The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
DOW EVERLY [1]. AKA and see "Will
Rarie Old March [1]” (
DOW EVERLY [2]. AKA and see "Grand/Slow March in
the Battle of Prague."
DOWBUSH KOZAK. See note for “Flop-Eared
Mule [1].
DOWD'S FAVORITE. AKA – “Dowd’s Reel,” “O’Dowd’s
Favourite.” Irish, Reel. G Aeolian (Gm) ('A' and 'C' parts) & B Flat
Major ('B' part) [Brody, Vallely]. Standard. AABBCC (Brody): ABC (Miller &
Perron, Vallely): ABCD (Miller & Perron/2006). The melody is a setting of
the Scottish march/strathspey “The
Braes of Bushbie,” perhaps composed by John
Bowie and appearing in his 1789 Collection.
It was said to be a favorite of the great Scots fiddler Niel Gow’s. Reworked as
“O’Dowd’s Favourite” (often called “Dowd’s Favorite”) it was famously recorded
by
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
T:Dowd’s Favorite
M:C|
L:1/8
R:Reel
K:Gmin
DGGA B2BF | D~F3 CFA,F | DGGA BABd |
(3cBA FA BGAF |
DGGA BAGB | A~F3 DFCF | DGGA BABd |
cAfc BGGA ||
B2 dB FBdB | ~B3d cAFA | BABd fdBd |
cAFA BGGA | B2 dB FBdB |
BdBd cAFA | GBAc Bbag | fdcA BGBd ||
g~d3 gbag | f~c3 fgaf |
gddc dbag | fdcd BG G2 | (3gag fa
gbag | (3fgf =eg fdcA |
GBAc Bbag | fd^cd BG G2 ||
DOWD’S FAVORITE [2]. AKA and see “Tom Dowd’s
Favourite.” Irish, Reel.
DOWD’S (JIG). AKA – “Dan Dowd’s.” AKA and see “The Nightingale [6].” Irish, Jig.
DOWD’S NO. 1.
Irish, Reel. Composed by
DOWD'S NO. 9. AKA and see "The Cow with the Crooked Horn,"
"Hugh Gillespie's,"
"Jackson's No. 9,” "Summer in
Ireland." Irish, Reel. D Major. Standard. AABB'. The tune is
attributed to
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Dowd’s #9
T:Summer in
R:reel
D:Matt Molloy & Sean Keane:
Contentment is Wealth
D:Davy Spillane: Shadow Hunter
Z:id:hn-reel-369
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
DFAF GFEF|D2FA dABA|~F3A ~G3B|AGFD
A,B,CA,|
DFAF GFEF|D2FA dABA|~F3A ~G3B|1 AGFD
EDDA,:|2 AGFD EDD2||
|:fd~d2 g2ag|fedf ecA2|fd~f2
gfed|dcde fddA|
dfaf gfeg|fedf ecAF|GABG FAdB|1 AGFD
EDD2:|2 AGFD A,B,CA,||
“Variations of 1st part”
|:DFAF GEFG|FDFA dABG|F2AF G2BG|AGFD
A,B,CA,|
DFAF GEFG|FDFA dABG|F2AF ~G3B|AGFD
EFD2:|
DOWN AMONG THE BANKS OF ROSES. Scottish, Air (4/4 time). A Major. Standard. One part. Howe includes the melody in his section of Scottish tunes. Howe (1000 Jigs and Reels), c. 1867), pg. 156.
X:1
T:Down
Among the Banks of Roses
M:4/4
L:1/8
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A
E | A>B
c>d e2 ee | B>c d>e f3e | a2 ga f2 ec | A2 B>B c3e |
a2 ga f2
e>a | (ec)BA B2 AB | e3e fefc | B4 A2 z2 ||
DOWN
AMONG THE DEAD MEN. English, Air (4/4 time). C Minor
(Chappell): D Minor (Howe). Standard tuning. One part (Howe): AB (Chappell). An
English song that gained great notoriety. The ‘dead men’ of the title are
nothing more sinister that empty bottles rolled under the table, a metaphor
still in use today for empty alcoholic beverage containers. Kidson (
***
Here’s a health to the King and a lasting
peace,
Let faction be damn’d and discord (cease).
***
The tune appears on broadside
sheets, and also in Playford's Dancing
Master (vol. iii, c. 1726), Hogg’s Jacobite Relics (1st
series) and Walsh's Compleat Country
Dancing Master (vol. iii). Chappell (Popular
Music of the Olden Time), vol. 2, 1859; pgs. 173‑174. Howe (1000 Jigs and Reels), c. 1867; pg. 45.
X:1
T:Down Among the Dead Men
M:C
L:1/8
S:Chappell – Popular Music of the Olden Time
(1859)
Z:AK/Fiddler’s Companion
K:Cmin
GG|c2 c=B c2 cG|A2F2 G3G|A2 GG
F2E2|B2B,2 E4|c3=B c2G2|
A2 GF G2G2|A2G2F2E2|B2B,2
E2||G2|c3=B c2d2|e3d e4|EF GA B2B2|
DOWN AMONG THE DITCHES
{OH} (Sils Ameasg Na
Diogaib).
Irish, Air (6/8 time, "lively"). D Major (O’Neill): D Mixolydian
(Stanford/Petrie). Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 295, pg. 51.
Stanford/Petrie (Complete Collection),
1905; No. 508, pg. 128.
X:1
T:Down among the ditches, oh.
M:6/8
L:1/8
R:Air
S:Stanford/Petrie (1905), No.
Z:AK/Fiddler’s Companion
K:D
A | A2d d2e | =c3 A2G | A2d d2e |
=f2A A2G | A2d d2e | =c3 B2A |
G2E A2G | E2D D2 || D | D2A A2B | G3
F2E | D2A A2B |
=c2E F2E | D2A A2B | G3 F2E | =c2A
B2G | E2D D3 ||
DOWN AT THE MOUTH OF
OLD STINSON. Old-Time, Breakdown.
X:1
T:Down at the Mouth of Old Stinson
M:4/4
L:1/8
Q:105
S:Gerry Milnes
Z:Transcribed by Andrew Kuntz
K:D
||{f}a2d2 a/f/a/a/ ba|
M:5/4
L:1/8
f/ab/ ag/e/ f/d/e/d/ B(A A2)|
M:4/4
L:1/8
a2d2 a/f/a/a/ ba|!
f/ab/ ag/e/ f/d/e/d/ B(A|
M:2/4
L:1/8
A>)A Bd
M:5/4
L:1/8
||ff e/d/B/e/ f/d/B A>A Bd|!
M:4/4
L:1/8
ff e/d/B/e/ f/d/B (A2|
M:2/4
L:1/8
A)A/A/ Bd|
M:5/4
L:1/8
ff e/d/B/e/ f/d/B A>A Bd|!
ff e/d/B/e/ f/d/B A4||
DOWN AT THE
X:1
T:Down at the
M:C
L:1/8
N:”Graceful”
R:Air
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
DE | F>EFA BAFD | A>^GAB A2
(dc) | B3c dec>B | B4 z2 (DE) |
F>E F(G/A/) GFED | A>F AB/c/
d3c | B>cde “tr”f2 e>d | d6 || (cd) |
edef g2 (cd) | e(d/c/) dB A2 (Bc) |
d>cde dcBA | B4 z2 (dB) |
(AF)(ED) D2 (FG) | (A>F)(ED) d2
(fe) | (d>c) (3Bcd (A>F) (E>D) | D6 ||
DOWN BACK O’ SHODDY. AKA and see: "The Bridge of Lodi," “Huntsman’s Hornpipe,” “Lochmaben Hornpipe,” “Lord Nelson’s Hornpipe,” "Nelson's (Hornpipe) [2],” “Saxon’s Hornpipe,” “Worcestershire Hornpipe.” English,
Hornpipe.
DOWN BESIDE ME (Sin Sios agus sios liom). AKA and see "Lie up with me and lie
down with me." Irish, Air (cut time). G Major. Standard tuning. AABB.
Brendan Breathnach points out that this composition is probably the first Irish
air with associated lyrics to have appeared in print, along with a relative
called "The Bands of Banna" (in Moffat, Minstrelsy of Ireland,” 4th ed., 1897) and reproduces a
British broadside sheet of the song which appeared c. 1714 with the note "An
Irish song sung by Mr. Abell at his consort at Stationers Hall." Samuel
Bayard writes (in “A Miscellany of Tune Notes,” in Studies in Folklore, pg. 160)
the earliest set he saw was in The
Merry Musician, or a Cure for the Spleen, Pt. 1, printed in London in 1716
(pgs. 327-28), also labelled an Irish song likewise referencing “sung by Mr.
Abel at his Consort at Stationers-Hall.” Words printed with the tune in the
***
Shein sheis shuus lum
Drudenal as fask me;
Core la boe funareen,
A Homon crin a party;
Tamagra sa souga
Ta she Loof her Layder;
Hey ho, rirko,
Serenish on bash me.
***
Several early collections carried
the melody, finds O'Sullivan (1983), including Wright's Aria di Camera (c. 1730), Neale's Celebrated Irish Tunes (c. 1726), Thompson's Hibernian Mus (c. 1786), Holden's Collection of Old-Established Irish Slow and Quick Tunes (1806) and
Holden's Collection of Most Esteemed Old
Irish Melodies, book I (post 1806). A tune by this title has been
attributed in some sources as an early composition of the 18th century harper
Turlough O'Carolan, though it is not mentioned as such by either Bunting or his
editor O'Sullivan. Sources for notated versions: the Irish collector Edward
Bunting variously attributed his sources to "Denis a Hempson, Hugh Higgins
and Mrs. Bristow, who was taught it by Dominic Mungan" (MS. version),
"D. Black, Harper in 1796" (index, 1840 collection) and "from
the performance of Dominic Mungan, the celebrated harper the father of Bishop
Warburton" (introduction, 1840 collection). See also note to “Sin Sios agus sios liom”).
O'Sullivan/Bunting, 1983; No. 38, pgs. 59-60.
X:1
T:Sin sios agus liom
T:Down Beside Me
M:C|
L:1/8
S:Merry Musician, 1716, 327
K:E
e4 g4|e4 B4|=d3d d2e2|c4 B4|e2 e2 ef
g2|B3c B2 G2|c3B c2 AG|F4 E4||
G3 F
G2A2|B4 B4|c3B cd e2|d4 B4|e4 G4 c4 F4|B3c B2 G2|F4 E4||
DOWN BY
X:1
T:Down by
M:C
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 714
Z:AK/Fiddler’s Companion
K:Eb
G/F/ | E>F GA B2 ce | _d>c BF
G2 E d/e/ | (fd) (Bd) e2 fd | B2 ef e3 B/>c/d/e/ |
f>e df e2 dc/B/ | AF EF A2 Bd/e/ | fedc B2 F>A | AG EE E2 ||
DOWN BY THE
DOWN
BY THE BANKS OF THE SWEET PRIMROSES. Irish, Air (3/4 time). C Major
(Joyce): B Flat Major (Stanford/Petrie). Standard tuning. One part. Source for
notated version: "...given to Forde by Patrick MacDowell, R.A., the
distinguished sculptor: born in
X:1
T:Down by the banks of the sweet
Primrose.
M:3/4
L:1/8
N:”Andante”
R:Air
S:Stanford/Petrie (1905), No. 804
Z:AK/Fiddler’s Companion
K:Bb
F BA | Bc/d/ e/d/c/B/ GB | F3 c/d/
ee | d3c B/G/A/B/ | c3 c/d/ e/f/g/f/ |
f>d B(3d/c/B/ GB | F3 c/B/
B/A/G/F/ | B2 f>e d/B/c/B/ | B3 :|
DOWN BY THE OCEAN TIDE. AKA ‑ "Sios Toab an Tias Fairge." Irish, Air (2/4 time,
"with spirit"). G Mixolydian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 351, pg. 61.
X:1
T:Down by the Ocean Tide
M:2/4
L:1/8
R:Air
N:”With Spirit”
S:O’Neill – Music from
Z:AK/Fiddler’s Companion
K:G
D|GA/G/ FG|A=f dc/A/|G/F/G/B/
A{B/A/}G|FD DD|GA/G/ FG|A=f d(3A/B/c/|
dc/A/ GG|G3||d|dd/e/ fg|=fd/c/
BA/G/|G/F/G/B? A/G/F/E/|F2 DD|GA/G/ FG|
A=f d/A/B/c/|dc/A/ GG|G3||
DOWN BY THE OLD MILL (Sios Taob An Sean Muilleann). Irish, Air (4/4 time). G Major.
Standard tuning. AB. Source for notated version: Chicago Police Sergeant James
O’Neill, a fiddler originally from
X:1
T:Down by the old mill
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
G>A | B2d2e3d | eg/f/ ed B2 GA |
B2d2 g>e dB | A6 G>A | B2d2g2b2 |
agfd g2 f>e | d2 BG A2A2 | G6 ||
g2 | f>
g6 ge | dBAG G2 G>A | Bg a/g/f/g/
e2 f>e | d2 BG A2A2 | G6 ||
DOWN BY THE RIVER SIDE (Sios Le Bruac Na Amne). Irish, Slow Air (3/4 time). G
Mixolydian. Standard tuning. AB. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 45, pg. 8.
X:1
T:Down by the river side
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
dc | B2G2G2 | F2G2A2 | B2G2B2 | c4
(Bc) | d2g2g2 | d2e2=f2 | A2F2A2 |
c4 dc | B2G2G2 | F2G2A2 | B2G2B2 |
c4 Bc | d2g2g2 | d2e2=f2 | A2G2G2 | G4 ||
Bc | d2g2f2 | g2a2g2 | =f2d2e2 |
=f2z2d2 | g2f2d2 | c2d2c2 | d2B2G2 | F4 dc |
B2G2G2 | F2G2A2 | B2G2B2 | c4 Bc |
d2g2g2 | d2e2=f2 | A2G2G2 | G4 ||
DOWN BY THE
***
Down by the sally gardens my own true love and I did meet,
She passed the sally gardens a‑tripping with her snow‑white
feet,
She bid me take life easy, just as the leaves fall from each tree,
But I being young and foolish with my true love would not agree.
***
Later W.B. Yeats rewrote the lyrics and published them in 1889. Regarding the poem by Yeats called "An Old Song re-Sung" and later called "Down by the Salley (sic) Gardens," Ó Boyle (1976) is certain that it was derived from the lyrical matrix of a ballad popular in the 18th century called "The Rambling Boys of Pleasure," which tells of rejected love but which ends in a spirit of youthful high adventure. It begins:
***
Ye rambling boys of pleasure give ear unto
these lines I write,
'Tis true I am a rover and in rambling I
take great delight;
I placed my mind on a handsome girl and
often times she did me slight,
But my mind was never easy only when my darling was in my sight.
***
Ó
Boyle finds a handwritten American version of the song from 1785 (now in the
possession of the Baker Memorial Library,
***
It's down in Sally's Garden, O there hangs
Rosies three,
O there I met a fair maid who told to me her
mind so free;
She bids me take love easy, as leaves they do
fall from the tree,
But I being young and Crazy, could not with her agree.
***
Source for notated version: Mr.
James Cogley (Duffrey Hill,
DOWN BY THE
DOWN BY THE SEA. AKA and see "Thios
Cois Ma Fairrge".
DOWN EAST STAR, THE. Fiddler FRLP001, Tom
Doucet (
DOWN HOME BLUES. Old-Time, Country Rag. D Major. Standard tuning. AABCB. Similarities to
fiddler G.B. Grayson’s “Going
Down the Lee Highway,” also known as “Lee Highway Blues.” Source for notated
version: Jimmy McCarroll with the Roane County Ramblers (
DOWN HOME RAG [1]. Old‑Time, Country Rag, Breakdown.
DOWN HOME RAG [2]. Old‑Time, Country Rag,
Breakdown.
DOWN HOME WALTZ. Old-Time, Waltz. D Major. Standard tuning. AABB'. Drew Beisswenger
(2008) finds a similar melody in Samuel Bayard’s Dance to the Fiddle
(1982), an untitled waltz (pg. 567). Source for notated versions: Art Galbraith
(
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Down Home
R:Waltz
M:3/4
L:1/8
Z:Transcribed by Tony Ludiker
K:D
ABc|d2 c2 (3BcB|A2 G2 (3FGF|E3
FGA|B6|
A3 BGA|F3 FEG|F4 FG|F3 ABc|
d2 c2 (3BcB|A2 G2 (3FGF|E3 FGA|B6|
A3 BGA|F3 FEF|D6|A,2 D2 FA|
E3 FGB|A4 AG|F3 Ace|d4 dc|
B3 cde|f3 fed|B3 gfg|e3 ABc|
d2 c2 (3BcB|A2 G2 (3FGF|E3 FGA|B6|
A3 BGA|F3 FEF|(D6|D3)||
DOWN IN ALABAM. AKA and see "Out of the
Wilderness," "The White
Horse [2]." American. Composition credited to J. Warner under this
title. Perhaps the original of the tune now better known as "The
Old Grey Mare (Came Out of the Wilderness)," which begins:
***
The old grey mare, she ain't what she used to be,
Ain't what she used to be, ain't what she used to be.
DOWN IN ROCKINGHAM. AKA and see "Rockingham Cindy."
Old‑Time, Fiddle Tune. The title appears in a list of traditional
DOWN IN
DOWN IN THE CANEBREAK. AKA and see “Cane Brake [1].”
DOWN IN THE
X:1
T:Down in the
M:3/4
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:F
AG|F2A2c2|dc A2FA|G2F2F2|F4zc|d2
defe|d2c2A2|c2F2E2|D4 zc|
d2 defe|d2c2A2|F2A2B2|c4
AG|FGABc_e|dc A2 FA|G2F2F2|F4||
DOWN IN THE NORTH
COUNTRY. AKA ‑ "Farmer's Daughter of
Merry Wakefield." English, Air. The air appears in John Gay's Beggar's Opera (1729) under the title
"What gudgeons are we men." Kidson (1922) says it was a popular 17th
century tune that appears under various names as the vehicle for numerous
songs. Raven (English Country Dance Tunes),
1984; pg. 221.
DOWN ON THE BIG
DOWN ON THE FLOOR (Síos Air An Úrlár). Irish, Air (6/8 time). G Major/A Dorian.
Standard tuning. One part. Source for notated version: "Sent to me
...during 1884 by Mr. Francis Hogan of South Lodge, Brenormore, near Carrick‑on‑Suir,
a good musician and a great enthusiast in Irish music and songs. He must have
been well over seventy years of age. some of these he wrote from memory, and
others he copied from MSS." (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 267, pg. 127.
X:1
T:Down on the floor
T:Síos Air An Úrlár
M:6/8
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:Ador
GEF GEF|G3 G2A|GED EAB|c3c2B|Agf
gaa|ged e2d|cAA GEG|A3A2||
DOWN ON THE L & N. Old‑Time, Breakdown. A "ragtime breakdown" that
DOWN ON YON BANK. Scottish, Country Dance
Tune (4/4 time). The melody appears in the Bodleian
Manuscript, in the Bodleian Library, Oxford, which is inscribed “A
Collection of the Newest Country Dances Performed in Scotland written at
Edinburgh by D.A. Young, W.M. 1740." Emmerson (1972) remarks that the tune
was later called “
DOWN TENMILE. American, Jig.
DOWN
THE
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Down
the
M:6/8
L:1/8
S:Seane
Keane with Dónal Standúin (banjo) – “Down the Back Lane”
K:Dmix
d | cAG A2G | FDE =F2G | A....
DOWN THE BANK. English, Reel.
DOWN THE BANKS WITH
MARY (Sios na Bruacha le
Máire). AKA and see “Loughlin’s Reel.” Irish, Reel. G Major.
Standard tuning (fiddle). AAB. Jackie Small notes: “the first part of the tune
would remind you of the song “The Keel Row”: of course, that air is widely used
as a barndance.” Sources for notated version: a music manuscript given to
Breathnach by fiddler John M. Buckley, and (as “Loughlin’s Reel”) in a
manuscript by Sliabh Luachra fiddle great Pádraig O’Keeffe [Breathnach].
Breathnach (CRÉ V), 1999; No. 133, p.
68.
DOWN THE BRAE. AKA and see “Doon the Brae,” “The Clans,” “The Old Crossroads,” “The Rocks of Brae.” Scottish, March. E Minor.
Standard tuning (fiddle). AA’B. The melody has been a staple march at American
contra dances.
X:1
T:Down the Brae
Z:Jerome Colburn
M:4/4
L:1/8
R:March
K:Em
D2 | E>DEF G>FGA | B2e>e
dBBA | G>FGB AFDE |1 F2E>E DB,B,D :|2 F2E>F E2 ||\
ed | B2 e>f e2 de | f2 e>e
dBB2 | A>GAB d2 de | dBAB dB/A/ BA |\
B2 e>f e2 de | f2 ef/e/ dBBA |
G>FGB AFDE |1 F2 E>F E2 |]**
DOWN THE BROOM. AKA – “Down Through the Broom.” AKA and see "The Crosses of Annagh [1],"
“Paddy Cronin’s [2],” Irish, Reel.
A Dorian. Standard tuning (fiddle). AABB (most versions): AA’BB (Mitchell).
“Crosses of Annagh” is a closely related tune, although the ‘B’ part differs
somewhat. See also Joyce’s “Down through the
Broom” and the related “Corner House
[1].” There are some melodic similarities with the reel “Sligo Maid” (and, in
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Down the Broom
B:Bulmer & Sharpley, Music form
S:Paddy Killoran (fiddle)
M:4/4
L:1/8
Z:Transcribed by Paul de Grae
R:Reel
K:Ador
EA (3AAG A2 Bd|egdg egdc|BGGF G2
GE|(3DED B,D GABG|
EAAG ABcd|eg ~g2 egdB|dg (3ggf
gaba|gedB BA ~A2:|:
a2 ea ageg|~a2 bg agef|~g2 dg
egde|geaf gede|
a2 ea ageg|agbg ageg|dg (3ggf
gaba|gedB BA A2:|
DOWN THE BURN,
X:1
T:Down the Burn,
L:1/8
R:Air
N:”Slow with feeling”
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
d>e|{d}f>edB AFE>D|{D}FA Ad
d3e|~f>efa Adgf|f2e2 z2 d>e|f>edB AFE>D|
FA Ad d3e|f>efa Adf>e|e2d2 z2
f2|edef B3f|edef B3c|dedB Adg>f|f2e2 z3de|
f>gf>d B>cd2|g>ag>e
c>de2|a>ba>f d>efd|Adf>e e2d z|(FED2) def2|
(GFE2) efg2|(AGF2) fg a>g|f>e
f<a d>BAF|Adf>e e2d2||
X:2
T:Down the Burn Davie Lad [1]
M:C
L:1/8
R:Air
N:”Slow”
N:”Modern set by particular desire.”
B:Gow – Sixth Collection of Strathspey
Reels (1822)
Z:AK/Fiddler’s Companion
K:D
~d>e|f>e dB AF “tr”E>D|(FA)
A>d ~d3e|f>e fa Ad g>f|(f2 e2) z2 ~d>e|
f>e dB (AF) “tr”E>D|(FA)
A>d ~d3e|f>e fa (Ad) f>e|(e2 d2) z2 f2|e>d e>f B3f|
e>d ef B3c|d>e dB Ad
g>f|(f2e2) z2e2|f>g (f<d) Bc d2|g>a (ge) cd e2|
a>b af d>e f>d|(Ad) f>e
(ed) z2|F>E D2 ~d2>e f2|G>F E2 ~e>f g2|
A>G F2 f>g a>g|f>e fa
(d<B) AF|(Ad) f>e d2||
DOWN THE BURN
X:1
T:Down the Burn
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book II, pg. 36 (c. 1746)
Z:AK/Fiddler’s Companion
K:F
(F/G/A) | “tr”F3E D>EF>G |
({F/G/}A2) “tr”G>F F2 (AB) | c2F2 (dc)(BA) |
G3AG2 (F/G/A) | “tr”F3E
(D>E)(F>G) | “tr”(AGA)F f3g | agfd (cd)(fc) | A3BA2 :|
|: (F/G/4A/4B/4c/4 | d2(d/e/f)c2d2 |
A2 (A/B/c) (BA)(GF) | “tr”B>ABc (d/c/d/e/ f)A |
G3A G2(F/G/A) | “tr”F3E (DE)(FG) |
“tr”(AG)AF f3g | agfd c(d/e/f)c | A3B A2 :|
DOWN THE GLEN. AKA and see “The Black Swan,” “The Comet [2],” “Doctor Peter’s,” “The Glengesh,” “Minnie Foster,” “Mrs. Minnie Foster.” Irish, Hornpipe. D
Major. Standard tuning. AABB. Allan's
Irish Fiddler, No. 80, pg. 20.
DOWN THE
DOWN THE HILL (Sios an Cnoc). AKA and see “Cover the Buckle,” “Down with the Tithes [1],” “The Humours of Mil(l)town [1].”
Irish, Air (6/8 time). G Minor (O’Neill): G Dorain (Stanford/Petrie). Standard
tuning. ABC (Stanford/Petrie): AABBCC (O’Neill). Perhaps short for “Chasing the Hare Down the
Hill.” Source for notated version: “From P. Carew’s MS” [Stanford/Petrie].
O'Neill (Dance Music of
X:1
T:Down the Hill
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Musicof
Z:AK/Fiddler’s Companion
K:G Minor
G/F/|DGG G2A|B/A/G/A/B/G/
A/G/F/G/A/F/|G/F?D/C/D/E/ F2G|
A{c}BG FDC|DGG G2B|A/G/F/G/A/B/
cAc|d/e/fd cAd|G3 G2:|
|:B/c/|dgg g2a|b/a/g/a/b/g/ afd|cff
f2g|a/g/f/g/a/f/ gfd|
dgg g2a|b/a/g/a/b/g/
a/g/f/g/a/f/|gfd cAd|G3 G2:|
|:=B/d/|gd=B
G>B/d/B/|G>=B/d/B/ c_BA|fcG F>A/c/A/|F/G/AB cBA|
B/A/G/A/B/G/ c/B/A/B/c/A/|dg^f
gab|gfd cAd|G3 G2:|
X:2
T:Down the Hill
Z:id:hn-air-1
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:6/8
L:1/8
Q:1/8=160
K:Ador
B/A/G/ | EAA A3/E/A/B/ | c/B/A/B/c/A/ B/A/G/A/B/G/ | A/G/E/D/E/F/ G2A |
BcA GED | EAA A2B/c/ | B/A/G/A/B/c/ dBd | e/f/ge dBe | A3/B/A/G/ A3/ :|
|: B/c/d/ | eaa a3/e/a/b/ | c'/b/a/b/c'/a/ bge | dgg g2a |
b/a/g/a/b/g/ age/d/ | eaa a3/e/a/b/ | c'/b/a/b/c'/a/ b/a/g/a/b/g/ |
age dBe |[1 A3/B/A/G/ A3/ :|[2 A3/B/A/G/ A^ce
|: [M:9/8] ae^c A^c/e/A/c/ e/A/^c/e/^c/e/ | [M:6/8] gdB G3/B/d/B/ |
G3/A/B/=c/ dcB | c/B/A/B/c/A/ d/c/B/c/d/B/ | ea^g a3/b/c'/b/ |
a=ge dBe |[1 A3/B/A/G/ A^ce :|[2 A3/B/A/G/ A3/ ||
X:3
T:Down the Hill
M:6/8
L:1/8
R:Jig
S:Stanford/Petrie (1905), No. 361
Z:AK/Fiddler’s Companion
K:G Dorian
G/F/ | DGG G2A | B/A/G/A/B/G/
A/G/F/G/A/F/ | G/F/D/C/D/E/ F2G | ABG FDC |
DGG G2B | A/G/F/G/A/B/ c/B/A/B/c/A/
| def cAd | (G3 G2) || B/c/ | dgg g2a |
b/a/g/a/b/g/ afd | cff f2g | abg fdc
| dgg g2a | b/a/g/a/b/g/ a/g/f/g/a/f/ | gfd cA^F |
(G3 G2) || g/^f/ | gdB GBd | gdB GBd
| fcA FAc | fcA FAc | B/A/G/A/B/G/ c/B/A/B/c/A/ |
dg^f gab | gfd cAd | (G3 G2) ||
DOWN THE LANE. Irish, Jig. Composed by the concertina player for the group Nomos,
Niall Vallely.
X:1
T:Down the Lane
R:Jig
C:Niall Vallely
S:Nomos - "Set You Free"
Z:Dennis Gormley
M:6/8
L:1/8
K:D
afd afd|cde Ace|gfe bag|fge dfg|
afd afd|cde Ace|gfe bag|fge d3:||
||:ece Ace|~f3 def| ~g3 efg| ~f3
def|
ece Ace|f3 def|gfe bag|fge d3:||
DOWN THE
DOWN THE PIKE. Old-Time, Country Rag. G Major. Standard tuning. AABB'CC'. Source for
notated version: Lotus Dickey (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 74.
DOWN THE RIVER [1]. Old‑Time, Reel or Breakdown.
DOWN THE RIVER [2] (Sios an Abainn). Irish (originally), Canadian; Double Jig.
X:1
T:Down the River [2]
M:6/8
L:1/8
R:Jig
K:G
c|dBG GBd|cAF FAc|Bcd eag|fed
cBA|dBG GBd|cAF ABc|BdB cAF|AGG G2:|
|:B|Ggf gba|gdc BAG|Ggf bag|fef
g2[Ac]|Gg=f dfd|cAG FGA|=ged cAF|AGG G2:|
DOWN THE ROAD. Irish, Double Jig. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 232, pg.
25.
X:1
T:Down the Road
M:6/8
L:1/8
R:Jig
B:Kerr – Merry Melodies, vol. 4, No. 232 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
EFE c3|BAB cde|EFE c3|BAB cAF|EFE c3|BAB
cde|
fga aec|B3A3::agf edc|f2f f2e|agf
edc|
BcB efg|agf edc|f2f f2e|fga aec|B3
A3:|
DOWN THE ROAD [2] (WENT POLLY). English, Polka. G Major. Standard tuning. AB. A dance adaptation of an English Music Hall song, written and composed by Fred Gilbert, and popularized by singer Gus Elen, who recorded it in 1899. The song is an ode to a costermonger’s pony. Popularized by the London-based English ‘revival’ band Flowers and Frolics in the late 1970’s (the name of the band is taken from rhyming slang). Callaghan (Hardcore English), 2007; pg. 34. Free Reed Records FRR016, Flowers & Frolics – “Bees on Horseback” (1977). Topic TSCD 752, Flowers & Frolics – “Stepping Up” (2004).
T:Down
the Road
M:4/4
L:1/8
Q:1/4=140
R:polka 32
K:G
G3E D2E2|G2G2 GABG|G2G2 GABG|A2F2D4|
A3FD3F|A2A2 ABcA|A2A2 ABcA|d2B2G4|!
B3cd3B|c2B2A2G2|FED2c2A2|F4D4|
E4D4|E4D4|G2G2FGAF|G3DE2F2||!
G2G2GABG|A2G2G2Bc|d2d2defd|e2d2d4|
e2e2d4|e2e2d4|e2e2dBGA|B2B2A4|!
G2G2GABG|A2G2G2Bc|d2e2ddBdg|e2d2d4|
e2e2d4|e2e2d3B|G2G2FGAF|GG3DE2F2||
DOWN THE STREET. AKA and see "Miss
Thornton's {Reel}," "Coming
thro' the Field," "The Boat
Street Lasses," "The Maid
of the Forest," "Lady
Ann Hope [1]," "The
Creeping Mouse," "Spike
Island Lasses [2]," "Salamanca
[2]," "O'Loughlin's
Reel."
DOWN THE
DOWN THE
X:1
T:Down the
M:C|
L:1/8
S:William Vickers’ music manuscript
book, pg. 78 (1770)
Z:AK/Fiddler’s Companion
K:C
C|B2 GB A2 FA|GECE G2c2|B2 GB A2
FA|eDD^F A2:|
|:B|cded cB c2|GECE G3B|defe d^c
d2|A^FDF A2A2|
cded cB c2|GECE G2 fg|afge
fdec|dDD^F A2:|
DOWN THE
X:1
T:Down the
M:C
L:1/8
S:Frank Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:Dmin
de|f2 fd g2 ge|fafd A2 de|f2 fd g2
ge|faec A2:|
|:de|faAB AFED|GBB/A/B defa|ABAF
EDFA|AF A2 z2:|
DOWN THROUGH THE BROOM. AKA and see “Down the Broom.” Irish,
Reel. A Dorian. Standard tuning. AB. Joyce (Old
Irish Folk Music and Songs), 1909; No. 66, pg. 36.
X:1
T:Down Through the Broom
M:C
L:1/8
R:Reel
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:Ador
A2 BG A2 Bd|egfa gedB|G2 BE GEBE|G2 BA
GEDE|A2 BG A2 Bd|
egfg efga|gfge d3 e|gfgB BA A2||a2
ba a2 ba|a2 ba gede|g2 ag g2 ag|
g2 ba gede|a2ba a2 ag|ac’ba
gede|gfge d3e|gfgB BA A2||
DOWN
TO THE WILDWOOD TO SHOOT THE
DOWN WITH THE FRENCH. AKA – “We Will Down with the French.” English, Jig. D Major
(Sumner/Gibbons): G Major (Callaghan). Standard tuning. AABB. Source Gibbons
originally set the tune in the key of ‘C’ major in his manuscript, compiled
about a decade after the final defeat of Napoleon at
X:1
T:Down with the French
M:6/8
L:1/8
R:Jig
K:D
a2f a2f|ded f3|g2f g2f|efd cBA|a2f
a2f|
ded f3|egf edc|d3 D3::e2e f2d|cdB
A3|
dAd fdf|a2f d3|e2e f2d|cdB A3|Bcd
edc|d3 D3:|
DOWN WITH THE MAIL. AKA and see "Tie the Bonnet,"
"Jenny Tie your Bonnet,"
"Upstairs in a Tent [1],"
"The Rambler's Rest," "In and Out (of) the Harbour,"
"Jenny Lace your Tight," "Lassie(s) tie your Bonnet(s),"
"Lizzie's Bonnet," "The Faraway Wedding [1],"
"The Gravelled Walks to
Granny," "The Highland Man that
Kissed his Granny [1]," "The Cottage in the Grove [2]."
DOWN WITH THE TEA
TACKLINGS. AKA and see "The Flags of Dublin," "The Cherry Tree [1]," "Farewell to Erin [1]," "Austin Tierney's."
DOWN WITH THE TITHES
[1]. AKA and see "Blooming Meadows [1]," “Cover the Buckle,” “Down the Hill,” "Hag and Her Praskeen," "Humors of Mil(l)town [1]."
Irish, Double Jig.
DOWN WITH THE TITHES
[2]. AKA and see "The Widow Well Married." Irish,
Jig. G Major. Standard tuning. AABB. "Written from memory. I find a copy
also in a very old MS." (Joyce). The tithes were a much-hated system
supporting the Protestant Church of Ireland, through the mid-19th
century. All landed members of a parish, regardless of denomination or
religious affiliation, were assessed tithes for the maintenance of the church,
generally a tenth of their output. The tithes gave rise to agrarian revolt in
the early 19th century, sometimes taking the form of societies or
gangs such as the Whiteboys, an organized resistance to the system. Joyce (Old Irish Folk Music and Songs), 1909;
No. 28, pg. 17.
X:1
T:Down with the Tithes [2]
M:6/8
L:1/8
R:Jig
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
GBA G2B|def gdB|GBA G2B|AFD D3|GBA G2B|def
gfg|ecA dBG|FDF G3:|
|:d3 dBd|def gdc|Bdd dBG|AFD D3|d3
dBd|def gfg|ecA dBG|FDF G3:|
DOWN YONDER. Old‑Time.
***
The tune
was recorded in
***
The 1934
Skillet Lickers recording was kept in print by RCA until 1960 and sold over a
million copies all told; it was the third best-selling country music record in
its initial release year (backed with "Back Up and Push"). Tony
Russell writes that Gordon Tanner, Gid Tanner's 17 year old son, played the
un-credited fiddle lead at the session. Written by L. Wolfe Gilbert in 1921
(Gilbert also wrote the words to "Waitin' for the Robert E. Lee"), it
was recorded by the Peerless Quartette that year. Rosenbaum speculates this may
have been the source for Clayton McMichen's 1926 version. "Fiddle tunes by
this name have been collected in Ligonier, Pa., and in Iuka, Miss.: see 'Check‑list
of recorded songs in the English language in the Archive of American Folk Song
to July, 1940' (Washington, D.C.: Library of Congress Mucis Division, 1942), I,
86" (Bayard). Art Rosenbaum (1989) relates a story about the name of the
tune from Georgian Uncle John Patterson. Patterson was unaware that the song
was popular before it was known as a fiddle tune. It seems that at a Fiddlers'
Convention held in Atlanta in the 1920's Patterson was with Gid Tanner, Fate
Norris, Lowe Stokes and others of the Skillet Lickers hangers on: "I was
there with the banjo, and I was very small. I just wanted to be around, play
with 'em. They'd say, 'Come on in, Uncle John.' I'd be sort of timid, and set
down, and you talk about banjo, fiddle, and guitar, we'd tear it apart! So I
broke a string. They'd been workin' on this fune for a long time, and nobody
knew what was playin'. And I broke a string, and I says, 'I got to go down
younder and get a string.' And they said, 'That's it, "Down Yonder"!
And I went down on
***
Railroad train,
railroad train, hurry some more,
Put a little steam on
just like never before;
Hustle on, bustle on,
I’ve got the blues,
Yearning for my Swanee
shore,
Brother if you only
knew
You’d want to hurry up too.
***
Summer night, fields
of white, bright cotton moon,
My, but I feel glad,
I’m gonna’ see you all soon.
‘Lasses’ cakes, mammy
bakes, I taste them now.
I can hear the darkies
croon,
I’ll see my sweetie
once more,
There’s lots of
kissing in store.
***
Chorus:
Down yonder someone
beckons to me,
I seem to see a race
in memory,
Between the
Swanee shore I miss
you more and more
Ev’ry day, my mammy
land, you’re simply grand.
Down yonder when the
folks get the news,
Don’t wonder at the
hullabaloos.
There’s daddy and
mammy, there’s Ephraim and Sammy,
Waitin’ down yonder
for me.
***
Sources for
notated versions: "Copied from manuscript of Denune Provance, Peachen,
X: 1
T:Down Yonder
M: 4/4
L: 1/4
K:G
d_dc |:"G"B2 B2|AG A^A|Bd BG-|"G7"Gg f=f|"C"e2 e2|dc cd| eg ec-|
cG =A^A|"G"BG =AG|BG AG|Bd Bd-|1dGA^A|BG AG|BG AG|Bd Bd-|d4|
"A7"^c2 ^c2|BA AB|^ce ^cB-|BAB^c|"D"de
dc-|cB A2|"D7"
CB, A,2:|2"G"dd ^cd|"A7"e^f ge|"D7"f2 a2|"G"ge dB|G4|]
DOWNEYS LOCK. English, Reel. G Minor. Standard tuning. AABB.
X:1
T:
S:G. Huntington, 'William Litten's
Fiddle Tunes (of 1800-02)
Q:1/4=80
M:C|
L:1/8
R:Reel
Z:Transcribed by Bruce Olson
K:D Phrygian
G/A/|BB/c/ A/B/A/G/|F/G/A/B/
c/B/A/B/|d/c/B/A/ B/A/G/F/|\
Gaa:F|B/c/d/f/
g/d/c/B/|A/B/cA/B/c|A/c/d/e/ f/d/c/B/|\
Ac/d/ A/c/c|A/B/c/d/ f/e/c/A/|EE/F/DD|EF/F/
D/d/ d/F/|dDD:|]
DOWNFALL OF O’REILLY. See “Paddy Sean Ban.” Irish, Air (3/4 time). C
Major. Standard tuning. One part. Joyce (Old Irish Folk Music and Songs),
1909; No. 435, pg. 247.
X:1
T:Downfall of O’Reilly
T:Paddy Seán Bán
M:3/4
L:1/8
R:Air
B:Joyce – Old Irish Folk Music
and Songs, No. 435 (1909)
Z:AK/Fiddler’s Companion
K:C
GA|B2A2 FD|FG A2 GA|FD C2C2|C4D2|CD
F2G2|
A2c2d2|c2 cAGF|G4
DC|D2F2G2|A2c2d2|c2 cAGF|
G4 (3GAB|c2A2 FD|FG A2 GA|FD
C2C2|C4||
DOWNFALL OF PARIS, THE (Ceimsios Parais). AKA ‑ "Scrios b‑Paris,"
"Fall of
***
The melody,
however, had not been new to
***
Ah! Ça ira, ça ira, ça ira!
Le Peuple en ce jour sans cesse répète:
Ah! Ça ira, ça ira, ça ira!
Malgre les mutins, tout réussira.
***
After the
***
Ah! Ça ira, ça ira, ça ira!
Les Aristocrat’ à la lanterne;
Ah! Ça ira, ça ira, ça ira!
Les Aristoncrat’ on les pendra.
***
Vic Gammon, in his 1989 article “The
Grand Conversation: Napoleon and British Popular Balladry,” says the “La Ira”
[sic] was adopted as a military march by the British Army, initially as a means
of confusing the enemy on the battlefield [although this last thought has been
challenged by several writers]. There is evidence that the tune and title
“Downfall of Paris” was the product of the West Yorkshire Regiment, dating from
the year 1793. It was played by British army bands during the Peninsualr War
against Napoleon’s armies. Its dance roots gradually resurfaced, and in 1805 it
was printed in O’Farrell’s Pocket Companion for the Uilleann or Union Pipes,
and in 1816 the melody was again printed, this time in England in London
dancing master Thomas Wilson’s Companion
to the Ball Room. Fred somewhat from its military connotations, the dance
tune “Downfall of Paris” became widespread in the
***
In
***
“Downfall
of
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Ça Ira
M:2/4
L:1/8
S:Elson
(1899), from a collection of French cotillions dated 1791
K:G
GG/A/ GG/A/|GG/A/
G2|(G/A/B/c/) (d/B/)(e/d/)|(d/c/)(c/B/) BA|
GG/A/
GG/A/|GG/A/ G2|(G/A/B/c/) (d/B/)(e/c/)|BA G2:|
B(d/B/)
(c/B/)(A/G/)|FA/F/ G/D/B,/G,/|B(d/B/) (c/B/A/G/)|
F/A/B/^c/
d2|d(d/e/) d(d/e/)|d(d/e/) d2|(d/e/)(f/g/) (a/f/)(b/a/)|
(a/g/)(g/f/)
fe|d(d/e/) d(d/e/)|d(d/e/) d2|(d/e/)(f/g/) (a/f/)(b/g/)|fe d2|
d/c/B/A/ ^GG|^GG A>B|c/B/A/G/
FF|FF G2|ABcB|c(d/c/) BG|A/G/F/E/ D2||
X:2
T:Downfall of
M:2/4
L:1/8
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
(3D/E/F/|GG/A/ GG/A/|GA/B/
c/B/A/G/|AA/B/ AA/B/|AA/B/ c/B/A/G/|
BB/A/ BB/A/|B/d/g/f/ e/d/c/B/|AA/B/
AA/B/|A/B/c/A/ G/F/E/D/|GG/A/ GG/A/|
GA/B/ c/B/A/G/|AA/B/ AA/B/|AA/B/
c/B/A/G/|B/A/B/c/ dd/c/|
B/A/B/c/ d/e/d/c/|(3B/c/d/ B/G/
(3A/B/c/A/F/|GGG:|
|:B/c/|dd/B/ dd/B/|edcB|cc/B/
cc/B/|dcBA|BB/A/ BB/A/|B/d/g/f/ e/d/c/B/|
AA/B/ AA/B/|A/B/c/A/ G/F/E/D/|GG/A/
GG/A/|GA/B/ c/B/A/G/|AA/B/ AA/B/|
AA/B/ c/B/A/G/|B/A/B/c/ d/e/d/c/|B/A/B/c/ d/e/d/c/|(3B/c/d/ B/G/
(3A/B/c/A/F/|GGG:|
|:B/c/|de/f/ g/f/e/d/|B/d/g/e/
d/c/B/A/|GGAA|BB AB/c/|de/f/ g/f/e/d/|
B/d/g/e/ d/c/B/A/|G(3A/B/c/
B/G/A/F/|GGG:|
|:(3B/A/G/|FGAB|cBAG|FF/G/ AB|cB AB/c/|de/f/ g/f/e/d/|B/d/g/e/ d/c/B/A/|
G(3A/B/c/ B/G/A/F/|GGG:|
X:3
T:Downfall
of
M:2/4
L:1/8
S:the music manuscript of James Findlay (1841)
Z:AK/Fiddlers’ Companion
K:C
c(c/d/) .c(c/d/)|.c(c/d/)
(f/e/d/c/)|.d(d/e/) .d(d/e/|.d(d/e/) )g/f/e/d/)|.e(e/f/) .e(e/f/)|
.e(e/f/) (a/g/f/e/|.d(d/e/)
.d.d|d/c/B/A/ (G/A/B/G/)||:.c(c/d/) .c(c/d/)|.c(c/d/) f/e/d/c/|
.d(d/e/) .d(d/e/)|.c(c/d/)
(g/f/e/d)|.e(e/f/ (gf)|.ee/f/ (gf)|.e(e/c/) .d)d/B/)|.c.c c2:||: g4|
.g.e.(ag)|.f(f/e/) .f(f/e/)|.f(f/e/)
f2|f4|.f.d(gf)|.e(e/d/) .e(e/d/)|.e(e/d/) d2::(g/a/b/c’/) b/a/g/f/|
(e/f/g/a/) (g/f/e/d/)|c.c/.c/
d.d/.d/|e./e.e/ d2|(g/a/b/c’/) (b/a/g/f/)|(e/f/g/a/) g/f/e/d/|
c.d/.d/
.e.d|c4::.B.c.d.e.|.f.e.d.c.|.B.c.d.e.|.f.e. d2|(g/a/b/c’/) (b/a/g/f/)|
e/f/g/a/ (g/f/e/d/)|c.d/.d/ ed|1 cc
c2:|2 cc’ c’2||
DOWNFALL OF
DOWNFALL OF THE GIN. English, Old Hornpipe (3/2 time). E Minor. Standard tuning. AABB. An
excerpt from this hornpipe by the English composer Henry Purcell (1659-1695)
appears in John Offord's article "
***
William Hogarth. Gin Lane (1751). The
***
Gin
was first imported to
***
Gin became an epidemic. “(It) was said to be the drink of the more sedentary trades,” says David Hughson in his History of London (1806), “…essentially a disease of poverty, so cheap, so warming and brought such forgetfulness of cold and misery. At one time eight million gallons of gin passed the throats of English drinkers, with Londoners themselves consuming fourteen gallons each. As with all drug epidemics, crime, neglect and abuse flourished. Christopher Hibbert wrote in his book The Roots of Evil, “Pity was a strange and valuable emotion…Unwanted babies were left out in the streets to die or were thrown into dung heaps or open drains; the torture of animals was a popular sport. Cat-dropping, bear-baiting and bull-baiting were as universally enjoyed as throwing at cocks.”
***
X:1
T:Downfall of the Ginn
B:Walsh
M:3/2
L:1/8
K:E Minor
E4 G4 B4 | e2 dc BAGF G2 E2 | gfeg fe^df e2 B2| A2 cB AGFE ^D2 B,2|\
E4 G4 B4 | e2 dc BAGF G2 E2 | gfeg fe^df e2 BA| GFEG B,2 ^D2 E4:: \
G4 B4 d4| g2 fe dcBA B2 G2| bagb agfa g2 dc|BAGB D2 F2 E4|\
BA^G=F EdcB c2 A2|AGFE DcBA B2 G2| gfeg fe^df e2 BA| GFEG B,2 ^D2 E4:|
X:2
T:Rondeau from Abdelazer
C:Henry Purcell
M:3/2
L:1/8
N:Play ABACAB
Z:From a transcription by Dr. AJ Doyle
K:D Minor
D4F4A4 | d2 ef gfed ^c4 | a2 df af d2 b4 | g2 ce ge c2 a4 | f2 Bd fd B2 g4 | e2 A^c ec A2 f4 |
efed ^c2 f2 efed | A2d2 ^cded d4 || F4A4c4 | f2 ga bagf e4 | a2 ba g2 ag f2 FG |
A2 BA G2 AG F2 fe | d2 ed c2 dc B2 gf | e2 fe d2 ed c2 ag | f2 gf e2 fe d2 g2 |
c2 f2 efgf f4 || c3d cd e2 fedc | =B3c Bc d2 edcB | c3d cd e2 fe d2 | c6 =B2 A4 |
e3f
ef g2 agfe | f3g fg a2 bagf | e3f ef g2 agfe | f2 g2 ~g4 a4 ||
DOWNFALL OF
X:1
T:Downfall of
M:2/4
L:1/8
R:Sand Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
(3e/f/g/ |: a(g/>.e/)
(f/>.a/)e/>g/ | a/>e/c/>A/ B/>c/A/>c/ | d/>c/d/>e/
f/>g/a/>f/ | e/<c/ z/A/ (B/>.c/)A |
a(a/>e/) f/>a/e/>g/ |
a/>e/c/>A/ B/>c/A/>c/ | ({e}d/>)c/d/>e/ f/>g/a/>f/ |
e/<c/z/A/ B/>c/A ||
E/<c/ z/d/ (c/>.B/)(A/>.B/)
| c/>e/z/c/ (B/>.c/)A | E/<c/z/d/ (c/>.B/)(A/>.F/) |
E/<C/z/A,/ (B,>.C/)A, |
E/<c/z/d/ c/>b/A/>B/ |
c/<e/z/c/ B/>c/A | ({e}d/>)c/d/>e/ f/>g/a/>f/ | e/<c/ z/A/
B/>c/A ||
DOWNFALL OF
DOWNHILL OF LIFE, THE (Claonad Na M-beata). Irish, Slow Air (6/8 time). G Major
(O’Neill): F Major (Stanford/Petrie). Standard tuning. AB. Source for notated
version: “From Mr. Pigot’s MS” [Stanford/Petrie]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 490, pg. 86.
Stanford/Petrie (Complete Collection),
1905; No. 557, pg. 141.
DOWNIE’S HUMOUR.
English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB.
Dance instructions appear in Peter Thompson’s Twenty Four Country Dances for
the Year 1755. The melody first appears in R. Baldwin’s periodical London
Magazine, or Gentleman’s Monthly Intelligencer (London, 1755), followed by
an appearance in John Hinton’s periodical Universal Magazine of Knowledge
and Pleasure (London, 1756). It was picked up for country dance collections
by Charles and Samuel Thompson (London, 1757) and John Johnson, in his 200
Favourite Country Dances, vol. 8 (London, 1758). The dance has been picked
up for Scottish Country Dancing. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 1), 1757; No. 106.
X:1
T:Downies’ Humour
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
D|DFAd|fgaf|ecBA|BGEF|DFAd|fgaf|geaf|d/d/d
d:|
|:f/g/|afdf|edef|dBAF|EDEF|af.df|edef|dBAF|D/D/D D:||
DOWNIE’S RIGADON. Scottish (?), Country Dance Tune (6/8 time). F Major. Standard tuning.
AABB. The ‘A’ part is eight and the ‘B’ part six measures long. McGlashan (Collection of Scots Measures), c. 1780; pg. 23.
X:1
T:Downie’s Rigadon
M:6/8
L:1/8
B:McGlashan – Collection of Scots Measures (c. 1780)
Z:AK/Fiddler’s Companion
K:F
c|f>ga f>ga|g2c cdc|BAB
GcB|AGF F2c|(f/e/f/g/)a (a/e/f/g/)a|(g3 g2)f|
edc Gc=B|(c3 c2)::d/c/|Bdf Bdf|c2B
ABc|dcd ede|fef gab|agf cfe|(f3 f2):|
DOWNING'S REEL (Cor Uí Duibnaig). AKA and see "Timothy Downing," "Peata Mamai [2]," "Mamma's/Mama's/Mammy's Pet [1],"
"The First House in/of
Connaught." Irish, Reel. G Major. Standard tuning. AB. Timothy Downing
was a gentleman farmer and neighbor to the O’Neill family in
X:1
T:Downing’s Reel
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
(3DEF|G2 FG EGDF|G2 BG dGBG|G2 FG
EFDc|Beed BcAB|
G2 FG EFDF|GABc dBAB|G2 FG EFDA|Beed
B2A2||
BAGA Bc d2|Beed Bcd2|BAGA Bcd2|Beed
B2A2|BAGA Bc d2|
DOWNSHIRE HEIGHTS
QUICKSTEP. Scottish, Quickstep. G Major.
Standard tuning. AAB. Carlin (Master
Collection), 1984; pg. 101, No. 173.
X:1
M:2/4
L:1/8
R:March
S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:D
FD DD | DF Ad | cA AA | A/B/c/d/ e/f/g/a/ | fd f/e/d/c/ | Bg gf | e/f/g/e/ dc | dd :|
|: f>g ff | ff a/f/e/d/ | e>f ee | ee a/e/d/c/ | ff/e/ d/c/B/A/ | ^G/A/B/c/ B>e/2c/4 |
d/e/c/e/ B/e/A/e/ | A/e/A/e/ B/e/c/e/ | d/e/c/e/ B/e/A/e/ | A/e/A/e/ B/e/c/e/ |
d/c/d/e/ f/e/f/g/ | b/a/g/f/ f/e/d/c/ | d/c/d/e/ f/e/f/g/ | a/^g/a/b/ a/f/e/d/ |
c/d/e/f/ e/d/c/B/ | A/d/c/B/ A/G/F/E/ :|
DOWNSHIRE MARCH. Irish, March (2/4 time). D Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. 1), c. 1805; pgs. 44-45.
X:1
M:2/4
L:1/8
R:March
S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:D
FD DD | DF Ad | cA AA | A/B/c/d/ e/f/g/a/ | fd f/e/d/c/ | Bg gf | e/f/g/e/ dc | dd :|
|: f>g ff | ff a/f/e/d/ | e>f ee | ee a/e/d/c/ | ff/e/ d/c/B/A/ | ^G/A/B/c/ B>e/2c/4 |
d/e/c/e/ B/e/A/e/ | A/e/A/e/ B/e/c/e/ | d/e/c/e/ B/e/A/e/ | A/e/A/e/ B/e/c/e/ |
d/c/d/e/ f/e/f/g/ | b/a/g/f/ f/e/d/c/ | d/c/d/e/ f/e/f/g/ | a/^g/a/b/ a/f/e/d/ |
c/d/e/f/
e/d/c/B/ | A/d/c/B/ A/G/F/E/ :|
DOWNSHIRE REEL, THE. AKA and see “Doctor
Taylor,” "Tansey's Favourite
[1]," "The Bloom of Youth,"
"Gardiner's Favourite [1]."
Irish, Reel. The tune appears under this title in Goodman Collection and in
Seamus Gordon’s (18126-1896) collection in
DOWNSHIRE REEL [2], THE. English, Reel. E Minor. Standard tuning. AAB.
Peter Kennedy sees relatedness in Willie Clancy’s “Down
the Broom.” Kennedy (Traditional
Dance Music of
DOWNTOWN JIG. Irish, Jig. D Major.
Standard tuning. AABB. Composed by
X:1
T: Downtown Jig
C: © B.Black
Q: 325
R: jig
M: 6/8
L: 1/8
K: D
dcB AFF | dFF BFF | dcB AFE | DEF ABB |
dcB AFF | dFF BFF | ABd efa | gfg ecA :|
ABd e2 d | eaf e2 d | dfb afe | fef dBA |
ABd
e2 d | eaf e2 d | dfb afe | fef dBA :|
DOWSER’S FAVOURITE (Rogha an Chollóra). Irish, Reel. G Major. Standard tuning. AABB. A
second setting of this tune was also collected by Jack Wade under the title “The Four Knocks.” See the related “Stage Reel.” Source for notated version: the
mid-20th century collection of Jack Wade (
DOYLE’S POLKA. AKA and see “Jimmy
Doyle’s (Polka) [2].” Irish, Polka.
_______________________________
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