The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
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ROS - ROTT |
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] |
RÓS AN t-SLEIBE. AKA and see "The Mountain Rose."
RÓS AONTROMA. AKA and see "The Antrim Rose."
RÓS BHEAG DUBH. AKA and see "Rois Bheag
Dhubh."
RÓS DEARG, AN. AKA and see "The Red Rose."
RÓS FHIADHAICH NAM
BEANN. AKA and see "The Wild Rose of the Mountain
[3]."
RÓS GAN AIRMEALAC (Rose Without Rue). AKA and see "The
Rose Without Rue."
RÓS SA bhFRAOCH, AN. AKA and see “The Rose in the Heather.” Irish, Double Jig.
RÓS SAN GARRDA. AKA and see "The Rose in the
Garden [1]."
ROSA, DEMAIN
C'EST PAS DIMANCHE (Rosa, Tomorrow isn't Sunday). See "Demain C'est Pas Dimanche."
Cajun, Two-Step. USA, southwestern Louisiana. D Major. Standard tuning.
Recorded by fiddler Dennis McGee in the late 1970's. Raymond Francois (1990)
states that the tune and tempo were influenced by early Zydeco music. Source
for notated version: Dennis McGee (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 112-113. Swallow Records SW-6030, Dennis McGee.
ROSABELL. Scottish, "Very Slow" Strathspey. C Major. Standard tuning.
AAB. Composed by Miss Murray of Auchtertyre, for whom David Bowie composed a
strathspey, included in his 1801 collection (see “Miss Murray of
Auchtertyre/Ochtertyre’s Strathspey”). Carlin (The Gow Collection), 1986; No. 209. Gow (Fifth Collection of
Strathspey Reels), 1809; pg. 17.
X:1
T:Rosabell
M:C
L:1/8
R:Strathspey
N:”Very slow. With much expression.”
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:C
C|E2”tr”F2 {EF}G2 (3CEG|(G<E)
“tr”C>E E{FE}D C>E|”tr”G2 A>G [E2c2] [Gd]e/f/|e2 “tr”d>c [E3G3c3]
G|
“tr”G2 E>G {E}c>B {B}A2|G2
E>G G2 cd|{G}e2 (f/e/)(d/c/) G2 c(d/4e/4f/)|[G2e2] “tr”[Fd]>c [E3c3]||z|
B2 “tr”A>G {G}c3G|{B}A>G
{G}F>E E{FE}D zD|E2 (G/F/)E/F/ (A2 G>)G|G2 (G/F/)E/F/ (E2D2)|
D2 D>D C2 zE|F2 A>G G2 (3CEG|[E2c2]
[DB]>[CA] [C3G3] [B,F]|[C2E2] (E/D/)(C/D/) C3||
ROSALIE, LA. French, Country Dance (6/8 time). F Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters. He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 14.
X:1
T:Rosalie, La
M:6/8
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 14
Z:AK/Fiddler’s Companion
K:F
f/g/ | afc afc | gec gec | bag agf | e3 c2(d/e/) | fdB fdB | cBA GAB | AGF CFE | (F3F2) :|
|:
A/B/ | cAF cAF | fdB Bdf | dBG GBd | gba g3f | c3 B3 | Acf Acf | Acf agf | g3f2
:|
ROSALIA, LA. French (?), Country Dance Tune (6/8 time). G Major. Standard. AABB. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 100, pg. 37.
X:1
T:Rosalia, La
M:6/8
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:G
G | BdB GBd | gfe d3 | edc BAG | F2G A2D |
BeB GBd | gfe d^cd | efg agf | ed^c d2 :|
|: d | dBd dBd | dcB c2A | cAc cAc | cBA B2G |
BdB
GBd | gfe d^cd | edc BAG | AGF G2 :|
ROSALIE DE BON MATIN. French, Valse (3/4 time). G Major. Standard tuning. AA'BB'. Stevens (Massif Central), 1988; No. 51.
ROSALIE THE PRAIRIE FLOWER. AKA – “Northumbrian Schottische.”
English, Schottische. D Major. Standard tuning. AB. The melody was composed by
songsmith George F. Root (1820-1985), a prolific composer in Massachusetts and
New York of minstrel songs, patriotic anthems (“The Battle Cry of Freedom,”
“Tramp, Tramp, Tramp”) and heart songs. He penned “Rosalie the Prairie Flower”
in 1855, prior to the Civil War, under the name G.F. Wurzel (wurzel is the German name for ‘root’)
about the passing of a child. It was popularized on the minstrel stage by
Christy’s Minstrels, and eventually sold 100,00 copies. It ends.
***
But the summer faded, and a chilly blast
O’er that happy cottage swept at last,
When the autumn song-birds woke the dewy morn,
Little prairie flower was gone;
For the angels whispered softly in her ear,
“Child, they Father calls thee, stay not here,”
And they gently bore her, robed in spotless
white,
To their blissful home of light.
***
Of this
period of his career Root himself said in this autobiography The Story of a Musical Life (1891):
***
I saw at once that mine must be the “people’s
song,” still, I am ashamed to say, I
shared the feeling that was around me in regard
to the grade of music. When Stephen
C. Foster’s wonderful melodies (as I now see
them) began to appear, and the
famous Christy’s Minstrels began to make them
known, I “took a hand in” and
wrote a few, but put “G. Freidrich Wurzel” to
them instead of my own name. “Hazel
Dell” and “Rosalie, the Prairie Flower” were
the best known of those so written. It
was not until I imbibed more of Dr. Mason’s
spirit, and went more among the people
of the country, and was thankful when I could
write something that all the people
would sing.
***
Callaghan (Hardcore English), 2007; pg. 90. Topic TSCD 669, Billy Ballantine & Jimmy Hunter (et al)
– “Ranting and Reeling: Dance Music of the north of England” (1998. Piccolo
player Billy Ballantine {born c. 1890’s} and harmonica player Jimmy Hunter were
both from Northumberland).
X:1
T:Rosalie the Prarie Flower
T:Northumbrian Schottische
M:C
L:1/8
K:D
f3/2e/d3/2c/ d2 B2|A3/2B/ A/F3/2 A4|f3/2e/d3/2c/ d2 f2|e2 B2 e4|
f3/2e/d3/2c/ d2 B2|A3/2B/ A/F3/2 A4|B3/2c/d3/2e/ f2 e2|d4d4||
e2d3/2e/ f2a2|e2 d3/2e/f4|d2 c3/2d/ e2 f2|d2 c3/2d/ e2 A2|
f3/2e/d3/2c/ d2 B2|A3/2B/ A/F3/2 A4|B3/2c/d3/2e/ f2 e2|d4d4|]
ROSAMOND. English, Ballad Air (cut time). A Minor. Standard tuning. AB. The air
appears in a University of Cambridge lute MS, though Chappell (1859) had to
remove a great deal of ornamentation to uncover it. Chappell (Popular Music of the Olden Time), vol.
1, 1859; pg. 163‑164.
ROSAMOND’S POND. English, Country Dance Tune
(cut time). D Minor/F Major. Standard tuning. AABB. The melody is from Thomas
Bray’s Country Dances: Being A
Composition Entirely New (London, 1699), a volume dedicated to Prince
William, the Duke of Gloucester. Bray was a choreographer and dancer who worked
in the theatre, often with dancers from France, and many of his dances may have
been composed for performance. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 110.
ROSA'S WALTZ (La Valse de
la Rosa). AKA
and see "Ma Chere 'Tite Fille."
ROSASOLIS. AKA and see "Morris Off,"
"Black Eyed Susie [1],"
"Three Jolly Sheepskins
[1]," "Alas, My Little
Bag." English. Bayard (1981) states the tune is one of the earliest
traceable folk‑airs, going back to the Fitzwilliam Virginal Book (1610)
where it was set by Giles Farnaby (c. 1560‑c. 1600). It also appears in
Jehan Tabourot's "Orchesographie" of 1588 in much the same form as it
has today when used in English morris dances, where it is called "Morris
Off" (it is called by Kidson and Moffat the earliest recorded morris
tune). A variant of the Fitzwilliam version appears as a Welsh harp tune in
Bennett's "Alawon Fy Ngwlad" (vol. 2, pg. 136, 3rd tune). Later, from
the early 17th century and throughout the 18th, in England a derivative of the
tune was called "Three (Jolly) Sheepskins," and in Ireland it can be
found in collections as "Aillilliu mo Mhailin" (Alas My Little Bag).
The American derivative of the air is "Black‑Eyed Susie."
ROSC CATHA NA MUMHAN (The Battle Cry of Munster). AKA - "Marchechaid na
Buinne." AKA and see "The Boyne
Water [1]." Irish, Slow Air (4/4 time). E Dorian. Standard tuning. One
part. Ciaran Carson (Last Night's Fun,
1996) proclaims it the Catholic version of the tune Irish Protestants call
"The Boyne Water." John Moulden believes its use for the Protestant
song “Boyne Water” predates its use as the tune for “Rosc Catha na Mumhan.” The
same melody (as “Idbury Hill”) is employed
by English morris dancers as the vehicle for the dance The Three Musketeers. Ó
Canainn (Traditional Slow Airs of Ireland),
1995; No. 118, pg. 100.
X:1
T:Rosc Catha na Mumhan (The Battle
Cry of Munster)
L:1/8
M:4/4
S:Ó Canainn - Traditional Slow Airs of
K:E Dorian
E2B2 B>cdB|A>BAF D2 EF|G2 FE
BAGF|E2 E>F E2 GF|
E2B2 B>cdB|A>BAF D2 EF|G2 FE
BAGF|E2 E>F E4|
B e2 e e2 f2|e2d2B2A2|B e3
e3f|e2d2B3c|d2 d>d d3B|
A>BAF D2 EF|G2 FE BAGF|E2 E>F
E4||
ROSCOE. Old-Time, Breakdown. G Major. Standard tuning. AB (Silberberg): AA'BB
(Phillips). The tune was in the repertoire of Kyle Creed. Source for notated
version: Jere Canote (Seattle) [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 202.
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 133.
X:1
T:Roscoe
M:C
L:1/8
Z:Transcribed by Carl Barron
K:G
e(g | g2) gg edBA | dB A2G2 (g2 |
g2) g2 e g3 | a3b a2 (b2 | b)aba gedB |
c3 d c2 A(B | B)dBB A F3 | G3A G2 ::
DF | G2B2 A B3 | c3d c2 (B2 |
B)cBA G F3 | D3 E D2 DF | G2B2 A B3
| c3 d c2 (B2 | B)dBB A F3 | G3A G2 :|
ROSCOE PARISH WALTZ. See “Roscoe’s Waltz.”
ROSCOE PARISH’S TUNE. Old-Time, Breakdown. D Major. Every phrase ends on the subtonic chord
(G).
ROSCOE TRILLION. Old‑Time, Breakdown. G Major (‘A’ part) & D Major (‘B’ part).
A Georgia title for (AKA and see) "Flop-Eared Mule [1]," "Karo." The melody was recorded in Atlanta, Georgia,
for Victor Records by fiddler Bill Helms of Thomastown, a village south of the
city. Helms was backed on the recordings by Grady Owens (fiddle), John Hogan
(banjo, guitar) and Ty Cobb Hogan (guitar). Later, “in 1931, Helms recorded for
Columbia with Riley Puckett and Gid Tanner as the Home Town Boys” (Wayne W.
Daniel, Pickin’ on Peachtree, 1990,
pg. 81).
ROSCOE’S GONE. Old-Time, Breakdown. D Major. Written by Seattle
musician Hank Bradley in 1981 in honor of traditional musician Roscoe Parish.
The tune appears in his book Counterfeiting, Stealing, and Cultural
Plundering -- a Manual for Applied Ethnomusicologists.
ROSCOE’S WALTZ. AKA – “Roscoe Parish Waltz.” Old-Time, Waltz. AAB. Recorded by Hart
& Blech and Bruce Molsky, learned from Roscoe Parish. The tune is a crooked
waltz-time version of the Scottish jig “Muckin’ o' Geordie’s Byre.”
Kerry Blech notes that he later found an almost note-for-note verson of
“Muckin’” in Samuel Bayard’s book Dance
to the Fiddle, March to the Fife. Bruce Molsky – “Warring Cats.” Hart & Blech – “A Devil
of a Row.”
ROSCOMMON AIR. Irish, Air (3/4 time). D Major. Standard tuning. One part.
Stanford/Petrie (Complete Collection),
1905; No. 489, pg. 123.
X:1
T:Roscommon Air
M:3/4
L:1/8
S:Stanford/Petrie (1905), No. 489
Z:AK/Fiddler’s Companion
K:D
A | d>cde f>e | e2 ee e2 |
fefa af/e/ | d2 ed B2 | d>cde fe |
dcBA d>c | BAFE AF | E2 EE E2 ||
ROSCOMMON HUNT. Irish, Reel. A Dorian. Standard tuning. AAB. A tune by this title was
popular in 1779, as Berringer noted the title in an account of a
"cake" dance (a dance in which a prize of a cake was awarded) he
attended in Connacht. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 175, pg.
41.
ROSCOMMON JIG. AKA and see “Bobby Casey’s
Jig [2],” “Diamond [2],” “The Hag’s Purse,” “Little Black Pig." D
Mixolydian/Major. Standard tuning (fiddle). AABB. Source for notated version:
Anne Sheehy (Castleisland, County Kerry) [Mulvihill]. Mulvihill (1st Collection), 1986; No.
40, p. 73.
X:1
T:Roscommon Jig, The
M:6/8
L:1/8
R:Jig
K:D
FG | A2D FED | A2B =cAF | G2E EDE |
=c2d cAG | D3 FED | A2B =cAF |
GEE cEE | DED D2 :: A2 | d2e fed | e2d =cAF | G2E EDE | =c2d
cAG |
Ade fed | e2d =cAF | GEE =cEE | DED
D2 :|
ROSCOMMON REEL (Ríl Roscomain). AKA and see "Miss Patterson's
Slipper." Irish, Reel. E Minor (Breathnach): E Dorian (Cranitch). Standard
tuning (fiddle). ABC. The tune is sometimes heard in a medley called "Miss Patterson's Slipper"
paired with the reel “Miss Patterson”
(AKA - "Master
Crowley's”), which has led to some name confusion between the tunes.
Sources for notated versions: accordion player Sonny Brogan (County
Sligo/Dublin, Ireland) [Breathnach]; set dance music recorded at Na Píobairí Uilleann
in the late 1980’s [Taylor]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 202, p. 78. Cranitch (Irish Fiddle Book), 1996; No. 72, p. 153. Harker (300 Tunes from Mike Rafferty), 2005; No.
41, p. 13. Taylor (Music for the Sets:
Blue Book), 1995; p. 5. Nimbus NI5415, Martin
O'Connor - "Across the Waters" (miss-labelled as "Master
Crowley's").
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Alan Ng’s Irishtune.info |
X:1
T:Roscommon Reel, The
T:Master Crowley's
T:Crowley's Reel
R:reel
D:The Gathering (Matt Molloy)
D:Paddy Glackin: Ceol ar an bhFidil
le Paddy Glackin.
Z:id:hn‑reel‑180
Z:transcribed by
henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Edor
EFGA BAGB|AF~F2 dFAF|EFGA ~B3d|1
AFDE FEED:|2 AFDE FEEf||
eB~B2 efge|fa~a2 bfaf|eB~B2
efge|faaf efgf|
eB~B2 GBeg|fa~a2 bgag|faaf egfe|dBAF
EFGA||
~B3A B2dB|AF~F2 dFAF|EBBA ~B3d|AFDE
FEED|
EBBA BcdB|AF~F2 dFAF|EBBA ~B3d|AFDE
FEED||
ROSCOMMONS HORNPIPE. Irish (?), Hornpipe. B Minor. Standard tuning (fiddle). AABB. From the music manuscripts of Setauket, Long Island, painter and fiddler William Sydney Mount (1807-1868). Mount had evidently copied it from a book or ms. in the possession of Mr. S. Wheeler, perhaps a musical acquaintance or friend.
X:1
T:Roscommons Hornpipe
M:C|
L:1/8
R:Hornpipe
S:William Sydney Mount manuscript copybook, c. 1840, with the notation: “From Mr. S:Wheeler’s collection.”
Z:AK/Fiddler’s Companion
K:Bmin
ROSE [1]. French, Valse (3/4 time). G Major. Standard tuning (fiddle). AA'BB'.
Composed by Jean‑Claude Blanc. Stevens (Massif Central), 1988; No. 54.
ROSE [2], LA. Canadian, Waltz. Canada, Prince Edward Island. A Major. Standard
tuning. AABB. Source for notated version: Louise Arsenault (b. 1956, Mont
Carmel, East Prince County, Prince Edward Island; now resident of Wellington)
[Perlman]. Perlman (The Fiddle Music of
Prince Edward Island), 1996; pg. 174.
ROSE [3], THE. English, Morris Dance Tune (6/8 time). A Major
(Bacon): G Major (Mallinson). Standard tuning (fiddle). AABBCBBCBB (Mallinson):
AABBCC'BBCC'BB (Bacon). Collected from the village of Leafield, Oxfordshire, in
England's Cotswolds. Leafield was called Fieldtown by the English collector
Cecil Sharpe, and the group of dances from the village are known commonly among
morris dance circles as Fieldtown dances. The music was largely collected from
a fiddler of Sharpe's acquaintance from the village by the name of Frank
Butler. Bacon (The Morris Ring),
1974; p. 155. Mallinson (Mally’s Cotswold
Morris Book), 1988, vol. 2; No. 60, p. 29. Cottey
Light Industries CLI-903, Dexter et al - "Over the Water" (1993).
ROSE [4], THE. English?, Reel. B Flat Major. Standard tuning
(fiddle). AABB. Harding’s All-Round
Collection, 1905; No. 92, p. 29.
X:1
T:Rose, The [4]
M:2/4
L:1/8
R:Reel
S:Harding’s All Round Collection (1905), No. 92.
Z:AK/Fiddler’s Companion
K:Bb
d/c/|Bd/B/ ce/c/|d/b/a/g/
fe/d/|eg/e/ db/d/|c/B/c/d/ cd/c/|
Bd/B/ ce/c/|d/b/a/g/ fd/f/|g/e/f/g/
ag/f/|bBB::d/e/|f/d/f/d/ fb/f/|
g/e/g/e/ gb/g/|f/d/f/d/
fb/d/|c/=B/c/d/ cd/c/|Bd/B/ ce/c/|
d/b/a/g/ fd/f/|g/e/f/g/
ag/f/|b/B/B/B/ B:|
ROSE [5], LA. French, Country Dance (2/4 time). A Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters. He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. In this case the title “La Rose” appears to be named after a female, as it is included in a section of tunes called by the first names of various women or girls. Daubat (Cent Contredanses en Rond), 1757; No. 12.
X:1
T:Rose, La [5]
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 12
Z:AK/Fiddler’s Companion
K:A
(ec)(dB)|(cA)(BG)|(A/B/c/d/) ec|(Ac) (GB)|(ec) {e}(dB)|(ce) {b}(ac)|A2 A,2:|
|:eaga|b/a/g/f/ ge|eaga | b/a/g/f/ e2|.e/(a/g/a/) .f/(a/g/a/)|.e/(a/g/a/) .f/(a/g/a/)|{g}f/e/d/c/ B2|A4:|
ROSE ACRE. Scottish, Air (4/4 time). A Major. Standard tuning. AAB. Composed by
the great Scots fiddler and composer J. Scott Skinner
(1843-1927). Source for notated version: Winston Fitzgerald (1914-1987, Cape
Breton) [Cranford]. Cranford (Winston
Fitzgerald), 1997; No. 215, pg. 85. Hunter (Fiddle Music of Scotland), 1988; No. 37.
ROSE AILEEN. English, Air (6/8 time). D
Major. Standard tuning. AABB. Composed by the prolific English composer and
lyricist T.H. Bayley, who wrote a variety of songs, hymns and short pieces that
were extremely popular in pre-Victorian and early Victorian times. The melody
appears in George Saunders’ (“Professor of Music and Dancing”) violin tutor New
and Scientific Self-Instructing School for the Violin (Providence, Rhode
Island, 1847, No. 30, pg. 28.
X:1
T:Rose Aileen
M:6/8
L:1/8
C:T.H. Bayley
B:Saunders - New and Scientific
Self-Instructing School for the Violin (Providence, Rhode Island, 1847, No.
30, pg. 28)
Z:AK/Fiddler’s Companion
K:D
A|d2 d (de).f|g2B B2B|A2A
(AB).G|{G}F3 z2A|d2d (de).f|g2B B2B|A2A (AB).c|d3 z2:|
|:d|(ec).A A2A|A2{c}B A2A|d2d f2a|e3 z2A|(de).f (fg)a|(ga)b (af).d|e2e a2a|d3
z2:||
ROSE ALMA POLKA. French‑Canadian, Polka. A Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 92, pg.
59.
ROSE AMONG THE HEATHER
[1], THE. AKA and see "The Lad with/wi' the Plaidie.”
Scottish, Highland Schottische. D Major. Standard tuning. AABB'. Pipers
generally call the tune by this title. Kerr (Merry Melodies), vol. 1; No. 18, pg. 20.
X:1
T:Rose Among the Heather, The [1]
M:C
L:1/8
R:Highland Schottische
B:Kerr – Merry Melodies, vol. 1, pg. 20
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
G|F<A A>F G<B B>G|F>A
D>F E3G|F<A A<F G>Bd>B|A<F G>E (D2D):|
|:A|d>e d>B (A<f)
d>B|A<F d>f e3d|1 f>gf>e d<B d>B|c<d e>c (d2d):|2
f>ed>B A<F d>B|A<F
G>E (D2 D)||
ROSE AMONG THE HEATHER
[2], THE. AKA and see “The Corofin,” “(An) Ros sa bhfraoch,” "The Rose in the Heather."
ROSE AND COLIN. English, Country Dance Tune (6/8 time). England, Yorkshire. G Major.
Standard tuning. AABB. 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. 60, pg. 43.
ROSE ANNE’S. Irish, Polka. A Major. Standard tuning. AABB. Jackie Small (CRÉ V) says the tune is reminiscent of
“Comin’ thro the Rye.” Source for notated version: fiddler Mollie Murphy (ne
Myers), Glencollins, County Cork [Breathnach]. Breathnach (CRÉ V), 1999; No. 106, pg. 53 (appears as untitled polka). Gael-Linn CEF176, Jackie Daly - “Many’s a Wild Night”
(from Maurice O'Keeffe, one of the
earliest tunes Maurice remembers learning from his teacher and neighbor John
Lenihan).
X:1
T:Rose Anne's
D:Jackie Daly, "Many's a Wild
Night", track 12(a)
M:2/4
L:1/8
R:polka
Z:Paul de Grae
K:A
E ||: "A" A>G Ac |
"E" B>A Bc | "A" A>G Ac | ea "D" a2 |
"A" A>G Ac |
"E" B>A Bc | "A" AF EF | "D" D2 D2 :||
||: "A" eA Ac |
"Bm" B/c/B/A/ Bc | "A" eA Ac | ea "D" a>f |
"A" eA Ac | "Bm"B/c/B/A/
Bc | "A" AF EF | "D" D2 D2 :||
***
A / | E / | A / | / D | A / | E / |
A / | D / :||
||: A / | Bm (or E, bass B) | A / |
/ D | A / | Bm / | A / | D / :||
alternative end to either part:
bass run on 5th & 6th strings
(6th = D) ‑ |AF#EF# | D D |
ROSE BUD OF ALLENVALE, THE. AKA and see "Rose of Sharon Waltz," "Rose of
Allendale," "Rose(bud) of Avonmore,"
“Rosebud of Allenvale,” “Roses of Ava Moore.” Scottish (originally),
Canadian, Old-Time; Air (6/8 time) or Waltz. A Major. Standard tuning. AB.
Composed by the great Scots fiddler and composer J.
Scott Skinner (1843-1927), originally published in the 1920's in his Cairngorn Series #9. The title sometimes
appears as "The Rose of Allendale" and similar variants, and can be
found in Midwest America under the title "Rose of Sharon Waltz." (“The Rose of Allendale” is also the name of
another famous melody, in common time), and “Roses of Ava Moore.” Missouri
fiddler Howard Marshall writes: “we call this "Rose of Sharon" (for
those of us who may have learned it off Howdy Forester's old LP) or
"Rosebuds of Aviemore" (there is a town in the Scottish Highlands
south of Inverness named Aviemore; I've been there), or "Rosebuds of
Avamore" (maybe a reference to the Ozark town of Ava MO where fiddler Bob
Holt lives).” Missouri fiddler Gary Johnston (b. 1937) seems to emphasize this
in his title “Roses of Ava Moore”, and Gordon McCann (Ozark Fiddle Music,
2008) says it is sometimes called by regional fiddlers as “Roses of Ever
Moore.” Source for notated version: George MacPhee (b. 1941, Monticello,
North-East Kings County, Prince Edward Island) [Perlman]. Hunter (Fiddle Music of Scotland), 1988; No. 38.
Matthiesen (Waltz Book II), 1995; pg.
49. Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 174.
X:1
T:Rose Bud of Allenvale, The
M:6/8
L:1/8
R:Air
C:J. Scott Skinner
Z:AK/Fiddler’s Companion
K:A
(e/d/) | c>dc BAB | (A3 A2)c | d>ef ecA | (B3B2) e/d/ | c>de ABc
|
d2e f2 g/a/ | eAd c2B | (A3 A2) ||
c/d/ | e>f=g f2e | (d3d2)e | f>ga g2f |
(e3e2) f/g/ | aec A2=G | FAd f^gf |
eAd c2B | (A3A2) ||
ROSE BUD/ROSEBUD REEL. AKA ‑ "Mountain
Ranger Hornpipe [1]," “Rosebud Hornpipe.” New England, Old‑Time;
Reel and Breakdown. USA; Missouri, Nebraska. B Flat Major. Standard tuning.
AABB (Christeson, Cole, Kerr, Page): AA'BB (Phillips). A reel-time setting of
the “Mountain Hornpipe.” Seattle fiddler, researcher and publisher Vivian
Williams discovered the tune in George Saunders’ tutor New and Scientific
Self-Instructing School for the Violin (Providence, R.I., 1847), set in the
key of ‘C’ major. In the publication, ‘Professor (of Music and Dancing)’
Saunders claims composition credit by his initials next to the tune. Vivian
writes: “I think Saunders probably did compose the tunes he claimed. In his
book he seems quite conscientious about marking his tunes with his initials,
and leaving the rest unmarked. He comments that he wrote all the cotillion sets
himself, and they are all initialled…On the other hand, he didn’t initial any
of the standard ‘Contra, Spanish and Fancy Dances’ in the book, including his
very idiosyncratic version of ‘Durang’s Hornpipe’, which is very different from
the usual ‘book’ versions.” The melody was picked up by the Kerr’s publishing
company in Scotland, presumably from American sources such as Ryan’s Mammoth
Collection (1883), and included in one of their Merry Melodies
volumes, however, all indications so far are that it is American in provenance.
The tune was picked up by Mid-west fiddlers and recorded by such regionally
famous fiddlers such as Lonnie Robertson, Charlie Walden, Bob Walters and Cyril
Stinnett. Guthrie Meade (Country Music Sources, 2002) records one early
78 RPM recording by Geoge Stehl (1920). Sources for notated versions: Bob
Walters (Burt County, Nebraska) [Christeson]; Becky Miller [Phillips]; Lonnie
Robertson (1908-1981, Springfield, Mo.) [Beisswenger & McCann]. Beisswenger
& McCann (Ozark Fiddle Music), 2008; pg. 125. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 2),
1984; No. 38, pg. 26‑27. Cole (1000
Fiddle Tunes), 1940; pg. 10. Kerr (Merry
Melodies), vol. 2; pg. 44. Page (Ralph
Page Book of Contras), 1969; pg. 21. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 203. Ryan’s Mammoth Collection, 1883; pg. 33.
Sweet (Fifer's Delight), No. or pg.
48. Front Hall 03, Dudley Laufman‑‑"Swinging
on a Gate." Rounder CD 0375, Lonnie Robertson – “Lonnie’s Breakdown”
(1996. Originally recorded 1966).
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Rose Bud
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Bb
F/E/ | D/F/B/c/ dc/d/ | e/d/c/B/ GF/E/ | D/F/B/c/ d/B/A/B/ | g/f/d/B/
cF/E/ |
D/F/B/c/ dc/d/ | e/d/c/B/ GF/E/ |
D/F/B/d/ c/B/A/c/ | BdB :: B/c/ | d/B/A/B/ G/B/F/B/ |
D/F/B/c/ d/B/A/B/ | g/B/F/B/
e/d/c/B/ | G/c/c/B/ A/B/c/e/ | d/B/A/B/ G/B/F/B/ |
D/F/B/c/ e/B/A/B/ | g/B/f/B/
e/d/c/B/ | A/F/G/A/ B :||
X:2
T:Rosebud Reel
M:2/4
L:1/8
C:George Saunders
B:Saunders - New and Scientific
Self-Instructing School for the Violin (Providence, R.I., 1847, No. 19, pg.
55)
Z:AK/Fiddler’s Companion
K:C
{A}(G/F/)|(E/G/).c/.d/
ec/e/|{g}(f/e/)(d/c/) .A{B}A/G/|E/G/c/d/ e/c/a/g/|e/c/c/e/ .D{A}G/F/|
(E/G/).c/.d/ ec/e/|{g}(f/e/)(d/c/)
.A{B}A/G/|E/G/c/e/ d/c/B/d/|ce/d/ c:|
|:{a}(g/f/)|.e/(c/B/c/)
A/c/G/c/|E/G/c/d/ .e/(c/B/c/)|a/c/g/c/ {ag}f/e/d/c/|
A/d/d/c/ B/c/d/f/|.e/(c/B/c/)
A/c/G/c/|E/G/c/d/ .e/(c/B/c/)|a/c/g/c/ {g}f/e/d/c/|B/G/A/B/ c:||
ROSE BUSH. Irish (?), Jig. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 66. Ryan’s Mammoth Collection, 1883; pg. 97.
X:1
T:Rose Bush
M:6/8
L:1/8
S:Ryan’s Mammoth Collection
(c. 1883)
Z:AK/Fiddler’s Companion
K:G
D | GAB AGE | ceg dBG | GAB AGE |
FDD DEF |
GAB AGE | ceg dBG | cAc BGB | AEF G2
:: B | d^ce def |
Gfe dBG | {a}gfg eag | fdd def | gbg
faf | ege def | gdB AGA | BGG G2 :||
ROSE BY THE DOOR. American, Waltz. D Major. Standard tuning. AA'BB'. Composed by Andrea
Hoag (Maryland), in 1985. Matthiesen (The
Waltz Book), 1992; pg. 41.
ROSE CONNOLLY. AKA and see "Rosey Connolly,"
"The Fair at Dungarvan,"
"Alas, My Bright Lady,"
"Lament for Kilcash,"
"Nelly, My Love, and Me,"
"There is a Beech‑tree
Grove," "Were
You Ever in Sweet Tipperary?" Irish, Air (6/8 time). E Major. Standard
tuning. One part. The tune was noted by the Irish collector Edward Bunting from
an unknown source in Coleraine in 1811.
***
All you young men and Maidens I pray you take warning by me,
And never court your true love anunder a Hozier Tree.
The devil and his temptations it was that came over me,
And I murdered my Rosey Connolly anunder a Hozier Tree.
***
O'Sullivan notes that
"ozier," a form of willow, is meant for "Hozier" in the
lyric.
***
Joel Shimberg points out that the
American old-time duo Grayson and Whitter recorded a song called "Down In
The Willow Garden" in the 78 RPM era, a reworking of the “Rose Connolly”
theme. However, John Moulden says that “Down in the Willow Garden” was not very
widespread in pre-Ralph Peer (the seminal 78 RPM recording engineer of the
1920’s) Appalachia. It goes:
***
Down in the willow garden, where me and my love did meet,
It's there we sat a-courting, my love dropped off to sleep.
I had a bottle of burgundy wine, which my true love did not know,
And there I murdered that dear little girl, down under the banks below.
***
I stabbed her with my dagger, which was a bloody knife,
Threw her into the river, with was a dreadful sight.
My father often had told me that money would set me free,
If I would murder that dear little girl, whose name was Rose Connolly.
***
Now he sits in his own cabin door, a-wiping his tear-dimmed eyes.
Watching as his only son climbs up the scaffold high.
My race is run beneath the sun, and hell now waits for me,
because I murdered that dear little girl, whose name was Rose Connolly.
***
The “Down in the Willow” tune made
its way into bluegrass repertoire from the Grayson/Whitter recording.
O'Sullivan/Bunting, 1983; No. 14, pg. 21.
ROSE DIVISION. AKA‑ "Rowe's Division," "Row's Division." Old‑Time,
Breakdown. USA, North Carolina. C Major (Brody, Krassen): B Flat Major
(Phillips). Standard tuning. AABB. Fennig's describes the melody as "an
old fife and drum march." It is possible, although not in any way
substantiated, that the title refers to the Confederate army division of Robert
Rodes, who commanded it at the Battle of Gettysburg in 1863. It was one of the
first units on the field. Source for notated version: Alan Jabbour via Dave
Milefsky [Krassen]; Bill Christopherson and Tom Phillips [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 234.
Krassen (Appalachian Fiddle), 1973;
pg. 77. Phillips (Traditional American
Fiddle Tunes), vol. 2, 1995; pg. 221 (appears as "Rowe's
Division"). Front Hall FHR‑024, Fennig's
All‑Star String Band ‑ "Fennigmania" (1981. Learned from
fiddler Bill Hinckley). Rounder 0024, "Hollow Rock String Band"
(1974. Learned from Joh Lewis of Walnut Cove, North Carolina).
ROSE FOR POLLY, A. Old‑Time, Breakdown. USA, North Carolina. G Major. Standard
tuning. AABB'CC'. The melody is vaguely like J.P. Fraley’s “Wild Rose of the Mountain,”
according to Tony Russell. Source for notated version: Glen Smith (Galax, Va.)
& Tommy Hunter (N.C.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 115. June Appal 007, Tommy Hunter ‑ "Deep In
Tradtion" (1976. Learned from his grandfather, fiddler James W. Hunter,
Madison County, N.C.). Marimac AHS #3, Glen Smith – “Say Old Man” (1990.
Learned from Tommy Hunter).
ROSE GARDEN, THE. Irish, Reel. G Major. Standard tuning. AA’B. 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. 236.
X:1
T:Rose Garden, The
M:4/4
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
R:Reel
K:G
EFGA BE E2|GBAG FDEF|GFEF GABc|1dfe^c dBAF:|2dBAF GE E2||
e2 ee (3efg fe|fedc defg|afgf efga|bgaf ge e2|
efga
bgaf|(3efg fe defg|(3fgf (#efe dfe^c|dBAF GE E2||
ROSE HILL. English, Jig. A Major. Standard tuning. AABB. Published by Charles and
Samuel Thompson in their Compleat Collection, vol. 3 (London, 1773). Northumbrian
musician William Vickers entered it into his music manuscript collection, begun
in 1770. Seattle (William Vickers),
1987, Part 3; No. 567. Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 3), 1773; No. 123.
X:1
T:Rose Hill
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
Aec
def|ecA GAB|FAd EAc|DED [Cc][B,B][A,A]|aec def|ecA GAB|cde fga|fe^d e3:|
|:efe edc|dcB gab|ded dcB|cAc fga|fdB Gee|cAF [DB][B,c]d|cde fga|cdB A3:||
ROSE IN FULL BLOOM. AKA and see “Jackson’s Babes,”
“Leanbh Mo Chroi.”
ROSE IN THE GAP, THE. Irish,
Jig. E Dorian. Standard tuning. AABBCC. Vertical
Records, John McSherry & Donal O’Connor – “Tripswitch.”
X:1
T:Rose in the Gap, The
M:4/4
L:1/8
R:Hornpipe
K:Edor
|:(3FGA|B3c B2AF|B2E2E2 (3FGA|B3c
B2AF|A2D2D2 (3EFG|
B3c B2AF|AF ABd3e|fedB (3Bcd
AF|B2E2E2:|
|:Bd|fedB BdBA|B2E2E2Bd|fedB
BdBA|B2D2D2Bd|
fedB BdAF|AFAB d3e|fedB (3Bcd
AF|B2E2E2:|
|:Bd|e3g f2eg|f2e2e2Bd|e3g
f2eg|f2d2d2Bd|
e3g f2dB|dBde f4|fedB (3Bcd
BA|B2E2E2:|
ROSE IN THE GARDEN [1] ("An Ros Annsa N-Garad" or "Ros San
Garrda").
AKA and see “A Thaidhg, a Rún,” “Jackson’s Flowery Garden,”
"The Primrose Girl [1],"
“Smuggler’s Reel.” Irish, Reel. A
Major. Standard tuning. AB (O'Neill/1850, 1001 & 1915): AA'BB'
(O'Neill/Krassen). A Cape Breton version of the tune (in ‘A’ Major) goes by the
titles “Put Me in the Big Chest”
and “Big Coffin Reel”). Breathnach (CRÉ II), 1976; No. 150. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
234, pg. 124. O'Neill (Krassen), 1976; pg. 116. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1314, pg. 246. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 576, pg. 106. Ryan’s Mammoth
Collection, 1883; pg. 79.
X:1
T:Rose in the Garden, The [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
576
Z:AK/Fiddler’s Companion
K:A
AF|EFAc d2 dB|c2 cA GcAF|EFAc d2
fd|ecBA FAAF|EFAc d2 dB|c2 cA BcAF|
EFAc dfaf|ecBA FA A2||ceec d2
fd|ceec BAFA|ceec d2 fd|
ecBA FA A2|ceec d2 fd|ceec BAFA|cefg
abaf|edcB A2||
ROSE IN THE GARDEN [2]. AKA and see “Farewell to
Whiskey [1]” [1]. An alternate Kings County, Prince Edward Island, title
for the reel version of Niel Gow’s “Farewell to Whiskey.”
ROSE IN THE GARDEN [3]. AKA and see “Boys of
Twenty Five [2]” "Killaghbeg
House," "Ah, Surely,"
"The Windy Gap [1]," "The Bonfire [2]." Irish, Reel.
ROSE IN THE HEATHER (An Rós sa bhFraoch). AKA and see "The Corofin," “(An) Rós sa bhfraoch,”
"The Rose Among the Heather"
[2]. Irish, Double Jig. Ireland, Sliabh Luachra region of the Cork-Kerry border.
D Major. Standard tuning. AABB (Breathnach, Cranitch, DeMarco & Krassen,
Mallinson, Miller & Perron, Taylor): AABB’(Mulvihill): AA’BB’
(Harker/Rafferty, Moylan, O’Malley, Tubridy). Breathnach (1963) notes there is
a setting in J. O’Brien’s Irish Folk
Dance Music (141). Sources for notated versions: recorded by Breandan
Breathnach in November, 1970 from the playing of accordion player Johnny
O’Leary (Sliabh Luachra) [Moylan]; fiddler Tommy Potts [Breathnach]; New Jersey
flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].
Breathnach (CRÉ I); No. 37. Cranitch
(Irish Fiddle Book), 1996; pg. 58.
DeMarco & Krassen ( A Trip to Sligo),
1978; pgs. 29, 43, & 57. Harker (300
Tunes from Mike Rafferty), 2005; No. 202, pg. 62. Jordan (Whistle and Sing), 1975; 26. Mallinson (Enduring), 1995; No. 43, pg. 19. Miller
& Perron (Irish Trad. Fiddle Music),
1977; vol. 2, No. 2. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 34. Moylan (Johnny O’Leary), 1994; No. 11, pgs. 7-8.
Mulvihill (1st Collection),
1986; No. 98, pg. 85. O’Brien (Jerry
O’Brien’s Accordion Instructor), 1949. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 76,
pg. 38. Peoples (Fifty Irish Fiddle Tunes),
1989; No. 43. Taylor (Crossroads Dance),
1992; No. 52, pg. 39. Tubridy (Irish
Traditional Music, vol. 1), 1999; pg. 33. Hemisphere
7243 8 31216 25, Stockton’s Wing - “Celtic Graces” (1994). Outlet SOLP 1010, Na
Filí - "Farewell to Connacht" (1971). Has also been recorded by
Sligo/New York fiddler James Morrison. Shaskeen - "My Love is in America.”
Talcon Records KG240, Paddy Cronin – “The House in the Glen” (197?). Tara
Music, Stockton’s Wing - “The Crooked Rose” (1992).
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:Rose in the Heather
T:The Corofin
M:6/8
L:1/8
K:D
A,||D2F EDB,|DFA BAF|Adf ede|fdB
AFE|FAF EFE|
DFA BAF|AdB AFE|FDD D2:|
|:e|fdB ABd|faa {b/}afd|gag fed|Bee
efg|fdB ABd|faa {b/}afd|
bag {a/}gfe|1 fdc d2:|2 fdB AFE||
ROSE IN THE MOUNTAIN. Old Time, Breakdown. USA, Kentucky. D Major. Standard or ADae tuning.
AABC. A “crooked” tune from the Salyer Family. Jeff Titon (2001) is of the
opinion the tune might have once been a march, although source John Salyer played
it as a breakdown. Titon finds the first part of “Rose on the Mountain,”
published by Knauff in 1839 (No. 3) is related (however, it is not related to
J.P. Fraley’s “Wild Rose of the Mountain”). Source for notated versions: John
M. Salyer (Salyersville, Magoffin County, Ky., 1941 or 42) [Phillips, Titon].
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 116. Titon (Old Time Kentucky Fiddle Tunes),
2001; No. 138, pg. 164. Berea College Appalachian
Center AC003, “John M. Salyer: Home Recordings, 1941-42” (1993). McDirlam
Greene Productions, Bruce Green & Hilry Dirlam - "Fiddler's
Dozen" (1994).
ROSE IS WHITE AND ROSE
IS RED. English, Country Dance Tune (6/8 time).
G Major. Standard tuning. AB. Published in Playford in his English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg. 40 (a facsimile copy of
Playford’s original). Sharp (Country
Dance Tunes), 1909/1994; pg. 62.
X:1
T:Rose is White and Rose is Red
M:6/8
L:1/8
S:Sharp – Country Dance Tunes
Z:AK/Fiddler’s Companion
K:G
B2B B>AG|A2A c>BA|B2B
B>AG|B3 d2 e/=f/|
g>=fe d>cB|A2A e>dc|B2B
B>AG|B3 d3:|
ROSE LAWN QUADRILLE, THE. Old‑Time, Quadrille. USA, Nebraska. Topic 12TS442, Brass Monkey ‑ "See How it
Runs" (1986. Learned from a recording of Nebraska fiddler Bob Walters).
ROSE LEA. English, Polka. England, Northumberland. G Major. Standard tuning.
AABBCC. The tune was attributed by Northumbrian concertina player Billy Pigg to
Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and
fiddler originally from Morpeth, Northumberland. No written source has been
found to corroborate this. Source for notated version: a recording of Billy
Pigg [Dixon]. Dixon (Remember Me),
1995; pg. 65.
ROSE MARY. Irish, Reel. See “The Railroad [4],”
“Miss Cox [1].”
ROSE NELL. Old-Time, Air. G Major.
Standard tuning. One part. One of the first tunes source Hensley played on the
fiddle. There is a 19th century song called “I’d Rather be with Rosy
Nell,” but what relationship this tune may have with it, if any, is
unknown—musically they are dissimilar. Source for notated version: Violet Hensley
(b. 1916, Montgomery County, Arkansas), learned from her father, George
Washington “Wash” Brumley when she was age 12 in 1928 [Beisswenger &
McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 54. Rounder CD 0435, Violet Hensley – “Traditional Fiddle Music
of the Ozarks, vol. 1” (1999. Various artists).
ROSE OF ALLENDALE, THE. English, Air. C Major (Howe): D Major
(Sumner/Gibbons). Standard tuning. AABB. There is sometimes confusion of titles
with “The Rose Bud of Allenvale.” Source for notated version: the 1823-26 music
mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near
Market Rasen, Lincolnshire Wolds) [Sumner]. Howe (Complete Preceptor for the Accordeon), 1843; pg. 14. Sumner (Lincolnshire Collections, vol. 1: The Joshua
Gibbons Manuscript), 1997; pg. 25.
X:1
T:Rose of
Allandale, The
M:C
L:1/8
R:Air
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
c>d | e3d c3B | dcBA G3G | G3c c2 de | d6 c>d | e3d c3B | dcBA G3G |
A3c Bcde | c6 :: d3B G2G | e3c G3e | f2 ed e3c | d6 cd | e3d c3B | dcBA G3G |
A3c Bcde | c6 g>g | g3e e3c | A6 A2 | f3e d3c | B G3 z3 G | A3B dcBA |
G2
c>e e2 cB | A c3 Bcde | [c3e3] :|
ROSE O' CURNIN. AKA and see "Rose Ward."
ROSE OF CASTLETOWN. AKA and see "Johnstown
Reel," "Buachailli na
Locha." Irish, Reel. D Major. Standard tuning. AB. Roche Collection, 1982, vol. 1; No. 139,
pg. 56.
ROSE OF CLOONOE, THE. Irish, Air (6/8 time, "graceful"). G
Dorian. Standard tuning. One part. Learned by Joyce as a child in Limerick, c.
1840. Joyce (Old Irish Folk Music and
Songs), 1909; No. 86, pg. 45.
X:1
T:Rose of Cloonoe, The
M:6/8
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Gdor
B/A/|G>AG DB,C|DFF F2
G/A/|B>AG cAF|DGG G2A|B>cd cdB|
AcA F2 G/A/|B>AG FDC|DDC B,2
B,/C/|DGG G2F|DGG G2||
ROSE OF DRISHANE, THE (An Rois Ua Drisean). Irish, Hornpipe. D Major. Standard
tuning. AABB. O'Neill (Krassen), 1976; pg. 181. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1631, pg. 303. Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De
Grae - “The Smoky Chimney” (1996. A Sliabh Luachra version of the hornpipe).
X:1
T:The Rose of Drishane
M:4/4
L:1/8
R:hornpipe
Z:transcribed by Paul de Grae
K:D
fe ||: dAFA defg | afbf a2 fg | af
(3gfe fagf | (3efe (3dcB A2 fe |
dAFA defg | afbf a2 fg | afba gecd |
1 eddc d2 fe :|| 2 eddc defg |
||: a3 b afdf | g3 a g2 fg | af
(3gfe fagf | (3efe (3dcB A fe |
dAFA defg | afbf a2 fg | afba gecd |
1 eddc defg :|| 2 eddc d4 ||
ROSE OF LUCERNE. Scottish, Waltz. D Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 1; No. 5, pg. 50. North Star NS0031, "Dance Across the Sea: Dances and
Airs from the Celtic Highlands" (1990).
X:1
T:Rose of Lucerne, The
M:3/4
L:1/8
R:Waltz
B:Kerr – Merry Melodies, vol. 1, pg. 50
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A2|d3 efd|A4 F2|(G2E2)A2|(F2D2)A2|d3
efd|A4 F2|(G2E2)A2|D2 z2:||
d2|c3 dec|(d2f2)d2|e3
fge|(f2d2)d2|B3 cdB|(A2d2)f2|(fe)d2c2|d4 A2|
B3cdB|(A2f2)d2|B2 cdB|(A2f2)d2|B3
cdB|(A2d2)f2|(fe)d2c2|d4||
ROSE O' MY HEART WALTZ. Old‑Time, Waltz. A Major. The tune was recorded by Kanawha
County, West Virginia, fiddler Clark Kessinger (1896-1975). Missouri State Old Time Fiddlers Association 001, Pete
McMahan ‑ "Ozark Mountain Waltz." Folkways FA 2337, “Clark
Kessinger Live at Union Grove.”
ROSE OF ORANMORE. Irish, Waltz. D Major. Standard tuning. AB. Lewis (Jim Coogan’s Session Tunes), 1997; pg. W-7.
X:1
T:Rose of Oranmore
M:3/4
L:1/4
K:D
A2|D2F|AFD|G2B|dcB|A2BAFD|E3|E2
A/F/|
D2F|AFD|G2B|dcB|A2F|G|EC|D3||
DG2B|dcB|A2B|AFD|G2B|AFD|E3|E2 A/F/|
D2F|AFD|G2B|dcB|A2F|G|EC|D2||
ROSE OF RED HILL, THE. Scottish, Reel. Green
Linnet SIF 3037, Silly Wizard - "Golden, Golden" (1985).
ROSE OF
ROSE OF SHARON WALTZ. AKA and see "Rose of Allendale," "Rose(bud) of Avonmore/Allenvale."
Scottish (originally), American; Waltz. A Major (Phillips): G Major
(Silberberg). Standard tuning. AB (Silberberg): AA'B (Phillips). The melody was
originally composed by the great Scots fiddler J. Scott
Skinner (1843-1927), who titled it "Rose Bud of Allenvale." As
“Rose of Sharon,” played in the key of ‘A’, it is in the repertoire of Hiram
Stamper. Sources for notated versions: J.T. Perkins [Phillips]; Gary Lee Moore
(Seattle) [Silberberg]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 301. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 133.
ROSE OF TANKERTON, THE.
English, Jig. G Major. Standard tuning. AABB. The name of a country
dance and tune by choreographer, collector, teacher and composer Pat Shaw.
Barnes (English Country Dance Tunes,
vol. 2), 2005; pg. 110.
ROSE OF
ROSE OF THE VALLEY. American, Reel. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 15. Ryan’s Mammoth Collection, 1883; pg. 39.
X:1
T:Rose of the Valley
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
e/d/|c/B/A/c/ B/A/G/B/|A/c/e/g/
a/e/f/e/|c/B/A/c/ B/A/G/B/|A/c/e/g/ a(e/d/)|
c/c/c/A/ B/B/B/G/|A/c/e/g/
a/e/f/e/|c/B/A/c/ B/A/G/B/|A/E/C/E/ A:|
|:e/f/|({a}g/)f/g/a/
g/f/e/d/|c/d/e/f/ =g/f/g/e/|({b}a/)^g/a/b/ a/f/e/f/|=g/e/d/B/ A(e/f/)|
({a}^g/)f/g/a/ g/f/e/d/|c/d/e/f/
=g/f/g/e/|a/^g/a/b/ a/f/e/f/|a/e/d/B/ A:|
ROSE ON THE MOUNTAIN
[1], THE. AKA and see "The Coach Road to Sligo [1],"
"The Humors of Bantry,"
"Billy Patterson('s
Favorite)," "Boys
of Bockhill/Rockhill," "The
Catholic Boys [3]," "The
Blackthorn Stick [1]," "The Fire on the Mountain(s) [2],"
"The Maid(en) on the Green,"
"The Eagle's Nest," "Fire in the Valley."
ROSE ON THE MOUNTAIN
[2]. American, Reel. D Major. Standard
tuning. AABB. The melody appears in George P. Knauff's Virginia Reels, volume III (
X:1
T:Rose on the Mountain [2]
M:2/4
L:1/8
R:reel
B:George P. Knauff – Virginia
Reels, vol. III (Baltimore, 1839)
Z:AK/Fiddler’s Companion
K:D
a/g/|f/e/f/d/ Ad/e/|f/g/f/e/
d/c/B/A/|B/c/d/B/ A/d/c/d/|fe/^d/ ea/g/|f/e/f/d/ Ad/e/|
f/g/f/e/ d/c/B/A/|B/c/d/B/
A/B/A/G/|FD D::F/E/|DF/A/ d/e/f/e/|d D/D/ DG/F/|
E e/f/ g/f/e/d/|e[G/B/][G/B/]
[GB][GB]|A/D/F/A/ dd/e/|f/g/f/e/ da|bd’ a/b/a/g/|fd d:||
ROSE
SCHOTTISCHE. English, Schottische.
ROSE THAT THE WIND
BLEW DOWN. Irish, Jig. G Major. Standard
tuning. AB. Learned by Joyce as a child in
X:1
T:Rose that the wind blew down, The
M:6/8
L:1/8
R:Jig
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
N:”Spirited: time well marked”
K:G
B/c/|dBd def|gag g2d|efg dBG|(A3 A2)
B/c/|dBd def|gag g2d|ecA BGE|(G3G2)||
c|Bdg gfe|fdB B2 g/a/|bag agf|(e3
e2) g/a/|bgb aef|gag e2g|ecA BGE|(G3 G2)||
ROSE TREE [1]. AKA and see “Bhíosa lá I bport
láirge,” "The Dainty Besom Maker,"
“Forgive the muse that
slumbered,” "The Gimlet," “I’d mourn the hopes that leave me,” “I’ll Cloot My Johnny’s
Grey Breecks,” “Johnny’s
Grey Breeks [2],” "The Old Lea
Rigg," "Little Mary
Cullinan," "Little
Sheila Connellan,” “Maureen
from Giberland,” “Moore’s Favourite,” “Phelim O’Neill [2],” “Port Láirge,” “The Rose Tree in Full
Bearing,” “The Rose Tree of Paddy’s Land." English, Scottish, American;
Polka, Country and Morris Dance Tune (2/4 or 4/4 time).
***
A rose tree in full bearing,
Had flowers very fair to see,
One rose beyond comparing,
Whose beauty attracted me;
But eager for to win it,
Lovely, blooming, fresh, and gay,
I found a canker in it,
And threw it very far away.
***
How fine this morning early,
Lovely Sunshine clear and bright,
So late I lov'd you dearly,
But now I've lost each fond delight;
The clouds seem big with showers,
The sunny beams no more are seen,
Farewell ye happy hours,
Your falsehood has changed the scene.
***
James Aird gives the melody the
title “The Dainty Besom Maker” in his first volume of Selection of Scotch, English, Irish and Foreign Airs (c. 1778).
Bruce Olson says that according to Alfred Moffat the tune was printed in
Thompson’s 24 Country Dances for the Year
1764 under the title “The Irish Lilt,” although he points out that is a
generic title applied to many tunes.
***
It was used as a reel or country
dance tune in Scotland by c. 1788, and was still known by that title in the
British Isles early 20th century when collected from morris dance musicians in
the village of Brackley, Northamptonshire. A. Morrison (1976) prints a dance
called "The Three Hand Reel" to this tune. Morris versions hail from
the villages of Bampton (Oxfordshire) and Brackley (Northamptonshire) of
England's Cotswolds (Bacon, Mallinson), and also in parts of North‑West
England (Wade) where it is used for a polka step. The author of English Folk-Song and Dance found the
tune in the repertoire of fiddler William Tilbury (who lived at Pitch Place,
midway between Churt and Thursley in Surrey), who, in his younger days, played
the fiddle at village dances. Tilbury learned his repertoire from an uncle,
Fiddler Hammond, who died in 1870 and who was the village musician before him.
The conclusion was that “The Rose Tree” and similar country dance tunes
survived in English tradition (at least in southwest
***
The melody
appears in the music manuscript copybook of Henry Livingston, Jr.
***
My grandma lived on
yonder little green,
Finest old lady that
ever was seen.
She often cautioned me
with care,
Of all false young men
to beware.
Timi timiumptum
timiumpeta,
Of all false young men
to beware.
***
These words turn out to be from a song sheet called “My Grandma’s Advice” published by Oliver Ditson Co. in 1857. See also mention of the tune in Paul Wells and Anne McLucas’s “Musical Theater as a Link between Folk and Popular Traditions” (Vistas of American Music: Essays and Compositions in Honor of William K. Kearns, Ed. Porter & Graziano, Harmonie Park Press, 1999). An American Civil War song, “Sing Sing Polly,” was also set to the tune of “The Rose Tree” (see Mattson & Walz, Old Fort Snelling…Fife, pg. 82).
***
In Scottish tradition, the melody
predates the Shield opera, and can be found in Oswald’s Caledonian Pocket Companion (bk. 10, pg. 17) under the title “The
Gimlet.” The first part of the “Rose Tree” melody bears a resemblance to “The
Lea Rig,” and a connection in print between the two tunes appears in Niel Gow’s
Second Collection of Strathspey Reels,
where it is printed in C Major and entitled “Old Lee Rigg--or Rose Tree.” It
also appears as “The Lea Rigg” in Brysson’s Curious
Collection (1791). The Scottish song “False Knight Upon the Road” is set to
the melody, as is the song “Jockey’s Grey Breeks” (or, in northern
***
In Irish tradition the melody was
recorded in 1926 by
***
Bacon (The Morris Ring), 1974; pg. 47. Barnes (English Country Dance Tunes), 1986. Brody (Fiddler’s Fakebook), 1983; pg. 235. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 14 (includes four
variation sets). Hardings All Round
Collection), 1905; No. 134, pg. 42. Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No. 58, pg. 28. Kerr (Merry Melodies), vol. 1; No. 4, pg. 21. The
Joseph Kershaw Manuscript, 1993; No. 48. Mallinson (Mally’s Cotswold Morris Book), 1988, Vol. 2; No. 61, pg. 29.
Mallinson (100 Polkas), 1997; No. 65,
pg. 25. Miller & Perron (
See also listing at:
Alan Ng’s Irishtune.info |
X:1
T:Rose Tree
M:C
L:1/8
R:Polka or March
K:D
|:fe|d2 B2 A2 F2|AB AF A2A2| d2cde2 de| f2e2 eg fe| d2B2A2F2|
AB AF A2A2 |d2cd (3efe de|f2d2d2 :: e2|f3ef2g2| a4g2f2|e2b2b3a |
b2e2 egfe | d2B2A2 FG |AB AF A2 FA|d2cd (3efe de| f2d2d2 :|
ROSE TREE [2]. Irish, Polka. D Major. Standard.
AABB. A miss-titling of “Leather
Away (with) the Wattle.” See also “London
Bridge Polka.” Brody (Fiddler’s
Fakebook), 1983; pg. 235. Philo 1008, "Kenny
Hall."
ROSE TREE IN FULL
BEARING, THE. AKA and see “Rose Tree [1].”
ROSE TREE OF PADDY’S
LAND, THE. AKA and see “The Rose Tree [1].”
ROSE WARD. AKA ‑ "Roisin Ni Cuirnin" (Rose O'Curnin). Irish, Air
(4/4 time). F Major. Standard. One part. "Compare with 'The Little Harvest Rose': Bunting,
first collection" (Joyce). Source for notated version: Hugh O'Beirne,
professional fiddler from Ballinamore, Co. Leitrim, c. 1846, via Forde (Joyce).
Joyce (Old Irish Folk Music and Song),
1909; No. 581, pg. 304.
ROSE WALTZ [1]. AKA and see "Country
Waltz." Old‑Time, Waltz. USA; Missouri, Nebraska. C Major. Standard.
AABB. “The Rose Waltz” is one of the ‘100 essential Missouri fiddle tunes’
according to Missouri fiddler Charlie Walden. Source for notated versions: Bob
Walters (Burt County, Nebraska) [Christeson, Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol 1),
1973; No. 232, pg. 188. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 302. One version of a "Rose
Waltz" was recorded by Blind Joe Mangrum (b. 1853, Paducah, Ky.) for
Victor in 1928. Missouri State Old Time Fiddlers'
Association, Bob Walters (1889-1960) - "Old Time Fiddler's Repertory"
(1976).
ROSE WALTZ [2]. Old‑Time, Waltz. C Major ('A'
part) & G Major ('B' part). Standard. ABB. Ford (Traditional Music in America), 1940; pg. 141.
ROSE WALTZ [3], THE. Irish, Waltz. D Major. Standard. AABBCD. Roche Collection, 1982, vol. 32; No.
144, pg. 46.
ROSE WITHOUT RUE (Ros Gan Airmealac). Irish, Air (4/4 time). G Major ('A' part)
& E Minor ('B' part). Standard. AB. Source for notated version: According to
Bunting's index of his 1840 collection, the melody was noted at Coleraine, Co.
Londonderry, in 1810. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 149, pg. 26. O'Sullivan/Bunting, 1983; No. 12, pg. 18.
X:1
T:Rose Without Rue
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 149
Z:AK/Fiddler’s Companion
K:G
D| D>GG>G G>FE>D |
E>FGE D2 Bc | d>Bc>A B>GFG | A>FGE D2 Bc |
d>Bc>A B>GFG | A>FGE D3C
| B,>DE>F {A}G>FG>A | BGA>F G2 ||
GA | B>GEE E2 FG | A>FDD D2 DC
| B,>DE>F {A}G>FGA | B2 A>G A2 GA |
B>GEE E2 FG | A>FDD D3C |
B,>DE>F {A}G>FG>A | BGA>F G3 ||
ROSEBUD BY MY EARLY
WALK [1], A. Scottish, Slow Air (6/8 time). D
Major. Standard tuning. One part. The air is by David Sillar, a merchant and
then a schoolmaster at
***
A rosebud by my early walk
A down a corn in closed bawk
All on a dewy morning.
Ere twice the shades o' dawn are fled
In a' its crimson glory spread
And drooping rich the dewy head,
It scents the early morning.
***
Neil (The Scots Fiddle), 1991; No. 180, pg. 235.
ROSEBUD BY MY EARLY
WALK [2], A. Scottish, Slow Air (4/4 time). A
Minor. Standard tuning. AABB. Neil (The
Scots Fiddle), 1991; No. 181, pg. 235.
ROSEBUD HORNPIPE. See “Rose Bud Reel.”
ROSEBUD OF ALLENDALE. See “Rose Bud of Allenvale.”
ROSEBUD OF AVONDALE. (AKA ‑ "Rose of Avondale"?). New England, Waltz. A
Major. Standard tuning. One part. Perhaps the J. Scott Skinner melody "Rose Bud of Allenvale."
ROSEBUD REEL. See "Rose Bud Reel."
ROSEBUSH JIG, THE. Scottish, Jig. A Major. Standard tuning. AABB.
Composed by the great Scottish fiddler and composer J.
Scott Skinner (1843-1927). Not “The Rose Bush”, a jig in Ryan’s/Cole’s.
Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton)
[Cranford]. Cranford (Winston Fitzgerald), 1997; No. 176, pg.
70.
ROSIE FINN’S FAVOURITE.
Irish, Slide (12/8 time). See also the related “Biddy the Darling.” Bulmer
& Sharpley (Music from Ireland),
vol. 4, No. 86.
ROSIE’S REEL. Irish, Reel. Composed by Lunasa flute player
Kevin Crawford. Green Linnet GLCD 1200, Lunasa –
“Otherworld” (1999).
ROSELAND HILL (Cnoc Baile-Na-Ros). Irish, Reel. G Major ('A' part) & E Minor
('B' part). Standard tuning. Source for notated version: Chicago Highland piper
William Walsh, a native of Galway and source of several tunes for the O’Neill
collections [O’Neill]. AB (O'Neill/1850): AA'B (O'Neill/Krassen). O'Neill
(Krassen), 1976; pg. 148. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1484, pg. 274.
X:1
T:Roseland Hill
M:2/4
L:1/8
R:Reel
S:O’Neill – Music of Ireland (1903), No. 1484
Z:AK/Fiddler’s Companion
K:G
GB/A/ G/A/B/d/ | ee/f/ e/d/B/A/ |
GB/A/ G/A/B/c/ | d/B/A/B/ A/F/E/D/ |
GB/A/ G/A/B/d/ | ee/f/ e/d/B/A/ |
GB/A/ G/A/B/c/ | d/B/A/B/ Gz ||
ee/B/ ez | e/d/e/f/ g/f/e/g/ |
f/d/d/c/ d/e/f/g/ | a/b/a/f/ g/f/e/d/ | ee/B/ ez |
e/d/e/f/ gf/g/ | a/g/f/a/ g/f/e/g/ |
e/d/e/f/ e/d/B/A/ ||
ROSEMARY BROWN. English, Waltz. A Major. Standard tuning. AB. Composed by the English
ethnomusicologist, choreographer, dancer, musician and composer Pat
Shuldham-Shaw (d. 1977). Shaw was a prolific composer of dances and tunes, many
of which have been published. The melody, however, does not appear in his
printed collections. Source for notated version: Shetland fiddler Aly Bain
[Cranford/Holland]. Cranford (Jerry Holland: The Second Collection),
2000; No. 313, pg. 112. Green Linnet GLCD 3105, Aly
Bain - “Lonely Bird” (1996).
ROSEMARY LANE (Lána Rosemary). Irish, Jig. D Major. Standard tuning. AABB.
Sean Quinn finds that “Rosemary
Lane was composed by a J S Crofts who wrote several books of dance music that
were published by Waltons of Dublin in the late 1950s.” Source for notated version: fiddler
Kathleen Collins [Breathnach]. Breathnach (CRE
III), 1985; No. 9, pg. 6. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 16, pg. 4. RBM 463 902, Oisin – “Winds of Change.” Shanachie 29002,
Kathleen Collins – “Traditional Music of Ireland” (1976).
X:1
T:
M:6/8
L:1/8
R:Jig
K:D
ROSEMONT QUADRILLE. Old‑Time, Breakdown. D Major ('A' part) & G Major ('B' part).
Standard tuning. AB. "Emery Martin learned this tune by ear, and for a
long while called it 'The Fillmore Provance Tune,' thus‑‑as is
quite common‑‑naming it after the fiddler from whose playing his
own family acquired it. Later, upon his playing the air for someone else, he
was told that the title given here was the correct one, and accordingly adopted
it. His informant also told him that the tune, under this name, was to be found
in the collection 'Gems of the Ball', which the editor has not seen"
(Bayard, 1944). Source for notated verison: Emery Martin, (near) Dunbar,
Pennsylvania, October 14, 1943 (learned from his brother, who learned it from
F.P. Provance) [Bayard, 1944]. Bayard (Hill
Country Tunes), 1944; No. 84.
ROSENALLIS. Irish, Reel. Composed by County
Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 14.
ROSES. American, Waltz. USA, Arizona. C Major. Identified by Arizona fiddler
Kenner C. Kartchner as a Pete Marker tune (Marker was a famous frontier
fiddler), one of the first he learned, in 1898.
ROSES BLAW, THE. See "O I Hae Seen the Roses Blaw,"
"I Hae Seen the Roses Blaw."
ROSES IN THE MORNING. Old-Time, Breakdown. USA, Ky. G Major. Standard tuning. AABB. Source
for notated version: Clyde Davenport (Ky.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 203.
ROSES OF AVA MOORE.
AKA and see “Rose Bud of Allenvale.”
Old-Time, Waltz. A Major. Standard tuning. AA’B. A highly double-stopped
reworking of Scot Skinner’s air “Rose Bud of Allenvale” (see note). Source for
notated version: Gary Johnston (b. 1937, Nevada, Missouri) [Beisswenger &
McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 80.
ROSETTE, LA. French, Country Dance (6/8 time). D Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters. He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 57.
X:1
T:Rosette, La
M:6/8
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 57
Z:AK/Fiddler’s Companion
K:D
AFD BGE | ecA {e}d2 | AFD BGE | CDE A,3 | AFD BGE | ecA {e}d2 |
AFD GEC | FDC D3 :: (fdf) {b}(aga) | (ece) {b}(aga) | (fdf) ({b}(aga) |
cde A3 | (fdf) {b}(aga) | (ece) {b}(aga) | (fdf) {b}(aga) | aec A3 |
(AFA)
(GEG) | FDC D3 :|
ROSETTE QUICK STEP. English, March (6/8 time). G Major. Standard tuning. AABB. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 35, pg. 20.
X:1
T:Rosette Quick Step
M:6/8
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:G
D | G2G GBg | G2G G2G | A2A ABc | B2G G2D | G2G GBg |
G2G G2G | AcB AGF | G2G G2 :: d | g2g aga | b2g g2e | ded dcB |
A2D
D2d | g2g aga | b2g g2e | dcB AGF | G3 G2 :|
ROSEWOOD. Scottish, Irish; Jig. A Major. Standard tuning. AB (Bain): AABB
(McNulty): AABB’CC (Perlman). Composed by the great fiddler-composer James Scott Skinner (1843-1927) in honor of his
concert agent, George Rosewood of Aberdeen. Source for notated version: Reuben
Smith (b. 1931, Blooming Point, Queens County, Prince Edward Island) [Perlman].
Bain (50 Fiddle Solos), 1989; pg. 42.
McNulty (Dance Music of Ireland),
1965; pg. 21. Perlman (The Fiddle Music
of Prince Edward Island), 1996; pg. 144. Front
Hall FHR‑024, Fennig's All‑Star String Band ‑
"Fennigmania" (1981. Learned from the McCusker Brothers Ceili Band).
Rounder Records, Buddy MacMaster – “Cape Breton Tradition.”
X:1
T:Rosewood
M:6/8
L:1/8
R:Jig
S:Brian Conway
K:A
g | agf efg | aed cBA | ~a3 cde | fdB [G2B2]g | agf efg | aed cBA |
fdB EGB | {d}cAG A2 :: B | cde Ace | fdc dfe | ^def Bdf | gee ebg |
~a3 edc | fed cBA | def {g}fed | cdB A2 :|
ROSEWOOD’S DIRK. Scottish, Strathspey. A Major.
Standard. AB. Composed by the great Scottish composer and fiddler J. Scott Skinner (1843-1927). Source for notated
version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 82, pg.
36. Skinner (Harp and Claymore),
1904; pg. 101.
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Rose Wood’s Dirk
M:C
L:1/8
R:Strathspey
N:”For Violin or Pipes.”
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
E | A<A c>A e>Ac>A |
(3.d.e.f (3.e.d.c (3.B.c.A (3.G.F.E | A<A c>A e>Ac>A | (3^.d.e.f
(3.B.b.a g<e e>E |
A<A c>A e>Ac>A | (3def
(3edc (3BcA (3GFE | (3FGA (3GAB | (3ABc (3def | (3edc (3Bcd c<A A ||
G | {g}a<A c>a A>ec>e |
(3Ace (a>g) (3fed (3cde | f<B d>f B>fd>f | (3Bdf b>a (3gab
(3efg |
a<A c>a A>ec>e | (3Ace
(a>g) (3.f.e.d (3.c.d.e | (3fdf (3ece (3aga (3ecA | (3EAc (3dBe c<A A ||
ROSEY CONNOLLY. AKA and see "Rose Connolly."
ROSEY LET ME IN (Roisin Leig Asteac Me). Irish, Air (4/4 time). G Major.
Standard. AB. Source for notated version: Chicago Police Sergeant James
O’Neill, a fiddler originally from County Down and Francis O’Neill’s
collaborator [O’Neill]. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 532, pg. 93.
X:1
T:Rosey Let Me In
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 532
Z:AK/Fiddler’s Companion
K:G
B>A | G2 d>e d2 g2 | f3e d2e2
| d2 cB ABcA | GFED D2 B>A | G2 d>e d2g2 |
fefg a2 d>e | f2a2 gfef | g6 ||
g>a | b2 a>g g2 fd | g>fga bdcB | cedc BdcB |
B2 A2 z2 g>a | babg fefd | gfga
bdcB | c3B c2 df | g6 ||
ROSIE FINN’S FAVOURITE. Irish, Quadrille or Single Jig (12/8 time). G Major. Standard tuning.
AABB. See also the related single jig “Biddy
the Darling.” Bulmer & Sharpley (Music
from Ireland), vol. 4; No. 86 (untitled). Miller (Fiddler’s Throne), 2004; No. 93, pg. 65. Green
Linnet SIF 3005, Bothy Band - "Old Hag You Have Killed Me" (1981. A
reissue of the 1976 Mulligan LP). Green Linnet SIF 3016, Bothy Band – “After
Hours.” Green Linnet SIF 3111, Bothy Band – “Live at the BBC, ’76, ‘78.”
X:1
T:Rosie Finn’s Favourite
R:single jig
M:12/8
L:1/8
K:G
G2 B d2 g b2 g d2 B|cBc agf gfe
dBA|G2 B d2 g b2 g d2 B|
cBc agf g3 g3:|:g2 b c'2 b a2 e e2
g|f2 a abg f2 d d3|
g2 b c'2 b a2 e e2 g|faf def g3 g3:|
ROSIE KELLEHER’S. Irish, Reel. G Major. Standard tuning. AAB. Black (Music’s the Very Best Thing), 1996; No. 257, pg. 138.
X:1
T: Rosie Kelleher's
S: Mike Reynolds
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: G
f | g3 d B G3 | AGBG AGEG | D G3 A3 B | cBAG FdcA |
g3 d B G3 | AGBG AGEG | DGEG E F3 | ABGF G3 :|
e | dGGF G3 e | dGeG e f3 | g3 d b a3 | gedc Bgge |
dGGF G3 e | dGeG e f3 | d G3 DGBG | AcBG AGEG |
B3
d B G3 | AGBG AGEG | DGEG E F3 | ABGF G3 :|
ROSIE ROGERS’
FLING. Irish, Hornpipe. A Major. Standard tuning. AABB. A
modern composition by Falmouth, Massachusetts, writer and musician Bill Black.
X: 1
T: Rosie Rogers' Fling
M: 4/4
L: 1/8
Q: 300
R: hornpipe
C: B. Black
K: A
eafe cBAB | cecA F2 F2 | EFAB cBAc | efec B2 B2
|
eafe cBAB | cecA FGAB | Aaga fecA | EFAB A2 A2
:|
aece fece | Acea f2 f2 | aece fbaf | eaec B2 B2
|
aece
fece | Acea fefg | afbf afed | ceBc A2 A2 :|
ROSIE ROLLER. Old‑Time. The title appears in a list of Ozark Mountain fiddle
tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.
ROSIE’S REEL. Irish, Reel. B Minor. Standard. AA’B. Composed by flute player Kevin
Crawford.
X:1
T:Rosie's Reel
C:Kevin Crawford
D:Lúnasa Otherworld
N:Played on Low F whistle on the
recording
R:reel
Z:Spencer Nitchie
M:C|
L:1/8
K:B Minor
FBBA BBdA|FAAF ABFE|FBBA
BBAB|def/2e/2d eeeg|
fBBA B2 dA|FAAF ABFE|FBBB dBfd|1
cAec dBBA:|
|2 cAec dBBA|:fBBB g4-|gffe edcB|A2
AA EAce|
aefa fece|fBBB gfeg|fBBB
dcBc|ABc/2B/2A EAce|
aece fBBB||fBBB geag|fBBB dBec|A2 AA
EAce|
aefa fece|fBBB bafe|fBBB dcBc|a4
afec| ddBA BAFE|
ROSIN THE BEAU. AKA and see "Old Rosin,
the Beau," "Mrs. Kenny('s),"
"Acres of Clams," "My Lodging's in/on
the Cold, Cold Ground." American, Waltz, Air and Contra Dance Tune;
Irish, Jig; English, Morris Dance Tune (6/8 time). A Major (Ford, Joyce): G
Major (Bayard, Laufman, Mulvihill, Wade). Standard or AEae. AB (Bayard, Joyce,
Wade): ABB (Ford): AABB (Laufman, Mulvihill). The tune is used for a single
step in the North‑West England morris dance tradition. Bayard (1981)
notes the air was known to most fiddlers, fifers, and singers in Pennsylvania,
as in many parts of the country. He identifies a melody by James Oswald which
appears in his 2nd Collection (1740’s,
pg. 25) as a 6/8 "Gigg," that is extremely close to
"Rosin," and he wonders if this was the ancestral tune for the air,
or if Oswald himself was influenced by an older air. Further, he says a tune
called “Dumfries House” in Gow’s Complete Repository (3rd Ed.,
Part I, pg. 13) ascribed to John Riddle has a 2nd strain that equals
"Rosin the Beau," and a Welsh harp tune in Bennett's Alawon fy Ngwlad also is quite close.
***
Regarding
Irish versions, the Fleishchmann index (1998) gives that the tune was derived
from a 17th century Irish tune in 6/4 meter called “On the Cold
Ground;” that tune, however, is English, attributed to Matthew Lock from the
play The Rivals. O’Neill (1922) remarks: “The name
‘Rosin the Bow’ has clung to the writer's memory since childhood, and the tune,
like the song about ‘Old Rosin the Bow’ (a nickname for the fiddler) may have
passed into oblivion, had not the melody been fortuitously found recently in a
faded miscellaneous manuscript collection long discarded by (Chicago Police)
Sergt. James O'Neill. A version of it I find is printed in Joyce's Old Irish Folk Music and Songs (1909).”
***
The title
appears in a list of standard tunes in the square dance fiddler's repertoire,
according to A.B. Moore in his History of
Alabama, 1934. The title appears in a list of traditional Ozark Mountain
fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in
1954. Sources for notated versions: "Copied...from a MS. evidently written
by a skilled fiddler with much musical taste, from Limerick, but the name of
the writer nowhere appears" [Joyce]: Hogg (Pa., 1948) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 620, pg.
546. Ford (Traditional Music in America),
1940; pg. 56‑57 and pg. 127 {discord version} (lyrics included, pg. 56‑57).
Joyce (Old Irish Folk Music and Song),
1909; No. 352, pg. 162. Laufman (Okay,
Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall),
1973; pg. 15. Mulvihill (1st
Collection), 1986; No. 15, pg. 122. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 99. Wade (Mally’s North West Morris Book), 1988;
pg. 24. Rounder 7059,
Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005). Smithsonian
Folkways SFW CD 40126, Rodney Miller – “Choose Your Partners!: Contra Dance
& Square Dance Music of New Hampshire” (1999).
X:1
T:Roisin the Beau
S:John McCusker
Z:Juergen.Gier@post.rwth-aachen.de
M:3/4
L:1/8
K:Eb
B,2|E6|G3 FE2|E3 GB2|c4 e2|B3G F2|E3F G<B|C6|\
C4 B,2|E6|G3F E2|E3G B2|c4 e2|B3G E2|G4 F2|E6|1E4:|2\
E3G A2|:B3c B2|Bc d4|d2e4|e3d cB|B3G F2|E3F G<B|C6|\
C4 B,2|1B3c B2|Bc d4|d2e4|e3 dcB|B3G E2|G4 F2|E6|\
E3G A2:|2E6|G3F E2|Ee3 dB|c4 e2|B3G E2|G4 F2|E6|E4|]
X:2
T:Rosin the Bow
M:6/8
L:1/8
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:A
E|ABA cBA|f3 a2f|ecA ABc|(F3F2)E|ABA
cBA|f3 a2f|ecA BAB|(A3A2)||
C/d/|ece efg|a2f a2f|ecA ABc|(F3
F2)E|ABA cBA|f3 a2f|ecA BAB|(A3 A2)||
X:3
T:Rosin the Bow
M:6/8
L:1/8
S:Sergt. James O'Neill manuscripts
Z:Paul Kinder
K:G
D|GAG BAG|Bcd efg|dBG GAB|"tr" E3-E2 D|
GAG BAG|Bcd efg|dBG AGA|G3 G2:|
|:B/2c/2|dBd dBd|g2 e g2 e|dBG GAB|E3-E2 D|
GAG BAG|Bcd efg|1dBG AGA|G3 G2:|2baf agf|g3 g2||
ROSIN THE BOW [1]. AKA and see "Rosin the Beau."
ROSIN THE BOW [2].
English, Jig. G Major. Standard tuning. AABB. No relation to “Rosin the
Beau.” Goulding (Twenty Four Country Dances for the Year 1808), 1808;
No. 5.
X:1
Rosin the Bow [2]
M:6/8
L:1/8
R:Jig
B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)
N:”With proper Tune & Directions to each Dance (as they may be
N:performed at Court, Bath, and all Public Assemblys.”
Z:Transcribed and edited by Flynn Titford-Mock
Z:abcs’s:AK/Fiddler’s
Companion
K:G
D|GAB cde|d3 gdB|dcB Adc|B3 A2D|GAB
cde|d3 gB^c|dAF EG^C|D3D2:|
|:d|dbd cac|BgB A2d|dbd cac|BgB
A2D|GAB cde|d3 gdB|ABc DEF|G3 G2:||
ROSLYN/ROSLIN CASTLE. AKA ‑ "House of Glamis/Glams." Scottish, English; March & Air (4/4 time). E Minor (Camus, Mattson & Walz, Neil, Sumner): C Minor (Hunter). Standard tuning. One part (Hunter): AB (Camus, Hardie, Mattson & Walz): AABB (Neil, Sumner). The title is variously given as Rosland, Rosline, Roseland, Roslin and Rosslyn Castle. A British march used by the English army during the (American) Revolutionary War period, says Winscott (1970). Camus (1976) says the tune was the melody most often associated with funerals during the Revolution, and notes that legend has it that it was played by Scottish bagpipers stationed in New York at the time, in honor of the castle at Roslyn, Midlothian, Scotland. It was perhaps in a funereal state of mind that British troops in 1781 played the tune as they marched out the small Long Island, New York, village of Hempstead Harbor. The oppressed residents, however, rejoiced at the sound, and remembering this, in 1844 their descendents changed the name of their village to Roslyn. The Continental forces also employed the tune as a memorial air. For example, during the 1779 campaign against the Iriquois Six Nations two men had been dispatched by tomahawks and left to lay. After they were found a Colonel Proctor ordered his musicians, in passing the spot, to play “Roslin Castle,” whose “soft and moving tones” silenced the regiment and awakened pity for their comrades (Rev. William Roger’s Journal, pg. 35).
***
Rosyln Castle does in fact exist in
Angus, Scotland, and has since the early 14th century (c. 1304), when it was
built by Sir William St. Clair soon after the Battle of Rosslyn, when, as part
of the Scottish War of Independence, the English army of Edward I was decimated
by the Scots. It is a castle of the rock and waterfall, lying high above the
north bank of the River Esk a few miles south‑west of Edinburgh, and
features a small but magnificent chapel founded in 1446 by the Earl of Orkney
and Roslin. Added to through the years, it survived two fires but was
ultimately destroyed by Cromwell's troops in 1650. The heyday of the edifice
was in the 14th and 15th centuries, where it has been likened to a 'Camelot' of
the era. Neil (1991) remarks "It is on record that one of the princesses
of the castle had 75 ladies‑in‑waiting and 53 of them were also
members of the nobility, all of whom were beautifully dressed in gowns of
velvet and silk and who also wore gold and other jewels. When this princess
travelled to her house in Edinburgh, she was accompanied by 200 men on
horseback and, if at night, by a further 80 carrying torches. There is also the
legend that the castle is haunted by the "Sleeping Lady" who guards a
vast treasure. If awakened by the sound of a trumpet, to be heard in the lower
apartments, she will appear and reveal the treasure, whereupon the castle would
rise from its ruins to its former glory." Recently, the castle was
featured in Dan Brown’s book and film The
Da Vinci Code.
***
An interesting anecdote involving the castle and Robert Burns is given in a memoir by the son of the Scottish artist Alexander Nasmyth, about his father:
***
A visit which the two
paid to Roslin Castle is worthy of commemoration. On one occasion my father
and a few choice
spirits had been spending a "nicht wi' Burns." The place of resort
was a tavern in
the High Street,
Edinburgh. As Burns was a brilliant talker, full of spirit and humour, time
fled until
the "wee sma'
hours ayont the twal'" arrived. The party broke up about three o'clock. At
that time
of the year (the 13th
of June) the night is very short, and morning comes early. Burns, on reaching
the street, looked up
to the sky. It was perfectly clear, and the rising sun was beginning to
brighten
the mural crown of St.
Giles's Cathedral. Burns was so much struck with the beauty of the morning
that he put his hand
on my father's arm and said, "It'll never do to go to bed in such a lovely
morning
as this! Let's awa' to
Roslin Castle." No sooner said than done. The poet and the painter set
out.
Nature lay bright and lovely before them in that delicious summer
morning. After an eight-miles
walk they reached the
castle at Roslin. Burns went down under the great Norman arch, where he
stood rapt in
speechless admiration of the scene. The thought of the eternal renewal of youth
and
freshness of nature,
contrasted with the crumbling decay of man's efforts to perpetuate his work,
even when founded upon
a rock, as Roslin Castle is, seemed greatly to affect him. My father was so
much impressed with
the scene that, while Burns was standing under the arch, he took out his pencil
and a scrap of paper
and made a hasty sketch of the subject. This sketch was highly treasured by my
father, in remembrance
of what must have been one of the most memorable days of his life.
***
After the American Revolution the
melody appears to have continued to have been associated with funerals;
Rocellus Guernsey stated that it was always used as a dirge during the War of 1812.
Alvan Robinson printed it in his Massachusetts Collection of Martial Musick
(Durham, Maine, 1818, with editions of 1820 and 1824), and in fact it was
commonly published in fife tutors of the day to serve duty for soldier’s
funerals. “Roslyn Castle” appeared in the Gillespie
Manuscript of Perth (1768), and in numerous English fiddlers’ manuscript
books including the Hardy family collection—one of the few slow, purely
instrumental tunes in the tradition. In America it was used by the New England
composer Jeremiah Ingalls as the vehicle for a hymn. Words to the tune were
written by Richard Hewitt of Cumberland, who acted as amanuensis to the
Scottish lyric poet Dr. Blacklock (1721‑1791). The tune is often
attributed to the expatriate Scottish music publisher, composer and dancing
master James Oswald (1711‑1769), who lived in London for much of his
later career, however, the melody had appeared a few years earlier in William
McGibbon's (2nd) collection of 1746 under the title "House of
Glamis." John Purser believes it possible that Oswald could still have
composed it, as he and McGibbon may have played together, and had Freemasonry
in common. Oswald, says Purser, “would have chosen to publish it later under
the title of words written to it by Richard Hewitt and published by Robert
Bremner in 1757” (quoted from the liner notes to Abbey Newton’s album “Castles,
Kirks and Caves”).
***
Sir Walter Scott referenced the
playing of “Roslyn Castle” by the renowned Scots fiddler Niel Gow in his book St. Ronan’s Well:
***
Gow’s fiddle suddenly burst forth from where he had established
his little orchestra. All were
of course silent as through his dear
strathspeys he bore with highland rage.
He changed his strain to
an adagio, and suffered his music to die away in the plaintive notes
of Roslin Castle…
***
One of the oddest renditions of
“Roslyn Castle” can be heard played by the late 18th century music
clock crafted by John Smith of Pittenween, Scotland, on exhibit in the National
Museum of Scotland. According to James Dick (The Songs of Robert Burns,
pg. 477), poet Robert Burns set his verse “The gloomy night is gathering fast”
to the air of “Roslyn Castle,” directing so in the 1787 Edinburgh edition of
his poems. However, Bruce Olson finds
that Burns’ song in Johnson’s Scots Musical Museum (No. 284) and in
Thompson’s Scottish Airs is not set to the same tune.
***
Sources for notated versions:
McGibbon’s 2nd Collection
(1746) [Henderson]; the 1823-26 music mss of papermaker and musician Joshua Gibbons
(1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Camus (Military Music of the American Revolution),
1976; Example 16, pg. 117. Hardie (Caledonian
Companion), 1992; 102. Henderson (Flowers
of Scottish Melody), 1935. Hunter (Fiddle
Music of Scotland), 1988; No. 62. Mattson & Walz (Old Fort
Snelling…Fife), 1974; pg. 81. McGibbon (Collection
of Scots Tunes for the Violin or German Flute), Book II, 1746; pg. 35. Neil
(The Scots Fiddle), 1991; No. 12, pg.
15. Oswald (Caledonian Pocket Companion),
vol. IV, 1752. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 54. BEJOCD-28, The Melstock Band – “The Dance at the Phoenix:
Village Band Music from Hardy’s Wessex and Beyond.” Beautiful Jo BEJOCD-36,
Dave Shepherd & Becky Price – “Ashburnham” (West Midlands version from Paul
Davenport’s South Riding Tune Book)
Culburnie CUL 113D, Alasdair Fraser & Tony MacManus – “Return to Kintail”
(1999). Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and Caves”
(2001).
X:1
T:Roslin Castle
R:air
C:Trad.
M:4/4
L:1/8
Q:1/4=130
K:DMin
FE | "Dm"D2A>B A2GA | "Bb"BAGF "A"E2F>E
|"Dm"D2d>e f2ed | "A"^cdec "Dm"A2FG |
"Bb"BAGF "A"E2FG | "Dm"AFED "A"^c2de
|"Dm"fde^c dAGA | FD E>D D2 :||:
A2 | "Dm"d2de f2ed | a>gfg "A"e2d^c |"Dm"dAde
f2ed | agfg "A"e2GA |
"Bb"BAGF "A"E2FG | "Dm"AFED "A"^c2de
|"Dm"fde^c dAGA | FD E>D D2 :||
X:2
T:
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, Book II, pg. 35 (c. 1746)
Z:AK/Fiddler’s Companion
K:G
G>F | E2 B>c B2(AB) | (cB)(AG)
F2 G>F | E2(e>f) g2 “tr”(fe) | (^d>ef)d B2 (AB) |
(cB)(AG) “tr”F2(GA) | (BG)(FE)
({e}d2) (e>f) | (ge0(f^d) (eB)(AB) | G2”tr”(F>E E2 :|
|: B2 | e2 ef g2 fe | (b>a)(ga)
({g}f2) (e^d) | (b>a)(ga ({g}f2) (AB) | (cB)(AG) “tr”F2(GA) |
(BG)”tr”(FE) ({e}^d2) e>f |
(ge)(f^d) (eB)(AB) | G2”tr”F>E E2 :|
ROSS CASTLE. Scottish, Reel. D Major. Standard tuning. AABBBCC. Aird (Selections), vol. II, 1782; No. 125, pg. 46.
X:1
T:Ross Castle
M:2/4
L:1/8
R:Reel
S:Aird, vol. II (1782)
Z:AK/Fiddler’s Companion
K:D
d/c/ | B2A2 | GG c/B/A/G/ | F/G/A/B/ A d/c/ | B2A2 | GG A/B/c/A/ | BGG :|
|: d/c/ | BGAD | GG c/B/A/G/ | F/G/A/B/ Ad/c/ | [GB]GAD | GG A/B/c/A/ | BGG :|
|: (d/c/) | B/c/d/B/ A/B/c/B/ | GG c/B/A/G/ | F/G/A/B/ Ad/c/
| B/c/d/B/ A/B/c/A/ | GG A/B/c/A/ | BGG :|
ROSS
HORNPIPE. Irish, Hornpipe. D Major. Standard. AABB. Composed by
Noel Strange.
X: 1
T: Ross Hornpipe
C: Noel Strange
M: 4/4
L: 1/8
Q: 325
S: Treoir 32/4
Z: Transcribed by Bill Black
R: hornpipe
K: D
AF | (3DED A,
(3DED A,
Bc | d2 ce dAFD | d2 fa gfed | c2 Ac B2 GB |
BAFD A,GFE |
(3DED
A,
ROSS HOUSE. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in Neil Stewart's 1761 collection
(pg. 20).
ROSS' REEL [1]. AKA and see "First
Night in Leadville." American, Reel. E Major. Standard tuning. AABB.
Composition credited to
X:1
T:Ross’ Reel [1]
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:E
B/G/|EG/B/ e/g/f/e/|d/e/f/g/
ag/a/|b/g/a/f/ g/e/f/d/|b/a/g/f/ e/c/B/A/|
G/E/G/B/ e/g/f/e/|d/e/f/g/
ag/a/|b/g/a/f/ g/e/f/d/|B/a/g/f/ e:|
|:d/e/|f/B/ (3B/^A/B/
g/B/(3B/A/B/|b/B/g/B/ f/B/(3B/^A/B/|e/f/g/a/ b/g/a/f/|
g/e/f/d/ B/c/B/A/|G/E/G/B/
e/g/f/e/|d/e/f/g/ ag/a/|b/g/a/f/ g/e/f/d/|B/a/g/f/ e:|
ROSS' REEL [2]. See "Ross's Reel(s)."
ROSSAVIEL/ROSSAVEEL. AKA and see "The
Flowers of Edinburgh [1]." Irish, Reel. G Major/Mixolydian. Standard
tuning. AB. Petrie identifies this as “the old form of the ‘Flowers of
Edinburgh.’” Source for notated version: “Set from Mary O’Donoghoe,
X:1
T:Rossaveel
M:C
L:1/8
R:Reel
S:Stanford/Petrie (1905), No. 372
Z:AK/Fiddler’s Companion
K:G
A | G>EDE G2 GA | Bdde dcBA |
BGEE E>FGA | BGEE E3F | GEDE GFGA |
Bdef g>a ge | =fd cd/e/ dBGB | AB
GG G2 || (3d/e/f/ | gfef dfag | fd e>f d3e |
DBAB G>ABd | cBAG E3A | GEDE
G>FGA | Bdef g3e | =fd c/d/e dBGB | AB GG G3 ||
ROSSIE HOUSE. Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
196, pg. 106.
X:1
T:Rossie House
M:6/8
L:1/8
R:Jig
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:G
B/c/ | ded dBc | dBg dBG | EFG ABG |
FDD D2B/c/ | ded dBc | dBg dBG |
EFG AGF | G3G2 :: F/G/ | ABA AFD |
AFd AFD | ded dBG | dBg dBG |
gag gec | dBg dBG | EFG AGF | G3 G2
:|
ROSSIGNOL, LE. French, Country Dance (2/4 time). G Major.
Standard tuning. AABB. From the contradance book (tunes with dance
instructions) of Robert Daubat (who styled himself Robert d’Aubat de
Saint-Flour), born in Saint-Flour,
X:1
T:Rossignol, Le
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 20
Z:AK/Fiddler’s Companion
K:G
.G/.c/.e/.c/ .G/.B/.d/.B/ | .G/.c/.e/.c/ .G/.B/.d/.B/ | AG {B}AG/F/ | {F}G2 :|
|: df | {b}ag/f/ {c’}ba/g/ | {b}ag/f/ {c’}ba/g/ | {b}ag/f/ ef/d/ | {d}^cB/A/ .d/.f/.a/.g/ |
.d/.g/.b/.g/ .d/.f/.a/.f/ | .d/.g/.b/.g/ .d/.f/.a/.f/ | ed {f}ed/^c/ | {c}d2 fg/e/ | {e}^d^c/B/ fg/e/ |
{e}^d^c/B/ .B/.^d/.f/.b/ | .B/.e/.g/.b/ .B/^.d/.f/.b/ | .B/.e/.g/.b/ .B/.^d/.f/.b/ |
{a}gf/e/
{g}fe/^d/ | {^d}e2 :|
ROSSINGOL WALTZ, THE. English, Waltz (3/8 time).
ROSSINHOL, LO. French, Valse (3/4 time). C Major. Standard tuning. AAB. Stevens (
ROSSINI, THE. Canadian, Reel.
ROSSMORE JETTY, THE. See “Father Kelly’s (Reel) [2].”
Irish, Reel. A composition of the late Father P.J. Kelly, who was for a time
stationed on
ROSSPORT REEL, THE. AKA and see "The Providence Reel," "Cooney's (Reel)."
ROSS'S REEL NO. 1. AKA- "Ross' Reel No. 1."
ROSS'S REEL NO. 4. AKA and see "Lady's Walpole Reel" (?).
X:1
T:Ross’s Reel #4
L:1/8
M:C|
K:F
|:a2|g3f e2d2|cd cB A2GF|EC EG c2 cB|AF Ac f2a2|
g3f e2d2|cd cB A2 GF|EF GA Bc de|f2a2f2:|
|:cB|Ac cc dc cc|Ac fc ac fc|Ac cc dc cc|Ac fc ac fc|
=Bc
cc dc cc|=Bc ec gc _bc|=Bc ec gc _bc|ac gc f2:|
ROTAÍ AN DOMAIN. AKA and see "Rothaí an Domhain," "The Wheels of the World."
ROTHAÍ AN DOMHAIN (The
Wheels of the World). AKA and see “The Wheels of the World [1].”
ROTHA'S LAMENT (Cumha Rotha). Scottish ("Supposed Welsh," says
Fraser), Slow Air (3/4 time). E Flat Major. Standard tuning. AAB. "This
air the editor supposed to be Welsh. He acquired it several years ago from a
young lady who could give no account of it, nor has he heard it with any other
since nor has it appeared among the Welsh melodies. The editor has since tried
to associate it by means of the name, and its being a lament or dirge, with any
traditional or historical event belonging to the Highlands; but failed of
success, till the first proof copy that was put into his hands of Albyn's
Anthology, which contains an air of the name, but bearing no similarity to this
one, giving a description of a steed, not unlike Don Quixotte's Rosinante, on
which a hero belonging to Argyllshire, or rather Mull, whose title was Totha,
or Rutha, sallied forth. Though the proof copy contained such an air, it is not
brought forward in the principal; yet, from the name belonging in this manner
to Argyllshire, at which the editor only glanced, he is hopeful the air to
which this note alludes may also be traced to Argyllshire" (Fraser).
Fraser (The Airs and Melodies Peculiar to
the
X:1
T:Rotha’s Lament
T:Cumha Rotha
L:1/8
M:3/4
S:Fraser Collection
Z:AK/Fiddler’s Companion
K:E_
(GF)|E2z2z2|c4 (BG)|[G,3E3] FGE|C4 B,2|E2z2z2|c3d e2|G3A F2|[G,4E4G4]:|
(3Bcd)|e3 fef|d3 ede|c3 dcd|B3 cdB|e3 fge|d3 efd|c3 (d/e/ f/e/d/c/)|
c4 [EB] (=Bc/4G/4A/4F/4)|E2z2z2|c4BG|[G,3E3] FGE|C4B,2|[B,2E2]z2z2|
c3de2|G3A
F2|[G,4E4G4]||
ROTHEMURCHIES RANT. See "Rothiemurcus Rant."
ROTHIEMURC(H)US RANT. AKA ‑ "Rothe(r)murchies
Rant." AKA and see “Grant’s
Strathspey.” Scottish, Strathspey Rant. C Major (most versions): D Major
(Skinner). Standard tuning. AABB (Alburger): AABBCD (Kerr): AABBCC
(O’Farrell): AABBCCD (Athole,
Gow): AA’BB’CC’D (Perlman): AABBCCDD (Bremner, Emmerson, Glen, Skinner, Skye).
The tune was composed and first printed by Robert
Bremner (c. 1713‑89), who published the earliest collection of
specifically Scottish dance music (1757‑61) {Alburger}. The melody
retains the same characteristics as a rant with the dotted strathspey rhythm.
It was a great favorite of the Scots national poet, Robert Burns, who wrote:
***
Many of our Strathspeys ancient and modern give me exquisite
enjoyment...For instance, I am just now making verses to
Rothiemurche's Rant, an air which puts me into raptures;
and in fact, unless I be pleased with the tune, I never can make
verses to it...
***
The song he
wrote to the melody is called "Lassie wi' the lint‑white
locks." Gow (1799) noted “This tune may be played very slow.” The Irish
reel “Graf Spee” is closely related to
this tune, although “Rothiemurchus Rant” itself had been known for many years
in Ireland, judging from its inclusion in O’Farrell’s collection. Scots
fiddle-composer J. Scott Skinner (1843-1927) set the tune in the key of ‘D’,
“chosen as the key that seems best to suit the character of the tune.” Sources
for notated versions: Peter Chaisson, Jr. (b. 1942, Bear River, North-East
Kings County, Prince Edward Island) [Perlman]; “as played by P(eter) Milne”
[Skinner]. Alburger (Scottish Fiddlers
and Their Music), 1983; Ex. 29, pg. 54. Bremner (Scots Reels), c. 1757; pg. 42. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 48, pgs. 139‑140.
Glen (Glen Collection of Scottish Music),
vol. 1, 1891; pg. 10. Gow (Complete
Repository), Part 1, 1799; pg. 18. Kerr (Merry Melodies), vol. 1; Set 17, No. 1, pg. 11. Lowe (A Collection of Reels and Strathspeys),
1844. McGlashan (Collection of
Strathspey Reels), c. 1780/81; pg. 17. MacDonald (The Skye Collection),
1887; pg. 105. O’Farrell (National
Irish Music for the Union Pipes), 1804; pg. 41. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 200. Skinner (Harp and Claymore Collection), 1904; pg.
21. Stewart-Robertson (The Athole
Collection), 1884; pg. 70. Shanachie 14001,
"The Early Recordings of Angus Chisholm" (Cape Breton) {appears as
"Rothermurchies Rant," originally recorded for a Decca 78 in 1934}.
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Rothiemurchus Rant
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
G|E>DE>C EG G2|c>GA>G c>G A<c|E>DE>C E<G G>c|A<c G>c E<DD:|
|:f|e2 d>c d>ed>B|c>de>d e/d/c/B/ c>G|A/A/A a>g e2 d>c|A<cG<c E<DD:|
|:f|e<g g>a g>ag>d|e<a a>b a>ba>g|e<g d>e c>de>c|A<a g>e e<dd:|
||g|e2 d>^c d<e a2|g<e e>d c<A A>c|GAcd e2 d<c|A<cG<c E<D D>g|
e2 d>c d<e a2|g<e e>d c<A Ae/g/|a>eg>d e2 d<c|A<cG<c E<DD||
X:2
T:Rothiemurchus Rant
M:C
L:1/8
R:Reel
N:”Bold and slow.”
S:Skinner – Harp and Claymore Collection (1904)
Z:AK/Fiddler’s Companion
K:D
(G | F>)E F<D F<(A A2) |
({c)d>)A B>A ({c}.d>).A .B<.d | ({G}F>)E F<D F<(A A>)d
|
B>d A>D F>E E || .a | (gf)
({f}.e).d e>fe>c | d>e({d/e/}f>)e (f/e/).d/.c/ ({c}d)A |
B<Bb>a {a}(f2 e>)d | B>d
A>d F>E E :: g | .f<(aa>).b a>ba>f | .g<(b b>).a
a>ba>g |
f<a e<f ~d>e f<d |
g<b ({b}a>)f ({f}e2) e :: a | (gf)({f}e)d ef b2 |1 a>ff>e d>B
B<d |
A>Bd>e ({d/e/}f2) ({f}e>)d
| B>d A>d F>E E :|2 a>ff>e d>B Ba | b>fa>e gf
({f}e>)d |
B>d A>d F>E E ||
ROTTA. Italian, English; Country Dance Tune (3/4 time). D Minor. Standard tuning.
One part. Found in a 14th century English church music book. Raven says:
"Most revivalist performers have slightly altered this original."
Raven (English Country Dance Tunes),
1984; pg. 214.
ROTTWEILER, THE. AKA and see “Soft Horse Reel.”
_______________________________________
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