The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

GAMB - GAY

 

 

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, 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]

 

 

 

GAMBLER'S HORNPIPE. AKA and see "The Brokendown Gambler." Old‑Time, Breakdown. USA, North Carolina. Tommy Hunter called the tune "The Brokendown Gambler." June Appal 007, Tommy Hunter ‑ "Deep in Tradition" (1976).

           

GAME CHICKEN, THE. English, Country Dance Tune (6/8 time). England, Yorkshire. G 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. 53, pg. 42.


           

GAME COCK, THE (An Coileach Comhraic). AKA and see “The Bog Carrot,” “Game Cock Reel.” Irish, Slide (12/8 time). D Major. Standard. AABB. The same melody set as a reel can be found in Ryan’s Mammoth Collection as “Game Cock Reel,” from which the name was taken. Editors Breathnach/Small find another reel setting in the Sliabh Luachra region of southwest Ireland collected from Jack Connell (or Jack the Lighthouse, as he was better known, from the townland where he lived). Kanturk, County Cork, accordion player Jackie Daly added another part to the reel setting and titled it “The Bog Carrot.” They find a more distanced version in the strathspey “Captain Francis Wemyss,” and note the tune is related to “The Western Lasses.” Source for notated version: appears as an untitled tune in a manuscript by David Collins, Abbeyfeale, County Limerick [Breathnach/CRÉ IV]. Breathnach (CRÉ IV), 1996; No. 62, pg. 31. Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002).

X:1

T:Game Cock, The

B:Ceol Rince na hÉireann 4, no. 62

R:slide

M:12/8

L:1/8

Z:Transcribed by Paul de Grae

K:D

A|F2 A d2 A {Bc}BAB d2 A|Bcd A2 F E3 E2 A|

F2 A d2 A {Bc}BAB d2 A|Bcd A2 F D3 D2:|:g|

{fg}f3 f2 e d2 e f2 g|a2 f d2 f e3 e2 f|

f3 {a}f2 e d2 e fed|Bcd A2 F D3 D2:||

                       

GAME COCK REEL (An Coileach Comhraic). AKA and see “Along the River Banks,” “The Bog Carrot,” “Captain Francis Wemyss,” “The Maid I First Courted,” “Those Evening Bells Reel,” “The Western Lasses.” American, Irish; Reel. D Major. Standard. ABB. A reel that apparently predates the version set as an Irish slide or single jig also called “The Game Cock” (An Coileach Comhraic). Al Smitley suggests the tune may possibly have been named for the clipper ship Game Cock, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews, and in fact a few tunes in the Howe/Ryan/Cole’s volumes appear to be named after engineering or transportation accomplishments of the mid-19th century. On further investigation one finds that the Game Cock was an extreme/medium clipper ship built in 1850 by Samuel Hall, East Boston, and sported a figurehead carved in the likeness of a game cock with an out-stretched neck and head. She plied the seas for thirty years, until finally condemned at the Cape of Good Hope in 1880. Source for notated version: fiddlers Denis Murphy and Mollie Murhpy [Breathnach/CRÉ V]. Breathnach (CRÉ V), 1999; No. 158, pg. 78. Cole (1000 Fiddle Tunes), 1940; pg. 4. Ryan’s Mammoth Collection, 1883; pg. 26.

X:1

T:Game Cock Reel

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection  (1883)

Z:AK/Fiddler’s Companion

K:D

FAdA BAdA|BdAF EE/E/EG| FAdA BAdA|BdAF (3DDD D2|fedc defd|geaf (3eee eg|

fedc defe|dBGE (3DDD D2||fedc defd|geaf (3eee eg|fedc defe|dBAF (3DDD D2|

fedc defd|geaf (3eee ea|faef defe|dBAF (3DDD D2||

                       

GAME OF LOVE, THE (Cluiche an Ghrá). AKA and see "The Aberdeen Lasses," "Bloron's Fancy," "Bond's (Reel)," “Humors of Ballinacarrig,” “Humours of Rockstown,” "The New Custom House," “Paddy the Piper [1],” “Piper’s Son,” “Pride of Rathmore,” “Rory MacNab.” Irish, Reel. E Minor. Standard tuning. AB. A version is in O’Neill’s Waifs and Strays of Gaelic Melody. Breathnach (1976) says it is called “The Aberdeen Lasses” in County Fermanagh. A Scottish version is “Rory McNab,” printed by the Gows. “The New Custom House” is a related tune. See also the related “Pride of Rathmore” family of tunes. Sources for notated versions: flute player and fiddler Peter O'Loughlin, 1966 (Kilmaley, Co. Clare, Ireland) [Breathnach]; manuscripts in the possession of Chicago Police Sergeant James O’Neill, originally from County Down, many of which were from the playing of his father [O’Neill]. Breathnach (CRÉ II), 1976; No. 293, pgs. 148-149. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 259. Gael-Linn CEF-057, “Jackie Daly & Seamus Creagh.” Green Linnet 1040, Touchstone – “New Land.” Kells Music 9501, Dervish - "Playing with Fire."

X:1

T:Game of Love

M:C|

L:1/8

R:Reel

Z:Ken Fleming

K:EDor

B2EF GFGB|AD (3FED FA (3AAA|B2EF GABc|dcBA Beef|e2EF GABc|dD (3FED FA (3

AAA|~B3A GABc|dcBA BE (3EGE:||Beed egfe|defg afdf|eBBA Bgfe|dcBA BE (3EG

E|Beed egfe|defg ae (3fga|gefg fdef|edBA BE (3EGE:||

X:2

T:Game of Love, The

M:4/4

L:1/8

S:Sergt. James O'Neill manuscripts

Z:Paul Kinder

R:Reel

K:E Minor

dc||BEEF GBdB|AFDE FGAc|BEEF GABc|dBAc BE E2|

BEEF GBdB|AFDE FGAc|BEEF GABc|dBAc BE E2||

Bdef gfge|defg afed|Bdef gfed|BdAc BE E2|

Bdef gfge|defg afdf|g2 ba gfed|BdAc BE E2||

X:3
T:Game of Love, The
D:Dervish: ?
O:Ireland
Z:Nigel Gatherer
L:1/8
M:4/4
K:Em
A|:B2 EF G3 B|AD (3DDD FAAc|B2 EF GAB^c|d^cBA Be e2:|
eB (3BBB egfe|defg a3 z|eB (3BBB egfe|dBAF BE E2|
eB (3BBB egfe|defg a3 z|g3 e f3 d|edBA Be e2|]

           

GAME PLAYED IN ERIN GO BRAGH, THE. Irish, Air & Jig. Ireland, Munster. D Dorian. Standard tuning. One part (Howe): AB (Joyce, Roche). The title refers to the penchant of the Irish to defend themselves forcefully and physically when slighted, according to P.W. Joyce. Source for notated version: from 16 year old Munster girl Peggy Cudmore [Joyce]. Howe (1000 Jigs and Reels), c. 1867; pg. 18. Joyce (Ancient Irish Music), 1890; No. 84, pg. 86. Roche Collection, 1983, vol. 1; No. 34, pg. 17.

X:1

T:Game Played in Erin Go Bragh, The

M:6/8

L:1/8

R:Air and Jig

N:”With life”

S:Howe’s 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:D Minor

G | ADD DcE | EDD D2 d/e/ | fed edc | A=Bc d2d |

edc dcA | GFE F2 G/G/ | ADD DcE | EDD D2 ||

           

GAMES PEOPLE PLAY, THE. See "'Tit Galop Pour Mamou."

           

GAMEST TOAST, THE. Irish, Air (6/8 time). G Major. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 501, pg. 127.

X:1

T:Gamest Toast, The

M:6/8

L:1/8

S:Stanford/Petrie (1905), No. 501

Z:AK/Fiddler’s Companion

K:G

G | G>AG gfg | e>de d3 | G>AG gfg | “tr”e3d3 | G>AG gfg | ede d2d |

cdc BcB | “tr”A3G3 | Bcd d3 | dcB A2A | Bcd ded | cBA G3 |

[GB][Ac][Bd] [B3d3] | [Bd][Ac][GB] [F2A2][FA] | [GB][Ac][Bd] [Bd][eg][Bd] | [Ac][GB][FA] G3 ||

           

GAMESTERS AND LAWYERS, THE. AKA and see "When Once I Lay with another man’s wife," "The King's Delight." The air appears under this title in Gay's Beggar's Opera of 1729. It is also in Playford's Musick's Handmaid of 1678. Lawyers were held in as poor esteem in Gay's time as now-days.

           

GAMHNA GEALA, NA. AKA and see "The White Calves," "The Lovely Calves."

           

GAMHUIN GEAL BAN, AN. AKA and see "Fair‑Haired White‑Skinned Calf, The."

           

GAMMAHO, THE. Irish, Jig. D Dorian? Standard. AABBCC. Source for notated version: Mr. Townsend, Cork (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 671, pg. 336.

X:1

T:Gammaho, The

M:6/8

L:1/8

R:Jig

S:Joyce – Old Irish Folk Songs and Music (1909), No. 671

Z:AK/Fiddler’s Companion

K:D Dorian

ABA def | edc dcB | ABA d3 | dBG G2B | ABc def | edc dcB | ABA c3 | cAF F3 :|

|: Bcd B2G | A2G B2G | c2A ded | dBG G2B | ABc B2G | A2G B2G | fed cAf |

cAF F3 :: ABA g3 | aba g3 | gba g^fg | dBG G2B | ABA g3 | aba g3 | ac’a fef | cAF F3 :|

           

GAMMALMODIG ATTA. Finnish version of "Soldier's Joy [1]." See note for "The King's Head."

           


GANDAL I bPOLL NA bhFATAÍ, AN. AKA and see "The Gander in the Pratie Hole."

           

GANDER AT THE PIT OF SPUDS, THE. AKA and see “The Gander in the Pratie Hole,” “The Monk.”

           

GANDER IN THE PRATIE HOLE, THE (An Gandal i bPoll na bhFataí). AKA and see “The Brother’s Jig,” “The Friar’s Jig,” “The Gander at the Pit of Spuds,” “The Monk,” “The Monk’s Jig,”  Port an Bráthair,”  Port Padraig na Carra.” Irish, Double Jig. D Major ('A' part) & D Mixolydian ('B' part) {Breathnach, Carlin, Harker/Rafferty, Mallinson}: D Mixolydian {Mitchell}. Standard. AAB (Carlin): AABB (Breathnach, Harker/Rafferty, Mallinson, Taylor/Tweed): AA’BB (Mitchell). A gander is an adult male goose, while a ‘pratie hole’ refers to potatoes, perhaps a refuse pile. Closely related tunes include the “Brother’s Jig”/”Monk’s Jig”/”Port Padraig na Carra” tune group. According to piper Néillidh Mulligan these titles refer to piper Brother Gildas (Padraig Ó Seaghdha 1882—1961), who learned the jig from piper Tom Rowsome (d. 1928, uncle of famous piper Leo Rowsome), who called it “Butler's Jig.” “Port Padraig na Carra” is also closely related tune. Sources for notated versions: piper Seán Potts (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 30, pg. 13. Breathnach (Folk Music and Dance of Ireland), 1971; 7. Carlin (Master Collection), 1984; No. 263, pg. 150. Harker (300 Tunes from Mike Rafferty), 2005; No. 232, pg. 71. Mallinson (Enduring), 1995; No. 41, pg. 17. Mitchell (Dance Music of Willie Clancy), 1993; No. 117, pg. 97. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 5. Claddagh CC15CD, Paddy Moloney & Sean Potts – “Tin Whistles” (1973). Drumlin Records, Brian McNamara – “A Piper’s Dream.” Green Linnet CD 1000, Séamus Ennis – “Forty Years of Irish Piping” (2000. Originally released 1977). Shanachie 79011, Planxty ‑ "Cold Blow and the Rainy Night." Shanachie 79012, Planxty ‑ "The Planxty Collection" (1974). Spring Records SCD1037, Néillidh Mulligan – “The Leitrim Thrush” (Learned from his father, who probably learned it from Tommy Reck, who probably learned it from Leo Rowsome).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X: 1

T:Gander in the Pratie Hole

M:6/8

L:1/8

R:Jig

K:G

D|G2G EGD|G2G Bdg|efg dBG|AGA BGE|

G2G EGD|G2G Bdg|efg dBG|AGF G2:||

f|gab agf|edg ed^c|deg edB|BAG A2f|

gab agf|edg ed^c|deg edB|AGF G2f|

gab agf|edg ed^c|deg edB|BAG A2A|

G2G EGD|G2G Bdg|efg dBG|AGF G2||

X: 2

T:Gander In the Pratie Hole

Z:Peter Crummy

R:Jig

M:6/8

L:1/8

K:D

G|FAD FAD|GFG EFG|FAD FAD|GED D2 D|

FAD FAD|GFG EFG|fed ecA|GED D2:|]

z|Add ded|=cAB cAG|Add ded|=cAB c2 G|

Add ded|=cAB cde|fed ecA|GED D2:|]

                                   

GANDER’S STRUT, THE. Irish, March (4/4 time). Ireland, northern Ireland. G Major. Standard. AABB. Source for notated version: fiddler Peter Turbit [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 246.

                                   

GANDY DANCER'S REEL. New England, Reel. D Major. Standard tuning. AABB. Gandy dancers performed necessary repair functions for railroads, such as replacing worn ties, tamping ballast between ties, and aligning and re-aligning rails. The implements they used—picks, shovels, forks and lining bars-- were often made by the Gandy Manufacturing Company of Chicago Illinois. Since manipulating heavy rails often took a coordinated effort by a team of men, songs or hollers helped to maintain a rhythm and give cues for effort. Often the ‘push’ on a rail came at the end of a sung line, with the men rising and lifting as one, leading to the term ‘dancing’.

***

Gandy Dancers, by Lee Russell (1939) for the Farm Service Administration. Collection of the Library of Congress LC-USF33- 012161-M2

***

Miller & Perron (New England Fiddlers Repertoire), 1983; No. 142.

X:1

T:Gandy Dancer’s Reel

M:C|

L:1/8

K:D

AG|FD A,D FD A,D|FA Bc d2cd|BE EE cE EE|df ed B2AG|

FD A,D FD A,D|FA Bc d2cd|BA GB AF DF|ED CE D2:|

|:fg|a2ab ag fe|de fg a2gf|ed ef gf ec|df ed B2 (3ABc|

dc df ec AF|GF GB AF DF|GF ED CA, CE|(3DED CE D2:|

           

GANE IS MY JEAN. Scottish, Air (4/4 time). A Flat Major. Standard tuning. AB. From J. Scott Skinner’s Logie Collection (1888). His manuscript copy, arranged by Gavin Greig but excluded from his later Harp and Claymore Collection, is set in the key of A Major. The title may refer to Skinner’s wife Jean, who was admitted to the Elgin Asylum in 1885, following the composer’s bankruptcy, where she resided until her death in 1899.

X:1

T:Gane is My Jean

M:C

L:1/8

R:Air

C:J. Scott Skinner

S:Manuscript copy

Z:AK/Fiddler’s Companion

K:A

A2 B>A F2 E>F|A2 A>c e3e|f2 a>f e2 c>A|c2 BA F2 EF|

A2 B>A F2 E>F|A2 A>c e2 e>e|f2 a>f e2 c>A|c2 B>A A4||

F2 a>f e2 c>A|c2 B>A F2F2|E2 A>A a2 f>f|ec BA B4|

A2 B>A F2 E>F|A2 A>c e4|f2 a>f e2 c>A|c2 B>A A4||

           

GANGER [1]. A Norwegian dance music form which takes its name from the word 'gang'‑‑to walk. The ganger is a stately ceremonial dance which lends itself to transcription in either 2/4 or 6/8 meter, according to whether duple or triple time is felt. "The 6/8 ganger is usually characterized by a horizontal oscillation of three and two‑note groupings (hemiola). These patterns are superimposed over evenly‑spaced foot‑tapping in a duple meter. The rhythmic counterpoint between bowing rhythm and foot‑tapping thus produces vertical combinations of threes and twos as well" (Hopkins, 1985; pg. 175).

 

GANGER [2], THE.  AKA and see “The Drunken Gauger [4].”

           

GÅNGLÅT EFTER HGORT-ANDERS. Swedish, Walking Tune (2/4 time). D Major. Standard tuning. AABB. The addition of 'efter', or, in English, 'after' recoginzes famous and inflential fiddlers, in this case Hjort‑Anders. Thompson (Fiddler's Almanac), pg. 55.

 

GÅNGLÅT EFTER SKOMMERFAR. Swedish, Walking Tune. RC2000, George Wilson – “Royal Circus” (2,000. Learned from the Royal Swedish Fiddlers).

           

GÅNGLÅT FRÅN APPLEBO. Swedish.

           

GÅNGLÅT FRÅN MOCKFJÄRD. Swedish, Walking Tune. RC2000, George Wilson – “Royal Circus” (2,000. Learned from the Royal Swedish Fiddlers).

 

GANIVELLE. French, Scottish (2/4 time). G Major. Standard tuning. AABB. Composed by Frederic Paris. Stevens (Massif Central), vol. 1, 1987; No. 6.

           

GANLEY’S JIG (Port Mhig Sheanlaoich). Irish, Single Jig (12/8 time). D Major. Standard tuning. AABB. Source for notated version: Bernard Bogue (Counties Monaghan and Tyrone) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 64, pg. 32.

           


GANNON’S. Irish, Barndance. Recorded by New York/County Sligo fiddler Michael Coleman.

           

GAOL A THUG MI ÒG, AN. Scottish, Slow Air (4/4 time). G Major. Standard tuning. One part. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 26.

                       

GAOL OF CLONMELL, THE. Irish, Air (3/4 time). A Minor. Standard tuning. One part. “From P. Carew’s M.S.” Stanford/Petrie (1905), No. 362, pg. 92.

X:1

T:Gaol of Clonmell, The

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 362

Z:AK/Fiddler’s Companion

K:A Minor

E^G | A3 cBA | A G3 AB | c3 edc | c B3 EA | c3e d>c/2d/4 | e4 de | c4 Ac | B A3 ||

cd | e4 cA | d4 ed | c4 BA | {c}B4 EA | c4 dc/d/ | e4 de | c4 Ac | B A3 ||

                       

GAOTH ANEAS, AN. AKA and see “The South Wind.”

           

G(H)AOTH ANIAR, AN. AKA and see "James Ryan's Favourite." Irish, Reel. G Major. Standard tuning. ABC. Source for notated version: piper Liam Mac Flannchadha (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 72, pg. 33.

           

GAOT A CORRUIDEANN AN EORNA, AN. AKA and see "The Wind that Shakes the Barley."

           

G(H)AOTH A CHROITHEANN AN EORNA, AN. AKA and see "The Wind that Shakes the Barley."

           

G(H)AOTH ANIAR ANDEAS, AN. AKA and see "Connie the Soldier," "Coffee and Tea [2]," "Jimmy the Tailor," "The Cherry Grove Jig," "Aineen's Double," "Bacach na Cleithe," "Maire Inis Toirc." Irish, Double Jig. D Mixolydian ('A' part) & D Major ('B' part). Standard tuning. AABB. Source for notated version: piper Sean Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 29, pg. 13.

           

GAP IN THE WOOD, THE.  Irish, Jig. A Dorian. Standard tuning. AABB. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 49, pg. 13.

 

GARAID-EOGAN LE ATRUGAD. AKA and see "Garry Owen."

           

GARB OF OLD GAUL, THE. AKA – “In the Garb of Old Gaul.” Scottish, English; March (4/4 time). C Major. Standard tuning. AABB. A British military march of the Revolutionary War period (Winstock, 1970), and the most famous composition of John Reid, who died in 1806. Reid, ultimately to become a general, began his career as a commissioned ensign in Loudon’s Highlanders at the age of fourteen. As an officer he fought the Jacobites and later served in France. He turned up in North America with the Black Watch in 1755, where he took part in the capture of Montreal.  Reid also was an accomplished and sensitive player on the German flute and a composer of some pieces of merit. He composed a set of minuets and marches, published between 1770 and 1780, of which “Garb of Old Gaul” is one. Reid said the original words were written in Gaelic by a soldier of the Black Watch, although the ones usually associated with the tune were written  (first published in 1765) by General Sir Harry Erskine of Alva in Sterlingshire (who served with the Royal and 25th Regiments, the Royal Scots and the King’s Own Scottish Borderers). By 1769 the Black Watch was playing the air as their slow march, and it was sometimes called “The Highland March” or “The 42nd Regiment’s March” (David Murray, 1994).  Upon his death in 1806 the University of Edinburgh was the recipient of his considerable fortune to establish a Chair of Music, with a concert to be held on his birthday at which some of his compositions would be played, in order that the audience would become acquainted with the type of music in vogue during his lifetime. The Reid Memorial concert is still held each January 13th, with “Garb of Old Gaul” among the pieces played (David Murray, Music of the Scottish Regiments, Edinburgh, 1994).

***

The melody still serves as the slow march of all Scottish battalions in the British army. “Cases have been known,” writes David Murray (pg. 176), “where some soldiers have believed that ‘Old Gaul’ was some ancient regimental hero immortalised in music, but the mundane fact is that Gaul was a province of the Roman Empire corresponding to Eastern France and Western Germany. Its natives were reported to have worn a mantle or cloak belted round the body in the style of the ‘Feile Mor’, the belted (Highland) plaid of yore. Hence the kilt is the ‘Garb of Old Gaul,’ and hence too, the words of the opening verse”:

***

In the garb of old Gaul with the fire of old Rome,

From the heath-covered mountains of Scotia we come;

When the Romans endeavoured our country to gain,

Our ancestors fought, and they fought not in vain.

***

Murray points out that Victorian arrangers altered Reid’s two-part march by arranging it as a slow march, “with an introduction of stunning forget-ability, the whole rounded off with a trio of equal mediocrity.” Unfortunately, it is this version that often is heard on a march-card.

***

The air is mentioned in the following anecdote regarding a piece called “The Combat of Saint-Cast”, from Lewis Spence’s (1874-1955) volume Legends and Romances of Brittany (N.D.):

***

This ballad somewhat belies its name, for it has some relation to an extraordinary incident which

was the means rather of preventing than precipitating a battle. In 1758 a British army was landed

upon the shores of Brittany with the object of securing for British merchant ships safety in the

navigation of the Channel and of creating a diversion in favour of the German forces, then our allies.

A company of men from Lower Brittany, from the towns of Tréguier and Saint-Pol-de-Léon,

says Villemarqué, were marching against a detachment of Scottish Highlanders. When at a

distance of about a mile the Bretons could hear their enemies singing a national song. At once

they halted stupefied, for the air was one well known to them, which they were accustomed to

hear almost every day of their lives. Electrified by the music, which spoke to their hearts, they

arose in their enthusiasm and themselves sang the patriotic refrain. It was the Highlanders' turn

to be silent. All this time the two companies were nearing one another, and when at a suitable

distance their respective officers commanded them to fire; but the orders were given, says the

tradition, "in the same language," and the soldiers on both sides stood stock-still. Their inaction,

however, lasted but a moment, for emotion carried away all discipline, the arms fell from their

hands, and the descendants of the ancient Celts renewed on the field of battle those ties of

brotherhood which had once united their fathers.
***
However unlikely this incident may seem, it appears to be confirmed by tradition, if not by history. The

air which the rival Celts sang is, says Villemarqué,[49] common to both Brittany and "the Highlands of
Scotland." With the music before me, it seems to bear a marked resemblance to “The Garb of Old Gaul,”

composed by General Reid (1721-1807). Perhaps Reid, who was a Highlander, based his stirring march

on an older Celtic theme common to both lands.
***
[49] _Barzaz-Breiz_, p. 335. Sébillot (“Traditions de la Haute-Bretagne”, t. i, p. 346) says that he could gain nothing
regarding this incident at the village of Saint-Cast but "vague details."

***

The story is apocryphal at best, and considered a “Victorian confabulation,” ‘sentimental poppycock’ or ‘fanciful pan-celticism’ by others, who point out that Beton and Scots Gaelic are not linguistically related (although Breton and Welsh are perhaps intelligible to one another), and that common troops of the 18th century appeared to have little difficulty firing upon those much more closely related, when so ordered.

***

Kerr (Merry Melodies), vol. 3; No. 413,pg. 46.

X:1

T:In the Garb of Old Gaul

M:C

L:1/8

R:March
S:Kerr – Merry Melodies, vol. 3, No. 413  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:C

G>G|c2 c>c c2 e>d|cGEG c2 c>d|e2 e>e e>fg>f|edcd e2 e>f|g2 g>g g_bag|f2 f>f fagf|

e>dc>d egfe|d2 [Dd>][Dd][D2d2]::B>A|G>AG>A B>cB>c|d>ed>e f2 e>d|c>dc>d e>fe>f|

g>ag>a _b2(ag)|af de/f/ ge cd/e/|fedc cBAG|A>Bc>d e>fd>e|c2 [Ec>][Ec] [E2c2]:|

                       

GARBH CHNOICÍN FRAOICH, AN. AKA and see “The Rough Little Heathy Hill.”

                       

GARBH CNOICÍN FRAOIGH, AN. AKA and see “The Rough Little Heathy Hill.”

           

GARÇON VOLAGE QUADRILLE, LA. English, Quadrille (6/8 time). G Major ('A' and 'B' parts) & E Minor ('C' part). Standard tuning. AABCC. From the (Thomas) Hardy manuscript collection (19th century) of Dorset. The 'A' part is nearly the same as "Dingle Regatta," and is similar to part of an untitled quadrille in the c. 1837-1840 MS of Shropshire musician John Moore (Ashman, 1991). Raven (English Country Dance Tunes), 1984; pg. 212.

           

GARÇON VOLAGE (The Fickle Fellow). AKA and see “”Trip to Cottingham,” “The Village Boy Quadrille.” AKA - “Garcon Volange.” English (originally), Scottish, Canadian; Jig. Canada, Cape Breton. F Major (Ford): G Major (Cranford, Kerr). Standard tuning. ABC (Ford): AA’BBCAA’ (Kerr): AA’BB’CC’ (Cranford). The melody appears in the c. 1800-1850 Browne Family music manuscripts, from England’s Lake District. It appears again in the same manuscripts under the titles "Trip to Cottingham" and "The VIllage Boy Quadrille." Paul Cranford (1997) notes this is a good tune for double fiddling (melody and octave melody), and says that Angus and Archie Neil Chisholm often played it together. No relation to “La Garçon Volage Quadrille” of the Hardy manuscripts, however, “Le Garçon Volage” is a figure of the quadrille dance. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 205, pg. 79. Ford (Traditional Music in America), 1940; pg. 84. Kerr (Merry Melodies), vol. 1; No. 10, pg. 29.

X:1

T:Garcon Volage

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 1, pg. 29  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

dB|GdB GdB|Adc Adc|Bdg gfg|baa adB|GBd GBd|

Adc Adc|Bdg fef|ggg g2z::b3 g3|aaa a2z|c’3 f3|ggg g2z:||

d3 cBc|d3 cBc|d2d g2d|bag fed|c3 A^GA|c3 A^GA|ced cBA|G2 GG G||

 

GARÇONS DE LA MONTAGNE [1]. French, Bourree a 3 Temps (3/8 time). G Major. Standard tuning. AABB. Stevens (Massif Central), 1987, vol. 2; No. 21.

 

GARÇONS DE LA MONTAGNE [2], LES. French, Bourree (3/8 time). Central France, Province of Auvergne. C Major. Standard tuning. AABB. Stevens (Massif Central), 1987, vol. 2; No. 44.


 

GARDA NUA, AN (The New Policeman). AKA and see "The Tinker's Stick," "Paddy Bolster's Reel," "The Twin Brothers [1]," "Lady Cork's Reel," "The New Policeman [3]." Irish, Reel.

 

GARDEBY GANGLAT. Swedish, Walking Tune. D Major. Standard tuning. AA'BB'. "This is a 'walking tune' (ganglat) form the Swedish town of Gardeby. It is played by fiddlers as they walk to a dance, or to the market" (Reiner). Reiner (Anthology of Fiddle Styles), 1977; pg. 57.

 

GARDEN, THE.  American, Jig. Standard tuning. AABB. A c. 1800’s New England composed melody in 6/8 time from Barrand & Moody’s Northern Harmony: A Collection of Tunes by Early New England Composers (1980). Miller (Fiddler’s Throne), 2004; No. 48, pg. 39.

 

GARDEN GATE, THE. Irish, Slow Air (2/4 time). G Dorian. Standard tuning. One part. Source for notated version: Irish sculptor Patrick MacDowell 1799‑1870. Joyce (Old Irish Folk Music and Song), 1909; No. 518, pgs. 280‑281.

 

GARDEN OF BUTTERFLIES, THE. Irish. Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997).

 

GARDEN OF DAISIES [1], THE (Gort Na Noininead/Noinin). Irish, Long (Set) Dance (cut time). D Major. Standard tuning. AABC (O'Neill/1850): AA'BB' (O'Neill/1001). This once popular set dance, remarks O’Neill (1913), was derived from a slow song air which was familiar to him from his boyhood days in Ulster. He remembered one line:

***

My hook began to glitter, my flail it was in order.

***

It was not until O’Neill’s next door neighbor, Sergeant Michael Hartnett, gave him the tune as it was played where he lived, however, that O’Neill was able to obtain a full setting. As luck would have it:

***

While enjoying a steamboat excursion on the Drainage

Canal a week or so later, what should I hear on the boat

but another of our long-lost tune, played in fine style by

Early and McFadden! It had been sent them by (piper)

Pat Tuohey, who learned it from a fiddler recently

arrived in Boston, and who in turn had picked it up

from Stephenson, the great Kerry piper.

***

O’Neill states two ‘inferior’ settings appear in the Stanford/Petrie Complete Collection of Irish Music. See also note for the song “The Palatine’s Daughter,” sung to this tune. Paul de Grae believes “Garden of Daisies” was derived from the air “Sliabh Geal gCua Na Feile.”

***

In Irish tradition “Garden of Daisies” is one of the four tunes called the Traditional Sets (i.e. set dances), along with “Job of Journeywork,” “The Blackbird” and “St. Patrick’s Day.”

***

O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1797, pg. 337. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 974, pg. 167. KEENAN 1, Paddy Keenan – “Na Keen Affair.” Shamrock 1235 (78 RPM), Michael Gallagher (uilleann pipes) {c. 1920’s}.

X:1

T:Garden of Dasies, The [1]

M:C

L:1/8

R:Set Dance

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 974

Z:AK/Fiddler’s Companion

K:D

fg|a2 af gbag|fefa gfef|dcde fdec|dedc AGFG|ABcA dcAG|

FEFG ABcA|dcdf edce|1 d2 dd defg:|2 d2 dd d2||

|:A2|dcde fefg|a2 af defg|a2 af ggag|f2 fe defg|a2 af gbag|fefa gfef|

dcde fdec|dedc A2 fg|a2 af gbag|fefa gfef|dcde fdec|dedc AGFG|

ABcA dcAG|FEFG ABcA|dcdf edce|1 d2 dd d2:|2 d2 dd defg||

X:2
T:Garden of Daisies, The
R:set dance
N:Also played with c# all the way
D:Paddy Moloney & Sean Potts: Tin Whistles
Z:id:hn-setdance-4
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
fg|a2 (3agf gbag|~f3a gfef|dcde (3fed (3edc|dedc AGFG|
AB (3=cBA d^cAG|~F3G AB (3=cBA|dcdf ed (3cde|d2dc d2:|
|:(3ABc|dcde ~f3g|abaf defg|a2 (3agf gbag|fgfe defg|
a2 (3agf gbag|fefa gfef|dcde fd (3edc|dedc A2fg|
a2 (3agf gbag|~f3a gfef|dcde fd (3edc|dedc AGFG|
AB (3=cBA d^cAG|~F3G AB (3=cBA|dcdf ed (3cde|d2dc d2:|

 

GARDEN OF DAISIES [2], THE (Gort Na Noininead). AKA and see "The Palatine's Daughter." Irish, Set Dance (4/4 time). D Major. Standard tuning. AAB (Kennedy): AABB (most versions). The tune, says Bayard (1981), has the same melody as "Tatter Jack Walsh," "Savourneen Deelish," "Rough, Heathy Little Hill" (An {Garbh‑} Chnoicin Fraoigh), "So Now My Dear Johnny." Source for notated version: the great uillieann piper Patsy Tuohey [O’Neill]. Allan's Irish Fiddler, No. 113, pg. 29. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 88. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 51, pg. 14. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 388, pg. 185. O'Neill (Krassen), 1976; pg. 223. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1798, pg. 337. Roche Collection, 1983, Vol. 2; No. 275, pg. 31.

X:1

T:Garden of Daisies, The [2]

M:C|

L:1/8

R:Set Dance

S:O’Neill – Music of Ireland (1903), No. 1798

Z:AK/Fiddler’s Companion

K:D

fg | a2 af gbag | fefa gfef | dcde fd ec | dedc AGFG | ABcA dcAG |

FEFG ABcA | dcdf edce |1 d2 dd defg :|2 d2 dd d2 ||

|: A2 | dcde fefg | a2 af defg | a2 af ggag | f2 fe defg | a2 af gbag |

fefa gfef | dcde fdec | dedc A2 fg | a2 af gbag | fefa gfef |

dcde fdec | dedc AGFG | ABcA dcAG | FEFG ABcA |

dcdf edce |1 d2 dd d2 :|2 d2 dd defg ||

 

GARDEN OF DAISIES [3], THE. Irish, Set Dance {?} (2/4 time). A Minor. Standard tuning. AB. Petrie prints another version of this setting in the same volume, in the major tonality, as an untitled tune, No. 20, pg. 5. Stanford/Petrie (Complete Collection), 1905; No. 609, pg. 153.

X:1

T:The garden of daisies

M:2/4

L:1/8

R:Set Dance

B:The Complete Collection of Irish Music, Stanford/Petrie, no. 609

K:Am

c/d/|e>f d>e|c>e d/c/B/c/|AA/B/ c/>A/B/>^G/|A>=G E z|

EE E/F/E/D/|C>D E/F/G/E/|AA/B/ c/>A/B/>G/|A3 c/d/|

e>f d>e|c>e d/c/B/c/|AA/B/ c/>A/B/>^G/|A>=G E z|

EE E/F/E/D/|CD E/F/G/E/|AA/B/ c/>A/B/>^G/|A3 E||

A>B cd|ee A2|ee d/f/e/d/|cB A/>B/c/>d/|

eE dD|cC d/c/B/c/|AA/B/ c/A/B/G/|A>G E z|

e>f d>e|c>e d/c/B/c/|AA/B/ c/>A/B/>^G/|A>=G E C/4D/4E/4F/4|

G>E A/G/E/D/|C>D E/F/G/E/|AA/B/ c/>A/B/>^G/|A3 ||

 

GARDEN OF DAISIES [4], THE. Irish, Set Dance {?} (4/4 time). Ireland, County Kerry. D Minor. Standard tuning. AB. “A Kerry tune” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 610, pg. 153.

X:1

T:Garden of Daisies, The [4]

M:C

L:1/8

N:”A Kerry tune”

S:Stanford/Petire (1905), No. 153

Z:AK/Fiddler’s Companion

K:Dmin

A>G | FEDE FGA^c | dfe^c d3e | fed^c dAAB | AGFE F2G2 |

FED>E F>GA^c | dfe^c d2e2 | fed^c dAAB | AGFE D2 ||

z2 | d3d A2A2 | d^cde f2 gf | e2c2 c=BAG | cdef g2 ag |

f>edf ed^ce | d2A2 ABAG | FEDE FGA^c | dfe^c d2 ||

                       

GARDEN OF ROSES. American, Waltz. A Minor ('A' part) & C Major ('B' part). A song hit of 1908. Learned by Arizona fiddler Kenner C. Kartchner in Salt Lake City, Utah.

                       

GARDEN OF SKYE, THE. Scottish, Air (4/4 time). A Major. Standard tuning. One part. Composed by Addie Harper of Wick. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 24.

                       

GARDEN OF WILLOWS, THE. See “Garraí na Saileog.”

                       

GARDEN POLKA. New England, Polka. F Major. Standard tuning. AAB. Miller & Perron (101 Polkas), 1978; No. 73.


                       

GARDEN SHADS. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

                       

GARDEN SHIEL. AKA and see "Miss Downie's Strathspey," "Honest Duncan." Scottish. The tune was claimed by Duncan MacIntryre (as "Miss Downie's Strathspey"), in his 1795 publication. It is sometimes attributed to Robert Petrie (as who printed it as "Garden Shiel") in his Third Collection, 1802, although Petrie himself did not claim it in his work. It was published without author credit by Gow as "Honest Duncan" in Repository, Part Second, 1802.

                       

GARDEN WALL, THE.  See “Garden Well.”

 

GARDEN WELL, GLEN CALLATER.  Scottish, Jig. G Major. Standard tuning. AAB. The tune was composed by Kirkmichael, Perthshire, fiddler and composer Robert Petrie, and was included in his Second Collection of Strathspey Reels and Country Dances, 1796. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004. Appears as “Garden Wall”). 

X:1

T:Garden Well, Glen Callater

C:R. Petrie

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 22

L:1/8

M:6/8

R:Jig

K:G

B/c/| dBG GBd| gag gdB|dBG GBG|AFD D2 B/c/| dBG GBd| gag gdB|cBc Adc|BGG G2:|

d|Tgfg cBG|Tgfg dBG|cac BgB|aAA A2f |Tgfg dBG|Tgfg dBG|FGA Ddc|BGG G2f|

Tgfg dBG| gfg dBG|cac BgB|aAA A2c | BAG cBA| dcB edc|Bcd DEF|G3 G2|]

 

GARDENER'S DAUGHTER, THE. AKA and see "Coming Home from the Bog," "Donegal Boys," “The Groves of Mt. Talbot,” "I Wish I Never Saw You," "Magic Slipper [1]," "Maud(e) Millar [2],” "McFadden's Handsome Daughter," “The Montua,” “Morrison’s (Reel) [2],” “Mrs. Smullen’s,” “My Love is Fair and Handsome [1],” "Paddy McFadden's [1]." Irish, Reel. G Major. Standard tuning. AB. Roche Collection, 1983, vol. 1; No. 135,pg. 55.

 

GARDENER’S DAUGHTER [2], THE.  AKA and see “The Milliner’s Daughter,”

 

GARDENERS’ MARCH, THE. A trade tune printed by James Aird in the 1780’s.

 

GARDENER'S SON, THE. AKA ‑ "The Willow Tree." Irish, Air (4/4 time). A Minor. Standard tuning. One part. "Versions of this song are current in England and Scotland as well as in Ireland. The English version may be seen in Chappell's Popular Music of the Olden Time, p. 522; there called 'The Willow Tree'; and the Scotch in Wood's Songs of Scotland, III. 84, 85. I give here from memory three verses as I heard them sung by the people of the south of Ireland; and I know a fourth which has the same play on the words 'thyme' and 'rue' as is found in the English and Scotch versions. The song conveys a warning to young maids not to let young men too easily steal 'this heart of mine, mine': in other words, to be cautions about too readily falling in love. As with the words, so with the air. The English and Scotch versions will be found with the words, as referred to above. Our Irish version, which is given here, was published by me for the first time in my Ancient Irish Music, with two verses of the song. Evidently all three are derived from one common origin" (Joyce).

***

When I was a maiden fair and young,

I flourished in my prime, prime,

Till a proper tall young man came in,

And stole this heart of mine, mine,

And stole this heart of mine.

***

Joyce (Old Irish Folk Music and Song), 1909; No. 381, pg. 189.

X:1

T:Gardener’s Son, The

M:C

L:1/8

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:A Minor

cB|A2 AG E2 DE|G2G2G2 Bd|e2e2d2e2|c4 E2 cd|e2e2d2e2|A2 AG E2 DE|

G2G2 G>ABd|c4 B3c|A3G EDEG|A6||

                       

GARDEN’S STRATHPSEY. Scottish, Strathspey. Credited to Peter Milne (1824-1907), a mentor and sometime playing partner of J. Scott Skinner’s, in Charles Middleton’s Selection of Strathspeys & Reels,  etc.,  arranged Expressly . . . by Peter Milne, Violinist late of Aberdeen . . .":

                       

GARDINER'S FAVOURITE [1]. AKA and see "The Bird in the Cage," "The Bloom of Youth," “Doctor Taylor,” "The Downshire Reel," “Flying Column [2],” "The London Lasses [1]," "The Maid in the Rushes," “Seamus Tansey’s,” “Streams in the Valley,” “The Sunny Banks,” "Tansey's Favourite [1]," "The Turnpike Gate [2]." Irish, Reel. G Major. Standard tuning. AABB. The tune is also similar in contour to Mulvihill’s “J. J. Gardiners.” McNulty (Dance Music of Ireland), 1965; pg. 8. Coleman Music Center CHC 009, Charlie Higgins & Jack Dolan – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists. Higgins and Dolan, originally from the Drumkeeran area of County Leitrim, knew the tune under the title “Streams in the Valley”. Both emigrated to America in 1948).   

X:1

T:Gardiner’s Favourite [1]

M:C|

L:1/8

R:Reel

K:G

DF||:G2 DG EGDE|GABG AE (3EEE|G2 DG EGAB|cedc BcAF|

G2 DG EGDE|GABG AE (3EEE|G2 DG EGAB|cedc BG G2:|

|:gd (3ddd edBG|BdBG AE (3EEE|gd (3ddd edBG|Bcdc BG G2|

gdfd edBG|BdBG AE (3EEE|c2 cB cdef|gedc BG G2:|

 

GARDINER'S FAVOURITE [2]. Irish, Reel. Ireland, County Sligo. G Major. Standard tuning AABB. Perhaps a very distanced version of #1. Source for notated version: fiddler Peter Horan (b. 1926, Kilavil, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg 66.

X:1

T:Gardiner’s Favourite [2]

M:C|
L:1/8

R:Reel

S:Flaherty – Trip to Sligo (1990)

K:G

G2 BG dGBd|eaag ef g2|~G3B dGBd|….

           

GARDNER LADS, THE. AKA – “Gardiner Lads.” English, Hornpipe. England, Northumberland. A Major. Standard tuning. AABB’. The composition is credited in Kohler’s Violin Repository (Edinburgh 1881-1885) to the great 19th century hornpipe composer and fiddler James Hill, of Tyneside, Newcastle. However, it is credited to Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler originally from Morpeth, in the 19th century William Green music manuscript. Source for notated version: William Green ms., in the Morpeth Chantry Bagpipe Museum [Dixon]. Dixon (Remember Me), 1995; pg. 70 (appears as “Gardiner Lads”).

                       

GARDNER’S FAVORITE. AKA and see “The Ladies’ Pantalettes.” Irish, Reel. The tune was recorded under this title by the flute and fiddle duet of McKenna and Morrison in 1928. Philippe Varlet suggests the title refers to Irish musician John J. Gardiner.

                       

GARELOCH, THE. Scottish, Strathspey. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 100, pg. 13.

X:1

T:Gareloch, The

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 100  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

D|G2 D>C B,<G G,>G|c>BA>G F<D D>F|G>BA>c B>dc>e|d<g d>c B<G G:|

|:d|g>dB>d g>dB>d|c>BA>G F<D D>F|(3GAB (3ABc (3Bcd (3cde|d<g d>c B<G G:|

 


GAREY COTTAGE. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by S. Duncan. Kerr (Merry Melodies), vol. 1; No. 3, pg. 14. MacDonald (The Skye Collection), 1887; pg. 141. Stewart-Robertson (The Athole Collection), 1884; pg. 217.

X:1

T:Garey Cottage

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:F

c/B/|A<F A/B/c A2 F>A|B>G B/A/G/F/ E<G G>B|A<F A/B/c A2 F<A|B<d c>B A<FF:|

e|~f>c f/g/a/g/ f2 c<f|b>ag>f e<g g>a|~f>c f/g/a/g/ f2 c<f|e<c b>g a<f f>a|

~f>c f/g/a/g/ f2 c<f|b>ag>f e<g~gf/e/|d<bc<a B<gA<f|d/c/B/A/ G<c A<FF||

 

GARFIELD. Old-Time, Breakdown. A Major. Standard tuning. AABB. The 'B' part is very similar to that of some versions of "Breakin' Up Christmas." Source for notated version: Bruce Green [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 94.

 

GARFIELD VALE. Canadian, Reel or Hornpipe. Canada, Cape Breton. D Major. Standard tuning. AA’BB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 96, pg. 28. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Rounder Records, “Jerry Holland” (1976).

 

GARFIELD'S BLACKBERRY BLOSSOM. Old‑Time, Breakdown. USA, northeast Ky. G Major. Standard tuning. AABB. From legendary northeast Ky. fiddler Ed Hayley, although also played by Kentucky fiddlers Buddy Thomas and J.P. Fraley. The tune was known simply as “Blackberry Blossom(s).” Reed Island Rounders - “Wolves in the Wood” (1997).

X:1

T:Garfield's Blackberry Blossom

M:4/4

L:1/8

K:G

|:gagf gagf|dcBd cB G2|gagf gagf|d2 [B2g2] [B2 g2] ga|b2 a2 gagf|dcBd cB G2|

GDBc d2 cB|A G2 G G4:|

|:{D}G2 Bc d2 [B2g2]|dcBd cB G2|{D}[G,2G2] Bc d2 cd|G2 GF G4|

{D}[G,2G2] Bc d2 g2|dcBd cB G2|GAGF DCB,C|[B,2D2] GF G4 :|

 

GARFIELD’S FUNERAL MARCH. AKA and see “Garfield’s March.”

 

GARFIELD'S HORNPIPE. See "President Garfield's Hornpipe."

 

GARFIELD’S MARCH. AKA - “Garfield’s Funeral March.” Old-Time. Originally a piece of sheet music called “Garfield’s Funeral March,” the tune dates from the 1881 assassination of President James Garfield (Wolfe, 1997). The tune was recorded by Kanawha County, West Virginia, fiddler Clark Kessinger (1896-1975) for Brunswick in 1928 (#238), learned from local W.Va. fiddler Abe Glenn in 1903 when Kessinger was seven (Charles Wolfe, Mountains of Music, John Lilly ed., 1999, pg. 28). Rounder CD 0377, John Masters - “Traditional Fiddle Music of Kentucky: Along the Kentucky River.”

           

GARIBALDI GALOP.  English, Galop (2/4 time). England, Northumberland. G Major (‘A’, ‘B’ and ‘C’ parts) & D Major (‘D’, ‘E’, ‘F” and ‘G’ parts). Standard tuning. AA’BB’CCDD’EEFFGG’. Composed by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler, originally from Morpeth, Northumberland. Graham Dixon (1995) suggests the tune may have been composed for Giuseppe Garibaldi’s (1806-1882) triumphal visit to England in 1864, and notes the Italian patriot was a very popular figure. Source for notated version: an unattributed 19th century manuscript in the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 51.

           

GARICK REEL. Scottish, Reel. The melody appears under this title in the Gillespie Manuscript of Perth (1768). Carrick Reel??? The title may refer to David Garrick, who managed the theatre at Drury Lane from 1747-1776. Garrick was accounted the finest actor of his time and attempted historically accurate productions.

                       

GARISSON FROLICK. English, Reel. G Major. Standard tuning. AABB. Huntington (William Litten’s), 1977; pg. 12.

                       

GARLAND [1], THE. AKA and see "Upon a Summer's Day."

 

GARLAND [2?], THE. English, Reel. England, Northumberland. G Major. Standard tuning. AAB. Seattle (William Vickers), 1987, Part 3; No. 468.

                       

GARLAND DANCE, THE. English, Scottische (?). D Major. Standard. AAB. Source for notated version: contained in the 19th century Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles [Kershaw]. The Joseph Kershaw Manuscript, 1993; No. 64.

                       

GARLAND OF ROSES. Irish (?), Jig. D Major. Standard tuning. AABB. O’Farrell has no note regarding provenance. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 31.

X:1

T:Garland of Roses

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:D

A | AFA Add | f>ed dcB | AFA A>BA | Ad>F FEA | AFA Add | f>ed afd |

B>cd AdF | E>DE D2 :: d/e/ | f>ed FAd | fed FAd | fed cac | Bed cAA |

dcd BGd | AFd AFD | d>cd BGd | AFd AFD | FAd dfa | ABc d2 :|

                       

GARLAND OF LOVE, THE. English, Air or Waltz. D Major. Standard tuning. AABB. A pretty air that can be used as a waltz, although the second part is a bit irregular, having 18 bars instead of the usual 16, as in the first part. 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. 88.

 

GARLAND WALTZ. American, Waltz. G Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 135.

X:1

T:Garland Waltz

M:3/4

L:1/8

R:Waltz

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

[G,2D2]|[D3B3] [Dc][DB][DA]|[D3B3] [Dc][DB][DA]|[D2B2]G2E2|[G,2D2]G2B2|

[D3d3] (edc)|[D3d3] (edc)|d2(f2e2)|d2(c2A2)| [G,2D2]|[D3B3] [Dc][DB][DA]|

[D3B3] [Dc][DB][DA]|[D2B2]G2E2|[G,2D2]G2B2|[D4d4] [Dd][Dd]|[D2d2][D2c2][D2A2]|

[G,2G2][D2B2][D2A2]|[G,3G3][G,2G2]::(Bc)|(d2c2)d2|e4 B2|(d2c2)z2|z2 (A2B2)|

(c2B2)c2|d4A2|(B6|B2)z2d2|g2(f2g2)|(a2g3)d|(f2e2)z2|z2z2e2|(d2f2)e2|(d2c2)A2|

G2 GA(GF)|(G2G2):|

                       

GARMOT SMIDDY. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. D Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Source for notated version: Emmett Hughes (b. 1921, Dromore, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 75. WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).


                       

GARRAÍ NA bhFÉILEÓIG (The Honeysuckle Garden). AKA and see “The Boys of Ballysimon,” “Brian the Brave [1],” “Carolan’s Dream,” “Hawke’s Hornpipe,” “Molly McAlpin,” “Molly Mac Alpin,” “O’Carolan’s Farewell to Music,” “Poll Ha’Penny,” “Remember the Glories of Brian the Brave,” “The Stranger [1].” Irish, Hornpipe. A Mixolydian. Standard tuning. Bobby Casey - “Taking Flight.” Gael Linn CEF 114, Noel Hill & Tony MacMahon - “Í gCnoc na Graí.” Shanachie 79006, Mary Bergin - “Feadoga Stain.”

X:1

T:Poll Ha'Penny

T:Paul Halfpenny

T:Garra\'i na bhF\'eile\'og

R:hornpipe

Z:id:hn-hornpipe-26

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:Amix

(3GAB|=cAAG A2 (3AB=c|(3d=cB (3AGF G2 (3B^cd|ed^cA d^cAG|~A3G A2de|

~f3d ~e3c|d2 (3Bcd efge|aged (3=cBA GB|~A3G A2:|

|:ef|~g3f gfef|g2ga gedg|eaag ~a3g|eaag a2ag|

~f3d ~e3c|d2 (3Bcd efge|aged (3=cBA GB|~A3G A2:|

"Version 2:"

AB|=cAAG A2GA|dcAF G2 (3Bcd|edcA dcAG|A2 (3AAA A2ag|

~f3d efec|d2 (3Bcd efge|agfd =cAGE|A2AG A2:|

|:ef|gfga gedB|=cdef gafg|e2a2 abag|e2a2 abag|

~f3d efec|d2 (3Bcd efge|agfd =cAGE|A2AG A2:|

 

GARRAÍ NA SAILEOG (The Garden of Willows). AKA and see “Miss Galvin,” “Mrs. Galvin’s Favourite,” “The Woodford Fling.” Irish, Fling (Reel). G Major. Standard tuning. AB. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willy Clancy), 1993; No. 85, pg. 78. Piping Pig Records PPPCD001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996).

 

GARRÁN AN CHOLÁISTE. AKA and see “The College Groves.”

 

GARRÁN BUI, AN. AKA and see “The Yellow Horse.”

 

GARRANMORE. Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 18.

 

GARRANTA GLASA MHEIRICEÁ (The Green Fields of America). AKA and see “Green Fields of America [1].”

 

GARRANTA SAILÍ, NA (The Sally Gardens). AKA and see “The Sally Gardens.”

 

GARRÁIN GHLASA NA hÉIREANN. AKA and see "The Green Groves of Erin."

 

GARRÁIN GHNÍOMH GO LEITH. AKA and see "The Groves of Gneeveguillia."

 

GARRAN AN CHOLAISTE. AKA and see "The College Grove."

 

GARRETT BARRY’S (HORNPIPE).  Irish, Hornpipe. A hornpipe setting of “Garret Barry’s Jig.” Green Linnet GLCD 3002, Kevin Burke & Jackie Daly – “Eavesdropper” (1981).

 

GARRETT BARRY{’S JIG} (Gearóid de Barra). AKA and see) "The Ladies' Fancy [6],” "Tune the Fiddle.” Irish, Double Jig. D Mixolydian/Major (Flaherty, Sullivan): D Mixolydian (Harker/Rafferty, Mallinson, Mitchell). Standard tuning. AABB (Flaherty, Mallinson, Sullivan): AA’BB (Mitchell): AABB’ (Harker/Rafferty, Mitchell). Garrett Barry was an influential blind piper from Inagh, County Clare, born to the Irish-speaking community at the height of the Great Famine in 1847. Unfortunately, Barry was permanently blinded by malnutrition and famine sickness as a result of the famine, but he was given the opportunity to make his livelihood through music and undertook the uilleann pipes.  He remained a piper until his death in 1899, and although died in the Ennistymon Poor House, he was successful in supporting himself for his lifetime among the farming communities of West Clare. Pat Mitchell says his “memory is very much alive in the locality to the present day.” In addition to the jig that bears his name, he is remembered in present day dance repertoire by “Garrett Barry’s Mazurka” and “Garrett Barry’s Reel,” and he is associated with the tunes “I Buried My Wife and Danced On Top of Her” and “The Humours of Glen,” all of which Gearóid Ó hAllmhuráin points out are “still part of the vernacular folk tradition in Clare.” There are two main versions of the tune played in modern sessions: the first (X:1, below) is in ‘D’ mixolydian, while the second (X:2, below) is a version popularized by fiddler Kevin Burke in the dorian mode. “Sergeant Early’s Jig” is a related melody. “Garret Barry’s Hornpipe” is a the name given to the hornpipe pipe setting of “Garret Barry’s Jig.” Sources for notated versions: flute player Sonny McDonagh (b. 1926, Rinnarogue, Bunninadden, Co. Sligo) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare), who had the tune from his father who had learned it from Garrett Barry himself [Breathnach, Mitchell]; Chieftains [Sullivan]; Na Filí (1971 recording) [Miller & Perron]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]; adapted from a recording by Bobby Gardiner [O’Malley]. Breathnach (CRÉ I), 1963; No. 46, pg. 19. Flaherty (Trip to Sligo), 1990; pg. 123. Harker (300 Tunes from Mike Rafferty), 2005; No. 223, pg. 68. Mallinson (Enduring), 1995; No. 48, pg. 21. Mitchell (Dance Music of Willie Clancy), 1993; No. 36, pg. 49 & No. 59, pg. 64 (two versions). Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 21. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 106, pg. 53. Sullivan (Session Tunes), vol. 3; No. 9, pg. 4. Claddagh 4CC 39, “The Pipering of Willie Clancy vol. 2” (1983). Columbia CAL505-1 (78 RPM), Paddy O’Brien (195?. Appears as “Garret Barry’s Favorite”). Green Linnet GLCD 3002, Kevin Burke & Jackie Daly – “Eavesdropper” (1981). Larraga MOR1302, Mike Rafferty – “Speed 78” (2004). Paddy Canny – “Milestone in the Garden” (reissue of original 1959 78 RPM recording). Gearóid Ó Allmahuráin (with Martin Hayes) – “Traditional Music from Clare and Beyond.”  Tara 3019, Davy Spillane - “Atlantic Bridge” (1987. Appears as part of “Tribute to Johnny Doran”).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Garret Barry’s (Jig)

M:6/8

L:1/8

K: D mix
|: DEF G2G | AGE c2c | dcA d2e | fed cAG | F2F GFG |

AGE cde | dcA GEA |1 DED A,B,C, :| 2 DED D3 ||

dcA d2e|fed (3efg e|dcA c2d|efd ecA|

dcA d2e|fed (3efg e|dcA GEA|DED D3||

X2

T:Garret Barry’s

M:6/8

L:1/8

R:Jig

S:Kevin Burke

Z:AK/Fiddler’s Companion
K:D Dorian

DCD ~G3|AGA c2A|dcA d2f|{g}fed cAG|~F3 ~G3|

AGA cde|dcA GEA|1~D3 A,3:|2 ~D3 D2z||:dcA d2e|

(3fga f  (efe)|dcA c2d|egc ecA|dcA d2e|(3fga f (efe)|

dcA GEA|1 ~D3 D2z:|2 ~D3 A,3||

 

GARRET BARRY’S MAZURKA. AKA and see “Sonny’s Mazurka.” Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie Clancy, vol. 1” (1980).

 


GARRETT BARRY’S REEL. AKA and see “Dennis Murphy’s (Reel) [1],” “Mr. McLeod’s.” AKA – “Dennis Murphy’s Miss McLeod’s.” Irish, Reel. G Major. Standard tuning. AABB.  Garrett Barry (1847-1899) was a blind piper from Inagh, County Clare, who died in the Ennistymon Poor House around the year 1900, “whose memory is very much alive in the locality to the present day” (Mitchell). It is said that it was Barry’s habit to pair this tune with the “Virginia Reel [6].”  Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 23, pg. 42. Green Linnet SIF 1157, “John Williams.” Music at Matt Molloy’s. Green Linnet SIF 3111, The Bothy Band – “Live at the BBC, ’76, ’78.” GlobeStyle: CDORBD 084, Pat Mitchell – “Gentlemen Pipers” (1994). Topic: 12TS294 (Ossian 71), Pat Mitchell – “Uilleann Pipes” (1976).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Garrett Barry’s Reel

R:reel

N:A version of “Mrs. McLeod’s”. See also #491, #55

D:Music at Matt Molloy’s

Z:id:hn-reel-663

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:G

~G3e dGBd|edBe dBA2|~G3B dG (3Bcd|AEE2 GED2|

~G3B d2Bd|edcB cdeg|edcB cde2|1 gedB AGEF:|2 gedB agef||

|:~g3b agf2|edBe dG (3Bcd|g2gb agf2|eaag agef|

~g2bg agf2|edBe dG (3Bcd|edcB c2ef|1 gedB age2:|2 gedB AGEF||

 

GARRICK'S DELIGHT. English, Hornpipe. B Flat Major. Standard tuning. AAB. Perhaps a reference to the English thespian and theater manager David Garrick. Carlin (Master Collection), 1984; No. 23, pg. 25.

 

GARRY HILLS.  Scottish, March (2/4 time). A Major. Standard tuning. AB. Morison (Highland Airs and Quicksteps, vol. 1), c. 1882; No. 30, pg. 16.

X:1

T:Garry Hills

M:2/4

L:1/8

R:March

S:Morison – Highland Airs and Quicksteps, vol. 1  (c. 1882)

Z:AK/Fiddler’s Companion

K:A

E>E c>B/2A/4 | Bc/e/ cB/A/ | E>E cB/A/ | A/F/E F>E | EE/E/ cB/A/ | B/c/e cB/A/ |

Bc/d/ cB/A/ | AF/E/ E2 || e>e c/B/A | e>e c/B/A | e>e c/B/A |

cB/B/ Bc/d/ | e>e c/B/A | BA/B/ cB/A/ | B/c/d cB/A/ | A/F/E E2 ||

 

GARRYOWEN (Garad-Eogan Le Atrugad). AKA ‑ "Garry/Gary Owen." AKA and see "Auld Bessy," "Battle of Limerick," "The Bivouac (of the Dead)," "Bosom that Beats," "Daughters of Erin," "Finnegan's Dream," "Hurrah for the Women of Limerick," "Let Bacchus' sons not be dismayed," "O! Friendship will smile,” "The Scotch Laddie," “Walk of the Twopenny Postman,” "We May Roam Thro' This World." Irish (originally), Scottish, English; Jig and (in England) North‑West Morris Dance Tune. G Major (most versions): F Major (Gow, Harding): A Major (Kerr, Plain Brown): D Major (O’Farrell, Russell). Standard tuning. One part (Russell): AAB (Gow): AABB (most versions): AABB' (S. Johnson, Phillips): AABBCCDDEE (Kennedy). "Garryowen," the name of a suburb of Limerick, was written c. 1770‑1780 in honor of the moneyed young hooligans who ran riot in the Irish county at the time. Garryowen translates as “Owen’s garden” and it was a general rendezvous for those with leisure time on their hands, situated on the slope of a hill in what was then the outskirts of the city of Limerick. The elderly drank together under the shade of trees, while young people sported with ball games and athletic contests on the green. It was a well-known trysting place. Later Owen’s Garden became the scene of darker assignations, and began to acquire a reputation for high spirits, more abandoned drinking, fighting, and vandalism. According to old texts, the ‘young gentlemen’ amused themselves with parties at night in which the heads of geese were wrung, followed by vandalism where street lamps would be broken, watchmen assaulted, local homeowners harassed and passers-by accosted.  The local goose population was especially hit hard. At some point one wag composed the following verses, which entered tradition:

***

Let Bacchus’ sons be not dismayed

But join with me, each jovial blade

Come, drink and sing and lend your aid

To help me with the chorus:

***

Chorus:

Instead of spa, we'll drink brown ale

And pay the reckoning on the nail;

No man for debt shall go to jail

From Garryowen in glory.

***

We'll beat the bailiffs out of fun,

We'll make the mayor and sheriffs run

We are the boys no man dares dun

If he regards a whole skin.

***

Our hearts so stout have got no fame

For soon 'tis known from whence we came

Where'er we go they fear the name

Of Garryowen in glory.

***

Samuel Bayard finds the earliest printed appearance of the tune in James Aird’s 1787 Collection under the title "Auld Bessy.” According to the Fleischmann anthology, however, the first printed occurence appears to be in Edward Light's Introduction to Playing the Harp-Lute & Apollo-Lyre (London c. 1785) as "Cory Owen." A jig called “Newmarket [1],” from Northumbrian piper John Peacock, appears in his 1805 collection, basically the first part of the “Garryowen” tune with sets of variations. This northern English version predates Peacock’s collection though, as it appears in the music manuscript collection of James Biggins, of Leeds, England, dated 1779. Another early Irish printing is in O’Farrell’s Pocket Companion. After its use in a pantomime called Harlequin Amulet, produced in 1800, the jig gained great popularity as a fife and fiddle tune. It is sometimes (mistakenly) attributed to ‘Jackson of Cork’, a reference to the famous 18th century uilleann piper and composer Walter “Piper” Jackson. Doolin, north County Clare, tin whistle player Micho Russell described it as a “very old jig,” often played for the dance called the ‘plain set’ in Clare and surrounding Irish counties.

***

Military use of “Garryowen” as a march tune was quite early. The melody was the designated regimental march of the Royal Irish Regiment, organized in 1684 from Irish pikemen and musketeers by the Earl of Granard to fight for King William or Orange in the Williamite Wars (although its adoption may not date from that era). This unit distinguished itself at the Battle of Namur (Netherlands) in 1695 during the War of the Grand Alliance, where a grateful William granted them the title of "The Royal Regiment of Foot of Ireland.” Additionally, in recognition of its deeds on this occasion, King William conferred the right of displaying the badge of the Harp and Crown, and that of the Lion of Nassau, with the explanatory legend.

***

The tune was adopted as a marching air in the United States by Irish immigrants who formed units in their adopted country in the mid-19th century, and from there it probably found its way into more general use in the American military. For example, the famous “Fighting 69th” Infantry was first organized as a New York City militia unit early in 1851, known locally as the Second Regiment of Irish Volunteers. They chose “Garryowen” as their official regimental marching song. Since the regiment saw much active and intense duty in the Civil War it is natural to assume that its marching song was well-known in the Army of the Potomac. “Garryowen” was also adopted as a favorite marching air by General George Custer's 7th Cavalry, an association which helped to popularize the jig throughout country following Custer’s demise. Custer was one of the youngest Generals in the Civil War, where he made his mark, and may have well been familiar with “Garryowen” during that conflict. Another suggestion has: "It had been said that the 7th acquired the song through Captain Miles Keogh, an Irishman and a former member of the Papal Guard, but it seems unlikely that (its American use) can be ascribed to a particular person, since 'Garryowen' appeared in a number of Civil War songsters, and was therefore presumably well known to any number of American soldiers in 1861‑1865 ‑‑ dates preceding Keogh's association with the 7th" (Winstock, 1970; pgs. 102‑104). The 7th Regimental history gives that Custer heard the tune sung by Irish troopers who employed it as a drinking song. He liked the cadence, and soon began to hum the tune himself, perhaps because it “accentuates the cadence of marching horses.” It was adopted as the regimental song soon after Custer arrived at Fort Riley, Kansas, to take over command of the unit. “Garryowen’s” associations with cavalry units in the American West survived to the mid-20th century, and gained added currency when director John Ford used it as one of the musical themes in his acclaimed film “The Searchers,” starring John Wayne. “Garryowen” became the Official Song of the American 1st Calvary Division in 1981.

***

The melody was cited as having commonly been played at Orange County, New York country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly) and it was used as a tune for a single step in the English North‑West morris dance tradition. Queen Victoria requested the tune of piper Thomas Mahon (along with “St. Patrick’s Day” and “Royal Irish Quadrilles”) during her first visit to Ireland in 1849, and the piper was thus “surprised when he learned that not only the Queen, but the Prince Consort was familiar with the best gems of Irish music” (O’Neill, 1913). His performance pleased the Queen and she directed that he might thenceforth bear the title “Professor of the Irish Union Bagpipes to Her Most Gracious Majesty, Queen Victoria.” Thomas Moore used the melody for one of his songs.
***

Source for notated version: a c. 1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Adam, 1928; No. 26. Aird (Selections), vol. 3, 1788; No. 600 (appears as "Auld Bessy"). American Veteran Fifer, 1902; No. 59. Carlin (The Gow Collection), 1986; No. 502 (appears as "Gary Owen"). Cole (1000 Fiddle Tunes), 1940; pg. 63. Ford (Traditional Music in America), 1940; pg. 118. Gow (Complete Repository), Part 2, 1802; pg. 30. Harding's Original Collection, 1928; No. 7. Harding's All‑Round, 1905; No. 187, pg. 59. Howe (Diamond School for the Violin), 1861; pg. 49. Jarman (Old Time Fiddlin' Tunes), No. or pg. 16. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 12. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 50, pg. 13. Kerr (Merry Melodies), vol. 1; No. 17, pg. 37. Mattson & Walz (Old Fort Snelling Instruction Book for the Fife), 1974; pg. 61. O’Farrell (Pocket Companion), c. 1805; pg. 7. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 971, pg. 180. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 1001, pg. 172 (includes variations). Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 365 (appears as "Gary Owens"). Plain Brown Tune Book, 1997; pg. 53. Robbins, 1933; No. 69. Russell (The Piper’s Chair), 1989; pg. 23. Ryan’s Mammoth Collection, 1883; pg. 94. Saar, 1932; No. 5. Sweet (Fifer’s Delight), 1964/1981; pg. 22. Trim (Thomas Hardy), 1990; No. 52. Wade (Mally’s North West Morris Book), 1988; pg. 4. Winstock (Music of the Redcoats), 1970; pg. 103. Edison 50870 (78 RPM), Joseph Samuels, 1919 (appears as 1st tune of "St. Patrick's Day Medley"). Maggie’s Music MM220, Hesperus – “Celtic Roots.” PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996).

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:Cary Owen (sic)

M:6/8

L:1/8

R:Jig

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:F

f|~fcB ~AGF|A>BA A2f|~fcB ~AGF|GAG G2f|~fcB ~AGF|

ABA A2d|c>de f2A|GAG G2:|

A/B/|(A/B/c)A ~c2A|c2A c2f|d2B d2B|d2B d2e|f2g {fg}a2g|f2d c2A|

cde f2A|GAG G2 A/B/|{AB}c2A {AB}c2A|{AB}c2A c2f|d2B d2B|

d2B d2e|f2g {fg}a2g|f2d c2A|cde f2A GAG G2||

X:2

T:Garryowen

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 1001

Z:AK/Fiddler’s Companion

K:G

g/f/|edc BAG|B>cB Bgf|edc BAG|ABA Agf|edc BAG|B>cB B2 B/c/|def gdB|A>BA A2:|

|:B/c/|d2B d2B|dec dgf|e2c e2c|efd e2f|g2a b2a|gfe edB|def gdB|A>BA A2:|

|:g|e/f/ge dBG|BGB Bgf|e/f/ge dBG|AFA Agf|e/f/ge dBG|BGB BAB|def gdB|ABA A2:|

|:B/c/|dBg dBg|dBg d2g|ecg dcg|ecg e2f|g2a b2a|gfe dcB|def gdB|ABA A2:|

|:B/c/|d2B g2B|b3 bag|f2g a2b|c’ba gfe|d2B g2B|b3 bag|def gdB|ABA A2:|

|:c/B/|A2B c2c|B2c d2d|e/f/gd gbd|e/f/gd e2f|g2d b2d|gfe dcB|def gdB|ABA A2:|

X:3

T:Cory Owen (sic)

M:6/8

L:1/8

S:Button & Whitaker’s Selection of Dances, Reels, Waltzes No. 1 (undated, early 19th S:century)

Z:AK/Fiddler’s Companion

K:G

g/f/ | edc BAG | B>cB Bgf | edc BAG | [F>A>][GB][FA] [F2A2]g/f/ |

edc BAG | B<cB B2d | def g2 [GB] |   [F>A>][GB][FA] [F2A2] :|

|: c | B/c/dB B/c/dB | B/c/dB d2g | c/d/ec c/d/ec | c/d/ec e2f |

g2a b2a | g2e edB | def [B2g2] [GB] | [F>A>][GB][FA] [F2A2] :|

 

GARSCUBE HOUSE. Scottish, Strathspey. B Flat Major. Standard tuning. ABB. Composed by "A Lady" (Gow). Garscube House was a manor in Glasgow, situated on the River Kelvin. In Gow’s time it was the seat of Sir Ilay Campbell (1734-1823) of Succoth, 1st Baronet, and his wife Susan Mary Murray, whom he married in 1765. Garscube Houe was replaced by another mansion in 1827 designed by architect William Burn (1789-1870) in the style of an Elizabethan manor and survived into the 1950’s. Carlin (The Gow Collection), 1986; No. 61. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 13.

X:1

T:Garscube House

M:C

L:1/8

R:Strathspey

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:Bb

B|F<BD<B F<(B,B,)F|E>GF>D E(CC>)B|F<BD<B F(B,B,)F|E<G”tr”F>E D(B,B,)B|

F<BD<B F>(B,B,>)F|E<G”tr”F>D ECCD|B,>DFG B>FGg|fB”tr”f>e d(BB)||

d/e/|f<Bf>d d(cc)d/e/|f<Bf>d f<Bb>g|f<Bf>d d(cc)d/e/|f<ed>c dBBd/e/|

f<Bf>d d(cc)d/e/|f<Bf>d f<Bb>g|f<Bf>d d(cc)d/e/|f/e/.d/.c/ “tr”B>A B(B,B,)||

                       

GARSTER'S DREAM. Shetland, Jig. G Major. Standard tuning. AABB. This tune is known as a Trowie (Fairy) tune from the Shetland Island of Fetlar (which means 'the fat isle'), which was heard by a man named Garster in a dream (or, as another version has it, coming from a hole in the ground) while resting by a Trowie Knoll when he was coming home from a wedding. The tune was first noted by J.T. Hoseason in December, 1862, and his version includes "hesitations," which may indicate that this tune, like some other Shetland tunes, was actually played in a rhythm somewhere between 2/4 and 6/8. The tune is still popular today, though in strict jig time (Cooke, 1986). The tune appears in J. Hoseason's Manuscript and the Shetland Folk Society's Da Mirrie Dancers. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 12. Anderson (Ringing Strings), 1983; pg. 28. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 26 (a and b), pg. 76. Shanachie 79002, "The Boys of the Lough" (1973).

X:1

T:Garster’s Dream

M:6/8

L:1/8

R:Jig

S:Jay Ungar

K:G

DEF | [G,2G2]B BAB | cdc BAG | FGA AFA | AdB AF(D |

G2)B BAB | cdc BAG | F2D DEF | [G,3G3] :|

|: def |g2g gdB | A2A AGE | g2g gdB | d2d def | g2g gdB |

AcB AGE | G2 E DEF | [G,3G3] :|

                       

GARTAN LULLABY. AKA – “Gartan Mother’s Lullaby.” Irish, Air or Waltz. D Major. Standard tuning. One part. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 68. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 140. Tradition TLP 1024, Mary O'Hara – “Songs of Ireland” (1958).

                       

GARTER, THE. AKA and see "King James's March," "James the Second's March," “Jenny, Come Tie My Cravat [1].”

                       

GARTHLAND('S). Scottish, Strathspey; English, Reel. England, North‑West. G Major. Standard tuning. AB (Cole, Knowles, Skye): AAB (Athole, Gow, Hunter): AABB' (Kerr). Composed by James MacDonald, a contemporary of Niel Gow who earned his living playing and composing. The present seat of the MacDowall clan is at Barr Castle, Garthland, Lochwinnoch, Renfrewshire, Scotland, and the caput baroniae is at Garthland Mains on the Rhinns of Galloway. The melody also appears in the 1840 music manuscript collection of Cumbrian musician John Rook. Cole (1000 Fiddle Tunes), 1940; pg. 125. Gow (The Second Collection of Niel Gow’s Reels), 1788; pg. 1. Hunter (The Fiddle Music of Scotland), 1988; No. 77. Kerr (Merry Melodies), vol. 2; No. 110, pg. 14. Knowles (Northern Frisk), 1988; No. 76 (appears as "Garthland"). MacDonald (The Skye Collection), 1887; pg. 86. Ryan’s Mammoth Collection, 1883; pg. 165. Stewart-Robertson (The Athole Collection), 1884; pg. 174.

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:Garthlands

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection   (1884)

Z:AK/Fiddler’s Companion

K:G

D | G2 B>G B<d g2 | G2 BA/G/ F<A A>B | G2 B>G B<d g2 | c<A BA/G/ D<GG :|

d/c/ | B<d d>g ag/f/ g2 | B<G d>G F<A Ad/c/ | B<d d>g ag/f/ g2 | c>A de/c/ B<G Gd/c/ |

B<d d>g ag/f/ g>c | B<G d>G F<A AB/c/ | d>cB>A B>G F>E | F<D de/c/ B<GG ||

X:2

T:Garthland’s Strathspey

M:C
L:1/8

R:Strathspey

S:Gow – Second Collection of Strathspey Reels (1788)

Z:AK/Fiddler’s Companion

K:G

D|G2 BG B<d g2|G2 {c}BA/G/ FAAB|G2 BG B<d g2|c<A {c}BA/G/ DGG:||

d/c/|Bddg {b}ag/f/ “tr”g2|B<G d>G FA Ad/c/|Bddg {b}ag/f/ “tr”g2|cA de/c/ B(G G)d/c/|

Bddg {b}ag/f/ g>c|B<G d>G F(A A)B/c/|{e}d>cBA .B(G.F>E)|FD de/c/ BGG||

X:3

T:Garthlands, The

M:C
L:1/8

R:Strathpsey

S:John Rook’s music manuscript collection (Cumbria, 1840)

K:G
D|”tr”G2 c/B/A/G/ B<d “tr”g2|G2 c/B/A/G/ FAAB|G2 BG B<d g2|(e/d/c/B/) c/B/A/G/ DG G:||

d/c/|Bddg b/a/g/f/ “tr”g2|.BG.dG FA Ad/c/|Bddg b/a/g/f/ g2|cA d/e/d/c/ BG Gd/c/|

Bddg b/a/g/f/ gd|B>Gd>G FA AB/c/|d>cB>A B>GF>E|F>D de/c/ BGG||

                       


GARTHLAND HOUSE. Scottish, Strathspey. B Flat Major. Standard tuning. AAB. Composed by Robert 'Red Rob' Macintosh, according to MacDonald. MacDonald (The Skye Collection), 1887; pg. 193. Petrie (Collection of Strathspey Reels and Country Dances), 1790; pg. 19.

X:1

T:Garthland House

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:Bb

D/E/ | F>G F<D B,D/E/ FD | F>G F<D G/F/E/D/ CD/E/ | F>G F<D F>G B>c|

dB e/d/c/B/ FBB :| g | fB e/d/c/B/ F>BD>B | fB e/d/c/B/ gccg | fB e/d/c/B/ F<BD<B (A/B/c) Fe dBBg |

fB e/d/c/B/ FBDB | fB e/d/c/B/ g>cc<e | d<fe<g d<f c>d | F>GB>c dBB ||

X:2

T:Garthland House Strathspey

C:Robert Petrie (?)

%MacDonald in The Skye Collection attributes this tune to R. Macintosh -SW

S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 3/20/04

N:Petrie's First Collection, page 19

L:1/8

M:C

R:Strathspey

K:Bb

D/E/ | F>GF<D B,D/E/ FD | F>GF<D G/F/E/D/ CD/E/ | F>GF<D F>GB>c | dB e/d/c/B/ FBB :|

g | fB e/d/c/B/ F>BD>B | fB e/d/c/B/ gccg | fB e/d/c/B/ F<BD<B | (A/B/c) Fe dBBg |

fB e/d/c/B/ FBDB | fB e/d/c/B/ g<cc<e | d<fe<g d<fc<d | F>G B>c dBB |]

                       

GARTH’S FIRE-SIDE.  Scottish, Reel. G Dorian. Standard tuning. AABB. Composed by Robert Petrie (1767‑1830), a native of Kirkmichael, Perthshire, who was employed as a gardener at Troup House. He was an excellent fiddler and had a reputation as a profligate and non‑conformist, but is reputed to have won either a 'silver bow' or a cup (depending on the story) at a competition at Edinburgh in 1822. There is no evidence that the prize ever appeared in Kirkmichael, however. Petrie composed many tunes and published four collections in his lifetime. “Garth’s Fire-Side” appears in his Fourth Collection of Strathspeys, Reels, Jiggs and Country Dances (Edinburgh, 1805). The title perhaps refers to Garth House, a mansion on the left bank of the River Lyon, at the eastern end of Glen Lyon in Perth and Kinross. It was the birthplace of Major-General David Stewart (1772-1829), Governor of St. Lucia and author of Sketches of the Highlanders, and later owned by Sir Archibald Campbell (1769-1829). After Petrie’s day, in 1838, it was rebuilt into a gothic style mansion. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 21.

X:1

T:Garth’s Fire-Side

M:C|

L:1/8

R:Reel

C:Robert Petrie (1767-1830)

S:Petrie – 4th Collection (1805)

K:Gmin

G2 BG (B/c/d) BG|F2 AF A/B/c AF|G2 BG (B/c/d) BG|A^FDF G2G2:|

|:g^fgd Bcde|fefc ABcA|g^fgd BcdB|cAFA G2G2:|

 

GARVAGH! ITS A PRETTY PLACE, SURROUNDED WELL WITH TREES. Irish, Air (6/8 time). F Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 842, pg. 210.

X:1

T:Garvagh! It’s a pretty place, surrounded will with trees

M:6/8

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 842

Z:AK/Fiddler’s Companion

K:F

F | B2B A2F | G2F D2F | G2 F {F}G2B | B3 B2 || B/c/ |

d2d d2c | c2BA2 {c}B | A2F {A}G2F | F3 F2 B/c/ |

d2d dcB | c2B A2B | A2F {A}G2F | F3 F2 F |

B2B A2F | G2F D2F | G2F FGB | B3 B2 ||

                       

GARY JOHNSTON DOWN HOME RAG. Rounder 0436, Ruth Hawkins Rachel  – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain.”

                       

GARY OWEN(S). See "Garryowen."

           

GAS LIGHTS.  English, Jig. D Major. Standard tuning. AABB. Gas lights in London were first publicly lit in Pall Mall, on January 28th, 1807, although it took some time for the rest of the city to be fitted with the fixtures. By 1823 most of the cities in Britain had gas lighting. Goulding (Twenty Four Country Dances for the Year 1808), 1808; No. 22.

X:1

T:Gas Lights

M:6/8

L:1/8

R:Jig

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:D

D|F2F FED|A2A AGF|BdB AFA|B3 d3|F2F FED|A2A AGF|GBG FAF|E3 D2:|
|:A|d2e fdB|c2d ecA|dcB AFA|B3 d3|F2F FED|A2A AGF|GBG FAF|E3 D2:||

           

GASPÉ REEL [1] (Reel de Gaspé). AKA and see "Apex Reel." French-Canadian, Reel; New England, Polka. D Major ('A' and 'B' parts) & A Major ('C' part). Standard tuning. AB (Silberberg): AABB (Miller & Perron, Sweet, Welling): AA'BB' (Phillips): AABBCCBB (Brody): AA'BB'CA"A"'B"B"' (Begin). Named for Québec's picturesque Gaspé Peninsula, which forms the east bank of the St. Lawrence River as it spills into the Atlantic. The 'C' part is actually a strain of "Money Musk." Louis Beaudoin (Burlington, Vt.) learned the first two parts of the tune from a friend named Joe Danis, but heard the three-part version from Fortuna Vachon (Thetford Mines, Québec), and added the third (“Money Musk”) part. Sources for notated versions: fiddler Pete Sutherland (Vt.) [Phillips]; Isidore Soucy via French-Canadian button accordion player Philippe Bruneau (Québec) [Begin]; accordion player Laurie Andres [Silberberg]. Bégin (Philippe Bruneau), 1993; No. 58, pg. 86. Brody (Fiddler’s Fakebook), 1983; pg. 116. Laufman (OK Ladies and Gentlemen, Lets Try a Contra), 1973; pg. 9 (appears as "Apex Reel" {Apex is the name of a Canadian recording company, printed on the label of an otherwise unidentified version of the tune}). Miller & Perron (101 Polkas), 1978; No. 57. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 155. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 94. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 50. Sweet (Fifer’s Delight), 1964/1981; pg. 61. Welling (Hartford Tunebook), 1976; pg. 16. Beet 7003, "Wretched Refuse." Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer." Kicking Mule 209, Henry Sapoznik‑ "Melodic Clawhammer Banjo." Philo 2000, "Louis Beaudoin" (1973. First two parts learned from fiddler Joe Danis).

X:1

T:Gaspé Reel [1]

M:C|

L:1/8

K:D

f2ef e2d2|FA FA B2A2|g2fg f2e2|BA Bc B2A2|

f2ef e2d2|FA FA B2A2|g2fg f2e2|B2c2d4:|

e2f2g3e|f2g2a4|e2f2g2e2|BA Bc B2A2|e2f2g3e|

f2g2a4|e2f2gfe2|B2c2d4:|

X:2 

T:Gaspé Reel [1]

M:4/4

K:D

f3f2e2d2 | F2A2B2A2 | g2fgf2e2 | BABc (3BcB A2 | f3fe2d2 | F2A2B2A2 | g2fgf2e2 | B2c2d 4:||

c2d2e4 |d2e2f4| c2d2e4 | BABc (3BcB A2 | c2d2e4 | d2e2f4 | g3fe2d2 | B2c2d4 :||

 

GASPÉ REEL [2] (Reel de Gaspe). French-Canadian, Reel. D Major. Standard tuning. AA'BB'. No relation to "Gaspé Reel [1]." Cuillerier (Joseph Allard), 1992; pg. 15. Bluebird B-4935-a (78 RPM), Joseph Allard.

X:1

T:Reel de Gaspe [2]

C:Joseph Allard

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

FE|DFAF DFA,D|FDAF GEEG|FAdA FAdf|edcB AGFE|!

DFAF DFA,D|FDAF GEEG|FAdA FAdf|ecAc d2:|!

|:cd|ecAc EAce|fdAd FAdf|gfeg fedf|edcB ABcd|!

ecAc EAce|fdAd FAdf|gfeg fedf|ecAc d2:|!

                       

GASTON. American, Reel. The melody is printed in George P. Knauff's Virginia Reels, volume IV (Baltimore, 1839).

                       

GASÚR A THUG LEADRADH DÁ ATHAIR, AN. AKA and see "The Gossan that beat his father."

                       

GASÚR MOR, AN (The Big Young Lad). AKA and see “Dwyer’s Hornpipe [2],” “McConnell’s,” “O’Dwyer’s Hornpipe [1],” "Prine's/Prime’s Hornpipe,” “Rock’s Hornpipe,” “Waterford Hornpipe [1]." Irish, Hornpipe. Ireland, County Donegal. In the repertoire of fiddler John Doherty who (according to Caoimhin Mac Aoidh) derived great fun in translating the title into English for non-Gaelic speakers as "The Big Wee Lad." Recorded by Altan.

                       


GATE TO GO THROUGH. AKA and see "Granny, Will Your Dog Bite? [1]"  Old‑Time, Song and Breakdown. USA, Kentucky. G Major. Standard tuning. AAB. The song is a variant of the song known in northern Kentucky as "Granny Will Your Dog Bite?", originally recorded in 1932 by the Jimmie Johnson String Band of Carroll County, north-central Kentucky.

***

Open the gate and walk on through,

He's a fine old dog and he won't bite you.

***

The recording sold a sum total of 99 copies, having been recorded during the depression years when money for a phonograph record was extremely dear. See also the related “Pretty Little Girl with the Blue Dress On,” and “Who’s Been Here Since I’ve Been Gone.” Source for notated version: fiddler Andy Palmer with Jimmie Johnson's String Band [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 94. Morning Star 45003, Jimmie Johnson String Band ‑ "Wink the Other Eye: Old‑Time Fiddle Band Music from Kentucky, vol. 1" (1980).

                       

GATEHOUSE MAID [1], THE (Ainnir Tí an Gheata). Irish, Reel. A Dorian. Standard tuning. AB. Paddy Killoran (1904-1965), originally from Ballymote, County Sligo, recorded the tune in November, 1937, in New York for Decca Records, pairing it (as the second tune) with “Down the Broom.” The medley is still a common one played in modern Irish music sessions. “Gatehouse Maid” has been called part of the core South Sligo repertoire. Sources for notated versions: piper John McAloon, 1968 (Co. Fermanagh and Belfast, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; Gus Collins (Bronx, N.Y.) [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ II), 1976; No. 233, pg. 119. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 35. Harker (300 Tunes from Mike Rafferty), 2005; No. 145, pg. 44. Moylan (Johnny O’Leary), 1994; No. 302, pg. 174. Mulvihill (1st Collection), 1986; No. 45, pg. 12. Coleman Center CD CC004, Seamus Quinn & James McDonagh – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Decca 12145 (78 RPM), Paddy Killoran (1937). Philo 1051, Boys of the Lough ‑ "Good Friends, Good Music" (1977).

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:Gatehouse Maid, The [1]

R:Reel

D:Planxty: After the Break

D:Irish Dance Music (ed. Reg Hall)

D:Joe Flanagan 1925

Z:id:hn-reel-329

Z: transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:Ador

A2 (3Bcd edBA|~G3A GED2|A2 (3Bcd edBd|1 egdB BAdB:|2

egdB BAA2||a2ea agef|g2dg egdg|a2ea agab|gedB BA A2|

~a3b agef|~g3a g2ge|dega (3bag ab|gedB BAAG||

“Version 2”
K:A mix

A2 (3Bcd edBA|G2BG dGBG|A2 (3Bcd edBA|BEED EAA2|

A2 (3Bcd edBA|~G3F GABc|A2 (3Bcd edBA|BEED EA A2||

eaag eaag|efgf efgf|eaag eaag|edef ged2|

ea~a2 baag|edef ged2|ea~a2 baag|edef gedB||

 

GATEHOUSE MAID [2], THE. Irish, Reel. G Major. Standard tuning. AB: AABB (McGuire & Keegan). Source for notated version: obtained by fiddler Séan McGuire from his father Jack (County Cavan), a piccolo, flute and tin whistle player [McGuire & Keegan]. McGuire & Keegan (Irish Tune by the 100, Vol. 1), 1975; No. 59, pg. 15.

X:1
T:Gatehouse Maid, The [2]
S:As played by Niall Kenney, flute player
N:From a session tape
Z:Nigel Gatherer <gatherer@argonet.co.uk>
M:4/4
L:1/8

R:Reel
K:G
G2 BG EFGE | FDFA dAFD | G2 BG EFGA | BcBA GFEF | G2 BG EFGE |

FDFA dAFD | G2 BG EFGA | BcBA G2 || eB (3BBB efge | fede fagf |

eB (3BBB efge| fagf (3efg f2 | eB (3BBB efge | fede fagf | eB (3BBB cBAG | d2 de fdAF|]

                       

GATEMOUTH. AKA and see "Get It Right," "Mamma's Baby Boy," "Pork Chops Rag." Old‑Time. USA, Louisiana. Harry Smith (1952) identifies this as a regional Louisiana tune known by a variety of titles.

                       

GATES OF DERRY, THE. AKA and see “No Surrender.” AKA - "Old Derry March." Irish, Set Dance (6/8 time). D Major. Standard tuning. AABB. Allan's Irish Fiddler, No. 116, pg. 30.

                       

GATES OF EDINBURGH, THE. Scottish, Reel. F Major. Standard tuning. AABB. Gatherer (Gatherer’s Musical Museum), 1987; pg. 9. Rutherford, Rutherford's Complete Collection.

                       

GATES OF MULLAGH, THE. Irish, Reel. G Major. Standard tuning. AABB. Composed by Mullaghbawn, County Armagh, fiddler and piano player Josephine Keegan (b. 1935). The Gates of Mullagh is a famous crossroads in County Cavan. Keegan (The Keegan Tunes), 2002; pg. 20.

                       

GATES OF THE YELLOW TOWN, THE (Geaftai Bhaile Buí). Irish, Slow Air (4/4 time). Ireland, Northern Ireland. G Major. Standard tuning. One part. According to Ó Canainn (1978) this is one of the great songs of the northern Irish tradition. It is in the sean-nos repertoire and is in the form one of a complaint about women and the trouble they give to men. Interestingly, Harry O’Prey points out that one line of the song goes:

***

Focal ar bith mná, ní chreidfidh mé go bráth,

Mur' bhfá' mise scríobhtha 'mBéarla é"

***

Meaning: “I will never again believe any promise from a woman unless I get it written in English.” He says: “The reference to English is, of course, due to its being the only language acceptable to officialdom in Ireland, thus carrying with it all the power and influence of the State. The same promises in Irish would not have been worth the paper they were written on.” O’Boyle/Ó Baoill (Ceolta Gael/Songs of the Gael), Mercier Press, Dublin,1975; p.56. Ó Canainn (Traditional Slow Airs), 1995; pg. 15.

                       

GATHER ‘ROUND THE FIRE. AKA and see “Tom Sullivan’s.”

                       

GATHER UP THE MONEY. Irish, Jig. E Major/Mixolydian. Standard tuning. AAB. Petrie notes: “the Petticotee dance and song tune.” Source for notated version: “Richard Morrison, Esq.” [Stanford/Petrie]. Standford/Petrie (Complete Collection), 1905; No. 881, pg. 221.

                       


GATHER YE ROSEBUDS. English, Air (4/4 time). G Mixolydian. Standard tuning. AB. The air was composed by Willaim Lawes and appears in Playford's Ayres and Dialogues (1659) and Introduction to Music (1660); Musick's Delight on the Cithren (1666), and Musical Companion (1667). The words are by Herrick and are addressed "To the Virgins, to make much of Time"; it was popular in its time. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 196.

X:1

T:Gather Ye Rosebuds

M:C

L:1/8

R:Air

S:Chappell – Popular Music of the Olden Times  (1859)

Z:AK/Fiddler’s Companion

K:Gmix

d2 dd d3c | B2 A>G G3B | B3 A GA Bc | d2 d6 ||

A2AB c3d | e2 dc B3c | d2 cB A3G | G2 G6 ||

                       

GATHERING, THE.  Scottish, Reel. G Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 13.

X:1

T:Gathering, The

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 13   (1852)

Z:AK/Fiddler’s Companion

K:G

GGGG (B/4c/2<d) BG | GGGG (F/4G/2<A) FD | GGGG (B/4c/2<d) BG | (c/4d/2<e) (A/4B/2<c) BG G2 |

GGGG (B/4c/2<d) BG | GGGG (F/4G/2<A) FD | GGGG (B/4c/2<d) BG | (c/4d/2<e) (A/4B/2<c) BG G2 ||

gggd (B/4c/2<d) BG | gggB (A/4B/2<c) AF | gggd (B/4c/2<d) BG | (c/4d/2<e) A/4B/2<c BG G2 |

gggd (B/4c/2<d) BG | gggB (A/4B/2<c) AF | gggd (B/4c/2<d) BG | (c/4d/2<e) A/4B/2<c BG G2 ||

 

GATHERING DILISK. AKA and see “Bold Doherty,” “The Connaughtman’s Rambles [1],” "Connachtman's Rambles," “The Duck from Drummuck,” “Mickey the Moulder.”

                       

GATHERING DILLISK. See “Gathering Dilisk.”

                       

GATHERING OF THE CAMERONS. English, Pipe Tune. Played by the pipers of the British 92nd Regiment (The Gordon Highlanders)  at the Battle of Maya, 1813, which served to so innerve the Highlanders that they charged the French, routing them in a panic. (Winstock, 1970; pg. 139).

                       

GATHERING OF THE CLANS, THE (Cruinniugad Na Cinead). Irish, Air (4/4 time, "boldly"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 352, pg. 61.

X:1

T:Gathering of the Clans, The

M:C

L:1/8

R:Air

N:”Boldly”

S:O’Neill – Music of Ireland (1903), No. 352

Z:AK/Fiddler’s Companion

K:G

GA|B3d cBAG|E>D (3EFG|A2 Bd|ef/g/ dB {d}cBAG|Bddd d2 GA|B3d cBAG|

E>D (3EFG A2 Bd|ef/g/ dB {d}cBAG|EGG>A G2||BA|G>A Bc d2 de|

d>B AG g2 ef|gf e/f/g/a/ gfed|Bdef g2 (3def|gfed B2 (3gfe|dBAG A2 Bd|

ef/g/ dB {d}cBAG|EGG>A G2||

                       

GATHERING OF THE GRAHAMS, THE. AKA and see “The Atholl Highlanders.”

                       

GATHERIN’ O’ THE GUNNS, THE.  Scottish, “Jig Strathspey.” A Major. Standard tuning. AB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 110.

X:1

T:Gatherin’ o’ the Gunns, The

M:C

L:1/8

R:”Jig Strathspey”

N:”Merrily”

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

E | E>A (3AGA (3BAB c>A | A>d (3dcd (3fdf a>f | e>a (3agf (3efd c>A | B>FB>A (3GAF E>E |

E>A (3AGA (3BAB c>A | A>d (3dcd (3fdf a>f | (3eca (3ecA B>GB>A | (3GAB (3feG ({G}A2)A ||

c | c>ff>a (3gf^e f>a | (3gf^e fba (g{b}ag f>c | c>ff>a (3gf^e f>=d | (3cfg (3agf (c’2c’)c |

c>ff>a (3gf^e f>a | (3gab (3d’c’b (3bag (3fga | (3bag (3agf (3gab (e’2c’) | (3bag (3agf (e2e’) ||

 

GATHERING PEASCODS. English, Country Dance Tune (2/2 or 4/4 time). A Major (Barnes, Karpeles, Raven, Sharp): G Major (Chappell, Johnson). Standard tuning. ABC (Chappell): AABBCC (Barnes, Johnson, Karpeles, Raven, Sharp). Peascods = pea-pods. John Brand, in his Observations on the Popular Antiquities of Great Britain (1849), records the custom of ‘peascod wooing’, along with the tradition of divining love affairs from pea-pods. This air was first published by Playford in the first edition of his English Dancing Master of 1650. Chappell (1859) observes that the first four bars are identical with those of "All in a Garden Green," and that, while the title suggests a ballad was once attached to the tune, no words have ever been found. Both “Gathering Peascods” and “All in a Garden Green” are derivatives (along with many other tunes) of the ancient ground “Hunts Up” or “The King’s Hunts Up,” a melody associated with Henry VIII. Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 301. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 8. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 12. Raven (English Country Dance Tunes), 1909/1984; pg. 22 & 47. Sharp (Country Dance Tunes), 1909/1994; pg. 16. Harmonia Mundi 907101, The King's Delight - "17c. Ballads for Voice and Violin Band" (1992).

X:1

T:Gathering Peascods

M:2/2

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:A

e4 e2e2 | (c3d e2)(e2 | f2e2d2c2 | B6) c2 | (B2A2) (A2G2) |

A6 z2 | e4 e2e2 | (c3d e2)(e2 | f2e2d2c2 | B6) c2 | (B2A2) (A2G2) | A6 ||

|:(A2 | G2E2G2A2 | B4) (c2B2 | ABc2) (B2A2 | G6)  (G2 | F2E2F3E | E6 :|

|: (e2 | c2)A2A2 (Bc | d6) (d2| c2) A2A2 (Bc | d6) (e2 |

c2A2A2 Bc | d3e f2) (ed | c2) (dc B3A | A6 :|

                                   

GATINEAU REEL. French‑Canadian, Reel. F Major. Standard tuning. AABB. Sources for notated versions: Ben Guillemette (Sanford, Me) [Hinds]; Don Roy [Phillips]. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 16. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 95.

X:1

T:Gatineau Reel

M:C

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

K:F

AB | cagf egfd | (3cdc AF CFAc | BAGA BcdB | dcAF C2 AB |

cagf egfd | (3cdc AF CFAc | BAGA Bcde | fcag f2 :|

|: (3ABc | acgc fc=Bc | fdec (3ded ^cd | b=cac gfef | gfed c2 (3ABc |

acgc fc=Bc | df_bf d3d | cega bgeg | f2 a2 [A2f2] :|

                                   

GAUDET POLKA. AKA and see "Calgary Polka."

                                   

GAUGER [1], THE (An Túiséara). AKA and see "The High Reel [1]," “Sandy Duff.” Irish, Reel. A Mixolydian. Standard tuning. AA'BB. Source for notated version: accordion player Finbar Dwyer (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 140, pg. 66. Outlet Records SOLP 1032, Finbarr Dwyer ‑ "Ireland's Champion Traditional Accordionist" (1977).

 

GAUGER [2], THE. AKA and see "The Steampacket." Irish, Reel.

                                   

GAUNT MAN, THE. English, Jig. G Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 209.

                       

GAVIN FAMILY, THE. Irish, Reel. A Major. Standard tuning. AB. The un-named tune was on a tape by the Gavin’s of Ballina; O’Malley named it after his source. Source for notated version: the Gavin’s of Ballina [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 24, pg. 12.

X:1

T:Gavin Family, The

M:C|

L:1/8

R:Reel

S:O’Malley Collection

K:A

AGAE CA,CE | AGAF GABG | ABAE CA,CE | FBAF GEFG |

AGAE CA,CE | (3ABA FA GABG | ABAE CA,CE | FB{c}BA GEFG ||

A2 eA c/B/A eA | cAec dBGB | A2 eA fAeA | GE ~E2 GABG |

A2eA fAed | cAec dcBG | ABcd efec | dcdB GABG ||

                       


GAVIN GREIG. Scottish, Strathspey. D Minor. Standard tuning. AB. Composed by Aberdeen fiddler and composer J. Murdoch Henderson (1902-1972) in honor of Buchan schoolteacher, musician, poet and dramatist Gavin Greig (1856‑1914). He was also a prodigious researcher of ballad literature, collecting over 3,000 of them. Hardie (Fiddle Music of Scotland), 1992; pg. 101. Henderson (Flowers of Scottish Melody), 1935.

                       

GAVIN J. HAMILTON’S.  Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 75.

X:1

T:Gavin J. Hamilton’s

M:C

L:1/8

R:Strathspey

N:”In the lilting style.”

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

(A,>DF>D) (A>D dc/B/) | (A>DF>D) (C<E~E>F) | (A,>DF>D) (A>D dc/B/) | (A>FG>E) (F<DD) z :|

g || (3.f.g.a (3.g.f.e dA FD | .A,.D.F.A B<E~E>g | (3.f.g.a (3.g.f.e (3.d.e.f (3.e.d.c | (3.B.c.d (3.A.B.c d<DD>g |

(3.f.g.a (3.g.f.e dA FD | .A,.D.F.A B<E~E>F | A,DFD .G/.B/.d/.g/ b>g | fd ea f<d d z ||

 

GAVIN McMULLEN. Scottish, Reel. A Major. Standard tuning. AABB. Composed by J. Scott Skinner. Brody (Fiddler’s Fakebook), 1983; pg. 117. Greentrax CDTRAX 9009, Hector MacAndrew (1903-1980) - “Scottish Tradition 9: The Fiddler and his Art” (1993). Philo 2001, "Jean Carignan" (appears as the second tune of 'J. Scott Skinner Medley'). Topic 12T280, J. Scott Skinner‑ "The Starthspey King.”

                       

GAVIN’S. AKA and see “Larry Redican’s Bow.” Irish, Reel. D Major. Standard tuning. AB. The reel was taken from a tape of the Gavins of Ballina, and, since no name could be found for it O’Malley named it after his source. Sources for notated versions: Gavins of Ballina [O’Malley]; Philip Duff [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 34a (appears as “unknown”). O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 13, pg. 7.

X:1

T:Gavin’s

M:C|

L:1/8

R:Reel

S:O’Malley Collection

K:D

D2 FD A,DFD | E2 GE B,EFE | Dz dA {c}BAFD | E^DEF EB,CA, |

D2 FD A,DFD | E2 GE B,EFE | Dz dA BAFD | CDEC D2 FA ||

B^ABc B2 F=A | B2 {c}B^A BdcB | A2 cA EAce | aecA {c}BAFA |

B^ABc B=AFA | Bcdc B2 dc | BF~F2 BEF^G | AcBA FECA, ||  

                       

GAY COTERY, THE. American, Country Dance Tune (2/4 time). E Minor. Standard tuning. AA’BB’. A modern composition in the English style by Leslie Lasseter (2004). A coterie is “an intimate and often exclusive group of persons with a unifying common interest or purpose” (Merriam-Webster). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 23.

 

GAY FELLOW'S FAVOURITE, THE. AKA and see "The Castlecomer Lasses," "Down the Groves," "Erin's Groves," "The Good Fluter," "The Green Fields of Erin [1]," “The Green Groves of Erin [1],” "The Groves of Erin," "The Heather Breeze," “The Low Highland,” "Mary in the Mall," "Miss Shaw's Reel," “Miss Stewart of Grantully [2],” “Padaí Bhill na Rópaí’s Highland,” "The Queenstown Lasses."

 

GAY GORDONS [1]. AKA and see “The Gordon Highlanders’ March.” AKA ‑ "Gie Gordans." Scottish (originally), New England; Country Dance Tune (cut time) or March. A Major. Standard tuning. AB (Miller & Perron, Sweet): AABBCCDD (Cranford/Fitzgerald). This tune was included in J. Scott Skinner's 1921 concert set romantically entitled "Spey's Fury's” and was composed in 1915 by the great strathspey artist The original title was “The Gordon Highlanders March” but came to be called “The Gay Gordons” through association with the famous Scottish country dance.  The 'Gay Gordons' remains a popular couple dance, still occasionally to be found at New England contra dances, for example, and at Scottish dancing events, where it has been over time one of the most popular Scottish Country Dances. The origins of the dance are unclear, and may not have anything to do with Scotland!  One story goes that it was a Continental dance from sometime in the 19th century. Others theorize that it was a turn of the 20th century member of a group of military-style dances, including such as the Military Two-Step, the Canadian Barn Dance and others. Perhaps the earliest reference to the dance dates to the year 1915, although Christine Martin (2002) says there was a previous reference to a Gay Gordons dance in 1907.

***

The title refers to the Gordon Highlanders, a Scottish unit in the British army first raised in 1794 as the 92nd Regiment. The word ‘gay, sometimes spelled ‘gie’ (as in Jimmy Shand’s 1942 recording) or ‘gey’, perhaps to preclude modern associations of ‘gay’ with homosexuality, in this context means ‘handsome in appearance’ or ‘decked out’ (as in formal kilted dress). The dance is performed to many tunes, however, usually a march followed by a jig, and not simply the tune given below. “Scotland the Brave” followed by “Highland Laddie,” for example, is cited as one typical medley vehicle for the steps. The famous Scottish bandleader and accordionist Jimmy Shand recorded a “Gay Gordons” medley in the 1950’s with Skinner’s tune as the lead-off piece.

***

It has been speculated that the original epithet 'Gay Gordon' referred to the courtly Continental manners of the original Norman members of the clan who relocated to the remote North East of Scotland. One famous Gay Gordon was doubtless Lord Strathven, says Emmerson (1972), who danced with Marie Antoinette and became a favorite at the court of Louis XVI for his "agreeable personality and admirable skill in dancing." Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 76, pg. 34. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 166. Sweet (Fifer's Delight); No. or pg. 27 (has an alternate 'B' part). Alcazar Dance Series FR 204, "New England Chestnuts 2" (1981). Folkways FW8827, Arbuckle, Mikkelson & Clifton - "Old Time Couple Dances" (1961). Bobby Brown and the Scottish Accent – “Grandfather Mountain Gala.”

X:1

T:Gay Gordons [1]

L:1/8

M:C|

K:A

E2|A2AB c2A2|dc de f2ed|c2a2 ef ed|c2B2B2E2| A2AB dc BA|

dc de (3fgf ed|c2a2 ef ed|c2A2A2e2|][|a4e2fg|a2e2c2A2|a2a2 ef ed|

c2B2B2e2|a4e2fg|a2e2c2A2| d2B2 ef ed|c2A2A2|]

 

GAY GORDONS [2], THE. Scottish, March (2/4 time). G Major. Standard tuning. AABB (Sweet): AABB' (Merryweather). Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 55. Sweet (Fifer’s Delight), 1964/1981; pgs. 14 & 50.

X:1

T:Gay Gordons [2]

M:2/4

L:1/8

R:March

Z:AK/Fiddler’s Companion

K:G

D | G>A BA/G/ | c>d ed/c/ | Bg d/e/d/c/ | BA AD | G>A BA/G/ | c/B/c/d/ ed/c/ |

Bg d/e/d/c/ | BG G :: z | g2 de/f/ | gd BG | g2 d/e/d/c/ | BA A2 | g2de/f/ | gd BG | ce A>c | BG G :|

           

GAY LASS, THE. Irish, Jig. D Major. Standard tuning. ABCD. O’Farrell (Pocket Companion, vol. II), c. 1806; pgs. 90-91.

X:1

T:Gay Lass, The

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:D

d/B/ | B>cB BAF | B2E EFA | B/c/dB BAF | A2D DFA | BcB BAG | B2E E2g |

fdB BAF | A2D D2 || A | d2d fef | d2B B2d | cde efd | ecA ABc | ded fef | d2B B2c |

dcB BAF | A2D D3 || dfe dAF | B2E EFA | dfd AGF | A2D D3 | dfe dAF | B2E E2g |

fdB BAF | A2D D2 || F | GBA G2E | G2E E2F | G/A/GF G2E | F2D D2F |

GBA G2E | G2E E2g | fdB BAF | A2D D2 ||

                                   

GAY YOUNG FIREMAN, THE. Irish, Air (4/4 time). G Major. Standard tuning. One part. O’Neill (1922) says: “Some fifty years ago I heard a ballad sung to this air by a young lady from Brooklyn, NY. It recited the fascinations of A Gay Young Fireman of that city. The strain, unmistakably of Irish origin, displays marked  individuality.” O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Gay Young Fireman, The

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:Air

K:G

"Moderato" ED|E2 A2 A2 GA|B2 AG E2 D2|G3 A G2 D2|EDEG A2 z2|

D2 DD d3 B|A2 G2 G2 AB|c3 A B2 AG|E2 D2 D2||

                       

GAY YOUNG SQUIRE, THE. English, Country Dance Tune (cut time). G Minor. Standard tuning. AABB. The tune is attributed to dancing master Nathaniel Kynaston (1683-1757), printed in 1718. Although very little is known about him, Kynaston appears to have been active from 1705 to about 1722 in the Shropshire/Wales border area. The Selattyn parish register in Shropshire records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry” married on August 25th, 1719—although whether this was the dancing master is unknown. Kynaston appears to have been a not uncommon name in Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th century highwayman and Robin Hood figure, who preyed on the wool merchants of Shrewsbury. The melody is dated 1710. 120 of Kynaston’s melodies and dances appear in the surviving Walsh volumes (John Walsh was a London  publisher of country dances from 1705; his son, also John Walsh, took over the business and continued publishing until his death in 1766). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 48. Wild Goose Records WGS 314, Belshazzar’s Feast – “Mr. Kynaston’s Famous Dance” (2003).

 

 

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