The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

DEVALS DEAD. AKA and see "Braes of Mar [1]," "Some say the Devil's dead." English, Scottish. England, Northumberland. One of the "missing tunes" from Vickers' 1770 Northumbrian dance tune manuscript. The title comes from a ditty sung to the melody, which goes:

***

Some say the Devil's dead,

The devil's dead, the devil's dead;

Some say the Devil's dead

And buried in Killarney.

***

Kerr (Merry Melodies), vol. 1; pg. 19.

           


DEVANNEY'S GOAT (Gabhar an Dubhánaigh). AKA – “Devanny’s.” Irish, Reel. D Mixolydian. Standard. AB (Flaherty): AABB (Breathnach, Harker/Rafferty, Miller). Bronx flute player Jack Coen attributes the composition of the tune to Tommy Whelan, a flute player and composer from the Woodford, east Galway, area; a member of the old Ballinakill Ceili Band. Devaney was a neighbour of Whelan’s, indeed, the owner of a goat who was nibbling on the vegetables in Whelan’s garden when the tune came to him. Sources for notated versions: fiddler Paddy Ryan, 1970 (Co. Roscommon, Ireland & Birmingham, England) [Breathnach]; flute player Harry McGowan (b. 1937, Carrowmore, County Sligo) [Flaherty]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ II), 1976; No. 267, pg. 138. Flaherty (Trip to Sligo), 1990; pg. 157. Harker (300 Tunes from Mike Rafferty), 2005; No. 95, pg. 30. McGuire and Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 48, pg. 13 (appears as “Devanny’s”). Miller (Fiddler’s Throne), 2004; No. 145, pg. 95. BMG 09026 63377-2, Cherish the Ladies – “At Home” (1999). Claddagh CCF21, Noel Hill – “The Irish Concertina.” Gael-Linn CEF 103, Frankie Gavin – “Croch Suas E/Up and Away” (1983. 1st tune of “Eddie Moloney’s Set”). Green Linnet GLCD 1160, Patrick Street – “Cornerboys” (1996). Skip Healy – “Farewell New England Shores.”

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Alan Ng’s Irishtune.info

X:1

T:Devanny’s

M:C|

L:1/8

R:Reel

K:D

FE | DFAB AFAB | defe dBAF | DF (3FFF BFAF | E2 ED EGFE |

DF (3FFF ADFA | defe dBAf | efdB AFdB | AFEF D2 :: eg | faab afdf |

afef dB (3BBB | ABde fedf | e3f edBd | Adcd fdcd | edfd edBd |

A2 dB AFDF | AFEF D2 :|

                       

DEVANT TA PORTE (As I Passed Your Door). Cajun. From the playing of the late Cajun fiddler Louis Balfa. Green Linnet GLCD 3107, Aly Bain & Phil Cunningham – “The Pearl” (1994).

                       

DEVER THE DANCER ("Cnuic Tiobraid-Arainn" or "Ua Duibir, an Rinnceoir"). AKA and see "The Humours of Whiskey [2]," "The Peeler's/Policeman's Return," "Deel of the Dance," "The Bridge of Athlone [1]," "Dillon's Fancy [2]," "The Crossroads Frolic," "Barranna mora Chlann Donncha," "Humours of Derry," "Plearaca an Fuisce." Irish, Slip Jig (9/8 time). E Dorian ('A' part) & D Major ('B' part). Standard. AAB (O'Neill/Krassen & 1001): AABB (O'Neill/1850, Tubridy). Flute player John McKenna (1880-1947) and banjo player Michael Gaffney (d. 1972), both originally from County Leitrim, made a famous recording of the tune for Decca in 1934, in which they paired the tune with the double jig “Connie the Soldier.” McKenna and Gaffney were fast friends, remembers McKenna’s daughter Catherine, who told Harry Bradshaw and Jackie Small that she could not remember a week that Gaffney was not in her father’s house playing his banjo or rehearsing new numbers with the flutist for recordings, dances, weddings and other events they had booked. Breathnach (Folk Music and Dances of Ireland), 1971; No. 10. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 60. O'Neill (Krassen), 1976; pg. 83. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1148, pg. 216. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 431, pg. 85. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 41. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999). Decca Records (78 RPM), John McKenna & Michael Gaffney (1934). DREY 36192, Alan Stivell - "Live in Dublin." Kells Music 9507, Dervish – “At the End of the Day” (appears as part of “Packie Duignan Set”).

X:1

T:Dever the Dancer

S:78 RPM recording by flute player John McKenna

Z:Transcribed by Frank Claudy

M:9/8

L:1/8

K:D

BEE BEF G2 A|BGE BAG FED|BEE BEF G2 A|

1 dcB ABG FED:|2 dcB ABG FGA||ded cAF ~G3|

Adc def gfe|fed cAF G2 A|1 Bdc ABG FGA:|2 Bdc ABG FED||

                                   

DEVERON REEL. Scottish, Reel. D Major. Standard. AABB’. Composed by Iain MacFadyen, producer of The White Heather Club for the BBC. Martin credits the tune to Neil Grant. Martin (Ceol na Fidhle), Vol.3, 1988; pg. 37. White Heather Collection, 1961. Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979). Jimmy Shand – “Guid Luck Go Wi’ Ye” (appears in “Mrs. Cholomdeley’s Reel”). Ian Powrie Band – “On Tour – Scotland 1960.”

                                   

DEVERONSIDE. Scottish, March (2/4 time). A Mixolydian. Standard. AABBCCDD’. Composed by Pipe Major J. Robertson. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 40.

                       

DEVIL... See also "Deal...," "Deval...," "Deil..."

                                   

DEVIL AND HIS SISTER, THE. Irish, Double Jig. Ireland, County Donegal. Caoimhin Mac Aoidh  (1994) relates the story of a Donegal fiddler named Mooney who was in demand for house parties and other events in the northwestern part of the county. Mooney was an affable fellow who "while revelling in fiddle-playing was not the victim of any social excesses."  His wife, however, detested music and fiddle music in particular, as well as being a classic shrew who made Mooney's life miserable with her rants on his perceived shortcomings.  

                                   

DEVIL AMONG THE MANTUA-MAKERS. Scottish, Reel. A Major. Standard. AAB. "Named so, at the request of a Lady in (Elgin) Moray‑Shire" (Marshall). Mantuas were a woman’s loose gown, called a mantie or mantua in the 17th and 18th centuries from the French word manteau. Alternately, it referred to a mantle fashionable in the second and third decade of the 19th century, also for women, derived from the custom of wearing a “plaid."  However, since they were of open crochet or lace work, they didn't hide the face and thus were more stylish for dance assemblies.  A dictionary also equates the term ‘mantua-makers’ with dressmakers, and says a mantua is a “woman’s loose outer skirt.” Mantuas were manufactured as an Edinburgh  women’s cottage industry in small workshops or at home. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 19.

X:1

T:Deil Among the Mantua-Makers

M:4/4

L:1/8

Z:Andrew Kuntz

K:A

|: ~c3d edcd | efga fedc| ~c3d edcd | fedc c2B2 :|

|| ~E3G BGEG | ABcd ecAc | E3G BGEA | cAec c2B2

| E3G BGEG | ABcd ecAc | dfdB cecA | dBAG A2A2 ||

           


DEVIL/DIVEL/DE'IL AMONG THE TAYLORS/TAILORS [1]. AKA and see "Devil's Dream [1]" (New). Scottish, English, Irish, Canadian, Scotland, American; Reel. Canada, Prince Edward Island. England, Northumberland. A Major (most versions): D Major (Huntington). Standard. AB (Hardie, Honeyman, Hunter, Johnson, Kerr, Skinner, Surenne): ABB' (MacDonald, Emmerson): AABB (Bain, Cole, Huntington, Kennedy, Raven, Sumner): ABCB (Skye). A popular tune throughout the present and former English commonweatlh. It was performed on the concert stage as part of a set romantically entitled "Spey's Fury's" by J. Scott Skinner in 1921. “De’il Among the Tailors” is the name of a skittles game, according to Nigel Gatherer. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. David Johnson (1983), whose version is from Macgoun's Five fashionable Reels (c. 1800), states the tune was written c. 1790. The melody appears as an untitled hornpipe in the music manuscript copybook of John Burks, dated 1821. Unforunately, nothing is known of Burks, although he may have been from the north of England. Bayard collected a version resembling the "Devil's Dream" forms of the tune from a source raised on Prince Edward Island, Canada (Bayard, 1981; Appendix No. 2B, pg. 572). See also “Devil’s Dream” for another PEI collected version. In America the tune is almost invariably known by the Dream title, while in the British Isles it appears under the De'il/Devil title. Emmerson (1971) suggests the melody can be identified as belonging to a class of melodies with phrases based on a quarter note followed by two eighth notes; tunes in this class also include "Largo's Fairy Dance," "Rachel Rae," and "The Wind that Shakes the Barley."

***

Wright. c. 1840’s. The Devil comes to town, fiddle an’ a’.

***

English novelist Thomas Hardy mentions the tune in Absent Mindedness in a Parish Choir, a passage which bears repeating:

***

"...Twas a very dark afternoon, and by the end of the sermon all you

could see of the inside of the church were the pa'son's two candles

alongside of him in the pulpit, and his spaking face behind 'em. The

sermon being ended at last, the pa'son gi'ed out the Evening Hymn.

But no quire set about sounding up the tune, and the people began

to turn their heads to learn the reason why, and then Levi Limpet, a

boy who sat in the gallery, nudged Timothy and Nicholas, and said,

"Begin! Begin!" "Hey? what?" says Nicholas, starting up; and the

church being so dark and his head so muddled he thought he was at

the party they had played at all the night before, and away he went,

bow and fiddle, at "The Devil among the Tailors," the favourite jig

of the neighborhood at that time. The rest of the band, being in the

same state of mind and nothing doubting, followed their leader with

all their strength, according to custom. They poured out that there

tune till the lower bass notes of "The Devil among the Tailors" made

the cobwebs in the roof shiver like ghosts; then Nicholas, seeing

nobody moved, shouted out as he scraped (in his usual commanding

way at dances when the folks didn't know the figures), "Top couples

cross hands! And when I make the fiddle squeak at the end every man

kiss his partner under the mistletoe!"

***

"...Then the unfortunate church band came to their senses, and

remembered where they were; and 'twas a sight to see Nicholas

Puddingcome and Timothy Thomas and John Biles creep down

the gallery stairs with their fiddles under arms, and poor Dan'l

Hornhead with his serpent, and Robert Dowdle with his claionet,

all looking as little as ninepins; and out they went. The pa'son

might have forgi'ed 'em when he learned the truth o't, but the

squire would not. That very week he sent for a barrel-organ

that would play two-and-twenty new psalm-tunes, so exact

and particular that, however sinful inclined you was, you could

play nothing but psalm-tunes whatsomever. He had a really

respectable man to turn the winch, as I said, and the old players

played no more..."

***

One of the oddest appearances of the tune is on the barrel organ from the polar expedition of Admiral Parry of 1810. In place of a ship’s fiddler (common in those days), Parry introduced a mechanical barrel organ on board ship to provide entertainment and a vehicle to which the men could exercise (i.e. by dancing). “Devil Among the Tailors” was one of eight tunes on barrel no. 5. Perhaps the earliest non-mechanical sound recording is from 1906 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). Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Bain (50 Fiddle Solos), 1989; pg. 8. Carlin (English Concertina), 1977; pg. 36. Cole (1000 Fiddle Tunes), 1940; pg. 18. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 49, pg. 140. Giblin (Collection of Traditional Irish Dance Music), 1928; 50. Gow (Beauties), 1819. Hardie (Caledonian Companion), 1992; pg. 36. Honeyman (Stathspey, Reel and Hornpipe Tutor), 1898; pg. 7. Hunter (Fiddle Music of Scotland), 1988; No. 229. Huntington (William Litten's), 1977; pg. 14. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 75, pg. 225. Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No. 18, pg. 9. Kerr (Merry Melodies), vol. 1; Set 6, No. 2, pg. 6. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 4. Raven (English Country Dance Tunes), 1984; pg. 170. Ryan’s Mammoth Collection, 1883; pg. 42. Skinner (The Scottish Violinist, with variations), pg. 29. Skinner (Harp and Claymore), 1904; pgs. 108-109 (includes variation sets). Stewart-Robertson (The Athole Collection), 1884; pg. 11. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 86 (appears as “Divel Amongst the Taylors”). Surenne (Dance Music of Scotland), 1852; pg. 28. Antilles (Island) AN-7003, Kirkpatrick and Hutchings - "The Compleat Dancing Master" (1973). Beltona BL2128 (78 RPM), The Edinburgh Highland Reel and Strathspey Society (1936). Saydisc SDL 234, Parry’s Barrel Organ (vol. 11 in the Golden Age of Mechanical Music). Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979). “The Caledonian Companion” (1975). “Bob Smith’s Ideal Band, Ideal Music” (1977).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Devil Among the Tailors [1]

M:C|

L:1/8

S:White’s Unique Collection (1896), No. 75, pg. 14

Z:AK/Fiddler’s Companion

K:A

|: e | {g}a2.e.a {g}a2.e.a | {g}a2.e.a (fe).d.c| dfBf dfBf | dfBa gabg |

{g}a2.e.a {g}a2.e.a | {g}a2.e.a (fe).d.c | .f(dc)”tr”B .e(cB).”tr”A  | E2”tr”G2 [C2A2]z ||

|: e | ceAe ceAe | ceAa fedc| dfBf dfBf | dfBa gabg | ceAe ceAe | ceAa (fe)(dc) |

.f(dc)”tr”.B .e(cB)”tr”.A | E2”tr”G2 [C2A2] z ||

X:2

T:Deil Amang the Tailors, The

M:C

L:1/8

R:Reel

S:SurenneDance Music of Scotland, pg. 28  (1852)

Z:AK/Fiddler’s Companion

K:A

a2 eg a2 eg | a2 ea fedc | dfBf dfBf | dfBa gabg | a2 eg a2 eg | a2 ea fedc |

defd ecBA | E2G2A3 || e | ceAe ceAe | ceag fedc | dfBf dfBf | dfba gfed |

ceAe ceAe | ceag fedc | defd ecBA | E2G2 A3 z ||

 

DEVIL AMONG THE TAILORS [2], THE. Closely related to "Devil's Dream." Old‑Time, Breakdown. USA; Arkansas, Missouri. A Major. Standard tuning. AABB. The title appears in a list of traditional tunes played by Ozark Mountains fiddlers compiled by musicologist/folklorist Vance Randolph, published in 1954.  Source for notated version: Sam Eads (Dixon, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 2), 1984; pg. 3. Ford (Traditional Music in America), 1940; pg. 79.

           

DEVIL AMONG THE TAILORS [3], THE.  English, Jig. A Major. Standard tuning. AABABA. The melody appears under this title in Charles and Samuel Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773). It also appears in the commonplace book of John Turner (Norwich, Conn.) of 1788. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 30.

X:1

T:Devil Among the Tailors [3], The

M:6/8

L:1/8

N:May also be played an octave higher

R:Jig

S:ThompsonCompleat Collection of 200 Favourite Country Dances, vol. 3 (1773)

K:A

CB,|A,CA, CA,C|ECE AEA|FAF DFD|EAE CEC|DFD B,DB,|

CEC A,CA,|B,DB, G,B,G,|A,2A, A,::CD|EFE EFE|DED DED|CDC CDC|

B,CB, B,CD|EFE EFE|DED DED|CDC CDC|(B,3 B,2)E|A,CA, CA,C|

ECE AEA|FAF DFD|EAE CEC|DFD B,DB,|CEC A,CA,|B,DB, G,B,G,|A3 A,:|

 

DEVIL AMONG THE YEARLINGS. AKA and see "Hell Among(st) the Yearlings [1]."

 

DEVIL AND HIS SISTER, THE. Irish,  Double Jig. Ireland, County Donegal. Caoimhin Mac Aoidh  (1994) relates the story of a Donegal fiddler named Mooney who was in demand for house parties and other events in the northwestern part of the county. Mooney was an affable fellow who "while revelling in fiddle-playing was not the victim of any social excesses."  His wife, however, detested music and fiddle music in particular, as well as being a classical shrew who made Mooney's life miserable with her rants on his perceived shortcomings.  Mooney

                       

DEVIL AND THE DIRK, THE. Scottish, Reel. D Major. Standard tuning. AB (Hardie): AAB (Skinner). Composed by J. Scott Skinner and first published in his Harp and Claymore collection where it is set with numerous variations and arranged by Gavin Greig. Hardie (Caledonian Companion), 1992; pg. 110. Skinner (Harp and Claymore), 1904; pgs. 84-85. Skinner (The Scottish Violinist), pg. 3.

X:1

T:Devil and the Dirk, The

M:C|

L:1/8

R:Reel

S:Skinner – The Scottish Violinist

Z:AK/Fiddler’s Companion

K:D

{c}D | D/D/D FD AD {c}d2 | AD.F.D C(EE)F | D/D/D FD AD {c}d2 | AF .G.E F(DD) :|

|| c’ | d’ddd’ c’ccc’ | bBBb aAAa | gGGg fFFf | eBed ceac’ | d’ddd’ c’ccc’ |

bBBb aAAa | geag fae’b | (af).g.e fdd || [A,4D4] ||

                       


DEVIL ATE THE GROUNDHOG. See “Devil Eat the Groundhog.”

                       

DEVIL EAT THE GROUNDHOG. AKA - “Devil Ate the Groundhog.” Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning. AB (Silberberg, Titon): AA'B (Phillips). Source Owen Chapman, who learned the tune from his father, George “Doc” Chapman (b. circa 1850) says it was inspired by a hunter who had a lapse and left his skinned day’s hunt in the same room with his dog, according to Jeff Titon (2001). When he returned he found the dog had devoured the game, leaving the hunter to vexedly sing:

***

God almighty damned dog (x3)

The Devil’s eat the groundhog.

***

Sources for notated versions: Owen “Snake” Chapman (Whitesburg, Letcher County, Ky., 1990) [Phillips, Titon]; Scott Marckx [Silberberg]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 68. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 34. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 33, pg. 67. June Appal 0061, Owen “Snake” Chapman – “Fiddle Ditty” (1990). Rounder CD 0378, Snake Chapman – “Up in Chapman’s Hollow” (1996). Rounder 0409, Paul Smith – “Devil Eat the Groundhog.” Rounder Heritage Series 1166-11592-2, Paul Smith (et al) – “The Art of Traditional Fiddle” (2001. Learned from Snake Chapman). 5 String Productions 5SP05002, The Hoover Uprights – “Known for their Reputation” (2005).

See also listing at:

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

                       

DEVIL CAUGHT A NIGGER. 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.

                       

DEVIL CHASED ME ROUND THE STUMP. Old-Time, Breakdown. G Major. Standard tuning. AABB.

X:1

T:Devil Chased Me Round the Stump

L:1/8

M:C|

S:James Bryan

Z:AK/Fiddler’s Companion

K:G

(3GFE|D2 G2 BABG|D2 G2 B3G|D2 G2 BAGB|A2 G4 (3GFE|

D2 G2 BABG|A2 B2 e3d|e2 dA BAGB|A2 G2 G2:|

|:z(d|e2) d2 BABd|e2 f2 g3 f|e2 dA BAGB|A2 G2 G4|

e2 (3ded BABd|e2 f2 g3f|efed BAGB|A2 G4:|

 

DEVIL DOWN HILL. 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.

 

DEVIL IN A BUSH, THE.  AKA and see “Kincaldrum(‘s Reel),” “Kurcaldrum’s Reel,” “Parson in the Suds [2].” English, Reel. G Major. Standard tuning. The melody appears in the 1770-1772 music manuscripts of William Vickers, a Northumberland musician about whom little is known. The title seems to be idiosyncratic to Vickers, as the tune can be found in several Scottish collections as “Kincaldrum.” See also the related “England’s Glory.”

X:1

T:Devil in a Bush, The

M:C

L:1/8

R:Reel

S:William Vickers’ manuscripts (pg. 21), 1770-1772

Z:AK/Fiddler’s Companion

K:G

g2 dc B2 AG|FGAB cAAB|g2 dc B2 AG|FGAc BGG:|

|:E|DGBG AGBG|DGBG cAAB|cdef gdcB|cAdc BGG:|

 

DEVIL IN A CANEBREAK, THE. Old‑Time, Breakdown. C Major. Standard tuning. AABB. Ford (Traditional Music in America), 1980; pg. 124.

 

DEVIL IN DUBLIN [1], THE. Irish, Jig. D Major. Standard tuning. AA'B. One of the airs "sent to me during the last seven or eight years by Mr. Patrick O'Leary of Graignamanagh, Co. Kilkenny, a good amateur musician with a great knowledge of the popular airs of that part of Ireland. Most of these he wrote down from his own memory" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 301, pg. 141.

 

DEVIL IN DUBLIN [2], THE (An Diabal 'San Baile-Ata-Cliat). Irish, Jig or March (6/8 time). G Major. Standard tuning. AABB. A variation of version #1. Kerr (Merry Melodies), vol. 4; No. 207, pg. 23. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1827, pg. 343.

X:1

T:Devil in Dublin, The [2]

M:6/8

L:1/8

R:Jig or March

S:O’Neill – Music of Ireland (1903), No. 1827

Z:AK/Fiddler’s Companion

K:G

G2B d2B | e2c A3 | BdB GBG | FAF D3 | G2B d2B | e2c ABc |

dBG EAF | G3 G2 z || AGA FGA | BAB GAB | {d}cBc ABc |

dge d2B | cde ABc | Bcd GAB | {d}cAF DEF | G3 G2 z ||

 

DEVIL IN DUBLIN [3], THE. AKA and see “Devils in Dublin.” Irish, Reel.

 

DEVIL IN GEORGIA [1], THE. AKA and see "Temperance Reel," "Teetotaler(‘s Reel)." Old‑Time, Breakdown. USA; eastern Ky., West Virginia. Doc Robert's cover title for "Temperence Reel." Charles Wolfe believes the tune to bear some resemblance to a familiar Kentucky tune called "Stoney Point" or "Buck Creek Gals," but others dispute this saying "Devil in Georgia" is not in fact in that tune family. Cassette C-7625, Wilson Douglas - "Back Porch Symphony." County 412, "Fiddling Doc Roberts" (1983). Gennett 6942 (78 RPM), Doc Roberts.

 

DEVIL IN GEORGIA [2], THE. Old-Time. A member of the tune family which includes “Damon’s Window/Winder,” “Grand Hornpipe [1],” “Mud Fence,” “Railroad(ing) Through the Rocky Mountains,” “Ride the Goat Over the Mountains,” "Rocky Mountain Goat,” “Swiss Chalet."

 

DEVIL IN IRELAND, THE.  English, Jig. G Major. Standard tuning. AABB. Original key ‘C’ major, as “The Divel in Ireland” in Gibbons’ manuscript. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 5.

X:1

T:Divel in Ireland, The

M:6/8

L:1/8

R:Jig

S:Joshua Gibbons ms (1823-26)

Z:AK/Fiddler’s Companion

K:C

G|c2d ede|c2A A2c|B2d ded|B2G G2B|c2d ede|ceg c’bc’|