The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
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GAMB - GAY |
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] |
GAMBLER'S HORNPIPE. AKA and see "The
Brokendown Gambler." Old‑Time, Breakdown. USA, North Carolina.
Tommy Hunter called the tune "The Brokendown Gambler." June Appal 007, Tommy Hunter ‑ "Deep in
Tradition" (1976).
GAME CHICKEN, THE. English, Country Dance Tune (6/8 time).
England, Yorkshire. G Major. Standard tuning. AABB. Source for notated version:
an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire)
[Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 53, pg. 42.
GAME COCK, THE (An Coileach Comhraic). AKA and see “The Bog Carrot,” “Game
Cock Reel.” Irish, Slide (12/8 time). D Major. Standard. AABB. The same
melody set as a reel can be found in Ryan’s
Mammoth Collection as “Game Cock Reel,” from which the name was taken.
Editors Breathnach/Small find another reel setting in the Sliabh Luachra region
of southwest Ireland collected from Jack Connell (or Jack the Lighthouse, as he
was better known, from the townland where he lived). Kanturk, County Cork,
accordion player Jackie Daly added another part to the reel setting and titled
it “The Bog Carrot.” They find a more distanced version in the strathspey “Captain Francis Wemyss,” and
note the tune is related to “The Western
Lasses.” Source for notated version: appears as an untitled tune in a
manuscript by David Collins, Abbeyfeale, County Limerick [Breathnach/CRÉ IV]. Breathnach (CRÉ IV), 1996; No. 62, pg. 31. Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks”
(2002).
X:1
T:Game Cock, The
B:Ceol Rince na hÉireann 4, no. 62
R:slide
M:12/8
L:1/8
Z:Transcribed by Paul de Grae
K:D
A|F2 A d2 A {Bc}BAB d2 A|Bcd A2 F E3
E2 A|
F2 A d2 A {Bc}BAB d2 A|Bcd A2 F D3
D2:|:g|
{fg}f3 f2 e d2 e f2 g|a2 f d2 f e3
e2 f|
f3 {a}f2 e d2 e fed|Bcd A2 F D3
D2:||
GAME
COCK REEL (An Coileach
Comhraic). AKA
and see “Along the River Banks,”
“The Bog Carrot,” “Captain Francis Wemyss,” “The Maid I First Courted,” “Those Evening Bells Reel,” “The Western Lasses.” American, Irish;
Reel. D Major. Standard. ABB. A reel that apparently predates the version set
as an Irish slide or single jig also called “The Game Cock” (An Coileach
Comhraic). Al Smitley suggests the tune may possibly have been named for the
clipper ship Game Cock, a name that
appears in American Clipper Ships
1833-1858 by Howe and Matthews, and in fact a few tunes in the
Howe/Ryan/Cole’s volumes appear to be named after engineering or transportation
accomplishments of the mid-19th century. On further investigation
one finds that the Game Cock was an
extreme/medium clipper ship built in 1850 by Samuel Hall, East Boston, and
sported a figurehead carved in the likeness of a game cock with an
out-stretched neck and head. She plied the seas for thirty years, until finally
condemned at the Cape of Good Hope in 1880. Source for notated version: fiddlers Denis Murphy and Mollie
Murhpy [Breathnach/CRÉ V]. Breathnach
(CRÉ V), 1999; No. 158, pg. 78. Cole
(1000 Fiddle Tunes), 1940; pg. 4. Ryan’s Mammoth Collection, 1883; pg. 26.
X:1
T:Game Cock
Reel
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
FAdA BAdA|BdAF
EE/E/EG| FAdA BAdA|BdAF (3DDD D2|fedc defd|geaf (3eee eg|
fedc
defe|dBGE (3DDD D2||fedc defd|geaf (3eee eg|fedc defe|dBAF (3DDD D2|
fedc
defd|geaf (3eee ea|faef defe|dBAF (3DDD D2||
GAME OF LOVE, THE (Cluiche an Ghrá). AKA and see "The Aberdeen Lasses," "Bloron's Fancy," "Bond's (Reel)," “Humors of Ballinacarrig,” “Humours of Rockstown,” "The New Custom House," “Paddy the Piper [1],” “Piper’s Son,” “Pride of Rathmore,” “Rory MacNab.” Irish, Reel. E Minor. Standard
tuning. AB. A version is in O’Neill’s Waifs
and Strays of Gaelic Melody. Breathnach (1976) says it is called “The
Aberdeen Lasses” in County Fermanagh. A Scottish version is “Rory McNab,”
printed by the Gows. “The New Custom House” is a related tune. See also the
related “Pride of Rathmore” family of tunes. Sources for notated versions:
flute player and fiddler Peter O'Loughlin, 1966 (Kilmaley, Co. Clare, Ireland)
[Breathnach]; manuscripts in the possession of Chicago Police Sergeant James
O’Neill, originally from County Down, many of which were from the playing of
his father [O’Neill]. Breathnach (CRÉ II),
1976; No. 293, pgs. 148-149. O’Neill (Waifs
and Strays of Gaelic Melody), 1922; No. 259. Gael-Linn
CEF-057, “Jackie Daly & Seamus Creagh.” Green Linnet 1040, Touchstone –
“New Land.” Kells Music 9501, Dervish - "Playing with Fire."
X:1
T:Game of Love
M:C|
L:1/8
R:Reel
Z:Ken Fleming
K:EDor
B2EF GFGB|AD (3FED FA (3AAA|B2EF
GABc|dcBA Beef|e2EF GABc|dD (3FED FA (3
AAA|~B3A GABc|dcBA BE (3EGE:||Beed
egfe|defg afdf|eBBA Bgfe|dcBA BE (3EG
E|Beed egfe|defg ae (3fga|gefg
fdef|edBA BE (3EGE:||
X:2
T:Game of Love, The
M:4/4
L:1/8
S:Sergt. James O'Neill manuscripts
Z:Paul Kinder
R:Reel
K:E Minor
dc||BEEF GBdB|AFDE FGAc|BEEF GABc|dBAc BE E2|
BEEF GBdB|AFDE FGAc|BEEF GABc|dBAc BE E2||
Bdef gfge|defg afed|Bdef gfed|BdAc BE E2|
Bdef gfge|defg afdf|g2 ba gfed|BdAc BE E2||
X:3
T:Game of Love, The
D:Dervish: ?
O:Ireland
Z:Nigel Gatherer
L:1/8
M:4/4
K:Em
A|:B2 EF G3 B|AD (3DDD FAAc|B2 EF GAB^c|d^cBA Be e2:|
eB (3BBB egfe|defg a3 z|eB (3BBB egfe|dBAF BE E2|
eB (3BBB egfe|defg a3 z|g3 e f3 d|edBA Be e2|]
GAME
PLAYED IN ERIN GO BRAGH, THE. Irish, Air & Jig. Ireland,
Munster. D Dorian. Standard tuning. One part (Howe): AB (Joyce, Roche). The
title refers to the penchant of the Irish to defend themselves forcefully and
physically when slighted, according to P.W. Joyce. Source for notated version:
from 16 year old Munster girl Peggy Cudmore [Joyce]. Howe (1000 Jigs and Reels), c. 1867; pg. 18. Joyce (Ancient Irish Music), 1890; No. 84, pg. 86. Roche Collection, 1983, vol. 1; No. 34, pg. 17.
X:1
T:Game
Played in Erin Go Bragh, The
M:6/8
L:1/8
R:Air and
Jig
N:”With
life”
S:Howe’s 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
G | ADD DcE | EDD D2 d/e/ | fed edc | A=Bc d2d |
edc
dcA | GFE F2 G/G/ | ADD DcE | EDD D2 ||
GAMES PEOPLE PLAY, THE. See "'Tit Galop Pour Mamou."
GAMEST TOAST, THE. Irish, Air (6/8 time). G Major. Standard. One
part. Stanford/Petrie (Complete
Collection), 1905; No. 501, pg. 127.
X:1
T:Gamest Toast, The
M:6/8
L:1/8
S:Stanford/Petrie (1905), No. 501
Z:AK/Fiddler’s Companion
K:G
G | G>AG gfg | e>de d3 |
G>AG gfg | “tr”e3d3 | G>AG gfg | ede d2d |
cdc BcB | “tr”A3G3 | Bcd d3 | dcB
A2A | Bcd ded | cBA G3 |
[GB][Ac][Bd] [B3d3] | [Bd][Ac][GB]
[F2A2][FA] | [GB][Ac][Bd] [Bd][eg][Bd] | [Ac][GB][FA] G3 ||
GAMESTERS AND LAWYERS, THE. AKA and see "When Once I Lay with another
man’s wife," "The King's
Delight." The air appears under this title in Gay's Beggar's Opera of 1729. It is also in
Playford's Musick's Handmaid of 1678.
Lawyers were held in as poor esteem in Gay's time as now-days.
GAMHNA GEALA, NA. AKA and see "The White Calves,"
"The Lovely Calves."
GAMHUIN GEAL BAN, AN. AKA and see "Fair‑Haired
White‑Skinned Calf, The."
GAMMAHO, THE. Irish, Jig. D Dorian? Standard. AABBCC. Source
for notated version: Mr. Townsend, Cork (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 671, pg. 336.
X:1
T:Gammaho, The
M:6/8
L:1/8
R:Jig
S:Joyce – Old Irish Folk Songs
and Music (1909), No. 671
Z:AK/Fiddler’s Companion
K:D Dorian
ABA def | edc dcB | ABA d3 | dBG G2B
| ABc def | edc dcB | ABA c3 | cAF F3 :|
|: Bcd B2G | A2G B2G | c2A ded | dBG
G2B | ABc B2G | A2G B2G | fed cAf |
cAF F3 :: ABA g3 | aba g3 | gba g^fg
| dBG G2B | ABA g3 | aba g3 | ac’a fef | cAF F3 :|
GAMMALMODIG ATTA. Finnish version of "Soldier's
Joy [1]." See note for "The
King's Head."
GANDAL I bPOLL NA
bhFATAÍ, AN. AKA and see "The Gander in the Pratie Hole."
GANDER AT THE PIT OF
SPUDS, THE. AKA and see “The Gander in the Pratie Hole,” “The Monk.”
GANDER
IN THE PRATIE HOLE, THE (An Gandal i
bPoll na bhFataí). AKA and see “The Brother’s
Jig,” “The Friar’s Jig,” “The Gander at the Pit of Spuds,” “The Monk,” “The Monk’s Jig,” “Port an Bráthair,” “Port
Padraig na Carra.” Irish, Double Jig. D Major ('A' part) & D Mixolydian
('B' part) {Breathnach, Carlin, Harker/Rafferty, Mallinson}: D Mixolydian
{Mitchell}. Standard. AAB (Carlin): AABB (Breathnach, Harker/Rafferty,
Mallinson, Taylor/Tweed): AA’BB (Mitchell). A gander is an adult male goose,
while a ‘pratie hole’ refers to potatoes, perhaps a refuse pile. Closely
related tunes include the “Brother’s Jig”/”Monk’s Jig”/”Port Padraig na Carra”
tune group. According to piper Néillidh Mulligan these
titles refer to piper Brother Gildas (Padraig Ó Seaghdha 1882—1961), who
learned the jig from piper Tom Rowsome (d. 1928, uncle of famous piper Leo
Rowsome), who called it “Butler's Jig.”
“Port Padraig na Carra” is also closely related tune. Sources for notated versions: piper Seán Potts
(Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west
Clare) [Mitchell]; New Jersey flute player Mike Rafferty, born in Ballinakill,
Co. Galway, in 1926 [Harker]. Breathnach (CRÉ
I), 1963; No. 30, pg. 13. Breathnach (Folk
Music and Dance of Ireland), 1971; 7. Carlin (Master Collection), 1984; No. 263, pg. 150. Harker (300 Tunes from Mike Rafferty), 2005; No.
232, pg. 71. Mallinson (Enduring),
1995; No. 41, pg. 17. Mitchell (Dance
Music of Willie Clancy), 1993; No. 117, pg. 97. Taylor (Traditional Irish Music: Karen Tweed’s Irish
Choice), 1994; pg. 5. Claddagh CC15CD, Paddy
Moloney & Sean Potts – “Tin Whistles” (1973). Drumlin Records, Brian
McNamara – “A Piper’s Dream.” Green Linnet CD 1000, Séamus Ennis – “Forty Years
of Irish Piping” (2000. Originally released 1977). Shanachie 79011, Planxty ‑
"Cold Blow and the Rainy Night." Shanachie 79012, Planxty ‑
"The Planxty Collection" (1974). Spring Records SCD1037, Néillidh
Mulligan – “The Leitrim Thrush” (Learned from his father, who probably learned
it from Tommy Reck, who probably learned it from Leo Rowsome).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan
Ng’s Irishtune.info |
X: 1
M:6/8
L:1/8
R:Jig
K:G
D|G2G EGD|G2G Bdg|efg dBG|AGA BGE|
G2G EGD|G2G Bdg|efg dBG|AGF G2:||
f|gab agf|edg ed^c|deg edB|BAG A2f|
gab agf|edg ed^c|deg edB|AGF G2f|
gab agf|edg ed^c|deg edB|BAG A2A|
G2G EGD|G2G Bdg|efg dBG|AGF G2||
X: 2
T:Gander In the Pratie Hole
Z:Peter Crummy
R:Jig
M:6/8
L:1/8
K:D
G|FAD FAD|GFG EFG|FAD FAD|GED D2 D|
FAD FAD|GFG EFG|fed ecA|GED D2:|]
z|Add ded|=cAB cAG|Add ded|=cAB c2
G|
Add ded|=cAB cde|fed ecA|GED D2:|]
GANDER’S STRUT, THE. Irish, March (4/4 time). Ireland,
northern Ireland. G Major. Standard. AABB. Source for notated version: fiddler
Peter Turbit [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 246.
GANDY DANCER'S REEL. New England, Reel. D Major. Standard tuning. AABB. Gandy dancers performed
necessary repair functions for railroads, such as replacing worn ties, tamping
ballast between ties, and aligning and re-aligning rails. The implements they
used—picks, shovels, forks and lining bars-- were often made by the Gandy
Manufacturing Company of Chicago Illinois. Since manipulating heavy rails often
took a coordinated effort by a team of men, songs or hollers helped to maintain
a rhythm and give cues for effort. Often the ‘push’ on a rail came at the end
of a sung line, with the men rising and lifting as one, leading to the term
‘dancing’.
***
Gandy Dancers, by Lee Russell (1939) for
the Farm Service Administration. Collection of the Library of Congress LC-USF33- 012161-M2
***
Miller & Perron (New England Fiddlers Repertoire), 1983;
No. 142.
X:1
T:Gandy
Dancer’s Reel
M:C|
L:1/8
K:D
AG|FD A,D
FD A,D|FA Bc d2cd|BE EE cE EE|df ed B2AG|
FD A,D FD
A,D|FA Bc d2cd|BA GB AF DF|ED CE D2:|
|:fg|a2ab
ag fe|de fg a2gf|ed ef gf ec|df ed B2 (3ABc|
dc df ec AF|GF GB AF DF|GF ED CA,
CE|(3DED CE D2:|
GANE IS MY JEAN. Scottish, Air (4/4 time). A Flat Major. Standard tuning. AB. From J. Scott Skinner’s Logie
Collection (1888). His manuscript copy, arranged by Gavin Greig but
excluded from his later Harp and Claymore
Collection, is set in the key of A Major. The title may refer to Skinner’s
wife Jean, who was admitted to the Elgin Asylum in 1885, following the
composer’s bankruptcy, where she resided until her death in 1899.
X:1
T:Gane is My Jean
M:C
L:1/8
R:Air
C:J. Scott Skinner
S:Manuscript copy
Z:AK/Fiddler’s Companion
K:A
A2 B>A F2 E>F|A2 A>c e3e|f2
a>f e2 c>A|c2 BA F2 EF|
A2 B>A F2 E>F|A2 A>c e2
e>e|f2 a>f e2 c>A|c2 B>A A4||
F2 a>f e2 c>A|c2 B>A
F2F2|E2 A>A a2 f>f|ec BA B4|
A2 B>A F2 E>F|A2 A>c e4|f2
a>f e2 c>A|c2 B>A A4||
GANGER [1]. A Norwegian dance music form which takes its name from the word 'gang'‑‑to
walk. The ganger is a stately ceremonial dance which lends itself to
transcription in either 2/4 or 6/8 meter, according to whether duple or triple time
is felt. "The 6/8 ganger is usually characterized by a horizontal
oscillation of three and two‑note groupings (hemiola). These patterns are
superimposed over evenly‑spaced foot‑tapping in a duple meter. The
rhythmic counterpoint between bowing rhythm and foot‑tapping thus
produces vertical combinations of threes and twos as well" (Hopkins, 1985;
pg. 175).
GANGER [2], THE. AKA
and see “The Drunken Gauger [4].”
GÅNGLÅT EFTER
HGORT-ANDERS. Swedish, Walking Tune (2/4 time). D
Major. Standard tuning. AABB. The addition of 'efter', or, in English, 'after'
recoginzes famous and inflential fiddlers, in this case Hjort‑Anders.
Thompson (Fiddler's Almanac), pg. 55.
GÅNGLÅT EFTER
SKOMMERFAR. Swedish, Walking Tune. RC2000, George Wilson – “Royal Circus” (2,000. Learned from
the Royal Swedish Fiddlers).
GÅNGLÅT FRÅN APPLEBO. Swedish.
GÅNGLÅT FRÅN MOCKFJÄRD. Swedish, Walking Tune. RC2000, George Wilson –
“Royal Circus” (2,000. Learned from the Royal Swedish Fiddlers).
GANIVELLE. French, Scottish (2/4 time). G Major. Standard tuning. AABB. Composed
by Frederic Paris. Stevens (Massif
Central), vol. 1, 1987; No. 6.
GANLEY’S JIG (Port Mhig Sheanlaoich). Irish, Single Jig (12/8 time). D Major.
Standard tuning. AABB. Source for notated version: Bernard Bogue (Counties
Monaghan and Tyrone) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 64, pg. 32.
GANNON’S. Irish, Barndance. Recorded by New York/County Sligo fiddler Michael Coleman.
GAOL A THUG MI ÒG, AN. Scottish, Slow Air (4/4 time). G Major. Standard tuning. One part.
Martin (Ceol na Fidhle), vol. 4,
1991; pg. 26.
GAOL OF CLONMELL, THE. Irish, Air (3/4 time). A Minor.
Standard tuning. One part. “From P. Carew’s M.S.” Stanford/Petrie (1905), No.
362, pg. 92.
X:1
T:Gaol of Clonmell, The
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 362
Z:AK/Fiddler’s Companion
K:A Minor
E^G | A3 cBA | A G3 AB | c3 edc | c
B3 EA | c3e d>c/2d/4 | e4 de | c4 Ac | B A3 ||
cd | e4 cA | d4 ed | c4 BA | {c}B4
EA | c4 dc/d/ | e4 de | c4 Ac | B A3 ||
GAOTH ANEAS, AN. AKA and see “The South Wind.”
G(H)AOTH ANIAR, AN. AKA and see "James Ryan's Favourite."
Irish, Reel. G Major. Standard tuning. ABC. Source for notated version: piper
Liam Mac Flannchadha (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 72, pg. 33.
GAOT A CORRUIDEANN AN
EORNA, AN. AKA and see "The Wind that Shakes
the Barley."
G(H)AOTH A
CHROITHEANN AN EORNA, AN. AKA and see "The Wind that Shakes
the Barley."
G(H)AOTH ANIAR ANDEAS, AN. AKA and see "Connie
the Soldier," "Coffee
and Tea [2]," "Jimmy the
Tailor," "The Cherry
Grove Jig," "Aineen's Double,"
"Bacach na Cleithe,"
"Maire Inis Toirc." Irish, Double Jig. D Mixolydian ('A' part) &
D Major ('B' part). Standard tuning. AABB. Source for notated version: piper
Sean Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 29, pg. 13.
GAP IN THE WOOD, THE.
Irish, Jig. A Dorian. Standard tuning. AABB. Kennedy (Jigs
& Quicksteps, Trips & Humours), 1997; No. 49, pg. 13.
GARAID-EOGAN LE
ATRUGAD. AKA and see "Garry Owen."
GARB OF OLD GAUL, THE. AKA – “In the Garb of Old Gaul.” Scottish,
English; March (4/4 time). C Major. Standard tuning. AABB. A British military
march of the Revolutionary War period (Winstock, 1970), and the most famous
composition of John Reid, who died in 1806. Reid, ultimately to become a
general, began his career as a commissioned ensign in Loudon’s Highlanders at
the age of fourteen. As an officer he fought the Jacobites and later served in
France. He turned up in North America with the Black Watch in 1755, where he
took part in the capture of Montreal.
Reid also was an accomplished and sensitive player on the German flute
and a composer of some pieces of merit. He composed a set of minuets and
marches, published between 1770 and 1780, of which “Garb of Old Gaul” is one.
Reid said the original words were written in Gaelic by a soldier of the Black
Watch, although the ones usually associated with the tune were written (first published in 1765) by General Sir
Harry Erskine of Alva in Sterlingshire (who served with the Royal and 25th
Regiments, the Royal Scots and the King’s Own Scottish Borderers). By 1769 the
Black Watch was playing the air as their slow march, and it was sometimes
called “The Highland March” or “The 42nd Regiment’s March” (David
Murray, 1994). Upon his death in 1806
the University of Edinburgh was the recipient of his considerable fortune to
establish a Chair of Music, with a concert to be held on his birthday at which
some of his compositions would be played, in order that the audience would
become acquainted with the type of music in vogue during his lifetime. The Reid
Memorial concert is still held each January 13th, with “Garb of Old
Gaul” among the pieces played (David Murray, Music of the Scottish Regiments, Edinburgh, 1994).
***
The melody still serves as the slow
march of all Scottish battalions in the British army. “Cases have been known,”
writes David Murray (pg. 176), “where some soldiers have believed that ‘Old
Gaul’ was some ancient regimental hero immortalised in music, but the mundane
fact is that Gaul was a province of the Roman Empire corresponding to Eastern
France and Western Germany. Its natives were reported to have worn a mantle or
cloak belted round the body in the style of the ‘Feile Mor’, the belted
(Highland) plaid of yore. Hence the kilt is the ‘Garb of Old Gaul,’ and hence
too, the words of the opening verse”:
***
In the garb of old Gaul with the fire of old Rome,
From the heath-covered mountains of Scotia we come;
When the Romans endeavoured our country to gain,
Our ancestors fought, and they fought not in vain.
***
Murray points out that Victorian
arrangers altered Reid’s two-part march by arranging it as a slow march, “with
an introduction of stunning forget-ability, the whole rounded off with a trio
of equal mediocrity.” Unfortunately, it is this version that often is heard on
a march-card.
***
The air is mentioned in the
following anecdote regarding a piece called “The Combat of Saint-Cast”, from
Lewis Spence’s (1874-1955) volume Legends and Romances of Brittany (N.D.):
***
This
ballad somewhat belies its name, for it has some relation to an extraordinary
incident which
was
the means rather of preventing than precipitating a battle. In 1758 a British
army was landed
upon
the shores of Brittany with the object of securing for British merchant ships
safety in the
navigation
of the Channel and of creating a diversion in favour of the German forces, then
our allies.
A company of men from Lower Brittany, from the towns of
Tréguier and Saint-Pol-de-
says
Villemarqué, were marching against a detachment of Scottish Highlanders. When
at a
distance
of about a mile the Bretons could hear their enemies singing a national song.
At once
they
halted stupefied, for the air was one well known to them, which they were
accustomed to
hear
almost every day of their lives. Electrified by the music, which spoke to their
hearts, they
arose
in their enthusiasm and themselves sang the patriotic refrain. It was the
Highlanders' turn
to
be silent. All this time the two companies were nearing one another, and when
at a suitable
distance
their respective officers commanded them to fire; but the orders were given,
says the
tradition,
"in the same language," and the soldiers on both sides stood
stock-still. Their inaction,
however,
lasted but a moment, for emotion carried away all discipline, the arms fell
from their
hands,
and the descendants of the ancient Celts renewed on the field of battle those
ties of
brotherhood
which had once united their fathers.
***
However unlikely this incident may seem, it appears to be confirmed by
tradition, if not by history. The
air
which the rival Celts sang is, says Villemarqué,[
Scotland." With the music before me, it seems to bear a marked resemblance
to “The Garb of Old Gaul,”
composed
by General Reid (1721-1807). Perhaps Reid, who was a Highlander, based his
stirring march
on
an older Celtic theme common to both lands.
***
[49] _Barzaz-Breiz_
regarding this incident at the village of Saint-Cast but "vague
details."
***
The story is apocryphal at best, and
considered a “Victorian confabulation,” ‘sentimental poppycock’ or ‘fanciful
pan-celticism’ by others, who point out that Beton and Scots Gaelic are not
linguistically related (although Breton and Welsh are perhaps intelligible to
one another), and that common troops of the 18th century appeared to
have little difficulty firing upon those much more closely related, when so
ordered.
***
Kerr (Merry Melodies), vol. 3; No. 413,pg. 46.
X:1
T:In the Garb of Old
M:C
L:1/8
R:March
S:Kerr – Merry Melodies, vol. 3, No.
413 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:C
G>G|c2 c>c c2 e>d|cGEG c2
c>d|e2 e>e e>fg>f|edcd e2 e>f|g2 g>g g_bag|f2 f>f fagf|
e>dc>d egfe|d2 [Dd>][Dd][D2d2]::B>A|G>AG>A
B>cB>c|d>ed>e f2 e>d|c>dc>d e>fe>f|
g>ag>a _b2(ag)|af de/f/ ge
cd/e/|fedc cBAG|A>Bc>d e>fd>e|c2 [Ec>][Ec] [E2c2]:|
GARBH CHNOICÍN FRAOICH, AN. AKA and see “The Rough Little Heathy Hill.”
GARBH CNOICÍN FRAOIGH, AN. AKA and see “The Rough
Little Heathy Hill.”
GARÇON VOLAGE
QUADRILLE, LA. English, Quadrille (6/8 time). G
Major ('A' and 'B' parts) & E Minor ('C' part). Standard tuning. AABCC.
From the (Thomas) Hardy manuscript collection (19th century) of Dorset. The 'A'
part is nearly the same as "Dingle
Regatta," and is similar to part of an untitled quadrille in the c.
1837-1840 MS of Shropshire musician John Moore (Ashman, 1991). Raven (English Country Dance Tunes), 1984; pg.
212.
GARÇON VOLAGE (The Fickle Fellow). AKA and see “”Trip to Cottingham,” “The Village Boy Quadrille.” AKA -
“Garcon Volange.” English (originally), Scottish, Canadian; Jig. Canada, Cape
Breton. F Major (Ford): G Major (Cranford, Kerr). Standard tuning. ABC (Ford):
AA’BBCAA’ (Kerr): AA’BB’CC’ (Cranford). The melody appears in the c. 1800-1850
Browne Family music manuscripts, from England’s Lake District. It appears again
in the same manuscripts under the titles "Trip to Cottingham" and
"The VIllage Boy Quadrille." Paul Cranford (1997) notes this is a
good tune for double fiddling (melody and octave melody), and says that Angus
and Archie Neil Chisholm often played it together. No relation to “La Garçon
Volage Quadrille” of the Hardy manuscripts, however, “Le Garçon Volage” is a
figure of the quadrille dance. Source for notated version: Winston Fitzgerald
(1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 205, pg. 79. Ford (Traditional Music in America), 1940; pg.
84. Kerr (Merry Melodies), vol. 1;
No. 10, pg. 29.
X:1
T:Garcon Volage
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 1, pg. 29
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
dB|GdB GdB|Adc Adc|Bdg gfg|baa
adB|GBd GBd|
Adc Adc|Bdg fef|ggg g2z::b3 g3|aaa
a2z|c’3 f3|ggg g2z:||
d3 cBc|d3 cBc|d2d g2d|bag fed|c3 A^GA|c3
A^GA|ced cBA|G2 GG G||
GARÇONS DE LA MONTAGNE
[1]. French, Bourree a 3 Temps (3/8
time). G Major. Standard tuning. AABB. Stevens (Massif Central), 1987, vol. 2; No. 21.
GARÇONS DE LA MONTAGNE
[2], LES. French, Bourree (3/8 time). Central
France, Province of Auvergne. C Major. Standard tuning. AABB. Stevens (Massif Central), 1987, vol. 2; No. 44.
GARDA NUA, AN (The New Policeman). AKA and see "The Tinker's Stick," "Paddy Bolster's Reel," "The Twin Brothers [1]," "Lady Cork's Reel," "The New Policeman [3]." Irish, Reel.
GARDEBY GANGLAT. Swedish, Walking Tune. D Major. Standard tuning. AA'BB'. "This is
a 'walking tune' (ganglat) form the Swedish town of Gardeby. It is played by
fiddlers as they walk to a dance, or to the market" (Reiner). Reiner (Anthology of Fiddle Styles), 1977; pg.
57.
GARDEN, THE.
American, Jig. Standard tuning. AABB. A c. 1800’s New England composed
melody in 6/8 time from Barrand & Moody’s Northern Harmony: A Collection of Tunes by Early New England Composers
(1980). Miller (Fiddler’s Throne),
2004; No. 48, pg. 39.
GARDEN GATE, THE. Irish, Slow Air (2/4 time). G Dorian. Standard
tuning. One part. Source for notated version: Irish sculptor Patrick MacDowell
1799‑1870. Joyce (Old Irish Folk
Music and Song), 1909; No. 518, pgs. 280‑281.
GARDEN OF BUTTERFLIES, THE. Irish. Green Linnett
GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997).
GARDEN OF DAISIES [1], THE (Gort Na Noininead/Noinin). Irish, Long (Set) Dance (cut time). D
Major. Standard tuning. AABC (O'Neill/1850): AA'BB' (O'Neill/1001). This once
popular set dance, remarks O’Neill (1913), was derived from a slow song air
which was familiar to him from his boyhood days in Ulster. He remembered one
line:
***
My hook began to glitter, my flail it was in order.
***
It was not until O’Neill’s next door
neighbor, Sergeant Michael Hartnett, gave him the tune as it was played where
he lived, however, that O’Neill was able to obtain a full setting. As luck
would have it:
***
Canal a week or so later, what should I hear on the boat
but another of our long-lost tune, played in fine style by
Early and McFadden! It had been sent them by (piper)
Pat Tuohey, who learned it from a fiddler recently
arrived in Boston, and who in turn had picked it up
from Stephenson, the great Kerry piper.
***
O’Neill states two ‘inferior’
settings appear in the Stanford/Petrie Complete
Collection of Irish Music. See also note for the song “The Palatine’s Daughter,” sung to
this tune. Paul de Grae believes “Garden of Daisies” was derived from the air “Sliabh Geal gCua Na Feile.”
***
In Irish tradition “Garden of
Daisies” is one of the four tunes called the Traditional Sets (i.e. set
dances), along with “Job of
Journeywork,” “The Blackbird” and “St. Patrick’s Day.”
***
O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1797, pg. 337. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 974, pg. 167. KEENAN 1, Paddy Keenan – “Na Keen
Affair.” Shamrock 1235 (78 RPM), Michael Gallagher (uilleann pipes) {c.
1920’s}.
X:1
T:Garden of Dasies, The [1]
M:C
L:1/8
R:Set Dance
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
974
Z:AK/Fiddler’s Companion
K:D
fg|a2 af gbag|fefa gfef|dcde
fdec|dedc AGFG|ABcA dcAG|
FEFG ABcA|dcdf edce|1 d2 dd defg:|2
d2 dd d2||
|:A2|dcde fefg|a2 af defg|a2 af
ggag|f2 fe defg|a2 af gbag|fefa gfef|
dcde fdec|dedc A2 fg|a2 af gbag|fefa
gfef|dcde fdec|dedc AGFG|
ABcA dcAG|FEFG ABcA|dcdf edce|1 d2
dd d2:|2 d2 dd defg||
X:2
T:Garden of Daisies, The
R:set dance
N:Also played with c# all the way
D:Paddy Moloney & Sean Potts: Tin Whistles
Z:id:hn-setdance-4
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
fg|a2 (3agf gbag|~f3a gfef|dcde (3fed (3edc|dedc AGFG|
AB (3=cBA d^cAG|~F3G AB (3=cBA|dcdf ed (3cde|d2dc d2:|
|:(3ABc|dcde ~f3g|abaf defg|a2 (3agf gbag|fgfe defg|
a2 (3agf gbag|fefa gfef|dcde fd (3edc|dedc A2fg|
a2 (3agf gbag|~f3a gfef|dcde fd (3edc|dedc AGFG|
AB (3=cBA d^cAG|~F3G AB (3=cBA|dcdf ed (3cde|d2dc d2:|
GARDEN OF DAISIES [2],
THE (Gort Na Noininead). AKA and see "The
Palatine's Daughter." Irish, Set Dance (4/4 time). D Major. Standard tuning.
AAB (Kennedy): AABB (most versions). The tune, says Bayard (1981), has the same
melody as "Tatter Jack Walsh,"
"Savourneen Deelish,"
"Rough, Heathy Little Hill"
(An {Garbh‑} Chnoicin Fraoigh), "So Now My Dear Johnny." Source
for notated version: the great uillieann piper Patsy Tuohey [O’Neill]. Allan's Irish Fiddler, No. 113, pg. 29.
Cotter (Traditional Irish Tin Whistle
Tutor), 1989; 88. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 51, pg. 14.
O'Neill (O’Neill’s Irish Music),
1915/1987; No. 388, pg. 185. O'Neill (Krassen), 1976; pg. 223. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1798, pg. 337. Roche
Collection, 1983, Vol. 2; No. 275, pg. 31.
X:1
T:Garden of Daisies, The [2]
M:C|
L:1/8
R:Set Dance
S:O’Neill – Music of Ireland (1903), No. 1798
Z:AK/Fiddler’s Companion
K:D
fg | a2 af gbag | fefa gfef | dcde
fd ec | dedc AGFG | ABcA dcAG |
FEFG ABcA | dcdf edce |1 d2 dd defg
:|2 d2 dd d2 ||
|: A2 | dcde fefg | a2 af defg | a2
af ggag | f2 fe defg | a2 af gbag |
fefa gfef | dcde fdec | dedc A2 fg |
a2 af gbag | fefa gfef |
dcde fdec | dedc AGFG | ABcA dcAG |
FEFG ABcA |
dcdf edce |1 d2 dd d2 :|2 d2 dd defg
||
GARDEN OF DAISIES [3],
THE. Irish, Set
Dance {?} (2/4 time). A Minor. Standard tuning. AB. Petrie prints another
version of this setting in the same volume, in the major tonality, as an
untitled tune, No. 20, pg. 5. Stanford/Petrie (Complete Collection), 1905; No. 609, pg. 153.
X:1
T:The garden of daisies
M:2/4
L:1/8
R:Set Dance
B:The Complete Collection of Irish Music, Stanford/Petrie, no. 609
K:Am
c/d/|e>f d>e|c>e
d/c/B/c/|AA/B/ c/>A/B/>^G/|A>=G E z|
EE E/F/E/D/|C>D E/F/G/E/|AA/B/
c/>A/B/>G/|A3 c/d/|
e>f d>e|c>e d/c/B/c/|AA/B/
c/>A/B/>^G/|A>=G E z|
EE E/F/E/D/|CD E/F/G/E/|AA/B/
c/>A/B/>^G/|A3 E||
A>B cd|ee A2|ee d/f/e/d/|cB
A/>B/c/>d/|
eE dD|cC d/c/B/c/|AA/B/
c/A/B/G/|A>G E z|
e>f d>e|c>e d/c/B/c/|AA/B/
c/>A/B/>^G/|A>=G E C/4D/4E/4F/4|
G>E A/G/E/D/|C>D
E/F/G/E/|AA/B/ c/>A/B/>^G/|A3 ||
GARDEN OF DAISIES [4],
THE. Irish, Set
Dance {?} (4/4 time). Ireland, County Kerry. D Minor. Standard tuning. AB. “A
Kerry tune” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 610, pg. 153.
X:1
T:Garden of Daisies, The [4]
M:C
L:1/8
N:”A Kerry tune”
S:Stanford/Petire (1905), No. 153
Z:AK/Fiddler’s Companion
K:Dmin
A>G | FEDE FGA^c | dfe^c d3e |
fed^c dAAB | AGFE F2G2 |
FED>E F>GA^c | dfe^c d2e2 |
fed^c dAAB | AGFE D2 ||
z2 | d3d A2A2 | d^cde f2 gf | e2c2
c=BAG | cdef g2 ag |
f>edf ed^ce | d2A2 ABAG | FEDE
FGA^c | dfe^c d2 ||
GARDEN OF ROSES. American, Waltz. A Minor ('A' part) & C Major ('B' part). A song
hit of 1908. Learned by Arizona fiddler Kenner C. Kartchner in Salt Lake City,
Utah.
GARDEN OF SKYE, THE. Scottish, Air (4/4 time). A Major. Standard tuning.
One part. Composed by Addie Harper of Wick. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 24.
GARDEN OF WILLOWS, THE. See “Garraí na
Saileog.”
GARDEN POLKA. New England, Polka. F Major. Standard tuning. AAB. Miller & Perron
(101 Polkas), 1978; No. 73.
GARDEN SHADS. English. England, Northumberland. One of the "missing tunes"
from William Vickers' 1770 Northumbrian dance tune manuscript.
GARDEN SHIEL. AKA and see "Miss
Downie's Strathspey," "Honest
Duncan." Scottish. The tune was claimed by Duncan MacIntryre (as
"Miss Downie's Strathspey"), in his 1795 publication. It is sometimes
attributed to Robert Petrie (as who
printed it as "Garden Shiel") in his Third Collection, 1802, although Petrie himself did not claim it in
his work. It was published without author credit by Gow as "Honest
Duncan" in Repository, Part
Second, 1802.
GARDEN WALL, THE. See
“Garden Well.”
GARDEN WELL, GLEN CALLATER. Scottish, Jig. G Major. Standard tuning.
AAB. The tune was composed by Kirkmichael, Perthshire, fiddler and composer Robert Petrie, and was included in his Second Collection of Strathspey Reels and
Country Dances, 1796. Smithsonian
Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton
Fiddle and Piano Music” (2004. Appears as “Garden Wall”).
X:1
T:Garden
Well, Glen Callater
C:R.
Petrie
S:Petrie's
Second Collection of Strathspey Reels and Country Dances &c.
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's Second Collection, page 22
L:1/8
M:6/8
R:Jig
K:G
B/c/|
dBG GBd| gag gdB|dBG GBG|AFD D2 B/c/| dBG GBd| gag gdB|cBc Adc|BGG G2:|
d|Tgfg
cBG|Tgfg dBG|cac BgB|aAA A2f |Tgfg dBG|Tgfg dBG|FGA Ddc|BGG G2f|
Tgfg
dBG| gfg dBG|cac BgB|aAA A2c | BAG cBA| dcB edc|Bcd DEF|G3 G2|]
GARDENER'S DAUGHTER, THE. AKA and see "Coming Home from the Bog,"
"Donegal Boys," “The Groves of Mt. Talbot,”
"I Wish I Never Saw You,"
"Magic Slipper [1],"
"Maud(e) Millar [2],” "McFadden's Handsome Daughter,"
“The Montua,” “Morrison’s (Reel) [2],” “Mrs. Smullen’s,” “My Love is Fair and Handsome
[1],” "Paddy McFadden's [1]."
Irish, Reel. G Major. Standard tuning. AB. Roche
Collection, 1983, vol. 1; No. 135,pg. 55.
GARDENER’S DAUGHTER
[2], THE.
AKA and see “The Milliner’s
Daughter,”
GARDENERS’ MARCH, THE. A trade tune printed by James Aird in the 1780’s.
GARDENER'S SON, THE. AKA ‑ "The Willow Tree."
Irish, Air (4/4 time). A Minor. Standard tuning. One part. "Versions of
this song are current in England and Scotland as well as in Ireland. The
English version may be seen in Chappell's Popular
Music of the Olden Time, p. 522; there called 'The Willow Tree'; and the
Scotch in Wood's Songs of Scotland,
III. 84, 85. I give here from memory three verses as I heard them sung by the
people of the south of Ireland; and I know a fourth which has the same play on
the words 'thyme' and 'rue' as is found in the English and Scotch versions. The
song conveys a warning to young maids not to let young men too easily steal
'this heart of mine, mine': in other words, to be cautions about too readily
falling in love. As with the words, so with the air. The English and Scotch
versions will be found with the words, as referred to above. Our Irish version,
which is given here, was published by me for the first time in my Ancient Irish Music, with two verses of
the song. Evidently all three are derived from one common origin" (Joyce).
***
When I was a maiden fair and young,
I flourished in my prime, prime,
Till a proper tall young man came in,
And stole this heart of mine, mine,
And stole this heart of mine.
***
Joyce (Old Irish Folk Music and Song), 1909; No. 381, pg. 189.
X:1
T:Gardener’s Son, The
M:C
L:1/8
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:A Minor
cB|A2 AG E2 DE|G2G2G2 Bd|e2e2d2e2|c4
E2 cd|e2e2d2e2|A2 AG E2 DE|
G2G2 G>ABd|c4 B3c|A3G EDEG|A6||
GARDEN’S STRATHPSEY. Scottish, Strathspey. Credited to Peter Milne
(1824-1907), a mentor and sometime playing partner of J.
Scott Skinner’s, in Charles Middleton’s Selection
of Strathspeys & Reels, etc., arranged Expressly . . . by Peter Milne,
Violinist late of Aberdeen . . .":
GARDINER'S FAVOURITE
[1]. AKA and see "The Bird in the Cage," "The Bloom of Youth," “Doctor Taylor,” "The Downshire Reel," “Flying Column [2],” "The London Lasses [1]," "The Maid in the Rushes," “Seamus
Tansey’s,” “Streams in the Valley,” “The Sunny
Banks,” "Tansey's Favourite
[1]," "The Turnpike Gate [2]."
Irish, Reel. G Major. Standard tuning. AABB. The tune is also similar in
contour to Mulvihill’s “J. J. Gardiners.”
McNulty (Dance Music of Ireland),
1965; pg. 8. Coleman Music Center CHC 009, Charlie
Higgins & Jack Dolan – “The Coleman Archive, vol. 2: The Home Place” (2005.
Various artists. Higgins and Dolan, originally from the Drumkeeran area of
County Leitrim, knew the tune under the title “Streams in the Valley”. Both
emigrated to America in 1948).
X:1
T:Gardiner’s Favourite [1]
M:C|
L:1/8
R:Reel
K:G
DF||:G2 DG EGDE|GABG AE (3EEE|G2 DG
EGAB|cedc BcAF|
G2 DG EGDE|GABG AE (3EEE|G2 DG
EGAB|cedc BG G2:|
|:gd (3ddd edBG|BdBG AE (3EEE|gd
(3ddd edBG|Bcdc BG G2|
gdfd edBG|BdBG AE (3EEE|c2 cB
cdef|gedc BG G2:|
GARDINER'S FAVOURITE
[2]. Irish, Reel. Ireland, County Sligo.
G Major. Standard tuning AABB. Perhaps a very distanced version of #1. Source
for notated version: fiddler Peter Horan (b. 1926, Kilavil, Co. Sligo)
[Flaherty]. Flaherty (Trip to Sligo),
1990; pg 66.
X:1
T:Gardiner’s Favourite [2]
M:C|
L:1/8
R:Reel
S:Flaherty – Trip to Sligo (1990)
K:G
G2 BG dGBd|eaag ef g2|~G3B dGBd|….
GARDNER LADS, THE. AKA – “Gardiner Lads.” English, Hornpipe.
England, Northumberland. A Major. Standard tuning. AABB’. The composition is
credited in Kohler’s Violin Repository (Edinburgh 1881-1885) to the
great 19th century hornpipe composer and fiddler James Hill, of
Tyneside, Newcastle. However, it is credited to Robert Whinham (1814-1893), a
musician, teacher, composer, dancing master and fiddler originally from
Morpeth, in the 19th century William Green music manuscript. Source
for notated version: William Green ms., in the Morpeth Chantry Bagpipe Museum
[Dixon]. Dixon (Remember Me), 1995;
pg. 70 (appears as “Gardiner Lads”).
GARDNER’S FAVORITE. AKA and see “The Ladies’ Pantalettes.” Irish, Reel.
The tune was recorded under this title by the flute and fiddle duet of McKenna
and Morrison in 1928. Philippe Varlet suggests the title refers to Irish
musician John J. Gardiner.
GARELOCH, THE. Scottish, Strathspey. G Major. Standard
tuning. AABB. Kerr (Merry Melodies),
vol. 4; No. 100, pg. 13.
X:1
T:Gareloch, The
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 100
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D|G2 D>C B,<G G,>G|c>BA>G
F<D D>F|G>BA>c B>dc>e|d<g d>c B<G G:|
|:d|g>dB>d
g>dB>d|c>BA>G F<D D>F|(3GAB (3ABc (3Bcd (3cde|d<g d>c
B<G G:|
GAREY COTTAGE. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by S.
Duncan. Kerr (Merry Melodies), vol. 1;
No. 3, pg. 14. MacDonald (The Skye
Collection), 1887; pg. 141. Stewart-Robertson
(The Athole Collection), 1884; pg.
217.
X:1
T:Garey Cottage
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
c/B/|A<F A/B/c A2 F>A|B>G B/A/G/F/ E<G G>B|A<F A/B/c A2 F<A|B<d c>B A<FF:|
e|~f>c f/g/a/g/ f2 c<f|b>ag>f e<g g>a|~f>c f/g/a/g/ f2 c<f|e<c b>g a<f f>a|
~f>c
f/g/a/g/ f2 c<f|b>ag>f e<g~gf/e/|d<bc<a B<gA<f|d/c/B/A/
G<c A<FF||
GARFIELD. Old-Time, Breakdown. A Major. Standard tuning. AABB. The 'B' part is
very similar to that of some versions of "Breakin' Up Christmas."
Source for notated version: Bruce Green [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 94.
GARFIELD VALE. Canadian, Reel or Hornpipe. Canada, Cape Breton. D Major. Standard
tuning. AA’BB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton).
Cranford (Jerry Holland’s), 1995; No.
96, pg. 28. Canadian Broadcasting Corp. NMAS 1972,
Natalie MacMaster - "Fit as a Fiddle" (1993). Rounder Records, “Jerry
Holland” (1976).
GARFIELD'S
BLACKBERRY BLOSSOM. Old‑Time, Breakdown. USA, northeast Ky. G Major. Standard tuning.
AABB. From legendary northeast Ky. fiddler Ed Hayley, although also played by
Kentucky fiddlers Buddy Thomas and J.P. Fraley. The tune was known simply as
“Blackberry Blossom(s).” Reed Island Rounders -
“Wolves in the Wood” (1997).
X:1
T:Garfield's Blackberry Blossom
M:4/4
L:1/8
K:G
|:gagf gagf|dcBd cB G2|gagf gagf|d2 [B2g2] [B2 g2] ga|b2 a2 gagf|dcBd cB G2|
GDBc d2 cB|A G2 G G4:|
|:{D}G2 Bc d2 [B2g2]|dcBd cB G2|{D}[G,2G2] Bc d2 cd|G2 GF G4|
{D}[G,2G2]
Bc d2 g2|dcBd cB G2|GAGF DCB,C|[B,2D2] GF G4 :|
GARFIELD’S FUNERAL
MARCH. AKA
and see “Garfield’s March.”
GARFIELD'S HORNPIPE. See "President Garfield's
Hornpipe."
GARFIELD’S MARCH. AKA - “Garfield’s Funeral March.”
Old-Time. Originally a piece of sheet music called “Garfield’s Funeral March,”
the tune dates from the 1881 assassination of President James Garfield (Wolfe,
1997). The tune was recorded by Kanawha County, West Virginia, fiddler Clark
Kessinger (1896-1975) for Brunswick in 1928 (#238), learned from local W.Va.
fiddler Abe Glenn in 1903 when Kessinger was seven (Charles Wolfe, Mountains of Music, John Lilly ed.,
1999, pg. 28). Rounder CD 0377, John Masters -
“Traditional Fiddle Music of Kentucky: Along the Kentucky River.”
GARIBALDI GALOP. English, Galop (2/4 time).
England, Northumberland. G Major (‘A’, ‘B’ and ‘C’ parts) & D Major (‘D’,
‘E’, ‘F” and ‘G’ parts). Standard tuning. AA’BB’CCDD’EEFFGG’. Composed by
Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and
fiddler, originally from Morpeth, Northumberland. Graham Dixon (1995) suggests
the tune may have been composed for Giuseppe Garibaldi’s (1806-1882) triumphal
visit to England in 1864, and notes the Italian patriot was a very popular
figure. Source for notated version: an unattributed 19th century
manuscript in the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 51.
GARICK REEL. Scottish, Reel. The melody appears under this title in the Gillespie Manuscript of Perth (1768).
Carrick Reel??? The title may refer to David Garrick, who managed the theatre
at Drury Lane from 1747-1776. Garrick was accounted the finest actor of his
time and attempted historically accurate productions.
GARISSON FROLICK. English, Reel. G Major. Standard tuning. AABB. Huntington (William Litten’s), 1977; pg. 12.
GARLAND [1], THE. AKA and see "Upon a Summer's Day."
GARLAND [2?], THE. English, Reel. England, Northumberland. G
Major. Standard tuning. AAB. Seattle (William
Vickers), 1987, Part 3; No. 468.
GARLAND DANCE, THE. English, Scottische (?). D Major. Standard.
AAB. Source for notated version: contained in the 19th century
Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the remote
area of Slackcote, Saddleworth, North West England, who compiled his manuscript
from 1820 onwards, according to Jamie Knowles [Kershaw]. The Joseph Kershaw
Manuscript, 1993; No. 64.
GARLAND OF ROSES. Irish (?), Jig. D Major. Standard tuning. AABB. O’Farrell has no note regarding provenance. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 31.
X:1
T:Garland of Roses
M:6/8
L:1/8
R:Jig
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:D
A | AFA Add | f>ed dcB | AFA A>BA | Ad>F FEA | AFA Add | f>ed afd |
B>cd AdF | E>DE D2 :: d/e/ | f>ed FAd | fed FAd | fed cac | Bed cAA |
dcd
BGd | AFd AFD | d>cd BGd | AFd AFD | FAd dfa | ABc d2 :|
GARLAND OF LOVE, THE. English, Air or Waltz. D Major. Standard
tuning. AABB. A pretty air that can be used as a waltz, although the second
part is a bit irregular, having 18 bars instead of the usual 16, as in the first
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. 88.
GARLAND WALTZ. American, Waltz. G Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg.
135.
X:1
T:Garland Waltz
M:3/4
L:1/8
R:Waltz
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:G
[G,2D2]|[D3B3] [Dc][DB][DA]|[D3B3]
[Dc][DB][DA]|[D2B2]G2E2|[G,2D2]G2B2|
[D3d3] (edc)|[D3d3]
(edc)|d2(f2e2)|d2(c2A2)| [G,2D2]|[D3B3] [Dc][DB][DA]|
[D3B3]
[Dc][DB][DA]|[D2B2]G2E2|[G,2D2]G2B2|[D4d4] [Dd][Dd]|[D2d2][D2c2][D2A2]|
[G,2G2][D2B2][D2A2]|[G,3G3][G,2G2]::(Bc)|(d2c2)d2|e4
B2|(d2c2)z2|z2 (A2B2)|
(c2B2)c2|d4A2|(B6|B2)z2d2|g2(f2g2)|(a2g3)d|(f2e2)z2|z2z2e2|(d2f2)e2|(d2c2)A2|
G2 GA(GF)|(G2G2):|
GARMOT SMIDDY. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. D Major.
Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R.
MacDonald (1911-1976). Source for notated version: Emmett Hughes (b. 1921,
Dromore, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 75. WMT002, Wendy MacIsaac – “That’s What
You Get” (1998?).
GARRAÍ NA bhFÉILEÓIG (The Honeysuckle Garden). AKA and see “The Boys of Ballysimon,” “Brian the Brave [1],” “Carolan’s Dream,” “Hawke’s Hornpipe,” “Molly McAlpin,” “Molly Mac Alpin,” “O’Carolan’s Farewell to Music,”
“Poll Ha’Penny,” “Remember the Glories
of Brian the Brave,” “The Stranger [1].”
Irish, Hornpipe. A Mixolydian. Standard tuning. Bobby
Casey - “Taking Flight.” Gael Linn CEF 114, Noel Hill & Tony MacMahon - “Í
gCnoc na Graí.” Shanachie 79006, Mary Bergin - “Feadoga Stain.”
X:1
T:Poll Ha'Penny
T:Paul Halfpenny
T:Garra\'i na bhF\'eile\'og
R:hornpipe
Z:id:hn-hornpipe-26
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Amix
(3GAB|=cAAG A2 (3AB=c|(3d=cB (3AGF
G2 (3B^cd|ed^cA d^cAG|~A3G A2de|
~f3d ~e3c|d2 (3Bcd efge|aged (3=cBA
GB|~A3G A2:|
|:ef|~g3f gfef|g2ga gedg|eaag
~a3g|eaag a2ag|
~f3d ~e3c|d2 (3Bcd efge|aged (3=cBA
GB|~A3G A2:|
"Version 2:"
AB|=cAAG A2GA|dcAF G2 (3Bcd|edcA
dcAG|A2 (3AAA A2ag|
~f3d efec|d2 (3Bcd efge|agfd
=cAGE|A2AG A2:|
|:ef|gfga gedB|=cdef gafg|e2a2
abag|e2a2 abag|
~f3d efec|d2 (3Bcd efge|agfd
=cAGE|A2AG A2:|
GARRAÍ NA SAILEOG (The Garden of Willows). AKA and see “Miss Galvin,” “Mrs. Galvin’s Favourite,” “The
Woodford Fling.” Irish, Fling (Reel). G Major. Standard tuning. AB. Source for
notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare)
[Mitchell]. Mitchell (Dance Music of
Willy Clancy), 1993; No. 85, pg. 78. Piping Pig
Records PPPCD001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996).
GARRÁN AN CHOLÁISTE. AKA and see “The College Groves.”
GARRÁN BUI, AN. AKA and see “The Yellow Horse.”
GARRANMORE. Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985).
Ryan (Seán Ryan’s Dream), 18.
GARRANTA GLASA MHEIRICEÁ (The Green Fields of
America). AKA and see “Green Fields of America [1].”
GARRANTA SAILÍ, NA (The Sally
Gardens). AKA and see “The Sally Gardens.”
GARRÁIN GHLASA NA hÉIREANN. AKA and see "The Green Groves of Erin."
GARRÁIN GHNÍOMH GO LEITH. AKA and see "The Groves of Gneeveguillia."
GARRAN AN CHOLAISTE. AKA and see "The College
Grove."
GARRETT BARRY’S
(HORNPIPE).
Irish, Hornpipe. A hornpipe setting of “Garret Barry’s Jig.” Green Linnet GLCD 3002, Kevin Burke & Jackie Daly –
“Eavesdropper” (1981).
GARRETT BARRY{’S JIG}
(Gearóid de Barra). AKA and see) "The Ladies'
Fancy [6],” "Tune the Fiddle.”
Irish, Double Jig. D Mixolydian/Major (Flaherty, Sullivan): D Mixolydian
(Harker/Rafferty, Mallinson, Mitchell). Standard tuning. AABB (Flaherty,
Mallinson, Sullivan): AA’BB (Mitchell): AABB’ (Harker/Rafferty, Mitchell).
Garrett Barry was an influential blind piper from Inagh, County Clare, born to
the Irish-speaking community at the height of the Great Famine in 1847. Unfortunately,
Barry was permanently blinded by malnutrition and famine sickness as a result
of the famine, but he was given the opportunity to make his livelihood through
music and undertook the uilleann pipes.
He remained a piper until his death in 1899, and although died in the
Ennistymon Poor House, he was successful in supporting himself for his lifetime
among the farming communities of West Clare. Pat Mitchell says his “memory is
very much alive in the locality to the present day.” In addition to the jig that
bears his name, he is remembered in present day dance repertoire by “Garrett
Barry’s Mazurka” and “Garrett Barry’s Reel,” and he is associated with the
tunes “I Buried My Wife and Danced On Top of Her” and “The Humours of Glen,”
all of which Gearóid Ó hAllmhuráin points out are “still part of the vernacular
folk tradition in Clare.” There are two main versions of the tune played in
modern sessions: the first (X:1, below) is in ‘D’ mixolydian, while the second
(X:2, below) is a version popularized by fiddler Kevin Burke in the dorian
mode. “Sergeant Early’s Jig” is a related melody. “Garret Barry’s Hornpipe” is
a the name given to the hornpipe pipe setting of “Garret Barry’s Jig.” Sources
for notated versions: flute player Sonny McDonagh (b. 1926, Rinnarogue,
Bunninadden, Co. Sligo) [Flaherty]; piper Willie Clancy (1918-1973, Miltown
Malbay, west Clare), who had the tune from his father who had learned it from
Garrett Barry himself [Breathnach, Mitchell]; Chieftains [Sullivan]; Na Filí
(1971 recording) [Miller & Perron]; New Jersey flute player Mike Rafferty,
born in Ballinakill, Co. Galway, in 1926 [Harker]; adapted from a recording by
Bobby Gardiner [O’Malley]. Breathnach (CRÉ
I), 1963; No. 46, pg. 19. Flaherty (Trip
to Sligo), 1990; pg. 123. Harker (300
Tunes from Mike Rafferty), 2005; No. 223, pg. 68. Mallinson (Enduring), 1995; No. 48, pg. 21.
Mitchell (Dance Music of Willie Clancy),
1993; No. 36, pg. 49 & No. 59, pg. 64 (two versions). Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 1, No. 21. O’Malley (Luke O’Malley’s
Collection of Irish Music, vol. 1), 1976; No. 106, pg. 53. Sullivan (Session Tunes), vol. 3; No. 9, pg. 4. Claddagh 4CC 39, “The Pipering of Willie Clancy vol. 2”
(1983). Columbia CAL505-1 (78 RPM), Paddy O’Brien (195?. Appears as “Garret
Barry’s Favorite”). Green Linnet GLCD 3002, Kevin Burke & Jackie Daly –
“Eavesdropper” (1981). Larraga MOR1302, Mike Rafferty – “Speed 78” (2004).
Paddy Canny – “Milestone in the Garden” (reissue of original 1959 78 RPM
recording). Gearóid Ó Allmahuráin (with Martin Hayes) – “Traditional Music from
Clare and Beyond.” Tara 3019, Davy
Spillane - “Atlantic Bridge” (1987. Appears as part of “Tribute to Johnny
Doran”).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Garret
Barry’s (Jig)
M:6/8
L:1/8
K: D mix
|: DEF G2G | AGE c2c | dcA d2e | fed cAG | F2F GFG |
AGE cde | dcA GEA |1 DED A,B,C, :| 2 DED D3 ||
dcA d2e|fed (3efg e|dcA c2d|efd ecA|
dcA d2e|fed (3efg e|dcA GEA|DED D3||
X2
T:Garret
Barry’s
M:6/8
L:1/8
R:Jig
S:Kevin
Burke
Z:AK/Fiddler’s Companion
K:D Dorian
DCD ~G3|AGA
c2A|dcA d2f|{g}fed cAG|~F3 ~G3|
AGA cde|dcA
GEA|1~D3 A,3:|2 ~D3 D2z||:dcA d2e|
(3fga
f (efe)|dcA c2d|egc ecA|dcA d2e|(3fga f
(efe)|
dcA GEA|1
~D3 D2z:|2 ~D3 A,3||
GARRET BARRY’S MAZURKA. AKA and see “Sonny’s Mazurka.”
Claddagh 4CC 32, Willie Clancy – “The Pipering of
Willie Clancy, vol. 1” (1980).
GARRETT BARRY’S REEL. AKA and see “Dennis
Murphy’s (Reel) [1],” “Mr. McLeod’s.” AKA
– “Dennis Murphy’s Miss McLeod’s.” Irish, Reel. G Major. Standard tuning.
AABB. Garrett Barry (1847-1899) was a
blind piper from Inagh, County Clare, who died in the Ennistymon Poor House around
the year 1900, “whose memory is very much alive in the locality to the present
day” (Mitchell). It is said that it was Barry’s habit to pair this tune with
the “Virginia Reel [6].” Source for notated version: piper Willie
Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No.
23, pg. 42. Green Linnet SIF 1157, “John Williams.”
Music at Matt Molloy’s. Green Linnet SIF 3111, The Bothy Band – “Live at the
BBC, ’76, ’78.” GlobeStyle: CDORBD 084, Pat Mitchell – “Gentlemen Pipers”
(1994). Topic: 12TS294 (Ossian 71), Pat Mitchell – “Uilleann Pipes” (1976).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Garrett Barry’s Reel
R:reel
N:A version of “Mrs. McLeod’s”. See
also #491, #55
D:Music at Matt Molloy’s
Z:id:hn-reel-663
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:G
~G3e dGBd|edBe dBA2|~G3B dG
(3Bcd|AEE2 GED2|
~G3B d2Bd|edcB cdeg|edcB cde2|1 gedB
AGEF:|2 gedB agef||
|:~g3b agf2|edBe dG (3Bcd|g2gb
agf2|eaag agef|
~g2bg agf2|edBe dG (3Bcd|edcB c2ef|1
gedB age2:|2 gedB AGEF||
GARRICK'S DELIGHT. English, Hornpipe. B Flat Major. Standard tuning. AAB. Perhaps a
reference to the English thespian and theater manager David Garrick. Carlin (Master Collection), 1984; No. 23, pg.
25.
GARRY HILLS. Scottish, March (2/4 time). A
Major. Standard tuning. AB. Morison (Highland
Airs and Quicksteps, vol. 1), c. 1882; No. 30, pg. 16.
X:1
T:Garry Hills
M:2/4
L:1/8
R:March
S:Morison – Highland Airs and Quicksteps, vol. 1 (c. 1882)
Z:AK/Fiddler’s Companion
K:A
E>E c>B/2A/4 | Bc/e/ cB/A/ |
E>E cB/A/ | A/F/E F>E | EE/E/ cB/A/ | B/c/e cB/A/ |
Bc/d/ cB/A/ | AF/E/ E2 || e>e
c/B/A | e>e c/B/A | e>e c/B/A |
cB/B/ Bc/d/ | e>e c/B/A | BA/B/
cB/A/ | B/c/d cB/A/ | A/F/E E2 ||
GARRYOWEN (Garad-Eogan Le Atrugad). AKA ‑ "Garry/Gary
Owen." AKA and see "Auld Bessy,"
"Battle of Limerick," "The
Bivouac (of the Dead)," "Bosom
that Beats," "Daughters of Erin," "Finnegan's Dream," "Hurrah for the Women of
Limerick," "Let Bacchus' sons not be
dismayed," "O! Friendship will smile,” "The Scotch Laddie," “Walk of the Twopenny Postman,”
"We May Roam Thro' This
World." Irish (originally), Scottish, English; Jig and (in England)
North‑West Morris Dance Tune. G Major (most versions): F Major (Gow,
Harding): A Major (Kerr, Plain Brown): D Major (O’Farrell, Russell).
Standard tuning. One part (Russell): AAB (Gow): AABB (most versions): AABB' (S.
Johnson, Phillips): AABBCCDDEE (Kennedy). "Garryowen," the name of a
suburb of Limerick, was written c. 1770‑1780 in honor of the moneyed
young hooligans who ran riot in the Irish county at the time. Garryowen
translates as “Owen’s garden” and it was a general rendezvous for those with
leisure time on their hands, situated on the slope of a hill in what was then
the outskirts of the city of Limerick. The elderly drank together under the
shade of trees, while young people sported with ball games and athletic
contests on the green. It was a well-known trysting place. Later Owen’s Garden
became the scene of darker assignations, and began to acquire a reputation for
high spirits, more abandoned drinking, fighting, and vandalism. According to
old texts, the ‘young gentlemen’ amused themselves with parties at night in
which the heads of geese were wrung, followed by vandalism where street lamps
would be broken, watchmen assaulted, local homeowners harassed and passers-by
accosted. The local goose population
was especially hit hard. At some point one wag composed the following verses, which
entered tradition:
***
Let Bacchus’ sons be not dismayed
But join with me, each jovial blade
Come, drink and sing and lend your aid
To help me with the chorus:
***
Chorus:
Instead of spa, we'll drink brown ale
And pay the reckoning on the nail;
No man for debt shall go to jail
From Garryowen in glory.
***
We'll beat the bailiffs out of fun,
We'll make the mayor and sheriffs run
We are the boys no man dares dun
If he regards a whole skin.
***
Our hearts so stout have got no fame
For soon 'tis known from whence we came
Where'er we go they fear the name
Of Garryowen in glory.
***
Samuel Bayard finds the earliest
printed appearance of the tune in James
Aird’s 1787 Collection under the
title "Auld Bessy.” According to the Fleischmann anthology,
however, the first printed occurence appears to be in Edward Light's Introduction
to Playing the Harp-Lute & Apollo-Lyre (London c. 1785) as "Cory
Owen." A jig called “Newmarket [1],”
from Northumbrian piper John Peacock, appears in his 1805 collection, basically
the first part of the “Garryowen” tune with sets of variations. This northern
English version predates Peacock’s collection though, as it appears in the
music manuscript collection of James Biggins, of Leeds, England, dated 1779. Another early Irish printing is in
O’Farrell’s Pocket Companion. After
its use in a pantomime called Harlequin
Amulet, produced in 1800, the jig gained great popularity as a fife and
fiddle tune. It is sometimes (mistakenly) attributed to ‘Jackson of Cork’, a
reference to the famous 18th century uilleann piper and composer
Walter “Piper” Jackson. Doolin, north County Clare, tin whistle player Micho
Russell described it as a “very old jig,” often played for the dance called the
‘plain set’ in Clare and surrounding Irish counties.
***
Military use of “Garryowen” as a march tune was quite early. The melody was the designated regimental march of the Royal Irish Regiment, organized in 1684 from Irish pikemen and musketeers by the Earl of Granard to fight for King William or Orange in the Williamite Wars (although its adoption may not date from that era). This unit distinguished itself at the Battle of Namur (Netherlands) in 1695 during the War of the Grand Alliance, where a grateful William granted them the title of "The Royal Regiment of Foot of Ireland.” Additionally, in recognition of its deeds on this occasion, King William conferred the right of displaying the badge of the Harp and Crown, and that of the Lion of Nassau, with the explanatory legend.
***
The tune was adopted as a marching
air in the United States by Irish immigrants who formed units in their adopted
country in the mid-19th century, and from there it probably found
its way into more general use in the American military. For example, the famous
“Fighting 69th” Infantry was first organized as a New York City
militia unit early in 1851, known locally as the Second Regiment of Irish
Volunteers. They chose “Garryowen” as their official regimental marching song.
Since the regiment saw much active and intense duty in the Civil War it is
natural to assume that its marching song was well-known in the Army of the
Potomac. “Garryowen” was also adopted as a favorite marching air by General
George Custer's 7th Cavalry, an association which helped to popularize the jig
throughout country following Custer’s demise. Custer was one of the youngest
Generals in the Civil War, where he made his mark, and may have well been
familiar with “Garryowen” during that conflict. Another suggestion has:
"It had been said that the 7th acquired the song through Captain Miles
Keogh, an Irishman and a former member of the Papal Guard, but it seems
unlikely that (its American use) can be ascribed to a particular person, since
'Garryowen' appeared in a number of Civil War songsters, and was therefore
presumably well known to any number of American soldiers in 1861‑1865 ‑‑
dates preceding Keogh's association with the 7th" (Winstock, 1970; pgs.
102‑104). The 7th Regimental history gives that Custer heard
the tune sung by Irish troopers who employed it as a drinking song. He liked
the cadence, and soon began to hum the tune himself, perhaps because it
“accentuates the cadence of marching horses.” It was adopted as the regimental
song soon after Custer arrived at Fort Riley, Kansas, to take over command of
the unit. “Garryowen’s” associations with cavalry units in the American West
survived to the mid-20th century, and gained added currency when
director John Ford used it as one of the musical themes in his acclaimed film
“The Searchers,” starring John Wayne. “Garryowen” became the Official Song of
the American 1st Calvary Division in 1981.
***
The melody was cited as having
commonly been played at Orange County, New York country dances in the 1930's
(Lettie Osborn, New York Folklore
Quarterly) and it was used as a tune for a single step in the English North‑West
morris dance tradition. Queen Victoria requested the tune of piper Thomas Mahon
(along with “St. Patrick’s Day” and “Royal Irish Quadrilles”) during her first
visit to Ireland in 1849, and the piper was thus “surprised when he learned
that not only the Queen, but the Prince Consort was familiar with the best gems
of Irish music” (O’Neill, 1913). His performance pleased the Queen and she
directed that he might thenceforth bear the title “Professor of the Irish Union
Bagpipes to Her Most Gracious Majesty, Queen Victoria.” Thomas Moore used the
melody for one of his songs.
***
Source for notated version: a c.
1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire,
England [Plain Brown]. Adam, 1928; No. 26. Aird (Selections), vol. 3, 1788; No. 600 (appears as "Auld
Bessy"). American Veteran Fifer,
1902; No. 59. Carlin (The Gow Collection),
1986; No. 502 (appears as "Gary Owen"). Cole (1000 Fiddle Tunes), 1940; pg. 63. Ford (Traditional Music in America), 1940; pg. 118. Gow (Complete Repository), Part 2, 1802; pg.
30. Harding's Original Collection,
1928; No. 7. Harding's All‑Round,
1905; No. 187, pg. 59. Howe (Diamond
School for the Violin), 1861; pg. 49. Jarman (Old Time Fiddlin' Tunes), No. or pg. 16. S. Johnson (The Kitchen Musician No. 4: Collection of
Fine Tunes), 1983 (revised 1991, 2001); pg. 12. Kennedy (Jigs
& Quicksteps, Trips & Humours), 1997; No. 50, pg. 13. Kerr (Merry Melodies), vol. 1; No. 17, pg. 37. Mattson & Walz (Old Fort Snelling Instruction Book for the
Fife), 1974; pg. 61. O’Farrell
(Pocket Companion), c. 1805; pg. 7.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 971, pg. 180. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 1001, pg. 172 (includes
variations). Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 365 (appears as "Gary
Owens"). Plain Brown Tune Book, 1997; pg. 53. Robbins, 1933; No.
69. Russell (The Piper’s Chair),
1989; pg. 23. Ryan’s Mammoth Collection,
1883; pg. 94. Saar, 1932; No. 5. Sweet (Fifer’s
Delight), 1964/1981; pg. 22. Trim (Thomas
Hardy), 1990; No. 52. Wade (Mally’s
North West Morris Book), 1988; pg. 4. Winstock (Music of the Redcoats), 1970; pg. 103. Edison
50870 (78 RPM), Joseph Samuels, 1919 (appears as 1st tune of "St.
Patrick's Day Medley"). Maggie’s Music MM220, Hesperus – “Celtic Roots.” PearlMae Muisc 004-2, Jim
Taylor – “The Civil War Collection” (1996).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Cary Owen (sic)
M:6/8
L:1/8
R:Jig
S:Gow – 2nd Repository
(1802)
Z:AK/Fiddler’s Companion
K:F
f|~fcB ~AGF|A>BA A2f|~fcB
~AGF|GAG G2f|~fcB ~AGF|
ABA A2d|c>de f2A|GAG G2:|
A/B/|(A/B/c)A ~c2A|c2A c2f|d2B d2B|d2B
d2e|f2g {fg}a2g|f2d c2A|
cde f2A|GAG G2 A/B/|{AB}c2A
{AB}c2A|{AB}c2A c2f|d2B d2B|
d2B d2e|f2g {fg}a2g|f2d c2A|cde f2A
GAG G2||
X:2
T:Garryowen
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 1001
Z:AK/Fiddler’s Companion
K:G
g/f/|edc BAG|B>cB Bgf|edc BAG|ABA
Agf|edc BAG|B>cB B2 B/c/|def gdB|A>BA A2:|
|:B/c/|d2B d2B|dec dgf|e2c e2c|efd
e2f|g2a b2a|gfe edB|def gdB|A>BA A2:|
|:g|e/f/ge dBG|BGB Bgf|e/f/ge
dBG|AFA Agf|e/f/ge dBG|BGB BAB|def gdB|ABA A2:|
|:B/c/|dBg dBg|dBg d2g|ecg dcg|ecg
e2f|g2a b2a|gfe dcB|def gdB|ABA A2:|
|:B/c/|d2B g2B|b3 bag|f2g a2b|c’ba
gfe|d2B g2B|b3 bag|def gdB|ABA A2:|
|:c/B/|A2B c2c|B2c d2d|e/f/gd
gbd|e/f/gd e2f|g2d b2d|gfe dcB|def gdB|ABA A2:|
X:3
T:Cory Owen (sic)
M:6/8
L:1/8
S:Button & Whitaker’s Selection of Dances, Reels, Waltzes No. 1 (undated, early 19th S:century)
Z:AK/Fiddler’s Companion
K:G
g/f/ | edc BAG | B>cB Bgf | edc BAG | [F>A>][GB][FA] [F2A2]g/f/ |
edc BAG | B<cB B2d | def g2 [GB] | [F>A>][GB][FA] [F2A2] :|
|: c | B/c/dB B/c/dB | B/c/dB d2g | c/d/ec c/d/ec | c/d/ec e2f |
g2a
b2a | g2e edB | def [B2g2] [GB] | [F>A>][GB][FA] [F2A2] :|
GARSCUBE HOUSE. Scottish, Strathspey. B Flat Major. Standard tuning. ABB. Composed by
"A Lady" (Gow). Garscube House was a manor in Glasgow, situated on
the River Kelvin. In Gow’s time it was the seat of Sir Ilay Campbell
(1734-1823) of Succoth, 1st Baronet, and his wife Susan Mary Murray,
whom he married in 1765. Garscube Houe was replaced by another mansion in 1827
designed by architect William Burn (1789-1870) in the style of an Elizabethan
manor and survived into the 1950’s. Carlin (The
Gow Collection), 1986; No. 61. Gow (Fourth Collection of Niel Gow’s
Reels), 2nd ed., originally 1800; pg. 13.
X:1
T:Garscube House
M:C
L:1/8
R:Strathspey
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:Bb
B|F<BD<B
F<(B,B,)F|E>GF>D E(CC>)B|F<BD<B F(B,B,)F|E<G”tr”F>E
D(B,B,)B|
F<BD<B
F>(B,B,>)F|E<G”tr”F>D ECCD|B,>DFG B>FGg|fB”tr”f>e d(BB)||
d/e/|f<Bf>d
d(cc)d/e/|f<Bf>d f<Bb>g|f<Bf>d d(cc)d/e/|f<ed>c
dBBd/e/|
f<Bf>d d(cc)d/e/|f<Bf>d
f<Bb>g|f<Bf>d d(cc)d/e/|f/e/.d/.c/ “tr”B>A B(B,B,)||
GARSTER'S DREAM. Shetland, Jig. G Major. Standard tuning. AABB. This tune is known as a
Trowie (Fairy) tune from the Shetland Island of Fetlar (which means 'the fat
isle'), which was heard by a man named Garster in a dream (or, as another
version has it, coming from a hole in the ground) while resting by a Trowie
Knoll when he was coming home from a wedding. The tune was first noted by J.T.
Hoseason in December, 1862, and his version includes "hesitations,"
which may indicate that this tune, like some other Shetland tunes, was actually
played in a rhythm somewhere between 2/4 and 6/8. The tune is still popular
today, though in strict jig time (Cooke, 1986). The tune appears in J. Hoseason's Manuscript and the
Shetland Folk Society's Da Mirrie Dancers.
Anderson & Georgeson (Da Mirrie
Dancers), 1970; pg. 12. Anderson (Ringing
Strings), 1983; pg. 28. Cooke (The
Fiddle Tradition of the Shetland Isles), 1986; Ex. 26 (a and b), pg. 76. Shanachie 79002, "The Boys of the Lough" (1973).
X:1
T:Garster’s Dream
M:6/8
L:1/8
R:Jig
S:Jay Ungar
K:G
DEF | [G,2G2]B BAB | cdc BAG | FGA
AFA | AdB AF(D |
G2)B BAB | cdc BAG | F2D DEF |
[G,3G3] :|
|: def |g2g gdB | A2A AGE | g2g gdB
| d2d def | g2g gdB |
AcB AGE | G2 E DEF | [G,3G3] :|
GARTAN LULLABY. AKA – “Gartan Mother’s Lullaby.” Irish, Air or Waltz. D Major. Standard
tuning. One part. Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 3, No. 68. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 140. Tradition TLP 1024, Mary
O'Hara – “Songs of Ireland” (1958).
GARTER, THE. AKA and see "King James's March," "James the Second's March,"
“Jenny, Come Tie My Cravat [1].”
GARTHLAND('S). Scottish, Strathspey; English,
Reel. England, North‑West. G Major. Standard tuning. AB (Cole, Knowles,
Skye): AAB (Athole, Gow, Hunter): AABB' (Kerr). Composed by James MacDonald, a
contemporary of Niel Gow who earned his living playing and composing. The present
seat of the MacDowall clan is at Barr Castle, Garthland, Lochwinnoch,
Renfrewshire, Scotland, and the caput baroniae is at Garthland Mains on the
Rhinns of Galloway. The melody also appears in the 1840 music manuscript
collection of Cumbrian musician John Rook. Cole (1000 Fiddle Tunes), 1940; pg. 125. Gow (The Second Collection of Niel Gow’s Reels), 1788; pg. 1. Hunter (The Fiddle Music of Scotland), 1988; No.
77. Kerr (Merry Melodies), vol. 2;
No. 110, pg. 14. Knowles (Northern Frisk),
1988; No. 76 (appears as "Garthland"). MacDonald (The Skye Collection), 1887; pg. 86. Ryan’s Mammoth Collection, 1883; pg.
165. Stewart-Robertson
(The Athole Collection), 1884; pg.
174.
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:Garthlands
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
D | G2 B>G B<d g2 | G2 BA/G/ F<A A>B | G2 B>G B<d g2 | c<A BA/G/ D<GG :|
d/c/ | B<d d>g ag/f/ g2 | B<G d>G F<A Ad/c/ | B<d d>g ag/f/ g2 | c>A de/c/ B<G Gd/c/ |
B<d d>g ag/f/ g>c | B<G d>G F<A AB/c/ |
d>cB>A B>G F>E | F<D de/c/ B<GG ||
X:2
T:Garthland’s
Strathspey
M:C
L:1/8
R:Strathspey
S:Gow – Second Collection of Strathspey Reels
(1788)
Z:AK/Fiddler’s Companion
K:G
D|G2 BG B<d g2|G2 {c}BA/G/ FAAB|G2 BG B<d g2|c<A {c}BA/G/ DGG:||
d/c/|Bddg {b}ag/f/ “tr”g2|B<G d>G FA Ad/c/|Bddg {b}ag/f/ “tr”g2|cA de/c/ B(G G)d/c/|
Bddg {b}ag/f/ g>c|B<G d>G F(A A)B/c/|{e}d>cBA .B(G.F>E)|FD de/c/ BGG||
X:3
T:Garthlands, The
M:C
L:1/8
R:Strathpsey
S:John Rook’s music manuscript collection (Cumbria, 1840)
K:G
D|”tr”G2 c/B/A/G/ B<d “tr”g2|G2 c/B/A/G/ FAAB|G2 BG B<d g2|(e/d/c/B/)
c/B/A/G/ DG G:||
d/c/|Bddg b/a/g/f/ “tr”g2|.BG.dG FA Ad/c/|Bddg b/a/g/f/ g2|cA d/e/d/c/ BG Gd/c/|
Bddg b/a/g/f/ gd|B>Gd>G FA AB/c/|d>cB>A B>GF>E|F>D de/c/ BGG||
GARTHLAND HOUSE. Scottish, Strathspey. B Flat Major. Standard tuning. AAB. Composed by Robert 'Red Rob' Macintosh, according
to MacDonald. MacDonald (The Skye
Collection), 1887; pg. 193. Petrie (Collection
of Strathspey Reels and Country Dances), 1790; pg. 19.
X:1
T:Garthland House
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:Bb
D/E/ | F>G F<D B,D/E/ FD |
F>G F<D G/F/E/D/ CD/E/ | F>G F<D F>G B>c|
dB e/d/c/B/ FBB :| g | fB e/d/c/B/
F>BD>B | fB e/d/c/B/ gccg | fB e/d/c/B/ F<BD<B (A/B/c) Fe dBBg |
fB e/d/c/B/ FBDB | fB e/d/c/B/
g>cc<e | d<fe<g d<f c>d | F>GB>c dBB ||
X:2
T:Garthland
House Strathspey
C:Robert
Petrie (?)
%MacDonald
in The Skye Collection attributes this tune to R. Macintosh -SW
S:Petrie's
Collection of Strathspey Reels and Country Dances &c., 1790
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's First Collection, page 19
L:1/8
M:C
R:Strathspey
K:Bb
D/E/
| F>GF<D B,D/E/ FD | F>GF<D G/F/E/D/ CD/E/ | F>GF<D
F>GB>c | dB e/d/c/B/ FBB :|
g
| fB e/d/c/B/ F>BD>B | fB e/d/c/B/ gccg | fB e/d/c/B/ F<BD<B |
(A/B/c) Fe dBBg |
fB
e/d/c/B/ FBDB | fB e/d/c/B/ g<cc<e | d<fe<g d<fc<d | F>G
B>c dBB |]
GARTH’S FIRE-SIDE. Scottish, Reel. G Dorian.
Standard tuning. AABB. Composed by Robert
Petrie (1767‑1830), a native of Kirkmichael, Perthshire, who was
employed as a gardener at Troup House. He was an excellent fiddler and had a
reputation as a profligate and non‑conformist, but is reputed to have won
either a 'silver bow' or a cup (depending on the story) at a competition at
Edinburgh in 1822. There is no evidence that the prize ever appeared in Kirkmichael,
however. Petrie composed many tunes and published four collections in his
lifetime. “Garth’s Fire-Side” appears in his Fourth Collection of Strathspeys, Reels, Jiggs and Country Dances
(Edinburgh, 1805). The title perhaps refers to Garth House, a mansion on the
left bank of the River Lyon, at the eastern end of Glen Lyon in Perth and
Kinross. It was the birthplace of Major-General David Stewart (1772-1829),
Governor of St. Lucia and author of Sketches
of the Highlanders, and later owned by Sir Archibald Campbell (1769-1829).
After Petrie’s day, in 1838, it was rebuilt into a gothic style mansion. S. Johnson (A Twenty
Year Anniversary Collection), 2003; pg. 21.
X:1
T:Garth’s Fire-Side
M:C|
L:1/8
R:Reel
C:Robert Petrie (1767-1830)
S:Petrie – 4th Collection (1805)
K:Gmin
G2 BG (B/c/d) BG|F2 AF A/B/c AF|G2
BG (B/c/d) BG|A^FDF G2G2:|
|:g^fgd Bcde|fefc ABcA|g^fgd
BcdB|cAFA G2G2:|
GARVAGH! ITS A PRETTY PLACE, SURROUNDED WELL WITH TREES. Irish, Air (6/8 time). F Major.
Standard tuning. AB. Stanford/Petrie (Complete
Collection), 1905; No. 842, pg. 210.
X:1
T:Garvagh! It’s a pretty place,
surrounded will with trees
M:6/8
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 842
Z:AK/Fiddler’s Companion
K:F
F | B2B A2F | G2F D2F | G2 F {F}G2B
| B3 B2 || B/c/ |
d2d d2c | c2BA2 {c}B | A2F {A}G2F |
F3 F2 B/c/ |
d2d dcB | c2B A2B | A2F {A}G2F | F3
F2 F |
B2B A2F | G2F D2F | G2F FGB | B3 B2
||
GARY JOHNSTON DOWN HOME RAG. Rounder 0436, Ruth
Hawkins Rachel – “Traditional Fiddle
Music of the Ozarks, vol. 2: On the Springfield Plain.”
GARY OWEN(S). See "Garryowen."
GAS LIGHTS. English, Jig. D Major. Standard
tuning. AABB. Gas lights in London were first publicly lit in Pall Mall, on
January 28th, 1807, although it took some time for the rest of the
city to be fitted with the fixtures. By 1823 most of the cities in Britain had
gas lighting. Goulding (Twenty Four Country Dances for the Year 1808),
1808; No. 22.
X:1
T:Gas Lights
M:6/8
L:1/8
R:Jig
B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)
N:”With proper Tune & Directions to each Dance (as they may be
N:performed at Court, Bath, and all Public Assemblys.”
Z:Transcribed and edited by Flynn Titford-Mock
Z:abcs’s:AK/Fiddler’s
Companion
K:D
D|F2F FED|A2A AGF|BdB AFA|B3 d3|F2F
FED|A2A AGF|GBG FAF|E3 D2:|
|:A|d2e fdB|c2d ecA|dcB AFA|B3 d3|F2F FED|A2A AGF|GBG FAF|E3 D2:||
GASPÉ REEL [1] (Reel de Gaspé). AKA and see "Apex
Reel." French-Canadian, Reel; New England, Polka. D Major ('A' and 'B'
parts) & A Major ('C' part). Standard tuning. AB (Silberberg): AABB (Miller
& Perron, Sweet, Welling): AA'BB' (Phillips): AABBCCBB (Brody):
AA'BB'CA"A"'B"B"' (Begin). Named for Québec's picturesque
Gaspé Peninsula, which forms the east bank of the St. Lawrence River as it
spills into the Atlantic. The 'C' part is actually a strain of "Money Musk." Louis Beaudoin (Burlington,
Vt.) learned the first two parts of the tune from a friend named Joe Danis, but
heard the three-part version from Fortuna Vachon (Thetford Mines, Québec), and
added the third (“Money Musk”) part. Sources for notated versions: fiddler Pete
Sutherland (Vt.) [Phillips]; Isidore Soucy via French-Canadian button accordion
player Philippe Bruneau (Québec) [Begin]; accordion player Laurie Andres
[Silberberg]. Bégin (Philippe Bruneau),
1993; No. 58, pg. 86. Brody (Fiddler’s
Fakebook), 1983; pg. 116. Laufman (OK
Ladies and Gentlemen, Lets Try a Contra), 1973; pg. 9 (appears as
"Apex Reel" {Apex is the name of a Canadian recording company,
printed on the label of an otherwise unidentified version of the tune}). Miller
& Perron (101 Polkas), 1978; No.
57. Miller & Perron (New England
Fiddler’s Repertoire), 1983; No. 155. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 94.
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 50. Sweet (Fifer’s Delight), 1964/1981; pg. 61.
Welling (Hartford Tunebook), 1976;
pg. 16. Beet 7003, "Wretched Refuse." Front
Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer." Kicking
Mule 209, Henry Sapoznik‑ "Melodic Clawhammer Banjo." Philo
2000, "Louis Beaudoin" (1973. First two parts learned from fiddler
Joe Danis).
X:1
T:Gaspé Reel [1]
M:C|
L:1/8
K:D
f2ef e2d2|FA FA B2A2|g2fg f2e2|BA Bc B2A2|
f2ef e2d2|FA FA B2A2|g2fg f2e2|B2c2d4:|
e2f2g3e|f2g2a4|e2f2g2e2|BA Bc B2A2|e2f2g3e|
f2g2a4|e2f2gfe2|B2c2d4:|
X:2
T:Gaspé Reel [1]
M:4/4
K:D
f3f2e2d2 | F2A2B2A2 | g2fgf2e2 | BABc (3BcB A2 | f3fe2d2 | F2A2B2A2 | g2fgf2e2 | B2c2d 4:||
c2d2e4
|d2e2f4| c2d2e4 | BABc (3BcB A2 | c2d2e4 | d2e2f4 | g3fe2d2 | B2c2d4 :||
GASPÉ REEL [2] (Reel de Gaspe). French-Canadian, Reel. D Major. Standard
tuning. AA'BB'. No relation to "Gaspé Reel [1]." Cuillerier (Joseph Allard), 1992; pg. 15. Bluebird B-4935-a (78 RPM), Joseph Allard.
X:1
T:Reel de
Gaspe [2]
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:D
FE|DFAF
DFA,D|FDAF GEEG|FAdA FAdf|edcB AGFE|!
DFAF
DFA,D|FDAF GEEG|FAdA FAdf|ecAc d2:|!
|:cd|ecAc
EAce|fdAd FAdf|gfeg fedf|edcB ABcd|!
ecAc EAce|fdAd FAdf|gfeg fedf|ecAc
d2:|!
GASTON. American, Reel. The melody is printed in George P. Knauff's Virginia Reels, volume IV (Baltimore,
1839).
GASÚR A THUG LEADRADH
DÁ ATHAIR, AN. AKA and see "The Gossan that beat his father."
GASÚR MOR, AN (The Big Young Lad). AKA and see “Dwyer’s Hornpipe [2],” “McConnell’s,” “O’Dwyer’s Hornpipe [1],” "Prine's/Prime’s Hornpipe,” “Rock’s Hornpipe,” “Waterford Hornpipe [1]."
Irish, Hornpipe. Ireland, County Donegal. In the repertoire of fiddler John
Doherty who (according to Caoimhin Mac Aoidh) derived great fun in translating
the title into English for non-Gaelic speakers as "The Big Wee Lad."
Recorded by Altan.
GATE TO GO THROUGH. AKA and see "Granny, Will Your Dog
Bite? [1]" Old‑Time,
Song and Breakdown. USA, Kentucky. G Major. Standard tuning. AAB. The song is a
variant of the song known in northern Kentucky as "Granny Will Your Dog
Bite?", originally recorded in 1932 by the Jimmie Johnson String Band of
Carroll County, north-central Kentucky.
***
Open the gate and walk on through,
He's a fine old dog and he won't bite you.
***
The recording sold a sum total of 99
copies, having been recorded during the depression years when money for a phonograph
record was extremely dear. See also the related “Pretty Little Girl
with the Blue Dress On,” and “Who’s Been Here Since
I’ve Been Gone.” Source for notated version: fiddler Andy Palmer with
Jimmie Johnson's String Band [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 94. Morning Star 45003, Jimmie Johnson String Band ‑
"Wink the Other Eye: Old‑Time Fiddle Band Music from Kentucky, vol.
1" (1980).
GATEHOUSE MAID [1], THE (Ainnir Tí an Gheata). Irish, Reel. A Dorian. Standard
tuning. AB. Paddy Killoran (1904-1965), originally from Ballymote, County
Sligo, recorded the tune in November, 1937, in New York for Decca Records,
pairing it (as the second tune) with “Down
the Broom.” The medley is still a common one played in modern Irish music
sessions. “Gatehouse Maid” has been called part of the core South Sligo
repertoire. Sources for notated versions: piper John McAloon, 1968 (Co.
Fermanagh and Belfast, Ireland) [Breathnach]; accordion player Johnny O’Leary
(Sliabh Luachra region of the Cork-Kerry border) [Moylan]; Gus Collins (Bronx,
N.Y.) [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill,
Co. Galway, in 1926 [Harker]. Breathnach (CRÉ
II), 1976; No. 233, pg. 119. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 35. Harker (300 Tunes from Mike Rafferty), 2005; No. 145, pg. 44. Moylan (Johnny O’Leary), 1994; No. 302, pg. 174.
Mulvihill (1st Collection),
1986; No. 45, pg. 12. Coleman Center CD CC004, Seamus
Quinn & James McDonagh – “The Mountain Road” (1999. Various artists. “A
Compilation of tunes popular in South Sligo”). Decca 12145 (78 RPM), Paddy
Killoran (1937). Philo 1051, Boys of the Lough ‑ "Good Friends, Good
Music" (1977).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Gatehouse Maid, The [1]
R:Reel
D:Planxty: After the Break
D:Irish Dance Music (ed. Reg Hall)
D:Joe Flanagan 1925
Z:id:hn-reel-329
Z: transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Ador
A2 (3Bcd edBA|~G3A GED2|A2 (3Bcd
edBd|1 egdB BAdB:|2
egdB BAA2||a2ea agef|g2dg egdg|a2ea
agab|gedB BA A2|
~a3b agef|~g3a g2ge|dega (3bag
ab|gedB BAAG||
“Version 2”
K:A mix
A2 (3Bcd edBA|G2BG dGBG|A2 (3Bcd
edBA|BEED EAA2|
A2 (3Bcd edBA|~G3F GABc|A2 (3Bcd
edBA|BEED EA A2||
eaag eaag|efgf efgf|eaag eaag|edef
ged2|
ea~a2 baag|edef ged2|ea~a2 baag|edef
gedB||
GATEHOUSE MAID [2], THE. Irish, Reel. G Major. Standard tuning. AB: AABB (McGuire & Keegan). Source for notated version: obtained by fiddler Séan McGuire from his father Jack (County Cavan), a piccolo, flute and tin whistle player [McGuire & Keegan]. McGuire & Keegan (Irish Tune by the 100, Vol. 1), 1975; No. 59, pg. 15.
X:1
T:Gatehouse Maid, The [2]
S:As played by Niall Kenney, flute player
N:From a session tape
Z:Nigel Gatherer <gatherer@argonet.co.uk>
M:4/4
L:1/8
R:Reel
K:G
G2 BG EFGE | FDFA dAFD | G2 BG EFGA | BcBA GFEF | G2 BG EFGE |
FDFA dAFD | G2 BG EFGA | BcBA G2 || eB (3BBB efge | fede fagf |
eB (3BBB efge| fagf (3efg f2 | eB (3BBB efge | fede fagf | eB (3BBB cBAG | d2 de fdAF|]
GATEMOUTH. AKA and see "Get It Right,"
"Mamma's Baby Boy," "Pork
Chops Rag." Old‑Time. USA, Louisiana. Harry Smith (1952)
identifies this as a regional Louisiana tune known by a variety of titles.
GATES OF DERRY, THE. AKA and see “No
Surrender.” AKA - "Old Derry March." Irish, Set Dance (6/8 time).
D Major. Standard tuning. AABB. Allan's
Irish Fiddler, No. 116, pg. 30.
GATES OF EDINBURGH, THE. Scottish, Reel. F Major. Standard tuning.
AABB. Gatherer (Gatherer’s Musical Museum),
1987; pg. 9. Rutherford, Rutherford's
Complete Collection.
GATES OF MULLAGH, THE. Irish, Reel. G Major. Standard
tuning. AABB. Composed by Mullaghbawn, County Armagh, fiddler and piano player
Josephine Keegan (b. 1935). The Gates of Mullagh is a famous crossroads in
County Cavan. Keegan (The Keegan Tunes), 2002; pg. 20.
GATES OF THE YELLOW
TOWN, THE (Geaftai Bhaile
Buí). Irish,
Slow Air (4/4 time). Ireland, Northern Ireland. G Major. Standard tuning. One
part. According to Ó Canainn (1978) this is one of the great songs of the
northern Irish tradition. It is in the sean-nos
repertoire and is in the form one of a complaint about women and the trouble
they give to men. Interestingly, Harry O’Prey points out that one line of the
song goes:
***
Focal ar bith mná, ní chreidfidh mé go bráth,
Mur' bhfá' mise scríobhtha 'mBéarla é"
***
Meaning: “I will never again believe
any promise from a woman unless I get it written in English.” He says: “The
reference to English is, of course, due to its being the only language
acceptable to officialdom in Ireland, thus carrying with it all the power and
influence of the State. The same promises in Irish would not have been worth
the paper they were written on.” O’Boyle/Ó Baoill (Ceolta Gael/Songs of the Gael), Mercier Press, Dublin,1975; p.56. Ó
Canainn (Traditional Slow Airs), 1995; pg. 15.
GATHER ‘ROUND THE FIRE. AKA and see “Tom Sullivan’s.”
GATHER UP THE MONEY. Irish, Jig. E Major/Mixolydian. Standard tuning. AAB. Petrie notes:
“the Petticotee dance and song tune.” Source for notated version: “Richard
Morrison, Esq.” [Stanford/Petrie]. Standford/Petrie (Complete Collection), 1905; No. 881, pg. 221.
GATHER YE ROSEBUDS. English, Air (4/4 time). G Mixolydian. Standard tuning. AB. The air was
composed by Willaim Lawes and appears in Playford's Ayres and Dialogues (1659) and Introduction
to Music (1660); Musick's Delight on
the Cithren (1666), and Musical
Companion (1667). The words are by Herrick and are addressed "To the
Virgins, to make much of Time"; it was popular in its time. Chappell (Popular Music of the Olden Time), vol.
1, 1859; pg. 196.
X:1
T:Gather Ye Rosebuds
M:C
L:1/8
R:Air
S:Chappell – Popular Music of the Olden Times (1859)
Z:AK/Fiddler’s Companion
K:Gmix
d2 dd d3c | B2 A>G G3B | B3 A GA Bc | d2 d6 ||
A2AB
c3d | e2 dc B3c | d2 cB A3G | G2 G6 ||
GATHERING, THE.
Scottish, Reel. G Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 13.
X:1
T:Gathering, The
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 13
(1852)
Z:AK/Fiddler’s Companion
K:G
GGGG (B/4c/2<d) BG | GGGG
(F/4G/2<A) FD | GGGG (B/4c/2<d) BG | (c/4d/2<e) (A/4B/2<c) BG G2 |
GGGG (B/4c/2<d) BG | GGGG
(F/4G/2<A) FD | GGGG (B/4c/2<d) BG | (c/4d/2<e) (A/4B/2<c) BG G2 ||
gggd (B/4c/2<d) BG | gggB
(A/4B/2<c) AF | gggd (B/4c/2<d) BG | (c/4d/2<e) A/4B/2<c BG G2 |
gggd (B/4c/2<d) BG | gggB
(A/4B/2<c) AF | gggd (B/4c/2<d) BG | (c/4d/2<e) A/4B/2<c BG G2 ||
GATHERING DILISK. AKA and see “Bold Doherty,” “The Connaughtman’s Rambles [1],”
"Connachtman's Rambles," “The
Duck from Drummuck,” “Mickey the
Moulder.”
GATHERING DILLISK. See “Gathering Dilisk.”
GATHERING OF THE
CAMERONS. English, Pipe Tune. Played by the
pipers of the British 92nd Regiment (The Gordon Highlanders) at the Battle of Maya, 1813, which served to
so innerve the Highlanders that they charged the French, routing them in a
panic. (Winstock, 1970; pg. 139).
GATHERING OF THE CLANS, THE (Cruinniugad Na Cinead). Irish, Air (4/4 time,
"boldly"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 352, pg. 61.
X:1
T:Gathering of the Clans, The
M:C
L:1/8
R:Air
N:”Boldly”
S:O’Neill – Music of Ireland (1903), No. 352
Z:AK/Fiddler’s Companion
K:G
GA|B3d cBAG|E>D (3EFG|A2 Bd|ef/g/
dB {d}cBAG|Bddd d2 GA|B3d cBAG|
E>D (3EFG A2 Bd|ef/g/ dB
{d}cBAG|EGG>A G2||BA|G>A Bc d2 de|
d>B AG g2 ef|gf e/f/g/a/
gfed|Bdef g2 (3def|gfed B2 (3gfe|dBAG A2 Bd|
ef/g/ dB {d}cBAG|EGG>A G2||
GATHERING OF THE
GRAHAMS, THE. AKA and see “The Atholl Highlanders.”
GATHERIN’ O’ THE GUNNS, THE. Scottish,
“Jig Strathspey.” A Major. Standard tuning. AB. Composed by the great Scots
fiddler-composer J. Scott Skinner (1843-1927).
Skinner (Harp and Claymore), 1904;
pg. 110.
X:1
T:Gatherin’ o’ the Gunns, The
M:C
L:1/8
R:”Jig Strathspey”
N:”Merrily”
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
E | E>A (3AGA (3BAB c>A |
A>d (3dcd (3fdf a>f | e>a (3agf (3efd c>A | B>FB>A (3GAF
E>E |
E>A (3AGA (3BAB c>A | A>d
(3dcd (3fdf a>f | (3eca (3ecA B>GB>A | (3GAB (3feG ({G}A2)A ||
c | c>ff>a (3gf^e f>a |
(3gf^e fba (g{b}ag f>c | c>ff>a (3gf^e f>=d | (3cfg (3agf (c’2c’)c
|
c>ff>a (3gf^e f>a | (3gab
(3d’c’b (3bag (3fga | (3bag (3agf (3gab (e’2c’) | (3bag (3agf (e2e’) ||
GATHERING PEASCODS. English, Country Dance Tune (2/2 or 4/4 time). A Major (Barnes,
Karpeles, Raven, Sharp): G Major (Chappell, Johnson). Standard tuning. ABC
(Chappell): AABBCC (Barnes, Johnson, Karpeles, Raven, Sharp). Peascods =
pea-pods. John Brand, in his Observations
on the Popular Antiquities of Great Britain (1849), records the custom of
‘peascod wooing’, along with the tradition of divining love affairs from
pea-pods. This air was first published by Playford in the first edition of his English Dancing Master of 1650. Chappell
(1859) observes that the first four bars are identical with those of "All in a Garden Green," and
that, while the title suggests a ballad was once attached to the tune, no words
have ever been found. Both “Gathering Peascods” and “All in a Garden Green” are
derivatives (along with many other tunes) of the ancient ground “Hunts Up” or
“The King’s Hunts Up,” a melody associated with Henry VIII. Barnes (English Country Dance Tunes), 1986.
Chappell (Popular Music of the Olden Time),
vol. 1, 1859; pg. 301. Johnson (The
Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century),
1997; pg. 8. Karpeles & Schofield (A
Selection of 100 English Folk Dance Airs), 1951; pg. 12. Raven (English Country Dance Tunes), 1909/1984;
pg. 22 & 47. Sharp (Country Dance
Tunes), 1909/1994; pg. 16. Harmonia Mundi 907101, The King's Delight - "17c.
Ballads for Voice and Violin Band" (1992).
X:1
T:Gathering Peascods
M:2/2
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:A
e4 e2e2 | (c3d e2)(e2 | f2e2d2c2 |
B6) c2 | (B2A2) (A2G2) |
A6 z2 | e4 e2e2 | (c3d e2)(e2 |
f2e2d2c2 | B6) c2 | (B2A2) (A2G2) | A6 ||
|:(A2 | G2E2G2A2 | B4) (c2B2 | ABc2)
(B2A2 | G6) (G2 | F2E2F3E | E6 :|
|: (e2 | c2)A2A2 (Bc | d6) (d2| c2)
A2A2 (Bc | d6) (e2 |
c2A2A2 Bc | d3e f2) (ed | c2) (dc
B3A | A6 :|
GATINEAU REEL. French‑Canadian, Reel. F Major. Standard tuning. AABB. Sources
for notated versions: Ben Guillemette (Sanford, Me) [Hinds]; Don Roy [Phillips].
Hinds/Hebert (Grumbling Old Woman),
1981; pg. 16. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 95.
X:1
T:Gatineau Reel
M:C
L:1/8
R:Reel
Z:AK/Fiddler’s Companion
K:F
AB | cagf egfd | (3cdc AF CFAc |
BAGA BcdB | dcAF C2 AB |
cagf egfd | (3cdc AF CFAc | BAGA
Bcde | fcag f2 :|
|: (3ABc | acgc fc=Bc | fdec (3ded
^cd | b=cac gfef | gfed c2 (3ABc |
acgc fc=Bc | df_bf d3d | cega bgeg |
f2 a2 [A2f2] :|
GAUDET POLKA. AKA and see "Calgary Polka."
GAUGER [1], THE (An Túiséara). AKA and see "The High Reel [1]," “Sandy Duff.” Irish, Reel. A Mixolydian. Standard
tuning. AA'BB. Source for notated version: accordion player Finbar Dwyer
(Ireland) [Breathnach]. Breathnach (CRÉ
III), 1985; No. 140, pg. 66. Outlet Records SOLP
1032, Finbarr Dwyer ‑ "Ireland's Champion Traditional
Accordionist" (1977).
GAUGER [2], THE. AKA and see "The
Steampacket." Irish, Reel.
GAUNT MAN, THE. English, Jig. G Major. Standard tuning. AABB.
A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 209.
GAVIN FAMILY, THE. Irish, Reel. A Major. Standard tuning. AB. The
un-named tune was on a tape by the Gavin’s of Ballina; O’Malley named it after
his source. Source for notated version: the Gavin’s of Ballina [O’Malley].
O’Malley (Luke O’Malley’s Collection of
Irish Music, vol. 1), 1976; No. 24, pg. 12.
X:1
T:Gavin Family, The
M:C|
L:1/8
R:Reel
S:O’Malley Collection
K:A
AGAE CA,CE | AGAF GABG | ABAE CA,CE
| FBAF GEFG |
AGAE CA,CE | (3ABA FA GABG | ABAE
CA,CE | FB{c}BA GEFG ||
A2 eA c/B/A eA | cAec dBGB | A2 eA
fAeA | GE ~E2 GABG |
A2eA fAed | cAec dcBG | ABcd efec |
dcdB GABG ||
GAVIN GREIG. Scottish, Strathspey. D Minor. Standard tuning. AB. Composed by
Aberdeen fiddler and composer J. Murdoch Henderson (1902-1972) in honor of
Buchan schoolteacher, musician, poet and dramatist Gavin Greig (1856‑1914).
He was also a prodigious researcher of ballad literature, collecting over 3,000
of them. Hardie (Fiddle Music of Scotland),
1992; pg. 101. Henderson (Flowers of
Scottish Melody), 1935.
GAVIN J. HAMILTON’S. Scottish, Strathspey. D Major.
Standard tuning. AAB. Composed by Scots fiddler-composer J.
Scott Skinner (1843-1927). Skinner (Harp
and Claymore), 1904; pg. 75.
X:1
T:Gavin J. Hamilton’s
M:C
L:1/8
R:Strathspey
N:”In the lilting style.”
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:D
(A,>DF>D) (A>D dc/B/) |
(A>DF>D) (C<E~E>F) | (A,>DF>D) (A>D dc/B/) |
(A>FG>E) (F<DD) z :|
g || (3.f.g.a (3.g.f.e dA FD |
.A,.D.F.A B<E~E>g | (3.f.g.a (3.g.f.e (3.d.e.f (3.e.d.c | (3.B.c.d
(3.A.B.c d<DD>g |
(3.f.g.a (3.g.f.e dA FD | .A,.D.F.A
B<E~E>F | A,DFD .G/.B/.d/.g/ b>g | fd ea f<d d z ||
GAVIN McMULLEN. Scottish, Reel. A Major. Standard tuning.
AABB. Composed by J. Scott Skinner. Brody (Fiddler’s Fakebook), 1983; pg. 117. Greentrax CDTRAX 9009, Hector MacAndrew (1903-1980) -
“Scottish Tradition 9: The Fiddler and his Art” (1993). Philo 2001, "Jean
Carignan" (appears as the second tune of 'J. Scott Skinner Medley'). Topic
12T280, J. Scott Skinner‑ "The Starthspey King.”
GAVIN’S. AKA and see “Larry Redican’s Bow.”
Irish, Reel. D Major. Standard tuning. AB. The reel was taken from a tape of
the Gavins of Ballina, and, since no name could be found for it O’Malley named
it after his source. Sources for notated versions: Gavins of Ballina
[O’Malley]; Philip Duff [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 34a (appears as “unknown”). O’Malley (Luke O’Malley’s Collection of Irish Music,
vol. 1), 1976; No. 13, pg. 7.
X:1
T:Gavin’s
M:C|
L:1/8
R:Reel
S:O’Malley Collection
K:D
D2 FD A,DFD | E2 GE B,EFE | Dz dA
{c}BAFD | E^DEF EB,CA, |
D2 FD A,DFD | E2 GE B,EFE | Dz dA
BAFD | CDEC D2 FA ||
B^ABc B2 F=A | B2 {c}B^A BdcB | A2
cA EAce | aecA {c}BAFA |
B^ABc B=AFA | Bcdc B2 dc | BF~F2
BEF^G | AcBA FECA, ||
GAY COTERY, THE. American, Country Dance Tune (2/4 time). E
Minor. Standard tuning. AA’BB’. A modern composition in the English style by
Leslie Lasseter (2004). A coterie is “an intimate and often exclusive group of
persons with a unifying common interest or purpose” (Merriam-Webster). Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 23.
GAY FELLOW'S FAVOURITE, THE. AKA and see "The Castlecomer Lasses," "Down the Groves," "Erin's Groves," "The Good Fluter," "The Green Fields of Erin [1],"
“The Green Groves of Erin [1],”
"The Groves of Erin," "The Heather Breeze," “The Low Highland,” "Mary in the Mall," "Miss Shaw's Reel," “Miss Stewart of Grantully
[2],” “Padaí Bhill na
Rópaí’s Highland,” "The Queenstown
Lasses."
GAY GORDONS [1]. AKA and see “The Gordon Highlanders’ March.” AKA ‑ "Gie Gordans." Scottish (originally), New England; Country Dance Tune (cut time) or March. A Major. Standard tuning. AB (Miller & Perron, Sweet): AABBCCDD (Cranford/Fitzgerald). This tune was included in J. Scott Skinner's 1921 concert set romantically entitled "Spey's Fury's” and was composed in 1915 by the great strathspey artist The original title was “The Gordon Highlanders March” but came to be called “The Gay Gordons” through association with the famous Scottish country dance. The 'Gay Gordons' remains a popular couple dance, still occasionally to be found at New England contra dances, for example, and at Scottish dancing events, where it has been over time one of the most popular Scottish Country Dances. The origins of the dance are unclear, and may not have anything to do with Scotland! One story goes that it was a Continental dance from sometime in the 19th century. Others theorize that it was a turn of the 20th century member of a group of military-style dances, including such as the Military Two-Step, the Canadian Barn Dance and others. Perhaps the earliest reference to the dance dates to the year 1915, although Christine Martin (2002) says there was a previous reference to a Gay Gordons dance in 1907.
***
The title refers to the Gordon Highlanders, a Scottish unit in the British army first raised in 1794 as the 92nd Regiment. The word ‘gay, sometimes spelled ‘gie’ (as in Jimmy Shand’s 1942 recording) or ‘gey’, perhaps to preclude modern associations of ‘gay’ with homosexuality, in this context means ‘handsome in appearance’ or ‘decked out’ (as in formal kilted dress). The dance is performed to many tunes, however, usually a march followed by a jig, and not simply the tune given below. “Scotland the Brave” followed by “Highland Laddie,” for example, is cited as one typical medley vehicle for the steps. The famous Scottish bandleader and accordionist Jimmy Shand recorded a “Gay Gordons” medley in the 1950’s with Skinner’s tune as the lead-off piece.
***
It
has been speculated that the original epithet 'Gay Gordon' referred to the
courtly Continental manners of the original Norman members of the clan who
relocated to the remote North East of Scotland. One famous Gay Gordon was
doubtless Lord Strathven, says Emmerson (1972), who danced with Marie
Antoinette and became a favorite at the court of Louis XVI for his
"agreeable personality and admirable skill in dancing." Source for notated version: Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 76, pg. 34. Miller &
Perron (New England Fiddlers Repertoire),
1983; No. 166. Sweet (Fifer's Delight);
No. or pg. 27 (has an alternate 'B' part). Alcazar
Dance Series FR 204, "New England Chestnuts 2" (1981). Folkways
FW8827, Arbuckle, Mikkelson & Clifton - "Old Time Couple Dances"
(1961). Bobby Brown and the Scottish Accent – “Grandfather Mountain Gala.”
X:1
T:Gay Gordons [1]
L:1/8
M:C|
K:A
E2|A2AB c2A2|dc de f2ed|c2a2 ef ed|c2B2B2E2| A2AB dc BA|
dc de (3fgf ed|c2a2 ef ed|c2A2A2e2|][|a4e2fg|a2e2c2A2|a2a2 ef ed|
c2B2B2e2|a4e2fg|a2e2c2A2| d2B2 ef ed|c2A2A2|]
GAY GORDONS [2], THE. Scottish, March (2/4 time). G Major. Standard
tuning. AABB (Sweet): AABB' (Merryweather). Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 55. Sweet
(Fifer’s Delight), 1964/1981; pgs. 14
& 50.
X:1
T:Gay Gordons [2]
M:2/4
L:1/8
R:March
Z:AK/Fiddler’s Companion
K:G
D | G>A BA/G/ | c>d ed/c/ | Bg
d/e/d/c/ | BA AD | G>A BA/G/ | c/B/c/d/ ed/c/ |
Bg d/e/d/c/ | BG G :: z | g2 de/f/ |
gd BG | g2 d/e/d/c/ | BA A2 | g2de/f/ | gd BG | ce A>c | BG G :|
GAY LASS, THE. Irish, Jig. D Major. Standard tuning. ABCD. O’Farrell (Pocket Companion, vol. II), c. 1806; pgs. 90-91.
X:1
T:Gay Lass, The
M:6/8
L:1/8
R:Jig
S:O’Farrell – Pocket Companion, vol. II (c. 1806)
Z:AK/Fiddler’s Companion
K:D
d/B/ | B>cB BAF | B2E EFA | B/c/dB BAF | A2D DFA | BcB BAG | B2E E2g |
fdB BAF | A2D D2 || A | d2d fef | d2B B2d | cde efd | ecA ABc | ded fef | d2B B2c |
dcB BAF | A2D D3 || dfe dAF | B2E EFA | dfd AGF | A2D D3 | dfe dAF | B2E E2g |
fdB BAF | A2D D2 || F | GBA G2E | G2E E2F | G/A/GF G2E | F2D D2F |
GBA
G2E | G2E E2g | fdB BAF | A2D D2 ||
GAY YOUNG FIREMAN, THE. Irish, Air (4/4 time). G Major. Standard tuning. One part. O’Neill (1922) says: “Some fifty years ago I heard a ballad sung to this air by a young lady from Brooklyn, NY. It recited the fascinations of A Gay Young Fireman of that city. The strain, unmistakably of Irish origin, displays marked individuality.” O’Neill (Waifs and Strays of Gaelic Melody), 1922.
X:1
T:Gay Young Fireman, The
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:Air
K:G
"Moderato" ED|E2 A2 A2 GA|B2 AG E2 D2|G3 A G2 D2|EDEG A2 z2|
D2 DD d3 B|A2 G2 G2 AB|c3 A B2 AG|E2 D2 D2||
GAY
YOUNG SQUIRE, THE. English, Country Dance Tune (cut
time). G Minor. Standard tuning. AABB. The tune is attributed to dancing master
Nathaniel Kynaston (1683-1757), printed in 1718. Although very little is known
about him, Kynaston appears to have been active from 1705 to about 1722 in the
Shropshire/Wales border area. The Selattyn parish register in Shropshire
records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of
Oswestry” married on August 25th, 1719—although whether this was the
dancing master is unknown. Kynaston appears to have been a not uncommon name in
Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th
century highwayman and Robin Hood figure, who preyed on the wool merchants of
Shrewsbury. The melody is dated 1710. 120 of Kynaston’s melodies and dances
appear in the surviving Walsh volumes (John Walsh was a London publisher of country dances from 1705; his
son, also John Walsh, took over the business and continued publishing until his
death in 1766). Barnes (English Country
Dance Tunes, vol. 2), 2005; pg. 48. Wild Goose
Records WGS 314, Belshazzar’s Feast – “Mr. Kynaston’s Famous Dance” (2003).
_______________________________
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