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] |
EVANGELINE. American, Dance Tune (4/4 time). A Major. Standard tuning. One part.
Ford (Traditional Music in
EVANGELINE SPECIAL. Cajun, Two-Step (4/4 time).
EVANGELINE WALTZ. AKA and see "Valse d'Evangeline."
EVANS. Scottish, Hornpipe. G Major. Standard tuning. AABB. The ‘A’ part is
quite similar to the ‘A’ part of the American old-time tune “Magpie.” Stewart-Robertson (The Athole Collection), 1884; pg. 298.
X:1
T:Evans
M:C|
L:1/8
R:Hornpipe
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
Bc|dgfe dcBA | GBDG B2 AG | FADF A2 GF | GBDG B2 Bc | dgfe dcBA |
GBDG B2 AG | FGAB cdef | g2 g2 g2 :: ag | fadf a2 gf | gbdg b2 ag | fadf a2 gf |
gbdg b2 Bc | dgfe dcBA | GBDG B2 AG | FGAB cdef | g2 g2 g2 :|
EVANSVILLE. American, Reel. USA, Missouri. A Major (Cole): G Major (Missouri
fiddlers). Standard tuning. AABB. Similar to "Ratcatcher's Reel," "Clem Titus Jig," "Wide Awake Reel," "Peggy Whiffle’s." Howard Marshall
writes: “We play this in the key of G major…Evansville is now just a sign by
the railroad tracks, a tiny unrealised railroad town a few miles from the farm
where I was born, on the Randolph-Monroe County line in central Missouri. The tune was popularised by ‘old man Dalton’
(Charlie Dalton), a good local dance fiddler in former times.” Cole (1000 Fiddle Tunes), 1940; p. 33. Voyager VRCD 344, Howard Marshall & John Williams –
“Fiddling
X:1
T:Evansville
M:C|
L:1/8
S:Transcribed by Howard Marshall,
MSOTFA Annual, vol. 14, Fall 1996, p. 3
K:G
ef|gfga gedA|BABc B2ef|gfga
gecg|ea2b a2 ef|
gfga gedA|BABc B2AG|DEFG AcBA|G3G G2:|
|:B,A,|[G,2D2][G,D]D
[B,2D2]B,[G,2D2]|[C2E2][CE][CE] EFGE|[G,2D2][G,D]D [B,2D2][B,D][G,D]|[A,D][G,D][A,D][B,D]
[A,2D2]B,A,|
[G,2D2][G,D]D
[B,2D2]B,[G,2D2]|[C2E2][CE][CE] EFGE|DEFG AcBA|G3G G2:||
EVE, THE. AKA and see "The Boys of Ballysadare [2]."
EVELEEN. Irish, Air (3/4 time). A Major. Standard. AB. Stanford/Petrie (Complete Collection), 1905; No. 719, pg.
180.
X:1
T:Eveleen
M:3/4
L:1/8
N:”Andante”
S:Stanford/Petrie (1905), No. 719
Z:AK/Fiddler’s Companion
K:A
(A2G2E2) | (G2A2) | B4 (BA) |
(B2c2)d2 | e2e2e2 | (d2e2)d2 | c4 (BA) | (G2E2)D2 |
E6 | (G4A2) | (B2c2)B2 | A6 ||
B2G2A2 | B2c2^d2 | e4f2 | g2f2e2 | =d4c2 | d2e2d2 |
c4 BA | G2E2E2 | d4 c2 | d2e2d2 | c4
BA | G2E2D2 | E6 | G4 A2 | B2c2B2 | A6 ||
EVELEEN'S BOWER (Teimeal Eiblin). AKA and see “The Bonnie Lass of Fyvie, O,”
"Oh! Weep For the Hour". Irish, Air (4/4 time). A Major (O’Neill): C
Major (Howe). Standard. One part (Howe): AB (O’Neill). The tune was credited to
the blind Irish harper Turlough O'Carolan by Francis O’Neill, though by what
authority is not known. Bruce Olson finds the tune originally attached to an
Irish ballad of about 1780 called "Pretty Peggy of Derby, O,” reprinted
numerous times between 1784 and 1815 (including one by Moore, 1807-1808). Other
ballads were similarly set to the tune: “The Dandy O,” “Brandy O,” “The
Landlady of France,” “The Constitution and the Guerriere,” and “Bonnie Lass of
Fyvio,” among others. It is sometimes also erroneously attributed to Michael
Kelly. The words to “Eveleen’s Bower” are by Thomas Moore (1779-1852), printed
in his Irish Melodies (1808-34) with
music set by Sir John Stevenson, and begin:
***
Oh! weep for the hour,
When to Eveleen's bower,
The Lord of the Valley with false vows came;
The moon hid her light,
From the heavens that night,
And wept behind her clouds o'er the maiden's shame.
***
Moore’s songs were much beloved for many generations, although not in all quarters. Some later writers believe his reworkings of earlier songs and replacement of older songs with his own verses were a gross misuse of the tradition. Even contemporaries were not always pleased, as in this critique from the writer Lydia Maria Child (in The Mother’s Book, 2nd Edition, Carter & Hendee, Boston, 1831).
***
But books that
frighten and painfully excite the youthful mind, bad as they are, are not so bad
as the honied poison of Thomas Moore. He does not show his cloven foot. He does
not try to make us in love with sin by vindicating all its deformity; he covers
it with a silver veil, and makes it float so gracefully before the young and
innocent, that it seems to them a creature of light. Such books do infinitely
more mischief, than those openly bad in principles and in language; for danger
that is concealed is not easily avoided. What words can be more delicate than
Moore's 'Eveleen's Bower?' and what thoughts can be more indecent? Yet modest
girls sing it, and think no harm.
***
Sir Thomas Moore
***
The
tune appears earliest in America in several commonplace books by amateur
musicians from 1811 on, and was printed this country in Riley’s Flute Melodies, Vol. 2 (1817-20). Howe (Complete Preceptor for the Accordeon),
1843; pg. 11. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 642, pg. 115.
X:1
T:Eveleen’s Bower
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903),
No. 642
Z:AK/Fiddler’s Companion
K:A
E | A2 AA (AG)FE | EAAB (AG)FE | A2
AA Ac(ec) | (B<G) E2E2 zd |
cBcd {c}e2 cA | (A<F)(ED)
(DC)(DE) | F>GAF (BA)GF | E2A2A2 z ||
E | A2A2 AGFE | EA A2 (AG)(FE) | A2
A>A Acec | (B<G)E2E2 zd |
cBcd e2 cA
| A>FED DCDE | F>GAF (BA)GF | E2A2A2z ||
EVELYN’S FAVORITE. Canadian, Strathspey. Canada, Cape Breton. G Minor. Standard. AAB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
38.
EVELYN’S WALTZ. American, Waltz. D Major.
Standard. AB. Sources for notated versions: Fred Stoneking [Silberberg]; J.T.
Perkins [Devil’s Box]. The Devil’s Box, vol. 32, No. 3, pg. 14.
Silberberg (93 Fiddle Tunes I Didn’t
Learn at the Tractor Tavern), 2004; pg. 14.
EVEN AND ODD, LIKE TOM
WITH HIS HOD. AKA and see "The Tempest [1]," "Ap Shenkin," "The Dear Little Island." Irish,
Jig. G Major. Standard. Learned by Joyce in his boyhood and named after one Tom
Curtan, a lame hodman whose lameness was accentuated when he carried his loaded
hod. See also a variant given as an untitled square dance in Bayard (1981; No.
506, pg. 461). Joyce (Old Irish Folk
Music and Songs), 1909; No. 87, pgs. 45‑46.
X:1
T:Even and Odd, Like Tom with His
Hod
M:6/8
L:1/8
R:Jig
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:G
d/c/|B2B Bgf|e2e efg|ded dcB|A2A
ABc|B2B Bgf|e2e efg|ded cBA|
Ggg g2||g/a/|b2g a2f|gfe dcB cde
dgB|BAA A2 g/a/|b2g a2f|gfe agf|
Bag fge|dgf edc||
EVENING PLEASURES
SCHOTTISCHE. AKA and see "Rustic Dance—Scottische [3],"
“Mason-Dixon Schottische,”
“Nightingale (Clog) [2],” "O Dear Mother My Toes Are Sore
[1]." Old-Time, Schottische. B Flat Major. Standard. AABB'. Indiana
fiddler John Summers played this tune by this name. Source for notated version:
Tony Gilmore (Mo.) [Phillips]. Phillips (Traditional
American Fiddle Tunes), Vol. 2, 1995; pg. 47.
EVENING RAINBOW WALTZ. Old‑Time, Waltz. USA, southwestern Va. Rounder 0058, Luther Davis ‑ "Old Originals, Vol.
2" (1978).
EVENING SHADE.
Old-Time, Breakdown. USA, Tennessee. G Major. Standard. AABB. A slower
tempo than the usual breakdown speed. On a home recording by Arthur Smith's son
Ernest the tune is entitled "Evening Shade Falling," though on
Smith's LP it is listed simply as "Evening Shade." Source for notated
version: Fiddlin' Arthur Smith (Tenn.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 48.
EVENING SHADE WALTZ. Old‑Time, Waltz. The title appears in a list of traditional Ozark
Mountains fiddle tunes compiled by Vance Randolph, published in 1954. The tune was recorded in the 78 RPM era by Luke
Milner and Luke Curtis, a fiddle duet. Document 8028,
Milner & Curtis – “Mississippi String Bands, Vol. 2” (reissue).
EVENING STAR WALTZ [1]. Old‑Time, Waltz. USA, southwest Va. G Major. Standard. AABB'. The
tune was also in the repertoire of Galax area fiddler Luther Davis, and Ben
Jarrell, with Da Costa Woltz. Source for notated version: Paul Shelor with The
Shelor Family [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 253. County
524, "Da Costa Woltz's Southern Broadcasters." Gennett 62440 (78
RPM), Da Costa Woltz's Southern Broadcasters (1927).
EVENING STAR WALTZ [2]. English, Waltz. D Major.
Stanadard. AABB. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 118, pg. 28.
EVENING WAS WANING. AKA and see "Little
Stack of Barley [1]," "Little
Mary Cassidy," "Patrick
Condon's Vision,” “Stack(s) of Barley."
EVER HAPPY. English, Country Dance Tune (3/4 time). A Minor. Standard. One part.
18th Century origin. Raven (English
Country Dance Tunes), 1984; pg. 215.
EVER TRUE WALTZ. Scottish, Waltz. C Major. Standard. AB. Kerr (Merry Melodies), vol. 3; No. 424, pg. 48.
X:1
T:Ever True Waltz
M:3/4
L:1/8
R:Waltz
S:Kerr – Merry Melodies, vol. 3, No. 424
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:C
[G6e6]|[^F6d6]|[G6e6]|[E6c6]|[A6c6]|[F4A4][A2c2]|[(E6G6]|[E2)G2]z2z2|
[F6A6]|[A4c4][A2d2]|[(G6e6]|[E6)c6]|[^F6c6]|[^F4B4][F2c2]|[(=F6d6]|
[F2)d2]z2[^F2^d2]|[G6e6]|[^F6^d6]|[G6e6]|[E6c6]|[A6c6]|[F4A4][A2c2]|
[(E6G6]|[E4)G4]z2|[B6g6]|[A6^f6]|[d6=f6]|[c6e6]|[F6d6]|[F4A4][F2B2]|
[(E6c6]|[E2)c2]||g^fga|b2zB(b2|b2)b3a|a2zg(g2|g2)a3g|g2zf(f2|f2)g3f|
f2zee2|z2g^fga|b2zb(b2|b2)b3a|a2zg(g2|g2)a3g|gg
g2B2|ggg2B2|[E2c2]z[Ec][E2c2]|[E6c6]||
EVERGREEN, THE. AKA and see "The Templehouse (Reel)."
EVERGREEN LASSES. AKA and see "The Evergreen,"
“The Fowling Piece,” "Monongahela College" (Pa.), “Old Temple House Reel,” “The Templehouse (Reel).” American, Reel. E
Minor. Standard tuning. AB. Cole (1000
Fiddle Tunes), 1940; pg. 22. Miller (Fiddler’s
Throne), 2004; No. 152, pg. 98. Ryan’s
Mammoth Collection, 1883; pg. 46.
X:1
T:Evergreen Lasses
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:E Minor
G/F/ || EFGA BFGE | D2 (3FED ADFD |
EFGA BFGc | GdAc BAGF |
EFGA BFGE | D2 (3FED ADFD | EFGA
BFGc | GdAc BGG || f |
gfef gfeg | fdaf bgaf | gfef gfed |
BdAc BEEf |
gfef gfeg | fgag fdef | g2 ba gfed |
BdAc BAGF ||
EVERGREEN POLKA. American, Polka. D Major ('A' and 'C' parts) & A Major ('B' part).
Standard tuning. AABBCC. Ford (Traditional
Music in
X:1
T:Evergreen Polka
M:2/4
L:1/8
R:Polka
S:Ford – Traditional Music in
Z:AK/Fiddler’s Companion
K:D
F>A G>B|A^GA z/f/|fee z/f/|edd
z|F>A G>B|A^GA z/f/|fee z/f/|edd z:|
K:A
c>e d/c/B/A/|^G/A/B/c/ d2|d>f
e/d/c/B/|A/B/c/d/ e2|
c>e d/c/B/A/|^G/A/B/c/ d2|dc/d/
e^G|BAA z:|
K:D
A/|ABA z/F/|EFG z/G/|GAG
z/E/|F/A/f/e/ d/c/B/A/|
EVERY DAY POLKA, THE. English, Polka. D Major ('A' part) & A
Major ('B' part). Standard tuning. AABA. Trim (Thomas Hardy), 1990; No. 75.
EVERY
LAD HIS LASS. English, Country Dance Tune (2/2
time). E Dorian. Standard tuning. AB (Sharp): ABB (Barnes). Although Barnes
gives the date as 1728, “Every Lad His Lass” first appears in Walsh’s Compleat Country Dancing Master, vol. I
(1718). Barnes (English Country Dance Tunes), 1986.
Sharp (Country Dance Tunes),
1909/1994; pg. 48.
X:1
M:2/2
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:Emin
B2|e4 f4|g2 f3 ^d2B2|A2F2 G2E2|B6
B2|e4 f4|g2 fe ^d2B2|A2F2 G2E2|B6||
=d2|B4 d4|f2e2^c2A2|^c4 d4|a2 fe ^d2
B2|e2g2 B2 ^d2|e6 =d2|B4 d4|
f2e2 ^c2 A2|^c4 d4|a2 fe ^d2 B2|e2g2
B2 ^d2|e6||
EVERY MAN IN HIS HUMOUR.
English, Jig. A Major. Standard tuning. AABB. The melody was first
published by R. Baldwin in his periodical The London Magazine, or The
Gentleman’s Monthly Intelligencer, in 1752. It subsequently appeared in
John Johnson’s Two Hundred Favourite Country Dances, vol. 7 (London,
1756), and Charles and Samuel Thompson’s 1757 country dance collection. Every
Man in his Humour was a humorous comic play by Ben Jonson, written in 1598.
However, the appearance of
the title in the London Magazine of 1752 undoubetly honors the successful
revival of the play in 1751 by actor and producer David Garrick who made substantial
alterations in 1751 that the play emphasizing the character Kitely's jealousy.
Garrick pared some of Jonson’s lines and added others, including one whole
scene, and he himself played Kitely, which became one of his signature roles. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 56.
X:1
T:Every Man in his Humour
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:A
(c/d/e2) (d/e/f2)|ecA (B/c/d)B|(c/d/e)c (d/e/f)d|e>dc/B/ A3::(c/d/e)e efg|aga aed|
(c/d/e)c
(d/e/f)d|ecA Bcd|efg aga|ecA “tr”B3|(c/d/e2) (d/e/f2)|e>dc/B/ A3:||
EVERY NIGHT. AKA and see "Tous les Soirs."
EVERYBODY KNOWS WHAT
MAGGIE DONE. Old‑Time, Fiddle Tune. The
title appears in a list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954.
EVERYBODY LOVE ME. Scottish, Reel. The melody appears in the Drummond Castle Manuscript
(in the possession of the Earl of Ancaster at Drummond Castle), inscribed
"A Collection of the best Highland Reels written by David Young, W.M.
& Accomptant" (1734).
EVERYBODY SCHOTTISCHE [1].
AKA and see “Cat
Clumb Up the Plum Tree Schottische.” Old-Time, Schottische. USA, Arkansas.
D Major. Standard tuning. ABB’. Source Walden said when he recorded the tune in
1951 for field collectors Irene Carlisle and Don West that the tune had two or
three names (including “Cat Run Up the Plum Tree”), but that “most everybody
called it “Everybody Schottische.” Similarities in the first strain to "Rochester Schottische [2],"
and in the second strain to “Little
Brown Jug.” Similarities in the first part only to “Everybody Schottische
[2].” Source for notated version: Jim ‘Skeeter’ Walden (1879-1956, Busch, north
Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle
Music), 2008; pg. 152.
EVERYBODY TWO-STEP. Old‑Time, Two‑Step. County 403,
"Roane County Ramblers" (Eastern Tennessee) {originally recorded in
1929}.
EVERYBODY'S FANCY (Roga Gaca Duine). AKA ‑ "Roga Gaca Duine."
Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1769, pg. 330.
X:1
T:Everybody’s Fancy
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1769
Z:AK/Fiddler’s Companion
K:G
D2 | G2 D2 E2 DC | B,DGB d2 ^cd |
edcB cBAG | FGAB cDEF |
G2D2E2 DC | B,DGB d2 ^cd | edcB cBAG
| FGAB G2 :|
|: D2 | Bd ze dBAG | Bd zd b2 g2 |
Bd ze dBAG | FGAB c2 BA |
Bd ze dBAG | Bd zd b2 g2 | Bd ze
dBAG | FGAB G2 :|
EVERYBODY'S HORNPIPE. American, Hornpipe. C Major. Standard tuning. AABB (Cole):
AA’BB’(Cranford). "Can be used as a Clog,” states the note in Ryan’s Mammoth Collection. Source for notated version: Winston
Fitzgerald (Cape Breton) [Cranford]. Cole (1000
Fiddle Tunes), 1940; pg. 91.
X:1
T:Everybody’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:C
(gf) | e>cB>c G>cE>c |
G>ce>g f>ed>c | B>dg>f e>gc’>g | a>fd>g
f>ed>c |
e>cB>c G>ce>g |
a>fd>B G>Bd>e | f>ag>f e>dc>B | c2e2c2 :|
|: (GF) | E>Gc>G e>cG>E
| D>FB>G d>BG>F | E>Gc>B A>GF>E | D>G,B,>D
G>FE>D |
E>Gc>G e>cG>E |
D>FB>F d>BG>F | E>ag>f e>dc>B | c2e2c2 :|
EVERYBODY'S WALTZ. AKA and see "Valse de Tout
l' Monde."
EVERYONE TO THE
PUNCHEON. AKA – Everybody to the Puncheon.”
Old-Time, Breakdown. USA, West Virginia. D Major. Standard tuning. AABB.
Charles Wolfe (1997) characterizes this piece as a construct of Kanawha County,
West Virginia, fiddler Clark Kessinger’s (1896-1975), pieced together from
parts of different tunes. Puncheon refers to a type of wooden floor made from
split logs. Source for notated version: Clark Kessinger (W.Va.) [Phillips].
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 82.
EVICTION, THE. AKA and see “Maids of Tramore.” Irish (?), Jig. A
Dorian. Standard tuning. AABB. Parts (esp. the first) of the tune are similar
to “Scatter the Mud [2].”
***
An eviction in Ireland. Print from the Illustrated London News, 1849.
***
Cole (1000 Fiddle Tunes), 1940; pg. 73. Ryan’s Mammoth Collection, c. 1883; pg. 104.
X:1
T:The Eviction
B:Ryan's Mammoth Collection, p104
R:jig
M:6/8
L:1/8
K:G
d|:eAA BAA|eAA ABd|eAA B2 A|BGG GBd|
eAA BAA|eAA ABd|e/f/ed B2 A|1BGG
GBd:|
2BGG G3|:gfg efg|fag fed|gfg efg|afd
d3|e3 efg|
fag fed|e/f/ed B2 A|1BGG GBd:|2BGG
G3||
EVIL DIANE. American, Reel. A Major. Standard tuning. AABB. Composed by
ÉVITE GABRIEL. French-Canadian, Reel. E Minor. Standard tuning. AABB. Composed by
hurdy gurdy and accordion player Daniel Thonon (St. Marc-sur-Richelieu, Québec)
in honor of his youngest son, Gabriel. He told Susan Songer (Portland Collection) that the tune was
written in the hospital waiting room while he was awaiting news of the delivery
(it is said that the title, depending on the dialect of French used, can mean
“Hurry Up, Gabriel” or “Avoiding Gabriel”). Thonon is a Belgian/Breton
expatriate who grew up in Québec and who played music in Algiers for some
years. Songer (Portland Collection),
1997; pg. 74. Advielle Que Pourra – “Come What
May.” Great
Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000).
EWE POLKA. New England, Polka. A Dorian. Standard tuning. AABB. Miller &
Perron (101 Polkas), 1978; No. 11.
EWE REEL, THE ("Seisd An Aisg," "Cor An
Foisc" or "Ril na Foisce"). AKA and see "Ew(i)e Wi' the Crooked Horn [1],"
"The Foe," "Bob with the one Horn [2],"
"Miss Huntley's," "Go
see the Fun," “Green Blanket,”
"Sweet Roslea and the
Sky over it," "The
Pretty Girl in Danger," "The
Red Blanket," "The Ram with the Crooked Horn," "The Kerry Lasses [1]," "The Merry Lasses," "My Love is Far Away," "The Lowlands of Scotland,"
"Peter Street [2]." Irish,
Reel. G Major (Breathnach, Mitchell, O'Neill/1850): G Mixolydian/Major {'A'
part} & G Major {'B' part} (Flaherty, O'Neill/1001). Standard tuning. AB
(Mitchell): AAB (Flaherty): AA'B (O'Neill): AABB (Breathnach). Traditionally an
ewe is a person’s most prized possession (from Biblical allusion, see 2 Samuel
12). The “Ewe Reel” is the Irish version of the Scots "Ewe Wi' the Crooked
Horn." Breathnach (1985) found the tune under the title “Sweet Roaslea and
the Sky Over It” in County Monaghan, “Miss Huntly’s” in Fermanagh, “Go see the
fun” in Kerry, “The Red Blanket” in Clare and “The Ewe with the Crooked Horn”
in Armagh. “The Pretty Girl in Danger” was the title printed by Goodman and
Kerr gives it as “The Foe” and “The Bob with one Horn.” Sources for notated
versions: piper Pat Mitchell (Dublin, Ireland) [Breathnach]; fiddler Fred Finn,
1919-1986 (Kiltycreen, Kilavil, County Sligo, Ireland) [Flaherty]; piper Willie
Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Chicago fiddler
James Kennedy who had the tune from his father, a celebrated local fiddler from
Ballinamore, County Leitrim [O’Neill]. Breathnach (CRÉ II), 1976; No. 145, pg. 77. Flaherty (Trip to Sligo), 1990; pg. 74. Mitchell (Dance Music of Willie Clancy), 1993; No. 106, pg. 91. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
261, pg. 134. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1229, pg. 231. O'Neill (Dance Music of
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:Ewe Reel, The
L:1/8
M:C|
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 504
Z:AK/Fiddler’s Companion
K:G
DGGF DGGE|=F2 AF cFAF|DGGF DGGg|1
fdcA BGAF:|2
fdcA BG G2||g2 bg dgbg|f2 af dfaf|g2
bg dgbg|agfa g2 ga|
bgaf gdde|fefd cAGF|dggf (3gab
ag|fdcA BGAF||
EW(I)E WI'
THE CROOKED HORN [1], THE/MY ("A' Chaora chrom" or "Ard
Mhacha").
AKA and see "Bob with the
one Horn [2]," "Carron's
Reel,” “Crooked Horn Ewe,”
"Ewe Reel," “Kerry Lasses [1],” "The Ram with
the Crooked Horn." Scottish, Strathspey; Irish, Highland. G Dorian
(Athole, Gow): G Minor (Fraser, Hunter, Kerr): A Minor (Honeyman). Standard
tuning. AB (Kerr): AAB (Athole, Fraser, Gow, Hunter): AABB (Honeyman). The
title comes an old song, in both Scots and Gaelic. Perhaps the most famous adaptation of the lyrics is by
Reverend John Skinner, set to the tune of "Carron's Reel," although
some find his set wanting. Fraser further explains: "This set of the Ewe with the Crooked Horn appears to be
a standard, formed a century ago, by three neighboring gentlemen in Nairnshire,
eminent performers,‑‑Mr. Rose of Kilravock, Mr. Campbell of Budyet,
and Mr. Sutherland of Kinsteary. It may not be generally known, that the Ewe
thus celebrated is no other than the 'whisky still, with its crooked horn (distilling
tube),' which gave more milk than all the sheep in the country." The
following words are from an old Scots version appearing in Chambers' Songs of Scotland prior to Burns.
***
verse:
Ilka ewe comes hame at even (x3)
***
chorus:
Ewie wi the crookit horn
May ye never see the morn
Ewie wi the crookit horn
***
Ilka ewie has a lambie (x3)
***
A the ewes gie milk eneuch (x3)
***
Alburger (1983) retells the
persistent tale, probably not true, of Niel Gow and this tune: "One
(story) concerns a violin which is supposed to have been given to Neil by a
London dealer, when Niel was up with the Duke of Atholl. After some discussion
the dealer ('said to have been a Mr. Hill') told Neil 'I shall give it you if
you play 'The Ewie wi' the Crooked Horn,' in anything like the style in which I
heard it in your own country.' Niel played his best, and the dealer presented
the violin, 'a veritable 'Gaspar di Salo in
***
John Glen (1891) thought the earliest printing of the melody was in Robert Ross's 1780 collection (pg. 16), although Bruce Olson finds the melody (under the title “Crooked Horn Ewe”) in Rutherford's 24 Country Dances for 1758 (see abc below) and Jack Campin notes it is in the c. 1740 MacFarlane Manuscript in dorian mode under the title “An caora crom.” The title also appears in Henry Robson's list of popular Northumbrian song and dance tunes which he published c. 1800. “Ewe/Yowie wi’ the crookit horn” is also the name of a Scottish song whose singing was mentioned by Alexander Jaffray in his scketch of the assembly at Aberdeen in 1777 in Recollection of Kingswells. Jaffray gives an account of the various assemblies or country dances and recalls them as convivial affairs:
***
After the dance, followed a supper, where
cheerfulness and good humour
prevailed. Those who could sing entertained
the company, which remained
to a late, or rather early hour...I
particularly noticed Mrs. Grant of Caron, a
very pleasant sensible woman. Her two songs
were "Yowie wi the crookit
horn," and "Tibby Fowler in the Glen."
***
Irish versions appear in reel or hornpipe form (see Ewe with the Crooked Horn [3], but in
County Donegal it is popularly played as a highland (see version #5). The title
appears in a list of tunes in his repertoire brought by Philip Goodman, the
last professional and traditional piper in Farney, Louth, to the Feis Ceoil in
Belfast in 1898 (Breathnach, 1997). Paul Cranford remarks the tune is among the
favorite strathspeys of Inverness County, Cape Breton, fiddlers. Carlin (The Gow Collection), 1986; No. 55.
Fraser (The Airs and Melodies Peculiar to
the Highlands of Scotland and the Isles), 1874; No. 19, pg. 7. Gow (The First Collection of Niel Gow’s Reels),
1784 (revised 1801); pg. 9. Gow (Sixth Collection of Strathspey Reels),
1822; pg. 14. Honeyman (Strathspey, Reel
and Hornpipe Tutor), 1898; pg. 17. Hunter (Fiddle Music of Scotland), 1988; No. 169. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 8. Kerr (Merry Melodies), vol. 3; No. 187, pg. 22. McGlashan (A Collection of Reels), c. 1786; pg. 31 (appears as “Crooked Horn
Ewe”). Stewart-Robertson
(The Athole Collection), 1884; pg.
191. Culburnie CUL 113D, Alasdair Fraser & Tony
MacManus – “Return to Kintail” (1999). Greentrax CDTRAX243, Tony Cuffe – “Sae
Will We Yet” (2003). Plant Life PLR017, "The Tannahill Weavers"
(1979). Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing”
(2000).
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:Ewie Wi’ the Crooked Horn [1]
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
K:Gmin
F|D<G G>A F>GA>F|D<G G>A B>G A<a|f>-e d<f c<f A>F|
A<f d>B c<AG:|
G<g g>a f>ga>f|d<g g>a b>ga>^f|d<g g>a f>ga>f|dg/a/ b>ga>^f g2|
f>=f d<f c<f A>F|D<G G>A B>G A<a|b>gf>d c>BA>F|
A<f d>B c<A G||
X:2
T:Crooked Horn Ewe, The
M:C|
L:1/8
R:Strathspey
S:McGlashan – Reels (c. 1786)
K:G Mixolydian
D>GG>A F>GA>F|D>GG>B c>GB>G|c>GB>G A>G F>C|D>GG>B AF G2|
D>GG>A F>G AG/F/|D>GG>A c>AB>G|A/B/c B/c/d c/B/A/G/ FA|DGGA FA G2||
G>gg>a f>g ag/f/|d>gg>a b>ga>g|d>gg>a f>ga>f|d>gg>b a^f g2|f>g d>f c>f A>F|
D>GG>B c>GB>G|f/g/a/g/ f>d c>BA>F|D>GGA FA G2||
X:3
T:The Crooked Horn'd Ewe
S:Rutherford's 24 Country Dances for 1758
Z:Transcribed by Bruce Olson
Q:156
L:1/8
M:C
K:G
DG2B AG "tr"FE/D/|DG2B cABG|ABcB AG "tr"FE/D/|DG2B AG/F/ G2::\
dg2a =fagf|dg2a fa g2|dg2a "tr"b(ag) a(g/f/)|\
d(g/a/) _ba/g/ (f/g/a/f/)g2|=(fefd) c_B "tr"A(G/F/)|\
Gd2c BA G2:|]
X:4
T:Ewie wi’ the Crooked Horn, The [1]
M:C
L:1/8
R:Air
B:Gow – Sixth Collection of
Strathspey Reels (1822)
N:”As sung by Captain Skene R.N.”
N:”Slow”
Z:AK/Fiddler’s Companion
K:G
G|(D<G) G>A F>GAF|(DG)
~GA/B/ (cA) (BG)|c>A d>B {B}A>G {G}F>E|DG ~GA/B/ cd
G2|(D<G)G>A “tr”F>GAF|
(DG) ~GA/B/ (cA) (BG)|c>A d>B
{B}A>G {G}F>E|(DG) ~GA/B/ cAd z/(B/|c>)(A d>)B {B}A>G
{G}F>E|(DG) ~GA/B/ (cd) G||
EWE WITH THE CROOKED
HORN [2], THE. Scottish, Strathspey. A Mixolydian.
Standard tuning. AABB. O’Farrell (Pocket
Companion, vol. II), c. 1806; pg. 131. Stewart-Robertson
(The Athole Collection), 1884; pg.
18.
X:1
T:Ewie Wi’ the Crooked Horn [2]
M:C
L:1/8
S:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
c|e>ec>A d>=GB>d|e>ec>A ddf>d|e>ec>A d>=GB>d|e>dc>A B<G A:|
E>AA>B
G>AB>G|E>AA>c d>cB>=G|d>cB>A =G>AB>G|E>AA>c
B<GA2:|
EWE WITH THE CROOKED
HORN [3]. Irish, Reel. Ireland, County Cork.
A Minor (O’Farrell, Cowdery): A Dorian (Stanford/Petrie). Standard tuning. AB
(Stanford/Petrie): AAB (Cowdery). A variation of the melody found in
X:1
T:Ewe with the Crooked Horn [3]
M:C
L:1/8
R:Reel
S:Stanford/Petrie (1905), No. 918
Z:AK/Fiddler’s Companion
K:Amin
AG|EA A^G A2 AB|c2 cd cAGE|G2 GA G2
GA|
BAGE GEDG|EAAB A2 AB|c2 cd c2d2|eg
^fa gedB|BAAA A2||
ag|eaaa a2 ga|baga bag c|Bd ga g2
ga|bage gedg|
eaab a3b|c’bag bagd|eg ^fa gedB|BAAA
A2||
EWE WITH THE CROOKED
HORN [4]. Irish, Highland. Ireland, County
Donegal. G Major/Mixolydian. Standard tuning. AB. Source for notated version:
fiddler John Doherty (1895-1980,
EWE WITH THE CROOKED
HORN [5], THE. Irish, Jig. Rather like "Paddy on the Railroad."
Stanford/Petrie (Complete Collection),
1905; No. 361.
EXCELSIOR [1]. Scottish, Hornpipe. B Flat Major/F Major. Standard tuning. AABB.
Composed by James Scott Skinner. Gatherer (Gatherer’s Musical Museum), 1987; pg.
41. Skinner, Miller O' Hirn Collection.
EXCELSIOR [2]. American, Canadian; Hornpipe or Clog. A Major. Standard tuning. AABB.
There was a 19th century composite schooner named the Excelsior, although what connection this
might have with the tune, if any, is unknown. The word excelsior is frequently
used as a motto, meaning 'higher' or 'upwards', often used (by the poet
Longfellow, for example) as an injunction or aspiration. Source for notated
version: Brenda Stubbert (b. 1959, Point Aconi, Nova Scotia). Cole (1000 Fiddle Tunes), 1940; pg. 88.
Cranford (Brenada Stubbert’s), 1994;
No. 23, pg. 9. Ryan’s Mammoth Collection,
1883; pg. 121.
X:1
T:Excelsior [2]
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
A,/C/E/C/ .A,/A/c/A/ | E/G/B/G/
A/c/e/c/ | d/f/d/B/ c/e/c/A/ | (3B/c/B/ (3A/G/F/ (3E/F/E/ (3D/C/B,/ |
A,/C/E/C/ A,/A/c/A/ | E/G/B/G/
A/c/e/c/ | d/f/B/d/ G/B/E/G/ | AcAz :|
|: c/e/a/e/ c/e/f/e/ | c/e/a/e/
d/c/B/A/ | a/g/a/e/ f/g/a/e/ | (3g/b/a/ (3g/f/e/ (3e/f/e/ (3d/c/B/ |
c/e/a/e/ c/e/f/e/ | c/e/a/e/
d/c/B/A/ | a/g/a/e/ f/d/B/G/ | AcAz :|
EXCISEMAN'S HORNPIPE, THE. AKA and see "The Fox In the Dumps."
EXCUSE ME. AKA and see "The
Buff Coat Has No Fellow." English, Country Dance Tune (6/8 time). G
Minor. Standard tuning. AABBCC. The tune dates to 1701. Barnes (English Country Dance Tunes), 1986.
EXECUTORS, THE. Irish, Reel. D Major. Standard tuning. AABBCCDD. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 107.
X:1
T:Executors, The
M:C
L:1/8
R:Reel
S:O’Farrell – Pocket Companion, vol. IV (1810)
Z:AK/Fiddler’s Companion
K:D
d | fe d/c/d/B/ AA | B/c/d/B/ g/f/e/d/ c/d/e/f/ eA | f2e2 d/c/d/B/ AA |
B/c/d/B/ g/e/d/c/ e2d2 :: A/B/A/F/ A/B/A/F/ B/A/B/c/ df |
A/B/A/F/ A/B/A/F/ g/f/e/d/ c/d/e | A/B/A/F/ A/B/A/F/ B/A/B/c/ d/e/f/g/ |
a/b/a/f/ a/b/a/f/ e/d/e/f/ d2 :: f/A/d/f/ e/A/c/e/ e/d/c/B/ B/A/d/A/ | B/c/d/B/ g/f/e/d/ c/d/e/f/ eA |
f/A/d/f/ e/A/c/e/ e/d/c/d/ BA | B/c/d/B/ g/e/d/c/ e2d2 :: F/A/d/A/ F/A/d/A/ F/A/d/A/ gf |
F/A/d/f/ g/f/e/d/ c/d/e/f/ e/c/A/G/ | F/A/d/f/ g/e/f/d/ d/B/A/G/ GF | a/b/a/f/ a/b/a/f/ e/d/e/f/ d2 :|
EXHIBITION HORNPIPE. English, Hornpipe. England, Northumberland. D Major. Standard tuning.
AABB. Composed by Gateshead, Northumberland, fiddler-composer James Hill,
famous for his hornpipes. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 46.
EXHIBITION MARCH NO. 1. AKA and see "Washington's
March [1]," "Matelotte,"
"Finlands Swenska Folkdigtning." American, March. D Major. Standard
tuning. ABB. Ford (1940) says this march is typical of the early‑day
American country school Exhibition. Bayard (1981) notes that it is a version of
the international tune known in the United States usually as "Washington's
March;" it typically appears as a march, but has also been published in
the form of dancing tunes. Ford (Traditional
Music in America), 1940; pg. 174.
EXHIBITION MARCH NO. 2. AKA and see "The Road to Boston." American, March
(4/4 time). D Major. Standard tuning. ABB'. Ford (1940) says this march is
typical of the early‑day American country school Exhibition. Bayard
(1944) maintains it is a version of "The Road to Boston." Ford (Traditional Music in America), 1940; pg.
174.
EXHIBITION OF 1862, THE. English, Jig. D Major. Standard tuning. AABB. There was great international exhibition in London in 1862 May 1st to Nov. 15th, attended by Queen Victoria and sponsored by Prince Albert, drawing on the success of the exhibition of 1851 and the Crystal Palace. It was the last significant world’s fair in England until 1923. Among the innovations featured at the exhibition was an undercover police officer who posed as a stature, and actually successfully captured a thief!
***
Arrest at the International Exhibition, 1862
***
Raven (English Country Dance Tunes), 1984; pg. 127.
T:Exhibition of 1862
L:1/8
M:6/8
K:D
A|A2A B2c|d2d d2f|efe c2A|d3 def|g2g g2e|f2f f2d|Bed cBc|d3 d2:|
|:z|d3
d3|d6|d2c d2f|e2c B2A|A2A B2c|d2d d2f|efe c2A|(d3 d2):|
EXHIBITION (WALTZ). AKA and see “The Speaking Waltz,”
“Victoria Waltz.” See note for “Kelso Hiring Fair.”
EXILE, THE. Irish, Reel. G Major. Standard tuning.
AABB. Composed by County
Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy),
No. 50, pg. 52.
X:1
T:The Exile
R:Reel
C:Ed Reavy
M:2/2
L:1/8
Z:Joe Reavy
N:The sad gaiety of this tune celebrates the longing of the exile for his
N:native home. No one quite understands the irony of a happy farewell
N:as well as the poet in Frank O'Connor's translation from the Irish:
N:What happier fortune can one find,
N:Than with the girl who pleases one's mind;
N:To leave one's home and friends behind
N:And sail on the first favoring wind.
K:G
FE | DGBd cAFA | DGBd g2 fg | afdf gfed | ^cdBG FGAF | DGBG B,DFA |
GABd c2 Bc| (3dcB (3cBA fdBd | cAFA G :|| ef | g2 bg fgaf | ^cdeg fddf |
eccB cde^c | defd =cAFA | g2 dg bgdg | fed^c defg | (3agf
(3gfe BABd | cAFA G :||
EXILE OF CORK, THE. Irish, Reel. D Major. Standard tuning. AB.
X:1
T:Exile of Cork
R:waltz
S:From the playing of Jim Coogan
B:Jim Coogan's Session Tunes
Z:Music: Jean Lewis
Z:abc's: Michael Hogan
M:3/4
L:1/4
K:D
|:D/F/ A/|ded|cE>F|G>A c/B/|A2
D/F/|
ABA/D/|F2 E/F/|AGF|E>D F/A/|
ded|c2 B/c/|dcB|A2 D/F/|AB A/D/|F2
E/D/|F2E|D>D F/A/||
ded|c>c B/c/|dcB|A2 D/F/|AB A/D/|F2
E/F/|A2G|F>D F/A/|
ded|c>c B/c/|dcB|A2 D/F/|AB
A/D/|F2 E/D/|F2E|D3||
EXILE OF
EXILE'S JIG. AKA and see “Port an Deoraí.”
Irish, Jig (12/8 time {'A' part} and 9/8 time {'B' part}). E Minor. Standard
tuning. AB. Not the "Exile's Lament" in Cole's 1000. The composition has been attributed to bouzouki player
Johnny Moynahan, recorded with his group Sweeney’s Men. Sullivan (Session Tunes), Vol. 2; No. 46, pg. 19.
Vallely (Learn to Play the Tin Whistle
with the Armagh Pipers Club), vol. 2; 10.
EXILE'S LAMENT. AKA and see "Paddy
O'Carrol{‘s Jig} [1]." Irish, Double Jig. G Major. Standard tuning.
AABB. Cole (1000 Fiddle Tunes), 1940;
pg. 74.
X:1
T:Exile’s Lament
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:G
d | BGG BGG | BcB BAB | GBd gdB |
BcB BAB | GBd gdB | AGG Gz :: d |
bgg agf | gfe dBd | bgg afd |
(ea)a a2 (g/a/) | bgg agf | gfe dBG
| def gdB | AGG Gz :|
EXILE'S SONG, THE. AKA and see "O Why Left I My Hame," "Lowlands of Holland [2].”
EXPO ’67 JIG. Canadian, Jig. Composed by
EXPO '67 TWO-STEP. Canadian, Two‑Step. D Major ('A' part) & G Major ('B' part).
Standard tuning. AABB. Composed for the Montreal Exposition of 1967, honouring
Canada’s centennial. Messer (Anthology of
Favorite Fiddle Tunes), 1980; No. 188, pg. 133.
EYES RIGHT. American, Reel. G Major (‘A’ part) & D Major (‘B’ part). Standard
tuning. AABB. Cole (1000 Fiddle Tunes),
1940; pg. 9. Ryan’s Mammoth Collection,
1883; pg. 33.
X:1
T:Eyes Right
M:2/4
L:1/8
R:Reel
B:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
D|D/G/G/F/ G/A/B/G/|E/A/A/^G/
A/B/c/A/|F/D/F/A/ d>c|B/c/A/B/ G/D/B,/C/|
D/G/G/F/ G/A/B/G/|E/A/A/^G/
A/B/c/A/|F/D/F/A/ d>c|B/G/A/B/ G:|
|:F/G/|A/A/F/A/ d/d/e/d/|B/B/G/B/
e/e/f/e/|^c/c/A/c/ e/g/f/e/|d/^c/B/A/ G/E/F/G/|
A/A/F/A/ d/d/e/d/|B/B/G/B/
e/e/f/g/|a/f/d/A/ g/e/^c/A/|1 dfd:|2 d/f/e/d/ =c/A/F/E/||
EYTHON COTTAGE. English, Country Dance Tune (6/8 time). England, Yorkshire. A Major.
Standard tuning. AABB. 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. 56, pg. 43.
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