The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

GNE - GONN

[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] 

GNEEVGULLIA POLKA [1]. Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AABB. According to folk tradition the town of Gneeveguilla had, by itself, 20 fiddlers before the Great Famine of the 1840’s (Hickey, Stone Mad for Music, 1999). Source for notated version: fiddler Pádraig O’Keeffe (Sliabh Luachra region) via accordion player Johnny O’Leary, recorded from the latter in concert at Na Píobairí Uilleann, February, 1981 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 64, pgs. 36-37.

 

GNEEVGULLIA POLKA [2]. AKA and see “The Kenmare Polka.” Irish, Polka. G Major. Standard tuning. AABB. Mallinson (100 Polkas), 1997; No. 95, pg. 37.

 

GNEEVGULLIA POLKA [3]. AKA and see “Din Tarrant’s [3],” “The Lonesome Road to Dingle [1],” “Paul Landers’.”

                       

GNEEVEQUILLA POLKA. AKA and see “The Ballydesmond Polka [3],” “Tom Billy’s Polka [1].” Irish, Polka. E Dorian. Standard tuning. AABB. No relation to either of the “Gneevgullia Polkas,” save the similarity in titles. Source for notated version: Kerry fiddler Paddy Cronin (b. 1925, Gneeveguilla, County Kerry) [Miller & Perron]. Miller & Perron (101 Polkas), 1978; No. 2. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 130. Talcon Records KG240, Paddy Cronin – “The House in the Glen” (197?).

                       

GNEEVGUILLA REEL, THE. AKA and see “Considine’s Grove{s},” “Cronin of Kerry,” “Dinny Ryan’s,” “Girls of Farranfore,” “The Kerryman’s Daughter [2],” “Miss Brady,” “The Pride of Rathmore.” Irish, Reel. West Coast (US) flute and concertina player Jack Gilder says that fiddler Joe Murtaugh maintained to him the the “Gneev(e)guilla Reel” was developed through the ‘folk processing’ of a set of “The Pride of Rathmore” and “The Girls of Farranfore.” It seems that the tunes were at some point miss-remembered, and that only a fragment of the second tune survived, eventually becoming attached to the first as the third part of what became known as “The Gneeveguilla Reel.” The title, by the way, is pronounced “Ginny-gulla”.

                       

GO ABOUT YOUR BUSINESS. See "Gin I Had a Bonnie Lassie." Rounder 7004, Joe Cormier ‑ "The Dances Down Home" (1977).

                       

GO AND ‘LIST FOR A SAILOR.  English, Air (cut time). E Minor. Standard tuning. ABC. The tune is employed for morris dancing in the village of Sherborne. The song to the air is “The Unfortunate Tailor,” collected by Dr. George Gardiner in Hampshire from George Lovett of Winchester in 1906 and Alfred Oliver of Basingstoke in 1907 (Malcolm Douglas). The last lines of the song go:

***

So now, kind friends, I’ll bid you adieu,

No more my woes shall trouble you;

I’ll ramble the country through and through,

And go and ‘list for a sailor.

***

Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 51. Fledgling FLED 3037CD, “Morris On” (CD reissue). Island Records HELP 5, Ashley Hutchings, John Kirkpatrick et at - “Morris On” (1972).

 

GO AS YOU PLEASE. American, Hornpipe. B Flat major (‘A’ part) & F Major (‘B’ part). Standard tuning. AABB. “As performed by G.L. Tracy” states the note in Ryan’s Mammoth Collection (1883). George Lowell Tracy (1855-1921) was a young man who later composed light opera and composition books, according to musicologist Charles Wolfe. Evidently Tracy arranged music as well, for one publication from the 1880’s indicates an Arthur & Sullivan work was arranged by him. "Can be used as a Clog” (Ryan). Cole (1000 Fiddle Tunes), 1940; pg. 100. Ryan’s Mammoth Collection, 1883; pg. 134.

X:1

T:Go as You Please

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

d/c/ | (B4 B>)dc>B | (c4 c>)ed>c | B>df>=e g>fd>B | A>fa>g (3fgf (3_edc |

(B4 B>)dc>B | (c4 c>)ed>c | B>bf>d (3fgf edc | B2b2B2 :|

K:F

A>B | c>=Bc>A F>Ac>_e | d>^cd>B G>Bd>g | (3efg (ce) g>ba>g | f>ac’a f>cA>B |

c>=Bc>A F>Ac>_e | d>^cd>B G>Bd>g | e>bg>e c>BG>E | (3FAB (3cde f2 :|

                       

GO DE SIN DEN TE SIN. See "Caide Sin Do'n Te Sin Nach mBaineann Sin do."

                       

GO DE TA ORT? AKA and see "What Ails You?"

                       

GO DULT ANNSA t-SUSA. AKA and see "Snug in the Blanket."

                       

GO FETCH TO ME A PINT O' MINE. Scottish, Air. The air is by James Oswald (d. 1769). Lyrics by Robert Burns were later set to the tune as "The Stolen Kiss."

 

GO FROM MY WINDOW. English, Slow Air (cut time). G Major. Standard tuning. One part (Kines): ABC (Chappell). This 16th century air appears in the Fitzwilliam Virginal Book, Jane Pickering's Lute Book, Barley's New Book of Tabliture (1596), Morley's First Booke of Consort Lessons (1599), Robinson's School of Musick (1603), and Playford's Dancing Master (1650‑86, where it appears much altered and with the title "The New Exchange, or Durham Stable," says Chappell). It has survived in oral tradition since Shakespeares time, when it was very popular. Baring‑Gould devotes a page and a half to its history in Songs of the West. The song was quoted in three of Fletcher's plays. Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pg. 146. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 86.

                       

GO, GEORGE, I CAN’T ENDURE YOU. English, Polka. D Major. Standard. AAB. Knowles (1995) states that “Go, George, I Can’t Endure You” is “usually associated with the Rossendale valley, but versions of it have been found in the Peak District.” Knowles (A Northern Lass), 1995; pg. 31.

                       


GO HOME, GO HOME, DEAR COUSIN. AKA and see "Come, O Dark‑Haired Woman" (Siubhal, A bhean dubh‑O). Irish, Air (6/8 time). G Mixolydian. Standard. AB. Source for notated version: "Mr. MacDowell: Belfast, 1846" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 525, pg. 283.

                                   

GO HOME WITH THE GIRLS IN THE MORNING. AKA –  Home with the Girls in the Morning.” AKA and see “Snake Chapman’s Tune.”

                       

GO IMMEDIATELY. See “Bi Falbh Anns a Mhionaid.”

                       

GO IN AND OUT THE WINDOW. Old-Time, Breakdown. D Major. From the playing of the late Owen “Snake” Chapman.

                       

GO MAIRID AR NGAIDLIG SLAN. Irish, March. G Major. Standard. AA'. Composed by Dr. A. Patterson. Roche Collection, 1983, Vol. 2; No. 325, pg. 55.

                       

GO MY OWN DARLING BOY. Irish, Air (3/4 time). E Flat Major. Standard. AB. Source for notated version: copied from the Hudson manuscript [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Go My Own Darling Boy

M:3/4

L:1/8

S:Hudson manuscript 1841

Z:Paul Kinder

R:Air

K:Eb

"Andante"e>d|c2 B2 G>F|E4 E>E|F2 F2 AB/2c/2|B>A G2 e>d|

c2 B2 (3GAF|E4 E>F|Gc/2B/2 GE F>G|E4||

B>B|e2 ed c>f|B4 e>e|fe cB (3GEB|B>A F2 e>d|

c2 B2 (3GAF|E4 E>F|Ge/2d/2 G>E F>G|E4||

                       

GO ON BOYS AND GIVE A TUNE (Siudaibh ‘illean, Gabhaibh ‘m Port). AKA and see “Cawdor Fair,” “The Hawthorne Tree of Cawdor.” The words appear in “Eilean Fraoich: Lewis Gaelic Songs and Melodies” (1938, 1982).

 

GO RABH SLAN LEIS AN ÓL. AKA and see “Farewell to Whiskey [1],” “Ladies Triumph [1],” “My love is but a lassie [2],” “Niel Gow’s Farewell to Whiskey.”

 

GO SEE THE FUN. AKA and see "Bob with the one Horn [2],” "The Ewe Reel,” "The Ew(i)e Wi' the Crooked Horn [1],” "The Kerry Lasses [1],” "The Lowlands of Scotland,” "The Merry Lasses,” "Miss Huntley's,” "My Love is Far Away,” "The Ram with the Crooked Horn,” "The Red Blanket,” "The Pretty Girl in Danger,” "Sweet Roslea and the Sky over it,” "The Foe.”

 

GO SEE THE WIDOW. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

GO SHEEP GO. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

GO TO BED, CICELY. Northumbrian. Henry Robson mentioned this title in his list of popular Northumbrian song and dance tunes which he published c. 1800.

 

GO TO BERWICK, JOHNNY. AKA and see "Barwick Billy." AKA ‑ "Berwick Johnny," "Berwick Jockey [2]." Scottish, English; Old Hornpipe (3/2 time). England, Northumberland. F Major (Gow, Williamson): G Major (Stokoe): D Major (Gatherer, Kennedy, O’Farrell). Standard tuning. AB (Gatherer): AAB (Gow/2nd Repository): AABB (Plain Brown Wrapper, Stokoe): AABBCC (Gow/Carlin, O’Farrell, Williamson): AABBCCDD (Gow/4th Repository): AABBCCDDEE (Kennedy). A triple‑time hornpipe of a style which originated in the Border regions of England and Scotland, but also associated with the English counties of Lancaster, Nottingham, and Derby. The Old English name Berwick has to do with a dwelling place or outlying farm involved with barley cultivation. The town of Berwick itself is in the Border region of northern England in Northumberland. Williamson (1976) thinks the tune may date from the union of the (Scottish and English) crowns in 1707, when a wanted man could cross the border to safety over the Tweed River at Berwick, however, an early version called “New Road to Berwick” predates that, and appears in the Henry Atkinson (Morpeth, Northumberland) manuscript book, dated 1694. Another early version (albeit unfinished) is in a MS called Margaret Sinkler's Musick Book of 1710 (a manuscript copy of the music book of Andrew Adam, Glasgow) where it appears as “Berwick Johnny.” It appears in a variety of other British musicians’ manuscripts, including William Dixon’s 1733 manuscript (under the title “Berwick Bully”), John Fife (Perthshire and at sea, 1780), William Clarke (Feltwell, Northumberland, 1858), William Vickers (Northumberland, 1770), Tom Clough (Northumberland), Elisabeth Williamson (unknown, 1790), John Miller (Perth, Scotland, 1799) and Bewick (Northumberland).  The title, also as “Berwick, Johnny,” appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he wrote c. 1800. There presently survive lyrics to the melody. Source for notated version: the c. 1847 music manuscript of Ellis Knowles (Radcliffe, Lancashire) [Plain Brown Wrapper]. Callaghan (Hardcore English), 2007; pg. 76. Carlin (The Gow Collection), 1986; No. 504. Gatherer (Gatherer’s Musical Museum), 1987; pg. 25. Gow (Complete Repository), Part 2, 1802; pg. 30. Gow (Complete Repository), Part 4, 1817; pgs. 22-23. Johnson, Scots Musical Museum (1793‑1841). Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 24, pg. 7 (appears as “Go to Berwick, Jockey”). O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 140. Plain Brown Tune Book, 1997; pg. 4. Stokoe & Bruce (Northumbrian Minstrelsy), 1882; pg. 162. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 58. Wilson (Companion to the Ball Room), 1816. EFDSSCD13, Rising Sun Band – “Hardcore English” (2007. Various artists). Folksound FSCD37, Rising Sun Band – “Setting it Right.”

X:1

T:Go to Berwick Johnny

L:1/8

M:3/2

S:Gow – 2nd Repository (1st and 2nd part)

Z:AK/Fiddler’s Companion

N:the last two parts appear in Gow’s 4th Repository

K:F

c2F2F2 c2 dcBA|c2F2F2 c2A2f2|c2F2F2 c2 dcBA|B2G2G2 A2B2d2:|

f3 g f2F2 ABcA|f3g f2F2A2c2|f3g f2F2 ABcA|g3a g2G2 B2d2|f3g f2F2 ABcA|

f3g f2 F2A2c2|f3g fgag agfe|d2g2g2 G2B2d2||

c3c dcBA dcBA|c2c dcBA c2f2|c2c dcBA dcBA|B2G2 ~G3A (B2d2):|

|:(c2A2) (f2A2) (a2A2)|(c2A2) (f2A2) (c2f2)|(c2A2) (f2A2) (a2A2)|B2G2 ~G3A (B2d2):|

X:2

T:Go to Berwick, Johnnie

L:1/8

M:3/2

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

d2G2G2d2 edcB|d2G2G2d2B2g2|d2G2G2d2 edcB|d2A2A2B2c2e2:|

|:g3a g2G2 BcdB|g3a g2G2B2d2|g3a g2G2 BcdB|e2a2a2A2c2e2|

g3a g2G2 BcdB|g3a g2G2 B2d2|g3a bagf gfed|e2a2a2A2c2e2:|


 

GO TO COQUET TO WOO. Northumbrian. Henry Robson mentioned this title in his list of popular Northumbrian song and dance tunes, which he published c. 1800.

 

GO TO SLEEP, JOHN DINNY. AKA and see "Dinah." American, Reel and Song Tune. USA, southwestern Pa. G Major. Standard tuning. ABB. In Pennsylvania, it was known as a dance tune, and separately as a song ditty to these words:\

***

It's go to sleep, John Dinny,

It's go to sleep I say,

It's go to sleep, John Dinny,

For it is your christ'ning day.

***

Source for notated version: Louis Conant (Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 25, pg. 582.

 

GO TO THE DEVIL AND SHAKE YOURSELF [1] (Imtig Do'n Diabal's Corruid Tu Fein). AKA and see "The Growling Woman," "When Sick Is It Tea You Want? [1]" "The One‑Legged Man [1]," "The Penniless Traveler," "Come from the Devil and shake yourself." Scottish, Irish & English, Jig. England, Shropshire, Linclonshire. D Major (Ashman, Cole, Huntington, Kennedy, O'Neill, Raven, Sumner, Trim): C Major (Gow, Howe). Standard tuning. AABB. Grattan Flood (1906) identifies the tune as originally from Munster, however, his assertion should be viewed sceptically, as the musicologist often made such assertions apparently on the scantiest of evidence.  It is not known what he based this opinion on. Scottish and English sources predate Irish ones in print, so far. The Scots certainly have a claim to provenance, as early versions appear under the “Devil” title in Napier's Selection of Dances (London, 1798) and Gow's Second Complete Repository (between 1799 and 1836). Editor Ashman relates that the tune was once much used for songs of political satire, and he believes it can also be found as an old hymn air. Campbell's gives the tune in ten strains (William Litton's version gives strain 5 & 6). Gow (1802) remarks: ”This tune may be played slow.” Sources for notated versions: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. American Veteran Fifer, pg. 66. Ashman (The Ironbridge Hornpipe), 1991; No. 107b, pg. 44. Campbell's Country Dances, pgs. 22‑23. Carlin (The Gow Collection), 1986; No. 472. Cole (1000 Fiddle Tunes), 1940; pg. 52. DeVille (The Violin Player's Pastime), pg. 10. Gow (Complete Repository), Part 2, 1802; pg. 21. Howe (Complete Preceptor for the Accordeon), c. 1843; pg. 5. Howe (Musician's Omnibus), pg. 43 & No. 2, pg. 107. Huntington (William Littens), 1977; pg. 30. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 35. Levey (The Dance Music of Ireland), No. 13. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 358, pg. 73. Raven (English Country Dance Tunes), 1984; pg. 110. Ryan’s Mammoth Collection, 1883; pg. 81. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 4. Trim (Thomas Hardy), 1990; No. 26.

X:1

T:Go to the Devil and shake yourself [1]

L:1/8

M:6/8

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:C

G|Gcc ~c>BA|G>AG GEF|Gcc c2d|ecA A2G|Gcc ~c>BA|

G>AG GEF|Gcc (Bd)f|ecc ~c2:|

|:e/f/|gec ~cBc|AFF ~F2 f/g/|afd dec|BGG G2G|Gcc ~c>BA|

G>AG GEF|Gcc (Bd)f|ecc ~c2:|

X:2

T:Go to the Devil and Shake Yourself

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 358

Z:AK/Fiddler’s Companion

K:D

Add dcB|ABA AFA|Add d2e|fec B2A|Add dcB|ABA AFA|dfd ege|fdd d2z:|

|:afd dcd|BGG G2g|bge ede|cAA A2A|Add dcB|ABA AFA|dfd ege|fdd d2z:|

 

GO TO THE DEVIL AND SHAKE YOURSELF [2]. Scottish, Jig. A Major. Standard tuning. AABB.

X:1

T:Go To the Devil and Shake Yourself              

B:Ms Music Book, Duchess of Atholl

Z:Nigel Gatherer

M:6/8

L:1/8

K:A

a|e2 c cBc|e2 c c2 a|e2 c cBc|A2 F F2 a|e2 c cBc|

Ace aga|fed cdB|A2 F F2::G|ABA cBc|A2 F F2 A|GAB BcA|

G2 E E2 G|ABA cBc|Ace aga|fed cdB|A2 F F2:|]

 

GO TO THE DEVIL AND SHAKE YOURSELF [3]. American, Jig. E Minor. Standard tuning. AABB. Seems unrelated to version #1. Ford (Traditional Music in America), 1940; pg. 72.

 

GO TO THE MILL AGAIN. English. England, Northumberland. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800.

 

GO WATER THY DADDY'S HORSE AT THE MILL DAM. English. England, Northumberland. Henry Robson mentioned this tune title in his list of popular Northumbrian song and dance tunes, which he published c. 1800.

                       


GO WAY FROM MY WINDOW. Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

GOAL OF CLONMELL, THE. Irish, Air (3/4 time). A Minor. Standard tuning. AB. Source for notated version: “From P. Carew’s MS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 362, pg. 92.

                       

GOAT FELL. Scottish, Strathspey. C Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 3; No. 133, pg. 16.

X:1

T:Goat Fell

M:C

L:1/8

R:Strathspey

B:Kerr – Merry Melodies, vol. 3, No. 133

Z:AK/Fiddler’s Companion

K:C
c>de>d c<A A<c|G>EC>E (G2 G)A|c>de>c d<e c<A/B/c/B/ A/G/F/E/ ({E}(D2 D)G|

c>de>d c<A A<c|G>EC>E G2 (cd)|e/f/g/d/ e/d/c/B/ c<A G>c|A/B/c/B/ A/G/F/E/ {E}(D2 D)||

e|c>de>f g<e e>f| g>e a/g/f/e {e}(g2 g)e|c>de>f g<e e>g|f>a g<e (d2 d)e|

c>de>f g<e e>f|g>e a/g/f/e/ {e}(g2 g)a|a/g/f/e/ f/e/d/c/ e/d/c/B/ c/B/A/G/|A/B/c/B/ A/G/F/E/ {E}(D2 D)||

                       

GOAT IN THE GREEN, THE. Irish, Jig. Ireland, Sliabh Luachra region of the Cork-Kerry border. E Dorian. Standard tuning. ABB’. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 71, pg. 41. Topic 12T357, Johnny O’Leary - “Music for the Set” (1977).

                       

GOAT ON THE HILL. Scottish, Jig. A Minor. Standard tuning. AABB. Composed by Neil Campbell (MacBeat). Martin (Ceol na Fidhle), Vol. 4, 1991; pg. 51.

X:1
T:Goat On the Hill, The
C:Neil Campbell
Z:Nigel Gatherer
L:1/8
M:6/8
K:Am
c/d/| e>AA c2 d | e>ag e2 d | e>AA c2 d | B>GG Bcd |
e>AA c2 d | e>ag e2 d | e>AA B>GG | A3   A2 :|
E | E>AA A>cc | G>BB B>ee | E>AA A>cc | B>GG G3  |

E>AA A>cc | G>BB B>ee | c>AA B>GG | A3   A2 :|]

                       

GOAT PEN, THE (Cro nan Gobhar). Scottish, Jig. D Minor. Standard tuning. AABB'. "The Goat Pen, supposed remotely situated, appears, by the Gaelic words, to have been the rendezvous of two lovers. It is long known as a Scotch dance, but makes a beautiful and delicate air, if slowly performed, worthy of suitable words, and is inserted to reclaim it as a Highland melody" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 22, pg. 8.

X:1

T:Goat Pen, The

T:Crò nan Gobhar

M:6/8

L:1/8

R:Jig

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:F

c|A>cd cAF|A/B/cA c>Gc|A>cd cAF|f2e d2c|A>cd cAF|A/B/cA cGc|A>GF Afa| gfe d2:|

|:f|cAA fAA|aAA cGG|cAA fAA|ae^c d2f|1 cAA fAA|aAA cGc|A>GF Afa|

gfe d2:|2 c>de fga|gfe fed|c>AF Afa|gfe d2f||

                       

GOATS' HORN(S), THE (Adarcaide Na Gabar). Irish, Double Jig. D Major. Standard tuning. AABB. See also "An Buachaillin Bui," "Come in the evening," "Galloway Tom [2]," "Galway Tom [1],” “Galway Town," "Gallua Tom," "A Western Lilt," "The Lark in the Morning [1]," "The Kelso Races," "The Welcome," "The Spotted Cow," "The Little Yellow Boy." Source for notated version: Beamish [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 926, pg. 172.

X:1

T:Goats’ Horns, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 926

Z:AK/Fiddler’s Companion

K:D

A|:ddd fdd|edd fdd|ddd fdd|edB B2A|ddd fdd|edd fdd|def gfe|fdB B2A:|

||AFA A2B|AFA A2B|AFA def|gfe fdB|AFA A2B|AFA A2B|def gfe|fdB B2d||

                       

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

                       

GOAT'S SONG, THE (An Cronan Gabhair). Irish, Air (6/8 time). F Major/D Minor. Standard tuning. AABB'. The tune features ornaments that sound like a goat’s bleating. O’Neill says an almost identical version of the melody can be found in Logan’s Scottish Gael under the title “Cronan Gabhair.” Source for notated version: “Mr. Quinn, a famous Irish piper of Chicago (and) his friend Segt. James Early” [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 480, pg. 84. O’Neill (1913), pg. 124.

X:1

T:Goat’s Song, The

M:6/8

L:1/8

R:Air

N:”Moderate”

SO’Neill – Music of Ireland (1903), No. 480

Z:AK/Fiddler’s Companion

K:F

c|A>cd cAF|A/B/cA cGc|A>cd cAF|f2e d2c|A>cd cAF| A/B/cA cGc|A>GF Afa|

gfe {e}d2 :: f|{d}cAA {g}fAA|{g}aAA {d}cGG|{d}cAA {g}fAA|{g}af^c d2f|1

{d}cAA {g}fAA|{g}AA cGc|A>GF Afa|gfe {e}d2:|2 cde fga|gfe {g}fed| c>AF Afa|gfe {e}d2||

                       

GOBBI O, AN. AKA and see "The Gobby O."

              


GOBBY-O/GOBBIE O, THE (An Gobbi O).  AKA and see "Jefferson and Liberty," "The Gaby Boy," "Bay of Bantry." Scottish (originally), English, Irish; Jig. A Minor (O’Farrell): A Dorian (most versions): A Major (O'Neill/1850). Standard tuning. AB (Stanford/Petrie): AABB (most versions): AABC (Kerr). One suggestion regarding the meaning of the title postulates a progressive derivation from “Gaberlunzie Boy” (i.e. beggar boy), shortened to “Gaby Boy,” and finally morphing into “Gobby-O.” Another suggests the title derived from the Gaelic word gob, meaning ‘mouth’ or ‘beak’. O’Sullivan & McCandless (2005) say that the title “most likely refers to a ‘gobby-stick’ (a flute or fife), the inference being that these woodwind instruments are hollow sticks played with the mouth (‘gob’ is the Irish language word for ‘beak’ or ‘mouth’).” O’Neill (1922) says: “Classed as an Irish tune in Aird's Selections etc. (1782-97) and in Brand & Weller's Country Dances for 1798. ‘The Gobby O’ was a simple jig of two parts. The possibilities of elaboration based on a popular strain are well illustrated by Jeremiah Breen, a blind fiddler of Ballybunnian, North Kerry, as noted down by his pupil Thomas Rice.” The tune became popular in American fife and drum repertory, especially under the title “Jefferson and Liberty,” the name of a campaign song set to the melody. Previously, the melody also served as a vehicle in England for the topical song “Wilkes and Liberty,” honouring the 18th century politician and journalist John Wilkes (1727-1797), who championed the cause of American independence in England and was jailed for his troubles. Sources for notated versions: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry [O’Neill]; the c. 1847 music manuscript of Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Cole (1000 Fiddle Tunes), 1940; pg. 55. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 42. Kerr (Merry Melodies), vol. 1; No. 26, pg. 33. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 16, pg. 7. O’Farrell (Pocket Companion), c. 1805; pg. 19. O'Neill (Krassen), 1976; pg. 32. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 844, pg. 157. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 105, pg. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 68. 33. Plain Brown Tune Book, 1997; pg. 25 (appears as an untitled “Gigg” in the Ellis Knowles MS). Raven (English Country Dance Tunes), 1984; pg. 108. Roche Collection, 1983, vol. 3; No. 112, pg. 35. Ryan’s Mammoth Collection, 1883; pg. 85. Stanford/Petrie (Complete Collection), 1905; No. 546, pg. 138. Sweet (Fifer’s Delight), 1964/1981; pg. 28. Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005).

X1

T:Gobby O, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 105

Z:AK/Fiddler’s Companion

K:A Dorian

A/B/|c2A AGA|E2A ABc|BAB GAG|dBG GAB|c2A AGA|E2a a2b|age edB|cAA A2:|

|:E|A2B c2d|e2f g3|agf gfe|dBG G2E|A2B c2d|efg a2b|age edB|cAA A2:|

X:2

T:Gobby O and Variations, The

M:6/8

L:1/16

S:Rice-Walsh manuscript

Z:Paul Kinder

K:Bb

dc|BAGABG AGFGAF|D2G2G2 G2^F2G2|AGABcB A2G2F2|cAdcAG F2G2A2|

BAGABG B2A2G2|AFDEFG A2B2c2|dcdefe dcBAGF|D2G2G2 G4||

D2|G4 A2 B4 c2|d3efa g4 a2|bagabg fedefd|cAdcAG F2G2A2|

BAGABG B2A2G2|AFDEFG A2B2c2|dcdefe dcBAGF|D2G2G2 G4||

ga|bagabg ag^fgaf|d2g2g2 g2^f2g2|a2abab a2g2f2|c'2a2ag f2g2a2|

bagabg ag^fgag|f2d2B2 g2c'2ag|f2d2c2 A2G2F2|A2G2G2 G4||

g2|gbag^fa gbagfa|g2d2B2 g2d2B2|fgagfe f2g2a2|f2c2A2 f2c2A2|

g2e2c2 a2f2d2|b2g2b2 d'2a2g2|f2d2c2 A2G2F2|A2G2G2 G4||

Bc|dcBcdB GABcdB|dcBcdB GABcdB|cBABcA FGABcA|cBABcA FGABcA|

BAGABG cBABcA|fedefd gfgbag|fedefe dcBAGF|D2G2G2 G4||

GF|D2B2B2 D2G2A2|D2G2F2 G2A2GF|D2B2B2 D2A2A2|F2GFED F2G2A2|

D2B2B2 cBABcA|fedefd gfgbag|fedefe dcBAGF|D2G2G2 G4||

Bc|dedcdc B2G2G2|AFDEFG A2B2c2|dcde^fa g2f2g2|agbag^f gfagfe|

dcedcd B2G2G2|AFDEFG A2B2c2|dcdefe dcBAGF|D2G2G2 G4||

 

GOD BE WITH OLD IRELAND. AKA and see "Farmer Hayes," "A Fig For All My Foes," "Poor Pat Must Emigrate," "I'm Now in the Land of Liberty."

 

GOD BLESS THE GREY MOUNTAIN. AKA and see "The Black Rogue [1]."

 

GOD SAVE IRELAND. Irish, March. D Major. Standard. ABB. The tune is the American Civil War song "Tramp, Tramp, Tramp (the Boys are Marching)" transplanted to Ireland. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). While mostly traditional in his repertoire, Goodman regularly played several novelty or ‘popular’ tunes. Roche Collection, 1983, vol. 2; No. 352, pg. 63.

 

GOD SAVE OUR (LORD THE) KING. AKA ‑ "My Country Tis of Thee." English, Air (3/4 time). G Major (Chappell): D Major (Ashman): C Major (Evans). Standard. One part (Evans): AB (Chappell): AABB (Ashman). See Chappell, 1859, vol. 2, pgs. 194‑200, for an extensive essay on the origins of this tune, the British national anthem, which dates from around 1742. Pulver (1992) credits the Scottish composer James Oswald (1710-1769) with at least being the first to harmonize it in its present form; “it was always a wretched tune, rhythmically unimaginative, as square as a box and accompanied by words insulting to half of the land mass to which is is supposed to apply.” One of the oddest appearances of the tune is on the barrel organ from the polar expedition of Admiral Parry of 1810. In place of a ship’s fiddler (common in those days), Parry introduced a mechanical barrel organ on board ship to provide entertainment and a vehicle to which the men could exercise (i.e. by dancing). “God Save the King” was one of eight tunes on barrel no. 4. The melody (as “God Save the Congress) appears in the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 54b, pg. 21. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 194. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 1. Saydisc SDL 234, Parry’s Barrel Organ (vol. 11 in the Golden Age of Music).

X:1

T:God Save Our Lord the King

M:3/4

L:1/8

R:Air

S:Chappell – Popular Music of the Olden Time  (1859)

Z:AK/Fiddler’s Companion

K:G

G2G2G2|F3G A2|B2B2c2|A3A B2|A2F3G|G6||d2d2d2|d3c B2|c2c2c2|

c3B A2|B2 cB AG|B3c d2|e2 A3G|G6||

 

GOD SPEED THE PLOUGH. AKA and see "Speed the Plow/Plough [1]."

 

GODESSES. AKA and see "Quodling's Delight," "O the Oak and Ash and Bonny Ivy Tree." English, Country Dance Tune (2/2 or 4/4 time). G Minor (Barnes, Fleming‑Williams, Karpeles, Raven, Sharp): A Minor (Chappell). Standard. AB (Sharp): AABB (Barnes, Chappell, Fleming-Williams, Karpeles, Raven). This air was first published by Playford in his English Dancing Master (1651 and all subsequent editions), the Fitzwilliam Virginal Book, and Sir John Hawkins' transcripts. It belongs to a large tune family which includes numerous dance and ballad melodies. Derivatives became, for example, the American shape note song "Samantha," and was also used for the songs "A North Country Maid," "The Northern Lasse's Lamentation; or, The Unhappy Maid's Misfortune," and "The Oak and Ash (and Bonny Ivy Tree)," but also includes "I Am the Duke of Norfolk" or "Paul's Steeple." John M. Ward has pointed out that all the tunes of this family may be considered descants over the ground known as 'passamezzo antico'. Barnes (English Country Dance Tunes), 1989. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 276 (appears as "Quodling's Delight"). Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 5. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 14. Raven (English Country Dance Tunes), 1984; pg. 25 & 42 (the latter is a facsimile reprint of the Playford original). Sharp (Country Dance Tunes), 1909/1994; pg. 24.

X:1

T:Godesses