The Fiddler’s Companion
© 1996-2008 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] |
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
***
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
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:
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
X:1
T:Go My Own Darling Boy
M:3/4
L:1/8
S:
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
GO SHEEP GO. Old‑Time, Fiddle Tune. The title appears in a list of traditional
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).
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,
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
X:1
T:Goat’s Song, The
M:6/8
L:1/8
R:Air
N:”Moderate”
SO’Neill – Music of
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 “
X1
T:Gobby O, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
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
GOD BLESS THE
GOD SAVE
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.
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