The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation, 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] |
E AN SAGART?, AN AKA and see "Is it the priest you want?"
E FLAT REEL, THE. Canadian, Hornpipe. Canada, Cape Breton.
Composed by Cape Breton musician J.P. Cormier. Rounder
CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).
E PLURIBUS UNUM. American, March (6/8 time). USA, southwestern Pa. D Major. Standard
tuning. AB. This fife tune is presumed to be American, states Bayard (1981),
who indicates it was held in esteem by martial bands in Pennsylvania. Sources for notated versions: Hoge MS and
Hiram Horner (Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 622, pg.
547.
E TO E REEL. Irish, Reel. E Minor. Standard. AA’BB’. A modern composition by Ciaran
O’Grady. Sin É.
X:1
T:E to E reel
R:reel
D:Sin E
Z:id:hn-reel-574
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Em
eE~E2 GFEB,|CDEG FABd|eE~E2 GFEA|Bdef gefd|
eE~E2 GFEB,|CDEG FAdc|BG~G2 ADFA|1 (3Bcd AF E2Bd:|2 BdAF EFGA||
|:Beef geag|fdAG FGAc|BG~G2 AFdF|eFdF BFAF|
E2ef geag|fdAG FGAc|BG~G2 ADFA|1 (3Bcd AF EFGA:|2 BdAF E2Bd||
EACH AILMENT BUT LOVE (Gach tinneas ach gaol). Scottish, Slow Air (6/8 time). C
Major. Standard. AABB. "This melody was acquired through the gentlemen
mentioned in the prospectus, but is one of those to which it is impossible at
this period to attach incident" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the
Isles), 1874; No. 126, pg. 50.
X:1
T:Each ailment but love
T:Gach tinneas ach gaol
M:6/8
L:1/8
R:Slow Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:C
E/F/|Gcc c>de|GEE E2 E/F/|Gcc c>d/e/E/|EDD D2 E/F/|Gcc c>de|
C>E/G/4c/4e/4f/4 g2 g/4a/4g/4f/4|e>d/c/B/ cBA|GEE E2:|
|:(3c/B/A/|GEE cEE|GEE E2 (3c/B/A/|GEE cEE|DDD D2 (3c/B/A/|
GEE cEE| C>E/G/4c/4e/4f/4 g2 g/4a/4g/4f/4|e>d/c/B/ c>BA|
GEE E2 (3c’/b/a/|gee c’ee|gee e2 (3c’/b/a/|gee c’ee|ddd d2 (3c’/b/a/|
gee c’ee|c/B/c/d/e/f/ g2 g/4a/4g/4f/4|e>d/c/B/ cBA|GEE
E2:|
EACH NIGHT WHEN I
SLUMBER. Irish, Air (4/4 time). E Minor.
Standard. One part (Joyce): AB (Stanford/Petrie). "The words of this song
show that it was composed in the time of the American War of Independence, that
is, at the end of the eighteenth century. I never saw either words or air
printed in any shape or form: they have been simply preserved in my own memory
as I learned them unconsciously from hearing them sung at home when I was a
boy" (Joyce). Source for notated version: “From Mr. Joyce”
[Stanford/Petrie]. Joyce (Old Irish Folk
Music and Song), 1909; No. 390, pgs. 197‑198. Stanford/Petrie (Complete
Collection), 1905; No. 832, pg. 208.
X:1
T:Each night when I slumber
M:C
L:1/8
R:Air
S:Standford/Petrie (1905), No. 832
Z:AK/Fiddler’s Companion
K:E Minor
c/d/ | ee de | c2 BA | AG Bd | d3d |
ee de | c2 B/A/G/E/ | A>G EE |
E3 || B/A/ | GE GA/B/ | c2 de | EE
E/D/E | G2 A/G/E/D/ | EA AB |
c2 B/A/G/E/ | A>G EE | E2 ||
EADOTCAS NA bPIOBAIRI. AKA and see "The Piper's
Despair."
EAGAN’S. AKA and see “Humours of Castlefinn.”
Irish, Reel. The tune by this title appears on Paddy Canny and P.J.Hayes'
famous 1960 recording.
EAGLE HORNPIPE. Old‑Time. Caney Mountain Records CEP 208
(privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66.
EAGLE'S NEST, THE. AKA and see "Billy Patterson(‘s Favorite),"
"The Blackthorn Stick [1],”
"Boys of Rockhill/Bockhill,"
"The Catholic Boys [3],"
"The Coach Road to Sligo [1],"
"Fire on the Mountain(s)
[2]," "Fire in the
Valley," "The Hare on the
Mountain," "The
Humors of Bantry," “The
Maid(en) on the Green,” "The Rose on the Mountain [1]."
EAGLE’S TUNE. See “Eagle’s Whistle [1].”
EAGLE'S
WHISTLE [1], THE. AKA ‑ "The Eagle's
Tune," "Fead an Iolair,” “Fead an Fhiolair." Irish, March (2/4
time). G Major. Standard tuning. One part (Vallely): AAB (Joyce, O’Neill).
Joyce (1873) identifies this as the marching tune of the O’Donovans whose
ancient lands consisted of the territory of Hy Fidhgheinte, a district lying
west of the river Maigue in county Limerick. "I gave a setting of this in
my Ancient Irish Music {”Eagle’s Whistle [2]"}: and there are two
others in the Stanford‑Petrie Collection. These three are in 3/4 time:
whereas the setting I now give is in 2/4, which is no doubt the proper original
form, inasmuch as this was the marching tune of the O'Donovans (see my Ancient Irish Music, p. 53). The Cork
MS. has this remark:‑‑'The legend tells that with this tune the
eagle whistles his young to rest'" (Joyce)./ Bayard believes this tune to
be the common ancestor to the "Bonaparte's Retreat [1]"
family of tunes (see Bayard's (1944) note for Bonaparte's Retreat," No.
87), even though most Irish versions seem to be in triple meter. Hannagan and
Clandillon, "Londubh an Chairn," No. 22, (lullaby version). Henerbry,
Handbook, p. 212. JFSS, VII, 171
(appears as "Frog Dance"). Joyce (Ancient
Irish Music) 1872, No. 53. Joyce (Old
Irish Folk Music and Song), 1909; No. 361, pg. 166. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
41, pg. 28 (appears as "The Eagle's Tune"). Petrie, No. 1424. Vallely
(Learn to Play the Fiddle with Armagh
Pipers Club), 197?; pg. 21. Flying Fish FF‑407,
Robin Williamson ‑ "Winter's Turning" (1986). Flying Fish FF
70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England”
(1991. Learned from Shetland fiddler Aly Bain). Green Linnet GLCD 3127, Sharon
Shannon – “The Best of Sharon Shannon: Spellbound” (1999. Appears as “Fead an
Fhiolair/Cry of the Eagles,” first tune of “Kids”).
X:1
T:Eagle’s Whistle, The [1]
M:2/4
L:1/8
R:March
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
G/ | BB d/B/A/G/ | BB d/B/A/G/ | BAA
B/G/ | BAA B/G/ | BB d/B/A/G/| BB d/B/A/G/ |
EG GG>A | EG/G/ (GG/) :| d/ |
e/d/e/f/ ed/B/ | e/B/d/g/ dB/A/ | dg d/B/A/G/ | BAA B/G/ |
e/d/e/f/ ed/B/ | d/B/d/g/ dB/A/ |
Bg/e/ d/B/A/G/ | EG/G/ (G G/) ||
EAGLE’S WHISTLE [2], THE (Fead an Iolair). AKA and see "O'Donovan's March." Irish, Air or
March (3/4 time). G Major. Standard tuning. AB. P.W. Joyce (Ancient Irish
Music, 1873) notes: “This was the marching tune of the family of the
O’Donovans, who were anciently chiefs of the territory of Hy Fidhgheinte, a
district lying west of the river Maigue in the county Limerick.” Sources for
notated versions: “Taken down from the whistling of James Quain and of Michael
Dinneen, both of Coolfree [Joyce]; piper and folklorist Seamus Ennis [Heymann].
Heymann (Secrets of the Gaelic Harp),
1988; pg. 109. Joyce (Ancient Irish Music),
1890; No. 53, pg. 53.
"Michael Tubridy." Shanachie
78012, Joe & Antoinette McKenna - "The Best of…"
X:1
T:Eagle's
Whistle, The
M:3/4
L:1/8
Q:110
R:Irish Air
K:G
D GA|: "G" B2 dBAG| BA/B/ dB AG| "D" A 2 A>B/ AG| A2
D2-D2| "G" B2 dB AG|
BA/B/ dB AB/A/| G2 GB "D" AB/A/|1 "G" G2 GD GA:|2
"G" G2 GA Bd
|: "C" ef/e/ de gf| ef/e/ dB AG| "D" A2 A>B AG| A2 A2
Bd| "C" ef/e/ de g f|
ef/e/ dB AB/A/| "G" G2 GB "D"AB/A/|1"G"G2 GA
Bd:|2 "G" G3||
X:2
T:Fead an Iolair
T:Eagle’s Whistle, The
M:3/4
L:1/8
R:Air
N:”Marching Time”
S:P.W. Joyce – Ancient Irish Music (1873), No. 53.
Z:AK/Fiddler’s Companion
K:G
B2 dB AG|B2 dB AG|A2 AB AG|A2 AB
AG|B2 dB AG|B2 dB AB|
G2 GB AF|G2 GB AG||e2 dB gd|e2 dB
AG|A2 AB AG|A2 AB AG|
e2 dB gd|e2 dB AB|G2 GB AF|G2 GB
AG||
EAGLE’S WHISTLE [3], THE. Irish, Air (3/4 time). D Major: F Major.
Standard tuning. AB. A 3/4 time setting of “Eagle’s Whistle [1]." George
Petrie notes the versions he gives are from P. Carew’s MS. Stanford/Petrie (Complete Collection), 1905; Nos. 305
& 306, pg. 76.
EAGLE'S WHISTLE [4], THE (Fead An Iolair). Irish, Air (4/4 time). Ireland,
Munster. D Major. Standard tuning. ABC. "Since printing 'The Eagle's
Whistle' [1] at page 166 I have come across another version in a small Munster
MS. book belonging to the Forde Collection: but there is no statement as to the
source from which it was procured. It is strikingly different from the former
setting, so much so that some might consider it a different melody"
(Joyce). Indeed, the relationship to the above versions is quite distant,
though recognizable. Joyce (Old Irish
Folk Music and Song), 1909; No. 649, pgs. 327‑328.
EALAIDH GHAOIL. AKA – “Air faillirinn
illirinn.” Scottish, Air (6/8 time). D Dorian. Standard tuning. AB. Christine
Martin notes that pipers call the tune “Not the Swan on the Lake.” She says
words to the song were written by Ewan MacLaughlin (b. 1775, Fort William,
Scotland), and that the melody is attributed to a Mrs. MacKenzie. Source for
notated version: fiddler Ian Kennedy (Fort William, Scotland) [Martin]. Martin
(Traditional Scottish Fiddling),
2002; pg. 64.
EALAÍN AN TINCÉARA. AKA and see “The Tinker’s
Occupation.”
EALS FOR EVER. English, Hornpipe. England, Northumberland. D Major. Standard tuning.
AABB. Composed by Robert Whinham (1814-1893), a musician, teacher, composer,
dancing master and fiddler, originally from Morpeth. Graham Dixon (1995) notes
that Eals is a hamlet on the banks of the South River Tyne, between Alston and
Haltwhistle, Northumberland. Source for notated version: an un-attributed 19th
century manuscript in the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 38.
ÉAMONN A' CHNUIC (Nos na Ronne). AKA and see "Ned of the Hill [1]," “Edmond of the Hill.” Irish, Air (3/4). G Major.
Standard tuning. One Part (Ó Canainn): AB (O’Farrell, Roche). The melody first
appears in the appendix to Walker’s Historical
Memoirs of the Irish Bards (1786). The song tells of Edmund Ryan of the
Hill (Éamonn a' Chnuic), of Knockmeoil Castle, County Tipperary, an Irish earl
who refused to go into exile and instead chose to stay on in Ireland after the
Battle of the Boyne to fight the English. One of the rapparees o f the era, Éamonn had been forced into outlawry as the
result of a altercation with a tax collector, and by 1702 had a price of 200
pounds on his head. He found some shelter for a time with an old lover but at
the end was killed by a neighbour who had similarly offered him safe haven, but
who betrayed him for English reward money (only to find that the reward had
recently been withdrawn due to a service Edmund had performed for an
Englishman). Éamonn was an associate of Sarsfield's famous scout
"Galloping Hogan" (see "Galloping
O'Hogan"). An English translation of the lyrics goes thus:
***
Who is that outside with anger in his voice beating my closed door?
I am Éamann of the Hill, soakend through and wet
From constant walking of mountains and glens
My love, fond and true, what else could I do
but shield you from wind and from weather?
When the shot falls like hail, they us both shall assail
and mayhap we will die together.
***
Through frost and through snow, tired and hunted
I go in fear both of friend and of neighbour;
My horses run wild, my acres untilled
and all of lost to my labour.
What grieves me far more than the loss of my store
is there is no one would shield me from danger
so my fate it must be to bid farewell to thee
and languish amid strangers
***
My darling, my beloved
we will go off together for a while
to forests of fragrant fruit trees
and the blackbird in his nest
the deer and the buck calling
sweet little birds singing on branches
And the little cuckoo on top of the green yew tree
Forever, forever, death will not come near us
in the middle of our fragrant forest.
***
(translation by Barbara Carswell on
Connie Dover's CD "If Ever I Return"). See more under entry for “Ned of the Hill.” O’Farrell (Pocket Companion), c. 1805; pg. 3
(appears as “Yemon O Knock”). Ó Canainn (Traditional
Slow Airs), 1995; No. 92, pg. 79. O Sullivan, Songs of the Irish. Roche
Collection, 1982; vol. 3, pg. 1, No. 3. MKM 7590, Mike McHale – “The Schoolmaster’s House” (2000).
X:1
L:1/8
Q:90
K:G Major
B{c}{B}A|"G" G2{A}{G} E3 F
|"Em" {A}G4 {A}GA |
"G" B{a}g3{a}{g} fd
|"C" {a}e4 f{a}{f}e |"G" d4 B{c}{B}A |
"Em" G4 AB
|1"C" c3 B{c}{B}A{B}{A}G |
"D" E4 :|2"C" A4
{B}{A} "D" GF |"G" G4 ||
Bd | "C" e c3 g2
|"G" {c}d4 d2 |"C" e2{a}f2{g}{f}e2 |"G" d4 de |
d4 B{c}{B}A |"Em" G4 AB
|"C" c3 B {c}{B} A{B}{A} G|"D"E4 |
B{c}{B}A |"G" G2{A}{G} E3
F |"Em" {A}G4 {A}GA |
"G" B{a}g3{a}{g} fd
|"C"{a}e4 f{a}{f}e |"G" d4 B{c}{B}A |
"Em" G4 AB |"C"
A4 {B}{A}"D" GF |"G" G4 ||
X:2
T:Yemon O Knock
M:3/4
L:1/8
N:”Slow”
S:O’Farrell – Pocket Companion (c. 1805)
Z:AK/Fiddler’s Companion
K:G
DE | G2B2 (AG) | B2g2 f>d | ed/B/ “tr”A2B2 | (AG) G2F2 | E(D/E/) D3E |
G2B2 A>G | B2g2f>d | ed/B/ “tr”A2B2 | A>GA/4 G3 || de/f/ g2 (ge) | a>g f2 ed/B/ |
d4 gf | e>d (B/A/)G/E/ (G/A/)B/d/ | (e>f) (g>a) (g/a/b) | D>E G2B2 | AG B2g2 |
fd
(e/d/)(B/A/) “tr”A2 | (G/A/)B/d/ (e/d/)B/G/ A2G2 | G4 ||
ÉAMONN COYNE’S. AKA and see “Geordie Affleck.”
Irish, Reel. Caoimhin Mac Aoidh identifies this tune as one that Francie Dearg
& Mickey Ban O Beirn played in the key of D Major and John Doherty and
Danny O'Donnell played in A Major, called “The Mint in the Corn.” Tommy Peoples
also plays the tune in D Major, learned from older Donegal musicians. It is a
version, Mac Aoidh explains, of the Scottish reel “Geordie Affleck.” Breathnach
(CRÉ II), No. 191 (appears as “gan
ainm/untitled”).
X:1
T: Éamonn Coyne's
M:4/4
L:1/8
R:reel
Z:Barney
K:G
Bc dB GA BG|AD (3DDD cA FA|Bc dB GA
BG|AD EF G3A|
Bc dB GA BG|AD (3DDD AD (3DDD|Bc dB
GA BG|AD EF G3A||
BG Bd gf ed|cA ce ag fe|fg af de
fd|ed ^ce d2 ef|
gf ed ef a2-|ag fe dc BA|Bc dB GA
BG| AD FA G4:||
ÉAMONN DODBHALL. AKA and see "Edward Dodwell."
ÉAMONN McGIVNEY’S. AKA and see “McGibbney’s Fancy,” “McGivney’s Fancy.” Irish, Hornpipe. E Dorian. Standard tuning. AA’BB’. Paul de Grae remarks the tune is “named for Eamonn McGivney, Clare-based fiddler and the subject of the comic song "The Ordnance Survey Man" (his day job).” Taylor (Music for the Sets: Yellow Book), 1995; pg. 38.
ÉAMONN MHAGÁINE [1]. Irish, Slow Air (4/4 time). D Mixolydian. Standard tuning. One part. Ó
Canainn (Traditional Slow Airs of Ireland),
1995; No. 78, pg. 69.
ÉAMONN MHAGÁINE [2]. Irish, Slow Air (3/4 time, “Slow and distinct”). G Mixolydian. One
part. Éamonn Mhagáine is perhaps the name of a highwayman, notes Goodman. Source for notated version: a manuscript
collection dated 1861, compiled by Church of Ireland cleric and uilleann piper
James Goodman (1828-1896) who collected largely in County Cork [Shields].
Shields (Tunes of the Munster Pipers), 2001; No. 29, pg. 15.
EAN AR AN gCRANN, AN t-. AKA and see "Two Birds in a Tree." Irish,
Reel. G Major. Standard tuning. AB. Source for notated version: piper Matthew
Mac Tiernan/Maitiu Mac Tighearnain (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 87, pg. 38.
EANACH DHÚIN. See “Anach Cuain.”
EARBALL AN AINLEOIGE. AKA and see "The Swallow's
Tail."
EARL BLEY'S JIG. New England, Jig. D Major. Standard tuning. AABB. Composed by Earl
Bley. Randy Miller (2004) notes that Bley was born in 1905 in Worcester,
Massachusetts, and, according to his son, began his professional career on the
violin at age 16. Bley also played the piano and was a conductor of the
Worcester Brigade Band. Miller (Fiddler’s
Throne), 2004; No. 36, pg. 33. Page (Ralph
Page Book of Contras), 1969; pg. 13.
X:1
T:Earl Bley’s Jig
M:6/8
L:1/8
R:Jig
K:D
A2d cde|f2g afd|gfg e3|A2d cde|A2d
cde|fga gec|d2d d3:|
|:b2g dgb|a2f dfa|gec Ace|dfg a3|b2g
dgb|a2f dcB|Ace Ace|d3 d3:|
EARL EDDY'S BREAKDOWN. AKA - "Earl Eddy's Favorite." American, Hornpipe. USA, New
York. D Major. Standard tuning. AA'BB'. Source for notated version: Originally
from Galway, N.Y., fiddler Earl Eddy, via Larry Older (who may have given the
tune its name), via Adirondack Mtn. fiddler Vic Kibler, via North Tonawanda,
N.Y., hammered dulcimerist Paul Van Arsdale, via John McCutcheon (Va.) [Bohrer,
Phillips]. Bohrer (Vic Kebler), 1992;
No. 7, pg. 7. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 79. Rounder
Records 0216, John McCutcheon ‑ "Step by Step" (1986).
EARL EDDY'S FAVORITE. See "Earl Eddy's Breakdown."
EARL GREY. Scottish, Strathspey. A Major. Standard tuning. One part (Kerr): AB
(Hunter, Martin): AAB (Athole): AA’B (Skinner). Composed by James Hill, who was
born in Dundee, Scotland, but who lived in Gateshead near Newcastle, England.
Hill is most remembered for his hornpipes such as “The Bee’s Wing” and “High Level,” although this
strathspey is a classic. Hill named his tune after a pub called the “Earl
Grey,” which itself was named in honor of Charles Grey, the 2nd Earl
Grey (1764-1845), born in Falloden, Northumberland. Grey held several titles in
his lifetime, and was Prime Minister (1830-1834) and ‘Hero of the Reform
Bills’. He abolished the slave trade throughout the British Empire, and was a
champion of Catholic emancipation (having married Mary Elizabeth Ponsonby in
1794, the daughter of a leading Irish liberal family).
***
Portrait of the 2nd
Earl Grey. By Samuel Cousins after Sir Thomas
Lawrence, 1829.
University of Michigan Museum
of Art, Ann Arbor.
***
In the north of England the tune is
sometimes played as a reel. Some settings are significantly different than
Hill’s original. Paul Stewart Cranford (2000) references the version Cape
Breton fiddlers learned from James Dickie’s recording as one example. Another
Cape Breton setting is closer to the original, notes Cranford, who references
the one played by Alex Francis MacKay. Source for notated version: Scottish
fiddler Peter
Milne’s setting, via the late Hector MacAndrew
[Martin]; Jerry Holland, via Cape Breton fiddler Winston Fitzgerald, who learned
it from an LP of Scottish fiddler James Dickie [Cranford]. Cranford (Jerry
Holland: The Second Collection), 2000; No. 18, pg. 8. Hunter (Fiddle Music of Scotland), 1988; No.
122. Kerr (Merry Melodies), vol. 2;
No. 1, pg. 3. Martin (Traditional
Scottish Fiddling), 2002; pg. 139. Skinner (Harp and Claymore), 1904; pg. 94. Stewart-Robertson (The Athole Collection), 1884; pg. 5. Beltona 78 RPM 2292, Jimmy
Shand. Green Linnet GLCD 3105, Aly Bain - “Lonely Bird” (1996). Greentrax
CDTRAX 9009, Hector MacAndrew (1903-1980) - “Scottish Tradition 9: The Fiddler
and his Art” (1993). Angus Cameron – “Strings to the Bow” (1977). “James F.
Dickie’s Delights” (1976).
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:Earl Grey
M:C
L:1/8
S:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
E|A>BA>E F>AE>c|d>B d/c/B/A/ G<BB>c|A>BA>E F>AE>c|(3def (3efg a<AA:|
||g|a>Ag>A f>Ae>c|d>B d/c/B/A/ G<BB>g|a>Ag>A f>Ae>c|(3def (3efg a<AA>g|
(3afa (3geg (3fdf (3ece|d>B d/c/B/A/
G<BB>c|A>BA>E F>AE>c|(3def (3efg (3aed (3cdB|]
EARL HAIG [THE LAIRD
O' BEMERSYDE]. AKA and see "The Chief o' Bemersyde (A War
Sermon)." Scottish, Slow Air (4/4 time). A Major. Standard tuning. AB.
Composed by J. Scott Skinner (1843-1927) in honor
of Field Marshall Earl Haig (1861‑1928), the Commander‑in‑Chief
of the British forces during the First World War.
***
***
Skinner originally titled the piece
"The Chief o' Bemersyde (A War Sermon)," and said of it "a great
effort, I think." Hardie (Caledonian
Companion), 1992; pg. 107. Henderson, Scottish
Music Maker (1957).
EARL MARISCHAL/MARSHAL. Scottish, Reel. F Major. Standard tuning. AB (Surenne): AAB (Athole,
Skye): AABB (Bremner) AABB' (Kerr). Glen (1891) finds the earliest appearance
of this tune in print in Robert Bremner's
1757 collection. Since 1458, when the hereditary office of Marischal was made
into an earldom, ten successive Earls Marischal were from the Keith family. The
family seat was at Castle Dunnottar, near the fishing port of Stonehaven in
North East Scotland. George Keith, 10th and last Earl Marischal,
along with his brother James an ardent Jacobite, fought for the Stewarts in
1715 and as a consequence was stripped of his estates and title after the
risings failed. In 1716 they fled to the Continent, where George became a major
figure in European diplomacy. After the death of George, in 1778, the forfeited
estates passed to Lord Falconer.
***
Younger brother James (1896-1757)
was considerably more interesting. He gained patronage in France and soon
gained his first commission as Colonel of Horse. There followed some years of
Jacobite intrigue, stalled invasion plans, and finally an exile’s search for
fortune that led him to the court of Empress Anna in Russia. Impressed with
James, she promoted him and showered him with honors, however, Anna died in
1740 and was succeeded by Empress Elisabeth, a daughter of Peter the Great.
Elisabeth was a lusty woman, an accomplished dancer and gourmand, but also a
woman who could be quite ignorant and stubborn, with high spirits and high
temper. She also took a considerable liking to James, who by this time was
fighting Sweden on Russia’s behalf. In fact, it appears the Empress was
infatuated with him. James, meanwhile, had himself become infatuated, although
not with Elizabeth but with a sixteen-year-old orphan named Eva Methens, who
had been in a camp for military and civilian prisoners. She was pretty,
intelligent, from a respectable family, and James, nearly three decades older
than she, fell hopelessly in love with her. She became his lover and lifelong
mistress, however, differences in their social states precluded marriage. Certainly
brother George did all he could to deter an official union between the two.
***
James Keith (1696-1757)
***
Meanwhile, Empress Elizabeth
continued to press her demands on James, and the situation became increasingly
uncomfortable for him in Russia. The solution that occurred to him was to offer
his services to another European ruler, Frederick the Great of Prussia. James
and Frederick became friends, and James, already famous as a warrior from his
Russian days, was showered with even more honors and stations at the Prussian
court. Eva had blossomed into a lusty young woman herself, no longer a teenager
but a woman of age 26, she decided that her needs demanded romantic intrigues
of her own. She became a scandal at the Prussian court, and finally, in 1751,
while at a party with Prussian and Continental nobility that involved feasting,
drinking and some debauchery, she committed some unpardonable sin and as a
consequence was banished from Prussia by Frederick.
***
Eva returned to her birthplace in
Riga, and James went into a lonely semi-retirement. When the Seven Years War
broke out however, James resumed his martial duties and successfully led
Prussian forces until the Battle of Hochkirk, 1757, when he was shot dead at
close range by a Croat as he attempted to rally his troops. James was buried
with honors in Germany. The Empress Elizabeth never married. Eva did marry,
eventually, a captian of the Prussian palace guard, and outlived James by more
than fifty years, dying in 1811. She and George wrangled for some years over
James’s effects, to little avail, and Frederick the Great offered her huge sums
of money for one of her possessions, a portrait of James. She refused to sell
at any price.
***
Bremner
(Scots Reels), 1757; pg. 73 (appears
as “Earl Marshal’s Reel”). Kerr (Merry
Melodies), vol. 2; No. 184, pg. 21. MacDonald
(The Skye Collection), 1887; pg. 144. Stewart-Robertson (The Athole Collection), 1884; pg. 221.
Surenne (Dance Music of Scotland),
1852; pg. 67.
X:1
T:Earl Marischal
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
A|F2 FA cAAB|A/B/c FA cAAf|~F2 FA cAAc|dfcA G/G/G G:|
g|f/g/a fc d2 df|cfAf cfAf|a/g/f/e/ fc d2 df|cAfd cAGg|f/g/a fc d2 df|
cfAf
cfAf|a/g/f/e/ fc defd|cAfd cAGA||
EARL MITTON’S
BREAKDOWN. AKA and see “The Bastard in B
Flat,” “Mitton’s Breakdown.”
EARL MOIRA'S STRATHSPEY [1]. Scottish, Strathspey. G Major. Standard tuning. AB. Carlin (Master Collection), 1984; No. 143, pg. 87 (appears under the odd title “Earl Norva’s Strathspey”). Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 6.
X:1
T:Earl Moira's Strathspey [1]
R:strathspey
M:C
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones [Ed.], 2005
K:G
%%graceslurs false
%%staves (1 2)
V:1 stem=down
V:2 stem=up
[V:1] D !segno!|:: G<GG<G (B<d) d2 |
[V:2] x | x8 |
[V:1] c>AB>G ({FG}A)>GF>D |
[V:2] x8 |
[V:1] G<GG<G (Bd) d2 |
[V:2] x8 |
[V:1] e>g .f/.g/.a/.f/ .g/.a/.b/.a/ g<b ::||
[V:2] x8 |
[V:1] g<gb<g a>gfd |
[V:2] x8 |
[V:1] e<e({f}g)>e dBAG |
[V:2] x8 |
[V:1] g<gb>g a>gfd |
[V:2] x8 |
[V:1] e>g (f/g/a/f/) g2 (ga/b/) |
[V:2] x8 |
[V:1] c'>ab>g a>geg |
[V:2] x8 |
[V:1] (e/d/)(c/B/) (g>B) (c/B/)(A/G/) (A>B) |
[V:2] x8 |
[V:1] G<GG<G (c<e) e2 |
[V:2] x8 |
[V:1] d>g f/g/a/f/ g/a/b/a/ g<b ||:
[V:2] x8 |
[V:1] {c}B>Gd>G (e/d/)(c/B/) dg |
[V:2] x8 |
[V:1] BGdG A>Bce |
[V:2] x8 |
[V:1] B>Gd>G (e/d/)(c/B/) dg |
[V:2] x8 |
[V:1] e>g .f/.g/.a/.f/ .g/.a/.b/.a/ g<a ||
[V:2] x8 |
[V:1] (g/b) z/(g/b) z/ (f/a) z/ d2 |
[V:2] x8 |
[V:1] e>fge d>cBG |
[V:2] x8 |
[V:1] ((3gab) ((3gab) ((3fga) d2 |
[V:2] x8 |
[V:1] e>g .f/.g/.a/.f/ g2 (ga/b/) |
[V:2] x8 |
[V:1] (e.c') (d.b) (c.a) (B.g) |
[V:2] x8 |
[V:1] ({Bc}d)>cB>G ({FG}A)>GFD |
[V:2] x8 |
[V:1] ((3GAB) ((3ABc) ((3Bcd) ((3cde) |
[V:2] x8 |
[V:2] d>g b/a/g/f/ {a}gf/e/ d/c/B/A/ !segno!|]
[V:1] x6 g<b |]
EARL MOIRA'S
STRATHSPEY [2]. Scottish, Strathspey. G Major.
Standard tuning. AABB. Carlin (Master
Collection), 1984; No. 144, pg. 87 (appears under the odd title “Earl
Norva’s Strathspey”).
EARL OF ANGUS AND
ARRAN, THE. Scottish, Strathspey. E Flat Major.
Standard tuning. AB. Composed by William Marshall
(1748-1833). Marshall, Fiddlecase Edition,
1978; 1845 Collection, pg. 33.
X:1
T:Earl of Angus and Abran, The
M:C
L:1/8
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:Eb
B,|E<E B2 G>FE>G|A<C F>E D<B, C>D|E<E ~B2 G>FE>G|A<C F>D E2 E>B,|
E<E B2 G>FE>G|A<C F>E D<B, C>D|E<E ~B2 G>FE>G|A<C F>D ~E2 E||B|
G<B E>B G>B E>d|e<E G>E D>F F>A|G>B E>B GBE>g|f>ed>c ~B2 BG|
A<c
F>A G<B E>G|F>GA>G FEDB,|E<GF<A G<B A>c|B<e
d>f e2e||
EARL OF BALCARRAS
MARCH. Scottish, March. G Major. Standard
tuning. AABB. Carlin (Master Collection),
1984; No. 189, pg. 109.
EARL OF BRADALBAN'S
BIRTHDAY. Scottish, Strathspey. E Minor.
Standard tuning. AAB. The tune appears in Malcolm McDonald's 1789 2nd
collection, dedicated to the Earl of Breadalbane. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 48.
MacDonald (A Second Collection of
Strathspey Reels), c. 1789; pg. 1.
X:1
T:Earl of Bradalban’s Birthday
M:C
L:1/8
R:Strathspey
S:MacDonald – Second Collection of
Strathspey Reels (1789)
Z:AK/Fiddler’s Companion
K:Emin
d | B<E G>E G/A/B d2 |
ADF>D FAAd | B>EGE G/A/B d2 | AD F/G/B/F/ BEE :|
A | eBeB e/e/e g2 | “tr”d>efg
a/g/f/e/ df | eBeB e/e/e g2 | dA B/A/G/F/ GEEB |
eBeB e/e/e g2 |“tr”d>efg a/g/f/e/
dg | fbef d<g “tr”f>e | dBAF GEE ||
EARL OF BREADALBANE. AKA and see "Earl of
Breadalbane's Hermitage."
EARL OF BREADALBANE'S HERMITAGE. AKA - "Earl of Breadalbane(‘s Reel)." Scottish, Reel. E Minor. Standard tuning. AB (Surenne): AAB (most versions). Composed by Niel Gow (1737-1807). The first Earl of Beadalbane was the 17th century Campbell knight Sir John of Glenorchy (1635-1717), a supporter of William of Orange and infamous for his emasculation of the Highland clans as well as his hand in the massacre of Glencoe. However, Gow entitled the tune after John Campbell, 4th Earl of Breadalbane (1762-1834), made Baron Breadalbane of Taymouth Castle in 1806, and Marquis in 1831. Breadalbane, a peer, was a member of the Highland Society when they met in London in 1786 to discuss encouragement of Scottish projects. During the course of the meeting he happened to mention that 100 people from MacDonald of Glengarry’s estates were planning to emigrate, and the meeting quickly focused on how to keep the Highland population from leaving by promoting industry in Scotland and raising money for the purpose. A public notice to this effect was soon placed in the Edinburgh Advertiser. When the poet Robert Burns heard about the proposal he dashed off an irate condemnation in verse, called “Address of Beezelbub,” berating the plan which he saw as a way to keep oppressed a Highland population in search of freedom. The great Highland piper Colin Mór Campbell was piper to John Campbell, 4th Earl, on the latter’s western estates at Ardmaddy in Argyllshire, when he wrote his Nether Lorn manuscript, a classic of Scottish piping. It was to the Earl of Breadalbane that Malcolm MacDonald dedicated his second collection (1789), and the Countess of Breadalbane to whom he dedicated his fourth collection, further indicating the Campbells were important patrons of Scottish music.
***
The
‘hermitage’ of the title refers to a small forest or wood that was planted
specifically to grow certain types of trees, reveals Richard Allardice. The
most famous hermitage in Scotland is Dunkeld hermitage, over 400 years old (see
note for “Dunkeld Hermitage”). Gow (Second
Collection of Niel Gow’s Reels), 1788; pg. 10 (3rd edition.
Appears as “Earl of Breadalbane’s Reel”). Gow (The Beauties of Niel Gow, vol. 3), 1819. Jones [ed]. (Complete Tutor Violin), c. 1815; pg. 2.
MacDonald (The Skye Collection),
1887; pg. 96. Stewart-Robertson
(The Athole Collection), 1884; pg.
250. Surenne (Dance Music of Scotland),
1852; pg. 107.
X:1
T:Earl of Breadalbane
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
g|:E/E/E EF B3^c|dBAd FDAF|E/E/E EF B3g|fdB^d e3f:|
gfef gfeg|feda fadf|gfef gfeg|fdB^d e3f|
gfef gfeg|feda fadf|gbeg bgeg|fdB^d e3f||
X:2
T:Earl of Breadalbane's Hermitage, The
B:Beauties of Gow 3 (1819)
Z:Nigel Gatherer
L:1/8
M:4/4
K:Em
e | E/E/E EG B3 ^c | dBAd FDAF | E/E/E EG B3 g | f^dBd e3 :|
f | g>fef g>feg | feda fadf | g>fef g>feg | f^dBd e3
f | g>fef g>feg | f>eda fadf | gbeg bgeg | f^dBd e3 |]
X:3
T:Earl of Bradalbane's Reel.
R:reel
M:C
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones [Ed.]
K:G
U:T=!trill!
e |:: E/E/E (EG) TB3 ^c | dBAd FDAF | E/E/E (EG) B3 (g | f)^dBd e3 f :|| Tg>fef Tgf>ef | feda fadf |
g>fef Tg>feg | e^dBd e3 f | Tg>fef g>feg | Tf>eda fadf | gbeg bgeg | f^dBd e3 f |]
EARL OF CRAWFORD, THE. Scottish, Reel. A Major. Standard tuning. AB
(Martin, Neil): AAB (Hunter). The melody was composed by self‑taught
fiddler Peter
Milne (1824‑1908), one of J. Scott Skinner's
teachers and fellow‑performers, who played on theater circuit until his opium
addiction (brought on by taking laudenum prescribed for rheumatism) reduced him
to busking on the ferry‑boats crossing the Firth. Neil (1991) relates
that one Earl of Crawford was became the vanquished in a 1452 battle with the
Earl of Huntly, for which the latter was rewarded by the King in recognition
"for keeping the crown on our head." Crawford was supposed to have
"wished to have seven years in hell to have the honourable victory that
had fallen the the Earl of Huntly that day," however, it came at no mean
cost to Huntly for two of his brothers had been slain on the field. It seems
more likely that Milne was honouring his contemporary Earl of Crawford, James
Lindsay, who had put forward a claim to the title in 1843, left dormant when a
former Earl died childless in 1808. In 1848 the House of Lords allowed it, and
proclaimed him the twenty-fourth Earl of Crawford. See also Milne’s companion
piece, the slow strathspey “The
Countess of Crawford.” Source for notated version: Hector MacAndrew
[Martin]. Hunter (Fiddle Music of
Scotland), 1988; No. 227. Martin (Traditional
Scottish Fiddling), 2002; pg. 138. Neil (The Scots Fiddle), 1991; No. 69, pg. 94.
EARL OF CROMARTY, THE. Scottish, March (4/4 time). D Major. Standard
tuning. AAB. Composed by George MacIlwham. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 36.
EARL OF DALHOUSIE [1], THE. Scottish, March. B Flat Major. Standard tuning.
AAB. Composed by Niel Gow. (1727-1807). The earl was George Ramsay (1770-1828),
for whom see the note on “Earl of Dalhousie(‘s Reel) [2]”, below. The Gows’ Fifth
Collection (1809) was dedicated to the Countess of Dalhousie, born
Christina Broun (d. 1839), daughter of Charles Broun of Colston and Christian
MacDowell. Carlin (The Gow Collection),
1986; No. 585. Gow (Fifth Collection of Strathspey Reels), 3rd
ed., originally 1809; pg. 1.
X:1
T:Earl of Dalhousie’s March
M:C
L:1/8
R:March
N:”Slow”
C:Niel Gow (1727-1807)
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:Bb
d>c|~B2 F>F (GF)(ED)|F2 F>F
F2 d>c|~B2 FB (GFED)|C2 C>C C2 d>c|~B2 F>F (GFED)|F2 GA B2
[Bg]>[Bg]|
(f2 d>)d (e2 c>)c|{c}d2
[DB]>[DB] [D2B2]:||(f/g/a)|b2 f>f g>g b>g|{FBd}f3d B(Bcd)|e2 c>c
d2 B>B|G2 G>G G2 (f/g/a)|
b>b f>f g>g
b>g|{e}”tr”f3d .B(Bcd)|(e2 c>)c (f2 A>)A|B2 B>B B2 (f/g/a)|b>b
f>f g>g b>g|{e}f3d B(Bcd)|
(e2 c>)c (d2 B>)B|G2 G>G G2
B>G|~F2 G>A B2 cA|B2 B>B B2 bg|{g}f2 df (fe)cd|B2 B>B B2||
EARL OF DALHOUSIE('S REEL) [2], THE. Scottish, Reel. E Flat Major
(Athole, Gow, Johnson): D Major (Kerr). Standard tuning. AB (Athole): AA'BB'
(Johnson, Kerr). Composed by Nathaniel Gow
(1763‑1831) just prior to 1800, in honor of George Ramsay (1770-1838),
the 9th Earl of Dalhousie. Dalhousie was a soldier who fought with
distinction in the Napoleonic Wars, eventually commanding the British 7th
Division in the Peninsular Campaign under Lord Wellington. Dalhouse was in the
Pyrenees with his division in 1813, but returned to England in October of that
year (see “The Earl of Dalhousie’s Welcome from the Pyrenees”) for a short time
before returning to his division. Later her was Lt. Governor of Nova Scotia
(where he created Dalhousie University in Halifax), then Governor General of
Canada from 1819-1828. In 1815 he was created Baron Ramsay. In 1816 the Baron
observed in writing that the populace of Canada were very poor, very indolent,
fond of rum and that they generally appear half-drunk. They waste time
loitering about their houses and their field work, he complained, and seem
content in raising a sufficiency of potatoes for their winter. Despite his
insensitivity toward the population he governed, the Earl was a staunch
supporter of Scottish music, and of Gow in particular. At the Earl’s ball in 1811, for which
Nathaniel and his band provided the music, Dalhousie presented him with a
massive silver goblet, accompanied with a note that read:--An old friend of Gow’s requests his acceptance of a cup, in which to
drink the health of the thousands who would wish, but cannot attend him
to-night. Dalhousie subsequently became Commander in Chief in India before
his final return to Dalhousie Castle, Midlothian.
***
James
Stewart-Robertson notes that E Flat Major was the original key for the tune.
Pieces in the keys with more flats were a challenge to the common Scots
fiddler, and Gow's use of them in his compositions shows a developing classical
influence that assumed the more difficult fingerings (Johnson, 1983).
***
Gow (Fourth
Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg.
15. Johnson, 1983; No. 74, pg. 224. Kerr (Merry
Melodies), vol. 1; Set 20, No. 2, pg.. 13. Stewart-Robertson
(The Athole Collection), 1884; pg.
269.
X:1
T:Earl of Dalhousie
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Eb
g|e2ge B<B ge|f>agf eccf|e2ge Bagf|ecBG E/E/E Eg|e2ge B<B ge|
fagf eccf|e2 ge fdeB|c<e B>G E/E/E E||c|BEGB c2 ce|BcGB cFFc|
BEGB cdeB|c<e B>G E/E/E E<c|BEGB c2 ce|BeGB cFFc|BGAB cdef| geBG E/E/E E||
EARL OF DALHOUSIE'S HAPPY RETURN TO SCOTLAND, THE. Scottish, March. D Major. Standard
tuning. AA’B. The melody appears in Nathaniel Gow's
(1763-1831) collection of the compositions of his son, Neil Gow Jnr. (c.
1795-1823), published posthumously in 1837. Culburnie CUL110, Abby Newton – “Crossing to Scotland”
(1997). RC2000,
George Wilson – “Royal Circus” (2000).
X:1
T:Earl of Dalhousie's Happy Return
to Scotland, The
R:Reel
D:Abby Newton: Crossing to Scotland
M:4/4
L:1/8
K:D
D3 E G>F E<D|C2 E2 A,2 C2|D3 E
G>F E<D|d4 A2 d2|B2 g>B A2 f>A|!
G>F E>D C>D E>F|[1G>F
E>D E>F G<A|B4 c2 d2:|[2G>F E>D A>D C<E|D6 (3ABc||!
d4 f3 d|e>d c>B A>B
c<A|d3 e f>e d<c|B4 A2 (3ABc|!
d2 D2 F>G A<E|D2 A2 B>A
G<F|E3 D E>F G<A|B4 A2 (3ABc|!
d2 D2 f3 d|e>d c>B A>B
c<A|d3 e f>e d<c|B4 A2 (3ABc|!
d>c B>A B>c d>c|B>A
G<F G>F F<E|G3 F E>F G<A|B4 c2 d2|
EARL OF DALHOUSIE'S WELCOME FROM THE PYRENEES, THE. Scottish, Slow Strathspey. F Major.
Standard tuning. AB. Composed by Nathaniel Gow
(1763-1831). The title refers to George Ramsay (1770-1838), 9th Earl
of Dalhousie, a military officer and administrator. He fought with distinction
in the Napoleonic Wars, eventually commanding the British 7th
Division in the Peninsular Campaign under Lord Wellington. Dalhouse was in the
Pyrenees with his division in 1813, but returned to England in October of that
year (commemorated in Gow’s title) for a short time before returning to his
division. In 1815 he was created Baron Dalhousie and sat in the House of Lords.
Dalhousie later served as Lieutenant Governor of Nova Scotia, Governor General
of British North America, and Commander in Chief in India before his final
return to Dalhousie Castle, Midlothian. The tune was published by Gow in 1814
on a single sheet, and must have been added to the Fourth Collection in
a later edition. Alburger (Scottish
Fiddlers and Their Music), 1983; Ex. 77, pg. 124. Gow (Fourth Collection
of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 37.
X:1
T:Earl of Dalhousie’s Welcome from
the Pyrenees, The
M:C
L:1/8
R:Strathspey
N:”Slow”
C:Nathaniel Gow (1763-1831)
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:F
C<F “tr”(F>E/2F/4) E<G
“tr”(G>F/2G/4)|A<c “tr”(c>=B/2c/4) .d(efg)|a<f “tr”(f>e/2f/4)
d/c/B/A/ f>c|dB AF E<G ~G2|
C<F “tr”(F>E/2F/4) E<G
“tr”(G>F/2G/4)|A<c “tr”(c>=B/2c/4) .d(efg)|a<f “tr”(f>e/2f/4)
d<B “tr”(B>A/2B/4|(B/A/).G/.F/ .E/d/(c/E/) {E}F2F||
f/g/|a<f ~f2 e<g ~g2|f<d
~d>f ec ~c>_e|dB ~B>d {d}cB/A/ f>c|d>B AF E<G ~G>e|
fcc_e dBB^f|gdd=f ecc_e|dBBd
{d}cB/A/ f>d|(c/d/)(B/c/) (A/B/)(G/A/) {E}F2 F2||
EARL OF DALKEITH('S
REEL). AKA and see "Colonel Crafurd's Reel."
Scottish, Reel. F Major. Standard tuning. AB (Surenne): AAB (Athole, Gow,
Skye): AABB (Kerr). The reel was originally published by Robert Bremner as "Colonel
Crafurd's Reel" in 1759 (pg. 49), and retitled and republished by the Gows
as “Earl of Dalkeith’s Reel” in their Third
Collection (1792, pg. 20). The Earl of Dalkeith is the courtesy title used
by the Duke of Buccleuch’s eldest son and heir. At the time of publication of
the 3rd Collection (1792) the Earl of Dalkeith was Charles William
Henry Scott (1772-1819) of Buccleuch, who eventually became the 4th
Duke of Buccleuch and 6th Duke of Queensberry. He was educated at
Eton and sat as MP for Marlborough 1793 and 1806, for Luggershall 1796, and St.
Michael’s in 1805, after which he joined the House of Peers as Baron Tynedale.
The earl married Harriet Katherine Townshend in March, 1795 and they had nine
children. The couple were cordial—even affectionate—friends of Sir Walter Scott
who dedicated his “Lay of the Last Minstrel” to the Duke. The Duke and the
writer corresponded often, and the Duke stood security for a loan for Sir
Walter during an early period of his financial difficulties. The Duke and
Duchess were also the kind patrons of another famous Scottish man of letters,
poet James Hogg, the ‘Ettrick Shepherd’, to whom they bestowed the life-rent of
the farm at Altrive on his favourite banks of Yarrow. Charles William died in
Lisbon, Spain, in 1819, where he had gone for the sake of his health (many of
the family died young). Sir Walter Scott eulogized:
***
Others of his rank might be more missed in the resorts of splendour and
of gaiety
frequented by persons of distinction. But the peasant while he leans on
his spade,
age sinking to the grave in hopelss indigence, and youth struggling for
the means
of existence, will long miss the generous and powerful patron, whose aid
was
never asked in vain when the merit of the petitioner was unquestioned.
***
Carlin (The Gow Collection), 1986; No. 247. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 20 (3rd
ed.). Kerr (Merry Melodies), vol. 2;
No. 186, pg. 21. MacDonald (The Skye
Collection), 1887; pg. 141. Stewart-Robertson
(The Athole Collection), 1884; pg.
234. Surenne (Dance Music of Scotland),
1852; pg. 150. Angus Cameron – “String to the Bow”
(1977).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Earl of Dalkeith
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
A|FCA,C F/F/F AF|G/G/G BA GDDG|FCA,C F/F/F Ac|dfcf AFF:|
c|fgag fefc|d/d/d ba gdde|fgag fcdB|AcGB AFFc|
fgag fefc|d/d/d ba gdde|fcae fcdB|AcGB AF~F||
X:2
T:Earl of
Dalkeith’s Reel
M:C
L:1/8
R:Reel
B:Gow – 3rd Collection of Niel Gow’s
Reels, 3rd ed., pg. 20
(orig. 1792)
Z:AK/Fiddler’s Companion
K:F
A|FCA,C F/F/F AF|G/G/G BA GDDG|FCA,C F/F/F Ac|dfcf AFF:||c|
“tr”f>gag fefc|d/d/d ba gdde|”tr”f>gag fcdB|AcGB AFFc|
fgag f>efc|d/d/d ba gdde|face fcdB|AcGB AFF||
EARL OF DUNMORE, THE. Scottish, Jig. B Minor. Standard tuning.
AABB'. Martin (Ceol na Fidhle), vol.
2, 1988; pg. 44.
EARL OF EGLINTON [1]. Scottish, Strathspey. E Major. Standard tuning. AAB. Composed by Nathaniel Gow,
perhaps in honor of Archibald Montgomerie, the 11th Earl of Eglinton
(1726-1796), a career army officer. Montgomerie joined the British army in 1742
and made major-general in 1772; subsequently a lieutenant general in 1777 and a
general in 1793 (as well as colonel of the Scots Greys—the concurrent army rank
of general and the regimental one of colonel were entirely compatable in the
British army). He and saw service in North America, fighting in the French and
Indian War (participating, with George Washington, in Forbes’ expedition
against Fort Duquesne in 1758), and in the Anglo-Cherokee War of 1760. Prior to
leaving for America, early in 1757, Montgomery raised a regiment from the
Highlands, which was known as Montgomerie’s Highlanders, or the 77th
Highland Regiment (one of whose 30 pipers was Neil MacArthur, from the famous
piping family of the Western Isles). The regiment saw service against the
French and Indians in North America, including Nova Scotia and Newfoundland,
and in the Carribean against the Frency at Dominique, Martinique and Havannah.
When hostilities ended in 1763 an offer was made to the officers and men of the
regiment to settle in America or return to their own country, with land being
granted in proportion to their rank. Many of the men who stayed subsequently
fought for the Loyalist side in the American Revolutionary War.
***
Montgomerie returned to Scotland in
1861 and stood for Parliament, serving in the House of Commons from 1761-1768.
In 1769 he received the Earldom upon the death of his brother, Alexander, who
was shot and killed in a dispute with an excise officer about the latter’s
right to bear arms on the Earl’s grounds. After his elevation, Archibald moved
to the House of Lords and served from 1776-96, and was Lord Lieutenant of
Ayrshire from 1794-1796. The Gow’s wrote and published numerous melodies for
the Earl and family, ending with “Nathaniel Gow’s Lament for
(Hugh) Earl of Eglintoun” in his Sixth Collection (Edinburgh, 1822).
Carlin (The Gow Collection), 1986;
No. 48. Gow (The First Collection of Niel
Gow’s Reels), 1784 (revised 1801); pg. 14.
X:1
T:Earl of Eglintoun’s, The
M:C
L:1/8
R:Strathspey
C:Nathaniel Gow
S:Gow – First Collection of Niel Gow’s Reels (1784)
Z:AK/Fiddler’s Companion
K:E
G|E(BB>)G E>eg>f|e<c
“tr”B>G CFF>G|E(BB>)G E>eg>e|”tr”c>d~e>f {ef}ge e:||
a|g>ef>g a>fg>e|c<B
a>g a(ff>)a|”tr”g>edB (c/B/c/d/) e>c|B>df>a gee>a|
g>e c<e B<eB<G|A<c
“tr”B>G cF~F>G|E>GF>A G>BA>c|(Be)(df) e(EE)||
EARL
OF EGLINTOUN [2]. AKA ‑ "The Earl of
Eglinton." Scottish, Reel. B-Flat Major. Standard tuning. AB (Surenne):
AAB (Gow): AA'BB' (Skye). Composed for the 12th Earl of Eglinton, Hugh
Montgomerie (1739-1819), to whom the Gow’s dedicated their Fourth
Collection (1800). Montgomerie was an amateur cellist and composer, in
addition to his other endeavours. Carlin (The
Gow Collection), 1986; No. 248. Gow (Fourth Collection of Niel Gow’s
Reels), 2nd ed., originally 1800; pg. 1. MacDonald (The Skye Collection), 1887; pg. 145.
Surenne (Dance Music of Scotland),
1852; pg. 131.
X:1
T:Earl of Eglintoun [2]
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:Bb
B|FB (3dcB FBDB|FB (3dcB cCCB|FB
(3dcB FBDF|(E/F/G) F>E DB,B,B|FB (3dcB FBDB|
FB (3dcB cCCB|FB (3dcB FBDF|Ged>c
dBB||f|dfBf dfbf|(e/2f/2<g) B>d cFFe|
dfBf dfbd|ced>c dBBf|dfBf
dfbf|(d/2e/2<f B>d cFFf|geBg fdBf|ecFe dBB||
EARL OF EGLINTON'S
BIRTHDAY. Scottish, Strathspey. F Major.
Standard tuning. AAB. Stewart-Robertson
(The Athole Collection), 1884; pg.
237.
X:1
T:Earl of Eglinton’s Birthday
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
A|F>F A2 G>G B2|A>c d/c/B/A/ B<G G>A|F>F A2 G>G ~B2|f>c d/e/d/B/ A<FF:||
A|f>gf>d e>g ~g2|a>a b/a/g/f/ e<g g>a|~f>g f<c (3def (3efg|f>c c/d/c/B/ A<F F>c|
~f>gf>d e>g ~g2|a>a b/a/g/f/ e<g g<c|(3def
(3efg (3fga (3gfe|~f>c d/e/d/B/ A<FF||
EARL OF ELGIN [1]. Scottish, Strathspey. E Major.
Standard tuning. AB. The tune has been credited to Nathaniel Gow,
and is composed in the relatively rare British Isles fiddle key of E major.
There is no attribution to Nathaniel in the Gow’s 3rd Collection (1792), however, althought the preceeding
tune in the publication, called the “Earl of Elgin’s Favorite Strathspey”
appears with composer credits to Nathaniel (and is also in the key of E major).
The title probably references Thomas Bruce (1766-1841),
7th Earl of Elgin and 11th of Kincardine, whose story is
a somewhat tragic one—see note for “Miss Nisbet of Dirleton.”
He became earl at the age of five, upon the death of his older brother,
William, and resided at Broomhall, near Rosyth, Fife. Bruce was educated at
Harrow and Westminster, and, after studying for a while at St. Andrews he
proceeded to the continent, where he studied international law at Paris and
military science in Germany. After completing his education, Bruce entered the
army, although this seems pro-forma, as his entire career was as a diplomat. At
the time this tune appeared in Gow’s 3rd
Collection, 1792, Elgin was appointed envoy at Brussels. Carlin (The Gow Collection), 1986; No. 49. Gow (Third Collection of Niel Gow’s Reels),
1792; pg. 5 (3rd ed.).
X:1
T:Earl of Elgin’s Strathspey [1]
M:C
L:1/8
R:Strathspey
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 5 (orig. 1792)
Z:AK/Fiddler’s Companion
K:E
G|E>GBG B/B/B BG|B/d/e/f/
a/g/f/e/ fFFG|E>GBG B/B/B Ba|{a}gf/e/ {g}fe/d/ eEE:||
a|”tr”g>feB egeB|c/d/e/f/
e/d/c/B/ d(ff>)a|”tr”g>feB eg{e/g/}b>B|”tr”c>B c/B/A/G/ Beea|
“tr”g>fed egeB|c/d/e/f/ e/d/c/B/
c(ff>)a|g<bf<g e<gc<e B>e “tr”f2 {e/f/}.g.ee.g||
EARL OF ELGEN’S [2]. Scottish, Strathspey. D Mixolydian. Standard tuning. AAB. The tune
appears in Malcolm MacDonald’s 2nd
Collection, dedicated to the Earl of Breadalbane. MacDonald (A Second Collection of Strathspey Reels),
1789; pg. 4.
X:1
T:Earl of Elgen’s [2]
M:C
L:1/8
R:Strathspey
S:MacDonald – Second Collection of Strathspey Reels (1789)
Z:AK/Fiddler’s Companion
K:D Mix
A, | D2 DA G/F/E/D/ EC | D2 DA
G/F/E/D/ dA | BdAd GdEC | D2 DA G/F/E/D/ A2 :|
Adde/f/ (g/f/)e/d/ ec | Adde/f/
(g/f/)e/d/ ad | (g/f/)e/d/ ad “tr”g>fec | Adde/f/ (g/f/)e/d/ a2 |
Adde/f/ “tr”g>fec | Adde fdad |
fdad “tr”g>fec | Adde/f/ (g/f/)e/d/ a2 ||
EARL OF ELGIN'S
FAVORITE.
Scottish, Slow Strathspey. E Major. Standard tuning. AAB. Composed by Nathaniel Gow
in the relatively rare key (for British Isles fiddle tunes) of E Major. Carlin
(The Gow Collection), 1986; No. 50.
Gow (Third Collection of Niel Gow’s Reels),
1792; pg. 5 (3rd ed.).
X:1
T:Earl of Elgin’s Favorite
M:2/4
L:1/8
R:Strathspey
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 5 (orig. 1792)
C:Nathaniel Gow
N:”Very slow”
Z:AK/Fiddler’s Companion
K:E
B,|(E/F/G) B,B,|”tr”C/D/E
B<E|CF”tr”FE|”tr”D>E FG/A/|{G/A/}.B.G. .E.B,|”tr”CD/E/ B,E|
CA/>F/
G/>E/F/>D/|EEE:||B|”tr”e>f gg|(.f.f) “tr”e2|cf fe|”tr”d>e
fa|{a}g/>f/g/a/ (.b.b)|
[^df][df] [e2g2]|”tr”ca/>f/
g/>e/f/>d/|e2 EG|(Af) “tr”F>A|(Ge) “tr”E>G|AC”tr”F>E|
{E}D2 {D}”tr”C>B,|BBcd|{f}e>c
BG|EE AG|G”tr”FE||
EARL OF ERROL, THE. Scottish, Reel. A Major/Mixolyidan. Standard
tuning. AABB. Composed by Francis Peacock, who was appointed the "sole
dancing master within the burgh (of Aberdeen) during his good behavior"
and who was to take "7 shillings sterling monthly from each scholar,
besides paying for the music." He held the position from 1747 until his
death in 1807 at the age of eighty‑four. Hunter (1979) says: the
fifteenth Earl of Erroll...lived at Slains and at Delgatie Castle, near
Turriff. He was High Constable of Scotland and a great scholar and patron of
the arts." Hunter (Fiddle Music of
Scotland), 1988; No. 235.
EARL OF FIFE, THE. Scottish, Strathspey. B Flat Major. Standard
tuning. AB. Composed by William Marshall
(1748-1833). The Earl of Fife in Marshall’s day was the 4th Earl,
Lord Duff of Duff House by the Deveron River in Banff. The Earl founded
Dufftown in 1817. Not "The Earl of
Fife's Strathspey" in his 1822 Collection. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 16.
X:1
T:Earl of Fife, The
M:C
L:1/8
R:Strathspey
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:Bb
b|f<(d d>)B c>de>g|f>(d d>)f g2 (gb)|f<(d d>)c B>cdB|Gc B/A/G/F/ B2 Bb|
f<(d d>)B c>de>g|f>(d d>)f g2 (gb)|f<(d d>)c B>cdB|Gc B/A/G/F/ B2 Bb||
d|B>F G/F/E/D/ F>GBd|f<d B>d c2 cd/c/|B>F G/F/E/D/ B>c d<b|f<d c>d B2 Bd/c/|
B>F
G/F/E/D/ F>GB>d|f<dBd c2 (ce)|(3def (3gab (3 gfe (3dcB|G>c A/B/c/A/
B2B||
EARL OF FIFE'S
FIRESIDE, THE. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by Robert Petrie. "This tune makes a
capital Reel, also by altering some of the notes to suit the fancy of the
player." MacDonald (The Skye
Collection), 1887; pg. 151.
X:1
T:Earl of Fife’s Fireside, The
R:Strathspey
M:C
L:1/8
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:F
c|A<F F2 C<F F2|A>F
A/B/c/A/ B<G G>B|A<F F2 C<F F2|B<G c>B AF F:|
c|(f/e/f/g/) fc AcAF|Bd d/c/B/A/
BGGe|(f/e/f/g/) fc dfdB|df ef/g/ af fg/a/|
(3bag (3agf (3gfe (3fed|(d/c/B/A/)
fA BGGB|(3AFA (3cAc (3dBd (3fdf|(3efg (3gab (3aff z||
EARL OF FIFE'S
STRATHSPEY, THE. Scottish, Slow Strathspey. A Major. Standard tuning. AB. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1822
Collection, pg. 16.
X:1
T:Earl of Fife’s Strathspey, The
M:C
L:1/8
R:Strathspey
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:A
c|A<A A>F B2 Bc|A<A A>E
A>B c<A|d<fc<e B>A B<c|A<A A>F A2 Ac|
A<A A>F B2 Bc|A<A A>E
A>B c<A|d<fc<e B>A B<c|A<A A>F A2A||
f|e<ac<a B<b b>g|a>e
a/g/f/g/ a>eac|d<bc<a Bbge|c<aB<g ~a2 Af/g/|
a>c ~ag/a/ bBBf/g/|a>ce>c
a>ce>c|d>e f/e/d/c/ d/c/B/A/ ~B>c|A<(F F>)E A2A,||
EARL
OF GLENCAIRN [1]. AKA and see "Sir James Colquhoun," "The Black Watch's Farewell."
Scottish, Strathspey. E Minor. Standard tuning. AAB. Glen (1891) finds the
earliest appearance of this tune in print in Alexander McGlashan's 1781 (1786?)
collection; in Glen's time it was known as "The Black Watch's
Farewell." The tune honors James, the 14th Earl of Glencairn, a member of the illustrious
Cunningham of Kilmaurs family, descended from a Flemish nobleman granted lands
in Ayrshire in Norman times who became Earls in the mid-15th century
in the reign of King James III of Scotland.
James, who lived in Edinburgh, was active in Parliament and a man of
considerable influence, although he never married. When the Scots national poet
Robert Burns moved to Edinburgh, James become his principle patron and
introduced him to many opportunties. Burns acknowleged the debt, and wrote of
him: “The noble Earl of Glencairn, to whom I owe more than any man of earth,
does me the nonor of giving me his strictures; his hints, with respect to
impropriety or indelicacy, I follow implicitly.” This bespeaks a skillful handling of the relationship, for Burns
could be notoriously sensitive. When the subscription of Burns’s Poems was
taken, Glencairn and his mother took 24 copies, and, due to his influence, the
entire Caledonian Hunt also subscribed, taking a total of 100 copies. When
James died after returning from a trip to Lisbon (where he had gone to revive
his failing health), Burns in 1791 penned a lament for him that begins:
***
The wind blew hollow frae the hills,
By fits the sun's departing beam
Look'd on the fading yellow woods,
That wav'd o'er Lugar's winding stream:
Beneath a craigy steep, a Bard,
Laden with years and meikle pain,
In loud lament bewail'd his lord,
Whom Death had all untimely ta'en.
***
James was succeded to the Earldom by John Cunningham, who
became the 15th Earl. When he died in 1796 leaving no heirs the
Earldom became dormant. McGlashan
(Collection of Strathspey Reels),
1781; pg. 6.
X:1
T:Earl of Glencairn’s, The
M:C|
L:1/8
R:Strathspey
S:McGlashan – Strathspey Reels (c. 1781)
Z:AK/Fiddler’s Companion
K:Emin
A|G<E E>D G>EE>F|GEDB, D2 D>E|G<E E>D G>EE>F|G>AB>G E2 E>F|
G>AB>d B>A G<A|B>AGB, D2 D>E|D<E G>A B>A Ge|d<B A>G E2 E:|
||f|g<e e>d g>eef|g>ed>B d2 d>e|g<e e>d gee>f|g>abg e2 e>f|g>abb b>aga|
b>agB d2 d>e|d>eg>a b>agb|aeg>d e2 d>f|gee>d gee>f|gbd>B d2 de|
gee>d geef|g>abg e2 d>f|g>ab>d’ b>aga|b>agB d2 de|d>eg>a b>agg’| d’<b a>g e2 d||
EARL OF GLENCAIRN’S STRATHSPEY [2], THE. Scottish, Strathspey. G Major. Standard tuning. AAB. Composition attributed to William Marshall (1748-1833) by McGlashan. McGlashan (A Collection of Reels), c. 1786; pg. 12.
X:1
T:Earl of Glencairn’s Strathspey
M:C|
L:1/8
R:Strathspey
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:G
G>D G<B G,>B,G,>B|c>AB>G E<A A>B|G>DG>B G,BG,>g|d<BA>G D(G G2):|
G<(g g2) d>gb>g|a>gb>g A(a a2)|d<(g g2) d>gba|g>ed>B D<(G G2)|
G<(g
g2) dgbg|a>gb>g A(a a2)|g>d b<a g<de<g|d<B A>G D<G
G2||
EARL OF HADDINGTON’S, THE. Scottish, Strathspey. C Major. Standard tuning.
AAB. "A very old tune,” notes Gow (1784). The family seat of the Hamilton family, the Earls of
Haddington, is Mellerstain House in the Scottish Borders north of Kelso. The
magnificent Georgian manor was begun in 1725, overseen by architect William
Adam, and completed 70 years later by Robert Adam, and is occupied by the
Hamiltons to this day. Since Gow indicates it was a very old melody in his day,
it is unclear which Hamilton earl exactly is honoured by the title. Carlin (The Gow Collection), 1986; No. 51. Gow (First Collection of Niel Gows Reels),
1784 (revised 1801); pg. 7.
X:1
T:Earl of Haddington’s, The
M:C
L:1/8
R:Strathspey
S:Gow – First Collection of Niel Gow’s Reels (1784)
Z:AK/Fiddler’s Companion
K:C
E>Gc>G A/A/A A2|”tr”c2 g>c
a>c e<g|E>Gc>G a<(a a>)g|~g>d e<c g>G A<c:||
“tr”f>g{fg}a>g g<e
“tr”e2|~e>dd>e “tr”g>de>g|E>Gc>G
A<a”tr”a>g|c’>ga>c “tr”A>GAc|
“tr”f>g{fg}a>g g<e
“tr”e2|~e>dd>e “tr”g>d e<g|E>Gc>G a<a
“tr”a>g|c’>ga>c “tr”A>GAc||
EARL OF HOME(S). Scottish, Strathspey. F Major (Athole, Gow, Skye): G Major (Kerr). Standard tuning. AAB. Composed by Scottish fiddler, composer, music publisher and bandleader Nathaniel Gow (1763-1831), third son of the famous Niel Gow. The Earl of Home (pronounced ‘Hume’) at the time of publication of the Gow’s 3rd Collection (1792), and presumably whom the title honors, was Alexander Douglas-Home (1769-1841), 10th Earl of Home, who married Lady Elizabeth Scott (daughter of Sir Henry Scott, 3rd Duke of Buccleuch, and Lady Elzabeth Montagu) in 1798. He assumed the Berwickshire earlship upon the death of his father, also Alexander, in 1786, and eventually became Lord Lieutenant of Parliament and a representative Scottish peer. The ‘Earl of Home’ is also the name of a Scottish country dance from the Borders region, one of fifteen or so collected in the early 20th century that were wholly or in part in strathspey tempo. Carlin (The Gow Collection), 1986; No. 52. Gow (3rd Collection of Niel Gow’s Reels), 1792; pg. 7 (3rd ed.). Kerr (Merry Melodies), vol. 1; Set 15, No. 5, pg. 10. MacDonald (The Skye Collection), 1887; pg. 142. Stewart-Robertson (The Athole Collection), 1884; pg. 220.
X:1
T:Earl of Home
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
f|c<F c>A d<G B>d|c<F c>A d>Bc>A|B<dA<c G>A B<d|c<F c>A c<FA:|
c|~f>g a<f e>f g<a|~f>ga>f g>ef>d|c<A f>A G>A B<d|c<F c>A c<F A>c|
f/e/f/g/ a>f e>fg>a|f>ga>f g>ef>d|c<A f>A G>AB>d|c<A cd/e/ fcd<f||
X:2
T:Earl of Home’s Strathspey
M:C
L:1/8
R:Strathspey
C:Nathaniel Gow
B:Gow – Third Collection of Niel Gow’s Reels, 3rd ed., pg. 7 (orig. 1792)
Z:AK/Fiddler’s Companion
K:F
f|c<F”tr”c>A dGBd|c<F”tr”c>A dBcA|B<dA<c “tr”G>ABd|cFc>A cFA:||c|
“tr”f>g ){f/g/}a)f e>fga|”tr”f>g {f/g/}a>f gefd|cAf>A “tr”G>ABd|cFc>A cFAc|
(f/e/f/g/) af e>fga|”tr”f>g ({f/g/}a)f gefd|c<Af>A “tr”G>ABd|cA cd/e/ fcd<f||
EARL OF HOPETOWN’S
REEL. AKA and see “Flowers of Edinburgh [1].”
EARL OF HYNDFORD('S REEL). Scottish, Cape Breton; Reel. C Minor. Standard tuning. AB. The Earl of
Hyndford in Gow’s time was Thomas Carmichael (c. 1750-1811), 5th
Earl of Hyndford, who acceded to the title in 1787. He was unmarried and died
without issue. Carlin (The Gow Collection),
1986; No. 249. Gow (Third Collection of Niel Gow’s Reels), 3rd
ed., 1792; pg. 32. Little (Scottish and
Cape Breton Fiddle Music in New Hampshire), 1984; pg. 4. MacDonald (The Skye Collection), 1887; pg. 187. Stewart-Robertson
(The Athole Collection), 1884; pg.
268. Rounder 7004, Joe Cormier ‑ "The
Dances Down Home" (1977).
X:1
T:Earl of Hyndford
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Cmin
G,|C2 EG cdec|BGFE EB,B,D|C2 EG cdec|BGFD ECCE|C2 EG cdec|BGFE DB,B,D|
ECFD GEAF|GEFD ECC||G|cGEe cgec|Bbfg dfBd|ecge dBGc|BEDG ECCG|
CGEe
cgec|GdFB DFB,D|ECFD GEAF|GEFD ECC||
EARL OF JURA, THE. Scottish, Canadian; Slow Air. Canada, Cape
Breton. D Minor. Standard tuning. One part. Angus Grant identifies the tune as
the air to an old song said to have been composed by a lass who was in love
with the Earl, a Campbell, although her love was unrequited. Atlantica Music 02 77657 50222 26, Lloyd MacDonald -
“Atlantic Fiddles” (1994).
X:1
T:An
t-Iarla Diùrach
T:Earl of
Jura, The
M:3/4
L:1/8
R:Slow Air
B:Fiddle
Music of the Scottish Highlands Vol 5/6 P 9
Z:Ted
Hastings Nov 2000
K:Dm
uA
A>G|A2 D>F(E>D)|(D3 D) "," (FG)|!
A2
(GF)GA|f2 (e>f) dA|c2 (dG) G>F|F3 "," G A>G|!
A2 DF
(E>D)|D4 "," (A>c)|d2 (Af) f>e|d2 F2 Ac|!
d2 A2
G>F|E2 D2 "," FG|A2 (GF)GA|f2 (ef)dA|!
c2 (dG)
G>F|F3 "," A A>G|A2 D>F(E>D)|(D3 D)||
EARL
OF KELLY’S REEL, THE. Scottish, Reel. G Dorian. Standard
tuning. AB. McGlashan (Collection of Strathspey Reels), c.
1780/81; pg. 34.
X:1
T:Earl of
Kelly’s Reel, The
M:C|
L:1/8
R:Reel
S:McGlashan
– Strathspey Reels (c. 1780/81)
Z:AK/Fiddler’s Companion
K:G Dorian
B|DGBG
dGBG|F2 f2 F>G B/A/G/F/|DG^FA GBAc|Bf d/c/B/A/ BGGB|
DGBG
dGBG|C>F Af f>g B/A/G/F/|DG/G/ ^FA/A/ GB/B/ Ac/c/|
Bf d/c/B/A/
BGG||g|bgdg Ggg>b|afcf Fff>a|bgdg fdcA|Gf d/c/B/A/ BGGg|
Bgdg Gdgb|afcf Fcfa|bga^f gd=fc|df
d/c/B/A/ BGG||
EARL OF KINNOULL’S REEL. Scottish, Reel. D Major. Standard tuning. AAB. Composed by Captain Daniel Menzies (Gow, 1817). The 11th Earl of Kinnoull was Thomas Robert Hay-Drummond (1785-1866), who married Louisa Rowley daughter of Charles Rowley, 1st Lord Rowley, in August, 1824. The Earl was colonel in the Royal Perthshire Militia.
Thomas Robert Hay, the Earl of Kinnoull, 1815, by Sir Henry Raeburn (1756-1823).
Gow (Complete Repository), Part 4, 1817; pg.
37.
c|~d2 AG F2
D=F|{F}E2 =CE cGEg|fdAG {G}F2 DF|GECE FDD:|
A|~d2 fa f2
df|{f}e2 =ce gece|~d2 fa f2 df|gece fddA|~d2 fa f2 df|
e=ceg
c’geg|fdAG FdAF|GEcE dDD||
EARL OF LAUDERDALE. Scottish, Reel. G Major. Standard tuning. One part (Hunter): AB (Athole, Gow, Martin): AAB (Kerr). The Earls of Lauderdale are the Maitlands, a Scottish family with an a long and illustrious pedigree. The tune probably honors James Maitland (1759-1839), the 8th Earl of Lauderdale, one of sixteen Scottish peers elected to the House of Lords. Maitland originally represented the seat of Malmesbury for Fox in Parliament, moving to Lords when he succeeded to the Earldom in 1789. He was liberal in his views and a founder of the ‘Friends of the People’. In 1806 Maitland was created a Baron of the United Kingdom, and was a Keeper of the Great Seal. During the Napoleonic era he undertook a diplomatic mission to France to attempt to secure a peace settlement, but in this he was unsuccessful. The poet Robert Burns met Maitland before his succession to the Earldom, and said in a letter of 1787 that he met Maitland and his brother at breakfast and found them “exceedingly easy, accessible, agreeable fellows; and seemingly pretty clever.”
***
***
When Burns met Maitland, his
principle dwelling was Lauderdale House, lying at the end of Dunbar’s High
Street. The original house was built c. 1740 but was purchased by later
purchased by James when the owners fell on hard times; he then commissioned the
great architect Robert Adam (1728-92) to remodel and extend it. When Robert
died it was finished by his younger brother. Lauderdale House ceased to be a
family dwelling in the mid-1800’s and was used as a military headquarters. At
present the house has been converted and divided into private apartments.
***
Source for notated version: Hector MacAndrew
[Martin]. Carlin (The Gow Collection),
1986; No. 250. Gow (Third Collection of
Niel Gow’s Reels), 1792; pg. 19 (3rd ed.). Hunter (Fiddle Music of Scotland), 1988; No.
196. Kerr (Merry Melodies), vol. 1;
Set 16, No. 2, pg. 11. Martin (Traditional
Scottish Fiddling), 2002; pg. 123. Stewart-Robertson
(The Athole Collection), 1884; pg.
176.
X:1
T:Earl of Lauderdale, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
G2 Bd cAFD|GBdg d2 cB|ceAc GdGB|AcDF BDB,G,|G2 Bd cAFD|
GBdg d2 cB|ceAc BdGB|AcDF G2 Gd||gbeg fadf|egce d2cB|ceAc BdGB|
AcDF G2Gd|gbeg fadf|dece d2cB|ceAc BdGB|AcDF GDB,G,||
X:2
T:Earl of
Lauderdale’s Reel
M:C|
L:1/8
R:Reel
B:Gow – 3rd Collection of Niel Gow’s
Reels, 3rd ed., pg. 19 (orig. 1792)
Z:AK/Fiddler’s Companion
K:G
“tr”G2 Bd cAFD|GBdg ({e}d2) cB|ceAc BdGB|AcDF GDB,G,|”tr”G2 Bd cAFD|
GBdg {e}d2cB|ceAc BdGB|AcDF G2 Gd||gbeg fadf|egce|{e}d2 cB|
ceAc BdGB|AcDF “tr”G2 Gd|gbeg fadf|egce|{e}d2 cB|ceAc BdGB|AcDF GDB,G,||
EARL OF LEVEN’S FAVORITE. Scottish, Strathspey. E Flat Major. Standard tuning. AAB. Composed by Scottish fiddler, composer, music publisher and bandleader Nathaniel Gow (1763-1831), third son of the famous Niel Gow (1727-1807). A new Earl of Leven (pronounced ‘Lee-ven’) came to the title in the year or two prior to the issuing of Nathaniel Gow’s Sixth Collection (1822). He ws David Leslie-Melville, the 8th Earl of Leven, 7th Earl of Melville (1785-1860), a career naval officer and later a Scots representative peer and deputy-lieutenant of Fifeshire. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 36.
X:1
T:Earl of Leven’s Favorite, The
M:C
L:1/8
R:Strathspey
N:”Slow”
C:Nathaniel Gow (1763-1831)
B:Gow – Sixth Collection of Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:Eb
(G<B) B>G ~B>c B2|(G<B)
B>G ~Bc/d/ eB|(G<B) B>G B>cB e/f/|.g.e .B.G ~FG AF:||
B>g (f/d/)e/c/ Bc G>A|(B<g)
.g.e df a>f|(Bg g>e (Bc) G2|(c<e) B>G ~F>G AF|
(Bg) (f/d)(e/c/) (Bc)
G>A|(B<g) g>e df a>f|g>e f>d (e/d/)(e/c/) B2|(c<e B>G
~F>G AF||
EARL OF LOUDOUN, THE. AKA – “Earl of Loudon.” Scottish, Strathspey.
F Major. Standard tuning. AB (Surenne): AAB (Gow, Stewart-Robertson). Composed
by John Bowie. The Earl of Loudoun in
John Bowie’s time was John Campbell (1705-1782), the 4th Earl. John
was given the authority to raise the second regiment in the British army from
the Scottish Highlands, and subsequently secured in 1745 the services of 1,250
men from Inverness and Perth. These men became known as The Earl of Loudon’s
Regiment of Foot (the 64th), or Loudon’s Highlanders, a unit in
existence from 1745-1748. Campbell became the regiment’s Colonel, and when he
died in 1782 had attained the rank of general in the army. Elements of the
Regiment fought for the English at Culloden in 1745, and then with the Duke of
Cumberland in Flanders. Upon the peace of 1748 they returned to Scotland, and
the regiment dispersed at Perth in June, 1748. Campbell was appointed
captain-general and governor-in-chief of the province of Virginia in 1756, and
soon after become the Commander in Chief of His Majesty’s forces in America.
While in the latter capacity the French and Indian War broke out. A small fort
named Fort Loudon was constructed in 1757 by a group of South Carolinians on
the Little Tennessee River, 30 miles north of present-day Knoxville, Tennessee.
It had been named in Campbell’s honor but did not fare well, as it was captured
in 1760 by the Cherokee Indians, who killed the garrison and nearby settlers.
Loudon is sometimes credited with attempting to reform the way the British
waged war in the new world, however, and he supported the development of
irregular companies such as Rogers Rangers. These irregulars were to fight a
different kind of war than the linear, European-style warfare the British had
been trained in, and would copy the success of the French in adopting Native
American tactics. All-in-all, however, Loudon was not a success for “his career
in America was distinguished mainly by inefficiency, and his military
operations confined principally to the celebreated ‘Cabbage planting
expedition’ at Halifax, 1757, so that, though promoted to the rank of
lieutenant general in January, 1758, not only his military skill but his courage
and integrity were questioned” (Murdoch, A
History of Nova Scotia, or Acadie, Halifax, 1866). Loudon’s name survives
to the present in various placenames in America--Loudon County, Tennessee,
takes its name from the aforemention fort and the earl, while Loudon Ferry Road
in New York was originally a military road from Albany to Lake George
constructed by provincial troops from the region. Later in life Loudon was
appointed fovernor of Edinburgh castle. He died, unmarried, at Loudon Castle,
Ayrshire, in April, 1782 at the age of 77. Carlin (The Gow Collection), 1986; No. 53. Gow (First Collection of Strathspey Reels), 1784 (revised 1801); pg.
3. Stewart-Robertson
(The Athole Collection), 1884; pg.
228. Surenne (Dance Music of Scotland),
1852; pgs. 140-141.
X:1
T:Earl of Loudon
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
f|c<F c>A F>Ac>A|D<d d>c d<G G>f|c<F c>A Ff/g/ a>g|f>d c/d/c/B/ A<F~F:|
c|f>ga>g f<d d>f|c>d~f>g a<g gf/g/|f>ga>g f<c a>g|f>d c/d/c/B/ A<F F>c|
f>ga>g
f<d d>f|c>d~f>g a<g gf/g/|a>fg>d fe/d/ a>g|f>d
c/d/c/B/ A<F~F||
EARL OF MANSFIELD('S
MARCH).
Scottish, American; (Pipe) March (2/4 time) or Country Dance Tune (cut time).
USA, New England. A Major (Laufman, Miller & Perron): D Major (Martin,
Neil). Standard tuning. AAB (Laufman, Miller & Perron, Neil): AABBCC'
(Martin). This pipe march was composed by J. McEwan. Laufman (Okay, Let's Try a Contra, Men on the Right,
Ladies on the Left, Up and Down the Hall), 1973; pg. 23. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 39.
Miller & Perron (New England Fiddlers
Repertoire), 1983; No. 55. Neil (The
Scots Fiddle), 1991; No. 126, pg. 165. F&W
Records 5, Canterbury Country Orchestra‑‑"Mistwold."
Front Hall FHR‑024, Fennig's All‑Star String Band ‑
"Fennigmania" (1981. Learned from the Canterbury Country Orchestra).
Topic 12TS381, The Battlefield Band ‑ "At the Front" (1978).
X:1
T:Earl of Mansfield
M:C|
L:1/8
R:March
K:A
|:cB|A3B A2E2|ABcd e2dc|B3c B2E2|GABc d2cB|A3B A2E2|ABcd e2dc|d2B2G2E2|A6:|/
ed|c2A2 A2ed|c2A2 A2Bc|d2B2G2B2|G2E2 E2ed|c2A2 A2ed|c2A2 A2Bc| d2B2G2E2|
A6 ed|c2A2 A2ed|c2A2 A2Bc|d2B2G2B2|G2E2E2cB|A3BA2E2| ABcd e2dc | dcB2 G2E2 | A6 |]
EARL OF MARCH [1]. Scottish, Reel. F Major. Standard tuning. AAB. Stewart-Robertson
(The Athole Collection), 1884; pg.
214.
X:1
T:Earl of March
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
c|AfcA ~f2 cf|AfcA BGGB|AFAc dfeg|fcdB AFF:|
c|fage ~f2 cf|AfcA BGGe|afga ~fcdA|BGc>B AFFc|
fage
~f2cf|AfcA BGGB|AFA,F B,FCF|DdcB AFF||
EARL OF MARCHES [2],
THE. Scottish,
Hornpipe. D Major. Standard tuning. AA'BB. Composed by Alexander Walker for the
Royal Music Saloon, Aberdeen. Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 76, pg. 27.
EARL OF MARCH'S PAVANE. Scottish.
EARL OF MARSHALL. Scottish, Reel. F Major. Standard tuning. AAB. Gow (Complete Repository), Part 1, 1799; pg.
28. Petrie (Second Collection of
Strathspey Reels and Country Dances), 1796; pg. 4.
X:1
T:Earl of Marshall
M:C
L:1/8
R:Reel
S:Gow – 1st Repository
(1799)
Z:AK/Fiddler’s Companion
K:F
A|F2 FA cAAc|(A/B/c) (FA) cAAf|F2 (FA)
cAAc|dfc>A G/G/G G:|
g|(f/g/a) fc d3f|cfAf
cfAf|(a/g/f/e/) fc d3f|cAfd cAGg|(f/g/a) fc d3f|
cfAf cfAf|(a/g/f/e/) fc
d>efd|cAfd cAFA||
X:2
T:Earl
of Marshall's Reel
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04
N:Petrie's
Second Collection, page 4
%
Gore's Index gives earliest publication as James Aird's
%
Selection of Scotch, English, Irish and Foreign Airs" v4 ca 1790
L:1/8
M:C|
R:Reel
K:F
A|F2FA
cAAB |(A/B/c)(FA) cAAf|F2FA cAAc|dfcA
G/G/G G:|
g|(f/g/a)
(fc) d2 (df)| cfAf cfAg|(a/g/f/e/ f)c d2df|cAfA G/G/G Gg|
(f/g/a)
(fc) d2 (df)| cfAf cfAg|(a/g/f/e/ f)c defd|cAfA G/G/G G|]
EARL OF MOIRA, THE. Scottish, Slow Strathspey. G Major. Standard
tuning. ABB. The Earl of Moira honored by the tune was Francis Rawdon-Hastings,
1st Marqis of Hastings, 2nd Lord Moira (1754-1826) a
British soldier and administrator. Moira first made a name for himself in the
American Revolution and went on to have a distinguished militory career. In middle
age he began a political career and played an active role in the House of Lords
where he was a partisan of the Prince of Wales (later George IV). Hastings
married Flora Campbell, daughter of the Earl of Loudoun and Countess on her
father’s death in 1786. In
1813 he went to India as Governor-General of Bengal (in effect the ruler of
British India) and was accompanied by his wife and their young children; they
were at the center of Calcutta society and took an interest in the arts,
partronizing several British as well as Indian painters. Hastings expanded
British frontiers in the subcontinent, waged war on the Gurhas of Nepal
(1814-16), the marauding Pindaris, and the Marathas, while maintaining a
vigourous and progressive government. In 1817 he received the title of Marquis
of Hastings, but remained in India until 1823. He died in 1826 while Governor
of Malta,
outlived by his wife who died in 1840. Robert Tannahill’s “Louden’s Bonnie
Woods and Braes” was composed in 1807 in honor of Lord Moira (to the tune
of “Lord
Moira’s Welcome Home to Scotland.” Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 36.
X:1
T:Earl of Moira, The
M:C
L:1/8
R:Slow Strathspey
Z:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:G
D|G<G G2 B<d d2|c>AB>G
A>G F<D|G<G G2 B<d d2|e>g f/g/a/f/ g/a/b/a/ g<b|
G<G G2 B<d d2|c>AB>G
A>G F<D|G<G G2 B<d d2|e>g f/g/a/f/ g/a/b/a/ g<b|
g<g b>g a>g f<d|e<e
g>e d>c B<G|g<g b>g a>g f>d|e>g f/g/a/f/ g2 ga/b/|
c’>ab>g a>ge>g|e/d/c/B/
g>B c/B/A/G/ A2|G<G G2 c<e e2|d>g f/g/a/f/ g/a/b/a/ g<b||
|:B<Gd>G e/d/c/B/
d<g|B>Gd>G A>Bc>e|B<Gd>G e/d/c/B/ d<g|e>g f/g/a/f
g/a/b/a/ g<b|
g<b g<b f<a d2|e>fg>e
d>c B<G|g/a/b/a/ g/a/b/g/ f/g/a/f/ d/e/d/B/|e>g f/g/a/f/ g2 ga/b/|
e<c’d<b c<a
B>g|d>cB>G A>G FD|G/A/B/G/ A/B/c/A/ B/c/d/B/ c/d/e/c/|1
d>g b/a/g/f/ gf/e/ dcBA:|2 d>g
b/a/g/f/ gf/e/ g>b||
EARL OF MOIRA'S WELCOME TO SCOTLAND. AKA and see "Countess of Loudon's
Strathspey," "Loudon's/Louden’s
Bonnie Woods (and Braes)." Scottish, March (4/4 time). F Major.
Standard tuning. AABCCD. Composed by Duncan MacIntyre and used by the weaver‑poet
Robert Tannahill for his song "Louden's Bonnie Woods." Little is
known about the expatriate Scot D. MacIntyre except he was a dancing master in
London around the year 1795, and later spent some years in India, probably
around the same time as Earl Moira, who was Governor‑General of the
subcontinent in 1816 (John Glen {1895} thinks Duncan may have served as a
Master of Ceremonies to the Governor‑General's Court). Tannahill's words
are thought to commemorate the parting of the Earl from his young wife at the
time he left to assume the post. Arranged as a rondo for piano by an Austro‑Hungarian,
Christoff Schertky, who wrote in the Scottish style and published in
Philadelphia, Pa., in 1823. Neil (The
Scots Fiddle), 1991; No. 111, pg. 149.
EARL OF MORTON. Scottish, Jig. C Major. Standard tuning. AAB. Composed by William Gow
(1751-1791), who, like his father (the famous Dunkeld fiddler-composer Niel
Gow) was a musician who contributed several compositions to the Gow
publications. William was also leader of the Edinburgh Assembly Orchestra until
his death, at which time he was replaced by brother Nathaniel. The Earls of
Morton were the Douglas clan. The Earl of Morton in Gow’s time was George
Douglas (1761-1827), 16th Earl of Morton, who married Susan
Elizabeth Butler. He succeeded to the title in 1774 upon the death of his
father, Sholto Charles Doublas, the 15th earl. In 1784 he was chosen
one of the 16 Scots representative peers, and was created a baron of Great
Britain in 1791, with the title Lord Douglas of Lochleven. He was
lord-lieutenant for the county of fife and a colonel of the Fifeshire militia.
He died in 1827 without issue, and the title devolved to his cousin. Carlin (The Gow Collection), 1986; No. 329. Gow
(Third Collection of Niel Gow’s Reels),
1792; pg. 18.
X:1
T:Earl of Morton’s Jog
M:6/8
L:1/8
R:Jig
C:William Gow (1751-1791)
B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed.,
pg. 18 (orig. 1792)
Z:AK/Fiddler’s Companion
K:C
F||(E/F/G).G cdc|”tr”BAB cGE|FdF
EcE|dDD D2F|(E/F/G).G cdc|
“tr”B3 {A/B/}cGE|”tr”F3
{E/F/}DGF|ECC “tr”C2:||f|ecc gcc|acc gcc|ecc gcc|
fdd “tr”d2f|ecc gcc|acc gcc|”tr”fef
dgf|ecc c2f|ecc gcc|acc gcc|
ecc gcc|fdd “tr”d2 G/F/|(E/F/)GG
cdc|”tr”B3 {A/B/}cGE|”tr”(FEF) DGF|ECC “tr”C2||
EARL OF OXFORD’S
MARCH, THE.
AKA – “The March Before the Battle.” The tune was written by the English
composer William Byrd (1543-1623) and appears in the Fitzwilliam Virginal Book (Cambridge, England).
EARL
OF SEAFIELD [1], THE. Scottish, Reel. F Major. Standard
tuning. AB. Composed by William Marshall
(1748-1833), presumably in honor of either Francis William Ogilvy-Grant, 6th
Earl of Seafield (1778-1853) or his predecessor, Sir Lewis Alexander
Ogilvie-Grant, 9th Baronet who became 5th Earl of
Seafield. The Ogilvie family belongs to Cullen and district, and the Grant clan
to Strathspey. Marshall, Fiddlecase
Edition, 1978; 1845 Collection, pg. 8.
X:1
T:Earl of Seafield, The
L:1/8
M:3/4
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:F
f3 c/f/ e/d/c/B/|a3 f/e/ g/f/e/f/|(b2 b/)a/c’/b/ a/g/f/e/|c4 c>^c|d2e2 g>f|
c2B2A2|G/A/B/c/ ^c/d/e/d/ d/D/B/>G/|F2 E>G F/E/D/C/|F3 c/f/ e/d/c/B/|
a3 f/e/ g/f/e/f/|(b2 b/)a/c’/b/ a/g/f/e/|c4 c>^c|d2e2f2|c2B2 AF/f/|
e/d/c/B/ A2 A/G/F/>G/|G4F2||C>C C2C2|b2 a/g/a/b/ a>g|gceg b>a|
a2 g>f f/e/d/c/|C>C C2C2|c’2 b/a/b/c’/ a>g|gceg b>a|a2 g>c d/c/=B/c/|
fFAc f>_e|d>_e c>d Bd|gG=Bd g>f|e>f d>e
c>f|aA cfag|bac’=b d’d|f/g/a/b/ a2 a/g/f/>g/|g4 f2||
EARL OF SEAFIELD [2], THE. Scottish, Reel. A Minor. Standard tuning. AAB.
Composed by Alexander Walker. Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 31, pg. 12.
EARL OF SEAFIELD’S
REEL [3], THE. AKA and see “Andy’s Reel.” Scottish, Reel. D Major.
Standard tuning. AB. A 19th century tune composed by Donald Grant, appearing in
a collection of 1820. The melody was recorded by Cape Breton fiddler Joe
Cormier (like Winston Fitzgerald, a founding member of the Cape Breton
Symphony) under the title “Andy’s Reel.” Source for notated version: Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 128, pg. 52. Rounder Records 7001, Joe Cormier ‑ "Scottish Violin Music
from Cape Breton Island" (1974. Appears as “Andy’s Reel”).
EARL
OF SEAFORTH, THE. Scottish, Strathspey. A Major.
Standard tuning. AB. Glen (1891) finds the earliest appearance of this tune in
print in Alexander McGlashan's 1780 collection (pg. 19). Given the date of
publication the tune may refer to Kenneth MacKenzie, Viscount Fortrose and
Baron Ardelve, and Irish peer in 1766, who managed to have the title of Earl of
Seaforth restored to him in 1771. His grandfather, the 5th Earl of
Seaforth, had his title revoked by the crown for participating in the Jacobite
rising of 1715, but Kenneth wisely declined to attach himself to Prince
Charlie’s cause in 1745, remaining loyal to the Hanoverians despite his
Jacobite leanings. In gratitude to George III for proclaiming him the 6th
Earl of Seaforth he raised in 1778 a 1,130 man strong regiment, the Seaforth
Highlanders (originally the 78th, re-numbered the 72nd).
Kenneth died in 1784 without male heirs and his titles became extinct. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 19.
X:1
T:Earl of
Seaforth’s Reel, The
M:C|
L:1/8
R:Strathspey
S:McGlashan
– Strathspey Reels (c. 1780-81)
Z:AK/Fiddler’s Companion
K:A
E3c B>AFB|A/A/A c>A eAc>A|E3c B>AFf|ef/g/ ac A/A/A A2|E3c B>AFB|
A/A/A c>e Aec>A|E/E/E Ec BAFf|ef/g/ ac A/A/A A2||f|
ef/g/ ac B>AFf|ef/g/ ae f>eae|faec BAFf|e>dc>B A/A/A Af|
ef/g/ ac B>AFf|ef/g/ ae f>eae|f>ac>a
B>AFf|ef/g/ ac A/A/A A2||
EARL OF SEAFORTH'S
SALUTE. Scottish, Pipe Pibroch. A pipe
pibroch composed in honor of the Earl of Seaforth by his piper, following the
unsuccessful Jacobite rising of 1715 and the earl’s subsequent exile
(Collinson, 1975). The tune shares some melodic and structural features with
the famous march "Caber Feidh,"
according to Cowdery (1990), who also notes both pibroch and march are
associated with Scotland's MacKenzie clan. A. Campbell (The Kilberry Book of Ceol Mor), 1973; pg. 19.
EARL'S CHAIR, THE (Cathaoir an Iarla). Irish, Reel. D Major {Mallinson,
Taylor}: B Minor ('A' part) & D Major ('B' part) {Songer}. Standard tuning.
AABB (Breathnach, Harker/Rafferty, Mallinson, Miller & Perron, Taylor):
AA’BB’ (O’Malley, Songer). The chordal backing to the tune is more complicated
than most, and there are discrepancies between those who hear it in B minor and
those who hear it in D major (the beginning chord can be a G major chord as
well as a B minor or even E minor). The melody actually resolves to D Major in
both parts, though the accompaniment in the 'A' part starts on either a G Major
or B Minor chord and the 'B' part starts either on E Minor or A Major.
Historian and concertina player Gearoid Ó hAllmhuráin relates that the tune’s
origins lie with an East Galway flute player by the name of Pakie Moloney (who
was an uncle of Galway-born New Jersey flute player Mike Rafferty). Moloney is
said to have composed “The Earls Chair” while sitting on a large rock in the
Derrycrag Wood, East Galway. Since he was mid-way between the townlands of
Derryoober East and Derryoober West at the time he originally entitled the
piece "Down between the two Derryoobers,” although he fortunately
rethought this later and changed the name to the name of the rock, "The
Earl's Chair.” That formation is named after the Earl of Clanrickard who
reportedly rested there during his hunts (Clanrickard territories comprised
much of south Galway, from Oranmore East to Portumna). Joe Burke has said the
tune was popularised by fiddler P.J. Hayes and the Tulla Ceili Band, who had
the tune from accordion player Joe Cooley. Bronx flute player Jack Coen,
originally from Woodford, East Galway, learned it from local flute players back
home who told him it was composed by another local flute player named Pato
Maloney. Philippe Varlet suggests that fiddle player Aggie Whyte was
instrumental in disseminating the tune. Sources for notated versions: flute
player Éamonn de Stabaltún (Ireland) [Breathnach]; a recording by Chris Droney
[O’Malley]; a 1959 recording of east Clare fiddlers Paddy Canny and P.J. Hayes
[Miller & Perron]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926, who’s maternal uncle is the tune’s composer,
Pa(c)kie Moloney [Harker]. Breathnach (CRÉ
I), 1963; No. 142, pg. 57. Harker (300
Tunes from Mike Rafferty), 2005; No. 61, pg. 19. Mallinson (Essential), 1995; No. 6, pg. 3. Miller
& Perron (Irish Tradtional Fiddle
Music), 1977; vol. 2, No. 28. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg.
67. O’Malley (Luke O’Malley’s Collection
of Irish Music, vol. 1), 1976; No. 45, pg. 23. Songer (Portland Collection), 1997; pg. 69. Taylor (Through the Half‑door), 1992; No. 14, pg. 11. Coleman Music Center CHC 009, fiddler P. Fitzpatrick &
flutist Desmond Higgins – “The Coleman Archive, vol. 2: The Home Place” (2005.
Various artists). Green Linnett SIF1071, “Patrick Street.” Green Linnet GLCD
3009, Kevin Burke - "If the Cap Fits" (1978). Harp 10, Paddy Canny
& P.J. Hayes – "All Ireland Champions ‑ Violin" (1959.
Various artists). Shaskeen ‑ "The Joys of Life". Shaskeen ‑
"Shaskeen Live."
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Earl's Chair
M:4/4
L:1/8
Z:Transcribed by Frank Claudy
S:Jack Coen (Co. Galway/Bronx, NY)
N:Jack’s version is said to be the
original. Note the long ‘e’ in bar 5 of the ‘B’ part.
R:reel
K:Bm
B3 B BAFA|B2dB BAFB|A2FA DAFA|AFdB
ADFA|
~B3B BAFA|B2Bd BAFB|~A3B defd|1 edef
d2 FA:||2 edef d2 Bd||
e3B d3B|e3B dBAB|~e3f d3e|(3gfe dB
ADFA|e4{a}e4|{a}e2{a}e2 defg|
~a2 ba afeg|1 fedB ADFA:||2 fedB
A3||c
X:2
T:Earl’s Chair
M:4/4
L:1/8
Z:Transcribed by Paul de Grae
N:Paul says the quick chord changes
in the 2nd part is an attempt at
N:showing some countermelody runs he
employs (given the limitations of abc notation)
R:reel
K:D
"Bm" B3 d BAFA | B2dB BAFB | "D" AF ~F2 DF ~F2 |
AFdA "G"BA"D"FA | "Bm"B3 d BAFA |
"G"B2dB BAFB |"D" AFAB defd |
"A"edef "D"D2
FA||"Em"B3 d BAFA | "G"B2dB BAFB | "D"AF ~F2 DF
~F2 |
AFdA "G"BA"D"FA | "G"B3 d BA"D"FA |
"G"B2dB "A9"BAFB |"D"AFAB "Bm"defd |
"A"edef "D"D2 Bd||:
"A"e3 f "D"d2 Bd|"A"edef
"Bm"dBAB|"A"e3 f "D"d2
"G"eg|"D"fe"Em"dB "D"A2 Bd|
"Em"e3 f eB ~B2|"G"gB ~B2 "D"defg|
af"G"bf "D"af"A"eg|"D"fedB
ADFA:||"G"B
EARLY BREAKFAST, THE. AKA and see "Larry Redigans/Redican’s
(Reel) [1]," "Miss
Lyon's Fancy," "Over the Hill,"
"Up Against the Boughalauns."
Irish, Reel. D Major. Standard tuning. AABB. Taylor (Crossroads Dance), 1992; No. 32, pg. 24. Shaskeen
‑ "My Love is in America."
EARLY, EARLY ALL IN
THE SPRING. Irish, Air (3/4 time). F
Mixolydian. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 765, pg. 191.
X:1
T:Early, early all in the Spring
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 765
Z:AK/Fiddler’s Companion
K:Fmix
F FG/A/ | B>G cB/G/ FF | F3 F/G/
Bc | {d}f2 ed B/c/d/B/ | c3 F/G/ Bc |
df ed B/c/d/f/4d/4 | c3 B/G/ FF/G/ |
B>G cB/G/ FF | F3 ||
EARLY IN THE EVENING. Old-Time, Reel or Breakdown. USA; North Dakota, Missouri. A Major.
Standard tuning. AABB. Sources for notated versions: Joe Pancerzewski learned
the tune from the fiddling Nelson Brothers around 1920 (The Nelson brothers,
who homesteaded near Grinnell, North Dakota, were four fiddling brothers who
were much in demand in the northwestern area of the state as square dance
musicians); Vivian Williams (Seattle) [Phillips]; Joe Pancerzewski
[Silberberg]. Pancerzewski (Pleasures of
Home), 1988; pg. 15. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 79. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 42 (Appears as “Early in the
Morning”).
EARLY IN THE MORNING
[1] (Air/Ar Maidin Go
Moc). Irish,
Air or Hornpipe. A Major (O’Neill): B Flat Major (Stanford/Petrie). Standard
tuning. AAB (Stanford/Petrie): AABB (O’Neill). Petrie notes: “A county of Cavan
air.” O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1676, pg. 311. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 884, pg. 152.
Stanford/Petrie (Complete Collection),
1905; No. 844, pg. 211.
X:1
T:Early in the Morning [1]
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 884
Z:AK/Fiddler’s Companion
K:A
E2|E>A (3AAA AcBA|GABc d2 cd|defe
dBAG|EDEF GBAG|
E>A (3AAA AcBA|GABc d2 cd|efge
dBGA|B2 AA A2:|
|:cd|(3eee ed cAce|dcBc d2 cd|(3efg
fd edce|dcBA GBAG|
E>A (3AAA AcBA|GABc d2 cd|efge
dBGA|B2 AA A2:|
EARLY IN THE MORNING
[2]. Old‑Time. The title appears
in a list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954.
EARLY MORN (Lancashire) CLOG. American (?), Clog. D Major. Standard tuning.
AABB. Composed by Edwin Christie of Christy Minstrels fame (see note for “Lotta’s Favorite” for more on
Christie/Christy). Cole (1000 Fiddle
Tunes), 1940; pg. 120. Ryan’s Mammoth
Collection, 1883; pg. 159.
X:1
T:Early Morn
M:C
L:1/8
R:Clog
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(A>.G) | (F>.A)D>F
A>df>a | b>gd>d’ a>fd>a | g>eB>g f>dA>f |
e>dc>B (3Age (3cAG |
F>AD>F A>df>a |
b>gd>d’ a>fd>a | g>eB>g f>dA>f | e>ac>e d2 ::
(A>.G) |
(F>.a)f>d A>af>d |
B>bg>d B>bg>d | A>af>d A>af>d | A>ge>c
A>GF>G |
A>af>d A>af>d | B>bg>d
B>bg>d | a>ag>e c>AB>c | d2f2d2 :|
EARLY ONE MORNING. AKA and see “Del Caro’s Hornpipe.”
EARLY OPRY REEL. Old‑Time, Reel. USA, Tenn. Hilltop
Records 6022, Uncle Jimmy Thompson (Texas, Tenn.).
EARLY RISING (An Moceirig). AKA and see “Blue Eyed Lassie.” Irish, Reel. D
Major. Standard tuning. AA'B. See also the related “Kitty Gordon’s.” O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1454, pg. 269.
X:1
T:Early Rising
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland (1903), No. 1454
Z:AK/Fiddler’s Companion
K:D
DFAc BGAF|DFFA BEEF|DFAF BFAd|1 gfed
cAGE:|2 (3fga eg fd d2||
d2 fd c2 ec|BdAF GFED|A,DFA
DFAd|fadf e2 fg|abaf gfed|
edfd edBc|{e}dcdA BdAF|GBAF D2 z2||
EARLY ROSE. AKA and see “Kiss the Bride,” “Strawberry Banks.” Irish, Reel. G Major. Standard tuning. AB. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 223.
X:1
T:Early Rose, The
M:4/4
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
R:Reel
K:G
G2 BG FGAc|Bdef g2 dg|ecAG FGAc|BGAF GFED|
DGBG FGAc|Bdef g2 dg|ecAG FGAc|BGAF G2||
Bd|g2 gg a2 aa|bgaf g2 dg|egfa g2 dg|ecAF GFED|
gbag
fagf|egfa g2 dg|egfa g2 ga|bgaf gedB||
EAST AT GLENDART (An Oir Air Gleanndearta). AKA - “East of Glendart.” AKA and
see “Cashel Jig,” “Custom House,” “Darby Gallagher’s [1],” “Humours of Glendart,” “Julia
Clifford’s,” "Shins Around
the Fireside [2]," "Tim the
Piper." Irish, Double Jig. D
Major. Standard tuning. AABB. Glandart is near compiler Captain Francis
O'Neill's birthplace of Tralibane, west Cork. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 719, pg. 134. Tara 3001, Planxty - “After the Break.” Tara Records 4008,
“Josephine Marsh” (1996).
X:1
T:East at Glendart
M:6/8
L:1/8
K:D
A|BA(F A)DD|(FE)F DFA|BA(F A)DD|FEE
EFA|
BA(F A)DD|(FE)F DFA|dc(B A)FE|ADD
D2:|
|:A|def d2(B|A)BA AFA|def d2(f|e)de
fdB|
def d2(B|A)BA AB(c|d)cB AF(E|{G}F)DD
D2:|
EAST BOLDON JIG. English, Jig. D Major. Standard
tuning. AAB. An untitled tune from the mid-19th century William Hall
Lister (East Boldon, near Newcastle) manuscript (No. 28). Barry Callaghan
(2007) credits the band Red Shift with popularizing the melody in modern times.
Callaghan (Hardcore English), 2007;
pg. 58. BASH CD45, Pete Coe – “The Long Company.”
EFDSS CD13, Pete Coe – “Hardcore English” (2007. Various artists).
X:1
T:East Boldon Jig
M:6/8
L:1/8
R:Jig
K:D
A|FAd fed|dcB A2G|FAd dcd|e2E
E2G|FAd fed|dcB A2G|
FAd cec|dDD D2:||f|e2 e efg|f2f
fed|Bef gfe|dcB A2F|
e2e efg|f2f fed|Bef gfe|dce d2f|e2d
edfg|f2f fed|
Bef gfe|dcB A2G|FAd fed|dcB A2G|FAd
cec|dDD D2||
EAST COAST JIG. Canadian, Jig. Alcazar Dance Series ALC 201,
Jerry Robichaud ‑ "Maritime Dance Party" (1978).
EAST END, THE. Irish,
Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland); 39.
EAST HILL BREAKDOWN. New England, Reel or Contra Dance Tune (4/4 time). C Major. Standard
tuning. AA'BB. Composed by the late caller and composer Ralph Page. Page (Ralph Page Book of Contras), 1969; pg.
21. F&W Records 6, Fireside String Band‑‑"Square
Dance Tunes for a Yankee Caller."
EAST INDIAN. English, Jig. D Major. Standard
tuning. AABB. The jig appears in Samuel, Ann & Peter Thompson’s Compleat Collection of 200 Favourite Country
Dances, vol. 5 (London, 1788). Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 37.
EAST KILBRIDE. Scottish, Strathspey. A Major. Standard tuning. AABB'. Composition
credited to A.M. Volti by Kerr, presumably a relation to the Carl Volti who
also contributed a number of melodies to the Kerr collections. See also the
companion tune “West Kilbride.” Kerr (Merry Melodies), vol. 3; No. 85, pg. 11.
X:1
T:East Kilbride
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 3, No. 85
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
e>d|c<A E>A
F>AE>C|(3EFG (3ABc B2 e>d|c<A E>A F>AE>A|(3FGA (3GAB A2:|
|:c>d|e<c d>e f<d
B>f|(3ge^d (3efg a2 (f>g)|1 a>f g>e f>d e>c|(3dcB (3cBA B2:|2
a>gf>e f>ed>c|(3Bfe
(3dcB A2||
EAST LIMERICK POLKA [1]. Irish, Polka. D Mixolydian.
Standard tuning. AABB. Tubridy (Irish
Traditional Music, vol. 1), 1999; pg. 7.
EAST NEUK OF FIFE. AKA and see "She Gripped at the
Greatest On't," "Green
Grow the Rushes" (Bayard, 1981;No. 206H‑M). Scottish
(originally), Shetland, Canadian; March, Country Dance, Scots Measure or Reel.
Scotland, Lowlands region. Canada, Prince Edward Island. G Major (double tonic,
G and A). Standard tuning. AB (Skye): AABB (most versions): AA'BB' (Cooke
{Thomson}). Composed by James Oswald (c. 1711‑1769) and included in his Caledonian Pocket Companion (Bk. 4,
1752) as "She gripped at the greatest o't." It first appears under
the above title in William McGibbon's (c. 1690‑1756) Third Collection (1755) and Robert
Bremner's 1759 Scots Tunes
(Bremner negotiates the double tonic by using G and A Major in even numbered
strains and G and A Minor in odd numbered strains"). Skinner (1904) says:
“The ‘East Neuk o’ Fife’ is an example of a kind of tune not unknown in
Scottish melody, where the opening is in the major mode, and the close in the
minor. Here also refernce may be made to the difficulty sometimes experienced
in the arranging of tunes that modulate, as it were, from the Tonic (Doh) into
the Supertonic (Ray), and back again [Ed.-what is now often referred to as
“double-tonic”]. To avoid consecutives,
theorists are tempted at times to introduce Dominant chords. This, however, tends to overlay the real
character and effect of such passages. In the older class of Strathspeys and
Reels this kind of modulation is quite common. Modern composers also use it. In
‘The Laird o’ Drumblair,’ and ‘Angus Campbell,’ for instance, it is introduced
with striking effect.” It is still a popular Scots tune today, including the
variations which uncharacteristically have survived in the popular repertory
(variations were published by Nathaniel Gow
in 1823—the first three were recorded by J. Scott
Skinner in the first part of the 20th century). The East Neuk of
Fife is that part of Scotland’s county of Fife that juts into the North Sea and
contains the town of St. Andrews, the ancestral home of the game of golf. In
the eighteenth century Fife sported a profusion of decaying architectural
marvels, a trade in thread, the making of calico, and the shooting of porpoises
in the firth for their blubber‑oil" (Williamson, 1976). The tune has
become associated with a Robert Burns song, though it was not his choice of an
air for the words, but rather an editor's substitution (Alburger). Bayard
(1981) collected versions of the tune "Green Grow the Rushes" or by
the floating title (in America) "Over the Hills and Far Away." Johnson
(1984) retells an anecdote about the tune which was first published in
Murdoch's Fiddle in Scotland, pg. 59
(Murdoch learned it from Baillie's grandson): "One day in about 1805, the
fiddler Peter (Pate) Baillie of Loanhead, near Edinburgh, was on his way to
play at a ball in Fife. The journey involved crossing the Firth of Forth by
ferry, and when Baillie boarded the boat at Leith the other passengers noticed
the violin he was carrying. As everyone had an hour to kill before the boat
reached Burntisland, Baillie was soon holding an impromptu musical session on
deck, with the other passengers calling out requests for tunes:
***
A gentleman asked Pate if he could play the 'East Neuk of Fife'
with ten variations, to which the minstrel replied in his homely
way: 'Weel, sir, I'll try it'. Off Pate set at a brisk pace with both
theme and variations, till the number bargained for was completed.
own improvising, more wonderful than the first, and went on,
and on, and on, the gentleman looking at him with astonishment,
till at last the fiddler did make a halt. 'Well I declare!' said the
gentleman. 'Every one of the variations must have turned out
twins since I last heard them!' (pgs. 66‑67).
***
The tune has currency among Cape
Breton fiddlers, having been popularized by mid-20th century
fiddlers Angus Chisholm, Winston Fitzgerald and Arthur Muise. Sources for
notated versions: Henry Thomson (Vidlin, Mainland, Shetland) and George
Sutherland (Bressay, Shetland) [Cooke], Bremner's (Scots Tunes), pg. 17 [Johnson, 1983]; Nathaniel Gow’s Ancient and Curious Collection, c. 1833
[Henderson]: George MacPhee (b. 1941, Monticello, North-East Kings County,
Prince Edward Island) [Perlman]. Aird (Selections), 1778, vol. 1; No. 57. Brody
(Fiddler’s Fakebook), 1983; pg. 97.
Carlin (The Gow Collection), 1986;
No. 251. Cooke (The Fiddle Tradition of
the Shetland Isles), 1986; Ex's. 52 and 53, pgs. 110‑111. Emmerson (Rantin’ Pipe and Tremblin’ String),
1971; No. 89, pg. 164. Hardie (Caledonian
Companion), 1992; pg. 31. Henderson (Flowers
of Scottish Melody), 1935 (includes the traditional set of variations).
Hunter (Fiddle Music of Scotland),
1988; No. 309. Johnson, (The Scots
Musical Museum) 1787‑1803; vol. 3; No. 277. Johnson (Scottish Fiddle Music in the 18th Century),
1983; No. 34, pg. 92‑93 (with variations). Kerr (Merry Melodies), vol. 1; pg. 23. MacDonald (The Skye Collection), 1887; pg. 170. McGibbon (Scots Tunes, book III), 1762; pg. 89. McGibbon Scot, vol. 3; pg.
17. McGlashan (Collection of Scots Measures), 177?; pg.
8. Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 61. Skinner (Harp
and Claymore), 1904; pgs. 60-61 (includes numerous variation sets). Skinner
(The Scottish Violinist, with 5 of
his variations), pg. 22‑23. Smith (The
Scottish Minstrel), 1820‑24; vol. 2; pg. 42. Stewart-Robertson
(The Athole Collection), 1884; pg.
147. Thompson (Original Scottish Airs for
the Voice, 1805; vol. 4; No. 165. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 53. Green Linnet SIF 1139, “Eileen Ivers” (1994. Recorded in
duet with Natalie MacMaster). Olympic 6151, The Scottish Fiddle Festival
Orchestra‑ "Scottish Traditonal Fiddle Music" (1978). Topic
12T280, J. Scott Skinner‑ "The Strathspey King."
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:East Neuk of Fife
M:C|
L:1/8
R:Country Dance
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
D | G2G2G2Bc | dBGB dBGB | A2A2A2gf | edef g2fe |
dcBA GABc | dBGB d2cB | ABcd BcAB|B2E2E2 :|
|: dc | B2G2G2dc | B2G2G2ed | c2A2A2 eg | a2A2A2dc |
B2G2d2G2 | g2G2d2cB | ABcd BcAB | G2E2E2 :|
X:2
T:East Nook of Fife, The
M:C|
L:1/8
N:”Brisk
S:McGibbon – Scots Tunes, book III,
pg. 89 (1762)
Z:AK/Fiddler’s Companion
K:G
D2 | G4G2 Bc | dBGB dBGB | “tr”A4A2(gf) | “tr”e3d (ef g2) |
dcBA GABc |
dBGB “tr”d3B | ABcd BcAB | G2(E2E2) :: dc | B2(G2G2)dc | B2(G2G2)ed |
“tr”^c2(A2A2)(fg) | a2(A2A2)Bc | d2G2B2G2 | g2G2d2cB | ABcd BcAB |
G2(E2E2) :: (D/E/F) | GFG)A (BAB)c | d(c”tr”BA) (GAB)G | “tr”(AGA)B (cBc)d |
(edcB) (ABc)A | (GFG)A (BAB)c | (dcBA) (GAB)G | ABcd BcAB | G2(E2E2) :|
|: ef | “tr”(gfg)d BcdB | “tr”gfg)d BcdB | “tr”aga)e ^cdec | (aga)e ^cded |
“tr”(gfg)d BcdB | gage (d/c/B/A/) GB | ABcd BcAB | G2(E2E2) :: ef | (gab)g (dg)(dg) |
bgdg dgbg | (abc’)a dada | c’adb abc’a | (bc’d’)b gabc’ |
(d’/c’/b) (d’/c’/b) d’3b |
abc’a d’c’ba | g2 (e2e2) :: dc | (B/A/G) dG gGdG | (B/A/G) dG gGdG |
(^c/B/A( eA aAeA | (c/B/A) eA aAeA | (B/A/G) dG (B/A/G) gG |
(B/c/d) (c/d/e) (d/e/f) gG |
AB (c/B/A) (d/c/B) (c/B/A) | G2(E2E2) :|
EAST OF GLENDART. See “East at Glendart.”
EAST OF THE SHANNON. Irish, Hornpipe. Composed by
County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 32.
EAST TENNESSEE BLUES. AKA and see “Hey, Mr. Muskrat,”
"Honeysuckle,"
"Honeysuckle Rag," "Huckleberry
Blues," "Poca River Blues."
Old‑Time, Bluegrass; Country Rag. USA, Va. C Major. Standard tuning. One
part (Christeson): AB (Beisswenger & McCann]: AA'BB' (Brody, Krassen,
Phillips, Silberberg). The tune is credited (by biographer Bob Cox) to
Tennessee fiddler Charlie Bowman (1889-1962), who is said to have composed it
in the 1920’s. Bowman, according to Cox, had not named the tune prior to
recording it, and the name “East Tennessee Blues” was suggested by fiddler and
bandleader Al Hopkins (of Al Hopkins and His Buckle Busters, featuring Bowman
on fiddle). Having the word “Blues” in the title was not entirely satisfactory
to Bowman, as it was not a blues progression, however, there were several other
so-called ‘blues’ tunes recorded that were country rags as well. Another early
recording was by Elmer Bird, with A.J. Ball on fiddle. Texas fiddler and
bandleader Bob Wills recorded the tune in 1936. Bluegrass fiddlers sometime go
to second position on the violin to play g/e and c/a double stops in the second
part of the tune. “Honeysuckle,” or “Honeysuckle Rag” is a related melody.
Sources for notated versions: Aubery Smith (Arlington, Va.) [Christeson]; Bobby
Hicks [Brody]; Charlie Higgins (Galax, Va) [Krassen]; Stephanie Prausnitz
[Silberberg]; Lacey Hartje (b. 1926, Joplin, Mo.) [Beisswenger & McCann].
Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 49. Brody (Fiddler’s Fakebook), 1983; pg. 98. R.P.
Christeson (Old Time Fiddler’s Repertory,
vol. 2), 1984; pg. 113. Krassen (Appalachian
Fiddle), 1973; pg. 75. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 46. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 42. Alcazar
Dance Series ALC 202, Sandy Bradley ‑ "Potluck and Dance
Tonite!" (1979). Brunswick 103 (78 RPM), Al Hopkins & His Buckle
Busters (1927, with fiddler Charlie Bowman). County
Records, Camp Creek Boys (Kyle Creed et al). County 772, Bobby Hicks‑
"Texas Crapshooter." Document 8039, “The Hill Billies/Al Hopkins and
His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 1”
(reissue). Fiddler FRLP001, Tom Doucet (Nova Scotia/eastern Mass.) - “The Down
East Star.” Flying Fish FF‑247, "Fiddle Fever" (1981).
Folkways, "Old Time Music at Clarence Ashley's." Folkways FA 2475,
"Old Reliable String Band." Living Folk LFR‑104, Allan Block‑
"Alive and Well and Fiddling." Mag 1018, Ted Powers‑ "Old
Time Fiddler." Rounder CD0262 Mike Seeger - "Fresh Oldtime String
Band Music" (1988). Vocalion 5016 (78 RPM), Charlie Bowman with the Hill
Billies. Voyager 301, Jim Widner‑ "Fiddle Jam Session."
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:East Tennessee Blues
M:C|
L:1/8
S:Jay Ungar
Z:AK/Fiddler’s Companion
K:C
gag(e ga)ge|g a2 g e2 e(d|cd)cA c(dcA)|c
d2 c A2A2|1 gage gage|g a2 g e2e2|d^cdc d ^a3|
d^cdc d ^a3|g3 a g2 ef:|2 GEGA
cAcd|e g2 a g3f|edcA c d3|c6 e2||
|:g^f g a2 g e2|e2 z2z2 ed|cAc_e dc
A2|A2 z2z2 ^G2|GEGA cAcd|e g2 a g2e2|1
d^cdc d ^a3|d^cdc d ^a3|g3 a g2
e2:|2 edcA c d3|c6||
EAST TEXAS DRAG. Old‑Time. The tune was composed by Huggins Williams, fiddle
player for the East Texas Serenaders. Chubby Dragon
1004, Palmer & Greg Loux - "In Good Company." County 410,
"The East Texas Serenaders, 1927‑1936."
EAST VIRGINIA. Standard tuning. County CO-CD-2729, Art
Stamper – “Goodbye Girls, I’m Going to Boston” (2000).
EAST WIND. Canadian, Strathspey. Canada, Cape Breton. E Dorian. Standard tuning.
AA’BB’CC’DD’. Composed by editor, fiddler and lighthouse keeper Paul Steward
Cranford. Cranford (Jerry Holland’s),
1995; No. 134, pg. 39.
EASTER ELCHIES. Scottish, Reel. F Major. Standard tuning. AAB. An 18th century melody
composed by William Marshall (1748-1833). Easter
Elchies (as opposed to Wester Elchies) was an estate built in 1754 by Lord
Elchies on a height on the west bank of the River Spey, a mile to the west of
Craigellachie. The site was a ford used by cattle drovers until the Telford’s
iron bridge at Craigellachie was built. The estate was bought four years later
by the 6th Earl of Findlater (d. 1770). Moyra Cowie (The Life and Times of William Marshall)
relates that the 6th Earl’s successor made an unfortunate jest at
the expense of the Jane, Duchess of Gordon. It seems that a ship had been built
called The Duchess of Gordon, replete with copper sheathing on its underside to
help deter rot and marine animals, as was the inovation of the era. James
Ogilvy, 7th Earl of Findlater and 4th Earl of Seafield
(1750-1811), was overheard to remark to Brodie of Brodie the “I aye kent the
Duchess had a brass neck and a brazen face, but I niver kent she had a copper
arse.” Jane was not amused, and pursued the matter in the courts. Findlater
fled to his estate in the German country of Saxony, and never did return to Scotland.
The famous Macallan distillery, founded in 1824, is at Easter Elchies and
produces a fine single malt whiskey. The manor house has been converted to
distillery offices.
***
Easter Elchies
***
Cranford (Jerry Holland’s), 1995; No. 161, pg. 46. Kerr (Merry Melodies), vol. 3; No. 158, pg. 19. Marshall, Fiddlecase Edition, 1978; 1822
Collection, pg. 58. Stewart-Robertson
(The Athole Collection), 1884; pg.
243. Boot Records, Jerry Holland - “Master Cape Breton
Fiddler” (1982).
X:1
T:Easter Elchies
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
C|F2 Fd cAGA|F2 FA cfag|fdcA GFDG|FCDE F2 ~F2:|
a|fc fg/a/ gdde|~fc fg/a/ cfaf|bgaf gfdg|fcde ~f2 fa|~fc fg/a/ gdde|
fadf cfAc|BGAF GABd|FCDE F2 ~F||
EASTER EVE. English, Country Dance Tune (cut time). G Minor. Standard tuning. AABB.
The tune dates to 1721. Barnes (English
Country Dance Tunes), 1986.
EASTER HOLY DAYS. English, Country Dance Tune (whole
time). D Major. Standard tuning. AABB. The tune is unique to London publisher
Charles and Samuel Thompson’s 1765 collection. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 56.
X:1
T:Easter Holy Days
M:C
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:D
ag|f2d4 ed|c2A4 dc|B2G4 AG|F2D4 ag|f2d4 ed|c2A4 Bc|B2g2e2c2|A2 d4:|
|:d/e/f/g/ a=c|Bg g2|G/A/B/c/ dG|FA A2|G/A/B/c/
dB|Ggge|dBcA|G2 [G,2G2]:||
EASTER SATURDAY. Scottish, Hornpipe. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 350, pg.
38.
X:1
T:Easter Saturday
M:C
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 3, No. 350 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
E2 | AGAB cdef | gaec ABcA | GEBE
cEBE | cedc BAGB | AGAB cdef |
gaec ABcA | GBeg fe^df | f2e2e2 ::
(3efg | aAce dcBA | EEGB AGFE |
AEcA ecag | fedc (3Bcd (3efg | aAce
dcBA | eEGB AGFE | Acea fdBG | B2A2A2 :|
EASTER SKENE. Scottish, Strathspey. F Major. Standard tuning. AB. Composed by
Alexander Walker. Walker (A Collection of
Strathspeys, Reels, Marches, &c.), 1866; No. 155, pg. 53.
EASTER SNOW. Irish, Air (3/4 time). F Major (Stanford/Petrie): G Major (Ó Canainn).
Standard tuning. AAB. Caoimhin Mac Aoidh explains the title is an English
version of the Gaelic name Diseart Nuadhain, a placename in north Roscommon
which can today be found in the form of Estersnow (or Diseart Nuadhan, St.
Nuadha’s Hermitage), a Boyle rural district. Mac Aoidh states that Petrie
appears to have literaly translated the English back into Irish as “Sneachia
Casga” as an alternate title. The same air is to be found in Brendan Rogers
manuscript collection (in the Irish Traditional Music Archive) noted from the
performances of attendees at the Feis Ceoil competitions held in Belfast in
1898 and 1900. The musical family the Dohertys of Donegal had a different air
by the same title, and the great Donegal piper, Tarlach Mac Suibhne, played a
different air than the Dohertys. Mac Suibhne’s playing of “Easter Snow” was
recorded by the Dublin Evening Telegraph
in 1897, when he was one of seven pipers at the first Feis, held in that city
(the title in the newspaper was “Sneachta na Casga”). Finally, regarding this
tune, Mac Aoidh notes that fiddler John Doherty personified “Easter Snow” as a
woman, Ester Snow, whom he maintained was over six feet tall, very beautiful,
and had skin as white as snow (leading to her name). Paddy Tunney, on his album
“The Stone Fiddle” wrote:
***
EASTER SNOW
***
At twilight in the morning as I roved out upon the dew
With my morning cloak around me intending all my flocks to view
I spied a lovely fair one she seemed to be a beauty bright
And I took her for Diana or the evening star that rules the night
***
I being so much surprised by her it being the forenoon of the day
To see that lovely creature coming o'er the banks of sweet Loughrea
Her snow-white breast lay naked and her cheeks they were a rosy red
And my heart was captivated by the two black eyes rolled in her head
***
Fair maid I cried, your love I crave for Cupid is a cruel foe
I'll roll you in my morning cloak and I'll bring you home to Easter Snow
Go home, acquaint your parents and indeed kind sir, I'll do the same
And if both our parents give consent neither you nor I will bear the blame (from the singing of Mrs. Brigid Tunney).
***
Source for notated version: the
Irish collector P.W. Joyce, 1864 [Standford/Petrie]. Ó Canainn (Traditional Slow Airs of Ireland), 1995;
No. 105, pg. 89. Stanford/Petrie (Complete
Collection), 1905, vol. III, No. 1123.
X:1
T:Easter Snow
M:C
L:1/8
R:Air
S:Stanford/Petrie – Complete Collection, No. 1123 (1905)
Z:AK/Fiddler’s Companion
K:F
f/e/|dc de fd cB|Ac AF D2 FG|Ac dA
cA GA|F2F2F2:||
c/d/e/|f2 A2 cd ef|g3b a2 ga|f2 Ac
BA GA|F2 Ac f2 (3cde|
f2A2 cd ef|g3b a2g2|f2 Ac BA GA|F2
Ac f2 (3efg|
fe de fd cB|Ac AF D2 FG|Ac dA cA
GA|F2F2F2||
EASTER SUNDAY [1] (Domnac Na Caisg/Casga).
AKA and see "Jackson's
Favourite [2]." Irish, Double Jig. D Major. Standard tuning. AABB. The
melody appears as "Jackson's Favourite [2]," in volume II of O'Farrell's Pocket Companion for the Irish
or Union Pipes (pg. 148), c. 1811, and as "Apples in Winter" in
volume I of the same publication (69). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 942, pg. 175.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 169, pg. 42.
X:1
T:Easter Sunday
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 169
Z:AK/Fiddler’s Companion
K:D
A/F/|DED DdB|AGF G2A|BGG AFD|EFE E2
A/F/|
DED d2B|AGF G2A|BGB AFA|DED D2:|
|:d/e/|fdB ABd|efg fed|fdB ABd|fee
e2 d/e/|f
dB ABd|ef/e/d eag|fdB ABd|fdd d2:|
EASTER SUNDAY [2]. Irish, Jig. D Major. Standard tuning. AABBCC. Source for notated version: Geraldine Tracy [Mulvihill]. Mulvihill (1st Collection), 1986; No. 36, pg. 72.
X:1
T:Easter Sunday [2]
M:6/8
L:1/8
R:Jig
S:Mulvihill – 1st Collection, No. 36 (1986)
K:D
AG|FEF DFA|BdB AFD|FDD ADD|BAF
EAG|FEF DFA|
BdB ABd|fdd faf|gec d2::e|fef
dfa|AFA B2A|DFA dfe|
dAF EAG|FEF DFA|BdB ABd|fdd faf|gec
d2::f/g/|aAA BAG|
FAA dfa|gfg afd|ef^d e2A|dcd Bdd|AFA
Bcd|fdd faf|gec d2:|
EASTER SUNDAY [3]. Irish, Reel. A Minor. Standard tuning. AABB. Composed by Paddy O’Brien.
X:
1
T:Easter Sunday [3]
M:4/4
L:1/8
C:Paddy O'Brien
S:Dan Cummins and Bev Buchannan
R:reel
K:Am
AG|EAAB cBcA|BG~G2 BcdB|AEAB cBce|dBGA BA~A2|
EAAB cBce|dB~B2 gedg|eaaf ~g2ab|gedB A2 :|
Bd|eaag edBA|BG~G2 BcdB|ABcd eaaf| ~g2fa gedg|
ea~a2 bg~g2|aged BedB|AGEF GABd|gedB A2 :|
EASTER THURSDAY. English, “Old” Hornpipe (3/2 time). D Minor. Standard tuning. AABB. The
tune appears in early 18th century editions of Playford’s Dancing Master. Barnes (English Country Dance Tunes), 1986. Knowles
(A Northern Lass), 1995; pg. 35. Beautiful Jo BEJOCD-36, Dave Shepherd & Becky Price –
“Ashburnham.” Harmonia Mundi 907101, The King's Noyse - "The King's
Delight: 17c Ballads for Voice and Violin Band" (1992). Varrick VR‑013,
Bare Necessities ‑ "English Country Dances" (1987).
EASTER TUESDAY [1]. English, Country Dance Tune (6/4 time). C Major. Standard tuning. AABB.
The jig first appears in Henry Playford’s Dancing
Master, 9th Edition (1695) and in all subsequent editions
through until the last, the 18th, published by John Young in 1728.
It also appears in John Walsh’s Compleat
Country Dancing Master (London, 1718, reprinted in 1731). Barlow (Compleat Country Dance Tunes from Playford’s
Dancing Master), 1985; No. 323, pg. 78. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 37.
X:1
T:Easter Tuesday
M:6/4
L:1/8
S:Playford – Dancing Master, 9th
edition (1695)
K:C
c3d c2 B3A G2|A4 A2 G3F E2|F3G F2 G4
G2|c6 c6:|
|:e2g2g2g3f e2|fg a2a2 a3g f2|ef
g2g2 e3d c2|d6G6|
E2G2G2 G3F E2|FG A2A2 A3GF2|AB c2A2
Bc d2B2|c6 C6:|
EASTER TUESDAY [2]. See “White Head Cabages.”
EASTER (WALTZ). English, Waltz. G Major.
Standard tuning. AABBCCDD. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 116, pg. 28.
EASTERN HARPER, THE. Irish, Double Jig. A Dorian. Standard tuning.
AABB. Roche Collection, 1982; vol. 1,
pg. 51, No. 125.
EASTERN TOWNSHIP WALTZ, THE. Canadian, Waltz. G Major. Standard tuning.
ABB'. The Eastern Townships region is in southeast Quebec Province, below the
St. Lawrence River and was largely settled by the pioneers from the British
Isles in the early 1800's though now is populated predominently by
French-Canadians. Carlin (Master
Collection), 1984; No. 90, pg. 58.
EASY CLUB REEL. Reel. Composed by Jim Sutherland, a founding member of the modern
Scottish band named The Easy Club (and also a member of Mirk), after "the
very first Easy Club, ... the poet Allan Ramsay's drinking club ‑‑
one of several hotbeds of sedition banned by the government in 1715 for their
antipathy to the union between Scotland and England." Green Linnet SIF 3085, 4 Men and a Dog – “Barking Mad.”
X:1
T:Easy Club Reel, The
C:Jim Sutherland
R:reel
M:4/4
L:1/8
K:A
A2 AB B2 GB|c2 Ac e2 ce|faag‑ga
e2|ceec dcBc|
AGAc B2 GB|c2 Ac e2 ce|faga
efec|dBGB A3 z :|
|:faad‑daga|eaac‑caga|faad‑daga|ceeB‑BdcB|
A2 cA Bcdc|cdec defg|agae (3fga
ec|dBGB A3 z :|
X: 2
T: Easy Club
D: "Barking Mad" - 4 Men and a Dog
Z: transcribed by B.Black
M: 4/4
R: reel
L: 1/8
K: G
D | GDGB AGAc | Bcde dcBd | edef gedB | cABG
AcBA |
GDGB AGAc | Bcde dcBd | edef gedc |1 BcAB G3 :|2
BcAB GABd ||
e2 ed efge | d2 ge dBBd | e2 ef gede | gedB AcBA
|
GDGB AGAc | Bcde dcBd | edef gedc |1 BcAB G3 d
:|2 BcAB GABd ||
P: alternate setting in A
K: A
E | AEAc BABd | cdef edce | fefg afec | dBcA
BdcB |
AEAc BABd | cdef edce | fefg afed |1 cdBc A3 :|2
cdBc ABce ||
f2 fe fgaf | e2 af ecce | f2 fg afef | afec BdcB
|
AEAc
BABd | cdef edce | fefg afed |1 cdBc A3 :|2 cdBc ABce ||
EASY RIDER BLUES. Cajun, Blues. Recorded by La. fiddler Leo Soileau and Moise Rabin for
Paramount Records (78 RPM).
EATING GOOBER PEAS. Old‑Time, Song and Fiddle Tune. The title appears in
musicologist/folklorist Vance Randolph's list of Ozark Mountain fiddle tunes.
Presumably it was an instrumental version of the popular Confederate Army Civil
War song.
EATRICK BANKS. See "Ettrick Banks."
EAVESDROPPER, THE (Cluas Le Eisdeacd). AKA and see “Riding on a Hand-Car.” Irish, Double
Jig. G Major (most versions): A Major (Miller). Standard tuning. AAB (Miller):
AABB (Cranitch, Flaherty, Mallinson, O’Neill): AA’BB’ (Taylor/Blue). See also
the similar “Roman Wall,” attributed to
Borders fiddler Willie Taylor. Niel Gow’s (1727-1807) “Athole Volunteers Quickstep”
employs a similar ‘B’ part to “The Eavesdropper,” although this may just be
musical conincidence rather than imitation. A similar musical coincidence may
be seen in French-Canadian repertoire with Joseph Allard’s “Gigue
de la débauche.” Sources for notated versions: flute player James Murray
(b. 1947, Ougham, outside Tubbercurry, County Sligo) [Flaherty]; set dance
music recorded at Na Píobairí Uilleann in the 1980’s [Taylor]. Cranitch (Irish Fiddle Book), 1996; No. 5, pg.
126. Flaherty (Trip to Sligo), 1990;
pg. 174. Mallinson (Enduring), 1995;
No. 34, pg. 15. Miller (Fiddler’s Throne),
2004; No. 37, pg. 33. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 715, pg. 133. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 17, pg. 19. Peoples (Fifty
Irish Fiddle Tunes), 1986; No. 29. Taylor (Music for the Sets: Yellow Book), 1995; pg. 5. Taylor (Music for the Sets: Blue Book), 1995;
pg. 2.
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Eavesdropper, The
M:6/8
L:1/8
Z:transcribed by Jeff Weismiller
K:G
E|:D2B BAG|Bdd dBG|cde dBG|BAA
AGE|D2B BAG|Bdd dBG|
cde dBA|1 BGG G2E:|2 BGG G2 d||:~g2g afd|efg dBG|cde dBG|
BAA A2 d|gab afd|efg dBG|cde dBA|1
BGG G2d:|2 BGG G2||
EBB TIDE [1]. American, Hornpipe. C Major. Standard tuning. AABB. See also the
related “Speed the Plow/Plough
[1].” Cole (1000 Fiddle Tunes),
1940; pg. 113. Ryan’s Mammoth Collection,
1883; pg. 152.
X:1
T:Ebb Tide [1]
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:C
G | c(c/e/) g/a/g/e/ | g/a/g/e/
g/a/g/e/ | f/a/f/d/ e/g/e/c/ | d/e/f/d/ c/B/A/G/ | c(c/e/) g/a/g/e/ |
g/a/g/e/ g/a/g/e/ | f/a/f/d/
e/g/e/c/ | B/d/G/B/ c :: (e/f/) | g/e/c/e/ g/e/a/g/ | f/a/f/d/ B(d/e/) |
f/d/B/G/ D/G/B/d/ | e/c/G/E/ C(e/f/)
| g/e/c/e/ g/c’/e/g/ | a/g/f/e/ d(d/e/) | f/a/g/f/ e/d/c/B/ | [Ec][Ec][Ec] :|
EBB TIDE [2], THE. Irish, Hornpipe. G Major. Standard tuning.
AABB. Breathnach (Folk Music and Dances
of Ireland), 1971; 27. Tommy Keane and Jacqueline
McCarthy - “The Wind Among the Reeds.”
X:1
T:Ebb Tide
B:Folk Music and Dances of Ireland,
Breandan Breathnach
S:John Kelly (senior), concertina
R:hornpipe
M:4/4
L:1/8
Z:transcribed by Paul de Grae
K:G
dc|BdAB GABc|d2 GG G2 bg|fdcA
BcdB|cABG =F2 dc|
(3BdB (3ABA GABc|defd gdge|fdcB
ceAc|(3BdB GG G2:|:ga|
bgdG gGdG|DGBd gdbg|aBcA =fAcA|D=FcF
fFeF|
BdAB {B}GABc|defd gdge|fdcB
ceAc|(3BdB GG G2:|
EBDEN’S QUICK STEP. Scottish, March (4/4 time). F Major. Standard tuning. One part. The tune
was published in 1799 by Thomas Calvert, a musician from Kelso, Scotland. A
note with his collection states that Calvert supplied “a variety of music and
instruments, instruments lent out, tun’d and repaired.”
X:
1
T:Ebdens Quick Step
M:C
L:1/8
R:March
B:The Calvert Collection - Page 12
Z:Nigel Gatherer
K:F
C|F>GAB cAfd|cAFA G/F/G/A/ GA|F>GAB cAfd|cAGA [F2C2A,2] [FCA,]|]
c|a>[bg]af gedc|d>efA G/F/G/A/ GA|F>GAB cAfd|cAGA [F2C2A,2] [FCA,]|]
EBENEZER. AKA and see "West
Virginia Farewell," "West
Viginia Highway." Old‑Time, Breakdown. USA; West Virginia,
southwestern Virginia. G Major. Standard tuning. AABB. The tune is not
widespread, according to Alan Jabbour, found only in western Virginia and parts
of West Virginia. Most modern “revival” versions seem to stem from West Virginia
fiddler Franklin George’s version, popularized by
fiddler and violin-maker Armin Barnett, as well as George Wilson and Allan
Block. A version of “Ebenezer” was recorded by fiddler Kahle Brewer of Galax,
Va., in the 1920’s (Victor 20237), and another by Ernest Stoneman on 78 RPM,
although they both issued it under the title "West Virginia Highway.”
Galax fiddler Uncle Charlie Higgins called it "West Virginia
Farewell." Glen Lyn, Virginia fiddler Henry Reed recorded it for Alan
Jabbour twice in the 1960’s—although he did not have a name for it the first
time, on the second occasion he called it "Alabama Gals Give the Fiddler a
Dram" (AFS 13037a22). Bob Buckingham remarks that a neighbor and fiddler,
Bob Hill plays "Ebenezer," and told him that his father had played it
when Bob was young in Chillhowie, Virginia, calling it "Professor Wise.”
“Ebenezer” was played by “all the old timers” in the key of ‘F’, according to
Kerry Blech, and cites F. Rafe Brady, “one of the survivors, (who) played it on
his Heritage LP Cherokee Rose”
(Fiddle-L 11.23.05).
***
Franklin George. Photo by Rick Lee, used by
permission of Goldenseal Magazine (http://www.wvculture.org/goldenseal)
***
Jabbour remarks that The Hollow Rock
String Band (of which he was a member) learned Henry Reed’s version, but played
and recorded it under the Brewer/Stoneman title "West Virginia Highway.”
The tune has the feel of a country rag, in Jabbour’s opinion, and shares some
melodic content with the late-19th century popular song “Climbing Up the Golden Stairs.”
Sources for notated versions: Charlie Higgins, Frank George, Kahle Brewer
[Krassen]; Nelson Gage [Spandaro]; Fuzzy Mountain String Band (Durham, N.C.,
who learned the tune from Frank George {W.Va.} and Henry Reed {Glen Lyn, Va.}
via Alan Jabbour) [Kaufman]; Bill Christopherson & Alan Kaufman [Phillips].
AABB. Brody (Fiddler’s Fakebook),
1983; pg. 98. Kaufman (Beginning Old Time
Fiddle), 1977; pg. 58. Krassen (Appalachian
Fiddle), 1973; pg. 63. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 79. Spandaro (10 Cents a Dance), 1980; pg. 29. Justice JLP 1002, Franklin George – “31st Annual
Old Fiddlers’ Convention, Galax, Virginia” (1966). Rounder 0010, "Fuzzy
Mountain String Band" (1972). Bradley, Thompson, and Jabbour‑
"Sandy's Fancy." Rounder 02144, "Ernest V. Stoneman and the Blue
Ridge Corn Shuckers" (appears as "West Virginia Highway").
Victor 20237 (78 RPM), Kahle Brewer (appears as “West Virginia Highway”). CD,
Alan Jabbour, James Reed, Bertram Levy – “A Henry Reed Reunion” (2002).
X:1
T:Ebenezer
L:1/8
M:4/4
K:G
Bc | dBdB G2Bc | dBdB G2Bc | d2g2 f2g2 | a3b a2AB |
cBAG F2AB | cBAG F2AB | gfed BAFD | G3FG2 :|
|: Bc | d2g2 gfg2 | b2ba b2ef | g2 g2 g2 g2 | b2ba b2g2 |
agbg ageg | agbg agef | gfed BAFD | G3F G2 :|
EBER ATKINS TUNE. AKA and see "Buffalo
Nickel [1]," “Cat Ate the
Handsaw,” "Chinky Pin," “Crooked Stovepipe [2],” "Darling Child," "Farmer Had a Dog," "Fourth of July," "Hair in the Butter," "I'm My Momma's Darling (Child),"
“Lead Out,” “Liesel,”
“Love Somebody [2],” "Midnight Serenade [1],"
"My Love
is/She's But a Lassie Yet [1],” “Old
Mose,” “Raymondville,” "Richmond Blues," “Soapsuds Over the Fence [3],”
"Sweet Sixteen," "Ten Nights in a Bar Room,"
"Yellow Eyed Cat." Old‑Time,
Breakdown. USA, Missouri. D Major. Standard tuning. AABB. The title is from
northwest Missouri fiddler Cyril Stinnett, who called it after a local fiddler.
X:1
T:Eber Atkin's Tune
M:2/4
L:1/16
Q:120
S:Cyril Stinnett
R:reel
A:Missouri
N:This tune has appeared under more names than
any other I know. For fun
N:rather than scholarship, a list follows: Lead Out, Tommy Jackson;
N:Ten Nights in a Barroom, Lyman Enloe; Liesel,
Taylor McBaine; Too Young to
N:Marry, Tommy Jarrell; Soap Suds Over the
Fence, Everett McGraw.
H:This is a Scots tune which traces back to
"My Love is But a Lassie
H:Yet"
H:- see Kerr's Caledonian Collection
Z:B. Shull, trans.; R.P. LaVaque, ABCs
K:D
f(g|a2)fa (gf)eg|f2 d2 d2f(g|a2)fa (gf)ga|b2 e2
e2f(g|!
a2)fa (gf)eg|f2 d2 g3(f|gf)ed (cd)(eg)|f2 d2
d2:|!
(3(ABc|d2)AG (FGA(d|BA)Bc d2 A(c|d2)AG
(FG)A(F|[EA][DA])[EA]([FA]
[E2A2](Ac)|!d2AG|(FG)A(d|BA)Bc df(ef)|(gf)ed
(cd)(eg)|f2 d2 d2:|!
EBLANA’S FAIR
DAUGHTERS. Irish, Jig. G Major. Standard
tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill
Black, who explains that Eblana was the Roman name for Dublin. Black (Music’s the Very Best Thing), 1996; No.
214, pg. 115.
X:1
T: Eblana's Fair Daughters
C: © B. Black
Q: 325
R: jig
M: 6/8
L: 1/8
K: G
D | B,DE B,DE | GFG AGE | B,DE B,DE | GFE DB,A, |
B,DE B,DE | GFG ABc | BcB AGA | BGF G2 :|
A | BGG dGG | gfe dBA | BGB deg | BAG A2 A |
BGG
dGG | gfe def | gdB Adc | BGF G2 :|
ÉBOULEMENTS, LES.
French-Canadian, Reel. A Major. Standard tuning. AA’BB’CC’. Pascal Gemme
(of the group Genticorum) explains that Les Éboulements is a small village in
the Charlevoix region of Québec (eboulement refers to an outcropping of rock).
The reel (and title) come from renowned fiddler Joseph Bouchard.
X:1
T:Éboulements, Les
M:2/4
L:1/8
R:Reel
S:Pascal Gemme
K:A
(3e/f/g/|aA/A/ c/A/e/c/|B/c/d/e/
f/e/f/g/|a/A/(3A/A/A/ c/A/e/A/|f/A/g/A/ a(3e/f/g/|
aA/A/ c/A/e/c/|B/c/d/e/
f/e/f/g/|a/f/{g}f/e/ fe/d/|1 c/e/f/g/ a(e/f/g/:|2 c/e/f/g/ ae/d/||
|:c/A/A/A/ c/A/e/c/|B/c/d/e/
fe/d/|c/A/A/A/ c/A/e/A/|f/A/g/A/ ae/d/|
c/A/A/A/ c/A/e/c/|B/c/d/e/
f/e/f/g/|a/f/{g}f/e/ fe/d/|1 c/e/f/g/ ae/d/:|2 c/e/f/g/ a/e/c/A/||
|:E/A/B/A/ c/A/c/A/|G/A/B/c/
d/B/G/B/|E/G/B/G/ E/B/G/B/|E/B/G/B/ Ac/A/|
E/A/B/A/ c/A/c/A/|G/A/B/c/
d/e/f/g/|a/f/{g}f/e/ fe/d/|1 c/e/f/g/ a/e/c/A/:|2 c/e/f/g/ a(3e/f/g/||
ECCLES'S RANT. Scottish, Rant (4/4 time). The name Eccles is a Brittonic borrowing of
the Latin word ecclesia, meaning
church. 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.”
ECHO, THE (An Mac-Alla). Irish, Hornpipe. D Major. Standard tuning.
AABB. The pickup ‘c’ note to the second part is sometimes played natural to
give a passing feel of G major. Mulvihill (1st
Collection), 1986; No. 8, pg. 89. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1605, pg. 298. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 848, pg. 147. Peoples (Fifty
Irish Fiddle Tunes), 1986; 39. Tubridy (Irish
Traditional Music, vol. 1), 1999; pg. 15. GTD
Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on
the Fiddle."
X:1
T:Echo Hornpipe
M:4/4
L:1/8
K:D
fe|dAFA D2 FA|dfec dcBc|A2 ce A2
ce|f/g/a ec dcBA|dAFA D2 FA|
dfec dcBA|g3 b afdf|eABc d2:|
|:Bc|dg g2 bg g2|dgbg agfa|A2 ce A2
ce|f/g/a ec dcBA|
dg g2 bg g2|egbg agfa|g3b afdf|eABc
d2:|
X:2
T:The Echo
R:hornpipe
S:Tommy Peoples, "Traditional Irish Music Played on the Fiddle"
Z:Larry Sanger--first pass of two through the tune as played on
Z:"Traditional Irish Music Played on the Fiddle." Variations in
the
Z:second pass are similar.
M:4/4
K:D
{a}f3e||JdAFA DAFA|dfec dcBc|A/c/A c/d/e
A/c/A ce|f<aec dcBA|
dAFA D2FA|dfec dcBA|~g2ba {b}afdf|eABc d2B=C|
{e}dAFA D/D/D FA|{ec}d2ec dcBc|A/c/A ce A/A/A ce|f<aec dcBA|
dAFA {F}D3A|{e}dfec dcBA|~g2Bg afdf|eABc
d3B||
|dg~g2 bg{b}g2|~g2bg agfa|A2ce A/A/A {c}Ae|faec dcBA|
dg~g2 bg~g2|~g2bg agfa|f~g2b afdf|eABc d3B|
dg~g2 ~g2bg|~g2bg agfa|A/c/A c/d/e A/A/A ce|faec dcBA|
dg~g2 bg~g2|~g2bg agfa|f~g2b afdf | eABc d3d||
ECHO FROM LEINSTER, AN. Irish, Hornpipe. D Mixolydian. Standard tuning. AABB. Source for
notated version: Chicago cleric Father James K. Fielding, a flute player
originally from Kilkenny. Fielding was a member of the Irish Music Club with
his friend Francis O’Neill, and was a Gaelic-League activist [O’Neill]. O’Neill
(Music of Ireland: 1850 Melodies),
1903/1979; No. 1672, pg. 311.
X:1
T:Echo From Leinster, An
M:2/4
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1672
Z:AK/Fiddler’s Companion
K:D Mixolydian
a/g/ | ff/e/ f/g/e/c/ | d/e/d/c/ dA
| (3c/B/A/ B/c/ (3e/d/c/ d/f/ |
e/d/c/B/ Aa/g/ | f/g/f/e/ f/g/a/f/ |
(3d/e/f/ (3e/d/c/ dA/c/ | B/d/g/f/ e/d/c/e/ |
d/c/d/e/ d :: A | F/A/d/e/ f/d/A/G/
| F/A/ (3d/e/f/ g/e/c/A/ | f/d/ (3c/d/c/ Bg/f/ |
(3e/f/e/ (3d/c/B/ A/G/F/E/ |
F/A/d/e/ f/d/A/F/ | G/B/e/f/ g/e/c/A/ |
(3f/a/f d/f/ g/e/c/e/ | d/c/d/e/ d
:|
ECHOES FROM FOREST
GARDEN. American, Reel. A Major. Standard
tuning. AABB. Cole (1000 Fiddle Tunes),
1940; pg. 23. Ryan’s Mammoth Collection,
1883; pg. 47. White’s Unique Collection,
1896; No. 56, pg. 10.
X:1
T:Echoes from Forest Garden (Reel)
M:2/4
L:1/8
R:Reel
S:White’s Unique Collection (1896), No. 56
Z:AK/Fiddler’s Companion
K:A
(A/B/) | c/A/G/A/ F/A/E/A/ |
c/A/G/A/ a(g/f/) | e/A/G/A/ F/A/E/A/ | z2 .B/(e/^d/=d/) |
c/A/G/A/ F/A/E/A/ | c/A/G/A/ a(g/f/)
| e/A/G/A/ F/A/E/A/ | c/e/c/B/ A :: (c/d/) |
e/^d/f/e/ a/e/c/A/ | B/c/B/A/
G/E/F/G/ | (A/G/)(B/A/) (c/B/)(d/c/) | (e/^d/)(f/e/) B/c/=d/^d/ |
e/^d/f/e/ a/e/c/A/ | G/c/B/A/
G/E/F/G/ | A/a/g/f/ e/d/c/e/ | 3g/f/e/ (3d/c/B/ A :|
ECHOES OF KILLARNEY, THE. AKA and see “Art O’Keeffe’s [3]." Irish, Single
Jig. G Major (Roche): A Major (Taylor). Standard tuning. AABB. Source for
notated version: set dance music recorded at Na Píobairí Uilleann, mid-1980’s
[Taylor]. Roche Collection, 1982;
vol. 2, pg. 22, No. 244. Taylor (Music
for the Sets: Yellow Book), 1995; pg. 36.
X:1
T:Art O'Keeffe's
T:Echoes of Killarney
D:Denis Murphy, Music from Sliabh
Luachra (RTE)
R:slide
M:12/8
L:1/8
K:G
B2 A|:GEG G2 A B2 d ege|d2 B BAB g2
B BAB|
GEG G2 A B2 d ege|1 d2 B ABA G3 B2
A:|
2 d2 B ABA G3 G3||
|:gfg edd e2 f g2 e|d2 B BAB g2 B
BAB|
gfg edd e2 f g3|BcB ABA G3 G3:|
"variation, bars 2 and
6"|d2 B BAB d2 B BAB|
ECHOES OF THE HILLS. AKA and see "Echoes of
the Ozarks."
ECHOES OF/FROM THE
OZARKS [1]. AKA and see "Echoes of the Hills." Old‑Time,
Country Rag. USA, Missouri. D Major. Standard tuning. AB (Christeson, Ford,
Silberberg): AABB (Phillips). The tune is melodically similar to the popular
song "Little
Old Log Cabin in the Lane", written in 1871 (and popularised by
Fiddlin’ John Carson’s 1923 recording), and appears to be, in fact, a song
tune. See also the related "Georgia Boys."
Missouri fiddler Sam Long (1876-1931), originally from Scranton, Kansas, but
who also lived in Missouri and Oklahoma, recorded the tune (via acoustic, not
electronic methods) in 1926, and despite the rather poor quality of the sound
it sold well in the Mid-west and West. Gus Meade and W.L. McNeil researched
Long and discovered he had been born in 1876 and died sometime in March 1931
(in Burns, Kansas). He was the first Ozark region fiddler to have been
recorded, although Beisswenger & McCann (2008) point out that Long lived in
several Midwest states in his lifetime, and only perifferily in the Ozarks.
Nevertheless, they maintain that his frequent and successful playing in Ozark region
fiddle contests, and his recordings made him quite influential among Ozark
fiddlers. Ira Ford (1940) says his version has similarities with “The Yellow
Rose of Texas.” Sources for notated versions: African-American fiddler Bill
Driver (Cole County, Missouri) [Christeson]; Clyde Davenport (Indiana)
[Phillips]; Barry Schultz [Silberberg]; Sam Long [Beisswenger & McCann].
Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 90. R.P.
Christeson (Old Time Fiddler’s Repertory,
vol. 1), 1973; pg. 178. Ford (Traditional
Music in America), 1940; pg. 123. Phillips (Traditional American Fiddle Tunes, vol. 1, 1994; pg. 80. Silberberg
(Tunes I Learned at Tractor Tavern), 2002; pg. 41. Gennett 3284 {78 RP}, Sam Long (1926). County 520, Sam Long
(Ozark Mtns.) ‑ "Echoes of the Ozarks, vol. 3" (reissue
recordings). Marimac 9038, Dan Gellert & Brad Leftwich - "A Moment in
Time." Missouri State Old Time Fiddlers' Association, Lyman Enloe (b.
1906). Missouri State Old Time Fiddlers' Association, Pete McMahon -
"Kansas City Rag."
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
ECHOES OF/FROM THE
OZARKS [2]. Old‑Time, Country Rag. B Flat
Major. Standard tuning. AA’B. The tune (in the key of B flat) is listed in
fiddler Charlie Walden’s list of “One Hundred Essential Missouri Fiddle Tunes.”
Source for notated version: Floyd Engstrom [Silberberg]. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 41.
ECHOING HORN, THE. English (?), Air (3/8 time). D Major. Standard tuning. One part. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 49.
X:1
T:Echoing Horn
M:3/8
L:1/8
R:Air
N:The second part is the chorus.
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:D
aec | fde | A2e | aef | g>fe | fdf | a2f | bfe | dcf | B2d | dAd | f2 d/f/ | eAa | a2g |
f>ed | eAc | d2 f/g/ | ab/a/b/a/ | ga/g/a/g/ | fg/f/g/f/ | e2A | a>gf | gfe | d2A ||
dAd
| d2 f/d/| eAe | e2 f/g/ | fed | eAc | d2 ||
ECHUCA WALTZ. Australian, Waltz.
X:1
T:Echuca Waltz
M:3/4
L:1/8
S:Harry Schaefer (1879-1954)
R:Waltz
A:Forbes, New South Wales, Australia
N:From the Schaefer manuscripts held
in the National Library of Australia
Z:Transcribed into ABC by John
Furlonger
K:G
D2|G4 A2|B2 G2 G2|g2 f2 e2|d4 B2|D2
G2 A2|B2 d2 G2|A2 c2 B2|A2 F2 D2|!
G4 A2|B2 G2 G2|g2 f2 e2|d4 B2|D2 G2
A2|B2 d2 c2|B4 A2|G4 d2|!
e2 d2 d2|B2 G2 G2|A2 c2 B2|c4 d2|f2
e2 e2|c4 A2|B2 d2 c2|d4 fg|!
a2 g2 g2|d2 B2 d2|f2 (3fff f2|c4
d2|d2 c2 d2|e2 d2 B2|G2 (3GGG G2|G6||
ECKEY'S MARE. English. England, Northumberland. The title appears in Henry Robson's
list of popular Northumbrian song and dance tunes, which he published c. 1800.
ECLIPSE [1]. American, Hornpipe. B Flat major. Standard tuning. AABB. While the
title probably simply refers to one of the recurring celestial events, Al
Smitley suggests the tune may possibly have been named for the clipper ship Eclipse, a name that appears in American Clipper Ships 1833-1858 by Howe
and Matthews. There was also a famous 18th century racehorse and
sire named Eclipse (1764-1789), from Northumberland. Cole (1000 Fiddle Tunes), 1940; pg. 100. Ryan’s Mammoth Collection, 1883; pg. 135.
X:1
T:Eclipse [1]
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Bb
F/E/ | D/F/B/F/ d/F/B/F/ | D/F/B/c/
df | e/d/c/B/ A/c/d/e/ | f/=e/f/g/ f/_e/d/c/ | D/F/B/F/ d/F/B/F/ |
D/F/B/c/ df | e/d/c/B/ A/F/G/A/ |
BdB :: d/e/ | f/b/B/d/ f/=e/g/f/ | _e/d/c/B/ GF/E/ |
D/F/B/d/ B/c/d/B/ | e/d/c/B/ cd/e/ |
f/b/B/d/ f/=e/g/f/ | +e/d/c/B/ GF/E/ | D/F/B/d/ c/B/A/c/ | BdB :|
ECLIPSE (HORNPIPE) [2]. Scottish, Hornpipe. B Flat Major. Standard tuning. AABB. No apparent
relationship to versions 1 or 3. Kerr (Merry
Melodies), vol. 2; No. 335, pg. 37. Stewart-Robertson
(The Athole Collection), 1884; pg.
300.
X:1
T:Eclipse [2]
M:C|
L:1/8
R:Hornpipe
B:Stewart-Robertson – The
Athole Colletion (1884)
Z:AK/Fiddler’s Companion
K:Bb
d>c|B>GB>c B>Fd>c|B>AB>c B>Fd>c|B>cd>e f>dg>f|e>dc>B A>FG>A|
B>AB>c B>Fd>c|B>AB>c B>Fd>c|B>fd>B A>FB>A|~B2 d2 B2:|
|:A>B|c>AF>A c>Ad>B|e>cA>c e>cg>f|e>dc>=B c>Gc>_B|A>=ef>e f>d_e>c|
B>AB>c B>Fd>c|B>AB>c
B>Fd>c|B>fd>B A>FG>A|~B2 d2 B2:|
ECLIPSE [3], THE. AKA and see “The
Novelty [2].” Irish, Hornpipe. A Major. Standard tuning. AA'BBDCC'. The
original name of the tune is “The Novelty,” found in Ryan’s Mammoth Collection
(1883). The “Eclipse” title seems to have been a mistake by Irish fiddler “Sean
McGuire,” who was a major influence Irish musicians and much imitated. So much
so, for example, that New York accordion player Luke O’Malley, who had learned
the tune as “The Novelty” from Long Island fiddler Larry Redican, changed the
title to “The Eclipse” in his 1976 publication. The name “Eclipse” has thus
taken root among Irish musicians. McNulty (Dance
Music of Ireland), 1965; pg. 24. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 131,
pg. 66. Clo Iar-Chonnachta CICD 173, Brian Conway –
“Consider the Source” (2008). Viva W103,
Sean McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire
Plays,” the first recording of McGuire that Josephine Keegan accompanied on
piano).
X:1
T:Eclipse, The [3]
M:C
L:1/8
R:Hornpipe
B:Luke O’Malley’s Collection of Irish Music, vol. 1, No. 131 (1976)
Z:AK/Fiddler’s Companion
K:A
E2|:(3AcA EA ceae|fdBF DFBd|gfdB
fecA|(3AcA (3AGF E2 (3FFG|
(3AcA EA ceae|{g}fdBF DFBd|1 gfdB
AB^df|e^def (3efe (3=dcB:|2
gfdB GEFG|Aaec A2 ^de||fedB
GEFG|Aeca ec’ae’|
fd’ec’ dbca|B^dfb e2 de|fedB GEFG|Ae
~e2 aece|fd’bg ec’af|
(3efe (3dcB A2c2||caga fc ~c2|f^efg
ac ~c2|aece g^ece|f^efg f=edc|
Bgfg eB ~B2|e^def gB ~B2|(3gfe Bg
(3f^dB AF|(3EGB (3egb e’2 E2||
ECLIPSE [4]. Scottish, Highland Schottische. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 2; No. 217, pg.
24.
T:Eclipse [4]
M:C
L:1/8
R:Highland Schottische
S:Kerr – Merry Melodies, vol. 2, No. 217
Z:AK/Fiddler’s Companion
K:G
G,>G G2 G,>G G2 | A>BA>G
F>DE>F | G>FG>D E<Gc>e | d>Bc>A B<G G2 :|
|: (3bag (d<g) (B<g) (d<g)
| (3bag (d<g) (e<a) a2 | (3bag (d<g) (B<g) (d<g) | c>ed>c
B<G G2 :|
ECLIPSE [5], THE.
English, A Major. Standard tuning. AABB. The melody is unique to Charles
and Samuel Thompson’s third country dance collection (London, 1773). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 22.
X:1
T:Eclipse, The
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
B2 dB G2 BG|E2 FG A2 [A,2A2]|B2 dB G2 BG|”tr”E2 FG A4::c2 ae c2 ae|f2 f^d e2E2|
c2 ae c2 ae|f2 fg a4|c2 ac B2 gB|A2 cA B2E2|c2 cA B2 BG|E2
FG A4:||
ED KELLOGG'S QUICKSTEP. See "Kellogg's Quickstep."
ED MORAN'S FAVORITE. Irish, Reel. G Major. Standard tuning. AABB'. Source for notated
version: accordion player Bobby Gardiner [Miller & Perron]. Miller &
Perron (Irish Traditional Fiddle Music),
1977; vol. 2, No. 44. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 67. Gael GL2‑103, Bobby Gardiner – "Memories of Clare
No. 2” (1962).
ED REAVY’S FANCY. See note for “The Master’s
Return.”
EDDIE DUNNE’S
FAVOURITE. AKA and see “The Bag of Potatoes [2]." Topic Records, John Kelly.
EDDENDERRY REEL. AKA and see “Willie Wink(ie)’s Testament
[2]."
EDDIE KELLY’S (JIG). AKA and see “The Meelick Team.” AKA – “Eddie Kelly’s No.
1.” Irish, Jig. E Minor. Standard. AA’BB. Composed by Eddie Kelly, a famed
flute player in the East Galway tradition. Source for notated version: New
Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926
[Harker]. Harker (300 Tunes from Mike
Rafferty), 2005; No. 225, pg. 69.
EDDIE KELLY’S NO. 2. Irish, Jig. E Minor. Standard. AA’BB’.
X:1
T:Eddie Kelly's #2
R:jig
M:6/8
K:Em
BEF G2A|Bee edc|~B3 GBG|AFD AFD|
GEF G2A|Bee edc|~B3 GBG|1 AFD E2A:|2
AFD E3||
|:gfe fed|Bee Bee|gfe fed|B^cd e2f|
gfe fed|Bee Bee|gfe fed|1 B^cd
e2f:|2 B^cd ed=c||
EDDIE KELLY'S REEL [1]. AKA and see “Eleanor Kane’s.”
Irish, Reel. D Minor. Standard. AABB. Source for notated version: fiddler
Willie Coleman (County Sligo) [Breathnach]. Breathnach (CRÉ II), 1976; No. 181, pg. 94 (appears as “Gan anim/Untitled”).
Carlin (Master Collection), 1984; No.
203, pg. 120. CEF 105, Seamus & Manus McGuire –
“Carousel.” Wild Asparagus 003, Wild Asparagus - "Tone Roads" (1990).
X: 1
T: Eddie Kelly's
S: Kathleen Collins
Z: transcribed by B.Black
R: reel
M: 4/4
L: 1/8
K: Dm
c |: AGEC DEDC | A,DDC A,DDC | DCDE F3 G | Adfe
d3 c |
AGEC A,3 =B, | C3 D EGAc | dfed cGAc | AFEA FD
D2 :|
fdd^c d3 e | fddd eceg | fdd^c defd | eg (3g^fg
ec c2 |
fdd^c
defd|ea (3a^ga ec (3c=Bc|d=B (3BBB cA (3AAA|_BAGE FD D2:|
EDDIE KELLY'S REEL [2]. Irish, Reel. D Dorian: E Dorian. Standard. AB.
X:1
T:Eddie Kelly’s Reel [2]
M:4/4
L:1/8
K:D Dorian
DEFG ADD2|FDAD FDDC|DEFG AGAB|c2GF
ECC2:||\
d3c AGAc|dcde f2ef|dedc AcGc|AcGF
ECC2:||\
X:2
T:Eddie Kelly’s Reel [2]
R:reel
M:C|
L:1/8
K:Edor
D|EFGA BE~E2|GEcE GE~ED|EFGA
Bze~e|dBAG FDDz
EFGA BE~E2|GEcE GE~ED|EFGA
Bze~e|dBAG Fddz||
e~e2d cA(3Bcd|e~e2f gz{b}ag|eged
cABc|dBAG Fddz|
e~e2d cA(3Bcd|e~e2f gz{b}ag|e~e2d
cABc|dBAG FDD2||
EDDIE KELLY'S REEL [3]. Irish, Reel. D Minor. Standard tuning. AABB. Source for notated
version: Séamus Mac Conaonaigh, who learned the tune from Donegal fiddler Paddy
Glackin's playing on the album "Hidden Ground" with the late Jolyon
Jackson (De Grae).
X:1
T:Eddie Kelly's (Reel) [3]
S:Séamus Mac Conaonaigh
M:4/4
L:1/8
R:reel
Z:transcribed by Paul de Grae
K:Dm
B | AGEC D3 C | A,D (3DDD A,D (3DDD
| EFFE F3 G | (3A=Bc fe d3 c |
AGEC A,3 =B | C3 D EGc=B | dfef cG
(3A=Bc | BGFE FDD :||
||: e | fddc d3 e | fA (3def eAce |
fddc defd | eg (3ggg edce |
fddc defd | egaf gedf | edc=B cG
(3ABc | BGFE FDD :||
EDDIE McLOUGHLIN’S.
Irish, Reel. G Dorian. Standard tuning. AB. Related to the “Yellow Tinker.” Source for notated version:
New York fiddler and accordion player John McGrath (1900-1955, originally from
County Mayo) [O’Malley]. O’Malley (Luke
O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 34, pg. 17.
X: 1
T: Eddie McLoughlin's
N: Close relative of the "Yellow Tinker"
M: 4/4
L: 1/8
Q: 350
S: Luke O'Malley Volume 1
Z: Transcribed by Bill Black
R: Reel
K: Gdor
DG~G2 DF~F2 | DG~G2 dGAF | DG~G2 DF~F2 | c2 AF
CFAF |
DG~G2 DF~F2 | DG~G2 dGAF | DG{A}GF D^CDE | F2 CF
A=BcA ||
DG~G2 dGeG | dG~G2 cFAc | dG~G2 dGed | c2 AF CFAF
|
DG~G2
eG~G2 | dG~G2 cFAc | d^cde fefd | c2 AF cFAF ||
EDDIE MOLONEY’S (FAVOURITE).
Irish, Jig. G Major. Standard tuning. AA’BB’. Séamus Connolly says he
first heard this tune at a concert by Mulhaire’s Céilí Band in the early 1960’s
in Lixnaw, County Kerry. Flute player Eddie Moloney was a member of the group.
Connolly & Martin (Forget Me Not),
2002; pgs. 26-27.
EDDIE MOLONEY’S (JIG). Irish,
Jig. D Major. Standard tuning. AABB. Named for flute player Eddie Moloney, a
member of Mulhaire’s Céilí Band and the Shaskeen Céilí Band. Although he lived
in Galway City, Moloney was originally from the area around Ballinakill, County
Galway—“a place famous for its flute and fiddle players,” says fiddler Séamus
Connolly, and had a repertoire of melodies representative of the region.
Connolly & Martin (Forget Me Not),
2002; pgs. 24-25.
EDDIE MOLONEY’S [1]. AKA – “Eddie Moloney’s No. 1.” AKA and see “Kinvara Reel.” Irish, Reel. G Major.
Standard tuning. AA’BB’CC’. The tune was recorded by
Frankie Gavin and under the “Kinvara”
title by P.J. Hernon. Eddie Moloney was a flute player from Ballinakill, East
Galway, of a musical family; he was son of flute player Stephen Moloney, brother
of Ambrose, and father of flute player Seán Moloney. He was a member of a later
iteration of the famous Ballinakill Céilí Band, and his heyday was in the
1950’s. “Did you bring the potstick with you,” was Eddie’s salutation when a
flute player would arrive at a session (the old wooden potsticks having some
resemblance to a wooden flute). “Eddie Moloney’s” appears in a 1980 issue of Treoir
magazine where it is identified as having been composed by Tommy Whelan. Like
Moloney, Whelan was an east Galway flute player, and the two were friends. East
Galway flute player Jack Coen (living in the Bronx, NY) remembers that Moloney
and Whelen used to forgot which one of them had composed certain tunes. Coen
would ask one or the other the source for a new tune and invariably they would
credit it to the other flute player. Tongue-in-cheek, Jack sometimes calls such
East Galway tunes of indefinite origin "Whelan Moloney's" (Brad
Hurley). Source for notated version: New Jersey flute player Mike
Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No.
152, pg. 46. Larraga LR090098, Mike & Mary
Rafferty – “The Old Fireside Music” (1998).
See also listing at:
Alan Ng’s Irishtune.info |
X:1
T:Eddie Moloney’s [1]
R:reel
D:Frankie Gavin: Croch suas E
D:Paul McGrattan: The Frost Is All
Over
Z:id:hn-reel-773
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:G
~g3a gdBd|~g2bg ea~a2|g2dg gdBd|ecAc BG~G2|
~g3a gdBd|~g2dg ea~a2|g2ga gdBd|ecAc BG~G2||
|:GdBd ~G3z|GdBd eA~A2|GABd g2ge|1 fdcA AGFA:|2 fdcA AGAF||
|:~G2dG BGdG|~G2dG FDFA|1 ~G2dG (3Bcd eg|fdcA AGAF:|2 ~G3A (3Bcd ef|gdcA AG (3Bcd||
EDDIE MOLONEY’S [2]. AKA and see “Drogheda Lasses
[2],” “Mary of the Grove [1],”
“Paddy Doorhy’s.” Irish, Reel. D Major. Standard tuning. AABB.
The tune appeared under this title in the magazine Treoir (1980), from flute player Marcus Hernon. Source for notated
version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co.
Galway, in 1926 [Harker]. Harker (300
Tunes from Mike Rafferty), 2005; No. 99, pg. 31. Larraga
TR1103, Mary Rafferty – “Hand Me Downs” (2002).
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Eddie Moloney’s [2]
M:C|
L:1/8
R:Reel
Z:Lesl Harker
K:D
f~f2e|:dF~F2 AzFA|defd egfe|dF~F2
AzFA|BGEF GABc:|
|:dzdf e~e2A|defd egfe|dzdF
A{B}AFA|BGEF GABc:|d8||
EDDIE MOLONEY’S [3]. Irish, Reel. G Major. Standard tuning. AB. Source for notated version:
flute player Eddie Moloney (County Galway) [Breathnach]. Breathnach (CRÉ II), 1976; No. 139, pg. 75.
X:1
T:Eddie Moloney’s [3]
M:4/4
L:1/8
R:Reel
S:Breathnach – CRÉ II (1976), No. 139
K:G
E|DEDE ~G3A|BA (3Bcd eddB|d2 de
gage|dB (3ABc BGGE|
DEDE ~G3A|BA (3Bcd (3eee Bd|dede g2 ge|dB
(3ABc BGG||
e|dcBA ~G3B|AE E2 GEdB|c2 BA G2
ge|dB (3ABc BGGe|
dcBA G2 GB|AE E2 gedB|(3cBA BA
~g3e|dB (3ABc BGG||
EDDIE MOLONEY’S [4]. AKA and see “John
Naughton’s (Reel).” Irish, Reel. E Minor. Standard tuning. AB. Set in the
key of ‘D’ dorian, the tune is known as “John Naughton’s.” Source for notated
version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co.
Galway, in 1926 [Harker]. Harker (300
Tunes from Mike Rafferty), 2005; No. 107, pg. 33.
EDDIE'S REEL. French Canadian, Reel. G Major. Standard tuning. AA'BB. Composed in the
French-Canadian style Ed Plante, who taught it to Louis Beaudoin (Burlington,
Vt.). Sources for notated versions: Louis Beaudoin (Vt.) [Hinds {ne' Hebert}];
Donna Hebert (Amherst, Mass.) [Phillips]. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 7. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 80. Philo PH2000, "Louis Beaudoin" (1973). Fretless
Records FR200, Yankee Ingenuity ‑ "Kitchen Junket" (1977.
Learned from Louis Beaudoin of Burlington, Vt., whose friend was the composer,
Ed Plante).
EDDY STICKER'S TUNE. American, Jig. USA, southwestern Pa. G Major. Standard tuning. Learned
by the source from Eddy Sticker, from Indiana County, Pa., whose father was a
Civil War veteran and also a fiddler and teacher of tunes. The 'A' part is
equivalent to the first tune in Section No. IV of "The Lancers" in
Linscott (1939), pg. 93. Source for notated version: Harmon McCullough (Indiana
County, Pa., 1959) [Bayard]. Bayard (Dance
to the Fiddle), 1981; No. 577, pg. 511‑512.
EDEN NO MORE. Scottish, Pipe Tune.
EDENDERRY REEL [1], THE (Cor Eudon-Doire). Irish, Reel. G Major. Standard
tuning. AAB. The first part of this tune is a version of the first part of “Greig’s Pipes.” O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 770, pg. 134.
X:1
T:Edenderry Reel
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 770
Z:AK/Fiddler’s Companion
K:G
B2 AG BGGA | B2 AG Bdgd | B2 AG BGGB
| AGBG AGEG :|
|| gfga gede | gabg agab | gfga gedB
| A2 BG AGEG | gfga gede |
gabg a2 ga | bgaf gedB | A2 BG AGEG
||
EDENDERRY REEL [2]. Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985).
Ryan (The Hidden Ireland); 32.
EDGE OF THE WHITE ROCK, THE. AKA and see “Brink of the White Rock,”
"Bruach na Carraige Baine."
EDGEFAULD HOUSE. Scottish, March (4/4 time). D
Major. Standard tuning. AABCCD. Composed by the great Scottish fiddler and
composer J. Scott Skinner (1843-1927). Source for notated version: Jean-Ann
Callender (Aberdeen) [Martin]. Martin (Tradtional
Scottish Fiddling), 2002; pg. 116.
EDIE SAMMON'S TUNE. English, Dance Tune. G Major. Standard tuning. One part. One of the
tunes used for the Abbots Bromley (Stafforshire) horn dance, c. 1890.
"This tune comes to us via Edie Sammons, the sister of Tom Sammons, who
played for the horn dancers in the early 1900's. A slight variation of this
tune was used in the town's celebration of Queen Victoria's Diamond Jubillee in
1887. It was frequently used with 'Yankee Doodle,' Sammon's tune forming the
'A' music, 'Yankee Doodle' the 'B' music" (Bullen). Andrew Bullen, Country Dance and Song, May 1987, vol.
17, pg. 10.
EDINBOROUGH TOWN. English, Air. A Major. Standard
tuning. One part. 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]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript),
1997; pg. 86 (originally set in the key of ‘C’ major in the ms.).
EDINBURGH CASTLE. AKA and see “As
‘Tis Danc’d at the Playhouse,” "Trip
to the Jubilee."
EDINBURGH CASTLE
(WALTZ). Scottish, Waltz. D Major (‘A’, ‘B’ and ‘D’
parts) & B Minor (‘C’ part). Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 117, pg. 28.
EDINBURGH CITY POLICE
PIPE BAND. Composed by Rod Campbell. John Wilson’s Collection of Highland Bagpipe
Music, vol. 1, 1937.
EDINBURGH FROLICK.
English, Country Dance Tune (2/4 time). F Major. Standard tuning. AABB.
The melody is unique to London publishers Charles and Samuel Thompson’s 1765
country dance collection. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 2), 1765; No. 169.
X:1
T:Edinburgh Frolick
M:2/4
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:F
A/B/|cA FA/B/|café|fdcA|”tr”A2 GA/B/|cA
FA/B/|cAfa|gfed|c2c:|
|:e/f/|ge ce/f/\ge b2|gecB|”tr”B2 A>G|A”tr”BcG|A”tr”Bcf|cBAG|F2 F:||
EDINBURGH
JIGG. Scottish, Jig. G Major. Standard
tuning. AABB. A jig version of “The
Flowers of Edinburgh.” The tune appears first in print in J. Johnson’s
collection of 200 country dances, published in 1751. The melody appeared a few
years later in Rutherford’s country dance collection. The name Edinburgh takes
its name from the Brittonic kingdom (known as Manau Gododdin) in Lowland
Scotland whose principle stronghold was Eidyn, meaning ‘steep slope’, which was
in this case crowned with a fort known in those days as Din Eidyn (‘steep
sloped fortress’) but which has come down as Edinburgh (Matthews, 1972).
Edinburgh has been the capital of Scotland since 1498.
***
Gatherer (Gatherer’s Musical Museum), 1987; pg. 16
(adapted from Rutherford’s collection). Rutherford, Rutherford's Complete Collection (c. 1756).
X:1
T:Edinburgh
Jigg
S:Gatherer's
Z:Transcribed by Nigel Gatherer
M:6/8
L:1/8
K:G
B|D2E
G2A|Bdg dBG|gag efg|dBG A2B|D2E G2A|
ege dBG|g2e
dBG|AGG G2::d|gfg b2g|fef a2f|e^de gdB|
Bee e2f|gfe dcB|ABG FED|GBd gdc|BGG
G2:|]
EDINBURGH QUADRILLE, THE. In 1866 during the Canadian gold-rush Robert
Burrell grumbled in a letter that the music from Bakerville’s Hurdie house
across the street was disturbing his sleep. He mentioned four of the songs that
were ringing in his ears: "Silver
Lakes Varsovianna,” "King of the Cannibal Islands,”
"Sultan Polka" & "Edinburgh Quadrille.”
EDINBURGH REEL, THE. Canadian, Reel. Canada, Cape Breton. A Major.
Standard tuning. AB. Composed on Oct. 6, 1945, by Cape Breton fiddler Dan R.
MacDonald (1911-1976). The name Edinburgh takes its name from the Brittonic
kingdom (known as Manau Gododdin) in Lowland Scotland whose principle
stronghold was Eidyn, meaning ‘steep slope’, which was in this case crowned
with a fort known in those days as Din Eidyn (‘steep sloped fortress’) but
which has come down as Edinburgh (Matthews, 1972). Edinburgh has been the
capital of Scotland since 1498. Cameron (Trip
to Windsor), 1994; pg. 6.
EDINBURGH TOWN. AKA and see “Twas Within a Furlong
of Edinburgh Town.”
EDINBURGH TRAIN
BAND'S MARCH, THE. Scottish, March. The air appears in the 1768 Gillespie Manuscript of Perth.
EDINGLASSIE'S RANT. Scottish, Rant. The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of
Ancaster, Drummond Castle), inscribed "A Collection of the best Highland
Reels written by David Yound, W.M. & Accomptant" (1734).
EDITH NEWTON'S
COTILLION NUMBER TWO. American, Cotillion (cut time).
USA, Pennsylvania. D Major. Standard tuning. AA'BB. Source for notated version:
Jehile Kirkhuff (Pa.) [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 46.
EDITOR'S FAREWELL, THE. Scottish, Air. A Major. Standard tuning. AB.
Composed by the great Scots fiddler-composer J. Scott
Skinner (1843-1927). Skinner (The
Scottish Violinist), pg. 48.
X:1
T:Editor’s Farewell, The
M:C
L:1/8
R:Air
N:”Simply and unaffectedly.”
N:”Slowly”
S:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:A
D | (B>DE).C ([DD]>EF).A |
(G>AB).G [AA]>B {A/B/}cA |
(d>e) {d/e/}(fe/d/) .c.e .A.c |
(d>B)(c>A) B/A/G/F/ .E.D |
(B>DE).C ([DD]>EF).A |
(G>AB).G [AA]>B {A/B/}(cA) | (d>e) (fe/d/) (ca) (Bg) |
(Af) (Ge) (Fd) (E[ce]) ||
{g}a>ecA ECA,C | EAce {g}aAca | {^a}b>fdB FDB,D |
FBdf bege’ | {g}a>ecA ECA,C |
EAce {g}aAce |
{e/d/c/}d>b {d/c/^B/}c>a
{c/B/^A/}B>g {B/A/G/}A>f |
{A/G/^F/}G>e {G/F/^E/}F>d
{F/E/^D/}E>c {E/D/C/}D>B | [E8A8] ||
EDITOR’S FAVOURITE. Canadian, Strathspey (Pipe Tune). Canada, Cape Breton. A Major.
Standard tuning. AAB (Cranford/Holland): AABB (Dunlay &
Greenberg/MacDonald): AA’BB’ (Dunlay & Greenberg/Morris). The ‘B’ parts in
Cranford/Holland and the Fr. Morris setting in Dunlay and Greenberg are
different; Holland identifies his as a “Down North” Cape Breton setting as contrasted
to the more common Inverness setting (as, for example, played by Mary
MacDonald), and indicates the turns are reversed. Sources for notated versions:
fiddler Mike MacDougall (Ingonish, Cape Breton) [Cranford/Holland]: Fr. Angus
Morris and Mary MacDonald [Dunlay & Greenberg]. The Cape Breton Collection of Bagpipe Music, pg. 17 (appears as
“Traditional Strathspey). Cranford (Jerry
Holland’s), 1988/1995; pg. 2 (appears as “Traditional Strathspey”). Dunlay
& Greenberg (Traditional Celtic
Violin Music of Cape Breton), 1996; pg. 29 (two settings). ACC 4925, Tara Lynne Touesnard - “Heritage” (1988). Celtic
CX 13, SCX 57, Rodeo Banff RBS 1257, Donald MacLellan - “The Music of Cape
Breton” (c. 1950's. Appears as unlisted 2nd tune in “Moonlight Clog” medley).
DMP6-27-2-4, Doug MacPhee (appears as “A Mabou Coal Mines Strathspey). Rounder
7005, Carl MacKenzie - “Welcome to Your Feet Again” (1977. Appears as
“Traditional Strathspey). Smithsonian Folkways Records, SFW CD 40507, The
Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004).
EDITOR'S
THANKS TO MR. NATHANIEL GOW,
THE. AKA ‑
"Mile taing an Ughdair." Scottish, Strathspey. E Flat Major. Standard
tuning. AAB. This tune "is an effort of the editor's to express his thanks
for an aid to this work, which he cannot duly appreciate. It makes an excellent
medley with No. 182 ('The Novelty')" {Fraser}. Nathaniel Gow was
a renowned composer of Scottish fiddle tunes and a music publisher. Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 230, pg. 93.
X:1
T:Editor’s thanks to Mr. Nathaniel Gow, The
T:Mile taing an Ughdair
M:C
L:1/8
R:Strathspey
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:Eb
A,|(G,/A,/B,) B,<G E>C B,2|(G,/A,/B,) B,<B GF/E/ G<B|(G,/A,/B,) B,<G E>C B,2|1
G<E A>G F>B,DF:|2 G<E A>G F<B,Da||g>e g<b e<e g2|e>g B<b g>e g<b|
g>e g<b e<e g>f|g<e a>g f>B d<f|g>e g<b e<e g2|e>g B<b g>e e<b|
g/a/b
a>f g>e f<d|e/d/c/B/ A/G/F/E/ F>BD||
EDMOND
LALIBERTÉ. French-Canadian, Reel. A Major.
AEae tuning. AABB. A ‘crooked’ tune. Source for notated version: flute player
Daniel Roy, who learned it from fiddler, storyteller and singer Michel Faubert
[Remon & Bouchard]. Remon & Bouchard (25 Crooked Tunes, vol. 2: Québec Fiddle Tunes), vol. 2, 1997; No.
24. 30 Below TB 001CD, Les têtes de violon (Bouchard
et al) – “Airs Tordus/Crooked Tunes” (1998).
EDMOND
PARIZEAU.
French-Canadian, Reel. G Major. Standard tuning. AA’BB’. Edmond Parizeau
(sometimes Pariso or Pariseau) is the name of a fiddler from Sainte-Foy,
Québec. In the repertoire of fiddler Jules Verret. Source for notated version:
Montréal fiddler Richard Forrest [Gemme]. A-L
001, Lisa Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau
Samedi d’ été” (2009).
X:1
T:Edmond Parizeau
M:2/4
L:1/8
R:Reel
O:Québec
S:Fiddler Pascal Gemme (of the group
Genticorum)
K:G
D/C/|:B,/D/G/A/ BD/C/|B,/D/G/A/ BA/G/|F/G/A/B/
c/A/F/D/|G/A/B/G/ D/E/D/C/|
B,D/G/A/ BD/C/|B,/D/G/A/
BA/G/|F/G/A/B/ c/A/F/D/|1 G/B/A/F/ GD/C/:|2 G/B/A/F/ GB/d/||
|:g/d/g/d/ B/d/g/d/|B/c/d/e/
d/B/A/G/|F/G/A/B/ c/A/F/D/|G/A/B/c/ dB/d/|g/d/g/d/ B/d/g/d/|
B/c/d/e/ d/B/A/G/|F/G/A/B/
c/A/F/D/|1 G/B/A/F/ GB/d/:|2 G/B/A/F/ GD/C/||
EDMUND
MACDERMOTT ROE. Irish, Planxty (6/8 time). F Major.
Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan
(1670-1738). O’Neill (1922) remarks: “Among Carolan's many distinguished
friends and patrons, no one was more generous and loyal than Mrs. McDermot Roe,
of Alderford House, County Roscommon. At the outset of his professional career
in 1693, it was she who equipped him with a horse and an attendant harper; and
it was to her hospitable home he directed his feeble footsteps in his declining
days. Exceptionally honored in death, Carolan's remains were interred near the
family vault of his benefactress.” Source for notated version: copied from the Hibernian Muse (1787) [O’Neill]. Complete Collection of Carolan's Irish Tunes, 1984; No. 85, pg. 69.
O’Neill (Waifs and Strays of Gaelic
Melody), 1922; No. 72 (appears as “McDermot Roe”).
X:1
T:Edmund McDermot Roe
M:6/8
L:1/8
S:Carolan - Hibernian Muse 1787
Z:Paul Kinder
R:Air
K:F
c|AFF Acc|f2 F fed|e/2f/2gc dcB|Acc f2 g|
ab/2a/2g ab/2a/2g|fdd d2 e/2f/2|gcg ga/2g/2f|ec/2d/2e f2 c|
AFF cA/2B/2c/2A/2|FA/2B/2c/2A/2 F2 f|ecc dB/2c/2d/2B/2|
c/2B/2A/2B/2c/2A/2 G>AG|FAf fFf|gcg afa|agf ece|fFF F3||
GCC GCC|AF/2G/2A/2F/2 BGG|A/2B/2cc d/2e/2ff|e/2f/2gg ece|
fc'b a/2b/2c'/2b/2a/2g/2|fcf fcf|bg/2a/2b/2g/2 fd/2e/2f/2d/2|
Bc/2d/2g ece|f2 F fed|c2 A BAG|A/2B/2cc fg/2f/2e|f3-f2||
EDMUND MACKENZIE OF
PLOCKTON.
Scottish, Jig. G Major. Standard tuning. AABB. Composed by 20th
century Scottish musician, composer and band leader Andrew Rankine.
X:1
T:Edmund MacKenzie of Plockton
C:Andrew Rankine
S:Jim Paterson
Z:Jack Campin <http://www.purr.demon.co.uk/jack/> 2004
M:6/8
L:1/8
Q:3/8=120
K:G
DEF GAB|d2d B3| c2c A3 |d2d B3 |
DEF GAB|d2d B3| d^cd =cAF|G3 G3:|
e3 c3 |d^cd B3|=cBc DFA|d2c B2B|
e3 c3 |d^cd B3| ded cBA|G3 G3:|
EDMUND OF THE HILL. AKA and see “Eamonn a' Chnuic,”
“Ned of the Hill.”
EDRADYNATE HOUSE [1]. Scottish, Strathspey. D Major. Standard tuning. AAB. Composition
credited to A.C. MacIntyre by James Stewart-Robertson. Stewart-Robertson (The Athole Collection), 1884; pg. 87.
X:1
T:Edradynate House
M:C|
L:1/8
C:A.C. McIntyre
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A,|D<D F>A d>AFD|A,>EC>E G2 G>A|F<D F>A G>EC>A,|B,>DC>E D2D:|
A|d>ef>d B<g e>c|a>fd>f e2 e>A|d>ef>d B<g e>c|d>AF>D A2 Ac|
d>ef>d
B>ec>A|G<E E>F G2 G>A|d>AF>D G>EC>A,|B,>DC>
EDRADYNATE HOUSE [2]. Scottish, Reel (Scottish Measure). D Mixolydian. Standard tuning. AB.
Composed by James Stewart-Robertson, editor of The Athole Collection. Stewart-Robertson (The Athole Collection), 1884; pg. 87.
X:1
T:Edradynate House
M:C|
L:1/8
C:James Stewart Robertson
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A|F(AA)F BGAG|FD D/D/D d2dA|F(AA)F BG AF|E=C C/C/C G2GE|
F(AA)F BGAG|FD D/D/D d2de|fdec dAFD|D=C C/C/C G2G||
A|d2AF D/D/D AF|d2AF A2Ac|d2AF D/D/D AF|D=C C/C/C G2 GA|
D2AF
D/D/D AF|d2AF A2Ae|fdec dAFD|E=C C/C/C G2G||
EDRADYNATE MEDLEY. Scottish, Country Dance Tune (2/4 time). F Major ('A' part), C
Mixolydian ('B' part) & D Minor ('C' part). Standard tuning. AABC.
Stewart-Robertson (The Athole Collection),
1884; pg. 152.
X:1
T:Edradynate
Medley
M:2/4
L:1/8
R:Country
Dances
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
c|ff
e/f/a/f/|cca>g|ff/e/ f/g/a/b/|g/f/g/a/ gc|ff e/f/a/f/|cca>g| ff/g/
e/f/g/a/|faf:|
^f|gg/^f/
gc’|egce|dfBd|c/B/c/d/ c/d/e/f/|gg/^f/ gc’|egce|dfBd|c3|| A|dd/^c/ d/e/f/g/|
aa
ab/g/|aa/f/ dd/f/|ea A/=B/c/A/|dd/^c/ d/e/f/g/| aa ab/g/|aa/f/ gg/e/|dfd||
EDWARD
CORCORAN. AKA – “Planxty Corcoran.” Irish,
Air or Planxty (6/8 time). D Minor. Standard tuning. AB (O’Neill): AABB (Complete Collection). Composed by blind
Irish harper Turlough O'Carolan (1670-1738). The Edward Corcoran to whom
the tune was dedicated has never been identified but the Corcorans were a
Donegal family of note during Carolan's time. “Animated,” directs O’Neill. Source for notated
version: “Set in Munster. From Mr. Kelly” [Stanford/Petrie]. Complete Collection of Carolan's Irish Tunes,
1984; No. 19, pg. 35. O'Neill (Music of
Ireland: 1850 Melodies), 1979; No. 681, pg. 124. Stanford/Petrie (Complete Collection), 1905; No. 875, pg.
219. Eliza Carthy & Nancy Kerr – “Shape of
Scrape.”
X:1
T:Planxty Corcoran
T:Edward Corcoran
C:Turlough O'Carolan
B:ONMI (Krassen)
Z:Transcribed by Juergen Gier
M:6/8
L:1/8
K:Dm
F|FEF D2F|FEF DAG|FED CEG|FED CDE|\
FEF G^FG|A^GA d2e|ff/e/d edc|dd/c/A
cAG|\
AA/G/F GFE|FF/E/D EDC|DA,^C DFE|D3
D2|]\
(D//E//F//G//)|AGF ((3G/F/E/ DC)|cCC
Cde|fed ed^c|\
dDD (9D//E//F//G//A//B//^c//d//e//|fed
ed^c|AGF GFE|gfe fed|\
FED EDC|ff/f/f gg/g/g|aa/a/a bag|fed
ed^c|d3 d2|]
EDWARD DODWELL (Eamonn Dodbhall). AKA - "Emon Dodwell," "Ned
Dodwel." Irish, Air (cut time). D Minor (S. Johnson): D Dorian
(O’Sullivan). Standard tuning. AABB. Composition of the tune was credited by
Edward Bunting (1773-1843) to the blind Irish harper Turlough O'Carolan. Donal
O'Sullivan (1958) uses the melody as set down in Bunting’s c. 1800 manuscript
papers (held at the Library of Queen’s University, Belfast) rather than the one
he printed in his 1840 collection (pg. 77), as the printed version he deems
inferior. Words to the tune are printed in Thaddeus Connellan's An Duaniare (Fonne Seanma){1829}.
Connellan identified the Edward Dodwell of the title as being from County Sligo
and the lyrics note the individual lived by the shore. O'Sullivan finds
Dodwells of Mount Dodwell in County Sligo, though this area is not situated
near any body of water. The family did own another estate in Portumna, County
Galway, on the shore of Lough Derg (the 2nd largest lake in Ireland) and he
thinks the subject of the piece may have belonged to that branch of the family.
All that can be discerned from the song text is that he was a bachelor. Source
for notated version: the Irish collector Edward Bunting (1773-1843) noted the
melody from elderly Charles Byrne the harper in 1792 [Bunting]. Complete Collection of Carolan's Irish Tunes,
1985; No. 40, pg. 46. S. Johnson (The
Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pg. 15.
O’Sullivan (Carolan: The Life, Times and
Music of an Irish Harper), 1958; No. 40. O'Sullivan/Bunting, 1983; No. 104,
pgs. 150-152.
X:1
T:Edward Dodwell
M:C|
L:1/8
C:O’Carolan
R:Air (moderately fast)
K:Ddor
AAAD EGAB|cdAG FED^C|Ddcd efed|c2”tr”B2A2
cd|
Efed cAGA|BcdA GEDE|D2 D/E/F C2
Ec|AGED D2z2:|
|:EDCA, CDEG|AAAG EGED|CcBc
Adcd|cAcd e2z2|
dc A2 EGGd|eAAG EDCA,|EDCE
DCDE|DC/A,/ CD D2 z2:|
EDWARD ON LOUGH ERNE’S
SHORE. AKA – “Edward by Lought Erne’s
Shore.” Irish, Air. The air is associated
with
EDWARDS' POLKA. New England, Polka. G Major. Standard tuning. AABB. Miller & Perron
(101 Polkas), 1978; No. 88.
EEF GOT A COON. Old‑Timey, Breakdown and Song. Rounder
0241, The Chicken Chokers ‑ "Shoot Your Radio" (1987. Tune
learned from Wade Ward).
EFFIE GLASGOW OF
LONGMORN. Scottish, Strathpspey. D Major.
Standard tuning. AAB. Composed by William 'Willie' MacPherson (1920‑1974)
of Elgin, who was a teacher and in the first violin section of the Scottish
National Orchestra for many years. Hunter (1979) explains that Effie Glasgow
was the wife of Harry Galsgow, the former excise officer at the Longmorn
Distillery. Hunter (Fiddle Music of
Scotland), 1988; No. 100.
EFFIE'S BIG COAT. AKA‑ "Elizabeth's
Big Coat." See "Cota Mor
Ealasaid."
EFFIE'S HORNPIPE. Old‑Time, Breakdown. B Flat Major. Standard tuning. AABB.
Composed by collector R.P. Christeson (Mo.) and named for his wife. R.P.
Christeson (Old Time Fiddlers Repertory,
vol.1), 1973; pg. 36.
EFFIE'S WHITE COAT. AKA and see "Lassies of
Glendale." Cape Breton, Reel. A Mixolydian. Standard. AABB. Little (Scottish and Cape Breton Fiddle Music in New
Hampshire), 1992; pg. 33.
EEL IN THE SINK, THE (An Eascann sa Dairteal). AKA and see “The Blackthorn [2],” "The Hills of Kesh," "The Irishman's Blackthorn." Irish,
Reel. A Dorian. Standard tuning. AB (Mulvihill): AAB (Flahery, Taylor): AABB’
(Rafferty/Harker). The tune was recorded by melodeon player Frank Murphy as
"The Eel in the Sink" in 1928, however, earlier recordings exist
under the “Hills of Kesh” and other titles, including the first recorded
appearance of the tune by melodeon player Peter J. Conlon who recorded it as
“The Irishman’s Blackthorn” in 1921. Matt Molloy included it on the album
“Molloy/Peoples/Brady” as simply “The Blackthorn.” “The Scotch Hunt [2]” and “Robin Redbreast” are related tunes.
Sources for notated versions: accordion player Joe Fallon (b. 1935, Collooney,
County Sligo) [Flaherty]; fiddler and composer Seán Ryan (County Tipperary)
[Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co.
Galway, in 1926 [Harker]. Breathnach (CRÉ
II), 1976; No. 244. Breathnach (CRÉ
III), 1986; No. 181. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 33. Flaherty (Trip to Sligo), pg. 99 (appears as
"unknown"). Harker (300 Tunes
from Mike Rafferty), 2005; No. 86, pg. 27. Mulvihill (1st Collection), 1986; No. 32, pg. 8. Taylor (Through the Half‑door), 1992; No.
17, pg. 14. Cló Iar-Chonnachta, CICD 148, Mick
Conneely – “Selkie” (2001). Shaskeen ‑ "Atlantic Breeze."
Shaskeen ‑ "Shaskeen Live."
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Eel in the Sink
M:4/4
L:1/8
S:Gerry O'Connor, Louth (fiddle)
R:Reel
N:As played
D:Session tape - Ballaghadereen Fleadh, 1977
Z:Bernie Stocks
K:G %ie. Am 1 #
(3.e.f.e AB cde^c | ~d2BG DGBG | (3.e.f.e AB cdea|1 {a}gedB cAag :|2 {a}gedB cAce ||
(3.a.b.a ea {b}aged | cdef (3gfg ea | {b}agea {b}ageg | {a}gedB {d}BAce |
agea {b}aged | cdef g2 (3e.f.g | afge fdeg | {a}gedB {d}BAA2 ||
X:2
X:161
T:Eel in the Sink, the
T:The Hills of Kesh
M:C
L:1/8
K:Amix
|: e2AB cdeB | dzBD GABd | e2AB cdea | {ba}gedB BAA2 :|
|: a~a2b aged | cdef gzef | a~a2b agef | gedB BAA2 |
a~a2b aged | cdef gzfg | afge fdef |1 gedB BAA2 :|2 gedB
BAGE | A8 ||
EEN BEEN BUBBERO. Irish, Short Air (6 measures, 2/4 time). D Mixolydian. Standard tuning.
One part. "Sung in some sort of game, or play, or occupation"
(Joyce). Joyce (Old Irish Folk Music and
Songs), 1909; No. 574, pg. 302.
EENIE'S SPRING. Shetland, Shetland Reel. Shetland, Whalsay.
EGAN’S HORNPIPE. Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 328.
X:1
T:Egan's Hornpipe
M:4/4
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
R:Hornpipe
K:D
(ABc|dAFA defg|(3agf bg agfg|afbf gfed|(3efe (3dcB Agfe|
dAFA defg|(3agf bg agfg|(3agf (3gfe (3fed (3edc|d2 dd d2:|
|:fg|aba^g a2 fg|gagf gfed|(3fff (3fff fagf|(3efe (3dcB A=gfe|
dAFA defg|(3agf bg agfg|(3agf (3gfe (3fed (3edc|d2 dd d2:||
EGAN’S POLKA [1]. AKA and see “Peg Ryan’s.” Irish, Polka. Ireland, County
Kerry. Bulmer & Sharpley (Music from
Ireland), 1976, No. 77. Chieftains – “Chieftains
5” (appears as first of “Three Kerry Polkas”).
EGAN’S POLKA [2]. AKA and see “Armagh Polka.” Irish, Polka.
EGAN’S REEL. Irish, Reel. G Major. Standard tuning. AB. Source for notated version:
fiddler Frank McCollam (Ballycastle, County Antrim) [Mulvihill]. Mulvihill (1st Collection), 1986; No.
112, pg. 30.
EGERTON! FOR EVER! English, Jig. B Flat Major. Standard tuning.
AABBAA. WM Cahusac (Annual Collection of Twenty Four Favourite Country
Dances for the Year 1809), 1809, No. 10.
X:1
T:Egerton! for Ever!
M:6/8
L:1/8
B:WM Cahusac – Twenty Four Country Dances for the Year 1809, No. 10 (London)
N:”With proper Directions to each Dance as they are performed at
N:Court, Bath, and all Public Assemblies.”
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
BcB d2d|cdc f2e|dBF Ggf|ecB AGF|BcB
d2d|cdc f2e|dBF Gec|AFA B3:|
|:FGF D2B,|FGF D2B,|BAB cdc|ABG
F2D|EGc FAd|GBe Acf|dba gf=e|fgf _edc:||
EGG HORNPIPE, THE. AKA and see "Fisher's Hornpipe." English,
Hornpipe. D Major. Standard tuning. AABB. One of the most popular hornpipes in
history, well known under the “Fisher’s” title. It was perhaps named the ‘Egg’
by Gibbons (who set the tune in the key of F major in his manuscript—originally
the key the tune was commonly played in) after the practice of some stage
hornpipe dancers to strew the stage with eggs and dance among them without
breaking any, to demonstrate skill and control. 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]. Sumner (Lincolnshire Collections, vol. 1: The Joshua
Gibbons Manuscript), 1997; pg. 58.
EGGS IN THE PANAR. Northumbrian. One of the "missing tunes" from William
Vickers' 1770 Northumbrian dance tune manuscript.
EGLINTON CASTLE. Scottish, Strathspey. B Flat Major. Standard tuning. AAB. Gow’s Fourth
Collection (Edinburgh, 1800) was dedicated to the Earl of Eglinton, to whom
the melody is attributed. The earl was Hugh Montgomerie (1739-1819), a Scottish
peer, politician, musician (cello) and composer. After some service in the army
in the American wars, he became a member of Parliament for Ayrshire, serving
for 16 years, after which, in 1796, he became Lord-Lieutenant for Ayrshire.
Mongomerie was one of the backers of the partially built Glasgow, Paisley and
Ardrossan Canal, which facilitated shipping to the Scottish interior. See “Ayrshire Lasses” for another of his
compositions. Eglinton
Castle is a large mansion in Kilwinning, North Ayrshire, built between 1797
and 1802. It was abandoned early in the 20th century and is largely
demolished today. Carlin (The Gow Collection),
1986; No. 54 (mislabled "Earl of Eglinton"). Gow (Fourth
Collection of Niel Gow’s Reels), 2nd edition, originally 1800;
pg. 1.
X:1
T:Eglinton Castle
M:C
L:1/8
R:Strathspey
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:B Flat Major
d|{A}B2 F>D
({D}G)CCd/c/|~B>F~G>F {F}B2 Bd/c/|{A}B>F (G/F/)(E/D/) GCCd/e/|f>d
(f/e/)(d/c/ (cB)B:||
d|”tr”B>d fe/d/ (dc)
cd/c/|”tr”B>d fe/d/ {d}(c/B/c/d/) B>d|”tr”B>d (g/f/)(e/d/) (dc)
cd/c/|~B>F~G>F {F}B2 B>d|
“tr”B>d fe/d/ (dc) cd/c/|”tr”B>d
(g/f/)(e/d/) {d}(c/B/c/d/) B>F|”tr”G>B G/F/E/D/ GCCd/e/|f>d
(f/e/).d/.c/ (cB)B||
EGYPTIAN WALTZ, THE. English, Waltz (3/8 time). England, North‑West.
B Flat Major. Standard tuning. AABBCC. Knowles (Northern Frisk), 1988; No. 25.
_______________________________
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