The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

DOW - DOY

 

 

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]” (Pa.), "Grand March o' Normal [2]” (Pa.), "Governor Jones' March," "Russian March." American, March (4/4 time) or Schottische. USA, southwestern Pa. G Major. Standard tuning. AABB. The tune was named after an old Greene County, Pa., fifer who played it, according to custom if subsequent musicians forgot the original name. The alternate Pennsylvania titles also are titles of convenience rather than the "correct" one. Source for notated versions: Hoge MS (No. 23), Walter Neal (1952), and Steffy (1949) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 152A‑C, pgs. 87‑88 (march version) and No. 419, pg. 397 (schottische version). Howe, Diamond School for the Violin, pgs. 29 and 24.

 

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 County Sligo/New York fiddler Michael Coleman (1891-1945) in 1921. Coleman himself probably obtained the melody from Sligo fiddler John O’Dowd (uncle of Joe O’Dowd {1913-1987}), who also had emigrated to New York and where Coleman heard him play. See also the related tunes “The Rover [4]," “Dublin Lasses,” “Murtough Mulloy” and “Tee Ree Reel;” they have a similar sequence in the first part. “The Curragh Races” and “The Maid in the Cherry Tree” are also related, and like “Dowd’s Favorite,” shift to the relative major in the second part. Interestingly, for a tune with Scottish origins adapted by Irish musicians as a reel, it has returned to a mostly-Scottish tradition on Cape Breton, where it has entered the repertoire through the playing of fiddlers such as Johnny Wilmot (1916-1993) who was thoroughly versed in both Cape Breton Scottish and Irish music styles. Randy Miller (2006) added a 4th part, “based on the original strathspey,” to the usual 3-part version. Sources for notated versions: Steeleye Span (England) [Brody]; fiddler Andy McGann (1928-2004, New York City) [Miller & Perron]; Hughie Gillespie [Bulmer & Sharpley]. Brody (Fiddler’s Fakebook), 1983; pg. 89. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 5. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 22. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 64. Vallely (Play 50 Reels with Armagh Pipers Club), 1982; No. 15, pg. 9 (appears as “Dowd’s Reel”). Chrysalis 0698, Steeleye Span – “Ten Man Mop or Mr. Reservour Butler Rides Again” (1976). Columbia CAL504-1, Paddy O’Brien (195?). Folkways FW 8821, Paddy O’Brien – “Irish Dance Music” (1973). Green Linnet GLCD 3105, Aly Bain - “Lonely Bird” (1996. Appears as “Dowd’s Reel,” learned from Sean Maguire). Gael-Linn, “Michael Coleman 1895-1941.” Green Linnet SIF 3006C, Hugh Gillespie – “Classic Recordings of Irish Traditional Music” (1992). Green Linnet GLCD 3127, Sharon Shannon – “The Best of Sharon Shannon: Spellbound” (1999. Learned from Mirella Murrey, Clifden, Co. Galway). Pegasus Mooncrest 9, Steeleye Span‑ "Ten Man Mop." Philo 200l, "Jean Carignan" (appears as the third tune of 'Cape Breton Medley'. Carignan learned his version from the Andy McGann recording). Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots Are Showing” (2000). Shanachie 29002, "Kathleen Collins." Shaskeen Records OS‑360, Andy McGann ‑ "A Tribute to Michael Coleman" (c. 1965).  Topic TSCD602, Michael Coleman (et al) – “Irish Dance Music” (1973. Originally recorded 1921). Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire Plays,” the first recording of McGuire that Josephine Keegan accompanied on piano). Natalie McMaster – “My Roots are Showing” (1998). Buddy MacMaster – “The Judique Flyer.”

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: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 Sligo fiddler Séamus Dowd, son of Sheila and Joe Dowd. Coleman Music Center CHC 009, fiddler Sheila Dowd – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists).

 

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 Sligo fiddler John O’Dowd, and is often called “O’Dowd’s No. 9.” No one knows if there were eight other tunes or not, and if there were they appear to be forever lost. John O’Dowd was the uncle of Joe O’Dowd (1913-1987), and thus the great-uncle of Seamus O’Dowd of the group Dervish. The tune was recorded in the 1940’s by Donegal fiddler Hugh Gillespie, who may have obtained it from County Sligo fiddler Michael Coleman (Carson, 1996); the former had emigrated to Boston, the latter to New York. Dan Healy and Cierán O`Reilly, on the liner notes of their CD, maintain that the famous chieftains of the O`Dowds from Roslea Castle, who were bards and musicians, are responsible for this tune, despite the fact that the reel form arrived in Ireland long after the demise of the old chieftains and the extinction of the bards! New York musician, writer and researcher Don Meade finds a ‘primitive version’ of the tune in Ryan’s Mammoth Collection under the title “Maid of Athens.” Fiddler James Kelly associates the tune with the playing of renowned accordion player Joe Cooley, from Peterswell, County Galway. Source for notated version: fiddler Jimmy McHugh [Bulmer & Sharpley]. Breathnach (CRÉ II), 1976; No. 165. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 16. Peoples (Fifty Irish Fiddle Tunes), 1986; 23. Taylor (Through the Half‑Door), 1992; No. 23, pg. 18. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996). CEF 115, Frankie Gavin & Paul Brock – “Tribute to Joe Cooley” (1988). Green Linnet SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Outlet 3002, Paddy Cronin‑ "Kerry's Own Paddy Cronin" (1977). Shaskeen ‑ "Atlantic Breeze." Chieftains – “Water from the Well.”

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 Ireland

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

R:Air

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 (Groves) says it dates to the early years of Queen Anne’s reign.  Many songs were set to the air, often appearing on broadside sheets. One was engraved on a half-sheet from around 1715, headed “A Song sung by Mr. Dyer at Mr. Bullock’s Booth at Southwark Fair,” and begins:

***

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|

FG AB c2c2|c4 B4|A4 G4|ed cB c2F2|G2G2 C2||

 

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. USA, West Virginia. D Major. Standard tuning. AB. John Hartford notes that the area around Stinson Creek in Calhoun County, West Virginia, was at one time a very rough place and best avoided (although it was near Old Laury Hick’s place, where Wilson Douglas used to hear the regionally famous fiddler Ed Haley play). Gerry Milnes reports that source Douglas placed the tune at the Mouth of Stinson Creek in Clay County, and recalled that there was a picnic attended by the ‘woodhicks’ there during which part of the entertainment was a wrestling match. Something went amiss and one of the participants was severely injured and died the next day. This ‘crooked’ tune is supposed to reflect the sadness of the event. Marimac AHS#1, Wilson Douglas. Rounder 0392, John Hartford - “Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard) {1996}. Shanachie Records 6040, Gerry Milnes & Lorriane Lee Hammond – “Hell Up Coal Holler” (1999. Learned from West Virginia fiddler Wilson Douglas).

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 SEASIDE (Sios Taob Na Mara). Irish, March or Air (4/4 time). G Major (Roche): D Major (O'Neill). Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 287, pg. 50. Roche Collection, 1982; vol. 3, pg. 81, No. 214.

X:1

T:Down at the Seaside

M:C

L:1/8

N:”Graceful”
R:Air

S:O’Neill – Music of Ireland (1903), No. 287

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 London publication, apparently some kind of phonetic version of Irish Gaelic, go:

***

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 NEWCASTLE SHORE. Irish, Air (4/4 time). E Flat Major/Mixolydian. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 714, pg. 179.

X:1

T:Down by Newcastle shore
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 BACK LANE. Irish, Double Jig. Ireland, County Sligo. A Dorian/G Major. Standard tuning. AAB. Source for notated version: fiddler Johnny Henry (b. 1922, Cloonlairn, Doocastle, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 148.

                       

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 Belfast 1799: died in 1870. He gave a great number of airs to Dr. Petrie also, who has published many of them in his 'Ancient Music of Ireland': and many are included in the Stanford-Petrie collection. He was an ardent collector of Irish music, and drew his stores from every part of the country" (Joyce). Source for notated version: “From Mr. MacDowell, Dec., 1859" [Stanford/Petrie]. Joyce (Old Irish Folk Music and Songs), 1909; No. 519, pg. 281. Stanford/Petrie (Complete Collection), 1905; No. 804, pg. 201.

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 Ireland (1903), No. 351

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 County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 159, pg. 28.

X:1

T:Down by the old mill

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 159

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>ede fgaf | gfed d3g | fgab gfed |

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 Ireland (1903), No. 45

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 SALLY GARDENS [1]. Irish, Air (4/4 time). C Major. Standard tuning. One part. Not the tune usually associated with the words in modern times (which is the same as the ballad "The maids of Mourne shore"). It is an "old" song, well known in South Leinster according to Darley & McCall, was set to the tune beginning:

***

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, Hanover, New Hampshire) which goes:

***

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, Enniscorthy, Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Traditional Irish Music), 1914; No. 33, pg. 14. RCA 5798-2-RC, "James Galway and the Chieftains in Ireland" (1986).

 

DOWN BY THE SALLY GARDENS [2]. AKA and see “Maids of the Mourne Shore,” “The Mourne Shore [2],” “Sally Gardens [2].” Irish, Slow Air (4/4 time). D Major. Standard tuning. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 93, pg. 80.

 

DOWN BY THE SEA. AKA and see "Thios Cois Ma Fairrge".

 

DOWN EAST STAR, THE. Fiddler FRLP001, Tom Doucet (Nova Scotia/eastern Mass.) - “The Down East Star.”

 

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 (Tenn.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 43.

 


DOWN HOME RAG [1]. Old‑Time, Country Rag, Breakdown. USA, Missouri. A Major. Standard tuning. AABB. Christeson reports that the Herman Brothers "Hell Among the Yearlings" (Broadway 8165) is this tune. However, there are other “Down Home Rags” in Missouri, unrelated tunes. Drew Beisswenger (2008) also finds that a ragtime piece composed in 1911 by Wilbur Sweatman by the title is also unrelated. Sources for notated versions: Tom and Eva (St. Joe, Missouri radio personalities, 1932) [Christeson]; R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 14. Marimac 9017, Vesta Johnson ‑ "Down Home Rag."

 

DOWN HOME RAG [2]. Old‑Time, Country Rag, Breakdown. USA, Missouri. G Major (‘A’ part) & D Major (‘B’ part). Standard tuning. AA’B. Unrelated to “Down Home Rag [1].” Source for notated version: Gary Johnston (1937-, Nevada, Mo.), learned from Lyman Enloe [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 78. Lyman Enloe – “Fiddle Tunes I Recall.” Rounder CD 0436, Gary Johnston – “Traiditional Fiddle Music of the Ozarks, vol. 2” (2000).

 

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 (1909-1993, near Springfield, Mo.), learned in the 1960’s from the playing of local fiddler Warren Dykes and from a Canadian version [Beisswenger & McCann, Phillips]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 38. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 253. Rounder Records 0133, Art Galbraith – “Dixie Blossoms” (1981).

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 Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

DOWN IN TENNESSEE BLUES. Old‑Time, Blues. USA. Banjo solo by Homer Davenport, who learned it from Bessy Smith. Gennett 3022, and SVT 4009 (78 RPM), Homer Davenport.

           

DOWN IN THE CANEBREAK.  AKA and see “Cane Brake [1].”

 

DOWN IN THE LOWLANDS. Irish, Air (3/4 time). F Major. Standard tuning. One part. "Mr. MacKenzie says:‑‑'This is as I always heard it sung by Irish girls. The other setting I sent you was the Scotch style of singing it.'" (Joyce). Source for notated version: “Mr. J. McKenzie of Newtownards, a great lover of Irish Music and of the corresponding folk songs, sent me the (air) about 30 years ago” (i.e. 1875). Joyce (Old Irish Folk Music and Songs), 1909; No. 320, pg. 150.

X:1

T:Down in the Lowlands

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 SANDY. American, Jig. USA, southwestern Pa. D Major. Standard tuning. AB. Bayard (1981) has identified the 'B' part of this tune as the same as those of "New Rig'd Ship" and the less common "Catch Club Jig," and the 'A' part as the second section of the opening jig figure in the Irish quadrille "Off to (the) Skelligs." Source for notated version: James Morris (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle, March to the Fife), 1981; No. 492, pg. 455.

           


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 Alabama fiddler Charlie Stripling (1896‑1966) composed for round dancing.

           

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 “Roy’s Wife of Aldivalloch,” “a very popular air, earlier known as ‘The Ruffian’s Rant.’”

         

DOWN TENMILE. American, Jig. USA, southwestern Pa. D Major. Standard tuning. AABB. Not the "Ten Mile" in Ford. Bayard (1981) thinks the name comes from Tenmile Creek or Run, which flows in Greene County, Pa. An alternate Pennsylvania title may have been "Nine Mile Down Tenmile," though he never heard the tune so named. Source for notated version: Hoge MS., No. 11 [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 600, pg. 528.

         

DOWN THE BACK LANE. AKA and see "Boring the Leather [2]," "Come with me now," "The Connaughtman [2]," "The Humours of Ayle House,” "The Kilfinane Jig," "The Shoemaker's Fancy," "Tolladh an Leathair,” "When you go home.” Irish, Slide (12/8 time) or Double Jig (6/8 time). G Major. Standard tuning (fiddle). ABB’ (Moylan): AABB (Mitchell). This was Willie Clancy’s title for the jig usually known as “Boring the Leather.” “Humours of Ayle House,” “Kilfinane Jig” and “Shoemaker’s Fancy” are related tunes. Sources for notated versions: accordion player Johnny O’Leary (Slaibh Luachra region of the Cork-Kerry border), recorded at Na Piobairi Uilleann, October, 1984 [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 6. Cotter (Traditional Irish Tin Whistle Tutor), 1989; No. 49. Harker (300 Tunes from Mike Rafferty), 2005; No. 228, p. 70. Mitchell (Dance Music of Willie Clancy), 1993; No. 103, p. 90. Moylan (Johnny O’Leary), 1994; No. 147, p. 86. Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie Clancy, vol. 1” (1980). CCE, Seane Keane, Seamus Connolly, Joe Burke et al – “The Rambles of Kitty” (1967).

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 Back Lane

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. England, Northumberland. D Major. Standard tuning (fiddle). AABBCC. Seattle (William Vickers), 1987, Part 3; No. 502.

         

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 Cape Breton, “Old Peter’s Reel”), however, whether the tunes are cognate is debatable. Paddy Killoran (1904-1965), originally from Ballymote, County Sligo, recorded the tune in November, 1937, in New York for Decca Records, famously pairing it with “The Gatehouse Maid [1].” Indeed, the medley is still a common one in sessions today. “Down the Broom” has been called part of the core South Sligo repertoire. An early recording of “Down the Broom” was by Ballybay, County Monaghan, piper Robert William “Willie” Clarke (1889-1934) for Columbia Records of London in 1928, for a series of records entitled “The Pipes of Three Nations” (which included a Highland piper and a Northumbrian small-piper). Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Paddy Killoran [Bulmer & Sharpley]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]; a c. 1960 recording of Seán Ryan & P.J. Moloney [Miller & Perron]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Brody (Fiddler’s Fakebook), 1983; p. 90. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 1. Carlin (Master Collection), 1984; p. 73, No. 113. Cotter (Traditional Irish Tin Whistle Tutor), 1986; 64. Harker (300 Tunes from Mike Rafferty), 2005; No. 144, p. 44. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 28. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; p. 65. Mitchell (Dance Music of Willie Clancy), 1993; No. 77, p. 73. Moylan (Johnny O’Leary), 1994; 340. Taylor (Music for the Sets, Blue Book), 1995; p. 17. Coleman Center CD CC004, Seamus Quinn & James McDonagh – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Decca 12145 (78 RPM), Paddy Killoran (1937). Green Linnet 1016, The Irish Tradition‑ "The Corner House." Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew” (1993). Philo 1051, Boys of the Lough ‑ "Good Friends, Good Music" (1977). Rounder 7006, Theresa and Marie MacLellan (Cape Breton) ‑ "A Trip to Mabou Ridge."

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 Ireland, 1:11

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, DAVIE LAD [1]. Scottish, Slow Air. D Major. Standard tuning. One part. MacDonald’s setting is a reprint of Gow, who remarks that his is a “Modern set by particular desire.” Gow (Sixth Collection  of Strathspey Dances), 1822; pg. 23. MacDonald (The Skye Collection), 1887; pg. 182. Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).

X:1

T:Down the Burn, Davie Lad [1]

M:C

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 DAVIE LAD [2]. Scottish, Slow Air (4/4 time). F Major. Standard tuning. AABB. A tune by this name was printed by Oswald/Stuart (Music for the Teatable Miscellany). Robert Crawford and Robert Burns wrote verses to this version of the air. McGibbon (Scots Tunes, book II), c. 1746; pg. 36.

X:1

T:Down the Burn Davie [2]

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 GROVES. AKA and see "The Castlecomer Lasses," "Erin's Groves," "The Gay Fellow's Favourite," "The Good Fluter," "The Green Fields of Erin [1]," “The Green Groves of Erin [1],” "The Groves of Erin," "The Heather Breeze," “The Low Highland,” "Mary in the Mall," "Miss Shaw's Reel," “Miss Stewart of Grantully [2],” “Padaí Bhilli na Rópaí’s Highland,” "The Queenstown Lasses."

         

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 Ireland: 1001 Gems), 1986; No. 995, pg. 171. Stanford/Petrie (Complete Collection), 1905; No. 361, pg. 91. Green Linnet, Johnny B. Connolly – “Bridgetown.” Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

X:1

T:Down the Hill

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Musicof Ireland: 1001 Gems (1907), No. 995

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 OHIO. American, Song Tune. AKA and see "Captain Jinks."

         

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. USA, southwestern Pa. G Major. Standard tuning. AABB'. Source for notated version: Charles F. Cook (Somerset County, Pa.), via the Hoge MS. [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 283, pg. 236.

 

DOWN THE RIVER [2] (Sios an Abainn). Irish (originally), Canadian; Double Jig. Canada, Cape Breton. G Major (O’Neill): G Mixolydian (Cranford). Standard tuning. AABB (O’Neill): AA’BB (Cranford). The tune was played by Angus Chisholm and is rendered by current Cape Breton fiddlers in the mixolydian mode. Cranford (Jerry Holland’s), 1995; No. 262, pg. 76. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 336, pg. 70. Boot Records, Jerry Holland - “Master Cape Breton Fiddler” (1982).  Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton, N.S.) - “In Jig Time!” (1995).

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 TANNOCH ROAD. Scottish, Jig. D Major. Standard tuning. AABB (Perlman): AA'BB (Hunter). A mid‑20th century composition by fiddler Adie Harper of the Wick Scottish Dance Band. Four miles out of Wick lies the district of Tannoch, where Adie went to school. Perlman (1996) notes that Cape Breton fiddler Buddy MacMaster introduced the tune to Cape Breton and PEI fiddlers. Source for notated version: Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]. Hunter (Fiddle Music of Scotland), 1988; No. 291. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 133.

         

DOWN THE WAGON WAY [1]. AKA and see "The Beer Stains." English, Reel. England, Northumberland. C Major. Standard tuning. AAB. The tune appears in the 1770 music manuscript book of Northumbrian musician William Vickers, about who unfortunately little is known. The alternate title is Vickers’. The tonality is odd. Seattle (William Vickers), 1987, Part 2; No. 271.

X:1

T:Down the Wagon Way [1]

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 WAGON WAY [2]. English, Country Dance Tune (4/4 time). England, Northumberland. D Minor/F Major. Standard tuning. AABB. Frank Kidson (1890) identifies this as a Northumbrian pipe tune which he had from a MS collection dated about 1816 “by some person residing at Darlington or in the north.” There evidently was once a song called “Down the Wagon Way.” Kidson (Old English Country Dances), 1890; pg. 21.

X:1

T:Down the Wagon Way [2]

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 BUFFALO. AKA and see "Citaco." Old‑Time, Breakdown. USA, North Ga. This was the name for the tune as first learned by Skillet Licker's fiddler Lowe Stokes (N. Ga.).

         

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 Waterloo, and the subsequent end of centuries of conflict between England and France. It appears in other fiddlers’ manuscripts of the era, however, including John Winder (Wyresdale, Lancashire, 1789), James Winder (Wyresdale, Lancashire, 1835), John Fife (Perthshire, 1770), the Browne family manuscripts (Troutbeck, Cumbria), and Joshua Jackson (near Harrogate, north Yorkshire, 1798). The melody also appears in the printed collections of Walsh’s Fourth Book of the Compleat Country Dancing Master (London, 1747, pg. 111), Bride’s Favourite Collection of 200 Select Country Dances, Cotillons (London, 1776, published by Longman, Lukey& Broderip), and Charles and Samuel Thompson’s Compleat Collection of 200 Country Dances, vol. 4 (London, 1780, pg. 9). Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Callaghan (Hardcore English), 2007; pg. 57. Raven (English Country Dance Tunes), 1984; pg. 30. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 18.

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. Ireland, Munster. G Major. Standard tuning. ABC. Source for notated version: “A Munster jig from F. Keane” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 924, pg. 235.

 


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. USA; Ga., Alabama, Mississippi, Pennsylvania. C Major (Bayard): G Major (Phillips, Rosenbaum). Standard tuning. One part. One of the most popular old‑time songs ever recorded.

***

The tune was recorded in Atlanta by the Scottdale String Band, named in honor of the mill village of Scottdale, near Atlanta, and home to the band members (Wayne W. Daniel, Pickin’ on Peachtree, 1990). Their first recording was made for the OKeh studios on October 28, 1926, and between that date and 1932 the group recorded nearly thirty sides (all but two—released by Paramount—for OKeh). Bill Rattray wrote about the group in Old Time Music magazine (“Scottdale Boys,” OTM, Summer, 1971) and said the group’s records sold “well, or at least fairly well,” and that “their instrumentation was profoundly different from that of the other, more well-known Georgia bands like the Skillet-Lickers, and gave their music a more sophisticated sound that that of the ‘rough North Georgia’ school.” The group’s repertoire varied more than usual for string bands from the region, and included “a wider range of material including tunes used chiefly by the jazz bands…the more traditional breakdowns, songs and ballads are hardly featured at all.” [quoted by Daniel]. The Scottdale String Band’s recording was quickly followed by one by another north Georgia group, (Clayton) McMichen’s Melody Men, on Nov. 6, 1926 (Columbia 15130-D).

***

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 Decatur Street and got a string to go on the banjo." It was recorded by Herbert Halpert for the Library of Congress from the playing of Tishomingo County, Mississippi, fiddler John Hatcher in 1939. Commercial 78 RPM recordings include Shore's Southern Trio, Hershal Brown and His Washboard Band, McMichen's Melody Men, Doc Roberts, The Scottdale String Band, the latter-formation (1934) Skillet Lickers.   The following lyrics were sung by the Peerless Quartette:

***

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 Natchez and the Robert E. Lee,

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, Pennsylvania, September 21, 1943. Learned from traditional players about Dunbar" [Bayard]; Gordon Tanner (Gwinnett County, Ga.) [Rosenbaum]; Scotty Stoneman [Phillips]. Bayard. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 44. Rosenbaum (Folk Visions and Voices: Traditional Music and Song in North Georgia), 1989; pg. 112. Bluebird 5488A or B‑5562 (78 RPM), Gid Tanner and His Skillet Lickers (1934). Columbia 15130‑D (78 RPM), McMichen's Melody Men (Ga.). Folkways FTS 31089, Gordon Tanner (Ga.). Folkways FA 2337, “Clark Kessinger Live at Union Grove.” Superior 2784 (78 RPM), 1930, Tweedy Brothers (W.Va. brothers Harry, Charles, and George who played twin fiddles and piano). Recorded but unissued by the Stripling Brothers (Ala.) for Decca in 1934.

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"DE DC-|

CB, A,2:|2"G"dd ^cd|"A7"e^f ge|"D7"f2 a2|"G"ge dB|G4|]

                             

DOWNEY’S (POLKA). AKA and see “Dálaigh’s No. 4,” “Kerry No. 2,” “Séamus Cussen’s [1].”

                             


DOWNEYS LOCK. English, Reel. G Minor. Standard tuning. AABB. Huntington notes that ship's fiddler Litten's sub‑title for this tune is "The Lock Downey Pissed Through." He thinks it could be one of Litten's original numbers. The title’s meaning (with the curious sub-title!) was cleared up by the late Bruce Olson, who linked it with a song called “Onagh’s Lock/Oonagh’s Waterfall/Una’s Lock.” The song was also printed as “Darby’s (or Downey’s) Key to Una’s Lock,” and “The Lock that Scatters Oonagh’s Piss,” and Litten’s tune appears to be a variant title. See note for “Onagh’s Lock.” Huntington (William Litten's), 1977; pg. 13.

X:1

T:Downey's Lock, or The Lock that Downey Pissed Through

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 Paris." AKA and see "Hae You Ony More Ado" (Shetland), "Mississippi Sawyer [1]" (USA).  Irish, Hornpipe or Set Dance; English, Hornpipe; Old‑Time, Breakdown; Scottish, March. G Major (Johnson, Kerr, O'Neill): D Major (Ashman, Bruce & Emmett, Old‑Time versions): C Major (Winstock). Standard. AABCC (O'Neill/Krassen): AABBCC (O’Farrell): ABCD (Johnson): ABCCDD (O'Neill/1915): AABBCCDD (Bruce & Emmett, O'Neill/1001): AA'BBCCDD (Sweet): AA’BBCC’DD” (Kerr): ABBCDDEE (O'Neill/1850). Better known in the American South and among modern American fiddlers as "Mississippi Sawyer [1]," the melody was called "The Downfall of Paris" in Europe and this title was at one time retained in parts of Tennessee and the Ozarks. According to Winstock (1970), the tune's popularity may have surpassed that of the famous "The British Grenediers" in its day. It was played early in the 19th century when the allies entered Paris after the battle of Waterloo, but "on that occasion (the British commander) Wellington sharply put a stop to it, and the offending Royal Regiment played instead 'Croppies Lie Down.' Apart from being played by military bands on every conceivable occasion, its 'one tormenting strum, strum, strum' was the delight of amateur pianists throughout Britain" (Winstock, 1970; pg. 105).

***

The melody, however, had not been new to France in Wellington’s time. Famously, it had been the vehicle for the song "Ça Ira," or “Ah ca ira” (‘les aristocrates a la lanterne’, or, roughly, ‘Lets go lynch the aristocrats’} sung by the first and bloodiest French Revolutionaries in the late 1780's. Elson (The National Music of America, 1899) reports: “It was sung to many a scene of massacre and bloodshed; it was warbled and trilled out when the mob carried the head of the beautiful Princess de Lamballe, on a pike, through the streets of Paris, and thrust it up for the unhappy queen to look at.” Despite this gruesome association the melody began innocently enough as a light vaudeville piece composed by one M. Bécourt, a side-drum player at the Opéra. It soon proved popular as a contra-dance melody and frequently appeared in the French cotillions prior to its being seeped in blood. Interestingly, especially in view of the tune’s later importation to America, the title was suggested by none other than Benjamin Franklin who used the phrase (which translates as “It will succeed”) in connection with the prospects of the American Revolution. General Lafayette took Franklin’s expression and passed it to a street singer named Ladré as a good refrain for a popular song. "Ça Ira” first appeared innocently enough as:

***

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 Paris mob burst forth in its fury, carried the Tuileries by assault and massacred the nobles in prison, these words appeared:

***

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 British Isles, where it appears in collections of Irish music as well as in southern English village musicians’ tune books. It was one of the official set dances (for dance competitions) in Ireland. Farther afield, a fairly elaborate version in the key of ‘C’ appears in the music manuscript book of James Findlay, dated 1841. Findlay was originally from Penpont, Dumfrieshire, Scotland, but emigrated with his brothers to Australia, where he settled on a farm in the Upper Murray at Towong Upper. His manuscript was found in an old sea chest at the family homestead by his grand-daughter, Ada Findlay. In addition “Downfall of Paris” (or “The Fall of Paris”) can be found in a number of British musicians’ manuscripts from the 19th century, including John Clare (Helpstone, Northants, 1820), Charles James Fox (Beverley, east Yorkshire, 1830), James Nuttal (Rossendale, east Lancashire, 1830), the Welch family manuscripts, John Moore (Shropshire), the Rev. Robert Harrison (Brampton, Cumbria, 1820), Wukkuan Tildesley (Swinton, Lancashire, c. 1860), William Clarke (Feltwell, Norfolk, 1858), the Staffs manuscript (anonymous, Staffordshire, 1820), John Hall (Northumberland, 1833), and others. Early published versions can be found in Cahusac’s Compleat Tutor for the German Flute (London, 1798) and Wheatstone’s Clarinet Preceptor (London, c. 1801).

***

In America it appears in the copybook of flute player R.B. Washburn (1816-20), Abel Shattuck (Colrain, Mass., c. 1801-182?), and John Niles (1813). Early published American versions include those in Saltator’s Treatise on Dancing (Boston, 1807) and Samuel Holyoke’s Instrumantal Assistant (Exeter, N.H., 1807).

***

“Downfall of Paris” was played as a Tattoo during the American Civil War, signalling bed-time and “lights out” in a military camp. Even today it is a standard in American fife-and-drum repertoire. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published by 1954. Some ‘crooked’ versions are extent in the United States (see Charlie Acuff’s version which has 15 beats in the ‘A’ part). See note for “Mississippi Sawyer” for more on the American variant. Occasionally the “Downfall of Paris” title was retained in American old-time tradition. Sources for notated versions: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; Chicago fiddler Edward Cronin [O’Neill]. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 6, ; pg. . Ashman (The Ironbridge Hornpipe), 1991; No. 28, pg. 8. Bruce & Emmett’s Drummers’ and Fifers’ Guide, 1862; pgs. 44-45. Callaghan (Hardcore English), 2007; pg. 92. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 18. Kerr (Merry Melodies), vol. 4, No. 372, pg. 40. O’Farrell (Pocket Companion), c. 1805; pgs. 22-23 (appears as “Fall of Paris”). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 395, pg. 189. O'Neill (Krassen), 1976; pg. 165. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1562, pg. 289. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 957, pg. 164 (set dance version). Sweet (Fifer’s Delight), 1964/1981; pg. 44. Thomas and Leeder (The Singin’ Gatherin’), 1939; pg. 59. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; No. 32, pgs. 30-31. Wilson (Companion to the Ball Room), 1816; pg. 124. Winstock (Music of the Redcoats), 1970; pg. 106. Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976). Charlie Acuff. Rounder Records, Darley Fulks – “Traditional Fiddle Music of Kentucky, vol. 2: Along the Kentucky River” (1997. An unusual version set in waltz time). Wildgoose Records, Rattle on the Stovepipe – “8 More Miles” (2005).

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 Paris

M:2/4

L:1/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 957

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 Paris

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 RICHMOND. Old-Time, Breakdown. In the repertoire of West Virginia fiddler Ernie Carpenter. It is apparently unrelated to the similar-sounding “Falls of Richmond.” Voyager VRCD-354, Hart & Blech – “Build Me a Boat.”

         

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 "Lancashire and Cheshire Hornpipes" (English Dance and Song, Summer 1990, 52{2}). The melody appears in Walsh’s Third Book of the Most Celebrated Jiggs, Lancashire Hornpipes, Scotch and Highland Lilts, Northern Frisks, Morris and Cheshire Rounds (c. 1730). Supposedly Purcell had the tune from John Walsh, also his publisher, and incorporated it into his Abdelazer rondeau (1695).

***

William Hogarth. Gin Lane (1751). The British Museum. 

***

Gin was first imported to England from the Netherlands in the early 18th century, and quickly was established as the chosen intoxicant of the masses. Made from cheap corn and fermented juniper berries, gin was partly to blame for the increasing epidemic of crime in London, along with a lowered life-expectancy. Gin mills, places where gin was distilled and sold, frequently advertised “Drunk for a penny, dead drunk for two-pence, clean straw provided.” Unfortunately, beer, wine and sherry, considered a more healthful alternative (at least by Hogarth, who drew the antithesis to his Gin Lane depicting healthy beer drinkers in a clean, safe neighborhood, save for the ramshackle shops of the undertaker and the pawn broker, driven to poverty by the prosperity of the sudsy populace).

***

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 WATER STREET [1]. American, Jig. A Major. Standard tuning. AB. There are Water Streets in both New York and Boston, cities in which lived contributors to the Ryan collection. Cole (1000 Fiddle Tunes), 1940; pg. 80. Ryan’s Mammoth Collection, 1883; pg. 113.

X:1

T:Downfall of Water Street [1]

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 WATER STREET [2]. AKA and see "Pull Down the Sheets." American, Reel. USA, southwestern Pa. G Major. Standard tuning. AABB. Bayard was unable to trace this reel to old country sources. He notes the tendency for Pennsylvania fiddlers to sharp the fourth of the major scale, "possibly after the example of fifers, who do it even more constantly." Source for notated version: James Bryner (elderly fiddler from Fayette County, Pa., 1960) [Bayard]. Bayard (Dance to the Music), 1981; No. 163B, pg. 101.

         

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 County Cork. He taught the young Francis O’Neill the rudiments of flute playing. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 591, pg. 108. 

X:1

T:Downing’s Reel

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 591

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|

Beed Bc d2|{F}G2 GB A2 Ac|Beed B2A2||

         

DOWNSHIRE HEIGHTS QUICKSTEP. Scottish, Quickstep. G Major. Standard tuning. AAB. Carlin (Master Collection), 1984; pg. 101, No. 173.

                               

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

T:Downshire March

M:2/4

L:1/8

R:March

S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)

Z:AK/Fiddler’s Companion

K:D

A | FD DD | DF Ad | cA AA | Ac eg | fd d/e/d/c/ | Bg gf | e/f/g/f/ ed | c/d/e/d/ c/B/A/G/ |

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

T:Downshire March

M:2/4

L:1/8

R:March

S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)

Z:AK/Fiddler’s Companion

K:D

A | FD DD | DF Ad | cA AA | Ac eg | fd d/e/d/c/ | Bg gf | e/f/g/f/ ed | c/d/e/d/ c/B/A/G/ |

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 Trinity College, Dublin.

 

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 Britain and Ireland: Reels and Rants), 1997; No. 37, pg. 11.

         

DOWNTOWN JIG. Irish, Jig. D Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 353.

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 (County Monaghan), who noted: “Pat Ward’s Brother, a fiddler, was called the Dowser Ward. This was one of his favorite reels. Pat--not knowing its name--called it ‘Dowser’s Favorite’” [Breathnach]. Breathnach (CRÉ IV), 1996; No. 207, pg. 94.

         

DOYLE’S POLKA. AKA and see “Jimmy Doyle’s (Polka) [2].” Irish, Polka. Ireland, Sliabh Luachra region of the Cork/Kerry border. D Major. Standard tuning. AABB. Mallinson (100 Polkas), 1997; No. 76, pg. 29. Globestyle Irish CDORBD 085, Johnny O’Leary - “The Rushy Mountain” (1994. Reissue of Topic recordings).

 

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 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.