The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

GIB - GIV

[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] 

GIANT’S CAUSEWAY.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 15.

 

GIBBIE GREY'S. Shetland, Shetland Reel. Named for the Shetlandman who played the tune. Front Hall 018, How to Change a Flat Tire ‑ "Traditional Music of Ireland and Shetland.

           

GIBSON'S WHISKEY. Scottish. Composed by J. Scott Skinner.

           

GIDD. Scottish. John Glen (1891) finds the earliest appearance of this tune in print in Joshua Campbell's 1778 collection (pg. 28).

           

GIE THE LASSES MAIR O’T. Scottish. A variant of "The Lass of Patie's Mill,” or "Peaty's/Paty's Mill,” combined with another strain. Aird (Selection), vol. 3; No. 556.

           

GIE THE MAWKING MAIR O’T. AKA and see "Drunken Wives of Carlisle.”

..............            

GIFT FROM THE FAIRIES.  Irish, Slip Jig (9/8 time). From the playing of Donegal fiddler Mickey Doherty (older brother of John Doherty and a member of the famous traveller musical family) who said he had it from the fairies. It was recorded in the field in 1949 by Kevin Danaher and Sean O’ hEochaidh of the Irish Folklore Commission. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996).

..............            

GIGA. AKA and see "Lord Elcho's Favourite.” Scottish, Slow Jig. G Minor. Standard tuning. AABB. This generically named tune ('giga'=jig) was composed by James Oswald, but also published by Nathaniel Gow who gave no composer credit. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 78, pg. 128.

..............            

GIGGA. A generic term used in the 17th and the early 18th century for the form now known as a jig, or a tune in 6/8 time.

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GIGGE-A-GOGGE. AKA and see "Woodystock."

..............

GIGHT CASTLE. Slow Air. C Minor. The tune was played by Hector MacAndrew and Winston Fitzgerald, and was apparently composed by MacAndrew. Jack Campin notes a similarity to Angus Fitchet’s “Lament for Will Starr.” Dominion LP 1333, Hector MacAndrew – “The Fiddler’s Companion” (c. 1960’s).

..............            

GIGUE.  A French Canadian form, where step dancing is mostly to (2/4) reels, not to (6/8) jigs. The work Gigue has several meanings in France, including the jig-dance, a leg of lamb (gigot, or veal gigue), a girl with long legs, 13th century string instruments, and others.

..............

GIGUE, LA. French, Dance Tune ('A' part in 2/4 time, 'B' part in 6/8). G Major. Standard tuning. AABB. Stevens (Massif Central), 1987, Vol. 2; No. 114.

           

GIGUE À CELINA.  AKA and see “Reel à Célina.”

 

GIGUE À COGNE PICARD, LA. French-Canadian, Reel. D Major. Standard tuning. AA’BB’CC. This ‘crooked’ tune is often played for step-dancing. Source for notated version: from accordion players Philippe Bruneau and Clément Breton [Remon & Bouchard]. Remon & Bouchard, Vol. 1, 1996; No. 18.

           

GIGUE À JOS BERNATCHEZ, LA. French-Canadian, Reel. D Major/Mixolydian. Standard tuning. AABB. A ‘crooked’ tune, the ‘A’ part having six measures and the ‘B’ part four. Source for notated version: Liette Remon, who learned the tune from her father, Réginald (Petit-Pabos, Gaspésie), who in turn learned it from his grandfater, Jos Bernatchez [Remon & Bouchard]. Remon & Bouchard, vol. 2, 1997; No. 16. Les Têtes de violon - “Le talencourt.”

 

GIGUE À l’ENVERS, LA. French-Canadian, Reel. D Major. Standard tuning. AABB. From an obscure recording from the beginning of the 20th century. Remon & Bouchard, vol. 1, 1996; No. 24.

 


GIGUE À MA TANTE ALFREDA, LA. French-Canadian, Reel. D Major. Standard tuning. AA’BB. A ‘crooked’ tune with the first part in cut time and the second in 3/4 time. Guy Bouchard notes that the tune is one that is not very melodic but is very well suited to the Sayguenay region step-dancing style. Recorded by Louis Boudreault. Source for notated version: fiddler Lisa Ornstein (Maine) [Remon & Bouchard]. Remon & Bouchard, Vol. 2, 1997; No. 3. 

           

GIGUE À PADDY (Paddy's Jig). French-Canadian, Jig. G Major. Standard tuning. AA'BB'. Cuillerier (Joseph Allard), 1992; pg. 6. Bluebird B-4889-b (78 RPM), Joseph Allard.

X:1

T:Gigue a` Paddy

C:Joseph Allard

M:6/8

L:1/8

Z:Transcribed by Bruce Osborne

K:G

d|gfg efg|afd def|gfg efg|afd def|!

g2 g aga|bgg bge|dcB AGA|BGG G2:|!

|:E|DGB AGA|Bcd efg|G2 B AGA|BGE E2 D|!

DGB AGA|Bcd efg|dcB AGA|BGG G2:|!

           

GIGUE À PIERRE CHARTRAND, LA. French-Canadian, Reel. G Major. Standard tuning. AA’BB’. Source Bruneau plays this ‘crooked’  tune in the key of F Major (the ‘A’ part has four measures, the ‘B’ part 6). Source for notated version: accordion player Phillipe Bruneau [Remon & Bouchard]. Remon & Bouchard, Vol. 2, 1997; No. 15. Phillipe Bruneau & Pierre Chartrand - “La gigue québécoise.” Les Têtes de violon - “Le Talencourt.”

           

GIGUE À TOMMY (MÉDEE), LA. French-Canadian, Jig (3/4 time). G Major. AA’BBC. Guy Bouchard points out that source Boudreault, like many Québecois fiddlers, changes the number and order of the parts of the tune at each repetition. For this particular transcription the order was AAABBC, AAAAABBBC, AAAAAABBB, AAAABBC. Source for notated version: Louis ‘Pitou’ Boudreault (Saguenay region, Québec) [Remon & Bouchard]. Remon & Bouchard, Vol. 1, 1996; No. 7.

           

GIGUE CANADIENNE (Canadian Jig). French-Canadian, Jig. G Major. Standard tuning. AA'BB'. Cuillerier (Joseph Allard), 1992; pg. 7. Victor 263522-b (78 RPM), Joseph Allard.

X:1

T:Gigue Canadienne

C:Joseph Allard

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:G

dc|B2GB cAFA|d^cde dBGB|DFAB cBcB|AGFE DB,DG|!

B2B2 cBce|dBge dBGB|DFAB cAFG|A2G2 G2:|!

|:ga|bgfg dega|bgfg dega|ba^ga ea^ga|ba^ga ef=ga|!

bgfg dega|bgfg defg|(3aba (3gag (3fgf (3efe|defe g2:|!

           

GIGUE DE LA DÉBAUCHE. French-Canadian, Jig. G Major. Standard tuning. AA'BB'. Cuillerier (Joseph Allard), 1992; pg. 7. Bluebird B-1107-a (78 RPM), Joseph Allard.

X:1

T:Gigue de la De`bauche

C:Joseph Allard

M:6/8

L:1/8

Z:Transcribed by Bruce Osborne

K:G

d|g2 B BAG|Bdd dBG|cec BdB|AFA def|!

g2 B BAG|Bdd dBG|cec BdB|AcA G2:|!

|:B|def g2 g|faf d2 d|def gfg|a2 a gbb|!

gbg faf|ege dBG|cec BdB|AFA G2:|!

           

GIGUE DE M. LASANTÉ, LA. French-Canadian, Jig (3/2 time). G Major. Standard tuning. AA’BB’. Source for notated version: Mr. Lasanté (Abitibi, Québec), via Lisa Ornstein [Remon & Bouchard]. Remon & Bouchard, Vol. 1, 1996; No. 14. MP2036, La Bottine Souriante - “Je voudrais changer d’chapeau.”

 

GIGUE DE TERREBONNE. French-Canadian, Reel. D Major. Standard tuning. AABB. From the repertoire of French-Canadian accordion player Alfred Montmarquette. Source for notated version: accordion player Raynald Ouellet (Québec) via Dan Compton (Portland, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 84. Thirty Below TB035, G. Labbe, B. Bourque et al - “Hommage a Alfred Montmarquette.”

           

GIGUE DES CAPUCHONS (Hood Dance). French-Canadian, Jig. D Major. Standard tuning. AA’BB’. A capuchon is an item of apparel—a hood that covers the head. Source Joseph Allard (1873-1947) played the tune ‘square’ (i.e. equal parts of equal measures), however, Rémi Laporte played the tune with a measure of 9/8 at the beginning of the second part. Source for notated version: fiddler Rémi Laporte (Saint-Liguori, Québec) [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 11, pg. 45.

X:1

T:Gigue des Capuchons

C:Joseph Allard

M:6/8

L:1/8

Z:Transcribed by Bruce Osborne

K:D

g|faa afa|gfe d2 e|faf ede|fdf efg|!

faa afa|gfe d2 e|faf ede|fdd d2:|!

|:F|A3 G3|FAd fed|cBc edc|dfe dcB|!

A3 G3|FAd fed|cBc edc|dfe d2:|!

                       

GIGUE DES PAROISSIENS. French-Canadian, Jig. D Major. Standard tuning. AABB.

X:1

T:Gigue des Paroissiens

C:Joseph Allard

M:6/8

L:1/8

Z:Transcribed by Bruce Osborne

K:D

A|AFA dfa|agf efg|fdf fed|cee ecA|!

AFA dfa|agf efg|afd gec|edd d2:|!

|:D|DFA dcB|ABA FAF|DFA DFA|A,CE A,CE|!

DFA dcB|ABA FAd|fef gec|edd d2:|!

                       


GIGUE DES SUCRES. French-Canadian, Jig. G Major. Standard tuning. AA'BB'. The 'A' part is the same as "Portland Fancy [1]." Cuillerier (Joseph Allard), 1992; pg. 9. Victor 263932-b (78 RPM), Joseph Allard.

X:1

T:Gigue des Sucres

C:Joseph Allard

M:6/8

L:1/8

Z:Transcribed by Bruce Osborne

K:G

G|D2 G D2 G|DGA B3|cBc ABc|e2 d B2 G|!

D2 G D2 G|DGA B3|cBc DEF|GBA G2:|!

|:d|g3 f3|ece d3|cBc ABc|e2 d B2 d|!

g3 f3|ece d3|cBc DEF|GBA G2:|!

           

GIGUE DES TOURISTES. AKA and see "Quadrille de Beauharnois."

           

GIGUE DU DIAMANT BLEU.  French-Canadian, Reel. D Major. Standard tuning. AA’BB’C.

X:1

T:Gigue du diamante bleu

M:2/4

L:1/8

R:Reel

S:Transcribed by fiddler Pascal Gemme (of the group Genticorum) http://tradquebec.over-blog.com/archive-1-2007.html

K:D

a/g/|:f/d/e/d/ f/d/e/f/|g/b/a/f/ ea/g/|f/d/e/d/ f/d/e/f/|1 g/b/a/f/ da/g/:|2 g/b/a/f/ dA/d/||

|:fe/d/ f/d/e/d/|B/d/A/d/ B/d/A/d/|fe/d/ fe/d/|1 c/A/B/c/ dA/d/:|2 c/A/B/c/ d/A/B/c/||

d/c/d/A/ F/A/F/A/|G/B/G/B/ F/A/F/A/|d/c/d/A/ F/A/F/A/|G/A/B/c/ d(3A/B/c/|

d/c/d/A/ F/A/F/A/|G/D/B,/D/ F/A/F/A/|d/c/d/A/ F/A/F/A/|G/A/B/c/ da/g/||

 

GIGUE DU FORGERON (Blacksmith’s Dance). French-Canadian, Jig. D Major. Standard tuning. AA'BB'. Source for notated versions: Joseph Allard (1873-1947, Woodland, Montréal, Québec) [Cuillerier, Hart & Sandell]. Cuillerier (Joseph Allard), 1992; pg. 9. Hart & Sandell (Dance ce Soir), 2001; No. 12, pgs. 45-46. Bluebird B-1104-a (78 RPM), Joseph Allard.

X:1

T:Gigue du Forgeron

C:Joseph Allard

M:6/8

L:1/8

Z:Transcribed by Bruce Osborne

K:D

A|dcd AFA|dfb a2 f|gfg Ace|dfd AFA|!

dcd AFA|dfb a2 f|gfg Ace|d2 d d2:|!

|:g|b3 -bag|faa agf|gfg Ace|ba^g a2 a|!

gbb bag|faa agf|gfg Ace|d2 d d2:|!

           

GIGUE DU PÈRE MATHIAS.  French-Canadian, Reel. D Major. Standard tuning. AA’BB’CC’. The melody was composed by accordion player Adélard Thomassin, who played with the influential folk group Leas Montagnards Laurentien.

X:1

T:Gigue du père Mathias

M:2/4

L:1/8

C:Adélard Thomassin

R:Reel

S:Transcribed by fiddler Pascal Gemme (of the group Genticorum) http://tradquebec.over-blog.com/archive-1-2007.html

K:D

d/B/|:A/F/F/F/ Ad/B/|A/F/F/F/ Ed/B/|A/F/F/F/ Ad/B/|1 A/F/E/F/ Dd/B/:|2 A/F/E/F/ D2||

|:A/c/e/c/ B/{c}B/A|A/c/e/c/ B/{c}B/A|A/c/e/c/ B/{c}B/A|1 B/A/B/c/ d/d/d:|2 B/A/B/c/ d/c/d/e/||

|:fd BA/G/|F/A/F/A/ E/A/d/e/|fd BA/G/|1 F/A/B/c/ d/c/d/e/:|2 F/A/B/c/ dd/B/||

 

GIGUE DU PETIT PETE PAYETTE. French‑Canadian, Jig. D Major. Standard tuning. AABB.

           

GIGUE DU SOUS-MARIN. French-Canadian, Jig. G Major. Standard tuning. AA'BB'. Cuillerier (Joseph Allard), 1992; pg. 10. Bluebird B-1279-b (78 RPM), Joseph Allard.

X:1

T:Gigue du Sous-Marin

C:Joseph Allard

M:6/8

L:1/8

Z:Transcribed by Bruce Osborne

K:G

B|BAB G2 D|B,2 E D2 B|BAB d2 B|G2 B A2 B|!

cBc A2 G|F2 G A2 B|cBc fed|cBA B2 B|!

BAB G2 D|B,2 E D2 B|BAB d2 B|G2 B A2 B|!

cBc A2 G|F2 G A2 B|cBc fed|cBA G2:|!

|:B/c/|d2 d e2 d|g3 -gfg|a3 -aga|b3 -bab|!

d'2 B d2 g|gfe d2 g|fed cBA|B3 -BBc|!

d2 d e2 d|g3 -gfg|a3 -aga|b3 -bab|!

d'2 B d2 g|gfe d2 g|fed cBA|G4 -G:|!

 

GIGUE DU VIOLONEUX. French-Canadian, Jig. D Major. Standard tuning. AA'BB'. The 'A' part is reminiscent of "Captain Jinks." Cuillerier (Joseph Allard), 1992; pg. 10. Victor 263648-b (78 RPM), Joseph Allard.

X:1

T:Gigue du Violoneux

C:Joseph Allard

M:6/8

L:1/8

Z:Transcribed by Bruce Osborne

K:D

e|f2 d AFA|B2 A d2 f|efg B2 c|d2 e f2 g|!

aba AFA|B2 c d2 f|efg B2 c|edd d2:|!

|:d|g3 -gag|f2 d fgf|efe ede|fdB B2 A|!

g3 gag|f2 d fgf|e2 d efg|ABc d2:|!

           

GIGUE FOR GENNY. AKA and see "Greenholm." English, Country Dance Tune (6/8 time). G Major. Standard tuning. AAB. Barnes (English Country Dance), 1986.

           

GIGUE SIMPLE. AKA and see “(La) grande gigue simple.”

 

GILBERT CLANCY'S REEL (Gilibeart Mhac Fhlannchadha). AKA and see "Bímid ag Ól," “Courting in the Garden,” “James Ryan’s Favourite,” “John Reid’s Favourite,” “Seán Reid’s Reel,” "The West Wind [1].” Irish, Reel. G Major. Standard tuning. AB. O'Sullivan (1983) sees motivic connections between this tune and Bunting's "Whish, Cat from under the Table." Gilbert Clancy (died c. 1957) was a flute and concertina player from Islandbawn, County Clare, father of piper Willie Clancy (1918-1973) and friend to blind piper Garrett Barry, an influential musician of the region who died around 1900. Source for notated version: piper Willie Clancy/Liam Mac Flannchedha (Miltown Malbay, County Clare, [Breathnach]. Breathnach (CRÉ I); No. 83, pg. 37. Cranitch (Irish Fiddle Book), 1988; 154. Mitchell (Dance Music of Willie Clancy), 1983; 15. Tara 2002, Christy Moore ‑ "The Iron Behind the Velvet" (1978. Learned from the late Willie Clancy). Piping Pig Productions PPPCD001, Jimmy O’Brien-Moran – “Seán Reid’s Favourite” (1996. Appears as “Seán Reid’s Favourite”).

           

GILDA ROY. Old-Time, Breakdown. USA, south-eastern Kentucky. C Major. Standard tuning. ABC. No musical relation to the tune that is usually known as “Gilderoy” or “Red Haired Boy.” The title, however, is a corruption of “Gilderoy” which itself is an Englished version of the Gaelic giolla ruadh, or ‘red-haired boy’. The tune was recorded in 1937 by the Lomax’s for the Library of Congress from the playing of Kentucky fiddler W.H. Stepp. Source Salyer played the ‘f’ notes so that they sound almost ‘f#’. Source for notated version: from a 1941 home recording of fiddler John M. Salyer (Salyersville, Magoffin County, Kentucky), by his sons, Glen and Grover [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 48, pg. 79. Berea College Appalachian Center AC-003, “John M. Salyer: Home Recordings 1941-1942, Vol. 2” (1993). Bruce Greene – “Leatherwood Stocking.”

                       


GILDEROY [1]. Scottish (originally), English, Irish; Hornpipe, Reel and Air. A Minor. Standard tuning. AABB. An earlier, minor key, relative of what was later called "The Red Haired Boy" family of tunes. Caoimhin Mac Aoidh explains that the name ‘Gilderoy’ is an English corruption of the Gaelic words ‘Giolla Ruaidh’; giolla is generally taken to mean a servant or a young person, while ruaidh literally means red, though when used in conjunction with a person it refers to red hair. Interestingly, he mentions that in modern Scotland and Ireland hunting and fishing stalkers or guides are still referred to in anglicised form as ‘Gilles’. The hero of the ballad “Gilderoy” was a historical personage, a Scottish freebooter of the notorious Clan MacGregor, seven of whose gang were taken by the Stewarts of Athol and hanged in Edinburgh in July, 1638. Robin Williamson maintains the ballad was well known as far away as England by the middle of the 17th century, a decade or two later. An early printing appears in the Gillespie Manuscript of Perth, 1768. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 49. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 28, pg. 14. McGibbon (Scots Tunes, book III), 1762; pg. 70. Raven (English Country Dance Tunes), 1984; pg. 188. Flying Fish FF 358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 1."

X:1

T:Gilderoy [1]

M:C|

L:1/8

R:Hornpipe

K:A Minor

E2 | A2 AB cBcd | efec d2 cd | edcB ABcA | B^GEE E2 EG |

A^GAB cBcd | efec d2 cd | ea^ga edcB | c2A2A2 :|

|: ef | g2 ga gfef | gfec d2 cd | edcB ABcA | B^GEE E2 EG |

A^GAB cBcd | efec d2 cd | ea^ga edcB | c2A2A2 :|

X:2

T:Gilder Roy [1]

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book III, pg. 70  (1762)

Z:AK/Fiddler’s Companion

K:A Minor

E2 | A2 A>B c>Bc>d | ({c/d/}e2) “tr”(d>c) (d>e) (c>d) | ({c/d/}e2)G2 c<AG<E | G6 “tr”(cB) |

(A^G)AB (cBc)d | (e>d)(e>f) e2 (ag) | (fe)(dc) “tr”B3A | A6 :: (e>f) | (g>f)(g>a) g2 “tr”(f>e) |

{d/e/}(fe)(dc) d2 c>d | ({c/d/}e2)G2 (c/4B/2<A) (G/4F/2<E) | (G4G2) “tr”(cB) |

(A^GA)B (cBc)d | (e>d)(e>f) e2 (ag) | (fe)(dc) “tr”B3A | A6 :|

 


GILDEROY [2]. AKA and see "Black Rock [2]"(Pa.), "The Duck Chewed Tobacco" (Va.), "Guilderoy," "Gilder Roy," "Gilda Roy," "Gilroy," "Gilderoy's Reel," "Injun Et a Woodchuck [2]" (Pa.), "Mairi ban Og," "Nellie on the Shore" (Pa.), "The Old Soldier (with a Wooden Leg) [2]," "Red Haired Boy," "Wooden Leg.” Scottish, Reel; Old‑Time, Breakdown. USA; Ky., Va., Ohio, Pa., Mass. A Minor/Mixolydian. Standard tuning. AABB. The title Gilderoy is an Englished version of the Gaelic 'Gilleruadh' or 'Giolla Ruadh', meaning red‑haired lad or youth. Historically, Gilleruadh was the nickname of a famous Scottish highwayman named Patrick McGregor who was captured and executed in 1636; the song describes his exploits and moralizes on his fate. John Purser says the tune was known by around 1660 as it was referred to in a broadside of that period. Glen records that the tune was first printed in the British Isles in 1726 (where it appears in Alexander Stuart's Musick for Allan Ramsay's Collection of Scots Songs), in William Thompson's Orpheus Caledonius of 1733 and again in 1742, though Cazden (et al, 1982) dates the tune as "possibly from 1650," perhaps to coincide with the demise of the famous highwayman. It quickly became popular and appears in the later 18th century Scottish collections of Aird, Bremner, Gillespie (1768), Oswald (1744 in A Second Collection of Curious Scots Tunes, later republished with different variations in his Caledonian Pocket Companion), McGibbon, and McLean (1772) {where it is ascribed to Robert McIntosh}. The Scots national poet, Robert Burns, set one of his early lyrics to it, called "From Thee, Eliza." Macfarlane, in his 'Studies' claimed this tune, among others, was a Gaelic melody, and postulated that an analysis of airs for alteration of musical accent and the introduction of what he termed 'slurs' could detect which tunes had been originally Gaelic but were altered to fit English lyrics. Bayard (1981), Cazden (et al, 1982) and others have long determined that 'Guilderoy', in both vocal and instrumental settings, stems from the protean 'Lazarus' air (see also "Bonaparte's Retreat"), and numbers among one of the half‑dozen or so most extensively used melodies in the entire English-speaking folk tune repertory (see JWFSS, I, 142). Elaborates Bayard: "This melody is one of several which provide some index of the extent to which the local tradition is independent of commerical printed collections of fiddle tunes. Bub Yaugher's (Pennsylvania-collected) variant represents the version in which 'Guilderoy' seems always to be known in western Pennsylvania‑‑distinctive in melodic outling, and invariable played in the mixolydian mode. As might be expected the tune is not always known under this name, which is, however, the one most often attached to it. The mixolydian version of 'Gilderoy' is undoubtedly Irish: the editor has repeatedly heard it performed by Irish fiddlers in Massachusetts, and they have always played this version, in variants rather close to the Pennsylvania sets. The printed collections, on the other hand, nearly always give the tune in dorian or aeolian tonality, which corresponds to the tonality of its well known (English and) Scottish versions. Tune versions like this, therefore, present good evidence for the comparative freedom of the Pennsylvania folk fiddlers from influence of printed collections, and for the independence and authenticity of their tradition. The reason for the tenacity of the name 'Guilderoy' is that the famous song by that name was frequently sung to forms of this tune in British tradition" (Bayard, 1944). Flood (1906) claims the tune as Irish and says it was originally called "Molly MacAlpin," a lament written soon after five members of that family (also called Halpin or Halfpenny) were outlawed. Another related Irish tune, likewise in the Lazarus family, include the oft-heard "Star of the County Down" (in duple and triple versions). The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. The alternate Pennsylvania titles given above are floaters‑‑"Injun Et a Woodchuck" comes from the ditty sung to the tune:

***

Injun et a woodchuck,

He et it in a minute

(or: I'll be darned if he didn't.)

He et it so darned quick

He had no time for to skin it. (Bayard, 1981)

***

Sources for notated versions: Irvin Yaugher Jr. (Mt. Independence, Pennsylvania, October 19, 1943; learned from his great‑uncle) [Bayard, 1944]: seven southwestern Pa. fiddlers [Bayard, 1981]. American Veteran Fifer, No. 35. Bayard (Hill Country Tunes), 1944; No. 85 (appears as "Guilderoy"). Bayard (Dance to the Fiddle), 1981; No. 169A‑G, pgs. 119‑122. "Calliope," pg. 438. Cazden, pg. 32. Edinburgh Musical Miscellany, I, 240. Harding’s Original Collection, No. 51. Howe's Diamond School for the Violin, 1861; pg. 39. Jigs and Reels, pg. 8. Johnson, The Scots Musical Museum (edition of 1853), I, No. 56, II, No. 220. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 12. JFSS, II, 119. JWFSS, I, 142. Krassen, 1973; pg. 81. O'Neill, Music of Ireland, No. 1748. O'Neill Irish Music, No. 356. Reavy, No. 90. Robbins, No. 131. Roche Collection, vol. 3; No. 188. Sannella, Balance and Swing (CDSS). Smith, The Scottish Minstrel, vol. 2, 18. Southern Folklore Quarterly, VI, pg. 8 (appears as "The Duck Chewed Tobacco"). Edison 52022 (78 RPM), John Baltzell {Baltzell lived in Mt. Vernon, Ohio, the same home town as minstrel Dan Emmett (d. 1904). Emmett taught Baltzell to play the fiddle when he returned to the town, poor, in 1888}. Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and Caves” (2001).

X:1

T:Gilderoy [2]

M:4/4

L:1/8

R:Reel

K:A Mixolydian

F2|EA2B A2 cd|efec d2 cd|edcB A2 Bc|BAGF G2 ED|

EA2B A2cd|efec d2 cd|ea2b aged|c2A2A2:|

|:ef|g2 gf gfef|gfec d2 cd|e2A2 ABcA|BAGF G2 ED|

EAAB A2 cd|efec d2 cd|eaab a2 ed|c2A2A2:|

 

GILDEROY [3]. See “Gilda Roy.”

 

GILDEROY [4]. American, Reel. A Minor. Standard tuning. AABB. A version of the Irish tune “Take Her Out and Air Her [3]” and “Touch Me if You Dare [1].” Alan Jabbour collected a version from Glen Lynn, Virginia, fiddler Henry Reed, that the latter identified as a “British field march” played by the retreating British at the Battle of New Orleans. Ford (Traditional Music in America), 1940; pg. 43.

X:1

T:Gilderoy [4]

M:2/4

L:1/8

R:Reel

S:Ford – Traditional Music in America  (1940)

Z:AK/Fiddler’s Companion

K:A Minor

A/B/ | cB/A/ BB/A/ | G/A/B/c/ d/B/G/B/ | cB/A/ BA | E/AB/ AA/B/ |

cB/A/ BB/A/ | G/A/B/c/ d/B/G/B/ | gB/A/ BA | E/AB/ A :: A/B/c/d/ ee/f/ |

g>g BA | a>a cB | E/AB/ A :|

 

GILDEROY [5].  Old-Time, Breakdown. C Major. Standard tuning. From the playing of Magoffin County, eastern Kentucky fiddler John Salyer (1882-1952), who called it “Gilda Roy.”

                                      

GILE MEAR. AKA and see “Mo Gile Mear.”

                          

GILE MO CHROÍ. AKA and see “Brightness of My Heart.”

              

GILE MOCHRAIDHE. AKA and see "Brightness of My Heart."

                          

GILES FARNABY'S GIGGE. English, Dance Tune (common time). Even though called a jig, the tune is in common time; here the word jig denotes a spirited dance.

                          


GILES ROY POLKA. American, Polka. C Major. Standard tuning. AA'BCC'. Source for notated version: Henry Landry [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 347.

                          

GILIBEART MHAC FHLANNCHADHA (Gilbert Clancy’s {Reel}). AKA and see “Gilbert Clancy’s Reel.”

                          

GILL CAN, THE. AKA and see "Loch Leven Castle," "Miss Lyle's Reel." Shetland.