The Fiddler’s Companion

© 1996-2009 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,” “Game of Love,” “Girls of Farranfore,” “The Kerryman’s Daughter [2],” “Miss Brady,” “Paddy Cronin’s,” “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 tuning. 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 tuning. 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 puirt-a-beul or mouth music words appear in “Eilean Fraoich: Lewis Gaelic Songs and Melodies” (1938, 1982).

Siùdaibh ‘illean gabhaibh ‘m port,
Siùdaibh ‘illean dannsaibh,
Siùdaibh ‘illean gabhaibh ‘m port,
Is mise bean na bainnse.

Go on boys, give us a tune,
Go on boys, dance,
Go on boys, give us a tune,
I’m the bride.

 

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. The title was a fairly popular, if impious, epithet, meaning roughly “Get lost!” 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), Thompson’s Twenty-four Country Dances for the Year 1800 (London, 1800), Cahusac’s Compleat Tutor for the German Flute (London, c. 1798), Astor’s Hoboy (Oboe) Preceptor, or Military Pieces (London, c.1800), and Gow's Second Complete Repository (between 1799 and 1836).  Perthshire fiddler John Fife included “Go to the Devil and Shake Yourself” in his music manuscript compiled in Scotland and at sea from 1780 to 1804, as did New Romney, Kent, fiddler William Mittell in 1799. In America the tune was published by Joshua Cushing in his Fifer’s Companion (Salem, Mass., 1804) and by Daniel Steele in his New and Complete Preceptor for the Fife (Albany, c. 1815). . It also appears in numerous American musicians’ manuscripts, such as Eleazer Cary (Mansfield, Conn., c. 1797-1799), Josiah Adams (Framingham, Mass., 1808-1818), Joseph Hooves & David Melvenz (New Ispwich, Mass., c. 1800-1817), Abel Shattuck (Colrain, Mass., c. 1801-182?), fifer Seth Johnson (Woburn, Mass., 1807-1840), and others. Country dances to the melody were printed by H. & E. Phinney in A Select Collection of the Newest and Most Favorite Country Dances (Ostego, N.Y., 1808) and Saltator’s A Treatise on Dancing (Boston, Mass., 1807). The jig is listed as the vehicle for the Haymaker’s dance in Boston publisher Elias Howe’s No. 2 Fifty Contra Dances (c. 1860).

***

Gordon Ashman (1991) 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.” “Go to the Devil and Shake Yourself” was adapted for the classical music repertoire as a Rondo for the Piano-Forte by pianist and composer John Field (1782-1837), published in 1818. Field was born in Dublin, but spent most of his adult life concertizing and teaching on the Continent, particularly Russia, where he died. The jig is mentioned in a legend related by Charles M. Skinner (1852-1907) in his book The Isle of Manhattoes and Nearby. It is essentially the same story adapted by Charlie Daniel in his song “Devil Went Down to Georgia” about a private fiddle contest between the devil and a human fiddler. In Skinner’s tale the protagonist is a black fiddler named Joost, returning home from playing a wedding on Long Island. He meets a stranger along the road, with a fiddle tucked under his arm, and the two begin to play. It quickly escalates into a contest:

***

“Where the devil did you come from?” asked (Joost). The other smiled.

“And how did you come to know that music?” Joost pursued.

“Oh, I’ve known that tune for years,” was the reply,. “It’s called ‘The Devil’s joy at Sabbath Breaking.”

“You’re a liar!” cried the negro. The stranger bowed and burst into a roar of laughter. “A liar!” repeated Joost,--“for I made up

that music this very minute.”

“Yet you notice that I could follow when you played.”

“Humph! Yes, you can follow.”

“And I can lead, too. Do you know the tune ‘Go to the Devil and Shake Yourself?’”

“Yes; but I play second to nobody.”

***

Joost finally bests him at dawn by playing the hymn “Now behold, at dawn of day, Pious Dutchmen sing and pray.” With the concession “Well, that beats the devil” the stranger strikes his foot against a rock and disappears in an explosion.

***

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]; ship’s musician William Litten, who compiled a music manuscript aboard an East Indiaman from 1800-1802 [Huntington]. 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 Litten’s), 1977; pg. 30. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 35. Levey (The Dance Music of Ireland), No. 13. Mattson & Walz (Old Fort Snelling/Fife), 1974; pg. 63. 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. Wilson (Companion to the Ball Room), 1816, pg. 86. Joseph Cormier & J.P. Cormier – “Velvet Arm, Golden Hand”

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]. AKA and see “Get Up Old Woman and Shake Yourself,” “Tickle Her Leg (with the Barley Straw).” Irish, Jig. E Minor. Standard tuning. AABB. Unrelated to version #1. Ford (Traditional Music in America), 1940; pg. 72.

X:1

T:Go to the Devil and Shake Yourself [3]

T:Get Up Old Woman and Shake Yourself

M:6/8
L:1/8

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

E/F/|G2B {c}BAB|G2E E2G|F2A {B}AGA|F2D DEF|G2B {c}BAB|

def gfe|dcB {c}BAB|G2E E2::e|e2B {c}BAB|d2B B2g|

d2B {c}BAB|G2E E2e|e2B {c}BAB|def gfe|dcB {c}BAB|G2E E2:|

 

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

L:1/8

M:2/2

Z:AK/Fiddler’s Companion

S:Sharp – Country Dance Tunes  (1909)

K:Gmin

G2G2 B2 AG|A2A2 c2 BA|G2G2 B2 AG|d2d2 d4|G2G2 B2 AG|

A2A2c2 BA|G2G2 B2 AG|d2d2 d4||f2d2B3d|c2A2F3A|B2G2F3A|

G2G2 G4|f2d2B3d|c2A2F3 A|B2G2F3A|G2G2 G4||

                       

GODFATHER. AKA – “Road to Garrison.” Irish, Reel. D Major. Standard tuning. AA’BB. The tune appears as “Maurice Lennon’s” on the CD by (Declan) Folan and Davey, and for good reason as it was composed by Lennon with the original title of “Road to Garrison.” Brian Rooney.

X:1

T:Godfather

R:Reel

Z:Adrian Scahill

M:4/4

L:1/8

K:D

A3B ADFA|BFAF EDFE|DA,A,2 A,B,DF|GBAG FDDA|\

BA^GB ADFA| (3dcB AF EDFE|DB,B,2 A,2dB|1 AFEG FDD2:|2 AFEG FDFA||\

dcdf aff2|afbf afef|dff2 Adfa|bfaf e3g|\

f3g afdf|(3gag fg eBB2|ABdf fedB|AFEG FDFA:||

                       

GODLEY HALL HORNPIPE, THE. English, Hornpipe (3/2 time). A Major. Standard tuning. AABB'CC'DD. Modern composition by Pat Knowles. Knowles (Northern Frisk), 1988; No. 139.

              

GOFF HALL.  American, Country Dance Tune (2/4 time). A Major. Standard tuning. AA’BB’. Composed in 1984 by Daniel Lanier, named perhaps for the venue of the Rehoboth, Massachusetts, monthly contra dance. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 5 (appears as “The Astonished Archaeologist,” the name of a dance set to the tune and composed in 1992 by Philippe Callens, in honor of his friend, archaeologist and musician Mik Lammers).

                                      

GOFTON HOUSE HORNPIPE.  AKA – “Rothley Lakes.” English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABB’. Composed by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler, originally from Morpeth. Rothley Lakes are in central Northumberland. Dixon (1995) finds the tune attributed to Whinham in several manuscripts, appearing as an untitled hornpipe in one, and under the title “Rothley Lakes” in another. Source for notated version: the S.P. Liddell manuscript, dated 1879 [Dixon]. Dixon (Remember Me), 1995; pg. 35.

                       


GOGAI O GOG. AKA and see "Painneach na nUbh [1]."

                       

GOING ACROSS THE SEA. AKA and see "Across the Sea," “Going to the Army,” "Gwine Across the Sea." Old‑Time, Breakdown and Song Tune. USA; Tennessee, Kentucky, Missouri. A Major/Mixolydian: D Major (Beisswenger & McCann). AEad or ADae (Monday/Titon) tunings. AA’BB’. This piece has been popular as a banjo/vocal number and has a reputation as a driving banjo tune among musicians in eastern Kentucky and Tennessee, although both Guthrie Meade (1980) and Jeff Titon (2001) say the tune is identified with the Cumberland Plateau region of south central Kentucky and middle Tennessee. Others have called it a fairly common tune in the upper/central South. Titon relays that Mark Wilson told him that it was frequently encountered in the Ozark Mountain region of the Mid-West, where Tennessee populations had migrated. Various sets of lyrics are often sung to it, most being of the “floating” variety. The piece was earliest recorded in 1924 by Tennessee's banjo-playing Uncle Dave Macon, and indeed, the tune has lyrics and has often been rendered subsequently with banjo accompaniment. Monticello, Kentucky, musician Dick Burnett performed a noticeably different version on the banjo from Macon’s. In fact, Burnett copyrighted his version, had it printed and sold “ballets” of the song in the second decade of the 20th century. He later recorded the song for the Gennett company, although the side was unissued (Gennett 14651), the only copy pressed being presented to him. It was also recorded in the 20's by other south‑central or eastern Kentucky musicians (such as Henry L. Bandy, who waxed it for Gennett in 1928, though un-issued), African-American fiddler John Lusk, and (in an instrumental version) by Nashville's Crook Brothers (Wolfe, 1982). It was the Crook Brother’s most popular record. Bascom Lamar Lunsford was recorded for the Library of Congress playing “Goin’ across the Sea” in 1935 (1801B2). Charles Wolfe says a "sea chanty" variant was published in 1939 by Jean Thomas in the book Ballad Makin' in the Mountains of Kentucky, collected in northeastern Kentucky. The Frank C. Brown Collection of North Carolina Folklore links “Going across the Sea” to  “Wish I Had a Needle and Thread.” A play-party tune called “I’m Going across the Sea” may be related in some way, either melodically or through the title. According to Meade, Spottswood and Meade (Country Music Sources, 2002, pg. 529), the tune is closely related to Stephen Foster’s “Angelina Baker.” Sources for notated versions: Isham Monday (Tompkinsville, Monroe County, Ky., 1959) [Titon]; Bob Holt (1930-2004, Ava, Missouri), learned from Bill Conley, who learned it from his father and banjo player Bye Conley [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 62. Titon (Old-Time Kentucky Fiddle Music), 2001; No. 50, pg. 81. County 542, Crook Brother's String Band {1928} ‑ "Nashville: the Early String Bands, vol. 2." County 787, Clarence Ferril Band ‑ "Five Miles Out of Town: Traditional Music From the Cumberland Plateau, vol. 2." Marimac 9060, Jim Bowles - "Railroading Through the Rocky Mountians" (1992). Morning Star 45004, H.L. Bandy (southern Ky.) - "Wish I Had My Time Again" (originally recorded in 1928). Rounder 1004, "Ramblin' Reckless Hobo: The Songs of Dick Burnett and Leonard Rutherford." Rounder CD 0432, Bob Holt – “Got a Little Home to Go to” (1998). Victor Vi40099 (78 RPM), The Crook Brothers. Vocalion 5081 (78 RPM), Uncle Dave Macon.

                                               

GOING AROUND THE WORLD. AKA and see "Katy Hill [1]," "Banjo Playing Girl." Old‑Time, Song. USA, Kentucky. The tune was recorded in 1929 (but unissued) by Dick Burnett (Monticello, Ky.) and appears to bear some relation to a popular 1880's composition called "Baby Mine," says Charles Wolfe. It was known in the 1930's and 40's as "Banjo Playing Girl." Rounder 1004, "Ramblin' Reckless Hobo: The Songs of Dick Burnett and Leonard Rutherford."

                                   

GOIN' BACK. Old‑Time, Breakdown. Modern modal composition by June Drucker. Yodel‑ay‑hee #002, Critton Hollow Stringband ‑ "Sweet Home" (1983).

                                                  

GOING BACK TO ISRAEL. Old-Time, Breakdown. A modern composition by Jane Drucker.

                          

GOING BACK TO KENTUCKY. AKA and see “John Rawl Jamieson.” Old-Time, Breakdown. USA, Kentucky. D Major. Standard tuning. AABB'. The tune was known by the alternate title by Kentucky fiddlers Buddy Thomas and Morris Allen. Source for notated version: J.P. Fraley (Rush, Ky.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 98. Rounder 0032, Buddy Thomas (northeastern Ky.) ‑ "Kitty Puss: Old‑Time Fiddle Music From Kentucky" (appears as “John Rawl Jamieson”). Rounder CD0380, Roger Cooper (Lewis County, Ky.) - “Going Back to Old Kentucky” (1996).

                                                  


GOIN' CRAZY. Old‑Time, Breakdown. USA, Georgia. County 514, Shores Southern Trio ‑ "Hell Broke Loose in Georgia" (orig. rec. 1929). Rounder CD0262, Mike Seeger - "Fresh Oldtime String Band Music" (1988).

                                      

GOING DOWN BRUSHY FORK. AKA and see "Cripple Creek."

                                      

GOING DOWN CRIPPLE CREEK. AKA and see "Cripple Creek."

                                      

GOING DOWN SHOOTIN' CREEK. AKA and see "Cripple Creek."

                                                  

GOING DOWN THAT MUDDY ROAD. Old‑Time, Breakdown. A Major. Standard tuning. AABB. Source for notated version: Gary Moore (New Jersey) [Kuntz]. Kuntz, Private Collection.

                                      

GOING DOWN THE LEE HIGHWAY. AKA and see “Lee Highway Blues.” Old‑Time, Breakdown. USA; N.C., Tenn. Roy Parker states this tune was composed by fiddler G.B. Grayson in the back of guitarist Henry Whitter's Model T Ford as it chugged down US 11 (Lee Highway) on the way to the Memphis recording session. See also the similar "Down Home Blues."  Victor 23565 (78 RPM), 1929, G.B. Grayson (N.C./Tenn.).

                                      

GOING DOWN THE RIVER. AKA and see "Sandy River" (Western N.C. title), "Little Dutch Girl [1]" (Ozark title), "Sailing Down the River," "Davy, Davy." Old‑Time, Breakdown. USA; Kentucky, N.C., Missouri. A Major. AEae tuning (J.P. Fraley). AABB. The following words are associated with the tune:

***

Oh, my little girl, if you don't do better,

Put you on a boat, gonna send you down the river.

Boat began to sink, my heart began to quiver,

Oh, my little girl, you're goin' down the river.

***

Source for notated version: fiddler J.P. Fraley (Rush, Ky.) [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 121. Johnson (Kitchen Musician No. 2: Old-Timey Fiddle Tunes), 1982 (revised 1988, 2003); pg. 5. Kaufman (Beginning Old Time Fiddle), 1977; pgs. 87‑88. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 98. County 519, Dr. Smith's Hoss Hair Pullers‑ "Echoes of the Ozarks, vol. 2." Library of Congress AFS 4806‑A‑2, 1941, Western N.C. fiddlers Osey and Ernest Helton (as "Sandy River"). Rounder 0037, J.P. and Annadeene Fraley‑ "Wild Rose of the Mountain."

                                      

GOING DOWN THE ROAD FEELIN' BAD. AKA and see "Lonesome Road Blues." Document 8040, “The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 2” (reissue).

                                      

GOING DOWN TO CAIRO. Old‑Time, Breakdown. USA. G Major. Standard tuning. AB. A version of “Liza Jane.” Cairo is a river town on the Mississippi at the mouth of the Ohio, and was quite a rowdy town in its day. The word Cairo is pronounced 'Kay‑row'.

***

I'm goin' down to Cairo, Goodbye, magpie;

Goin' down to Cairo, To see my Liza Jane.

***

Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 52. Train on the Island Records TI‑12, Bob Bovee and Gail Heil ‑ "For Old Times Sake."

                                      


GOING DOWN TO GEORGIE-O. AKA and see "Hornio," "Gunboat." Old‑Time, Breakdown. USA, Central West Virginia. D Major. Standard tuning. AAB (Krassen): AA’BB’ (Silberberg). Source for notated versions: Melvin Wine (Braxton County, West Virginia) [Krassen, Silberberg]. Krassen (Masters of Old Time Fiddling), 1983; pg. 52. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 53. Augusta Heritage Records 003, Ernie Carpenter ‑ "Elk River Blues: Traditional Tunes From Braxton County, W.Va." (appears as "Gunboat") {Carpenter learned his version from Wallace Pritchard}.

                                      

GOING DOWN TO MAYSVILLE. Old-Time, Breakdown. USA, Kentucky. In the repertoire of the late Owen “Snake” Chapman (1919-2003) of Pike County, Kentucky. Maysville is a small town on the Ohio river, the county seat of Mason County. The tune is not related to J.P. Fraley’s “Maysville.”

                                      

GOING DOWN TO MEMPHIS. Rounder 0436, Ray Curbow – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain.”

                                      

GOING DOWN (TO) TOWN [1]. AKA and see "Monkey Show." Old‑Time, Breakdown. The tune, according to Guthrie Meade (1980), dates back to pre‑Civil War days. Played by M.Y. Robinson (Dunwoody, Ga.), at a 1913 Atlanta, Ga., fiddlers contest.

 

GOING DOWN IN TOWN [2]. AKA – “Going Downtown.” AKA and see “Lynchburg Town.” Old-Time, Breakdown. A Major. Standard tuning. One part. Source for notated version: Melvin Wine (West Virginia) [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 52.

                                      

GOING FOR WATER. See “Going to the Well for Water [2].”

                                      

GOING HOME. Old‑Time, Breakdown. USA; western N.C./Va. Rounder 0058, Fulton Myers ‑ "Old Originals, vol. 2" (1978).

                                      

GOING TO A FREE STATE. Old-Time, Breakdown. A Major. Standard tuning. AB. Source for notated version: Kerry Blech (Seattle) [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 53.

                                      

GOING TO BOSTON [1]. Old-Time, Breakdown. G Major. Standard tuning. AA'BB. Source for notated version: Vivian Williams (Seattle) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 99.

 

GOING TO BOSTON [2]. Old‑Time, Breakdown. USA; Ky., Ind. A Mixolydian. Standard tuning. AABB. The faintest wisp of a melodic relationship with version #1. A song version of the melody can be found in Cecil Sharp's English Folksongs from the Southern Appalachians, collected at Hindman, Kentucky in 1917, as "Going to Boston." A play-party version of the song can be found in Leah Jackson’s The Play-Party in Indiana: A Collection of Folk-Songs and Games with Descriptive Introduction, and Correlating Notes (1916, Indiana Historical Commission, Indianapolis), under the title “Go to Boston,” collected from Mrs. Susan Ballman (Versailles, Ind.):
***

Now, boys, you may go to Bos-ton,
Now, boys, you may go to Bos-ton,
Now, boys, youmay go to Bos-ton,
So ear - ly in the morn-ing.

***
Now girls you may go to Boston, (x3)
So early in the morning.
***
All together we'll go to Boston,  (x3)
So early in the morning.

***

See also Ky. fiddler Art Stamper’s version “Goodbye Girls, I’m Going to Boston.” Source for notated version: learned as a girl by folksinger Jean Ritchie (Ky.) [Spandaro]. Spandaro (10 Cents a Dance), 1980; pg. 33.

                                      

GOING TO CALIFORNIA. AKA and see "Belle of the Kitchen [2],""Buttermilk and Cider" (Pa.), "Fireman's Reel," "Lexington,” "Miss Johnson's Hornpipe," "Going/Off to California [1]," "Old Towser," "Portsmouth Hornpipe," "Possum Up a Gum Stump (Coonie in the Hollow) [1]," "Silver Cluster Reel," "Whiskey, You're the Devil," "Whiskey in the Jar [1]," "You Bet.”

              

GOIN' TO CHATANOOGA. Old‑Time, Breakdown. USA, Tennessee. G Major. Standard tuning. AABB. Similar to the Leake County Revelers' "Been to the East, Been to the West." Also in repertoire of Chatanooga fiddler Bob Douglas. Source for notated version: Liz Slade (Yorktown, New York) [Kuntz]. Kuntz, Private Collection. CA-01, Charlie Acuff - "Left Handed Fiddler" (1990. A privately issued cassette from an Alcoa, Tenn., fiddler in his 70's).

X:1

T:Goin’ to Chatanooga

M:2/4

L:1/8

S:Liz Slade

Z:Transcribed by Andrew Kuntz

K:G

B/c/|dd/A/ B/A/B/c/|d/B/d/A/ B/A/B/c/|dd/A/ B/A/B/B/|A/[GB][G/B/] [GB]B/c/|

d/B/d/A/ B/A/B/c/|d/B/d/A/ B [Bg]|[Bg]/A/d B/A/B| A/[GB][G/B/] [GB] :|

|:(e/f/|g/)A/f/A/ ed|e/A/f [B2g2]|b2 g>g|e d2 (e/f/|g)/e/f/f/ ed|e/e/f [B2g2]|

[d2g2] B>(B|A) [G2B2]:|

              

GOING TO DONNYBROOK (Ag Imteacd Go D'i Domnac Broc). Irish, Double Jig. G Major. Standard tuning. AABB'. See also the 3rd part of the “King’s Jig.” O'Neill (Krassen), 1976; pg. 67. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1086, pg. 204. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 280, pg. 61.

X:1

T:Going to Donnybrook

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 280

Z:AK/Fiddler’s Companion

K:G

E|DGG BGG|AGG GBd|efg dBG|AGA BGE|

DGG BGG|AGG GBd|efg dBG|AGG G2:|

|:f|gfg efg|edB def|gfg eag|fdd d2f|gfg efg|edB def|1

gfe dBA|BGG G2:|2 gba gfe|dBA BGE||

              

GOING TO GET SOME CORN. AKA and see "Fat Hog in the Pen." Old‑Time, Breakdown. USA; Franklin County, Va. Recorded for the Library of Congress (2740-B-2) by Herbert Halpert, 1939, from the playing of J.W. "Peg" Thatcher of Franklin County, Va.

              


GOING TO JAIL [1]. Old‑Time, Country Rag. USA, Kentucky. G Major (Brody, Phillips): C Major (New Lost City Ramblers). Standard tuning. ABB (Brody): AA'BB' (Phillips). A ragtime fiddle piece composed around the E, A, D, G chord turn. The New Lost City Rambler’s version is from Tennesse’s Fiddlin’ Arthur Smith. Source for notated version: Ken Kosek [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 122. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 54. Folkways FA 2492, New Lost City Ramblers‑ "String Band Instrumentals" (1964). Superior 2519 (78 RPM), Buddy Young's Kentuckians.

 

GOING TO JAIL [2]. Old‑Time, Country Rag. USA, Kentucky. County 531, Ted Gosset's Band (Muhlenberg County, Ky.) ‑ "Old Time String Band Classics: 1927‑1933" (1975. “Ted Gossett played fiddle on most of the band's performances, but is replaced on this classic country ragtime tune by Tommy Whitmer.").

                                      

GOING TO THE ARMY. Old-Time, Breakdown. USA, North Carolina. The tune is a variant of “Going Across the Sea.” Marimac 9064D, Lauchlin Stamper & A.C. Overton - “Sally with the Run Down Shoes” (1996).

                                      

GOING TO THE BARN DANCE. Canadian, Breakdown. Source for notated version: Bud Snow (Putnam County, New York). Flying Fish FF‑247, "Fiddle Fever" (1981).

                                      

GOING TO THE FAIR (Ag Dul Go Di An Aonac). AKA and see “Dan Backus’ Favorite,” Jim Coleman’s [1],” “Liverpool Jack’s,” “Miss McGuiness [1],” "Take Your Choice,” “Terence’s Rambles.” Irish, Reel. G Major. Standard tuning. AA'B. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1413, pg. 262.

X:1

T:Going to the Fair

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1413

Z:AK/Fiddler’s Companion

K:G

dG (3GGG dGBG|efga bgfg|dG (3GGG dGBd|1 egdB BA Az:|2 egfa bg g2||

(3aba ba (3gag d2|egdg egdg|(3aba ba geef|gedB BA A2|(3aba ba (3gag d2|

egdg egdg|bg (3agf geef|gedB BA A2||

              

GOING TO THE FREE STATE. AKA and see “Going to a Free State.”

              

GOIN' TO THE WEDDING. AKA – “Going to the Wedding to Get Some Cake.” Old‑Time, Breakdown. USA, Mississippi. A Major or G Major. Modern versions are modelled on fiddler Alvis Massengale and the Newton County (Mississippi) Hillbillies’ recording. Recorded for the Library of Congress in 1939 by Lauderdale County, Mississippi, fiddler Frank Kittrell. Okeh 45549 (78 RPM), Newton County Hillbillies (Mississippi, with Alvis Massengale on fiddle).

              

GOING TO THE WELL FOR WATER [1]. AKA - “Going for Water.” AKA and see "The Kaiser." Irish, Slide (12/8 time). D Major (most versions): C (Taylor/Tweed). Standard. AABB (Leary/Moylan, Taylor/Tweed): AA’BB (Sullivan): AA’BB’ (Mallinson). Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Píobairí Uilleann, November, 1990 [Moylan]; accordion player Jackie Daly (County Cork) [Sullivan]. Breathnach (CRÉ III), No. 54. Jordan (Whistle and Sing, Book Two); pg. 15. Mallinson (Enduring), 1995; No. 64, pg. 27. Moylan (Johnny O’Leary), 1994; No. 167, pgs. 96-97. Sullivan (Session Tunes), vol. 3; No. 18, pg. 7. Globestyle Irish CDORBD 085, John & Julia Clifford with Maurice O’Keefe- “The Rushy Mountain” (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians). Topic 12T311, John & Julia Clifford - “Humours of Lisheen” (appears as “Going for Water”).

X:1

T:Going to the Well for Water

T:The Kaiser

R:slide

M:12/8

L:1/8

K:D

A2 f A2 f A2 f fed|B2 g B2 g B2 g gfe|cdc BcB ABA a2 f|

1 g2 e cde d3 dcB:|2ged cde d3 d2 e|:f3 fed efe edc|

d2 d dcB c3 cBA|GBB GBB FAA FAA|EDE e2 d cBc d3:|

X:2

T:Scattery Island

T:Going for Water

T:Going to the Well for Water

R:slide

D:Humours of Lisheen - John & Julia Clifford

B:Johnny O'Leary of Sliabh Luachra

M:12/8

L:1/8

K:D

F2A d2f F2A d2f|e2A cBA e2A cBA|

F2A d2f F2A d2f|e2A cBA B2c d3:|

|:~a3 f2e ~d3 def|g2f e2d Bcd efg|

aga f2e d2c def|e2A cBA B2c d3:|

 

GOING TO THE WELL FOR WATER [2]. Irish, Slide. D Major. Standard tuning. AA’BB’. A version of the “Scattery Island Slide.” Mulligan Records, Dennis Doody – “Kerry Music.” Topic 12TS352, Terry “Cuz” Teahan – “Old  Time Irish Music in America" (1977. Appears as “Going for Water”).

X:1

T:Going for Water

S:Terry Teahan

M:12/8

L:1/8

K:D

F2G AdA F2G AdA | B2e e2d c2B cBA |

F2G AdA F2G AdA |1 B2e e2A B2c d3 :|2 B2e e2A B2c d2 ||

e | f2f f2e d2c B2A | B2e e2d c2B cBA |

f2f f2e d2c B2A |1 B2e e2A B2c d2 :|2 B2e e2A B2c d3 ||

 

GOING TO TOWN. AKA and see "Katy Hill [1]," (also "Going Up‑Town"?). Old‑Time, Bluegrass; Breakdown. USA, Tenn. G Major. Standard tuning. AABB. Arthur Smith's version of "Katy Hill." Source for notated version: Arthur Smith (Tenn.) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 122. County 546, Arthur Smith‑ "Arthur Smith, Vol. 1." Mag 3901, Sumner and McReynolds‑ "Old Friends."

 

GOING UP BRUSHY FORK. AKA and see "Cripple Creek." Old‑Time. USA, West Virginia. A local West Virginia title recorded by Kanawha County fiddler Clark Kessinger (1896-1975) in the late 1920's for the Brunswick label. The tune features Kessinger’s “brushing pizzicato” effect.

                                      

GOIN’ UP CHANEY. See “Wild Horse.” The title comes from Bill Monroe’s Uncle Pen Vandever.

                          

GOING UP SHOOTIN’ CREEK. AKA and see "Cripple Creek."

 

GOIN' UP THE MOUNTAIN. Old‑Time, Fiddle Tune. Recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's.

 

GOING UP TO HAMBURG. Old‑Time, Breakdown. USA, Mississippi. G Major. Standard tuning. Tom Rankin (1985) reports that the tune is local to the northern Mississippi area. The title refers to a locale on the Tennessee River, just across the state line from Mississippi in Hardin County, Tennessee. Rankin thinks the melody may have begun as a holler and evolved into a fiddle tune, citing the tune's almost unison following of the vocal line.

***

Well Shane

Going up to Hamburg, pretty little lady,

Going up to Hamburg, yes I am;

Going up to Hamburg, pretty little lady,

Going up to Hamburg to get me a dram.

***

Mississippi Department of Archives and History AH‑002, John Hatcher (Tishomingo County, Miss.) ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985. Originally recorded for the Library of Congress in 1939).

 

GOING UP TOWN. Old‑Time, Breakdown. D Major. Standard. AA' (Devil's Box): AB (Kuntz): AAB (Phillips). John Hartford's note given along with his transcription of the tune reads: "Oscar Stone added this part to 'Ragtime Annie' (which it sounds like in the 'A' part) so, according to Howdy (Forrester, Nashville fiddler), he could claim it."  See also "Avalon Quickstep" which is melodically similar in parts. Sources for notated versions: Tennessee fiddler Oscar Stone via Howdy Forester via John Hartford [The Devil's Box], Liz Slade (Yorktown, New York) [Kuntz], Pete Sutherland with the Arm and Hammer String Band (Vt.) [Phillips]. The Devils Box, Vol. 22, No. 4, Winter 1988, pg. 51. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 57. Brunswick 232 (78 RPM), 1928, Dr. Humphrey Bate and His Possum Hunters (Nashville, Tenn.). Kicking Mule KM216, Arm and Hammer String Band ‑ "New England Contra Dance Music" (1977). Marimac 9111, Dr. Humphrey Bate and His Possum Hunters (1928) ‑ "Goin' Up Town: Old Time String Bands, Vol. 2."

X:1

T:Goin’ Up Town

M:2/4

L:1/8

S:Liz Slade

Z:AK/Fiddler’s Companion

K:D

f/g/|”D”aa/a/ aa|b/a/b/(e/ g/)f/f|”Em”ee/f/ g/f/e|B>B B/A/B/B/|”A7”(B/ g) (B/ g)>(g|

a/)a/g/e/ f/(f/e)|”D”(d/ f) e/ f(A/d/)|”A7”A>(B A)f/g/|”D”a a2 a|b/a/b/e/ g/f/f|

“Em”ef g/f/e|B>A B(A|”A7”A/)(A/B/)A/ d/(B/d/)e/|”D”f/e/f/(f/ a)(B|”G”g/)e/g/e/ “A7”f(A/e/)|

“D”(d/ f) (d/ f)||

|:(D/E/|”D”F/)F/B/(B/ A)(A|B/)A/B/(B/|A)(D/E/|F/)F/B/B/ A/(D/F)|

“A7”E>(D E)D/E/|”D”F/F/B/A/ B>A|B/A/B/(B/ d)e/f/|”G”g/f/g/f/ “A7”e/(A/c)|

“D”(d/ f) (d/ f):|

X:2

T:Goin’ Up Town

M:2/4

L:1/8

S:Howdy Forrester, learned from Oscar Stone

N:Transcribed by John Hartford

K:D

f/g/|a>^g a/g/a/g/|bagf|e>^d e/f/g/e/|B3 e/f/|g>f g/f/g/f/|ag(3f/g/f/ e/e/|1

d>c d/f/e/g/|f2 z:|2 cA/c/ B/A/c/A/|d3 D/E/|

|:F/A/B/F/ A/c/B/F/|A/c/B/F/ A(D|D/)F/B/F/ A/c/B/F/|A/cd/ c2||

 


GOIRTIN EORNAN, AN (The Little Field of Barley). Irish, Slow Air (4/4 time). D Major (Boys/Lough, Ó Canainn): C Major (Cranitch). Standard tuning. One part. "This is a Munster version of a fairly common Gaelic love song, in which the young man tells that he would rather have the kisses of his love than all her wealth and riches." Boys of the Lough, 1977, pg. 13. Cranitch (Irish Fiddle Book), 1996; pg. 103. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 108, pg. 91. Rounder 3006, Boys of the Lough ‑ "Second Album" (1974). Trailer LER 2086, Boys of the Lough, "Second Album" (1974).

 

GOL AGUS GÁIRE NA hÉIREANN (The Smiles and Tears of Erin). AKA and see “The Smiles and Tears of Erin.” 

 

GOL NA mBAN SAN ÁR (Lament of the Women in Battle).  Irish, Slow Air (3/4 time). G Major. Standard tuning. One part. The title is variously translated as "The Lament of the Women in Battle" or "The Crying of the Women in the Slaughter." The title has been thought to have been inspired by a number of different battles; some think it refers to the Battle of Aughrim in 1691, between the Jacobite forces and the British troops and their allies under the Dutch general Ginkel. Breathnach (1997) says the piece relates to the victory of Lord Inchequin at Knockinnoss, County Cork, in 1647 (see note for “Macalisdrum’s March” for another tune connected with this battle). The last of the old Kerry pipers, Michael O'Sullivan (who admittedly had some extremely idiosyncratic and ‘eccentric’ notions), maintained it was about the battle of Cnoc an Áir, in which Fionn Mac Umhaill defeated Meargach and his hosts with great slaughter. A piping piece, it programmatically simulates the march of the troops to battle, the struggle itself, and the women lamenting the slain in the aftermath. It appears in the appendix to Walker’s Historical Memoirs of the Irish Bards (1786) and Thompson’s Hibernian Muse (1786), although in the latter collection in appears under the title “An Irish Dump” (dump meaning here a lament or sad tune). According to music historian Gearóid Ó hAllmhuráin (1998), a cylinder recording still exists from the 1890's of blind Micí Chúmba Ó Súilleabháin/Micheal O’Sullivan playing the piece. Breathnach (1997) expands on this to explain that O’Sullivan competed in the Feis Ceoil held in Dublin in 1899, in which he tied for second place. He also was an entrant in the competition for unpublished airs, which could either be submitted by manuscript or could be played into an Edison phonograph.  Those thought worthwhile would be notated and the cylinders scraped for further use, however, by some bit of luck or twist of fate, the 1899 cylinders were retained and survived to the present day. Moreover, an account of O’Sullivan playing at the Feis appeared in the Irish-American journal Gael (New York) in July 1899: 

***

Michael O’Sullivan is also blind, and is named in his own country Micahel

Dall. He is the last of a long line of pipers and has a great store of airs. The

impatience of the audience however, prevented his being asked very

minutely regarding them before the other competitions commenced.

He however, played Gol na mBan san Ár. This was an important contribution.

It is the Lamentation of the Women amidst the Slaughter. There are five

lamentations, one for each province.

***

As noted above, O’Sullivan could harbour odd ideas. He attributed his not taking top honors in the competition to his landlady feeding him fairy butter, the effect exacerbated by the malign influence of the dead man’s trousers he was wearing (Breathnach explains the piper had been outfitted with a ready-made suit when departing for the Feis, and nothing would convince him that it had not been taken from a funereal corpse).

Ó Canainn (Traditional Slow Airs), 1995; No. 116, pg. 99.

X:1

T:Gol Na mBan San Ár

T:Lament of the Women in Battle

M:3/4

L:1/8

Q:70

R:Air

B:Traditional Slow Airs of Ireland, Tomas Ó Canainn

Z:Transcribed by Paul Kinder

K:G

B2 dBAG|B2 dBAG|A2 ABAG|A2 ABAG|!

B2 dBAG|B2 dBAB|G3 BAB|G3 BAG|!

e2 degd|e2 dBAG|A2 ABAG|A2 ABAG|!

e2 degd|e2 dBAG|B2 dBAB|G3 BAB|!

G3 BAG|B2 dBAG|B2 dBAG|A2 ABAG|!

A2 ABAG|B2 dBAG|B2 dBAB|!

G3 BAB|G3 BAG|G6|!

 

GOLD AND SILVER. AKA and see "Silver and Gold Two‑Step."

 

GOLD AND SILVER WALTZ. American?, Waltz. D Major. Standard tuning. AB. 'A' part composed by Franz Lehar, 'B' part anonymous. Source for notated version: Johnny Givens [Hinds]. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 29. Alcazar Dance Series ALC 201, Jerry Robichaud ‑ "Maritime Dance Party" (1978). Fretless FR201, Jerry Robichaud - "Maritime Dance Party."

 

GOLD FOR THE BONNY/BOANIE LASSES. Scottish, Shetland; Reel and Shetland Reel. Shetland, Whalsay and Papa Stour. Popular in Scotland in the 18th century.

 

GOLD HAIRED MAID, THE. Irish, Air (4/4 time). G Major. Standard tuning. AB. Source for notated version: "...from the singing of my aunt, Mrs. Mary MacSweeny of Cork, and of Glenosheen Co. Limerick (1844‑1855)" {Joyce}. Joyce (Old Irish Folk Music and Songs), 1909; No. 172, pg. 86.

X:1

T:Gold-Haired Maid, The

M:C

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

N:”Mod., or rather slow”

K:G

GE|D2 DE GFGA|Bdef g3e|dBAB GABd|cBAG|E2 GE|D2 DE GFGA|Bdef g3e|

dBAG AcBA|G2G2G2||GA|Bdef g2 fg|agfd e3e|dBAB GABd|cBAG A2 GE|

D2 DE GFGA|Bdef g3e|dBAG AcBA|G2G2G2||

 

GOLD IN COWPENS. AKA – “Gold in Gowpens.” AKA and see "Gowd in Goupins." English, Jig. England, Northumberland. A Minor. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 252.

 


GOLD RING [1], THE ("Fáinne N-Oir" or "Fáinne Óir {Ort}"). AKA and see “The Fermanagh Gold Ring,” “Lasses of Limerick,” “The Pharroh or War March,” “Tá Fáinne Air.” Irish, Jig. D Mixolydian ('A' and 'B' parts) & G Major ('C', 'D', and 'E' parts) {Brody, O'Neill}. Standard tuning. AABBCCDDEEFF (Boys/Lough): AABBCCDDEE (Brody): AABBCCDDEEFFGG (Mallinson, O'Neill): AABCC’DD’EEFG (Mitchell): AABB’CCDD’EEFFGG (Taylor). A member of a very large tune family which, as Paul De Grae says “sometimes seems to include half the jigs in the (Irish) repertoire.” “The Gold Ring” is known as an uilleann piper's tune (O’Neill says it was a favorite of early 20th century piper Pat Touhey’s). Caoimhin Mac Aoidh relates Seamus Ennis’s story of a piper who had the courage to spend a night hiding near a fairy rath to listen to the wonderful music of the little folk.  As usual they returned to the rath at sunrise to sleep, the nights’ festivity over, and the piper crept out from hiding. On close investigation of the site he found a tiny gold ring on the ground, dropped by a fairy reveller. The very next evening he returned to the rath and hid in the same place to listen again to the music of the wee folk but this time he also overheard the lamenting of a fairy piper over the loss of the ring. The fairy cried that he would grant any wish to get it back, upon which he man stepped from hiding and offered to return the ring, explaining how he found it lost. True to his word the fairy granted the human one wish, and asked the piper to name it. ‘The jig I heard the other night,’ said the man, who added he could not quite remember it (due to the fairies blocking the memory of their tunes), and the fairy piper granted the wish on the spot—the tune that has ever since been called in memory of the incident “The Gold Ring.” The Boys of the Lough relate a very similar story concerning a farmer who surprised a fairy gathering on returning home late one night. It seems the fairies were dancing to the music of a fairy piper, but ran off after being startled by the intruder. The farmer was about to continue his journey home when found a gold fairy ring, left behind after the flight of the fey folk. He managed to return it to the fairies and in exchange they gave him the tune that the fairy piper had been playing when he first surprised them. O’Neill (1913) maintains that pipers converted this jig from a nine-part melody called “The Pharaoh or War March,” which was obtained from Dr. Petrie in 1835 and printed in Bunting’s Ancient Music of Ireland, published in 1840 (the word pharaoh seems to Paul de Grae to have been derived from the Irish word faire—pronounced ‘far-eh’—meaning watch or wake). Bunting thought the tune to be “very ancient.”

***

The Fleischmann index links this tune to “Scots Hall,” published in London by Thompson in his Compleat Collection of 200 Favourite Country Dances, c. 1755, although some think the connection weak. Other relatives might include (depending on how you interpret the connections) “(An) Old Woman’s Money [1],” “Buachalin Bruithe,” “Búachallán Buídhe,” “The Butcher’s March [1],” “The Five Pound Jig (Dia Luain ‘s Dia Máirt: Monday and Tuesday),” “Huggerth the Puss,” “The Wearied Lad,” and untitled march collected by George Petrie (Stanford/Petrie No. 982), and, just perhaps, "An Buachaill Breóite.” Sources for notated versions: flute player and piper John Ennis, originally from County Kildare [O’Neill]. piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Boys of the Lough, 1977; pg. 16. Brody (Fiddler’s Fakebook), 1983; pg. 123. Mallinson (Enduring), 1995; No. 51, pg. 22. Mitchell (Dance Music of Willie Clancy), 1993; No. 139, pgs. 110-111. O'Neill (Krassen), 1976; pg. 72. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 708, pg. 132. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 12, pg. 19. Taylor (Music for the Sets: Blue Book), 1995; pg. 12. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 3, No. 9. Claddagh CC17, Sean Keane ‑ "Gusty's Frolics." Claddagh CC39CD, “The Pipering of Willie Clancy, Vol. 2” (1993). Claddagh: CCF 27 CD, Conal O’Grada – “Top of the Croom” (1990). Gael-Linn CEF009, Seamus Ennis – “Ceolta, Scealta agus Amhrain.” Gael‑linn CEFCD 114, Tony MacMahon & Noel Hill - “ "I gCnoc na Graí” ('In Knocknagree'). Leader LEA 2003, "Seamus Ennis." Mulligan 004, "Matt Molloy." Seamus Creagh & Aidan Coffey – “Traditional Music from Ireland.” Chieftains – “Cotton Eyed Joe.” POSCD0001, Paul O’Shaughnessy – “Stay Another While” (1999). Trailer LER 2090 (or Rounder 3006), Boys of the Lough, "Second Album" (1974). Liam O’Flynn – “The Piper’s Call.” Brian Mac Aodha – “Throw Away the Keys.” Seamus Ennis – “Masters of Irish Music.”

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Gold Ring, The [1]

M:6/8

L:1/8

R:Jig

K:G

d|cAG GFG|cAF GBd|cAG GFG|cAG FAd|cAG GFG|cAF G2E|FAd fed|cAF GB:|

|:d|cAd cAd|cAF GBd|cAd cAd|cAG F2d|cAd cAd|cAF G2E|FAd fed|cAF GBd:||

|:~g3 gdc|BGG GBd|~f3 fcB|AFF FGA|~g3 gdc|BGG GBd|fag fed|cAF GBd:|

|:gdd fdd|gdd fdd|gdd fdd|cAF GBd|gdd fdd|gdd fdd|fag fed|1 cAF GBd:|2 cAF G2A||

B2G ABG|d2G G2A|B2G ABG|cAG FGA|BAG AGF|GFD FGA|f/g/ag fed|cAF G2A|

B2G A2G|d2G G2A|B2G A2G|cAG FED|~B3 c2A|GFD FGA|fag fed|cAF G2||

 

GOLD RING [2], THE. Irish, Jig. G Major. Standard. AABBCCDDEE. A variation of the tune in version #1. Williamson (1976) repeats, although condenses, his version of the tale the Boys of the Lough give for version #1.  Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 72.

 

GOLD RING [3], THE. AKA and see “Fáinn Óir Ort,” “The Old Gold Ring,” “The Sligo Gold Ring.” Irish, Jig. Ireland; County Sligo, Kerry. D Major (Flaherty, Mulvihill): D Mixolydian (Breathnach). Standard tuning. AABBCCDD. A fairly common jig, not related to the one in O'Neill's. Seán Keane says the melody “evolved into jig metre from a martial air.” Breathnach called it “Fáinne Óir Ort” (A gold ring on you) to avoid confusion with O’Neill’s “Gold Ring,” but said his source Sonny Brogan called it “The Gold Ring.” This may be the four-part tune of this name which is the composition of the great Co. Mayo/New York fiddler John McGrath (1900-1955). Paul de Grae remarks, “All the old fiddlers in Arfert (North Kerry) used to play it,” and says their version was similar to that printed by Breathnach. This tune appears as an untitled tune in The Northern Fiddler at the top of pg. 232. Sligo fiddler Paddy Killoran, from Ballymote, recorded this version of the “Gold Ring” tune in Novemeber, 1937 (paired with “Haste to the Wedding [1]”). Fiddler Seán Ryan’s (d. 1985) jig “Nimble Fingers” is the last two parts of “The Gold Ring [3].” Sources for notated versions: fiddler Philip Duffy (b. 1966, London, now residing in Dublin) [Flaherty]; accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; fiddler John McKeown [Feldman & O’Doherty]; Seamus MacBride, 1978  [Miller]. Breathnach (CRÉ I), 1963; No. 47, pg. 19. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 232 (appears as first “Untitled Jig” on page). Flaherty (Trip to Sligo), 1990; pg. 24. Miller (Fiddler’s Throne), 2004; No. 50, pg. 41. Mulvihill (1st Collection), 1986; No. 101, pg. 86. Claddagh Records CC17, Seán Keane ‑ "Gusty's Frolics" (1975). Decca 12145 (78 RPM), Paddy Killoran (1937). Shanachie 29009, "Andy McGann & Paul Brady." Shanachie 78034, John Carty – “Yeh, That’s All It Is” (2001). Seamus Creagh & Aidan Coffey – “Traditional Music from Ireland.”

X:1

T:Gold Ring, The [3]

T:Old Gold Ring, The

T:Fáinn Óir Ort

B:Breathnach's CRE I, no. 47

Z:Transcribed by Paul de Grae

R:double jig

M:6/8

L:1/8

K:D

D/B,/|~DB,A, DFA|dfd ~edA|~BdB AFD|~EDE FDB,|

~A,G,A, DFA|dfd ~edA|~BdB AFE|FDD D2:|

|:B|~AFA dfa|~bgb afd|~gag ~faf|~ede fdB|

~AFA dfa|~bgb ~afd|BdB AFA|Bdd d2:|

|:f/e/|dFF ~AFE|DFE DFA|dfd ~ede|fdB BAB|

dFF ~AFE|DFE DFA|dfd ~ede|fdd d2:|

|:B|~AFA dfd|~BAB dAF|DEF EDE|FDB, ~B,BA|

~AFA ~dfd|~BAB dAF|DEF ~EDE|FDD D2:|

 

GOLD RING [4], THE. English, Jig. England, Northumberland. A Mixolydian. Standard tuning. AA'BB'. Seattle (William Vickers), 1987, Part 3; No. 407.

                       


GOLD RUSH. Bluegrass, Breakdown. Composed by legendary bluegrass mandolin player Bill Monroe and his fiddler at the time, Byron Berline (The late Monroe had over 63 fiddlers in his group at various times), around 1967. It is only Monroe’s name on the credits, however. After graduating college, Berline played with Monroe for about seven months before being drafted into the US army. “Gold Rush” was recorded by Mike Yates in 1980 from the playing of fiddler Pug Allen of Stuarts Draft, Augusta County, Va. At the time Allen was adamant that he knew the tune years before Monroe’s recording was issued. Dave Barton relays that Missouri fiddler Fred Stoneking says the tune was modeled after a local tune called “Burt County Breakdown,” and suspects that Berline (who is from Oklahoma) may have reworked an older tune he heard. The “Burt County” title and tune was sourced to Burt County, Nebraska, fiddler Bob Walters (by Howard Marshall), however, and the breadth of its dissemination is unknown. Caney Mountain Records CLP 228, Lonnie Robertson (Mo.), c. 1971‑72. County 2705, Kenny Baker - "Master Fiddler." Musical Traditions MTCD321-2, Pug Allen (et al) – “Far in the Mountains” (2002). Philo 1023, "Jay & Lyn: Songs, Ballads & Fiddle Tunes" (1975). Voyager 340, Jim Herd - "Old Time Ozark Fiddling."

           

GOLDEN AGE. AKA and see “Old Sir Simon/Symon the King.”

 

GOLDEN BOY.  Canadian, Two-Step. Composed by Manitoba fiddler Andy deJarlis (1914-1975), a Métis fiddler who composed some 200 melodies. Peter Yaransky says this tune “was a favorite of Elise Nichols who used to play for Boston-area dances.” The melody has gained currency among New Hampshire fiddlers through its use for square dances (such as Rod’s Right and Left, says Yaransky) and in jam sessions, and New Hampshire variant has emerged.

                                   

GOLDEN CASTLE, THE. AKA and see “Caislean an Oir” “Caislean na nOr.” Irish, Air (4/4 time). G Dorian. Standard tuning. AABB. Composed by the late Junior Crehan, the 'last of the old West Clare fiddlers'. Fiddler Magazine, Spring 1994; pg. 11. Green Linnet 1127, "Martin Hayes" (1993).

X:1

T:The Golden Castle

M:4/4

C:Junior Crehan

Z:transcribed by Gregory Taylor

L:1/8

K:GDor

(GF)|DG(GF) G2 (3ABc|(dc)d(e f2) ga|\

(gf)(dc) Ad(cA)|GA (3GFD F2 (GF)|

DG(GF) G2 (3ABc|(dc)d(e f2) ga|\

(gf)(dc) Ad(cA)|G2 (GF) G2 :|

|:(3ABc|dgga b2 (gf)|(gf)d(e f3) (g/a/)|\

(gf)(dc) Ad(cA)|GA (3GFD F3 G/F/|

DG(GF) G2 (3ABc|(dc)d(e f2) (3fga|\

(gf)(dc) Ad(cA)|G2 (GF) G2 :|

                       

GOLDEN CHAIN TREE. Old-Time. G Major. GDgd tuning. An instrumental adaptation of the ballad “The Merry Golden Tree,” from the playing of Taylor and Stella Kimble of Laurel Fork, Virginia. Rounder 0421, Bruce Molsky - “Big Hoedown” (1997).

                       

GOLDEN DAWN WALTZ.  Old-Time, Waltz. G Major. Standard tuning. One part. Source for notated version: Glenn Berry [Silberberg]. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 17.

 


GOLDEN EAGLE. American, Irish; Hornpipe, Reel or Breakdown. USA; New York, New England, Missouri, Texas. G Major (most versions): A Major (McGuire & Keegan). Standard tuning. AABB (most versions): AA'BB' (Bohrer/Kibler, O’Malley, Phillips). Al Smitley suggests the tune may possibly have been named for the clipper ship Golden Eagle, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews. More likely is it was taken from the American Gold Eagle coin, first minted in 1795 in a $10 denomination, the largest until 1850, when the ‘double eagle’ (worth $20) was introduced. Tolman calls the tune a "degenerate period" piece, meaning an example of a highly arpeggiated and ornamented composition of the latter half of the 1800's, "almost a parody" of traditional music. The tune is in the repertoire of Missouri fiddler Kelly Jones (b. 1947), who, having the ability to read music learned this and similar tunes from Cole’s 1000 Fiddle Tunes, as older mid-western fiddlers had learned tunes from both Coles and its predecessor, Ryan's Mammoth Collection (1883). It also shows up in Glasgow piper Pat McNulty's small collection of the dance music of Ireland, although McNulty or his source may also have obtained the tune from a copy of Cole's 1000 or Ryan's Mammoth. The second part of the tune has a high ‘c’ note, which has to either be played by fiddlers with either a quick shift of the fingers, a change in position or with some notes transposed down (which Philippe Varlet reveals is what Irish fiddler Frankie Gavin did). Source for notated version: Benny Thomasson (Texas) [Phillips]; Stu Williams [Silberberg]. Bohrer (Vic Kibler), 1992; No. 14, pg. 14. Cole (1000 Fiddle Tunes), 1940; pg. 89. Cranford (Jerry Holland: The Second Collection), 2000; No. 192, pg. 72. Ford (Traditional Music in America), 1940; pg. 104. Mallinson (Enduring), 1995; No. 76, pg. 31. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 78, pg. 21. McNulty (Dance Music of Ireland), 1965; pg. 25. Miller (Fiddler’s Throne), 2004; No. 285, pg. 170. Mulvihill (1st Collection), 1986; No. 3, pg. 87. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 137, pg. 69. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 194. Ryan’s Mammoth Collection, 1883; pg. 122. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 53. Taylor (Music for the Sets: Blue Book), 1995; pg. 7. Tolman (Nelson Music Collection), 1969; pg. 22. Green Linnet SIF 3051, Frankie Gavin - “Frankie Goes to Town” (appears as part of “The Humours of Galway” set). Missouri State Old Time Fiddlers' Association, Kelly Jones (b. 1947) - "Authentic Old-Time Fiddle Tunes" (Learned from Cole's 1000).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Golden Eagle

M:4/4

L:1/8

R:Hornpipe

K:A

cB | AA,CE cEAc | eAce ac’ba | gfe_e dBGE | AcBA GEcB |

AA,CE cEAc | eAce ac’ba | gfe_e dBGB | A2c2A2 :: c’2 |

c’cea c’bag | fefg fga^a | bBdf bagf | (3efe ^df e2 bc’ |

d’bge defg | agab c’cba | gBfe dEcB | A2c2A2 :|

X:2

T:Golden Eagle, The

M:C

L:1/8

R:Hornpipe

B:Luke O’Malley’s Collection of Irish Music, vol. 1, No. 137  (1976)

Z:AK/Fiddler’s Companion

K:G

BA|:GB,DG BDGB|dGBd gbag|fAce dFBA|GBAG FDBA|

GB,DG BDGB|dGBd gbag|fAce dFBA|1 (3GED BD G2 BA:|2 (3GED BD G2 b^a||

|:bB^df bagf|e^def gfg^g|aA^ce (3aba (3gfe|d^c (3dfa d’2 ab|

c’afd ^cdef|gfga bgag|fAce dFBA|1 (3GED BD G2 b^a:|2 (3GED BA G3||

                                               

GOLDEN FARMER, THE. AKA and see “Washington’s March [1].” English, Reel. D Major. Standard tuning. AABB. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 10. Raven (English Country Dance Tunes), 1984; pg. 175.

                       

GOLDEN FIDDLE WALTZ. Canadian, Waltz. D Major. Standard tuning. AA'BB'. Supposedly written by an Ontario fiddler. Source for notated version: Lloyd Wright (Westfield, New York) via John Kirk (Greenfield, New York) via fiddler Frank Orsini (New York) [Matthiesen]. Matthiesen (Waltz Book II), 1995; pg. 22.

                       

GOLDEN FLEECE. American, Dance Tune (4/4 time). A Major. Standard tuning. One part. Ford (Traditional Music in America), 1940; pg. 70.

X:1

T:The Golden Fleece

M:C

L:1/8

R:March

S:Ira Ford

O:American?

Z:Eric Root

N:Originally from Ira Ford's book Traditional Music

of America, this is how I play it nowadays

K:G

(3B,C^C|D>DE>F G>FG>B|Ac3E2A>G|F3CE3B,|D6(3B,C^C|

D>DE>F G>FG>B|Ac3E2A>G|F3DB3A|G6d>^c|=c>cF4d>e|

B>DB4B>c|B2A4B>A|G>ED4d>^c|=c>FA4d>e|B>DB4(3BBB|

                       

GOLDEN GATE. American, Scottish; Reel. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. The composition is one of several credited to Frank Livingston in Ryan’s/Cole's, and although set as a reel, it is probably meant to be played in swing or hornpipe rhythm. Al Smitley suggests the tune may possibly have been named for either a clipper ship or steamship called Golden Gate, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews. In any case, the name refers to the channel connecting San Francisco Bay and the Pacific Ocean, and predates, of course, the famous bridge built in 1937. Cole (1000 Fiddle Tunes), 1940; pg. 42. Kerr (Merry Melodies), vol. 2; No. 283, pg. 31. Ryan’s Mammoth Collection, 1883; pg. 69.

X:1

T:Golden Gate

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

d/c/ | BB/A/ GG/F/ | E/A/G/E/ DD/C/ | B,/D/G/A/ B/G/F/G/ | e/d/B/G/ Ad/c/ |

BB/A/ GG/F/ | E/A/G/E/ DD/C/ | B,/D/G/B/ A/D/F/A/ | GBG :: F/G/ |

A>d(3d/c/d/ f>d(3d/c/d/ | B>e(3e/^d/e/ g>e(3e/d/e/ | c/e/b/a/ g/e/c/G/ |

F/A/d/f/ aF/G/ | A>d(3d/c/d/ f>d(3d/c/d/ | B>e(3e/^d/e/ g>e(3e/d/e/ |

c/e/b/a/ g/e/B/c/ |1 ddd :|2 d/^d/f/e/ d/c/=c/A/ ||

                       

GOLDEN HERO. See "Love is a Tormenting Pain."

                       

GOLDEN KEYBOARD [1]. AKA and see “Joe Cooley’s Reel [2],” "McGann's," "Mulhaire's Reel,” “Reynold’s Reel,” “Rough Road,” “Sailor’s Farewell,” “Sailor’s Return [2]." Irish, Reel. E Dorian. Standard tuning. AABB (Harker/Rafferty, Taylor): AA'BB' (Alewine, O’Malley). The most famous composition of New York City based accordion player Martin Mulhaire (originally from County Galway), a member of the Tulla Céilí Band (see also “Carmel Mahoney’s”) who decided to stay in the United States after touring the country with his band in the early 1960’s. New York musician Paul McEvoy had occasion to ask Mulhaire how he came by the title, and received the reply that, while Mulhaire said he had never seen a golden keyboard, he thought it sounded like a good title for a tune. Sources for notated versions: accordion player John Ferguson [Bulmer & Sharpley]; John Joe Callaghnan [O’Malley]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 19. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 16. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 68. Harker (300 Tunes from Mike Rafferty), 2005; No. 160, pg. 49. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 9, pg. 5. Taylor (Crossroads Dance), 1992; No. 4, pg. 6. Folkways FTS31098, Ken Perlman ‑ "Clawhammer Banjo and Fingerstyle Guitar Solos." Green Linnet Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Shanachie Shan‑79017, John & Phil Cunningham ‑ "Against the Storm" (1980). Shaskeen ‑ "The Mouse Behind the Dresser."

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Golden Keyboard, The [1]

M:C|

L:1/8

R:Reel

K:Edor

BGEF GFGA|(3BdB gB fBeB|BGEF GBAG|(3FED AD BDAD|

EDEF GFGA|(3BdB gB fBeB|d2 ce dBAF|1 DEFA GE E2:|2 DEFA GEE=c||

|:Be (3eee Be (3eee|Beef edBc|dA (3ABA fAeA|d2 ce dBAF|EDEF GFGA|

(3BeB gB fBeB|d2 ce dBAF|1 DEFA GEE=c:|2 DEFA GE E2||

X:2

T:Golden Keyboard, The [1]

R:reel

C:Martin Mulhaire

D:Matt Molloy & Sean Keane: Contentment is Wealth.

Z:id:hn-reel-51

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:Edor

BGEF GFGA|B2gB fBeB|BGEF GBAG|(3FED AD BDAF| ~E3F ~G3A|B2gB fBec|d2dc dBAF|DFAF GEE2:|

|:Be~e2 Beed|Beec dBAc|dA~A2 fA~A2|dfec dBAF| ~E3F GFGA|B2gB fBec|d2dc dBAF|DFAF GEE2:|

"Variations:"

|:~E3F ~G3A|~B3g fgeB|BGEF ~G3B|AF~F2 DEFA| BGEF ~G3A|~B3g fgec|dfec dBAF|DFAF GEE2:|

|:Beed ~e3f|geed edBc|dA~A2 eA~A2|fedB AFDF| ~E3F GFGA|~B3g fgec|d2dc dBAF|DFAF GEE2:|

 

GOLDEN KEYBOARD [2]. AKA and see “Contentment is Wealth.” Irish, Jig. E Minor. Standard tuning. AABB. Source for notated version: fiddler Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 75, pg. 80.

                       

GOLDEN LACES. English, Dance Tune (3/4 time). England, Northumberland. G Major. Standard tuning. AA'BB'. The title in Vickers' original MS. is "Goulding Lacess" (Seattle). Seattle (William Vickers), 1987, Part 3; No. 418.

                       

GOLDEN LEGS.  Irish, Reel. Composed by Chicago fiddler Liz Carroll, who dedicated the tune to Brooklyn, N.Y., dancers Donny and Eileen Golden. Patty Furlong – “Traditional Irish Music on the Button Accordion” (1999. Learned from Billy McComiskey). 

                       


GOLDEN LOCKS (Nighean bhuidhe bhoidheach). Scottish, Reel. B Minor. Standard tuning. AB. "The editor perfectly remembers this sprightly air to be one of the first of which he has any recollection, either sung to him by a nurse or some other person. It was, however, very imperfect, but constantly dwelt upon his mind till modelled into its present shape" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 150, pg. 61. Stewart-Robertson (The Athole Collection), 1884; pg. 129. Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

X:1

T:Golden Locks

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:B Minor

a|feac B2Ba|ecac A2Aa|feac Bcde|fedc dBBa|f>eac B2Ba|ecac A2Ac|

BcdB cdea|f2ec dB~B2||FBDB FBdB|^GAEA CEA,C|FBDB FBdB|

ecfc dBB2|FBDB FBdB|^GAEA CEA,E|FBdB Acea|f2ec dB~B||

                       

GOLDEN PASS, THE. Irish, Single Jig. G Major. Standard tuning. AAB. Roche Collection, 1982; vol. II, pg. 23.

                       

GOLDEN PHEASANT, THE. Scottish, Jig.

X:1

T:The Golden Pheasant

S:78rpm record (Adam Rennie and His Band)

M:6/8

L:1/8

Z:Nigel Gatherer

K:A (orig. in Bb)

C/D/|E2A E2A|E2A c2A|E2A d2c|cBA B2E|E2A E2A|E2A c2d|

e2A F2A|ABG A2:|A|G2B B2e|A2c c2e|B2e e2g|fe^d e2B|

G2B B2e|A2c c2e|B2e c2a|gf^d e2=d|c2B A2d|c2B A2E|

F2A E2e|edc B2d|cdB A2d|cdB A2a|e2a fad|cdB A2|]

                       

GOLDEN ROOSTER, THE. Canadian, Reel. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB'. Messer (Way Down East), 1948; No. 16. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 36, pg. 29.

X:1

T:The Golden Rooster

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:G

D2|DGGF GABG|EAA^G ABcA|FDFA d3c|BcAB GDB,C|

DGGF GABG|EAA^G ABcA|FDFA d3c|BGAF G2:|

K:D

FG|AAFA dded|BBGB eefe|ccAc egfe|dcBA GEFG|

AAFA dded|BBGB eefg|afdA gecA|d2f2 d2:|

                       

GOLDEN SLIPPERS. American; Reel, Two‑Step, Polka, and Song Tune. USA, widely known, esp. in the northern tradition. D Major (Brody, Ford): C Major (Jarman): G Major (Bronner, Johnson, Phillips, Reiner, Shaw, Sweet). Standard tuning. AB (Bronner): AAB (Phillips, Shaw): AABB (Jarman, Ford): AABB' (Brody, Johnson, Reiner, Sweet). Originally a song composed by prominent black minstrel songwriter and banjo player (with Haverly's Minstrels) James A. Bland in 1870 as "Oh! Dem Golden Slippers.” The melody later passed from the minstrel stage into folk and fiddling tradition (Bland also wrote "Carry Me Back to Old Virginny" and "In the Evening by the Moonlight"). Bland was born in 1854 on Long Island, to a family of free blacks (his father was the first black patent examiner, in Washington, D.C.). He died in 1911, poor despite his hundreds of compositions (of which he copyrighted only 35). Due to this dissemination it appeared in song collections without credit to Bland, and was noted by several collectors in folk tradition in the early twentieth century (e.g. Frank C. Brown's Folk Songs from North Carolina). Played in the key of F Major by Arizona fiddler Kenner C. Kartchner, who played the tune in harmony with another fiddler for dances in the early 20th century (Shumway). In repertory of Buffalo Valley Pa. dance fiddler Ralph Sauers. This was one of the tunes described by the Clarke County Democrat (southwest Alabama) of May 9th, 1929, that "assuredly would be rendered in the most approved fashion" at a contest in Grove Hill, Alabama. One version of the lyrics goes:

***

Oh my golden slippers are laid away,

Cause I don"t expect to wear them til my wedding day,

And my long‑tailed coat that I love so well,

I will wear up in the chariot in the morning

***

Chorus

***

And the long white robe that I bought last June,

I'm goin to get it changed cause it fits too soon,

And the old grey horse that I used to ride,

I will hitch up to the chaiot in the morning

***

Chorus

O dem golden slippers, O dem golden slippers

dem golden slippers I'm gwine to wear cause they look so neat;

O dem golden slippers, O dem golden slippers

dem golden slippers I'm gwine te wear to cross the golden street.

***

Oh, my old banjo hangs on the wall,

'Cause it ain't been tuned since way last fall,

But the old folks say we will have a good time,

When we ride up in the chariot in the morning,

***

Chorus

***

There's old Brother Ben and Sister Luce,

They will telegraph the news to Uncle Bacco Juice

What a great camp meeting there will be that day,

When we ride up in the chariot in the morning

***

Sources for notated versions: Fennigs All Stars (N.Y.) [Brody]; Clyde McLean, 1976 (New York State) [Bronner]. Brody (Fiddler’s Fakebook), 1983; pg. 123. Bronner (Old-Time Music Makers of New York State), 1987; No. 24, pg. 105. Ford (Traditional Music in America), 1940; pg. 113 (appears as "Dem Golden Slippers;" song lyrics on pg. 410). Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 9. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 9. S. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), vol. 7, 1986‑87; pg. 1. Kerr (Merry Melodies), Vol. 1; pg. 28. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 99. Reiner (Anthology of Fiddle Styles), 1979; pg. 77. Shaw (Cowboy Dances), 1943; pg. 383. Spandaro (10 Cents a Dance), 1980; pg. 19. Sweet (Fifer’s Delight), 1964/1981; pg. 6. Biograph 6008, Delaware Water Gap‑ "Fox Hollow String Band Festival." Brunswick 313 (78 RPM), Lonnie Austin (1929). County 705, Buddy Pendelton‑ "Virginia Breakdown." Folkways FA 2337, Clark Kessinger‑ "Live at Union Grove." Fretless Records 101, "The Campbell Family: Champion Fiddlers." Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer." Front Hall 023, Michael, McCreesh & Campbell ‑ "Host of the Air" (1980). Gennet 14060 (78 RPM), The Tweedy Brothers (Wheeling, West Virginia brothers Harry and George on fiddles, Charles on piano), 1928, unissued. Kicking Mule 204, John Burke‑ "The Old‑Time Banjo in America." Mag 3901, Sumner and McReynolds‑ "Old Friends." Missouri State Old Time Fiddlers' Association, Vee Latty (1910-1956) - "Fever in the South." Okehdokee Records, Deseret String Band - “The Land of Milk and Honey” (c. 1974). Smithsonian Folkways SFW CD 40126, Lester Bradley & Friends – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

X:1

T:Golden Slippers

M:C

L:1/8

K:D

de|f2f2 fede|f2f2f2de|f2f2 fedf|e2e2e2cd|e2e2 edcd|e2e2e2 cd|

e2g2f2e2|1 e2d2d2:|2 d2d2B2_B2||:A3A A2d2|f2e2d2A2|B3B B2e2|g2f2e2d2|

c2cc c2d2|1 e2 ee e2A2|d2 dd d2e2|f2e2B2_B2:|2 e2 ee e2ee|e2g2f2e2|e2d2d2||

                       

GOLDEN SLUMBERS KISS YOUR EYES. AKA and see "O Jenny, O Jenny, Where Hast Thou Been."

                       

GOLDEN STAIRS. AKA and see "Climbing Up the Golden Stairs."

                       

GOLDEN STAR, THE. AKA and see “The Dawning of the Day [1].” An air, one of a supposed seven or eight hundred, by the ancient harper Thomas O’Connellan (see note for “The Breach of Aughrim”). The harper Heffernan was one of the last of the ancient Irish harpers, and flourished in the early 18th century. The blind harper Arthur O’Neill (1734-1818) related this story about him in his memoirs:

***

The Duke of Argyll that lived in Queen Anne’s reign heard of the

celebrity of Heffernan on the harp, who came to hear him play, with

a large company. The Duke called for a good Scotch tune, and Heffernan

being of a real Irish independent turn of mind played him the pretty

tune of ‘The Golden Star’, which is a soft plaintive Irish tune. His

Lordship said it was too melancholy for a Scotch tune. ‘Oh, my Lord,

says Heffernan, ‘you must know it was composed since the Union—alluding

to the Duke’s being the counterpart of Lord Castlereagh in planning the

Union of Scotland and that ‘The Golden Star’ was the most appropriate

tune he could play for such lovers of gold as would barter their country’s

honour for the temporary use of that tangeant but useful and corrupted

metal! The Duke started up and hastily quit the tavern (with his company)

of the plain, blunt Hibernian.

           

GOLDEN STAR [2], THE.  Canadian, Reel. Canada, New Brunswick. G Major. Standard tuning. AABB. Composed by Rogersville, New Brunswick, native Eddie Poirier. Cranford (Jerry Holland: The Second Collection), 2000; No. 187, pg. 70.

           


GOLDEN STUD, THE. AKA - “The Gold Stud.” Irish, Reel. A Minor. Standard tuning. Composed and recorded by the Irish band Stockton’s Wing on their Tara Records album “Light in the Western Sky” (also to be found on Tara “The Stockton’s Wing Collection”). Wild Asparagus - “The Call of the Wild.”

X:1

T:Golden Stud, The

M:4/4

L:1/8

Z:Trish O’Neill

K:A Minor

"Am"A2 Ac "G"B2 Bd|"Am"c2 ce "Dm"d2 df|"Am"e2 ce "G"d2 Bd|"F"cBAB "G"AGEG|

"Am"A2 Ac "G"B2 Bd|"Am"c2 ce "Dm"dcdf|"Am"e2 ce "G"d2 Bd|"Am"c2 Bc AGEG:|

"Dm"f3 ffecf|"Am"e3 eedce|"G"d3 ddcBd|"Am"c2 Bc Acde| "Dm"f3

ffecf|"Am"e3 eedce|"G"dcde dcBd|"Am"c2 Bc "D"A4:|

                       

GOLDEN TRESSES [1]. American, Hornpipe or Jig. B Flat Major (Cole): C Major (Phillips). Standard tuning. AABB. "Can be used as a Clog" (Ryan’s). The tune is set as a jig in Stacy Phillips' collection and as a hornpipe in Ryan’s Mammoth/Cole's 1000. Source for notated version: Jehile Kirkhuff (Pa.) [Phillips]. Cole (1000 Fiddle Tunes), 1940; pg. 115. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 366. Ryan’s Mammoth Collection, 1883; pg. 153.

X:1

T:Golden Tresses

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

F2 | (B,>.F)(D>.B) | F>dB>f | d>fb>f d>fB>d | e>gc>e A>cF>c | (3c=Bc (3edc (3_BAG (3FEC |

(B,>.F)(D>.B) | F>dB>f | d>fb>f d>fB>d | e>gc>e A>cF>A | B2 [F2d2] [D2B2] :|

|: ~f2 | b2 B,>D F>Bd>b | g2 C>E G>ce>g | f2 A,>C F>Ac>f | d>fB>d F>BD>F |

b2 B>D F>Bd>b | g2 C>E G>ce>g | (3c=Bc (3edc (3_BAG (3FGA | B2 [F2d2] [D2B2] :|

 

GOLDEN TRESSES [2].  English (?), Waltz. A Major. Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 123, pg. 30.

                       

GOLDEN VALE, THE ("Gleann na N-oir" or "Gleann an Oir"). Irish, Hornpipe. D Major. Standard tuning. AABB. The Golden Vale is a flat limestone plain in County Tipperary and eastern Limerick. It is a huge tract of farming land, famously fertile, bounded by the Comeragh and Galtee Mountains and the Glen of Aherlow. Source for notated version: Leo Ginley [McGuire & Keegan]. O'Neill (Krassen), 1976; pg. 185. McGuire & Keegan (Irish Tunes by the 100), 1975; No. 83, pg. 22. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1652, pg. 307. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 873, pg. 151.

X:1

T:Golden Vale, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 873

Z:AK/Fiddler’s Companion

K:D

(3ABc|(3ddd d>A B>G ~G2|F>GA>c B>G ~G2|{a}g2 g>f e>dc>d|

(3efe (3dcB A>B{d}cA|(3ddd d>A B>G ~G2|F>GA>c B>G G2|

A>fe>f g>ec>d|e>d{e}dc d2:|

|:fg|a>fd>f g>fe>d|(3efe d>B A>GF>G|A>fe>f g>fe>d|(3Bcd e>f e2 f>g|

a>fd>f g>fe>d|(3efe d>B A>GF>G|A>fe>f g>ec>d|e>d{e}dc d2:|

                       

GOLDEN WEDDING HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 107. Ryan’s Mammoth Collection, 1883; pg. 143.

X:1

T:Golden Wedding

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion
K:D

A/d/d/A/ B/d/g/b/ | a/f/b/a/ g/f/e/d/ | g/a/b/a/ g/f/e/d/ | {e}d/c/f/e/ d/c/B/_B/ | A/d/d/A/ =B/d/g/b/ |

a/f/b/a/ {a}g/f/e/d/ | d’/c’/b/a/ g/f/e/d/ |1 c/A/B/c/ dz :|2 c/A/B/c/ d |: (a/g/) | f/a/d/a/ f/a/d/a/ |

g/b/e/b/ g/b/e/b/ | g/a/g/e/ c/A/{c}B/A/ | a/b/a/f/ d/A/{c}B/A/ | f/a/d/a/ f/a/d/a/ |

g/b/e/b/ g/b/e/b/ | a/b/c’/b/ a/g/f/e/ |1 d{.c’}d’d :|2 d{.c’}d’dz ||

                       

GOLDEN WEDDING REEL [1]. AKA and see “Farmer’s Reel [2]” (Prince Edward Island), "Richibucto Reel" (New Brunswick). Canadian, Reel. G Major. Standard tuning. AABB. Composition credited to Canadian radio and TV fiddler Don Messer in the Mel Bay publication that bears his name, however, other tunes in the book also credited to Messer are obviously traditional (e.g. “Billy in the Lowground”).  Messer, originally from New Brunswick, did feature this tune in his playing repertoire and it has become a Canadian “Down East”-style standard, heard sometimes in the New England repertoire as well.  Sources for notated versions: Jerry Robichaud (Canada) [Hinds/Hebert]; Ruthie Dornfeld (Seattle) [Phillips]. Guest (100 Favorite Fiddle Tunes), 1980. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 14. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 71, pg. 46. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 99. Voyager 310, Jerry Robichaud ‑ "Down East Fiddling." Philo PH 2000, "Louis Beaudoin" (1973).

X:1

T:Golden Wedding

M:4/4

L:1/8

K:G

GABc|:d2BG DGBd|gfge dBGB|c2A=F c2FA|cdcA =FAcA|

d2BG DGBd|gfge d2ef|gfge dege|1 dBAB GABc :|2 dBAB G z f z||

|g2ga gece|geae gage|a2ab afdf|afbf abaf|

g2ga gece|geae g2fg|afge dege|1 dBAB G z f z :|2 dBAB GABc ||

 

GOLDEN WEDDING (REEL) [2], THE. Irish, Reel. G Major. Standard tuning. AA’B. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 244.

X:1

T:Golden Wedding, The

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:Reel

K:G

c|:BAFG AD (3DDD|BAFG A2 Ac|BAFG AD (3DDD|1ABde "tr"f2 ed:|2ABde fd d2||

fdfg abag|fdfa be e2|fdfg abaf|efge fd d2|

fdfg abag|fdfa be e2|agfe d^cBc|ABde fd d2||

 

GOLDEN WEDDING (REEL) [3], THE.  AKA and see “Hag by the Fire.”

                       

GOLDEN WREATH HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 110. Ryan’s Mammoth Collection, 1883; pg. 146.

X:1

T:Golden Wreath

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A2 | dcdedefd | e^def efge | dcde defd | ecdB ABcA | dcde defd |

e^def efge | fadf egce | d2f2d2 :: ag | fgaf gabg | efge fgaf | defd efgf |

edcB ABcA | dcde defd | e^cef efge | fadf egfe | d2f2d2 :|

                       

GOLDEN ZEPHYR. AKA and see “Grey Eagle [1]." This was Texas Shorty’s (Jim Chancellor) title for “Grey Eagle.”

                       

GOLDENROD JIG. Canadian, Jig. Canada; Cape Breton, Prince Edward Island. D Major. Standard tuning. AA’BB’. Composed by Cape Breton fiddler Wilfred Gillis. Source for notated version: Allan MacDonald (b. c. 1950, Bangor, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 132.

                                               

GOLDENROD WALTZ. Old-Time, Waltz. USA, Missouri. Voyager 340, Jim Herd - "Old Time Ozark Fiddling."


                                   

GOLDFINCH, THE. AKA ‑ "An Deargan‑Fraoic." Irish, Reel. A Major. Standard tuning. AB (O’Neill/1850): O’Neill/Krassen). Source for notated version: O’Reilly [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1280, pg. 240. O'Neill (Krassen), 1976; pg. 110.

X:1

T:Goldfinch, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1280

Z:AK/Fiddler’s Companion

K:A

Ac|e2 ea f2af|e2ae fece|e2 ae fece|e2 af ecAc|{c}BABc BAFB|

A2 ea f2 af|e2 ae fecf|e2 af ecAc|BABc A2||c2|ecBc A2 Ac|B2 Bd ceaf|

ecBc A2 ce|fbba geaf|ecBe A2 Ac|B2 Bd ceaf|ecBc A2 ce|fage a2||

                       

GOLDSPIE FISHERMEN, THE. Scottish, Reel. The tune appears in piper David Glen’s Tutor, Book 15 (a series published in Edinburgh, 1876-1901). Barry Shears finds it similar to a traditional reel played by pipers in Cape Breton, appearing in his Gathering of the Clans Collection, vol. 1 (1986), pg. 54.

                       

GOLL, THE. AKA and see "An Caoine."

                       

GOLLAHER'S FROLICS. AKA and see "O'Gallagher's Frolics."

                       

GOLLIHER'S FROLIC. AKA - "Gollaher's Frolics." AKA and see “Gallagher’s Frolic [3],” "O'Gallagher's Frolics." Irish, Double Jig. D Major. Standard tuning. AABB. Don Meade points out the title is “a phonetic version of the Irish manner of pronouncing ‘Gallagher’s Frolic.’” Cole (1000 Fiddle Tunes), 1940; pg. 57. Ryan’s Mammoth Collection, 1883; pg. 86.

X:1

T:Golliher’s Frolic

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A, | D>ED F>ED | A>BA c>AG | ABA GAG | FAF GEC | D>ED F>ED |

A>BA c>AG | AGF EDE | (FD).D D2 :: A | d2e f>ed | (f2g) a>fd | .c.e(f g).e.c |

gec .g.e(c | d).e.d .d.e(d | c).e.c cAG | A>GF E>DE | (FD).D D2 :|

                       

GOLLOCHY'S FAREWELL. AKA and see "The Doctor [1]," "Balvenie Castle." Scottish, Strathspey. B Flat Major. Standard tuning. AAB. Moyra Cowie (1999) reports that the burn (stream) of Gollachy flows through the Parish of Rathven to the sea, where it exits between Portgordon and Buckie. According to Cowie, there once was a chalybeate spring on the burn at which people ‘took the waters’. Composed by William Marshall(1748-1833). Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 16. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 2.

X:1

T:Gollochy’s Farewell

M:C

L:1/8

R:Strathspey

S:Glen Collection, vol. 1   (1891)

Z:AK/Fiddler’s Companion

K:B_

B<G F>E D<C B>d|e>cf>d c/c/c c2|c/B/_A/G/ A/G/F/E/ D>CB>d|e<c f>d B/B/B B2:|

B>fd>f B>fd>f|e>gd>f c/c/c c2|B>fd>f B>fd>f|e>gf>d B/B/B B2|B>fd>f B>fd>f|

e>gd>f c/c/c cg/a/|bgaf gefd|e<cf>d B/B/B B2||

                       

GONE A-ROVIN’.  American, March (cut time). G Major. Standard tuning. AB. Composed by Ralph Page (1903-1985, New Hampshire), the “dean of the contra dance callers,” and a seminal figure in New England traditional dance and music for 40 years (see www.izaak.unh.edu/nhltmd/pagehome.htm). It first appears in Page’s monthly periodical Northern Junket, vol. 13, No. 11, 1981. Miller (Fiddler’s Throne), 2004; No. 339, pg. 199.

 

GONE FOR HIS TEA (Imithe chuig an Tae). Irish, Reel. E Dorian/D Major. Standard tuning. AAB. Source for notated version: flute, whistle and concertina player Michael Tubridy (Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 144, pg. 68. Claddagh Records CC27, Michael Tubridy ‑ "The Eagle's Whistle" (1978).

                       

GONE INDIAN. AKA and see “Lost Indian [2].” Old‑Time, Breakdown. USA, Texas. D Major ('A' part) & G Major ('B' part). Standard tuning. AABB. Source for notated version: Bob Wills (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 99.

                       

GONE TO EARTH. English, Jig. D Major (‘A’ part) & B Minor (‘B’ part). Standard tuning. AB. A modern composition by Liza Austin. Knowles (A Northern Lass), 1995; pg. 30.

                       

GONER. Old‑Time, Breakdown. USA; Oklahoma. A Major. AEae. AAB. Thede reports this melocy was popular in the Arkansas Ozarks in the mid‑1800's. Source for notated version: Art Bennett (Blaine County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 97.

                       

GONNA GO HUNTING FOR THE BUFFALO. AKA and see “Hunting the Buffalo.”

                       

GONNA HAVE A GOOD TIME TONIGHT. Old-Time, Breakdown. A Major. From the playing of Cush Holston.

                       

GONNA RAID THAT CHICKEN ROOST TONIGHT. Old‑Time. Decca 5137 (78 RPM), Curly Fox (Ga.) {1935}.

 

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