The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

DAN - DAR

[COMMENT3] 

 

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

[COMMENT4] 

DAN BACKUS' FAVORITE. AKA and see “Jim Coleman’s [1],” “Liverpool Jack’s,” “Miss McGuinness [3],” “Take Your Choice,” “Terence’s Ramble.” American, Reel. F Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 30. Ryan’s Mammoth Collection, 1883; pgs. 32, 46, 56.

X:1

T:Dan Backus’ Favorite

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collecton (1883)

Z:AK/Fiddler’s Companion

K:F

(f/d/)|:(c/F/).F/.F/ c/F/A/c/|d/e/f/g/ a/g/f/d/|(c/F/).F/.F/ c/F/A/c/|.d(c/A/) (A/G/).G|

(c/F/).F/.F/ c/F/A/c/|d/e/f/g/ a/g/f/d/|(c/F/).F/.F/ c/F/A/c/|.d(c/A/) (A/G/).G:|

|:.g(a/g/) f/d/d/f/|d/f/c/f/ d/f/c/f/|.g(a/g/) f/d/d/f/|f/d/c/A/ (A/G/).G|.g(a/g/) f/d/d/f/|

d/f/c/f/ d/f/c/f/|(a/g/).f/.a/ g/f/d/e/|(f/d/).c/.A/ (A/G/).G:|

                       

DAN BREEN'S REEL. AKA and see “Breen’s,” “Kevin Burke’s,” “The Shepherd’s Daughter [1].” Irish, Reel. A Dorian. Standard tuning. AB. Kevin Burke recorded the tune as “The Shepherd’s Daughter,” an obviously influential recording as several recordings subsequently appeared with the tune under the title “Kevin Burke’s.” However, “Dan Breen’s” appears to be similar to the tune “The Shepherd’s Daughter” in only one part, leading perhaps to a confusion of titles. Source for notated version: flute player James Murray (b. 1947, Ougham, outside Tubbercurry, Co. Sligo) [Flaherty]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 35. Flaherty (Trip to Sligo), 1990; pg. 171. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 16. Vallely (Play Tin Whistle with the Armagh Pipers Club), vol. 3; 17. Green Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990. Appears as “Breen’s”). The Chieftains #1. Folan & Davey (appears as “Marice Lennon’s”).

X:1

T:Dan Breen’s Reel

L:1/8

M:C|

K:A Dorian

gf|~e2 dB ABAG|EAAG A2 gf|eBdB ABAG|EDEG G2 Bd|e2 dB ABAG|

EAAG A2 gf|e2 dB ABAG|EDEG G2||Bd|e2 ge edBd|eAAG eAAG|

e2 ge edBe|d2 ef g2 fg|e2 ge edBd|eA ~A2 BA (3Bcd|e2 ge edBc|d2 ef g2||

X:2

T:Dan Breen’s

T:Breen’s

R:reel

D:Chieftains 1

D:Altan: The Red Crow

Z:id:hn-reel-132

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|
L:1/8

K:A Dorian

e2dB ABAG|EAAG A2Bd|e2dB ABAG|1 EGGF G2gf:|2 EDEG G2Bd||

|:e2ge edBd|eA~A2 eA~A2|e2ge edBd|d2ef g2fg:|

“variations”

|:e2ge cA{c}BG|EA{c}AG ABcd|~e2dB cA{c}BG|EG{A}GF ~G2 (3Bcd:|

|:e2ge {a}ed (3Bcd|ea{c’}ag efge|~e2ge {a}ed Bc|1 ~d2ef g2fg:|2 d2ef g2 (3Bcd||

X:3

T:Shepherd’s Daughter

T:Dan Breen’s

M:C|

L:1/8

Z:Mike Hogan

K:E Dorian
~B2 AF ~E3D | B,EED EFGA| B2 AF ~E3D| B,DDB, DEFA |!
~B2 AF ~E3D | B,EED EFGA| (3Bcd AF ~E3D| B,DDB, DEFA ||!
B3d BAFA| B~E3 BAFA|~B2dB  BAFG| A2Bc d2cd|!
B3d BAFA| B~E3 BAFA|~B3d BAFG| A2Bc d2cd|!

                       

DAN CAMERON’S FAVORITE. AKA and see “Miss Gayton’s Hornpipe.” O’Neill prints the tune as “Sailor’s Hornpipe [3].”

                       

DAN CARTER WALTZ. Old‑Time, Waltz. USA, western North Carolina. An original composition of North Carolina banjoist and fiddler Oscar Jenkins. County 723, Fred Cockerham, Tommy Jarrell & Oscar Jenkins ‑ "Back Home in the Blue Ridge."

                       

DAN CLEARY’S FAVOURITE.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 8.

 

DAN COAKLEY’S POLKA. Irish, Polka. G Major/E Dorian. Standard. AABB. Cranitch (Irish Fiddle Book), 1996; No. 42, pg. 141. Cranitch (Irish Session Tunes: Red Book), 2000; 42. Mallinson (101 Polkas), 1997; No. 15, pg. 7


                                                                                               

DAN COLLIN’S FATHER’S JIG. AKA and see “Bill Collins',” “Johnny Dennehy’s.” Irish, Jig. D Major. AABB. Said to be an old County Cork tune transmitted by William Collins, an older Kerry fiddler who now makes his home in New York City. Bill Black (1996) identifies Bill Collins as from Meelin, County Cork, father of Shanachie records founder Dan Collins. The tune is sometimes called “The Hearty Boys of Ballymoate,” actually the name of another tune, after it was recorded by the group De Dannan in a set called “The Hearty Boys…”; “Bill Collins” was the untitled follow-up tune. See also note for “Bill Collins.” Source for notated version: a recording of fiddler Frankie Gavin via Jerry Holland (Inverness, Cape Breton) [Cranford]; fiddler Dan Collins [Black]. Black (Music’s the Very Best Thing), 1996; No. 7, pg. 4. Cranford (Jerry Holland), 1995; No. 232, pg. 67. Fiddlesticks cass., Jerry Holland - “Lively Steps” (1987). Green Linnet, Jerry Holland - “The Fiddlesticks Collection” (1995). Sugar Hill SU1130, De Danann - “Song for Ireland” (follows “The Hearty Boys of Ballymote”).

X:1

T: Dan Collins' Father's Jig

S: De Danann (name from Dan Collins)

Z: transcribed by B.Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: D

A | ded BAB | def a2 a | baf ede | fdB BAB |

ded BAB | def a2 a | baf ede | fdc d2 :|

e | faa faa | afe f2 f | aba f2 e | dBA BAB |

ded BAB | def a2 a | baf ede | fdc d2 :|

                       

DAN CORMIER’S. Canadian, Hornpipe. Canada, Cape Breton. A Major. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton). Cranford (Brenda Stubbert’s), 1994; No. 13, pg. 6.

                       

DAN DEIRG.  Scottish, Slow Air (4/4 time). A Minor. Standard tuning. One part. “Very old,” notes Morison. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 19, pg. 9.

X:1

T:Dan Deirg

M:C

L:1/8

R:Air

N:”Slow”

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 19 (c. 1882)

Z:AK/Fiddler’s Companion

K:A Minor

A | AG/A/ {A}cA/G/ {G}AG/E/ D2 | AG/A/ cA/G/ {G}AG/E/ D2 |

C>C d>d {d}ed/c/ {d}cA/G/ | GA/c/ {d}d2 {d}cA/G/ ED/C/ | {c}AG/A/ {A}cA/G/ {G}AG/E/ D ||

 

DAN DOWD’S. Irish, Jig. The tune is “The Nightingale [6],” a composition of Seán Ryan. Bulmer & Sharpley (Music from Ireland), Vol. 4, No. 61.

                                   

DAN FRIEND'S PIECE. Old-Time, Breakdown. USA, West Virginia. A Mixolydian. Standard tuning. ABB'. See also variants “Rainy Day [2],” “Hell Against the Barn Door,” and, in the Midwest, “Yankee Squirrel Hunter” and “Squirrel Hunter.”  Source Ernie Carpenter named the tune after the fiddler from whom he learned it. Source for notated version: Ernie Carpenter (Braxton County, W.Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 65.

           

DAN GAY.  English, Air (3/4 time). G Major. Standard tuning. AB. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 28.

X:1

T:Dan Gay

M:3/4

L:1/8

R:Air

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)

Z:AK/Fiddler’s Companion

K:G

G2 | ({B/c/}d2) (cB)(AG) | {B}F4GG | (AB) c2B2 | {B}A4AA | (Bc) d2A2 |

(FG)(AF)(GE) | D4 || AA | d2 (AB)(cd) | {c}B4d2 | g2 (de)(=fg) | {f}e4 c{d}e |

d2 (cB)(AG) | AB c2B2 | {B}A2 z2gf | E2({G}F2)G2 | (3cBA {G}”tr”F3G | G4 ||

           

DAN GALBEY’S. Canadian, Reel. Canada, Cape Breton. Recorded by Cape Breton fiddler Howie MacDonald under this title, it is a version of "Maud(e) Millar [2],” in O’Neill and “Magic Slipper [1]” in Ryan’s Mammoth Collection. Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

 

DAN HARRY BURTON. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AA’BB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 100, pg. 36. Brenda Stubbert - “Tamerack ‘er Down” (1985).

 

DAN HUGHIE MACEACHERN'S REEL. Canadian, Reel. Canada, Cape Breton, Nova Scotia. F Major. Standard tuning. AABB'. Composed by Antigonish, Nova Scotia, fiddler Jackie Dunn in honor of her uncle, fiddler Dan Hughie MacEachern. Cook (Night in the Kitchen Collection), 1996; pg. 36.

 

DAN HUGHIE’S STYLE. Canadian, Jig. Canada, Cape Breton. G Dorian. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 123, pg. 42.

 


DAN J. CAMPBELL REEL, A. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AB. A double-tonic reel. Source for notated version: John Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 78. JC 125, John Campbell - “Sound of Cape Breton” (1980. Appears as “Traditional Reel”). DMP6-27-2-4, Doug MacPhee - “The Reel of Tulloch” (1985. Appears as “A Dan J. Campbell Reel”). WMT002, Wendy MacIsaac – “That’s What You Get” (1997?).

 

DAN J. CAMPBELL STRATHSPEY, A. Canadian, Strathspey. Canada, Cape Breton. D Major. Standard tuning. AAB. Source for notated version: Dan J. Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 72. AMI-92, Ashley MacIsaac - “Close to the Floor”(1992. Appears as “Traditional Strathspey”). JC 123, John Campbell  - “Heritage Remembered” (1978. Appears as 2nd of “Two Traditional Strathspeys”). DMP6-27-2-4, Doug MacPhee - “The Reel of Tulloch” (1985). RMD-CAS1, Rodney MacDonald - “Dancer’s Delight” (1995. Appears as “Traditional Strathspey”). 

 

DAN KELLY'S PERJURY. Irish, Slow Air (4/4 time). F Major. Standard tuning. One part. "There was a Ninety‑eight song to this air" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 580, pg. 304.

 

DAN LOWRY’S. AKA and see “The Galway Hornpipe [1],” “McDermott’s Hornpipe [1],” “McDonaugh’s Clog.” Irish, Hornpipe. The title refers to a Dublin theatrical man and the name of a theater of the late 19th century. Caoimhin Mac Aoidh (1994) explains that O’Neill’s source was a fiddler named Joe Timoney, known in Donegal as Joe Phaedar Sheain Ó Tiomanai, who was born and raised at Min a tSamhaidh, Fintown, Donegal, and who was the great-great-great-great-great grandson of the reknowned poet Tadhg An Fhile O’Tionamai An Aighe. Timoney emigrated to the United States at the beginning of the 20th century and arrived in San Francisco just after the great earthquake of 1906. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 311.

X:1

T:Dan Lowry's Hornpipe

M:4/4

L:1/8

S:Joseph P. Tamony, San Francisco

Z:Paul Kinder

R:Hornpipe

K:D

sFEs|D2 FA dAFD|CDEF G2 sFEs|D2 (3FGA d2 cd|edcB (3ABA (3GFE|

D2 sFAs dAFD|CDEF G2 sFGs|AdcB (3ABA (3GFE|D2 F2 D2:|

|:de|fdfg fedc|BABc B2 cd|edef edcB|(3AAA ce f2 (3ABc|

dcde fdAF|EDEF G2 FG|AdcB (3ABA (3GFE|D2 F2 D2:||

 

DAN MACDONALD. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB’. Written in honor of Dan R. MacDonald, influential Cape Breton fiddler, by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 52, pg. 19. Brenda Stubbert - “Tamerack ‘er Down” (1985).

 

DAN MACK’S. See “Dan Mac’s Polka.”

 

DAN MAC'S POLKA. AKA – “Dan Mack’s.” AKA and see “Jack Mitchell’s Polka,” “Jerome Burke’s,” “The Newmarket Polka [2]." Irish, Polka. D Major. Standard tuning. AABB. Mallinson (100 Polkas), 1997; No. 33, pg. 13. Green Linnet SIF‑1105, Patrick Street ‑ "Irish Times" (1989. Appears as 2nd tune of "The Newmarket Polkas").

X:1

T:Dan Mac's

M:2/4

L:1/8

R:Polka

K:D

|:DF AF/2A/2|dcBc|EF GF/2G/2|BAF2 | DF AF/2A/2|dc Bc|EF G/2B/2A/2F/2|DF Dz:|

|:fA fA|fA f2|eB eB| B/2c/2d e2 | fA fA|fA f2|eB B/2c/2d|ed dz:||

 

DAN McCART(H)Y'S FANCY (Roga Domnaill Mic Cartaig). AKA and see “The Clogher Reel,” “Country Girl’s Fortune,” “The Flowers of Red Hill [2],” “The Hills of Clogher.” Irish, Reel. A Mixolydian (O'Neill/Krassen): A Major/Mixolydian (O'Neill/1001): A Major (O'Neill/1850). Standard tuning. AA'B. See also the related “Pigeon on the Gate [1].” O'Neill (Krassen), 1976; pg. 111. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 548, pg. 102. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1283, pg. 241.

X:1

T:Dan McCarty’s Fancy

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (548)

Z:AK/Fiddler’s Companion

K:A

gf|eA (3AAA e=gfg|eA (3AAA efdf|eA (3AAA egfa|1 =gedB Agfg:|2

=gedB ABcd||ea {b}(3aga bgag|eaag (3ef=g dg|ea {b}(3aga baga|

=gedB ABcd|ea {b}(3aga bgag|eaag efdf|dega bgaf|=gedB A2||

 


DAN O’CONNELL’S FAVOURITE. Irish, Polka. D Major. Standard tuning. AABB (Moylan): AA’BB’ (Taylor). Source O’Leary used to pair this tune with “Tom Billy’s (Polka) [2].” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Piobairi Uilleann, February, 1981 [Moylan]; set dance music recorded at Na Píobairí Uilleann in the 1980’s [Taylor]. Moylan (Johnny O’Leary), 1994; No. 221, pg. 128. Taylor (Music for the Sets: Yellow Book), 1995; pg. 12.

 

DAN OISEIN. AKA and see "Ossianic Air."

 

DAN O'KEEFFE'S SLIDE [1] (Sleamhnán Dhónaill Uí Chaoimh). AKA and see “Danny Ab’s Slide [1].”  Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major (Breathnach, Cranitch, Mallinson): D Major (Moylan). Standard tuning. AABB (Cranitch, Mallinson, Moylan): AA'BB' (Breathnach). The tune was recorded Seamus Ennis in 1952, from the playing of Denis Murphy and Julia Clifford, who called it “Danny Ab’s,” their source for the tune(s).  Sources for notated versions: fiddlers Julia Clifford & Denis Murphy (west Kerry, Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 45, pg. 21. Cranitch (Irish Fiddle Book), 1996; No. 25, pg. 134 (appears as “Danny Ab’s Slide”). Cranitch (Irish Session Tunes: Red Book), 2000; 25. Mallinson (Enduring), 1995; No. 62, pg. 27 (appears as “Dan O’Keeffe’s No. 2). Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 26 (appears as untitled slip jig). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 45. Moylan (Johnny O’Leary), 1994; No. 176, pg. 101. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 1, No. 18(a). Claddagh Records CC5, Denis Murphy & Julia Clifford ‑ "The Star above the Garter." Topic 12T309, Padraig O’Keeffe, Denis Murphy & Julia Clifford - "Kerry Fiddles: Music of Sliabh Luachra, vol 1" (1977).

See also listing at: 

Alan Ng’s Irishtune.info

X:1

T:Danny Ab's (1)

T:Dan O'Keeffe's Slide [1]

D:"Kerry Fiddles", Padraig O'Keeffe, Denis Murphy & Julia Clifford

D:"The Star Above The Garter", Denis Murphy & Julia Clifford

B:Ceol Rince na hÉireann III, no. 45

R:slide

M:12/8

L:1/8

Z:Transcribed by Paul de Grae

K:G

GA ||: B2 B {d}cBc d2 d d2 e | dBG dBG ABc AGA |

B2 B {d}cBc {de}d2 B d2 g |1 fed cBA G3 {Bc}B2 A :||

2 fed cBA G3 GBd |||: g2 d B2 g f2 d B c2 | ded c2 A ~d3 B2 d | g2 d B2 g f2 d B<cB |

1 ABc def {a}g3 {a }g2 f :|| 2 ABc def g3 g2 z ||

 

DAN O’KEEFFE’S SLIDE [2]. AKA and see “Danny Ab’s Slide [2].” Irish, Slide (12/8 time). A Dorian. Standard tuning. AABB. Breathnach (CRE II), No. 86 (appears as untitled slide). Bulmer & Sharpley (Music from Ireland), vol. 2, 57. Cranitch (Irish Fiddle Book), 1996; No. 26, pg. 135. Cranitch (Irish Session Tunes: Red Book), 2000; 26. Mallinson (Enduring), 1995; No. 61, pg. 27 (appears as “Dan O’Keeffe’s No. 1"). Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 1, No. 18(b).

X:1

T:Dan O'Keefe's Slide [2]

R:Slide

O:Ireland

M:12/8

K:ADor

"Am"A2e e2d "G"BAB d2B|"Am"A2e e2d "G"B2G GFG| "Am"A2e e2d "G"BAB d3|

"G"BAB d2e "Am"B2A A3:: "Am"e2a a2b "Am"a2g e2d|"Am"e2a a2b "Am"a2f e2f|

"C"g2a g2e "G"dBA G3| "G"BAB d2e "Am"B2A A3:|

 

DAN O’LEARY’S [1]. AKA and see “The Barren Rocks of Aden.” Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AABBCC. This is the Scottish pipe tune “Barren Rocks of Aden.” Source for notated version: fiddler Dan O’Leary via his nephew, accordion player Johnny O’Leary (b. 1920's, Sliabh Luachra region, Kerry), recorded in December, 1986 at Knocknagree, Kerry [Moylan]. Moylan (Johnny O’Leary), 1994; No. 44, pgs. 26-27.

 

DAN O’LEARY’S [2]. AKA and see “Captain Maguire,” “Humours of Listowel [1],” “Johnny O’Leary’s [1],” “Maids of Ardagh,” “Sliabh Mhachaire [1],” “Toormore Polka [2],” “Tournmore Polka,” “Tuar Mór Polka [2],” “Wallace’s Cross.”  Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AABB. Source O’Leary stated he had the tune from his uncle, Dan O’Leary and maintained Dan had it from Tom Billy Murphy (father of fiddler Denis Murphy), not Padraig O’Keeffe.  Source for notated version: accordion player Johnny O’Leary (Slaibh Luachra region), recorded at Na Píobairí Uillean, October, 1984 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 140, pg. 82.

 

DAN PATSY’S SLIDE. AKA and see “John Dore’s Favourite,” “Jimmy Doyle’s (Slide),” “Paudy Scully’s Slide,” “Tournafulla Slide,” “The Turnip Jig.” Irish, Slide (12/8 time). G Major. Standard tuning. AABB. A popular Sliabh Luachra slide, going by a variety of titles, usually named after the particular musician’s source, as with many such slides and polkas. Breathnach collected it from Cork fiddler Jack Connell and printed it in CRE II (“Gan ainm” No. 87, pg. 46). Source for notated version: set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Taylor (Music for the Sets: Blue Book), 1995; pg. 20.

X:1

T:Dan Patsy’s

T:Paddy Scully’s

T:The Turnip

Z:transcribed by Robert Eckert

R:jig

M:6/8

K:G

Bc|d2B BAB|g2e f2e|d2B {d}BAB|e3 efg|\

d2B {d}BAB|g2e f2e|d2B {d}cAF|1 G3 G:|2 G3 G||Gg|\

f2a e2g|f2a e2f|d2B {d}BAB|e3 e2g|\

f2a e2g|fga e2f|d2B {d}cAF|G3 G:|

X: 2

T: Dan Patsy's

S: Treoir

M: 12/8

L: 1/8

Q: 380

Z: Transcribed by Bill Black

R: slide

K: G

B | d2 B BAB g2 e f2 e | d2 B BAB e3 e2 B |

d2 B BAB g2 e f2 e | d2 B cBA G3 G2 :|

e | f2 a e3 f2 a e2 f | d2 B BAB e3 e3 |

f2 a e2 g f2 a e2 f | d2 B cBA G3 G2 :|

X:3
T:Turnip Jig

T:Dan Patsy’s Slide
R:slide
M:12/8
L:1/8
K:G
d2B BAB ~g2e ~f2e|d2B BAB e3 efg|d2B BAB ~g2e ~f2e|1

d2B ABA G3 GBc:|2 d2B ABA G3 G2 g|| fga e2g fga efe|

d2B BAB e3 e2g|fga e2g fga efe|1 d2B ABA G3 G2 g:|2

d2B ABA G3 GBc||

 

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

 


DAN R’S MANY FRIENDS. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB. Probably composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976), though the title comes from editior Paul Cranford as he had no other. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton), from a tape made at an Ashby Legion dance [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 81, pg. 35.

 

DAN ROGERS' JIG (Port Domnaill Riaidri/Mic Ruaidri). Irish, Single Jig (12/8 time). G Major/E Minor. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 787, pg. 147. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 370, pg. 75.

X:1

T:Dan Rogers’ Jig

M:12/8

L:1/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 370

Z:AK/Fiddler’s Companion

K:G

def|gdB B2A B2A Bcd|efe edB dBA ABd|gdB B2A B23A Bcd|efg fed e3:|

|:e2f|gbg faf gfg edB|edB Bed|BAA A2 e/f/|gbg faf gfg efg|aga Bcd e3:|

           

DAN RORY MACDOUGALL. Canadian, Pipe March (2/4 time). Canada, Nova Scotia. A Dorian. Standard tuning. AABBCCDD’. The title honors the father of the late Cape Breton fiddler Mike MacDougall. Barry Shears had the first two parts from MacDougall, then added the similar second two parts he found in a music manuscript from Gillis Point, Cape Breton. Cranford (Jerry Holland: The Second Collection), 2000; No. 38, pg. 16. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 29. Mairi Rankin – “First Hand.”

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

                       

DAN RORY MACDOUGALL’S.  Canadian, Pipe Reel. Canada, Cape Breton. B Minor. Standard tuning. AAB. Cranford (Jerry Holland: The Second Collection), 2000; No. 65, pg. 26. Jerry Holland – “Master Cape Breton Fiddler” (1982).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

 

DAN SULLIVAN’S FAVORITE (Rogha Dhónaill Uí Shúilleabháin). AKA and see “Gypsy Hornpipe [7].” Irish, Hornpipe. G Major (‘A’ part) & D Major (‘B’ part). Standard tuning. AAB. The melody was recorded by County Kerry fiddler Michael Hanafin for Columbia Records in New York in 1927. Hanafin was a member of Dan Sullivan’s Shamrock Band, hence the title. In the late 1940’s the tune was recorded and published in Boston by button accordion player Jerry O’Brien (mentor of Boston’s Joe Derrane), albeit under the title “Gypsy Hornpipe.” Breathnach (CRÉ V), 1999; No. 212, pg. 103. Gael-Linn CEFCD 142, Seán Ryan – “Siúil Uait/Take the Air.” Topic 12T366, “Dan Sullivan’s Shamrock Band—Classic Recordings of Irish Traditional Music in America.” 

 

DAN SULLIVAN'S POLKA. Irish, Polka. E Mixolydian. Standard tuning. AABB. Carlin (Master Collection), 1984; pg. 157, No. 280.

 

DAN SULLIVAN'S REEL. AKA and see "Brian Boru’s March [1],” "Colonel McBain’s," "The Devonshire Reel [1]," "The Duke of Clarence Reel," "General McBean," "Sean Frank," "Sporting Molly.”

 

DAN SULLIVAN’S SHAMROCK BAND. Irish, Polka. D Mixolydian. Standard tuning. AABB. Source for notated version: fiddler Liz Carroll (Chicago, Il.) [Sullivan]. Sullivan (Session Tunes), vol. 3; No. 44, pg. 18.

 

DAN SWEENEY’S. AKA and see “Johnny Leary’s (Polka) [1],” “Munster Bank,” “The Sod We Took to School,” “Tarrant’s [3].” Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AABB. See also the related “Art O’Keeffe’s Polka [1].” Sources for notated versions: accordion player Dan Sweeney (Tuar Mor) via accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded in concert at Na Píobairí Uilleann, February, 1981 [Moylan]; whistle player Art O’Keeffe [Breathnach]. Breathnach (CRÉ II), 1976; No. 127 (appears as untitled polka). Moylan (Johnny O’Leary), 1994; No. 48, pg. 29.

X:1

T:Munster Bank, The

T:Dan Sweeney’s

M:4/4

L:1/8

Z:Graham Johnson

K:A

|:"A"ABAF E2F2|A2B2 c2e2|"D"f2e2 "A"c2Ac|"D"B2A2 F4|"A"ABAF E2F2|A2B2 c2

e2|"D"f2e2 "A"c2Ac|"E"B2A2 "A"A4:|!|:"A"e2fe c2e2|f2e2 e4|"D"a2af "A"e2c

2|"D"B2A2 F4|"A"ABAF E2F2|A2B2 c2e2|"D"f2e2 "A"c2Ac|"E"B2A2 "A"A2:||

 

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," "Ladies Triumph [3]," "Rambles of Kitty," "Young Ettie Lee," "I'm a man in myself like Oliver's Bull," "Linehan's Rambles," "Murray's Maggot," "Strop the Razor [1]," "An Chailleach is a Ceag ar a Gualainn." Irish, Jig. D Major. Standard tuning. 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. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 20. Phillips (Fiddlecase Tunebook), 1989; pg. 14.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Dan the Cobbler

M:6/8

L:1/8

R:Jig

K:D

A|DFA B2A|def gfe|fdf ecA|BGB AFD|DFA B2A|

def gfe|fdf ecA|Adc d2::g|fad fad|faa agf|eg=c egc|

egg gfe|fef gfg|agf efg|fed cBA|Adc d2:|

 

DAN THE PUMP.  See “Dónall a’ Phumpa.”

 

DANCE, THE. English, Jig. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 573.

 

DANCE ABOUT THE BAILZIE'S DUBB. Scottish, Harp Air. A 'bailzie' or bailey is a city official, explains Williamson, and a dubb is a muddy pond. Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."

 

DANCE AFTER MY PIPE. AKA and see “Dance of Death,” “The Nightpiece,” "Shaking the Sheet(s) [1]."


 

DANCE ALL NIGHT. AKA‑ “Dance All Night with a Bottle in Your Hand,” "Danced All Night With a Bottle in My Hand," "Give the Fiddler a Dram," "Give Me a Bottle of I Don't Care What."  Old‑Time, Breakdown. USA: West Virginia, Virginia, western North Carolina, north Georgia, Alabama, Nebraska.  G Major (most versions): D Major (Silberberg). Standard tuning. AB (Silberberg): AABB (Brody, Christeson, Phillips) or AABAACCB (Kuntz, Brody). Guthrie Meade thinks the tune has some relation to "Buffalo Gals." Rosenbaum (1989) points out that the recording by Gid Tanner and the Skillet Lickers for Columbia was very influential, especially in Georgia (in fact, the melody is known as a north Georgia tune). His source, Georgian  Lawrence Eller, learned the tune/song from family tradition and Rosenberg concludes (apparently on the strength of the floating verse about hanging Jefferson Davis) from this that the lyrics bespeak Unionist loyalties in parts of the southern Appalachians.

***

Dance All Night with a bottle in my hand,

Bottle in my hand, bottle in my hand;

Dance All Night with a bottle in my hand,

Just before day give the fiddler a dram.

***

I left my jawbone sittin' on a fence,

I ain't seen nothin' of my jawbone since;

Walked on home and didn't get along,

In come Sally with her big boots on.

(‘big boots’, ‘red dress’ or ‘blue dress’)

***

Who's been here since I been gone?

Pretty little girl with the red dress on;

She took it off and I put it on,

In come Sally with her big boots on.  (Kuntz)

***

Dance all night with a bottle in your hand,

Bottle in your hand, bottle in your hand,

Dance all night with a bottle in your hand,

As we to marching along.

***

We'll hang Jeff Davis from a sour apple tree,

Sour apple tree, sour apple tree,

Hang Jeff Davis from a sour apple tree,

As we go marching along.

***

Old Aunt Peggy, won't you fill 'em up again,

Fill 'em up again, fill 'em up again,

Old Aunt Peggy, won't you fill 'em up again,

As we go marching along.  (Eller/Rosenbaum)

***

Sources for notated versions: Highwoods String Band (Ithica, N.Y.) [Brody, Kuntz]; Bob Walters (Burt County, Nebraska) [Christeson]; Lawrence Eller (Towns County, Ga.) [Rosenbaum]; Clark Kessinger (W.Va.) [Phillips]; Phil and Vivian Williams (Seattle) [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 84. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 104. Kuntz (Ragged but Right), 1987; pg. 305‑306. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 97 (appears as "Give the Fiddler a Dram"). Rosenbaum (Folk Visions and Voices: Traditional Music and Song in North Georgia), 1989; pg. 20. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 33. Alcazar Dance Series ALC‑202, Sandy Bradley ‑ "Potluck and Dance Tonite!" (1979). Columbia 15200 (78 RPM), Gid Tanner and the Skillet Lickers. County 401, "The Stripling Brothers" (Ala.). County 727, John Ashby (Va.) ‑ "Old Virginia Fiddling." County 733, Clark Kessinger (Va.) ‑ "The Legend of Clark Kessinger." County 778, Tommy Jarrell (N.C.) ‑ "Pickin' on Tommy's Porch" (1984?). Folkways FA 2336, Clark Kessinger‑ "Fiddler." Gennett 6734 (78 RPM), Tweedy Brothers (Harry, George, Charles, from W.Va. who played twin fiddles and piano) {1928}. Marimac 9038, Dan Gellert & Brad Leftwich -"A Moment in Time." Rounder 0045, Highwoods String Band  ‑ "Dance All Night." Rounder Records, Gid Tanner and His Skillet Lickers ‑ "The Kickapoo Medecine Show" (appears as the 2nd and 3rd tune of Kickapoo Medecine Show skit). Vocalion 5395 (78 RPM), Stripling Brothers (Ala.) {1929}.

X:1

T:Dance All Night

L:1/8

M:2/4

S:Kuntz – Ragged but Right

K:D

gg/a/ gd/c/|B/G/B/G/ [GB]B|A/G/F/E/ D/F/A/c/|B/[G/B/][G/B/][G/B/] [GB]>(f|

g/)a/g/g/ g/e/d/c/|B/G/B/[G/B/] [GB]B/G/|A/B/A/F/ D/F/A/c/|B/G/[G/B/][G/B/] [G2B2]:|

gg/a/ g/e/d/e/|g/f/g/a/ b>(e|f)f/g/ a/f/a/g/|f/e/f/g/ a/f/d/f/|gg/a/ g/e/d/e/|g/f/g/a/ b(b|

d’)d’ e<f|g>a g||

|:G/E/|D[B,/D/]D/ D/B,/D/G/|[C/E/]E/E/E/ [CE](A|A/)[A/B/][A/A/]F/ D/F/A/c/|

B/G/[G/B/][G/B/] [GB]G/E/|D[B,/D/]D/ D/B,/D/G/|E/[CE]C/ E(A|

A/)[A/B/][A/A/]F/ D/F/A/c/|B/[GB]G/ [GB}:|

                       

DANCE ALL NIGHT WITH A GAL WITH A HOLE IN HER STOCKING. Old-Time, Breakdown. G Major. Standard tuning. AB. The tune is based on a merger of the “Jenny Lind Polka” with “Buffalo Gals.” Source Jim Herd, from Washington State, was raised in the southern Missouri Ozark Mountains, and learned many tunes from his family (who had migrated from Tennessee to Missouri in the early 20th century). Rounder Heritage Series 2266-22593-3, Jim Herd (et al) – “The Art of Traditional Fiddle” (2001).

X:1

T:Dance All Night with a Gal with a Hole in Her Stocking

M:2/4

L:1/8

S:Jim Herd (Rounder Heritage 2266-22593-3)

Z:AK/Fiddler’s Companion

K:G

BB B/A/B/c/ | dB B>A | c/B/A F/G/A/F/ | G/A/B/c/ d2 |

BB B/A/B/c/ | dB B2 | c/B/A F/G/A/c/ | BG3 ||

Bd ce | d/e/g b2 | fa a/g/f | g>a g2 | ge e/f/g/e/ | dB B2 |

c/B/A F/G/A/F/ | GB/c/ d2 | ge e/f/g/e/ | dB B2 | c/B/A F/G/A/c/ | BG3 ||

                       

DANCE AROUND MOLLY. Old‑Time, Breakdown. USA; Missouri, North Carolina. A Major. Standard or AEae (Art Stamper) tunings. AABB (Phillips, Silberberg): AA’BB’ (Beisswenger & McCann). A traditional dance tune collected in Missouri and North Carolina. "Well known tune among Missouri fiddlers" (Frank Maloy), and indeed, it has been recorded by several fiddlers from that state. Howard Marshall says it is associated with fiddlers from the north and central part of Missouri, such as Jake Hockemeyer, Johnny Bruce, Cleo Persinger, Taylor McBaine, Pete McMahan, and Charlie Walden. Howard says: “All the fiddlers I've known credit Jake Hockemeyer with the best version anywhere and it was one of Jake's fiddle contest "money tunes." I played backup guitar for Hockemeyer in several contests in the 80s when he played the tune to good effect even though by that time his arthritis problems were getting him down. The tune is what I'd call a hornpipe.” The melody has lost some currency in modern times among contest players in the state.

***

“Dance Around Molly” was played by Tommy Magness over WSM in the 1940's and the composition is often credited to him—certainly he is credited with popularizing it. 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.” The story may be apocryphal, however, and “Dance Around Molly” may have been a traditional tune. It was in the repertoire of Magness’s contemporary, J.E. Mainer. It is on Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. The ‘B’ part is very similar to the ‘B’ part of “Frisky Jim.”

***

Sources for notated versions: Jake Hockmeyer [Phillips]; Fred Stoneking (b. 1933, Missouri), who learned it from Pete McMahan [Beisswenger & McCann, Silberberg]. Beisswenger & McCann (Ozark Fiddle Tunes), 2008; pg. 137. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 65. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 11. Columbia Records, Roy Acuff (with Tommy Magness) – “Old Time Barn Dance” (c. 1952). 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). MFFA 1001, Jake Hockemeyer – “I’m Old But I’m Awfully Tough.” MSOTFA cassette 105, Cyril Stinnett – “Mahoney’s Reel.”  Rounder 0381, Fred Stoneking (et al) – “Saddle Old Spike: Fiddle Music from Missouri” (1996). Silver Circle Productions SC003, Gordon Freeman – “Sandy River and Other Fiddle Tunes.” Michael Cleveland – “Flamekeeper.”

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

 

DANCE BOATMAN, DANCE [1]. AKA and see "Boatman Dance."

 

DANCE BOATMAN, DANCE [2]. Old-Time, Breakdown. D Major. ADae tuning. AABB. Does not appear related to the minstrel tune "Boatman Dance." Source for notated version: Bruce Molsky [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 65. Cartunes 105, Bruce Molsky and Bob Carlin – “Take Me as I Am” (2004. Sourced to Roscoe Parish). Heritage Records, Roscoe Parish – “The Old Time Way.”

 

DANCE BY THE OLD SALLY TREE, THE. AKA and see “Beautiful Mary/Molly McKeon.” Irish, Air (6/8 time). G Major. Standard tuning. AB. Sally = willow, from the Latin salyx. Collected by Joyce from the singing of his aunt, Mrs. Mary MacSweeny of Cork, and of Glenosheen Co. Limerick (1844‑1855). Joyce (Old Irish Folk Music and Songs), 1909; No. 169, pg. 85.

X:1

T:Dance by the old sally tree, The

M:6/8

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

N:”With spirit: time well marked”

K:G

B/A/|GBd dBA|GGA BDE|=FDC B,2C|DBc A2 B/A/|GBd dBA|GGA BDE|

=FDC B,2C|DGG G2||B/A/|GBd dde|=fdB c2 d/c/|BBG AdB|GAF D2 B/c/|

ddB cAG|FGA {B/}c2 G/E/|=FDC B,2C|DGG G2||

                       

DANCE CAREE. Cajun. USA, La. Morning Star 45002, "The Early Recordings of Dennis McGee (La.) 1929‑1930."

                       

DANCE, CODINNE. AKA and see "Dansez, Codinne."

                       

DANCE FOR 1811, A. English, Jig. D Major. Standard tuning. AABB. The melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. The Joseph Kershaw Manuscript, 1993; No. 1.

                       

DANCE FOR EVER. English, Slip Jig. D Major. Standard tuning. AABBCC. The melody appears unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. It is one of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 75.

X:75

T:Dance for ever

M:9/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

DFA AFD “tr”E2D|EGB BEE “tr”E3|DFA AFD “tr”E2D|dcB AFD D3:|

|:def fdf a2f|efe ecA “tr”B2A|def fdf a2f|efe ecA A2A:|

|:DFA AFD|BGE|DFA AFD|ECA,|DFA AFD dcB|ABA AFD D3:||

                       

DANCE HALL KATE. American, Reel or Breakdown. USA, North Dakota. A Major. Standard tuning. AABB. Pancerzewski learned the tune from fiddler Elvy Osbourne who had learned the tune from a Mr. Oard, an older fiddler who was once a featured act with the Orpheum Circuit, a theater chain which produced shows for its theaters. Osbourne had entered the date '1882' beside the tune in his notebook. Pancerzewski (Pleasures of Home), 1988; pg. 6.

                       

DANCE IN OSCAR & MALVINA. English (?), Country Dance Tune (cut time). G Major. Standard tuning. AABBCC. Oscar and Malvina was an ‘favorite pantomime’ by William Reeve (1757-1815) published in London in 1791 and produced throughout the last decade of the 18th century, of the next. O’Farrell, an Irish uilleann piper probably from County Waterford, was one of the principal instrumentalists in the production, along with a Scottish harp player. Pieces from the opera proved quite popular both in the British Isles and in America. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 131.

X:1

T:Dance in Oscar & Malvina

M:C|

L:1/8

S:O’Farrell – Pocket Companion, vol. IV (c. 1810)

Z:AK/Fiddler’s Companion

K:G
d | BGBd g2 {a/g/}fe | dG dc/B/ cAAd | BG Bd g2 fe | fg/a/ df gG G2 :|

|: B<Gd<G e<Gd<G | B<G {e}dc/B/ cA A>d | B<Gd<G e<Gd<G | gf/e/ dc BG G2 :|

                       

DANCE IN PAUL AND VIRGINIA.  English, Minuet (3/4 time). G Major. Standard tuning. ABA. Paul and Virginia is a literary work by the French writer Bernardin De Saint-Pierre (1737-1814), a tragic novel published in 1788 about two children growing up “in nature”. It was adapted as an opera by LeSueur during the French Revolution and was widely translated. Songs from a later musical version, a burletta published in 1800 by Joseph Mazzinghi (1765-1844), an English pianist of Italian descent (and a pupil of J.C. Bach), were published in America on single song sheets and in publications such as the Gentlemen’s Pocket Companion (Boston, 1802) and New York publisher Gilfert’s Gentleman’s Pocket Companion for the German Flute or Violin (1802). From Ann Winnington’s music manuscript book, from the early 19th century. Winnington was an American, probably a pianist, who resided in England.

X:1

T:Dance in Paul and Virginia

M:3/4

L:1/8

S:Ann Winnington’s manuscript book

K:G

BB/A/ GG/A/ BG | {A>B}cA A2 cA | {G/A/}BG GA/G/ F/G/A/B/ | AA/G/ FF/E/ D/F/G/A/ |

BB/A/ GG/A/ BG | {A>B}cA A2 cA | Bd FF/A/ AA/B/ | G{A/}G/A/ GB Gz ||

dd/^c/ d{e/}d/c/ dg | d=c/B/ c2 A/B/c/A/ | BB/c/ BB/c/ e/d/c/B/ | AA/B/ AA/B/ AB/c/ |

dd/^c/ dd/c/{e/}dg | d=c/B/ c2 A/B/c/A/ | BB/c/ BB/c/ e/d/c/B/ | AA/B/ AA/B/ A z |

BB/A/ GG/A/ BG | {A>B}cA A2 cA | G/A/}BG GA/G/ F/G/A/B/ | AA/G/ FF/E/ D/F/G/A/ |

BB/A/ GG/A/ BG | {A>B}cA A2 cA | Bd FF/A/ AA/B/ | G{A/}G/A/ GB Gz ||

                       

DANCE IN QUEEN MAB.  AKA and see “Pheasant’s Dance.” English, Jig. Aird (Selections), vol. 1, 1782.

 


DANCE LIGHT FOR MY HEART LIES UNDER YOUR FEET. AKA and see "Bimid ag Ol [1]," "Gilibeart Mhac Fhlannchadha", "Jackson's Humours of Panteen," "Humours of Panteen", "Pis ar an Iarta," "Whish, Cat from Under the Table," "Huish the Cat" ({H}Uis an cat), "Foxy Mary," "Whip the cat from under the Table," "Drive the cat, etc.," "Peas on the Hearth," "Last Night's Fun," "Katty Quin." Irish, Air. The song “Dance Light for My Heart Lies Under Your Feet” was composed by John Francis Waller (1809-1894) set to the tune “Huish the cat from under the table.” A version was printed in Samuel Lover’s Lyrics of Ireland (Houlston & Wright, London 1858), and begins:

***

 

Ah, sweet Kitty Neil, rise up from that wheel?,

Your neat little foot will be weary from spinning;

Come trip down with me to the sycamore tree,

Half the parish is there and the dance is beginning.

The sun has gone down, but the full harvest moon

Shines sweetly and cool on the dew-whitened valley;

While all the air rings with soft loving things

Each little bird sings in the green shaded valley.

 

 

 

***

One is reminded of the title of this tune in this anecdote, unearthed (as it were) by Seán Donnelly from Edward Sullivan (ed,), Buck Whaley’s memoirs, including his trip to Jerusalem … (London 1906), p. xxviii :

***

Thomas ‘Buck’ Whaley (1766-1800), renowned in late eighteenth-century Dublin for his famous trip to Jerusalem - which won him £15000 and the nickname ‘Jerusalem’ – died in mysterious circumstances on 2 November 1800 at The George Inn, Knutsford, Cheshire, while on his way from Liverpool to London: ‘A strange circumstance ... took place just before his funeral. The body had been placed in a leaden coffin and brought into the old assembly rooms, and the workmen had just made up the coffin, when Mr. Robinson, an Irish man, who was also a dancing-master of that day, stepping upon the coffin, danced a hornpipe over the body.’

***

X:1

T:Dance light for my heart lies under your feet

M:6/8

L:1/8

R:Air

S:Lover – The Lyrics of Ireland (1858)

K:A Mixolydian

g|A>AA d2f|ede d2f|A>AA dde|fdB BAd|A>AA d2f/f/|ede d2 f/f/|

agf g2 e/e/|fdB BAA|agf g2 e/e/|fed e2f|agf g2 e/e/|fdB BAA|

agf g2 e/e/|fed e2f|A>AA g e/e/|fdB B2A:|

 

DANCE ME ON YOUR KNEES, JOYCE. American, Reel? USA, southwestern Pa. C Major. Standard tuning. AA'B. Appears to be a fairly recent composition. Source for notated version: James Bryner (Fayette County, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 413, pgs. 394‑395.

 

DANCE O DA SOOTH-WAST WIND, DA. Shetland, Air (3/4 time) or Waltz. G Major. Standard tuning. One part. Composed by Shetland fiddler Tom Georgeson. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 38.

 

DANCE OF DEATH. AKA and see "Shaking the Sheet." AKA ‑ "Shaking of the Sheet(s) [1]," "The Nightpiece." Appears in Playford as “The Nightpiece.” Raven (English Country Dance Tunes), 1984; pg. 37).

 

DANCE OF THE GOLDENROD. Old-Time, Waltz. D Major. Standard tuning. AB. Source for notated version: James Chancellor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 251.

 

DANCE OF THE HONEYBEES. AKA – “Ladies Choice No. 2” (Dara Rogha na mBan). Irish, Hornpipe. D Major. Composed by Leitrim-born piano player and fiddler Charlie Lennon in April, 1986, as a waltz-hornpipe suite. The suite was written and titled “Ladies Choice” for the band De Dannan and their production An Island Wedding. Lennon was supposedly inspired by the buzzing and humming of honey bees around Howth, in North County Dublin; the waltz symbolically describes bees buzzing from flower to flower, while the hornpipe represents the ‘bee-dance’ performed on their return to the hive. Gael-Linn Records, The Lennon Family (1994). Green Linnet  SIF 3051, Frankie Gavin – “Frankie Goes to Town.” Green Linnet SIF 3116, Sharon Shannon – “Each Little Thing” (waltz). Maire O’Keeffe – “Cóisir” (House Party). Roisin McGrory and (her brother) Damian Harrigan – “Fiddle Music of Donegal, vol. 2.”  VIR 41381, Altan – “Blackwater.”

X:1

T:Dance of the Honeybees

M:4/4

L:1/8

K:D

F2 F3/2E/ D3/2F/ A3/2F/ |\G2 F3/2G/ E3 F |\

G2 G3/2A/(3 B2/c2/d2/ e3/2d/ |\c3/2e/ g3/2e/ c3/2A/ G3/2E/ |\

F3/2G/ E3/2F/ D3/2F/ A3/2F/ |\G2 F3/2G/ E3 F |\

G2 G3/2A/ (3 B2/c2/d2/ e3/2d/ |\c3/2A/ G3/2E/ D2 ‑D2 ::

dA aA fA dA |\G2 F3/2E/ D3/2F/ A3/2d/ |\

B3/2e/ e3/2d/ B3/2e/ e3/2d/ |\(3 B2/c2/d2/ e3/2f/ g2 f3/2e/ |\

eA aA fA dA |\G2 F3/2E/ D3/2F/ A3/2d/ |\

B3/2e/ e3/2B/ B3/2e/ g3/2e/ |\c3/2A/ G3/2E/ D2 ‑D2 |

 

DANCE ON THE FIVEPENNY. AKA and see “Will You Come Home With Me.” Irish, Double Jig. G Major. Standard tuning. AABB. Source for notated version: “From my mother” [Mulvihill]. Mulvihill (1st Collection), 1986; No. 100, pg. 86.

                       


DANCE TERPSICHORE. Old-Time, Breakdown. C Major ('A' part) & G Major ('B' & 'C' parts). Standard tuning. AABBCC. The tune goes through the circle of fifths through the keys of C, G, and D. Terpshichore was one of the nine sisters of Greek mythology, the muse of the dance. The tune under this title was in the repertorie of fiddler Jehile Kirkhuff, Rush, Pennsylvania, and a similar tune, by the title of “Helter Skelter,” was played by Lon Jordon of Farmington, Arkansas. Source for notated version: fiddler Pete Sutherland (Vermont) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 66.

                       

DANCE TO YOUR DADDIE. AKA and see “Hudson Barn [1].” Scottish, Hornpipe (3/4 time). A Major. Standard tuning. The ditty is set to a triple time metre, the old hornpipe form.

***

Dance tae y’r daddie, My bonnie laddie,

Dance tae y’r daddie, My bonnie lamb!

***

And ye'll get a fishie, In a wee wee dishie,

And ye'll get a fishie, When the boat comes hame.

***

A minor key version was collected in Berkshire by Cecil Sharp. Fellside FECD 167, Nancy Kerr & James Fagan – “Between the Dark and Light” (2001).

                       

DANCE WID' A GAL WITH A HOLE IN HER STOCKING. Old‑Time, Breakdown. A Major. The title is a ditty-line from "Buffalo Gals." Gennett 6495 (78 RPM), Doc Roberts.

                       

DANCE WITH EASE.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody was printed in Charles and Samuel Thompson’s third country dance collection (London, 173). It also appears in the music manuscript books of fiddlers John and William Pitt Turner (Norwich, Conn., 1788), and flute-playing Ensign Thomas Molyneaux, 6th Regiment (Shelburne, Nova Scotia, 1788). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 39.

X:1

T:Dance with Ease

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

d|B2 (AG)|A/G/F/E/ Dd/c/|Bdgc|B G2 d|B2 (AG)|A/G/F/E/ Dg|(f/g/a) A^c|d3:|
|:d|e c2 e|d B2 d|e/d/c/B/ c/B/A/G/|A/G/F/E/ Dd/c/|B g2 B|c a2 c|B2 “tr”A2|G3:||

 

DANCE YOUR HEART AWAY. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AAB. Composed by the late Inverness, Cape Breton, fiddler and composer Jerry Holland (1955-2009) inspired by the sight of his fourteen-year-old son at Holland’s dances, “dancing with every woman in the hall.” Cranford (Jerry Holland: The Second Collection), 2000; No. 289, pg. 103. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1999).

                       

DANCED ALL NIGHT WITH A BOTTLE IN MY HAND. See "Dance All Night."

                       

DANCER, THE. American, Waltz. E Modal. Standard tuning. AB. Composed by Larry Unger in 1987, who explains: "I used to play the piano late at night after everyone else had gone to bed. One night while playing I looked to see Judy Ericson dancing to my improvisations, which unnerved me at first, but eventually I got to like it. So I named this tune for her" (Matthiesen). Matthiesen (Waltz Book II), 1995; pg. 14. Unger, "The Curvey Road to Corinth." Wild Asparagus - "Tone Roads." Uncle Gizmo - "Uncle Gizmo."

                       

DANCER AT THE FAIR. AKA and see “The Fancy Fair.”

 

DANCER'S DELIGHT, THE (Taitneam An Rinceoir). AKA and see “Fletcher’s Delight.” Irish, Reel. A Major. Standard tuning. AA'B (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). The tune is in Ryan’s Mammoth Collection (1883) as “Fletcher’s Delight.” O'Neill (Krassen), 1976; pg. 117. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1318, pg. 247. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 580, pg. 106.

X:1

T:Dancer’s Delight, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 580

Z:AK/Fiddler’s Companion

K:A

e>A (3AAA eAce | eaec BABc | e>A (3AAA eAce |1 faec BAFE:|2

faec B2A2 || Aceg a2 ag | faec BAFE | Aceg a2 ae | gbeg afec |

Aceg a2 ae | faec BAFE | Aceg a2 ge | fefg agaf ||

                       

DANCER’S REEL. AKA and see “Flowers of Limerick [1].”

 

DANCES AT KINVARA, THE. Irish, Barn Dance (cut time). G Major. Standard tuning. AABB. Composed around the year 1945 by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 124, pg. 138. Green Linnet SIF 1150, “The Moving Cloud.”

X: 1

T:The Dances At Kinvara

R:Barn Dance

C:Ed Reavy

M:4/4

L:1/8

Z:Joe Reavy

N:Ed heard of them from a friend, but never

N:visited Kinvara himself.  He has long cherished this

N:unfulfilled wish.

K:G

(3DEF | G2 B2 BdBG | c2 D2 [F3A3] G | FGAB cdef | gfaf gd^cd |

B2 G2 DBcB |A2 D2 [F3A3] G | FGAB cAFA|G2 B2 G2 :||

|: GA | B2 dB c2 e2 | d2 b2 b3 f | agfe dcBA | G2 g2 g2 (3def |

g2 dB e2 cA | d2 BG [E2C2] AF | FGAB cAFA | G2 B2 G2 :||

           

DANCING BEAR [1]. American, Reel. E Minor. Standard tuning. AABB. Composed in February, 1978, by piano and accordion player, and composer Bob McQuillan (Peterborough, New Hampshire). Sweet (Fifer’s Delight), 1964/1981; pg. 78.

X:1

T: Dancing Bear, The

C: Bob McQuillen  2/22/78

N: Bob wrote:

N: I have a wonderful friend who is a Bear named Oso and this tune is for him because he

N: likes it. Barry Nielson likes it too, and so its for him, too, with love from Mac.

Z: John Chambers <jc@trillian.mit.edu>

R: reel

M: C|

L: 1/8

K: Em

|: "Em"EFGF EFGF | EFGA G2E2 |  "A"EFGF EFGF |     EFGA G2E2 |

|  "Em"EFGF EFGF | EFGA B4   | "B7"B2Bc BAGF | "Em"G2E2 E4  :|

|: "Em"e2ef gfef | gfe2 e4   |  "A"e2ef gfef |     gfe2 e4   |

|   "C"e2ef gfef | gfe2 e2dc | "B7"B2Bc BcBA | "Em"GFE2 E4  :|

 

DANCING BEAR [2], THE. AKA and see “Berendans.”

           

DANCING DUSTMAN, THE.  Scottish, Two-Step (6/8 time). G Major. Standard tuning. AA’BB’AA’(“Trio”)CCAA’. Martin presents the tune as a vehicle for the dances the Military two-step and the Boston two-step at ceilidh dances. Composed by Felix Burns. Martin (Traditional Scottish Fiddling), 2002; pg. 47.

           

DANCING DUTCH, THE.  English, Country Dance Tune (cut time). D Major. Standard tuning. AABB. A dance an tune composed by English teacher, collector, musician and choreographer Pat Shaw. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 27.

           

DANCING FEET. Scottish, Reel. A Mixolydian. Standard tuning. AABB. The tune was composed by Pipe Major G. S. MacLennan (1883-1927), a bagpiper revered in Highland circles. Supposedly MacLennan spontaneously composed the tune while playing a dance in Inverness. He was piping out the reel “Sandy Duff” when he found himself playing this tune, which he called “dancing feet” in honor of the dancers. MacLennan’s son has said this was the tune his father was playing on a practice chanter at the time of his death, from lung disease. MacLennan (Highland Bagpipe Music, book 1), 1929. Flying Fish FF‑250, Battlefield Band ‑ "Home is Where the Van Is" (1981. Heard by Battlefield Band bagpiper Duncan MacGillvray as a boy from the playing of his father). Green Linnet GLCD 1081, The Tannahill Weavers – “Dancing Feet.”

           


DANCING FINGERS. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. D Mixolydian (‘A’ part) & D Major (‘B’ part). Standard tuning. AA’BB. A Cape Breton Reel. Source for notated version: Kenny Chaisson (b. c. 1947 in Bear River, now resides in Rollo Bay, North-East Kings County, PEI) [Perlman]. Dunlay & Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; No. 45, pg. 54 (appears as untitled reel collected from Cape Breton fiddler Buddy MacMaster). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 69.

           

DANCING JUBER. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by folklorist/musicologist Vance Randolph, published in 1954.

           

DANCING LADIES. Old-Time, Breakdown. USA, North Carolina. D and A Major. AEae tuning. The melody was in the repertoire of fiddler Archibald Alexander Shaw, Harnett County, N.C. (located in the Sandhills section between the coastal plain and the piedmont). It is supposedly a tune unique to the area, not played in other parts of the state, according to Evelyn Shaw (OTH). Marimac 9064D, Lauchlin Stamper & A.C. Overton - “Sally with the Run Down Shoes” (1996. Learned from Lauchlin’s mother’s cousin, Frank Nordan of Hope Mills, N.C.).

 

DANCING MASTER, THE ("An Muinteoir-Rince" or "An Maigistir-Rinnce"). AKA and see “Dromey’s Fancy,” "Swallow Tail," “The Swallow’s Nest [1],” “Swallowtail Jig,” "From the Next/New Country." Irish, Double Jig. A Dorian. Standard tuning. 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 anecdote 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. “Dromey’s Fancy” is a related tune. O'Neill (Krassen), 1976; pg. 47. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 960, pg. 178. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 183, pg. 44. Ryan’s Mammoth Collection, 1883; pg. 100. Tara Records 4008, “Josephine Marsh” (1996).

X:1

T:Dancing Master, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 183

Z:AK/Fiddler’s Companion

K:Ador

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:|

           

DANCING MASTER'S REEL, THE (Ril an Mhaistir Rince). Irish, Polka. D Mixolydian. Standard tuning. AABB. Source for notated version: accordion player Tim Leahy, 1968 (Co. Kerry, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 126, pg. 67.

           

DANCING MUSTANG, THE. AKA and see "Bonnell's March," "Virginia Quickstep," "Major Crichton's Delight," "Davy Knicknack," "Hoe Cake." American, Reel. USA, southwestern Pa. G Major. Standard tuning. AB or ABB. Bayard (1981) identifies this as an international tune (versions published in the British Isles, the Netherlands, and Holland) that originated as a fife or flagolet tune dating from the latter 18th or beginning 19th century. It was still known generally as a fife and drum band tune in southwestern Pa., where Bayard collected several versions. Sources for notated versions: fifers Charles Ganiear (Greene County, Pa., 1960, who had it from the Pittsburgh Pioneers Corps), and Hiram Horner (Westmoreland/Fayette Counties, Pa., 1962) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 210E‑F, pgs. 165‑167.

           

DANCING OF THE RABBITS IN HONAN’S GARDEN, THE. AKA and see “American Dwarf,” "Frost is All Over [1]," “Frost is all Gone,” "Mist of Clonmel," "On a Monday Morning," "Paddy's Return [1]," "The Praties Are Dug, and the Frost is All Over,” “Thompson’s Jig” [1], “What Would You/I do if the Kettle Boiled Over,” “What Would You do if You Married a Soldier?” “Young Tim Murphy.”


           

DANCING ON THE GREEN (Ag Rincead Air an Tulla). Irish, Hornpipe. B Flat Major. Standard tuning. AABB. An early account of Irish dancing was given by G. Holmes in 1797 in a sketch of a dance at Holycross, “From a tour of Ireland.” Holmes recorded:

***

After dinner, lured by the calmness of the evening, we

strolled along the banks of the river, highly delighted

with the scenery. Here we met a truly rustic groupe; the

young men and women of the village were enjoying

themselves by a dance; a fiddler and piper emulously

lent their strains, which were not ill bestowed upon

their hearers, for the shewed, by their rude jokes and

merry glee, how open the mind is to the effect of music,

even of the coarsest king. Each young man as he took

his partner gave an halfpenny to the piper, and then set

too with all their heart and soul. Content and harmless

mirth are, I am sure, acceptable offerings to our creator,

and in a much higher degree than all the gloomy self-

denial of the cloistered monk.

***

Mark Johnson relates that “the great playwrite, Brendan Behan, was asked what he thought of Irish dancing. ‘Irish dance,’ he replied, ‘is a vertical expression of a horizontal intention.’  So saying, he returned his attention to his pint.” It’s a nice story, however, the original quote was made regarding the Latin dance the Samba. Unfortunately Irish dance was considered provacative by the Irish clergy, whose response was to encourage the Dance Hall Act of 1935 in Ireland that effectively ended house dances and crossroad dancing and forced people into the public halls, where presumably the activity (and any extracurricular activities) could be more closely monitored by clerics. London-based Irish fiddler Jimmy Power once remarked that playing for dance competitions was “one of the most tiresome tasks in the field of Irish music.”  Source for notated version: Balfe [O’Neill]. O'Neill (Krassen), 1976; pg. 205. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1735, pg. 323. Roche Collection, 1982; vol. 3, pg. 64, No. 184.

X:1

T:Dancing on the Green

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1735

Z:AK/Fiddler’s Companion

K:Bb

f>gf>d g>ec>A|B>cd>B c>AF>D|E>FG>A B>cd>B|(3cdc (3BAG F2F2|

f>gf>d g>ec>A|B>cd>B c>AF>D|E>GB>d e>d (3cBA|c2B2B2 z2:|

|:B>AB>c d>^cd>e|f2 (3fga b>fd>f|b>ag>f e>dc>B|(3cdc (3BAG F2 FE|

D>BF>B d>BF>B|G>BE>B e>cA>c|B>gf>e d>cB>A|c2 B2 B2 z2:|

           

DANCING SLIPPERS. Canadian, Reel. A Major. Standard tuning. AABBCC. Composed by Ontario fiddler Ward Allen, who won contest after contest in the 1950’s and who carved out a career for himself as a radio fiddler. Sparton Records SP 213, “Ward Allen Presents Maple Leaf Hoedown, vol. 3.”

X:1

T:Dancing Slippers

C:Ward Allen

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:A

(3EFG|A2 c2 cABc|d2 [d2 f2] [df]cBA|[G2 B2] [G2 B2] eBGB|A2 ed cAEA|

c2 cB ABcA|d2 [d2 f2] [df]cBA|[G2 B2] [G2 B2] eBGB|A2 c2 A2 (3EFG|

A2 c2 Acec|d2 f2 fedc|B2 BA GEFG|AGAB cAEA|

c2 c2 cABc|d2 [d2 f2] [df]cBA|[G2 B2] [G2 B2] eBGB|A2 c2 A2:|

|:(3efg|a2 ea g2 eg|fgaf edcA|B2 b2 b2 ba|gaba gefg|

a2 gb a2 eg|fe^df e=dcA|B2 gf g2 gf|edcB A2:|

EA|c2 c2 Acec|d2 fg fedc|B2 ba gefg|a2 gb agfe|

c2 c2 cABc|d2 fg fedc|B2 ba gefg|a2 bg a2:|

                       

DANCING TABLE. AKA – “Dancing Tables.” Irish, Jig. A Major. Standard tuning. AABB. Composed by Chicago fiddler Liz Carroll. Miller (Fiddler’s Throne), 2004; No. 29, pg. 29.  Jimmy Keane (et al) – “The Big Squeeze.” Shanachie 79054, Kevin Carroll and Liz Carroll – “Fathers and Daughters’ (1985).

                       

DANCING TAILOR, THE.  Irish, Jig. D Major. Standard tuning. AABB. Composed by Joseph Crofts. Miller (Fiddler’s Throne), 2004; No. 30, pg. 30.

 

DANCING THE BABY (Ag Rinnce An Leanb). Irish, Polka. D Major. Standard tuning. ABC. O’Neill obtained this tune from a roll of manuscript music originally owned by an O’Mahony, a maternal relative of his, who lived in Dunmanway, County Cork. He thinks the staccata passages reminiscent of jockeying a child on a parent’s knees. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 990, pg. 170. O’Neill (1913), pg. 125.

X:1

T:Dancing the Baby

M:2/4

L:1/8

R:Polka

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 990

Z:AK/Fiddler’s Companion

K:D

FA/A/ GA/A/|FA/A/ G/F/E|FA/A/ GA/A/|DD/E/ F/E/D|FA/A/ GA/A/|FA/A/ G/F/E|

DD/F/ E/E/E|D/D/D D/D/D||dF/F/ AF/F/|dF/F/ G/F/E|dF/F/ AF/F/|DD/E/ F/E/D|

DF/F/ AF/F/|dF/F/ G/F/E|DD/F/ E/E/E|D/D/D D/D/D||fa/a/ ga/a/|fa/a/ g/f/e|

fa/a/ g/b/a/g/|f/e/d c/A/A|fa/a/ ga/a/|fa/a/ g/f/e|df/d/ e/c/A|d/d/d d/d/d||

           

DANDALEITH. AKA and see "Mrs. Gordon of Bellie’s Reel [1]." Scottish, Strathspey. F Major. Standard tuning. AABBCDEEF. Composed by William Marshall (1748-1833). Dandeleith, Scotland, was the site of a cottage built by Marshall called Newfield Cottage, to which he and his wife Jean retired in their later years. The structure was on the grounds of Dandaleith Farm, owned by John McInnes, husband of Marshall’s daughter, Jane Marshall. According to Moyra Cowie (The Life and Times of William Marshall, 1999), Jane and John had a happy marriage, and Marshall was pleased with her choice of husband. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 56.

X:1

T:Dandaleith

M:C

L:1/8

R:Strathspey

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:F

c| (A<d) (d>c) A<F F>(A | c>)d c<A G2 (Gc) | (A<d) (d>c) A<F F>(e | f>)g a<c A2A :|

|: G | F<(ff>)g (fg/a/) (a>g) | f<d c>A G2 (G>A) | F<(f f>)g (fg/a/) (a>g) | f<c d>f A2A :|

d|c<A A>d c<A A>d | c>A A>F G2 Gd | c<A A>d c<A A>a | fcdf A2 A>d |

c<A A>F G2 (G>A) | F>G A<d c<A A<a | fcdf A2A||g|f>g a<g f<dd<f | c<A A>F G2 (GA) |

f>g a<g f<dd<f | c<A f>g a2 (ag) | f>g a<g f<dd>f | c<A A>F G2 (GA) |

F>G A<d c<AA<a | fcdf A2A || G | F>G A<f c<A Af | c<A A>F G2 (G>A) |

F>G A<f c<AA<a | f>c d<f c<A A>F G2 Gf/g/ | a>fg>e f>c d<f | c<A f>g a2 af/g/ |

a>fg>e f>c d<f | c<A A>F G2 (GA) | f>G A<d c<A A>a | f>c d<F A2A ||

           

DANDELION QUADRILLE. American, Quadrille (2/4 time). F Major. Standard tuning. AA’BB. Ruth (Pioneer Western Folk Tunes), 1948; No. 105, pg. 37.

X:1

T:Dandelion Quadrille

M:2/4

L:1/8

S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

K:F

cAFd|c/A/F/A/ dc|f/g/f/e/ d/e/d/c/|B3 G/A/|BGEc|B/G/E/G/ BE|1

e/f/e/d/ c/d/c/B/|A/B/A/G/ F2 (A/B/):|2 e/f/e/d/ c/d/e/g/|f/e/f/g/ [A2f2]||

|:G/c/e/c/ e/g/e/c/|AG G2|G/c/e/c/ e/g/e/c/|fB [G2B2]|

B/d/f/d/ B/d/f/d/|ec G2|G/A/B/d/ G/A/B/d/|c/B/c/d/ c2:|

                       

DANDIES GONE A ROAMING, THE. AKA and see "The Bisim in the Kitchen," "The Beesom."

                       

DANDLING OF THE BAIRNS, THE. AKA and see "Marriage and Money."

                       

DANDY, THE. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler Jerry Holland (1955-2009, Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 236, pg. 68. Jerry Holland – “Crystal Clear” (2000).

                       

DANDY APRON. AKA and see "My Love is in America," "Jenny Lind's Reel."

                       

DANDY BONNET, THE (An Boinead Sgiamac). Irish, Jig. A Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 45. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 948, pg. 176. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 173, pg. 43.

X:1

T:Dandy Bonnet, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 173

Z:AK/Fiddler’s Companion

K:A

e|cAA A2E|Ace f2d|cAA Ace|fdf e2 f/g/|afa gec|fdf ecA|cAF EFG|ABA A2:|

|:e|cAF ECE|AEA ecA|dBG GBc|dBf fed|cAF ECE|AEA def|e<ac B<dG|ABA A2:|

                       

DANDY DENNY CRONIN (Doncad Deas Ua Cronin). Irish, Reel. A Dorian (O'Neill/Krassen): A Major (O'Neill/1850). Standard tuning. AB (O'Neill/1850): ABB' (O'Neill/Krassen). Source for notated version: Abram Sweetman Beamish, a native of the adjoining parish to that of Caheragh, County Cork, where Francis O’Neill was born. Although O’Neill got seven tunes from Beamish, only the “Fairhaired Boy” and “Tie the Bonnet” were previously known to him despite their common place of origin [O’Neill]. O'Neill (Krassen), 1976; pg. 145. O’Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1467, pg. 272.

X:1

T:Dandy Denny Cronin

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903) No. 1467

Z:AK/Fiddler’s Companion

K: A

e2AA e2 ef | gefd e2 ef | e2 AA e2 ef | gefd BA A2 | e2 AA e2 ef |

gfgd e2 dB | d2 ef g2 a2 | gefd BA A2 || a2 ef g2 a2 | gefd e2 dB |

a2 ef g2 a2 | gefd BA A2 | a2 ef g2 a2 | gefd e2 dB | d2 ef g2 a2 | gefd BA A2 ||

                       

DANDY GIRL, THE. AKA – “Dandy Lass,” “Dandy Lasses.” AKA and see "The Barrow Castle," "The Belles of Tipperary [2]," "The Blea‑berry Blossom," "The Connacht Lasses," "The Four Courts of Dublin," "The Green Fields to America," "Jackson's Welcome to Cork [1]," "Johnny Shooting in the Glen," "The Kerry Star," "Lamont's Reel," "Miss Mona(g)han(‘s Reel)," "O'Connell in Clare," "Stormy Weather," "The White‑haired Piper."

                       

DANDY JIM [1]. See "Dandy Jim from Caroline."

 

DANDY JIM [2]. Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning. AB. Not the minstrel tune “Dandy Jim from Caroline,” says Jeff Titon (2001), but that it “bears the marks” of African-American origin. It is a tune found only in the Cumberland Plateau region of the mid-Kentucky/Tennessee border area. Source for notated version: Clyde Davenport (Monticello, Wayne County, Kentucky, 1990) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 31, pg. 65. Marimac 9025, Troxell Brothers – “Troxsong “ (1990).


                       

DANDY JIM FROM/OF CAROLINE [1]. AKA ‑ "Dandy Jim [1]." AKA and see "Chicken-Foot and Sparrow‑Grass" (Pa.), "Old Aunt Jenny." American, Reel or Breakdown. USA, southwestern Pa. G Major. Standard tuning. AABB. Bayard (1981), Southern (1983) and others identify this tune as coming from the American minstrel tradition of the mid‑19th century. Hans Nathan (Dan Emmett and Negro Minstrelsy, Univ. of Oklahoma Press, 1962) dates the stage tune to c. 1844 and says the words and perhaps the tune were composed by minstrel Dan Emmett. As with many minstrel tunes there is confusion as to whether Emmett wrote the music or simply adapted a found folk tune, but Bayard says the tune crops up "everywhere" in American music (including play‑party songs) in many guises under a variety of titles. Bayard also found the tune in the British Isles in Kerr's collection (Vol. 1, pg. 29 as "American Air") and in Roche's collection (vol. 2, No. 297 as the second figure of the second tune in the quadrille "The Orange and the Green"). Source for notated version: Hiram Horner (Westmoreland/Fayette Counties, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 326, pgs. 291‑192.

 

DANDY JIM O' CAROLINE [2]. AKA and see "Monongahela College," "Taylor's Quickstep [1]." American, March (2/4 time). USA, southwestern Pa., Va.  A Dorian. Standard tuning. AABB. A once very well known fife piece in southwestern Pa., but also has been collected as a fiddle tune in Albemarle County, Va (see Southern Folklore Quarterly, VI, pg. 10).  Bayard (1981) connects the tune to the Irish "Templehouse," both reel and jig versions. Source for notated version: Samuel Palmer (Fayette/ Greene Counties, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 226C, pgs. 184‑85.

                       

DANDY LASS/LASSES. AKA and see "The Dandy Girl."

                       

DANDY LUSK.  Old-Time, Breakdown. G Major. DGad tuning. AABB. MM-0030-CD, Clare Milliner & Walt Koken – “Just Tunes” (2003).

X:1

T:Dandy Lusk

M:C

L:1/8

S:Clare Milliner

N:From a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:G

GA |: “G”B2 (d2d2) (d2 | “C”e2)(d2 “G”d2)c2 | B2d2c2B2 | “D”~A2 GA “G”B2(G2 |

M:2/4

L:1/8

G2) GA :|

M:C

L:1/8

|: BGBG “D”A2 BA | “G”G2A2B3B | “C”c2cc “D”A2BA | “G”G2A2B3A |

“G”BABG “D”A2BA | “G”G2A2B3B | “C”c2 cc A2 “D”BA | “G”[G,2G2]A2[G,3G3][A,A]:|

“variation”

|:B,2(D2D2)(D2 | E2)(D2D2)C2 | B,2D2C2B,2 | ~A,2G,A,B,2(G,2 |

M:2/4

L:1/8

G,2) G,A, :|

M:C

L:1/8

|:B,G,B,G, A,2 B,A, | G,2A,2B,3B, | C2CC A,2 B,A, | G,2A,2B,3A, |

B,A,B,G, A,2 B,A, | G,2A,2B,3B, | C2CC A,2 B,A, | G,2A,2G,4 :|

 

DANDY MIKE'S REEL. American, Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 31. Page (Ralph Page Book of Contras), 1969; pg. 5. Ryan’s Mammoth Collection, 1883; pg. 56.

X:1

T:Dandy Mike’s Reel

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

G(d/c/) .B(A/G/)|F/G/A/B/ c/A/A/f/|.g(d/c/) .B(A/G/)|D/F/A/c/ (B/G/).G|

.g(d/c/) .B(A/G/)|F/G/A/B/ c/A/A/f/|.g(d/c/) .B(A/G/)|D/F/A/c/ (B/G/).G:|

|: D/G/B/G/ A/G/B/G/|D/G/B/G/ c/A/A/c/|B/d/e/f/ g/e/d/c/|(3Bcd (A/c/) (B/G/).G|

D/G/B/G/ A/G/B/G/|D/G/B/G/ c/A/A/c/|B/d/e/f/ g/e/d/c/|(3B/c/d/ (A/c/) (B/G/).G:|

                       

DANDY O, THE. Irish, English; Air (2/4 time). England; Shropshire, Lincolnshire. D Major (O’Farrell, O'Neill): G Major (Ashman). Standard tuning. One part (Sumner): AABB (Ashman, O’Farrell, O’Neill). The melody was the vehicle for several late 18th and early 19th century songs, including “Pretty Peg of Derby,” Thomas Moore’s “Evelyn’s Bower,” "The Bonny Lass of Fyvie,”  "The Chesapeake and the Shannon,” and the American “Constitution and the Guerriere,” (the latter an American song commemorating a naval engagement if 1812). It was the tune used for a broadside ballad "The Dandy" (Later English Broadside Ballads edited by John Holloway and Joan Black, London 1979, vol. 2 p. 274). O'Neill (1915) states his version (presumably taken directly from O’Farrell’s collection) bears no resemblance to others of the same name, however, Ashman's printing is clearly cognate if not so elaborate. O’Farrell gives an Irish provenance for the melody. According to Alfred Moffet, the tune was printed by Brysson in his Curious Collection. In America, it appears in Riley’s Flute Melodies (pg. 43) under the title “Brandy O or Peg of Darby,” in an instrumental setting, notes Bruce Olson. Comic words to the tune begin:

***

Tho' late, as a waiter, I ran up and down,

With bottles, glasses, Claret, Rum and Brandy-O;

Now an officer I'm made, I'll have servants of my own

And be among the ladies quite the dandy-o.

***

My cravat sticks out like a pigeon's breast,

My hat so smart, my sword so long so handy-o;

Like a sheep's tail at each ear my hair's completely drest,

And crops I'm sure you'll own are quite the dandy-o.

***

Sources for notated versions: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Ashman (The Ironbridge Hornpipe), 1991; No. 103b, pg. 41. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 105. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 114, pg. 64. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 83 (miss-labelled “A Andy O” in the contents). Topic TSCD494, Eliza Carthy – “Rice.”

X:1

T:Dandy O, The

M:C|

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. IV (1810)

Z:AK/Fiddler’s Companion

K:D

A | Addd dcBA | d2 de dcBA | Addc dfaf | ecA A3f | ecA A3f | ge(fg) a2 (f>e) |

dBAG (GF)GA | BcdB ecAG | FA d2d2 :: A | FA (de) d2 (3ABc | Bd G2 G3B |

eg(fa) (gf)ed | ce A2 A3g | fefg afed | dBAG (GF)GA | BcdB edcB | A2d2d2 :|

                       

DANDY PAT. Irish, March (6/8 time). D Major. Standard. AB. O’Neill (1922) says: “This spirited air enjoyed no little popularity some fifty years ago when a song of that name to be found in Hyland's Mammoth Hibernian Songster was sung to it.” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 71.

X:1

T:Dandy Pat

M:6/8

L:1/8

R:March

S:Capt. F. O'Neill

Z:Paul Kinder

K:D

A|d2 d def|B2 B B2 A|c2 c cBA|d2 d d2 A|

d2 d def|B2 B B2 g|"tr"f2 e f2 g|a3-a2||

f/2g/2|a2 f a2 f|a3 agf|e2 f gfe|f2 g a2 z|

a2 f a2 f|a3 agf|e2 f g2 a|"tr"f2 e d2||

                       

DANDY REEL. AKA and see "Duke of Leinster [2]," "The Pigeon House," "Salamanca [3]," "Jimmy the Creelmaker," "The Hills of Clady," "O'Connell's Trip to Parliament [2]," "Trim the Bonnet," "Tie the Ribbons [1]."

                       

DANDY SCHOLAR, THE. AKA and see “The Wandering Minstrel.” Irish, Jig. See also the ‘A’ parts of "The Merry Maiden [1]” and "Willy Walsh's Jig."

                       


DANGEROUS REEL, THE. AKA and see “The Galtee Reel.” Breathnach (CRÉ III), 1985; No. 189 (appears as untitled tune).

                       

DANGERS OF THE SEA, THE. Irish, Air (4/4 time). B Flat Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 570, pg. 144.

X:1

T:Dangers of the sea, The

M:C
L:1/8

R:Air

S:Stanford/Petrie (1905), No. 570

Z:AK/Fiddler’s Companion

K:B_

B>A | F2B2B2 d>c | BA F2F2 Bc | d2e2f2B2 | c6 AB | c2f2 fg af | fe cA BA Bc |

d2 ed c2A2 | BA F2F2 Ac | f2f2 ec B>A | B6 ||

                       

DANGO. AKA and see "Spanish Fandango." Old-Time. From  Doc Walsh, learned from his brother Jim. "Probably part of the wide‑spread 'Spanish Fandango' (Archie Green)." Folk Legacy FSA‑24 (1965), "The Carolina Tar Heels" (Doc Walsh).

                       

DANIEL COUPER. Scottish. The melody appears in the Gillespie Manuscript of Perth (1768).

                       

DANIEL DRUNK. AKA and see “Daniel of the Sun [1].”

                       

DANIEL KELLY. Irish, Planxty. C Major. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). This is one of seven airs O’Carolan composed for people named Kelly. According to Donal O’Sullivan, the tune was probably composed for a gentleman by that name from Turrock, County Roscommon. Complete Collection of Carolan's Irish Tunes, 1984; No. 70, pg. 62.

X:1
T:Daniel Kelly
C:Turlough Carolan
B:"Carolan", by Donal O'Sullivan
M:6/8
L:1/8
N:allegretto scherzando

Z:Transcribed by Paul de Grae
K:D
D2 D D2 E|F2 G A2 F|A2 B c2 d|e2 d cBA|
fgf {f}e2 d|d2 c B2 A|B2 c d2 B|{B}A2 G F2 E|
D2 d ded|{c}d2 z z2 D|D2 D D2 E|F2 G A2 F|
A2 B c2 d|e2 d cBA|f2 f e2 d|d2 c B2 A|
B2 c d2 B|{B}A2 G F2 E|D2 z d2 z|D2 z d2 z|
f2 e e2 d|d2 c {c}B A|B2 c d2 B|A2 G F2 E|
D2 d ded|d2 z z3|D2 d d2 z|D2 d d2 z|f2 e e2 d|
d2 c {c}B2 A|B2 c d2 B|A2 G F2 E|D2 d dec| d3 z3||

                       

DANIEL O'CONNELL. AKA and see "Bundle and Go [2]," “Larry O’Gaff [1], “Making Babies by Steam.”  Irish, Double Jig. D Major. Standard tuning. AABB'. David Taylor (1992) notes that this tune is often confused with the similar, though different, and better‑known "Larry O'Gaff" (usually played in G Major). To add to the confusion, the tune in the volume he edits from the playing of the band Shaskeen sounds more like "Larry O'Gaff" (especially in the first part, which is nearly identical) transposed to the key of D. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 51. Taylor (Crossroads Dance), 1992; No. 49, pg. 37. Gael-Linn CEF CD 044, Joe Cooley - "Cooley" (1975).  Shaskeen ‑ "My Love is in America."

X:1

T:Daniel O’Connell

M:6/8

L:1/8

R:Jig

K:D

D2D FED | ABA AFD | GBG FAF | EFG ABc | d2D FED |

ABA AFD | GBG FAF | EFE D3 :: ABc dcd | efe edB | ABc d2e |

(fdc d2)B | ABc dcB | AdB AFD | GBG FAF | EFE D3 :|

                       

DANIEL O’CONNELL, THE HOME RULER. AKA and see “Frank McCollum’s [2],” "The Hangman's Noose,” “The Home Ruler,” "McCollum's Hornpipe," “Pat Galvin’s Hornpipe,” "Sean Ryan's (Hornpipe) [1]." Irish, Hornpipe.

                       

DANIEL O'CONNELL'S WELCOME TO PARLIAMENT. AKA and see "O'Connell's Welcome {to Parliament} [1]," "O'Connell's Welcome."

                       

DANIEL O'DALY (Domnall Ua Dalaig). Irish, Air (3/4 time). D Major. Standard tuning. One part. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 429, pg. 75.

X:1

T:Daniel O’Daly

M:3/4

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 429

Z:AK/Fiddler’s Companion

N:”Slow”

K:D

D/E/|F2G2A2|d2A2 A>G|E2D2D2|D4 d>e|f2e2 d>e|d3e d/c/A/G/|A2d2d2|

D4 d>e|f2e2 de|d3 e d/c/A/G/|E2D2C2|C4 D>E|F2G2A2|d2A2 A>G|E2D2D2|D4||

                                               


DANIEL OF THE SUN [1] (Domnall Na Greine). AKA and see "The Bonny Highlander," "The Bottle of Brandy," “Buckasheen Landy” "Buck(e)y Highlander,"  "Bully for you," “Daniel Drunk,” "From the Court to the Cottage," "Girls of the West", "I gave to my Nelly," “The Leg of (a) Duck,” "Nelly's Jig," "O my Dear Judy," "O My Dear Father Pity your Daughter," "Petticoat Loose [1],"  "Potatoes and Butter," "She is/She's the girl that can do it,” "Sonny/Sunny Dan," “Thady  you Gander," "Teddy you Gander," "'Tis sweet to think," "The Western Jig,” "You May Talk as You Please." Irish, Double Jig. D Major (O’Neill): C Major (Levey). Standard tuning. AABB (Levey): AABC (O’Neill). See notes under "Bully for You." Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 61, pg. 27 (appears as “Sunny Dan”). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 984, pg. 183. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 200, pg. 47. Ryan’s Mammoth Collection, 1883; pgs. 82, 95.

X:1

T:Daniel of the Sun [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 200

Z:AK/Fiddler’s Companion

K:D

d/e/|fdd edd|fef dBA|B<ee e2d|B<ee e2d/e/|fdd edd|fef dBA|B<dd d2A|B<dd d2:|

|:d/e/|f>ga e>fg|f>ef dBA|B<ee e^de|B<ee e2g|f>ga e>fg|f>ef dBA|B<dd d2A|B<dd d2:|

|:d/e/|f2d e2d|f2e dBA|Bee e2d|Bee e2d/e/|fdd edd|fef dBA|B<dd d2A|B<dd d2:|

 

DANIEL OF THE SUN [2] (Dónall na Gréine). AKA and see "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 [1],"  "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. This version is a close relative of “Daniel of the Sun” [1] and [3], especially structurally. 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 all right, 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.” See also the related “Gillan an Drover.” Source for notated version: flute and whistle player Micko Russell, 1967 (Doolin, Co. Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 10, pg. 7. Cotter (Traditional Irish Tin Whistle Tutor), 1989; No. 17. Russell (The Piper’s Chair), 1989; pg. 7.

X:1

T:Daniel of the Sun [2]

T:Dónall na Gréine

M:6/8

L:1/8

R:Jig

S:Breathnach

Z:AK/Fiddler’s Companion

K:G

GGG AGA | Bdg dBA | BcB {c}B2A | BcB B2A | .G2G AGA | Bdg dBG | ABA {B}A2D |

ABA {B}A2D | G3A3 | (3.B.c.dg dBG | BcB B2A | BcB B2A | {G/A/}G2G A3 | (3.B.c.dg dBG |

ABA {B}A2D | ABA {B}A3D || g2g fgf | efe dBA | BcB B2A | BcB B3 | g2g agf | gfg dBG |
ABA {B}A2D | ABA {B}A2D | .g2g fgf | efe dBA | BcB B2A | BcB B3 | g2g agf | gfg dBG |

ABA .A2A | ABA FED ||

 

DANIEL THE SUN [3] (Donald Na Grena). Irish, Jig. A Minor. Standard. AABBCCDD. A minor key variant of versions [1] and [2]. O’Farrell (Pocket Companion for the Irish or Union Pipes), c. 1805-1810; No. 2, pgs. 12-13 (appears as “Donald Na Grena or Daniel the Sun”).

X:1

T:Donald Na Grena or Daniel the Sun [3]

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion for the Irish or Union Pipes (c. 1805)

Z:AK/Fiddler’s Companion

K:Amin

c/d/ | ede cAA | ede cAG | EAA A2G | EAA A2c/d/ | ede cAA | e/f/ed cAG |

EGG G2A | EGG G2 :: A/B/ | c3d3 | (e/f/)ed cAG | EAA A2G | EAA A2B |

cAA dBB | (e/f/)ed cAG | EGG G2A | EGG G2 :: e | a3g3 | fed cAG | EAA A2G |

EAA A2e | aba gbg | fed cAG | EGG G2A | EGG G2 :: A/B/ | c3 cAA | cAA cAG |

EAA A2G | EAA A2B | c3 cAA | ede cAG | EGG G2A | cAG G2 :|

                       

DANIEL O'KEEFE'S SLIDE. See "Dan O'Keefe's Slide."

                       

DANIEL O'ROURKE (Domnall Ua Ruairc). AKA and see “The Merry Huntsman.” Irish, Double Jig. G Major ('A' part) & D Dorian ('B' and 'C' parts). Standard. AABB'CC. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 769, pg. 143. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 50, pg. 25.

X:1

T:Daniel O’Rourke

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 50

Z:AK/Fiddler’s Companion

K:D

b/a/|gdB BdB|gdB gba|gdB BdB|e=cA A2f|gdB BdB|gdB gab|afd gec|ded d2:|

|:z|d2b afd|afd fga|d2b afd|ecA cde|d2b afd|afd fga|1 bge afd|ecA cde:|2 Bge cAc|ded d2||

|:B/c/|d2d’ d’ag|fdd def|gag bge|cAA A2 B/c/|d2 d’ dag|fdd d2 d/c/|Bge cAc|ded d2:|

                       

DANIEL PURCELL’S GROUND. English, Country Dance Tune. The melody appears in Playford’s Division Violin (1684).  Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

                       

DANIEL WRIGHT'S HORNPIPE. English, Hornpipe (3/2 time). England, North‑West. B Minor. Standard tuning. AABBCCDDEEFF. Knowles (Northern Frisk), 1988; No. 66.

                       

DANISH CAPE BRETON SOCIETY, THE.  Canadian, March (cut time). Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 120, pg. 46.

 


DANISH HORNPIPE. American, Hornpipe. C Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 110. Ryan’s Mammoth Collection, 1883; pg. 147.

X:1

T:Danish Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:C

G | cc E/G/c/e/ | g/e/a/g/ f/e/d/c/ | d/c/d/e/ g/e/d/c/ | B/c/d/c/ B/G/A/B/ | cc E/G/c/e/ |

g/e/a/g/ f/e/d/c/ | d/^c/d/e/ g/f/d/e/ | cec :: G/G/ | GB/B/ Bd/d/ | dg/g/ gg/g/ |

ggdB | GGAB | cc E/G/c/e/ | g/e/a/g/ f/e/d/c/ | d/c/d/e/ f/d/B/d/ | cec :|

                       

DANNY AB’S SLIDE [1]. AKA and see “Dan O’Keeffe’s Slide [1].” Irish, Slide. G Major. Standard tuning. AA’BB’. Mulvihill (1st Collection), 1986; No. 12 in slide section (appears untitled).

X:1

T:Danny Ab's (1)

T:Dan O'Keeffe's

D:"Kerry Fiddles", Padraig O'Keeffe, Denis Murphy & Julia Clifford

D:"The Star Above The Garter", Denis Murphy & Julia Clifford

B:Ceol Rince na hÉireann III, no. 45

R:slide

M:12/8

L:1/8

Z:Transcribed by Paul de Grae

K:G

GA ||: B2 B {d}cBc d2 d d2 e | dBG dBG ABc AGA |

B2 B {d}cBc {de}d2 B d2 g |1 fed cBA G3 {Bc}B2 A :||2 fed cBA G3 GBd |

||: g2 d B2 g f2 d B c2 | ded c2 A ~d3 B2 d | g2 d B2 g f2 d B<cB |

1 ABc def {a}g3 {a }g2 f :|| 2 ABc def g3 g2 z ||

 

DANNY AB'S SLIDE [2]. AKA and see “Dan O’Keeffe’s Slide [2],” "John Kelly's Slide [1]." 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. Fiddler Julia Murphy Clifford (Denis’s sister) told how Danny Ab would visit her home when she was a child—Ab would whistle while he was about the family house in Lisheen, and Julia, blessed with a good ear, would later play them on the fiddle (Donal Hickey, 1999). Alan Ward, in his booklet “Music from Sliabh Luachra,” quotes Julia Clifford:

***
Myself and Denis were very young, you know, mad for music.  One Sunday
afternoon we were sitting indoors and up through our old-fashioned yard
through the fields came Danny Ab.  And he came in... my father knew'm
anyway.  He loved tea--he was mad for tea.  So he started whistling these
slides y'know.  So we made tea for'm anyway and the more he was whistling
the slides the more we were making tea.  And the two of us sat there and
learned the two slides while he was drinking the tea.

***
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. Mulvihill (1st Collection), 1986; No. 11 in slide section (appears untitled). 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).

X:1

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 :||

                       

DANNY BIG ALEC MACDONALD. Canadian, Jig. Canada, Cape Breton. F Major. Standard tuning. AABB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 257, pg. 74.

                       

DANNY BOY. AKA and see "Londonderry Air," "Derry Air," “Drimoleague Fair.” 

                       

DANNY FRASER’S [1]. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 92, pg. 34.

 

DANNY FRASER’S [2].  Canadian, Jig. Canada, Cape Breton. B Flat Major. Standard tuning. AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 243, pg. 89.

                       

DANNY GREEN’S. AKA and see  Darby’s Cross,” “Fleadh cheol polka no. 2,” “John Clifford’s (Polka) [1],” “John Egan’s (Polka) [2]," “Scartaglen Polka [2],"  Tripping to the Well.” Irish, Polka.

           

DANNY MACEACHERN’S PIANO. Canadian, Jig. Canada, Cape Breton. Composed by Cape Breton musician and composer Dan Hughie MacEachern. Rounder RO 7023, Natalie MacMaster - “No Boundaries” (1996. Learned from her uncle, fiddler Buddy MacMaster).

           

DANNY MAILLET.  Canadian, Reel. Canada, Cape Breton. A Dorian. Standard tuning. AABB. Composed by the late Cape Breton fiddler Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 36, pg. 15.

 

DANNY MEEHAN'S REEL [1]. AKA and see “The Gowel Reel,” "McCahill's Reel [2].”  Irish, Reel. Fiddler Danny Meehan was born in 1940 and grew up in Mountcharles, just west of Donegal Town. Source for notated version: Donegal fiddler Tommy Peoples [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), Vol. 4, No. 41. Comhaltas Ceoltoiri CL13, Tommy Peoples. Shanachie 34007, Tommy Peoples – “The High Part of the Road.”

 

DANNY MEEHAN'S (REEL) [2]. Irish, Reel. A version of “Don’t Bother Me” in O’Neill’s. Green Linnet SIF 1078, “Altan.”

           

DANNY’S FAVORITE. Irish, Reel. F Sharp Minor. Standard tuning. AA’BB’. Composed by Baltimore area fiddler, teacher and musicologist Philippe Varlet. Black (Music’s the Very Best Thing), 1996; No. 278, pg. 149.

X:1

T: Danny's Favorite

C: P. Varlet

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: A

FE | CF F2 BAFA | ceef ecAc | B2 fB cBfB | B2 fB CBAE |

FAcA BAFA | ceef ecAc | B2 fB cAec |1 BAGE F2 :|2 BAGE FGAB ||

cf-f2 defa | eccB A3 B | ceef ecAB | cBBA GBEB |

cf-f2 defa | eccB AEAB | ceag fecA |1 BAGE FGAB :|2 BAGE F2 ||

           

DANNY'S WALTZ. Old-Time, Waltz. A Major ('A' and 'B' parts) & D Major ('C' part). Standard tuning. AABB'CC'. Source for notated version: Stuart Williams and Wally Bloom [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 252.

           

DAN'S DREAM. Old-Time, Breakdown. USA, Oklahoma. The tune was in the repertiore of Oklahoma's Collins family, whose modern representative, fiddler Earl Collins, recorded several albums. Older members of the family contributed to Marion Thede's "Fiddle Book." Yodel Ay Hee 008, One Eyed Dog - "Traditional Mountain Tunes" (1993).

           

DANS KAS A BARH. Breton.

X: 1

T:DAÑS KAS A BARH

B:TONIOÙ BREIZ-IZEL (FOLK MUSIC OF WESTERN BRITTANY), Polig Monjarret, Editions B.A.S.

A:Ardeven

N:Appears as n. 1829 in the collection

N:Warning! some softwares seems unable to handle correctly more than a single grace

N:note among curly brackets in connection

N:with the broken rhythm syntax (>)

Q:1/4=112

Z:Gianni Cunich

M:4/4

L:1/8

B:Tonioù Breiz-Izel 1829

K:Bb %% pentachordal type A' (minor)

C(E/F/) G>{FG}F EG {FG}FE |1 CE/F/ G>{FG}F (EC) DE :|2

C(E/F/) G>{FG}F EC G2 |: C(D/E/) F>G E(F/E/) (D/C/)(D/E/) |

C(E/G/) CD/F/ (E/C/)(D/E/) C2 :|

                       

DANS MOD KOH A VAOD. Breton, Ring Dance Tune. North Star 0031, "Dance Across the Sea: Dances and Airs from the Celtic Highlands" (1990).

           

DANS NOS VIEILLES MAISONS. Quebec, Air. Composed and performed by composed and interpreted by Muriel Millard, a Quebec singer popular in the 1960’s.  Recorded by La Bottine Souriante.

 

DAN’S REQUEST. Irish, Hornpipe. D Major. Standard tuning. AABB’. Composed by County Offaly musician Paddy O’Brien.

           

DANSE DE COULEE CROCHE, LA. See "Lacassine Special."

           


DANSE DE MARDI GRAS [1] (The Mardi Gras Dance). Cajun, Two-Step (4/4 time). A Minor. Standard tuning. One part. The tune (as well as version #2) is played during the Mardi Gras season. A related song is "La Chanson de Mardi Gras." Source for notated version: The Balfa Brothers (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 414-415. Swallow Records SW-LP6019, The Balfa Brothers.

 

DANSE DE MARDI GRAS [2] (The Mardi Gras Dance). Cajun, Two-Step (4/4 time). G Major. Standard tuning. ABCD. The G major chord is the single one played for accompaniment in the whole tune. Source for notated version: Aldus Roger (La.) [Francois]. Francois(Yé Yaille, Chère!), 1990; pgs. 416-417. La Louisiane Records LL-LP114, Aldus Roger.

 

DANSE DE PORT ARTHUR, LA. See "Tu Vas m'Faire Mourir."

 

DANSE DES FOINS, LA (The Hay Making Dance). AKA – “Le Foin.” French-Canadian, Jig (3/2 time). Canada, Québec, Gaspé Peninsula. D Major. ADae tuning. AA’BB’. This ‘crooked’ melody belongs to the family of Grondeuse (grumbling) tunes, in which the fiddle is cross-tuned ADae, which produces a resonant "grumbling" effect when the two lower strings are played. The tune accompanies the longways dance in Québec also called Danse des foins, perhaps dating to the 1700’s and which may have French origins, according to Marius Barbeau (Anne Lederman, “Fiddling”, Encyclopedia of Music in Canada, 1992). Source for notated version: Gustave and Benoît Denis (Petit-Cap, Gaspé, Québec), via Lisa Ornstein (Maine) [Hart & Sandell, Remon & Bouchard]. Hart & Sandell (Dance ce Soir), 2001; No. 45, pg. 79 (appears as “Le Foin”). Remon & Bouchard (25 Crooked Tunes, vol. 1: Québec Fiddle Tunes), 1996; No. 23. Green Linnett GLCD 3042, La Bottine Souriante - "Chic and Swell" (1988. Learned from Lisa Ornstein). 30 Below TB 001CD, Les têtes de violon (Bouchard et al) – “Airs Tordus/Crooked Tunes” (1998).

 

DANSE DES SUTINS, LA. French‑Canadian name for "Off She Goes [1]" (AKA and see). Starr 16372 (78 RPM), Henri & Clement Houde.

 

DANSE DU BARBIER, LA. AKA – “Danse du sauvage.” French-Canadian, Jig (3/2 time). G Major. Standard tuning. AA’B. The tune, known throughout Québec, is thought to trace back to old French tunes from the 17th and 18th centuries. It accompanies a comic pantomime dance popular in French Canada and Franco-American New England, note Hart & Sandell (2001). Source for notated version: Georges Ferland (St-Sylvestre, Québec), via Lisa Ornstein [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 47, pg. 81. Lisa Ornstein – “Les Danseries de Québec…de l’autre bord de l’eau” (1986).

 

DANSE DU CROCHET, LA.  See note for “Drops of Brandy [1].”

 

DANSE DU GRAND CHEVALIER, LA. See "Grande Nuit Special."

 

DANSE ÉCOSSAISE. AKA and see “Miss Sarah Drummond of Perth [1].” French-Canadian, Hornpipe. A Dorian. Standard tuning. AA'BB'. Cuillerier (Joseph Allard), 1992; pg. 6. Bluebird 55-5237-b (78 RPM), Joseph Allard.

X:1

T:Danse Ecossaise

C:Joseph Allard

M:4/4

L:1/16

Z:Transcribed by Bruce Osborne

K:Am

^fg|a4e3a c3ae3^f|g4d3g B3gd3g|a4e3a c3ae3^f|g3ed3B B3AA3g|!

a4e3a c3ae3^f|g4d3g B3gd3g|a3^fg3e ^f3de3d|B3gd3B B3AA2:|!

|:cd|e3AA3B c3de3d|g4G3A B3AB3d|e3AA3B c3de3d|g4G3A B3AA3a|!

e3AA3B c3de3d|g4G3A B3AB3d|e3AA3B c3de3d|g4G3A B3AA2:|!

 

DANSEUSE [1], LA (The Dancer). French‑Canadian, Reel. F Major. Standard. One part. Welling (Welling’s Hartford Tunebook), 1976; pg. 13 (includes one variation).

 

DANSEUSE [2], LA (The Dancer). Cajun, "Fox‑Trot". USA, Louisianna. Harry Smith (Folkways FA2952, 1952) writes: “The distictivness of the Arcadian violin-guitar combination is immediately noticeable, for not only is the melody itself of a type rather foreign to the Anglo-American pattern, but the steady and regular unison rhythm (as opposed to the slightly contrapuntal relationships (on Appalachian tunes) is very typical of Louisiana. Taylor Grigg’s Louisiana Melody Makers (Victor 1928-1930) were a contemporary string group with a highly perfected rhythm of this sort, and very pure examples can be found among recordings made in New Orleans within the last ten years. The distinctive regional playing of the Texas and Oklahoma string bands (Light Crush Dough Boys, Bob Wills, Bill Boyd, Jimmy Revard, etc.) during the depression and until World War II, developed as an off-shoot from Louisiana about 1920, possibly when oil workers from there went to Texas.” Folkways FA 2952, "Anthology of American Folk Music: vol. 2, Social Music" (1952). Vocalion 5303 (78 RPM), Delma Lachney and Blind Uncle Gaspard (1929).

 


DANSEZ, CODINNE (Dance, Codinne). Cajun, Two-Step??  USA, Louisiana. D Major. Standard. ABAB(Vocal)ABAB(Vocal)ABAB(Vocal)AB. Raymond Francois (1990) remarks that this song is rarely played in Cajun dance halls, though it is quite old, probably because of the rhythmically difficult bass line (which he includes in his version). Source for notated version: Raymond Francois [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 107-108.

 

DANTON ME. Scottish, Air. Used by Mitchell in his opera The Highland Fair or Union of the Clans, performed at Drury Lane in London in 1731.  The tune was later adapted by James Oswald (1710-1769) who set it with new variations.

 

DANVILLE GIRL. Old‑Time, Breakdown. USA, Mississippi. G Major. Recorded for the Library of Congress by Herbert Halpert from the playing of John Hatcher, Tishomingo County, Mississippi, 1939.

 

DANZA DEL OSO. Spanish, Jig. A well-known tune in the Asturias, Galicia and Cantabria regions of Spain. The title translates as “The Bear’s Dance.” The ‘A’ part is the same as that of Dervish’s tune “Dancing Bear” on their first CD.

 

DAPHNE. AKA and see "Hit and Miss." English, Air and Jig (6/8 or 3/4 time). E Minor (Karpeles, Raven): D Minor (Chappell). Standard tuning. AAB (Raven): AABBC (Chappell, Karpeles). The air was published by Playford in his English Dancing Master" (1651). It also appears in the Fitzwilliam Virginal Book, Nederlandtsche Gedenck‑clanck (1626), Friesche Lust‑Hof (1621), and Forbes' Songs and Fancies (1666). Words to the tune can be found in the Roxburghe Collection, Giles Earle's Song‑book (1626), and Deloney's Royal Garland of Love and Delight (1674). Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 17 (appears as "Hit and Miss"). Raven (English Country Dance Tunes), 1984; pg. 24 & pg. 40. Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c. Ballads for Voice and Violin Band" (1992). Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

X:1

T:Daphne

M:6/8

L:1/8

K:G

E|G2A B2e|d>ef e2 B/c/|dBG AFD|EGF E2:|

|:z|g2g f2f|e>fe dB2|d>cB A2G|GF2 G2:|z|dde dBG|

de/f/g afd|BA>G F2E|eed eBB|d>cB AEG|F>GF E2||

 

DAPHNE AND CORYDON. AKA and see "Tell me, Daphne," "Go no more a‑rushing." English, Air (4/4 time). D Dorian. Standard. ABCD. The air appears in Jane Pickering's Lute Book, the Fitzwilliam Virginal Book and a MS of virginal music that once belonged to Dr. Rimbault. The words to the air have been lost, but Chappell (1859) believes the tune "obviously intended for a dialogue." Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 157.

 

DAPHNE QUADRILLES, LA.  English, Jig. A Major. Standard. AAB. Source Joshua Gibbons (1778-1871) was a papermaker and musician from the village of Tealby, near Market Rasen, in the Lincolnshire Wolds. The tune, presumably meant to accompany a figure of the then fairly new quadrille dance, was set in the key of ‘G’ major in Gibbons’ mss. Source for notated version: the 1823-26 music manuscript of Joshua Gibbons (Lincolnshire) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 2.

 

DARA BANAIS, AN. AKA and see "The Second Wedding."

 

DARACH DE BRÚN'S. AKA and see “The Curlew Reel [1]." Irish, Reel. Composed by whistle player Darach de Brún. Donncha Ó Briain (The Golden Eagle). Green Linnet SIF‑1075, John Whelan & Eileen Ivers ‑ "Fresh Takes" (1987). Green Linnet SIF‑104, John Whelan & Eileen Ivers ‑ "The Celts Rise Again" (1990).

X:1

T:Darach de Brun's Own

R:Reel

C:Darach de Brun

D:Donncha O'Brien's 'The Golden Eagle'

Z:Transcribed by Thom Pratt

M:4/4

L:1/8

K:D

deed edBd|ADFd BAFE|DF F2 DEFA|dBAF B3 c|

deed edBd|ADFd BABc|df f2 afef|dBAF B3 c:|

dBBA Bdfd|e3f defa|bafe dFAd|Bcdf e3f|

dBBA Bffd|e3f defa|bafe dfeg|fBBA B3B:|

                       

DARBY CAREY. Irish, Slip Jig. D Major. Standard. AAB. Source for notated version: copied from O’Farrell’s Pocket Companion (c. 1808) [O’Neill]. O’Farrell (Pocket Companion, vol. III), 1808; pg. 26. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 190.

X:1

T:Darby Carey

M:9/8

L:1/8

S:O'Farrell's Pocket Companion 1804-10

Z:Paul Kinder

K:D

d2 B d2 B AFD|d2 B d2 e f3|d2 B d2 B AFD|EFE EFA B3:|

|d2 e fdB BAF|d2 e fdB f3|d2 e fdB BAF|AFE EFA B3|

d2 e fdB BAF|d2 e fdB f3|g2 e fdB BAF|AFE EFA B3||

                       

DARBY GALLAGHER’S [1]. AKA and see “Cashel Jig,” “Custom House,”  "East at Glendart," “Humours of Glendart,” “Julia Clifford’s,” "Shins around the Fireside [2]," "Tim the Piper."  Irish, Jig. D Major. Standard tuning. AABB. The “Darby Gallagher” title for the tune is from County Donegal, and was in the repertoire of fiddler John Doherty under the name. Source for notated version: John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 57.

 

DARBY GALLAGHER’S [2]. Irish, Jig. A Mixolydian. Standard tuning. AA’BB’.

X:1

T:Darby Gallagher's

T:Hiuda\'i Gallagher's March

T:Murphy's Delight

R:jig

D:Paddy Glackin: In Full Spate.

D:Altan: The Red Crow

Z:id:hn-jig-23

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:6/8

L:1/8

K:Amix

cBA ecA|fed cBA|def gfg|~B3 Bed|cBA ecA|fed cBA|c2e dBG|1 ABA Aed:|2 ABA Afg||

|:agf gfe|fed cBA|def gfg|~B3 Bfg|agf gfe|fed cBA|c2e dBG|1 ABA Afg:|2 ABA Aed||

           

DARBY KELLY.  English(?), Jig. G Major. Standard tuning. AAB. The melody appears in the music manuscript collection of English musician John Rook (Waverton, Cumbria, 1840).

X:1

T:Darby Kelly

M:6/8

L:1/8

R:Jig

S:John Rook music manuscript (Waverton, Cumbria,1840)

K:

D|G2B B2E|G2B B2E|G2B B2d|c2A A2D|G2B B2G|E2c c2E|DED D2c|A2G G2:|

B|A2D D2B|A2D D2B|A2d c2e|d2D D2B|c2B A2G|c2B A2G|E2G F2A|A2G G2d|

Bcd dBg|e3 d2c|Bcd dcB|cBc ABc|Bcd dBg|e3 d2c|Bcd dcB|B2A A2||

           

DARBY O'DOWD. Irish, Air (3/4). G Mixolydian. Standard tuning. AABB. Roche Collection, 1982; vol. 1, pg. 29, No. 60.

                       

DARBY O’DUN. Irish, Air (3/4 time). E Flat Major/C Minor. Standard tuning. AB. “From O’Neill’s MS, 1787.” Stanford/Petrie (Complete Collection), 1905; No. 301, pg. 75.

                       


DARBY O'LEARY. AKA and see "Let Us Leave That As It Is," "Galbally Farmer," "'Twas on the First of May Brave Boys," "Fagamaoid Sud Mar Ata Se."

                       

DARBY THE DRIVER (Diarmaid an Tiomaire/Tiomanuide). AKA and see “Bly’s Jig,” “Cronin’s Favorite [2],” “Paddy Cronin’s [6].” Irish, Double Jig. A Aeolian. Standard tuning. AABB. Source for notated version: County Galway/Bronx flute player Jack Coen, via accordion player Joe Madden, via New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 203, pg. 62 (appears as “Paddy Cronin’s”). O'Neill (Krassen), 1976; pg. 24. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 789, pg. 147. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 64, pg. 27. Larraga Records TR1103, Mary Rafferty – “Hand Me Downs” (2002).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Darby the Driver

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 64

Z:AK/Fiddler’s Companion

K:A Minor

A/G/|EAA ABc|BAA A2B/c/|d2e dBg|BGG G2 A/G/|

EAA A2A|BAA A2 B/c/|d2e dBg|BAA A2:|

|:e|a^ga a2e|a^ga a2e|=g>ag e>ge|dBG G2e|

a^ga a2e|de^f g2g|ege dBg|BAA A2:|

X:2

T:Darby the Driver

M:6/8

L:1/8

R:Jig

S:John and Catherine McEvoy – “The Kildare Fancy” (2004)

Z:AK/Fiddler’s Companion

K:A Minor

EAA ABd | (e/f/g)e dBA | GEF GAB | dBA GED | EAA ABd |!

e/f/ge def | ({a}g2)f e/f/ge | dBG A2 :: d | eag e2d | eaa bag |!

egf edB | dba ged | eag e2d | eaa bag | efg dBG | ({c}B)AG A2 :| 

                       

DARBY’S CROSS. AKA and see “Danny Green’s,” “Fleadh cheol polka [2],” “John Clifford’s (Polka) [1],” “John Egan’s (Polka) [2]," “Scartaglen Polka [2],”  Tripping to the Well.”

                       

DARBY'S FAREWELL TO LONDON. AKA and see “Josie McDermott’s Reel [3].” Irish, Reel. G Major. Standard tuning. AAB. The tune is the composition of blind flute and whistle player Josie McDermott (Ballyfarnon, Co. Roscommon), who also was a lilter, singer and saxophone player, who died in 1992. David Taylor (1992) relates the origin of the title:

***

Darby is the nickname of Josie's compatriot Tom Hart; the title

of the tune came about when, on missing a plane to Birmingham,

they flew to London instead, only to miss the train to Birmingham

...so Josie made up the tune in the back of the taxi travelling

between the two cities.

***

Taylor (Crossroads Dance), 1992; No. 11, pg. 10. Shaskeen ‑ "The Mouse Behind the Dresser."

X:1

T:Darby's farewell to London

R:Reel

C:Josie McDermott

Z:Transcribed by Andrew Pickering

M:4/4

L:1/8

K:G

BGEG DEGA|(3BAG dG eGdG|BE (3EEE DEGA|BGdB G3 A|

B2 EG DEGA|(3BAG dG eGdG|BE (3EEE eGdG|FGAF G3 A:|

BABd eg g2|e2 ag eg g2|GABd g2 eg|dBAB GE D2|

DEGA Bd d2|e2 ag eg g2|bgag egdG|FGAF G2:|

                       

DARCIE'S MINUET. English, Waltz (Minuet). D Major. Standard tuning. AABB. Composed by Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 196.

                       

DARGAI. Scottish, Pibroch (6/8 time). A Major. Standard tuning. AB (Hunter, Martin, Skinner). Composed by James Scott Skinner (1843-1927), first printed in his Harp and Claymore collection. Skinner wrote to another famous Scots fiddler, James F. Dickie, regarding how to play the tune: "The pibroch is a sad and dowie strain‑‑oianiste holds on drones‑‑give the featrue or large notes due prominence as large branches and make the small grace notes like leaves fluttering in the wind‑‑playing them as if they were almost absent. And ever repeating the one desolate thought that fills the heart" (Alburger, 1983). Hunter (1988) identifies the title as the name of the famous heights taken by the Gordon Highlanders in India in 1897, where Piper Findlater won his Victoria Cross (see "Cock of the North" ??). Hunter (Fiddle Music of Scotland), 1988; No. 27 (includes variations). Martin (Traditional Scottish Fiddling), 2002; pg. 31. Skinner (The Scottish Violinist, with variations), pg. 42. Skinner (Harp and Claymore), 1904; pg. 146 (includes a variation set). Green Linnet SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Olympic 6151, Florence Burns ‑ "Scottish Traditional Fiddle Music" (1978).

X:1

T:Dargai

M:6/8

L:1/8

R:Pibroch

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

{d}(c2A) {A}(B2A) | ({A}c2)A ({A}e3) | {d}(c2A) {B/d/}(B2A) | {A}(c2A) (F2A) |

(c2A) B2A | c2A (a2g/f/) | e2A e2c | ({B/d/}B3) A2 || c/d/ | {f}(e2A) {f/g/}(f2A) |

{f}(e2A) ({A/d/}c3) | {f}(e2A) {f/g/}(f2A) | {f}(e2A) ({A/d/}B2) (c/d/) |

{f}(e2A) {f/a/}(f2e) | {f}(e2A) {A}(a2 g/f/) | (e2A) (e2c) | ({A/d/}B3)A2 ||

                       


DARGASON/DARGISON. AKA and see "Sedan(n)y," "The Melody of Cynwyd," "Country Courtship," "Irish Washerwoman." English, Air and Country Dance Tune (6/4 or 6/8 time). F Major. Standard tuning. One part. The earliest printing of this "circular" or "endless" tune was in Thomas Ravencroft's Pammelia (London, 1609, pg. 30), which would date it probably to the 16th century‑‑it appeared in that work in altered form under the title "Oft have I ridden upon my Grey Nag". Chappell (1859) finds several references to it in early sixteenth century literature, including Ben Jonson's Tale of a Tub:

***

But if you get the lass from 'Dargison,'

what will you do with her?

***

It was later printed in the 1650-1 edition of Playford's Dancing Master (pg. 71) where it was already considered quite old and part of the traditional repertoire, and in the 1794 edition of Edward Jones's Musical and Poetical Relicks of the Welsh Bards (London, pg. 129) under the title "The Melody of Cynwyd." Some sources maintain the tune was the precursor to the (in its time) well‑known tune "Country Courtship," which in turn evolved into the even more well‑known "Irish Washerwoman" of 19th and 20th century popularity, however, Fuld (1971) states that the song apparently developed independently of the melodically similar "Washerwoman" tune. Little is known regarding the title, however, 'darg' is a Middle English word which means 'a day's work' and both 'darger' and 'dargsman' are forms which refer to day laborers; thus 'dargeson' may also mean a day laborer. The Dargason melody was used by the English composer Gustav Holst in his Second Suite in F (for Concert Band), where it appears in the powerful climax to the final movement. Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pgs. 230‑231. Sharp (Country Dance Tunes), 1909/1994; pg. 24.

X:1

T:Dargason

L:1/8

M:6/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:F

A2F F2F|A2B c>BA|B2G G2G|B2c d>cB|A2F F2F|f2f e>dc|B2G G2G|g2f e>dc:|

                       

DARGLE, THE. The melody was used in the 1772 London stage production Irish Fair, which featured Irish and Scottish country dance tunes.  It is a different piece than "The Dargle," a Dublin broadsheet ballad which begins "Come, haste to the wedding" and may have been a variant of that famous melody.

                       

DARIN IN THE WOODPILE. American, Hornpipe. B Flat Major. A modern composition by Pete Martin (who also composed “Pete’s Waltz”).

                       

DARK AND CURLY HAIR. AKA and see "Cotten Blossom." Old‑Time, Breakdown. USA, Missouri. G Major: C Major. It is on Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’.

           

DARK CORNERS. Irish, Jig. D Minor. Standard tuning. Composed by fiddler James Kelly, originally from Dublin. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996).

 

DARK EYED GYPSY, THE. Irish, Air (4/4 time). G Major. Standard tuning. ABB. O’Neill (1922) says: “Although suggestive of an English origin, "The Dark-eyed Gypsy" was the name of a popular song in Tipperary, Mr. Healey's native county.” Source for notated version: P.J. Healey (San Francisco) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922. 

X:1

T:Dark-eyed Gypsy, The

M:4/4

L:1/8

S:P.J.Healey, San Francisco

Z:Paul Kinder

R:Air

K:G

"Andante"d2|B2 {d}cA G3 g|B2 {d}cA G3 d/2e/2|

=f2 g2 A2 _B2|=B2 c2 d3 B/2c/2|

d2 ga b3 a/2g/2|{a}gf dB c3 B/2c/2|B g2 f d2 cA|A2 G2 G2|

|:Bc|d2 ga b3 a/2g/2|{a}gf dB c3 B/2c/2|de =fe d2 cA|A2 G2 G2:||

                       

DARK FIDDLE, THE. Canadian, Reel. Canada, Cape Breton. B Flat Major. Standard. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 12.

                       

DARK GATE GIRL, THE. AKA and see "The Dark Haired Lass," "The Dark Haired Girl [2]," "The Black Haired Lass," "Cailin na Gruaige Duibhe."

                       

DARK GIRL. AKA and see “The Dark Girl Dressed in Blue.”

                       


DARK GIRL DRESSED IN BLUE [1], THE. English, Polka. G Major. Standard tuning. AB. Printed song versions date to about 1855. Actor Jack Warner (1896-1981) who got his start in Music Hall and radio (later with a long run in the BBC series “Dixon of Dock Green”) was said to have used this tune as his theme song. It’s a humorous piece that tells of a chance meeting of the Dark Girl, who asks him to get change for her for a five pound note. The money is, of course, counterfeit, and she disappears, leaving the protagonist to explain himself to the law. Raven (English Country Dance Tunes), 1984; pg. 148. Wild Goose WGS 320, Old Swan Band – “Swan-Upmanship” (2004).

X:1

T:Dark Girl Dressed in Blue [1]

M:2/4

L:1/8

R:Polka

K:G

B/c/|dde>c|d>B G>f|ggaf|g3 B/c/|dde>c|dB AB/c/|ddcA|G3||

A|bbc’a|gf d>a|bbc’a|g2 fa|bb c’b/a/|gf dd/e/|=ffe>d|c3||

 

DARK GIRL DRESSED IN BLUE [2], THE (Cailin Dub Na Eadaig Gorm). Irish, Air (4/4 time). D Major/Mixolydian. Standard tuning. One part. Similar in character to version #1. The melody is very close to the American old-time tune “Over the Waterfall.”  O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 403, pg. 70.

X:1

T:Dark Girl Dressed in Blue, The [2]

L:1/8

M:C

K:D

d/e/ | fdge dc Ad/e/ | fdge d3 d/e/ |\

ff gg/e/ dd A>B | =cccA G3 F/G/ |\

AABG AD z A | dfec d3 F/G/ |\

AA BG/G/ AF DF/G/ | ABAF GE D3 |]**

 

DARK GIRL DRESSED IN BLUE [3], THE (An Cailín Dubh i bhFeisteas Gorm). Irish, Polka. D Major. Standard tuning. AABB. This polka is from the northern Irish tradition (i.e. Sligo/Roscommon/Leitrim) rather than the southern Kerry polkas that are more frequently heard. A odd version by Ontario fiddle Dawson Girdwood was set in the key of ‘E’ Major. Sources for notated versions: a flute duet by James Morrison (County Sligo, Ireland) and John McKenna [Breathnach]; accordion player Johnny O’Leary (Sliabh Luarchra region of the Cork-Kerry border), recorded in recital at Na Píobairí Uileann, February, 1981 [Moylan]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]; Patsy Hanly [Bulmer & Sharpley]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Begin (Fiddle Music from the Ottawa Valley), 1985; No. 74, pg. 84 (appears as “The Girl Dressed in Blue”). Breathnach (CRÉ III), 1985; No. 75, pg. 36. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 82. Cranitch (Irish Fiddle Book), 116. Harker (300 Tunes from Mike Rafferty), 2005; No. 286, pg. 92. Mallinson (101 Polkas), 1997; No. 5, pg. 3. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, addenda (appears as “The Dark Girl”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 128. Moylan (Johnny O’Leary), 1994; No. 56, pg. 33. Taylor (Music for the Sets: Blue Book), 1995; pg. 23. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 11. Claddagh CC5, Denis Murphy & Julia Clifford - “The Star Above the Garter” (appears as “The Dark Girl”). Folktrax-074, John Doherty – “The Pedlar’s Pack.” Shanachie 33004, "The Pure Genius of James Morrison" (1978). Frankie Gavin – “Croch Suas E/Up and Away.”

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Dark Girl Dressed in Blue, The [3]

R:polka

L:1/8

M:2/4

K:D

FA Ad|Bd A>F|GB AF/A/|BE G/F/E/D/|FA Ad|Bd A>F|GB A/B/A/G/|FD D2:|

|:FA A/B/d/e/|ff/d/ ed|Bd AF/A/|BE G/F/E/D/|FA A/B/d/e/|ff/d/ ed|Bd A/B/A/G/|FD D2:|

 

DARK GIRL (DRESSED) IN BLUE [4], THE (An Cailín Dubh i bhFeisteas Gorm). AKA and see “Denis Murphy’s Slide [1],” “The Girl in the Dress,” “The Gleanntán (Slide),” “Julia Clifford’s Slide [1],” “Murphy’s (Slide),” “Napoleon Crossing the Alps [2],” “Pádraig O’Keeffe’s Slide [1].” Irish, Slide (12/8 time). D Major. Standard tuning. 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 pipe-maker 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 (CRÉ III), 1985; No. 50, pg. 23. Treoir III, I pg. 12 (untitled). Tara Records 1009, Séamus Ennis ‑ "The Fox Chase."

X;1

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:|

                       

DARK HAIRED GIRL [1], THE. Old Time, Breakdown. USA, Nebraska. G Major. Standard tuning. AABB. The tune is sourced to Nebraska fiddler Uncle Bob Walters (d. 1960), who recorded it for collector R.P. Christeson in 1957. Walters was the most accomplished fiddler Christeson knew, with an immense repertoire. According to Mark Wilson (in the liner notes for Dwight Lamb’s 2005 release), the tune “derives from Wilse Walter [ed. Willis Walter, Bob’s father], and that Bob and his brother Sant used to play it in duet, with Bob offering a fine chording support in old time style.” Wilson says the melodic contours of the tune remind him of Kentucky fiddle tunes. Source for notated version: Bob Walters (Burt County, Oklahoma) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 147, pg. 104. Rounder Records CDROUN0529, Dwight Lamb – “Hell Agin the Barn Door: More Fiddle and Accordion Tunes from the Great Plains” (2005).

X:1

T:Dark Haired Girl, The [1]

M:2/4

L:1/8

R:Breakdown

S:Christeson – Old Time Fiddler’s Repertory, vol. 1, No. 147  (1973)

Z:AK/Fiddler’s Companion

K:G

G/A/|[GB>][GA] [G/B/][G/c/][G/B/][G/A/]|([G2B2] [GB])g|e/d/B/c/ d/B/G/A/|B/G/A/B/ AG/A/|

[GB>][GA] [G/B/][G/c/][G/B/][G/A/]|([G2B2] [GB])g|e/d/B/c/ d/B/c/A/|B<GG/4G/4 G z :|

|:g>a b>g|aa/b/ a/g/e|g/a/b/a/ g>e|dd/e/ d/c/B|

g>a b>g|aa/b/ a/g/e|e/f/g/e/ d/B/A/c/|B<GG/4G/4 G z:|

 

DARK HAIRED GIRL [2], THE. AKA and see "The Dark Haired Lass," "The Dark Gate Girl," "The Black Haired Lass," "Cailin na Gruaige Duibhe,” “Smokey House [2]." Irish, Reel.

                       

DARK HAIRED LASS. AKA and see "The Dark Haired Girl [2].” Irish, Reel. A Dorian/ A Mixolydian. Standard tuning. AB. See also the tune as printed by O’Neill as “The Black Haired Lass.” Cole (1000 Fiddle Tunes), 1940; pg. 10. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 31, pg. 9. Ryan’s Mammoth Collection, 1883; pg. Columbia 35612, "The Chieftains" (1978).

X:1

T:Dark Haired Lass

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A Dorian

(e/d/) || (c/B/A/)(B/ c/)(d/e/(^c/ | d)(g/d/) (B/G/)(G/B/) | ({d}c/)B/A/B/ c/d/e/^c/ | d/f/e/^c/ A/c/e/d/ |

(=c/B/A/)(B/ c/)(d/e/)(^c/ | d)(g/d/) B/G/G/B/ | ({d}c/)B/A/B/ c/d/e/^c/ | d/f/e/^c/ A || (A/B/) |

^c/d/e/f/ g(g/e/) | f(f/d/) ({a}g/)f/e/d/ | ^c/d/e/f/ g/f/e/g/ | f/d/e/^c/ A(A/B/) | ^c/d/e/f/ g(g/e/) |

(3f/g/a/(f/d/) e/g/f/b/ | a/f/g/e/ f/d/e/c/ | d/f/e/c/ A/c/e/d/ ||

                       

DARK HAIRED MARY. Scottish, Strathspey. A Mixolydian. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 61, pg. 9.

X:1

T:Dark Haired Mary

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 61  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Ador

a|A/A/A A>B G>AB>d|e<A A>B d/c/B/A/ G>B|A/A/A A>B G>AB>d|e<A A>B G>E E:|

|:a|g<e e>g d>ed>B|g<e e>f g>ab>a|g<b e<g d<g B<b|e<A A>B G<E E:|

                       

DARK HAIRED YOUTH [1], THE (An Gille Dubh, Ciar-Dubh). Scottish, Slow Air (6/8 time). G Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 1; No. 18, pg. 48.

 

DARK-HAIRED YOUTH [2], THE. AKA and see "An Gille Dubh, Ciar-Dubh."

                       

DARK IS THE COLOR OF MY TRUE LOVE’S HAIR. Irish, Air. Claddagh 4CC 39, “The Pipering of Willie Clancy vol. 2” (1983).

                       


DARK ISLAND, THE. AKA and see “Dr. Mackay’s Farewell to Creagorry.” Scottish, English; Pipe Air (6/4 time) or Waltz (3/4 time). A Dorian ('A' part) & G Major ('B' part) {Martin}: D Dorian ('A' part) & C Major ('B' part) {Merryweather}: E Dorian ('A' part) & D Major ('B' part) {Johnson}. Standard tuning. One part (Martin): AB (Johnson): AA'B (Merryweather). Composed in 1963 as a pipe lament by the late Iain MacLachlan, an accordion player from Creagorry who originally titled it “Dr Mackay's Farewell to Creagorry,” after a local physician. Various lyrics have been written to the tune, although the first version was by David Silver of Inverness, who was asked to write a song for a BBC TV thriller, "The Dark Island", filmed in Benbecula in 1963. The island was his inspiration for the pensive song. He set his lyrics to MacLachlan's air. Subsequently others wrote sets of lyrics to the melody, including one in Gaelic, “Eilean Dorcha.” Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 2. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 10. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 54. Direction, Barde (1977). Rounder 0193, Rodney Miller ‑ "Airplang" (1985). Sampler 8911, Thistledown ‑ "Hills of Lorne" (1989). Topic, "The Clutha: Scots Ballads, Songs & Dance Tunes" (1974). Ryan's Crossing - "Dance Around This One." Iain McLachlan – “An Island Heritage.”

X:1

T:Dark Island

M:3/4

L:1/8

K:Edor

B2|e3 fe2|d3 ed2|BG3 B2|A4 de|f3 ed2|fa3 A2|f4 a>f|e4 B2|

e3 fe2|d3 ed2|BG3 B2|A4 de|f4 a>f|e4 f>e|d3 e d>c|d2 f2 g2|

a3 AA2|f2 e2 d2|BG3 B2|A4 de|f3 e d2|fa3 A2|f4 a>f|e4 B2|

e3 fe2|d3 ed2|BG3 B2|A4 de|f4 a>f|e4 f>e|d3 e d>c|d4|]

X:2

T:Dark Island

C:Ian Maclachlan

Z:Nigel Gatherer

K:Dmix (one sharp)

M:3/4

L:1/8

S:Various records

E|A3 E A2|G3 A G2|E3 D C2|D4 GA|B3 A G2|B d3 D2|B3 d B2|A4 DE|

A3 E A2|G3 A G2|E3 D C2|D4 GA|B3 DdB|A3 DBA|G6|G4|]

Bc|d3 D D2|B3 A G2|E C3 E2|D4 GA|B3 A G2|B d3 D2|B3 d B2|A4 DE|

A3 E A2|G3 A G2|E3 D C2|D4 GA|B3 DdB|A3 DBA|G6|G4|]


                       

DARK LOUGH NA GAR (Loc Dorca Na Gar). AKA - “Dark Loch na gCaor,” “Dark Lochnagar.” Irish, Air (6/8 time). D Major. Standard tuning. AABB. Gearoid O’ hAllmhurain believe this tune may have been learned in County Clare from Scottish sappers in the 1830's who were sent to the region as part of the British survey of the country. Whatever its origins, it became the melody of a popular 19th century song circulated on ballad sheets (the ballad gives reference to the Scottish battle of Culloden, in 1746). Recorded by Clare piper Robbie Hannon. Piper Jimmy O’Brien-Moran says it was a favorite of Willie Clancy’s. Not for nothing, the air, as played by O’Brien-Moran, is actor Ewan McGregor’s (Trainspotting) favorite choice on the BBC’s Desert Island Discs program. Source for notated version: Cronin [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 477, pg. 83. Piping Pig Productions PPPCD001, Jimmy O’Brien-Moran – “Seán Reid’s Favourite” (1996).

X:1

T:Dark Lough Na Gar

M:6/8

L:1/8
R:Air

N:”With feeling”

S:O’Neill – Music of Ireland (1903), NO. 477

Z:AK/Fiddler’s Companion

K:D

f/e/|dcA FGA|cAg f>ed|cAF G>FG|AFD C2 f/e/|

dcA FGA|cAg f>ed|cAF G>FG|AFD D2:|

|:d/e/|fef g2 a/g/|f>ed cAg|f>ef g<ag|fdc d>ef/g/|

afa g>fe|dcA f>ed|cAF G>FG|AFD D2:|

                       

DARK MAIDEN OF THE VALLEY, THE (An MaigDean Dub On Feorain). AKA and see “The Maiden.” Irish, Slow Air (3/4 time). E Minor/G Major. Standard tuning. One part. The air is a simpler version of “Bean Dubh a’ Ghleanna [1]” (The Dark Woman of the Glen), which O’Neill obtained from fiddler Danile Sullivan of Boston, a native of Millstreet, County Cork. Source for notated version: attributed to Chicago Police Sergeant James O’Neill, originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 368, pg. 64.

X:1

T:Dark Maiden of the Valley, The

M:3/4

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 368

Z:AK/Fiddler’s Companion

N:”Slow”

K:G

(3GBd|{f}e2 de dc|B>A GE G>B|{B}A2 G2 GA|G6 {a/4B/4c/4d/4e/4f/4}|g2 gb ag|

f>d BA GA|B2 d>f ec|{c}d6 {a/4B/4c/4d/4e/4f/4}|g2 gb ag|f2 dc BA|

G2 GA B/d/e/f/|g4 (3bag|f2 de dc|B>A GE G>B|{B}A2 G2 GA|{F}G4||

                       

DARK, PLAINTIVE YOUTH, THE. AKA and see "The Dark‑Visaged Lad O'Gloran." Irish, Planxty (4/4 time). D Dorian. Standard tuning. AB. The tune is attributed to blind Irish harper Turlough O'Carolan (1670-1738), thought Donal O’Sullivan, in his definitive work on the bard could find no incontrovertible evidence of its origin. Complete Collection of Carolan's Irish Tunes, 1985; No. 193, pg. 132.

                       

DARK ROSALEEN. AKA‑ "Roisin Dub." Irish, Air. D Dorian. Standard tuning. AB. Roche Collection, 1982; vol. 1, pg. 31, No. 65.

                       

DARK SLENDER BOY [1], THE (An buacaill Caol Dub). Irish, Air. G Dorian. Standard tuning. AAB. Roche Collection, 1982; vol. 1, pg. 14, No. 24.

 

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

X:1

T:Dark Slender Boy, The [2]

M:3/4

L:1/8

R:Air

S:O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

G/A/ Bc | d>g g/f/d/c/ B c/A/ | B>A GF/G/ A/B/c/A/ | dg g/f/d/c/ A>G | G3 G/A/ Bc |

dg g/f/d/c/ Bc/A/ | B>A GF/G/ A/B/c/A/ | dg g/f/d/c/ A>G | G3 || B/c/ dd | b2 ab/a/ g/f/b/a/ |

g>f dc dd/e/ | =fa g/f/d/c/ d/g/^f/a/ | g2 (9G/4A/4B/4c/4d/4e/4f/4a/4 ba |

ga (3b/a/g/ (3f/d/c/ Bc/A/ | B>A GF/G/ A/B/c/A/ | d>g g/f/d/c/ A>G | G3 ||

           

DARK-VISAGED LAD O’GLORAN, THE (Gilla Dubh O’Glamharáin). AKA and see "The Dark, Plaintive Youth.” Irish, Air (4/4 time). D Dorian. Standard tuning. AB. "In the Carey MS. this was marked 'Carolan'. I have come across a Gaelic Jacobite song to this air, composed during the Cromwellian rule, lamenting the banishment of Charles II., beginning:‑‑Ce fada mise a'gluasacht ni‑fhuil suairceas air m'intinn: 'Though long I am wandering, there is no comfort for my mind'" (Joyce). Source for notated version: copied by P.W. Joyce from the Forde manuscript, which were coped in turn from a manuscript lent to Forde by piper Patrick Carey of County Cork (who is probably the Patrick Carew who supplied Petrie with so many tunes) [Joyce]. Joyce (Old Irish Folk Music and Song), 1909; No. 450, pg. 253.

X:1

T:Dark-Visaged Lad O’Gloran

T:Giolla Dubh O’Glamharáin

M:C

L:1/8

R:Air

N:”Moderate time: with expression”

B:Joyce – Old Irish Folk Music and Songs, No. 450 (1909)

Z:AK/Fiddler’s Companion

K:Ddor

A,C|DCDE F2 ED|C2C2 GEDC|D2 DE F2 FA|GFED C2 A,C|

DCDE F2 ED|E2 AB c3e|dfed ABcA|GECE D2||EF|

GEGA cBcd|cBcd cA G2|A2 d2 dcde|dced cAA>B|cBcd (3cde dc|

dcde f2 ed|dfed cedc|ABcA GECE|DEFG ABcA|GECE D2||

           

DARK WOMAN OF THE GLEN, THE. AKA and see “(An) Bean Dubh an Gleanna.”

           

DARK WOMAN OF THE MOUNTAINS, THE. Irish, Slow Air (3/4 time). G Major. Standard tuning. One part. Roche Collection, 1982; vol. 1, pg. 31, No. 64.

           

DARKER THE NIGHT, THE BETTER I CAN SEE, THE. Old-Time, Breakdown. C Major. Sourced from Cherokee, North Carolina, fiddler Manco Sneed.

                       


DARKEY UNDER THE WOODPILE. AKA and see "Susan Lick the Laddle," "O Little Girl What Makes You Look So Clever," "The Girl That Looks So Clever O!" Old‑Time, Breakdown. USA, southwestern Pa. G Major. Standard tuning. AABB. Bayard was unable to trace this tune to overseas antecedents. Source for notated version: Samuel Losch (Juanita County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 261B, pgs. 222‑223.

 

DARKEY'S/DARKIE'S DREAM. AKA and see “Acorn Stomp,” "Darkey Dan," "The Wind That Blows You Away." AKA – “Darky’s Dream.” Old‑Time, Breakdown or Schottische. USA; eastern Tenn., western N.C., West Virginia, Missouri, southwestern Pa., Arizona. D Major (Bayard, Beisswenger & McCann/Goforth, Roche): F Major (Phillips): G Major (Beisswenger & McCann/Robertson). Standard tuning. AAB (Roche): AA'B (Bayard, Phillips): AA’BB’CC (Beisswenger & McCann/Robertson): AABBCD (Beisswenger & McCann/Goforth). The first strain appears to be fairly uniform among fiddlers’ versions of this tune, although the second strain varies (sometimes quite a bit). One version was in the repertoire of legendary fiddler J. Dedrick Harris, born in Tenn., who played regularly with Bob Taylor when he was running for Governor of the state in the late 1800's. He moved to western North Carolina in the 1920's and influenced a generation of fiddlers there: Osey Helton, Manco Sneed, Bill Hensley, Marcus Martin--in fact, a tune by the title was also in Osey Helton's repertoire. "Darkie's Dream" was identified by John Hartford as a Missouri tune similar to "Essence of Sugar Cane" which is known to have inspired the three-part "Darkie's Dream" by George Lansing, published in New York in 1891. Lansing himself was a white banjo player in Boston in the 1880’s. A tune by this title in the key of G Major was in the repertoire of Arizona fiddler Kenner C. Kartchner who identified it as a "clog dance," sometimes played at dances for a schottische. Bayard (1981) noted that Pennsylvania fiddlers played this tune with a variety of tempos and styles, and he too mentions that the schottische style was common. "Darkie's Dream" even appears in an Irish collection (Roche) where it is listed simply as a "barndance." Other tunes that bear a general or part similarity are "Always Welcome," "The Butcher's Row"and "Old Yaller Houn'." In the repertoire of West Virginia fiddler Burl Hammons, who learned it from African-American musician Grafton Lacey. An early version of the Missouri variant appears in W.H. Morris’ Old Time Violin Melodies, according to Mark Wilson., printed in St. Joseph in 1927.

***

The tune was picked up by musicians in Ireland and appears in Frank and John Roche’s early 20th century collection. Another Irish connection is in the derivative “Offally Favorite,” a barndance recorded in 1957.

***

Sources for notated versions: Samuel Losch (Juniata County, Pa., 1930's), William Shape (elderly fiddler from Greene County, Pa., 1944) [Bayard]; Grant Lamb (Mo.) [Phillips]; Gene Goforth (1921-2002, High Ridge, near St. Louis, Mo.), who learned it from his uncle Lawrence, who had it from a French musician who lived around Potosi, Mo. [Beisswenger & McCann]; Lonnie Robertson (1908-1981, Springfield, Mo.) [Beisswenger & McCann]. Bayard (Hill Country Tunes), 1944. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pgs. 44 and 116. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 38. Roche Collection, 1982; vol. 3, pg. 53, No. 159. Caney Mountain Records CEP 213 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66. Rounder CD0375, Lonnie Robertson – “Lonnie’s Breakdown” (1996. Originally recorded 1966).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

                       

DARKHAIRED MAID, THE. AKA and see “Castle Kelly.” Irish, Reel. Recorded by Bobby Gardiner (1970).

                       

DARKIE'S CURLEY HAIR. Old-Time, Breakdown. C Major. Standard tuning. AABBC. Source for notated version: Frank Reed [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 66.

                       

DARLA’S JIG. Canadian, Jig. Canada, Prince Edward Island. Composed by P.E.I. fiddler Kevin Chaisson. Great Meadow Music GMM 2003, “Rodney Miller’s Airdance” (2000).

                       

DARKIES DREAM. See "Darkey's Dream."

           

DARLENE MACKENZIE’S WEDDING.  Canadian, Reel. Canada, Cape Breton. E Dorian. Standard tuning. AA’BB. A minor-key reel composed by Cape Breton fiddler Lucy MacNeil (of the Barra MacNeils) on the occasion of  her cousin’s wedding. Fiddler Magazine, vol. 11, No. 3, Fall 2004; pg. 15. Polygram Recrods, Barra MacNeils – “A Rock in the Stream” (1989).

           


DARLIN’ DON’T YOU MEDDLE ME. Canadian, Reel. Canada, Prince Edward Island. E Dorian. Standard tuning. AABB. Perlman (1996) states this tune is probably a variant of the Irish tune “Morning Star.” Source for notated version: Allan MacDonald (b. 1950, Bangor, North-East Kings County, Prince Edward Island), learned from his father Hector, a well-known Kings County, PEI, fiddler [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 111.

                       

DARLING, THE (Nighean donn ro'bheadarach). Scottish, Strathspey. A Major. Standard tuning. AAB. "This is the air of one of the favourite sprightly songs of Mr. Fraser of Culduthel, so oftened named. It would have been sooner noticed, were it not for the difficulty of finding melodies suited to this uncommon key. It makes an admirable medley with No. 217 ('MacDonald, Lord of the Isles')" {Fraser}. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 223, pg. 91. Stewart-Robertson (The Athole Collection), 1884; pg. 129.

X:1

T:Darling, The

M:C|

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection   (1884)

Z:AK/Fiddler’s Companion

K:Bmin

f|c<F c>B A<F F>f|c<F c>e f2 f>a|1 c<F c>B A>F F<f|e>c A<c B2B:|2

c<F c>B A>B c<f|e>c A<c B2B||d|c<f f>^g a>cc>B|c<f f>^g a2 g>f|c<f f>^g a>f c<a|

e<c A<c B2 B>d|c<f f>^g a>cc>B|c<f f>^g a2 g<b|f<a ^g>f e>c c<a|e<c a>c B2B||

                       

DARLING ANNIE. Scottish. Air attributed to Capt. Simon Fraser in one of Lowe's collections, c. 1840's.

                       

DARLING CHILD. AKA and see "Too Young to Marry [1]," "Sweet Sixteen," "Chinky Pin," "Midnight Serenade [1]," "Yellow Eyed Cat," "Fourth of July," "Ten Nights in a Bar Room," "My Love Is/She's But a Lassie Yet [1]," "Hair in the Butter," "Richmond Blues," "Buffalo Nickel [1]," "I'm My Momma's Darling (Child)," "Lead Out." Old‑Time, Breakdown. USA, southwestern Va. D Major. Standard. AAB. Widely known, but played under this title especially in Patrick, Floyd and Franklin Counties, southwestern Va. (Barry Poss, Blanton Owen & Tom Carter {1976}). Ford (Traditional Music in America), 1940; pg. 66.

                       

DARLING DAN. Irish, Reel. G Major. Standard tuning. AB. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 275.

X:1

T:Darling Dan

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:G

GBdB cBAG|FADA FADA|BGBd eceg|bgaf gedB|

GBdB cBAG|FADA FADA|BGBd eceg|bgaf dg g2||

bg g2affa|gddg fdcA|Bdce dfeg|fagb a2 ga|

bg g2 affa|gddg fdcA|Bdce dfeg|fagb gedB||

                       

DARLING DON'T REFUSE ME. Irish, Slow Air (2/4 time). F Major. Standard tuning. One part. Joyce (Old Irish Folk Music and Songs), 1909; No. 638, pg. 324.

                       

DARLING EILEEN. AKA and see “Eibhlin a Ruin.”

                       

DARLING HONEY. Old-Time, Breakdown. E Minor. Standard tuning. AABBBB. Source for notated version: Lonnie Seymour [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 66.

                       

DARLING KIPPEEN OF A STICK. AKA and see "The Wedding of Ballyporeen."

                       

DARLING NEDEEN. AKA and see "A Sprig of Shillelagh [1]."

                       

DARLING NELLIE GRAY. AKA ‑ "Old Nelly Grey." American, Air and Dance Tune. B Flat Major (Jarman): G Major (Perlman, Sweet): D Major (Johnson). Standard tuning. AB (Johnson, Sweet): AA’B (Perlman): AABB (Jarman). An abolitionist song composed by Benjamin Russell Hanby in 1856, while a student at Otterbein college, Ohio. Hanby was moved by the plight of a runaway slave named Joseph Selby, along with the efforts of Hanby’s father to raise money to gain the freedom of Selby’s beloved. The popular song became a rallying anthem for the abolitionist movement. It begins:

***

One night I went to see her, but she’s gone the neighbors say,

And the white man had bound her with his chain.
They have taken her to Georgia for to wear her life away

As she toils in the cotton and the cane.

***

Oh my darling Nellie Gray, they have taken you away

I’ll never see my darling anymore,

They have taken you to Georgia for to work your life away,

And you’re gone from that old Kentucky shore.

***

Caller Peter Yarensky remarks that this is often the last called (singing) dance of the evening at many New Hampshire dances, “especially (in the mid-20th century) the dances of Ralph Page and Duke Miller in the Monadnock region of the state.” It is followed by a final waltz. Source for notated version: Johnny Morrissey (1913-1994, Newtown Cross, Queens County, Prince Edward Island; late of Vernon River) [Perlman]; Art Coss (Woodland Valley, Catskill Mtns., New York) [Cazden]. Cazden (Dances from Woodland), 1945; pg. 7. Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pgs. 22‑23. Kerr (Merry Melodies), vol. 1; pg. 30. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), vol. 7, 1986‑87; pg. 9. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 154. Sweet (Fifer’s Delight), 1964/1981; pg. 13.

                       


DARLING OF THE UIST LASSES, THE (Mac a' Bhaillidh a Uist). Scottish, Reel. D Major. Standard tuning. 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. Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

X:1

T:Darling of the Uist Lasses, The

T:Mac a’Bhaillidh á Uist

M:C

L:1/8

R:Reel

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

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||

                       

DARLING SWAIN. AKA and see “Flowers of Edinburgh.”

                       

DARNEO. AKA and see “Dineo,” “Sally Ann [1].”

           

DARRELL WADDEN’S. Canadian, Pipe March (4/4 time). Canada, Cape Breton. A Dorian. Standard tuning. AABB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 16, pg. 7. Brenda Stubbert - “House Sessions” (1992).

                       

DAR'S SUGAR IN THE GOURD. American, Reel. A Minor. Standard tuning. AABB. The tune is attributed to James Buckley, a minstrel performer, in Ryan’s Mammoth Collection (1883). Edward Le Roy Rice, in his book Monarchs of Minstrelsy (New York, 1911), has this entry on Buckley:

***

JAMES BUCKLEY, the father of R. Bishop, G. Swayne and Fred Buckley was the

organizer of the justly famous Buckley Serenaders; they were originally known as

the Congo Melodists; subsequently upon playing an extended engagement in New

Orleans, they adopted the title of “New Orleans Serenaders”; later using the name

they were ever known by. Mr. Buckley was leader at Harrington’s Museum in

Boston in 1840. In 1843 he organized the Congo Melodists in Boston, and gave

their first performance at the Tremont Theatre; in October they were playing the

Tabernacle, the present site of the Howard Athenaeum. Their first New York

appearance was in 1845; the following year they went to England, where they

remained about two years. For family reasons each of the four Buckleys adopted

different names on this trip, and retained them for a time after their return to the

United States in 1848; James Buckley was known as Jim Burke. Their metropolitan

reappearance was made at the Society Library Rooms, corner Broadway and Leonard

Street; they played here as January 3, 1849.

***

The Buckleys were the first recognized company from the East to visit California,

which they did in 1852; they played in tents at $3.00 per ticket. In June, 1853, they

made their third New York appearance at the Chinese Assembly Room, 549 Broadway,

which they leased and made into a minstrel hall; they remained three years. August 25,

1856, they opened at 585 Broadway; their last performance there was January 9, 1858;

subsequently they played a brief engagement at 444 Broadway; commencing two days later.

***

In May 1858, they began a brief engagement at the Ordway Hall in Boston, and in November,

same year, they began a short seas at Allston Hall on Tremont Street; subsequently returning

to New York at 585 Broadway, opening July 11, 1859.

***

On March 21, 1860, the sailed for England, where they met with pronounced success; in

this engagement they played under their own names. As a matter of fact, their success was

so great, that rival managers became jealous, and succeeded in digging up an old law which

prevented an opera other than the Royal Opera from being given; as the Buckley’s success

depended on the production of these operas, which they produced on a lavish scale, they

were compelled to return to America, which they did in 1861. After playing several engagements

they returned to Boston and opened at Allston Hall, October 13, 1862. December 22, same year,

they began an engagement at the new hall, corner Chauncey and Summer Streets, remaining

until April 9, 1866. The retirement of James Buckley and the deaths of R. Bishop and Fred

Buckley, left only G. Swayne Buckley, who reorganized the company and toured with inter-

mittent success and failure until about 1876, when the Buckley’s Serenaders passed into oblivion.

***

Such is the history of this famous family whose talents and versatility are beyond comprehension

to the present generation. They were the first company to produce burlesque opera, which they

did on a scale of magnificence never since duplicated. The company originally consisted of the

four members of the family; later they were augmented by Sam Sanford and J.C. Collins; this

was about 1846; in after years many of the prominent lights of the minstrel profession appeared

on their roster. Mr. Jas. Buckley was the only member of the organization who was not active up

to the time of his death.  James Buckley was born in Manchester, England, 1803; he died in

Quincy, Mass., April 27, 1872.  (pgs. 15-16).

***

The first strain is similar to the first of "Rutland's Reel." James Buckely finished a banjo tutor of his friend Tom Briggs after the latter died in California in 1854. Briggs’ Banjo Instructor is a standard text even today for learning the minstrel banjo style of playing. New York researcher, musician and writer Don Meade finds that Buckley authored his own banjo tutor in 1860. Cole (1000 Fiddle Tunes), 1940; pg. 85. Ryan’s Mammoth Collection, 1883; pg. 118. White’s Unique Collection, 1896; No. 34, pg. 6.

X:1

T:Dar’s Sugar in de Gourd

M:2/4

L:1/8

R:’Sand Jig’

S:White’s Unique Collection (1896), No. 34

Z:AK/Fiddler’s Companion

K:A Minor

A, | A,/4A,/4 z/ C/E/ A/B/c/A/ | G/E/C/E/ G (c/d/) | {f}e/d/e/f/ g/e/d/g/ |

e/a^g/ aA/B/ | c/A/B/^G/ A(c/A/) | =G/E/C/E/ G(c/d/) | e/g/f/a/ g/e/f/d/ |

c/A/B/^G/ A :: A | (A/a/)z/b/ a(e/^f/) | g/e/d/B/ G(G/^F/) | (G/g/)z/a/ g(e/^f/) |

g/e/d/B/ G/E/D/B, | A,/A,/z/ C/E/ A/B/c/A/ | G/E/C/E/ G (c/d/) | e/g/f/a/ g/e/f/d/ | c/A/B/^G/ A :|

 

DARTMOUTH AND DISTRICT PIPE BAND. Canadian, Jig. A Mixolydian. Standard tuning. AA’BB’CCDD. Composed by Nova Scotia piper Jack MacLean, a former member of the Dartmouth and District Pipe Band, later known as Clan Sutherland (Shears). Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 73.

 

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