The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
DE
BEATHA AD' SHLAINTE, UI SHUILLEABHAIN MHOIR. AKA and see "Painneach
na nUbh."
DE BHARR AN CNOCH (Over the Hill). AKA - “De Bharr na gCnoc.” Irish, Slow Air
(3/4 time). D Major. Standard tuning. AB. Ó Canainn (Traditional Slow Airs of
DE BHARR NA gCNOC IS
IN IMIGÉIN. AKA and see “Over the Hills and Far Away
[4].”
DE DELAI LOU RIBOTEL. French, Valse (3/4 time). C Major. Standard tuning. AABB. Stevens (
DE GHRÁ NA
SEAN-MHEASÚLACHTA. AKA and see "For the Sake of Old Decency."
DE GOLYER. American, Hornpipe. B Flat Major. Standard tuning. AABB. The melody is
attributed to “Garfield” in Ryan’s
Mammoth Collection (1883), apparently a joke as the De Golyer
paving-contract scandal was one of two involving President James Garfield
(1831-1881). At the time
X:1
T:De Golyer
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:B_
F | B/A/B/c/ B/c/d/e/ | f/=e/f/g/
f/d/c/B/ | f/=e/f/g/ f/d/c/B/ | A/f/c/A/ F(G/A/) | B/A/B/c/ B/c/d/e/ |
f/=e/f/g/ f/f/g/a/ | b/a/g/f/
=e/f/g/a/ | fff :: c/B/ | A/f/c/f/ A/f/c/f/ | B/f/d/f/ B/f/d/f/ | g/a/b/a/
g/f/e/d/ |
c/B/A/G/ F/G/A/F/ | B/c/d/B/ G/A/=B/G/
| c/d/e/c/ A/B/c/A/ | B/b/a/g/ f/e/d/c/ | dBB :|
DE MARTELLY. American, Contra Dance Tune (6/8 time). G Major. Standard. AABB. A
modern composition by caller Dudley Laufman (Canterbury, New Hampshire), in
honor of the de Martellys, a family who lived and worked in a converted barn in
Nelson, New Hampshire, the site of many dances. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and
Down the Hall), 1973; pg. 31.
DČ NI MI GUN LČINE
GHLAN (What will I do without
a clean shirt?). Scottish, Air (6/8 time). D Mixolydian.
Standard. AABB. Martin (Traditional
Scottish Fiddling), 2002; pg. 24.
DEACON JONES. Old‑Time. County 410, "The
DEACON OF THE WEAVERS. Scottish. Glen (1891) finds the earliest printing of this tune in Robert Bremner's 1768 2nd collection
(pg. 104).
DEAD MARCH. Composed by Kentucky bluegrass mandolinist Bill Monroe. Bee Balm 302, “The Corndrinkers.”
DEAD MARCH IN SAUL, THE. English, March. Saul was composed by George Frideric Handel in 1738-39. This has
become one of the most famous of funeral airs, used on may occasions in the 18th
and 19th centuries. It was, for example, played during the progress
of the hero Lord Horatio Nelson’s casket from
***
Early in the morning the Gloucester’s boats, manned and
armed with
a guard of marine drums and fifes, went up to Kingston, returning
in a procession towing the launch with the captain and nine pirates,
the drums and fifes giving out the ‘Dead march in Saul’ ‘Adeste
Fideles,’ etc. The following
morning the other ten were also exe-
cuted—a fearful sight. No men could go to their death with less
apparent concern. Before the
captain first went up the ladder he
called upon his men to remember they were before foreigners and
to die like Spaniards. [Michael Pawson & David
Buisseret,
***
X:1
T:Dead March in Saul, The
M:C
L:1/8
N:”Adagio”
K:C
E2E2E2zE|ED/E/ FE D2 z2|F2 FG/A/ F2
zA|GF E(3D/E/F/ E2z2|
G2G2G3 G/A/|_BBBA G2 zG|GF zE ED
zG|GF/E/ FE D4:|
|:G2A2B2 zc|BA/G/ A^F GD G2|(G4 G2)
(A2|A)G/F/ E>D D2 z2|
e2 e>f/g/4 e2 ze|dcfe d2 z2|g2
c’2g2 zg|.f.e.d>c. c2 z2||
DEAD NIGGER, THE. See "The Dead Slave."
DEAD SLAVE, THE. AKA‑ "The Dead N….r." AKA and see “Fiddler’s Hoedown.” Old‑Time,
Breakdown. USA, Missouri (an "old Boone County tune"‑Christeson).
D Major. Standard or ADae. AABB (Christeson): AABBCC' (Phillips). Howard
Marshall informs that this tune was popularized by "The Fiddlin’
Sheriff," George Morris, of Columbia in the 30s, 40s, and early 50s. “The title of the tune is said by many,
including the late Taylor McBaine, to commemorate a public lynching of a black
man in Columbia, sometime in the late 1920s. The victim of the lynching was
accused of raping the young daughter of a professor at the University of
Missouri and was awaiting trial. The
site of the rape was a wooden bridge (now gone) over the old KATY railroad
tracks on the west side of campus; when the mob took the fellow from the Boone
County jail up town, they brought him to the spot and hung him from the bridge
over the KATY tracks. The girl's father
pleaded with the mob, but to no avail.
The story was covered in local papers.
I think "Dead Slave" was Bob Christeson's "AKA" for
the actual title…” Missouri fiddlers also call the tune “Fiddler’s Hoedown,”
while the Ozarks breakdown “Brickyard
Joe [1]” has a similar first strain. Source for notated version: John
Hartford [Phillips]. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 67. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2),
1984; pg. 64.
DEADLY WARS, THE. English, March. C Major. Standard. AA'BB'.
Carlin (Master Collection), 1984; pg.
32, No. 36.
DEAF OLD MAN, THE. AKA and see "An Seanduine Spad-Chluasach."
DEAF WOMAN'S COURTSHIP. AKA and see "Ducks on
the Millpond."
DEAL CONFOUND YE
MOLDRATT (!?!). Northumbrian. One of the
"missing tunes" of William Vickers' 1770 Northumbrian dance tune
manuscript.
DEAL STICK THE
MINISTER [1].
Scottish, Dance Tune (3/4 time). A Minor. Standard. AB. Printed in Henry Playford's
1700 collection of Scottish dance tunes. "(It) is still as well‑known
as it was in 1683 when a Stirling man was 'tried for reviling a parson,' in
causing the piper play ‘The Deil Stick the Minister’. Sundry pipers were there
present as witnesses, to declare it was the name of ane spring'"
(Alburger, 1983). Alburger (Scottish
Fiddlers and Their Music), 1983; Ex. 7, pg. 25.
DEAL STICK THE
MINISTER [2].
See "De'il Stick the Minister."
DEALADOIR, AN (The Wheelwright). AKA and see "The Wheelwright."
DEAN BRIG/BRIDGE O' EDINBURGH, THE. AKA and see "Miss Gray of Carse/Corse."
Scottish, Air or Slow Strathspey. E Flat Major. Standard. One part (Bain): AB
(Hunter, Skinner). The Dean Bridge is a sandstone structure to the northwest of
central Edinburgh some 447 feet in length, spanning a deep valley over the
Water of Leith. It was opened in 1831 after being designed and built by Thomas
Telford. The new bridge opened access to the north of the city, during the
development of the New Town.
***
The Dean Brig of Edinburgh
***
The composition credited to Airchie,
or Archibald, Allan (1794‑1831) of Forfar (who was thought to have been a
fiddler in Nathaniel
Gow's band for a time, and who, according to Alexander Lowson, played
"neat and powerful especially in the Strathspeys"), though Alburger
(1983), seemingly alone, believes he is unlikely to have written it‑‑"Compilers
at least from the time of Skinner (including Emmerson, 1971) have written that
Allan originally published this as 'Miss Gray of Carse;' however, the tunes
have nothing in common." Skinner (1904), Hunter (1988) and Hardie (1992)
all agree that the tune was originally "Miss Gray of Carse," and say
Peter Milne took it up, made it a specialty and played it into popularity under
the present title. Honeyman (1898)
falsely identifies another source for the melody: "This lovely melody is
given in some collections as a composition of Peter Milne's,
but that is a mistake. It was written by the Rev. Mr. Tough, but improved by
Milne, who raised the first half of the second part an octave higher, though by
doing so it is make to challenge comparison with the second part of 'Lady Mary
Ramsay,' which Mr. Tough seems to have wished to avoid. It must be played with
long sweeping bows, and makes a capital solo, followed with 'Bank's Hornpipe,'
and finishing with the 'Trumpet Hornpipe.'" The first ascription to the
Rev. Tough of Kinnoul as composer of the tune was in Davie's Caledonian Repository, where it appeared
first under the "Dean Brig" title. J. Scott Skinner’s (1904) note
reads:
***
The original title of this tune was ‘Miss Gray of Carse.’ The Rev. Mr.
Tough, Kinnoul, got
hold of a copy and gave it to Davie of Aberdeen, who published it in his
Caledonian
Repository
as Mr. Tough’s under the new name of “Dean Bridge.” The tune was ably revised by Peter
Milne, and C. Middleton, Keith, in his book made the mistake of
assigning it to him.
Ultimately both the minister’s name and Peter’s were withdrawn, and the
tune was credited
to its rightful author, Archie Allan of Forfar, who was one of the very
best players and
composers of his day.
***
Bain (50 Fiddle Solos), 1989; pg. 18. Hardie (Caledonian Companion), 1992; pg. 67 (with variations by J.F.
Dickie). Honeyman (Strathspey, Reel and
Hornpipe Tutor), 1898; pg. 35. Hunter (Fiddle
Music of Scotland), 1988; No. 181. Skinner (The Scottish Violinist), pg. 40. Skinner (Harp and Claymore Collection), 1904; pg. 20.
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Dean Bridge of Edinburgh, The
M:C
L:1/8
S:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
R:Slow Strathspey
K:Eb
E/F/G/A/|B>c B<e B<G
G>=F|E>FG>F E<B, B,2|C>EB,>E A,>E G,2|
C>F F>_E D/E/F/D/
B>G|B>c B<e B<G G>=F|E>FG>F E<B, B2|
C>AB,>G A,>F
G,>c|B>cB>D (E2 E)||f|g>e e>g f<d d>f|e<c c>^a
b<B B>_d|
c<A A>c B<G GB|c<F
F>_E D/E/F/D/ B,>F|G<E E>G F<D D>F|
E<C C>=A _B<B,
B,>E|C>AB,>G A,>F G,>c|B>cB>D (E2 E)||
DEAN BRIG REEL, THE. Scottish, Reel. E Flat Major. Standard. AB.
Composed by Peter
Milne (1824-1908), originally appearing in his Selection of Strathspeys, Reels (1870). Milne was known as the
'Tarland Minstrel', and was so enamoured of his craft that he once said,
"I was that fond o' my fiddle, I could sit inside it and look oot."
Hardie (Caledonian Companion), 1986;
pg. 44.
DEAN MARCAIGEACT MILE. AKA and see "Ride a Mile."
DEAN MASSEY. Irish, Air or Planxty. Composed by blind Irish harper Turlough
O'Carolan (1670-1738) in 1720 on the occasion of his visit to Charles and Grace
Massey (nee Miss Grace Dillon) at Doonass, County Clare. Charles Massey was the
Dean of Limerick. The only portrait of O'Carolan was drawn at this time by a
dutch artist who was in the neighborhood.
DEANFAD MA TIG LIOM. AKA and see "I Will If I Can
[1]."
DEANFAID PORT EILE. AKA and see "Another Jig
Will Do."
DEAN’S FAVORITE. Old-Time, Breakdown. USA, Virginia. C Major.
Standard. AB. The title comes from Alan Jabbour, named for the son of Glen Lyn,
Virginia, fiddler Henry Reed. Dean is the brother of James Reed, Jabbour’s
friend and accompanist, and, since he frequently requests the tune and it has
no title, Jabbour christened it in his honor. Source for notated version: Alan
Jabbour, from Henry Reed [Silberberg]. Silberberg (Tunes I Learned at
Tractor Tavern), 2002; pg. 34.
DEAR AILEEN I’M GOING TO
LEAVE YOU. Irish, Air (3/4 time). Ireland,
County Cork. F Minor. Standard tuning. One part. Identified by the collector as
a Cork tune. Source for notated version: collected in the mid-19th century by
George Petrie from P. MacDowell [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 300, pg.
75.
DEAR ALICE. AKA and see "Chere Alice."
DEAR BASSETTE. AKA and see "Chere
Bassette."
DEAR BLACK COW [1] (Druimin Dubh). AKA and see "The
Black Cow." Irish, Air (3/4 time). G Dorian. Standard tuning. AAB. The
words lament the loss of a cow, comparing it to the celebrated mythological
Irish cow which could never be fully milked. In Bunting's 1840 collection he
gives a few verses of a political song in which "the black cow"
serves as a "very whimsical metaphor, the cause of the exiled
monarch." Other writers, notably George Petrie, Patrick Walsh, Margaret
Hannegan, Seamus Clandillon and Redfern Mason, believe "Drimin/Druimin
Dubh" (or "Dhriman Dhoun Deelish" "Drimin donn Dilis"
etc.) also note the title's symbolizm with Ireland. Cazden (et al, 1982) finds
that, "with sufficiently imaginative adjustment," the melody
resembles the "Drimindown" tune family, which includes O'Neill's
"The Sorrowful Maiden" and Cazden's own Catskill Mountain (New York)
collected ballad "The Maid on the Shore." Source for notated version: noted by the Irish collector Edward
Bunting from the playing of harper Arthur O'Neill, 1800. O'Sullivan/Bunting,
1983; No. 42, pgs. 63-64.
DEAR BLACK COW [2] (An Druim-Fionn Dub Dileas). AKA and see "Colly, My Cow," "The Peasant's
Grief." Irish, "Very Slow" Air (3/8 time). E Minor. Standard
tuning. One part. A variation of version #1. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 130, pg. 23.
X:1
T:Dear Black Cow [2]
M:3/8
L:1/8
R:Air
N:”Very slow”
S:O’Neill – Music of Ireland (1903), No. 130
Z:AK/Fiddler’s Companion
K:Emin
(E/>F/) | (G2F) | E/>E/^D
(E/>F/) | (G2F) | Ez (D/>E/) | (F2E) | (D/>B,/A,/>B,/D/>E/) |
(F2E) |
Dz(E/>F/) | (G2F) | E/>E/^D
(E/>F/) | (G2A) | G/>F/ F2 | (E/F/G/A/B/>d/) | ee (3c/B/A/ | (G2F) |
E2 ||
DEAR BLACK
WHITE-BACKED COW, THE (Druimin Dubh
Dílis). Irish,
Air (3/4 time). G Dorian. Standard tuning. AAB. "...From Mr. James Blair,
Armagh. Forde gives this in connexion with Bunting's Druimin dubh, and with
several other settings of it taken from different individuals. But this version
of Mr. Blair is so different from all that it may be said to be a distinct
air" (Joyce). Cazden (et al, 1982) also concludes that this melody is
unrelated to other "Druimin Dubh Dilis" or "Drimindown"
tunes. O’Neill (1922) says: “In former times it was much more common to
find a white stripe along the spine of brown or black cows, and this coloration
was called "Druim-fionn", or white-black, which became
"Drimmin" or "Drimen". Thus we have "Drimmin-fionn-dubh"
or White-back black cow, etc. In poetical literature those titles are
allegorical. "Drimmin Dhu" was a political password among the Irish
Jacobites, and all "Drimmin" songs breathe a spirit of fealty to the
Jacobite cause.” Joyce (Old Irish Folk Music and Song), 1909;
No. 445, pg. 250.
X:1
T:Dear
Black White-Backed Cow, The
T:Druimin
Dubh Dílis
M:3/4
L:1/8
R:Air
N:”Sow and
with feeling”
B:Joyce – Old
Irish Folk Music and Songs, No. 445 (1909)
Z:AK/Fiddler’s
Companion
K:Gdor
(3DEF|G2G2 AG|F2G2A2|A2 f2e2|d4
de|f2e2 fd|c2B2A2|
B2c2A2|G4:||D2|G4 G2|F2D2D2|F4
D2|D4D2|G4 G2|F2G2A2|
A2f2e2|d4 de|f2e2
fd|c2B2A2|B2c2A2|G4||
DEAR CATHOLIC BROTHER. Irish, Air. In
DEAR COLLIN. English, Jig (12/8 time). England, North‑West. A Minor. Standard
tuning. AABB. Knowles (Northern Frisk),
1988; No. 99.
DEAR DARK ROSE, THE. AKA and see "Roisin Dubh."
DEAR DARLING. AKA and see "Chere Cherie."
DEAR DOCTOR. AKA and see "Doctor, Doctor."
DEAR EVERYTHING. AKA and see "Chere
Tout-Toute."
DEAR FOSTER BROTHER
AVOID THE TOWER.
See “A cho-dhalta mo ruin! Seachainn an dun!”
DEAR IRISH BOY [1], THE. Irish, Air (3/4 time). A Aeolian. Standard
tuning. AB. Roche Collection, 1982;
vol. 1, pg. 25, No. 49
DEAR IRISH BOY [2], THE (An Buacaill Dileas Ua Eirinn). AKA and see "Dear Irish Maid," "The Wild Irish Boy [1]." Irish,
Slow Air (3/4 time). E Aeolian (O'Neill, Roche): D Minor (Joyce). Standard
tuning. AB. "This was universally known, sung, and played in my early days
(c. 1845). The words smack of the classical schoolmaster, and there are a few
strained expressions. Nevertheless, taken as a whole it is very pleasing: and
its under‑current of tenderness more than compensates for the spice of
pedantry. The pathetic beauty of the air renders praise from me unnecessary. I
give it here just as I learned it. My versions of air and words differ from
those already published. There is another song to this air, 'O, Weary's on
Money, and Weary's on Wealth,' which will be found in the collections of Duffy,
Williams, Lover, Barry, and others" (Joyce). John Moulden finds the first
publication of the song to be in the Dublin
Monthly Magazine of March, 1842, as gives two sets of words (calling the
‘My Connor’ set the older). The magazine records that the air was contributed
by a Mr James Barton and was believed to be the composition of his brother,
John Barton, who had other compositions to his credit. The lyrics below are
found in H. Halliday Sparling's Irish
Minstrelsy (1887).
***
My Connor, his cheeks are as ruddy as morning,
The brightest of pearls do but mimic his teeth,
While nature with ringlets his mild brows adorning,
His hair Cupid’s bow-strings, and roses his breath.
Smiling, beguiling, cheering, endearing,
Together how oft o’er the mountains we strayed,
By each other delighted and fondly united,
I have listened all day to my dear Irish Boy.
***
No roebuck more swift could fly over the mountain,
No veteran bolder meet danger or scars;
He’s sightly, he’s sprightly, he’s clear as the fountain,
His eyes twinkle love - oh! He’s gone to the wars.
Smiling, beguiling, etc.
***
The soft tuneful lark, his notes changed to mourning,
The dark screaming owl impedes my night’s sleep,
While lonely I walk in the shade of the evening,
Till my Connor’s return I will ne’er cease to weep.
Smiling, beguiling, etc.
***
The war being over, and he not returned,
I fear that some dark, envious plot has been laid,
Or that some cruel goddess has him captivated,
And left here to mourn his dear Irish maid.
Smiling, beguiling, etc.
***
In the recent past it was a favorite
slow air of pipers, with versions renditions on record by Willie Clancy, Tommy
Reck, Leo Rowsome and Felix Doran. James Kelly (1996) remarks that the air was
a favourite of
***
Source for notated version: Chicago
Police Sergeant James O’Neill, a fiddler originally from County Down and
Francis O’Neill’s collaborator [O’Neill]. Joyce (Old Irish Folk Music and Songs), 1909; No. 398, pg. 207. O'Neill
(1915 ed.), 1987; No. 68, pg. 42 (appears as "The Wild Irish Boy").
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 73, pg. 13. Roche
Collection, 1982; vol. 1, pg. 25, No. 50. Capelhouse
Records, James Kelly – “Traditional Irish Music” (1996). Claddagh CC11, Leo
Rowsome – “The Drones and Chanters, vol. 1.” Ossian OSS 53, Fintan Vallely –
“Totally Traditional Tin Whistles.” Danny O’Donnell – “The Donegal Fiddler.”
X:1
T:Dear Irish Boy, The [2]
M:3/4
L:1/8
R:Air
N:”Slow and tenderly”
S:O’Neill – Music of Ireland (1903),
No. 73
Z:AK/Fiddler’s Companion
K:Dmin
D>E | F3 F ED | A2 G3 {A/G/}E |
D2 D2 ED | D2 C2 DE | F2 E3 {F/E/}D |
E2 A2 A>G | F2D2E2 | D4 DE | F3 F
E{F/E/}D | A2 G3 {A/G/}E |
D2 D2 ED | D2 C2 DE | F3 G A/B/^c |
d4 A>G | F3 D E<A |D4 || A^c |
d2 A2 A2 | d2 A2 AG | F2 D2 E{F/E/}D
| D2 C2 AG | A2 d2 de | f2 e2 dc |
A2 d2 {f}e2 | d4 de | f2e2d2 | d2 A2
AG | F2 D2 E<D | D2 C2 DE |
F3 G A/B/^c | d4 A>G | F3 D
E<A | D4 ||
DEAR IRISH BOY [3], THE. Irish, Slow Air (4/4 time). D Minor. Standard
tuning. AB. This is a duple time version of the same tune as [2]. Source for
notated version: the whistling of James Connor, porter (Dublin, Ireland)
[Darley & McCall]. Darley & McCall (Darley
& McCall Collection of Irish Music), 1914; No. 59, pg. 26.
DEAR IRISH MAID. AKA and see "Dear Irish Boy [2].”
DEAR LISA. AKA and see “Have a Drink
with/on Me.”
DEAR LITTLE ISLAND, THE (An Oileanin Dileas). AKA and see "The Tempest [1]," "Ap Shenkin," "Even and Odd, Like Tom
with His Hod," "Mississippi."
Irish, March (6/8 time). G Major. Standard tuning. AB. A form of the tune best
known as "The Tempest." Bayard (1981) dates the air from at least the
early 19th century. He found the tune in Parry's The Welsh Harper (vol. 1, pg. 105), with the claim that it had been
"Composed by J. Parry, 1803," who complained that it had been pirated
by other publishers in the
X:1
T:Dear Little Island, The
M:6/8
L:1/8
R:March
S:O’Neill – Music of Ireland (1903), No. 1831
Z:AK/Fiddler’s Companion
K:G
d/c/ | B2B Bgf | e2e efg | d>ed
dcB | BAA A2 d/c/ | B2B Bgf | e2 e efg |
ded cBA | AGG G2 || g/a/ | b2g a2f |
gfe dcB | cde dgB | BAA A2 g/a/ |
b2g a2f | gfe agf | bag fge | dgf
edc ||
DEAR LITTLE ONE. AKA and see "Chere Petite."
DEAR LITTLE SHAMROCK, THE (An Seamrogin Dileas). Irish, Air (3/4 time). D Major. Standard
tuning. One part. Source for notated version: Chicago Police Sergeant James
O’Neill, a fiddler originally from County Down and Francis O’Neill’s
collaborator [O’Neill]. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 178, pg. 31.
X:1
T:Dear Little Shamrock, The
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 178
Z:AK/Fiddler’s Companion
K:D
Ad | f4 ff | f4 f2 | e2f2e2 | d4 dd
| d2f2a2 | a2g2f2 | f2 e2 z2 | z2z2 de |
f2g2f2 | f2e2d2 | e2f2e2 | d4 dB |
A2d2f2 | a2g2e2 |e2 d2 z2 | z2z2 cd |
e4 fe | e2 c2 d2 | e2c2a2 | e2 c3e |
a4 gf | e4 dc | B2e2d2 | c2 A2 Ad | f3f f2 |
f2 d2 (A/B/c/d/e/f/) | g3g g2 | g2
e2 A2 | d4 ef | g3a b2 | a2 g2 f2 | e2 d2 ||
DEAR MEAL (IS CHEAP
AGAIN), THE. AKA and see "Lucy Campbell [2]," "Cairngorum," "Leap Year [2]." Scottish, Reel. D
Major. Standard tuning (fiddle). AB.
X:1
T: The Dear Meal is Cheap Again
R:Reel
Q: 232
K:D
M:4/4
L:1/8
|:B|AF ED dF ED|EB BA BE EB|AF ED dg fe|dB AF AD DB|
AF ED dF ED|EB BA BE EB|AF ED dg fe|dB AF AD Df|
ab af de fd|ee ba be ef|ab af dg fe|dB AF AD Df|
ab
af de fd|ee ba be ef|ab af dg fe|dB AF AD D:|
DEAR MOM. AKA and see "Chčre Mam'."
DEAR MOTHER HE IS GOING, AND I KNOW NOT HOW TO BID HIM
STAY.
Irish, Air (3/4 time). E Flat Major. Standard. One part. Stanford/Petrie (Complete Collection), 1905; Nos. 759
& 760, pg. 190.
X:1
T:Dear mother he is going, and I know
not how to bid him stay [1]
M:3/4
L:1/8
N:”Andante”
R:Air
S:Stanford/Petrie (1905), No. 759
Z:AK/Fiddler’s Companion
K:Eb
(B/A/) GE | F_d B/A/F/E/ FE/F/ | EE
E (g/f/) e(B/A/) | (B>c) d(e/f/) g(f/e/) |
ee e2 (E/F/G/A/) | (B>c) de/f/
g(f/e/) | d>e d/B/A GE | F_d B/A/F/E/ FE/F/ | EE E :|
X:2
T:Dear mother he is going, and I
know not how to bid him stay [2]
M:3/4
N:”Andante”
R:Air
L:1/8
S:Stanford/Petrie (1905), No. 760
Z:AK/Fiddler’s Companion
K:Eb
B/A/ GE | F_d (B/4A/4F/4E/4)
(F/E/4)F/4 .E.E | E3 g/f/ eB/=A/ |
(B>c d/)e/4f/4 g/f/4g/4 ee | e3
(E/F/) GA | B>c d/e/4f/4 gf/4e/4 _d>e |
{_d}B3 AGE | F_d (B/4A/4F/4G/4)
(F/E/4)F/4 .E.E | E3 E/F/ GA |
B>c d/e/4f/4 g/f/4e/4 d>e |
{_d}B3 AGE | F_d B/4A/4F/4E/4 F/E/4F/4 | EE E :|
DEAR OH MOTHER MY TOES
ARE SORE. See "O Dear Mother My Toes Are Sore."
DEAR OLD DAD. AKA and see "Old Fashioned Girl."
DEAR OONA [1]. AKA and see "Winnie Dear [2]."
DEAR OONA [2]. AKA and see "Dear Winnie."
DEAR PAPA AND DEAR
MAMA. English, Country Dance Tune (3/4
time). G Minor. Standard tuning. AABC. Barnes (English Country Dance Tunes), 1986.
DEAR ROSE. Irish, Air (4/4 time). E Flat Major. Standard tuning. One part.
Stanford/Petrie (Complete Collection),
1905; No. 518, pg. 131.
X:1
T:Dear Rose
M:C
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 518
Z:AK/Fiddler’s Companion
K:Eb
BA | G2 EG B2 cd | e2 f>d e3B |
e>g fe c2 de | fd BB B2 ed | cB cd e2 fg |
Bc BA G2 B/G/A/F/ | EG Bc/d/ e2 cA |
B>G EE E2 ||
DEAR SANDY. AKA and see “My Nanna’s Awa.”
English, Waltz. G Major. Standard tuning. One part. The tune is 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. The Joseph Kershaw Manuscript, 1993; No. 56.
DEAR TOBACCO. English, Reel. England, Northumberland. A Dorian. Standard tuning.
AABB. ‘Dear Tobacco’ in the sense of expensive or hard-to-obtain tobacco. Hall
& Stafford (Charlton Memorial Tune
Book), 1974; pg. 20. Raven (English
Country Dance Tunes), 1984; pg. 179.
X:1
T:Dear
Tobacco
L:1/8
M:C|
K:Ador
eAAc BG
B2|eAAf gfed|eAAc BG B2|G2 GB dedB:|
|:efge fg a2|efge dedB|efge fg a2|G2
GB dedB:|
DEAR WHITE-BACKED
BROWN COW [1], THE (Drimin Donn
Dilis). Irish,
Slow Air (6/8 time). D Mixolydian. Standard tuning. AA'. "Dr. Petrie has
published the Ulster version of this air, with the Irish words, in his Ancient
Music of Ireland (p. 115): I have given a Munster version (also with the Irish
words) in my 'Irish Music and Song' (p. 38). The Munster version I five here
differs from both, and is very characteristic and beautiful. The others end at
'A': but the rune is repeated here with some modifications" (Joyce). Joyce
(Old Irish Folk Music and Songs),
1909; No. 371, pg. 170.
X:1
T:Dear white-backed brown cow, The [1]
T:Drimin Donn Dilis
M:6/8
L:1/8
R:Air
N:”Slow”
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:D Mixolydian
FG|A2A2d2|d2e2 fd|e2c2A2|A2
[Ad][Be]|c2A2A2|c2d2 ed|
c2A2G2|E4 EG|F2E2D2|D2E2
AB|c2B2A2|E4 cd|e2d2c2|
A2B2 cA|G2E2D2|D4 AG|A2B2d2|d2e2
df|e2d2B2|A4 cd|
c2B2A2|c2d2 ed|c2A2G2|E4
G2|E2D2DC|D2E2 AB|
c2A2G2|E4 cd|ef
e3d|c2A2G2|E2D2D2|D4||
DEAR WHITE-BACKED
BROWN COW [2], THE (Drimin Donn
Dilis). Irish,
Slow Air (3/4 time). G Major. Standard tuning. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995;
No. 95, pg. 81 (appears as “Drimin Donn Dilis”).
DEAR WINNIE [1]. AKA and see "Winnie Dear [2]."
DEAR WINNIE [2]. AKA and see "Dear Oona [2],"
"Una Aruin." Irish, Slow Air (4/4
time). G Dorian. Standard tuning. One part. "Many of the long notes are
marked, in Forde's MS., with shakes, as Walsh played them on his violin: too
many I think: and I have omitted them. As to the bar marked 'A', those who wish
to avoid the ornamental notes will sinply play the four large notes. A very
lovely melody" (Joyce). Joyce (Old
Irish Folk Music and Song), 1909; No. 676, pgs. 338‑339.
DEAREST DICKY. AKA – “Dearest Dickie.” AKA and see “The Marquis of Harlington.”
English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AABBB, AABBB,
AACCC, AACCC. A cornerdance and tune rom the
X:1
T:Dearest Dicky
M:6/8
L:1/8
N:From the
N:Form: AABBB, AABBB, AACCC, AACCC
Z:AK/Fiddler’s Companion
K:G
D|G2G BAB|cBc def|gfg/f/ edc|BAG
FED|
G2G BAB|cBc def|gfg ABc|d3 d2:|
B/c/|dGB cde|cAB cBc|dGB cde|cAB
c2d|
e2d eaf|g3 gfe|dcB AGF|GAG G2||
B/c/|dGB cde|cAB cBc|dGB cde|cAB
c2d|
(2ed e3|(2ea f3|(2ga g3|(2gf e3|
(2dc B3|(2AG F3|(2GA G3|G3- G2||
DEAREST MARY. American, Song Tune. The melody was composed for a song for the
minstrel stage.
DEARMUID UA UALLACAIN. AKA and see "Jerry Houlihan."
DEATAMUIL'S DAFICAD. AKA and see "Fair and Forty."
DEATH AND THE COBBLER. AKA and see "A Cobbler
There Was."
DEATH AND THE LADY. English, Air (4/4 time). G Major. Standard tuning. AB. According to
Chappell (1859), this melody appears in two publications of the early 18th century (A Guide to Heaven {1736} and Carey's Musical Century {1738}), and several
ballad operas including Cobbler's Opera
and The Fashionable Lady. It is
mentioned twice in Goldsmith's 1776 volume The
Vicar of Wakefield. Chappell believed the melody to be a corrupted version
of the first part of the venerable "Fortune my foe."
***
Fair Lady, lay your costly robes aside,
No longer may you glory in your
pride;
Take leave of ev’ry carnal vain delight,
I’m come to summon you away this night.
***
Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 170.
X:1
T:Death and the Lady
L:1/8
M:C
S:Chappell – Popular Music of the Olden Time
(1859)
Z:AK/Fiddler’s Companion
K:G
G>A|B3B B2d2|c2B2A2G2|A6
G>A|B3B B2e2|c2B2 A3G|G6||B>c|
d3B G2B2|c2B2A2G2|A6 G>A|B3B
B2d2|c2B2 A3G|G6||
DEATH AND THE SINNER
[1] (An Peacac Agus an
Bas). AKA and
see "The Night of My Wake", "Cold in My Coffin." Irish, Air
(3/4 time). F Major/G Dorian. Standard tuning. AAB. O’Neill says he often heard
his father sing this song which is a dialogue between “Death and the Sinner,”
of which he remembered the following quatrain (from the Sinner):
***
The night of my wake there will be pipes and tobacco,
With snuff on a plate on a table for fashion’s sake;
Mold candles in rows like torches watching me,
And I cold in my coffin by the dawn of day.
***
Source for notated version: elderly
fiddler Edward Cronin, “a Tipperary man from Limerick Junction” [O’Neill].
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 469, pg. 82.
X:1
T:Death and the Sinner [1]
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 469
Z:AK/Fiddler’s Companion
K:F
AG|F2G2 AB|c4 fe|defdcA|G2 AGFD|B4
AG|A2 dcA^F|G2 A2|G4:|
||AB|c2d2 eg|f2 (d2d2)|g4 f2|g2
agfd|f2g2 af|g4 fe|defdcA|G2 AGFD|
f2g2 af|g4 fe|defdcA|G2 AGFD|B4
AG|A2 dcA^F|G4 A2|G4||
DEATH AND THE SINNER
[2] (An Peacac Agus An
Bas). Irish,
Air (3/4 time). F Major/G Dorian (O’Neill/Roche): G Major/A Dorian (Ó Canainn).
Standard tuning. AB (Roche): AAB (Ó Canainn, O'Neill). Source for notated
version: Chicago police Sergeant Michael Hartnett, a neighbor of Chief
O’Neill’s and the source of numerous airs [O’Neill]. Ó Canainn (Traditional Slow Airs of Ireland), 1995;
No. 73, pg. 64. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979;
No. 470, pg. 82. Roche Collection,
1982; vol. 3, pg. 1, No. 2.
X:1
T:Death and the Sinner [2]
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 470
Z:AK/Fiddler’s Companion
K:F
AG|F2G2 AB|c4 fe|d2c2 A>G|A F3
GA|B2A2 A>G|A d3 c>A|G4 (3AG^F|G4:|
||FA|c2d2 eg|f4 (3def|g2d2 cA|(G2
G2) Ac|f2g2 af|(g2g2) fe|d2c2A2|G>G G2 Ac|
f2g2 af|g4 fe|d2c2A2|G>A F2 GA|B4
AG|A d3 cA|G4 ^FA|G4||
DEATH MARCH.
Old-Time. Shanachie
6040, Gerry Milnes & Lorraine Lee Hammond – “Hell Up Coal Holler” (1999.
“Old Currence Hammons whistled the ‘Death March’ for me to learn, than I heard
Cletus Johnson play it on the banjo with verses. Old Sherman Hammons played a
second part”).
DEATH OF GENERAL WOLFE. Irish, Air (4/4 time). A Major. Standard tuning. One part. General
Wolfe led the British forces at the Plains of Abraham, Quebec, in 1757, where
(as every English-speaking schoolboy learns) he won a great victory over the
French but was slain at the height of his triumph.
***
“The Death of Wolfe” (1770), by Benjamin West.
***
A different air called “Death of
General Wolfe” appears with lyrics in the music manuscript copybook of Henry
Livingston, Jr. Livingston purchased
the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23.
In 1775 he was a Major in the 3rd New York Regiment, which
participated in Montgomery’s invasion of Canada in a failed attempt to wrest
Montreal from British control. An important land-owner in the Hudson Valley,
and a member of the powerful Livingston family, Henry was also a surveyor and
real estate speculator, an illustrator and map-maker, and a Justice of the
Peace for Dutchess County. He was also a poet and musician, and presumably a
dancer, as he was elected a Manager for the New York Assembly’s dancing season
of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief
Justice of Governor of New York. Source for notated version: “From the Rev. J.
Mease” (Rathmullen, Co. Donegal) [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 365, pg.
92.
X:1
T:Death of General Wolfe, The
M:C
L:1/8
R:Air
N:”Andante con spirito”
S:Stanford/Petrie (1905), No. 365
Z:AK/Fiddler’s Companion
K:A
E2 | A3E A3B | c3d e3f | e6zd |
c2e2d2c2 | B3A G2 {G}F2 | (E2F2) G4 |
A3E A2B2 | c3d e2f2 | e6d2 |
c2e2d2c2 | B2 A2 G2F2 | E6 c2 | d3e f2c2|
d3B c2d2 | e6 d2 |c2e2 dc B>A | G2F2
EF G>A | A2 AA (B2 A>)G | A6 ||
DEATH OF MY FRIEND, THE ('Se so marbhrann mo charaid). Scottish, Slow Air (3/4 time). F
Minor. Standard tuning. AABB. "This air was seemingly intended for
application to the case of some individual who had lost a friend, breathing a
soothing, plaintive strain, congenial with the natural feelings on such an
event" (Fraser). Fraser (The Airs
and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874;
No. 94, pg. 36.
X:1
T:Death of my friend, The
T:’Se so marbhrann mo charaid
M:3/4
L:1/8
R:Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:Cmin
F>G|A2G2F2|F3z C>C|A2c2G2|F3z C>C|E2F2G2|B4e2|G6|E2 z2 F>G|
A2G2F2|F3z C>C|c2d2c2|B3z c>c|c2A2G2|F4B,2|C6|F2 z2:|
|:c>c|f2g2a2|g3z c>c|f2g2a2|g3z c>c|f2g2a2|g4e2|c6|f2 z2 F>G|A2B2c2|
e3z
c>c|B2A2G2|E2 z2 e>e|c2A2G2|F4 B,2|C6|F2 z2:|
DEATH OF MY PONY, THE. Irish, Air (6/8 time). G Major/E Minor.
Standard tuning. AB. "Composed by a friar for the sad occasion (i.e. the
song: not the air)" {Joyce}. Joyce (Old
Irish Folk Music and Song), 1909; No. 762, pg. 375.
DEATH
OF STAKER WALLACE [1], THE. AKA – “Lament for Staker Wallace.”
AKA and see “(An) Bean Dubh an
Ghleanna” (The Dark Woman of the Glen). Irish, Slow Air (3/4 time). G
Major. Standard tuning. AAB. Staker Wallace was born William Wallace or Wallis
in 1733 at Tiermore, County Limerick, near the town of Kilfinnane. Several
theories have been given to explain his curious nickname, ‘Staker’: one has to
do with his sabatogueing of enclosures of common land by landlords in the
latter half of the 18th century.
Wallace either drove stakes into the enclosure land to prevent mowing,
or removed stakes used to fence the boundaries. Another explanation, printed in
the notes for Leo Rowesome’s Claddagh LP for one, for the nickname ‘Staker’ is
that during the rebellion of 1798 Wallace defended a breach in the walls of
Limerick city armed only with at stake. Terry Moylan points out, however, that
Limerick was quiet during 1798, although it was the site of a famous seige one
hundred years previous. A final theory postulates that his nickname was earned after his lifetime on
account of the circumstances of his death. Wallace, a 65 year old smallholder,
was involved in the disturbances leading up to the uprising of 1798 and had
become a leader of the local United Irishman, elected a captain. A charge was
made against him by the Olivers of Castleoliver, to the effect that Wallace was
trying to raise money to have the the local magistrate, member of Parliament
and Yeomanry Captain, Charles Silver Oliver, assassinated. Although warned,
Wallace could not make good his escape and was tried and convicted, not,
however, before he was tortured by flogging for the names of other United
Irishmen in the area. After his execution by hanging, he was decapitated and
his head placed upon a stake (hence ‘Staker’) at the old castle of Kilfinnane,
where it remained for several weeks until it was blown down on a windy night. His
family collected it and buried it in the family plot, but his body had likely
been buried in front of Kilfinnane jail. See also “Lament for Staker Wallace.” Roche Collection, 1912/1982; vol. 1, pg.
29, No. 58.
X:1
T:Death of Staker Wallace [1]
M:3/4
L:1/8
S:Roche Collection of Traditional Irish Music (Ossian)
Z:transcribed by Jeffrey Erickson
K:G
|:GE|D2 E>G GG/2A/2|BG/2E/2 D
(5E/4G/4A/4B/4d/4 e>f|g2 (3fga g>e
|(3fed (3edB (3dBA|Bd/2B/2 A>B
(9d/4B/4d/4B/4d/4B/4A/4G/4E/4|(3DEG G2:|
dB|A2 Bd de/2f/2|ga/2g/2 f>e
fe/2f/2|ab/2g/2 fe d>g|
a/4g/4f/4g/4 e/4f/4e/4d/4
B/4A/4B/4d/4 e/4d/4e/4f/4 g/4f/4g/4a/4 b/4a/4g/4f/4
|g2 fg/2a/2 ge|(3fed (3edB (3dBA|B2
dB A2
|(6G/2E/2D/2E/2G/2A/2 B/2d/2e/2f/2
g>a|g2 (3fga g>e|(3fed (3edB (3dBA
|BG/4E/4 D/8E/8G/8B/8 A>B
(9d/4B/4d/4B/4d/4B/4A/4G/4E/4|(3DEG G2|
DEATH OF STAKER
WALLACE [2], THE. Irish, Slow Air (4/4 time). C
Major. Standard tuning. One part. Source for notated version: fiddler Thresa
Halpin (Limerick) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Irish
Music/Feis Ceoil Collection), 1914; No. 4, pg. 2.
X:1
T:The Death of Staker Wallace
M:4/4
L:1/8
Q:1/4=69
R:air
Z:Gary Chapin
K:D
FG|A2d2 dcAF|A2d3 efe|dedc A2A2|A6
de|f3g a2 g2|fd d2 e3d|cAFG A2A2|A6 d
e|f3g a2 g2|fd d2 e3d| cAFG A2A2|A6
de|A2d2dcAF|A2d3 cAF|G3F D2D2|D8||
DEATH VALLEY REUNION. American, Jig. A Major/Mixolydian. Standard tuning. AABB. According to
Sue Songer (1997) the tune was composed by Gordon Euler (
DEBBIE'S JIG. Canadian, Jig. B Flat Major ('A' part) & F Major ('B' part).
Standard tuning. AABB. Composed by Bernie Ley. Source for notated version:
Jerry Robichaud (New Brunswick, Canada) [Hinds]. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 28.
Messer (Anthology of Favorite Fiddle
Tunes), 1980; No. 150, pg. 99. Alcazar Dance
Series ALC‑201, Jerry Robichaud ‑ "Maritime Dance Party" (1978).
Fretless Records 201, Jerry Robichaud‑‑"Maritime Dance
Party" (1978).
DEBBIE'S WALTZ. Canadian, Waltz. Composed by Graham Townsend (Toronto).
DEBTOR’S SALUTATION, THE.
English, Air. The melody can be found in the Benjamin Cooke music
manuscript (c. 1770), from the Frank Kidson collection. Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price – “Ashburnham.”
DECEITFUL STRANGER, THE. Irish, Air (6/8 time). B Flat Major. Standard
tuning. AB. O'Neill (O’Neill’s Irish
Music), 1915; No. 40, pg. 28.
X:1
T:Deceitful Stranger, The
M:6/8
L:1/8
R:Air
S:O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:B_
D/E/ | FGB B>cd | dB G2 B/G/ |
FDF GcB/c/ | dcB B2 B/c/ | dcB cGB | DCB, C2 D/F/ |
GBc dfe/d/ | {d}cBB B2 || d/e/ | dGc/d/
cFB | DCD/^F/ G2 G/A/ | BG^F Ged/c/ |
dBG F2 B/G/ | FGB B>cd | dcB/A/
G2 D/E/ | FDF GcB/c/ | dcB B2 ||
DECEIVER. American, Reel. USA, Pennslyvania. D Major. Standard tuning. AABB. The
melody has been recorded by Tracy Schwartz and Mike Seegar.
DECEMBER DAY DANCE. English, Jig. D Minor. Standard tuning. AA (slow tempo) BBCCDD (fast
tempo). Composed by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 200.
DECEMBER WALTZ. American, Waltz. G Major. Standard tuning. AA’BB’C. Composed in 1991 by
John Austin. Barnes (English Country
Dance Tunes, vol. 2), 2005; pg. 28.
DECEPTION, THE (An Cluaineoracd). Irish, Air (6/8 time). D Major.
Standard tuning. ABC. Composed by fiddler James O’Neill (b. 1863, originally
from County Down & Belfast) who, while a sergeant on the Chicago police
force in the first decade of the twentieth century, collaborated with Captain
Francis O’Neill on Music of Ireland.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 323, pg. 56.
X:1
T:Deception, The
M:6/8
L:1/8
R:Air
N:”Slow with feeling”
S:O’Neill – Music of Ireland (1903), No. 323
Z:AK/Fiddler’s Companion
K:D
A/G/|FED A,CE|(D3 D2)E|F>GA/B/
cAc|(d3 d2)e|cBA GED|(C3 C2) D/E/|
FED A,CE|(D3 D2)||A|d2e f2e|d(A2
A2)B|c3 G2F|E (C2 C2)A|d2e f2e|
d(A2 A2)F|G2F D2D|D3
D2||D/E/|F>EF/A/ cAc|d>ef/e/ d2 d/e/|fed cAc|
(d3 d2)f|cAF GFD|(C3 C2)D/E/|FED
A,CE|(D3 D2)||
DEDICATO A VARES. AKA and see “Viva el West Side.”
DEEL... See also "Deil...",
"Deal...", or "Devil...".
DEEL ASSIST THE
PLOTTING WHIGS. English. Written by the famous
English composer Henry Purcell. The title was derived from the first line of
the song "'The Whigs' Lamentable Condition' or 'The Royalists'
Resolution', to a pleasant new tune", which appeared in 180 Loyal Songs (1685 & 1694). The
music alone was included in Musick's
Handmaid (Part 2, 1689) as a "Scotch tune", though credit was
given to Purcell, perhaps in imitation of the style. To further compound the
confusion as to national origin, Chappell (1859) asserts this tune was
appropriated by the Scots for their "Peggy, I must love thee." In Pills to Purge Melancholy the tune
appears in adapted form for the song "Tom and Will were Shepherd
Swains."
DEEL OF THE DANCE. AKA and see "The
Humours of Whiskey [2]," "Dever
the Dancer," "The
Bridge of Athlone [1]," "Humours of Derry," "The
Crossroads Frolic," "The
Peeler's/Policeman's Return," "Barranna mora Chlann
Donncha."
DE’ELS DEAD, THE. AKA and see “Birks of Abergelde.”
DEEP WATERS. English, Reel. G Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg.
186.
X:1
T:Deep Waters
M:C|
L:1/8
K:G
B/c/ | dBdB gfge | dBdB G2 Bc | dBdB
edcB | B2A2A3 B/c/ | dBdB gfge |
dBdB G3 B/c/ | dgfg ecAF | G2G2G3 ::
f/g/ | abaf d2 dc | Bcde d2 fg |
abaf d2 dc | Bcde d2g2 | dBg2 dBg2 |
dBdB G3B/c/ | dgfg ecAF | G2G2G3 :|
DEER FOOT. American, Hornpipe. USA, New England. F Major. Standard tuning. AABB.
Cole (1000 Fiddle Tunes), 1940; pg.
107. Miller & Perron (New England
Fiddlers Repertoire), 1983; No. 71. Ryan’s
Mammoth Collection, 1883; pg. 144. Tolman (Nelson Music Collection), 1969; pg. 14.
X:1
T:Deerfoot
M:C|
L:1/8
K:F
|:c2|cf af gc de|fe gf af ga|bg af gd ba|gf ed cB AB|
cf af gc de|fc af gc de|fe fd cB AG|F2A2F2:|
|:cB|Ac fe dc BA|BG gf ed cB|Ac ag fe dc|cB AB G2 cB|
Ac
fe dB gf|ec ag fe dc|df ed cB AG|F2A2F2:|
DEER FOREST, THE. Scottish, Reel. D Minor. Standard. AA'BB'.
Stewart-Robertson (The Athole Collection),
1884; pg. 229.
X:1
T:Deer Forest, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D Minor
c|A<ddf c>fAa|f>cAF G/G/G A2|1 A>ddf c>fAd|BG G/G/G FD D:|2
a>gfd cBAd|BG G/G/G FDD||D<GGB cBAc|B<GGB cAFA|1
D<GGB
cBAd|BG G/G/G FDD:|2 Ad d/d/d cA A/A/A|BG G/G/G FDD||
DEER WALK [1]. AKA and see "Forked Deer."
Old‑Time, Breakdown. USA, eastern Ky. The title is indigenous to eastern
Kentucky; native Doc Roberts (1897‑1978), who recorded the tune in 1929,
paid little attention to music outside the region (Wolfe, 1982) and the
implication is that the tune’s provenace was that region. Charles Wolfe (1997) calls
it one of Roberts’ masterpieces. It was played by fiddler Ernie Hodges in the
1930's and 40's and was recorded by him in 1976. County
412, "Fiddling Doc Roberts." Gennett 7049 (78 RPM), Doc Roberts
(1930).
DEER WALK [2]. Old-Time, Breakdown. D Major. Standard tuning. AB (Silberberg): AABB
(Phillips, Songer). Sources for notated versions: Caroline Specht (Corvallis)
[Songer]; Tony Mates [Silberberg]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 67. Songer (Portland Collection), 1997; pg. 59.
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 33.
DEERFOOT (HORNPIPE). AKA and see "Deer Foot."
DEERING STATION. Irish, Reel. G Major. Standard tuning. AABB. Composed by Falmouth,
Massachusetts, musician and writer Bill Black, named for the Chicago police
station where Captain Francis O’Neill was posted, along with as many Irish
musicians as he could entice into the force. Black (Music’s the Very Best Thing), 1996; No. 15, pg. 8.
X:1
T: Deering Station
C: © B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
D | D2 B,D E2 DE | G2 FG BddB | cBcd egdB | cBAG EDCE |
D2 B,D E2 DE | G2 FG BddB | cBcd eage | dBAB G3 :|
A | Bee^c dgga | bgaf gfed | Bee^c dege | dBAB G3 A |
Bee^c
dgga | bgaf gfed | gb b2 eage | dBAB G3 :|
DEERNESS MERMAID, THE.
Scottish, March (2/4 time). Scotland, Orkney Islands. A Major. Standard
tuning. AA’BB. A modern composition by Orcadian fiddler Jennifer Wrigley.
Deerness is separated from the body of the East Mainland of Orkney by a narrow
sandy isthmus. The Deerness Mermaid was sighted over a few summers during the
1890’s by hundreds of eyewitnesses, although since the creature remained some
distance from shore, details are rather sketchy. Martin (Traditional Scottish Fiddling), 2002; pg. 106. Jennifer & Hazel Wrigley – “Skyran” (2001).
DEER'S ANTLERS. See "Caber Feigh."
DEER'S HORN(S), THE. See "Caber
Féigh," "Caper Fey,"
"Padraig Reice," "The Castle Street Reel," "Glastertown's Downfall,"
"Copperplate [1]," “Rakish Paddy,” "Sporting Pat [1]."
DEFELLUM BLUES. The title is a corruption of “Deep Ellum
Blues” (?) Voyager VRCD-354, Hart & Blech – “Build
Me a Boat.”
DEFIANCE [1]. American, Hornpipe. A Major. Standard tuning. AABB. “As performed by R.
Tyson” states the note in Ryan’s Mammoth
Collection (1883). Al Smitley suggests the tune may possibly have been
named for either a warship, clipper ship or a bark called Defiance, a name that does appear in American Clipper Ships 1833-1858 by Howe and Matthews. Cole (1000 Fiddle Tunes), 1940; pg. 94. Ryan’s Mammoth Collection, 1883; pg.
129.
X:1
T:
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
(ED) | CEA,E (CE) (3ABc | (3dcB (3cBA
GABd | ceAc defg | aecA B2 (ED) |
CEA,E (CE) (3ABc | (3dcB (3cBA GABd
| cefg aefd | cABG A2 :|
|: (cd) | {f}ecea c’aec | {e}dcdg
bgec | {e}dcda cBce | aece B2(cd) |
{f}ecea c’aec | gegb d’bge | e’c’ae
c’aec | {g}fedB A2 :||
DEFIANCE [2], THE. English, Jig. B Flat Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s third collection of country dances (1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 3.
X:1
T:Defiance, The [2]
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:Bb
B|dfd BdB|cec AcA|Bcd FGA|B[Ff][Dd] [B,2B2]B|dfd BdB|c=ef gab|agf cd=e|fcA F2:|
|:f|fed
“tr”c=Bc|[Cc]EG|cde|fdB BAB|[B,B]DF Bde|fed edc|def gab|fed cBA|B3 [B,2B2]:||
DEFRIGH LEIS AN
gCÉACHTA. AKA and see "Speed the Plow [2]."
DEIRDRE COLLIS. Irish, Reel. G Major. Standard tuning. AA’BB. From the playing of
accordion player Billy McComiskey and fiddler Liz Carroll.
X:1
T:Deirdre Collis
R:Reel
M:4/4
L:1/8
K:G
GB~B2 dB~B2 | cdec dBGB |1c3e dB~B2
| AcBG AGED :|2 c3e dBGB | ADFA G4 ::\
dggf gdBd | d2BG AGEG | dggf gdBd |
eaag agef |\
g2dg Bgdg | c2Bc AGEG | c3e dBGB |
ADFA G4 :|
DEIRDRE'S FAREWELL TO
DEIRDRE'S LAMENT FOR THE SONS OF USNEACH.
AKA - "Deirdre's Farewell to
X:1
L:1/8
S:Stanford/Petrie (1905), No. 1019
Z:AK/Fiddler’s Companion
K:G
GA|B3
AGE|DE G3 A/B/|c3 cBG|AGEDEG|A4 Bc|!
d2 g>e dB|A/G/E D3 D/E/|G{B}AGE DE|GABG ~A2|G4||
X:
2
T:The Lamentation of Dierdre for the Sons of Usnach
T:Dierdre's Lament
T:Neaill ghubh a Dheirde
M:3/4
L:1/4
Q:96
C:Unknown
S:The Ancient Music of Ireland, Edward Bunting 1840, pp. 83 ff
R:Air
O:Traditional
A:Ireland
B:Ancient Music of Ireland by Bunting 1840
H:A Very Old Air
K:G
(.G .D) (E3/4A/4) | (.G.G.G) | (.c .B)(A3/4G/4)| (.B .A)(B3/4A/4)|!
(.c .B)(B3/4A/4)|.A (G3/4E/4) .G|(.G .G) G3/4B/4|(.A .A) G3/4E/4|!
(.G.D) (E3/4A/4) | (.G.G.G)| (.c .B) A3/4G/4| (.B .A) (c3/4D/4)|!
(.c.B) (B3/4c/4)|.c (A3/4E/4) .G| (.G .G) (G3/4B/4)|(.A .A) (G3/4E/4)||
DEIL... See also "Devil...",
"Deel..." or "Deal..."
DE'IL AMONG THE
MANTUA-MAKERS. See "Devil Among the Mantua-Makers."
DEIL AMONG THE TAILORS, THE. See "Devil Among
the Tailors."
DE'IL STICK THE/DA MINISTER.
See "Deal/Devil Stick the Minister." AKA and see "This is no my ain Hoose,"
"This is no my ain Lassie,"
"Sean Triubhas."
X:1
T:De’il Stick the Minister [1]
M:C|
L:1/8
Z:AK/Fiddler’s Companion
K:D
|:Adfd e/e3/2ce|fdfd g2eg|fdfd e2ce|d2ed cAA2 :|
|:fgaf gagf |e=cgc ecgc|fgaf gece|d2ed cAA2:|
DE’IL STICK THE MINISTER [2]. Scottish, Reel. A Dorian. Standard tuning. AABB’. From the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom, unfortunately, nothing is known.
X:1
T:Deval Stick the Minister [2]
M:C|
L:1/8
R:Reel
S:William Vickers’ music manuscript collection (Northumberland, 1770)
Z:AK/Fiddler’s Companion
K:A Dorian
E|A/A/A Ac B2 EB|c2 BA BGGB|A/A/A Ac B2 EB|c2 BA GEE:|
|:B|egec dfdB|egec dBGB|1 egec dfdB|c2 BA BGG:|2 afge fdec|c2 BA GEE:|
DEIL TAK' THE BREEKS (O grŕin air na briogaisean). Scottish, Reel. D Major. Standard
tuning. AABB'CDD' (Fraser): ABB'CC'DD' (Athole). "There are words of
various merit to this air, often imperfectly sung. Those which bear the name
given in this work suit it best, and relate to some occasion the MacLeod family
had for recruiting men, when the heir was a minor, and a lady the active
instrument. The words profess the warmest attachment to her and the family
interests" (Fraser). Fraser (The
Airs and Melodies Peculiar to the
X:1
T:Deil Tak’
the Breeks
M:C|
L:1/8
Z:AK/Fiddler’s Companion
K:D
F || d2cB
dFFA | BcdB AFFf | d2ec dAFd | AfdF E/E/EB2 |
d2CB dFFA |
BcdB AFFa | fdec dAFd | AfdF E/E/EB2 ||
|| AFDF
AFFB | AfdF AFFd | AFDF AFFd | AFdF E/E/EB2 |
AFDF AFFB |
AfdF AFFd | fdec dAFd | AfdF E/E/Ebg ||
||fdcd AFFd
| Bdcd AdFd | fdcd AFFd | BdAF E/E/Ebg |
fdcd AFFd |
Bdcd AdFd | fdcd BdAd | FdAF E/E/EB2 ||
|| defg
affb | afbg affb | defg affb | abaf e/e/eb2 | defg affb |
afbg affb | fdec dAFd | AfdF E/E/EB2
||
DEIL TAK THE WARS. Scottish, Country Dance Tune (4/4 time). C Major. Standard tuning.
AABB. The melody was printed by Henry Playford in his Second Part of the Dancing Master, a supplement to the 9th
edition of the Dancing Master
published in
***
Mark yonder pomp of costly fashion
Round the wealthy, titled bride:
But when compar’d with real passion,
Poor is all that princely pride.
What are the showy treasures?
What are the noisy pleasures?
The gay gaudy glare of vanity and art:
The polish’d jewel’s blaze
May draw the wond’ring gaze,
And courtly grandeur bright
The faney may delight,
But never, never can come near the heart.
***
Barlow (Compleat Country Dance Tunes from Playford’s Dancing Master), 1985;
No. 374, pg. 89. Barnes (English Country
Dance Tunes, vol. 2), 2005; pg. 28. Flying Fish
FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers."
Wildgoose Records Belshazzar’s Feast – “Mr. Kynaston’s Famous Dance, vol. 2.”
X:1
T:De’il Take the Wars
M:C|
L:1/8
S:Playford – Supplement to the 9th
edition of the Dancing Master (1696)
K:C
c2 c/d/e d3c|cGA/B/c G2E2|EGGc
cdde|fedc d4|c2 c/d/e d3c|
cG A/B/c G2E2|EGGc cdde|g/f/e d>c
c4::e2 e/f/g ecec|B2 B/c/d dBdB|
e2 ec d2 dB|c2 d/c/B/A/ A3G|E2G2
G/A/G cG|EG G/A/G G3G|
A2c2d3A|d>e dc B3A|G2 GE G2 cd|ge
d>c c4:|
X:2
T:Mark Yonder Pomp of Costly
Fashions, or Deil Tak the Wars
M:2/4
L:1/8
S:John Rook music manuscript
(Warerton, 1840)
K:D
d2 df|{f}e3d|d>A Bc/d/|BAGF|FAAd|d2
de|fg/a/gf|f2e2|
d2df|fedc|d>A Bc/d/|BAGF|FAAd|d2
ag|f2 e>d/e/4|d2 zf|
fdfa|fd zd|ecea|ec ze|f2 fd|e2
ec|d>e f/e/d/c/|B3 d|A>BAF|A2 zA|
A>BAF|A2z A|Aeef|e3
f|gfed|{d}c3B|A>BAF|A2 ag|f2 e>d/e/4|d4||
DEILADOIR, AN (The Wheelwright). AKA and see "The Wheelwright."
DEILDY ABERTEIFI (Cardigan Bower). AKA – “Cardigan Bower.” Welsh, Jig. D Major. Standard tuning. AABB.
X:1
T:Deildy
Aberteifi (Cardigan Bower)
M:6/8
L:1/8
R:Jig
K:D
dfe dAF | dfe dAF | Gee Gee | Ged cBA |!
dfe dAF | dfe dAF | Gee Ged | cBc d3:||!
fdf ecA | fdf ecA | Bcd efg | afd e3 |!
fdf ecA | fdf ecA | Bcd efg | ABc d3:||
DEIL'S AWA' WI' THE
EXCISEMAN. AKA and see "The London Gentlewoman," "The Hemp‑Dresser." Scottish,
Jig. G Major. Standard tuning. AABB. The title comes from a Robert Burns song
written to the older tune ("The Hemp Dresser") dating to before 1650.
Kerr (Merry Melodies), vol. 3; No.
271, pg. 30.
X:1
T:De’il’s Awa wi’ the Exciseman, The
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 271
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D|G2d ded|dcB ABc|d2G G2A|B3 d2D|GBd
ded|
dcB ABc|d2G G2A|B3 d2::D|G2d d2d|c2B
ABc|
d2G G2A|B3 d2D|G2d d2d|c2B A2d|g2d
dec|B3 G2:|
DEIL'S IN THE FISH, THE. English, Reel.
DEIRBSIUIRACA SUGACA, NA. AKA and see "The Merry Sisters."
DEIRCTHEOIR, AN (The Beggar). AKA and see “The Beggar,” "The Beggarman," “Duke of Aberdeen.” Irish, Air (2/4
time). B Flat Major. Standard. One part. A version of the popular and common
DEIRE AN FOGMAIR. AKA and see "The Harvest Home
[1]."
DEIRE NA CUPLAIDE. AKA and see "The Last of
the Twins."
DEIREAD AN LAE. AKA and see "The End of the Day."
DEISIG AN COINNEAL! AKA and see "Top the Candle."
DEL CARO’S FANCY.
DEL CARO’S HORNPIPE. AKA and see “Early one morning,” “Madame Del Caro’s Hornpipe.”
English, Hornpipe. G Major: A Major [Kershaw]. Standard tuning. AABB. Maria del
Caro was a famous dancer of the late 18th, early 19th
centuries. The tune was the first published composition of a very young John
Field (1782-1837), an Irish pianist and composer, a pupil of Clementi, who
spent much of his mature life in
***
John Field (1782-1837)
***
The tune is contained in the 19th
century Joseph Kershaw Manuscript. Kershaw was a fiddle player who lived in the
remote area of Slackcote,
X:1
T:Del Caro’s Hornpipe
M:C
L:1/8
S:Broderip (1797)
Z:AK/Fiddler’s Companion
K:G
G>Bd>g f>ed>e |
d>cB>A B>c d2 | G>Bd>g f>ed>e | d>cB>A G2 G2 :|
G>Bd>g e>f g2 |
D>FA>c B>c d2 | G>Bd>g e>f g2 | B>AG>F G2G2 :|
DELACHAPLE'S REEL. Scottish, Reel. Glen (1891) finds the earliest printing of this tune in
Angus Cumming's 1780 collection (pg.
3).
DELAHANTY'S HORNPIPE. AKA and see "Delahunty's Hornpipe."
DELAHUNTY'S HORNPIPE. AKA and see "Delahanty's Hornpipe," "The Home Brew," “The Iron Gate,” “John Quinn’s [1],” “The Kerry Hornpipe [1],” "The Road to Boyle,” "Sonny Murray's," "Wicklow Hornpipe.” Irish, Hornpipe. D
Major. Standard tuning. AABB. Also called “A Kerry Hornpipe” in Treoir (III, pg. 11). See also the
variant “Charlie is Welcome
Home” (Goodman). Sources for notated versions: Fred Breunig (
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:Delahunty’s Hornpipe
M:C|
L:1/8
R:Hornpipe
K:D
FG|ABAF DEFG|AGAB =c2 (3AB^c|dcde
fdAF|G2 ({A}G)F G2 FG|
A/B/-c AF DEFG|~A3B =c2 (3AB^c|d2 de
fdAG|(F/G/F)D2 D2:|
|:de|~f3d edAF|G2 gf g2 fg|agab
agec|dcAF G2 FG|
ABAF DEFG|AGAB =c2 (3AB^c|dcde
fdAG|F2D2D2:|
X:2
T:Wicklow Hornpipe, The
R:Road to Boyle, The
T:Homebrew Hornpipe, The
R:hornpipe
N:Bar 4 also played |DG~G2 DGGB|
D:John Williams
Z:id:hm-hornpipe-51
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
FG|ABAF DEFG|AGFD =c2 (3AB^c|dcde
fdAF|DGGF G2FG|
ABAF DEFG|AGFD =c2 (3AB^c|dcde
fdAG|F2D2D2:|
|:de|~f3d ecAF|Gggf g2 (3efg|agab
agec|dcAF G2FG|
ABAF DEFG|AGFD =c2 (3AB^c|dcde
fdAG|F2D2D2:|
“Version 2:”
FG|A2 AF DEFG|AFed =c2 (3AB^c|d2 de
fdAG|EGGA G2FG|
ABAF DEFG|AGAB =c2 (3AB^c|d2 de
fdAG|F2D2D2:|
|:de|f2fd edcA|defd g2 (3efg|a2 ab agef|dcAB G2FG|
A2AF DEFG|AFed =c2 (3AB^c|d2 de
fdAG|F2D2D2:|
DELANEY'S DRUMMERS (Dromadoiri Uí Dunlainge). AKA and see “Clare Jig [1],” “Jug of Brown Ale,” “Mug of Brown Ale [1],” “Paddy in London [2],” “Winter Apples [2].” Irish, Double Jig.
A Dorian (O’Neill): A Mixolydian (Feldman & O’Doherty). Standard tuning.
AABB (Feldman & O’Doherty): AABB' (O’Neill). Source for notated version:
fiddler Peter Turbit [Feldman & O’Doherty]. Bulmer & Sharpley (Music from Ireland), vol. 3; No. 57.
Cotter (Traditional Irish Tin Whistle
Tutor), 1989; No. 82. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 231 (appears as last “Untitled
Jig” on page). Giblin (Collection of
Traditional Irish Dance Music), 1928; No. 82. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 305, pg. 65.
X:1
T:Delaney’s Drummers
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 305
Z:AK/Fiddler’s Companion
K:A Dorian
g/f/|eAA fAA|gfg age|dBG GFG|BAG
Bcd|eAA FAA|BAB gfe|def gdB|BAA A2:|
|:d|efg a2a|baf gfe|def gfg|agf
ged|1 efg abc’|baf gfe|def gdB|BAA A2:|2
bag agf|gfe fdB|def gdB|BAA A2||
DELANEY'S CLOG. AKA and see "Londonderry
Clog," "Showman's Clog."
DELANEY'S FAVORITE. AKA and see "The
Londonderry Hornpipe."
DELANEY'S FROLICS. AKA and see “The Dunboyne Straw-Plaiters,” “Ha’p’orth of Tea.” Irish, Reel. D Mixolydian (‘A’ part) & D Major (‘B’ part). Standard tuning. AAB. The tune was named for Chicago piper Barney Delaney, a contemporary of collector and flute player Captain Francis O’Neill. Delaney was O’Neill’s brother-in-law, who found him a job on the Chicago police force. O’Neill was critical of Delaney, however, not for his piping ability, which he respected, but for his miserliness with tunes which O’Neill feared would by lost when Delaney died. “Delaney’s Frolics” was first recorded about the year 1900 by piper Patsy Tuohey, on a privately made and issued cylinder recording. Tuohey, originally from Galway, was the outstanding professional piper of his era and managed to make a living touring the United States along with his wife. The first publication of the melody was in P.W. Joyce’s Old Irish Folk Music and Songs (1909), under the title “The Dunboyne Straw-Plaiters,” obtained from a Dublin piper who had picked up the tune in North Kildare. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 242. Tara CD4011, Frankie Gavin – “Fierce Traditional” (2001).
X:1
T:Delaney's Frolics
M:4/4
S:Capt. F. O'Neill
Z:Paul Kinder
R:Reel
K:D Mix
c|:B2 Bc A2 Bc|dBcA BE ~E2|B2 Bc A2 fg|afeg fd d2:||
K:D
fddc dfaf|gfed cdeg|fddc defd|eaag ed d2|
fddc
dfaf|gfed cdeg|f2 fd g2 ge|afge fd d2||
DELANEY'S JIG. AKA and see “Lambert’s Jig [2],”
“Leitrim Jig [3],” “The Tynagh Jig.” Irish, Jig. G Major. Standard
tuning. AABB. The title refers to renowned piper Denis Delaney of Ballinasloe.
X:1
T:Delaney's
M:6/8
L:1/8
R:Jig
K:G
A2 A DED|AFA dcA|GEE cEE| G2 E DEG| A2 A DED|AFA dcA|GEE cEE|DED D2 B:||
Adc
ABd|ecA dcA| GEE cEE| G2 E DEG| Adc ABd| ecA dcA|GEE cEE|DED D3 :||
DELANEY'S REEL. Irish, (Single) Reel. D Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 301,
pg. 150.
X:1
T:Delaney’s Reel
M:C
L:1/8
R:Reel
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:D
(3ABc | d2 cA BE E2 | FDAD FABc | d2
cA BE E2 | (3Bcd ed cABc | d2 cA BE E2 |
FDAD FABc | d2 cA BE E2 | (3Bcd ed
cABc || d2 fd adfd | d2 fd cd e2 | d2 fd adfd |
dBAF EF A2 | d2 fd adfd | d2 fd cd
e2 | (3ded fd (3cdc ec | dBAF EFAc ||
DELAWARE COUNTY BLUES. Rounder 0437,
DELAWARE HORNPIPE. American, Hornpipe. G Major. Standard tuning. AABB. One of the tunes
cited by Lettie Osborn (New York Folklore
Quarterly) as having commonly been played for dances in Orange County, New
York, in the 1930's. The name Delaware comes from Thomas, Lord de la Warr, the
first Governor of Virginia, a courtier and soldier who as a young man had been
knighted by Queen Elizabeth. At first the bay was named for him, then a river
emptying into it was discovered and also given the same name, and finally the
region was named for the river (Matthews, 1972). There was an early man-of-war
named the Delaware, although what
connection, if any, with this tune is unknown. Cole (1000 Fiddle Tunes), 1940; pg. 86. Ryan’s Mammoth Collection, 1883; pg. 119.
X:1
T:Delaware Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
(d/c/) | B/G/B/d/ B/G/B/d/ | g/f/g/e/
d/B/G/B/ | e/c/d/B/ c/A/B/G/ | EAA (d/c/) | B/G/B/d/ B/G/B/d/ |
g/f/g/e/ d/B/G/B/ | e/c/d/B/
c/A/B/G/ | DGG :: g | d/g/B/g/ d/g/B/g/ | d/g/b/a/ g/f/e/d/ |
e/a/c/a/ e/a/c/a/ | e(a/g/)
f/e/d/^c/ | d/g/B/g/ d/g/B/g/ | d/g/b/a/ g/f/e/d/ | e/a/b/a/ g/f/e/f/ | ggg :|
DELGATY CASTLE. Scottish, Country Dance Tune. A Major.
Standard tuning. AABBCCDD. Composed by Kirkmichael, Perthshire, fiddler and
composer Robert Petrie (1767-1830).
Delgaty is an estate with a mansion in north Aberdeenshire, near Turriff, and
holds the distinction of being Scotland’s oldest lived-in castle. The castle
was built around 1579, perhaps incorporating an older structure, and was
originally the property of the Hays of Erroll. In 1762 it was sold to Peter
Garden, Esq. of Troup; as Petrie was an employee of the Garden family at Troup,
Banffshire (his 2nd Collection
is dedicated to Mrs. Garden of Troup), it is likely he came into contact with
the Delgaty branch of the family. It was sold to Alexander Duff (1778-1851),
who long made it his residence. Petrie (Collection
of Strathspey Reels and Country Dances), 1790; pg. 15.
X:1
T:
C:Robert Petrie
S:Petrie's
Collection of Strathspey Reels and Country Dances &c., 1790
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's First Collection, page 15
L:1/8
M:2/4
R:Reel?
K:A
"^Allegro"
c/d/
| ecA>c | B/A/G/F/ EA/=G/ | FB/A/ Gc/B/ | Ad/c/ TcB |
ecAc
| B/A/G/F/ EA/=G/ | FB G/E/d/B/ | c/B/A/G/ [CEA] :|
"^Pia."
|:c/d/
| eecA | ff{e}d{c}B | eecA | "^ For."aG/A/B/G/ E2 | eecA |f>gad |
cBAG | AA[CEA] :|
K:Am
"^Minore
Pia."
|:E
| AAAB | cccd | "^For."e/f/e/d/ c/d/c/B/ | AEA,E |
"^Pia."
AAAB
| cccd | eefd |"^For."[^G2B2e2] [^GBe] :|
|:
e |ee eg/e/ | fdD2 | dd df/d/ | ec Cc/d/ |
"^Pia."
eeef
| dfed | "^For."cBA^G | AA [CEA] :|
DELGATY ICE HOUSE. Scottish, Strathspey. D Major. Standard
tuning. AAB. The tune was included by Kirkmichael, Perthshire, fiddler and
composer Robert Petrie (1767-1830) in
his 2nd Collection of
Strathspey Reels and Country Dances (1796), described as “An auld Tune”.
X:1
T:Delgaty
Ice House
C:"An
auld Tune"
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's Second Collection, page 21
%
Gore's Index has no other citation for this tune
L:1/8
M:C
R:Strathspey
K:D
"^Slow"
A,|D>EFF
F>EDF |A2 (B/A/G/F/) FEEF|D>EFF
F>ED>F|B>cdB AFF:|
g
|fae>f dfBd |B/A/G/F/ dF FEEg|f>ae>f d>fB>d|B/A/G/F/ dB
AFFg|
f>ae>g
d>fB>d|B/A/G/F/ d>F
FEEF|D>EFF F>EDF
|B>cd>B AFF|]
DELGATY KNELL.
Scottish, Jig. G Minor. Standard tuning. AAB. Composed by Kirkmichael,
Perthshire, fiddler and composer Robert
Petrie (1767-1830). The melody was included in his 2nd Collection of Strathspey Reels and Country Dances,
1796, dedicated to his patron and employer, Mrs. Garden of Troup (Banffshire).
X:1
T:Delgaty
Knell
C:R.
Petrie
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's Second Collection, page 9
L:1/8
M:6/8
R:Jig
K:Gm
(d//=e//^f)|g2d
(B/c/dB)|G3 G2 A/B/|cAF fcA|cAF
F2^f|g2d (B/c/dB)|G3 G2g/a/|bag dg^f|g3
g2:|
d|gdg
bag |gdg bag |fcf agf|fcf agf |gdg
bag|gdg bgf |bag dg^f|g3 G2d|
gdg
bag |gdg bag |fcf agf|fcf agf |BdB
AcA|BAG g2a |bag dg^f|g3 g2|]
DELIA O’BRIEN’S. Irish,
Jig. G Major. Standard tuning. AABB. Composed by Cape Cod banjo player,
composer, writer and session leader Bill Black. Treoir, vol. 38, No. 3
& 4, 2006; pg. 33.
X:1
T:Delia O’Brien’s
M:6/8
L:1/8
R:Jig
C:Bill Black
K:G
D|GFG BcB|BAB AGE|GBd ege|edB
gdB|GFG B2d|
C2A BGE|DGB dBd|cAF G2::d|edB
ABd|gfg afd|
g2b age|edB AGA|BGG cAA|d^cd efg|DGB
dBd|cAF G2:||
DELIA, OR THE
AMOROUS GODDESS. English, Country Dance Tune
(4/4 time). D Major. Standard tuning. ABC. Composed by Samuel Howard
(1710-1782), a chorister of the Chapel Royal and organist at two
X:1
T:Delia, or the Amorous Goddess
M:4/4
L:1/8
C:Samuel Howard
K:D
A2|d2 d/e/rf e2 ac|d2 g<e d2c2|dA
B=c B^c d2|e/f/g f2 e4|d2 d/e/f e2 ac|
d2 g<e d2c2|dA B=c B2 ge|d2c2
d4||c2 d/e/f e2 dc|d2 cB c4|ec BA F^G A2|
d2c2B4|e2 df e2 dc|d2 bd c4|ec BA F2
dB|A2^G2 A4||d2 d/e/f e2 ac|d2 g<e e2c2|
dA B=c B^c d2|e/f/g f2e4|d2 d/e/f e2
ac|d2 g<e d2c2|dA B=c B2 ge|d2 c>B/2c/4 d4||
DELIDA POLKA. American, Polka. USA, Michigan. Folkways FA
2381, "The Hammered Dulcimer played by Chet Parker" (1966).
DELIGHT IN DISORDER. Irish, Reel. D Major. Standard
tuning. AABB. Composed by Mullaghbawn, south County Antrim, fiddler and piano
player Josephine Keegan (b. 1935). Keegan (The Keegan Tunes), 2002; pg.
22.
DELIGHT OF
X:1
T:Delight of Sudbury, The
M:C
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
[G2D2B2g2] fe dBAG|ABcA BGFG|{ef}g2 fe dBAG|ABcA “tr”B2A2:|
|:(DF)(FA)
(Ac)(cB)|(Bd)(dg) (gd)(cB)|(ec)(ge) (dB)(gB)|AcBA G2 [G,2G2]:||
DELIGHT OF THE MEN OF
DOVEY, THE. AKA and see "Difyrrwch Gwyr Dufi."
DELIGHT OF THE MEN OF
MAWDDWY, THE. AKA and see “Difyrrwch Gwyr
Mawddwy.”
DELIGHTS OF INCHICORE, THE. Irish, Jig. G Major. Standard tuning. AABB.
Composed by Falmouth, Massachusetts, musician and writer Bill Black, named for
the Inchicore district of Dublin. Black (Music’s
the Very Best Thing), 1996; No. 237, pg. 127.
X:1
T: Delights of Inchicore
C: © B. Black
Q: 325
R: jig
M: 6/8
L: 1/8
K: G
A | DGA BAG | ABA AFE | DGB d^cd | ed^c d2 A |
DGA BAG | ABA ABc | ded cAF | AGF G2 :|
A | dgg fgg | fga gdc | BGB cBc | de^c d2 A |
dgg
aga | bag fdc | Bcd cAF | AGF G2 :|
DELIGHTS OF THE BOTTLE. English, Air (3/4 time). D Major. Standard tuning. AB. The song appears
in the last act of composer Matthew Lock's English opera Psyche (1675). Playford published it in his Choice Ayres, and was arranged as a duet in his Pleasant Musical Companion (1687). As
with many popular airs, many songs were written to it and it appears under one
title or another in many collections of the era. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pgs. 28‑29.
DELLAGYLE. Scottish. The melody was composed by Charles Grant (b. Strondhu,
Knockando, 1806‑1892) and is the name of a famous salmon pool on the
River Spey.
DELL'S DELIGHT WALTZ. American, Waltz. C Major ('A' and 'B' parts) & G Major ('C' and 'D'
parts). Standard tuning. ABCD. Ford (Traditional
Music in America), 1940; pg. 143.
DELNABO. Scottish, Strathspey. E Minor (Skinner): E Dorian (Perlman). Standard
tuning. AAB (Skinner): AABB (Perlman). Composed by J.
Scott Skinner (1843-1927). Source for notated version: Kenny Chaisson (b.
c. 1947, Bear River, North-East Kings County, Prince Edward Island; now
resident of Rollo Bay) [Perlman]. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 198. Skinner (Harp and Claymore), 1904; pg. 64.
Skinner (The Scottish Violinist), pg.
49. Rounder 7004, Joe Cormier ‑ "The Dances
Down Home" (1977).
X:1
T:Delnabo
M:C
L:1/8
R:Strathspey
S:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:Emin
B, | (E2 G>E) (G>EG>E) |
({G}A2 =G>E) (F>D D2) | {F}G2 B>(G d>)(GB>)(G |1
A/)B/c B>A G>E E :|2 A/)B/c
B>^d e>E E || f | (g/f/e) (B>^d) e>fg>e |
d>f A>d F>A D>f |
(g/f/e) (B>^d) e>fg>e | f<c’ b>a g<e e>f | (g/f/e)
(B>^d) e>f .g/.f/.e |
d>(fA>)(d F>)(AD>)(F |
(3G)FE (3AGF (3BAG (3cBA | B>e ^d>b g<e [Be] ||
DELNADAMPH LODGE. Scottish, Reel. A Major. Standard tuning (or ADae, a la Allie Bennett).
AAB. Composed by Alexander Walker. The tune has been recorded by the Barra
MacNeils and Jerry Holland. Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 10, pg. 4. Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are
Showing” (2000). Allie Bennett – “Its About Time” (2004).
DELRACHNIE'S RANT. Scottish, Strathspey. G Major. Standard tuning. AAB. A note in Walker
(1866) says "very old." Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 168, pg. 58.
DELTING BRIDAL MARCH. Shetlands, March (6/8 time). G Major. Standard tuning. AB. In the
Shetland Islands it was the custom for fiddlers at weddings to lead the bridal
party to and from the church. Delting is the Mainland Sheltand district between
Olna Firth and Dales Voe. Hunter (Fiddle
Music of Scotland), 1988; No. 341.
DELTINGSIDE. AKA and see "Delvin Side [2]" (Delvinside).
Shetland. Shetland, Unst and Mainland districts.
DELVIN HOUSE [1]. Scottish, Reel or Strathspey. C Major. Standard tuning. AB (Surenne):
AAB (Skye): AABB' (Kerr): AABBCD (McGlashan). Credited to Niel Gow (1727-1806)
by MacDonald. Kerr (Merry Melodies),
vol. 2; No. 96, pg. 13 (strathspey). MacDonald (The Skye Collection), 1887; pg. 118 (reel). McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 33. Surenne (Dance Music of Scotland), 1852; pg. 97.
X:1
T:Delvin House [1]
M:C
L:1/8
R:Reel or Strathspey
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:C
e|~c2 Ge ~c2 GE|D>(dd>)c
B>GA>B|c>ed>e c>eA>c|G>AG>E G(cc):|
e/f/|gece ce/f/ge|afdf df/g/af|gece
gecA|A>fe>d ecce/f/|gece ce/f/ge|
afdf cf/g/af|e>gd>e
c>dA>c|G>AG>E G(cc)||
DELVIN HOUSE [2]. Irish, Jig. G Major. Standard tuning. AAB. O’Farrell (Pocket Companion, vol. III), c. 1808;
pg. 1. O'Neill (O’Neill’s Irish Music),
1915; No. 182, pg. 100.
X:1
T:Delvin House [2]
M:6/8
L:1/8
R:Jig
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:G
(AGA) (BAB) | GEE E2D || g>ag
(gab) | dBg dBG | g>ag (gab) | age e2d |
g>ag (gab) | dBg dBG | (AGA)
(BAB) | GEE E2D | g>ag (gab) | dBg dBG |
(gfg) (aga) | (bag) e2d | g>ab
e>fg | dBg dBG | (AGA) (BAB) | GEE E2 ||
DELVIN HOUSE [3]. Scottish, Jig. A Major. Standard tuning. AAB. The tune appears in the 3rd
collection of Malcolm MacDonald of
Dunkeld, a volume dedicated to Miss Drummond of
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Delvin House [3]
M:6/8
L:1/8
R:Jig
S:MacDonald – 3rd Collection of Strathspey Reels (c. 1792)
Z:AK/Fiddler’s Companion
K:A
e3 ecA | F2 F “tr”F2E | FGA ECA, |
B,2B, B,2A, | e3 ecA | F2F F2E | FGA ECA, | B,3 A,3 :|
|: (e3 e)cA | (f3 f)ga | e2(e e)cA |
GBB “tr”B3 | e2(e e)cA | (f3 f)ga | efe edc | “tr”B3 A2 :|
DELVON SIDE [1]. Scottish, Jig. G Minor. Standard tuning. AAB. Carlin (Master Collection), 1984; pg. 93, No.
156.
DELVIN SIDE [2]. AKA – “Delvine Side.” AKA and see "Deltingside"
(Shetland). Scottish, Strathspey. E Dorian. Standard tuning. AB (Surenne): AAB
(most versions): AABB' (Kerr). Glen (1891) finds the earliest printing of the
tune in Alexander McGlashan's
1780 collection (pg. 30), although it appears soon after several period
publications, including Philadelphia publisher B. Carr’s Caledonian Muse (1798) and Gow’s Complete Repository (1799). It appears as well in the John Fife
music manuscript book of c. 1780-1804.
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:Delvine (sic) Side [2]
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
B,|:E>e d/^c/B/A/ B<E B>A|B<E e/^c/B/A/ d>DA>F|E>e d/^c/B/A/ B<E B>e|(3fdf (3e^ce d<D A>F:||
d>EB>E d>EB>e|d>EB>E d>BA>F|d>EB>E d>EB>e|(3fdf (3e^ce d<D A>F|
dEBE d>EB>e|d>EB>E d>BA>F|E>FG>A B>^cd>e|(3fbf (3ege (3d^cB (3AGF||
X:2
T:Delvin
Side [2]
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's Second Collection, page 20
L:1/8
M:C
R:Strathspey
K:Bm
E>e
d/B/A/B/ d<EB>A |E>e d/B/A/B d<DA>F|E>e d/B/A/B/ dEEg
|f<ae<f d<DA>F :|
d<EB<E
d<E TB>A|d<EB<E d<EA>F|d<EB<E d<EE>g|f/g/a/f/
e/f/g/e/ dD B/A/G/F/|
d<EB<E
d<E TB>A|d<EB<E d<EA>F|d<EB<E d<EE>g|f/g/a/f/
e/f/g/e/ dD B/A/G/F/|]
DELVIN SIDE [3]. Scottish, Reel. D Major. Standard tuning. AA’BB’. Kerr (Merry Melodies), vol. 4; No. 67, pg. 10.
X:1
T:Devlin Side [3]
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 67
Z:AK/Fiddler’s Companion
K:D
DCDE FEFA | dFAF dFAF | E/E/E (ED)
EFGA | (3Bcd (AF) FEEF |
DCDE FEFA | dFAF dFAg | faef deBd |
AFEF D2A2 ||
|: defg afdg | (3faf (df) a2 (gf) |1
e^def gfgf | (3efg (fa) g2 (fe) :|2 gbef deBd | AFEF D2d2 ||
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