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]

 

 

 

READ HOUSE RANT.  See “Reed House.”

 

READING MADE EASY, THE. AKA and see “Billy McCormick(‘s Jig),” “New Lesson.” Irish, Air (6/8 time). D Mixolydian. Standard tuning. AB. The melody is a variant of "A Spailpin a Ruin," itself a variant of "The Blackbird." Source for notated version: “From Father Walsh’s MS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 672, pg. 169.

X:1

T:Reading Made Easy, The

M:6/8

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 672

Z:AK/Fiddler’s Companion

K:D

A/>G/ | Ad=c (BA).B | =cAF GFG | AFD EDE | D3 D2 A/G/ | Add/c/ B2d |

=cAF G2B | AFD EDE | D3 D2 || A/G/ | Add/e/ fef | gfe/d/ cAG |

Adf ed{f}e | d2e f2 A/G/ | Ad=c BAB | =cAF GFG | AFD EDE | D3 D2 ||

           

READY FOR THE DANCE.  Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 134, pg. 51.

 

READY PENNY, THE. Scottish, Strathspey ("Slowish"). G Mixolydian. Standard tuning. AAB (Gow): AA'B (Alburger). Composed by the great Scottish fiddler-composer Niel Gow (1727-1807). ‘Ready penny’ = money in the hand. A version appears in John Hall's (c. 1788‑1862) collection called the University MS., credited to Niel Gow. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 91, pg. 146. Carlin (Gow Collection), 1986; No. 207. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 31.

X:1
T:Ready Penny, The
B:Beauties of Gow 3 (1819)
Z:Nigel Gatherer
L:1/8
M:4/4

R:Strathspey
K:G
D<GBG c=F A2|DGBG  dGBg | =fadf cF A2|g>de>c d>cBG|
DGBG c=F A2|DGBG  dGBg | =fadf cF A2|G>EDC  B,>A,B,G,||
gdgb =fF A2|gdgb =fagd | =fadf cF A2 |g>de>c d>cBG|
gdgb =fF A2|gdgb =fagd | =fadf cF A2 |G>EDC  B,>A,B,G,|]

                       

REAL IRISH TOPPER, THE. Irish, Air (4/4 time). G Major. Standard tuning. One part.

***

Now drink away, my boys, and don't you be dry,

For handfuls of money we'll surely let fly;

'Tis many a long year in the cold grave we'll lie

Where whiskey nor beer won't be near us.

***

Source for notated version: "Sent to me...during 1884 by Mr. Francis Hogan of South Lodge, Brenormore, near Carrick‑on‑Suir, a good musician and a great entusiast in Irish music and songs" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 272, pg. 129.

X:1

T:Real Irish Topper, The

M:C

L:1/8

R:Air

N:”Spirited”
S:Joyce – Old Irish Folk Music

Z:AK/Fiddler’s Companion

K:G

D|G>ABc d3e|=f3 e>e d3c|BABc d<dcA|GAGF D2 dc|

B<BAG A2 GF|DGG>A BABc|def<d dc A>F|G4G3||

           

REAL McCOY, THE. Irish, Reel. A Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Named for a pub in Mullaghbawn, the home of a session, originally owned by a McCoy and retaining the name despite the ownership change. The name may also be familiar as the name of an American TV series in the 1960’s, but vernacular use of the term ‘Real McCoy’ started in America during prohibition, it is said, based on the reputation of the quality of McCoy’s bootleg liquor. Keegan (The Keegan Tunes), 2002; pg. 46.

                       

REAL POLKA [1]. English, Polka. England, Yorkshire. E Minor ('A' part) & C Major ('B' and 'C' parts). Standard tuning. AABBCC.  Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 97, pg. 54.

 

REAL POLKA [2]. English, Polka. England, Yorkshire. C Major ('A' part), G Major ('B' part) & F Major ('C' part). Standard tuning. AABBCC. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 98, pg. 55.

 

REAL POLKA [3]. English, Polka. England, Yorkshire. F Major ('A' part), C Major ('B' part) & D Minor ('C' part). Standard tuning. AABBCC. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 99, pg. 55.

           

REAL THING, THE (An Rud Ceart). Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: Chicago flute player and piper Ennis [O’Neill]. O'Neill (Krassen), 1976; pg. 167. O'Neill (1850), 1903/1979; No. 1570, pg. 291.

X:1

T:Real Thing, The

M:2/4

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1570)

Z:AK/Fiddler’s Companion

K:D

(d/>B/) | (3A/B/A/ F/>A/ f/>dA/>d/ | (3B/d/B/ G/>B/ g/>d/B/>d/ |

(3c/d/c/ A/>c/ g/>e/c/>e/ | d/>c/d/>f/ a/>f/d/>B/ | (3A/B/A/ F/>A/ f/>d/A/>d/ |

(3B/d/B/ G/>B/ g/>d/B/>d/ | (3c/d/c/ A/>c/ g/>e/c/>e/ | df d :: (3A/B/c/ |

df/>d/ d/>f/e/>d/ | fa/>f/ f/>dg/>B/ | A/>dc/>B/ A/>GF/>E/ |

d/>fa/>f/ g/>ec/>A/ | df/>d/ d/>fe/>d/ | fa/>f/ f/>d/g/>B/ | A/>dc/>B/ A/G/F/E/ | DD D :|

           

REALT CILL-CAINNIG. AKA and see "The Star of Kilkenny."

           

REALT NA MUMAN. AKA and see "The Star of Munster."


           

REAPER, THE (An Spealadoir). AKA and see "Cuckoo's Nest [14]," "Jacky Tar," "Come Ashore, Jolly Tar, With Your Trowsers On," "The Trowsers On."

           

REAPER OF GLANREE. Irish, Set Dance. The title (as “Reaper of Dunree”) 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). While mostly traditional in his repertoire, Goodman regularly played several novelty or ‘popular’ tunes. Bulmer & Sharpley (Music from Ireland), vol. 2, No. 82. Maggie's Music MM107, "Music in the Great Hall" (1992).

                       

REAPING_HOOK, THE. AKA and see “(An) Corrán.”

                       

REAPING THE RYE (Ag Searracd An Seagal). Irish, New England; Slip Jig. E Minor. Standard. AAB (O’Neill): AABB (McGuire & Keegan). Source for notated version: fiddler Paul Murphy, along with Josephine Keegan a member of the Ceol an Iubhair Ceili Band (Beesbrook, County Armagh) [McGuire & Keegan]. Keegan (The Keegan Tunes), 2002; pg. 102. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 96, pg. 26. O'Neill (Krassen), 1976; pg. 84. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1152, pg. 217. Tolman (Nelson Music Collection), 1969; pg. 5.

X:1

T:Reaping the Rye

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Music of Ireland (1903), No. 1152

Z:AK/Fiddler’s Companion

K:E Minor

B>cB B2A GFE | G>AG B2g f2e | B>CB B2A GFE | G2A Be^d e2 :|

|| B>cB g2g fed | B>cB g2g f2e | B>cB g2g fga | g>fe Be^d e3 |

B>cB g2g fed | B>cB gag fga | bag gfe fga | gab Be^d e3 ||

           

REATA AN CURAIG. AKA and see "The Curragh Races [1]."

           

REATA MIULLEANN-CEARR. AKA and see "The Mullingar Races [2]."

           

REATUIDE I CORCAIG, AN. AKA and see "The Rambler in Cork."

           

REAVY’S (REEL). AKA and see “The Hunter’s House.”

           

REAVY’S GRAND HORNPIPE. Irish, Hornpipe. D Major. Standard. AABB’. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 114, pg. 127.

           

REAVY’S HORNPIPE. AKA and see “Lad O’Beirne’s (Hornpipe)." Outlet 3002, Paddy Cronin‑ "Kerry's Own Paddy Cronin" (1977).

           

REBEL RAID [1]. Old-Time, Breakdown. A Major. AEae tuning. From John Scotland Hannah, who grew up in Mingo County, West Virginia. The title “Rebel Raid” was attached to several tunes at the turn of the century, says John Hartford. A “Rebel Raid” was in the repertoire of Ed Haley (northeastern Kentucky). Jim Taylor (1996) and Jeff Titon (2001) believe the title may refer to the 1864 Confederate incursions of General John Hunt Morgan and ‘Morgan’s Raiders’ into eastern Kentucky.

X:1

T:Rebel Raid [1]

M:C

L:1/8

R:Reel

N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:A

EF|”A”A2 AB cAcd|ecdB cA2B|”E”cABA GABd|”A”cAAF E2 CB,|”A”A,2 AB cAcd|

ecdB cA2B|”E”cABA GABd|”A”cA2G A2EF|A2A2 ABcA|Bc cA2c|”E”dcBA GABg|
”A”afed cA2F|E2A2 ABcA|BcdB cA2c|”E”dcBA GABd|”A”cA2G A2eg||”D”abag abag|

“A”afed cdec|”E”dcBA GABg|”A”afed cdeg|”D”abag abag|”A”afed cdec|

“E”dcBA GABd|”A”cA2G A2eg|”D”a2a2=g4|”A”efed cdec|”E”dcBA GABg|

“A”afed cdeg|”D”a2a2=g4|”A”efed cdec|”E”dcBA GABd|”A”cA2G A4||

 

REBEL(S) RAID [2]. Old-Time, Breakdown. USA, Kentucky. G Major {Titon}: D Major ('A' part) & D Major/Mixolydian ('B' part) {Phillips}. Standard tuning. AAB (Titon): AABB’ (Phillips). From Kentucky, fiddler Bill Stepp who was recorded by Alan and Elizabeth Lomax for the Library of Congress in 1937.  The sole source for this tune is Stepp, and the melody is unrelated to “Rebel Raid” [1] or to Haley’s tune. Source for notated versions: W.H. Stepp (Salyersville, Magoffin County, Ky., 1937) [Titon]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 196. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 136, pg. 162. Pearl Mae 001B, Bruce Greene & Jim Taylor – “Falls of Richmond” (1989). PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996).

 

REBEL RAID [3]. Old-Time, Breakdown. A version in the repertoire of West Virginia/easter Kentucky fiddler Ed Haley. “Ed Haley had a way of making up versions of tunes that only remotely resembled other people's although he probably played the other versions also.. being that kind of musician. He had different tunes he played in different parts of the country,” remarks John Hartford.

           

REBEL WAR SONG (Eiridh Na Finnacha' Gaelach). AKA and see "The Jacobite War Song." Scottish, March (4/4 time). D Major. Standard tuning. AABB. Hunter (1979) remarks that the tune is a "well‑known Gaelic song praising the Highland clans who joined in the rebellion." Hunter (The Fiddle Music of Scotland), 1988; No. 342.

           

REBEL'S FAREWELL, THE. Irish, Air (3/4 time). G Major. Standard tuning. One part. Source for notated version: "Patrick MacDowell...the distinguished sculptor: born in Belfast 1799: died in 1870," via Forde (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 540, pg. 289.

           

REBEL'S ROAD. See “Rebel Raid [2]."

 

REBRAND, THE. English, Reel. G Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 168, pg. 39.

           

RECEIPT FOR DRINKING. See "O'Carolan's Receipt for Drinking," "Planxty Stafford," "Dr. John Stafford." One of the most famous of O'Carolan's bacchanalian compositions.

           


RECLUSE HORNPIPE. Scottish, Hornpipe. E Flat Major. Standard tuning. AAB. The source for the tune, British fiddler Hiram Hosey, played in the J. Scott Skinner mode, according to Paul Cranford, “…lots of bow work and flourishes.” Source for notated version: Tom Doucet (Nova Scotia/eastern Mass., who learned it from a c. 1930’s Beltone 78 RPM of Scottish fiddler Hiram Hosie/Hosey) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 218. Fiddler FRLP001, Tom Doucet - “The Down East Star.” Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

           

RECOLLECTION OF THAT DAY, THE (O Chiadainn an lò). Scottish, Slow Air (3/4 time). A Minor ('A' part) & C Major ('B' part). Standard tuning. AABB. "This is an air to which Alexander Fraser of Leadclune, formerly mentioned, who flourished about a century ago, used to repeat fragments of Ossian. There are also words by a Lachlan MacLean, from the Isle of Mull" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 198, pg. 82. Martin (Taigh na Teud), 1990; pg. 8 (apppears as “O’ Chiadainn an Là”).

X:1

T:Recollection of that day, The

T:O Chiadainn an lò

M:3/4

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:C

c e>g | a2 A2 c>d | e2 zc d>e | g2G2 A>c | [G2c2] zG c>d | e2A2 G>E | [B,2D2] ze g>c |

(A2G2) [B,D]>C|C3 :: C E>G | [C4 A2] G2 A>c|[Gc] zd e>G | A2G2 A>c | [E2c2] zC E>G |

[C4A2] G2 A>c|[G2c2] zd e>g | a2 c2 d>c|c2 z :|

           

RECONCILIATION, THE ("An Reiteacad" or "An Reidteact"). AKA and see “Humphrey’s Hornpipe [2],” "Humphrey's Reel," “Olive Branch Hornpipe.” Irish, Hornpipe or Reel. A Major. Standard tuning. AABB. Francis O’Neill probably sourced this tune (as he did a few others) from Ryan’s Mammoth Collection (1883), where it appears as a hornpipe under the title “The Olive Branch” (a title that is, points out Paul de Grae, the source for O’Neill’s “Reconciliation” name). Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 38. O'Neill (Krassen), 1976; pg. 190. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1670, pg. 310. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 524, pg. 98. Songer (Portland Collection), 1997; pg. 164 (appears as “Reconciliation Reel”). BM-91, Buddy MacMaster – “Glencoe Hall.” Green Linnet Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Green Linnet Records SIF 1077, Capercaille ‑ "Crosswinds" (1987). Ruthie Dornfeld - “The American Cafe Orchestra.”

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:Reconciliation, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 524

Z:AK/Fiddler’s Companion

K:A

A2 cA eAfA|eAfA ecBc|A2 cA eAfA|ecBc AFEF|

A2 cA eAfA|eAfA ecBc|ABAF Ecdf|ecBc A2:|

|:A2 ce a2 af|efed cdBc|A2 ce a2 ag|fbba gbeg|

agae faec|dBcA BAFG|ABAF Ecdf|ecBc A2:|

X:2

T:The Reconciliation

M:4/4

L:1/8

R:Reel

S:Brian Conway

Z:AK/Fiddler’s Companion

K:A

EFG|:A2 (3cBA e(Af)(A|e)(Af)(A e)(dB)c|A2 (3cBA e(Af)(A|e)(cB)c A(FE)F|

A2 (3cBA e(Af)(A|e)(Af)(A ecBc|(3ABA FA EAcf|1 e(cB)c AFEF:|2 e(cB)c A3A||

|:[CFA] ce a3f|efde ceBc|ABce ~a3g|(fb)ba gefg|agae faec|

(3dcB ({c}B)A BAFA|(3ABA FA EAcf|1e(cB)c A3A:|2 e(cB)c A||

           

RECOVERY [1], THE. English, Reel. F Major (Raven): C Major (Howe): D Major (Callaghan). Standard tuning. One part (Raven): AABBCA (Howe): AABBCC (Callaghan). The melody appears in the music manuscript book of fiddler John Burk, dated 1821. Unfortunately, nothing is known of Burk, although he may have been from the north of England. It also appears in the John Fife music manuscripts of 1780-1804, written in Perthshire, Scotland, and at sea, and in many other fiddlers’ manuscripts: John Clare (Helpston, Northants, 1820), the Rev. Robert Harrison (Brampton, Cumbria, 1820), James Winder (Wyresdale, Lancashire, 1835), George Spencer (Leeds, west Yorkshire, 1831), a manuscript from Carlisle (Cumbria, 1810), James Haslingden (Midlands, 1827), a manuscript from Aston-on-Carrant (Gloucestershire, copy of 1770 MS)and Miss Best (unknown, c. 1850). Barry Callaghan (2007) notes that in Manuscript 36 in the Vaughn Williams Music Library of EFDSS a note with the tune suggests the recovery referred to one of George III’s. Published versions appear in Wilson’s Companion to the Ballroom (London, 1816, pg. 109). In America the melody was contained in Riley’s Flute Melodies, vol. 3 (New York, 1820-1825, pg. 19). Callaghan (Hardcore English), 2007; pg. 68. Howe (1000 Jigs and Reels), c. 1867; pg. 45. Raven (English Country Dance Tunes), 1984; pg. 147. Wilson (Companion to the Ballroom), 1816; pg. 109.

X:1

T:Recovery, The [1]

M:2/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:C Major

.G.c.B.c | (d/c/d/e/) d2 | (gf).d.B | (c/B/c/d/) c2 | .G.c.B.c | {e}(d/c/d/e/) d2 |

(gf).d.B | c2c2 :: (gf)dB | cecG | FF {G}(F/E/F/G/) | F2 (EG) | (gf)dB | (ce)cG |

FF (F/E/F/D/) | C2z2 :|

K:G

ee/e/ee | e3f | (edcB) | (c/B/c/d/) e2 | dd/d/dd | d3e | (dcB^A) | G4 ||

X:2

T:Recovery, The [1]

M:2/4

L:1/8

Z:AK/Fiddler’s Companion

K:F

cfcf | g/f/g/a/ gg | c’bge | f/e/f/g/ ff | cf cf | g/f/g/a/ gg | c’bge | fa f2 |

c’bge | fafc | BB B/A/B/c/ | B/d/c/B/ A/c/f/a/ | c’bge | fafc | =B/c/e/d/ c/_B/A/G/ | Ff F2 :|

 

RECOVERY [2], THE. AKA and see "Madam(e) Frederick." Scottish, Strathspey. D Major. Standard tuning. AB. The tune was later known as "Madam Frederick" after a celebrated stage dancer. Kerr (Merry Melodies), vol. 1; Set 17, No. 3, pg. 11.

X:1

T:Recovery, The [2]

M:C

L:1/8

R:Strathspey

B:Kerr – Merry Melodies, vol. 1, pg. 11  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

D>E F>G A>B (A<F)|D>FA>F A<d d<f|D>EF>G A>B (A<F)|E<e g/f/e/d/ c<e e<f|

D>E F>G A>B (A<F)|D>FA>F A<d d(f/g/)|a>f (d<A) B<e b>a|g>fe>d c<e e<f||

d<d f>d a>df>d|A<d f>d b/a/g/f/ e<f|d<d f>d a>df>d|B<d B/A/G/F/ E<e e<f|

d<d f>d a>df>d|A<d f>d b/a/g/f/ e<f|d<f d>A B<d A<F|A>G F>E D<d d<f||

 

RECOVERY (REEL)  [3], THE. Irish, Reel. D Major. Standard tuning. AABB. Bill Black (1996) remarks the tune commemorates a good friend’s recovery from a serious illness. Black (Music’s the Very Best Thing), 1996; No. 304, pg. 163.

X:1

T: The Recovery Reel

C: © B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

D | A,DFA dcBA | FDED ABBA | A,DFA dcBd | fafe d3 D |

A,DFA dcBA | FDED ABBA | Addc defd | ABFE D3 :|

A | BddB ABde | fBde faba | faab afed | Adfe d4 |

fd (3dcd ad (3dcd | abag fedB | Addc defg | afef d3 :|

 

RECOVERY [4], THE. Scottish, Strathspey. A Major. Standard tuning. AB. The melody appears in Malcolm MacDonald’s 2nd Collection, dedicated to the Earl of Breadalbane. It is however, probably a composition by William Marshall, to whom MacDonald gave no credit. MacDonald (A Second Collection of Stathspey Reels), 1789; pg. 3.

X:1

T:Recovery, The [4]

M:C

L:1/8

N:”Slow”

R:Strathspey

S:MacDonald – 2nd Collection of Strathspey Reels (1789)

Z:AK/Fiddler’s Companion

K:A

c | “tr”A,>B,”tr”C>D E>FEC | “tr”A>CE>C EAAc | “tr”A,>B,”tr”C>D “tr”E>FEC | B,c (d/c/B/A/) G<BBc |

“tr”A,>B,”tr”C>D EFEC | A,>CEC E<A Ac/d/ | ecAE Fd”tr”f>e | ~d>cBA GBB || c | A<A c>A e>Ac>A |

E>AcA (f/e/d/c/) Bc | A<A c>A e<A c>A | “tr”f>A (F/E/D/C/) A,BBc | A<A c>A e>AcA |

E>AcA (f/e/d/c/) Bc | A>cAE F>AFD | {F}E>D {D}CB, A,AA ||

                       

RECREATION REEL. American, Reel. G Major. Standard tuning. AABB. Composition attributed to one Frank Livingston in Ryan’s Mammoth Collection (1883). Cole (1000 Fiddle Tunes), 1940; pg. 43. Ryan’s Mammoth Collection, 1883; pg. 70.

X:1

T:Recreation Reel

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

{D/4E/4F/4}G>F G/A/B/c/ | d/g/b/a/ g/d/B/A/ | {D/4E/4F/4}G>F G/A/B/G/ | A/d/B/G/ A/G/E/D/ |

{D/4E/4F/4}G>F G/A/B/c/ | d/g/b/a/ g/d/B/G/ | {d/4e/4g/4}g/f/e/d/ c/B/A/G/ | F/e/d/F/ G2 :|

|: {g/4a/4}b/a/g/f/ (g/d/)z/d/ | e/g/f/e/ (d/B/)z/z/ | {g/4a/4}b/a/g/f/ (g/d/)z/d/ | e/g/f/a/ g2 |

{g/4a/4}b/a/g/f/ (g/d/)z/d/ | e/g/f/e/ (d/B/)z/z/ | {D/4E/4F/4}G/F/G/A/ B/d/g/d/ | e/g/f/a/ g2 :|

           

RECRUIT, THE. AKA and see "New Hornpipe," "Grant's Rant." Scottish, Hornpipe. D Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 1; No. 7, pg. 42.

X:1

T:Recruit, The

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 1, pg. 42  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

(F>G)|A3B A>FD>F|A>Fd>B A>FD>F|G>BG>E F>AF>D|E2 (3EEE E2 (A>G)|

F>DF>A c2 (e>f)|e>dc>B A2 (e>d)|c>ec>A B>dB>^G|A2 (3AAA A2:|

(c>d)|e3f e>cA>c|e>ca>f e>cA>c|d>fd>B c>ec>A|B2 (3BBB B2 (3ABc|

d3B A>FD>F|G>AB>c d2 (c>B)|A2 (G>F) E>GF>E|D2 (3ddd d2||

           

RECRUITING OFFICER, THE. AKA – “Miss Williamson of Oldfield’s Jigg.” English, Jig. D Major. Standard tuning. AABB. The Recruiting Officer (1706) is the name of a famous comedy by George Farquhar (1678-1708), popular throughout the 18th century and still occasionally staged today. The air “The Recruiting Officer” was employed in ballad operas, such as Henry Potter’s The Decoy (1733). The melody was published by John Young in his 1st edition of the second volume of  the Dancing Master (London, 1713), and again in Dancing Master editions of 1714, 1718 and the last (18th), in 1728. The Walshes, London publishers, also included it in several of their publications, including The Second Book of the Compleat Country Dancing Master (1719, and later editions of 1735 and 1749), and The New Country Dancing Master, 2nd Book (London, 1710), where it (perhaps the country dance only) is attributed to dancing master Nathaniel Kynaston (1683-1757). Although very little is known about him, Kynaston appears to have been active from 1705 to about 1722 in the Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and dances over several publications. The Selattyn parish register in Shropshire records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry” married on August 25th, 1719—although whether this was the dancing master is unknown. Kynaston appears to have been a not uncommon name in Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th century highwayman and Robin Hood figure, who preyed on the wool merchants of Shrewsbury. It also appears in the 1772 music copybook of Joseph Maria Garcia (Chalco, Mexico), which contains some 300 melodies, 76 of which have accompanying country dances. .

***

The Recruiting Officer. William Smith as Plume at Drury Lane, 1776.

***

The melody appears in several 18th and 19th century musicians’ manuscript collections including William Vickers (Northumberland, 1770), Rev. Robert Harrison (Brampton, Cumbria, 1820), Thomas Hammersley (London, 1790), Joshua Jackson (Harrogate, north Yorkshire, 1798), Thomas Watts (Peak Forest, Derbyshire, late 19th c.), and James Biggins (Leeds, west Yorkshire, 1779). Aird (Selection of Scotch, English, Irish and Foreign Airs, vol. 1), 1782; pg. 12. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 107.

X:1

T:Recruiting Officer, The

M:6/8

L:1/8

R:Jig

S:Willaim Vickers’ music manuscript book (Northumberland, 1770)

Z:AK/Fiddler’s Companion

K:D

A|def edc|d3 AGF|GAB AGF|E3 E3|def edc|                                                                                                                                                               

BgB AGF|GAB Adc|d3 D2::g|fed agf|g3 a3|

Bcd efd|c3A3|agf edc|dcB AGF|GAB Adc|d3 D2:|

           

RED ADMIRAL BUTTERFLY, THE. Irish, Slip Jig. RCA 5798-2-RC, "James Galway and the Chieftains in Ireland" (1986).

 

RED AND ALL RED.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody was originally published by Charles and Samuel Thompson in Thompson’s Compleat Collection of 200 Favourite Country Dances (London, 1757). The ‘A’ part has the usual eight bars, although the ‘B’ part has fourteen. The title may refer to short-horned cattle, whose solid coloer, “red and all red,” was deemed the most desirable as it signified purebred animals. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 108. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 41.

X:1

T:Red and all Red

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

GA|BABd|G2 GA|BABc|{B}A2 AA|BBdd|fed ^c|d2 dd|d2::BB|cBcd|e2 dc|

cBAG|d2 ef|gfed|cBAG|d2 de|c2 cd|B2 Bc|A2 df|gedc|B2 cA|G2 GG|G2:||

           

RED APPLE JUICE.  AKA and see “Red Rocking Chair.”

 


RED APPLE RAG [1]. Old‑Time, Country Rag. USA; Nebraska, Kentucky. G Major. Standard tuning. AB (Christeson): AABB (Phillips): AA'BB' (Devil's Box). Popularized by Tennessee fiddle legend Arthur Smith; sometimes the composition is credited to him. Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Arthur Smith (Tennessee) [The Devil's Box, Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 134. The Devil's Box, vol. II, No. 4; pg. 70. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 110. County 546‑547, "Fiddling Arthur Smith and His Dixieliners" (1978). County CD2712, Art Stamper (Ky.) - "The Lost Fiddler" (c. 1982).

X:1

T:Red Apple Rag

M:2/4

L:1/16

Q:122

S:from Cyril Stinnett

R:Reel

A:Missouri

N:Cyril stated that he learned this from hearing it played by Arthur

N:Smith on the Grand Old Opry over the radio in the 30's.  Apparently it

N:is an original composition by Arthur Smith.

D:as recorded by Cyril Stinnett on his album "Cyril Stinnett Plays His

D:Favorite Old Time Tunes.

Z:B. Shull, trans.; R. P. LaVaque, ABCs

K:G

DC|(B,C)D(F GF)GA|BdBA GBA(G|EF)G(A cB)c2|(ede)(c c)BcA|!

(d^cd)(e fe)d(e|fa)f(e e)de(f|gb)ge d(BA)F|G6:|!

B(c|d2)e(f gf)g2|(bab)(g g)a(ge)|cde(f gf)g(e|ag)e(c c)B(cA)|!

(d^cd)(e fe)d(e|fa)fe d2e(f|gbge d(BA)F|G6:|!

 

RED APPLE RAG [2]. Old‑Time, Country Rag. C Major (‘A’ part) & G Major (‘B’ part). Standard tuning. AB. Source for notated version: Greg Canote (Seattle) [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 126.

           

RED BEE, THE. Irish, Reel. B Minor. Standard tuning. AABBCC. Composed by Joe Liddy.

X:1

T:The Red Bee

C:Joe Liddy

S:Mary Crowley

R:reel

M:4/4

L:1/8

K:Bm

de|f2 BA BAFA|d2 cA BF (3GFE|FB (3cBA Bcde|fded cAde|

fB (3BBB cBAF|EFAB cBce|fafe cBAF|EFAc B2:|:cA|

B2 cB fBcB|afge fecA|B2 cB fBcB|AFEF ABcA|

B2 cB fBcB|afge fece|fafe cBAF|EFAc B2:|:Bc|

d2 fd adbf|afef edBc|defd edfe|dBAF E2 FA|

d2 fd adbf|afef edBA|fB (3cBA FEFA|BdcA B2:

           

RED BIRD [1]. Old‑Time, Breakdown. USA; Oklahoma. A Major {Thede}: A Major (sections 'A', 'B' and 'D') and D Major ('C') {Phillips}. Standard tuning. AABBCCDD. The tune attempts to imitate the call of a bird in one of the sections, and features pizzicato or plucked notes. Guthrie Meade notes the tune is very similar to Uncle Jimmy Thompson's "Billy Wilson [2]," recorded for Columbia in 1926. It is related in some parts to "Red Bird Reel." Sources for notated versions: Jubal Anderson (Pottawatomie County, Oklahoma) [Thede]; Byron Berline [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 197. Thede (The Fiddle Book), 1967; pg. 152.

 

RED BIRD [2]. Old-Time, Breakdown. USA, West Virginia. A Major. Standard tuning. ABC (Silberberg): AABBCC (Phillips). No apparent real relation to version #1. Sources for notated versions: Clark Kessinger 1896-1975 (Kanawha County, West Virginia) [Phillips]; Glenn Berry [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 197. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 125. County 733, "The Legend of Clark Kessinger."

 

REDBIRD [3].  See “Old Joe Redbird.”

           

REDBIRD HORNPIPE. American, Hornpipe. A Major. Standard tuning. AAB. Source for notated version: Joey McKenzie [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 219.

           

RED BIRD REEL. Old‑Time, Breakdown. USA; Iowa, Nebraska. A Major. Standard tuning. AABB. Probably a version of the West VirginiaRed Bird [1]” recorded by Clark Kessinger, related to “Karo” and “Bull at the Wagon.” Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 20, pg. 16.

           

RED BLANKET, THE. AKA and see "The Ewe Reel," "The Ew(i)e Wi' the Crooked Horn [1]," "The Ram with the Crooked Horn," "Bob with the One Horn [2]," “Green Blanket,” "Miss Huntley's," "My Love is Far Away," "The Lowlands of Scotland," "Peter Street [2]," "The Kerry Lasses [1]," "The Merry Lasses," "Go and See the Fun," "The Pretty Girl in Danger," "Sweet Roslea and the Sky Over It," "The Foe."  Irish, Reel.

           

RED BOX, THE. Irish, Reel. G Major. Standard tuning. AABB. Composed by guitarist Arty McGlynn. Green Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990).

X:1

T:Red Box Reel

R:Reel

D:Milltown Malbay Concertina Recital

Z:Adrian Scahill

M:4/4

L:1/8

K:G

afge fddB|cABG ADD2|FD (3EFG A3B|cBAB cd (3efg|\

afge fddB|cABG ADD2|FD (3EFG A3B|cAGd ADD2:||\

~c3e gcec|~d3f adfd|~g2ba ~f2af|eafd e^cAB|\

~c3e gcec|~d3f adfd|~g2ba fedB|AFGE D3d:||\

           


RED BRICK HOUSE IN GEORGIA TOWN, THE. American, Breakdown. A Dorian. Standard tuning. AB. "The five forgoing tunes (previous tunes untitled except for 'Swallow Tail'), Nos. 44‑48, have been placed together because they are cognates‑‑descendants (so far as we can make out from the internal evidence of their melodic lines, phrasal structure and formulae) of some single original melody. Numerous other versions and variants belonging to this tune‑family have been recorded from singers or players in the British‑American tradition, and some of them are referred to below. Beside the five versions grouped together here, the present collection contains another member of this widespread family: No. 89 (Bonaparte Crossing the Alps), under which further data will be found. All six tunes are inextricable one from another in our tradition; and comparison of each one with the others, and with other identifiable published versions, simply adds to the tale of overlapping resemblances, and heightens the certainty that they all derive from some common original. That the parent tune must have originated at some fairly remote period is indicated by the number and diversity of the extant versions and variants, and by the fact that they form part of the folk music tradition everywhere in the British Isles. Another witness of antiquity and wide use is the variety of functions fulfilled by the different sets: the versions have figured as tunes for jigs and reels, ballads and songs, children's game ditties, work‑songs and marches. It is evident that the tune has long been split up into a number of distinct versions, with their variants, and that some of the versions have been specialized along certain functional lines, as e.g., those of dances or marches. The majority of old‑country versions seem to have been recorded from Irish or Scottish tradition, and the air has assumed a particular importance and undergone especially elaborate development among Irish folk musicians. This suggests that it is actually of Gaelic origin, and the structure, intervals, and function of a considerable number of sets imply‑‑without proving‑‑that it may have originated as a march for the bagpipes (see 'Bonaparte Crossing the Alps'). About the time or place of its composition, of course, speculation is useless. The fine old march No. 44 is in the purest Irish style. It should be compared especially with No. 89 and the versions cited thereunder, and with Joyce 1909, No. 816 (first part). No. 45 ('Swallow Tail') is a set of a well‑known jig which generally goes under this name, and is the first variant to be discovered in Pennsylvania. A Prince Edward's Island version is in Bayard Coll., No. 376. No. 46 is a widely‑known Irish jig and march usually called 'The Three Little Drummers'; it also has not been found hitherto in Pennsylvania. No. 47 goes by a variety of names, one being 'The Hill Side', under which title a certain variant sometimes appears in the commercial fiddle‑tune collections. 'The Red Brick House in Georgia Town' is a fairly close form of No. 47, worked over into 4/4 time. Pennsylvania tunes related to 47 and 48 are in Bayard Coll., Nos. 130, 200, 319; and a set ultimately from County Cork, No. 364. Despite close interrelation, the versions of these tunes may be listed more or less along the lines of divergence indicated by the versions in this collection...Sets belonging more to the 'Hillside' group (No. 47 and 48) include Journal of American Folk Lore, XXXI, 163m to 'The Heights of Alma'; Kidson, 'Traditional Tunes', p. 98; H.C. Buck, ed. The Oxford History of Music, Introductory Volume, p. 195, 'The Drunken Sailor'; Thomas D'Urfy, Songs Compleat (1719), II, 83, and VI, 300; Amy Murray, 'Father Allan's Island', pp. 172, 173; Joyce 1872, No. 19; Joyce (Old Irish Folk Music and Songs), 1909, Nos. 73, 155, 193, 241; Petrie, Nos. 318, 319, 1500; O'Neill's Irish Music, Nos. 311, 331; White's Excelsior Collection, p. 15, 'Kennedy's Jig'; Jigs and Reels, p. 4; Harding's Orig. Coll., Nos. 81, 135; O'Neill (Music of Ireland), No. 1598; White's Unique Collection, Nos. 8, 10; Harding's All‑Round Collection, Nos. 124, 125 (1st part); Robbins, No. 74; Kerr, Nos. 265, 294, 301, 331; Cole, pg. 52 'Joe Kennedy's Jig', p. 54, 'Katy is Waiting', p. 58, 'Lark in the Morning', p. 62, 'Sunday is My Wedding Day', p. 62, 'Hills of Glenurchie'; JEFDSS, I, 143, 'Donald the Dancer'; Costello, 'Amhrain Mhuighe Seola', p. 60, 'ffrench of Tyrone'; Ord, Bothy Songs and Ballads, pp. 39, 52; Scanlon, p. 40, 'The Waves of Tory', p. 68, 'The Tenpenny'. All the sets referred to above should be compared with those to which reference is made under 'Bonaparte Crossing the Alps'" (Bayard, 1944). Source for notated version: Mrs. Sarah Armstrong, (near) Derry, Pennsylvania, November 18, 1943 [Bayard]. Bayard (Dance to the Fiddle), 1944; No. 48.

           

RED BRIDGE, THE. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB’. Composed 1939 by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 61.

           

RED BUCK.  Old-Time, Breakdown. USA, West Virginia. Gerry Milnes says the name derives from an old ballad called variously “Vance’s Confession,” “Vance No More,” and “The Death of Abner Vance.” The first verse goes:
***

Green are the woods where Sandy flows,

And Peace it dwelleth there;

In the valley the bear they lie secure,

The red buck roves the knobs.

***

Abner Vance was a West Virginia preacher near the Sandy River on the Kentucky/West Virginia border.  He had a daughter and discovered that she had been molested by a man. Catching up with the perpetrator Vance killed him as he attempted to escape. Vance was tried and hanged for the crime, despite considerable public sentiment that his sentence be mitigated. Shanachie Records 6040, Gerry Milnes & Lorriane Lee Hammond – “Hell Up Coal Holler” (1999. Learned from Pocahontas County, West Virginia, fiddler Burl Hammons).

           

RED BULL [1], THE. English, Air (6/8 time). F Major. Standard tuning. AB. The tune is named after the Red Bull Playhouse, which formerly stood in St. John Street, Churchwell. Chappell informs it was popular in the reigns of James I and Charles I, and perhaps before. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 71‑72.

X:1

T:Red Bull, The [1]

L:1/8

M:6/8

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

Z:AK/Fiddler’s Companion

K:F
F|F2F G2A|FEF E3|D3 C2F|F2E F2F|F2F G2A|FEF E3|D3 =C2F|F2E F3||

A2=B cdc|def edc|d3 A=Bc|c2=B c2G|E2F G>AG|c>_BA B3|A3 G2F|F2E F2||

 

RED BULL [2], THE. New England, Reel. G Major. Standard tuning. AABB'. Composed by Randy Miller. Miller & Perron  (Irish Traditional Fiddle Music), 1977; Vol. 3, No. 47.

           

RED COAT, THE. Scottish, Strathspey. A Mixolydian. Standard tuning. AABB. Pipe tune. MacDonald (The Skye Collection), 1887; pg. 48.

X:1

T:Red Coat, The

M:C

L:1/8

S:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

g|B<AB<d e>deg|GGBA G>GGd|B>A B<d e>de>a|g<e g>B A>A A:|

|:g|a>da>g e>de>g|G<G B>A G>GGg|a>da>g e>d e<a|g<e g>B A>AAg|

a>da>g e>d e<g|G<G B>A G>GGd|B<AB<d e>d e<a|g<e g>B A>A A:|

           

RED CROSS. American, Hornpipe. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 107. Ryan’s Mammoth Collection, 1883; pg. 143.

X:1

T:Red Cross

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A | e/>f/e/>d/ c/>A/B/>c/ | d/>A/f/>A/ d/>A/f/>A/ | e/>f/e/>d/ c/>A/B/>c/ | .d.f .a.A |

e/>f/e/>d/ c/>A/B/>c/ | d/>A/f/>A/ d/>A/f/>A/ | e/>f/e/>d/ c/>A/B/>c/ | dfd :|

|: A | A/>B/c/>d/ e/>f/g/>e/ | f/>f/f/>f/ f/>f/e/>d/ | c/>c/c/>c/ c/>A/B/>c/ | .dd/>f/ .a.A |

A/>B/c/>d/ e/>f/g/>e/ | f/>f/f/>f/ f/>f/e/>d/ | c/>c/c/>c/ c/>A/B/>c/ | dfd :|

           

RED CROW, THE. Irish, Reel. A Dorian. Standard tuning. A modern composition by fiddler Mairéad Ní Mhaonaigh of the group Altan. Caoimhin Mac Aoidh explains the there is a blackbird found in Ireland, slightly smaller than a crow, whose distinguishing feature is its red legs; thus known as the ‘red crow.’ He states it can be found in cliff face rooks in the mountainous areas of County Donegal in northern Ireland. Paul de Grae says: “That’s the chough, a member of the crow family. It’s found in the rugged, mainly coastal areas all the way up the western seaboard from Cork to Donegal.” Green Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990).

X:1

T:The Red Crow

M:C|

L:1/8

K:ADor

A,2EA, B,G,G,B, A,2EG FDEG | AGED EA,A,D ECDC B,G,G,B, |

A,2EA, B,G,G,B, A,2EG FDEG |1 AGED EA,A,C DB,G,B, A,2(3G,A,B, :|

|2 AGED EA,A,C DB,G,B, A,2 (3AAA [|

A2eA ceAc eAce dcBA | G2dc BdGB dGBd edcB |

A2eA ceAc eAcb ageg | age^c d=fed =cABG A2AG |

A2eA ceAc eAce dcBA | G2dc BdGB dGBd edcB |

A2aA gAfA (3AAA cA BAGB | cABG AGED ECDB, CA,B,G, ||

           

RED EAR QUADRILLE. American, Quadrille. Edison 51354 (78 RPM), 1923, John Baltzell (appears as last tune of "Buckeye Quadrille Medley") {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan Emmett (d. 1904), the composer of "Dixie." Emmett returned to the town in 1888, poor, and later taught Baltzell to play the fiddle}.

                       

RED FERRET’S FANCY, THE. Scottish, Reel. A Major. Standard tuning. AABB’. Composed by Louise MacKenzie. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 21.

                       

RED FOX [1]. Old‑Time, Breakdown. USA, Va. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. Source for notated verison: Henry Reed (Glen Lyn, Va.) [Krassen]. Krassen (Appalachian Fiddle), 1973; pg. 56. Rounder 0024, “The Hollow Rock String Band” (1974. Learned from Henry Reed).

 

RED FOX [2], THE. English, Reel. A Dorian. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 193.

 

RED FOX [3], THE (An Sionnac Ruad). AKA and see "Let Erin Remember the Days of Old." Irish, Air (4/4 time, "with spirit"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 390, pg. 68.

X:1

T:Red Fox, The [3]

M:C

L:1/8

R:Air
N:”With spirit”
S:O’Neill – Music of Ireland (1903), No. 390

Z:AK/Fiddler’s Companion

K:G

D2|G2 G>A B2 B>c|d2d2 c2 B>c|d3 e B2G2|A3F GFED|G2 G>A B2 Bc|d<d d2 c2 Bc|

d2 de B2G2|A4 G2||Bd|g2g2 f2 ed|e2 dB d2 BA|G2 G>A BAGB|A4 G2 Bd|g2g2 f2 ed|

e2 dB d2 BA|G2 ge dBGB|A4 G2||

                       

RED FOX WALTZ. Old‑Time, Waltz. USA, Missouri. D Major. Standard tuning. AB. According to Vivian Williams during the 1960's the tune became popular for a time at the Weiser, Idaho, national fiddle contest, played and popularized by fiddlers originally from Missouri where it is a frequently heard waltz. Taylor McBain (Columbia, Missouri) has been singled out for having one of the finest renditions of the tune. Sources for notated versions: Lonnie Robertson (Ozark County, Missouri) [Christeson]; Vivian Williams (Seattle, Washington) [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 145. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 299. The Mandolin Players Pastime. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 126. American Heritage Music Corporation AH-4-1-4, Harold Allen – “Fiddling Around” (on the album Allen is credited with composing the tune).  Missouri State Old Time Fiddlers' Association, Cyril Stinnett (1912-1986, Mo.) - "Plain Old Time Fiddling." Voyager 323, Vivian Williams - “Fiddler.”

                       


RED HAIRED BOY, THE (An Giolla Ruad). AKA and see "The Duck Chewed/Chews Tobacco," “The First of May [3]," "Gilderoy [2]" (Ire.), "Giolla Rua" (Ire.), "Johnny Dhu," "The Little Beggarman" (Ire.), "The Little Beggar Boy," "An Maidrin Rua(dh)" (The Little Red Fox),” "The Old Soldier (with a Wooden Leg) [2]" (W.Va.), "Old Soldier," "The Red Haired Lad," "The Red Headed/Haired Irishman" (Ky.), "Wooden Leg" (W.Va.). Irish (originally), Scottish, English; Air or Hornpipe: American, Canadian; Reel or  Breakdown. A Mixolydian. Standard. AABB (most versions): AA’BB’ (Moylan). 'Red Haired Boy' is the English translation of the Gaelic title "Giolla Rua" (or, Englished, "Gilderoy"), and is generally thought to commemorate a real-life rogue and bandit, however, Baring-Gould remarks that in Scotland the "Beggar" of the title is also identified with King James V. The song was quite common under the Gaelic and the alternate title "The Little Beggarman" (or "The Beggarman," "The Beggar") throughout the British Isles. For example, it appears in Baring-Gould's 1895 London publication Garland of Country Song and in The Forsaken Lover's Garland, and in the original Scots in The Scots Musical Museum. A similarly titled song, "Beggar's Meal Poke's," was composed by James VI of Scotland (who in course became James the I of England), an ascription confused often with his ancestor James I, who was the reputed author of the verses of a song called "The Jolly Beggar." The tune is printed in Bunting's 1840 A Collection of the Ancient Music of Ireland as "An Maidrin Ruadh" (The Little Red Fox).  The melody is one of the relatively few common to fiddlers throughout Scotland and Ireland, and was transferred nearly intact to the American fiddle tradition (both North and South) where it has been a favorite of bluegrass fiddlers in recent times.

***

Bandits, fairies and the tune all come together in an Irish tale, representing the capricious results of humans coming in contact with fairy-induced music. In the tale “The Red Haired Boy” was played somewhat under duress by uilleann piper Donnchadh Ó Sé from Lóthar, one of the best pipers in the parish of Priory.  Donnchadh came by some of his music from contact with the supernatural, a not uncommon claim, but this time with a twist.  It seems that he and his brother were gathering seaweed at Faill an Mhada Rua when they heard beautiful ethereal music nearby; Dónall stood by, afraid, but Donnchadh followed the sounds up the cliff and was able to commit them to memory. Returning home he strapped himself into his pipes and played the melody he heard, but afterwards was stuck down ill, becoming bedridden for three months before recuperating.  Each time he played the tune the same would happen—he would suffer, for illness always followed. One day Donnchadh had the ill fortune to meet with a ruffian, who evidently knew of the circumstance and demanded at the point of a pistol that the piper play the fairy tune.  Donnchadh obligingly reached for his pipes, and soon found that the brute was ignorant of the music and so was able to placate him with “An Giolla Rua” (Breathnach, The Man and His Music, 1997, pg. 38.

***

Sources for notated versions: J.P. Fraley (Rush, Ky.) [Phillips]; learned from fiddler Padraig O’Keeffe by accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 27, pg. 40. Krassen (Appalachian Fiddle), 1973; pg. 81. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 69, pg. 44. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 132. Mitchell (Dance Music of Willie Clancy), 1983; 115. Moylan (Johnny O’Leary), 1994; No. 300, pg. 173. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 356, pg. 173 (appears as "The Redhaired Lad"). O'Neill (Krassen), 1976; pg. 209. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1748, pg. 325. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 921, pg. 157. Phillips (Traditional American Fiddle Tunes), 1994. pg. 196. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 127. Spandaro (10 Cents a Dance), 1980; pg. 34. Sweet (Fifer’s Delight), 1965/1981; pg. 77. Columbia C 33397, Dave Bromberg Band ‑ "Midnight on the Water" (1975). Sparton Records SP 210, “Ward Allen Presents Maple Leaf Hoedown, Vol. 2.” Smithsonian Folkways SFW CD 40126, Northern Spy – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

X:1

T:Red Haired Boy

L:1/8

M:C|

S:Jay Ungar

K:A

A>G|E2A2 (A>B) c>d|e>f ec d2cd|e2A2 (A>B)c>A|(B>A) E>F =G2 G>F|

E2A2 (A>B) c>d|(e>f) e>c d2c>d|e a2 b a>=g e>d|c2A2A2:|

|:e>f|(=g>f g>a (g>f) e>f|(=g>)f e>c d2c>d|e2A2 (A>B) c>A|(B>A) E>F =G3F|

E2A2 (A>B) cd|(e>f) e>c d2cd|e a2 b a>=g e>d|(3cdc A2A2:|

                       

RED-HAIRED CHARLES. Irish. Gael-Linn CEF060, “Paddy Glackin.”

                       

RED-HAIRED GIRL [1], THE (An Cailín Ruadh/Rua). Irish, Air (3/4 time). G Mixolydian. Standard tuning. AB. "Forde took this down in 6/8 time, which disguises its character. It really belongs to the 'Narrative' class in 3/4 time, to which I have restored it. One of several tunes of this name" (Joyce). The song tells of a young man who spends lavishly on the object of his desire, only to have her to off with another; still, he says, if he had it to do over again he would do the same. Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, c. 1846. Joyce (Old Irish Folk Music and Songs), 1909; No. 567, pg. 300.

X:1

T:Red-Haired Girl, The [1]

M:3/4

L:1/8

R:Air

N:”Moderately Slow”

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

Z:AK/Fiddler’s Companion

K:G Mixolydian

(3d/e/f/ | ge f>e dA | cAG>A cd | ef d2 cA | cd d3 e/f/ | ge f>e de |

cA G>A cd | ef d2 cA | GG G3 || A | GA d2 de | fd e2 de | cA G2 Ac |

dd d2 (3def | gg g>e fg | af e>d cd | ec d>e cA | GG G3 ||

 

RED-HAIRED GIRL [2], THE (An Cailín Ruadh). Irish, Slow Air (4/4 time). D Dorian. Standard tuning. AAB. "From the Carey MSS. One of several airs known by this name. A variant of the Buchail Caol Dubh, altered in time (p. 52, above)" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 679, pg. 340.

X:1

T:Red-Hairded Girl, The [2]

M:C

L:1/8

R:Air

N:”Slow.”

S:Joyce – Old Irish Folk Music and Songs (1909), No. 679

Z:AK/Fiddler’s Companion

K:D Dorian

de | f3e dcAG | F3G EDCE | F2G2A2E2 | {D/E/}D3D D3 :| G | A2A2f2 e/d/c/e/ | d3d dcAB |

c3A defe | d3d d2 de | f3e dcAG | F3G EDCE | F2G2A2E2 | {D/E/}D3D D2 ||

                       


RED HAIRED GIRL [3], THE (An Cailín Ruad). AKA and see "I'd Roam Through Asia." Irish, Air (3/4 time). D Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 12, pg. 3.

X:1

T:Red Haired Girl, The [3]

M:3/4

L:1/8

R:Air

N:”With feeling.”

S:O’Neill – Music of Ireland (1903), No. 12

Z:AK/Fiddler’s Companion

K:D

A/G/ FE|D2 FG AB/c/|d2 ed/c/ AG|F2 DE DB,|C2 zA/G/ FE| D2 FG AB/c/|

d2 ed/c/ AG| F2 DE DD|D3||F/G/ AA|f2 de dc| d2 de dc|d2 ed/c/ AG|

F2 DE DB,|C2 zA/G/ FE| D2 FG AB/c/| d2 ed/c/ AG|F2 DE DD|D3||

 

RED HAIRED GIRL [4], THE (An Cailín Ruad). Irish, Air (3/4 time, "with feeling"). D Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 13, pg. 3.

X:1

T:Red Haired Girl, The [4]

M:3/4

L:1/8

R:Air

N:”With feeling”

S:O’Neill – Music of Ireland (1903), No. 13

Z:AK/Fiddler’s Companion

K:D

A/G/ FA|B>G ED CE|D2 E/F/G FA|B>G EC DD|D3 A/G/ FA|d2 {ed}cd ec|

d3 A/G/ FA|B>G EC DD|D3||A/G/ FA|d2 cd/e/ dB|GE F>G FA|

d2 cd/e/ fd|d{ed}c/>B/ A>G FA|d2 (c/d/e/f/) dB|G>E FG A/B/=c|B>G EC DD|D3||

 

RED HAIRED GIRL [5], THE (An Cailín Ruadh). Irish, Air (3/4 time, "slow"). D Mixolydian. Standard tuning. One part. Source for notated version: a manuscript collection dated 1861 of Rev. James Goodman, an Anglican cleric who collected primarily in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 8, pg. 7.

                                   

RED HAIRED GIRL OF TULLOCH, THE. Scottish, Strathspey. B Minor. Standard tuning. AAB. Pipe tune. MacDonald (The Skye Collection), 1887; pg. 69. Martin (Ceol na Fidhle), vol.3, 1988; pg. 38. Martin (Traditional Scottish Fiddling), 2002; pg. 11.

X:1

T:Red Haired Girl of Tulloch, The

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

B<B d>e f>e f<a|A<A c>B A>ce>c|B>Bd>e f>ef>^g|a>fe>c B<B f2:|

d>fB>f d<f B>f|c<e A>e c<e A>e|d<f B>f d<f B>f|a>fe>c B<B f2|

d>fB>f d>fB>f|c>eA.e c>eA>e|B<B d>e f>ef>^g|a>fe>c B<B f2||

                       

RED HAIRED HAG, THE (An Cailleac Ruad). Irish, Double Jig. A Mixolydian. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 42. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 923, pg. 172. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 157, pg. 41.

X:1

T:Redhaired Hag, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 157

Z:AK/Fiddler’s Companion

K:A

f|ecA aeA|cde =gfg|B=GG dGG|Bcd d2f|ecA aeA|cde fga|def =gdB|ecA A2:|

|:e|agf ecA|cde fga|B=GB dBG|Bcd d2e|agf ecA|cde a3|def =gdB|ecA A2:|

                       

REDHAIRED LAD, THE, THE. AKA and see "The Red Haired Boy."

                       

RED-HAIRED LASS. AKA and see "Jim Seery's," "The Kildoney Lasses,” "Old Pigeon on the Gate," “Peter Kennedy’s Fancy,” "Shearing the Sheep [1].” Irish, Reel. Ireland, County Sligo, west Kerry. G Major (Cranitch, Flaherty, Moylan, Mulvihill, Taylor): A Major (Cranitch). Standard tuning. AB (Cranitch, Flaherty, Moylan, Taylor): AA’BB (Mulvihill). The tune is correctly classified as a single reel. Taylor (1992) notes that the tune on page 105 of Bernard Flaherty's "Trip to Sligo" is very closely related to "Red-Haired Lass," though "nonetheless incompatible." It is a classic tune recorded during the 78 RPM era by the master Sligo fiddler James Morrison with Leitrim flute player John McKenna (who paired it with another single reel they called "The Tailor's Thimble [2]”). Sources for notated versions: fiddler Fred Finn, 1919-1986 (Kiltycreen, Kilavil, County Sligo) [Flaherty]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; Brendan Mulvihill (Baltimore, Md) [Mulvihill]. Cranitch (Irish Fiddle Book), 1996; pgs. 112 & 113. Flaherty (Trip to Sligo), 1990; pg. 79. Moylan (Johnny O’Leary), 1994; No. 314, pg. 180. Mulvihill (1st Collection), 1986; No. 233, pg. 63. Taylor (Through the Half‑Door), 1992; No. 11, pg. 9. Clo Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007). Green Linnet SIF 1075, John Whelan & Eileen Ivers - "Fresh Takes" (1987). Shaskeen - "Joys of Life" & "Shaskeen Live." Chieftains – “Water from the Well.”

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:Red-Haired Lass, The

R:reel

Z:From Josephine Marsh at Kilfenora 1996.

Z: Transcribed by Thom Pratt

M:4/4

L:1/8

K:G

DGGF ~G2 BG|GABG ~AGEG|DGGF GABd|egdB AGEG|\

DGGF ~G2 BG|GABG ~AGEG|DGGF GABd|egdB ~c2Bc||\

~d2 gd edgd|degd BGBc|~d2 gd edef|gedB ~c2 Bc|\

~d2 gd edgd|degd BGBd|~c2 cA ~B2 BA|GA (3Bcd gedB||\

                                   


RED-HAIRED MAIDEN. AKA and see "Colleen Rue [1]," "As I Roved Out On a Summer Morning," "I'd Roam Through Asia," "Kind Sir, Be 'Aisy,'" "Sails Were Unfurled."

                       

RED HAIRED MAN'S WIFE [1], THE (An Cailin Deas Ruad). AKA and see "Pretty Red {Haired} Girl [1]." Irish, Air (3/4 time). D Dorian. Standard tuning. One part. Roche Collection, 1982, vol. 1; No. 44, pg. 23.

 

RED HAIRED MAN'S WIFE [2], THE ("bEan An Fir Ruad" or "Beann an Fhir Ruaidh"/"Bean an Fhir Rua"). AKA and see "The Caves of Cong," "Loch Lein," "Thios ag Beal Bearnais." Irish, Air (3/4 time). Ireland, Munster. D Major/Mixolydian. Standard tuning. AB. O'Sullivan (1983) states this well-known melody is perhaps the most celebrated of the 9/8 meter airs used for Irish folk songs (though the versions in the popular collections are noted in 3/4 time). One edition of the words is to be found in "Cathal Bui" (Breandan O Buachalla, 1975) under the title "Thios ag Beal Bearnais," attributed to Cathal Bui Mac Ghiolla and also to Riocard Bairead. Neither of the two versions printed in Stanford-Petrie (Nos. 115 and 1140) are the same as Bunting's verison. The melody also appears in Poets and Poetry of Munster (1849). See also “The Roving Pedlar” [2] for another variant. An English adaptation of the song begins:

***

A letter I'll send by a friend down to the sea shore,

To let her understand I'm the man that does her adore.

And if she'd but lave that slave I'd forfeit my life,

And she'd live like a lady and ne'er be the red-haired man's wife.

***

Sean Ó Boyle (1976) relates a story told by the 19th century Tyrone novelist William Carleton, who recorded that his mother was once asked to sing the English version of "Bean an Fhir Rua." She said, "I'll sing it for you, but the English words and the air are like a quarelling man and his wife--the Irish melts into the tune but the English doesn't." "An expression," states Carleton, "scarcely less remarkable for its beauty than its truth." 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). Source for notated version: Bunting obtained the melody from another collector, George Petrie, in 1839. Roche Collection, 1982, vol. 1; No. 31, pg. 16. O'Sullivan/Bunting, 1983; No. 83, pgs. 126-128. Stanford/Petrie (Complete Collection), 1905; No. 359, pg. 91.

X:1

T:Red Haired Man’s Wife, The [2]

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 359

Z:AK/Fiddler’s Companion
K:D

cd | e2fd ec | d3fec | A4 GF | G2A2c2 | d4 cd | e2 fd ec | d3 fec |

A4 GA | E2D2D2 | D4 || =cB | A2G2 EF | D3E F2 | G3 AGF |

G2A2 Bc | d4 A/B/c/d/ | eg fd ec | d3 fec | A4 GA | E2 D2D2 | D4 ||

 

RED HAIRED MAN'S WIFE [3], THE (bEan An Fir Ruad). Irish, Air (3/4 time). D Dorian (Roche): D Major/Mixolydian (Stanford/Petrie). Standard tuning. AB (Stanford/Petrie): AAB (Roche). Stanford/Petrie notes this version is as “sung in Munster.” Roche Collection, 1982, vol. 3; No. 24, pg. 7. Stanford/Petrie (Complete Collection), 1905; No. 357, pg. 90.

X:1

T:Red Haired Man’s Wife, The [3]

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 357

Z:AK/Fiddler’s Companion
K:D

f>e | d2 edcA | c2 dcAG | (F>E)FAGE | E2D2D2 | D4 || DE | F2G2 AB |

=cAdcAG | A2d2 cd/e/ | d4 D>E | F2 GFED | F2G2 AB | =cA dcAG |

A2c2 de | f4 ef | d2 edcA | cAdcAG | FEFAGE | E2 D2D2 | D4 ||

 

REDHAIRED MAN'S WIFE [4], THE (Bean An Fir Ruad). Irish, Slow Air (3/4 time). G Major. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 412, pg. 72.

X:1

T:Redhaired Man’s Wife, The [4]

M:3/4

L:1/8

R:Air

M:”Slow”

S:O’Neill – Music of Ireland (1903), No. 412

Z:AK/Fiddler’s Companion

K:G

(A/B/4c/4d/4e/4f/4g/4)|a2 bg af|g2 a>g fe|d2d2 cA|c2 d2 (6A/B/c/d/e/f/|g4 fg|

a2 bg af|g2 ag fe|d2 d2 cA|{B}A2G2 GA|{F}G4:|

||dc|{c}BABdcA|GFGdcA|G2 GB A/G/F/A/|G2A2 Bc|{c}d4 (A/B/4c/4d/4e/4f/4g/4)|

a2|bg af|g2 (3agf (3gfe|d2 de cA|{B}A2G2 GA|{F}G4||

 


RED-HAIRED MAN’S WIFE [5], THE. Irish, Air (3/4 time). E Flat Major. Standard tuning. One part. Another variation of the main theme. Source for notated version: “From P. MacDowell, Esq.” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 358, pg. 90.

X:1

T:Red Haired Man’s Wife, The [5]

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 358

Z:AK/Fiddler’s Companion
K:E_

ed | {d}c2 B>G FG | E3 FGB | {A}c3 GBG | {G}F2E2E2 | E4 E>F | G2B2cd |

e3 dcB/c/ | d3 cBG | B2 c>e d/>c/B/G/ | {G}F4 EF | G2B2 cd | e3 dfe | d3 cBG |

B2 c>e d/>c/B/G/ | {G}F4 ed | c/e/d/c/ BGFG | E3 FGB | {A}c3 GBG | F2E2E2 | E4 ||

           

RED HAIRED MARY. Irish, Air (4/4 time). G Dorian. Standard tuning. AB. Joyce (Old Irish Folk Music and Songs), 1909; No. 504, pg. 275.

                       

RED HAND, THE. Irish, Polka. G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 212, pg. 114.

X:1

T: The Red Hand

C: © B. Black

Q: 300

R: polka

M: 2/4

L: 1/8

K: G

G>B Bd | cA FA | GB Ac | Bg d2 |

g>d BG | cG EC | D>E FD | G2 G2 :|

dg fg | a>g fe | dg Bd | cB A2 |

G>A Bd | ce ge | d>B cA | G2 G2 :|

                       

RED HANDKERCHIEF. AKA and see "Cerveny Satecek."

                       

RED HAWK WALTZ. AKA and see “Clark’s Waltz.” Old-time, Waltz. USA, Missouri. Rounder 0157, Art Galbraith (Springfield, Mo.) - "Simple Pleasures."

                       

RED HEADED GIRL, THE. AKA and see "Cottage By the Sea."

                       

RED HEADED IRISHMAN. AKA and see “Gilderoy [2],” “The Little Beggarman,” "The Old Soldier (with a Wooden Leg) [2]," "The Red Haired Boy."

                       

RED HEATH.  English, Country Dance Tune (whole time). F Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 156.

X:1

T:Red Heath

M:C

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:F

cfed “tr”c2 BA|GABc BAGF|cfed “tr”c2 BA|GBAG F4::ecgc acgc|ecgc a2g2|

ecgc acgc|Gc=Bd c4::fa af d2 ge|c2 fc A2F2|f2 af d2 ge|c2 fA F4:||

           

RED HEIFER, THE. This tune was one of four listed by Laura Ingells Wilder in her novel Little House in the Big Woods, in the chapter called “Dance at Grandpa's.” The protagonist remembered at the dance, set after the Civil War, and four tunes the fiddler played: “Money Musk,” “The Red Heifer,” “Devil’s Dream,” and “Arkansas Traveller.” Three are extremely well-known, however, “The Red Heifer,” if an actual fiddle tune, appears to be lost. 

                                   

RED HILL, THE. Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AABB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 48.

                                   

RED HILLS. Old-Time, Breakdown. A Mixolydian. Standard or AEae tunings. AA'AA'BB. The tune is played slower than the normal breakdown tempo. Source for notated version: Bruce Green [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 110.

                       

RED HILLS POLKA.  Old-Time, Polka. USA; Illinois, Missouri. D Major. Standard tuning. AB. The tune is was sourced to an elderly woman from Red Hills, Illinois, who had no title for it so called it after her home town. Gordon McCann has information that it may have been derived from a German march. Source for notated version: Bob Holt (1930-2004, Ava, Missouri), learned from the Allen Street Band (Springfield, Mo.) who had it from Gary Harrison [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 67. Rounder CD 0432, Bob Holt – “Got a Little Home to Go to” (1998).

 

RED HOT BREAKDOWN. Old‑Time, Breakdown. Carryon Records 002, "Ace Weems and the Fat Meat Boys."

                       


RED HOUSE. AKA and see "Where/Whar wad Our Gudman/bonny Annie lye/laye," "Where/Whar wad our guidman lie." English, Scottish; Country Dance Tune (2/2 or cut time). A Minor (Barnes): G Minor (Barlow, Kidson, Knowles). Standard tuning. ABC (Kidson, Knowles): AA'BBCC (Barlow, Barnes). Kidson notes this was a popular tune in the early 18th century and greatly used in period ballad operas and as a country dance. John Glen traces the tune to Henry Playford's 9th edition of the Dancing Master (London, 1695; it also appears in the 12th edition, 1703 and again in 1716), Roberts finds it in D’Urfy’s Wit and Mirth; or, Pills to Purge Melancholy, while Bayard (1981) finds it in John Gay's 1729 Polly (Air 9-- Polly was Gay's sequel to his famously successful ballad opera, the Beggar's Opera), Fielding's Grub‑Street Opera, and Walsh's 1719 Country Dancing Master (No. 111). It appears in Walsh’s Dancing Master of 1731 (No. 111) and in Oswald’s Companion (VIII, 1755, pg. 22). Kidson also finds it in Polly (1729), and further states its appearance in Lover's Opera (1730) and Fashionable Lady (1720). The melody is also thought to be the ancestor of the song air popularly known as "(D'ye ken) John Peel”; Miss A.G. Gilchrist explored this relationship in her article “The Evolution of a Tune: ‘Red House’ and ‘John Peel’” in the Journal of the English Folk Dance and Song Society (IV, 80-84). Kidson (1890) relates the story that the writer of the song "John Peel" adapted his words to an mixolydian or major Scots air (almost identical to "Red House") called "Whar wad bonny Anne lie" or "Whar wad our guidman lie" which was sung to send his child to sleep by its granny. Bayard (in his article “A Miscellany of Tune Notes,” Studies in Folklore, pgs. 162-163) finds that earlier sets seem to have been minor-mode and later ones, major.

***

Graham Christian (writing in CDSS News, issue #188, January/February 2006) provides some remarkable sleuthing of the title based on the melody’s appearance in a volume entitled Neue und Curieuse Theatrialische Tantz-Schul, by Venetian choreographer Gregorio Lambranzi, published in Nuremburg. Engraved plates in the book depict scenes from the Commedia dell’Arte, and one page depicts the “Red House” tune above four comic dancers. Christian believes this may link the tune with the Commedia dell’Arte, and especially with the travelling troupes of Italian Comedy. While the staging effects for well-established theatres in city centers were quite elaborate, the travelling troupes made do with much less sophisticated sets. One of the most common was to paint flats on each side of the stage in a red brick pattern, to depict the respectable houses that the comic actors would soon turn into an uproar. Christian argues that the English creation of the social dance  called the Red House may be an instance of melodic and visual adaptation of music and “comic pranks of Italian Comedy.”

***

The melody was collected in reel form by Bayard (1981) in southwestern Pa. in the mid‑20th century (Bayard, 1981; No. 112, pgs. 63‑64). Barnes, perhaps due to its appearance in the Walsh publication, dates it to 1721. See also Welsh dance versions under the title “Ty Coch Caerdydd.”

***

The dance Red House is remarkable for the equality of its action, notes dance-leader Graham Christian, with steps being initiated by the first man, then the first woman, each followed by sequential heys; alternating partner “chases.”

***

Barlow (Complete Country Dances from Playford’s Dancing Master), 1985; No. 339, pg. 82. Barnes (English Country Dance Tunes), 1986. Kidson (Old English Country Dances), 1890; pg. 4. Knowles (A Northern Lass), 1995; pg. 17.

X:1

T:Red House

L:1/8

M:C|

S:Oswald – Companion (1755)

Z:AK/Fiddler’s Companion

K:G

BA|G2 g4 fe|d4 B4|A2 =f4 ed|c4 A4|G2 g4 fe|d4 B4|cB AG F2 A2|B2 G4:|

Bc|dc BA GABc|d4 B4|cB AG =FGAB|c4 A4|dc BA GABc|d4B4|cB AG F2 A2| B2 G4||

X:2

T:Red House

M:C|

L:1/8

S:Henry Playford – Dancing Master, 9th edition (1695)

K:Gmin

G2g4 fe|d3 B4|A2 f4 ed|c2 dc dcBA|G2g4 fe|d4 B4|cBAG FG A2|1

B2G2 G4:|2 B2G2G2||:Bc|dcBA GABc|d4B4|cBAG FGAB|c4A4|

dcBA GABc|d4B4|cBAG FG A2|B2G2G2:||:Bc|d2 d2 d2 Bc|d2d2d2 AB|

c2 c2 c2 AB|c2c2c2 Bc|d2d2d2 Bc|d2d2d2 AB|cBAG FG A2|1 B2G2G2:|2 B2G2G4||

X:3

T:untitled fiddle tune

M:C

L:1/8

S:Collected in south western Pennsylvania by S. Bayard, 1944

K:G

[B2g2]-|[B2g2][B2g2] BABB|[B2g2][B2g2] B2 BB|c2c2 AGAB|c2c2 A2 AB|

[B2g2][B2g2] feBB|[B2g2][B2g2] B2 {B}cB|{D2A2]B2 cBAF|G4 z4:|

Bc|d2d2 [DB]GBc|d2d2 B2BG|c2c2 AFAB|c2c2A2 Bc|

d2d2 B[GB]Bc|d2d2B2G2|A2B2{B}cB AF|G4 z3||

                       

RED HOUSE OF CARDIFF.  See “Ty Coch Caerdydd.” A Welsh dance version of Playford’s “Red House,” above.

 

RED JOAK. English, Dance Tune (4/4 time). G Major. Standard tuning. The melody appears in Walsh’s third book of Lancashire tunes (Lancashire Jigs, Hornpipes, Joaks, etc.) published around the year 1730. The title is one of a series of Jokes or Joaks (with different colors in the title: white, green, brown, etc.), taking off on the immense popular success of “The Black Joke.”

X:1

T:Red Joak

B:Walsh

M:4/4

L:1/8

K:G

ba| g3a g2 B2| dBde d2 ba| g3 a g2 B2|A4 A2 ba| g3 a g2 B2| dBde d2 ba|\

g2 e2 d2 B2| G4 G4:: e2| d2 F2 BcdB| d2 G2 g3 e| d2 G2 BcdB| A4 A2 e2|\

d2 G2 BcdB| d2 G2 g3 a| bage gedB|G4 G2:: D2| GABG BcdB| GABG Bcde| \

d2 B2 cBAG| A4 A2 D2| GABG BcdB| GABG Bcde| d2 B2 dBAG G4 G2:|

                       

RED LICK. Old-Time, Breakdown. D Major. A “crooked’ tune, having an extra beat at the end of both ‘A’ and ‘B’ parts. The tune was played by Kentucky fiddler Lella Todd, as well as by Billy Stamper, who also lived in the same area. Rounder Records, Billy Stamper – “Traditional Fiddle Music of Kentucky, vol. 2: Along the Kentucky River.”

                       

RED LION HORNPIPE [1]. American, Irish(-American); Hornpipe. USA, Missouri, New England. B Flat Major. Standard tuning. AABB. The composition is credited to one Zeke Backus in Ryan’s/Cole's 1000, one of several credited to him. Backus may have been a blackface-minstrel performer. Although there is no record of a ‘Zeke’, the Backus family (especially Charles) were prominent mid-19th century minstrels, touring the country and even spending time in San Francisco.  Source for notated version: Cyril Stinnett (Oregon, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; No. 36, pg. 24. Coe, George H., album of violin music. Cole (1000 Fiddle Tunes), 1940; pg. 88. Ford (Traditional Music in America), 1940; pg. 112. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 56. Mulvihill (1st Collection), 1986; No. 34, pg. 99. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 219. Ryan’s Mammoth Collection, 1883; 122. Tolman (Nelson Music Collection), 1969; pg. 15. White’s Unique Collection, 1986; No. 98, pg. 18. Glen Arm MG-100, Kevin Quinn – “Music from the Glens” (c. 197?). Rounder 0215, James Bryan ‑ "The First of May" (1986).

X:1

T:Red Lion Hornpipe [1]

L:1/8

M:C|

K:B_

|:F2|BF dB fd bf|dB Ac BA GF|GE DE CE cd|ec dB BA GF|BF dB fd bf|

dB Ac BA GF|GE DE CE cd|ec Ac B2:: FE|DB FD BF dB|fb fd BA GF|

GB Ac Bd fa|bg f=e f2 (3fga|bf dB ge cA|BG ec BA GF| GE DE CE cd|ec Ac B2:|

 

RED LION HORNPIPE [2]. English, ‘Old’ Hornpipe (3/2 time). D Major (ED&S): B Flat Major (Ashman, Geoghegan). Standard tuning. AABB. The melody appears in Walsh’s third collection of Lancashire tunes (Lancashire Jiggs, Hornpipes, Joaks, etc.) published c. 1730. There were several Red Lion inns in old England; an Elizabethan-era Red Lion was located in the Strand. The Gunpowder Plot conspirators of 1605 arranged to meet, under pretence of holding a hunting party, at a pack-horse inn called the Red Lion at Dunsmoor Heath, near the London Road near to Dunchurch. The tune appears in several English musicians’ manuscript collections, including John Moore (referenced below), John Clare (Helpton, Northants, 1820), John Rook (Warerton, 1840), and William Mittel (New Romney, Kent, 1799). It is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript, listed in the contents but not found in the ms. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 24b, pg. 6. English Dance and Song, vol. 48, No. 1, Spring 1986, pg. 12. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipe), c. 1745-46; pg. 25. Offord, 1985 (John of the Greeny Cheshire Way); pg. 47. Wilson (Companion to the Ball Room), 1816.

X:1

T:Red Lyon Hornpipe [2]

B:Walsh

M:3/2

L:1/8

K:Gm

BdBd DEFD E2 C2 |BdBd FBAc B2 B,2| BdBd DEFD E2 gf| edcB FBAc B2 B,2::\

Bdfd BdcB A2 F2| DFBF GFGE D2 B,2| Bdfd BdcB A2 F2|DFBF DBAc B4:|

X:2

T:Red Lyon Hornpipe [2]

M:3/2

L:1/8

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)

Z:AK/Fiddler’s Companion

K:B Flat

Bdcd DEFD E2C2 | Bdcd FBAc B2D2 | Bdcd DEFD F2 gf | edcB FBAc B4 :|

|: Bdfd BdcB “tr”A3F2 | DFBF GFGE E2C2 | Bdfd BdcB A2gf | edcB FBAc B4 :|

X:3

T:Red Lion

M:3/2

L:1/8

R:”Old” or Triple Hornpipe

S:John Rook manuscript (Warerton, 1840)

K:D

dfdf FGAF G2E2|dfdf Adce d2D2|dfdf FGAF G2 ba|gfed Adce d2D2||

dfaf efed c2A2|FAdA BABG F2D2|dfaf dfed c2A2|FAdF Edce d4||

                       

RED LITTLE HILL, THE (An Cnuicín Ruadh). Irish, Air (4/4 time). D Minor. Standard tuning. AB. Source for notated version: Norry Dwane, Glenosheen, Co. Limerick: 1850 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 154, pg. 78.

X:1

T:Red Little Hill, The

T:An Cnuicín Ruadh

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

N:”With expression”

K:D Minor

fe|d2c2d2 DE|F2G2 {A} d2 dc|{A}B2 AG A2 GF|D2 DE F2 (3A=Bc|

d2c2d2 DE|F2G2 {A}d2 cB|ABAG A2 GF|D2D2D2||AG|

A2 de f2 ef|gfed d2 AG|A2 de f2 ed|cB A2d2 fe|

d2c2d2 DE|F2G2 {A}d2 dc|{A}B2 AG A2 GF|D2D2D2||

                       

RED MILL, THE. Canadian, Reel. Canada, Cape Breton Island.  Composed by Dan Hughie MacEachern.

                       

RED NECK MOTHER. AKA and see "Terry's Rag."

                       

RED PETTICOAT HORNPIPE. English, Hornpipe. D Major. Standard tuning. AABB. From Geminiani's The Entire New and Compleat Tutor for the Violin. In addition to the early 19th century Hardy family manuscripts (Dorset), the tune can be found in the music manuscripts of John Clare (Helpstone, Northants, 1820) and William Brown (Romford, Essex, 1797). Callaghan (Hardcore English), 2007; pg. 23. Trim (Thomas Hardy), 1990; No. 92.

                       

RED PHILIP (Pilib Ruadh). Irish, Air (3/4 time). G Major/G Mixolydian. Standard tuning. AB. "Phil Gleeson of Coolfree near Ballyorgan in the Co. Limerick, from whom I took down this air (about 1852), had a memory richly stored with Irish airs, songs and folklore. He was a noted singer, and such an inimitable whistler that at some distance he was able to puzzle the best ear as to what sort of 'musical instrument' he played" (Joyce). Joyce (Old Irish Folk Music and Dance), 1909; No. 6, pg. 6.

X:1

T:Red Philip

T:Pilib Ruadh

M:3/4

L:1/8

R:Air

S:Joyce – Old Irish Folk Music

Z:AK/Fiddler’s Companion

N:”Moderate time”

K:G

G2 GFGA|G2 GFGA|c2 cAGA|=F3G A2|G2 GFGA|G2 GF (3GAc|

d2 d/c/A/G/ A>G|G4G2||=fe (3edc de|eddcde|d>c/4A/4 d/>c/A/G/ GA|

=F3G A2|G2 GFGA|G2 GF (3GAc|D3 d/c/A/G/ A>G|F4G2||

                                   

RED PIPER, THE. Welsh, Air (3/4 time). C Minor. Standard tuning. One part. Walker (1924) calls the melody “an inspiration of really great power.” Walker (History of Music in England), 1924; No. 115, pg. 326.

X:1

T:Red Piper, The

L:1/8

M:3/4

K:Cb

C2 CDEF|G4 G2|c2 cedc|G2=B2d2|c2G2E2|A2G2F2|

EGFEDC|C4 =B,2|C2 CDEF|G4 G2|c2 cedc|G2=B2d2|

C2G2E2|A2 GFED|E>D C2 =B,2|C4 cd|e2e2f2|

d3c B2|c2 cedc|c2 =B2 d2|c2G2E2|A2G2F2|

G2=B2d2|c2G2E2|A2 GFED|E>D C2=B2|C6||

                                   

RED PLAID, THE. Scottish, Strathspey. A Minor. Standard tuning. AABB. Gatherer (Gatherer’s Musical Museum), 1987; pg. 34. Kerr (Merry Melodies), vol. 4; No. 141, pg. 17.

X:1

T:Red Plaid, The

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 141  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

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

|:e<a a>g e<a a>e|d<g g>e d<g g>d|e<a a>g e<a a>e|g>d e/d/c/B/ (c<A) A2:|

                                   

RED, RED ROSE [1]. Scottish, Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 2; No. 309, pg. 34.

X:1

T:Red, Red Rose [1]

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 2, No. 309  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A|DED E2F|d2c B2A|B2A B2d|e3 def|DED E2F|

D2c B2A|B2A B2c|(d3 d2)::A|d2f e2d|Bcd A2F|

A2A g2f|f3 eag|f2a f2d|Bcd AGF|A2A B2c|(d3 d2):|

 

RED, RED ROSE [2]. AKA and see "Low Down in the Broom." Scottish, Strathspey. D Major (Kerr): C Major (Howe). Standard tuning. AB (Howe): AABB (Kerr). The title comes from Robert Burns' song "My Love is Like a Red Red Rose", originally written to William Marshall’s “Mrs. Hamilton of Wishaw,” which appears as "Major Graham of Inchbrakie" in Gow's First Collection (2nd ed.). Later G.F. Graham replaced the melody for Burns’ song with the old Scots air "Low Down in the Broom."

***

O my love is like a red red rose,

That’s newly sprung in June;

O my love is like a melodie

That’s sweetly played in tune.

As fair thou art my bonnie lass,

So deep in love am I,

And I will have thee still my dear

Till a’ the seas gang dry.

***

The air appears in the Scots Musical Museum (No. 402). In 1881 “Red, Red Rose” became the march past of the British army’s Loyal North Lancashire Regiment (whose 1st and 2nd Battalions were made up of an amalgamation of the 47th West Lancashire Regiment and the 81st Loyal Lincoln Volunteers), apparently to match their emblem, the Red Rose of Lancashire (the origins of which were in the Wars of the Roses). The Loyals amalgamated again in 1970with the Lancashire Regiment to become the Queen’s Lancashire Regiment, keeping “Red, Red Rose” as their regimental march (David Murray, Music of the Scottish Regiments, Edinburgh, 1994; pg. 209). Also, prior to 1881, the 73rd Perthshire Regiment also played the tune as their march, although when they became the 2nd Battalion of The Black Watch, they switched to “Highland Laddie,” to match the 1st battalion. Howe (1000 Jigs and Reels), c. 1867; pg. 127. Kerr (Merry Melodies), vol. 3; No. 27, pg. 6.

X:1

T:Red, Red Rose [2]

M:4/4
L:1/8

R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:C

G/E/ | (C>CD>E) (c>BAG) | A>Gac d2 (cd/e/) | (C>CDE) (d>BAG) | (A>GAB) c3 ||

G | (cedc) (A<c) (GE) | G>G fe d2 (g>f) | (egec) (A>cGE) | G>GAB c3 ||

                       

RED REGAN AND THE NUN [1]. Irish, Air (4/4 time). C Major/Mixolydian. Standard tuning. One Part. Stanford/Petrie (Complete Collection), 1905; No. 418, pg. 106.

X:1

T:Red Regan and the Nun [1]

M:C

L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905), No. 418

Z:AK/Fiddler’s Companion

K:C

GA | _B2D2E2F2 | G3FE2 DE | FE D>E C2C2 | C6 EF | G2G2c2d2 | e4 fe dc |

B2 AB G2G2 | G6 EF | G2G2c2d2 | e4 fe dc | B2 AB GA BG | c3 d {c}(e2 d)c |

_B2 D2E2F2 | G3 F E2 DE | FE D>E C2C2 | C6 ||

 

RED REGAN AND THE NUN [2]. Irish, Air (4/4 time). B Flat Major: E Flat Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; Nos. 419-420, pg. 106.

X:1

T:Red Regan and the Nun [2]

M:2/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 419

Z:AK/Fiddler’s Companion

K:E_

B | cB/c/ eG | AB/c/ BG/E/ | F>G EE | E3 e/f/ | g>a gf/e/ | f>g fe |

de/d/ cB | B3 e/f/ | g>a gf/e/ | f>g fe | de/d/ cB | e3d | cB/c/ eG |
AB/c/ BG/E/ | ~FF/G/ EE | E3 ||

X:2

T:Red Regan and the Nun [2]

M:C

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 420

Z:AK/Fiddler’s Companion

K:B_

F | G2 FG | B2D2 | E2 FG | F2 DB, | C>B,CD B,2 B,2 | B,6 Bc |

d3e d2 cB | c3d c2B2 | A2 BA G2F2 | B6 A2 | G2 FG B2D2 |

~(E2FG) F2 DB, | ~C3D B,2 B,2 | B,6 ||

                       

RED RIVER JIG. Canadian, Breakdown. Canada, Manitoba. A Mixlydian ('A' & 'B' parts) & D Major ('C' part). Standard tuning. ABBCC. The tune is derived from the famous French-Canadian step-dancing tune “La grande gigue simple” (AKA – “La jig du Bas-Canada” and “Gigue simple”), and is a Métis fiddling favorite under the “Red River” title. The Red River flows through Manitoba and the Métis (Native American) lands. Anne Lederman (in her entry on “Fiddling” in the Encyclopedia of Music in Canada, 1992) states that this tune and its cognates were one of two important step-dance tunes in the repertoire of the 18th and 19th century fur-trade in Canada, along with “Drops of Brandy.” She suggests “Red River Jig” (and cognates) may originally have been Scottish hornpipes in 6/4 time (i.e. ‘Old Hornpipe’ time). Source for notated version: Stuart Williams (Seattle) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 196.

                       

RED RIVER RISING. Old‑Time. Refers to the Native North American uprising in the Red River region of Western Canada in the late 1800's?? The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

RED RIVER VALLEY. American, Two-Step. The redoubtable tune ubiquitous to old songsters and children’s music books. “Red River Valley” is usually played as a two-step by fiddlers, or as a breakdown for dances. In the movie The Grapes of Wrath, Henry Fonda sings the tune to his mother while dancing with her (in ¾, waltz, time).

                       

RED RIVER WALTZ [1]. Canadian, Waltz. C Major. Standard tuning. AB. Composed by Maritime fiddler Don Messer (1909-1973). Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 171, pg. 116‑117. MCA Records MCAD 4037, “The Very Best of Don Messer” (1994).

 

RED RIVER WALTZ [2]. Old‑Time, Waltz. USA, Ala. C Major. Standard tuning. AB. Source for notated version: Charles Stripling with the Stripling Brothers (Ala.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 300. County 401, "The Stripling Brothers." Vocalion 5366, Stripling Brothers (Ala.) {1929}.

                       

RED ROBIN. 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. 58.

                       

RED ROCKING CHAIR. AKA and see “Red Apple Juice.” Old Time. EDae tuning.

                       

RED RODRICK’S DUN COAT (Casag Lachdunn Ruairdh Ruaidh). Scottish, Strathspey. A Dorian. Standard tuning. AAB. Arranged by Keith MacDonald, editor of the Skye Collection. MacDonald (The Skye Collection), 1886; pg. 81.

X:1

T:Red Rodrick’s Dun Coat

T:Casag Lachdunn Ruairdh Ruaidh

M:C

L:1/8
R:Strathspey

S:MacDonald – Skye Collection   (1887)

Z:AK/Fiddler’s Companion

K:Ador

G|A<A B>G A<A A2|G>B g>e dB G2|A<A B<G A<A A2|d>eg>f eA A:|

e<e a>e g>ea>e|gage degd|e<ea<e g>ea>g|efge a>fe>f|e<eg<e a<e g>e|

dedc BA G2|edBd A<A A2|G<A B<g fe A<A||

                       


RED RORY’S JIG. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 271, pg. 78. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).

                       

RED ROSE [1], THE (An Ros Dearg). Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 315, pg. 67.

X:1

T:Red Rose, The [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of 1001 Gems (1907), No. 315

Z:AK/Fiddler’s Companion

K:G

d/B/|GAG GBd|gfg e2d|ege dBG|ABA A2 d/B/|GAG GBd|

gfg e2d|ege dBG|AGG G2 :: d | gab bag|fag fed| ege dBG|

ABA A2d|gab bag|gfg e2d| ege dBG|AGG G2:|

 

RED ROSE [2], THE.  English, Jig. G Minor. 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. 76.

X:1

T:Red Rose, The [2]

M:6/8

L:1/8

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

Z:Transcribed and edited by Flynn Titford-Mock, 2007Z:abc’s:AK/Fiddler’s Companion

K:Gmin

G/A/|BGG GAB|cAA ABc|BAG AG^F|GGG GGA|BGG GAB|cAA ABc|BAG AG^F|GGG G2:|

|:B/c/|ddd gdd|Acc fcc|dBB cAA|BGG A^FD|ddd gdd|Acc fcc|BGG A^FF|(G3 G2):||

                       

RED SHOES, THE. Canadian, Reel. Canada; Prince Edward Island, Cape Breton. A Mixolydian. Standard tuning. AB. Paul Cranford (1997) notes that the first published version, in The Cape Breton Collection (1940), had minor intervals throughout. Winston Fitzgerald set it in pipe tuning. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Sourcse for notated versions: Francis MacDonald (b. 1940, Morell Rear, North-East Kings County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 90, pg. 38. Perlman (The Fiddle Music of Prince Edwards Island), 1996; pg. 105.

                                   

RED SKIN GAL. American, Country Rag. G Major. Standard tuning. AB. Source for notated version: Gary Lee Moore (Seattle) [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 125.

                       

RED SPECKLED BULL, THE. Scottish, Pibroch. A piece of piobaireachd music attributed to Ranald MacAilean Og of Cross on the Island of Eigg (c. 1662-1741), said to have been a good performer on harp and fiddle, though he was best known as a piper. There are numerous stories and legends about Ranald, colorful and robust. He is said to have been a man of enormous physical strength—he stopped a mill-wheel turning at full speed, and was called upon to hold down the dying chief of Clanranald, Evil Donald (Domhnall Dona Mac ‘ic Ailean), when the Devil came to claim him in payment for a debt Donald owed. Ranald was supposed to have overcome the ghost of a headless woman which was terrorizing the district of Morar and Arisaig. He was known to have been on good terms with the local witches (though he avoided participating in their rites), and they warned him that they had foreseen impending danger, saving him from drowning on the river Lochy. In his old age he became blind and bedridden, but scarcely diminished in temper, for if he thought himself neglected by his kin he would lull them into approaching by his pleasant talk and calm demeanor, then cuff them a terrible blow about the head (Sanger & Kinnaird, Tree of Strings, 1992).

                       

RED SPECKLED HEN, THE. Scottish, Pipe Tune. Traditional. Plant Life Records PLR‑017, "The Tannahill Weavers" (1979).

                       

RED STAR LINE, THE.  American, March (2/2 time). D Major. Standard tuning. AB. A modern composition by contra and English dance musician Kathy Talvitie of the groups Joyful Noise and Hold the Mustard. The Red Star Line was an American steamship company of the latter 19th century. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 7 (appears as “Autumn in Amherst,” the name of a dance set to the tune by Philippe Callens).

 

RED STEER. AKA and see "Brown's Dream [1],” “John Brown’s Dream." Old-Time, Breakdown. GDgd tuning. From the playing of fiddler John Dykes, of the Kingsport, Tennessee, area, leader of the Dykes Magic City trio. The tune as a member of the “John Brown’s Dream” family of tunes. Richard Blaustein sees similarities in the ‘A’ part with  Dykes’s “Callahan Reel” and a tune called “Boatman”; and in the ‘B’ part with “Paddy Won’t You Drink Some Good Old Cider.” Old Homestead OHCS 191, "Dykes Magic City Trio" (Eastern Tenn.) {originally recorded on a Brunswick 78, 1927}.

Honking Duck:  Dykes Magic City Trio (1927) – Red Steer

http://honkingduck.com/mc/node/350

                       

RED STOCKING(S) [1], THE. AKA ‑ "Stocuide Deirge." AKA and see "Saddle the Pony [1]." English, Irish; Jig. G Major. Standard tuning. AB (Moylan): AABB (Kennedy, O’Neill, Raven). Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 40 (includes an alternative 'B' part). Moylan (Johnny O’Leary), 1994; No. 231, pgs. 133-134. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 774, pg. 144. Raven (English Country Dance Tunes), 1984; pg. 105.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Red Stocking, The [1]

M:6/8

L:1/8

R:Jig

K:G
(3D/E/F/|GBA G2B|def gdB|GBA G2B|AFD AFD|GBA G2B|

def gfg|ecA dBG|FEF G2:|

|:(3A/B/c/|ded dcB|def gdB|ded dcB|AFD AFD|

ded dcB|def gfg|ecA dBG|FEF G2:|

 

RED STOCKINGS [2]. AKA and see “Kick the World Before You,” "The Priest's Leap [2]." Irish, Slip Jig. D Mixolydian. Standard tuning. AB (Cole, Ryan): AAB (Kennedy). Cole (1000 Fiddle Tunes), 1940; pg. 75. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 66, pg. 15. Ryan’s Mammoth Collection, 1883; pg. 107.

X:1

T:Red Stockings [2]

M:9/8

L:1/8

R:Slip Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A | FGA D2B AFD | FGA D2=c (B2.A) | FGA D2B AFD | =cBc E2F (G2A) |

FGA D2B AFD | FGA D2=c (B2A) | FGA D2B AFD | =cBc E2F G2 || A |

dcd D2B AFD | dcd A2g (f2e) | dcd D2B AFD | =cBc E2F (G2.A) | dcd D2B AFD |

dcd A2g gfe | def efd cBA | BdB AGA B2 ||

                       

RED SUNSET WALTZ. Scottish, Waltz. Scotland, Shetland Islands. A composition of the Shetland fiddler/composer Gideon Stove. Great Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000).

                       

RED TOM OF THE HILLS. Irish, Reel. G Major. Standard tuning. AABB. Composed by the late County Cavan/Philadelphia, Pa., fiddler Ed Reavy (1898-1988). The title is named for a ceili-loving character of Reavy’s boyhood acquaintance from “somewhere in the Monaghan hills.” Joseph Reavy relates his father recalled Tom had something of a palsy and that his had shook at times--Ed’s mother, however, said the man was not to be pitied, for his shaking drove the knife that much deeper into the butter at tea-time. Reavy (The Collected Compositions of Ed Reavy), No. 2, pg. 2.

X: 2

T:Red Tom of the Hills

M:C

L:1/8

C:Ed Reavy

S:The Collected Compositions of Ed Reavy

R:Reel

N:Tom came from somewhere in the Monaghan

N:Hills-no one knew exactly where. He loved to ceili and "pack it in"

N:Tom had a "shakey" hand that could have been a trial to most. But you

N:would never know it from the way Tom could slap large cuts of butter

N:on his bread at tea time. Mom Reavy said Tom's hand was not to be

N:pitied "for it always shook deeper into the butter."

Z:Joseph Reavy

K:G

|GF|DG (3GFG DE =FD|GABc defa|gfdc (3Bcd BG|(3ABc AF DE=FD

 | G2 dG c=FA^F|G(ABc) defa|gfdc B2 (3dcB|cAFA G2:||Bd|g2

bg afbg|(3gfg bg BGGe|=f a^f gfaf|(3fef af dcBc|dg (3gfg bg

(3gfg|BGBd gdBd|=fefa g^fga|fdcA G2:||

                       

RED TOP BOOTS, POCKET FULL OF MONEY. Old-Time, Breakdown. USA, Kentucky. ADad tuning. The tune is similar to “Sally Goodin'.”

                       


RED WING. American (originally), English, Canadian, Australian; Air and Two‑Step. USA; Wisconsin, Missouri, western Massachusetts, western New York, Pennsylvania, Arizona. England, East Anglia. Canada, Prince Edward Island. G Major. Standard tuning. AB (Perlman): ABB (): AA'B (Phillips): AA’BB’ (Johnson). “Red Wing” was composed by the prolific songwriter Kerry Mills in the early years of Tin Pan Alley and published in 1907. Jim Kimball explains it was subtitled "An Indian Fable" or "An Indian Intermezzo" and was part of a fad for things Native-American that swept the country in the first decade of the 20th century. Kimball believes it was commonly recorded on early 78's as a Two Step. In addition to “Red Wing,” Mills also composed “Barn Dance,” "Georgia Camp Meeting" and "Whistlin' Rufus" all of which have entered American fiddling tradition. It begins, "There Once was an Indian maid..." which Woody Guthrie turned into his song "There Once Was a Union Maid." The melody was a very popular staple at northern Wisconsin old time dances (Leavy) and was also recorded as having been in the repertoire of Arizona fiddler Kenner C. Kartchner, and Buffalo Valley, Pa., region dance fiddler Harry Daddario. It was also popular in New England, and in Québec, has been called “an almost canonical part of the Franco-American tune repertory” (liner notes, “Mademoiselle, voulez-vous danser?”). In East Anglia, England, the melody was a common dance tune, while in America various singing calls for western squares were set to the tune.

***

Now the moon shines tonight on pretty Red Wing,

The breeze is sighing, the night bird's crying               

For afar 'neath his star her brave is sleeping,

While Red Wing's weeping her heart away.

***

These words, which refer to World War I, appeared in England, where “Redwing” was played by country musicians as a polka:

***

Oh the moon shines bright on Charlie Chaplin

His shoes are cracking, from want of blacking,

And his little baggy trousers they want mending,

Before they send him, to the Dardanelles.  (Courtesy of Ed Caines)

***

Folklorist Jim Kimball posted on the internet the delightful tidbit that he once knew an elderly Seneca Indian named Avery Jimerson, who was a fine traditional singer from the Allegany reservation. It seems that Avery had a particular fondness for "Red Wing" (Kimaball speculates because of both musical content and racial pride) and remembered an older chief who had played it on fiddle for community square dances. Kimball himself remebers the tune being used for singing calls around western New York, though in recent times it seems to have gone out of favor with callers, “but the old‑timers still like to sing along with the chorus.” Australian Graham McDonald added that “Redwing’s” popularity traversed the Pacific to that continent and was played by “just about every old‑time dance musician in Australia, and used for just about every possible dance, even the waltz.” Tom Paley informs that a Swedish tune, “Wanderer’s Tune from Boda” is nearly identical with “Red Wing” and won a prize for its composer on Swedish radio sometime in the 1930’s.

***

Several writers have noted that Schumann’s "The Happy Farmer,” piano solo Op. 68, No. 10, bears a resemblance to “Red-Wing,” although only in the first part. 

***

Source for notated version: Johnny Morrissey (1913-1994, Newtown Cross, Queens County, Prince Edward Island; late of Vernon River) [Perlman]. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 9. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 155. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 111. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 127. Sweet (Fifer’s Delight), 1965/1981; No. or pg. 26. GRT Records 9230-1031, “The Best of Ward Allen” (1973). Sparton Records SP 210, “Ward Allen Presents Maple Leaf Hoedown, vol. 2.” June Appal JA 014, John McCutcheon ‑ "The Wind that Shakes the Barley" (1977). Kicking Mule KN‑327, "Scartaglen" (1984). Leader LED 2053, Kyle Creed/Camp Creek Boys – “Virginia Reel.” MCA Records MCAD 4037, “The Very Best of Don Messer” (1994). Missouri State Old Time Fiddlers Association 001, Pete McMahan ‑ "Ozark Mountian Waltz." Ok 45477 (78 RPM), The Fox Chasers. Old Hat Records OH-1, Old Hat Band - "The Old Hat Concert Party." Smithsonian Folkways Records SFW 40116, “Mademoiselle, voulez-vous danser?” (1999. Marcel Robidas. Various artists). Topic TSCD607, Billy Cooper, Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded 1962). Wild Goose WGS 320, Old Swan Band – “Swan-Upmanship” (2004).

X:1

T:Red Wing

M:4/4

L:1/8

K:G

G2 GD GA B2|d2 de d2B2|c2 ce gf e2|d2 de d2B2|c2 cB A2c2|

BcBA G2B2|1 A2E2F2G2|ABAG F2D2:|2 A2E2F2A2|G2D2||

|:g2f2|e4 e3c|e2g2f2e2|d4 B4|G2d2e2d2|d4 A4|1

z2 d2e2d2|d4 B4|z2d2:|2 z2 c2B2A2|G3D GABd|g4 g4||

                       

REDBIRD... See "Red Bird...

           

REDDIGAN’S. AKA and see “Abbey Reel,” “The Irish-American,” “Moher Reel,” "The Pullet,” “Tuohey’s Favorite.” Irish, Reel. A Dorian. Standard tuning. AB. Miller (Fiddler’s Throne), 2004; No. 237, pg. 145. RM-01, Randy Miller – “Lore of the Fingerboard” (1990).

           

REDDING FAIR. English, Country Dance Tune (6/8 time). E Minor. Standard tuning. AA'BB. Barnes (English Country Dance Tunes), 1986.

                       

REGAN’S JIG (Port an Riagánaigh). Irish, Double Jig. D Major. Standard tuning. AABB. Source for notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 35, pg. 15.

                       

REDESDALE HORNPIPE, THE. AKA and see “The Underhand.” English, Hornpipe. G Major. Standard tuning. AABB. Composed by James Hill, originally born in Dundee, Scotland, but who lived much of his life in Gateshead, northern England (near Newcastle). EFDSS CD13, Bursledon Village Band – “Hardcore English” (2007. Various artists). MFY014, “The Bursledon Village Band.”

X:1

T:Redesdale Hornpipe

M:4/4

L:1/8

R:Hornpipe

C:James Hill (Gateshead)

K:G

(3def|gdBd GB (3def|gdBd G2 AB|cAFA DFAc|ed^cd B2 (3def|

gdBd GB (3def|gdBd G2 AB|cAFA DFAB|A2 G2 G2:|

|:GA|BGFG DGFG|BGFG D2 AB|cAFA DFAc|ed^cd B2 GA|

BGFG DGFG|BGFG D2 AB|cAFA DFAB|A2 G2G2:|

                       

REDHAIRED LASS. See "Red Haired Lass."

                       

REDICAN’S BOW. Irish, Reel. D Major. Standard tuning. AA’BB’.

X:1
T:Redican's Bow
N:from Mairéad Ní Mhaonaigh
C: Larry Redican?
M:4/4
L:1/8

R:Reel
K:D
D2 FD A,DFD|E2 GE B,EGE|D2 dA BAFD| E2 ED EGFE|
D2 FD A,DFD|E2 GE B,EGE|D2 dA BAFD|1EDEG FDDC:|2EDEG FDD2||
FBBA B2 Bc|dBcA BdcB|A2 cA eAcA|ABce faec|
FBBA B2 Bc| dBcA B2 Bc|dBcA BAFD|1 ABce faec:|2 ABcA BAFE ||

X:1
T:Redican’s Bow

N:from Andrea McFarland
M:4/4
L:1/8
K:D
P:Played (AA) B
|:D2 FD A,DFD|E2 GE B,EGE|D2 dA BAFD|1 E2 ED EGFE:|2 CDEG FE D2 ||
|:B2 BA B2 Bc|dBcA BdcB|A2 cA eAcA|ABce faec|
B2 BA B2 Bc| dBcA B2 Bc|dBcA BAFB|1 ABce faec:|2 ABcA BAFE ||        

                                   


REDICAN'S JIG [1]. AKA and see “Gráinne’s Jig,” “Tommy Peoples’ (Jig)." Irish, Jig. G Major. Standard tuning. AABBCC. The title refers to Dublin-born Irish-American musician Larry Redican (1908-1975), however, the tune appears to be “Gráinne’s Jig,” by Donegal fiddler Tommy Peoples, named after his youngest daughter. Source for notated version: tenor banjo player Tommy Finn (b. 1964, Marlow, Ballymote, County Sligo) [Flaherty]. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 48. Flaherty (Trip to Sligo), 1990; pg. 46. Green Linnett GLCD 1119, Cherish the Ladies - "The Back Door" (1992. Learned from the playing of Paddy Glackin).

 

REDICAN'S (JIG) [2]. Irish, Jig. F Major. Standard tuning. AAB. Source for notated version: tenor banjo player Tommy Finn (b. 1964, Marlow, Ballymote, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pgs. 48-49.

 

REDICAN’S JIG [3]. AKA and see “Larry Redican’s (Jig).”

                       

REDICAN’S (REEL). AKA and see “Fahy’s [3]," “The Galway Reel [2],” “McGlinchy’s [1].”

 

REDICAN’S (REEL) [2]. AKA and see “Rags and Tatters,” “Rattigan’s.” Irish, Reel.

                       

REDICAN'S MOTHER. AKA and see "The Barony Jig [1]," "The Fisherman's Jig," "The Green Gates [2]," "Trealock Lauder,” "The River Lee," Turlough, the Brave.”  Irish, Slip Jig. D Major. Standard tunng. The tune is sometimes attributed to Dublin-born New York musician Larry Redican (1908-1975), however it appears under the title "Trealock Lauder" in O'Farrell's Pocket Companion (c.1800) and as the first part of "The Barony Jig" in the Roche Collection, both predating Redican. Bronx flute player Jack Coen  (b. 1928) says that his friend Redican had the tune from his mother. Coen visited Mrs. Redican in Dublin in 1960 and says she was 104 years old at the time, and played the tin whistle up to the day she died. The “Redican’s Mother” title comes from Jack Coen and honors the elderly woman. Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004). Green Linnet SIF 1057, Mick Moloney (with Jimmy Keane) - "There Were Roses." Green Linnet GLCD 1119, Cherish the Ladies - "The Back Door" (1992). Green Linnet SIF 3067, Jack and Charlie Coen – “The Branch Line” (1992. Reissue of Topic 12TS337). Topic 12TS337, Jack and Charlie Coen – “The Branch Line” (1977). 

X: 1

T:Green Gates, The

T:Redican's Mother

M:9/8

L:1/8

Q:120

S:learned from David Kidd

R:Slip Jig

P:AABB

Z:Lorna LaVerne

K:D

FAA FAd AFD | FAA FAd B2A | FAA FAd AFD | FED DFA B2A |

FAA FAd AFD | FAA FAd B2A | FAA FAd AFD | FED DFA B2A |

f3 faf edB | Aff fef gfe | f3 faf edB | AFE DFA B2A |

f3 faf edB | Aff fef gfe | f3 faf edB | AFE DFA B3 |

                       

REDIGGAN’S. AKA and see “Glen of Aherlow [2].”  Irish, Reel. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 3.

                       

REDMAN'S FAVORITE SCHOTTISCHE. American, Schottische. B Flat Major ('A' part), E Flat Major ('B', 'C' and 'E' parts) & F Major ('D' part). Standard tuning. ABCDE. Ford (Traditional Music in America), 1940; pg. 159.

X:1

T:Redman’s Favorite Schottische

M:C

L:1/8

R:Schottische

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:Bb

(DE)Fd cd B2 | (F^F)Ge de c2 | (G^G)Ag ^fg=fe | cA=F=G FE D2 | (DE)Fd cd B2 |

(F^F)Ge de c2 | (G^G)Ag fecA | GA B2d2B2 ||

K:Eb

(GA)(=Ac) B2g2 | (G_B)(=Ac) B2g2 | g2B2g2B2 | (ba)fd (cd)cB | (GA)(=Ac)B2g2 |

(G_A)(=Ac) B2g2 | B2b2 b(Bcd) | e2g2e2z2 || e2 (de) a2c2 | B2 (AB) e2 G2 |

F2 (EF) B2D2 | E2 (DE) G2B,2 | e2 (de) a2c2 | B2 (AB) e2G2 | F2 (EF) B2D2 |

[G,2E2][G,2E2][G,2E2] ||

K:F

ffff f2 ff | f2e2e2z2 | d’2 e2 c’2 e2 | g2f2f2z2 | ffff f2 ff | f2e2e2z2 | c’2 cc (d2e2) |

[A2f2][A2a2][A2f2]z2 || 

K:Eb

bbbb b2g2 | (fed)e B2e2 | f2B2d2B2 | (fed)e f2B2 | bbbb b2g2 | (fed)e B2e2 |

ff B2c2d2 | [G2e2][G2e2][G2e2]z2 ||

                       

REDMAN'S REEL. AKA and see "Richmond Cotillion." Old‑Time, Breakdown. D Major ('A' part) & A Major ('B' part). Standard tuning. AABB. Christeson (1984, pg. 59) says his "Breakdown #92" by Bill Katon (Missouri) is similar to the "Redman's Reel" printed in Ira Ford's collection. Bayard finds the first part known to fiddlers in various parts of the country—see also his Pennsylvania collected "Who Hit Nellie With the Stove Pipe" and Cazden's New York collected "Polka Reel." Ford (Traditional Music in America), 1940; pg. 116.

X:1

T:Redman’s Reel

M:2/4

L:1/8

R:Reel

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:D

Ad/e/ f/g/f/e/ | dF A>A | cA/A/ cB/c/ | BA/B/ A/G/F/G/ | Ad/e/ f/g/f/e/ | dF A>A |

cA/A/ Bc | [Fd] [F3d3] :|

K:A

[Ae>]f e/d/c/d/ | [Ae]a c’2 | c’b b/a/g/a/ | ba a/g/f/e/ | [Ae>]f e/d/c/d/ |

[Ae]a c’>c’ | c’b b/a/g/a/ | ba [d2a2] :|

           

REDMOND’S FROLICS. Irish, Reel. G major. Standard tuning. AB. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 235.

X:1

T:Redmond's Frolics

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:G

GABc dBcB|AFDc BcAF|GABc dBcB|AFDF AG G2|

GABc dBcB|AFDc BcAF|GABc dBcB|AFDF AG G2||

g2 ag fgag|fdde f2 af|gfgf g2 ag|fdcA BG G2|

g2 ag fgag|fdde f2 af|gfgf gbag|fdcA BGAF||

                       

REDMORE JIG, THE. Irish, Single Jig. D Major. Standard tuning. ABB. Source for notated version: flutist and farm laborer John Ferguson (Rathangan, Co. Wexford) [Darley & McCall]. Darley & McCall (The Darley & McCall Collection of Traditional Irish Music), 1914; No. 74, pg. 34.

X:1

T:Redmore Jig, The

M:6/8

L:1/8

R:Jig

S:Darley & McCall – The Feis Ceóil Collection (1914), No. 74

Z:AK/Fiddler’s Companion

K:D

F3 F2F | F2d cAF | G3G2G | G2B AFD | F3 F2F | F2d cAF | G3 G2B |

AFD D3 | FAF FAF | F2d cAF | GBG GBG | G2B AFD | FAF FAF |

F2d cAF | G3 GAB | AFD D3 |: d2e f2g | a2g f2g | a2g f2d | e2A A3 |

d2e f2g | a2g f3d | c2A GAB | AFD D3 :|

           


REDOWA POLKA, THE. English, Polka. D Major {Carlin}: G Major ('A' and 'B' parts) & C Major ('C' part) {Callaghan, Plain Brown, Trim}. Standard tuning. AABB (Carlin): AABBCC (Callaghan, Plain Brown, Trim). "Redowa" is the name of a waltz-like dance movement popular in the nineteenth century, in ¾ time. The dance originated in Bohemia and involved a change of weigh that, while appearing graceful to the onlooker, involved a level of skill that could only be brought off by better dancers. Eventually hybrid forms were created—the Polka Redowa and the Redowa Polka. The Polka Redowa was a polka dance set to redowa music in ¾ time; while a Redowa Polka was a redowa dance set to polka music in 2/4 time. Published versions date to the 1850’s (see http://nla.gov.au/nla.mus-an6304054), particularly an 1853 collection (published by in Australia by James Turner Grocott) of dance music arranged or composed by Louis Jullien (1812-1850), a prominent showman, composer, publisher and concert organizer of the mid-19th century. He preformed at Drury Lane and the Zoological Gardens in London, yet in the end squandered his fortune and died a pauper in France. The ‘B’ part is melodically similar to that of “The Girl with the Blue Dress On [1].” Music manuscript versions of the tune can be found in the Thomas Hardy family manuscripts (Dorset, early 19th century) and the Michael Turner manuscript (Warnham, Sussex, 1842-52). In the John Clare manuscript the piece appears under the generic title “Polka” although written in 6/8 time, according to Barry Callaghan (2007). Callaghan (Hardcore English), 2007; pg. 69. Carlin (Master Collection), 1984; No. 7, pg. 18 (appears as "The Redower Polka"). Plain Brown Tune Book, 1997; pg. 36. Trim (Thomas Hardy), 1990; No. 57.

X:1

T:Redowa Polka, The

M:4/4

L:1/8

K:G

|:GB d2d2d2|dedc B4|GA B2GA B2|B2A2A4|

AB c2c2c2|cdcB A4|FG A2 FG A2|A2G2 G4:|

|:GB d2 g2d2|d2c2 cBc2|FA c2f2e2|e2d2 d^cd2|

GB d2g2d2|d2c2 cBc2|FA c2f2e2|ddef g4:||

|:G2Bc BcBc|A2^cd cdcd|B2G2 A2B2|c2e2 a2g2|

G2Bc BcBc|A^cd cdcd|B2G2A2B2|c2c2 c4:|

           

REDOWER POLKA, THE. AKA and see "The Redowa Polka."

           

_______________________________________

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