The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

GEA - GEN

[COMMENT3] 

 

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

[COMMENT4] 

GE DO THEID MI DO M'LEABAIDH (Though I go to bed, little does sleep come to me). Scottish, Air. The air appears in print in "Patrick MacDonald's Collection of Highland Vocal Airs" (Edingburgh, 1784), wherein MacDonald suggests the piece is an ancient harp tune. Topic 12TS381, The Battlefield Band - "At the Front" (1978).

                       

GE HO DOBBIN. See "Gee Ho, Dobbin."

 

GÉABHA SA bPORTACH, NA. AKA and see "The Geese in the Bog."


 

GEADNA ANNSA MOINTE, NA. AKA and see "The Geese in the Bogs."

 

GEADNA FIADHAINE. AKA and see "The Wild Geese [1]."

 

GEAFTAI BHAILE BUI. AKA and see “The Gates of the Yellow Town.”

 

GEAGAN GLAS, AN. AKA and see "The Green Branch."

 

GEAGAN SIOL-EILIG. AKA and see "(A) Sprig of Shillelagh."

 

GEAGHAN’S FANCY. Irish, Reel. AKA and see “Eileen O’Callaghan’s,” “Geogegan’s Reel,” “Paddy Canny’s [2].” See note for “Geogehan’s Reel.”

X:1

T:Geaghan's Fancy (sp?)

T:Eileen O'Callaghan's

T:Paddy Canny's

S:Buttons & Bows, 'Gracenotes'

Z:Nigel Gatherer

M:4/4

L:1/8

K:A

A2 cA EAcB|ABce dBGB|A2 cA EAce|efge dBGB|A2 cA EAcB|

ABce dBGB|Ac c/c/c ecAc|efge dBGB||eaag a2 ga|beee begf|

eaag a2 gf|efge dBGB|eaag a2 ga|b2 ba bagf|eaaa c'aag|efge dBGB|]

 

GEAGHAN’S FAVORITE. AKA and see “Geogehan’s Reel.”

 

GEALACH GHEAL NA BEALTAINE.  AKA and see “The Bright May Moon.”

 

GEALACH NA gCOINNLEACH (The Harvest Moon). AKA and see “Harvest Moon [1].” Irish, Reel. Ireland, County Donegal. Caoimhin Mac Aoidh (1994) explains that the harvest moon (the full moon closest to the autumnal equinox) was thought to fortell the amount of rainfall and the degree of coldness for the coming winter. The Campbell brothers, relates Mac Aoidh, remembered that the travellers (gypsies) had a habit of encamping each year at harvest time near Glenties, and that one of their number included a large man, an accomplished fiddler, known locally as the “Gypsy Mor.” This man was a great believer in the power of the harvest moon, and it was his odd custom to shave only once a year, on the very night it appeared. He entitled his favorite reel “Gealach na gCoinnleach.” The work was likely composed by John Mhosai (Mac Fhionnlaioch), a Donegal fiddler born in the 1840's. 

 

GEALL AN ATAR TOMAIS. AKA and see "Father Tom's Wager."

 

GEALL BRISTE, AN. AKA and see "The Broken Pledge."

 

GEARÓID’S CONCERTINA REEL. Canadian, Reel. Canada, Cape Breton. G Major. Standard. AA’BB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) in honor of concertina player and historian Gearóid Ó hAllmhuráin (County Clare, Ireland) who taught Celtic studies at a university in Antigonish, Nova Scotia and “frequented Cape Breton a couple of years ago” [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 75, pg. 27. Brenda Stubbert - “House Sessions” (1992).

 

GEARÓID DE BARRA. AKA and see "Garrett Barry{‘s Jig}," "Sergeant Early's Jig," "Tune the Fiddle," "The, Ladies' Fancy [3]."

 

GEARRALTACH BUIDHE, AN.  AKA and see “The Kerry Jig [1].”

 

GEARRAN, AN. Scottish, Reel. D Major. Standard tuning. AABB'. Composed by James Stewart-Robertson, editor of The Athole Collection. Stewart-Robertson (The Athole Collection), 1884; pg. 84.

X:1

T:An Gearran

M:C|

L:1/8

R:Reel

C:James Stewart-Robertson

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

A|F(AA)c d2AG|F(AA)F GEEG|F(AA)c d2 Ag|faef dDD:|

|:g|fefg a2 gf|edef gfeg|1 fefg a2fa|bgeg fdd:|2 fdaf bgeg|faef dDD||

 


GEARRAN BUIDHE, AN. AKA and see "The Yellow Horse." See also note for "The Cottage By the Sea."

 

GEARRBHODAÍ LAOISE (Lads of Laois). AKA and see “The Lads of Laois{e}.”

 

GEARRCHAILE AN tSABHAIRCÍN. AKA and see “The Primrose Lass [2].”

 

G(H)EARRCHAILE CHRIONNA, AN. AKA and see "The Wise Maid [1]."

 

GEARRCHAILE AN TOBAIR BHEANNAITHE.  AKA and see “The Maid of Hol(l)ywell.”

 

GEARRCHAILE BHAILE MHISTÉALA (Maids of Mitchelstown). AKA and see “Maids of Mitchellstown.”

 

GEARRCHAILE BHAILE UÍ bhFIACHÁIN (The Newport Lass/Lasses). AKA and see “The Newport Lass,” "A/The Trip to Athlone.”

 

GEARRCHAILE OILEÁN PÍCE (The Spike Island Lasses). AKA and see “Spike Island Lasses [1].”

 

GEARRCHAILE SA gCRANN SILÍNÍ, AN (The Maid in the Cherry Tree). AKA and see “The Maid in the Cherry Tree [1].”

 

GEARRCHAILE SA LUACHAIR. AKA and see "The Maid in the Rushes."

           

GEARRCHAILE SA PHARLÚS, AN.  AKA and see “The Lass in the Parlour.”

                       

GEARRCHAILE SHLIABH CISCO. AKA and see “Maid of Mount Kisco.”

...........

GEARRCHAILE SHLIGHGH (The Sligo Maid). AKA and see “The Sligo Maid.”

.......................            

GEARRCHAILE TAOBH THIAR DEN BHEÁR (The Maid Behind the Bar). AKA and see “The Maid Behind the Bar [1].”

.......................            

GEARRCHAILE NA SAMHAIRCINI. AKA and see "The Primrose Lass [1]."

           

GEARRCHAILÍ BHAILE AN MHUILINN.  AKA and see “The Milltown Lasses.”

 

GEARRCHAILÍ BHAILE NA LEARGADH. AKA and see “Ballinalarkey Maids.”

           

GEARRCHAILÍ CHAISLEÁIN MAÍ TAMHNACH.  AKA and see “Castlemahon Lasses.”

 

GEARRCHAILI CHALLAINN.  AKA and see “Callan Lasses [2].”

 

GEARRCHAILÍ LUIMNIGH. AKA and see “The Limerick Lasses [2].”

           

GEARRCHAILÍ NA NÓNA.  AKA and see “The Noon Lasses.”

 

GEARRCHAILÍ NAOMH BARRA. AKA and see “The Lasses of St. Barry’s.”

           

GEARRCHAILÍ THÍR NA SCEACH. AKA and see “The Tirnaskea Lasses.”

           

GEARRCHAILIÚ ACHADH CONAIRE. AKA and see "The Achonry Lasses."

           

GEARRCHAILIÚ AN DÚIN MHÓIR (Dunmore Lasses). AKA and see “Dunmore Lasses.”

           

GEARRCHAILIÚ BHAILE ÁTHA CLIATH (The Dublin Lasses). AKA and see “The Dublin Lasses [2].”

                       

GEARRCHAILIÚ CHAISLEÁN AN BHARRAIGH (The Maids of Castlebar). AKA and see “The Maids of Castlebar.”

 

GEARRCHAILIÚ CHONTAE MHUIGHEO (The Mayo Lasses). AKA and see “The Mayo Lasses.”

 

GEARRFHIADH 'SAN ARBHAR. AKA and see "The Hare in/among the Corn."

 

GEARY'S HORNPIPE. AKA and see “Mullingar Races [2].” Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915; No. 385, pg. 183.

X:1

T:Geary’s Hornpipe

M:4/4

L:1/8

R:Hornpipe

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

GABG AGFD | defd gfdc | B2 BG A2 AG | FGAB cAFA | GABG AGFD | defd gfdc |

BGBd cAFA | G2 GF G2 z2 :: gfde fgaf | gfga bgag | fdde fgag | fdcA BcAF |

GABG ABcA | defd gfdc | BGBd cAFA | G2 GF G2 z2 :|

 

GEATAÍ GLASUAINE, NA. AKA and see "The Green Gates."

 

GEATAÍ MÓRA ANNESBROOK. AKA and see “The Grand Gates of Annesbrook.”

 

GEATAIDE GLASSA, NA. AKA and see "The Green Gates."

 

GEATLEY'S. AKA and see "Toss the Feathers [1]," "Thresh the Feathers," "Humours of Ballagh," "Thornberrys," "The New Reel [1]," "The Mountain Lark [1]."

 


GEATSAI NA LEIBIDE. AKA and see "The Awkward Clown's Antics." Irish, Jig. G Major. Standard tuning. AABB. Roche Collection, 1983, vol. 3; No. 97, pg. 30.

 

GE(E) HO, DOBBIN [1]. English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABBC (the 'C' part is really a terminal strain of the 'B').

‘Gee ho’ = giddy up or start moving, as in a command to a horse, however, “Gee, ho, Dobbin” was also used as a phrase of contempt when applied to a person. Oliver Goldsmith in his description of “The Club of Choice Spirits,” makes the pimple-nosed gentleman sing “Gee Ho, Dobbin” [Chapell]. Charles Dickens mentions the song in David Copperfield, in the passage:

***

Mrs. Micawber having now raised her voice into a perfect scream, I was so frightened

that I ran off to the club-room, and disturbed Mr. Micawbar in the act of presiding at

a long table, and leading the chorus of

            Gee up, Dobbin

            Gee ho, Dobbin,

            Gee up, Dobbin,

            Gee up, and gee ho—o—o!

***

Dickens has Micawbar sing the song again, over a steaming bowl of punch, in his misery in the Fleet street prison. The older version of this very popular tune to which countless broadside songs have been set (some quite bawdy—see “The Buxom Dairy Maid”). Chappell (1857) says that “Laugh and lay down” is another name for the tune, deriving from a song that commences:

***

While others attempt heavy minutes to kill,

With Ombre, with Commerce, Picquette, and Quadrille.

***

Kidson (1890) finds it in John Sadler’s Apollo's Cabinet, or the Muses Delight (1757) under the title "The Waggoner, or Ge ho, Dobbin!" (also known as “The Jolly Waggoner”). although it also appears in Thompson's Country Dances (vol. 1, c. 1759). A song (“if you want a young man with a true honest heart”) in the ballad opera Love in a Village (1762) is set to the air. Kidson remarks that its popularity was due to the fact that the melody was quite "good and catching, with a refrain everybody knew." 

***

As I was driving my wagon one day,

I met a young damsel tight--buxom and gay;

I kindly accosted her with a low bow,

And I felt my whole body I cannot tell how;

Ge ho, Dobbin! Hi ho Dobbin!

Ge ho, ge Dobbin! Ge ho, ge ho!

***

Kidson (Old English Country Dances), 1890; pg. 8. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 108.

X:1

T:Ge Ho, Dobbin [1]

M:6/8

L:1/8

R:Jig

S:Frank Kidson – Old English Country Dances (1890)

Z:AK/Fiddler’s Companion

K:D

D|F>GA B>cA|B>dB A>Bc|d>ef B>cd|e>cA d2:|

|:c/d/|e>fe e>cA|e>cA A>FG|A>BA A>GF|G>EF G>FG|

F2A FDF|G2B GEG|F>FA G>FE|D2d D2:||

F2A FDF|G2B GEG|FAd Bed|cAc d2||

X:2

T:Ge ho Dobin   [1]

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

D|F>GA B>cA|B>dB A>Bc|d>ef B>cd|e>cA d2::c/d/|e>fe e>cA|

e>cA A>FG|A>BA A>GF|G>EF G>FG|F2A FDF|G2B GEG|F>FA G>FE|D2d D2:|| 

 

GEE HO DOBBIN [2]. English, Jig. England, North‑West. G Major. Standard tuning. AAB. The modern variant of the tune. If not obvious, the title refers to directions to a horse (Dobbin) to begin moving. Harding’s All Round Collection, 1905; No. 73, pg. 22‑23. Knowles (Northern Frisk), 1988; No. 60.

X:1

T:Gee! Ho! Dobbin! [2]

M:6/8

L:1/8

R:Jig

S:Harding’s All Round Collection, No. 73  (1905)

Z:AK/Fiddler’s Companion

K:G

d/c/|BGB dBd|ece d2d|gfg eag|fef g2:||

f/g/|abg afd|afd dcB|cde dcB|cAB c2z|

(Bc)d BGz|(cd)e cAz|Bcd efg|afd g2||

 

GEEHAN'S REEL. AKA and see “Eileen O’Callaghan('s Reel),“ “Geoghegan’s Favorite,” “Geogehan’s Reel,” "The Grazier," "Green Garters [2]," “Paddy Canny’s [2],” "The Potlick," "The Humours of Flip," “Sally Kelly [2],” "Trim the Velvet." See note for “Geogehan’s Reel.”

 

GEESE IN THE BOG [1] ("Na Géabha sa bPortach" or "Na Geadna Annsa Mointe"). Irish, American; Double Jig. D Major. Standard tuning. AABB (Cole, Kerr, O'Neill/Krassen): AABB' (O'Neill/1001, White): AA'BBCCDDEE (Breathnach). Several tunes have been named "Geese in the Bog." One tune by this name was popular as long ago as 1779; its playing is mentioned by Berringer in an account of a "cake" dance (a dance where a cake was given as a prize) he attended in Connacht. The great County Sligo/New York fiddler Michael Coleman recorded the tune on a 78 RPM disc in the key of G Major, although his version differs slightly. Breathnach states the tune is related to "Saddle the Pony [6]" printed by Levey (No. 43) and to Joyce's "The Housemaid" (No. 841). He says that Petrie (edited by Stanford, 1905, No. 940) printed the first two parts.

***

The title "Geese in the Bog" reminds one of a story related to Charlie Piggott by flute player Roger Sherlock, who was born in County Mayo on the border with Sligo. The story appears in Vallely's and Piggott's Blooming Meadows (1998) and concerns Michael Coleman's brother Jim, also a fiddler and accounted by many to have been even more proficient at the instrument than his famously-recorded brother. Sherlock remembered house-dances that Coleman played for, performing all night, sometimes playing his instrument while simultaneously dancing on a half-door that had been taken from its hinges. At that point coins would be thrown onto the door at his feet, his only pay. Sherlock reminisced:

***

Well, then  he'd put the fiddle in the case and outside he had a flock

of geese that would accompany him to and from the dances. The geese

used to follow him everywhere. He had fifteen or eighteen geese. And

he used to walk from our house to a place called Drumacoo, which

would be—he used to walk as the crow flies of course, across the

fields and the bogs—'twould be roughly about seven miles. And

the geese would be with him all the time.

***

Source for notated version: accordion player Sonny Brogan (d. 1966. Dublin, Ireland; originally from Prosperous, County Kildare. Brogan made records in the 1930’s with The Lough Gill Quartet and was a member of Ceoltóirí Chualann under the direction of Seán Ó Riada) [Breathnach]. Breathnach (CRE I), 1963; No. 28, pg. 12. Cole (1000 Fiddle Tunes), 1940; pg. 77. Ford (Traditional Music in America), 1940; pg. 106. Kerr (Merry Melodies), vol. 1; No. 46, pg. 40. O'Neill (Krassen), 1976; pg. 67. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1085, pg. 204. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 279, pg. 61. Ryan’s Mammoth Collection, 1883; pg. 110. White’s Unique Collection, 1896; No. 19, pg. 4. Green Linnet GLCD 1092, "Liz Carroll" (1988).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Geese in the Bog [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 279

Z:AK/Fiddler’s Companion

K:D
Add fdB|AFA AFA|Add fdB|AFA B2A|Add fdB|AFA DFA|gfe fdB|AFA BdB:|

|:AFE DFE|DFA BdB|AFD DFA|BGA BdB|AFE DFE|

DFA Bgf|gfe fdB|1 AFA BdB:|2 AFA B2d||

 


GEESE IN THE BOG [2] (Na Geabha sa bPortach). AKA and see "Bob Thompson's Favourite," "The Coravat Jig [1]," "The Green Meadow [2]," "The Humours of Limerick [2]," "Jackson's Walk to Limerick," "Jackson's Trip to Limerick," "Jackson's Coola," “The Lark’s March,” “Mist on the Meadow,” “Morrison’s Fancy,” "The Mountain Lark [5]," "The Piper's Frolic," “Tom Broderick’s Jig,” "Tuhy's Frolic," "Twice Tricked,” "Wiseman's Favourite." AKA – “The Grouse in the Bog.” Irish, Double Jig. D Major. Standard tuning. AABB (Breathnach): AABBCC (Roche). Some similarities to version #2. Michael Coleman recorded a two part version of the tune. Alternate titles are many: Goodman gives a version as “The Humours of Limerick,” Dickman as “The Piper’s Frolic,” Hudson as “Jackson’s Coola,” and “Twice Tricked” in Holden. “The Catholic Boys’ [2]” shares one part. O’Farrell (Pocket Companion) has it as “Tuhy’s Frolic.” Source for notated version: flute and whistle player Micko Russell, 1969 (Doolin, north Co. Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 53, pg. 29. Roche Collection, 1912/1983; vol. 1; No. 91, pg. 40. Tara Records 2006, Noel Hill & Tony Linnane.  Plant Life Records PLR017, "The Tannahill Weavers" (1979). Rodeo 47, Johnny Wilmot - “Another Side of Cape Breton.”

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:Geese in the Bog [2]

M:6/8

L:1/8

R:Jig

S:Roche – vol. 1, No. 91 (1912)

Z:AK/Fiddler’s Companion

K:D

BAF ADD | FEF DFA | BAF ADD | (F<E)(E E)FA | BAF ADD | FEF ABd |

gfe fdB | AFE EFA :: (d/e/fe) (d2B) | AFA (A2B) | (d/e/fe) (d2f) | ede fdB |

(d/e/fe) (d2B) | AFA ABd | gfe fdB | AFE EFA :: BAF D.G,.G, | .G,.G,.G, G,>dB |

AFD .G,.G,.G, | (B2{c/B/}A) BdB | AFD .G,.G,.G, | .G,.G,.G, [G,DA]Bd | gfe fdB | AFE EFA :|

 

GEESE IN THE BOG [3]. AKA and see “Irish, Double Jig. A Dorian (Harker/Rafferty, Mulvihill, Sullivan, Tubridy): B Minor (Cranitch). Standard. AABB. The melody starts on a C Major chord (or D Major chord, in the case of Cranitch’s version). The second part of the tune is similar to the second part of “Banks of Lough Gowna [1].” Source for notated version: ]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Cranitch (Irish Fiddle Book), 1996; No. 6, pg. 127. Harker (300 Tunes from Mike Rafferty), 2005; No. 181, pg. 56. Mulvihill (1st Collection), 1986; No. 66, pg. 79 (appears as “Goose in the Bog”). Sullivan (Session Tunes), vol. 2; No. 35, pg. 14. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 31. Coleman Music Center CHC 009, flute player Paddy Healy (b. 1937, Ballymote) – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists. Healy learned the tune from his father, John Martin, also a flute player).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:The Geese in the Bog (Scottish Pipe Setting)

R:Jig

M:6/8

L:1/8

K:D

f|gBB dBB|gBB def|gBB d A2|Bee e2 f|gBB dBB|gBB def|gfe d A2|Bee e2:||!

d|e2 a egg|e2 a ged|e2 a eff|eaa a2 d|e2 a egg|e2 a ged|gfe d A2|Bee e2:||!

f|gBB BBB|dBB BBB|gBB d A2|Bee e2 f|gBB BBB|dBB BBB|gfe d A2|Bee e2:||!

d|eaa egg|eaa ged|eaa egg|eaa a2 d|eaa egg|eaa ged|gfe d A2|Bee e2:||

X:2

T:The Geese in the Bog [3]

L:1/8

M:6/8

K:D

|:dFF AFF|dFF ABc|dFF AFE|FBB B2c|dFF AFF|dFF ABc|dcB AFE|FBB B2c:|

|:def a2f|afb afe|def afe|fbb baf|def a2f|afb afe|dcB AFE|FBB B2c:|

X:3

T:Geese in The Bog [3]

M:6/8

L:1/8

R:Jig

K:Amin

|:cEE GEE|cEE GEE|cEE GED| EAA A2B|cEE GEE|cEE GEE| cBA GED| EAA A2B:|

|:cee gee| aee gee|cee gee| gaa a2e|cee gee| aee ged| cBA GED| EAA A2B:|

 

GEESE IN THE BOGS [4]. Irish, Jig. See note for “Old Grey Goose [1]."

 

GEESE IN THE BOG [5], THE.  Irish, Jig. D Major. Standard tuning. AABB. Source for notated version: from F. Keane [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 940, pg. 239.

X:1

T:Geese in the Bog, The [5]

M:6/8

L:1/8

R:Jig

B:Stanford/Petrie – Complete Petrie Collection of Ancient Irish Music, No. 940  (1905)

Z:AK/Fiddler’s Companion

K:D

AGF EFE|DED D2B|AGF EFE|DFA B2d|AGF EFE|

DED D2f|gfe fdB|AFA B2:c|d2d fdB|AFA AFA|

dcd fdB|AFA B2c|”tr”d3 fdB|AFA AFA|gfe fdB|AFA B2d:|

 

GEESE HONKING. AKA and see "Wild Goose Chase [1]." Old‑Time, Breakdown. USA, Kentucky. B Flat Major. Standard tuning. ABB. Dick Burnett, of Monticello, Ky., claimed to have learned the tune from the fiddling governor of Tennessee in the early 20th century, Bob Taylor. Source for notated version: James Bryan with Bob Carlin [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 95. Rounder 0197, Bob Carlin ‑ "Banging & Sawing" (1985. Learned from Ky. fiddler Clyde Davenport, who had the tune from Dick Burnett).

 

GELD HIM LASSES (GELD HIM). AKA and see “Rusty Gulley [1].” Scottish. A traditional tune published in the mid‑18th century, in the relatively less strict times between the reformation and Victorian eras. It appears in the Gillespie Manuscript of Perth, 1768.

 


GELDING OF THE DEVIL, THE. English, Country Dance Tune (6/4 or 6/8 time). C Minor (Merryweather): A Dorian (Sharp). Standard tuning. AA' (Merryweather): ABB (Sharp). Published by John Playford in 1657. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 42. Sharp (Country Dance Tunes), 1909/1994; pg. 40.

X:1

T:Gelding of the Devil

M:6/8

L:1/8

K:C

A|E2 E A2 A|B2 G c2 c|dec B2 A|^G^FG A2 A|E2 E A2 A|B2 G c2 c|\

dec B2 A|^G^FG A2::A| ^G^FG AGA| BAB c2 c|dec B2 A| ^G^FG A2 A|\

^G^FG AGA|B/2A/2 c2 c| dec B2 A| ^G^F A3:|

 

GEM OF IRELAND. AKA and see “Clarkson’s Reel [1],” "Post‑Oak Grove," "Sweet Ellen/Ellum [2]." Irish, Reel. D Major. Standard tuning. AABB. See also the Cape Breton/Prince Edward Island tune “Homeward Bound [1],” which is derivative of this tune. Cole (1000 Fiddle Tunes), 1940; pg. 40. Ryan’s Mammoth Collection, 1883; pg. 66.

 

GENE O’DONNELL’S. Irish, Jig. E Dorian. Standard tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988) for his friend, the renowned dancer and interpreter of slow airs on the fiddle, Eugene O’Donnell, originally from County Derry (who lived in Philadelphia for several decades before returning home). Reavy (The Collected Compositions of Ed Reavy), No. 88, pgs 97-98.

X: 1

T:Gene O'Donnell's

R:jig

C:Ed Reavy

M:6/8

L:1/8

Z:Joe Reavy

N:Written for Eugene O'Donnell, the talented

N:dancer and fiddler from Derry. Gene has been a close

N:friend of Ed's since the fifties.

K:G

E/2F/2 | GFG AGA | Bef gfe | BFE EFG | FDF AGF | EB,E GFG |

BAB efg | ed^c dAF |1 GEE E2 :|2 GEE E f | eBe gfg | bge efg |

fdd d^cd | fdf agf | eBe gfg | bge efg | ed^c dAF | GEE E2 f | eBe gfg |

bfe efg | fdA FAd | fdf agf | gbg faf | gfe Bcd | ed^c dAF | GEE E2 ||

 

GENE PRESTON’S FLUTE. Irish, Jig. G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician Bill Black in honor of the late Sligo-style Boston flute player Gene Preston (d. 1988). Black (Music’s the Very Best Thing), 1996; No. 116, pg. 60.

X:1

T: Gene Preston's Flute

C: © B. Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: G

GFG dcB | dcB efg | GFG dcB | ABA E2 D |

GFG dcB | dcB efg | bgg aff | ged B2 A :|

DGG dGG | eGG dGG | EAA ^cAA | eAA ^cAA |

Fdd fdd | add fdd | gfe dcA | ABG FGA :|

 

GENERAL [1], THE. American, March. G Major. Standard tuning. One part. This tune is a fife and drum air used by soldiers during the American Revolution as a signal for camp duties and military manuevers. Camus (Military Music of the American Revolution), 1976; Example 2, pg. 86.

 

GENERAL [2], THE. AKA and see "The Drunken Sailor [2]," "Brigade March," "Old Number Four," "Old Three‑Part Two‑Four." American, March (2/4 time). USA, southwestern Pa. G Major. Standard tuning. AABBCC. The title refers most likely to its use as a tune calling soldiers for camp‑duties in the Civil War. See Bayard's (1981) note for "The Drunken Sailor [2]." Source for notated version: John Kirkpatrick (elderly fifer from Indiana County, Pa., 1950) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 224E, pg. 182.

 

GENERAL [3], LA.  French, Country Dance (2/4 time). D Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 35.

X:1

T:General, La [3]

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 35

Z:AK/Fiddler’s Companion

K:D

a | dd (3def | (3efg (3fga | dd (3def | e3 :: a | dd =cc | Bd (3=cBc | Bd (3=cBc |

B3b | eedd | ^ce (3dcd | ce (3dcd | {d}c3 fg | (a/b/a) (f/g/f) | d/e/d Af/g/ |

(a/b/a) a/g/f | {f}e2 df/g/ | (a/b/a) f/g/f | d/e/d Af/g/ | (a/b/a) a/g/f | {f}e2d a :|

 

GENERAL [4], THE.  English, Jig. A Major. Standard tuning. AABB. This particular “General” seems unique to London publishers Charles and Samuel Thompson’s 1773 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 1.

X:1

T:General, The  [4]

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:A

edc cde|f2d Bcd|cBA ABc|B3 E3|edc cde|f2d Bcd|cBA ABG|A3 [A,3A3]:|

|:EAA FAA|Bcd cBA|EAA FAA|edc B3|EAA cee fga ecA|cBA ABG|A3 [A,3A3]:||

 

GENERAL BLAKENEY. English, Slip Jig. G Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 collection, although there were other period tunes dedicated to the General. Blakeney was the successful defender of Stirling Castle for the Crown in 1746 during the Jacobite Rebellion. He was also the Lieutenant Governor of the Island of Minorca when the French sought to recapture the strategic post in 1756. Ultimately the garrison was forced to surrender when the British fleet under Admiral Byng was forced to retreat to Gibraltar. Although he had been out-manned and out-gunned, Byng was deemed culpable for the loss and was subsequently court-martialed and executed. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 51.

X:51

T:General Blakeney

M:9/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2  (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

G2G G2A {c}B>AG|AF(D D(FA cBA|BdF GBD EG[B,B]|[Cc]cB AGF G2 [G,G]:|
|:A2 (D D)FA cBA|{c}B2 (G G)Bd =fed|e2 [Cc]-[Cc] e dgb|c2 [A,A]-[A,2A2]c Bdg|

e2 [Cc] d2 [B,2B]c2 [A,A]|BGB cAG FED|[C2c2]e [B,2B] d [A,2A2] c|BGB cAF G2 [G,G]:||

 

GENERAL BRADDOCK'S MARCH. American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AB. Braddock was an English general of the French and Indian Wars, but this fife tune could have been derived either from a popular song, a country‑dance tune, or from a camp‑meeting spiritual, according to Bayard. In 1755 British Major General Edward Braddock assemble British and Colonial troops in an effort to secure the Pennsylvania frontier by seizing Fort Duquesne at present-day Pittsburgh from the French. After a long march through the wilderness, he crossed the Monongahela River on July 9, and was just a few miles away from his target. Braddock was then a 60-year-old soldier, a veteran of the elite Coldstream Guards, and was confident that his army of 2,200 men would take the French fort at the confluence of the Allegheny, Ohio and Monongahela rivers. Near a steep ravine, Braddock ran right into French Capt. Daniel Beaujeu, who commanded 250 soldiers and 600 Native Americans. Three hours later, Braddock lay mortally wounded and his army was in retreat. Source for notated version: Mount Pleasant Tablatures [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 22A‑B, pg. 26.

 


GENERAL BURGOINE'S MINUET. AKA and see "Mrs. Grant of Arndilly's Minuet." Scottish. Dedicated to two people: originally to Mrs. Grant, chatelaine of Arndilly House on northern Scotland's River Findhorn, c. 1767, and then General John ("Gentleman Johnny") Burgoine (or Burgoyne), the army general who later surrendered to the Americans at Saratoga, 1777. The dedication to Burgoyne came about in 1774 when he was one of the principal guests in the wedding of Lord Stanley and Lady Betty Hamilton in Surrey in that year. Thomas Erskine, Earl of Kelly (b. Fife, 1732), had been commissioned to write a new set of minuets for the bride and groom and some honored guests, but he was "thoroughly bored" with the style and tried to revamp or re-title some old minuets, hoping no one would notice.

                       

GENERAL CAMPBELL OF MONZIE’S WELCOME HOME. Scottish, Scots Measure. G Major. Standard. AAB. The melody appears in the 4th collection of Malcolm MacDonald, dedicated to the Countess of Breadalbane. The General was Alexander Campbell (1751-1832) of Monzie, Gilmerton, Perthshire. The following anecdote is told about him in Dun Macara’s book Crieff: Its Traditions and Characters, with Anecdotes of Strathearn (1881):

***

About the beginning of the present century a number of gentlemen of mark resided in

the locality, and not the least conspicuous of these were Colonel Sir Patrick Murray,

Baronet, of Ochtertyre, and General Campbell, of Monzie, who figured in the Indian

campaigns. According to the traditions and records of these eventful times, dancing

parties or assemblies were very common, and practical joking not unusual. General

Campbell, having a number of friends residing with him at Monzie Castle, took the

liberty one day of inviting himself and them to dinner at the mansion of his neighbour,

the Baronet; so, without any previous warning, the arrival of the General and his party

was announced to Sir Patrick and his good lady as they were going to sit down and

dine. Both of them felt a little put about in their unprepared state for visitors, but, not-

withstanding, gave the strangers a hearty welcome. The Baronet, suspecting the nature

of the visit, took things quietly, and allowed the cooks prepare an ample supply, of

which the General and etc., plenty of time between the dinner courses to his friends were

pressingly invited to partake. Previous to the removal of the cloth, Sir Patrick quietly sent

a messenger to Crieff, and engaged John Cuthbert and his brother, the famous reel players,

to be at Monzie Castle at a certain hour that evening. After a hearty repast, and healths

and friendships were toasted to the satisfaction of all, the General and his party bade

goodbye to Ochtertyre; and as they drove along the fine avenues they gave vent in loud

shouts of laughter to their merriment at the success of the joke, and the apparent uneasiness

of the gallant Baronet and his lady. As soon as the party were gone, Sir Patrick, with some

friends, entered the Ochtertyre carriage and drove post haste after the General, who had

scarcely quitted his carriage at Monzie Castle when the sound of a carriage was heard,

and immediately the party halted at the door. The arrival was announced, and the General

was perfectly thunderstruck. Sir Patrick, on entering, signified his intention of being present,

with a few friends, at a ball in Monzie that night. The General was nonplussed. A ball!  He

was not aware there was to be any such thing. The Baronet insisted on being present. A

cold sweat crept over the General as the thought of a return joke flashed on his mind.

“There can be no dancing as there is no music.” This seemed a favourable escape, but

Sir Patrick would take what could be had—he would not be particular. The General

said there was no music at all, and consequently could be no ball, otherwise he would be

exceedingly glad of Sir Patrick’s company. On a signal the Crieff players appeared, and

on being ushered into the hall, Sir Patrick looked at them and then at the General, and

exclaimed—“Really, General, this is too bad; I knew there was to be a ball, or I would

not be here with my friends, and, in the face of your positive denial of such a thing, the

very musicians engaged for the purpose make their appearance. I am determined to do

myself the pleasure of dancing with you.” The General, finding himself fairly out-generalled,

had just to make the necessary preparations, and the night was passed in mirth, dancing,

and the best of good humour. In conducting subsequent operations the General reconnoitred

more carefully before attempting to storm with impunity the stronghold of “Bonnie Ochtertyre.”

***

MacDonald (A Fourth Collection of Strathspey Reels), 1797; pg. 3.

X:1

T:General Campbell of Monzie’s Welcome Home

M:2/4

L:1/8

R:Scots Measure

N:”Slowish”

S:MacDonald – 4th Collection of Strathspey Reels (1797)

Z:AK/Fiddler’s Companion

K:G

d/c/ | BGGB | cAAd/c/ | BGGB/c/ | d2 g>d | BGGB | cAAd | g>edB |d2g :|

d | e>fga fddf | e>fga | f2dd | e>fga | fdgd | e/d/c/B/ A>B | c>d e/g/f/a/ |

gGGA/B/ | cA A/e/d/c/ | BGGB/c/ | d2 g>d | BGGB | cAAd | g>edB | d2g ||

 

GENERAL CARLETON’S QUICK MARCH. English, March (6/8 time). D Major. Standard tuning. AB. Guy Carleton, 1st Baron Dorchester (1724-1808) was a major figure of the Revolutionary period. He first distinguished himself in 1758 in the French and Indian War, but it was as a lieutenant governor, acting governor and finally governor of Quebec that he made his mark. It is through his efforts that the Quebec Act of 1774 was passed, bringing about improved relations between British and French Canadians. This contributed to the result of keeping the province loyal during the American Revolution, although at the time it angered Americans and perhaps helped to hasten the revolution. During the war, after Gage’s resignation as Commander-in-Chief of the British forces, Carleton was given command of British forces in Canada (while Sir William Howe commanded in the south). Carleton defended Canada from an American invasion in 1775 but was replaced by General Johnny Burgoyne in 1777, and he resigned as governor in 1778. Carleton stayed in the theatre, however, and after Yorktown he helped to protect the Loyalist population in the former Colonies. He became governor of Canada again from 1786 to 1796. Carleton was perhaps the best commander in American during his time and held a reputation as a man of principle and and effective and capable administrator. Aird (Selections), vol. II, 1785; No. 154, pg. 57.

X:1

T:General Carleton’s Quick March

M:6/8

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:D

a/f/ | d2d efe | cBc d3 | e2g fad | dcd eaf | d2d ege | cBc d3 | efe cBc | d3 d2 ||

A | A2A A2A | Ace e3 | afd def | ecA A3 | AAA AAA | Ace e3 | afd def | f3 e3 ||

                       

GENERAL COOPE. AKA and see "Johnny Cope [1]."

                       

GENERAL DRUMMOND. AKA and see “McGuffim’s,”  Miss Plaudy’s.” Scottish, Reel. G Major. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 110, pg. 14.

X:1

T:General Drummond

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 110  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

d | BG G/G/G (Bc)dg | BGgB aAAd | BG G/G/G (Bc)de | dega bgg :|

|: a | (bg)(fg) (eg)(dg) | (cg)(Bg) aAAd |1 (bg)(fg) (eg)dg | efga bgg :|2

BGcA dBge | dBcA BGG ||

           

GENERAL ELLIOT’S DELIGHT.  English, Jig. A Major. Standard tuning. AA’BB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. General George Augustus Elliot (c. 1718-1790) was a Roxburghshire-born career military officer renowned for his intellect, austerity, self-discipline, and his skilful handling of troops. Many of his regiments were held up as military models. He was an aide-de-camp to George II in 1759, and later defended Gibraltar from siege by the French and Spanish. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 90.

X:1

T:General Elliot’s Delight

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:A

AAE A2B|c>dc BGE|AAE A2d|1 cBA e3:|2cdB A3||:ece f2a|e>fe ecA|

ece f2a|c>BA e3::{cd}e>fe ecA|B>cB BGE|e>fe ecA|ceE A3:||

           

GENERAL GATHERING 1745, THE (An Cruinneachadh iomlan luthmhor). Scottish, Jig. D Major. Standard tuning. AB (Kerr): AAB (Athole, Fraser). "This air is so very characteristic of the event which gave rise to it, that a gentleman in Edinburgh remarked he thought he saw the Highlanders in full trot to Prince Charles's standard, on hearing it played, which should be in a style as quick as possible, and makes an admirable dance" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 90, pg. 34. Kerr (Merry Melodies), vol. 2; No. 320, pg. 35. Stewart-Robertson (The Athole Collection ), 1884; pg. 136.

X:1

T:General Gathering 1745, The

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:D

f|d2F FGF| ABc def|edc dcB|A2E E2f|d2F FGF|ABc def|edc dcB|A2F F2:|

d|AGF AGF|AGF ABc|dcB AGF|A2E E2B|AGF AGF|ABc def|edc dcB|A2F F2d|

AGF AGF|AGF ABc|dcB AGF|A2E E2B|AGF ABc|def efg|agf edc|dAF F2||

 

GENERAL GORDON’S HORNPIPE. Scottish, Hornpipe. A Major. Standard tuning. AABB.

X:1

T:General Gordon's Hornpipe

R:Hornpipe

C:W. Findlay, Broxburn

Z:Kohler's Violin Repository

M:4/4

L:1/8

K:A

ab|c'>ae>c A>ag>a|f>ed>c B2e>d|c>ea>c d>fb>a|g>ba>f e2a>b|

c'>ae>c A>ag>a|f>ed>c B2e>d|c>ag>a f>dB>G|B2A2A2:|

e>d|c>ae>c (3Ace (3Ace|d>af>d (3Bdf (3Bdf|e>ag>b a>f^d>f|e>^de>f e2e>=d|

c>ae>c (3Ace (3Ace|d>af>d (3Bdf (3Bdf|e>ag>f (3efe (3dcB|A2a2A2:|

           

GENERAL GRAHAM'S WALTZ. English (?), Waltz. G Major. Standard tuning. AAB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 122, pg. 30. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 144.

X:1

T:General Grahams Waltz

M:3/8

L:1/8

R:Waltz

S:O’Farrell (Pocket Companion, vol. IV), c. 1810

Z:AK/Fiddler’s Companion

K:G

B/c/ | dd g/e/ | dd g/e/ | dde | c2c | Bdg | eea | fef | g2 :: f/g/ | a/f/ dd | d/B/GG |

e/c/AA | ABc | B/d/ gg | c/e/ aa | g/f/e/d/e/f/ | g2 :: G/A/ | BB c/A/ | GG B/c/ |

dd e/c/ | B2 G/A/ | BB c/A/ | dd e/c | BB/G/A/F/ | G2 :|

                       

GENERAL GRANT. Scottish. John Glen (1891) finds the earliest  appearance of this tune in print in Angus Cumming's 1780 collection (pg. 11).

 

GENERAL GRANT’S GRAND MARCH. Irish-American, March or Schottische. O’Neill (1913) remarks the tune was a favorite of Kildare piper John Hicks (born c. 1825, said to be a protege of the famous Kildare piper “Sporting” Captain Kelly), who emigrated to America around 1850 and made a living playing in cities around the country. Hicks died in 1882, the victim of a sandbag assault by thugs as he was approaching the Hoboken ferry to return to his home in New York after playing a gig in New Jersey. 

                       

GENERAL HANDISHE’S MARCH.  American (?), March (cut time). G Major. Standard tuning. AABB. From the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Québec from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

X:1

T:General Hanishe’s March

M:C|

L:1/8

R:March

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:G

D2 | G2 GG G2 “tr”A(G/A/) | B2 BB B2 c(B/c/) | d2dd d2 (3efg | f2ff f2d2 |

e2 ee e2 ae | d2dd d2 gB | A2 (3edc B2 “tr”A(G/A/) | G2 GG G2 :: Bc | d2ga b2de |

(3dcB A4 AB | c2 fg a2 (AB/c/) | BA G4 gd | e2 dd d2 gd | c2 BB B2d |

e2 dd (3def (3gab | c2 BB B2 gd | (3edc (3BAG B2 (3AGA | G2 GG G2 :|

 

GENERAL HILL'S MARCH. English, March. G Major. Standard tuning. AABB. Composed by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 196.

 

GENERAL HOWE. AKA and see "Cross Reel." Shetland, Shetland Reel. Shetland, Whalsay.

 

GENERAL HOWE’S MARCH.  AKA and see “Lady’s Plaything.” English; Jig or March.

 

GENERAL LEE. AKA and see "Dubuque," "Old Dubuque," "Duck River," "Sally in the Green Corn."

 

GENERAL LONGSTREET'S. American, Reel. D Major. Standard tuning. AABB. Composed by Frank Livingston, who contributed several melodies to Ryan’s Mammoth Collection (1883). Although nothing is known about Livingston (whose name may be a pseudonym), he seemed to contribute a number of titles honouring the Southern side of the Civil War. The title undoubtedly refers to the famous Confederate general, originally from South Carolina. James Longstreet (1821-1904) was second only to Robert E. Lee in both battlefield prowess and in the hearts of soldiers. Paul Stewart Cranford (2000) notes this was a favorite dance tune of Cape Breton fiddler Bill Lamey. Cole (1000 Fiddle Tunes), 1940; pg. 42. Cranford (Jerry Holland: The Second Collection), 2000; No. 100, pg. 39. Ryan’s Mammoth Collection, 1883; pg. 68. WS 031703, Wendy MacIsaac – “Timeline” (2003).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:General Longstreet’s

M:2/4

L:1/8

R:Reel

C:Frank Livingston

S:Ryan’s Mammoth Collection  (1883)

Z:AK/Fiddler’s Companion

K:D

DFAd|f/e/f/b/ a/f/d/f/|g/d/B/g/ f/d/A/f/|e/f/g/e/ c/A/G/E/|DFAd|

f/e/f/b/ a/f/d/f/|g/d/B/g/ f/d/A/f/|e/a/g/e/ dz:|

|:a/f/d/f/ A/d/F/A/|b/g/d/g/ B/d/G/B/|a/f/d/f/ A/d/F/A/|g/e/c/A/ g/e/c/A/|

a/f/d/f/ A/d/F/A/|b/g/d/g/ B/d/G/B/|c/b/a/g/ f/e/d/c/|dfdz:|

 


GENERAL MACDONALD('S REEL) [1]. Scottish, Reel. C Mixolydian. Standard tuning. AAB. Composed by Neil Gow (1727-1807). By the time of the Skye Collection (1887) many of Gow’s syncopations had been “smoothed out.” Carlin (The Gow Collection), 1986; No. 257.Gow (Fifth Collection of Strathspey Reels), 1809; pg. 10. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 12. MacDonald (The Skye Collection), 1887; pg. 108. Stewart-Robertson (The Athole Collection), 1884; pg. 77.

X:1

T:General MacDonald [1]

M:C|

L:1/8

R:Reel

C:Niel Gow (1727-1807)

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:C

f|e>c “tr”c2 G>c”tr”c2 {Bc}|e>c”tr”c2 egg>a|e>c”tr”c2 {Bc}GcEG|F_ED_B, DFF:|

f|e>cg>c a>cg>c|ecgc e(gg>)a|ecgc acgc|(d/c/_B) fB d(ff>)g|

e/d/c g>c a>cg>c|ecgc e>fg>a|ecdB cGAF|(D/_E/F) “tr”_B2 D_B,B,||

 

GENERAL MACDONALD [2]. Scottish, Strathspey. C Minor. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 269.

X:1

T:General MacDonal [2]

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Cmin

E/D/|C>GE>c G>CE>c|B<dF<B D>B, D/E/F/D/|C>GE>c G>CD>g| e>c e/d/c/=B/ ~c2c:|

e/f/|g<c e>c g>ce>g|f>B e/d/c/B/ f>Bd>f|g<c e>c g<c f>a|g>ef>d ~c2 c/d/e/f/|

g>ce>c g>ce>g|f<B e/d/c/B/ f>Bd>f|g>ef>d e>cd>=B|G>c B/c/d/B/ C2c||

                       

GENERAL McBEAN. See “Colonel McBain’s.”

                       

GENERAL McKAY. Scottish, Reel. C Mixolydian. Standard tuning. AAB. Composed by Daniel (sometimes given as Donald) Dow. Perhaps this refers to Major General Mackay who led William of Orange's forces in their defeat at the hands of Lord ("Bonny") Dundee at the Battle of Killiekrankie, 1689. Carlin (The Gow Collection), 1986; No. 402. Gow (Complete Repository), Part 3, 1806; pg. 22.

X:1

T:General McKay’s Reel

M:C|

L:1/8

R:Reel

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:C

e|c(CC>)E G3_B|AF EC DF_B,D|(C/D/E/F/) GE G2 c>G|Aagf ecc:|

e|(c/d/e/f/) gc acgc|ecge fdde|(c/d/e/f/) gc acgc|ecgc G(cc>)e|
(c/d/e/f/) gc acgc|fdec B>cd(f|e>)c GE FAG_B|Aag>f ecc||

 

GENERAL MONK'S GOOSESTEP. AKA ‑ "General Monk's March,” "Monk's March". English, Morris Dance Tune (4/4 time). C Major (Carlin): G Major (Bacon): D Major (Bacon). Standard tuning. AAB (Bacon‑‑Hathaway): AA'B (Carlin): AA'BB (Bacon‑Benfield): AABA (Bacon‑Bond). The melody is a morris dance tune from the village of Bledington, Gloucestershire, in England's Cotswolds.

***

Source Charles Benfield (by artist A van Anrooy) was a fiddler for the Bledington morris men in the second half of the 19th century. Benfield started out by playing the pipe and tabor, instruments he had ‘inherited’ from the renowned Sherbourne and Northleach musician Jim ‘the laddie’ Simpson, who had succumbed to an overdose of alcohol in 1856. The fiddler became a key figure in the Bledington morris tradition, eventually leading the “junior side” of dancers born in the 1860’s, men who survived to pass on their tradition to larger audiences when collectors visited in the 1930’s.

***

Sources for notated versions: Charles Benfield (Rollo Woods) via Cecil Sharpe [Bacon]; Bond via Cecil Sharpe [Bacon]. Hathaway via Dr. Kenworthy Schofield [Bacon]. Bacon (The Morris Ring), 1974; pgs. 85‑86. Carlin (Master Collection), 1984; No. 35, pg. 32.

 

GENERAL MONK'S MARCH. See "General Monk's Goosestep," "Monk's March," "The Review [2],” "Belle Isle's March."

 

GENERAL MONROE'S LAMENTATION (Marbna Ceannairt Munroe). Irish, Slow Air (3/4 time). G Minor (O’Neill): A Dorian (Ó Canainn). Standard tuning. AB (O’Neill): AA’B (Ó Canainn). Henry Monroe was chosen to lead the rebels from County Down in the rising of 1798. After an initial success at Saintfield he was defeated in the Battle of Ballynahinch and was forced to flee to a farmhouse for refuge. He was betrayed, arrested, brought to Lisburn, County Antrim, and subsequently hanged there in front of his own home (and then beheaded, according to O’Neill), just three days after his defeat (Ó Boyle, 1976). Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 74, pg. 65. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 6, pg. 13. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 37, pg. 7.

X:1

T:General Monroe’s Lamentation

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 37

Z:AK/Fiddler’s Companion

K:G Minor

GF | D2 G3A | G2 F2 D2 | B2 A3B | c2 =B2 c2 | d2g2 f2 | d4 cd | c2 B3 G |

G2 F4 | D2 G3A | G2F2 D2 | B2 A3B | c2 =B2 c2 | d2 g2 f2 | d4 cd | B2 G2 G2 |

G6 || d2 g3 g | g2 a2 b2 | a2 g2 g2 | f2 d4 | d2 g3g | g2 a2 b2 | a2 b2 a2 | g6 |

f2 d2 c2 | B4 AB | G2 A2 G2 | G2 F2 GA | B2 A3 B | c2 =B2 c2 | d2 G2 G2 | G4 ||

 

GENERAL ROBERTS' FAREWELL. English, Slow March or Waltz. D Major. Standard tuning. AABB. A modern composition by Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 191.

 

GENERAL ROBERTSON OF LAWAR’S.  Scottish, Marching Air (whole time). C Major. Standard tuning. AABCDD. In one of the Gow collections? Jerry Holland remembered Angus Chisholm playing this tune (in three parts) in a medley with “Killiekrankie.” Cranford (Jerry Holland: The Second Collection), 2000; No. 307, pg. 110.

 

GENERAL SCOTT’S MARCH.  English, American; March. The melody dates to the year 1771, although the title apparently refers to American General Winfield Scott (1786-1866), who served in the War of 1812 and the Mexican-American War. It appears under this title in J.L. Rumrille and H. Holton’s The Drummer’s Instructor (Albany, 1817).  However, it is a much older tune, having appeared in the Thompson’s A Second Collection of XXIV Favourite Marches in 7 parts as they are performed by His Majesty’s Foot and Horse Guards (London, 1771). New World Records 80276-2, “Music of the American Revolution: The Birth of Liberty.”

 

GENERAL SHERIDAN'S REEL. American, Reel. D Minor ('A' part) & F Major ('B' part). Standard tuning. AABB. Refers to the famous Union general of the Civil War who later gained more ‘glory’ fighting Native American tribesmen in the West. Sheridan (1831-1888) is commemorated with a statue in Manhattan’s Christopher Park. The composition is credited to Harry Carleton in Ryan's Mammoth Collection (1883). Cole (1000 Fiddle Tunes), 1940; pg. 43. Ryan’s Mammoth Collection, 1883; pg. 71.

X:1

T:General Sheridan’s

M:2/4

L:1/8

C:Harry Carleton

R:Reel

K:Dmin

dA/F/ dA/F/ | d^c/d/ g/f/e/d/ | cG/E/ cG/E/ | c=B/c/ e/d/c/^c/ | dA/F/ dA/F/ |

d^c/d/ g/f/e/d/ | ^c/d/a/g/ f/e/d/e/ | fddz :: (3c/d/c/A/F/ (3d/e/d/B/G/ | (3e/f/e/c/e/ f/a/d’/c’/ |

(3c/d/c/A/F/ (3d/e/d/B/G/ | (3e/f/e/ c/e/ f2 | (3c/d/c/ A/F/ (3d/e/d/ B/G/ |

(3e/f/e/ c/e/ f/a/d’/c’/ | (3b/c’/b/ d/b/ (3a/b/a/ c/a/ | (3g/a/g/ e/g/ fz :|

 


GENERAL STEWART. AKA and see “Captain David Stewart 42nd Royal Highlanders. Afterwards General Stewart,” “Lady Muir MacKenzie,” “Mrs. Muir MacKenzies.” Scottish, Canadian; Reel. Canada, Cape Breton. D Mixolydian. Standard tuning. AAB. The tune often follows “Athole Brose” in a stepdance medley on Cape Breton (as it does, for example, on John L. MacDonald’s recording). Source for notated version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 76. ATL 8835, Dave MacIsaac & Scott MacMillan - “Live” (1993). CLM 1000, Carl MacKenzie - “Tullochgorum” (1979). JAD-1, Jackie Dunn - “Dunn to a T” (1995). Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005).

 

GENERAL STEWART OF GARTH.  Scottish, Strathspey. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

 

GENERAL STEWART, WEST PARK--ELGIN. Scottish, March (4/4 time). C Major. Standard tuning. AB. Composed by William Marshall (1748-1833). Moyra Cowie, in her book The Life and Times of William Marshall (1999), identifies the General as Major General Francis Stewart (d. 1824) who owned the estate of Panns, on the banks of the River Lossie. Upon his death it was inherited by Captain James Steward, his nephew. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 12.

X:1

T:General Stewart

M:C

L:1/8

R:March

S:Marshall1845 Collection

Z:AK/Fiddler’s Companion

K:C

B|c2 ce c2 ce|c2 (ec) dDDB|c2 (cG) cagf|ecdB cCCB|c2 ce c2 ce|

c2 ce c2 ce|c2 (ec) dDDB|c2 (cG) cagf|ecdB cCC||F|(E/F/G) (cG) EcGe|

fag>f e<(c c>)G|(E/F/G) (cG) EcGe|fag>f e<(c c>)G)|(E/F/G) (cG) EcGc|

EcGc dDDf|afge fdec|cAG>F E>D C||

 

GENERAL STUART'S REEL. AKA and see "Stewart's Rant," "The new Way of Gil Don," "Drummond's Rant." Scottish, Reel. The melody is called "Stewart's Rant" to which the dance 'General Stuart's Reel' is done. The dance figure appears under the above title (subtitled “The new Way of Gil Don”) in the Menzies Manuscript, 1749, contained in the Atholl Collection of the Sandeman Library, Perth.

 

GENERAL TAYLOR'S MARCH. American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AB. A formerly popular southwestern Pa. fife march. The title refers perhaps to Zachary Taylor, a general during the Mexican War of 1846-47, hero of the battles of Palo Alto, Resaca de la Palma and Buena Vista, and later elected (on the strength of his martial popularity) the 12th President of the United States. Sources for notated versions: Hoge MS, Marion Yoders (Greene County, Pa., 1961), Frank St. Clair (Greene County, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 330A‑C, pgs. 302‑303.

 

GENERAL TOAST, THE. English, Jig. England; Northumberland, Lancashire. G Major (Peacock, Raven): F Major (Plain Brown). Standard tuning. One part (Peacock, Raven): AABB (Plain Brown). Source for notated version: the 1845-47 music manuscript of Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Peacock (Peacock’s Tunes), 1980; No. 21, pg. 7. Plain Brown Tune Book, 1997; pg. 19. Raven (English Country Dance Tunes), 1984; pg. 115.

X:1

T:General Toast

M:6/8

L:1/8

R:Jig

K:F

F>GF fef | dcd c2F | F>GF fef | d3c3 | F>GF fef | dcd c2A |

B>cB cdc | G3F2F :: A>Bc c3 | c>BA G2F | A>Bc c>dc |

B>AG F3 | A>Bc c3 | c>BA G2F | A>Bc c>fc | B>AG F3 :|

 

GENERAL WARREN’S MARCH. American, March (cut time). G Major. Standard tuning. AABB. The melody appears in the music manuscript copybook of Henry Livingston, Jr. Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. A tune by this title also appears in Joseph Herrick’s The Instrumental Preceptor, published in Exeter, New Hampshire in 1807, and Daniel Henry Huntington’s copybook entitled “Preceptor for the Flute” (Onondoga, New York, 1817). The title refers perhaps to General Joseph Warren, a resident of Roxbury, Boston, who was “a fiery, vehement, daring spirit,” and who was “a  doctor for thirteen years, a major-general for three days, and a soldier for three hours.”  He was killed at the Battle of Bunker Hill in 1775. 

X:1

T:General Warren’s March

M:C|

L:1/8

R:March

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:G

G>A | B2 B>B BAGF | G>F G4 (3ABc | Bagf edcB | A4 z2 B>c | d2 d>d d2 e>f |

G2G>G G2 (3ABc | Bgfe dcBA | G6 :: B>c | d2 d>d d2 A>B | c2 c>c c2 G>A |

B2 B>B B2 d>B | A2 A>A A2 B>c | d2B2d2B2 | g2d2b2G2 | (3ced (3cBA “tr”G2F2 | G2G>G G2 :|

 

GENERAL WASHINGTON'S MARCH. AKA and see "Washington's Grand March," "President's New March."

           

GENERAL WAYNE’S MARCH.  American, March (whole time). D Major. Standard tuning. AABB. The melody appears in Samuel Holyoke’s Instrumental Assistant (Albany, 1800). General “Mad” Anthony Wayne was a hero of the Revolutionary War and was the commander selected by President George Washington to quell Indian unrest and punish the tribes of the Mohawk and Ohio Valleys in 1792. For the original British version of the tune, albeit distanced from the one printed by Holyoke, see “Tom Tollin’s.” Mattson & Walz (Old Fort Snelling/Fife), 1974; pg. 62 (set as a duet for two fifes).

X:1

T:General Wayne’s March

M:C

L:1/8

R:March

S:HolyokeInstrumental Assistant (1800)

K:D

(A>G)|F2 E>F D2 d=c|B4 A4|GBGE FAFd|dcBc A4|A>B cd e2f2|

g2 ab a3g|f2 ed A2c2|d6::AB/c/|d2 f>d B2 e>d|c2 B>c A2 AB/c/|

d2 f>d B2 e>d|c2 B>c A3A|dAAA dAAA|dAdA dAAA|

dcBA BAGF|gfed edcB|A>Bcd e2f2|g3b a3g|gfed A2c2|d6:|

 

GENERAL WEMYSS. AKA – “General Wemyss of Wemyss.” Scottish, Strathspey. C Major. Standard tuning. AB (Surenne): AAB (Gow, Stewart-Robertson). Composed by the famous Perthshire fiddler-composer Niel Gow (1727-1807). Major-General William Wemyss of Wemyss (1760-1822), a career soldier, was the cousin of Elizabeth, then Countess of Sutherland, and grandson of William, the 17th Earl of Sutherland, in the remote and mountainous north of Scotland. It was to him she (when he was a Captain, at the age of 16) delegated the task of raising a Sutherland Regiment for the English wars. A core of 259 men was assembled from the recently disbanded Sutherland Fencibles, while most of the remainder were enticed from among the Countess’s tenants in the following manner. General Wemyss would travel from parish to parish, assembling the able-bodied young men of the area and forming them in a line. He would then walk down the line with a large, silver-bound, horn snuff-mill in hand, followed by an attendant with a bottle of whiskey. Those who chose to take snuff with the general and to drink his dram were considered to have enlisted, with no further formalities. The Countess was able to mollify any outraged parents with the granting of more advantageous leases, and the General ended up with 419 Highlanders. In the years that followed, the regiment, a battalion of which was known as the 91st Argyllshire Highlanders, saw extensive service in the Cape of Good Hope and in the Peninsular Campaign, South Africa and the Zulu Wars (1879).

***

A companion battalion was the 93rd Sutherland Highlanders, also raised in 1799 by Wemyss, and he was the first colonel of the regiment between 1800 and 1822. The 93rd Sutherland Highlanders were present at the Cape of Good Hope, the Battle of New Orleans (1814) and the Canadian Rebellion of 1838. They played a distinguished part in both the Crimean War (1853-56) and the Indian Mutiny (1857-58). Their finest hour, however, was at Balaclava long after William Wemyss’ time, where they were renowned as “The Thin Red Line,” painted by Victorian artist Robert Gibb in 1856.

***

Wemyss had a reputation for supporting a good military band—the 93rd appears to have had a band since its formation—and furnished his units with brass instruments. His accounts from the year 1800 show that the paid Broderick and Williamson £6.0.2d for musical instruments, and Kolak £12.4.7d for French horns. These instruments presumably were with the 93rd at Capetown, where an 1809 inspection reported that the band was merely “tolerable,” while the instruments were noted to be in good condition. A year late the musicians were said to be ‘improving’.  A “Jingling Johnny” survives in the possession of the 93rd Regiment, dating from Wemyss’s Sutherland Fencibles. It is engraved with the initials “W.W.”  [A ‘jingling Johnny’ is an instrument consisting of a pole ornamented with a canopy, crescent, and other shapes hung with bells and metal jingling objects, often surmounted by horsetails. It may have derived from the staff of a Central Asian shaman, though its use in European armies stemmed from imitation of the Turkish military Janissary band].

***

In 1788 Wemyss married Frances (born before 1773, died 1798, for whom is possibly “Miss Erskine of Torry [1]”), the eldest daughter of General Sir William Erskine, Bart., or Torrie (Torry), who eventually brought the Erskine estates into the family. They descended on their son, (naval) Captain James Erskine Wemyss, who was M.P. for Fife. William died at Wemyss Castle, on the 5th February, 1822.

***

Carlin (The Gow Collection), 1986; No. 62. Stewart-Robertson (The Athole Collection), 1884 (appears as “General Wemyss of Wemyss”). Surenne (Dance Music of Scotland), 1852; pgs. 94-95.

X:1

T:General Wemyss of Wemyss

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

e/f/|g>ce>c d>G B2|F<cE<c d<D De/f/|g>ce>c d<G B2|c<G A>F E<CC:|

F|E<GCE c<G F>E|F<cE<c d<D D>F|E<GC<E c<GA<F|c<GA<F E<C C>F|

E<GC<E c<G F>E|F<cE<c d<D D>F|E<GC<E e>cd>B|c>GA>F E<CC||

                                   

GENERAL WEMYSS. AKA – “General Wemyss of Wemyss.” Scottish, Strathspey. C Major. Standard tuning. AAB. Composed the famous Scots fiddler-composer Niel Gow (1727-1807) of Inver, Perthshire. See note for “General Wemyss,” above for more. Carlin (The Gow Collection), 1986; No. 62. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 24. Stewart-Robertson (The Athole Collection), 1884 (appears as “General Wemyss of Wemyss”).

X:1

T:General Wemyss of Wemyss

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

e/f/|g>ce>c d>G B2|F<cE<c d<D De/f/|g>ce>c d<G B2|c<G A>F E<CC:|

F|E<GCE c<G F>E|F<cE<c d<D D>F|E<GC<E c<GA<F|c<GA<F E<C C>F|

E<GC<E c<G F>E|F<cE<c d<D D>F|E<GC<E e>cd>B|c>GA>F E<CC||

           

GENERAL WEMYSS OF WEMYSS. Scottish, Reel. F Major. Standard tuning. AAB. Composed by Nathaniel Gow. See note for “General Wemyss.” Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 25 (3rd edition). MacDonald (The Skye Collection), 1887; pg. 190.

X:1

T:General Wemyss of Wemyss

M:C

L:1/8
R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:F

C|F2 AF (ABc)f|A<F c>F EGGA|F2 AF (ABc)A|dfeg fFF:|

g|(a/g/f/e/ fc (ABc)f|A<F c>F EGGg|(fef)c (ABc)A|dfeg fFFg|

afge (fdc>)B|A<F c>F EGGB|AFcA Bcde|fcdB AFF||

           

GENERAL WHITE'S JIG. AKA and see "The Unfortunate Rake [2]," "The Misfortunate Rake," "Sunday is/was my Wedding Day," "The Shamrock (Reel) [1]," "The Squint‑eyed Piper," "Rattle the Quilt (to Pieces)," "Kennedy's Jig," "Apples in Winter [1]."

           


GENERAL WYNNE. Irish, Air or Planxty. C Major. Standard tuning. AB (Stanford/Petrie): ABCD (Complete Collection). Composed by blind Irish harper Turlough O'Carolan (1670-1738). George Petrie (1855) prints the march and jig as separate tunes, while in the Complete Collection the two are combined into one ‘suite’(see Stanford/Petrie, 1905; No. 976, pg. 249).

***

The Wynne family originally came from Wales, and in 1658 acquired tracts around Lurganboy, County Leitrim, and later expanded into Sligo. There were several famous military figures in the family, including General James Wynne and Major-General Owen Wynne II (1655-1737), the sons of Owen Wynne of Lurganboy. Both brothers fought with the Williamite forces at the Battle of the Boyne (1689), and later fought together in Flanders against the French. Older brother James was killed in the conflict on the Continent, and, while Owen was made a prisoner of the French for a time, he was back at the head of his regiment, the 5th Irish Dragoons, at the battle of Blenheim.  Owen was made a Brigadier-General in 1706, and thus probably had to give up command of his regiment, but he took part in the siege of the fortress of Lille, France, and was given command of the garrison by Marlborough when the city finally succumbed.  At the end of the wars, in 1713, Owen had attained the rank of Major-General. In 1727 he was promoted to Lieutenant-General and appointed Commander-in-Chief in Ireland.

***

Apart from his military accomplishments, Owen Wynne established himself as one of the foremost powers in north-west Ireland. He was MP for Carrick-on-Shannon as early as 1692. His accomplishments brought him great riches, which he proceeded to invest in land. In 1722 he bought some 14,500 acres in County Sligo and also purchased land in Cavan. On his return to Ireland he re-entered the political arena and established the family as a political hegemony that was to last locally for over a hundred years, particularly in Sligo. Owen married a daughter of Robert Miller of Milford, Co. Mayo, but they had no children, and he left his estates to his nephew when he died. Owen is likely the General Wynne to whom O’Carolan addressed his air, I believe.

***

Complete Collection of Carolan's Irish Tunes, 1984; No. 170, pg. 115. Stanford/Petrie (Complete Collection), 1905; No. 986, pg. 252.

           

GENEROUS AND GOOD (Fialaidh Agus Maith). Irish, Slow Air (3/4 time). F Major. Standard tuning. AB. Source for notated version: "From A.P.'s manuscript book" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 736, pg. 365.

                       

GENEROUS WOMAN, THE (An Bean Flaiteamuil). Irish, Air or Planxty (4/4 time). D Major. Standard tuning. AB. Composed by Turlough O'Carolan (1670-1738), according to O’Neill. O'Neill (Krassen), 1976; pg. 232. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 648, pg. 116.

X:1

T:Generous Woman, The

M:C

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 648

Z:AK/Fiddler’s Companion

K:D

AB/c/|d3e d2c2|B2A2F2 zA|d3c d2e2|f2 z2z2 zA|d3e d2c2|{c}B2A2F2 zA|

B3d c2e2|{e}d4z2||DE/F/|G3A B2 AG|F3G AGFE|D3E F2A2|B2A2z2A2|

d3e fedc|B3c {c}d2 AG|F3D FEDC|D4 z2||

                       

GENEVIEVE’S WALTZ. Irish, Waltz. A Major. Standard tuning. AA’B. Composed by Manus McGuire.

X:1

T:Genevieve's Waltz

R:waltz

C:Manus McGuire (Moving Cloud)

Z:Derek Bone 9th April 2001

P:AABBAABB

M:3/4

L:1/8

Q:1/8=150

K:A

E\

|: c>dc BAG | A>Bc E2E | F>Ad cEc | c>BA B2E \

| c>dc BAG | A>Bc E2E | FAd cEc |1 B>AG A2E :|2 B>AG A2e |

|: f>ff fga | e2d c>BA | d>ed cBA | FGA  B2e \

| f>ff fga | e2d c>BA | d>ed cBA | FAG A2e \

| f>ff fga | e2d c>BA | d>e{fg}a ecA | FGA B2E \

| c>dc BAG | A>Bc E2E | F>Ad cEc | B>AG A3 |]

                       

GENEY (Jenny?) COYNE. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

           

GENS DE LA BASTILLE, LES. French-Canadian, Reel. D Major. Standard. AA’BB’CC’DD’. Quebec accordion player Phillipe Bruneau states the tune was made popular by accordion player Rene Alain (who recorded the tune in the 1960's) and by the Soucy Family. Due to its four-part structure it is played for dances like “La Belle Catherine” and “Spendy” in Quebec. Source for notated version: Dan Compton (Portland, Oregon) from the playing of Raynald Ouellet [Songer]. Songer (Portland Collection), 1997; pg. 83. Richard Forest - “Les pieds qui parlent.”

           

GENTLE ANN. AKA and see “Bayham Abbey,” “Duncan Davi(d)son,” “The Eighteen-Twelve (1812) March,” "Handy Andy's Highland Fling," “He is Long a Coming,” "Maggy's Weame Is Fu I Trow," “Welcome Here Again,” "Ye'll Aye Be Welcome Back Again." Scottish. See note for “Ye’ll Aye be Welcome Back Again.” Aird (Selections), vol. 1, 1778; No. 30, pg. 11.

           

GENTLE ANNIE. American, Air. USA, West Virginia. A Stephen Foster song which entered instrumetal tradition in Mercer County, W.Va. The source, Oscar Wright who learned it from his mother, never knew it was originally a song. Rounder 0089, Oscar & Eugene Wright ‑ "Old Time Fiddle and Guitar Music from West Virginia."

           

GENTLE BREEZE.  Irish, Air. Composed by fiddler Tommy Peoples. Green Linnet SIF 1095, Altan – “Horse with a Heart.” Green Linnet SIF 1139, “Eileen Ivers” (1994).

 

GENTLE DARK EYED MARY. Scottish, Slow Air (4/4 time). D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 1; No. 19, pg. 48.

           


GENTLE MAIDEN, THE (An Maigdean Ceannsa). AKA and see "When the South Wind Blows," "Is Fada Annso Me" (I am a long time here), "It is my deep sorrow," "The Bare-Headed Poor Old Man," "Owen Coir." AKA – “Gentle Maid.” Irish; Slow Air (6/8 time) or Waltz (3/4 time). G Major. Standard tuning. AB (Laufman, O'Neill): AA'BB' (Matthiesen). Bunting (1840) gives two titles for the tune, one in Irish and one in English; O'Sullivan (1983) suggests the original words were in Irish from a note in Bunting's MS. The variants "It is my deep sorrow" and "Owen Coir" are to be found in the Journal of the Irish Folk Song Society (volume X, pgs. 10 and 21, respectively), while the variant "The Bare-Headed Poor Old Man" is from a MS of Bunting's (MS 5, pg. 52 & MS 12, book I). The tune can be heard in instrumental air versions, as a waltz and as a song air (e.g. “Mavourneen’s the Flower of Killarney”). North American versions tend toward mostly waltz versions, especially among contra and Cape Breton musicians, and (annoyingly to some) a staple of the hammered dulcimer repertoire. It is also in Northumbrian pipe repertoire (e.g. recorded by Billy Pigg)

***

A song set to the melody was recorded by John McCormick in 1940 and later by Frank Patterson. The words go:

***

There's one that is a pure as an angel,

As fair as the flowers of May,

They call her the gentle maiden

Wherever she takes her way.

Her eyes have the glance of sunlight,

As it brightens the blue sea wave

And more than the deep sea treasure

The love of her heart I crave.

***

Though parted afar from my darling,

I dream of her everywhere,

The sound of her voice is about me,

The spell of her presence there.

An whether my prayers be granted,

Or whether she pass me by,

The face of the gentle maiden

Will follow me till I die.

***

Source for notated version: the Irish collector Edward Bunting obtained the melody from Miss Murphy of Dublin in 1839 [Bunting]. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 3. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 23. Matthiesen (Waltz Book I), 1992; pg. 25. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 282, pg. 49. O'Sullivan/Bunting, 1983; No. 148, pg. 205 (appears as "Is Fada Annso Me"). F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band." Front Hall FHR‑023, Michael, McCreesh & Campbell ‑ "The Host of the Air" (1980). Green Linnet SIF‑1084, Eugene O'Donnell ‑ "The Foggy Dew" (1988).

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:Gentle Maiden, The

R:waltz

M:6/8

L:1/8

Q:70

K:G

|:F|GAG FED|d2d efg|dcB A2G|E3-E2 F|

GAG FED|d2d efg|dcB A2 {BA}G|G3-G2::

d|def g2g|g3 gfe|dcB {c}A2G|E3-E2 A|

GAG FED|d2d efg|dcB A2{B}{A}G|G3-G2:|

                                   

GENTLE MILKMAID, THE. See “Mo Chuachag Laghach.”

                       

GENTLE REFINED FAIR-HAIRED GIRL, THE (Cuilghionn mhuinte sheimh). AKA and see "O John, My Cousin."

           

GENTLE ZITELLA. Scottish, "Guaracha Waltz." G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 314, pg. 34.

X:1

T:Gentle Zitella

M:3/4

L:1/8

R:Guaracha Waltz

S:K2 | Kerr – Merry Melodies, vol. 3, No. 314  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

D2 | D2G2A2 | (B2d4) | d2A2d2 | B4D2 | D2G2A2 | (B2d4) | d2A2d2 | G4 :|

|: B2 | B2B2B2 | e2B2B2 | B2A2F2 | E4 FG | A2A2A2 | d2A2A2 | A2B2^c2 | d4 :|

“D.C. to Allegro”

           

GENTLEMAN THIEF, THE. English, Jig and Air (Irregular time ‑ 'A' part is in 6/8 time, 'B' part in 9/8). England, Northumberland. G Major. Standard tuning. ABB. "'The Gentleman Thief' was the tune to a song about the way a very fancy highwayman was outwitted by a simple farmer. The farmer was returning from market, where he had sold a horse. He had money in his pockets, enough to pay a year's rent, and he was carrying the horse's old saddle over his shoulder. The gentleman thief overtook him at a gallop, waving a horse‑pistol and a cutlass and demanding money. The farmer said his money was stitched inside the saddle, and promptly threw the saddle over the hedge. The highwayman leaped after it and began 'hacking the old saddle to rags' looking for the money, which of course wasn't there. Meanwhile the farmer had made good his escape (Williamson, 1976). Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 29.

 

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