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] |
DIAMOND [1]. AKA and see “Dooley’s Fancy.” American, Reel. A Major. Standard tuning. AB.
Although any connection with the tune is unknown, there were two dancers in the
mid-1800’s who went by the name Diamond. John Diamond was a young dancer who
paired with banjo player (and also a dancer) Billy Whitlock (one of the
original Virginia Minstrels). Whitlock later paired for a time with a young man
named Frank Lynch, who also called himself Diamond, and frequently appeared in
X:1
T:Diamond [1]
M:2/4
L:1/8
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A Major
e | c/A/E/A/ c/e/a/e/ | d/c/B/A/
G/A/B/d/ | c/A/c/e/ a/g/a/f/ | e/a/g/b/ a/f/e/d/ |
c/A/E/A/ c/e/a/e/ | d/c/B/A/
G/A/B/d/ | c/A/c/e/ aa/f/ | e/d/c/B/ A || (f/g/) |
ag/f/ f/e/e/c/ | d/c/B/A/ G/A/f/g/ | ag/f/ f/e/e/c/ | f/A/g/A/ a/e/f/g/ | a/g/a/g/ f/e/d/c/ |
d/c/B/A/ G/A/B/d/ | (3c/B/A/.e/.A/
f/A/g/A/ | (a/f/)e/d/ c/e/a/e/ ||
DIAMOND [2]. AKA and see “Bobby Casey’s
Jig [2],” “Hag’s Purse,” “Little Black Pig,” “Roscommon Jig.” American, Jig. D Mixolydian. Standard. AABB. Bayard says this tune is of the
"Oro,
Welcome Home" family: see note for "Bonaparte Crossing the Alps."
It is probably Irish in origin, and in fact,
|
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index |
X:1
T:Diamond [2]
M:6/8
L:1/8
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D Mixolydian
(F/G/) | AFD DEF | A2G ABc | AGE cEE | ECD EFG | AFD DFG
|
A2G ABc |
GFE cEE | EDD D2 :: A | d2e =f2d | e2d dcA | AGE cEE |
GAG GAB | d2e =f2d | e2d dcA | GFE cEE | EDD D2 :|
DIAMOND [3], THE.
Scottish, Reel or Hornpipe. G Minor. Standard. J. Scott Skinner
(1843-1927) adapted this reel as a hornpipe, and says: “The crossbowing
is very effective in hornpipes.” AB (Surenne): AAB
(Skinner). Skinner (Harp and Claymore),
1904; pg. 135. Surenne (Dance Music of
X:1
T:Diamond, The [3]
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of
Z:AK/Fiddler’s Companion
K:G Minor
d | BGBd ecfe | dBd=e fcAF
| GBAD EGFB, | CED=F G<GGd | BGBd
ecfe |
dBd=e fcAF |
GBAD EGFB, | CED=F G<G G || a | bga^f g2 d=e | fdcB AcfA |
Bdfd cege | dg^fa g<ggd | gbad egfB | cedG
^FGAD | GBAc Bdce | dBcA G<G G ||
X:2
T:Diamond [3]
M:2/4
L:1/8
R:Hornpipe
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:G Minor
d/c/ |: B/>(G/ B/>)(d/
e/>)(c/f/>)(e/ | d/>)(c/d/>)(=e/ f/>)(c/A/>)(F/ |
G/>)(B/A/>)(D/ E/>)(G/F/>)(B,/ |
C/>)(E/D/>)(^F/ G/>)G,/
d/>c/ :| b/>g/a/>^f/ gd/>e/ |
f/>d/c/>B/ A/>c/f/>A/ | B/>d/f/>B/ c/>e/g/>e/ |
d/>(g/^f/>)(a/
g/>)(d/=e/>)(^f/ | g/>)(b/a/>)(d/ e/>)(g/f/>)(B/ |
c/>)(e/d/>)(G/ | ^F/>)(G/A/>)(D/ |
G/>)(B/A/>)(c/
B/>)(d/c/>)(e/ | d/>)(B/c/>)(A/ {^F}G) ||
DIAMOND JOE. Old‑Time, Breakdown.
***
I'm gonna buy me a sack of flour
Cook a hoecake every hour,
Diamond Joe better come get me, Diamond Joe.
***
I'm gonna buy me a piece of meat,
Cook me a slice but once a week,
Diamond Joe you better come get me, Diamond Joe.
***
I'm gonna buy me a sack of meal,
Take a hoecake to the field,
Diamond Joe come and get me, Diamond Joe.
***
I'm gonna buy me a jug of whiskey,
I'm gonna make my baby frisky,
Diamond Joe better come get me, Diamond Joe.
***
I'm gonna buy me a jug of rum,
I'm gonna give my Ida some,
Diamond Joe you better come get me, Diamond Joe.
***
Kuntz (Ragged but Right), 1987; pg. 277‑278.
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 35. County 514, The Georgia Crackers (a cover name for the Cofer Brothers)‑ "Hell
Broke Loose in
X:1
T:Diamond Joe
L:1/8
M:2/4
S:Liz Slade
B:Kuntz – Ragged but Right
N:ADAE tuning. Notated as fingered in standard position, not as sounded.
K:D
D/E/ F/F/A/A/||[G>B>](A [G>)B>)](A|[G/)B/)]B/(A A/)D/F|A>B A>(A|B/)D/F/(E/ D)(D/E/|
F)(A A/)D/F/D/|E/D/E/(E/ F/)(F/E)|D>G, A,/G,/A,/A,/|D>[DE] D2:|
|(3A/2B/2c/2|:d/)(e/d/)d/ d/(e/d/)(A/|B/)A/F A(3A/2B/2c/2|d)B/B/ de|
(e/ f) (e/ f) (3A/2B/2c/2|d/)(e/d/)d/ d/(e/d/)(A/|B/)A/F A(D|D/)E/F/F/ A/B/A/(A/|
B/)A/F
A(A | A/)(B/A/)D/ F/F/E | DD/D/ F/F/A :|
DIAMOND REEL, THE. Scottish. John Glen (1891) finds the earliest
printing of the tune in Robert MacIntosh's 1783 collection (pg. 30). See “Diamond [3]”
???
DIARMAID AN TIOMANUIDE. AKA and see "Darby the
Driver."
DIARMAID UA AEDA. AKA and see "Jerry Hayes."
DIARMUID AGUS A
CHAILIN. AKA and see "Dermot and His Lass."
DIARMUID BACACH. AKA and see "Lame Dermot."
DIBDIN’S FANCY. English, Country Dance Tune (2/4
time). D Major. Standard tuning. AABB. Versions appear
in print in several publications, including Samuel, Ann & Peter Thompson’s Twenty Four Country Dances for the Year
1791 (
X:1
T:Dibdin’s Fancy
M:2/4
L:1/8
S:John Rook music manuscripts (Warerton, 1840-41)
K:D
A|dAdA|FAAA|BGGG|f2
ec|dAdA|FAAA|BGec|d2 d:|
|:d|fefg|aeea|dfed|dcBA|BABc|dAAd|gefd|a3
A:|
DIBIR AN MIO-AD. AKA and see "Banish
Misfortune."
DICK A DOLLIS. AKA and see “Lady
Jane Stuart’s Rant,” “Stewart’s Rant,”
“Stuart’s Rant.” Scottish, Reel.
Published in Henry Playford's 1700 collection of
Scottish dance tunes.
DICK CARROL'S CLOG. American, Clog. E Flat Major. Standard. AABB. Edward Le Roy Rice, in
his book Monarchs of Minstrelsy (New York,
1911), gives this entry on Dick
Carroll:
***
R.M. CARROLL, or “Dick” as he is better known, or “Master Marks” as he
was originally
known to the profession, probably has the greatest number of years of
theatrical service of
any one in minstrelsy. Mr. Carroll is best remembered as a dancer, and
he was one of the
world’s greatest; but in his early career he was a splendid wench
performer; he was the
third one to do “Lucy Long”; a great feature of old-time minstrelsy. Mr.
Carroll’s first
public appearance was at Tinkham Hall of Grand Street, New York City; the occasion
was the benefit of an
elderly Irish lady, long since departed—this was in 1837. For many
years he danced at balls and parties. About 1845 he first appeared
professionally at the
Bowery Amphitheatre,
Theatre he blacked up for the first time with “Daddy” Rice, playing in
“Bone Squash.”
The year following he played his initial minstrel engagement with
Charley White’s Company,
also in
Serenaders in
***
February 14, 1859, he made his first appearance as a member of Morris
Bros., Pell and
Trowbridge’s Minstrels in Boston, where he became a great favourite,
remaining about
three years. In his long career Mr. Carroll played with many prominent
minstrel organiza-
tions, notably Kelly and
Leon’s; at Hooley’s, at the latter’s theatre in Brookly,
N.Y., with
little Dick, his son, he
began an engagement there
Jr., and Dick’s
brothers, Edwin and Bennie, they played for several years in the principal
variety theatres of the country. In Sept., 1878, he opened Carroll’s Comique, in
N.Y., and several weeks later, with his sons, began an engagement with
Cotton and Wagner’s
Minstrels. It may be interesting to know that Mr. Carroll and the late
J.K. (Fritz) Emmett, had
a minstrel show once;
Carroll and Emmett’s Minstrels opened at De Bar’s Opera House,
Louis
***
R.M. Carroll and John Queen (afterwards Queen and West), were the first
to do a double clog
dance, about 1862. Mr. Carroll likewise originated the famous song “Me
Father Sold Charcoal.”
His sons, Bennie and Edwin, died in
known dancing specialty
“Mortar and Bricks.” R.M. Carroll was born in
10, 1832.
***
Cole (1000 Fiddle Tunes), 1940; pg. 120. Ryan’s Mammoth Collection, 1883; pg. 159.
X:1
T:Dick Carrol’s
Clog
M:C|
L:1/8
R:Clog
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:E_
c2 | (B>.A)F>D B>AF>D |
E>FG>A B>cd>e | (=B>c)(G>A)
(=E>F)(^C>D) | =C>B,=A,>B, B3c |
B>AF>D B>AF>D
| E>FG>A B>cd>e | (B>c)(G>A)
(=E>F)(^C>D) | =C>B,=A,>B, E2 :|
|: G2 | (c>.=B)c>B
c>ed>B | c>=Bc>B c>ed>B | c>=Bc>d e>de>f | g>^fg>a
g>fe>d |
c>=Bc>B
c>ed>B | c>=Bc>B c>ed>B |
c>de>f g>fe>d |1 c>ed>=B c2 :|2 c2
z2 [_A2_B2] ||
DICK COSGROVE’S REEL. Irish, Reel. G Mixolydian. Standard tuning.
AB. Source for notated version: L. Donnelly [Mulvihill].
Mulvihill (1st
Collection), 1986; No. 157, pg. 43.
DICK DARLING. English, Jig (9/8 time). C Major. Standard tuning.
AABB. Source for notated version: the 1845-47 music manuscript collection of
Ellis Knowles, a musician from Radcliffe,
DICK GOSSIP'S REEL. AKA and see “The Castle Reel [2],”
"The First Cup.” Irish, Reel. D Major.
Standard tuning. AABB. A favorite at contra dances,
and still sometimes heard at Irish sessions. Irish fiddler Sean Maguire is said to have
played the tune at
***
As, however, I was a perfect stranger in
for every one I met appeared as shy of having
anything to say about the gaol,
as if he were himself afraid of becoming an
inmate in the horrid place. At length,
I found a person of the name of Wittick, a hair-dresser, the genuine Dickey Gossip
of the city, who was exactly what I wanted.
Having told him my name and my
business, he “let loose his tongue”, and
gave me such a history of some of the
revolting scenes that occurred within the
walls of their city bastile, as harrowed
my soul with horror.
***
Irish fiddler and folklorist Caoimhin Mac Aoidh has perhaps
some definitive information on the tunes origins. He writes that while at the
***
an
artist's hand in a very good attempt to reflect Irish illuminated
manuscripts.
The collection of tunes were sourced from a strong nest
of
fiddlers from around the end of the 1800s living in the area of Hare
Island
and thereabouts in Lough Erne, Co. Fermanagh. Ben's father,
Tommy,
was a very gifted fiddler from Fermanagh and who
eventually
lived out his adult life in
and it has remained in the Gunn family. There is
only one copy of this
manuscript
and thus is poorly known in the tradition. Breandan Breathnach
did
have some limited access to it and you can find references to it in Ceol
Rince as the "Gunn MSS".
***
The tunes in it were marvellous and are not well
known. Tommy was very
friendly with Cathal McConnell and Cathal did get tunes from it. Lady Ann
Montgomery, whose name always indicated a Scottish source, in fact, came
from this collection. If memory serves me rightly at this point, I think my
curiosity as regards Dick Gossip's source was satisfied by finding it under
that title in the Gunn or
***
In October 1983, Ben gave a lecture on the collection and its contents at
the annual fiddlers gathering in Glenties. He had the
collection with him
and there was great interest in it. He was trying very hard to have it
printed, but rightly so he was firm that the illustrated artwork would be
preserved and presented in the publication. This was putting an unduly high
price on the printing costs and it never was released.
***
The tune is not related to Kennedy’s
similarly titled reel “Dickie
Gossip or Goodman’s hornpipe of the same title. L.E. McCullough
recorded the tune on his album “Late Bloomer” (1984) with
X:1
T:Dick Gossip's
R:reel
N:Sometimes played with the parts in the opposite order
B:Whistle and Sing by Eamonn
Z:Thomas Keays
M:C|
K:D
ef|gB (3BBB gBaB|gB (3BBB gfed|(3cBA eA fAeA|(3cBA ed cdef|
gB (3BBB gBaB|gB (3BBB gfed|cdef gece|dfec d2:|
AG|F2 AF BFAF|F2 AF GFED|E2 EF GFED|EDEF GFED|
F2
AF BFAF|F2 AF GFED|A2 AB cABc|dfec d2:|
DICK McGRALE'S JIG. Old‑Time, Quadrille (6/8 time). USA. A
Major. Standard tuning. AABB. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1),
1973; pg. 118.
DICK O' THE COW. AKA and see "Derwentwater's Farewell," "Montrose Lasses," "My Dear and Only Love Take
Heed," "Jock o’ the Syde."
DICK SANDS' HORNPIPE ("Crannciuil Ristaird Sands" or "Crannciuil
Ristaird Mic Allastair"). AKA – “Dick Sand’s Clog Dance,” “Sand’s
Hornpipe.” American, Irish; Hornpipe. USA; New York, Missouri. G Major
(Allan’s/O’Neill): A Major (Cole, Howe). Standard tuning. AABB (Cole, O'Neill):
AA'BB (Phillips). American sources appear to pre-date the tunes inclusion in
O’Neill’s Music of Ireland (1903),
and it appears likely that O’Neill gleaned the tune from either Howe’s or
Ryan’s related publications. “Dick Sand’s Hornpipe” is one of the tunes listed
by Lettie Osborn (New
York Folklore Quarterly) as having been commonly played for dances in
Orange County, New York, in the 1930's. Howe notes that his source was Jimmy
Norton, the ‘Boss Jig Player’, whom Don Meade believes was a mid-19th
century stage performer and former child prodigy, who, among his many talents,
played the violin. The tune was arranged for 9 parts—violins, clarionet, coronet, bass, flute, viola, trombone, cello and
piano—in another of Howe’s publications, Howe’s
Full Quadrille Orchestra (No. 262). It is on Charlie Walden’s list of ‘100
essential Missouri fiddle tunes’. Likely original sources, again, are the Howe
and Ryan volumes.
***
Dick Sands
was a celebrated stage performer of step dancing in the United States during
the latter half of the 19th century (1860’s on), who also sang and
did ‘Irish character’ performances. A publication by J.F. Finn (New York,
1879/1880) bears his name: Dick Sands’
Irish Jig, Clog and Dance Book, being “a history of the personal,
political and professional sentiments and peregrinations of Dick Sands with
complete and practical instructions in the art of clog-dancing." Edward Le Roy Rice, in his book Monarchs of Minstrelsy (New York, 1911),
gives:
***
DICK SANDS (George R. Sands), famous for many
years as (P.T.) Barnums’s “Old Woman
in the Shoe,” was one of the world’s greatest
clog dancers. His first appearance was made at
Pierce’s Varieties in Providence, R.I., in 1857. Late that same year he joined
Bryant’s Minstrels
in New York, and in February, 1859, reappeared
there. In 1866 he was associated with Jack
Haverly in a minstrel company bearing their name. Mr. Sands played important
engagements
With the Morris Brothers, Pell and Trowbridge
Minstrels in Boston, and many other high-class
minstrel and circus companies. Dick Sands was
born at Mill Bridge, England, May 2, 1840; he
died in New York, March 28, 1900.
***
The
reference to circus promoter P.T. Barnum is interesting, although I have not
been able to find any further information regarding Sands’ employment with him.
Barnum did have fairy-tale and nursery rhyme themes in his shows, however, and
may have had skits that featured characters from them, in an effort to draw in
families with young children (and to mitigate the impression that the circus
was suspect entertainment for some classes). His circus parade featured floats
based on these themes, including a mother
goose float that perhaps Sands was associated with. 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). Sources for notated versions: Cyril Stinnett (Mo.) [Phillips]; “As
played by Jimmy Norton, the Boss Jig Player” [Howe]. Allan's Irish Fiddler, No. 104, pg. 26 (appears as “Sand’s
Hornpipe”). Cole (1000 Fiddle Tunes),
1940; pg. 100. Howe (1000 Jigs and Reels),
c. 1867; pg. 31 (appears as “Dick Sand’s Clog Dance”). O'Neill (Krassen), 1976; pg. 216. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1777, pg. 231.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 953, pg. 163. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 190. Ryan’s Mammoth Collection, 1883; pg.
135. Green Linnet GLCD 1149, Joe Derrane
with Felix Dolan – “Give Us Another” (1995).
X:1
T:Dick Sands’ Hornpipe
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 953
Z:AK/Fiddler’s Companion
K:G
(3def | ggdB
GBed | cBAG FADF | GABc dBGB | Ad^ce
d2 (3def |
ggdB GBed | cBAG FADF | GBdB ecAF | G2 GF G2 :|
|: cB |
ABAG FDEF | GABc dBGB | cBcd edcB | Ad^ce
d2 (3def |
(3gag dB (3efe cA
| (3ded Bd cAFA | GBdB ecAF | G2 GF G2 :|
DICK SLUYTER'S JIG. Old‑Time, Breakdown. USA, Missouri. G Major/Mixolydian.
Standard tuning. ABC (irregular meter). Some similarities to
"Wake Susan" and "The Mason's Apron." Source
for notated version: James Marr (elderly fiddler from Missouri, 1949) [Bayard].
Bayard (Dance to the Fiddle), 1981;
Appendix No. 13, pgs. 577‑578.
DICK SULLIVAN'S
FAVORITE (Roga
Ristard Ui Suilleabain). Irish, Double Jig. G Major. Standard tuning.
AABBCC. Source for notated version: Chicago Police Sergeant James O’Neill,
originally from County Antrim) [O’Neill]. O'Neill (Krassen),
1976; pg. 56. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1027, pg. 192. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 227, pg. 52. Cló
Iar-Chonnachta CICD 167, Peter Horan & Gerry
Harrington – “The Merry Love to Play” (2007. From O’Neill’s)
X:1
T:Dick Sullivan’s Favorite
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 227
Z:AK/Fiddler’s Companion
K:G
B/c/dc BdB|GBd
gdB|B/c/dc BdB|AFA cBA|B/c/dc BdB|GBd gdB|cac BgB|AFA cBA:|
|:dgf gdB|gag gba|gag gdB|F/G/AB cde|dgf gdB|gfe dcB|cac BgB|AFA cBA:|
|:dBG G/A/Bc|dBG gfe|dBG GBG|AFA cde|dBG GBd|gfe dcB|cac Bgb|AFA cBA:|
DICK THE WELSHMAN. Welsh, Country Dance Tune (4/4 time). A Major. Standard tuning. AB.
From Thompson's Compleat Collection of Country Dances (c. 1764).
Mellor (Welsh Dance Tunes), 1935; pg.
20.
DICKEY'S DISCOVERY. Old-Time, Breakdown. D Major. Standard tuning. AABB. Stacey Phillips
notes the title is not the original one for this old tune. Source for notated
version: Lotus Dickey (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 70.
DICKIE GOSSIP [1]. English, Reel. D Major. Standard tuning. AAB. Not related to the reel “Dick Gossip” popular in Irish sessions. However, see note for that tune for explanations regarding the title. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 33, pg. 10.
X:1
T:Dickie Gossip [1]
M:C|
L:1/8
R:Reel
K:D
A,|DFAd BAGF|d2 df eEEF|DFAd BAGF|GBAG FDD:||
A|dAde dfed|cAeA fAeA|dAdf dfed|cdef d2 dA|
dAdf dfed|cdef gfef|dBAG FAdB|AGFE D2||
DICKEY GOSSIP [2]. Irish, Hornpipe. D Major. Standard tuning.
AABB. The hornpipe appears in
Church of Ireland cleric James Goodman’s mid-19th century
manuscripts. Goodman (1828-1896) was an uilleann
piper, and an Irish speaker who collected locally in County Cork and elsewhere
in Munster. He also obtained tunes from manuscripts and published collections.
C. Maguire (The Hidden Fermanagh),
2003; pg. 84. Shields/Goodman (Tunes of
the Munster Pipers), 1998; No. 132, pg. 55.
X:1
T:Dickey Gossip [2]
M:C|
L:1/8
R:Hornpipe
S:James Goodman manuscripts (mid-19th
century)
K:D
AB/c/|d>edf
eA A2|{B/c/}d>BGB AF D2|GcAc Agfe|e>dcB A2 Bc|
dAAA eAAA|fdge
af A2|BdGc AGFE|D2 DD D2:|
|:AB/c/|dBdG
FAFD|AFDF AFBG|fded cABG|cded
cAGF|
Addd ceee|dfff
ef g2|fgaf bgec|d2 dd d2:|
DICKIE ROGERS. Canadian, Reel. Canada, Nova Scotia. B Flat Major ('A' part) & F
Major ('B' part). Standard tuning. AA'BB'. This tune is a two-part version of
"Dickie Rogers' Pedestal." Source for
notated version: Gerry Robichaud [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 70.
DICKIE ROGERS'
PEDESTAL.
American, Clog. F Major ('A' and 'B' parts) & B Flat Major ('C' and 'D'
parts). Standard tuning. AABBCCDD. The pedestal clog, a stage hornpipe or clog
danced upon a pedestal, was a fad on the variety stage in the 1870’s. See note
for “Statue Clog.” Cole (1000 Fiddle Tunes), 1940; pg. 121. Ryan’s Mammoth Collection, 1883; pg. 159.
X:1
T:Dickie Rogers’ Pedestal
M:C|
L:1/8
R:Clog
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
(a>.g) | “tr”f2 e>f c>fa>g | “tr”f2 e>f c>fa>g
| f2 A>c f>ad’>c’ | (3c’bg e2 (3bge c2 |
“tr”f2 e>f c>fa>g | “tr”f2 e>f c>fa>g
| f>ad’>c’ b>gd>e | f2a2f2 :: (b>.a) |
(3aba e>gf>d
(3d^cd | e>A^c>e (3dAf d2 | g>g^f>g e>c (3c=Bc | =B>dG>B (3cGe c2 |
(3d_ed A>b a>f=e>f | (3fad’
c’2 (3aeg f2 | (3feg f2 (3agb a2 | B>CE>G F2 :|
K:B_
|: (g>.f) | (f>.e)c>A
F>EC>A, | B,2 D>F B>d (3fga | b>ge>g
f>dB>d | e>cA>c B>df>g
|
f>ec>A F>EC>A, | B,2D>F B>d (3fga | b>ge>g f>dB>d | c>