Ceolas: The Fiddler's Companion

Result of search for "man":

ABSENT MINDED MAN, THE (An Fear Dearmadac). AKA and see "The House in/on the Corner," "The Little House around the Corner," "The Royal Irish Jig," O, as I was kissed Yestreen," "The Hare in the Corn," "The Hare in the Corner," "Fhiach an Mhada Rua." Irish, Double Jig. A Major. Standard. AABB. Old Scottish variants can be found in the Trotter Manuscript of 1780 and the Skene Manuscript of c. 1630-1640 under the "Hare in the Corn" title. O'Neill (Krassen), 1976; pg. 21. O'Neill (1850), 1903/1979; No. 758, pg. 141. O'Neill (1001 Gems), 1907/1986; No. 254, pg. 56.
T:Absent Minded Man, The
L:1/8
M:6/8
S:O'Neill - 1001 Gems (254)
K:A
d|cAc efg|aed c2A|dfd cec|dBB B2d|cAc efg|aed c2A|Bba gfg|aAA A2:|
|:c|ecc Acc|ecc Acc|dBB GBB|dBB GBB|ecc fdd|gee aff|ecc dBG|ABA A2:|

ACTIVE OLD MAN, THE. Irish, Double Jig. G Major. Standard. One part. O'Neill (Krassen), 1976; pg. 37. O'Neill (1850), 1903/1979; No. 882, pg. 164.
T:Active Old Man, The
M:6/8
L:1/8
R:Jig
B:O'Neill - Music of Ireland (882)
K:G
(G~GG) GBG|(G~GG) AFD|(G~GG) (G~GG)|GcA {B}AFA|(G~GG) GBG|(G~GG) AFD|G2g
{a}gfe|dcB AFA|G2d {e}dAc|BGB AFA|G2d {e}dAc|(B~BB) AFD|G2d dAc|BGB AFA
|G2g {a}gfe|dcB AFA|G2g {a}gdc|BGB AFA|G2g {a}gdc|(B~BB) AFD|G2g {a}gdc|
BGB AFA|G2g {a}gfe|dcB AFA|def gdf|dfg (G~GG)|efg {a}gd=f|efg| A2g|geg =
fd=f|ece dBd|dcB gfe|dcB AFA||

AISLEAN AN OIGFEAR. AKA and see "The Young Man's Dream," "Danny Boy."

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 I'VE GOT'S DONE GONE [1]. Old-Time, Breakdown. USA; Arkansas (Ozark Mountains), Kentucky. C Major. Standard. AA'BA"AA"'CDD'E. No relation to "Done Gone." Learned by Kentucky's Fiddlin' Doc Roberts (1897-1978) from African-American Madison County fiddler and bandleader Owen Walker (b. 1857) of whom he said, "He was the fiddlingest colored man that ever was around Kentucky. He played like a white man, only he could beat a white man" (Charles Wolfe). Gus Meade believes perhaps 70% of Robert's repertoire was obtained from Walker. Roberts revised the tune from Walker's original, and thought it an improvement. He recorded it in his first recording session in 1925 and re-recorded it again in Jan., 1930. Source for notated version: Doc Roberts (Ky) [Phillips]. Phillips (Traditional American Fiddel Tunes), Vol. 2, 1995; pg. 15. Champion 16208 (78 RPM), Doc Roberts, 1930. County 412, Fiddling Doc Roberts - "Old Time Tunes" (1983). Gennett 3162 (78 RPM), Doc Roberts, 1925.

AM I THE DOCTOR YOU WISHED FOR TO SEE? Irish, Air (4/4 time). E Flat Major. Standard. One part. Joyce suggests Donegal connections for this song.
"Am I the doctor you wished for to see?
Am I the young man you sent for to me?"
"O, yes dearest Willie, you can kill or you can cure:
For the pain that I feel, my dear, is hard to endure."
Joyce (Old Irish Folk Music and Song), 1909; No. 153, pg. 78.
T:Am I the doctor you wished for to see?
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:E_
(3EFG|A2 GF GE CE|F2 E>E E2 GA|B2 cd eBGB|c2 BB B2 GA|
BBcd eBGB|cdec BGE F/G/|A2 GF GE CE|F2 EE E2||

AN OLD MAN HE COURTED ME (WILL YOU LOVE, CAN YOU LOVE; AN OLD MAN HE COURTED ME, TAKE ME AS I AM) [1]. Irish, Air (6/8 time). E Flat Major. Standard. AB. Stanford/Petrie (Complete Collection), 1902; No. 526, pg. 133.

AN OLD MAN HE COURTED ME [2]. Irish, Air (3/4 time). F Major/Mixolydian. Standard. One part. Source for notated version: "From (the Irish collector) Mr. Joyce" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 528, pg. 133.

AN OLD MAN HE COURTED ME [3]. Irish, Air (6/8 time). G Major. Standard. AB. "The setting I gave to Dr. Petrie long ago is in Staford/Petrie with my name: but I think the following version better:
***
An old man he courted me fond and lovingly,
An old man he courted me-believe me if you can,
An old man he courted me-to my sorrow he married me,
So, maids, never while you live wed an old man.
***
Joyce (Old Irish Folk Music and Songs), 1909; No. 228, pg. 111.
T:An old man he courted me
L:1/8
M:6/8
N:"Spirited"
S:Joyce - Old Irish Folk Music
K:G
GF|DGG AGG|de/d/c/A/ cd/c/A/F/|DGG AGG|G/F/G/A/B/c/ d2||B/c/|
dge =fdc|BcA GFD|DdB cd (3c/A/F/|AGG G2||

AN OLD MAN IS A BED FULL OF BONES. English, Country Dance (Longways for as man as will). The melody is quite old and was considered part of the traditional repertoire in John Playford's day (Pulver, 1923). Playford, English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg. 44. Familiar Records FAM 47, Pyewackett - "7 to Midnight" (1985).

AND THE CAT CAME BACK. AKA - "The Cat Came Back." Old-Time, Breakdown. USA; Ky., Missouri. G Major (Phillips, Reiner & Anick): A Major (Christeson). Standard, AEAE, ADAE. AABBCC (Phillips): AA'BB'CC' (Reiner & Anick). Christeson (1973) notes: "Played by a few Missouri fiddlers in ... the early 1930's but is seldom heard any more." Sources for notated versions: Doc Roberts (Ky.) [Reiner & Anick]; Kevin Wimmer [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 8. Phillips (Traditional American Fiddle Tunes), 1994; pg. 15. Reiner & Anick (Old-Time Fiddling Across America), 1989; pg. 98. Marimac AHS #3, Glen Smith - "Say Old Man" (1990. Learned from Tommy Jackson). Morning Star 45005, Doc Roberts - "Way Down South in Dixie" (Learned from Madison County, Ky., African-American fiddler Owen Walker {b. 1857), a well-known local entertainer).

ANGLER, THE. Irish, Air (4/4 time). G Major. Standard. One part. "There was a song to this air which was well known in Linerick, about a young man who went our fishing, and met with better luck than he expected. I have often heard the Limerick people sing to this air Byron's two-verse poem beginning 'I saw thee weep'" (Joyce). The first verse goes:
***
As I roved out one morning down by a river side,
To catch some trout and salmon where the stream did gently glide;
Down by the brook my way I took and there by chance did spy
A lovely maid all in the shade, who smiled and passed me by.
***
Joyce (Old Irish Folk Music and Song), 1909; No. 10, pg. 8.
T:Angler, The
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:G
D2|G2F2E2D2|D3f edBA|B2 G>B AGFG|E6F2|G2 F>G E2D2|d3f e3f|
G2f2 ed^ce|d6 B>d|e3f g2B2|g2 fg e>dBA|G3B AGFG|E6 (3DEF|G2F2E2D2|
d3f edBA|G2 A>B G2G2|G6||

ANTHONY FRAWLEY'S JIG (Port Anoine Uí Fhreaghaile). Irish Jig. G Major. Standard. AABB. Breathnach (1976) finds the tune related to "An Seanduine Dóite" (The Burnt Old Man). Source for notated version: fiddler Patrick Kelly, 1967 (Cree, Co. Clare, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 9, pg. 7.

ARRANE GHELBY. Scottish, Slow Air or Waltz. Scotland, Isle of Man. B Minor. Standard. AAB. Source for notated version: Scottish style fiddler Elke Baker (Washington, D.C.) [Matthiesen]. Mattheisen (Waltz Book II), 1995; pg. 35.

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

AULD FOULA REEL, DA. AKA and see "Foula Reel," "Da Auld Reel," "Shaalds o' Foula." Shetland, Reel. A Major. AEAE. AAB. The melody is the traditional accompaniment for a special dance from the Island of Foula, in the Shetlands. On the Island of Yell, also in the Shetlands, the tune in known as "Da Auld Reel," according to Alastair Hardie. Flett & Flett (1964) state that The Auld Reel was a Shetland dance for three couples (in Whalsay) traditional to the isles which, by 1900, had almost disappeared as a separate dance and survived in combination only with the Shetland Reel, having been supplanted by dances from the mainland of Scotland. The traditional Shetland wedding incorporated the Auld Reel and was performed into the last decade of the 19th century; these first Auld Reels were known as the Bride's Reels and were performed by the womenfolk present who danced them in turn. These were followed by the Bridegroom's Reels, with the men taking the place of the women and danced again in turn. "At the end of each of the Bride's Reels, the 'married woman' collected the 'fiddler's money' from the dancers. The bride and the other dancers in the first Reel usually gave a shilling, those in the next Reel gave a sixpence, and so on, descending to threepence from the last dancers of all...in the same way the 'married man' collected...from the men at the end of each of the Bridegroom's Reels. This 'fiddler's money' was the only payment which the fiddler received in those days, but with a big company it was a more than sufficient reward" (Flett & Flett, 1964). The whole series of dances could take up to two hours. In later years the Auld Reel was supplanted by Shetland Reels for most of the ritual, though it still was featured for a portion of the dancing. For an extensive and thorough treatise on the subject see Flett & Flett pgs. 70-74. Source for notated version: Tom Anderson (Shetland) [Hunter]. Hardie (Caledonian Companion), 1992; pg. 123.

AULD LANG SYNE. Scottish, Air (2/4 time) or Strathsepy. F Major (Neil): A Major (Stewart-Robertson). Standard. AABB. Robert Burns (1759-1796) had the air to which he wrote his famous lyrics from an old man's singing, and immediately wrote it down upon hearing as he thought it "exceedingly expressive" and which he later remarked "has often thrilled through my soul." The song was sent by him to Johnson for inclusion in the Scots Musical Museum with a note that it was an old song with additions and alterations (Neil, 1991). Fuld (1966) states that the extent of Burns' responsibility for the words and tune has always been controversial, and states that it is "generally agreed that he was not the author of the words of the first verse," which he points out is the only one everyone knows. According to Robert Chambers [Scottish Songs Prior to Burns, 1890], the earliest printing of a song called "Old-Long-Syne" [sic] with the famous opening line is in James Watson's Scots Poems, Part III, pg. 71 (Edingburgh, 1711). Chambers wrote that he song appears "as early as the reign of Chas. I, its associations conveyed in a song of many (10) stanzas", finally "brought together (in Watson's book) in a song of many stanzas." In fact, there were ten stanzas given in Scots Poems. These early printings, including Burns' version, were to melodies other than the air famous in modern times (interestingly, Burns wrote another song to the "Auld Lang Syne" melody that is substantially the one we know today, which he called "O Can Ye Labor Lea, Young Man," also known as "I Fee'd a Man at Martinmas," found in the Scots Musical Museum [Edinburgh, 1792-1793]).
***
Fuld finds identifying motifs for the modern melody for "Auld Lang Syne" in Playford's "The Duke of Bucclugh's Tune" in Appolo's Banquet (1687), and subsequently and more elaborately as "The Miller's Wedding" (in Bremner's Scots Reels, c. 1765), "The Miller's Daughter," "The Lasses of the Ferry," "Sir Alexander Don's Strathspey," "Roger's Farewell," and the "Overture" to William Shield's opera Rosina (London, 1783). The words and the present melody were first printed together in 1799 in George Thompson's A Select Collection of Original Scottish Airs (London), but, Fuld states, "it is not clear whether Thomson or Burns brought the words and melody together," and it is not clear exactly which air Burns heard the aforementioned old man singing.
***
Stewart-Robertson prints a strathspey version of the tune arranged by John MacAlpin of Killin, for dancing. Ludwig van Beethoven arranged a setting of "Auld Lang Syne" early in the 19th century.
***
As a young man Mark Twain thought to learn music and tried first one instrument, then another, before finally settling down with an accordion. After determining its rudiments, he learned the popular air "Auld Land Syne," and for about a week he continued to torture his unwilling listeners with the melody, when he, being of an ingenious turn of mind, endeavored to improve upon the original melody by adding some variations of his own device. Just as he finished the tune with a suitable flourish, his landlady stepped into his room and said, "Do you know any other tune but that, Mr. Twain?" He told her meekly he did not. "Well then," said she, "stick to it just as it is; don't put any variations on it; because it is rough enough on the boarders the way it is now." As it happened, half the boarders left anyway, while the other half would have had not the landlady discharged Twain first. The aspiring musician went from house to house, but none would undertake to keep him after one night's music, so, at least, in sheer desperation he went to board with an Italian lady--Mrs. Murphy, by name. He says:
***
The first time I stuck up the variations, a haggard care-worn,
cadaverous old man walked into my room and stood beaming
upon me a smile of ineffable happiness. Then he placed his hand
upon my head, and looking devoutly aloft, he said with feeling
unction: "God bless you, young man! God bless you! for you
have done that for me which is beyond all praise. For year I
have suffered from an incurable disease, and knowing my doom
was sealed, and that I must die, I have striven with all my power
to resign myself to my fate, but in vain--the love of life was too
strong within me. But heaven bless you, my benefactor! For since
I heard you play that tune and those variations, I do not want to
live any longer--I am willing to die--in fact, I am anxious to die."
And then the old man fell upon my neck and wept a flood of happy
tears. I was surprised at these things, but I could not help giving the
old gentleman a parting blast, in the way of some peculiarly lacerating
variations, as he went out of the door. They doubled him up like a
jackknife, and the next time he left his bed of pain and suffering he
was all right, in a metallic coffin.
***
At last Twain gave up the instrument, and from then on gave amateur musicians a wide berth. Ashman (The Ironbridge Hornpipe), 1991; No. 72b, pg. 30. Neil (The Scots Fiddle), 1991; No. 189, pg. 244. Stewart-Robertson (Athole Collection), 1884; pg. 1.
T:Auld Lang Syne
L:1/8
M:C
N:"As arranged by John McAlpin, Killen"
B:The Athole Collection
S:Strathspey
K:A
E|A2A>c B>AB>c|AAA>a f2f>a|e<cc>A B>AB>c|A>FE>F A2A:|
|:a|e<cc>A B>AB>c|e<cc>e f>ga>f|e>cc>A B>AB>c|A>FE>F A2A:|

AULD MAN IS LONG A DYING, THE. See "Old Man Will Never Die, The."

AULD MAN'S MARE'S DEAD, THE. Scottish, English; Strathspey ("Slowish"). England, Northumberland. E Minor (Alburger, Emmerson, Gow): A Minor (Johnson). Standard. AB (Alburger, Emmerson, Gow): AABB (Johnson). Composed by one of the first famous Scottish fiddlers, Patrick ('Patie') Birnie of Kinghorn (for whom various dates have been given, including c. 1660-1730 and c. 1635-1721), but unpublished until 1782. An 18th century writer described Birnie as having a face that mingled "cleverness, drollery, roguery and impudence," which has certainly been captured in the one portrait of him that still exists. For more on Patie, who seems quite a character, see Alburger, pgs. 29-30./ The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he wrote c. 1800. Collinson (1966) says the wide intervals (10th and 9th in the sixth and seventh bars) "points clearly to its fiddle origin."
***
The auld man's meer's dead
The puir man's meer's dead
The puir man's meer's dead
A mile aboon Dundee
***
She was cut luggit painch lippit
Steel waimit, staincher fitit
Chanler chafit, lang neckit
Yet the brute did dee!
***
Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 11, pg. 30. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 57, pg. 148. Carlin (The Gow Collection), 1986; No. 6. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), Vol. 10, 1992; pg. 12. Fiddletree F2580, John Turner - "Fiddling Rogues and Rascals, Vol. 1" (1981).

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

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

AUTUMN LEAVES, THE (Duilliúr an Fhómhair). AKA and see "The Merry Thatcher," "Miss Kelly's Favorite," "The New Potatoes," "Old Tom," "Sally Grant," "Through the Heather." Irish, Reel. E Dorian. Standard. AB. Related to "Ginley's Fancy," "Handsome Sally," "The Man of the House," and "Paddy Carthy's Reel." Breathnach (CRE IV), 1996; No. 132, pg. 65.

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.

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

BALANCE THE STRAW [2]. English, Morris Dance Tune (6/8 time). D Major (Bacon): G Major (Mallinson). Standard. AABA (Bacon): AABB (Mallinson). From the Field Town area of England's Cotswolds. Bacon (1974) says this tune is a "new version of 'Balance the Straw' (which) has appeared in post-war years, and has become (an) accepted and effective part of the morris man's repertoire. The tune is a composed, or at least a modified one." Bacon (The Morris Ring), 1974; pg. 151. Mallinson (Mally's Cotswold Morris Book), Vol. 1, 1988; No. 29, pg. 20.

BALL OF BALLYNAFEIDH, THE. AKA and see "The Humours of Ballynafeidh," "The Banks of Lough Gowna," "The Clare Jig," "Delaney's Drummers," "John Naughton's," "The Jug of Brown Ale," "The Kitten and the Frog," "Kitty in the Fog," "Lough Gowna," "The Mug of Brown Ale," "Old Man Dillon," "One Bottle More," "Paddy in London" [2], "Paddy O'Brien's," "The Raffle Jig," "The Rambler From Clare," "The Shores of Lough Gowna," "The Slopes of Sliabh Luachra," "The Stonecutter's Jig," "Tom Billy's Jig," "Winter Apples," "Young Tom Ennis."

BANKS OF (THE) CLAUDY, THE (Bruach an Chladaigh). AKA and see "An Cailin Donn," "Plain of Boccarough," "The Portaferry Boys." Irish, Air (2/4 or 4/4 time). F Major (O'Sullivan/Bunting): D Dorian (O'Neill, Stanford/Petrie): D Major (Stanford/Petrie). Standard. One part (O'Neill, Stanford/Petrie): AABBC (O'Sullivan/Bunting). Claudy is a village on the right bank of a small stream called the Faughan, which rises in the Sperrin mountains and flows into the River Foyle just before it enters Lough Foyle in County Londonderry. O'Sullivan (1983) notes that old collections record tune was a once popular Irish ballad, known throughout the island and beyond, for, according to A.L. Lloyd, the song has turned up "in Sussex and Scotland, Virginia, USA, and Victoria, Australia, practically word-for-word the same and we have to presume that these versions have probably come from, and been more or less fixed by, some printed original on a broadside or in a popular songster." O'Neill (1913) classifies the melody in a group with "Willy Reilly" et al (see note for "Willy Reilly" [2]). O'Neill relates hearing a memorable rendition by a Chicago piper named John K. Beatty, a native of County Meath who was a genial man and a good musician, though with an inflated opinion of his own abilities ("execution he had-too much of it-but neither time nor rhythm"):
***
An American lady, of wealth and social distinction, proud of her Irish
ancestry, once appealed to us for aid in getting out a suitable programme.
The best Irish talent obtainable was engaged. But how about Mr. Beatty?
It was contended that he could play The Banks of the Claudy with trills
and variations in acceptable style, yet no one could guarantee that he
would confine himself within limits. In any event he was the typical
bard in appearance. His confident air and florid face, adorned with a
heavy white mustache, and a head crowned with an abundance of long
white hair, would naturally appeal to an Irish audience, so his name was
placed on the programme, well towards the end, to minimize the effect
of his possible disregard of instructions.]
When his time came to execute The Banks of Claudy he met all ex-
pectations-and much more. Intoxicated by the applause, all was for-
gotten but the mad desire to get more of it, so he broke loose with
rhapsodical jigs and reels, his head on high, nostrils distended like a
race-horse on the home stretch, while both feet pounded the platform
in unison. He evidently 'had it in' for the regulators, for he clouted the
keys unmercifully, regardless of concord or effect, and when he quit,
from sheer exhaustion, it is safe to say that no such deafening laughter
and handclapping ever greeted an Irish piper before or since. (Irish Folk Music, pg. 26)
***
Sources for notated versions: the Irish collector Edward Bunting noted the melody from the harper Charles Byrne, probably at the end of the 18th century; . O'Neill (1850), 1979; No. 430, pg. 75. O'Sullivan/Bunting, 1983; No. 43, pgs. 67-68. Stanford/Petrie (Complete Collection), 1905; Nos. 422 & 423, pg. 107.

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

BANKS OF THE ILEN, THE. AKA and see "Banks of the Ilen," "The Barrack St. Boys," "Birnie-boozle," "Braes of Tullymet," "Brides Away," "The Bride to Bed," "Brides to Bed," "The British Naggon," "Caledonean Hunt," "Cheese It," "Corney is Coming," "Crawford's Reel," "Crockett's Honeymoon," "D. Dick's Favourite," "Fahy's Reel" [4], "The Honeymoon," "I saw her," "Kelly's Reel," "The Lumberjack," "Miss Grant of Grant," "Miss Wilson," "Merry Bits of Timber," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge." Irish, Reel or Hornpipe. D Major. Standard. AABB. O'Neill prints the tune as a hornpipe, though it is most often heard now-a-days as a reel. It is known in the Sliabh Luachra region of the Cork/Kerry border as "Seanbhean na gCartaí" or "Tom Billy's." Rendered as a double jig, the tune appears under the title "Humours of Drinagh." O'Neill (1915 ed.), 1987; No. 334, pg. 165. O'Neill (Krassen), 1976; pg. 90 (reel). O'Neill (1850), 1903/1979; No. 1592, pg. 295 (hornpipe). O'Neill (1001 Gems), 1907/1986; No. 837, pg. 144. Paddy Taylor - "The Boy in the Gap" (reel version). Denis Murphy and Julia Clifford - "The Star Above the Garter." Shanachie 79044, Tommy Peoples - "The Iron Man."
T:Banks of the Ilen
L:1/8
M:C|
R:Hornpipe
S:O'Neill - 1001 Gems (837)
K:D
AG|FDFA d2 fe|d2 fd ecAG|FDFA d2 fd|ecAF GBAG|
FDFA d2 fe|d2 fd ecAG|FDFA d2 fd|ecAF G2:|
|:de|f2 fd g2 ge|abag fdde|f2 fd g2 ge|abaf g2 fg|abaf gage|
fgfd ecAG|FDFA defd|ecAF G2:|

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

BARD OF ARMAGH. AKA and see "Phelim Brady." Irish, Air (3/8 time, "plaintive"). D Major. Standard. One part. The air is the same as that of "The unfortuate rake," an 18th century lament which tells of a dying young man. Other songs set to the tune are, in Ireland, "The convict of Clonmel," and in America, "The Streets of Laredo, "The Cowboy's Lament" and "St. James Hospital." English derivations of the song can be be found printed in broadsides from the mid-19th century, including "The unfortunate lad" and "The bad girl's lament."
***
Oh, list to the lay of a poor Irish harper,
And scorn not the strains of his withered old hand,
Remember his fingers, they once could move sharper,
To raise up the mem'ry of his dear native land.
***
O'Neill (1850), 1903/1979; No. 363, pg. 63.

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

BARROW BOATMAN'S SONG. Irish, Air (3/4 time). E Minor (G Major)/A Dorian. Standard. One part. "Taken down by Mr. O'Leary while the man was rowing and singing" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 286, pg. 136.

BASKET OF TURF (An Cliaban/Cliabh Móna). "Bundle and Go" [1], "The Creel of Turf," "The Disconsolate Buck," "The Lass from Collegeland," "The Unfortunate Rake," "The Wandering Harper," "The Wee Wee Man." Irish, Double Jig. E Minor. Standard. AABB. Some versions are set in the dorian mode, and it is sometimes played with the parts reversed in the order given in Breathnach's CRE II (1976). The song "The Wandering Harper" is set to this air. Holden (Collection of the most esteemed old Irish Melodies, Dublin, 1807) gives it as "The Unfortunate Rake." The melody compares with "Winter Garden Quadrille" in O'Neill's Waifs and Strays of Gaelic Melody (No. 97). Sources for notated versions: accordion player Bill Harte, 1968 (Dublin, Ireland) [Breathnach]; Frank McCollam (Ballycastle, County Antrim) [Mulvihill]; fiddler Con Cassidy (County Donegal) [Feldman & O'Doherty]. Breathnach (CRE II), 1976; No. 52, pg. 28. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 152 (appears as 1st "Untitled Jig"). Mulvihill (1st Collection), 1986; No. 12, pg. 67. O'Neill (1850), 1903/1979; No. 735, pg. 137. O'Neill (1001 Gems), 1907/1986; No. 32, pg. 22.
T:Basket of Turf, The
L:1/8
M:6/8
S:O'Neill - 1001 Gems (32)
K:E Minor
E|EBB BAG|FDF AGF|EBB Bcd|AGF E2E|EGB BAG|FDF AGF|GAB Bcd|AGF E2:|
|:B|Bee efg|dcB AGF|Eee efg|f^df e2e|Eee efg|dcB AGF|GAB Bcd|AGF E2:|

BASTRINGUE, LA. Canadian (originally), American; Air and Reel. Canada; Quebec, Prince Edward Island. USA, New England. D Major ('A' part) & D Mixolydian ('B' part). Standard. AABB (Miller & Perron, Perlman, Sweet): AABB' (Brody). "La Bastringue" has its origins in an old French tune from the 17th or 18th century. In French Canada it became a "party song" which tells of an older man who wants to dance "La Bastringue" with a girl. He soon finds he isn't up to the pace, however, and to save face tries to beg off by feigning concern for the woman's stamina. She proves equal to the task, though, and he finally just has to give up. The first verse goes:
***
Mademoiselle, voulez-vous danser La Bastringue,
Mademoiselle, voulez-vous danser,
La Bastringue est commencee.
***
The song has become as close to being an unofficial French-Canadian national folk anthem as any, though it is perhaps better known now as a dance tune. Transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.) recalled it as one of the first dance tunes he learned, and related that his father played it for the first tune of the evening, to get everyone moving in the house. Sources for notated versions: Jean Carignan (Montreal, Canada) [Brody]; Omer Marcoux (Concord, N.H.) [Miskoe & Paul]; Louise Arsenault (b. 1956, Mont Carmel, East Prince County, Prince Edward Island; now resident of Wellington) [Perlman]. Brody (Fiddler's Fakebook), 1983; pg. 36. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 141. Miskoe & Paul (Omer Marcoux), 1994; pg. 37. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 152. Sweet (Fifer's Delight), 1964/1981; pg. 59. Welling (Welling's Hartford Tunebook), pg. 12. Folkways FG 3532, "Alan Mills and Jean Carignan." Green Linnet SIF-1051, Jackie Daly, Seamus & Manus McGuire - "Buttons and Bows" (1984). Legacy 120l, Jean Carignan- "French Canadian Fiddle Songs." Philo 2002, "Beaudoin Family." Varrick VR-038, Yankee Ingenuity - "Heatin' Up the Hall" (1989). Voyager 320-S, Frank Ferrel- "Fiddle Tunes."
T:La Bastringue
L:1/8
M:C|
K:D
f2ff f2gf|e2c2d3d|c2d2efec|d2e2f2d2|f2ff f2gf|e2c2d2A2|
g3fe2d2|B2c2d2A2:|
|:d2fd ad fd|=c2ec gc ec|d2fd ad fd|bg ec dc BA|
d2fd ad fd|=c2ec gc ec|d2fd ad fa|bg ec d2 (3ABc:|

BATTLE OF ARGAN MORE, THE. AKA - "Argan Mor." Irish, March or Air (4/4 time). D Dorian (?). Standard. One part. A pentatonic tune. Source for notated version: the Irish collector Edward Bunting's MS notes indicate he was given the melody by "a Cushendall man in 1809, tenant to Dr. McDonnell." O'Sullivan/Bunting, 1983; No. 155, pg. 212. RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993).

BEAN(N) AN FHIR RUAIDH. AKA and see "The Red Haired Man's Wife."

BEANN AN FHIR RUAIDH. AKA and see "The Red Haired Man's Wife."

BEAR CREEK'S UP. AKA and see "Bear Creek," "Sally Goodin,'" "Give me Chaw of Tobacco." Old-Time, Breakdown. USA, Mississippi. G Major. Standard. A regional variant of the well-known "Sally Goodin," with similar lyrics to Thede's "Bear Creek." This version goes:
***
Bear Creek's up and Bear Creek's muddy
When a man gets drunk he can't stand steady.
***
The source for the tune, W.E. Claunch, also played "Sally Goodin,'" and for him it was a different tune, played in a different key. A Bear Creek does flow through Tishomingo County, Mississippi, into the Tennessee River, though it is likely, says Tom Rankin, that the title derives from the lyrics, not the location. Mississippi Department of Archives and History AH-002, W.E. Claunch - "Great Big Yam Potatoes: Anglo-American Fiddle Music from Mississippi" (1985?).

BEAUTIFUL LITTLE VALE OF ARAGLIN, THE (Glounthaun Araglin Eeving). Irish, Air (6/8 time). A Minor. Standard. AB. "The Araglin is a small river in the Co. Waterford flowing through a very pretty glen, the subject of an Irish song to this air, of which I have a full copy: written by a Waterford man living in England" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 92, pg. 48 (Joyce includes one verse in both Gaelic and English).
T:Beautiful Little Vale of Araglin, The
L:1/8
M:6/8
N:"Moderate"
Joyce - Old Irish Folk Music
K:A Minor
E|A2A AGA|c3 d2d|ede dcA|(G3 G2)E|A2A AGA|c3 d2d|ede d2c|A3 A2||
e|ged ceg|a3 g2 a/g/|eee dcA|(G3 G2)E|A2A AGA|c3 d2d|ede d2c|(A3 A2)||

BEDFORDSHIRE ASSEMBLY. English. England, Northumberland. One of the "lost tunes" of William Vickers' 1770 Northumbrian dance tune manuscript. The name Bedford is an Old English name derived from a man's name, Bedda, who was associated with a ford in a river (Matthews, 1972).

BEDFORDSHIRE MARCH. English, March (4/4 time). England, Yorkshire. G Major. Standard. AABB. The name Bedford is an Old English name derived from a man's name, Bedda, who was associated with a ford in a river (Matthews, 1972). Source for notated version: a MS by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 107, pg. 60.

BEGGAR MAN, THE. AKA and see "Gilderoy," "The Little Beggarman," "The Red-Haired Boy."

BEIR MO GHRADH (Take my love to that young man). AKA and see "Take My Love Unto the Young Man."

BERENDANS (Bear Dance). AKA - "The Dancing Bear." Flemish, Country Dance Tune (2/4 time). A Minor. Standard. AA'BB'. From the title it appears the tune was used to accompany dancing bears, and comes from the Flemish speaking part of Belgium, although now-a-days the tune is popular throughout Europe. The tune was recorded by the Irish band Dervish, but Henrik Norbeck states that it was first recorded by a band from Holland named "The Kings Galliard" in the 1970's. A printing of the tune appears in Encyclopedia Blowzabellica. See also the related Spanish jig "Danza del oso." Dervish - "The Boys of Sligo" (c. 1989. Appears as "The Dancing Bear"). Metamora - "The Great Road" (late 1980's. Appears in a set of Flemish tunes). Pyewackett - "The Man in the Moon Drinks Claret" (early 1980's, described as a Belgian tune).
T:Berendans
L:1/8
M:C
K:Am
e2A2 ABcd|e2A2 A2AB|c2c2 B2c2|d2d2 c2d2|\
e2A2 ABcd|e2A2 A2AB|c2c2 BAG2|1A2AG ABcd:|2A2AG A2AB|:\
c2ee dcB2|c2ee dcB2|gdBd g2_B2|A2f2 e2^g2|\
a2e2 cdcB|A2AB c2ee|fedc BAG2|1A2AG A2AB:|2A2AG ABcd|]

BETTY MARTIN. AKA and see "Fire on the Mountain(s)," "Granny Will Your Dog Bite," "High, Betty Martin," "Hog Eye," "Hog-Eye Man," "I Betty Martin," "Old Mother Gofour," "Pretty Betty Martin," "Tip Toe Fine," "Very Pretty Martin." Old-Time, Breakdown; American, Reel. USA, southwestern Pa. A Dorian. Standard. AAB. Samuel Bayard (1981) found no British antecedents for this group of tunes. Wilkinson has researched a connection between the "Fire on the Mountain" version of the melody and a Norse "halling" tune published in Norges Melodier (Copenhagen, 1875). Bayard confirms the two tunes are so close that in his opinion a connection is most likely, and concludes that, since "Free (Fire) on the Mountain" was published in a U.S. manuscript (Riley's Flute Melodies) in 1814 or 1815, that the transmission must have been before that. He asks, "Is it possible that this melody represents one of the few scattered cultural relics of the 17th century 'Delaware Swedes'?" (Bayard, 1981). A similar tune by the name of "I Betty Martin" appears in an American MS., "A. Shattuck's Book" (c. 1801). Bayard also states that the following lyrics were sometimes sung to the tune in Pennsylvania:
***
Cat's in the cream crock, run, girls, run!
***
Reminiscent of the old-time lyric "Fire on the mountains, run, boys, run."
Also sung to the "Betty Martin" melody in that state was:
***
You get up on a Sunday-morning,
Just before the break of day;
There you see your own true lovyer
Just a-marching, a-marching away.
Chorus:
Little Betty Martin, tiptoe, tiptoe,
Little Betty Martin, tiptoe fine.
or the alternate chorus:
Granny will your dog bite? No, child, no, child,
Granny will your dog bite? No, child, no.
***
Sources for notated versions: Bayard (1981) gives six versions from six different southwestern Pa. fiddlers--one, from Irvin Yaugher, was origianlly from his great-uncle Uriah, born in 1792. Bayard (Dance to the Fiddle), 1981; No. 60, pgs. 41-43. Revonah Records RS-924, "The West Orrtanna String Band" (1976).

BFUIL AN FEAR MOR ISTIG? AKA and see "Is the Big Man Within?"

BIG-FOOTED MAN (IN THE SANDY LOT). See "Big-Footed Nigger."

BIG-FOOTED NIGGER (IN THE SANDY LAND). AKA - "Bigfoot." AKA and see "Big-Footed Nigger/Man in the Sandy Lot," "Sandy Lot," "Big-Footed Man," "Big-Footed Coon," "Virginia Reel." Old-Time, Breakdown. USA; N.C., Ala., Miss., Tenn. G Major. Standard. AABB. The tune is a mixture of phrases from common dance tunes. The coarse phrase, played on the middle strings will be recognized from the "Turkey in the Straw"-"Natchez Under the Hill"-"Zip Coon" tune family, while the fine part will be found in tunes like "Fort Smith Breakdown" (as played by Ozark old-time musician Luke Highnight). Charles Wolfe says the Stripling Brothers (Charlie and Ira) learned the tune from local West Alabama fiddlers ("Devil's Box", Dec. 1982), and Robert Fleder (1971) relates (in liner notes to the County album of Stripling Brothers releases) that Charlie Stripling recalled "waking up one morning at 3:00 with the second part of the tune running through his head, having heard it played only once earlier in the evening by a neighbor, Henry Ludlow." Stripling was a contest fiddler, and the recording of "Big Footed Man in the Sandy Lot" includes a 'trick' or feature that helped him impress judges and win in competitions; in the midddle of the song he inserts a chorus of "Sweet Bye & Bye." Sources for notated versions: Liz Slade (Yorktown, New York) [Kuntz]; Charlie Stripling (Alabama) [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 23. Recorded by the Roane County (East Tenn.) Ramblers {1929 }. County 401, "The Stripling Brothers." Library of Congress AFS 4806-H-3, Osey Helton (Western N.C.). Library of Congress recording, 1939, W.A. Bledsoe, Meridian, Mississippi (appears as "Big Footed Nigger in a Sandy Lot" and was learned from his father in Lincoln County, Tennessee). Mississippi Department of Archives and History AH-002, W.A. Bledsoe - "Great Big Yam Potatoes: Anglo-American Fiddle Music from Mississippi" (1939). Rounder 0197, Bob Carlin - "Banging and Sawing" (1985). Vocalation 5321 (78 RPM), Stripling Brothers (Pickens Cty., Alabama; learned from Henry Ludlow) {1928} [appears as "Big-Footed Nigger in the Sandy Lot"].
T:Bigfoot
L:1/8
M:2/4
S:Liz Slade
K:G
(3D/E/F/|G)A/A/ BA/(B/|B/)D/G/E/ D(3D/E/F/|G)A/A/ B/A/G/(D/|
E>)(D E/)(3D/E/F/|G)A/A/ BA/(B/|B/)D/G/E/ DD/D/|D/(E/D/)(D/ E)F|
(G/ B) (G/ B:|
|:(e|g/)(a/g/)g/ (g/e/)d|e/f/e/(d/ B/)B/d|(e/ e) (e/ ef|e/(d/B/)B/ d(e|
g)g/g/ g/e/d|e/f/e/A/ G(A/(B/|B/)A/d/(A/ B/A/)G|(C/ E) (C/ E:|

BIG PAT'S (DANDY) REEL. AKA and see "Tie the Ribbons," "Trim the Bonnet," "Jimmy the Creelmaker," "Salamanca," "The Pigeon House," "The Dandy Reel," "The Hills of Clady," "The Clady Reel," "O'Connell's Trip to Parliament." Irish, Reel; New England, Hornpipe. E Minor (O'Neill): B Minor (Tolman). Standard. AB (O'Neill/1850): AABB' (O'Neill/Krassen): AABB (Tolman). Source for notated version: 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]. O'Neill (Krassen), 1976; pg. 94. O'Neill (1850), 1979; No. 1192, pg. 225. Tolman (Nelson Music Collection), 1969; pg. 16 (appears as "Big Pat," a hornpipe).

BILL HARTE'S JIG (Port Liam Uí Airt). AKA and see "Did you see my man looking for me?" Irish, Double Jig. D Mixolydian. Standard. AB (Breathnach): AABB (Mallinson). Breathnach (1976) notes the tune was not original with source Harte, and that it was related to "Bímid ag ól," "Jackson's Humours of Panteen" and "Huish the Cat." In fact, the melody was used as an air, and Breathnach notes that Sligo musician John Brennan used to sing "Did you see my man looking for me? to it. The mother of Tom Barrett, from Knockbrack, Lyreacrompane, near Tralee, would sing to it this soothing song for a child:
***
Bú dí bú sin, neataí nóinín,
Bú dí bú sin, was every bit of her;
See how she goes on the tip of her toes,
Bú dí bú sin, was every bit of her,
See how she dances, see how she prances,
See how she dances, every bit of her;
See how she goes on the tip of her toes,
Bú dí bú sin, was every bit of her.
(Breathnach, CRE II, 1976)
***
Sources for notated versions: accordion player Bill Harte, 1968 (Dublin, Ireland) [Breathnach]; session at the Regent Hotel, Leeds, England [Bulmer & Sharpley]. Breathnach (CRE II), 1976; No. 39, pg. 22. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 55. Mallinson (Enduring), 1995; No. 39, pg. 17.

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:|

BLIND MAN'S DREAM, THE. Irish, Air (6/8 time). E Flat Major. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 684, pg. 172.

BLIND MAN'S REEL [1] (Reel de l'Aveugle). AKA and see "Reel of the Blindmen." French-Canadian, Reel. D Major. Standard. AABB. Welling's version features irregular measure at ends of 'A' and 'B' parts as well as double-tonic tonality. The tune was recorded in the 1920's on a 78 RPM disc by Québecois fiddler Joseph Allard. Sources for notated versions: Gretchen Koehler [Phillips]; 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. 51, pg. 60. Cranford (Winston Fitzgerald), 1997; No. 133, pg. 54. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 29. Welling (Welling's Hartford Tunebook), 1976; pg. 1. Philo 2001, "Jean Carignan."
T:Blind Man's Reel [1]
L:1/8
M:C|
S:Caremelle Begin - from a transcription of Ontario fiddler Dawson Girdwood
K:D
A2 zG|:FD (3DDD (ED)B,G,|A,>DF>(A B>A)F>D|C>EG>(B c>B)A>G|
F>Ad>(e f>d)A>G|F2 (3DDD E>DB,>G,|A,>DF>(A BA)FD|C>EG>B c(BA>G|1
F>(dA>F D2 A>G:|2 F>(dA>F D2 d>e||
|:f>dA>c d>A(F>A)|B/B/AG>B e>dc>B|A>cd>e f>dg>f|e>cd>f e>cd>e|
f>dA>c d>A(FA)|B/B/AG>B e>dc>B|A>fe>d c>AB>c|1 d2 ({e/}d>)c [D3d3]e:|2
d>ed>c d2 A>G||

BLIND MAN'S REEL [2]. French-Canadian, Reel. Canada, Quebec. F Major. Standard. AABB (Messer, Songer): AA'BB' (Phillips). Sources for notated versions: Gerry Robichaud (Nova Scotia & Boston) [Phillips]; Denis Rothrock (Portland) [Songer]. Messer, 1980; No. 74, pg. 49. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 29. Songer (Portland Collection), 1997; pg. 33. Jean Carignan's version? Henri Landry - "Henri Landry, Fiddler from the Eastern Townships."

BLOW THY HORN, HUNTER. English, Air (cut time). C Major. Standard. One part. This air was written by England's Henry VIII who, in addition to being King and a man of letters, was a composer and musician who played upon the virginal, recorders, flute and other instruments of his day. The air appears in B.M., Addl. MSS. 31,922 and MSS. Reg. Appendix 58. Chappell (Popular music of the Olden Time), Vol. 1, 1859; pgs. 39-40.

BLACK FANAD MARE, THE. AKA and see "The Nine Points of Roguery." Irish, Reel. Ireland, County Donegal. The name "Black Fanad Mare" is the Donegal name for the tune usually known as "The Nine Points of Roguery." Caoimhin Mac Aoidh (1994) explains the title comes from a supernatural vision of a druid of old to the famous Fiddler Doyle of Fanad. Another Donegal fiddler, John Doherty, told a tale about the origins of the tune. It seems that Fiddler Doyle was returning home on horseback after playing at a dance party when he came to a crossroads, a place where visions had lately appeared of an old druid. As they approached the crossroads the horse, seeing the apparition when the man didn't, shied away, and Fiddler Boyle, unaware of what might be wrong, had to exert mastery of the animal to get it to approach the road again. As horse and rider arrived at the intersection once again the vision reappeared, and this time the horse halted and threw back its head. Boyle managed to stay on the mount, but the horse's gaze was fixed to the side, and he finally broke into a gallop. The vision stayed at the horses side and Boyle finally saw what it was. Though frightened, the fiddler and his mount finally made it home. After retreating to bed and sleep, the next morning Boyle was inspired by the rhythm of the horse's hooves on the road and heard a reel in his mind, which he called "The Black Mare of Fanad." Source for notated version: John Doherty (1895-1980, Donegal) [Feldman & O'Doherty]. Feldman & O'Doherty (The Northern Fiddler), 1979 (another version appears in the same volume under the title "The Kiltyfanad Reel of Francie Dearg and Mickey Ban O'Byrne").

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 MARY HORNPIPE [1]. AKA and see "Butcher's Hornpipe" [2], "The Piping Pie Man," "Wright's Whim." English, Hornpipe. England, Northumberland. G Major. Standard. AABB. Editor Matt Seattle (1987) remarks this melody is unrelated to the tune of the same name in Offord's publication John of the Greeny Cheshire Way. It is related to the Yorkshire tune "Butcher's Hornpipe" [2], which appears in a mid-19th century MS collection. Seattle (William Vickers), 1987, Part 3; No. 431.

BLACKBERRY BLOSSOM [2]. Old-Time, Bluegrass; Breakdown. USA; Tennessee, Kentucky, Nebraska. G Major ('A' part) & E Minor ('B' part). Standard. ABB (Christeson): ABB' (Berline): AABB (Brody, Krassen, Lowinger, Phillips). The tune is well-known as a traditional Kentucky dance tune. Charles Wolfe and Barry Poss note that Kentucky fiddlers have played a tune by that name since before the Civil War and that Kentucky fiddler Dick Burnett recorded a version in 1930 which has been the model for many traditional southern Kentucky/northern Tennessee versions. This version however is not Arthur Smith's "Blackberry Blossum," which is different and may have been an original of his. Smith recorded his version with the Arthur Smith Trio in 1929. "A family story tells of Arthur's playing the tune over WSM and the station conducting a contest to name the tune; bushels of mail came in, and a woman in Arkansas won with the name 'Blackberry Blossom'" (Charles Wolfe & Barry Poss)./ Ky. fiddler Dick Burnett said he learned his version "from a blind fiddler in (Ashland,) Johnson County, (eastern) Ky., named Ed Hayley" (elsewhere Burnett said he actually learned the tune from northeastern fiddler Bob Johnson, who had it from Hayley {1883-1951}, who was a legendary fiddler in east Kentucky). The tune was in fact Haley's signature tune, though he never commercially recorded it (Mark Wilson & Guthrie Meade, 1976). Another story about the origin of the title comes from Jean Thomas's "Ballad Makin' in the Mountains of Kentucky." It seems that a General Garfield named the tune during the Civil War after hearing a soldier playing it on the harmonica. He remarked to the musician that it was his favorite tune but said he couldn't remember the title, whereupon he expectorated a stream of tobacco juice onto a white blackberry bush blossom; this was noticed and the tune named. As improbable as that story sounds, the tradition of General Garfield's liking for the tune was corroborated by Ed Morrison on his Library of Congress recording (an influential version); he says Garfield used to whistle the tune frequently. Western New York Sources for notated versions: Bob Walters (Lincoln, Nebraska) [Christeson]; Charlie Higgins (Krassen says his version is loosely based on Higgin's playing); Benny Thomasson (Texas) [Phillips]. Brody (Fiddler's Fakebook), 1973; pg. 47. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; No. 142, pg. 101. Frets Magazine, February 1988, "Byron Berline: The Fiddle;" pg. 56. Krassen (Appalachian Fiddle), 1973; pg. 60. Lowinger (Bluegrass Fiddle), 1974; pg. 14. Phillips (Fiddlecase Tunebook), 1989; pg. 7. Phillips (Traditional American Fiddle Tunes), 1994; pgs. 26 & 27 (two versions). Reiner (Anthology of Fiddle Styles), 1977; pg. 32. Columbia 15567 (78 RPM), Burnett and Ruttledge (1930). County 705, Sonny Miller & the Southern Mountain Boys- "Virginia Breakdown." Green Linnet SIF 1075, John Whelan & Eileen Ivers - "Fresh Takes" (1987. Learned from Eamonn O'Loughlin and played as a hornpipe). Marimac AHS #3, Glen Smith - "Say Old Man" (1990. Learned from legendary Galax, Va., fiddler Uncle Charley Higgins). Rounder 0092, Tony Rice - "Manzanita." Rounder 0090, Mark O'Connor - "Markology." Rounder 0073, "The White Brothers in Sweden." Rounder 0241, The Chicken Chokers - "Shoot Your Radio" (1987. Learned from Mike Seegar, Judy Hyman & Bert Levy). Rounder 1004, "Ramblin' Rickless Hobo: The Songs of Dick Burnett and Leonard Rutherford." Sugar Hill Records, Byron Berline & John Hickman - "Double Trouble." Vanguard VSD 45/46, "The Essential Doc Watson." Omac 1, Mark O'Connor - "A Texas Jam Session." Columbia 15567-D (78 RPM), Burnett and Ruttledge, 1930.
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g/a/b/g/ f/g/a/f/|e/f/g/e/ d/B/A/B/|G/A/G/E/ D/E/G/A/|B/G/A/F/ G:|
|:G/D/|Ee/B/ de/d/|Ee/B/ d/e/d/B/|Ee/B/ d/d/e/f/|g/a/b/g/ a/g/e/d/|Ee/B/ d/e/d/B/|
Ee/B/ dd/A/|B/d/g e>d|B/G/A/F/ G:|

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

BONNETS O' BLUE [1]. English, Morris Dance Tune (6/8 time). G Major (Mallinson): F Major (Bacon). Standard. AABB, AABB, AACC, AACC, AA. From the village of Bledington, Gloucestershire, in England's Cotswolds. Bacon notes there is some doubt about the modality of the tune: Cecil Sharpe collected it in 1909 from a man named Charles Benfield who played it with flatteneded 7th in the third measure of the 'A' part and the 7th measure of the 'B' part, however, around 1924, when collected by Dr. Kenworthy Schofield from the same informant, the 7th was consistently flattened. The tune is not the same as "Bonnets So Blue." Bacon (The Morris Ring), 1974; pg. 85. Mallinson (Mally's Cotswold Morris Book), 1988, Vol. 2; No. 43, pg. 21.

BONNY BREAST KNOT(S), THE. AKA and see "The Breast Knot," "Bonny Breist Knots," "Daddy Shot a Bear" (Pa.), "Jaybird" (Pa.), "Lady's Breast Knot," "Looking Glass," "The Pennsylvania Fifers" (Pa.). English, Reel or Country Dance Tune (2/2 time). England, Northumberland. D Major. Standard. AAB (Barnes): AABB (Kennedy, Raven). The country dance "Bonny Breast Knots" has been known since about 1770, according to Flett & Flett (1964), and long had a special place at Scottish weddings. Up until about 1900 in Roxburghshire and West Berwickshire, Scotland, it was always performed as the first dance after the wedding supper, with the bride and groom leading off with the best man and bridesmaid. Its status in the wedding rituals may be what is referred to in the song "The Briest Knots," quoted by Flett & Flett:
***
'Syne off they got a' wi' a fling,
Each lass unto her lad did cling,
And a' cry'd for a different spring,
The bride she sought the breast-knot.
***
Barnes (English Country Dance Tunes), 1986. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 47, pg. 23. Raven (English Country Dance Tunes), 1984; pg. 166. Antilles (Island) AN-7003, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1973).
T:Bonny Breast Knot
L:1/8
M:C|
K:D
|:D|GBBG FAAF|Ee ed =c2 BA|GBBG FAAc|dAAG F2 D:|
|:g|fdfd fa ag/f/|ecec eg gf/e/|fdfd faac|dAAG F2 D:|

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
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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 PUNCH. AKA and see "Bobbing for Eels," "The Bowl of Punch," "The Butchers of Bristol," "Dairymaid" [6], "Fishing for Eels," "The Glens of Mayo," "The Humours of Miltown," "Ioc an Reicneail," "Jackson's Bottle/Jug of Punch/Brandy," "The Jug of Punch," "The Old Man's Jig," "Pay the Reckoning." Irish, Scottish; Jig. D Major. Standard. AAB (Gow): AABB (Kerr). The word 'punch' derives from a Hindi word, panch, meaning 'five', because of its five ingredients: spirits, water, lemon-juice, sugar and spices. The word was first recorded in English in 1669.
**
In the Goodman manuscripts (vol. IV, pg. 11) "Bottle of Punch" is attributed to the 18th century gentleman piper Walker 'Piper' Jackson, of the townland of Lisdaun, parish of Ballingarry, Aughrim, County Limerick. Breathnach (1996) finds the tune in O'Neill's Dance Music of Ireland (1907) under the titles "Jackson's Bottle of Brandy," "Bobbing for Eels," "Fishing for Eels," and "Jackson's Jug of Punch." As "The Bowl of Punch" it appears in the John O'Daly manuscript in the National Library in Dublin, and as "The Bottle of Claret" it can be found in Samuel Holden's Collection of Old-Established Irish Slow and Quick Tunes (1806-1807). O'Farrell, in his Pocket Companion for the Irish or Union Pipes (vol. 1, pg. 17) gives it as "Pay the Reckoning." In addition, says Breathnach, Kerry titles employed for the melody have been "The Old Man's Jig" and "The Fading Rose," while flute player Michael Tubridy of Clare and Dublin calls it "The Glens of Mayo." Joyce's (1909) "The Humours of Ballinaraheen" and "The Humours of Winnington" share the 'B' part with "Bottle of Punch." Finally, Breathnach finds that O'Neill prints a tune called "Dunmanway Lasses" (DMI, 194) with a related first strain. Carlin (The Gow Collection), 1986; No. 322. Kerr (Merry Melodies), Vol. 1; No. 23, pg. 38.

BOTTOM OF THE PUNCH BOWL, THE [3]. AKA and see "The Old Man and the Old Woman."

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

BOATING UP SANDY [3]. Old-Time, Breakdown. USA, West Virginia. A Dorian. Standard. ABB'. The tune is a member of a tune family including "Hog Eye an' a 'Tater," "Hog-Eye Man," "Hog Eye," "Granny Will Your Dog Bite," "Sally in the Garden," "Fire on the Mountain" (there are several tunes by this name; it is a "floater"), and, in some respects "Betty Martin." Known as a West Virginia tune, it is in the repertoire of Wilson Douglas (W.Va.) who learned it from one of his strongest influences, the regionally famous and influential fiddler French Carpenter (W.Va.). Also in the repertoire of Braxton County, W. Va., fiddler Melvin Wine (d. 1999). Source for notated version: Wilson Douglas (W.Va.) & Mel Marshall [Phillips]. Johnson (The Kitchen Musician: Occasional Collection of Old-Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), No. 2, 1988; pg. 9. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 32. Marimac Recordings, 1989, Wilson Douglas - "Boatin Up Sandy." Rounder 0024, "The Hollow Rock String Band" (N.C.).

BOATMAN [1] (Boate Man). English, Country Dance Tune (6/8 or 6/4 time). D Major (Fleming-Williams): C Major (Barnes, Chappell, Karpeles, Sharp). Standard. AB (Chappell): ABB (Sharp): AABB (Barnes, Fleming-Williams, Karpeles). The air was first published by Playford in The English Dancing Master (1650) and again in his Musick's Recreation on the Vio., Lyra-way (1661). Barnes (English Country Dance Tunes), 1989. Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pgs. 308-309. Fleming- Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 7. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 18. Raven (English Country Dance Tunes), 1984; pg. 37. Sharp (Country Dance Tunes), 1994; pg. 43.

BOAT(S)MAN [2]. AKA and see "Sailing Down the River on the O-hi-o," "Ohio River," "Boatman Dance" [1]. Old-Time, Breakdown. USA; W.Va., Pa. A Major (Krassen, Phillips): D Major (Johnson): G Major (Spandaro). Standard. AABBC: ABCC (Johnson): AABBCC (Phillips). The fiddle tune is derived from the minstrel piece credited to Dan Emmett called "De Boatmen Dance" or "Dance, Boatman, Dance;" the tune (words below), according to some accounts, was first heard in performance in Boston in 1843. Emmett published it in that year, advertising it as "An Original Banjo Melody." The tune appears in many American and even English songsters of the 19th and early 20th centuries; Scott (1926) prints it as "Sung by the Ethiopian Serenaders." Both Nathan and Cauthen (1990) assert the melody was in folk currency before the minstrel era, and that it made its way back to folk currency in the fiddle tradition after popularization by minstrels; this is probably true, for it was in print (as "Ohio River") in George P. Knauff's Virginia Reels, volume IV (Baltimore, 1839) -- associated with Ohio River boatmen -- before it was played on the minstrel stage. See also "Boatman's Dance" for version of the tune in the morris dance tradition and "Little Rabbit" for a related old-time version.
***
The Boatsman dance, the Boatsman sing,
The Boatsman do most everything.
And when the Boatsman get on shore,
Spends all his money and he work for more.
Cho:
Dance, Boatsman, dance. Dance, Boatsman, dance,
Stay out all night, 'til the broad daylight,
Coming home with the girls in the morning.
Hey, ho, the boatmen row,
Sail down the river on the Ohio.
Hey, ho, the Boatmen row,
Sail down the river on the Ohio.
***
Well, I never saw a pretty girl in my life,
But what she'd been some boatsman's wife.
When the Boatsman blows his horn,
Look out, men, your daughter's gone! (Johnson)
***
The boatmen whistle and the boatmen sing,
And the boatmen tell me some good thing.
Way, oh, boatmen row,
Sailing down the river on the O-hi-o. (Bayard)
***
Sources for notated versions: Debbie McClatchey (Spandaro), George Strosnider (an elderly Greene County, Pa., when collected in the 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 21, pgs. 25-26 (appears as "Sailing Down the River on the O-hi-o"). Johnson (The Kitchen Musician: Occasional Collection of Old-Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc), No. 2, 1988; pg. 3. Krassen (Appalachian Fiddle), 1973; pg. 69 (appears as "Boatsman"). Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 32. Scott (English Song Book), 1926; pg. 78. Spandaro (10 Cents a Dance), 1980; pg. 28. Folk-Legacy FSI-38, "Sara Grey with Ed Trickett" (1970). Kanawha Records 307, Frank George - "Traditional Music for Banjo, Fiddle, and Bagpipes." Rounder CD0262, Mike Seeger - "Fresh Oldtime String Band Music" (1988). Rounder CD 0382, Marvin Gaster - "Uncle Henry's Favorites."

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

BOBBING FOR EELS. AKA and see "Bottle of Punch," "The Bowl of Punch," "The Butchers of Bristol," "Dairymaid" [6], "Fishing for Eels," "The Glens of Mayo," "The Humours of Miltown," "Ioc an Reicneail," "Jackson's Bottle/Jug of Punch/Brandy," "The Jug of Punch," "The Old Man's Jig," "Pay the Reckoning." Irish, Jig. A Major. Standard. AABB. Credited, impropbably (?), to one C. Knowlton in Cole's 1001. Cole (1001 Fiddle Tunes), 1940; pg. 76.

BOLD CAPTAIN FRENEY. Irish, Air or March (4/4 time). D Mixolydian (Joyce): A Major/Mixolydian (Stanford/Petrie). Standard. One part. "There is an air with this name in one of the Pigot MSS., now in my keeping; the same setting is in the Stanford-Petrie Collection (No. 734), copied from the Pigot MS.; and I find still the same setting in other collections. But in the Kilkenny Archaeological Journal for 1856-57, p. 59, there is given a totally different air, with the whole song about Captain Freney. This air was taken down early in the last century by the organist of St. Canice's Cathederal, Kilkenny, from the singing of an old servant of a very old lady, a relative of the late Mr. Prim of Kilkenny (a distinguished man, one of the founders of the Kilkenny Archaeological Society). This lady often conversed with Mr. Prim about Freney, and was able to sing the song. Putting all these circumstances together, we may, I suppose, conclude that the air given below, copied from the Journal, is the original 'Bold Captain Freney'. The song contains ten verses, of which it will be sufficient to give five here. Captain Freney was a noted highwayman of the county Waterford in the 18th century, who is still well remembered in Munster folklore. In the end he was pardoned, and spent the evening of his life peacefully, as tide-waiter in New Ross. In this situation 'he always maintained a character for integrity and propriety,' a fovourite with all, both gentle and simple. His full history by Mr. Prim will be found in the above-named volume, pp. 52 to 61. I have a printed copy of his life, written by himself" (Joyce). Source for notated version: "From Mr. Pigot's MS" [Stanford/Petrie]. Joyce (Old Irish Folk Music and Songs), 1909; No. 418, pgs. 228-229. Stanford/Petrie (Complete Collection), 1905; No. 734, pg. 184.

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

BRAD WALTERS. Old-Time. USA; Magoffin County, Ky. Recorded by John Salyer, Magoffin County, Ky. Named for a fiddler who played the tune, in lieu of another title. The tune belongs to the "Granny Will Your Dog Bite?"/"Hogeye Man"/"Fire on the Mountain" family of tunes.

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

BRAGGING MAN, THE. Irish, Reel. Ireland, Cork. G Major/Mixolydian. Standard. AAB. Source for notated version: "From P. Carew's MSS" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 900, pg. 228.

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

BRIAN Ó LÁIMHÍN (Brian Hand). Irish, Reel. G Major ('A' part) & E Minor ('B' part). Standard. AABB. Source for notated version: whistle player Pat White/Padraic de Faoite (Ireland), who had it from the man named in the title [Breathnach]. Breathnach (CRE I), 1963; No. 95, pg. 41.

BRIDGE OF NAIRN, THE. AKA and see "The Old Man ill never die." Scottish. John Glen (1891) finds the tune earliest in print in Robert Bremner's second collection, 1768 (pg. 109).

BRIG O' ABOYNE. Scottish, Strathspey ("slowly"). D Major. Standard. AA'B. The brig o' Aboyne spans the River Dee. The town of Aboyne, reports Neil (1991), was developed in the latter half of the 19th century, but was originally a settlement surrounding the castle which lies to the north of the modern town. The composer of the tune was Peter Milne, "The Tarland Minstrel," who was born in Kincardine O'Neil in 1824. He was a self-taught fiddler but proved a prodigy who at the age of 17 was playing in the Theatre Royal in Aberdeen, and later led an orchestra in Edinburgh. Scott Skinner was one of Milne's pupils and musical partners and was greatly influenced by the man, naming him one of the finest native musicians Scotland ever produced. Unfortunately, Milne's later life was one of poverty and debilitated circumstances which began after he became addicted to laudanum (an opiate) which he originally took for rheumatism. Neil (The Scots Fiddle), 1991; No. 61, pg. 85.

BRINK OF THE WHITE ROCKS, THE [3] (Bruac Na Cairraige Báine). AKA and see "Bruach Na Cairraige Báine." Irish, Air (6/8 time, "gaily"). Ireland, Munster. E Minor (O'Neill): D Minor (O'Sullivan/Bunting). Standard. AB. O'Sullivan (1983) remarks there are a number of versions of this tune, including five printed in Petrie's 1855 volume, pgs. 137-143 (one appears under the title "Ar Thaoibh na Carraige Baine"), while Ó Canainn (1978) reports the music can be found in John O'Daly's Poets and Poetry of Munster (1849). O'Daly has a story that the song was written for a wedding gift for the Blacker family of Portadown about the year 1666. The air retains some currency among traditional musicians today. This, the Munster version, is quite different from northern versions. Source for notated version: Source for notated version: The Irish collector Edward Bunting noted the melody for his 1840 collection from a blind man at Westport in 1802. O'Neill (1850), 1903/1979; No. 84, pg. 15. O'Sullivan/Bunting, 1983; No. 26, pgs. 42-43.
T:Brink of the White Rocks, The [3]
L:1/8
M:6/8
N:"Gaily"
S:O'Neill - Music of Ireland (84)
K:E Minor
B2^d e2f|g2f e2=d|BdB AFA|d3 B2A|B2^d e2f|{a}g2f e2=d|BdB AF{A}G/F/|E3E2||
BdB AFD|d2e f2z|e2d BAB/^c/|d3 B2A|B2^d e2f|{a}g2f e2=d|BdB AF{A}G/F/|E3E2||

BRISK IRISH LAD. AKA and see "Brisk Young Lad," "The Jolly Old Man."

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."

BROOM, GREEN BROOM. English, Air (6/8 time). England, Northumberland. G Major. Standard. One part.
***
There was an auld man, he liv'd in the west,
His trade was the cutting of broom, green broom;
He had a lazy lad, whose name it was Jack,
Who'd lie in his bed till noon, till noon,
Who'd lie in his bed till noon.
***
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 98.
T:Broom, Green Broom
L:1/8
M:6/8
S:Bruce & Stokoe - Northumbrian Minstelsy
K:G
D|GGG BAB|GBc d2B|ccc AGA|D2A A2D|GGG BAB|GBd d2g|
fed Ad^c|(d3 d2)d|gfg dcB|ecA GFD|GGG BAB|GBd g2e|ded cBA|(G3G2)||

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

BUACHAILLÍN BUÍ, AN (The Yellow Little Boy). AKA and see "Come in the Evening," "Galloway Tom," "Galway Tom," "Galway Town," "The Goat's Horn," "The Kelso Races," "The Lark in the Morning," "The Little Yellow Boy," "The One-Legged Man," "The Spotted Cow," "The Thrush's Nest," "The Welcome," "A Western Lilt," "The Yellow Little Boy." Irish, Double Jig. D Major. Standard. ABCD (Breathnach): AABB (O'Neill). The tune is best-known under the title "Lark in the Morning." Breathnach states he took the name from the version published by O'Farrell in Collection of National Irish Music for the Union Pipes (c. 1797) and finds two more versions by O'Farrell in the latter's Pocket Companion. Source for notated version: fiddler Tommy Potts (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 27, pg. 12. O'Neill (1850), 1979; No. 706, pg. 131.

BULLY OF THE TOWN. Old-Time, Country Rag and Song Tune. USA; Georgia, North Carolina, West Virginia, Arkansas, Arizona, Missouri, northeast Tenn. G Major. Standard. AABB. The song "Bully of the Town" was originally written by Charles E. Trevathan (a southern sports writer, horse judge and amateur musician) in 1895 for the stage show "The Widow Jones" which opened at the Bijou Theater, New York City that September. It was sung in the production by Trevathan's girl-friend, May Irwin. "Bully of the Town" is mentioned as one of the frequently played tunes in a 1931 account of a LaFollette, northeast Tennessee fiddlers' contest. It was in the repertoire of Skillet Licker fiddler Clayton McMichen (Ga.) who recorded the tune with that group in a triple fiddle version at their first recording session in 1926. Musicologist/folklorist Vance Randolph recorded the tune from Ozark Mountain fiddlers for the Library of Congress in the early 1940's.
**
John Garst finds that the song "Bully of the Town" was developed from an earlier blues ballad called "Ella Speed," based on a real-life incident in New Orleans in the middle years of the "Gay 90's." Garst relates that in September, 1894, Ella was a twenty-eight year old black or mullato prostitute living in a "sporting house" on what is now Iberville Street in the French Quarter. She was the object of the obsessive attentions of Louis "Bull" Martin or Martini, a bartending white Italian-American whom she had met several months previously at another establishment, and who wanted to set her up in an apartment as his mistress, a not uncommon arrangement at the time. Ella, however was lukewarm to him-she liked his money, but didn't care much for the man-and at any rate, she already had a husband, one Willie Speed. Louis was a bully who had been arrested and tried on three separate occasions on assault and battery charges, and who at the time of the murder was wanted by the constable for yet another brutal beating, that of an elderly black man near his place of work. Louis reportedly became enraged at the thought that she might be fond of another man (whether Willie or not). One night, after a day spent recreating, dining and drinking, they returned late to the bordello in which she was staying and, feeling the effects of their partying, retired at around 2:00 AM. The next time Ella was seen was in the morning when she screamed and emerged from her second story room, saying "Help me, Miss Pauline!, Louis shot me!" She collapsed in the hallway, just as the onrushing Madame spied Louis in the doorway, holding a smoking pistol. Louis disappeared, and soon a deputy arrived followed by an ambulance; but too late, for Ella had been shot through the breast with the bullet piecing her heart, left lung and liver, from which wounds she soon bleed to death.
**
A manhunt was raised to find Louis, who after a day turned himself in at the residence of a police Captain. He was arrested, held and charged with murder. After a trial a jury found him guilty of manslaughter, despite Louis's claim the shooting was an accident, and if Louis had counted on getting off easy with the reduced finding he was mistaken, for Judge John H. Ferguson (originally from Massachusetts) sentenced him to twenty years in prison, which Garst says was a stiff sentence for the time.
**
Garst thinks that the song "Ella Speed" appeared soon after the initial shooting and was based on newspaper accounts. "Ella Speed" appears in the collected papers of John A. Lomax (in a Texas version from 1909) and Carl Sandburg included it in his volume American Songbag (1927). Under the title "Bill Martin and Ella Speed," it was recorded several times by Leadbelly between 1933 and 1950, and in fact was recorded by several blues performers, including Mance Lipscomb, Tom Shaw, Tricky Same, Finious Rockmore, Lightnin' Hopkins and Jewel Long (as researched by John Cowley). Garst bases his hypothesis that "Ella Speed" was the model for "Bully of the Town" on three points: 1) the fact that "Bully" appeared a year or two after the "Ella" song, 2) the fact that Louis was a bully and the subject of a massive police hunt, as intimated in both songs, and 3) the similarity between the melodies of "Ella" and "Bully." He believes Trevathan heard "Ella Speed" from a black musician friend named Cooley, and that Trevathan substantially rewrote it, ending up with "Bully of the Town" (Trevathan gave several accounts of how he came to write the song).
**
Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 26. Ruth (Pioneer Western Folk Tunes), 1948; No. 96, pg. 34. County 526, "The Skillet Lickers, Vol. 1" (1973. Orig. rec. 1926). Gennett 6447 (78 RPM), 1928, Tweedy Brothers (W.Va. brothers Harry, Charles, and George who played twin fiddles and piano). Marimac 9017, Vesta Johnson (Mo.) - "Down Home Rag." Rounder Records, Gid Tanner and His Skillet Lickers - "The Kickapoo Medicine Show" (appears as the 4th tune of the Kickapoo Medecine Show skit). Tradition TLP 1007, Etta Baker - "Instrumental Music of the Southern Appalachians" (1956).
T:Bully of the Town
L:1/8
M:2/4
S:Viola "Mom" Ruth - Pioneer Western Folk Tunes (1948)
K:G
D|D[GB][G>B>][GB]|[GB] [G2B2] [GB]|[GB][GB][G_B][G=B]|
G3F|[CE][C2E2][CE]|[Ge][G2e2][Ge]|cc c/B/A|(F2 F)(F/E/)|
D d3 ^c/=c/|ccBA|(G4|G3)||
|:(B/c/)|(d2 d)(3c/d/^d/|ed AB|c2 cA|F3 (A/B/)|(c2 c)(3B/c/^c/|
dc A_B|=B2 BG|D3G|(B2 B)(3A/B/c/|(d2 d)(3c/d/^d/|eecA|
E3_E|D d3 ^c/=c/|ccBA|(G4|G3:|

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

BUNCH OF CURRENTS. AKA and see "I'm a Silly Old Man."

BUNDLE AND GO [1]. AKA and see "The Basket of Turf," "An Cliabh Mona," "The Wee Wee Man," "The Unfortunate Rake," "The Wandering Harper," "The Lass from Collegeland," "The Disconsolate Buck." Irish, Double Jig. G Major. Standard. AABB. Carlin (Master Collection), 1984; pg. 142 (#246).

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:|

BURNT OLD MAN [1] ("An Seanduine Doit/Doighte" or "Sean Duine Dóite"). AKA - "Burdened Old Man." AKA and see "Georgie, the Dotard," "Hob or Nob." Irish, Air (6/8 time). D Major. Standard. AAB. Bayard (1981) believes this tune to be a cognate of the tunes "Miss McLeod's Reel" and "The Campbells are Coming", and that all three are "recognizable cognates of 'The White Cockade' as well." The song (which features bawdy lyrics on the 'maids never wed an old man' motif) can be found in Peter Kennedy's Folksongs of Britain and Ireland and was recorded by Relativity on their first album of the same name (Green Linnet SIF 1059). Caoimhin Mac Aoidh remarks that most older Irish fiddlers (even English-speaking ones) know the tune by the Gaelic name, "Sean Duine Dóite" (pronounced "shaan din-uh doy-chuh"), but that the English name is prevailing among the younger players. While the Irish word dóite does mean burnt, the title would be more meaningfully translated as "The Withered Old Man." The alternate title "The Burdened Old Man" is not used in Ireland. Breathnach's "Anthony Frawley's Jig" is a related tune. Baoill (Ceolta Gael), pgs. 84-85. O'Neill (1850), 1979; No. 90, pg. 17.

BURNT OLD MAN [2]. Irish, Air (6/8 time). D Major. Standard. AB. A variant of "Burnt Old Man" [1]. O'Neill (1850), 1979; No. 91, pg. 17. Songer (Portland Collection), 1997; pg. 43. Green Linnet SIF 3002, Kevin Burke & Jackie Daly - "Eavesdropper."

BURNT OLD MAN [3]. Irish, Air (6/8 time). D Major. Standard. AB. A second variant of "Burnt Old Man" [1]. O'Neill (1850), 1979; No. 92, pg. 17.

BUTCHER'S OF BRISTOL, THE. AKA and see "Bliven's Favorite," "Bobbing for Eels," "The Bottle of Punch," "By your leave, Larry Grogan," "Coppers and Brass," "The County Limerick Buckhunt," "Finerty's Frolic," "Fishing for Eels," "Green Sleeves," "Groom," "Hartigan's Fancy," "The Humours of Ennistymon," "The Humours of Miltown," "Ioc an Reicneail," "Jackson's Bottle/Jug of Punch/Brandy," "The Jug of Punch," "Larry Grogan," "The Lasses of Melrose," "Lasses of Melross," "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "The Old Man's Jig," "Pay the Reckoning," "Pingneacha Rua agus Pras," "Queen of the Rushes," "The Waves of Tramore," "Willie Clancy's."

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 BOVER. English, Air (3/4 time). England, Northumberland. G Major. Standard. AAB. "The ballads and tunes illustrating the doings of the press-gang in this district have deserved greater attention and more searching investigation from the lovers of historical knowledge than has hitherto been accorded to them. This oppressive mode of recruiting for the navy acted with great severity upon sailors, keelmen, and all others of the working population whose avocations partook in the least degree of a nautical character. Harsh and tyrannical measures committed by the officers of the navy in the conducting of 'a press' invited determined resistance, and resulted in riot and bloodshed. The arrival of a vessal 'On His Majesty's Service' in the Tyne was regarded with mixed feelings of aversion and fear by those who were liable to be called upon, and the press-gang was a fertile theme for local rhymsters from the earliest period of its operations down to living memory. 'Captain Bover' and the three following melodies ('Here's the Tender Coming,' 'Liberty for the Sailors,' 'Sailors Are All At the Bar') are interesting memorials of these stirring times, and as expressions of the popular feeling towards this tyrannical mode of appeal to the patriotism of sailors. The tune was taken down by Mr. Thomas Doubleday, who was unable to recover more than one verse of the ballad. On the wall of the north aisle of the nave of St. Nicholas' Church, Newcastle, is a small marble tablet bearing this inscription: 'Near this place lie the remains of John Bover, Esq., Post Captain in the Royal Navy, who died 20th May, 1782, having for several previous years filled with the highest credit the arduous situation of regulating officer of this port'" (Bruce & Stokoe).
***
Where hes ti' been, maw canny hinny?
Where hes ti' been, maw winsome man?
Aw've been ti' the norrad, Cruising back and forrard,
Aw've been ti' the norrad, Cruising suir and lang;
Aw've been ti' the norrad, Cruising back and forrard,
But daurna come ashore For Bover and his gang. (Bruce & Stokoe)
***
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 125-126.
T:Captain Bover
L:1/8
M:3/4
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:G
G2 F>G A2|(B>d) (c/B/) (A/G/) FD|G2 F>G A2|(B>d) (d/c/) (A/F/) G2:|
B>d d>e cA|BG (c/B/) (A/G/) FD|B>d d>e cA|BG (d/c/) (A/F/) G2|
B>d =f(e/d/) cA|BG (c/B/) (A/G/) FD/D/|G>G FG A>G|Bd (d/c/) (A/F/) G2||

CARLE AN' THE KING COME. Scottish, Air (4/4 time). G Major. Standard. AA'BB'. This melody appears in Allan Ramsay's ballad opera The Gentle Shepherd, published 1725. Although it predates Gay's famous Beggar's Opera it was not performed until after Gay's work became a hit in London. A 'carle' in Scottish usage is a 'bloke', or common man. Gow (Complete Repository), Part 4, 1817; pg. 20.
T:Carle an' the King come
L:1/8
M:C
S:Gow - 4th Repository
K:G
B2G4BA|G3E DEGA|B2A4B2|{B}A4G E3G|D3E G2G2|A2B2 g3a|(ba)ge (de)gB|1
A3G E2c2:|2 A4G E2A2||
G2g2 ~g3a|g3e d2g2|e2a2~a3b|{b}a3g e2 ga|b3a g2e2|d2 ef g2d2|e2g2 d2B2|1
{B}A3G E2A2:|2 {B}A3G E2c2||

CARLE HE CAME O'ER THE CRAFT, THE [1]. Scottish, Reel. A Mixolydian. Standard. AAB (Gow): AABB' (Athole). John Glen (1891) finds the tune earliest in print in Robert Bremner's 1757 collection (pg. 30). A 'carle' in Scottish usage is a 'bloke' or commom man. The title appears in early 18th century songsters, and the text later appeared, rewritten by Robert Burns, in James Johnson's Scots Musical Museum as "The Auld Man, He Came Over the Lea." Carlin (The Gow Collection), 1986; No. 497. Gow (Complete Repository), Part 2, 1802; pg. 28. Stewart-Robertson (The Athole Collection), 1884; pg. 20.
T:Carle Cam' o'er the Craft, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:A
A3e cAce|=g2d=c B/c/d B=G|A3e cAce|aefd cecA:|
|:AaaB =cdef|=g=GG=c B/c/d BG|1 Aagb a2 ef/g/|aefd cecA:|2
Aagb aefg|aefd cecA||

CARLE'S RANT. AKA and see "Port a Bhodich." A 'carle' in Scottish usage is a 'bloke' or common man.

CARROLL COUNTY BLUES. Old-Time, Country Blues or Two-Step. USA; Mississippi, Missouri. A Major (Brody, Phillips): G Major (Reiner & Anick). Standard. AAB (Brody, Reiner & Anick): AA'B (Phillips). "Carroll County Blues" was the Mississippi fiddle and guitar duo Narmour and Smith's biggest hit recording. The original melody was composed by fiddler Will Narmour (1889-1961) and was named for his home county, Carroll County, north-central Mississippi. Narmour recorded it with a man named Shell (Sherril) Smith, and it was Smith's wife who recalled that Narmour may have heard the tune either being whistled by a black farmer (according to David Freeman), or hummed by a black field hand (remembers Henry Young). This farmer claimed authorship and called the tune "Carroll County Blues." Narmour and Smith then "worked the tune out," presumably meaning that they arranged it for fiddle and guitar. Narmour is known to have been friendly with black bluesman Mississippi John Hurt, who lived in nearby Avalon. It has also been maintained, ostensibly by folks in Avalon, that Narmour's mentor, Gene Clardy, an older local fiddler, was the one who composed "Carroll County Blues."
***
Gary Stanton, in his article "All Counties Have Blues: County Blues as an Emergent Genre of Fiddle Tunes in Eastern Mississippi" (North Carolina Folklore Journal, vol. 28, no. 2, Nov. 1980), points out that the tune is not what one would consider to be in conventional twelve or sixteen bar blues, but was rather built on several 'riffs' (melodic statements) separated by long held notes or a contrasting musical figure. This results in a piece which has alternations of motion and repose, that Stanton contrasts with Anglo-American fiddling, which is almost constant melodic and rhythmic motion. In addition the tune features 'blues notes', flattened thirds and sevenths slurred into the natural note. The timing is rather odd (ten measures in the 'A' part instead of the usual eight, among other irregularities) with respect to the majority of fiddle tunes, but despite this Freeman (1975) says it has become one of the most famous fiddle tunes in the United States. He notes it was mentioned in Talking Machine World, an old trade paper, as having been one of the biggest selling records of 1929. Narmour recorded other "Carroll County Blues" tunes (see abc's below) attempting to ride the popularity of "Carroll County Blues #1" but they never achieved such widespread acclaim as the first. Due to its popularity #1 was covered by a great many fiddlers, including Kentuckian Doc Roberts (it appears that the Gennett company gave a copy of Narmour's recording to Roberts and told him to learn it for their next recording session). Subsequently, it has been found in local fiddlers' repertoires throughout the South and Mid-West. As previously mentioned, the 'A' part is irregular, though Phillips notes that Narmour sometimes omits the 2/4 time measures (in an otherwise 4/4 tune) or adds two beats to them, so that his performance can be considered inconsistent as well, a not uncommon phenomenon among traditional fiddlers who seldom play a tune the same way twice. Sources for notated versions: Highwoods String Band (Ithica, N.Y.) [Brody], W.T. Narmour (Miss.) [Philips]. Brody (Fiddler's Fakebook), 1983; pg. 63. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 29. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 115. Arhoolie 5001, Hodges Brothers- "Watermelon Hangin' On the Vine." Arhoolie 2001-2002, Hodges Brothers- "The Roots of America's Music." Caney Mountain Records CLP 228, Lonnie Robertson (Mo.), c. 1971-72. Conqueror 8104 (78 RPM), Doc Roberts. County 511, Narmour and Smith- "Mountain Blues." County 528, Narmour and Smith- "Traditional Fiddle Music of Missippi, Vol. 1." Flying Fish 065, Buddy Spicher- "Me and My Heroes." Okeh 45317 (78 RPM), William Narmour & Sherril Smith (3/11/1929). Rounder 0045, Highwoods String Band- "Dance All Night." Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999. Learned from Johnny Bruce, with whom the tune is identified in northern Missouri).
T:Carroll County Blues [2]
M:2/4
L:1/8
S:From a transcription by Gary Stanton of Narmour and Smith OK 45377
K:G
B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/(d/ d2)|
B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/G/ E<G|G [G,/D/]G/E/G/ G|
B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/(d/ d2)|[ee>][ef] ed|
B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/G/ E<G|G/D/[B,/D/][A,/E/] [B,2G2]|
B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/(d/ d2)|B/A/B/G/ E<G|
B/A/B/G/ E<G|G/G/ D/G/E/(G/ G2|G/ g e<g d/|eg e/d/[D/d/]g/|
f/d/f/d/ A/^c/e/g/|f/(d/[d/f/])g/ ed|f/d/f/d/ A/^c/e/g/|
f/(d/[d/f/])g/ ed|g/e/a/(e/ [B/b/]) [Bb]a/|fd e[Bg]||
T:Carroll County Blues [3]
M:2/4
L:1/8
S:From a transcription by Gary Stanton of Narmour and Smith OK 45459
K:D
F/E/F/(A/ A2)|([B,2G2] G/) AE/|F>A F>E|DA, B,(D|D2 D>)B,|
DE DB,|DE DB,|(D2 F2)|(F2 D2|D4|D)D E/ [A,F] [B,/G/]|
[B,2G2] F>G|AG (FE)|D2 F2|[F2d2] (ef)|[F2d2] (ef)|[F2d2] (ef)|
[F2d2] (ef)|[F2d2]A B([F2d2]|[F4d4]|[Fd])(A B)([Fd]|[F2d2]) d2|
dd [Fe]([Fd]|[F4d4]|[F2d2]) (ef)|[F2d2] (ef)|[F2d2] (ef)|
[F2d2](A B)([Fd]|[F4d4]|[fd])(A B)([Fd]|[F2d2])[F2d2]|
[Fd][Fd][Fe][F((d]|[F4d4)]|[Fd)](e f)(a|a)(ec)(A|A)(ef)(a|
a)(ec)(A|A)BB(d|d4|d)A BA|[F2d2] [F2d2]|[Fd][Fd] [Fe][Fd]|[F4d4]||

CARTY'S REEL (Ríl an Chárthaigh). AKA - "Carthy's Reel." AKA and see "Castle Reel," "Kathy's Reel," "Micho Russell's Reel." Irish, Reel. E Minor ('A' part) & G Major ('B' part). Standard. AABB'. A variant of "The Ashplant" and the only known composition of Doolin, County Clare, tin whistle player Micho Russell (1915-1944). It is commonly known as "Micho Russell's Reel" although, according to Charlie Piggott (Blooming Meadows, 1998), Russell himself called it "Carthy's Reel." The tin-whistle player, known for his weaving stories, lore and associations into his music, and not above some purposeful playing with the tradition, said he had long ago learned it from an old man named Carthy. "At the time there used to be such a thing on the Aran Island called a Pattern Day (June 14th). People from here used to go over in curraghs. An awful lot used to come up from Galway, pipers and others, with different classes of instruments. So Carthy was beyond anyway and he heard the old tune from a piper playing it and he had the first part but only three-quarters of the second part. So when Séamus Ennis came around collecting the music, I put in the last bit. That's roughly the story of the tune."
Source for notated version: flute and whistle player Micho Russell, 1966 (Doolin, Co. Clare, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 294, pg.
T:Carthy's Reel
T:Micho Russell's Reel
L:1/8
M:C
K:E Minor
ed|B ~E3 G2 GB|B ~E3 BEdE|Be (3eee d2 dB|ABAF DEFA|
Beed G2 GA|B ~E3 BEdE|Be (3eee d2 dB|ABAF DEFA:|
|:BcBA G2 GA|B ~E3 Bdgd|BcBA G2 FG|A ~d3 A ~d3|
BcBA g2 GA|B2 BA Bdgd|gbaf g2 ge|dedB A2 GA:|

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

CAVALILLY MAN. English, Country Dance or Air (6/8 time). A Minor. Standard. One part. The melody appears in Playford's Dancing Master (1670 and later editions), 180 Loyal Songs (1685 and 1694), Pills to Purge Melancholy (1707), The Village Opera, and other ballad operas. Like many ballad tunes there were numerous sets of words written to it, thus it appears also as "The North-country Maid's Resolution," "West Country Lass(es Sweetheart)," "Roger, the West Country Lad," and "Which nobody can deny." Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 26. Raven (English Country Dance Tunes), 1984; pg. 15.

CAVAN REEL, THE (Ríl an Chabháin). AKA and see "The Gravel Walk," "The Green Jacket," "The Highland Man Who Kissed His Mother/Granny," "Jenny Tie Your Bonnet," "The Jolly Seven," "Stenson's No. 1." Irish, Reel. D Major. Standard. AABB. Recorded by the Flanagan Brothers. O'Neill prints a version as "The Green Jacket." Breathnach (1976) remarks the tune is related to his "College Grove" (CRE II, No. 265). Source for notated version: whistle player Johnny Maguire (Co. Cavan and Belfast, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 168, pg. 88. Ceol, iii, pg. 25.

CAVES OF CONG/KONG, THE. AKA and see "The Red Haired Man's Wife," "Loch Lein," "Thios ag Beal Bearnais." Irish, Air (3/4 time, "with feeling"). D Major. Standard. AB. The air, for which there are no words under this title, is well known (both air and words) as the song "The Red Haired Man's Wife." The village of Cong is in County Mayo, close to the shores of Loch Corrib, in County Galway. Nearby are numerous caves that are historically and geologically significant. The Pigeon Hole, Ballymaglancy cave which has stalactites and stalagmites, Captain Webbs Cave, Kelly's Cave, Lady's Buttery and Horses Discovery caves in the vicinity of Cong town are mostly accessible. The Giant's Grave cave near Cong was a megalithic burial chamber and nearby at Nymphsfield there is one of a number of stone circles in the area. O'Neill (1850), 1903/1979; No. 161, pg. 28.

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

CADGERS OF THE CANNONGATE. Scottish; Strathspey, Fling or Reel. G Major. Standard. AABB' (Carlin, Kerr): AAB (Gow, Neil, Skye). The Cannongate is a famous street of some antiquity in Edinburgh which links the Castle and Holyrood Place. Robin Williamson (1976) explains that a 'cadger' was originally a word for a 'carrier', or one who whose job it was to ferry about customers in sedan chairs. He suggests the word may have derived from the tinker's cant word 'gadgie', meaning a man, and notes that in more recent times it has come to mean a beggar or someone who wheedles or sponges something. There was atone time a country dance of the same name, written down in 1752 for his students by one John McGill, at the time a dancing master in Girvan (Alburger). Glen (1891) finds the tune first published in Bremner's collection (pg. 51), though it also appears in Lowe's Collection of Reels, Strathspeys and Jigs. Source for notated version: Bobby McLeod [Williamson]. Carlin (Master Collection), 1984; pg. 106, No. 183. Gow (Complete Repository), Part 1, 1799; pg. 12. Kerr (Merry Melodies), Vol. 4; No. 106, pg. 13. Neil (The Scots Fiddle), 1991; No. 6, pg. 8. MacDonald (The Skye Collection), 1887; pg. 78. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; Pg. 66. Beltona BL 260 (78 RPM), Bobby McLeod's Highland Dance Band.
T:Cadgers of the Cannongate
L:1/8
M:C
K:G
B|GBGB (de/f/) ge|dBgB A/A/A (AB)|GBGB (d/e/f) ge|dBgB G/G/G G:|
g|b>age g>edB|GBgB A/A/A Aa|b>age g>edB|G/G/G Gg|b>age g>edB|
GBgB A/A/A Aa|bgae gdeB|dBgB G/G/G G||

CAILÍNÍ IN FHACTORY (The Girls of the Factory). Irish. At Chieftains' piper Paddy Moloney's wedding, the music was performed by Seán Ó Riada, who arrived late carrying the wedding present of a huge rug. Paddy had asked Ó Riada to play the organ and had paid off the church's regular organist in anticipation, and despite the lateness Ó Riada sat down to play as the bride was escorted into the church by her father to the rousing strains of...not the "Wedding March" but "Cailíní in Fhactory" (The Girl of the Factory). Moloney was the only one who knew the title, and said of Ó Riada, "That terrible man just looked at me and winked" (Glatt, The Chieftains, 1996).

CAISLEÁN AN ÓIR/CAISLEÁN NA nOR. AKA and see "The Golden Castle." Irish, Hornpipe. G Dorian. Standard. AABB. Composed by West Clare fiddler Martin "Junior" Crehan (b. 1908). Peter Woods (in his book The Living Note: the Heartbeat of Irish Music, 1996) relates Crehan's story about how they got the tune. It seems that at one time a crowd of men were digging a grave for a fiddler at a location that overlooked a place called Caislean Oir. An old man happened by on the road and asked whether the group had made the sign of the cross before they dug, and was assured they had. The old man then proceeded to tell them, in Gaelic, the story of a priest who had taken a wife and was banished to live above the Cliffs of Moher (County Clare), and then he sang them a song in Irish known as "The Priest's Lament." The air of the song stayed with then and formed the basis of the hornpipe "Caisleán an Óir," named for the prominent feature where they heard the melody. Sources for notated versions: fiddler Junior Crehan (West Clare, Ireland) [Breathnach]; Martin Hayes [Fiddler Magazine]. Breathnach (CRE III), 1985; No. 223, pg. 102. Ceol, (II, (1) pg. 50. Fiddler Magazine, Spring 1994; pg. 11. ACM Records, Mick O'Brien - "May Morning Dew." Comhaltas Ceoltoiri Eireann CL17, Junior Crehan - "Ceol an Chlair, Vol. 1." Green Linnet SIF 1058, Matt Molloy & Sean Keane - "Contentment is Wealth" (1985). Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978. Learned from Martin Rochford of Bodyke, Co. Clare). Green Linnet SIF1127, "Martin Hayes" (appears as "The Golden Castle").

CALLAHAN. AKA - "Callahan's Reel," "Callahan Rag," "Fiddler's Farewell," "Last of Callahan," "McClahan's March." AKA and see "Old Sport" [1]. USA; southwest Va., eastern Tenn., Kentucky, Arkansas, Missouri. Old-Time, Breakdown. A Major. Standard, AEAE. The piece is known simply as "Callahan" in Patrick County, southwestern Va., where it is regarded as one of the older pieces in the fiddler's repertoire and predates the "string band" genre tunes which featured banjo/fiddle combinations (Tom Carter & Blanton Owen, 1976). Bobby Fulcher (1986) concurs regarding the age of the melody and says it belongs to a group of archaic tunes characterized by cross tunings, elaborate bowings and eccentric melody lines: "These droning exotic, richly flavored tunes were not to be danced to, or accompanied by other instruments, but just made interesting listening." Clyde Davenport (b. 1921), of Monticello, Ky., had the tune from his father, who picked it and other similar tunes up from a man named Will Phipps, an "old-timer" from Rock Creek, Tennessee (who is remembered for being buried with his fiddle in his coffin). Farther west, the title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Mark Wilson (in the liner notes to Vol 1 of "Traditional Fiddle Music of Kentucky") points out that the tune "radically shifts" in fiddle versions from east to west across the state of Kentucky, until it seems that the only similarities between extremes are a similar ascending and descending lines over a drone 'A' chord.
***
A legend attached to the tune gives that it was written by a condemned man, one Callahan, just before he was executed by hanging; this is, of course, a centuries old tale primarily attached to the Scottish outlaw Macpherson (see "Macpherson's Farewell"), hanged in Banff in the year 1700. D. W. Wilgus, in his article "The Hanged Fiddler Legend in Anglo-American Tradition," extensively explores the "Callahan" legend, first collected in 1909 by Katherine Jackson French near Louden, Kentucky, from two boys who "played and sang 'Callahan's Confession.'" A report by E.C. Perrow in the Journal of American Folklore (25) in 1912 gave that "Some years ago an outlaw named Callahan was executed in Kentucky. Just before his execution he sat on his coffin and played and sang a ballad of his own composing, and, when he had finished, broke his musical instrument over his knee." This story, in almost exactly the same words, was related by elderly Bell County, Kentucky, fiddler Estill Bingham (1899-1990) to Bob Butler and Bruce Greene, also appearing in Suzy Jones Oregon Folklore (Bingham had moved to Oregon for a time before returning to Kentucky):
***
One I never have heard played nowhere only around amongst a few old
fiddlers there (i.e. Kentucky). It was called 'Callahan.' My dad played it, and they's a
story goes with it. Well, they had this man Callahan up to be hung. And he
had his casket made and brought there to the scaffold where they was aimin'
to hang him, and they asked him if he wanted any request, any last request-
and he was a fiddler so he said he'd like to play one more tune. So they
give him his fiddle and he set on the end of his casket and played that
tune. And he said, 'If they's anybody can play that tune any better 'n I
can, I'll give 'em my fiddle.' The story goes that nobody tried, and he
busted his fiddle over the end of his casket.
***
Elderly sources swear the Callahan story "really happened" in Clay County, Kentucky, though other locales also claim the honor. One such elderly source, one Oscar Parks of Deuchars, Indiana, recounted the story to Alan Lomax in 1938. Parks was originally from Livingston County, Kentucky, and had the tale from an old man in nearby Jackson County. According to this version John Callahan was being hanged for killing a man in the course of a feud. This Callahan offered his fiddle to anyone who would join him on the gallows and "sit down with him and play that tune1/4" and when no one dared for fear of being involved in the feud Callahan "busted that fiddle all to pieces overt that coffin" (Prior to his death Callahan supposedly married his sweetheart, Betty Larkin, and lived with her "for several months" in the jail in Manchester, Clay County, Kentucky--an interesting union of "Callahan" with the Southern play-party song "Betsy Larkin," "Betsy Diner" or "Rosa Betsy Lina"). Wilgus found there were Callahans (and indeed one John Abe Callahan) involved in feuds in Kentucky, albeit in Breathitt County, and none were recorded as having been hung.
***
Another version of the tale was supplied by a Mrs. Herman R. Staten of Paris, Kentucky, who wrote to the Archive of American Folksong soon after World War II to say that she was a Callahan descendent and that her fiddler-father and an elderly relative told her that the Callahan of the tale was an Isaac Callahan who died in the middle of the 19th century, and "knowing he was to hang, he built his coffin, and taking his fiddle he played while his sister danced upon his coffin." Similar to this is a note by A. Porter Hamblen which gives that Callahan was convicted of murdering a Jewish peddler and was hanged at Barbourville, Kentucky, on May 15, 1835--"At the hour of his execution he requested to be allowed to play a farewell on his violin. While seated on his coffin he played this tune which since has borne his name. He then handed the violin to the sherrif, was lead onto the gallows and the trap sprung, sending Callahan to his maker." Kentucky banjo player Pete Steele (living in Hamilton Ohio) told musicologist Alan Lomax in 1938 the Callahan tale with emphasis on the disposition of the fiddle. In this variant the condemed man sits on his coffin at the place of execution and declares as his last wish that he wants to play "Callahan," and further, that if anyone in the crowd can also play the tune then that individual will be given the fiddle. Someone does play "Callahan," the fiddle is transferred to a new owner and the event proceeds.
***
D.W. Wilgus says that some eastern Kentucky and West Virginia sources give the title as "Calloway" (see note below), and place the event in Madison, Boone County, W.Va., dated around 1850. Marion Thede published a version of the piece played by Oklahoma and Arkansas fiddlers as "The Last of Callahan" with the particularly western variant that Callahan was a horse thief caught by a posse and about to be summarily hung. While standing in a wagon underneath a tree limb with a noose around his neck, Callahan was asked for his last words. The outlaw requested instead to play the fiddle one more time, and with the noose still around his neck he played a tune, the likeness of which is remembered as "The Last of Callahan," and handed his fiddle down to one of the bystanders at the fateful event. See also notes for "MacPherson's Lament," "Coleman's March" and "Pennington's Lament." In the repertoire of Kentucky fiddler William H. Stepp, who recorded for the Library of Congress in 1937. Eastern Kentucky fiddler Luther Strong's version was transcribed for John and Allan Lomax's book Our Singing Country (1941).
***
Despite the assertion by Wilgus that "Calloway" is a variant of the "Callahan" title, it seems that most of the "Calloway" pieces are a family of (primarily) banjo tunes unrelated to "Callahan" (which itself has a wide variation in melodic contours). There is much variation in collected versions of both tunes, and perhaps a bit of overlap, however. Morgan Sexton (1911-1992) played a "Last of Callahan" in the banjo tuning associated with "Calloway" (eCGCD) that in fact resembles some of the "Calloway" tunes.
***
Source for notated version: Cyril Stinnet (Mo.) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 18. Columbia (15570, 78 RPM), Roane County Ramblers (eastern Tenn., as "Callahan Rag" {1929}). County 403, Roane County Ramblers. County 788, Clyde Davenport - "Clydescope: Rare & Beautiful Tunes from the Cumberland Plateau" (1986). Gennett 16087 (78 RPM), Fiddlin' Doc Roberts & Asa Martin (1930. An unrealeased master). Marimac 9009, Dave Spilkia - "Old Time Friends" (1987). Old Homestead OHCS191, Dykes Majic City Trio (eastern Tenn.), originally recorded for Brunswick/Vocalation 5181 (1927). Rounder CD-0376, George Lee Hawkins - "Traditional Fiddle Music of Kentucky, Vol. 1" (1997). Victor 19450 (78 RPM) {as "Callahan's Reel"} Fiddlin Cowan Powers (1877-1952?, Russell County, S.W. Va. {1924}).

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

CAMP CHASE [2]. Old-Time, Breakdown. A Major. AEAE, DGDG (Harvey Sampson) or Standard. AABB. No relation to version #1. The legend attached to the tune has been related by several writers (with slight variations) but most versions begin at the point that Solly "Devil Sol" Carpenter (fiddler French Carpenter's grandfather and himself one of the most influential fiddlers in West Virginia history) is imprisoned during the Civil War at a Union prison in Camp Chase, located near the west side of Columbus, Ohio, where the present-day Fort Hayes is situated. Little remains of the prison camp save for a cemetary on West Sullivan Ave., and a small stone retaining wall on West Broad Street, Columbus.
**
The story goes that while he was incarcerated the commandant held fiddler's contest to give the best player a chance to fiddle his way to freedom, or, as some versions go, to win a reprieve from a death sentance. Devil Sol, a man named Bowie and others played and apparently all the fiddlers played the same tune. Solly won by adding some unusual new notes to the tune according to his fancy (or perhaps, as one writer suggests, in desperation). West Virginia fiddler Wilson Douglas, a protege of French Carpenter, relates "There was quite a few who played in the contest; but Saul put these two high notes in. That tune, he called it 'Camp Chase.' It was some kind of a tune before but they hadn't named it yet. And when he got out of there he called it 'Camp Chase,' and it's gone by that name ever since." Although Sol gained his freedom in the contest he had to sign a parole, pledging not to take up arms against the Union; as the story goes, he ignored this and headed south to join another Confederate unit.
**
Alan Jabbour notes a similarity between one of the versions of "Camp Chase" and "George Booker," and suspects it may be the latter that was played in the contest; the name "Camp Chase" may then have been applied to the tune by W.Va. fiddlers who were familiar with the legend and Solly's Carpenter's music (Bill Hicks {1972}; Krassen {1983}). "George Booker" seems related, notes Jabbour, to the 18th century Scottish strathspey "The Marquis of Huntly's Farewell."
**
It will be noted that there are similar such legends in British Isles and other traditions in which a fiddler tries to play his way to freedom (or plays a masterpiece just before he is executed). Perhaps the oldest, and certainly one of the most famous, is the myth of the Greek harper Orpheus, who played his way out of Hades. See also the tunes "MacPherson's Farewell," "Last of Callahan," "Callahan" and the Cajun "Guilbeau's Waltz" and "Valse a Napoleon" which have similar tales attached.
**
Sources for notated versions: French Carpenter (WVa) [Krassen]; Bruce Molsky [Phillips]. Krassen (Masters of Old Time Fiddling), 1983; pg 58-59. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 44. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band - "Flat Foot in the Ashes" (1986/1994. Learned by Calhoun County, W.Va., fiddler Harvey Sampson, probably from one of the Carpenter family). Shanachie Records 6040, Gerry Milnes & Lorraine Lee Hammond - "Hell Up Coal Holler" (1999).

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").

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.

CAOINEADH UÍ DHOMHNAILL (O'Donnell's Lament). AKA - "Caoineadh Uí Dhonail." AKA and see "Lament for O'Donnell." Irish, Slow Air (4/4 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard. AABB. This song and its air have some currency in Kerry but apparently not elsewhere. The Munster air is in memory of Red Hugh O'Donnell, an Ulster chieftain who (along with Hugh O'Neill) waged the Nine Year War against the English forces of Elizabeth I at the end of the 16th century. O'Donnell, O'Neill and their Spanish allies were defeated at the Battle of Kinsale in 1601, having been outmanoeuvred by Mountjoy's army, with the effect that the rebellion quickly collapsed and English control over the entire island was assured. A story, perhaps from a winking Denis Murphy (?), has it that "Lament for O'Donnell" is about a man who, while dancing at a party, cuts his foot on a tap from his shoe and contracts blood poisoning from which he soon expires. His friends take him to the field in the hopes of reviving him, and an angel appears and sings this lament for him! Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 19, pg. 24. Folkways FW8781, Denis Murphy - "Traditional Music of Ireland Volume 1" (appears as "Queen of O'Donnell," a misinterpreting of the Gaelic title "Caoineadh Ui Dhomhnaill", which when rendered in English sounds like "Queen of O'Donnell" {caoineadh is pronounced 'kween'}). Green Linnett SIF 1139, Eileen Ivers - "Eileen Ivers" (learned from Brendan Mulvihill). RTE Records, "Denis Murphy: Music from Sliabh Luachra". Topic Records, Padraig O'Keeffe - "Kerry Fiddles" (Padraig probably learned it from the singing of his grandmother Mrs. Callaghan). Topic Records, Denis Murphy - "The Star Above the Garter."

CAOL MHUILE (The Narrows of Mull). AKA - "St. Columba's Hymn." Scottish, Air (6/4 time). G Major. Standard. One part. This ancient air is thought to be St. Columba's rowing song as he guided his coracle (a hide-covered frame boat) into the Sound of Mull on his pilgrimage to Alba. Columba, or Colum Cille, was an Irishman from County Donegal who was born of noble parentage in the year 521. He is famous for establishing over 100 monasteries, and especially for his ministry to the Scottish Picts, which began on Whit Sunday in 563 on the island of Iona or I-Colum Cille. For the next 34 years he missioned to the islands and Highlands. He was:
***
...an extraordinary character, with a vibrant and winning
personality, matched with great shrewdness. Many of the
miracles which he is adjudged to have performed can be
rationalized and accounted for by his great sense of foresight.
Throughout his life, he worked hand in hand with his followers,
and he took a very active part in the politics and affairs of his
people. He had a single purity of mind and a boundless love of
his fellow man, which rank him among the foremost saints of
Scotland. (Neil, 1991)
***
Neil (The Scots Fiddle), 1991; No. 165, pg. 213.

CEART NA CINE DAONA. AKA and see "Rights of Man."

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||

CELLO. American, March (?. 4/4 time). USA; Ohio, Michigan. A Minor ('A' part) & C Major ('B' part). Standard. AAB. The title is pronounced with a soft 'C', as in "celebrity." Al Smitley collected the tune from an elderly fiddler by the name of Ray Shepard whom (in May, 2000) was still playing in his 80th decade. Smitley says: "Shepard grew up in southern Ohio and it was there that he learned the tune. He moved to Michigan (south of Saline) when he was a young man." Source for notated version: fiddler Al Smitley of Michigan's Ruffwater Stringband [Johnson]. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), Vol. 7, 1986-87; pg. 12.

CHAILLEACH IS A CEAG AR A GUALAINN, AN (The Hag with the Keg on her Shoulder). AKA and see "Kitty's Rambles," "The Rambles of Kitty," "The Ladies Triumph," "Kitty's Rambles to Youghal," "The Heart of my Kitty for me," "The Heart of Kitty still warms to me," "I'm a man in muself like Oliver's Bull," "Linehan's Rambles," "Murray's Maggot," "Strap the Razor," "Young Ettie Lee." Irish, Double Jig. D Mixolydian. Standard. AABB. Breathnach (1976) remarks that the tunes "The Cobbler" and "Dan the Cobbler" have the same second parts as this group of tunes, although the first parts differ. Source for notated version: flute and whistle player Micko Russell, 1969 (Doolin, Co. Clare, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 36.

CHELMSFORD ASSEMBLY. English, Country Dance Tune (6/8 time). G Major. Standard. AABB (x3). The tune was first published in 1750. Chelmsford, in Essex, is an Anglo-Saxon name denoting a ford across a river belonging to a man named Ceolmar (pronounced almost as Chelmer) {Matthews, 1972}. Barnes (English Country Dance Tunes), 1986. Johnson & Luken (Twenty-Eight Country Dances as Done at the New Boston Fair), 1988, Vol. 8; pg. 2.

CHELMSFORD RACES. AKA and see "The Hullichan Jig," "The Guard House," "The Marchioness," "Soldier's Dance." English, Jig. England, Dorset. B Flat Major. Standard. AABB. The tune goes back to the 18th century. Chelmsford, in Essex, is an Anglo-Saxon name denoting a ford across a river belonging to a man named Ceolmar (pronounced almost as Chelmer) {Matthews, 1972}. Trim (Thomas Hardy), 1990; No. 94.

CHIPPY GET YOUR HAIR CUT. AKA and see "Gippy/Johnny/Hippie Get Your Hair Cut." Old-Time, Breakdown. USA, Mississippi. C Major or A Major. The tune was recorded for the Library of Congress by collector Herbert Halpert in 1939 from the playing of eighty year old Lauderdale County, Mississippi, fiddler Stephen B. Tucker. The 'A' major tune often features pizzicato notes on the 'E' string. The melody belongs to the "Fire on the Mountain"/"Hog-eye Man"/"Sally in the Garden"/"Granny Will Your Dog Bite" family of tunes.

CHRISTMAS COMES BUT ONCE A YEAR. AKA and see "I'm a Silly Old Man."

CHRISTMAS RUM, THE. AKA and see "The Old Man and the Old Woman."

CHUIR/CUIR I GLÙN AIR A BHODACH (She Put Her Knee On the Old Man). Scottish, Reel. A Dorian. Standard. AAB. "Very old." MacDonald (The Skye Collection", 1887; pg. 119. Stewart-Robertson (The Athole Collection), 1884; pg. 45.
T:Chuir I Glùn Air a' Bhodach
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:Aminor
A>B d2 Bde2|A>B d2 e>dBG|ABd<d B>d e2|dBB2 A>BAG:|
e>^f g2 f>g a2|e>^f g2 a>gfd|e>^f g2 f>g a2|e>d B2 A>GA>G|
e>^f g2 f>g a2|e>^f g2 agfd|e>^fge fd e2|d>B B2 A>GAG||

CHUIR MÉ FEISTEAS AR MO THEACHSA (I Furnished Up My House). AKA and see "Bobby Casey's Hornpipe," "The Humours of Tullycreen/Tullycrine." Irish, Hornpipe. A Dorian. Standard. AAB (Moyland): AABB (Breathnach). Breathnach prints these words, from source John Kelly, with the air:
***
I furnished up my house as well as I was able,
With a three-legged stool and a fine old table.
That wouldn't do I had to get the cradle
And look for the bottle in the morning.
***
Sources for notated versions: fiddler John Kelly/Seán O'Kelly (Ireland) [Breathnach]; Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) {Moylan quotes O'Leary saying:
***
And do you know where we got it? I was along with Denis
Murphy behind playing in the Jug of Punch bar where Lil's
sister is married in Killarney. And myself and Denis Murphy
that opened the bar, I suppose about twenty-six years ago and
Mike Sullivan, a man from Kilcummin, a fairly old heavy lad,
a great set dancer, he walked up and came out with that hornpipe,
we never had it heard. Denis held at it till he got it and I got it
from Denis then and 'Mike Sullivan's' we called it. He usen't
to play at all but he had every tune under the rising sun in his head. [Moylan].
***
Breathnach (CRE I), 1963; No. 205, pg. 83. Moylan (Johnny O'Leary), 1994; No. 77, pg. 44. Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978. Appears as "Bobby Casey's Hornpipe," learned from Co. Clare musician Bobby Casey). Topic 12T357, Johnny O'Leary - "Music for the Sets" (1977. Appears as the first of two hornpipes called "Mike Sullivan's").

CIARAN O'REILLY. AKA and see "Master Seamus." Irish, Reel. G Major. Standard. AA'BB. The tune was composed by fiddler Charlie Lennon who originally titled it "Master Seamus." The man whose name is associated with the tune, Ciaran Ó Raghaillaigh, is a fiddler from Dublin with a strong Cavan background, active since the 1960's, associated with the Abbey Tavern players, according to Finbar Boyle. Nimbus NI 5320, Tommy Peoples & Seamus Gibson - "Fiddle Sticks: Irish Traditional Music from Donegal" (1991).
T:Ciaran Ó Raghallaigh
T:Master Seamus
C:Charlie Lennon
L:1/8
M:4/4
Z:Ted Hastings
K:G
B,C|DB, ~B,2 DGBG|FC ~C2 EGcG|FD ~D2 FAdc|edcd BGEG|
DG,B,D GB,DG|ECDE GCEG|FADF AcBA|1 GFAF G2:|2 GEDB, G,2||
Bc|dggf gdBd|eccB ceag|fddc dfc'b|agfe dcBc|
d2 Bd gdBd|~c2 Bc ABAF|EccB cBAG|FDCA, G,2:||

CILLE CHOIRILL (Cairell's Bell). Scottish, Slow Air (3/4 time) and Pipe March (6/8 time). C Major. Standard. One part. The air was composed by Kenneth Kennedy, with the pipe march setting by Pipe Major Stewart (Mrs.). According to Neil (1991), the title is taken from the name of the ancient burial ground in the Braes of Lochaber, and is named for Saint Cairell. Cairell was originally an Irish missionary who crossed the Irish sea in small hide-covered frame boats, called coracles, to Scotland around 600 A.D., accompanied by some followers. After proselytising in Scotland for some time he returned to his native Ireland to live in the monastery at Clonkeen-Kerrie, where he died. Though "a humble and unostentatious man, small in stature, with poor health but strong in spirit," Cairell's ministry in Scotland was successful and there are a number of sites in that country associated with him, including Glen Urquhart, Appin, Tayniult, and Ruthven parish in Banffshire, "where both a cairn and a well are named after him." The graveyard bearing the Saint's name is the resting place of many generations of Highlanders, including some of the composer's ancestors who struggled at Culloden and with Wolfe at Quebec, and the similarly ancient church is thought to have been built by Cameron of Lochiel sometime in the 1400's to atone for his sins.
**
Oh where in the whole world, such beauty and grace,
As Cille Chairill in the braes of Lochaber,
'Neath the green mossy mounds many clans lie asleep,
All around are the hills they did wander.
In this heaven on earth rest ancestors blest;
Their children so true, shall never forget
Till the hills fade away and the last tune is played,
With love, they will always remember.
**
Neil (The Scots Fiddle), 1991; No. 155, pg. 201.

CLARE JIG, THE [1]. AKA and see "The Ball (Humours) of Ballynafeidh," "The Banks of Lough Gowna," "Delaney's Drummers," "John Naughton's," "The Jug of Brown Ale," "The Kitten and the Frog," "Kitty in the Fog," "The Mug of Brown Ale," "Old Man Dillon," "One Bottle More," "Paddy in London" [2], "Paddy O'Brien's," "The Raffle Jig," "The Rambler From Clare," "The Stonecutter's Jig," "Tom Billy's Jig," "Winter Apples," "Young Tom Ennis." Irish, Double Jig. A Dorian. Standard. AABB (Roche, Sullivan): AA'BCC'D (Mitchell). Clare takes its name from the 12th century leader of a Norman conquoring expedition, Gilbert de Clare, nicknamed Strongbow. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; the Dubliners, piper Leo Rowesome [Sullivan]. Mitchell (Dance Music of Willie Clancy), 1993; No. 40, pg. 52. Roche Collection, 1982; Vol. 1, pg. 52, No. 128. Sullivan (Session Tunes), Vol. 3; No. 7, pgs. 3-4.

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|]

CLUCK OLD HEN [3]. AKA and see "Old Aunt Katie." American, Reel. USA, southwestern Pa. G Major. Standard. AB. In this case the title is a floating one, attached to a Scottish piece usually called in southwestern Pa. "Old Aunt Katie." It was collected with the rhyme:
***
Cluck old hen, cluck right along;
Cluck old hen, till your chickens rolls on;
Cluck old hen, and I don't give a damn--
I can git a woman if you can git a man. (Bayard)
***
Source for notated version: Walter Neal (Armstrong County, Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 284, pg. 237.

CLUINN THU MI MO NIGHEAN DONN, AN (Will You Listen to Me, My Brown-Haired Maid). Scottish, Slow Air (3/4 time). C Major. Standard. One part. A song-poem in Gaelic by Domhnall Donn about an older man in love with a younger woman. He wishes to marry her and promises to go to sea no more, but instead stay at home and look after her, pledging a full and happy lofe together. Neil (The Scots Fiddle), 1991; No. 150, pg. 193.

COBBLER THERE WAS, A. AKA - "The Cobbler's End," "Derry Down," "Abbott of Canterbury," "Death and the Cobbler." English, Air. The air was set by Richard Leveridge to the words "A Cobbler There Was" and published by John Gay in the third and later editions of The Beggar's Opera (1729), under the title "Ourselves, like the great, to secure a retreat." It also appears in Watts' Musical Miscellany (1731) and in many ballad operas throughout the 18th century. Kidson (1922) identifies it as a "Derry down" air from the 17th century, which has been used for a number of songs through the ages; in fact, Claude Simpson notes that more than a hundred adaptations of the tune were contrived in the 18th century alone. In the 19th century it appears as "The Queer Little Man," "Dennis Bulgruddery" and others. Raven (English Country Dance Tunes), 1984; pg. 68.

COBBLER'S HORNPIPE, THE [2]. AKA and see "Cobbler's Hornpipe," "Connolly's Reel," "Craig's Pipes," "The Fiddler is Drunk," "The Foxhunters," "Greg's Pipe Tune," "Gregg's Pipes," "Gun Do Dhuit Am Bodach Fodar Dhomh" (The Old Man Wouldn't Give Me Straw), "The Kerry Huntsman," "Kregg's Pipes," "The Manchester," "Píopaí Greig," "Willy Wink(ie)'s Testament," "Willy Wilky." English, Reel or Hornpipe. England, Northumberland. F Major. Standard. AABB. Seattle (William Vickers), 1987, Part 2; No. 305.

COCK LORREL. AKA and see "An Old Man is a Bed Full of Bones." English, Country Dance Tune (6/8 time). G Minor. Standard. One part. Chappell (1859) states the tune appears in 180 Loyal Songs (1685), Pills to Purge Melacholy, and The Dancing Master (1650 and all later editions, under a different name). As is usual with ballad tunes, which it once was, this melody was used as the vehicle for several songs and so is also variously known by the titles "The Rump roughly but righteously handled", "The City's Feast to the Lord Protector," "St. George for England," "The Painter('s Pastime)," "Michaelmas-Term," "The Rambling Clerke," and "A Bill of Fare," among others. The song "The Cock Lorrel" is in Ben Jonson's masque The Gipsies Metamorphosed and Pepys collection of ballads in addition to Pills to Purge Melacholy. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pgs. 40-41.

COCK OF THE NORTH [3]. Irish, Slide.
T:Cock o' the North
D:Jackie Daly, "Many's a Wild Night", track 13(b)
M:12/8
N:From the album notes by Ma/ire O'Keeffe:
N:[T]he last two slides are versions of the well known
N:"Cock o'the North". This is a common Scottish piping
N:tune which can be found in 6/8 time in James Hunter's
N:"The Fiddle music of Scotland" No. 299, where we are
N:told that the Cock o' the North was an honorary title
N:for the Duke of Gordon. The second tune came from
N:the playing of Maurice O'Keeffe of Kishkeam who
N:attributed this version to the playing of Johnny Billy,
N:a far-out relation of Tom Billy's who was renowned
N:for the sweetness of his playing. According to
N:Maurice, Johnny Bill was a shy man and was never
N:recorded.
L:1/8
R:slide
K:A
"A" c3 "Bm" dcd "A" e3-e2 e | efe cBA "E" B3 BAB |
"A" c3 "D" dcd "A" e3-e2 e |1 efe "E" c2 B "A" A3 A2 B :||
2 "E" efe c2 "A" B A3-A2 e ||
||: "D" a2 e "A"c2 e "D" a2 "A" e c2 e | efe cBA "E" B3 B2 e |
"D" a2 e "A" c2 e "D" a2 e "A" c2 e |
1 efe "E" c2 B "A" A3 A2 e :|| 2 "E" efe c2 B "A" A3 A3 ||
***
A Bm A / | / / E / | A D A / |1 / E A / :|| 2 E / A / ||
||: D A D A | / / E / | D A D A | 1 / E A / :|| 2 E / A / ||

COCKLED OLD MAN, THE [1] (An Sean Fear Cocailleac). Irish, Double Jig. A Aeolian. Standard. AABB. Roche Collection, 1982; Vol. 1, pg. 52, No. 127.

COCKLED OLD MAN, THE [2]. Irish, Double Jig. G ('A' part), C ('B' part) {the modality shifts quite a bit}. Standard. AABB'. Roche Collection, 1982; Vol. 3, pg. 31, No. 102.

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

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 GLENN. Irish, Reel. G Major. Standard. AB. Named for astronaut and senator John Glenn of Ohio (?). Composed by uilleann piper Andy Conroy, of New York, originally from Lough Glynn and Dublin. Source for notated version: Andy Conroy [Breathnach]. Breathnach (Ceol II, 1), 1965; No. 4. Breathnach (The Man and His Music), 1997; No. 4, pg. 8.
T:Colonel Glenn
C:Andy Conroy
L:1/8
M:C
K:G
ge|dB B2 AG G2|Bd d2 edge|dB B2 AG G2|edgB A2 Bc|dedB AG G2|
Bd d2 edge|dB B2 gedB|AGAB G2||ga|bg g2 ag g2|eB B2 AG G2|
DB B2 AG G2|edgB A2 ga|bg g2 ag g2|eB B2 AG G2|dB B2 gedB|
AGAB G2||

COLORED ARISTOCRACY. AKA and see "Southern Aristocracy." Old-Time, Breakdown. USA, West Virginia. G Major. Standard. AA'BB'. This late 19th century or c. 1900 tune is more correctly categorized as a cakewalk (which suggests ragtime from its syncopated rhythms) rather than a fiddle tune though the popularized version apparently comes from old-time fiddler Sanford Rich, a resident of Arthurdale, West Virginia in August of 1936. Arthurdale, according to Kerry Blech and Gerald Milnes, was a resettlement camp for displaced persons during the depression, a project of Elanor Roosevelt's, and it was there at a festival of folk heritage that musicologist Charles Seeger (father of New Lost City Ramblers member Mike Seeger) recorded the Rich Family for the Library of Congress (AFS 3306 B2). Gerald Milnes has located Sanford's son, Elmer Rich, an elderly man who still fiddles and who remembers the event. Mike Seegar learned the tune at a young age by playing the aluminum recordings in his parent's house. It became one of the first tunes recorded by his group the New Lost City Ramblers in the early 1960's, and introduced the song to "revival" era fiddlers.
***
The second chord in the accompaniment has been variously played as both an E minor and an E major. The origin of the title remained obscure, although it was speculated that it derived from Reconstruction sentiments (or resentments) about the perceived attitude (either within or without the black community) of some African-Americans (i.e. that "Colored Aristocracy" was a gentrification of "Uppity Nigger"). However, Peter Shenkin tracked the title to a piece of sheet music from a 1902 revue entitled "In Dahomey," which starred the famous African-American vaudeville duo Williams and Waltker. The music (entitled "Leader of the Colored Aristocracy") is credited to Will Marion Cook, words by James Weldon Johnson (later of Harlem Renaissance fame), published by Harry Von Tilzer. Another "Coloered Aristocarcy" dates from 1899 credited to one Gus W. Bernard (published by the Groene Co.); it is listed as a "Cake-walk" on the cover. Neither the Bernard tune or the one published by Tilzer is the "Colored Aristocracy" played by fiddlers, however. Bob Buckingham reports that a fiddling preacher of his aquaintance named Buck Rife (originally from the Beckley WV area) calls the tune "The Young Man Who Wouldn't Hoe Corn" and gave that he had it as a youngster learning clawhammer banjo from an uncle. Brody (Fiddler's Fakebook), 1983; pg. 72. Phillips (Fiddlecase Tunebook), 1989; pg. 11. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 33. Columbia GP18, Taj Mahal - "De Old Folds at Home." Folkways FA 2396, New Lost City Ramblers- "Vol. 1." Folkways 2494, New Lost City Ramblers - "Sing Songs of the New Lost City Ramblers" (1978. Learned from a Library of Congress recording of the Riche Brothers at the 1936 Athurdale, W.Va. fiddler's Convention). Fretless FR 200A, Yankee Ingenuity - "Kitchen Junket" (1977). Front Hall FHR-01, Bill Spence & Fennig's All Stars - "The Hammered Dulcimer." Rounder 0002, Spark Gap Wonder Boys- "Cluck Old Hen." Rounder 0075, Richard Greene- "Duets." Smithsonian/Folkways SF CD 40098, New Lost City Ramblers - "There Ain't no Way Out" (learned from the Library of Congress field recording of Sanford Rich).

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/:|

CONNAUGHT MAN'S RAMBLES, THE [2]. Irish, Jig. The tonality shifts between G and D Major and A Mixolydian. Source for notated version: fiddler Peter Turbit [Feldman & O'Doherty]. Feldman & O'Doherty (The Northern Fiddler), 1978; pg. 229.

CONNOLLY'S REEL (Ríl Uí Chonghaile). AKA and see "Cobbler's Hornpipe," "Connolly's Reel," "Craig's Pipes," "The Fiddler is Drunk," "The Foxhunters," "Greg's Pipe Tune," "Gregg's Pipes," "Gun Do Dhuit Am Bodach Fodar Dhomh" (The Old Man Wouldn't Give Me Straw), "The Kerry Huntsman," "Kregg's Pipes," "The Manchester," "Píopaí Greig," "The Whistling Postman," "Willy Wink(ie)'s Testament," "Willy Wilky." Irish, Reel. Ireland, County Clare. D Major. Standard. AABB. Breathnach (1963) states this is a County Clare name for "Greig's Pipes." Source for notated version: fiddler Kathleen Collins (Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 146, pg. 68. Shanachie 29002, "Kathleen Collins" (1976).

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

CORK HORNPIPE, THE [1]. AKA and see "Cincinnati Hornpipe," "Dundee Hornpipe," "Fred Wilson's Clog," "Granny Will Your Dog Bite?" (Pa.), "Harvest Home," "Higgin's Hornpipe," "Kephart's Clog" (Pa.), "Kildare Fancy," "Snyder's Jig" (Pa.), "Standard Hornpipe," "Wilson's Clog," "Zig Zag Clog." Irish, Hornpipe. D Major. Standard. ABB' (Moylan): AABB (Roche). The name Cork is derived from the Gaelic word coraigh, a swamp. The tune was known under this title by central New York fiddler Winifred "Murph" Baker (Champion, NY). Sources for notated versions: Tom Billy Murphy via accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; uilleann piper Andy Conroy (New York, originally from Lough Glynn and Dublin) [Breathnach]. Breathnach (Ceol II, 1), 1965; No. 1. Breathnach (The Man and His Music), 1997; No. 1, pg. 7. Moylan (Johnny O'Leary), 1994; No. 292, pg. 169. Roche Collection, 1982; Vol. 2, pg. 14, No. 223.

CORNEY DREW'S HORNPIPE (Crannciuil Crotuir Uí Draeda). Irish, Hornpipe. G Major. Standard. AABB (O'Neill): AA'BB' (Breathnach). This tune is associated with the Irish musician Corney Drew, of the Sliabh Luachra region of the Cork/Kerry border. Caoimhin Mac Aoidh remarks that there is "strong evidence" that Drew learned from a fiddle player named O'Grady who moved to the region from Tipperary. Drew in turn influenced area musicians Din Tarrant and Tadhg "an asal" Buckley, who all played a "house dance" style, less ornamented with less slurring than the other famous Sliabh Luachra style typified by fiddler Pádriag O'Keeffe and his students Denis Murphy and Julia Clifford. Source for notated version: piper Liam Ó Floinn (Kildare) [Breathnach/Man & his Music]. Breathnach (The Man & his Music), 1996; No. 6, pg. 104. O'Neill (Krassen), 1976; pg. 200. O'Neill (1850), 1903/1979; No. 1713, pg. 313. O'Neill (1001 Gems), 1907/1986; No. 903, pg. 155.
T:Corney Drew's Hornpipe
L:1/8
M:4/4
R:Hornpipe
S:Breathnach (1996)
K:G
G2 GE GABd|edef (3gfe df|edef (3gfe dB|AGAB (3cBA GE|
G2 GE GABd|edef (3gfe d2|(3efg dc BGAF|1 G2 GF GEDE:|2
G2 GF G2||
|:Bd|g3b aaga|(3bag af gedg|edef (3gfe dB|1 BAAG A2 Bd|g3b aaga|
(3bag af ge d2|(3efg dc BGAF|G2 GF G2:|2 AGAB BAGE|
G3E GABd|edef (3gfe d2|(3efg dc BGAF|G2 GF GEDE||

COTTAGE IN THE GROVE, THE [2]. AKA and see "Jenny Tie your Bonnet," "Tie the Bonnet," "Down with the Mail," "The Rambler's Rest," "Upstairs in a Tent," "In and Out the Harbour," "Jenny Lace your Tight," "Lassie/Lassies tie your Bonnet(s)," "Lizzie's Bonnet," "The Faraway Wedding," "The Gravelled Walks to Granny," "The Highland Man Who Kissed His Granny."

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

COUNTRY MAN'S HORNPIPE. Old-Time. The "Countryman's Reel"?? USA, Mo. Caney Mountain Records CEP 210 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965-66.

COUNTRYMAN'S REEL. AKA and see "Flowers of Cahirciveen." American, Reel. B Flat Major. Standard. AABB. The "Country Man's Hornpipe" played by Lonnie Robertson?? Source for notated version: John Francis [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 58.

COURTIERS, COURTIERS (THINK IT NO HARM). AKA and see "The King of Poland." English, Air (6/8 or 6/4 time). E Minor (Gay): D Minor (Chappell). Standard. AB. The air appears in John Gay's Beggar's Opera (1729) under the title "Man may escape from rope and gun," and in Playford's Dancing Master (1686) as "The King of Poland." It is also on early half-sheet music and broadsides. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 60. Raven (English Country Dance Tunes), 1984; pg. 58.

CRAIG'S PIPES. AKA and see "Cobbler's Hornpipe," "Connolly's Reel," "The Fiddler is Drunk," "The Foxhunters," "Greg's Pipe Tune," "Gregg's Pipes," "Gun Do Dhuit Am Bodach Fodar Dhomh" (The Old Man Wouldn't Give Me Straw), "The Kerry Huntsman," "Kregg's Pipes," "The Manchester," "Píopaí Greig," "Willy Wink(ie)'s Testament," "Willy Wilky." Irish, Reel. G Major. Standard. ABC (Mallinson): ABBCC (Sullivan). Mallinson (Enduring), 1995; No. 9, pg. 4. Sullivan (Session Tunes), Vol. 2; No. 9, pg. 5.
T:Craig's Pipes
T:Kerry Huntsman, The
R:reel
S:P. Keenan
E:7
M:C|
K:G
B2 BA BAGA|B2GB AGED|~B3A BAGB|~A2 BG AGED|\
B2 BA BAGA|B2GB AGED|(3.B.c.d ed BcdB|AcBG AGEG||*
DG ~G2 DGBG|DGBG AGEG|DGGF~G3 B|dBAc BG~G2::\
d2 Bd efge|dGBG AGEG|d2Bd efge|agbg ageg:|**

CRODH LAOIGH NAM BODACH (The Old Man's Calf). AKA and see "Plundering the Lowlands." Scottish, Air (3/4 time). D Dorian. Standard. AB. The air is found in a music manuscript of the early 19th century by the Maclean-Clephane sisters at Torloisk on the Isle of Mull, Scotland. It was taken from the "playing of {Echlin?} O'Kain by Mr. {Patrick} Macdonald." Heymann (1988) states that the travelling Irish harper Echlin O'Cathain was known to have spent time in Scotland. O'Cathain was born in 1729 and became a student of Cornelius Lyons, a famous harper. Besides Denis Hempson, he was the only surviving harper by the end of the 18th century to cultivate long fingernails in the ancient manner. Heymann (Secrets of the Gaelic Harp), 1988; pg. 91.

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

CUMBERLAND GAP [1]. AKA - "Tumberland Gap." Old-Time, Breakdown. USA; Arkansas, southwest Virginia, West Virginia, Kentucky, western North Carolina, Alabama. G Major: A Major: D Major (Tommy Jarrell). Standard, DGDG (Harvey Sampson) or ADAD (Tommy Jarrell). ABCC'DD (Phillips): AABB (Thede): AABBCC (Brody). The Cumberland Gap is a pass in the Appalachians between upper Tennessee and Kentucky. The tune was played by Rock Ridge, Alabama, fiddlers c. 1920 (D.B. Vol. 17, #2, pg. 20). It was in the repertoires of Fiddlin' Cowan Powers 1877-1952? (Russell County, southwest Va.) who recorded it in 1924 for Victor {though it was unissued}, and African-American fiddler Cuje Bertram of Kentucky's Cumberland Plateau region (Bertram recorded it on a 1970 home recording made for his family). Also in repertoire of J. Dedrick Harris who was from eastern Tennessee and who fiddled regularly with Bob Taylor in his run for Governor of the state in the late 1800's. Harris moved to western North Carolina in the 1920's and influenced a generation of fiddlers including the Helton brothers, Manco Sneed, Bill Hensley, and Marcus Martin. In the Round Peak region of western North Carolina the melody was known by the title "Tumberland Gap" for many years until the isloation of the area broke down. Near Round Peak, Mt. Airy, North Carolina, fiddler Tommy Jarrell (d. 1986) remembered the tune "came around" the region when he was a young man, around 1915, and was not known before then. The tune was mentioned by William Byrne who described a chance encounter with West Virginia fiddler 'Old Sol' Nelson during a fishing trip on the Elk River. The year was around 1880, and Sol, whom Byrne said was famous for his playing "throughout the Elk Valley from Clay Courthouse to Sutton as...the Fiddler of the Wilderness," had brought out his fiddle after supper to entertain (Milnes, 1999). The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Sources for notated versions: Luther Strong [Phillips]: Walter Fenell (Latimer County, Oklahoma) [Thede]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 62. Thede (The Fiddle Book), 1967; pg. 114. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band - "Flat Foot in the Ashes" (1986/1994. Learned by Calhoun County, W.Va. fidder Harvey Sampson from his father). Broadway 5118-A (78 RPM) {1924} and Library of Congress AFS 4804-B-3 {1941}, Osey and Ernest Helton (Asheville N.C.). Conqueror 8239 (78 RPM), Doc Roberts. County 723, Cockerham, Jarrell, and Jenkins- "Back Home in the Blue Ridge." Marimac 9008, The Lazy Aces String Band - "Still Lazy after All These Years" (1986. Learned from Arthur Smith). Rounder 1005, Gid Tanner and His Skillet Lickers- "Hear These New Southern Fiddle and Guitar Records." Rounder 0058, Corbit Stamper and Thornton Spencer - "Old Originals, Vol. 2" (1978). Rounder 0089, Oscar and Eugene Wright (W.Va.) - "Old-Time Fiddle." Vocalation 14839 (78 RPM, 1924) Uncle Am Stuart (b. 1856, Morristown, Tenn). Voyager 340, Jim Herd - "Old Time Ozark Fiddling." Yodel-Ay-Hee 05, The Wildcats - "On Our Knees" (1992).

DIARYMAID, THE [6]. AKA and see "Bobbing for Eels," "The Bottle of Punch," "The Bottle of Claret," "The Butchers of Bristol," "Fishing for Eels," "Jackson's Jug of Punch," "Jackson's Bottle of Brandy," "The Old Man's Jig," "Pay the Reckoning." Irish, Jig.

DAN THE COBBLER. AKA and see "Kitty's Rambles (to Youghal)," "The Heart of My Kitty (for me)," "The Heart of My Kitty Still Warms Me," "Lady's (Ladies) Triumph," "Rambles of Kitty," "Young Ettie Lee," "I'm a man in myself like Oliver's Bull," "Linehan's Rambles," "Murray's Maggot," "Strap the Razor," "An Chailleach is a Ceag ar a Gualainn." Irish, Jig. D Major. Standard. AABB. The three part version of the tune most popularly goes by the name "Kitty's Rambles." See also the second part of "The Cobbler." Source for notated version: Candace Woltz [Phillips]. Kerr (Merry Melodies), Vol. 1; No. 22, pg. 37. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 20. Phillips (Fiddlecase Tunebook), 1989; pg. 14.

DANCE AROUND MOLLY. Old-Time, Breakdown. USA; Mo., North Carolina. A Major. Standard or AEAE (Art Stamper). AABB. A traditional dance tune collected in Missouri and North Carolina. "Well known tune among Missouri fiddlers" (Frank Maloy). Played by Tommy Magness over WSM in the 1940's and the composition is often credited to him. According to one story in circulation, Magness composed the tune one night after a gig when eating in a restaurant with his band. A waitress named Molly started bantering with the band and got them to play a tune so she could dance to it. Either the tune they composed on the spot, or one Magness composed in commemoration of the event, became "Dance Around Molly." Source for notated version: Jake Hockmeyer [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 65. County CO-CD-2729, Art Stamper - "Goodbye Girls I'm Going to Boston" (2000). June Appal 007, Tommy Hunter - "Deep in Tradition" (1976. Learned from his grandfather, James W. Hunter of Madison County, N.C.). Marimac AHS #3, Glen Smith - "Say Old Man" (1990. Learned from Tommy Magness).

DANCING MASTER, THE ("An Muinteoir-Rince" or "An Maigistir-Rinnce"). AKA and see "Swallow Tail," "Swallowtail Jig," "From the Next Country." Irish, Double Jig. A Dorian. Standard. AABB. An 'A' Dorian setting of the familiar "Swallowtail Jig." Bayard (1981) identifies this tune as belonging to the "protean 'Welcome Home (Oro)' family." Brendan Breathnach wrote an article about Irish dancing masters for the publication Ceol (III, 3 & 4, 1969/70), republished in The Man and His Music (1996). Itinerant dancing masters in Ireland held territories or districts of ten miles or so in which they plied their trade, and had friendly rivalries with neighboring dancing masters, according to Brendan Breathnach. When they met at fairs or sporting events they would vie with each other by dancing in public, to the pleasure of the spectators and the honor of the moment. Often the outcomes of these contests were moot, however, "occasionally the event demanded a victor as when a Kerry dancing master vanquished a Cork dancing master in a contest as to who should 'own' Clonmel" (pg. 2). Breathnach also relates the annecdote of a stranger at Sneem who happened on a crowd attending a contest between rival dancing masters who were alternately performing on the head of an upturned soaped barrel. When he inquired, he was told that the two were "wieing" for the parish. O'Neill (Krassen), 1976; pg. 47. O'Neill (1850), 1903/1979; No. 960, pg. 178. O'Neill (1001 Gems), 1907/1986; No. 183, pg. 44.
T:Dancing Master, The
L:1/8
M:6/8
S:O'Neill - 1001 Gems (183)
K:A Dorian
A/B/|cAA eAA|cBA eAA|BGG dGG|gfe dcB|cAA eAA|cBA e2f|gfe dcB|cAA A2:|
|:d|efg a2b|a2b age|efg a2b|age g2d|efg a2b|a2b age|gfe dcB|cAA A2:|

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.

DANNY AB'S SLIDE [2]. AKA and see "John Kelly's Slide." Irish, Slide. A Dorian (Cowdery): A Mixolydian (Moylan, Tubridy). Standard. AABB. The tune is recognizably based on the identifying strain of the ballad "Boyne Water." Source O'Leary identified Danny Ab as "a small little man that lived alone above, up the road from (fiddler) Denis Murphy" in the Sliabh Luachra region of County Kerry. Ab, who mended clothes for a living, was supposed to have obtained his stock of tunes (including many slides) from his mother (who was perhaps from Wales) and would 'diddle' them while he worked. Source for notated version: accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, November, 1990 [Moylan]. Cowdery (Melodic Tradition of Ireland), 1990; Ex. 42, pg. 116. Moylan (Johnny O'Leary), 1994; No. 177, pgs. 101-102. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 27. Claddagh CC5, Denis Murphy and Julia Clifford - "The Star Above the Garter." Topic 12T309, Padraig O'Keeffe, Denis Murphy & Julia Clifford - "Kerry Fiddles" (1977). Globestyle Irish CDORBD 085, Denis Murphy & Julia Clifford - "The Rushy Mountain" (1994. Reissue of Topic recordings).
T:Danny Ab's (2)
T:Dan O'Keeffe's
D:"Kerry Fiddles", Padraig O'Keeffe, Denis Murphy & Julia Clifford
B:Ceol Rince na hÉireann II, no. 86
R:slide
M:12/8
L:1/8
Z:Transcribed by Paul de Grae
K:Ador
A2 e {f}e2 d {Bc}BAB d2 B | A2 e {f}e2 d B2 G G3 |
A2 e {f}e2 d {Bc}BAB d2 B | {Bc}BAB ded B2 A A3 :||
||: e2 a a2 b a2 g {ef}e2 d | e2 a a2 b {ab}a2 g e2 f |
{a}g2 z {a}g2 e dBA G2 A | {Bc}BAB ded {Bc}B2 A A3 :||

DARK GIRL (DRESSED) IN BLUE, THE [4] (An Cailín Dubh i bhFeisteas Gorm). AKA and see "Denis Murphy's Slide," "The Girl in the Dress," "The Gleanntán," "Julia Clifford's Slide," "Murphy's (Slide)," "Napoleon Crossing the Alps" [2], "Pádraig O'Keeffe's Slide." Irish, Slide (12/8 time). D Major. Standard. AABB'. Source for notated version: 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]. Breathnach (Ceol V, No. 2), 1982. Breathnach (The Man and His Music), 1997; No. 5, pg. 73. Breathnach (CRE III), 1985; No. 50, pg. 23. Treoir III, I pg. 12 (untitled). Tara Records 1009, Séamus Ennis - "The Fox Chase."
T:Dark Girl in Blue, The
T:Denis Murphy's Slide
L:1/8
M:12/8
S: Séamus Ennis
K:D
c|A2D FED F2A A2f|g2e f2d e2d BdB|A2D FED F2A d2f|1
efe B2c d3 dcB:|2 efe B2c d3 d2||
A|:d2e f3 gfe f3|gfe fed e2d B3|d2e fgf gfe f2f|a2f e2f d3 d2:|

DARLING OF THE UIST LASSES, THE (Mac a' Bhaillidh a Uist). Scottish, Reel. D Major. Standard. AAB. This tune "is an air peculiar to the Island of Uist. The baron bailie of a large estate was a man of considerable importance in remote times. The return of his son to his native country is celebrated by the Uist lasses, with whom he seems to have been a peculiar favourite, either as good looking or possessing some other attractive qualification. Formerly in Uist all the dancers sung their own music" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 69, pg. 25.
T:Darling of the Uist Lasses, The
T:Mac a'Bhaillidh á Uist
L:1/8
M:C
S:Fraser Collection
K:D
B|AGFd F/G/A d2|fdAF E/E/E B2|AGFd F/G/A d2|fdAF E2 D:|
g|fdfa bggb|affa geeg|fdfa bggb|afdf e2 dg|fdfa bggb|afdf bgeg|
fgaf gabg|afdf e2 d||

DAY I MET TOM MOYLAN, THE (An Lá a casadh Tomás Ó Maoláin orm). AKA and see "Ginley's Fancy," "Handsome Sally," "Ivy Leaf," "The Man of the House," "Mind My Border," "Mind My Brother," "Old Tom," "Sally Grant." Irish, Reel. E Minor. Standard. AB. Breathnach (1985) notes this tune is a version of the "Ivy Leaf", though the parts are played in reverse order. Source for notated version: flute player Paddy Carty (Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 131, pg. 62. Shanachie 29001, "Paddy Carty" (1976).

DEAD SLAVE, THE. AKA- "The Dead Nigger." AKA and see "Fiddler's Hoedown." Old-Time, Breakdown. USA, Missouri (an "old Boone County tune"-Christeson). D Major. Standard or ADAE. AABB (Christeson): AABBCC' (Phillips). Howard Marshall informs that this tune was popularised by "The Fiddlin' Sheriff," George Morris, of Columbia in the 30s, 40s, and early 50s. "The title of the tune is said by many, including the late Taylor McBaine, to commemorate a public lynching of a black man in Columbia, sometime in the late 1920s. The victim of the lynching was accused of raping the young daughter of a professor at the University of Missouri and was awaiting trial. The site of the rape was a wooden bridge (now gone) over the old KATY railroad tracks on the west side of campus; when the mob took the fellow from the Boone County jail up town, they brought him to the spot and hung him from the bridge over the KATY tracks. The girl's father pleaded with the mob, but to no avail. The story was covered in local papers. I think "Dead Slave" was Bob Christeson's "AKA" for the actual title..." Missouri fiddlers also call the tune "Fiddler's Hoedown." Source for notated version: John Hartford [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 67. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 64.

DEAF OLD MAN, THE. AKA and see "An Seanduine Spad-Chluasach."

DEAL STICK THE MINISTER [1]. Scottish, Dance Tune (3/4 time). A Minor. Standard. AB. Printed in Henry Playford's 1700 collection of Scottish dance tunes. "(It) is still as well-known as it was in 1683 when a Stirling man was 'tried for reviling a parson,' in causing the piper play The Deil Stick the Minister. Sundry pipers were there present as witnesses, to declare it was the name of ane spring'" (Alburger, 1983). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 7, pg. 25.

DEATH AND THE SINNER [1] (An Peacac Agus an Bas). AKA and see "The Night of My Wake", "Cold in My Coffin." Irish, Air (3/4 time). F Major/G Dorian. Standard. AAB. O'Neill says he often heard his father sing this song which is a dialogue between "Death and the Sinner," of which he remembered the following quatrain (from the Sinner):
***
The night of my wake there will be pipes and tobacco,
With snuff on a plate on a table for fashion's sake;
Mold candles in rows like torches watching me,
And I cold in my coffin by the dawn of day.
***
Source for notated version: elderly fiddler Edward Cronin, "a Tipperary man from Limerick Junction" [O'Neill]. O'Neill (1850), 1903/1979; No. 470, pg. 82.

DE'IL STICK THE/DA MINISTER. See "Deal/Devil Stick the Minister." AKA and see "This is no my ain Hoose," "This is no my ain Lassie," "Sean Triubhas." Scotland, Country Dance or Reel; Shetland, Shetland Reel. D Major. Standard. AABB. The tune is known throughout Scotland and the Shetlands, although in different versions, and is a very old melody from the days when covenenting ministers tried to stop fiddling as a "disruputable practice." A story goes that in one district the minister broke up all the fiddles except for one which a man, who could not bear to see his instrument destroyed, had hidden under a haystack. It was this unknown fiddler who supposedly composed the tune in protest of the destruction. The melody appears (as "Stick the Minister") in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740." "Deil Stick" is a relative of "This is no my ain Lassie," as is "Sean Truibhas," and a similar melodic theme appears in "This is no my ain Hoose." Emmerson (1972) confirms that "Sean Truibhas," or "Seann Triubhas Willighan," is a set of "Deil Stick." Source for notated version: A. Peterson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 22. Hunter (Fiddle Music of Scotland), 1988; No. 210.
T:De'il Stick the Minister
M:C|
L:1/8
Z:Andrew Kuntz
K:D
|:Adfd e/e3/2ce|fdfd g2eg|fdfd e2ce|d2ed cAA2 :|
|:fgaf gagf |e=cgc ecgc|fgaf gece|d2ed cAA2:|

DELAWARE HORNPIPE. American, Hornpipe. G Major. Standard. AABB. One of the tunes cited by Lettie Osborn (New York Folklore Quarterly) as having commonly been played for dances in Orange County, New York, in the 1930's. The name Delaware comes from Thomas, Lord de la Warr, the first Governor of Virginia, a courtier and soldier who as a young man had been knighted by Queen Elizabeth. At first the bay was named for him, then a river emptying into it was discovered and also given the same name, and finally the region was named for the river (Matthews, 1972). Cole (1001 Fiddle Tunes), 1940; pg. 86.

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.

DERRY AIR. AKA and see "Londonderry Air," "Maidin i mBeara," "Danny Boy," "Drimoleague Fair," "The Young Man's Dream." Irish, Air (4/4 time). G Major. Standard. One part. One of the most famous Irish airs, known popularly as the tune for the song "Danny Boy" by Fred F. Weatherly (1848-1929), an Englishman, a lawyer, and author of the words of about 1500 songs including "The Holy City", also known as "Jerusalem." The melody has also been the vehicle for A.P. Graves' "Loves Wishes" (in Irish Songs and Ballads, 1882), Katherine Tynan's "Would God I were the tender apple blossom," and Terry Sullivan's "Acushla Mine." The melody was published for the first time in George Petrie's collection (1855), obtained from Miss Jane Ross of Limavady, County Derry, a collector who heard the air from a street musician. It is sometimes ascribed, apparently without substantiation, to the ancient chief harper of the chieftain Hugh O'Neill, the famous Rory dall O' Cahan. Pervious to the "Danny Boy" publication the song was known in Ireland, in English, as "My Love Nell." The late 19th century collector Dr. Joyce claimed the original song was Irish, and that the first line translates as:
***
Would God I were a little apple
Or one of the small daisies
Or a rose in the garden
Where thou art accustomed to walk alone;
In hope that thou wouldst pluck from me
Some wee little branch
Which thous wouldst hold in my right hand
Or in the breast of they robe (Loesberg, Folksongs and Ballads Popular in Ireland, vol. 2, 1980).
***
The name Derry is Gaelic in origin and means an oak-wood. In England the generic name for this tune and its variations is "Dives and Lazarus." Roche Collection, 1982; Vol. 1, pg. 16, No. 30. Gael-Linn CEF 104, Matt Cranitch - "Eistigh Seal" Green Linnet SIF-107, Eugene O'Donnell - "The Foggy Dew" (1988). RCA 5798-2-RC, "James Galway and the Chieftains in Ireland" (1986). T:Derry Air
M:C
Q:1/4=80
K:G
DGA|B3A BedB|AGE2- EGBc|d3e dBGB|A4- AFGA|
B3A BedB|AGE2- EFGA|B3c BAEF|G4- Gdef||
g3f fede|dBG2- Gdef|g3f fedB|A4- Addd|
b3a ageg|dBG2- GFGA|B3c BAGF|G4- G||

DEVIL/DIVEL/DE'IL AMONG THE TAYLORS/TAILORS [1]. AKA and see "Devil's Dream" (New). Scottish, English, Irish, Canadian, Scotland, American; Reel. Canada, Prince Edward Island. England, Northumberland. A Major (Bain, Cole, Emmerson, Hardie, Honeyman, Hunter, Johnson, Kennedy, Kerr, MacDonald, Skinner, Stwart-Robertson & Raven): D Major (Huntington). Standard. AB (Hardie, Honeyman, Hunter, Johnson, Kerr, Skinner): ABB' (MacDonald, Emmerson): AABB (Bain, Cole, Huntington, Kennedy, Raven): ABCB (Skye). A popular tune throughout the present and former English commonweatlh. It was performed on the concert stage as part of a set romantically entitled "Spey's Fury's" by J. Scott Skinner in 1921. "De'il Among the Tailors" is the name of a skittles game, according to Nigel Gatherer. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800./ Johnson (1983), whose version is from Macgoun's Five fashionable Reels (c. 1800), states the tune was written c. 1790./ Bayard collected a version resembling the "Devil's Dream" forms of the tune from a source raised on Prince Edward Island, Canada (Bayard, 1981; Appendix No. 2B, pg. 572). See also "Devil's Dream" for another PEI collected version. In America the tune is almost invariably known by the Dream title, while in the British Isles it appears under the De'il/Devil title. Emmerson (1971) suggests the melody can be identified as belonging to a class of melodies with phrases based on a quarter note followed by two eighth notes; tunes in this class also include "Largo's Fairy Dance," "Rachel Rae," and "The Wind that Shakes the Barley."
***
The English novelist Thomas Hardy mentions the tune in Absent Mindedness in a Parish Choir, a passage which bears repeating:
***
"...Twas a very dark afternoon, and by the end of the sermon all you
could see of the inside of the church were the pa'son's two candles
alongside of him in the pulpit, and his spaking face behind 'em. The
sermon being ended at last, the pa'son gi'ed out the Evening Hymn.
But no quire set about sounding up the tune, and the people began
to turn their heads to learn the reason why, and then Levi Limpet, a
boy who sat in the gallery, nudged Timothy and Nicholas, and said,
"Begin! Begin!" "Hey? what?" says Nicholas, starting up; and the
church being so dark and his head so muddled he thought he was at
the party they had played at all the night before, and away he went,
bow and fiddle, at "The Devil among the Tailors," the favourite jig
of the neighborhood at that time. The rest of the band, being in the
same state of mind and nothing doubting, followed their leader with
all their strength, according to custom. They poured out that there
tune till the lower bass notes of "The Devil among the Tailors" made
the cobwebs in the roof shiver like ghosts; then Nicholas, seeing
nobody moved, shouted out as he scraped (in his usual commanding
way at dances when the folks didn't know the figures), "Top couples
cross hands! And when I make the fiddle squeak at the end every man
kiss his pardner under the mistletoe!"
***
"...Then the unfortunate church band came to their senses, and
remembered where they were; and 'twas a sight to see Nicholas
Puddingcome and Timothy Thomas and John Biles creep down
the gallery stairs with their fiddles under arms, and poor Dan'l
Hornhead with his serpent, and Robert Dowdle with his claionet,
all looking as little as ninepins; and out they went. The pa'son
might have forgi'ed 'em when he learned the truth o't, but the
squire would not. That very week he sent for a barrel-organ
that would play two-and-twenty new psalm-tunes, so exact
and particular that, however sinful inclined you was, you could
play nothing but psalm-tunes whatsomever. He had a really
respectable man to turn the winch, as I said, and the old players
played no more..."
***
Bain (50 Fiddle Solos), 1989; pg. 8. Carlin (English Concertina), 1977; pg. 36. Cole (1001 Fiddle Tunes), 1940; pg. 18. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 49, pg. 140. Gow (Beauties), 1819. Hardie (Caledonian Companion), 1992; pg. 36. Honeyman (Stathspey, Reel and Hornpipe Tutor), 1898; pg. 7. Hunter (Fiddle Music of Scotland), 1988; No. 229. Huntington (William Litten's), 1977; pg. 14. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 75, pg. 225. Kennedy (Fiddler's Tune Book), Vol. 1, 1951; No. 18, pg. 9. Kerr (Merry Melodies), Vol. 1; Set 6, No. 2, pg. 6. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 4. Raven (English Country Dance Tunes), 1984; pg. 170. Skinner (The Scottish Violinist, with variations), pg. 29. Skinner - Harp and Claymore. Stewart-Robertson (The Athole Collection), 1884; pg. 11. Antilles (Island) AN-7003, Kirkpatrick and Hutchings - "The Compleat Dancing Master" (1973). Beltona BL2128 (78 RPM), The Edinburgh Highland Strathspey and Reel Society (1936). Tradition 2118, Jim MacLeod & His Band - "Scottish Dances: Jigs, Waltzes and Reels" (1979). "The Caledonian Companion" (1975). "Bob Smith's Ideal Band, Ideal Music" (1977).
T:De'il Among the Tailors
M:C
L:1/8
Z:Andrew Kuntz
K:A
|: e2 | a2eg a2eg | a2eg fedc| dfBf dfBf | dfba gefg | a2eg a2eg | a2ea
fedc | defe dcBA| E2G2 2A2 :|
|: ed| ceAe ceAe | ceAa fedc| dfBf dfBf | dfBb gfed | ceAe ceAe | ceAa f
edc | defe dcBA| E2G2 A2 :|

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 LANDLADY, THE. Irish, Reel. E Dorian. Standard. AABB. Bill Black (1996) notes a resemblance to "Pigeon on the Gate." A similar tune called "The Drunken Tailor" was recorded by accordionist Michael Grogan and fiddler John Howard in 1946. Seamus Ennis is often cited as the source for this tune, which he is thought to have collected in Connemara in the 1940's, though he first heard the title in County Cavan. Breandan Breathnach included the tune "The Drunken Landlady" (in A Dorian) is his "Man and His Music" article on Seamus Ennis, from 1982. Sources for notated versions: Donal De Barra (Co. Limerick) [Mulvihill]; Bothy Band [Sullivan]; 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]. Black (Music's the Very Best Thing), 1996; No. 9, pg. 5. Breathnach (Ceol V, No. 2), 1982. Breathnach (The Man and His Music), 1997; No. 2, pg. 71. Mallinson (Essential), 1995; No. 70, pg. 30. Mulvihill (1st Collection), 1986; No. 5, pg. 2. Sullivan (Session Tunes), Vol. 3; No. 61, pg. 25. Taylor (Crossroads Dance), 1992; No. 33, pg. 24. Atlantica Music 02 77657 50222 26, Kim Vincent - "Atlantic Fiddles" (1994). Islander Records, Kim Vincent - "Welcome Paddy Home" (1989). Shanachie 79006, Mary Bergin- "Feadoga Stain." Shaskeen - "My Love is in America."
X:1
T:Drunken Landlady, The
L:1/8
M:C
S:Séamus Ennis
K:A Dorian
f|eA A2 edBd|eA A2 edBd|dedB G3A|Bddf edBd|eA A2 edBd|
eA A2 (3gfe dB|d2 ef gbaf|1 (3gfe dB A3:|2 (3gfe dB A2||
Bd|:eaag a2 ga|b2 gb a2 ge|dedB G2 GA|Bddf edBd|
eaag aaga|b2 gb a2 ge|d2 ef gbaf|gedB A2:|
X:2
T: Drunken Landlady
Q: 350
R: reel
M: 4/4
L: 1/8
S: Mary Bergin
Z: transcribed by B.Black
K: Edor
A | BE E2 BAFA | BE E2 BAFA | ABAF D2 FD | FAAd BAFA |
BE E2 BAFA | BE E2 BAFA | A2 Bc dfec | dBAF E3 :|
A | Beed e2 de | f2 df efdB | ABAF D2 FD | FAAd BAFA |
Beed e2 de | f2 df efdB | A2 Bc dfec | dBAF E3 :|

DRUNKEN MAN'S DREAM. Old-Time, Breakdown. USA, eastern Ky. Composition credit claimed by Doc Roberts. James Roberts, Doc's son, thought his father may have named this tune for a dream he had while under the influence of "John Barleycorn." It seems the elder fiddler would often have nightmares after an evening drinking, and when asked about them in the morning related having dreamed of being butted by a goat (Art Rosenbaum/Charles Wolfe). Champion 16208 (78 RPM), Doc Roberts (1930). County 412, "Fiddling Doc Roberts" (1983).

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.

DRYNAUN DHUN, THE. AKA - "Draoigheanan donn." Irish, Air (3/4 time). D Major. Standard. One part. "'Drynaun Dhun' is the blackthorn or sloebush. The name is here applied metapphorically to a young man--a lover. I have known both song and air all my life. Both have been published elsewhere, though not the same as here, and never in combination till now. I give the air as I learned it in early days from singers, pipers, and fiddlers. Bunting and Moore have a different air with this name. The words also are mainly from memory, but partly from a printed ballad-sheet, and partly from duffy's version in his Ballad Poetry of Ireland" (Joyce). Joyce, 1909; No. 196, pg. 205.

DOBBIN'S FLOWERY VALE [1]. AKA and see "My Fair-Haired Darling," "Charmer With the Fair Locks," "Maid of Templenoe," "One Evening in June," "Youth and Bloom," "Mavourneen Na Gruaige Baine." Irish, Air (4/4 time). F Mixolydian. Standard. AB. Leonard Dobbin, explains O Boyle, was a man of wealth and substance in County Armagh in the early 19th century, and lent his energies to civic improvement. He constructed most of the now attractive Armagh street known as "Dobbin Street," and laid out the lands along the banks of the Ballinahone River according to progressive landscaping patterns for the time which tried to incorporate both parks and manufacturing. O Boyle quotes the 19th century author Stuart in Historical Memoirs of Armagh who gushingly wrote "to men of contemplative and tranquil minds who love to listen to the clack of mills alternately swelling and dying on the breeze and who hear with delight the murmur of descending waters and the choral song of birds, this rural spot must surely appear a charming retreat." Though the anonymous folk-poet who composed the lyric evidently agreed with Stuart, the local populace was not generally so kind, and dubbed the venture "Dobbin's Folly." The 'flowery vale' is in modern times "almost obliterated by a Housing Estate." Joyce (1873) remarks there were few tunes better known in Munster in the 19th century than this, and that he knew portions of a half-dozen songs set to the melody.
**
One morning fair as Phoebus bright her radiant charms displayed,
And Flora in her mantle green those verdant plains arrayed.
As I did rove throughout each grove, no care did me assail,
Till a pair I spied by the water side in Dobbins flowery vale.
**
Source for notated version: "From Mr. Joyce b.b.p. 36" [Stanford/Petrie]. Joyce (Ancient Irish Music), 1873/1890; No. 96, pg. 98. Stanford/Petrie (Complete Collection), 1905; No. 789, pg. 197.

DOCHTÚIR SEÁN Ó HAIRT, AN (Doctor John Hart). Irish, Air (3/4 time). B Flat Major (O'Sullivan/Bunting): A Major (Complete Collection). Standard. AB (Complete Collection): AABB (O'Sullivan/Bunting). Both the words and melody to this air are by blind Irish harper Turlough O'Carolan (1670-1738), who may have composed more than one air in honor of John Hart (as suggested by Charles O'Conor of Benagare), though no others have surfaced to date. O'Sullivan (1983) reports on the history of the once beloved Dr. Hart, who was appointed a bishop of the See of Achonry in 1735 (and probably died around 1739). Under the English Penal Laws no Catholic could hold legal title to land, therefore many of that faith made arrangements with a Protestant friend to assume legal responsibility and hold the property in trust -- a practive rarely abused, according to O'Sullivan. Dr. Hart proved an exception, however, for his Protestant neighbor (a man named Betteridge) took for his own Cloonmahon, the doctor's estate (along with his brother Charles) in County Sligo, to which the doctor had no recourse under the law. Another Protestant neighbor, one O'Hara of Annaghbeg, seeing the injustice took Dr. Hart in, supported him, and "did all that courtesy and kindness could do to make up for the loss of Cloonmahon" (O'Rorke, 1878). The bishop was famed for his hospitality and kindness, especially to birds, which, if he found caged, he would endeavor to release. A charming legend has it that at the doctor's funeral the birds of the region gathered to chant his requiem. The air was recorded by the Belfast Northern Star of July 15th, 1792, as one of the tunes played in competition by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week.
**
Source for notated version: The Irish collector Edward Bunting noted the tune from harper Hugh Higgins in 1792, according to the index of this 1840 collection. Complete Collection of Carolan's Irish Tunes, 1984; No. 53, pg. 52-53. O'Sullivan/Bunting, 1983; No. 27, pgs. 43-46.

DOCTOR LAING - FOCHABERS. Scottish, Slow Reel. E Flat Major. Standard. ABBCD. Composed by William Marshall (1748-1833). Dr. Laing who lived at Fochabers and moved to Boharm, Keith, according to Moyra Cowie (The Life and Times of William Marshall, 1999), who says that one of his students described him as "twaddling fiddling bodach!" (bodach is Gaelic for 'old man'), after witnessing one of his operations in Aberdeen. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 26.
T:Doctor Laing-Fochabers
L:1/8
M:C
S:Marshall - 1822 Collection
K:E_
B,|[G,2E2] GE BE A/G/F/E/|B,E A/G/F/E/ DFFG|[G,2E2] GEBE A/G/F/E/|
c/B/c/d/ e/d/c/B/ GEE:|
|:z|~g2 ef/g/ agfe|d/e/f/g/ a/g/f/e/ dffd|e2 Bc/d/ e/d/c/B/ c/B/A/G/|A>c B/G/F/E/ B,EE:|
||B,/E/D/E/ G/E/D/E/ B/E/D/E/ G/E/D/E/|B,/E/D/E/ A/G/F/E/ DFFG|
B,/E/D/E/ G/E/D/E/ B/E/D/E/ G/E/D/E/|c/B/c/d/ e/c/B/A/ GEE||
e/f/g/f/ e/d/c/B/ c/d/e/d/ c/B/A/G/|A/B/c/B/ A/G/F/E/ DF~Fz|
e/f/g/f/ e/d/c/B/ c/d/e/d/ c/B/A/G/|A>c B/G/F/E/ B,E~Ez|
e/f/g/a/ bB c/d/e/f/ gG|A/B/c/d/ eE F/E/D/C/ B,G/F/|~E>FEG, A,G,CB,|
~B>c B/A/G/F/ G[G,E][G,E]||

DOODLETOWN FIFER, THE [1]. AKA - "This Old Man (He Played One)."

DOON REEL, THE [1] (Ríl an Dúna). AKA and see "Callaghan's," "gCeirtlin Snaithe in Aimhreidh," "Nellie Donovan's." Irish, Reel. Ireland, Sliabh Luachra. D Mixolydian (Breathnach): D Major (McNulty): G Major (Taylor). Standard. AB (Breathnach): AAB (Taylor): AABB (McNulty). Moylan (1994) notes there are several reels associated with fiddler and farmer Cal Callaghan from Doon, all of them being known as either 'the' or 'a' 'Doon Reel'. Callaghan was the uncle of fiddler Pádraig O'Keeffe, who absorbed the older man's repertoire and called them "Doon reels." The village of Doon is near Kiskeam, County Cork (also called Doonasleen), and is the birth place as well of O'Keeffe's mother Margaret Callaghan, who played the concertina and probably the fiddle. Breathnach (1976) says the first part is related to "Kate Kelly's Fancy" and "Nellie Donovan." Some similarities to Donegal fiddlers John and Mickey Doherty's "Bonnie Bunch of Ferns." Sources for notated versions: fiddler Denis Murphy, 1966 (Gneeveguilla, Co. Kerry, Ireland), who had the tune from Pádraig O'Keeffe, who got it "from my uncle in Doon" (i.e. Callaghan) [Breathnach]; set dance music recorded live at Na Píobairí Uilleann, mid-1980's [Taylor]. Breathnach (CRE II), 1976; No. 270, pg. 139. McNulty (Dance Music of Ireland), 1965; pg. 7. Taylor (Music for the Sets: Yellow Book), 1995; pg. 19. Taylor (Music for the Sets: Blue Book), 1995; pg. 14. John Edwards Memorial Foundation JEMF-105, Paddy Cronin - "New England Traditional Fiddling" (1978).

DOWD'S FAVORITE. AKA - "O'Dowd's Favorite." Irish, Cape Breton; Reel. G Aeolian (Gm) ('A' and 'C' parts) & B Flat Major ('B' part) [Brody]. Standard. AABBCC (Brody): ABC (Miller & Perron). The melody is a setting of the Scottish march/strathspey "The Braes of Bushbie," perhaps composed by John Bowie and appearing in his 1789 Collection. It was said to be a favorite of the great Scots fiddler Niel Gow's. Reworked as "O'Dowd's Favorite" (often called "Dowd's Favorite") it was famously recorded by County Sligo/New York fiddler Michael Coleman in 1921. Coleman himself probably obtained the melody from Sligo fiddler John O'Dowd, who also had emigrated to New York and where Coleman heard him play. See also the related tunes "The Rover" [4], "Dublin Lasses," "Murtough Mulloy" and "Tee Ree Reel;" they have a similar sequence in the first part. "The Curragh Races" and "The Maid in the Cherry Tree" are also related, and like "Dowd's Favorite," shift to the relative major in the second part. Sources for notated versions: Steeleye Span (England) [Brody] & Andy McGann (New York City) [Miller & Perron]; Hughie Gillespie [Bulmer & Sharpley]. Brody (Fiddler's Fakebook), 1983; pg. 89. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2, No. 5. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 22. Columbia CAL504-1, Paddy O'Brien (195?). Green Linnet GLCD 3105, Aly Bain - "Lonely Bird" (1996. Appears as "Dowd's Reel," learned from Sean Maguire). Green Linnet GLCD 3127, Sharon Shannon - "The Best of Sharon Shannon: Spellbound" (1999. Learned from Mirella Murrey, Clifden, Co. Galway). Pegasus Mooncrest 9, Steeleye Span- "Ten Man Mop." Philo 200l, "Jean Carignan" (appears as the third tune of 'Cape Breton Medley'. Carignan learned his version from the Andy McGann recording). Shanachie 29002, "Kathleen Collins." Shaskeen Records OS-360, Andy McGann - "A Tribute to Michael Coleman" (c. 1965).

DOWN WITH THE MAIL. AKA and see "Tie the Bonnet," "Jenny Tie your Bonnet," "Upstairs in a Tent," "The Rambler's Rest," "In and Out the Harbour," "Jenny Lace your Tight," "Lassie/Lassies tie your Bonnet(s)," "Lizzie's Bonnet," "The Faraway Wedding," "The Gravelled Walks to Granny," "The Highland Man who Kissed his Granny," "The Cottage in the Grove."

DID YOU SEE MY MAN LOOKING FOR ME? [1]. AKA and see "An Cailin Deas Donn," "The Pretty Brown Girl," "The/My Pretty Fair Maid," "Move up to me," "Big Bow Wow."

DID YOU SEE MY MAN LOOKING FOR ME? [2]. AKA and see "Port an Bhrathar." Irish, Double Jig. A Dorian. Standard. AABB. See also "Bill Harte's Jig," "Jackson's Humours of Panteen," "Huish the Cat." Source for notated version: piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRE I), 1963, No. 21, pg. 10.

DISCONSOLATE BUCK, THE. AKA and see "An Cliabh Mona," "The Basket of Turf," "The Unfortunate Rake," "The Wandering Harper," "Bundle and Go," "The Wee Wee Man," "The Lass from Collegeland."

DUCHESS OF GORDON [1]. Scottish, Strathspey. G Minor. Standard. AB (Gow): AAB (Athole). John Glen (1891) finds tunes by this title in Riddell's collection (pg. 17) and Angus Cumming's 1780 collection (pg. 4). Perhaps the most famous Duchess of Gordon was the celebrated Jane Maxwell who, along with her sister Eglintoun Maxwell, were brought up by their mother in somewhat parsimonious circumstances in Edinburgh, though their financial constraints apparently did little to quell two spirited girls. One story goes that the sisters rode on the backs of the swine which a nearlby innkeeper allowed to forage in the street. In later life she captivated the Duke of Gordon and was at the heart of social activity in Scotland, particularly the northern elite. She was a leader of fashion, hostess to William Pitt the younger, and particularly loved her entertainments. Elizabeth Grant of Rothiemurchus called her a beautiful and very cultivated woman, though Sir Walter Scott thought that her "sole claim to wit rested upon her brazen impudence and disregard to the feelings of all who were near her."
***
In the late 18th century the Duke and Duchess of Gordon were patrons of the great Scottish fiddler Niel Gow, and Gow would frequently be called upon to entertain at balls, dinners and gatherings. Once when the Duchess called for him she had occasion to raise a passing complaint about feeling giddy with a swimming feeling in her head. Gow, who remained unawed by the gentry, replied with typical wit: "Faith, I ken somethin' o' that mysel', your Grace, when I have been fou the night before, ye wad think that a bike o' bees were bizzin' in my bonnet the next mornin'!"
***
Moyra Cowie (1999) relates the story that the 4th Duchess of Gordon, Jane, raised a regiment of Gordon Highlanders for her son George in 1797. It was perhaps a measure of her 'impudence', or else inspired determination, that she held the Kings Shilling (the bonus money for enlisting) between her teeth, thus offering a kiss to any man who dared approach and prize the money from her. Cowie says: "Many a strong willed man, who may not have enlisted under normal circumstances could not resist this beautiful women mounted on horse back with the regimental bonnet bedecked with red plumes jauntily perched on her head." This circumstance inspired Charles Murray (who evidently agreed with Walter Scott's opinion of the Duchess) to write in Hamewith:
***
BYDAND
***
There's a yellow thread in the Gordon plaid,
But it binds nae love to me,
And the ivy leaf has brought dool and grief,
Where there never but love should be.
***
For my lad would list, when a duchess kis't,
He forgot a' the vows he made,
And turned and took but ae lang last look
When the 'Cock O' North' was played.
***
O her een were bright, an' her teeth were white,
As the siller they held between;
But the lips that he pree'd were they half as sweet
As he vowed that mine were yestereen.
***
A puir country lass 'mang the dewy grass
May hae whiles hae to kilt up her goon;
But a lody hie sae to shew her knee,
And to dance in a borough toon!
***
If I were the Duke, I was nae muir look
Wi' love on my high born dame;
At kilt or plaid I wad hang my heid,
And think aye on my lady's shame.
***
By my leefu' lane I sit morn and e'en,
Prayin' aye for him back to me,
For noo he's awa', I forgie him a',
Save the kiss he was 'losted wi'.
***
In later life Jane and her husband Alexander became estranged because of his affair with Jean Christie, the daughter of the housekeeper at Gordon Castle. Proud Jane had a home built for herself, Kinrara, into which she moved, and the Duke eventually took Jean as his second wife. Jane died in the Pultney Hotel, Picadilly, London on the 10th of April, 1812, attended by her children and close companion and granddaughter Lady Jane Montague, and was buried at Kinrara.
***
The Duchess of Gordon is a Scottish country dance which was, at the mid-20th century, one of the 15 or so either wholly or in part in strathspey tempo (Flett, 1964); it was one of the more uncommon dances in a program. Carlin (The Gow Collection), 1986; No. 40. Stewart-Robertson (The Athole Collection), 1884; pg. 202.
T:Duchess of Gordon, The
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:G Minor
A|G/G/G d2 d>=cA>g|G/G/G G2 A>GF>A|G/G/G d2 d>=cd>g|
f<d c>A G2G:|
^f|g<ab<a g<d d>=e|f>gf>c A<F F>^f|g>a b<a g<d d>g|f>dc>A G2 G>f|
g>ab>a g<d d>=e|f>gf>c A>GF>f|g>ab>a g<f a>g|f>dc>A G2G||

DUNDEE. Scottish, Reel. A Major. Standard. AABB. The name Dundee is formed from the Celtic root-word dun, meaning a fortified place, along with what is thought to be a man's name, perhaps an early chieftain. Kerr (Merry Melodies), Vol. 4; No. 14, pg. 4.

DUNDEE HORNPIPE. AKA and see "Brown's Hornpipe," "Cincinatti Hornpipe," "Cliff Hornpipe," "Cork Hornpipe," "Duxbury Hornpipe," "Fred Wilson's Clog/Hornpipe," "Harvest Home,", "Higgin's Hornpipe," "Kephart's Clog" (Pa.)," "Kildare Fancy" (Rogha Chill Dara)" "Paine's Reel," "The Rakes of Kildare," "Ruby Hornpipe," "Snyder's Jig" (Pa.), "Standard Hornpipe," "Union Hornpipe," "Wilson's Clog," "Zig Zag Clog." Scottish, Irish, American, Canadian; Hornpipe or Breakdown. USA; Nebraska, Pennsylvania, New England. Canada; Cape Breton, New Brunswick. D Major. Standard. AABB (Christeson, Cole, Cranford, Phillips): AA'BB' (Gatherer, Kerr). The name Dundee is formed from the Celtic root-word dun, meaning a fortified place, along with what is thought to be a man's name, perhaps an early chieftain. Dundee, in Angus, was made a royal burgh by William the Lyon about 1190. A century later William Wallace attended grammar school their and supposedly fatally wounded another student in an argument about his dagger. It was an unlucky town: attacked by Robert I in 1313, it was burned by John of Gaunt in 1385, plundered by Henry VIII's forces in 1547, looted by the marquess of Montrose in 1645 and many of its citizens were massacred by General Monck when it refused to surrender to Cromwell. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; No. 84, pg. 55. Cole (1001 Fiddle Tunes), 1940; pg. 87. Cranford (Jerry Holland's), 1995; No. 115, pg. 33. Gatherer (Gatherer's Musical Museum), 1987; pg. 42. Kerr (Merry Melodies), Vol. 3; No. 335, pg. 36. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 191. White's Excelsior Collection, pg. 52. Boot Records, Jerry Holland - "Master Cape Breton Fiddler" (1982). RCA Victor LCP 1001, Ned Landry and his New Brunswick Lumberjacks - "Bowing the Strings with Ned Landry."

DUNDEE VOLUNTEERS MARCH, THE. Scottish, Slow March. Bayard (1981) says his No. 272 (pg. 229) is a descendant of this tune. The name Dundee is formed from the Celtic root-word dun, meaning a fortified place, along with what is thought to be a man's name, perhaps an early chieftain. Dundee, in Angus, was made a royal burgh by William the Lyon about 1190. A century later William Wallace attended grammar school their and supposedly fatally wounded another student in an argument about his dagger. It was an unlucky town: attacked by Robert I in 1313, it was burned by John of Gaunt in 1385, plundered by Henry VIII's forces in 1547, looted by the marquess of Montrose in 1645 and many of its citizens were massacred by General Monck when it refused to surrender to Cromwell. Aird (Selections), Vol. 2; No. 3.

DUNFERMLINE RACES. Scottish, Reel. A Mixolydian. Standard. AAB. The name Dunfermline appears to stem from the Celtic root-word dun, meaning a fortified place, coupled with what appears to be a man's name, perhaps and early chieftain. Dumfermline, Fife, was one of the most important royal centers in Scotland, whose palace became a favorite residence of kings. The priory, evolved to an abbey by 1128, was the buriel place of kings beginning with Malcolm III and his wife Margaret in 1093. The town was severely damaged in the great fire of 1624. Carlin (The Gow Collection), 1976; No. 243. Stewart-Robertson (The Athole Collection), 1884; pg. 18.
T:Dunfermline Races
L:1/8
M:C|
S:Reel
B:The Athole Collection
K:A
e|cA c/d/e cA c/d/e|=g=GGB d2de|cA c/d/e cA c/d/e|aAAc e2ed:|
c>def =gage|=g=GGB d2 dB|c>def =gage|aAAc e2 ed|c>def =gage|
=g=GGB d2 dB|cdef ef=ge|aefd efed||

DUNMAGLASS. AKA and see "Gillean ban a' mhuilleir," "Miller Lads." Scottish, Strathspey. F Major. Standard. AA'BB'. This is "the composition of a man the name of Gow, who lived in Dunmaglass, in Inverness-shire, during the last century. He was miller, carpenter, and minstrel to the family of Dunmaglass, and his sins, in the capacity of gamekeepers or sportsmen, supplied the table with venison and game. The air celebrates the alertness of those young fellows" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 80, pg. 29.
T:Dunmaglass
T:Miller Lads
T:Gillean ban a' mhuilleir
L:1/8
M:C
S:Fraser Collection
K:F
A|F<F A2 F<FA<c|G>GA>c d2 d<f|1 F<F A2 F<F Ac|G<G A>F D2D:|2
e|f>ga>c A>G F<A|G<G A>F D2D|
|:e|f>c d/c/B/A/ fcca|f<c c>A d2 de|1 f>ga>c A>G F<A|G>GA>F D2D:|2
f<ag<a A>G F<A|G<G A>F D2D||

DUNMORE LASSES (Gearrchailiú an Dúin Mhóir). AKA and see "Morrison's," "The Road to Knock." Irish, Reel. Ireland, County Sligo. E Minor. Standard. AB (Breathnach): AA'BB' (Flaherty). O'Sullivan (1983) notes a relationship between this tune and "My Love is in America;" one is nearly a mirror of the other, though in the same key and transposed down one step. Related tunes are "The Custom Gap," "Mills are Grinding," "Porthole of the Kelp" and "Tuttle's Reel," certainly in the 'A' part though the 'B' parts differ somewhat. The name Dunmore means 'the big fort', from the Celtic dun mor. Sources for notated versions: flutist Éamonn de Stabaltún (Ireland) [Breathnach]; flute player James Murray (b. 1947, Ougham, near Tubbercurry, Co. Sligo) [Flaherty]. 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]. Breathnach (Ceol V, No. 2), 1982. Breathnach (The Man and His Music), 1997; No. 6, pg. 73. Breathnach (CRE I), 1963; No. 189, pg. 74. Flaherty (Trip to Sligo), 1990; pg. 164. Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976).
T:Dunmore Lasses, The
L:1/8
M:C
S:Séamus Ennis
K:E Minor
E3F GFGA|Be e2 Be e2|E3F G3A|(3BAG AF GEE^D|
E3F GFGA|Bedf e3f|(3gfe fd edBF|A2 BA GE E2:|
|:gfeg fedc|Be e2 Be e2|gfeg fedB|A2 BA GEEf|
g3e (3gfe dc|Bedf e3f|(3gfe fd edBG|AcBA GE E2:|

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

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:|

EIBHLI GHEAL CHUIUN NÍ CHEARBHAILL. Irish, Air. The tune appears in the Bunting collection, taken down from a County Down harper. The original lyric man have been by Seamus Dall Mac Cuarta, and east Ulster poet in the 18th century, but the air was later married to Thomas Campbell's poem "Lord Ullin's Daughter." Shanachie Records 79023, "Chieftains 3" (1971/1982).

EIGHTH OF JANUARY. AKA and see "Jackson's Victory." Old-Time, Bluegrass; Breakdown. USA, Widely known. D Major. Standard or ADAE. AABB (Brody, Christeson, Phillips, Ruth, Sing Out, Sweet): AABB' (Krassen). One of the most popular and widespread of Southern fiddle tunes. Ken Perlman (1979) reports that the melody was originally named "Jackson's Victory" after Andrew Jackson's famous rout of the British at New Orleans on January, 8th, 1815. Around the time of the Civil War, some time after Jackson's Presidency, his popular reputation suffered and the tune was renamed to delete mention of him by name, thus commemorating the battle and not the man. Despite its wide dissemination, Tom Carter (1975) says that some regard it as a relatively modern piece refashioned from an older tune named "Jake Gilly." Not all agree-Tom Rankin (1985) suggests the fiddle tune may be older than the battle it commemorates, and that it seems American in origin, not having an obvious British antecedent, as do several older popular fiddle tunes in the United States. A related tune (though the 'B' part is developed differently") is Bayard's (1981) Pennsylvania collected "Chase the Squirrel" (the title is a floater).
***
"Eighth of January" was recorded for the Library of Congress from Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist Vance Randolph, and from Mississippi fiddlers (John Hatcher, W.E. Claunch, Enos Canoy, Hardy Sharp) in 1939 by collector Herbert Halpert. It was in the repertoire of Cuje Bertram, an African-American fiddler from the Cumberland Plateau region of Kentucky who recorded it on a home tape in 1970, made for his family. In the 1950's Jimmy Driftwood famously refashioned the tune with new lyrics into his best-selling song "The Battle of New Orleans."
***
Missouri fiddler Glenn Rickman, born in 1901, was featured in an article in Bittersweet magazine and played "The Eighth of January" as part of his core repertoire. He had a seemingly curious habit:
***
I play the 'Eighth of January' over the telephone to a department store
here. Every eighth of January I call up the department store and they
put in on their loud speaker. This time I had it taped. I played 'Carroll
County Blues,...Sally Goodin',...Forked Deer' and 'Eighth of January.'
I'm glad to get to do this. The 'Eighth of January,' that was known way
back before my grandpa was born...
***
Rickman's playing over the phone for a department store audience is less curious when one considers that playing over the phone was at one time not unusual:
***
When the party line came in, telephones were used sort of like the radio
was later. Ten to fifteen families on a line could all listen in. On lines
like Slim Wilson's line, the neighbors would get a treat. The Wilson
family that lived near Nixa, Missouri, were all good musicians, and
when they were ready to play, they'd signal over the telephone line.
Everyone would take down the receivers and listen to the Wilson
family fiddling. Some would let the receiver hang down in a bucket
to help amplify the sound. (Allen Gage, Bittersweet, Volume IX, No. 3, Spring 1982)
***
Sources for notated versions: Charlie Higgins (Galax, Va.) [Krassen]; Cyril Stinnett (Oregon, Missouri) [Christeson]; Tommy Jackson [Phillips/1994]. Brody (Fiddler's Fakebook), 1983; pg. 99. R.P. Christeson (Old Time Fiddler's Repertory, Vol. 2), 1984; pg. 65. Ford (Traditional Music in America), 1940; pg. 63. Kaufman (Beginning Old Time Fiddle), 1977; pg. 39. Krassen (Appalachian Fiddle), 1973; pg. 50. Phillips (Fiddlecase Tunebook), 1989; pg. 17. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 80. Ruth (Pioneer Western Folk Tunes), 1948; No. 15, pg. 7. Sing Out, Vol. 36, No. 2, August, 1991; pg. 77. Sweet (Fifer's Delight), 1964/1981; pg. 76. Brunswick 239 (78 RPM) {1928}, Dr. Humphrey Bate and His Possum Hunters (Nashville, Tenn. Bill Barret was the fiddler for the tune, not Bate's regular, Oscar Stone). Caney Mountain Records CLP 228, Lonnie Robertson (Mo.) - "Fiddle Favorites." County 518, Arkansas Barefoot Boys- "Echoes of the Ozarks, Vol. 1." County 531, "Old TIme String Band Classics" (1975). County 541, Dr. Humphrey Bate & His Possum Hunters - "Nashville; the Early String Bands, Vol. 1." County 727, John Ashby- "Old Virginia Fiddling." Heritage 060, Major Contay and the Canebreak Rattlers - "Music of the Ozarks" (Brandywine, 1984). Kicking Mule KM-301, "Happy Traum, American Stranger" (1977). Marimac 9017, Vesta Johnson - "Down Home Rag." Mississippi Department of Archives and History AH-002, Hardy C. Sharp (Meridian, Mississippi) - "Great Big Yam Potatoes: Anglo-American Fiddle Music from Mississippi" (1985). Missouri State Old Time Fiddlers' Association, Bob Walters (b. 1889) - "Drunken Wagoneer." Morning Star 45004, Ted Gossett's String Band (western Ky., originally recorded Sept., 1930) - "Wish I Had My Time Again." Ok 45496 (78RPM), The Fox Chasers. Rounder 0085, "Tony Rice." Rounder 7002, Graham Townsend--"Le Violin/The Fiddle." Spr 2655 (78 RPM), Buddy Young's Kentuckian's (AKA the Ted Gossett Band, originally recorded Sept. 1930). Spt 9775 (78 RPM), The Country String Band (AKA the Ted Gossett Band/Buddy Young's Kentuckian's/Tommy Whitmer Band). Voyager 340, Jim Herd - "Old Time Ozark Fiddling."
T:Eighth of January
L:1/8
M:2/4
K:D
e/a/|f/e/f/a/ f/e/d/f/|e/f/e/d/ BB/d/|ee/f/ e/d/B/A/|d/B/A/F/ De/a/|
f/e/f/a/ f/e/d/f/|e/f/e/d/ B/d/e/f/|a/f/e/a/ f/e/c/A/|d/B/A/F/ D:|
|:A/A/|AA/B/ AA/A/|A/d/B/A/ F/E/D/F/|AA/B/ AA/d/|B/A/F/E/ DD/F/|
AA/B/ AA/A/|A/d/B/A/ F/E/D/F/|AA/A/ A/d/f/e/|d/B/A/F/ D:|

EILEAN FHIANAIN (Finan's Isle). Scottish, Air (6/8 time). D Mixolydian. Standard. AA'BB'. The tune was composed by Charles MacFarlane. Eilean Fhianain is a small island in Loch Shiel, Moidart, Inverness-shire, named for Saint Finan, a Celtic saint who lived there around 575 A.D. and a contemporary of St. Columba. He was known as 'Fhianan Luibre' (the Leper) or as 'the infirm' from the disease which was said to have been self-inflicted, received from a child whom he ministered. Later a fair named in his honor was held on the island each March 18th. Neil (1991) relates:
***
One of the few ancient bronze bells, in use in Scotland in the 9th
century, is to be found on Finan's Isle. It is on record that the bell
was stolen by one of the English troops during the 1745 Rebellion,
while they were garrisoned near Moidart. Fortunately he was
apprehended by Niall Mor Man Eilean (Big Niel of the Island),
who was custodian of the bell. Niall had given chase and had
caught him at Glenfinnan. It is said that the culprit was tied to
a tree by Niall, who then gave him a severe thrashing as a
punishment for his misdeeds, while his companions simply
looked on, without lifting a finger to help. It was found that
the tongue of the bell had somehow been removed, and it
subsequently had to be replaced with on of iron.
***
Neil (The Scots Fiddle), 1991; No. 145, pg. 185.

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

ELI GREEN(E)'S CAKEWALK. Old-Time, Country Rag. USA, Nebraska. A Minor ('A' part) & C Major ('B part) {Christeson}: E Minor ('A' part) & G Major ('B' part) {Phillips, Songer}. Standard. ABB + Coda (Christeson): AA'BB (Phillips): AA'BB' (Songer). The tune was published in 1896 during the vogue for cakewalks. Christeson's source was an elderly man in the 1950's and who had made a living busking among work crews and labor camps in his youth. Sources for notated versions: W.A. "Banjo Bill" Lottridge (Lincoln, Nebraska) [Christeson]; Stuart Williams (Seattle, Washington), who learned if from fiddler and folklorist Linda Danielson (Eugene, Oregon), who collected it from Oregon fiddler Wayne Walter, the nephew of Uncle Bob Walters--Christeson's source [Songer]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 118-119. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 47. Songer (Portland Collection), 1997; pg. 71. Missouri State Old Time Fiddlers' Association, Bob Walters (b. 1889) - "Drunken Wagoneer."

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

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").

FAT MAN'S FANCY, THE (Roga An Fir Rogmar). Irish, Double Jig. A Major. Standard. ABB. The 'A' part is shared with "Jackson's Bottle of Claret." O'Neill (1850), 1979; No. 907, pg. 169.

FEAR A TIGE, AN. AKA and see "The Man of the House."

FEAR ANNSA RAE, AN. AKA and see "The Man in the Moon."

FEAR BOCHT SCALLTA, AN. AKA and see "The Scalded Poor Man."

FEAR DEARMADAC, AN. AKA and see "The Absent-Minded Man."

FEAR-TAILCE AN BEIDLEADOIR. AKA and see "Hardy Man the Fiddler."

FEAR UA INBAR-CINN-TRAGA, AN. AKA and see "The Man from Newry."

FEATHER BED. Old-Time. USA; Magoffin County, Ky. In the repertoire of John Salyer, Magoffin County, Ky. Gene Winnans mentions that a black banjo player, Gus Cannon, who worked medicine shows between 1914 and 1929, learned a tune called "Feather Bed" in "strumming style" from "Old Man Saul" Russell, who played for his own amusement around his house.

FELLOW/FELLER THAT LOOKS LIKE ME, THE. AKA and see "The Dark Girl Dressed in Blue," "Punkin Head," "Over the Waterfall." Old-Time, Song. Evidently an American stage song, with a tune quite similar to the old-time standard "Over the Waterfall."
***
The Fellow That Looked Like Me
***
In sad despair I wandered, my heart was filled with woe.
While on my grief I pondered, what to do I did not know.
Since cruel fate has on me frowned, the trouble seemed to be,
There is a fellow in this town the very image of me.
***
(Chorus:)
Oh, wouldn't I like to catch him, wherever he may be,
Oh, wouldn't I give him particular fits, the fellow that looks like me.
***
One evening as I started up Central Park to go,
I was met by a man upon the road, saying, "Pay me the bills you owe."
In vain I said, "I owe you naught," he would not let me free,
Till (sic) a crowd came around and I paid the bills for the fellow that looked like me.
***
(Chorus)
***
One night as I was walking through a narrow street up town
I was caught by a man upon the road, saying, "How are you, Mr. Brown?"
He said his daughter I had wronged, though the girl I ne'er did see.
He kicked me till I was black and blue for the fellow that looked like me.
***
(Chorus)
***
Then to a ball I went one night just to enjoy the sport,
A policeman caught me by the arm, saying, "You're wanted down to court.
You've escaped me thrice, but this here time I am sure you can't get free."
So I was arrested and dragged to jail for the fellow that looked like me.
***
(Chorus)
***
I was tried next day, found guilty too, just to be taken down
When another policeman just stepped in with the right Mr. Brown.
They locked him up and set me free; oh wasn't he a sight to see?
The homeliest man that ever I saw was the fellow that looked like me.
***
The following variant in the lyrics was collected in tradition from Roscoe and Leone Parish:
***
Oh, wouldn't I like to catch him
Wherever he might be
The way I'd punch his punkin head
The fellow that looks like me.
***
In England the song is from the music hall era (Stanley Holloway) and is known as "The Dark Girl Dressed in Blue," though it was also popular in England and Ireland as a dance tune. Volo Bogtrotters. Document DOCD-8041, Al Hopkins and His Bucklebusters (originally recorded May 16, 1927).

FAIRY DANCE (Rinnce Na Sideoga/Sideog). AKA and see "Fisher Laddie," "The Haymaker," "La Ronde des Vieux," "Largos Fairy Dance," "The Merry Dance" (New England), "Old Molly Hare" (Old-Time). Irish, English, Scottish, Shetlands, American, Canadian; Reel. D Major (most versions): G Major (Merryweather): A Major (O'Neill/1001). Standard. AB (Honeyman, Raven): AAB (O'Neill/1001): AABB (Ashman, Brody, Ford, Sweet, Taylor, Trim): AABB' (Kerr): AA'BB' (Athole, Merryweather): AABCCD (Roche): AABBCCDDEEF (Cranford/Fitzgerald). Often this tune is a "beginning tune" for fiddlers, and though simple, it seems to have retained its popularity through the years. It was one of 197 compositions claimed and published (in Fifth Collection,"1809) by Nathaniel Gow under the title "Largo's Fairy Dance," which dates it to the latter eighteenth or early nineteenth century. Breandan Breathnach states that it was composed by Niel Gow for the Fife Hunt Ball held in 1802, but this is only partly true, according to Nigel Gatherer, for it was actually a pair of tunes Gow wrote, the second being "The Fairies Advance." Both tunes together make up "Largo's Fairy Dance." Emmerson identifies this tune in a class of tunes defined by the rhythm 'quarter note-two eighths-quarter note-two eigths,' which includes "De'il Among the Tailors," "Rachel Rae," and "The Wind that Shakes the Barley" (which Emmerson {1971} says is substantially a set of "Fairy Dance").
***
In Ireland, it was learned by Joyce in his boyhood in County Limerick, c. 1840. He (1909) says a Donegal setting of this will be found in the 'Journal of the Irish Folk Song Society.' O'Neill (1913) records that a special dance was performed to the tune in that country. Under the title "The Fairy Reel" the tune features in stories of enchantment by the wee folk. A tale is told by Padraig Mac Aodh-O'Neillin in his 1904 book Songs of Uladh (Songs of Ulster) of the origins of the tune which stem from a fiddler of the Mac Fhionnlachs from Flacarragh:
***
There was a gathering of Bel-Taine on St. John's Day (23rd of June), around
the bonfire in Caislean-na-dThuath in northern Dun-na-nGall about 150-160
years ago (~1850).
***
"...the fire was wearing low, the dancing nearly over, and the sturdiest
steppers getting tired, a stranger came among the people, announcing himself
in the words: "Sonas, sonas--luck on all here! The music called me, and I
going to bed." He said no more.
***
He was attired only in his night-garments. Much consternation was
caused by his curious appearance and behaviour, the more so as he was quite
unknown to the festive-maker. He went around asking the young girls to
dance with him; but out of fifty or more assembled there, he found but one
(and she, happily, was not a native of the district) who expressed herself
willing to accept his invitation. There were three or four fidilers there
and one piper, and he called on them to turn on the "Fairy Reel." But not
one of them knew it; every man of them declared that the air and the name
was new to him. Whereupon the mysterious stranger snatched the fidil out of
the hands of mac Fhionnlaoich, the Falcarrach man, who was nearest him, and
flourishing his bow with the grace of a master, turned on the tune himself,
the people standing around with their mouths wide open in wonderment.
***
"Now," he said to mac Fhionnlaoich, when he had finished the wonderful
tune, "there's your fidil for you. Turn on the 'Reel.' Play it after me;
for you're the only man in the Five Kingdoms can do that same!"
***
So mac Fhionnlaoich complied--somewhat reluctantly, it must be said-and played the 'Fairy Reel: through from beginning to end without a break, while the weird stranger and his fair partner danced, all the people looking on. When he had finished dancing with the girl he slipped a gold peiece into her hand, and turning solemnly towards the people, said: "Remove the fire seven paces to the North, and enjoy yourselves till daybreak. A Sonas, sonas--luck with all here!"
***
And so saying, he strode off into the darkness, disappearing as
mysteriously as he had come.
***
I give this story pretty much as I got it from my friend Padraig mac
Aodh o Neill, who got it from Proinseas mac Suibhne, the schoolmaster of
Losaid, in Gartan
***
Another fairy tale collected (by Seamus Ennis) on Tory Island mentions the tune, is again related by Mac Aoidh, and has parallels in other cultures. It seems that an islander, while going to collect his sheep at Port Glas, overheard wonderful music emanating nearby and investigated. The fairy folk were playing the "Fairy Reel" and the man, being an avid and accomplished dancer, felt compelled to join in. The music and dancing lasted and lasted, and he danced and danced, unable to stop until by chance another islander came upon him. This second man heard no music, and saw nothing of the fairy celebration, and asked the first what he was doing. He got the reply that the dancer was enchanted and would not be able to stop until a mortal laid hand on him. This was done, and the dancer saved from his fate. Mac Aoidh translates: "The soles of his shoes and his socks were worn through and his feet were sore to the bone from the roughness of the place he was dancing on." A similar tale is told by Canadian storyteller Alan Mills (to the accompanying fiddling of Montreal musician Jean Carignan) collected from French-Canadian tradition, which he calls "Ti-Jean and the Devil" (with the Devil substituting for Fairies).
***
A Pennsylvania collected version appears in Bayard (1981) as "Rustic Dance" (No. 52, pg. 38), and, as "La Ronde des Vieux" it was recorded in the latter 1920's by French-Canadian fiddler Willie Ringuette.
***
The tune is associated with a traditional dance in the village of Askham Richard, which lies a few miles from York, England. The famous Dorset novelist Thomas Hardy, himself an accordion player and fiddler, mentioned the tune in The Fiddler of the Reels:
***
Then another dancer fell out - one of the men - and went into
the passage in a frantic search for liquor. To turn the figure into
a three-handed reel was the work of a second, Mop modulating
at the same time into 'The Fairy Dance,' as best suited to the
contracted movement, and no less one of those foods of
love which, as manufactured by his bow, had always intoxicated her.
***
Sources for notated versions: Dave Swarbrick (England) [Brody]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; Winston Fitzgerald (1914-1987, Cape Breton), who adapted J. Scott Skinner's variations [Cranford]. Ashman (The Ironbridge Hornpipe), 1991; NO. 30b, pg. 9. Bain (50 Fiddle Solos), 1989; pg. 7. Brody (Fiddler's Fakebook), 1983; pg. 100. Cranford (Fitzgerald), 1997; No. 129, pg. 53. Ford (Traditional Music in America), 1940; pg. 71. Honeyman (Secrets of the Gaelic Harp), 1898; pg. 8. Jarman (Old Time Fiddlin Tunes); No. or pg. 24. Joyce (Old Irish Folk Music and Song), 1909; No. 129, pgs. 65-66. Kerr (Merry Melodies), Vol. 1; Set 14, No. 2, pg. 10. Merryweather (Merryweather's Tunes for the English Bagpipe), 1989; pg. 53. O'Neill (1001 Gems), 1986; No. 986, pg. 170. Raven (English Country Dance Tunes), 1984; pg. 162. Roche Collection, 1982, Vol. 3; No. 138, pg. 43 (listed as a Long Dance). Skinner, Harp and Claymore, 1903. Stewart-Robertson (The Athole Collection), 1884; pg. 113. Sweet (Fifer's Delight), 1964/1981; pg. 61. Taylor (Where's the Crack), 1989; pg. 13 (appears as "Fairy Reel"). Trim (Thomas Hardy), 1990; No. 24. Edison 50653 (78 RPM), Joseph Samuels (appears as 4th tune of "Devil's Dream Medley"). Glencoe 001, Cape Breton Symphony- "Fiddle." Transatlantic 341, Dave Swarbrick- "Swarbrick 2." Fife Strathspey and Reel Society - "The Fiddle Sounds of Fife" (1980). "Bob Smith's Ideal Band, Ideal Music" (1977). "Fiddlers Three Plus Two." Ron Gonella- "A Tribute to Niel Gow."
X:1
T:Fairy Dance
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D
f2fd f2fd|f2fd cAeA|f2fd gfed|1 cABc d2de:|2 cABc defg||
|:a2af b2ba|gfge a2ag|1 fefd B2 e>d|cABc defg:|2 fefd Bged|
cABc d2D2||
X:2
T:Fairy Dance, The
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:D
f2fd f2fd|gfed cdeg|f2fd gfed|cABc d2d2|f2fd f2fd|gfed cdeg|fafd gfed|cABc defg||
a2af b2bf|g2ge a2 ag|f2fd gfed|cABc defg|a2af b2bf|g2ge a2 ag|fagf gfed|cABc d2d2||
X:3
T:Fairy Reel, The (Irish)
R:reel
Z:Transcribed by Philippe Varlet
M:C
L:1/8
K:G
~B3 A GBdB|{d}cBAG FGAc| BG~G2 cBAg|fdaf {a}gedc|
~B3 A GBdB|{d}cBAG FGAc| BG~G2 cBAG|1 FDEF G3 A :|2 FDEF GABc||
~d3 g e3 d|cA A/A/A d3 c|BG~G2 cBAg|fdaf {a}gfge|
~d3 g e3 d|cA A/A/A d3 c|BG~G2 cBAG|1 FDEF GABc :|2 FDEF G4||

FAR MOR, THE. AKA and see "Is the Big Man Within?"

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||

FARE YOU WELL. AKA and see "End of the Mission," "Sinners' Lament," "Weeping and Mourning," "Rough Little Heathy Hill" (An garbh Cnoicin Fraoigh). Irish, Slow Air (2/4 time). G Major (O'Neill/1915): D Major (O'Neill/1850). Standard. AB. O'Neill (Irish Folk Music, pg. 67) states:
***
During the last week of a mission given at Bantry during my school
days, the man who presided at a stall erected against the end of the
schoolhouse for the sale of church wares, attracted trade by singing
a rather depressing song to a fine melody which I memorized uncon-
sciously and never forgot. Following is all I remember of the song-
'Where sinful souls do mourn form whence they can't return
But there to weep and mourn bound in fiery chains.'
No doubt this direful picture of perdition was intended to call attention
to the need of prompt repentance, so I named the Air "Fare you Well"
or the "Sinner's Lament." This melody was unknown in that part of the
country and no trace of it had ever been discovered in our experience
until recently a version was found in (Stanford/Petrie's Complete
Collection, 1905), under the title "An garbh Cnoicin Fraoigh" (The rough
little Heathy Hill").
***
O'Neill (1915 ed.), 1987; No. 17, pg. 18. O'Neill (1850), 1903/1979; No. 2, pg. 1.

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

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

F(H)IACH AN MHADA RUA. AKA and see "The Hare in the Corn," "The Absent-minded Man," "The House in the Corner," "The Little House around the Corner," "The Royal Irish Jig," "O, as I was kissed Yestreen," "The Hare in the Corner," "The Hunt of the Hound and the Hare."

FINGER LOCK, THE. Scottish, Pibroch. A piece of piobaireachd music attributed to Ranald MacAilean Og of Cross on the Island of Eigg (c. 1662-1741), said to have been a good performer on harp and fiddle, though he was best known as a piper. The tune is sometimes associated with Calum MacRaibeart, the son of an Irish armorer who had been imported (along with his brother David, a harper) to Muckairn by the Earl of Cawdor. There are numerous stories and legends about Ranald, colorful and robust. He is said to have been a man of enormous physical strength-he stopped a mill-wheel turning at full speed, and was called upon to hold down the dying chief of Clanranald, Evil Donald (Domhnall Dona Mac 'ic Ailean), when the Devil came to claim him in payment for a debt Donald owed. Ranald was supposed to have overcome the ghost of a headless woman which was terrorizing the district of Morar and Arisaig. He was known to have been on good terms with the local witches (though he avoided participating in their rites), and they warned him that they had forseen impending danger, saving him from drowning on the river Lochy. In his old age he became blind and bedridden, but scarcely diminished in temper, for if he thought himself neglected by his kin he would lull them into approaching by his pleasant talk and calm demeanor, then cuff them a terrible blow about the head (Sanger & Kinnaird, Tree of Strings, 1992).

FIRE ON/IN THE MOUNTAIN [1]. AKA and see "Sambo," "Hog-Eye," "Betty Martin." Old-Time, Bluegrass; Breakdown. USA, widely known. A Major ('A' part) & D Major ('B' part). Standard, AEAE or ADAE. AAB (Brody, Krassen): AABB (Lowinger): AABB' (Phillips/1994). The tune usually goes at breakneck speed, giving rise to popular folklore for the reason for its name: the fiddler plays so fast the fiddle catches on fire and lights up the woods (Lowinger, 1974). The title may be Celtic in origin: Scottish clans often used blazing bonfires on highland hills as gathering signals (ironically, this also may be the origin for the Ku Klux Klan's blazing crosses). Krassen (1973) notes his 'B' part has similarities with a 78 RPM recording of Pope's Arkansas Mountaineers' "Hog-eyed Man," and Bayard (1981) also recognizes the similarity between the second parts of the same tunes, though a closer match to "Fire On the Mountain" he believes to be "Betty Martin," which is "reminiscent all through." Guthrie Meade (1980) links the Kentucky version of the tune (which also goes by the name "Big Nosed Hornpipe") to the "Sally Goodin'" family of melodies. Winston Wilkinson, in the Southern Folklore Quarterly (vol. vi, I, March, 1942), gives a bar-for-bar comparison of the tune with a Norse 'halling' tune, set by the Norwegian composer Greig and published in Copenhagen in 1875 (Norges Melodier, 1875 & 1922, iv, pg. 72). The tunes are so close as to be almost certainly cognate. Bayard records the tune's earliest American publication date is 1814 or 1815 in Riley's Flute Melodys (where it appears as "Free on the Mountains"), and as "I Betty Martin" in A. Shattuck's Book, a fiddler's manuscript book dating from around 1801. The piece was recorded in the early 1940's from Ozark Mountain fiddlers by musicologist/folklorist Vance Randolph for the Library of Congress. Lowe Stokes (1898-1983), one of the north Georgia band 'The Skillet Lickers' fiddlers, remembered it as having been fiddled by his father.
***
Verses are sometimes sung to the melody, especially in the variants by other names such as "Betty Martin," "Pretty Betty Martin" and "Hog-eye." Wilkinson (1942) says that the following verse made its way into some editions of Mother Goose:
***
Fire on the mountains, run, boys, run,
Fire on the mountains, run, boys, run.
***
Other verses (some of which are floating) have been:
***
Fire on the mountain, run boy run;
Sal, let me chaw your rosin some.
***
Fire on the mountain, run, boys, run;
Fire on the mountain till the day is done.
***
Fire on the mountain, water down below;
Never get to heaven 'less you jump Jim Crow.
***
Fire on the Mountain, fire on the hillside
Fire on the Mountain, run, boys, run.
***
Old Uncle Cyrus fished all night,
Never caught a fish on a crawfish bite.
***
Old mother Taylor she drinks whiskey,
Old mother Taylor she drinks wine.
Old mother Taylor she got drunk,
Swung across the river on a pumpkin vine.
***
Two little Indians lying in bed,
One turned over and the other one said,
Fire on the mountain coming son,
Fire on the mountain run boy run.
***
Two little Indians and their squaw
Sittin' on a mountain in Arkansas.
***
All little Indians gonna drink whisky
All little Indians gonna get drunk.
***
Sources for notated versions: Highwoods String Band (N.Y.) [Brody]; Gid Tanner & the Skillet Lickers (Ga.) [Krassen]; Clayton McMichen (Ga.) [Kaufman]; James H. "Uncle Jim" Chisholm (Greewood, Albermarle County, Virginia) [Wilkinson]. Brody (Fiddler's Fakebook), 1983; pg. 106. Kaufman (Beginning Old Time Fiddle), 1977; pgs. 76-77. Krassen (Masters of Old Time Fiddling), 1973; pg. 72. Lowinger (Bluegrass Fiddle), 1974; pg. 17. Phillips (Fiddlecase Tunebook), 1989; pg. 18. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 85. Wilkinson, Southern Folklore Quarterly, Vol. VI, pg. 9). Spandaro (10 Cents a Dance), 1980; pg. 39. Briar 4202l, The Kentucky Colonels- "Living In the Past." Brunswick 470 (78 RPM), The Red-Headed Fiddlers (1929). CMH 9006, Benny Martin- "The Fiddle Collection." Columbia 15185-D (78 RPM), Riley Puckett (fiddled by Clayton McMichen). County Records, Kyle Creed and Fred Cockerham. Flying Fish 065, Buddy Spicher- "Me and My Heroes" (appears as the third tune of 'Fiddle Tune Medley'). King Records (78 RPM), Curley Fox (Greysville, Tennessee). Library of Congress Records, The Red-Headed Fiddlers - "Dance Music, Breakdowns and Waltzes." Morning Star 45004, Ted Gossett's String Band (western Ky.) - "Wish I Had My Time Again" (originally recorded Sept., 1930, probably with fiddling by Tommy Whitmer instead of Ted Gossett, although the recording was issued under the band name Buddy Young's Kentuckians). OKeh 45068 (78 RPM), John Carson. Rounder 0023, Highwoods String Band- "Fire On the Mountain." Rounder 0035, Fuzzy Mountain String Band- "Summer Oaks and Porch" (1973. Learned from Henry Reed, Glen Lyn, Va.). Rounder 0197, Bob Carlin - "Banging and Sawing" (1985. Appears as "Far in the Mountain," learned from the Red-Headed Fiddler's record). Rounder C-11565, Bob Potts & Walt Koken - "Rounder Fiddle" (1990). Starday SLP 235, Curly Fox {Ga.} (1963). Stoneway 148, E.J. Hopkins- "Fiddle Hoedown." Vetco LP 104, Clayton McMichen - "The Wonderful World of Old-Time Fiddlers" (orig. rec. 1928). In the repertoire of black string band John Lusk Band (as "Sambo") from the Cumberland Plateau region of Ky./Tenn.
T:Fire on the Mountains
L:1/8
M:2/2
S:James H. "Uncle Jim" Chisholm, Greenwood, Albermarle County, Va.
K:A Mixolyidan
efed c2A2|B2G2B2d2|efed c2A2|B2G2 A4:|
|:efed c2d2|e2f2g2g2|efed c2d2|e2a2 a4:|

FISHERMAN'S ISLAND. AKA and see "Reavy's." Irish, Reel. D Major. Standard. AA'BB'. Composed by the late County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). The tune appears in Bernard Flaherty's "Trip to Sligo" (1990) again under the title "Fisherman's Harvest." Source for notated version: fiddler Philip Duffy (b. 1966) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 35 (appears as "Unknown"). Reavy (The Collected Compositions of Ed Reavy), No. 38, pg. 40. Green Linnet SIF-1110, Seamus Connolly - "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Green Linnet SIF 1126, "Déanta." Shanachie 79044, Tommy Peoples - "The Iron Man" (appears as "Reavy's"). "Sain SCD 1019, Déanta." Tara 2006, "Noel Hill & Tony Linnane" (appears as "Reavy's").
T:Fisherman's Island
T:Fisherman's Harvest
T:Ed Reavy's
T:Reavy's
R:reel
L:1/8
M:C|
K:D
"D"DEFA d2dA|"E7"BAGB "D"AFDF|GEED EFGA|"Em"(3Bcd ed "A"cAAg|
"D"fd~d2 "A"ecAc|"D"~d3A BAGF|"A"EFGA (3Bcd ed|1 cAGE EDCE:|2
cAGE "D"EDD2||
|:"D"fd~d2 AF~F2|DFAd f2ef|"G"gece "A"bece|"D"dfed "A"cAGE|
"D"DF~F2 Adfd|"G"Bg~g2 "A"edcB|"D"Adfa "Em"gbed|1 "A"cAGE "D"EDD2:|2 "A"cAGE EDCE||

FISHERMAN'S WIDOW, THE (Baintreabac An Iasgaire). AKA and see "Baxter's Big," "The Friendly Neighbor," "The Rambling Pitchfork," "St. Patricks Day in the Evening." Irish, Double Jig. D Major. Standard. AABB (Mulvihill, O'Neill/Krassen & 1915): AABB' (O'Neill/1850 & 1001). Source for notated version: 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: "the 'swing' of his execution was perfect, but instead of 'beating time' with his foot on the floor like most musicians he was never so much at ease as when seated in a chair tilted back against a wall, while both feet swung rhythmically like a double pendulum" [O'Neill, Irish Folk Music]. Mulvihill (1st Collection), 1986; No. 7, pg. 66. O'Neill (1915 ed.), 1987; No. 179, pg. 98. O'Neill (Krassen), 1976; pg. 43. O'Neill (1850), 1903/1979; No. 931, pg. 173. O'Neill (1001 Gems), 1907/1986; No. 163, pg. 41.
T:Fisherman's Widow, The
L:1/8
M:6/8
S:O'Neill - 1001 Gems (163)
K:D
F2G AFA|dcA AGF|G3 ABc|ded cAG|F2G AFA|dcA AGF|GFG ABG|AFD D3:|
|:d2e f2d|dcA ABc|d2e f2g|afd dcA|1 d2e f2d|ecA AGF|GFG ABG|AFD D3:|2
afa geg|fed cAF|G2A BAG|AFD D3||

FISHER'S FANCY. Irish, Reel. A reel named by O'Neill (1913) in a tale of piper John Hicks, a Kildare piper who emigrated to America around 1850. Hicks made his living playing in cities around the country and one season, while playing in Chicago, he was invited to a pub by a fiddler named Patsy Kilroy. The piper played so well that Kilroy became jealous and regretted his sponsorship of the piper. They were playing "Fisher's Fancy" together "when in comes Bill Thompson, the local blacksmith and farrier. Bill, who was as fine a specimen of the Irish peasant as I ever laid eyes on, listened patiently while the musicians played a few rounds of the tune. Placing his brawny hand on Kilroy's shoulder, he softly said, 'Put up that washstaff avic and let the man play the pipes."

FISHING FOR EELS (Ag Iasgaireacd Aor Easgaide). AKA and see "Bobbing for Eels," "Jackson's Bottle/Jug of Punch," "The Bottle of Punch," "The Dairymaid" [6], "Jackson's Bottle of Brandy," "The Butchers of Bristol," "The Old Man's Jig," "Pay the Reckoning," "Ioc an Reicneail." Irish, Jig. G Major. Standard. AABB. O'Neill (1850), 1979; No. 1006, pg. 187.
T:Pay the Reckoning
T:Jackson's Bottle of Brandy
T:Fishing for Eels
B:Breathnach's "Ceol Rince na hÉireann" I:19
S:Seán Potts, pipes
Z:transcribed by Paul de Grae
M:6/8
L:1/8
K:G
G2e dBG|{c}BAB dBG|G2e dBG|{B}AGA BGD|
G2e dBG|{c}BAB deg|age dBG|{B}AGA BGD:|
|:gag f2 f|ede def|{a}gfg efg|aga bge|
gbg a2 g|edB deg|age dBG|AGA BGD:|

FIVE MEN WENT OUT TOGETHER. Irish, Air (3/4 time). E Flat Major. Standard. AB.
***
Five men went together (x2)
Four men, three men, two men, one man
And the mower went to mow the meadow.
***
Mother ru a ru a ru a
Mother ru a ready
With a stick upon her back
And another in her hand
Saying Good morrow to you kindly madam.
***
Stanford/Petrie (Complete Collection), 1905; No. 869, pg. 217.

FLAIL, THE [2]. Irish, Jig. Composed by Vincent Broderick. Philo 1051, Boys of the Lough - "Good Friends, Good Music" (1977). Chris Norman - "The Man with the Wooden Flute."

FLANNERY'S DREAM. AKA - "Son of Hober." Old-Time, Breakdown. Standard. There are several tunes played be Kentucky fiddlers called "Flannery's Dream.
Warner Waton tells the story that Flannery was supposedly a Revolutionary War fiddler who was under a sentence of death. The commanding officer, knowing he could play, agreed to set him free if Flannery could play him a tune he hadn't heard. Flannery dreamt this tune the night before his scheduled execution. John Hartford thinks Flannery may have been a Civil War figure rather than a Revolutionary War soldier, and the story is similar to one told about Solly Carpenter (see note for "Camp Chase"). Hartford notes the Flannery family is a large and old one from Elliott County, Kentucky. Another common story attached to the tune (and told by Alva Greene, for one) is that a man named Flannery dreamed this tune and won a contest with it (Hartford, 1996). Bluegrass multi-instumentalist Ricky Skaggs recorded a version called "Son of Hober." Berea AC007, Roger Cooper (Garrison, Ky.). Rounder 0151, Ricky Skaggs (appears as "Son of Hober," a title which honors Skaggs' father). Rounder 0376, Alva Greene. Rounder 0392, John Hartford - "Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard)" {1996. Learned from Ricky Skaggs who learned it from Sanford Kelly}. Gerry Milnes & Lorraine Lee Hammonds - "Hell Up Cold Holler." Rounder Records, "Traditional Fiddle Music of Kentucky, Vol. 1." Brad Leftwich - "Say Old Man." Rounder Records, James Bryan - "The First of May." Shanachie Records 6040, Gerry Milnes & Lorriane Lee Hammond - "Hell Up Coal Holler" (1999. Learned from an old Kentucky fiddler, Sanford Kelly).

FLATWOODS [1]. Old-Time, Breakdown. USA; Galax, Va., Roundpeak, N.C., Alabama. G Major. GDAD (Tommy Jarrell) or Standard (Emmett Lundy). ABB (Seeger/Frets): AABB (Phillips). This tune, in several versions which seem loosely connected, has been found the repertoires of Galax/Mt. Airy musicians such as Tommy Jarrell (Mt. Airy, N.C.), Emmett Lundy and Luther Davis (Galax, Va.) and Alabama's Johnson Family Band (c. 1950), as well as Georgia's Skillet Lickers in the 1920's (in fact, the melody is known widely as a north Georgia tune). Mt. Airy, N.C., fiddler Tommy Jarrell learned the tune (and "Devil in the Strawsack") as a young man from southwest Va. musician Zack Payne, a Confederate Civil War veteran who was 82 at the time. Emmett Lundy's version seems to be more related melodically to "Leather Britches" in the 'B' part than Payne's version. Sources for notated versions: Tommy Jarrell via Liz Slade (Yorktown, New York) [Kuntz]; Emmett Lundy (Va.) [Phillips]. Frets Magazine, "Mike Seeger: Traditional Music", April 1983; pg. 49. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), 1994; pg. 88. Columbia 15472 (78 RPM), The Skillet Lickers. County 756, Tommy Jarrell - "Sail Away Ladies" (1986). Rounder 0020, Jerry Lundy. Rounder 1005, The Skillet Lickers. String 802, Emmet Lundy - "Library of Congress Recordings, 1941."
T:Flatwoods
L:1/8
M:2/4
S:Liz Slade
N:GDAD tuning
Z:Transcribed by Andrew Kuntz
K:G
B|:(B/ d) (B/ d)(d|d)e dB/(A/|B/c/d/)(c/ d/)B/d/(A/|B/)D/G/A/ AG:|
|:(A/ B) (D/ G>)(D|B)B AG|(A/ B) (D/ G)G/D/|E/D/E/D/ AG|
(A/ B) (D/ G>)(D|B)B AG|(B/ d) (B/ d/)B/d/(A/|B/)A/G AG:|

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

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

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

FLOWERS OF 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:|

FOLDING DOWN THE SHEETS. AKA and see "Hanging Out the Sheets" (Ky. title), "Mackilmoyle," "Missouri Hornpipe," "Republican Spirit." Old-Time, Breakdown. USA; southwestern Va., West Virginia, Kentucky. D Major. Standard or ADAE. AABB. A somewhat-similar tune, perhaps a version of the melody, appears under the title "Republican Spirit" in George P. Knauff's Virginia Reels, volume I (1839), and elsewhere the tune appears in mid-nineteenth century Elias Howe volumes as "Missouri Hornpipe." Canadian fiddlers, such as Don Messer, have a version of the melody (most similar in the 'B' parts) and call it "The Mackilmoyle." Most modern sources learned the tune from the playing of southwest Virginia fiddler Henry Reed (Glen Lyn, Va.), however, another set of "Folding Down the Sheets" was recorded in 1954 by Wyatt Insko from the playing of Floyd Burchett in Pike County, Kentucky. Reed told Alan Jabbour that he learned the tune from his mentor, Old Man Quince Dillion (who had been a fifer in the Mexican War), and from John Dillion and an unidentified "Falls", but that "all of 'em played it." Sources for notated versions: Henry Reed (Glen Lyn, Va.) [Krassen]; Henry Reed via Alan Jabbour with the Hollow Rock String Band [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 110. Krassen (Masters of Old Time Fiddling), 1983; pg. 91-92. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 91. Spandaro (10 Cents a Dance), 1980; pg. 8. Cassette C-7625, Wilson Douglas - "Back Porch Symphony." Kicking Mule 209, Bob Carlin- "Melodic Clawhammer Banjo." Kanawha 311, Hollow Rock String Band- "Traditional Dance Tunes." June Appal 028, Wry Straw - "From Earth to Heaven" (1978. Learned from Pete Vigour and Ellen Scherer).
T:Folding Down the Sheets
L:1/8
M:4/4
K:D
|:af|edcB ABc2 |dBAF D2EF|G4 F4|EDE2 A2:|
|:edef gfgf|Ace2 a4|A2a2A2g2|1edef e4:|2ede2d2|]
T:Folding Down the Sheets
L:1/8
M:4/4
S:Henry Reed, from a transcription by Alan Jabbour
K:D
(a/g/|f/)e/d/B/ e/d/c/A/ dF A/F/A/(d/|B/)G/B/(B/ A/)F/A/F/ A,2 D (a/g/|
f/)d/f/d/ e/c/e/c/ d[FA] A/F/A/d/|[D/B/]G/B/[G/B/] [D/A/]F/(A/F/) A,2 D2|
[A>e>](f g/f/)(g/f/) [A/e/]c/(e/f/4g/4) aa|c(e/c/ Bg (f/d/)(e/c/ d)d|
e(e/f/ g/f/)(g/f/) [A/e/]c/(e/f/4/g/4) aa|[c2e2] Bg f/d/e/c/ d2||
[A>e>]g|fd[Ae]c dF A/F/A/(d/|B/)G/B/(G/ D/F/)(A/F/) A,2 D2 e>(g|
f)d (e/c/)(e/c/) dF (A/F/)(A/d/)|(B/G/)(B/G/) (D/F/)(A/F/) A,2 D2|
e>(e/4f/4 g/f/)(g/f/) (e/c/)(e/f/) [A2a2]|[c2e2] [Bf]g f/d/(e/B/4c/4 d2)|
(e>f g/f/)[B/g/]f/ [A/e/]g/(e/f/) a2|[c2e2] Bg (f/d/)(e/c/ d)||

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

FORTUNE [1]. AKA- "Once I Had a Fortune." Old-Time, Song and Breakdown. USA, "most popular around Galax, Va." (Krassen, 1973). D Major. Standard or ADAE. AABB. Called a "Blue-Ridge Mountain standard," it is found in western North Carolina and southwest Virginia, but has become particularly identified with Galax, southwestern Virginia, style bands. It was, for example, one of the few tunes recorded by legendary Galax, Va., fiddler Emmett Lundy. Mt. Airy, North Carolina, fiddler Tommy Jarrell (1901-1986) said of the melody: "I can recollect hearing my daddy play it as far back as I can recollect. I don't know where that started from...it was more just an old, well, a flat foot dance tune I'd say." Sources for notated versions: The Bogtrotters (Galax, Va) [Brody]; Charlie Higgins (Galax, Va.) [Krassen]; The Backwoods Band (Kuntz); Tommy Jarrell (Mt. Airy, N.C.) [Kuntz]; Ottis Burris [Phillips].
***
Once I had a fortune, I put it in my trunk,
I lost it all a-gambling one night when I was drunk.
***
Wish I had a pretty little hog/horse, corn to feed him on,
And a pretty little wife around the farm to feed him when I'm gone. (Jarrell)
***
Oh once I had a fortune, I put it in my trunk,
I lost it all a-gamblin' one night when I was drunk.
***
Chorus
Fortune I had it, fortune I lost it,
Fortune I lost it one night when I was drunk.
***
Once I had a fortune but now I've lost it all,
Drinkin' and a gambling and playin' at the ball.
***
I'm packin' up my suitcase and now I say goodbye,
I'm gonna live a gamblin' man until the day I die. (The Backwoods Band)
***
Brody (Fiddler's Fakebook), 1983; pg. 112. Krassen (Appalachian Fiddle), 1973; pg. 46. Kuntz (Ragged but Right), 1987; pgs. 309-311 (two versions). Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 91. Biograph 6003, The Bogtrotters (Galax, Va.) - "The Original Bogtrotters" (Wade, Crockett, and Fields Ward). County 705, Otis Burris- "Virginia Breakdown." County 778, Tommy Jarrell- "Picklin' On Tommy's Porch" (1984). Folkways FTS 31038, Roger Sprung- "Bluegrass Blast." Heritage XXIV, Smokey Valley Boys - "Music of North Carolina" (Brandywine, 1978). Marimac 9009, Andy Cahan - "Old Time Friends" (1987). Tennvale 003, Pete Parish- "Clawhammer Banjo." Rounder 0128, The Backwoods Band- "Jes' Fine" (1980. Influenced by the fiddling of Otis Burris and the singing of Scotty East). Tennvale 002, Barry Poss- "Galax '73."
T:Fortune
L:1/8
M:C|
S:Tommy Jarrell
B:Kuntz - Ragged but Right
K:D
(a2|a)bag fede|[Af]e c2 [df] (a2|a)bag fe d2|A3B A2 (a2|a)bag fe d2|gfga b2 fg|
aa a2 gf e2|d3e d2:|
|:de|[df][df][df][df] [d2f2][d2f2]|[de]d B [D2e2]|[df][df][df][df] ed B2|A3B A2 [A2e2]|
[df][df][df][df] [d2f2][d2f2]|[d2g2] [dg][dg] [d2g2] [dg][dg]|edcB A2c2|
[d3f3] [de] [d2f2]:|
T:Fortune
L:1/8
M:C|
S:Backwoods Band/Otis Burris
B:Kuntz - Ragged but Right
K:D
fg|agfe defg|fedf e d2e|fefg abaf|efae c A2 c|dcde fedc|Bg3 g2 fg|a2 e2 cABc|d3e d2:|
[D2D2] [DD][DD] [DE][DD] [B,2D2]|[D3D3] [DE] [D2D2] (D2|D2) [DD][DD] [DD][CD] [B,2D2]|[A,3D3] [B,D] [A,2D2] A,2|DCDE FDEF|GFGA BGAB|
ABcd ecBA|d3e d3 (D||
D2) [DD][DD] [DE][DD] [B,2D2]|D3 [DE] [D2D2] (D2|
D2) [DD][DD] [DD][CD] [B,2D2]|[A,3D3] [B,D] [A,2D2] A,2|
DCDE FDEF|GFGA BGAB|ABcd ecBA|d3e d2||

FOUR POSTER BED, THE. AKA and see "Four Corners of St. Malo," "Four Corners Reel," "Four Posts of the Bed," "Les Quatre Coins du Lit," "Les Quat' Coins de St Malo." English, Scottish, Irish, Shetlands; Polka, Reel or 'Programme Piece'. Ireland, Donegal. D Major. Standard. ABB (Phillips): AABB (Martin). This tune's 'B' part dramatizes the four poster bed by giving four taps with the frog-end of the bow on the each of the four quarters of the belly of the fiddle, interspersed by a right-hand pizzicato. The melody is popular in the Shetlands, though probably not of Shetland origin admits Cooke. On an early recording made for Comhaltas, Donegal fiddler John Doherty relates the story of "The Fours Posts of the Bed" and then plays the tune. His story tells of an itinerant fiddle player who finds refuge for the night in a cottage which lacks a bed for him. Not wanting to be inhospitable, the man of the house fashions a bed, and in return the fiddler composes a tune to thank him. Under the title "The Four Corners of St. Malo" the melody was recorded for Philo by French-Canadian fiddler Henri Landry. As has been noted by any fiddler who attempts to play this tune in the traditional manner, tapping the metal end of the frog on the belly of the violin often produces nicks and dings in the wood. To prevent this damage fiddlers in Donegal shout in Gaelic "Aon, do, tri, ceathair" (one, two, three, four) as the tap the four corners of the violin with their bow in the vertical but with the fleshy part of their middle finger covering the end of the frog. Source for notated version: Dave Swarbrick (England). Jordan (Whistle and Sing!), Vol. 1. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 42. Phillips (Fiddlecase Tunebook), 1989; pg. 21. Polydor Special 236-514, Dave Swarbrick.
T:Four Posts of the Bed, The
M:C|
L:1/8
Q:220
S:John Doherty
R:polka
Z:Philippe Varlet
K:D
e2 ef e2 ef | edcB A2 E2 | A2 e2 f2 fe | g2 fe f2 a2 |
e2 ef e2 ef | edcB A2 g2 | f2 g2 e2 c2 |1 d4 g3 f :|2 d4 d2 Ad ||:
f2 gf e2 fg | abag fAde | f2 gf e2 fg | a2 ^gb a2 Ad |
f2 gf e2 fg | abag fAde | f2 gf e2 a2 |1 d4 d2 Ad :|2 d4 g3 f ||:
e2 ef e2 ef | edcB A2 E2 | A2 e2 z2 e2 | z2 e2 z2 e2 |
z2 e2 e3 f | edcB e2 eg | f2 g2 e2 c2 | d4 g3 f :||

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:|

FRENEY'S LAMENT. Irish. The tune was composed in 1760 inspired by a highwayman, and was well-known in the counties of Waterford, Kilkenny, and Wexford. The lament was premature, however, for Freney was pardoned for his crimes, appointed to a minor post in the Customs at New Ross and died an old man in 1790.

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Ceolas > Tunes > Fiddler's Companion

The Fiddler's Companion

Ceolas > Tunes > Fiddler's Companion