bThe 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]

 

 

 

GREETING TO IRELAND. American, Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 41. Ryan’s Mammoth Collection, 1883; pg. 69.

X:1

T:Greeting to Ireland

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D2 | G2 {c}BA (BG)GB | ABcd edcB | A2 (AB) cBAG | FGAG FDEF |

G2 {c}BA (BG)GB | A2 {d}cB (cA)AB | cdef gfge | dB (3cBA G2 :|

|: d2 | dggg fgaf | gfge d2 (ef) | {a}gfge dBcA | BGAG FDEF |

G2 {c}BA (BG)GB | A2 {d}cB (cA)AB | cde(f  {a}g)fge | dB (3cBA G2 :|

                       

GREETINGS TO THE BEATONS OF MABOU. AKA and see "MacLaine of Loch Buie's Reel." The Beatons, of Mabou, Nova Scotia, are a Cape Breton family with a strong fiddling tradition.

                       


GREGG’S PIPES. AKA and see "Cobbler's Hornpipe [2]," "Connolly's Reel," “Craig’s Pipes,” "The Edenderry Reel," "The Fiddler is Drunk," "The Foxhunters (Reel) [1]," “Greg’s Pipe Tune,” “Greig’s Pipes,” “Gun Do Dhuit Am Bodach Fodar Dhomh” (The Old Man Wouldn’t Give Me Straw), "The Kerry Huntsman," "Kregg's Pipes," “The Manchester Reel [1],” "Píopaí Greig,” "Willie Wink(ie)'s Testament [2]," "Willy Wilky." Scottish, Reel. A Dorian. Standard tuning. ABB’CCD. A dorian version of “Greig’s Pipes.” See note for “Greig’s Pipes” for more. Kerr (Merry Melodies), vol. 4; No. 136, pg. 16. 

X:1

T:Gregg’s Pipes

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 136  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A Dorian

c|eAcA eAcA|eAcA BEEc|eAcA eAcA|BdcA BEE||

|:d|c2 (cB) cAAd|c2 (cA) BEEd|1 c2 cA B2 Bc|ABcA BEE:|2

c/c/c (cA) BcBc|ABcA BEEz||:EA,CA, EA,CA,|EA,CA, EFGF|

EA,CA, EA,CA,|B,CDE CA,A,E:||GFEF GG,G,F|GFED EA,A,F|

GFED EDCB,|A,B,CD EA,A,||

                       

GREGORY’S HORNPIPE. Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: the c. 1880's collection of fiddler and uileann piper Stephen Grier (County Leitrim) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 217, pg. 102.

                       

GREHAN’S. AKA and see “All Around the World,” “Cooley’s (Reel) [2],” “The Connemara Rake,” “Doherty’s (Reel) [2],” “John Doherty’s Reel [1],” “Johnny Doherty’s Reel [1],” “Jolly Beggar [2],” “The Knotted Chord [2],” “Matt Molloy’s [1],” “The Mistress,” “Mot Malloy,” “Tinker Doherty,” “The Wise Maid [1].”

                       

GREIG'S. See "Greig's Strathspey."

                       


GREIG'S PIPES (Píopaí Greig). AKA and see "Cobbler's Hornpipe [2]," "Connolly's Reel," “Craig’s Pipes,” "The Fiddler is Drunk," "The Foxhunters (Reel) [1]," “Greg’s Pipe Tune,” “Gregg’s Pipes,” “Gun Do Dhuit Am Bodach Fodar Dhomh” (The Old Man Wouldn’t Give Me Straw), “Jim Seery’s,” "The Kerry Huntsman," "Kregg's Pipes," “The Manchester Reel [1],” "Píopaí Greig,” "Willie Wink(ie)'s Testament [2]," "Willy Wilky." Scottish, Shetland, Canadian, Irish; Reel. Shetland, Whalsay. Canada; Cape Breton, Prince Edward Island. G Major (Breathnach, Mulvihill, Taylor, Tubridy): A Major (Athole, Cranford, Hardie, Martin, Perlman): D Major (Kennedy, O’Farrell). Standard, AEae or AEac# tunings. AABB (Taylor): ABC (Feldman & O’Doherty,  Tubridy): ABBC (Mulvihill): AABBCC (O’Farrell): AABBCC’ (Perlman): ABBCCDD (Cranford/Fitzgerald): AABBCCDD (Athole, Gow, Hardie, Kennedy, Martin): AABB'CDE (Breathnach). According to John Glen (Early Scottish Melodies, 1900, pg. 229) the tune is a composition of James Greig, a teacher of dancing in Ayrshire. AEae tuning was preferred for “Greig’s Pipes” in the 18th century (Johnson, 1983) as it is set, for example in Neil Stewart’s 1761 collection, but it is also played in ADae tuning. Played in AEae tuning, the tune was employed on the island of Whalsay, Shetland, by fiddlers John Irvine and Andrew Polson as one of the tunes for the "bedding the bride" ritual (Cooke, 1986). AEae is also a common tuning for the piece on Cape Breton Island, especially with the early-mid 20th century generations of fiddlers, such as Mary Hughie MacDonald and Donald MacLellan  (Paul Cranford, 1997) {Winston Fitzgerald, however, played it in standard tuning}. Similarly, it is played by some County Leitrim fiddlers in AEae tuning (e.g. the McNamara family). “Greig’s Pipes” is a double‑tonic tune that is also in the pentatonic scale; a characteristic now‑a‑days recognized as Scottish, but the double‑tonic was also common in English music prior to 1700 when it dropped out of favor in that part of the island. To avoid the need to tune up and retune after playing the piece, it was, according to Charles Milne of Dufftown, the last item of an evening's program (Collinson, 1966). The melody appears in the Gillespie Manuscript of Perth, 1768, and Joshua Campbell's 1778 Collection of Newest and Best Reels (pg.11), though John Glen (1891) finds the earliest printing in Neil Stewart's 1761 collection (pg. 44). A Cape Breton bagpipe setting was printed by Barry Shears in his Gathering of the Clans Collection (1991) under the title “Gun Do Dhuit Am Bodach Fodar Dhomh” (The Old Man Wouldn’t Give Me Straw), and Perlman (1996) adds that another Cape Breton title is “Greg’s Pipe Tune.” A dorian setting of the tune also goes by the name “Gregg’s Pipes” in Kerr’s 4th. Several Irish versions are found as “Craig’s Pipes.”

***

In Ireland the tune appears in print in O’Farrell’s Pocket Companion (1804), a setting in the key of ‘D’ (without scordatura tuning) reprinted by O’Neill in Waifs and Strays of Gaelic Melody (288, 1922). O’Neill printed the tune elsewhere under the title “Limber Elbow” (a poor version, says Breathnach), and the first part of the tune appears in his “Edenderry Reel.” Other Irish names for related tunes include “The Foxhunter’s Reel,” “The Kerry Huntsman” and “Connolly’s Reel.” “Grieg’s Pipes” appears in the County Leitrim Sutherland manuscript. O’Neill (1922) remarks: “I first heard of this tune twenty odd years ago, as being a favorite with James Quinn an old time Chicago piper (originally from Cloone), familiarly known as ‘Old Man Quinn’. Altho Sergt. Early his relative and pupil had learned it, the tune never got into circulation among musicians. Being unfavorably impressed by the version of  ‘Greig's Pipes’ received with other tunes subsequently from Pat. Dunne of Kilbraugh, Tipperary, it was not included among the 1001 Gems in O'Neill's Dance Music of Ireland. The piper in whose honor the tune had been named must have been a noteworthy performer, for almost identical with the setting in O'Farrell's Pocket Companion for the Irish or Union Pipes, is another in A Complete Repository of Old and New Scotch Strathspeys, Reels, and Jigs, Selected from the Works of Neil Gow and Sons, Edinburgh 1805. As the talented Neil Gow was much inclined to plagiarism, and from the fact that the tune in question had been previously printed by Neil Stewart in 1762 and as early as 1779 by Joshua Campbell "in a Collection of Reels composed by himself" we may assume that Campbell's claim to the composition of ‘Greig"s Pipes’ is indisputable.”

***

Sources for notated versions: accordionist Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; Mary MacDonald (Cape Breton) [Dunlay & Greenberg]; John Clancy (Bronx, New York) [Mulvihill]; Hughie McPhee (b. 1924, Elmira, North-East Kings County, Prince Edward Island; now resident of Priest Pond) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty]. Breathnach (CRÉ I), 1963; No. 96, pg. 41. Bulmer & Sharpley (Music from Ireland), vol. 2; 14. J. Campbell, Newest and Best Reels (c. 1778). Cranford (Winston Fitzgerald), 1997; No. 100, pg. 42. Dunlay & Greenberg (Violin Music of Cape Breton), 1996; pg. 136. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 169a (untitled reel). Gow (Complete Repository), Part 1, 1799; pg. 24. Hardie (Caledonian Companion), 1992; pg. 122. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 58, pg. 16. Lowe, Collection of Reels and Strathspeys, 1844. Martin (Traditional Scottish Fiddling), 2002; pg. 27. Mulvihill (1st Collection), 1986; No. 6, pg. 2. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 43. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 288. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 104. Stewart-Robertson (The Athole Collection), 1884; pg. 16. Taylor (Music for the Sets: Yellow Book), 1995; pg. 20. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 24. Celtic SCX 57, Dan R. MacDonald et al - “The Fiddlers of Cape Breton.” Drumlin Records, The McNamara Family – “Leitrim’s Hidden Treasures” (1999). Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew” (1993). Green Linnet GLCD 3011, The Both Band – “1975” (1983). MKM7590, Mike McHale – “The Schoolmaster’s House” (2000. A;;ears as “Gregg’s Pipes,” learned from piper Miko Padian). Rodeo RLP 107, Joe MacLean - “And His Old Time Scottish Fiddle” (c. 1967. Appears as “Athole Reel”). Rodeo RLP 59, Dan R. MacDonald - “Fiddling to Fortune with...” Rounder 7009, Doug MacPhee - “Cape Breton Piano” (1977). Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005). Torc Music TOLCD 1, Kilfenora Ceili Band – “Set on Stone” (1997).

X:1

T:Greig’s Pipes

M:C|

L:1/8

S:Reel

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

Z:AK/Fiddler’s Companion

K:A

f|eAcA eAAf|eAcA BFFf|eAcA eAcA|B/B/B (cA BFF:|

|:B|cAcA cAAB|cAcA BFFB|cAcA EacA|B/B/B (cA BFF:|

|:A|EA,CA, EA,A,F|EA,CA, FB,B,F|EA,CA, EA,CA,|B,/B,/B, (CE FB,B,:|

|:G|A2 A>E CA,A,E|A2 (AE FB,B,G|A2 A>E CA,EC|B,/B,/B, (CE FB,B,:|

X:2

T:Greig’s Pipes

M:C|

L:1/8

K:G

B3 B BAGA|B2 GB AGEG|B3 B BAGB|A2BG AGEG|B3B BAGA|

B2 dB AGEG|B~d3 eBdB|AcBG AGEG||DG G2 DGBG|DGBG AGEG|

DG G2 DGBG|dBAc BGGE|DG G2 DGBG|DGBG AGEG|DG G2 DGBG|

DBAc BGGB||d2 Bd egge|d2 BG AGEG|d2 Bd eg g2|agbg ageg|

D2 Bd egge|d2 BG AGEG|d2 Bd eg g2|a2 bg aged||

X:3

T:Greig's Pipes (#271)

M:4/4

L:1/8

S:O'Farrell's Pocket Companion 1804-10

Z:Paul Kinder

R:Reel

K:D

f/2g/2|a>df>d a>df>b|a>df>d e>B Bf/2g/2|a>df>d adfd|e/2e/2e fd eB B2:|

|:e|f>df>d f>dd>e|f>df>d eBBe|f>df>d A>dfd|e/2e/2e fd eB B2:|

|:d|ADFD ADDd|ADFD BEEd|ADFD ADFD|GBFA GEE:|

|:c|d>edA FDDc|d/2c/2B/2A/2 dA BDDc|d>edA F/2G/2AFD|GBFA BE E:||

X:4

T:Gregg's Pipes

T:Craig's Pipes

T:Kerry Huntsman, The

R:reel

S:Mike McHale workshop - East Durham July 2000

Z:Michael Hogan

M:C|

L:1/8

K:G

B3 B{d} BAGA|B2GB AGED|B2dB{d} BAGB|A2 BG AGed|

B3 B{d} BAGA|B2GB AGED|(3Bcd ed BedB|AcBG AGEG||

DG ~G2 DGBG|GABG AGEG|DG ~G2 d3 B|dBAc BG~G2|

DG ~G2 DGBG|d2BG AGEG|DG ~G2 d3 B|dBAc BG~G2||

d2 (3Bcd e2ge|d2BG AGEG|d2Bd eg ~g2|a2bg ageg|

d2 (3Bcd e2ge|d2BG AGEG|d2Bd eg ~g2|a2bg aged||

                       

GREIG'S STRATHSPEY. Scottish, Slow Strathspey or (Pastoral) Air (4/4 time). A Minor (Skye): G Minor (Cranford, Hunter, Skinner). Standard tuning. AB (Cranford, Hunter, Skinner): AABB (Gow, Skye). "Very old” (Gow, Skye); “Ancient Melody” (Skinner). John Glen (Early Scottish Melodies, 1900) said it was believed this strathspey was the composition of James Greig, a teacher of dancing in Ayrshire (as was “Greig’s Pipes,” above). J. Murdoch Henderson (1902-1972) said the tune was “Nathaniel Gow’s favourite ancient melody.” Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 229, pg. 92. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 20 (3rd ed.). Henderson (Flowers of Scottish Melody), 1935. Hunter (Fiddle Music of Scotland), 1988; No. 48. MacDonald (The Skye Collection), 1887; pg. 101. Skinner (Harp and Claymore Collection), 1904; pg. 16. Olympic 6151, Arthur Robertson ‑ "Scottish Traditional Fiddle Music" (1969). Topic 12TS424, Jock Tamson’s Bairns – “The Lasses Fashion” (1982).

X:1

T:Greig’s Strathspey

M:C

L:1/8

R:Slow Strathspey or Air

S:MacDonald – The Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:A Minor

EG G2 cG G2|c>GA>G (c/A/)G/E/ G2|A,A (A>B) (c/B/)A/^G/ A2|

A,A (A>B) (c/B/)A/^G/ A2|Cc c2 eg g2|ea a>g ec’ c’2|c’b/a/ ag/e/ ed/c/ cd/e/|

A,>B,C>D (EA) A2::eg g2 c’g g2|eg g2 c’g g2|ea a>b (c’/b)/a/^g/ a2|

Aaa>b (c’/b/)a/^g/ a>b|c’>ba>g a>gf>e|f>edc (G/E/)G/c/ A>B,|A,>B,C>D (EA) A2:|

X:2

T:Greig’s Strathspey

M:C

L:1/8

R:Strathspey

N:”Slow”

N:”Very Old”

B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 20  (orig. 1788)

Z:AK/Fiddler’s Companion

K:A Minor

EG “tr”G2 cG “tr”G2|c>GA>G (c/A/).G/.E/ G2|A,A A>B (c/B/).A/.^G/ A2|A,A (A>B) (c/B/)A/^G/ A2|

A,c “tr”c2 eg “tr”g2|ea “tr”a>g ec’ “tr”c’2|c’b/a/ “tr”ag/e/ ed/c/ “tr”cd/e/|”tr”A,>B,”tr”C>D “tr”(EA) A2:|

|:eg”tr”g2 {^f/g/}c’g “tr”g2| eg”tr”g2 {^f/g/}c’g “tr”g2|ea a>b (a/b/) (c’/b/)a/^g/ a2|Aa”tr”a>b (c’/b/)a/^g/ “tr”a>b|

{a/b/}c’>ba>g a>gf>e|”tr”f>edc (G/E/)G/c/ AB,|”tr”A,>B,”tr”C>D (E/D/)C/D/ “tr”E2|”tr”A,>B,”tr”C>D “tr”EA A2:|

                       

GRENADIERS, THE.  AKA and see “The Grinder(s),” “Terry Heigh-ho the Grinder [1].”

 

GRENADIER'S MARCH [1]. English, March. 1685 version. Played in the War of the Spanish Succession. Appears in Winstock (Songs and Music of the Redcoats), 1970.

 


GRENADIER'S MARCH [2]. English, Scottish; March. G Major. Standard tuning. ABBCC. "1776" version. The tune, having been printed in fife manuscripts and tutors, was in evidence in the American Revolution on both sides. Camus (1976) finds references to its use in that war in New Hampshire milita units as a march for trooping the colors, and Henry Knox adopted it in 1779 for the artillary to signal an advance. Winstock (1970) states that by the time of the Napoleonic Wars this march was accepted throughout the British army. In 1815, when the 1st Foot Guards were renamed the Grenadier Guards, they adopted this march to commemorate their role at Waterloo; it is still played by them in both slow and quick time. The melody was also printed in the Gillespie Manuscript of Perth, 1768. Camus (Military Music of the American Revolution), 1976; Example 14, pg. 110. Winstock (Songs and Music of the Redcoats), 1970; pg 36.

                       


GREY BEARD, THE (An Feusog Liat). Irish, Reel. G Major. Standard tuning. AB. Source for notated version: Chicago fiddler Edward Cronin, originally from County Tipperary. Cronin was a weaver and a machinest, who boasted that he never forgot nor forgave a slight, but who could play tune after tune steadily for hours. O’Neill considered him an excellent musican and obtained many tunes from him [O’Neill]. O'Neill (Krassen), 1976; pg. 131. O'Neill (Music of Ireland: 1850 Melodiess), 1903/1979; No. 1393, pg. 259.

X:1

T:Grey Beard, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1393

Z:AK/Fiddler’s Companion

K:G

(3DEF | GcBA GFGA | defa gedB | GABA GBcB | ABAG FDEF |

GABA GFGB | defa gfgf | ecAc dBAG | FDEF G2 || B2 |

d3 e dcBc | defa gedB | Gbde dcBc | AFDF ABcA |

dcde dcBc | defa g3f | ecAc dBGB | cAFA G2 || 

                       

GREY BOB, THE.  AKA and see “Gray Bob.” Scottish, Pipe Reel. A Mixolydian. Standard tuning.

                       

GREY BUCK, THE. See “Gray Buck.”

                       

GREY CAT ON A TENNESSEE FARM. Old‑Time, Breakdown and song. USA, Tennesse. D Major. Standard tuning. AABB. In repertoire of African-American Kentucky  fiddler Cuje Bertram, and appears on a home tape made in 1970 for his family. See also the related “Fort Smith [1]” family of tunes.

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Just talk to the man, you can if you will,

Farmed in the valley of the Tennessee hills.

***

Chorus

Big cat spit in the little cat's eye,

Little cat, little cat, don't you cry.

***

I do love liquor and we'll all take a dram,

I'm a‑gonna tell you pretty Polly Ann.

***

Cattle in the pasture, hogs in the pen,

Sheep on the ranch and the wheat in the bin.

***

Wagon in the shed, porker in the yard,

Meat in the smokehouse and a big tub of lard.

***

Fruit in the cellar, cheese on the board,

A big sack of coffee and suger in the gourd.

***

Horses in the stable, money's in my pocket,

A baby in the cradle and a pretty girl to rock it. (Kuntz)

***

Source for notated version: Uncle Dave Macon (Tenn.) [Kuntz]. Kuntz (Ragged but Right), 1987; pgs. 216‑218. County 521, Uncle Dave Macon‑ "Original Recordings 1925‑1935." Rounder 0023, Highwoods String Band‑ "Fire on the Mountain." Rounder CD0403, The Freight Hoppers - “Where’d You Come From, Where’d You Go?”

                       

GREY DAYLIGHT, THE (Maidiunagad Liat). AKA – “Gray Day-Licht.” AKA and see "Sterling Castle." Irish, Reel. D Major. Standard tuning. AB (Kennedy): AA'B (O'Neill/1850): AA'BB' (O'Neill/Krassen). A tune by this title appears to be similar to the Scots fiddler‑composer William Marshall's "Craigellachie Bridge" (some say Marshall's tune is but a 'remodeling' of the older melody). This Scots tune was first published under this title by John Anderson, around 1799, though it had previously been published as "Mr. Anderson's Strathspey" by Robert Petrie (Second Collection, 1796). See also the related “Fickle Fortune.” Source for notated version: McNamara [O’Neill]. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 59, pg. 16. O'Neill (Krassen), 1976; pg. 127. O'Neill (Music of Ireland: 1850 Melodiess), 1979; No. 1372, pg. 256.

X:1

T:Grey Daylight, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1372

Z:AK/Fiddler’s Companion

K:D

A/G/F/E/ |: D2 FA DAFA | A,2 CE A,ECE | D2 FA DAFA |1 (3Bcd (3cde dBAF :|2

(3Bcd (3cde dfec || d2 fd gefd | (3BBB ed cABc | (3ddd fd gefd | (3Bcd (3cde dfec |

d2 fd gefd | (3BBB ed cABc | defg abag | fdec dBAF ||

                       

GREY EAGLE [1]. AKA and see  "Gray Eagle." AKA ‑ "Grey Eagle Hornpipe." Old‑Time, Bluegrass, Texas Style; Breakdown, Hornpipe. USA; Alabama, Mississippi, southwestern Va., southwestern Pa., western N.C., eastern Tenn., Kentucky, Missouri, Indiana, Oklahoma, Texas, Arizona. A Major (most versions): G Major (Bayard, W.E. Claunch): C Major (uncommon, but known in the western N.C./ eastern Tenn. area in this key). Standard or AEae tuning. AB (Bayard, Silberberg): AABB (Brody, Krassen, Phillips): AA'BB (Shumway): AABBCC (Christeson): AA'BB'CC'D (Frets Magazine). "One of the standard square dance tunes in the key of A Major" (Krassen, 1973), and, in fact it is one of the more commonly played fiddle tunes at mid-western fiddle contests. Versions and variants abound in tradition, so that the title is sometimes qualified with the name of the source to differentiate it from other “Grey Eagle’s.” Several writers have noted the similarity between “Grey Eagle” and the Scottish tune “Miller of Drone,” with the “Grey Eagle” melody probably derivative. There are many different sets of this tune collected from folk sources in almost all parts of the South and West; in addition it has made its way into numerous commercial collections, among the first of which is George H. Coes' Album of Music (Boston, 1876). It was one of the older tunes in fiddle repertory in Patrick County, southwest Va., before such tunes were supplanted by tunes more conducive to the fiddle/clawhammer banjo combination ‑‑ the tune may also have been called "Ducks on the Pond" (??) (Tom Carter & Blanton Owen, 1976). Bayard (1981) is surprised at the tenacity of the title in the face of so many disperate versions.

***

The melody is popular with Kentucky fiddlers, remarks Charles Wolfe (1982), who first suggested it was possibly named for the famous Kentucky race horse of 1839. John Hartford (“The Devil’s Box”) found that the “Grey Eagle” title for the melody known as “The Miller of Drone” became attached to the tune in America following this famous late 1830's race between horses known as “Grey Eagle” and “Wagner.” The race has been documented and took place in the Oakland Racetrack in Louisville in 1838. Soon afterwards a tune folio celebrating both racehorses appeared (a copy of which is in the possession of the Center for Popular Music at Middle Tennessee State University, Murfreesboro) with both “Wagner” and “Grey Eagle” as well as the now-obscure “Oakland Racetrack.” In fact, the ancestral melody “Miller of Drone” melody gave rise to a tune called “Gray Eagle Cotillons” by William C. Peters, published in 1840, named for the horse in the race in Louisville.

***

In the repertoire (C Major version) of legendary fiddler J. Dedrick Harris, a Tenn. born fiddler who played regularly with Bob Taylor when the latter ran for Governor of the state in the late 1800's. Harris moved to western N.C. in the 1920's and influenced a generation of fiddlers there, including Osey Helton, Manco Sneed, Bill Hensley, and Marcus Martin. In the Deep South the melody was in the repertory of Alabama fiddler D. Dix Hollis (1861‑1927), who considered it one of "the good old tunes of long ago" (as quoted in the Opelika Daily News of April 17, 1926) {Cauthen, 1990}, and was recorded for the Library of Congress in 1939 by Guntown, Mississippi, fiddler W.E. Claunch. It was also one of the tunes listed in the Troy Herald of July 6th, 1926, as having been played at a fiddlers' convention held at the Pike County, Alabama, fairgrounds. It is on Missouri fiddler Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Mark Wilson reports that a surprising number of fiddlers in the Ozarks and Midwest were aware that “Grey Eagle” and “Wagonner” were tune titles associated with racehorses. He suggests that, since he did not find eastern Kentucky fiddlers shared this knowledge, the tune gained currency in the Midwest, and from there entered tradition in regions to the east. Part of the tune the same as "Ostinelli's Reel" (Cole)./ Arizona fiddler (and Mormon) Kenner C. Kartchner maintained the tune was played by Mormon fiddlers crossing the plains. “First Month of Summer” and “Sugar Grove Blues” may also be cognate melodies.

***

Early sound recordings of “Grey Eagle” are of the playing of J.Dedrick Harris (1924), Roland Cauley & Lake Howard (1934), and by north Georgia fiddler Lowe Stokes (1929), albeit the latter’s version was released under the title “Katy Did.” 

***

Sources for notated versions: Kenny Baker [Brody]; Floyd Smith (Cole County, Missouri) [Christeson]; Charlie Higgins (Galax, Va.) [Krassen]; Kenner C. Kartchner (Arizona) [Shumway]; William Shape (elderly fiddler from Greene County, Pa., 1930's) [Bayard]; Byron Berline learned the tune from his father who had it from his friend Frank Mitchell (Enid, Oklahoma) [Frets Magazine]; Jeff Goehring with the Red Mules (Ohio) [Phillips]; Greg Canote (Seattle) [Silberberg]; Howard Forrester, Robert Rutland & Herman Johnson [Phillips/1995]; Ike Helton (1907-1983, Maries County, Missouri) [Beisswenger & McCann].

***

Print Sources: Bayard (Dance to the Fiddle), 1981; No. 103, pg. 60. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 189. Brody (Fiddler’s Fakebook), 1983; pg. 127. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 12. Ford (Traditional Music in America), 1940; pg. 86. Frets Magazine, "Byron Berline: The Fiddle," February 1981; pg. 52. Krassen (Appalachian Fiddle), 1973; pg. 73. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 106 (breakdown versions). Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 197 (hornpipe version). Shumway (Frontier Fiddler), 1990; pg. 268. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 57. Christeson says the tune also appears in Harding's All‑Around Collection of Jigs and Reels (1905, New York) and in 1935 in 100 WLS Barn Dance Favorites (Chicago).

***

Recorded sources: Briar 0798, Earl Collins‑ "That's Earl." County 202, "Eck Robertson: Famous Cowboy Fiddler." County 703, Bartow Riley‑ "Texas Hoedown." County 705, Sonny Miller‑ "Virginia Breakdown." County 722, Joe Greene‑ "Joe Greene's Fiddle Album." County 744, Kenny Baker‑ "Dry and Dusty." Document 5167, The Booker Brothers. Gennett Records (78 RPM), Taylor's Kentucky Boys (1927. Featuring the only black hoedown fiddler to record commerically, Jim Booker). Global Village C‑302, Chicken Chokers ‑ "New York City's 1st Annual String Band Contest ‑ 1984." June Appal 007, Thomas Hunter‑ "Deep in Tradition" (1976. Learned from his grandfather, fiddler James W. Hunter of Madison County, N.C.). MGM E4035, Howdy Forrester ‑ "Fancy Fiddlin' Country Style." Missouri Old Time Fiddlers Association 002, Taylor McBaine (b. 1911) ‑ "Boone County Fiddler." Missouri State Old Time Fiddlers' Association, Dwight Lamb (b. 1934) - "Old Ladies Pickin' Chickens." Morning Star 45003, Taylor's Kentucky Boys ‑ "Wink the Other Eye: Old‑Time Fiddle Band Music from Kentucky" (1980. Originally recorded in 1927). Rounder 0068, Mark O'Conner‑ "Pickin' in the Wind." Rounder 0099, Dan Crary ‑ "Lady's Fancy." Rounder 0100, Byron Berline‑ "Dad's Favorites." Rounder 0194, John W. Summers ‑ "Indiana Fiddler" (1984). Rounder 0213, The Chicken Chokers ‑ "Chokers and Flies" (1985). Rounder 0215, James Bryan ‑ "The First of May" (1985). Rounder 1133, Ed Haley vol 2 – "Grey Eagle". Vocalion 14839 (78 RPM), Uncle Am Stuart, 1924, (b. 1856, Morristown, Tenn.). Voyager 309, Benny & Jerry Thomasson - "The Weiser Reunion" (1993). Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999). Warner Brothers 42468, The Booker Brothers. In the repertoire of Western N.C. fiddler Osey Helton (C Major version). 5 String Productions 5SP05002, The Hoover Uprights – “Known for their Reputation” (2005. Based on the playing of fiddler Flick Flaharty or York County, Pennsylvania).

See also listings at:

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

X:1

T:Grey Eagle  [1]

Z:Nigel Gatherer

M:4/4

L:1/8

K:A

cB|A2 FA ECA,C|EFAc BABc|A2 FA ECA,C|EF (3ABc e2 (3cec|

A2 FA ECA,C|EFAc (3BcB Ac|eAce dcBG|EGBd (3cec:|]

AF|ecAe cAeA|fdAd fgaf|edce cecA|EGBc dBGB|

AecA ecAc|dABd faeg|abga (3faf ed|ceBc A2:|]

X:2

T:Grey Eagle [1]

M:2/4

L:1/8

R:Reel

S:Christeson – Old Time Fiddler’s Repertory, vol. 1, No.15 (1973)

Z:AK/Fiddler’s Companion

K:A

c/B/|AA/F/ E/C/E/F/|AA/c/ B/A/B/c/|AA/F/ E/C/E/F/|A/B/c/A/ Bc/B/|

AA/F/ E/C/E/F/|AA/c/ B/A/c/d/|e/c/e/a/ f/a/e/d/|c/A/B/c/ A:|

|:a/f/|e/c/A/c/ e/c/f/c/|e/c/A/c/ ea/f/|e/c/A/c/ e/c/f/c/|e/c/A/c/ B/G/E/G/|

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

|:e/g/|aa/b/ ae/g/|a/g/a/b/ c’/a/e/a/|f/e/f/g/ f/e/c/f/|e/c/A/c/ B/A/c/e/|

aa/b/ ae/g/|a/g/a/b/ c’/a/e/c’/|e’/a/e/a/ f/g/a/f/|e/c/B/G/ A:|

X:3

T:Grey Eagle [1]

M:2/4

L:1/8

R:Reel

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:A

c/B/|A/B/A/F/ E/F/E/C/|A,/C/E/A/ c/A/e/c/|B/c/B/G/ E/F/E/C/|B,/E/G/B/ ec/B/|

A/B/A/F/ E/F/E/C/|A,/C/E/A/ Bc/d/|ec/A/ f/e/c/A/|E/G/A/B/ A:|

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

e/c/e/c/ e/c/a/c/|e/c/e/c/ ee|E/G/A/c/ e/g/f/e/|c/A/B/c/ A:|

 

GREY EAGLE [2]. AKA ‑ "Gray Eagle." English, American; Hornpipe or Reel. USA, Central Pa. A Major (Raven): B Flat Major (Hardings). Standard tuning. AABB. Source for notated version: Ralph Sauers (Buffalo Valley, Central Pa.) [Guntharp]. Related to verison #1. Guntharp (Learning the Fiddler’s Ways), 1980; pg. 72.  Hardings All-Round Collection, 1905; No. 179, pg. 57 (appears as "Gray Eagle"). Raven (English Country Dance Tunes), 1984; pg. 189.

X:1

T:Gray Eagle [2]

M:C

L:1/8

K:A

cB | AFFA EFEC | EAcA BAcB | AFFA EFEC | EAcB A2 cB | AFFA EFEC |

EAcA B2c2 | e2 cA BAFA | EAcB A2 :: f2 | eAcA eAfA | eAce fgaf | eAcA eagf |

edcB A2f2 | eAcA eAfA | ecde f2 eg | agfe fg a2 | B2A2A2 :|

 

GREY EAGLE [3]. Old-Time, Breakdown. C Major. Standard tuning. AABBAACC'. This “Grey Eagle” variant, as well as “Grey Eagle [4]” are recognizably similar to the key-of-‘A’ “Grey Eagle” tunes. There are other key-of-‘C’ “Grey Eagle’s” that are quite different (see “Tennessee Grey Eagle”). Source for notated version: Ruthie Dornfeld (Seattle) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 106.

 


GREY EAGLE [4]. Old-Time, Breakdown. USA, Missouri. C Major. Standard tuning. AABB'. A variation of version #3. It is on Missouri fiddler Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Source for notated version: Cyril Stinnett (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 106.

 

GREY EAGLE [5]. Old‑Time, Breakdown. Heritage XXXIII, Bruce Molsky ‑ "Visits" (1981. Learned from a 1935 recording of Roland Cauley and Lake Howard).

                       

GREY EAGLE JIG. Old-Time, Breakdown. USA, Kentucky. According to Guthrie Meade and Mark Wilson, this tune, from blind northeastern Kentucky fiddler Ed Hayley, resembles "Grey Eagle [1]" only in its lower strain, while the higher one is derived from the "George Booker" family of tunes. Rounder 1010, Ed Hayley - "Parkersburg Landing" (1976).

                       

GREY-EYED CAT. AKA and see "Buffalo Nickel [1]," “Cat Ate the Handsaw,” "Chinky Pin," “Crooked Stovepipe [2],” "Darling Child," “Eber Atkins Tune,” "Farmer Had a Dog," "Fourth of July," "Hair in the Butter," "I'm My Momma's Darling (Child)," “Lead Out,” “Liesel,” “Love Somebody [2],” "Midnight Serenade [1]," "My Love Is/She's But a Lassie Yet [1],” “Old Mose,” “Raymondville,” "Richmond Blues," “Soapsuds Over the Fence [3],” "Sweet Sixteen," "Ten Nights in a Bar Room," “Too Young to Marry [1],” "Yellow Eyed Cat." Old-Time, Breakdown. Lotus Dickey learned this well-known tune from Alec Moon under this title.

                       

GREY FOX, THE. Irish, Reel. Composed by button accordion player Billy McComiskey in honor of his cat, born of legendary mother Casey, who lived at The Gandy Dancer in the Pigtown section of southwest Baltimore. Frank Claudy writes: “Casey's kitten's were so popular with patrons that there was a several litter waiting list.  We got kitten #39, from the same litter that produced a giant named Muldoon and a dwarf that was promised to a veterinarian in Philadelphia.  Casey had a special affinity for delivering in opened instrument cases.  She died of accidental rat poison ingestion some time after producing kittens 54 - 59.”

                       

GREY FRIEZE BREECHES, THE. AKA and see "The Ladies' Pantalettes/Pantaloons/Pantaloos," "Leonard's Reel," "The Boatman's Reel," "Pat the Fowler," "The Green Pantaloons."

                       

GREY GHOST, THE. American, Jig. Composed by New England fiddler Frank Ferrel. The Grey Ghost is a fishing fly popular for Atlantic salmon, first tied in northern Maine. Flying Fish 70572, Frank Ferrel - “Yankee Dreams: ‘Wicked Good Fiddling from New England’” (1990).

                                   

GREY GOOSE [1], THE. Irish, Jig. G Major ('A' and 'B' parts) & E Minor ('C' part). Standard tuning. AABBCC. Source for notated version: Michael Coleman (Ireland). Phillips (Fiddlecase Tunebook), 1989; pg. 23. IRC Records, Michael Coleman - “The Musical Glory of Old Sligo” (1967). Shanachie Records 33002, Michael Coleman. Shaskeen Records OS‑360, Andy McGann, Felix Dolan, Joe Burke ‑ "A Tribute to Michael Coleman" (c. 1965).

 

GREY GOOSE [2], THE. American, Song and Tune. Originally a minstrel song, also known, in one form or another, by English morris dancers (Mike Yates). Venerable Records, Andy Cahan ‑ "Hits From the Mountains."

 

GREY GOOSE [3], THE. AKA and see "Dunkeild House," "Jackson's Rowly Powly," "The Templehouse Jig [2].” Irish, Jig. Goodman (vol. 3, No. 112).

                       

GREY GOOSE FAIR, THE. English, Country Dance Tune (6/4 time). F Major. Standard tuning. AB. Stanford (1902) notes this tune appears in the 4th edition of Playford’s Dancing Master, and suggests it is cognate to “Lillibulero.” Stanford/Petrie (Complete Collection), 1905; No. 504, pg. 128. 

X:1

T:Grey Goose Fair, The

M:6/4

L:1/8

S:Stanford/Petrie (1905), No. 504

Z:AK/Fiddler’s Companion

K:F

D2FF2 F4A2 | G2A2F2 D4C2 | D2F2F2 A2c2F2 | G4F2 F6 ||

_e3 fef d4c2 | c2d2e2 f2c2A2 | c2f2f2 f6d2 | c2A2F2 F2D2C2 |

_e3 fef d4f2 | c2A2F2 F2D2C2 | DE F2 F2AB c2d2 | G4F2 F6 ||

                       

GREY MARE'S GONE TO SNARRAVOE. Shetland, Shetland Reel. In the repertory of the Shetland Fiddle Band, and therefore known throughout the islands.

                       


GREY OLD LADY OF RAASAY, THE (“Caillach Liath Rasar” or “Cailleach Liath Ratharsair”). AKA - “The Old Lady of Rothesay.” Scottish (originally), Canadian; Reel. Canada, Cape Breton. A Mixolydian. Standard or ADae tuning. AA’B (Shears): AABB' (MacDonald/Skye): AABBC (Dunlay & Greenberg, MacDonald/Gesto). A pipe tune attributed to John/Iain Dall MacKay in the Gesto Collection. Paul Cranford opines that, for a relatively well-known pipe tune, it appears in remarkably few pipe collections. The Island of Raasay is in the Inner Hebrides, near the Isle of Skye. Jerry Holland, for one, plays the tune in ‘raised bass’ tuning. Source for notated version: Dan Joe MacInnis (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 55. MacDonald (The Gesto Collection of Highland Music), 1895. MacDonald (The Skye Collection), 1887; pg. 116. Shears (Gathering of the Clans Collection, Vol. 1), 1986; pg. 45 (pipe setting). Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998. Learned from the late Bill Lamey). Rodeo Banff RBS 1066, Dan Joe MacInnis - “The Cape Breton Fiddle of...” (1962. Appears as “The Old Lady of Rothesay”). Rounder 7009, Doug MacPhee - “Cape Breton Piano” (1977). Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

X:1

T:Grey Old Lady of Raasay, The

T:Caillach Liath Rasar

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:Amix

e | AA g2 aeef | g2 ag fdde | cc g2 aeeg | fdec BBB :|

|| a | cAAA ec{B}ce | f2 AA ecca |1 cAAA ecce | fdec BBB :|2 cA d2 ecce | fAec BBB ||

                       

GREY PLOVER, THE (An Pilbin Liat). Irish, Reel. G Major. Standard tuning. AB. See also the related “Miss McLeod’s/MacLeod’s Reel [1].” O'Neill (Krassen), 1976; pg. 160. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1544, pg. 285. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 759, pg. 132.

X:1

T:Grey Plover, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 759

Z:AK/Fiddler’s Companion

K:G

G3B d2 BA|BcBA BcBA|G3B d2 BG|FADA FADA|G2 GB d2 Bd|eBBd g2 fg|

efde Bddf|e2 dB BA A2||d>g (3ggg a2 ge|d2 BA GB B2|d>g (3ggg a2 ge|

d2 BG FA A2|dggg a2 ge|dBBd g2 fg|efde Bddf|e2 dB BA A2||

                       

GREYHOUND, THE. Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated version: Mick Dinneen, Coolfree Co. Limerick: 1852 (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 70, pgs. 37‑38.

X:1

T:Greyhound, The

M:C

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:G

D/E/F|G2 GA BGdB|cBAB cedB|ABcd efge|fage dcBA|G2 GA BGdB|

cBAB cedB|ABcd efgf|g2G2G3 :: B|A2 af dgBe |defg afed |ebag fadf |

gedB A2 BA | G2 dB Agfe | defg afdB | ABcd efgf | g2G2G3 :|

                       

GREYSTONES.  English, Waltz. F Major. Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 129, pg. 32.

 

GRIANRACT, AN. AKA and see "The Rising Sun."

                       

GRIEG'S PIPES. See "Greig's Pipes."

                       

GRIFFIN, THE. Scottish, Canadian; Hornpipe. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 318, pg. 35. Messer (Way Down East), 1948; No. 64. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 110, pg. 70.

X:1

T:The Griffin Hornpipe

R:Hornpipe

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:D

AG|FAd2 d2ef|gec2 c2Ac|dcdc dfed|cdBc ABAG| FAd2 d2ef|gec2 c2Ac|dfaf bgec|d2f2 d2:|

|:fg|a2fd A2ef|g2ec A2ef|gege fdfd|cdBc ABAG| FAd2 d2ef|gec2 c2Ac|dfaf bgec|d2f2 d2:|

                       

GRIFFITH AP CYNAN'S DELIGHT. Welsh, March (?). D Minor. Standard tuning. AABB. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 43.

                       

GRIGSBY'S HORNPIPE. Old‑Time, Breakdown. USA, Texas. A Major. AEac# tuning. From Texas fiddler Eck Robertson, who played it in a medley with "Rye Whiskey." Robertson said on record he was the only fiddler to play the tune. County 202, "Eck Robertson: Famous Cowboy Fiddler." Rounder CD 0359, Skip Gorman - "Lonesome Prairie Love" (1996).

                       

GRIHAMEREN. Norwegian. One of the most popular of the newer concert-slatts (tunes), according to Pandora Hopkins (1986).

                       

GRIM DONALD’S SWEETHEART. Scottish. A favorite tune in the late 18th century. Emmerson (1972) reports that in 1785, at the Exhibition of Martial Music held in Dunn’s Assembly Rooms, that twenty-four pipers played the tune (along with “Failte a’ Phrionsai” and “Glass Mheur;” all long-standing favorites).

                       

GRIM KING OF THE GHOSTS. English, Air (6/8 time). G Minor. Standard tuning. AB. This air appears in Watts' Musical Miscellany (1729), Pills to Purge Melancholy (vol. VI, 1720), and ballad operas such as John Gay's Beggar's Opera (1729, where it appears as "Can love be controlled by advice"). Chappel records that the tune  usually caries the title "The Lunatick Lover; or, The Young Man's call to Grim King of the Ghosts for cure: to an excellent new tune," and appears in the Pepys, Douce, and Roxburghe Collections. Other songs written to the tune include N. Rowe's "Colin's Complaint," "Hail the the murtle shades," "The Protestant's Joy," "The Father's Wholesome Admonition," and "The Subjects' Satisfaction." “Colin’s Complaint” was so well-known that it generated frequent parodies.

***

Grim King of the Ghosts! Make haste,

And bring hither all your train;

See how the pale moon does waste,

And just now is in the wane.

Come, you night hags, with all your charms,

And revelling witches, away;

And hug me close in your arms,

To you my respects I’ll pay.

***

Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 129. Howe (1000 Jigs and Reels), c. 1867; pg. 157. Raven (English Country Dance Tunes), 1984; pg. 52.

X:1

T:Grim King of the Ghosts

L:1/8

M:6/8

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

Z:AK/Fiddler’s Companion

K:Gmin

D|G>^FG B>AG|(A3A2)A|BAd c>BA|(G3 G2)D|G>^FG B>AG|(A3 A2)A|

BAd c>BA|(G3 G2)||B/c/|dGG e>dc/=B/|(c3 d2c|B>AG GcB|B3 A2D|

G>^FG B>AG|(A3 A2)A|BAd c>BA|(G3 G2)||

           

GRIMALDI’S WHIM.  English, Jig. B Flat Major. Standard tuning. AAB. A ‘whim’, like ‘maggot’ or ‘fancy’, was a generic name meaning a tune or short melody. Joseph Grimaldi (1778-1837) was the most famous English clown, who maid the character of a clown a leading role in the theatre. Born to an Engish dancer and an Italian father (Joseph “Iron Legs” Grimaldi, ballet master of Drury Lane), Grimaldi took to the stage while still a toddler. He introduced pantomime to the theatre, and established the art of audience participation (presaging English Music Hall). By the last decade of his life Grimaldi was penniless, his health broken from the demands of his physical comedy, and unable to perform. The public came to his aide and he was sustained by a pension from the Drury Lane Theatrical Fund until his death. At the time of Goulding’s publication, however, Grimaldi was at the top of his form, and just past his greatest success in Harlequin and Mother Goose; or, The Golden Egg (1806), produced at the Theatre Royal, Covent Garden. Goulding (Twenty Four Country Dances for the Year 1808), 1808; No. 16.

X:1

T:Grimaldi’s Whim

M:6/8

L:1/8

R:Jig

B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)

N:”With proper Tune & Directions to each Dance (as they may be

N:performed at Court, Bath, and all Public Assemblys.”

Z:Transcribed and edited by Flynn Titford-Mock

Z:abcs’s:AK/Fiddler’s Companion

K:Bb

F|BcB Bdf|gec cde|fdB BAB|cAF F2F|BcB Bdf|gec cgb|agf cf=e|fcA F2:|

|:f|gec cdc|fdB BcB|cde dcB|AcA F2E|DFB EGB|DFB EGB|Ged cBA|BFD B,2||

           


GRIMSTOCK. English, Country Dance Tune (6/8 time). G Major (Merryweather, Raven): A Major (Barnes, Sharp). Standard tuning. AABB (Barnes): AA'BB (Merryweather, Raven). The tune was published by John Playford in his 1651 edition of The English Dancing Master, though it first seems to have appeared as a lute piece in the 16th century. The ‘A’ strain appears early in print in Michael Praetorius’s Terpsichore (1612). During the time of the English civil war the Royalist Playford was forced to go into hiding from the Roundheads for a year or more just before this first edition of the Dancing Master was printed, fearing prosecution for a treasonable offence in which he and some friends published some tracts describing the execution of Charles I. There is a Grimstock Hill, a Romano-British temple site, in the West Midlands near Coleshill, Birmingham, but it is not known whether there is a connection with the tune. Barnes (English Country Dance Tunes), 1986. Merryweather (Tunes for the English Bagpipe), 1989; pg. 38. Raven (English Country Dance Tunes), 1909/1984; pg. 38. Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c. Ballads for Voice and Violin Band" (1992).

X:1

T:Grimstock

M:6/8

L:1/8

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:A

(a2e) (a2e) | (fga) (g2e) | (cde f2e | dec B2A) | (a2e) (a2e) | (fga) (g2e) | (cde f2e | d>cB A3 :|

|| (AAB cAB | cAB cAE) | (AAB cAB | cAB/c/ A3) | (AAB cAB | cAB cAE) | (AAB cAB | cAB/c/ A3) ||

                       

GRINDER(S), THE. AKA and see “The Grenadiers,” “Our Bride is no Maid [1],” “Terry Heigh-ho the Grinder [1].” Irish, Scottish, English; (Slip) Jig (9/8 time). G Major. Standard tuning. AABB. Kerr labels the tune an “Irish Jig,” although it has a long history in England, where it appears in numerous 19th century musicians’ manuscript collections, including that of Ellis Knowles and Joshua Gibbons (for whom see below), William Calvert (Leyburn, west Yorkshire, 1812), John Clare (Helpston, Northants, 1820), William Clarke (Feltwell, Norfolk, 1858), the Welch family, Rev. Robert Harrison (Brampton, Cumbria, 1820), James Winder (Wyresdale, Lancashire, 1835), William Vickers (Northumberland, 1770), and the Thomas Hardy family (Dorset, early 19th c.). Vickers title is “Our Bride is no Maid,” while Hardy has it as “The Grenediers” and Winder as “Tobias the Grinder”). Early printings were in Wilson’s Companion to the Ball Room (1816) and Andrews’ Complete Instructions for the Fife (London, 1808).  In America it appears in the 1808-1818 copybook of Josiah Adams (Framingham, Mass.). Kennedy and Levey have the parts reversed from each other. Sources for notated versions: the c. 1847 music manuscript of Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Callaghan (Hardcore English), 2007; pg. 80. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 25, pg. 7. Kerr (Merry Melodies), vol. 2; No. 223, pg. 25. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 18, pg. 8. Plain Brown Tune Book, 1997; pg. 26 (appears with parts reversed from Kerr). Raven (English Country Dance Tunes), 1984; pg. 130. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 4. Wilson (Companion to the Ball Room), 1816.

X:1

T:Grinder, The

M:9/8

L:1/8

R:Jig

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:G

(ABA) (A2B) G3 | (ABA) (A2B) (d2B) | (ABA) (A2B) G3 | (GAG) (GAB) (d2B) :|

|: gfg edc BAG | gfg efg (a2f) | gfg edc BAG | (ABA) A2B (d2B) :|

                       

GRIST JIG. Irish, Jig. G Dorian. Standard tuning. AABB. Classified in a section labeled “Ancient Irish Music” in Howe’s 1000. Howe (1000 Jigs and Reels), c. 1867; pg. 19.

X:1

T:Grist Jig

M:6/8

L:1/8

R:Jig

S:Howe’s 1000 Jigs and Reels

Z:AK/Fiddler’s Companion

K:G Minor

D | .D.G.G .G.^F.G | .A.B.c .d2.=e | .f.=e.f .d(ef) | =e(dc) BAG | .DGG {G}.G.^F.G |

ABc d2=e | f=ef dcB | (AG).G G2 :: g | (gd)g (gd)g | (gd)g a2g | (fd).f (fd.).f |

(fd).f (f=e).d | (gd).g (gd).g | gd.g a2g | f=ed cBA | (AG).G G2 :|

                       

GRIZZLY BEAR, THE. Canadian, Reel. C Major. Standard tuning. AABB. Composed by Canadian radio and TV fiddler Don Messer. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 64, pg. 38. Sparton Records SP 210, “Ward Allen Presents Maple Leaf Hoedown, vol. 2.”

                       

GROCER, DA. Shetland, Reel. D Major. Standard tuning. AABB'. Composed by Shetland fiddler and composer Tom Anderson in June, 1952, and dedicated to Mr. Willie Birnie, an accomplished piper and traditional music enthusiast. Hardie (Caledonian Companion), 1992; pg. 76.

                       

GROG. Irish, Slip Jig. Goodman, vol. IV, pgs. 1-2.

                       

GROGAN’S FAVORITE. Irish, Reel. AKA and see “Eileen O’Callaghan(’s Reel),” “Geoghan’s,” “Geehan’s Reel,” “Geogehan’s Reel,” “Paddy Canney’s.” “Grogan’s Favorite” is the title on Paddy Canney and P.J. Hayes’ famous 1960 recording.

                       

GROGAN’S HORNPIPE. AKA “Dermot Grogan’s Hornpipe.” Irish, Hornpipe. D Major. Standard tuning. AABB. Dermot Grogan of the alternate title is/was an accordion player and “tunnel man” living in London. Accordion player Mary Staunton plays the tune in four parts, from the playing of Kilkelly, County Mayo, accordion player Des Grogan. She says: “Des often played the accordion with many of the best of Co. Mayo's musicians in Jack Halpin's pub in Ballyhaunis and I have fond memories of the many great sessions there during the 1980s.” "Fuschia Music 001, Mary Staunton – “Bright Early Morning.”

X:1

T:Grogan's Hornpipe

D:Bumblebees, 'Buzzin'' (1999. Appears as “Dermot Grogan’s Hornpipe”)

Z:Nigel Gatherer

R:Hornpipe

M:4/4

L:1/8

K:D

A>F|D2 f>a f>dA>d|B2 (3BBB A>BA>F|D2 f>a f>dA>d|(3BBB e>d e>fA>F|

D2 f>a f>dA>d|B2 (3BBB A>Bd>e|f>Ad>f e>Ac>e|d2 d>c d2:|]

e2|f2 (3dcB B>cd>f|e2 (3cBA A>Bc>e|d2 d>B G>Bd>B|A>FA>d f>ed>e|

f2 (3dcB B>cd>f|e2 (3cBA A>Bc>e|d2 d>B G>Bd>B|A>ce>c d2:|]

 

GROGG. Scottish. John Glen (1891) finds the earliest printing in Robert Ross's 1780 collection (pg. 2). The term 'grog', referring to an alcoholic drink, stems from the British navy of the mid-18th century. Admiral Vernon, who was called "Old Grog" after the stiff wool grogram coats he wore, decided to water down the Navy's rum, a turn of events not at all pleasing to the average Jack Tar, who began to refer to the diluted drink as 'grog' after the responsible admiral. One who managed to get drunk on the concoction became 'groggy.'

 

GROGHAN’S. AKA – “Groghan’s Favourite.” AKA and see “Strone Johnny.” Irish, Reel. G Major. Standard tuning. AABB.

X:1        

T:Groghan's

T:Strone Johnny

M:4/4

L:1/8

R:Reel

K:G

G2BG DGBG|G2Bd cAFA|~G3B dGBc|defd cAFA|G2BG DGBG|

G2Bd cAFA|GBB2 dBB2|defd cAFA:|

dggf g2fg|add2 adfd|dggf g2fe|defd cAFA|dggf g2fg|

agab agfe|dgg2 bgg2|defd cAFA:|

 


GRONDEUSE [1], LA (The Grumbling Woman). AKA and see “Bennett’s Favorite,” "Great Eastern Reel," "John Brennan's Reel,” “The Silver Spire." New England, French Canadian; Reel. D Major. Standard or ADae tunings. AB (Laufman): AABB (Millet & Perron): The title is associated not with one particular tune, but with the ‘G’ string which is tuned up to ‘A’ in the Québecois tradition. “La Grondeuse” is universally played in the Québec fiddle tradition, though versions and parts can differ greatly, and it is often the vehicle for step-dancing. A variety of tunes are played as “La Grondeuse,” with each fiddler seeming to have his or her own version. One “La Grondeuse” is AKA “Bennet’s Favorite”/”Great Eastern”/”Silver Spire” but there are other, unrelated Grondeuses as well. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 17. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 156. Great Meadow Music, Nightengale – “Sometimes When the Moon is High” (1996). Midnight Music CD001, Nightengale. Wild Asparagus WA 003, Wild Asparagus - "Tone Roads" (1990).

X:1

T:La Grondeuse [1]

M:C|

L:1/8

K:D

D2FE D2FA|dc de fd AF|G2BG F2AF|EF GE DC B,A,|

D2FE D2FA|dc de fd AF|G2BG F2AF|EC A,C D4:|

|:A,B, CD EF GF|ED EF GA Bc|dc dB AB cd|fa gf e2A2|

d2fd c2ec|Bc dB AF DF|G2BG F2AF|EC A,C D4:|

 

GRONDEUSE [2]. AKA and see "Farrell O'Gara('s Reel)."

 

GRONDEUSE [3], LA (The Grumbling Woman). French-Canadian, Reel. D Major. ADae tuning. AA’BB’CC’DD’ (Remon & Bouchard): AA’BB’CC’ (Hart & Sandell). Crooked versions. The ‘A’ and ‘B’ parts of Vincent’s Ouellet’s version are employed in André Alain’s version, who also adds the ‘A’ part of “Reel à Raymond.” Ouellet’s alternate title, “La gigue du grand slaque” (Big Guy’s Step-dance) is the title his group, Éritage, recorded the melody under, and referred to the groups rather tall step-dancer, Benoît Bourque, say Hart & Sandell. Sources for notated versions: fiddler André Alain (St-Basile, Portneuf area, Québec) [Remon & Bouchard]; fiddler Vincent Ouellet (b. 1964, near Québec city) [Hart & Sandell]. Hart & Sandell (Dance ce soir), 2001; No. 67, pg. 101. Remon & Bouchard (25 Crooked Tunes: Québec Fiddle Tunes), vol. 2, 1997; No. 9. La Bottine Souriante – “Cordial” (2001). C.P. 418, Les frères Brunet – “Magie” (1995). Laurie Hart – “Gravity Hill” (1992). André Alain – “Violoneux de St-Basile de Portneuf” (1986). Fogarty’s Cove Records, Vincent Ouellet & Éritage – “La fonde des vouageurs” (1982).

                       

GRONDEUSE À ELZÉAR LEPAGE, LA. French-Canadian, Reel. D Major. Standard tuning. AA’BB’. A ‘crooked’ tune, with each part having a measure with an extra beat. Source for notated version: Mario Landry who collected the tune from Elzéar Legage (Victoriaville retion, Québec) [Remon & Bouchard]. Remon & Bouchard (25 Crooked Tunes: Québec Fiddle Tunes), vol. 2, 1997; No. 19.

                       

GRONDEUSE DE QUÉBEC.  French-Canadian, Reel. D Major. Standard tuning. ABBCC’.

X:1

T:Grondeuse de Québec

M:3/4

L:1/8

R:Reel

S:Fiddler Pascal Gemme (of the group Genticorum)  http://tradquebec.over-blog.com/archive-4-2007.html

K:D

AA/B/||A/G/F/D/ E/D/C/D/ EA/B/|A/G/F/D/ E/D/C/E/ DA/B/|A/G/F/D/ E/D/C/D/ EA/B/|A/G/F/D/ E?D/C/E/ DD/E/||

M:2/4

L:1/8

|:F>F E>G|F/D/F/D/ EE/G/|F/D/F/D/ EE/F/|E/D/C/E/ DD/E/:|

|:A/B/c/d/ ee/f/|e/d/c/B/ AA/A/|A/B/c/d/ e/A/e/f/|1 g/e/a/g/ f/d/d:|2

M:3/4

L:1/8

g/e/a/g/ f/d/d AA/B/||

 

GROOM. AKA and see “Bliven’s Favorite,” "The Butchers of Bristol [1]" "By your leave, Larry Grogan," "Coppers and Brass [2]", “The County Limerick Buckhunt," "Finerty's Frolic," “Green Sleeves [3]," "Hartigan's Fancy," “The Humors of Ennistymon [1]," "The Humours of Milltown [2]," "Larry Grogan(‘s) [1]", "The Lasses of Melrose," “Lasses of Melross,” "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "Pingneacha Rua agus Pras," “Queen of the Rushes,” "The Waves of Tramore," “Willie Clancy’s.” Irish, Jig. The tune is attributed by Goodman to the 18th century gentleman-piper Walker ‘Piper’ Jackson, of the townland of Lisdaun, parish of Ballingarry, Aughrim, County Limerick. Breathnach remarks that a version was originally printed (by John Walsh before 1736 in Country Dances Book the Second) under the title “Larry Grogan,” named for the County Wexford gentleman piper of the early-mid 1700's. Another early printing of a variant of this melody is in Aird’s Selections (1780-1803, volume II, 92) where it appears as “The Lasses of Melross.” Joyce (Old Irish Folk Music and Songs, 1909) gives the tune as “Green Sleeves.” O’Neill prints several variants: in 1001 Gems (1907) he has it as “Hartigan’s Fancy/Little Fanny’s Fancy” and “By your leave Larry Grogan”; in Waifs and Strays of Gaelic Melody (1922) he gives it as “The Limerick Buckhunt” and “Waves of Tramore.” Breathnach (1996) finds the titles “Linn’s Favourite” in County Longford, “Beamish and Crawford” in Cork, “The Boys of Drumreilly” and “Murphy’s Jig” in Leitrim, and “The Humours of Newtown,” “The Mooneen Jig,” “The Humours of Bruff,” and “The Slips/Paddy’s the Boy” in Kerry. “Coopers and Brass” is a title Breathnach uses in Ceol Rince na hÉirreann (4), by which name it was usually known in the uilleann pipe repertoire. Goodman, Volume IV, pg. 11.

 

GROOM IN HIS SHIRT, THE. AKA and see “Tie the Ribbons [1].” Irish, Reel. G Major. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 174, pg. 20.

X:1

T:Groom in his Shirt, The

M:C|

L:1/8

R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 174   (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

B2 AF G2 DG|G2 (AG) FGAc|BGAF G2 (ef)|gfed Bdgd:|

||g2 (ga) bgeg|fefg afdf|gfga b2 (ag)|gfed Bdef| g2 (ga) bgeg|

fefg afdf|g2 bg f2 af|gfed Bdgd||

 

GROUNDHOG. Old‑Time, Song Tune and Breakdown. USA, North Carolina, Virginia, West Virginia. A Major. Standard tuning. One part. A well‑known Appalachian folk song, nursery and fun song, and banjo tune. Brown says, "Its appearance in the Ozarks is doubtless due to immigration from Kentucky. It has not been found in the northern states, nor is it a Negro song." The first two verses in "Traditional American Folk Songs" go:

***

Two in a stump and one in a log

Two in a stump and one in a log,

Don't I wish I had a dog

Groundhog!

***

Yonder comes Sal with a great long pole,

Yonder comes Sal with a great long pole,

To punch that groundhog out of his hole,

Groundhog!   (Warner)

***

Source for notated version: learned by Frank Proffitt (North Carolina) from his father [Warner]. Warner (Traditional American Folk Songs), 1984; pgs. 296‑297. Flying Fish 102, New Lost City Ramblers ‑ "Twenty Years/Concert Performances" (1978). Folkways FA 2360, Frank Proffitt. Heritage 054, Tommy Jarrell ‑ "Brandywine 83: Music of French America" (1984). Marimac 9000, Dan Gellert & Shoofly ‑ "Forked Deer" (1986). Recorded Anthology of American Music (1978) ‑ "Traditional Southern Instrumental Styles." Rounder Cd0278, Mike Seegar – “Solo—Old Time Country Music” (1991). The Whistlepigs - "Out of Their Hole."

                       

GROUSE ON THE HILL, THE. Irish, Jig. B Minor. Standard tuning. AABB.

X:1

T:Grouse on the Hill

R:Jig

M:6/8

L:1/8

K:Bm

GEF G2 (A | B)ec dBA | BAF GFG | AFD FGA |\ GEF (G2A) | Bee fed |

BdB AFB | EFE E3 :|:\ (g2e) fed | B(ec) dBA | gfg afd | e{g}fe e2 (f |\

g2)e fed | B(ec) dBA | BdB AFB | EFE {F} E3) :|

                       

GROVE [1], THE. AKA and see "The Liverpool Hornpipe [1]."

 

GROVE [2], THE. Scottish, Country Dance Tune (6/8 time). B Flat Major. Standard tuning. AABB. Kidson’s melody is from McGlashan's Scots' Measures (177?). However, it was a popular jig that appears in many publications and musicians’ manuscripts from the latter half of the 18th century. The jig (in D major) also appears in Edinburgh publisher Neil Stewart’s Select Collection of Scots, English and Foreign Airs, Jiggs & Marches (1788), and in Charles and Stewart Thompson’s Compleat Collection of 200 Country Dances (vol. 4, 1780), and in Samuel, Ann and Peter Thompson’s Twenty-Four Country Dances for 1794. John Glen (1891) finds the earliest printing of a tune by this name in Robert Ross's collection (pg. 5). In America, “The Grove” (in the key of ‘D’) appears in the music manuscript copybook of John Hoff (1776-1818), a flute player from Lancaster, Pennsylvania, the 1793 copybook of George Otis, musician from Worcester, Massachusetts, and the 1789-1790 copybook of Cushing Eells, of Norwich, Connecticut. The melody was published in America in Salem, Massachusetts, by Joshua Cushing, in his The Fifer’s Companion No. 1 (1805). Kidson (Old English Country Dances), 1890; pg. 12. McGlashan (Collection of Scots Measures), 177?; pg. 2.

X:1

T:The Grove [2]

M:6/8

L:1/8

R:Jig

B:McGlashan – Collection of Scots Measures  (177?)

Z:AK/Fiddler’s Companion

K:B_

BcB FDF|BdB cec|BcB FDF|GeA B2 :: Fdb fdB|egB AGF|Egg Dff|ecA B3:|

                       

GROVER JONES’S WALTZ. Old-Time, Waltz. C Major. Named for a local southwestern Virginia fiddler from whom Henry Reed (Glen Lyn, Va.) learned the tune.

                       

GROVES, THE. See “The Groves (Hornpipe).”

                       

GROVES (HORNPIPE), THE (Crannciuil na Tor-coillte/choillte). AKA and see "The Drunken Sailor,” “Jackson’s Cove,” Jackson’s Hornpipe [2].” Irish, Hornpipe. G Major. Standard tuning. ABCD (Stanford/Petrie): ABCDE (O'Neill/1850 & 1001, Stanford/Petrie): AABBCCDD’EE (Mitchell): AABB'CC'DDEE (O'Neill/Krassen). George Petrie attributed the tune to “Jackson,” undoubtedly referring to ‘Piper’ Jackson, a 19th century gentleman piper of great renown. Bayard (1981) believes the tune may be an elaborated dance form "based on the simple, fundamental strain of 'Johnnie Cope', and may perhaps be descended from that rather old air. While generally in the major tonality, accidentals and a naturalized ‘f’ are more or less frequent in the tune, depending on the version. O’Neill obtained his setting from the great Irish-American piper Patrick (Patsy) Tuohey, although earlier (c.1880) O’Neill had been very impressed with a version of the tune by John Hicks. Hicks, also a pipe player, was a protégé of gentleman piper Captain William Kelly, and had emigrated to America in 1850 as a young man. He was noted for his very wide repertoire, notes Brian McNamara, who states that Tuohey learned the tune from Hicks, and that another famous Chicago piper, Police Sergeant James Early, learned it from Tuohey. The tune is almost identical with "The Drunken Sailor,” save that the latter is set in the dorian mode—Petrie’s 2nd version (No. 319) of the “Groves” has the alternate title of “Drunken Sailor.” Breathnach (1985) remarks it is similar to “The Bank of Turf.” The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). The earliest appearance in print appears to be in George Petrie’s (1789-1866) collection, noted down in the mid 19th century. The notation to No. 318 in Stanford/Petrie’s collection is in rhythmic error. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper Patrick Touhey (Chicago) [O’Neill]; piper James Early (Chicago) [O’Neill]. Mitchell (Dance Music of Willie Clancy), 1993; No. 97, pgs. 84-85. O'Neill (Krassen), 1976; pg. 173. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1598, pg. 296, and No. 1703. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 843, pg. 146. Petrie/Stanford (Complete Collection), 1903‑06; Nos. 318 & 319. Drumlin Records, Brian McNamara – “A Piper’s Dream” (2000). Topic Records, Michael Hanafin (et al) – “Past Masters of Irish Music” (reissue of original 78 RPM recording. The liner notes indicate that Michael’s brother Billy Hanafin was a close associate of Patsy Tuohey {see above}).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Groves Hornpipe

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 843

Z:AK/Fiddler’s Companion

K:G

D|G2GF GABc|dBGB AGFD|=F2FE FGAB|cdfe dcBA|G2GF GABc|

dBGB AGFD|dfeg fdcA|AG{A}GF G2||A2|B2BA Bcde|fdcB AF (3FEF|

CF (3FEF AF (3FEF|ABcA BG (3GFG|B2 BA Bcde|fdcA dBcA|\dfeg fdcA|

AG{A}GF G2||c2|d2g2 g2fg|abag f2af|d^cde fefg|abag f2fe|d2g2 g2fg|

abag f2fe|d^cde fd=cA|AG{A}GF G2||D2|G>d (3Bcd G>d (3Bcd|

=F>c (3ABc A2A^F|G>d (3Bcd G2 Bc|d^cde fdcA|G>d (3Bcd G>d (3Bcd|

=F>c (3ABc F2 Bc|d^cde fd=cA|AG{A}GF G2||d2|g>d (3Bcd g>d (3Bcd|

f>c (3ABc f>c (3ABc|g>d (3Bcd g>d (3Bcd|A>G (3ABc A>G (3ABc|

dedB cdcA|(3Bcd BG AcBc|dfeg fdcA|AG{A}GF G2||

X:2

T:Groves, The

M:C

L:1/8

R:Hornpipe

S:Stanford/Petrie – Complete Collection, No. 318  (1905)

N:”The Groves, by Jackson” (George Petrie)

Z:AK/Fiddler’s Companion

K:G

D|G2 GA G/A/B/c/|d/c/B/A/ G2 FD|=F2 FG F/G/A/B/|c/A/F/A/ d/c/B/A/|

G2 GA G/A/B/c/|d/c/B/A/ G2 FD|Ff eg f/d/c/A/|A/G/G/>A/ G3||A|B2 Bc B/c/d/e/|

f/d/B/d/ c/A/F/B/|A/F/c/F/ d/F/c/F/|A/F/c/F/ d/c/B/A/|B2 BA B/c/d/e/|f/d/B/d/ c/A/F/G/|

Ff e/f/g f/d/c/A/|A/G/G/>A/ G3||d|g/f/g/a/ g/f/g/d/|f/e/f/g/ f/e/f/d/|g/f/g/a/ g/f/g/d/|

B/d/g/d/ B/d/B/G/|d/B/d/B/c/A/c/A/|d/B/d/B/ c/A/c/A/|Gf (e/f/g) f/d/c/A/|A/G/G/>A/ G3||

D|(G/A/B/c/)dB (G/A/B/c/)dB|(F/G/A/B/)cA (F/G/A/B/)cA|(G/A/B/c/)dB (G/A/B/c/)dB|

(c/B/)A/G/ F/A/F/D/|(G/A/B/c/)dB (G/A/B/c/)dB|(F/G/A/B/)cA (F/G/A/B/)cA|Gf (e/f/g) (fd)cA|A/G/G/>A/ G3||

X:3

T:Groves The

T:Drunken Sailor, The

M:2/4

L:1/8

R:Hornpipe

S:Stanford/Petrie – Complete Collection, No. 318  (1905)

Z:AK/Fiddler’s Companion

K:G Dorian

G>A G/A/B/c/|d/c/B/A/ G/F/D/E/|F>G F/G/A/B/|c/A/F/A/ d/c/B/A/|GG/^F/ G/A/B/c/|

d/c/B/A/ G/F/D/E/|Ff d/c/B/A/|{A}GG/A/ G2||B>c B/c/d/e/|f/c/A/c/ c/A/F/B/|

A/F/c/F/ d/F/c/F/|A/F/c/F/ d/c/B/A/|B>c B/c/d/e/|f/c/A/c/ c/A/F/A/|Gg d/c/B/A/|G2G2||

g>a gf/g/|a/g/f/e/ d>e|f/c/g/c/ a/c/g/c/|f/c/g/c/ a/g/f/e/|d>g gf/g/|a/g/f/e/ dc|

d/f/e/g/ f/d/c/A/|G2G2||GB/4c/4d/4B/4 GB/4c/4d/4B/4|FA/4B/4c/4A/4 FA/4B/4c/4A/4|

G/B/4c/4d/B/ GB/4c/4d/B/|c/B/A/G/F/G/A/F/|G/B/4c/4d/B/ G/B/4c/4d/B/|F/A/4B/4c/A/ F/G/A|

d/f/e/g/ f/d/c/A/|G2G2||g/d/g/b/ g/d/g/b/|f/c/f/a/ f/c/f/a/|g/d/g/b/ g/d/g/b/|f/c/f/a/ A/F/A/c/|

B/G/B/d/ A/F/A/c/|B/G/B/d/ c/A/c/_e/|d/f/e/g/ f/d/c/A/|G2 ({B/A/}G2)||

                       


GROVES OF BLACKPOOL [1], THE. Irish, Air (9/8 time). A Minor. Standard tuning. AB. "Dr. Petrie has given two versions of 'The Groves of Blackpool' in his Ancient Music of Ireland, one of which (at p. 110) was given him by me; and it is repeated in Stanford‑Petrie (No. 573). But I gave Petrie no name for the air; as I knew none. The air I now give here is different from those two, though in the same measure; and as a melody it seems to me better than either. Observe I take it as a different tune, not a mere variant. Seeing the double source (FitzGerald and Forde) from which this comes, I am disposed to believe that it is the true air of 'The Groves of Blackpool'" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 484, pg. 268.

X:1

T:Groves of Blackpool [1]

M:9/8

L:1/8

R:Air

N:”With expression”

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

Z:AK/Fiddler’s Companion

K:Amin

c | GAF EFD CDE | GEC DEG A2c | GAF EFD CDE | GEC DEG A2 ||

B | cBc dcB AGE | cBc dcB A2 c/d/ | ece dcB A<c A | GEC DEG A2 ||

 

GROVES OF BLACKPOOL [2], THE (Coillte Dub-Linn). AKA and see “The Cove of Cork.” Irish, Air (6/8 time). C Minor. Standard tuning. AB. Gow prints a version of the air in his 2nd Collection (1788) as “The Cove of Cork, or Orchill’s Favorite.” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 21, pg. 4. Stanford/Petrie (Complete Collection), 1905; No. 573, pg. 145.

X:1

T:Groves of Blackpool, The [2]

M:6/8

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 21

Z:AK/Fiddler’s Companion

K:Cmin

c|B>AG GAF|E C3 zD|EFG G=A=B|(c3 c2)c|B>AG GAF|E C3 zD|EFG FED|(C3C2)||

c/d/|e>de fdc|B G3 zG|c>de fde|(f3 f2)f|efg {g}fed|e c3 zc|BAG FG=B|(c3 c2)||

                       

GROVES OF BLARNEY, THE (Coillte Blarnaig). AKA and see "The Last Rose of Summer," "Sad and Luckless Was the Season." Irish, Slow Air (3/4 time). G Major. Standard tuning. AB (O'Neill): ABCDEF (Roche). O’Neill says this song is a parody of “Castle Hyde.” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 507, pg. 89. Roche Collection, 1983, vol. 1; No. 42, pg. 21.

X:1

T:Groves of Blarney, The

M:3/4

L:1/8

Z:Transcribed by Juergen Gier

K:G

"Andantino"(G>A)|B2 {d}g2 {f}(e>d)|(dB3) (G>A)|\

(Bd2)B {B}A>G|(GB3) (G>A)|B2 {d}g2 {f}e>d|\

(dB3) (G>A)|B2 {d}(c>B) {B}(A>G)|G4||(d>B)|\

(g2g3/2)f/ {f}e>d|d2 B2 (d>B)|(g2g)(.f.e.^d)|\

(~e2{f}"*"g2) (G>A)|B2 {d}g2 {f}e>d|(dB3) (G>A)|\

B2 {d}c>B {B}A>G|G4||(d>B)|{d}(g2g3/2)f/ {f}e>d|\

d2 B2 d>B|(g2g)fe^d|(e2{fedef}"*"g2) (G>A)|\

B2 {f}(~g2a/)g/{f}e3/4d/4|dB3 G>A|\

(B/4b/4g/4e/4d/4B/4G/4E/4) (D>B) {B}(A>G)|G4||\

"4th String"(G,>A,)|(B,2G2) {f}(E>D)|(DB,3) (G,>A,)|\

(B,D2B,) {B,}A,>G,|(G,B,3) (G,>A,)|B,2 (GF) {f}E>D|\

(DB,3) (G,>A,)|B,2 (C>B,) "tr"{B,}(A,G,/A,/)|G,4||\

(d>B)|{d}(g2g3/2)f/ {f}e>d|d2 B2 d>B|(g2g)fed|\

(e2{fedef}g2) (G>A)|B2 {f}(~g2a/)g/{f}e/d/|dB3 (G>A)|\

(B/d/g/b/"*"d'2) (D/G/B/) "tr"{B}(A>G)|G4||(d>B)|\

{d}(g2g3/2)f/ {f}e>d|d2 B2 (d>B)|b2 (a/b/a/g/f/{a}g/f/) \

(~e2f"*"g2) (G>A)|(B2 b>a) {a}(g>e)|(dB3) (G>A)|\

L:1/16\

(Bdgb) ("*"d'>b) (g/e/d/B/G/E/ D/E/C/A,/) "tr"D4{^CD}|\

L:1/8\

G, A, B, D "riten."G A B d g a b d' g'|"rall"a' "*"b'|]

"alt. last 2 bars:"

G, A, B, D G A B d e d g b d'&|"pizz."b g|]

                       

GROVES OF DROMORE, THE (Tor-Coillte Druim-Moir). Irish, Air (3/4 time, "tenderly"). G Mixolydian. Standard tuning. AB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 358, pg. 62.

X:1

T:Groves of Dromore, The

M:3/4

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 358

Z:AK/Fiddler’s Companion

K:G

d>c | B2d2 cA | G2 AG FD/E/ | F2G2 GA | B2c2 de | =f2d2B2 | c4 dc |

B2d2 cA | G2 AG FD/E/ | F2G2 GA | B2d2 (3cAG | A2G2G2 | G4 ||

GA | B2c2 de | =f2 gf ec | d3 cBG | B2c2 de | =f3 dcB | c4 dc | B2d2 cA |

G2 AG FD/E/ | F2G2 GA | B2d2 (3cAG | A2G2G2 | G4 ||

           

GROVES OF ERIN.  AKA and see “Green Groves of Erin [1].”

           

GROVES OF GNEEVEGUILLIA, THE (Garráin Ghníomh go Leith). AKA and see “Maol Mountain,” “The Queen’s Polka,” “Tom Barret’s,” “The Top of Maol,” “The Top of the Maol.” Irish, Polka (2/4 time). A Dorian. Standard tuning. AABB (Breathnach): AA'BB' (Taylor). Gneeveguillia (pronounced ‘Ginny-gulla’ with a hard ‘g’) is a town name in the Sliabh Luachra (‘Schleeve Loo-cra’) region of southern Ireland. Breathnach prints another setting in CRÉ II (1976), No. 119. Source for notated version: accordion player Denis Doody (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 63, pg. 33. Taylor (Where’s the Crack?), 1989; pg. 30. Mulligan Records LUN 019, Deis Doody ‑ "Denis Doody Kerry Music" (1978).

                       


GROVES OF MT. TALBOT, THE. AKA and see "Donegal Boys," “Glenloe,” "I Wish I Never Saw You," "Magic Slipper [1]," "Maud(e) Millar [2],” “The Montua,” “Morrison’s (Reel) [2],” “Mrs. Smullen’s,” "My Love is Fair and Handsome [1]," "Paddy McFadden's [1]." Irish, Reel. The tune appears in O’Neill’s Waifs and Strays of Gaelic Melody, collected from a John Kelly of San Francisco. It is also related to “Julia Delaney [1].” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 324.

                       

GROVES OF SWEET MYRTLE. AKA and see "The Humors of Glynn [3]."

                       

GROWLING OLD MAN AND (GRUMBLING OLD) WOMAN, THE. AKA‑ "The Old Man and the Old Woman," "Growling Old Man and Cackling/Growling Old Woman," “La Marmotteuse.” AKA and see “La Chicaneuse,” “The Disputant,” “(La) Disputeuse.” French Canadian (originally), New England; Reel. A Dorian ('A' part) & A Mixolydian ('B' part): A Mixolydian (Phillips). Standard tuning. AB (Silberberg): AABB (most versions): AA’BB’ (Perlman). A Québec reel popularized by Maritime radio and TV fiddler Don Messer. It was taken up by “revival” fiddlers in the early 1970’s and became a staple of New England contra dance repertoire, and has since become widely disseminated. See also the related “Highlander’s Farewell [4],” from the playing of Virginia fiddler Emmett Lundy. Sources for notated versions: Kenny Baker [Phillips]; Donna Hebert (Amherst, Mass.) [Fiddler Magazine]; Edward P. Arsenault (b. 1917, Chrysostom, East Prince County, Prince Edward Island) [Perlman]; Steve Trampe [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 128. Carlin (Master Collection), 1984; No. 75, pg. 51. Fiddler Magazine, vol. 3, No. 1, Spring 1966; pg. 8. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 17. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 148. Perlman, 1996; pg. 87 (appears as “La Marmotteuse”). Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 107. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 57. Spandaro (10 Cents a Dance), 1980; pg. 33. Welling (Welling’s Hartford Tunebook), 1976; pg. 8. Adelphi AD2004, Delaware Water Gap‑ "String Band Music." Bee Balm 302, “The Corndrinkers.” Biograph 6008, Ebenezer ‑ "Fox Hollow String Band Festival." CHCDC045, Donna Hebert - "Chanterelle, French in America." County 725, The Riendeau Family‑ "Old‑Time Fiddling." Fretless 200A, Yankee Ingenuity‑ "Kitchen Junket" (1977). Heritage XXXIII, The Correct Tone String Band ‑ "Visits" (1981). Philo 2000, "Louis Beaudoin" (1973, as “Growling Old Man and the Cackling Old Woman,” heard on a Don Messer radio show in the 1950’s). Rounder 7008, "Jerry Holland" (appears as "The Old Man and the Old Woman"). Smithsonian Folkways Records SFW 40116, “Mademoiselle, voulez-vous danser?” (1999. Ron West. Various artists).

X:1

T:Growling Old Man, Grumbling Old Woman

M:C|

L:1/8

R:Reel

K:Amix

CA,EA, CA,EA,|B,G,DG, B,G,G,B,|CA,EA, CA,EA,|B,A,G,B, A,2A,B,|

CA,EA, CA,A,C|B,G,DG, B,A,G,B,|CA,EA, CA,A,C|1 B,A,G,B, A,2A,B,:|2 B,A,G,B, A,2||

|:^cd|efed ^cdef|gedc BGGB|efed ^cAcd|eaa^g a2ef|

gfed ^cdef|gedc BGGB|c2 (3BcB AGED|GEDB, A,2:|

                       

GROWLING OLD MAN, FUSSING OLD WOMAN. Old-Time, Jig. A rare American old-time jig from the northern Kentucky/southern Ohio region. Rounder CD0380, Roger Cooper (Lewis County, Ky.) - “Going Back to Old Kentucky” (1996).

                       

GROWLING OLD WOMAN. AKA and see "Get Up Old Woman and Shake Yourself," "Conor O'Sullivan's Vision," "Irish Whim," "Last Night Amid Dreams," "O'Tuomy's Drinking Song," "Captain Thornton's Delight." Irish, Jig. B Flat Major/G Minor. Standard tuning. ABB (Carlin): AABB (Kerr). Neither "Growling Old Mand and Grumbling Old Woman," nor "Growling Withered Old Woman," though conceivably may be related to latter. Carlin (Master Collection), 1984; No. 232, pg. 135. Kerr (Merry Melodies), vol. 2; No. 275, pg. 30.

X:1

T:Growling Old Woman

M:6/8

L:1/8

R:Jig
S:Kerr – Merry Melodies, vol. 2, No. 275  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Bb

F|Bcd dcd|B3 G2B|ABc cAc|A3 F2A|Bcd cdc|dfb bab|gfe dcd|B3 G2:|

|:f|fgf dBd|f3 B2f|fgf edc|B3 G2f|fgf edc|Bdf bab|gfe dcd|B3 G2:|

                       

GROWLING WITHERED OLD WOMAN, THE. AKA and see "The Withered Growling Old Woman."

                       

GRUB SPRINGS [1]. Old‑Time, Breakdown. A Major. AEae tuning. AB (Silberberg): AABB (Phillips). This is perhaps the Alabama fiddler Charlie Stripling’s version, from a 1952 AFS recording made by Ray Browne. Stripling played the tune in standard tuning (Kerry Blech says it “sort of vacillates between the A tonal center and the D tonal center”). Sources for notated versions: Alan Block (New Hampshire) [Phillips]; Stephanie Prausnitz [Silberberg]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 107. Rankin, 1985; Notes to "Great Big Yam Potatoes" Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 57. Anglo American Fiddle Music from Mississippi." County 2730, Rafe Stefanini – “Glory on the Big String.” Library of Congress LP L-2. Living Folk LFR‑104, Alan Block ‑ "Alive and Well and Fiddling." Rounder CD1518, Various Performers – “American Fiddle Tunes” (1971).

X:1

T:Grub Springs

M:C|

L:1/8

N:AEae tuning

N:notated as fingered, not as sounded

Z:AK/Fiddler’s Companion

K:A

(3D/E/F/|[GA]>[GA] B>(B c2) B>B|c>B A>(E D2 (3D/E/F/|[GA]>[GA] B>(B c2) B>B|

c>B A>(E D2) (3D/E/F/|[GA]>[GA] B>(B c2) B>B|c>B A>(E D2) (3D/E/F/|[G/A/]F/G/E/ DB,/B,/ C(E [GD])||

|:c|e>(f ec df/(g/ a)f|e>f ec df/g/ af|e>f ec df/g/ af|[D2A2] [DB]>B c/B/c/B/ A:|

 


GRUB SPRINGS [2]. Old-Time, Breakdown. USA, Mississippi. A Major. AEae (although Jody Stecher insists it is ADae) tuning. AABB. A variant of version #1. The version is from Mississipe fiddler W. Ernest Claunch, recorded by Herbert Halpert on a field trip for the Library on Congress in  1939. Songer (Portland Collection), 1997; pg. 91. Bay 209, "The Gypsy Gyppo String Band" (1977. The source is given as W.E. Claunch, erroneously listed as a 'Kentucky' fiddler). Mississippi Department of Archives and History AH‑002, W.E. Claunch ‑ "Great Big Yam Potatoes: Anglo American Fiddle Music from Mississippi" (1985).

 

GRUB SPRINGS [3]. Old‑Time, Breakdown. USA, Mississippi. A Major. Standard tuning. AABB. Recorded by Burnsville, Mississippi, fiddler John Hatcher for the Library of Congress in 1939 (AFS 3000 A4) on a field trip by Herbert Halpert. It is a different tune than versions #1 & #2 i.e. bears little or no resemblance either the Ernest Clauch (that usually goes by that name) or the Charlie Stripling tune under that name recorded for the Library of Congress. Source for notated version: John Hatcher (Mississippi) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 107. Rounder 18964-1518-2, Various Artists (John Hatcher) – “American Fiddle Tunes” (a reissue of the 1971 Library of Congress LP of field recordings).

           

GRUFFYDD AB ADDA DAFYDD’S STRAIN (Cainc Ruffydd Ab Adda Ap Dafydd). Welsh, Air. From the Robert Ap Huw manuscript (a manuscript of bardic music of Wales from the Renaissance and Middle Ages, now housed in the British Museum), deciphered by Arnold Dolmetsch. Ap Huw was a harpist who lived in the time of Elizabeth I and James IV, and Gruffydd ab Adda ap Dafydd was a mediaeval Welsh poet. Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy Ngwlad/The Sweet Harp of My Land” (1996).

           

GRUMBLING RUSTIC, THE (Bodac An Dranntain). AKA and see "Gille na Drobhair" (Gillan the Drover), "O My Dear Judy," "You Never Did Hear." Irish, Double Jig or March. D Major. Standard tuning. AABB'. Bayard (1981) states that the basic tune (related also to "Bully For You" and "Domhnall na Greine" {Daniel of the Sun}) was known from the end of the 18th century and published in various early 19th century sources. O’Neill found an elaborate four-part version in McGoun’s Repository of Scots and Irish Airs (c. 1800) under the title “Gillan na Drover.” An untitled jig (No. 16) in Breathnach’s Ceol Rinnce na hÉireann II (1976) has a similar ‘A’ part. Source for notated version: Joe Cant, an “affable Highlander” [O’Neill]. O'Neill (Krassen), 1976; pg. 26. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 809, pg. 151. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 80, pg. 29.

X:1

T:Grumbling Rustic, The

M:6/8

L:1/8

R:Jig or March

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 80

Z:AK/Fiddler’s Companion

K:D

A|DED AFA|dcd AFD|AGF F2E|AGF F2E|DED AFA|dcd AFD|AFE E2B|AFE E2:|

|:A|DED d2d|edc d2B|AGF F2E|AGF F2E|1 DED d2d|edc d2B|AFE E2B|AFE E2:|2

edc dcB|cBA Bcd|AFE E2B|AFE E2||

 

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