The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

DA - DAM

[COMMENT3] 

 

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

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

 

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

 

 

[COMMENT4] 

'D' & 'A' POLKA. AKA and see "The Quadrille Polka." American, Polka. D Major ('A' part) & A Major ('B' part). Standard tuning. AABB'. Source for notated version: Jehile Kirkhuff (Pa.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 344.

           

'D' & 'G' TWO-STEP. American, Two‑Step (6/8 time). In the repertoire of Arizona fiddler Kenner C. Kartchner, who learned it from sheet music in 1911.

           

D. DICK'S FAVOURITE. AKA and see "Braes of Tullymet."

           

D. G. LYNCH’S. Irish, Reel. D Major. Standard tuning. AABB’. Source for notated version: piper Kirk Lynch (Kansas City) [Black]. Black (Music’s the Very Best Thing), 1996; No. 220, pg. 118.

X:1

T: D.G. Lynch's

S: Kirk Lynch

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: D

e | dcAG A3 B | GEFG AFDE | F3 G AGAB | (3gfe dc AFGA |

dcAG A3 B | GEFG AFDE | F3 G AGAB | Addc d3 :|

e | fedf ecAB | =cABG AFDE | F3 G AGAB | (3gfe dc AFGA |

|1 fddf ecAB | =cABG AFDE | F3 G AGAB | Addc d3 :|

|2 dcAG A3 B | GEFG AFDE | F3 G AGAB | Addc d4 ||

                       

D. J. MACINNIS. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 22.

                                   

D. MORRISON'S SEVEN THISTLES. Scottish, March. Composed by the great Scottish violinist/fiddler J. Scott Skinner. Olympic 6151, The Scottish Fiddle Festival Orchestra ‑ "Scottish Traditional Fiddle Music" (1978).

                       

DA... The Shetland form of "The..." See listing beginning with the first letter of the second word.

                       

DÁ bFAGFAIN-RE SIOBAN ‘R A COFRA. Irish, Air (9/8 time). D Flat Major. Standard tuning. AB. Source for notated version: “From T. MacMahon” [Petrie]. Standford/Petrie (Complete Collection), 1905; No. 1522, pg. 381.

                       

DÁ bhFAIGHINN MO ROGHA. Irish, Air or Polka. C Major. Standard tuning. One part. The song tells of a woman who would not marry the blacksmith, tailor or fisherman, but instead selects the fiddle player--”se an bheileadoir is fearr liom.” Cranitch (Irish Fiddle Book), 1996; pg. 46.

                       

DÁ mBEADH BEAN AGAM. AKA and see "If I had a wife."

                       

DÁ mBEADH CUIRT AGAM IS CAISLEAN (If I had a court and castle). Irish, Air (2/4 time). B Flat Major. Standard tuning. AABB. O'Sullivan (1983) finds no other version of this air or words. The tune is irregular with respect to measures (eight bars in the first section and twelve in the second), and the words Bunting prints do not fit the tune. Source for notated version: the Irish collector Edward Bunting obtained the melody from Miss Murphy, Dublin, in 1839. O'Sullivan/Bunting, 1983; No. 135, pgs. 190-191.

                       


DÁ mBEAD LAN PAINCE &c. Irish, Air (3/4 time). E Flat Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 1523, pg. 381.

                                      

DÁ SIURAD GO LEIR. AKA and see "Courting Them All."

           

DADDY BLUES.  Old-Time, Country Blues. G Major. Standard tuning. AA’BB’CD. Source for notated version: Art Galbraith (1909-1993, near Springfield, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 37.

           

DADDY KILLED THE BROWN BULL. Old‑Time, Breakdown. USA, southwestern Pa. G Major. Standard tuning. ABB. Source for notated version: Issac Morris (Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 44, pg. 35.

                       

DADDY SHOT A BEAR. AKA and see "Jaybird," "The Pennsylvania Fifers." Old‑Time, Breakdown. USA, southwestern Pa. E Major. Standard tuning. AB. A version of the tune known as "Jaybird" in America, child of the older tune known in the British Isles as "The (Bonny) Breast Knot(s)" or "The Lady's Breast Knot." Source for notated version: Hiram White (elderly fidderl from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 176, pg. 130.

                       

DAD'S FAVORITE JIG. Canadian, Jig. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB'. Composed by Don Messer. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 147, pg. 96.

                       

DAD’S REEL. French-Canadian, Reel. A Major. From French-Canadian fiddler Louis Beaudoin (Vt.).

X:1

T:Dad's Reel

L:1/8

M:4/4

K:A

(3e/f/g/|a3 A c2 e2 | Bcde (3f/g/f/ ef/g/ | a3 A c2 e2 | fege aefg |

a3 A c2 e2 | Bcde fefg | aege (3f/g/f/ ec| dfec A2:|

|: ed | cAEA cc[ce][ce] | Bcde (3f/g/f/ ed |cAEA cece |

fege a2 ed | cAEA cece | Bcde (3f/g/f/ eg|aege (3f/g/f/ ec |dfec A2:|

|:z A | cAEA cAAA | cAEA cAAA| Bcdf (3f/g/f/ ec|A6 A2 |cAEA cAAA |

cAEA cAAA | Bcde (3f/g/f/ eg| aege (3f/g/f/ ec|dfec A2:|

|:EA | AAcA AAGA | BcdB B2 EB| GBEB GBEB|EB A2 A2 EA|

AAcA AAGA | Bcde fgae| gf (3f/g/f/ ecdf|ec A4:|

                       

DAD'S WALTZ [1]. Old-Time, Waltz. USA, Missouri. Missouri State Old Time Fiddlers' Association, Dwight Lamb (b. 1934, Moorehead, Iowa) - "Old Ladies Pickin' Chickens."

 

DAD'S WALTZ [2]. AKA and see "Valse a Pap'."

                       

DAESUIG AN SROL. AKA and see "Trim the Velvet."

                       

DAFFEEDOWNDILLY, THE. AKA and see "The Mistake [1]."

                       

DAFFY, DON'T YOU. American, Reel. B Flat Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 17. Gatherer (Gatherer’s Musical Museum), 1987; pg. 7. Ryan’s Mammoth Collection, 1883; pg. 40.

X:1

T:Daffy, Don’t You

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

F|B/d/f/a/ b/f/g/f/|e/d/c/B/ A/c/F/E/|D/F/B/d/ D/F/B/d/|E/G/B/e/ E/G/B/e/|

B/d/f/a/ b/f/g/f/|e/d/c/B/ A/c/F/E/|D/F/B/d/ E/G/c/e/|C/F/A/c/ B:|

|:(F/E/)|(D/F/)(B/F/) (d/F/)(B/F/)|.D/.F/.B/.F/ .d/.F/.B/.F/|(E/G/)(B/G/) (e/G/)(B/G/)|

.E/.G/.B/.G/ .e/.G/.B/.G/|(D/F/)(B/F/) (d/F/)(B/F/)|.D/.F/.B/.F/ .d/.F/.B/.F/|.e/.A/.c/.e/ .e/.A/.c/.e/|.e/.c/.A/.c/ B:|

                       

DAFT ROBIN (Robie Donua Gorach). Scottish, Air. A Major. Standard tuning. AABB (O’Farrell): AABBCCDDEEFF (Gow). Gow notes it is an "old Highland song." Carlin (The Gow Collection), 1986; No. 538. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 36. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 14.

X:1

T:Daft Robin

M:C

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:A

A/B/ | {A/B/}c2 BA F2 AF | E2 FA B2 A>c | c>e (d/c/B/A/) F2 AF | E2 FA A2 :|

|: c | d>cde f2 a>f | ecBA “tr”e3f | e>c d/c/B/A/ F2 AF | E2 FA A2 :|

X:2

T:Daft Robin

M:C

L:1/8

R:Air

N:”Slow”

S:Gow – First Collection of Niel Gow’s Reels (2nd Edition, 1801)

Z:AK/Fiddler’s Companion

K:A

A>B|{AB}c2 BA “tr”F2 A>F|E2 FA “tr”B3 A/B/|c(3c/d/e/ (d/c/B/A/) “tr”F2 A>F|”tr”E2 FA A2:|

|:(AB/c/)|”tr”dc)(de) “tr”f3a|(e<c)”tr”BA ~e3f|(e<c)BA (F2{F})A>F|”tr”E2 FA A2:|

|:(A>B)|(cB)(cA) (FG)AG/F/|(EF)(GA) “tr”(B3A/B/)|(ca) (d/c/B/A/) “tr”F2 A>F|~E2 FA A2:|

|:(AB/c/)|”tr”(d>c)(de) (f>g)ag/f/|{f}e(d/c/) (3d/c/B/ (3c/B/A/ ~e3f|(.e/.a/.g/.f/ .e/.c/.B/.A/) “tr”.F2 A>F|~E2 FA A2:|

|:(A>B)|(c/B/)(c/d/) (c/B/)(c/A/) (F/E/F/G/) (F/G/A/F/)|(A,/C/E/)e/ (c/A/)(e/A/) “tr”B/(A/B/c/) B/(d/c/B/)|

(c/a/).g/.e/ (B/c/).B/.A/ .E/(F/E/).D/ (C/B,/)C/A,/|(d/c/)B/A/ {c}”tr”B>A A2:|

|:(AB/c/)|(d/f/)a/f/ (c/e/)a/e/ “tr”f3a|(e/f/)a/f/ e/(c/B/A/) ~e3f|e/a/”tr”a2 c/a/”tr”a2 F2 A>F|~E2 F>A A2:|

                       

DAFT WILLIE DAWSON. Scottish, Strathspey and Reel. D Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 3; Nos. 19 & 20, pg. 5.

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Daft Willie Dawson

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 19  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A | F<D D>D A,<D D>D | F<D D>G F/G/A/F/ D<F | G<E E>E B,>EE>F | G<E E>d c/d/e/c/ A<c |

d<D D>D A,<D D>D | F<D D>G F/G/A/F/ D<F | G<B E<G F<A d>B | c/d/e/c/ A>c d<(D D) ||

g | f>da>d b>da>g | f<d d>g f/g/a/f/ d<f | g>eb>e g<e e>f | g<eb>e g/a/b/g/ e<g | f>da>d b>da>g |

f<d d>g f/g/a/f/ d<f | g<b e<g f<a d<f | c/d/e/c/ A>c d<(D D) ||

X:2

T:Daft Willie Dawson

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 20  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A | F<D D/D/D (A,D)DG | FDDG F/G/A/F/ DF | G>E E/E/E (G,E)EF | GEEd c/d/e/c/ Ac |

d>D D/D/D (A,D)DG | FDDG F/G/A/F/ DF | GBEG FAdA | ceAc d/d/d d || g |

fdad bdag | fddg f/g/a/f/ df | gebe geef | gebe g/a/b/g/ eg | fdad bdag |

fddg f/g/a/f/ df | gbeg fadf | ceAc d/d/d d ||

                       

DAFTY DILLY. Irish, Reel. D Major. Standard tuning. AAB. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 79, pg. 36.

X:1

T:Dafty Dilly

M:C

L:1/8

R:Reel

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:D

(d/B/) |: ADDD FEFA | ADDD FA Bd | ADDD FDFA | B2 EE FA Bd :|

| d2 (dB) A2 FF | d2d2 cdef | d2 dB A2 FF | B2 EE FA Bd | d2 (dB) A2 FF |

d2d2 cdef | fd ec dB AF | B2 EE FABd ||

                       

DAFYDD Y GARREG WEN (David of the White Rock). Welsh, Air (3/4 time). A Minor. Standard tuning. AABB. A popular Welsh traditional song, the tune first appears in Jones’s first edition of Musical and Poetical Relicks of the Welsh Bards (1784), a collection of Welsh harp music. The title refers to the 18th century blind harper and composer David Owen—y Garreg Wen, or ‘the White Rock’ was the name of the farm on which he lived near Porthmadog in Caernafonshire, Wales. The tradition of calling one by the first name and the house where he lived was common in Wales at the time, and still is sometimes heard. David was said to have had his harp continually at his side.  He died young, at age 29, and, as the story goes, before expiring he asked for his instrument and played this melody, requesting that it be played on a single Welsh harp at his funeral. The words below were written in the 19th century by poet John Ceiriog Hughes:

***

 

“Cariwch,” medd Dafydd, “fy nhelyn imi,                        Ceisiaf cyn marw roi tôn arni hi.                                      Codwch fy nwylaw i gyrraedd y tant;                             

Duw a’ch bendithio fy ngweddw a’m plant!”

***                                                                               

?Neithiwr me glywais lais angel fel hyn:

‘Dafydd, tyrd adref, a chwarae trwy’r glyn!’

Delyn fy mebyd, ffarwel I dy dant!

Duw a’ch bendithio fy ngweddw a’m plant!”

 

 

Dafydd said, ‘Bring me my harp, I’ll try to put a tune on it before I

die. Raise my hand to reach the string. God bless you my widow and

my children.

 

Last night I heard the voice of an angel saying: ‘Dafydd, come home

and play through the glen!’

 

Harp of my childhood, farewell to your music, God bless you my

widow and my children.

 

***

David was the hero of Sir Walter Scott’s poem “The Dying Bard.” Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 18.

X:1

T:Dafydd y Garreg Wen

T:David of the White Rock

M:3/4

L:1/8

R:Air

K:A Minor

Ae dc BA|A2^G2A2|E^G Bd cB|{c/d/}c4B2|A2a2g2|f2 ed e2 |c2 ed cB|c6:|

|:{e/d/}c2 ec gc|d2 cB A^G|AB cA e/d/B/c/|B6|Ac ec’ ba|ed cB c2|B>c A2 ^G2|A6:|

                       

DAICHEAD IS DATHUIL. AKA and see "Fair and Forty."

                       

DAILEY'S REEL. AKA - "Daley's Reel." Old‑Time, Bluegrass; Breakdown. USA. B Flat Major. Standard tuning. AABB (Brody): AABB' (Phillips). According to the notes on Joe Greene’s LP, the tune is Canadian in origin. Source for notated version: Kenny Baker [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 82. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 64. County 775, Kenny Baker‑ "Farmyard Swing." County Records, Joe Greene‑ "Joe Greene's Fiddle Album" (1969). County 2705, Kenny Baker - "Master Fiddler."

                       

DAINGNIG AN COS ORTI. AKA and see "Fasten the Leg in Her."

                       


DAINTY BESOM MAKER, THE. AKA and see AKA and see “Bhíosa lá I bport láirge,” “Forgive the muse that slumbered,” "The Gimlet," “I’d  mourn the hopes that leave me,” “Johnny’s Grey Breeks [2],” "The Old Lea Rigg," "Little Mary Cullinan," "Little Sheila Connellan,” “Maureen from Giberland,” “Port Láirge,” “The Rose Tree [1]," “The Rose Tree in Full Bearing."

                       

DAINTY DAN. American?, "Straight Jig" (2/4 time). G Major. Standard tuning. ABB'. This appears to be a type of old‑time banjo tune, unrelated to the 6/8 time Irish jig, and which perhaps became associated with 'jig dancing' (a name for a solo dance in Britain) or perhaps a derogatory name for African Americans. Hardings All Round Collection, 1905; No. 6, pg. 2.

X:1

T:Dainty Dan

M:2/4

L:1/8

R:”Straight Jig”

S:Harding’s All-Round Collection (1905), No. 6

Z:AK/Fiddler’s Companion

K:G

z/(g<B) z/(f<B) | z/(e<B) dc | z/(B<^D) z/(B<E) | z/(B<F) GE |

z/(g<B) z/(f<B) | z/(e<B) dc | z/(B<^D) z/(B<E) | z/B/F/G/ Ez ||

|: D/>E/F/>A/ c/>a/d/>c/ | B/>g/d/>B/ G/>B/A/>G/ |1 F/>e/d/>e/ d/>e/c/>A/ |

G/>b/g/>d/ e/>d/B/>G/ :|2 f/<a/ c/>d/ ^d/>e/c/>A/ | B[Bg][Bg] z ||

                       

DAINTY DAVIE (WAS A LAD). AKA – “Rantin’ Rovin’ Robin.” Scottish, Shetland, English; Strathspey, Reel: Irish, Highland, March or Air (4/4 time). F Major (Athole, Dixon, Honeyman, Johnson/Cooper, McGibbon, Skye, Surenne, Thompson): G Major (Colclough, Joyce, Kennedy, Kerr, Miller, O’Farrell, O'Neill, Wilson). Standard tuning. AB (Honeyman, Joyce, Surenne): AAB (Cranford/Holland, Johnson/Cooper, Kerr): AABB (Miller, Thompson): AABB' (Athole): AABCCD (Gow, Skye): AABBCCDD (McGibbon): AABBCCDDEE (Kennedy, O’Farrell, O'Neill): AABBCCDDEEFFGGHHIIJJ (Colclough, Dixon).

***

Ewan MacColl (Folk Songs and Ballads of Scotland) maintains that the name Dainty Davie refers to the Reverend David Williamson, who died in 1706. It seems, says MacColl, that the Reverend was the subject of an unauthenticated incident related by Dean Swift. Williamson found himself pursued by dragoons, the story goes, and while sensibly fleeing he found refuge in the bed of the daughter of the Laird of Cherrytrees. Hiding was apparently not the only act he engaged in while so occupied, but afterward he married the lass. A variant of the story has it that the young miss (from whose voice the song is told) disguised the Reverend in her clothing, tweaking him a bit by calling him ‘dainty’ Davie.

***

The melody was immensely popular, given the number of versions in published collections and appearances in fiddlers’ manuscripts of the 18th century. Its provenance appears to be English, but it is strongly associated with Scotland, perhaps due to having been popularised by Robert Burns. "This spirited tune was developed from a simple Scottish strain about the end of the 18th century, by O'Farrell, a famous Irish piper well known on the London stage,” said Captain Francies O’Neill. He was surely in error, for the melody appears first in print in Henry Playford’s Dancing Master, 12th edition (London, 1703, and in subsequent editions, through the l8th, in 1728), and in numerous English country dance publications such as London publishers Walsh (Compleat Country Dancing Master, 1731) and Charles and Samuel Thompson’s 1765 country dance collection. "I know nothing about this, farther than that the air and a bit of the song remain in a remote corner of my memory from dim old times,” remarked Irish collector P.W. Joyce. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800, and the tune appears in the 1799 Calvert Collection, an assembly of tunes by Thomas Calvert, a musician from Kelso. A note with his collection states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired.” It also appears in Issac Cooper of Banff’s (b. 1755-d. 1810 or 1811, although sometimes the year is given as 1820) Collection of Strathspeys, Reels and Irish Jigs for the Piano-Forte & Violin to which are added Scots, Irish & Welch Airs Composed and Selected by I. Cooper at Banff (London, Edinburgh, c. 1806). Purser (1992) believes Robert Burns wrecked the words of “Dainty Davie” with successive revisions, attempting to clean them up for George Thompson’s publications.  

***                 

Dainty Davy was a lad;

He sold the shirt upon his back,

To buy his wife a looking‑glass,

To see how nice her beauty was:

So there was Dainty Davy! (Joyce).

***

Cooke prints the following words, collected on the island of Whalsay, in Shetland:

***

Wis du what I'm telling dee

Boanie Davie, daintie Davie

Wis du what I'm telling dee

Boanie daintie Davie. (Cooke)

***

Dixon (1995) prints the tune with variation sets by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler originally from Morpeth, Northumberland. Cape Breton fiddler Dan J. Campbell recorded the Skye Collection (1887) four turn setting on 78 RPM disc in 1936.

***

Source for notated version: an un-attributed 19th century manuscript in the collection of Tommy Breckon [Dixon]. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. 1, 1782; pg. 46. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 16. Cranford (Jerry Holland: The Second Collection), 2000; No. 164, pg. 62. Dixon (Remember Me), 1995; pg. 58. Gow (Complete Repository), Part 1, 1799; pg. 27. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 24. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 7 (from the I. Cooper collection). Joyce (Old Irish Folk Music and Song), 1909; No. 91, pg. 47. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 30, pg. 9. Kerr (Merry Melodies), vol. 1; Set 2, No. 5, pg. 4. MacDonald (The Skye Collection), 1887; pg. 143. McGibbon (Scots Tunes, book III), c. 1762; pg. 72. Miller (Fiddler’s Throne), 2004; No. 333, pg. 196. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 83 (appears as “Danty Davy”). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 116, pg. 65. Stewart-Robertson (The Athole Collection), 1884; pg. 209. Surenne (Dance Music of Scotland), 1852; pgs. 102-103. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 185. Wilson (Companion to the Ballroom), 1815; pg. 39.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Dainty Davie

M:C

L:1/8

R:Strathspey

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

K:F

d|c>BA>G F<D F2|F>c A/B/c/A/ f>cA>f|c>BA>G F<D F2|f>g a/g/f/e/ d>ef:|

|:c|f<af<a f<a ag/f/|e<g c>g e<g gf/e/|1 f<af<a f<a ag/f/|e>c a/g/f/e/ d>ef:|2

f>ga>g g>fe>c|d>e a/g/f/e/ d>ef||

X:2

T:Dainty Davy was a Lad

M:C

L:1/8

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

Z:AK/Fiddler’s Companion

K:G

d>cBA GEE>D|GBBd GBB>d|d>cBA GEE>D|GBBd GBB>f|gefd e2d2||

gbef gbba/g/|fbd>e faa g/f/|gbbg faaf|gefd e2e2||

X: 3

T:Dainty Davie

M:C

L:1/8

B:The Calvert Collection (1799) - Page 14

Z:AK/Fiddler’s Companion

K:F

f|cA “tr”AG/A/ FD ~F2|Fc A/B/c/A/ FcAf|cA “tr”AG/A/ FD ~F2|1

f/e/f/g/ a/g/f/e/ d/c/d/e/ f/e/f/d/:|2 f/e/f/g/ a/g/f/e/ d/c/d/e/ f/e/f/g/||

fafa fa ag/f/|ec gc eg gf/e/|fa ag/f/ eg gf/e/|d/e/f/g/ a/g/f/e/ “tr”d/c/d/e/ f/e/f/g/|

[cf][fa] [cf][fa] [cf][fa] [ca]g/f/|ec [eg]c e[eg] [eg]f/e/|

f/g/a/b/ [fa]g/f/ e/f/g/a/ [eg]f/e/|d/e/f/g/ a/g/f/e/ “tr”d/c/d/e/ f/e/f/d/||

X:4

T:Dainty Davie

M:C|

L:1/8

N:”Brisk”

S:McGibbon – Scots Tunes, book III, pg. 72  (c. 1762)

Z:AK/Fiddler’s Companion

K:F

f2 | c3BA2 GA | (GF)(ED) F4 | F2 c2 ABcA | F2c2A2f2 | c3B A2GA | (GF)(ED) F4 |

F2f2 gfef | “tr”d4f2 :: c2 | f2a2 (fg)a2 | (fgab) a2 (gf) | e2g2c2g2 | (efga) g2 (fe) | f3ga2ga |

Bagf “tr”e2 dc | defg (ag)”tr”(fe) | “tr”d4f2 :: f2 | c>dcB ABGA | (GF)(ED) F2 AG |

F2c2 ABcA | FcBc Afef | (dc)((BA) (BA)(GA) | (GF)(ED) F2 de | f2 gf egfe | “tr”d4f2 :|

|: c2 | fgag fgag | fgab a2 “tr”(gf) | (ec)(gc) (ac)(gc) | efga gfge | fefg afga | (b/a/g) (a/g/f) edec | defg agfe | “tr”d4f2 :|

X:185

T:Dainty Davy

M:C

L:1/8

N:mis-numbered as 183 in Thompson

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

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

Z:abc’s:AK/Fiddler’s Companion

K:Dmin

f2|c3BA2G2|F2ED F4|F2c2 (Ac)(cA)|F2c2A2f2|c3BA2G2|F2(ED) F3e|(fe)(fd) e2 (d^c)|d4 d2:|
|:e2|fg a2 fg a2|fg a2-a2 gf|efg2 efg2|ef g2-g2 fe|fga2 fga2|fg a2-a2 gf|(gf)(ed) e2 (d^c)|d4 d2:||

                       

DAIRY GIRL, THE. See “The Dairy Maid” [1].

                       

DIARY MAID [1], THE (An Banairgeac). AKA - “The Dairy Girl.” Irish, Jig. F Major. Standard tuning. AB (Stanford/Petrie): AABB (O’Neill). Sources for notated versions: “From T. Davis” [Stanford/Petrie]; 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. 1100, pg. 207. Stanford/Petrie (Complete Collection), 1905; No. 596, pg. 150.

X:1

T:Dairy Maid, The [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 1100

Z:AK/Fiddler’s Companion

K:F
F/A/ | c2d c2A | GFF F2A | c2f dcA | BGG G2 A/B/ | c2A GFG |

AGA f2e | d2c fcA | GFF F2 :: c | f2d dcf | c2A AGA | cfe dcf |

AGF G2 A/B/ | c2A GFG | AGA f2e | d2c fcA | GFF F2 :|

 

DAIRY MAID [2], THE (An Banairgeac). AKA and see “The Dairy-Maid’s Wish.” Irish, Double Jig. G Major. Standard tuning. AABB. The earliest appearance of the tune in print is in Church of Ireland cleric James Goodman’s mid-19th century manuscripts as “The Dairy-Maid’s Wish.” O'Neill (Krassen), 1976; pg. 70. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1101, pg. 207. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 292, pg. 63.

X:1

T:Dairy Maid, The [2]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 292

Z:AK/Fiddler’s Companion

K:G

A/G/|FDD FEF|DGG G2A|BAB GBd|cAG F2A|BAB Bcd|cBc ABc|d/e/fd cAF|AGG G2:|

|:d|gfe fdc|BGG G2g|fef d/e/fd|cAG F2c|BAB Bcd|cBc ABc|d/e/fd cAF|AGG G2:|

 


DAIRY MAID [3], THE (Bhanarach dhonn a'chruidh). AKA and see "The Brown Milkmaid." Scottish, Slow Air (3/8 time). G Minor (Fraser): A Minor (Johnson). Standard tuning. ABB' (Fraser): AABB' (Johnson). "A very imperfect set, indeed, of this melody pervades a good part of the country. In Burns' Reliques, published by Mr. Cromek, there is a song, called 'The Banks of the Devon,' said to be to this air, of which the editor was ignorant; but it is observed that Burns acquired the air from a young lady in Inverness,‑‑doubtless from one who had similar access with the editor to the compilations of his progenitor and Mr. Fraser of Culduthel" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 55, pg. 19. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), vol. 10, 1992 (revised 2001); pg. 5. MacDonald (Patrick), Patrick MacDonald's Collection of Highland Vocal Airs (Edinburgh, 1784). Topic 12TS381, The Battlefield Band ‑ "At the Front" (1978).

X:1

T:Dairy Maid, The [3]

T:Bhanarach dhonn a’ chruidh

M:3/8

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:G Minor

G/>F/|g>Ac|~d>cd|fdc|A>GF|G>AB|d>^fg|d>cB|G2 |: (3d/=e/^f/ | gdg/a/ | b>ag |

fdc | A>GF |1 gdg/a/ | b>ag | dg^f | g2 :|2 G>Ac | d>^fg | d>cA G2 ||

 

DAIRYMAID [4], THE (Bean an Bhainne). AKA and see “Kiss the Bride in the Bed,” “Kiss the Maid in Bed,” “Maids of Tipperary,” "The Milkmaid [3],” “Shuffle the Cards,” “Tom the Fisherman.”  Irish, Reel. D Mixolydian (Breathnach): D Major (Moylan, Sullivan). Standard tuning. AB (most versions): AA’BB’ (Harker/Rafferty). The tune was recorded in 1926 in New York by County Sligo fiddler James “The Professor” Morrison, as part of a three-tune medley. See also the related “Billy Brocker.” Sources for notated versions: fiddler Tommy Peoples (Donegal, Ireland) [Breathnach]; recorded in Ballydesmond, February, 1973, from the playing of accordion player Johnny O’Leary (Sliabh Luachra) who associates the tune with box-player John Brosnan [Moylan]; Planxty [Sullivan]; fiddler Sean McGuire [Bulmer & Sharpley]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ III), 1985; No. 191, pg. 86. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 38. Harker (300 Tunes from Mike Rafferty), 2005; No. 111, pg. 34. Moylan (Johnny O’Leary), 1994; No. 21, pg. 13. Sullivan (Session Tunes), vol. 3; No. 54, pg. 22. Copely Records 9-116 (78 RPM), Paddy Cronin (195?). MKM 7590, Mike McHale – “The Schoolmaster’s House” (2000. Learned from Pat Lavin). Shanachie 29003, Tommy Peoples ‑ "The High Part of the Road" (1979). Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Dairymaid, The [4]

M:C|

L:1/8

R:Reel

S:Brian Conway

Z:AK/Fiddler’s Companion

K:D

dB||A(~F3 D2)dB|AFD(E {G}FE)EB|A~F3 B(FA)F|(3EFE D(E {G}F)DDB|

A(~F3 D)A{c}dB|AFD(E {G}FE)EB|[F3A3] d B2AF|(3EFE D(E {G}F)DD(c||

{e}dc)df abag|(3fgf eg f(dB)(c|{e}dc)df adfa|bgeg fd{e}dc|

dfa(f {a}g2) ag|(3fgf eg f(eB)c|def(g af)bf|afeg {fg}fedB||

 

DAIRY MAID [5], THE (An Cailín Déirí). Irish, Slide (12/8 time). A Dorian. Standard tuning. AB. Source for notated version: fiddler and uilleann piper Stephen Grier (Farnaght, Co. Leitrim), who wrote his manuscripts in the early 1880's [Breathnach]. Breathnach (CRÉ IV), 1996; No. 50, pg. 27.

 

DAIRYMAID [6], THE. AKA and see “Bobbing for Eels,” “The Bottle of Punch,” “The Bottle of Claret,” “The Butchers of Bristol [1],” “Fishing for Eels,” “Jackson’s Jug of Punch,” “Jackson’s Bottle of Brandy,”  The Old Man’s Jig,” “Pay the Reckoning.” Irish, Jig.

                       

DAIRYMAID’S (WALTZ), THE.  English, Waltz. G Major. Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 112, pg. 27.

 

DAIRY-MAID’S WISH, THE. AKA and see “The Dairy Maid [2].” Irish, Double Jig. G Major. Standard tuning. AA’BB. The earliest appearance of the tune in print is in Church of Ireland cleric James Goodman’s mid-19th century manuscripts. Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster. He also obtained tunes from manuscripts and printed sources. The melody in Goodman and Petrie is virtually identical. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 52, pgs. 23-25. Stanford/Petrie (Complete Collection), 1905; No. 597, pg. 150.

X:1

T:Dairy Maid’s Wish, The

M:6/8

L:1/8

S:Stanford/Petire (1905), No. 597

Z:AK/Fiddler’s Companion

K:G

A/G/ |: FDD FEF | DGG G2A | BAB GBd|cAG F2A |

BAB Bcd | cBc ABc | cdf/d/ cAF |1 GAB/G/ A2G :|2 G3 G2 ||

|: g | gfe fdc | BGG G2g | fef def/d/ | cAG F2c |

BAB Bcd | cBc ABc | def/d/ cAF | G3 G2 :|

                       

DAIRYMAN'S DAUGHTER, THE (Hoirrionn O! air nighean an àirich). Scottish, Strathspey. E Minor. Standard. AABB. This tune "is the guileless and sincere, but perhaps too candid confession of love, by the dairyman's daughter to her admirer,‑‑but to the simple language of a female heart, uncorrupted with dissimulation of vice, no indelicacy can be attached.  In each Highland hamlet or cottage there is always a dog, who acts the part of a sentinel, and is more useful in preventing nightly depredation than locks and keys. If her lover came round in the night time, she takes into consideration that the dog might not possibly distinguish him form a thief, and thus disclose their assignation,‑‑she therefore declares that her faith being plighted to him, and him alone, it was her intention to check the cur, open the door, and hold an interview with her lover, where no other could hear their mutual protestation. The air is of a cheerful cast" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 141, pg. 57.

X:1

T:Dairyman’s Daughter, The

T:Hoirrionn O! air nighean an àirich

M:C

L:1/8
S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:E Minor

E<E G>A B2 D>F|E<E G>A B>A B2|B>AG>A B2 D>F|E<E G>B e2 B2:|

|:G<G d>B d2 e<E|G<G d>B d2 e2|g2 e>^c d2 B>G|A<A B>^d e2 B2:|

                       


DAISY. Canadian, Polka. G Major ('A' and 'C' parts), D Major ('B' part), & C Major ('D' part). Standard. ABCD. Messer (Way Down East), 1948; No. 54. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 95, pg. 62.

X:1

T:Daisy Polka

R:Polka

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:G

Bc|d2B2 g3d|f2e2 a3g|f2e2 d2c2|B2e2 d2Bc|

d2B2 g3d|f2e2 a3g|f2e2 d2ef|g2g2 g2:|

K:D

z2|A2^GA B2c2|d2e2 f4|age2 age2|d2b2 a4|

A2^GA B2c2|d2e2 f4|age2 age2|d2d2 d2:|

K:G

Bc|d2B2 g3d|f2e2 a3g|f2e2 d2c2|B2e2 d2Bc|

d2B2 g3d|f2e2 a3g|f2e2 d2ef|g2g2 g2:|

K:C

e2|g2G2 cde2|g2G2 cde2|g2B2 Bcd2|def2 f2G2|

g2G2 cde2|g2G2 cde2|def2 Bcd2|d2c2 c2:|

                       

DAISY CLOG. American, Clog. A Major. Standard tuning. AABB. White’s Unique Collection, 1896; No. 149, pg. 27.

X:1

T:Daisy Clog

M:C|

L:1/8

R:Clog

S:White’s Unique Collection (1896), No. 149

Z:AK/Fiddler’s Companion

K:A

(3agf | (e>.f)(e>.d) (c>.d)(c>.B) | (3AcB (3AGF E>FG>A | A>GA>c e>cA>c |

B>e^d>f e2 (3agf | e>fe>d c>dc>B | (3AcB (3AGF E>EF>G |

(3AGA (3cBA (3Bfe (3dcB | A2c2[C2A2] :: B2 | (B>^.A)(B<.e) (g>.f)(e>.^d) |

c>^Bc>f a>gf>e | ^d>ba>f d>Bc>d | (3egf (3e^dc B2B2 | B>^AB>e g>fe>^d |

c>^Bc>f a>gf>e | ^d>ba>f d>Bc>d | e2 [B2g2][G2e2] :|

                       

DAISY FIELD(S), THE (Páirc Na Nóiníní). AKA and see “The Irish Girl [5],” "The Wild Irishman [3],” "The Field of Daisies.” Irish, Reel. D Major. Standard tuning. AB. Source for notated version: fiddler Tommy Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 171, pg. 67. Lyth (Bowing Styles in Irish Fiddle Playing), 1981; 47. O'Neill (Krassen), 1976; pg. 109. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1270, pg. 239. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 538, pg. 100.

X:1

T:Daisy Field, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 538

Z:AK/Fiddler’s Companion

K:D

AG|FGAF DEFD|EA, {B,}A,G, A,2 AG|FGAF DEFG|(3fga ec dBAG|FGAF DEFD|

E>A, {B,}(3A,G,A, E>A, {B,}(3A,G,A,|FGAF DEFA|faec d2||ag|fd{e}dc dcdf|

edcd efge|fd{e}dc dfaf|ec (3ABc d2 ag|fd{e}dc dfaf|edcd efge|fdef gbag|(3fga ec dBAG||

                       

DAISY’S JIG. AKA and see “Farmer’s Jamboree.” Canadian, Jig. Canada; Prince Edward Island, Martimes. G Major. Standard tuning. AA’BB’. Perlman (1996) notes that Bangor, Kings County, PEI, fiddler Hector MacDonald often played this tune on radio broadcasts during the 1930's and 1940's. Source for notated version: Stephen Toole (1927-1995, Green Road, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 124.

                                      

DÁLAIGH’S NO. 2. See “Dalaigh’s Polka.”

                       

DÁLAIGH’S NO. 4. AKA and see “Downey’s (Polka),” “Kerry No. 2,” “Séamus Cussen’s [1].”

                       

DÁLAIGH’S POLKA. AKA - “Dalais,” “Dálaigh’s No. 2.”  Irish, Polka. A Dorian. Standard tuning. AABB. See also the related “As I Went Out Upon the Ice.” Source for notated version: Ar Leithéidí [Miller & Perron]. Bulmer & Sharpley (Music from Ireland), vol. 2, No. 71. Cranitch (Irish Fiddle Book), 1996; pgs. 42 & 69. Mallinson (100 Polkas), 1997; No. 51, pg. 20. Miller & Perron (101 Polkas), 1978; No. 18 (appears as “Dalais”). Miller & Perron (Irish Traditional Fiddle Music), 2nd edition, 2006; pg. 127. Outlet Records SOLP-1026, Ar Leithéidí  - “Meet the Champions of Ireland” (1975. Various artists).

                       

DÁLAIGH’S (SLIDE). Irish, Slide. D Major. Standard. AABB.

X:1

T:Dálaigh's

D:Plancstaí Bhaile na bPoc, James & Maire Begley w/ Steve Cooney

N:possibly named after the accordion player from the Blasket Islands

R:slide

M:12/8

L:1/8

K:D

B|A2 d dcd B2 e e2 d|c2 A ABc d2 f a2 f|A2 d dcd B2 e e2 d|

c2 B ABc d3 d2:|:e|f3 fef g3 g2 f|e3 efe d2 e f2 d|

A2 d dcd B2 e e2 d|c2 B ABc d3 d2:|

           

DALAIS. See “Dalaigh’s Polka.”

                       

DALCASSIAN TRIBE MARCH. AKA and see "Thomond Tribe March," "Farrah! Farrah!"

                       

DALDOWNY'S REEL. Scottish, Reel. A Mixolydian. Standard tuning. AA'BB'. A pipe tune from Ross's collection. MacDonald (The Skye Collection), 1887; pg. 12.

X:1

T:Daldowny’s

M:C

L:1/8

S:MacDonald – Skye Collection

Z:AK/Fiddler’s Companion

K:A

d|ceae cefe|cAAc e2 ed|1 ceae ce=gd|B=GGB d2 dB:|2 cdef =gefd|B=GGB d2 dB||

cAAe fAeA|cAAc e2 ed|1 cAA[ce] fded|B=GGB d2 dB:|2 cdef =gefd|B=GGB d2 dB||

 

DALE RITCHIE’S HORNPIPE.  Canadian, Hornpipe. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989), in honor of another Sarnia fiddler. John was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

           

DALEGARTH. English, Country Dance Tune (4/4 time). F Major. Standard tuning. AB. Composed by Brian Jenkins in 1993. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 95 (appears as “The Octagon”, the name of a dance by Charles Bolton set to the tune).

           

DALENA McKAY. Scottish, Pipe Tune. Traditional. Plant Life Records PLR017, "The Tannahill Weavers" (1979).

                       

DALEY'S REEL. AKA and see "Dailey's Reel."

                       

DALEYSTOWN HUNT, THE. AKA and see “The Leitrim Fancy [2].” Irish, Jig. Green Linnet 1069, Joe Burke - "Happy to Meet & Sorry to Part."

                       

DALIBURGH POLKA. New England, Polka. D Major. Standard tuning. AABB'. Miller & Perron (101 Polkas), 1978; No. 47.

                       

DALIBURGH TWO-STEP. New England, Polka. B Minor. Standard tuning. AABB'. Miller & Perron (101 Polkas), 1978; No. 51.

                       


DALKEITH HOUSE. Scottish, Reel. D Major/Mixolydian. Standard tuning. AB (Surenne): AAB (most versions). Composed by James MacDonald, whom Hunter (1988) identifies as one of the "professional" fiddlers who contributed to the Gow collections. Gow (1817) notes he is the “late” Mr. MacDonald. Dalkeith is a Celtic name meaning ‘meadow by the wood.’ Dalkeith Palace, Midlothian, was a 12th century castle that came into the ownership of the Scotts of Buccleuch in 1651. At the time the tune was earliest printed (in McGlashan’s c. 1786 collection) Dalkeith House was occupied by the 3rd Duke and Duchess of Buccleugh, Lady Elisabeth Montagu (b. 1743), who in 1767 became the wife of Henry (1746-1812). Gow (Complete Repository), Part 4, 1817; pg. 37. Hunter (Fiddle Music of Scotland), 1988; No. 209. McGlashan (A Collection of Reels), c. 1786; pg. 39. Stewart-Robertson (The Athole Collection), 1884; pg. 111. Surenne (Dance Music of Scotland), 1852; pg. 83.

X:1

T:Dalkeith House

M:C|

L:1/8

R:Reel

B:The Athole Collection

Z:AK/Fiddler’s Companion

K:D

f|~d2 AB/c/ dAFD|Geed cAA=c|B2GB AdFA|GEAG FDD:|

g|f2df eace|dBed cAA=c|B2GB AdFA|GBAG FDDg|

fefd eace|dfed cAA=c|BABG FGA=c|Bgge fdd||

                       

DALKEY ISLAND.  American, Jig. A Major. Standard tuning. AABB. Composed by Vermont Irish-style fiddler Brendan Taafe. Dalkey Island is a small island just off the coast of County Dublin, occupied by ancient peoples, and later Vikings and early Christians. Miller (Fiddler’s Throne), 2004; No. 28, pg. 29. Laughing Rock LR100, Brendan Taaffe – “Come Sit by My Chair” (2003).

 

DALLAS BOUND. Old-Time, Country Rag. G Major. Standard tuning. AA'BB'. The city of Dallas, Texas, was named for an American vice-president, George Dallas, though the name Dallas itself has Celtic origins (the town of Dallas is in Morayshire, Scotland) and means “meadow by the wood” (Matthews, 1972). Source for notated version: Sandol Astrausky with the Little City String Band [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 38.

                       

DALLAS RAG. Old‑Time, Country Rag. USA, Texas. F Major. Standard tuning. AABB. The city of Dallas, Texas, was named for an American vice-president, George Dallas, though the name Dallas itself has Celtic origins (the town of Dallas is in Morayshire, Scotland) and means “meadow by the wood” (Matthews, 1972). Source for notated version: Dallas Stringband (Texas) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 83. Folkways FA 2396, New Lost City Ramblers‑ "Vol. 1." June Appal 014, John McCutcheon‑ "The Wind That Shakes the Barley" (1977. RBF 18, Dallas Stringband‑ "Ragtime 2." Learned from the Dallas String Band). Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977). Yazoo L 1045, Dallas Stringband ‑ "String Ragtime."

                       

DALLAS STAMPER TUNE, A. Old‑Time, Breakdown. USA, Missouri. A Major. Standard or ADae tunings. AB. Source for notated version: Dallas Stamper (d. 1944, Miller County, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 23.

                       

DALLY WELTERS WALTZ. Old-Time, Waltz. G Major. Standard tuning. AA'AA"BB'. Composed by Skip Gorman. Source for notated version: Skip Gorman [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 250.

                       

DALRY HOUSE. Scottish, Strathspey. D Major. Standard tuning. AB (Gow, Surenne): AAB (Athole). Dalry House is in Edinburgh. Stenhouse remarked the “Dalry House” is derivative of an earlier tune called “Cady Laddie” (Walsh, 1737) or “Mount Your Baggage [2].” Gow (Complete Repository), Part 3, 1806; pg. 36. Stewart-Robertson (The Athole Collection), 1884; pg. 106. Surenne (Dance Music of Scotland), 1852; pgs. 76-77.

X:1

T:Dalry House

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

D>F A2 F>GA2|B/c/d A>F G<E E>F|D>FA2 F>GA2|B/c/d c>B A<FF:|

A|d<fe<c d>BA2|B/c/d A>F G>E E>c|d<fe<c d>BA2|B/c/d c>B A<F F>A|

(3dfd (3cec (3BdB (3AdA|(3GBG (3FdF G<E E>F|D/E/F/G/ A2 F>GA2| B/c/d c>B A<F F>A||

                       

DALY’S REEL.  Old-Time, Reel. B Flat Major. Standard tuning. AABB. Source for notated version: Joe Pancerzewski (North Dakota) [Siblerberg]. Siblerberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 11.

 

DAM IT. English, Country Dance Tune (4/4 time). C Major. Standard tuning. AABB. The tune dates to around 1731. Barnes (English Country Dance Tunes), 1986.

                       

DAMASK. English, Country Dance Tune (2/4 time). C Major. Standard tuning. One part. A modern composition by Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 135.

                       

DAME DU LAC, LA. French, Bourree a 2 Temps (2/4 time). G Major. Standard tuning. AABB. Composed by E. Elsener. Stevens (Massif Central), 1987, Vol. 2; No. 96.

                       

DAME FLORA MACLEOD’S WELCOME TO P.E.I. Canadian, Pipe March (6/8 time). A Mixolydian. Standard tuning. AABBCCDD’. Composed by Pipe Major Fraser Holmes. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 39.

                       

DAME GOWDIE. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800.

                       


DAME OF HONOUR, THE. AKA and see "Queen Bess' Dame of Honour." English, Country Dance Tune (6/4 time). B Flat Major. Standard tuning. AABB. Kidson (1890) finds that the original song “Dame of Honour” was by Thomas D'Urfey and appeared (sung by Mrs. Willis) in the opera The Kingdom of the Birds, although it was also printed in vol. 1 of his Pills to Purge Melancholy (1719). The air quickly proved popular and was used for several subsequent ballad operas such as Polly (1729), Fashionable Lady (1730), The Lottery (1731), The Devil to Pay (1731), and Jovial Crew (1732). Playford published it in his Dancing Master (vol. II, 1728).

***

Since now the world's turned upside down,

And all things changed in Nature;

As if a doubt were newly grown,

We had the same Creator

Of ancient modes and former ways,

I'll teach you sirs, the manner

In good Queen Bess' golden days,

When I was dame of honour.

***

Kidson (Old English Country Dances), 1890; pg. 6.

X:1

T:Dame of Honour, The

M:6/4

L:1/8

S:Frank Kidson – Old English Country Dances  (1890)

Z:AK/Fiddler’s Companion

K:B Flat Major

B,2|D4 F2 B4d2|B4 F2 B4 A2|G3 FED C4 F2|D2 (B,4 B,4) B,2|

D2E2F2 G4B2|A3B c2 G4c2|c3d c2 G4B2|A2 (F4 F4):|

|:c2|f4e2 d4c2|B4A2 G4d2|e3d e2 G4B2|A2 (F4 F4)E2|

D2E2F2 G4 B2|A3B c2 F4 e2|d3e f2 F4e2|d2 (B4 B4):|

                       

DAMHSA. Irish, Hornpipe. RCA 09026-60916-2, The Chieftains - "An Irish Evening" (1991).

                       

DAMHSA LOINEACH. AKA and see "Chorus Jig [6]."

                       

DAMON'S WINDOW/WINDER. AKA and see "Rocky Mountain Goat," "Railroad(ing) Through the Rocky Mountains." Old‑Time, Breakdown. D Major. Standard tuning. AA’BB’. A version of  “Marmaduke’s Hornpipe” save that in the third and fourth measures a ‘C’ natural note is played instead of a ‘C’ sharp. Kerry Blech explains a ‘winder’ is a type of dance-set in Kentucky where the figure winds about. It was recorded in 1934 under this title by Kentucky fiddler J.W. Day under his pseudonym, Jilson Setters. See also related tunes “Devil in Georgia [2],” “Hell Among the Yearlings,” “Mud Fence,” “Ride the Goat Over the Mountain,” “Railroad(ing) Through the Rocky Mountains,” “Rocky Mountain Goat,” “Swiss Chalet,” “Grand Hornpipe [1],” and “Cricket on the Hearth.” The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

X:1

T:Damon’s Winder

M:C

L:1/8

R:Reel

S:Bruce Molsky

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

Z:AK/Fiddler’s Companion

K:D

((A2 |: A)B)de (fe)df | e(de)f (ga)ge | (AB)de (fe)df | ed2B A2FF | (AB)de (fe)df |

e(de)f g2 (g(b | b2)) e^g (ae)cA |1 d2d2d2 dB :|2 d2d2d2(A2 ||

|: A)(BA)G (FG)AF | DF2D A,2 (A,B,|=C)E2C A,2 A,B, | =C2EC A,2 (A2 |

A)(BA)G (FG)AF | DF2D A,2 (A,B, | =C2)C2(A,2 {B,/A,/}G,2) |1 A,2 [(D2D2]D2)(A2 :|2 A,2 [(D2D2]D4) ||

                       

DAMSEL I'M TOLD, A. AKA and see "Cupid's Trepan."

 

DAMOSELLE COTILLON, LA.  English, Cotillion (6/8 time). G Major. Standard tuning. AABB. A part of a cotillion, popular in the 18th century. A cotillion was a latter 18th century dance that originated in the French court, but soon became popular in England. The name, which means ‘under-petticoat’, may have derived from a popular song that went, “My dear, when I dance, does my petticoat show?” It is a precursor to the quadrille, and like the quadrille was danced by four couples facing inward in a square set. The piece appears in a number of publications and at least one fiddler’s manuscript, including Straight and Skillern’s Two Hundred & Four Favourite Country Dances, vol. 1 (London, 1775), Skillern’s Compleat Collection of Two Hundred and Four Reels…Country Dances (London, 1780), Thompson’s Compleat Tutor for the Hautboy (London, 1790), and James Aird’s Selection of Scotch, English, Irish, and Foreign Airs, vol. 1 (Glasgow, 1782). It also appears in the music manuscript book of fiddler James Burk, dated 1821 (very nearly identical to the version printed by Aird). Although nothing is known of Burk, he may have been from the north of England.

X:1

T:Damoselle Cotillon, La

M:6/8

L:1/8

R:Cotillon

S:James Burk’s music manuscript (1821)

Z:AK/Fiddler’s Companion

K:G

B/c/|d2d dBd|e2c c2e|dec BcA|G2G GBc|d2d dBd|e2c c2e|

dec BcA|(G3 G2)::d|g2g gfg|a2d d2 f/g/|a2a aga|b2g g2b|

abg fge|d2d d2B/c/|d2d dBd|e2c c2e|dfc BcA|

G2G GBd|d2d dBd|e2c c2e|dec BcA|(G3 G2)||

 

MY DEAREST ELLEN.  ??? Unknown to me. It does not look like a “fiddle tune” to me at all, and may be a song air or a light classical piece (?).

 

HEARTS OF OAK. 

 

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 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

 [COMMENT4]Note:  The change to pitch (12) and font (1) must be converted manually.