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 Ireland

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

BA | F2 B2B3d | cdBd cdBd | F2A2A3c | BdAc BcAc | F2B2 BABc |

d2d2e2 de | a2a2 fedc | dBcA B2 :: F2b2b2 ag | fefg a3z | A2a2 agfe |

defg agfe | F2b2b2 ag | fefg a3z | A2 ag fedc | dBcA B2 :|

                       

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 ROCHESTER, THE. AKA and see "The Buttonhole" [1]. English, Country Dance Tune (6/8 time). D Major. Standard. AABB. Barnes (English Country Dance Tunes), 1986.

 

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 TENNESSEE, THE. AKA and see “Kenloch Jig.” Canadian, Jig. Canada; Prince Edward Island, Cape Breton. G Major. Standard tuning. AA’BB’. The tune is called “Kenloch Jig” on Cape Breton. Source for notated version: Stephen Toole (1927-1995, Green Road, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 123.

 

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 (Baltimore, 1839). See note for “The Rose in the Mountain.”

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. England, Northumbria. D Major. Standard tuning. AABB. Composed by Robert Whinham (1814-1893), musician, composer, teacher, dancing master and fiddler, originally from Morpeth. Source for notated version: T. Carruther’s 20th century manuscript, Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 24.

                       


ROSE STREET STRATHSPEY. Scottish, Strathspey. C Major. Standard tuning. AA'BB'. Rose Street is a narrow lane behind Princess Street in the New Town area of Edinburgh. The air was composed by Robert Ferguson c. 1790, and although there is little known about him, Johnson (1984) thinks it reasonable to suppose he lived in Edinburgh (Ferguson also wrote another strathspey with an Edinburgh title‑‑"Bruntsfield Links"). Source for notated version: Sharpe MS., pg. 217 [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 79, pgs. 226‑227.

 

ROSE THAT THE WIND BLEW DOWN. Irish, Jig. G Major. Standard tuning. AB. Learned by Joyce as a child in Limerick, c. 1840. Joyce (Old Irish Folk Music and Songs), 1909; No. 104, pg. 53.

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). England; Cotswolds, Surrey, North‑West. USA, New England. D Major (most versions): G Major (Bacon, Mallinson). Standard tuning. AB (Silberberg): AABB (most versions): ABBB (Bacon, Mallinson): AABBCCDD (O’Farrell). The title comes from a song set to the tune called "A Rose Tree in Full Bearing,” first appearing in print under that title in English composer William Shield's opera The Poor Soldier (1782, lyrics by John O’Keeffe). Shield did not compose the melody, but rather adapted an existing, older tune, which may have been Irish and which may have been given to Shield by O’Keeffe (although this is speculative at this time). See also its appearance in The English Musical Repository, Edinburgh, 1811). A broadside ballad printed in the early 1820’s gives these words, as “Sung by Mrs. Kennedy and Mrs. Martyr in The Poor Soldier”:

***

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 Surrey) well into the second half of the 18th century. The tune is contained in the 19th century Joseph Kershaw Manuscript. Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles. Knowles says the tune is still played by morris sides from Saddleworth and other North West dance teams.

***

The melody appears in the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. “The Rose Tree” also appears in Riley’s Flute Melodies (New York, 1814). The first part of the tune has a "pronounced likeness" to the American chestnut "Turkey in the Straw," according to Sandburg, Bayard (1981), Jabbour (1971), Winston Wilkinson and others, and is perhaps a progenitor to the family of American tunes known as "(Old) Zip Coon," "Natchez Under the Hill [1]," and "Turkey in the Straw." The low part of the melody is shared with the old-time Kentucky tune “Briarpicker Brown.” “The Rose Tree” shows up as a shape-note hymn printed in John B. Jackson’s Knoxville Harmony (1838), and in the white Appalachian spiritual “My Grandma Lived on Yonder Green” (George Pullen Jackson, White Spirituals in the Southern Uplands, 1933). George Pullen Jackson also records lyrics to the “Rose Tree” tune obtained from his grandmother, who had them from a hired girl in Monson Maine, around the year 1859:

***

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 England, “Johnny’s Grey Breeks”). The latter was cited by Robert Burns’ as the melody for his 1786 lyric “Again Rejoicing Nature Sees.”

***

In Irish tradition the melody was recorded in 1926 by County Sligo/New York fiddler Michael Coleman, accompanied by flute player Tom Morrison of Glenamaddy, County Galway. The equally famous County Sligo/New York fiddler James “Professor” Morrison recorded it in 1929 with his band. The melody can be found in Ireland under a variety of alternate titles and song-texts, including “ Moore’s Favourite” (McConnell’s Four Leaf Shamrocks, 1924), “Port Láirge” and “Máirin ni Chullenain” (Moreen O’Cullenan), and it is associated with Thomas Moore’s song “I’d Mourn the Hopes that Leave Us” (A Selection of Irish Melodies, No. 5, 1813).

***

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 (New England Fiddlers Repertoire), 1983; No. 67. Morrison  (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 56. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 40 (appears as “The Rose Tree in Full Bearing”). Raven (English Country Dance Tunes), 1984; pg. 149. Sannella, Balance and Swing (CDSS). Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 133. Sweet (Fifer’s Delight), 1965/1981; pg. 58. Wade (Mally’s North West Morris Book), 1988; pg. 8. Front Hall 05, Fennigs All Stars‑ "Saturday Night in the Provinces." North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Topic TSCD 602, McConnell’s Four Leaf Shamrocks – “Irish Dance Music” (1995. A reissue of the 1924 original). Veteran VT111, Francis Shergold - "Greeny Up" (1988. Recorded from Bampton, England, morris musicians).

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 Irvine, and is an altered version of an older tune entitled "The Shepherd's Wife [2].” Lyrics were composed to it by Robert Burns in honor of Miss Janet (Jeannie) Cruickshank, the daughter of William Cruickshank, in whose Edinburgh home Burns resided for a time after his return from his Highland tour. Jeannie was a talented pianist and singer and helped the poet refine his lyrics by playing the Scottish melodies he chosen and singing the verses he had adapted to them for the Scots Musical Museum.  As a public token of thanks to Jeannie he sent copies of the song to his friends.

***

A rosebud by my early walk

A down a corn in closed bawk

Sae gently bent its thorny stalk

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:Rosemary Lane

M:6/8

L:1/8

R:Jig

K:D

A/G/ | {G}FEF DFA | {e}dce dcB | AdB AFD | EFD EAG | FEF DFA |

dce dcB | Ade faf | gec d2 :: f/g/ | aba fed | {a}gfg ece |

fed Bcd | edB ABc | ~d3 AFA | Bed cBA | faf gec | Adc d2 :|

                       


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:Rosline Castle

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,E DFAd | fdBc dBAF | (3DED A,E DFAF | GBFA E2 AF |

(3DED A,E DFAd | fdBc dBAG | FdBG FAGE | (3DED CE D2 :|

Bc | d2 ce dAFD | d2 fa gfed | c2 Ac B2 GB | BAFD A,GFE |

(3DED A,E DFAd | fdBc dfAG | FdBG FAGE | (3DED CE D2 :|

                                               

ROSS HOUSE. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's 1761 collection (pg. 20).

                       

ROSS MEMORIAL HOSPITAL. Scottish, Air. Composed by Scottish accordion player Phil Cunningham (of Silly Wizard fame). The tune is titled after the hospital where Cunningham recovered after a near-fatal automobile accident. Cunningham Collection, vol. 1, `The House in Rose Valley'. LOUGH 005, Boys of the Lough – “Fair Hills of Ireland.” Changlings – “Sophiar.” Phil Cunningham – “Palomino Waltz” (1989).

           

ROSS' REEL [1]. AKA and see "First Night in Leadville." American, Reel. E Major. Standard tuning. AABB. Composition credited to New England bandleader and tune composer Zeke Backus in Ryan’s/Cole's 1000. Backus was also a minstrel performer, and apparently spent at least some time in San Francisco. Not related to Ross's Reels #1 or #4. Cole (1000 Fiddle Tunes), 1940; pg. 42. Ryan’s Mammoth Collection (1883).

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, Arran-More, Sept., 1857" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 372, pg. 94.

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 ||


                       

ROSSES HIGHLAND, THE. AKA and see “Stumpie/Stumpey.” A County Donegal adaptation of the Scottish reel “Stumpie,” from the band Altan.

                       

ROSSIE CASTLE. Scottish, Reel. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

                       

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, 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. 20.

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

GB | {e}dc/B/ {f}gf/e/ | {e}dc/B/ {b}gf/e/ | {e}dc/B/ AB/G/ | {G}FE/D/ .G/.B/.d/.B/ |

.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). England, Shropshire. C Major. Standard tuning. AABCAAB. The melody appears to be classically composed work, copied into a fiddler's copybook. Source for notatated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 94, pg. 38.

                       

ROSSINHOL, LO. French, Valse (3/4 time). C Major. Standard tuning. AAB. Stevens (Massif Central), 1987, vol. 1; No. 57.

                       

ROSSINI, THE. Canadian, Reel. Canada, Cape Breton. B Minor. Standard tuning. ABCD. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 14.

                       

ROSSLINE CASTLE. AKA and see "Rosyln Castle."

                       

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 Fiji, but returned to Ireland. It is named for a pier on the River Shannon near his home town of Woodford, County Galway, where launches on the river would stop. Kelly went swimming from the pier as a child. Father Charlie Coen, also a Woodford native, says Kelly named many tunes for Woodford area places—Kelly’s composition “Ben Hill” is named for a feature on the opposite side of Rossmore from the jetty.

           

ROSSPORT REEL, THE. AKA and see "The Providence Reel," "Cooney's (Reel)."

                       

ROSS'S REEL NO. 1. AKA- "Ross' Reel No. 1." New England, Reel. B Flat Major ('A' part) & F Major ('B' part). Standard tuning. AA'BB'. Hebert notes: "Traditional, as played by Alvah Batchelder, 1936." Sources for notated versions: Jack O'Connor [Hinds]; Donna Hebert [Phillips]. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 11. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 203.

           

ROSS'S REEL NO. 4. AKA and see "Lady's Walpole Reel" (?). New England, Reel. USA. F Major. Standard tuning. AABB. A favorite reel at New England contra dances. The alternate title probably comes from association of the tune with the dance Lady Walpole's Reel. Source for notated version: Allan Block (N.H.) via Donna Hebert (Amherst, Mass.) [Fiddler Magazine]. Brody (Fiddler’s Fakebook), 1983; pg. 235‑236. Fiddler Magazine, vol. 3, No. 1, Spring 1996; pg. 9 (includes a Latin variation). Hinds/Hebert (Grumbling Old Woman), 1981; pg. 11 (includes harmony line). Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 112. Page (Ralph Page Book of Contras), 1969; pg. 11. Phillips (Traditional American Fiddle Tunes), 1994; pg. 204. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 36. Tolman (The Nelson Music Collection), 1969; pg. 8. Alcazar Dance Series FR 204, Rodney Miller‑ "New England Chestnuts 2" (1981). Culburnie CUL 1130, Alasdair Fraser & Tony McManus – “Return to Kintail” (1999). Kicking Mule 216, Strathspey‑ "New England Contra Dance Music." Varrick VR‑038, Yankee Ingenuity ‑ "Heatin' up the Hall" (1989).

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 Highlands of Scotland and the Isles), 1874; No. 146, pg. 59.

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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