The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

GRA - GRAPE

[COMMENT3] 

[COMMENT4] 

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]

 

 

 

GRA GAL MACHREE (Gradh Geal Mochroidhe). AKA and see "Bright Love of My Heart" and "Fair Love of My Heart."

           

GRÁ GEAL MO CHROÍ. AKA and see “Bright Love of My Heart.”

           

GRÁ GO NISH. Irish. The Belfast Northern Star of July 15th, 1792, recorded that the tune was played by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week.

           

GRACE HAY'S DELIGHT. Scottish, Jig. G Major. Standard. AAB. Carlin (Gow Collection), 1986; No. 331. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

           

GRACE NUGENT. Irish, Air or Planxty. G Dorian. Standard. AB. One of the early compositions of O'Carolan from the period he was residing with one of his first patrons, George Reynolds Esq., of Letterfyan. The year was 1693, O'Carolan was age 23, and Grace was the first cousin of Squire Reynolds. It was published in Daniel Wright's Arva di Camera, London, 1727. Later in the century the Scottish poet Robert Burns used the tune for his song "Louis, what reck I by Thee?"  The Belfast Northern Star of July 15th, 1792, recorded that the tune was played by one of ten harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week. Complete Collection of Carolan's Irish Tunes, 1984; No. 110, pg. 81.

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GRACE O'MALLEY (Graine Ua Maille/Maol). AKA and see "Graine M(h)aol." Irish, Air (4/4 time). G Dorian (O’Neill): E Minor (Johnson). Standard. AB. A version of a song and air composed in honor of Grace O'Malley, daughter of a chieftain. The O’Malley’s were for several hundred years the dominant clan of the Mayo coast, and were known for their seafaring skill. At the height of her fame Grace commanded a fleet of galleys and was regarded by the English powers in Ireland as a ‘notorious feminine sea-pirate’, and a force for be conciliated. The song was in reality a Jacobite lyric in favor of the Stuarts, and an allegorical name for Ireland. See note for "Graine M(h)aol." O'Neill's melody sounds very much like some versions of "The Foggy Dew." Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 8. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 485, pg. 85.

X:1

T:Grace O’Malley

M:C

L:1/8

S:O’Neill (MOI 485)

K:G Minor

(G/A/B/c/)|(ded)c B2 (fd)|c2d2F2(GA)|(BGcB) (G2G2)|G6 (G/A/B/c/)|

(ded)c B2 (fd)|c2d2F2 (GA)|(BGcB) (G2G2)|G6||(GA)|Bcd=e f2 (ef)|

g2d2c2 (Bc)|d2c2 d=efd|g6 (g=e)|(f2g2) (d2 {ed} cB)|(c2d2) (F2 GA)| (BGcB) (G2G2)|G6||

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GRACE WALTZ. AKA and see “Old Southern Waltz.” American, Waltz. Paul Gifford was told by fiddler Jim Moran that the waltz was written and published by O. F. ("Cub") Berdan, a publisher of dance music in Detroit who was active in the 1880s, and named for his daughter. Paul goes on to add: “Berdan's widow married "Col." John A. Pattee, leader of a vaudeville troupe called the "Old Soldier Fiddlers," who recorded two sides on Columbia in 1924. Incidentally, Berdan supposedly played cornet in Ford's Theatre the night Lincoln was shot.”

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GRACEFUL MOVE, THE. Scottish, Reel. A Mixolydian. Standard tuning. AABCCD. A pipe tune. MacDonald (The Skye Collection), 1887; pg. 48.

X:1

T:Graceful Move, The

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:A Mix

e|Acec fdec|Acec e2c2|Acec fdec|fBBc d2c2:|

|:ABca ecca|ecca e2c2|ABca ecce|fBBc d2c2|ABca eaca|eaca e2c2|

ABca eace|fBBc d2c2||AAAg fdec|AAAf e2c2|AAAg fdec|fBBc d2c2:|

aece Acec|fBBc d2c2|aece Acec|aece e2c2|aece Aece|dfBc d2c||

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GRACEFUL YOUNG WOMAN, THE.  Scottish, Strathspey. G Major. Standard. AABB. Composed by Dr. John Turner; musician, performer, composer teacher and director of the Jink and Diddle School of Scottish Fiddling, held yearly in Valle Crucis, North Carolina. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 3. Turner (Melodies in the Scottish Style), 1984.

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GRACES [1], THE. Scottish, Scots Measure. B Flat Major. Standard tuning. AABBCC. The title may refer to the ‘social graces’, of which dancing and witty discourse were important the 18th century society. In Greek mythology the three Graces were the daughters of Zeus and the nymph Eurynome, daughter of the Titan Ocean, and were the goddesses of joy, charm, and beauty. Named Aglaia (Splendor), Euphrosyne (Mirth), and Thalia (Good Cheer), they were known as the ‘queens of song’ and, along with the god Apollo and the Muses, delighted Olympus with their arts. McGlashan (Collection of Scots Measures), c. 1780; pg. 42.

X:1

T:Graces, The

M:2/4

L:1/8

S:McGlashan – Collection of Scots Measures

Z:AK/Fiddler’s Companion

K:B_

B>cBF|dB/d/ fd/f/|ge/g/ af/a/|bb b2|b/b/B/B/ f/f/F/F/|G/G/A/A/ d/d/B,/B,/|

C/C/D/D/ E/E/=E/E/|FF F2 :: c>dee | e/d/g/f/ f>e/2d/2 | c>dee | e/d/g/f/ f>e/2d/2 |

c>dee|Bc/d/ e/f/g/a/|b/a/b/a/ bB| Ge/c/ BA|BB B2 :: B/c/d/c/ B/A/G/F/ | G/A/B/A/ G/F/E/D/ |

E/F/G/F/ E/D/C/B,/|FF F2 :: f2 dB | GBGE | g2 ec | AcAF | f2 dB | f2 b/g/b/g/ | fDEF | B2 z2 :|

 

GRACES [2], THE. Scottish, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB. The tune appears in Thomas Calvert’s 1799 collection. Calvert was a musician from Kelso, Scotland, and a note with the collection states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired.”

X: 1

T:The Graces

M:6/8

L:1/8

B:Calvert Collection (1799) - Page 18

Z:AK/Fiddler’s Companion

K:D

c|[F2d2]A AFA|{B/c/}d2A AFA|d2g {f/g/}a2f|”tr”ede {g}fdB|

{c}d2A AFA|{A/B/c/}d2A AFA|[EG][GB][FA] “tr” GFE|DDD D2:|

|:{A/B/}c|[Bd][Bd][Bd] [Ac][Ac][Ac]|[GB][GB][GB] [F3A3]|

AFD AFD|ECA, A,2 {A/B/}c|[Fd][Fd][Fd] [Ec][Ec][Ec]|

[DB][DB][DB] [D2F2A2] f/g/|afd [da][dg][df]|”tr” e3 {d/e/} [F2d2]:|

 

GRACES [3], THE. American, Reel. G Major. Standard tuning. AABB. Howe (c. 1867) prints directions to a contra-dance with the tune. Howe (1000 Jigs and Reels), c. 1867; pg. 81.

X:1

T:Graces, The [3]

M:2/4

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

D | GD/G/ BG/B/ | dB/d/ e/d/e/f/ | g/f/e/d/ e/g/f/a/ | gG Gg/f/ | gG GD |

E/G/F/A/ G/F/E/D/ | C/E/B,/F/ A,/C/G,/B,/ | DDD :: A>B cB/A/ |

B/d/g/e/ e/d/d | A>B cB/A/ | B/d/g/e/ e/d/d | G>A B/G/B/d/ | e/g/f/a/ gg |

F/G/A/F/ D/F/A/F/ | GGG :|

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GRADH GEAL MOCHROIDHE [1] (phonetically: Gra Gal Machree). AKA and see "Fair Love of My Heart" and "Bright Love of My Heart."

 

GRADH GEAL MO CHRIDHE [2] (The Eriskay Love Lilt). Scottish, Slow Air (3/4 time, irregular). D Major. Standard tuning. One part. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 9.

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GRAD(H) MO CROID(H)E. AKA and see "The harp that once through Tara's halls," "Gramachree," "Gramachree Molly," "Will you go to Flanders," "Little Molly O!"  Irish, Air (4/4 time). D Major. Standard tuning. AB. Roche Collection, 1983, vol. 1; No. 28, pg. 15.

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GRADH MO CHROIDHE DO SHEAN WIG. AKA and see "Your Old Wig is the Love Of My Heart."

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GRADUATE, THE.  English, Jig (9/8 time). B Minor. Standard tuning. AA’BB’CC’. The name of a dance and melody by Colin Hume, composed in 1998. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 53.

 

GRAEMESHALL BAY. Scottish. Scotland, Orkney Islands. A composition of Orkney fiddler Ronnie Aim (1919‑1982).

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GRAF SPEE, THE. AKA - “The Grand Spey,” "The Grand Spy,” “The French Spy.” AKA and see "Grant of Strathspey," “Rothiemurc(h)us Rant,” "Winnie Green's Reel," "The Western Lasses." Irish, Reel. C Major (Flaherty, O'Neill, Vallely): D Major (Alewine, Black). Standard tuning. AABBCC (Flaherty): AABCCD (Black): AABBCCD (Alewine): AABB'CCD (O'Neill): AABCCDDE (Mulvihill, Vallely). Seattle (1987) believes the name to be a curious corruption of the title "Grant of Strathspey" (sometimes “Grant’s Strathspey”) transformed into the name of the famous World War II German battleship (itself named after a famous German admiral, Maximilian Graf von Spee, born in 1861).

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The Admiral Graf Spee.

***

“Rothiemurchus Rant” appears to be the Scottish ancestor of the melody. Flaherty's version is somewhat distanced from O'Neill's. “The Western Lasses” is a variant and is more noticeable in the second and third parts of the tune rather than the first. Philippe Varlet finds an early recording of the tune on a 78 RPM disc by an American Irish piper named Martin Beirne (who led the Blackbird Orchestra) on which it is called “The Grand Spy” (see note under that title for more on American versions) Sources for notated versions: fiddler Fred Finn {1919-1986} (Kiltycreen, Kilavil, County Sligo) [Flaherty]; Jim McElhone (County Derry) [Mulvihill]; New York fiddlers Andy McGann and Brian Conway [Black]; Tony Smith [Bulmer & Sharpley]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 20. Black (Music’s the Very Best Thing), 1996; No. 189, pg. 100 (appears as “The Grand Spey”). Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 44. Flaherty (Trip to Sligo), 1990; pg. 83. Mulvihill (1st Collection), 1986; No. 137, pg. 37. O'Neill (Krassen), 1976; pg. 162. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 50, pg. 24. Green Linnett GLCD 1155, Martin Hayes - “Under the Moon” (1995). SIF 3002, Kevin Burke & Jackie Daly – “Eavesdropper” (1981). Green Linnet SIF 3018, “Molloy/Peoples/Brady” (1978).

X:1

T:The Graf Spee

S:Paul O'Shaughnessy

Z:Juergen.Gier@post.rwth-aachen.de

M:C|

L:1/8

K:C

EDCD EG (3GGG|AGcG AGcG|EDCD EG (3GGG|AGcG ED (3DDD:|\

efed cBcA|GE (3EEE GAcd|efed cBcA|GECE EDD2|\

efed cBcA|GE (3EEE GAcd|eaag eged|cAGE EDD2|]\

eg~g2 gedg|eaa^g ~a3=g|eged cBcd|eaag egdg:|\

eccB cAGE|GAcd cAGE|GAcd {e}dcdc|AGcG EDDg|\

ec~c2 cGAG|~c3d cAGE|GAcd {e}dcdc|AGcG EDDg|:\

egcg egcg|fada fada|egcg ec~c2|ABcd ed~d2|\

e~a3 gedg|eccB cAGE|GAcd {e}dcdc|1AGcG EDDg:|2AGcG EDDF|]

X:2

T:Graf Spee

M:C|

L:1/8

R:Reel

S:Tommy Peoples – Workshop 7/20/01

Z:AK/Fiddler’s Companion

K:C

{E/F/}EDCD E ~G3 | AGcG AGcG | {E/F/}EDCD E ~G3 | AGc(E {E/F/}E)D D2 :|

eged ~c3A | G ~E3 G2 (3Bcd | e ~c3 {d}cAGc | AGcE {E/F/}ED D2 |

eged ~c3A | G ~E3 GA (3Bcd | ea{b}ag eged | {c/d/} cAG(E {F}E)D D2 ||

|| e(g{a}g)a gedg | e(a{b}a)g a2 | eged cBcd | eaag egdg ||

|| e ~d3 {d}cAGE | Gced {c/d/}cA A2 | ea{b}ag eged | {c/d/}cAGE {F}ED D2 |

e ~c3 {d}cAGE | Gced {c/d/}cAGE | (3EFG cd ecdc | AGc(E {F}E)D D2 ||

|| egcg egcg | f/g/a da fada | e ~c3 e(Ac)A | GAcd ed d2 | e2 ae {g/a/}gedg |

e/f/e de cAGE | (3EFG cd ecdc | AGc(E {F}E)D D2 ||

X:3

T: The Grand Spey (sic)

S: McGann - Conway

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: D

FEDE FA A2 | BAdA BAdA | FEDE FA A2 | BAdF FE E2 |

FEDE FA A2 | BAdA BAdA | FEDE FA A2 | BAdF FE E2 ||

fedc dcAF | Adfe dBAB | dB B2 fB B2 | BAdF FE E2 |

fedc dcAF | Adfe dBAB | (3fga ba fded | BAdF FE E2 ||

faa^g a3 e | (3fga ba b3 a | fafe dcde | fbba feeg |

faa^g a3 e | (3fga ba b3 a | fafe dcde | fbba feeg ||

fcdg fcdg | gbef gbeg | fAde fedB | ABde feeg |

faa^g a3 e | egfe dcdB | AFAB defe | dBAd FE E2 ||

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GRAHAM RIVER. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 25.

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GRAHAM’S BROOK. AKA and see “Cold Winds from Ben Wyviss,” “Forest and Glen,” “Highlander’s Jig.”

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GRAHAM'S HORNPIPE. Canadian, Hornpipe. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. Composed by Maritime fiddler Graham Townsend (Canada). Messer, 1980 (Anthology of Favorite Fiddle Tunes); No. 124, pg. 80.

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GRAHAM’S RANT. Scottish, Strathspey. G Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 4; No. 129, pg. 16.

X:1

T:Graham’s Rant

M:C
L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 129

Z:AK/Fiddler’s Companion

K:G

D>GB>d c>BA>G|F>GA>B ({d}c>)Bc>A|G>B (3def g>dB>d|e>cA>c (3BAG g2|

D>GB>d c>BA>G|F>GA>B ({d}c>)Bc>A|G>B (3def g>dB>d|e>cA>c (B<G) G2||

g>da>d b>gd>f|g>ec>e d>B (3GBd|g>da>d b>d c’2|b>g (3agf g2 (3def|

g>da>d b>gd>g|e>dc>B A>GE>G|(3efg (3fga g2 (3gfe|d>cA>c (B<G) G2||

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GRAIDHEOIR DIULTADHAE, AN. AKA and see "The Rejected Lover."

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GRAIN MILL, THE. AKA and see "Le Batteux."

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GRAIN OF TEA, THE. Irish, Reel. A Dorian. Standard. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 288, pg. 145.

X:1

T:Grain of Tea, The
M:4/4

L:1/8

R:Reel

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:A Dorian

(3eee dB cAAB | cAed cA A2 | e2 dB cAAc | BGGF GABd | (3eee dB cAAB |

cAed cA A2 | e2 dB cAAc | BGGF GABd || eaaf gfef | gfgd Bcdf | eaaf gedB |

GABG A2A2 | eaaf gfef | gfgd Bcdf | geaf gedc | BGGF GABd ||

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GRAINE M(H)AOL [1] (or "Graine Ua Maille"). AKA and see "Grace O'Malley," "Ma, Ma(, Ma)," "Granuile," "Granu Weal" or “Granah Weale” (Englished versions of the Gaelic). Irish, Slow Air (6/8 time). G Dorian (most versions): E Minor (Johnson). Standard tuning. AAB (O'Neill): ABB (Johnson): AABB (Colclough, O'Sullivan/Bunting). 'Granuaile,' explain O'Sullivan (1983) and George-Denis Zimmerman, is a female name which has become yet another allegorical reference to Ireland, at least in the last century, though unlike other female names symbolizing the island Granuaile was a real person. Granuaile (Grana Uile, Granu Weal, Grainu Mhaol or other spellings) was one Grace O'Maly or O'Malley, who lived at Carrick a owly, at an inlet in the bay of Newport, County Mayo, from abut 1530 to 1600.

***

Carraigahowley (Carraig-an-Cabhlaigh) Castle, home of Granuaile for much of her life.

***

The name Graine Maol means ‘bald Graine’, a sobriquet derived from her father when she was a teenager and shaved her head so as to disguise herself to run away to sea. Graine, or Grace, was the daughter and widow of two Irish chiefs in that part of Ireland, freebooters who plundered the coast of the region on sea-raids. At the height of her fame Grace commanded a fleet of galleys and was regarded by the English authorities as a force to be conciliated. Marrying first an O’Flaherty, she later married Sir Richard Bourke, bearing three sons and one daughter by him. Recognising that English influence and might was becoming increasingly threatening to her roving depredations, Grace decided to make her peace with Queen Elizabeth and travelled to England. She gained an audience with the monarch and through an interpreter sought an accommodation. O'Sullivan quotes Anthologia Hibernica, volume II (July 1793):

***

The Queen, surrounded by her ladies, received her in great state.

Grana was introduced in the dress of her country: a long mantle

covered her head and body; her hair was gathered on her crown

and fastened with a bodkin; her breast was bare, and she had a

yellow bodice and petticoat. The court stared at her with surprise

at so strange a figure, when one of the ladies perceived that Grace

wanted a pocket handkerchief, which was instantly handed to her.

After she had used it she threw it into the fire. Another was given

her, and she was told by an interpreter that it was to be put in her

pocket. Grace felt indignant at this intimation and applying it to her

nose threw it into the fire, declaring that in her country they

were much cleanlier than to pocket what came from their nostrils.

After having made her peace, she returned to Ireland and landed in

a little creek near Hoath{Howth}.

***

Graine’s descendants fared well. Her youngest son, Tibbott, was knighted in 1603 and was made the First Viscount of Mayo in 1627. Graine’s descendants are primarily traceable through his line. Like their famous ancestor, many of them made an impact on their contemporaries. Her great-great-great-granddaughters, Maria and Elizabeth Gunning, known as "the gorgeous Gunnings," took 18th-century English society by storm with their beauty. One married the Earl of Coventry and then the Duke of Hamilton; the other married the Duke of Argyle (see notes for “Lady Coventry’s Minuet” and “Miss Gunning’s Fancy”).

***

The alternate title "Ma, Ma, Ma" comes from a peculiar sound the pipes make at intervals during the song, explains the Irish collector Edward Bunting (1840) {O’Neill says: “The sub-title represents certain passages wherein a repeated note reinforced by concords on the regulators produced tones like ma-ma-ma.”} O'Sullivan finds the tune in print in several old collections including Cooke’s Selection of 21 Irish Airs (1793), O'Farrell's Pocket Companion for the Irish or Union Pipes (1801-10), volume IV, pg. 99, and Stanford-Petrie, No. 1455 (the last two appearances are variations of Cooke's version). Joyce included it in his Irish Music and Song. Words to the melody appear in O'Daly's Poets and Poetry of Munster, volume II, pgs. 92-93, and in Hardiman's Irish Minstrelsy, volume II, pg. 143 (which he claims are the original words). Cazden (et al, 1982) notes the title and variants of it may be found associated with a number of different texts and tunes, and that famously it was the Gaelic name for the tune strain "The Foggy Dew," though in Bunting's book "Graine Mhaol" and "The Foggy Dew" are different tunes. Sources for notated versions: the index to Bunting's 1840 collection gives that the tune was noted from "MacDonnell the piper in 1797"; copied from O’Farrell’s Pocket Companion (1810) [O’Neill/Waifs]. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 16. Johnson (The Kitchen Musician No. 5; Mostly Irish Airs), 1985 (revised 2000); pg. 5. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 99 (appears as “Granah Weale”). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 546, pg. 95. O’Neill (Waifs and Strays of Gaelic Melody), 1922. O'Sullivan/Bunting, 1983; No/ 46, pgs. 73-76.

See also listing at:

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

X:1

T:Granu Waile or Ma-Ma

M:6/8

L:1/8

S:O’Neill (MOI 546)

N:”Slow”

K:G Minor

A|(d=ef) (d/c/)(B/A/)(G/^F/)|(G2G) (G2 A/B/)|(cAf) (d/c/)(B/A/)(G/E/)|F2F F2 (d/=e/)|

f=ef (d/c/)(B/A/)(G/^F/)|(Gg)g g(g/b/)(a/g/)|{fg}(f=ef) (d/c/)(B/A/)(G/^F/)|(GGG) G2:|

(3d/=e/f/|g(d/c/)(B/A/) g(d/c/)(B/A/)|(GGG) G2 (3c/d/=e/|f(d/B/)(A/G/) f(c/B/)(A/G/)|

(FFF) F2 (d/=e/)|f (3=e/f/e/d g (3f/g/f/=e|a (3g/a/g/^f g(g/b/)(a/g/)|

{fg}(f=ef) (d/c/)(B/A/)(G/^F/)|(G2G) G2||

X:2

T:Graine Uaile

T:Grace O'Malley

M:6/8

L:1/8

S:O'Farrell's Pocket Companion 1804-1810

Z:Paul Kinder

R:Air

K:F

"Slow and with feeling"B/2c/2|d>ed cAG/2F/2|

DGG G2 A/2B/2|cAc/2d/2 cAG|FDE F2 d/2g/2|

fed c/2B/2A/2B/2c/2A/2|d/2c/2d/2e/2f/2d/2 g2 a/2g/2|

f/2e/2d/2e/2f/2d/2 d/2c/2B/2A/2G/2F/2|G2 G G2||

(3d/2e/2f/2|gdB gdB|G2 G G2 (3c/2d/2e/2|fcA fcA|F2 F F2 G/2A/2|

B2 D D3|c2 D D3|d/2c/2d/2e/2f/2d/2 g2 a/2g/2|

f/2e/2d/2e/2f/2d/2 d/2c/2B/2A/2G/2F/2|G2 G G2||

 

GRAINE MAOL [2]. AKA and see "Grace O'Malley."

                       

GRÁINNE’S JIG. AKA and see “Redican’s Jig [1],” “Tommy Peoples’ (Jig).” Irish, Jig. The tune is usually attributed to Donegal fiddler Tommy Peoples, named after his daughter. Bulmer & Sharpley (Music from Ireland), vol. 1, 1976; No. 64. Flaherty (Trip to Sligo), 1990; pgs. 48-49 (appears as “Redican’s 1”). Peoples (Fifty Irish Fiddle Tunes), 1986; No. 9.

           

GRAM LEE’S WALTZ. Canadian, Waltz. Composed by Ivan Hicks. Central New York State fiddler Chad Miller reports the tune has become somewhat of a standard in his region, having been introduced by visiting Canadian fiddlers.

           

GRAMACHREE. AKA and see "Will you go to Flanders?," "The harp that once through Tara's halls," "Molly Asthore," "Little Molly O!," "Graidh mo chroidhe," "Gramachree Molly." Irish, Air (4/4 time). G Major. Standard. AB (O’Farrell): AABBCC (Colclough). A tune dating from the time of the Confederation of Kilkenny (1642‑1648) as it is alluded to in a pamphlet in Dublin in 1737, and "purloined," asserts Flood (1906), by James Oswald in 1742. The song of the above title is by the Rt. Hon. George Ogle (1742-1814), who represented the City of Dublin in Grattan's Parliament and voted against the Union with Britain. ‘Gramachree’ is an Englished version of the Irish “Gra Mo Croi” (Graidh mo chroidhe), or ‘love of my heart.’ The song appears in Songs of the Gael, 1st series (1922), and begins:

***

As down by Banna's banks I strayed

One evening in May,

The little birds, in blithest notes

Made vocal every spray.

They sang their little notes of love,

They sung them o'er and o'er.

Ah! Gra Machree ma Cholleen Oge,

'Shee Molly veg Mashtore!

***

A note to the song indicates the editor of Songs of the Gael was given his version of the air by a priest who had taken the tune down some fifty years before from "the singing of an old woman in County Carlow, who was then nearly a hundred years old. She had learned the version from her grandmother." Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 18. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 46.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Gramachree

M:C

L:1/8

R:Air

S:O’Farrell – National Irish Music for the Union Pipes (1804)

Z:AK/Fiddler’s Companion

K:G

G | d>ed>B e>fg>e | d<B A>B G2 d>e/2f/4 | g>fg>a gfed | edgB d3d | g>fg>a gfed |

e>dc>B e3f | g>fe>d e>f/2g/4 {a/b/}e2 | d<B A>B G2 || G2 |

d/^c/d/e/ d/B/A/G/ e/f/e/f/ a/g/f/e/ | B/g/B/d/ d/c/B/A/ G2 zd | g/f/g/a/ g/a/b/a/ gfed |

e/d/e/f/ g/B/c/^c/ d3d | g/f/g/a/ g/a/b/a/ g/G/f/G/ e/G/d/G/ | e/G/d/G/ c/G/B/G/ e2 e/g/f/a/ |

gfed e2 e/g/f/a/ g{a/b/}g | d<B A>B G2 G ||

           

GRAMACHREE, BUT I LOVE YOU WELL. Irish, Air (3/4 time). E Flat Major. Standard tuning. One part. ‘Gramachree’ is an Englished version of the Irish “Gra Mo Croi” (Graidh mo chroidhe), or ‘love of my heart.’ Stanford/Petrie (Complete Collection), 1905; No. 429, pg. 108.

X:1

T:Gramachree, But I Love You Well

M:3/4

L:1/8

S:Stanford/Petrie (1905), No. 429

Z:AK/Fiddler’s Companion

K:E_

E/F/ GE | D2 EG/F/ EE | E3E AA/B/ | c2 de/d/ cB | A3 E AA/B/ |

c2 de/d/ cB | A2 B>A GE | D2 EG/F/ EE | E3 ||

           

GRAMACHREE IS A SUP OF GOOD DRINK. English, Country Dance Tune (6/8 time). D Minor. Standard tuning. ABB. ‘Gramachree’ is an Englished version of the Irish “Gra Mo Croi” (Graidh mo chroidhe), or ‘love of my heart.’ The melody was published by James Aird in his 6th and last collection (1803). Sharp (Country Dance Tunes), 1909/1994; pg. 60.

X:1

T:Gramachree is a Sup of Good Drink

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:D Minor

A|d2e f2d|e^cA A2A|d2e f2g|afd d2 f/g/|agf gfe|fed cBA|G2A B2G|AFD D2A|

d2e f2d|e^cA A2A|d2e f2g|afd d2 f/g/|agf gfe|fed cBA|G2A B2G|AFD D2||

|:F|FGF F2f|f2d cAF|G2A B2G|AFD D2F|FGF F2f|f2d cAF|G2A B2G|AFD D2:|

           

GRAMACHREE MOLLY (Grad Mo Croide A Maire). AKA and see "The Harp That Once Through Tara's Hall," "Molly Asthore," "Will you go to Flanders," "Little Molly O!," "Gramachree," "Gradh mo chroidhe." Irish, Slow Air (4/4 time). G Major. Standard tuning. One part. ‘Gramachree’ is an Englished version of the Irish “Gra Mo Croi” (Graidh mo chroidhe), or ‘love of my heart.’ The song "Gramachree Molly" was originally composed by a young Irishman, George Ogle, when he was in his early 20's (it was the second song written to the tune). Bruce Olson finds that it first appears with the tune in The London Magazine, of Sept. 1774, proved popular, and soon thereafter appears in many songbooks, printed with and without the tune. Dan Mozell found a fife setting of the tune in the John Greenwood Manuscript from the post-Revolutionary period, now kept at the New York Historical Society. Greenwood had been a fifer in the Revolution and later became dentist to George Washington. Johnson (Scots Musical Museum), vol. 1, 1787; No. 46. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 524, pg. 91.

X:1

T:Gramachree Molly

C:John Greenwood Manuscript #30, N.Y. Historical Society

M:C

L:1/8

Q:1/2=70

K:G

G | d>ed>B e>fg>e | d<BA<B GA/B/ c/d/e/f/ | g/a/b/a/ g/f/e/d/ c/B/c/d/

e/f/g/c/ | B>c A2 G2 z d | d>ed>B e>fg>e | d<B A>B G2 d e/f/ |

g<fg>a gfed | e>dg>B d2 z d | g>fg>a gfed | e>dc>B e3 f |

g>f ede>f g>e | d<B A>B GA/B/ c/d/e/f/ | g/f/e/d/ e/d/c/B/ e/d/e/f/ g>c | B>c A2 G2 z :|

           


GRAMAHO, THE. Irish, Double Jig. From William Forde's collection, notated from "Mr. Townsend, Cork." Front Hall 018, How to Change a Flat Tire ‑ "Traditional Music From Ireland and Shetland."

 

GRAMIN. Scottish (originally), Canadian; Hornpipe. Canada, Cape Breton. B Flat Major. Standard tuning. AABB. Composed by the great Scottish fiddler and composer J. Scott Skinner (1843-1927). Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 24, pg. 9. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CS 44). Dorian DOR-90282, Laura Risk – “The Merry Making” (2000). Howie MacDonald – “The Ceilidh Trail.”

           

GRANBY’S JIG.  English, Jig. B Flat Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 128.

X:1

T:Granby’s Jigg

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2006-9

Z:abc’s:AK/Fiddler’s Companion

K:Bb

F|BdB fdB|ecA dBF|BdB fdB|cAF F2F|BdB cec|dfd =ege|faf gbg|cf=e f2:|

|:f|fgf fed|dcB BAG|gag gfe|edc cBA|aba agf|fed dcB|(B/c/d)B F2e|dec B2:||

 

GRAND ANTIQUITY, THE. Scottish, Reel. D Minor. Standard tuning. AAB. Composed by James Booth. Mozart Allan, "Reels, Strathspeys and General Dance Music." Gatherer (Gatherer’s Musical Museum), 1987; pg. 5.

           

GRAND BASILE. See "Grand Mamou Blues." Cajun, Waltz. Basile is a small town west of Eunice, Louisiana.

           

GRAND BETE, LA. French, Scottish. D Minor. Standard tuning. AABB. Composed by Gilles Chabenat. Stevens (Massif Central), vol. 1, 1987; No. 3.

           

GRAND CANAL, THE.  Irish, Reel. A Dorian. Standard tuning. AABB. Miller (Fiddler’s Throne), 2004; No. 165, pg. 105. Green Linnet SIF 3018, “Molloy, Brady and Peoples” (1985).

 

GRAND CENTRAL, THE.  English (?), Waltz. D Major (‘A’ through ‘E’ parts) & G Major (‘F’ part). Standard tuning. AABBCCDDEEFF. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 124, pg. 30.

 

GRAND CHENEIRE WALTZ. See "Chere Tout-Toute."

           

GRAND CONVERSATION OF NAPOLEON, THE. AKA and see "Under the Rose," "Captain Rock(e’s) [1]," "Pratie Apples," "Napoleon's Farewell to Paris," "McKenna's Dream," "The Bold Sportsman," "The Carpenter's March." English. A favorite tune for London street ballads.

           

GRAND DUKE NICHOLAS. AKA and see "Hungarian Waltz," "Drink Your Tea, Love."

           

GRAND DUKE NICHOLAS WELCOMED TO EDINBURGH, THE. Scottish. Composed by Nathaniel Gow (1763‑1831) upon the occasion.

           

GRAND EASTERN, THE.  English (?), Waltz. A Major (‘A’ and ‘B’ parts) & D Major (‘C’ and ‘D’ parts). Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 125, pg. 31.

 

GRAND GATES OF ANNESBROOK, THE (Geataí Móra Annesbrook). Irish, Reel. A Dorian. Standard tuning. AABB. The tune has the same general melodic contours and tonal elements as O’Neill’s “The Swallow’s Tail,” points out Breathnach. Source for notated version: from the playing of Drogheda, County Louth, piper Pat Ward (1847-1928), from Jack Wade’s (County Monaghan) early-mid 20th century collection, in which he notes: “This reel starts like ‘The Maid in the Cherry Tree.’ But do not judge it by the first two bars. It is a completely different reel” [Breathnach] Breathnach (CRÉ IV), 1996; No. 195, pg. 90.

           

GRAND HORNPIPE [1]. Old‑Time, Hornpipe. USA; Indiana, Ky. D Major. Standard tuning. AABBCC. A member of a large tune family that includes “Cricket on the Hearth,” “Damon’s Window/Winder,” “The Devil in Georgia [2],” “Drunken Billy Goat,” “Marmaduke’s Hornpipe,” “Mud Fence,” “Ride the Goat Over the Mountains,” "Rocky Mountain Goat,” “Swiss Chalet.” The name “Grand Hornpipe” is particular to northeaster Kentucky, although the tune is most commonly known in that region and other parts of the South as “Rocky Mountain Goat” (Titon, 2001). Sources for notated versions: John Summers (Indiana) [Phillips, Silberberg]; James W. Day “Jilson Setters” [Titon]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 196. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 17. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 52, pg. 83. Rounder 0194, John W. Summers ‑ "Indiana Fiddler" (1984). Rounder C‑11565, John Summers ‑ "Rounder Fiddle" (1990). Victor 40127 (78 RPM), Blind Bill Day (AKA Jilson Setters, b. 1860, Rowan County, Ky.), 1928.

See also listing at:

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

 


GRAND HORNPIPE [2]. English, Hornpipe. G Major. Standard tuning. AABB. Source Henry Stables (c. 1810-c. 1895) lived in Walthwaite, Langdale, in the Lake District of the old county of Westmoreland (now Cumbria), and was a boot and clog maker by trade. He later moved to Ambleside and started a shoe business which remained a family concern through the generations to sometime in the 1960’s. He was a pupil of Langdale, Cumbria, fiddler William Irwin (1822-1889), who, while a younger man, was an accomplished and semi-professional area musician in demand for pub gigs and local events. At age 81, in 1891, Henry ascended Scafell Pike (the highest mountain in England at 3,209 feet), via Rosset Ghyll, reaching the summit before noon at the end of a six-hour walk from Chapel Stile (according to a contemporary account in the Westmoreland Gazette). Source for notated version: Henry Stables’ manuscript Book of Walthwaite (1881) [Knowles]. Callaghan (Hardcore English), 2007; pg. 18. Knowles (A Northern Lass), 1995; pg. 27. The Boat Band – “Trip to the Lakes” (2006).

                       

GRAND LARCENY HORNPIPE. American, Hornpipe. G Major. Standard tuning. AA’B. Composed by Vermont fiddler Pete Sutherland. Sutherland (Bareface), 1984; pg. 19.

 

GRAND MAMOU [1]. AKA and see "Grand Mamou Blues."

 

GRAN(D) MAMOU [2]. Cajun, Waltz. C Major (Greenblatt): G Major (Francois). Standard tuning. AA (Greenblatt): ABB(Vocal)BA(Vocal)BAA (Francois). Mamou is a small town north of Eunice, Louisiana, whose name derives descriptivly from the large (mammoth) prairie nearby. Raymond Francois (1990) thinks this version is more like the original, or at least played more often than Varise Connor's version. As with version #2 see also related songs: Varise Connor's "Grand Mamou," Austin Pitre's "Grand Mamou," Leo Soileau's "La Bonne Valse," Link Davis' "Big Mamou" and Mayuse LaFleur's "Grand Basile" (the original). Source for notated version: Wallace "Cheese" Reed and Raymond Francois (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 149-151. Greenblatt (Cajun Fiddle Book), 1985; pg. 10.  Arhoolie 5027, Harry Choates ‑ "The Fiddle King of Cajun Swing ‑ Original Recordings 1946‑1949." Bluebird 2194 (78 RPM), La. fiddler Leo Soileau's Three Aces, 1936.

 

GRAND MAMOU [3]. Cajun, Waltz. USA, Louisiana. A Major. Standard tuning. One part. A variation of version #2. Source for notated version: Varise Connor (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 152.

           

GRAND MAMOU BLUES (Big Mamou Blues). Cajun, Waltz. USA, Louisiana. D Major (Pitre): G Major (Francois/Reed). Standard tuning. One part or AB. Related tunes, identified by Raymond Francois (1990), include Varise Connor's "Grand Mamou" (a variation of Pitre's version), Wallace "Cheese" Reed and Raymond Francois' "Grand Mamou," Leo Soileau's "La Bonne Valse," Link Davis' "Big Mamou," and Mayuse LaFleur's "Grand Basile" (the original recording). Source for notated version: Austin Pitre (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 146-148. Swallow Records SW-LP6041, Austin Pitre.

           

GRAND MARCH IN THE BATTLE OF PRAGUE. AKA and see “March in the Battle of Prague.”

           

GRAND MARCH IN THE SIEGE OF VALENCIENNES.  English, March (whole time). D Major. Standard tuning. AABB. Gibbons originally set the tune in the key of ‘F’ major in his ms. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 75.

 

GRAND MARCH OF NORMAL [1]. AKA and see "Captain Bluett's March," "Russian (Grand) March." American, March (4/4 time). USA, southwestern Pa. D Major. Standard tuning. AB. Probably a corruption of 'Grand March' from Bellini's opera Norma, though it (along with version #2) has nothing musically in common with that work (Bayard, 1981). Source for notated version: Steffy (fiddler from Pa., 1949) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 254, pgs. 216‑217.

 

GRAND MARCH OF NORMAL [2]. AKA and see "Dow Everly," "Governor Jones' March."

           

GRAND MIRA, THE. Jig. Composed by Mickey Gillis & Angus MacDougall. Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton) - “In Jig Time!” (1995).


           

GRAND MOGOL, LE.  French, Country Dance (6/8 time). A Major. Standard tuning. AABBCC. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 19.

X:1

T:Grand Mogol, La

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 19

Z:AK/Fiddler’s Companion

K:A

A | .A.A.A .A.A.A | (c3 B)cd | cdc cBA | (c3 ~B)ee | eBd cee | eBd ced | cBA {e}d2c |

c3 BAG | AAA AGA | c3 Bcd | cdc cBA | (c3 ~B)ee | eee {b}agf | eag fed | cBA EAG |

A3 A2 :: c | (.c.c.c c.c.c) | (c3 B)AA | (.A.A.A .A.A.A) | (A3 G)FF | (.F.F.F .F.F.F) |

EFE ABA | Bcd cBA | (e3 e2) :: c | .c.c.c f2g | aca gcg | aca gcg | agf cBd |

cBA {A}G2F | {G}F3 F^dd | ^ddd e^dc | ^ddd dba | gfe Be^d | e3 e2 :|

                       

GRAND NARROWS BRIDGE. Canadian, Jig. Canada, Cape Breton. B Flat Major. Standard tuning. AABB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 46.

           

GRAND NORTHERN, THE.  English (?), Waltz. A Major (‘A’ part) & D Major (‘B’, ‘C’ and ‘D’ parts). Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 126, pg. 31.

 

GRAND OLD DAME, THE. AKA and see “I-tiddly-I-ti,” “Leather away with the wattle,” “Leather the Bottle-o,” “Lisdoonvarna Polka [2]," “The Little Lisdoonvarna Polka,” “(An) tSeanbhean uasal.”

           

GRAND OLD DUKE OF YORK, THE. AKA and see "Brass Nuts." English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABBC. The Duke was probably the same “Noble Duke of York” (‘He had ten thousand men, He marched them up to the top of the hill, And down the side again’) of the popular nursery rhyme, recited and sung for ages by schoolchildren.  Frederick Augustus (1763-1827), Duke of York and Albany, second son of King George III, was a main figure of the British wars with Revolutionary and Napoleonic France. As a teenager and young man he received his military education abroad in Germany, fought a duel (narrowly escaping death when a ball clipped a curl from the side of his head), and spent much time in social dissipation and drink. When Britain and France declared war in 1793 Frederick returned home and was given command of an expeditionary force bound for Flanders. Once there, however, Frederick’s inexperience showed and, amid bickering amongst the Allies, the British managed to amass one of the worst debacles in the annals of British arms and the Duke was recalled in semi-disgrace. Despite this setback, Frederick, was soon promoted by his father who appointed him Field Marshall in 1795. As a startling exception to the Peter Principle (i.e. one is promoted to his highest level of incompetence), Frederick proved to be an exceptional, if not exactly brilliant, administrator. Recognizing the need for reforms in the Army (which regularly sold promotions and rank, for example) Frederick instituted tracks for advancement on merit, regular training programs, and supported the founding of a military college. He introduced experimental units such as riflemen and light infantry that were to play key roles in the Napoleonic wars, and he gave the common soldier an increase in pay, better clothing and greatcoats for shelter. Unfortunately, he never quite put aside his dissolute tendencies and a major scandal caused him to resign in 1809. Ironically, an ex-mistress, Mary Clarke, had sold commissions and promotions (the very thing he attempted to eradicate) under the table to supplement her allowance from the Duke. Although he denied any wrong-doing, and probably was not involved, he was tainted by the affair. In 1811 he was reinstated to his position and remained commander in chief of the British Army until his death. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 26.

X:1

T:Grand Old Duke of York, The

M:2/4

L:1/8

K:D

|: (f/e/) || dA FA | dd/d/ d>d | ce/e/ ee | e>A B/c/d/e/ | ff/f/ ff/a/ |

gf ed | cA d/c/B/c/ | dd/d/ d :: (d/c/) | BB cd | ee/e/ ed/c/ | BB/B/ cd |

e>e f/e/d/c/ | BB cd | ef/e/ de/d/ | cd/c/ Bc/B/ | AA/A/ A :|

(3A/B/c/ | ddd (3A/B/c/ | ddd (3A/B/c/ | de fg | aa/a/ a2 (3A/B/c/ |

ddd (3A/B/c/ | dddf | ed cB | Aa ^ga ||

           

GRAND OLD MACINTYRE.  Scottish, Pipe March (2/4 time).  A Mixolydian. Standard tuning. AABB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927); his handwritten manuscript notes “Keith Aug: 15, 1888.” On the second page of the manuscript, after the variations, Skinner gave that “Mr. McIntyre is Com(mercial): Traveller. Grantown.” Skinner (Harp and Claymore), 1904; pg. 37.

X:1

T:Grand Old MacIntyre

M:2/4

L:1/8

R:Pipe March

Q:112

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:Amix

e/d/ | c/A/B/c/ d/B/c/d/ | e/a/A/a/ ({f}ed/c/ | d/f/B/d/ c/e/A/a/ | ({f/a/}”tr”a)(BB) .e/.d/ | c/A/B/c/ d/B/c/d/ |

e/a/A/a/ g/f/e/d/ | c/e/A/e/ d/e/B/e/ | ({e}c)(AA) :: e | a/g/f/e/ f/a/d/f/ | e/a/A/c/ ({c}ed/c/ |

d/f/B/d/ c/e/A/a/ | ({c/e/}c(BB) e | a/g/f/e/ f/a/d/f/ | e/a/A/a/ g/f/e/d/ | c/e/A/e/ d/e/B/e/ | ({e}c)(AA) :|

 

GRAND PARADE [1], THE. AKA and see “The Moon and Seven Stars,” “The Seven Stars,” “The True Briton.” English, Country Dance Tune (6/8 time). England, Yorkshire. D Major. Standard tuning. AABB. The title may indicate the tune was used for a ‘march around’ or ‘grand march’ type dance, such as was common at the beginning of country dances. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 64, pg. 44.

X:1

T:Moon and Seven Stars, The

T:Seven Stars

M:6/8

L:1/8

R:Jig

Z:AK/Fiddler’s Companion

K:D

d2A A2F | GAB A3 | Bcd efg | fed cBA | d2A A2F | GAB A3 | Bcd efg | Adc d2 :|

|: e2A A2f | efg f3 | efg fed | cde A3 | BGB AFA | BGB AFA | Bcd cde | Adc d2 :|

 

GRAND PARADE [2], THE.  English (?), March (2/4 time). D Major. Standard tuning. AABB. A march-time setting of “Grand Parade [1].” O’Farrell (Pocket Companion, vol. IV), 1810; pg. 81.

X:1

T:Grand Parade [2]

M:2/4

L:1/8

R:March

S:O’Farrell – Pocket Companion, vol. IV (1810)

Z:AK/Fiddler’s Companion

K:D

d/e/ | fd AF | GB A>d | fd AG/F/ | GE E>g | fd AF | G/B/d/B/ A>d |

Bgfe | d>e d2 :: c/d/ | eAfA | gA fA | eA d/f/a/f/ | b/a/g/f/ e>g |

fd AF | G/B/d/B/ A>d | Bb a/b/a/g/ | fd d2 :|

 

GRAND PARADE [3], THE.  English, Jig. D Major. Standard tuning. AABB. The melody was also printed by John Johnson in his 200 Favourite Country Dances, vol. 8 (London, 1758) and James Aird, in Selections of Scotch, English, Irish and Foreign Airs, vol. 1 (Glasgow, 1782). It also appears in several musician’s manuscript books, including the copybooks of American flute player Henry Beck (1786), Luther Kingsley (Mansfield, Conn., 1795 to about 1815), and Edward Murphy (Newport, RI?, 1790). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 149.

X:1

T:Grand Parade, The [3]

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

d2 f agf|e2f gfe|fed edc|dAG FED|d2f agf|e2f gfe|fed edc|d3 D3:|
|:g2d cBA|B2G FED|DFD EGE|FAG FED|GBG AcA|Bed cBA|dfd edc|d3 D3:||

           

GRAND PICNIC. Old‑Time, Breakdown or Reel. USA, Missouri. D Major. Standard tuning. AABB. The tune is usually attributed to Joe Politte, a fiddler from the Old Mines, Washington County, area of Missouri, south of St. Louis. Politte was one of the few remaining fiddlers of his time who derived from the old French fiddling tradition from settlements along the mid-Mississippi valley. The tune has become a classic among Washington County fiddlers. It is on Missouri fiddler Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Gordon McCann (2008) suggests the tune is of French origin and very old, perhaps from the old French settlers who formed communities in northern Missouri in the early 18th century. Sources for notated versions: Joe Politte, learned from Jules Boyer [Christeson, Phillips]; Ruthie Dornfeld (Seattle) [Songer]; Charlie Pashia (1909-1994, Old Mines, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Tunes), 2008; pg. 107. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 62. Old Time Herald, vol. 4, No. 5; pg. 27. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 101. Silberberg (93 Fiddle Tunes I Didn’t Learn from the Tractor Tavern), 2004; pg. 18. Songer (Portland Collection), 1997; pg. 86. Missouri Friends of Folk Arts 1001, Joe Politte – “I’m Old But I’m Awfully Tough” (1977).

See also listing at:

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

              

GRAND PRAIRIE WALTZ. AKA and see "Valse de Grande Prairie."

           

GRAND RIVER WHISKEY. Old‑Time, Breakdown. D Major. AEae tuning. AABB. Source for notated version: Liz Slade (Yorktown, New York) [Kuntz]. Kuntz, Private Collection. Global Village C‑302, Snake Lips ‑ "New York City's 1st Annual String Band Contest ‑ 1984."

           

GRAND SLOW MARCH FOR RASEN BAND.  English, March (cut time). G Major. Standard tuning. AABB. Gibbons originally set the tune in the key of ‘C’ major. The title evidently refers to a local muscians’ group from Market Rasen, Lincolnshire, that Gibbons was perhaps associated with. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 75.

 

GRAND SOUTHERN, THE. English (?), Waltz. D Major (‘A’ through ‘D’ parts) & A Major (‘F’ part). Standard tuning. AABBCCDDEEFF. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 118, pg. 28. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 127, pg. 31.

 

GRAND SPEY [1], THE. AKA and see “The Graf Spee.”

 

GRAND SPEY [2], THE. AKA and see “The Grand Spy.”

           

GRAND SPY, THE. AKA and see “The Grand Spey [2],” “Grant’s Strathspey.” American, Scottish (originally); Hornpipe. D Major. Standard tuning. AABBCC. The title is a miss-hearing of the Scottish “Grant’s Strathspey” or “The Grants of Strathspey,” with the “Grand Spy” title appearing in American publications. As “The Grand Spy” it was published in Riley’s Flute Melodies (c. 1825), a popular and influential collection, and perhaps the source for Elias Howe’s use of it in his later publications. It appears in Howe’s mid-19th century Musician’s Omnibus under the title “The Grand Spy or The French Spy,” in his 1000 Jigs and Reels (c. 1867), and in Ryan’s Mammoth Collection (Boston, 1883), also published by the Howe firm (although it was one of the 50 tunes omitted from Ryan’s direct descendant, Cole’s 1000 Fiddle Tunes). However, Chicago musician and musicologist Paul Tyler finds the “Grand Spy” tune in the music manuscript copybook (three versions, in two different keys) of army musician John Carroll of Fort Niagara, which predates its appearance in Riley’s. The melody was recorded as an untitled tune on Indiana fiddler John W. Summer’s Folkways Records album “Fine Times at Our House,” and Paul Tyler notes that it had “made it over the mountains to Summers’ neck of the woods by 1844.” An early recording of the tune on a 78 RPM disc was made by an American Irish piper named Martin Beirne (who led the Blackbird Orchestra) where the tune is called "The Grand Spy.” The great County Sligo fiddler Michael Coleman recorded the same setting of the tune in 1944, on a disc for radio broadcast. Howe (1000 Jigs and Reels), c. 1867; pg. 59. Ryan’s Mammoth Collection, 1883; pg. 48. Columbia 33558-F, Martin Beirne (78 RPM).

X:1

T:Grand Spy, The

M:4/4

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:D

FEFD FA A2 | dABA dABd | FEFD FA A2 | BdAd FE E2 :: feed efeB | defe dedA |

Bbag f2 ed | BdAd FF E2 :: faag abae | fbba bc’ba | faef defd | cbag feef |

gfed ef b2 | afef dBBd | ABde f2 ed | BdAd FE E2 :|

           

GRAND TEXAS. Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. G Major. Standard tuning. A(Vocal)ABB(Vocal)A. "Papa Cairo," Julius Lamperez, composed this song and recorded it with Chuck Guillory's band. A related song, taken from the Cajun tradition, is Hank Williams' "Jambalaya." One story has it that Moon Mullican introduced Williams to “Grand Texas” and helped him with the Cajun words for “Jambalaya.” Hank played for a time on the Louisiana Hayride, out of Shreveport, in northern Louisiana—not Cajun country, which is in the southwest of the state. Source for notated version: Clarence Alleman with Aldus Roger's band (La.) [Francois]. Francois (Yé Yaille), 1990; pgs. 374-376. La Louisiane Records LL-LP122, Aldus Roger.

           

GRAND TURK’S MARCH, THE. AKA and see “Bodmin Riding,” “Ct. Brown’s March,” “St. Ives Feast,” “St. Ives Well Procession.” English, March (4/4 time). The tune appears under this title in the 1762 music manuscript of musician Joseph Barnes (Carlisle, Cumbria).

           


GRAND TURK’S MARCH, THE. Irish. Ireland, County Tyrone. The tune is a close County Tyrone variant of the Donegal reel “The Oak Tree.”

           

GRAND VALLEY WALTZ. Canadian, Waltz. B Flat Major & G Minor. Standard tuning. One part: AA'BA (Matthiesen). Source for notated version: George Wilson (New York state) [Matthiesen]. Matthiesen (Waltz Book I), 1992; pg. 26. Voyager 310, Gerry Robichaud, "Down East Fiddling" (learned from Don Messer).

           

GRAND VALLEY REEL. Canadian, Reel. Canada, Prince Edward Island. Composed by PEI musician Cec MacEachern, who played with Maritime radio fiddler Don Messer. The ‘A’ part of this tune was used by Prince Edward Island fiddler Sidney Baglole for his “Sidney Baglole’s Reel.”

           

GRAND WESTERN, THE.  English (?), Waltz. A Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 128, pg. 32.

 

GRANDE CHAINE, LA. French‑Canadian, Reel. G Major. Standard tuning. AA'BB'. The ‘Grand chaine’ is a dance movement known as ‘grand-right-and-left’ in the United States. As such, many tunes may be the vehicle for a Grand chaine, however, frequently modern versions of the tune are modelled after the playing of French-Canadian fiddler Louis Beaudoin (who may have been the source for Aly Bain’s version). New Hampshire musician Peter Yarensky posted this tale to FIDDLE-L (June, 2003):

***

Here's a story about how new names come about for tunes that's at least
somewhat amusing; I have no idea if it says anything general about tune
names. Sometime in the 1980's I decided to learn that tune. I learned it
from the record (Massachusetts fiddler) Donna (Hebert) refers to above [ed. Leo Beaudoin],

and eventually wrote it out for my band under the name "La Grande Chaine".
***
Ten years or so later someone who learned it from my band brought it in to
the Wednesday night soirees we used to have at Marcel Robidas' barn in
Dover, NH before he moved to Maine. Through some combination of poor French
pronunciation, Marcel's hearing deficit and the overall noise level in the
barn, the title was heard by someone as "Le Grand Chien". After being
translated back to English the tune became known as "The Big Dog". There
are now a number of people who know it by that name. Some of us are aware of
its correct name(s), but find it amusing. If you ask people around here to
play "The Big Dog" I think you'd get a higher recognition level than if you
asked for "Glise a Sherbrooke". Of course, once it's translated back to
English the link to the original title becomes very obscure, so I could see
that becoming a completely independent name for the tune."

***

The melody appears in one of the Northumbrian Pipers’ Tune Books and has entered repertoire for that instrument. Despite that the book recognizes the French-Canadian origins of the melody, some pipers are sometimes unaware of its provenance. It is played by pipers at an ‘English reel’ tempo, slower than an Irish reel (and about the tempo of an Irish hornpipe). Bain (50 Fiddle Solos), 1989; pg. 7. Northumbrian Pipers’ Third Tune Book (1991). Songer (Portland Collection), 1997; pg. 87. Philo 1051, Boys of the Lough ‑ "Good Friends, Good Music" (1977). “Footloose.”

X:1

T:Grande Chaine, La

D:Boys of the Lough, “Good Friends, Good Music”

Z:Nigel Gatherer

M:4/4

L:1/8

K:G

D2|B3 c BAGB|d2 d2 BGBd|cdcB AFAc|dedc BGGA|

B3 c BAGB|d2 d2 BGBd|cdcB AFDF|G3 G G2:|]

z2|gagf efge|d2 d2 BGBd|cdcB AFAc|dedc BG G2|

gagf efge|d2 d2 BGBd|cdcB AFDF|G3 G G2:|]

           

GRANDE GIGUE SIMPLE, LA (The Great Single Step Dance). AKA and see “Gigue simple,” “(La) jig du Bas-Canada,” “Red River Jig.” French‑Canadian, Jig (3/4, or 6/4 and 3/2 time). D Major. Standard, ADad or ADae tunings. One part (Carlin): AA’BB’ (Hart & Sandell): ABCD (Reiner & Anick): ABCCD (Remon & Bouchard). This melody is probably the most popular and famous solo step-dance tune for virtuostic stepping in French-Canadian tradition, though it is in actuality not a jig ('gigue') but a reel. It is performed at a variety of tempos, depending on the taste of the fiddler or the step-dancer for whom it is played. Made up of repetitive phrases, the melodic line is somewhat free-form, states Guy Bouchard, and each fiddler seems to have his or her own version. Métis fiddlers from Manitoba play it under the title “Red River Jig.” Anne Lederman (in her entry on “Fiddling” in the Encyclopedia of Music in Canada, 1992) states that this tune and its cognates were one of two important step-dance tunes in the repertoire of the 18th and 19th century fur-trade in Canada, along with “Drops of Brandy.” She suggests “La Grande Gigue Simple” (and cognates) may originally have been Scottish hornpipes in 6/4 time (i.e. ‘Old Hornpipe’ time). Hart & Sandell (2001) note that fiddler Isidore Soucy recorded the tune on 78 RPM discs five times between 1927 and 1952. Sources for notated versions: Louis Boudreault (Québec) via Lisa Ornstein [Reiner & Anick]; La Bottine Souriante [Hart & Sandell]; Aimé Gagnon [Remon & Bouchard]. Carlin (Master Collection), 1984; No. 101, pg. 63. Hart & Sandell (Dance ce Soir), 2001; No. 21, pg. 53. Reiner & Anick (Old Time Fiddling Across America), 1989; pgs. 60‑61. Remon & Bouchard (25 Crooked Tunes, vol. 2: Québec Fiddle Tunes), 1997; No. 17. Green Linnett GLCD 3042, La Bottine Souriante - "Chic and Swell" (1988. Learned from Pierre Laporte, "who believes that his interpretation is fairly similar to that played by the late Jules Verret). La Bottine Souriante – “Y a ben du changement.” Philo Records 2022, Louis Beaudoin – “La Famille Beaudoin” (1976). 30 Below TB 001CD, Les têtes de violon (Bouchard et al) – “Airs Tordus/Crooked Tunes” (1998). Voyager VRLP‑322, Louis Boudreault ‑ "Old Time Fiddler of Chicoutimi, Québec" (1977, 1993). Jean Carignan – “Jean Carignan, ses premiers enresitrements (1958, re-released in 1980). Dent-de-lion – “Les beaux yeux blues.” Les Frères Brunet – “Les porteurs de tradition.” “Raynald Ouellet & Marcel Messervier, Jr., vol. 1” (1986). 

           

GRANDE NUIT SPECIAL (Grand Night Special). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. D Major. Standard tuning. A(Vocal)ABAA(Vocal)ABA(Vocal)A. Related songs, according to Raymond Francois (1990), are Merlin Fontenot's "Le Danse du Grand Chevalier" and Adam Hebert's "Country Playboy's Special." Source for notated version: Iry LeJeune (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 378-379. Goldband Records GB-LP7741, Iry LeJeune.

           

GRANDEUSE, LA. AKA and see "The Silver Spire."

           


GRANDFATHER'S PET [1] (Peatad Seanatair). Irish, Double Jig. D Major. Standard tuning. AABB. O'Neill (Krassen), 1907/1976; pg. 35. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 864, pg. 160. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 124, pg. 35.

X:1

T:Grandfather’s Pet

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 124

Z:AK/Fiddler’s Companion

K:D

e|dBA ABA|dBA ABA|d2e f2d|e2d B2e|dBA ABA|dBA ABA|d2f a2g|fge d2:|

|:e|fgf fed|e2f g2e|fgf fed|ecA A2e|fgf fed|e2f g2g|agf gec|d3 d2:|

 

GRANDFATHER’S PET [2].  Irish, Jig. G Major. Standard tuning. AABB. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 53, pg. 14.

X:1

T:Grandfather’s Pet [2]

M:6/8

L:1/8

K:G

D|GBB BAB|GAG GBd|gfg edB|BAA A2B|…

           

GRANDFATHER'S TUNE. English, Morris Dance Tune (2/4 time). D Major. Standard tuning. AA'BB'. North‑West England morris dance tune used for a polka step. Wade (Mally’s North West Morris Book), 1988; pg. 28.

           

GRANDMA BLAIR. AKA‑ "Old Molly Hare." Old‑Time, Breakdown. USA, Widely known (as "Old Molly Hare," much less common under the Oklahoma title). G Major. GDBd tuning. AABB. Source for notated version: Henry Lovell (Pushmataha County, Oklahoma) [Thede].

***

Old Granny Blair, what're you doin' there,

Goin' through the cotton patch hard as I can tear.

***

Leg like a deer, foot like a bear,

Goin' through the cotton patch as hard as I can tear.

***

Thede (The Fiddle Book), 1967; pg. 84.

           

GRANDMA, TAKE A LOOK AT UNCLE SAM. See "Grandmammy Look at Uncle Sam."

           

GRANDMAMMY LOOK AT UNCLE SAM. AKA - "Granny Look at Uncle Sam," "Grandma, Take a Look at Uncle Sam," “Run Here Granny, Take a Look at Uncle Sam” (Ed Hayley’s title). Old-Time, Breakdown. USA, West Virginia, eastern Kentucky, Tennessee. A Dorian/Mixolydian/Major. Standard tuning. ABCC. The tonality keeps shifting between the minor and major throughout the tune. The following ditty was sung to the tune:

***

Run here Grandmammy, look at (Uncle) Sam,

He’s soppin’ all the gravey and eatin’ all the ham.

***

According to Wilson Douglas, Kentucky fiddler Ed Hayley played this tune, calling it by the above ditty lines. Source for notated version: Howard Forrester who learned it from his Uncle Bob Cates (Hickman, Tennessee) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 57. Marimac AHS #3, Glen Smith – “Say Old Man” (1990. Learned from Howdy Forrester). Rounder CD0392, John Hartford - “Wild Hog in the Red Brush and a Bunch of Others You Might Not Have Heard” (1996. Learned from Howdy Forrester). Rounder CD-0388, Gene Goforth – “Emminence Breakdown” (1997).

X:1

T:Grandmammy Look at Uncle Sam

M:4/4

L:1/8

Q:140

S:John Hartford "Wild Hog in the Redbrush" transcribed by Llarry Brandon

K:Am

P:A

|:.A,2 A,B, CA,CD|EDEF AB.c2|.A,2 A,B,CA, CE|GBAG EDCE|!

..A,2 A,B, CA,CD|EDEF ABcd|egab a2 ea|^ fged cA A2:|!

P:B

|:eg a2 a2 ab|aged g2 B2|Bdga bgag|edcd eg a2)|!

a4 Aceg|a2 abag ed|g2B2 Bdga|bgag edcd|eg a2 a4:|!

P:C once

"4"[A2A2] [Ac][AA] [AB]AAA|cABc ABAF|GFGA BGAG|EDCD EA A2|A4z4|]

           

GRANDMA’S ROCKIN’ CHAIR.  Canadian, Jig. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989). Durocher was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his over 400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

           

GRANDMOTHER’S PET. Irish, Jig. D Major. Standard tuning. AABB. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 54, pg. 14.

 

GRANDMOTHER’S POLKA.  AKA and see “(La) Belle Catharine [1].” AKA – “Grandmother’s Dance.” English, Polka. D Major. Standard tuning. ”Grandmother’s Polka” is the modern title for the once-popular country dance melody “La Belle Catharine.” AA’BB’. Callaghan (Hardcore English), 2007; pg. 37.

                       


GRANDMOTHER'S REEL. Canadian, Reel. G Major. Standard tuning. AABB. Composed by John Durocher. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 81, pg. 56.

                       

GRANDMOTHER'S WALTZ. Old‑Time, Waltz. USA, Mo. B Flat Major. Standard tuning. Missouri State Old Time Fiddlers Association 001, Pete McMaham ‑ "Ozark Mountain Waltz."

           

GRANDPA TOMMY’S CÉILÍ  BAND (Banna Céilí Daideo Taimí). AKA and see “Brendan Mulhaire’s [1],” “Martin Mulhaire’s [1].” Irish, Reel. G Major. Standard tuning. AABB (Black): AA’BB’ (Breathnach). Composed by New York B/C accordion player Martin Mulhaire, originally from Dún an Uchta, east County Galway, whose father, a fiddler and teacher, was known as “Grandpa Tommy.” Mulhaire played with the famed Tulla Céilí Band prior to emigrating, and Tommy Mulhaire also had a céilí band. Black (Music’s the Very Best Thing), 1996; No. 349, pg. 186. Breathnach (CRÉ V), 1999; Nos. 129 (i) and (ii), pg. 69. Flaherty (Trip to Sligo), 1994; pg. 28. Gael-Linn CEFCD 168, Dordán (Mary Bergin, Kathleen Loughnane, Dearbhaill Standún) – “Ceol na Gealaí.” Green Linnet GLCD 1135, Martin Mulhaire – “Warming Up.”

See also listing at:

Alan Ng’s Irishtune.info

X:1

T: Grandpa Tommy's Ceili Band

C: M. Mulhaire

Q: 350

R: reel

M: 4/4

L: 1/8

Z:Transcribed by Bill Black

K: G

D | GB (3BAB dBAB | GABG ABGE | DEGA Bgfg | eaaf gedB |

GB (3BAB dBAB | GABG ABGE | DEGA Bgfg | ecAF G3 :|

e | g2 af gfed | Bd (3d^cd Bd (3d^cd | gfaf gfed | ea (3aga ea (3aga |

g2 af gfed | Bd d2 gded | BgdB cBAG | (3FGA DF G3 :|

           

GRANDPA'S COURTSHIP. Polish‑American?, Waltz. Gennett 6207 (78 RPM), Joseph Soukup & Joseph Peroutka (accordian, consertina, tuba), c. 1928.

           

GRANDPA'S REEL. AKA and see “Reel à Pépé,” “Reel du Granpère.” French-Canadian (originally), American; Reel. USA, New York State. D Major. Standard tuning. AABB (Phillips): AA'BB' (Bohrer/Kibler). Fiddler Chad Miller reports this was an older tune in the repertoire of his mentor, Winifred “Murph” Baker of Champion, New York. It is a common tune in Québec tradition (see alternate titles). Source for notated version: Vic Kibler('s family) ‑ "All my uncles played it, no one out of the family played it" [Bohrer/Kibler, Phillips]. Bohrer (Vic Kibler), 1992; No. 25, pg. 25. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 101.

           

GRANDPA'S WALTZ [1]. Cajun, Waltz. F Major. Standard tuning. One part. Greenblatt (Cajun Fiddle Tune Book), 1985; pg. 8.

 

GRANDPA'S WALTZ [2]. American, Waltz. USA, New York. This waltz comes from North Tonawanda, N.Y., duclimer player Paul Van Arsdale, who had it from his grandfather; not remembering the name, he called it...". Greenhays GR 710, John McCutcheon ‑ "Fine Times at Our House" (1982).

 

GRANDPA'S WALTZ [3]. American, Waltz. USA, New England. John Edwards Memorial Foundation JEMF‑105, Leon "Fritz" Carl ‑ "New England Traditional Fiddling" (1978).

           

GRANIA’S WELCOME HOME [1]. Irish, March. Ireland, County Donegal. A Mixolydian. Standard tuning. AA’BB’. John Doherty played this march, jig and reel as a set. Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 86.

 

GRANIA’S WELCOME HOME [2]. AKA and see: “(A) Draught of Ale,” "Farrell's Pipes," "The Fourpenny Girl,” “Highway to Dublin,” “Langstrom’s Pony," “The Priest’s Leap [3],” “Right Way to Dublin,” “Saddle the Pony [3],” “Sweet Tibby Dunbar.” Irish, Jig. Ireland, County Donegal. A Mixolydian. Standard tuning. AABB. Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 86.

 

GRANIA’S/GRAINNE’S WELCOME HOME [3] (Failte Romhat in do Bhaile a’ Ghrainne). Irish, Reel. Ireland, County Donegal. A Mixolydian. Standard tuning. AA’BB’. John Doherty played this march, jig and reel as a set. Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 86.

           

GRANITE CITY, THE. Scottish, Reel. D Major. Standard tuning. AAB. Composed by J. Scott Skinner, the ‘Strathspey King’ (1843-1927). MacDonald (The Skye Collection), 1887; pg. 53.

X:1

T:Granite City, The

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

A,|D/D/D (FB) AFFA|GFED CDEC|D/D/D (FB) AFFA|(B/c/d) (e/f/g) fdd:|

g|fdec dBcA|(B/c/d) (AF) BEEg|fdec dBcA|(B/c/d) (e/f/g) fddg|fdec dBcA|

(B/c/d) (AF) BEEF|DFEG FAGB|Adce fdd||

           

GRANITE STATE.  AKA and see “Old Granite State.”

 

GRANNY. Old-Time, Breakdown. Collected by Alan Jabbour from Glen Lyn, Virginia, fiddler Henry Reed, who wasn’t sure about the title. See note for “Half Past Four.” Rounder 0024, “The Hollow Rock String Band” (1974).

                       

GRANNY DUNCAN. AKA and see “Old Mother Reilly.” Scottish. This is the title in pipe reportory, with the “Reilly” title being favored by fifers. The melody is still played by the pipe band of the Scottish regiment called the Black Watch on the 15th of the month, along with the other tunes of The Crimean Reveillé, a medley of tunes first played by pipe bands in the Crimean War.

           


GRANNY IN THE CORNER, THE. Irish, Reel. D Major. Standard tuning. AB. The tune is not uncommon in Donegal. Shanachie 79002, "The Boys of the Lough" (1973. Learned from "the late" fiddler and story‑teller Mickey Doherty, "of the travelling people").

X:1
T:Grannie in the Corner
C:from John Doherty/arr. LOF
D:Liam O'Flynn "The Piper's Call"
R:reel
Z:transcription Johannes Schiefner (jschiefner@web.de)
Z:id:js_1349
M:C|

L:1/8
K:D
AG|FDAF GFED |FDAF=A0~G2AG|FDAF GFEc|1dBcA ~G2AG:|2dBcA ~G2FG||
~A3B cAGE|~A3B cded|cAAB cAGE|dBcA ~G2FG|
EA{B}AB cAGE|~A3B cdeg|~f3d ~e3c|dBcA ~G2|]

           

GRANNY LOOK AT UNCLE SAM. See "Grandmammy Look at Uncle Sam."

           

GRANNY PLAYS THE FIDDLE. AKA and see "Haste to the Wedding." Old‑Time, Breakdown. D Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 111.

           

GRANNY QUINN’S. Irish, Reel. D Mixolydian. Standard tuning. AABB. The first tune composed by Falmouth, Massachusetts, musician and writer Bill Black, named for his wife’s grandmother. Black (Music’s the Very Best Thing), 1996; No. 53, pg. 29. Shanachie SH78041, Solas – “The Hour Before Dawn” (2000).

X:1

T: Granny Quinn's

C: © B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: Dmix

DFAd c2 AG | Ac c2 Ad d2 | DFAd cege | fdeg fd d2 |

DFAd c2 AG | Ac c2 Ad d2 | fd (3d^cd =cG (3GFG | EGcG ED D2 :|

fa a2 ec c2 | defd cAGA | fa a2 ec c2 | dBcG Ad d2 |

fa a2 ec c2 | defd c3 A | dBcA BGAG | A,CEG FD D2 :|

           

GRANNY RATTLETRAP. AKA and see "Granny Will Your Dog Bite?"

           

GRANNY WENT TO MEETING WITH HER OLD SHOES ON.  Old‑Time. USA, Ky. Learned by the banjo playing Mr. and Mrs. Vernon Judd ("prosperous Kentucky farmers") around 1900. Apparently, says Titon (2001), it was a local tune known to only a few informants.

***

Granny went to meeting with her old shoes on,

She came back with a new pair on.

***

Source for notated version: Lella Todd (Spout Springs, Estill County, Ky.) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 54, pg. 85. New World 226, Mr. & Mrs. Vernon Judd (et. al.) – “That’s My Rabbit, My Dog Caught It: Traditional Southern Instrumental Styles” (1978). Rounder SS‑0145, Mr. & Mrs. Vernon Judd ‑ "Traditional Music on Rounder: A Sampler" (1981). Rounder 0394, Billy Don Stamper (et al) – “Kentucky Old-Time Banjo” (1999).

           

GRANNY, WILL YOUR DOG BITE? [1]. AKA and see "Betty Martin," "Boating Up Sandy [3]," “Brad Walters,” “Chippy/Gippy Get Your Haircut,” "Hog Eye an’ a ‘Tater," "The Hog Eye Man," "Hog Eye [1]," "Jake Gilly/Gillie," "Old Mother Gofour," "Old Granny Rattle-Trap," "Pretty Betty Martin," "Very Pretty Martin," "Sally in the Garden [1]," "Tip Toe Fine," "Fire on/in the Mountain [1]." Old‑Time, Breakdown. USA; Kentucky, Nebraska, Missouri, Arkansas, Oklahoma. A Major/Mixolydian (most versions): D Major (Sweet). Standard or AEae (e.g. Lon Jordan). AB (Silberberg): AA’B (Beisswenger & McCann): AABB (Christeson, Phillips, Sweet): AABBC (Thede). This melody is popular under several titles, however, the title itself "Granny Will Your Dog Bite" is also a floating title attached to several tunes. It was frequently played at Mid-Western fiddle contests. R.P. Christeson says his version is dissimilar to the tune of the same title in Ford (1940), but is similar to "Tip Toe, Pretty Betty Martin" in the same book. Bayard (1981) notes the resemblance between this tune and the "Betty Martin" variants, many listed as alternates above. He believes the tune possibly has Norwegian connections (though he did not elaborate or offer sustaining information). The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's (in particular from Arkansas fiddler Lon Jordan, in 1941), and was recorded commercially by Crockett’s Kentucky Mountaineers in 1928. See also related tunes "Gate to Go Through” and “Old Coon Dog [2].”  Ford (1940) said that “occasional verses” were sung by fiddlers while playing the tune, and indeed, various verses have been collected from both white and black sources. (Ford’s collection area was the Mid-West, often Missouri, and Thede printed Oklahoma versions).  Charles Wolfe (1991) remarks the tune has been collected widely from Mississippi to California, and notes that Ray Browne (writing in The Alabama Folk Lyric, 445) heard it often as a banjo tune popular more with blacks than whites.

***

Granny will your dog bite, cow kick, cat scratch?            

Granny will your hen peck, sow root the corn patch?

Granny will your duck quack, old grey goose hatch?

Granny will your dog bite? "Yes, child, No!" (Ford)

***

Granny will your hen peck, hen peck, hen peck,

Granny will your hen peck, Lord, child, no;

Hog bit 'er pecker off a long time ago.  (Thede)

***

Granny will your dog bite, dog bite, dog bite,

Granny will your dog bite , Lord, child no;

Wolf bit 'er biter off long time ago.

***

African-American collector Thomas Talley, in his Negro Folk Rhymes (edited in a new edition by Charles Wolfe in 1991) printed lyrics under the title “Chicken in the Bread Tray.” They go:

***

Auntie, will yo dog bite?

No, Chile, No!

Chicken in the bread tray

A makin’ up dough

***

Auntie, will yo broom hit?

Yes, Chile, Pop!

Chicken in the bread tray,

Flop, Flop, Flop!

***

Auntie, will you oven bake?

Yes, Jes fry!

What’s dat chicken good fer?

Pie, Pie, Pie!

***

Auntie, is yo pie good?

Good as you could ‘spec,

Chicken in the bread tray;

Peck, Peck, Peck!
***

Bruce Baker found the following reference in the North Carolina State Archives (Raleigh, N.C.) in the Lowry Shuford Collection in a folder marked "Civil War
Reminiscences."  The folder contains a document titled "From 1861 to 1865 As I Remember" by J. A. Bush, Sr., of Lenoir, N.C., wherein he writes:
***

D. A. Griffin was one of them (i.e. the musicians).  When he came to

Lenoir to be sworn in, he was playing on his fife, 'Oh, Granny, will

your little dog bite? No, child, no.'  He took his fife to camp with him

and played every evening.
***
Baker concludes that, while there is no way of knowing which of the “Granny” tunes was the one Griffin played, the reference it “does suggest the tune was playable on a fife and that this floating lyric was floating around Caldwell Co., N.C., in the early 1860s.”

***

See also Brown (3:205). Sources for notated versions: Bob Walters (1949, Burt County, Nebraska) [Christeson, Phillips]; Sherman Collins (Pawnee County, Oklahoma) [Thede]; Jeannie Murphy [Silberberg]; Vivian Williams (Seattle) [Silberberg]; Lon Jordan (early 20th century, Farmington, Arkansas) [Beisswenger & McCann].

***

Printed Sources: Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 86. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 1, pg. 3. Ford (Traditional Music in America), 1940; pg. 36. Phillips (Traditional American Fiddle Tunes), 1994; pg. 102. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 55 (two versions). Songer (Portland Collection), 1997; pg. 87. Sweet (Fifer’s Delight), 1964/1981; pg. 58. Thede (The Fiddle Book), 1967; pg. 82.

***

Recorded Sources: Augusta Heritage AHS6, Melvin Wine - “Vintage Wine.” Missouri State Old Time Fiddlers' Association, Dwight Lamb (b. 1937) - "Old Ladies Pickin' Chickens." Missouri State Old Time Fiddlers' Association, Bob Walters (1889-1960) - "Old Time Fiddler's Repertory" (1976). Revonah Records RS‑924, "The West Orrtanna String Band" (1976). Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999).

See also listing at:

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

X:1

T:Granny Will Your Dog Bite? [1]

M:2/4

L:1/8

Z:AK/Fiddler’s Companion

K:D

d>A FA | GB FA | d/c/d/A/ FA | Bc d>d | d>A FA | GB FA | d/c/d/A/ FA | Bc d2 :|

|: d/c/d/e/ fa | gf ec | d/c/d/e/ fa | gf ef/g/ | a/b/a/f/ ge | fd ef | d/c/d/A/ FA | Bc d2 :|

 

GRANNY WILL YOUR DOG BITE? [2]. AKA and see "Camptown Hornpipe [2]." American, Reel. USA, southwestern Pa. D Major. Standard tuning. AABB. Similar in the first part to version #1. Source for notated version: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1961) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 58, pg. 40.

 

GRANNY WILL YOUR DOG BITE? [3]. Old‑time, Breakdown. USA, southwestern Pa. D Major. Standard tuning. ABB. Bayard (1981) gives the following ditty sung to this tune:

***

Johnny get your hair cut, hair cut, hair cut,

Johnny get your hair cut just like me.

***

Source for notated version: Ireland (Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 59A‑C, pg. 41.

 

GRANNY WILL YOUR DOG BITE? [4]. AKA and see "Fred Wilson's Clog." A floating title in Pennsylvania.

 

GRANNY WILL YOUR DOG BITE? [5]. AKA and see "Jake Gilly." The tune was recorded by the Floyd County (Va.) Ramblers in the 1920's and was known to the band as "Jake Gilly", states Tom Carter (1975). The record company released it under this erroneous title.

           

GRANNY-RAG BLUES. 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.

           

GRANNY’S OLD PACING HORSE. Old-Time, Piece (2/2 time). USA, Kentucky. D Major (‘A’ part) & G Major (‘B’ part). GDad tuning. AB. The tune was played by the sole source, Manon Campbell (1890-1987), as a stately-paced listening tune. Source for notated version: Manon Campbell (Hallie, Letcher County, Ky., 1978), learned from his aunt, Elvina “Viney” Campbell Lusk [Titon]. Titon (Old-Time Kentucky Fiddle Music), 2001; No. 54, pg. 84.

                       

GRANOE'S MARCH. Scottish, March (cut time). D Major. Standard tuning. AABB. John Grano (c. 1692-1748) was a a renowned trumpeter, flutist and composer associated with the composer George Frideric Handel (1685-1759). Grano landed in debtor’s prison during the years 1738-1739, however, since he had the potential to repay his debts he was allowed a modicum of freedom to do so. Some of his students even came to prison for lessons. He used some of his time while incarcerated to pen a diary, which has survived (see Ginger, John. Handel’s Trumpter: The Dairy of John Grano. Pendragon Press, 1998). The melody appears in the Gillespie Manuscript of Perth (1768) and John Johnson’s Wright’s Compleat Collection of Celebrated Country Dances (1740). It was a mildly popular march in the 18th and early 19th centuries, and appears in several fife tutors, such as that of George Willig (Philadelphia, 1805). In America, the melody 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. It also appears in the Jeremiah Regan commonplace book, a manuscript from Brandon, Ireland, written in 1764-1765, and the American Thomas Cushing manuscript (1805).

X:1

T:Grano’s March

M:C|

L:1/8

R:March

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:D

“tr”f4”tr”e4|d>dd>d d2A2 | “tr”a4”tr”g4|f>ff>f f2d2 | f>ff>a e>ee>a |d>dd>f “tr”e2A2|

(3ded (3efe (3fgf (3gag | (3aba (3gag (3fgf (3efe | d2 d>d “tr”d4:: (3fgf (3fgf (3efe (3efe |

(3gag (3gag f4 | f>ff>a e>ee>a | d>dd>f “tr”e2A2|(3fgf (3fgf (3efe (3efe | (3gag (3gag “tr”f4|

“tr”a4”tr”a4|(3aba (3gag (3fgf (3efe | d>dd>d “tr”d4 :|

           


GRANSHAW GLENS. AKA and see "The Rakes of Abbey," "Scotch Maggie," "The Scotch Bonnet," "The Tap Room," "The Blossom of the New Tree," "The Ladies Tight Dress," "Roll out the Barrell," "A Short Way to Heaven," "Miss Fargherson's New Reel," "Bhaintreach na Radaireacht," "Lord Edward," "Fitzgerald’s Reel."

           

GRANT LAMB'S BREAKDOWN. Canadian, Breakdown. C Major. Standard tuning. AABB. Composed by Grant Lamb. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 14, pg. 15.

           

GRANT LODGE. Scottish, Strathspey. G Major. Standard tuning. AAB (Athole, Marshall): AABB' (Kerr). Composed by William Marshall (1748-1833). Grant Lodge was in Marshall’s time the house of Lady Ann Grant, Cooper Park, Elgin. It was the site of the last clan uprising in Scotland, when Lady Grant called for clan support in the affair of kidnapped political supporters. It is now a Local Heritage Center, containing a library, archives and genealogical materials. Kerr (Merry Melodies), Vol. 2; No. 134, pg. 16. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 40. Stewart-Robertson (The Athole Collection), 1884; pg. 181.

X:1

T:Grant Lodge

M:C

L:1/8

R:Strathspey

Z:AK/Fiddler’s Companion

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

K:G

g|G>D G<B A>G A<B|G<G ~G>B d2 d>g|G>D G<B A>G A<B|

e<e e>d e2 (e:|f)|g>a b<g d>ed>B|g>a b<g e2 e>f|g>a b<g d>ed>B|

A<A B>d e2 e>f|g>a b<g d>ed>B|g>a b<g e2 ef|g<bfa e>f g<e| d<B B>B A2 A ||

           

GRANT OF SHEUGLIE'S CONTEST BETWEEN HIS VIOLIN, PIPE AND HARP. AKA ‑ "Mairi nighean Dheorsa." Scottish, Slow Air (2/4 time). A Major. Standard tuning. AB. "Grant of Sheugly, in Glen Urquhart, supposed composer of the verses to this beautiful ancient air, was himself a performer on the violin, pipe, and harp, and, it would appear, a poet, in the like manner. In appreciating the qualities of each instrument, he supposes they had quarrelled, and that he was called upon to decide the contest. In addressing a verse to his pipe, he observes 'how it would delight him, on hearing the sound of war, to listen to her notes, in striking up the gathering, to rally round the chief, on a frsoty spring morning, whilst the hard earth reverberated all lher notes, so as to be heard by the most distant person interested.' To the harp he says, ‑‑'The pleasure which thy tones afford are doubled, whilst accompanying a sweet female voice, or round the festive board, inspired by love or wine, I reach beyond my ordinary capacity, and feel the pleasure of pleasing.' But to his violin, which he calls by the literal name of the air, 'Mary, George's Daughter,' and seems to have been his favourite, though held cheap by the other combatants, he says,‑‑'I love thee, for the sake of those who do,‑‑the sprightly youth and bonny lasses.‑‑all of whom declare, that, at a wedding, dance, or ball, thou, with thy bass in attendance, can have no competitor,‑‑thy music having the effect of electricity on those who listen to it,'‑‑and on thus receiving their due share of praise, their reconciliation is convivially celebrated. The editor's grandfather acquired this air from a successor of the composer, who was his contemporary" (Fraser).

***

Sanger & Kinnaird (Tree of Strings, 1992) report that Sheuglie, or Shewglie as they give his name, was Alexander Grant of Shewglie, born around 1675 who died in captivity in London in July, 1746. Shewglie’s branch of the family were supporters of  Bonnie Prince Charlie, and though he did not take part in the battle of Culloden, Shewglie did write verses in support of the rebellion. Denounced by loyal members of the Grant clan, Shewglie was arrested along with his eldest son and the Rev. Mr. John Grant. Although the son and the minister were later released to return to their homes, the reprieve came too late for Shewglie, who, being elderly and having undergone great hardship in prison, contracted a fever and died. In addition to being a poet, Alexander was a skilled musician on some combination of the harp, bagpipe and fiddle; when he could find time, that is, as he reputedly fathered 14 sons and six daughters!  The original Gaelic words to the song have been lost. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1814; No. 3, pg. 2.

X:1

T:Grant of Sheuglie’s contest betwixt his Violin, Pipe and Harp

T:Mairi nighean Dheorsa

M:2/4

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:A

A>B c2|c>d e2|f>d e2|B2 AF|A2 a2|(e2 e/)d/c/B/|A2 A>B|A2 FE|

c>c c2|c>c e2|f>c e2|B2 AF|A2 a2|(e2 e/)d/c/B/|A2 A>B|A2 FE||

f>f a2|f>f a2|a>g a2|f>e e2|c>d e2|fe e2|A/B/c/d/ e/f/g/a/|f2 e2|

a>g f2|e<c e2|f<c a2|B2 AF|A2 a2|(e2 e/)d/c/B/|A2 AB|A2 FE||

                          

GRANT OF STRATHSPEY, THE. AKA and see "The Graf Spee,” “Grant’s Strathspey." English, Reel. England, Northumberland. C Major. Standard tuning. AABBCCDDEE. "I have not found this tune in any Scottish collections, but it is known in Ireland as the 'Graf Spee,' a curious corruption of the original title into the name of a German 1st World War battleship" (Seattle). The title derives from its publication in the c. 1790 collection of Donald Grant, thus “Grant’s Strathspey.” “Grant of Strathspey” is a corrupted title. Seattle (William Vickers), 1987, Part 3; No. 572.

                          


GRANT'S (HORNPIPE). AKA – “The Grants’.” Scottish, Irish, Canadian; Hornpipe, Reel. Canada, Cape Breton. D Major (Taylor): E Major (Cranford/Holland). Standard tuning. AABB. Paul Steward Cranford (2000) remarks that the tune was introduced to Cape Breton fiddlers by Angus Chisholm in the 1960’s, probably learned from a recording by Irish fiddler Sean Maguire. It is also associated with the playing of Winston Fitzgerald, notes Paul. There is some thought this may have been composed by Scottish fiddler Charles Grant (b. Strondhu, Knockando, 1806). Cranford (Jerry Holland: The Second Collection), 2000; No. 148, pg. 56. Taylor (Where’s the Crack), 1989; pg. 25.

See also listing at:

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

Alan Snyder’s Cape Breton Fiddle Recording Index

Alan Ng’s Irishtune.info

X: 1

T:Grant's

Z: id:dc-reel-121

M:C

L:1/8

K:E Major

agf|e2BA GBEB|GBEB GEB,A,|B,EGE B,EGE|FGFE DB,B,d|!

e2BA GBEB|GBEB GEB=d|cBAa gfed|fedf e:|!

Bcd|efga bgeg|fcfe dfBd|efga bgeg|fedc B3=d|!

cAce BGBe|AFA=d F=DFA|EGBe gfed|fedf e:|!

                          

GRANT'S RANT. AKA and see “Chester Castle [1],” "Green Grow the Rushes O," "New Hornpipe." Scottish, Strathspey. G Major. Standard tuning. AABB (Bremner): AABBCCD (McGlashan). Robert Burns used the tune for his song "Green Grow the Rushes O," by which it is usually known today. The tune was originally written as a rant, but as "Green Grow the Rushes," it is commonly heard as a strathspey; not an uncommon circumstance (or fate) for rants. The melody appears in the Drummond Castle Manuscript (1734), in the possession of the Earl of Ancaster at Drummond Castle; it is inscribed "A Collection of best Highland Reels written by David Young, W.M. & Accomptant."  John Glen (1891) finds the tune earliest in print in Robert Bremner's 1757 collection. It appears in the Angus Cumming 1778 collection under the title “Fevei feve Tunal chie.” 

***

The Grant clan was located primarily in Strathspey, where stands castle Grant, the seat of the chief. At the upper end of the district is the famous hill called Craigellachie, or the rock of alarm, from which the war shout known as the Cathghairm and gave name to the gathering of the clan. There is a pipe tune called “Stad Creageilichie!” (Craigellachie, stand firm!) that derives from this connection.

***

Bremner (Scots Reels), 1757; pg. 64. McGlashan (Collection of Strathspey Reels), c. 1781; pg. 12. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000). Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire Plays,” the first recording of McGuire that Josephine Keegan accompanied on piano).

X:1

T:Grant’s Rant, The [1]

M:C|

L:1/8

R:Strathspey

S:McGlashan – Strathspey Reels  (c. 1781)

Z:AK/Fiddler’s Companion

K:G

B | G/G/G B>A B>GG>B | A/A/A e>d e>AA>B | c3e d/c/B/A/ B>G | A/A/A B>A G>EE :|

|: B | G/G/G e>e g>dd>g | e/e/e a>g aeef | g>age d>cBG | A/A/A B>A G>E E :|

|: B | G>FG>A B>AG>B | A>Bc>d e>AA>B | c>Bc>e d>cB>d | c>AB>G A>G E :|

B | G/G/G g>e g>dd>g | e/e/e a>g aeef | g>ag>e d/c/B/A/ BG | AcB>A G>E EB |

G/G/G g>e g>ddg | e>ag>b a>ee>f | g>be>g d>gB>g | A>cB>A G>E E ||

 

GRANT’S RANT [2]. AKA – “Grant’s Hornpipe.” English, Country Dance Tune (cut time). D Major. Standard tuning. AABB. The tune was first published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773), however, another edition of the Thompson collection gives the title as “Grant’s Dance.” In manuscript form it appears in the 1779 copybook of fiddler George Malecot (Whitehaven, England), the 1770 manuscript collection of Northumbrian musician William Vickers (as “New Hornpipe” with the alternate title of “Grant’s Rant”), and the 1798 manuscript of fifer John Miller (Strabane, Londonderry), where it appears as “Grant’s Hornpipe.” Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 139.

X:1

T:Grant’s Rant  [2]

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

FG|A3B AFDF|AFdB AFEF|GBGE FAFD|E2 EE E3A|FDFA d3f|

edcB A2 Bc|d2 cB c2B2|A2 AA A2::(cd)|e3f ecAc|ecaf ecAc|

dfdB cec^A|B2 BB B2 (Bc)|d3B AFDF|GABc d2 cB|{B}A2 (GF) EGFE|D2 DD D2:||

           

GRANT’S STRATHSPEY. AKA and see “Grant of Strathspey,” “Rothiemurc(h)us Rant.”

                       

GRANTULLY BRIDGE. Scottish, Strathspey. B Flat Major. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 295.

X:1

T:Grantully Bridge

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:B Flat Major

D|B,>DF>A ~B>F G<B|F<B, F>D C2 C>D|B,>DF>A B>FB>g|F<B c>d B2B:|

(3f/g/a/|b>fd>f B>dB>F|G>BF>D C2 C>f|b>fd>f B>cB>F|G>BA>c Bc/d/ e/f/g/a/|

b>fd>f ~B>cB>F|G<B F>D C2 C>D|B,>DF>A B>FG>g |F>Bc>d B2B||

           

GRANUAILE. AKA and see "Grainne Mhaol."

           

GRANU WAILE (Graine Ua Maille). AKA and see "Grainne Mhaol."

           

GRAPE VINE TWIST [1]. American, "Sand Jig" (4/4 time). G Major. Standard tuning. AB (Cole): AA'BB' (Kerr). A tune by this name was learned by minstrel banjoist Fred Mather from Southerner (and famous banjo player) Joel Sweeney in 1846 or 1847. Sweeney, who came north every two years as a musician with a circus, had a drop thumb technique learned from his family’s Virginia slaves. Hans Nathan (Dan Emmett and Negro Minstrelsy, Univ. of Oklahoma Press, 1962, pg. 93) records the ‘Grape Vine Twist’ was one of the dances or series of dance steps of the blackface minstrel era. See also the related tune “Cornstalk Fiddle (and Shoestring Bow).” Cole (1000 Fiddle Tunes), 1940; pg. 84. Kerr (Merry Melodies), vol. 2; No. 416, pg. 47. Ryan’s Mammoth Collection, 1883; pg. 117. White’s Unique Collection, 1896; No. 33, pg. 6. 

X:1

T:Grape Vine Twist [1]

M:2/4

L:1/8

R:’Sand Jig’

S:White’s Unique Collection (1896), No. 33

Z:AK/Fiddler’s Companion

K:G

G || {A/}B/G/E/G/ (D/E/)D | {B/}c/A/B/G/ (E/G/)G | {A/}B/G/E/G/ (D/E/)D |

(B,/A,/)G,/B,/ (D<G) | {A/}B/G/E/G/ (D/E/)G | {A/}B/G/E/G/ (D/E/)D |

{B/}A/G/B/d/ gz || (B/d/)z/d/ e/d/g/z/ | (B/d/)z/d/ e/d/B/G/ | (B/d/)z/d/ e/d/g/z/ |

g/e/d/B/ (A/G/)G | (B/d/)z/d/ (e/d/)g/z/ | (B/d/)z/d/ e/d/B/G/ | (B/d/)z/d/ e/d/e/f/ | g/e/d/B/ A/G/F/A/ ||

 

GRAPEVINE TWIST [2]. Old-Time, Breakdown. A Major. Standard tuning. AABBCCDDEDD. Source for notated version: Steve and His Hotshots [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 58.

 

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