The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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DUN - DYING

 

 

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]

 

 

 


DUN DO SHUILE. AKA and see "Close Your Eyes" (Lullabye).

         

DÚN NA SÉAD (Fort of the Jewels).  AKA – “Cois abhainn na Séad” (By the River of Gems). Irish, Air. Brian McNamara explains that Dún na Séad is the original name for the village of Baltimore, west Cork, once a stronghold of the O’Driscolls, Lords of Corca Laighe. The song tells of the beauty of the village and the sorrowful memories of a past love. McNamara says a version was collected by Séamus Ennis, and that it is considered one of the great airs of the tradition. Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004. Learned from the singing of Lollaig Casey, who had it from her father Seán Ó Cathasaigh).

         

DUN PETTICOAT, THE. See “(An) Còta Bàn Odhar.”

                   

DÚN UÍ BHRAOIN (Breen’s Fort). Irish, Slow Air (cut time). G Major. Standard tuning. AB. Source for notated version: the manuscript of the  James Goodman (1828-1896) and Anglican cleric and collector, Cork, 1861 [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 3, pg. 5.

                             

DUNBAR. Old-Time, Breakdown. USA, Kentucky. C Major. Standard tuning. AB (Titon): AABB (Songer). Mark Wilson and Guthrie Meade (1976) remark that this tune is related to "Billy in the Lowground", although it appears to have been a regional tune, perhaps, as its name suggests, from the area around Dunbar, West Virginia. Jeff Titon (2001) remarks that he knows of no other source musician who played the melody besides the regionally influential fiddler Ed Haley, of Ashland, Ky. Originally, the name Dunbar was a Gaelic term meaning ‘the fort on the hilltop’. Sources for notated versions: Ed Haley (1883-1951, Ashland, Boyd County, Ky., 1946) [Titon]; Bruce Schwarz (Ketchikan, Alaska) [Songer]. Songer (Portland Collection), 1997; pg. 68. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 36, pg. 69. Rounder 1010, Ed Haley - "Parkersburg Landing" (1976).

                             

DUNBARTON REEL. Canadian, Reel. D Major. Standard tuning. AABB. Composed by Ontario fiddler Jim Magill.

X:1

T:Dunbarton Reel

C:Jim Magill

R:Reel

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:D

A2|d2Ac d2A2|defd edBA|d2Ac d2A2|ABAG FDD2|

d2Ac d2A2|defd edBA|defg abag|fdec d2:|

|:A2|DEFG A2A2|defd edBA|DEFG A2A2|ABAF E4|

DEFG A2A2|defd edBA|defg abag|fdec d2:|

                   

DUNBARTON’S DRUMS. Scottish, Air (4/4 time). F Major. Standard tuning. AABB. Regimental march of the Royal Scots Regiment. The name derives from the time when Lord George Douglas, created Earl of Dumbarton in 1675, was Colonel, and the Regiment was known as "Dumbarton's Regiment.” Howe (1000 Jigs and Reels), c. 1867; pg. 123. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 55.

X:1

T:Dunbarton’s Drums

M:4/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:F

F>G | A3c AcGA | F2c2c3A | (GFGA) (cA)(F>F) | D2d4 (cd) | f3g (ag)(fd) |

(cA)(cd) f3F | (G>FGA) (cAG>F) | D2d2d2 :: (cd) | f3g (fgag) | f2a2 (ba)(gf) |

(g>f) ga (bagf) | d2g2 g2 (fd) | (cd)(fg) (ag)(fd) | (cA)(cd) f3g | (ag)(fd) (cA)(G>F) | E2d2d2 :|

                   

DUNBLANE. Scottish, Strathspey. B Flat Major. Standard tuning. AABB. Dunblane, Stirling, takes its name from the Celtic root-word dun, signifying a fortified place, along with a saint’s name, Blaan, who helped to convert the Picts. A bishopric was established there by David I around 1150. Margaret Drummond, the unfortunate mistress (or, as some claim, the secret wife) of James IV, is buried in the cathedral; she and her sister were poisoned in 1502 because of her relationship with the king. Kerr (Merry Melodies), vol. 3; No. 171, pg. 20.

X:1

T:Dunblane

M:C
L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 171  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Bb

F|B>cd>e f<d d>f|g>ab>g f<d d>c|B>cd>e f<d b>g|f<d c>d B3:|

|:f|b>ag>f b<f f>d|e>dc>B A<c c>f|b>ag>f b<f g<b|f<d c>d B3:|

 

DUNBOYNE STRAW-PLAITERS, THE. AKA and see “Delaney’s Frolics.” Irish, Reel. B Minor ('A' part) & D Major ('B' part). Standard tuning. AAB. "The name points to a vanished local industry of Dunboyne, Co, Meath" (Joyce). The tune was recorded by piper Patsy Tuohey around 1900 on a cylinder, under the title “Delaney’s Frolics,” a reference to Chicago piper Bernard Delaney, a contemporary and brother-in-law of Captain Francis O’Neill. O’Neill later published the tune in his Waifs and Strays of Gaelic Melody (1922). Source for notated version: "...from Mr. M. Glanagan of the Hibernian Military School, Phoenix Park, Dublin, a good player on the Union pipes. Mr. Flanagan picked them up in North Kildare" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 358, pg. 165.

X:1

T:Dunboyne Straw-Plaiters, The

L:1/8

M:C

S:Joyce – Old Irish Folk Music and Songs (1909), No. 358

Z:AK/Fiddler’s Companion

K:Bmin

BcBF A2 Bc|dBcA BFFA|FBBF A2 Bc|d2 eg fd d:|

g|fddc dfaf|gfed cde>g|fddc dfag|faeg fddg|

fddc dfaf|gfed cde>g|fgaf b2 ag|faeg fd d2||

 

DUNCAN BAIN’S BARGAIN.  Scottish, Strathspey. G Major. Standard tuning. AAB. Source for notated version: “Communicated by Mr. MacPherson, Elgin, some 20 years ago” [Skinner]. Skinner (Harp and Claymore), 1904; pg. 58.

X:1

T:Duncan Bain’s Bargain

M:C

L:1/8

R:Strathspey

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:G

E>(GG>)B d>ed>B |  B/d/d ({B}g>)b ({B}.A2) .A.B | d>eg>a .g.d e<g | G<G B>A ({A}.G2Gz :|

g>de>d gd eg | b/a/g/f/ g<B ({B}.A2) .A.d | g>de>d gdeg | G<G B>A ({A}.G2) .G>.d |

gded gdeg | b/a/g/f/ gB ({B}.A2) .A>B | d<e g<a g<d e<g | G<G B>A (A<G) G2 ||

           

DUNCAN CHISHOLM.  Canadian, Pipe Jig. Canada, Cape Breton. A Minor. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 240, pg. 88.

                       


DUNCAN DAVI(D)SON. AKA and see "Duncan Davie," "1812" (USA), "1812 Quickstep" (USA), "The Eighteen-Twelve (1812) March," "Gentle Ann," "Handy Andy's Highland Fling,” "Maggy's Weame Is Fu I Trow," "Shakkin Trews," “Tibbie Inglis’ Fancy,” “Welcome Here Again,” "The Wind That Shakes/Shook the Barley [1]" (Shetland), "Ye'll Aye Be Welcome Back Again." Scottish, Strathspey. E Major (Gow, Hunter): D Major (Athole, Cole, Gow, Honeyman, Kerr). Standard tuning. AB (Cole, Honeyman). AAB (Gow Collection): AABB and variations (Gow, Hunter): AABB' (Athole, Kerr): AABBCCDDEEFFGGHHIIJJAABB (Gow, First Collection). Variations from the 18th century in the then‑fashionable Haydenesque style (which Hunter identifies as "Italianate") appear in Carlin and Hunter's editions, composed by Nathaniel Gow (not Niel Gow, as is sometimes asserted). The confusion stems from the fact that the tune was published in Niel Gow's 1784 First Collection of Niel Gow’s Reels ‑‑ the collection was edited and published by his son Nathaniel however, who added the variations). Glen (1891) believes its ancestral tune to have been "Strick Upon a Strogin" in the Leyden MS of 1692 (Bayard {1981} remarks, "he may be right, but I see no special reason for thinking so."). The most common names for the tune have been "Duncan Davidson" and "Ye'll Aye Be Welcome Back Again," of which the latter, according to Glen, is the older form (he also thinks Burns composed the David title). Glen (1891) finds the earliest appearances of the tune in print in Alexander McGlashan's 1780 collection (pg. 14), and, as "Duncan Davie," in Joshua Campbell's 1778 collection (pg. 31). It also appears in Kirkmichael, Perthshire, fiddler and composed Robert Petrie’s 2nd Collection of Strathspey Reels and Country Dances, 1796. See note for “Ye’ll Aye be Welcome Back Again” for more information.

***

“Duncan Davidson” shows up in Ireland as the second tune in a medley of flings called “The Four Provinces.” Another Irish title is "Donegal Lassies [3].”

***

Carlin (Gow Collection), 1986; No. 46. Cole (1000 Fiddle Tunes), 1940; pg. 128. Gow (Complete Collection), Part 1, 1799; pg. 34. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pgs. 12-13 (includes variation sets). Graham (Popular Songs of Scotland), 1908; pg. 205. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 11. Hunter (Fiddle Music of Scotland), 1988; No. 39. Johnson (Scots Musical Museum), vol. 2; No. 149. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 3. Kerr (Merry Melodies), vol. 1; Set 28, No. 3, pg. 17. Ryan’s Mammoth Collection, 1883; pg. 168. Scot (Scottish Country Dance Book), Book 7, No. 4a (with references). Stewart-Robertson (The Athole Collection), 1884' pg. 94. Wilson (A Companion to the Ballroom), 1840; pg. 45. Regal Records, G6961, Peter & James Wyper (melodeon and piano), recorded 1907.

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:Duncan Davidson

M:C

L:1/8

R:Strathspey

S:Honeyman – Strathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion

K:D

D>FA>B A<F A2|D>Fd>B A<F E2|D>FA>B A<FA<g|f>de>f d<d d2|D>FA>B A<F A2|

D>Fd>B A<F E2|D>FA>B A<F A>g|f>de>f d<d dg||f>e d/ef/ g>fe>d|c>Ae>A f>Ae>g|

f>e de/f/ g>fe>d|c>de>f d<d dg|f>e de/f/ g>fe>d|c<A e>A f>Ae>g|

(3fga (3def (3gfg (3Bcd|(3efe (3dcB (3ABA (3GFE||

X:2

T:Duncan Davidson

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 16

% Gore's Index gives earliest publication as Alexander MacGlashan's

% "A Coll. Of Str. R. ..." 1778

L:1/8

M:C

R:Strathspey

K:D

D>FA>B A<FA>B|D2 d>B A<FE>F|D>FA>B A<FA>f|e>de<f d<d d2:|

f>ed>f g>fe>d|c<Ae<A f<Ae<A|f>ed<f g>fe>d|c>de>f d<dd>g |

f>ed<f g>fe>d|c<Ae<A f<Ae<A|f<dg<e a<fb<g|f<de<f d<d d2|]

X:3

T:Duncan Davidson.

M:C

L:1/8

B:Complete Tutor Violin  (c. 1815)

Z:Dr. Evan Jones, 2005

K:D

U:w=!wedge!

D>EDd AFAd | D>E D/A/d/c/ B/A/G/F/ E2 | D>EDd AFAg | fdef  ddd || (d/e/) |

fdd(e/f/) (a/g/)wf/we/ (g/f/)we/wd/ | cA/A/ eA/A/ c>deg | fdd(e/f/) gfed |

c>de>g (f/e/).d/.c/ d2 |]

 

DUNCAN DAVIE. AKA and see "Duncan Davidson.”

 

DUNCAN GRAY [1]. English, Scottish; Reel or Slow March: New England, Polka. D Major (Kerr, Miller & Perron, Raven): C Major (Howe): G Major (Aird, Johnson, McGibbon, O’Farrell): A Major/A Minor (Gow). Standard tuning. AAB (Howe, Miller & Perron): AABB (Kerr, Raven): AABBCCDD (Aird): AABBCCDDEEFFHHGG (O”Farrell): AABBCCDDEEFFGGHHIIJJ (Johnson, McGibbon). Johnson (1983) thinks that the tune may have originally been an English march in trumpet style, but notes that by 1760 it had Scottish words set to it (describing somewhat rudely a country courtship). Several sets of variations were written for it, notably Oswald's (in the Caledonian Pocket Companion c. 1750) and McGibbon's (Scots Tunes c. 1755), but Johnson thinks the ones that Gillespie printed in 1768 (not written by him) are superior. Source for notated version: Gillespie MS, 1768, pg. 56 [Johnson]. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 111, pg. 41. Gow (Complete Repository), Part 4, 1817; pgs. 18-19. Howe (1000 Jigs and Reels), c. 1867; pg. 122. Johnson (Scottish Fiddle Music in the 18th Century), 1983; No. 35, pg. 35. Kerr (Merry Melodies), vol. 3; No. 379, pg. 42. McGibbon (Scots Tunes, Book 1), c. 1746; pg. 1. Miller & Perron (101 Polkas), 1978; No. 45. O’Farrell (Pocket Companion, vol. IV), c. 1810; pgs. 94-95. Raven (English Country Dance Tunes), 1984; pg. 150.

X:1

T:Duncan Gray

M:C

L:1/8

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

N:”Slow”

K:A

(EAGA) Bc {A}G2|A2 B>d cA A2|(EAGA) Bc {A}G2|A2 (B/c/)(d/B/) cA A2:|

|:ce (f/e/)(d/c/) dd d2|cd/c/ BA (G~F) E2|E(AGA) Bc {A}G2|A2 (B/c/)(d/B/) cA A2:|

K:A Minor

E(A^GA) Bc ^G2|A2 B>d {d}cB B2|E(A^GA) Bc ^G2|~A2 B>d cA A2:|

ce ed/c/ Bd dc/B/|~AB/c/ BA (^GA) E2|E(A^GA) Bc {A}^G2|~A2 (B/c/)(d/B/) cA A2|

ce ed/c/ Bd dc/B/|~AB/c/ BA (^GA) E2|E(A^GA) Bc {A}^G2|

~A2 (B/c/)(d/B/) cAA ^G/^F/||

X:2

T:Duncan Gray

M:2/4

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:G

DGFG | AB F2 | G2 A>c | BG G2 :|

|: Bd d(c/B/) | cc c2 | B(c/B/) AG | FE D2 | d(e/d/) c(d/c/) |

Bc/(B/ A/c/B/A/) | G2 A>c | BG G2 :|

|: DG (c/B/A/G/ ) | (A/B/c/A/) F2 | (G/A/B/G/) (A/B/c/A/) | BG G2 :|                 

|: (Bd)(dg) | (ce)(eg) | Bd dc/B/ | (c/B/)(A/G/) FE/D/ |

eg dg | Bg a/c’/b/a/ | G2 A/B/c/A/ | BG G2 :|

X:3

T:Duncan Gray [1]

M:C

L:1/8

R:Reel

N”Brisk”

S:McGibbon – Scots Tunes, Book 1 (c. 1746)

Z:AK/Fiddler’s Companion

K:G

DGFG AB “tr”F2 | G2 A>c BG G2 :: Bd dc/B/ cc “tr”c2 | Bc/B/ AG FE D2 |

de/d/ cd/c/ Bc/B/ A/(c/”tr”B/A/) | G2 A>c BG G2 :: DG c/(B/A/G/) A/(B/c/A/) “tr”F2 |

(G>A/2B/4 (A>B/2c/4) BG G2 :: (Bd) (dg) (ce)(eg) | Bd d(c/B/) (c/B/A/G/) “tr”(FE/D/) |

dg ca Bg a/(c’/b/a/) | G2 A/B/c/A/ BG G2 :: (D/G/)(B/G/) (D/G/)(B/G/) (D/A/)(c/A/) D/(A/B/c/) |

d/(g/”tr”f/e/) (d/c/B/A/) BG G2 :: (B/c/d/)B/ G(g/=f/) (e/d/c/B/) “tr” c2 |

(G/F/E/)G/ (c/B/A/G/) (F/G/A/)F/ D(e/f/) | (g/f/e/d/) (e/d/c/B/) (c/B/A/G/) “tr”F(E/D/) |

G>B A/B/c/A/ BG G2 :: dgfg ab “tr”f2 | g>b a>c’ bg g2 :: bd’ d’c’/b/ c’c’ “tr”c’2 |
bc’/b/ ag fe d2 | (3d’dd’ (3c’dc’ (3bdb (3ad’c’ | “tr”b2 (a/b/c’/)a/ bg g2 ::

B/G/D/G/ (B/4c/4d/) “tr”(c/B/) A/F/D/F/ (A/4B/4c/) “tr”(B/A/) | g2 A/B/c/A/ BG G2 ::

d/g/”tr”(g/f/4g/4) d/g/B/g/ e/c/g/=f/ “tr”e2 | d/g/”tr”(g/f/4g/4) d/g/B/g/ |
A/G/F/E/ D2 | gbac’ bd’ “tr”F2 | G2 A/B/c/A/ BG G2 :|

 

DUNCAN GRAY [2], THE. English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABB. "'Dankin' (in the original MS.). This bears no resemblance to 'Duncan Gray' [1], but the second strain ‑‑ especially the last 5 bars ‑‑ is very similar to 'Salt Fish and Dumplings'/'The Shepherd's Hornpipe', c.f. Offord, John of the Greeny Cheshire Way, 1985; pg. 82: and Bewick's Pipe Tunes, 1986; No. 32" (Seattle). Seattle (William Vickers), 1987, Part 3; No. 563.

                   

DUNCAN JOHNSTONE. Scottish, Hornpipe. A Minor. Standard tuning. AABB'CCDD'. Composed by Pipe Major D. MacLeod. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 36.

                   

DUNCAN LAMONT.  Scottish, Pipe Reel. B Dorian. Standard tuning. ABCD. Composed by Pipe Major Donald MacLeod (1917-1982) of Stornoway, Isle of Lewis, one of the most famous players and teachers of the Highland bagpipes of the 20th century. Paul Steward Cranford (2000) notes that the tune was popularised in Cape Breton by the playing of fiddler Cameron Chisholm. Cranford (Jerry Holland: The Second Collection), 2000; No. 68, pg. 28. William Ross, Book 5.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

 

DUNCAN MACKAY. Scottish, Country Dance Tune (4/4 time). The melody appears in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740".

                   

DUNCAN MACQUARRIE REEL, A. Canadian, Reel. Canada, Cape Breton. A Mixolydian or A Dorian. Standard tuning. AAB. Source for notated version: Dan J. Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 81. ACC4-9270, Howie MacDonald - “Live and Lively.” DMP6-27-2-4, Doug MacPhee - “The Reel of Tulloch” (1985). 02 50399, Dave MacIsaac - “Nimble Fingers” (1995. Apppears as “Dan J. Campbell” in “Salute to Cheticamp” medley). SA 93130, Donny LeBlanc - “Rosining Up the Bow” (1993. Appears as “A Traditional Reel”).


                   

DUNCAN MACQUARRIE STRATHSPEY, A. Canadian, Strathspey. Canada, Cape Breton. D Mixolydian. Standard tuning. AB. Source for notated version: Dan J. Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 71. JC 123, John Campbell - “Heritage Remembered” (1978. Appears as 1st of “Two Traditional Strathspeys”). DMP6-27-2-4, Doug MacPhee - “The Reel of Tulloch” (1985).

                   

DUNCAN MACQUEEN (Donnacha Mac Shuine). Scottish, Slow Strathspey. A Minor. Standard tuning. AABCD (Athole): AABCCDD (Fraser). "This perhaps, will be as popular a melody as any in this volume. The only words the editor ever heard to it were from his father,‑‑from whom he first heard the second and third parts. The first and last parts have been long communicated by Mr. Gow, and as long admired,‑‑and he is good enough to say it loses none of its character, but much the reverse, as now presented" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 87, pg. 32‑33. Stewart-Robertson (The Athole Collection), 1884; pg. 57.

X:1

T:Duncan McQueen

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:Amin

A|E>A A/A/A A>GA>c|e>c d<e c<G ~G2|E>A A/A/A A>GA>a| g>ed>e c<A A:|

f|e>cd>e A/A/A f2|e>cd>e c<G G2|e>cd>e A/A/A f2|

e>cd>e c<A Af|e>cd>e A/A/A f2|e>cd>e c<G G>B|c>BA>B c>d e<a| g>cd>e c<AA||

z|G>cE>c G>cE>c|e>cd>e cG G2|G>cE>c G>cE>a|g>ed>e c<A A2|

G>cE>c G>cE>c|e>cd>e c<G G>B|c>BA>B c>d e<a|g>ed>e c<A Az||

A<a ~a2 A<a ~a2|G<g ~g2 G<g ~g2|A<a ~a2 A<a ~a2|g>ed>e cAAz|

(3aba (3gag (3ege c2|(3ege (3ded c<G G>B|c>BA>B c>d e<a|g>ed>e c<AA||

                             

DUNCAN ON THE PLAINSTONES (Elgin). Scottish, Reel. D Major/ D Dorian. Standard tuning. AB (Carlin): AAB (Skye). Composed by J. Scott Skinner (1848-1927). Carlin (Master Collection), 1984; pg. 74, No. 114. MacDonald (The Skye Collection), 1887; pg. 56.

X:1

T:Duncan on the Plainstones

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

G|F>D D/D/D (FG) AB|=cBcG ECEG|F>D D/D/D (FG) AB|

dABG FDD:||g|fa^gb adfd|Be^df eAcA|fa^gb adfd|Bdce fddg|

fa^gb adfd|Be^df eAce|fedc BAGF|EDCB, A,GFE||

                   

DUNCAN R. DAWSON. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by Alexander Walker in honor of Duncan R. Dawson of Towie. Walker (A Collection of Strathspeys, Reels, Marches, &c), 1866; No. 19, pg. 7.

                   

DUNCAN'S HORNPIPE. See “Duncan’s Reel [1]."

                   

DUNCAN'S REEL [1].  Old‑Time, Breakdown. USA, Nebraska. A Major. Standard tuning. AABB. R.P. Christeson (1973) says that he only heard the tune from Nebraska fiddler Uncle Bob Walters (who recorded it for him in 1956), yet it is on Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’, which may indicate its dissemination via Christeson’s collection. Iowa fiddler Dwight Lamb, who learned the tune directly from Bob Walters, says that Bob Christeson remarked (on one of his recordings) that Bob Walters’ father, a fiddler, brought this tune home around 1909, although no one knew later who the ‘Duncan’ of the title was (liner notes to Rounder 0529). Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 23, pg. 18. Rounder CD0529, Dwight Lamb – “Hall Agin the Barn Door” (2005).

X:1

T:Duncan’s Reel [1]

M:2/4

L:1/8

R:Reel

S:Christeson – Old Time Fiddler’s Repertory, vol. 1, No. 23  (1973)

Z:AK/Fiddler’s Companion

K:A

(3e/f/g/|ag/b/ ae/a/|f/e/d/f/ e/d/c/A/|B/A/G/A/ B/c/de/|f/a/e/c/ d/e/f/g/|

ag/b/ ae/a/|f/e/d/f/ e/d/c/A/|B/A/G/A/ B/d/c/B/|A/c/B/G/ A:|

|:A/B/|c/A/E/A/ c/A/E/A/|d/f/e/d/ c/B/A/c/|B/G/E/G/ B/G/E/G/|B/c/d/f/ e/d/c/B/|

c/A/E/A/ c/A/E/A/|d/f/e/d/ c/B/A/c/|B/A/G/A/ B/d/c/B/|A/c/B/G/ A:|

 

DUNCAN'S REEL [2]. Unrelated to version #1, printed in Howe's mid-19th century Musician’s Omnibus.

                   

DUNCAN'S REST. Bee Balm 302, “The Corndrinkers.”

                   


DUNCAN'S TRIP TO THE COAL MINES (Cuairt Donnchaidh Do'n Mheinn Guail). Canadian, Strathspey. Canada, Cape Breton. A Major (Dunlay & Greenberg/MacDonald): A Mixolydian (Dunlay & Greenberg/Campbell). Standard or AEae tunings. AB (Dunlay & Greenberg/Campbell): AA’B (Dunlay & Greenberg/MacDonald). The title presumably refers to the Cape Breton town of Mabou Coal Mines, or the actual mines themselves. Dunlay and Reich (1986) note that this tune resembles Nathanial Gow's B‑Flat Major tune "Lady Elizabeth Lindsay(‘s Strathspey)," which appears in the Skye Collection. Source for notated versions: Mary MacDonald and John Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 130. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 30. ACC-49191, Tara Lynne Touesnard - “Fiddle Fingers” (1990). JC 124, John Campbell‑ "Cape Breton Violin" (1979. Listed as "Traditional Strathspey"). Celtic CX 35, Cape Breton's Magazine Tape, Donald MacLellan (c. 1950's. Listed as “Old Traditional Strathspey”). Rounder 7009, Doug MacPhee‑ "Cape Breton Piano" (1977).

                   

DUNCORMICK MUMMERS' JIG. Irish, Single Jig. D Major. Standard tuning. AAB. Duncormick is a village in the Barony of Bargy, Co. Wexford. Source for notated version: flutist and farm laborer John Ferguson (Rathangan, Co. Wexford) [Darley & McCall]. Daley & McCall (Darley & McCall Collection of Traditional Irish Music), 1914; No. 73, pg. 33.

X:1

T:Duncormick Mummer’s Jig

M:6/8

L:1/8

R:Jig

S:Darley & McCall – Feis Ceóil Collection (1914).

Z:AK/Fiddler’s Companion

K:D

D2E F2G | A2d d2d | c2 B A2B | c2A G2E | D2E F2G | A2d d2d | e2e c2d | e3d3 :|

|: f2d dcd | f2d dcd | e2c cBc | d2e f2d | f2d dcd | f2d dcd | e2d c2d | e3d3 | f2d dcd |

f2ed dcd | e2c cBc | d2e f2g | a2f g2e | f2d dcd | A2B c2d | e3 d3 :|

                   

DUNDEE. Scottish, Reel. A Major. Standard tuning. AABB. The name Dundee is formed from the Celtic root-word dun, meaning a fortified place, along with what is thought to be a man’s name, perhaps an early chieftain.  Kerr (Merry Melodies), vol. 4; No. 14, pg. 4.

X:1

T:Dundee

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 14  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

E | (EC) A,B,CD | E2 (EC) DB,B,F | E2 (EC) A,B,CE | FAGB cAAc :|

|: (c/B/A) (EA) FAEe | (c/B/A) (Ac) dBBe | (c/B/A) (EA) FAdf | (e/d/c) (d/c/B) cAAc :|

                             

DUNDEE CITY POLICE PIPE BAND. Scottish, March (6/8 time). D Major. Standard. AABB’CCDD’. Composed by the late Scottish accordion player and band leader Jimmy Shand (1908-2000), an immensely popular musician who influenced Scottish dance music for over half a century. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 15.

         

DUNDEE BURNS CLUB, THE.  Scottish, Pipe Reel. A Mixolydian. Standard. AAB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 51.

X:1

T:Dundee Burns Club, The

M:2/4

L:1/8

R:Pipe Reel

N:”Merrily”

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore  (1904)

Z:AK/Fiddler’s Companion

K:A Mix

d/ | (3c/B/A/ (3c/B/A/ ({g}a)(e/d/) | (3c/B/A (3c/B/A/ .d/.B/.G/.B/ | (3c/B/A/ (3c/B/A/ ({g}a)(e/d/) | c/A/({c}d/)B/ ({B}c/)A/A/ :|

N:”With fire.”

g/ | a/f/g/e/ a/f/e/d/ | c/A/e/c/ d/B/G/g/ | a/f/g/e/ a/f/e/d/ | c/A/({c}d/B/ c/A/A/g/ |

N:”Vigorous bowing.”

a/f/g/e/ a/f/e/d/ | c/A/e/A/ d/B/G/B/ | c/e/d/f/ e/a/f/a/ | (g/a/)e/a/ c/A/A/ ||

                   

DUNDEE HORNPIPE. AKA and see "Brown's Hornpipe," "Cincinnati Hornpipe [1]," "Cliff Hornpipe," "Duxbury Hornpipe,” "Fred Wilson's Clog/Hornpipe," "Harvest Home [1]," "Higgins' Hornpipe," "Kephart's Clog" (Pa.),” "Kildare Fancy" (Rogha Chill Dara)” “Paine’s Reel,” “Pantomime Reel,” "The Rakes of Kildare," "Ruby Lip," "Snyder's Jig" (Pa.), "Standard Hornpipe," "Union Hornpipe [3]," "Wilson's Clog [1],” "Zig-Zag Hornpipe/Clog.” Scottish, Irish, American, Canadian; Hornpipe or Breakdown. USA; Nebraska, Pennsylvania, New England. Canada; Cape Breton, New Brunswick. D Major. Standard. AABB (Christeson, Cole, Cranford, Phillips): AA'BB' (Gatherer, Kerr). The name Dundee is formed from the Celtic root-word dun, meaning a fortified place, along with what is thought to be a man’s name, perhaps an early chieftain. Dundee, in Angus, was made a royal burgh by William the Lyon about 1190. A century later William Wallace attended grammar school their and supposedly fatally wounded another student in an argument about his dagger. It was an unlucky town: attacked by Robert I in 1313, it was burned by John of Gaunt in 1385, plundered by Henry VIII’s forces in 1547, looted by the marquess of Montrose in 1645 and many of its citizens were massacred by General Monck when it refused to surrender to Cromwell. “Kildare Fancy” is an alternate title, although “Dundee” is related to a large family of hornpipe tunes (see titles above). Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; No. 84, pg. 55. Cole (1000 Fiddle Tunes), 1940; pg. 87. Cranford (Jerry Holland’s), 1995; No. 115, pg. 33. Gatherer (Gatherer’s Musical Museum), 1987; pg. 42. Kerr (Merry Melodies), vol. 3; No. 335, pg. 36. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 191. Ryan’s Mammoth Collection, 1883; pg. 121. White's Excelsior Collection, pg. 52. Boot Records, Jerry Holland - “Master Cape Breton Fiddler” (1982). CAT-WMR004, Wendy MacIssac - “The ‘Reel’ Thing” (1994. Appears as “Dundee Clog”). RCA Victor LCP 1001, Ned Landry and his New Brunswick Lumberjacks ‑ "Bowing the Strings with Ned Landry."

X:1

T:Dundee Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

F/G/ | A/F/D/F/ A/F/d/B/ | A/d/F/A/ f/e/d/c/ | B/d/G/B/ g/e/f/d/ | e/c/d/B/ A(F/G/) |

A/F/D/F/ A/F/d/B/ | A/d/F/A/ f/e/d/c/ | B/d/G/B/ g/e/f/d/ | e/c/A/c/ d :|

|: d/e/ | f/d/c/d/ B/d/A/d/ | F/A/d/e/ f/d/c/d/ | e/A/f/A/ g/A/f/A/ | e/c/d/B/ A(d/e/) |

f/d/c/d/ B/d/A/d/ | F?A/d/e/ f/d/c/d/ | e/A/f/A/ G/A/f/A/ | e/c/A/c/ d :|

                   

DUNDEE REEL. Scottish, Reel. A Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 43, pg. 12. Kerr (Merry Melodies), vol. 4; pg. 4. Wilson (Companion to the Ballroom), 1815; pg. 79. Parlophone PCS 3048, Jimmy Shand – “Awa’ Frae Hame.”

X:1

T:Dundee Reel

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 14  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

E2 (EC) A,B,CD|E2 (EC) DB,B,F|E2 (EC) A,B,CE|FAGB cAAc:|

|:(c/B/A) (EA) FAEe|(c/B/A) (Ac) dBBe|(c/B/A) (EA) FAdf|(e/d/c) (d/c/B) cAAc:|

                   

DUNDEE VOLUNTEERS MARCH, THE. Scottish, Slow March. Bayard (1981) says his No. 272 (pg. 229) is a descendant of this tune. The name Dundee is formed from the Celtic root-word dun, meaning a fortified place, along with what is thought to be a man’s name, perhaps an early chieftain. Dundee, in Angus, was made a royal burgh by William the Lyon about 1190. A century later William Wallace attended grammar school their and supposedly fatally wounded another student in an argument about his dagger. It was an unlucky town: attacked by Robert I in 1313, it was burned by John of Gaunt in 1385, plundered by Henry VIII’s forces in 1547, looted by the marquess of Montrose in 1645 and many of its citizens were massacred by General Monck when it refused to surrender to Cromwell. Aird (Selections), vol. 2; No. 3.

                   

DUNDEE WALTZ. American (?), Waltz. G Major (‘A’ part) & C Major (‘B’ part). Standard tuning. AABB. Howe (Diamond School for the Violin), c. 1861.

X:1

T:Dundee Waltz

M:3/4

L:1/8

R:Waltz

S:Elias Howe – Diamond School for the Violin  (c. 1861)

Z:AK/Fiddler’s Companion

K:G

d>c|B2B2 d>g|b2b2 c>B|A2A2 ^c>f|a2 a2 d>c|B2B2 d>g|b2b2 c>B|Ad^cd=cA|G2 z2:|

K:C

|:G2|c>B c>e d>e|c>B c>e d>e|g2f2d2|c>e G2G2|c>B c>e d>e|c>B c>e d>e|g2f2d2|c3z:|

                   

DUNDERAVE. Scottish, Reel. A Major. Standard tuning. AABB'. Dunderave castle was constructed on Loch Fyne by Iain, Chief of the MacNaughton clan, in 1596 as an ‘L’-shaped tower house. It was forfeited to the Campbells around the year 1700 when John MacNaughton married a daughter of Campbell of Ardkinglas. According to MacNaughton tradition, Ardkinglas was anxious to marry off his eldest daughter, even though it was her comely younger sister that MacNaughton had applied for. On the wedding day the veiled bride was presented and the two were lawfully joined, but the groom, upon arising from the alcoholic haze of the previous day, found the Campbell daughter under the vale had been the elder and that he had been tricked. MacNaughton contrived somewhat later to abscond with the younger daughter, and fled to Ireland with his beloved. Dunderave is the ‘Castle of Doom’ of Neil Munro’s 1901 novel. Kerr (Merry Melodies), vol. 3; No. 80, pg. 10.

X:1

T:Dunderave

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 80  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

cdBc Aced|cdBc A2(Bc)|decd Bdfe|decd B2(ed):|

|:caga ecAc|eaga e2(dc)|1 fbab fdBc|defg afed:|2 Bcde fgaf|ecAc B2e2||

                   

DUNDREN CASTLE. Canadian, Strathspey. Canada, Cape Breton. E Minor. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 30.

                   

DUNECHT HOUSE. AKA and see "The Countess of Crawford."

                   


DUNFERMLINE RACES. Scottish, Reel. A Mixolydian. Standard tuning. AAB. The name Dunfermline appears to stem from the Celtic root-word dun, meaning a fortified place, coupled with what appears to be a man’s name, perhaps and early chieftain. Dunfermline, Fife, was one of the most important royal centers in Scotland, whose palace became a favorite residence of kings. The priory, evolved to an abbey by 1128, was the burial place of kings beginning with Malcolm III and his wife Margaret in 1093. The town was severely damaged in the great fire of 1624. Races were staged at Dunfermine from early 17th century, sponsored by local powers, principally the Seton family, who had introduced the “noble sport” to Haddington, their native area. Alexander Seton, Lord of Dunfermline, gave to the town “Ane overgift of a Silver Rose Bell with his Majestie’s names and arms graven thereupon,” for the yearly race-prize, held in custody of the town magistrates and counsel (Daniel Thomson, The Weaver’s Craft, 1902). Control of the races was retained by local government through the years. For example, on 16th July, 1702, it was recorded:

***

The said day the counsell ordained the thesaurer to put out a saddle on the toun's account,
to be ridden on the morn after July mercat, betwixt the toungreen and
buckieburn, back and fore, ye imput; each horse 1lib. 10s., the horse not
to be above 5lib. sterling value, and ordained the thesaurer also to buy a
bonnet and a pair of stockings, to be exposed for a foot-race on this same
ground immediately after the horse race with ribbons to the bonnet."
(Burgh Records.)

***

Carlin (The Gow Collection), 1976; No. 243. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 8. Kohler (Violin Repository of Dance Music), vol. 2. Stewart-Robertson (The Athole Collection), 1884; pg. 18.

X:1

T:Dunfermline Races

M:C|

L:1/8

S:Reel

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:A

e|cA c/d/e cA c/d/e|=g=GGB d2de|cA c/d/e cA c/d/e|aAAc e2ed:|

c>def =gage|=g=GGB d2 dB|c>def =gage|aAAc e2 ed|c>def =gage|

=g=GGB d2 dB|cdef ef=ge|aefd efed||

X:2

T:Dumfermline Races

M:C

L:1/8

R:Reel

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:A

e|:cA .c/.d/.e cA c/d/e|=g(GG)B (d2 “tr”d)e|cA c/d/e cA c/d/e|aAAc (e2 e)d:||

c>def =gage|=gGGB (d2 d)B|”tr”c>def gage|aAAc (e2 e)d|

“tr”c>def =gage|=gGGB (d2 d)B|cdef efge|aefd efed||

         

DUNHAM OAKS.  English, Country Dance Tune (4/4 time). A Major. Standard tuning. AA’BC. A dance and tune composed in 1972 by Brian Wedgbury (Manchester, England). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 35.

         

DUNIE MAINS. Scottish, Strathspey. G Major. Standard tuning. AABB (Athole, Skye): AA’BB’ (Perlman). Composition credited to editor James Stewart Robertson in his Athole Collection. Source for notated version: Wilfred Gotell (b. 1927, Georgetown, Central Kings County, Prince Edward Island) [Perlman]. MacDonald (The Skye Collection), 1887; pg. 98. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 188. Stewart-Robertson (The Athole Collection), 1884; pg. 159.

X:1

T:Dunie Mains

M:C

L:1/8

C:James Stewart-Robertson

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:G

e/f/|g<d d>c B<G G>B|A<a a>g f/g/a/f/ de/f/|g<d d>c B<G G>B|E>A G/F/E/D/ G2G:|

|:D|GGB>G F<A A>B|GGB>d g>dB>d|c>A c/B/A/G/ F<A A>B|E>A G/F/E/D/ G2G:|

                   

DUNIQUAICH. Scottish, Reel. G Major. Standard tuning. AABB'. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 3; No. 52, pg. 8.

X:1

T:Duniquaich

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 52  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

(Bd)dg e2ce|dBAG FAAc|(Bd)dg e2 ce|dBAG (DG)G2:|

|:Bdgd bgdB|cBAG FAdc|1 Bdgd bgdB|cAdc (BG)G2:|2 BGcA dBec|BgAf g2d2||

                   

DUNIRA LODGE. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by Miss M. Stirling (Gow). Carlin (The Gow Collection), 1986; No. 47. Gow (Complete Repository), Part 3, 1806; pg. 11.

X:1

T:Dunira Lodge

M:C

L:1/8

R:Strathspey

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:D

D|(F<A) A>B AF d>B|A>FE>D B,>E(E>G)|(D/F/A) A>B A>F d>B| AFED (A,D)D:|

d|A>df>d Ad fd/f/|a>ba>f f>e e>f|A>df>d A>d fd/f/|(a/{a}g/a/)b a>=g f<d d>f|

A>df>d A>d fd/f/|a>ba>f (fe) e>a/4g/4|f<a e>f d>Bd>B|A>FE>D (AD)D||

                   

DUNKEILD HOUSE. AKA and see "Grey Goose [3],”  "Jackson's Rowly Powly," "The Templehouse Jig [2].” Irish, Jig. Goodman (Vol. IV, No. 84).

                   

DUNKELD BRIDGE. AKA and see “Jerry Hayes.” Scottish, Reel. F Major. Standard tuning. AAB. This was the last tune the great Scottish fiddler and composer Niel Gow (1727-1807) composed in his lifetime. The name Dunkeld means the ‘fort of the Caledonians’ and refers to the people that dominated the central lowlands of Scotland during the time of the Romans (Matthews, 1972). Celtic monks, driven from Iona, established themselves there in the year 729 and Kenneth Macalpin made Dunkeld the ecclesiastical capital of his combined kingdom of the Scots and Picts in 849. Dunkeld has been much fought over. It was raided by Vikings in 903 and by Malcolm of Moray in 1027; it was the site of MacBeth’s victory over Crinan and Maldred in 1045. In 1689 Captain Munro massacred an army of Highland supporters of James VII there. An 18th century view of Dunkeld.  Dunkeld, Perthshire, is the larger village near Gow’s home in Inver, on the Great North Road from Edinburgh to Inverness in the central Highlands. The bridge at Dunkeld spans the River Tay at a point where it is wide and deep, not fordable and difficult to cross by boat. A handsome bridge designed by Thomas Telford was completed in 1808 (after Niel’s death, so if it was his last tune he probably did not see the completed structure) with money and lands donated by the Duke of Athole and from public funds. However, at the end, a debt of some £4,000 was still owed, and it was provided for by law that a toll should be charged for the eventual closing of the account. Unfortunately, the toll and its collection were left wholly to the Duke, with no accounting mechanism set in place. Over the years there arose a huge dispute between the Duke and the Perthshire population regarding this toll, which was not removed even though far more had been collected than was owed in the original debt. Resistance to the toll proved futile, until finally Highlanders took matters into their own hands and, in numerous vigilante actions, destroyed successive wooden toll bars. When the Duke countered by erecting an iron bar, the vigilantes took it down with sledgehammers. Numerous individuals were prosecuted for their actions, and it was not until 1878 that the Duke was forced to open his books to the public. Eventually he was made to return some £43,000 to the public coffers, and, the next year Parliament enacted a law banning tolls from the Dunkeld Brigde along with tolls on all the other bridges in the country (see New York Times article “The Dunkeld Bridge War: History of an Old Highland Feud” of Wednesday, December 15, 1879, for complete story).

See also the Irish relative “Jerry Hayes.” Carlin (The Gow Collection), 1986; No. 244. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 26. Hunter (Fiddle Music of Scotland), 1988; No. 261. Stewart-Robertson (The Athole Collection), 1884; pg. 223. Smiddymade SMD615, Pete Clark – Even Now: The Music of Niel Gow.”

X:1

T:Dunkeld Bridge

M:C|

L:1/8

R:Reel

N:”Last tune composed by Niel Gow”

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:F

c|~f2 af egce|~f2 af gbeg|~f2 af egcb|afge ~f2f:|

c|AFcA fcdB|AcfA GFEC|AFcA fcdB|AFGE ~F2FB|

AFcA fcdB|AcfA GFEC|AFcA dBcb|afge ~f2f||

                   

DUNKELD HERMITAGE. Scottish, Reel. E Minor. Standard tuning. AAB. Composed by Scots fiddler-composer Niel Gow (1727-1807). The name Dunkeld means the ‘fort of the Caledonians’ and refers to the people that dominated the central lowlands of Scotland during the time of the Romans (Matthews, 1972). Celtic monks, driven from Iona, established themselves there in the year 729 and Kenneth Macalpin made Dunkeld the ecclesiastical capital of his combined kingdom of the Scots and Picts in 849. Alexander I revived the bishopric in 1107. Dunkeld has been much fought over. It was raided by Vikings in 903 and by Malcolm of Moray in 1027; it was the site of MacBeth’s victory over Crinan and Maldred in 1045. In 1689 Captain Munro massacred an army of Highland supporters of James VII there.

***

Hermitages were a for a time a fashionable affectation of the rich, derived from the court of Louis XV of France who built a retreat as a place of refuge from the excesses of Versailles and called it L’Hermitage, explains Derek Hoy. The fad spread through Europe until many landed aristocrats had rustic looking, cave-like hermitages tucked into remote corners of their estates. Hoy states that those who could afford it might also employ a hermit to occupy the crude dwelling, although finding a genuine hermit was not always so easy. One hermit was employed to staff a noble hermitage and offered steady wages with full board and lodging, on the condition that he never cut his hair or shave his beard. Perhaps second thoughts set in, however, for soon after receiving his first paycheck the new hermit deserted the enterprise and fled without explanation.
***

Dunkeld Hermitage refers specifically to a small forest or wood that was planted (by the Dukes of Atholl in the 18th century) specifically to grow certain types of trees, reveals Richard Allardice. He also notes the hermitage at Dunkeld is the most famous in Scotland, over 400 years in age, and is primarily Scots pine, although many trees have been replaced with other coniferous species. The Hermitage is situated above a spectacular waterfall on the River Braan, and today boasts some of the tallest trees in Britain. Carlin (The Gow Collection), 1986; No. 245. Glen (Glen Collection of Scottish Music), vol. 2, 1895; pg. 48. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 21. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 8. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 38, pg. 12. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 8. Stewart-Robertson (The Athole Collection), 1884; pg. 259. Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005). Rounder Records, Alex Francis MacKay – “A Lifelong Home” (1997).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Dunkeld Hermitage

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:E Minor

e|E/E/E B2 GEBG|FdAd FDAF|E/E/E B2 GEBG|AFdF E/E/E E:|

g|e/e/e g2 bege|d/d/d fd adfd|e/e/e g2 bege|dBdF E/E/E Eg|

e/e/e g2 bege|d/d/d fd adfd|gbfa efde|AFdF E/E/E E||

 

DUNKELD HERMITAGE BRIDGE. Scottish, Slow Air (6/8 time). B Minor. Standard tuning. AABB'. See note for “Dunkeld Hermitage.” Martin (Ceol na Fidhle), vol. 2, 1988; pg. 4. Martin (Taigh na Teud), 1990; pg. 18.

X:1

T:Dunkeld Hermitage Bridge

M:6/8

L:1/8

R:Air

K:B Minor

B,|Bd/c/B/A/ Bc/B/A/F/|EFA B2d|ABd f2D|FAA A2 d/c/|Bd/c/B/A/ Bc/B/A/F/|

EFA B2d|ABd f2E|FBB B2:|

|:d/e/|fa/g/f/e/ ef/e/d/B/|ABd e2f|d2A BdD|FAA A2 d/e/|1 fa/f/e/d/ ef/e/d/B/|

ABd e2f|d2A BeE|FBB B2:|2 fed e>dB|ABd e2f|d2A BeE|FBB B2||

 


DUNKELD HOUSE [1]. AKA and see “Frogs’ Frolic.” Scottish, Jig. E Minor. Standard tuning. AAB (Gow, Hunter, Jones): AABB' (Johnson). Composed in the hexatonic mode by the famous Scots fiddler-composer Niel Gow (1727‑1807) around the 1770's for his patron John Murray, the Duke of Atholl ‑‑ Dunkeld House in Perthshire was one of the latter's seats, and lies "no more than a stone's throw" from Inver, the birthplace of the great fiddler. Gow's remains repose in the churchyard of Little Dunkeld. Johnson (1983) says the tune, which has "an unmistakeable air of friendship (for Murray) about it," is still popular in Scotland. It was first published in Gow's First Collection of Niel Gow’s Reels (1784). The name Dunkeld means the ‘fort of the Caledonians’ and refers to the people that dominated the central lowlands of Scotland during the time of the Romans (Matthews, 1972). Celtic monks, driven from Iona, established themselves there in the year 729 and Kenneth Macalpin made Dunkeld the ecclesiastical capital of his combined kingdom of the Scots and Picts in 849. Dunkeld has been much fought over. It was raided by Vikings in 903 and by Malcolm of Moray in 1027; it was the site of MacBeth’s victory over Crinan and Maldred in 1045. In 1689 Captain Munro massacred an army of Highland supporters of James VII there. Dunkeld House itself was a mansion built by Sir William Bruce in 1676-84 for the 1st Marquis of Atholl. It was one of the most important 17th century manors, with landscaped grounds and gardens. The house survived until 1827 when it was demolished to make room for a neo-Gothic structure that was never completed. Source for notated version: Niel Gow's Reels [Johnson]. Carlin (The Gow Collection), 1986; No. 328. Collinson (The Traditional and National Music of Scotland), 1966; pg. 219. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 18. Hardie (Caledonian Companion), 1992; pg. 43. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 85, pg. 229. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 8. Ryan’s Mammoth Collection, 1883; pg. 101. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

X:1

T:Dunkeld House

C:Niel Gow

M:6/8

L:1/8

Z:AK/Fiddler’s Companion

K:E Minor

B, | (EFE) G2E | B2E G2E | F2D AFD | dFD AFD | (EFE) G2E |

B2E G2E | (B/^c/d)B AFA | BGE E2 :| a | (g/a/b).g ege | (g/a/b).g ege |

(f/g/a).f dfd | (f/g/a).f dfd | (g/a/b).g ege | (g/a/b).g ege | (g/a/b).g (f/g/a).f |

gee e2a | (g/a/b).g ege | (g/a/b).g ege | (f/g/a).f dfd | (f/g/a).f dfd |

(e/f/g).e (f/g/a).f | (g/a/b).g (e/f/g).e | (d/e/f).d (F/G/A).F | BGE E2 || 

 

DUNKELD HOUSE [2]. Scottish, Reel. E Major. AEae tuning. AAB. Martin (Traditional Scottish Fiddling), 2002; pg. 27. McGlashan (A Collection of Reels), c. 1786; pg. 10.

X:1

T:Dunkeld House

M:C|

L:1/8

R:Reel

S:McGlashan – Reels

N:scordatura tuning: AEae

N:written as fingered, not as sounded

Z:AK/Fiddler’s Companion

K:E

F|=D2 B<F D/D/D B<F|e/e/e B<F E>=D B<E|=D2 B<F B>c e<f|g>e f<g e/e/e e:|

|f|g<e b<e g<e b<e|f>e f<g a/g/f/e/ =d<f|g<e b<e g<e g<e|B/B/B B>A F<E =D<f|

g<e b<e g<e b<e|f>e f<g a/g/f/e/ =df|b<g a<f g<e f<d|e<c B<A F>E =D||

 

DUNKELD STEEPLE. Scottish, Hornpipe. A Major. Standard tuning. AABB. Composed by Niel Gow (1727-1807). Dunkeld is a small town in Perthshire between Perth and Pitlochry, and Gow’s  birthplace and home. Gow (The Beauties of Niel Gow), c. 1819.

X:1

T:Dunkeld Steeple

C:Niel Gow

B:The Beauties of Niel Gow (c1819)

N:"a Hornpipe"

Z:Nigel Gatherer

M:4/4

L:1/8

K:A

A,CEA cefg|agfe dcBA|dfBd ceAc|dcBA G2 FE|,CEA cefg|agfe dcBA|

dfBd ceAc|dBAG A4::agae fedc|dfBd c2 BA|dfBd ceAc|dcBA G2 FE|

agae fedc|dfBd c2 BA|dfBc ceAc|dcBA A4:|]

 

DUNLAVIN GREEN. Irish, Air (3/4 time). Ireland, County Wicklow. D Major (Darley & McCall): E Flat Major (Stanrford/Petrie). Standard tuning. One part. The original song made reference to the execution of Irish rebels in 1798 at Dunlavin. Petrie notes: “Set in the county of Wicklow.” Source for notated version: "the late" John McCall (Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Irish Traditional Dance Music), 1914; No. 58, pg. 25. Stanford/Petrie (Complete Collection), 1905; No. 859, pg. 214.

X:1

T:Dunlavin Green

M:9/8

L:1/8

S:Stanford/Petrie – Complete Collection (859)

Z:AK/Fiddler’s Companion

K:E_

B/A/ GAB | e2c _dBG AGE | E3E2B/A/ GAB | e2f g2e fdB |

B3 B2B/A/ GAB | e2f gag fdB | A3 A2B/A/ GAB | e2c _dBG {G/B/}AGE | E3 E2 ||

 

DUNMAGLASS. AKA and see "Gillean ban a' mhuilleir," "Miller Lads." Scottish, Strathspey. F Major. Standard tuning. AA'BB'. This is "the composition of a man the name of Gow, who lived in Dunmaglass, in Inverness‑shire, during the last century. He was miller, carpenter, and minstrel to the family of Dunmaglass, and his sins, in the capacity of gamekeepers or sportsmen, supplied the table with venison and game. The air celebrates the alertness of those young fellows" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 80, pg. 29.

X:1

T:Dunmaglass

T:Miller Lads

T:Gillean ban a’ mhuilleir

M:C

L:1/8

R:Strathspey

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:F

A|F<F A2 F<FA<c|G>GA>c d2 d<f|1 F<F A2 F<F Ac|G<G A>F D2D:|2

e|f>ga>c A>G F<A|G<G A>F D2D||:e|f>c d/c/B/A/ fcca|f<c c>A d2 de|1 f>ga>c A>G F<A|

G>GA>F D2D:|2 f<ag<a A>G F<A|G<G A>F D2D||

 

DUNMANWAY LASSES ("Cailinide Dun-Na-M-Beann-Buide" or "Na Cailini O Dun-Na-mBeann Buide"). Irish, Double Jig. G Major/E Minor. Standard tuning. AABB. The first strain is related to “Bottle of Punch,” also known as “Fishing for Eels” and “Jackson’s Bottle of Brandy.” O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 977, pg. 182. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 194, pg. 46.

X:1

T:Dunmanway Lasses

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 194

Z:AK/Fiddler’s Companion

K:G

D|GFG dBG|BAB dBG|GFG dBG|GAG GED|GFG dBG|GAG dBG|GBG B2A|GEE E2:|

|:d|gfg aga|bge edB|gfg aga|bge e2 g/a/|bgg agg|ege dBG|BAB GBA|GEE E2:|

 

DUNMORE FANCY, THE. Irish, Reel. D Mixolydian. Standard tuning. AABB. The second part of the tune is shared with “The Sunny Banks.” Source for notated version: Andy Conroy (New York, originally from Lough Glynn and Dublin) [Breathnach]. Breathnach (Ceol II, 1), 1965; No. 5. Breathnach (The Man and His Music), 1997; No. 5, pg. 8.

X:1

T:Dunmore Fancy, The

L:1/8

M:C

K:D Mix

F|D>ADE (3GFE DF|Adcd BAFA|Bdce dBAF|(3GFE FE DBAB|

D>ADE (3GFE DF|Adcd BAFd|(3Bcd ce dBAF|(3GFE DE D3:|

|:g|(3fed ed cAAg|(3fed ef gbag|(3fed ed cBAF|GBAG FDDg|

(3fed ed cAAg|(3fed ef ~g2 fg|(3agf ge fded|cABc dBA:|

                   

DUNMORE LASS, THE. Irish, Reel. F Major. Standard tuning. AB.

X: 1

T:Dunmore Lass

M:4/4

L:1/8

S:Queally, O'Donoghue - Trip Over the Mountain - www.moher.com

R:Reel

K:F

FDCD FGAc|cAGc AddA|FDCD FGAc|cAGc ADDE|F2 DE FGAc|

cAGc AddA|FDCD FGAc|c AGc ADD2|| fedf edcB|Addc ~d3 e|

fedf edcB|cAGc AD D2|fedf edcB| Addc ~d3 e|fagf egge|cAGc AD D2||

                   

DUNMORE LASSES (Gearrchailiú an Dúin Mhóir). AKA – “Dunmore Lassies.” AKA and see “Morrison’s (Reel) [1],” "The Road to Knock." Irish, Reel. Ireland, County Sligo. E Minor. Standard tuning. AB (Breathnach): AA'BB' (Flaherty). O'Sullivan (1983) notes a relationship between this tune and "My Love is in America;" one is nearly a mirror of the other, though in the same key and transposed down one step. Related tunes are “The Custom Gap,” “Mills are Grinding [1],” “Porthole of the Kelp” and "Tuttle's Reel," certainly in the ‘A’ part though the 'B' parts differ somewhat. Fiddler Paddy Carty recorded the tune as “Morrison’s,” perhaps named for flute player Tom Morrison (1889-1958) who recorded the tune on a 78 RPM in New York in September, 1927 (in a medley with “Manchester Reel [3]” and “Castlebar Traveller”). Morrison was originally from Whitepark, near Glennamaddy, North County Galway, write Varlet & Spottswood (1992),  and emigrated to New York in 1909. The name Dunmore means ‘the big fort’, from the Celtic dun mor. Sources for notated versions: flutist Éamonn de Stabaltún (Ireland) [Breathnach]; flute player James Murray (b. 1947, Ougham, near Tubbercurry, Co. Sligo) [Flaherty]. from the playing of piper Séamus Ennis (Dublin), who learned them from his father, a piper taught by Nicholas Markey who in turn had been taught by the renowned piper and pipemaker Billy Taylor of Drogheda and later Philadelphia [Breathnach]. Breathnach (Ceol V, No. 2), 1982. Breathnach (The Man and His Music), 1997; No. 6, pg. 73. Breathnach (CRÉ I), 1963; No. 189, pg. 74. Flaherty (Trip to Sligo), 1990; pg. 164. Green Linnet SIF 1040, Touchstone – “The New Land.” Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976). Rounder CD-1087, Tom Morrison – “From Galway to Dublin” (1992. Reissue of 1927 original). Shanachie 79006, Mary Bergin – “Feadóga Stáin.” 

X:1

T:Dunmore Lasses, The

L:1/8

M:C

S:Séamus Ennis

K:Emin

E3F GFGA|Be e2 Be e2|E3F G3A|(3BAG AF GEE^D|

E3F GFGA|Bedf e3f|(3gfe fd edBF|A2 BA GE E2:|

|:gfeg fedc|Be e2 Be e2|gfeg fedB|A2 BA GEEf|

g3e (3gfe dc|Bedf e3f|(3gfe fd edBG|AcBA GE E2:|       

                             

DUNN CARLINE, THE. AKA and see "'Chailleach Odhar."

                             

DUNNECHAN. See "Dunnichen House."

                   

DUNNECHT HOUSE. Scottish, Strathspey. Credited to Peter Milne, a mentor and sometime playing partner of J. Scott Skinner’s, in Charles Middleton’s Selection of Strathspeys & Reels,  etc.,  arranged Expressly . . . by Peter Milne, Violinist late of Aberdeen . . .":

                             


DUNNICHEN HOUSE. Scottish, Reel. D Major. Standard tuning. AB (Skye): AA'BB' (Glen). The melody can be found in Archibald Duff's 1794 collection, though a note in MacDonald’s Skye Collection says it was taken from the Peter Milne’s Collection. Glen (Glen Collection of Scottish Music), vol. 2, 1895; pg. 10. MacDonald (The Skye Collection), 1887; pg. 55 (appears as “Dunnechan”).

X:1

T:Dunnechan

T:Dunnichen House

M:C|

L:1/8

R:Reel

B:MacDonald – The Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

A|F2 DF ABAG|F2DF GEEA|F2DF ABAF | A,CEG FDDA | F2DF ABAG |

F2DF GEEA|F2DF ABAF|Adde fdd|| f|Adfd gefd|Adfd ceef| Adfd gefd |

Adeg fddf | Adfd gefd|Adfd ceeg|faeg dfBd| Aceg fdd ||

                   

DUNNIGALLS RANT. AKA and see “Dandling o’ the Bairns,” "Marriage and Money." From Andrew Adam’s Musick Book, c. 1710, copied by Margaret Sinkler.

X:1

T:Dunnigall's Rant

S:Andrew Adam's Music Book (ms)

Z:Nigel Gatherer

M:6/4

K:D

L:1/8

A3 G F2 E2 C2 E2|D2 F2 A2 D4 F2|DEFDdA F4 B2|

ABAG F2 E2 C2 E2|DEFD F2 EFGE G2|DEFD F2 EFGE G2|

d2 a2 a2 a4 f2|defgaf cdefge|defgab a4 f2|

agfgaf gfefge|agfgab agfgaf|gabagf g2 fedc|

d3 c B2 A2 G2 F2|G3 A G2 E2 C2 E2|D3 A F2 D3 d F2|

D3 A F2 E2 C2 E2|D3 A F2 d2 A2 B2|A3 G F2 E2 C2 E2|

d2 A2 D2 d2 A2 F2|d2 A2 E2|dcBA F2|dcBA D2 dcBA E2|

dcdcdc dcBAGF|E2 A2 A2 A4 G2|F2 A2 A2 C2 E2 E2|

D2 A2 A2 A4 G2|F3 G A2 E2 C2 E2|]

                   

DUNNIGAN'S REEL. AKA and see "Maude Miller [1]."

                   

DUNNOTTAR CASTLE. Scottish, Slow Strathspey or Pastoral. D Major. Standard tuning. AAB. The castle of Dunnottar is an ancient and impressive ruin which perches commandingly on the cliffs not far south of Stonehaven. The site has been fortified since the 12th century and rises some 160 feet above the sea. A single entrance is through a one doorway, protected by a portcullis and several rows of gunports, then up steps and finally through a tunnel to the main courtyard. Historical references to it abound: it was captured by William Wallace in his war against the English in 1296. Edward III gained the castle in the 1330’s, only to be cast out my Moray. Later in the century it became the property of the Keiths, who exchanged a property in Fife for it. By the 16th century it was one of the most formidible fortresses in Scotland. In the 17th century it was besieged by Montrose in 1645 and by Cromwell in 1651, and was held for William and Mary in 1689. During the Jacobite era the Earl Marischal lost the castle in 1715 with the defeat of the Stewarts, and as a result the Duke of Argyll partially destroyed it the next year.

***

© Copyright 1994-2000 by Martin Junius http://www.m-j-s.net/mj/photo/

***

The tune was composed by either James Young (1815‑1851) of Montrose, to whom it is often attributed {beginning with David Baptie in his Musical Scotland--Past and Present (1894)}, or by John Gunn (1813‑1884) of Peterhead. J. Scott Skinner attributed the melody to Young in a hand written note on his manuscript copy of another Young tune, “The Brig o’ Dee.” Young led the band of the Theatre Royal, Aberdeen, for many years.

***

Hardie (Caledonian Companion), 1986; pg. 22. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 37. Hunter (Fiddle Music of Scotland), 1988; No. 96. MacDonald (The Skye Collection), 1887; pg. 76. Skinner (Harp and Claymore), 1904; pg. 80 (appears as a dance strathspey). Topic 12TS38, The Battlefield Band ‑ "At the Front" (1978).

X:1

T:Dunnottar Castle

M:C

L:1/8

R:Strathspey

B:MacDonald – The Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

A,|D<DF<A d>ef>e|d/c/B/A/ G/F/E/D/ C/D/E/D/ C<A,|D<DF<A d>ef>e|

d/c/B/A/ B/g/f/e/ f<dd:|

f|a>b a<f  d’>c’ba|g>fe>d c/d/e/d/ c<A|a>b a<f d’>c’BA|d’/c’/b/a/ b<c’ d’2 d(3a/b/c’/|

d’>dc’>d b>da>f|g>fe>d c/d/e/d/ c<A|F<D A>F G>FE>e|d/c/B/A/ B<c d2d||

                   

DUNN'S FAVORITE. American, Jig or Quadrille (6/8 time). USA, southwestern Pa. D Major ('A' part) & A Major ('B' part). Standard tuning. AB. Source for notated version: Thomas Dunn (elderly fiddler from Fayette County, Pa., 1947) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 621, pgs. 546‑547.

                   

DUNN’S HORNPIPE. AKA and see “The Flowers of Antrim [1],” “Marquis of Lorne [1],” “McDermott’s Hornpipe [3],” “The Sligo Fancy.” Irish, Hornpipe. Mulvihill (1st Collection), 1986; No. 31.

 

DUNPHY'S HORNPIPE ("Crannciuil Uí Duncada" or "Cornphiopa Uí Dhonnchaidh). AKA and see "Miss Dunphy's Hornpipe." Irish, Hornpipe. G Major. Standard tuning. AABB (most versions): AA’BB (Moylan). A popular hornpipe for many decades at Irish sessions. Dunphy was a piper and one of Captain Francis O’Neill’s sources, and O’Neill titled this nameless tune after him.  Although Dunphy contributed the melody it was known to another of O’Neill’s sources, Father Fielding, had heard his mother lilting it, indicating some circulation in County Kilkenny.  Philippe Varlet says there is no evidence of the tune being published prior to O’Neill, however, it is known to this day as a pipers’ tune, perhaps in imitation of Dunphy. It was recorded early in the 78 RPM era by some of the great players in Irish music: James Morrison, Michael Grogan, and pipers Neilus O'Cronin, Liam Walsh, Leo Rowsome, William Andrews, and Sean Dempsey. Jim Coogan says the tune was a favorite with accordion player Joe Mills, and was “the hornpipe he would always play for dancers.” Source for notated version: piper Pat Mitchell, 1972 (Dublin, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border [Moylan]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 73, pg. 19. Breathnach (Folk Music and Dances of Ireland), 1971; 25. Breathnach (CRÉ II), 1976; No. 301, pg. 154. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 79. Harker (300 Tunes from Mike Rafferty), 2005; No. 249, pg. 77. Jordan (Whistle and Sing), 1975; 35. Moylan (Johnny O’Leary), 1994; No. 225, pg. 130. Mulvihill (1st Collection), 1986; No. 31, pg. 98. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 307, pg. 152. O'Neill (Krassen), 1976; pg. 166. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1560, pg. 289. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 810, pg. 140. Roche Collection, 1982; vol. 3, pg. 59, No. 167. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 12.Gael-Linn CEF 045, “Paddy Keenan” (1975). Green Linnet SIF‑1110, "My Love is in America: The Boston College Irish Fiddle Festival" (1991). MKM 7590, Mike McHale – “The Schoolmaster’s House” (2000. Learned from Pat Lavin). Piping Pig Records PPPCD 001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005). Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002). Topic TSCD 602, Michael J. Grogan – “Irish Dance Music” (1995. A reissue of the 1931 original).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Dunphy's

M:4/4

L:1/8

R:Hornpipe

D:Eddie Cahil

Z:N. Ishi

K:G

D2|G2BA GB dg|fe ed ec AG|FA DE FG Ac|(3BAG (3AGF GF ED|

G2BA GB dg|fe ed ec AG|FA dB cA FG|AG GF G2:: Bc|

(3ded Bd gd Bd|(3gfg af gd Bd|(3gag fg ed ^cd|ed d^c d2 (3def|

g2 dc (3BdB GB|ec AG (3FAF DF|GB dB cA FG|AG GF G2:||

X:2

T:Dunphy’s

M:4/4

L:1/8

R:Hornpipe

S:Brian Conway

Z:AK/Fiddler’s Companion

K:G

D2|G(DB)(D G2 (3gag|f(e{f}e)^d ecAG|(3FAF D(G F)GAc|(3BAG A(F G)DB,D|

G(DB)(D G2 (3gag|f(e{f}e)^d ecAG|FAd(B {d}cA)FG|(3ABA GF G2:|

|:Bc|(3ded B(d g)dBd|(3gfg b(a g)dBd|(3gag fg e(d^c)d|(3efe d^c d2 ef|

{a}(3gfg dc (3BcB G2|ecAG (3FAF (3DEF|GBd(B {d}c)AFG|(3ABA GF G2:|

                   

DUNREAVY PARK. Irish, Slip Jig (9/8). A Major. Standard tuning. AABB. Source for notated version: fiddler Paul Murphy (Beesbrook, County Armagh) [McGuire & Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 94, pg. 26. O'Neill (Krassen), 1976; pg. 84.

                   

DUNROBIN CASTLE [1] (Caisteal Chunrobainn). AKA and see "Tibby/Tibbie Fowler/Fouller o’/in the Glen [1]." Scottish, Slow Strathspey. B Flat Major. Standard tuning. AB. "This is the air of an unpublished rhapsodical address of Robert Donn Mackay, the Sutherland poet, to the castle of Dunrobin, on passing it,‑‑alluding, in part, to the Countess marrying an English nobleman, not likely to listen to him, or patronise his genius" (Fraser). Dunrobin Castle lies one mile north of Golspie in north-east Scotland and is an imposing structure, redone at one time to look like a French chateau. After a disastrous fire in 1915, it was restored by Sir Robert Lorimer, who in 1921 designed as well the library, drawing rooms and dining rooms. It is still a functional edifice and boasts 189 rooms.

***

Dunrobin Castle was for centuries the seat of the Earls and Dukes of Sutherland (the name is derived from the Norse “south lands”, adopted by a Fleming who arrived there before the 13th century), located on the east coast of the northern Highlands overlooking the Moray Firth. The Sutherlands became infamous during the Highland Clearances for the forcible eviction of their crofters and tenants in order to clear the way for raising sheep, a more profitable use of the land at the time. Apparently they could be equally harsh with family members, for a ghost haunts the upper floors of Dunrobin reputed to be the daughter of the 14th Earl of Sutherland who was imprisoned by her father to stop her from marrying someone he had regarded as unsuitable.  The unfortunate girl tried to escape by climbing down a rope from an upstairs room, but slipped and fell to her death.

***

Glen (1891) finds the earliest appearance of the tune in Robert Ross's 1780 collection (pg. 26). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 15, pg. 5‑6. Kerr (Merry Melodies), vol. 3; No. 175, pg. 21. Stewart-Robertson (The Athole Collection), 1884; pg. 290. Green Linnet SIF‑104, The Tannahill Weavers ‑ "The Celts Rise Again" (1990). Green Linnet SIF‑1067, The Tannahill Weavers ‑ "Land of Light" (1986).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources  (Keyword Search for “Dunrobin Castle”)

X:1

T:Dunrobin Castle

M:C

L:1/8

R:Slow Strathspey

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:Bb

A|B<F F>D B<F F>d|B<F F>D B,/C/D/E/ ~F2|B<G G>A B<GG<A|

B>A G<D C/D/E/F/ G>A|B<F F>D B<FF<d|B<F F>D B,/C/D/E/ ~F2|

f>de>c d>B d/c/B/A/|B>F G/F/E/D/ C/D/E/F/ G||A|B/c/d/e/ f>b d>bf>b|

f>Bd>c B/c/d/e/ f2|c/d/e/f/ g>b d>bg>b|b>ag>d c/d/e/f/ ~g2|

B/c/d/e/ f>b d>bf>b|f>Bd>c B/c/d/e/ f2|d>f e/d/c/B/ d/c/B/A/ c/B/A/G/|B/A/G/F/ G/F/E/D/ C/D/E/F/ G||

 

DUNROBIN CASTLE [2].  Scottish, Reel. F Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 109.

X:1

T:Dunrobin Castle [2]

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 109  (1852)

Z:AK/Fiddler’s Companion

K:F

A | F2 CD F2 AF | BGAF EG2A | FCCD FAfd|cAGA F<FFA|F2CD F2AF |

BGAF EGA | FCCD FAfd | cAGA F<FF||g|(f/4g/2<g) fc dfcf|BfAf Gg2a |

(f/4g/2<a) gc defd|cAGA F<FFg|(f/4g/2<a) fc dfcf|BfAf Gg2b|(a/g/f/e/) fc defd|cAGA F<FF||

                       

DUNSE CASTLE. Scottish, Reel. G Major. Standard tuning. AAB. The melody appears in Abraham Macintosh's 1792 collection. Parts of Duns Castle, Berwickshire, date back to the 14th century when the Borders was a region-turned-battleground between Scotland and England. It was built around the ruins of a Pele tower given by King Robert the Bruce to the Earl of Moray. The castle itself has changed hands several times, but was eventually bought for William Hay of Drummelzier by his father the Earl of Tweedale in 1696. The Hay family have lived there in unbroken succession ever since. One of the members, Alexander Hay, was killed at Waterloo in 1815 and his ghost returned to Duns Castle where it appears occasionally. This may or may not be welcome to patrons of the castle, as the Hay family has opened it to the public for accommodations.

***

Duns Castle

***

Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 33.

X:1

T:Dunse Castle

M:C|

L:1/8

R:Reel

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:G
B/c/|dBgB dgBg|dBgB aAAB/c/|dBgB bBgB|eg d/e/d/c/ BGG:|

B/c/|dgBg dGGB/c/|dgBg aAAB/c/|dgBg caAc|BdAc BGGB/c/|

DgBg dGGB/c/|dgBg aAAB/c/|dbca BgAf|ge d/e/d/c/ BGG||

                                                 

DUNS(E) DINGS A'. AKA‑ "Mr. Sharpe's Favorite." Scottish, Reel. A Mixolydian (most versions): G Mixolydian (Surenne). Standard tuning. AB (Surenne): AAB (Gow, Williamson): AABB' (Athole, Neil). The title refers to Duns, a small ancient town high in the Border hills, and until 1975 the county town of Berwickshire. The title “Dunse dings a'” means 'Dunse beats/surpasses all’, an expression of local pride. The town rests at the foot of a hill called Duns Law, which, in 1639 was the camp of an army of the Covenant who by its presence secured the right of the people to remain Presbyterian, despite King Charles II's desire to return the land to Episcopacy. One of the greatest mediaeval philosophers John Duns Scotus, 1265‑1308, was born there. Scotus was renowned throughout Europe, lectured in Oxford and Paris, and died in Cologne. He upheld the separability and independence of the rational soul from the body; a humanist, he believed in the primary importance of the individual will. Unfortunately, his views were the object of severe criticism and scorn (by, for one, his rival Thomas Aquinas), especially from puritanical factions who coined the term "dunce" in derision. John Duns evidently also had a wit that Winston Churchill would have approved of, for the King of France once provocatively asked the learned man how far it was between a ‘Scot’ and a ‘sot’, and received the reply “Just this table!” John Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's A Collection of the Newest and the Best Reels, or Country Dances, Adapted for the Violin or German Flute, Edinburgh 1761-62 (pg. 43). The Gow’s give “Mr. Sharpe’s Favorte” as an alternate title, a reference to Charles Sharpe (1750-1813) of Hoddam (for whom see “Mr. Sharpe’s Delight”). Source for notated version: copied from James Aird’s Selection of Scotch, English, Irish and Foreign Airs (1782-97) [O’Neill]. Carlin (The Gow Collection), 1986; No. 246. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 21 (3rd ed.). Kerr (Merry Melodies), vol. 2; No. 2, pg. 3. MacDonald (The Skye Collection), 1887; pg. 16. Neil (The Scots Fiddle), 1991; No. 26, pg. 35. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 248. Stewart-Robertson (The Athole Collection), 1884; pg. 19. Surenne (Dance Music of Scotland), 1852; pg. 99. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 51. Beltona BL2128 (78 RPM), The Edinburgh Highland Reel and Strathspey Society (1936).

X:1

T:Duns Dings A’!

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:A

e|ceef aecA|ceeg a3e|ceeg aecA|B=GGB =g2 g>B:|

|:cAeA fAcA|cAeg a2ae|1 cAeA fAe=c|B=GGB =g2gB:|2 cA ec fde=c|

B=GGB –G2G2||

X:2

T:Dunse Dings All

M:4/4

L:1/8

S:Aird's Selections 1782-97

Z:Paul Kinder

R:Reel

K:A

ce ef/2g/2 aecA|ceeg a3 e|ce ef/2g/2 aecA|B=GGB g2 g2:||

cB/2A/2 ec fcec|cB/2A/2 ec a2 ae|cB/2A/2 ec fdec|B=GGB g2 gB|

cB/2A/2 ec fcec|cB/2A/2 ec a2 ae|afge fde=c|B=GGB g2 "tr"gB||

X:3

T:Dunse Dings A’

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 99  (1852)

Z:AK/Fiddler’s Companion

K:G

B d2 e/f/ gdBG | Bd2 f g3d | Bd2 e/f/ gdBG | A=FFA =f3A | Bd2 e/f/ gdBG | Bd2f g3d |

Bd2 e/f/ gdBG | A=FFA =f3A || (3BAG dG eGdG | (3BAG dB g3d | (3BAG dB ecd_B |

A=F2A =f3A | (3BAG dG eGdG | (3BAG dB g3d | (3BAG dB ecd_B | A=F2A =f3A ||

 

DUNSTABLE BONNET, THE.  English, Jig. G Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1765 country dance collection. The first straw bonnet was said to have been made in Dunstable, which in any case, became associated with finely made straw bonnets. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 157.

X:1

T:Dunstable Bonnet, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

GAB cde|def “tr”g3|gfe dcB|ABc BAG|GAB cde|def “tr”g3|gfe fad|ed&c d3:|
|:dfa a2B|cBA B3|B2e ^d2e|fe^d e3|g2d {c}BAG|d2A {G}FED|EGc Bdg|BcA G3:||

                       


DUNSTER REEL. Scottish, Reel. Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).

 

DUNT THE GRUND AT LEISURE. Scottish, Strathspey. G Major. Standard tuning. AAB (Athole): AABB' (Kerr). ‘Dunt’ means to give a blow or a thump. Kerr (Merry Melodies), vol. 2; No. 118, pg. 15. Stewart-Robertson (The Athole Collection), 1884; pg. 161.

X:1

T:Dunt the Grund at Leisure

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection   (1884)

Z:AK/Fiddler’s Companion

K:G

D|G<BG<B A2E2|G<BG<B G>BG>B|c>AB>G A/A/A g>e| d>c B<A G2G:|

e|~g>dg>a b/a/g/f/ e>f|~g>dg>b ~g>dg>b|~g>dg>a b/a/g/f/ e>f|

g>e d<B G2 Ge/f/|~g>dg>a b/a/g/f/ e>f|~g>dg>b d>eg>a|

b/a/g/f/ g>B A/A/A g>e|d>cB>A G2G||

 

DUNTROON. See “Duntroon Castle.”

 

DUNTROON CASTLE. Scottish, Bagpipe Reel. A Mixolydian. Standard tuning. ABCD (Hunter, Martin): AABBCCDD (Skinner). Skinner notes the piece is a “Pibroch March or Reel.” Duntroon, or Duntrune, Castle was the home of the Campbells of Duntrune until 1729, when it came into the possession of the Malcolm family. At present it is the home of Robin Neill Malcolm, chief of Clan MacCallum/Malcolm. It is a Norman-style castle dating from the 12th century, guarding Loch Crinan, looking out on the Sound of Jura. A ghostly piper has haunted the castle from the 17th century to the present. It seems that an Ulsterman named MacDonnel Coll Ciotach, known as “the Left-Handed One,” ravaged the lands of the Campbells from Kintyre northwards, until reaching the stronghold of Duntrune.  Knowing the esteem given to the musician class of the time, MacDonnel sent one of his pipers to scout the fortress in disguise as an itinerant musician.  The piper was admitted to the fortress, but recognized as a spy and immediately imprisoned in one of the turrets, albeit along with his instrument.  Realizing the strength of the castle and in fullness of his mission, the piper sought to warn MacDonnel’s Irish forces, whose ships had approached to anchor on the Loch.  He chose a pibroch called A Choll o Mo Run, “The Piper’s Warning (to his Master),” and hearing and recognizing the air, MacDonnel was warned and sailed away.  The Campbells, meanwhile, were furious that their chance of revenge had slipped away, and took their anger out on the unfortunate piper, cutting him to bits, starting with the fingers of both hands. Since then the ghostly piper’s pibroch can be heard at times in the castle, strange knockings are heard, and objects fall for no reason. In 1910 the castle underwent renovations and the fingerless skeleton of a man was found concealed in the old walls. The remains were given a “Christian burial” by the laird at the time, a clergyman, but this did not stop the otherworldly music or other happenings. In the 1960’s the kitchens of the castle were modernized and a pair of skeletal hands were uncovered by workmen under the kitchen floor. Christine Martin (2002) says the tune is a very popular pipe reel frequently played by fiddlers in competitions, often following “Maggie Cameron’s” (strathspey). Sources for notated versions: “As played by” Arthur S. Robertson (Shetland) [Hunter]; fiddler Jean-Ann Callender (Aberdeen) [Martin]. Hunter (Fiddle Music of Scotland), 1988; No. 233. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 40 (appears as “Duntroon”). Martin (Traditional Scottish Fiddling), 2002; pg. 90. Skinner (Harp and Claymore), 1904; pg. 53 (appears as “Duntroon”). Green Linnet SIF 3031, The Tannahill Weavers ‑ "Passage" (1984). Olympic 6151, Arthur S. Robertson ‑ "Scottish Traditional Fiddle Music" (1978).

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:Duntroon

M:C

L:1/8

R:”Pibroch March or Reel.”

Q:112

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A Mix

({f}e)c/e/ ({e}f)d/f/ ({f}e)c/e/ A/<A/c | ec/e/ gf/g/ BA/B/ G/<G/B | ({f}e)c/e/ ({e}f)d/f/ ({f}e)c/e/ A/<A/c |

d/e/f/d/ c/d/e/c/ B/c/d/B/ G/<G/B :: e/A/e/A/ A/B/c/d/ e/A/e/c/ A/>A/c | e/c/e/c/ A/B/c/A/ B/c/d/B/ G/<G/B |

e/A/e/c/ A/B/c/d/ e/A/e/c/ A/<A/c | d/e/f/d/ c/d/e/c/ B/c/d/B/ G/<G/B :: A/<A/c/A/ c/A/c/A/ A/<A/c/A/ A/<A/c |

A/A/c/A/ c/A/c/A/ B/G/G/G/ G/<G/B | A/<A/c/A/ c/A/c/A/ A/<A/c/A/ A/<A/c | d/e/f/d/ c/d/e/c/ B/c/d/B/ G/<G/B :|

|: e/(a/g/a/) e/A/c/A/ e/(a/g/a/) e/<A/~c | e/(a/g/a/) e/A/c/A/ B/G/G/G/ G/<G/B | e/(a/g/a/) e/A/c/A/ e/(a/g/a/) e/<A/c |

d/e/f/d/ c/d/e/c/ B/c/d/B/ G/<G/B :|

 

DUNTROON REELS MEDLEY. Cape Breton, Reels. Rounder 7001, Joe Cormier ‑ "Scottish Violin Music from Cape Breton Island" (1974).

 

DUNTULM QUICKSTEP.  Scottish, March (4/4 time). G Major. Standard tuning. AABB. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 32, pg. 18.

X:1

T:Duntulm Quickstep

M:C

L:1/8

R:March

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 32 (c. 1882)

Z:AK/Fiddler’s Companion

K:G

G/G/G g>d ed/B/ d>e|G/G/G g>e d/B/G A>B|G/G/G g>d e/d/B d>f |g/f/e d/g/e d/B/G A>B||

G/G/G B/A/B G/G/G d>e|G/G/G {c}B/A/B d/B/G A>B|G/G/G B/A/B G/G/G d>e|{f}gf/e/ d/g/e d/B/G A>B||

 

DUPLIN HOUSE. AKA and see "Leslie's/Lesley’s March [1]," "Blue Bonnets [2]," "The March from Oscar and Malvina." Scottish, March or Air (6/8 time). B Flat Major. Standard tuning. AAB. Gow’s adaptation of the march printed earlier by Watts in Musical Miscellany (1731, as “Black, White, Yellow and Red”) and by Oswald (Book 2, 1755) as “Leslie’s March.” A description of Dupplin House is in Richard Pococke’s Tours in Scotland 1747, 1750, 1760, a travelogue in the form of letters to his family. In one of these, to his sister, posted from Perth in August, 1760, he writes:

***

We went on to the west of Duplin Wood, where the Roman Road enters it, and the

ridge of rocks comes to it which is broader, and covered much with heath: we came

to Duplin House to which there is a handsome Front to the North and large offices.

There is a narrow Gully to the East, and a terrace to the South, which as well as the

house commands a most glorious view of the windings of the Erne, of a most beautiful

vale, of the hills to the East and South, and of the Mountains of Fife beyond them: The

place is on all sides adorned with plantations, and there are some very good pictures in

the house, particularly a Titian with three figures, one of which is much like Raphael, when

he was very young. Lord Kinoul is fitting up this charming place for his residence.

***

Lord Kinnoul was Thomas Hay (1710-1787), the 8th Earl, a Whig statesman who was, for a time, ambassador to the Court of Lisbon. He retired to his estate at Dupplin in 1762. In 1765 he was elected Chancellor of the University of St. Andrews, and in 1768 was chosen President of the Scottish Society for the Propagation of Christian Knowledge. Gow (Second Collection of Strathspey Reels), 1788; pg. 5.

X:1

T:Duplin House

M:6/8

L:1/8

R:Air

N:”Slow, with expression”

S:Gow – 2nd Collection of Strathspey Reels (1788)

Z:AK/Fiddler’s Companion

K:B Flat

(B,3 “tr”B,>)CD|B>cd “tr”B2F|BGG G2f|~g>fd {d}”tr”c2B|B,2B “tr”B,>CD|B>cd/c/ {c}BGF|

[G3B3] FDF|(FB).D ({D}C2)B,:||(Bd).f (fd).B|g>fd {d}”tr”c2B|(Bd).g “tr”g>ab|”tr”B>cd/e/ {d}”tr”c2B|

(Bd).f (fd).B|”tr”g>fd {d}cBc|[G3B3] FDF|(FB).D {D}C2B,|(Bd).f (fd).B|~g>fd {d}”tr”c2B|

(Bd).f “tr”g>ab|”tr”B>cd/e/ ({d}”tr”c2)B|(Bd).f (fd).B|”tr”g>fd {d}cBc|[G3B3] FDF|(FB).D {D}C2B,||

 

DUPPLIN CASTLE. Scottish, Strathspey. D Minor. Standard tuning. AAB. Composed by Alexander Walker. A few miles southwest of Perth lies Dupplin, the site of a battle in 1322 where Edward Balliol overthrew David II’s forces under the regent, the earl of Mar. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 102, pg. 35.

 

DURAD'S HORNPIPE. AKA ‑ "Durang's Hornpipe"? The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

DURALD WALTZ. AKA and see "Valse de Durald."

 

DURALDER WALTZ. See "Valse de Durald."

 

DURALDO WALTZ. See "Valse de Durald."

 

DURAN RANGERS. AKA and see “Durham Rangers,” “The Sherwood Rangers.”

 

DURANGOO'S HORNPIPE. American, Hornpipe. USA, southwestern Pa. D Major. Standard tuning. AB. A compsite piece of strains from other tunes, states Bayard (1981), the 'A' part derived from "Durang's Hornpipe", while the 'B' and 'C' parts are a verison of "The Liverpool Hornpipe". Source for notated version: Marion Yoders (Greene County, Pa., 1961) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 350, pg. 344.

 


DURANG'S HORNPIPE [1] (Crannciuil Ui Deorain). AKA and see "Wobble Gears." See also "Little Hornpipe." British Isles, American, Texas Style, Old-Time; Hornpipe, Reel or Breakdown. USA, Widely known. D Major. Standard or ADae tunings. AABB (most versions): AABB' (Emmerson, Kerr): AA’BB’ (Moylan). The melody is thoroughly ensconced in American traditional repertoire. It is "a Missouri standard," according to Howard Marshall, and "an old stand-by" remarked Arizona fiddler Kenner C. Kartchner (in the early twentieth century). It was commonly played at country dances in Orange County, New York in the 1930's (Lettie Osborn, New York Folk Life Quarterly, pgs. 211-215) and was part of the older fiddle repertory in Patrick County, southwestern Va., before such tunes were superceded in popularity by clawhammer banjo/fiddle tunes (Tom Carter & Blanton Owen, 1976). The title appears in the repertory list of Henry Ford's champion fiddler of the late 1920's, Maine fiddler Mellie Dunham, who was quite elderly at the time. The tune was recorded in the early 1940's from Ozark Mountain fiddlers for the Library of Congress by musicologist/folklorist Vance Randolph and was one of the relatively few recordings by legendary Galax, Virginia, fiddler Emmett Lundy. Interestingly, given the usual variation in fiddle tune titles due to faulty memory, "folk process" or other such 'drift', it is nearly always found going by the title "Durang's Hornpipe."

***

Marion Thede speculates the piece was named for Ferdinand Durang, an actor, who first sang the "Star Spangled Banner" in a tavern near Baltimore's Holiday Street Theatre, but in this she is mistaken, at least in part, for Sam Bayard (1981), George Emmerson (1972) and others researched the tune and definitively conclude that it was named after actor and dancer John Durang (b. Lancaster, Pa., 1768--d. Philadelphia, 1821), styled as "the first American dancer." Durang (who was born of German parents) stated in his memoirs that it was composed for him by one "Mr. Hoffmaster, a German Dwarf, in New York, 1785." The thespian had taken violin lessons from Hoffmaster (who, with his wife, was only 3 feet tall "with a large head, hands and feet"), who wrote the hornpipe "expressly for me, which is become well known in America, for I have since heard it play'd the other side of the Blue Mountains (of Pennsylvania) as well as in the cities" (pg. 344, quoted from Downer's "The Memoir of John Durang, American Actor 1785-1816," {1966}). Bayard finds the original a much more banal piece than it is today, and that it has been much improved by the aforementioned "folk process," which has given it character and distinction in his opinion.

***

The dwarf's composition came a year after Durang's debut with the company of Lewis Hallam in 1784, who had just returned from a long period in England which encompassed the Revolutionary War (Emmerson, 1972). Later in his career, around 1790, he records he danced "a Hornpipe on thirteen eggs blindfolded without breaking one," which feat points to the dancer’s main claim to fame (beside the tune associated with his name), that of poularizing the nautical-style hornpipe dance the Sailor's Hornpipe. In fact, from Durang’s time on the nautical theme became intimately associated with the hornpipe dance and the tune “College Hornpipe,” to which it was predominantly performed. Durang went on to dance in comic ballets, "pantomimic dances" and other entertainments, and in 1796 was engaged to direct pantomimes for the circus of John B. Ricketts, a Scottish immigrant, until the enterprise was destroyed in a fire at year's end, 1799.

***

Burchenal gives the tune under the title "The Lady of the Lake [3]," taken from the New England contra dance of that name (which she also prints). 

***

In the Irish Sliabh Luachra region of the Cork-Kerry border the tune seems to be considered, and used, as a reel  according to Terry Moylan (1994). 

***

Guthrie Meade (Country Music Sources, 2002, pg. 744), gives nine early sound recordings of “Durang’s Hornpipe,” the earliest by fiddler Don Richardson in 1916, followed by John Baltzell (1924), Clayton McMichen (1927), and the Kessinger Brothers (1927).

***

Sources for notated versions: Marion Unger (Oklahoma County, Oklahoma) [Thede]; black fiddler Bill Driver (Miller County, Missouri) [Christeson]; Franklin George (W.Va) [Krassen]; John Baltzell, 1923 (Ohio) [Bronner]; Jehile Kirkhuff, 1976 (Pennsylvania) [Bronner]; 6 southwestern Pennsylvania fiddlers [Bayard]; James Marr (elderly fiddler from Missouri, 1949) [Bayard]; New Hampshire Fiddler's Union [Phillips]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]; Byron Berline [Silberberg].

***

Print Sources: Adam, 1938; No. 19. Bayard (Dance the the Fiddle), 1981; No. 349A-F, pgs. 341-344 and Appendix No.22, pg. 581. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 23, pg. 36. Brody (Fiddlers Fakebook), 1983; pg. 94. Bronner (Old Time Music Makers of New York State), 1987; No. 6, pg. 34 and No. 11, pg. 68. Burchenal (American Country Dances, vol. 1), 1918; pg. 34 (appears as "The Lady of the Lake" [2]). Cazden, pg. 12 or 42. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 63. Cole (1000 Fiddle Tunes), 1940; pg. 94. DeVille, No. 4. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 87, pg. 163. Ford (Traditional American Fiddle Tunes), 1940; pg. 53. Jarman, Old Time Fiddlin' Tunes; No. 30, pg. 77. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 1. Kerr (Merry Melodies), vol. 2; No. 341, pg. 38. Krassen (Appalachian Fiddle), 1973; pg. 82. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 121. Moylan (Johnny O’Leary), 1994; No. 191, pg. 111. O'Neill (Krassen), 1976; pg. 215. O'Neill (Music of Ireland: 1850 Meloldies), 1979; No. 1772, pg. 330. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 936, pg. 160. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 192. Raven (English Country Dance Tunes), 1984; pg. 163. Robbins, No. 156. Ruth (Pioneer Western Folk Tunes), 1948; No. 42, pg. 16. Ryan’s Mammoth Collection, 1883; pg. 128. Shaw (Cowboy Dances), 1943; pg. 387. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 38. Sweet (Fifer’s Delight), 1964/1981; pg. 67. Thede (The Fiddle Book), 1967; pg. 116. Tolman (Nelson Music Collection), 1969; pg. 17 (includes a harmony part). White's Excelsior Collection, pg. 50. White’s Unique Collection, 1896; No. 93, pg. 17.

***

Recorded Sources: American Heritage 515, Junior Daugherty- "You Be the Judge." Briar 0798, Earl Collins- "That's Earl." County 707, Major Franklin- "Texas Fiddle Favorites." County 747, Clark Kessinger- "Sweet Bunch of Daisies." County 769, U.S. Senator Robert Byrd- "Mountian Fiddler." Edison 50900 (78 RPM), Joseph Samuels, 1920 (appears as 1st tune of "Miss Johnson's Party Medley"). Edison 51236 (78 RPM), 1923, John Baltzell (appears as 1st tune of "Durang Hornpipe Medley"). Elektra EKS 7285, The Dillards with Byron Berline- "Pickin' and Fiddlin.'" F&W Records 2, "F&W String Band 2." Folkways FA 2337, Clark Kessinger- "Live at Union Grove." Gambier Folklore Society GFS 901, Alan Jabbour, ed.- "Seems Like Romance to Me: American Fiddle Tunes From Ohio" (1985). Heritage 060, Art Galbraith - "Music of the Ozarks" (Brandywine, 1984). Jonathan Edwards Memorial Foundation JEMF-105, Wes Dickinson - "New England Traditional Fiddling" (1978). Missouri State Old Time Fiddlers' Association, Kelly Jones (b. 1947) - "Authentic Old-Time Fiddle Tunes." Rounder 0194, John W. Summers- "Indiana Fiddler" (1984). Rounder 0436, Ruth Hawkins Rachel  – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain.” Smithsonian Folkways SFW CD 40126, Bob McQuillen & Old New England – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999). Topic 12T312,  Billy Clifford.  Voyager 312-S, Grant Lamb- "Tunes From Home." Voyager 340, Jim Herd - "Old Time Ozark Fiddling."  78 RPM, Dan Massey and Family.

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:Durang’s Hornpipe

L:1/8

M:C|

K:D

DA FA DA FD|Bc dB BA FA|DA FA DA FA|A,E CE A,E CE|

DA FA DA FD|Bc dB BA FA|fg af bg ec|d2f2d4:|

|:de fe dc BA|Bc dc BA GF|E2 E2 ed cB|A^G AB A2 F=G|

A^G AB cB cd|ed ef gf ge|fg af bg ec|d2f2d4:|

X:2

T:Durang's Hornpipe

R:Reel

C:New York, 1785, by Mr. Hoffmaster

H:Composed in honor of the then renowned dancer and actor John Durang.

N:This is a "straightened out" version, giving the basic melody line.

N:Cyril Stinnett, Cleo Persinger and others played the "A" part of this

N:tune with a wholly different melody in the 2nd half of the "A" part.

N:Durang's Hornpipe as it appears in Cole's gives an example of this

N:variation.

A:Missouri

Z:B. Shull, trans.; R.P. LaVaque, ABCs

M:2/4

L:1/16

Q:120

K:D

(de|fe)fa (fe)d(A|BA)Bc (dB)AF|GBAG (FG)AF|(ED)EF E2d(e|!

fe)fa (fe)d(A|BA)Bc (dB)AF|(Ac)ea (3fgf ec|[d3f3][df] [d2f2]:|!

|:(FE|D)AFA DAF(A|Bc)(dB) A(GF)(E|D)AFA DAFA|A,ECE A,EC(E|!

D)AFA DAF(A|Bc)(dB) (AGF)E|(Ac)ea (3(fgf) ec|[d3f3][df] [d2f2]:|

X:3

T:Durang’s Hornpipe

M:C

L:1/8

S:The 1785 original, from John Durang’s memoirs

K:D

DAFA DAFA | BcdB BAGF | DAFA DAFA | BGED DCB,A, |

DAFA DAFA | BcdB BAGF | fgaf gedc | d2d2d2 z2 :: fgaf ecBA |

BcdB BAGF | B2B2 BAGF | GEed dcBA | A^GAB cBcd |

e^def e^gaf | e^gbf edcB | A^GAB A=GFE :|

 

DURANG'S HORNPIPE [2]. Old-Time, Breakdown. USA, Missouri. D Major. Standard or ADae tunings. AABB (Phillips, Songer): AA'BB (Brody): AA’BB’ (Beisswenger & McCann). A much folk-processed version of “Durang’s Hornpipe [1].” Sources for notated versions: J.T. Perkins [Phillips]; Liz Slade (Yorktown, New York) [Kuntz]; Bruce Schwartz (Ketchikan, Alaska) [Songer]; Vesta Johnson (b. 1922, near St. Louis, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 70. Brody (Fiddler’s Fakebook), 1983; pg. 94. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 191. Songer (Portland Collection), 1997; pg. 68. American Heritage 24, Lonnie Peerce‑ "Golden Fiddle Tunes." Cartunes 105, Bruce Molsky & Bob Carlin – “Take Me As I Am” (2004. Source credit to Brad Leftwich). Davis Unlimited DU 33017, J.T. Perkins‑ "Fiddle Favorites Perkins Style." Folkways FTS 31039, "Red Clay Ramblers" (1974 Based on a version from Marion, Indiana fiddler John Summers). Kicking Mule, David Winston‑ "Soutern Clawhammer Banjo." Marimac 9023, Bruce Molsky and Bob Carlin - “Take Me as I Am.” Voyager 309, Benny and Jerry Thomasson‑ "The Weiser Reunion: a Jam Session" (1993).

X:1

T:Durang’s Hornpipe

L:1/8

M:2/4

S:Liz Slade

Z:AK/Fiddler’s Companion

N:ADae tuning

K:D

D/E/F/E/ D/E/F/E/|A/A/d/A/ B/B/A|D/E/F/E/ D/E/F/E/|D/B,/A,/(A,/ A,2|

D/E/F/E/ D/E/F/E/|A/A/d/A/ B/A/B/(3A/4B/4c/4|d/A/d/e/ f/f/e/(A/| d/ f) (d/ f2):|

|:(e/|f/)(g/a/)e/ (f/e/)d/A/|B/(c/d/)A/ (B/A/)F/D/|G/ F D/ E/(D/E)|

e>f e>(e|f/)(g/a/)e/ (f/e/)d/A/|B/c/d/A/ B/A/F/(D/|G/) F A/ fe| (d/ f) (d/ f)z/:|

 

DURANG'S HORNPIPE NO. 2. Old-Time. USA, Missouri. G Major. Standard tuning. AA’BB’. The “Durang’s” melody appears to have wandered much in the folk process in this variant, with a quite unique ‘B’ part. Beisswenger & McCann (2008) suggest that there was a core “Durang’s” tune (similar to “Durang’s Hornpipe [1]”), and that any regional (Missouri) variant would be called by custom “Durang’s No. 2” i.e. the “other” Durang’s. Gordon McCann reports that source Galbraith connected his version to “London Hornpipe,” while Mark Wilson believes it resembles “Rocky Mountain Goat.” Source for notated version: Art Gabraith (1907-1993, near Springfield, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 39. Caney Mountain Records CEP 211 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66. Heritage 060, Art Galbraith (Springfield, Mo.) ‑ "Music of the Ozarks" (Brandywine, 1984). Rounder 0157, Art Galbraith - "Simple Pleasures" (1983).

See also listing at:

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

 

DURELING.  American (?), Jig. G Major. Standard tuning. AABB. The melody appears in the music manuscript of Henry Livingston, Jr., who purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. The tune, under this title, does not appear in contemporary British or American manuscripts or publications.

X:1

T:Dureling

M:6/8

L:1/8

R:Jig

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:G

d/c/ | B2G G2G | c2G G2B | A2B cdc | A2F F2A | B2B c2c | d2d def |

g2d e2c | B2G G2 :: c | BdB GBG | BdB G2B | AcA FAF | AcA F2A |

BGB cAc | dBd ece | fdf gdc | B2G G2 :|

 

DURENE HORNPIPE. Old‑Time, Fiddle Tune. The title, perhaps misheard for "Durang's Hornpipe," appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

DURHAM OLD WOMAN. AKA and see "Joyful Days Is Coming." English, Air (9/8 time). England, Northumberland. G Major. Standard tuning. AABB.

***

As aw was gannin' to Durham,

Aw met wi' three jolly brisk women;

Aw asked 'What news at Durham?'

They said‑‑"Joyfull news is coming:

"There's three sheeps' heads i' the pot,

A peck o' peasmeal in the pudding;"

They jump'd, laugh'd, and skipp'd at that,

for the joyful days are coming. (Bruce & Stokoe)

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 109.

X:1

T:Durham Old Women

M:9/8

L:1/8

S: Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:Amix

c3 GBG dGA | d3 GBG AcA | c3 GBG dGA | c3 GBG AcA :|

|: g2d e/f/g/f/e/d/ gdB | g2d e/f/g/f/e/d/ fcA | g2d e/f/g/f/e/d/ dBc | ecd f2c AcA :|

 

DURHAM RANGERS. AKA ‑ "Sherwood Rangers," "Merry Sherwood Rangers," "Ranger's Hornpipe [1]." Scottish, English; Reel or Hornpipe. D Major. Standard tuning. AABB (most versions): AA’BBCCDDAA’BB (Dixon). The melody is in the "Bonaparte Crossing the Rhine" tune family. It is played in County Donegal, Ireland, where it is rendered in the form of a ‘German’ (i.e. schottische). The name Durham has an interesting history, as described by C.M. Matthews (1972):

***

(It) is late in origin, being first mentioned in the account

of how Bishop Aldhun and his monks were guided by a

dream to this hitherto unoccupied site in the year 995, and

built on it the first little church as a shrine for St. Cuthbert’s

remains. This was written about the year 1000. The name

was then Dunholm, consisting apparently of the English

dun, a hill, to which the Danish word holmr, used generally

for a flat-topped island, was added; the rocky eminence is

almost surrounded by the river Wear. The normal develop-

ment of this would have been to a sound like Dunnam,

possibly spelt Dunham, but the place became pre-eminently

a stronghold of the Normans and under their influence the

‘n’ changed to ‘r’. The final result is a strong, simple sound

that has the advantage of being unique in England.

***

Malcolm II was defeated at Durham by Uhtred of Northumbria in 1006, and in 1040 Duncan I besieged the town with many losses. The castle became the abode of a succession of prince-bishops of Durham from 1072. In the western suburbs is Nevill’s Cross, where David II was defeated and captured by the English in 1346. Dixon (1995) prints the melody with variation sets by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler originally from Morpeth, Northumberland. Source for notated version: Tom Carruther’s 20th century manuscript, in the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 61. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 21, pg. 11. Lerwick (Kilted Fiddler), 1985; pg. 10. Raven (English Country Dance Tunes), 1984; pg. 164.

X:1

T:untitled Donegal german

T:Durham Rangers

T:Merry Sherwood Rangers

S:Mairéad ní Mhaonaigh

M:4/4

L:1/8

Z:transcribed by Paul de Grae

K:D

FG|ABAF A2 de|fgfe d2 A2|BcdB ABAF|G2 E2 E2 FG|

ABAF A2 de|fgfe dcdA|BcdB ABAG|F2 D2 D2:|

|:g2|fefg afdg|fefg a2 f2|gabg fgaf|edef e2 FG|

ABAF A2 de|fgfe d2 A2|BcdB ABAG|F2 D2 D2:|

 

DURHAM REEL. AKA and see “The Hair Fell off My Coconut,” "A Hundred Pipers." English, Country Dance Tune (6/8 time). A Major. Standard tuning. AB. See note for “Durham Rangers” for origin of name Durham. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 9.

 

DURHAM REGATTA. Scottish, Hornpipe. B Flat Major. Standard tuning. AABB.  See note for “Durham Rangers” for origin of name Durham. Kerr (Merry Melodies), vol. 3; No. 364, pg. 40.

X:1

T:Durham Regatta

M:C

L:1/8

R:Hornpipe

B:Kerr – Merry Melodies, vol. 4, No. 364 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Bb

(bg)|fdcd BGFE|D2B,2B,2 (BA)|GABc de=ef|gf=ef B2 (bg)|fdcd BGFE|

D2B,2B,2 (BA)|GBEg fece|d2B2B2::(^fg)|bgdB gdBG|DGBd gdbg|

afcA fcAF|CFAc BAG^F|G^FGA GABc|dg^fa g2 (g=f)|edcB ceAc|B2G2G2:|

 

DURHAM STABLE, THE. AKA and see "The New Exchange."

 


DURHAM'S BULL. AKA ‑ "Durham's Reel." Old‑Time, Bluegrass.  USA, Mo. A Major. Standard tuning. AB (Silberberg): AAB (Brody): AABAAB' (Phillips). Named for (or perhaps composed by) Buddy Durham, a radio fiddler (WWVA) in the 1930’s. Craig Duncan says the tune was often played by fiddler Paul Warren to open Flatt and Scruggs live performances. Sources for notated versions: Lymon Enloe (Brody, Phillips); Buddy Durham & Stuart Williams [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 95‑96. Duncan (Top Fiddle Solos). Phillips (Fiddlecase Tunebook), 1989; pg. 16 (appears as "Durham's Reel"). Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 77. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 39. CMH 6237, Paul Warren‑ "America's Greatest Breakdown Fiddle Player." Caney Mountain Records CLP 228, Lonnie Robertson (Mo.) ‑ "Fiddle Favorites." County 762, Lyman Enloe‑ "Fiddle Tunes I Recall" (1973). Folkways DW-90705, New Lost City Ramblers – “Rural Delivery No. 1.” Rounder 0002, Spark Gap Wonder Boys‑ "Cluck Old Hen" (1970). Rounder 0326, Benton Flippen – “Old Times, New Times.” Rounder 7010, Tom Doucet – “Tommy Doucet” (1979). Vetco 506, Fiddlin' Van Kidwell‑ "Midnight Ride" (1975). Mag, Hubert and Ted Powers‑ "Two Generations of Old Time Fiddle."

 

DURHAM'S REEL. See "Durham's Bull." Joel Shimberg has a 45 RPM record of Buddy Durham playing “Durham’s Bull” on one side and “Durham’s Reel” on the other. Due to the pairing of the tunes on the record, the association with Durham, and the similarity in names, there is obvious confusion regarding the two.

 

DURISDEER. Scottish, Air (4/4 time). A Major. Standard tuning. One part. The song was composed by Lady John Scott. According to Neil (1991), the Gaelic title probably derives from the words for door ('duris') and forest ('deer'), the meaning still obscure and having to do with a door or opening of the forest.

***

We'll meet nae mair at sunset

When the weary day in dune,

Nor wander hame the gither

By the licht o' the mune!

I'll hear your step nae longer

Amang the dewy corn,

For we'll meet nae mair my bonniest

Either at eve or morn.

***

Neil (The Scots Fiddle), 1991; No. 34, pg. 43.

                   

DURROCH'S HORNPIPE. AKA ‑ "DurROCK'S" (Pa.), "G. ROCK'S" (Pa.), "JirROCK'S" (Pa.) {second syllable accented in the preceeding}, "O'Dwyer's Hornpipe [1],” "Waterford Hornpipe [1],” "Prime's Hornpipe,” "G. Rock's" (Pa.), "Muddy Water [1]" (Pa.). American, Irish; Hornpipe. USA, southwestern Pa. Ireland, County Cork. D Major. Standard tuning. AB. Always played as a hornpipe in Pennsylvania, according to Bayard (1981). Source for notated version: Adam Smitley (Fayette County, Pa., 1946) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 116, pg. 65‑66.

                   

DURROW REEL. AKA and see “The Boogie Reel.” Irish, Reel. D Major. Standard tuning. A minor variant of the composition by New Jersey button accordion player John Nolan called “The Boogie Reel.” 

X:1

T:The Durrow Reel

T:The Boogie Reel

C:John Nolan

S:Josephine Marsh

M:4/4

L:1/8

R:reel

K:D

D2 FA d3 A|BAFA Bc d2|D2 FA defe|dcBA BE E2|

D2 FA d3 e|fdef g2 fg|afdf gece|1dfec d2 FE:|2dfec d2 gf|:

eA (3AAA EA (3AAA|edef g2 ag|fd (3ddd Ad (3ddd|

fgaf d2 cd|Beed efed|cdef g2 fg|afdf gece|1dfec d2 gf:|

2dfec dBAF||

"variation, 3rd bar of B part" |fd (3ddd d'd (3ddd|

                   

DU'S BON LANG AWA AND A'M TOCHT LAND TO SEE DEE. Shetland, Wedding Tune (3/4 time). Shetland, West side. D Mixolydian. Standard tuning. AABB. One of the five tunes required in the old wedding rituals of the island of Papa Stour, Shetland, according to local fiddler Peter Fraser. This tune was played by the fiddler as the groom's party walked to the bride's house, upon arrival. "The alternations between C and D tonality in the tune could belong equally to Scandinavian or Scottish musical styles, though the large skips involving rapid string crossing is somewhat suggestive of the Aald Reel structures. The tune is known nowhere else in Shetland" (Cooke, 1986). Purser (1992) notes “The melodic outline could as easily be from the mainland as from Shetland, but the rhythm and phrase lengths are much less regular in effect than the bar lines suggest and it could as well be notated with two as opposed to three beats in the bar. The effect is one of an odd jauntiness.” Source for notated version: Peter Fraser (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 11. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 28, pg. 82. Purser (Scotland’s Music), 1992; Ex. 3, pg. 230.

                   


DUSINBERRY MARCH, THE. AKA - "The Jutenberry March." American, March (2/4 time). USA, southwestern Pa. C Major. Standard tuning. AA'BB'. Bayard (1981) calls this one tune in a "presumptive tune family," by which he means a group of seemingly related tunes which may have been derived from one particular one, or developed from an ancestral version, or cognate with one another; it is, however, impossible to trace. The march here is similar to the today well known "Scotland the Brave" (also known as "Scotland Forever" or "Brave Scotland"). Other tunes that have a general resemblance, according to Bayard, are "The Tin Ware Lass," "Whistling Mike" and "Pewter Mug" (which he thought were closely related to Joyce's harp tune "The Ladies Dressed in Their Garments So Green"); also "The March of the Die Hards," the 57th Regiment Scots, and the Pennsylvania collected "Star of Bethlehem." Derivative seemed to him Smith's ("The Scotish Minstrel," Vol. VI, 1820; pg. 38) "Loch‑na‑Gar". The title given here is ambiguous, his source having pronounced it 'Dusinberry' in 1946 and 'Jutenberry' in 1960; he was clear that the had learned it from a great‑uncle who had been wounded in the leg while playing it in some Civil War engagement, and said the bullet "stopped the tune and the fifer too." (pg. 256). Source for notated verison: Harry Queer (Westmoreland County, Pa., 1946) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 302, pg. 256.

                   


DUSKY MEADOW. AKA - “Dusty Miller.” Canadian, Strathspey. Canada; Cape Breton, Prince Edward Island. A Mixolydian. Standard tuning. AB. Dunlay and Greenberg state there are several theories as to the origin of this strathspey. It is said to have been published by Elias Howe of Boston, who printed several collections in the 19th century, but they were not able to find it; Cape Breton fiddler Bill Lamey, they report, was one who was convinced it came from a book (his accompanist, Lila Hashern, suggested it was from a pipe collection). Famous Cape Breton fiddler and composer Dan R. MacDonald thought it might have been connected with Simon Fraser’s unpublished second collection, though Paul Cranford (Little River, Cape Breton) could not locate in his microfilm copy of the manuscript). Joan MacDonald Boes suggests in was ‘Little’ Jack MacDonald who brought the melody to the attention of Cape Breton fiddlers. Finally, the composition has been attributed to Donald MacLellan (e.g. by Cranford), who suggested there existed four parts to it. See also dissertation by Earl V. Spielman entitled “Traditional North American Fiddling” (1969). The alternate title, “Dusty Miller,” is the name of several tunes and became attached to “Dusky Meadow” (at least with some Cape Breton musicians) due to its being called by the “Miller” title on a recording by Bill Lamey and Joe MacLean (Kate Dunlay). Source for notated version: Carl MacKenzie (Cape Breton) [Dunlay & Greenberg].  Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 31. Celtic 20, Five MacDonald Fiddlers. Celtic CX 043, CX 1, CX51, Bill Lamey & Joe MacLean (c. 1950. Appears as “Dusty Miller”). CLM 1006, Carl MacKenzie - “Celtic Ceilidh” (1986). Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988. Learned from fiddler Kate Dunlay {Wayland, Mass./Ontario). Marimac C-6501, Peter Chaisson - “The Old Time Fiddlers of P.E.I.” (1993). Nimbus NI 5383, John Morris Rankin & Howie MacDonald - “Traditional Music from Cape Breton Island” (1993). E25Q 7243 8 82013 2 2, Jonh Morris Rankin & Howie MacDonald - “Grey Dusk of Eve” (1995). RDRC 850, Raymond Ellis - “Dedicated to Mom and Dad” (1994). 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:Dusky Meadow

M:4/4

L:1/8

Z:Toby Rider

K:Amix

B,| A,>A E<C D<G,D>B,| A,>A E<C F>DE>C| D<EC>E D/2C/2B,/2A,/2 G,>B,| A,>AE>D C<A,A,>B,|!

A,>A E<C D<G,D>B,| A,>A E<C F>DE>C| D<EC>E D/2C/2B,/2A,/2 |

D<EC>E D/2C/2B,/2A,/2 G,>d| c>A e/2d/2c/2B/2 c<A>A|!

g| a>ec>A BGG>g|  a>e c<A e>Ac>A| d<Bc>A d/2c/2B/2A/2 G>g| f<ae>d c>AA>g|!

a>ec>A B<GG>g| a>e c<A e>Ac>A| d<Bc>A d/2c/2B/2A/2 G>g (3faf >d c>AA||

                   


DUSKY NIGHT (RIDES DOWN THE SKY), THE. AKA and see "The Happy Captive." English, Jig or Country Dance Tune (6/8 time). D Major (Barnes, Raven, Sumner, Sweet): F Major (Keller). Standard. AABB. Raven (1984) states the tune was published before 1730, Barnes (1986), however, dates it to 1777. Kidson (1890) believes the first part of the tune to have been suggested by an earlier song called "From Thee to Me She Turns Her Eyes," which appears in the ballad opera Fashionable Lady (1730) but which it probably predates. Kate Van Winkler Keller (1992), however, seems to have established conclusively that the “Dusky Night” was fashioned by Thomas Arne from an old song. It was sung by Margaret Farrell, reports Keller, in a revival production of The Beggar’s Opera in 1777 (originally written and produced by Gay in 1729), and was an immediate hit that continued in popularity for many years. In 1862 Bruce and Emmett’s Drummers’ and Fifers’ Guide was published to help codify and train the hordes of new musicians in Union Army service early in the American Civil War. George Bruce was a drum major in the New York National Guard, 7th Regiment, and had served in the United States Army as principal drum instructor at the installation at Governor’s Island in New York harbor. Emmett was none-other than Daniel Decatur Emmett, a principal figure in the mid-19th century minstrel craze and composer of “Dixie” (ironically turned into a Confederate anthem during the war) and “Old Dan Tucker,” among other favorites. Emmett had been a fifer for the 6th U.S. Infantry in the mid-1850’s. Bruce & Emmett (1862) include the tune in their section on tunes suggested reviles for their Union Army manual: “’The Dawning of the Day’ and ‘Dusky Night’ must not be considered to belong to Reveills, at present; but the Author has placed them in their present position as that honor may become acquainted with them. In the U.S. Army they are omitted.” Source for notated version: the music manuscript book of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution. The original manuscript contains the lyrics of Arne’s song [Keller]. 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]. Bruce & Emmett (Drummers’ and Fifers’ Guide), 1862; pg. 33. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 25. Raven (English Country Dance Tunes), 1984; pg. 30. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 67 (set in the key of ‘F’ major in the original ms.). Sweet (Fifer’s Delight), 1964/1981; pg. 29.

X:1

T:Dusky Night

M:6/8

L:1/8

S:Bruce & Emmett’s Drummers’ and Fifers’ Guide (1862) 

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | d2d A2G | FEF DFA | B2A G2F | F3 E2A | A^GA BAB | cdc A2A |

dcd ede | faf d2A | Bcd efg | Bed CBA | d2F A2A | F D2 z2z ||: D/F/ | A2A ABA |

A3 Az (3A/B/c/ | d2d dfe | (d3 d)zA | Bcd efg | Bed cBA | d2F A2A | F D2 z2z :|

                                       

DUSON WALTZ. AKA and see "Valse de Duson."

                   

DUST IN THE LANE. AKA‑ "Cotten Pickin' Time." Old‑Time, Breakdown. USA, Arkansas. A Minor. Standard tuning. AABBCCD. Source for notated version: W.R. Newman (Waldron, Arkansas) [Thede].

***

Betcha forty dollars I can pick a bale o' cotton,

Betcha more than that I can pick it in a year;

For me an' my farmer's friend

Can pick more cotton than a gin can gin.

***

Thede (The Fiddle Book), 1967; pg. 76.

                   

DUSTY BOB'S (JIG). AKA and see “Jack’s Alive [3],” “Rob Roy [2].” American, Jig. G Major. Standard tuning. AABB'. Although the “Dusty Bob’s” title is American, the tune was first published in England under the alternate title “Jack’s Alive,” by Rutherford in the mid-18th century. The “Jacks Alive” title with the “Dusty Bob” melody appears several 18th and early 19th century publications in Ireland, England and Scotland (see note for “Jack’s Alive [3]”). The first strain is a variant of “The Kesh Jig” (or vice-versa). Philippe Varlet discovered the tune on a 78 RPM recorded in 1938 by Irish accordion player Terry Lane as part of a medley called simply “Quadrilles.” The same tune appears in the Fleishmann index of traditional Irish music as “The Miser,” from Kane O’Hara’s comic opera Midas, London, 1764. Cole (1000 Fiddle Tunes), 1940; pg. 72. Ryan’s Mammoth Collection, 1883; pg. 103. Sannella, Balance and Swing. Sweet (Fifer’s Delight), 1964/1981; pg. 29. White’s Unique Collection, 1896; No. 13, pg. 3. Front Hall Records FHR-03, Dudley Laufman‑‑"Swinging on a Gate."

X:1

T:Dusty Bob

M:6/8

L:1/8

S:White’s Unique Collection (1896), No. 13

Z:AK/Fiddler’s Companion

K:G

D |: G2G GAB | A2A ABc | d2B c2A | B2G (AF)E | G2G GAB |

A2A ABc | dcB cAF (G3G2) :: d | g2g gag | f2f fgf | e2d efg | a2g fed |1

g2g gag | f2f fgf | efg fga | (g3g2) :|2 [B3g3] Bcd | [c3e3] ABc |

dcB AGF | G3 [B,2G2]||

X:2

T:Dusty Bob

M:6/8

L:1/8

Q:120

K:G

D |: G2G GAB | A2A ABc | d2B c2A | B2G A2D | G2G GAB |

A2A ABc | dcB AGF|1 G2G G2D :|2 G2G GBd ||: g2g gag |

f2f fgf | e2e efg | a2g f2d | g2g gag | f2f fgf |efg agf | g2g g2 :||

                   

DUSTY MILLER [1]. Old‑Time, Breakdown. USA, West Virginia. D Mixolydian/Major [Brody, Phillips]: D Mixolydian/Major ('A' part) & D Major ('B' part) [Krassen]. Standard tuning. AABB. Georgia fiddler/entertainer John Carson linked the tune with the song "Hard Time a Comin'" (Molly Tenenbaum). Modern ‘revival’ fiddlers sourced the tune from Bluefield, West Virginia, fiddler Franklin George, who learned it from his mentor Jim Farthing. Farthing was a fiddler from Virginia near the North Carolina border who had moved to West Virginia for mining related jobs and who performed carpentry with George’s father. Sources for notated versions: Armin Barnett (Charlottesville, Va.) [Krassen]; Fuzzy Mountain String Band (N.C.), learned from Frank George [Brody]; Bill Christopherson [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 96. Krassen (Appalachian Fiddle), 1973; pg. 53. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 78. Rounder 0035, Fuzzy Mountain String Band‑ "Summer Oaks and Porch" (1973. Learned from Franklin George, Princeton, W.Va.). Kicking Mule 206, Eric Thompson‑ "Kicking Mule's Flat Picking Guitar Festival." Roane Records, Franklin George – “Swope’s Knobs” (reissue of original on Anachronistic Recrods)

X:1

T:Dusty Miller [1]

L:1/8

M:C|

S:Jay Ungar

K:D

[D2D2] [D2D2] [D2F2] [DF][DF]|[G,2G2] B2 cBAG|E [=C2E2] [B,E] [C2E2]|

=CDEG [FA] [D3A3]|DEFD GAB[GB]|ABcA d2 (3ABc|dcdA BdAG|FDEF D4:|

|:ag|f [d2f2] c [d4f4]|fdfg abag|e [=c2e2] [Be] [c4e4]|=cdef g2 ag|

f d2 c deag|f d2 A BABc|d2 dA BdAG|FDEF D2:|

X:2

T:Dusty Miller

C:Fuzzy Mountain SB

S:Transcribed by Jim Garber

M:4/4

L:1/8

K:D

FE|D2 DEF2A2|B2G2 =cBAG|E2=C2C4|\

A,=C EG F2D2|A2A2B2B2|cABc d4|\

dedB AdBA|1FDEFD2:|2FDEFD4||

f4d4|fefga2gf|e2=c2 e2c2 |\

A=ceg f2d2|f2d4a2|gfed cABc|\

d2dB AdBA|FDEFD4:|

 

DUSTY MILLER [2]. AKA ‑ "Miller's Reel." Old‑Time, Bluegrass, Canadian, Texas Style. USA; Texas, Missiouri. Unrelated to version #1. A Major/Mixolydian. Standard tuning. AABBCC. The tune is a contest breakdown favorite in the Mid-West U.S.. Gus Meade relates the tune to “Granny Will Your Dog Bite?” Perhaps the earliest recorded version of the tune was by Capt. M.J. Bonner, “The Texas Fiddler,” who recorded “Dusty Miller” for Victor Records in Houston, 1925. Gene Goforth maintained his irregular version (10 measures in each part, rather than eight) was the “old way” of playing the tune. Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Joe Greene [Phillips]; Jim Wood [Fiddler Magazine]; Gene Goforth (1921-2002, High Ridge, Mo.), learned from his father, Richard “Dink” Goforth [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 45. Brody (Fiddler’s Fakebook), 1983; pg. 97. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 22. Fiddler Magazine, Winter 2005/06, vol. 12, No. 4; pgs. 33-35 (contains numerous variation sets). Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 78. Reiner (Anthology of Fiddle Styles), 1977; pg. 66. American Heritage 25, "Poor Richard's Almanac." County 202, "Eck Robertson: Famous Cowboy Fiddler." County 722, Joe Greene‑ "Joe Greene's Fiddle Album." County 724, Benny Thomasson‑ "Country Fiddling." Missouri State Old Time Fiddlers' Association, Dwight Lamb (b. 1934) - "Old Ladies Pickin' Chickens." Rounder 0046, Mark O'Conner‑ "National Junior Fiddle Champion." Rounder 0086, Butch Robbins‑ "Forty Years Late." Rounder 0235, Alison Krauss ‑ "Too Late to Cry." Rounder CD 0388, Gene Goforth – “Emminence Breakdown” (1997. Appears as “Dink’s Dusty Miller, after his father, Richard “Dink” Goforth). Rounder C‑11565, Alison Krauss ‑ "Rounder Fiddle" (1990). Rounder 0442, John Hartford – “Hamilton Ironworks (2001. Appears as “Goforth’s Dusty Miller”, after his source, Missouri fiddler Gene Goforth, who had the tune from his father). Voyager 319‑S, Ace Sewell‑ "Southwest Fiddlin.'"

 


DUSTY MILLER [3]. Old‑Time, Breakdown. USA, Ky. A Mixolydian. Standard tuning. AABB. An east Kentucky “Dusty Miller” was also played by fiddler Santford Kelly. Source J. P. Fraley said his father had a flour mill. Source for notated version: J.P. Fraley (b. 1923, Rush, Ky.) [Brody, Silberberg]. Brody (Fiddler’s Fakebook), 1983. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 39. Rounder 0037, J.P. and Annadeene Fraley ‑ "Wild Rose of the Mountain."

 

DUSTY MILLER [4]. Old‑Time, Breakdown. USA, north Mississippi. G Major. GDgd tuning. AABBC. This is an archaic melody in the dorian mode, with irregular rhythm, as the source for the tune, sixty‑seven year old Itawamba County, Mississippi, fiddler John Alexander Brown, held the initial note of the 2nd phrase for extra beats when he recorded the tune for Herbert Halpert of the Library of Congress in 1939. The tune has not been found in other collections of American fiddling. Mississippi Department of Archives and History AH‑002, John Brown ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985).

 

DUSTY MILLER [5], THE. AKA and see "Miller's Reel." American, Canadian; Reel. A Major. Standard tuning. AABB (most versions): AA’BB’ (Begin). This version is better known as "Miller's Reel;" the "Dusty Miller" title is a floater. Sources for notated versions: fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]; Hogg (Pa., 1948) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 135, pg. 74. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 6, pg. 20. Cole (1000 Fiddle Tunes), 1940; pg. 45. Jarman, pg. 10. JR, vol. 1; pg. 22. Messer (Way Down East), 1948; No. 13. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 33, pg. 28. O'Malley, pg. 14. MCA Records MCAD 4037, “The Very Best of Don Messer” (1994).

X:1

T:Dusty Miller [5]

L:1/8

M:C|

S:From a transcription by Carmelle Begin of the playing of fiddler Dawson Girdwood.

K:A

A2|:A,2 C>E D2 FD|E2 G>B A2 (cA)|BEcE dEcE|B2 c>B A>F E>C|

A,2 C>E D2 FD|E2 G>B A2 cA|fefg agaf|1 e>c (3BcB A>F E>C:|2

e>c (3BcB A2 (e>g)||

|:a2 (g>a) f>ece|b2 (bg) agfe|gebe ((3gb)g e>g|fe^df e2 (3efg|

a2 (g>a) f>ece|fgag fece|fdge afed|1 cA(Bd/)B/ A2 (e>g):|2

cABc/B/ A>FE>C||

X:2

T:Dusty Miller's Reel

R:Reel

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:A

A2|A,2CE D2FA|E2GB A2cA|BEcE dEcE|BEcB AFEC|

A,2CE D2FA|E2GB A2ce|fefg agaf|ecBc A2:|

|:(3efg|a2ga fece|b2bg agfe|gebe gbeg|fe^df e2(3efg|

a2ga fece|fgag fece|fdge afed|cABG A2:|

 

DUSTY MILLER [6]. AKA and see "Binny's Jig(g)," “Hey the Dusty Miller.” English, Scottish; Old Hornpipe (3/2 time) or Country Dance Tune (versions in 3/4 and 6/8 time). F Major (Chappell, Raven): C Major (Alburger): G Major (Ashman, Bremner, Callaghan, Johnson, Kershaw, O’Farrell, Preston, Walsh). Standard tuning. AB (Chappell): AAB (Bremner, Johnson): AABB (Alburger, Ashman, Callaghan, Kershaw, Raven): AABBCCDDEE (O’Farrell). A popular and widespread late 17th century tune in the old triple‑time hornpipe metre, published in Scotland in 1730 in a volume labelled Dances, Marches, in Robert Bremner's Reel's (c. 1765, pg. 43), in the McFarlane Manuscript (1740), and in the Gillespie Manuscript of Perth (1768). O’Farrell gives the tune’s provenance as Irish. Nearly all researchers seem to think the Scots and English have a much greater claim of provenance. William Chappell (Popular Music of the Olden Time, 1859) identifies the tune not as Scottish but as English, and it in fact can be found in the first volume of Walsh's Compleat Country Dancing Master (1718), Walsh’s The Lady’s Banquet, Wright's collection of Country Dances (London, c. 1742), and Thompson's 200 Country Dances, volume II (London, 1765) – all, save Walsh’s 1718 collection, later than the 1730 Scottish Dances, Marches. “Dusty Miller,” maintained Chappell, is cognate with a melody from the Blaikie manuscript (1692) for the lyra-viol entitled “Binny’s Jigg,” which has a similar first strain and is nearly identical melodic contour. John Glen (Early Scottish Melodies, 1900) thought Chappell mistaken, (“his [Chappell’s] examination had been very superficial and his translation of it wrong”) and determined that it was questionable whether “Binny’s Jigg” was really meant for the same tune, pointing out the manuscript is not barred properly and does not clearly indicate what measure the melody should be played. David Johnson (1983) supports Chappell's contention that the tune may well have been English in origin, but, if it was, it was "well established in Scotland by the late 18th century" and had acquired local words (probably rude or risqué) which, around 1790, the Scots poet Robert Burns rewrote, basing his charming scherzando on a fragment in Herd's MS (1776). It was first printed, unsigned, in Johnson’s The Scots Musical Museum in 1788, accompanied with a note by Stenhouse that this “cheerful old air is inserted in Mrs. Crockat’s Collection in 1709, and was, in former times, frequently played as a single hornpipe in the dancing-schools of Scotland. The verses to which it is adapted in the Museum, beginning Hey the dusty miller, and his dusty coat, are a fragment of the old ballad, with a few verbal alterations by Burns.”  It begins:

***

Hey, the dusty millar and his dusty coat,

He will win a shilling e’re he spend a groat,

Dusty was the coat, dusty was the colour,

Dusty was the kiss that I gat frae the millar.

***

Hey the dusty miller an' his dusty sack,
Leeze me on the callin fills the dusty peck,
Fills the dusty peck, brings the dusty siller,
I wid gie my coatie for the dusty miller.

***

Jamie Knowles (Joseph Kershaw) gives this verse, presumably from northern England:

***

Oh the little rusty, dusty, rusty miller,

I’ll not change my wife for either gold or siller;

Dusty was his coat,

And dusty was his siller,

Dusty was the kiss I got from the miller.

***

Examples of the tune appear in numerous fiddlers’ manuscripts from the 18th and 19th centuries, attesting to the universal popularity of the tune in the British Isles. Emmerson takes his example from the Joseph Kershaw MS, Lancashire, c. 1820. East Midlands fiddler and poet John Clare gives a version in his c. 1818 ms. which is identical to that printed in Preston's 1797 collection. Shropshire fiddler John Moore included a 6/8 time version in his mid-19th century copybook, as did the Rev. Robert Harrison (Brampton, Cumbria, 1820), John Clare (Helpston, Northants, 1820), the Welch family (Bosham, Sussex), Winder, the Tiller ms., William Clarke (Feltwell, Norfolk, 1858), John Moore (referenced below), and Thomas Hammersley (London, 1790).. Northumbrian musician William Vickers (about whom little is known) also included it in his 1770 music manuscript book. The title “Dusty Miller” appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800). Dance directions appear in the Holmain Manuscript from Dumfries‑shire (dated between 1710 and 1750). Van Cleef and Keller (1980) find three different country dances to the tune "Dusty Miller" existed in both England and America in the 18th century. The first dance appears in England in both Wrights and Thompson's, previously cited, with essentially the same dance appearing in Clement Weeks' Greenland, New Hampshire dance MS (1783), while the second dance by the same title appears in "Longman and Broderip's 5th Selection of the Most Admired Country Dances, Reels, Minuets and Cotillions (London, c. 1784). Nearly the same dance as version #2 was printed by Longman & Broderip can be found in the American publication Select Collection (Otsego, N.Y., c. 1808). A third dance appears on page 15 of another Thompson's volume, Thompson's Twenty-Four Country Dances for the Year 1798.

***

See also the similar “Rusty Gulley/Punchinello” tunes. Finally, the “Dusty Miller” appears in the Oxford Book of Nursery Rhymes as a children’s song.

***

Sources for notated versions: the Gillespie Manuscript, 1768, pg. 98 [Johnson]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; contained in the 19th century Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles [Kershaw]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 6d, pg. 22. Ashman (The Ironbridge Hornpipe), 1991; No. 114b, pg. 48. Barnes (English Country Dance Tunes, 2nd ed. only). Callaghan (Hardcore English), 2007; pg. 76. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 166. Johnson, 1984; No. 76, pg. 225. The Joseph Kershaw Manuscript, 1993; No’s. 60a & 60b. Neal Collection. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 16 (includes variations). Preston, Twenty-Four Country Dances for the Year 1797. Preston, Collection Book III. Raven (English Country Dance Tunes), 1984; pg. 14. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 190. Walsh, Caledonian Country Dances. Peter Barnes et al - “BLT.”

X:1

T:Dusty Miller, The [6]

M:3/4

L:1/8

S:Chappell – Popular Music of the Olden Time  (1859)

Z:AK/Fiddler’s Companion

K:F

A>B cAGF|E G2 B AG|A>B cAGF|C F2 A GF||

A>B cdef|g G2 B AG|A/B/c d/e/f e/f/g|f F2 A GF||

X:2

T:Dusty Miller [6]

M:6/4

L:1/8

R:Old Hornpipe

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:G

B3c d2B2A2G2 | F2 (A2A2)B2A2G2 | “tr”B3c (dcBA) G4 | D2 (G2G2)B2A2G2 :|

B2(d2d2)g2 “tr”f2e2 | a2(A2A2)B2A2G2 | B2d2d2g2”tr”(f2 ef | g2) (G2G2)B2A2G2 |

B2(d2d2)g2f2g2 | a2(A2A2)B2A2G2 | (Bcd2) (efg2) (fga2) | g3a g2d2B2G2 ||

X:3

T:Binny’s Jigg

M:6/8

L:1/8

R:Jig

S:Blaikie manuscript (1692)

K:G

B>cd B>AG|GAA B>AG|B>cd B>AG|EGG F>ED|Bc/d/d g/f/e/=f/g|E2 E BAG|

Bc/d/d g/f/e/=f/g|G2G BAG|Bc/d/d g/f/e/=f/g|A2A BAG|Bcd e=f/g/^f|e/=f/g G/G/ B>AG||

X:4

T:Dusty Miller [6]

M:6/8

L:1/8

R:Jig

S:William Vickers’ music manuscript copybook, pt. 47  (1770)

Z:AK/Fiddler’s Companion

K:D

B<cd BAG|FAA cBA|B>cd BAF|DGG BAG:|

|:Bdd gfg|aAA cBA|Bdd gfa|gGG BAG:|

|:BG G/G/G BG|FAA cBA|BG G/G/G BF|DGG BAG:|

X:5

T:Dusty Miller [6]

M:3/2

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

B3c d2 B2 A2G2|D2A2A2c2B2A2|B3cd2B2A2G2|D2G2G2B2A2G2:|

|:B3cd2e2f2g2|a2A2A2c2B2A2|B3cd2e2 “tr”f3 (e/f/)|g3a g2 B2A2G2:||

 

DUSTY MILLER{'S} [7], THE ("An Muilleoir faoi Dheannach" or "An Muilleoir Luaitreac"). AKA and see “Benny's Jig" (Eng.). Irish, Slip Jig. G Major (Breathnach, Cole, McNulty, O’Neill): D Major (Heymann). Standard tuning. AB (Breathnach, Heymann, O'Neill/1001): AABB (O'Neill/1850). A slip jig setting of version #5. Sources for notated versions: fiddler Denis Murphy (Gneeveguilla, Co. Kerry, Ireland) [Breathnach/CRÉ II]; from the playing of piper, broadcaster and music collector Séamus Ennis (Dublin), who learned the tune from his father, a piper taught by Nicholas Markey who in turn had been taught by the renowned piper and pipemaker Billy Taylor of Drogheda and later Philadelphia [Breathnach/Ceol]. Jackie Small (1999), editor of CRÉ V, notes another connection of the tune with Ennis: “This tune was among the hundreds of pieces that Ennis collected from Colm Ó Caoidheain, from Glinsk, Connemara.” Breathnach (Ceol V, No. 2), 1982. Breathnach (The Man and His Music), 1997; No. 6, pg. 73. Breathnach (CRÉ II), 1976; No. 102, pg. 54. Breathanch (CRÉ V), 1999; No. 62, pg. 32. Ceol V (#2), March 1982; pg. 54. Cole (1000 Fiddle Tunes), 1940; pg. 66. Heymann (Off the Record), 1990; pgs. 5-6. McNulty (Dance Music of Ireland), 1965; pg. 27. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 224, pg. 120. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 455, pg. 88. Ryan’s Mammoth Collection, 1883; pg. 87. Green Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990. Learned from Ciaran Tourish of Buncrana, County Donegal). Mulligan LUNCD 052, Tommy Keane – “The Piper’s Apron.” RTÉ TRECD 199, Séamus Ennis – “The Return from Fingal” (1997. Archive recordings). Temple Records 013, Ann Heymann & Alison Kinnaird – “Harper’s Land” (1983). TOCD 2002, Eilish O’Connor – “Sugrú.”

X:1

T:Dusty Miller, The [7]

M:9/8

L:1/8

R:Slip Jig

S: Séamus Ennis

K:G

A2A A2G A2G|A2A A2G B2d|A2A A2G A2G|B2G G2G B2d:|

|:A2D D2D A2d|A2D DDD B2d|A2D A2D G2A|B2B B2A B2d:|

 

DUSTY MILLER [8]. AKA and see “Dusky Meadow.” Canadian, Strathspey. Canada, Cape Breton. A Mixolydian. The tune has the same very general contours as “Dusty Miller [5]"--see note for “Dusky Meadow(s).”

 

DUSTY MILLER [9]. AKA and see “Top the Candle.” Irish, Slip Jig. G Major. Standard tuning. AABB’. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 20, pg. 6.

X:1

T:Dusty Miller [9]

M:9/8

L:1/8

R:Slip Jig

K:G

D |: G/A/Bc d2G B2G | F2A A2B c2A | …

                   

DUSTY MILLER [10]. Irish, Air (3/4 time). F Major. Standard tuning. AABB. Stanford/Petrie (Complete Collection), 1905; Nos. 343 & 344, pg. 87.

X:1

T:Dusty Miller, The [10]

M:3/4

L:1/8

R:Air

B:Stanford/Petrie, No. 343  (1905)

Z:AK/Fiddler’s Companion

K:F

A>BcAGF|E>GGBAG|A>BcAGF|CFFAAGF:|

|:A>Bcdef|gGGBAG|ABcfeg|fFFAGF:|

X:2

T:Dusty Miller, The [10]

M:3/4

L:1/8

R:Air

B:Stanford/Petrie, No. 344  (1905)

Z:AK/Fiddler’s Companion

K:F

A>BcAGF|EGGABG|A>BcAGF|CFFGAF:|

|:Acde f2|gGGABG|Acdf “tr”ed/e/|fFFGAF:|

 

DUSTY SAM. Old‑Time, Breakdown. A Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 80.

X:1

T:Dusty Sam

M:2/4

L:1/8

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:A

A,C/E/ AA/c/|cB/c/ B/A/F/A/|A,C/D/ AA/c/|B/A/B/c/ Be|A,C/E/ AA/c/|

BB/c/ B/A/F/A/|A,C/E/ AA/c/|B/A/B/c/ A2::c/e/e/e/ d/f/f/f/|ce e/c/A/c/|

c/e/e/e/ d/f/f/f/|ce/c/ B2|c/e/e/e/ d/f/f/f/|ce e/c/A/c/|A,C/E/ AA/c/|B/A/B/c/ A2:|

                   


DUSTY WINDOWSILL. AKA – “Dust on the Windows.” AKA and see “Austin Barret’s,” “The Blasket Sound Jig,” “The Chicago (Jig),” “Harding’s Jig,” “Harland’s,” “Johnny Harling’s,” “The Howling Jig,” “Tim Harding’s.” Irish, Jig. A Dorian. Standard tuning. AABBCC (Black): AA'BB'CC (Alewine). A very popular session tune composed by Chicago whistle player Johnny Harling, apparently entitled “Dusty Window Sills” at first. Harling was at a friend’s apartment when the tune came to him, and, not finding any writing instrument or paper to hand, he improvised by scratching it into the dust on a nearby windowsill. Later he returned with paper, but the title was evident. Chicago fiddler Liz Carroll (who said Harling was supposed to have given the tune to Austin Barrett who used it in a competition in Ireland, under the modified title “Dusty Windowsill.” There is a rumor, totally unfounded, that the title was inspired by the rock group Kansas and their hit “Dust in the Wind.” “The Chicago (Jig)” title is from Pete Cooper’s Irish fiddle tutorial. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 16. Ashbrook (Playing the Hammered Dulcimer in Irish Tradition). Black (Music’s the Very Best Thing), 1996; No. 86, pg. 44. Cotter (Traditional Irish Tin Whistle Tutor), 1989; No. 55. Mallinson (Essential), 1995; No. 82, pg. 36. Karen Ashbook - “Knock on the Door.”

X:1

T:Dusty Windowsill

C:Johnny Harling

M:6/8

L:1/8

K:Ador

E|A2B cBA|edB cBA|~G3 EGG|DGG B,GG|A2B cBA|e2d efg|age dBG|1

ABG A2E:|2 ABG A2e||

|:~a3 age|dBd ~g3|~g3 gfe|dBA ~G3|EGG DGG|EGG ABc|Bed BAG|1

ABG A2e:|2 ABG A2E||

|:AA/B/A gAf|AA/B/A ged|~G3 eBd|~G3 edB|AA/B/A gAf|AA/B/A efg|

age dBG|ABG A2E:|

X:2

T: Dusty Windowsill

C: Johnny Harling

Z: transcribed by B.Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: Ador

E | A2 B cBA | e2 d edB | G2 G EFG | DEG EFG |

A2 B cBA | e2 d efg | age dBG | ABA A2 :|

e | aba age | dBd g2 g | eaa age | dBG AGE |

DEG DGG | EAA ABc | Bed BAG | ABA A2 :|

E | AAA g>f-f | AAA gfe | GGG e>d-d | GAG edB |

AAA g>f-f | AAA efg | age dBG | ABA A2 :|

                             

DUSTY’S HORNPIPE. Old-Time, Breakdown. A Major. Standard tuning. AB. Source for notated version: Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 40.

                   

DUTCH DIAMOND.  English, Waltz. G Major. Standard tuning. AABC. Composed by Susan and Bill Swann in 1998. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 35.

 

DUTCH GIRL. Old‑Time, Breakdown. D Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 78.

X:1

T:Dutch Girl

M:2/4

L:1/8

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:D

fe/c/ d/B/A/F/|fe/c/ d2|fe/c/ d/B/A/F/|E/F/G/E/ D2:|

|:aa/b/ a/f/e/d/|af/b/a/ f2|aa/b/ a/f/e/d/|B/c/d/B/ A2:|

         

DUTCH HOP.  Old-Time, Two-Step or Polka. USA, Arkansas. D Major (‘A’ part) & G Major (‘B’ part). Standard tuning. AA’BB’. Source Lon Jordan, a dance and contest fiddler with a regional reputation, recorded the tune for researcher Vance Randolph in 1941. Drew Beisswenger (2008) points out that the Dutch Hop was a polka music form that was popular in the mid-20th century (e.g. in Colorado after World War II), although he could not connect this specific tune to the form. Source for notated version: Lon Jordon (early 20th century, Farmington, Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 86.

 

DUTCH HOUSE, THE.  English, Country Dance Tune (4/4 time). G Major. Standard tuning. AB. Composed by Brian Jenkins in 1990. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 36.

         

DUTCH SHIP. English, Jig. England, Shropshire. G Major. Standard tuning. AABB. The 'A' strain is eight bars while the 'B' strain is six, similar to "The Dutch Skipper [1]": printed by William Vickers. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridage Hornpipe), 1991; No. 85b, pg. 35.

                   

DUTCH SKIPPER [1], THE. English, Country Dance Tune (6/8 time). England, Northumberland. D Major. Standard tuning. AABB. "The six‑bar second strain is unusual; either it goes with a specific dance, or it is a mistake" (Seattle). Seattle (William Vickers), 1987, Part 3; No. 441.

 

DUTCH SKIPPER [2], THE. AKA and see “Auretti’s Dutch Skipper.” Scottish, English; Jig (6/8 time). England, Northumberland. B Flat Major. Standard tuning. AABB. See notes for “Auretti’s Dutch Skipper” and “Dutch Skipper [6]” for more. Seattle (William Vickers), 1987, Part 2; No. 350.

X:1

T:Dutch Skipper, The [2]

M:6/8

L:1/8

R:Jig

S:William Vickers’ music manuscript collection (Northumberland, 1770)

K:Bb

F|BFB dcB|cAF e3|dcB A/B/cA|BFD B,2D|BFB dcB|

cAF cde|dcB FBA|(B3 B2)::F|Bdf fdB|ceg g2F|

Bdf fdB|Acc c2F|Bdf fdB|cba b2e|dcB FBA|BFD B,2:|

 

DUTCH SKIPPER [3], THE. Offord, John of the Greeny Cheshire Way, 1985.

 

DUTCH SKIPPER [4], THE. Offord, John of the Greeny Cheshire Way, 1985.

 

DUTCH SKIPPER [5], THE. English, Jig. G Major/B Flat Major. Standard tuning. AABB. The melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. The Joseph Kershaw Manuscript, 1993; No. 19a & b.

 

DUTCH SKIPPER [6], THE. Scottish, Dance tune (whole time). D Major. Standard tuning. AABBCC (Aird): AABBCCDDAABB (Gow). The Dutch Skipper was originally a country dance, later a character dance that became choreographed for performance in imitation of dances from Holland, and known to the London stage since at least the season of 1709-10, when a ‘dutch skipper’s dance’ was performed by Miss Santlow. The ‘Dutch Skipper’ was advertised in the Spectator of June 11, 1712, as being one of the entre-act dances performed during a production of the comic Revenge, or Love in a Tub, to be danced by Mr Thurmond and Mrs. Bicknell, and 1721 it was performed at Lincoln’s In Fields, London, by a Mr. Sandham, “Upon his toes.” By the 1740’s it had become a stage standard for Madame Auretti, a dancer from a famous touring family. Walsh’s New Country Dancing Master, 2nd Book (London, 1710), then in John Young’s second volume of the Dancing Master (London, in four editions from 1713 to 1728) and republished in Walsh’s Second Book of the Compleat Dancing Master (London, 1719). It seems to have had somewhat longer longevity in Scotland where it appears in Gow prints the same melody, note for note, that is found in James Aird's Selections, (vol. 3, Glasgow, 1788) in three parts, although the repetitions of each differ slightly from one-another. The same melody also appears in the 1768 (James) Gillespie Manuscript of Perth.

***

Gow attaches two jig parts, the returns to the slow duple section. These jig parts do not appear in Aird, and are sometime split-off in manuscripts and also called “The Dutch Skipper.” This jig part was itself the vehicle for a song in Achilles, but was also used by itself in Abraham Longford’s The Lover His Own Rival (1736). It appears as a jig in Walter Rainstorp’s (Cheapside, London) music commonplace book of  1747, and in London musician Thomas Hammersley’s music manuscript collection of 1790.

***

As a vehicle for opera songs set to various lyrics, “The Dutch Skipper” enjoyed widespread popularity on the 1730’s London stage. John Gay used the melody in his opera Achilles (1733), but it also could be heard in the Grub Street Opera (1731), Genuine Grub (1731), Robert Drury’s Rival Milliners (1737), George Lillo’s Silvia (1731), Welsh Opera (1731), and Rome Excis’d (1733).

***

Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 3, 1788; pg. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 35.

X:1

T:Dutch Skipper, The [6]

M:C

L:1/8

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:D

“Slow”

(3.A.B.c|d4 c3d|”tr”B4 A2 Bc|{e}d2c2d2e2|~f3e defg|a4 d3e|

fede “tr”e3d|[F6d6]::~d>e|f2f2 (gf).e.d|c6 cd|e2 a^g fedc|

B4 “tr”c3d|e4 A3B|cBAB “tr”B3A|[C6A6] ~d>e|f2f2 gfed|

g6 fg|{b}a2 gf g2a2|b4 f3g|a4 d3e|fede “tr”e3d|[F6d6]:||

“Quick”

M:6/8

L:1/8

a|{g}fed {f}edc|d2d def|d2d def|e2e eag|{g}fed {f}edc|

d2d def|^gea a2g|[A3a3]-[A2a2]::e|{d}cBA {d}cBA|

e2e efg|{g}fed {g}fed|g2g gab|Bcd ecA|[F3d3]-[F2d2]:|

 

DUTCH SKIPPER [7], THE.  English, March (whole time). G Major. Standard tuning. AABB. The melody appears in the 1840 music manuscript of Cumbian musician John Rook. This “Dutch Skipper” melody does not seem to appear in printed collections under that title.

X:1

T:Dutch Skipper, The [7]

M:C

L:1/8

S:John Rook manuscript (Cumbria, 1840)

K:G

dc|B2G2G2AB|c2A2A2d2|B2 AG F2G2|AGFE D2 dc|B2G2G2 AB|c2A2A2 dc|

B2 AG FGAF|G2G2G2z2::B2d2d2 ef|e2c2c4|c2e2e2 fg|

f2d2d2 dc|B2G2G2 AB|c2A2A2 dc|B2 AG FGAF|G2G2G2:|

                   

DUTCHES OF CUMBERLAND. See "Duchess of Cumberland."

                               

DUTCHESS OF BRUNSWICK. See “Duchess of Brunswick.”

                   

DUTCHMAN'S HOP. 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.

                   

DUTCHWOMAN'S JIGG. AKA and see "Bartholomew Fair."

                   

DUTHAICH NAN CRAOBH. AKA and see "The Land of the Trees."

                   

DÚTHRACHT, AN. AKA and see "The Luck Penny."

                   


DUXBURY HORNPIPE. AKA and see “Dundee Hornpipe.” American, Hornpipe. F Major. Standard tuning. AABB. Credited to N. Sampson in Ryan’s/Cole's 1000, however, the tune is a variant of the large “Dundee Hornpipe” family of tunes. The tune bears some general resemblance to an old Pennsylvania reel collected by Bayard (Dance to the Fiddle, 1981; No. 100, pg. 59). No one knows who “N. Sampson” was, however, there Sampson family was an old family in the Duxbury area, descendents of Henry Samson, who came over on the Mayflower. See also the related reel “Pantomime.” Cole (1000 Fiddle Tunes), 1940; pg. 110. Howe (Diamond School for the Violin), c. 1861; pg. 75. Howe (1000 Jigs and Reels), c. 1867; pg. 71. Ryan’s Mammoth Collection, 1883; pg. 146.

X:1

T:Duxbury Hornpipe

M:4/4

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:F

BGGG DGBd | cAFA DFAc | BGBd gedB | cAFD DFAc | BGGG DGBd |

cAFA DFAc | BGBd cAFA | G2G2G2z2 || BGBd gedB | BGBd gedB |

BGBd cBAG | FGAF D2z2 | BGBd gedB | BGBd gedB | BGBd cAFA | G2G2G2z2 ||

                   

DWARF OF THE GLENS, THE. AKA and see “I Love a Woman.”

                   

DWYER AND THE LEPRECHAUN. Irish, Jig. G Major/Mixolydian. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black to commemorate “the encounter between West Cork’s own Richie Dwyer with the embarrassing robot leprechaun of Falmouth, Mass.” Black (Music’s the Very Best Thing), 1996; No. 65, pg. 34.

X:1

T: Dwyer and the Leprechaun

C: © B. Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: G

A | d2 g edB | GAB GED | DEG Ace | Ace agf |

d2 g edB | GAB GED | EAA cAA | cAF G2 :|

B | gdg aba | gde =fdc | =fdc BGB | cBc d2 d |

=fdc BGG | D=FF DGG | EAA cAA | cAF G2 :|

                   

DWYER’S FROLIC. See “Cossey’s Jig.”

 

DWYER'S HORNPIPE [1]. Irish, Hornpipe. G Major. Standard tuning. AA'BB. "This was a great favourite as a dance tune, and I learned it in boyhood from pipers and fiddlers" (Joyce). Joyce was born in 1827 in Glenosheen, Limerick, near the Cork border. O’Neill prints a variant under the titleCorney Drew’s Hornpipe.” Joyce (Old Irish Folk Music and Songs), 1909; No. 40, pgs. 22‑23.

X:1

T:Dwyer’s Hornpipe

M:C

L:1/8

R:Hornpipe

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:G

DE|G2 GA G2 Bd|e2 de gedB|e2 de gedB|A2 AA ABGE|

G2 GA G2 Bd|edef gfed|egde BdAB|G2 GG G2:|

|:(3def|g2g2 a2a2|bage e2 dB|e2 de gedB|A AA ABGE|

gfgb agac’|bage e2 dB|egde GdAB|G2 GG G2||

 

DWYER'S HORNPIPE [2]. AKA and see “O’Dwyer’s Hornpipe [1],” “Waterford Hornipipe [1].”

                                                 

DWYER’S (JIG). Irish, Jig. G Major. Standard tuning. AABB. Treoir.

X: 1

T: Dwyer's

S: "Treoir"

M: 6/8

L: 1/8

Z: Transcribed by Bill Black

R: jig

K: G

d | efg edB | cBA BGD | G2 G BdB | BAG ABd |

efg edB | cBA BGD | G2 G BdB | AGF G2 :|

D | GBd g2 g | agf g2 e | fed edB | cBA BGD |

GBd gfg | agf g2 e | fed edB | AGF G2 :|

                   

DWYER’S REEL [1]. AKA – “Dwyer’s No. 1.” AKA and see “Finbar Dwyer’s,” “The Holly Bush [2].” Irish, Reel. D Major. Standard tuning. AABB. The tune was composed by Finbar Dwyer as “The Holly Bush.” Sources for notated versions: fiddler Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; Mick Shannon [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 13. Mulvihill (1st Collection), 1986; No. 208, pg. 56. Green Linnet SIF 1058, Matt Molloy (with Sean Keane & Artie McGlynn) – “Contentment is Wealth” (1985).

 

DWYER’S [2]. AKA and see “Richie Dwyer’s [3].

 

D'YE KEN JOHN PEEL? AKA and see “John Peel.” "Do You Know John Peel."

 

DYER WHO DYED MY APRON BLUE, THE. Northumbrian. Title appears in Henry Robson's list of Northumbrian song and dance tunes, which he published c. 1800.

 

DYESTER LADDIE. Scottish, Reel. D Major. Standard tuning. AABB. McGlashan (Collection of Scots Measures), c. 1780; pg. 32.

X:1

T:Dyester Laddie, The

M:C

L:1/8

R:Reel

S:McGlashan – Collection of Scots Measures (c. 1780)

Z:AK/Fiddler’s Companion

K:D

A|GFED BAGF|DEFG G/A/B AG|GFED FAdF|G2 E2 E2 A2|

GFED BAGF|EFGA GA/B/ AG|GFED FAdF|A2 F2 F2:|

|:fe|d3e fedc|BcdB AFED|d3e f2 ed|f2 e2 e2 fe|d3 e fedc|

dcBA d3A|GFED FAdF|A2 (F2 F2):|

 

DYING CHILD'S REQUEST. American, Waltz and Song Tune. C Major ('A' part) & A Minor ('B' part). In the repertoire of Arizona fiddler Kenner C. Kartchner, who learned it in 1905; he played it with another fiddler for a "good two‑violin harmony" (Shumway).

 

DYING COON, THE. Old‑Time, Fiddle Tune. USA, southwest Alabama. The tune, an improvised number, was played by slave fiddler Jin Pritchett of Marengo County, Alabama, as recalled by Alfred Benners in Slavery and Its Results (1923) {Cauthen, 1990}.

 

DYING ON THE FIELD OF BATTLE. Old-time. A tune from fiddler Mack Snodderly played slowly, almost dirge-like. A very close relative of “Bonaparte Crossing the Rhine.”

                     

DYING SWAN, THE.  English, Air (3/4 time). G Major. Standard tuning. AA’B. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipe), c. 1745-46; pg. 24.

X:1

T:Dying Swan, The

M:3/4

L:1/8

R:Air

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe  (c. 1745-46)

Z:AK/Fiddler’s Companion

K:G

G2B2d2 | {A}G4 d2 | edcB AG | {G}F4A2 | E4d2 | (e/f/g) f3e |1 d4 cB/A/ :|2 d4f2 ||

ed c2B2 | cd e2d | {c}BAGABc | {c}d4 D2 | E3F G2 | (A/B/c) B2A2 | G6 ||

                     

DYING YEAR, THE. Air (4/4 time). G Major. Standard tuning. AAB. Composed by Tom Anderson? Ossian OSS 84, Boys of the Lough – “Open Road.”

X:1

T:The Dying Year

M:4/4

L:1/8

Q:80

Z:Andrew Pickering

R:Air

K:G

B/2A/2|G3 B d2 B2|g3 d/2c/2 B2G2|C3 e e2 C2|f3 d/2 ^c/4d/4 e2 f2|

g3 d B2G2|e3 c A2 F2|D3 c B2 A2|B3 G/2F/2 G3:|

g/2a/2|b3 g d'3 c'/2b/2|a2 f2 d3 ^d|e2 c2 g3 f/2e/2|d2 B2 G3 A/2B/2|

c3 d e2 c2|B3 c d2 B2|A3 B/2 A/4G/4 A2 G2|F2 D2 E2 F2|

G3 b b3 c'/2d'/2|a2 f2 d3 ^d|e2 c2 g3 f/2e/2|d2 B2 G3 d|

e3 f/2 e/4f/4 g2 e2|d2B2 G3 A/2B/2|A2 F2 D3 c||B2 G G/2F/2 G4|

 

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

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