Cliffs of Moher, The
M:6/8
L:1/8
K: Ador
eaa bag|eaf ged|c2A BAG|EFG ABd|eaa bag|\
eaf ged|c2A BAG|EFG A3::efe dBA|efe dBA|\
GAB dBA|GAB dBd|1efe dBA|efe dBA|GAB dBG|\
EFG A3:|2efe dee|cee Bee|EFG BAG|EDB, A,3|]

CLOSE TO THE FLOOR. AKA and see "Father Tom's Wager," "The Frog in the Well." Irish, Jig. G Major. Standard. AABB. Composition credited to one J. Hand by Cole. Cole (1001 Fiddle Tunes), 1940; pg. 57. Rounder CD7018, Frank Ferrel - "Boston Fiddle: The Dudley Street Tradition."

COACH ROAD TO SLIGO, THE [1] (Bóthar an Chóiste go Sligeach). AKA and see "Billy Patterson," "The Blackthorn Stick," "The Boys of Bockhill/Rockhill," "The Catholic Boys," "The Eagle's Nest," "Fire in/on the Mountain," "Fire in the Valley," "The Hare on the Mountain," "Humors of Bantry," "The Maid on the Green," "The Rose on the Mountain." Irish, Jig. G Major. Standard. AA'B (Breathnach): AABB (Mulvihill): AABB' (DeMarco & Krassen, O'Neill). Breathnach identifies that Goodman and Joyce print the tune under the title "Boys of Rockhill," which is one of O'Neill's titles, although it also appears in O'Neill as "Humours of Bantry" and "Billy Patterson." Bayard (1981) gives it as "The Catholic Boys." The 'A' part shows up as the second part of "Welcome Home, Royal Charlie" in County Donegal versions. Breathnach also finds it in manuscripts from Castleisland, County Kerry, and County Limerick as "Fire on the Mountain" and "Fire in the Valley," respectively. Source for notated versions: Sligo style fiddler Paddy Killoran (County Sligo, Ireland) [Breathnach, DeMarco & Krassen]. Breathnach (CRE III), 1985; No. 5, pg. 4. DeMarco & Krassen (A Trip to Sligo), 1978; pg. 28,42,56. Mulvihill (1st Collection), 1986; No. 42, pg. 73. O'Neill (Krassen), 1976; pg. 71. Shanachie 33003, "Paddy Killoran's Back in Town" (1977).
T:Coach Road to Sligo, The
R:Jig
M:6/8
K:G
~g3 ege|dBG AGE|DGG FGA|BGB A2e|gfg age|dBG AGE|DGG FGA|BGG G2d:|
|:edd gdd|edd gdd|ede ~g3|edB A2e|gfg age|dBG AGE|DGG FGA|BGG G2d:|

COCK OF THE EAST AND WEST. Canadian, Jig. Canada, Prince Edward's Island. G Major. Standard. AAB. Bayard (1981) collected these lyrics with the tune:
***
Cock of the East and West
And cock of the North and South,
And if you don't get out of me way,
I'll put me cock in your mouth.
***
Bayard says: "After reciting these lines, the player seemed to have some compunctions, for he promptly remarked 'I'm afraid you fellers has formed the idea that I'm drastic!' ('Drastic' was the word he habitually used to characterise anything lewd or outrageous)." Source for notated version: Simmons (Prince Edward Island, 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; Appendix No. 43, pg. 590.

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).

COLEMAN'S (JIG) [3]. AKA and see "Buttermilk Mary." Irish, Jig. D Major. Standard. AABB. The melody was recorded in the early 1920's in America by the Flanagan Brothers. Gael-Linn CEF176, Jackie Daly - "Many's a Wild Night" (learned from manuscripts of tunes written down by Pádraig O'Keeffe for his pupil, Paddy O'Connell of Cordal, Castleisland).
T:Coleman's
T:Buttermilk Mary
D:Jackie Daly, "Many's a Wild Night", track 9(a)
M:6/8
L:1/8
R:jig
Z:transcribed by Paul de Grae
K:D
e | "Bm" fdB BAF | "D" def afd | "G" gbg "D" fag | "Em" fed "A" ede |
"Bm" fdB BAF | "D" def afd | "G" gbg "D" fag | "A" fdc "D" d2 :||: B |
"D" Add "G" dcB | "D" AFD DFA | "Em" Bee e2 d | "A" cAA ABc |
"Bm" dfd "A" cec | "G" B/c/dB "D" ABc | "G" dAF "A" EDE | "D" FDD D2 :||
**
Bm / | D / | G D | Em A | Bm / | D / | G D | A D :||
D G (optional) | D / | Em / | A / | Bm (or D) A | G D | G A | D / :||

COLERAINE. Irish, Double Jig. A Minor (Brody, Kerr, Miller & Perron, Reiner, Spandaro, Sweet, Tolman): B Minor (Sullivan). Standard. AABB. Coleraine is a town in northern Ireland. The tune has long been a staple of New England contra dances. Source for notated version: Fennigs All Stars (New York) [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 70-71. Jarman (Old Time Fiddlin' Tunes), No. or pg. 19. Kerr (Merry Melodies), Vol. 4; No. 234, pg. 26. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 15. Reiner, 1977; pg. 48. Sannella, Balance and Swing (CDSS). Spandaro (10 Cents a Dance), 1980; pg. 45. Sullivan (Session Tunes), Vol. 2; No. 25, pg. 10. Sweet (Fifer's Delight), 1964/1981; pg. 29. Tolman (Nelson Music Collection), 1969; pg. 5. F&W Records 3, "Canterbury Country Dance Orchestra." Front Hall 01, Fennigs All Stars- "The Hammered Dulcimer." Revonah RS-924, "The West Orrtanna String Band" (1976. Learned from Fennig's All Stars' recording). Smithsonian Folkways SFW CD 40126, Rodney Miller - "Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire" (1999).
T:Coleraine
M:6/8
L:1/8
Z:transcribed by Jürgen Gier
R:jig
K:ADor
E|EAA ABc|Bee e2d|cBA ABc|B^GE E2D|\
EAA ABc|Bee e2d|cBA B^GE|ABA A2:|
|:B|~c3 cdc|Bdg g2^g|aed cBA|^GBG EFG|\
~A3 BAB|cde =fed|cBA B^GE|ABA A2:|

COLLEGE HORNPIPE. AKA and see "Sailor's Hornpipe," "Lancashire Hornpipe," "Jack's the Lad." English, Scottish, Irish, Canadian, American; Hornpipe. D Major (Ashman, Huntington): G Major (Johnson, Perlman): C Major (Harding, Raven): B Flat Major (Athole, Burchenal, Cole, Cranford, Emmerson, Honeyman, Howe, Hunter, Kerr, McGlashan, Skinner, Vickers). Standard. AABB (most versions): AA'BB' (Cranford). A country dance and tune which was extremely popular both in England and in America (where it appears, for example, on page 28 of a dance MS of the Pepperell, Massachusetts, maid Nancy Shepley, c. 1766) in numerous collections. Carr published in America the tune in Evening Amusement (pg. 15) about August, 1796, and, some one hundred and fifty years later, the tune was still popular for New England dances. Burchenal (1918) printed another contra dance of the same name to the tune. A variant is familiar to most modern people as the theme to the mid-20th century cartoon "Popeye the Sailor Man."
**
In England, Chappell's editor concludes that it cannot date from earlier than the second half of the 18th century, and Chappell himself believes that the tune was an old sailor's song called "Jack's the Lad." The melody has become associated with the nautical hornpipe type of dance which became popular solo step-dance on the stage at the end of the 18th century, and, in fact, it is popularly known as "The Sailor's Hornpipe" today. One of the earliest printings of the tune appears in a volume entitled Compleat Tutor for the German Flute, published by Jonathan Fentum, London, c. 1766, the same year as Nancy Shepley's American dance MS. Another early British printing appears (as "Colledge Hornpipe") in Thompson's Compleat Collection of 120 Favourite Hornpipes (London, Charles and Samuel Thompson c. 1764-80.) and the title was entered at Stationers' Hall in 1798 by J. Dale, London, as "The College Hornpipe." Ken Perlman (1996) dates the tune to the 17th century or earlier and states that it was used by Henry Purcell (c. 1658-1695) in his opera Dido and Aeneas. Perlman does not cite any substantiating data, nor where he obtained this information, and at present his assumption seems unlikely.
**
"The College Hornpipe" was mentioned in an account of one of the old pipers of County Louth, a man named Cassidy, as recorded by William Carleton in his Tales and Sketches of the Irish Peasantry, published in 1845. Breathnach (1997) believes the first name of this piper was Dan, and that he was blind. Carleton, born in 1794, was a dancing master who taught in the 1820's, and was engaged to teach the children of the 'dreadful' Mrs. Murphy. It seems that Carleton:
**
having spent several nights at piper Cassidy's house weighing up the local
dancers ...was impelled by vanity to show them how good a dancer he was
himself. He asked one of the handsomest girls out on the floor, and, in
accordance with the usual form, faced her towards the piper, asking her to
name the tune she wished to dance to. Receiving the customary reply, 'Sir,
your will is my pleasure,' Carleton called for the jig Polthogue. He next
danced Miss McLeod's Reel with his partner, and then called for a hornpipe,
a single dance, this is, one done without a partner. It was considered
unladylike for girls to do a hornpipe. The College Hornpipe was his choice
for this dance. (pg. 59)
**
Breathnach, however, adds the the tune piper Cassidey played for Carleton may not have been the one we now associate with the title "College Groves." It may have been the "Cork Hornpipe" (known usually under the title 'Harvest Home'), which was the name often used for the 'ubiquitous piece' in county Longford. He thinks it more likely, though, that the tune was "Jack's the Lad" which, around Derrylin in Fermanagh was also known as 'The College Hornpipe' (pg. 68). It is an interesting tie-in with Chappell's assertion that the tune was originally called "Jack's the Lad" in England.
**
Sources for notated versions: seven southwestern Pa. fiddlers and fifers [Bayard]; a c. 1837-1840 MS. by Shropshire musician John Moore [Ashman]; Peter Chaisson, Jr. (B. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]; Winston Fitzgerald (Cape Breton) [Cranford]. Ashman (The Ironbridge Hornpipe), 1991; No. 75, pg. 31. Bayard (Dance to the Fiddle), 1981; No. 310A-G, pgs. 261-264. Burchenal (American Country Dances, Vol. 1), 1918; pg. 45. Cazden (Jigs, Reels, and Squares), Vol. 1, pg. 47. Chappell (Popular Music of the Olden Time), pgs. 740-741. Cole (1001 Fiddle Tunes), 1940; pg. 87. Cranford (Fitzgerald), 1997; No. 22, pg. 8. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 88, pg. 164. Harding's All-Round Collection, No. 6. Honeyman, 1898; pg. 51. Howe (Musician's Omnibus) Pg. 45. Hunter (Fiddle Music of Scotland), 1988; No. 336. Huntington (William Litten's), 1977; pg. 19. Jarman (Old Time Fiddlin' Tunes); No. or pg. 29. Johnson & Luken (Twenty-Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 3. Kerr (Merry Melodies), Vol. 1; No. 28, pg. 46. McGlashan (A Collection of Scots Measures), c. 1780, pg. 33. Old Time Jigs and Reels, pg. 45. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 65. Raven (English Country Dance Tunes), 1984; pg. 163. Seattle (William Vickers), 1987, Part 3; No. 439. Skinner (The Scottish Violinist, with variations). Stewart-Robertson (The Athole Collection), 1884; pg. 299. Sweet (Fifer's Delight); pg. 43. White's Unique Collection, pg. 87. Old Time Fiddler's Favorite Barn Dance Tunes. Edison 51382 (78 RPM), Jasper Bisbee, 1923. Missouri State Old Time Fiddlers' Association, Cyril Stinnett (1912-1986) - "Plain Old Time Fiddling."
T:College
L:1/8
M:C|
R:Hornpipe
B:The Athole Colletion
K:B_
BA|B2 B,2 B,2 FE|DF B2 ~B2 dB|c2 C2 C2 cB|Ac f2 ~f2 ga|bagf gfed|
edcB BAGF|GBAc Bdce|d2 B2 ~B2:|
|:FE|DFBF DFBF|G2 E2 E2 GF|=EGcG EGcG|A2 F2 F2 ed|e2 g2 gfed|
edcB BAGF|GBAc Bdce|d2 B2 B2:|

COLONEL HAMILTON'S DELIGHT. AKA and see "Hamilton House." Scottish, Jig. G Major. Standard. AABBCC'. Composed by Joseph Reinagle (1762-1836) around 1783 or earlier. Reinagle, born in Portsmouth, was the son a an Austrian father and Scottish mother and spent his childhood and young adulthood in Edinburgh, becoming leader of the orchestra in the Theatre Royal. Later he moved to Dublin, London, and finally settled in Oxford where he taught the cello. The tune appears in Niel Gow's Strathspey Reels, the Sharpe Manuscript, and Davie's Caledonian Repository. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 87, pg. 230. Neil (The Scots Fiddle), 1991; No. 3, pg. 6 (appears as "Hamilton House").

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

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/:|

COMET, THE [1]. English, Jig. G Major. Standard. AABB. Originally published in "Twenty-Four Country Dances for the Year 1758," in which year Halley's Comet made one of its 76 year pilgrimages. English Dance and Song, Vol. 48, No. 1, Spring, 1986, pg. 20.

COMET, THE [3]. Irish, Jig. G Major. Composed in honor of the Halle-Bopp comet by accordion player Eoghan O'Sullivan of the band Smoky Chimney.
T:The Comet
C:Eoghan O'Sullivan
R:jig
N:also played an octave lower
M:6/8
L:1/8
K:G
g2 g edB|d2 d edB|G2 d edB|dBA ABd|
gfg edB|d2 d edB|G2 B AGA|1BGG GBd:|2 BGG G2 e||
dgg age|gab age|d2 g age|dgb a2 e|
d2 g age|gfg edB|ded B2 A|1BGG G2 e:|2 BGG G3|

CONNAUGHTMAN'S RAMBLES, THE [1] (Triallta an Connactaig). AKA and see "Bean ag Baint Duileasc," "Boil the Kettle Early," "Bold Doherty," "The Brown Red Girl," "The Connaught," "The Connachtman's Rambles," "The Duck from Drummuck," "Gathering Dilisk/Duilisc," "The Kilfinane Reel," "Kitty got a clinking," "The Ladies Tight Dress," "The Ladies Top Dress," "The Lady on the Railroad," "The Listowel Lasses," "Love among the Roses," "Maureen Playboy," "Mickey the Moulder," "Old Molly Ahern," "The Piper's Lass," "Punche for the Ladies," "The Rathkeale Hunt," "Roll her on the banks," "Rolling in the Ryegrass," "The Shannon Breeze," "Strac an mhuc an leine," "The Telegraph," "What the divil ails him?" Irish, Double Jig. D Major ('A' part) & B Minor ('B' part) {Brody, Cole, Cranitch, Kerr, Miller & Perron, O'Neill [4 editions], Roche, Sweet. Tubridy}: C Major ('A' part) & A Minor ('B' part) {Hardings}. Standard. AABB. Connaught was one of the five old provinces of Ireland (along with Ulster, Leinster, Meath, and Munster), named for the ancient tribe who lived there, the Connachta. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Allan's Irish Fiddler, No. 11, pg. 4. Brody (Fiddler's Fakebook), 1983; pg. 73. Cole (1001 Fiddle Tunes), 1940; pg. 57. Cranitch (Irish Fiddle Book), 1996; pgs. 49 & 52. Hardings All-Round Collection, 1905; No. 175, pg. 55 (appears as "The Cannaught"). Kerr (Merry Melodies), Vol. 1; No. 3, pg. 36. Mallinson (Essential), 1995; No. 80, pg. 35. Miller & Perron (New England Fiddler's Repertory), 1983; No. 6. Mulvihill (1st Collection), 1986; No. 27, pg. 124. O'Neill (1915 ed.), 1987; No. 132, pg. 76. O'Neill (Krassen), 1976; pg. 52. O'Neill (1850), 1903/1979; No. 1003, pg. 187. O'Neill (1001 Gems), 1907/1986; No. 218, pg. 50. Roche Collection, 1982; Vol. 1, pg. 47, No. 110. Sweet (Fifer's Delight), 1964/1981; pg. 39. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 31. CCF2, Cape Cod Fiddlers - "Concert Collection II" (1999). Folkways FG 3531, Jean Carignan- "Old Time Fiddle Tunes" (1968). Gael-Linn CEF 068, Maurice Lennon- "An Fhidil." Green Linnet SIF-104, Matt Molloy - "The Celts Rise Again" (1990). Green Linnet SIF-3041, Matt Molloy - "Stony Steps" (1989). Mulligan LUN 017, "Matt Molloy, Paul Brady, and Tommy Peoples." Shanachie 33001ll, Tom Ennis- "The Wheels of the World."
X:1
T:Irish Jig
T:Connachtman's Rambles
D:Peter Wyper 78rpm
Z:Nigel Gatherer
M:6/8
L:1/8
K:D
A|FAA dAA|BAB dAA|FAA Afe|dBB BAG|FAA dAA|
BAB def|gfe f2e|dBB B2::A|Bbb faa|fbb afe|
fbb faa|fef A2e|fbb faa|fbb afe|fef agf|edc B2:|]
X:2
T:Connaughman's Rambles
L:1/8
M:6/8
K:D
|:A|FAA dAA|BAB dAG|FGA dfe|dBB BAG|FAA dAA|BAB def|gfe dfe|dBB B2:|
|:g|fbb faa|fed deg|fbb faa|fed e2g|fbb faa|fed def|gfe dfe|dBB B2:|

CONNIE O'CONNELL'S (JIG) [1]. AKA and see "The Aherlow Jig," "The Money I Want," "Quinn's Jig," "Ryan's Travels," "The Spirits of Whiskey," "The Three Little Drummers," "The Two and Six-Penny Girl." Irish, Jig. G Major. Standard. AA'BBCC'. Connie O'Connell is a Kilnamartyra (near Ballyvourney in west Cork) fiddle player. According to Breathnach (1985), the title is from County Limerick. Alewine (Maid that Cut Off the Chicken's Lips), 1987; pg. 12. Green Linnet Records SIF 1058, Matt Molloy & Sean Keane - "Contentment is Wealth" (1985).

CONNOLLY'S ALE. Irish, Air (6/8 time) and Jig. G Major. Standard. AB. Learned by Joyce as a boy in Co. Limerick, mid-1800's.
***
On Saturday night you're as willing as I am
To take a full jorum of Connolly's ale.
***
Cole (1001 Fiddle Tunes), 1940; pg. 78 (appears as "Connelly's Ale"). Joyce (Old Irish Folk Music and Song), 1909; No. 79, pg. 42.
T:Connolly's Ale
L:1/8
M:6/8
S:Joyce - Old Irish Folk Music
K:G
D|GBB BAB|GBd def|gfe fdB|BAA A2B|GBB BAB|GBd def|gfe fdB|AGG G2||
B|def gfe|agf edB|gfe fdB|BAA A2B|GBB BAB|GBd def|gfe fdB|AGG G2||

COOK IN THE KITCHEN, THE [1] (An Cocaire Annsa Cistean) Irish, Double Jig. G Major. Standard. AABBCC (O'Neill, Russell): AA'BB'CC' (Mitchell). A Cape Breton jig titled "Northside Kitchen" shares a closely related 'A' part. Sources for notated versions: the playing partners of Chicago police Sergeant James Early and John McFadden, a piper and fiddler from adjoining counties in the province of Connaght [O'Neill]; piper Willie Clancy (1918-1993, Miltown Malbay, west Clare) [Mitchell]; Terry Lane (Co. Clare) [Russell]. Mitchell (Willie Clancy), 1993; No. 105, pg. 91. O'Neill (1915 ed.), 1987; No. 133, pg. 77. O'Neill (Krassen), 1976; pg. 59. O'Neill (1850), 1979; No. 1042, pg. 195. O'Neill (1001Gems), 1986; No. 252, pg. 56. Russell (The Piper's Chair), 1989; pg. 9. GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle." Shanachie 79093, Paddy Glackin & Robbie Hannan - "The Whirlwind" (1995).
T:Cook in the Kitchen, The [1]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (252)
K:G
D|G>DG GAG|FDE F2A|G>DG GFG|Add cAG|G>DG GAG|FDE F2d|cAG FGA|AGG G2:|
|:A|B>cB BAG|ABA AGF|GAG GFG|Add cAG|B>cB BAG|ABA A2d|cAG FGA|AGG G2:|
|:B|d2e f2g|a2g f2d|cAG FGA|Add cAG|d2e f2g|a2g f2d|cAG FGA|AGG G2:|

COOK IN THE KITCHEN, THE [2] (Carraig an tSoip). AKA and see "The Angry Peeler," "The Boys of Thomastown," "Buachailli Bhaile Mhic Anndain," "The Drunken Gauger." Irish, Double Jig. G Major. Standard. AABB. The tune bears no resemblance to O'Neill's "Cook in the Kitchen" although it is the same tune as his "Angry Peeler." "The Drunken Gaugher" title is from the Goodman Manuscripts. See also "The Tromore Jig." Source for notated version: piper Joseph Walsh/Seosamh Breathnach (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 3, pg. 4 (appears as "Carraig an tSoip").

COPPERS AND BRASS [2] (Pinginí is prás). AKA and see "Bliven's Favorite," "The Butchers of Bristol," "By your leave, Larry Grogan," "The County Limerick Buckhunt," "Finerty's Frolic," "Green Sleeves," "Groom," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "Pingneacha Rua agus Prás," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's." Irish, Double Jig. G Major. Standard. AABBCC (Breathnach): AABBCDD (Mitchell). The melody is known by most traditional musicians now-a-days by the title "Humours of Ennistymon," however, pipers seem to know it better as "Coppers and Brass." Breathnach remarks that the tune was originally printed (by John Walsh before 1736 in Country Dances Book the Second) under the title "Larry Grogan," named for the County Wexford gentleman piper of the early-mid 1700's. Aird's (Selections, vol. II, c. 1790) "The Lasses of Melross" has the same first part. O'Neill prints versions of the tune as "Hartigan's Fancy" (a poor version, states Breathnach), "By your leave, Larry Grogan," "Little Fanny's Fancy," and "The County Limerick Buckhunt." In a later O'Neill publication (Waifs and Strays) it appears as "The Limerick Buckhunt" and "The Waves of Tramore." Joyce (1909) gives it as "Green Sleeves." See also note for "Groom." Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper Sean Potts (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 4, pg. 4 (appears as "Pingneacha Rua agus Prás"). Mitchell (Dance Music of Willie Clancy), 1993; No. 41, pg. 53. Gael-Linn CEF 045, "Paddy Keenan" (1975).
T:Coppers and Brass [2]
R:6/8
K:G Major
BGB BGB|AFA AFA|~B3 BAB|GBd gdc|BGB BGB|~A3 ABc|ded cAF|1 AGF G2A:|2 AGF G2e||
|:~f3 fed|cAG FGA|Ggg gfg|afd d2e|~f3 fed|cAG FGA|~B3 cAF|1 AGF G2e:|2 AGF G2A||

CORDAL JIG, THE (Port na Cordaile). AKA and see "Five Hundred a Year," "If I Had in the Clear," "Jackson's Bouner Bougher," "Julia Clifford's," "Land of Potatoes," "Morgan Rattler," "Padraig O'Keeffe's Jig" [2], "Tom Billy's," "Wren's Nest" [2]. Irish, Double Jig. D Major. Standard. AABB. Cordal is a village in County Kerry, between Castleisland and Ballydesmond. Breathnach (1976) says it is sometimes incorrectly called "The Idle Road." The melody is a sleeker version of O'Neill's ten-part "Morgan Rattler," but the ancestor appears to be "Jackson's Bouner Bougher," attributed to the gentleman-piper Walker 'Piper' Jackson, printed in Dublin about 1774 in "Jackson's Celebrated Irish Tunes." "The Cordal Jig" is Denis Murphy's title. Sources for notated versions: fiddler Denis Murphy, 1966 (Gneeveguilla, County Kerry, Ireland) [Breathnach]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Breathnach (CRE II), 1976; No. 50, pg. 28. Cranitch (Irish Fiddle Book), 1996; pg. 107. Moylan (Johnny O'Leary), 1994; No. 333, pg. 189. DARA 013, De Dannan - "Anthem." TRAD HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle" (follows "King of the Pipers," played in the key of G Major).

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||

COTTILLON LA PROMENADE. AKA and see "The King of Denmark's Favourite." English (originally), American; Jig. England, Northumberland. G Major. Standard. AABBCCDD. The melody appears in a publication entitled "24 Country Dances" printed in London in 1769. In America, it appears in Henry Beck's German flute MS of 1786. At least one editor notes that in places the melody bears a resemblance to "Sweets of May." Seattle (William Vickers), 1987, Part 2; No. 249.

COUNTRY COURTSHIP, THE. AKA and see "The Irish Washerwoman," (Irish), "The Free Masons," "In Bartholomew Fair," "Satr at Liwis," "The Scheme," "Corporal Casey," "Paddy McGinty's Goat," "The Snouts and Ears of America," "The Big Jig." English, Rapper Sword Dance Tune (6/8 time). G Major (Karpeles, Raven): C Major (Chappell). Standard. AB. Bayard (1981) states this tune is from "perhaps 1688, but certainly from 1715," and says it arose from an earlier tune called "Dargason," first published in 1609. His authority for the 1688 date apparently is Chappell (1859) who stated that in that year a song entitled "The Country Courtship," beginning 'Honest Sir, give me thy hand,' was entered at Stationers' Hall, to John Back. The well-known "Irish Washerwoman" is a nearly identical outgrowth of the "Courtship" tune. Chappell, writing in England in the 1850's declared the tune to be in common use in his time. It appears in Playford's Dancing Master (vol. iii), and Walsh's New Country Dancing Master. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 128. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 31. Raven (English Country Dance Tunes), 1984; pg. 74.

CRABS IN THE SKILLET (Portanide/Portáin Annsa Sgileid). Irish, Double Jig. Ireland, coast of Clare and Limerick. G Dorian. Standard. AABBCC (Cole, O'Neill/Krassen): AA'BB'CC' (O'Neill/1915, 1001 & 1850). Petrie (1855) notes: "This tune belongs to the coast of Clare and Limerick." Source for notated version: "From J. Buckley (via) Mr. Joyce" [Stanford/Petrie]; Joyce states he noted the tune in 1854 and that Buckley was "a Limerick piper, who stated his belief that the tune belonged to the county Clare" [Joyce]. Cole (1001 Fiddle Tunes), 1940; pg. 78. Joyce (Old Irish Folk Music and Songs), 1890; No. 10, pg. 11. O'Neill (1915 ed.), 1987; No. 147, pg. 84. O'Neill (Krassen), 1976; pg. 75. O'Neill (1850), 1903/1979; No. 1112, pg. 210. O'Neill (1001 Gems), 1907/1986; No. 306, pg. 65. Stanford/Petrie (Complete Collection), 1905; No. 792, pg. 198.
T:Crabs in the Skillet
L:1/8
M:6/8
S:O'Neill
K:G Minor
D|:G3 d2^F|G2A B2c|ded cBA|dcB AGF|G3 d2^F|
G2A B2d|dAd f^ed|1 cAF F=EF:|2 cAF G2||
|:d|gag gf=e|fgf f=ed|cd=e fed|cAF G2d|gag gf=e|
fgf f=ed|cd=e gfe|1 cAF F2:|2 cAF F=EF||
|:G2z A2z|B2z c2z|ded cBA|dcB AG^F|G2z A2z|
B2z c2z|cAc f=ed|1 cAF F=EF|2 cAF G2||

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
L:1/8
M:6/8
S:Marshall - 1845 Collection
K:D
A|d2 d dcB|A>BG F>ED|d2d d>cd|e>fd c>BG|d2d d>cB|A>BG F>ED|
EC>A, A,>B,C|D3 D2||f/g/|afd def|gec Ace|fdA GBe|ecA FGA|BGE EFG|
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||

CROPPIES, LIE DOWN. Irish (?), Scottish (?); Jig. G Major. Standard. AABB. A 'Croppy' was a derogatory term for an agricultural laborer. O'Neill (1913) tells of one Jemmy Byrne the Piper who lived in County Wexford in the early 19th century. Jemmy acquired the nickname 'Scut' at some point in his career, though it is not know exactly how. One story is that he "demeaned himself and insulted the sentiment of his people by playing party tunes, such as 'Croppies Lie Down,' at the orgies of the yeomen subsequent to the Rebellion of '98" (O'Neill generously remarks it would have been hard to refuse such a request, given the atmosphere of intimidation and repression at such events). Another possiblility is that the sobriquet was conferred by a particularly abstemious County Carlow priest who was determined to stamp out crossroads dancing in his parish. The outraged cleric is said to have declared to his congregation regarding Jemmy: "How dare this 'Scut' come into my parish with his bagpipes to corrupt and demoralize my flock in defiance of my expressed wish?" O'Neill points out he must have gained some fame despite his nickname and the exhortions of the priest, for the piper's name was remembered while the priest's was forgotten. Cole (1001 Fiddle Tunes), 1940; pg. 77.

CRÚ CAPAILL, AN (The Horse Shoe). Irish, Double Jig. G Major? E Minor?. Standard. AABB. As Kelly had no name for the tune, Breathnach supplied one of his own making. The Horse Shoe was the name of the shop John Kelly owned and ran in Capel Street,Dublin, just a few blocks from the Piper's Club and other notable musical venues. Source for notated version: fiddler John Kelly/Sean O'Kelly (Dublin, Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 52, pg. 21.

CUDDIE CLAUDER. AKA - "Cuddy Claw'd Her." English, Jig. England, Northumberland. G Major. Standard. AABB (Stokoe & Bruce): ABCDEFG (Hall & Stafford): AABBCCDDEEFFGG (Peacock). Probably also the tune known as "Rare Cuddy Claw'd Her." Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 159. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 26. Peacock (Peacock's Tunes), c. 1805/1980; No. 26, pg. 10 (appears as "Cuddy Claw'd Her").
T:Cuddie Clauder
L:1/8
M:6/8
S:Bruce & Stokoe - Northumbrian Minstrelsy
K:G
G|B>cd dB/c/d/B/|d g2 B2G|B>cd dB/c/d/B/|A f2 A2 e|
B>cd dB/c/d/B/|gde gdB|c/B/A/B/c/A/ d/c/B/c/d/B/|A d2 A2:|
|:e|gde gdB|dg2 B2G|gde gdB|A f2 A2e|gde gdB|
de/f/g/e/ gdB|c/B/A/B/c/A/ d/c/B/c/d/B/|A f2 A2:|

CÚIL AODHA JIG (Coolea Jig). AKA - "Cul Aoda Jig." AKA and see "Happy 'A' Jig," "Humours of Ballymore," "The Maid That Cut Off the Chicken's Lips," "Out and About." A Major (Alewine): G Major. Standard. AABB. Cúl Aodh is a place in West Cork. A song by the title "Máithrín mo chéile" (little mother-in-law) goes to this air. Alewine (Maid that Cut Off the Chicken's Lips), 1987; pg. 13. Green Linnet SIF-1051, Jackie Daly, Seamus & Manus McGuire - "Buttons and Bows" (1984). Kells Music 9505, Tommy Keane and Jaqueline McCarthy - "The Wind Among the Reeds."
X:1
T:The Cúl Aodh Jig
T:Máithrín mo chéile
Z:Transcribed by Paul de Grae
M:6/8
L:1/8
R:jig
K:A
e|age dBe|ABA c2 d|edc dBA|GFE dcB|
ABA AGA|BcB gab|age dBe|ABA Ac:|:d||
e2 a aga|bee gab|age d2 e|dBA GAB|
eaa aga|bge gab|age dBe|ABA A2:|
X:2
T:Mick Mulcahy's Jig
T: The Cúl Aodh Jig
T: Máithrín mo chéile
Z:Transcribed by Paul de Grae
M:6/8
L:1/8
S:Mick Mulcahy, accordion
K:D
A|:dcA GEA|DED F2 G|AGF GED|CB,A, GB,C|
DED DCD|EFE cde|dcA GEA|DED DFA:||
d2 d dcd|eAB cde|dcA G2 A|GED =CDE|
DFA dcd|eAB cde|dcA GEA|DED D3:|
"variation bar 4"
|CDE A,B,C|
"variation bar 9"
|Add def|

CUSHION DANCE, THE [2]. Irish, Country Dance (4/4 time). G Major. Standard. AB. "The old dance or rather game connected with this tune is described in Wilson's, A Companion to the Ballroom, London 1816" (O'Neill). Elsewhere O'Neill (1913) digs, while "any form of levity at a wake subjected the Irish to obloquy and ridicule," the Cushion Dance often concluded a country wake in 'Merrie' England. He states:
***
Kissing appeared to have been an essential part of most English
dances, a circumstance which probaby contributed not a little to
their popularity. This custom, according to Mrs. Lily Grove,
author of Dancing--a reknowned work-still survives in some
parts of England, and when the fiddler thinks the young people
have had music enough he makes his instrument squeak out
two notes which all understand to say 'Kiss her.' At the end
of each strathspey or jig a particular note from the fiddle used
to summon the rustic to the agreeable duty of saluting his partner
with a kiss, that being his fee or privalege according to established
usage.
***
See also the note for "Babbity Bowster" for an account of the dance in Scottish tradition. O'Neill (1915 ed.), 1987; No. 398, pg. 191.

CUSHION DANCE (OLD), THE [4]. AKA and see "John Sanderson." English, Jig (slow 3/4 and fast 6/4 parts). A Minor (Raven): G Dorian (Chappell). Standard. AABBCC. The air appears in Playford's Dancing Master of 1686. Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pg. 287. Raven (English Country Dance Tunes), 1984; pg. 9. Island Records AN-700, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1974).

DAN PATSY'S SLIDE. AKA and see "John Dore's Favourite," "Paddy Scully's," "The Turnip." Irish, Slide (12/8 time). G Major. Standard. AABB. Breathnach collected it from Cork fiddler Jack Connell and printed it in CRE II ("Gan ainm" No. 87, pg. 46). Source for notated version: set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]. Taylor (Music for the Sets: Blue Book), 1995; pg. 20.
T:Dan Patsy's
T:Paddy Scully's
T:The Turnip
Z:transcribed by Robert Eckert
R:jig
M:6/8
K:G
Bc|d2B BAB|g2e f2e|d2B {d}BAB|e3 efg|\
d2B {d}BAB|g2e f2e|d2B {d}cAF|1 G3 G:|2 G3 G||Gg|\
f2a e2g|f2a e2f|d2B {d}BAB|e3 e2g|\
f2a e2g|fga e2f|d2B {d}cAF|G3 G:|

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

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.

DELANEY'S DRUMMERS (Dromadoiri Uí Dunlainge). AKA and see "Jug of Brown Ale," "Mug of Brown Ale" [1], "Paddy in London" [2]. Irish, Double Jig. A Dorian (O'Neill): A Mixolydian (Feldman & O'Doherty). Standard. AABB (Feldman & O'Doherty): AABB' (O'Neill). Source for notated version: fiddler Peter Turbit [Feldman & O'Doherty]. Feldman & O'Doherty (The Northern Fiddler), 1978; pg. 231 (appears as last "Untitled Jig" on page). O'Neill (1001 Gems), 1986; No. 305, pg. 65.
T:Delaney's Drummers
L:1/8
M:6/8
S:O'Neill
K:A Dorian
g/f/|eAA fAA|gfg age|dBG GFG|BAG Bcd|eAA FAA|BAB gfe|def gdB|BAA A2:|
|:d|efg a2a|baf gfe|def gfg|agf ged|1 efg abc'|baf gfe|def gdB|BAA A2:|2
bag agf|gfe fdB|def gdB|BAA A2||

DENNIS RYAN'S SLIP JIG. AKA and see "Cathal McConnell's," "Cock and the Hen." Irish, Slip Jig. B Minor. Standard. AABB. "Dennis Ryan's slip jig came from the man of the same name, a very fine fiddler from Co. Offaly. It has been changed in the process. The third note in the first part was a high G in the original. Cathal (McConnel) learned it as F# putting the tune into the key of B Minor rather than G and thus changing it's whole nature" (Boys of the Lough). The group Lunasa recorded the tune on their album "Otherworld" as "Cathal McConnell's." The tune seems to originally have been called "The Cock and the Hen." Boys of the Lough, 1977; pg. 12. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 62.

DEVIL IN DUBLIN, THE ([2] (An Diabal 'San Baile-Ata-Cliat). Irish, Jig or March (6/8 time). G Major. Standard. AABB. A variation of version #1. Kerr (Merry Melodies), Vol. 4; No. 207, pg. 23. O'Neill (1850), 1903/1979; No. 1827, pg. 343.

DROPS OF BRANDY [1] ("Braona Brannda" or "Braoinini Brannda"). AKA and see "Cummilum," "Drink of Brandy," "Drops of Whiskey," "A Drop of Whiskey," "New Drops of Brandy," "Oh, Mary Take My Advice." Irish (originally?), Scottish, English; Slip Jig. England; Shropshire, Northumberland. G Major (Ashman, Cole, Emmersion, Hunter, Kerr, Merryweather, N.P. #2, O'Neill, Raven, Tubridy, Vickers, Williamson, Wilson): A Major (Trim). Standard. AB (O'Neill/1001): AAB (Tubridy): AABB (most versions). There are two main versions of this tune, an old and a new, the latter often known as "New Drops of Brandy." The older versions can be found in the English manuscripts of John Moore and William Vickers. Merryweather (1989) notes it bears some resemblance to Playford's "Scotland." The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800 and also appears in the Scottish Drummond Castle Manuscript in the possession of the Earl of Ancaster at Drummond Castle. This latter MS is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734" (and for this reason it is sometimes called the Duke of Perth MS). Editor Seattle (1987) says Vickers' version is a non-standard variation. There is some evidence a 17th century Scots jig called "Hey My Nannie" is ancestral to "Drops of Brandy."
***
Drops of Brandy is also the name of a specific country dance known throughout the British Isles under two names. In Ireland, O'Neill (1913) tells us "a special dance was performed to the melody," and indeed, "Drops of Brandy" is a favorite tune for solo step dancing competitions. A Scottish dance called Drops of Brandy was performed to a schottische, while the exact same figures were danced to a jig and known as the dance Strip the Willow, report Flett & Flett (1964). In fact, the R.S.C.D.S.'s "official" tune for the dance Strip the Willow is "Drops of Brandy," although a variety of suitable jigs in 6/8 time are also employed on the ceilidh circuit. Emmerson (1972) states that the tune "Drops of Brandy" is often associated with the dance Strip the Willow, so much so that in England the dance is known by the title Drops of Brandy (although it is performed there to schottische-type tunes); "Today, Strip the Willow can be encountered danced to marches or to reels with Country Dance steps, or more often with unbridled abandon." Compare also with untitled slip jig collected from Donegal fiddler John Doherty, printed in The Northern Fiddler (1979, pg. 61). Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 331, pg. 10. Cole (1001 Fiddle Tunes), 1940; pg. 60 (appears as 'A Drop of Whiskey"). Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 75, pgs. 156-157. Hunter (Fiddle Music of Scotland), 1988; No. 284. Kerr (Merry Melodies), Vol. 2; No. 235, pg. 26. Merryweather (Merryweather's Tunes for the English Bagpipe), 1989; pg. 53. Northumbrian Pipers' Second Tune Book, 1981; pg. 23. O'Neill (1001 Gems), 1907/1986; No. 448, pg. 87. O'Neill (1915 ed.), 1987; No. 218, pg. 116. Raven (English Country Dance Tunes), 1984; pg. 130. Seattle (William Vickers), 1987, Part 2; No. 304. Trim (Thomas Hardy), 1990; No. 10. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 38. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 83 (appears as "Drops of Whiskey"). Wilson (Companion to the Ballroom), 1817. Gael-Linn CEF 045, "Paddy Keenan" (1975).
T:Drops of Brandy
L:1/8
M:9/8
S:O'Neill - 1001 Gems (448)
K:G
ded BGB BGB|d2c BGB c2A|ded BGB BGB|cBc AFA c2A|
d2c BGB BGB|ded BGB cBA|d2c BGB BGB|cBc A2B cBA||
GBd gdB gdB|GBd gdB c2A|GBd gdB gdB|cBc AFA c2A|
GBd gdB gdB|GBd gdB cBA|GBd gba gdB|cBc A2B cBA||

DRUNKEN GAUGER, THE [1] (An Tuiséara ar a Mheisce). AKA and see "The Munster Rake," "Welcome the Piper" (Failte don Piobaire), "The Swaggering Jig," "The Noggin of Cream," "Taggit along the Room," "An Seanduine Coileailte," "The Silly Old Man," "Girls take care how you marry," "Give Us a Drink of Water" [2], "Just the height of her bloom." Irish, Set Dance (6/8). Ireland, County Clare. G Major. Standard. One part (Roche): AABB (Breathnach). Breathnach says the set dance is especially associated with County Clare. Charlie Piggott, in the essay on Kilmaley, County Clare, fiddler, flute player and uilleann piper Peader O'Loughlin in his book Blooming Meadows (1998), remarks on tunes being disseminated into local, isolated traditions in Ireland by visiting musicians. It is remembered that "The Drunken Gouger" was introduced into the Kilmaley-Connolly, Clare, area "from the repertoire of dancing-master Paddy Barren, who regularly visited the O'Loughlin household and held dancing classes there." The tune is now commonly played throughout Clare. Source for notated version: fiddler Bobby Casey (County Clare, Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 61, pg. 30. Roche Collection, 1982; Vol. 3, pg. 68, No. 193. Claddagh CC47, Ronan Browne & Peter O'Loughlin - "The South West Wind." Mulligan Records LUN 018, Bobby Casey - "Taking Flight" (1979).
T:Drunken Gauger
M:6/8
L:1/8
S:learned from David Kidd
R:Jig
Z:Lorna LaVerne
K:G
D | GAB c2A | BAG AGE | GBd g2e | dBe dBG |
c2A BdB | AGA BGE | DEG AGA | BGG G2
D | GAB c2A | BAG AGE | GBd g2e | dBe dBG |
c2A BdB | AGA BGE | DEG AGA | BGG G2
D | GBd g2e | dBe dBG | Ace a2a | agb age |
dBd g2e | dBe dBG | c2A BdB | AGA BGG |
GBd g2e | dBe dBG | Ace a2a | agb age |
dBd g2e | dBe dBG | c2A BdB | AGF G2

DRUNKEN HICCUPS [1]. AKA- "Drunkard's Hiccups," "Drunken Hiccoughs." AKA and see "Rye Whiskey," "Jack of Diamonds," "Way Up on Clinch Mountain," "Clinch Mountain," "The Mocking Bird" (Pa.), "My Name is Dick Kelly" (Ire.), "The Lame Beggar" (Ire.), "The Cuckoo" (Ford). Old-Time, Texas Style; Air, Waltz, Jig, and Song Tune (3/4 time). USA; Pennsylvania, North Carolina, Alabama, Mississippi, Arkansas, Texas, Arizona. A Major. AEAC# (Brody, Jarrell, Reiner & Anick, Shumway): AEAE (Ford). AABCC (Brody, Ford, Thede): AA'BB'CC'DD' (Reiner & Anick, Shumway). Paul Clayton identifies the tune as "old and of English origin." Arizona fiddler Kartchner called it a "favorite from the South." The tune was recorded for the Library of Congress from Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist Vance Randolph. It was listed by the Tuscaloosa News of March 28, 1971, as one of the specialty tunes of Tuscalosa, Alabama, fiddler "Monkey Brown," who frequently competed in fiddlers' contests in the 1920's and 30's (Cauthen, 1990), and it was recorded by Herbert Halpert for the Library of Congress in 1939 on two separate occasions by Mississippi fiddlers Charles Long and W.E. Claunch. Mt. Airy, North Carlolina, fiddler Tommy Jarrell knew the melody as a show piece in a repertoire heavy with dance tunes, having learned it from his father, Ben Jarrell (who recorded it with Frank Jenkins in 1927). Ben Jarrell, according to Tommy, had the tune from "old man" Houston Galyen at Low Gap, North Carolina. Bayard (1981) states it was a vocal piece before it was an instrumental one, and identifies the following songs from the British Isles and America as using the tune: "Johnnie Armstrong," "Todlen Hame," "Bacach," "Robi Donadh Gorrach," "The Wagoner's Lad," "Clinch Mountain," "The Cuckoo," "Rye Whiskey," "Jack of Diamonds," "Saints Bound for Heaven," "Separation," "John Adkins' Farewell." Instrumental variations from the British Isles he has identified include "Drunk at Night and Dry in the Morning" (noted variously in 3/4 and 6/8 time) and "Lude's Lament." Two and a half pages of the song can be found in "The Oxford Book of Light Verse." In Pennsylvania, reported Bayard, it was customary for fiddlers to sing the repeated line:
***
Oh, I will never get drunk anymore!
***
to the first (or sometimes second) strain. Most American versions include a part that is supposed to suggest hiccups.
***
I'm a rambler and a gambler a long ways from home,
And them that don't like me can leave me alone.
***
I'll take up my fiddle and rosin my bow,
I'll make myself welcome wherever I go.
***
I'll eat when I'm hungry and drink when I'm dry,
If a tree don't fall on me I'll live till I die.
***
Its beefsteak when I'm hungry and whiskey when I'm dry,
Money when I'm hard up, sweet heaven when I die.
***
I'll cross the wide ocean my fortune to try,
And when I get over I'll sit down and cry.
***
It isn't the long journey that troubles me so,
Its leavin' the darlin' I've courted so long.
***
Hic-cough, O Lawdy, how bad do I feel,
Hic-cough, O Lawdy, how bad do I feel.
***
Rye whiskey, rye whiskey, you're no friend to me,
You killed my poor daddy, goddam you try me.
***
Raw whiskey, raw whiskey, raw whiskey, I cry,
Sweet heaven, sweet heaven, whenever I die. (Thede)
***
Rye Whiskey, rye whiskey, rye whiskey I crave,
If I don't get rye whiskey I'll go to my grave.
***
I eat when I'm hungry, and drink when I'm dry,
And if whiskey don't kill me I'll live till I die. (Ford)
***
Way out on Clinch Mountain I wander alone,
Drunk as the devil and can't find my home.
***
Oh Lordy, how drunk I do feel {Hic}
Oh Lordy how sleepy I feel. (Clayton)
***
Played cards in England, I've gambled in Spain,
Goin' back to Rhode Island, Gonna' play my last game.
***
I'll tune up my fiddle, and rosin the bow,
Make myself welcome, wherever I go.
***
Jack o' diamonds, jack o' diamonds, I know you from old,
Robbed by poor pockets of silver and gold.
***
Corn whiskey and pretty women, they've been my downfall,
Beat me and they bang me, but I love them for all.
***
My shoes is all tore up, my toes're stickin out,
Don't get some corn whiskey, I'm agoin' up the spout.
***
Gonna' beat on the counter, or I'll make the glass ring,
More brandy, more brandy, more brandy to bring.
***
Gonna' drink I'm gonna' gamble, my money is my own,
Them that don't like me can leave me alone. (T. Jarrell)
***
Sources for notated versions: Benny Thomasson (Texas) [Brody]; 'old man' Houston Galyen (Low Gap, N.C.) via Ben Jarrell via his son Tommy Jarrell (Mt. Airy, N.C.) [Reiner & Anick]; Louise and W.S. Collins (Pottawatomie County, Oklahoma) [Thede]; Kenner C. Kartchner (Arizona) [Shumway]; Emery Martin (Dunbar, Pa., 1946) [Bayard]; John Wolford (elderly fiddler from Fayette County, Pa., 1944) [Bayard]; Mary Ann Rogers (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 646, pgs. 566-567. Brody (Fiddler's Fakebook), 1983; pg. 92. Ford (Traditional Music in America), 1940; pg. 126. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 93. Ruth (Pioneer Western Folk Tunes), 1948; No. 17, pg. 8. Thede (The Fiddle Book), 1967; pg. 54-55. County 519, Reaves White County Ramblers - "Echoes of the Ozarks, Vol. 2." County 723, Tommy Jarrell - "Down at the Cider Mill" (appears as "Jack of Diamonds"). County 756, Tommy Jarrell (N.C.) - "Sail Away Ladies" (1976). Rounder 0421, Bruce Molsky - "Big Hoedown" (1997. Appears as "Clyde's Hiccups" as version was from Clyde Davenport). Voyager 304, Ora Spiva- "More Fiddle Jam Sessions" (appears as "Rye Whiskey"). County 724, Benny Thomasson (Texas) - "Country Fiddling." Tradition Records TLP1007, Hobart Smith - "Instrumental Music of the Southern Appalachians" (1956). Recorded for Victor in 1928 by Jilson Setters (as Blind Bill Day) {b. 1860, Rowan County, Ky.} under the title "Way Up on Cinch Mountain."
T:Drunkard's Hiccoughs
T:Rye Whiskey
L:1/8
M:3/4
S:Viola "Mom" Ruth - Pioneer Western Folk Tunes (1948).
K:G
(GA)|:B2G2 (GE)|D2B,2D2|E2G2G2|B4(GA)|B2G2 (GE)|D2B,2D2|
E2G2A2|G4 (GA):|
|:G2A2 (Bc)|d2G2A2|B2c2B2|A4 (GA):|
B2G2(GE)|D2B,2D2|E2G2A2|G4 B,2||
|:C[CE] [CE][CE][CE][CE]|B,[B,D] [B,D][B,D][B,D][B,D]|
E[B,G [B,2G2] [B,2G2]|[G4B4] B,2|C[CE] [CE][CE][CE][CE]|
B,[B,D] [B,D][B,D][B,D][B,D]|E2G2A2|[B,4G4]:|

DRUNKEN PARSON, THE. AKA and see "Sheela O'Gara," "Shilanagary." Scottish, Irish, English, American; Country Dance Tune (6/8 time). England, Shropshire. G Major. Standard. AB (Kerr): AABB (Ashman). "The Drunken Parson" melody has a long history in Ireland as "Sheela O'Gara" (Síle ní Ghadra), an air and jig tune that was first published in the middle of the 18th century in Burke Thumoth's 12 Scottish and 12 Irish Airs. The second strain is very similar to "Ripley's Delight" or "The Drunken Parson" printed in Runterford's Country Dances, Vol. 1. The melody was found by the author of English Folk-Song and Dance (pg. 144) in the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway between Churt and Thursley in Surrey), who, in his younger days, used to play at village dances. Tilbury learned his repertoire from an uncle, Fiddler Hammond, who died around 1870 and who was the village fiddler before him. The conclusion was that "The Drunken Parson" and tunes of similar type survived in the tradition (at least in southwest Surrey) well into the second half of the 19th century. In America the tune was printed in Riley's Flute Melodies of 1814 and in Ryan's Mammoth Collection (1883). Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 83b, pg. 34. Kerr (Merry Melodies) Vol. 1; No. 15, pg. 29.

DRUNKEN SAILOR, THE [2]. AKA and see "Brigade March or Old Number Four," "Old Three-Part Two-Four," "The General." American, March (2/4 time). USA, southwestern Pa. G Major. Standard. AABBCC. The alternate titles stem from its martial uses, "Old Number Four" being its position in a series for performances and "The General" being any tune formerly used to call soldiers to camp duties. Bayard (1981) notes that at the outbreak of the Civil War the demand for fifers outstripped the ability of the Army to train musicians in the approved military calls, so fifers substituted tunes they already knew from home for various soldierly functions; he found that almost every traditional fifer he met played this tune. The 'A' part is the "Drunken Sailor" of version #1, but the 'B' part originated in the early 1700's (as it appears in several ballad operas from the 1739's) and is known variously as "Butter'd Pease," "The Reel of Stumpie" ("Stumpie"), and "No Man's Jig." Source for notated versions: Bayard (1981) gives versions from 6 different southwestern Pennsylvania fifers or fife manuscripts. Bayard (Dance to the Fiddle), 1981; No. 224A-F, pgs. 181-183.

DO YOU WANT ANYMORE? (B-fuil A Tuile Uait?) AKA and see "The Collier's Jig." Irish, Double Jig. D Mixolydian (O'Neill/Krassen): D Major (O'Neill/1850 & 1001). Standard. AABB. The tune is sometimes called "The Collier's Jig" because of its similarity to "The Collier's Reel," says Paul de Grae. In the repertoire of Clare accordion player Bobby Gardiner. O'Neill (Krassen), 1976; pg. 74. O'Neill (1850), 1903/1979; No. 741, pg. 138. O'Neill (1001 Gems), 1907/1986; No. 33, pg. 22. Shanachie 78015, James Keane - "With Friends Like These" (1998. Appears as "The Collier's Jig").
T:Do You Want Anymore?
L:1/8
M:6/8
S:O'Neill - 1001 Gems (33)
K:D
G|DFA A2B|cAd cAG|Adc deg|fed cAG|FDF GAB|cAd cAG|Adc AGE|FDD D2:|
|:g|fdg fdc|Adc Ade|fdg fdc|ABc d2e|aba gag|fgf edc|Adc AGE|FDD D2:|

DOMINIC'S FAREWELL TO CASHEL. Irish, Jig. G Major. Standard. AA'BB'. Composed by fiddler Josie McDermott.
T:Dominic's Farewell to Cashel
R:Jig
C:Josie McDermott
S:Paddy Cronin, Kerry (fiddle)
H:The rolls in this tune, and in 61 are 'lifted' as discussed above.
N:As played
D:Session tape
Z:Bernie Stocks
L:1/8
M:6/8
K:G
~G3 ~B3 | ~d3 efg | G2B dBG | ABG AFD | ~G3 ~B3 | ~d3 efg |
age dBA |1 BGF GzD :|2 BGF GBd || ~g3 efg | ~a3 bge | ~g3 ege |
dBG AFD | ~g3 efg | ~a3 bge | ~g2e dBA |1 BGF GBd :|2 BGF G3 ||

DONNYBROOK FAIR [1]. AKA and see "Boys from the Lought," "Corovoth Jig," "Cunningham's Fancy," "Humours of Donnybrook," "The Joy of My Life," "Joys of Life," "Fisherman's Lilt," "Oh! Irishmen Never Forget," "Old Horned Sheep," "Our Own Little Isle." Irish, Double Jig. G Major. Standard. AABB (Roche): AABB' (Allan, Mallinson, Perlman, Tubridy). O'Neill prints the tune as "Joy of My Life." It was recorded fairly often in the 78 RPM era, according to Philippe Varlet, and is now considered something of a 'beginner's tune', and thus not often heard on modern recordings. It may have travelled to Prince Edward Island through the 78 records. Source for notated version: Kevin Chaisson (b. 1950, Bear River, Prince Edward Island) [Perlman]. Allan's Irish Fiddler, No. 4, pg. 2. Mallinson (Essential), 1995; No. 93, pg. 40. O'Neill (1915 ed.), 1987; No. 138 (appears as "Joy of My Life"). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 129. Roche Collection, 1982; Vol. 1, pg. 42, No. 95. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 35. Bobby Casey - "Taking Flight." James Keane - "Roll Away the Reel World."
T:Donnybrook Fair
M:6/8
L:1/8
R:jig
K:G
Z:transcribed by Caroline Foty
|: ~G3 AGA|Bee dBA|~B3 GAB|AGE GED|~G3 AGA|Bee dBA|~B3 GAB|1 AGF G2D :|2
AGF G2d|
|:~g3 fed|ege dBA|Bee dBA|Bee e2f|1 ~g3 fed|ege dBA|~B3 GAB|AGF G2d :|2
~g3 ~a3 bge dBA|~B3 GAB|AGF G2||

DORRINGTON LADS. AKA and see "Willy Allan's Favourite." English, Slip Jig. England, Northumberland. G Major. Standard. AAB. "'Dorrington Lads' has always been a great favourite with each successive generation of small-pipe players; notably, the celebrated Willy Allan (after whom it is sometimes named 'Willy Allan's Favourite'). It is stated that in his last moments, when exhorted by the bystanders to think of the solemn circumstances in which he was placed, he exclaimed, with some degree of peevishness, 'Hand me the pipes, an' I'll gie ye 'Dorrington Lads' yet,' and expended his failing strength in attempting to sound the bagpipes. This was about 1760" (Stokoe). Northumbrian Pipers' Tune Book, Vol. 2; pg. 71. Bruce & Stokoe (Morthumbrian Minstrelsy), 1882; pg. 151.
T:Dorrington Lads
L:1/8
M:9/8
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:G
e|dGB dB/c/d/B/ gdB|dGB dB/c/d/B/ cAe|dGB dB/c/d/B/ gdB|
c2A AB/c/d/B/ cA:|
|:e|d2g feg fdg|feg fdf ec/d/e/c/|d2g feg fdf|c2A Ac/d/e/c/ cAe|
dBg fdg f/e/d/f/g/e/|dBg fdf ec/d/e/c/|dBg fdg f/e/d/f/g/e/|
c/B/A/B/c/B/ Ac/d/e/d/ cA||

DINGLE REGATTA. AKA and see "Jazzing with Meaig Leary," "Tom Billy's Favourite." English, Jig; Irish, Slide (12/8 time). Ireland, West Kerry. G Major. Standard. AABB (Cranitch, Mac Amhlaoibh & Durham): AABBCC (Kuntz, McNulty, Tubridy). The "Dingle Regatta" name comes from Seán Ó Riada, according to guitarist Paul de Grae, who used it as part of the score for his film The Playboy of the Western World. It was the signature tune for Ó Riada's band, Ceoltóirí Cualann, from which developed Ireland's most famous traditional band, the Chieftains, for their first radio appearances on Radio Éireann in the early 1960's (Glatt, The Chieftains, 1997). Unfortunately, the tune as played by the group was 'totally inaccurate':
***
Paddy Moloney smiles at the memory. 'I gave that tune to Seán
spontaneously at one of the rehearsals but unfortunately I mixed
up two tunes and got the second part of it wrong. It didn't matter
though because it blended beautifully and become our theme tune
that was played at the beginning of every show Ceoltóirí Cualann
ever did. (pg. 47).
***
"Dingle Regatta" has become a 'pub tune' if ever there was; one hearing and you think you've known it all your life. A pub session tradition has grown up around the tune in which the third part is sometimes sung with out words, though in many circles the 'ya-da-duh-da-da-da' singing is by now considered a hackneyed bore. Kevin Finnegan, formerly of the Liverpool Céilí Band has recently remarked that this 'dittying' to the melody originated as a joke. He says:
***
The members of the band got along famously and when playing at ceili's
etc. and did many strange things to enjoy the 'craic'. For example, it was
not unusual for us to suddenly start changing seats while in the middle of
a tune. It brought a great response from dancers when they'd look up to the
stage and see Eamon Coyne (fiddle) walking around to change chairs with
Frank Horan(button box) who was sitting behind him. Or to see Charlie
Lennon (fiddle) switching places with Sean Murphy(banjo). It brought a
great sense of camaraderie and fun to the group. Another favourite activity
of each of the players was to suddenly stand up and straight back down
again in sequence across the stage. This might be condemned by some
'purists' but it always added to the 'craic' and certainly didn't hurt the
musical ability of the band - we still won two All-Irelands and countless
other honours. As part of the craic the "hi-ho" stuff started in the early sixties
as just another part of the fun we had playing together. It was not confined to
the "Dingle Regatta" - as you will hear if you listen to the two LP's we made
in the mid-sixties with Decca Records. In fact, like changing chairs, we did
it fairly regularly with a number of tunes but I never heard another band
do it until after our records came out. When we were in London recording
the Lp's we started the Hi-Ho as a laugh during the recording session and
never intended for it to come out on the final record - but the producer
loved it and asked us to leave it on that particular track. That's the
story of the Hi-ho sound. Of course it was always enhanced by the fact
that most of us did partake of a few sups of the 'black milkshake'
throughout the night so I'm sure that the bobbing up and down, the
chair switching and the hi-ho were somewhat as a result of our love
of the 'porter' !!!
***
An untitled quadrille (no. 45b) in John Moore's c. 1837-1840 MS (Ashman, 1991) resembles parts of this tune. Cranitch (Irish Fiddle Book), 1996; No. 21, pg. 133. Kuntz, Private Collection. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 68, pg. 40. McNulty (Dance Music of Ireland), 1965; pg. 18. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 28. Topic, - "Kerry Fiddles" (appears as a two-part tune called "Tom Billy's Favourite").
T:Dingle Regatta, The
L:1/8
M:6/8
K:G
dBd e2d|BAB d2B|A2A AGA|B2A G2B|dBd e2d|BAB d2B|AGA B2A|G3 G2B:|
|:d2 d def|g3 gfg|a2a aga|b2a gfe|d2d def|g2g gab|a2g f2e|1 def g2e:|2 def g2d||
|:g3 ded|BdB G3|FGA DEF|G2B def|g3 ded|BdB G3|FGA DEF|1 G3 G2d:|2 G3 G2B||

DUMFRIES HOUSE. Scottish, Jig. G Major. Standard. AB (Kerr): AAB (Gow, Hunter): AABB' (Athole). Composed by Joseph Riddell (1718-95), the blind amateur fiddle-composer of Ayr, and first published (by music publisher Robert Bremner) in his c. 1776 A Collection of Scots Reels, Minuets, etc. (pg. 32). It is still popular and one of his best tunes, opines Collinson (1966). The name Dumfries means 'stronghold by the little wood', from the Celtic root-word dun, meaning a fortified place. It was the place where, in 1306, Robert Bruce murdered John Comyn in the chapel of Grey Friars and subsequently claimed the throne of Scotland in rebellion against the English. Dumfries is closely associated with the poets Robert Burns and J.M. Barrie. Samuel Bayard thought the second part of this tune was a version of "Rosin the Beau." Gow (Complete Repository), 3rd Edition, Part I, 1799; pg. 13. Hunter (Fiddle Music of Scotland), 1988; No. 283. Kerr (Merry Melodies), Vol. 2; No. 314, pg. 34. McGlashan (A Collection of Reels), c. 1786; pg. 28. Stewart-Robertson (The Athole Collection), 1884; pg. 139.
T:Dumfries House
L:1/8
M:6/8
R:Jig
B:The Athole Collection
K:G Major
D|G3 G2g|dBG GAB|cde dcB|AFD DEF|G3 G2g|dBG GAB|cEA FEF|G3 G2:|
|:B/c/|dBd dBd|gag g<fe|dBd dcB|AFD D2 B/c/|1 dBd dBd gag g<fe|dcB AGF|
G3 G2:|2 dBd ece|fdf gfe|dcB Agf|gdB G2||

DUSTY BOB'S (JIG). AKA and see "Jack's Alive." American, Jig. G Major. Standard. AABB'. As "Jack's Alive" the title was first published by Playford. The first strain is a variant of "The Kesh Jig." Philippe Varlet discovered the tune on a 78 RPM recorded in 1938 by Irish accordion player Terry Lane as part of a medley called simply "Quadrilles." The same tune appears in the Fleishmann index of traditional Irish music as "The Miser," from Kane O'Hara's comic opera Midas, London, 1764. Cole (1001 Fiddle Tunes), 1940; pg. 72. Sannella, Balance and Swing. Sweet (Fifer's Delight), 1964/1981; pg. 29. Front Hall Records FHR-03, Dudley Laufman--"Swinging on a Gate."
T:Dusty Bob
M:6/8
L:1/8
Q:120
K:G
D |: G2G GAB | A2A ABc | d2B c2A | B2G A2D | G2G GAB |
A2A ABc | dcB AGF|1 G2G G2D :|2 G2G GBd ||
|: g2g gag | f2f fgf | e2e efg | a2g f2d | g2g gag | f2f fgf |
efg agf | g2g g2 :||

DUSTY MILLER [6]. AKA and see "Binny's/Benny's Jig," "Hey the Dusty Miller." English, Scottish; Old Hornpipe (3/2 time) or Country Dance Tune (versions in 3/4 and 6/8 time). England, Shropshire. F Major (Chappell, Raven): C Major (Alburger): G Major (Ashman, Johnson, Preston, Walsh). Standard. AB (Chappell): AAB (Johnson): AABB (Alburger, Ashman, Raven). A late 17th century tune in the old triple-time hornpipe metre, published in Scotland in 1730 in a volume labled Dances, Marches, in Robert Bremner's Reel's (c. 1765, pg. 43), in the McFarlane Manuscript (1740), and in the Gillespie Manuscript of Perth (1768). Chappell identifies the tune not as Scottish but as English, and the tune in fact can be found in the first volume of Walsh's Compleat Country Dancing Master (1708), Walsh's The Lady's Banquet, Wright's collection of Country Dances (London, c. 1742), and Thompson's 200 Country Dances, volume II (London, 1765) -- all later than the 1730 Scottish Dances, Marches. Johnson (1983), however, supports Chappell's contention that the tune may well have been English in origin, but if it was it was "well established in Scotland by the late 18th century" and had acquired local words (probably rude or risque) which, around 1790, the Scots poet Robert Burns rewrote, basing his charming scherzando on a fragment in Herd's MS (1776). It was first printed, unsigned, in The Scots Musical Museum in 1788. It begins:
***
Hey, the dusty millar and his dusty coat,
He will win a shilling or he spend a groat,
Dusty was the coat,
Dusty was the colour,
Dusty was the kiss that I gat frae the millar.
***
Emmerson takes his example from the Kershaw MS, Lancashire, c. 1820. The Clare MS (c. 1818) gives a version which is identical to that printed in Preston's 1797 collection. This may be the version whose title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Dance directions appear in the Holmain Manuscript from Dumfries-shire (dated between 1710 and 1750). Van Cleef and Keller (1980) find three different country dances to the tune "Dusty Miller" existed in both England and America in the the 18th century. The first dance appears in England in both Wrights and Thompson's, previously cited, with essentially the same dance appearing in Clement Weeks' Greenland, New Hampshire dance MS (1783), while the second dance by the same title appears in "Longman and Broderip's 5th Selection of the Most Admired Country Dances, Reels, Minuets and Cotillions (London, c. 1784). Nearly the same dance as version #2 was printed by Longman & Broderip can be found in the American publication Select Collection (Otsego, N.Y., c. 1808). A third dance appears on page 15 of another Thompson's volume, Thompson's Twenty-Four Country Dances for the Year 1798. Sources for notated versions: the Gillespie Manuscript, 1768, pg. 98 [Johnson]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 6d, pg. 22. Ashman (The Ironbridge Hornpipe), 1991; No. 114b, pg. 48. Barnes (English Country Dance Tunes, 2nd ed. only). Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 166. Johnson, 1984; No. 76, pg. 225. Neal Collection. Preston, Twenty-Four Country Dances for the Year 1797. Preston, Collection Book III. Raven (English Country Dance Tunes), 1984; pg. 14. Walsh, Caledonian Country Dances. Peter Barnes et al - "BLT."

DUSTY MILLER{'S, THE} [7] ("An Muilleoir faoi Dheannach" or "An Muilleoir Luaitreac"). AKA and see "The Dusty Mills," "Benny's Jig" (Eng.). Irish, Slip Jig. G Major (Breathnach, Cole, McNulty, O'Neill): F Major (Stanford/Petrie). Standard. A slip jig setting of version #5. AB (Breathnach, O'Neill/1001): AABB (O'Neill/1850, Stanford/Petrie). Sources for notated versions: fiddler Denis Murphy (Gneeveguilla, Co. Kerry, Ireland) [Breathnach/CRE II]; from the playing of piper Séamus Ennis (Dublin), who learned them from his father, a piper taught by Nicholas Markey who in turn had been taught by the renowned piper and pipemaker Billy Taylor of Drogheda and later Philadelphia [Breathnach/Ceol]. Breathnach (Ceol V, No. 2), 1982. Breathnach (The Man and His Music), 1997; No. 6, pg. 73. Breathnach (CRE II), 1976; No. 102, pg. 54. Cole (1001 Fiddle Tunes), 1940; pg. 66. McNulty (Dance Music of Ireland), 1965; pg. 27. O'Neill (1915 ed.), 1987; No. 224, pg. 120. O'Neill (1001 Gems), 1986; No. 455, pg. 88. Stanford/Petrie (Complete Collection), 1905; Nos. 343 & 344, pg. 87. Green Linnet SIF-1109, Altan - "The Red Crow" (1990. Learned from Ciaran Tourish of Buncrana, County Donegal).
T:Dusty Miller, The [7]
L:1/8
M:9/8
S: Séamus Ennis
K:G Major
A2A A2G A2G|A2A A2G B2d|A2A A2G A2G|B2G G2G B2d:|
|:A2D D2D A2d|A2D DDD B2d|A2D A2D G2A|B2B B2A B2d:|

DUSTY WINDOWSILL. AKA and see "Austin Barret's," "The Blasket Sound Jig," "Harding's Jig," "Harland's," "Johnny Harling's," "The Howling Jig," "Tim Harding's." Irish-American, Jig. A Dorian. Standard. AABBCC (Black): AA'BB'CC (Alewine). Composed by Chicago whistle player Johnny Harling, apparently entitled "Dusty Window Sills" at first. Chicago fiddler Liz Carroll (who said Harling composed gis supposed to have given the tune to Austin Barrett who used it in a competition in Ireland, giving the modified title "Dusty Windowsill." Michael Robinson repeats the rumor that the title was inspired by the rock group Kansas and their hit "Dust in the Wind." Alewine (Maid that Cut Off the Chicken's Lips), 1987; pg. 16. Ashbrook (Playing the Hammered Dulcimer in Irish Tradition). Black (Music's the Very Best Thing), 1996; No. 86, pg. 44. Mallinson (Essential), 1995; No. 82, pg. 36. Karen Ashbook - "Knock on the Door."
X:1
T:Dusty Windowsill
C:Johnny Harling
L:1/8
M:6/8
K:A Dorian
E|A2B cBA|edB cBA|~G3 EGG|DGG B,GG|A2B cBA|e2d efg|age dBG|1
ABG A2E:|2 ABG A2e||
|:~a3 age|dBd ~g3|~g3 gfe|dBA ~G3|EGG DGG|EGG ABc|Bed BAG|1
ABG A2e:|2 ABG A2E||
|:AA/B/A gAf|AA/B/A ged|~G3 eBd|~G3 edB|AA/B/A gAf|AA/B/A efg|
age dBG|ABG A2E:|
X:2
T: Dusty Windowsill
C: Johnny Harling
Z: transcribed by B.Black
Q: 300
R: jig
M: 6/8
L: 1/8
K: Ador
E | A2 B cBA | e2 d edB | G2 G EFG | DEG EFG |
A2 B cBA | e2 d efg | age dBG | ABA A2 :|
e | aba age | dBd g2 g | eaa age | dBG AGE |
DEG DGG | EAA ABc | Bed BAG | ABA A2 :|
E | AAA g>f-f | AAA gfe | GGG e>d-d | GAG edB |
AAA g>f-f | AAA efg | age dBG | ABA A2 :|

EAVESDROPPER, THE (Cluas Le Eisdeacd). Irish, Double Jig. Ireland, County Sligo. G Major. Standard. AABB (Cranitch, Flaherty, Mallinson, O'Neill): AA'BB' (Taylor/Blue). Sources for notated versions: flute player James Murray (b. 1947, Ougham, outside Tubbercurry, County Sligo) [Flaherty]; set dance music recorded at Na Píobairí Uilleann in the 1980's [Taylor]. Cranitch (Irish Fiddle Book), 1996; No. 5, pg. 126. Flaherty (Trip to Sligo), 1990; pg. 174. Mallinson (Enduring), 1995; No. 34, pg. 15. O'Neill (1850), 1903/1979; No. 715, pg. 133. O'Neill (1001 Gems), 1907/1986; No. 17, pg. 19. Taylor (Music for the Sets: Yellow Book), 1995; pg. 5. Taylor (Music for the Sets: Blue Book), 1995; pg. 2.
T:The Eavesdropper
M:6/8
L:1/8
K:G
Z:transcribed by Jeff Weismiller
E|:D2B BAG|Bdd dBG|cde dBG|BAA AGE|D2B BAG|Bdd dBG|cde dBA|1 BGG G2
E:|2 BGG G2 d|
|:~g2g afd|efg dBG|cde dBG|BAA A2 d|gab afd|efg dBG|cde dBA|1 BGG G2d:|2
BGG G2||

EDDY STICKER'S TUNE. American, Jig. USA, southwestern Pa. G Major. Standard. Learned by the source from Eddy Sticker, from Indiana County, Pa., whose father was a Civil War veteran and also a fiddler and teacher of tunes. The 'A' part is equivalent to the first tune in Section No. IV of "The Lancers" in Linscott (1939), pg. 93. Source for notated version: Harmon McCullough (Indiana County, Pa., 1959) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 577, pg. 511-512.

EDINBURGH JIGG. Scottish, Jig. G Major. Standard. AABB. A jig version of "The Flowers of Edinburgh." The tune appears first in print in J. Johnson's collection of 200 country dances, published in 1751. The melody appeared a few years later in Rutherford's country dance collection. The name Edinburgh takes its name from the Brittonic kingdom (known as Manau Gododdin) in Lowland Scotland whose principle stronghold was Eidyn, meaning 'steep slope', which was in this case crowned with a fort known in those days as Din Eidyn ('steep sloped fortress') but which has come down as Edinburgh (Matthews, 1972). Edinburgh has been the capital of Scotland since 1498.
***

ELSIE MARLEY. AKA and see "Alcy Marly." AKA - "Elsie Marly." Scottish, English; Jig and Song Tune. England, Northumberland. G Mixolydian (Raven, Vickers, Williamson): E Flat Mixolydian (Stokoe). Standard. AB (Raven, Stokoe): AABBCC (Gow): One part (Williamson). "This ballad had come down to us with a double claim for preservation from oblivion in the merit of the lively tune itself and the frolicsome spirit of the song, which, whilst gently satirising, at the same time preseves the memory of one who, in her day, had attained some noteriety as a general public entertainer. Elsie (or Alice) Marley was the wife of an innkeeper at the Barley Mow Inn, Pictree, near Chester-le-Street, where her buxom presence and lively humour were doubtless the means of attracting all ranks of society, from the pitman to the viewer, and from keelmen and sailors to tradesmen and gentlemen. The ballad was founded upon a true incident in the life of our heroine, and speedily became to popular all over the district that when Joseph Ritson published his 'Bishopric Garland' in 1784, he considered it of sufficient importance to be included in that collection. A happy temperment, a comfortable life, and an extensive circle of friends did not, however, suffice to save poor Elsie from a share of the 'ills that flesh is heir to,' for in Sykes Local Records, under date 1768, August 5 we read:--'The well-known Alice Marley, who kept a public house at Pictree, near Chester-le-Street, being in a fever, got out of her house and went into a field, where there was an old coal pit full of water, which she fell into and was drowned" (Stokoe & Bruce, 1882). The tune was still quite popular in Northumberland in 1800, when it appeared in a list of popular Northumbrian song and dance tunes published by Henry Robson. Glen finds the earliest appearance of the tune in print in Robert Bremner's 1751 or 1757 First Collection (pg. 26), though it was also printed by others, including Robert Petrie in his 1796 Fourth Collection (and who characterized the title as describing a 'bumpkin' (Williamson, 1976). Gow (1817) also gives "Country Bumpkin" as either a note or an alternate title.
***
Di' ye ken Elsie Marley, honey,
The wife that sells the barley, honey;
She lost her pocket and all her money,
Aback o' the bush i' the garden, honey.
Elsie Marley's grown se fine,
She won't get up to serve her swine,
But lies in bed till eight or nine,
And surely she does take her time. (Bruce & Stokoe)
***
Philippe Varlet sees similarities in parts to Willie Clancy's "The Rolling Wave" and O'Neill's "The Humors of Trim."
***
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 112-114. Gow (Complete Repository), Part 4, 1817; pg. 38. Northumbrian Pipers Tunebook (2nd ed. 1970). Raven (English Country Dance Tunes), 1984; pg. 116. Seattle (William Vickers), 1987, Part 2; No. 269 (appears as "Alcy Marly"). Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 48.
T:Elsie Marley
M:6/8
L:1/8
S:Gow - 4th Repository
K:G
(B>AB) G2G|G2(g g)dc|(B>AB) G2G|=F2(f f)cA|
(B>AB) G2G|G2(g g)dB|cac BgB|A2(=f f)cA:|]
|:Bcd ded|d2(g g)dB|Bcd dcB|A2(=f f)cA|Bcd ded|d2(g g)dB|
cAc BgB|A2(=f f)cA:|
|:G2(g g)dB|gdB gdB|=F2 (f f)cA|fcA fcA|G2(g g)dB|gdB gdB|
cac BgB|A2(=f f)cA:|
T:Elsie Marley
L:1/8
M:6/8
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:E_
GFG E2E|E2e eBA|GFG E2E|F_d dAF|GFG EEE|efe eBA|
AfA GeG|F2_d dAF||G2A B2B|Bcd eBA|G2A B2B|FGF _dAF|
G2A B2B|Bcd eBG|AfA GeG|F2_d dAF||

EVANSVILLE. American, Reel. USA, Missouri. A Major (Cole): G Major (Missouri fiddlers). Standard. AABB. Similar to "Rat Catcher's," "Clemtitus Jig," "Wide Awake Reel," "Peggy Whiffle." Howard Marshall writes: "We play this in the key of G major. I wrote an article on the tune in a recent MSOTFA journal, if you get that publication. Evansville is now just a sign by the railroad tracks, a tiny unrealised railroad town a few miles from the farm where I was born, on the Randolph-Monroe County line in central Missouri. The tune was popularised by 'old man Dalton' (Charlie Dalton), a good local dance fiddler in former times." Cole (1001 Fiddle Tunes), 1940; pg. 33. Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999. Appears as "Evansville, Missouri").

EVEN AND ODD, LIKE TOM WITH HIS HOD. AKA and see "The Tempest," "Ap Shenkin," "The Dear Little Island." Irish, Jig. G Major. Standard. Learned by Joyce in his boyhood and named after one Tom Curtan, a lame hodman whose lameness was accentuated when he carried his loaded hod. See also a variant given as an untitled square dance in Bayard (1981; No. 506, pg. 461). Joyce (Old Irish Folk Music and Songs), 1909; No. 87, pgs. 45-46.
T:Even and Odd, Like Tom with His Hod
L:1/8
M:6/8
S:Joyce - Old Irish Folk Music
K:G
d/c/|B2B Bgf|e2e efg|ded dcB|A2A ABc|B2B Bgf|e2e efg|ded cBA|
Ggg g2||g/a/|b2g a2f|gfe dcB cde dgB|BAA A2 g/a/|b2g a2f|gfe agf|
Bag fge|dgf edc||

FASTEN THE LEGGIN'. AKA - "Daingnig An Cos Orrti," "Fasten the Leg in Her," "Fasten the Wig on Her," "Johnny is so long at the fair." Irish, Double Jig. G Major. Standard. AAB (Tubridy): AABB (Allan, Mallinson, Mulvihill, O'Neill): AA'BB' (Mitchell). Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Allan's Irish Fiddler, No. 6, pg. 3. Mallinson (Enduring), 1995; No. 40, pg. 17. Mitchell (Willie Clancy), 1993; No. 73, pg. 71. Mulvihill (1st Collection), 1986; No. 63, pg. 78 (appears as "Fasten the Leg"). O'Neill (Krassen), 1976; pg. 35 (appears as "Fasten the Leg in Her"). O'Neill (1850), 1979; No. 860, pg. 160 (appears as "Fasten the Leg in Her"). O'Neill (1001 Gems), 1907/1986; No. 120, pg. 35 (appears as "Fasten the Leg in Her"). Tubridy (Irish Traditional Music, Book Two), 1999; pg. 33. Claddagh Records, Paddy Taylor - "Boy in the Gap" (an unusual, old West Limerick, setting). Maire O'Keeffe - "Coisir/House Party."
T:Fasten the leg in her
S:Marie O'Keeffe - "Coisir/House Party" (based on fluteplayer Paddy Taylor's old Limerick version).
M:6/8
L:1/8
Z:Barbara Rubenstein
K:G
~B3 GDD|GBd edB |ABA DFA |DFA cBA|
~B3 GDD|GBd edB |ABA DFA |1 AGF G2A:|2 AGF GBd
|:~f3 def|~g3 efg|fAA AFA |BAF Ade|
~f3 def |~g3 efg|fed ^cBc|1 dfe dfa:|2 dfe d2c||
X:2
T:Fastne the Leg in Her
L:1/8
M:6/8
S:O'Neill - 1001 Gems (120)
K:G
d/c/|B2B BAB|GBd gdB|A2A AGA|Bee dBA|B2B BAB|GBd gfg|efg f<ag|fdd d2:|
|:e/f/|gag fgf|ede fdB|ABA AGA|Bee dBA|gag fgf|ede fdB|def e<ag|fdd d2:|

FATHER FIELDINGS FAVORITE (Roga An {T-}Atar Fielding/Fitceallaig). AKA and see "Ella Rosenberg," "I'll Tell My Mammy." Irish, Double Jig. G Major. Standard. AABB. Titled in honor of Fr. James K. Fielding of Kilkenny, a friend of compiler Captain Francis O'Neill's in Chicago, who like O'Neill played the flute and was interested in preserving traditional Irish music. Fielding was also a Gaelic League activist and believed in 'Ireland for the Irish.' The original title of the tune was "Ella Rosenberg," found in Mooney's History of Ireland. O'Neill (1910) says that Fielding was so taken by the tune, and promoted it so enthusiastically, that it became known as "Father Fielding's Favorite." O'Neill says: "His Reverence induced the good sisters of the parish to teach it to their most promising music pupils, while he cheerfully accompanied them on the flute." O'Neill (Krassen), 1976; pg. 52. O'Neill (1850), 1903/1979; No. 1004, pg. 187. O'Neill (1001 Gems), 1907/1986; No. 219, pg. 50.
T:John Byrne's
T:Father Fielding's Favorite
M:6/8
S:James Byrne and Roisin McRory
Z:Transcribed by Larry Sanger
K:G
GFG BcA|BGF GBc|dBG cAF|GDC B,CD|GFG BcA|
BGG fed|cAG FGA|1 BGF G2D:|2 BGFGBd||
gfg afd|cBc dBG|g2b afd|cBc def|gdg fdf|ece gfe|
ded BcA|1 BGF GBd:|BFGG2D||

FATHER O'FLYNN. AKA and see "Cork Road," "Bonny Green Garters," "The Rollicking Irishman," "To Drink With the Devil," "The Top of Cork Road," "Trample Our Enemies," "Yorkshire Lasses." Irish (originally), English, American, Jig. USA, southwestern Pa. D Major. Standard. AABB. The title comes from popular lyrics written to the tune "The Top of Cork Road" by Alfred Perceval Graves, first published in 1874. The original for the priest in Graves song was Father Michael Walsh, a native of Buttevant, County Cork, who was a parish priest in Sneem, County Kerry, for over thirty-seven years until his death in 1866 (he is buried in the parish church). Walsh was said to have been a good violinist by one source, but Graves himself identified the clergyman as a piper "who played delightfully" and who had a love for Irish music. This last statement is borne out by the fact that twenty-seven pieces are credited to him in the Stanford/Petrie collection (1906). The words go:
***
Of priests we can offer a charmin' variety,
Far renown'd for learnin' and piety;
Still, I'd advance ye widout impropriety,
Father O'Flynn as the flow'r of them all.
Chorus:
Here's a health to you, Father O'Flynn,
Slainte and slainte and slainte agin;
Pow'rfulest preacher, and tenderest teacher,
And kindliest creature in ould Donegal.
***
Don't talk of your Provost and Fellows of Trinity,
Famous forever at Greek and Latinity,
Dad and the divils and all at Divinity
Father O'Flynn 'd make hares of them all!
***
Come, I venture to give ye my word,
Never the likes of his logic was heard,
Down from mythology into thayology,
Truth! and conchology if he'd the call.
***
Och Father O'Flynn, you've a wonderful way wid you,
All ould sinners are wishful to pray wid you,
All the young childer are wild for to play wid you,
You've such a way wid you, Father avick.
***
Still for all you've so gentle a soul,
Gad, you've your flock in the grandest control,
Checking the crazy ones, coaxin' onaisy ones,
Lifting the lazy ones on wid the stick.
***
And tho quite avoidin' all foolish frivolity;
Still at all seasons of innocent jollity,
Where was the playboy could claim an equality,
At comicality, Father, wid you?
***
Once the Bishop looked grave at your jest,
Till this remark set him off wid the rest:
"Is it lave gaiety all to the laity?
Cannot the clergy be Irishmen, too?"
***
Bayard (1981), in tracing the tune, thinks that it is perhaps not Irish in origin but English, as English (1778) published versions predate the Irish (1798). This was the first tune learned by piper Willie Clancy (1909-1973, Miltown Malbay, west Clare), taught to him at age five by his flute-playing father, Gilbert Clancy. Source for notated version: Hoge MS and Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 450B-C, pg. 430. Cranitch (The Fiddle Book), 1996; pg. 125. Kerr (Merry Melodies), Vol. 4; No. 189, pg. 22. Sweet (Fifer's Delight), 1964/1981; pg. 22. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 32. Pibroch MacKenzie - "The Mull Fiddler" (1969). Shanachie 79093, Paddy Galckin & Robbie Hannan - "Whirlwind" (1995. Learned from piper Leo Rowsome).
T:Father O'Flynn
T:The Top of Cork Road
T:The Yorkshire Lasses
B:Traditional Irish Guitar, Paul de Grae (Ossian)
D:ditto
N:extended transcription to show variations
Z:Transcribed by Paul de Grae
R:jig
M:6/8
L:1/8
K:D
dAF DFA|Bed cBA|Bcd efg|fed edc|dAF DFA|Bed cBA|Bcd efg|fdd d2 c||
dAF DFA|Bed cBA|Bdd efg|fed edc|dAF DFA|Bed cBA|Bcd efg|fdd d2 e||
fed fga|ecA ABc|dzd Bcd|cAA AB=c|B2 G Bcd|AFF DFA|Bcd efg|fdd d2 e||
~fed fga|ecA ABc|dcd Bcd|cAA A2 =c|BGG Bcd|AFF DFA|Bcd efg|agf gfe||
dAF D2 A|Bed cBA|Bcd efg|agf gfe|dAF D2 A|Bed cBA|Bcd efg|fdd d2 c||
dAF DFA|d2 B cBA|Bcd efg|fed edc|dAF DFA|Bed cBA|Bcd efg|fdd d2 e||
fde fga|ecA ABc|dcd Bcd|cde A2 =c|B2 G Bcd|AFF DFA|Bcd efg|fdd d2 e||
~fed fga|ecA ABc|dcd Bcd|cee A2 =c|BGG Bcd|AFF DFA|Bcd efg|fdd d2 c||
dAF DFA|d2 B cBA|Bcd efg|faa eaa|dAF DFA|Bed cBA|Bcd efg|ABc d2 c||
dAF DFA|Bed cBA|Add Aee|Aff gfe|dAF DFA|Bed cBA|Bcd efg|fdd d2 e||
fde fga|ecA ABc|dzd Bcd|cAA AB=c|B2 G Bcd|AFF DFA|Bcd efg|fdd d2 e||
~fed fga|ecA ABc|dcd Bcd|cAA A2 =c|BGG D2 B|AFF D2 A|Bcd efg|fdd d3||

FATHER TOM'S WAGER (Geall An T-Atar Tomais). AKA and see "Close to the Floor," "Frog in the Well." Irish, Double Jig. Ireland, County Sligo. G Major. Standard. AABB. The melody appears in Ryan's Mammoth Collection (c. 1880's) as "Close to the Floor." Philippe Varlet finds that under the title "The Frog in the Well" it was recorded on a 78RPM in America by Francis Cashen and Tom Cawley in 1929. Source for notated version: fiddler Johnny Henry (b. 1922, Cloonlairn, Doocastle, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 148. O'Neill (Krassen), 1976; pg. 52. O'Neill (1850), 1979; No. 1005, pg. 187. O'Neill (1001 Gems), 1986; No. 220, pg. 50.
T:The Frog in the Well
T:Father Tom's Wager
M:6/8
L:1/8
R:jig
D:Rose Murphy, "Milltown Lass", Ossian OSS-21, track 3(b)
K:G
B/c/|dge dBG|AEF GDB,|G,B,D GAB|cBc ABc|
dge dBG|AEF GDB,|G,B,D GAB|cAF G2:|A|
Bdg bag|fed cAF|DGG FAA|GBB ABc|
Bdg bag|1fed cAF|DGG FGA|BGG G2:|
2fed cAB|cec BdB|cAF G3||

FAVORITE DRAM, THE. AKA - "Ho rò mo bhoban an dràm." Scottish, Slip Jig. G Major. Standard. AABB'CC'. Fraser appends to the title: "A Highland Bumpkin." This tune "is a well known and popular bacchanalian Highland melody; but Culduthel's set of the words and music are so superior to any the editor has heard, that it is rather fortunate his edition of the air happens to be in print before an imperfect standard came forward" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 164, pg. 67.
T:Favorite Dram, The
T:Ho rò mo bhoban an dràm
L:1/8
M:9/8
S:Fraser Collection
K:G
c|B2c dBG G2f|g2e dBG G2c|B2c dBG GAB|c2B AFD D2:|
|:c|(B>AB) (B>AB) G2 c|B2c dcB G2c|1 (B>AB) (B>AB) G2B|
c2B AFD D2:|2 B2c dBG gdB|c2B AFD D2||
|:d|gdB gdB G2f|g2e dBG G2f|1 gdB gdB G2B|c2B AFD D2:|2
c|Bcd def gdB|c2B AFD D2||

FELTON LONNIN(G). English, Jig. England, Northumberland. G Major. Standard. AABB (Bruce & Stokoe): AABBCCDDEEFFGG (Peacock): AABBCCDDEEFFGGHHII (Raven). Raven's version is a reprint from "A Tutor for the Northumbrian Small-pipes" by J.W. Fenwick, published in the late 1800's./ Title appears in Henry Robson's list of popular Northumbrian song and dance tunes (called "The Northern Minstrel's Budget") which he published c. 1800./ "There is a jingling rhyme fitted to this tune to be found in Sir Cuthbert Sharp's Bishopric Garland, but it is there intitled 'Pelton Lonnin'.
***
The swine came jumping down Pelton Lonnin', (x3)
There's five black swine and never an odd one.
Three i' the dyke and two i' the lonnin', (x3)
That's five black swine and never an odd one.
***
Another short rhyme sung to the same air, which we have not yet seen in print, was popular as a nursery rhyme some fifty or more years ago.
***
The kye's come hame, but I see not my hinny,
The kye's come hame, but I see not my bairn;
I'd rather loss a' the kye than loss my hinny,
I'd rather loss a' the kye than loss my bairn.
***
Fair faced in my hinny, his blue eyes are bonny,
His hair in curl's ringlets hung sweet to the sight;
O mount the old pony, seek after my hinny,
And bring to his mammy her only delight. (Bruce & Stokoe)
***
Peacock (Peacock's Tunes), c. 1805/1980; No. 34, pg. 14. Raven (English Country Dance Tunes), 1984; pg. 97. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 148.
T:Felton Lonnin'
L:1/8
M:6/8
S:Bruce & Stokoe - Northumbrian Minstelsy
K:A Dorian
d|e2c dBG|B2G GBd|e2c dBG|c2A Acd|e2c dBG|B2G GAB|cec BdB|cAA Ac:|
|:d|efg gfe|d<gB GBd|efg gfe|e<aA Acd|efg gfe|def gdB|cac BgB|cAA Ac:|

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:|

FAIRBAIRN'S. Scottish, English; Slow Strathspey. A Major. Standard. AB (Honeyman): AABC (Kerr): AABCCD (Hardie). Bill Hardie (1986) identifies the melody as English in origin. A note in J. Scott Skinner's collection, Harp and Claymore, reads: "the last strain is often used by street players as a part of "Earl Grey"--a practive to be deprecated." The melody is played as a jig on Cape Breton, Nova Scotia. Hardie (Caledonian Companion), 1986; pg. 30. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 37. Kerr (Merry Melodies), Vol. 1; Set 14, No. 1, pg. 15. Skinner (Harp and Claymore).
T:Fairbairn's
L:1/8
M:C
S:Honeyman - Strathspey, Reel and Hornpipe Tutor
R:Slow Strathspey
K:A
c/B/|A>E (3CEA (3DFA (3CEA|(3DFA (3CEA B,E (3CEA (3DFA (3CEA|
(3DFA (3B,EG A2 A:|
e|a>Ag>A f>Ae>c|d>B d/c/B/A/ GG|(3ABc (3Bcd (3cde (3def|(3efg a<A A>e|
a>Ag>A f>Ae>c|d>B d/c/B/A/ Ge|e'>Ac'>A a>Ae>c|(3def (3efg a<A A>e|
e'>Ac'>A a>Ae>A|(3cea (3ecA Gd|(3cec' (3ebd' (3c'e'c' (3aec|
(3def e>c A2 A||

FAIRLY SHOT ON/OF HER. AKA and see "'Weels Me I Gotten Shott On Her," "Freely Shot Ower"(? Shetland). Scottish, English; Jig (12/8 time). England, Northumberland. G Major. Standard. ABB (Stokoe): AABBCCDD (Vickers). Seattle (1987) says: "This is a good fiddle setting of a tune more widely known in pipe versions...An unusual version appears in Atkinson as ''Weels Me I Gotten Shott On Her.'" Bewick's and Bruce & Stokoe's versions are not particularly similar. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes which he published c. 1800. The tune appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by David Young, 1734." Bewick's Pipe Tunes, 1986; No. 14. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 187. Seattle (William Vickers), 1987, Part 2; No. 261.
T:Fairly Shot of Her
L:1/8
M:6/8
S:Bruce & Stokoe
K:G
B||c2Ac2A|c2e ecA|c2A c2A|GBd dBG|c2A c2A|c2e ece|fdf ece|
dBg dBG|c2A c2A|c2e ecA|c2A c2A|GBd dBG|c2A c2A|c2e ece|
ceg dBG|A2B dBG||
|:G2g gfg|c2e ece|G2g g/f/e/f/g/e/|GBd dBG|G2g gfg|gfg d2B|
cde dBG|A2B dBG:|

FANNING'S. Irish, Jig. E Minor. Standard. AABB. According to Máire O'Keefe, this tune was a great favorite of Kerry fiddler Denis Murphy's and was recorded from him by
Séamus Ennis on January 29th, 1949, and subsequently included in the RTE publication "Denis Murphy, Music from Sliabh Luachra." Gael-Linn CEF176, Jackie Daly - "Many's a Wild Night" (learned from manuscripts of tunes written down by Pádraig O'Keeffe for his pupil, Paddy O'Connell of Cordal, Castleisland).
T:Fanning's
D:Jackie Daly, "Many's a Wild Night", track 9(b)
M:6/8
L:1/8
R:jig
Z:transcribed by Paul de Grae
K:Em
"G" G2 B dBG | "D" FEF AFD | "Em" EDE GFG | BAB "C" edB |
"G" G2 B dBG | "D" FEF AFD | "C" gfe "Bm" dBA | 1 "Em" BGE E2 F :||
2 "Em" BGE E2 f ||
||: "Em" geb geb | geb "A" bag | "D" fda fda | fda "Bm" agf |
"Em" eBe geg | "Bm" baf "Em"gef | "C" gfe "Bm" dBA | 1 "Em" BGE E2 f :||
2 "Em" BGE E3 ||

FARAWAY WEDDING [1]. AKA and see "The Gravelled Walks to Granny," "The Highland Man that Kissed his Grannie," "The Cottage in the Grove," "Lizzie's Bonnet," "Lassie/Lassies tie your Bonnet(s)," "Jenny Lace your Tight," "In and Out the Harbour," "Upstairs in a Tent," "The Rambler's Rest," "Down with the Mail," "Tie the Bonnet," "Jenny Tie your Bonnet." English, Scottish; Slip Jig. English, Northumberland. A Mixolydian. Standard. AAB. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. Gow (Complete Repository), Part 2, 1802; pg. 27.
T:Far awa' Wedding, The
L:1/8
M:9/8
S:Gow - 2nd Repository
K:A
e|:A3(A A)EA AEA|c2(A A)EA B=GB|c2A AEA AEA|B=GB Bge dBG:|
cAA a2e c(AA)|cAA a2f =g(BB)|cAA a2e cAc|B=GB Bge gdB|cAA a2e c(AA)|
cAA =g3 {fg}gBB|cAA a2e cAc|B=GB Bge gdB||

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).

FIERY CROSS, THE (An Crann Tàra). AKA and see "The Fire Cross Song," "An Crann-tara." Scottish, Jig. G Minor. Standard. AAB. This tune "is from the gentlemen mentioned in the prospectus. The Gaelic words describe the approach of the ancient was signal, or fore-cross, or 'Crantara', with this song accompanying it, so well described by Mr. Scott, in his poem of the Lady of the Lake. The song is first indistinctly heard as wafted upon the gale, or carried off by the roar of a rapid stream; but as it approaches it becomes louder, and leaves no doubt of its being the signal of war, whereupon all becomes bustle and preparation to arm, besides rousing fresh and alert individuals to proceed instantly with the signal to the next station interested" (Fraser). There is some suggestion that the American fiddle tune title "Fire on the Mountain" was derived from the Scottish signal-cross practice. It has also been suggested that the infamous cross-burnings of the Ku Klux Klan were derived from the same tradition. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 215, pg. 88.
T:Fire-Cross Song, The
T:An Crann-tàra
L:1/8
M:6/8
S:Fraser Collection
K:E_
B|G2G G>^FG Gcc c2d|e2e e>de|dff f2b|g2g gfe|f2f fed|c2d (c/d/e)c|
BGG G2:|
G/F/|EGE DFD|Ccc c2d|ege dbB|dff f2b|g2g gfe|f2f fed|c2d (c/d/e)c|
BGG G2 G/F/|EGE DFD|Ccc c2d|ege dbB|dff f2 E/F/|GeG FdF|
EcE Dfa|gfe dec|BGG G2||

FIRST WESTERN CHANGE. Canadian, Jig. G Major ('A' part) & D Major ('B' part). Standard. AABB. The tune shares at least the first strain (which Bayard {1981} thinks is "rather old") with "Rustic Reel," "Libby Prison Quickstep," "City Guards," "Oh Dear Mother, My Toes Are Sore." Messer (Way Down East), 1948; No. 78. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 136, pg. 88. Apex AL 1613, "The Best of Don Messer and his Islanders, Vol. 6." F&W Records 1, "F&W String Band." Fretless Records 119, Rodney and Randy Miller-- "Castles in the Air."

FLOWERS OF SPRING, THE [2] (Blathanna an Earraigh). AKA and see "Tom Billy's." Irish, Double Jig. A Dorian (also played in E Dorian). Standard. AABB. Source for notated version: fiddler Denis Murphy, 1967(Co. Kerry, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 31, pg. 19. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3; No. 67. Recorded by De Dannan. Claddagh CC5, Denis Murphy & Julia Clifford - "The Star Above the Garter" (1969. Appears as "Tom Billy's Jig"). Shanachie 79044, Tommy Peoples - "The Iron Man." (appears as "Tom Billy's Jig"). Tara 2006, "Tony Linnane & Noel Hill" (appears as "Tom Billy's Jig").
T:The Flowers of Spring
T:Tom Billy's Jig
B:Breathnach, CRE II, no. 31
S:Denis Murphy
R:double jig
M:6/8
L:1/8
K:Ador
G|ABA ABd|edB G2 B|dBB GBB|ABd efg|
(4ABcA ABd|edB G2 B|dBB GBB|ABA A2:|
|:d|eaa {b}aga|bab age|ege GBd|ede {a}ged|
eaa {a}aga|bab age|(4efge dBG|ABA A2:|

FLUGGA [1]. Shetland, Dance Tune (4/4 time). G Major. Standard. One part. "One of the tunes for the dance 'Da Flugga', which used to be danced in the little village of Collafirth, in the Delting area" (Anderson). The Flugga dance accually used tunes that crisply changed from jig time to reel time; see also "Doon the Burn Davie" and "Saw Ye Nae My Peggie." Anderson (Ringing Strings), 1983; pg. 68.

FOLLOW ME DOWN TO CARLOW [2] ("Lean Me Sios Go Ceatair-Loc" or "Lean go Ceatharlach sios me"). AKA - "Follow Me Down," "Follow Me Up to Carlow." AKA and see "An Ril Cam," "Miss Murphy," "Bonnie Annie." Irish, Single Jig, Slide, March (6/8 or 4/4 time) or Reel; New England, Jig or Polka. A Dorian. Standard. AB (Breathnach, Joyce): AAB (Darley & McCall, Mitchell, O'Neill, Tubridy): AABBC (Moylan). Breathnach (1977) states the tune is a 6/8 version of a Scottish reel by Donald Dow (Glen Collection, pg. 23 {4th tune}, and Gow's Complete Repository, Vol. 1, pg. 22 {3rd tune}). Darley & McCall state that the air is called "Follow Me Up to Carlow" and that there is a tradition that this air was the Clan March of the O'Byrne family. Its first public airing was supposedly when it was played by the Irish war-pipers of Feagh MacHugh (Fiach Mc Hugh O' Byrne) at the fight of Glenmalure (1580) when he attacked the English of the Pale (the environs surrounding Dublin), defended by the troops of Lord Deputy Grey. Sources for notated versions: Mrs. Anastasia Corkery (Irish-American from Co. Cork and Cambridge, Mass., 1930's) [Bayard]: "...copied from (a) very old well-written manuscript lent to me in 1873 by Mr. J. O'Sullivan, of Bruff, Co. Limerick" [Joyce]; "received from the Rev. Father Gaynor, C.M., Cork" [Darley & McCall]; piper Felix Doran, 1969 (Co. Kilmany, Ireland) [Breathnach]; west Kerry fiddler Padraig O'Keeffe via accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Bayard (Dance to the Fiddle), 1981; Appendix No. 35, pg. 586. Breathnach (CRE I), 1963; No. 107. Breathnach (CRE II), 1976; No. 84, pg. 45. Darley & McCall (The Darley & McCall Collection of Traditional Irish Music), 1914; No. 65, pg. 29. Henebry, 1928; No. 75, pg. 255. Joyce (Old Irish Folk Music and Songs), 1909; No. 243, pgs. 117-118. Miller & Perron (101 Polkas), 1978; No. 10. Mitchell (Dance Music of Willie Clancy), 1993; No. 129, pg. 103 (appears as "Follow Me Up to Carlow"). Moylan (Johnny O'Leary), 1994; No. 325, pg. 185 (slide version). O'Neill (1850), 1903/1979; No. 1282, pg. 241. O'Neill (1001 Gems), 1907/1986; No. 988, pg. 170. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 5.
X:1
T:Follow Me Down to Carlow
L:1/8
M:6/8
S:Joyce - Old Irish Folk Music
K:A Dorian
ABA A2G|E2F G2B|ABA A2B|c2d e2d|c2A B2G|E2F G2B|ABA B2G|A3A3||
e2g g3|e2a a3|BcB B2A|G2A B3|e2g g3|e2a a3|BcB B2G|A3A3|e2g g3|e2a a3|
BcB B2A|G2A B2d|e2f g2e|a2f ged|BcB B2G|A3A3||
X:2
T:Follow Me Down to Carlow
L:1/8
M:C
S:O'Neill - 1001 Gems (988)
K:A Minor
(3ABA A>G E>^F G2|(3ABA A>B c>de>d|c>bc>G E>^FG>B|(3ABc B>G A2A2:|
||e>aa>g e>^f g2|(3BcB B>A G>A (3Bcd|e>aa>g e>^f g2|(3BcB B>B A2 A2|
e>aa>g e>^f g2|(3BcB B>A G>A (3Bcd|e>g^f>a g>ag>e|d>BG>B g>dB>G||

FOUR HUNDERD YEARS OLD. American, Jig. USA, southwestern Pa. G Major. Standard. AB. Bayard (1981) asserts that the tune is similar to both "Kenmuir's Up and Awa" and "Up and Waur Them A', Willie," Scottish tunes popular in the 18th and early 19th centuries. Source for notated version: Henry Yeager (fiddler from Centre County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 494, pg. 456.

FOX CHASE, THE [3] (Seilg An Madradin Ruad). AKA and see "Fox Hunt," "Irish Fox Hunt," "Modhereen Rua." Irish, March (4/4 time). G Major. Standard. AABCDEFGHIJJKKLMNNOOPPQQ. A programatic piece replete with 'horns' and the 'cry of the hounds', 'death of the fox', and winds up with "The Foxhunter's Jig." Some sections are variously in 3/4, 6/8 and 9/8 time. This "Fox Chase" was composed around 1800 by celebrated blind Co. Tipperary piper Edward Keating Hyland (1780-1845) in 1799, who once received a set of expensive pipes from King George IV of England (who heard the piper while visiting Dublin in 1821) as a mark of recognition for his performance, according to Gratten Flood. It is the model for the Scottish "Hunting of the Fox," but Hyland based his piece on an older (though short, eight-bar) song called "An Maidrin Ruadh" (Modhereeen Rua), which is based on a dialogue between a farmer and a fox which he had detected "with the goods" on him in the form of "a fine fat goose." Hyland's version, the first full version, appears in O'Farrell's Pocket Companion of the Irish or Union Pipes (Vol. 1, book 2, c. 1806) {appears under the title "The Irish Fox Hunt"}. O'Neill (1913) also prints two MS versions of the tune, one from H. Hudson, c. 1841, and the other from Prof. P.H. Griffith of Dublin--the latter being a Tipperary version. Knowles (1995) finds parts of "The Fox Chase" in an anonymous 18th century English manuscript, in which it is entitled "The Foxhunter Hornpipe," and calls it "certainly the oldest known version" of the tune.
**
"The Fox Chase" is the tune by which every piper seems to have been judged, at least in the 19th century, when it was ubiquitous among pipers. O'Neill mentions piper after piper in his Irish Minstrels and Musicians who considered the tune the heart of their repertoire. He also relates the tale of Kerry uilleann piper Dick Stephenson (c. 1840's-1897), who for many years was paired with a banjo player named John Dunne and a fiddler by then name of Thompson. It seems the trio played a date in Ballyhaunis, County Mayo, and Stephenson got a bonus for playing "The Fox Chase" while his partners sat out, not being able to follow Stephenson's variations. "Dunne remarked he wouldn't hunt a fox that cold night for any consideration. A rejoinder from Stephenson to the effect that 'maybe he couldn't' was the spark that fired the flames of jealousy, and a round of fisticuffs put an end to years of friendship and companionship, although the Dunnes and Stephensons and Thompsons were all intermarried." Another 19th century champion piper, Robert Thompson of Cork, distinguished himself particularly in O'Neill's eyes as having an aversion to the humming of the drones and to playing "The Fox Chase." O'Neill obtained Stephenson's variations from piper Pat Touhey ("which fills fifteen staffs"), and he thought them to be so excellent the none equalled them (Irish Folk Music, pg. 38).
"The Fox Hunt" was famously played by the incomparable uilleann piper from County Kerry, James Gandsey (1769-1857), who concertized well into his seventies (Breathnach, 1997). Source for notated version: originally from Mrs. Kenny of Dublin, via John L. Wayland of the Cork Pipers' Club via Chicago piper 'Patsy' Tuohey [O'Neill]. O'Neill (1915 ed.), 1987; No. 125, pgs. 70-72. O'Neill (1850), 1903/1979; No. 1850, pg. 349. O'Neill (1913), pg. 128. Island ILPS 9501, "The Chieftains Live" (1977).

FOXHUNTER'S JIG, THE [1] (Port Fiaguide an Sionaig). AKA and see "The Jolly Foxhunters." Irish, Slip Jig. Ireland, County Donegal. G Major (Roche): D Major (Howe, Huntington, O'Neill, Tubridy). Standard. AABB: AABBCCDD (O'Neill/1001, Tubridy). This melody appears at the end of "The Fox Chase" AKA "The Irish Fox Hunt" as printed by O'Farrell in his Pocket Companion for the Irish or Union Pipes (c. 1806). The tune is a popular slip jig in County Donegal. It was played by the incomparable uilleann piper from County Kerry, James Gandsey (1769-1857), as recorded by Crofton Croker, who witnessed it being rendered "with all its wild witchery" (Breathnach, The Man and His Music, 1997, pg. 36). The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Cranitch (Irish Fiddle Book), 1996; No. 34, pg. 138. Howe (Musician's Omnibus), No. 2, pg. 105. Huntington (William Litten's), 1977; pg. 31. Levey (The Dance Music of Ireland), No. 64. O'Neill (1001 Gems), 1907/1986; No. 422, pg. 83. Robbins Collection, pg. 4. Roche Collection, 1982, Vol. 2; No. 265, pg. 27.
Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 37. Folk Legacy FSI-74, Howard Bursen - "Cider in the Kitchen" (1980. Learned from the High Level Ranters and Louis Killen).
T:Foxhunter's Jig [1]
R:Slip Jig
L:1/8
M:9/8
K:D
FAF FDF G2E|FDF FDF E2D|F3 FEF G2B|AFD DEF E2D:|
|:B2B BAG FGA|B2E E2F G2B|ABc dcB ABc|d2 D DEF E2D:|
|:f3 fdf g2e|f3 fdf e2d|f3 fdf g2b|afd def e2d:|
|:gfe dcB AGF|B2E E2F G2B|ABc dcB ABc|d2D DEF E2D:|

FRAHER'S JIG. Irish, Single Jig (12/8 or 6/8 time). D Mixolydian. Standard. AB (Mitchell): AA'BB' (Taylor). The tune is sometimes paired with double jigs, with which it fits. According to piper Jimmy O'Brien-Moran, the tune can be traced to Edward Fraher, a Tipperary piper whose hey-day was the first half of the 19th century. Fraher's neighbor and pupil, James Bourke of Kilfrush, Knocklong, County Limerick, learned the tune and in turn passed it along before he died in the 1920's. Brother Gildas (1883-1960, AKA Patrick O'Shea, a piper and De La Salle brother) learned the tune from Bourke and Willie Clancy had the melody from Gildas. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded live at Na Píobairí Uilleann, mid-1980's [Taylor]. Bulmer & Sharpley (Music from Ireland), 1974; Vol. 3, No. 59. Mitchell (Dance Music of Willie Clancy), 1993; No. 86, pg. 78. Taylor (Music for the Sets: Yellow Book), 1995; pg. 25. Paddy Glackin & Paddy Keenan - "Doublin'" (1978). Piping Pig Records PPPCD 001, Jimmy O'Brien- Moran - "Seán Reid's Favourite" (1996).
T:Fraher's Jig
M:6/8
L:1/8
R:Jig
K:G
A3 GEA | DED GEG | ABA GEA | ~D3 DFG |
A3 GEA | DED GEG | (3ABc A GEA | ~D3 D3 |
A3 GEA | DED GEG | ABA GEA | ~D3 DFG |
A3 GEA | DED GEG | (3ABc A GEA | ~D3 D3 |
(3ABcA d2A | d2A AGE | GAB c2c | BGE EDD |
Add def | dcA AGE | (3ABc A GEA | D2~D D3 |
(3ABcA d2A | d2A AGE | GAB c2c | BGE EDD |
Add def | dcA AGE | (3ABc A GEA | D2~D D3 |

FREE MASONS [2]. English, Jig. G Major. Standard. AA'BB. The second strain bears some resemblance at the end to "The Irish Washerwoman." A tune by this title appears listed in William Vickers' 1770 Northumbrian dance manuscript, but is one of the "missing tunes." Trim (Thomas Hardy), 1990; No. 34.

FRIEZE BREECHES/BRITCHES [1] ("An Briste Breidin" or "An Brístín Mire"). AKA and see "(An) Bristin Mire," "Cunla," "Friar's Breeches," "Friar's Britches," "Gallagher's," "Gallagher's Frolics," "Gallagher's Lament," "I Buried My Wife (and Danced On Top of Her)," "O'Gallagher's Frolics," "On St. Patrick's Day I was Gay," "The Trumlo." Irish, Double Jig or Single Jig (Breathnach). D Mixolydian (Breathnach): D Major/Mixolydian. Standard. AB (Breathnach): AABB (Russell): AA'BB' (Mitchell): AABBCCDDEE (Brody, Mitchell): AABBCCDDEE' (Mallinson): AABB'CCDDEE' (O'Neill/Krassen): AABCCDDEEF (O'Neill/1850 & 1001). Frieze is a coarse woollen cloth with a shappy nap. The melody was known in the Sliabh Luachra region of the Cork-Kerry border as "Gallagher's," and accordion player Johnny O'Leary identified the title "Frieze Breeches" as coming from "the Galway crowd." North Clare tin whistle player Micho Russell remembered that "long ago" the tune was only in two parts and was known as "La San Sean, ba chraite an mhaidin i'," and that it was later used for the song "Cunla" (popularized in the 1970's by the band Planxty):
***
Who comes there tickling the toes of me?
There is nobody here but Cunla.
***
Breathnach (1963) prints these words:
"Cé hé sin thiós ag briseadh na gclaiocha?" (x3)
"Mise féin" a deir Connla.
"Chonnla chroí ná teara níos goire dhom" (x3)
"Mhaisce, tiocfad", a deir Connla.
Translated by Paul de Grae:
"Who is that down there breaking the fences?
"Myself says Connla.'
"Connla dear don't come any nearer to me"
"Wisha, I will," says Connla.
***
O'Neill (Irish Folk Music, pg. 97) states this jig was "in some form known all throughout Munster. A strain remembered by from my mother's singing of it was added to Delaney's version, making a total of six in our printed setting. A ridiculous, although typical folk song, called 'I Buried My Wife and Danced on Top of Her' used to be sung to this air, which bears a close resemblance to our version of 'O'Gallagher's Frolics'." Russell said "Frieze Britches" was a very popular tune around Ennistymon, County Clare, and related that his father had been to the fair in that city and met with one Paddy Cearnuf, who lilted the melody and, obviously enamored, called it "the first tune that was ever played in heaven" (Russell, 1989). Breathnach (1963) maintains Joyce's third part does not belong to this jig. Sources for notated versions: Chicago piper Bernard Delaney [O'Neill]; Planxty (Ireland) [Brody]; piper Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell]; piper Seán Potts (Ireland) [Breathnach]; sessions at the Regent Hotel, Leeds, England [Bulmer & Sharpley]. Breathnach (CRE I), 1963; No. 62, pg. 27. Brody (Fiddler's Fakebook), 1983; pg. 113. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 65. Joyce (Old Irish Folk Music and Song), 1909; No. 287. Mallinson (Enduring), 1995; No. 42, pg. 18. Mitchell (Dance Music of Willie Clancy), 1993; Nos. 11 & 12, pgs. 34-35 (two versions) and Nos. 101 & 102, pgs. 87-89. O'Neill (Krassen), 1976; pg. 61. O'Neill (1850), 1979; No. 1051, pg. 198. O'Neill (1001 Gems), 1986; No. 260, pg. 58. Russell (The Piper's Chair), 1989; pg. 11. Bay 203, Jody Stecher- "Snake Baked a Hoecake." Copley DWL-9-617, Jack Wade- "Ceili Music From Ireland." Green Linnet 1009, Glinside Ceili Band- "Irish Music: The Living Tradition." Green Linnet SIF 3005, The Bothy Band - "Old Hag You Have Killed Me" (1981. A reissue of the 1976 Mulligan LP). Outlet 3002, Paddy Cronin- "Kerry's Own Paddy Cronin" (1977). Polydor 2383 397, Planxty- "Planxty Collection." Topic 12T309, Padraig O'Keeffe, Denis Murphy & Julia Clifford - "Kerry Fiddles." Transatlantic 341, Dave Swarbrick- "Swarbrick 2" (appears as "Friar's Breeches").
T:Frieze Breeches, The [1]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (260)
K:D
A/G/|FEF DED|A2d cAG|ABA GAG|F2A GEC|FEF DED|A2d cAG|FEF GEC|DED D2:|
||G|A2d d2e|fed cAG|ABA GAG|F2A GEC|A2d d2e|fed cAG|FEF GEC|DED D2G|
A2d d2e|fed cAG|ABA B<cd|ded cAG|fef efe|ded cAG|FEF GEC|DED D2||
|:F|DED cBc|AdB cAG|ABc d2e|fed cAF|DED cBc|AdB cAG|FEF GEC|DED D2:|
|:A|d2e f2g|a2f ged|c2d efg|fdf ecA|d2e f2g|a2f ged|faf gec|ded d2:|
|:d|fdf ece|ded cAG|ABA A2G|F2A GEC|fdf ece|ded cAG|FDF GEC|DED D2:|
||F/G/|A2B cBA|c2e cAG|A2d d2e|fed cAG|A2B cBA|dcB cAG|FEF GEC|DED D2G|
A2B c2B2d cAG|A2d d2e|fed cAG|faf gec|ded cAG|FEF GEC|DED D2||

FROG IN THE WELL, THE [1]. AKA and see "Close to the Floor," "Father Tom's Wager," Irish, Jig. G Major. Standard. AABB'. "Close to the Floor," the name in Ryan's Mammoth Collection/Coles 1001, is the title that County Donegal musician Danny O'Donnell recorded the tune under in 1939. Columbia 78 RPM, Francis Cashin and Tom Cawley (1929). Ossian OSS-21, Rose Murphy - "Milltown Lass" (1977. Originally recorded for Topic Records when she was 76 years old. Murphy played old-style melodeon, and her brother was the noted box-player P. J. Conlon. She supposedly played when younger, but stopped for forty years while she raised a family, only to resume playing later).
T:Frog in the Well, The
T:Father Tom's Wager
M:6/8
L:1/8
R:jig
D:Rose Murphy, "Milltown Lass", Ossian OSS-21, track 3(b)
K:G
B/c/|dge dBG|AEF GDB,|G,B,D GAB|cBc ABc|
dge dBG|AEF GDB,|G,B,D GAB|cAF G2:|A|
Bdg bag|fed cAF|DGG FAA|GBB ABc|
Bdg bag|1fed cAF|DGG FGA|BGG G2:|
2fed cAB|cec BdB|cAF G3||

FURNILL'S FROLIC. Irish, Slip Jig. D Mixolydian. Standard. AABBCC. Source for notated version: "...copied from (a) very old well-written manuscript lent to me in 1873 by Mr. J. O'Sullivan, of Bruff, Co. Limerick" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 242, pg. 117.
T:Furnill's Frolic
L:1/8
M:9/8
S:Joyce - Old Irish Folk Music
K:D Mix
ABA GAG F2G|ABA AFD EFG|ABA GAG F2d|cBc AGF GEC:|
|:F2D E/F/GE D2 F/G/|ABA AFD EFG|F2D E/F/GE D2d|cBc AGF GEC:|
|:f2d cAG F2G|ABA AFD EFG|f2d e/f/ge fdB|cBc AGF GEC:|

GABHAIRÍN BUÍ, AN. AKA and see "Hielan Laddie," "The Bonnie Lass of Livingston," "Cockle Shells," "The High Cauled Cap," "The Pipers Dance," "Kiss me Lady." Irish, Reel. G Major. Standard. ABB. This hexatonic tune is a varaint of a popular folk song entitled "Tá dhá gabhairín buí agam" (I have two little yellow goats). Breathnach (1985) remarks that the Cipín (Stick) Dance is performed to this jig in County Clare, but that the dance is named after the music. He finds the tune a variant of "Hielan Laddie" and related to Aird's "A favourite Highland Quick Step 73d Regt." And "The Bonnie Lass of Livingston." Playford prints a version in his Dancing Master as "The Cockle Shells." Source for notated version: flute and whistle player Micko Russell (Doolin, Co. Clare) [Breathnach]. Breathnach (CRE II); No. 110.

GALLAGHER'S FROLIC [1]. AKA and see "The Frieze Breeches," "Gallagher's Lament," "Golliher's Frolic," "O'Gallagher's Frolics." Irish, Jig. D Minor. Standard. AA'BBCCDDE. A variant of the well-known jig "The Frieze Breeches." "I have several settings of this fine tune (though not published), but none so good as this and the following version, which were both written by the same hand in the MS." (Joyce). O'Neill (Irish Folk Music) finds a third variant, a single jig setting, in Joyce's collection under the title "Breestheen Mira." Darley & McCall print a slow-air version in their Feis Ceoil Collection of Irish Airs (1914) as "Gallagher's Lament." Source for notated version: unknown Limerick fiddler's manuscript, via Joyce. Joyce (Old Irish Folk Music and Song), 1909; No. 350, pgs. 160-161.
T:Gallaher's Frolic [1]
L:1/8
M:6/8
S:Joyce - Old Irish Folk Music
K:D Minor
D/2c/2A/2G/2|F2F DDD|c2 {d/c/B/} c d>cA/G/|A2A GB A/G/|FED EDC|
F2F DDD|c2 {d/c/B/}c d>cA/G/|F2 (3G/F/E/ F2 {F/E/D/}E2|1 DDD d>cA/G/:|2
DDD D2||
|:A|d2e fed|c2c d>cA/G/|A2A GBA/G/|FED EDC|d2e fed|c2c d>cA/G/|
AGF EFE|DDD D2:|
|:E|FGA/=B/ c2c|Ac=B cAG|AGF EFE|DDD DcA/G/|FGA/=B/ cEc|
EcE cEc|EdE dEd|EdE dEd|EcE cEc|EcE dcA/G/|F2F E>FE|DDD D2:|
|:A|d2e f2g|afd cBA|c3d3|ede/f/ gec|d3f3|afd cBA|fga/f/ gec|edd d2:|
f|afd/f/ gec/e/|dcA/c/ cAG|A2A GBA/G/|FED/E/ GEC|afd/f/ gec/e/|
dcA/d/ cAG|F3E3|DDD Dfg|afd/f/ gec/e/|dcA/d/ cAG|A2A GBA/G/|
F3 GEC|fga/f/ efg/e/|def/d/ cAG|F3G3|A2d dcA/G/||

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.

GALWAY TOM [2] (Tomas Ua Gaillim). AKA and see "Bouchaleen Buie," "Come in the Evening." Irish, Double Jig. D Major. Standard. AABB'CCDD'EE. Source for notated version: fiddler James McFadden, originally from the province of Connaght [O'Neill]. O'Neill (1850), 1903/1979; No. 745, pg. 139. O'Neill (1001 Gems), 1907/1986; No. 34, pg 22.
T:Galway Tom [2]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (34)
K:D
def fef|fef fef|def fef|edB BAB|def fef|fef fef|baf fed|fdB B2d:|
|:AFA AFA|AFA A2d|BGB BGB|BGB Bcd|AFA BGB|
dBd efa|baf fed|1 fdB B2d:|2 fdB BAB||
|:def ab/a/f|ab/a/f ab/a/f|def ab/a/f|gfe fdB|def a/a/af|a/a/af a2f|g/a/bg faf|gfe fdB:|
|:AFD DFA|AFA A2d|BGE EFA|BGB B2d|AFA BGB|
dBd efa|baf fed|1 fdB B2d:|2 fdB BAB||
|:d3 fdd|edd fdd|d/d/dd fdd|edB BAB|~d3 fdd|edd efa|baf fed|fdB BAB:|

GARÇON VOLAGE. AKA - "Garcon Volange." Canadian, Jig. Canada, Cape Breton. F Major (Ford): G Major (Cranford, Kerr). Standard. ABC (Ford): AA'BBC (Kerr): AA'BB'CC' (Cranford). Paul Cranford (1997) notes this is a good tune for double fiddling (melody and octave melody), and says that Angus and Archie Neil Chilsholm often played it together. No relation to "La Garçon Volage Quadrille." Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 205, pg. 79. Ford (Traditional Music in America), 1940; pg. 84. Kerr (Merry Melodies), Vol. 1; No. 10, pg. 29.

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:|

GARSTER'S DREAM. Shetland, Jig. G Major. Standard. AABB. This tune is known as a Trowie (Fairy) tune from the Shetland Island of Fetlar (which means 'the fat isle'), which was heard by a man named Garster in a dream (or, as another version has it, coming from a hole in the ground) while resting by a Trowie Knoll when he was coming home from a wedding. The tune was first noted by J.T. Hoseason in December, 1862, and his version includes "hesitations," which may indicate that this tune, like some other Shetland tunes, was actually played in a rhythm somewhere between 2/4 and 6/8. The tune is still popular today, though in strict jig time (Cooke, 1986). The tune appears in J. Hoseason's Manuscript and the Shetland Folk Society's Da Mirrie Dancers. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 12. Anderson (Ringing Strings), 1983; pg. 28. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 26 (a and b), pg. 76. Shanachie 79002, "The Boys of the Lough" (1973).
T:Garster's Dream
L:1/8
M:6/8
S:Jay Ungar
K:G
DEF|[G,2G2]B BAB|cdc BAG|FGA AFA|AdB AF(D|G2)B BAB|cdc BAG|F2D DEF|
[G,3G3]:|
|:def|g2g gdB|A2A AGE|g2g gdB|d2d def|g2g gdB|AcB AGE|G2 E DEF|[G,3G3]:|

GEESE IN THE BOG [1] ("Na Géabha sa bPortach" or "Na Geadna Annsa Mointe"). Irish, American; Double Jig. D Major. Standard. AABB (Cole, Kerr, O'Neill/Krassen): AABB' (O'Neill/1001): AA'BBCCDDEE (Breathnach). Several tunes have been named "Geese in the Bog." One tune by this name was popular as long ago as 1779; its playing is mentioned by Berringer in an account of a "cake" dance (a dance where a cake was given as a prize) he attended in Connacht. The great County Sligo/New York fiddler Michael Coleman recorded the tune on a 78 RPM disc in the key of G Major, although his version differs slightly. Breathnach states the tune is related to "Saddle the Pony" printed by Levey (No. 43) and to Joyce's "The Housemaid" (No. 841). He says that Petrie (edited by Stanford, 1905, No. 940) printed the first two parts.
***
The title "Geese in the Bog" reminds one of a story related to Charlie Piggott by flute player Roger Sherlock, who was born in County Mayo on the border with Sligo. The story appears in Vallely's and Piggott's Blooming Meadows (1998) and concerns Michael Coleman's brother Jim, also a fiddler and accounted by many to have been even more proficient at the instrument than his famously-recorded brother. Sherlock remembered house-dances that Coleman played for, performing all night, sometimes playing his instrument while simultaneously dancing on a half-door that had been taken from its hinges. At that point coins would be thrown onto the door at his feet, his only pay. Sherlock reminisced:
***
Well, then he'd put the fiddle in the case and outside he had a flock
of geese that would accompany him to and from the dances. The geese
used to follow him everywhere. He had fifteen or eighteen geese. And
he used to walk from our house to a place called Drumacoo, which
would be-he used to walk as the crow flies of course, across the
fields and the bogs-'twould be roughly about seven miles. And
the geese would be with him all the time.
***
Source for notated version: accordion player Sonny Brogan (d. 1966. Dublin, Ireland; originally from Prosperous, County Kildare. Brogan made records in the 1930's with The Lough Gill Quartet and was a member of Ceoltóirí Chualann under the direction of Seán Ó Riada) [Breathnach]. Breathnach (CRE I), 1963; No. 28, pg. 12. Cole (1001 Fiddle Tunes), 1940; pg. 77. Ford (Traditional Music in America), 1940; pg. 106. Kerr (Merry Melodies), Vol. 1; No. 46, pg. 40. O'Neill (Krassen), 1976; pg. 67. O'Neill (1850), 1979; No. 1085, pg. 204. O'Neill (1001 Gems), 1986; No. 279, pg. 61. Green Linnet GLCD 1092, "Liz Carroll" (1988).
T:Geese in the Bog [1]
L:1/8
M:6/8
S:O'Neill - 1001 Gems (279)
K:D
Add fdB|AFA AFA|Add fdB|AFA B2A|Add fdB|AFA DFA|gfe fdB|AFA BdB:|
|:AFE DFE|DFA BdB|AFD DFA|BGA BdB|AFE DFE|
DFA Bgf|gfe fdB|1 AFA BdB:|2 AFA B2d||

GENTLEMAN THIEF, THE. English, Jig and Air (Irregular time - 'A' part is in 6/8 time, 'B' part in 9/8). England, Northumberland. G Major. Standard. ABB. "'The Gentleman Thief' was the tune to a song about the way a very fancy highwayman was outwitted by a simple farmer. The farmer was returning from market, where he had sold a horse. He had money in his pockets, enough to pay a year's rent, and he was carrying the horse's old saddle over his shoulder. The gentleman thief overtook him at a gallop, waving a horse-pistol and a cutlass and demanding money. The farmer said his money was stitched inside the saddle, and promptly threw the saddle over the hedge. The highwayman leaped after it and began 'hacking the old saddle to rags' looking for the money, which of course wasn't there. Meanwhile the farmer had made good his escape (Williamson, 1976). Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 29.

GET UP EARLY ("Eirig Suas Ga Moc" or "Eirig Go Moc"). AKA and see "The Galbally (Cranbally) Farmer," "The Rakes of Kildare," "The (Old) Barndoor Jig," "Fagamaoid sud mar ata se" (Let Us Leave That As It Is), "First of May." Irish, Single Jig. G Dorian. Standard. AB (O'Sullivan/Bunting): AABB (O'Neill/Krassen & 1915): AABB' (O'Neill/1850 & 1001). The 'A' part of the tune is very similar to "Rakes of Kildare," a fairly common inclusion in collections of Irish music. O'Neill, who is convinced that "The Rakes of Kildare" derived from this tune, points out there is also a relationship with the hornpipe "First of May." See also Bayard's (1981) note to his Pennsylvania collected "Old March" (No. 603, pg. 533). Source for notated version: the Irish collector Edward Bunting noted the melody, which appears in his 1840 collection, from Richard Stanton, Westport, County Mayo, in 1802. Neill (1915 ed.), 1987; No. 205, pg. 110. O'Neill (Krassen), 1976; pg. 22. O'Neill (1850), 1903/1979; No. 770, pg. 144. O'Neill (1001 Gems), 1907/1986; No. 369, pg. 75. O'Neill (1913), pg. 134. O'Sullivan/Bunting, 1983; No. 51, pgs. 80-81.
T:Get Up Early
L:1/8
M:6/8
S:O'Neill - 1001 Gems (369)
K:G Minor
D|D2G G^FG|A2d d2=e|f2d cBA|B2G AFD|D2G G^FG|A2d d2e|f2d cA^F|G3 G2:|
|:g|g2d g2d|g2b a2g|f2d f2d|f2d cAF|1 g2d g2d|g2b a2g|f2d cA^F|G3 G2:|2
g2d g2a|b2g a2g|f2d cA^F|G3 G2||

GILLAN THE DROVER ("Giolla na Drover" or "Gillan an Drover"). AKA and see "The Drover Lads," "Gillanadrouar," "Gille Na Drobhair," et al. Irish, English, Scottish; March (6/8 time) or Highland Jig. England, Northumberland. F Major (O'Neill): G Major (Peacock). Standard. AABBCCDD (Kerr): AABB'CCDDEEFFGGHHII (O'Neill, Peacock). The tune with the Englished title (a corruption of the Gaelic "Giolla na Drover" {sometimes "Gillan an Drover"} meaning "The Drover Lads") is claimed by both Irish and Scots. O'Neill styles it an "ancient Irish March," and thought it was (in 1915) "considerably over a century old." O'Neill's dating is confimed by Northumbrian sources for the tune is printed in Peacock's Tunes (c. 1805) and the title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Peacock notes that it should be played at a slow tempo. The tune seems to Bayard (1981) to be related to the marching air "Domhnall na Greine" (Daniel of the Sun).
***
Despite the popular image of long range cattle drives as an American 'wild west' phenomenon, such drives were common in Britain in the 18th century, often originating in Scotland and routing through Carlisle and the west, or by the valleys of North Tyne and Coquet in the east through to Northumberland. There was a great cattle market at Falkirk (called the Falkirk Tryst) in Scotland. Drovers' places of call can be traced by the names of still-existing inns, such as the Cat and Bagpipe in East Harlsey in Yorkshire, the Drovers' Inns at Boroughbridge and Wetherby, Drovers' Rest in Cumberland, Drovers' Call between Gainsborough and Lincoln, and two Highland Laddie's-one in Nottingham and one near Norwich, at St. Faiths (Collinson, 1975). So important was Scottish beef to England that Highland drovers were allowed to keep their arms (for defense of themselves and their herds from the depredations of the notorious Scottish cattle theives) following Culloden and the Disarming Act of 1747.
***
Beef, however, was not the only Scottish export to head south at the hands of drovers. Many farms in the Highlands had whisky stills, and a field of barley shimmering in the wind surely meant a whisky still was nearby. In 1797 there were some 200 stills in operation in the parish of Glenlivet, and the 4th Duke of Gordon, for one, felt that the making of whiskey was a divine right of his tenants, although he was finally pressured by London to at least tax the trade. Drove routes were used by the inhabitants of Glenlivet to convey the liquor south, and many a sturdy well-laden Highland garron could be seen on the Braes of Livet winding their way up to the water shed of the Ladder hills down through Glen Nochty, Strathdon and on the the lowlands and borders (Moyra Cowie, 1999).
***
Campbell (Albyn's Anthology), 1816, Vol. 1; No. 12, pg. 100. Kerr (Merry Melodies), Vol. 3; No. 272, pg. 30. MacDonald (The Skye Collection), 1887; pg. 176. McGoun's (Repository of Scots and Irish Airs), c. 1800. O'Neill (1915 ed.), 1987; No. 104, pgs. 58-59. Peacock (Peacock's Tunes), c.1805/1980; No. 29, pg. 12. Front Hall FHR-08, Alastair Anderson - "Traditional Tunes" (1976. From the playing of Colin Ross). Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1983).

GILLAN'S APPLES [1] ("Uballide Uí Gillain," "Uballa Mic Gealain" or "Úllaí Uí Ghiolláin"). AKA - "Gillian's Apples." AKA and see "Apples in Winter" [2], "Fruit for Ladies," "Jackson's Growling Cat," "The Longford Jig," "Rise the Grouse," "Rouse the Grouse." Irish, Double Jig. G Major ('A' part) & D Major ('B' part) {O'Neill/Krassen. Tubridy}: D Major ('A' and 'C' parts) & A Mixolydian ('B' and 'D' parts) {Breathnach, O'Neill/1001, 1850 & 1915}. Standard. AABB (O'Neill/Krassen): AA'BB' (Breathnach, Mallinson, Tubridy): AABBCCDD (Mulvihill, O'Neill/1001, 1850 & 1915). The tune was renamed by O'Neill in honor of his source, John Gillan, "to avoid confusion" as the title on the original manuscript was "Apples in Winter" and O'Neill already had a tune by that name (Irish Folk Music, pg. 93). O'Farrell prints a version as "The Apples in Winter." The tune is often called "Gillian's Apples," a miss-hearing of the name Gillan. Sources for notated versions: 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]; fiddler Patrick Kelly, 1966 (Cree, Co. Clare, Ireland) [Breathnach]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Breathnach (CRE II), 1976; No. 7, pg. 5. Breathnach (CRE II), 1976; No. 22 (appears as "Gan ainm/No title"). Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2, No. 39. Mallinson (Enduring), 1995; No. 24, pg. 10 (appears as "Gillian's Apples"). Mulvihill (1st Collection), 1986; No. 29, pg. 70. O'Neill (1915 ed.), 1987; No. 170, pg. 94. O'Neill (Krassen), 1976; pg. 75. O'Neill (1850), 1979; No. 1111, pg. 209. O'Neill (1001 Gems), 1986; No. 287, pg. 62. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 34. Green Linnet SIF 1058, Matt Molloy & Seane Keane - "Contentment is Wealth" (1985). Shanachie SHA 34008, Andy McGann & Paddy Reynolds (1977). Shanachie 79022, "The Chieftains #2."
T:Gillan's Apples [1]
L:1/8
M:6/8
K:D
g3 B2A|GAG GBd|ege edB|dBA A2B|dgg gdB|
GBd g2a|bag fge|1 fdc def:|2 fdc d2e||
|:faa faa|faa afd|gbb gbb|gbb bag|faa faa|
faa afa|bag fge|1 fdc d2e:|2 fdc def||

GILLEAN AN FHEILIDH (Lads in the Kilt). Scottish, Jig. D Major. Standard. AAB. "Slowly," says MacDonald. MacDonald (The Skye Collection), 1887; pg. 177.
T:Gillean an Fheilidh
T:Lads in the Kilt
L:1/8
M:6/8
S:MacDonald - Skye Collection
K:D
e|:d>BA A2B|dfe dBA|d>BA B2g|aAa f2e:|
d>ef g>eg|a>Aa f>ed|d>ef g>eg|a>Aa f2e|d>ef g>eg|a>Aa f>ef|d>BA B2g|
a>Aa f2e|d>ef g>eg|a>Aa f>ef|d>ef g>eg|a>Aa f2e|d>ef g2{A}A|a2 {A}A f>ef|
d>BA B2g|aAa f2e||

GIRL I LOVE, THE [2]. AKA and see "The Field of Flowers." Irish, Double Jig. G Major: E Major. Standard. AB. The tune was composed in the first half of the 18th century by the Irish "gentleman piper" and composer Larry Grogan, who also wrote the famous "Ally Croker." Sources for notated versions: "From P. Carew's MSS", "From Mr. Joyce" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; Nos. 540, 949 & 959, pgs. 137, 242 & 244.

GIRL IN GREEN, THE. Scottish, Jig. G Major. Standard. AABB. Kerr (Merry Melodies), Vol. 3; No. 275, pg. 30.

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:|

GIRLS OF BAINBRIDGE/BANBRIDGE, THE (Cailinide/Cailini Ua Droiciod-Na-Banna). Irish, Double Jig. D Major. Standard. AABB. Source for notated version: fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music from the Ottawa Valley), 1985; No. 70, pg. 80 (appears as "The Girls of Baine Bridge"). O'Neill (Krassen), 1976; pg. 27. O'Neill (1850), 1903/1979; No. 812, pg. 151. O'Neill (1001 Gems), 1907/1986; No. 83, pg. 30. Green Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from "a rare non-commercial" recording by Sligo/N.Y. fiddler Michael Coleman).
T:Girls of Banbridge, The
L:1/8
M:6/8
K:D
B|AFA dcB|BAG FED|FAD FED|CDE EFG|AFA dcB|BAG FED|(f<a)f gec|ded d2:|
|:B|AFA dfa|agf efg|(f<a)g fed|cde e2A|AFA dfa|agf efg|(f<a)f gec|ded d2:|

GIVE US A DRINK OF WATER [1] (Tabair Duinn Deoc Uisge). AKA and see "Drown Drowth," "Jackson's Jig" [5], "There is No Milk in the House." Irish, Slip Jig. G Major. Standard. AAB. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper and flute player Tommy Hunt (b. 1908, Lissananny, Ballymote) [Flaherty]; set dance music recorded at Na Píobairí Uilleann, late 1980's [Taylor]. Cranitch (Irish Fiddle Book), 1996; pg. 59. Flaherty (Trip to Sligo), 1990; pg. 132 (appears as "Unknown"). Mitchell (Dance Music of Willie Clancy), 1993; No. 123, pg. 100. O'Neill (1915 ed.), 1987; No. 222, pg. 118. O'Neill (1850), 1903/1979; No. 1131, pg. 214. O'Neill (1001 Gems), 1907/1986; No. 420, pg. 83. Taylor (Music for the Sets: Blue Book), 1995; pg. 18. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 41.
T:Give Us a Drink of Water [1]
L:1/8
M:9/8
K:G
D|GBd gdc BAG|BdB cAA A2B|GBd gdc BAG|BcA BGG G2:|
d|g2g efg fed|g2g efg a2d|g2g bag fed|efg agf g2d|g2g efg fed|
g2g efg a2a|bag agf ged|efg agf g2||

GIVE US A DRINK OF WATER [2]. AKA and see "The Drunken Gauger," "Girls take care how you marry," "Just at the height of her bloom," "The Munster Rake," "The Noggin of Cream," "Oh! The Marriage," "She was the Proud One," "The Silly Old Man," "The Swaggering Jig," "Taim in Arrears," "Taim in Arreir dTigh an Oil," "Tiggit along the Room," "Welcome the Piper." Irish, Slip Jig. G Major. Standard. AAB. The tune was recorded under this title by The Bothy Band, and bears no relation to "Give Us a Drink of Water" [1]. Alewine (The Maid that Cut Off the Chicken's Lips), 1987; pg. 19. Green Linnet SIF 3011, The Bothy Band - "1975."
T:Give Us a Drink of Water
T:The Swaggering Jig
D:The Bothy Band 1975
M:9/8
K:G
BGG AGE DEG | BGG GFG A2A | BGG AGE DEG | cBA BGE D2D :||
Bdd dge dBG | B2d dBG ABc | Bdd dge dBG | cBA BGE D2D :||

GLIOGAR AN MHEADAIR (The Gurgling of the Churn). AKA and see "The Old Dutch Churn," "Milk the Churn," "Humours of Bottle Hill," "Splashing of the Churn," "Two in a Gig," "A Fig for a Kiss," "Gáire na mBan." Irish, Slip Jig. E Minor. Standard. AABB. Breathnach (1985) had the tune from his source as an unititled melody, but found it in Petrie (Complete Collection, 1905, No. 1250) as "Gliogar an mheadair." "The Dublin Boys," "Dublin Streets," "The Night of Fun," "Cailín Lasa Sál Roc," and "She is Fit for a Kiss" are all related tunes, according to Breathnach. Joyce's "Splashing of the Churn" is not related. A song, "Gáire na mBan" (Women's Laughter), was written to the tune by An Seabhac, "in his youth, at the time of the Rising when he was confined in prison" (Fionán Mac Coluim). Source for notated version: concertina player Mrs. Dalton (Abbeyfeale, Co. Limerick, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 101, pg. 53.

GO TO THE DEVIL AND SHAKE YOURSELF [1] (Imtig Do'n Diabal's Corruid Tu Fein). AKA and see "The Growling Woman," "When (you are) Sick Is It Tea You Want?" "The One-Legged Man," "The Penniless Traveler," "Come from the Devil and shake yourself." Scottish, Jig (6/8); Irish & English, Jig. England, Shropshire. D Major (Ashman, Cole, Huntington, Kennedy, O'Neill, Raven, Trim): C Major (Gow). Standard. AABB. Flood (1906) identifies the tune as originally from Munster. However, the Scots certainly have a claim as early versions appear under the "Devil" title in Napier's Selection of Dances (London, 1798) and Gow's Second Complete Repository (between 1799 and 1836). Editor Ashman relates that the tune was once much used for songs of political satire, and he believes it can also be found as an old hymn air. Campbell's gives the tune in ten strains (William Litton's version gives strain 5 & 6). Gow (1802) remarks:"This tune may be played slow." Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. American Veteran Fifer, pg. 66. Ashman (The Ironbridge Hornpipe), 1991; No. 107b, pg. 44. Campbell's Country Dances, pgs. 22-23. Carlin (The Gow Collection), 1986; No. 472. Cole (1001 Fiddle Tunes), 1940; pg. 52. DeVille (The Violin Player's Pastime), pg. 10. Gow (Complete Repository), Part 2, 1802; pg. 21. Howe (Musician's Omnibus), pg. 43 & No. 2, pg. 107. Huntington (William Littens), 1977; pg. 30. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 35. Levey (The Dance Music of Ireland), No. 13. O'Neill (1001 Gems), 1907/1986; No. 358, pg. 73. Raven (English Country Dance Tunes), 1984; pg. 110. Trim (Thomas Hardy), 1990; No. 26.
X:1
T:Go to the Devil and shake yourself
L:1/8
M:6/8
S:Gow - 2nd Repository
K:C
G|Gcc ~c>BA|G>AG GEF|Gcc c2d|ecA A2G|Gcc ~c>BA|
G>AG GEF|Gcc (Bd)f|ecc ~c2:|
|:e/f/|gec ~cBc|AFF ~F2 f/g/|afd dec|BGG G2G|Gcc ~c>BA|
G>AG GEF|Gcc (Bd)f|ecc ~c2:|
X:2
T:Go to the Devil and Shake Yourself
L:1/8
M:6/8
S:O'Neill - 1001 Gems (358)
K:D
Add dcB|ABA AFA|Add d2e|fec B2A|Add dcB|ABA AFA|dfd ege|fdd d2z:|
|:afd dcd|BGG G2g|bge ede|cAA A2A|Add dcB|ABA AFA|dfd ege|fdd d2z:|

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

GOLD RING, THE [2]. Irish, Jig. G Major. Standard. AABBCCDDEE. A variation of the tune in version #1. Williamson (1976) repeats, although condenses, his version of the tale the Boys of the Lough give for version #1. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 72. Leader LEA 2003, "Seamus Ennis."

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Ceolas > Tunes > Fiddler's Companion

The Fiddler's Companion

Ceolas > Tunes > Fiddler's Companion