The Fiddler’s Companion
© 1996-2009 Andrew Kuntz
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GRA - GRAPE |
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
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,
..........................
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
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||
..........................
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
..........................
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||
..........................
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.
..............
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
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
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 :|
..........................
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.
..........................
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.
..........................
GRADH MO CHROIDHE DO
SHEAN WIG. AKA and see "Your Old Wig is the Love
Of My Heart."
....................
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).
..........................
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).
***
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
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
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 ||
..........................
..........................
GRAHAM’S BROOK. AKA and see “Cold
Winds from Ben Wyviss,” “Forest and
Glen,” “Highlander’s Jig.”
..........................
GRAHAM'S HORNPIPE. Canadian, Hornpipe. G Major ('A' part) & D Major ('B' part).
Standard tuning. AABB. Composed by Maritime fiddler Graham Townsend (
..........................
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||
..........................
GRAIDHEOIR DIULTADHAE, AN. AKA and see "The Rejected
Lover."
..........................
GRAIN MILL, THE. AKA and see "Le
Batteux."
..........................
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 ||
..........................
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
***
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
***
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
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
GRAM LEE’S WALTZ. Canadian, Waltz. Composed by Ivan Hicks.
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
***
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
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
M:C
L:1/8
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
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 (
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<
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
GRAMAHO, THE. Irish, Double Jig. From William Forde's
collection, notated from "Mr. Townsend,
GRAMIN. Scottish (originally), Canadian; Hornpipe.
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
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
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.
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
GRAND LARCENY HORNPIPE. American, Hornpipe. G Major. Standard tuning. AA’B. Composed by
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),
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
GRAND
MARCH IN THE SIEGE OF
GRAND MARCH OF
GRAND MARCH OF
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 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
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: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
M:2/4
L:1/8
R:March
S:O’Farrell
– Pocket Companion, vol. IV (1810)
Z:AK/Fiddler’s Companion
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,
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 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,
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,
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
GRAND VALLEY WALTZ. Canadian, Waltz. B Flat Major & G Minor. Standard tuning. One part:
AA'BA (Matthiesen). Source for notated version: George Wilson (
GRAND VALLEY REEL. Canadian, 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
***
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 (
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
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
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 (
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
GRANDE NUIT SPECIAL (Grand Night Special). Cajun, Two-Step (4/4 time).
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
X:1
T:Grandfather’s Pet
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
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.
***
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.
***
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 (
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
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.
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
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.
GRANDPA'S WALTZ [3]. American, Waltz.
GRANIA’S WELCOME HOME
[1]. Irish, March.
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.
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
GRANNY QUINN’S. Irish, Reel. D Mixolydian. Standard tuning. AABB. The first tune
composed by
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
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.
***
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,
Chicken in the bread tray
A makin’ up dough
***
Auntie, will yo broom hit?
Yes,
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 (
Reminiscences." The folder contains a document titled "From
1861 to 1865 As I Remember" by J. A. Bush, Sr., of
***
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,
***
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
***
Recorded Sources: Augusta Heritage AHS6,
Melvin Wine - “Vintage Wine.”
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.
GRANNY WILL
YOUR DOG BITE? [3]. Old‑time, Breakdown.
***
Johnny get your hair cut, hair cut, hair cut,
Johnny get your hair cut just like me.
***
Source for notated version:
GRANNY WILL
YOUR DOG BITE? [4]. AKA and see "Fred
Wilson's Clog." A floating title in
GRANNY WILL
YOUR DOG BITE? [5]. AKA and see "Jake Gilly."
The tune was recorded by the
GRANNY-RAG BLUES. Old‑Time, Fiddle Tune. The title appears in a list of traditional
GRANNY’S OLD PACING
HORSE. Old-Time, Piece (2/2 time).
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 LODGE. Scottish, Strathspey. G Major. Standard tuning. AAB (Athole, Marshall):
AABB' (Kerr). Composed by William Marshall
(1748-1833). Grant Lodge was in
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
***
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.”
X:1
T:
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
(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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[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.