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] |
D-TIOCFARD, AN. AKA and see "Eileen Aroon."
DU PETIT SARNAY. See “Petit Sarnay.”
DUB REEL, THE. Irish, Reel. Lunasa.
DUBH CHNOCAN. Scottish, Reel. D Major. Standard tuning. AAB. Composed by James Stewart-Robertson,
the editor of The Athole Collection.
Stewart-Robertson (The Athole Collection),
1884; pg. 97.
X:1
T:Dubh Chnoca
M:C|
L:1/8
C:James Stewart-Robertson
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A|F2DF ABAF|d2Af eEEA|F2DF ABAg|fdec d2d:|
g|f2df eBBc|dBAF BEEg|f2df eBBc|dBAF D/D/D Dg|
f2df
eBBc|dBAF BEEA|F2DF ABAg|fdec d3||
DUBLIN BAY. AKA and see "We'll
Wed and We'll Bed." English, Country Dance Tune (12/8 time). C Minor.
Standard tuning. ABB'. The tune dates to 1713. The name Dublin is derived from
the Gaelic dubh linne, or ‘the black pool’. Barnes (English Country Dance Tunes), 1986.
DUBLIN BOYS, THE. AKA and see "Dublin
Streets," “Fig for a Kiss
[1],” "Gliogar an Mheadair,"
"The Gurling of the Churn,"
"The Old Dutch Churn,"
"Milk the Churn," "The Splashing of the Churn [2],"
"Humours of Bottle Hill,"
"The Night of the Fun [2],"
"She is fit for a kiss,"
"Two in a Gig." Irish, Slip
Jig. E Minor. Standard tuning. AB. The name Dublin is derived from the Gaelic dubh
linne, or ‘the black pool’. Ryan also prints the tune under the title
“Night of Fun,” points out Paul de Grae, who says the tunes are in fact a
combination of the ‘A’ part of “Fig for a Kiss” with the ‘B’ part of “Dublin
Streets.” Cole (1000 Fiddle Tunes),
1940; pg. 67. Ryan’s Mammoth Collection,
1883; pgs. 93 & 98.
X:1
T:Dublin Boys, The
M:9/8
L:1/8
R:Slip Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
(G2.A) BGE BGE|(F2.G) AFD AFD|(G2.A)
BGE BGE|dcB AGF (E2D)|
(G2.A) BGE BGE|(F2.G) AFD AFD|(G2.A)
BGE BGE|dcB AGF E2z||
(e2.f) (g2.a) bge|(d2.e) f2g afd|e2f
g2a bge|dcB AGF (E2D)|
e2f g2a bge|d2e f2g afd|e2f g2a
bge|dcB AGF E2z||
DUBLIN GIGG A JIGG. AKA and see “Foxhunter’s Jig.” Irish, Slip Jig. A
Major. Standard. AABB. The tune is a version of the well-known Irish slip jig
“Foxhunter’s,” usually set in D Source for notated version: the Ellis Knowles
manuscript (Lancashire, England, c. 1847) [Plain Brown]. Plain Brown
Tune Book, 1997; pg. 8.
DUBLIN GIRLS. Irish, Reel. D Major. Standard. AABBCC. The name Dublin is derived from
the Gaelic dubh linne, or ‘the black pool’. Kerr (Merry Melodies), vol. 4; No. 172, pg. 20.
X:1
T:Dublin Girls
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4 No. 172 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A2 (3FED AFEE | A2 (3FED BEEB | A2
(3FED AFFE | egfg edBd :|
|: A2 (FA) AddB | A2 (fd) edBd |
A2F2 AddB | egfg edBd :|
|: f2 fd e2 ed | f2 fd (ed)Bd | f2
fd e2 ed | egfg edBd :|
DUBLIN HORNPIPE [1],
THE. New
England, Hornpipe. G Major. Standard. AABB. Composed by Ralph Page. The name
Dublin is derived from the Gaelic dubh linne, or ‘the black pool’. Page (Ralph Page Book of Contras), 1969; pg.
17.
DUBLIN HORNPIPE [2],
THE. AKA and
see "The Cuckoo [1]," “Cuckoo Hornpipe [7],” "Murray's Fancy (Hornpipe) [1].”
Irish, Hornpipe. G Major. Standard. Michael Coleman called the tune “Murray’s
Hornpipe.” The tune was in ther repertoire of the famous Donegal fiddler Neilly
Boyle, and was also played in the Kilcar/Glencolmcille area, according to the
late fiddler Danny O’Donnell (1910-2001). Ón tSean-Am
Anall’ {Danny O’Donnell} (learned from Connie Gallagher, a barber in Killybegs,
Donegal).
DUBLIN HORNPIPE [3],
THE (Crannciuil M-Baile-Ata-Cliat). Irish, Hornpipe. G Major. Standard. AABB'.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1725, pg. 321.
X:1
T:Dublin Hornpipe, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland
(1903), No. 1725
Z:AK/Fiddler’s Companion
K:G
(dc) | BGEG cAFD | d^cde dBGD | EdcB
AGFG | (3ABG (3FGE Dcdc |
BGDG cAFD | d^cde dBGD | EdcB AGFA |
G>B (3def g2 :: b>g (3ggg dgBg |
b>g (3ggg dgBg | c’>a (3aaa
eaca | c’>a (3aaa eaca | b>g (3ggg dgBg |
b>g (3ggg df b2 |1 (3aba (3gag
(3fgf (3efe | (3ded (3cdc (3BcB ga :|2
agfa gfec | (3ddd ef gedc ||
DUBLIN HORNPIPE [4]. Scottish, Hornpipe. D Major.
Standard. AABB’. Kerr (Merry Melodies),
vol. 4; No. 279, pg. 30.
X:1
T:Dublin Hornpipe [4]
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No.
279 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
(3ABc | dcdf ecAc | dBGB AFDF | GBFB
EBdf | edcB ABcd | e>A A/A/A f>A A/A/A |
gfge (aA) A2 | (3ABc (3dcB (3ABG
(3FGE | D2D2D2 :: d2 | cdef gfge | defg agaf |
bgea fddf | edcB A2 (Ad) | cdef gfge
| defg agaf | bgea fddf |1 edcB A2 :|2 edcB Agfe ||
DUBLIN JIG [1]. Irish, Jig. G Major. Standard
tuning. AAB. The name Dublin is derived from the Gaelic dubh linne, or ‘the
black pool’. Carlin (Master Collection),
1984; pg. 134, No. 231.
DUBLIN JIG [2]. Irish, Jig. A Major. Standard.
AABB.
X:1
T:The Dublin Jig
D:Jimmy Shand 78: Beltona BL 2229
(1935)
Z:Nigel Gatherer
M:6/8
L:1/8
R:Jig
K:A
c|EAA cAA|eAA cAA|fga ecA|BcB
BAF|EAA cAA|eAA cAA|
fga ecA|BcB A2::e|eaa c'aa|baa
c'aa|eaa c'aa|
bc'b baf|eaa c'aa|bab c'af|efe
ded|cAA A2:|]
DUBLIN JIG [3]. American, Jig. USA, southwestern
Pa. G Major ('A' and 'B' parts) & E Minor ('C' part). Standard tuning. ABC.
Bayard (1981) identifies this as a composite tune made from combining strains;
the 'A' and 'B' part of this "Dublin Jig" are close to "Chalk Sunday" (Joyce) or "Dublin Boy". Tunes generally resembling this one
or parts of this one, he says, are "Pretty
Jane" and "Sir
Archibald Campbell's Jig.” Source for notated version: Hiram Horner (fifer
from Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 517, pg.
466.
DUBLIN LADS, THE. Irish, Reel. G Major. Standard tuning. ABC.The
name Dublin is derived from the Gaelic dubh linne, or ‘the black pool’. Source
for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west
Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 67, pg. 69.
DUBLIN LASSES [1]
("Na Cailinide Ua Baile-Ata-Cliat" or "Cailini
Baile-Ata-Cliat"). AKA and see “Boys of
Ballysadare [2],” "Coppers
and/of Brass [1]," "Crossing
the Field," "Douse the
Monkey," "The Green
Fields of Erin [2]," "The
Heather Bloom," "The Heather Breeze [1]," "The Heathery
Braes," "The Heathery Braes of Ballyhealy," "The Humours of Appletown,"
"Last Night's Work,"
"McNamara's Reel," "Miss Roden's Reel," "Miss Roddy's.” Irish, Reel. F Major/D
Minor. Standard tuning. AB (O'Neill/1850 & 1001): AABB (Cole,
O'Neill/Krassen). New York writer, researcher and musician Don Meade calls the
tune a “two-part F version of the three-part G reel ‘Boys of Ballisodare’
recorded (in New York in the 78 RPM era) by Paddy Killoran.” Fellow
Sligo-raised fiddler Michael Coleman recorded the tune as “Miss Roddy.” See
also "The Dublin Reel." The name Dublin is
derived from the Gaelic dubh linne, or ‘the black pool’. Source for notated
version: Chicago fiddler John McFadden, originally from County Mayo [O’Neill].
Bulmer & Sharpley (Music from Ireland),
vol. 1; 13. Cole (1000 Fiddle Tunes),
1940; pg. 8. Mitchell (Dance Music of
Willie Clancy), 1983; 53 (appears as untitled tune). O'Neill (O’Neill’s Irish Music), 1915/1987; No.
254, pg. 132. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
1328, pg. 248. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 587, pg. 107. Ryan’s Mammoth Collection, 1883; pg. 31. Green
Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew”
(1993). Danny O’Donnell – “Ón tSean-Am Anall.”
X:1
T:Dublin Lasses [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland
(1903), No. 1328
Z:AK/Fiddler’s Companion
K:F
c~F3 cFdF | cFFG AG G2 | c~F3 cFdF |
GBAG F(D D2) | c~F3 cFdF | cFFG AG G2 |
FGAc (3ded cA | GBAG FD D2 || fefg
“tr”(ag)ag | fefg adde | fefg a2 ag |
fdec Ad d2 | fefg “tr”(ag)ag | fefg addf
| afge f2 ed | cAGB AD D2 ||
DUBLIN LASSES [2]
(Gearrchailiú Bhaile Átha Cliath). AKA and see "Eight and Forty Sisters,” “Maids of Galway,” "Murtough Molloy," “Tie the Ribbons [2],” “Walls of Limerick [2].” Irish, Reel. E
Dorian. Standard tuning. AB (Breathnach): AA’BB’(Kerr). No relation to “Dublin
Lasses” [1]. O’Neill prints the tune under the title “Murtough Molloy.” The ‘B’
part of “Dublin Lasses” appears as the ‘B’ part of “Eight and Forty Sisters” in
Darley & McCall’s Feis Ceoil
Collection of Irish Airs (1914). Other related tunes are “Dowd’s/O’Dowd’s Favourite,” “The Flowers in May,” “The Ladies Pantaloons,” “The Scotch Hunt” “Trim the Bonnet” and “The Rover [4]" (Breathnach, 1996). See also an untitled related tune in
Breathnach’s CRÉ II (1976), No. 286.
The famous Sliabh Luachra fiddler Denis Murphy played this tune under the
“Dublin Lasses” title. Leitrim flute player John McKenna had it
as “Maids of Galway.” Source for notated version: fiddler Tommy Potts (Ireland)
[Breathnach]. Breathnach (CRÉ I),
1963; No. 193, pg. 75. Kerr (Merry
Melodies), vol. 4; No. 176, pg. 20. Mulvihill (1st Collection), 1986; No. 62, pg. 16 (appears as
untitled reel).
X:1
T:Dublin Lasses [2]
M:C|
L:1/8
R:Reel
B:Mulvihill - 1st Collection (62)
K:E Minor
dc|BE {F}(3EDE GBAG|(3FED AD
BDAD|GFEF GABc|{e}dcdf e2 dc|
BE {F}(3EDE GBAG|(3FED AD BDAD| GFEF
GABc|{e}dc(df)e2||ef|
g2 (3agf gbag|fd {e}(3dcd fgaf|g2
(3agf gbag|gfed Beef|g2 (3gfg gbag|
fd {d}(3dcd fgaf|(3bag af gfed|Beed
e2||
DUBLIN LASSES [3]. See “Dublin Reel.” Irish, Reel. An alternate
title for the “Dublin Reel”.
DUBLIN PORTER, THE (Pórtar Dhúlainn). AKA and see "Dublin Porter House." Irish (originally),
Canadian; Reel. Canada; Cape Breton, Prince Edward Island. G Major. Standard
tuning. AB (Roche): AA'B (Breathnach): AABB (Cranitch): AABB’ (Cranford):
AA’BB’ (Perlman). The tune was known, as are many Scots tunes, in County
Donegal, Ireland, as evidenced by the diary entry of a fiddler named William
Allingham, who was employed as a customs officer and whose vocation was
traditional music. He visited a poor fiddler named Tom Read in the (probably
Ballyshannon) poorhouse who played for him both “Ain Kind Dearie” and “Paudeen
Ó Rafferty” in November of 1847, the time of the famine. Allingham gave George
Petrie several tunes which appear in the latter’s collection of Irish music.
The tune was popularized by the teaching, recording and playing of Padraig Ó
Caoimh whose version, suspects Caoimhin Mac Aoidh, was based on the printing in
the Roche Collection. Ken Perlman (1996) states the tune was
introduced to Prince Edward Island from the playing of Cape Breton fiddler
Jerry Holland. The name Dublin is derived from the Gaelic dubh linne, or ‘the
black pool’. In County Kerry the tune is known as “Dublin Porter House,”
according to Breathnach (1985). Source for notated version: Kenny Chaisson (b.
1947, Rollo Bay, North-East Kings County, Prince Edward Island) [Perlman];
fiddlers John and James Kelly (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 155, pg. 72.
Cranford (Jerry Holland’s), 1995; No.
178, pg. 50. Cranitch (Irish Fiddle Book),
1996; pg. 89. Perlman (The Fiddle Music
of Prince Edward Island), 1996; pg. 51. Roche
Collection, 1982; Vol. 1, pg. 72, No. 188. DARA CD 072, Any Old Time – “Crossing.” Fiddlesticks cass.,
Jerry Holland - “A Session with Jerry Holland” (1990). Green Linnett, Jerry
Holland - “The Fiddlesticks Collection” (1995). OSS CD 70, Brid Cranitch, Vince
Milne, Pat Sullivan – “A Small Island.” Outlet Records SOLP 1041, John &
James Kelly - "Irish Traditional Music" (album notes for the tune
state that this tune was a favorite of Sliabh Luachra, Kerry, fiddler Padraig
O'Keeffe and that their father John Kelly Sr. suggested it could be also played
at slower pace and in dotted rhythm as a hornpipe).
X:1
T:Dublin Porter
T:The Dublin Porter House
R:reel
M:4/4
L:1/8
K:G
B2 BA BcdB|cBAB cdec|Add^c
dcAG|(3FED AD BDAc|
B3 A BcdB|cBAB cdef|g2 fg ecAF|1
GBAF G2 DG:|2 GBAF GABd||
|:g3 f gdBd|g2 fg eA ~A2|eA ~A2
edeg|fgag fdef|
g2 gf gdBd|g2 fg eA ~A2|eA ~A2
edeg|1 fgaf gfef:|2 fgaf gfed||
DUBLIN PORTER HOUSE. AKA and see "Dublin Porter."
DUBLIN REEL, THE ("Seisd Baile-Ata-Cliat" or "Cor
Baile-Ata-Cliat"). AKA and see “Athens,” “Blodgett’s Reel,” "The Clogher Reel," “The Cock’s Tail,” "The Dublin Lasses [3]," "Jackson's Reel [2]," “Jackson’s
No. 2,” “Miss Daly's Reel,”
"The Shuffle Reel," "The Twelve Locks," "The Twister," “The
Union Reel,” "Victor Wild,"
"The Westmeath Hunt." Irish,
Single Reel. G Major (O’Neill/Krassen): D Major (Mitchell, O’Neill/1850,
Sullivan): C Major (Mitchell). Standard tuning. AB (Mitchell): AA'B
(O'Neill/1850): ABC (Mitchell): AA'BC (O'Neill/1001, Sullivan): ABB'CC'
(O'Neill/Krassen): ABCA’BC (Moylan): AABBCD (Miller & Perron). Known as a
piping tune. The first part is similar to that of “Knocknagow.” The G Major form of the
tune is known as “Jackson’s”, from County Sligo/New York fiddler Michael
Coleman’s recording of it. The name Dublin is derived from the Gaelic dubh
linne, or ‘the black pool’. The alternate titles “Blodgett’s” and “Miss Daly”
are found in Ryan’s Mammoth
Collection/Cole’s 1000 Fiddle Tunes. “The Shuffle Reel” is a related tune.
According to Caoimhin Mac Aoidh, the tune is known as “The Cock’s Tail Reel” in
County Donegal where it is associated with the playing of Mickey Mór Doherty,
the father of fiddlers Mickey, John and Simon Doherty. Sources for notated
versions: Boston fiddler Paddy Cronin (b. 1925) [Miller & Perron]; accordion
player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border)
[Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare)
[Mitchell]; Delaney [O’Neill]; fiddler Jimmy McHugh [Bulmer & Sharpley].
Bulmer & Sharpley (Music from Ireland),
1974, vol. 1, No. 33. Breathnach (CRÉ III),
1986; 102. Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 3, No. 28. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 66. Mitchell (Dance
Music of Willie Clancy), 1993; Nos. 51 & 52, pgs. 58-59 (two settings).
Moylan (Johnny O’Leary), 1994; No.
218, pg. 125. O'Neill (Krassen), 1976; pg. 90. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1374, pg. 256.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 624, pg. 113. Ryan’s
Mammoth Collection, 1883; pgs. 24 & 75. Sullivan (Session Tunes), vol. 3; No. 56, pg. 23. A
& M Records 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992).
Claddagh Records CC17, Seán Keane ‑ "Gusty's Frolics" (1975).
Noel Hill – “The Irish Concertina” (1988). Paddy Glackin & Paddy Keenan –
“Doublin’” (1978). Shanachie 79093, Paddy Glackin & Robbie Hannan – “The
Whirlwind” (1995. Learned from piper Séamus Ennis).
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:Dublin Reel, The [1]
M:C
L:1/8
Q:250
K:D
dF ~F2 dF eF | dF ~F2 A2 Bc | dF ~F2
df ed | cd Bc A2 Bc |
dF ~F2 dF eF | dF ~F2 A2 Bc | dF ~F2
df ed | cd Bc A2 cd |
eA (3cBA eA fA | eA (3cBA BA FA | eA
(3cBA eg fe | dB {c}BA BA FA |
eA (3cBA eA fA | eA (3cBA BA FA | eA
(3cBA eg fe | dB {c}BA BA FA |
d3c dA FA | dc dB AD FA | d3c df ed
| cd Bc A2 Bc |
d3c dA FA | dc dB AD FA | d3f e3g |
fd Bc d4 :||
DUBLIN REEL [2]. Irish, Reel. E Minor. Standard tuning. AB. Howe (1000 Jigs and Reels), c. 1867; pg. 64.
X:1
T:Dublin Reel [2]
M:4/4
L:1/8
R:Reel
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:Emin
.B.E(EF) (GB).A.G | .F.D.A.D .B.D(GA) | BEEF GFGA | BA (3Bcd e || (e/f/) |
g>f e>f g>b (ag) | f>d a>d b>d a>d | g>f e>f g>b a>g | g>f e>d ez e>f | g>f e>f g>b a>g |
(f>d) (a>d) (gf)(ga) | (bg)(af) gfed | BA (3Bcd (e2e) ||
DUBLIN
ROAD REEL. Irish, Reel. A Major. Standard
tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of
Mullaghbawn, south County Armagh. See note for “Lament for Michael Delargy.”
Keegan (The Keegan Tunes), 2002; pg.
93.
DUBLIN STREETS (Sraidide/Sraide Baile-Ata-Cliat). AKA and see "Dublin Boys," "Gliogar an Mheadair," "Gurgling of the Churn," "Milk the Churn," "The Old Dutch Churn," "The Splashing of the Churn [2],"
"Humours of Bottle Hill,"
"A Fig for a Kiss [1],"
"She is fit for a kiss,"
"Two in a Gig," "The Night of the Fun [2]." Irish,
Slip Jig (9/8 time). E Minor. Standard tuning. AAB (O'Neill): AABB (Kerr). The
name Dublin is derived from the Gaelic dubh linne, or ‘the black pool’. Giblin
(Collection of Traditional Irish Dance
Music), 1928; 91. Kerr (Merry
Melodies), vol. 2; No. 235, pg. 26. O'Neill (Krassen), 1976; pg. 86.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1164, pg. 219. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 438, pg. 86.
X:1
T:Dublin Streets
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 438
Z:AK/Fiddler’s Companion
K:Emin
E2F G2A BGE|D2E F2G AFD|E2F G2A
BGE|dcB AFD E3:|
||e2f g2a bge|fef def afd|e2f g2a
bge|fed B^c^d e2d|e2f g2a bge|
fef def afd|bag agf gfe|dcB AFD E3||
DUBLIN VOLUNTEERS QUICK MARCH. Irish (?), March (2/4 time). G Major. Standard tuning. AB (O’Farrell): AABB (Aird). James Aird dedicated his Selection of Scotch, English, Irish and Foreign Airs to “the Volunteer and Defensive Bands of Great Britain and Ireland.” He was referring to the numerous units raised for home defense during the several wars with France during the latter 18th and early 19th centuries. At the time of the revolt of the American colonies the British Government was worried about home defense and threats from France. The Irish Volunteer movement was formed as a home guard when Britain's forces were engaged in America but it soon became a political reform movement. The Dublin Volunteers was one such unit, a yeomanry force raised in 1779 among the English-speaking population of Dublin and first commanded by the Duke of Leinster. It was the unit to which later-rebel leader Napper Tandy (1740-1803) belonged before he was expelled in 1780 after advocating for the expulsion of the Duke on the grounds that he was too moderate. The Royal Dublin Volunteers had in 1803 a uniform consisting of a red coat with blue facings, blue breeches, and black gaiters and shoes. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 137, pg. 51. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 55.
X:1
T:Dublin Volunteers Quick March
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:G
z | GBdg | gfac | cBdG | BAGF | GBdg | gfed | gedc | de (d/c/B/A/) |
GBdg | gfac | cBdG | BAGF | GB dg | gfed | fed^c | d>e d :|
|: f/g/ | afdf | gdBG | ecAG | GFED | GBdg | gf/g/ ac | BAGF
| G>A G2 :|
DUBOURG’S MINUET. Irish, Minuet. E Minor. Standard tuning
(fiddle). AABB. Matthew Dubourg (1707-1767) was an Irish violinist, conductor
and composer; a child prodigy who studied with Geminiani, and who collaborated
with Handel. It was Dubourg whom the great composer chose to conduct the
orchestra during the premiere of The Messiah (1742), in Dublin.
Dubourg’s powers of improvisation were prodigious. A story is told that Dubourg
was chosen by Handel to play the cadenza of one of his pieces in a 1742
concert. Dubourg did so, introducing complex modulations in which he wandered
far from the theme. When he finally did return to the seminal melody, Handel is
said to have remarked, “Welcome home, Mr. Dubourg!” Dubourg is also known for
his settings of traditional Irish melodies in lage Baroque style (see his Variations
of Druid Tunes). He eventually held the post of Master and Composer of the
State Music in Ireland. “Dubourg’s Minuet” was contained in the 1758 manuscript
of Johannis (John) Ormsby, a Colonial dancing master at Annapolis, Maryland.
Ormsby’s manuscript contained only minuets; 55 of them. An early printing of
the piece was in Henry Waylet’s Instructions for the Hautboy (London,
1745), and Robert Bremner published it in his Delightful Pocket Companion
for the German Flute (London, 1763—a reissue of John Simpson’s flute tutor
of 1745). See also “Duburg’s [sic] Maggot,” in Neale’s ‘’’Third Collection for
the violin of the Newest English Airs and Minuets’’’ (Dublin, c. 1726). Johnson
(A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter
18th Century), 1998; p. 12.
X:1
T:Dubourg’s Minuet
M:3/4
L:1/8
S:
K:Emin
EG B2 e/f/g|fe^dcBa|g/f/e b2 c’2|^d4
f2|B^dfagf|g^decBA|
GBAGFE|B2 [B,4B2]:||:GB g2 g/a/b|Fd
a2 a/b/c’|Gdbd’c’b|
agfedc|BdgdcB|cfacBA|BgAg Df|gG
f/g/a gf|eE e/f/g fe|fF f/g/a gf|
g/f/e b2c’2|^d4 f2|B^dfagf|g^decBA|c/B/A
G2F2|E6:||
DUBUQUE. AKA and see "Duck River," “Fiddling Phil,” "Five Miles from Town [2],"
"General Lee," “Hell Up Coal Holler [2],” “Lighthouse,” "Mabel,” “Muddy
Road to Kansas,” "Old Dubuque,"
“Phiddlin’ Phil,” "Sally in the Green Corn,” “Trouble on the Nine Mile,” “Village Hornpipe.” Old‑Time, Reel. USA,
Missouri. D Major. Standard tuning (fiddle). AB (Silberberg): AABB (Brody):
AABBAAB'B' (Phillips). Dubuque, Iowa, takes its name from Sieur Julien Dubuque,
a French-Canadian who was one of the first white men to settle the area, which
at that time was under the control of the Fox tribe of Native Americans and the
Spanish monarchy. Dubuque dealt successfully with both, obtaining permission to
mine lead in the latter 18th century. He befriended a local Mesquakie Chief named Peosta, and perhaps
married his daughter, Potosa. Dubuque died in 1810 and was buried on a bluff
overlooking the Mississippi River, just south of the town that bears his name.
Interestingly, fiddler and musicologist Paul Tyler finds historical reference a
man named Dubuque, a fiddler and dancer in M.M. Hoffman’s Antique Dubuque: 1793-1833:
***
Naturally one would expect that such a wealthy and powerful personage
would make
somewhat of an impression on the inhabitants of the little city of St.
Louis when he
visited there. And such was the case. Antoine Soulard, who became the
Surveyor
General for the district of Upper Louisiana in 1795, was the friend and
business
representative of Dubuque at St. Louis. His son, James G. Soulard, born
in 1798,
in later years moved to Galena and there resided as a prominent citizen
for many
years. This pioneer had the good fortune to meet Dubuque and he has left
with us
perhaps the best picture obtainable of the great Miner of the Mines of
Spain. He
described Julien Dubuque as he appeared in middle life, as “a man below
the usual
stature, of black hare and eyes, wiry and well-built, capable of great
endurance and
remarkably courteous and polite, with all the suavity and grace of the
typical Frenchman.
To the ladies he was always the essence of politeness.” Mr. Soulard well
remembered
that on the occasion of one of Dubuque’s visits, a ball was given in his
honor,
attended by all the prominent people of the place. It was held in a
public hall, in the
second story of a building, and he as a small boy had crowded in to see
the sights.
At one point of the festivities the Sieur Dubuque took a violin from one
of the
performers and executed a dance to the strains of his own music, which
was considered
a great accomplishment, and was received with tremendous applause.
***
However, the tune “Dubuque,” or “Old Dubuque,” is a representative of a
large tune family that appears to have its greatest currency in the Midwest,
although can be found in other regions. There are numerous variants and titles
(see above), but all have the general contour and most have the characteristic
first few measures. Some see relationships to the "Off to California" family
of tunes. Tom Verdot believes it may be derived from an 1840’s minstrel tune
called “Coonie in the Holler” (Howard Marshall). Christeson says the tune is
similar to "Phiddling Phil" in Adam's book. “Old Dubuque” is one of
‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden. See
also the related "Possum Up
a Gum Stump [1].” “Muddy Road to Kansas” is an Illinois title for the
melody. In addition, Gus Meade (2002) finds the following related tunes: "Sweet Ellen/Ellum [2]," “Lonesome Hill,” “Hell Broke Loose in
Georgia,” and “Indian Eat the
Woodpecker.” The earliest sound recording of the melody is by William B.
Houchens (1923), under the title “Bob Walker,” while Capt. Moses J. Bonner
(1925) recorded it as “Ma’ Ferguson.” The earliest printed versions appear in
Elias Howe’s as “Village Hornpipe,” and Ira Ford’s (1940) under the same title.
Sources for notated versions: Fennigs All Stars (N.Y.) [Brody], Jay Ungar (West
Hurley, New York) [Kuntz, Phillips]; Art Galbraith (Mo.) [Phillips]; Jack Link
(Seattle) [Silberberg]. Brody (Fiddler’s
Fakebook), 1983; p. 93. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes),
1994; p. 76. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg.
38. Front Hall 01, Fennig's All Star String Band‑
"The Hammered Dulcimer." Kicking Mule 209, Bob Carlin‑
"Melodic Clawhammer Banjo." Revonah RS‑924, "The West
Orrtanna String Band" (1976. Learned from the playing of Neil Rossi).
X:1
T:Dubuque
M:C|
L:1/8
K:D
A,B,DE D2 DE|FABF A4|BAdA BAFE|1 DEFD ED B,:|2 DFED D4||
F A2 F A2 BA|FE D2 B,2 D2|A B2 A B2 de|dBAG FG A2|F A2 F A2 BA|
FE
D2 B,2 DE|F2 FD EDB,G,|A,B,DE D4||
DUCDAME. English. The tune is probably the Irish "Eileen Aroon [1]." The title is an
Anglicized form of the Gaelic "An D‑tiocfard", or 'will you
come', which is sung twice in the third verse of "Eileen Aroon."
Shakespeare makes reference to this tune in the 5th scene of "As You Like
It."
DUCHESS, THE. New England, Country Dance Tune (2/4 time). B
Flat Major (?) ('A' and 'B' parts), F Major ('C' part) & C Minor (Trio).
Standard tuning (fiddle). ABB'CC', Trio. The Duchess is also the name of a
round dance, "...probably derived from a handkerchief morris dance. It was
known as early as the 17th century. The melody is the one which was originally
played for the dance in New England and has been used by Harry Brigham for
sixty years" (Linscott). Source for notated version: Harry E. Brigham
(Marlboro, Mass.) [Linscott]. Linscott (Folk
Songs of Old New England), 1939; pp. 75‑76.
DUCHESS D. OF
RICHMOND'S STRATHSPEY, THE. Scottish, Strathspey. E Major.
Standard tuning (fiddle). AAB. Composed by William
Marshall (1748-1833). Marshall, Fiddlecase
Edition, 1978; 1822 Collection, p. 37.
X:1
T:Duchess D. of Richmond’s
Strathspey, The
M:C
L:1/8
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:E
G|~E2 BG B<B B>G|B/d/e/f/
a/g/f/e/ fFFG|~E2 BG B<B B>a|a/g/f/e/ g/f/e/d/ eEE:|
a|g>f e<B egeB|c/d/e/f/
e/d/c/B/ c<f f>a|g>fe>B eg bB|~c>B c/B/A/G/ Beea|g>f e<B
egeB|
c/d/e/f/ e/d/c/B/ c<f
f>a|~g<bf<g e<g c>e|~B>e fe/f/ gee||
DUCHESS OF ARGYLE, THE. Scottish. Glen (1891) finds the earliest
appearance of this tune in print in Joshua
Campbell's 1778 collection (pg. 78).
DUCHESS OF ATHOLE [1], THE. AKA and see "Lets to the Ard." Scottish, Strathspey. A Major. Standard tuning (fiddle). AB (Cole, White): AABB (Kerr): AABBCCDD (Gow): AABBCCDDAABB (Carlin). Composed by Scots fiddler-composer Niel Gow (1727-1807), of Inver, near Dunkeld, Perthshire. The melody appears in his First Collection of Strathspey Reels (Ediburgh, 1784), which he dedicated to “Her Grace the Duchess of Athole.” The Duke and Duchess were the local gentry for Gow, who was often called upon to perform for them at Dunkeld House and at Blair Castle. For these services he was paid an annuity of five pounds. Gow directed the tune be played “slow”. Glen (1891) finds a tune by this name in Angus Cumming's 1780 collection (pg. 4). Carlin (The Gow Collection), 1986; No. 37. Cole (1000 Fiddle Tunes), 1940; p. 126. Gow (First Collection of Strathspey Reels), 1784 (revised 1801); p. 1 (appears as “The Dutchess of Athols Strathspey”). Kerr (Merry Melodies), vol. 1; Set 25, No. 3, p. 15. Ryan’s Mammoth Collection, 1883; pg. 166. White’s Unique Collection, 1896; No. 168, p. 31.
X:1
T:Duchess of Athol’s Stathspey
M:C
L:1/8
R:Strathspey
S:White’s Unique Collection (1896), No. 168
Z:AK/Fiddler’s Companion
(E>.A)(c>.A) (B<A) F2 |
(E>.A)(c>.A) (e<A) c2 | (d<f)(c<a) (B>A) F2 |
(E>.A)(c>.A) B2A2 |
(A>A)(c>A) (B<A) F2 | (E>A)(c>A) (e<A) c2 |
(d<f)(c<a) (B>A) F2 |
(E>A)(c>A) B2A2 || (e>c)(a>.c) (d/c/B/A/) F2 |
(e>c)(a>c) (e/c/e/f/) a2 |
(f>e)(a>c) (d/c/B/A/) F2 | (E>A)(c>A) B2A2 |
(E>A)(c>A) B2A2 |
(e>c)(a>c) (d/c/B/A/) F2 | (e>c)(a>c) (e/c/e/f/) a2 |
(f>e)(a>c) (d/c/B/A/) F2 |
(E>A)(c>A) B2A2 ||
DUCHESS OF ATHOLE [2], THE. Scottish, Strathspey. B Minor. Standard
tuning. AB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No.
54, pg. 20.
DUCHESS OF ATHOLL [3]. Scottish, Reel. A Major. Standard tuning. AABB. Glen (1891) finds the
tune earliest in Daniel Dow's c. 1775
collection (pg. 25). Kirkmicheal, Perthshire, fiddler and composer Robert
Petrie included it in his Second
Collection of Strathspey Reels and Country Dances, 1796.
X:1
T:Dutchess
of Athole's Reel
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04
N:Petrie's
Second Collection, page 21
%
Gore's index gives earliest publication as Daniel Dow's
%
"37 New Reels & Str. For the Vn. Hchd. Or G.Fl." late 1770s
L:1/8
M:C
R:Reel
K:A
E|A2
cA eAcA|B/B/B ce fefa|eaca TB(ABc)|AFEF A/A/A A::A|
EAEA FAEA|FATBA dcBA|EAEA FAEf
|ecBc A/A/A A:|
DUCHESS OF ATHOLE'S
FAVOURITE. Scottish, Slow Air (6/8 time). A
Major. Standard tuning. AA'BBCC. The composition has been credited to the famous Perthshire fiddler-composer Niel
Gow (1727-1807), although his name does not appear with the tune when it was
printed in the Gow’s 2nd
Collection (1788). Cape Breton fiddler Bill Lamey (1914-1991) played the
tune as a waltz, although waltzes did not come into vogue until after Niel Gow
died and it is doubtful he wrote it as a vehicle for that dance. The tune was
also recorded by Cape Breton fiddler Dan R. MacDonald on and early LP with
accompanist Lila Hashem, according to Paul Cranford. Gow (Second Collection of Niel Gow’s Reels), 1788; pgs. 20-21 (3rd
ed.). MacDonald (The Skye Collection),
1887; pg. 154. Rounder 82161-7032-2, Bill Lamey –
“From Cape Breton to Boston and Back: Classic House Sessions of Traditional
Cape Breton Music 1956-1977” (2000).
X:1
T:Duchess of Athole’s Favourite
L:1/8
R:Slow Air
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
c/B/|(AE)C (A,C)E|AEA
c(e/d/)(c/B/)|AEC A,(F/E/)D/C/| B,BB B2 c/B/|
AEC A,CE|AEA c(d/c/)(B/A/)|EFA
BAB|cAA A2||
|:f/g/|aec (f/e/)d/c/B/A/|aec
(f/e/)d/c/B/A/|(B/A/)B/c/d/e/ f/e/d/c/B/A/|
FBB B2 c/d/|(ec)A (af)d|eaf
{f}ed/c/B/A/|E>FA BAB cAA A2:|
DUCHESS OF ATHOLL’s
JIG, THE.
Scottish, Jig. D Major. Standard tuning. AABB. A 19th century
composition by D. Campbell. A note in the Highland
Bagpipe Tutor dates the tune to 1847 (Miller). Miller (Fiddler’s Throne), 2004; No. 35, pg. 32.
DUCHESS OF ATHOL'S/ATHOLL'S SLIPPER.
AKA and see “The Dutchess’ Slipper.”
Scottish, Strathspey. F Major. Standard tuning. AB (Surenne): AAB (Glen, Gow, Hunter).
One of the most celebrated compositions of Inver, Scotland, fiddler Niel Gow
(1727-1807). The earliest publication of the melody is in Niel Gow & Sons, Second Collection, 1788, under the title
“The Duchess’ Slipper,” without an attribution, although later Gow editions and
publications give it as “The Duchess of Atholl’s Slipper” and with Niel
credited as composer. The Duchess of Atholl's Slipper is also a Scottish
country dance, and was, at the mid-20th century, one of only fifteen or so
partly or wholly in strathspey tempo (Flett, 1964). A country dance called The
Duchess’s Slipper was printed in Longman & Broderip’s Fourth Selection of Country Dances, Reels & c. (London, c.
1790), “As Performed at the Princes of Wales’s, Bath and other Grand Balls &
Assemblies.” See also an untitled strathspey from Donegal fiddler Danny
O’Donnell, printed in Feldman & O’Doherty’s Northern Fiddler (1979, No. 192b). Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 21.
Gow (Second Collection of Niel Gow’s
Reels), 1788; pg. 19 (3rd edition). Gow (Beauties of Niel Gow), vol. 1, 1799. Hunter (The Fiddle Music of Scotland), 1988; No. 158. Surenne (Dance Music of Scotland), 1852; pgs.
69-69 (appears as “The Duchess of Athole” with alternate title “Duchess’
Slipper”). Ron Gonella – “A Tribute to Niel Gow.”
X:1
T:Dutchess of Athole’s Slipper (sic)
M:C
L:1/8
R:Strathspey
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:F
CFAF c<FA<F|CFAF D<G G2|CFAF cFA<f|c>BAG F<F F2:|
c<f f2 cfaf|gfaf dg g2|c<f f2 cfaf|gfaf cf f2|
c<f f2 cfaf|gfaf dg g2|f<ad<f c<fA<f|c>BAG F<F F2||
X:2
T:Dutchess of Athole’s Slipper, The
M:C
L:1/8
R:Strathspey
N:”Slowish”
C:Niel Gow
B:Gow – Second Collection of Niel Gow’s Reels, 3rd ed., pg. 19 (orig. 1788)
Z:AK/Fiddler’s Companion
K:F
(CFA)F cFAF|(CFA)F G<DG2|(CFA)F cFA<f|{d}”tr”c>BAG F<F F2:||
c<f “tr”f2 cfaf|”tr”g>faf d<g “tr”g2|c>f “tr”f2 cfaf|”tr”g>faf c>f”tr”f2|
c>f “tr”f2 cfaf|”tr”g>faf d<g “tr”g2|f<ad<f c<fA<f|{d}”tr”c>BAG F>F “tr”F2||
DUCHESS OF BEDFORD. Scottish, Reel. F Major. Standard tuning. AABBCCD. The Duchess of
Bedford probably refers to Georgiana (d. 1853), daughter of the Duke of Gordon
(William Marshall’s employer and patron), who became the second wife of the
John, 6th Duke of Bedford (1792-1878). Her portrait was painted
several times by Sir Edwin Landseer (1802-1873). According to Ormond the Duke
was Landseer’s “single most important early patron, a warm admirer of his art,
and a great personal friend. His much younger second wife [portrayed in
the painting and engraving], Georgiana, a daughter of the Duke of Gordon, was a
large and exuberant character, doted on by her husband, but deeply resented by
the children of his first marriage.” Curiously, the Duke’s first wife was also
named Georgiana. See note for “Duchess
of Bedford’s Strathspey” for more. Stewart-Robertson (The Athole
Collection), 1884; pg. 213. Culburnie Records CUL
121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004).
X:1
T:Duchess of Bedford
M:C|
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
C|F/F/F FG AFAc|dfcA G2 GA|F/F/F FG AFAc|dgcA F2F:|
|:fgag afcf|dfcA G2G2|fgag afcf|dfcA F2F2:|
|:CFA,F CFBd|cAFA G2G2|CFA,F CF Bd|cAGA F2F2:|
fgag afcf|cdfa g2g2|fgag afcf|dfcA F2F2|
fgag afcf|cdfa g2ga|bage fdcf|cBAG F2F2||
DUCHESS OF BEDFORD
WALTZ. English, Walts (3/8 time). England,
Yorkshire. B Flat Major. Standard tuning. AABBCC. Source for notated version: a
MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire)
[Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 92, pg. 52.
DUCHESS OF BEDFORD'S
CAIRN, THE.
Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). See note for “Duchess of Beford’s Strathspey” for
discussion of Georgiana Gordon, The Duchess of Bedford. Marshall, Fiddlecase Edition, 1978; 1845 Collection,
pg. 10‑11.
X:1
T:Duchess of Bedford’s Cairn, The
M:C
L:1/8
R:Strathspey
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:F
A/B/|c>Fd>F (BA) GA/B/|c>Fd>F E(GG)A/B/|c>Fd>F c>Ff>d|(EG)(Gc) A<FF:|
f/g/|(a/g/)f/e/ fc d2 (cf)|d>fc>f ag gf/g/|a/g/f/e/ fc d2 (Bd)|(c/f/)e/d/ (c/B/)A/G/ AFFf/g/|
(a/g/)f/e/ fc d2 (cf)|d>fc>f ag gf/g/|a>fg>e fcag|f>d c/d/c/B/ AFF||
DUCHESS OF BEDFORD'S STRATHSPEY, THE. Scottish, Strathspey. B Flat Major.
Standard tunng. AB. "Slow when not danced." Composed by William Marshall (1748-1833), who worked for the Duke
of Gordon as Steward of the Household; the Duke was an enthusiastic supporter
of Marshall’s music. Hunter (1979) identifies the duchess as Georgiana, fifth
and youngest daughter of Alexander (1743-1827), the 4th Duke of
Gordon, who wed the John Russell, the Duke of Beford in June, 1803. He was a
widower with three sons and much older than his second wife. The Duke’s first
wife also had been named Georgiana, and the second of that name was much
resented by her stepchildren. Ormond described her as “a large and exhuberent
character, doted on by her husband.” Their wedding festivities lasted an entire
week, and one night the couple danced until six o’clock in the morning.
***
Despite the numerous dwellings owned
by the Duke, Georgianna and her husband loved the Highlands and built two
hunting huts (bothies) there so they could hunt and fish. One of the huts was
also employed by the Duchess for her reputed passionate affair with the famous
artist Edwin Landseer. The Duke was a friend and patron of Landseer’s, who drew
and painted Georgiana numerous times, and although Russell must have known
about the depths of their affection for one another he remained tolerant and
overlooked his wife’s many lapses. The Duchess and Landseer, according to
contemporary gossip, had a daughter together, who was given the Russell name
(see note for “Lady Rachael
Russell”). The intimate friendship between the artist and the Duchess
continued from the 1820’s to the Duchess’s death in 1853, at Nice.
***
Henderson (Flowers of Scottish Melody), 1935. Hunter (The Fiddle Music of Scotland), 1988; No. 50. MacDonald (The Skye Collection), 1887; pg. 163.
Marshall, Fiddlecase Edition, 1978;
1822 Collection, pg. 5.
X:1
T:Dutchess of Bedford’s Strathspey,
The
M:C
L:1/8
R:Strathspey
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Bb
B,<B B>c B2 FB|d<c c>d
e2 Fe|dfgf edcB|A>B ~c>d c/B/A/G/ FE|
D<B ~B>c B2 FB|c<c c>d
e2Fe|dfgf edcB|F>B A/B/c/A/ B2 B||e|
D/e/f/g/ ff b2 fa|b/a/g/f/ g/f/e/d/
e/d/c/B/ c>d|c/d/e/f/ g>f e/d/c/B/|
ABc>d c/B/A/G/ F>E|DBFB
FcAc|FdBd Egeg|d/f/g/a/ b>f g/f/e/d/ e/d/c/B/|F>B A/B/c/A/ B2 B||
DUCHESS OF BRUNSWICK, THE. English, Country Dance Tune (2/4 time). G
Major. Standard tuning. AABCD (Barnes): AABBCCDDEE (Keller). The Duchess for
Brunswick was Augusta, sister of George III, who was married to Charles, Duke
of Brunswick-Lüneburg. The tune appears in the Aaron Thompson Manuscript (1777-1782),
a book of fife tunes containing melodies, dance steps, songs and diary entries.
Thompson was a fife-major in the 3rd New Jersey Regiment. “Duchess
of Brunswick” also appears in the music manuscript copybook of fellow
Continental Army soldier Captain George Bush. Kate Van Winkler Keller (“Fiddle, Dance and Sing
with George Bush”) notes the similarity between Bush and Thompson’s music
and dance figures, and believes it is possible the both collected dances that
may have been performed in the winter encampments at Morristown, New Jersey
(1778-1780). Source for notated version: the music manuscript of Captain George
Bush (1753-1797), a fiddler and officer in the Continental army during the American
Revolution [Keller]. Barnes (English
Country Dance Tunes), 1986. Keller (Fiddle Tunes from the American
Revolution), 1992; pg. 13 (appears as “Dutchess of Brunswick”). Gourd Music 110, Barry Phillips and Friends – “The World
Turned Upside Down” (1992).
DUCHESS OF BRUNSWICK’S WALTZ, THE.
English, Waltz. G Major. Standard tuning. AAB. Goulding (Twenty Four
Country Dances for the Year 1808), 1808; No. 14.
X:1
T:Dutchess [sic] of Brunswick’s
Waltz, The
M:3/8
L:1/8
R:Waltz
B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)
N:”With proper Tune & Directions to each Dance (as they may be
N:performed at Court, Bath, and all Public Assemblys.”
Z:Transcribed and edited by Flynn Titford-Mock
Z:abcs’s:AK/Fiddler’s
Companion
K:G
G/B/|ddd|d>gd/B/|d/c/B/c/e/c/|A2
d/c/|A>Bc/A/|G/F/E/D/E/F/|G2:||
d/B/|[FA][FA] d/B/|[FA][FA]
d/B/|[FA][FA] d/B/|A2 G/B/|ddd|
d>gd/B/|d/c/B/c/e/c/|A2
d/c/|BGG|A>Bc/A/|G/F/E/D/E/F/|G2||
DUCHESS OF BUCCLEUCH
[1]. Scottish, Strathspey. F Major.
Standard tuning. AAB. Composed by William Marshall
(1748-1833). Popularized among Cape Breton fiddlers by Angus Chisholm. Cranford
(Jerry Holland: The Second Collection), 2000; No. 169, pg. 64. Marshall,
Fiddlecase Edition, 1978; 1845
Collection, pg. 1. Rounder Records 7052, Buddy
MacMaster – “The Cape Breton Tradition” (2003).
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:Duchess of Buccleuch [1]
L:1/8
M:C|
R:Strathspey
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:F
B|(A/B/c) (Fc) AFFB|(A/B/c) (Fc)
d/c/B/A/ GB|(A/B/c) Fc AFFC|DF E/F/G/E/ F2F:|
f/g/|aFFa bdgf|ecde f/e/f/g/
ff/g/|aFFa bdgf|ecd=B [E2c2] c2|CcBA d<B ~B2|
B,BAG c<A ~A2|F>GAF
GABd|c>f e/f/g/e/ [A2f2] [Af]||
DUCHESS OF BUCCLEUGH
[2]. Scottish, (Slow) Strathspey. A
Major. Standard tuning. AB (Carlin): AAB (Gow, Skye). Credited sometimes to Nathaniel
Gow (Carlin), but actually composed by his father, Niel Gow, according to
MacDonald (Skye). Curiously, there is no attribution to either Gow in their First Collection (1784), even though
numerous other tunes bear one or the other of their names. The melody is
composed around a double‑tonic and uses modulatory chromatic notes which
do not belong to the mode. The tune was named in honor of Lady Elizabeth
Montagu (1743-1827), daughter of Sir George Montagu, 1st Duke of
Montague, and Lady Mary Montagu. In 1767 Elizabeth became the wife of Sir Henry
Scott (1746-1812), the 3rd Duke of Buccleugh, with whom she had
seven children (although her first born, George, lived only a couple of
months), and they resided at Dalkeith House in Midlothian. Sir Walter Scott,
friends of the Duke and Duchess, said of her, “she was a woman of unbounded
beneficence to, and even beyond, the extent of her princely fortune. She had a
masculine courage, and great firmness in enduring affliction, which pressed on
her with continued and successive blows in her later years.” Thomas
Gainsborough painted her portrait. Carlin (The Gow Collection), 1986; No. 38. Gow (First Collection of Niel Gow’s Reels),
1784 (revised 1801); pg. 20. MacDonald (The
Skye Collection), 1887; pg. 17.
X:1
T:Duchess of Buccleugh [2]
M:C
L:1/8
R:Slow Strathspey
S:MacDonald - Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
e/c/|cAAc aAA=c|B=G G/A/B/=c/ d2
de/d/|cAAc aAAc|e>c (A/B/)c/d/ e2e:|
(f/g/)|a>fg>e
f>de>c|d/=c/B/A/ =G/A/B/c/ d2 df/^g/|a>fg>e f>de>c|
e/d/c/B/ A/B/c/d/ e2 ef/g/|a/g/f/a/
g/f/e/g/ f/e/d/f/ e/d/c/e/|
d/c/B/A/ =G/A/B/c/ ~d2 de/d/|cAAc
aAAc|e>c (A/B/)c/d/ e2e||
DUCHESS OF BUCCLEUGH
[3]. AKA and see "Shoemaker's Daughter [1]."
Scottish, Strathspey. B Flat Major. Standard tuning. AB. Glen (1891) finds the
earliest printing of the tune in Angus
Cumming's 1780 collection (pg. 4). The melody is printed on the page by
Kerr just above “The Duke of Buccleuch.” Kerr (Merry Melodies), vol. 4; No. 153, pg. 18.
X:1
T:Duchess of Buccleugh [3]
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 153
(c. 1880)
Z:AK/Fiddler’s Companion
K:Bb
(D/E/)|F>G G/F/E/D/ F<D
D>B|F>GB>D F3G|F>G G/F/E/D/ F<D d>c|
B>GF>D C2 (CD/E/)|F>G
G/F/E/D/ F<D D>B|F>GB>D F3(d/e/)|
f>de>c d>Bc>A|B>G
F<D C3||g|f<d d>g f<d d>g|f>db>d f3g|f<d d>g f>d
d/f/g/a/|
b>gf>d d<c c>g|f<d
d>g f<d d>g|g/f/e/d/ bd f2 (fg/a/)|b/a/g/f/ g/f/e/d/ e/d/c/B/
d/c/B/A/|c/B/A/G/ G/F/E/D/ ({D}C2) C||
DUCHESS OF BUCCLEUGH'S
FAVORITE. Scottish, Slow Strathspey. B Flat
Major (Gow, Hunter): D Major (O’Farrell). Standard tuning. AB. Composed by Niel
Gow (1727-1807). The tune was named in honor of Lady Elizabeth Montagu
(1743-1827), daughter of Sir George Montagu, 1st Duke of Montague,
and Lady Mary Montagu. In 1767 Elizabeth became the wife of Sir Henry Scott
(1746-1812), the 3rd Duke of Buccleugh, with whom she had seven
children (although her first born, George, lived only a couple of months), and
they resided at Dalkeith House in Midlothian. Sir Walter Scott, friends of the
Duke and Duchess, said of her, “she was a woman of unbounded beneficence to,
and even beyond, the extent of her princely fortune. She had a masculine
courage, and great firmness in enduring affliction, which pressed on her with
continued and successive blows in her later years.” Thomas Gainsborough
(1727-1788) painted her portrait. On
March 13, 1810, Nathaniel Gow’s Annual Ball was held in the Assembly Rooms in
Edinburgh, and the list of ten ‘patrons and directors’ included ‘Her Grace the
Duchess of Buccleuch’ among other Scottish nobility and society matrons. Carlin (The Gow Collection), 1986; No. 39. Gow (Fourth Collection of
Niel Gow’s Reels), 2nd ed., originally 1800; pg. 5. Hunter (Fiddle Music of Scotland), 1988; No.
168. O’Farrell (Pocket Companion, vol. IV),
1810; pg. 80.
X:1
T:Dutchess of Buccleughs Favorite
(sic)
M:C
L:1/8
R:Strathspey
S:O’Farrell – Pocket Companion, vol. IV (1810)
Z:AK/Fiddler’s Companion
K:D
d>B B/A/G/F/ FE E>F | A>B (B/A/G/F/) AFFd | A>BdF A2 Af/g/ |
a>fg>e {de} f>d {cd}e>c | dB{B}A{G}F FE E2 || b | affb affb | abd’f a2 ab |
affb af f/a/b/c’/ | d’b{b}a{g}f fe eb | affb affg | a(b/c’/) d’f a2 ab/c’/ |
d’/c’/b/a/
b/a/g/f/ g/f/e/d/ f/e/d/c/ | e/d/c/B/ B/A/G/F/ FE E2 ||
DUCHESS OF BUCCLEUCH'S
MINUET. AKA and see "Miss Jeanie Maxwell's
Minuet." Scottish, Minuet. The alternate name is the original, and was
changed to the Duchess title when Ms.Maxwell married. As Johnson (1983) points
out, a frequently played melody was a gentle way to help keep a dedicatee in
the public eye, and the name change would communicate her change in status to
society.
DUCHESS OF BUCCLEUGH’S WELCOME TO SCOTLAND IN 1829.
Scottish, Written in honor of the marriage of Walter Francis
Montagu-Douglas-Scott (1806-1888), 5th Duke of Buccleugh, to Lady
Charlotte Anne Thynne (daughter of the 2nd Marquess of Bath, in
1829. The couple were married in London, then came to the family seat of
Dalkeith Palace. Charlotte served as Mistress of the Robes to Queen Victoria,
and converted to the Roman Catholic faith.
DUCHESS OF CUMBERLAND. English. England, Northumberland. As "Dutches of Cumberland" it is one of the "missing tunes" of Vickers' 1770 Northumbrian dance tune manuscript.
DUCHESS OF GORDON [1]. Scottish, Strathspey. G Minor. Standard. AB (Gow/Carlin): AAB (Athole, Gow). John Glen (1891) finds tunes by this title in Riddell's collection (pg. 17) and Angus Cumming's 1780 collection (pg. 4). Perhaps the most famous Duchess of Gordon was the celebrated Jane Maxwell who, along with her sister Eglintoun Maxwell, were brought up by their mother in somewhat parsimonious circumstances in Edinburgh, though their financial constraints apparently did little to quell two spirited girls. One story goes that the sisters rode on the backs of the swine which a nearlby innkeeper allowed to forage in the street. In later life she captivated the Duke of Gordon and was at the heart of social activity in Scotland, particularly the northern elite. She was an extroverted leader of fashion, hostess to William Pitt the younger, and particularly loved her entertainments. Elizabeth Grant of Rothiemurchus called her a beautiful and very cultivated woman, though Sir Walter Scott thought that her "sole claim to wit rested upon her brazen impudence and disregard to the feelings of all who were near her." The most fashionable dance assemblies were governed by a female tyrant,” writes James C. Dick (Notes on Scottish Song, 1908), “who ruthlessly forbade entrance to all but the cream of society. The Duchess of Gordon, in Robert Burns’ time, acted in this capacity.”
***
Jane Maxwell, the Duchess of
Gordon, with her son George, the future 5th Duke of Gordon.
***
In the late 18th century the Duke and Duchess of Gordon were patrons of the great Scottish fiddler Niel Gow, and Gow would frequently be called upon to entertain at balls, dinners and gatherings. Once when the Duchess called for him she had occasion to raise a passing complaint about feeling giddy with a swimming feeling in her head. Gow, who remained unawed by the gentry, replied with typical wit: “Faith, I ken somethin’ o’ that mysel’, your Grace, when I have been fou the night before, ye wad think that a bike o’ bees were bizzin’ in my bonnet the next mornin’!” She hosted the poet Robert Burns on several occasions.
***
Moyra Cowie (1999) relates the story that the 4th Duchess of Gordon, Jane, raised a regiment of Gordon Highlanders for her son George in 1797. It was perhaps a measure of her ‘impudence’, or else inspired determination, that she held the King's Shilling (the bonus money for enlisting) between her teeth, thus offering a kiss to any man who dared approach and prize the money from her. Cowie says: “Many a strong willed man, who may not have enlisted under normal circumstances could not resist this beautiful women mounted on horse back with the regimental bonnet bedecked with red plumes jauntily perched on her head.” This circumstance inspired Charles Murray (who evidently agreed with Walter Scott’s opinion of the Duchess) to write in Hamewith:
***
***
There’s a yellow thread in the Gordon plaid,
But it binds nae love to me,
And the ivy leaf has brought dool and grief,
Where there never but love should be.
***
For my lad would list, when a duchess kis’t,
He forgot a’ the vows he made,
And turned and took but ae lang last look
When the ‘Cock O’ North’ was played.
***
O her een were bright, an’ her teeth were
white,
As the siller they held between;
But the lips that he pree’d were they half
as sweet
As he vowed that mine were yestereen.
***
A puir country lass ‘mang the dewy grass
May hae whiles hae to kilt up her goon;
But a lody hie sae to shew her knee,
And to dance in a borough toon!
***
If I were the Duke, I was nae muir look
Wi’ love on my high born dame;
At kilt or plaid I wad hang my heid,
And think aye on my lady’s shame.
***
By my leefu’ lane I sit morn and e’en,
Prayin’ aye for him back to me,
For noo he’s awa’, I forgie him a’,
Save the kiss he was ‘losted wi’.
***
In later life Jane and her husband Alexander became estranged because of his affair with Jean Christie, the daughter of the housekeeper at Gordon Castle. Proud Jane had a home built for herself, Kinrara, into which she moved, and the Duke eventually took Jean as his second wife. Jane died in the Pultney Hotel, Picadilly, London on the 10th of April, 1812, attended by her children and close companion and granddaughter Lady Jane Montague, and was buried at Kinrara.
***
The Duchess of Gordon is a Scottish country dance which was, at the mid-20th century, one of the 15 or so either wholly or in part in strathspey tempo (Flett, 1964); it was one of the more uncommon dances in a program. Carlin (The Gow Collection), 1986; No. 40. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 21. Stewart-Robertson (The Athole Collection), 1884; pg. 202.
X:1
T:Duchess of Gordon, The
L:1/8
M:C
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Gmin
A|G/G/G d2 d>=cA>g|G/G/G G2 A>GF>A|G/G/G d2 d>=cd>g|f<d c>A G2G:||
^f|g<ab<a g<d d>=e|f>gf>c A<F F>^f|g>a b<a g<d d>g|f>dc>A G2 G>f|
g>ab>a g<d d>=e|f>gf>c A>GF>f|g>ab>a g<f a>g|f>dc>A G2G||
DUCHESS
OF GORDON [2], THE. Scottish, Strathspey. D Major.
Standard tuning. AAB (Athole, McGlashan, Skye): AABB' (Kerr). Composed by Donald Dow (1732-1783), first appearing in
his c. 1775 collection (pg. 1). Dow’s name is sometimes given as Daniel. Kerr (Merry Melodies), vol. 2; No. 137, pg.
17. MacDonald (The Skye Collection),
1887; pg. 66. McGlashan (A Collection of Reels), c. 1786; pgs.
18-19 (appears as “The Dutches of Gordon’s Reel”). Stewart-Robertson
(The Athole Collection), 1884; pg.
106.
X:1
T:Duchess of Gordon
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
d|A<D A>F A<D D>d|A<D A>F B<E E>d|A<D A>d B>dA>d|
B>dA>g f<dd:|
f|d>AF>A D<A d>B|d>AF>A D>AF>A|d<B A>F A<d d>f|
d>AF>A
D>Ad>B|A<D A>F E<e e>g|f<A e>f d>B A<F|B/c/d/B/
A<F A<dd||
DUCHESS OF GORDON [3], THE. Scottish, Strathspey. E Major. Standard
tuning. AB (Surenne): AAB (Gow, Stewart-Robertson). Composed by Donald Dow (1732-1783). Carlin (The Gow Collection), 1986; No. 393. Gow
(Complete Repository), Part 3, 1806;
pg. 19. Stewart-Robertson
(The Athole Collection), 1884; pg.
275. Surenne (Dance Music of Scotland),
1852; pgs. 60-61.
X:1
T:Duchess of Gordon
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:E
c|B<E B>G B<EE<e|B<E B>G F<A A>c|B<E B>e c>eB>c|B>GB>a g<ee:|
g|e>B G<B E>Be>c|B<E B>G F<f f>g|e>B G<B F>BE>g|e<c B>G B<e e>g|
e>BG>B
E>Be>c|B>EB>G F>ag>f|g<bf<g e>cB>G|B>ce>f
gee||
DUCHESS OF GORDON [4], THE. AKA and see "Linlithgow Loch." Scottish, Slow
Air or Waltz. B Flat major. Standard tuning. AB. Composed by William Marshall (1748-1833) in honor of the wife of
his employer, the Duke of Gordon, for whom Marshall worked as Steward of the
Household. Marshall, Fiddlecase Edition,
1978; 1845 Collection, pg. 18.
X:1
T:Duchess of Gordon, The [4]
M:3/4
L:1/8
S:Marshall – 1845
Collection
Z:AK/Fiddler’s Companion
K:Bb
FG/A/|B2B2B2|d3e f2|c>d (3fed (3dcB|A2G2 FG/A/|B2B2B2|d3e f2|
e>b agf>e|g2f2 fg/a/|b2f2d2|g2e2 c^c|d>f ed c>B|A2G2 FG/A/|B2B,2D2|
f3 g/e/ d2|F>f d2 d/>c/B/>c/|c2B2||d>e|f2d2b2|f2d2b2|gfed cB|A2G2 FG/A/|
B2F2B2|d3e f2|=e>b agfe|g2f2 d>e|f2 (3fdf b2|g2 (3geg b2|c>d e>d (3dcB|
A2G2
FG/A/|B2B,2D2|f3 g/e/ d2|F>e d2 d/>c/B/>c/|c2B2||
DUCHESS OF GORDON [5], THE. AKA and see “The Marchioness of
Huntley('s) [1].” Scottish, Strathspey. A Major. Standard tuning. AAB.
Honeyman (Strathspey, Reel and Hornpipe
Tutor), 1898; pg. 7. Surenne (Dance
Music of Scotland), 1852; pgs. 22-23.
X:1
T:Duchess of Gordon, The [5]
M:C
L:1/8
R:Strathspey
S:Surenne – Dance Music of Scotland, pgs. 22-23 (1852)
Z:AK/Fiddler’s Companion
K:A
A,>CE>C (D<F) E2 |
(F<B)B>c (d/c/B/A/) (G/F/E/D/) | C>DE>C (D<F) E2 | F>B
(A/G/F/E/) A2A2 |
A,>CE>C (D<F) E2 |
(F<B)B>c (d/c/B/A/) (G/F/E/D/) | C>DE>C (D<F) E2 | F>B (A/G/F/E/)
A2 ||
d | c>eA>e c>e (d/c/B/A/) |
G>BE>B G>BE>d | c>eA>e c>e (d/c/B/A/) | F>B (A/G/F/E/)
A3d |
c>eA>e c>ea>A |
(F<B)B>c (d/c/B/A/) (G/F/E/D/) | C>DE>C (D<F) E2 | F>B
(A/G/F/E/) A3 ||
DUCHESS OF GORDON'S
REEL [6]. Scottish, Strathspey. D Major.
Standard tuning. AB. Not the same tune as “Duchess of Gordon [2]." This
strathspey was composed by William Marshall
(1748-1833) in honor of the wife of his employer, the Duke of Gordon, for whom
Marshall worked as Steward of the Household. The Duchess, born Jane Maxwell
(1748-1812), was known as the ‘Flower of Galloway’ for her beauty and wit when
she married Duke Alexander Gordon in 1767. A supporter of William Pitt the
Younger, Jane often played hostess for him both in London and Scotland. Marshall, it is said, also admired Pitt
(Cowie, The Life and Times of William
Marshall, 1999). Marshall, Fiddlecase
Edition, 1978; 1781 Collection, pg. 11.
X:1
T:Dutchess of Gordon’s Reel (sic)
M:C
L:1/8
S:Marshall – 1781 Collection
Z:AK/Fiddler’s Companion
K:D
F|D>F E<A F<DA<F|D>F D<F [A,2E2] E<F|D>F D<A F<DA<F|d>e f<d (F2 F<)A|
D>F D<A F<DA<F|D>F D<F [A,2E2] E<F|D>F D<A F<DA<F|d>e f<d F3||A|
d>e f<d e<Bd<A|B>c d<f (e2 e<)f|d>e f<d e<B d<A|G<BF<A (E2 E<)e|
d>e
f<d e<Bd<A|B>c d<f (e2 e<)f|d>e f<d
e<Bd<A|G<BF<A E3||
DUCHESS OF HAMILTON. Scottish, Strathspey. G Major (Gow, Skye, Surenne): G Mixolydian
(Athole). Standard tuning. AB (Surenne): AAB (Athole, Gow, Skye): AABB' (Kerr).
Composed by John Bowie. John Glen (1891)
finds tunes with this title in Daniel Dow's
c. 1775 collection (pg. 11), Riddell's
collection (pg. 9), and Angus Cumming's
1780 collection (pg. 3. This latter tune is also known as "Ruffian's Rant"). The Duchess of
Hamilton and Argyll during Dow’s time was the celebrated Elizabeth Gunning
(1734-1790). See also the note for “Miss Gunning’s Reel”
for more on the Duchess.
***
Elizabeth, the Duchess of Hamilton and Argyll. 1751. Pastel, by Francis Cotes (1726-1770).
***
Carlin (The Gow Collection), 1986; No. 41. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg.
24. Kerr (Merry Melodies), vol. 2;
No. 114, pg. 14. MacDonald (The Skye
Collection), 1887; pg. 96. Stewart-Robertson (The Athole Collection), 1884; pg. 161. Surenne (Dance Music of Scotland), 1852; pgs.
120-121.
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Duchess of Hamilton
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
c|B<G G>A =F>GA>c|B<G G>D B,<D G,>c|B<G G>A =F>GA>c|B>dA>c| B>GG:||
e/f/|g<d d>B g<d d>f|g>d g/a/b a<e e>f|g>dd>B g<d e>c|B>gA>c B<G G>f|
g<d
d>B g<d d>f|g>d g/a/b a<e e>f|g<bd<B
c<ac<A|B>dA>c B>GG||
DUCHESS OF HAMILTON'S DELIGHT. Scottish, Jig. F Major. Standard tuning.
AABB'. Carlin (Master Collection),
1984; pg. 96, No. 163.
DUCHESS OF HAMILTON'S
RANT.
English, Jig. A Major. Standard tuning. AABB. The tune appears in a music
manuscript from the village of Ashover, Derbyshire, dated 1762. See note for “Miss Gunning’s Reel” for
more on the Duchess of Hamilton.
X:1
T:Duchess of Hamilton’s Rant
M:6/8
L:1/8
R:Jig
S:Ashover MS (1762)
K:A
f|ecA def|eca d2f|ecA ecA|BcB d2f|
ecA def|eca d2f|faf edc|BcB d2:|
|:f|ecA acA|ecA d2f|ecA acA|BcB
d2f|ecA acA|ecA d2f|faf edc|BcB d2:|
DUCHESS OF HAMILTON'S STRATHSPEY, THE. Scottish, Strathspey. Bayard (1981)
recognizes a general resemblance between this tune and the Pennsylvania
collected "Hazel Dean" if
the latter's notes are halved in value. Surenne, (Dance Music of Scotland) 1852; pg. 120.
DUCHESS OF MANCHESTER('S STRATHSPEY). AKA and see "Lady Georgina Gordon's
Strathspey." Scottish, Strathspey. F Major. Standard tuning. AB
(Surenne): AABBCCDDD (Gow). The tune appeared in Gow's Repository, Part Third, 1806, but was first published as "Lady
Georgina Gordon's Strathspey" in Marshall's First Collection (1781). Gow’s title is
odd, since it was Susan and not Georgianna Gordon who married William Montegue,
the 5th Duke of Manchester to become Duchess (in October, 1793).
Susan was described as a ‘wayward girl’ who later ran off with one of the
footmen. She left her husband ten years
later, with her conduct being described as “most notoriously bad” (Moyra Cowie,
The Life and Times of William Marshall,
1999). Carlin (The Gow Collection),
1986; No. 425. Gow (Complete Repository),
Part 3, 1806; pg. 30. Surenne (Dance
Music of Scotland), 1852; pgs. 156-157.
X:1
T:Duchess of Manchester’s
Strathspey, The
M:C
L:1/8
R:Strathspey
S:Gow – 3rd Repository
(1806)
Z:AK/Fiddler’s Companion
K:F
C|F<F F>F A>FAc|d<f
c>A {A}G2 G>A|F<F F>F A>FAc|d>f c>A F2F:|
|:c|f>g ag a/g/f/d/ cf|d<f
c>A {A}G2 G>c|f>g ag a/g/f/d/ cf|d>f c>A {A}F2F:|
|:A|CF A,F C>F Bd|c<A F>A
{A}G2 G>A|CF A,F C>F Bd|c<A f<A F2F:|
c|f>g {fg|a>g a/g/f/d/
cf|~c>d ~f>a g2 g>a|f>g {fg}a>g a/g/f/d/ c>f|d<f c>A
{A}F2 F>c|
f>g {fg}a>g a/g/f/d/
c>f|c>d fa g2 g f/g/|a>f (a/g/)f/e/ f>c d<f|~c>B A>G F2F||
DUCHESS OF MANCHESTER'S FAREWELL TO THE HIGHLANDS OF SCOTLAND, THE. AKA ‑ "Honest Men and Bonnie Lasses"
(Gow's title). Scottish, "Pastoral‑‑March" (4/4 time). B
Flat Major. Standard tuning. AAB. Thought to be one of the most celebrated and
best compositions of William Marshall (1748-1833)
according to both Collinson (1966) and Emmerson (1971); it appeared in his First Collection (1781). Niel Gow
republished the tune in 1809 in his Fifth
Collection under the title "Honest Men and Bonnie Lasses,"
without author credit. The Duchess of Manchester was Lady Susan, third daughter
of the 4th Duke (1743-1827) and Duchess of Gordon, who departed the
family estate in 1793 to marry William Montague, 5th Duke of
Manchester, inspiring Marshall’s tune. Hunter (Fiddle Music of Scotland), 1988; No. 46. Marshall, Fiddlecase Edition, 1978; 1822
Collection, pg. 4.
X:1
T:Dutchess (sic) of Manchester’s
Farewell to the Highlands of Scotland.
M:C
L:1/8
R:March
K:Bb
d/c/|B>cBB, DFFd/c/|B/A/B/c/ BB,
~C2 Cd/c/|B>cBB, D<F f>g|f<d c>d ~B2B:|
d/c/|B/c/d/e/ f/d/b/d/ B/c/d/e/
f/d/b/d/|B/c/d/e/ f/d/b/d/ c2 c/d/|
B/c/d/e/ f/d/b/d/ B/c/d/e/
f>g|f<d c>d ~B2 Bd/c/|B/c/d/e/ f/d/b/d/ B/c/d/e/ f/d/b/d/|
eg/e/ df/d/ ~c2 cd|F>^EF>G
F>GB>g|f<d c>d [B,2F2B2] B||
DUCHESS OF MIDDLESEX, THE.Source for notated version: the
music manuscript of Captain George Bush (1753-1797), a fiddler and officer in
the Continental army during the American Revolution [Keller]. Barnes (English Country Dance Tunes), 1986.
Keller (Fiddle Tunes from the American Revolution), 1992; pg. 13
(appears as “Dutchess of Brunswick”).
DUCHESS OF
NORTHUMBERLAND'S DELIGHT. AKA and see "I Saw My Love Come Passing By
Me."
DUCHESS OF RICHMOND
[1], THE.
Scottish, Reel. B Flat Major. Standard tuning. AB. Composed by William Marshall (1748-1833) in honor of Charlotte,
daughter of Alexander (1743-1827), the 4th Duke of Gordon and
Marshall’s employer (Marshall was Steward of the Household). Lady Charlotte
married Charles Lennox in September of 1789, who later became the 4th
Duke of Richmond and Lennox. Their son fell heir to the Gordon estates as the 5th
Duke of Gordon had no issue. Marshall, Fiddlecase
Edition, 1978; 1845 Collection, pg. 18‑19.
X:1
T:Duchess of Richmond, The [1]
M:C
L:1/8
R:Reel
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:Bb
f|edcA BF ~B2|dfga bfdB|e2 d=B cG ~c2|cdef gedc|Bc/d/ BFBF B2|
Bcde fbdB|Egfe dfdB|FBAc B2B||f|bBaB gBfB|dfga bfdB|cf=ef dfef|
dbag f=edc|d<B c/B/A/B/ F<B c/B/A/B/|GBFB EBDB|Egfe dfdB|FBAc B2B||
DUCHESS OF RICHMOND
[2], THE.
Scottish, Reel. E Major. Standard tuning. AAB. Composed by Alexander Walker.
Walker (A Collection of Strathspeys,
Reels, Marches, &c.), 1866; No. 112, pg. 39.
DUCHESS OF RICHMOND'S STRATHSPEY, THE. See "The Duchess D. of Richmond's
Strathspey."
DUCHESS' SLIPPER, THE. See "Duchesse's
Slippers."
DUCHESS TREE, THE. Scottish, "Pastoral Air." A Major. Standard tuning. AB. The
tune was printed in A Flat Major in Skinner’s Logie Collection. Composed by J. Scott Skinner. Skinner (The Scottish Violinist); pg. 36.
DUCHESS OF ROXBURGHE, THE. Scottish, Reel. F Major.
Standard tuning. AB. Surenne (Dance Music
of Scotland), 1852; pg. 1.
X:1
T:Duchess of Roxburghe, The
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of
Scotland, pg. 1 (1852)
Z:AK/Fiddler’s Companion
K:F
e | f3e ({e}d)^cde | fedf efge | f3e dcBA | GBAG FD De | f3e ({e}d)^cde
| fedf efge |
f3e dcBA | GBAG FDD || F | =CFAF cCAF | BAGF FEDC | CFAF cCAF |
DFEG AFFA | CFAF cFAF | BAGF FEDC | DFBD CFAF | DFEc AFF ||
DUCHESS OF ROXBURGHES' STRATHSPEY, THE. Scottish, Strathspey ("Slow when not danced"). E Flat Major.
Standard tuning. AAB. Composed by William Marshall (1748-1833). The Duchess was the wife of Sir James Innes, Baronet, 5th
Duke of Roxburghe of Floors Castle, who lived in Innes House, near Elgin. Moyra
Cowie (The Life and Times of William
Marshall, 1999) reports that eight days after the death of his first wife
Sir James married Harriet Charlewood of Brighton. Marshall, Fiddlecase Edition, 1978; 1822
Collection, pg. 58.
X:1
T:Duchess of Roxburghes’ Strathspey, The
L:1/8
M:C
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:Eb
E>eBG C2F2 E/D/C/B,/|E>eBG Ebge|g/b/a/g/ f/e/d/e/ fFF(G/A/)|BB,CD
[B,2E2] [G,2E2]:|
E/g/f/e/ d/e/f/g/ affa|~g>bag fdeB|A/c/B/A/ G/B/A/F/ cFFG/A/|BB,CD
[B,2E2] [G,2E2]|
e/g/f/e/ d/e/f/g/ affa|g/b/a/g/ f/e/d/c/ B/A/G/F/ E/D/C/B,/|A,cG,B CFF
G/A/|BB,CD [B,2E2] [G,2E2]||
DUCHESS SARABAND, THE. AKA – “Sarabande op de
Duchesse.” Dutch, Sarabande (cut time). G Minor. Standard tuning. AABBCC. The
Duchess Sarabande is the name of a dance composed by English collector,
teacher, musician and choreographer Pat Shaw, set to a Dutch tune. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 34.
DUCHESS TREE, THE. Scottish, "Pastoral" Air (4/4 time).
A Major. Standard tuning. One part. Composed by J.
Scott Skinner as a song to words by William Martin, and first published in
his Logie Collection (1888). Skinner
originally composed the melody in the third position on the violin, although as
Christine Martin (2002) points out, it is often played an octave lower in the
first position. Hardie (Caledonian
Companion), 1992; pg. 79. Martin (Traditional
Scottish Fiddling), 2002; pg. 33. Skinner, The Scottish Violinist; pg. 86.
DUCHESSE'S SLIPPERS, THE. AKA ‑ "The Duchess' Slipper(s)." AKA and see “The Duchess of Atholl’s Slipper.” Scottish (originally), English, Canadian; Strathspey or Reel. England, Northumberland. Canada, Prince Edward Island. G Major (Hall & Stafford, Perlman, Raven, Skye): F Major (Kerr, Lowe). Standard tuning. AAB (Athole, Hall & Stafford, Raven, Skye): AABB' (Kerr). The earliest publication of the tune is in Niel Gow and Sons, vol. 2 (1788), although it appears in later Gow publications as “The Duchess of Atholl’s Slipper,” attributed to Niel Gow. It also appears in the music manuscript book of John Burks, dated 1821, as “The Duchess’s Slipper.” Unfortunately, nothing is known of Burks, although he may have been from the north of England. The melody appears in the 1840 music manuscript collection of Warerton, Cumbria, musician John Rook (as “Dutches’s Slipper”) with music notes identical to Burks’, although without the dotted strathspey rhythm. See also an untitled strathspey from Donegal fiddler Danny O’Donnell, printed in Feldman & O’Doherty’s Northern Fiddler (1979, No. 192b). Source for notated version: Sidney Baglole (b. 1912, Freetown, West Prince County, Prince Edward Island) [Perlman]. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 11. Kerr (Merry Melodies), vol. 2; No. 179, pg. 21. Lowe’s Collection. MacDonald (The Skye Collection), 1887; pg. 77 (appears as "The Duchess' Slipper"). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 49 (appears as “The Duchess’ Slipper”). Raven (English Country Dance Tunes), 1984; pg 185. Stewart-Robertson (The Athole Collection), 1884; pg. 180. Beltona BL2128 (78 RPM), The Edinburgh Highland Reel and Strathspey Society (1936). Ron Gonella – “A Tribute to Niel Gow.”
X:1
T:Duchess’ Slipper, The
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
K:G
B|D<G B>G d>GB>G|D<G B>G E<A A2|D<G B>G d>G B<g|d>cB>A G<G G2:|
d<g ~g2 d>gb>g|a>gb>g e<a ~a2|d<g ~g2 d>gb>g|a>gb>g d<g ~g2|
d<g
~g2 d>gb>g|a>gb>g e<a ~a2|g>be>g d>gB>g|d>cB>A
G<G G2||
DUCK CHEWED/CHEWS
TOBACCO, THE. AKA and see "The Red Haired Boy," "Gilderoy [2]," "The Little Beggarman," "The Old Soldier (with
a Wooden Leg) [2]." Old‑Time, Breakdown. USA, Virginia.
Mixolydian. A form of the tune "Gilderoy." Source for notated
version: James H. “Uncle Jim” Chisholm (Greenwood, Albermarle County, Virginia)
[Wilkinson]. Wilkinson, Southern Folklore
Quarterly, VI, March, 1942; pg. 8.
X:1
T:Duck Chewed Tobacco, The
M:2/2
L:1/8
K:D
(EA2)(A A)Bcd|efec d2cd|e2A2
ABcA|(BG)EF G4|(EA2)(A A)Bcd|
efec d2 cd|ea2(b a)ged|c2A2A4::(g3a g2) ba|gedc d2 (cd)|e2A2 ABcA|
BGEF
(G4|G) g2a g2 (ba)|gedc d2cd|ea2 (b a)ged|c2A2A4:|
DUCK DANCE, THE. Anne Lederman, in her article on “Fiddling” in
the Encyclopaedia of Music in Canada
(1992), remarks that the Duck Dance was a popular dance with its own tune in
the 18th and 19th century Canadian fur-trade.
DUCK FROM DRUMMUCK, THE. AKA and see “Bold Doherty,” “The Connaughtman’s Rambles [1],”
“Gathering Dilisk,” “Mickey the Moulder.”
DUCK IN THE KITCHEN. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
DUCK IN THE MIDDEN, THE. AKA and see “Hen’s March to the/over the
Midden.”
DUCK RIVER. AKA and see "Dubuque," "Old Dubuque," "General Lee," "Sally in the Green Corn."
Old‑Time, Breakdown. USA; Magoffin County, Ky. D Major. Standard or ADae
tunings. AABB. Jeff Titon (2001) says the specific “Duck River” tune seems to
be particular to the Salyer family, although it is part of a fairly common tune
family. Titon says the tune family to which “Duck River” belongs also includes
“Ma Ferguson,” “Nancy Dawson [2]," “Nancy Dalton,” and
“Hell Up Coal Holler [2]."
See also "Possum Up
a Gum Stump." Sources for notated versions: John Salyer (1882-1952,
Salyersville, Magoffin County, Ky., 1941) [Phillips, Titon]; Alan Garren
(Portland, Oregon) who learned it from the Bruce Greene recording [Songer].
Johnson (The Kitchen Musician No. 2:
Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer,
Fiddle, etc.), 1982 (revised 1988, 2003); pg. 8. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 45. Songer (Portland
Collection), 1997; pg. 67. Titon (Old-Time
Kentucky Fiddle Tunes), 2001; No. 35, pg. 68. Bruce
Greene - “Vintage Fiddle Tunes.” Berea College Appalachian Center AC003, John
M. Salyer – “Home Recordings 1941-42, vol. 1” (1993).
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
DUCK-SHIT POLKA, THE. AKA
and see “Watch Where You Tread.”
DUCK SHOES RAG. Old‑Time, Country Rag. USA, Southeast Missouri. F Major. Standard
tuning. AA'BB'CC. Source for notated version: Ben Tinnon with the Grinnell
Giggers [Phillips]. Phillips (Traditional
American Fiddle Tunes), Vol. 2, 1995; pg. 45. County
548, Grinnell Giggers (southeast Mo.) ‑ "Ridin' in an Old Model
'T'" (orig. rec. 1930). Marimac 9110, The Grinnel Giggers ‑
"It'll Never Happen Again: Old Time String Bands vol. 1."
DUCKERS OF DOWN. Scottish. Glen (1891) finds the earliest appearance of the tune in
print in Joshua Campbell's 1778
collection (pg. 72).
DUCKS AND THE OATS, THE. AKA and see "Are
You Shot?," “Bridal Jig (2) (The), “Joe
Conway’s,” "The New Tenpenny,"
"The Tenpenny Bit [2]."
DUCKS DIE ON CHRISTMAS
DAY, THE (Básaítear na
Lachain Lá Nollag). Irish, Single Jig (12/8 time). D Major. Standard tuning. AABB.
Breathnach says the tune is a single jig for a quadrille, and that Doolin,
County Clare, tin whistle player Micho Russell had a vesion which he called a Cudreel (i.e. quadrille). Source for
notated version: Bernard Bogue (County Monaghan and Tyrone) [Breathnach].
Breathnach (CRÉ IV), 1996; No. 68,
pg. 33.
DUCK’S EYEBALL [1]. AKA and see "Wait in the
Kitchen (Till the Cook Comes In)." Old-Time. The title comes from one
of the silly verses sung to the tune. Kerry Blech calls it a variant of "Richmond." “Duck’s Eyeball” was in the
repertoire of western Virginia fiddler Luther Davis (as “Right in the middle of
a duck’s eyeball”). It may have sometimes been called “Duck’s Asshole.” Tommy
Magness recorded the tune in 1948 (along with many others in his older
traditional repertoire) for a private recording for fiddler Roy Acuff on an old
home disc recorder (Charles Wolfe, Classic Country, pg. 148, 2001).
DUCK’S EYEBALL [2]. AKA and see “Rainbow
Schottische,” "Right
Foot, Left Foot," “Stephen
Baldwin’s Schottische,” “Tom
Bhetty’s Hornpipe,” "Winter(‘s) Night Schottische." Old-Time, Breakdown. G Major. Standard
tuning. AA’BB’. This eastern Carolina flatlands regional tune bears no relation
to the Luther Davis melody of the same name.
Lauchlin Shaw (1912-2000), Harnett County, N.C., learned the tune from
Virgil Craven, a fiddler and hammered dulcimer player from Randolph County,
N.C. The tune originally was called “Rainbow Schottische” (see note for that
tune). Devil’s Box, vol. 24, No. 1, 1990; pg. 37. Marimac 9064D, Lauchlin Stamper & A.C. Overton - “Sally
with the Run Down Shoes” (1996).
X:1
T:Duck’s Eyeball [2]
M:C
L:1/8
Z:Transcribed by John Lamancusa http://www.mne.psu.edu/lamancusa/tunes
K:G
gf|:g2G2 AB2A|G2 (3EFE D4|DEFG
ABcd|e2 dc d2gf|
g2G2 AB2A|G2 (3EFE D4|DEFG ABcA|1 G4
G2gf:|2 B2 GF G4||
|:E4 E3 D|EFGA B4|B2e2B2e2|B2e2 BAGF|
E4 E3D|EFGA B4|gf g2 fg f2|1 ef e2
d4:|2 ef e2 dd||
DUCKS IN THE OATS (Na Lachain sa Choirce). AKA and see “Bryan O’Lynn [2],” “John Mahinney’s No. 2.” Irish,
Jig. D Mixolydian. Standard tuning. AABB. Jackie Small, in CRÉ V (1999), finds “Bryan O’Lynn [2]” a related tune. John and
Julia Clifford recorded “Ducks in the Oats” under the title “John Mahinney’s
no. 2.” Breathnach had the tune from Kerry fiddler Denis Murphy, who also had a
verse with it, beginning:
***
The ducks in the oats and no-one to turn them,
Ó, muise, Dia linn, what will we do with ‘em.
***
Breathnach (Ceol Rince na hÉireann), vol. V, 1999; No. 58, pg. 28.
DUCKS OF MAGHERALIN. Irish, Polka. G Major. Standard
tuning. AABB. Magheralin (pronounced ‘Maralin’) is a village and parish in the
barony of Lower Iveagh, townland of Moira, County Armagh. It has been the site
of a church and monastic settlement since the 8th century. The
‘Ducks of Magheralin’ was the name for the weavers of the town because they
used duck grease to lubricate their looms. The poet James Malcolmson wrote a
poem called “The Ducks of Maralin”:
***
It is just about a year ago that I went to see the King,
And on my voyage in Ulster my troubles they were twin;
He decorated me with medals, and they were made of tin,
“Go home,” says he, “you kittery. You’re the Mayor of Magheralin.
***
Cho.:
Oh! It is a grand old city in the good old ancient style,
A credit to old County Down and the pride of Erin’s Isle;
It has an excellent harbor where the breadcarts all sail in,
And when you visit Ireland, you will come to Magheralin.
***
X:1
T:Ducks of Magheralin
M:2/4
L:1/8
R:Polka
S:Win Horan
N:From a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:G
GB de/f | g(3f/g/f ed | DF AA/B/ |
cd/c/ BA | GB de/f/ | g(3f/g/f/ ed |
ea ef | g2g2 :: ae ae | ae e>f |
gd gd | gd d2 | ae ae | ae e>f | g/f/e dB | A2A2 :|
DUCKS ON THE MILLPOND. AKA and see "Deaf
Woman's Courtship." Old‑Time, Breakdown. USA; southwest Va.
(Grayson County), Mt. Airy, N.C. D Major. ADae tuning. AB (Silberberg): AABB
(Brody, Krassen, Phillips/Lundy, Spandaro): AA'BB' (Phillips/Sutphin, Hollow
Rock String Band). Most modern versions are derived from the playing of Grayson
County, Virginia, fiddler Emmett Lundy (1864-1953). Lundy, who learned his
repertoire in the 19th century, cited his most influential source as
a local fiddler named Greenbury (Green) Leonard, who was an elderly man when
Lundy learned tunes from him in the 1880’s and 1890’s. Alan Lomax collected the
tune from Galax, Va., musician Fields Ward in 1937, and thought the tune
related to "Old Dan Tucker." Later, in 1941, Lomax recorded Lundy
playing “Ducks on the Millpond” for the Library of Congress. Lyrics are
occasionally sung to the tune (although Lundy did not vocalize):
***
Ducks in the millpond, Geese in the ocean;
Hug them pretty girls, If I take a notion.
***
Cho: Lord, Lord, gonna get on a
rinktum,
Lord, Lord, gonna get on a rinktum.
***
Ducks in the millpond, Geese in the clover,
Jumped in the bed, And the bed turned over.
***
Ducks in the millpond, Geese in the clover,
Fell in the millpond, Wet all over. (Lomax)
***
Rain come and wet me, sun come and dry me,
Step back pretty girl, don’t you come nigh me.
(Tommy Jarrell)
***
Sources for notated versions: Fuzzy
Mountain String Band (N.C.) [Brody]; Emmett Lundy (Galax, Va.)
[Fiddler Magazine, Krassen, Phillips]; Kirk Sutphin [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 93. Fiddler
Magazine, Summer 2008, vol. 15, No. 2; pg. 35. Krassen (Appalachian Fiddle), 1983; pg. 31‑32.
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 76 (two versions). Silberberg (Tunes I Learned
at Tractor Tavern), 2002; pg. 38.
Spandaro (10 Cents a Dance),
1980; pg. 19. Copper Creek CCCD 0193, Bill and Libby
Hicks – “South of Nowhere.” County 748, Tommy Jarrell‑ "Come and Go
with Me." Rounder 0035, Fuzzy Mountain String Band‑ "Summer
Oaks and Porch" (1973. Learned from Tommy Jarrell, Mt. Airy, N.C.).
X:1
T:Ducks on the Millpond
M:4/4
L:1/8
K:D
d2de f2fe | d2dd edBA | d2gg f2e2 | AABd edBA :|
|:
f2 a3 a f2 | a2af ed3 | f2af a2a2 | AABd edBA :|
DUCKS ON/IN THE POND. AKA and see "Lady
of the Lake [6]." Old‑Time, Breakdown. USA; western Virginia,
West Virginia. A Major ('A' part) & A Mixolydian ('B' part) [Brody]: A
Mixolydian [Krassen]: A Dorian (Johnson, Songer). Standard tuning. AABB. The
melody was learned by most modern sources, including Oscar Wright, from Glen
Lyn, Virginia, fiddler Henry Reed (d.1968). Bayard (1981) identifies this tune
as belonging to the "Paddy on the Turnpike [2]" family of tunes. It
was published by George P. Knauff in his Virginia
Reels, volume III (Baltimore, 1839), under the title "Lady of the
Lake." Not related to the similarly titled "Ducks on the
Millpond." Perhaps related to the Patrick County, Va., version of
"Grey Eagle" (??). Sources for notated versions: learned by the Red
Clay Ramblers (Durham, N.C.) from Glen Lyn, Va., fiddler Henry Reed via Alan
Jabbour [Brody]; also learned from Henry Reed by Oscar Wright (W.Va) [Krassen].
Brody (Fiddler’s Fakebook), 1983; pg.
94. Johnson (The Kitchen Musician No. 2:
Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer,
Fiddle, etc.), 1982 (revised 1988 & 2003); pg. 11. Krassen (Appalachian Fiddle), 1973; pg. 33.
Songer (Portland Collection), 1997;
pg. 67. Flying Fish 260, Alan Jabbour‑
"Sandy's Fancy." Folkways FTS 31039, "Red Clay Ramblers"
(1974). Jim Martin Productions JMP201, Gerry Milnes (et al) – “Gandydancer.”
Reed Island Rounders - “Wolves in the Wood” (1997). Rounder 0089, Oscar and
Eugene Wright‑ "Old‑Time Fiddle."
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
DUDE COWBOY. American, Quadrille (2/4 time). G Major. Standard tuning. ABB’. Ruth (Pioneer Western Folk Tunes), 1948; No. 100, pg. 35.
X:1
T:Dude Cowboy
L:1/8
M:2/4
S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:G
Bdd>e|BGG>A|Bdd>e|B3 (G/A/)|Bdd>e|BGG>A|BGAF|GDEG||
|:[G4B4]|A [B,2G2] A|({^A/B/}d2) ({^A/B/}d2)|[G4B4]|A [B,2G2] A|
({^A/B/}d2)
({^A/B/}d2)|G2 A2|1 [B,4G4]|[B,G]DEG:|2 [B,4G4]|[B,2G2]||
DUDEEN. See “Duidín
Reel.”
DUDLEY STREET. Canadian, Jig. Canada, Cape Breton. E Major. Standard tuning. AABB’.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). The
famous Dudley Street is in Boston, a pub in which the likes of Nova Scotia
fiddler Tom Doucet and others gathered to informally play. Cameron (Trip to Windsor), 1994; pg. 58.
X:1
T:Dudley Street
C:Dan R MacDonald
B:The Trip to Windsor Collection
Z:Transcribed by Nigel Gatherer
M:6/8
L:1/8
K:E
F|EFE EGB|eba gfe|fdB Bdf|agf AGF|EFE EGB|eba gfe|
fdB agf|e3 e2::g|bge Beg|Bba gfe|fdB Bdf|agf AGF|1bge Beg|
Bba
gfe|fdB agf|e3 e2:|]2EGB Ace|Bdf egb|eac' bd'f'|e'3 e'2|]
DUENNA, THE.
English, Jig. D Major. Standard tuning (fiddle). AABB. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 4), 1780; No. 101.
X:1
T:Duenna (The)
M:6/8
L:1/8
S:Thompson – Compleat Collection
of 200 Favourite Country Dances vol 4
Z:AK/Fiddler’s Companion
K:D
A|dA(f 3)cA|BF(d c)AF|GD(B A)FD|CEE
E2A|dA(f e)cA|dF(d c)AF|
GD(B A)dD|{F}E3 D2::(g2e)
(f2d)|(c2A) (d2f)|(g2e) (f2d)|cee e2e|
(g2e) (f2d)|(c2A) (d2f)|(g2e)
(f2d)|cee e2A|dA(f e)cA|BF(d c)AF|
GD(B A)FD|CEE E2A|dA(f e)cA|BF(d
c)AF|GD(B A)dD|{F}E3 D3:||
DUFF OF MUIRTOWN. Scottish, Reel. G Major. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 183.
X:1
T:Duff of Muirtown
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
c|BGBd ~c2 Ac|Bg ~g2 aeef|gGdB ~c2 Ag|f/g/a df gGG:|
a|bagf gdcB|Aaag aeea|bagf gdcB|Gggf gGGa|bagf gdcB|
Aaag
aeea|bgfg egBg|Aagf gGG||
DUFFY THE DANCER (Ua Dubtaig An Rinceoir). AKA and see "The High Reel [1],” “Sandy Duff." Irish, Reel. A Mixolydian
(O'Neill/Krassen): A Dorian (O'Neill/1001): A Major (O'Neill/1850): A
Major/Mixolydian (Miller). Standard tuning. AB (O’Neill): AABB (Miller). Source
for notated version: “Based on the playing of (Kerry fiddler) Paddy Cronin”
[Miller]. Miller (Fiddler’s Throne), 2004; No. 151, pg. 98. O'Neill (Krassen),
1976; pg. 150. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1497, pg. 277. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 721, pg. 127.
X:1
T:Duffy the Dancer
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 721
Z:AK/Fiddler’s Companion
K:Ador
e|a2 ea cAAd | cAeA cAAe | a2 ea
cAAd | BGdc BGBd | a2 ea cAAd | cAeA cAAe |
g2 fg {b}aefd | BGdc BGG || e | cAeA
fAeA | cAeA cAAd | cAeA fAeA |
BGdc BGGd | cAeA fAeA | cAeA cAAe |
g2 fg {b}aefd | BGdc BG G ||
DUFFY’S REEL (Ríl Uí Dhufaigh). Irish, Reel. B Minor. Standard tuning. AB.
Source for notated version: fiddler William Jones (County Fermanagh), collected
in the mid-20th century by Liam Donnelly (County Tyrone & Belfast)
[Breathnach]. Breathnach (CRÉ IV),
1996; No. 171, pg. 80.
DUGGAN’S FAVOURITE. Irish, Jig. D Major. Standard tuning. AA’BB. The melody was published
without a title in Treoir (IV 1) {Treoir is the periodical magazine of Comhaltas
Ceoltoiri Eireann) in a version also transcribed from the playing of Johnny
O’Leary. Source for notated version: Originally from Mick Duggan via accordion
player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border),
recorded in “The Merchant,” Dublin, in August, 1993 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 5, pgs. 4-5.
DUGGAN’S SLIDE. See “Mick Duggan’s
Slide.”
DUGLER WITH A SHOOFLY
ON. Old-Time, Breakdown. G Major. Standard
tuning. AABB. Source for notated version: Howard Forrester, learned from his
Uncle Bob [Devil’s Box, Phillips]. Devil’s Box, vol. 22, No. 1, Spring
1988; pg. 41. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 77.
X:1
T:Duggler with a Shoofly On
M:2/4
L:1/8
S:John Hartford’s Howdy Forrester
transcriptions, Devil’s Box
K:G
B/d/|gg/a/ g/e/d/B/|A/G/F/D/
FA/d/|f/g/f/e/ d/f/e/d/|B/G/G/A/ G B/d/|
G/f/g/a/ g/e/d/B/|A/G/F/D/
FD|f/g/f/e/ d/f/e/d/|B/G/G/A/ G||
D||B>c B/A/G/B/|A/G/F/D/
FD|c>d c/B/d/c/|B/G/G/A/ GD|
B>c B/A/G/B/|A/G/F/D/ FD|fe
d/B/A/d/|B/G/G/A/ G||
DÚICHE MO CHROÍ. Irish, Slow Air (3/4 time). E Dorian. Standard tuning. AABB. Composed
by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County
Armagh. Keegan (The Keegan Tunes),
2002; pg. 87.
DUIDÍN REEL, THE. AKA – “Dudeen.“ AKA and see “Old Dudeen.” Irish, Reel. D Major.
Standard tuning. AB. The tune is said to have been composed by John McGrath,
and is a favorite of New York fiddler Andy McGann’s (Black). See also “The Tailor’s Thimble [4].” Source for
notated version: New York fiddler Tony DeMarco [Black]. Black (Music’s the Very Best Thing), 1996; No.
141, pg. 74.
See also listing at: Alan Ng’s Irishtune.info |
X:1
T: Duidin
S: Tony De Marco
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
dcBA FEFA | dcde fgfe | dcBA FEFA | BdcA B2 Bc |
dcBA FEFA | dcde fgfe | dcBA FEFA | BdcA Bcde ||
fdBc dcde | fabf afea | fdBc dcde | fbaf e2 de |
fdBc
dcde | fabf afea | bf (3fef af (3fef | bfaf e2 ||
DUIGNAN’S FAVOURITE. Irish, The Irish harper Arthur O’Neill (1734-1818), one of the last great itinerant harpers, mentions one musician named Duigenan in his memoirs:
***
There was a harper
before my time named Jerome Duigenan, a native
of the County of
Leitrim, not blind, an excellent Greek and Latin scholar
and a charming
performer on the harp. I heard numerous
anecdotes of
him. The one that
pleased me most was that when he lived with Colonel
Jones of Drumshambo,
who was representative in Parliament for the
County of Leitrim, the
Colonel went to Dublin on the meeting of Parlia-
ment, where he chanced
to fall into company with an English nobleman
who brought a Welsh
harper with him, who played very well. He played
some time before the
Colonel, and the nobleman asked him if he ever
heard so sweet a
finger. ‘Yes, I did,’ says the Colonel, ‘and that by a man
that never wears
either linen or woollen.’ ‘I will lay you a bet of a hundred
guineas’, says the
nobleman, ‘you can’t produce anyone to exceed my
harper.’ ‘Done!’ says the Colonel, and the bet was accordingly bound.
***
The Colonel writes
directly to Drumshambo for Duigenan to come with
all speed to him to
Dublin, and to be uncommonly careful to bring with
him a suit of cauthuck
[cáiteach], that s, a dress made of
beaten rushes
with something like a
caddy or plaid of the same stuff. Duigenan came
post accordingly, and
on his arrival in Dublin came to the Colonel’s
lodgings. The Colonel
in the meantime acquainted all the members of
the bet, who all
requested it should be decided in the House of Commons
before business
commenced. The two harpers performed before all the
members and it was
decided by all much in Duigenan’s favour,
particularly by the
English nobleman himself, who exclaimed, ‘Damn
you, why hadn’t you
better clothes?’ ‘Och,’ says Duigenan, ‘I lost my
all by a lawsuit, and
my old nurse for spite will not suffer me to wear
any other.’—‘Damn me,
but you shall,’ and [he] then put a guinea in
his hat and went all
through the sitting members, who every one threw
in a guinea each, so
that the nobleman’s hat was near half full, which
he put into Duigenan’s
pockets. Duigenan was in the full cauthuck dress
at the time. He was a
tall, handsome man and looked well in it, and
wore the cap all the
while, which was in the shape of a sugarloaf
decorated with tassels
of rushes well worked. However, Duigenan
contrived to spend the
chief part of the money before he left Dublin.
***
Seamus Horan –
“Traditional Irish Music from County Leitrim.”
DUILLATER HOUSE.
Scottish, Reel.
C Major. Standard tuning. AB. Surenne (Dance
Music of Scotland), 1852; pg. 36.
X:1
T:Duillater House
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 36
(1852)
Z:AK/Fiddler’s Companion
K:C
e | c2 ec dBAG | (A/4B/2<c)
B>A GE E2 | (c/d/e/f/) ge dBAG | (A/4B/2<c) B>A GEEe |
c2 ec dBAG | (A/4B/2<c) B>A GE
E2 | (c/d/e/f/) ge dBAG | (A/4B/2<c) B>A GEE ||
f | e>cgc dBgB | cAfA BGG_B |
A>FcF GEcE | FDGF EC Cf | egcg dgBg |
caAc BGG_B | AcFc GcEc | Aag>f
ecc ||
DUILLE AN T-AIGNEAN. AKA and see "The Ivy Leaf."
DUILLEOG BHÁN, AN. AKA and see “The White Leaf.”
DUILLIÚR AN FHÓMHAIR. AKA and see “The Autumn Leaves.”
DÚISEACHD. AKA and see “Jackson’s Duishig.” Breathnach (1996)
finds the alternate title “Jackson’s Duishig” in County Cork. The tune is
attributed by Goodman to the 18th century gentleman piper Walker
‘Piper’ Jackson, of the townland of Lisdaun, parish of Ballingarry, Aughrim,
County Limerick. Goodman, Vol. III, pg. 149.
DUKE AND DUCHESS OF
EDINBURGH. Scottish, Reel. G Major. Standard
tuning. AA’. Composed by J. Robertson (coyrighted in 1948). Martin & Hughes
(Ho-ro-gheallaigh), 1990; pg. 14. Tradition 2118, Jim MacLeod & His Band ‑
"Scottish Dances: Jigs, Waltzes and Reels" (1979).
DUKE AND NO DUKE.
English, Jig. F Major. Standard tuning. AABB. The melody is unique to
London publishers Charles and Samuel Thompson’s 1757 country dance collection. A
Duke and No Duke; or, Trampolin’s Vagaries was a farce in two acts written
in 1684 by Nahum Tate and produced at Drury Lane, and was based on an earlier
work by Cokain called Trappolin Creduto Principe; Trappolin suppos’d a
Prince (1656). It continued as a farce and was adapted as a ballad opera
and a “comic melodramatic” burletta, and remained popular until the early 19th
century. Thompson (Compleat Collection of 200 Favourite Country
Dances, vol. 1), 1757; No. 57.
X:1
T:Duke and no Duke
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:F
FGF cdc|fed c3|dcB cBA|FGF GEC|FGF cdc|fed agf|edc Gc=B|c3 C3:|
|:cdc
agf|_edc “tr”B>AB|BcB gf=e|dcB Aff|dBf dBf|cAf cAf|AcF GBE|F3 f3:||
DUKE GORDON. AKA and see "Lord
Gordon’s Reel," "Tiarna
Gordon," "Duke of Gordon's
Favourite," "Duke of Gordon's
Rant," "The Waterloo Reel
[3]," "The Rocks of Antiluce,"
"The Pride of Kildare [3],"
"My Heart with Love is Breaking," "The
Scotch Rose," "The Scotch
Patriot's Reel," "The
Rakes of Drumlish." Scottish, Irish,
Reel. The melody was published in Glasgow, Scotland, in 1778 as “The Duke of
Gordon’s Rant,” however, an older title is “Bod ‘na Sheasamh,” published some
twenty years earlier. Uilleann piper Seamus Ennis played a version of the tune,
says Neil Mulligan, which he had from his father, who learned it from the
famous piper and reed-maker, Pat Ward of the Black Bill, Drogheda. CCE Néillidh Mulligan
- "The Leitrim Thrush.”
DUKE OF ABERDEEN, THE. AKA and see “The Beggar,” “The Beggarman.” Irish, March (4/4 time). D
Major. Standard tuning. ABB. Source for notated version: “From P. Carew’s MS”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 679, pg. 170.
X:1
T:Duke of Aberdeen, The
M:C
L:1/8
N:”See ‘The Beggarman’ in Bunting”
S:Stanford/Petrie (1905), No. 679
Z:AK/Fiddler’s Companion
K:D
A | A2 d>d d2 cd | e>fge f2 ec
| d2 ec A2 cd | e2 d>d d2 ||
|: d>c | B2 Bc A2 A/B/c | d2 cA
G2 F>G | A>BcA dcAG | F2 D>D D3 :|
DUKE OF ANGLESEA, THE.
English, Waltz. F Major. Standard tuning. AABB. 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. 61.
X:1
T:Duke of Anglesea, The
M:3/8
L:1/8
R:Waltz
S:Joshua Gibbons manuscript
(1823-26)
Z:AK/Fiddler’s Companion
K:F
FAc|f2f|ee/f/g/e/|fcc|FAc|f3f|ee/f/g/e/|f3:|
|:cge|cfa|cge|fe/f/g/f/|cge|cfa|cge|f3:|
|:gag|g2e|a2f|g2e|def|e2g|g/a/g/f/e/d/|c3:|
DUKE OF ARGYLE('S
STRATHSPEY). Scottish, Strathspey. D Mixolydian.
Standard or ADae tunings. AABBCCDD. "A very old tune" (Gow).
Originally set in scordatura tuning by Nathaniel Gow
(1763‑1831). Johnson (1983) notes his setting is unusual as it also had a
harpsichord and cello accompaniment ‑‑ most scordatura tunes were
meant for solo fiddle. He points out that scordatura style was going out of
fashion at the end of the 18th century and that Gow rewrote it in standard
tuning for his 1792 edition, perhaps because it could not be played on the
piano in scordatura notation and this was hampering the tune's sales. Johnson also thinks that the tune was
composed by a member of the Gow family as it is unknown in any collections
earlier than the Gows.
***
There have been Dukes of Argyll
since the peerage was created in 1701, as reward for services to William of
Orange. The family has been historically one of the most powerful in Scotland,
as the Duke is chief of the Scottish clan Campbell, whose family seat is
Inverary Castle, Inverary, Argyll.
***
Source for notated version: Niel
Gow's Strathspey Reels, vol. 1, 1784,
pg. 32 [Johnson]. Carlin (The Gow
Collection), 1986; No. 42. Gow (First
Collection of Niel Gow’s Reels), 1784 (revised 1801); pgs. 28-29. Johnson (Scottish Fiddle Music in the 18th Century),
1984; No. 51, pgs. 115‑116.
X:1
T:Duke of Argyle’s Strathspey, The
M:C
L:1/8
R:Strathspey
N:”A very old tune”
N:”Very slow, with expression”
S:Gow – First Collection of Niel Gow’s Reels (1784, revised 1801), pg. 28
Z:AK/Fiddler’s Companion
K:D
(A,2D2) “tr”E>D D>E|D2
({DE}F>)D ~E>D D2|”tr”F2 {F}G>F {F}E>D {D}C>B,|.A,.D.A,.D “tr”E>D
D2:|
|:A,2”tr”d2 (e>d) (d>B)|c>A
GE (FD) “tr”^C>B,|A,2”tr”d2 ed d>=c|(A<=c) (G<c) “tr”E>D D2:|
|:A,2”tr”d2 ed d>e|A2 =c>G
~[Gc>]d (=f/e/)d/^c/|~d>e =f>g {f}ed de|(Ad) (.d.d) {f}e>d d2:|
|:A,2”tr”d2 (e<d)
(d>B)|{B}=c>A GE (F>D) “tr”^C>B,|A,2”tr”d2 e>d d>=c|(A<=c)
G>c “tr”E>D D2:|
DUKE OF ATHOLE [1], THE. Scottish, Strathspey. A Minor. Standard
tuning. AB (Kerr): AAB (Athole, Gow). Gow (Second
Collection of Niel Gow’s Reels), 1788; pg. 28 (3rd ed.). Kerr (Merry Melodies), vol. 3; No. 145, pg.
17. Stewart-Robertson
(The Athole Collection), 1884; pg.
54.
X:1
T:Duke of Athole, The [1]
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Aminor
E|A>BA>E A/A/A A>B|GDG>B d/c/B/A/ G>B| A>BA>E A/A/A A>B|G>EB,D E2A,:|
e|a>ea>c A/A/A a2|g>de>g d/c/B/A/ G>e|a>ea>c A/A/A a2|g>dg>B e2 A>e|
a>ea>c A/A/A a2|g>de>g d/c/B/A/ G>B| A>Ec>A c>de>a|G>EG>B, A,2A,||
DUKE OF ATHOLE [2], THE. Scottish, Strathspey. B Minor. Standard
tuning. AB. Composed by Alexander Walker. Paul Stewart Cranford (1991) says
that the tune still has currency among Cape Breton fiddlers. Henderson (Flowers of Scottish Melody), 1935.
Walker (A Collection of Strathspeys,
Reels, Marches, &c), 1866; No. 54, pg. 20.
DUKE OF ATHOL'S BLEW
BRITCHES. Scottish. The melody appears in the
1768 Gillespie Manuscript of Perth.
DUKE OF ATHOLE'S
COURTSHIP. AKA and see "Huntingtower." Scottish, Air (4/4
time). E Major. Standard tuning. One part. The melody is today usually known as
"Huntingtower," which is the name of a ruin near Perth, though it was
originally called Ruthven Castle. The castle has a fascinating history which
began with its construction in the 13th century. Additions were subsequently
built, until by the 1500's it consisted of two castles joined together. Neil
(1991) tells us: "The tower is reknowned for 'the maiden's leap which is
the name given to the 9 foot gap between the two buildings, 60 feet from the
ground across which the daughter of the 1st Earl of Gownie leaped on being
discovered with her lover." In
August, 1582, the Earl of Gownie perpetrated the "Raid of Ruthven"
when he treacherously seized the 16 year of James IV of Scotland and held him
captive. Surprised, James began to cry, though was mortified when one of his
captors responded "Better bairns greet than bearded men." James never forgave this remark, and, aided
to escape, later exacted his revenge. The old Highland ballad (based on a
traditional story of the ducal family of Athol) begins:
***
Blair in Athole's mine Jeanie,
Fair Dunkeld is mine, lassie,
Saint Johnstown's bower and Huntingtower
A a' that's mine is thine lassie.
***
Neil (The Scots Fiddle), 1991; No. 116, pg. 154.
DUKE OF ATHOLE'S
DELIGHT. Scottish, Strathspey. G Major.
Standard tuning. AABB and 8 variations. The composition has been credited to
Joseph Reinagle (1762-1825), although it is unattributed in Gow’s First Collection (1784). Reinagle was
the son of a German music teacher. He forsook the navy after only one voyage,
and next failed at the goldsmithing trade in Edinburgh, and finally received
his father’s permission to let him be a musician. This he succeeded at, first
mastering the trumpet, and then, when his health compelled him to forsake the
wind instrument, cello and violin. Reinagle became concert director in
Edinburgh, then, in 1789, he went to Dublin and finally to London in 1791,
where he played in several of the best orchestras, mainly on the cello. In
fact, he published several works for the instrument as well as a Concise Introduction to the Art of Playing
the Violoncello, which went through four additions. The Duke of Athole was
a patron of Gow and took the fiddler to London to entertain when he sat at the
House of Lords. Carlin (The Gow
Collection), 1986; No. 43. Gow (The
First Collection of Niel Gow’s Reels), 1784 (revised 1801); pgs. 34-35.
X:1
T:Duke of Athole’s Delight, The
M:C
L:1/8
R:Strathspey
N:”Slowish”
S:Gow – First Collection of Niel Gow’s Reels (1784, revised 1801)
Z:AK/Fiddler’s Companion
K:G
B|G>DGB {B}A2 GE|G>DGB
G>DGB|c>AB>G {B}”tr”A2 GE|G>DGB “tr”d>egd|e/f/g f/g/a {B}A2 GE|
(G/A/).B/.c/ (d/c/).B/.A/
G2G,::d|g>dgb “tr”a2 ge|gdgb gdgb|gdgb ”tr”a2 ge|gdeg “tr”d>egd|e/f/g f/g/a
{B}A2 GE|
(G/A/).B/.c/ (d/c/).B/.A/ G2G,::B|G>D G/A/B/c/ {B}”tr”A>G EA|GDBD
dDBD|(GB).g.B A>D F/G/A/F/|
GDEC DGB,G,|CAB,G A,A
F/G/A/F/|(G/A/).B/.c/ (d/c/).B/.A/ G2G,::e/f/|g/f/e/d/ B>g a/g/f/e/
f>a|b/a/g/f/ gd ebgd|
ebgd Aa f/g/a/f/|(gb).d.B
(ca).c.A|(Bg).B.G (Ad).F.D|(G/A/).B/.c/ (d/c/).B/.A/ G2D::B/c/|d/c/B/A/
G/A/B/G/ {B}A>G EB/c/|
d/c/B/A/ G/A/B/c/ dG
B/d/B/G/|c/e/c/A/ B/d/B/G/ AD F/G/A/F/|GB/d/ FA/d/ EA/c/ DG/B/|(C/E/).A/.C/
(B,/D/).G/.B,/ A,G /G/A/F/|
(G/A/).B/.c/ (d/c/).B/.A/
G2G,::e/f/|g/f/e/d/ B>g a/g/f/e f>a|b/a/g/f/ gd ebgd|ebgd Aa f/g/a/f/|gb
B/c/d/B/ ca A/B/c/A/|
Bg G/A/B/G/ AdFD|(G/A/).B/.c/
(d/c/).B/.A/ G2G,::B/c/|d/c/B/A/ G/A/B/G/ A/B/A/G/ EA|G/D/E/F/ G/A/B/c/ dG
B/d/B/G/|
c/e/c/A/ B/d/B/G/ AD
F/G/A/F/|G/B/e/G/ F/A/d/F/ E/G/c/E/ D/G/B/D/|C/E/A/C/ B,/D/G/B,/ A,A F/G/A/F/|
(G/A/).B/.c/ (d/c/).B/.A/
G2G,::e/f/|g/f/e/d/ B/c/d/B/ A/a/e/g/ f/g/a/f/|g/d/B/d/ g/b/g/e/ f/a/f/d/
e/f/g/e/|d/B/g/B/ G/B/d/B/ A/a/e/g/ f/g/a/f/|
g/b/g/e/ f/a/f/d/ e/g/e/c/
d/g/d/B/|c/e/c/A/ B/d/B/G/ AD F/G/A/F/|(G/A/).B/.c/ (d/c/).B/.A/
G2G,::B/c/|dGd>B AdFD|GBAc dGBd|
caBg ADFA|GDEC DGB,G,|CAB,G A,A
F/G/A/F/|(G/A/).B/.c/ (d/c/).B/.A/ G2G,::e/f/ gBgB Aa f/g/a/f/|
gBgB a/g/f/e/ gB|dBgB Aa
f/g/a/f/|(gb).d.B (ca).c.A|(Bg).B.G (Ad).F.D|(G/A/).B/.c/ (d/c/).B/.A/ G2G,:|
DUKE OF ATHOLL'S FOREST, THE. Scottish, Reel. A Mixolydian. Standard tuning. AAB. Composed by John Crerar (1750‑1840), who likely took lessons at Atholl from the famous fiddler and composer Niel Gow. McGlashan (A Collection of Reels), c. 1786; pg. 16.
X:1
T:Duke of Athole’s Forrest (sic)
M:C|
L:1/8
R:Reel
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:Amix
B|Aeed cd e2|Bddg BG B2|Aeed cde^g|aA A/A/A BE E:|
D|cA A/A/A dBBd|cA A/A/A BGGB|cA A/A/A dBBd|cA A/A/A BE Ed|
cA
A/A/A dBBd|cA A/A/A BGGB|cA A/A/A cB B/B/B|cA A/A/A BE E||
DUKE OF ATHOL’S FOREST LODGE, GLEN TILT. AKA and see “Glen Tilt Lodge,” “Glentilt.” Scottish, Strathspey. D Major.
Standard tuning. AB. McGlashan (A Collection of Reels), 1786; pg. 42.
X:1
T:Duke of
Athol’s Forest Lodge, Glen Tilt
M:C|
L:1/8
R:Strathspey
S:McGlashan
– Reels (1786)
Z:AK/Fiddler’s Companion
K:D
B|Aaa>e
fea>e|faa>c B>cdB|Aaa>e feae|faec B2 AB|Aaa>e feae|faec BcdB|
Aaa>e
feae|faec B2 A||B|cAAf A/A/A e2|dfec B>cdB|cAAf A/A/A e2|
d>fec B2 AB|cAAf A/A/A
e2|d>fc>e B>cdB|cAAf A/A/A e2|dfce B2 A||
DUKE
OF ATHOLL’S MARCH. AKA and see “Atholl Highlanders.” Scottish, March
(3/8 time). A Major. Standard tuning. AABBCC. See note for “Atholl
Highlanders.” Morison (Highland Airs and
Quicksteps, vol. 1), No. 19, pg. 9.
X:1
T:Duke of
Atholl’s March
M:3/8
L:1/8
R:March
S:Morison –
Highland Airs and Quicksteps, vol. 1
Z:AK/Fiddler’s Companion
K:A
{A(3B/c/d}e3
| ecA | ecA | Bcd | e3 | ecA | Bcd | c3 | e3 | ecA |
ecA | Bcd |
cae | fed | cdB | A2 (3a/g/f/ :: e2 (3d/c/B/ | c2 (3a/g/f/ |
e2 (c/B/A/
| B2 (3a/g/f/ | e2 (3d/c/B/ | c2 (3a/g/f/ | e2 (3d/c/B/ | A3 ::
{A/B/}cAc |
cAc | dBd | dBd | cAc | cAc | Bcd | c2 A/B/ | cAc |
cAc | dBd |
dBd | cae | fed | cdc | A3 :|
DUKE OF ATHOL'S RANT. Scottish, Reel. D Major. Standard tuning. AABBCCDD. John Glen (1891)
finds the earliest appearance of this tune in print in Neil Stewart's 1761 collection (pg. 31).
Fintan Vallely believes this tune is the ancestor of the Irish “Captain Rock(es) [1],”/"The Humours of Ballyconnell
[1]”/“O’Neill’s Maggot [1].” (McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 32.
X:1
T:Duke of Athole’s Rant
M:C|
L:1/8
R:Reel
S:McGlashan – Strathspey Reels (c.
1780/81)
Z:AK/Fiddler’s Companion
K:D
B|ADAF D/D/D AF|GEGF E/E/E BF|ADAF
D/D/D f>e|dBAF D/D/D D:|
|:e|d>ef>a e>fdA|BdAF E/E/E
E>e|d>ef>a e>fdA|B>dAF D/D/D D:|
|:f|a>baf a>baf|g>eg>f
g>eb>f|a>baf a>baf|geaf d/d/d d:|
|:e|d>ef>a efdA|B>dAF E/E/E
E>e|d>ef>a e>fdA|B>dAF D/D/D D:|
DUKE OF BEDFORD’S
FANCY, THE. English, Reel. A Major. Standard tuning.
AABB. Kennedy (Traditional Dance Music of
Britain and Ireland: Reels and Rants), 1997; pg. 11.
DUKE OF BEDFORD’S
(WALTZ), THE. English, Waltz. C Major. Standard tuning.
AAB. Kennedy (Fiddler’s Tune-Book: Slip
Jigs and Waltzes), 1999; No. 114, pg. 27.
DUKE
OF BERWICK'S MARCH, THE. AKA and see "Why, Soldiers, Why," "How Stands the Glass Around."
English, March and Air (4/4 time). F Minor. Standard tuning. AB. The tune
appears in the ballad opera The Patron
(1729) as "Why Soldiers, Why," however, Chappell (1859) states it is
contained in a MS book of poetry in the Advocates' Library in Edinburgh under
the “Duke of Berwick’s March” title. William Shield used the in his opera Siege of Gibraltar. The Duke of Berwick
was James Fitzjames, the illegitimate son of King James II of England and
Arabella Churchill, sister of the Duke of Marlborough, born in 1670 at Moulins,
France. Berwick was made a duke by his father when he ascended the throne, and
after he was deposed Berwick went to Ireland to fight against the English
successor, William III; at the Battle of the Boyne the 20-year-old commanded a
regiment of Irish cavalry. After the defeat in Ireland he returned to the
Continent where he became an outstanding military leader for the French,
earning the title Marshall of France. He was killed while besieging
Phillipsburg by a cannon shot in 1734.
***
How stands the glass around?
Let mirth and wine abound.
The trumpets sound,
The colours they are flying boys,
To fight, kill, or wound;
May we still be found,
Content with our hard fare, my boys,
On the cold, cold ground.
***
The Duke of Berwick
***
Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 134‑135.
X:1
T:Duke of Berwick’s March
T:Why, Soldiers, Why
T:How Stands the Glass Around
L:1/8
M:C
S:Chappell – Popular Music of the Olden Time
(1859)
Z:AK/Fiddler’s Companion
K:F
Minor
C2|F3G A2B2|c6 =E2|F2A2G2F2|=E3D
C2C2|F3G A2B2|c6 =E2|
F3G AG F=E|F6||e2|c4 c3d/e/|B6
A2|B3c ed cB|e3f e2d2|c4 B3A|
A6 A2|A2G2c2F2|F2 =E2 z2 C2|F3G
A2B2|c3d c2B2|A4G4|F6||
DUKE OF BUCCLEUCH [1], THE. Scottish, Reel. F Major. Standard tuning.
AABB. Composed by William Marshall (1748-1833). The
tune shares a first strain resemblance with such others as "Carolan's Cup," "The Miller's Maid," and "Patie's Mill" (see), though
Bayard (1981) believes it may only be coincidence. Sir Henry Scott, 1746-1812,
the 3rd Duke of Buccleugh, not only became the 3rd Duke of
Grafton at the tender age of four but also later inherited through his mother,
the title and lands of the Duke of Queensbury, after his cousin died without
issue in 1810. In recognition of this inheritance Henry adopted the surname of
Douglas-Scott but also went one better, as through his marriage to Elizabeth Montagu
in 1767 the family ended up with further share of the Montagu estates in
England including the rather impressive Boughton House. The Duke and Duchess
were evidently supporters of
Scottish music, for he had his children tutored by none other than the famous
band-leader and music publisher Nathaniel Gow (1763-1831), a contemporary of
Marshall’s. Gow was much in demand at
the height of his career as a performer and teacher, and he charged all the
market would bear for tuition. The Duke of Buccleugh had him travel once a week
to the palace at Dalkeith, some six miles from Edinburgh, for which Gow charged
him the (then astonishing) sum of two guineas plus travel expenses. At one
point the Duke wrote to Nathaniel with the suggestion—"I wish that at your leisure you would
compose (start not, gentle misses!] a reel according to the old style. It
should be wild, such as your father would have liked—highland,---call it
"the Border Raid.” There is no
evidence that Gow did compose a tune by that name, however. In 1810 Nathaniel Gow’s Annual Ball was held
in the Assembly Rooms in Edinburgh on 13 March and the list of ten ‘patrons and
directors’ included ‘Her Grace the Duchess of Buccleuch’ and numerous
Countesses and Right Hon. Ladies. Marshall, Fiddlecase Edition,
1978; 1845 Collection, pg. 1.
X:1
T:Duke of Buccleuch, The [1]
M:C
L:1/8
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:F
FGAc fgag | fdcA GFDG | FGAc fgag |
fcde f2f :|
|: g | afge fcdf | dfAf GFDg | afge
fcdf | cAde f2f :|
DUKE OF BUCCLEUCH [2], THE. Scottish, Reel. B Flat Major. Standard tuning.
AA’BB’. No relation to Marshall’s “The Duke of Buccleuch [1].” Kerr (Merry Melodies), vol. 4; No. 154, pg.
18.
X:1
T:Duke of Buccleuch, The [2]
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 154
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Bb
(BA)FD (FB)BB|(Ac)cc (Bd)dd|(ce)ee
(df)ba|1 gfed c2d2:|2 gfed c2d2||
|:(df)ff (gf)ff|(eg)gg (ag)gg|(df)ff
(gf)ff|1 edcB Acfe:|2 gfed c2B2||
DUKE OF BUCCLEUCH [3]. Scottish, Strathspey. A Major.
Standard tuning. AAB. Composed by Nathaniel Gow
(1763-1831). Gow (Sixth Collection of Strathspey Reels), 1822; pg. 34.
X:1
T:Duke of Buccleuch, The [3]
M:C
L:1/8
R:Strathspey
C:Nathaniel Gow (1763-1831)
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:A
C|(A,A)
A>F GB “tr”B>c|(AA) (ca) e3 (e/d/)|c(ag) (f/e/)(d/c/) BF
F>B|(A/G/)F/>E/ FG A3:||
~c>def
(.efga)|ec ca|{f}e2 (d/c/).B/.A/|~c>def (ef)(ga)|bB “tr”B>c {Bc}d2 “tr”c>B|(c>d)ef
(efga)|ec ca {f}e2 (d/c/)”tr”(B/A/)|
fDDf
(e/c/)(a/g/) (f/e/)(d/c/)|dFB>A (AGFE)|(E<A) A>F (GB)
“tr”B>c|(.A.A) ca e3 (f/g/)|aecA GB B>c|~F(G/A/) BG A3||
DUKE OF BUCCLEUGH AND
HIS FENCIBLES, THE. Scottish. Glen (1891) finds the
earliest appearance of this tune in Joshua
Campbell's 1778 collection (pg. 55).
DUKE OF BUCCLEUGH’S
FAVORITE. Scottish. Composed by Andrew Gow
(1760-1803), “while asleep.”
DUKE OF BUCCLEUGH'S
TUNE, THE. AKA and see "The White Cockade [1]," "The Ranting
Highlander/Highlandman," "The
Highland Laddie [3]," "Fiddler's
Morris." Scottish, Country Dance Tune (4/4 time). E Minor. Standard
tuning. AABB. The melody appears in John Playford's Apollo's Banquet (Fifth Ed., 1687 {No. 114} and Sixth Ed., 1690)
and is an early version of "Watson's
Scotch Measure." Fuld (1966) finds the "germ of the melody"
of the modern air to the song "Old Lang Syne" in this tune. Emmerson
(Rantin’ Pipe and Tremblin’ String),
1971; No. 27, pg. 128.
X:1
T:The Duke of Buccleugh's Tune
B:Apollo's Banquet, 1990, via...
B:The Popular Songs and Melodies of Scotland
Z:Nigel Gatherer
M:2/4
L:1/8
K:G
G<EG<E|A>GAB|G<EG>A|B2 d z| GE/F/ GE|A>GAB|G<EG>A|B2 d z|]
DUKE OF BUCKINGHAM. English, Country Dance Tune
(2/2 time). C Major. Standard tuning. AABB. A 32 bar reel composed by Geoff
Mendham in 1988. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 48
(appears as “Gentleman’s Delight”, the name of a dance by Philippe Callens set
to the tune).
DUKE OF CLARENCE REEL, THE. AKA and see "Colonel McBain's," "General McBean," "Dan Sullivan's Reel," "Brian Boru’s March [1],"
"The Devonshire Reel [1],"
"Sporting Molly," "Sean Frank."
DUKE OF CORNWALL’S
REEL. AKA and see “Opera Reel [1].” English, Reel. D Major.
Standard tuning. AABBCCDD. Well-known under the “Opera Reel” title. The tune
appears as “Duke of Cornwall’s Reel” in the William Aylemore manuscript of 1796
(W. Wittering, Sussex). Callaghan (Hardcore
English), 2007; pg. 35. EFDSS CD13, Katie’s
Quartet – “Hardcore English” (2007. Various artists).
DUKE OF CUMBERLAND. Scottish, Strathspey. D Mixolydian. Standard tuning. AAB. William
Augustus, one of the Dukes of Cumberland, a son of King George II, earned the
sobriquet “The Butcher” for his harsh repression of the Highland population
after the Battle of Culloden in 1745.
***
William Augustus, the Duke of Cumberland (AKA – “The Butcher”).
***
Carlin (The Gow Collection), 1986; No. 524. Gow (Complete Repository), Part 2, 1802; pg. 36. MacDonald (The Skye Collection), 1887; pg. 50. Stewart-Robertson
(The Athole Collection), 1884; pg.
103.
X:1
T:Duke of Cumberland
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
E|D/D/D B2 A>F A2|G<E =c2 E<=C C>E|D/D/D B2 A>F A2|
A,<A, A,>B, D2D:|E|D/D/D d>D F>Dd>D|=C/C/C =c>E c>Ec>E|D/D/D d>D F>Dd>D|
A,<A, A,>B, D3E|D/D/D d>F d>Fd>F|E/E/E c>E c>Ec>E|d>ef>d e>fg>a|A,<A, A,>B, D3||
DUKE OF EDINBURGH, THE. Scottish, Strathspey. A Mixolydian. Standard
tuning. One part. Martin (Ceol na Fidhle),
vol. 4, 1991; pg. 19.
DUKE OF FIFE'S
WELCOME TO DEESIDE, THE. Scottish, March (4/4 time). A Major (Skinner): G Major (Gatherer).
Standard tuning. AAB (Skinner): AABB (Gatherer). Composed (and still popular,
according to Alburger) for both bagpipe and fiddle by James
Scott Skinner, and first published in his Harp and Claymore collection. Gatherer (Gatherer’s Musical Museum), 1987; pg. 45. Skinner (The Scottish Violinist, with
variations); pg. 38. Skinner (Harp and
Claymore Collection), 1904; pg. 31. RC2000, George
Wilson – “The Royal Circus” (2000). Shanachie 97011, Duck Baker - "Irish
Reels, Jigs, Airs and Hornpipes" (1990. Learned from Art Rosenbaum).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Duke of Fife’s Welcome to Deeside,
The
M:C
L:1/8
R:Quickstep
C:J. Scott Skinner
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
E | (EA) A.B/.c/ (BA) AB/c/ | de/f/
(ea) e/c/A/c/ .B.E | (EA) A.B/.c/ (BA) AB/c/ | ({c}de/f/ e/c/B/c/ ({G}[AA]) A
:|
c/d/ | ec/A/ ag/a/ face | de/f/ ea
e/cA/c/ Bc/d/ | ec/A/ ag/a/ faec | de/f/ e/c/B/c/ ({G}[A2A2]) A.c/.d/ |
ec/A/ ag/a/ faec | de/f/ (ea)
e/c/A/c/ BE | (EA) AB/c/ ({c}B)A AB/c/ | ({c}d)e/f/ e/c/B/c/ {G}[A2A2] A ||
DUKE OF GLOUCESTER'S
MARCH, THE.
English, March (4/4 time). England, North‑West. D Major. Standard tuning.
AABB. Knowles (Northern Frisk), 1988;
No. 85.
DUKE OF GLOUCESTER'S NEW MARCH, THE. English, March (4/4 time). England,
Shropshire. D Major. Standard tuning. AABB. Source for notated version: a c.
1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 30a,
pg. 9.
DUKE OF GORDON [1]. Scottish, Strathspey. D Major. Standard tuning. AAB. Neil (1991) notes
that the Gordon family was one of the most powerful in Scotland, probably
descended from the Gourdons who came to Britain with William the Conqueror.
Most of the Scottish Gordons descend from one Sir Adam de Gordon who was given
the lordship of Strathbogie in Aberdeenshire by Robert the Bruce. Adam's
descendent George (4th Marquis of Huntly) attained the title of Duke in 1684,
which expired in 1836 upon the death of the childless 5th and last Duke of
Gordon. Niel remarks the powerful Gordons often stood alone in disputes with
the crown, and, under the Earl of Huntly, lieutenant of Scotland, obtained land
forfeited by others. As a result the Gordons were frequently engaged in clan
disputes with such as the Mackintoshes, Camerons, Murrays and Forbeses.
Composed by Niel Gow. Carlin (The Gow
Collection), 1986; No. 44. Green Linnet GLCD 1187,
Cherish the Ladies – “One and All: the Best of Cherish the Ladies” (1998).
X:1
T:Duke of Gordon [1]
M:C
L:1/8
R:Slow Strathspey
C:Niel Gow
K:D
F/E/|D>A,B,>A,
D>B,A,>F|G>EF>D (B,2 B,)F/E/|D>A,B,>A,
D>B,A,>B|A>FE>F (D2D):||
B/c/|d>AB>F
A>FD>F|G>EF>D (B,2 B,)B/c/|d>AB>F A>FD>F|G>EA>F
(D2 D)B/>c/|
d>AB>F
A>FD>F|G>EF>D (B,2 B,)F/E/|D>A,B,>A,
D>B,A,>B|A>FE>F (D2 D)||
DUKE OF GORDON [2]. AKA and see "Duke of Gordon's
Birthday."
DUKE OF GORDON AND HIS
VOLUNTEERS, THE. Scottish. Glen (1891) finds the
earliest appearance of this tune in print in Joshua Campbell's 1778 collection (pg.
50).
DUKE OF GORDON'S
BIRTHDAY, THE. AKA and see “Boston O’Connor,” “Casey’s Pig.” Scottish, Canadian;
Strathspey. Canada; Cape Breton, Prince Edward Island. G Major. Standard
tuning. AB (Dunlay & Greenberg, Surenne): AAB (Hunter, Marshall): AA'B
(Athole): AABB (Kerr, Skye): AABB’ (Gow, Perlman). One of the first tunes
composed by the great Scottish fiddler and composer William
Marshall (1748-1833). The Duke of Gordon was Alexander (1743-1827), 4th
Duke of Gordon, who was Marshall’s
employer (Marshall was his Steward) and an important patron of his music.
***
Alexander, The 4th Duke of Gordon
***
It was first published in Marshall's
First Collection of 1781, and later
appeared in a Gow's Repository (First
Part) in 1799. Paul Stewart Cranford (1995) remarks that some of Marshall’s
tunes have been in oral tradition so long in Cape Breton, Nova Scotia, that
local sets have evolved; this is one such tune and numerous Cape Breton
versions exist, sometimes distanced from Marshall’s original. Dunlay and
Greenberg (1996) note that “The Duke of Gordon’s Birthday” is often used as a stepdance
strathspey on Cape Breton, and Perlman (1996) records that it is the most
widely played strathspey on Prince Edward Island (though the tune is distanced
from its original form). Gaelic port-a-beul words have become attached to the
tune, called “A’ Chaora Ruadh” (The Red Sheep), and a verse by Cape Breton
storyteller Joe Neil MacNeil can be found in the booklet accompanying Topic
12TS354. In County Donegal, Ireland, the tune is played as a highland where it
is well-known under the title “Casey’s Pig.” Sources for notated versions:
Douglas Lawrence of Buckie, a student of Hector MacAndrew's (Scotland)
[Hunter]; Margaret (Chisholm) MacDonald (Cape Breton) [Dunlay & Greenberg];
Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward
Island) [Perlman]. Dunlay & Greenberg (Traditional
Celtic Violin Music of Cape Breton), 1996; pg. 91. Gow (Complete Repository), Part 1, 1799; pg.
12. Hunter (Fiddle Music of Scotland),
1988; No. 73. Kerr (Merry Melodies),
vol. 1; Set 2., No. 3, pg. 4 (appears as "Duke of Gordon"). MacDonald
(The Skye Collection), 1887; pg. 99.
Marshall, Fiddlecase Edition, 1978;
1822 Collection, pg. 38. McGlashan (A
Collection of Reels), vol. 3, c. 1786; pg. 2. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 187. Stewart-Robertson
(The Athole Collection), 1884; pg.
163. Surenne (Dance Music of Scotland),
1852; pgs. 38-39. ACC-49398, Brenda Stubbert - “House
Sessions” (1992). Appears as “Duke of Gordon Strathspey”). CAT-WMR004, Wendy
MacIssac - “The ‘Reel’ Thing” (1994). Celtic CX 22, Donald and Theresa
MacLellan - “The MacLellan Trio” (appears as “Duke of Gordon’s”). Celtic CX
052, Donald MacLellan (c. 1950's). DAB4-1985, Donald Angus Beaton - “A Musical
Legacy” (1985). Marimac 6501, Eddy Arsenault - “The Old Time Fiddlers of Prince
Edward Island” (1993). Marquis ERA 181, David Greenberg - “Bach Meets Cape
Breton” (1996). Paddledoo Music PAD 105, Buddy MacMaster - “Scottish Fiddle
Rally, Concert Highlights 1985-1995" (1996). Rodeo Banff RBS 1066, Dan Joe
MacInnis - “The Cape Breton Fiddle of...(1962. Appears as “Duke of Gordon”).
Rodeo RLP 75, John A MacDonald - “Marches, Strathspeys, Reels & Jigs of the
Cape Breton Scot.” Rounder 7003, John Campbell - “Cape Breton Violin Music”
(1976. Appears as “The Duke of Gordon”). Topic 12TS354, Alex Francis MacKay -
“The Music of Cape Breton, Vol. 2, Cape Breton Scottish Fiddle” (1978).
X:1
T:Duke of Gordon’s Birthday, The
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
B|G>DG>B G>D G<B|d>Bd>B A/A/A A>B|G>DG>B G>DG>B|1
d>cB>A G/G/G G:|2 D>CB,>A, G,/G,/G, G||
|:d|g>ab>g d/d/d d2|g>ab>g e/e/e e>f|g<be<g d<gB<g|A>GA>B G/G/G G:|
|:D|G>DG>D G>DG>B|d>Bg>B A/A/A AB/A/|G>EG>B G>D E/E/E| D>CB,>A, G,/G,/G, G,||
DUKE OF GORDON'S
FAVOURITE, THE. Scottish, Slow Air (6/8 time). B
Flat Major. Standard tuning. AABB. The air was composed by Robert Mackintosh. Neil (1991) notes
that the Gordon family was one of the most powerful in Scotland, probably
descended from the Gourdons who came to Britain with William the Conqueror.
Most of the Scottish Gordons descend from one Sir Adam de Gordon who was given
the lordship of Strathbogie in Aberdeenshire by Robert the Bruce. Adam's
descendent George (4th Marquis of Huntly) attained the title of Duke in 1684,
which expired in 1836 upon the death of the childless 5th and last Duke of
Gordon. Neil remarks the powerful Gordons often stood alone in disputes with
the crown, and, under the Earl of Huntly, lieutenant of Scotland, obtained land
forfeited by others. As a result the Gordons were frequently engaged in clan
disputes with such as the Mackintoshes, Camerons, Murrays and Forbeses. Neil (The Scots Fiddle), 1991; No. 102, pg.
138.
DUKE OF GORDON’S
FAVOURITE [2], THE.
AKA and see "Duke Gordon,” "The Duke of Gordon's Rant," "Lord Gordon," "The Pride of Kildare [3]," "The
Rakes of Drumlish," "The
Rocks of Antiluce," "The Scotch Rose," "The Scotch Patriot's Reel," "The Waterloo Reel [5]." Scottish,
Reel. D Major. Standard tuning. AABB’. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants),
1997; No. 39, pg. 11.
DUKE OF GORDON'S RANT, THE. AKA and see "Duke of Gordon's Favourite," "Lord Gordon’s Reel," "The Pride of Kildare [3],"
etc. Scottish, Strathspey. See discussion of tune in note for “Lord Gordon’s
Reel.” John Glen (1891) finds the earliest appearance of this tune in print in Alexander McGlashan's 1786
collection. Alan Jabbour finds this tune printed in America by George P. Knauff
as "Scott's Favorite" in Virginia Reels, volume III (Baltimore,
1839). See also the Irish version “Lord
Gordon” and the American variant “Scott’s
Return.” Cape Breton fiddlers play
variants under the titles “(A) Taste of Gaelic”
and "The Scotch Patriot's Reel”
(a title from Ryan’s/Coles). McGlashan
(Collection of Strathspey Reels),
1786, vol. 3; pg. 7.
X:1
T:Duke of Gordon’s Rant
M:C|
L:1/8
R:Strathspey
S:McGlashan – Strathspey Reels (1786)
Z:AK/Fiddler’s Companion
K:D
B|A>DF>D A>DDB|A>DF>D A3d|B>EG>E B>EE>c|d>efd (B2 B)c|
d>ef>a e>fd>B|A>FD>F A>Bd>e|f>de>B d>BAF|E/E/E F>A B2B||
f/g/|a>df>d addf/g/|a>dfd a3f|b>eg>e b>eef|gfed B3c|d>ef>a e>fd>B|
A>FD>F A>Bd>e|f>de>B d>BA>F|E/E/E F>A (B2 B)||
f/g/|a>dfd addf/g/|a>dfd a3f|b>eg>e b>eeb|a>fe>d (B2 B)c|
d>ef>a
e>fd>B|A>FD>F A>Bd>e|f>ae>f d>BAF|E/E/E F>A (B2B)||
DUKE OF GORDON'S REEL
[1]. See "Duke of Gordon's Strathspey."
DUKE OF GORDON'S REEL
[2]. Scottish, Reel. G Major. Standard
tuning. AABB. Huntington (William
Litten's), 1977; pg. 13.
DUKE OF GORDON'S
STRATHSPEY [1]. AKA ‑ "The Duke of
Gordon's Reel." Scottish, Strathspey. D Major. Standard tuning. AAB.
Composed by William Marshall (1748-1833). The
multitalented Marshall worked for the Alexander (1743-1827), 4th Duke
of Gordon as Steward of the household and dedicated this tune to him. The Duke
also was an enthusiastic patron of Marshall’s music and of Scottish traditional
music in general. He played the fiddle, according to the Gordon historian
Bulloch, and occasionally played tunes with his Steward. Marshall, Fiddlecase Edition, 1978; 1822
Collection, pg. 31; and 1781 Collection, pg. 12 (appears as "Duke of
Gordon's Reel").
X:1
T:Duke of Gordon’s Strathspey [1]
M:C
L:1/8
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:D
B/c/|d>DF>D ADFD|B>DF>D
E/E/E EB/c/|d>DF>D ADFD|d>fe>f d/d/d d:|
f/g/|a>f d<f AdFD|GBFA E/E/E
Eg|a/g/f/e/ d>f A<dF>D|G>BA>c d/d/d df/g/|
a>f d<f
A>dF>A|G>BF>A E>F G<E|D>FE>G F>AG>B|A>FG>E
D/D/D D||
DUKE OF GORDON’S
STRATHSPEY [2], THE.
Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by the
famous Scots fiddler-composer Niel Gow (1727-1807), of Inver, for Alexander
(1743-1827), 4th Duke of Gordon, a patron. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg.
16.
X:1
T:Duke of Gordon’s Strathspey, The
[2]
M:C
L:1/8
R:Strathspey
C:Niel Gow
S:Gow – The First Collection of Niel Gow’s Reels (1784)
Z:AK/Fiddler’s Companion
K:D
“tr”F/E/|D>A,”tr”B,>A,
D>B,A,>(F|G>)EF>D {D}B,2 B,”tr”F/E/|D>A,”tr”B,>A,
D>B,A,>B|{B}A>F”tr”E>F D2D:||
“tr”B/>d/|d>AB>F
A>FD>F|~G>EF>D {D}B,2 B,B/c/|d>AB>F A>FD>F|G>EA>F
{F}D2 D”tr”B/>c/|
d>AB>F
A>FD>F|~G>EF>D {D}B,2 B,”tr”F/E/|D>A,B,>A,
D>B,A,>B|A>F”tr”E>F D2D||
DUKE OF HAMILTON(‘S
REEL).
Scottish, Reel. G Mixolydian. Standard tuning. AABB. Glen (1891) finds the earliest appearance of the tune in print in
Robert Bremner's 1757 collection.
During the 1680’s the then-current Duke and Duchess of Hamilton are recorded as
having employed a resident harper, obviously Irish, with the name Jago
McFlaherty. Along with entertaining, Jago’s duties also apparently included
instructing the daughters of the house in music and in maintaining the other
instruments at Brodick Castle, on Arran, or at the families other estates near
Glasgow. In 1682 he was dispatched on a trip to Edinburgh to buy replacement
strings for the Hamilton’s virginals (Sanger & Kinnaird, Tree of Strings, 1992). Bremner’s title,
however, probably refers to James (1724-1758), the Sixth Duke of Hamilton. His
only noteworthiness appears to be as first husband of the celebrated period
beauty Elizabeth Gunning {see note for “Miss Gunning’s Fancy (Reel)”},
although he also is credited with establishing the Clydesdale breed of horses
when he breed an imported Flemish stallion with a work-horse mare. (Bremner (Scots Reels), c. 1757; pg. 86.
X:1
T:Duke of Hamilton’s Reel
M:C
L:1/8
R:Reel
S:Bremner – Scots Reels (c. 1757)
B | G/G/G (B/c/d) “tr”B2 Gc | “tr”A2 Fc “tr”A2 FA | G/G/G (B/c/d) “tr”B2 Gc |
A^FcA G/G/G G :: c | B(dd)(e/^f/ g)d B/c/d/B/ | =fc A/_B/c/A/ fc A/B/c/A/ |
=B(dd)e/^f/
g/f/e/d/ e/d/c/B/ | c/B/A/G/ ^FA G/G/G G :|
DUKE OF HAMILTON AND
HIS VOLUNTEERS, THE. Scottish. Glen (1891) finds the
earliest appearance of the tune in print in Joshua Campbell's 1778 collection (pg.
51).
DUKE OF HOSTINE'S
MARCH, THE. Scottish, March. The tune appears
in the 1768 Gillespie Manuscript of Perth.
DUKE OF HUNGARY’S WALTZ.
?????, Waltz. C Major. Standard tuning. AABBCCDD. Howe (Complete Preceptor for the Accordeon),
1843; pg. 20.
X:1
T:Duke of
Hungary’s Waltz
M:3/8
L:1/8
R:Waltz
S:Howe – Complete Preceptor for the Accordeon (1843)
Z:AK/Fiddler’s Companion
K:C
(AG) (E/G/) | (GF) (D/B,/) | C2 :: (E/G/) | (3F/G/F/ (D/F/)
| (3F/G/F/ (E/F/) |
(AG) (E/G/) | (cB) (F/A/) | (AG) (E/G/) | (GF) (D/B,/) | C2 :: G | (3G/A/G/
(ed) |
(3c/d/c/ (G/E/) | (3F/G/F/ (DB) | ceG | (3G/A/G/ (ed) | (3c/d/c/ (GE) |
(3F/G/F/ DB | c2 :: G | (FD)B | (ce) (3G/A/G/ | (3F/G/F/ (DB) | (ce)G |
(3G/A/G/
(ed) | (3c/d/c/ GE | (3F/G/F/ DB | c2 :|
DUKE OF KENT. Scottish, Reel. F Major. Standard tuning. AA'B. Stewart-Robertson
(The Athole Collection), 1884; pg.
225.
X:1
T:Duke of Kent
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
G|:F2 FG AfcA|BAGA BcdB|AGFG ABcA|1 dfeg fdcA:|2 dfeg ~f2f||
g|f/g/a gf f/g/a gf|gfef gabg|f/g/a gf dfcf|agfe ~f2 fg|f//g/a gf f/g/a gf|
gfef
gabg|afge fdec|fBcA GABG||
DUKE OF KENT’S
MARCH [1]. English (?), March (4/4 time). C Major.
Standard tuning. AAB. A common march in the fife and drum repertoire. Howe (Complete Preceptor for the Accordeon), 1843; pg. 15.
X:1
T:Duke of
Kent’s March
M:4/4
L:1/8
R:March
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
E>F | G4
A>Bc>A | G2 c>c c2d2 | e2 d>e f2e2 | d2 d>d d2 E>F |
G4
A>Bc>A | G2 c>c c2d2 | e>cf>d c2B2 | c2 c>c c2 :| g>f |
ec/c/ cc c2
f>e | d2 G>G G2 f>e | dG/G/ GG GBdf | e2 c>c c2 E>F |
G4 A>Bc>A | G2 c>c c2d2 |
e>cf>d c2B2 | c2 c>c c2 ||
DUKE OF KENT’S
MARCH [2]. English, March (4/4 time). G Major. Standard
tuning. AABB. 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. 10.
X:1
T:Duke of Kent’s March [2]
M:C
L:1/8
K:G
D2|:G2 G>G G>AB>G|A2 D>D
D>EF>G|A2 A>A A>Bc>A| B2 .G.G G2 B>c|
DUKE OF KENT'S
WALTZ [1], THE. English, Waltz. G Major. Standard tuning. AAB. This melody, written in
1802, was one of the first waltzes to appear in the British Isles. The Duke of
Kent at the time was Edward Augustus (1767-1820), fourth son of king George
III, and father of Queen Victoria. He served as commander-in-chief of the
British forces in Canada from 1799 to 1800. Barnes (English Country Dance Tunes), 1986. Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1,
1991; pg. 7. Country Dance and Song Society CDS‑9,
Claremont Country Dance Band ‑ "Juice of the Barley."
X:1
T:Duke of Kent’s Waltz [1]
M:3/4
L:1/8
R:Waltz
K:A
ag ab a2|g2 ef ge|a2 A2A2|A4
e2|f2f2g2|a2e2c2|
a2e2c2|d2d2c2|c2 B4:||E2 dc d2|ce dc
BA|E2 dc d2|
ce dc BA|fe de fg|ag fe dc|fe dc
BA|GB AG FE||AG AB cd|
e^d ef
ge|a2A2A2|A4f2|^e2f2f2|^d2e2e2|d2B2G2|A6||
DUKE OF KENT’S
WALTZ [2], THE. English, Waltz. B Flat Major.
Standard tuning. AABC. Composed by John Paine in 1807. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 35.
DUKE OF LEINSTER [1],
THE. Irish,
Reel. G Major ('A' part) & A Dorian ('B' and 'C' parts). Standard tuning.
AA'BB'C (Carlin). Carlin's version comes from Michael Kennedy. Carlin (Master Collection), 1984; pg. 120, No.
202.
DUKE OF LEINSTER [2],
THE (Diúc Laighean). AKA and see "Dandy Reel."
Irish, Reel. G Major. Standard tuning. AB (Breathnach, Miller & Perron,
O’Malley): One part (Allan's): AAB (Flaherty): AA'B (O'Neill): AABB
(Mulvihill): AA’BB’ (Tubridy). The 1st Duke of Leinster was James
Fitzgerald, the father of Lord Edward Fitzgerald, one of the leaders of the
Irish rebellion of 1798, later betrayed and murdered. James was a member of the
“Patriot’s Party” in the pre-Union Irish Parliament, and married Emily Lennox,
one of four Lennox sisters who were all interesting characters. Emily herself
had radical tastes, although James is reported to have been quite dull. Paul de
Grae reports that “she employed a tutor, William Ogilvie, to educate her
children on Rousseau-esque principles at their house, Frescati, in Blackrock,
County Dublin (the house was demolished, amidst much controversy, in the
1970s). After the death of her husband Emily scandalised genteel opinion by
marrying Ogilvie.” See also “The Duke of
Leinster’s Wife” (AKA “The Ladies Pantalette”), often paired with this
tune, as for example, by Sligo/New York fiddler Michael Coleman (1891-1945) who
recorded the pair in 1927 (as “The Duke of Leinster, And His Wife”). Famed
County Sligo fiddler James Morrison recorded the “Duke of Leinster” in a duet
with uilleann piper Michael Carney. The
latter gave émigré Morrison lodging in New York City, when the fiddler arrived
from Ireland. “The Dandy Reel,” printed by
O’Neill, is a version of this tune. Sources for notated version: a 1969
recording of Máirtín Byrnes (b. 1927) [Miller & Perron]; fiddler Tommy
Potts (Ireland) [Breathnach]; fiddler Peter Horan (b. 1926, Kilavil, Co. Sligo)
[Flaherty]; fiddler Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; New York
fiddler John McGrath (1900-1955, originally from County Mayo)[O’Malley]. Allan's Irish Fiddler, No. 57, pg. 14.
Breathnach (CRÉ I), 1963; No. 194,
pg. 75. Flaherty (Trip to Sligo),
1990; pg. 62. Giblin (Collection of
Traditional Irish Dance Music), 1928; 6. Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 1, No. 64. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 66. Mulvihill
(1st Collection), 1986;
No. 143, pg. 38. O’Malley (Luke
O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 54, pg. 27.
O'Neill (O’Neill’s Irish Music),
1915/1987; No. 294, pg. 147. Tubridy (Irish
Traditional Music, vol. 1), 1999; pg. 22. Cló
Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love
to Play” (2007. One of Peter Horan’s favourite tunes). Columbia 33350-F (78
RPM), Michael Carney & James Morrison. Columbia 35612, "The
Chieftains" (1978. The setting "would have been near to those of
{piper Sean Potts'} grandfather {John Potts} and uncle Tommy," both Dublin
pipers). Copely Records 9-119 (78 RPM), Paddy Cronin (195?). Gael-Linn CEF060,
“Paddy Glackin.” Leader LEACD 2004, “Martin Byrnes” (1969).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Duke of Leinster, The [2]
R:Reel
S:Siobhan Kelly, 1999 N American CCE
Convention
Z:Tracy Kingsley
M:C|
L:1/8
K:G
G2 BG d2 Bd|egfg edBA|G2 BG
DGBc|dBAB GEDE|
G2 BG DGBc|dged dBAF|GB~B2
dB~B2|dBAB GEDE:|
dega bg~g2|agbg ageg|dega bgge|dBAB
GEd^c|
dega bg~g2|a2 bg agef|g2 fg efge|dBAB
GE D2:|
DUKE OF LEINSTER [3], THE (Diuc Laighean).
AKA and see “The Brighton Hornpipe,” “The Five Pound Note,”
“Hennessy’s,” “The Kildare Hornpipe,” “O’Neill’s Hornpipe,” “Peggy Morrissey,”
“Pretty Maggie Morrissey,” “The Strip of Turf (Ciumhais na Móna),” “The Wexford
Hornpipe.” Irish, Hornpipe. G Major. Standard tuning. AB. Breathnach’s version
is a Sliabh Luachra version of this common tune. Source for notated version:
from a manuscript noted by influential County Kerry fiddler and teacher Pádraig
O’Keeffe [Breathnach]. Breathnach (CRÉ V),
1999; No. 223, pg. 108.
DUKE OF LEINSTER'S
MARCH.
Irish, March (4/4 time). G Major. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915; No. 111,
pg. 62.
X:1
T:Duke of Leinster’s March
M:4/4
L:1/8
R:March
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:G
d2 | g2 d>e d2 B>A | G2 D>D
D2 g>f | e>fg>f e>dc>B | A2 A>A A2 d’>c’ | b2 g>b a2
d’>c’ |
b2 g>b a2 d’>c’ | b2 b>b a2
a>a | g2 g>g g2 :: d2 | a2 a>a a>bc’>a | b2 g>g g2d2 |
b2 b>b b>c’d’>b | a2 d>d
d2 d’>c’ | b2 d’>g a2 d’>c’ | b2 d’>g a2 d’>c’ | b>gf>e
d>cB>A | G2 G>G G2 :|
DUKE OF LEINSTER'S
WIFE, THE.
AKA and see "The Ladies’ Pantalettes."
Irish, Reel. The tune is often played after “The Duke of Leinster,” and the
title “Duke of Leinster’s Wife” came about through this association, to
emphasize the pairing and because use of the real title, “Ladies Pantalettes,”
was considered risque in some circles.
The duke’s wife, however, was a real personage with an interesting
story—see note for “Duke of Leinster.” It
was recorded by County Sligo/New York fiddler Michael Coleman in 1927. Bulmer
& Sharpley (Music from Ireland),
1974, vol. 3, No. 6. Leader LEACD 2004, “Martin
Byrnes” (1969). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi
Sproule – “Traditional Music of Ireland” (1995).
DUKE OF MARLBOROUGH. English, Polka. Well known as a 48 bar tune in Ireland. Old Hat Music OH!02, "The Old Hat Dance Band"
(1992. Learned from melodeon player Cecil Pearl of Ipswich, Suffolk).
DUKE OF PERTH. AKA and see "Broom's Reel," “Duke of Riff’s Reel,” "Da Fashion o da Delting Lasses" (Shetland), “Lolly Pops and Bulls Eyes,” “Lord Rockingham’s Reel,” "Love in a Village [3],” “McDonald’s Reel,” “Scam(p)den’s Cade.” Scottish, Reel. G Major. Standard tuning. AB (Surenne): AAB (Athole, Gow, Johnson): AABB (Bremner, Emmerson, Johnson, Kerr, Sweet). Johnson (1983) finds an early version of this famous piece in Neil Stewart's Reels (1761) and believed it to have been written in the mid‑18th century. Glen (1891) states the earliest printing is in Robert Bremner's 1757 collection, however, Emmerson (1971) finds the earliest written record in David Young's 1734 Drummond Castle Manuscript (also called the "Duke of Perth Manuscript"). Another early version is to be found in the 1768 Gillespie Manuscript of Perth. Although called a reel the tune meets the criteria for a rant, however, it is now mostly played at a considerably slower tempo as a Scottish measure or country dance in 2/4 time. The Scottish country dance performed to the tune was also called Duke of Perth and was very popular around Angus, East Fife and Perthshire, note Flett & Flett (1964), to the extent that it was a feature at various hunt balls in the region. The dance The Duke of Perth is also called Brown's Reel and both these names were used in Perthshire, East Fife and Angus. The same steps went by different names elsewhere in Scotland, to which other tunes were played; in the upper parts of Ettrick it was called Keep the Country, Bonny Lassie, and in Lanarkshire, Ayrshire, Arran and Galloway it was known as Pease Strae.
***
The melody appears under a variety of titles in numerous British musicians’ manuscripts of the late 18th and 19th century (see alternate titles), including the Thomas Hardy family manuscripts (“Duke of Riff’s Reel”), James Biggins (Leeds, west Yorkshire, 1779), H.S.J. Jackson (Wyresdale, Lancashire, 1823), the Welch family manuscripts (Bosham, Sussex), the Tiller manuscript, Docker, William Vickers (Northumberland, 1770), and David Young (1734, as noted above). The melody may have been used by Arne and Bickerstaffe for their ballad opera Love in a Village (1762), although the tune seems to have appeared widely before that date (according to Barry Callaghan, 2007).
***
Perhaps the most famous Duke of Perth was the Jacobite commander Drummond, originally the Earl of Perth. Drummond had declared for the Stewarts in the rising of 1715, following which he escaped to the Continent. He retained his title and was raised to the Dukedom by King James, later serving Prince Charles as first Lieutenant-General. The Duke proved to be an able commander, and despite a delicate constitution, he weathered the hardships of campaigning well, fought with boldness and in victory was merciful. Passed over for the highest command in favor of Lord George Murray, Drummond nevertheless remained with the army in support. After the Jacobite defeat at Culloden he embarked again for France, but died on the passage in May, 1746. A famous pipe pibroch called “The Duke of Perth’s March” was composed in his honor by Finlay Dubh MacRae of Kintail to commemorate the march of the rebel army to attack the forces under Sir John Cope at Prestonpans.
***
Source
for notated version: Stewart's Reels
(c. 1761‑5) [Johnson]; Gow (Complete
Repository, Part First) [S. Johnson/2003]. Bremner (A
Collection of Scots Reels), 1757; pg. 8 (appears as “Duke of Perth’s
Reel”). Emmerson (Rantin’ Pipe and
Tremblin’ String), 1971; No. 41, pg. 136. Gow (Complete Repository), Part 1, 1799; pg. 15. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 72, pg.
223. S. Johnson (The Kitchen Musician No.
10: Airs and Melodies of Scotland’s Past), 1992 (revised 2001); PG. 18. S. Johnson
(A Twenty Year Anniversary Collection),
2003; pg. 38. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 40, pg. 11. Kerr (Merry Melodies), vol. 1; Set 16, No. 4,
pg. 11. Petrie (Second Collection of
Strathspey Reels and Country Dances), 1796; pg. 6. Stewart-Robertson
(The Athole Collection), 1884; pg.
171. Surenne (Dance Music of Scotland),
1852; pg. 25. Sweet (Fifer’s Delight),
1964/1981; pg. 56. Wilson (Companion to
the Ballroom), 1815; pg. 80. Tradition 2118, Jim
MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and
Reels" (1979).
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:Duke of
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
B|G>B dB gBdB|gBdB aAAB|G>B dB gBdB|cAdc BGG:|
f|gage abaf|gage beef|gage abaf|gdec BGGf|gage abaf|
gage beef|gage abaf|gdec BGG||
X:2
T:Duke
of Perth's Reel
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 6
%
Gore's Index gives earliest publication as James Aird's
%
"Selection of Scotch, English, Irish and Foreign Airs" v4 ca 1790
L:1/8
M:C
R:Reel
K:G
B|(G/A/B/c/
d)B gBdB|gBdB a(AAB)|(G/A/B/c/ d)B gBdB|cA (d/c/B/A/ B)GG::f|
gage
abaf|gage b(eef)| gage abaf|gedc BGG:|
DUKE OF RICHMOND, THE. Scottish, Reel. B Flat Major. Standard tuning.
AB. Composed by William Marshall (1748-1833).
Marshall, Fiddlecase Edition, 1978;
1845 Collection, pg. 16.
X:1
T:Duke of Richmond, The
M:C
L:1/8
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:Bb
f2 (e/d/)(c/B/) A/B/G/_E/ ~F2|F>Bd>B f/e/d/e/ c2|f2 e/d/c/B/ A/B/G/_E/ c2B2|
B,/D/F/B/ d/f/e/d/ c2B2| f2 (e/d/)(c/B/) A/B/G/_E/ ~F2|F>Bd>B f/e/d/e/ c2|f2 e/d/c/B/ A/B/G/_E/ c2B2|
B,/D/F/B/ d/f/e/d/ c2B2||c2 B/A/G/F/ F/A/c/d/ e2|d>Bg>f =e/f/g/e/ f2|
g/f/g/a/ b>B e/d/e/f/ gE|c>de>d c/B/A/G/ F2|B>dc>d A/G/F/E/ c2|c>ed>f e/d/c/B/ f2|
g/f/g/a/
b/g/f/e/ d/f/g/a/ b/f/d/B/|B,/D/F/B/ d/f/e/d/ c2B2||
DUKE OF RICHMOND'S
BIRTHDAY, THE. Scottish, Strathspey. E Major. Standard tuning. AB. Composed by
Alexander Walker. Walker (A Collection of
Strathspeys, Reels, Marches, &c.), 1866; No. 111, pg. 39.
DUKE OF RIFF’S REEL. AKA and see "Duke of Perth," “Love in a Village.” English,
Reel. G Major. Standard tuning. AABB. Riff=Perth? The tune appears under this
title (along with the alternate title “Love in a Village”) in the 19th
century Thomas Hardy family music manuscripts of Dorset. However, the tune had
many titles in various English musicians’ manuscripts, including “Scapden’s
Cade,” “Duke of Perth’s Reel,” “Lord Rockingham’s Reel,” “Broom’s Reel,”
“McDonald’s Reel,” and “Lolly Pops and Bulls Eyes” [Callaghan]. Callaghan (Hardcore English), 2007; pg. 35.
DUKE OF ROXBURGHE, THE. Scottish, Reel. G Major. Standard
tuning. AB. Surenne (Dance Music of
Scotland), 1852; pg. 40.
X:1
T:Duke of Roxburghe, The
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 40
(1852)
Z:AK/Fiddler’s Companion
K:G
B || G<GBc dedB | G<GBc d3B |
G<GBc dedB | A<ABd e3g | G<GBc dedB |
G<GBc d3B | G<GBc dedB |
A<ABd e3f || g>age dedB | g>age fgab | g>age dedB |
A<ABd e3f | g>age dedB |
g>age fgab | g>age dedB | A<ABd e3g ||
DUKE OF RUTLAND'S
DELIGHT, THE.
AKA and see "The Collier's
Daughter."
DUKE OF SUTHERLAND, THE. Scottish, Strathspey. B Flat Major. Standard
tuning. AB (Kerr): AAB (Gatherer). Composed by Joseph Lowe. Gatherer (Musical Museum), 1987; pg. 33. Kerr (Merry Melodies), vol. 3; No. 173, pg.
20. Lowe, Lowe's Collection of Reels,
Strathspeys and Jigs (1844‑45).
X:1
T:Duke of
Sutherland, The
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 3, No. 173 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Bb
G|F<B,
D>F G/F/E/D/ C<G|F<B, D>B G>BF>B|E>BD>B C<E
E>G|F<B B/c/d/c/ (B2 B)G|
F<B,
D>F G/F/E/D/ C<G|F<B, D>B G>BF>B|E>BD>B C<E
E>G|F<B B/c/d/c/ (B2B)||
g|f>Bd>f
g/f/e/d/ c<g|f>Bd>B F<B G/F/E/D/|(3EGE (3DFD C>EF>G|F<B
B/c/d/c/ (B2 B)g|
f>Bd>F
g/f/e/d/ c<g|(3fBd (3fga (3bag (3fed|(3efg (3fed c>Bc>d|F<B
B/c/d/c/ (B2B)||
DUKE OF WELLINGTON. English, March or Jig. D Major.
Standard tuning. AABB. Gibbons originally set the tune in the key of B flat in
his mss. 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. 29 (set for
two instruments).
X:1
T:Duke of Wellington, The
M:6/8
L:1/8
R:March or Jig
S:Joshua Gibbons mss (1823-26)
Z:AK/Fiddler’s Companion
K:Bb
f/e/|d2B {c}BAB|c2G G2A|B2c d2e|f2g
f2e|
d2B {c}BAB|c2G G2A|B2c d2e|c2A B2:|
|:f|g2f efg|f2e d2f|g2f efg|f2e d2f|
gfe fed|edc dcB|ABc dcB|ABc Ffe:|
DUKE OF WELLINGTON'S
MARCH.
English, March (cut time). England, Shropshire. B Flat Major. Standard tuning. AABB.
Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore
[Ashman]. Ashman (The Ironbridge Hornpipe),
1991; No. 81, pg. 33. Topic Records TSCD550, Brass
Monkey – “Flame of Fire” (2004).
DUKE OF YORK, THE. AKA and see "My Love is/She's But a
Lassie Yet [1]." English, Country Dance Tune (2/4 time). D Major.
Standard tuning. AABB. Raven (English
Country Dance Tunes), 1984; pg. 144.
X:1
T:Duke of
York, The [1]
M:2/4
L:1/8
K:D
|: d/c/ |
dDFA | dDD d/c/ | dDFA | eEE d/c/ | dDFA | Bgfe |
d/c/B/A/
B/c/d/e | fdd :: f/g/ | a>f g>e | fdd f/g/ | a>f g/f/g/a/ |
bee f/g/ |
aa/f/ gg/e/ | ff/d/ ee/c/ | d/c/B/A/ B/c/d/e | fdd:|
DUKE OF YORK [2], THE. English, Jig. G Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. The title perhaps refers to the then-toddler Prince Frederick (1763-1827), ‘The Grand Old Duke of York’, Commander in Chief of the British Army for much of the period of the late 18th /early 19th century wars with France and Napoleon. He was the younger brother of King George IV, and ignominiously regarded during his lifetime as a corrupt philanderer. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 120.
X:1
T:Duke of York, The [2]
M:6/8
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
g2d “tr”c2B|AFD AFD|g2d c2B|AFD DFA|g2d “tr”c2B|AFD AFD|E2c B2A|G3 G,3:|
|:G2A B2c|d2e dBG|dBG “tr”c2B|A2G AFD|AFD DFA|c2B A2B|c2e
dBG|E2F G3:||
DUKE OF YORK'S
COTILLION. English,
Country Dance Tune (6/8 time). England, Yorkshire. D Major. Standard tuning.
AABBCC. Source for notated version: an MS collection by fiddler Lawrence
Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle].
Merryweather & Seattle (The Fiddler
of Helperby), 1994; No. 111, pg. 61.
DUKE OF YORK'S
HORNPIPE.
English, Hornpipe. England, Yorkshire. D Major. Standard tuning. AABB. Source
for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897
(Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle
(The Fiddler of Helperby), 1994; No.
4, pg. 28.
DUKE OF YORK'S MARCH, THE. English, March
(4/4 time). England; Yorkshire, Shropshire. D Major. Standard tuning. AABB
(Ashman): AABBCCDD (Merryweather & Seattle). Gordon Ashman (1991) maintains
that the melody was composed in 1805, soon after the Duke of York became
Colonel of the Grenadier Guards, and notes it is still in use today as a
regimental slow-march. James Merryweather (1988, 1994), however, researched the
melody and found it was composed by John Gamidge in 1789, to be played by the
York Waits. Another tune called "The Duke of York's March" was cited
by Linscott as having been a popular British army march of the American
Revolutionary War period. This is perhaps the "Duke of York" in
Samuel Holyoke's Instrumental Assistant
(pgs. 50-51), Printed in Exeter, New Hampshire in 1800 (although the original
for this was Playford in 1665). 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). “Duke of York’s March” was one of eight tunes on barrel no. 4. Sources
for notated versions: a c. 1837-1840 MS by Shropshire musician John Moore
[Ashman]; an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby,
Yorkshire) [Merryweather & Seattle]; the 1823-26 music mss of papermaker and musician Joshua Gibbons
(1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]—.
Ashman (The Ironbridge Hornpipe),
1991; No. 17, pg. 3. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 105, pg. 59. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 74. Saydisc SDL 234, Parry’s Barrel Organ (vol. 11 in the Golden
Age of Mechanical Music).
X:1
T:Duke of York’s March, The
M:C
L:1/8
R:March
K:D
D2D>D F2F>F|AFAF D2 A>A|dAdA dAFD|A2 A>A A2z2|
A3f d2d2|e2 e>f (gfed|a3f fdaf|e2 e>e e2z2::A2 A>A Aefg|
A2 A>A Adfa|geee fddd|bagf f2e2|d3 f/e/ dABc|cB B4 c/d/e/f/|
ggff eedd|e2 e>e e2z2|D2 D>D F2F>F|AFAF D2g2|eaaf gedc|
d2d>d d2z2:|
“Trio”
K:A
|:A3cBABG|A2c2A2c2|c3 e dcdB|c2e2c2e2|e3a a3e|
f2g2a2gf|e2 ae eddc|c4 B2z2::B3 c dcdB|c2e2 a2c’2|
B3 c dcdB|c2A>A A2z2|f2g2a2 gf|e3a a3c’|b2a2b2g2|a2 aa a2z2:|
DUKE OF YORK'S MINUET,
THE. Scottish,
Minuet. The air appears in the 1768 Gillespie
Manuscript of Perth.
DUKE OF YORK’S
QUICKSTEP, THE. English, Quickstep March (2/4
time). G Major. Standard tuning. AABBCC. A different tune than “The Duke of
York’s March.” Gibbon’s original setting is in the key of ‘C’ major. 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. 6.
DUKE OF YORK'S RANT. English, Reel or Rant. England,
Northumberland. B Flat Major. Standard tuning. AABB'. Seattle (William Vickers), 1987, Part 3; No. 550.
DUKE OF YORK'S TROOP,
THE. English,
March. Listed in an 1812 British army musician's manuscript book. Is it the
same as "The Duke of York"?
DUKES DANG OWER HIS
DADDY, THE. AKA and see "Buff Coat."
Scottish, Jig. D Major. Standard tuning. AABB. The tune appears in the 1768 Gillespie Manuscript of Perth (as
"Ducks dang Over My Dadie"). Kerr (Merry Melodies), vol. 1; No. 13, pg. 32. Sweet (Fifer’s Delight), 1964/1981; pg.
DUKE’S HORNPIPE. See “Kershaw’s Hornpipe.”
DUKE’S
RETREAT. Scottish, Hornpipe or Reel. G Major.
Standard tuning. AABB. Breathnach (CRÉ II),
1976; No. 313 (appears as untitled hornpipe). O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 103.
X:1
T:Duke’s
Retreat
M:2/4
L:1/8
R:Reel
S:O’Farrell
– Pocket Companion, vol. IV (c.1810)
Z:AK/Fiddler’s Companion
K:G
(B/A/)B/G/
E/F/(G/A/) | (B/A/)(G/F/) (G/A/)B/d/ | e/f/g/e/ d/c/B/A/ | GE E2 :|
|: g/a/g/e/
d/B/d/e/ | g/f/g/a/ b>g | a/g/a/b/ c’/b/a/g/ | ea a(g/a/) | b/a/(g/f/)
e/f/g/e/ |
d/B/A/G/ (c/B/)c/d/ | e/f/g/e/
d/B/(A/B/) | GE E2 :|
DUL FAOI NA GRÉINE. AKA and see “The Setting of the Sun.”
DULAMAN NA BINNE BUI
[1]. Irish, Highland. Ireland, County
Donegal. The name of several highlands in County Donegal, one of which was
recorded by Altan. Version #1 comes from the playing of Donegal fiddler John
Doherty (c. 1895-1980). ‘Dulaman’ is a form of edible seaweed, like dulse.
DULAMAON NA BUINNE BUI
[2]. AKA and see “Cutting Ferns."
Irish, Highland. Ireland, County Donegal. This tune was in the repertoire of
Donegal fiddler Mickey Doherty (1894-1970), and completely different than the
tune of the same name played by his brother John. It was recorded from his
playing in January 1949 by the Irish Folklore Commission.
DULCIE BELL. English, Waltz. Played on solo duclicmer, plucked with the fingernails,
by Hingham, Norfolk, musician Billy Cooper (1893-1964). It was a tune he learned
from his father who had been a locally renowned dulcimer and concertina player,
and bandmaster and euphonium player with the Hingham and Watton band. Topic TSCD607, Billy Cooper, Walter & Daisy Bulwer –
“English Country Music” (2000. Originally recorded 1962).
DULCIMER REEL. American, Reel. USA, New York. Composed c. 1965 by hammered dulcimer
player Paul Van Arsdale (North Tonawanda, N.Y.). Front Hall FHR‑021, John McCutcheon ‑
"Barefoot Boy with Boots On" (1981).
DULCINA. English, Air (4/4 and 3/4 time). C Major. Standard tuning. ABCD. The
ballad, which is sometimes attributed to William Brade (1560-1630), appears in
Giles Earle's Song Book of 1626.
Chappell (1859) finds the earliest reference to the tune from the May, 1615,
records of the Stantioners' Company, when it was transferred from one printer
to another. Numerous songs were written for the tune throughout the 17th
century, including "As att noone Dulcina rested." Chappell (Popular Music of the Olden Time), vol.
1, 1859; pgs. 160‑161. Harmonia Mundi 907101, The King's Noyse - "The King's
Delight: 17c Ballads for Voice and Violin Band" (1992).
X:1
T:Dulcina
M:C
L:1/8
B:Chappell - Popular Music of the Olden Times (1859)
S:Giles Earles Song Book, 1626
Z:AK/Fiddler's Companion
K:C
E2F2G3G |
F2E2D2C2 | A2B2c3c | B2A2 G4 || E2F2G3A | G2G2A2G2 |
c2d2e3e | d2c2c2
|| c2 |
M:3/4
L:1/8
c4 d2 | d4 A2 |
A4c2 | c4F2 | F4 E2 | E4 (G2 | G2) A2A2 | B4 ||
c2 | c4d2 | d4A2
| A4c2 | c4F2 | F4E2 | G4 (E2 | E2) D2C2 | C6 ||
X:2
T:Dulcina
M:C
L:1/8
B:Chappell - Popular Music of the Olden Times (1859)
S:Pills to Purge Melancholy, 1720
Z:AK/Fiddler's
Companion
K:C
c2ed c2G2 |
E2C2G2G2 | c2G2d2 ed | B2 AG G4 ||
c2ed c2G2 |
E2C2G2G2 | c2G2A2 GF | E2D2 C4 ||
E2A^G A2B2 |
c2A2B2e2 | e2 A2 fe dc | Bc BA A4 ||
c2 ed c2G2 | E2C2G2G2 | c2G2A2 GF |
E2 DC C4 ||
DULL SIR JOHN. English, Country Dance Tune (6/8 time). G Dorian. Standard. AABB. The
tune was first published by Playford in his English
Dancing Master (1651). Barnes (English
Country Dance Tunes), 1986. Raven (English
Country Dance Tunes), 1984; pg. 45 (Playford MS reprint). Sharp (Country Dance Tunes), 1909/1994; pg. 17.
X:1
T:Dull Sir John
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:Gmin
|: (G2^F G2A) | (B>AB) .c.A.F |
(B2A B2c | d3) d2c |
(d2c d2=e | f>gf F3) (B | A2B
c>dc | B3) B3 :|
|: (d2c d2=e | f>gf F3) (B | A2B
c>d=B | c3) c2 (f |
d>cd c2) A | (Bb2) a2d | (d2g
ga^f | g3) g3 :|
DULLEA, THE. Irish, Reel. Composed by Cork accordion player
Jackie Daly. The Dullea is the name of a river which flows through his hometown
of Kanturk.
DUMB, DUMB, DUMB. Irish, Air (4/4 time). G Major. Standard. One part. "This song was
a favourite in the south of Ireland; and I picked up the air and words by merely
hearing the people all round me sing it. I give it here from memory. The song
was also known in England; and the English version will be found in Chappell's Popular Music of the Olden Time, p. 120.
Our version is shorter and rather more concentrated: and there are other
considerable differences. The air is a variant of the 'Cruiskeen Lawn', but in the
major. The English version is also sung to a variant of the same air, but there
the minor mode is retained" (Joyce). See also Cazden's (et al, 1982) note
for his Catskill Mountain (New York) collected song "The Wife Who Was
Dumb" for more on this tune family and text. Joyce (Old Irish Folk Music and Songs), 1909; No. 389, pgs. 196‑197.
DUMB GLUTTON, THE. AKA and see "The Dumb Waiter." English, Country Dance
Tune (2/4 time). G Major. Standard tuning. AABB. A dumb glutton was a euphemism
for a woman’s private parts (as in ‘feed the dumb glutton’= to have sexual
intercourse) [See Grose’s Dictionary of
the Vulgar Tongue, 1811]. . The tune is from Aird's Selection (vol. I, 1782, pg. 50). Frank Kidson (1890) points out
the similarity with the "Keel Row" family of tunes,
including "Smiling
Polly," "The Yorkshire Lad"
and "Weel May the Keel
Row." Kidson (Old English
Country Dances), 1890; pg. 19.
X:1
T:Dumb Glutton, The
M:2/4
L:1/8
S:Frank Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:G
B2 GB|cecA|B2 AG|FA c2|B2 GB|c2 Ac|
BGAF|G2G2::B2 GB|dgdB|c2 Ac|fafd|
Bd g2|dBAG|c2 ec|B2 A2|B2 GB|cecA|
B2 AG|FAc2|B2 GB|c2 Ac|BGAF|G2G2:|
DUMB WAITER, THE. AKA and see "The Dumb Glutton." English, Country Dance
Tune (4/4 time). England, Northumberland. G Major. Standard tuning. AAB. The
melody appears in the 1770 music manuscript copybook of Northumbrian musician
William Vickers, about who unfortunately little is known. It was published in
David Rutherford’s Compleat Collection of
200 of the Most Celebrated Country Dances (vol. 1, c. 1756). Seattle (William Vickers), 1987, Part 3; No. 489.
X:1
T:Dumb Water [sic]
M:4/4
L:1/8
S:William Vickers’ music
manuscripts, pg. 147 (1770)
Z:AK/Fiddler’s Companion
K:G
B2 GB cecA|B2 AG FA c2|B2 GB c2
Ac|BGAF G2G,2:|
B2 GB dgdB|c2 Ac fafd|Bd g2 dBAG|c2
ec c2A2|B2 GB cecA|
B2 AB cecA|B2 AG FA c2|B2 GB c2
Ac|BGAF G2 G,2||
DUMBARTON CASTLE [1]. Scottish, "Pastoral Air"
or March (4/4 time). A Major. Standard tuning. AAB. From Skinner's Harp and Claymore collection (1904),
credited to J. Scott
Skinner. A tune by this name earlier appeared in Joshua Campbell's
1778 collection. It was the Celtic population of
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Dumbarton Castle [1]
M:C
L:1/8
R:Quickstep
Q:112
C:J. Scott Skinner
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
(G | A>)E .C.A, E2 E F/G/ |
A/B/c/d/ eA (cB)Bc | ({G}A>)E .C.A, E2 E.F/.G/ | .A/.B/.c/.d/ .B.e/.d/ cAA
:|
e | (a>gf).a {f}(e2c).A |
.A/.B/.c/.d/ eA cBBe | (a>gf).a
a/<a/.c .A.F | A/B/c/d/ .B.e/.d/ cAAe |
(a>gf).a {f}(e2 c).A |
.A/.B/.c/.d/ .f/.e/.d/.c/ .B/.A/.G/.A/ .B/.d/.c/.B/ | ({G}A>)E .C.A, E2
EF/G/ | .A/.B/.c/.d/ B[e/e/][d/g/] {g}[ca][EA][EA] ||
DUMBARTON CASTLE [2]. Scottish, Strathspey. A Major.
Standard tuning. AB. Credited to Carl Volti in
Kerr’s 4th. Kerr (Merry Melodies), vol. 4; No. 3; pg. 3.
X:1
T:Dumbarton Castle [2]
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 3
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
A | E<A A>B c>BA>B |
c<e e>f e3A | E<A A>B c>BA>E | F<B B>c B3A |
E<A A>B c>BA>B |
c<ee>f e3e | a>gf>e (3fed (3cBA | F<B B>3 || d |
c<e e>f a>ec>A | c<e
e>f e3d | c<e e>f a/g/f/e/ d/c/B/A/ | F<B B>c B3d |
c<e e>f a>ec>A | c<e
e>f e3e | a>gf>e a/g/f/e/ d/c/B/A/ | F<B G>e A3 ||
DUMBARTON'S DRUMS [1]. AKA and see "Scotch Tune." Scottish, Scottish Measure and
Air. F Major/D Minor. Standard tuning. AABB. Emmerson (1972) characterizes this
(and other Scottish Measure tunes) as a “slightly different style of Scottish
double hornpipe air.” The melody was first published in England as a
generically-titled "Scotch Tune" in John Playford's Apollo's Banquet (Sixth Ed., 1690). In
its native Scotland the song and tune proved durable and popular; it earliest appears in the Skene Manuscript from the early
seventeenth century (c. 1615-1630) and subsequently was published in over 20
sources before 1793. The Gow's printed it in their Repository, Part Second, 1802. Robert Burns referred to it as a
"West Highland" air in his manuscript notes. It appears in
O’Farrell’s vol. III (1810/20) pg. 55.
***
“Dumbarton’s Drums” is the oldest
tune played for a march-past in the British army, i.e. when a regiment passed
in review in front of an inspecting officer on formal occasions. It was the particular march of the Royal
Scots, The Royal Regiment, ‘First of Foot, Right of the Line and Pontius
Pilate’s Bodyguard’, named for Lord George Douglas, the 1st Earl of
Dumbarton, who commanded the regiment from 1655 until its recall in 1678. David
Murray (Music of the Scottish Regiments,
Edinburgh, 1994, pg. 178) states, “’Dumbarton’s Drums’ might well be older than
its name suggests. If, as seems probable, the Royal Scots were playing it when they
finally reverted to the British service, it appears likely that the association
of the tune with the regiment might have begun during an earlier spell in the
French service. But be that as it may, the first definite connection between
the tune and the name appears to be in a book of Scots songs and airs published
in 1724.” In 1881 all the British army infantry regiments were ordered to
submit for appraisal by the Horse Guards (the headquarters of the army) all the
tunes used for such occasions. The Royal Scots Regiment (who used “Dumbarton’s
Drums”) did not obey, and to this day the march, which continues to be used,
has never been officially approved.
***
It was the Celtic population of
Scotland that gave the name Dun Breattan
(now Dumbarton), ‘the fort of the Britons’, to the stronghold of that people on
the Clyde (Matthews, 1972). In more modern times Dumbarton has long been a
county town on the north side of the Forth of Clyde, about fifteen miles from
Glasgow, and is the principle town of the county of Dunbartonshire. It features
a castle on the drumlin known locally as Dumbarton Rock. See note for “Dumbarton Castle”
for more information on Dumbarton.
***
An early version of the song begins:
***
Dumbarton’s drums beat bonnie, O
When they mind me of my dear Johnie, O;
How happie am I
When my soldier is by,
While he kisses and blesses his Annie, O!
‘Tis a soldier alone can delight me, O,
For his graceful looks do invite me, O;
While guarded in his arms,
I’ll fear no war’s alarms,
Neither danger nor death shall e’er fright me, O.
***
Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 19, pg. 125. McGibbon
(Scots Tunes, book III), 1762; pg.
78. Beltona 78 RPM
2446, Jimmy Shand.
X: 1
T: Dumbarton's Drums
B: RSCDS 5-2
B: Playford 1697
B: McGibbon 1763
M: C|
L: 1/8
K: F
|: FG | "F"A3c
"C7"ABGA | "F"F2c>d c2BA | "Gm"GFGA BAGF |
D2d>e "C7"d2cd | "F"f3g agfd |
| "F"cAcd f3F |
"Gm"GAfd "Am"cAGF | "Dm"D2d>e d2 :: cd |
"F"f3g fgag | f2a>b a2gf |
| "Gm"gfga bagf | d2g>a
"C7"g2fd | "F"cdfg "(Bb)"agfd | "F"cAcd
"Dm"f2fg | "Am"agfd cAGF | "Dm"D2d>e d2 :|
X:2
T:Dumbarton Drums
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book III, pg. 78
(1762)
Z:AK/Fiddler’s Companion
K:F
FG | A3c (Ac)(GA) | F2c2 ({d}c2)
(BA) | (GF)GA (BA)(GF) | D2d4cd |
f3g (ag)(fd) | (cA)(cd) f3F | (GA)fd
(cA)”tr”(G>F) | D2d2d2 :: (cd) | f3g fgag |
f2a2({b}a2)”tr”(gf) | (gf)(ga)
(ba)”tr”(gf) | d2 (ga) g2 (fd) | (cd)(fg) (ag)(fd) |
(cA)(cd) f3g | (ag)(fd) (cA)”tr”(GF)
| D2d4 :|
DUMBARTON’S DRUMS [2]. Scottish, Reel. E Minor. Standard tuning. AABB.
X:1
T:Dumbarton Drums
R:reel
S:Loose sheet in my collection
(possibly from RSCDS)
Z:Nigel Gatherer
M:4/4
L:1/8
K:Em
GA|B3 d BcAB|G2 d>e d2 cB|AGAB
cBAG|E2 e>f e2 de|
g3 a bage|dBde g3 G|ABge dBAG|E2 e.f
e2:|]
de|g3 a gaba|g b>c' b2 ag|agab
c'bag|e2 a>b a2 ge|
dega bage|dBde g2 ga|bage dBAG|E2
e>f e2:|]
DUMBLE DURN DEARY. English, Jig. England, Shropshire. G Major. Standard tuning. AABB.
Vaguely reminiscent of "Lillibulero." The 'B' strain
has seven measures to the 'A' strain's four. Source for notated version: a c.
1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 41b,
pb. 15.
DUMETALLA
HYNES’. Irish, Jig. D Major. Standard tuning. AABB. Composed
by Falmouth, Massachusetts, writer and musician Bill Black.
X: 1
T: Dumetella
Hynes'
M: 6/8
L: 1/8
Q: 325
R: jig
C: © B.Black
K: D
A | dBA FED | DFA
EDD | dBA FBA | DFA B2 c |
dBA FED | DFA EDD
| GBd cAE | FDD D2 :|
e | fdf ecA | BGB
AFD | EGB Ace | dfd e2 A |
dfa bge | fdf ecA | Bcd AFE | FDD D2
:|
DUMFERMLINE ABBEY. Scottish, Highland Schottische. G Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 3; No. 206, pg.
24.
X:1
T:Dumfermline Abbey
M:C
L:1/8
R:Highland Schottische
S:Kerr – Merry Melodies, vol. 3, No. 206
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
G>A (B<d) e>d (e<g) |
d<B B>e d<B B>A | G>A (B<d) (e<g) (e<g) | d<B G>B
(A2 A)B |
G>A (B<d) (e<g) (e<g) |
d<B B>e d<B B>d | e>fg>a b>ag>e | d<B B>G (A2 A)d
||
g>ab>a (g<e) (e<g) |
d<B B>e d<B B>d | g>a b>a (g<e) (e<g) | d<B B>G
(A2 A)d |
g>ab>a g<e (e<g) |
d<B B>e d<B B>d | e>e | e>fg>a b>ag>e | d<B
A>B (G2 G)z ||
DUMFRIES
HOUSE. Scottish, Jig. G Major. Standard
tuning. AB (Callaghan, Kerr): AAB (Gow, Hunter): AABB' (Athole). The name
Dumfries means ‘stronghold by the little wood’, from the Celtic root-word dun, meaning a fortified place. It was the
place where, in 1306, Robert Bruce murdered John Comyn in the chapel of Grey
Friars and subsequently claimed the throne of Scotland in rebellion against the
English. Dumfries is
closely associated with the poets Robert Burns and J.M. Barrie. The jig was
composed by John
Riddell (1718‑95), the blind amateur fiddle‑composer of
Ayr, and first published (by music publisher Robert Bremner) in his c. 1776 A Collection of Scots Reels, Minuets, etc.
(pg. 32). Other early printings were by James Aird in vol. 4 of his Selections of Scotch, English, Irish and
Foreign Airs (1782-97) and Niel Stewart in Select Collection of Scots, English, Irish and Foreign Airs, Jiggs
& Marches (Edinburgh, c. 1788). It is still popular and one of
Riddell’s best tunes, opines Collinson (1966). It was picked up by English
fiddlers and appears in the Elisabeth Williamson manuscript (dated 1790,
although the place is unknown), George Malecot (Whitehaven, Cumbria,
1776-1779), and an anonymous 19th century West Midlands manuscript.
It was included in the American music manuscript of William Patten
(Philadelphia, Pa.) from around 1800. Samuel Bayard thought the second part of
this tune was a version of “Rosin the Beau.” Aird (Selections), vol. 4, 1794; pg. 27.
Callaghan (Hardcore English), 2007;
pg. 58. Gow (Complete Repository), 3rd
Edition, Part I, 1799; pg. 13. Hunter (Fiddle
Music of Scotland), 1988; No. 283. Kerr (Merry Melodies), vol. 2; No. 314, pg. 34. McGlashan (A Collection of Reels), c. 1786; pg. 28.
O’Neill (Waifs and Strays of Gaelic
Melody), 1922; No. 169. Stewart-Robertson
(The Athole Collection), 1884;
pg. 139.
X:1
T:Dumfries
House
L:1/8
M:6/8
R:Jig
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
D|G3
G2g|dBG GAB|cde dcB|AFD DEF|G3 G2g|dBG GAB|
cEA FEF|G3
G2:||:B/c/|dBd dBd|gag g<fe|dBd dcB|AFD D2 B/c/|1
dBd dBd gag
g<fe|dcB AGF|G3 G2:|2 dBd ece|fdf gfe|dcB Agf|gdB G2||
DUMFRIES RACES. Scottish, Strathspey. G Major. Standard tuning. One part. The melody
appears in Gow's Fifth Collection
(pg. 7), where it is attributed to Joseph Reinagle. The name Dumfries means
‘stronghold by the little wood’, from the Celtic root-word dun, meaning a fortified place. The following is from William
Andrews’ Historic Byways and Highways of Old England:
***
The magistrates of Dumfries, on April 15th, 1662, ordered the
town treasurer to purchase a
silver bell as a prize to be run for annually by the “work-horses” of
the burgh. May was the
month fixed for the races, and the same horse and rider had to win the bell three consecutive
years before is should become his property. We are not aware if anyone actually acquired the
original bell; the conditions were by no means easy. The races were
suppressed, as they had
given rise to serious scandal, and, in 1716, the treasurer was
instructed to sell the silver bell.
***
Carlin (The Gow Collection), 1986; No. 45. Gow (5th Collection of Strathspeys Reels), 1809; pg. 7
(includes a second violin part, played mostly on the lower strings).
X:1
T:Dumfries Races
M:C
L:1/8
C:Joseph Reinagle
R:Strathspey
N:”Slowly & very distinct.”
S:Gow – 5th Collection (1809), pg. 7
Z:AK/Fiddler’s Companion
K:G
d<Bc<e d<BG<g|(f>g)ec
d>Bc>d|e>Bc>d ecAa|(^g<a)e>a (=gf).e.d|d>gb>a g>fge|
d<ge<a f<b g>e|e<g
f>e (^dBe<)g||d>BG>g d<Bb>a|~g(fge) edcB|deBe (Aea)g|
(fg)e>a (gf)ed|g>Bc>e
d>BGg|(f<g)e>c d<B g>f|e>fd>e c>dB>c|A>ea>g
f<dg<e||
DUMFRIES REEL. Scottish, Reel. G Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 41, pg. 12.
DUMFRIES VOLUNTEERS, THE. New England, Polka. D Major. Standard tuning.
AABB. The name Dumfries means ‘stronghold by the little wood’, from the Celtic
root-word dun, meaning a fortified
place. See note for “Dumfries
House” for more information on
DUMPE, THE. Irish. An air appearing in Luke Wadding's (the
Bishop of Ferns) "A Pious Garland of Godly Songs for the Solace of his
Friends and Neighbors in their Afflictions." A 'dump' was an old dance
form about which little is known. Shakespeare mentions it twice, in
"Lucrece" (ver. 161) and in Romeo
and Juliet (IV, 5) where it appears in the phrase "O, play me some
merry dump to comfort me" (which may be a joking play on words).
_______________________________
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