The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

DIN - DIX

[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] 

 


DIN TARRANT’S [1]. AKA and see “I Have a Bonnet Trimmed with Blue [1].” Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. A Major. Standard tuning. AB. Din Tarrant was a Sliabh Luachra regional fiddler, an exponent of the "house party" style of fiddling (less ornamentation in the left-hand, less slurring with the bow) as contrasted with the more famous Sliabh Luachra style of fiddling typefied by Paddy O'Keeffe, Dennis Murphy and Julie Clifford. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 73, pg. 42. Topic 12T357, Johnny O’Leary - “Music for the Set” (1977).

 

DIN TARRANT’S [2]. Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AABB. Sources for notated versions: accordion player Johnny O’Leary (Gneevgullia, Co. Kerry) [Moylan]; fiddler Seamus Connelly [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 17 (appears a “Gan Ainm/Untitled”). Cranitch (Irish Fiddle Book), 1996; No. 37, pg. 140. Cranitch (Irish Session Tunes: Red Book), 2000; 38. Moylan (Johnny O’Leary), 1994; No. 185, pg. 107.

X:1

T:Din Tarrant’s [2]

M:2/4

L:1/8

R:Polka

N:Matt paired it with “Din Tarrant’s [7]” in the workshop

S:Matt Cranitch – Catskills Irish Arts Week, 2004

Z:AK/Fiddler’s Companion

K:G

G>A | Bd de | dB B>c | dB AB | dB G>A | Bd de | dB BB/c/ | dG BA | AG G :|

|: B/c/ | dg g>g | fe e2 | ed d/d/d | ed B>c | dg g>g | fe e/f/g/e/ | dB B/c/A | AG G :|

 

DIN TARRANT’S [3]. AKA and see “The Gneevgullia Polka [3],” “The Lonesome Road to Dingle [1],” “Paul Landers’.” Irish, Polka. D Major. Standard tuning. AABB (Mallinson): AABB’ (Moylan). Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Mallinson (100 Polkas), 1997; No. 53, pg. 20. Moylan (Johnny O’Leary), 1994; No. 250, pg. 144.

 

DIN TARRANT’S [4]. AKA and see “Bill the Weaver’s," “Julia Clifford’s Polka.” Irish, Polka. D Major. Standard tuning. Gael-Linn CEF092, Julia and Billy Clifford - “Ceol as Sliabh Luachra.” Globestyle CDORBD 085, “The Rushy Mountain” (appears as “Julia Clifford’s Polka”). 

X:1

T:Din Tarrant's

D:Julia and Billy Clifford, "Ceol as Sliabh Luachra"

R:polka

M:2/4

L:1/8

Z:Transcribed by Paul de Grae

K:D

a>f df|Ad e2|e/f/e/d/ cA|Bc df| a>f df|A/B/c/d/ ee/f/|g/f/e/d/ cA|1Bc d2:|2 Bc dB/c/|

|:dB fB|dB fe/d/|cA eA|BA ce| fb ba|fb ba|f/g/f/e/ cA|1Bc dB/c/:|2 Bc d2||

 

DIN TARRANT’S [5]. AKA and see “The Humours of Ballydesmond,” “Knocknaboul Polka [1],” “Knocknabower Polka [1],” “The Little Green Cottage,” “The Scartaglen Polka [1].” Irish, Polka. G Major. Standard. AA’BB’C. The tune is usually paired with “The Knocknaboul Polka [2],” and together they are known as “The Knocknaboul Polkas.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Ceol, Vol. 2, No. 4 (appears as “The Little Green Cottage”). Moylan (Johnny O’Leary), 1994; No. 280, pgs. 160-161. Claddagh CC5, Denis Murphy & Julia Clifford - “The Star Above the Garter” (appears as “Knocknabower Polkas” [1]). Topic 12T309, Padraig O’Keeffe, Denis Murphy & Julia Clifford - “Kerry Fiddles” (appears as “The Humours of Ballydesmond”).

 

DIN TARRANT’S [6]. AKA and see “Jim Keeffe’s (Polka) [4],” “O’Keeffe’s (Polka) [1],” “Mert Plunkett’s.” Irish, Polka. G Major. Standard. AABB. Nigel Gatherer points out the tune is well-known in Scotland as “Wha Wadna Fecht for Charlie?” and “Wha Saw the Forty Second?”, and as the latter title, “Grand March” and “March Past” by English morris dancers (the latter title appears in Bacon).  Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; no. 299, pgs. 172-173. Taylor (Music for the Sets: Blue Book), 1995; pg. 6 (appears as “Din Tarrant’s No. 5”).

X:1

T: Din Tarrant's [6]

B: Johnny O'Leary of Sliabh Luachra

R:Polka

Z:Paul Kinder

M:2/4

L:1/8

K:G

G2 GA|BA B/2c/2d|GA/2G/2 dB|AG ED|

G>F GA|BA Bd|e/2f/2g f/2g/2a|gG G2:|

|:Bd de/2f/2|gf ed|Bd de/2f/2|gB AG/2A/2|

Bd de/2f/2|gf ed|B/2c/2d B/2c/2d|BG G2:|

 

DIN TARRANT’S [7]. Irish, Polka. Ireland, Sliabh Luachra region. G Major. Standard. AABB. Breathnach (CRÉ III); No. 74 (appears as untitled polka). Cranitch (Irish Fiddle Book), 1996; No. 38, pg. 140. Cranitch (Irish Session Tunes: Red Book), 2000; 37.

X:1

T:Din Tarrant’s [7]

M:2/4

L:1/8

R:Polka

N:Matt paired it with “Din Tarrant’s [2]” in the workshop

S:Matt Cranitch – Catskills Irish Arts Week, 2004

Z:AK/Fiddler’s Companion

K:G

B/c/ | dg Bd/B/ | GA Bd | fa e/f/g/e/ | dB B>c | dg Bd/B/ | GA Bd | fa ef | g2 g :|

|: a2 f/g/f/e/ | de f2 | fa e/f/g/e/ | dB B>c | dg Bd/B/ | GA Bd | fa ef |1 g2 g2 :|2 g2 g ||

 

DIN TARRANT’S [8]. AKA – “Julia Clifford’s (Polka) [3].” Irish, Polka. D Major. Standard. AA’BB. Globestyle Records CDORBD 085, Julia Clifford  – “The Rushy Mountain” (appears as “Julia Clifford’s”).

X:1

T:Din Tarrant's [8]

D:Julia and Billy Clifford, "Ceol as Sliabh Luachra"

R:polka

M:24

L:1/8

K:D

f>a ge|f>a ge|fd ed|e/f/e/d/ Bd|

f>a ge|f/e/f/a/ ge|fd e/f/e/c/|1df de:|2 df dB|

|:A>F AB|Af af|ed ef/e/|dA B/c/d/B/|

A>F AB|Af af|ed ef|df d2:|

 

DIN TARRANT’S [9]. AKA and see “Blue Ribbon Polka [2],” “The Cobbler [3],” “Din Tarrant’s No. 1,” “O’Keeffe’s (Polka) [2],” “Tarrant’s [2].” Irish, Polka. B Minor. Standard tuning. AABB. Source for notated version: Sliabh Luachra accordion player Johnny O’Leary (1924-200?, County Kerry) [Miller & Perron]. Mallinson (100 Polkas), 1997; No. 24, pg. 10. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 128. Taylor (Music for the Sets: Blue Book), 1995; pg. 8. Topic Records 12TS357, Johnny O’Leary – “Music for the Set” (1977).

X:1

T:Din Tarrant’s [9]

M:2/4

L:1/8

R:Polka

K:B Minor

dB bB|de f/g/f/e/|dB bB|c/B/A/c/ ef/e/|d2 bB|de f/g/f/e/|de f/e/d/A/|B2B2:|

|:f>a ba|fe f>e|dB bB|c/B/A/c/ ed/e/|f>a ba|fe f/g/f/e/|de f/e/d/A/|B2 Bd/e/:|

                                               

DIN TARRANT’S FAVORITE. AKA and see “Breeches Mary,” “Catholic Bill’s,” “Humours of Kilkenny,” "You stay away a long time," "Your bag is handsome, my boy." Irish, Jig.

                                   

DIN TURRANTS'. Irish, Polka. B Minor. Standard tuning. AABB. The title is a mispelling of the name of the Kerry musician Din Tarrant.  Miller & Perron (101 Polkas), 1978; No. 74.

                                   

DINAH. AKA and see "Go To Sleep, John Dinny." Old‑Time, Breakdown. USA, southwestern Pa. A Major. Standard tuning. AB (Silberberg): AABB (Krassen). Bayard collected a vocal version of the tune in southwestern Pa. (see Bayard, Dance to the Fiddle, 1981; Appendix No. 25, pgs. 582‑583), but said it was known also as a dance tune. Krassen (Appalachian Fiddle), 1973; pg. 28‑29. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 36. Heritage XXIV, Dave Holt ‑ "Music of North Carolina" (Brandywine, 1978).

                                   

DINEEN DINNY DIN DAN’S. AKA and see “The Clog [1].”


                       

DINEEN’S FANCY.  Irish, Jig. G Major: B Flat Major (O’Malley). Standard tuning. AABBCC. Source for notated version: [O’Malley]. Source for notated version: a recording by George Wilson [O’Malley]. O’Malley (Luke O’Malley’s Collection or Irish Music, vol. 1), 1976; No. 109, pg. 55.

X: 1

T: Dineen's Fancy

M: 6/8

L: 1/8

Q: 325

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: Jig

K: G

B/A/ | GDB, DB,G, | B,A,G, B,CD | EAB c2 A/B/ | cAG FGA |

GDB, DB,G, | B,A,G, B,CD | EAB cAG | FGA G2 :|

|: d/c/ | B2 G GF=F | ECE DB,D | GFG BdB | ABE F2 D |

GFG BAG | ECE DB,D | GBe dBG | FGA G2 :|

|: D | GFG BAG | dBG BAG | EAB c2 A/B/ | cAG FGA |

GFG BAG | dBG BAG | EAB cAG | FGA G2 :|

P: Original key Bb

K: Bb

d/c/ | BFD FDB, | DCB, DEF | Gcd e2 c/d/ | ecB ABc |

BFD FDB, | DCB, DEF | Gcd ecB | ABc B2 :|

|: f/e/ | d2 B BA_A | GEG FDF | BAB dfd | cdG A2 F |

BAB dcB | GEG FDF | Bdg fdB | ABc B2 :|

|: F | BAB dcB | fdB dcB | Gcd e2 c/d/ | ecB ABc |

BAB dcB | fdB dcB | Gcd ecB | ABc B2 :|

                                   

DINEO. AKA and see "Di‑nee‑o, Ladies," "Darneo," "Sally Ann [1]." Old‑Time, Breakdown. USA, southwestern Va. A Major. Standard tuning. The name "Dineo" is particular to the Franklin/Floyd County area of western Virginia; it is more widely known under the title "Sally Ann." Di-nee-o = a variant of ‘Dinah’?  Recorded by Herbert Halpern for the Library of Congress (2739-A-3), 1939, from the playing of Taylor Houston and the Houston Bald Knob String Band (Franklin County, Va.) during a dance. Rounder 0057, Ted Boyd & Charlie Woods ‑ "Old Originals, vol. 1" (1978).

                                   

DI-NEE-O, LADIES. AKA and see "Dineo."

                                   

DINEFWR WALTZ, THE. Welsh, Waltz. From the manuscript of ‘Llewelyn Alaw’, Aberdâr (held at the National Libarary at Aberystwyth). Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy Ngwlad/The Sweet Harp of My Land” (1996).

                                   

DINGLE HORNPIPE, THE. AKA and see “The Kerry Hornpipe [2],” “Murphy’s Fancy,” “Murphy’s Hornpipe [2].”

                                   

DINGLE REEL, THE. Irish, Reel. D Major. Standard tuning. AABB.

X:1

T:Dingle Reel, The.

R:Reel

M:2/2

L:1/8

R:Reel

K:D

D3F EDB,A,|D3E FAA2|Beed e2de|f2ed BAFE|\

D3F EDB,D|A,B,DE FAA2|Beed e2dB|AFEF D4:||\

ABde f3g|afdf edBd|ABde f3g|afdf e2dB|\

ABde f3g|afdf edBA|d3B ABdB|AFEF D4:||

                                   

DINGLE REGATTA. AKA and see “Jazzing with Meaig Leary,” "Tom Billy's Favourite [3]." English, Jig; Irish, Slide (12/8 time). Ireland, West Kerry. G Major. Standard tuning. AABB (Cranitch, Mac Amhlaoibh & Durham): AABBCC (Kuntz, McNulty, Tubridy). The "Dingle Regatta" name comes from Seán Ó Riada, according to guitarist Paul de Grae, who used it as part of the score for his film The Playboy of the Western World. It was the signature tune for Ó Riada’s band, Ceoltóirí Cualann, from which developed Ireland’s most famous traditional band, the Chieftains, for their first radio appearances on Radio Éireann in the early 1960’s (Glatt, The Chieftains, 1997). Unfortunately, the tune as played by the group was ‘totally inaccurate’:

***

Paddy Moloney smiles at the memory. ‘I gave that tune to Seán

spontaneously at one of the rehearsals but unfortunately I mixed

up two tunes and got the second part of it wrong. It didn’t matter

though because it blended beautifully and become our theme tune

that was played at the beginning of every show Ceoltóirí Cualann

ever did. (pg. 47).

***

“Dingle Regatta” has become a 'pub tune' if ever there was; one hearing and you think you've known it all your life. A pub session tradition has grown up around the tune in which the third part is sometimes sung with out words, though in many circles the ‘ya-da-duh-da-da-da’ singing is by now considered a hackneyed bore. Kevin Finnegan, formerly of the Liverpool Céilí Band has recently remarked that this 'dittying' to the melody originated as a joke.  He says:

***

The members of the band got along famously and when playing at ceili's

etc. and did many strange things to enjoy the 'craic'. For example, it was

not unusual for us to suddenly start changing seats while in the middle of

a tune. It brought a great response from dancers when they'd look up to the

stage and see Eamon Coyne (fiddle) walking around to change chairs with

Frank Horan(button box) who was sitting behind him. Or to see Charlie

Lennon (fiddle) switching places with Sean Murphy(banjo). It brought a

great sense of camaraderie and fun to the group. Another favourite activity

of each of the players was to suddenly stand up and straight back down

again in sequence across the stage. This might be condemned by some

'purists' but it always added to the 'craic' and certainly didn't hurt the

musical ability of the band - we still won two All-Irelands and countless

other honours. As part of the craic the "hi-ho" stuff started in the early sixties

as just another part of the fun we had playing together. It was not confined to

the "Dingle Regatta" - as you will hear if you listen to the two LP's we made

in the mid-sixties with Decca Records. In fact, like changing chairs, we did

it fairly regularly with a number of tunes but I never heard another band

do it until after our records came out. When we were in London recording

the Lp's we started the Hi-Ho as a laugh during the recording session and

never intended for it to come out on the final record - but the producer

loved it and asked us to leave it on that particular track. That's the

story of the Hi-ho sound. Of course it was always enhanced by the fact

that most of us did partake of a few sups of the 'black milkshake'

throughout the night so I'm sure that the bobbing up and down, the

chair switching and the hi-ho were somewhat as a result of our love

of the 'porter' !!!

***

An untitled quadrille (no. 45b) in John Moore's c. 1837-1840 MS (Ashman, 1991) resembles parts of this tune. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 24. Cranitch (Irish Fiddle Book), 1996; No. 21, pg. 133. Cranitch (Irish Session Tunes: Red Book), 2000; 21. Jordan (Whistle and Sing), 1975; 25. Kuntz, Private Collection. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 68, pg. 40. McNulty (Dance Music of Ireland), 1965; pg. 18. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 28. Vallely (Learn to Play the Tin Whistle with the Armagh Piper’s Club), vol. 1; 19. Topic, - "Kerry Fiddles" (appears as a two-part tune called "Tom Billy's Favourite").

X:1

T:Dingle Regatta, The

M:6/8

L:1/8

K:G

dBd e2d|BAB d2B|A2A AGA|B2A G2B|dBd e2d|BAB d2B|AGA B2A|G3 G2B:|

|:d2 d def|g3 gfg|a2a aga|b2a gfe|d2d def|g2g gab|a2g f2e|1 def g2e:|2 def g2d||

|:g3 ded|BdB G3|FGA DEF|G2B def|g3 ded|BdB G3|FGA DEF|1 G3 G2d:|2 G3 G2B||

 

DINKIE DORRIAN’S. AKA – “Dinkie’s,” “Dinky Dorian’s.” AKA and see “Dinky’s.” Irish, Reel (cut time). Ireland, County Donegal. A Mixolydian. Standard tuning. AA’B (Taylor/Tweed), AABB’ (Songer): AA’BB’ (Cranford/Stubbert). A popular County Donegal reel composed (and popularized) by Francie Dearg (red-haired) Byrne of Cashel, Kilcar, southwest Donegal in honor of a friend, Hughie ‘Dinkie’ Dorrian, who was from Killibegs and either a butcher-fiddler, or (according to Caoimhin Mac Aoidh) a gaelic footballer and renowned step-dancer. Supposedly this was Dorrian’s favorite tune to step-dance to. Byrne’s brother Mickey Ban (fair-haired) also played the tune. According to Cranford (1994) the tune was introduced to Cape Breton by a visiting Irish fiddler, Dermot McLaughlin, of Derry, who learned it from Byrne. Karen Tweed remarks that the tune was “extremely popular in sessions in the early ‘80’s.” Source for notated version: French fiddler Vincent Blin [Taylor/Tweed]. Cranford (Brenda Stubbert’s), 1994; No. 18, pg. 7. Songer (Portland Collection), 1997; pg. 62 (appears as “Dinky’s Reel”). Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 16. Brenda Stubbert - “House Sessions” (1992). DMPCD 9401, Karen Tweed – “Drops of Springwater” (1994). Green Linnet SIF-1095, Altan - "Horse with a Heart" (1989. Learned from Dinky Dorrian, a travelling musician, via Francie Byrne). De Dannann - “Anthem.”

X:1

T:Dinky's

S:Altan

Z:Juergen.Gier@post.rwth‑aachen.de

M:4/4

L:1/8

K:AMix

ed|~c2Bc ABcd|egfd edBa|gB~B2 gBaB|gB~B2 gfed|\

(3cdc Bc ABcd|egfd edBa|~g3d egfd|(3cdc Bc A2::fg|\

aA~A2 aAbA|aA~A2 agef|gB~B2 gBaB|gB~B2 gfeg|\

aA~A2 aAbA|aA~A2 agef|gfgd egfd|(3cdc Bc A2:|

                       

DINKY'S/DINKIE’S. AKA and see “Dinkie Dorrian’s.”

                       

DINNA THINK, BONNIE LASSIE. AKA and see "Carrick Rant."

                       

DINNY DELANEY('S) [1]. AKA and see “Hag at the Churn,” “Hag in the Kiln,” "Old Hag in the Kiln." Irish, Single Jig or Slide (12/8 time). D Mixolydian. Standard tuning. ABB. Dennis “Dinny” Delaney (1836-1919) was a blind piper and character from Ballinasloe, east Galway, who recorded this tune on a wax cylinder in 1902. Delaney competed in the Feis Ceol in 1898 and was recorded on an Edison cylinder at that time as well, playing “Kid on the Mountain,” “The Repeal of the Union” and “The Woman of the House” as well as “The Hag in the Kiln.” Breathnach says: “Delaney it seemed was not one whit overawed by the occasion” (Ceol VIII, 1986). Captain Francis O’Neill has a sketch and photograph of Delaney that appears in his Irish Minstrels and Musicians (1913, pgs. 305-308):

***

One of the few surviving, good, old-time players of the rollicking style lives

in his native town of Ballinaslie, County Galway. Robust in build and ruddy of

complexion, he is one of the central figures in its life, and in its celebrated fair.

Though totally blind, he is, strange to say, unsurpassed as a judge of cattle and

other kinds of farm stock, and so well recognized in his skill in this respect that

at fair and market his opinion is eagerly sought when trading is in progress.

Stranger still is the fact that furniture moving is his principal occupation. With

a table on his head, or a cupboard on his back, he can make his way safely all

over town. To see him thus engaged and without a trace of timidity in his footsteps,

a stranger would never suspect that he was blind.

***

Gifted with great conversational powers, an endless fund of humor, and a

tenacious memory, his is naturally the life of every gathering which he attends.

With such attractions, not to mention his qualifications as a prize-winning piper,

we can understand how he won the heart and hand of a buxom young colleen

half his age, it being his second matrimonial venture.

***

The jolly Denis, having “seen” to the burial of an old friend and brother

piper, naturally “came in” for his beautiful set of pipes. He disposed of his own

superannuated set, made by the elder Kenna in 1781, to Mr. Wayland, the irre-

pressible enthusiast and untiring promoter, of Cork, he being the fifth proud

possessor of this specimen of Kenna’s handiwork. The first owner after coming

from the hands of the maker was a Mr. Burke of Tyrquinn, near Athenry, County

Galway, and their cost ten pounds. By bequest they became the property of Mr.

Burke’s nephew, Mr. C. Natton, of Kingstown, Dublin, from whom Denis Delaney

purchased them in 1873.

***

In friendly rivalry at a big concert in Dublin, Mr. Delaney and Prof. P.J. Griffith

played their respective versions of the “Fox Chase,” and, while both delighted

the audience with their performance, it was freely conceded that Prof. Grffith’s

version of that famous but much varied composition was the better.  [Hereafter,

O’Neill prints a long poem, called “Warpipes versus Fiddle”, inspired by the incident].   

***

As a prize-winner at pipers’ competitions all over Ireland, we know of

nothing to equal Denis Delaney’s record. Since 1897—the date of their

origin—he has to his credit 29 first, 12 second, 6 third, and 1 special prizes

up to the year 1912, according to his own account. Accustomed as he had

been to winning distinction for over a dozen years, his bump of self-esteem

suffered no diminution in the flight of time, and however much we may approve

the decisions of the adjudicator in awarding the prizes to others at the Dublin

Feis in 1912, we cannot help sympathizing with Delaney, whose pride had

sustained a shock so severe that he hastened away without waiting to enjoy

the subsequent festivities, or sit in the group of competitors for a picture. 

***

Source for notated version: piper Pat Mitchell, 1972 (Dublin, Ireland), who had the setting from Delaney’s cylinder recording [Breathnach]. Breathnach (CRÉ II), 1976; No. 88, pg. 46 (appears as “Old Hag in the Kiln”). Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 81. Sullivan (Session Tunes), vol. 2; No. 39, pg. 16. Claddagh CC17, Seán Keane ‑ "Gusty's Frolics" (1975). Green Linnet SIF 3005, The Bothy Band - “Old Hag You Have Killed Me” (1981. A reissue of the 1976 Mulligan LP). Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978). Shanachie 34007, Tommy Peoples (with Paul Brady) – “The High Part of the Road.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Old Hag in the Kiln, The

T:Dinny Delaney’s

R:slide

N:Parts 3 and 4 are optional.

Z:id:hn-slide-26

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:6/8

L:1/8

K:Dmix

A2D ~D3|A2G EFG|A2D ~D3|G2A GED|A2D ~D3|c2d e2d|dcA AGE|G2A GED:|

|:dcA AGE|c3 ABc|dcA AGE|G2A GED|dcA AGE|c2d e2d|dcA AGE|G2A GED:|

|:A2D ~D3|A2B G2B|A2B G2A|E2E GED|A2D ~D3|c2d e2d|dcA AGE|G2A GED:|

|:dcA AGE|c3 ABc|dcA AGE|G2A GED|dcA AGE|c2d e2d|dcA AGE|G2A GED:|

 

DINNY DELANEY’S [2]. AKA and see AKA and see "An Ril Cam," “The Crooked Reel,” “Follow Me Down to Carlow [2],” "Miss Murphy [2]," "Bonnie Annie [3]." Irish; Reel, Hornpipe. A Dorian. Standard tuning. AB. Named for blind piper and character Dinny Delaney (1836-1919) of Ballinasloe, east Galway. Source for notated versions: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926. Lesl Harker writes “Mike had these tunes from his father who used to go to the fair with neighbour Tom Broderick to see Dinny Delaney” [Black, Harker]. Black (Music’s the Very Best Thing), 1996; No. 59, pg. 31. Harker (300 Tunes from Mike Rafferty), 2005; No. 122, pg. 37 & No. 268, pg. 83. Miller (Fiddler’s Throne), 2004; No. 146, pg. 95. Green Linnet SIF 1034, Billy McComiskey – “Makin’ the Rounds” (1981). Larrage Records LR090098Mike and Mary Rafferty – “Old Fireside Music” (1998).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T: Dinny Delaney's [2]

S: M. Rafferty

Q: 350

R: reel

M: 4/4

L: 1/8

K: Ador

ABAG EF G2 | A2 AB cded | ABAG EF G2 | aged cAdc |

ABAG EF G2 | A2 AB cded | ABAG EF G2 | aged cA A2 ||

egdg egdc | BG G2 Bc d2 | edeg e2 ab | aged cA A2 |

ag e2 aged | cA A2 EF G2 | AGAB cdea | g2 ea gedB ||

X:2
T:Dinny Delaney's  [2]
S:Dangerous Reel,  Mike and Mary Rafferty
Z:Lesl NJ what exit.
R:hornpipe; reel
M:C|
L:1/8
N:Posted to the woodenflute mailing list January 2002
K:Ador
dc| A2AG EFGE | A2AB cdec | A2{A}AG EFGE | A2BG A2dc |
ABAG EFGE | A2AB cdec | A2AG EFGE | A2BG A2 (3Bcd |
eAAG EFGE | A2AB cdd2 | eaag  EFGE | A2BG A2 (3Bcd |
eaag EFGE | A2AB cdd2 |eaag  EFGE | A2BG A2dc ||
"reel:"
|:ABAG EFGG | A2AB cded | cAag efge | aged cAdc |
A2GB EG~G2 | A2AB cded | cAag efge | aged cAA2 ||
egdg egdc | BG~G2 Bcd2 | eged e2ab | aged caa2 |

agea aged | cABG EFGG | AzAB cdef | g2fa gedc :| A8 ||

                       

DINNY MESCAL'S SLIDE (Sleamhnán Dhinní Uí Mheiscill). AKA and see "Micko Doyle's Jig," "Patsy Mack." Irish, Slide (12/8 time). G Major. Standard tuning. AABB'. See also the closely related “Old Favourite.” The “Paddy Mack” title is from Breathnach’s Folk Music and Dances of Ireland while Treoir II (pg. 11) has printed it under the title “Micko Doyle’s Jig.” Source for notated version: fiddler Patrick Kelly (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 44, pg. 21. Breathnach (Folk Music and Dance of Ireland), 1971; 17. Mulvihill (1st Collection), 1986; No. 6 in slide section (appears untitled). Comhaltas Ceoltoiri Eireann CL17, John Kelly ‑ "Ceol an Chlair vol. 1."

                       

DINNY O’BRIEN’S HORNPIPE. Irish, Hornpipe. G Major. Standard tuning.

X:1

T:Dinny O'Brien's Hornpipe

S:Planxty

Z:Juergen.Gier@post.rwth‑aachen.de

L:1/8

M:C

K:G

DE|GABG ABcB|defa gfdc|BGBd (3ABc AF|GFGF DEFD|\

G2BG ABcA|defa gfdc|BGBd cAFG|(3ABA GFG2::Bd|\

g3a gfdf|g2bg afde|dffg afge|fdec dcAF|G2BG ABcA|\

defa gfdc|BGBd cAFG|(3ABA GFG2:|

                       

DINNY O’BRIEN’S JIG. Irish, Jig. Green Linnet SIF 3082, Paddy O’Brien – “Banks of the Shannon.”

                       


DINNY O'BRIEN'S REEL [1] (Ríl Dhonncha Uí Bhriain). AKA and see “John Bowe’s [2],” "The Last House of Connaght [2].” Irish, Reel. D Mixolydian. Standard tuning. AAB (Miller & Perron/2006): AABB (most versions). Dinny O’Brien was the fiddle and concertina playing father of B/C box player Paddy O’Brien (1922-1991, Nenagh, County Tipperary), who composed the tune is his honor (Mick Brown says it was Paddy’s first composition). Dinny was the leader of the famous Bridge Céilí Band. Accordionist Jim Coogan (New York) says that New York B/C box player Joe Madden learned the tune while travelling in a car on his way to Dunvargan, where he promptly won the All-Ireland 2-row accordion championship playing it. Sources for notated versions: fiddler Joe Ryan and harmonica player Eddie Clarke (Ireland) [Breathnach]; Frank McCollam (Ballycastle, County Antrim) [Mulvihill]; a 1971 recording by Na Fili [. Breathnach (CRÉ III), 1985; No. 145, pg. 68. Carlin (Master Collection), 1984; pg. 123, No. 208. Cranitch (Irish Fiddle Book), 1996; No. 55, pg. 146. Cranitch (Irish Session Tunes: Red Book), 2000; 55. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 104. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 56. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 62. McGuire & Keegan (Irish Tune by the 100, vol. 1), 1975; No. 55, pg. 15. Moylan (Johnny O’Leary), 1994; No. 318. Mulvihill (1st Collection), 1986; No. 126, pg. 34. O’Brien Minogue (The Compositions of Paddy O’Brien), 1992; pg. 38. Cló Iar-Chonnachta, CICD 148, Mick Conneely – “Selkie” (2001). Everest Tradition, The Kilfenora Ceili Band (with Tommy Peoples, recorded by Mick Moloney, 1974). Green Linnet SIF 1030, Joe Ryan & Eddie Clark ‑ "Crossroads" (1981). Green Linnet SIF 1165, Joe Burke - “The Bucks of Oranmore.” Outlet 1010, Na Fili. Eileen O’Brien - “The Compositions of Paddy O’Brien” (with accordion player Willie Fogarty). Shanachie 34016, Joe Burke, Andy McGann & Felix Dolan - “The Funny Reel.” Shanachie 78030, Danú – "Think Before You Think" (2000). Seamus Thompson - “The Long Mile.” John Rea - “Traditional Music on the Hammered Dulcimer.” Paddy O’Brien - “Paddy O’Brien Collection.” Brogue - “At Boolavogue.” Brendan Mulhaire Ceili Band - “Ceili Time in Ireland #2.”

See also listings at:

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

Alan Ng’s Irishtune.info

X;1

T:Dinny O'Brien's Reel [1]

M:C

L:1/8

K:Dmix

fd (3ed^c dcAB|c2 (3dcB cAGE|D2AD EGAB|c3d efge|\

fd (3ed^c dcAB|c3c cAGE|D2AD DGAB|cAGE EDD2::\

fd (3ed^c defg|add2 adfd|ec (3dcB cdef|gcc2 gcag|\

fd (3ed^c dcAB|c2 (3dcB cAGE|D2AD EGAB|cAGE EDD2:|

 

DINNY O’BRIEN’S [2]. AKA and see “The Cornerhouse [2].” Irish, Reel. G Major.

 

DINNY O’KEEFE’S. AKA and see “Denis O’Keeffe’s (Favourite),” “Eibhlín ni Riordáin’s.” Irish, “Fast Slide.” A Mixolydian. Standard tuning. AABB. Source for notated version: Johnny Leary (Sliabh Luachra region of the Cork-Kerry border) [Sullivan]. Bulmer & Sharpley (Music from Ireland), vol. 4 (appears as untitled slide). Mac Amhlaoigh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), {appears as an untitled slide}. Sullivan (Session Tunes), Vol. 3; No. 19, pg. 7.

X:1

T:Dinny O’Keefe’s

M:6/8

L:1/8

Z:Transcribed by Ken Fleming

S:Jackie Daly

R:slide

K:AMix

E2A ABA|E2A ABA|e2A ABA|G3 F2G|E2A ABA|E2A ABA|efe dcB|1 A3 e3:|2 A3

Acd||e3 efe|d3 c2d|e2A ABA|G3 F2G|E2A ABA|E2A ABA|efe dcB|1 A3 Acd:|2 A3 e3||

 

DINNY RYAN’S. AKA and see “Considine’s Grove{s},” “Cronin of Kerry,” “The Gneevguilla Reel,” “The Kerryman’s Daughter [2],” “Miss Brady,” “The Pride of Rathmore.” Irish, Reel. E Minor. Standard. AABB. Mulvihill (1st Collection), 1986; No. 169, pg. 46.

X:1

T:Dinny Ryan’s

M:C|

L:1/8

R:Reel

B:Mulvihill - 1st Collection (1986), No. 169

K:E Minor

D|E2 ED G2EF|GBAG FD D2|E2 ED G2GA|Beed Beed|

E2 ED G2ED|GBAG FD D2|EDEF GFGA|Beed BE E2:|

|:d|efed (3Bcd ef|geaf geed|efed (3Bcd ef|geag e3d|

(3Bcd ed (3Bcd ef|geaf ge d2|gfge dcdB|AcBA GE E2:|

 

DIOL DO'N CAILIN A TUISTIUN. AKA and see "Pay the Girl Her Fourpence."

 

DIOLAINEAC MIREOGAC. AKA and see "The Sporting Bachelor."

 

DIOLÚN DE BRÚN. AKA and see "Dillon Brown's Fancy."

 

DIOMOLADH PIOB DHÒMHNAILL BHÀIN (Dis-Praise of Fair Donald’s Bagpipe).  Canadian, Scottish; Jig. Canada, Nova Scotia. A Major. Standard tuning. AABB. Piper Barry Shears says the tune is similar to a 6/8 pipe march called “Gathering of the Herds,” in the late 19th century David Glen Collection, Book 9. The tune is from the c. 1915 music manuscript collection of Captain Angus J. MacNeil, piper who lived at Gillis Point, Cape Breton. A song composed by John MacCodrum, from North Uist, shares the same title and may be a related melody, suggests Shears. Shears (Gathering of the Clans Collection, Vol. 1), 1986; pg. 69.

                       


DIONNE REEL. AKA and see “(Les) Cinq Jumelles” (The Five Twin Sisters). French-Canadian, Reel. D Major ('A' and 'C' parts), G Major ('B' part) & D Mixolydian ('D' part). Standard tuning. AA'BB'CCDD'. Although it has been picked up by some Irish traditional musicians this reel was recorded in August, 1934, by Joseph Ovila LaMadeleine (1879-1973), a few months after the births of Dionne quintuplets Emilie, Yvonne, Cecil, Marie, and Annette in Callander, Ontario. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 15. Green Linnet SIF 1051, Jackie Daly, Seamus & Manus McGuire - "Buttons and Bows" (1984).

X:1

T:Dionne Reel

T:Les Cinq Jumelles

L:1/8

M:C|

S:Alewine & Fleming – The Maid that Cut Off the Chicken’s Lips

K:D

(3BcB|:Adfd gdfd|Adfd ed (3BcB|Adfd gdfd|efec d2 (3BcB|Adfd gdfd|

Adfd ed (3BcB|Adfd gdfd|efec defg|afbf afde|fded Bdfg|afbf afde|

fdec defg|afbf afde|fded Bdfg|1 afbf afde|fdec d2 (3BcB:|2 afbf afde|fdec d2 GA||

K:G:

BGAG BGAG|BGAG EFGA|1 BGAG BGAG|EGFA G2 GA:|2 BGAG BGAG|

EGFA G2 AG||

K:D

F2 Ad fdAF|G2 Bd g3B|Acef gecA|defg afdA|F2 Ad fdAF|G2 Bd g3B|

Acef gecA|dedc dcBA|F2 Ad fdAF|G2 Bd g3B|Acef gecA|(3ded (3cdc (3BcB (3ABA|

F2 Ad fdAF|G2 Bd g3B|Acef gecA|dedc defg||

|:a2 fd adfa|g2 e=c gceg|1 a2 fd adfa|gecA defg:|2 a3f agfa|gecA d3||

                       

DIPLODOCUS, THE. Irish. Composed by Chicago fiddler Liz Carroll. Popcorn Behavior – “Journeywork” (1997).

 

DIPPING THE SHEEP.  AKA and see “Shearing the Sheep [1].”

                       

DIPSY DOODLE BREAKDOWN, THE. Canadian, Reel. A Major ('A' part) & E Major ('B' part). Standard tuning. AABB. Composed by Canadian radio and television fiddler Don Messer. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 18, pg. 19.

 


DIRGE OF MULL, THE (An Crònan Muileach). Scottish, Slow Air (4/4 time). A Minor. Standard tuning. AABB. "The editor had great delicacy in presenting the dirge of Mull to the public, having never heard it sung but once by a Roman Catholic priest, who died before this work was undertaken; fortunately, however, Colonel Stewart of Garth procured a set of it, no way diferent, in the central Highlands of Perthshire, and was good enough to hand it, with many others, all of which the editor previously knew, one only excepted, which is universally thought the finest air in this volume. Vide note 202 ('Prince Charles's Last View of Scotland')" {Fraser}. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 199, pg. 82‑83.

X:1

T:Dirge of Mull, The

T:An Crònan Muileach

M:C

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:C
A4 ^G2E2|c4 d2B2|c3d e4|e2d2 (d2c2)|c3d e3g | e2A2 ^G2E2 | A4 ^G3B |

(c3 d/c/) (B2A2) :: A3B e4 | A4 ^G2E2 | A3 B e3g | (c3 d/c/) [G2B2] z2 |

A3 B e4 | A4 ^G2E2 | e3 ^d e2 ^G2 | A3 (3^G/A/B/ A4 :|

 

DIRGE OF OSSIAN, THE. Irish, Slow Air (4/4 time). D Minor. Standard tuning. AB. “As sung in the glens in Derry” (Petrie, 1855). Stanford/Petrie (Complete Collection), 1905; No. 1018, pg. 259.

 

DIRGE OF THE BERLIN BAND. AKA and see "The Star of Bethlehem," "Bruce's March," "Caledonian March," "Loch Na Gar [1]," "An Comhra Donn" (The Brown Casket). American, March Air (slow). USA, southwestern Pa. D Major. Standard tuning. AA'. Bayard (1981) identifies this as Scottish in origin, but was unable to clearly trace it. Source for notated version: George Fisher (Somerset County, Pa., 1962; a member of the Berlin Martial Band) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 156G, pg. 93.

 

DIRTY JAMES (That Lost Ireland). AKA and see "James the Coward," "Se/umus a Chaca a Chaill Eire", “Shitty James.” Irish, Air. The correct translation is “Shitty James, That Lost Ireland,” which Bunting politely translated as “Dirty...” in his Ancient Music of Ireland.

 

DIRTY SHEETS. Old-Time, Breakdown. USA, West Virginia. D Major. Standard tuning. AB. Source for notated versions: Melvin Wine (W.Va.) [Phillips, Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 71. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 36.

 

DISAPPOINTED COQUETTE, THE. Irish, Reel. D Major/Mixolydian. Standard tuning. AAB. Kerr (Merry Melodies), vol. 1; pg. 41.

X:1

T:Disappointed Coquette, The

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 1, pg. 41  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

g2|fded cAAg|fdec d2 (de)|fedc dAAB|=cAGE D2:|

(DE)|FGAB =cAAG|Add^c d2 (de)|fdec dAAB|=cAGE D2 (DE)|

FGAB =cAAG|Addc d2 (de)|fdec dAAB|=cAGE D2||

                       

DISAPPOINTED WIDOW.  English, Jig. F Major. Standard tuning. AAB. The tune (and country dance) early appears in John Young’s Dancing Master of 1726, Walsh’s New Country Dancing Master, Book 3 (1728), and in John Gay’s (1685-1732) ballad opera Polly (1729), a disappointing sequel to his hugely successful Beggar’s Opera. Howe (1000 Jigs and Reels), c. 1867; pg. 127. Wilson (Companion to the Ball Room), 1816; pg. 92.

X:1

T:Disappointed Widow

M:6/8
L:1/8

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

Z:AK/Fiddler’s Companion

K:F

d | ^c2d e2d | ^c2d e3 | f3 e2d | c3 A2 :| F | F2F cBc | F2F c3 |

d2F BAG | F3D3 | F>EF cdc | FGF c3 | d2A BAG | F3 D2 ||

                       

DISBANDED OFFICER, THE.  English, Country Dance Tune (whole time). A Major. Standard tuning. AABB. The melody appears in Samuel, Ann & Peter Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 5 (London, 1788). The Disbanded Officer, or The Baroness of Bruschsal (1786) was a comedy adapted by James Johnstone from Gotthold Ephraim Lessing’s original. It was performed at the Theatre Royal in the Hay-Market. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 31.

 

DISCONSOLATE BUCK, THE. AKA and see "An Cliabh Mona," "The Basket of Turf," "The Unfortunate Rake [1]," "The Wandering Harper," "Bundle and Go [1]," "The Wee Wee Man," "The Lass from Collegeland."

 

DISCONSOLATE SAILOR. English, Jig. England, North‑West. A Major. Standard tuning. AAB. Knowles (Northern Frisk), 1988; No. 102.

 

DISMISSAL, THE. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. G Major. Standard tuning. AA’BB’. The reel was composed by Foot Cape, Cape Breton, musician Sandy MacLean, and appeared in the Cape Breton Collection (1940). Source for notated version: Peter Chaisson, Jr. (B. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland: The Second Collection), 2000; No. 183, pg. 69. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 50. Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000). WMT002, Wendy MacIsaac – “That’s What You Get” (1997?).


See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

 

DIS-PRAISE OF FAIR DONALD’S BAGPIPE. See “DioMoladh Piob Dhòmhnaill Bhàin.”

                       

DISPUTANT, THE (La Disputeuse). AKA and see “Growling Old Man and (Grumbling Old) Woman.” French Canadian, Reel. B‑Flat Mixolydian (?). Standard tuning. AABCC ('C' part is irregular in rhythm). The tune can be found in numerous versions and variants throughout Quebec and the Maritime Provinces. Maritime fiddler Don Messer popularised the tune as “Growling Old Man and Woman.” Carlin (Master Collection), 1984; pg. 51, No. 76. Voyager 322, Louis Boudreault - "Old Time Fiddler at Chicoutimi, Québec" (1977, 1993).

 

DISPUTE AT THE CROSSROADS, THE (An tAighneas ag an gCrosbhóthar). AKA and see "Doctor Gilbert." Irish, Reel. E Dorian. Standard tuning. AABB (Breathnach): AA’BB’ (Feldman & O’Doherty). The title comes from Donegal fiddler John Doherty who, according to Caoimhin Mac Aoidh, also called it “The Loughros Point Reel,” a name that had associations with Anthony Helferty. Breathnach (1976) identifies the melody as a version of “Doctor Gilbert.” Source for notated version: fiddler John Doherty (1805-1980, Co. Donegal, Ireland) [Breathnach, Feldman & O’Doherty]. Breathnach (CRÉ II), 1976; No. 228, pg. 119. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 67. Shanachie 79093, Paddy Glackin & Robbie Hannan – “The Whirlwind” (1995. Set in D Major, derived from the playing of John Doherty).

           

DISPUTEUSE, LA. AKA and see “The Disputant,” “Growling Old Man and (Grumbling Old) Woman.” French-Canadian, Reel. Starr 15439 (78 RPM), Isidore Soucy {1928}.

                       

DISSEMBLING LOVE. AKA and see "The Lost Heart". English, Country Dance Tune (6/8 time). D Minor. Standard tuning. ABBB. The melody was printed by Playford in his English Dancing Master (1651). Barnes (English Country Dance Tunes), 1986. Raven (English Country Dance Tunes), 1984; pg. 43 (a facsimile copy of Playford’s printing). Sharp (Country Dance Tunes), 1909/1994; pg. 65.

X:1

T:Dissembling Love

L:1/8

M:6/8

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:D Minor

D|D2E F2G|A3 A2d|c2A B2G|(A3 A2)D|D2E F2G|A3 A2d|c2A B2G|(A3 A2)||

|:B/c/|d2A A B2|c3 F>GA/B/|GAF/G/ E>DE/F/|(D3 D2):|B/C/| d2A A B2|

c3 F>GA/B/|GAF/G/ E>DE/F/|(D3 D2)||

 

DISSIPATED YOUTH [1], THE (An Oganac Saobta). AKA and see "The Beardless Boy," "Giolla na Scriob," "Ta an Coileach ag Fogairt an Lae [2]," "When the cock crows it is day [3]," "The Big Bow Wow," "Kate Kearney," “Kate Martin,” "Seanbhean Chrion an Drantain." Irish, Air (6/8 time, "graceful"). G Major. Standard tuning. AB. The tune originally appeared under this title in Bunting (1809), although Bunting had previously published it in 1796 as “The Beardless Boy.” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 508, pg. 89.

X:1

T:Dissipated Youth, The [1]

M:6/8

L:1/8

R:Air

N:”Graceful”

S:O’Neill – Music of Ireland (1903), No. 508

Z:AK/Fiddler’s Companion

K:G

E/F/|G>AB BAB|G3 E2F|G>AB dBG|(A3 A2) B/d/|e2 e d2d|c2c BAG|

{c}BAB GED|E2F G2||F/E/|DB,D DB,D|G3 G2z|DB,D DB,D|A3 A2z|

e2e ded|c2c BAG|{c}BAB GED|E2F G2||

 

DISSIPATED YOUTH [2], THE. AKA and see "Ta Me I n-Eagmais Ach Iocfadh Me Fos" (I'm in debt but I'll pay them yet).

 

DISTANT GREETING. American, Reel. G Major. Standard tuning. AABB. Composition credited to B.F. Dietrich in Ryan’s Mammoth Collection. Cole (1000 Fiddle Tunes), 1940; pg. 47. Ryan’s Mammoth Collection, 1883; pg. 76.

X:1

T:Distant Greeting

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(3DEF | GFGA BAGF | EAAB cBAG | Fddd dddd | dfed cedf | gbag fagf |

e^deg =dcBA | Gedc BAGF | GDFD G2 :: (FA) | (dA)AA fAeA | (dA)AA gAfA |

(eA)AA aAgA | (fe)df e(A^GA) | BgBg fAAf | eGGe dFFd | cBAd face | dAcA d2 :|

                       

DISTILLERY HAY. AKA and see “Ashley’s Flag.”

                       

DISTRESSED SHEPHERD, THE. AKA and see "I Am a Poor Shepherd Undone," "Hey, ho, my honey." English, Air. The tune appears under this title in D’Urfey’s Pills to Purge Melancholy, vol. VI (1720).

                       

DISTRICT NURSE.  AKA and see “Hopetoun House,” "The Tap Room.” Irish, Reel.

 

DISTURBER, THE. Canadian, Reel. Canada, Cape Breton. Composed by fiddler Theresa Morrison in honor of the speedboat built by her father and called “The Disturber.” He had been a friend of Alexander Graham Bell, who in addition to inventing the telephone, used to experiment with hydrofoils on the Bras d’Or lakes on Cape Breton, near Theresa’s family home. Rounder CD 7026, Theresa Morrison – “Laments and Merry Melodies from Cape Breton Island (1998). Rounder Heritage Series 1166-11592-2, Theresa Morrison (et al) – “The Art of Traditional Fiddle” (2001. Appears as next to last reel in the “Inganess” medley).

                       


DISUSED RAILWAY, THE. Scottish, Slip Jig. Topic 12TS381, The Battlefield Band ‑ "At the Front" (1978).

                       

DITHERUM DOODLE. AKA and see "Come Under My Dimity," "I'll take a glass with a friend," "Late on a Saturday Night," "Mall Rua," "Moll Roe," "Moll Roe in the Morning," "Munsterman's Flattery," "The Night of the Fun [3]," "One Bumper at Parting," "Though late was I plump." O’Neill.

                       

DIÚC LAIGHEAN (The Duke of Leinster). AKA and see “The Duke of Leinster [2]."

 

DIVEL….  See listings under “Devil…”

                       

DIVERSION EVERYWHERE. AKA and see "Around the World For Sport."

                       

DIVERTISSANTE, LA.  French, Country Dance (2/4 time). A Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 60.

X:1

T:Divertissante, La

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 60

Z:AK/Fiddler’s Companion

K:A

E | A/A/A cA | d>edf | A/A/A c>A | B>cBe | A/A/A c>A | defa | edcB | A3 :|

|: (f/g/) | (a/g/f/e/) (f/e/d/c/) | d>e d(f/g/) | (a/g/f/e/) (f/e/d/c/) | B>c B(f/g/) |

{b}(a/g/f/e/) (f/e/d/c/) | defa | edcB | A3 :|

                       

DIVYRWCH GWYR CORWEN (The Pastime of the Men of Corwen). Welsh, Air. G Minor/Major. Standard tuning. AB. The melody appears in the second volume of Blind Parry’s Welsh Harper (1848).

X:1

T:Divyrwch Gwyr Corwen (The Pastime of the Men of Corwen)

L:1/8

M:C

S:The Welsh Harper (1848)

K:Gmin

G2|dd c2B2 zc|BB A2G2 zB|dd c2 B2zd|c2 BB A2 zD|

K:Gmix

GG A2 BB zA|G>Abc d2 zd|d2 dd ed zc|BB A2 G2||

K:Gmin

G2|dd c2 B2 zc|BB A2G2 zB|dd c2 B2 zc|G2 ^F2 G2 z2||

K:Gmix

G2A2B2 zB|G>AB>c d2 zd|d2 dd_ed zc|_B2 A^F G4||

 

DIXIE. American, Air or March (2/4 time). D Major (Phillips): G Major (Mattson & Walz, Sweet): C Major. Standard tuning. AAB (Sweet): AABB (Mattson & Walz): AABB' (Phillips). Composition of the tune is usually credited to 19th century black‑face minstrel Daniel Decatur Emmett, however, Howard and Judith Rose Sacks in their 1993 book Way Up North in Dixie (Smithsonian Institution Press) make a compelling case for its origin within the African-American community. Their thesis is that it was a black folk song taught to Emmett by African-Americans Ben and Lew Snowdon, fiddler, banjoist and entertainers from Emmett’s home town, Mt. Vernon, Ohio. Another plausible explanation the Sacks report is that the tune derived from a collaborative process in the friendship and musical cross-fertilization of the Snowden family and Dan Emmett. Though the exact date of composition is unknown, the melody appears listed in a playbill of April 4, 1859 for a performance of Bryant's Minstrels in New York City, which predates its first Southern performance in New Orleans on April 9, 1860 (at the Varieties Theater, performed in a march and drill routine by forty female performers dressed as Zouaves). In a program from a later performance by Bryant's Minstrels (1861) it is explained that "As many inquiries have been made in regard to the meaning of 'Dixie Land', and as to its location, it may be well to remark that, with the Southern Negroes, Dixie Land is but another name for home" (Fuld, 1966). Regarding the origin of the word 'Dixie', Fuld speculates that it is of English origin as it is a family name dating back to the 14th century or earlier, some of whose members emigrated to both the Massachusetts and Carolina colonies as far back as 1629 (in the first great migration from England, mostly of East Anglia Puritans). See Fuld, The Book of World-Famous Music, 1966/1971, pgs. 196-199 for a comprehensive discussion of the early printing history of the tune. Whatever its origins, it is inextricably credited to Dan Emmett. When the old minstrel died in 1904 in Mt. Vernon (Ohio), a band played several hymns at his gravesite. The last tune, as his casket was being lowered, was “Dixie.”

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Dan Emmett.

***

The tune became fused with the secessionist cause in the American Civil War, to the extent that over one hundred years later it was banned in a number of schools in deference to African-American students who felt that it still carried racist associations. It was played at the inauguration of Confederate President Jefferson Davis in 1861, which indicates the rapid dissemination of the melody as a symbol of Southern pride. Having been popularized during that 19th century conflict, it was disseminated into tradition through discharged soldiers (Cauthen, 1990) and could be regularly heard throughout the South for many decades following that conflict. It was, for example, in the repertory of Alabama fiddler D. Dix Hollis and Civil War fiddler Ben Smith (a Georgian in the Twelfth Alabama Regiment), among other citations of the tune in Alabama by Cauthen (1990). The old Raleigh News and Observer (Sept. 4, 1910) records the tune as being in the repertoire of fiddler SS. Ransdell (Louisburg, Wake County, N.C.), who competed in numerous fiddlers contests held every year in Raleigh before World War I. After he played “Dixie”, Ransdell told a reporter:  “I’m an old Confederate veteran but I’d like to play the ‘Yankee Doodle’, if I could only play the Doodle part and leave the Yankee off.” President Abraham Lincoln is said to have been quite fond of the tune, even during the war years, and upon occasion asked Union bands to play the melody.

***

Contestants at the 1925 Mountain City, Tennessee, fiddler’s convention. Uncle Am Stuart is second from right.

***

A version was recorded by Uncle Am Stuart (b. 1856, Morristown, Tenn.) for Vocalion in 1924, and it was one of the first tunes ever recorded by Fiddlin' Doc Roberts (east‑central Tennessee). Richard Nevins (1973) says this is the most syncopated selection the Skillet Lickers ever recorded.

***

Interestingly, the title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, County Louth, Ireland, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). While mostly traditional in his repertoire, Goodman regularly played several novelty or ‘popular’ tunes, this one (which he called “Dicksie’s Land”) perhaps for Irish veterans of the American Civil War, of which there were many. He also played “Yankee Doodle.”

***

American Veteran Fifer, 1902. Mattson & Walz (Old Fort Snelling/Fife), 1974; pg. 59. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 71. Sweet (Fifer’s Delight), 1964/1981; pg. 46. County 526, "The Skillet Lickers, vol. 2" (1973. Reissue). Front Hall FHR‑024, Fennig's All‑Star String Band ‑ "Fennigmania" (1981). Gennett 3152 (78 RPM), Doc Roberts. PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996. Sheila Adams, banjo. Learned from Tommy Jarrell, Mt. Airy, N.C.).

X:1

T:Dixie

M:2/4

L:1/8

R:March

Z:AK/Fiddler’s Companion

K:G

d/B/ | GG G/A/B/c/ | dd dB | ee e>d | e>d e/f/g/a/ | b3 g/d/ | g3 d/B/ |

d3 A/B/ | G2 z :|d | gb a>g | e g2e | a3e | a3d | gb a>g | ef g>e | dB gB |

B A2B | G3B | A3c | dB g>b | ag2B | G3B | A3e | dB b>g | a g2 ||

 

DIXIE BLOSSOMS. Old‑Time, Country Rag or Song Tune. G Major. Standard tuning. AA'BB'. The tune was remembered by fiddler Art Galbraith as dating to around 1916, and was "a perennial favorite of his mother" (Reiner & Anick). Beisswenger & McCann add that it was played by a cousin for Galbraith’s who fought in World War 1. Drew Beisswenger (2008) finds the source of the fiddle tune to be a composition by ragtime and song composer Percy Wenrich (1887-1952) who composed it in 1906 as “Dixie Blossoms March-Two-Step.” He was also the composer the music of “Put on Your Old Grey Bonnet” (1909) and the ragtime melody “Peaches and Cream” (1905), among many others. Wenrich was born in Joplin, Missouri (he was known as “The Joplin Kid”), but moved to Chicago in 1901, and in 1909 removed to New York where he had a long career. However, his early influences were from his mother, an accomplished amateur pianist, and from the booming club and music scene in Joplin, home to several important ragtime composers and performers, black and white. A similar tune is “Chicken Pie,” collected in Reynolds County, Missouri, however, it is not the “Chicken Pie” in Marion Thede’s book, which is an unrelated tune. Source for notated versions: Art Galbraith (1909-1993, near Springfield, Missouri) [Beisswenger & McCann, Phillips, Reiner & Anick]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 38. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 41. Reiner & Ancik (Old Time Fiddling Across America), 1989; pg. 122. Rounder 0133, Art Galbraith ‑ "Dixie Blossoms" (1981).

See also listing at:

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

 

DIXIE DARLINGS TWO-STEP, THE. Old‑Time, Two‑Step. USA, Missouri. C Major. Standard tuning. AB. The melody closely follows the tune of the song "My Dixie Darling" from the Carter Family and others. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 117.

 

DIXIE RAG. Old-Time, Country Rag. C Major. Standard tuning. AA'BB'. Source for notated version: Kirk Sutphin and the Hollow Rock String Band [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 42.

 

DIXON COUNTY BLUES. Old‑Time, Country Blues. USA, Nebraska. D Major. Standard tuning. ABB. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 154. Welling (Hartford Tunebook), 1976; pg. 2.

 

DIXON'S SLIDE. American, Dance Tune. A Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 73.

X:1

T:Dixon’s Slide

M:2/4

L:1/8

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:A

ed|c>e A>c|E>A C>E|(3A,CE (3Ace|a2 ba|g>b e>g|

B>e G>B|(3EGB (3egb|e’2 e>d|c>e A>c|E>A C>E|
(3A,CE (3Ace|a>c’ b>a|g>b e>g|f>a d>f|e2e2|e2z2:|

|:f>A, DF|A>d f>a|e>A, C>E|A>c e>a|g>E G>B|

e>b b>a|g>f e>B|c>d e2|f>A, D>F|A>d f>a|

e>A, C>E|A>c e>a|g>e b>g|e>d B>e|A2A2|A2 z2:|

 

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