The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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EV - EY

 

 

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 America), 1940; pg. 113.

           


EVANGELINE SPECIAL. Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major. Standard tuning. AA(Vocal)BAA(Vocal)BA(Vocal)BA. The song, a standard, was named for a nightclub in Ville Platte, parish (i.e. county) seat of Evangeline Parish, Louisiana. A related song is Lesa Cormier's "Saturday Night Special." Source for notated version: Iry LeJeune (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 373-373. Goldband Records GB-LP7741, Iry LeJeune. Swallow SW-61313, Tracy Shwarz Trio - “Mes Amis!”

           

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 Missouri” (1999. Appears as “Evansville, Missouri”).

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 America), 1940; pg. 164.

X:1

T:Evergreen Polka

M:2/4

L:1/8

R:Polka

S:Ford – Traditional Music in America (1940)

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/|
ABA z/F/|EFG z/G/|GAG z/c/|edd z:|

           

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

T:Every Lad His Lass

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. Cranford (Winston Fitzgerald), 1997; No. 26, pg. 10. Ryan’s Mammoth Collection, 1883; pg. 126.

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 Bloomington, Indiana, mandolin and 4-string banjo player Sam Bartlett, named for his sister-in-law, Evie Ladin; ‘Evil Diane’ is an anagram of her name, as he told Susan Songer (Portland Collection). Phil Cummingham’s “Four Stroke Reel” is a similar tune. Songer (Portland Collection), 1997; pg. 73.

           

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 Ireland: 1001 Gems), 1907/1986; No. 504, pg. 95.

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)

Crookit hornie bides awa

***

chorus:

Ewie wi the crookit horn

May ye never see the morn

Ilka nicht you steal my corn

Ewie wi the crookit horn

***

Ilka ewie has a lambie (x3)

Crookit hornie she has twa

***

A the ewes gie milk eneuch (x3)

Crookit horn gies maist of a

***

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 Brescia,' to the understandably sceptical Gow, who 'said to his son, 'Come awa, I'm feared he may rue and take it back.'"  Niel Gow's own "Cheap Mutton," published in his Fourth Collection (1800), is a simple variation on this tune. Nathaniel Gow printed the melody again in his Sixth Collection (1822), “as sung by Captain Skene R.N.,” referring to Alexander Skene, of Lethenty, co. Aberdeen, a Captain in the Royal Navy, “and well known as a beautiful musician.” He married a Miss Fordyce of Ayton at Bath in 1814, and died at Edinburgh in 1823. Skene was captain in 1808 of HMS Guerrière (defeated by the USS Constitution in the War of 1812), just after her capture from the French, having been refitted and commissioned into the Royal Navy.

***

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 Scotland as a strathspey, it is, asserts Cowdery (1990), a development of that air usually set to the old Irish ballad "The Boyne Water." It appears in Ireland c. 1804-10 in O'Farrell's collection and in O'Neill as "The Flowers of Limerick" a reel. Petrie added a pencilled note, “Hornpipe” in his manuscript. Source for notated version: “From P. Carew’s MS” [Stanford/Petrie]. Cowdery (The Melodic Tradition of Ireland), 1990; Ex. 46, pg. 118. O'Farrell, 1804-10; pg. 131. Stanford/Petrie (Complete Collection), 1905; No. 918, pg. 233.

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, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 80.

 

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 :|

 

EXETER LADIES.  English, Jig. A Minor. Standard tuning. AABB. The melody appears in print in John Young’s Dancing Master, volume 2 (1713), and in subsequent editions until the end of the series in 1728. It was also published by John Walsh in his Second Book of the Compleat Country Dancing Master (London, 1719) and in Walsh and Randall’s New Country Dancing Master, 2nd Book (London, 1710). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 40.

                                   

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 ERIN, THE. Irish, Reel. Composed by Lancashire banjo player and composer Tony (“Sully”) Sullivan. Sullivan, Book 1. Green Linnet SIF‑1110, Liz Carroll ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Halshaw Music HM301, Anthony Sullivan - “Sully’s Music” (1981).

           

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 | ABA (A2c) | BGG BGG |

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 Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989) in honor of the Montreal Exposition in 1967. John was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his over 400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

 

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

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