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,
***
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,
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”
GRASSY FIDDLE BLUES.
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
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
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,
X:1
T:Grave of Wolfe Tone, The
M:3/4
L:1/8
R:Air
N:”Plaintive”
S:O’Neill – Music of
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.
***
The Doherty brothers (Mickey and
John) of
***
“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 (
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 - "
GRAY BUCK [1], THE (Boc Liath
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.
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
***
…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
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
GREASY COAT. AKA and see "Old Greasy
Coat." Old‑Time, Breakdown.
***
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,
GREASY KATE. Old‑Time, Fiddle Tune. The title appears in a list of traditional
GREASY STRING [1]. AKA and see "Bring Back My Old Coon Dog." Old‑Time,
Breakdown.
***
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.
***
'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 (
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.
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.
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.
***
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
***
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 (
***
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
***
Recorded Sources: Briar 0798, Earl
Collins‑ "That's Earl." County 517, Eck Robertson and 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
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
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
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
***
“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
***
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
***
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
***
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
***
|
The
Great Eastern |
***
The Great Eastern was built so large to be able to
run from
***
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
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.