The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
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ROA - ROB |
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] |
ROAD TO ABBEYFEALE. Irish, Jig. G Major. Standard tuning. AABB. Abbeyfeale is a town in the
extreme west of
X:1
T: The Road to Abbeyfeale
C: M. Mulvihill
Q: 325
R: jig
Z:Transcribed by Bill Black
M: 6/8
L: 1/8
K: G
B/c/ | d^cd gdB | cAG FGA | d^cd gdB | cAB c2 c |
d^cd gdB | cAG FGA | def gdB | cAF G2 :|
B/c/ | dgg dgg | fdc ABc | dgg dgg | fdB c2 c |
dgg
dgg | fdc ABc | d^cd gdB | cAF G2 :|
ROAD TO ALSTON. English. From the title, perhaps a Cumbrian
tune.
ROAD TO ARISAIG. See "Fight About
the Fireside."
ROAD TO ATHLONE, THE (An Botar Go At-Luain). Irish, Slip Jig. F Major/D Minor.
Standard. AABB. O'Neill (Krassen), 1976; pg. 87. O'Neill (Music of Ireland:
1850 Melodies), 1979; No. 1170, pg. 220.
X:1
T:Road to Athlone, The
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:F
f | cdB ABG FAc | cAF FAc d2f | cdB
ABG FAc | fga gfe d2 :|
|: c | fef gfe dcA | fef gfe d2 f/g/
| aff gfe def | cAF FAc c2 :|
ROAD TO
ROAD TO BALINTORE. Scottish, Slow Air (3/4 time). D Major. Standard. One part. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 16.
ROAD TO BALLINAKILL, THE. Irish, Jig. G Major. Standard. AABB. Composed
by flute player Mike Rafferty, whose birthplace was the
X:1
T: Road to Ballinakill
S: Mike/Mary Rafferty
Q: 325
R: jig
M: 4/4
L: 1/8
K: G
A | BAB GBd |
BAB GBd |
A | B2 d gdB | c2 e gec | B2 d gdB | Agf edc |
B2
d gdB | c2 e gec | BdB cAF | AGF G2 :|
ROAD TO BALLYMAC. Irish, Reel. G Major. Standard
tuning. AABB. Source for notated version: John Blessing (Treoir, 1991) [Miller]. Miller (Fiddler’s
Throne), 2004; No. 242, pg. 147.
ROAD TO BALQUHIDDER, THE. AKA and see “Campbell of Lochnell’s Reel.”
Scottish, March.
ROAD
TO BATOCHE, THE. Canadian, Reel. G Major (‘A’ part)
& E Minor (‘B’ part). Standard tuning. Attributed to
ROAD TO BERWICK, THE. AKA
and see "The Buck of the
Cabrach [1]." Scottish, Reel. D Major. Standard tuning. AAB (Glen):
AABB' (
X:1
T:Road to Berwick, The
L:1/8
M:C|
K:D
F<DAF BGAF|DAdf e2E2|F<DAF
BGAF|Adce d2D2:|
f/g/a fd bgag|f/g/a fd b2 eg|f/g/a
fd bgag|fdec d2D2|f/g/a fd bgag|
f/g/a fd b2 eg|fdge afbg|fdec d2D2||
ROAD TO
***
It's a long road to
***
may possibly account for this title;
if so, the fact emphasizes the close connection between playparty and dance
tunes to which we have already referred (see Introduction). Mr. Devan stated
that there were words known to the tune in
X:1
T:Road to
M:C|
L:1/8
K:D
Ade|f4 f2ef|g2f2e2e/f/d|c2d2e2f2|d2A2F2A2|f6 ef|g2f2e2d2|c2d2e2c2|d6:|
|:fg|a4
a2^ga|b2a2gaf2|g6 fg|a2g2f2e2|f4 f2ef|g2f2e2d2|c2d2e2c2|d2A2d2:|
ROAD TO BOYLE, THE (An Bóthar go Mainistir na Búille). AKA and see "Delahanty's
Hornpipe," “Delahunty’s Hornpipe,”
"The Home Brew," “The Iron Gate,” “John Quinn’s [1],” “A Kerry Hornpipe [1],” "Sonny Murray's," "Wicklow Hornpipe.” Irish, Hornpipe. D
Major. Standard tuning. AABB. The tune is called “Wicklow Hornpipe” in O’Neill,
and has been printed as “A Kerry Hornpipe” in Treoir (III, 3, pg. 11). Source for notated version: flute player
Seamus Tansey (
ROAD TO
ROAD TO
ROAD TO CASHEL. Irish, Reel. B Minor (7th). Standard tuning. AAB.
Composed by
X:1
T:Road to Cashel, The
M:C|
L:1/8
C:Charlie Lennon
R:reel
D:Charlie Lennon: Musical Memories
Z:Lorna LaVerne
K:Edor
"Em"(FE)ED E2-~E2|(FE)(3EEE"Bm"
(dE)(Bd)|
"Em"(FE)ED
E2(BA)|"D"(FDd)A "Bm"(Bd)(AB)|
"Em"(FE)ED
E2-~E2|(FE)(3EEE"Bm" (dE)(Bd)|
"Em"(FE)(ED)
E2(BA)|"D"(FDdD) "Bm"(Bd)(Ad)|
(BAB)d
(fd)(ef)|"D"(dfab) afed|"G"((3B^cd g)e "D"~f2
(fe)|
"Bm"(dB)(Ad)
"Em"(BE)(FA)|"Bm"(BAB)d (fd)(ef)|"D"(df)(ab)
(afe)f|
"Bm"(bf)~f2
"F#m"(afe)f|"Bm"(bf)(af) "D"(edBA):|
"Em"(FE)(ED)
E4||
ROAD TO CLONMEL, THE (Bóthar Chluain Meala). Irish, Reel. D Major. Standard
tuning. AB. Source for notated version: collected in the mid-20th century from
the playing of fiddler William Jones (County Fermanagh), who composed it, by
Liam O’Donnolly (County Tyrone and Belfast) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 180, pg. 83.
ROAD TO
ROAD TO
ROAD TO CULLENSTOWN, THE. Irish, Reel. G Major. Standard tuning. AA’BB’.
X: 1
T: Road to Cullenstown
M: 4/4
L: 1/8
S:
R: reel
D: "Live from
Z: transcribed by "Barney"
K: G
(3ABc |: d2 de dBGA | B2 BG AGEG | Bdde dBGA |
BAAG A3 c |
Bd ~d2 e2 dB | d2 dB AGED | ~B3 G AGEG |1 DGGF
GABc :|2 DGGF G3 ||
A | Bd ~d2 ce ~e2 | d2 de dBGA | Bd ~d2 ed ~d2 |
gedB A3 c |
BGBd
e2 dB | d2 dB AGED | ~B3 G AGEG |1 DGGF G2 c :|2 DGGF G3 ||
ROAD TO
ROAD TO DRUM, THE. Irish, Hornpipe. D Major. Standard tuning.
AA’BB’. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy
(1898-1988). Joseph Reavy, Ed’s son, explains:
***
holiday to attend a session of music in Drum. It was the first time
‘Rakish Paddy’.
***
Reavy (The Collected Compositions of Ed Reavy), No. 115, pg. 128.
ROAD TO
ROAD TO
ROAD TO
X:1
T:Road to
R:jig
C:From Altan, The Red Crow
M:6/8
Z:transcribed by Gerry Strong
L:1/8
Q:98
K:D
FAA ABd|BAG AGE|~G3 ~B3|AGA E2 D|FAA
ABd|BAG AGE|~D3 F2 A|GEA D3:|
|FAA ABc|ded ~B3|~G3 ~B3|AGA E2
D|FAA ABc|ded AGE|~D3 F2 A|GEA D3|
|FAA ABc|ded ~B3|~G3 ~B3|AGA E2 D|A2
D ABc|ded AGE|~D3 F2 A|GEA D3|
ROAD TO GARRISON, THE.
AKA and see “The Godfather,” “Mauice Lennon’s [2].” Irish, Reel.
The original title of fiddler Maurice Lennon’s composition.
ROAD TO GLENFINNAN, THE. Scottish, Reel. E Minor. Standard. AA’BB’CCDD.
Composed by Neil Campbell (MacBeat). Martin (Ceol na Fidhle), vol. 4, 1991; pg. 8.
ROAD TO GLOUNTANE, THE. AKA- “Road to Glauntaune.” AKA – “Cuz Teahan’s [2].” Irish, Fling (4/4
time) or
See also listing at: Alan Ng’s
Irishtune.info |
X:1
T: Cuz Tehan's Slow Reel
T:Road to Glountane
M: 4/4
Q: 325
L: 1/8
R:
C: Cuz Tehan
D: The Windy Gap - Laurence Nugent
Z: David Dahl
K:G
E | D3 E G3 A | ABdB AGed | e2 dB
GABe | d2 BG (3ABA GE |
DB,DE G3 A | ABdB AGed | e2 dB GABe
|1 d2 AB G3 :|
|2 d2 AB g3 ||
e | dBde g2 (3gfe | dBAG EGGA | B2
AD BAAD | BAAG EGGe |
dBde g2 (3gfe | dBAG EGGA | B2 AD
BAAG |1 BdAB g3 :|
|2 BdAB G4 ||
X:2
T:The Road to Glountane
C:"Cuz" Teehan
R:highland
M:C|
L:1/8
K:A
E2EF A2AB|ceec BAF2|(3faf ec ABBA|ecBA FBAF|
E2EF A2AB|ceec BAF2|(3faf ec ABBA|1 ecBc A2AF:|2 ecBc A2af||
|:ecef a3f|ecBA FAAB|cBBA cBBA|cABA FAaf|
ecef a3f|ecBA FAAB|cBBA cBBA|1 ceBc A2af:|2 ceBc A2AF||
ROAD TO GLENLOUGH. AKA and see “Limerick
Lasses [2]."
ROAD TO HOLLYHILL, THE (An Botar Go Cnoc-Cuileann). Irish, Slow Air (3/4 time). A
Mixolydian. Standard. AB. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 347, pg. 60.
X:1
T:Road to Hollyhill, The
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:Amix
A AB|c2 ec/d/ ee|f2 dc/d/ ea|e2
d>B AA|(G2 G/)A/B/G/ AB|c2 dc/d/ ef|
g>f ed ea|e2 d>B AA|A3||e
ef/g/|a>g fe fg|f>e dc/d/ ea|e2 d>B AA|
G>A B/A/G/B/ AA|c2 dc/d/
ef|g>f ed ea|c2 d>B AA|A3||
ROAD TO HOULL, DA. See "Rodd to Houll."
ROAD TO
ROAD TO JENKINS. Old-Time, Breakdown. A Major/Mixolydian. Standard tuning. AABB. Source
for notated version: Joe Greene [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 199.
ROAD TO KILMALLOCK. Irish, Reel. G Major. Standard tuning. AB. Learned by Joyce as a child
in Co. Limerick, c. 1840. There exists famous ruins of an ancient Dominican
frairy at Killmallock (see note for “Ruins
of Killmallock” for more). Joyce (Old
Irish Folk Music and Songs), 1909; No. 74, pg. 40.
X:1
T:Road to Kilmallock
M:C
L:1/8
R:Reel
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
BA|G>ABc d2 fa|gfed B2
cB|A>Bcd e2 fg|agfe d2 B>A|Bdef gbaf|
gedB A2 Bd|g2 dB [df][ce][Bd][GB]|A4
G2z||d|g2 ga gfed|egdc B3B|
A2 AB ABcd|egfd e3d|gabg efge|dedB
A2 Bd|g2 dB [df][ce][Bd][GB]|~A4 G2||
ROAD TO KNOCK, THE. AKA and see "Gearrchailiu an Duin
Mhoir," “Morrison’s (Reel) [1],”
“The Dunmore Lasses.”
ROAD TO KNOCK [2], THE. Irish,
Reel. Composed by fiddler James Kelly, originally from
ROAD TO LISDOONVARNA
[1]. Irish, Slide or Single Jig. E
Dorian. Standard tuning (fiddle). AB (Silberberg): AABB (most versions). The
melody appears in both single jig and single reel versions (see “Road to Lisdoonvarna” [2]). It was
popularized in the United States by Grey Larsen & Malcolm Dalglish, who
paired the tune with the similar “O’Keeffe’s
Slide [1].” Sources for notated versions: Chieftains (
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Road to Lisdoonvarna [1]
M:12/8
L:1/8
S:Single Jig
S:Jay Ungar
K:
E2B B2A B2c d3|F2A ABA D2E FED|E2B
B2A B2c d3|cdc B2A B2E E2D:|
|:e2f gfe d2B Bcd|c2A ABc d2B B3|e2f
gfe d2B Bcd|cdc B2A B2E E3:|
ROAD TO LISDOONVARNA
[2]. AKA and see "All the Way to Galway [1],"
“Flash Away the Pressing Gang,” "The
Galway Girls," “High Way to
Galloway,” "Sarsfield March,"
"The March of the
Tribes to Galway," "Slash Away the Pressing Gang,"
"Yankee Doodle Dandy."
Irish, Reel. D Mixolydian. Standard tuning (fiddle). AABB. The same tune as
version #1; it is played as a reel or single jig (or sometimes both, as in the
case of the Chieftains recording). It has also been called a mixolydian version
of the march “All the Way to
X:1
T:Road to Lisdoonvarna, The [2]
T:All the Ways to Galway
R:reel
Z:id:hn-reel-195
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
K:D
d2fd cA~A2|BG~G2 cA~A2|d2fd cA~A2|BGAF D4:|
~A3G AB=cA|GAGF EFG2|ABAG AB=cA|GE=cE D4|
DAAG AB=cA|GE~E2 =cEGE|DAAG AB=cA|GE=cE D4|
ROAD TO
ROAD TO LURGAN, THE (An Botar Go Lurraga). AKA and see "Cailleach an Tuirne," "Cailin an Tuirna," "Garrett Barry{‘s Jig},"
"Gearoid de Barra," "Is Maith Le Nora Ciste" (Nora
Likes Cake), "Kiss Me Darling,"
"The Ladies' Fancy [3],” "The Maid at the Spinning Wheel,"
"Maire an Phortair," “Noran Kista,” “Nora’s
Purse,” "Norickystie,"
"Port an Achreidh,” “Sergeant
Early's Jig," “The Spinning
Wheel [4].” "Tune the Fiddle,”
"The Wild Irishman [4],”
"Wreathe the Bowl.” Irish, Double
Jig. G Major. Standard tuning. AABB. Not to be confused with the reel recorded
by Paddy Killoran “On the Road to Lurgan.” O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 830, pg. 154. O'Neill (Dance Music of
X:1
T:Road to Lurgan, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
D|G3 B2G|c2A B2G|GBd cAG|F3 DEF|GAG
B2G|c2A BAG|ded cAF|G3 G2:|
|:c|BAG AFD|DED FED|BAG AFD|F3
ABc|BAG AFD|DED FED|B/c/dB cAF|G3 G2:|
ROAD TO MALVERN.
Old-Time, Breakdown. A Major. A modern composition by West Virginia
fiddler Jim Childress. Jim Childress – “Turkey Sag”
(2004).
X:1
T:Road to Malvern
M:C|
L:1/8
C:Jim Childress
K:A
cd|efed cBAc|BAFA E3D|FGAF EFAB|cBAc
B2cd|
efed cBAc|BAFA E3D|FGAF EFED|CA,B,C
A,2:|
|:AB|cBAF EFA2|B3c B2 AB|cBA2
[A4f4]|[A6e6]AB|
cBAF EFA2|B3c B2AB|cABc A3:||
ROAD TO MAYSVILLE. AKA and see “Maize.” Old-Time, Breakdown. C Major.
ROAD TO MONALEA. Irish, Reel. Composed by
X:1
T:The Road to Monalea
M:4/4
L:1/8
Q:120
C:Colm O'Donnell
S:Farewell to Evening Dances
R:Reel
P:2
D:Farewell to Evening Dance
Z:David Dahl
K:G
dcAc d3e|dcAG EDD2|cAGA cded|cAGE
EDD2|dcAc d3e|
dcAG EGDG|EGAG cded|cAGE EDD2:|
dcAc d2cd|eaag egd2|gede c3d|egag
edd2|dcAc d2cd|eaag egd2|
cGGG cded|cAGE EDD2:|
ROAD TO NEWBRIDGE, THE. AKA and see “Temperance
Reel,” “Teetotaler(‘s Reel).”
Irish, Reel. G Major. Standard tuning. ABCD. The title is from the great Kerry
fiddler Pádraig O’Keeffe.
X:1
T:The Road to Newbridge
T:The Teetotaler
D:The Sliabh Luachra Fiddle Master -
Pádraig O'Keeffe (RTE CD 174)
M:4/4
L:1/8
Z:Transcribed by Paul de Grae
K:G
G3 A BABc|d2 eB dBAc|BE ~E2 BE
~E2|D2 FA DAFA|
[G4B4] GABc|dBeB dBAc|BE ~E2
EDEF|GBAF G3 (3DEF||
G2 GF GABc|dBeB dBAc|BE ~E2 BE
~E2|D2 FA DAFA|
GBAF GABc|dBge dBAc|BE ~E2 EDEF|GBAF
G4||
Beef e2 ef|gaaf gfed|Bd ~d2 ed
~d2|faaf gfed|
Beef e4|fgaf gfed|B2 Ac BEED|GBAF
G4||
(3B^cd ef e2 e2|fgaf gfed|Bd ~d2 ed
~d2|faaf gfed|
Bdef e4|faaf gf (3efg|a2 af gfef|~g2
ge dB~BA||G8||
ROAD TO
X:1
T:Road to
M:2/4
L:1/8
S:William
Sydney Mount (1807-1868) manuscripts, c. 1840’s?
N:”From
Rickardson”
Z:AK/Fiddler’s Companion
K:G
G>B A/G/E/G/ | G>B A/G/E/G/ | GG/A/ BB/G/ | EA/G/ E/G/G/E/ ||
D/E/G/A/ Bd | e/f/g/e/ e/d/B/d/ | ee/d/ BB/G/ | AA/G/ E/G/G/E/ |
D/E/G/A/
B/d/d | e/f/g/f/ e/d/B/d/ | ee/d/ BB/G/ | AA/G/ E/G/G ||
ROAD TO RASSAN. Irish, Reel. G Major. Standard. AABB. Composed by fiddler and pianist Josephine
Keegan (b. 1935), of Mullaghbawn, south
ROAD TO RECESS, THE. Irish, Reel. G Major. Standard. AB. An
anonymous tune titled by Bill Black. Recess is a town in north
X:1
T: Road to Recess
S: Mike Reynolds
N: Appears to be a setting of "The Hare's Paw"
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
GABG ABGA | BE (3EDE GEDE | GFGA BGBd | (3efg fg egdB |
GABG ADGA | BE (3EDE GEDE | GFGA BGBd | (3efg fg e2 ef ||
g2 fg edBc | d2 ed Bdef | g2 fg edBc | (3efg fg edef |
gefd
edBc | d2 ed Bdef | (3efg fa gfed | ea (3aga gedB ||
ROAD TO
ROAD TO
ROAD TO
X:1
T:Road to
M:9/8
L:1/8
R:Slip Jig
S:Kerr – Merry Melodies, vol. 4, No. 242 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Bb
FGF D2E F3
| GAG E2F GAB | FGF D2E F3 | c2c c2B AGF :|
|: Bcd dfc
d3 | Bcd dfd cAF | Bcd dfc d3 | c2c c2B AGF :|
|: BcB ABA
G3 | d2G G2A Bcd | BcB ABA G3 | g3d2c BAG :|
ROAD TO SKYE. AKA and see "Paddy's
Resource [1]," "The Rover [2]."
Canadian, Irish; Jig.
ROAD TO THE GLENS. Irish, Jig. D Major. Standard.
AABB. Compare with “Andy McGann’s
(Jig) [2].” Miller (Fiddler’s Throne),
2004; No. 92, pg. 65. Treoir, vol.
19, No. 1, 1987.
X:1
T:Road to the Glens
M:6/8
L:1/8
R:Jig
S:Treoir, vol. 19, No. 1, 1987
K:D
A,|DEF EDB,|GAB AFD|GBd AFD|FEE
E2A,|DEF EDB,|
GBd AFD|B/c/dB AFD|EDC D2::d|fed
ecA|B/c/dB AFD|
GBd AFD|FED E2d|fed ecA|dcB AFD|GAB
E/F/GE|FDD D2:|
ROAD TO THE ISLES. AKA and see “The Bens of Jura.”
"The Burning Sands of Egypt."
Scottish, Canadian, American; (Pipe) March (duple time):
***
Later the tune was known as “The
Bens of Jura” (‘ben’ being the Gaelic word for mountain). Jim Coogan remembers
learning the tune from Irish musicians in
X:1
T:Road to the Isles
C:Trad.
R:Barndance
M:4/4
L:1/8
K:D
A>d|:"D"f4
a>fe>f|"G"d>ed>c B2 d>c|B>GB>c d>e
f<a|"A"e6 A>d|
"D"f4
a>fe>f|"G"d>ed>c B2 g2|"D"f>af>d
"A"A>c e<c|1 "D"d6 A>d:|2 "D"d6 fg|
|:"D"a>AA>A
f>AA>A|"G"d>ed>c B2 d>c|B>GB>c d>e
f<a|"A"e6 f>g|
"D"a>AA>A
f>AA>A|"G"d>ed>c B2 g2|"D"f>af>d
"A"A>c e<c|1 "D"d6 fg:|2 "D"d6 z2|
ROAD TO WEST MABOU, THE.
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.
135, pg. 51.
ROADSIDE FIDDLER, THE. AKA and see “The
Lumberjack.”
ROADSIDE POLKA. Canadian, Polka.
ROANE
ROARING BARMAID. Irish, Jig. G Major. Standard. ABB. Composed by Anthony “Sully”
Sullivan. Sullivan (Sully’s Irish Music
Book, Vol. 1), 1979. Tabache. Green Linnet GLCD
1200, Lunasa – “Otherworld” (mislabled as “The Butlers of Glen Avenue”).
X:1
T:Roaring Barmaid, The
L:1/8
M:6/8
C:Anthony Sullivan
R:jig
D:Lunasa "Otherworld"
D:Michael McGoldrick
"Fused"
D:Danu "Think before you
think..."
Z:Hauke Steinberg
K:G
~G3 EGD|~G3 EGD|~G3 BGG|dGG ~B3| ~G3 EGD|~G3 EGD|G2B deg|deg edB|
~G3 EGD|~G3 EGD|~G3 ~B3|dBG ~B3| ~G3 EGD|~G3 EGD|GAB deg|deg edB||
|:deg bb2-|bab deg|bb3ag|age deg|
bb3ab|agg bgg|agg egg|deg edB:||
X:2
T:Roaring Barmaid, The
R:jig
C:Anthony Sullivan
N:This transcription is from the
band recordings of Danu and Lunasa (see
N:Discography). Note that both groups mistakenly call the
tune "The
N:
N:than notated here.
D:Danu "Think before you
think..."
D:Lunasa "Otherworld"
Z:Ken Laberteaux
M:6/8
L:1/8
K:G
T:Danu Version
~G3 EGD|~G3 EGD|~G3 BGG|dGG BdA|
~G3 EGD|~G3 EGD|GAB deg|deg edB:|
|:deg b3|bab deg|b3 bag|edB deg|
b3 bab|agg bgg|agg egg|deg edB:|
T:Lunasa Version
GFG EGD|GFG EGD|DEG BGG|dGG BAB|
GFG EGD|GFG EGD|GAB deg|deg edB:|
|:deg b2b-|bab deg|b2 b2 ag|edB deg|
b2 b2 ab|agg bgg|agg egg|deg edB:|
ROARING JELLY. AKA and see "Smash the
Windows [1]," "Jelly Jig"
(American). English, Irish, Scottish; Jig. D Major. Standard. AB (Kerr): AAB
(Athole, Kennedy, Raven): ABB (Gow). A seemingly plausible story attached to
the title is that it refers to the plastic explosive gelignite, or the
"jelly" of World War II fame, which itself actually seems to have
been invented in the 1880's. Gelignite’s predecessors, the substances dynamite
(patented in 1867 and invented by Swedish industrialist Alfred Nobel {of Nobel
Prize fame} when he stabilized liquid nitro-glycerine by embedding it in
kieselgur) and nitro-glycerine itself (first made by Ascanio Sobrero in 1846),
considerably predate this time. The title “Roaring Jelly,” however, appears in
a Gow’s Complete Repository (Part 3)
of c. 1806, which seems to preclude a connection with explosives. Another explanation proposed for the title
is that in the process of making jelly one must boil it, and this boiling can
sometimes become furious and noisome, thus “Roaring Jelly.” Nigel Gatherer has
in his possession a 78 RPM recording of the melody played in waltz time,
entitled on the label “Jelly Well Spread.” Carlin (The Gow Collection), 1986; No. 439. Gow (Complete Repository), Part 3, 1806; pg. 34. Kennedy (Fiddler’s Tune Book), Vol. 1, 1951; No.
82, pg. 40. Kerr (Merry Melodies),
vol. 1; No. 44, pg. 40. Raven (English
Country Dance Tunes), 1984; pg. 107. Stewart-Robertson
(The Athole Collection), 1884; pg.
137.
X:1
T:Roaring Jelly
T:Smash the Windows
M:6/8
L:1/8
R:Jig
B:Stewart-Robertson - The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D Major
A,|DED F2A|d2f ecA|G2B F2A|E2F GFE|DED F2A|d2f ecA|Bgf edc|d3 d2:|
a|a2f f2d|A2a agf|g2e e2c|A2g gfe|f2d g2e|a2f bag|fed edc|d3 d2a|agf fed|
Adf
agf|gfe ecA|Ace gfe|fed gfe|agf bag|fed edc|d3 d2||
ROARING LION. Old‑Time. The title appears in a list of traditional
ROARING MARY (Máire Bhéiceach). AKA and see “Foxie Mary.” Irish, Reel. D Major
(Flaherty, Harker/Rafferty, Kennedy, Mallinson, Miller, Mulvihill): D
Mixolydian (Breathnach). Standard tuning. AB (Flaherty): AABB (Breathnach,
Harker/Rafferty, Kennedy, Mallinson,
Mulvihill). The tune is often associated with accordion player Joe Cooley, who
typically played it last in a set of three tunes along with "Humours of Tulla" and "The Skylark [1].” The medley (sometimes just
“The Skylark” followed by “Roaring Mary”) is still a popular combination at
sessions. Martin O’Connor is said to have mentioned that Roaring Mary was one
of Joe Cooley’s students. The title, however, is very close to “Foxie Mary,” which
title the tune appears under in Ryan’s
Mammoth Collection, 1883 (pg. 30).
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:Roaring Mary
M:C|
L:1/8
R:Reel
K:D
D~F3 ADFA|d~f3 g2 fe|dedB A~F3|DFAF
GFEF|
D~F3 ADFA|d~f3 g2 fe|dedB ABdf|afeg
fd d2:|
|:abag fgfe|dedA BAFA|d~g3 b~g3|a~f3
ge e2|
D~F3 ADFA|d~f3 g2 fe|dedB ABdf|afeg
fd d2:|
X:2
T:Roaring Mary
R:reel
Z:id:hn-reel-362
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:C|
K:D
DF~F2 AF~F2|ABdf g2fe|d2dB ABde|fede fe~e2|
DF~F2 AF~F2|ABdf g2fe|d2dB ABdf|1 afeg fd~d2:|2 afeg fddf||
|:~a3g ~f3e|d2dA BAFA|dg~g2 bg~g2|af~f2 ge~e2|
DF~F2 AF~F2|ABdf g2fe|d2dB ABdf|1 afeg fddf:|2 afeg fd~d2||
"Variations:"
|:DF~F2 AF~F2|df~f2 gefe|dedB ABde|fede fe~e2|
DF~F2 AF~F2|df~f2 gefe|dedB ABdf|1 afeg fd~d2:|2 afeg fddf||
|:adag fgfe|dcdA BA~A2|dg~g2 bgdg|afdf ge~e2|
DF~F2 AF~F2|df~f2 gefe|dcdB ABdf|1 afeg fddf:|2 afeg fd~d2||
ROARING RIVIE. Scottish, Strathspey. D Major. Standard tuning. AAB. Stewart-Robertson
(The Athole Collection), 1884; pg.
112.
X:1
T:Roaring Rivie
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
c|A<d A>F D<d A>F|D<d A>F B<EE>B|A<d A>F D<A f>d|g>ba>g f<dd:|
f/g/|a<f d>f A<d f>d|A<d A>F B<E Ef/g/|a<f d>f A<d f>d|g>ba>g f<d df/g/|
a<f
d>f A<d f>d|A<d A>F G<E E>F|D>d A>d D<d
f>d|g>ba>g f<dd||
ROARING WILLIE'S [1]. AKA and see “Rattling,
Roaring Willie.” Irish, Slip Jig. A Mixolydian. Standard tuning. AB. From
the Scots song “Rattling Roaring Willie.” Cole (1000 Fiddle Tunes), 1940; pg. 71. Ryan’s Mammoth Collection, 1883; pg. 103. White’s Unique Collection, 1896; No. 18, pg. 4.
X:1
T:Roaring Willie’s Jig [1]
M:9/8
L:1/8
R:Slip Jig
S:White’s Unique Collection (1896), No. 18
Z:AK/Fiddler’s Companion
K:A
f
|| ecA
agf
(ec)A cef | (=gf)g B=GB (d2B) |
f | ecA acA ecA | B=GB =gdB (d2f) | ecA acA ecA | a^gf ecA Bcd |
ecA
acA ecA | B=GB =gdB (d2f) | ecA acA ecA | a^gf ecA Bcd ||
ROARIN' WILLIE [2]. See "Rantin' Roarin'
Willie."
ROAST BEEF OF OLD
***
Early published versions appear in
Walsh's British Musical Miscellany
and The Universal Musician. A morris
dance version was collected from the
***
Oh! the roast beef of old
Oh! for old
***
***
In the Mayor of Casterbridge, the
X:1
T:Roast Beef of Old
L:1/8
M:6/8
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:B Flat Major
F|B>cB ABc|dBd c>BA|B>cB
A>GF|GCE F2F|GEG B>AG|
FDB, G3|c>de A>GF|B3
F2D|E>FG FBA|(B3 B2)||
X:2
T:Roast Beef
M:6/8
L:1/8
S:Robinson – Massachusetts
Collection of Martial Musick (1818)
K:D
A|dcd Bcd|fdf ecA|dfd cAc|BGB A2:|
|:B/c/|BGB dcB|AG A/B/ A/z/ z2|def
ecA|def AGF|GAB cBc|d z2 z2:|
ROASTED WOMAN. English, Morris Dance Air. This song was collected from the Cotswold
ROASTING CHESTNUTS. Scottish, Hornpipe. D Major. Standard tuning. AAB. A modern composition
by Alan Lerwick (USA), 1983. Lerwick (Kilted
Fiddler), 1985; pg. 52‑53.
ROAXIE ANN. Old‑Time. The title appears in a list of traditional
ROB AN LUGI. AKA and see “Blair Drummond.”
Scottish, Strathspey. A Mixolydian. Standard tuning. AABB (Kerr) AABB'
(Athole). A tune by this name (“Rob on Lugy”) appears in MacKercher’s Collection (c. 1830). “Blair Drummond” is the name of
the tune in pipe collections, and in fiddle collections when set in four parts,
report Dunlay and Greenberg. Kerr (Merry
Melodies), Vol. 2; No. 46, pg. 8. Stewart-Robertson (The Athole Collection), 1884; pg. 36.
X:1
T:Rob an Lugi
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
R:Strathspey
K:A
e|A/A/A c2 e>a c>A|A/A/A c2 d>=g B=G|A/A/A c2 e>ac>a|=g>a ef g>dB>=G:|
a2 ef/g/ a>ec>A|a2 e>f =g>dB>=G|1 a2 ef/g/ a<e f>d|e>ac>a d=g B>=G:|2
a2
e<=g f>be>g|f>ae>f =g>dB>=G||
ROB DONN. AKA and see "Robb Donn Mackay
the Poet."
ROB ON LUGY. See “Rob an Lugi.”
ROB ROY [1]. Scottish, Strathspey. F Major. Standard tuning. AABBCC'. Rob Roy
Macgregor was a famous robber chief of the
***
on his deathbed, he insisted that he be fully armed with claymore,
dirk and pistols, as he did not wish to face him 'defenceless and
unarmed.' Soon after he asked to let the piper play 'Cha Till Mi
Tuilleadh' (I Shall Return No More) and he is said to have died
before the tune was finished.
***
Rob Roy MacGregor (from an anonymous painting).
***
Rob Roy is buried in Balquhidder
Churchyard. Neil (The Scots Fiddle),
1991; No. 108, pg. 145.
ROB ROY [2]. AKA and see “Dusty Bob’s
(Jig),” “Jack’s Alive [3].”
American, Scottish; Quadrille (6/8 time). G Major. Standard tuning. AABB. See
notes under alternate titles for more on this tune. Ford (Traditional American Fiddle Tunes), 1940; pg. 93.
X:1
T:Rob Roy [2]
M:6/8
L:1/8
R:Jig or Quadrille
S:Ford – Traditional Music in
Z:AK/Fiddler’s Companion
K:G
D|G2G GAB|A2A ABc|d2B c2A|B2G
(AF)E|D2G GAB|
A2A ABc|dBG AFD|(G3 G2)::d|g2g
gag|f2f edB|
E2d efg|a2f d2d|g2g gag|f2f edB|GAB
dcB|AGF G2:|
ROB ROY [3]. Scottish (?), Reel. D Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of
ROB ROY MACGREGOR (Rob Ruadh Macghriogair). Scottish, Slow Strathspey. E Minor
or E Minor ('A' and 'C' parts) & G Major ('B' and 'D' parts). Standard
tuning. AABCD (Fraser): AABB'CCD (Athole). John Purser calls this tune “a
classic traditional strathspey reel.” See note for "The Lady's Expostulation
with Rob Roy" for a brief discussion of Rob Roy.
Fraser (The Airs and Melodies Peculiar to
the
X:1
T:Rob Roy MacGregor
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
B|:G<E E2 D/F/G B,2|E>FG>A B>AG>e|G<E E2 E/F/G B,2|E>FG>A B2 BA:|
|:c|d<G d>e d>BA>B|d>Ge>G B2 B>c|1 d>Gd>e d>BA>B|
G>EG>A B2B||2 d<B g>e d>BA>B|E>FG>A B2B||
|:^d|e>E E2 E/F/G B,2|E>FG>A B>AG>e|G<E E2 E/F/G B,2|E>FG>A B2B:|
A|G<d d>B d<G d>c|B<e e>f g>fe>g|G<d d>B d<G d>B|G<EG>A B2 B>A|
G<d d>B d<G d>c|B<e e>f
g>fe>f|g<be<g B<gA<B|E>FG>A B2 B>A||
ROB ROY’S CAVE (Loch Lomond).
Scottish, Strathspey. E Minor. Standard tuning. AB. Composed by Nathaniel Gow
(1763-1831). Rob Roy’s Cave is on the eastern shore of Loch Lomond, the largest
body of freshwater in Britain. It was one of the hiding places of the outlaw
Rob Roy MacGregor. Gow (Sixth Collection of Strathspey Reels), 1822; pg.
17.
X:1
T:Rob Roy’s Cave (Loch Lomond)
M:C
L:1/8
R:Strathspey
N:”Slowly”
C:Nathaniel Gow (1763-1831)
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:Emin
^d|e<E E>F ~G>AB^c|d>d
(e/d/)(^c/B/) AF Dg/f/|e<E “tr”E>F G>A Be/f/|(g/b/)(a/g/) (f/g/a/).b/
ge eg/f/|
(e<E) ~E>F G>A B^c|d>d
(e/d/)(^c/B/) (A/d/)A/F/ DB/A/|(G/F/E/).B/ (A/G/F/).c (B/A/G/).e/
(^d/^c/B/).a/|
(g/e/)(B/b/) a/>f/b>f/
gee||e/f/|g>bf>a gee a/g/|fd AF (D/F/)A/d/ (F/A/)d/f/|(g>b) f>a gee
(g/f/)|eE ~E>F G>A Be/f/|
.g/(b/a/g/) .f/(a/g/f/) gee
(a/g/)|f/(d/^c/).d/ (A/d/)(F/A/) (D/F/).A/.d/ f/g/a/f/|g/b/a/g/ f/a/g/f/
e/g/f/e/ ^d/e/f/d/|eE ~E>F ~G>A B||
ROB ROY’S MARCH. AKA and see “MacGregor’s March,”
“Maurice O’Keeffe’s [5],"
“Kit White’s No. 2.”
ROB RUACH MACGHRIOGAIR. AKA and see "Rob Roy to the
Heiress," "Come Awa',
Lady Fair."
ROBAIDH DONA GORACH. See "Robie Donua Gorach."
ROBB DONN MACKAY THE
POET. AKA ‑ "Rob Donn."
Scottish, Air (4/4 time). D Minor. Standard tuning. AB. This tune "is avowedly
Robert Donn's, the words passionately describing disappointed love, and
jealousy at the success of his competitor. The three first notes of the second
measure, imitating a sneering laugh at his own folly, for trusting so much to
the faith of womankind, it a preferable match offers" (Fraser). Fraser (The Airs and Melodies Peculiar to the
X:1
T:Rob Donn Mackay the Poet
T:Rob Donn
M:C
L:1/8
R:Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:F
F2 ED F2 DC | A2 A^G A2 z2 | AdcB AcBc | A2 G2 F2 z2 | (F2 F)G A2 Ac |
AGFG A3G | F3E D/E/F/G/ A>G | F2 E2 F4 || ^C2 D2 A,4 | A2 c>d f2d2 |
dcAG
F2 AG | F2 E2 F4 | ^C2 D2 A,4 | A2 c2 f3d | cBAG F2 AG | F2 E2 D4 ||
ROBBER, THE (An Foghlaidhe). AKA and see "Charley Reilly," "The Croppy Boy [2]." Irish, Air
(3/4 time). B Flat Major. Standard tuning. One part. O'Sullivan (1983) finds
the tune a variant of "Cailin
o chois tSiuire" (The Croppy Boy), common to the
ROBBIE HOBKIRK'S POLKA. Scottish, Polka; English, Morris Dance Tune (4/4 time). D Major.
Standard tuning. AA'B (Carlin): AABB (Wade). The tune, composed by Robbie
Hobkird of Hawick, has been used for a polka step in the North‑West (
ROBBIE MURDOCH. Scottish, Hornpipe. D Major. Standard tuning. AABB. Composed by David
A. Gordon. Martin & Hughes (Ho-ro-ghedllaedh),
1990; pg. 46.
ROBBIE TAMPSON'S
SMIDDIE (Robbie Thompson's
Smithie). AKA
and see "Billiaclett."
***
My mother made me grey breeks...
[etc.: the well‑known Scots
version]
ROBBIE THOMPSON'S
SMITHIE. See "Robbie Tampson's Smiddie."
ROBBIN POWERS FANCY. Irish, Jig. D Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 85.
X:1
T:Robbin Powers Fancy
M:6/8
L:1/8
R:Jig
S:O’Farrell – Pocket Companion, vol. II (c. 1806)
Z:AK/Fiddler’s Companion
K:D
ROBE A JOSEPHINE. See "T'en As Eu,
T'en N'auras P'us."
ROBE A PARASOL. See "Embrasse-moi Encore."
ROBE BARREE. AKA and see “Ernestine.” Cajun.
Recorded by Amede Ardoin. Arhoolie CD445, Alphonse
“Bois Sec” Ardoin with Canray Fontenot - “La Musique Creole.”
ROBERT CORMACK,
X:1
T:Robert Cormack,
C:James Henry (1860-1914)
S:The Flowers of Scottish Melody (1935)
N:"Sweetly"; B part "Faster"
Z:Nigel Gatherer
M:4/4
L:1/8
K:F
C | F>CA>F D>B,G,>G | E/F/G/A/ B/c/d/e/ {e}f2-fA/c/ |\
d>B D/F/B/d/ c>A C/F/A/c/ | {c}B>D{A}G>F E/F/{A}G/F/ E/d/c/E/ |
[A,F]>CA>F D>B,G,>G | E/F/G/A/ B/c/d/e/ f2-fA/c/|\
(3dfe {a}(3g>fd (3cfe {g}(3f>cA|(3GDF (3Edc {A,}[A,2F2] [A,F] |]
c | f>c f/a/c/f A/F/A/c/ f>A | B/A/B/c/ d/c/B/A/ G/F/E/D/ C>c |\
f>c f/a/c/f A/F/A/c/ f>A | B>d/g/f/ e/c/d/e/ {e}f2 fc |
f>c f/a/c/f A/F/A/c/ f>A | B/A/B/c/ d/c/B/A/ G/^F/G/A/ B/c/d/e/ |\
f/e/f/g/
a/b/c'/d'/ c'/a/f/c/ A/F/C/A,/ | A/c/f/a/ g/d'/c'/e'/ f'2f |]
ROBERT E. LEE SWING. See "Richmond Cotillion."
None other than the revered Confederate commanding general during
***
Robert E. Lee
ROBERT HAWKES. Irish, Planxty. G Mixolydian. Standard tuning. One Part. Composed by
blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 55, pg. 53.
ROBERT INNES OF
ROBERT JORDAN. Irish, Planxty. A Major. Standard tuning. AABB. Composed by blind Irish
harper Turlough O'Carolan (1670-1738). Complete
Collection of Carolan's Irish Tunes, 1984; No. 66, pg. 59.
ROBERT KENNEDY'S REEL. AKA and see “Captain
Kennedy’s (Reel).” English, Reel.
ROBERT MACNEIL. Canadian, Reel.
ROBERT MENZIES. Scottish, Strathspey. A Major. Standard tuning. AAB (Athole): AABB'
(Kerr). The tune is credited to "D. Mc. K." by James
Stewart-Robertson in The Athole
Collection. Kerr (Merry Melodies),
vol. 2; No. 29, pg. 6. Stewart-Robertson (The
Athole Collection), 1884; pg. 32.
X:1
T:Robert Menzies
M:C|
L:1/8
R:Strathspey
C:”D.Mc.K.”
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
f| e>Ac>A cd/e/ c>A | e>Ac>A (3cde (3fga | e>Ac>A cd/e/ c>A | e>ac>a b>Bd :|
f| e>ae>c a>ce>c | e>ae>c f>Bd>f | e>ae>c A/B/c/d/ e>c | e>ac>a b>Bd>f |
e>ae>c
a>ce>c | A>ce>c f>Bd>f | (3efg (3agf (3edc (3ecA |
E>Ac>e b>Bd ||
ROBERT RUSSELL OF
PILMUIR. Scottish, Reel. E Minor. Standard
tuning. AB. Composed by Alexander Walker.
ROBERT STUBBERT. Canadian, Reel.
ROBERT THE MINNOW. Scottish. Composed by Scots fiddler Johnny Cunningham. Green Linnet SIF 1076, Relativity – “
ROBERT WILLIS. Canadian, Strathspey.
ROBERTS, THE. A couple dance. Folkways
FW8827, Arbuckle, Mikkelson &
ROBERTS’S SERENADE. Olt-Time. A Major. AEae tuning. A piece by fiddler Robert Sykes (d.
mid-1990's) of
ROBERTSON'S HORNPIPE. Scottish, Hornpipe. B Flat Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 2; No. 334, pg.
37. Stewart-Robertson (The Athole
Collection), 1884; pg. 300.
X:1
T:Robertson’s
L:1/8
M:C|
R:Hornpipe
B:The Athole Collection
Z:AK/Fiddler’s Companion
K:Bb
bf|d2 (B2 B2) dB|cA F2 F2 BA|GFED EGFE|D2 B,2 B,2 bf|d2 (B2 B2) bf|
g2 =e2 c2 BA|Bcd=e fage|f2 F2 F2::fe|dB ~B2 dB ~B2|GE ~E2 GE ~E2|
cdeg fdcB|A2 F2 F2 de|fBAB gBAB|bBAB fBAB|Ggfe dcBA|B2 B,2 B,2:|
ROBERTSON'S REEL. Shetland, Reel. A Major (Songer): G Major (Callaghan). Standard tuning.
AABB. Composed by the late Shetland fiddler, teacher, collector and composer
Tom Anderson (1910-1991). The tune apparently has been quite popular among
X:1
T:Robertson’s Reel
M:4/4
L:1/8
R:Reel
K:A
AB|c2 Bc e2 cB|ABAF E2 AB|c2 Bc
ecAc|B6 AB|c2 Bc e2 cB|
ABAF E2 AB|cBce BABe|A6::cd|e2 ce a2
ga|fecd e2 cd|
e2 ce a2 ga|f4 ef|a2A2A2 cB|ABAF E2
AB|cBce BABe|A6:|
ROBI DOWN/DONN. A closely related air to "The Campbells are Coming [1]"
or "Hob or/a Nob."
ROBIE DONUA GORACH {or "Robi Donadh Gorrach," "Robaidh
dona gorach"} (Daft Robin). AKA and see "Daft Robin," "Johnnie Armstrong," "Tod(d)lin’ Hame," "The Wagoner's Lad," "Bacach," "The Drunken Hiccups [1],"
"Rye Whiskey [1]," "Jack of Diamonds [3]," "Clinch Mountain," "The Cuckoo [5]." Scottish, Slow Air (4/4
time). A Major. Standard tuning. AABBCCDDEEFF. "An Old Highland Song"
(as noted in Gow's collection) set by Nathaniel
Gow (1763‑1831), though published under his father Niel's name.
Johnson (1984) says the title translates literaly as "Silly Naughty
Robbie." Source for notated version: Niel Gow's Strathspey Reels, vol. i, pg. 36 [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century),
1984; No. 24, pgs. 61‑62.
ROBIN ADAIR. AKA and see "Eibhlin a
Ruin/Run," "Eileen/Aileen
Aroon," "Ellen A Roon." Irish, Scottish; Air. D Major.
Standard tuning. AAB. The song was popularized in Scotland by the long‑lived
Irish harper Donnchadh a Haimpsuigh, also known as Denis O'Hampsey or Hempson
(1697‑1807), who had crossed over from Ireland a second time in 1745 to
play for Bonnie Prince Charlie at Edinburgh (The collector Edward Bunting later
noted several of Hempson's tunes). He played many Irish airs later claimed as
Scottish, as this one was, according to Flood (1905, 1906). In fact, claims
have been made by the Irish, Scots and English, for national origin of the
piece.
***
The words of “Robin Adair,” set to the tune of "Eileen Aroon," were written by Lady Caroline Keppel (1735-1769) in the early 1750's about her lover, an Irish surgeon named Robert (‘Robin’) Adair, whom she was permitted to marry only several years later, when she was twenty-one. She died in 1769 at the age of thirty-two. The song was first published under the "Adair" title in 1793 in The Edinburgh Musical Miscellany, volume II, pg. 304, and it was featured by Mr. Braham early in the 19th century. The words begin:
***
What's this dull town to me?
Robin's not near;
What was't I wish'd to see?
What wish'd to hear?
Where all the joy and mirth,
Made this town heav'n on earth,
Oh! they've all fled wi' thee,
Robin Adair.
***
Howe (1000 Jigs and Reels), c. 1867; pg. 125.
X:1
T:Robin Adair
M:3/4
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D
(A2B2c2) | (d3ef2) | A<d B<d c<e | d4 z2 :| f2f2f2 | a3A A2 | f2 fa a/g/e/c/ |
d3BA2
| a2 (gf ed) | d3e f2 | A<d B<d c<e | d6 ||
ROBIN CUSHIE. AKA and see “Kind Robin
(Lo’es Me).” Scottish, Air (4/4 time). G Major. Standard tuning. AABB. See
note for “Kind Robin (Lo’es Me.” McGibbon (Scots
Tunes, book III), 1762; pg. 77.
X:1
T:Robin Cushie
M:C
L:1/8
R:Air
N:”Brisk”
S:McGibbon – Scots Tunes, book III, pg. 77
(1762)
Z:AK/Fiddler’s Companion
K:G
G4G3B | ABAG “tr”E2 D>E | G4G3B |
AGAB d2e2 | G4 (g/f/e/f/ g)B | (cB)”tr”(AG) E2 DE |
G2G2e2(dB) | d4G4 :: d2 edB2gB |
(cB)”tr”(AG) E4 | d2 (e>d) ({c}B2) “tr”(A>G) | A2B2e4 |
d2efg2B2 | (cB)”tr”(AG) E2 (DE) |
G2G2e2(dB) | d4G4 :|
ROBIN GOODFELLOW. English, Ballad Air (4/4 time). C Major. Standard tuning. ABCD. The air
appears in Pills to Purge Melancholy
(1720). Chappell (Popular Music of the
Olden Time), vol. 1, 1859; pg. 162.
ROBIN HOOD. English, Dance Air (6/4 time). G Dorian. Standard tuning. One part
tuning. The air appears in a University of Cambridge lute MS. A version appears
in Ravenscroft’s Pammelia (1609) that
Chappell believes may be an earlier form. Robin Hood was the name of several
inns or taverns in old England. At least one had this couplet on the sign under
the figure:
***
Robin Hood in dead and gone
So call and drink with Little John.
***
Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 273.
|
X:1 T:Robin Hood M:6/4 L:1/8 S:Chappell – Popular Music of the Olden Time (1859) Z:AK/Fiddler’s Companion K:Gdor G3A B2A2 B2A2 | B3A G2 ^F4 D2 |
G3A B2 c4A2 | B4 c2 d4 D2 | d4B2 c4A2 | B3A G2
^F4 B2 | A4G2 ^F3G A2 | (G6 G6) || |
ROBIN
HOOD'S DANCE. English, Jig. A Minor. Standard
tuning. One part. Published before 1730. Raven (English Country Dance Tunes), 1984; pg. 15.
T:Robin Hood’s
Dance
M:6/8
L:1/8
K:Amin
A>Bc B>cd |
c>BA G2G | c2c d2d | e6 | e>fe d>cB | c>BA G>AB | c2A ^G^FG | A6
||
ROBIN REDBREAST (An Bruindeargan). Irish, Reel. A Major. Standard tuning. AB
(O'Neill {1850}): AA'BB' (O'Neill {Krassen}). Source Cronin was a weaver and
machinist as well as a composer. O’Neill held his playing in high esteem and
noted that it was Cronin’s boast that he never forgot nor forgave a slight. See
also the related “Eel in the Sink.”
Source for notated version: elderly Chicago fiddler Edward Cronin, originally
from County Tipperary [O’Neill]. O'Neill (Krassen), 1976; pg. 131. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1395, pg. 259.
X:1
T:Robin Redbreast
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland (1395)
Z:AK/Fiddler’s Companion
K:A
cd | ecAB c3d | edce dBGB | AGAB
cBcd | efge afgf | ecAB c3B | edce dBGB |
AGAf gfgf | edcB A2 || cd | eaag
efge | dBge dBGB | AGAB cBcd | e^def gfed |
Eaag efge | dBge dBGB | ABcd efge |
dBGB A2 ||
ROBIN SHURE/SHORE IN HARIST/HERST. AKA and see "Bob Shear Harvest." Scottish, 'Old' Hornpipe. John Glen (1891) finds the earliest appearance of the tune in Robert Bremner's 1768 2nd collection (pg. 103). The melody is in triple-time 'old hornpipe' rhythm and is given by Emmerson (1972) as an example of a Northumbrian/Borders tune of this kind..
ROBIN SPRAGGON'S AULD
GREY MARE. English, Air (6/8 time). England,
Northumberland. C Major. Standard tuning. AB. "In these days of
newspapers, railways, and cheap trips, we can scarcely conceive of the pleasure
which fairs, harvest homes, and ploughing matches afforded the rural population
of other times. To these meetings persons of all degrees came. Class mingled
with class, and friendly sympathies were awakened. And when in addition to the
strains of the small pipes and the fiddle, some rustic muse was enabled to
produce a ballad bearing upon the events of the day, exposing the foibles of
some of the personages of the district, the merriment of the gathered crowds
was greatly increased. Of this kind is the ballad respecting 'Robin Spraggon's
Auld Grey Mare'. Felton, in Northumberland, is the district to which it refers,
and it was probably composed about a century ago. The ballad takes the form of
the last will and testament of an old mare that seems to have been badly used
in its latter days. We are indebted for this ballad to the late Mr. Fairless,
of Hexham, who wrote it down, we believe, from memory..." (Bruce &
Stokoe).
***
The miller of Ogle bred me, as I have heard them say,
And gallantly he fed me with the best of corn and hay;
For meal and malt I wanted not when in his custody,
But now I'm Robin Sproggon's auld grey mare, aw how he's guided me! (Bruce & Stokoe)
***
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 134‑136.
X:1
T:Robin Spraggon’s Auld Grey Mare
L:1/8
M:6/8
S:Bruce & Stokoe – Northumbrian Minstrelsy
Z:AK/Fiddler’s Companion
K:C
C|CCc B2A|(G2F) E2G|F2E D2C|(c3 c2)C|C2c B2A|
G2F E2G|F2E D2C|(c3 c2)||G|c2d e2f|(dB)c A2G|
c2B
A2G|G3 GGG|g2e (cd)e|f2d B2B|c2E D2B|(c3 c2)||
ROBIN TO THE GREENWOOD
GONE. English. Harmonia
Mundi 907101, The King's Noyse - "The King's Delight: 17c Ballads for
Voice and Violin Band" (1992).
ROBIN’S BODHRAN. American, Jig. E Minor. Standard tuning. AABB. Composed by
Peterborough, New Hampshire, composer, accordion and piano player Bob McQuillen
in honor of Boys of the Lough original member Robin Morton. A bodhran is a type
of shallow, open-backed Irish drum, usually struck with an implement called a
tipper. Songer (Portland Collection), 1997; pg. 168. Old
New England 101, Bob McQuillen & Old New England - “Old New England”
(1996). Marimac 9012, The Fish Family Dance Band - “Fluke Hits” (1987).
ROBIN’S JIG. Canadian, Jig. D Major. Standard tuning. AABB. Composed by Sarnia,
southwestern Ontario, fiddler John(ny) Durocher (1934-1989), named for his
daughter Robin. Durocher was a self-made man, according to Ron Ritchie (Fiddler Magazine, Summer 2005), born the
youngest of sixteen children. He quit school in his young teens to help make
family ends meet and was a factory worker for most of his life. He found a broken fiddle in the trash one
day, asked the owner for permission to retrieve it, and with some repair work
had his first instrument. A few lessons from a local teacher (which served to
teach him how to read and write music), were all the formal music education
John received. He was a prolific composer of fiddle tunes, however, and named
them for sports and current events, family and friends and topics of his day.
Durocher’s music was picked up by radio fiddler Don Messer, who included many
of his tunes in his broadcasts and printed collections, and Durocher became
quite influential in the Ontario scene for his compositions. Fiddler Magazine, vol. 12, No. 2, Summer
2005; pg. 27.
ROBIN’S NEST, THE. Irish, Jig. Composed by the late County
Tipperary fiddler Seán Ryan. Ryan (The
Hidden Ireland), 13.
ROBIN'S REEL. Old‑Time. Caney Mountain CLP 228, Lonnie
Robertson ‑ "Fiddle Favorites" (1971‑72).
ROBINSON COUNTY. AKA – “Robertson.” Old‑Time, Breakdown. USA, central Arkansas. D
Major. Standard tuning. AABB. There are genealogical and historical references
to Robinson Counties having once existed in various southern states, although
when Bob Palasek traced them he found that the name Robinson had been
mistakenly substituted for the correct name of Robertson or Robeson (there is,
for example a Robeson County in North Carolina). There is a story circulating
(albeit without verification) that the name of the tune derives from an early
20th century scheme for five western counties to secede from the
state of Virginia and to call themselves Robinson County. One of those involved
in the plot was said to have written this tune. A close variant is “New
Five Cents [1].” See also related tune “Ruffled
Drawers.” Uncle Dave Macon used the low part of the tune for his song
“Country Ham.” The tune was recorded in 1931 by Iiton Birkhead and Albert Ward
in 1931. Birkhead was born in Arkansas in 1865 and Ward in 1874, and it appears
that Birkhead was the principal fiddler on the recording; they played the
second strain an octave apart. Ted Sharp, Hinman & Sharp’s version (called
“Hell Among the Yearlings”), also recorded in the 1930’s, differs slightly.
Sources for notated versions: Ted Sharp [Phillips]; Iiton O. Birkhead &
Albert E. Ward (Arkansas) [Beisswenger & McCann]. Beisswenger & McCann
(Ozark Fiddle Music), 2008; pg. 172. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 200. County 531, Ted Sharp ‑ "Old Time String Band
Classics" (1975). County CD-3507, Iiton O. Birkhead & Albert Ward –
“Echoes of the Ozarks, vol. 2” (1995. Various artists). Heritage 060, Major
Contay & the Canebreak Rattlers ‑ "Music of the Ozarks"
(Brandywine 1984). Marimac 9017, Vesta Johnson (Mo.) ‑ "Down Home
Rag." Yodel‑ay‑hee Records #108327, Critton Hollow Stringband ‑
"Poor Boy" (1979).
See
also listing at: Jane
Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:
M:C
L:1/8
R:Reel
S:Bruce Molsky
N:From a transcription by John Lamancusa,
by permission; see http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:D
FG|:A2f2 fgfe|dABd BAFG|A2f2 fg
f2|e3f edcB|A2 fA fgfe|
dABd BAFG|AGFD E2E2|1 D3E D2FG:|2
D3E D2dB||
|:A2F2 EFAB|AFEF D2(A2|A)BAF ED
F2|A3B A2dB|
A2F2 EFAB|AFEF D2(A2|A)BAF EDEF|1
D3E D2dB:|2 D3E D4||
ROBINSON'S TUNE. AKA and see "Abbots
Bromley Horn Dance." English, Dance Tune. G Minor. Standard tuning.
AB. One of the tunes associated with the ritual horn dance from the village of
Abbots Bromley (Staffordshire), written c. 1700. "It was sent to (British
folksong collector Cecil) Sharp in 1910 by a Mr. Buckley, an Abbots Bromley
resident who noted the tune in 1857 or 1858. He learned it from William (or
Henry) Robinson, the town's wheelwright and a very good fiddle player. While he
never played for the dance, he was the only one in the village who remembered the
tune, which he said was still used when he was a young man. We know that
Robinson was born in the 1790's, because his sold his shop in 1878 while he was
in his eighties. Robinson indicated that the tune was ancient in his day.
However, because of technical aspects of the tune, doubt has been raised as to
the authenticity of Robinson's tune as an early horn dance accompaniment (see
particularly Cawte, pp. 78‑79)" [Bullen, 1987]. Andrew Bullen, Country Dance and Song, May 1987, vol. 17, pg. 10.
________________________________________
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