The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

_______________________________

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[COMMENT1] [COMMENT2] 

DIA - DIM

[COMMENT3] 

 

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]

 

 

[COMMENT4] 

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 New York (Hans Nathan, Dan Emmett and the Rise of Early Negro Minstrelsy, 1962, pg. 115). Cole (1000 Fiddle Tunes), 1940; pg. 18. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 32, pg. 10. Ryan’s Mammoth Collection, 1883; pg. 41.

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, New York researcher, musician and writer Don Meade believes it to be a relative of “The Frieze Breeches.” Cole (1000 Fiddle Tunes), 1940; pg. 63. Ryan’s Mammoth Collection, 1883; pg. 93.

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 Scotland), 1852; pg. 46.

X:1

T:Diamond, The [3]

M:C

L:1/8

R:Reel

S:SurenneDance Music of Scotland, pg. 46   (1852)

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:SkinnerHarp 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. USA. D Major. ADae. AB (The 'B' part was composed by New York fiddler Steve Uhrik). Source for notated version: Liz Slade (Yorktown, New York) [Kuntz].

***

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 Georgia" (orig. rec. 1927). Document Records 8021, The Cofer Brothers – “Georgia Fiddle Bands, Vol. 1” (Reissue).

X:1

T:Diamond Joe

L:1/8

M:2/4

S:Liz Slade

B:KuntzRagged 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 (London), Riley’s Flute Melodies, vol. 3 (New York, 1820-25), Carr’s Third Book of Elegant Extracts for the German Flute or Violin (Philadelphia, 1798), Wilson’s Companion to the Ball Room (London, 1816), Preston’s Complete Instructions for the Bassoon (London, c. 1790), and John Young’s Vocal and Instrumental Musical Miscellany, No. 1-8 (Philadelphia, 1793). The melody also appears in the John Rook music manuscript collection, Warerton, 1840-1841, the William Mittell ms. (Kent, 1799), and the John Fife music manuscript (Perthshire and at sea, 1780-1804) where it is given as “Dibdin’s Fansey. A Troop,” referencing its use as a martial air (a ‘troop’ was sounded to assemble the men for duty inspection, and guard mount). In America it appears in the music manuscript commonplace book of Jeremiah Brown (Seabrook, New Hampshire, 1782?). The title is a reference to English composer, actor, songwriter and dramatist Charles Dibdin (1745-1814), famous for his sea songs and one of England’s most popular period composers.

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, New York City, in a circus, and shortly after this at the Bowery

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 New York; he remained with White several seasons. In 1854 he was with Buckleys

Serenaders in New York; in 1858 with Sniffen’s Campbell’s Minstrels, likewise in the metropolis.

***

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 March 14, 1870. Subsequently with Dick,

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 Brooklyn,

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, St.
Louis
, Mo.
, June 1, 1868.

***

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 New York City, September 18, 1877, and at Denver, Colo.,

March 5, 1905, respectively. Mr. Carroll played the variety houses for several years with his well

known dancing specialty “Mortar and Bricks.” R.M. Carroll was born in New York City April

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, Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 16.

                       

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 London sessions in the 1960's. There is some confusion about which section of the tune is to be played first. The origins of the tune are obscure although the Paddy O’Brien tune collection gives that it was named for a famous highwayman. Dick Gossip was an 18th century rapparee whose ballywick was the area around South Tyrone and Fermanagh.  He was reputed to have been a dispossessed Irish landowner who sought to recoup his fortune through acts of lawlessness, only to meet the fate of most such brigands—he was apprehended and hanged. I myself have not been able to find any information about such a highwayman. It seems as likely to me that the title stems from the usage of the phrase ‘Dick Gossip’ to identify a ‘man who likes to talk (or gossip)’, in occasional use in the 19th century. Reference, for example, this passage from Henry Hunt’s Memoirs, vol. 3 (1820).

***

As, however, I was a perfect stranger in Gloucester,I made but little progress;

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 University of Cork in the 1980’s he and Belfast fiddler Ben Gunn shared some time playing a common repertory of traditional tunes. Mac Aoidh was shown by Gunn an old manuscript collection that had been in the Gunn family for many years. He recalls:

***

The collection was inbound manuscript form with an introduction in

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 Belfast. He came into possession of the collection

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
Hare Island Collection.
***
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 Chicago fiddler Liz Carroll under the title “The Castle Reel,” perhaps having picked up that title from a 1970’s recording by fiddler Jimmy Power. Source for notated version: fiddler Pat Neilly [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 17. Jordan (Whistle and Sing), 1975; 31. Mallinson (Essential), 1995; No. 1, pg. 1. Flying Fish FF‑250, Battlefield Band ‑ "Home is Where the Van Is" (1981). Wild Asparagus 003, Wild Asparagus - "Tone Roads" (1990). “Music at Matt Molloy’s” (appears as “The Castle”).

X:1

T:Dick Gossip's

R:reel

N:Sometimes played with the parts in the opposite order

B:Whistle and Sing by Eamonn Jordan

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

M:C|

L:1/8

R:Hornpipe

S:O’NeillDance 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’NeillDance 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>