The Fiddler’s
Companion
© 1996-2010 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] |
DEVALS DEAD. AKA and see "Braes of Mar
[1]," "Some say
the Devil's dead." English, Scottish.
***
Some say the Devil's dead,
The devil's dead, the devil's dead;
Some say the Devil's dead
And buried in Killarney.
***
Kerr (Merry Melodies), vol. 1; pg. 19.
DEVANNEY'S GOAT (Gabhar an Dubhánaigh). AKA – “Devanny’s.” Irish, Reel. D
Mixolydian. Standard. AB (Flaherty): AABB (Breathnach, Harker/Rafferty,
Miller). Bronx flute player Jack Coen attributes the composition of the tune to
Tommy Whelan, a flute player and composer from the Woodford, east
Galway, area; a member of the old Ballinakill Ceili Band. Devaney was a neighbour of Whelan’s, indeed,
the owner of a goat who was nibbling on the vegetables in Whelan’s garden when
the tune came to him. Sources for notated versions: fiddler Paddy Ryan, 1970
(Co. Roscommon, Ireland & Birmingham, England) [Breathnach]; flute player
Harry McGowan (b. 1937, Carrowmore, County Sligo) [Flaherty]; New Jersey flute
player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].
Breathnach (CRÉ II), 1976; No. 267,
pg. 138. Flaherty (Trip to
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Alan
Ng’s Irishtune.info |
X:1
T:Devanny’s
M:C|
L:1/8
R:Reel
K:D
FE | DFAB
AFAB | defe dBAF | DF (3FFF BFAF | E2 ED EGFE |DF (3FFF ADFA|
defe dBAf |
efdB AFdB | AFEF D2 :: eg | faab afdf |afef dB (3BBB | ABde fedf |
e3f edBd |
Adcd fdcd | edfd edBd | A2 dB AFDF | AFEF D2 :|
DEVANT TA PORTE (As I Passed Your Door). Cajun. From the playing of the late
Cajun fiddler Louis Balfa. Green Linnet GLCD 3107, Aly
Bain & Phil Cunningham – “The
DEVER THE DANCER ("Cnuic Tiobraid-Arainn" or "Ua
Duibir, an Rinnceoir"). AKA and see "The
Humours of Whiskey [2]," "The
Peeler's/Policeman's Return," "Deel of the Dance," "The Bridge of Athlone [1],"
"Dillon's Fancy [2],"
"The Crossroads Frolic,"
"Barranna mora Chlann Donncha," "Humours of Derry,"
"Plearaca an Fuisce." Irish, Slip Jig (9/8 time). E Dorian ('A' part)
& D Major ('B' part). Standard. AAB (O'Neill/Krassen & 1001): AABB
(O'Neill/1850, Tubridy). Flute player John McKenna
(1880-1947) and banjo player Michael Gaffney (d. 1972), both originally from
X:1
T:Dever the Dancer
S:78 RPM recording by flute player
John McKenna
Z:Transcribed by Frank Claudy
M:9/8
L:1/8
K:D
BEE BEF G2 A|BGE BAG FED|BEE BEF G2
A|
1 dcB ABG FED:|2 dcB ABG FGA||ded
cAF ~G3|
Adc def
gfe|fed cAF G2 A|1 Bdc ABG FGA:|2 Bdc ABG FED||
DEVERON REEL. Scottish, Reel. D Major. Standard. AABB’. Composed by Iain MacFadyen,
producer of The White Heather Club for the BBC. Martin credits the tune to Neil
Grant. Martin (Ceol na Fidhle),
Vol.3, 1988; pg. 37. White Heather
Collection, 1961. Tradition 2118, Jim MacLeod
& His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels"
(1979). Jimmy
Shand – “Guid Luck Go Wi’ Ye” (appears in “Mrs. Cholomdeley’s Reel”). Ian
Powrie Band – “On Tour –
DEVERONSIDE. Scottish, March (2/4 time). A Mixolydian. Standard. AABBCCDD’. Composed
by Pipe Major J. Robertson. Martin (Ceol
na Fidhle), vol. 4, 1991; pg. 40.
DEVIL... See also "Deal...,"
"Deval...," "Deil..."
DEVIL AND HIS SISTER,
THE. Irish, Double Jig.
DEVIL AMONG THE MANTUA-MAKERS. Scottish, Reel. A Major. Standard. AAB. "Named so, at the request
of a Lady in (
M:4/4
L:1/8
Z:Andrew Kuntz
K:A
|: ~c3d edcd | efga fedc| ~c3d edcd | fedc c2B2 :|
|| ~E3G BGEG | ABcd ecAc | E3G BGEA | cAec c2B2
| E3G BGEG | ABcd ecAc | dfdB cecA |
dBAG A2A2 ||
DEVIL/DIVEL/DE'IL
AMONG THE TAYLORS/TAILORS [1]. AKA and see "Devil's Dream [1]" (New). Scottish, English, Irish, Canadian,
***
Wright. c. 1840’s. The Devil comes to town, fiddle an’ a’.
***
English novelist Thomas Hardy mentions the tune in Absent Mindedness in a Parish Choir, a passage which bears
repeating:
***
"...Twas a very dark afternoon,
and by the end of the sermon all you
could see of the inside of the
church were the pa'son's two candles
alongside of him in the pulpit, and
his spaking face behind 'em. The
sermon being ended at last, the
pa'son gi'ed out the Evening Hymn.
But no quire set about sounding up
the tune, and the people began
to turn their heads to learn the
reason why, and then Levi Limpet, a
boy who sat in the gallery, nudged
Timothy and Nicholas, and said,
church being so dark and his head so
muddled he thought he was at
the party they had played at all the
night before, and away he went,
bow and fiddle, at "The Devil
among the Tailors," the favourite jig
of the neighborhood at that time.
The rest of the band, being in the
same state of mind and nothing
doubting, followed their leader with
all their strength, according to
custom. They poured out that there
tune till the lower bass notes of
"The Devil among the Tailors" made
the cobwebs in the roof shiver like
ghosts; then Nicholas, seeing
nobody moved, shouted out as he
scraped (in his usual commanding
way at dances when the folks didn't
know the figures), "Top couples
cross hands! And when I make the
fiddle squeak at the end every man
kiss his partner under the
mistletoe!"
***
"...Then the unfortunate church
band came to their senses, and
remembered where they were; and
'twas a sight to see Nicholas
the gallery stairs with their
fiddles under arms, and poor Dan'l
Hornhead with his serpent, and
Robert Dowdle with his claionet,
all looking as little as ninepins;
and out they went. The pa'son
might have forgi'ed 'em when he
learned the truth o't, but the
squire would not. That very week he
sent for a barrel-organ
that would play two-and-twenty new
psalm-tunes, so exact
and particular that, however sinful
inclined you was, you could
play nothing but psalm-tunes
whatsomever. He had a really
respectable man to turn the winch,
as I said, and the old players
played no more..."
***
One of the oddest appearances of the tune is on the barrel organ from
the polar expedition of Admiral Parry of 1810. In place of a ship’s fiddler
(common in those days), Parry introduced a mechanical barrel organ on board
ship to provide entertainment and a vehicle to which the men could exercise
(i.e. by dancing). “Devil Among the Tailors” was one of eight tunes on barrel
no. 5. Perhaps the earliest non-mechanical sound recording is from 1906 by
violinist Charles D’Alamaine, born in 1871 in
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
M:C|
L:1/8
S:White’s Unique Collection (1896), No. 75, pg. 14
Z:AK/Fiddler’s Companion
K:A
|: e | {g}a2.e.a {g}a2.e.a |
{g}a2.e.a (fe).d.c| dfBf dfBf | dfBa gabg |
{g}a2.e.a {g}a2.e.a | {g}a2.e.a
(fe).d.c | .f(dc)”tr”B .e(cB).”tr”A |
E2”tr”G2 [C2A2]z ||
|: e | ceAe ceAe | ceAa fedc| dfBf
dfBf | dfBa gabg | ceAe ceAe | ceAa (fe)(dc) |
.f(dc)”tr”.B .e(cB)”tr”.A | E2”tr”G2 [C2A2] z ||
X:2
T:Deil Amang the Tailors, The
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of
Z:AK/Fiddler’s Companion
K:A
a2 eg a2 eg | a2 ea fedc | dfBf dfBf | dfBa gabg | a2 eg a2 eg | a2 ea
fedc |
defd ecBA | E2G2A3 || e | ceAe ceAe | ceag fedc | dfBf dfBf | dfba gfed
|
ceAe ceAe | ceag fedc | defd ecBA | E2G2 A3 z ||
DEVIL AMONG THE TAILORS [2], THE. Closely related to "Devil's Dream." Old‑Time, Breakdown.
DEVIL AMONG THE TAILORS [3], THE. English, Jig. A Major. Standard
tuning. AABABA. The melody appears under this title in Charles and Samuel
Thompson’s Compleat Collection of 200
Favourite Country Dances, vol. 3 (
X:1
T:Devil Among the Tailors [3], The
M:6/8
L:1/8
N:May also be played an octave higher
R:Jig
S:Thompson – Compleat Collection
of 200 Favourite Country Dances, vol. 3 (1773)
K:A
CB,|A,
CEC A,CA,|B,DB, G,B,G,|A,2A, A,::CD|EFE EFE|DED DED|CDC CDC|
B,CB, B,CD|EFE EFE|DED DED|CDC CDC|(B,3 B,2)E|A,
ECE AEA|FAF DFD|EAE CEC|DFD B,DB,|CEC A,CA,|B,DB, G,B,G,|A3 A,:||
X:95
T:Devil among the Taylors, The [3]
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
AcA cAc|ece
aea|faf dfd|eae cec|dfd BdB|cec AcA| BdB GBG|A2A [A,3A3]:|
|:efe efe|ded ded|cdc cdc|BcB BcB|efe efe|ded ded|cdc cdc|{c}(B3 B3)|
AcA cAc|ece aea|faf dfd|eae cec|dfd
BdB|cec AcA|BdB GBG|A3 [A,3A3]:||
DEVIL AMONG THE YEARLINGS. AKA and see "Hell
Among(st) the Yearlings [1]."
DEVIL AND HIS SISTER, THE. Irish,
Double Jig.
DEVIL AND THE DIRK, THE. Scottish, Reel. D Major. Standard tuning. AB
(Hardie): AAB (Skinner). Composed by J. Scott Skinner
and first published in his Harp and
Claymore collection where it is set with numerous variations and arranged
by Gavin Greig. Hardie (Caledonian
Companion), 1992; pg. 110. Skinner (Harp
and Claymore), 1904; pgs. 84-85. Skinner (The Scottish Violinist), pg. 3.
X:1
T:Devil and the Dirk, The
M:C|
L:1/8
R:Reel
S:Skinner – The Scottish Violinist
Z:AK/Fiddler’s Companion
K:D
{c}D | D/D/D FD AD {c}d2 | AD.F.D
C(EE)F | D/D/D FD AD {c}d2 | AF .G.E F(DD) :|
|| c’ | d’ddd’ c’ccc’ | bBBb aAAa |
gGGg fFFf | eBed ceac’ | d’ddd’ c’ccc’ |
bBBb aAAa | geag fae’b | (af).g.e
fdd || [A,4D4] ||
DEVIL ATE THE
GROUNDHOG. See “Devil Eat the Groundhog.”
DEVIL EAT THE
GROUNDHOG. AKA - “Devil Ate the Groundhog.”
Old-Time, Breakdown.
***
God almighty damned dog (x3)
The Devil’s eat the groundhog.
***
Sources for notated versions: Owen
“Snake” Chapman (Whitesburg, Letcher County, Ky., 1990) [Phillips, Titon];
Scott Marckx [Silberberg]. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 68. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 34. Titon (Old-Time
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
DEVIL CAUGHT A NIGGER. Old‑Time, Fiddle Tune. The title appears in a list of traditional
Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
DEVIL CHASED ME ROUND
THE STUMP. Old-Time, Breakdown. G Major. Standard
tuning. AABB.
X:1
T:Devil Chased Me Round the Stump
L:1/8
M:C|
S:James Bryan
Z:AK/Fiddler’s Companion
K:G
(3GFE|D2 G2 BABG|D2 G2 B3G|D2 G2
BAGB|A2 G4 (3GFE|
D2 G2 BABG|A2 B2 e3d|e2 dA BAGB|A2
G2 G2:|
|:z(d|e2) d2 BABd|e2 f2 g3 f|e2 dA
BAGB|A2 G2 G4|
e2 (3ded BABd|e2 f2 g3f|efed BAGB|A2
G4:|
DEVIL DOWN HILL. Old‑Time, Fiddle Tune. The title appears in a list of traditional
DEVIL IN A BUSH, THE. AKA
and see “Kincaldrum(‘s Reel),”
“Kurcaldrum’s Reel,” “Parson in
the Suds [2].” English, Reel. G Major. Standard tuning. The melody appears
in the 1770-1772 music manuscripts of William Vickers, a Northumberland
musician about whom little is known. The title seems to be idiosyncratic to
Vickers, as the tune can be found in several Scottish collections as
“Kincaldrum.” See also the related “England’s
Glory.”
X:1
T:Devil in a Bush, The
M:C
L:1/8
R:Reel
S:William Vickers’ manuscripts (pg.
21), 1770-1772
Z:AK/Fiddler’s Companion
K:G
g2 dc B2 AG|FGAB cAAB|g2 dc B2
AG|FGAc BGG:|
|:E|DGBG AGBG|DGBG cAAB|cdef gdcB|cAdc
BGG:|
DEVIL IN A CANEBREAK, THE. Old‑Time, Breakdown. C Major. Standard
tuning. AABB. Ford (Traditional Music in
America), 1980; pg. 124.
DEVIL IN DUBLIN [1],
THE. Irish,
Jig. D Major. Standard tuning. AA'B. One of the airs "sent to me during
the last seven or eight years by Mr. Patrick O'Leary of Graignamanagh, Co.
Kilkenny, a good amateur musician with a great knowledge of the popular airs of
that part of Ireland. Most of these he wrote down from his own memory"
(Joyce). Joyce (Old Irish Folk Music and
Song), 1909; No. 301, pg. 141.
DEVIL IN DUBLIN [2],
THE (An Diabal 'San Baile-Ata-Cliat). Irish, Jig or March (6/8 time). G Major.
Standard tuning. AABB. A variation of version #1. Kerr (Merry Melodies), vol. 4; No. 207, pg. 23. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1827, pg. 343.
X:1
T:Devil in Dublin, The [2]
M:6/8
L:1/8
R:Jig or March
S:O’Neill – Music of Ireland (1903), No. 1827
Z:AK/Fiddler’s Companion
K:G
G2B d2B | e2c A3 | BdB GBG | FAF D3
| G2B d2B | e2c ABc |
dBG EAF | G3 G2 z || AGA FGA | BAB
GAB | {d}cBc ABc |
dge d2B | cde ABc | Bcd GAB | {d}cAF
DEF | G3 G2 z ||
DEVIL IN DUBLIN [3],
THE. AKA and
see “Devils in Dublin.” Irish, Reel.
DEVIL IN GEORGIA [1],
THE. AKA and see
"Temperance Reel," "Teetotaler(‘s Reel)." Old‑Time,
Breakdown. USA; eastern Ky., West Virginia. Doc Robert's cover title for
"Temperence Reel." Charles Wolfe believes the tune to bear some
resemblance to a familiar Kentucky tune called "Stoney Point" or "Buck Creek Gals," but others
dispute this saying "Devil in Georgia" is not in fact in that tune
family. Cassette C-7625, Wilson Douglas - "Back
Porch Symphony." County 412, "Fiddling Doc Roberts" (1983).
Gennett 6942 (78 RPM), Doc Roberts.
DEVIL IN GEORGIA [2],
THE. Old-Time.
A member of the tune family which includes “Damon’s Window/Winder,” “Grand Hornpipe [1],” “Mud Fence,” “Railroad(ing)
Through the Rocky Mountains,” “Ride the Goat Over the
Mountains,” "Rocky Mountain Goat,”
“Swiss Chalet."
DEVIL IN IRELAND, THE.
English, Jig. G Major. Standard tuning. AABB. Original key ‘C’ major, as
“The Divel in Ireland” in Gibbons’ manuscript. Source for notated version: the
1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of
Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua
Gibbons Manuscript), 1997; pg. 5.
X:1
T:Divel in Ireland, The
M:6/8
L:1/8
R:Jig
S:Joshua Gibbons ms (1823-26)
Z:AK/Fiddler’s Companion
K:C
G|c2d ede|c2A A2c|B2d ded|B2G
G2B|c2d ede|ceg c’bc’|
agf ede|B2A A2::a|g2e ede|g2e
e2a|g2e ede|c2A A2a|
g2e ede|ceg c’gc’|age ede|c2A A2:|
DEVIL IN THE BUSH.
See “Walton Abbey.”
DEVIL IN THE HAYSTACK. Old-Time, Breakdown. USA; Indiana, Illinois. A Mixolydian. Standard
tuning. AA'BB. Southern Illinois fiddler Gary Harrison does a version of the
tune learned from Harvey “Pappy” Taylor of Effingham, Ill. Source for notated
version: Bruce and Steve Green [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 69. Davis Unlimited DU 33024, Gary Harrison and the Indian Creek
Delta Boys (1976). Marimac 9054, The Ill-Mo Boys - "Fine as Frog
Hair" (1995).
DEVIL
IN THE KITCHEN [1], THE. AKA and see “Calum Crubach,” “Devil
Shake the Half-Breed [2],” “Gurren’s
Castle,” "Miss
Sarah Drummond of Perth [1],” “Miss Drummond of Perth [1],”
“Mountain Reel [4],” “Our Highland Cousins,” "The Prince of Wales Jig,” “The Titanic Highland,” “Yorkshire Bite [1].” Scottish,
Shetland, Canadian, Irish; (Pipe) Reel, Fling or Strathspey. Ireland, County Donegal.
Canada; Prince Edward Island, Cape Breton. A Mixolydian. Standard tuning. AAB
(Hunter): AA’B (Skinner/Harp): AABB
(Martin): AABBA’A’BB (Perlman): AABCCD (Skinner/Violinist). Composed (according to J. Scott Skinner) as a pipe tune
by William Ross, the Queen’s Piper. The melody was arranged (and popularized)
by J. Scott Skinner (1843-1927) and appears as a
two-part tune in his Harp and Claymore
collection (1904). Skinner later expanded the melody to four parts (variations)
in his Scottish Violinist; in Harp and Claymore he directs that the
tune be played an octave lower the second time through. In pipe collections the
tune is set as a strathspey is usually attributed to one John MacPherson and
once to a Donald McPhedran (in his own collection). A distanced version of the
“Devil in the Kitchen” is popular reel in
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:Devil in the Kitchen, The [1]
T:Prince of Wales Jig, The
M:C
L:1/8
R:Reel
S:Skinner – Harp and Claymore
Z:AK/Fiddler’s Companion
K:Amix
f |: e>A A/A/A A/A/A c>A |
e>A A/A/A ({a/g/f/}g2) e<a |
e>A A/A/A A/A/A c>A | B>G
d/c/B ({a/g/f/}g2) f<g :|
|| a>A A/A?A e>A c>A |
a>A A/A/A ({a/g/f/}g2) f<g | a>A .A/.A/.A .A/.A/.A c>A |
B>G d/c/B {a/g/f/}g2 f<g |
a>A A/A/A e/A/A c>A | a>A A/A/A ({a/g/f/}g2) f<g |
a/g/f g>e e>f e>A | B>G
d/c/B ({a/g/f/}g2) f<g ||
|: ({F}E>)A, A,/A,/A, A,/A,/A,
C>A, | E>A, A,/A,/A, ({A/G/F/}G2) E<A |
E>A, A,/A,/A, A,/A,/A, C>A, |
B>G, D/C/B, ({A/G/F/}G2) F<G :|
|| a>A A/A/A e>A c>A |
a>A A/A/A {a/g/f/}g2 f<g | a>A .A/.A/.A .A/.A/.A c>A |
B>G d/c/B ({a/g/f/}g2) f<g |
a>A A/A/A e/A/A c>A | a>A A/A/A ({a/g/f/}g2) f>g |
a/g/f g>e f>d e>A | B>G d/c/B
({a/g/f/}g2) f>g ||
X:2
T:Devil in the Kitchen [1]
C:trad., as played by Buddy MacMaster
M:C
R:Strathspey
A:Cape Breton
N:Transcribed by Kate Dunlay (dungreen@total.net)
L:1/16
Q:1/4=160
K:Amix
a2|:e3A AAAA e3Ag3d|e3A AAAA g4 f-a3|e3A AAAA e3Ag3d|B3G (dcB2) g4 [1fa3:|
[2f3g||a3A AAAA e3A AAAA|a3A AAAA g4 f-g3|a3A AAAA AAAA c3A|B3G (dcB2) g4 f3g|
a3A AAAA e3A AAAA|a3A AAAA g4 f-g3|(agf2) g3-e f3dg3d|B3G (dcB2) g4 fa3||
E3A, A,A,A,A, E3DG3D|E3A, A,A,A,A, G4 F3-A|E3A, A,A,A,A, E3DG3D|B,3G, (DCB,2) G4 FA3|
E3A, A,A,A,A, E3DG3D|E3A, A,A,A,A, G4 F3-A|E3A, A,A,A,A, A,A,A,A, C3A,|B,3G, (DCB,2) G4 F3A||
a3A AAAA e3Ac3A|a3A AAAA g4 f-g3|a3A AAAA AAAA c3A|B3G (dcB2) g4 f3g|
a3A AAAA e3A AAAA|a3A AAAA g4 f-g3|(agf2) g3-e f3dg3d|B3G (dcB2) g4 fa3|]
DEVIL IN THE KITCHEN
[2]. Old‑Time, Fiddle Tune. The
title appears in a list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954.
DEVIL IN THE KITCHEN [3]. Irish, Highland Fling. A Mixolydian. Standard tuning. ABB’. O’Brien (Accordion Instructor), 1949.
X:1
T:Devil in the Kitchen [3]
M:C|
L:1/8
R:Highland Fling
S:Jerry O’Brien’s Accordion Instructor (1949)
Z:AK/Fiddler’s Companion
K:A Mix
A2 ed cdef|g3 dg BgdB|A2 ed cdef|gf gB BA A2|A2 ed cdef|g2 dg BgdB|
A2 ed cdef|gf gB BA A2||a2 ed cdef|g2 dg Bgdg|a2 ed cdef|gf gB BA A2|
A2 ed cdef|g2 dg Bgdg|1 afge fdef|gedB BA A2:|2 (3agf (3gfe (3fed (3edc|
(3def
(3efg (3agf (3edB||
DEVIL IN THE STRAWSTACK. Old‑Time, Breakdown. USA, southwest Virginia, North Carolina. G
Major (Jarrell): G Minor (Songer). Standard tuning. AB (Jarrell): AABB
(Songer). Learned by Mt. Airy, N.C., fiddler Tommy Jarrell from Zack Payne (or
Paine), fiddler, fifer and Civil War veteran who lived near Lambsburg, Va., and
who died around 1930. Jarrell called this one of the "Civil War
tunes" he learned from Payne. It was one of the few tunes he rendered in
standard tuning. Tom Carter and Hal Cannon recorded Jarrell playing it in his
home in North Carolina in 1971. On the tape Jarrell introduces the tune:
***
I learned ... this one I'm going to play
from old Zek Paine. He was a
Civil War veteran. He set them fingers down
on them strings and he was
just as clear as a bell and that bow was
just as smooth as a butterfly. No!
Hell! He could use a fiddle bow any way he
wanted to.
***
Songer (Portland Collection), 1997; pg. 60. County 756, Tommy Jarrell ‑ "Sail Away Ladies" (1976). Marimac 9031, Pete Sutherland (Vt.) - “Eight Miles From Town” (set in the key of G Minor).
X:1
T:Devil in the Strawsack
M:4/4
L:1/8
Z:Andrew Kuntz
K:G Dorian
GFDF GFDF | GFDF C4 | GFDF G2d2- |
dcAc dcAc
| GFDF GFDF | GFDF C4 | GFDF G2d2 |
dcA(D G4) |]
d2g2 g2g2- | gagf d4 | fAgA fAgf |
dcAc d4
| d2g2 g2g2- | gagf d4 | fAgA a2gf |
dcA(D G4) |]
.......................
DEVIL IN THE WHEAT
PATCH. Old‑Time, Breakdown. USA, Ga.
Tune played by Fiddlin' John Carson (North Ga.) in a 1914 Atlanta, Ga.,
fiddlers' contest.
DEVIL IN THE WOODPILE
[1]. Old-Time, Breakdown. USA, West
Virginia. D Major. Standard tuning. AABB. A story from the fiddling Hammons
clan of Pocahontas County, West Virginia, tells of one member of the family,
Old Pete Hammons, who made the mistake of continuing to fiddle for a Saturday
night dance after midnight had struck. He returned home and put the fiddle on
its peg on the wall, but later in the night heard the instrument playing “Devil
in the Woodpile” by itself. Hammons had
to burn the instrument to cease the phenomenon and is said to never have touched
a fiddle again (Milnes, 1999, pg. 9). Source for notated version: Melvin Wine
(Braxton County, W.Va.) [Phillips, Silberberg]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 69.
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 35.
DEVIL IN THE WOODPILE
[2]. Old-Time, Breakdown. C Major.
Standard tuning. AB. From J.D. MacFarlane and Daughters. Source for notated
version: Kerry Blech (Seattle) [Silberberg]. Silberberg (Tunes I Learned at
Tractor Tavern), 2002; pg. 35.
DEVIL ON A/THE STUMP. Old-Time, Breakdown. USA, Kentucky. C Major. Standard tuning. ABB
(Phillips/Stamper): AABB (Phillips/Jabbour). Some variations of this tune may
go under the name “Devil in the Kitchen.” Sources for notated versions: Kentucky
fiddler Art Stamper [Phillips]; Alan Jabbour with the Hollow Rock String Band
(N.C.) [Phillips]. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pgs. 69 & 70. County CD2712, Art Stamper - "The Lost Fiddler"
(c. 1982).
DEVIL ON TWO STICKS, THE.
English, Jig. G Major. Standard tuning. One part. The melody is unique
to London publishers Charles and Samuel Thompson’s 1757 country dance
collection. The title invokes the play The Devil on Two Sticks by
dramatist Samuel Foote, which premiered at the Haymarket in 1768. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 164.
X:1
T:Devil on two Sticks, The
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
D2D B2B|ABc B2A|BdD G2G|ABc B2A|B2c ded|c2B A2D|
G2G
F2F|E2E D2d|BdD G2G|ABc B2A|BdD G2B|cBA G3:||
DEVIL OR NO DEVIL. American (?), Jig. G Major.
Standard tuning. AABB. The melody first appears in J. Hewitt’s Fashionable
Repertory of Country Dances and Waltzes (New York, 1807-1810), and later in
Wilson’s Companion to the Ballroom (London, 1816). Kennedy (Jigs
& Quicksteps, Trips & Humours), 1997; No. 26, pg. 8.
DEVIL SHAKE
THE HALF-BREED [1]. A version of “Rickett’s Hornpipe”
played by fiddler Jesse Gatten of Danbury, Wisconsin, c. 1950's (Paul Gifford).
DEVIL SHAKE
THE HALF-BREED [2]. AKA and see “Calum Crubach,” “Devil in the Kitchen [1],” “Gurren’s Castle,” "Miss Sarah Drummond of
Perth [1],” “Miss
Drummond of Perth [1],” “Mountain Reel [4],” “Our Highland Cousins,” "The Prince of Wales Jig,” “The Titanic Highland,” “Yorkshire Bite [1].” Paul Gifford finds
this melody almost identical to Ryan’s (Mammoth
Collection) “Mountain Reel [4],”
which belongs to the “Miss Drummond of
DEVIL STICK THE
MINISTER.
See “De’il Stick the/da
Minister.”
DEVIL TAKE A YALLER
GAL. Old‑Time, Fiddle Tune. The
title appears in a list of Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954.
X:1
T:Devil Take the Hindmost
M:6/8
L:1/8
Z:Transcribed by Laurie Griffiths
K:A
efg |\"A"a3 a3 |
"A"agf edc |\"E7"Bcd cBA | "E7"Bc\d efg |
"A"a3 a3 |\
"A"agf edc |
"E7"Bcd dcB \|1 "A"A3 :|2 "A"A6 |"E"Bcd
dcB | "A"cde edc |\
"E"Bcd dcB |
"A"cde e3 |\"D"fga agf | "A"edc Bcd
|\"E7"efe dcB | "A"A6 |
"Bm"Bcd dcB |
"C#m"cde edc |\"D"Bcd dcB | "E"cde
"E7"efg |\
"A"a3 a3 |
"A"agf edc |\"E7"Bcd efg | "A"a3 ||
DEVIL TAKE THE WARS (Go m-Beiried an Dialial Na Cogad). Irish, Air (4/4 time,
"animated"). D Major. Standard tuning. AB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 543, pg. 95.
X:1
T:Devil Take the Wars
M:C
L:1/8
R:Air
N:”Animated”
S:O’Neill – Music of Ireland (1903), No. 543
Z:AK/Fiddler’s Companion
K:D
d2 d>f fedc|dA Bc/d/ BAGF|FAAd d3e|fg/a/
gf f2 ez|d2 d>f fedc|dA Bc/d/ BAGF|
FAAd dfa>g|f2 e2 {d/4g/4e/4} d2
z||d|fdfa fd zd|ecea ec ze|f2 f>d e2 e>c|d>e f/e/d/c/ B3c|
A<BAF A3d|A>BAF A2 d>c|Beef
e3f|gfed dcBA|A>BAF A2 a>g|f2 e2 {d/4f/4e/4}d2 z||
DEVIL TO PAY, THE. Irish, Reel. A Major. Standard tuning. AB. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody),1922; No. 280.
X:1
T:Devil To Pay, The
M:4/4
L:1/8
S:Rice-Walsh manuscript
S:Paul Kinder
R:Reel
K:A
d2|ceAe ceAe|ceag fedc|dfBf dfBf|dfba gfed| ceAe ceAe|ceag fedc|dfBf dfBf|edcB A2||
E2|EBGB EBGB|ceAe ceAe|dfBf dfBf|gabg a2 aa| bagf edcB|cBAF E2 Bd|ceAe ceaf|edcB A2||
DEVIL WANTS A
WOODCHUCK. Old‑Time, Fiddle Tune. The
title appears in a list of Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954. Perhaps it is
"Devil Eat the Groundhog."
DEVIL WAS A WHITTLER. Old‑Time, Fiddle Tune. The title appears in a list of Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published n 1954.
DEVILISH MARY. Old-Time, Breakdown. USA, Missouri. A
Mixolydian. Standard tuning. AB (Beisswenger & McCann): AA’BB’ (Thede).
Actually, there are several versions of this tune in circulation, some derived
from the air to a song called “Devilish Mary,” and some rather distances. Modes
for the tunes range from minor to mixolydian. See the related
Illinois-collected “Jump in the Well, My Pretty Little Miss.” An early recorded
version of “Devilish Mary” was by the north Georgia duo of Gid Tanner and Riley
Puckett in 1924. Thede’s source gave the following lyric (sung to the first
strain only):
***
The prettiest girl I ever saw
They called her Devilish Mary,
She says she’s mine, and that’s just
fine,
And now we’re going to marry.
***
We hadn’t been married about six
months
She got mean as the devil;
Ever’ time I looked cross-eyed,
She’d hit me in the head with a
shovel.
***
Sources for notated versions: Jubal
Anderson (Pottawatomie County, Missour) [Thede]. Glenn Rickman (1901-1982,
Hurley, Missouri), the first tune he learned to play [Beisswenger &
McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 110.
Thede (The Fiddle Book), 19, pg. 101. Copper
Creek CCCD-0196, Tom, Brad & Alice – “We’ll Die in the Pig Pen Fighting.”
DEVILLIER('S)
TWO-STEP.
Cajun, Two‑Step. USA, La. D Major. Standard tuning. AB (Sing-Out):
BB(Vocal)BBAAB(Vocal). A traditional Cajun dance tune. Devillier is a family
rather than a place name, notes Raymond Francois (1990), who says related tunes
include "Don't Bury Me,"
"The Cemetary," "Enterre-moi
Pas" and "Enterre-moi
Pas dans l'Cimetiere." Sources for notated versions: Michael Doucet
(La.) [Sing Out]; Dennis McGee (La.) [Francois]. Francois (Yé Yaille), 1990; pgs. 114-115. Sing
Out, vol. 35, No. 3, Fall 1990; pg. 9. Swallow
Records SW-6030, Dennis McGee.
DEVIL’S BALL, THE. AKA
and see “Whiskers,” “Taney County Special.” Old-Time, Country
Rag. The tune was called “The Devil’s Ball” by fiddler Raymond Campbell.
DEVIL'S DELIGHT. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Major.
Standard tuning. AABB. Composed by fiddler and composer Dan R. MacDonald
(1911-1976, Cape Breton) who originally called it “The Dismal Reel.” It was
renamed by Aberdeen fiddler J. Murdoch Henderson (1902-1972) who thought it a
better tune than the first title deserved. Sources for notated versions: Tim
Woodbridge (Hartford, Conn.) [Hinds]; Ervan Sonier {1920-1994} & Toussaint
Arsenault {b. 1916} (Summerside, East Prince County, Prince Edward Island)
[Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Fitzgerald), 1997; No. 86, pg. 37.
Hinds/Hébert (Grumbling Old Woman),
1981; pg. 10. Perlman (The Fiddle Music
of Prince Edward Island), 1996; pg. 92. CX 17,
Winston Fitzgerald (as “The Dismal Reel”). Glencoe GMI‑001, "Cape
Breton Symphony.”
DEVIL'S DREAM [1] (Aisling An Diabail). AKA and s see "The De'il Among the Tailors,"
"Satan's Nightmare." See
note for "Parody." British Isles,
Canadian, American, Old‑Time; Reel or Hornpipe. USA; Connecticut, New
Hampshire, Maine, Pennsylvania, New Jersey, New York, Michigan, Tennessee,
Mississippi, Arkansas, Missouri, Kentucky. England, Shropshire. Canada; Quebec,
Prince Edward Island. A Major (most versions): G Major (Hardings, Shaw).
Standard tuning. One part (Burchenal, Lowinger): AB (Silberberg): AABB (most
versions): AABBCC (Kershaw, O'Neill/1001): AABCDEFG (Kerr). Despite its
occasional appearance in the South, it is known as a Northern tune. Linscott
(1939) thought the tune to be of Irish origins, but it has since been rather
easily traced to a Scottish reel, "The De'il Among the Tailors,"
composed c. 1790, and it appears in the Scottish Kerr collection (vol. 4) as “Devil’s
Dream.” In America it has almost invariably been known by the “Dream” title,
while in the British Isles it is always found under the Tailor/Taylor
title--notwithstanding its appearance in Kerr as “Devil’s Dream,” which may
have been evidence of a transatlantic return of the piece. Bayard (1981) notes that the tune, like
"Soldier's Joy," has been transplanted to Scandinavia. It was of the
tunes cited by Lettie Osborn (New York
Folklore Quarterly) as having been commonly played for dances in Orange County,
New York, in the 1930's. Linscott recorded a dance, also called "Devil's
Dream," for which this tune was played in Hinsdale, N.H., and Howe (c.
1867) and Burchenal (1918) also printed New England contra dances of the same
name to the tune. It was in the
repertoire of Arizona fiddler Kenner C. Kartchner, who said of it "plenty
old and difficult to play properly." New Englanders Tolman and Page (The Country Dance Book) have this to say
about the tune: "All fiddlers are jealous of their accomplishments, you
know, and it is an absolute impossibility to be accepted into their clan unless
one can perform both 'Devil's Dream' and 'Speed the Plow' in a creditable
manner, preferably with home‑made variations. Old Theophilus (Parse) Ames
used to say that a fiddler without his own version of 'Devil's Dream' was of
'as much account as a string of wampum in the Washington mint'" (pg. 112).
Boone County, Missouri, fiddler Cyril Stinnet (1912-1986) probably didn't
agree, for although it was the first tune he learned on the fiddle at age 8, he
once later remarked he did not much care for the piece. The tune was rumoured
(in New Jersey, for one place) to have
been composed by Satan himself (and played on the 'devil's box', or the fiddle)
{Cauthen, pg. 202}. It was in the repertories of fiddlers Uncle Jimmy Thompson
(1848‑1931) {Texas, Tenn.), Harry Daddario (Union County, Pa.), and Henry
Ford's late 1920's champion Mellie Dunham (Maine). It was recorded in the early
1940's from Ozark Mountain fiddlers by musicologist/folklorist Vance Randolph
for the Library of Congress, and recorded in 1951 by Malvin Artley for his
eventual 1955 dissertation on the West Virginia Country Fiddler from the
playing of Arden Wilson, of Harrisville, West Virginia (AFS 14,087).
***
Thomas Hardy, English novelist,
fiddler and accordion player, mentions the tune in his novel The Return of the Native (Book Second, chapter 5):
***
The air was now that one without any particular beginning,
middle, or end, which perhaps among all the dances which
throng an inspired fiddler's fancy, best conveys the idea of
the interminable ‑ the celebrated 'Devil's Dream'. The fury
of personal movement that was kindled by the fury of the
notes could be approximately imagined by these outsiders
under the moon, from the occasional kicks of toes and
heels against the floor, whenever the whirl round had been
of more than customary velocity.
***
Sometimes lyrics such as these have
been attached to the tune:
***
Forty days and forty nights
The Devil was a‑dreaming,
Around the bark, old Noah's ark
The rain it was a‑streaming.
The monkey washed the baboon's face,
The serpent combed his hair,
And up jumped the Devil
With his pitchfork in the air. (Ford)
***
The title is among those mentioned in
Patrick J. McCall’s 1861 poem “The Dance at Marley,” the first three stanzas of
which goes:
***
Murtagh Murphy’s barn was full to the door when the eve
grew dull,
For Phelim Moore his beautiful new pipes had brought to charm them;
In the kitchen thronged the girls - cheeks of roses, teeth of pearls -
Admiring bows and braids and curls, till Phelim’s notes alarm them.
Quick each maid her hat and shawl hung on dresser, bed, or wall,
Smoothed down her hair and smiled on all as she the bawnoge entered,
Where a shass of straw was laid on a ladder raised that made
A seat for them as still they stayed while dancers by them cantered.
***
Murtagh and his vanithee had their chairs brought in to
see
The heels and toes go fast and free, and fun and love and laughter;
In their sconces all alight shone the tallow candles bright -
The flames kept jigging all the night, upleaping to each rafter!
The pipes, with noisy drumming sound, the lovers’ whispering sadly drowned,
So the couples took their ground - their hearts already dancing!
Merrily, with toe and heel, airily in jig and reel,
Fast in and out they whirl and wheel, all capering and prancing.
***
“Off She Goes,” “The Rocky Road,” “The Tipsy House,” and
“Miss McLeod,”
“The Devil’s Dream,” and “Jig Polthogue,” “The Wind that Shakes the Barley,”
“The First o’May,” “The Garran Bwee,” “Tatther Jack Welsh,” “The River Lee,”
-
As lapping breakers from the sea the myriad tunes at Marley!
Reels of three and reels of four, hornpipes and jigs galore,
With singles, doubles held the floor in turn, without a bar low;
But when the fun and courting lulled, and the dancing somewhat dulled,
The door unhinged, the boys down pulled for “Follow me up to Carlow.”
***
Seattle fiddler and musicologist Vivian Williams writes: "’Devil’s Dream’ was played by fiddler Jake Lake (originally from Cook County, Illinois) at the wedding of Henry Van Asselt and Catherine Jane Maple in a cabin on the Duwamish River, near Seattle, on Christmas Day, 1862, according to an account written by the bride's brother, John Wesley Maple. Other tunes played at that wedding: ‘’The Unfortunate Dog’, ‘Fishers Hornpipe’, ‘The King's Head’, ‘Gal on a Log’, ‘Arkansas Traveller’.”
***
Sources
for notated (print) versions: Dennis McClure (Willimantic, Conn.) [Linscott]; John Dingler, 1977
(central New York State, learned from his father) [Bronner]; eight southwestern
Pa. fiddlers [Bayard]; Bill Monroe (Ky.) [Lowinger]; Kelly Jones (Mo.)
[Phillips]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman];
contained in the 19th century Joseph Kershaw Manuscript—Kershaw was
a fiddle player who lived in the remote area of Slackcote, Saddleworth, North
West England, who compiled his manuscript from 1820 onwards, according to Jamie
Knowles [Kershaw]; Sterling Baker (b. mid-1940's, Morell, North-East Kings
County, Prince Edward Island; now resides in Montague) [Perlman].
***
Print
Sources: Adam, No.
68. Ashman (The Ironbridge Hornpipe),
1991; No. 26a, pg. 7. Bayard (Dance to
the Fiddle), 1981; No. 334A‑H, pg. 314‑317. Brody (Fiddler’s Fakebook), 1983; pg. 85.
Bronner (Old Time Music Makers of New
York State), 1987; No. 41, pgs. 159‑160. Burchenal, 1918; pg. 14.
Cazden, 1955; pg. 36. Cole (1000 Fiddle
Tunes), 1940; pg. 30. DeVille, No. 77. Ford (Traditional Music in America), 1940; pg. 62. Hardings All‑Round Collection, 1905; No. 182, pg. 58. Howe (1000 Jigs and Reels), c. 1867; pg. 74.
Jarman (Old Time Fiddlin' Tunes); No.
or pg. 4. Kerr (Merry Melodies), vol.
4; No. 27, pg. 6. The Joseph Kershaw Manuscript, 1993; No. 57. Linscott
(Folk Songs of Old New England),
1939; pg. Lowinger (Bluegrass Fiddle),
1974; pg. 18. Miller & Perron (New
England Fiddlers Repertoire), 1983; No. 119. O'Malley and Atwood (Seventy Good Old Dances), pg. 12. O'Neill
(Music of Ireland: 1850 Melodies),
1903/1979; No. 1564, pg. 290 (listed as a hornpipe). O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 815, pg. 141. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 108. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 68. Raven (English Country
Dance Tunes), 1984; pg. 163. Ruth (Pioneer
Western Folk Tunes), 1948; No. 19, pg. 8. Ryan’s Mammoth Collection, 1883; pgs. 42 & 54. Shaw (Cowboy Dances), 1943; pg. 390.
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 34. Sweet (Fifer’s Delight), 1964/1981; pg. 53.
Syms, pg. 9. Trim (Thomas Hardy),
1990; No. 21. White's Excelsior
Collection, pg. 42. White’s Unique
Collection, 1896; No. 172 pg. 32.
***
Recorded
Sources: American Heritage 516, Jana Greif‑ "I Love
Fiddlen.'" Biograph RC6006, Bottle Hill‑ "A Rumor in Their Own
Time." CCF2, Cape Cod Fiddlers – “Concert Collection II” (1999). County
747, Clark Kessinger‑ "Sweet Bunch of Daisies." Decca 31540,
Bill Monroe & the Bluegrass Boys." Edison 50653 (78 RPM), Joseph
Samuels, 1919. Elektra 217, Eric Weisberg and Marshall Brickman‑
"Folk Banjo Styles." F&W Records 4, "The Canterbury Country
Dance Orchestra Meets the F&W String Band." Folk Legacy FSA‑15,
Lawrence Older ‑ "Adirondack Songs, Ballads and Fiddle Tunes"
(1963). Folkways FTS 31036, Roger Sprung‑ "Grassy Locks."
Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker (Grand
Rapids, Michigan)" (1966). Folkways 8826, Per's Four‑‑"Jigs
and Reels." Fretless Records 101, "The Campbell Family: Champion
Fiddlers." Gennett 6121 (78 RPM, Uncle Steve Hubbard and His Boys, c.
1928. Legacy 120, Jean Carignan‑ "French Canadian Fiddle
Songs." Recorded for the Library of Congress, 1938, by Patrick Bonner, St.
James, Beaver Island, Michigan; on Library of Congress 1014A2 by Jilson Setters
(Ky.), 1937; and, again for the Library of Congress in 1939 by eighty‑year‑old
Lauderdale County, Mississippi fiddler Stephen B. Tucker. Philo 1040, Jay Ungar
and Lyn Hardy‑ "Catskill Mountain Goose Chase" (1977. Learned
from Putnam County, N.Y. fiddler Bud Snow). Rounder Records, Hobart Smith –
“Southern Journey, vol. 6: Sheep, Sheep, Don’t You Know the Road” (a reissue of
Alan Lomax recordings). Smithsonian Folkways Recordings SFW 40116, Rod Miller -
“Mademoiselle, voulez-vous danser?” (Various artists. Based on Montréal fiddler
Jean Carignan’s version).
X:1
T:Devil’s Dream
M:C|
L:1/8
K:A
|: eg | agae agae | agae fedc | dfBf dfBf | dfBf gfeg |
agae agae | agae fedc | Bcde gfed | cABc A6 :|
|: ed | ceAe ceAe | ceAe fedc | dfBf dfBf | dfBf gfed |
ceAe
ceAe | ceAe fedc | Bcde gfed | cABc A6 :|
DEVIL’S DREAM [2]. Scottish, Hornpipe. A Major. Standard tuning. AA’BB’. A curious and
perhaps very distant variation of “Devil’s Dream [1]." Kerr (Merry Melodies), vol. 4; No. 270, pg.
29.
X:1
T:Devil’s Dream [2]
M:C
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 270
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
(ed)|c2 Ac (BA)GB|Aaga fecA|1 GEEG
Bcde|fcdB AGFE:|2
GABc defg|a2a2a2||:(cd)|eaga
eaga|eaga fecA|1 GEEG Bcde|
fdcd B2:|2 GABc defg|a2a2a2||
DEVIL’S DREAM [3]. Old-Time, Breakdown. A version of “John Brown’s Dream” or “Brown’s Dream” recorded by Hobart Smith. Rounder CD 0032, Hobart Smith.
DEVIL'S DREAM (Old). English, Jig. G Dorian. AABB. Standard tuning. Published before 1730.
Raven (English Country Dance Tunes),
1984; pg. 7.
DEVIL’S GALLOP ROUND THE HOB, THE.
Irish. The name of this tune is mentioned in an account by Crofton Croker of
the playing of the blind uillean piper James Gandsey of County Kerry
(1769-1857). A hob is a raised stone in a fireplace on which cookfires were
built.
DEVIL'S HICCOUGH. Old‑Time, Fiddle Tune. USA, northwest Alabama. The title is
listed in a 1925 master's thesis by S.M. Taylor called "A Preliminary
Survey of Folk‑Lore in Alabama."
DEVIL'S HORNPIPE. Old-Time, Hornpipe. A Major. Standard tuning. AABB'. The melody is
similar to "Speed the Plow [1]"
and "Blanchard's Hornpipe [1]."
It was in the repertoire of Missouri fiddler Roy Wooliver. The title appears in
a list of tunes compiled by W.E.G. of Verbena (Chilton County), Alabama, in the
Union Banner, September 29th, 1922. Source for notated version: John
Hartford [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 189. Rounder
0442, John Hartford – “
DEVILS
IN DUBLIN. AKA- "The Devils o'/of
See also listing at:
Alan
Ng’s Irishtune.info |
X:1
T:Devil’s
in Dublin, The
T:Devils of
Dublin, The
M:C|
L:1/8
K:D
d2 dA
BAGB|AFBF A~F3|A~d3 Adfd|e/f/e df e~B3|
deedB
{c}BAFB|AFBF A~F3|ABde fdce|dBAG FD D2:|
|:a/g/f g/f/e
~f3e|dcBA BAFB|A~d3 Adfd|e~B3 e~B3|
abag
~f3e|defd BAFB|ABde fdce|dBAG FD D2:|
DEVIL’S IN DUBLIN [2], THE.
English, Jig. G Major. Standard tuning. AABB. Kennedy (Jigs
& Quicksteps, Trips & Humours), 1997; No. 27, pg. 9.
DEVIL'S IN THE KITCHEN, THE. See "Devil
in the Kitchen."
DEVIL’S
MAGGOT, THE.
American, Jig. C Major (‘A’ part) & C Dorian (‘B’ part). Standard
tuning. AABB. Composed in the English country dance style by pianist Jonathan
Jensen in 1985. Jensen is also a bassist with the Baltimore Symphony. A
‘maggot’ was an old term for a brief melody—a fancy, or trifle, from the
Italian word magioletta meaning a
plaything. Barnes (English Country Dance
Tunes, vol. 2), 2005; pg. 31.
DEVILS O' DUBLIN, THE. See "Devils in Dublin."
DEVIL'S OWN HORNPIPE. New England, Hornpipe. B Flat Major. Standard tuning. AABB. Composed by
Ralph Page. Page (Ralph Page Book of
Contras), 1969; pg. 13.
DEVIL'S OWN SHOT, THE. American, Jig. D Major. Standard tuning. AABB.
Cole (1000 Fiddle Tunes), 1940; pg.
73. Ryan’s Mammoth Collection, 1883;
pg. 104.
X:1
T:Devil’s Own Shot, The
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
d2A Bcd|edc d2e|fed fag|f2e d2A|d2A
Bcd|edc d2e|fed fag|f2e d2z:|
|:def agf|gef g3|fag fed|gfg efg|def agf|gef (g2.a)|bag fed|ABc d2 z:|
DEVIL’S POLSKA. AKA and see “Hins Polska.”
DEVIL'S PROGRESS, THE. English, Air (6/8 time). G Major. Standard
tuning. AB. The ballad appears in Pills
to Purge Melancholy of 1699, 1707 and 1719. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 75.
X:1
T:Devil’s Progress, The
M:6/8
L:1/8
R:Air
S:Chappell – Popular Music of the Olden Times
(1859)
Z:AK/Fiddler’s Companion
K:G
D2D D2D|E2F G2B|A2G G2F|G6|D2D
D2D|E2F G2B|A2G G2F|(G3 G2)||
A|B2B dG2|F(D2 D2)A|B2c A2G|A6|GD2
GD2|D2D D2D|EE2 F2F|G6||
DEVIL'S REEL. Old‑Time, Fiddle Tune. The tune was recorded in the early 1940's
from Ozark Mountain fiddlers by musicologist/folklorist Vance Randolph for the
Library of Congress.
DEVINE'S HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 114.
McGee, Charles H. - Old Time Jigs &
Reels for the Violin, 1906 (Oliver Ditson Co.). Ryan’s Mammoth Collection, 1883; pg. 152.
X:1
T:Devine’s Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
D/F/A/d/ B/d/A/d/|e/f/g/f/ e/d/B/d/|D/F/A/d/
B/d/A/d/|g/f/e/d/ c/e/A/c/|D/F/A/d/ B/d/A/d/|
e/f/g/f/ e/d/c/d/|g/b/a/g/
f/e/d/c/|ddd :: (f/g/)|a/f/d/f/ c/e/A/c/|d/c/d/A/ B/A/F/A/|
G/B/F/A/ E/G/D/F/|A/g/B/e/
d/c/B/A/|a/f/d/f/ c/e/A/c/|d/f/c/e/ D/F/A/D/|G/B/E/A/ g/f/e/c/|ddd:|
DEVIZES. American, Air or March (4/4
time). A Major. Standard tuning. AABB. Composed by Isaac Tucker. Miller, from
the Bridgewater Collection of Sacred
Music (Boston, 1812). Miller (Fiddler’s
Throne), 2004; No. 334, pg. 197.
DEVLIN’S. Irish, Jig. B Minor. Standard tuning. AABB. Songer (Portland Collection), 1997; pg. 61. Green Linnett SIF1144, Kevin Burke & Open House -
“Second Story.”
DEVONSHIRE GO, THE. English, Jig. B Flat Major. Standard tuning. AABB. Cahusac (Annual Collection of Twenty Four Favorite Country Dances for 1809), 1809; No. 15.
X:1
T:Devonshire Go, The
M:6/8
L:1/8
R:Jig
B:WM Cahusac – Annual Collection of Twenty Four Favorite Country Dances for 1809, No. 15 (London)
N:”With proper Directions to each Dance as they are performed at
N:Court, Bath, and all Public Assemblies.”
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
b2f dBd|f2d f2d|b2f dBd|c2A c2A|b2f dBd|f2d f2d|gfe dcB|ABG FED:|
|:DFB
DFB|EGB EGB|Ace ecA|Bdf fdB|DFB DFB|EGB EGB|Ace ecA|B3 b3:||
DEVONSHIRE HORNPIPE, THE. English? Irish?, Hornpipe. G Major. Standard tuning. AABB. Source for notated version: copied from Wilson’s Companion to the Ballroom (1816) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 318.
X:1
T:Devonshire Hornpipe, The [1]
M:4/4
L:1/8
S:Wilson's Companion to the Ballroom 1816
Z:Paul Kinder
R:Hornpipe
K:G
d2|g2 fe edcB|cecA GFED|B,DGD cBAG|F2 D2 D2 d2|
g2 fe edcB|cecA GFED|B,DGD EGcA|B2 G2 G2:|
|:d2|dcBc de=fd|egBd c2 z e|ed^cd e^fga|fa^ce d2 z d|
g2
g2 gdBd|g2 g2 gece|gdBG EGcA|B2 G2 G2:||
DEVONSHIRE REEL [1],
THE. AKA and see
"Brian Boru’s March [1],"
"Colonel McBain’s,"
"Dan Sullivan's Reel,"
"The Duke of Clarence Reel,"
"General McBean," "Sean Frank," "Sporting Molly."
DEVONSHIRE REEL [2],
THE. English, Reel. C Major. Standard tuning. AAB. Source for notated
version: the 1845-47 music manuscript of Ellis Knowles, a musician from
Radcliffe, Lancashire, England [Plain Brown]. Plain Brown Tune Book,
1997; pg. 14.
X:1
T:Devonshire
Reel, The [2]
M:C
L:1/8
R:Reel
K:C
c2 ec dBAG
| A/B/c GE FD D2 | c2 ec dBAG | A/B/c GF EC C2 :|
ecgtc dBgB
| cAdc BG G2 | AfcF GEcE | FDGF EC C2 | egcg dgBg |
cAdc BG G2
| AcFc GcEc | Fagf ec c2 ||
DEVONSHIRE WALTZ, THE. AKA and see "The Merry Masons."
DEVY HORNPIPE. Scottish, Hornpipe. G Major. Standard tuning. AA’BB. Kerr (Merry Melodies), vol. 4; No. 293, pg.
31.
X:1
T:Devy Hornpipe
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 293 (c.1880’s)
Z:AK/Fiddler’s Companion
K:G
(dc) | BGBd gdcB | Aaaf gdcB |1 BdBG
AcAF | AGFE DFdc :|2 BdBG AcAF |
G2G2G2 ||: (Bc) | dcBA GBdg | e2c2c2
(cd) | edcB Aaag | f2d2d2 (ef) |
gage fgaf | efge dcBA | BdBG AcAF |
G2G2G2 :|
DEW DROP HORNPIPE. American, Hornpipe. A Major. Standard tuning. AABB. The ‘B’ part of
this melody appears in the tune "Brilliancy."
There was a variety house called the Dew Drop In in New York in the Civil War
years. Cole (1000 Fiddle Tunes),
1940; pg. 85. Ryan’s Mammoth Collection,
1883; pg. 119.
X:1
T:Dew Drop Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
e | a/c’/a/e/ c/a/e/c/ | A/e/c/A/ .E.c | d/f/B/d/ c/e/A/c/ |
B/E/G/B/ e/e/f/g/ | a/c’/a/e/ c/a/e/c/ |
A/e/c/A/ .E.c | d/f/B/d/ c/e/A/c/ |
B/E/G/B/ A :: a | g/e/b/g/ e/g/b/g/ | a/e/c’/a/ e/a/c’/a/ |
d’/b/c’/a/ b/g/a/f/ | e/^d/e/f/
e/=d/c/B/ | A/c/e/c/ a/e/c’/e/ | b/e/g/e/ b/e/d’/c’/ | b/a/g/f/ e/d/c/B/ | AaA
:|
DEW DROP WALTZ. Irish? Waltz. D Major. Standard tuning. ABBCCD. Roche Collection, 1982; vol. 3, pg. 45, No. 142.
DEW ON THE GRASS, THE. Irish, Air (4/4 time, "moderately
slow"). A Dorian. Standard tuning. AABB. Copied from one of "two very
old well‑written manuscripts lent to me in 1873 by Mr. J. O'Sullivan, of
Bruff, Co. Limerick" (Joyce). Joyce (Old
Irish Folk Music and Songs), 1909; No. 231, pg. 112.
X:1
T:Dew on the Grass, The
M:C
L:1/8
R:Air
N:”Moderately slow”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Ador
G|A2 AB c2 BA|G2 de d2 cB|AGAB cedc
| B2 AG B3E | A2 AB c2 BG | A2 ag a2a2 |
bagb eaed|B2 AG A2 :: d | efga gega
| gega ge e2 | eaab agab | agab aged | efge gaba |
gega b2b2 | abaf geba | ged=f ed B2
| ABcd eaed | B2 AG A3 ||
DEWDROP. Old-Time, Waltz. From the playing of Kirk and Sam McGee.
DEWDROPS ON THE CORN. AKA and see “Australian Waters,” “Vincent Campbell’s.” Irish, Jig. D
Mixolydian. Standard tuning. AABB. Jerry O’Sullivan –
“The Invasion.”
X:1
T:Dewdrops on the Corn
T:Australian Waters
R:jig
Z:Bill Reeder & Roger Landes
M:6/8
L:1/8
K:D
A|d2D FED|=c3 ed^c|d=cA GEA|~D3 efe|d2D FED|=c3 ed^c|d=cA GEA|~D3 D2:||
|: dB/c/d efg|fed =cAG|dB/c/d efg|fed def|gbg afa|e^cA ABc|d^cA GEA|DD/D/D D2
A:||
DEWEY, DEWEY DAY. Old‑Time, Waltz. USA, North Carolina. In the repertoire of Ashe
County, N.C. stringband the Carolina Night Hawks in the late 1920's.
DEWY MORNING, THE. Irish, Air (3/4 time). F Minor/Dorian.
Standard tuning. AB. Stanford (1902) refers the “Molly Asthoreen” as a similar melody.
Source for notated version: “Mr. MacDowell” [Stanford/Petrie]. Stanford/Petrie
(Complete Collection), 1905; No. 454,
pg. 114.
X:1
T:Dewy Morning, The
M:3/4
L:1/8
R:Air
N:”Andante”
S:Stanford/Petrie (1905), No. 454
Z:AK/Fiddler’s Companion
K:Fmin
C/=E/ FF/G/ | B>A GE/F/ AB/d/ |
cF FE/F/ A{A}c | B>A GA/G/ FF |
E3 C/=E/ FF/G/ | B>A GE/F/ AB/d/
| cF FE/F/ Ac | B>A GA/G/ FF | F3 ||
(A/B/) c=d/=e/ | f2 ee/d/ cd/f/ | e2
GA/B/ cc | B>A GA/G/ FF | E3 (C/=E/) FF/G/ |
BA GE/F/ AB/d/ | cF FE/F/ Ac |
B>A GA/G/ FF | F3 ||
DH' FHAG THU MI FO
BHRON. AKA and see "Thou Hast Left Me Melancholy."
DHÁ ÉAN AR AN CRANN. AKA and see "Two Birds in
the Tree."
DHÁ PHORT. AKA and see “Lil’s Fancy.” Irish, Polka. D
Major. Standard tuning. AABB. Source for notated version: set dance music
recorded at Na Píobairí Uilleann, mid-1980’s [
DHOCHTUIR DHILIS, A. AKA and see "Uair
beg/bheag roimh a' la."
DHOMHNUILL, A; A
DHOMHNUILL. Scottish,
Reel. G Major. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 161.
X:1
T:A Dhòmhnuill, A Dhòmnhuill
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
D|G2Gc Bdde|dBGB AFED|G2Gc Bdde|dBAB G/G/G G:|
f|gfed e/e/e g2|gfed eBBf|gfed e/e/e g2|dBAB G2Gf|
gfed
e/e/e g2|gfed eBBf|gfed efga|bagf g2gb||
DHONAL NA GREINA. AKA and see "Daniel of
the Sun."
DHU HILL, THE. Scottish, Jig. F Major. Standard tuning. AABBCC’.
The key signature of the tune is D major in Kerr’s publication, though it makes
little sense in that key. F major appears correct. Kerr (Merry Melodies), vol. 4; No. 254, pg. 27.
X:1
T:Dhu Hill, The
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 4, No. 254
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:F
F2A cdc | BAG Bcd | c2c fed | cBc F3
:: cBc ABc | dcd B3 |
cBc f2f | cAF F3 :: f2d dcB | ABG
FGA | B2B cBc |1 d3 A2A :|2 dcB ABG ||
_______________________________
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