The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

[COMMENT4] 

EN PASSANT LA RIVIERE. French, Bourree a Deux Temps (2/4 time). D Major. Standard tuning. AABB. Stevens (Massif Central), vol. 1, 1987; No. 91.

                       

ENCHANTED GLEN. AKA and see "Dawning of the Day [1]."

                       

ENCHANTED LADY, THE. AKA and see “Maid of Athlone,” “Morrison’s (Reel) [4].” Irish, Reel. D Major. Standard tuning. AB. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 18, pg. 11.  Hemisphere 7243 8 31216 25, The Bothy Band - “Celtic Graces” (1994). Mulligan, The Bothy Band - “Out of the Wind into the Sun” (1977).

X:1

T:Enchanted Lady, The

MC|

L:1/8

K:D

A3G FAdB | A2 FD E~A3 | ABAG FAdB | ABde fedB |….

                       

ENCHANTED LAKE, THE. Composed by flute player Vincent Broderick, originally from Bullaun, near Loughrea, County Galway, hard by the Turoe Stone, a famous Iron Age monument. Broderick (The Turoe Stone).

                       

ENCHANTED VALLEY [1] (An Gleann Draoideacta). Irish, "Very Slow" Air (2/4 time). G Dorian (O’Neill): E Minor (Stanford/Petrie). Standard. AB. Stanford (1902) notes this is a variant of “Oh Fair John My Love.” Source for notated version: “set from Mary O’Malley, Arran More, Sept 9th, 1857 [Stanford/Petrie]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1, pg. 1. Stanford/Petrie (Complete Collection), 1905; No. 323, pg. 81.

X:1

T:Enchanted Valley [1]

M:2/4

L:1/8

R:Air

N:”Very Slow”

S:O’Neill – Music of Ireland (1903), No. 1

Z:AK/Fiddler’s Companion

K:G Minor

G>A B/c/d/=e/|f2 gd/B/|{d}c>B GE|F2 D=E/^F/|G>A B/c/d/=e/|f2 df|

ga bg|{b}ag fd|d{e/d/}c BB|AG {A/G/} FD|G/A/B/c/ d{e/d/}c/>A/|GG Gz/||

g/|Bc d/c/A/B/|GG G>G|Bd g/f/d/c/|dg gg/a/|b/a/g/f/ g/d/d/>c/|BA/G/ F/D/D|

G/A/B/c/ dd|b/g/f/d/ c/A/F|GA B{c/B/}A/G/|A>G FD|G/A/B/c/ d{e/d/}c/>A/| GG Gz||

 

ENCHANTED VALLEY [2]. Irish, Air (6/8 time). D Minor. Standard. One part. A triple time setting of the “Enchanted Valley [1]." Source for notated version: “from Peter Mullin, Arranmore, 8th Sept., 1857" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 324, pg. 81.

                       

ENCHANTED WHITE DUCK, THE. Irish, Air (slow, 6/8 time). G Minor. Standard. One part. "A little boy is changed by draiodheacht or enchantment into a white duck, and in this disguise he is killed and eaten by his own family. Our servant Biddy Hickey used to tell the whole story, sometimes reciting, sonetimes singing, sometimes chanting in a monotone: but it has all faded from my memory except the following weird little fragment with its tune, which took strong hold of my childish fancy.

***

My mamma cut me and put me in the pot;

My dada said I was purty and fat;

My three little sisters they picked my small bones,

And buried them under the marble stones.

***

The English folk‑tale called 'The Story of Orange' (for which see 'Journ. of the Folk‑Song Soc.' Vol. II. p. 295) corresponds with this, and some versions of the words come very close to the verse I give here. But there is nothing in the English air that in the least resembles our Irish tune" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 108, pg. 55.

X:1

T:Enchanted White Duck, The

L:1/8

M:6/8

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

Z:AK/Fiddler’s Companion

K:G Minor

G/A/|B3 G A F|D G G G2 G/A/|B3 A G F|D F F F2 D|G G A B B c|

d e d d2 c|B A G D =E F|G2G G2||

                                      

ENCHANTMENT OF FIN MACCOOL, THE. AKA and see “Slieve Gullan [3].”

                                      

END OF THE DAY, THE (Deiread An Lae). Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 950, pg. 176. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 175, pg. 43.

X:1

T:End of the Day, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 175

Z:AK/Fiddler’s Companion

K:G

A|:B>ABG2D|G>AG GBd|cBA GFG|Ade dcA|

B>AB G2D|GAG GBd|gfe dcB|AFA cBA:|

|:B2d ded|dBd gdc|B2d ded|ece afd|B2d ded|ded def|gfe dcB|AFA cBA:|

                          

END OF THE LANE. AKA and see “Winder Slide.” AKA – “End of the Layne.” Old-Time, Breakdown. The title supposedly came about because it was the last piece on a privately-circulated tape recording of old-time fiddler Bert Layne, of Skillet Lickers fame. The tune was not introduced or otherwise identified and, since it was at the end of the tape, it was dubbed “End of the Layne.” The original title is Winder Slide, composed by Joe LaRose.

                                      

END OF THE MISSION. AKA and see "Fare You Well,” "Rough Little Heathy Hill,” "Sinners' Lament.”

                                      

ENFANTS D'UN PAUVRE HOMME, LES. French, Bourree. Central France, Province of Auvergne. C Dorian. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 36.

                                      

ENFIELD COMMON.  English, Country Dance Tune (3/2 time). D Minor. Standard tuning. AABB. A popular melody composed by Henry Purcell (1659-1695) around 1690 for his theatrical work Amphitryon, or The Two Sosias. Enfield Common was an area to the north of London, above Tottenham and east of Chipping Barnet. The melody appears in Playford’s Dancing Master in the 11th edition (1701), and in all subsequent editions through the 16th, of 1716. A different tune (although same title, key and metre) appears in the Dancing Master of 1721 and 1728). It also was printed by John Walsh in his Compleat Country Dancing Master (editions of 1718, 1731 and 1754), and in ballad operas, including Walker’s The Quaker’s Opera (1728). Thomas D’Urfey printed it as the vehicle for a ribald song in his Wit and Mirth, or Pills to Purge Melancholy, vol. 4 (1719-1720). It begins:

***

On Enfield Common, I met a Woman,

A bringing North Hall Water to the Town;

Said I, fair Maiden, you’re heavily laden,

I’ll light and give you ease in a Green Gown;

Says she, ‘tis good Sir, to stir the Blood, Sir,

For the Green-sickness, Friend, will make me like it;

Then in a Minute I left my Gennett,

And went aside with her into a Thicket:

Then with her leave there, a Dose I gave her,

She straight confess’d her Sickness I did nick it.

***

 “Enflied Common” was included in the music manuscript book of London musician Thomas Hammersley (1790). Barlow (Compleat Country Dance Tunes from Playford’s Dancing Master), 1985; No. 435, pg. 100. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 39 (appears as “Enfield Common”).

X:1

T:Enfield Common

M:3/2

L:1/8

S:Playford – Dancing Master (1701)

K:D Minor

f2g2e2|f2d4 a2 b2g2|a2 f4 a2g2e2|f2d2 e2A2 d2^c2|d2 D4:|

|:e2f2ed2|g2e4c2e2c2|f2c4 A2c2A2|d2B2G2g2d2e2|f2F4f2 A2c2|

B2d4g2=B2d2|^c2e4a2e2g2|f2d2e2A2d2^c2|d2D4:|

 

ENGINE ON A MOGULL. AKA ‑ "Engineer on the Mogull" (John Carson's original title). AKA and see (related to) "Shoot That Turkey Buzzard," “Davy Dugger,” "Greasy String [1]," "Old Coon Dog [1]," "Higher Up the Monkey Goes." Old‑Time, Breakdown. USA, north Ga. A Major. Standard, AEae tunings. AABB. Some have speculated that the title refers to a engine on a small hill, as in the ‘moguls’ in modern-day mogul skiing. However the title actually refers to a type of locomotive used for hauling heavy trains, and in this context Carson’s title “Engineer on the Mogull” makes considerably more sense. The train name probably derived from the sense of ‘Mogul’ as a ruling class on the Indian subcontinent.

***

Source for notated version: Jay Ungar (New York) [Kuntz]. Kuntz (Ragged but Right), 1987; pg. 321. Philo 1040, Jay and Lyn Ungar‑ "Catskill Mountain Goose Chase" (1977). OK 45176 (78 RPM), John Carson (North Ga.) {1927}. Rounder 1003, Fiddlin' John Carson‑ "The Old Hen Cackled and the Rooster's Going to Crow" (1973).

X:1

T:Engine on a Mogull

L:1/8

M:2/4

B:Kuntz – Ragged but Right

K:A

E[AA] [Ac]>[Ac]|[AB] [A3c3]|(E/A/A/[A/B/] [Ac]>[Ac]|[AB] [A3A3]|

E[AA] [Ac]>[Ac]|[AB] [A2c2] (f|f/)a/f/e/ c>c|B A3|E[AA] [Ac]>[Ac]|

[AB] [A3c3]|E/A/A/[A/B/] [Ac]>[Ac]|[AB] A3|EA [Ac]>[Ac]|[AB][A2c2](f| f/)a/f/e/ c>c|BA3||

|:aa a>f|e c3|b2 b>a|g e2(e|a)a a>f|e c2 e|afae c>c|B A3:|

                                      

ENGLAND’S GLORY. AKA and see "May Day [5]," "Parson in the Suds [1]." English, Reel or Air. G Major. Standard tuning. AABB. The tune appears in the writer, poet and fiddler John Clare’s (1793-1864) music MS, from Helpston, Northants. Apparently it once had words set to it, although there are several songs by this title. One begins “'Industrious men, give ear a while” which seems to fit the tune. The title may refer to the battle of Trafalgar, as the phrase “Nelson’s Fame and England’s Glory” was used to describe the victory. See also the closely related “The Devil in a Bush” and the Scottish “Kincaldrum(‘s).” Deacon (John Clare and the Folk Tradition).

                          

ENGLISH CHURLS, THE (Bodaigh An Bheurla). Irish, Air (6/8 time). G Major. Standard tuning. AB. Source for notated version: Hugh O'Beirne, professional fiddler of Ballinamore, Co. Leitrim (1846) {Joyce}. Joyce (Old Irish Folk Music and Songs), 1909; No. 793, pg. 386.

                                      

ENGLISH ECHO. AKA and see "Mall Sims."

                                      

ENGLISH MARCH. English, March. Musicians performed valuable service in old armies by playing tunes identifying troops or signalling movements. King Charles I issued a warrent in 1632, directing this favored tune be learned (by the English army musicians) and "'preserved as a pattern and precedent to all posterity'...It may just be possible that 'The English March' goes back to the Hundred Years War" (Winstock, 1970). Tune appears in Winstock (Music of the Redcoats), 1970.

                          

ENGLISH SAILOR. See “Matelot Anglois.”

                                      

ENNIS LASSES.  Irish, Highland. A Mixolydian. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 44, pg. 12.

 


ENNISKILLEN DRAGOON(S) [1], THE (Dragunide Inis-Cetlenn). AKA – “Scilléd dubh.” Irish, Air or March (2/4 or 4/4 time). D Major (Joyce, O'Neill). Standard tuning. One part. "This song, though of Ulster origin, was a great favourite in Munster, where I learned it when very young: it was indeed sung all over Ireland. I published the words more than fifty years ago in a newspaper called The Tipperary Leader, and I have several copies printed on ballad‑sheets. Some few years ago I gave a copy of the air‑‑as I had it in memory‑‑to Dr. Sigerson, who wrote a new song to it which was published in Mr. A.P. Graves's Irish Song Book; and in that publication‑‑so far as I know‑‑the air appeared in print for the first time" (Joyce). O’Neill (1913) points out that this belongs to a category of tunes which are formed of four parts of equal length; a first and last part which are nearly identical, a second part which ascends in scale and becomes “bold, energetic and impassioned,” and a third part which is a variant of the second. Tunes with similar structures are “Billy Byrne of Ballymanus,” “The Colleen I’m Courting Just Now,” “Father Tom O’Neill,” “The Foggy Dew [1],” “Good Morning, Fair Maid,” “Irish Molly-O,” “The Maid of Sweet Gurteen,” “The Roving Pedlar [2],” “Seamus Mo Mile Stor,” “Sweet Beaulieu Grove,” and “The Tossing of the Hay.” The melody was played by the late Donegal fiddlers Johnny and Mickey Doherty in a famous set in which “Enniskillen” was the first tune paired with “Nora Criona” (Wise Nora) and “Miss McLeod’s” (though sometimes “The Piper of Keadue” was substituted for “McLeod’s”). The fiddle tuning for the set was ADae and required playing in position. Caoimhin Mac Aoidh (1994) sees this set as rendered by the Dohertys “a classic piece of pipe imitation.”

***

Regimental Badge of the 5th Royal Irish Lancers. The motto of the Order of St Patrick is on the badge "Quis Separabit" (Who shall seperate us).

***

The lands of Enniskillen, County Fermanagh, were anciently held by the Maguire clan, but under James I they were granted to William Cole and settled by the English. The town and surrounds became one of the principal strongholds of the English plantation during the late 17th century and remained loyal to William III. Enniskillen men formed a backbone of William’s Irish forces and participated in the victory of the Boyne. Various regiments of Lancers were formed from these units: the 5th Royal Irish Lancers were raised in 1689 as Wynne’s Regiment of Enniskillen Dragoosn. The 5th saw action in Flanders, Spain and Ireland before being disbanded in 1799. It was raised again in 1858 and served in the Boer War and World War I. Two present-day regiments of the British Army (the 27th Foot/Royal Inniskilling Fusiliers and the Royal Inniskilling Dragoons) trace their lineage to the Williamite Enniskillen men.

***

Joyce (Old Irish Folk Music and Songs), 1909; No. 399, pgs. 208‑209. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 411, pg. 72. Stanford/Petrie (Complete Collection), 1905; Nos. 1243-1245, pg. 313 (appears as “Scilléd dubh”).

X:1

T:Enniskillen Dragoons, The [1]

M:2/4

L:1/8

R:Air

M:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 411

Z:AK/Fiddler’s Companion

K:D

A/F/|D>D E>F|G>A c>B|(3AGE D>D|D3 A|d>d B>d|c>A B>G|(3EDE c>B|

A3 A|d>d B>d|c>A B>G|(3EDE c>B|A3 G/E/|D>D E>F|G>A c>B|(3AGE D>D|D3||

X:2

T:Scilléd Dubh

M:C

L:1/8

R:Air

S:Stanford/Petrie – Complete Collection, No. 1243  (1905)

Z:AK/Fiddler’s Companion

K:E Flat

B>G|E2 FG AF BG|F>G EE E3 B/c/4d/4|e2 ce dB c=A|F G=A B3 B/c/4d/4|

ee ce dB c=A|F2 G=A B3 {G/_A/}F|E>E FG AF BG|F>G EE E2||

X:3

T:Scilléd Dubh

M:C

L:1/8

R:Air

S:Stanford/Petrie – Complete Collection, No. 1244  (1905)

Z:AK/Fiddler’s Companion

K:G

dB|G2 AB cAdc|A2 GG G2 de/f/|g2 eg fdec|A2 B^c d2 de/f/|

g2 eg fd ec|A2 B^c d2 =cA|GG AB cAdc|A2 GG G2||

X:4

T:Scilléd Dubh

M:C

L:1/8

R:Air

S:Stanford/Petrie – Complete Collection, No. 1245  (1905)

Z:AK/Fiddler’s Companion

K:E Flat

BG|E2 FG AF BG|F>G EE E2 Bc/d/|e2 ce dB cA|F2 G=A B2 Bc/d/|

E2 ce dB cA|F2 G=A B2 _A{G/A/}F|E>E FG AF BG|F>G EE E2||

 

ENNISKILLING DRAGOON [2], THE. Irish, Air. F Major (Stanford/Petrie): G Major (Kerr). Standard tuning. One part. “From P. Carew’s MSS” (Stanford/Petrie). Stanford notes: “This tune appears to be a variant of ‘Skillet dubh’.” Kerr (Merry Melodies), vol. 1; pg. 41. Stanford/Petrie (Complete Collection), 1905; No. 547, pg. 139.

X:1

T:Enniskilling Dragoon, The [2]

M:2/4
L:1/8

S:Stanford/Petrie (1905), No. 547

Z:AK/Fiddler’s Companion

K:F

F | FG/A/ B/G/c/B/ | GF/F/ Fc/d/4e/4 | fd/f/ e/c/d/=B/ | GA/=B/ || cd/e/ |

fd/f/ e/c/d/=B/ | GA/=B/ c/>_B/A/G/ | FG/A/ B/G/c/B/ | GF/F/ F :|

                          

ENRICHEZ VOUS. American, Waltz. F Major. Standard tuning. AA'B (Matthiesen): AABB’ (Barnes). Composed by Edith Farrar (Seatle, Washington), 1986, the title of which was suggested to her as meaning 'enjoy or enrich yourself', but apparently not meaning anything in proper French. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 39. Matthiesen (Waltz Book I), 1992; pgs. 60‑61. Sage Arts 1101, Erin Shrader & Edith Farrar - “Enrichez Vous” (1991). Wild Asparagus ‑ "Music from a Little Known Planet."

                          

ENRICO. AKA – “Henryco,” “Water Loo Fair.” AKA and see "Jacob." English, Reel. D Major. Standard tuning. AABB. The melody's original title was "Jacob," but was re-titled by English author and musician Thomas Hardy. It was said to have been his favorite tune (although “Soldier’s Joy” also is credited as such). The title appears in Hardy's (who was also an accomplished accordion player and fiddler) drama The Dynasts:

***

Let us go and look at the dancing. It is 'Voulez‑vous danser'

‑ no, it is not, ‑ it is 'Enrico' ‑ two ladies between two gentlemen.

***

According to Hardy’s biography, the four-year old Hardy would sometimes burst into tears when his father played this and other tunes to him on the fiddle. Hardy, around the year 1925, wrote that “Enrico” was the usual vehicle for the country dance called Bonnets of Blue, or in Dorset when he was young, Hands Across. In his novel Under the Greenwood Tree the dance is described (but not named) as the one in which Shiner refuses to cast off (E.F.D.S. News, No. 12, Sept., 1926). The 19th century Welch family (Bosham, Sussex) music  manuscripts gives the alternate title “Water Loo Fair” (whilst calling “Enrico” by the name “Henryco”). The Rev. Robert Harrison (Brampton, Cumbria, 1820) music manuscript gives the title as “Errico,” and W. Cock’s (Northumberland) manuscript collection has it as “Henrico.” James Haslingden (Midlands?, 1827), Miss Best (c. 1850), and a manuscript of unknown date and origin (called MS36) all contain the melody under the “Enrico” title. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 42 (appears as “Fast Packet”, the name of a dnacy by Bob Lily set to the tune). Trim (Thomas Hardy), 1990; No. 13 (appears as “Jacob”). Beautiful Jo Records BEJOCD-28, The Mellstock Band – “The Dance at Pheonix: Village Band Music from Hardy’s Wessex and Beyond” (1999). EFDSSCD13, Julian Goodacre – “Hardcore English” (2007. Various artists). Mrs. Casey Records 3991, Eliza Carty & Nancy Kerr (1993. Appears as “Waterloo Fair or the Henryco”). White House WHCD03, Julian Goodacre – “Pipemaker Calls Yer Tunes.”

X:1
T:Jacob
T:Enrico
M:4/4
L:1/8
Q:1/4=90
S:Mobberley session
R:English reel
N:Posted to the woodenflute mailing list November 2001
Z:Steve Mansfield January 2001
K:D
A2 | d2 fe dcdB | ABAG F2 A2 | d2 ef gfgf | e2 a2 a2 A2 | d2 fe dcdB | ABAG F2 A2 |
B2 gf edec | d2 d2 d2 :: fg | a2 ag fgfe | dedc B2 B2 | gagf efed | cdcB A2 (3ABc |
d2 d2 cecA | d2 d2 cecA | d2 f2 edec | d2 d2 d2 :|

X:2
T:44 Water Loo Fair or The Henryco
C:Welch MS
I:abc2nwc
M:2/4
L:1/16
K:D
A2|d2fd dcdB|A2A2 F2F2|d2fe defd|e2a2 a2A2| d2fe dcdB|A2A2 F2F2|d2ef gedc|d2d2 d2:|
|:z2|a2ag|f2fe|d2de fdef|gagf efed|cdBc ABcA| d2d2 cecA|d2d2 cecA|dcde fedc|d2d2 d2:|

                          

ENT 'ANARA GARDA. French, Bourree (3/8 time). France, Auvergne Province, central France. D Dorian/C Major. Standard tuning. AABB. Stevens (Massif Central), 1987, vol. 1; No. 46.

                          

ENTERPRISE AND BOXER, THE. AKA ans see "Miss McLeod's/MacLeod’s Reel [1]."

                          

ENTERPRISE HORNPIPE. English, Hornpipe. The tune is credited in Kohler’s Violin Repository (Edinburgh 1881-1885) to the great 19th century hornpipe composer and fiddler James Hill, of Tyneside, Newcastle.

                          

ENTERPRISING BOXER. AKA and see "Miss/Mrs. McLeod's/MacLeod's Reel."

                                      

ENTERRE-MOI PAS. See "Devillier Two-Step."

                                      

ENTERRE-MOI PAS DANS L' CIMETIERE. See "Devillier Two-Step."

                                      

ENTRY, THE. English, Country Dance Tune. A Minor. Standard tuning. One part. A modern composition by Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 198.

                                   

EOCHAILL. Irish, Slow Air (4/4 time). G Major. Standard tuning. One part. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Ó Canainn (Traditional Slow Airs), 1995; No. 39, pg. 36.

                       

EOGAN UA MAOILEOIN. AKA and see "Owen Malone."


           

EOGHAN DHU.  Canadian, Reel. Canada, Cape Breton. Composed by Mabou, Cape Breton, fiddler Kinnon Beaton. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

           

EOGHANN RUAIRIDH. See "Hughie Rory MacKinnon."

                       

EPHEY M'NAB. AKA ‑ "Eppie M'Knab," "Euphie McNab." Scottish, Country Dance Tune (6/8 time). A Dorian. Standard tuning. AABB. John Glen (1891) finds the earliest printing of the melody in Robert Bremner's 1768 2nd collection (pg. 111), however, the melody (under the title “Euphie McNab”) had much earlier appeared in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." Instructions for a country dance to this tune were written down in 1752 by John McGill, dancing master in Girvan. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1782; No. 163, pg. 60.

X:1

T:Eppie McNabb

M:6/8

L:1/8

S:Aird, Vol. II (1782)

Z:AK/Fiddler’s Companion

K:A Dorian

B/d/ | e>ge edB | A2A A2B | d>ed dBA | G2G G2f |

g>fg efg | aga dga | bag edB | e2A A2 :|

|: e/g/ | aba aec | aec A2f | g>ag fdB | gdB G2f |

g>fg efg | aga dga | bag edB | e2A A2 :|

                       

EPPIE M'KNAB. See "Ephey M'Nab."

                       

EPPING FOREST. English, Country Dance Tune (6/8 time). B Flat Major/G Dorian. Standard tuning. AABC (Barnes, Sharp): AABBCC (Raven). The tune dates to 1670. The name Epping is derived from the Anglo-Saxon word Uppingas, meaning the people of the upland (Matthews, 1972). Epping Forest, originally called Walthamstow, was an ancient forest which once stretched from the Thames to the Wash. It contains several Iron Age and old British fortifications, and it was reputedly where the rebel leader Boudica fought her last battle against the Romans (she committed suicide when it was clear she had lost). Epping was long considered a royal hunting forest, although in 1226 Henry II allowed the citizens of London to hunt in it on Easter Monday, a privilege they enjoyed until 1882. The infamous highwayman Dick Turpin and his dashing partner, Tom King, had their lair in a cave in the forest and for a time robbed nearly every traveler who ventured by (see note for “Turpin Hero”). Barnes (English Country Dance Tunes), 1986. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 20‑21. Raven (English Country Dance Tunes), 1984; pg. 21. Sharp (Country Dance Tunes), 1909/1994; pg. 64.

X:1

T:Epping Forest

L:1/8

M:6/8

S:Sharp – Country Dance Tunes   (1909)

K:G Dorian

|:z|d2d c>BA|BA>G ^F2e|f>ed c2B|(A3 A2)d|f>ed c2A|

B>AG ^F2D|E>=FG G2^F|(G3 G2):|

||B/c/|d3c3|(B3 B2) d/e/|f3 e3|(d3 d2) B/c/|d3 c3|(B3 B2) d/e/|

f3 e3|(d3 d2)||d|d>ed c>BA|B>AG ^F2D|E>=FG G2^F|(G3 G2)d|

d>ed c>BA|B>AG ^F2D|E>=FG G2^F|(G3 G2)||

                       

EPSOM NEW WELLS. AKA and see "The Pursuit.” English, Country Dance Tune (2/2 time). E Minor. Standard tuning. ABB. The tune dates to 1728. The Medicinal Waters of Epsom in the 17th century made it the first spa town in England, and gave rise to Epsom Salts (hydrated magnesium sulphate) as a curative. The popularity of the waters is attributed to Lord North, who in 1637 was the first to have told the English court of the use of Tonbridge and Epsom waters for health and cure, adding that it was a lot cheaper than travelling to a spa on the Continent. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909/1994; pg. 48.

X:1

T:Epsom New Wells

T:Pursuit, The

L:1/8

M:2/4

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:E Minor

G2|E3F G2B2|d3e dedc|B2d2g2B2|A4 E2E2|G3A B2d2|g3a g2e2|g3a gage|d2 B4||

|:ba|g3a g2 ba|g3a gage|dedB dedB|A2 e4 f2|g3a g2 fe|d3e d2 cB|G3A B2 e2|d2 B4:|

                       

ERCHLESS CASTLE MARCH.  Scottish, March. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

 

ERIC McEWAN. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton). Cranford (Brenda Stubbert’s), 1994; No. 33, pg. 12. Brenda Stubbert - “House Sessions” (1992).

                       

ERIE EXTENSION, THE. AKA and see "Old Lake Erie.” American, Jig. USA, southwestern Pa. G Major. Standard tuning. AAB. Samuel Bayard (1981) thinks it Irish or Scottish, but was not able to trace it. The name Erie is derived from the name of a local Native American people who called themselves the panthers. The native word was recorded by the French as Yenris, but was later simplified to Erie (Matthews, 1972). The Erie Extension is a chunk of land in the northwestern corner of the state of Pennsylavania, that allows access to Lake Erie. The city of Erie, Pa., is on the shore of the Erie Extension. Source for notated version: Hogg (Pa., 1948) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 533B, p gs. 475‑476.

                       

ERIE HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB. The name Erie is derived from the name of a local Native American people, the Erielhonan, literally meaning “long tail” and referring to the mountain lion, cougar or panther. The native word was recorded by the French as Yenris, but was later simplified to Erie (Matthews, 1972). The title may refer to the Great Lake itself or to the port city of Erie, Pennsylvania, settled at the end of the 18th century. Growth occurred during the War of 1812 when Erie served as the port for Commodore Perry’s fleet before the battle of Lake Erie in 1813, and continued with the Erie Extension Canal in 1844, and a small oil boom in the 1860’s. Erie was the freshwater fishing capital of America in the mid-19th century, but was in decline as a port since 1900. The tune sounds American, to my ears, and it should not be forgotten that numerous tunes in Ryan’s Mammoth Collection have black-face minstrel origins. The “Erie Hornpipe” may be one, especially since nearby Buffalo was the origin of the minstrel troupe, with the formation of the Virginia Serenaders in 1844 in that city, and early minstrel performances were recorded in Erie. The ‘B’ part opens with similar melodic content with Frank McCollum’s “Home Ruler.” Seattle musician Vivian Williams finds the “Erie Hornpipe” in a tutor by George Saunders called Complete Violin Instruction, published in Buffalo in 1847 (reprinted by Oliver Ditson in the 1850’s). Therein ‘Professor’ Saunders credits himself with composing the “Erie Hornpipe.” Vivian writes: “I think Saunders probably did compose the tunes he claimed. In his book he seems quite conscientious about marking his tunes with his initials, and leaving the rest unmarked. He comments that he wrote all the cotillion sets himself, and they are all initialled…On the other hand, he didn’t initial any of the standard ‘Contra, Spanish and Fancy Dances’ in the book, including his very idiosyncratic version of ‘Durang’s Hornpipe’, which is very different from the usual ‘book’ versions.” Cole (1000 Fiddle Tunes), 1940; pg. 105. Ryan’s Mammoth Collection, 1883; pg. 141.

X:1

T:Erie Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(A,/D/) | F(F/A/) G/F/E/D/ | F/A/A/B/ A(F/A/) | A/F/d/F/ G/F/E/D/ | C/D/E/F/ E(D/E/) |

F(F/A/) G/F/E/D/ | F/A/A/B/ A(3e/f/g/ | f/d/e/c/ d/c/B/A/ | B/d/A/F/ D :|

|: (3e/f/g/ | a/f/d/A/ b/a/f/d/ | A/B/A/F/ G/F/E/D/ | A,/D/B,/D/ A,/D/F/A/ | A/B/A/F/ E(3e/f/g/ |

a/f/d/A/ b/a/f/d/ | A/B/A/F/ G/F/E/D/ | .D/(d/c/d/) F/A/E/A/ | D/d/A/F/ D :|

                       


ERIN GO BRAUGH (Ireland for Ever). AKA and see "I'm Sick To the Heart." Irish, Air (6/8 time, "with spirit"). G Major. Standard tuning. AB. The melody appears in O’Farrell’s collections Pocket Companion for the Irish or Union Pipes and Collection of National Irish Music for the Union Pipes. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 372, pg. 65.

                       

ERIN GO BRAGH (Ireland for Ever). Irish, English; Air and Reel. England, Northumberland. D Major. Standard tuning. AB.

***

My name's Duncan Campbell from the shire of Argyle,

I've travelled this country for many's the mile

I've travelled through Ireland, Scotland and a'

and the name I go under's bold Erin go Bragh

***

One night in old Reekie as I walked down the street      old Reekie=Edinburgh

a saucy big police I chanced for to meet

he glowered in me face, and he gi' me some jaw

sayin' when came you over, bold Erin go Bragh

***

Well I am not a Pat, though in Ireland I've been

nor am I a Paddy, though Ireland I've seen

and were I a Paddy, that's nothin' at a'

for there's many the bold hero from Erin go Bragh

***

Well I know you're a Pat by the cut o' your hair

but you all turn to Scotsmen as soon as you're here

you left your own country for breakin' the law

so we're seizing all stragglers from Erin go Bragh

***

Well if I were a Pat and you knew it were true

or if I were the devil, then what's that to you?

If not for the stick that you hold in your paw

then I'd show you a game played in Erin go Bragh

***

Then a lump o' blackthorn that I held in my fist

around his big body I made it to twist

and the blood from his napper I quickly did draw

I paid him stock and interest for Erin go Bragh

***

Then the people came 'round like a flock o' wild geese

sayin' "Catch that damned rascal, he's killed the police."

and for every friend I had, I'd swear he had twa,

it was terrible hard times for Erin go Bragh

***