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 County Tipperary fiddler Seán Ryan (d. 1985). Paul de Grae remarks that Portobello Harbor lies on the south side of Dublin, where the Grand Canal enters the city, beside which is Portobello Bridge (named perhaps by the English after a bridge in Venice, Italy, because of its association with the canal). In the old days, you could travel by barge from the harbor along the canal to Limerick in three days. According to Philippe Varlet, Seán Ryan played the tune in E Dorian, though he tuned his fiddle down a whole step so that it sounds in D Dorian. “The Mowing Machine” is a similar tune in the ‘B’ part. Bulmer & Sharpley (Music from Ireland), vol. 4; 2. Ryan (The Hidden Ireland), 27. Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007. Appears as “Sean Ryan’s”). Rounder 1123, Seán Ryan - “Milestone at the Gardern” (originally recorded by Ryan on a Gael-Linn 78 RPM record c. 1959).

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 Scotland, a reel-time circle dance. J. Scott Skinner, who in his younger days (before earning fame as a violinist and composer) was a country dancing master, taught a progressive longways country dance by that name, one of the few in his mostly North-East (Scottish) repertoire. Tunes associated with the dance The Dashing White Sergeant are the namesake tune, along with “My Love is But a Lassie Yet” and “The Rose Tree,” although, as Christine Martin (2002) points out, any reel or polka will do. Alternate 32-bar tunes are sandwiched in between “The Dashing White Sergeant” played at the beginning and end.

***

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 Edinburgh University, a post he assumed but which he declined to give any lectures in support of—he was invited to resign two years later [David Murray, Music of the Scottish Regiments, Edinburgh, 1994, pg. 210].

***

The words to the song are sometimes attributed to General John “Gentleman Johnny” Burgoyne (1722-1792), who surrendered a British army at Saratoga during the American Revolution. Burgoyne himself, after his military career (which did not end at Saratoga), became a fixture of English society and a playwright himself.  The lyric goes, in part:

***

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 America the song was published on a songsheet by Baltimore publisher George Willig (c. 1825, as sung by “Miss Stephens”). The melody was quickly adapted for dancing, however, and, for example, appears in Francis Johnson’s A Choice Collection of New Cotillions for the Piano Forte No. 8 (Philadelphia, c. 1824) [Keller: Early American Music and its European Sources, 1589-1839]. The melody was nearly as popular in America as it was in England, although the Burgoyne connection is largely unknown (if true), and also entered martial repertoire at the military academy at West Point, New York, where it is still played during commencement week.

***

Source for notated version: a c. 1837-1840 MS by Shropshire musician John Ford [Ashman]. American Veteran Fifer, 1902. Ashman (The Ironbridge Hornpipe), 1991; No. 112, pg. 47. Ford (Traditional Music in America), 1940; pg. 75. Hunter (Fiddler Music of Scotland), 1988; No. 320. Jarman (Old Time Fiddlin' Tunes); No. or pg. 25. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 59, pg. 29. Kerr (Merry Melodies), vol. 1; No. 29, pg. 30. Martin (Traditional Scottish Fiddling), 2002; pg. 50. Mattson & Walz (Old Fort Snelling/Fife), 1974; pg. 58. Roche Collection, 1982; vol. 2, pg. 16, No. 227. Stewart-Robertson (The Athole Collection), 1884; pg. 150. Sweet (Fifer’s Delight), 1964/1981; pg. 57. Island Records (Antilles) AN-7003, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1974). Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).

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 Victoria was born in 1818, her father, the Duke of Kent—he who gave his name to the ‘Kenthorn’, the keyed bugle—was Colonel of the Royal Regiment. In 1889, the band of the 2nd Battalion Royal Scots played ‘The Daughter of the Regiment’ as a compliment to Queen Victoria when she took the salute at a review in Aldershot. It is now played by the military band as the march past when Royalty is present. The tune comes from Donizetti’s opera of the same name and is the melody of a song sung by the heroine to the soldiers, ‘Quel Regiment!’—‘What a Regiment!’—and very apt it is too when applied to the 1st of Foot, the glorious old Royal Scots.” (David Murray, Music of the Scottish Regiments, Edinburgh, 1994; pg. 178).

 

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 Edinburgh) in the last years of the 18th century.  Rae is remembered by Lord Henry Cockburn (1779-1854), in his book Memorials of His Time (published posthumously in 1856), as a “considerable lawyer” who became a deplorable judge, and Cockburn concludes “a more ludicrous personage could not exist.”

***

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.

The voice was low and mumbling, and on the bench was generally

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 RAE. See "David Rae."

                       

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 British Isles dance tune, although considered a ‘beginner’s tune’ in some English sessions. Bayard (1981) notes that the tune is known internationally, occurring in publications from America, the British Isles, the Netherlands, and Holland. He quotes the Dutch authority Florimond van Duyse who said the tune was a fife or flagolet tune dating from the latter 18th or early 19th centuries, and indeed, it was still well‑known in the early and mid‑20th century to southwestern Pa. fife and drum bands by local titles. "Davy, Davy, Knick Knack" has a tradition of being used as a vehicle for a polka step in the English North‑West morris tradition, and as a vehicle for ceilidh dances (such as Dashing White Sergeant). There is a Scottish children’s rhyme used to determine who is “it” in playground games (nievie is the Scottish word for fist), much like “one potato, two potato” in which fists are tapped in succession towards a selection. It goes:

***

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 Ireland the tune goes by the titles “Kerry Mills (Barn Dance) [2],” “Paddy Taylor’s Barndance,” and “Paddy Joe Gormley’s.” Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 61, pg. 30. Page, Heritage Dances of Early America; No. or pg. 21. Raven (English Country Dance Tunes), 1984; pg. 146. Sweet (Fifer’s Delight), 1964/1981; pg. 58. Wade (Mally’s North West Morris Book), 1988; pg. 10. Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).

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 Chicago).

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 New York fiddle great John McGrath (1900-1955, originally from County Mayo) also called it by the “Miller’s” title, and credited James Morrison with ‘making’ the tune. The late Donegal fiddler Danny O’Donnell (1910-2001) learned the melody when he lived in New York for a time, and said that James Morrison and Larry Redican called it “The Dawn.” One of the earliest recordings of the tune was by banjo player Neil Nolan, a member of the Boston-based Dan Sullivan's Shamrock Band, who recorded it on a 78RPM in 1929. Boston musician Paul Mulvaney reports that “The Dawn” was the tune Seamus Conolly played to win his first of eleven consecutive all-Ireland fiddle championships, and as such became a bit of a signature tune for him. Piper Leo Rowsome recorded the tune in 1947 in the piping key of ‘D’ so as to play the more-than-two-octave range. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 52. Mulvihill (1st Collection), 1986; No. 29, pg. 8. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 56, pg. 28. Plain Brown Tune Book, 1997; pg 7. Ryan’s Mammoth Collection, 1883; pgs. 48 & 72. Taylor (Where’s the Crack?), 1989; pg. 10. Dorian Discovery DIS-80103, Helicon - "Horizons" (1992). Front Hall FHR‑08, Alistair Anderson ‑ "Traditional Tunes" (1976. Learned from expatriot Irish piccolo player John Doonan). Green Linnet SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Rounder CD 1087, Leo Rowsome (et al) - “From Galway to Dublin” (1993. Reissue, originally recorded in 1947). Shanachie 79005, De Danann – “Mist Covered Mountain.” Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002. James ‘Lad’ O’Beirne’s setting). ‘Ón tSean-Am Anall’ (Danny O’Donnell).

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 County Sligo who spent considerable time in Scotland. O’Neill (1922) says: “O'Connellan flourished in a period when the renown of Irish harpers became a matter of history. After a sojourn of 20 years in Scotland, he returned to his native land in 1689, and died nine years later. As the above setting differs materially from that of Bunting in his second collection issued in 1809, and others much more recent, its introduction among Waifs and Strays may be not without interest to students of Irish musical history.” In his 1840 collection Ancient Irish Music, the collector Edward Bunting aslo attributed it to Connellan (pg. 70). Others, notably O’Neill in an earlier work, credit the composition of the tune to Turlough O'Carolan, though it is not known by what authority and thus is very much in doubt. However, Donal O’Sullivan notes that Carolan may have joined Connellan’s “Dawning of the Day” music to his poem “The Morning Star,” written for Dolly MacDonough.

***

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

K:G

D | G>A B/A/G/F/ | E2 z d | e>f g/f/dc/ | B2 zA | G>F GA | B/d/e/f/ g/f/e/d/ |

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 (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 53, pg. 21. O’Neill (Music of Ireland), 1903; No. 868.

           


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,

Or Hunts up when the Cock he craws?

Or who can for our kirk-woen cause

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 Dumfries, Robert Riddell of Glenriddell.

         

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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