The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
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DIN - DIX |
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] |
DIN TARRANT’S [1]. AKA and see “I
Have a Bonnet Trimmed with Blue [1].” Irish, Polka.
DIN TARRANT’S [2]. Irish, Polka.
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
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.
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?,
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.
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.
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).
***
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
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.
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).
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
***
One of the few surviving, good, old-time players of the rollicking style
lives
in his native town 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
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
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
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
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
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 (
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
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 |
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.
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 (
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.”
***
***
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:
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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[COMMENT1]This was
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[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.