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] |
DE
BEATHA AD' SHLAINTE, UI SHUILLEABHAIN MHOIR. AKA and see "Painneach
na nUbh."
DE BHARR AN CNOCH (Over the Hill). AKA - “De Bharr na gCnoc.” Irish, Slow Air
(3/4 time). D Major. Standard tuning. AB. Ó Canainn (Traditional Slow Airs of
DE BHARR NA gCNOC IS
IN IMIGÉIN. AKA and see “Over the Hills and Far Away
[4].”
DE DELAI LOU RIBOTEL. French, Valse (3/4 time). C Major. Standard tuning. AABB. Stevens (
DE GHRÁ NA
SEAN-MHEASÚLACHTA. AKA and see "For the Sake of Old Decency."
DE GOLYER. American, Hornpipe. B Flat Major. Standard tuning. AABB. The melody is
attributed to “Garfield” in Ryan’s
Mammoth Collection (1883), apparently a joke as the De Golyer
paving-contract scandal was one of two involving President James Garfield
(1831-1881). At the time
X:1
T:De Golyer
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:B_
F | B/A/B/c/ B/c/d/e/ | f/=e/f/g/
f/d/c/B/ | f/=e/f/g/ f/d/c/B/ | A/f/c/A/ F(G/A/) | B/A/B/c/ B/c/d/e/ |
f/=e/f/g/ f/f/g/a/ | b/a/g/f/
=e/f/g/a/ | fff :: c/B/ | A/f/c/f/ A/f/c/f/ | B/f/d/f/ B/f/d/f/ | g/a/b/a/
g/f/e/d/ |
c/B/A/G/ F/G/A/F/ | B/c/d/B/
G/A/=B/G/ | c/d/e/c/ A/B/c/A/ | B/b/a/g/ f/e/d/c/ | dBB :|
DE MARTELLY. American, Contra Dance Tune (6/8 time). G Major. Standard. AABB. A
modern composition by caller Dudley Laufman (Canterbury, New Hampshire), in
honor of the de Martellys, a family who lived and worked in a converted barn in
Nelson, New Hampshire, the site of many dances. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and
Down the Hall), 1973; pg. 31.
DČ NI MI GUN LČINE
GHLAN (What will I do
without a clean shirt?). Scottish, Air (6/8 time). D
Mixolydian. Standard. AABB. Martin (Traditional
Scottish Fiddling), 2002; pg. 24.
DEACON JONES. Old‑Time. County 410,
"The
DEACON OF THE WEAVERS. Scottish. Glen (1891) finds the earliest printing of this tune in Robert Bremner's 1768 2nd collection
(pg. 104).
DEAD MARCH. Composed by Kentucky bluegrass mandolinist Bill Monroe. Bee Balm 302, “The Corndrinkers.”
DEAD MARCH IN SAUL, THE. English, March. Saul was composed by George Frideric Handel in 1738-39. This has
become one of the most famous of funeral airs, used on may occasions in the 18th
and 19th centuries. It was, for example, played during the progress
of the hero Lord Horatio Nelson’s casket from
***
Early in the morning the Gloucester’s boats, manned and
armed with
a guard of marine drums and fifes, went up to Kingston, returning
in a procession towing the launch with the captain and nine pirates,
the drums and fifes giving out the ‘Dead march in Saul’ ‘Adeste
Fideles,’ etc. The following
morning the other ten were also exe-
cuted—a fearful sight. No men could go to their death with less
apparent concern. Before the
captain first went up the ladder he
called upon his men to remember they were before foreigners and
to die like Spaniards. [Michael
Pawson & David Buisseret,
***
X:1
T:Dead
March in Saul, The
M:C
L:1/8
N:”Adagio”
K:C
E2E2E2zE|ED/E/ FE D2 z2|F2 FG/A/ F2
zA|GF E(3D/E/F/ E2z2|
G2G2G3 G/A/|_BBBA G2 zG|GF zE ED
zG|GF/E/ FE D4:|
|:G2A2B2 zc|BA/G/ A^F GD G2|(G4 G2) (A2|A)G/F/ E>D D2 z2|
e2 e>f/g/4 e2 ze|dcfe d2 z2|g2
c’2g2 zg|.f.e.d>c. c2 z2||
DEAD NIGGER, THE. See "The Dead Slave."
DEAD SLAVE, THE. AKA‑ "The Dead N….r." AKA and see “Fiddler’s Hoedown.” Old‑Time,
Breakdown. USA, Missouri (an "old Boone County tune"‑Christeson).
D Major. Standard or ADae. AABB (Christeson): AABBCC' (Phillips). Howard
Marshall informs that this tune was popularized by "The Fiddlin’
Sheriff," George Morris, of Columbia in the 30s, 40s, and early 50s. “The title of the tune is said by many,
including the late Taylor McBaine, to commemorate a public lynching of a black
man in Columbia, sometime in the late 1920s. The victim of the lynching was
accused of raping the young daughter of a professor at the University of
Missouri and was awaiting trial. The
site of the rape was a wooden bridge (now gone) over the old KATY railroad
tracks on the west side of campus; when the mob took the fellow from the Boone
County jail up town, they brought him to the spot and hung him from the bridge
over the KATY tracks. The girl's father
pleaded with the mob, but to no avail.
The story was covered in local papers.
I think "Dead Slave" was Bob Christeson's "AKA" for
the actual title…” Missouri fiddlers also call the tune “Fiddler’s Hoedown.”
Source for notated version: John Hartford [Phillips]. Phillips (Traditional American Fiddle Tunes, vol.
1), 1994; pg. 67. R.P. Christeson (Old
Time Fiddlers Repertory, vol. 2), 1984; pg. 64.
DEADLY WARS, THE. English, March. C Major. Standard. AA'BB'.
Carlin (Master Collection), 1984; pg.
32, No. 36.
DEAF OLD MAN, THE. AKA and see "An Seanduine Spad-Chluasach."
DEAF WOMAN'S COURTSHIP. AKA and see "Ducks on
the Millpond."
DEAL CONFOUND YE
MOLDRATT (!?!). Northumbrian. One of the
"missing tunes" of William Vickers' 1770 Northumbrian dance tune
manuscript.
DEAL STICK THE
MINISTER [1].
Scottish, Dance Tune (3/4 time). A Minor. Standard. AB. Printed in Henry
Playford's 1700 collection of Scottish dance tunes. "(It) is still as well‑known
as it was in 1683 when a Stirling man was 'tried for reviling a parson,' in
causing the piper play ‘The Deil Stick the Minister’. Sundry pipers were there
present as witnesses, to declare it was the name of ane spring'"
(Alburger, 1983). Alburger (Scottish
Fiddlers and Their Music), 1983; Ex. 7, pg. 25.
DEAL STICK THE
MINISTER [2].
See "De'il Stick the Minister."
DEALADOIR, AN (The Wheelwright). AKA and see "The Wheelwright."
DEAN BRIG/BRIDGE O' EDINBURGH, THE. AKA and see "Miss Gray of Carse/Corse."
Scottish, Air or Slow Strathspey. E Flat Major. Standard. One part (Bain): AB
(Hunter, Skinner). The Dean Bridge is a sandstone structure to the northwest of
central Edinburgh some 447 feet in length, spanning a deep valley over the
Water of Leith. It was opened in 1831 after being designed and built by Thomas
Telford. The new bridge opened access to the north of the city, during the
development of the New Town.
***
The Dean Brig of Edinburgh
***
The composition credited to Airchie,
or Archibald, Allan (1794‑1831) of Forfar (who was thought to have been a
fiddler in Nathaniel
Gow's band for a time, and who, according to Alexander Lowson, played
"neat and powerful especially in the Strathspeys"), though Alburger
(1983), seemingly alone, believes he is unlikely to have written it‑‑"Compilers
at least from the time of Skinner (including Emmerson, 1971) have written that
Allan originally published this as 'Miss Gray of Carse;' however, the tunes
have nothing in common." Skinner (1904), Hunter (1988) and Hardie (1992)
all agree that the tune was originally "Miss Gray of Carse," and say
Peter Milne took it up, made it a specialty and played it into popularity under
the present title. Honeyman (1898)
falsely identifies another source for the melody: "This lovely melody is
given in some collections as a composition of Peter Milne's,
but that is a mistake. It was written by the Rev. Mr. Tough, but improved by Milne,
who raised the first half of the second part an octave higher, though by doing
so it is make to challenge comparison with the second part of 'Lady Mary
Ramsay,' which Mr. Tough seems to have wished to avoid. It must be played with
long sweeping bows, and makes a capital solo, followed with 'Bank's Hornpipe,'
and finishing with the 'Trumpet Hornpipe.'" The first ascription to the
Rev. Tough of Kinnoul as composer of the tune was in Davie's Caledonian Repository, where it appeared
first under the "Dean Brig" title. J. Scott Skinner’s (1904) note
reads:
***
The original title of this tune was ‘Miss Gray of Carse.’ The Rev. Mr.
Tough, Kinnoul, got
hold of a copy and gave it to Davie of Aberdeen, who published it in his
Caledonian
Repository
as Mr. Tough’s under the new name of “Dean Bridge.” The tune was ably revised by Peter
Milne, and C. Middleton, Keith, in his book made the mistake of
assigning it to him.
Ultimately both the minister’s name and Peter’s were withdrawn, and the
tune was credited
to its rightful author, Archie Allan of Forfar, who was one of the very
best players and
composers of his day.
***
Bain (50 Fiddle Solos), 1989; pg. 18. Hardie (Caledonian Companion), 1992; pg. 67 (with variations by J.F.
Dickie). Honeyman (Strathspey, Reel and
Hornpipe Tutor), 1898; pg. 35. Hunter (Fiddle
Music of Scotland), 1988; No. 181. Skinner (The Scottish Violinist), pg. 40. Skinner (Harp and Claymore Collection), 1904; pg. 20.
|
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Dean Bridge of Edinburgh, The
M:C
L:1/8
S:Honeyman – Strathspey, Reel and Hornpipe Tutor
(1898)
Z:AK/Fiddler’s Companion
R:Slow Strathspey
K:E_
E/F/G/A/|B>c B<e B<G
G>=F|E>FG>F E<B, B,2|C>EB,>E A,>E G,2|
C>F F>_E D/E/F/D/
B>G|B>c B<e B<G G>=F|E>FG>F E<B, B2|
C>AB,>G A,>F
G,>c|B>cB>D (E2 E)||f|g>e e>g f<d d>f|e<c c>^a
b<B B>_d|
c<A A>c B<G GB|c<F
F>_E D/E/F/D/ B,>F|G<E E>G F<D D>F|
E<C C>=A _B<B,
B,>E|C>AB,>G A,>F G,>c|B>cB>D (E2 E)||
DEAN BRIG REEL, THE. Scottish, Reel. E Flat Major. Standard. AB.
Composed by Peter
Milne (1824-1908), originally appearing in his Selection of Strathspeys, Reels (1870). Milne was known as the
'Tarland Minstrel', and was so enamoured of his craft that he once said,
"I was that fond o' my fiddle, I could sit inside it and look oot."
Hardie (Caledonian Companion), 1986;
pg. 44.
DEAN MARCAIGEACT MILE. AKA and see "Ride a Mile."
DEAN MASSEY. Irish, Air or Planxty. Composed by blind Irish harper Turlough
O'Carolan (1670-1738) in 1720 on the occasion of his visit to Charles and Grace
Massey (nee Miss Grace Dillon) at Doonass, County Clare. Charles Massey was the
Dean of Limerick. The only portrait of O'Carolan was drawn at this time by a
dutch artist who was in the neighborhood.
DEANFAD MA TIG LIOM. AKA and see "I Will If I Can
[1]."
DEANFAID PORT EILE. AKA and see "Another Jig
Will Do."
DEAN’S FAVORITE. Old-Time, Breakdown. USA, Virginia. C Major.
Standard. AB. The title comes from Alan Jabbour, named for the son of Glen Lyn,
Virginia, fiddler Henry Reed. Dean is the brother of James Reed, Jabbour’s
friend and accompanist, and, since he frequently requests the tune and it has
no title, Jabbour christened it in his honor. Source for notated version: Alan
Jabbour, from Henry Reed [Silberberg]. Silberberg (Tunes I Learned at
Tractor Tavern), 2002; pg. 34.
DEAR AILEEN I’M GOING
TO LEAVE YOU. Irish, Air (3/4 time). Ireland,
County Cork. F Minor. Standard tuning. One part.
Identified by the collector as a Cork tune. Source for notated version:
collected in the mid-19th century by George Petrie from P. MacDowell
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 300, pg. 75.
DEAR ALICE. AKA and see "Chere Alice."
DEAR BASSETTE. AKA and see "Chere
Bassette."
DEAR BLACK COW [1] (Druimin Dubh). AKA and see "The
Black Cow." Irish, Air (3/4 time). G Dorian. Standard
tuning. AAB. The words lament the loss of a cow, comparing it to the
celebrated mythological Irish cow which could never be fully milked. In
Bunting's 1840 collection he gives a few verses of a political song in which
"the black cow" serves as a "very whimsical metaphor, the cause
of the exiled monarch." Other writers, notably George Petrie, Patrick
Walsh, Margaret Hannegan, Seamus Clandillon and Redfern Mason, believe
"Drimin/Druimin Dubh" (or "Dhriman Dhoun Deelish"
"Drimin donn Dilis" etc.) also note the title's symbolizm with
Ireland. Cazden (et al, 1982) finds that, "with sufficiently imaginative
adjustment," the melody resembles the "Drimindown" tune family,
which includes O'Neill's "The Sorrowful Maiden" and Cazden's own
Catskill Mountain (New York) collected ballad "The Maid on the
Shore." Source for notated version:
noted by the Irish collector Edward Bunting from the playing of harper Arthur
O'Neill, 1800. O'Sullivan/Bunting, 1983; No. 42, pgs. 63-64.
DEAR BLACK COW [2] (An Druim-Fionn Dub Dileas). AKA and see "Colly, My Cow," "The Peasant's
Grief." Irish, "Very Slow" Air (3/8 time). E Minor. Standard tuning. One part. A variation of version #1.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 130, pg. 23.
X:1
T:Dear Black Cow [2]
M:3/8
L:1/8
R:Air
N:”Very slow”
S:O’Neill – Music of Ireland (1903), No. 130
Z:AK/Fiddler’s Companion
K:E Minor
(E/>F/) | (G2F) | E/>E/^D
(E/>F/) | (G2F) | Ez (D/>E/) | (F2E) | (D/>B,/A,/>B,/D/>E/) |
(F2E) |
Dz(E/>F/) | (G2F) | E/>E/^D
(E/>F/) | (G2A) | G/>F/ F2 | (E/F/G/A/B/>d/) | ee (3c/B/A/ | (G2F) |
E2 ||
DEAR BLACK WHITE-BACKED
COW, THE (Druimin Dubh
Dilis). Irish,
Air (3/4 time). G Dorian. Standard tuning. AAB.
"...From Mr. James Blair, Armagh. Forde gives this in connexion with
Bunting's Druimin dubh, and with several other settings of it taken from
different individuals. But this version of Mr. Blair is so different from all
that it may be said to be a distinct air" (Joyce). Cazden (et al, 1982)
also concludes that this melody is unrelated to other "Druimin Dubh
Dilis" or "Drimindown" tunes. O’Neill (1922) says: “In
former times it was much more common to find a white stripe along the spine of
brown or black cows, and this coloration was called "Druim-fionn", or
white-black, which became "Drimmin" or "Drimen". Thus we
have "Drimmin-fionn-dubh" or White-back black cow, etc. In poetical
literature those titles are allegorical. "Drimmin Dhu" was a
political password among the Irish Jacobites, and all "Drimmin" songs
breathe a spirit of fealty to the Jacobite cause.” Joyce (Old
Irish Folk Music and Song), 1909; No. 445, pg. 250.
DEAR CATHOLIC BROTHER. Irish, Air. In
DEAR COLLIN. English, Jig (12/8 time). England, North‑West. A Minor. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 99.
DEAR DARK ROSE, THE. AKA and see "Roisin Dubh."
DEAR DARLING. AKA and see "Chere Cherie."
DEAR DOCTOR. AKA and see "Doctor, Doctor."
DEAR EVERYTHING. AKA and see "Chere
Tout-Toute."
DEAR FOSTER BROTHER
AVOID THE TOWER.
See “A cho-dhalta mo ruin! Seachainn an dun!”
DEAR IRISH BOY [1], THE. Irish, Air (3/4 time). A Aeolian. Standard tuning. AB. Roche
Collection, 1982; vol. 1, pg. 25, No. 49
DEAR IRISH BOY [2], THE (An Buacaill Dileas Ua Eirinn). AKA and see "Dear Irish Maid," "The Wild Irish Boy [1]." Irish,
Slow Air (3/4 time). E Aeolian (O'Neill, Roche): D Minor (Joyce). Standard tuning. AB. "This was universally known, sung,
and played in my early days (c. 1845). The words smack of the classical
schoolmaster, and there are a few strained expressions. Nevertheless, taken as
a whole it is very pleasing: and its under‑current of tenderness more
than compensates for the spice of pedantry. The pathetic beauty of the air
renders praise from me unnecessary. I give it here just as I learned it. My
versions of air and words differ from those already published. There is another
song to this air, 'O, Weary's on Money, and Weary's on Wealth,' which will be
found in the collections of Duffy, Williams, Lover, Barry, and others"
(Joyce). John Moulden finds the first publication of the song to be in the Dublin Monthly Magazine of March, 1842,
as gives two sets of words (calling the ‘My Connor’ set the older). The
magazine records that the air was contributed by a Mr James Barton and was
believed to be the composition of his brother, John Barton, who had other
compositions to his credit. The lyrics below are found in H. Halliday
Sparling's Irish Minstrelsy (1887).
***
My Connor, his cheeks are as ruddy as morning,
The brightest of pearls do but mimic his teeth,
While nature with ringlets his mild brows adorning,
His hair Cupid’s bow-strings, and roses his breath.
Smiling, beguiling, cheering, endearing,
Together how oft o’er the mountains we strayed,
By each other delighted and fondly united,
I have listened all day to my dear Irish Boy.
***
No roebuck more swift could fly over the mountain,
No veteran bolder meet danger or scars;
He’s sightly, he’s sprightly, he’s clear as the fountain,
His eyes twinkle love - oh! He’s gone to the wars.
Smiling, beguiling, etc.
***
The soft tuneful lark, his notes changed to mourning,
The dark screaming owl impedes my night’s sleep,
While lonely I walk in the shade of the evening,
Till my Connor’s return I will ne’er cease to weep.
Smiling, beguiling, etc.
***
The war being over, and he not returned,
I fear that some dark, envious plot has been laid,
Or that some cruel goddess has him captivated,
And left here to mourn his dear Irish maid.
Smiling, beguiling, etc.
***
In the recent past it was a favorite
slow air of pipers, with versions renditions on record by Willie Clancy, Tommy Reck,
Leo Rowsome and Felix Doran. James Kelly (1996) remarks that
the air was a favourite of
***
Source for notated version: Chicago Police
Sergeant James O’Neill, a fiddler originally from County Down and Francis
O’Neill’s collaborator [O’Neill]. Joyce (Old
Irish Folk Music and Songs), 1909; No. 398, pg. 207. O'Neill (1915 ed.),
1987; No. 68, pg. 42 (appears as "The Wild Irish Boy"). O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 73, pg. 13. Roche
Collection, 1982; vol. 1, pg. 25, No. 50. Capelhouse
Records, James Kelly – “Traditional Irish Music” (1996). Claddagh CC11, Leo
Rowsome – “The Drones and Chanters, vol. 1.” Ossian OSS 53, Fintan Vallely –
“Totally Traditional Tin Whistles.” Danny O’Donnell – “The Donegal Fiddler.”
X:1
T:Dear Irish Boy, The [2]
M:3/4
L:1/8
R:Air
N:”Slow and tenderly”
S:O’Neill – Music of Ireland (1903), No.
73
Z:AK/Fiddler’s Companion
K:D Minor
D>E | F3 F ED | A2 G3 {A/G/}E |
D2 D2 ED | D2 C2 DE | F2 E3 {F/E/}D |
E2 A2 A>G | F2D2E2 | D4 DE | F3 F
E{F/E/}D | A2 G3 {A/G/}E |
D2 D2 ED | D2 C2 DE | F3 G A/B/^c |
d4 A>G | F3 D E<A |D4 || A^c |
d2 A2 A2 | d2 A2 AG | F2 D2 E{F/E/}D
| D2 C2 AG | A2 d2 de | f2 e2 dc |
A2 d2 {f}e2 | d4 de | f2e2d2 | d2 A2
AG | F2 D2 E<D | D2 C2 DE |
F3 G A/B/^c | d4 A>G | F3 D
E<A | D4 ||
DEAR IRISH BOY [3], THE. Irish, Slow Air (4/4 time). D Minor. Standard tuning. AB. This is a duple time version of the
same tune as [2]. Source for notated version: the whistling of James Connor,
porter (Dublin, Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Irish
Music), 1914; No. 59, pg. 26.
DEAR IRISH MAID. AKA and see "Dear Irish Boy [2].”
DEAR LISA. AKA and see “Have a Drink
with/on Me.”
DEAR LITTLE ISLAND, THE (An Oileanin Dileas). AKA and see "The Tempest [1]," "Ap Shenkin,"
"Even and Odd,
Like Tom with His Hod," "Mississippi."
Irish, March (6/8 time). G Major. Standard tuning. AB.
A form of the tune best known as "The Tempest." Bayard (1981) dates
the air from at least the early 19th century. He found the tune in Parry's The Welsh Harper (vol. 1, pg. 105), with
the claim that it had been "Composed by J. Parry, 1803," who
complained that it had been pirated by other publishers in the
X:1
T:Dear Little Island, The
M:6/8
L:1/8
R:March
S:O’Neill – Music of Ireland (1903), No. 1831
Z:AK/Fiddler’s Companion
K:G
d/c/ | B2B Bgf | e2e efg | d>ed
dcB | BAA A2 d/c/ | B2B Bgf | e2 e efg |
ded cBA | AGG G2 || g/a/ | b2g a2f |
gfe dcB | cde dgB | BAA A2 g/a/ |
b2g a2f | gfe agf | bag fge | dgf
edc ||
DEAR LITTLE ONE. AKA and see "Chere Petite."
DEAR LITTLE SHAMROCK, THE (An Seamrogin Dileas). Irish, Air (3/4 time). D Major. Standard tuning. One part. Source for notated version:
Chicago Police Sergeant James O’Neill, a fiddler originally from County Down
and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 178, pg. 31.
X:1
T:Dear Little Shamrock, The
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 178
Z:AK/Fiddler’s Companion
K:D
Ad | f4 ff | f4 f2 | e2f2e2 | d4 dd
| d2f2a2 | a2g2f2 | f2 e2 z2 | z2z2 de |
f2g2f2 | f2e2d2 | e2f2e2 | d4 dB |
A2d2f2 | a2g2e2 |e2 d2 z2 | z2z2 cd |
e4 fe | e2 c2 d2 | e2c2a2 | e2 c3e |
a4 gf | e4 dc | B2e2d2 | c2 A2 Ad | f3f f2 |
f2 d2 (A/B/c/d/e/f/) | g3g g2 | g2
e2 A2 | d4 ef | g3a b2 | a2 g2 f2 | e2 d2 ||
DEAR MEAL (IS CHEAP
AGAIN), THE. AKA and see "Lucy Campbell [2]," "Cairngorum," "Leap Year [2]."
DEAR MOM. AKA and see "Chčre Mam'."
DEAR MOTHER HE IS GOING, AND I KNOW NOT HOW TO BID HIM
STAY.
Irish, Air (3/4 time). E Flat Major. Standard. One part. Stanford/Petrie (Complete Collection), 1905; Nos. 759
& 760, pg. 190.
X:1
T:Dear mother he is going, and I
know not how to bid him stay [1]
M:3/4
L:1/8
N:”Andante”
R:Air
S:Stanford/Petrie (1905), No. 759
Z:AK/Fiddler’s Companion
K:E_
(B/A/) GE | F_d B/A/F/E/ FE/F/ | EE
E (g/f/) e(B/A/) | (B>c) d(e/f/) g(f/e/) |
ee e2 (E/F/G/A/) | (B>c) de/f/
g(f/e/) | d>e d/B/A GE | F_d B/A/F/E/ FE/F/ | EE E :|
X:2
T:Dear mother he is going, and I know
not how to bid him stay [2]
M:3/4
N:”Andante”
R:Air
L:1/8
S:Stanford/Petrie (1905), No. 760
Z:AK/Fiddler’s Companion
K:E_
B/A/ GE | F_d (B/4A/4F/4E/4)
(F/E/4)F/4 .E.E | E3 g/f/ eB/=A/ |
(B>c d/)e/4f/4 g/f/4g/4 ee | e3
(E/F/) GA | B>c d/e/4f/4 gf/4e/4 _d>e |
{_d}B3 AGE | F_d (B/4A/4F/4G/4)
(F/E/4)F/4 .E.E | E3 E/F/ GA |
B>c d/e/4f/4 g/f/4e/4 d>e |
{_d}B3 AGE | F_d B/4A/4F/4E/4 F/E/4F/4 | EE E :|
DEAR OH MOTHER MY TOES
ARE SORE. See "O Dear Mother My Toes Are Sore."
DEAR OLD DAD. AKA and see "Old Fashioned Girl."
DEAR OONA [1]. AKA and see "Winnie Dear [2]."
DEAR OONA [2]. AKA and see "Dear Winnie."
DEAR PAPA AND DEAR
MAMA. English, Country Dance Tune (3/4
time). G Minor. Standard tuning. AABC. Barnes (English Country Dance Tunes), 1986.
DEAR ROSE. Irish, Air (4/4 time). E Flat Major. Standard tuning.
One part. Stanford/Petrie (Complete
Collection), 1905; No. 518, pg. 131.
X:1
T:Dear Rose
M:C
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 518
Z:AK/Fiddler’s Companion
K:E_
BA | G2 EG B2 cd | e2 f>d e3B |
e>g fe c2 de | fd BB B2 ed | cB cd e2 fg |
Bc BA G2 B/G/A/F/ | EG Bc/d/ e2 cA |
B>G EE E2 ||
DEAR SANDY. AKA and see “My Nanna’s Awa.”
English, Waltz. G Major. Standard tuning. One part.
The tune is contained in the 19th century Joseph Kershaw Manuscript.
Kershaw was a fiddle player who lived in the remote area of Slackcote,
Saddleworth, North West England, who compiled his manuscript from 1820 onwards,
according to Jamie Knowles. The Joseph Kershaw Manuscript, 1993; No. 56.
DEAR TOBACCO. English, Reel. England, Northumberland.