The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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

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

 

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

 

 

 

GOOCH, THE. Australian, Reel. D Major. Standard tuning. AA’BB. A modern composition by Peter Holmes.

X:1

T:The Gooch

R:Reel

C:Peter Holmes

Z:Andrew Le Blanc

M:4/4

L:1/8

K:D

A,B,||:DCDE DB,A,B,|DCDE D2FG|Adcd BAGF|EFGA BAGF|

~E2EF GABG|dcde dAFD|DEFG Adcd|1 AFEF D2A,B,:|2 AFEF D4|

||fedf gfed|(3efg fa gfed|afed bagf|edcB AGFE|

Ddcd fdcd|gddd addd|bagf edcB|AGFE D4:||

                       

GOOD AX ELVE. AKA and see "The Cuckoo's Nest [14]," "Cuckoo Hornpipe," "The Yellow Heifer [1]," "Captain Moss's," "The Mountain Top [3]," "Come Ashore Jolly Tar and Your Trousers On," "Jacky Tar." American, Breakdown. D Major. Standard. AABB. See note for "The Cuckoo's Nest." Ford (Traditional Music in America), 1940; pg. 73.

                       


GOOD BOY, THE. Irish, Air (3/4 time). D Major/Mixolydian. Standard. AB. Source for notated version: “From P. Carew’s MSS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 537, pg. 136.

X:1

T:Good Boy, The
M:3/4
L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 537

Z:AK/Fiddler’s Companion

K:D

(3ABc | d2A2G2 | F>E DEFG | A2=c2B2 | =c3 ^cde | d2A2G2 |

F>E DEFG | A2d2d2 {f/e/} | d4 || de | f2e2f2 | g2f2 ed | c2A2B2 |

=c3 de^c | d2A2G2 | F>E DEFG | A2d2d2 | d4 ||

                       

GOOD BOY JOHNNY. Old‑Time, Fiddle Tune. The title appears in musicologist/folklorist Vance Randolph's list of traditional Ozark Mountain fiddle tunes, published in 1954.

                       

GOOD DRYING. Scottish, Reel. Composed by R.S. MacDonald. Green Linnet GLCD1182, The Tannahill Weavers - “Choice Cuts 1987-1996.”

                       

GOOD FELLOW, THE. Irish, Slip Jig. D Major. Standard tuning. AABBCCDD. O’Neill’s and O’Farrell’s settings are identical. Source for notated version: manuscripts in the possession of Chicago Police Sergeant James O’Neill, originally from County Down—many from the playing of his father [O’Neill]. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 60. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 183.

X:1

T:Good Fellow, The

M:9/8

L:1/8

R:Slip Jig

S:Sergt. James O'Neill manuscript

Z:Paul Kinder

K:D

A|:DED D2 d F3|DED D2 d GEc|DED D2 d F3|EFE cBA GEC:|

|:AcA GBG F3|AcA GBG AFD|AcA GBG F3|EFE cBA GEC:|

|:D2 a ged c3|d2 e f2 a gec|faf ged c3|cAG FAF GEC:|

|:DED dAG F3|DED dAF GEC|DED dAG F3|EFE cBA GEC:||

                       

GOOD FELLOWS, THE. Irish, Slip Jig. E Flat Mixolydian. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 960, pg. 244.

X:1

T:Good Fellows, The

M:9/8

L:1/8

R:Jig

N:”A Duplicate of this tune has the first four bars repeated.” Ed. (Stanford)

S:Stanford/Petrie – Complete Collection, No. 960 (1905)

Z:AK/Fiddler’s Companion

K:E Flat

E2E E2 B/A/ G3|E2E E2B AFD|E2E E2B/A/ G2B|AF_D DED AFD|

B2A B2A G2A|B2A B2e dBA|B2A B2A G2B|AF_D DED AF=D|

EGE G2E GAF|EGE G2B AFD|EGE G2E G2B|AF_D DFD AF=D||

                       

GOOD FLUTER, THE. AKA and see "The Green Groves of Erin [1]," "The Groves of Erin," "The Green Fields of Erin [1]," "Erin's Groves," "Down the Groves," "The Heather Breeze," "The Queenstown Lasses," "Miss Shaw's Reel," "Mary in the Mall," "The Castlecomer Lasses," "The Gay Fellow's Favourite."

                       

GOOD FOR THE TONGUE. AKA and see “Jenkin's Hornpipe,” “The Stoney/Stony Steps,” “The Washington Hornpipe.” American, Breakdown or Hornpipe. USA; Nebraska, Missouri. B Flat Major (Christeson, Cole, Ford, Howe, Phillips, White): A Major (Silberberg, Songer). Standard tuning. AB (Silberberg): AABB (most versions). The melody’s presence in Ryan’s Mammoth Collection (1883) suggests this was once a brass band tune (as was, for example, “Ned Kendall’s Hornpipe”), a genre popular in the mid-19th century, and originally meant to be played on an instrument that featured ‘tonguing’ articulation of notes, like a coronet. Missouri fiddler Cyril Stinnett (1912-1986) thought it one of the more difficult tunes in his repertoire. Northwest U.S. fiddlers have changed the original key to A major. See also the closely related tune "White Fish in the Rapids." Sources for notated versions: Bob Walters (1889-1960, Burt County, Nebraska) [Christeson, Phillips]; Deborah and Creighton Lindsay (Portland, Oregon) [Songer]; Cathie Whitesides [Silberberg]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 25. Cole (1000 Fiddle Tunes), 1940; pg. 92. Ford (Traditional Music in America), 1940; pg. 96. Howe (1000 Jigs and Reels), c. 1867; pg. 80. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 195. Songer (Portland Collection), 1997; pg. 85. Ryan’s Mammoth Collection, 1883. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 54. White’s Unique Collection, 1896; No. 142, pg. 25. Great Meadow Music CD 2008, Bob McQuillen and Friends – “Old New England” (1996). Missouri State Old Time Fiddlers' Association, Bob Walters - "Drunken Wagoneer." Laurie Andres - “Fantastic Hornpipe” (1991. learned from Bob Childs and Greg Boardman, who had the tune from Maine dance musician Otto Sopher).

X:1

T:Good for the Tongue

M:2/4

L:1/8

R:Hornpipe

S:White’s Unique Collection (1896), No. 142

Z:AK/Fiddler’s Companion

K:B_

F | B/c/d/e/ f/(B/A/B/) | .g/.B/.a/.B/ .b/(B/A/B/) | (G/e/)(F/d/) (E/c/)(D/B/) |

.c/.d/.e/.c/ .B/.A/.G/.F/ | B/c/d/e/ f/(B/A/B/) | .g/.B/.a/.B/ b/(B/A/B/) |

(G/e/)(F/d/) (E/c/)(D/B/) | d/c/B/A/ [DB] :: (d/e/) | f/(B/A/B/) g/(B/A/B/) |

b/a/b/g/ g/f/e/d/ | (g/^f/)(g/d/) (e/d/)(e/G/) | c/d/e/c/ B/A/G/F/ | B/c/d/e/ f/(B/A/B/) |

.g/.B/.a/.B/ .b/(B/A/B/) | (G/e/)(F/d/) (E/c/)(D/B/) | d/c/B/A/ [DB] :|

                       

GOOD GIRL, THE. American, Reel. D Major. Standard tuning. AABBCCDD. Ryan prints dance directions under the melody. Cole (1000 Fiddle Tunes), 1940; pg. 26. Ryan’s Mammoth Collection, 1883;

X:1

T:Good Girl, The

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A|df/d/ c/e/A/c/|df/d/ c/e/A/c/|d/c/d/e/ f/g/a/f/|1 e/d/c/B/ A:|2 b/g/e/c/ d||

|:A|A/d/f/a/ g/f/g/e/|A/c/e/g/ f/e/f/d/|A/d/f/a/ g/f/g/b/|a/g/f/e/ d:|

|:A|.f.g a>b|a/g/f/e/ g/f/e/d/|.f.g a>b|a/g/f/e d:|

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

                       

GOOD HARVEST. AKA and see “The Cheap Meal.”

                       

GOOD HEALTH TO MY BROWN MAID (Slainte Do'm Cailin Donn). Irish, "Very Slow" Air (4/4 time). F Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 595, pg. 104.

X:1

T:Good Health to My Brown Maid

M:C

L:1/8

R:Air

N:”Very Slow”

S:O’Neill – Music of Ireland (1903),  No. 595

Z:AK/Fiddler’s Companion

K:F

D2|F2 G>B d2 c>B|A2 DE {D/E/}G2 zA|G>F GA f2 ec|d>{e/d/}cAc d2 zD|

F2 G>B f2 e>c|d>{e/d/}cAc d2 zA|c>dc>B d2 cB|A>D ED/E/ F2 z||A/B/|

c>dcB d2 cB|A>D E2 F2 (3cde|f>{g/f/}efg fedc|AGAc d2 zA/B/|cA cdd/e/ f3a|

g>fed c2 d/^c/d/e/|f>edc {A}d2 cB|A>D ED/E/ F3||

                                   

GOOD HEALTH TO OUR FRIENDS FAR AWAY (Slainte D'ar Caradaib Imcian). AKA and see “Here’s a Health to Them That’s Awa’." Irish, Air (6/8 time, "lively"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 213, pg. 27.

X:1

T:Good Health to Our Friends Far Away

M:6/8

L:1/8

R:Air

N:”Lively”

S:O’Neill – Music of Ireland (1903), No. 213

Z:AK/Fiddler’s Companion

K:G

b/a/ | g2d e>dB | d>ef g2 b/a/ | g2d e>fg | a>ba a2 b/a/ | g2d e>fg |

f>ed g2 d | BGB AFA | (G3 G2) || G | B2d d<ed | cBA G2 B/c/ |

d2d d>ef | (g3 g2) d | d>ed efg | f>ed g2 d/c/ | BGB AFA | (G3 G2) ||

                                                  

GOOD-HUMOURED REEL, THE. English, Reel. G Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 54, pg. 15.

                          

GOOD INDIAN. Old‑Time, Breakdown. USA, Oklahoma. G Major. Standard tuning. AABB. Sources for notated versions: Albert Black (Comanche County, Oklahoma) [Thede]; Tom Carter & Tom Sauber [Phillips].

***

Oh, Good Indian don't kill me,

For I've a wife and familee. (Sung to first four measures).

***

Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 100. Thede (The Fiddle Book), 1967; pg. 30.

                       

GOOD LAGER BEER. AKA and see "The Frost's on the Pumpkin and the Fodder's in the Shock," "Sweet Potato Pie." American, Schottische. USA, southwestern Pa. G Major. Standard tuning. AB. The tune is derived from "The Tulip," a Scottish march‑tune composed by Janes Oswald and published in his "Airs for the Spring," c. 1747. This Tulip tune has also been the source for other rather well‑known tunes (and many songs), including "The Wearing of the Green," and "Balance a Straw" which is a more elaborate version of the Pennsylvania "Good Lager Beer." Source for notated version: Levi Hall (Fayette County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 421, pg. 398. Ford (Traditional Music in America), 1940; pg. 162 (appears as "Old Fashioned Schottische").

                       

GOOD LIFE, THE. Irish, Jig. F Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 54.

                       

GOOD LUCK AND MORE OF IT. Irish, Reel. A Dorian. Standard tuning. AB. Source for notated version: Patrick Stack (Chicago) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 286.

X:1

T:Good Luck and More of It

M:4/4

L:1/8

S:Patrick Stack, Chicago

Z:Paul Kinder

R:Reel

K:A Minor

A2 (3cBA EAce|dcBA GBEB|A2 (3cBA EAce|ecBd cABG|

A2 (3cBA EAce|dcBA GBEB|A2 (3cBA cea^f|ecBd cA A2||

aece ^fece|dcBA GBEB|aece ^fece|ecBd cA A2|

aece ^fece|dcBA GBEB|ag^fe ceaf|ecBd cABG||

                       

GOOD MONEY. AKA and see "Lay Your Good Money Down."

                       

GOOD MORNING, FAIR MAID (Go m-Beannuig Dia Duit a Cailin Ban). AKA ‑ "Go M‑Beannuig Dia Duid A Cailin Ban." AKA and see "I'll Teach You the Way," "Hide and Go Seek." Irish, Air (3/4 time). G Major. Standard tuning. One part. See note for “The Enniskillen Dragoons” for brief note on the structure of this tune and partial list of others in this class. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 38, pg. 7.

X:1

T:Good Morning, Fair Maid

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 38

Z:AK/Fiddler’s Companion

K:G

GA | B2A2G2 | E2G2E2 | D2B,2D2 | E2G2G2 | G4 D2 | G2A2B2 |

c4 dc | B2A2G2 | B2d2B2 | A4 D2 | G2A2B2 | c4 dc | B2A2G2 |

B2d2B2 | A4 GA | B2A2G2 | E2G2E2 | D2B,2D2 | E2G2G2 | G4 ||

 

GOOD MORNING TO YOUR NIGHTCAP [1] (Ball Ua Dia Ar Do Biread-Oidce). AKA and see “Over the Waves [2],” “Roll Her in the Rushes [2].” Irish, Reel. A Dorian. Standard tuning. AB (O'Neill/1850 & 1001): ABB' (O'Neill/Krassen): AABB (Miller & Perron). The tune was recorded by County Sligo fiddler Michael Coleman (1891-1945) in New York in 1927 as part of the set “Farrel Gara’s (sic) Medley – Reels.” Harry Bradshaw, in his notes to the Coleman reissue recording, labels the tune a ‘schottische’, although it is always heard rendered as a reel. A variant appears as an untitled reel in Church of Ireland cleric James Goodman’s mid-19th century music manuscripts. Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster. He also obtained tunes from manuscripts and printed sources.

***

The tune’s title comes from a song of the same name by Dublin playwright John O’Keefe (1746-1838), who staged several well-known farces during the latter 18th century. It was written for his popular The Poor Soldier (1783, music by William Shield), and goes:

***

Dear Kathleen, you, no doubt,

Find sleep how very sweet ‘tis;

Dogs bark, and cocks have crowed out,

You never dream how late ‘tis.

This morning gay, I post away,

To have with you a bit of play,

On two legs rid along, to bid

Good-morrow to your night-cap.

***

Last night, a little bowsy,

With whiskey, ale and cider,

I asked young Betty Blowsy

To let me sit beside her.

Her anger rose, as sour as sloes,

The little gipsy cocked her nose,

So here I’ve rid along, to bid

Good-morrow to your night-cap.   [from the Universal Songster; or Museum of Mirth, 1834]

***

Source for notated version: Michael Coleman [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 73. O'Neill (Krassen), 1976; pg. 148. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1485, pg. 275. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 710, pg. 125. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 386, pg. 153 (appears as untitled reel). Brunswick Records 68004 {B103-L, 6080, 78 RPM}, Michael Coleman (1927. Appears as part of set “Farrel Gara’s Medley”). Green Linnet GLCD 3009, Kevin Burke – “If the Cap Fits” (1978. Appears as “Michael Coleman’s”). Intrepid Records, Michael Coleman - “The Heyday of Michael Coleman” (1973). RCA 09026-60916-2, The Chieftains - "An Irish Evening" (1991). Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999).

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:Good Morning to Your Night Cap [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 710

Z:AK/Fiddler’s Companion

K:A Minor

A2 Ac BGGB|cBcd (3e^fg dB|A2 Ac BGGB|cABG (3E^FG D2|A2 Ac BGGB|

cBcd (3e^fg dB|A2 Ac BGGB|cABG EA A2||efec dedB|cBcd eaag|(3e^fg ec dedB|

cABG (3E^FG D2|e2 ec dedB|{d}cBcd e^f{a}ge|aged (3e^fg dB|cABG EA A2||

X:2

T:Good Morning to Your Nightcap [1]
T:Good Morning, Nightcap
T:Shifting Gravel
R:reel
D:Matt Molloy: Heathery Breeze
D:Four Men and a Dog: Shifting Gravel
D:Kevin Burke: If the Cap Fits
Z:id:hn-reel-161
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
K:Ador
e3c d3B|cBcd (3efe d2|e2ec d2dB|cABG EGD2|
e3c d3B|cBcd (3efe d2|(3efg fa gedB|cABG EGD2:|
|:EAAc BGGB|cBcd (3efe d2|eA~A2 BG~G2|BGAG EGD2|
EAAc BGGB|cBcd (3efe d2|(3efg fa gedB|cABG EGD2:|
"Variations:"
~e3c dG (3Bcd|cBcd (3efe d2|edce dc (3Bcd|cABG EGD2|
ecec dedB|cBcd ecd2|eg (3fga gedB|cABG (3EFE D2:|
|:~A3c BG~G2|cBcd (3efe d2|eA~A2 BG~G2|BAAG EGD2|
~A3c BG~G2|cBcd (3efe d2|(3efg (3fga gedB|cABG (3EFE D2:|

X:3

T:Untitled Reel

M:C|

L:1/8
R:Reel

S:James Goodman manuscripts (mid-19th century)

B:Hugh Shields – Tunes of the Munster Pipers, No. 386  (1998)

K:A Minor

EAAc BG G2|cBcd e2A2|EAAc BG G2|BGAG E2D2:||

e2e2d2 ec|cBcd e2A2|e2e2d2 ec|BGAG E2D2|

e2e2d2 ec|cBcd e2A2|e2e2 dfed|BGAG E2D2||

 

GOOD MORNING TO YOUR NIGHT CAP [2]. AKA – “Good morrow to your night cap.” AKA and see “The Drummer [1]." Scottish, Country Dance Tune. A Minor (Harding’s): B Minor (Gow). Standard tuning. AABB. The 'B' part is similar to version #1. The Gows included the melody in a section of country dances fashionable in Edinburgh in the 1787-88 season. See note for version [1] for explanation of the title. The melody also appears in the John Rook manuscript of 1840 (“Upwards of 1260 Airs…Waverton (Cumbria), written by the selector, for his amusement on the above instruments…”). Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 36 (3rd ed.). Hardings All‑Round Collection, 1905; No. 25, pg. 8.

X:1

T:Good Morning to Your Night Cap [2]

M:2/4

L:1/8

R:Country Dance Tune

S:Harding’s All-Round Collection (1905)

Z:AK/Fiddler’s Companion

K:A Minor

E|A/B/c/A/ EE/^G/|A/A/B/c/ dc/B/|A/B/c/A/ EF/f/|(e/d/).c/.B/ A:|

|:B|c/c/c/c/ d/d/d/e/|c/c/B/c/ d/B/G/B/|c/c/c/c/ d/d/d/f/|(e/d/).c/.B/ .A:|

X:2

T:Good morrow to your night cap [2]

M:2/4

L:1/8

N:”This Tune may be played Slow”

B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 36  (orig. 1788)

Z:AK/Fiddler’s Companion

K:B Minor

F|”tr”B>cdB|F2 “tr”F^G|ABcd|({c/d/}e2) “tr”dc|”tr”B>cdB|

F2 “tr”Fg|fedc|({c}B2B::c|.c.c”tr”df|ee”tr”ef|dd”tr”df|

ecAc|dd”tr”d>f|eee>g|”tr”f>edc|{c}B2B:|

                                   

GOOD MORNING YOU WOULD LIKE SOME TEA. Canadian, Jig. Canada, Newfoundland. G Major. Standard tuning. AA’BB’. Composed by the late Newfoundland musician Rufus Guinchard, from the northern peninsula.

X:1

T:Good Morning, You Would Like Some Tea

R:Jig

Z:From Rufus Guinchard

M:6/8

L:1/8

K:G

d2 c|:BGG B2 d|g2 g f2 e|ded B2 A|G2 G A2 B|c2 e edc|1B2 d dBG|

A2 c B2 G|A3d2 c:|2B2 d g2 a|bgb a2 f|g3 g2 a|

|:b2 b bag|a2 a agf|g2 a gfe|d2 B G2 B|c2 e edc|1B2 d dBG

A2 c B2 G|A3 g2a:|2B2 d g2 a|bgb a2 f|g3||

                                   

GOOD MORROW GOSSIP JOAN. English, Air (4/4 time). E Flat Major. Standard tuning. One part. The air appears in Pills to Purge Melancholy, and John Gay's Beggar's Opera (1729) as well as other ballad operas. Another song to the same tune is called "Happy Dick" and appears in Watts' Musical Miscellany and Vocal Miscellany (1734).

***

Why how now, Madam Flirt,

If you thus must chatter,

And are for flinging dirt,

Lets see who best can spatter.

Madam Flirt!

Why how now, saucy jade,

Sure the wench is tipsy! How can you see me made

The scoff of such a gipsy?

Saucy Jade!

***

Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 98. Raven (English Country Dance Tunes), 1984; pg. 61. Scott (English Song Book), 1926; pg. 38.

X:1

T:Good Morrow, Gossip Joan

M:C

L:1/8

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

Z:AK/Fiddler’s Companion

K:E_

B2|e2E2G2A2|B6 AG|A2F2B,2 A2|A2G2 z2B2|c2c2c2 BA|BABc B2 AG|

A2A2A2 GF|GFGA G2e2|B2e2B2e2|fedc B2A2|G4F4|E6||

                       

GOOD MORROW TO YOUR NIGHT-CAP. AKA and see “Humours of Glen [1].” Irish, Jig. D Major. Standard tuning. AABB. Not the same tune as that printed by O’Neill under the similar sounding title “Good Morning to Your Nightcap”. New York City musician, researcher and writer Don Meade identifies the tune as that recorded by the group Fisherstreet as “Padraig O’Keeffe’s” on their CD “Out of the Night.” Cole (1000 Fiddle Tunes), 1940; pg. 61. Ryan’s Mammoth Collection, 1883; pg. 91.

X:1

T:Good Morrow to Your Night-Cap

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A | BcB BFA | ded dAF | BcA BFF | EFA B2A | BcB BFA |

ded dAF | GBG FAF | EFA d2 :: z | Add d2d | gfe fdB | gfe fdB |

AFA B2A | dfb a2a | afd a2a | gfe fdB | AFA d2 :|

 

GOOD MORROW TO YOUR NIGHT CAP [2].  See “Good Morning to Your Night Cap [2].”

                       

GOOD NATURED MAN, THE. See “Goodnatured Man.”

                       

GOOD NEIGHBOR WALTZ. Canadian, Waltz. D Major. Composed by Manitoba fiddler Andy DeJarlis.

 

GOOD NIGHT (Oidce Mait Cugat). Irish, Single Jig. E Minor. Standard tuning. AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 405, pg. 80.

X:1

T:Good Night

M:6/8

L:1/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 405

Z:AK/Fiddler’s Companion

K:E Minor

G2E G2E|G2A BGE|G2E G2E|FAd AFD|G2E G2E|G2A B2c|ded BAG|FAd AFD:|

|:gdc B2A|G2A BGE|gdc BAG|FAd AFD|gdc B2A|G2A B2c|ded BAG|FAd AFD:|

                       

GOOD NIGHT ALL ROUND. AKA and see "Parting Glass," "Good Night and Joy Be With You All."

                       

GOOD NIGHT AND GOD BE WITH YOU. AKA and see "Good Night and Joy Be With Ye A."

                       

GOOD NIGHT AND JOY BE WITH YE A'. AKA and see "Parting Glass," "Good Night and God be with Ye," "Good Night All Round," "Sweet Cootehill Town," "The Peacock [1]," "Burn's Farewell (to Ayrshire)." Scottish (originally), English, Irish; Air (4/4 time) or Reel; New England, Polka. C Major (Gow): G Major (Kerr, Miller & Perron): D Major (Kennedy, Raven). Standard tuning. AAB (Gow): AABB (Kerr, Miller & Perron). "This tune is played at the conclusion of every Convivial Dancing Meeting Throughout Scotland" (Gow)./ It appears in Henry Playford's 1700 collection of Scottish dance tunes under the title "Good Night and God Be With You," but its earliest appearance is in the Skene Manuscript from 1615‑20. The tune was often used for a variety of songs over the centuries, but the present title comes from Robert Burns' lyrics. Carlin (The Gow Collection), 1986; No. 586. Gow (Complete Repository), Part 2, 1802; pg. 38. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 24. Kerr (Merry Melodies), vol. 1; No. 10, pg. 26. Miller & Perron (Irish Traditional Fiddle Music), 1978; No. 32. Raven (English Country Dance Tunes), 1984; pg. 146.

X:1

T:Good Night and Joy be wi’ ye a’

M:C

L:1/8

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:C

ed|c2~c2 G3c|A2A2 a3g|(eg)ag egag|e2c2c2:|

ze|{e}dcde {e}d2 cA|GAcd {cd}e2 dc|~dcde ~fefg|{fg}a2d2 d3e|

f>efg {fg}a2 gf|edef {ef}g2 fe|(de)fa (g<e)d>e|c2A2A2||

X:2

T:Goodnight And Joy Be With You

M:6/8

L:1/8

S:Playford

K:C

c2 A c2 A|c2 d ecA| c2 A c2 A| Bdg dBG| c2 A c2 A c2| d e2 f gag edc| Bd g dBG::\

c'gf ede c2 decA|c'gf edc| Bdg dBG|c'gf ede|c2 d e2 f| gag edc| Bdg dBG: |

                       

GOOD NIGHT, GOOD NIGHT AND JOY BE WITH YOU. Irish, English; Jig or Country Dance Tune (6/8 time). Ireland, Munster. A Minor (‘A’ part) & C Major (‘B’ part){Sharp}: E Minor (‘A’ part) & G Major (‘B’ part) {Stanford/Petrie}. Standard tuning. AB (Stanford/Petrie): AAB (Sharp). Petrie says the title “is common to several tunes of a similar character, and indicates the purpose to which they were applied, namely, as farewell dance, or march-tunes, played on the breaking up of festive meetings; and I believe this is, or, perhaps, was, the tune commonly played on such occasions in the province of Connaught.” Source for notated version: “A Munster jig set from J. Buckley. From (the Irish collector) Mr. P. Joyce” [Stanford/Petrie]; piper Patrick Coneely (Galway) [Petrie/Ancient Music]. Heymann (Off the Record), 1990; pgs. 34-35. Petrie (Ancient Music of Ireland), 1840; pg. 80. Sharp (Country Dance Tunes), 1909/1994; pg. 60. Stanford/Petrie (Complete Collection), 1905; No. 920, pg. 233. Clairseach Records 2381, Ann Heymann – “Ann’s Harp” (1981).

X:1

T:Good Night, Good Night and Joy be with You

L:1/8

M:6/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:Amin

{B}c2A {B}c2A|{B}c2d ecA|{B}c2A {B}c2A|Bdg dBG|{B}c2A {B}c2A|

c2d e2f|gag edc|Bdg dBG:|

c’gf ede|c2d ecA|c’gf edc|Bdg dBG|c’gf ede|c2d e2f|gag edc Bdg dBG|

c’gf ede|c2d ecA|c’gf edc|Bdg dBG|c’gf ede|c2d e2f|gag edc|Bdg dBG||

X:2

T:Good night, good night, and joy be with you

M:6/8

L:1/8

R:Jig

N:”A munster jig set from J. Buckley. From Mr. P.(W.) Joyce”

S:Stanford/Petrie (1905), No. 920

Z:AK/Fiddler’s Companion

K:Emin

({F}G2)E ({F}G2)E|{F}G2A BGE|{F}G2E {E}G2E|FAd AFD|

{F}G2E {F}G2E|G2A B2c|ded BAG|FAd AFD|

gdc BAB|G2A BGE|gdc BAG|FAd AFD|

gdc BAB|G2A B2c|ded BAG|FAd AFD||

                                               

GOOD NIGHT LADIES. American, Dance and Song Tune. G Major. Standard tuning. One part. Ford (Traditional Music in America), 1940; pg. 65.

                       

GOOD NIGHT WALTZ.  See “Goodnight Waltz.”

 


GOOD OLD CAUSE, THE. AKA and see "Hey, Then Up Go We," "The Clean Country Way." The 'good old cause' of the title in this case comes from a ballad preaching loyalty to the crown in England's 17th century civil wars.

           

GOOD OLD JOHN. Scottish, Reel. Composed in 1931 by Aberdeen fiddler and composer J. Murdoch Henderson (1902-1972), dedicated to John Webster, a violinist of Strichen. Henderson (Flowers of Scottish Melody), 1935.

           

GOOD OMENS. AKA and see "Rory O'Mo{o}re."

                       

GOOD ONE, THE. See “Sweeping the Town.”

                       

GOOD SHIP PLANET, THE (An Lung Bread Plainead). Irish, Air (6/8 time, "cheerfully"). G Major (O’Neill): F Major (Stanford/Petrie). Standard tuning. AB. Source for notated version: “From Pat Folan, Arranmore, 8th Sept., 1857" [Stanford/Petrie]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 435, pg. 76. Stanford/Petrie (Complete Collection), 1905; No. 379, pg. 96.

X:1

T:Good Ship Planet, The

M:6/8

L:1/8

N:”Cheerfully”

S:O’Neill – Music of Ireland (1903), No. 435

Z:AK/Fiddler’s Companion

K:G

E/F/|GAF GEEE/F/|GAB d>Bd|efe dBA|G>FG/A/ B2 E/F/|

GAF GEE/>F/|G>AB dB>d|e>fe dBG|{A/B/}AGG G2||G/A/|

B>cB gag|fed edB/A/|B>AG/A/ GFE/F/|E>FG/A/ B2 E/F/|

GAF GEE/>F/|G>AB dB>d|e>fe dBG|AGG G2||

X:2

T:Good Ship Planet, The

M:6/8

L:1/8

S:Stanford/Petrie (1905), No. 379

Z:AK/Fiddler’s Companion

K:F

D/E/ | FGE FDD/E/ | FGA cA>c | ded cAG | F>EF/G/ A2 D/E/ |

FGE FDD/>E/ | F>GA c>Ac | ded cAF | {F/A/} (GF)F F2 ||

F/G/ | A>BA fgf | edc dcA/G/ | A>GA/G/ FED/E/ | D>EF/G/ A2 (D/E/) |

(F>G)E FDD/E/ | (F>G)A cAc | d>ed cA”tr”F | (GF)F F2 ||

                       

GOOD THING, THE. English(?), Jig. D Major. Standard tuning. AABB. Aird (Selections), vol. II, 1785; No. 143, pg. 53.

X:1

T:Good Thing, The

M:6/8

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:D

d3 Adf | e3 ceg | fag fed | ced cBA | d3 Adf | e3 ceg | fed edc | ddd d3 :|

|: AcA BdB | cec d3 | ege faf | ggf e2z | AcA BdB | cec d3 | ege faf | ggf e3 :|

                       

GOOD TIME, THE. AKA and see "Les Bons Temps."

                       

GOOD WIFE ADMIT THE WANDERER (A Bhean An Taigh Nach Leig Thu Steach Am Fear A Tha AIr Fogairt). Scottish, Slow Air (2/4 time). B Flat Major. Standard tuning. AAB. "This air has reference to Prince Charles in wandering from the place of his defeat to the Isle of Skye (Skye)."/ "This air has an interesting incident attached to it. Prince Charles is known to have sustained extreme hardship in wandering on his way from the place of his defeat {i.e. Culloden} to the Isle of Skye, often remaining all night, in the cold month of April, in the open air, without approaching house or cabin. Overpowered with an effort to which he must have been so unaccustomed, it was necessary to send one of his servants to entreat for quarters. From the hesitation and impatience of this individual, anxious yet afraid to communicate his request to the goodwife, and uncertain but she might accept of a bribe in case of speedy prusuit; the air at first represents him as scarcely whispering his request in broken sentances; but, on finding they were likely to be well received, hi acquires more confidence, and the second part seems to picture a composure, however temporary, at their success" (Fraser). The tune was probably written by Fraser (Alburger). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 122, pg. 48. Hunter (Fiddle Music of Scotland), 1988; No. 51. MacDonald (The Skye Collection), 1887; pg. 191.

X:1

T:Good wife admit the wanderer

T:A Bhean an taigh nach leig thu steach am fear a tha air fògairt

M:2/4

L:1/8

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:Bb

(3F/G/A/|B d B z/d/4c/4|B d B z/d/4e/4|fdBF|G3 (3F/G/A/|B d B z/d/4c/4|

B/B/ d/d/ B d/e/|ffff|B3:|(3B/c/d/|e>fg>e|f>ed>f|e>d f>F|G3 (3F/G/A/|

B d B z/d/c/|B/B/ d/d/ B d/e/|ffff|B3 (B/c/d/|e>fg>e|b>gfd|fdBF|G3 (3F/G/A/|

B>F G/F/E/D/|d/c/d/e/ f/g/a/b/|f>d c2|B3||

                       

GOOD WOMAN'S LAMENT FOR O'CONNELL, THE. Irish, Slow Air (4/4 time). G Major. Standard tuning. AB. Source John Kenny’s wife, Brigid, also played the fiddle, and is the source for “Mrs. Kenny’s Waltz” and “Mrs Kenny’s Barndance,” both recorded by the great Sligo/New York fiddler Michael Coleman. Bridget Kenny was dubbed by Chief O'Neill as the "Queen of Irish Fiddlers." Taylor (1992) reports that as well as being an outstanding musician this daughter of renowned 19th century piper John McDonough (Co. Galway) was the mother of 13 children. Source for notated version: fiddler John Kenny (Dublin, Ireland) [Breathnach]. Connolly & Martin (Forget Me Not), 2002; pgs. 36-37. Darley & McCall (Darley & McCall Collection of Traditional Irish Music), 1914; No. 3, pg. 2.

                       

GOODBYE ANNIE BELLE. AKA and see “Cold Icy Floor.” Old-Time. Rounder CD 0382, Marvin Gaster - “Uncle Henry’s Favorites.”

                       

GOODBYE  EDDY STREET. Composed by American guitar player Russ Barrenberg.

                       

GOODBYE GIRLS. Old‑Time. USA, Western N.C. D Major. An idiosyncratic tune from the playing of North Carolina fiddler Manco Sneed, a member of the Cherokee Indian tribe. He resided in Cherokee, N.C., in the Great Smoky Mountain region not far from Asheville, a town that is the administrative center of the Cherokee Indian Reservation. The 'A' part sounds similar to the song "Leatherwing Bat" according to Mike Yates. Venerable Records, Andy Cahan ‑ "Hits From the Mountains" (learned from Cherokee, N.C., fiddler Manco Sneed).

X:1

T:Good-Bye, Girls

C:from a tape of Manco Snead

N:Recorded 7/28/64 by Glenn Massey in Manco's home.

N:^ in bar 3, line 2, indicates sharpened note.

N:Hold in bar 1, line 4 played sometimes, sometimes not.

Z:Joel Shimberg

M:C

L:1/8

K:AMix

ABcA E3 D | CEDC A,4 |E2 F2 G2 G2 |ABAG E A3 |

ABcA E3 D | CEDC A,4 |{C}A,G,A,B, =CDED |E2 [A2A2] A4 :|

|:ABcd e2 (3ABc |defd g3 (3D/2E/2F/2 |/G2GB dedB | GBGB d2 cd |

e3f Hg4 | e3d c2 (3BcB |ABAG EDCD |E[A3A3]A4 :|

                       


GOODBYE GIRLS I'M GOING TO BOSTON. AKA and see “Going to Boston [2].” Old-Time, Breakdown. A Major ('A' part) & A Mixolydian ('B' part). AEae tuning. AB (Silberberg): AABB (Phillips). Source Art Stamper’s father, Hiram Stamper of Hindman, Kentucky, also had a version of the tune, albeit a ‘crooked’ one different from his son’s. A song by this title is associated with Jean Ritchie, whose version is nearly identical to the one collected by Cecil Sharp and Maud Karpeles in Hindman, eastern Kentucky, around 1917. Lyrics begin:

***

Goodbye girls, I'm going to Boston

Goodbye girls, I'm going to Boston

Goodbye girls, I'm going to Boston

Early in the morning

***

Chorus:

Won't we look pretty in the ballroom (x3)

Early in the morning

***

Suzy Thompson believes the song may be related to the sea shanty “What Shall We Do with a Drunken Sailor,” pointing out the second parts of the tunes are very similar, and that the chorus refrain of “Ear-lie in the Morning” is the same. A culture that inhibited dancing, necessitating the convention of “play party songs,” Suzy reasons, might also have required a change of lyric from drunken sailors. A version was recorded with clawhammer banjo by Joel Mabus who called it "Goin To Cairo.” Sources for notated versions: Kentucky fiddler Art Stamper [Phillips]; Bruce Reid [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 100. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 54. County CD2712, Art Stamper - "The Lost Fiddler" (c. 1982. Taught to him by his father, Hiram Stamper). County CO-CD-2729, Art Stamper – “Goodbye Girls I’m Going to Boston” (2000).

                       

GOODBYE LIZA JANE [1].  AKA‑ "Liza Jane." Old‑Time, Bluegrass, Western Swing; Breakdown. USA. A Major (most versions): D Major (Silberberg). Standard tuning. AB (Silberberg): AABB (most versions). Two influential recordings were made of the tune in the 1920’s which helped spread its popularity among early country musicians, remarks Charles Wolfe (1991). The first was by the east Tennessee string band The Hill Billies, who released it under the title “Mountaineers Love Song,” and the second was by another band from the same area, the Tenneva Ramblers, as “Miss Liza, Poor Gal.” Bob Wills (Texas), the father of western swing, said this was the first tune he learned (as "Goodbye, Miss Liza Jane") to fiddle.

***

Swing Ma, swing Pa, goodbye, goodbye,

Swing that gal from Arkansas, Goodbye Liza Jane.

***

Chorus:

Oh how I loved her, ain't that a shame,

Oh how I loved her, Goodbye Liza Jane.

***

Swing that gal and don't be late, goodbye, goodbye,

Knock down Sal, big fat gate, Goodbye Liza Jane.

***

Take a chaw of tobacco, spit on the wall, goodbye, goodbye,

Swing that gal clear across the hall, Goodbye Liza Jane.

***

Three wheels 're off and the axel's draggin', goodbye, goodbye,

You can't ride the little red wagon, Goodbye Liza Jane.

***

Other versions go:

***

Charlotte Town is burning down, goodbye, goodbye.

Burning down to the ground, goodbye, Liza Jane.

***

Chorus:

Oh, how I miss you, ain't that a shame,

Oh, how I miss you, goodbye, Liza Jane.

***

Alt. Chorus:

Ain't y'mighty sorry? Goodbye, bye-bye

Ain't y'mighty sorry? Goodbye, Liza Jane.

***

Liza Jane had a dress of red, goodbye, goodbye,

Queen of hearts, or so she said, goodbye, Liza Jane.

***

Liza Jane countin' her toes

You can smell her feet wherever she goes.

***

I got a gal and a hound dog too,

She don't bite, but the hound dog do.

***

Liza Jane 'bout half grown,

Jumps on a man like a dog on a bone

***

Liza Jane, pretty as a rose,

Bites her nails and picks her nose.

***

Goin' down to Caro, goodbye, goodbye,

Goin' down to Caro, goodbye Liza Jane.

***

Well, I blacked my boots and I made 'em shine, goodbye, goodbye.

I blacked my boots and I made 'em shine, goodbye Liza Jane

***

A version of the tune and song, under the title “Rejected by Eliza Jane,” was collected by the African-American collector Thomas Talley which he printed in his book Negro Folk Rhymes (1922, reprinted 1991 edited by Charles Wolfe). His lyrics go:
***

W’en I went ‘cross de cotton patch

I give my ho’n a blow.

I thought I heared pretty Lizie say:

“Oh, yonder come my beau!”

***

So: I axed pretty Lizie to marry me,

An’ what d’you reckon she said?

She said she wouldn’ marry me,

If ev’ybody else was dead.

***

An’: As I went up de new cut road,

An’ she go down de land;

Den I though I heared somebody say:
“Good-bye, ole Liza Jane!”

***

Well: Jes get ‘long, Lizie, my true love.

Git ‘long, Miss Lizie Jane.

Perhaps you’ll sack “Ole Sour Bill”

An’ git choked on “Sugar Cain.”

***

Sources for notated versions: Bobby Hicks (Brody, Phillips): Plank Road String Band via Delaware Gap String Band (Kuntz). Brody (Fiddler’s Fakebook), 1983; pg. 124. Kuntz (Ragged but Right), 1987; pg. 339‑340. Phillips (Fiddlecase Tunebook), 1989; pg. 21. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 100. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 54. County 772, Bobby Hicks‑ "Texas Crapshooter." King 787, Reno and Smiley‑ "Banjo Special." Mountain 301, Kyle Creed‑ "Blue Ridge Style Dance Time." Kicking Mule 205, Delaware Water Gap‑ "From the Rivers of Babylon to the Land of Jazz" (1979. Appears as "Liza Jane"). Kapp KS 3639, Bob Wills and Mel Tillis‑ "Mel Tillis and Bob Wills in Person." Victor 21141 (78 RPM), The Tenneva Ramblers (1927, as “Miss Liza, Poor Gal”). Vocalion 5115 (78 RPM), The Hill Billies (1926, as “Mountaineers Love Song”).

X:1

T:Goodbye Liza Jane

T:Liza Jane

M:C|

L:1/8

B:Kuntz – Ragged but Right

Z:AK/Fiddler’s Companion

K:G

(G|G)F G2 A2 AA|[GB]A [G2B2] [G2c2] [G2c2]|BA G4 G2|FEDC D2 DF|

GFGB AGAc|BABd cBAc|BAGB AGFA|[G2B2] [G6B6] [GB]:|

|:[Dd]|[D4d4] [e3e3]e|B2 (d4 d) (3D/E/F/|G2 [G2B2] [G3A3] [GA]|

[G2B2] [G4B4] [GB] (3A/B/c/|d2d2 e3d|B2 d4 A2|BA G AGFA|1 GEDE G3:|2 GEDB, G,3||

 

GOODBYE LIZA JANE [2]. Old-Time, Breakdown and Song. USA, Georgia. A version of the famous folksong "Liza Jane." See "My Little Dony," a Mississippi collected version with a fine phrase the same as that on Fiddling John Carson's OKeh recording. OKeh 45049 (78 RPM), Fiddling John Carson (north Ga.).

 

GOODBYE LIZA JANE [3]. Old-Time. The title given by Kyle Creed for his version of “Whose Black Baby Are You?”

 

GOODBYE MISS GOODAVICH. Irish, Reel. G Major. Standard tuning. ABB’. Composed by Lunasa guitarist Donogh Hennessy. Green Linnet GLCD 1200, Lunasa – “Otherworld” (1999).

X:1

T:Goodbye Miss Goodavich

C:Donogh Hennessy

D:Lúnasa Otherworld

N:Played on Low F whistle on the recording

R:reel

M:C|

L:1/8

K:G

eBBB cBAG|AEGA DE A2|B/2c/2ded geag|

fffa gfed|eBBB cBAG|AEGA DEG2|GeBG FdAF|

FEBA GEGA|BzBB cBAG|AEGA DEG2|B/2c/2ded geag|

fffa gfed|eBBB cBAG|AEGA DEG2|GeBG FdAF|

FEBA GEGA|:BDG/2A/2B edcB|AFFF DFFF|B/2c/2dfd aaab|

geed efga|bz bg efg/2f/2e|adfa bagf|geBG FdAF

|1 G/2F/2EBA GEGA:|2 G/2F/2EBA GEB/2c/2d|

                       

GOODBYE, MY HONEY, I’M GONE. AKA and see “Bye-Bye My Honey, I’m Gone.” Old-Time, Breakdown. USA, Missouri. D Major. Standard tuning. AABBCC. Originally recorded by the Grant Brothers, and by the Pickard Family, both in 1929. There are lyrics to the tune (reminiscent of songs such as “Mole in the Ground”), some of which go:

***

Goodbye, my honey, I’m gone,

Oh, goodbye, my honey, I’m gone;

I’m going far away but I’ll think of you each day,

Oh, goodbye, my honey, I’m gone.

***

Mark Wilson suggests connections with latter-Minstrel era songs. Source for notated version: Bill Conley (b. 1946, Mountain Grove, Mo.), learned from Paul Jones, brother of fiddler Alton Jones [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 178. Rounder 0437, Bill Conley – “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border Counties” (2000).

                       

GOODBYE MY LITTLE DEVIS. AKA and see "Old Madeira/Maderia Waltz."

                       

GOODBYE OLD ROVER, GOODBYE. American, Jig. USA, Central Pa. G Major. Standard tuning. AA'BB. Source for notated version: Harry Daddario (Buffalo Valley, Pa.) [Guntharp]. Guntharp (Learning the Fiddler’s Ways), 1980; pg. 103.


                       

GOODBYE SWEETHEART. American, Reel. C Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 10. Ryan’s Mammoth Collection, 1883; pg. 33.

X:1

T:Goodbye Sweetheart

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:C

e/c/g/c/ a/c/g/c/|e/c/g/c/ B/c/d/f/|e/c/g/c/ a/c/g/c/|B/c/d/f/ e/c/~c|e/c/g/c/ a/c/g/c/|

e/c/g/c/ B/c/d/f/|e/c/c/B/ c/B/A/G/|A/B/c/d/ e/c/~c::G/c/B/c/ G/c/~c|G/c/B/c/ d/A/A|

G/c/B/c/ G/c/E/c/|e/f/g/f/ e/c/~c|G/c/E/c/ G/c/E/c/|G/c/e/c/ B/c/d/g/|

a/f/g/e/ f/d/e/c/|e/f/g/f/ e/c/c:|

                                   

GOODBYE TO MY TROUBLES. AKA and see "Farewell to My Troubles."

                       

GOODBYE WALTZ. AKA and see "German Waltz_[1]."

                          

GOODBYE WHISKEY. AKA and see "Farewell to Whiskey [1]," "The Ladies Triumph [1]," "Young America Hornpipe." American, Scottish (originally); Reel or March (4/4 time). USA, southwestern Pa. G Major. Standard tuning. AB. Originally composed by Niel Gow (Scotland) for the prohibition of whisky‑making in Scotland at the end of the 18th century in 1799. Sources for notated versions: John White (Greene County, Pa., 1930's), Frank St. Clair (elderly fifer from Greene County, Pa., 1960), Thomas Patterson (Elizabeth, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 256, pg. 218.

                       

GOODEN WELL/GOODENWELL. Scottish (originally), Canadian; Reel. Canada, Cape Breton. A Major. Standard tuning. AAB. Composed by James Walker and first appearing in his Edinburgh-published collection of either 1797 or 1800. The tune was recorded by Cape Breton fiddler and composer Dan R. MacDonald. Cranford (Jerry Holland’s), 1995; No. 12, pg. 4. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 3. Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

X:1

T:Gooden Well

M:C|

L:1/8

R:Reel

S:Glen Collection, vol. 2  (1895)

Z:AK/Fiddler’s Companion

K:A

e|cA A/A/A EAAc|dBcA GBBe|cA A/A/A EAAg|aefd|cAA:|

g|aefd ceAc|dBcA GBBg|aefd ceAc|aefd cAAg|aefd ceAc|

dBcA GBBe|ceAc dfeg|aefd cAA||

                       

GOODMANS FIELDS HORNPIPE. English, (Old) Hornpipe (3/2 time). D Major. Standard tuning. The melody appears in Walsh’s third volume of Lancashire tunes, Lancashire Jigs, Hornpipes, Joaks etc. published around the year 1730.

X:1

T:Goodmans Fields Hornpipe

B:Walsh

M:3/2

L:1/8

K:D

B,4 DEFE DCB,^A,| B,2 GF EDCB, ^A,4| f2 bg afge fdec| d2 gf edcB ^A2 F2|\

B,4 DEFE DCB,^A,| B,2 GF EDCB, ^A,4|gede fdcd ecBc| dcdB F2 ^A2 B4::\

D4 FABc dcdA| Bcdc BAGF E4| E4 GBcd edec| dfgf edcB ^A4|\

b2 ag fedc Bdfb| a2 gf edcB Acea| g2 fe dcB^A B2 fe| dcBd F2 ^A2 B4:|

                       

GOODNATURED MAN, THE (An Fear Cinealta).  AKA and see “The Steamboat,” “Tim the Turncoat.” Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 178. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1620, pg. 301. Green Linnet GLCD 1127, “Martin Hayes” (1993).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Goodnatured Man, The

M:2/4

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 301

Z:AK/Fiddler’s Companion

K:G

d|gb/g/ dg/d/|B/c/d/B/ GA/B/|c/d/e/d/ c/B/A/G/|F/G/E/F/ Dd|gb/g/ dg/d/|

B/c/d/B/ GA/B/|c/e/d/c/ B/A/G/F/|AG G:|

|:B/c/|d/B/d/B/ g/d/g/d/|e/c/e/c/ a/e/a/e/|f/d/f/d g/d/g/d |f/g/a/f/ d/e/f/d/|

gb/g/ dg/d/|B/c/d/B/ GA/B/|c/e/d/c/ B/A/G/F/|AG G:|

                       

GOODNIGHT AND JOY BE WITH/WI' YOU. See "Good Night and Joy Be Wi' Ye A'."

                       

GOODNIGHT LADIES. American. The tune was sometimes played (as was “Home Sweet Home”) by the fiddler to signal the end of festivities at “shivarees,” “kitchen sweats” and similar dance gatherings in the Mid-West.

                       


GOODNIGHT WALTZ. AKA and see "Mayflower Waltz." Old‑Time, Waltz. USA, Widely known, esp. in Mid‑ and Southwest. C Major ('A' part) & F Major ('B' part). Standard tuning. AB (Phillips, Silberberg): ABB (Christeson). The Leake County Revelers’ version of this tune (backed by "Wednesday Night Waltz") was the second best-selling country music record for the year 1927. Learned in the 1930's by Arizona fiddler Kenner C. Kartchner. It was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. Curiously, a recording of the tune was released in Québec for the French-speaking market with the completely different title “Valse des Amoureux.” Sources for notated versions: Bill Driver (Miller County, Missouri) [Christeson]; Red Herron [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 198. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 264. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 16. June Appal 007, Tommy Hunter ‑ "Deep in Tradition" (1976. Learned from his grandfather, James W. Hunter, Madison County, N.C.). Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999).

See also listing at:

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

           

GOODNIGHT, GOODNIGHT. Shetland.

***

Goodnight, goodnight be wi you aa

The night is spent and I'm awa. (Cooke)

                       

GOODWIFE ADMIT THE WANDERER. AKA and see "Good Wife Admit the Wanderer."

                       

GOOFUS. AKA "Doin' the Goofus." Western Swing. The tune was written by Gus Kahn (composer of “Makin’ Whoopie,” among others), a prolific songwriter/lyricist of the 1920's & 30's. Bandleader Wayne King ("the Waltz King") had been urging him for some time to write a song for him, and Kahn came up with “Goofus,” a joke at King’s expense since it was about him. King, however, turned it into a novelty hit and it became a swing and jazz standard, then entered folk tradition. One influential version was recorded in 1933 by Lisbon, Indiana, fiddler Homer Slim Miller (1898‑1962), an early member of the Cumberland Ridge Runners. He is often mistaken as a Kentucky fiddler because of his association with the group.

***

I was born on a farm down in Ioway

A flaming youth, born just to fly away

I packed my grip and I took my saxophone.

Couldn't read notes so I played everythin' by ear

I made up songs from the sounds that I used to hear

When I'd start to play, folks used to say,

"Sounds a little goofus to me".

***

[Chorus]

Corn fed chords appeal to me

And I like rustic harmony

Hold the note and change the key

That's called goofus

Not according to no rules

That we learned in music schools

But them folks, they danced like fools

They liked goofus.

***

I got me a job but I just couldn't keep it long

The leader said that I played all the music wrong

So I stepped out with an outfit of my own.

Together we made a new kind of orchestry

Just playing that same goofus harmony

When I'd start to play, folks used to say,

"Sounds a little goofus to me".

***

 Bluebird 5928‑A (78 RPM), Fiddlin' Arthur Smith, 1935. Yazoo 512, Cumberland Ridge Runners – “Times Ain’t Like They Used to Be.”

                       

GOOSE AND THE GRIDIRON, THE. English, Country Dance Tune (6/8 time). A Major. Standard tuning. AABB. This jig was originally published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). As with many of the tunes from the Thompson’s 1773 collection, it was entered into the 1788 music copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Fredrick Hackwood, in his book Inns, Ales, and Drinking Customs, originally published in 1909, has this to say about the curious title (p. 291):

***

The ‘Goose and Gridiron’ was a queer (inn) sign at the corner of

St. Paul’s Churchyard, which had supplanted the original one of

the ‘Mitre’. Previously to the destruction of this house in the Great

Fire (of London), the Society of Musicians had long been accustomed

to hold their concerts in it. When the premises was rebuilt, after 1666,

recognition of them as the headquarters of the society was made by

displaying its badge, a lyre surmounted by a swan—a combination of

emblems which the jokers were not slow to parody as the ‘Goose and

Gridiron’. As Ben Jonson justly exclaims—

“It even puts Apollo

To all his strength of art to follow

The flights, and to divine

What’s meant by every sign.”

***

Barnes (English Country Dance Tunes), 1986. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 101.

X:1

T:Goose and Gridiron, The

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

A3 B3|cea ecA|fed cBA|GBA GFE|A2a A2a|A2a agf|gfe Bc^d|e3 E3:|
|:E2e e^de|E2=d dcd|ced cBA|GBA GFE|A2a A2a|A2a agf|edc BAG|G3 [A,3A3]:||

                       

GOOSE COVE. Canadian, March (cut time). Canada, Cape Breton. D Major. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 61, pg. 22.  Celestial Entertainment CECS001, Brenda Stubbert - “In Jig Time!” (1995).

                       

GOOSE FEATHERS. Canadian, Jig. G Major. Standard tuning. AABB. There is some resemblance (though no demonstrated relationship) to Bayard's (1981) Pennsylvania collected "Cotillion" (No. 480, pg. 449). Messer (Way Down East), 1948; No. 73. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 131, pg. 87.

X: 1

T:Goose Feathers

R:jig

M:6/8

L:1/8

Z:Transcribed by Bruce Osborne

K:G

d|gfg d^cd|B^AB GFG|DFA cBA|GBe def|

gfg d^cd|B^AB GFG|DFA cBA|G3 G2:|

K:D

A|a2z a2z|a^gb afd|Ace gfe|dfb a2A|

a2z a2z|a^gb afd|Ace gfe|d3 d2:|

                       

GOOSE HANGS HIGH. AKA – “Everything is Pleasant Schottische.” American, Schottische. USA, Arizona. D Major. Standard tuning. AA’BB.

***

Everything is lovely when the goose hangs high.

***

Arizona fiddler Kenner C. Kartchner thought the tune was composed in the 19th century, and noted it was played for dances in the Southwest in the early 20th century. It was one of the tunes listed in the repertoire of Georgia fiddler Ben Smith, who played it during the Civil War while serving with the 12th Alabama Infantry (Cauthen, 1990). Ruth (Pioneer Western Folk Tunes), 1948; No. 36, pg. 14 (appears as “Everything is Pleasant Schottische”).

X:1

T:Goose Hangs High

T:Everything is Pleasant Schottische

L:1/8

M:4/4

S:Viola “Mom” Ruth, 1948

K:D

(fg)|:a>fb>f a>fe>f|e2 [G2B2][G2B2] z2|[E2c2][E2c2] c>A B>c|1

e2d2d2 (fg):|2 e2d2d2 f>a||d’2 d’2 d’>a a>a|(c’>b) (b>^a) b4|

c’2 c’2 (c’>a) a>a|(b>a) (a>^g) a2 (b>c’)|d’2 d’2 (d’>a) a>a|

c’>b b>^a b4|a>d’ c’>b a>g f>e|d2f2d2:|

                       

GOOSE IN THE BOG, THE. See “Geese in the Bog.”

                       

GOOSE IN THE MILLPOND. Old‑Time, Fiddletune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. It is perhaps "Ducks on the Millpond"??

                       


GOOSEBERRY BLOSSOMS. AKA and see “Cock Your Pistol Charley [1],” “Captain Murray’s Reel.” English, Irish; Reel (2/4 time), Country or Morris Dance Tune (2/2 time) or part of Running Set. A Minor/Dorian. Standard tuning. AAB. The melody was published by Playford. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 26. Raven (English Country Dance Tunes), 1984; pg. 76. Sharp (Country Dance Tunes), 1909/1994; pg. 59. Stanford/Petrie (Complete Collection), 1905; No. 912, pg. 231.

X:1

T:Gooseberry Blossoms

M:2/2

L:1/8

K:A Minor

E2A2A2B2|c2d2e2f2|d4B2G2|d4B2G2|

E2A2A2B2|c2d2e2^f2|g2e2d2B2|B2A2A4:|

a4e2d2|c2d2e2^f2|g4 d2c2|B2c2d2B2|a4 e2d2|c2d2e2^f2|

g2e2d2B2|B2A2A4|a4e2d2|c2d2e2^f2|g4d2c2|B2c2d2B2|

a2e2e2^f2|g2a2b2a2|g2e2d2B2|B2A2A4||

                       

GOOSEBERRY BUSH ("An Spionán" or "An Tor Spionán"). Irish, Reel. D Major (O'Neill): D Mixolydian (Breathnach): D Major/Mixolydian (Harker/Rafferty, Vallely). Standard tuning. ABC (O'Neill): AABBC (Breathnach): AABBCC (Harker/Rafferty, Vallely). A gooseberry bush is a spiny Eurasian bush that has greenish purple-tinged flowers and yields berries that are yellow-green or red-purple in color. The name stems from the association of the berries which were once used to make a sauce for cooking a goose, but the thorns on the plant also resemble a goose’s foot. ‘Gooseberry Bush’ has been used as a euphemism for female pubic hair and genitalia, and indeed, countless children were informed in past times that babies were found ‘under a gooseberry bush’. This usage may have derived from the French for gooseberry, groseille a marquerea.  Marquereau is the word for pimp, while une femme gross is the term given to a pregnant woman. Sources for notated versions: fiddler John Loughram, 1968 (Pomeroy, Co. Tyrone, Ireland) [Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ II), 1976; No. 262, pg. 136. Harker (300 Tunes from Mike Rafferty), 2005; No. 64, pg. 20. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1252, pg. 235. Treoir, vol. 2, 1988. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 27, pg. 15. Gael-Linn CEF CD150, Paddy Glackin - “In Full Spate” (1991). Green Linnet SIF 1058, Matt Molloy & Seane Keane ‑ "Contentment is Wealth" (1985). Green Linnet SIF 1027, Mick Moloney - “Strings Attached.” Larraga Records TR1103, Mary Rafferty – “Hand Me Downs” (2002). “The Paddy O’Brien Collection.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Gooseberry bush

M:4/4

L:1/8

R:Reel

Z:transcribed by Caroline Foty

K:DMix

|:(D2F)(D EF)GB|A^GA(B ~c2)Bc|A(B{d}cA) dcAG|F(G (3AGF) GBAF|

(D2F)(D EF)GB|A^GA(B cd)eg|fded‑~d2^c(A|1 (3B^cd) A(G FD)EF:|

2 (3B^cd) A(G FD)DA |

|: ~d3e fde(d | Bc)cd cAGc | A3F GE‑~E2 | FGA(B {d}cA)Gc | Ad‑~d2 fde(d |

Bc)cd cAGc | A(B{d}cA) dcAG|1 A(B{d}cA) ~d3A :|2 A(B{d}cA) ~d3c |

|:Ad‑~d2 fd‑~d2 | e(f{a}ge) age(d | (3B^cd) e(f ~g2) e(f  | ga)ge dcA(^c |

d2)A(d Bd)A(G | (3EFG) A(B ~c2)Bc|A(B{d}cA) dcAG |1 A(B{d}cA) ~d3c :|

2 A(B{d}cA) dBAF ||

X:2

T:Gooseberry Bush, The

R:reel

D:Matt Molloy & Sean Keane: Contentment is Wealth

D:Paddy Glackin: In Full Spate

Z:id:hn-reel-322

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

M:C|

L:1/8

K:D Mix

dB|:ADFD EFGB|AGAB c2AG|ABcA dcAG|FDEF GBAF|

DEFD EFGB|ABcA d2 (3efg|fdde dfed|1 cAGE D2 dB:|2 cAGE DEFG||

|:Ad~d2 fded|~c3d cAGc|~A3F GEED|(3EFG AB c2Bc|

Ad~d2 fded|~c3d cAG2|ABcA dcAG|ABcA d2dc:|

|:Ad~d2 fd~d2|efge aged|^cdef g2ef|~g3e d^cAc|

d2^cd GBAG|FGAB c2AG|ABcA dcAG|1 ABcA d2dc:|2 ABcA d2 dB||

“Variations”

|:ADFD EFGA|AGAB c2Bc|ABcA dcAG|FGAF ~G3E|

A2FA EFGB|ABcA dcde|f2df dcAB|cAGE ED D2:|

d^cde fded|=cded cAGc|ABcA GE~E2|FGAB cAGc|

Ad~d2 fded|cded cAGc|ABcA dcAG|ABcA d2dc||

Ad^cd fded|=cded cAGc|ABcA GE~E2|FGAB cAGc|

Ad^cd fd~d2|=cded cAGc|ABcA dcAG|ABcA d2^cd||

|:Adde fd^cd|efge aged|(3B^c def g2ef|g2ag e^cAc|

d2FA GAAG|FGAB c2AG|ABcA dcAG|ABcA d2dc:|

                       

GOOSEBERRY FAIR.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 7.

                       

GOOSEBERRY HORNPIPE.  AKA and see “Worsborough Hornpipe.” English, Hornpipe. D Major. Standard tuning. AABB. The melody appears in the early 19th century music manuscript book of Worsborough (south Yorkshire) musician Joshua Burnett under the title “Worsborough Hornpipe.” Barry Callaghan (2007) suggests Gibbon’s title is a miss-hearing of “Worsborough.” Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 9.

 

GOOSES MINUET, THE. English, Minuet (3/4 time). G Major. Standard tuning. AABB. Huntington (William Linten’s), 1977; pg. 35.

                       

GORBACHOV’S FAREWELL TO LITHUANIA. Irish,   D Minor. A politically-titled composition by Andy Cleveland. The USSR under Gorbachov recognized Lithuania’s independence.

                       

GORDEN OF LESMORE. AKA and see "La Finste." English, England, Shropshire. A Major. Standard tuning. AABCDD. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 80, pg. 32.

                       

GORDIE AND SANDY’S. Canadian, Hornpipe. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 50, pg. 18. Brenda Stubbert - “House Sessions” (1992).

                       

GORDON CASTLE [1]. Scottish, Strathspey. C Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Marshall was employed as Steward of Gordon Castle for over twenty years by Alexander, the 4th Duke of Gordon. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 44.

X:1

T:Gordon Castle [1]

M:C

L:1/8

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:C

E>G G>c A>G c<G|E<G G>A ce d2|E>G G<c A>G A<c|defa ge d2:|

c>def gcge|c>def a/g/f/e/ d2|c>d e<f g<c g>e|f>g a<g a/g/f/e/ d2|

c>def gcge|c>def a/g/f/e/ d2|c>d e<f g<c g>e|fagc’ ef d2||

 


GORDON CASTLE [2]. AKA and see "Ballnadallach." Scottish, Strathspey. A Major. Standard tuning. AAB. The Gordons were one of the most powerful families in Scotland for many centuries (see note for “Cock of the North”), whose seat was, in Gow’s and Marshall’s time, Gordon Castle, near Fochabers, Morayshire. The Scots poet Robert Burns visited the castle during his Highland tour, where he met Alexander, the 4th Duke of Gordon and his witty wife Jane Maxwell, the Duchess. Burns became friendly with the duke's librarian and companion, James Hoy, and commemorated the visit in his song, Castle Gordon, which ends:

***

Wildly here, without control
Nature reigns and rules the whole;
In that sober pensive mood,
Dearest to the feeling soul,
She plants the forest, pours the flood,
Life's poor day I'll musing rave
And find at night a sheltering cave,
Where waters flow and wild woods wave,

By bonie Castle Gordon.

***

Gow (Complete Repository), Part 1, 1799; pg. 24. Kerr (Merry Melodies), vol. 2; No. 17, pg. 5. Stewart-Robertson (The Athole Collection), 1884; pg. 20.

X:1

T:Gordon Castle [2]

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:A

f|e>Ac>A B/B/B ~f2|e>Ac>A e>A e<c|d>fe>c B/B/B ~f2|e>cA>c e2:|

f|e>ca>c B/B/B ~f2|e<c a>c e>c e<f|e>ca>c B/B/B ~f2|e>cA>c e2 ef|

e>ca>c B/B/B ~f2|e>ca>c e>fa>b|a/g/f/e/ ac B/B/B ~f2|e>cA>c e2e||

 

GORDON CASTLE [3]. Scottish, Reel. G Major. Standard tuning. AABCCD. John Glen (1891) finds the earliest printing of this tune to be in McGlashan’s collection. McGlashan (Collection of Strathspey Reels), c. 1781; pg. 26.

X:1

T:Gordon Castle [3]

M:C

L:1/8

R:Reel

S:McGlashan – Strathspey Reels  (c. 1781)

Z:AK/Fiddler’s Companion

K:G

d|B>ABd e/e/e eg|dGB>A G2 Gd|B>ABd e/e/e ea|g>eg>B A2 A:|

g/a/|b>gae g>de>g|dGB>A G2 Gg/a/|b>ga>e g>aba|g>eg>B A2 Ag/a/|

b>gae g>deg|dGB>A G2 G>d|B>ABd e/e/e ea|g>eg>B A2 A||

|:d|BABd e/e/e eg|G<G B>A G2 G>d|B>ABd e/e/e ea|g>eg>B A2 A:|

g|agec dege|dcBA G2 Gg|agec dege|dBgB A2 Ag|agec dege|dcBA G2 Gd|

B>ABd e/e/e ea|gegB A2 A||

 

GORDON CASTLE [4]. Scottish, Slow Air (4/4 time). E Minor. Standard tuning. AABB. McGibbon (Scots Tunes, Book II), c. 1746; pg. 31. Neil (The Scots Fiddle), 1991; No. 83, pg. 112.

X:1

T:Gordon Castle [4]

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, Book II, pg. 31 (c. 1746)

Z:AK/Fiddler’s Companion

K:E Minor

B>A | (GFG)B E2 e>f | {e/f/}(gf)”tr”(e^d) e2 (d>c | (cB)(AG) A2 (B>d) | e2 (d>e B2 g>a |

(ba)(ge) (dB)(ge) | (dB)”tr”(AG) A2 (g>f) | (ef/g/) d>e Bg(AB) | (G2”tr”F2)E2 :: (g>a) |

bdBG (g>abG) | (Bd)(ed) (B/A/B/)g/ BG | (ef/g/) (fg/a/) (ga/b/) (fg/a/) | g(f/g/) (e/g/)(^d/f/) e2 (e/f/g) |

(BG)(Bd) (ed)Bg | ({e}d(c/B/) (c/B/)(A/G/) A2 B>d | eBge (^dc/B/) eA | G>B A/(G/F/G/) E2 :| 

 

GORDON CASTLE [5]. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AA’BB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 20.

                       

GORDON CASTLE WALTZ. Scottish, Waltz. C Major. Standard tuning. AB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 69, pg. 25.

                       

GORDON COTE. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 10, pg. 4. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993).

                       

GORDON GRAHAM’S FAVORITE. Canadian, Jig. Canada, Cape Breton. B Flat Major. Standard tuning. AA’BB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cameron (Trip to Windsor), 1994; pg. 44. Cranford (Winston Fitzgerald), 1997; No. 182, pg. 72.

                       

GORDON HIGHLANDERS, THE. Scottish, Strathspey. C Major. Standard tuning. AB.

***

Gordon Highlanders, Edinburgh Castle. An early photograph, 1846.

***

Kerr (Merry Melodies), vol. 3; No. 137, pg. 16.

X:1

T:Gordon Highlanders

R:Strathspey

M:C

L:1/8

S:Kerr, vol. 3, pg. 16

Z:AK/Fiddler’s Companion

K:C

(C2 C>)E G<G c>A | G>Ac>d e<c c<e | (C2 C>)E G<G c>e | (3fed (3edc B<d d<e |

(C2 C>)E G<G c>A | G>Ac>d e<c c<e | f<a d<f e<g c<e | d>e f/e/d/c/ B<d d<e :|

|: g>ag>e g<c c>e | g>ag>e (3efg (3fga | g>ag>e g<c c>e | (3fed (3edc B<d d>e |

g>ag>e g<c c>e | g>ag>e (3efg (3fga | (3gfe (3fed (3edc G>c | d>e f/e/d/c/ B<d d<e :|

                       

GORDON HIGHLANDERS MARCH, THE. See “Gay Gordons [1].”

                       

GORDON QUIGLEY’S JIG. Canadian, Jig. Canada, Cape Breton. F Major. Standard tuning. AABB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 59.

                       

GORDON STEWART FORBES. Scottish, Jig. E Minor. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 142, pg. 48.

 

GORDON'S [1]. Scottish?, Reel. C Major. Standard tuning. AABB. Not the strathspey of version #2. Hardings All‑Round Collection, 1905; No. 128, pg. 40.

 

GORDON(S) [2], THE. Scottish, Strathspey. A Mixolydian. Standard tuning. AB. Kerr (Merry Melodies), vol. 3; No. 147, pg. 17. MacDonald (The Skye Collection), 1887; pg. 187.

X:1

T:Gordons, The [2]

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:Amin

A2 B<d e2 d<B|(BA) A/A/A B<A A>c|B<d d>B cBAG|E2 G>A GEDE|

D>EG>A B2 g>^f|e>dg>^f e>d B<d|e>^fg>f e<dc<B|A/A/A e>d B<A A||

B|A<aa<b a2 g>^f|e>d e<g a>ee>^f|g>ab>a g/a/g/^f/ g<e|d>edc BGGB|

A<a a>b a2 g^f|e>dB>d e>^fg>a|b<gae g<e d>B|A<a e>d B<A A2||

 

GORDON'S FAVOURITE. Shetland, Reel. G Major. Standard tuning. AABB. A modern composition by the late pianist and piano‑accordianist Ronnie Cooper, of Lerwick, Shetland. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 50. Philo 1042, Boys of the Lough ‑ "The Piper's Broken Finger" (1976).

 


GORDON’S FIDDLETUNES JIG. American, Double Jig. A Minor. Standard tuning. AABB. Composed by Gordon Euler, who told Susan Songer (1997) he was inspired by participating in the Festival of American Fiddle Tunes in Port Townsend, Washington. The festival is still a major fiddling event in North America. Songer (Portland Collection), 1997; pg. 86.

 


GORDONS HA'E THE GIRDING O'T, THE. Scottish, Strathspey. D Major. Standard tuning. AABB. MacDonald (The Skye Collection), 1887; pg. 57. Stewart-Robertson (The Athole Collection), 1884; pg. 110.

X:1

T:Gordons Hae the Girding O’T, The

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

A/B//c//|d<D F>A d<D DB/c/|d<D F>A e<E E>c|d<D F>A d<g f>e|d/c/B/A/ B>c d<DD:|

|:f/g/|a>fg>e f<d df/g/|a>fg>f e<E E>g|a>fg>e f>de>c|d/c/B/A/ B>c d<DD:|

 

GORDON’S TRIP TO SYDNEY. Canadian, Jig. Canada, Cape Breton. Sydney is the largest town in north Cape Breton. Composed by fiddler and composer Dan R. MacDonald. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

 

GORDON’S REEL.  AKA and see “Reel de L’Hôtelier.”

 

GORDON'S TUNE (Port Gordon{ac}). AKA and see “Port Gordon.”

 

GOREY CARAVAN, THE. Irish, Air (6/8 time). D Major. Standard. One part.

***

I cannot do without her--I will find her if I can,

My curse attend the driver--Oh he drives the Caravan.

***

Source for notated version: “From Mary Hackett (by way of the Irish collector) P. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 649, pg. 163.

X:1

T:Gorey Caravan, The
M:6/8
L:1/8

R:Air

S:Stanford/Petrie (1905), No. 649

Z:AK/Fiddler’s Companion

K:D

f2e | d2d cAG | F2G A<BG | A2F D2D | D3 z2G | A2A cde |

f2e f2g | f2d edc | d3 d2 F/G/ | A2A cde | f2e f2g | f2d edc |

d3 f2e | d2d cAG | F2G ABG | A2F D2D | D3 ||

 

GORHOFFEDD GWYR HARLECH (The March of the Men of Harlech). AKA and see "Nixon Number Two." Welsh. A famous Welsh tune which first appeared in print in Edward Jones' Musical and Poetical Relicks of the Welsh Bards, 2nd Ed., 1794. Cole's Pocket Companion for the Flute, 18‑‑; No. 5, pg. 4. Wier, 1918; pg. 314.

 

GORMAN POLKA. American, Polka. A Major. Standard tuning. AB. Ford (Traditional Music in America), 1940; pg. 170.

X:1

T:Gormon Polka

M:2/4

L:1/8

R:Polka

B:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:A

e/c/e/c/|AAAA|B>cdB|GGGG|A>B cc/e/|ddcc|

BBAA|B(B/e/) GG/B/|A2||(E/F/)(E/F/)|GG (G/A/)(G/A/)|BB (B/c/)(B/c/)|

dBcA|Be (E/F/)(E/F/)|GG (G/A/)(G/A/)|BB (B/c/)(B/c/)|dBcA|[E2B2e2]||

 

GORMAN'S REEL [1] (Ríl Uí Ghormáin). Irish, Reel. D Major or Mixolydian. Standard tuning. AB (Taylor, Tubridy): AAB (Breathnach). Breathnach states that his source Ryan described "Gormans" as "a very old tune." Sources for notated versions: flute player M.J. Ryan, 1966 (Ballymote, Co. Sligo, Ireland) [Breathnach]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 19. Breathnach (CRÉ II), 1976; No. 276, pg. 142. Taylor (Music for the Sets: Blue Book), 1995; pg. 26. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 17. Copely Records 9-115 (78 RPM), Paddy Cronin (195?). Green Linnet SIF 1058, Matt Molloy & Seane Keane ‑ "Contentment is Wealth" (1985). Spin CD1001, Eoghan O'Sullivan, Gerry Harrington, and Paul DeGrae - “The Smoky Chimney” (1996). Four Men and a Dog - "Shifting Gravel."  Kevin Crawford - "The 'D' Flute Album."

X:1

T:Gorman's

C:Traditional

M:C

L:1/8

R:Reel

K:AMix

A3 B defg | a2 fd edBd | A3 B defe | dBAF EF D2 :|

a2 af defg | a2 fd edBd | a2 af defe | dBAF EF D2 |

a2 af defg | a2 fd edBd | A3 B defe | dBAF EF D2 |]

 

GORMAN'S REEL [2] (Ríl Uí Ghormáin). Irish, Reel. E Dorian. Standard tuning. AA'B. Source for notated version: flute, whistle and concertina player Michael Tubridy (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 188, pg. 85.

 

GORMAN'S REEL [3] (Ríl Uí Ghormáin). AKA and see “The Long Strand [2],” “O’Gorman’s Reel,” “," “Lough Isles Return,” "Tuehey's Reel,"The Humours of Loughrea," "The Laurel Bush," "The Yeoman's Reel," "The West Gale," "The Reel of Bogie," "The Showman's Reel," "Spence's Reel [1]," "The Castlebar Traveler." Irish, Reel. A Dorian. Standard tuning. ABB. O’Neill’s “On the Sly” is the same in the first part, but not the second. Similarly, "Lochiel's awa to France but he'll come again” is the same in the first part, although the second is the same as “The Mountain Rose.” Ciaran Carson mentions the tune in his book Last Night’s Fun (1996), played in a set with “Johnny Going to Ceili” and “The Long and Slender Sally,” obtained from flute player Cathal McConnell “of Ballanaleck on the shores of Lough Erne.” Carson thought McConnell had the set from the late John Maguire, father of fiddle ‘maestro’ Sean McGuire [sic]. Source for notated version: whistle player Johnny Maguire, 1966 (Co. Cavan & Belfast, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 247, pg. 128. Ceol, iii, pg. 27.

 

GOROUM, THE. Irish, Reel. G Major. Standard tuning. AAB. Source for notated version: “From P. Carew’s MS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 898, pg. 227.


 

GORT AN TOBAIR. AKA and see "The Spring Garden."

 

GORT NA NOININ. AKA and see "The Garden of Daisies."

 

GORTHLECK'S HIGHLAND PLAID (Breacan ur Ghir Ghortuileic). Scottish, Strathspey. E Major. Standard tuning. AABCCD. See note for "The Belted Plaid and Health to Wear It." Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 231, pg. 94. Stewart-Robertson (The Athole Collection), 1884; pg. 276.

X:1

T:Gorthleck’s Highland Plaid

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:E

B|E<E B>A G>FE>c|=d>A A<d AD F2|E<E B>A G>FE>a|g>ef>d e/e/e e:|

g|e/f/g/a/ b>e g>e e<g|a>gf>e =d>e f<a|e/f/g/a/ b>e g>eb>a|g>e f<g e/e/e e2|

B<b b>a g>e e<g|a>gf>e =d>e fg/a/|b>ga>f g>e f<d|B<a g>f e/e/e e2||

|:E<E BA G>FE>c|=d>A A<d A<D F2|E<E B>A G>F E<a|g>ef>d e/e/e e2:|

b|a/g/f/e/ b>e g>eb>e|f/e/=d/c/ a<d b>da>d|a/g/f/e/ b>e g>eb>a|g>e f<g e/e/e e2|

B<b b>a g<e e<g|a>gf>e =d>e fg/a/|b>ga>f g>e f<d|B<a g>f e/e/e e||

 

GOSSAN THAT BEAT HIS FATHER, THE (An Gasúr a thug Leadradh dá Athair). AKA and see "Lochiel's Rant," “Lough Isles Return,” "Tuehey's Reel," "The Humours of Loughrea," "The Laurel Bush," "The Yeoman's Reel," "The West Gale," "The Reel of Bogie," "The Showman's Reel," "Spence's Reel," "The Castlebar Traveler." Irish, Reel. A Dorian. Standard tuning. ABB. The word ‘gossan’ in the title derives from the Irish gasúr, meaning ‘young (or wee) lad’. O’Neill’s “On the Sly” is the same in the first part, but not the second. Similarly, "Lochiel's awa to France but he'll come again” is the same in the first part, although the second is the same as “The Mountain Rose.” “The Laurel Bush/Tree” is a related tune. Ciaran Carson mentions the tune in his book Last Night’s Fun (1996), played in a set with “Johnny Going to Ceili” and “The Long and Slender Sally,” obtained from flute player Cathal McConnell “of Ballanaleck on the shores of Lough Erne.” Carson thought McConnell had the set from the late John Magure, father of fiddle ‘maestro’ Sean McGuire [sic]. Source for notated version: whistle player Johnny Maguire, 1966 (Co. Cavan & Belfast, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 247, pg. 128. Ceol, iii, pg. 27.

 

GOSSIP, THE. Irish, Air (3/4 time). B Flat Major. Standard tuning. One part. Source for notated version: “Mrs. Close” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 592, pg. 149.

X:1

T:Gossip, The

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 592

Z:AK/Fiddler’s Companion

K:Bb

F>G BGGF | B>c d/c/B/c/ B2 | d>c BGGF | B>c d/c/B/c/ B2 | d2 {e}dcdB |

ed {d}cB G2 | B>c dcBG | B>c BA/G/ FD | F4 d>c | {c}BA/G/ {c}BA/G/ {c}BA/G/ | B,C/D/ C>B, B2 ||

 

GOSSIP JOAN. AKA and see "Good Morrow, Gossip Joan." English, Country Dance Tune (cut time) and Air. F Major. Standard tuning. One part. The tune appears in John Gay's The Beggar's Opera (1729) under the title "Why how now, Madam Flirt." It also appears in Pills to Purge Melancholy, Vol. IV, and on half‑sheet music. Kidson (1922) dates the song "Good morrow, Gossip Joan" to the late 17th century. Barnes (English Country Dance Tunes), 1986.

                       

GOSTEG DAFYDD ATHRO. Welsh, Air. From the MSS of Robert ap Huw, 15th century. Maggie's Music MM107, "Music in the Great Hall" (1992).

                       

GOT A LITTLE HOME TO GO TO. AKA and see “Little Home To Go To.”

                       

GOT NO HONEY BABE NOW. AKA and see "Ain't Got No Honey Babe Now."

                       

GOT THE JAKE LEG TOO. Old-Time, Song. The Ray Brothers were fiddler Will Ray with his brother Vardman on guitar. ‘Jake-leg’ was a crippling consequence of drinking Jamaica Ginger. Document 8028, The Ray Brothers – “Mississippi String Bands, vol. 2” (reissue).

                       

GOTELL’S WALTZ. AKA and see “Florence Killen’s Waltz.” Canadian, Waltz. Canada, King’s County, Prince Edward Island. The source for the title is the fiddling Gotell family, from Central Kings County, PEI.

                       


GOTTA QUIT KICKIN' MY DOG AROUND. AKA and see "Great Big Taters in Sandy Land." Old‑Time, Breakdown. The Skillet Lickers (in the configuration of Gid Tanner and Clayton McMichen on fiddles, Riley Pucket on guitar and vocals, and Fate Norris on banjo) recorded the song in Atlanta on April 17th, 1926, one of eight sides for Columbia records. Wayne W. Daniel (in his book Pickin’ on Peachtree: A History of Country Music in Atlanta, Georgia, 1990) opines: “The output from this historic recording session makes for a rather unimpressive list of what even there were long-familiar tunes and songs: “Hand Me Down My Walking Cane,” “Bully of the Town,” “Pass Around the Bottle and We’ll All Take a Drink,” “Alabama Jubilee,” “Watermelon on the Vine,” “Don’t You Hear Jerusalem Moan,” “Ya Gotta Quit Kickin’ My Dog Aroun’,” and “Turkey in the Straw.””

***

Every Time I come to town

Somebody goes to kickin' my dog around,

Makes no difference if its a hound

You gotta quit a‑kickin' my dog around.

***

Thede (The Fiddle Book), 1967; pg. 81.

 

GOUROCK BAY [1]. Scottish, Strathspey. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 105, pg. 13.

X:1

T:Gourock Bay [1]

M:C|

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 105 (c . 1880’s)

Z:AK/Fiddler’s Companion

K:A

c2 B>A (E<A) A2 | c>cB>A (c/d/e) (f/g/a) | c2 B>A (E<A) A2 | F>B B>c d/c/B/A/ G<B :|

|: A<A c>A e>A a2 | A<A c>A f/e/d/c/ e<a | A<A c>A e>A a2 | F>B B>c d/c/B/A/ G<B :|

 

GOUROCK BAY [2]. Scottish, Reel. A Major. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 20, pg. 5.

X:1

T:Gourock Bay [2]

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 20 (c . 1880’s)

Z:AK/Fiddler’s Companion

K:A

efec efec | eaga bagf | efec efec | BAGA Bcd^d :|

|: efec AEAc | BABc ABcd | efec AEAc |1 BAGA Bcd^d :|2 BABc A2a2 ||

 

GOVERNOR GENERAL. Canadian, Waltz. Canada, New Brunswick. Composed by New Brunswick fiddler Ned Landry. Atlantica Muisc NL-00102, Ned Landry - “Ned Landry, Grand Masters Series No. 1" (1994). Atlantica Music 02 77657 50222 26, Ned Landry - “Atlantic Fiddles” (1994).

 

GOVERNOR JONES' MARCH. AKA and see "Dow Everly [1]," "Russian March." American, March (4/4 time). C Major. Standard tuning. AABB. Howe (Complete Preceptor for the Accordeon), 1843; pg. 16.

X:1

T:Governor Jones’ March

M:4/4

L:1/8

R:March

S:Howe – Complete Preceptor for the Accordeon (1843)

Z:AK/Fiddler’s Companion

K:C

G2 | c2 c>G e2 e>c | g>c’a>c’ g3g | afef g>ec>e | d2 d>d d2G2 |

c2 c>G e2 e>c | g>c’a>c’ g3g | a>fe>f d2 B>d | c2 c>c c2 :|

e>f | g2 e>g c2 A>c | F2 F>F F2 f>g | a2 f>a d2 B>d |

G2 G>G GABG | c2 c>G e2 e>c | g>c’a>c’ g3g | a>fe>f d2 B>d | c2 c>c c2 :|

 

GOVERNOR KING'S MARCH. American, March (4/4 time). USA, southwestern Pennsylvania. D Major. Standard tuning. AB. An old fifer's tune. See note (Bayard, 1944) for "Old Man and Old Woman Scoldin'". Source for notated version: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 153, pgs. 88‑89. Howe (Diamond School For the Violin), 1861; pg. 24.

 

GOVERNOR LITTLETON’S DELIGHT.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 94.

X:1

T:Govenor Littleton’s Delight

M:2/4

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

B/c/|dBGg|”tr”e2 dg|cdBc|A/G/F/E/ DB/c/|dBGg|”tr”e2 dg|faA^c|d3:|
|:d|BdGg|egBg|BdGB|A/G/F/E/ Dd|BdGg|egdg|BgAf|[D3B3g3]:||

 

GOVERNOR TAYLOR'S MARCH. AKA and see "Napoleon/Bonaparte Crossing the Alps," "The Officer on (of the) Guard," "I Won't Be a Nun," "Den(n)is Murphy's Hornpipe." American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AB. Bayard (1981) identifies related tunes, perhaps from a common ancestor, as "Pewter Mug," "The Tin‑Ware Lass," and "The Ladies Dressed in Their Garments So Green." It may perhaps be one of the tunes named for or credited to the fiddling Governors of Tennessee, Alf and Bob Taylor (i.e. "Taylor's March," "Taylor's Quickstep"). Source for notated version: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 54, pg. 39.

 

GOVERNOR TILFORD'S MARCH. American, March (4/4 time). USA, southwestern Pa. G Major. Standard tuning. AB. Source for notated version: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 305, pgs. 258‑259.

 


GOWD IN GOUPINS. AKA and see "Gold in Cowpens." Scottish, Northumbrian; Jig (6/8 time) or Jig. A Minor. Standard tuning. AABB'. Carlin (Gow Collection); No. 474. Gow (Complete Repository), Part 2, 1802; pg. 21. Seattle (William Vickers), 1987, Part 2; No. 252 (appears as "Gold in Cowpens").

X:1

T:Gowd in Goupins

M:6/8

L:1/8

R:Jig

S:Gow – 2nd Repository (1802)

Z:AK/Fiddler’s Companion

K:A Minor

f|e/f/ge c2e|~c2e dBG|c2A (B/c/d)c|{c}B3 B2f|e/f/ge c2e|~c2e dBG|cBA GA^G|A3A2:|

g|a2e g2d|(d/^f/g)e dBG|c2A (B/c/d)c|{c}B3 B2g|1 a2e g2d|(e/^f/g)e dBG|cBA BA^G|

A3A2:|2 ag^f gfe|dgd dBG|cBA BA^G|A3 A2||

 

GOWD ON YOUR GARTENS, MARION. Scottish, Slow Air (3/2 time). G Major. Standard tuning. AB. The title comes from the third verse of the song which begins:

***

Will ye go to the ewe‑buchts, Marion?

***

Source for notated version: Skene MS., 1620 [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 4, pg. 23. Maggie’s Music MM220, Hesperus – “Celtic Roots.”

 

GOWEL REEL (Ríl na Gaibhle). AKA and see “Danny Meehan’s Reel [1],” “McCahill’s Reel [2].” Irish, Reel. E Minor. Standard tuning. ABC. “McFadden’s Favorite” is a related tune. Source for notated version: fiddler George Rowley/Seoirse Ó Roghallaigh (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 172, pg. 67. Breathnach (CRÉ III), 1986; No. 176. Bulmer & Sharpley (Music from Ireland), vol. 4; 41.

 

GOWER REEL. AKA and see "Lumbers." Welsh, Reel. F Major. Standard tuning. AB. Collected by the great English collector Maude Karpeles, a contemporary of and collaborator with Cecil Sharpe, at Port Eynon, Gower, Wales in 1927. The tune is a reel setting of “Rickett’s” AKA “Manchester” hornpipe. Mellor (Welsh Dance Tunes), 1935; pg. 4.

 

GOWRIE. Scottish, Strathspey. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 38, pg. 7.

X:1

T:Gowrie

M:C
L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 38  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A | F<A A>B d>ed>c | B>A B<d e>fe>A | F<A A>B d>ef>e | d/c/B/A/ d>f (e2d) :|

|: g | f<a d>e f>ga>f | g<b e>f g>ab>g | f<a e>f d>ef>e | d/c/B/A/ d>f (e2d) :|

 

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