The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

GEO - GH

[COMMENT3] 

 

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

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

 

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

 

 

[COMMENT4] 

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. Ireland, County Sligo. G Major. Standard. AABB. As “Geaghan’s Favorite” it was recorded in 1937 by the Aughrim Slopes Céilí Band, the earliest known recording of the melody. “Grogan’s Favorite” is the title on Paddy Canney and P.J. Hayes’ famous 1960 recording (in honor of which it is sometimes called “Paddy Canney’s”). The tune is a version of “Trim the Velvet.” The alternate spellings of the name Geoghegan come about through variations in its pronuncition, which is ‘Gay-g’n’ (rhyming with pagan) in Ireland.

***

Although it has no direct connection with the tune, living in New York and liking local history, I can’t play this tune without thinking of the story of Owney Geogheghan, a New York City saloon operator in the mid-1800’s. His establishment, “…at 103 Bowery…was one of the scurviest joints along that extensive and crowded avenue.  It was a hangout much esteemed by unprincipled beggars, who know they could discard their superfluous glasses and crutches in that understanding environment, and it was so regularly the scene of gang brawls that Geogheghan, a thoughtful host, kept a large supply of police clubs on hand, to pass out among his steady patrons in the event of a skirmish. This disorderly tradition was maintained right up to and throughout Owney’s funeral, a ceremony enlivened by the presence of two Mrs. Geogheghans, each of whom, unaware until then of the existence of the other, sought to assume what she though was her rightful spot in the funeral procession.  All the way from the Bowery to Calvary Cemetery, two hacks bearing the rival widow Geogheghans jockeyed for a position directly behind the hearse, while their tearful occupants exchanged ringing maledictions.” (E.J. Khan, Jr. The Merry Partners: The Age and Stage of Harrigan and Hart, Random House, 1955, pgs. 130-131).

***

Source for notated version: flute player Colm O'Donnell (b. 1962, Aclare, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 16. Green Linnet SIF 1069, Joe Burke, Michael Cooney & Terry Corcoran – “Happy to Meet & Sorry to Part” (1986. Appears as “Geoghegan’s”). Paul McGratten – “The Frost is All Over” (1992. Appears as “Geehan’s”). Outlet 1010, Na Filí – “Farewell to Connacht” (1971. Appears as “Eileen O’Callaghan”). Joe Burke (et al) – “The Big Squeeze.”

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 Scotland), 1988; No. 276. Olympic 6151, Angus Cameron ‑ "Scottish Traditional Fiddle Music" (1978).

           


GEORDIE JACK. Scottish, Reel. E Flat Major. Standard tuning. AA'BB'. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 3; No. 194, pg. 22.

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:E_

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 Cape Breton musicians Dan R. MacDonald, Donald MacLellan and The Five MacDonalds, according to Paul Cranford. MacDonald (The Skye Collection), 1887; pg. 76. Martin (Traditional Scottish Fiddling), 2002; pg. 87. Olympic 6151, The Angus Strathspey and Reel Society ‑ "Scottish Traditional Fiddle Music" (1978). Rounder CD 1161-7033-2, Natalie MacMaster – “My Roots are Showing” (2000). Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

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 Niel Gow. 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. USA; Virginia, Tennessee, Southern Ky., West Virginia, Arkansas. A Major/Mixolydian. Standard tuning. AABB (Brody, Krassen): AA'BB (Phillips). Guthrie Meade and Mark Wilson (1976) believe the piece was originally a Scots tune of the "Hurdle Race"/"Angus Campbell" variety, basing their opinion apparently on a rendition of "George Booker" by the Tennessee fiddler Uncle Am Stuart (Vo 14914). Stuart was born in Morristown, Tenn., in 1856 and recorded the tune in 1924 when he was quite elderly; he had an archaic style formed in the latter half of the 19th century, and thus was closer perhaps to the American origins of the melody. Alan Jabbour, however, says the tune is a derivation of a Scottish strathspey called “The Marquis of Huntly’s Farewell,” composed by the great strathspey composer William Marshall and appearing in his Collection of Strathspey Reels (c. 1781). The high part of this tune "is almost certainly a hornpipe," states Miles Krassen (1973) in another opinion, "but the low part is not. (West Virginia fiddler) Henry Reed played a version with a low part that is much more characteristic of hornpipes." Jabbour remarks that “George Booker” is “one of the classics of what Henry Reed called the ‘old East Virginia’ repertory.

***

The melody first appears under the "Booker" title in George P. Knauff's Virginia Reels, volume III (Baltimore, 1839), apparently in honor of a Revolutionary War leader and local hero from Virginia (according to Jabbour). Bruce Green thinks this tune may have been brought to the southern Kentucky region by a fiddler named John Gregory, originally from Virginia (in connection with similar Kentucky melodies, see Ed Hayley's "Grey Eagle Jig"). The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph in the early 1940's from Ozark Mountain fiddlers. Alan Jabbour believes "George Booker" is similar to "Camp Chase" and speculates that the former may have been the tune originally played in the Civil War prison camp which gave West Virginia fiddler Solly Carpenter his freedom.

***

Texas fiddle lore has yet another story. The article “The Origins of the Texas Style of Traditional Old Time Fiddling” (http://www.texasoldtimefiddlers.org/Monthly%20texas%20fiddle.htm), at the Texas Old Time Fiddling Association website records:

***

Also, there is the story about a fiddler, George Booker, and a tune entitled "George Booker," that is occasionally performed by Texas fiddlers. George Booker was a well-known fiddler from Nacogdoches who was being held in jail there for murder. On the day before he was to be executed, he talked the sheriff into allowing him to play for a dance the night before with the sheriff as a chaperone. Booker performed well probably knowing this would his last time to play in the area. About three o’clock in the morning, Booker went out on the porch for some air and that was the last anyone had ever seen of him. The last tune he played at the dance was one of his favorites, "Fine Times at Our House," is now performed as "George Booker." This is a story that is told by J. B. Cranfill, (1858-1942) originally from Parker County who was a popular fiddler in the Dallas area. He was also a medical doctor, a leader in the Baptist Church and a newspaper writer. He wrote some very informative articles on old-time fiddling for Dallas and Houston news- papers that gave detailed accounts of fiddling activities of the period. The information also helped to support the idea that Texas fiddling was different from the other styles as early as the 1920’s… "George Booker," is not a tune used in contests but is still a favorite of Texas fiddlers. It is often played by Smokey Butler of Huntington, Carl Hopkins of Porter and has been recorded by the late Terry Morris, one of the great legends of Texas fiddling.

***

“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. Source for notated version: Am Stuart (Tennesse) [Krassen]: Henry Reed (Monroe County, West Virginia) [Krassen]: Alan Block with Ebenezer (Brody, Phillips). Brody (Fiddler’s Fakebook), 1983; pg. 117. Krassen (Masters of Old Time Fiddling), 1983; pg. 19‑20 and pgs. 88‑90. Krassen (Appalachian Fiddle), 1973; pg. 84. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 95. Biograph 6007, Ebenezer‑ "Tell It to Me." Vocalion 14914, Uncle Am Stuart (1924). Recorded by Asheville N.C. (originally Tenn.) fiddler Dedrick Harris  (b. 1968?) for Broadway in 1924. CD, Alan Jabbour, James Reed, Bertram Levy – “A Henry Reed Reunion” (2002).

 

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. 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 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 Norfolk. Source for notated version: a 1977 field recording of Craske by Peter Clifton and Ann-Marie Hume [Callaghan]. Callaghan (Hardcore English), 2007; pg. 17.

 

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  America in 1870 to join his brother. He continued composing in America, according to letter he wrote home to local newspapers, but that tantalizing bit (from George Emmerson) is all that seems to be known. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 191, pg. 66.

X:1

T:George Gordon

M:C

L:1/8

S:Walker Collection

K:G Minor

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. Scottish, Strathspey. E Mixolydian. Standard tuning. AB. Composed by Nathaniel Gow. Carlin (The Gow Collectionj), 1986; No. 64.

 

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 East Anglia before 1940). The tune bears no resemblance to the familiar “College Hornpipe” that is also known as the “Sailor’s Hornpipe.” Raven (English Country Dance Tunes), 1984; pg. 156. Veteran VT150CD, George Green - “Heel & Toe” (various artists). Wild Goose WGS 320, Old Swan Band – “Swan-Upmanship” (2004).
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>E D2 (3DEF|!
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’NeillMusic of Ireland (1903), No. 481

Z:AK/Fiddler’s Companion

K:A Minor

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 Aberdeen fiddler J. Murdoch Henderson (1902-1972), called “one of the greatest exponents of the Scottish fiddle in the 20th century.” The tune was named for Aberdeen musician Taylor, who was a “celebrated left handed fiddler.” Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 161, pg. 64. Henderson (Flowers of Scottish Melody), 1935. Welling (Hartford Collection), 1976; pg. 20. Philo 2001, "Jean Carignan" (Carignan learned the tune from an old recording by Cape Breton fiddler Angus Chisholm). WS 031703, Wendy MacIsaac – “Timeline” (2003).

                       

GEORGE MACINNIS’S FAVOURITE. AKA and see “Joe’s Favourite.”

                       

GEORGE MEL’S DREAM. Canadian, Slow Air (6/8 time). Canada, Pronce Edward Island. E Dorian. Standard tuning. ABA’B. Composed by Monticello, North-East Kings County, Prince Edward Island, fiddler George MacPhee (b. 1941). It was a tune remembered in a dream the night his father died, according to Ken Perlman (1996). Source for notated version: George MacPhee [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 209.


                       

GEORGE MEL’S REEL. Canadian, Reel. Canada, Prince Edward Island. E Dorian. Standard tuning. AABB. The ‘A’ part is the same as the ‘B’ part of the hornpipe “Rights of Man.” The source’s nickname was ‘George Mel.’ Source for notated version: George MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 111. 

                       

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., Aberdeen." Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 140, pg. 48.

                       

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 Aberdeen fiddler and composer J. Murdoch Henderson (1902-1972), in honor of George Riddell, "a musician and composer of repute" of the fishing village of Rosehearty, just east of Pennan. Hardie (Caledonian Companion), 1992; pg. 101. Henderson (Flowers of Scottish Melody), 1935.

                       

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. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 48, pg. 18.

                       

GEORGE SKENE DUFF, OF MILTON. Scottish, Reel. C Major. Standard tuning. AB. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 13.

                       

GEORGE SQUARE. See "George's Square."

                       

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 Cape Breton singer and musician John Allan Cameron popularized the tune, recording it on his album “Get There by Dawn” with Barry Ewen on pipes. Source for notated version: Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident of Montague) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 184. Scots Guards, vol. 1. Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000. Appears as “Kitcherer’s Army”). 

                       

GEORGE THE IV (Fourth). See "King George the IV." Scottish, Strathspey; Irish, Highland. Ireland, County Donegal. A Minor. Standard tuning. AA'B (Honeyman): AABC (Kerr). A popular highland in County Donegal. Donegal fiddler Mickey Doherty (d. 1970) played an influential version on “The Donegal Fiddle.” Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 16. Kerr (Merry Melodies), vol. 1; Set  8, No. 1, pg. 7.

X:1

T:George the IV

M:C

L:1/8

R:Strathspey

B:KerrMerry Melodies, vol. 1, pg. 7  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A Minor

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:HoneymanStrathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion

K:A Minor

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 SCOTLAND. Scottish, Reel. B Flat Major. Standard tuning. ABB. "From Nicolson's Collection" (Skye). MacDonald (The Skye Collection), 1887; pg. 133.

X:1

T:George the IVth’s Welcome to Scotland

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 Ozark Mountain fiddlers.

           

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 New York fiddler John McGrath (1900-1955), who called it "The Carrowcastle Lasses," although this attribution is in doubt. George White was born in County Longford in the late 19th century and immigrated to the New York City area around the turn of the century. He taught music, wrote and composed in that city, although later relocated to Boston. Sometimes it is said White was a publican who so often requested “Carrowcastle Lasses” that it became associated with his name. This tune was famously recorded by south Sligo fiddler Paddy Sweeney {1894-1974} (who often partnered with Paddy Killoran) in New York in 1934. Piper Leo Rowsome recorded it under the title “George White’s Favorite.” Some see resemblances to the “Old Maids of Galway” family of tunes. Sources for notated versions: Frank McCollam (Ballycastle, County Antrim) [Mulvihill]; accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 97, pg. 42. Harker (300 Tunes from Mike Rafferty), 2005; No. 105, pg. 32. Miller & Perron (Traditional Irish Fiddle Music), 1977; vol. 1, No. 30. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 73. Mulvihill (1st Collection), 1986; No, 19, pg. 5 (appears as “George White’s”). Coleman Center CD CC004, Paddy Ryan & Jim Corry – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Green Linnet Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985).

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