The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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EIB -EMY

 

 

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]

 

 

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EIBHLÍN GHEAL CHÚIUN NÍ CHEARBHAILL (Fair Mild Eilli O’Carroll). AKA – “Eibhlín Dheas Chiúin Nú Chearbhaill.” Irish, Air. D Mixolydian (Vallely): G Mixolydian (Miller & Perron). Standard tuning. AAB. The tune appears in the Bunting collection (General Collection of Ancient Irish Music, 1796), taken down from a County Down harper. The original lyric may have been by Seamus Dall Mac Cuarta, and east Ulster poet in the 18th century, but the air was later married to Thomas Campbell's poem "Lord Ullin's Daughter." Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 140. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; pg. 18. Shanachie Records 79023, "Chieftains 3" (1971/1982).

X:1
T:Eibhlin
T:Eibhlín Gheal Chúin Ní Chearbhaill
D:Chieftains 3 - from memory
Z:Nigel Gatherer
L:1/8
M:3/4
K:D Mixolydian
D3 E G2|A3 G A2|B3 A G2|A3 G A2|B3 A G2|G E3 D2|D6|D6:|
A3 B c2|d3 e d2|d3 c B2|A3 G E2|A3 B c2|d3 e d2|c6|B3 A G2|
A3 B c2|d3 e d2|d3 c B2|A3 G A2|B3 A G2|G E3 D2|D6|D6|]

           

EIBHLÍN A RÚIN/RUN. AKA and see "Eileen Aroon," "Aileen Aroon," "Robin Adair."

           

EIBHLÍN NÍ RIORDÁIN’S. AKA and see “Denis O’Keeffe’s,” “Denis O’Keeffe’s (Favourite),” “Dinny O’Keefe’s.” Irish, Slide. A Major. Standard tuning. AABB. Taylor (Music for the Sets: Blue Book), 1995; pg. 13.

           

EIBLIN NÍ CEINNEIDIG. AKA and see "Nell Kennedy."

           

EIBLIN NÍ DONNABAIN. AKA and see "Nellie O'Donovan."

           

EIGHT AND FORTY SISTERS, THE (Ochtar Deirfiúr is Daichead). Irish, Reel. E Dorian (Breathnach, Roche): E Minor (Darley & McCall). Standard tuning. One part (Darley & McCall): AB (Breathnach): AAB (Roche). The ‘B’ part of  Darley & McCall’s version of the tune is shared with “Dublin Lasses [2].” Breathnach’s has a different second part. Sources for notated versions: flutist Eddie Moloney, 1960 (Kinvara, Co. Galway, Ireland) [Breathnach]; fiddler Courtney Jones (Avoca, Co. Wicklow, Ireland) [Darley & McCall]. Breathnach (CRÉ II), 1976; No. 289, pg. Darley & McCall (Darley & McCall Collection of Traditional Irish Music), 1914; No. 9, pg. 4. Roche Collection, 1982, vol. 3; No. 81, pg. 25.

 


EIGHT MEN OF MADAAT.  See "Eight Men of Mudart."

 

EIGHT MEN OF MUDART/MUIDART [1]. Scottish, Reel. A Mixloydian. Standard. AAB. Glen (1891) finds the earliest printings of the tune in Robert Bremner's 1757 collection and Neil Stewart's 1761 collection. As "Eight Men of Madaat", it is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance manuscript. According to Flett & Flett (1964) the Eight Men of Moidart (Mudart/Muidart) is also the title of a Scottish reel dance for eight, and that the name stems from a legend regarding Bonnie Prince Charlie. Prince Charles Edward Stuart arrived in 1745 on board the ship Doutel in the bay of Loch nan Uagh, which partly divides the lands of Muidart and Arisaig, along with a handful of followers. They debarked and were soon met by about a hundred clansmen, the first to rally to his cause, and unloaded arms and ammunition. The Prince’s first temporary residence was the house of Angus MacDonald, a tenant at the farm belonging to MadDonald of Clanranald. The title takes its name from the legend that, at the very moment the famous royal rebel disembarked there happened to be seven fishermen 'hooking for bait' along the shoreline, and that upon seeing the prince their joy was overwhelming, causing them to dance on the sands.  They performed a dance for eight, but being one diminished they stuck a spade in the sand to represent the missing dancer, and their unknown dance became known as 'The Eight Men of Moidart'. The spot is today marked by seven great oak trees, the 'Seven Men of Moidart' to honor the fishermen. Another legend involving the landing is attached to the pipe pibroch “My King Has Landed in Muidart.”

***

It was at Muidart that the Prince’s bratach bhan, or white banner, was first unfurled. One of the Prince’s attendants, a man named Sheridan, brought it out of the house and displayed it before the small contingent of highlanders, who cheered and shouted, before handing it to Donald MacDonald, brother of Keppoch, who was the first standard-bearer. Bremner (Scots Reels), c. 1757; pg. 88.

X:1

T:Eight men of Mudardt

M:C

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757) 

Z:AK/Fiddler’s Companion

K:A Mixolydian

e | A/A/A Ae “tr”cAec | B/B/B Bg BGGB | A/A/A Ae cAec | B/B/B ed “tr”cAA :|

e | a>bae a>bae | g>agd BGGB | a>bae abae | dBed cAAe | a>bae a>bae |

g>agd BGGg | afge fdec | dBed “tr”cAA ||

 

EIGHT MEN OF MOIDART [2].  Scottish, March or Polka. D Major. Standard. AABB.

X:1
T:Eight Men of Moidart
S:As played by Bert Shorthouse on an LP
Z:Nigel Gatherer
M:2/4
L:1/8
K:D
A/d/ | f/e/d/c/ dA | F2 DA | F/G/A DA | FE E
A/d/ | f/e/d/c/ dA | F2 DA | F/G/A EA | FD D :|
A/G/ | FD AD | BD AD | FD    AD | B/A/G/F/ E
A/G/ | FD AD | BD AD | F/G/A EA | FD D :|

                       

EIGHT MILES FROM TOWN.  American, Reel. B Minor/D Major. Standard tuning. AA’BB’. Composed by Vermont fiddler Pete Sutherland. Sutherland (Bareface), 1984; pg. 25. Marimac Records 9031, Pete Sutherland – “Eight Miles from Town” (1982).

 

EIGHT MORE MILES TO LOUISVILLE. Old‑Time, Song and Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, but is of fairly recent vintage, having been written in 1947 by Grand Ole Opry star Louis Marshall ('Grandpa') Jones (1913-1998). Jones learned to play clawhammer banjo from a woman musician, Cousin Emmy. He developed the ‘grandpa’ persona while working for WBZ radio in Boston, after singer Bradley Kincaid endured his grumpiness in the morning and awarded him the moniker. Front Hall FHR‑024, Fennig's All‑Star String Band ‑ "Fennigmania" (1981). Wildgoose Records, Rattle on the Stovepipe – “8 More Miles” (2005).

 

EIGHT O’CLOCK TRAIN. AKA and see “Star of Munster,” “Bright Star of Munster,” “Kitty’s Wishes.” Scottish, Reel. A Mixoydian/Major. Standard tuning. AB. A Scottish version of the Irish tune “Greenfields of America.” Kerr (Merry Melodies), vol. 4; No. 18, pg. 5.

X:1

T:Eight O’Clock Train

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 18  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

(AB)|c2 Ac B2GB|A=GED (GE)D2|EAAB cdef|=gedB =GABd|c2 Ac B2GB|

A=GED (GE)D2|EAAB cdef|=gedB A3||c|eagb ageg|agbg agef|=g2 (ga) gfef|

=geaf (ge)d2|eaab ageg| agbg agef|=g2g2a2a2|b=gaf gedB|cBAc BAGB|

A=GED (GE)D2|EAAB cdef|=gedB A3||

 

EIGHT STEP POLKA. See “Seven Step Polka.”

 


EIGHTEEN-TWELVE (1812) MARCH, THE. AKA ‑ "1812," "Old 1812 Quickstep." AKA and see "Ye'll Aye Be Welcome Back Again," "Duncan Davi(d)son," "Maggy's Weame Is Fu I Trow," "Handy Andy's Highland Fling." American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AB (Bayard): AABB (Sweet). This march has long been played by many southwestern Pennsylvania martial bands, according to Bayard (1981), but the parent tune is Scottish being called "Duncan Davidson," "Ye'll Aye Be Welcome Back Again," or (in one source) "Gentle Ann" (Aird). Glen says of these Scottish tunes that the Welcome Back air is the older, and that "Duncan Davidson" was composed by Robert Burns; however he thinks the ancestral tune to be "Strick upon a Strogin," which appears in the Leyden Manuscript of 1692 (Bayard seems somewhat skeptical of this). Source for notated version: Hiram Horner (Westmoreland and Fayette Counties, Pa., 1963) [Bayard]. American Veteran Fifer, 1927; No. 50. Company of Fifers and Drummers '76, 1974; pg. 76. Bayard (Dance to the Fiddle), 1981; No. 348, pgs. 340‑341. Sweet (Fifer’s Delight), 1964/1981; pg. 51.

X:1

T:1812

M:2/4

L:1/8

R:March

Z:AK/Fiddler’s Companion

K:D

DF Ad | AF Ad | DF Ad | A/G/F/G/ E2 | DF Ad | AF Ag | f def | d2d2 :|

|: fd de/f/ | gf ed | cA/B/ A/B/c/d/ | eA A2 | fd de/f/ | gf ed | cA/B/ A/B/c/e/ | dfd :|

 

EIGHTEENTH OF APRIL, THE.  English, Jig. A Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 127.

X:1

T:Eighteenth of April, The

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

A2A c2e|agf edc|def edc|BcA GFE|A2A c2e|agf edc|def edc|BAG A3:|
|:agf edc|fed cBA|Bcd cBA|GAB BGE|agf edc|fed cBA|d2f edc|BAG A2:||

 

EIGHTH OF DECEMBER, THE.  Scottish, Strathspey. D Major. Standard tuning. AAB. The melody was composed by Miss Baird of Soughton Hall, who herself had two tunes composed for her

(see “Miss Baird of Saughton Hall [1]”). Gow (Fifth Collection of Strathspey Reels), 1809; pg. 15. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 12.

X:1

T:The 8th of December. a Strathspey.

R:strathspey

M:C

L:1/8

B:Complete Tutor Violin  (c. 1815)

Z:Dr. Evan Jones, 2005

K:D

(A/G/) | (FAAF) GBBd (ceec) dffa | FAAF GBBd | c>def d2 D :|| f | (a>f) f2 geeg | fdcd (e/d/c/B/) A2 |

affa geeg | fdec d2 (Df) | (a>f) !trill!f2 geeg | fdcd (e/d/c/B/) A2 | affa beeg | fdec d2 D |]

 


EIGHTH OF JANUARY. AKA and see "Jackson's Victory." Old‑Time, Bluegrass; Breakdown. USA, Widely known.  D Major. Standard or ADae (Molsky). AABB (Brody, Christeson, Phillips, Ruth, Sing Out, Sweet): AABB' (Krassen). One of the most popular and widespread of Southern fiddle tunes. The melody was originally named "Jackson's Victory" after Andrew Jackson's famous rout of the British at New Orleans on January, 8th, 1815. This victory, by a small, poorly equiped American army against eight thousand front-line British troops (some veterans of the Napoleonic Wars on the Continent), came after the peace treaty was signed and the War of 1812 ended, unbeknownst to the combatants. The victory made Jackson a national hero, and the anniversary of the Battle of New Orleans was widely celebrated with parties and dances during the nineteenth century, especially in the South. Around the time of the Civil War, some time after Jackson's Presidency, his popular reputation suffered and “Jackson’s Victory” was renamed to delete mention of him by name, thus commemorating the battle and not the man. Despite its wide dissemination, Tom Carter (1975) says that some regard it as a relatively modern piece refashioned from an older tune named "Jake Gilly" (sometimes “Old Jake Gilly”). Not all agree—Tom Rankin (1985) suggests the fiddle tune may be older than the battle it commemorates, and that it seems American in origin, not having an obvious British antecedent as do several older popular fiddle tunes in the United States. A related tune (though the 'B' part is developed differently") is Bayard's (1981) Pennsylvania collected "Chase the Squirrel" (the title is a floater).

***

Battle of New Orleans and the death of General Packenham (sic), engraving by Joseph Yeager (c. 1792-1859).

***

Variants of the tune are numerous, and some stray quite far from the traditional melody (c.f. Dr. Humphrey Bate and His Possum Hunters); some sets feature the second strain played an octave higher for variation. It is on Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. The “Eighth of January” was recorded for the Library of Congress from Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist Vance Randolph, and from Mississippi fiddlers (John Hatcher, W.E. Claunch, Enos Canoy, Hardy Sharp) in 1939 by collector Herbert Halpert. It was in the repertoire of Cuje Bertram, an African-American fiddler from the Cumberland Plateau region of Kentucky who recorded it on a home tape in 1970, made for his family. In 1936 James Morris (Jimmy Driftwood), while teaching scholl in Timbo, Arkansas, famously refashioned the old traditional tune with new lyrics into "The Battle of New Orleans” (recorded on Jimmie Driftwood Sings Newly Discovered Early American Folk Songs, Victor RPM 1635), supposedly to make the event more interesting to his students (see Streeter, The Jimmy Driftwood Primer, pg. 20). In 1959 singer Johnny Horton recorded a version of Driftwood's song, which rose to the top of the hit parade that year (recorded on Johnny Horton Makes History, Columbia 1478).

***

Missouri fiddler Glenn Rickman, born in 1901, was featured in an article in Bittersweet magazine and played “The Eighth of January” as part of his core repertoire. He had a seemingly curious habit:

***

I play the ‘Eighth of January’ over the telephone to a department store

here. Every eighth of January I call up the department store and they

put in on their loud speaker. This time I had it taped. I played ‘Carroll

County Blues,…Sally Goodin’,…Forked Deer’ and ‘Eighth of January.’

I’m glad to get to do this.  The ‘Eighth of January,’ that was known way

back before my grandpa was born…

***

Rickman’s playing over the phone for a department store audience is less curious when one considers that playing over the phone was at one time not unusual:

***

When the party line came in, telephones were used sort of like the radio

was later. Ten to fifteen families on a line could all listen in. On lines

like Slim Wilson’s line, the neighbors would get a treat. The Wilson

family that lived near Nixa, Missouri, were all good musicians, and

when they were ready to play, they’d signal over the telephone line.

Everyone would take down the receivers and listen to the Wilson

family fiddling. Some would let the receiver hang down in a bucket

to help amplify the sound.   (Allen Gage, Bittersweet, Volume IX, No. 3, Spring 1982)

***

Drew Beisswenger (2008) cites Rohrbough (Handy Play Party Book, pg. 52, 71) and points out the melody of “Eighth of January” resembles a few singing games such as “Old Dan Tucker” and “Girl’s A-Fooling.” Early sound recordings of the tune are by the Arkansas  Barefoot Boys (1928, with Cyrus Futrell on fiddle), Dr. Humphrey Bate (1928), and the Texas Cowboy Trio (Kentucky Woodchoppers, 1930).

***

Sources for notated versions: Charlie Higgins (Galax, Va.) [Krassen]; Cyril Stinnett (Oregon, Missouri) [Christeson]; Tommy Jackson [Phillips/1994]; Kermit Moody (1909-1977, Mountain View, Stone County, Arkansas) [Beisswenger & McCann].

***

Print Sources: Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 97. Brody (Fiddler’s Fakebook), 1983; pg. 99. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 2), 1984; pg. 65. Ford (Traditional Music in America), 1940; pg. 63. Kaufman (Beginning Old Time Fiddle), 1977; pg. 39. Krassen (Appalachian Fiddle), 1973; pg. 50. Phillips (Fiddlecase Tunebook), 1989; pg. 17. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 80. Ruth (Pioneer Western Folk Tunes), 1948; No. 15, pg. 7. Sing Out, vol. 36, No. 2, August, 1991; pg. 77. Sweet (Fifer’s Delight), 1964/1981; pg. 76.

***

Recorded Sources: Brunswick 239 (78 RPM) {1928}, Dr. Humphrey Bate and His Possum Hunters (Nashville, Tenn. Bill Barret was the fiddler for the tune, not Bate's regular, Oscar Stone). Caney Mountain Records CLP 228, Lonnie Robertson (Mo.) ‑ "Fiddle Favorites." County 518, Arkansas Barefoot Boys‑ "Echoes of the Ozarks, Vol. 1." County 527, Ted Gossett’s Band – “Old Time Fiddle Classics, Vol. 2” (reissue). County 531, The Fox Chasers - "Old Time String Band Classics" (1975). County 541, Dr. Humphrey Bate & His Possum Hunters ‑ "Nashville; the Early String Bands, Vol. 1." County 727, John Ashby‑ "Old Virginia Fiddling." DLP-636, Scotty Stoneman – “Mr. Country Fiddler.” Heritage 060, Major Contay and the Canebreak Rattlers ‑ "Music of the Ozarks" (Brandywine, 1984). Kicking Mule KM‑301, "Happy Traum, American Stranger" (1977). Library of Congress AAFS L2, W.E. Claunch (Miss.). Marimac 9017, Vesta Johnson ‑ "Down Home Rag." Mississippi Department of Archives and History AH‑002, Hardy C. Sharp (Meridian, Mississippi) ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985). Missouri State Old Time Fiddlers' Association, Bob Walters (b. 1889) - "Drunken Wagoneer." Morning Star 45004, Ted Gossett's String Band (western Ky., originally recorded Sept., 1930) - "Wish I Had My Time Again." Ok 45496 (78RPM), The Fox Chasers. Pinecastle Records, Chubby Wise – “An American Original.” Rounder 0085, "Tony Rice." Rounder 0361, Bruce Molsky – “Lost Boy” (1996. Learned from John Lusk String Band). Rounder 7002, Graham Townsend‑‑"Le Violin/The Fiddle." Spr 2655 (78 RPM), Buddy Young’s Kentuckian’s (AKA the Ted Gossett Band, originally recorded Sept. 1930). Spt 9775 (78 RPM), The Country String Band (AKA the Ted Gossett Band/Buddy Young’s Kentuckian’s/Tommy Whitmer Band). Voyager 340, Jim Herd - "Old Time Ozark Fiddling."

X:1

T:Eighth of January

M:2/4

L:1/8

K:D

e/a/|f/e/f/a/ f/e/d/f/|e/f/e/d/ BB/d/|ee/f/ e/d/B/A/|d/B/A/F/ De/a/|

f/e/f/a/ f/e/d/f/|e/f/e/d/ B/d/e/f/|a/f/e/a/ f/e/c/A/|d/B/A/F/ D:|

|:A/A/|AA/B/ AA/A/|A/d/B/A/ F/E/D/F/|AA/B/ AA/d/|B/A/F/E/ DD/F/|

AA/B/ AA/A/|A/d/B/A/ F/E/D/F/|AA/A/ A/d/f/e/|d/B/A/F/ D:|

 

EIGHTH OF JANUARY [2]. Old-Time, Breakdown. USA, northern Ky. D Major. Standard tuning. AABB. Related to version #1. Source for notated version: Ted Gossett (northern Ky.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 81. County 527, Ted Gossett's Band‑ "Old‑Time Fiddle Classics, Vol 2" (Gosset, a northern Kentucky fiddler born in 1904, learned the tune from his father, Noah "Big Son' Gosset). 

 

EIGHTH OF JANUARY [3]. Old-Time, Breakdown. D Major. Standard tuning. AABBC. The tune is played slower than the usual breakdown tempo. Source for notated version: The Canebrake Rattlers [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 46.

 

EIGHTH OF OCTOBER, THE. See “Not Safe with a Razor.”

 

EIGHTY-EIGHT. AKA and see "Hanskin," "Jog On (Jog On the Footpath Way)." The tune appears under this title in Pills to Purge Melancholy (1707), taken from a ballad set to the melody about the Spanish Armada, beginning "Some years of late, in eighty‑eight" or "In eighty‑eight, ere I was born."

 

EILAN, THE. Irish, Air (4/4 time). C Major. Standard tuning. One part. Source for notated version: “From Iverk. From the Reverend Mr. Graves” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 618, pg. 155.

X:1

T:Eilan, The

M:C

L:1/8

S:Stanford/Petire (1905), No. 618

Z:AK/Fiddler’s Companion

K: C

f2 | f3e e3e | ffff e3f | e2c2e2d | c6 f2 | e2g2 g3f | f2gf e2c2 | c2GA _B2 G^F |

G6 ff | e3c c2G2 | F2D2 D3C | C4 C4 | C6 ||

 

EILEAN BEAG DONN A’ CHUAIN. Scottish. Composed by Donald Morrison. Tartan Tapes CDTT1004, Alasdair White – “Heat the Hoose” (1998).

 

EILEAN FHIANAIN (Finan's Isle). Scottish, Air (6/8 time). D Mixolydian. Standard. AA'BB'. The tune was composed by Charles MacFarlane. Eilean Fhianain is a small island in Loch Shiel, Moidart, Inverness‑shire, named for Saint Finan, a Celtic saint who lived there around 575 A.D. and a contemporary of St. Columba.  He was known as 'Fhianan Luibre' (the Leper) or as 'the infirm' from the disease which was said to have been self‑inflicted, received from a child whom he ministered. Later a fair named in his honor was held on the island each March 18th. Neil (1991) relates:

***

One of the few ancient bronze bells, in use in Scotland in the 9th

century, is to be found on Finan's Isle. It is on record that the bell

was stolen by one of the English troops during the 1745 Rebellion,

while they were garrisoned near Moidart. Fortunately he was

apprehended by Niall Mor Man Eilean (Big Niel of the Island),

who was custodian of the bell. Niall had given chase and had

caught him at Glenfinnan. It is said that the culprit was tied to

a tree by Niall, who then gave him a severe thrashing as a

punishment for his misdeeds, while his companions simply

looked on, without lifting a finger to help. It was found that

the tongue of the bell had somehow been removed, and it

subsequently had to be replaced with on of iron.

***

Neil (The Scots Fiddle), 1991; No. 145, pg. 185.

 

EILEAN MO CHRIDHE. See “The Muckin’ of Geordie’s Byre.”

 

EILEEN ALANNA. Scottish, Irish; Reel or Highland Fling. G Major ('A' part) & E Minor ('B' part). Standard tuning. AABB. Perhaps the earliest recording is from 1913 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford). Cole (1000 Fiddle Tunes), 1940; pg. 22. Kerr (Merry Melodies), vol. 2; No. 305, pg. 33. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949; 12. Ryan’s Mammoth Collection, 1883; pg. 46.

X:1

T:Eileen Alanna

L:1/8

M:2/4

R:Highland Fling

S:Jerry O’Brien’s Accordion Instructor (1949)

Z:AK/Fiddler’s Companion

K:G

(3d/e/f/|[Bg][Bg] z G/A/|B/d/c/A/ B/d/c/A/|[Bg][Bg] z A/B/|c/A/B/G/ A/F/E/D/|

[Bg][Bg] z G/A/|B/d/c/A/ B/d/c/B/|a/g/f/a/ g/e/d/c/|B/G/A/F/ G:|

|:B|B/e/e/f/ g/f/e/g/|f/b/a/f/ g/f/e/d/|B/e/e/f/ g/f/e/g/|f/b/a/f/ e>B|[Be][Be]z [Af]|

[Bg][Bg] z [Af]|[^d/b/]a/b/c’/ b/a/b/c’/|[^d2b2] z :|

 

EILEEN AROON [1] (Eibhlin a Ruin) {“Eileen My Treasure” or “Darling Eileen”}. AKA ‑ "Aileen Aroon," "Allen A'Roon," "Eib(h)lin A Ru(i)n.” AKA and see "An tiocfadh tu a bhaile liom," "An d‑tiocfard," "Ducdame," "Erin, the Tear and the Smile," "Robin Adair." Irish (originally), Scottish; Slow Air (3/4 time). D Major (O'Neill): A Major (Flood). Standard. AB (O'Neill): AAB (Flood). One of the oldest tracable tunes in all fiddle literature and still current in the living tradition. Flood (1905) states that it was composed in 1386 by Carrol mor O'Daly {Cearbhall O Dalaigh} (d. 1405), a famous Irish minstrel harper described by old annalists as the 'chief composer of Ireland, and Olair (Doctor) of the Country of Corcomroe,' apparently on the authority of Hardiman. Bunting and Francis O’Neill (1913) give the harpers name not as Carol/Carrol/Carroll but Gerald O’Daly, and Bunting refers to him as a contemporary of Rory Dall O’Cahan, who died in 1653, though he thinks the melody much older and that O’Daly only adapted Irish words to it. Mrs. Mulligan Fox, in Annals of the Irish Harpers gives the 1405 date for the harper’s death, and Fitz Gerald speculates that, since the hero of the song says he would spend a cow to entertain his ladylove, that a date of 1450 would be consistent with a time when ‘living money’ was still in use. No matter what his first name, "O'Daly so captivated Eilleen (Eibhlin) Kavanagh of Polmonty Castle, Co. Carlow (near New Ross, Co. Wexford), that she eloped with him on the eve of her betrothal to a rival lover" (Flood, 1905, pg. 62). An erroneous legend has the song composed by Donogh mor O'Daly, of Finvarra, Cistercian Abbot of Boyle (d. 1244), who was called 'the Ovid of Ireland,' and another version of the song was apparently composed by a 17th poet, also named Cearbhall O Dallaigh. To complicate matters further, James E. Doan (Eigse, volume XVIII, part 1, 1980) concludes there were several poets of the name of Cearbhall O Dalaigh between the 13th and 17th centuries, and suggests that the versions which have survived to the present day in Irish literature and song are really a composite of features of all, a folk-process amalgum. O’Neill (1913) records that the highly romantic story of “Eibhlin a Ruin” and her elopement with Carroll O’Daly was derived from Galway harper Cormac Common’s (1703-c. 1790) repertory.

***

The melody was later admired by the German composer Handel during his stay in Ireland, according to Charles O'Conor of Belanagame (Flood, 1906). A note in Pepys' diaries refers to one Joe Harris, an Irish actor in London, singing the song in Gaelic in a performance of Shakespeare's Henry V: "Among other things, Harris, a man of fine conversation, sang his Irish song, the strangest in itself, and the prettiest sung by him that ever I heard" (Flood, 1906, pg. 72). It retained its popularity, being sung at the Smock Alley Theatre, Dublin, in the Christmas season of 1728 by Mrs. Sterling at the end of the opera The Way of the World, and again at that theatre in December 1743 by Mrs. Storer as an interlude during performances of Julius Ceasar. Charles Coffey included it in his 1728 ballad opera The Beggar's Wedding, written after the success of John Gay's Beggar's Opera, and O'Sullivan and O’Neill both find this to be one of the earliest printed versions of the tune. A broadside without printer's imprint and with different words than Coffey's was published about 1740 under the  title "Ailen Aroon, an Irish Ballad." See also note for "Robin Adair." Sources for notated versions: A MS from 1726 [Flood]; “Mrs. Lavin” [O’Neill]. Brysson (Curious Selection), c. 1790; pg. 20. Flood, 1905; pg. 62. Hime (Pocket Book), volume IV, 1810; pg. 16. Holden (Old Established Tunes), 1806-7; pg. 29. James Johnson (The McLean Collection), 1772 (Edinburgh); pgs. 28-29 (set by Charles McLean). Kinloch (100 Airs), Part I, c. 1815; No. 10. McFadden (Scotch, English, Irish and Foreign Airs), volume V, 1790-1797; pg. 29. Mooney (History of Ireland), 1846; pg. 535. Murphy (Irish Airs and Jigs), 1809; pg. 27. O'Farrell (Music for the Union Pipes), 1797-1800; pg. 30. O'Farrell (Pocket Companion), 1801-10; pg. 20. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 392, pg. 68. Burke Thumoth (12 Scotch and Irish Airs), No. XIII, c. 1745-50. Walsh (Ceol ar Sinsear), Part V, 1920; pg. 18. Maggie’s Music MM220, Hesperus – “Celtic Roots.”

X:1

T:Eileen Aroon [1]

M:3/4

L:1/8

R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 392

Z:AK/Fiddler’s Companion

K:D

dB|A2B2 dB|d2e2f2|F2A2 ed|B4 dB|A2B2 dB|d2e2f2|F2A2 Bd|d4||

df|gg f2 fe|fa a2 fe|dd e2 dB|A4 f2|a2 fedB|de f4|F2A2 Bd|d4||

 

EILEEN AROON [2] (Eiblin A Run/Eileen, my darling). Irish, Slow Air (3/4 time). B Flat Major (O’Neill): G Major (Cranitch): D Major (Gow, O’Farrell). Standard tuning. AB (O’Neill): AAB (Cranitch, Gow): AABBCCDD (O’Farrell). Cranitch (Irish Fiddle Book), 1996; pg. 41. Gow (Complete Repository), Book 2, 1802; pg. 11. O’Farrell (Pocket Companion), c. 1805; pgs. 20-21. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 393, pg. 68.

X:1

T:Ailen a Roon (sic) [2]

M:3/4

L:1/8

R:Air

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:D

A2B2c2|~d3e{e}f2|A2B2~c2|d6|A2B2c2|d3e {de}f2|A2B2c2|d6:|

gf(ga)(ga)|(g2B2)B2|fe(fg)(fe)|d2B2A2|gfga g2|fefg f2|~ed(eg)(fe)|

(d2B2)A2|a3 gfe|~d3e {de}f2|(A2B2)c2|d6||

X:2

T:Ailen Aroon with Variations [2]

M:3/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion (c. 1805)

Z:AK/Fiddler’s Companion

K:D

A2B2{d}c2 | d3e f2 | A2B2 {d}”tr”c2 | d6 | A2 BABd | e2 “tr”e3f | A2B2{d}c2 |

d4 f2 | (gfga)(ga) | g2B2”tr”B2 | fefa fe | d2 BA A2 | gfga “tr”g2 | fefg f2 |

(efgab)g | “tr”e2 dcBA | a4 b/c’/d’ | bagfed | d3e f2 | A2B2c2 | {B/c/} d6 :|

|: F<A G<B A<c | defg a2 | A>F B>G c>A | dc/B/ A/G/F/E/ D2 | AFGABc |

d/e/d/e/ fg a2 | A2B2{d}”tr”c2 | d4f2 | (gfga) g/a/g/a/ | (gab)gfe | fefg f/g/f/g/ |

fgafed | (g/f/e) (g/a/b) (f/e/e) | (f/e/d) (f/g/a) (f/e/d) | e/e/f g/g/a bg | {f}”tr”e2 dcBA |

a4 b/c’/d’ | (b/a/g) (a/g/f) (e/d/c) | {e}d3e f2 | F<A G<B A<c | d6 :: AFGABc |

d2 efga | A2B2 {d}c2 | dc/B/ A/G/F/E/ D2 | AF G/F/G/A/ B/A/B/c/ |

d/c/d/e/ f/e/f/g/ a2 | A2B2 {d}c2 | d4f2 | gbgeBG | E2b2g2 | f/a/g/f/ e/d/c/B/ A/G/F/E/ |

D2a2f2 | gEGbgE | fDFafD | EFabg | “tr”e2 dcBA | a4 b/c’/d’ | bGFaec | d3ef2 |

A2B2 {d}”tr”c2 | d6 :: AFGBAc | eAfd a2 | A2B2c2 | dc/B/ A/G/F/E/ D2 |

AG/F/ BGcA | (3ded (3fgf a2 | (3ABA B2c2 | d4f2 | g/a/b/a/ g4 | gdBG E2 |

f/g/a/g/ f4 | fdAF Dg | b/a/g/a/ g4 | a/g/f/g/ f4 | e/f/e/f/ g/f/g/a/ b/g/f/g/ | e2 dcBA |

a4 b/c’/d’ | b/a/g afec | {e}d2e2f2 | A2B2 {d}”tr”c2 | d6 :|

X:3

T:Eileen Aroon [2]

M:3/4

L:1/8

R:Air

S:O’Neill – MOI 393

K:Bb

(F2G2A2)|(B3cd2)|(F2G2)(Ac)|B6|(F2G2A2)|(B3cd2)|(F/B/)z (G/B/)z (A/c/)z|{c}B2||

d2d2d2|(e3G) G2|d2d2c2|(B3G)F2|f2 (ec)(BA)|(B3cd2)|(F/B/)z (G/B/)z (A/c/)z|{c}B2||

 


EILEEN AROON [3] (Eilionoir a Ruin). Irish, Air (3/4 time). G Major. Standard tuning. One part (Ó Canainn): ABC (O’Sullivan/Bunting). Source for notated version: Bunting noted his version from the harper "Denis Hempson at Magilligan in 1792," who played variation by the famous harper Cornelius Lyons from the turn of the 18th century. Lyons had made a reputation as the arranger of variations to such tunes as this and “The Coolin” in a more ‘modern’ style. Ó Canainn (Traditional Slow Airs from Ireland), 1995; No. 37, pg. 35. O'Sullivan/Bunting, 1983; No. 123, pg. 175-178.

 

EILEEN CURRAN [1]. AKA and see “Maura Connolly’s,” "Sailor Set On Shore," "Sailors On Shore,” "The Sailor's Return [1]." Irish, Reel. A Dorian. Standard tuning. AABB. Recorded by the Ballinakill Céilí Band (East Galway) for in Dublin, 1938 (the band’s founding members were Anna Rafferty, Stephen Maloney, Tommy Whelan, Tommy Whyte, Jerry Maloney). An American version of the tune was recorded in the 1920's by Ohio fiddler/violinist William Houchens, for the Starr Recording Company under the title “Hel’n Georgia.” Sources for notated versions: accordion player Patrick O'Brien, 1970 (Dublin, Ireland) [Breathnach]; sessions at the Regent Hotel, Leeds, England [Bulmer & Sharpley]. Breathnach (CRÉ II), 1976; No. 239, pg. 124 (appears as untitled reel). Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 36. Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997).

 

EILEEN CURRAN’S [2]. Irish, Reel. E Minor. Standard tuning. AABB. Source for notated version: Jim McElhone (County Derry) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 132, pg. 35.

                       

EILEEN DEELISH OF ATHENRY. Irish, Slow Air (4/4 time). D Dorian. Standard tuning. AB. Source for notated version: blind fiddler Michael Daffy (Co. Clare, Ireland) [Darley & McCall]. Darley & McCall (The Darley & McCall Collection of Traditional Irish Music), 1914; No. 11, pg. 5.

                       

EILEEN MY DARLING. AKA and see “Eibhlin a Ruin,” “Eileen Aroon.”

                       

EILEEN MACDONALD. Scottish. Green Linnet GLCD 1171, Simon Thoumire Three – “March, Strathspey, and Surreal.”

                       

EILEEN MURRAY’S [1]. Irish, Polka. D Major. Standard tuning. AABB. From the playing of banjo and accordion player Sean O Driscoll, originally from Blarney, who lived in Minneapolis and lately in County Cork. Sean O’Driscoll – "Sticking Out A Mile.”

X: 1

T: Eileen Murray's [1]

C: S. O Driscoll

L: 1/8

Q: 300

M: 2/4

Z: Transcribed by Bill Black

R: polka

K: D

F>E | DF Af | ed B/2c/2d | AF DF | E2 AF | 

DF Af | ed B/2c/2d | AF DE | D2 :|

d>e | fd B/2c/2d | Ad B/2c/2d | fd B/2c/2d | e2 d>e |

fd B/2c/2d | Ad B/2c/2d | AF EF | D2 :|

 

EILEEN MURRAY’S [2]. Irish, Polka. D Major. Standard tuning. AABB.

X: 1

T: Eileen Murray's [2]

C: S. O Driscoll

L: 1/8

Q: 300

M: 2/4

Z: Transcribed by Bill Black

R: polka

K: D

B2 FB | B2 FB | AF FE | DE FA |

B2 FB | B2 FB | AF FA | B2 B2 :|

d2 df | ec Ac | d2 de | fg a2 |

d2 df | ec Ac | dB c/2B/2A | B2 B2 :|

 

EILEEN MURRAY’S [3]. Irish, Polka. G Major. Standard tuning. AABB.

X: 1

T: Eileen Murray's [3]

C: S. O Driscoll

L: 1/8

Q: 300

M: 2/4

R: polka

Z: Transcribed by Bill Black.

K: G

D |: G2 GB | AG ED | G2 GA | Bd ed | G2 GB |

AG ED | GB AF | G2 G2 :|e2 ed | ef ge | d2 dc |

Bc dB | e2 ed | ef ge | dB AB | G2 G2 :|

                       

EILEEN NÍ RIORDAIN'S. Irish, Polka. Named for accordion player Eileen ní Riordan from Coolea. GN1, Joe Thoma ‑ "Up the Track: Traditional Music from Kenmare."

 

EILEEN NÍ RIORDAN. AKA and see “Across the Divide.” Irish, Waltz. G Major. Standard tuning. AA’BB’. Named for accordion player Eileen ní Riordan from Coolea. Mary Custy & Eoin O’Neill – “With a Little Help from My Friends” (appears as “Across the Divide”).

X:1

T:Eileen Ni Riordan
M:3/4
L:1/8
S:Neil Baillie
R:Waltz
Z:Andrew Pickering
K:G
Bc|(d2 d)e dc|B2 G2 AB|c2 cB AG|F2 D2 EF|
(G2 G)A GD|EF GA Bc|1 d2 g2 gf|gf d2:|2 d2 g2 f2|g4||
ef|(g2 g)f gd|cd c_B G2|(=f2 f)c AG|=F2 GF D2|
G2 D2 G2|AB c2 A2|1 d2 g2 gf|gf d2:|2 d2 g2 f2|g4||

                       

EILEEN O'CALLAGHAN(‘S REEL). AKA and see “Geoghegan’s Favorite,” “Geehan’s Reel,” “Geogehan’s Reel,” “Paddy Canny’s.” Irish, Reel. G Major. Standard tuning. AB. See note for “Geogehan’s Reel.” Cranitch (Irish Fiddle Book), 1996; No. 56, pg. 147. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 53. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 68. Outlet 1010, Na Filí – “Farewell to Connacht” (1971).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Geaghan's Fancy (sp?)

T:Eileen O'Callaghan's

T:Paddy Canny's

S:Buttons & Bows, 'Gracenotes'

Z:Nigel Gatherer

M:4/4

L:1/8

K:A

A2 cA EAcB|ABce dBGB|A2 cA EAce|efge dBGB|A2 cA EAcB|

ABce dBGB|Ac c/c/c ecAc|efge dBGB||eaag a2 ga|beee begf|

eaag a2 gf|efge dBGB|eaag a2 ga|b2 ba bagf|eaaa c'aag|efge dBGB|]

                       

EILEEN OGE. AKA and see "The Pride of Petravore."

                       

EILEEN O’KEEFFE’S POLKA. Irish, Polka. A Major. Standard tuning. AABB.

X:1

T:Eileen O'Keeffe's Polka

S:Maurice O'Keeffe

R:polka

M:2/4

L:1/8

N:Maurice learned this from his grand-daughter

N:Eileen (hence the title), and she in turn picked it up

N:in Rockchapel, north County Cork.  The hand-written

N:page Maurice gave me with the notes of the tune is

N:headed "T.J. Quinn, Co. Tyrone, February 1946"

Z:Transcribed by Paul de Grae

K:A

f|:ec BA/B/|cA F2|EF AB|cB cf|

ec BA/B/|cA F2|EF AB|cA A2:|:

ce a2|ce f2|ce fa|ec BA|

ce a2|ce fa|ec BA/B/|cA A2:|

                       

EILIDH. Scottish, Waltz. G Major. Standard tuning. One part. Composed by John Bannerman, Lord Kildonan (1901‑1969), a politician, rugby player, and singer and composer of Gaelic songs. "Eilidh" means Helen, and the song is set on the isle of Harris:

***

The way is long to island glen and shieling

The climb is steep o'er heather, crag and moor

But soft the tear of longing, Eilidh darling

For mem'ry's kiss in Laggan by the shore.

Your hand in mine and promise to be waiting

In sea‑girt isle where living vows were made

Your heart will ever guide my spirit sailing

To Tir‑nan‑og where love can never fade.

('Tir‑nan‑og' means 'Land of the Ever‑Young'.)

***

Martin (Ceol na Fidhle, vol. 3), 1988; pg. 20. Neil (The Scots Fiddle), 1991; No. 137, pg. 177.

X:1

T:Eilidh

L:1/8

M:3/4

R:Air

K:G

B2|d4 d2|e4 d2|B4G2|A4 G2|E2 (D4| D4) D2|G4 G2|G4 B2|d4 d2|e4 d2|(A6|A4) B2|

d4 d2|e4 d2|B4 G2|A4 G2|E2 (D4|D4) D2|G4 G2|B4 d2|e4 d2| B4 A2|(G6| G4) D2|

D4 E2|G4 G2|B2A2G2|B4 d2|e2 (d4|d4) d2|e4 e2|e4 d2|B2 d4|G4 B2|(A6|A4) B2|

D4 E2|G4 G2|B2A2G2|B4 d2|e4 (d2|d4) d2|d4 d2|e4 g2|a4 b2|g4 e2|(g6|g2) z2||

                       


EILIONOIR A RUIN. AKA and see "Eileen Aroon."

                       

EÍLÍS NÍ BHRÓGÁIN (Elizabeth Brogan). AKA and see “Elizabeth Brogan.”

                       

EÍLÍS NÍ CHEALLAIGH (Elizabeth Kelly). AKA and see “Elizabeth Kelly’s Delight [1].”

                       

EÍLÍS NÍ MURCADA. AKA and see "Bessy Murphy."

                       

EILY BUCKLEY’S FANCY. Irish, Polka. D Major. Standard tuning. AABB’. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 341, pg. 192.

                       

EIREABALL NA FÁINLEOIGE. AKA and see "The Swallow's Tail."

                       

ÉIREANN GO BRÁCH. Irish, Jig. A Major. Standard tuning. AA’BB’. A version of “Ellen O’Leary’s.” See also the related “Hennigan’s Favorite.” Source for notated version: recorded by Breadan Breathnach from the playing of accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) in November, 1970 [Breathnach, Moylan]. Breathnach (CRÉ II), 1976; No. 42, pg. 24. Moylan (Johnny O’Leary), 1994; No. 2, pg. 3.

 

ÉIRÍ NA GRÉINE. AKA and see "The Rising Sun."

 

EIRIDH NA FINNACHA' GAELACH. AKA and see "The Rebel War Song."

 

EIRIG A SEAN BEAN'S CORRAIG TU FEIN. AKA and see "Get Up Old Woman and Shake Yourself."

 

EIRIG GO MOC. AKA and see "Get Up Early."

                       

EITILT NA LACHAN FIÁINE. AKA and see “The Wild Duck’s Flight.”

                       

ELBOW SWING REEL. American, Reel or Breakdown. USA, North Dakota. F Major. Standard tuning. AABB. This tune, named for a dance movement, was copied from a notebook of fiddler Elvy Osborne, and was dated 1939. Born in 1882 in Illinois, Osborne later tried homesteading but when this failed he fell back on barbering in Minot, North Dakota. He fiddled in between haircuts in his barber shop where he hosted impromptu jam sessions. Pancerzewski (Pleasures of Home), 1988; pg. 2.

                                   


ELDORA WALTZ. Old‑Time, Waltz. USA, Missouri. C Major ('A' part) & F Major ('B' part). Standard tuning. AB. Source for notated version: T.P. "Tony" Gilmore (Jefferson City, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 144.

                       

ELEANOR KANE’S [1]. Irish, Reel. G Major. Standard tuning. ABB. Composed by County Cavan/Philadelphia fiddler Ed Reavy (1898-1988) for his friend, pianist Eleanor (Neary) Kane of Chicago (who herself died in 1993). Ed’s son Joe states that this is one of his father’s “top tunes.” Reavy (The Collected Compositions of Ed Reavy), No. 19, pg. 20.

X:1

T:Eleanor Kanes's

M:2/2

L:1/8

C:Ed Reavy

R:reel

N:Eleanor Kane's. Eleanor lives in Chicago with her husband Jim (Neary).

N:Both are long time friends of Ed. Eleanor is one of the few pianists in

N:the tradition who play melody as well as chords. This reel is considered

N:one of Ed's top tunes.

Z:Joseph Reavy

K:G

GFGA B2 GA | Bgfg edBA | GFGA B2 EF | (3GFE (3FED EB,B,D |

GFGA (3BcB GA | Bgfg efga | (3bag (3agf gafg | ecAF GFGA | BGFG EFGA |

Bgfg edBA | GFGA B2 EF | (3GFE (3GED EB,B,D | GFGA B2 GA | Bgfg efga |

(3bag (3agf gafg | ecAF GFGA ||: Bdef gfga | (3bag af gfed | BGEF GFGA |

Bdd^c d2 ef | (3gfg af gedc | (3BcB Ac BGEF | GABG FGAc | (BcB AF GFGA :||

 

ELEANOR KANE’S [2]. AKA and see “Eddie Kelly’s.”

                                   

ELEANOR KEANE’S. Irish, Jig. D Major. Standard. AABB.

X:1

T:Eleanor Keanes

M:6/8

L:1/8

S:Queally, O'Donoghue - Trip Over the Mountain - www.moher.com

R:Jig

K:D

E|FEF AFE|EDB, A,B,D|FEF GFG|ABF AFE|FEF AFE|

EDB, A,B,D|FEF GFG|BAF D2:|

|:e|f2 d dcd|edc Bcd| fdd dcd|ABF Ade|f2 d dcd|edc Bcd|~f3 gec|dAF D2 :||

                                   

ELEANOR NEARY'S. Irish, Hornpipe. A Major. Standard tuning. AABB. Composed by pianist Eleanor (Neary), one of the outstanding Irish musicians in Chicago in the 1930's, who died in 1993. Her husband, Jim Neary (“Neary’s”), was a fiddler, originally from County Mayo, and their home was a haven for Irish musicians in Chicago in the 78 RPM era. Black (Music’s the Very Best Thing), 1996; No. 3, pg. 2. Green Linnet SIF3040, De Dannan - "Ballroom" (1987). 

X:1

T: Eleanor Neary's

S: De Danann

Z: transcribed by B.Black

Q: 300

R: hornpipe

M: 4/4

L: 1/8

K: A

AB | cBcd cBAG | FCFG AGAB | cB (3ABc fecA | BcAF E2 AB |

cBcd cBAG | FCFG Aagf | ecdB cABG | A2 GB A2 :|

ED | CA,CE FDFA | (3GAB (3EFG AGAB | cBAc fedc | BAGF E2 ED |

CA,CE FDFA | (3GAB (3EFG Aagf | ecdB cABG | A2 GB A2 :|

                       

ELEANOR NEARY’S FAVORITE.  AKA and see “Lad O’Beirne’s.” Irish, Reel. G Major.

 

ELEANOR PLUNKETT. Irish, Slow Air or Planxty (3/4 time). G Major. Standard tuning. One part. One of the most popular compositions by blind Irish harper Turlough O'Carolan (1670-1738), it was originally a song with Gaelic words, written in praise of Eleanor Plunkett of Robertstown, County Meath (near O’Carolan’s birthplace of Nobber). According to Tomás Ó Máille (in Poems of Carolan, 1916), she was related to one Christopher Plunkett who appears in the 1655 Civil Survey of that county, listed as an “Irish papist” and proprietor on the premise of “an old castle.” Donal O’Sullivan (1958, vol. 2, pg. 95), quoting Ó Máille, writes that the story goes that some thirty members of Eleanor’s family shut themselves up in their castle of Castlecome and were dispatched by boiling water.  No one knows why, although O’Sullivan suggests that the tragedy was probably an exaggerated story from an unpublished deposition of 1641. At any rate, Eleanor was apparently the surviving member of the family.

***
O’Carolan was quick to respond to criticism and somewhat defensive and touchy regarding his art, perhaps because his livelihood depended on satisfied patrons. As he was composing this song Eleanor’s coachman interrupted him remaking that he had heard many of the same words O’Carolan was using in other songs. The outraged bard picked up his staff and threatened the servant with it, saying "Neither you nor any other person will ever hear more of it but what is already composed!" The collector Edward Bunting (1773-1843) obtained, but never published, this melody (with the title “Nelly an Chúil Chraobhaigh”) which is in his manuscript collection, c. 1800, now held at the Library of Queen’s College, Belfast. Complete Collection of Carolan's Irish Tunes, 1984; No. 150, pg. 103. S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pg. 10. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 21, pg. 25. O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 150.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Eleanor Plunkett

L:1/8

M:3/4

K:G

GA|B2 AGED|E2 ag e2|ed B2 AG|E2 A3 B|A4 :|

|:ga|b2 aged|e2 ef|g2 g2 b2|a2 bagf| g2 agfe|

d2 B2 d2|e2 g2 G2|B4 AG|E2 A3 B|A4:|

                       

ELEANORA ROBERTSON'S FAVORITE. Scottish, Jig. C Minor. Standard tuning. AAB. Composed by Nathaniel Gow. Carlin (The Gow Collection), 1986; No. 330.

                       

ELECTRIC. American, Hornpipe. A Major. Standard tuning. AABB. Composition credited to one G.L. Tracy in Ryan’s Mammoth Collection (1883). George Lowell Tracy (1855-1921) was a young man who later composed light opera and composition books, according to musicologist Charles Wolfe. Evidently Tracy arranged music as well, for one publication from the 1880’s indicates an Arthur & Sullivan work was arranged by him. Al Smitley suggests the tune may have been named for the clipper ship Electric, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews. Cole (1000 Fiddle Tunes), 1940; pg. 96. Ryan’s Mammoth Collection, 1883; pg. 131.

X:1

T:Electric Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

E | A/c/e/c/ d/f/a/f/ | e/a/c’/a/ e/c/A/E/ | F/A/d/f/ e/c/A/c/ | B/d/g/f/e/d/c/B/ |

A/c/e/c/ d/f/a/f/ | e/a/c’/a/ e/c/A/E/ | F/A/d/f/ e/d/B/G/ | AcA :|

|: B/A/ | G/B/e/B/ c/e/d/c/ | B/e/g/e/ B/G/E/G/ | F/A?B/d/ f/a/g/f/ |

d/f/e/c/ B(B/A/) | G/B/e/B/ c/e/d/c/ | B/e/g/e/ B/G/E/G/ | A/c/B/d/ c/e/d/f/ | ege :|

                       

ELECTRIC CAR, THE. Irish, Double Jig. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 219, pg. 24.

X:1

T:Electric Car, The

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 219  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

g2G GAG|BcB def|g2g bag|faf def|g2G GAG|

BcB def|gfg bag|fag fed::gbg dBd|ege dBG|

gag dBd|eag fed|gbg dBd|ege dBG|gfg bag|fag fed:|

                       

ELECTRIC LIGHT SCHOTTISHE. Old‑Time, Schottische. USA, Ohio. Edison 51995 (78 RPM), 1927, John Baltzell. Baltzell was a Mt. Vernon, Ohio, fiddler who was taught to play by minstrel Dan Emmett (d. 1904). Emmett was born in the same town and returned there in 1888, poor, to live out his life.

                       

ELEGANCE AND SIMPLICITY. American, Reel. C Major. Standard tuning. AABB. Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 25.

                       

ELEPHANT HOTEL. American, Waltz. D Major. Standard tuning. AA'B. Composed c. 1980 by fiddler Jay Ungar (West Hurley, N.Y.) inspired by a building in Somers, N.Y. (which considers itself the home of the American circus), dedicated to Barnum and Bailey's first elephant. Matthiesen (Waltz Book I), 1992; pgs. 58‑59.

                                   

ELEVATION, THE. Irish, Piece (4/4 time 'A' part, 3/4 time 'B' part). G Major. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1985; No. 194, pg. 132.

                       

ELEVENTH OF OCTOBER. AKA – “11th of October.” Irish, Reel. A Major. Standard tuning. AABB. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 52, pg. 22.

X:1

T:Eleventh of October

M:C

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

(EA) (cA) (dB) (cA) | (EA) (cA) BB B2 | (cA) ce fa gb | af ed (cA) A2 :|

|: ag ae ag ae | fa ec (dB) B2 | ag ae ag ae | fa ed (cA) A2 |

ag ae ag ae | fa ec (dB) (Bd) | cA ce fa gb | af ed cA A2 :|

                                   

ELFEN/ELFIN WALTZ, THE. English, Scottish, American; Waltz. A Major (Raven): G Major (Kerr, Trim). Standard tuning. AABB (Raven, Trim): AA'BB'C (Kerr). Composed by Labitzky. Howe (Diamond School for the Violin), c. 1861. Kerr (Merry Melodies), Vol. 1; No. 11, pg. 51. Raven (English Country Dance Tunes), 1984; pg. 138. Trim (Thomas Hardy), 1990; No. 45.

X:1

T:Elfin Waltz

L:1/8

M:3/8

S:Elias Howe – Diamond School for the Violin (c. 1861)

Z:AK/Fiddler’s Companion

K:G

DGB|c2F|GBe|d3|DGB|d2F|AGB|D2d|DGB|c2F|GBe|d3|dcB|^GA>B|cD B/>A/|G2z||

d|dGe|dBd|gfe|d3|dGe|dBd|gfe|d2d||DGB|c2F|GBe|d3|dcB|^GA>B|cD B/>A/|G2g|d3|

f/e/d/c/B/A/|G2g|d3|f/e/d/c/B/A/|G2z:|

                                   

ELFRIDA. English, Jig. England, Shropshire. D Major. Standard tuning. AB. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 69a, pg. 28.

                       


ELI GREEN(E)'S CAKEWALK. Old‑Time, Country Rag. USA, Nebraska. A Minor ('A' part) & C Major ('B part) {Christeson}: E Minor ('A' part) & G Major ('B' part) {Phillips, Songer}. Standard tuning. ABB + Coda (Christeson): AA'BB (Phillips): AA’BB’ (Songer). The tune was composed by Sadie Koninsky, published in the late 1890’s during the national vogue for cakewalks. Music publisher Edward B. Marks, in his book They All Sang (1934), remembered:

***

We had a big cakewalk hit, by the way. A young girl from Troy, New York,

came into the office one day with a letter of introduction and a tune she had

written. Her name was Sadie Koninsky—she had a music counter in a department

store.  Dave Reed Jr., wrote some words; and “Eli Green’s Cakewalk” made a hit.

It had only one successful competitor for popular favour, Kerry Mills’s “Georgia

Camp Meeting.” Miss Koninsky never wrote another hit. (pg. 94).

***

The variants that have survived in fiddling tradition usually are somewhat truncated versions of the original. Christeson's source was an elderly man in the 1950's and who had made a living busking among work crews and labor camps in his youth. Sources for notated versions: W.A. "Banjo Bill" Lottridge (Lincoln, Nebraska) [Christeson]; Stuart Williams (Seattle, Washington), who learned if from fiddler and folklorist Linda Danielson (Eugene, Oregon), who collected it from Oregon fiddler Wayne Walter, the nephew of Uncle Bob Walters--Christeson’s source [Songer]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 118‑119. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 47. Songer (Portland Collection), 1997; pg. 71. Missouri State Old Time Fiddlers' Association, Bob Walters (b. 1889) - "Drunken Wagoneer."

                       

ELIOT'S SCHOTTISCHE. American, Schottishce. USA, Maine. The title appears in a list of Maine fiddler Mellie Dunham's repertory. Dunham was Henry Ford's champion fiddler in the late 1920's.

                                   

ELIZA. AKA and see "When I Landed in Glasgow." Irish, Air (3/4 time). A Mixolydian. Standard tuning. One part. "Mr. MacKenzie says:‑‑'This is an air that may be heard in Antrim, or on the opposite coast of Scotland. But it is only sung by Irish'.

***

Now to conclude and to finish my song

I mean to be married and that before long:

For I have a spirit above my degree,

I would scorn to love anyone who would not love me.   (Joyce)

***

Joyce (Old Irish Folk Music and Songs), 1909; No. 329, pg. 153.

X:1

T:Eliza

T:When I landed in Glasgow

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:Amix

A2B2 EF|G2A Bc|d2 dA B2|G4 z2|A2B2 (EF)|G2A2 Bc|d2e2A2|A4 AB|

c2c2e2|d2c2B2|A2E2c2|d4 cB|A2E2F2|G2A2 Bc|d2e2A2|A4||

                       

ELIZA GREEN. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

ELIZABETH.  English, Waltz. E Minor. Standard tuning. ABCD. The name of a dance and tune composed by Colin Hume in 1991. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 38.

 

ELIZABETH ADAIR. Scottish, Jig. Composed by fiddler Angus Fitchet, who toured with Jimmy Shand’s dance band and with his own “Broadcasting Band.” Topic 12TS239. Topic TSCD 669, Will Atkinson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998).

           

ELIZABETH ANN MACDONALD’S JIG.  Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AABB. Composed by Mabou, Cape Breton, fiddler Donald Angus Beaton (1912-1982) for one of his children. Miller (Fiddler’s Throne), 2004; No. 39, pg. 34. KB20M09, Kinnon & Bett Beaton – “Saturday Night Lively” (1998).

 

ELIZABETH BROGAN (Éilís Ní Bhrógáin). AKA and see "The Ten Pound Float," "Coleman's Cross [2]," “The Killavil Reel [2],” "Killavil Fancy." Irish, Reel. G Major. Standard tuning. AB. Source for notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 82, pg. 37. CEF 099, Paddy Keenan – “Poirt an Phiobaire” (appears as “Eilish Brogan”).

           

ELIZABETH CANNON. AKA – “Elizabeth Canning.” English, Reel. A Mixolydian/Major. Standard tuning. AABB. The melody first appeared under the title “Elizh. Canning” in London publisher John Johnson’s Two Hundred Favourite Country Dances, vol. 8 (1758), followed by Charles and Samuel Thompson’s 1765 country dance collection where it is given as “Elizabeth Canning.” However, a number of musicians’ manuscript collections and copybooks give the title as “Elizabeth Cannon,” such as Northumbrian musician William Vickers, who included it in his 1770 manuscript collection. In America it appears in the music copybooks of Samuel Hudson and Nicholas Cook (Johnston, Rhode Island, 1772), fiddler Whittier Perkins (Massachusetts, 1790), fifer Aaron Thompson (New Jersey, 1777), and flute player John Hoff (Lancaster, Pa., 1797). The latter two musicians gave the tune as a quickstep march. Seattle (William Vickers), 1987, Part 3; No. 510. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 69.

X:1

T:Elizabeth Canning

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:A

c/d/|ecA aed|c2 (A A)ae|f2(d d)af|g2(e e)fg|a3 ecA|fdB G2E|Fag fed|c2A A2:|

|:c/d/|eca eca|c2(A A)Bc|dBf dBf|G2(E E)A=G|F2(D D)AF|[E2e2] [Cc]-[Cc]fg|aec Bed|{d}c2A A2:||

           

ELIZABETH DONALD. Scottish, Jig.

X:1

T:Elizabeth Donald

C:Adam Rennie (?)

S:78rpm record

M:6/8

L:1/8

Z:Nigel Gatherer

K:A (orig. in Bb)

e|c2A AGA|F2A E2A|F2A E2A|GAB B2e|c2A AGA|F2A E2f|

dBG EFG|A3 A2:|c/B/|A2c cBc|A2c E3|F2B BcB|G2B e3|

c2A AGA|F2A D2f|dBG EFG|A3 A2 c/B/|A2c cBc|A2c E3|

F2B BcB|G2B e3|AGA cBA|FDE F2f|dBG EFG|A3 A2|]

                       

ELIZABETH KELLY'S DELIGHT [1] (Aoibhneas Éilís Ní Chealagih). AKA and see “Eílís Ní Cheallaigh,” “Humours of Kilclogher,” “West Clare Jig.” Irish, Single Jig. A Dorian. Standard tuning. AABB. The title refers to the grandmother of fiddler James Kelly, who was born in Kilcloher between Carriagholt and Kilbaha in 1889. Source for notated version: fiddler Sean O'Kelly/John Kelly Sr. (Dublin Ireland), who had the tune from his mother, who had it from her mother. [Breathnach]. Breathnach (CRÉ I), 1963/1991; No. 56, pg. 25 (appears as “Eílís Ní Cheallaigh”). Breathnach (Folk Music and Dances of Ireland). Front Hall 018, How To Change a Flat Tire‑ "Traditional Music of Ireland and Shetland."

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Elizabeth Kelly’s Delight [1]

M:6/8

L:1/8

S:Breathnach – CRÉ I, No. 56

K:G

GFE c2E|G2E EFE|DED D2E|GED D2E GFE c2E|

G2E DEG|A3 BAG|1 A3 A3:|2 A3 A2||:B|c2B c2d|eAA A2c|

BAG GAB|dBG GAB|c2B c2d|eAA A2c|BAG GAB|A3 A2:|

 

ELIZABETH KELLY'S DELIGHT [2] (Aoibhneas Éilís Ní Chealagih). AKA and see “Aoibhneas Éillis Ní Chealaigh,” “Catherine Kelly’s.” “Irish, Slip Jig. A Dorian. Standard tuning. AABB. The alternate title “Catherine Kelly’s” is from Martin Hayes (“Under the Moon”) and is perhaps a mistake. Source for notated version: fiddler Seán O'Kelly/John Kelly Sr. (Dublin Ireland), who had the tune from his mother, the woman of the title [Breathnach]. Breathnach (CRÉ I), 1963; No. 68. pg. 29. Breathnach (Folk Music and Dances of Ireland), 1971; 13. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996). Green Linnet GLCD 1213, Lúnasa – “The Merry Sisters of Fate” (2001).

See also listings at: 

Alan Ng’s Irishtune.info

X:1

T:Elizabeth Kelly’s Delight [2]

M:9/8

L:1/8

S:Breathnach – CRÉ I, No. 68

K:Ador

A3 ABA AGE|A3 G2E DEG|A3 ABA AGE|G3 G2E DEG:|

|:c3 BAG A2E|c3 BAG DEG|c3 BAG A2E|G3 G2E DEG:|

                       

ELIZABETH MACDERMOTT ROE. Irish, Planxty (2/4 time). G Dorian. Standard tuning. AABB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). The title is thought to refer to Elizabeth, daughter of Betty of the family on whose estate O'Carolan's father was the blacksmith in Ballyfarnon, County Roscommon. She is the 'Iníon Rúairí Og', the daughter of Rory Oge of the verse. Elizabeth married Robert Maguire of Tempo, County Fermanagh, another family for whose members O'Carolan dedicated a large number of tunes (O'Carolan himself married a Mary Maguire from close to Tempo, although her connection with the family is unknown). Complete Collection of Carolan's Irish Tunes, 1984; No. 83, pg. 68.

                                   


ELIZABETH NUGENT. Irish, Planxty (3/4 time). G Major. Standard tuning. One part. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 109, pg. 81.

                       

ELIZABETH O’BRIEN. See “Sibéil Ní Bhriain.”

                       

ELIZABETH POLKA. American (?), Polka. G Major. Standard tuning. AABB. Source for notated version: the music manuscript of Setauket, Long Island, New York, painter and fiddler William Sydney Mount (1807-1868). A notation at the top of the manuscript reads: “Feb. 11th, 1860. From A. Storms Collection of Music. Dodthworth. Great wind storm Feb. 10th, 1860.”

X:1

T:Elizabeth Polka

M:C|

L:1/8

R:Reel

S:William Sydney Mount manuscript  (1860)

Z:AK/Fiddler’s Companion

K:G

de | ed Ac E2F2 | .G(B,C).E  D3 ^D | .E(^GA).c .F(ed).F | (GB)de d2 de |

(ed)(Ac) E2F2 | GB,CE D2^D2 | E(^GA)c (Fe)dF | G2G2G2 AB |

A>^c c2 A>c c2 | A>d d>A f4 | (fag).A (^dfe)A | (egf).A (^ced).B |

A>^c c2 A>c c2 | A>d d>A f4 | fa gA ^dfeA | dddd dd ||

“Trio”

K:C

G2 | c>G “tr”G2 e>G “tr”c2 | B>a “tr”g2 B>a “tr”g2 | (fa)(af) .f(GB).d |

(eg)gc eG “tr”AG | c>G “tr”G2 e>G “tr”c2 | B>a “tr”g2 B>a “tr”g2 |

(fa)ad f.G.A.B | c2 c2 c2 || c>d | e2e2 d>BA>c | e2e2 c>BA>a | g>fd>a g>fd>a |

g>fd>f e>Bc>d | e2e2 c>BA>c | e2e2 c>BA>c | B>cd>e f>ga>b |

[A2c’2][A2c’2][A2c’2] ||

                       

ELIZABETH'S AIR. Green Linnet SIF‑104, Gerald Trimble ‑ "The Celts Rise Again" (1990). Green Linnet SIF‑1043, Gerald Trimble ‑ "First Flight" (1983).

                       

ELIZABETH'S BIG COAT (Cota Mor Ealasaid). AKA‑ "Effie's Big Coat," "Lassies of Glenaodale," “A Mabou Reel [1],” “Old Timer Reel,” “Poirt Mabou” (Port Mhabu). Canadian, Reel. Canada, Cape Breton. A Mixolydian. Standard tuning. AABB (Dunlay & Reich/MacMaster, Dunlay & Greenberg/MacDonald): AABBCCDD (Shears): AABB’CC’DD (Dunlay & Greenberg/Donald MacLellan). The melody is played as both a two and four-part reel on Cape Breton, where it is often known simply as “A Mabou Reel” (Poirt Mabou), remark Dunlay & Greenberg (1996). The third and fourth turns are credited to fiddler Ronald MacLellan, who maintains they were composed by his father, Big Ronald MaLellan, writes piper Barry Shears (1986). Gaelic mouth-music words for “Cota Mor Ealasaid” are given by John Shaw in the booklet accompanying Topic 12TS354. Sources for notated versions: Buddy MacMaster (Cape Breton) [Dunlay and Reich]; Mary MacDonald and Donald MacLellan, son of Ronald MacLellan (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pgs. 42-43. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 43. Shears (The Gathering of the Clans Collection, vol. 1), 1986; pg. 63 (four parts). Celtic CX 20, "The Five MacDonald Fiddlers" (c. 1957. Appears as "Lassies of Glenaldale"). Celtic CX 41, Paddy “Scotty” LeBlanc - “This is Sydney” (appears as “Old Timer Reel”). DMP 6‑27‑1, Doug MacPhee‑ "Cape Breton Piano III" (`98`. Appears as "Effie's Big Coat," played in four parts). Rounder 7001, Joe Cormier ‑ "Scottish Violin Music from Cape Breton Island" (1974. Appears as "Lassies of Glenaodale"). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). Topic 12TS354, Mary MacDonald‑ "Cape Breton Scottish Fiddle" (1978. Various artists).

                       

ELK HUNT, THE. See "Algjakten."

           

ELK LAKE STOMP. American, Breakdown. In the repertoire of Susquehanna County, Pennsylvania, fiddler Jehile Kirkhuff, who called it “Herb Fargo’s Elk Lake Stomp,” perhaps referencing a local composer.

 

ELK RIVER BLUES.  Old Time, Breakdown. USA, West Virginia. Standard tuning. Composed by old-time fiddler Ernie Carpenter. According to the booklet accompanying Carpenter’s LP, the story behind the tune is one of a difficult adjustment to a forced change in Ernie’s life. He had worked most of his life for the Pittsburgh Plate Glass Company in Clarksburg, prior to retiring in 1972 to his home in Braxton County, West Virginia. He was a regular visitor during his working years to his homeplace on the Elk River, and was witness to the planning and construction of the Sutton Dam by the U.S. Army Corps of Engineers on the river during the 1950’s and 1960’s. Unfortunately, this resulted in the flooding of his boyhood home and the surrounding area, despite the efforts of himself and neighbors to forestall the project through a lobbyist. He refused the government’s initial offer for his land (they didn’t offer him anything for his house), and took the case to court. He was able to gain a marked increase in the money he eventually was paid through this process, although had to pay legal fees out of his pocket. He stayed in his Elk River homestead while the dam was being constructed, even though most of his neighbors had already left.  Workmen blocked the roads in and out of the area, but Carpenter found alternate routes until they too were closed off. “I was the last person out of there,” he said,” I went ahead then and tore the old place town and brought it up here. Part of its in this house.” Of the tune, he remarked: “I was sittin’ here one day, an’ I had the blues. I reckon as bad as anybody could, thinkin’ about my old homeplace up on the Elk River. I started sawin’ on the fiddle an’ that’s what I came up with.”

Reed Island Rounders – “Goin’ Home” (2002).

                                   

ELKHORN RIDGE. Old‑Time, Breakdown. USA, West Virginia. In the repertoire of Mercer County, W.Va., fiddler Oscar Wright (learned from local "old timer" George Stump). Folkways FTS 31062, "Ship in the Clouds: Old Time Instrumental Music" (1978. Learned from Oscar Wright). Rounder CD0364, The Volo Bogtrotters - “The Marimac Anthology: Deep in Old-Time Music.”

                       

ELKINS.  Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AA’BB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009), in honor of the Augusta Heritage traditional music summer school at Elkins, W.Va. Cranford (Jerry Holland: The Second Collection), 2000; No. 267, pg. 96.

 

ELK'S FESTIVAL, THE. AKA – “Elk’s Hornpipe.” English (?); Hornpipe or Reel. D Major. Standard tuning. AABB. "Can be used as a Clog,” states Ryan’s Mammoth Collection. A version of this tune appears in Bayard's 1981 collection as "Tune Used in the Lancers" (Appendix, No. 5, pg. 574) from a fiddler reared on Prince Edward Island. Don Meade notes the two parts of the tune are frequently found as the last parts of “The Derry Hornpipe.” Other tunes that resemble it in whole or part are "Texas Quickstep [2]" (Jarman) and "Little Black Moustache [1]" ('A' part only). Cole (1000 Fiddle Tunes), 1940; pg. 102. Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 4. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 4. Kerr (Merry Melodies), vol. 2; No. 361, pg. 40. Raven (English Country Dance Tunes), 1984; pg. 171. Ryan’s Mammoth Collection, 1883; pg. 138.

X:1

T:Elk’s Festival, The

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(FG) | A>FA>d f>ed>c | B>GB>e g>fe>d | c>Ac>e a>gf>e | f>cd>B A2 (FG) |

A>FA>d f>ed>c | B>GB>e g2 (ag) | f>af>d B>ge>c | d2d2d2 :|

|: (fg) | (3.a.a.a (fd) A>df>d | (3.g.g.g (ec) A>ce>c | f>dg>e a>fb>g | e>cd>B A2 (fg) |

(3.a.a.a (fd) A>df>d | (3.g.g.g (ec) A2 (ag) | f>dA>F E>ge>c | d2d2d2 :|

                       

ELLA ROSENBERG. AKA and see "Father Fielding's Favorite."

                       

ELLEN A ROON. See "Eileen Aroon [1]."

                       


ELLEN O'GRADY (Eiblin Ni Grada). Irish, Slip Jig (9/8 time). A Mixolydian. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1144, pg. 216.

X:1

T:Ellen O’Grady

M:9/8

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 1144

Z:AK/Fiddler’s Companion

K:A

eaa ef=g fed|eaa ef=g f2d|eaa ef=g fed|=gfg ecA Bcd:|

||e2e Bcd cBA|e2 e Bcd c2A|agf ecA Bcd|e2e Bcd cBA|

e2e Bcd c2A|efg agf edc|fef B2c d2B||

                       

ELLEN O’LEARY’S. Irish, Jig. D Major. Standard tuning. AABB. “Eireann Go Brach” is a version of this tune, or vice-versa. The tune is named after source Johnny O’Leary’s daughter, Ellen O’Leary; a favorite of hers. Source for notated version: fiddler Paddy Lyons via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border). O’Leary remembers Lyons would visit the west Kerry region: “He knew (fiddler) Padraig O’Keeffe well. He slept one night with Padraig O’Keeffe. The two of them were playing all night. I’d say they were in no bed. There was no sleeping, only playing” [Moylan]. Moylan (Johnny O’Leary), 1994; No. 99, pg. 57. Topic 12T357, Johnny O’Leary - “Music for the Set” (1977).

                       

ELLEN WYNNE’S. Irish, Reel. G Major. Standard tuning. AA’BB’. Composed by New York Sligo-style fiddler Martin Wynne, who had no name for it until Bill Black suggested he name it after his mother. Black (Music’s the Very Best Thing), 1996; No. 76, pg. 39.

X:1

T: Ellen Wynne's

C: Martin Wynne

Z: transcribed by B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: G

dc | BGAG EDB,E | DEGB AEGF | EB,DB, G,A,B,D | EAAB c2 dc |

BGAG EDB,E | DEGB AEGF | EB,DB, G,A,B,D |1 EAAc BG :|2 EAAc BGGA ||

BcdB c2 dc | BGDG EAAc | BddB dega | bgag fgaf |

bg (3gfg aegf | eBdB GABd | eBdB cBAG |1 EGAc BGGA :|2 EGAc BG G ||

           

ELLENORA. Shetland, Shetland Reel. Shetland, Unst.

           

ELLEN’S DELIGHT. Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AABB. Named perhaps for source O’Leary’s daughter, Ellen. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 115, pgs. 66-67. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989).

           

ELLEN'S REFUSAL. Irish, Air (6/8 time). D Major. Standard tuning. One part. Source for notated version: Mr. James O'Sullivan, Bunaneer National School near Kenmare: 1872 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 211, pg. 104.

           

ELLINGHAM (Ellingen) ASSEMBLY. English, Reel. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 337.

           

ELLINGHAM HALL. AKA and see "The Bonny Lass [2]." "The Merry Dancers."

           

ELLIOT'S FAVORITE REEL. Canadian, Reel. D Major. Standard tuning. AABB. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 67, pg. 42.

           

ELLIOT'S MINUET. American? English?, Minuet. The tune was preserved on a mechanical chime clock manufactured in the late 18th century at New Windsor, Connecticut, by Daniel Burnap. It can also be found on Timothy Swan's Suffield, Conn., MS of 1777.

           


ELLIS'(S) JIG ("Port Ui Ellis" or "Port Ellis"). Irish, Single Jig. G Mixolydian. Standard tuning. AABB. See also related tunes "Mason's Quickstep," "O I Hae Seen the Roses Blaw" (Northumbrian), and "Oho, Oho, I've Found You Out" (Pa.). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 998, pg. 186. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 387, pg. 78.

X:1

T:Ellis’ Jig

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 387

Z:AK/Fiddler’s Companion

K:G

D|GA>G B2G|c2A F2D|G>AG B2c|d2g B2c|dge =f2d|cAG F2A|d>ed cBA|G3 G2:|

|:d|g2d B2G|c2A F2D|g2d B2c|dde f2e|dge f2d|cAG F2A|d>ed cBA|G3 G2:|

           

ELLIS KNOWLES HORNPIPE. English, Hornpipe. A Major. Standard tuning. AABB. A rather difficult hornpipe to finger on the fiddle. Source for notated version: the Ellis Knowles Manuscript, a selection of tunes compiled c.1845-48 probably in Radcliffe, Lancashire, England. The Plain Brown Tune Book.

           

ELLSWORTH FUNERAL DIRGE. American, Slow Air (cut time). USA, southwestern Pa. D Major. Standard tuning. AABB. A funeral dirge played by southwestern Pennsylvania martial bands. See note for "Ellsworth Funeral March." Sources for notated versions: Mount Pleasant Tablatures [Bayard], Hiram Horner (Westmoreland and Fayette Counties, Pa., 1962) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 157A‑D, pgs. 94‑95.

           

ELLSWORTH FUNERAL MARCH. American, Slow Air (4/4 time). USA, southwestern Pa. G Major. Standard tuning. AB. The tune was the best‑known "dead march" in the repertories of southwestern Pa. martial bands, relates Bayard (1981), thought the tune has not been collected elsewhere. Bayard did find one other version only, a "cradle song" from a Northumbrian piper. There is a resemblance to the revial hymn "Shall We Gather By the River" (1864), and though evidence is scant, Bayard speculates the composer of the funeral march may have been strongly influenced by the hymn. The name 'Ellsworth', Bayard believes, commemorated Colonel Elmer Ephraim Ellsworth, who had the ‘heroic’ misfortune to be the first young Union officer to be shot dead in the war (by a civilian while in the act of tearing down a Southern flag from a house in Alexandria, Virginia); the papers of the day lionized him. Source for notated versions: Hiram Horner (Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 150A‑C, pgs. 84‑86.

           

ELMER BRIAND. Canadian, Reel. Canada, Cape Breton. B Flat Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976) for fiddler Elmer Briand. Cameron (Trip to Windsor), 1976; pg. 13.

                       

ELMER BRIAND’S FAVORITE. Canadian, Reel. Canada, Cape Breton. B Minor. Standard tuning. AAB. Composed by Cape Breton fiddler Johnny Wilmot (1916-1993), an Irish-style musician and composer. Editor Paul Cranford (1994) relates that Wilmot composed the tune in the 1960's for his friend and fellow-musician Briand, who returned the compliment with a composition of his own, “Johnny Wilmot’s Fiddles.” Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 39, pg. 14.

                       


ELMER BRIAND’S JIG. Canadian, Jig. Canada; Cape Breton, Prince Edward Island. D Major. Standard tuning. ABB’. Compositon of the tune is attributed to Pipe Major Hughie Briand. Source for notated version: Stephen Toole (1927-1995, Green Road, Queen’s County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 132. BM-91, Buddy MacMaster – “Glencoe Hall.”

                       

ELMER’S TUNE.  AKA and see “Marche Cécilia.” Canadian, Polka/Galop (4/4 time). Canada, Québec. D Major. Standard tuning. AA’BB’. Source Corrigan learned the tune from Yves Verret, but called it for his friend Elmer Boyd. Alfred Montmarquette recorded the tune under the title “Marche Cécilia.” Source for notated version: from the repertoire of Keith Corrigan (Valcartier, Québec) via fiddler Lisa Ornstein & Denis Pépin [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; pgs. 76-77, No. 42. Lisa Ornstein & Denis Pépin – “Les Danseries de Québec…de l-autre bord de l’eau” (1986).

 

ELOCINE.  American, Waltz. G Minor. Standard tuning. AB. A modern composition (1999) by West Coast (Ashland) mandolin and hammered dulcimer player  Bo Leyden. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 6 (appears as “At Nancy’s House,” the name of a dance written in 2002 by Brooke Friendly and Chris Sackett).

 

ELOQUENCE OF SIMPLICITY.  American, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The tune appears in the music copybook of fiddler Eleazer Cary, of Mansfield Conn., who penned it into his manuscript in the waning years of the 18th century. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 4.

X:1

T:Eloquence of Simplicity

M:2/4

L:1/8

S:Eleazer Cary copybook (Mansfield, Conn., 1797-1799)

K:D

d>e f/e/d/c/|d d/e/ dA|d/A/B/G/ F/G/E/C/|DD D2|d>e f/e/d/c/|

da/b/ a2|a/e/f/d/ c/B/A/^G/|AA A2::A/c/e/c/ A/c/e/c/|B/d/f/d/ B/d/f/d/|

a/^g/f/e/ d/c/B/A/|^G/A/B/G/ E2|Eb b2|Fa a2|f>d g/e/d/c/|dd d2:||

 

ELSEY’S WALTZ.  English, Waltz. England, Northumberland. D Major. Standard tuning. AABB. Composed by Northumbrian shepherd and fiddler Archie Dagg (1899-1991). Miller (Fiddler’s Throne), 2004; No. 367, pg. 216.

 

ELSIE MARLEY. AKA and see "Alcy Marly." AKA ‑ "Elsie Marly." Scottish, English; Jig and Song Tune. England, Northumberland. G Mixolydian (Bremner, Callaghan, Raven, Vickers, Williamson): E Flat Mixolydian (Stokoe). Standard tuning. AB (Raven, Stokoe): AABBCC (Callaghan, Gow, Johnson): AABBCCDD (Bremner): One part (Williamson). "This ballad had come down to us with a double claim for preservation from oblivion in the merit of the lively tune itself and the frolicsome spirit of the song, which, whilst gently satirising, at the same time preserves the memory of one who, in her day, had attained some notoriety as a general public entertainer. Elsie (or Alice) Marley was the wife of an innkeeper at the Barley Mow Inn, Pictree, near Chester‑le‑Street, where her buxom presence and lively humour were doubtless the means of attracting all ranks of society, from the pitman to the viewer, and from keelmen and sailors to tradesmen and gentlemen.  The ballad was founded upon a true incident in the life of our heroine, and speedily became to popular all over the district that when Joseph Ritson published his 'Bishopric Garland' in 1784, he considered it of sufficient importance to be included in that collection. A happy temperament, a comfortable life, and an extensive circle of friends did not, however, suffice to save poor Elsie from a share of the 'ills that flesh is heir to,' for in Sykes Local Records, under date 1768, August 5 we read:‑‑'The well‑known Alice Marley, who kept a public house at Pictree, near Chester‑le‑Street, being in a fever, got out of her house and went into a field, where there was an old coal pit full of water, which she fell into and was drowned" (Stokoe & Bruce, 1882). She died in 1768.

***

Elsie Marley's pub was at Barley Mow, which is between Chester-le-Street (just across the border from Northumberland, in County Durham) and Birtley. It may have been called The Wheatsheaf, and indeed, a pub (though not the original) by that name is there today in which occasional ceilidhs are held.

***

The tune was still quite popular in Northumberland in 1800, when it appeared in a list of popular Northumbrian song and dance tunes published by Henry Robson. It also appears in the 1762 music manuscript collection of Joseph Barnes, a musician from Carlisle, Cumbria. Glen finds the earliest appearance of the tune in print in Robert Bremner's 1751 or 1757 First Collection (pg. 26), though it was also printed by others, including Robert Petrie in his 1796 Fourth Collection (and who characterized the title as describing a 'bumpkin' (Williamson, 1976). Gow (1817) also gives “Country Bumpkin” as either a note or an alternate title.

***

Di' ye ken Elsie Marley, honey,

The wife that sells the barley, honey;

She lost her pocket and all her money,

Aback o' the bush i' the garden, honey.

Elsie Marley's grown se fine,

She won't get up to serve her swine,

But lies in bed till eight or nine,

And surely she does take her time. (Bruce & Stokoe)

***

The tune is mentioned in the Northumbrian pit mining song “Bykker Hill” in the lines:

***

Geordie Charleton, he had a pig,

He his it with a shovel and it danced a jig;

All the the way to Walker Shores,

To the tune of ‘Elsie Marley’.

***

Philippe Varlet sees similarities in parts between “Elsie Marly” and Willie Clancy’s "The Rolling Wave" and O’Neill’s "The Humors of Trim.”

***

Source for notated version: the 1770 music manuscript book of Northumbrian musician William Vickers [Seattle]. Bremner (A Collection of Scots Reels), 1757; pg. 26. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 112‑114. Callaghan (Hardcore English), 2007; pg. 71. Gow (Complete Repository), Part 4, 1817; pg. 38. Johnson (The Kitchen Musician No. 10: Airs and Melodies of Scotland’s Past), 1992 (revised 2001); pg. 18. Northumbrian Pipers Tunebook (2nd ed. 1970). Petrie (Fourth Collection of Strathspey, Reels, Jiggs and Country Dances), 1796; pg. 22. Raven (English Country Dance Tunes), 1984; pg. 116. Seattle (William Vickers), 1987, Part 2; No. 269 (appears as "Alcy Marly"). Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 48. EFDSS CD13, Florida – “Hardcore English” (2007. Various artists). FLP005, Florida – “Florida.” Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

See also listing at:

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

X:1

T:Elsie Marley

M:6/8

L:1/8

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:G

(B>AB) G2G|G2(g g)dc|(B>AB) G2G|=F2(f f)cA|

(B>AB) G2G|G2(g g)dB|cac BgB|A2(=f f)cA:|]

|:Bcd ded|d2(g g)dB|Bcd dcB|A2(=f f)cA|Bcd ded|d2(g g)dB|

cAc BgB|A2(=f f)cA::G2(g g)dB|gdB gdB|=F2 (f f)cA|

fcA fcA|G2(g g)dB|gdB gdB|cac BgB|A2(=f f)cA:|

X:2

T:Elsie Marley

L:1/8

M:6/8

S: Bruce & Stokoe – Northumbrian Minstrelsy   (1882)

Z:AK/Fiddler’s Companion

K:Eb

GFG E2E|E2e eBA|GFG E2E|F_d dAF|GFG EEE|efe eBA|

AfA GeG|F2_d dAF||G2A B2B|Bcd eBA|G2A B2B|

FGF _dAF|G2A B2B|Bcd eBG|AfA GeG|F2_d dAF||


           

ELSPETH'S WEDDING MARCH. Scottish. Scotland, Orkney Islands. A composition of Orkney fiddler Ronnie Aim (1919‑1982).

           

ELTERWATER HORNPIPE. English, Hornpipe. G Major. Standard tuning. AABB. From the manuscript of Cumbrian musician Henry Stables, although it was composed by his teacher, fiddler William Irwin of Langdale, Cumbria. Most of the tune simply outlines triads and inversions of a chord progression, however, despite the fact that some disdain this kind of composition (for just that reason), this tune seems quite lively. Irwin (1822-1889) worked all his life as a cooper for the Elterwater Gunpowder Company, but managed a steady rotation of local tavern gigs. He was a regular in his local church band as well. Callaghan (Hardcore English), 2007; pg. 17. Knowles (A Northern Lass), 1995; pg. 34.

                       

ELTERWATER QUICKSTEP. English, Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. From the manuscript of Cumbrian musician Henry Stables. Knowles (A Northern Lass), 1995; pg. 38.

                       

ELUSIVE MAGPIE. Irish, Jig. Composed by the late fiddler Seán Ryan. Ryan (Seán Ryan’s Dream), No. 25.

 

ELVIRA POLKA. Fiddler FRLP001, Tom Doucet (Nova Scotia/eastern Mass.) - “The Down East Star.”

                       

ELVY'S SCHOTTISCHE. American, Schottishce. USA, North Dakota. A Major. Standard tuning. ABC. The tune was copied by Joe Pancerzewski from a notebook of friend and fiddler Elvy Osborne. Osborne was born in 1882 in Illinois, but moved to North Dakota as a young man where he tried homesteading. When this failed he moved to the largest town, Minot, and began barbering. Frequently he would hold impromptu jam sessions in his barber shop. Pancerzewski (Pleasures of Home), 1988; pg. 8.

                       


ELZIC'S FAREWELL [1]. Old‑Time, Breakdown. USA, W.Va. A Dorian (Am). AEae or Standard tunings. ABB (Phillips, Reiner & Anick): AABB (Phillips). AABBCC (Brody, Songer): ABCBABC (Krassen). This tune has been described as “an old bagpipe tune” from the repertoire of W.Va. fiddler French Carpenter who stated his ancestor (the Elzic or Elzick of the title) played the melody as a farewell before marching off to fight in the Civil War. Elzic went missing in the conflict and never returned, but the tune survived and entered local tradition as "Elzic's Farewell." Wilson Douglas, a younger fiddler distantly related to his mentor French Carpenter (his grandfather and Carpenter’s father Saul were half-brothers), thought that Elzic was from Wood County, W.Va. In fact, this is a bit of fanciful embroidery on the part of Douglas and/or Carpenter. The tune’s origins have been researched by Jim Comstock of Richwood, W.Va., and were published by him in the West Virginia Songbag (1974). The tune was actually written by one Harvey G. Elswick who was born in Pike County, Kentucky in 1838, and who did serve in a unit from that state during the Civil War. After that conflict Elswick returned to Pike County, but in 1875 he and his family removed to Kanawha County, West Virginia, to live on 80 acres in Malden and Elk districts, and it was there that he wrote the melody now known as “Elsic’s Farewell” in April, 1889. Harvey lived on until 1915 and was buried at the Elswick Cemetary at Quick, Kanawha County. Comstock cites the researches of a descendent, the Rev. Albert Elswick of Wallkill, New York, into the Elswick family and finds that Harvey Elswick played the tune at the request of his mother, who was on her deathbed. Complying with her request to "play his fiddle for her once more before she died," Elswick was inspired to play the tune as his farewell. Wilson Douglas plays the tune in standard tuning. Sources for notated versions: Doc White (central West Virginia, Clay County) [Krassen]; French Carpenter via Wilson Douglas (W.Va) [Phillips, Reiner & Anick]. Brody (Fiddler’s Companion), 1983; pg. 99. Krassen (Appalachian Fiddle), 1983; pgs. 68‑70. Phillips (Traditional American Fiddle Tunes), 1994; pg. 81 (two versions). Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 82. Songer (Portland Collection), 1997; pg. 72. EPACT 100, Pete Sutherland - “Mountain Hornpipe.”  Kanawha 301, French Carpenter (whose version had only two parts) - "Old Time Songs and Tunes from Clay County, West Virginia." Rounder 0040, "Pickin' Around the Cookstove." Rounder 0047, Wilson Douglas‑ "The Right Hand Fork of Rush's Creek" (1975). Rounder CD 0397, Scott Nygaard - "Dreamer's Waltz" (1996). Ruthie Dornfeld - “Egyptian Dominoes.” Freight Hoppers – “Where'd You Come From, Where'd You Go.” Ron Mullennex – “Sugar in My Coffee.” Reed Island Rounders – “Goin’ Home” (2002).

X:1

T:Elzic’s Farewell [1]

M:4/4

L:1/8

R:Reel

K:Am

"Am"e4e2d2|c3dcA2 | a4a2 e^f|"G"g2ga g^fe2 |

"Am"e4e2d2|c3dBA2 | A2c2"(D)"d2e2|"G(Em) - (G)"EGAB"Am"A4 :|

"Am"A4A2c2 |"D" d6Ac | d2de dcAc | d2de dcAc|

"Am"A4A2c2 | "D"d6Ac | d2de dcAc | d2de dcAc:| A4|] 

 

ELZIC'S FAREWELL [2]. Old-Time, Breakdown. A Dorian. Standard tuning. AABBAACC' or BBCC'BBAA. Source for notated version: Matt Glaser [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 81.

           

EMBLEM OF FAITH, THE. AKA ‑ "Comarta Na Criedeama." Irish, Slow Air (3/4 time). D Major. Standard tuning. AB. Source for notated version: Dunlap [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 501, pg. 88.

X:1

T:Emblem of Faith, The

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 501

Z:AK/Fiddler’s Companion

K:D

A2A2 de|f2A2A2|f2 gf ed|c2B2 Bc|d2 de fe|d2 cA GF|

G2 c2B2|A4||FG|A2 B2 AG|c2 BA GF|G3 B AG|

F>E D2 FG|A2 f2 e2|d2 A2F2|GB AG FE|F2 D4||

           

EMBRASSE-MOI ENCORE. Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning. AAA(Vocal)ABB(Vocal)ABB(Vocal)AB. Raymond Francois (1990) does not include the lyrics to the melody under this title because he believes the related songs are older. They are: "Mets ta Robe Barree," "Robe a Parasol" and "Madame Etienne." Source for notated version: Leo Soileau (La.) [Francois]. Francois (Ye Yaille, Chere!), 1990; pg. 123. Old Timey Records OT-125, Leo Soileau.

           

EMELIA’S FAVORITE. American (?), Quickstep (6/8 time). B Flat Major. Standard tuning. AA’BBCC’DD’. Howe (1000 Jigs and Reels), c. 1867; pg. 48.

X:1

T:Emelia’s Favorite

M:6/8

L:1/8

R:Quickstep

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

Z:AK/Fiddler’s Companion

K:Bb

(3F/G/A/ |: B2F FDF | B2c d2e |1 f2d Bcd | e2c cAF :|2 f2d cBc | B3B2 ||

|: F | BcB AGA | BFD B,DF | BcB AGA | Bcd B2 :|

|: F | G2A BAG | F2F FED | C2D EDC |1 DED D2 :|2 B,3 z2 || F

|: B2z B2z | c2zB | AGA FGA |1 BFD B,DF :|2 B3 z2 ||

                       

EMERALD ISLE, THE (Inis Ealga). Irish, Slow Air (3/4 time). F Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 600, pg. 106.

X:1

T:Emerald Isle, The

M:3/4

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 600

Z:AK/Fiddler’s Companion

K:F

c2|c2F2G2|A4 c>c|c2f2d2|d2c2 zc|c2B2A2|B2A2 cd|F2 {A}G3F|F2E2c2|c2 {c}BA GF|

f4 ff|ef gf dB|d2 c2 zc|cf A3c|cd F3F|A2 A3G|F4||A2 de d3A|fg f3A|B2A2G2|F{A}G F3F|

G2G2G2|A4 A>A|B2A2G2|F2 {GF}E2 AB|c>d c3 A/F/|f4 zf|gf ed cB|d2 c3 c/c/|

C2 BA GF|B2A2G2|F2G2A2|B4 c>d|cf A3c|cd F3D|C2 A2 G2|F4||

           

EMERALD ROOM, THE. Irish, Reel. D Major. Standard tuning. AABB. The title is Bill Blacks, named for the Emerald Room in the Cape Codder Hotel, where he first heard the tune. Source for notated version: accordion player Colm Gannon (Boston) [Black]. Black (Music’s the Very Best Thing), 1996; No. 230, pg. 123.

X:1

T: The Emerald Room

S: Colm Gannon

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/8

L: 1/8

K: D

A | dA A2 BAGF | GABd cABc | dfed cABc | dfec d3 A |

dA A2 BAGF | GABd cABc | dfed cABc | dfec d3 :|

A | Adfd Adfd | g2 gf edcB | Acec Acec | f2 fe dcBc |

Adfd Adfd | g2 gf edcB | a2 af gfed | cdec d3 :|

           

EMER’S FAREWELL TO CUCULLAIN. AKA and see “Danny Boy,” “Derry Air,” “Londonderry Air.” Irish, Air (4/4 time). E Flat Major. Standard tuning. One part. Walker (1924) calls this tune “an emotionally organized design of quite exceptional power.” Walker (History of Music in England), 1924; No. 129, pg. 336.

X:1

T:Emer’s Farewell to Cucullain

M:C

L:1/8

R:Air

S:Walker (1924)

Z:AK/Fiddler’s Companion

K:Eb

DEF|G3F GcBG|FE C2 zEGA|B3c BGEG|F4 zDEF|G3F GcBG|

FECB, CDEF|G3A GFEF|E4 zBcd|e3d dcBG|BG E2 zBcd|

E3d dcBG|F4z BBB|g3f fece|BG E2 zDEF|GcBG FECD|(E4 E)||

 

EMIGRANT'S ADIEU, THE. See "Emigrant's Farewell," below.

 

EMIGRANT’S BLESSING, THE. See “Beannacht an Imircigh,”  Emigrant’s Farewell [2].”

 

EMIGRANT'S FAREWELL [1] (Hò Cha Neil Mulad Oirnn). Scottish, Slow Air (4/4 time). E Flat Major. Standard tuning. AAB. "As to this air having more claim to antiquity than 'Kind Robin lo'es me,' the editor would be apt to doubt. The sentiments conveyed by the words of John Macmurdo of MacRae, of Kintail, formerly mentioned as having emigrated, most feelingly point out the proper resources of the mind, bearing the adversities of life" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 226, pg. 92. Hunter (Fiddle Music of Scotland), 1988; No. 61.

X:1

T:Emigrant’s Adieu

T:Emigrant’s Farewell

T:Hò cha-n ‘eil mulad oirnn

M:C

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:Eb

G|B,<EE<G FG C2|B,>C~E>G BG e2|cd/e/ B>G F>E C>c|

B>AG>F GEE:|

F|G>FE>F DE C2|B,>CE>G BG e2|cd/e/ B>A G>F E>c|

B>AG>F G>EE>F|G>FE>F DE C2|B,>CE>G B<G e2|

g>fe>G FGC>c|B>AG>F GEE||

 

EMIGRANT’S FAREWELL [2] (Beannacht an Imircigh). AKA “The Emigrant’s Blessing.” Irish, Hornpipe. B Flat Major. Standard tuning. AAB. From the playing of Donegal fiddler Danny O’Donnell, who named the tune. He said it was could be found in Western Scotland and Northern England, and was known by the Dohertys and the Byrnes in County Donegal. Danny O’Donnell – “Ón tSean-Am Anall.”

X:1

T:Beannacht an Imircigh (The Emigrant's Farewell)

S:Danny O'Donnell

D:On tSean - Am Anall

Z:Juergen.Gier@post.rwth-aachen.de

L:1/8

M:C|

K:Bb

FE|D<FB,B A<cFA|Bdfb agfb|geca fcAc|(3Bdc (3BAG F2E2|\

(3DFD B,B (3AcA FA|Bdfb agfb|geca fcAc|~B2d2 B2:|FE|\

DFBF dBFD|EBGB eEGB|Abag fbAc|(3Bdc (3BAG F2E2|\

DFBF dBFD|~E2GB eEGB|Abag fbAc|~B2d2 B2FE|\

DFBF dBFD|EBGB eEGB|Abag fbAc|(3Bdc (3BAG F2E2|\

(3DFB (3dBF (3DFB (3dBF|(3EGB (3eBG (3EGB (3eBG|\

(3ABA ag (3fgf (3edc|B2d2 B2|]

 


EMIGRANT'S JIG, THE. Irish, Slip Jig. E Minor. Standard tuning. AABB. McNulty (Dance Music of Ireland), 1965; pg. 27.

 

EMIGRANTS' REEL. Scottish, Reel. F Major. Standard tuning. AABB. Cited as having commonly been played for Orange County, New York country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly). Cole (1000 Fiddle Tunes), 1940; pg. 37. Ryan’s Mammoth Collection, 1883; pg. 64. White’s Unique Collection, 1896; No. 51, pg. 10.

X:1

T:Emigrant’s Reel

M:C|

L:1/8

R:Reel

S:White’s Unique Collection (1896), No. 51

Z:AK/Fiddler’s Companion

K:F

AccB dfcf | dfcf (eg) g2 | AccB dfcf | BGcB (AF) F2 | AccB dfcf |

dfcf (eg) g2 | AccB dfcf | BGcB (AF) F2 :: afef dfcf | afef (eg) g2 |

afef dfcf | BGcB (AF) F2 | afef dfcf | afef (eg) g2 | (3agf (3gfe (3fed (3edc |

(3Bcd cB AF F2 :|

                       

EMILY STEWART. Canadian, Strathspey. Canada, Cape Breton. Composed by fiddler, composer, compiler and editor Paul Stewart Cranford – who is also a lighthouse keeper! – for a member of his family. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998).

                       

EMILY’S REEL. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABBCC. Composed by Goose Cove, Saint Ann's Bay, Cape Breton, luthier, fiddler and composer Otis Tomas. Cook (Night in the Kitchen Collection), 1996; pg. 17. Cranford (Jerry Holland’s), 1995; No. 99, pg. 29. Fiddlesticks cass., Jerry Holland - “A Session with Jerry Holland” (1990).

X:1

T: Emily's Reel

M: 2/2

L: 1/8

R: Reel

C: Otis Thomas

D: "Gaelic Roots" (played by Seamus Egan)

Z:Transcribed by Rob Greenway

K: D

AF~F2 ABdf|eB~B2 GA (3Bcd|AF~F2 ABdf|efdB ABdB|!

AF~F2 ABdf|eB~B2 g2fg|gfeg fdAF|~G3F GFE2:|!

|:~f3d edgf|eB~B2 g2fg|gfeg fdfa|b2af gfeg|!

~f3d edgf|eB~B2 g2fg|gfeg fdAF|~G3F GFE2:|!

|:ad~d2 adbd|gd (3Bcd g2fg|ad~d2 adga|aggf gfeg|!

ad~d2 adbd|gd (3Bcd g2fg|gfeg fdAF|~G3F GFE2:|!

 

EMILY'S WALTZ. American, Waltz. USA, Massachusetts. D Major. Standard tuning. AABB. Composed by Susan Conger (Sunderland, Mass.), 1984, for her niece Emily. Matthiesen (Waltz Book I), 1992; pg. 20.

           

EMMAN HÄÄVALSSI (Emma’s Waltz).  Finnish, Waltz. G Major. Standard tuning. One part. From the Helsinki area of Finland. Fiddler Magazine, vol. 14, No. 4, 2007; pg. 16. Tarkkanen (Leikarit Nuottivihko I), 1985.

           

EMMA'S NO. 1. Irish, Reel. G Major. Standard tuning. AABB.

X:1

T:Emma's no 1

M:4/4

L:1/8

R:Reel

K:G

~E3F ~G3A|B2Bd e3f|gfeg fedf|edB^c dBAF|

~E3F ~G3A|B2Bd e3f|gfeg fede|fagf e4:|

geBe geBe|gece gece|afdB ABde|afdB ABde|

geBe geBe|gece gece|afdB ABde|fagf e4:||

                       

EMMA'S PRIDE. Old‑Time, Polka (?). USA, Michigan. D Major. Standard tuning. AABB. Source for notated version: named by Bob Spinner who learned it from fiddler Emma Warner. Emma came from a family of musicians who lived around the Charlevoix, East Port, and Torch Lake areas of Michigan [Johnson]. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), vol. 7, 1986‑87; pg. 4 (two versions).

 

EMMA'S WALTZ. Finnish, Waltz. A Minor. Standard tuning. AA'B. A common traditional Finnish tune. Matthiesen (Waltz Book II), 1995; pg. 17. American Cafe Orchestra - "Egyptian Dominoes."

 

EMMETT(‘S) QUADRILLE. American, Quadrille. Edison 52281 (78 RPM), 1928, John Baltzell {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888, poor, and later taught Baltzell to play the fiddle. Named by Baltzell for his mentor Emmett.

 

EMMINENCE BREAKDOWN. AKA and see “Boys of the Lake [2],” “Collin’s Reel [1],” “Corkonian Reel,” “Ike Forrester’s Reel [1],” "Merry Blacksmith," "Paddy on the Railroad," "Peeler’s Jacket [1],” “The Police Jacket,” “The Railroad [2],” “The Shepherd in/on the Gap." Old Time, Breakdown. D Major. Standard tuning. AA’BB’. The title honors Emminence, Shannon County, Missouri, birthplace of fiddler Gene Goforth (1921-2002), who popularised the melody. It was played under this title by Missouri fiddlers Gene and Cecil Goforth, “as far back as I can remember,” says John Hartford, who identifies it as a variant of the (mostly) Irish “Merry Blacksmith” family of tunes. Beisswenger & McCann remark that the ‘A’ part has similarities to Alton Jones’s “Sadie” and with an untitled reel in R.P. Christeson’s Old Time Fiddler’s Repertory, vol. 2 (1984, pg. 59), collected from African-American fiddler Bill Katon. Source for notated version: Gene Goforth [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 46. Rounder CD-0388, Gene Goforth – “Emminence Breakdown” (1997). Rounder 0442, John Hartford – “Hamilton Ironworks” (2001).

See also listing at:

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

 

EMO UNIVERSITY, THE. Irish, Reel. G Major. Standard tuning. AABB. Bill Black (1996) remarks the title refers to the national school in the town of Emo, on the main Dublin-Portlaoise road, ancestral home of Yonkers uilleann piper Jerry O’Sullivan’s grandmother (who used to call it “the University”). Black (Music’s the Very Best Thing), 1996; No. 130, pg. 67.

X:1

T: Emo University

C: J. O'Sullivan

Q: 350

R: reel

M: 4/4

L: 1/8

K: G

d | Bdgd egdB | cAFA G3 A | BGdG eGdG | EAAG A3 d |

(3Bcd gd egdB | cAFA G3 A | BGAG EGDG | DEGA BG G :|

d | gd d2 a3 f | gedc BG G2 | ceae c3 b | ab (3gfe d2 de |

gd d2 a3 f | gedc BG G2 | ceae cbag | fgaf g3 :|

 

EMON ACNUCK. AKA and see “Bryan O’Lynn.” Irish, Jig. A Minor. Standard tuning. AABB. The title is a corruption of the Gaelic “Eamonn a’ Chnoic” (Ned of the Hill). Not the same as Roche’s song air “Eamonn a’ Chnoic.” Cole (1000 Fiddle Tunes), 1940; pg. 57. Ryan’s Mammoth Collection, 1883; pg. 86.

X:1

T:Emon Acnuck

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Amin

B | cAd cAG | EGE GAB | cAd cAG | EAA (A2.B) | cAd cAG | EGE GAB |

cAd cAG | EAA A2 :: (e/^f/) | gag ged | cAA cde | eaa age | (ed)d d2 (e/^f/) |

gag ged | cAA cde | fed cAG | EAA A2 :|

 

EMON DODWELL. AKA and see "Edward Dodwell."


 

EMPEROR OF THE MOON, THE.  English, Country Dance Tune (cut time). G Minor. Standard tuning. AABB. The melody was first published by John Playford in his English Dancing Master, 8th edition (1690). The title is from the play Emperor of the Moon by Aphra Behn, one of the first English playwrights, produced in London in 1690. Barlow (The Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 308, pg. 75. 

X:1

T:Emperor of the Moon, The

M:C|

L:1/8

S:Playford – English Dancing Master, 8th edition (1690)

Z:AK/Fiddler’s Companion

K:Bb

G2d2G2d2|G2d2B2 AB|G2g2G2g2|g2g2f2 =ef|B2f2B2f2|

B2g2 A2 (GF)|G2 AB c2 BA|A4 G4::G2g2G2g2|G2g2G2g2|

B2b2B2b2|B2b2B2b2|d2f2d2f2|d2f2d2 cB|c2 cd d2g2|^f4 g4:|

 

EMPIRE BUILDER, THE.  American, Breakdown. A Major. Standard tuning. AA’BB’. Composed by Vermont fiddler Pete Sutherland. Sutherland (Bareface), 1984; pg. 26. Sugar Hill Records SH/PS 1134, Metamora – “Great Road” (1987).

 

EMPIRE HORNPIPE.  English(?), Hornpipe. A Major. Standard tuning. AABB. Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 2.

X:1

T:Empire Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Thomas Craig – Empire Collection of Hornpipes (c. 1890’s)

Z:AK/Fiddler’s Companion

K:A

E | A/G/A/B/ A/B/c/A/ | B/A/B/c/ d/e/f/g/ | a/g/a/f/ e/c/A/c/ | B/c/B/A/ A/G/F/E/ |

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

e/f/e/d/ c/e/a/e/ | f/e/f/d/ c/e/a/e/ | f/g/a/f/ e/c/A/c/ | B/c/B/A/ A/G/F/E/ |

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

 

EMPRESS. American, Clog. D Minor ('A' part) & D Major ('B' part). Standard tuning. AABB. Al Smitley suggests the tune may possibly have been named for the clipper ship Empress, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews. However, it may just as likely have been named for a saloon. Cole (1000 Fiddle Tunes), 1940; pg. 118. Ryan’s Mammoth Collection, 1883; pg. 155. White’s Unique Collection, 1896; No. 152, pg. 28.

X:1

T:Empress Clog

M:C|              

L:1/8

R:Clog

S:White’s Unique Collection (1896), No. 152

Z:AK/Fiddler’s Companion

K:Dmin

A2 | (d>.e)(d>.^c) (d>.A)(F>.D) | (^C>.E)(G>._B) A>^ce>g | _b>ab>g e>^cA>G |

F>GE>F D2A2 | d>ed>^c d>AF>D | ^C>EG>_B A>^ce>g | _b>ab>g e>^cA>c | d2f2d2 :|

K:D Major

d2 | (d>.b)(b>.b) (b>.a)(a>.c) | d>d’d’>d’ e’>d’a>f  | g>be>g c>eA>c |

f>ad>f A>dF>A | d>bb>b b>aa>c | d>d’d’>d’ e’>d’a>f | g>be>g c>eA>c | d2f2d2 :|

 

EMPTY BOTTLE STOMP. Cajun, Stomp. USA, Louisiana. A Mixolydian. Standard tuning. AABB. Greenblatt (The Cajun Fiddle Tune Book), 1985; pg. 30.

 

EMPTY POCKETS. American, March (2/4 time). A Dorian. Standard tuning. AABB. Sweet (Fifer’s Delight), 1964/1981; pg. 66.

 

EMPTY PURSE, THE.  Scottish, Slow Air (6/8 time). B Minor. Standard tuning. AABBCC. A note in the Gow’s 2nd Collection (1788) says that its provenance is “Irish.” Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 22 (3rd ed.).

X:1

T:Empty Purse, The

M:6/8

L:1/8

N:”Slow”

B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 22  (orig. 1788)

Z:AK/Fiddler’s Companion

K:Bmin

g|f3 {e/f/}{c}.d.B.B|.f.B.B {c}dBB|FBB “tr”B2A|FBB “tr”B2g|”tr”f3 {e/f/}{c}dBB|

fBB {c}dBB|AFA A>Bc|d<AA A2::B/c/|d3 c3{(B/c/)}|dBB fBB|FBB “tr”B2A|

FBB B2c|d3 “tr”c3 {(B/c/)}|dBB fBB|AFA ABc|d<AA A2::f|”tr”b3 “tr”a3|

~g>fe fdB|FBB “tr”B2A|FBB “tr”B2 g/a/|bgb af|geg “tr”f>ef|d<AA “tr”A2B|dAA A2:|

 

EMSLIE'S FIDDLE. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by J. Scott Skinner (1848-1927). Skinner (The Scottish Violinist), pg. 4.

X:1

T:Emslie’s Fiddle

M:C

L:1/8

R:Strathspey

C:J. Scott Skinner

Z:AK/Fiddler’s Companion

K:A

G | {G}[A2A2] E>C A>>C E>>C | {C}[D2D2]  B>A G<B E<e |

{G}[A2A2] E>C .A,/.B,/.C/.D/ E>C | [D>>D]F B,>>G {G}[A2A2] z :|

|| g | {g}a2 e>d c/d/e/f/ {g}a2 | {^a}b2 f>e d/e/f/^a/ b>g |

{g}a2 e>d c/d/.e/.g/ {g}a>c | d>>f B>>g {g}(a2 a) g |

{g}a2 e>d c/d/e/f/ {g}a2 | {^a}b2 f>e d/e/.f/^.a/ b>g |

.a/.g/.f/.a/ .g/.f/.e/.g/ .f/.e/.d/.f/ .e/.d/.c/.e/ | d/c/d/e/ f/g/a/e/ c<A [EA] ||

 

EMYVALE, THE. AKA and see "The Repeal of the Union [1]." Irish, Reel. Ireland; Donegal, Monaghan. A version of "The Repeal of the Union." Green Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990. From the playing of Peter McKenna from near Emyvale, County Monaghan).

 

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