The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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

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

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation, 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]

 

 

 

GRASACH ABU (Graces to Victory). Irish, Air (3/4 time). G Major. Standard tuning. ABB. "The slogan or war‑cry of the Graces of Courtstown, Co. Kilkenny" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 756, pg. 373.

           

GRASSHOPPER POLKA. Polish‑American?, Polka. Gennett 6207 (78 RPM), John Strom and How (fiddle and accordion), c. 1928.

           

GRASSHOPPER SITTING ON A SWEET POTATO VINE. Old‑Time, Breakdown. D Major. Standard tuning. AB (Silberberg): AABB (most versions). Galax, Grayson County, Virginia, area fiddler Luther Davis (1887-1986) is usually credited for most versions of this tune. African-American collector Thomas Talley printed a song by this title in his 1922 work Negro Folk Rhymes (reprinted in 1991, edited by Charles Wolfe). His lyric (which seems to scan with the abc tune below) goes:
***

Grasshopper a settin’ on a sweet tater vine,

‘Long come a Blackbird an’ nab him up behind.

***

Blackbird a-settin’ in a sour apple tree,

Hawk grab him up behind; he “Chee! Chee! Chee!”

***

Big hawk a-settin’ in de top of dat oak,

Start to eat dat Blackbird an’ he git choke.

***

Some see similarities to the Irish melody "(An) Comhra Donn” (The Brown Box/Casket/Coffin). Also melodic similarities in parts of some versions to “The Battle Hymn of the Republic.” Sources for notated versions: Luther Davis (Galax, Va.) via Liz Slade (Yorktown, New York) [Kuntz]; Jere Canote [Phillips]; Greg Canote (Seattle) [Songer]; Stephanie Prausnitz [Silberberg]. Johnson (The Kitchen Musician No. 2: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), 1982 (revised 1988 & 2003); pg. 14. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 102. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 55. Songer (Portland Collection), 1997; pg. 88. Dean Street Music 101, Grand Picnic - “Grand Picnic.” Marimac 9009, Liz Slade ‑ "Old Time Friends" (1987).

See also listing at:

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

X:1

T:Grasshopper Sitting on a Sweet Potato Vine

L:1/8

M:2/4

S:Liz Slade

Z:Transcribed by Andrew Kuntz

K:D

A/(B/A/)D/ FA/(e|f/)e/f/(A/ d/)f(A/|B/)A/B/(D/ G)B|d/B/d/(B/ A2)|

A/(B/A/)D/ FA/(e|f/)e/f/(A/ d/)f/(A/B/|c/)B/c/A/ B/B/c|(d/f)(d/ f||(A|

e/)(A/c/)c/ e (3e/f/g/|a/)e/f/(A/ d/f)(A/|B/)A/B/(D/ G)B|d/B/d/(B/ A2)|

e/)(A/c/)c/ e (3e/f/g/|a/)e/f/(A/ d/f)(A/|c/)B/c/A/ B/B/c|(d/f)(d/ f)||

           

GRASSY CREEK. Old-Time, Breakdown. G Major. Standard tuning. AB. Composed by Oscar “Red” Wilson. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 56.

                       


GRASSY FIDDLE BLUES. Bluegrass. County 2705, Kenny Baker - "Master Fiddler."

           

GRASSY GREEN PILLOW, THE (An Ceannaird Feurac-Glas). Irish, Air (4/4 time). D Dorian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 463, pg. 81.

X:1

T:Grassy Green Pillow, The

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 463

Z:AK/Fiddler’s Companion

K:D Minor

d>c|B2 {d}cB A2 DE|F>G A=B f{g/f/}e|dcAG FAcB|A4 z2 dc|B2 AG FDDE|

FGA=B cef{g/f/}e|dcAF GFD>D|D4 z2||A2|d2 de f>g/4f/4 ef|gfed c<A G>F/3G/4|

Adde fdcA|d6 dc|B2 {d}cB A2 DE|FGA=B cef{g/f/}e|dcAF GFD>D|D4 z2||

           

GRASSY TURF, THE (An Feurtan). Irish, Air or Planxty (2/4 time). A Major. Standard tuning. AB. Composition creited to Turlough O'Carolan (1670-1738) by O’Neill. O'Neill (Krassen), 1976; pg. 228. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 632, pg. 112.

X:1

T:Grassy Turf, The

M:2/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 632

Z:AK/Fiddler’s Companion

K:A

A/B/|cc d/c/B/A/|ec ag/f/|eA d/c/B/A/|GB BA/B/|cc d/c/B/A/|ec ag/f/|

e/c/B/A/ G/B/c/d/|cA A||A/B/|cd ca|ec d/c/B/A/|cd ca|ec ed/c/|d/e/f/d/ c/d/e/c/|

BB BB/c/|d/e/f/d/ c/d/e/c/|BB BA/B/|cA eA|f/g/a/f/ eA/B/|cA eA|f/g/a/f/ ed/c/|

c/e/f/d/ ca|BB BB/c/|d/e/f/d/ ca|cA A||

           

GRAVE OF WOLFE TONE, THE (Uaim Uolfe Tone). Irish, Air (3/4 time, "plaintive"). G Dorian. Standard tuning. One part. The title refers to the great Irish patriot and martyr Theobald Wolfe Tone (1763-1798) who was buried in Bodenstown, County Kildare, in the grave which had just received the body of his brother Matthew. The grave was unmarked until 1844, however, even when a stone was erected it was slowly dismembered by enthusiastic pilgrims, who sought relics as remembrances. A new slab was erected by the Wolfe Tone Band, but that also shows signs of similar treatment. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 456, pg. 80.

X:1

T:Grave of Wolfe Tone, The

M:3/4

L:1/8

R:Air

N:”Plaintive”

S:O’Neill – Music of Ireland (1903), No. 456

Z:AK/Fiddler’s Companion

K:G Minor

d=e|f2g2f2|d2c2F2|A2G2G2|G4 AG|F2G2A2|c2d2c2|c2A2G2|F4 GA|

B2A2G2|A2G2 GA|B2c2d2|g4 fg|a2g2f2|d2c2 FG|A2G2G2|G4||

                       

GRAVEL PIT. Irish, Reel. D Major. Standard tuning. AAB. Treoir.

X: 1

T: Gravel Pit

S: "Treoir"

Z: Transcribed by Bill Black

M: 4/4

L: 1/8

R: reel

K: D

AFDF AFDF | A2 AG EF G2 | AFDF AF D2 | AFEG FD D2 :|

fage d2 (3Bcd | f2 af ge d2 | fage dfec | dcAG EF G2 |

fage d2 (3Bcd | e2 af gede | fage dfec | dcAG EF G2 ||

                       

GRAVEL WALK(S), THE. AKA – “The Gravel Path.” AKA and see “Gravel Walks to Granie,” “The Gravelled Walks to Granny,” “The Cavan Reel,” "The Cottage in the Grove [2]," "Jenny Lace your Tight," “Down with the Mail," "The Faraway Wedding [1]," "Highland Man That Kissed His Grannie [1]," "In and Out (of) the Harbour," "Jenny Tie your Bonnet," “The Jolly Seven,” "Lassie/Lassies tie your Bonnet(s)," "Lizzie's Bonnet," "The Rambler's Rest," “Stenson’s No. 1,” “The Tailor’s Thimble [2],” "Tie the Bonnet," "Upstairs in a Tent [1]." Irish, Reel. Ireland, Donegal. A Dorian (most versions): A Dorian/Mixolydian (Feldman & O’Doherty). Standard tuning. ABCDD’ (Songer): AABCCD (Mulvihill): AABCCDD (Mallinson): ABBCDD (Feldman & O’Doherty): AABCCDD' (Boys of the Lough, Martin & Hughes): AABBCCDD'(Brody): AABB'CCDD' (Alewine). A favorite reel in County Donegal, which has a tradition of adapting Scottish tunes; popularized through the playing of the Byrne brothers of Kilcar and the travelling Doherty family, says Mick Conneely. In this case the root melody is the Scottish reel “Higland Man that Kissed His Grannie [1]” (see also another Irish derivative “The Highlandman [2],” a highland).  "In Donegal, as in Shetland, the fiddle is the favourite instrument and this tune is one of those often played in octaves, that is two fiddles playing the tune an octave apart. This is a tradition that seems to belong mainly to Donegal and Kerry" (Boys of the Lough, 1977; pg. 14). Caoimhin Mac Aoidh explains that Granny (sometimes “Grainne” or “Cranny”) is a remote, uninhabited glen between Ardara and Glencomcille, southwest County Donegal, where locals from the villages of Ardara, Kilcar and Glen used to summer their sheep. When they went to gather them in Autumn they would access Granny by climbing up the gravel paths, thus the name. He states that in Donegal the first two parts are played once, while the latter two are doubled.

***

The Doherty brothers (Mickey and John) of County Donegal, both fiddlers, told versions of a story sometimes associated with “The Gravel Walks.” Mickey’s version can be heard on the cassette set “The Gravel Walks” (Comhairle Bhealoideas Eireann, 1990, produced by Harry Bradshaw). He tells of a man who knew only two tunes before being aided by the fairies, after which he had a vast repertoire; although learning tunes from fairies is a common phenomenon in the folklore of Britain and Ireland.

***

 “Tie the Bonnet” is a related tune. Susan Songer, in The Portland Collection (1997), states “Gravel Walks” is a good change tune for the contra dance Chorus Jig (the first tune played being the four-part “Chorus Jig”). For the dance each part is played only once. Sources for notated versions: the late Donegal fiddler Mickey Docherty [Boys of the Lough]; Jerry Keane [Mulvihill]; Paddy Ryan [Bulmer & Sharpley]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty]. Breathnach (CRÉ II), 1976; No. 238 (appears as untitled reel). Brody (Fiddler’s Fakebook), 1983; pg. 124. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 29. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 161 (appears as “The Gravel Walks to Granie”). Mallinson (Essential), 1995; No. 19, pg. 8. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 49. Mulvihill (1st Collection), 1986; No. 102, pg. 27. Songer (Portland Collection), 1997; pg. 89. Vallely (Play Tin Whistle with the Armagh Pipers Club), vol. 3; 23. Cló Iar-Chonnachta, CICD 148, Mick Conneely – “Selkie” (2001). Gael-Linn CEF060, “Paddy Glackin.” Green Linnet 1009, Patricia Conway and Mick Maloney‑ "Irish Music: The Living Tradition." Nimbus NI5320, Ciaran Tourish & Dermot McLaughlin - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991). Rounder 3006, Boys of the Lough‑ "Second Album" (1974). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995. Appears as “Gravel Path”). Tartan Tapes CDTT1004, Connaillaigh – “Heat the Hoose” (1998. Appears as “Gravel Walks to Grannie”).

X:1

T:Gravel Walk, The

L:1/8

M:4/4

K:A Dorian

A2 eA BA eA|A2 eA BA GB|\

A2 eA Bd ef|ge dc BA GB:|\

A2 aA gA fA|A2 eA BA GB|\

A2 aA gA ef|gf ge dB GB|\

A2 aA gA fA|A2 eA BA GB|\

AB cd ef ga|ge dc BA GB||

cA AG A2 AB|cA (3AAA BG Bd|\

cA AG A2 ef|gf ge dB GB:|\

c2 gc ac gc|c2 gc BA GB|\

c2 gc ac ga|ge dc BA GB|\

c2 gc ac gc|c2 gc BA GB |1\

AB cd eg fa|ge dc BA GB :|2\

Aa (3aaa ag ea|af ge dB GB||

           

GRAVELLED WALKS TO GRANNY, THE. AKA – “The Gravel Walks to Granie.” AKA and see “The Cavan Reel,” "The Cottage in the Grove [2]," "Jenny Lace your Tight," “Down with the Mail," "The Faraway Wedding [1]," "Highland Man That Kissed His Grannie [1]," "In and Out (of) the Harbour," "Jenny Tie your Bonnet," “The Jolly Seven,” "Lassie(s) tie your Bonnet(s)," "Lizzie's Bonnet," "The Rambler's Rest," “Stenson’s No. 1,” “The Tailor’s Thimble [2],” "Tie the Bonnet," "Upstairs in a Tent [1]."

           

GRAVESANDE. AKA and see “Fairest Nymph the Valleys.”

 

GRAY BOB. Scottish. Green Linnett GLCD 1146, The Tannahill Weavers - "Capernaum" (1994).

           

GRAY BUCK [1], THE (Boc Liath Nan Gobhar). AKA and see "Boc Liath Nan Gobhar," "WEDDING_NIGHT">The Wedding Night" (Cape Breton). Scottish, Jig. A Dorian. Standard. AABB. Carlin (Master Collection), 1984; No. 162, pg. 96. Kerr (Merry Melodies), Vol. 4; No. 263, pg. 28 (appears as “The Grey Buck”).

 

GRAY BUCK [2]. AKA and see “The Dragoon [2].”

           

GRAY DAY-LICHT. AKA and see "Stirling Castle," "The Kirn."

           

GRAY DAY LIGHT. AKA and see "Stirling Castle," "The Kirn."

           

GRAY EAGLE [1]. AKA and see "Grey Eagle,” “Old Gray Eagle.” Old‑Time, Breakdown. USA; Oklahoma, Missouri. A Major. AEae tuning. AABB. The title “Gray Eagle” in the American context refers to several melodies, some related and some not. Cecil Snow’s “Old Grey Eagle” is a close variant of Thede’s tune, collected from Oklahoma fiddler Bill Evans (who associated it with an improbable story about and eagle and a tomcat getting into a fight while airborne). Cecil Snow was also born in Oklahoma as well, but lived in various parts of the country before settling in Arkansas. In general, “Gray Eagle” is a popular tune and has been frequently played at mid-western fiddle contests. A tune whose title was spelled this way was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. Drew Beisswenger (2008) notes that Missouri Ozark region fiddler Bill Graves plays a similar tune called “Fort Gibson.” Source for notated version: Bill Evans (Pottawatomie County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 137.

 

GRAY EAGLE [2]. AKA and see "Grey Eagle [2].” English, Hornpipe.

           

GRAY'S HORNPIPE. Scottish, Hornpipe. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 2; No. 324, pg. 36.

X:1

T:Gray’s Hornpipe

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 2, No. 324  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

D2 | F>GA>A B2A2 | B>cd>B A3G | F>GA>A B>AG>F | E>DG>F (3EA,B, (3CDE | F>GA>A B2A2 |

B>cd>F G2E2 | F>Ad>f (3gec (3ABG | F2E2D2 :: (D>E) | =F2 (E>F) D2 (F>G) | A>A_B>G A3E |

=F>EF^F G>FG>^G | A>Ad>^G A3=G | F>DF>A B2A2 | B>cd>F G2E2 | F>Ad>f (3gec (3ABG | F2E2D2 :|

           


GRAY'S INN MASKE. AKA and see "Poor Tom," "Mad Tom," "New Mad Tom of Bedlam." English, Air and Country Dance Tune (4/4 and 6/4 time). G Dorian. Standard tuning. AABCDEF. Gray’s Inn was one of the four great Inns of the Temple Barr to which lawyers allied themselves in 17th century England. Prior to the Commonwealth, Gray’s Inn, along with Inner Temple, Lincoln’s Inn and Middle Temple, held annual revels which included music and dancing. During the reign of James I the inns, singly or in pairs, presented masques at the royal court. The Gray’s Inn structure was built in 1545 and lasted until World War II, when it became the victim of the Blitz and burned to the ground. Luckily, however, key features of the interior were rescued and the building was rebuilt along original lines. Chappell (1859) remarks that the air was used, as the name implies, as accompaniment to a suite of dances in a Masque, though he admits there is no way of knowing whether it was written for that purpose or rather as a song. He does believe it to be "considerably older" than the 1650 Dancing Master date because one of the ballads was directed to be sung to the tune of "Mad Tom" which was "lately sung at the Curtain, Holywell;" the Curtain Theatre was all but closed by 1625, and "Mr. Collier, in a note to Heber's catalogue, even gives the date of one of the performances of the tune at that theatre as 'about 1610.'" He further states that the air has been ascribed variously to the famous composer Henry Purcell and to Henry Lawes, however, these assertions are speculative and, in fact, the music was in print before Purcell was born. Lawes was said by Sir J. Hawkins to have been mentioned as the composer in Choice Ayres and Antidote against Melancholy, however Chappell finds no reference to him in those works. The air appears in the first edition of John Playford's English Dancing Master (1651), his Antidote against Melancholy (1669), and his Choice Ayres (1675). It also appears in the ballad operas Penelope (1720) and The Bay's Opera (1730). A record exists which reports on a Gray's Inn Christmas celebration in 1594, at which a court of mock royalty was chosen and :

***

…his Highness [the Prince of Purpoole] called for the Master of Revels,

and willed him to pass the time in dancing so his gentlemen-pensioners

and attendants, very gallantly appointed, in thirty couples, danced the old

measures, and then galliards, and other kinds of dances, reveling until it

was very late.

***

Barlow (Compleat Country Dance Tunes from Playford’s Dancing Master), 2005; No. 30, pg. 23. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 53. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 179. Raven (English Country Dance Tunes), 1984; pg. 47. Familiar Records 59, Pyewackett - "The Man in the Moon Drinks Claret" (1982).

X:1

T:Grays Inn Masque

T:Mad Tom

T:New Mad Tom of Bedlam

M:C

L:1/8

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

Z:AK/Fiddler’s Companion

K:G Dorian

G2 GA B2G2 | d2D2 D4 | D2 DE ^F2 D2 | G2 G,2 G,4 |

B,3B, C3C | DE^FE D3D | E^FGA B2A2 | G2G2 G4 :|

|| GABc d2d2 | c2B2 A4 | G2G2^F2E2 | D2 D6 |

GABc d2d2 | c2B2 A6 | G2G2 ^F2E2 | D2 D4 ||

D2 | =F2D2 A4 | B2G2 d4 | A3B c2c2 | B2 B4 D2 |

F2D2 A4 | B2G2 d4 | A3B c2c2 | B2 B6 ||

B4 A2G2 | ^F4 F4 | d4 c2B2 | A8 | B4 A2G2 | ^F4 F4 |

d4 c2B2 | A6 || A2 | =B2B2B2G2 | =Bc d2 d4 | e2e2d3c |

=B2 B6 || =B2B2B2G2 | =Bc d2 d4 | e2e2d3c | =B2B4 || G2 |

M:6/4

L:1/8

G3A =B2 B3c d2 | D2 D4 z4 D2 | D3E ^F2 F3 G A2 |

C2 C4 z4 C2 |  C3D E2 E3^F G2 | =B,6 G4A2 | =B3c dc B2 A3G | G8 ||

                                   

GRAYS OF TONGSIDE, THE. Scottish, Bagpipe Reel. The tune, written by Andrew Bain, has been popular with dance bands as well as pipers, in versions with different cadences. Topic 12TS381, The Battlefield Band ‑ "At the Front" (1978).

                       

GRAY'S OPERA HOUSE.  American, Clog. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. There was a Gray’s Opera House on Main Street, in Romeo, Macomb, Michigan, built in 1869 by three sons of a Scottish physician, Hugh, James and Noah Gray. The theatre served as a venue for travelling plays such as Uncle Tom’s Cabin and East Lynn (and probably minstrel shows as well), later serving as a community center and a Masonic Temple. A Gray’s Opera House also existed in Houston, Texas, finds Don Meade, saved from fire in 1875. Oscar Wilde lectured there in 1882. Most of the tune (save the beginning of the second part) was amalgamated by Francis O’Neill for his “Star (Hornpipe) [1].” Cole (1000 Fiddle Tunes), 1940; pg. 121. Ryan’s Mammoth Collection, 1883; pg. 159.

X:1

T:Gray’s Opera House

M:C|

L:1/8

R:Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(B>.c) | (d>.^c)d>f g>e=c>A | G>FG>A B>GD>B, | G>FA>G B>Ac>B | d>ce>c A2 B>c |

d>^cd>f g>e=c>A | G>FG>A B>GD>B, | G,>gf>e d>ef>e | d>^c=c>A G2 :|
|: (F>.G) | (A>.B)A>G F>A d>f | e>fe>^c A>ce>g | f>ed>f e>d ^c>e | (3dfe (3dcB A2 F>G |

A>BA>G F>A d>f | e>fe>^c A>ce>g | f>ed>f e>d^c>e | d2f2d2 :|

                       

GRAZIER, THE. AKA and see "Geehan's Reel," "Green Garters [2]," "The Humours of Flip," "Trim the Velvet," "The Potlick," "Sally Kelly [2]."

                       

GREASE THAT WOODEN LEG, SALLY ANN. 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. It is perhaps a version of "Sally Ann."

                       

GREASY COAT. AKA and see "Old Greasy Coat." Old‑Time, Breakdown. USA, West Virginia. A Dorian. Standard or AEae (Edden Hammons). ABCC. There are several meanings for the term ‘greasy coat.’ It is an old-time euphemism for a condom, but it has also been suggested the term refers to an unwashed fleece (i.e. still retaining the lanolin), and a Confederate soldiers coat, worn, greasy and dirty from overuse. A verse attached to the tune goes:

***

Well I don't drink and I don't smoke,

And I don't mess with the greasy coat...  (‘wear no’ is sometimes substituted for ‘mess with the’)

***

Source for notated version: Ruthie Dornfeld [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 102. Folkways FTS 31062, "Ship in the Clouds: Old Time Instrumental Music" (1978. Learned from Burl Hammons, Pocahontas County, West Virginia). Edden Hammons Collection I (appears as “Old Greasy Coat”).

                       

GREASY KATE. 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.

                       


GREASY STRING [1]. AKA and see "Bring Back My Old Coon Dog." Old‑Time, Breakdown. USA; Indiana, Virginia. A Major: G Major. AEae or Standard. AABBCC (Kuntz): AAAABB (Phillips). The title “Greasy String” probably refers to a slippery fiddle string. Tommy Jarrell sang a verse with "mash down harder on that greasy string." The high part of the tune is related to "Shoot the/that Turkey Buzzard," while the low part closely resembles "Cripple Creek." The tune was frequently found in the 1970's among older fiddlers in Ashe, Alleghany, Patrick (see Patrcik County natives Taylor and Stella Kimble's privately released record "How Sweet the Sound") and Grayson counties in Virginia. Mt. Airy, North Carolina, fiddler Tommy Jarrell learned the tune from his Uncle Charlie Jarrell, though he was the only one Tommy remembers playing it (Tommy's version is very similar to Taylor Kimble's). Words are sometimes sung to the tune (by Jarrell, among others):

***

Run little feet, stop and sing,

Mash down harder on the greasy string

***

Jay bird whistles and the cat bird sings

Mash down harder on the greasy string.

***

My old lady is mad at m,e

'Cause I won't drink ginger tea;

She is good, she is bad,

She gives me the devil when she gets mad.

***

Sources for notated versions: Tommy Jarrell via  Liz Slade (Yorktown, New York) [Kuntz]; Lotus Dickey (Indiana) [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 103. County 756, Tommy Jarrell ‑ "Sail Away Ladies" (1976).

X:1

T:Greasy String [1]

M:2/4

L:1/8

S:Liz Slade

Z:AK/Fiddler’s Companion

K:G

|:G,|[G,/D/](D/E/)E/ G/(E/G/)(A/|B/)(B/d/)(A/ c>)(A|B/)A/B/(D/ E/)(D/E/)G/|A>G [GB]:|

|:(e|g)e/d/ (e/g/)(e/d/)|e/(d/B/)(D/ G>)(e|g/a)(g/ a/)g/e/A/|B/c/d/c/ d>(e|g/)(a/b/)a/ g/e/d/e/|

e/d/d/(A/ B>)A|B/A/B/D/ E/D/E/G/|AG [GB]:|

|:c|e2g2|e2 d>(A|B/)A/B/(B/ A/)(D/E/)D/|A/G/G G:|

 

GREASY STRING [2]. Old‑Time, Breakdown. USA, West Virginia. G Major. Standard. AABB. A variant of version #1. Burl Hammons of Marlinton, West Virginia, plays this tune in the key of G Major. Source for notated version: Ruthie Dornfeld (Seattle) [Songer]. Songer (Portland Collection), 1997; pg. 90. Victor (78 RPM), the West Virginia Coon Hunters (1927).

                       

GREASY WEBSTER [1]. Shetland, Shetland Reel. Shetland, Unst.

 

GREASY WEBSTER [2]. Scottish, Pipe Tune. Not like version #1.

           

GREAT ATLANTIC BREAKDOWN, THE. Canadian, Reel. Composed by John Durocher. MCA Records MCAD 4037, “The Very Best of Don Messer” (1994).

                       

GREAT BIG YAM POTATOES. AKA and see "Been to the East, Been to the West," "Hell Broke Loose in Georgia." Old‑Time, Breakdown. USA, Mississippi. G Major. Standard. Not related to the similarly titled "Great Big Taters in Sandy Land." A frequently played and recorded tune in Southern old‑time tradition, although known by various titles. Rankin and Stanton (1985) believe this title speaks more to the number of farmers who raised "yam potatoes" in the sandy soil of central Mississippi. Mississippi Department of Archives and History AH‑002, Hardy C. Sharp ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985).

                       

GREAT BIG TATER(S) IN SANDY LAND. AKA - "Great Big Taters." AKA and see "Sandyland," “Sandy Land,” "Better Quit Kickin My Dog Around," “Grease that Wooden Leg, Sally Ann,”  "Sail Away Ladies." Old‑Time, Breakdown. USA; Oklahoma, Missouri, Arkansas, Texas, Alabama, Mississippi. A Major (Silberberg): G Major (Beissweger & McCann, W.E. Claunch, Kuntz, Sweet). AEae or Standard. ABB (Rankin): ABB' (Phillips/Wills): AABB' (Sweet): AA’BB’ (Beisswenger & McCann): ABC (Silberberg): AABBCC (Phillips/Eck Robertson). The melody is directly related to "Sail Away Ladies" (and thus to "Sally Ann") and some indicate it is merely a variant of that tune, though the title "Great Big Taters" and its variations is considerably disseminated in the South and Old Southwest. Drew Beisswenger (2008) states that fiddlers in Arkansas and neighboring states call the tune by the “Great Big Taters in the Sandy Land” or “Sandy Land,” while in other regions of the U.S. it is called “Sally Ann” or Sail Away Ladies.” It has also been linked to a song/tune, primarily in the Mid-west, called “The Hound Dawg Song” or “Every time I come to town (the boys keep kicking my dog around),” published in 1912, but likely much older (perhaps as early as the mid-19th century, according to Alan Lomax and Vance Randolph). Arizona fiddler Kenner C. Kartchner knew a tune by the “Great Big Taters…” title in the very odd key of C Major (for this kind of tune), which he learned from Frank Pruitt, about 1900. The title was one of those in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954, and it was mentioned in an article entitled "Fiddler's Jubilee" in the Fayette Banner (Fayette County, Alabama) of January 2, 1908 (Cauthen, 1990).

***

Another of Ira Ford's (1940) improbable tales goes: "From a fiddler who played 'Great Big Taters in Sandy Land' as his favorite tume, comes the following tradition obtained by the writer thirty years ago. The fiddler was then a man more than seventy years old, who had 'larned' the 'chune' when a you fellow of twenty, from the 'feller' who composed it (c. 1860?). It appears that Steve, the composer homesteaded 160 acres of land in the rough sandstone hills in a remote section of the country, it being the only land left open for homesteading. Steve was engaged to be married to a beautiful young girl of the community and the wedding was to take place as soon as he developed his farm and got his place built. He broke the new ground, which was all in patches on the tops of the hills, the remainder of the farm consisting of steep rocky hillsides and gullies. As his first crop he planted oats and corn. The oats only came up a few inches and the corn did not even make 'nubbins'. So the wedding had to be postponed. The boys teased Steve considerably about trying to make a living on the sandy land, but he took it all good‑naturedly, as did the girl. That same year there was a shortage in the potato crop, and, as the land around there was not suitable for potato growing, the farmers had to pay exorbitant prices for the potatoes they had to ship in. Betty, Steve's girl, suggested that he plant potatoes for his next crop. The following spring he planted all his ground accordingly, to the great amusement of his friends. But their amusement was changed to astonishment when that fall Steve harvested 300 bushels to the acre of high grade potatoes and sold them to the farmers as a good price. The wedding was elaborately celebrated with a big supper, followed by a dance that lasted until morning. This tune, composed by Steve and afterwards played at all the dances, was commonly known as 'Steve's Tune', but it was Betty who originated the verses. To get even with those who had 'poked fun' at Steve and his sand farm, she invented the verses, singing them at the dance that night much to the amusement of the guests."

***

Thede says the Henry Hilderbrand referred to in the lyrics that she collected with the Oklahoma version given in her book was a farmer who lived near West Plains, Missouri, and that Eli was a mule.

***

Great big tater in the sandy land,

Plow it up Henry Hilderbrand;

Great big tater in the sandy land,

Git there Eli of you can. (Thede)

***

Great big taters in sandy land,

We‑all dig 'em out as fast as we can.

The folds all buy 'em from a foolish man,

Raisin' great big taters in sandy land.

***

Sow them oats, but you can't get a stand,

Corn won't grow in that sandy land.

Folks won't think you're much of a man,

If you can't make a livin' on sandy land. (Ford)

***

Sift the meal and save the bran,

Goodby gals I'm goin' in

Raise big taters in sandy land,

Raise big taters in sandy land. (W.E. Claunch)

***

As with several popular old-time tunes, there is a play-party lyric called “Sandy Land” that mirrors the sung ditties of the fiddle tune. The earliest sound recording of the tune under the “Great Big Taters in Sandy Land” title is by Texas fiddler Eck Robertson, in 1929.

***

Sources for notated versions: Eck Robertson (Texas) and Earl Collins (Oklahoma/Texas) [Brody, Phillips]; Bob Wills (Texas) [Phillips]; Jubal Anderson (Pottawatomie County, Oklahoma) [Thede]; Liz Slade (Yorktown, New York) [Kuntz]; Kerry Blech (Seattle) [Silberberg]; Sam Long (1876-1931, Mid-west) [Beisswenger & McCann].

***

Printed Sources: Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 89 (appears as “Sandy Land”). Brody (Fiddler’s Fakebook), 1983; pg. 125. Ford (Traditional Music in America), 1940; pg. 39. Kuntz, Private Collection. Phillips (Traditional American Fiddle Music), vol. 1, 1994; pg. 103 (two versions). Rankin, 1985; Notes to "Great Big Yam Potatoes: Anglo American Fiddle Music from Mississippi." Ruth (Pioneer Western Folk Tunes), 1948; No. 43, pg. 16. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 173. Sweet (Fifer’s Delight), 1964/1981; pg. 75. Thede (The Fiddle Book), 1967; pg. 80‑81.

***

Recorded Sources: Briar 0798, Earl Collins‑ "That's Earl." County 517, Eck Robertson and J.B. Cranfill‑ "Texas Farewell." County CD-3506, Sam Long – “Echoes of the Ozarks, vol. 1” (1995. Reissue recordings, various artists). Folkways 31062, Ship in the Clouds‑ "Old Time Instrumental Music" (1978. Learned from Bruce Molsky). Gennet 3255 (78 RPM), Sam Long (1926. Appears as “Sandy Land”). Mississippi Department of Archives and History AH‑002, W.E. Claunch ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985). Rebel 1515, Curly Ray Cline‑ "My Little Home in West Virginia." Sonyatone 201, Eck Robertson‑ "Master Fiddler." Victor 40205 (78 RPM), Eck Robertson (1929. 2nd fiddle by Dr. J.B. Cranfill).

X:1

T:Great Big Taters in Sandy Land

M:2/4

L:1/8

S:Liz Slade

Z:AK/Fiddler’s Companion

K:G

e/f/|g/f/g/e/ e/(A/d)|(e/ e) (e/ e)(e|e/)f/e/(A/ d/)A/B/(B/|d>)B dd|

g/a/g/e/ e/(A/d)| )|(e/ e) (e/ e)(e|e/)f/e/(A/ d/)A/B|A>B (A A/):|

|:(A/|B/)A/B/B/ A/D/G|(G/ B) (G/ B)B/c/|d/B/d/A/ B/D/E|(A/ B) (A/ B>)(A|

B/)A/B/B/ A/D/G|(G/ B) (G/ B)(D|D/)D/B A/B/A/(D/|A/ B) (G/ B)z/:|

|:(D|D/)D/B A/(D/G)|(G/ B) (G/ B/)A/B|1 D/D/B/(B/ A/)B/A/D/|

(G/ B) (G/ B):|2 d/A/B/B/ A/B/A/D/|G/ [GB] G/ [GB]||

           

GREAT EASTERN (HORNPIPE). AKA and see "Belfast Hornpipe [1]," "Sweep's Hornpipe [1]," "Millicent's Hornpipe," "Millicen's Favourite." The Great Eastern was the name of one of three great transatlantic steamships designed by Isambad Kingdom Brunel (whose father was Sir Marc Isambard Brunel, 1769-1849, a French-born engineer resident in England after the Revolution who constructed the first tunnel under the Thames, still in use today as part of the London Underground).

           

GREAT EASTERN JIG. American, Schottische. D Major. Standard. One part. Howe (1000 Jigs and Reels), c. 1867; pg. 56.

X:1

T:Great Eastern Jig

M:2/4

L:1/8

R:Schottische

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:D

(3A,/B,/C/ | DC D(C/E/) | z/ D/C/E/ F/D/E/D/ | z/ D/C/E/ D(3A/B/c/ |

d/A/B/G/ A/F/G/E/ | z/ D/C/E/ D(C/E/) | z/ D/C/E/ F/D/E/D/ | z/ D/C/E/ D(3A/B/c/ |

d/A/B/G/ A/F/G/E/ | z/ a/d c2 | B/c/B/A/ F/A/z/A/ |1 z2 z d | B/c/B/A/ F/D/E/D/ :|2

g/d/g/e/ f/d/e/c/ | d/A/B/G/ A/F/G/E/ :|

                       

GREAT EASTERN POLKA. English, Irish; Polka. G Major ('A' part) & D Major  ('B' part). Standard. AAB. Composition attributed to C. Coote Junr. by Trim. Charles Coote, Junior, was a Victorian-era British composer of light music and dance tunes, including the “Corn Flower Waltz,” the “Bric a Brac Polka” and other generally forgettable melodies. The title ‘Great Eastern’ honors the name of one of three great transatlantic steamships designed by Isambad Kingdom Brunel (whose father was Sir Marc Isambard Brunel, 1769-1849, a French-born engineer resident in England after the Revolution who constructed the first tunnel under the Thames, still in use today as part of the London Underground). The Great Eastern, in part because of its gigantic size, laid some of the first transatlantic cables. Source for notated versions: the Thomas Hardy manuscripts [Trim]; a manuscript attributed to the Pigott family of east Kerry [Breathnach]. Breathnach (CRÉ V), 1999; No. 108, pg. 53. Trim (Thomas Hardy), 1990; No. 72.

X:1

T:Great Eastern Polka, The

M:2/4

L:1/8

R:Polka

S:Breathnach – CRÉ V, No. 108

K:G

B/c/ | d/B/G/g/ fe | A/B/c/A/ BG | E/F/G/E/ F/G/A/F/ | G/A/B/c/ d^c |

d/B/G/g/ fe | A/B/c/A/ BG | E/F/G/E? F/G/A/F/ | GB G :|

K:D

F/G/ | A/^G/A/d/ cB | {d}c/B/A/g/ fe | {g}f/e/f/d/ Be | {d}c/B/c/A/ fd |

{B}A/^G/A/d/ cB | {d}c/B/A/g/ fe | {g}f/e/f/d/ Be | {d}c/B/c/A/ d :|

 


GREAT EASTERN REEL. AKA and see “Bennett’s Favorite,” "La Grondeuse [1]," "John Brennan's Reel,” "The Silver Spire." Irish, Reel. D Major. Standard. AABB (Brody, Cole, Ryan): AA’BB’ (Begin). Credited to one Clem. Titus in Ryan's Mammoth Collection/Cole's 1000. The Great Eastern was the name of one of three great transatlantic steamships designed by Isambad Kingdom Brunel (whose father was Sir Marc Isambard Brunel, 1769-1849, a French-born engineer resident in England after the Revolution who constructed the first tunnel under the Thames, still in use today as part of the London Underground).

***

“The Great Eastern” is a reel that, while not a member of a large tune family, is nontheless important in several traditions, largely on the merits of its strong, flowing and well-crafted melody.  It has a few names, but essentially they are the same tune, showing little of the variety and musical distance between versions that sometimes develops when tunes weave in and out of various traditions. It can be found in North American tradition as “Bennett’s Favorite” and “The Great Eastern,” in Irish tradition as “John Brennan’s Reel” and especially “The Silver Spire,” and in Québecois tradition as one of the “La Grondeuse” tunes.  It has a long recording history, beginning with the duet of Paddy Killoran and Paddy Sweeney in the 1930’s and continuing today with versions by Sharon Shannon, Tommy Peoples, John and Phil Cunningham, Natalie MacMaster and the groups Wild Asparagus and La Bottine Souriante, to name a few.

***

In Québec the title “La Grondeuse”—‘the grumbling woman’—is the title of many tunes, each fiddler seeming to have his or her own versions based on a variety of melodies in the key of ‘D’. What they have in common is that the ‘G’ string is tuned up to ‘A’ (ADae, or ‘raised bass’ tuning), producing ringing overtones and lending itself to dense droned bowing on the low parts. “La Grondeuse” is universally played in the Québec fiddle tradition and it is often employed as a vehicle for step-dancing. One “La Grondeuse” strain is the “Great Eastern”/”Silver Spire” melody and has made the contra dance rounds for many years, beginning with New Hampshire fiddler and caller Dudley Laufman.

***

Irish fiddlers know the reel by the titles “Silver Spire” and “John Brennan’s (Reel).” It was famously recorded for the first time in 1931 by the duet of fiddlers Paddy Killoran and Paddy Sweeney (who paired it with “Farrell O’Gara”), both from County Sligo and recent members of the New York city Irish immigrant community. Since no earlier record of the name “Silver Spire” occurs prior to the 1931 Killoran/Sweeney recording, I believe the original name had become detached, and that Killoran, Sweeney or the someone at the record company decided to call the unnamed reel after the then-current engineering marvels the Empire State Building and the Chrysler Building, both newly completed. The buildings dramatically altered the New York City skyline, and the art-deco Chrysler Building even features a silver spire the juts skyward from the top of the building. Through this influential recording the reel quickly became a staple of the Irish dance tradition and was picked up by such groups as the Ballinakill Ceili Band (who recorded it on a 78 RPM disc set as a hornpipe).  The melody became associated with County Sligo flute player John Brennan in some Irish circles. He was a regular member of Dublin’s Church Street Club, site of a famous long-lasting session that began in the late 1950’s, centered around fiddler John Kelly, originally from County Kerry. The Tara Ceili Band and Tommy Peoples/Matt Malloy/Paul Brady have recorded it under the “John Brennan’s” title, to name a few. It is still a popular tune that is heard fairly frequently at modern sessions, and because of this, and through Irish recordings, it has re-entered other traditions, creating interesting juxtapositions where it exists simultaneously with other titles.

***

It is in American tradition, however, that the reel can be traced farthest; to 1883 and Ryan’s Mammoth Collection.  Therein it appears twice, first as “Bennett’s Favorite” then again as “Great Eastern Reel,” the latter being the only tune credited to Clem. Titus (a name from classical Rome).  The “Great Eastern” title is the one that the tune is usually known by, although some fiddlers picked up the “Bennett’s” version by perusing the Ryan collection or its successor, Cole’s 1001 Fiddle Tunes. Missouri fiddler Cyril Stinnett’s version is given below. Stinnett probably had his version from Burt County, Nebraska, fiddler Uncle Bob Walters, remarks Bill Shull, and although Stinnett did not read music, Walters often picked up tunes from Ryan’s/Coles. Natalie MacMaster has also recorded “Bennett’s Favorite.” It is doubtful, especially given the tune’s appearance in the same publication under the “Bennett” title, that it was authored by Titus, about whom nothing is known.

***

If Titus is unknown, however, his title is certainly not, for it was the name of one of the most famous ships of the mid-19th century and instantly recognizable to anyone living at the time, albeit almost forgotten nowadays. The Great Eastern was one of three great transatlantic steamships designed by Isambad Kingdom Brunel (whose father was an expatriate French-born engineer resident in England after the Revolution, who constructed the first tunnel under the Thames, still in use today as part of the London Underground). The ship was an astounding engineering feat. It was the largest vessel of its age—originally called The Leviathan due to its huge size—and six times larger than any ship ever then built. Instead of the usual wood, the Great Eastern was made of iron, weighed 19,000 tons and measured 689 feet.  In fact, it was so huge it had to be launched sideways, and at that she only managed to shift three feet before stopping. It would be three months before she was finally pushed into water. Unfortunately, her luck did not improve. During her sea trials a terrible explosion occurred caused by a stuffed ventilator, and the foremost funnel was launched like a rocket. Members of the crew, scalded by blast, emerged and one threw himself over the side, only to be mangled to death by the blade wheels. Brunel had a stroke when he heard the news, and died soon afterwards.

***

Isambard Kingdom Brunel

The Great Eastern

***

The Great Eastern was built so large to be able to run from Europe to Australia with only one stop for fuel, but she was never employed in that task. Instead she was assigned the run to New York, and she never was able to attract the number of passengers needed to become profitable. For one reason, she was famous for her rolling in the great waves of the Atlantic, producing monumental sea-sickness. Her port visits were mismanaged, alienating potential passengers. More ominously, during her fourth voyage a storm tore away her rudder, causing eight months of repairs, and on a subsequent passage she struck a rock tearing a gash in her side 75 feet long (she was saved by her unique double-hull, which kept her afloat). After a few years of mounting losses the great ship was taken out of service.

***

A few years later she was resurrected for a task that finally befit her, for the Great Eastern became the steamship that laid the first permanent transatlantic cable.  Only a ship of her size could carry the enormous amount of cable necessary to span the Atlantic, and she was finally a success. By the mid-1870’s, however, her time was passed, and she languished in harbor for twelve more years, more-or-less as a floating billboard. Finally, in 1888 she was sold for a pittance for scrap, although it took the better part of two years to dismantle her. During this process a skeleton was found between her double hulls, one of the workmen who was on the original building crew from the 1850’s and perished unknown.

***

Perhaps the most bizarre incident in the ship the Great Eastern’s career occurred in New York City in 1860. One night, months before the great vessel entered port, a feared thug named Albert E. Hicks, commonly called Hicksey, fell asleep in the lodgings of a Cherry street crimp after a night of drinking. He was given a nightcap laced with opium by the owner, robbed and knocked unconscious with a slung-shot, and awoke to find himself shanghied on an oyster sloop, the E.A. Johnson. The sloop had rounded Staten Island and was headed out to sea by the time the hoodlum regained enough of his senses to protest, and as his rage gained momentum he bloodily slew the boat’s captain and two young brothers who were crew members. The E.A. Johnson was found abandoned and adrift a few days later and the slaughter revealed in all its horror. Hicks meanwhile had taken the sloop’s small boat and made his escape back to his haunts in lower Manhattan, but not before robbing his victims of their valuables and carrying off anything of worth he could find.  Unfortunately for him, Hicks had been observed being taken to the boat, and after a quick investigation he was arrested and a search of his belongings revealed loot that was identified as his victims’.

***

After a quick trial Hicks was condemned, but the sensational case garnered much fanfare, and as the date for his execution neared he became something of a celebrity. P.T. Barnum visited him in his cell and arranged to purchase a plaster cast of his head and bust for his museum, and later also acquired his clothes. On the appointed date, a Thursday in July, Hicks said his farewells, and, accompanied by a priest, a Sheriff, and a chief and deputy United States Marshall dressed in their finest, he was escorted to a carriage. It joined a procession led by a fife and drum corps playing by a dirge and was followed by a string of black draped carriages, through cheering crowds from the Tombs down to Canal Street. Since the place of execution was designated to be Bedloe’s Island (where the Statue of Liberty is now located), Hicks was then transferred to a steamboat that was to convey the official party there. By this time the harbour was filled with boats, all jockeying to witness the hanging, however, things had moved faster than the Marshall had anticipated and he found he had plenty of time by the time the steamship entered mid-stream. Believing it undignified to land on the island too early, the Marshall determined to take the party for a sight-seeing sail up the Hudson. The Great Eastern was anchored in the river above them, recently arrived from Europe on her maiden voyage, and when the smaller vessel approached, Hicks was brought to the rail. The Marshall stationed himself on the bridge, sword in one hand and speaking-trumpet in the other, and explained to the surprised Great Eastern passengers the meaning of the cruise while pointed out Hicks’s shackles and chains.  

***

The smaller steamship then descended the river and arrived at the island, where a detachment of soldiers and the scaffold awaited them. Since the scaffold had been erected not thirty feet from the water, the throngs of sightseers in their excursion boats had a good view of the proceedings. It was estimated that some 10,000 witnessed Hicks go to his maker that day. The murderer’s body was returned to Manhattan for burial in Calvary Cemetery, although he did not repose in peace long, for his grave was soon robbed and his corpse sold to medical school students for dissection. (This story appears in The Gangs of New York, 1928, by Herbert Asbury).

***

Source for notated version: fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 72, pg. 82. Brody (Fiddler’s Fakebook), 1983, pg. 256 (appears as "The Silver Spire"). Cole (1000 Fiddle Tunes), 1940; pg. 46. Ryan's Mammoth Collection, 1883; pg. 73. Apex AL 1600, Don Messer & His Islanders – “Down East Dancin’, Vol. 1.” Front Hall FHR 020, Alistair Anderson – “Dookin’ for Apples” (1979). Rounder 7010, Tom Doucet – “Tommy Doucet” (1979). Solid ROCD 8, “Sharon Shannon” (1991).

X:1

T:Great Eastern Reel, The

M:C

L:1/8

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

D2 (F>E) D>F A2|({dc}d>c)(d>e) fcA(F|G)BE>G F>AD>F|

G>(E {F}ED) C>E A,>C|D2 F>E D>F A>d|(3edc d>e f>dA>F|

GBE>G F>AD>F|1 E2A,2D3A,:|2 E2A,2 D4||

|:A,>B,C>D E>FG>E|(3FED E>F G>AB>c|dcd>A Bc d>e|

f>a (3baf e2 (3ABc|d2 fd cdec|dcd>B A>FD>F|GBE>G F>AD>F|1

E2A,2D2^G,2:|2 E2A,2 D2A,2||

                       

GREAT GLEN OF SCOTLAND, THE (Gleann Mor na h-Albainn). Scottish, Slow Air (6/8 time). D Major. Standard. AAB. "This air celebrates a part of the country more replete with interesting objects to the admirers of the works of nature or gigantic labour,‑‑to the artist in point of grand scenery, and to the sportsman and angler, in their respective pursuits,‑‑than any other part of the island. The picturesque views the editor could point out along the chain of lakes cannot be exceeded in sublimity. The contrast formed by the lakes and vales below with the more elevated sloping wooded skirts, broken with waterfalls, backed by the seemingly conic land‑mark of Mealfuarvony, i.e., 'Cold Pinnacle', or the stupendous Ben Nevis unremittingly capped with snow,‑‑and with a clear day giving a view of most of the western isles from its tip, form, perhaps, some of the grandest landscape subjects to be met with, and all within this great glen. The valleys and cascades formed by the various rivers are no less interesting, and particularly the falls of Foyers and Moriston, rivers which should be traced to their sources by sportsmen and anglers. These are the works of nature; but the words of Herculean labour in this quarter merit attention. Firstly, the ancient chain of vitrified forts; second, the parallel roads of Glenroy, communicating with an arm of this great glen. The castles of Inverness, Urquhart, Glengarry, and Inverlochy. The government forts, and the towns and harbours which terminate this valley at each sea,‑‑Cromarty being one of the finest navy stations in Europe, which any other nation would be proud to possess, the military and parliamentary roads and bridges, and finally, the Caledonian Canal, rendering this part as likely to become interesting, in a commercial point of view, as it is in point of attractive scenery" (Fraser).

***

The Great Glen of Scotland bisects the island from Fort William to Inverness.

***

Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 89, pg. 34.

X:1

T:Great Glen of Scotland, The

T:Gleann Mòr na h-Albainn

M:6/8

L:1/8

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:D

d/>B/|AFF D>F F/G/|A>B/A/G/ F2 d/>B/|AFF F>E/F/G/|FB>A B>c/d/>G/|

AFF D>F F/G/|A>B/A/F/ d2 d/e/|f>e/d/c/ dB/A/G/^E/|Fdc B2:|a/g/|

Faa eaa|a>b/a/=g/ f2 a/g/|fa/^g/a/f/ ea/g/a/e/|fb<^a b2 b/c’/|

d’/c’/b/a/g/f/ b/a/g/f/e/d/|a>b/a/g/ f2 d/e/|f>e/d/c/ dB/A/G/^E/|

Fcd B2 A/G/|FAA EAA|A>B/A/G/ F2 G|FA/^G/A/F/ EA/G/A/E/|

fB>^A B2 B/c/|d/c/B/A/G/F/ B/A/G/F/E/D/|A>B/A/G/ F2 D/>E/| F>ED EDC|CF^A, B,2||

                       

GREAT HIGH WIND THAT SHOOK THE LOWPOST DOWN, THE. Old-Time, Breakdown and Song. B Minor. Standard tuning. AABB. Some similarities to “Cold Frosty Morning.” A family tune from fiddler Bob Beers. Columbia Records CS9472, The Beers Family – “Dumbarton’s Drums” (1967). Folkways FW02402, Bruce Hutton – “Old-Time Music: Its All Around” (1978). Philo Records 1010, Eric & Martha Nagler – “The Gentleness Living” (1973). Sugar Hill SH/PS 1134, Metamora – “Great Road” (1987).

X:1

T:Great High Wind that Blew the Low Post Down

R:Reel

N:Transcribed by Bruce Thompson

M:4/4

L:1/8

K:Am

edcB A2 c2|e8|d2B2G2A2|BABc d4|

edcB A2c2|e8|a2g2eged|c2A2A4:|

|:a2a2a4|b2a2e2a2|g4g3g|a2g2 edc2|

a2a2a4|b2a2e2g2|a2g2 eged|c2A2 A4:|

                       

GREAT LAMENTATION, THE. AKA and see "An Caoine."

 

GREAT MEMORIES. American, Waltz. Composed by Peterboro, New Hampshire, accordion and keyboard player Bob McQuillen in 1988, just before the memorial service for two close friends and gifted musicians, April Limber and Pete Colby. Smithsonian Folkways SFW CD 40126, Bob McQuillen & Old New England – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

 

GREAT NORTH REEL. AKA and see "Irish-American Reel,” “The Narrowback." American, Reel. F Major. Standard tuning. AABB. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 103.

 

GREAT NORTHERN BANDS, THE.  Irish, March (cut time). G Major. Standard tuning. AABB. The title is Seamus Connolly’s, who believes the tune is associated with the repertory of céilí bands from the northern counties of Ireland. It was suggested to him that it was the composition of piano accordion player Brian O’Kane (of the Siamsa Céilí Band), although when Connolly contacted him he denied he had composed it. Connolly & Martin (Forget Me Not), 2002; pgs. 38-39.

 

GREAT SINGLE STEP DANCE, THE. AKA and see "La Grande Gigue Simple."

 


GREAT TITANIC. Old‑Time, Breakdown. USA, Mississippi. A Major. Recorded by Mississippi fiddler W.E. Claunch for the Library of Congress in 1939.

 

GREAT WESTERN (Lancashire) CLOG. AKA - "Great Western (Hornpipe)." AKA and see “Belfast Hornpipe [1],” “Millicent’s Favorite,” “Royal Belfast,” "The Sweep's Hornpipe [1]." Irish, Clog or Hornpipe. D Major. Standard tuning. AABBCC. Al Smitley suggests the tune may have been named for the steamship Great Western. This steamship was the first of three great early steamships built by Isambard Kingdom Brunel, one of the principal engineers of the industrial revolution (see note for “Great Eastern”).

***

Brunel’s Great Western

***

There are other possibilities for the name, however, for Brunel did not confine his genius to steamships but was famous as well for his tunnels, bridges and railways.  He constructed one of England’s early railway lines, calling it as well the Great Western, from London to Bristol, a project begun in 1833 with the first London-to-Maidenhead broad-gauge section opening in 1838. The greatly expanded railway line is still in existence. Cole (1000 Fiddle Tunes), 1940; pg. 117. Ryan’s Mammoth Collection, 1883; pg. 155. White’s Unique Collection, 1896; No. 150, pg. 27. Great Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000).

X:1

T:Great Western

M:C

L:1/8

R:Hornpipe/Clog

S:Ryan’s Mammoth Collection (1886)

Z:AK/Fiddler’s Companion

K:D

(a>g) | f>ad>f A>dF>A | D>FA>d f2 e>f | g>be>g c>eA>F | G>AB>G E2 a>g |

f>ad>f A>dF>A | D>FA>d f2 e>f | g>bg>e c>AB>c d2f2d2 :: D2 | G>FG>A B>cd>e | f3e d>cd>B |

A2f2 f>Af>A | B2 e2 e>Ge>G | G>FG>A B>cd>e | f3e d>cd>B | A>fe>d c>AB>c | d2f2d2 :: (a>g) |

(3fgf (3efe (3ded (3cdc | (3BcB (3ABA G2 a>g | (3gag (3fgf (3efe (3ded | (3cdc (3BcB A2 a>g) ||

(3fgf (3efe (3ded (3cdc | (3BcB (3ABA (3GAG (3FGF | E>ge>d c>AB>c | d2f2d2 :|

 

GREAT WESTERN (HORNPIPE). AKA and see “Belfast Hornpipe [1]” "Great Western Clog," “Millicent’s Hornpipe,” “Royal Belfast,” "Sweep's Hornpipe [1]."

 

GREEK STREET. English, "Old English Hornpipe" (3/4 time). D Major. Standard tuning. AABBCC. A modern composition by Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 212.

 

GREEKS’ VICTORY, THE. Irish, Air (2/4 time). A Minor. Standard tuning. AB. Source for notated version: “From P. Carew’s MSS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 711, pg. 178.

X:1

T:Greeks Victory, The
M:2/4
L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905), No. 711

Z:AK/Fiddler’s Companion

K:Amin

A/G/ | EA AB | c>A B g/f/ | ec d/c/B/A/ | {A}GE E>D | EA AB | cA Bg/f/ | e>f d/B/A/B/ |

AAA || e/f/ | gB cd | e>f g/f/e/d/ | c>e d/c/B/A/ | {A}GE E>D | EA AB | cA Bg/f/ | e>f d/B/A/B/ | AAA ||

 

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 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

 [COMMENT4]Note:  The change to pitch (12) and font (1) must be converted manually.