The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
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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] |
DASH TO PORTOBELLO. AKA and see “The Galway Rambler,”
“Glens of Aherlow,” “Port
Gael-Linn,” “Seán Ryan’s Favourite,”
“Seán Ryan’s (Reel) [2],” “Sligo Rambler [1].” Irish, Reel. E
Dorian. Standard tuning. Composed by
X:1
T:Dash to Portobello, The
T:Port Gael‑Linn
C:Sean Ryan
S:Sean Ryan
D:Milestone at the Garden
M:C|
L:1/8
Z:transcribed by Juergan Gier
K:D Dor
dc|ADDD DCA,G,|C2ED CG,G,G,|A,DDC
DEFG|(3ABc dA cAGB|\
ADDD DCA,G,|C2ED CG,G,G,|A,DDC
DEFG|(3ABc GE FD D2::\
f2df afdf|eccc Gceg|f2df afdf|efge
fdde|~f3 g afdf|\
e2ce gece|fefg {a}gfge|1fedc (3ABc
de:|2fedc Acfe:|
DASHING SERGEANT. See "Dashing White Sergeant."
DASHING WHITE SERGEANT, THE.
AKA and see "Highland Reel." English, Scottish, Irish, American;
Country Dance Tune, Reel or Hornpipe. F Major (Ashman, Athole, Hunter): G Major
(Mattson & Walz, Roche, Ford): D Major (Kennedy, Kerr, Martin, Sweet).
Standard tuning. AB (Ford, Mattson & Walz): AAB (Kennedy): AAB (Ashman):
AA'B (Athole, Hunter, Kerr, Martin, Sweet): AABB (Roche). The Dashing White
Sergeant is the name of a specific social (ceilidh) dance in
***
The
tune of “The Dashing White Sergeant” is derived from a song of the same name,
written by an English musical composer, conductor and arranger Sir Henry Rowley
Bishop (1786-1855), and was published in the mid-1820’s. Apparently the song
was to be part of one of Bishop’s operas, although there is no evidence it ever
actually made it into one. Rowley Bishop, who had a long run with various works
in the London theaters and was the first musician to be knighted, is perhaps
nowadays more famous for his composition “Home Sweet Home.” He is also
remembered for his appointment to the Reid Professorship of Music at
***
The
words to the song are sometimes attributed to General John “Gentleman Johnny”
Burgoyne (1722-1792), who surrendered a British army at
***
If I had a beau for a soldier who'd go,
Do you think I'd say no? No, no, not I!
For a soldier who'd go, Do you think I'd say
no?
No, no, no, no, no, no, not I!
When his red coat I saw,
Not a sigh would it draw,
But I'd give him eclat for his bravery!
If an army of Amazons ere came in play,
As a dashing white sergeant I’d march away.
***
Chorus:
A dashing white sergeant I’d march away,
march away, march away, march away.
March away, march away, march away, march away, march away, march away.
***
The lyrics make more sense when you understand that the singer is a woman, whose thought it is to dress as a ‘dashing white sergeant’ to follow her lover in the army, a not-uncommon 18th and 19th century theme. Another set of lyrics (relatively modern, and which scan better with the melody) are by Scottish conductor Sir Hugh S. Roberton, and go:
***
Now the fiddler’s ready, let us all begin,
So step it out and step it in
To the merry music of the violin
We’ll dance the hours away.
***
Katie and Peggy and Patsy and Coll,
Callum and Peter and Flora and Moll;
Dance, dance, dance, dance,
Dance away the hours together.
Dance till dawn be in the sky,
Whatcare you and what care I?
Hearts a-beating, spirits high
We’ll dance, dance, dance!
***
Perhaps because of the title the tune was quick to enter British military repertoire as a march, where it was the regimental march of the former 49th Berkshires (Royal Berkshire Regiment). “The Grenadier Guards,” records David Murray [Music of the Scottish Regiments, Edinburgh, 1994, pg. 210], “play it for the Advance in Review Order, with which maneuver ceremonial inspections used to conclude. It was also briefly the march past of the 2nd battalion The Suffolk Regiment at some period before 1898, when both battalions changed to ‘Speed the Plough’.”
***
In
***
Source
for notated version: a c. 1837-1840 MS by
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Dashing
White Sergeant
M:2/4
L:1/8
R:Country
Dances
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
A/G/|:FF/G/
F/G/A/B/|c/B/c/d/ ca/g/|~fdcA|dG G/B/A/G/|FF/G/ F/G/A/B/|
c/B/c/d/
ca|gfed|1 cc/d/ c/B/A/G/:|2 c2z||C|cc/d/ c/d/e/f/|g/a/g/e/ c>e|
dd/e/
d/e/f/g/|a/b/a/f/ dd/d/|ec/c/ fc/c/|gc/c/ ag/a/|bagf|ed c/B/A/G/|
F>f f/e/f/g/|fcc>f|dg g/f/g/a/|gdd>~f|c>f f/e/f/g/|az c’>e|fe/d/ c/B/A/G/||
DAUGHERTY’S JIG. AKA and see “The Trip to Sligo [1].”
Irish, Jig. Intrepid Records, Michael Coleman - “The
Heyday of Michael Coleman” (1973).
DAUGHTER OF ISREAL. English, Air (cut time). F Major. Standard tuning. AB. Source for
notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman].
Ashman (The Ironbridge Hornpipe),
1991; No. 46, pg. 17.
DAUGHTER OF THE
REGIMENT.
English, March. “When Queen
DAUNSE NY FARISHYN. AKA and see "The Jolly
Banger [1]," "Largo's Fairy
Dance," "The Fairy Reel [1]."
DAVE BORDER'S PIECE. Old‑Time, Breakdown. USA, Missouri. D Major. Standard tuning.
AABB. Composed by Ben Smith. Source for notated tune: Ben Smith (Jerome,
Missouri) [Christeson]. R.P. Christeson (Old
Time Fiddlers Repertory, vol. 2), 1984; No. 71, pg. 48.
DAVE COLLINS' (JIG) [1]. Irish, Jig. D Major. Standard tuning. AABB. Miles Krassen (1981)
remarks that this jig was originally composed by Dave Collins in the key of 'C'
but was transposed to 'B Flat' by Bronx fiddler Martin Wynne as a more
comfortable fiddle key; Mulvihill gives it in D Major. Mulvihill (1st Collection), 1986; No.
90, pg. 84. Green Linnet SIF1035, Brian Conway &
Tony De Marco - "The Apple in Winter" (1981).
DAVE COLLINS’ (JIG) [2]. Irish, Jig. A Major. Standard tuning. AAB.
X: 1
T: Dave Collins'
M: 6/8
Q: 300
L: 1/8
R: jig
N: Dave is a box player from the New York area,
good friend of
N: Brian Conway's and brother of Dan and
Kathleen.
Z: Transcribed by Bill Black
K: A
E | A2 A, CEA | B2 B BAF | A2 F ECA, | CEC B,2 C
|
A,G,A, CA,C | A,CE FEC | EFA BGE | AcB A2 :|
B | cAc
BGB | Acf ece | f2 e cBc | efg f2 g |
agf gfe | fec BGE | FGA BGE | AcB A2 B |
cAc BGB | Acf ece | A2 F ECA, | CDC B,2 C |
A,G,A,
CA,C | A,CE FEC | EFA BGE | AcB A2 ||
DAVE COLLINS' (REEL). Irish, Reel. Composed by Dave
Collins. Chonnachta CICD 173, Brian Conway – “Consider
the Source” (2008).
DAVE MARSH'S FAVORITE. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB
(Dunlay & Reich): AA’BB’ (Dunlay & Greenberg). The title comes from
pianist Doug MacPhee, who named it after a friend, though the tune was not
composed by him. Source for notated versions: Buddy MacMaster (Cape Breton)
[Dunlay & Greenberg, Dunlay & Reich]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape
Breton), 1996; pg. 118. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 75
(listed as "Traditonal Jig"). DMP6‑27‑1‑4,
Doug MacPhee‑ "Cape Breton Piano III" (1981). RDRD 850, Raymond
Ellis - “Dedicated to Mom and Dad” (1994. Appears as 1st “Traditional Jig” on
‘B’ side, 2nd cut).
DAVE MACISAAC’S JIG. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AA’BB’.
Composed by the late fiddler Jerry Holland (1955-2009, Inverness, Cape Breton)
for fiddler/guitarist Dave MacIsaacs (Halifax, Nova Scotia). Cranford (Jerry Holland’s), 1995; No. 196, pg. 56.
DAVE MACISAAC’S
STRATHSPEY. Canadian, Strathspey. Canada, Cape
Breton. A Dorian. Standard tuning. AAB. Composed by fiddler Brenda Stubbert (b.
1959, Point Aconi, Cape Breton, Nova Scotia) for guitarist/fiddler Dave
MacIsaac’s (Halifax, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 17, pg. 7. Brenda
Stubbert - “Tamerack ‘er Down” (1985).
DAVE MACNEIL. Canadian, Reel. Canada, Cape Breton Island. Composed by Cape Breton
fiddler Donny LeBlanc, who lives on the west coast of the island. Flying Fish FF 70572, Frank Ferrel – “Yankee Dreams: Wicked
Good Fiddling from New England” (1991).
DAVE “NORMAWAY” MACDONALD’S
WEDDING REEL. Canadian, Reel. Canada, Cape Breton.
G Major. Standard tuning. AABB. Composed by the late Inverness, Cape Breton,
fiddler Jerry Holland (1955-2009) for the wedding of inn-keeper MacDonald, who
runs a venue for Cape Breton music at his establishment, the Normaway. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice”
(1999). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).
DAVE O’DOCHERTY’S. Irish, Reel. Standard tuning. AABB. Composed at the 1990 Comhaltas
Ceoltoírí Eíreann North American Convention held in St. Louis by Falmouth,
Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 122, pg. 63.
X:1
T: Dave O Docherty's
C: © B. Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
FA | BcBA F2 ED | B,D D2 EFAB | dBBd e2 gf | eBdB A2 FA |
BcBA F2 ED | B,D D2 EFAB | defd g2 ed | cAGE D2 :|
FA | BDFA dcde | fede fa a2 | bf f2 af f2 | gfed B2 FA |
BDFA
dcde | fede fa a2 | b2 af edBd | cAGE D2 :|
DAVE WHITE’S. See “Harsh February.”
DAVENPORT. Old-Time. An archaic banjo piece.
DAVE’S DONEGAL RAMBLES. Irish, Reel. Ireland, County
Donegal. D Major. Standard tuning. AB. An untitled county Donegal reel
collected by Dave Abe, who travelled Ireland on a grant to study traditional
music. The title is Bill Black’s. Black (Music’s
the Very Best Thing), 1996; No. 113, pg. 59.
X:1
T: Dave's Donegal Rambles
S: Dave Abe
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
E | F3 A AFDE | F2 EG FDDE | F3 A AFDE | F2 EF D3 :|
A
| d3 A FGAB | A2 dA (3Bcd ec | d3 A FGAB | AFGE FD D3 :|
DAVID ADAMS. Scottish, Reel. A Major. Standard tuning. AB. Composed by J. Scott Skinner. Skinner (The Scottish Violinist), pg. 9.
X:1
T:David Adams
M:2/4
L:1/8
R:Reel
C:J. Scott Skinner
Z:AK/Fiddler’s Companion
K:A
E/ | A/4A/4A/ (c/A/) .G/.A/.B/.c/ |
d/c/B/A/ G/E/F/G/ | A/4A/4A/ (c/A/) .B/.c/.d/.f/ |
e/c/d/B/ c/A/A/({g}a/) | A/4A/4A/
(c/A/) .G/.A/.B/.c/ | .d/.c/.B/.A/ .G/.F/.E/.G/ |
.A/.c/.E/.c/ .A/.B/.c/.d/ | e/c/e/B/
c/A/A/g/ || a/A/a/g/ f/d/d/f/ | b/B/b/a/ g/e/e/g/ |
a/A/a/g/ f/d/a/f/ | e/c/d/B/
c/A/A/g/ | a/4a/4a/ (c/a/) f/d/d/f/ |b/4b/4b/ (B/b/) g/e/e/g/ |
.a/.g/.a/.e/ .f/.a/.e/.a/ | [e/e/]
[c/a/] [d/g/] [B/b/] [c/{g}a/][A/A/][A/A/] || [E4A4] ||
DAVID AND NANCY’S
VISIT. Canadian, Reel. Canada, Cape
Breton. G Major. Standard tuning. AABB. Composed by the late Inverness, Cape
Breton, fiddler and composer Jerry Holland (1955-2009) after a visit by David
and Nancy MacIsaac. Cranford (Jerry Holland: The Second Collection),
2000; No. 181, pg. 68. Odyssey
ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1999).
DAVID D. MACKENZIE OF
SALLACHY. Shetland, Slow Air. Composed by I.
Sinclair. Greentrax, Willie Hunter – “Leaving Lerwick
Harbour” (1995).
DAVID EARL OF CASSIL'S
REEL. Scottish, Reel. Glen (1891) finds
the earliest printing of the tune in John
Riddell's 1782 collection (pg. 21).
DAVID FOY. Irish, Air (2/4 time). E Flat Major. Standard tuning. One part. “As
sung by the Dublin street ballad singers, for the last fifty years at least”
[Stanford/Petrie--1855]. See also the variant “Remember the pease straw.”
Stanford/Petrie (Complete Collection),
1905; No. 683, pg. 171.
X:1
T:David Foy
M:2/4
R:Air
N:”As sung by the Dublin street
ballad singers, for the last fifty years, at least.”
L::1/8
S:Stanford/Petire (1905), No. 683
Z:AK/Fiddler’s Companion
K:Eb
G/B/ | cd/e/ fg | eB {d}cA | GA/F/ EE
| E3 B/c/4d/4 | ee/f/ ga/g/ |
f>d B e | d>e {d}cB | B3 A|
GF/E/ G/A/B | E>D EF | G/A/B cA/G/ |
{G}F3 G/B/ | c/d/e f>g | eB cA |
GA/F/ EE | E3 ||
DAVID MANSON OF QUARFF. Shetland, Jig. A Major. Standard tuning. AAB. Composed by the late
Shetland composer, teacher, fiddler and collector Tom Anderson (1980). Anderson
(The Ringing Strings), 1983; pg. 95.
DAVID O’DOHERTY’S
FAVOURITE. Irish, Reel. Outlet 3002, Paddy Cronin‑ "Kerry's Own Paddy
Cronin" (1977).
DAVID POWER. Irish, Planxty. F Major. Standard tuning. AB. Composed by blind Irish
harper Turlough O'Carolan (1670-1738). Complete
Collection of Carolan's Irish Tunes, 1984; No. 153, pg. 104‑105.
DAVID RAE. AKA and see “Cuckold
Came Out of the Amrey,” "Struan
Robertson(‘s Rant) [1]." Scottish, Strathspey. E Minor. Standard
tuning. AABBCCCD. John Glen (1891) finds the earliest printing of the tune in Alexander McGlashan's 1780
collection. While David Rae is a common enough Scottish name and could refer to
anyone, McGlashan’s tune may honor a contemporary, the David Rae who was Lord
Eskgrove, Lord Justice-Clerk (i.e. the head) of the Criminal Court (in
***
When I first knew him he was in the zenith of
his absurdity. People
seemed to have nothing to do but to tell
stories of this one man. To
be able to give and anecdote of Eskgrove, with
a proper imitation
of his voice and manner, was a sort of fortune
in society. (Sir Walter)
Scott in those days was famous for this
particularly. Whenever a
knot of persons were seen listening in the
Outer House to one who
was talking slowly, with a low muttering voice
and a projected chin,
and then the listeners burst asunder in roars
of laughter, nobody
thought of asking what the joke was. They were
sure it was a successful
imitation of Esky; and this was enough. Yet
never once did he do or say
anything which had the slightest claim to be
remembered for any
intrinsic merit. The value of all his words and
actions consisted in
their absurdity.
***
He seemed, in his old age, to be about the
average height; but as
He then stooped a good deal, he might have been
taller in reality.
His face varied, according to circumstances,
from a scurfy red
to a scurfy blue; his nose was prodigious; the
under lip enormous,
and supported on a huge clumsy chin, which moved like the jaw
of an exaggerated Dutch toy. He walked with a
slow steady step—
something between a walk and a hirple, and
helped himself on by
short movements of his elbows, backwards and
forwards, like fins.
inaudible for some time after the movement of
the lips showed
that he had begun speaking; after which the
first word that was let
fairly out was generally the loudest of the
whole discourse. It is
unfortunate that, without an idea of his voice
and manner, mere
narrative cannot describe his sayings and
doings graphically. (pgs. 109-110)
***
Cockburn
goes on to give several pages of anecdotes about the jurist’s career, none of
them complimentary (for an example, see note for “Sir James Colquhoun”). McGlashan (Collection of Strathspey Reels), c.
1780/81; pg. 14.
X:1
T:Davie Ray
M:C|
L:1/8
R:Strathspey
S:McGlashan
– Strathspey Reels (c. 1780/81)
Z:AK/Fiddler’s Companion
K:Emin
F|E/E/E GA
B>ABd|D/D/D dF D/E/F/G/ AF|E/E/E GA B>ABd|eBdF E/E/E E:|
f|e>fge
b>fge|f>edg a/g/f/e/ df|efge bfge|dBAF E/E/E Ef|e>fge bfge|
f>edg
a/g/f/e/ df|efge bfge|dBAF E/E/E E2||
|:G>BE>B
G>BE>B|F>AD>A F>AD>A|G>BE>B G>BE>g|f>e^df
e/e/e e2:|
g>be>b g>be>b|f>ad>a f>ad>a|g>be>b g>be>g|f>e^df e/e/e e2|g>be>b g>be>b|
f>ad>a
f>ad>a|b>fg>e f>de>^c|d/^c/B/A/ dF E/E/E E2||
DAVID RANKIN’S
STRATHSPEY. Canadain, Strathspey. Canada, Cape
Breton. B Minor. Standard tuning. AAB. Composed by fiddler Jerry Holland
(Inverness, Cape Breton). Cranford (Jerry
Holland’s), 1995; No. 60, pg. 18.
DAVID STEWART. Scottish, Strathspey. A Major. Standard tuning. AABCCD. Probably in
honor of Colonel David Stewart of Garth (for more on whom see “Lieutenant Colonel David
Stewart”). Carlin (The Gow Collection),
1986; No. 34.
DAVID WHITE’S REEL. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB’.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). David White is a
step-dancer from Detroit. Cranford (Jerry
Holland’s), 1995; No. 112, pg. 32. Odyssey ORCS
1051, Jerry Holland – “Fiddler’s Choice” (1999).
DAVID’S FINEST HOUR. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed
by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland), 1995; No. 91, pg. 27.
DAVID’S HORNPIPE. AKA – “Davie’s Hornpipe.” English, Hornpipe. England, Northumberland. G
Major. Standard tuning. AABB. Composed by Robert Whinham (1814-1893), a
musician, teacher, composer, dancing master and fiddler, originally from
Morpeth. A verse appears below the tune in the original manuscript:
***
David with his harp play’d psalms
To win the Lord into good terms
But had he play’d this merry strain
He’d pleas’d the Lord as well again.
***
As “Davie’s Hornpipe” the tune
appears in fiddler Jack “Kielder Jock” Davidson’s Northumbrian manuscript from
the early 20th century, a copy of which is in the Beamish Museum.
Source for notated version: an un-attributed 19th century manuscript
in the Beamish Museum [Dixon]. Dixon (Remember
Me), 1995; pg. 29. Black Crow CRO220, Kathryn
Tickell – “Common Ground.”
DAVID'S JIG. Canadian, Jig. D Major. Standard tuning. AABB. Composed by Matilda
Murdoch. Messer (Anthology of Favorite
Fiddle Tunes), 1980; No. 143, pg. 91.
DAVIE, DAVIE, NICK NACK. See “Davy, Davy, Knick Knack.
DAVIE DUGGER. See “Davy Dugger.”
DAVIE KINLOCH. Scottish, Jig. D Major. Standard tuning. AABB. Hardings All-Round Collection, 1905; No. 133, pg. 42.
X:1
T:Davie Kinloch
M:6/8
L:1/8
R:Jig
B:Harding’s All-Round Collection,
No. 133 (1905)
Z:AK/Fiddler’s Companion
K:D
d/e/|f>ed AFA|BGB AFA|f>ed
AFA|Bec d2:|
|:a|f2a e2a|dcd c2a|f2a e2a|^gfg a2a|
b2b a2a|gfg fde|f>ed AFA|Bdc
d2:||
DAVIE TAYLOR. Scottish, Strathspey. G Major. Standard tuning. AAB. Composed by the great
Scots fiddler and composer J. Scott Skinner
(1843-1927). Source for notated version: Johnny Morrissey (1913-1994, Newtown
Cross, Queen’s County, Prince Edward Island; late of Vernon River) [Perlman].
Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 189. Skinner (The
Scottish Violinist), pg. 14.
X:1
T:Davie Taylor
M:C
L:1/8
R:Strathspey
S:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:G
D | (GF/E/ DE/F/ {F}G2) (D>C) |
B,<D {F}G>B A<A, A,>F | (GF/E/ DE/F/) G.g.e.c |
B<d {B}c>A B<G G :| c |
(B/c/d) G>g e>gc>e | (^c/d/e) A>a f<d d>=c |
(B/c/d) G>g e>gc>e |
d>gA>d B>F [B,G>]c | (B/c/d) g>f e>g c>e |
(^c/d/e) A<a f<d d>f |
(3gfe (3def (3gdc (3BAG | (3FED (3CB,A, B,<G, G, ||
DAVIE WORK. Scottish, Reel. A Major. Standard tuning. AAB. Composed by J. Scott Skinner. The tune is similar to Donegal
fiddler John Doherty’s “Nine Pint Coggie
[3].” Skinner (The Scottish Violinist),
pg. 9.
X:1
T:Davie Work
M:2/4
L:1/16
C:J Scott Skinner
R:Reel
Z:Transcribed by Ted Hastings
N:from The Scottish Violinist
K:A
E|{G}[A2A2]cA (GA).B.c|dEBA
GBeg|{g}a2(ga) .f.e.d.c|dBed [Ec]A[EA]:|!
g|aAag fedc|bBba gefg|aAag fedc|dfeg
aA[FA]g|!
aAag fedc|bBba gfed|cAdB ecfd|eagb
{g}aAHA||
DAVIE’S HORNPIPE.
See “David’s Hornpipe.”
DAVISTOWN. AKA and see "The Stick Beat,"
"Old Stick Beat March,"
"Old Seven Spot," "Old Number Seven," "Taylor's March [1]," "Frank Keeney [2]." American, March
(2/4 time). USA, southwestern Pa. D Major. Standard. AB. Davistown is a village
in southeastern Greene County, Pa. Bayard (1981) notes this march tune was
"universally" known to local fifers, but infrequently played by
fiddlers. The "stick beat" in the alternate titles refers to the
accompaniment by the drum corps, which beat time on the edge of the drum and
with stick‑against‑stick to the music. Bayard was not able to trace
the tune or component strains outside of the region. Source for notated
version: Marion Yoders (Greene County, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 228H,
pgs. 188‑189.
DAVY, DAVY. AKA and see "Goin'
Down the River," "Sailing
Down the River," "Paddy Won't You
Drink Some (Good Old) Cider." Old‑Time, Song and Breakdown. A
version of "Goin' Down the River," by Tennessee’s Weems String Band,
one of whose members played the cello. It was one of only two sides they
commercially recorded. Unfortunately,
the lyrics are a product of the blatantly racist culture prevalent in areas of
the United States at the time, and inappropriate for performance today:
***
A nought is a nought and a one is a
finger,
Why can't a white man dance like a
____?
He can't do the quickstep, he tends
for to ____,
That's why he can't dance like a
____.
***
Columbia 15300 (78 RPM),
Weems String Band (backed with “Greenback Dollar”). County Records ‑
"Echoes of the Ozarks, Vol. 3." County Records, "Weems String
Band." County Records 3511, Weems String Band et al. – “Rural String Bands
of Tennessee 1927-1930.” Rounder Records 0132, Bob Carlin ‑ "Fiddle
Tunes for Clawhammer Banjo" (1980. Learned from Ithica, N.Y., revival
musicians Judy Hyman and Jeff Claus).
DAVY DUGGER. AKA and see “Coon Dog,” “Old
Coon Dog [1].” Old-Time, Breakdown. USA; West Virginia, Kentucky. G Major.
Standard tuning. ABB. The tune has been collected in northeastern Kentucky and
West Virginia under the “Davy Dugger” title, although it has a much wider
provenance as “Coon Dog” or “Old Coon Dog.” Jeff Titon (2001) says it is
related to the “Seneca Square Dance”/”Engine on a Mogul” family of tunes, and
more distantly related to “Shoot
That Turkey Buzzard.” Source for notated version: Clyde Davenport
(Monticello, Wayne County, Ky., 1990), who learned the tune from his father,
Will Davenport [Titon]. Titon (Old-Time
Kentucky Fiddle Tunes), 2001; No. 32, pg. 68. Augusta
Heritage Records AHR 015, Delbert Hughes – “The Home Recordings.” Davis
Unlimited DU 32028, W.L. Gregory/Clyde Davenport – “Homemade Stuff” (1978).
Rounder 0089, "Oscar & Eugene Wright" (learned from an "old
timer," local Mercer County, W.Va., fiddler George Stump).
DAVY, (DAVY,) KNICK-KNACK/KNICK-KNOCK.
AKA and see "Bonnell's
Quickstep" (Pa.), "Bonnell's March" (Pa.), "The Dancing Mustang" (Pa.), "Hoe Cake," "Major Crichton's Delight,"
"Viginia Quickstep"
(Pa.). English, Scottish, Shetland;
Country Dance, Hornpipe, Reel and Morris Dance Tune (2/4 or 4/4 time).
Shetland, Unst and Mainland districts. G Major. Standard tuning. AABB. A
popular
***
Nievie nievie nick nack,
Which hand will you tak'?
The richt or the wrang?
***
Nigel
Gatherer suggests this rhyme is the origin of the tune’s name (although the
rhyme was recited, not sung to the tune). See also “Major Duff’s Favourite
Quickstep” for a possible precursor, and a tune called “Nobody” in an
English fiddler’s notebook from the early 1800’s is likewise a contender as
ancestral. Another English musician’s manuscript, the George Spencer MS (Leeds,
England, c. 1831) gives “Davy, Davy” as “La Belle.” Adam Rennie’s “Caddam
Woods” has some similarities. In
X:1
T:Davy, Davy Knick Knock
M:2/4
L:1/8
Z:AK/Fiddler’s Companion
K:G
D | G/F/G/A/ BB | G/F/G/A/ BB | d/c/B/c/ AA | d/c/B/c/ AA | G/F/G/A/ BB | G/F/G/A/ BB |
dc/B/ A/c/B/A/ | GBG :: d>c BB | gg d2 | d/c/B/c/ AA | d/c/B/c/ AA | d>c BB | gg d2 |
dc/B/ A/c/B/A/ | GBG :|
DAVY’S REEL. AKA and see “Ownie Davis’ Reel.”
Irish, Reel. D Mixolydian. Standard. AABB. Philippe Varlet says the tune was
recorded by John McGreevy in 1974, playing with Seamus Cooley, on which it is
called “Ownie Davy’s,” from his source for the tune, Owen Davy. It also appears
in Larry McCullough’s tin whistle book, says Philippe, and that it has been
lately in the repertoire of northern Irish fiddlers such as Mairead Ni
Mhaonaigh. Source for notated version: Sean Ryan (County Offaly) [Mulvihill].
Mulvihill (1st Collection),
1986; No. 193, pg. 52. Green Linnett GLCD 1087, Seamus
Connolly - "Notes From My Mind" (1988. Appears as “Ownie Davis’
Reel,” learned from fiddler John McGreevy of
X:1
T:Davy's Reel
B:Martin Mulvihill's Collection, no. 193
R:reel
M:4/4
L:1/8
K:Dmix
D3 d cAAB|cded cAGE|D3 d cAAB|cAGE ED D2|
FGAB cAAd|^cded cA A2|(3fga ed cAAB|cAGE ED D2:|:
ABde fefg|afgf dcA^G|ABde f2 ed|cAGE ED D2|
ABde f3 g|afgf defg|afge (3fga ed|cAGE EDCE:|D4||
DAWN [1], THE. See "Miller's Reel [1]," “Spirit of 1880.” AKA - "Dawning of
the Day." Irish, Reel. G Major (Mulvihill): A Major (O’Malley, Plain
Brown, Taylor). Standard tuning. AABB (most versions): AA’BB’ (O’Malley).
Alistair Anderson (1976) says this Irish tune is based on the American
breakdown "Miller's Reel.” Luke O’Malley says that
X:1
T:Dawn, The
L:1/8
M:4/4
Z:Transcribed by Larry Sanger
S:James Byrne
K:A
A,2CE D2FA|E2CE ABcA|BE(3EEE
dEcE|BdcB AFEC|
A,2CE D2FD|E2CE ABce|fefg afed|1
(3cec Be cAA2:|2 (3cec Be cAAg||
abga fece|fbbg agfa|(3gfe be (3gfe
be|ac'ec' aefg|
abga fece|dcBc defg|(3aba gb afec|1
dcBe cAAg:|2 dcBe cAA2||
DAWN [2], THE. AKA and see “Seán Ryan’s Dream,” “Twilight in Portroe.” Irish, Reel. A
Major. Standard tuning. AA’BB’. The tune is Seán Ryan’s “Twilight in Portroe” mistakenly
listed on De Danann’s album “Mist Covered Mountain” as “The Dawn.” The ‘B’
parts of “Dawn” [1] and [2] differ.
X:1
T:Dawn, The
T:Twilight in Portroe
M:C|
L:1/8
C:Sean Ryan
R:reel
D:De Dannan: Mist Covered Mountain.
K:A
A,2CE D2FD|E2GB ~A3c|d2fd edcA|~B3c
BAEC|
A,2CE D2FD|E2GB ~A3c|d2fd edcA|B2AB
cAA2:|
|:c2ec fcec|A2Ac BAFD|E2EF ABcA|defg
aefe|
c2ec fcec|A2Ac BAFA|E2EF ABcA|dfed
cAA2:|
DAWN (WALTZ) [1], THE. Canadian, American; Waltz. USA; Vt., Oklahoma.
B Flat Major. Standard tuning. AB (Messer): AA'BB' (Phillips). Composition
credited to Maritime fiddler Don Messer (1909-1973). Source for notated
version: Ron West (VT) [Phillips]. Messer (Way
Down East), 1948; No. 88. Messer (Anthology
of Favorite Fiddle Tunes), 1980; No. 165, pg. 112. Phillips (Traditional American Fiddle Tunes), Vol.
2, 1995; pg. 250. Fretless Records 132, "Ron
West: Vermont Fiddler." Marimac 9111, Jack Cawley's Oklahoma Ridge Runners
‑ "Goin' Up Town: Old Time String Bands, Vol. 2" (orig. rec.
1930). MCA Records MCAD 4037, “The Very Best of Don Messer” (1994).
X: 1
T:The Dawn
Waltz
R:Waltz
M:3/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:Bb
(3Bc^c|d4g2|f4d'2|d4g2|(3fgf
d2B2| A2c3A|G2A2F2|B3 ABg|f6|
d4g2|f4d'2|d4g2|(3fgf
d2B2| A2c3A|G2A2c2|B3 ABc|B4:|
|:B2|F2B2d2|f2=e2f2|g4f2|e6|
F2A2c2|f2=e2f2|g4f2|d6|
F2B2d2|f2=e2f2|g4f2|e6|
F2A2c2|f2e2c2|B3 ABc|B4:|
DAWN WALTZ [2], THE. AKA and see "Virginia Moonlight Waltz."
DAWN’S JIG. AKA and see “Foynes
Jig,” “Paddy Taylor’s [2].”
Irish, Jig. D Major. Standard tuning. AABB. Dawn is the name of composer Martin
Mulvihill’s daughter.
X:1
T:Dawn’s Jig
T:Foynes Jig
M:6/8
L:1/8
K:D
FGF EFE | DFA d2 c| ded cAG | F2 A
GFE |
FGF EFE | DFA def | edc ABc | dfe D3
:||
DAWN'S REEL. Shetland, Reel. A Major. Standard. AABB. Composed by the late Shetland
fiddler, composer, teacher and collector Tom Anderson (1982). Anderson (Ringing Strings), 1983; pg. 87.
DAWNING
OF THE DAY [1] (Fáine Geal an Lae).
AKA - “Dawn of Day.” AKA and see “Bright Dawn of Day,” "Enchanted Glen,” “The Golden Star.” Irish, Air (4/4 or cut
time). G Major (Heymann/1988, O'Neill/Krassen & 1850): F Major
(O'Neill/1915). Standard tuning. AB. “Fáine
Geal an Lae” literally translates as ‘the bright ring of day’, referring to
dawn. The air, one of a supposed seven or eight hundred, was reputed to
have been composed by Thomas O’Connellan (see note for “The Breach of Aughrim”), a 17th century harper from
***
It was one
of the tunes played in competition by 95 year old Irish harper known variously
as Denis O'Hansey, O’Hampsey, Henson or Hampson (Donnchadh a Haimpsuigh) at the
last great meeting of the ancient Irish harpers in July, 1792, at the Belfast
Harp Festival. O'Hampsey lived to the age of 110. Bunting also states that
blind harper William Carr (1777-?), originally from County Armagh, played it at
the same competition. Versions appear in both Stanford/Petrie and in Hugh
Shields edition of James Goodman’s manuscripts (Vol. 1) under the title “Bright
Dawn of the Day”/Fáinne Geal an Lae). An early printing of the melody appears
in James Aird’s Selection of Scotch,
English, Irish and Foreign Airs, Vol. 3 (Glasgow, 1788).
***
In 1862 Bruce and
Emmett’s Drummers’ and Fifers’ Guide was
published to help codify and train the hordes of new musicians in Union Army
service early in the American Civil War. George Bruce was a drum major in the
New York National Guard, 7th Regiment, and had served in the United
States Army as principal drum instructor at the installation at Governor’s
Island in New York harbor. Emmett was none-other than Daniel Decatur Emmett, a
principal figure in the mid-19th century minstrel craze and composer
of “Dixie” (ironically turned into a Confederate anthem during the war) and
“Old Dan Tucker,” among other favorites. Emmett had been a fifer for the 6th
U.S. Infantry in the mid-1850’s. The authors include the melody in their
section of tunes suggested for reviles, and say: “’The Dawning of the Day’ and
‘Dusky Night’ must not be considered to belong to Reveills, at present; but the
Author has placed them in their present position as that honor may become
acquainted with them. In the U.S. Army they are omitted.”
***
Bruce &
Emmett (Drummers’ and Fifers’ Guide),
1862; pg. 31. Heymann (Secrets of the Gaelic
Harp), 1988; pgs. 80-81 & 82-83. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 54, pg. 35. O'Neill
(Krassen), 1976; pg. 231. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 643, pg. 115. O’Neill (Waifs
and Strays of Gaelic Melody), 1922.
X:1
T:Dawning of the Day, The [1]
M:4/4
L:1/8
S:Aird's Selections 1782-97
Z:Paul Kinder
R:Air
K:G
"Moderato"DE/2F/2|G>AGF E2 D2|dd g/2f/2e/2d/2 B2 c/2B/2A/2G/2|
GFGA B2 g/2f/2e/2d/2|B>c A2 {GF}G2:|
e>def g2 ga/2b/2|agfe d2 B2|ed e/2g/2f/2a/2 ggab|
agf>e e4|edef gg g/2f/2e/2d/2|Bg B/2g/2B/2g/2 A2 B/2A/2G/2F/2|
GFGA B2 g/2f/2e/2d/2|Bc A2 GF G2||
X:2
T:Dawning of the Day [1]
M:2/4
L:1/8
S:Bruce & Emmett’s Drummers’ and Fifers’ Guide (1862)
Z:AK/Fiddler’s Companion
B>G A>F | G2 z :: (3B/c/d/ | e>d ef | g/f/g/a/ g/f/e/d/ | e>d e>f | a/g/f/e/ e/d/B |
{d}e>d ef | g/f/g/a gf/g/ | a>g f/d/e/^c/ | d2z (3B/c/d/ | e>d e>f | g/f/e/d/ g/f/e/d/ |
B/g/B/g/ BA/G/ | A/B/A/G/ G/F/E/D/ | G>F G>A | B/d/e/f/ g/f/e/d/ | B>G A>F | G2 z ||
DAWNING OF THE DAY [2] (Fáinne Geal an Lae). Irish, Slow Air (4/4 time). F Major. Standard
tuning. One part. Writing in 1873 Joyce remarked that the song was “still well known
in the southern counties.” Phillips Barry suggests this melody was the origin
for the standard melody of the famous Irish song "The Wild Colonial Boy," though
Cazden (et al, 1982) sees little actual resemblance and opines the connection
is "needlessly conjectural." The air was published by Edward Walsh
(1805-1850) in Irish Popular Songs
(1847), with words translated from an anonymous 18th century love
poem:
***
Maidin mhoch do ghabhas amach
Air bhruach Locha Lein;
An samhradh ag teachd, ‘san chraobh re n’ais,
‘Gus lonnradh teith o’n ngrein;
Air taisdiol dham tre bhailte-puirt
‘Gus banta mine reidh,
Cia gheabhainn le’m ais acht cuilfhionn deas
Le fainne geal an lae.
(One morning early I walked forth
By the margin of Lough Lene;
The sunshine dressed the trees in green,
And summer bloomed again;
I left the town and wandered on
Through fields all green and gay,
And whom should I meet but Coolenn-Dhas,
By the dawning of the day.)
***
Walsh
was born in Derry and was a private tutor and schoolteacher, serving at the
Spike Island convict station (Cobh) and later in a Cork workhouse. He died in
County Cork. Heymann (Legacy of the 1792 Belfast Harp Festival),
1992; pg. 34. Joyce (Ancient Irish Music),
1890; No. 8, pg. 8. Joyce (Old Irish Folk
Music and Song), 1909; No. 774, pg. 379.
X:1
T:Dawning of the Day [2]
M:C
L:1/8
R:Air
N:”Slow and expressive”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:F
AB | c2 dc AGAc | d2D2D2 FG | A2F2 AGFE
| F6G2 | A2A2f2d2 | e2 dc A2A2 | d2e2f2e2 | d6A2 |
A2Af2d2 | e2 dc A2A2 | d2 de f2e2 |
d6 AB | c2 dc AGAc | d2D2D2 FG | A2F2 AGFE | F6 ||
DAWNING OF THE DAY [3] (Fáinne Geal an Lae). Irish, Air (4/4 time). D Major. Standard
tuning. AAB. Source for notated version: Walsh [O’Neill]. O'Neill (Music of
Ireland: 1850 Melodies), 1979; No. 108, pg. 20.
X:1
T:Dawning of the Day [3]
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 108
Z:AK/Fiddler’s Companion
K:D
d2 d>e f>gef | d>fed {d}c2
zd | A>BG>A F>GEF | Ddec d2 z :|
|| f/g/ | affa ag zg | affa g3f |
egec egec | zffe f3g | afga bagf |
efed {d}c2zd | A>BG>A F>GEF
| Ddec d2 z2 ||
DAWNING OF THE DAY [4], THE (Fáinne Geal an Lae). Irish, Air or March (2/4 or 4/4
time). E Flat Major (Stanford/Petrie): D Major (Cranitch, Tubridy): G Major (Ó
Canainn). Standard tuning. One part (Cranitch, Ó Canainn, Tubridy): AB
(Stanford/Petrie). The melody is within the span of an octave. A variant is “Oh
Johnny dearest Johnny, what dyed your hands and cloaths?” Source for notated
version: “From Kate Keane, Dec., 1854" [Stanford/Petrie]. Cranitch (Irish Fiddle Book), 1996; pg. 35. Ó
Canainn (Traditional Slow Airs of Ireland),
1995; No. 30, pg. 31. Stanford/Petrie (Complete
Collection), 1905; No. 694, pg. 174. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 3.
X:1
T:Dawning of the Day, The [4]
L:1/8
M:4/4
K:D
DE|F2F2F2EF|A2A2B2 AF|D2FE
D2D2|D6A2|B3AB2d2|F3ED2F2|A2F2d2F2|
E6A2|B3AB2d2|F3ED2F2|A2F2d2F2|E6DE|F2F2F2EF|A2A2B2AF|D2FED2D2|D6||
X:1
T:Dawning of the Day, The [4]
M:2/4
L:1/8
S:Stanford/Petrie (1905), No. 694
Z:AK/Fiddler’s Companion
K:E_
E/F/ | GG GF/G/ | BB cB/G/ | GG
GF/E/ | F3 E/F/ | GG GF/G/ |
BB cB/G/ | F>G EE | E2 || E/F/ |
GB ed/e/ | cB/G/ Bc | BB GF/E/ |
F3 E/F/ | GG GF/G/ | BB cB/G/ |
FF/G/ EE | E3 ||
DAWNING OF THE DAY [5], THE. AKA
and see “see "The Dawn [1],”
"Dusty Miller" (floating title), “The Spirit of 1880,” "Twenty-Eighth of January,"
"The Twenty-Second of
February." Irish, Reel. A
Major. Popular also in Scotland and North America.
DAWNS CROESOSWALLT. AKA and see “Oswestry Wake.” Welsh, Jig.
DAWN’S JIG. AKA and see “Foynes Jig,” “Paddy Taylor’s [2].” Irish, Jig. D
Mixolydian. Standard tuning. AABB. Composed by fiddler Martin Mulvihill, whose
daughter was named Dawn. Spin CD 1001, “The Smokey
Chimney” (1996. Appears as one of “Paddy Taylor’s Jigs”).
X:1
T:Foynes Jig, the
T:Dawn's Jig
C:Martin Mulvihill
S:Mike Rafferty
H:Dawn is the daughter of Martin
Mulvihill.
Z:Lesl
M:6/8
K:Dmix
D2E|:F2F EFE|DFA d2A|ded cAG|FAF
GFE|F2F EFE|DFA d2f|edc AB^c|dfe d2e:|
|:f2a g2e|fdB ABc|B2B EFG|AAD FED|f2a
gge|fdB ABc|Bcd e^cA|dfe d2e:||
DAWTED MARY (Mairi bheadarach). Scottish, Reel. B Minor. Standard tuning.
AABCCDD. This tune "is one of the pipe reels, sung with a humour not to be
described, by the gentlemen mentioned in the prospectus. The subject of the
song is a beautiful girl, of the name of Mary, in a remote country parish. It was well known that the sheriff of the
county, who held that office heritably in those days, and all the young men of
property, admired her; but it was scarcely possible to suppose, till
discovered, that the parson of the parish, 'with the book under his arm', was
also among the number, and likely to be the successful candidate"
(Fraser). Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874; No. 111, pg.
43. Stewart-Robertson (The Athole
Collection), 1884; pg. 132.
X:1
T:Dawted Mary
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:B Minor
f|F>B d<B de/f/ b2|a>fe>d c<A c2|F>Bd>B de/f/ b2|a>fe>c ~f2 B:|
f|d<f de/f/ d<B B>b|a>fe>d c<A A>f|d<f de/f/ d<B B>b|a>fe>c ~f2 B>f|
d<f de/f/ d<B B>b|a>fe>d c<A A>c|d>ef>^g a<fb<g|a>fe>c ~f2 B||
|:f|F>Bd>B de/f/ b2|a>fe>d c<A c2|F>Bd>B de/f/ b2|a>fe>c ~f2 B:|
|:f|d>ef>^g
a>=gf>b|a>fe>d c<A A>c|d>ef>^g
a<fb<g|a>fe>c ~f2B:|
DAY AFTER CHRISTMAS. Irish, Polka. G Major. Standard. AABB’. Composed by Kansas City
musician Mike Dugger. Black (Music’s the
Very Best Thing), 1996; No. 232, pg. 124.
X:1
T: The Day After Christmas
C: M. Dugger
Q: 300
R: polka
Z:Transcribed by Bill Black
M: 2/4
L: 1/8
K: G
B |: dB GB | c/B/A GD | E/F/G AF | FG AB |
dB GB | c/B/A GD | E/F/G AF | G2 G2 :|
BA B/c/d | fd gd | ef/g/ af | gf ed |
BA B/c/d | fd gd | ef/g/ af |1 g2 g2 :|
|2 g2 a2 || a/g/f g/f/e | ge dB | c/B/A B/A/G |
AF
DA | dB GB | c/B/A GD | E/F/G AF | G2 G2 :|
DAY AFTER THE FAIR [1], THE (An La Tareis An Aonac). AKA and see "The Wheels of the World" (jig
version). Irish, Double Jig. G Minor (O'Neill). Standard. AABB. Source for
notated version: Chicago Police Sergeant James O’Neill, a fiddler originally
from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 868, pg. 161.
X:1
T:Day After the Fair, The [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903), No. 868
Z:AK/Fiddler’s Companion
K:G Minor
G/A/ | B2c dBG | dBG dBG | A2B cAF |
cAF cAF |
B2B ~c3 | dgg gab |^fge dec | BGG G2
:|
|: c | d>ed/c/ dec | dBG GAB |
c>dc/B/ cdB | cAF FGA |
~B3 ~c3 | dgg gab | ^fge dec | BGG
G2 :|
DAY AFTER THE FAIR [2], THE (An La i ndiaidh an Aonaigh). AKA and see "All Alive [2]," "Billy Barlow," "The Wheels of the World [2],"
"His Home and (His)
Country," "I
know not whether to laugh or cry," "I would not give my Irish wife,"
"You're welcome to
Waterford," "An Seanghe Liath." Irish, Double Jig. E Minor.
Standard. AABB. Very similar to version #1. This tune has been called a
simplified variant of "Lumps
of Pudding." Breathnach (1963) thinks the tune “The Old Grey Goose” was based on
“Day after…” Source for notated version: fiddler John Kelly/Seán O'Kelly (
DAY DAWN(S) [1], THE. AKA and see
"The Day Daywen," "The Day o' Dawie." Shetland, Air (4/4
time). A Minor. Standard. AA. Cooke (1986) informs us that it was the custom of
certain Shetland fiddlers to play this tune in the house early on New Year's
morning. He finds that records of
tunes with names similar to 'Day Dawns' go back to the beginning of the 16th
century in Scotland with Dunbar's mention of 'Now the Day Dawis' in his poem
'To the Merchants of Edinburgh' (see Dick, 1962, p. 450 for notes on early
records of this tune). Settings of music to "Day Dawns" were
published in 1822 by Hibbert (ex. 36a) {apparently the source for a number of
printed versions since then}, and in a manuscript by Hoseason (Ex. 36b). In
contrast to several folk fiddle traditions in which oral transmittal transcends
written music, Cooke believes it is unlikely that tunes of this name would have
survived without the aid of notation. John Irvine, he notes, has recounted how
he learned 'The Day o'Dawie' from the singing of an old friend and said that it
was the custom for parties of men to go around the island singing the tune
(though he never heard words to it‑‑presumably his informant
'diddled' it over to him). This custom of singing around the houses is still
strong in Whalsay and Cooke himself said he experienced some of the musical
merrymaking that traditionally takes place in Cullivoe (island of Yell) on the
night of Old New Year (Jan. 6th?). He concludes his notes on
"Day Dawns" by remarking that the playing of a melody of this name as
part of a winter solstice ritual in the Shetlands seems to have passed long
ago. Sources for notated versions: Tom Anderson and Aly Bain (Shetland)
[Brody]. Brody (Fiddler’s Fakebook),
1983; pg. 84. Cooke (The Fiddle Tradition of the Shetland Isles),
1986; Ex. 36, pg. 89‑90 (two versions). Martin (Traditional Scottish Fiddling), 2002; pg. 92. Philo 219, Tom Anderson and Aly Bain‑ "The Silver
Bow." Philo 1026, Boys of the Lough‑ "Live."
X:1
T:Da Day Dawn [1]
M:4/4
L:1/4
Q:90
R:Other
O:Shetland
K:GMix
AB| \
c<d {c}BA c<d {c}BA | {c}B2 AG c<d {c}BA |\
c<d {c}BA e2 AB |\
c<d {c}BA c<d {c}BA | {c}B2 AG A2GE |
DE FG {c}BA Bc | dc BA e2 || \
AB | \
A2 {g}a2 {f}e2 dc | {c}B2 AG A2 {g}a2 |
{f}e2 dc e2 AB |\
A2 {g}a2 {f}e2 dc | {c}BA BG A2 GE |\
DE
GA {c}BA Bc | dc BA e2 ||
DAY DAWN(S) [2], THE. AKA and see "Christmas Day Ida Mornin'
[1]."
DAY DAWES [3], THE. Scottish, English. The melody appears in the
Straloch MS, an early 17th century lute book. Emmerson (1971) says it is not
particularly Scottish in character and "may possibly be the English
version referred to in several sixteenth‑century English sources."
DAY DAWS [4], THE. English, Scottish. One of the earliest dance melodies mentioned in old accounts. Emmerson (1971) relates it was mentioned in the early 16th century by William Dunbar in Satire on Edinburgh as one of the tunes of the the 'common minstrelis' of that town. Somewhat later Gavin Douglas described minstrels welcoming a June morning with "The joly day now dawis'. Chappell has found English verses on the theme in the Fayrfax MS, while it was often included in early anthologies of old Scots poetry (including "elegant" verses by Alexander Mongomerie *c, 1556-1610). Emmerson (1972) finds mention of it in a poem by Robert Sempill of Beltrees, Renfrewshire (1595-1668), called “The Elegy of Habbie Simpson Piper of Kilbarchan,” which goes, in part:
***
Now who shall play The Day it Daws,
Stand us in stead?
On bagpipes now nobody blaws
Sin’ Habbie’s dead.
***
The song did not survive the Reformation, possibly, suggests Emmerson, because the subject matter elaborated on the ancient custom of the lovers' night visit. The music did not survive intact either, and was lost from memory by the 18th century. Why this is so is curious, since it appears to have been a commonly known and well-established tune, a type of reville played by town pipers for several centuries. Believing it unlikely the tune disappeared forever Stenhouse suggested that the missing tune was in fact the melody called "Hey Tutti Taiti," or "Scots wha hae" (from Burns's lyric).
DAY I MARRIED SUSAN. AKA – “The Day I Married Susie.” AKA and see "Billy O'Rourke is the Boy,”
“Billy O’Rourke’s
the Buachaill [1],” “Night I Married
Susie.”
DAY I MET TOM MOYLAN, THE (An Lá a casadh Tomás Ó Maoláin orm). AKA and see “Ginley’s Fancy,” “Handsome Sally [1],” “Ivy Leaf [4],” “The Man of the House,” "Mind My Border," "Mind My Brother," “Old Tom,” “Sally
Grant.” Irish, Reel. E Minor. Standard. AB. Breathnach (1985) notes this
tune is a version of the “Ivy Leaf”, though the parts are played in reverse
order. Source for notated version: flute player Paddy Carty (Ireland)
[Breathnach]. Breathnach (CRÉ III), 1985;
No. 131, pg. 62. Shanachie
29001, "Paddy Carty" (1976).
DAY O' DAWIE, THE. Shetland, Air (no regular metric structure). A
Minor/G Major. Standard. AA'BBC. A version of the New Year's tune "Da Day
Dawns." Source for notated version: John Irvine (Whalsay, Shetland)
[Cooke]. Cooke (The Fiddle Tradition of
the Shetland Isles), 1986; Ex. 37, pg. 90.
DAY RETURNS, MY BOSOM
BURNS, THE. Scottish. The title of a song of
Robert Burns, set to an air by his neighbor near
DAY WE BEAT THE
GERMANS AT CREMONA, THE. Irish. This tune is a Jacobite air
from 1703 commemorating a victory by the Irish Brigade at Cremona in February,
1702. It was a particular favorite of the famous Irish piper James Gansey.
DAY WE PAID THE RENT, THE (An La Do Diolaimar An Cios). Irish, Reel. G Major. Standard. AAB
(O'Neill/1915 & Krassen): AA'B (O'Neill/1850 & 1001). O'Neill (O’Neill’s Irish Music), 1915/1987; No.
272, pg. 139. O'Neill (Krassen), 1976; pg. 101. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1232, pg. 232. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 507, pg. 96.
X:1
T:Day We Paid the Rent, The
L:1/8
M:C|
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
507
Z:AK/Fiddler’s Companion
K:G
ge|dGBG dGBe|dGBG FGAe|dGBG dGBd|1
efga bage:|2 efga bg g2||bagf gdBd|
egdB BA A2|bagf gdBd|egfa g2 ga|bagf
gdBd|egdB BAAc|BGdG eGdG|egfa g2||
DAY WE WENT TO KELLS, THE. Irish, Reel. G Major. Stanard. AB. Composed by
County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988),
named after the memory of a childhood family trip. Reavy (The Collected Compositions of Ed Reavy), No. 41, pg. 43.
X:1
T:The Day We Went To Kells
R:Reel
C:Ed Reavy
M:2/2
L:1/8
Z:Joe Reavy
N:Ed was quite young when it happened, but he remembers vividly the
N:festivity of the occasion-music of course, and young and old together
N:to celebrate the trip to some far off place they had only dreamed of going.
K:G
GA ||: BG (3GFG AGFD | BGBG cAFA | BG (3GFG A2 Bc | dfed cAFA |
BG (3GFG AGFD | BGBG cAFA | BG (3GFG A2 Bc | dfed dAFA ||
(3Bcd gf afgB | (3ABc eg fdcA | (3Bcd gf afge | fdcA BGG2 | (3Bcd gf afgB |
(3ABc
eg f2 fg | (3agf ge fdeg | fdcA BG G2 :||
DAYLIGHT WALTZ. Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard.
AA(Vocal)AAAABB(Vocal)A. Francois' source, Sidney Brown, made the first
homemade diatonic accordions in Louisiana during World War II, the result of
not being able to import instruments from the usual source, Germany. Related songs are "Cankton Waltz" and "Eunice Waltz." Source for notated
version: Sidney Brown (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 362-363. Goldband
Records GB-1099, Sidney Brown.
DAYS OF 'LANG SYNE’. AKA and see “O Whistle and I’ll
Come to You/Ye My Love/Lad,” “Tod(d)lin’
Hame.” Scottish, Jig. D Mixolydian. Standard. AB. Cole (1000 Fiddle Tunes), 1940; pg. 74. Ryan’s Mammoth Collection, 1883; pg.
105.
X:1
T:Day’s of ‘Lang Syne
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:D Mix
(d/e/) | (f>e)d (d>B)A |
A>Bd 2 (d/e/) | f>ed d>BA | A>Bd d2 (d/e/) | f>ed d>BA |
A>Bd e2 (d/e/) | f>ed d>BA
| A>Bd d2 || (f/e/) | (d>f)a (d>f)a | b>af e2 (a/g/) |
f>ed d>BA | A>Bd d2 (f/e/)
| d>fa d>fa | b>af e2 (a/g/) | f>ed d>BA | A>Bd d2 ||
DAYS O’ YORE, THE. Scottish, Jig (9/8 time). D Dorian. Standard
tuning. AB. Composed by Nathaniel
Gow (1763-1831), fiddler, composer, music publisher and bandleader,
and son of the famous Scots fiddler/composer Niel Gow. Gow (Complete
Repository), Part 4, 1817; pg. 2.
X:1
T:Days o’
Yore, The
M:9/8
L:1/8
R:Jig
S:Gow – 4th Repository
(1817)
Z:AK/Fiddler’s Companion
K:D Minor
~^c|d2D
D>ED FA=B|{d}c=Bc GEc C2 ~^c|d2D D>ED FAd|f>ed Ad^c d2e|
~f>ed
Ad^c dA=B|~c>=BA GEc C2E|FED GFE AGF|GFE A2^C D2||e|
~f>ed
A2A def|edc ege c2e|~f>ed A2A def|g>fe {^g}a2f d2e|~f>ed A2A def|
edc ege c2
a/g/|fed ed^c d2 =c/B/|A>GF E<A^C D2||
DAY'S WEDDING. AKA and see "N….r's Wedding."
_______________________________
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