The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
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.
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.
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
GEARRCHAILE OILEÁN
PÍCE (The
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
.......................
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
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.
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
R:Jig
S:O’Neill – Dance
Music of
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
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) |
(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: ];
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
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
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
N:friend of Ed's since the fifties.
K:G
E/2F/2 | GFG AGA | Bef gfe | BFE EFG | FDF AGF | EB,
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
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
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
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
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
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
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
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:
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
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.
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
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
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")
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
***
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
X:1
T:General Monroe’s Lamentation
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill
– Music of
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 (
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.
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.
GENERAL STEWART OF
GARTH.
Scottish, Strathspey. Smithsonian Folkways
Records, SFW CD 40507, The Beaton Family of Mabou – “
GENERAL STEWART,
X:1
T:General Stewart
M:C
L:1/8
R:March
S:
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,
GENERAL TAYLOR'S MARCH. American, March (2/4 time).
GENERAL TOAST, THE. English, Jig.
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
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 (
X:1
T:General Wayne’s March
M:C
L:1/8
R:March
S:
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
***
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
***
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
***
Carlin (The
Gow Collection), 1986; No. 62. Stewart-Robertson (The Athole Collection), 1884
(appears as “General Wemyss of Wemyss”). Surenne (Dance Music of
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
***
Apart from his military accomplishments, Owen Wynne
established himself as one of the foremost powers in north-west
***
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
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.
GENS DE LA BASTILLE, LES. French-Canadian, Reel. D Major. Standard.
AA’BB’CC’DD’.
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.
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
***
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,
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
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:
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).
_______________________________
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