The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
GEOGHEGAN’S FAVORITE. AKA and see “Geogehan’s Reel.”
GEOGEHAN'S REEL. AKA and see “Eileen
O’Callaghan('s Reel),” “Geehan’s Reel,”
“Geoghan’s Favorite,” “Geoghegan’s Favorite,”
“Paddy Canny’s [2].” Irish, Reel.
***
Although it has no direct connection
with the tune, living in
***
Source for notated version: flute
player Colm O'Donnell (b. 1962, Aclare, Co.
X:1
T:Geaghan's Fancy (sp?)
T:Eileen O'Callaghan's
T:Paddy Canny's
S:Buttons & Bows, 'Gracenotes'
Z:Nigel Gatherer
M:4/4
L:1/8
K:A
A2 cA EAcB|ABce dBGB|A2 cA EAce|efge
dBGB|A2 cA EAcB|
ABce dBGB|Ac c/c/c ecAc|efge
dBGB||eaag a2 ga|beee begf|
eaag a2 gf|efge dBGB|eaag a2 ga|b2
ba bagf|eaaa c'aag|efge dBGB|]
GEORDIE AFFLECK. AKA and see “Eamonn Coynes,” “The Mint in the Corn.” Scottish, Reel.
E Flat Major. Standard tuning. AAB. The tune is known among older fiddlers in
County Donegal, Ireland, as “The Mint in the Corn” played variously in the key
of D Major (Francie Dearg & Mickey ban O Beirn) or A Major (John Doherty
& Danny O’Donnell). Hunter (Fiddle
Music of
GEORDIE JACK. Scottish, Reel. E Flat Major. Standard tuning. AA'BB'. Composed by Carl Volti,
born Archibald Milligan in
X:1
T:Geordie
Jack
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 194
Z:AK/Fiddler’s Companion
K:Eb
e2 ge c2 ec
| BcBA GF E2 | B,EDE CF=EF |1 DB=AB GEGB :|2 DAFD E2B2 ||
|: edef
geBG | BAFD B,DFA |1 GBef geBG | BAFD B,DFA|1
GBef geBG |
BAFD E2B2 :|2GEDE CF=EF | DAFD E2B2 ||
GEORDIE
MACLEISH. Scottish, Reel. D Major. Standard
tuning. AAB. The tune has been recorded by
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:Geordie MacLeish
M:C|
L:1/8
R:Reel
K:D
c|d2 (cd) D/D/D AF|d2 (cd) Agfe|d2
cd D/D/D (AF)|EFGA B2B:|
c|dD D/D/D (FD)Dc|dD D/D/D Agfe|dD
D/D/D (AF)dF|EFGA B2 (Bc)|
dD D/D/D (FD)Dc|dAFA Bgfe|dcBA
BAGF|EFGA B2 B||z/[F,/D/]||[F,4D4 z||
GEORGE AINLEY'S TUNE. AKA and see “Crockett’s
Honeymoon.” Old‑Time, Breakdown. Carryon
Records 002, "Ace Weems and the Fat Meat Boys."
GEORGE BAILLIE. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by
Dunkeld, Perthshire, fiddler-composer Niel Gow (1727-1807). Carlin (The Gow Collection), 1986; No. 63.
GEORGE BOOKER [1]. AKA‑ "George Boker." AKA and see "The Marquis of Huntl(e)y's
Farewell" (Marshall's Scottish Airs, 1822), "Keeper Hill" (O'Neill's Music of
Ireland), "Georgia Town," "Camp Chase [2]." Old‑Time,
Breakdown.
***
The melody first appears under the
"Booker" title in George P. Knauff's Virginia Reels, volume III (
***
***
Also, there is the story about a fiddler, George Booker,
and a tune entitled "George Booker," that is occasionally performed
by
***
“George Booker” was in the
repertoire of fiddler S.S. Ransdell (Louisburg, Granville, County, N.C.) who
competed in 1905 in the Raleigh, N.C., fiddler’s convention, and was also
played by Confederate veteran Arnold A. Parish (Willow Spings, Wake County,
N.C.) at the next gathering, in 1906, as recorded by the old Raleigh News and Observer. Drew Beisswenger
(2008) notes similarities with the “Green Corn” family of tunes (e.g. “Doc
Brown’s Dream”).
***
Source for notated version: Am
Stuart (Tennesse) [Krassen]: Henry Reed (
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:George Booker [1]
M:2/4
L:1/8
R:reel
B:George P. Knauff’s Virginia Reels, vol. 3 (Baltimore, 1839)
Z:AK/Fiddler’s Companion
K:A
A,A,/A,/ C/<E/E|A/>B/c/A/
B/A/B/c/|A,A,/A,/ C/<E/E|B/d/c/B/ A/F/F/<A/|
A,A,/A,/ C/<E/E|A/>B/c/A/
B/A/B/<c/|d/f/f/a/ c/e/e/a/|B/d/c/B/ A/<F/F/<A/:|
|:e/f/4g/4 a bg|e/f4/g/4 a/g/ f/e/d/c/|B/b/b/f/ b/f/f|f/g/4/a/4 b/a/ a/g/f/e/|
e/f/4g/4 a bg|e/f/4g/4 ag
f/e/d/c/|B/b/a/g/ f/e/d/c/|B/d/c/B/ A/F/F/<A/:||
GEORGE BOOKER [2]. Old-Time, Breakdown. A Major. Standard tuning. AABB. A variation of
version #1. Source for notated version: Ace Sewell [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 95. Voyager
319‑S, Ace Sewell‑ "Southwest Fiddlin.'"
GEORGE BRABAZON. See "Planxty
George Brabazon."
GEORGE CANN'S JIG. English, Jig. G Major. Standard tuning. AABB. George Cann was a
melodeon player from southern England. Carlin (Master Collection), 1984; No. 18, pg. 17.
GEORGE CANN'S WALTZ. English, Waltz. G Major. Standard tuning. AB. Carlin (Master Collection), 1984; No. 26, pg.
27.
GEORGE CARNEGIE’S
STRATHSPEY.
AKA and see “I Wish You
Wou’d Marry Me Now,” “Inverara Rant,”
“Lady Warkworth’s Reel [1],”
“Marry Me Now,” “The Proposal [2],” and “Morpeth Lasses.”
GEORGE CRASKE’S
HORNPIPE NO. 1.
English, Hornpipe. D Major. Standard tuning. AABB. A fast East Anglian
step dance hornpipe, notes Barry Callaghan (2007), who thinks it may be a
derivative of “Bang Up.” George Craske was a melodeon player from Sustead, near
Cromer in
GEORGE GORDON. Scottish, Strathspey. G Minor. Standard tuning. AAB. Composed by
Alexander Walker in honor of the "late" (in 1866) George Gordon of
Bucharn, Aberdeenshire. Paul Cranford says several of Walker's tunes are
popular in Cape Breton, due to the practice in the 1940's, 50's and 60's of
purchasing and circulating older collections among Cape Breton fiddlers. Walker
(b. Rhynie, Strathbogie, Aberdeenshire, 1819) was employed by Sir Charles
Forbes of Castle Newe as a gardener, and was probably the leader of the Castle
Newe Band, surmizes Cranford. He emigrated to
X:1
T:George Gordon
M:C
L:1/8
S:
K:Gmin
F|D<G G>A
B>cd>g|f>dc>B A<F F>A|D<G G>A B>c d>c|B>G
(B/A/)G/^F/ G2G,:|
F|G<g g>f g>dB>G|F<f
f>g f>dc>A|G<g g>f d>cB>A|(3BdB (3ABA (G2 G,)F|
G<g g>f g>dB>G|F<f
f>g f>dc>A|G>BA>c B>dc>e|d>gf>a b<gg||
GEORGE GRANT. See “Mr. George Grant’s
Strathspey.”
GEORGE GREEN'S COLLEGE
HORNPIPE. English, Hornpipe. C Major.
Standard tuning. AB. George Green (1895-1975) was a melodeon player in the 20th
century who played for the Little Downham Molly Dancers. His photograph was taken playing with the dancers by W.H.
Palmer on Plough Monday, 1932 (reproduced in Elaine Bradtke’s Truculent Rustics: Molly Dancing in
X:1
T:George Green's College Hornpipe
R:hornpipe
C:Trad
M:4/4
L:1/8
Q:1/4=114
K:G %GRK:02150217
(3DEF|:G>BA>G F2 (3DEF|G>BA>G F2d2|c>BA>G
F>DE>F|A>GF>E D2 (3DEF|!
G>BA>G F2 (3DEF|G>BA>G F2d2|c>BA>G F>DE>F|1 G2B2 G2
(3DEF:|2 G2B2G2G>A|!
|:B2d2 B2d2|e>dc>B c4|c>BA>G F>DE>F|A>GF>
G>BA>G F2 (3DEF|G>BA>G F2d2|c>BA>G F>DE>F|1 G2B2
G2GA:|2 G2B2 G4||!
GEORGE GUBBIN'S
DELIGHT (Taitneam Seorsi
Gobain). AKA
and see “The Buckeen,” “Cameron House,” “Humors of Schull,” “Lord
Kelly--Strathspey,” "Lord
Kelly('s Rant/Reel)" "Mo Ceoil Sibh a Laochra" “The Musical Priest,” "The New Bridge of Erin," “The Old Grey Gander,” “The Wedding Ring [2].” Irish, Slow Air
(4/4 time). A Dorian. Standard tuning. AAB. Source for notated version: O’Neill
obtained this tune from George Gubbins, a native of Hospital, County Limmerick,
and night-jailer at the Harrison Street Police Station, where O’Neill was also
stationed. Gubbins was a fiddler and played all his tunes, including dance
tunes, in slow or singing time, “but as he was inclined to be unsociable on
such occasions I failed to learn the name of it.” O’Neill named the tune after
Gubbins but later discovered a version in Joyce (1909) under the title “The
Wedding Ring,” collected only a few miles from where Gubbins was raised. He
concluded it was a local air, and “had not penetrated beyond a limited
district” (Old Irish Music, pg.
80). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 481, pg. 84.
X:1
T:George Gubbin’s Delight
M:C
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:Amin
G/F/|EAAB c2 Ac|B{c/B/}AGB dBGA|EAAB
c2d2|e^f/g/ dB B{c/B/}A A:|
d|eaag e^fge|dBGB AG E2|eaag
e^f^ga|bagb a2 ab|
c’bag e^fge|dBgd BGGF|EAAB
c2d2|e^f/g/ dB BA A2||
GEORGE I. TAYLOR
STRATHSPEY. Scottish, Strathspey. B Flat Major
(Welling): G Major (Carignan). Standard tuning. AB. Composed in 1931 by
GEORGE MACINNIS’S
FAVOURITE. AKA and see “Joe’s Favourite.”
GEORGE MEL’S DREAM. Canadian, Slow Air (6/8 time).
GEORGE MEL’S REEL. Canadian, Reel.
GEORGE PRIVETT'S POLKA. English, Polka. G Major. Standard tuning. AA'B. Carlin (Master Collection), 1984; No. 9, pg. 19.
GEORGE REID. Scottish, Strathspey. E Minor. Standard tuning. AA'B. Composed by
Alexander Walker for George Reid "of Messrs. B. Reid & Co.,
GEORGE REILLY. AKA and see “The Plains
of Waterloo [2].”
GEORGE REYNOLDS. Irish, Planxty (6/8 time). F Major. Standard tuning. AB. Composed by
blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 157, pg.
107.
X:1
T:George Reynolds
C:Turlough O'Carolan
M:6/8
L:1/8
R:Jig
K:D
D2D DED|FAA A3 |B/c/dc/B/ cde|dEE
E2A|
FDF BAB|AFA f2e|de/d/c/b/ ABc|dDD
D3||
f/g/af e/f/ge|dAd dAd|bg/a/b/g/
af/g/a/f/|eBe efg|
fg/f/e/d/ cde|AB/A/G FGA|B/c/dB
cAc|dDD D3||
GEORGE RIDDELL. Scottish. Reel. D Minor. Standard tuning. AB. Composed in 1934 by
GEORGE ROSE WOOD. See "Tarland Memories."
GEORGE ROWLEY’S
HORNPIPE (Cornphíopa Sheoirse
Uí Roghallaigh).
Irish, Hornpipe. A Dorian. Standard tuning. AABB. Source for notated version:
George Rowley/Seoirse Ó Roghallaigh (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 206, pg. 83.
GEORGE S. FORBES OF
ASLOWN. Scottish, Hornpipe. B Flat Major.
Standard tuning. AABB'. Composed by Alexander Walker.
GEORGE SKENE DUFF, OF
GEORGE STEWART OF
GRANTLEYS. Scottish, Slow Strathspey. A Major.
Standard tuning. AAB. Carlin (Gow
Collection), 1986; No. 65.
GEORGE THE FIFTH’S
ARMY. AKA - “George V’s Army.” AKA and
see “George’s Army March,” “Kitchener’s Army [1]."
Scottish, March (cut time). A Major. Standard tuning. AABBCC. Composed as a
four part tune by Pipe Major George S. McLennan. Perlman (1996) notes that the
version played in the Canadian Maritimes has only three parts. Paul Cranford
writes that
GEORGE THE IV (Fourth). See "King George the IV."
Scottish, Strathspey; Irish,
X:1
T:George the IV
M:C
L:1/8
R:Strathspey
B:Kerr – Merry Melodies, vol. 1, pg. 7
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Amin
A|:E<A, A,>B,
C>B,A,>A|E<A, A,>C B,>A,G,>B,|E<A, A,>B,
C>DE>C|B,<D G>E D/C/B,/A,/ G,B,:||
c>eA>e c<e
d/c/B/A/|c>eA>e d/c/B/A/ G<B|c>eA>e B>eA>^f|g>g
a/g/^f/e/ d/c/B/A/ G<B|
c>eA>e c>e
d/c/B/A/|c>eA>e d/c/B/A/ G<B|c<e B<d A<B E<A|G>A G>E
D/C/B,/A,/ G,<B,||
GEORGE THE FOURTH REEL. Scottish, Reel. A Minor. Standard tuning. AAB. Honeyman (Strathspey, Reel and Hornpipe Tutor),
1898; pg. 17.
X:1
T:George the Fourth Reel
M:C|
L:1/8
R:Reel
B:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:Amin
B,|A,2 EA, (^FA,)EA,|A,2 ED
(CA,)A,B,|A,2 EA, (^FA,)E^F|G2 DC (B,G,)G,:||B|
(c/B/A) eA aAeA|(c/B/A) eA
cAAB|(c/B/A) eA (aA)d^f|g2 dc (BG)Ge|
(c/B/A) eA aAeA|(c/B/A) ed cAAB|c2
ec B2 dB|Agdg BGG||
GEORGE THE IVth'S WELCOME TO
X:1
T:George
the IVth’s Welcome to
M:C
L:1/8
R:Reel
S:MacDonald
– Skye Collection
(1887)
Z:AK/Fiddler’s Companion
K:B_
d|f2 dB f2
dB|A/B/c c>B AFF_A|GEEG FDDd|edcB AcF=e|f2 db f2dB|
A/B/c
c>B AFF_A|GBAc Bdce|dfec B2B||
e|dfbf
dfBd|Acfc AcF_A|GEEG FDDd|edcB AcFe|dfbf dfBd|Acfc AcF_A|
(B/A/B)
(A/B/c) (B/c/d) (c/d/e)|(d/e/f) (e/f/g) (f/g/a) bg)=e||
GEORGE
TREMAIN'S QUICKSTEP. English, Quickstep (6/8 time). G
Major. Standard tuning. One part. Raven (English
Country Dance Tunes), 1984; pg. 124.
GEORGE WASHINGTON. Old‑Time, Fiddle Tune. The tune was recorded for the Library of Congress
by musicologist/folklorist Vance Randolph in the early 1940's from
GEORGE WASHINGTON’S MARCH. See “Washington’s
March.”
GEORGE WHITE’S. AKA and see “George White’s
Favorite.”
GEORGE WHITE'S FANCY/FAVORITE (Rogha
Sheoirse de Faoite). AKA and see "The Carrowcastle Lasses,"
“George White’s,” "The Lass of Carrowcastle [2].” Irish,
Reel. E Minor ('A' part) &
G Major ('B' part). Standard tuning. AABB. The tune is attributed by
more than one source (according to David Taylor {1992}) to the great Co. Mayo
and
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:George White’s Favourite
T:Carrowcastle Lasses
R:reel
H:Also played in D, #789
D:Matt Molloy & Sean Keane: Contentment is Wealth
D:Kevin Crawford: ‘D’ flute album
Z:id:hn-reel-472
Z: transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:G
eB~B2 eBdB|AGAB GEDE|GB~B2 eB~B2|eBdB A2Bd|
eB~B2 eBdB|AGAB GEDE|GABd gedB|1 AGAB G2Bd:|2 AGAB G4||
|:gede gaba|gfga gedB|dega bgag|eaag a2ga|
bgeg d2de|gede gaba|~g3d egdB|1 AGAB G4:|2 AGAB G2Bd||
“variations”
|:eB~B2 eBdB|~A3B GEDE|~G3A BGBd|gedB ABcd|
eB~B2 eBdB|AGAB GEDE|G2Bd egdB|1 AGAB G2Bd:|2 AGAB G4||
|:gede gaba|~g3a gedB|dega bgag|eaag a2ga|
bg~g2 egde|gede gaba|gd~d2 egdB|1 AGAB G4:|2 AGAB G2Bd||
GEORGE’S ARMY MARCH. AKA and see “George the Fifth’s
March,” “Kitchener’s Army [1].”
GEORGE’S DELIGHT. Scottish, Reel. Composed in 1933 by Aberdeen fiddler and composer J.
Murdoch Henderson (1902-1972), dedicated to George Wright, a violinist from
Turriff.
GEORGE'S SQUARE. Scottish, Reel. F Major. Standard. AABB. The melody was composed by William Marshall and appears fist in his 1781
collection (pg. 2). Marshall, Steward of the Household to the Duke of Gordon,
dabbled in mathematics, clock making and surveying, in addition to his talents
as a fiddler. George Square, Edinburgh, was laid out by the planner James Brown
in 1763/64, and has been ever since been one of the most prestigious areas of
the city.
X:1
T:George’s Square
M:C|
L:1/8
R:Reel
S:
Z:AK/Fiddler’s Companion
K:F
(f|cF)cA cFfd|cFcA dGG(f|c)FcA fgag|dfcA G2:|
|:(e|f)gag
fFF(A|f)gaf bgga|fgaf gefc|dfcA G3:|
X:1
T:Georgia Bootlegger Rag
M:2/4
L:1/8
S:The Devil’s Box (V.20, No.3)
K:A
A/B/|c/B/c/e/ c/B/A/F/|E/F/A/B/ c/A/B/c/|d/c/d/e/ f/e/d/c/|B/c/^d/c/ B/A/G/F/|
E/F/G/A/ B/c/d/e/|f/e/d/c/ B/A/G/B/|A/B/c/d/ e/f/a/f/|e/d/c/B/ A:|
|:e/e/|f/g/^a/f/ g/a/f/g/|^a/f/g/f/ a/f/g/a/|f/g/=a/f/ g/a/f/g/|=a/f/g/f/ a/f/g/a/|
e/f/g/e/
f/g/e/f/|g/e/f/e/ g/e/f/g/|a/f/e/a/ f/e/c/f/|e/c/B/c/ A:|
GEORGIA BUCK. Old‑Time, Breakdown. "Heard in many parts of the South, but relatively rare" (Kerry Blech). The tune is known as a black Southern banjo song, a prime example of what Cece Conway called in American Banjo Echoes in Appalachia (1995) the ‘banjo song genre.’ She says these songs had five musical characteristics: rhythmic and syncopated playing throughout the performance, especially when singing; elaborated musical interludes; compressed vocal lines of two or more syllables per beat; occasional but irregular interruptions by instrumental interludes within the stanza; and varied repetition of instrumental elements The lyrics, as played by North Carolina banjo player John Snipes, go:
***
Where ya' goin' old crow
Goin' in the new-groun' to git my grubbin' hoe
***
Goin' in the new groun' to git my grubbin' hoe.
***
Georgie Buck, Georgie Buck... (John Snipes/Cecilia Conway)
***
Banjo
player Dent Wimmer of Floyd,
***
Georgia Buck is dead,
Those words he said,
‘Don’t give a (?) when we die. Don’t give a (?) when we die.
***
Oh, Georgia Buck is dead, last word he said,
‘Come to my grave on a (sleigh?), come to my
grave on a (sleigh?).
***
English folksong collector Cecil Sharp had a single verse
(“Barbara Buck”) from Laura V. Donald of
X:1
T:
R:Hornpipe
C:Frank Livingston
S:Cole's 1000 Fiddle Tunes
M:2/4
L:1/16
K:F
(3cde | fcAc fcAc | fefg agfe | fcAc
fcAc | egec egec | fcAc fcAc | fefg afga |
bagf gfed | cbag f2 :||: ba | gfed cBAG
| FCA,C FAcf | ecbg ecbg | fcc'a fcba |
gfed cBAG | FCA,C FAcf | ecbg ecBG |
F2A2F2 :||
GEORGIA FOX TROT. AKA and see “Alabama Trot.”
Old-Time, Breakdown. D Major. Standard tuning. AA’BB. The tune is on a
home-recording of
***
Peter and I we went fishin'
Georgia Railroad I am bound;
Caught a big mud‑cat, put him in the kitchen,
Georgia
***
I led sheep up to the pasture,
Georgia Railroad I am bound;
But my gal said: "Sheep can't you go a little faster",
Georgia
***
Sheep said: "Cow, I have a sore toe",
Georgia Railroad I am bound;
Cow said: "Sheep, I did not know",
Georgia
***
Well I'm goin' down the road and the road's all muddy,
Georgia Railroad I am bound;
But I'm so drunk I can't stand steady,
Georgia
***
Sources for notated versions: Tom
McCreesh [Brody and Kuntz]; Alan Block [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 118. Kuntz (Ragged but Right), 1987; pg. 319‑320. Miller & Perron (101 Polkas), 1978; No. 63. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 96. Front Hall 05, Fennigs All Stars‑
"Saturaday Night in the Provinces." Also recorded by the Skillet
Lickers.
X:1
T:Georgia Railroad
L:1/8
M:2/4
B:Kuntz – Ragged but Right
K:A
e/f/e||ag (3f/g/fe|e/f/e/d/
c/B/A|B>c B/A/B/A/|c/A/B/c/ A/B/c/A/|ag (3f/g/fe|e/f/e/d/ c/B/A|
B>c B/A/B/A/|c/A/B/c/ Ae/g/|ag
(3f/g/f/e|e/f/e/d/ c/B/A|B>c B/A/B/A/|c2 B/A/B/A/|
ag (3f/g/f/e|e/f/e/d/ c/B/A|B>c
B/A/B/A/|c/A/B/c/ A2||[Ac]>[Ad] c/B/A|[Ac]>[Ad] c/B/A|
BB/c/ B/A/F/D/|E/F/A/B/
c/A/B/A/|[Ac]>[Ad] c/B/A|[Ac]>[Ad] c/B/A|E/F/A/B/ c/A/B/A/|
c/A/B/c/ A2||
X:1
T:Georgia Row
M:C| M:C
L:1/8
S:Bruce Molsky
N:DDae tuning
N:ABC’s from a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:D
AB|:c2e2e3c | B2A4AB|c2e2 efec |
B2Bc B2AB|
c2e2e4|c3B c2AB | cBAF E2F2| A3B A2
AB||
cABc A2F2 | E3FE2AB | c2(3BcB A2F2 |
A3B A2AB |
cBcB A2F2|E3F E2AB ||
GEORGIA TOWN. AKA and see "George Booker [1]."
GEORGIANA. English, Jig. G Major. Standard tuning. AABB. Kennedy (Jigs
& Quicksteps, Trips & Humours), 1997; No. 51, pg. 14.
GEORGIANA MOON. AKA - "Dreamy Georgiana Moon."
GER THE RIGGER. AKA and see “Jer the Rigger.”
GERALD DILLON. Irish, Planxty (6/8 time). G Major. Standard tuning. AB. Composed by
Turlough O'Carolan. Complete Collection
of Carolan's Irish Tunes, 1985; No. 36, pg. 44.
GERALDINE'S DAUGHTER (Ingean Uí Gearailt). Irish, Slow Air (3/4 time). G Major. Standard
tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
189, pg. 33.
X:1
T:Geraldine’s Daughter
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Neill
– Music of
Z:AK/Fiddler’s Companion
K:G
D>E | G3A B>A | G4 G>A |
B>c d2 d>c | B2 B2 e>f | gz g2 f>e | d2 d>c B>c |
d g3 g>a | g4 g2 || =f e3 d>c
| B2 B2 d2 | e>f g>a b>a | g g3 e/d/c | B2 A2 G2 |
F2 G>A B>c | d2 c>B A>G
| G G3 ||
GERALDINE’S REEL. Canadian, Reel.
GERARD FAHY’S JIG. Irish, Jig. G Major. Standard
tuning. AABB. A slow jig. Source for notated version: New Jersey flute player
Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No.
215, pg. 66.
GERARD HEINTZMAN’S
PIANO. Canadian, Reel.
GERMAN. The generic name used in (northwest and central) County Donegal,
Ireland, for a 4/4 time Barndance tune. The tempo is close to hornpipe speed.
Caoimhin Mac Aoidh (1994) states the structural characteristic is groups of two
or three crochets used to accent the dance. The name German for this genre is
thought to have dervived from titles on sheet music covers of about a century
ago, which identified tunes as “German Schottisches” or “Highland Schottisches”
as the case may be. Mac Aoidh speculates that older musicians, lacking formal
musical training, probably assumed that by implication the two were different.
While the German often features triplets it does not employ the “Scottish snap”
that has been retained in many Highlands; however, it appears that both forms
are ultimately derived from the Scottish strathspey. Juergen Gier notes a
related form on Continental Europe is the “R(h)einlander,” which may be the
source of the term German. It will also be remembered the the term
‘schottische’ is derived from Germanic attempts to mimic the conventions of
Scottish music. See also “Highland.”
GERMAN BEAU, THE. English, American; Contra Dance Tune (cut
time). G Major (Keegan): D Major (Laufman). Standard tuning. AABB. There is a
set dance, known as a northern Irish dance, called The Three Tunes for which
“The German Beau” is often played as the third accompaniment melody (preceded
by “Haste to the Wedding”
and “Leslie’s Hornpipe”). The figures are
printed by Keegan (2002), while the set below is from Ten Irish Figure Dances (1947):
***
A. Sides (16 bars)
B. Rings (8 bars)
C. Lead Around (8 bars)
D. Stamp and Clap (2 x 8 bars)
E. See-Saw (16 bars)
F. Roly-Poly (2 x 12 bars)
G. Hook and Chain (16 bars)
H. Rings (16 bars)
I. Sides under Arms (8 bars)
J. Stamp and Clap (2 x 8 bars)
K. Thread the Needle (2 x 8 bars)
L. Roly-Poly (2 x 12 bars)
***
Keegan (The Keegan Tunes),
2002; pg. 111. Laufman (Okay, Let's Try a
Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973;
pg. 27.
X:1
T:German Beau, The
M:C|
L:1/8
K:D
A2|d4 A2d2|e3c A2f2|g2f2 e2d2|cdec
ABcA|
d4 A2d2|e3c A2g2|fafd egec|d6:|
|:A2|defg a2de|fgab a2a2|b3a
b2c'2|d'4 c'2d'2|
b4 g2e2|a4 f2d2|g2f2 e2d2|cdec ABcA|
d4 A2d2|e3c A2g2|fafd egec|d6:|
GERMAN DANCE, THE. English, Dance Tune (4/4 time). F Major
(Seattle): G Major (Thompson). Standard tuning. AABBCCDD. The melody appears in
Charles and Samuel Thompson’s Compleat Collection of 200 Favourite
Country Dances, vol. 3 (London, 1773), Straight & Skillern’s Two Hundred and Four Favourite Country
Dances, vol. 1 (London, 1775), and Skillern’s Two Hundred and Four
Favourite Reels…Country Dances (London, 1780). A few musicians’ manuscripts
also contain the tune: Northumbrian musician William Vickers' 1770 collection
has it under the title "Jarmon" for German, and American fiddlers
John and William Pitt Turner (Norwich, Conn.) entered it into their commonplace
book (as they did several times for tune from the Thompson’s third country
dance collection). Seattle (William
Vickers), 1987, Part 3; No. 435. Thompson (Compleat Collection of
200 Favourite Country Dances, vol. 3), 1773; No. 33.
X:1
T:German Dance, The
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
G2 G/F/G/A/|GB G2|A2 A/G/A/B/|Ac A2|B2c2|c2 ec|B2A2|G4::f2 af|g2 bg|f2 af|g2 bg|
e2 ge|d2 ec|B2A2|G4::d3d|dd d2|B3B|BB B2|AB c2|Bc d2|
cABG|A2D2::f3f|ff
f2|g3g|gg g2|e2e2|d2 ec|B2A2|G4:||
GERMAN LAIRDIE, THE. Scottish. According to the poet Robert Burns,
who had it from "somebody who had it of Marshall himself," this air
provided the melodic material for three of the composer's most celebrated
tunes, "The
Marquis of Huntley's Reel," "His Farewell," and "Miss Admiral
Gordon's Reel/Strathspey."
GERMAN NICE. English, Polka. F Major. Standard tuning. AABA. The melody is contained
in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote,
Saddleworth, North West England, in the 19th century, and his
manuscript dates from around 1820 onwards. The Joseph Kershaw Manuscript,
1993; No. 25.
GERMAN POLKA. English, Scottische. England, Yorkshire. B Flat Major. Standard tuning.
AABB. The "German Polka" was the name for the dance now known as the
schottische, when it was first danced in England in 1848. 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. 103, pg. 57.
GERMAN
QUICK MARCH, A. German, QuickMarch (2/4 time). D
Major. Standard tuning. AABBCC. Aird (Selection of Scotch, English, Irish and
Foreign Airs), vol. II, 1785; pg. 2 No. 4.
X:1
T:German
Quick March, A
M:2/4
L:1/8
S:Aird,
vol. II (1785)
Z:AK/Fiddler’s Companion
K:D
f2 ef | de/d/ cA | Bdce | (d/c/d/e/) dd | f2 ef | de/d/ cA | Bdce | d2d2 :|
|: FAFA | G2 GG | FEDC | (D/C/D/E/) DD | FAFA | G2 Gg | fedc | d2d2 :|
|:
(d2 d)f | (e2 e)g | fedc | d/c/d/e/ dd | d2 df | e2 eg | fedc | d2d2 :|
GERMAN SCHOTTISCHE, A. AKA and see “Curlew Hills.”
Scottish. D Major. Standard tuning. The schottische melody appears as a 2nd
violin counter part to “Home Sweet Home,” presented as a “Duet for Two
Violins.” Kerr (Merry Melodies), vol.
1, pg. 46.
X:1
T:German Schottische
M:C
L:1/8
R:Schottische
K:D
(Bc)|:d2b2c2a2|B2g2 gdBG|F2e2 edcA|(GB) (Ac) (Bd) (ce)|d2b2c2a2|
B2g2 gdBG|F2e2 edcA|G2B2G2||(AG)|FGAB cdef|g2B2 BA B2|
e2A2 AG A2|d2G2 G2 (AG)|FGAB cdef|g2B2 BA B2|e2A2 c2F2|G2B2G2||
GERMAN SCHOTTISCHE, THE. American(?), Schottishce. USA, Central Pa. G
Major. Standard tuning. AA'B. Source for notated version: Harry Daddario
(Buffalo Valley, Pa.) [Guntharp]. Guntharp (Learning
the
GERMAN SPA. AKA and see "New German Spa."
English, American; Country Dance Tune (2/4 time). G Major. Standard tuning.
AABB. The melody originated in England, but was soon transported to America.
The earliest printings appear on or around the year 1780; it appeared as
"The new German spa dance" on page 24 of Longman and Broderip's New Instructions for the German Flute
(London), and as "The German spaw minuet" on page 20 of a similarly
entitled tutor New Instructions for the
Common Flute (Originally published in London, though preserved by the
Litchfield, Connecticut, Historical Society). The tune and a dance called the
"German Spa" appeared in Twenty
Four Country Dances for the Year 1788 (London; Saml. Ann and Peter
Thompson), and Van Cleef and Keller (1980) believe it to have been known in New
England shortly after its publication. A dance by the same name was copied into
a MS by a Pepperell, Massachusetts, lass named Nancy Shepley around 1795, and
though the tune was apparently the same, the dance figures differ from those
found in Thompson's 1788 London publication. John Griffiths' A Collection of the Newest Cotillions and
Country Dances (Northampton, Massachusetts, 1794) gives "German
Spa" twice, as a cotillion and a country dance. The tune as printed by Thompson is to be found in several MS
sources of the late 18th and early 19th century in both England and America;
Van Cleef and Keller note a version for two fifes is contained in Joshua
Cushing's 1805 Fifer's Companion
(Salem, Massachusetts). There were many German spas, as there were in other countries,
including England. Petra Rau of the University of Portsmouth has written on the
subject in her paper “Fun and Games? High Capitalism and the German Spa from
Thackeray to Ford,” and sees the German spa as “not just a 19th
century cosmopolitan health resort but a international socio-sexual market
place, affording the excitement of conspicuous waste (leisure and gambling)
which affirms social status, and providing the opportunity for foreign erotic
liaisons that do not threaten respectability at home.” She poses that the
foreign spas were a Victorian flirting with “the margins and the reverse side”
of English and Victorian ideals and mores; “vulgarity, vice, licentiousness,
lack of style and restraint, and economic failure.” Further, she writes, the German-ness
of the spas was linked to the pre-Bismarkian (Georgian?) idea of Germans as
cousins of the British, cousins often seen as ‘romantic adventurers’ or
‘learned high-minded intellectuals.’ Sources for notated versions: Thompson's
1788 Collection (London, England) [Van Cleef & Keller]; Source for notated
version: the 1823-26 music mss of papermaker and musician Joshua Gibbons
(1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner].
McGlashan (A Collection of Reels), c.
1786; pg. 40. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 30 (set for
three instruments). Van Cleef & Keller (Selected
American Country Dances and Their English Sources, from Music in Colonial
X:1
T:German Spaw (sic), The
L:1/8
M:2/4
S:McGlashan – Reels
Z:AK/Fiddler’s Companion (c. 1786)
K:A
c>d e/d/c/B/|AA B2|cc/A/ dd/B/|cc/A/ B2|c>d e/d/c/B/|AA B2|
cc/A/ dd/B/|c/B/A/G/ A2:||c>d ef|ga e2|aa/g/ ff/e/|dd/c/ B2|c>d ef|
ga e2|a>g fe|B/e/^d/f/ e2|c>d e/d/c/B/|AA B2|cc/A/ dd/B/|
cc/A/ B2|c>d e/d/c/B/|AA B2|cc/A/ dd/B/|c/B/A/G/ A2||
GERMAN WALTZ [1]. AKA and see "Goodbye Waltz."
American, Waltz. D Major. Standard tuning. AA'BB'CC. Source for notated
version: Dale Morris and Benny Thomasson (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 261.
GERMAN WALTZ [2]. American, Waltz. G Major ('A' and 'B' parts) & D Major ('C' part).
Standard tuning. AABB'CC. Source for notated version: Lotus Dickey (Ind.)
[Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 262.
GERMANTOWN. American, March? (4/4 time).
GERRY
COMMANE'S REEL (Ríl Ghearóid Uí
Chomáin). AKA –
“Gerry Cromane’s Reel.” Irish, Reel. D Mixolydian. Standard tuning. AABB. The
late Gerard “Gerdy” Commane (c. 2005) was a concertina player from west Clare.
Source for notated version: whistle player Mary Bergin (Ireland) [Breathnach].
Breathnach (CRÉ III), 1985; No. 203,
pg. 90. Cranford (Jerry Holland: The Second Collection), 2000; No. 108,
pg. 42. Harker (300 Tunes from Mike
Rafferty), 2005; No. 116, pg. 35. Vallely (Armagh Pipers Club Play 50
Reels), 1982; pg. 18 (appears as “Gerry Cromane’s Reel”). Gael‑Linn CEF 071, Mary Bergin ‑ "Feadoga
Stain" (1979). Rounder Easy Disc EDIS 9016, Mike Rafferty – “Light Through
the Leaves: Irish Piping, Flutes & Whistles.” Jerry Holland – “Master Cape
Breton Fiddler” (1982).
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 |
M:C|
L:1/8
R:Reel
K:Dmix
fe|d2 ed
cAGE|A2 AG ABcA|d2 ed cAFD|DGGF GBAG|DFEF DEFG|
Addc
defg|af (3gfe fded |fdAF G2::fg|a2 ab agfg|abaf g2 fg|
a~d3 b~d3|agfe
defg|a2 ag f2 ed|c~A3 f2 fg|a2 ag fded|fdAF G2 :|
GERRY CONROY’S. AKA and see “Father Quinn’s.” Irish, Jig. E Dorian.
Standard tuning. AA’BB’. Named for tin whistle player Gerry Conroy, the “Woodford
Whistler,” of
X:1
T:Gerry Conroy’s
M:6/8
L:1/8
R:Jig
K:Edor
FA|B2B BAF|A{c}d B BAF|…
GERRY CROMANE’S REEL. See “Gerry
Commane’s Reel.”
GERRY
CRONIN'S REEL (Ríl Ghearóid Uí Chróinín). AKA and see “Forget Me Not [1],” “Larry Redican’s [3],” “Martin Rocheford’s [1].” Irish,
Reel. C Major. Standard tuning. AABB. The tune is a Larry Redican composition
called “Forget Me Not.” Source for notated version: fiddler Josephine Keegan
(Ireland) [Breathnach]. Breathnach (CRÉ
III), 1985; No. 114, pg. 56. Outlet Records SOLP
1040, Josephine Keegan ‑ "Irish Traditional Music" (1980). Sean
Smyth - “Blue Fiddle.”
X:1
T:Gerry Cronin's Reel
M:2/2
L:1/8
R:Reel
D:Siona, "Launching the Boat"
K:C
c2ec AGED|C~A,3 G,A,CD|EGcd ecdc|Addc dfed| c2Bc AGED|C~A,3 G,A,CD|
EGce dBcA|1 GEDG EC,EG:|2 GEDB, C2EG| |:c2gc acgc|fcec dcBc|Gc~c2 Gcea|
gece
d2eg| a~e3 gede|cdec dcAG|EGce dBcA|1 GEDG EC,EG:|2 GEDB, C2EG||
GERTIE GIBB. Scottish, Schottische. D Major.
Standard tuning. AA’B. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927), who styled the tune a
“nursery schottische,” presumably because of its simplicity. Skinner (Harp and Claymore), 1904; pg. 74.
X:1
T:Gertie Gibb
M:C
L:1/8
R:Schottische
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:D
A, | D2 F>D A2 F>D | D<G
G>B A3A | B<(d c>)B (A2F) D |1 E>B,C>D (E2A) :|2 B,>DC>E
(A,2D)z ||
(A2 F>)D .B2.G2 | B>E ^G>B
c2A2 | d>fA>d F>A D2 | E>B,C>D (E2A)z | A>F D>d B>d G2
|
B>^G E>d c>eA>A | B>dc>B
A>F D2 | B,>DC>E (A,2D) ||
GESTHEMANE WALTZ. Old-Time, Waltz. A Major. Standard tuning. AB. Source for notated version:
Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern),
2002; pg. 51.
GESTO REEL. Scottish, Reel. From MacDonald's Skye Collection (1887). Gesto
is a place in the north west of the island of Skye. Green
Linnet SIF‑1094, Capercaillie ‑ "Sidewaulk" (1989).
Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008).
GET ALONG HOME (MISS)
CINDY. AKA and see "Cindy [1]," "Git Along, Cindy (Gal)," "Git Along," "Liza Jane," "J'etais au Bal." Old‑Time,
Breakdown and Song Tune. "Liza Jane" was sung to more than one tune,
this is one. Recorded by Herbert Halpert for the Library of Congress
(2739-A-1), 1939, from the playing of the Houston Bald Knob String Band of
Franklin County, Va. Ford (Traditional
Music in America), 1940; pg. 58. Thede (The
Fiddle Book), pg. 38.
GET AWAY FROM THE
FEDERALS. See note for “Seneca Square Dance.” A variant of
the title “Running from the
Federals” or “Waiting for
the Federals.”
GET HER BO(O). English, Dance Tune (3/4 time).
England, Northumberland. D Mixolydian. Standard tuning. AABBCC. Appears in
Vickers' original MS. as "Gett Hirr Boo" (?) in 6/8 time, though
editor Seattle thought the groupings were more logically 3/4 time./ Title
appears in Henry Robson's list of popular Northumbrian song and dance tunes,
which he published c. 1800. Seattle (William
Vickers), 1987, Part 2; No. 371.
GET IT RIGHT. AKA and see "Gatemouth,"
"Mamma's Baby Boy," "Pork
Chops Rag."
GET LOST JIG. American, Jig. G Major.
Standard tuning. AABB. Composed by Ralph Page (1903-1985,
GET OFF YOUR MONEY. Old‑Time, Country Rag. USA, Alabama. C Major. Standard tuning.
ABB'C. Source for notated version: Charlie Stripling [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 55. Vocalion 5441, Stripling Brothers (
GET ON DE TRAIN. American, "Sand Jig" (4/4 or cut time). A Major (Cole/Ryan):
A Major (Kerr). Standard tuning. AABBCC (Cole): AABBCC' (Kerr). Ryan’s Mammoth Collection credits
composition of the melody to Frank Livingston, one of several under his name in
the collection. A ‘sand jig’ was a duple-time syncopated dance tune bearing no
relation to the Irish jig. Rather, ‘jig’ in this context is more in the English
(morris) sense, meaning a solo dance. Cole (1000
Fiddle Tunes), 1940; pg. 81. Kerr (Merry
Melodies), vol. 2; No. 420, pg. 47. Ryan’s
Mammoth Collection, 1883; pg. 114.
X:1
T:Get on de Train
M:C|
L:1/8
R:Sand Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companon
K:A
.A2.G2.A2.E2 | A c2f ecBA |
.B2.^A2.B2.F2 | Bg2f edcB | .A2.B2.A2.E2 | Ac2f ecBA |
.B2.^A2.B2.F2 | (f2e)z (=F2E)z
:: (3ccc (c>.f) ecBA | (3ccc c>f ecBA
| aa2f a4 |
AA2F A4 | (3ccc c>f ecBA | (3ccc
c>f ecBA | agae gfed | cedB A2z :: .A2.G2.A2.E2 |
(3A,CE (3Ace a4 | .B2.^A2.B2.F2 |
(3EGB (3egb e’4 | .A2.G2.A2.E2 | .B2.^A2.B2.F2 |
dg2f edcB |1 Az (E2_F2E2) :|2 A2a2A2
z2 ||
GET OUT OF
MY SIGHT OR I’LL BOX YOUR EARS. Irish, Jig. A Minor.
Standard tuning. AA’BB. Identified as a “Bagpipe Tune” in the Levey collection,
to be played “Droningly.” Levey
(Dance Music of
T:Get Out
of My Sight or I’ll Box Your Ears
M:6/8
L:1/8
R:Jig
S:Levey – Dance Music of
Z:AK/Fiddler’s Companion
K:Amin
(cdc) (
(efe) (aga) |1 e2A A2B :|2 e2A A2e |: e2e ege | e2e efd |
c2c
c2A
A2A | G2G GEG | A2A A2f | efe aga | e2A A3 :|
GET OUT OF THE WAY OF THE FEDERALS.
See “Little Home to Go to
[1].”
GET UP EARLY ("Eirig Suas Ga Moc" or "Eirig Go
Moc"). AKA
and see "The Galbally (Cranbally)
Farmer," "The Rakes of
Kildare," "The (Old)
Barndoor Jig," "Fagamaoid sud mar ata se" (Let Us Leave That As It Is),
"First of May [1]." Irish,
Single Jig. G Dorian. Standard tuning. AB (O'Sullivan/Bunting): AABB
(O'Neill/Krassen & 1915): AABB' (O'Neill/1850 & 1001). The 'A' part of
the tune is very similar to "Rakes of Kildare," a fairly common
inclusion in collections of Irish music. O'Neill, who is convinced that “The
Rakes of Kildare” derived from this tune, points out there is also a relationship
with the hornpipe "First of May." See also Bayard's (1981) note to
his Pennsylvania collected "Old March" (No. 603, pg. 533). Source for
notated version: the Irish collector Edward Bunting noted the melody, which
appears in his 1840 collection, from Richard Stanton, Westport, County Mayo, in
1802. Neill (O’Neill’s Irish Music),
1915; No. 205, pg. 110. O'Neill (Krassen), 1976; pg. 22. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 770, pg. 144. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 369, pg. 75. O’Neill (1913),
pg. 134. O'Sullivan/Bunting, 1983; No. 51, pgs. 80-81.
X:1
T:Get Up Early
M:6/8
L:1/8
R:Single Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 369
Z:AK/Fiddler’s Companion
K:Gmin
D|D2G G^FG|A2d d2=e|f2d cBA|B2G
AFD|D2G G^FG|A2d d2e|
f2d cA^F|G3 G2:||:g|g2d g2d|g2b
a2g|f2d f2d|f2d cAF|1 g2d g2d|
g2b a2g|f2d cA^F|G3 G2:|2g2d g2a|b2g
a2g|f2d cA^F|G3 G2||
GET UP IN THE COOL. Old-Time, Breakdown. From the playing of Texas fiddler Eck Robertson. Black Rose Productions, The Mando Mafia – “Get Up in the
Cool.” County Records, “Eck Robertson: Famous Cowboy Fiddler.”
GET UP JOHN. Bluegrass, Breakdown. D Major. GDad or Standard tunings.
ABBAACCA'A'B'B'A'A'CC. The fiddler on Bill Monroe’s recording played the tune
id GDad tuning, according to Stacy Phillips.
GET
UP, MY DARLING, AND COME WITH ME. Irish, Slow Air (4/4 time).
GET UP NAPOLEON. AKA and see "Giddy Up Napoleon," "Ebenezer Fry,"
"Joshua Ebenezer Fry." American, Song Tune. G Major. Standard tuning.
One part. Bronner lists two versions of this tin‑pan‑alley song,
one in cut time and one in 6/8 time. The song entered folk tradition soon after
its writing, so that early country singer Bradley Kincaid commented "if
ever there was a 'hillbilly' song, this is it. I don't know its origin."
Bronner (1987) suggests that the tune could have relation to a British Isles
"utility" tune used with a number of children's singing games or
verses. Sources for notated versions: Dorrance Weir, 1976 (New York State)
[Bronner]; Les Weir, 1976 (New York State) [Bronner]. Bronner (Old-Time Music Makers of
GET UP OLD WOMAN AND
SHAKE YOURSELF (Eirig A Sean Bean's
Corraig Tu Fein).
AKA and see "Captain
Thornton's Delight," "Conor O'Sullivan's Vision,"
"Donogh O'Sullivan's Reply,"
“Go to the Devil
and Shake Yourself [3],” "Growling
Old Woman," "Irish Whim,"
"Last Night Amid Dreams,"
"O'Tuomy's Drinking Song,"
"O'Tuomy's Carousal,” “Tickle Her Leg (with
the Barley Straw.” Irish, Single Jig or Slide (12/8 time). E Minor.
Standard tuning. AAB (O'Neill/Krassen): AABB (O'Neill/Krassen, 1915 &
1001). Not “Go to the Devil and Shake Yourself” despite being so miss-named in
Haverty’s Three Hundred Irish Airs
(New York, 1858) and Alday’s Pocket
Volume of Airs, Duets, Songs, Marches, etc. (Dublin, 1800). One of the
earliest tunes Francis O’Neill remembered hearing from his boyhood in County
Cork. O'Neill (O’Neill’s Irish Music),
1915/1987; No. 209, pg. 112. O'Neill (Krassen), 1976; pg. 69. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1091, pg. 205. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 394, pg. 79.
X:1
T:Get Up Old Woman and Shake
Yourself
M:6/8
L:1/8
R:Single Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:Emin
E/F/|G2B BAB|G2E E2G|F2A AFA|F2D
DEF|G2B BAB|def gfe|dcB BAB|G2E E2:|
|:B/c/|d2B BAB|d2B ABc|d2B BAB|G2E
E2 B/c/|d2B BAB|def gfe|dcB BAB|G2E E2:|
GET
UP OLD WOMAN AND SHAKE YOURSELF [2].
Irish, Slide (12/8time). E Minor. Standard tuning. AB. Source for
notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the
Cork-Kerry border) [Moylan]. Breathnach (CRÉ
II), 1976; No. 91. Moylan (Johnny
O’Leary), 1995; No. 216, pgs. 124-125.
GETT MY SUPPER I TROW. English. England, Northumberland. One of the "missing tunes"
from William Vickers' 1770 Northumbrian dance tune manuscript.
GETTING READY TO SAIL. AKA and see "Bualadh Triaill Chum
Tseoil."
GETTING GEORGE BUSH
UPSTAIRS. Old-time, Breakdown. The tune and
title (of which there are several variations) vastly predate the American
Presidents of that name. Source for most versions is Kentucky fiddler Perry
Riley, a cousin to another famous Kentucky fiddler, Buddy Thomas.
GETTIN’ UP IN THE COOL. Old-Time, Breakdown. The tune
was mentioned in the Atlanta Journal
as being “one of the best selections” of the group the Mud Creek Symphony, who
broadcast in 1924 on WSB, the Atlanta station. The group, from Pea Ridge,
Habersham County, Georgia, consisted of two pair of brothers, the older two
uncles of the younger set. New and Ed Tench, both fiddlers, were in their sixties
at the time and claimed to have been fiddling for forty-five years or more. The
Journal wrote they had played so long that “harmony between the two is merely a
matter of second nature” [see Wayne Daniel, Pickin’
on Peachtree, 1990, pg. 54).
GETTING UPSTAIRS [1]. English, Morris Dance Tune (2/2 time). G Major (Carlin, Mallinson): A
Major (Bacon). Standard tuning. AA’B (Sharp & Macilwaine), ABB, x4
(Mallinson): AABB (Carlin): AABA (Bacon‑Hinton): AA'BA (Bacon‑Headington).
From the villages of Headington, Oxfordshire, and Hinton, Northamptonshire, in
England's Cotswolds (the Hinton tune was actually from Leominster, imported to
Hinton where the dance was finally collected). Winston Wilkinson (Southern Folklore Quarterly, VI, 1,
1942, “Virginia Dance Tunes”) suggests that the title derived from the Morris
Processional Dance in which performers danced “down the street, into the
village houses, up the stairs and down again.” Bacon (The Morris Ring), 1974; pg. 186. Carlin (Master Collection), 1984; No. 45, pg. 36. English Folk Song and Dance Society, Sept. 1950. Mallinson (Mally’s Cotswold Morris Book), 1988,
vol. 2; No. 49, pg. 24. Sharp & Macilwaine (Morris Dance Tunes), 1909; iii, 2. EMI/Harvest
7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On"
(1976/1994).
X:1
T:Getting Upstairs
L:1/8
M:2/2
N:key transposed from original
B:Sharp & Macilwaine, Morris Dance Tunes
K:D
ag|f2d2 A2d2|cdef g2ag|f2d2 A2d2|1
cdec d2:|2 cdec d4||
f3g a2d2|f2g2a2d2|b3a g2f2|e2f2g2||
GETTING UPSTAIRS [2]. See "Such a
Gettin’ Upstairs [1]."
GETTING UP THE STAIRS. AKA and see "Such
a Gettin’ Upstairs [1]."
GEUD MAN OF BALLANGIGH, THE. AKA and see "Hunt the Squirrel [1]."
English, Country Dance Tune (6/8 time). A Major. Standard tuning. AABB. The
tune dates to 1709 and was publishe by Playford. Barnes (English Country Dance Tunes), 1986. Fleming‑Williams &
Shaw (English Dance Airs; Popular
Selection, Book 1), 1965; pg. 10
(appears as "Hunt the Squirrel"). Karpeles & Schofield (A Selection of 100 English Folk Dance Airs),
1951; pg. 23.
X:1
T:Geud Man of Ballangigh (Hunt the Squirrel)
M:6/8
L:1/8
K:A
A e2 e2 f|e3 c3|ABc B2 A|ABc B2 A|A e2 e2 f|e3 c3|ABc B2 A| A3 A2::\
d2
e fed| d2 e fed| d2 e f2 g|a3 a g/2f/2|e c2 e c2|e c2 e3|ABc B2 A| A3 A3:|
GHAOTH... See also "Gaoth..."
GHAOTH A BHOGANN AN
EORNA, AN. See "The Wind That Shakes
the Barley."
GHAOTH ANIAR, AN. AKA and see “The West Wind.”
GHAOTH ANIAR ANDEAS, AN (The South-West Wind). AKA and see “Aineen’s Double,” “Bacach na Cleithe,” “The Cherry Grove Jig,” “Coffee and Tea [2],” “Jimmy the Tailor,” "Maire Ni Eidhinn."
Irish, Jig. D Dorian (‘A’ part) & D Dorian/Major (‘B’ part). Standard
tuning. AABB. Petrie said the song “Máire Inis Toirc” was sung to this air,
though Breathnach states it was not sung to it in Cois Fhairrge at the time he
was writing. Petrie also published two setting of the tune, a jig called
“Bacach na Cleithe” (obtained from Patrick Coneelly, a piper, in 1840) and a
song called “Banish
Misfortune.” Source for notated version: piper Seán Potts [Breathnach].
Breathnach (CRÉ I), 1963; No. 29, pg.
13. Claddagh 4CC 32, Willie Clancy – “The Pipering of
Willie Clancy, vol. 1” (1980).
GHAOTH ANES, AN. AKA and see "Southwind,"
"I have a secret to tell thee."
Irish, Air (3/4 time). Ireland, Clare. The air is attributed by Bunting (who
prints it under the title "I have a Secret to Tell Thee") to Clare
musician Donall Meidhreach Mac Conmara. Hamish Henderson (1971) remarks that
the tune is reminiscent of Sean O' Tuama's drinking song "Is Duine Me
Chiolas Leann La", which he says is sometimes described as the first
setting of the 'Limerick' verse‑form. Shanachie
79023, "Chieftains 3" (1971,1982).
GHEARRCHAILE CHRÍONA, AN. AKA and see “The Wise Maid.”
GHILE BEAG LE m’ANAM
THÚ. Irish,
Air. See also the same ‘A’ part in “Oíche
Nollag,” “Strawberry Blossom
[2],” “Mill Stream” and Petrie’s (1905)
untitled airs No. 154 and No. 258. Stanford/Petrie (Complete Collection), 1905; No. 1151.
GHILLE... See also "Gille..." and
"Gillie..."
GHILLE CALLUM. See "Gillie Callum."
GHILLE DHUINN IS TOIGH
LEAM THU. AKA and see "Laddie, I Esteem You."
GHOID IAD MO BHEAN UAM
AN REIR (They stole my wife
last night). Scottish, Air (4/4 time). A Minor. Standard
tuning. AB. This air was originally published in Patrick McDonald’s A Collection of Highland Vocal Airs (1784,
No. 13). The tune has also been rendered as a strathspey and a Highland fling.
Johnson (The Kitchen Musician No. 5:
Mostly Irish Airs), 1985 (revised 2000); pg. 15. Sona
Gaia 155, Alasdair Fraser & Paul
Machlis – “The Road North” (appears as “Gaelic Air”). Cynthia Cathcart –
“Alchemy of a Rose” (2002).
X:1
T:Ghoid iad mo bhean uam an reir
T:They stole my wife last night
M:4/4
L:1/8
S:Patrick McDonald – Collection of Highland Vocal Airs (1784)
Z:AK/Fiddler’s Companion
K:A Minor
e3d c2d2|cA3 A4|c3A G2A2|GE3 E4|e3d
c2d2|cA3 A4|G3D EG3|A8||
A4 A3G|A4A4|G3E D2E2|C3D E2G2|A4
A3G|A4A4|G3D EG3|A8|| m
GHOST OF BUNGLASS, THE. Irish, Air (6/8 time). Ireland, County
Donegal. G Major. Standard tuning. AA’BB’. A version of the tune better-known
in Donegal as “Taibhse Chonaill” (Conall’s Ghost), according to Caoimhin Mac
Aoidh. Supposedly the tune is a fiddler’s rendition of a ghost’s sung lament.
Source for notated version: John Doherty (1895-1980, County Donegal) [Feldman
& O’Doherty]. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 91.
GHRAIN AG DUL FAOI, AN. AKA and see “The Setting Sun.”
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