The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting”
the highlighted notation into one of the many abc conversion programs
available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation 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] |
R. O. FARQUHARSON OF
HAUGHTON. Scottish, Reel. G Major. Standard
tuning. AABB'. Composed by Alexander Walker.
R.P. HALE. American, Reel. D Major.
Standard tuning. AABB. Composed by
RÁBAIRÍ TERRYGOLDEN. AKA and see “Rakes of
Terrygolden.”
RABBIE BURNS. Scottish, Strathspey. G Major. Standard tuning. AABB. The title is
Scots for poet Robert Burns (1759-1796). Kerr (Merry Melodies), vol. 4; No. 90, pg. 12.
X:1
T:Rabbie Burns
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 90
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
d | G<G d>G B<A A>B |
G<G d>G B>g d2 | e<g B>d e/d/c/B/ A>B | G<g d>c B<G
G :|
|: d | g<g g>b a>b a2 |
d<g g<b g>d e<d | e<g B>d e/d/c/B/ A>B | G<g d>c
B<G G :|
RABBIT. Old-Time, Breakdown.
RABBIT DANCE. Anne Lederman, in her article on “Fiddling” in the Encyclopedia of Music in Canada (1992), remarks that the Rabbit
Dance was a popular dance with its own tune in the 18th and 19th
century Canadian fur-trade.
RABBIT
IN A LOG. Old-Time,
***
Rabbit in a log and I
ain't got no dog
How will I get him, I
know
Get me a briar and
I'll twist it in his hair
That's how I'll get
him, I know.
***
Source for notated version: The Stanley Brothers and the
Clinch Mountain Boys [Grass Roots Harmony].
Grass Roots Harmony (Oak
Publications), 1968; pg. 32. Bluebird AXM2-5510, The
RABBIT IN THE BRIAR
PATCH. Old‑Time. The tune was
recorded for the Library of Congress by musicologist/folklorist Vance Randolph
from Ozark Mountain fiddlers in the early 1940's.
RABBIT IN THE FIELD. Irish, Jig. Composed by Baltimore B/C accordion player Billy
McComiskey, originally from Brooklyn, N.Y. Green
Linnet SIF 1034, Billy McComisky – “Makin’ the Rounds” (follows “The
Independent,” another of his compositions). Green Linnett GLCD 1119, Cherish
the Ladies - "The Back Door" (1992).
RABBIT IN THE GRASS. AKA‑ "Soapsuds Splash." Old‑Time, Breakdown. USA;
Alabama, Missouri, Oklahoma. G Major. Standard tuning. AABB. Similar to “Fort Smith [1].” Source for notated
version: African-American fiddler Bill Driver (Miller County, Missouri)
[Christeson]: Emmett Newman (Delaware County, Oklahoma) [Thede]. R.P. Christeson
(Old Time Fiddler’s Repertory, vol.
1), 1973; pg. 94. Thede (The Fiddle Book),
1967; pg. 134. Rounder 0175, James Bryan ‑
"Lookout Blues" (1983. Learned from Mentone, Alabama, fiddler Mack
Blalock).
RABBIT IN THE PEA
PATCH [1]. Old‑Time, Breakdown. USA;
Arkansas, Missouri, Alabama, Mississippi, Tennessee. D Major. Standard tuning.
AABBCC. Composed by Uncle Dave Macon who recorded it on 78 RPM in 1927. Drew
Besswenger (2008) notes that the title was connected to a play party game with
a “Skip to My Lou” melody. It was recorded for the Library of Congress by
Herbert Halpert in 1939 from the playing of Tishomingo County, Mississippi,
fiddler W.E. Claunch. “Rabbit in the Pea Patch” is a standard tune in a square
dance fiddler's repertoire, asserts A.B. Moore in his History of Alabama, 1934, and lending credence to this its being
recorded in the Clarke County Democrat
of May 6, 1926, as a definitive old‑time piece played for a contest in
Jackson, Clark County, Alabama.
***
Get my gun, fetch old Rover,
Run that rabbit out of town.
***
I'm up on the hillside rakin' up hay,
Rabbit in the Pea Patch eatin' all day;
Dee‑ca‑dee‑dee, dee‑ca‑dee‑dee‑doo,
Dee‑ca‑dee‑dee‑dee, dee‑ca‑dee‑ca‑doo.
***
I'm up on the hillside rakin' up leaves,
The Rabbit in the Pea Patch eatin' up all the peas.
***
I'm up on the hillside rakin' up grass,
The Rabbit in the Pea Patch sittin' on his ass. [Red Clay Ramblers, based on Uncle
Dave Macon’s version]
***
The title is connected with a
play-party game. Other early recorded versions are from Vernon Dalhart (1931)
and the Pickard Family (1928). Guthrie Meade links the melody to “Grey Cat on a Tennessee Farm,”
“Spotted Pony [1],” and “Snow Shoes [2].” Source for notated
version: The Red Clay Ramblers (North Carolina) [Kuntz]. Kuntz (Ragged but Right), 1987; pg. 350. County 521, Uncle Dave Macon and the Fruit Jar Drinkers ‑
"Original Recordings 1925‑ 1935." Flying Fish 055, The Red Clay
Ramblers‑ "Merchant's Lunch" (1977). Supertone (Brunswick) 2071
{78 RPM}, the Pickard Family.
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Rabbit in the Pea Patch [1]
L:1/8
M:2/4
S:Kuntz – Ragged but Right
K:D
(3d/c/B/|[DA]a g>a|g/f/e/d/ e/d/c/B/|{^G}[A2A2] [A2A2]|A/B/A/G/ F/D/E/F/|
[DA]a g>f|g/f/e/d/ e/d/c/B/|A/B/c/d/ e/A/g/A/|f/A/e/A/ d(3d/c/B/|[D<A<]a g>a|
g/f/e/d/ e/d/c/B/|{^G}[A2A2] [A2A2]|A/B/A/G/ F/D/E/F/|[DA]a g>f|g/f/e/d/ e/d/c/B/|
A/B/c/d/ e/A/g/A/|f/A/e/A/ df/g/||
a>g ff|ee/g/ f/e/d|af af|e/d/e/e/ df/g/|af/g/ af|ee/g/ f/e/d|a/g/f/g/ af/f/|e/d/e/e/ d2||
|:[AA][A/A/][A/B/] [FA][FA]|[E/A/][D/A/][E/A/][G/A/] [F/A/][D/A/][DA]|
[A>A>][AA] [FA][FA]|[E/A/][D/A/][E/A/][F/A/] [D2A2]:||
RABBIT IN THE PEA PATCH [2]. Old-Time, Breakdown. USA, Missouri. D Major. Standard tuning. AA’BB’CCDD’. Source Holt learned this tune from the banjo playing of his Uncle Noah., who had it from Corbin Potter of McClurg, Missouri, a member of a musical family. According to Holt, the Potter who was associated with the tune was killed in 1922, but a younger brother named Earl knew parts of it, and Holt cobbled this version together. Drew Beisswenger (2008) remarks that Holt’s version is different than “Rabbit in the Pea Patch [1],” although the coarse (low) strain retains similarities. Source for notated version: Bob Holt (1930-2004, Ava, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 66. Rounder CD 0432, Bob Holt – “Got a Little Home to Go to” (1998).
RABBIT IN THE WOODPILE. Old-Time, Breakdown. G Major ('A' part) & D Major ('B' part).
Standard tuning. AABB. Source for notated version: Lynn “Chirps” Smith
[Phillips]. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 192.
RABBIT UNDER A COLLARD LEAF. Old-Time, Breakdown. G Major. Standard tuning. AABB. Source for notated version: learned by Frank Maloy from composer and south Georgia fiddler Warren Smith in the late 1940’s [Devil’s Box]. Devil’s Box, vol. 22, No. 3, Fall 1988, pg. 39.
X:1
T:Rabbit Under a Collard Leaf
L:1/8
M:2/4
C:Warren Smith
S:Frank Maloy
K:G
G/E/|DD/E/ GG/E/|D/E/G/D/ E/D/B,/D/|(D/E)G/ E/G/D/E/|G/A/B/G/ A/G/E/G/|
DD/E/ GG/E/|D/E/G/D/ E/D/B,/D/|(D/E)G/ E/D/G/E/|D/B,/A,/B,/ G,:|
|:e/f/|g/a/g/e/ d/g/e/d/|B/e/d/B/ A/G/E/D/|B/d/e/f/ ee/f/|g/a/b/g/ a/g/e/f/|
g/a/g/e/
d/g/e/d/|B/e/d/B/ A/G/E/D/|B/d/e/f/ e/f/g/e/|d/B/A/B/ G:|
RABBIT, WHERE'S YOUR MAMMY? [1] AKA and see "Little Rabbit." Old-Time, Breakdown.
G Major. Standard tuning. AABB. Source for notated version: Stuart Williams
[Phillips]. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 192.
RABBIT WHERE'S YOUR
MAMMY [2]. AKA and see "Walk Along John to Kansas." USA,
Arizona. A Major. AEae tuning. AABB. Some similarities to versions #1 and #3.
Source for notated version: Kenner Kartchner (Arizona) via Larry Shumway
[Phillips]. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 193.
RABBIT WHERE'S YOUR
MAMMY [3]. Old-Time, Breakdown. D Major.
Standard tuning. AABBCC. Some similarities to versions #1 and #2. The version
printed in Fiddler Magazine is a contest-fiddling version by Hollis
Taylor. Source for notated version: Jimmy Don Bates [Phillips]. Fiddler
Magazine, vol. 14, No. 4, 2007; pgs. 32-33. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 192. Rounder 0437, Noel
Scott – “Traditional Fiddle Music of
the Ozarks, vol. 3: Down in the Border Counties.”
X:1
T:Rabbit, Where's Your Mammy?
M:C|
L:1/8
K:D
((3vdcB|A2)F2A3A|B2d4((3dcB|A2)F2A3F|F2E4((3dcB|
A2)F2A3A|B2d4((3dcB|A2)F2A3F|E2D4:|
|:(v=f2|^f2)a2f3e|d2B4(=f2|^f2)b2a3f|f2e4(=f2|
^f2)a2f3e|d2B4((3dcB|A2)F2A3F|E2D4:||
RABBIT’S BURROW. AKA and see “Pride of Rathmore.” Irish, Reel. The
tune is attributed to Bronx fiddler Paddy Cronin, although the “Rabbit’s
Burrow” title for the tune is supposed to have come from Julia Clifford.
RABBIT’S JUMP. See “Saut de/du Lapin [1].”
RAB’S WEDDING. Scottish, March (6/8 time). A Major. Standard tuning. AABB’CCDD’.
Composed by J. Kerr. Martin (Ceol na
Fidhle), vol.3, 1988; pg. 38.
RABUN GAP. Old-Time. C Major. The tune features a 'B' flat chord in the
accompaniment. Recorded as part of the skit "Alabama Square Dance" by
Chumbler, Coker and Rice (Broadway 8234).
RACA BREAG MO CIN (The Pretty Hair Comb). Irish, Air (2/4 time). F
Mixolydian. Standard tuning. One part. Source for notated version: “From Skull,
Co. Of Cork. P MacDowell, Esq” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1082, pg. 274.
RACAIRE BLADMANNAC, AN. AKA and see "The Ranting Rake."
RACAIRE FANAC, AN. AKA and see "The Rambling
Rake [1]."
RACAIRI IARMIDE. AKA and see "The
Rakes of Westmeath [1]."
RACAIRI SULCOID. AKA and see "The Rakes of
Sollohod."
RACAIRI UA CILL-DARA, NA. AKA and see "The Rakes of
Kildare."
RACAIRIDE UA
CLUAIN-MEALA, NA. AKA and see "The Rakes of Clonmel [2]."
RACCOON AND THE POSSUM, THE. AKA and see "Liberty [1]."
RACCOON TAIL. See note for “Turkey Buzzard.”
RACCOON'S TAIL. See "Coon Dog [1],"
"Lynchburg Town."
RACCOON’S
TAIL IS RINGED ALL AROUND.
Old-Time, Breakdown. Bittersweet Records,
“Music of the Ozarks IV: More Old-Time Fiddle Tunes.”
RACE CLASSIC, THE. See “Ray’s Classic.”
RACES AT CARRICK, THE (Na Ritead Ag/Sa Carraig/Carriag). AKA and see “Coach Road to Sligo [2],” “The Tar Road to Sligo.” Irish, Double Jig.
B Minor. Standard tuning. AABB. The ‘A’ part is shared with “The Coach/Tar Road
to Sligo,” although the ‘B’ parts differ. O'Neill (Krassen), 1976; pg. 31.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 836, pg. 156. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 99, pg. 32.
X:1
T:Races at Carrick, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 99
Z:AK/Fiddler’s Companion
K:B Minor
g|fdB Bcd|ecA A2G|F>AA def|gfg
bag|fdB Bcd|ecA AzG|F>AA def|gec d2:|
|:e|~f3 fed|faa a2f|gfg Bcd|ecA
A2d|~f3 fed|faa agf|gfg bag|fdd d2:|
RACES OF BALLYHOOLY, THE (Ráisiona Bhl'-A-Hubhla). Irish, Slow Air (4/4 time). D
Major. Standard tuning. AAB. "From memory, as learned in my young days.
The Irish song that gave name to this fine air‑‑of which I heard
fragments in my youth‑‑commemorated the fate of a number of
peasants who were shot down in the neighbourhood of Ballyhooly near Fermoy Co.
Cork, while resisting the collection of tithes, early in the last century
(about 1825). The poet utters a prophecy, which has come to pass, that the
particular church for which these tithes were assessed would be levelled, till
not one stone remained on another. I have a copy of the whole song written in
English letters phonetically; but it is such gibberish that I can make nothing
of it. The first line however is plain enough:‑‑Tá sgeul agum an
innsinnt s'ná smuainim gur breug é: 'I have a tale to tell, and I don't think
it is a false one'" (Joyce). Joyce (Old
Irish Folk Music and Song), 1909; No. 2, pgs. 3‑4.
X:1
T:Races of Ballyhooly, The
T:Ráisiona Bhl’-a-hubhla
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:D
A/F/|D2 DE FA G/F/E/D/|E2 e>f e2 (3def|gfed B>dAF|D2 d>e d3:|
A|d>efg afed|d>efg a3f|gfga b>agf|e2b2b2A2|d>efg afed|
g/f/g/a/
b/a/g/f/ e2 (5A/B/c/d/e/f/|g>efd B<dAF|E2 e>f e2 (3def|
g>fed B>dAF|D2 d>e d3||
RACHAEL FINCH’S FANCY. AKA and see “Colm Danagher’s,”
“Jim Keeffe's (Polka) [2],” “Michael Murphy’s Slide,”
“Siobhán
Hurl’s.” Irish, Slide.
RACHAMID A BHEAN BHEAG. Irish. RCA
09026-60916-2, The Chieftains - "An Irish Evening" (1991).
RACHEL [1]. AKA and see "St. Louis
Quickstep." Old‑Time, Breakdown. USA; Missouri, North
Carolina, Virginia. D Major. Standard tuning. AB (Silberberg): AABB
(Christeson): AA'BB' (Phillips). “Rachael” was part of the fiddle/clawhammer
banjo "band" repertory in
***
The title “Rachael” or “Rachael’s
Hornpipe,” has been attributed to Rachael Jackson, wife of President Andrew
Jackson, according to the Texas Old Time Fiddling Association’s website (http://www.texasoldtimefiddlers.org/Monthly%20texas%20fiddle.htm).
There does not seem to be any corroborating evidence for this assertion.
***
Sources for notated versions: J.T.
Perkins [Phillips]; Benton Flippen (Surry County, N.C.) via Jody Stecher [Fiddler
Magazine]; Ruth Hawkins (b. 1923, Neosho, Mo.) [Beisswenger & McCann].
Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 188. R.P. Christeson (Old
Time Fiddlers Repertory, vol. 2), 1984; pg. 58. Fiddler Magazine,
Winter 2008/09, vol. 15, No. 4; pg. 10. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 193. Silberberg
(Tunes I Learned at Tractor Tavern), 2002; pg. 124. Missouri State Old Time Fiddlers
Association 002, Taylor McBaine ‑ "Boone County Fiddler."
Rounder CD 0436, Ruth Hawkins – “Traditional Fiddle Music of the Ozarks, vol.
2” (2000. Various artists).
X:1
T:Rachel [1]
M:2/4
L:1/8
S:Christeson – Old Time Fiddler’s Repertory, vol. 2
K:D
F/E/|D/F/A/d/ f/d/A/F/|G/A/B/d/ g(3B/c/B/|A/c/e/^g/
a/e/c/A/|B/c/d/B/ A/F/E/C/|
D/F/A/c/ d/A/F/D/|G/A/B/d/
g(3g/a/g/|e/c/e/^g/ a/e/c/A/|[df][d/f/][d/e/] [df]:|
|:a/g/|f/d/e/f/ g/b/a/g/|f/d/f/g/
aa/a/|A/c/e/f/ g/a/g/f/|e/c/e/^g/ aa/=g/|
f/d/e/f/ g/e/a/g/|f/d/f/g/
ab|A/c/e/f/ g/e/a/g/|f/d/e/c/ d:|
RACHAEL [2]. Old-Time, Breakdown. D Major. Standard tuning. AA’BB’.
X:1
T:Rachael [2]
M:C
L:1/8
S:Kirk Sutphin
R:Reel
N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:D
fg|:”D”afdf afdf|abag
fedd|”G”g2B2g2B2|geag fedd|”D”afdf afdf|abag fdge|
“G”fgfe “A”BAc2|1 “D”d3(F [F2)d2]
fg:|2 “D”d3(F [F2)d2] B/d/B||
|:”D”AGFE D2D2|f3g fedc|”G”BA G2
Bcd2|g3a g2 B/c/B|”D”AGFE D2D2|
f3g f2ge|”G”fgfe “A”BAc2|1 d3(F
[F2)d2] B/d/B:|2 d3(F [F2)d2]||
RACHEL RAE. AKA and see "The
Bashful Bachelor [1],” "Courting
Them All," "Don't
Bother Me," “Jimmy
Holmes’ Favorite,” "The
Moving Bogs (of Allen)," “Moving Bog(s) [2],” "Miss Rae's Reel.” Scottish,
Reel. D Major. Standard tuning. AB (Honeyman, Surenne): AAB (Athole, Kennedy, Kerr,
Raven, Skye): ABB' (Hardie). Attributed often to John Lowe and appearing in his Collection,
Book 1, though with the footnote: "This favourite reel has been published
in many collections, but none have subscribed the Author's name; it was
composed by Mr. Lowe's father, many years ago, when he was teaching Dancing in
Marykirk, Kincardineshire." MacDonald, in his Skye Collection opines "This excellent reel is in Mr. (John)
Lowe's best style and very popular." Lowe was a dancing master in Marykirk
whose famous reel first appeared in Archibald Duff's Collection of 1794 as "Raecheal Rea's Rant." His son was
the Joseph Lowe who published a collection of melodies in the 1840's. Emmerson
(1971) poses a class of Scottish reels defined by the rhythm quarter note‑two
eight notes‑quarter note‑two eight notes per measure. Tunes in this
category include "Rachel Rae," "The Wind that Shakes
the Barley," "Largo's
Fairy Dance," and "De'il amang
the Tailors." It has been suggested that the melody of
"Rachel Rae" is the basis for the American old‑time tune "Forked Deer." Bill Hardie (1986)
thinks it is a "particulary suitable" tune to follow the triplet
close of "Stirling Castle."
See also “Archie Menzies” and “Sir David Davidson of Cantry” for other famous John Lowe
compositions. Cameron’s Selection of
Violin Music (Glasgow), 1859; pg. 15. Hardie (Caledonian Companion), 1986; pg. 23. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 7. Hunter (Fiddle Music of Scotland), 1988; No.
215. Kennedy (Fiddler’s Tune Book),
vol 2, 1954; pg. 13. Kerr (Merry Melodies),
vol. 1; Set 2, No. 2, pg. 4. MacDonald (The
Skye Collection), 1887; pg. 32. Raven (English
Country Dance Tunes), 1984; pg. 178. Stewart-Robertson
(The Athole Collection), 1884; pg.
89. Surenne (Dance Music of
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Rachel Rae
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A, | D2FA d2Ac | d2fd fedc | d2Ad BAGF | E2AE FDD :|
A | defg a2fd | g2bg e2cA | defg a2fd | Agfe fddA | defg fafd |
g2bg eecA | D2Ad BAGF | E2 AD FDD ||
RACHAEL RAE'S MOTHER. Scottish, Reel. D Major. Standard
tuning. AB. MacDonald (The Skye
Collection), 1887; pg. 64.
X:1
T:Rachael Rae’s Mother
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
F|D2 F>A BAFA|dBAF E2 EF|D2 F>A
B>AFA|(d/c/B/A/) d>F D2 DF|
D2 F>A B>AFA|dcdf e2 ef|A2
F>A B<d e>B|c<e A>c d2d||g|
f<d d>a f<d a>d|f<d
d>f e2 eg|f<d d>a f<d a>A|B<d c>e d2 dg|
f<d d>a f<d a>f|(3gag
(3fgf e2 ef/g/|a.fg>e f<a e>f|(d/c/B/A/) dF D2D||
RACKET HORNPIPE. Scottish, Hornpipe. C Major. Standard tuning.
AABB. Kerr (Merry Melodies), vol. 3;
No. 354, pg. 39.
X:1
T:Racket Hornpipe
M:C
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 3, No. 354
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:C
(gf) | ecc’g ecfe | dAdc BGAB | cdef
geag | fed^c d2 (gf) | ecc’g ecfe |
dAdc BGAB | cdef geaf | edcB c2 ::
(gf) | edcB A2 (ag) | fed^c d2 (fe) |
dcBA BGgf | edcB c2 (gf) | edcB cdec
| A^cde fga^f | gece fdBd | c2e2c2 :|
RACKETTY JACK'S REEL. American, Reel. G Major. Standard
tuning. AB. Cole (1000 Fiddle Tunes),
1940; pg. 40. Ryan’s Mammoth Collection,
1883; pg. 66. White’s Unique Collection,
1896; No. 68, pg. 12.
X:1
M:2/4
S:White’s Unique Collection (1896), No. 68
Z:AK/Fiddler’s Companion
D/G/B (c/B/)A/B/ | d/B/c/A/ B/G/F/G/ | D/G/B (c/B/)A/B/ | d/B/c/A/ B/G/F/E/ |
D/G/B (c/B/)A/B/ | d/B/c/A/ B/G/F/G/ | D/G/B (c/B/)A/B/ | d/B/c/A/ (B/G/)[B,G] ||
g/d/B/d/ g/d/B/d/ | e/a/f/a/ g/f/e/d/ | c/B/c/d/ e/d/e/f/ | g/f/g/e/ d/^d/e/f/ |
g/d/B/d/
g/d/B/d/ | e/a/f/a/ g/f/e/d/ | c/B/c/d/ e/d/e/f/ | g/d/c/A/ [B,G]z ||
RACKHAM’S. English, Waltz. D Major.
Standard tuning. AABC. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 166, pg. 44.
RACKIN' PONY. See "Rocking Pony."
RADDIGAN'S. "Redican's"?? Shanachie Shan‑79017,
John & Phil Cunningham ‑ "Against the Storm" (1980).
RADELL CLOG. Old‑Time. The tune was recorded for the Library of Congress by musicologist/folklorist
Vance Ranolph from Ozark Mountain fiddlers in the early 1940's.
RADETZKY MARCH. A march tune by Johann Straus that sometimes
appears in fiddler's manuscripts.
RADFORD HORNPIPE. AKA and see “Madame Sylvain.” English, Hornpipe. E
Flat Major. Standard tuning. AABB. Tony Doyle (Plain Brown Tune Book)
believes the title may refer to the Radford Brothers, Walter and Albert, “who
are known to have written and performed some notable, but technically difficult
pieces in Manchester during the early 1800’s.” The tune requires movement to
the third position on the violin in the 2nd part. It later appears
published by J. Scott Skinner as “Madam
Sylvain.” Source for notated version: the c. 1847 music manuscript book of
Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown].
Plain Brown Tune Book, 1997; pg. 35.
RADICAL ROAD, THE. Scottish, Reel. D Major. Standard tuning.
X:1
T:Radical Road, The
M:10/8
L:1/8
Q:120
K:D Major
ecA ecA AAcc|ecA ecA ceAc|ecA ecA
AAcc|
M:9/8
dfd cec BBB|!
M:10/8
ecA ecA AAcc|ecA ecA ceAc|ecA ecA
AAcc|
M:9/8
dfd cec BBB|!
M:10/8
ccee cAA cAA|ccee BGG BGG|ccee cAA
cAA|
M:9/8
dfd cec BBB|!
M:10/8
ccee cAA cAA|ccee BGG BGG|ccee cAA
cAA|
M:9/8
dfd cec BBB:|!
M:10/8
ecA ecA AAcc|ecA ecA ceac|ecA ecA
AAcc|
M:9/8
dfd cec BBB|!
M:10/8
ecA ecA AAcc|ecA ecA ceac|ecA ecA
AAcc|
M:9/8
dfd cec BBB|!
M:10/8
ccee cAA cAA|ccee BGG BGG|ccee cAA
cAA|
M:9/8
dfd cec BBB:|!
M:10/8
ccee cAA cAA|ccee BGG BGG|ccee cAA
cAA|
M:9/8
dfd cec BBB|]
RADSTOCK JIG, THE. English, Country Dance Tune (cut time). C
Major/A Dorian. Standard tuning. AB. The English collector Cecil Sharp noted
this tune from one James Higgins (1819-c. 1910), a fiddle player who was living
at the time in Shepton Mallett Union, a workhouse. It was originally simply
called “Radstock” (the ‘jig’ in the title denoting not metre but rather simply
a tune for dancing). Higgins was a native of the
X:1
T:Radstock Jig, The
M:4/4
L:1/8
K:D
=c4 E3=F|G2G2 G4|A2 AB =cBcd|e2e2A4|A2
AB =cBcd|
e2 ef g2 fg|afdf egec|A2A2 A4||g2g2
gfed|cdef g2 gf|
e2a2 a3g|e2a2a2 ef|g2 ga gfed|cdef
g2 fg|afdf egec|A2 AG A4||
RAE LAN, AN. AKA and see "The Full Moon
[1]."
RAE REEL, THE. AKA and see “Reichswall Forest.”
RAELTHION LEANABHACH, AN (The Young
Beauty). Irish,
Air (cut time, “with expression”). D Major. Standard tuning. AB. Source for
notated version: the 1861 manuscript collection of James Goodman, an Anglican
cleric who collected primarily in County Cork [Shields]. Shields (Tunes of
the Munster Pipers), 1998; No. 19, pg. 11.
RAFFERTY’S MUSTACHE. Irish, Reel. D Major/Mixolydian.
Standard tuning. AABB. The tune is named for New Jersey flute player Mike
Rafferty. Black (Music’s the Very Best
Thing), 1996; No. 320, pg. 171.
X:1
T: Rafferty's Mustache
S: Willie Kelly
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
E |: FEFA G2 AG | FDFA d2 af | g3 e fd d2 | AB=cA EFGE |
FEFA G2 AG | FDFA d2 af | g3 e fd d2 | =cAGE ED D :|
A | defd g2 ag | fdfa g2 ag | fdAF G2 FG | AB=cA dcAc |
defd
g2 ag | fdfa g2 ag | fd d2 AB=cA | EFGE FD D :|
RAFFERTYS’ PARTY, THE. Irish, Reel. G Major. Standard tuning.
AABB. Composed in early 1985 by Falmouth, Massachusetts, writer and musician
Bill Black to commemorate a New Years part at the Hasbrouck Heights, N.J., home
of his friends the (Mike) Raffertys. Black (Music’s
the Very Best Thing), 1996; No. 58, pg. 30.
X:1
T: The Raffertys' Party
C: © B. Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
A | BAGA BAGA | (3Bcd eg edBA | BAGA egfe | dBAG E3 A |
BAGA BAGA | (3Bcd ge g3 a | bg g2 afdB | cAFA G3 :|
z | eAfA g2 ab | gedc BG G2 | ADBD c2 de | cAFA G3 B |
eAfA
g2 ab | gedc BG G2 | EAcA FAdA | cAFA G3 :|
RAFFLE JIG, THE. AKA and see "The
Ball (Humours) of Ballynafeidh," "The Banks of Lough Gowna,"
"The Clare Jig [1],"
"Delaney's Drummers,"
"The Kitten and the Frog,"
"Kitty in the Fog,"
“The Mug of Brown Ale [2],”
“Old Man Dillon,” "One Bottle More [2]," "Paddy in London [2],” "Paddy O'Brien's (Jig) [3],” "The Rambler From Clare [1],"
"The Stonecutter's Jig,"
"Tom Billy's {Jig} [1],"
“Winter Apples [2],” "Young Tom Ennis."
RAFRAICHISSANTE, LA. French, Country Dance (6/8 time). G Major. Standard. 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. De Cat points out the tune is a close relative to the English jig “Whip her and grind her.” Daubat (Cent Contredanses en Rond), 1757; No. 3.
X:1
T:Rafraichissante, La
M:6/8
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 3
Z:AK/Fiddler’s Companion
K:G
G2G G(B/c/d) |BGB c2A | G2G G(B/c/d) | AFA c2A | G2G G(B/c/d) | BGB g2d |
ece dBd | AFA c2A :: g/(f/e/f/)g def | gfg (dc)B | g/(f/e/f/)g de=f | A=FA c2A |
g/(f/e/f/)g def | (gfg) {e)dcB | (ca)c (Bg)B | AFA c2A :: BGG ADD | BGG cBA |
BGG
ADD | AFA c2A | BGG ADD | gfg dcB | cAc BgB | AFA c2A :|
RAFTERY’S HORNPIPE.
AKA and see “Limerick Junction.”
Irish, Hornpipe. Caoimhin Mac Aoidh (1994) explains that O’Neill’s source was a
fiddler named Joe Timoney, known in Donegal as Joe Phaedar Sheain O Tiomanai, who
was born and raised at Min a tSamhaidh, Fintown, Donegal, and who was the
great-great-great-great-great grandson of the reknowned poet Tadhg An Fhile
O’Tionamai An Aighe. Timoney emigrated to the United States at the beginning of
the 20th century and arrived in San Francisco just after the great earthquake
of 1906. O’Neill (Waifs and Strays of
Gaelic Melody), 1922; No. 362.
RAG PICKER BILL. Old-Time, Breakdown. G Major. Standard tuning.
AA'B. Source for notated version: Rector Hicks [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 106.
RAGE, THE. English, Reel. A Major. Standard tuning. AABB.
Kennedy (Traditional Dance Music of
RAGG, THE.
English, Jig.
X:1
T:Ragg
M:6/8
L:1/8
R:Jig
S:William Vickers’ music manuscripts,
pg. 48 (1770)
Z:AK/Fiddler’s Companion
K:D
g|f2A AcA|B/c/dB G2g|f2A AcA|d3
g3|f2A AcA|
B/c/dBG2g|faf gec|d3 g3::f2g afd|e2f
gec|
f2g afd|f3 a3|f2g afd|e2f gec|faf
gec|1 d3 g3:|2 d3 g2||
RAGGED AND TORN, AND TRUE. AKA and see "Old (Sir) Simon the King."
RAGGED ASS BILL. AKA – “Ragged Bill.” Old‑Time,
Breakdown or Schottische. USA, Missouri. B Flat Major (‘A’ part) & F Major
(‘B’ part). Standard tuning. AA’BB’. The title (as “Ragged Ass Bill”) appears
in a list of traditional
RAGGED LADY. AKA and see "I Have a
Wife of My Own."
RAGGED SAILOR. Scottish, Country Dance Tune (6/8 time). G
Major. Standard tuning. AABB. The melody appears in the Bodleian Manuscript (in the Bodleian Library,
X:1
T:Ragged Sailor
M:6/8
L:1/8
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:G
D | GAB gfe | dBG ABd | e2A A2B |
GAB gfe | dBG ABc | B2”tr”A G2 :|
|: d | (ece) dBd | ece dBd | c2B A2d
| ece dBd | (e/f/)ge dAc | B2A G2 :|
RAGGEDY ANN. AKA and see "Ragtime Annie."
The title appears in a list of traditional Ozark Mountain fiddle tunes compiled
by musicologist/folklorist Vance Randolph, published in 1954. A familiar term
for “Ragtime Annie,” perhaps based on association with the popular American
rag-doll of the mid- 20th century.
RAGS, THE (Les Guenilles). French‑Canadian, Reel. D
Major. Standard tuning. AABBCCCC (Phillips): AA'BB'CC' (Reiner & Anick). A
common French-Canadian reel, according to David Green in liner notes to “Louis Beaudoin”
(Philo Records, 1973). Sources for notated versions: Dennis Mathieu via Louis
Beaudoin (Burlington, Vt.) [Reiner & Anick]; Ken Kosek [Phillips]. Phillips
(Traditional American Fiddle Tunes),
vol. 1, 1994; pg. 194. Reiner & Anick (Old
Time Fiddling Across America), 1989; pg. 64. Philo
2000, "Louis Beaudoin" (1973. Learned in Burlington, Vt., from Dennis Mathieu).
RAGS AND STITCHES.
English, Waltz. A Major. Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 167, pg. 44.
RAGS
AND TATTERS.
AKA and see “Larry
Redigan’s/Redican’s (Reel) [1].” Irish, Reel. The title is perhaps a
mis-hearing of the name of the composer, Larry ‘Redican’.
RAGTIME ANNIE [1]. AKA and see “Ragged Annie,”
"Raggedy Ann (Rag)," “Raggin’ On,” "Bug(s) in the 'Tater(s),” “What Made the Wildcat Wild.”
Old‑Time, Canadian; Breakdown. USA, very widely known. D Major ('A' and
'B' parts) & G Major ('C' part). Standard tuning. AAB (Phillips/1989): AA'B
(Sweet): AABB (Ford, Welling): AA’BB (Ruth): AA'BB' (Krassen): ABCC
(Christeson): AABCC (Jarman, Johnson): AA'BCC' (Reiner & Anick): AA'BBC
(Messer): AA’BCC (Silberberg): AA'BB'CC (Miskoe & Paul): AA'BB'CC'
(Phillips/1995). A popular tune and a staple of the North American fiddling
repertoire, of uncertain origins. There is much speculation along the lines of
the following: "Ragtime Annie is almost certainly a native American dance
tune, possibly less than 100 years old" (Krassen, 1973). Guthrie Meade has
a similar point of view regarding the tune's antiquity, noting that this very
popular piece appears in many relatively modern collections, but not in early
ones. There are persistent rumors that it first was heard played by Texas
fiddlers around 1900-1910, but no firm evidence. Reiner & Anick (1989)
suggest the tune is derived from a piano piece called "Raggedy Ann
Rag," and catagorize it as a 'Midwest' and 'Southwest' tune, but they did
not cite a source and so far no one has been able to access a piano melody
similar to the fiddle tune (The title “Raggedy Ann Rag” does appear on printed music,
written by Joe "Fingers" Carr and published in 1952, far too late to
have been the original for “Ragtime Annie”.) The earliest appearance of
“Ragtime Annie” that can be documented, in print or otherwise, is the recording
by
***
There is often some confusion among
fiddlers whether to play the tune in two or three parts, and both are correct
depending on regional taste. Eck Robertson’s original version was in three
parts (the third part changes key to G major) as are many older south-west
versions, and some insist this form was once more common that the two-part
version often heard in more recent times. Other Texas fiddlers only learned the
two-part version. Glen Godsey writes: “Of the fiddlers I knew in Amarillo in
the 1940's-1950's, Eck was the only one who played the third part. I learned
only two parts as a kid, and we always played just two parts for the square
dances. I only learned the third part many years later from Eck's recording.”
Little Dixie, Missouri, fiddler Howard Marshall says the third part has been a
vital part of the tune in Missouri for many years, offering that the renowned
regional fiddler Taylor McBaine remembered playing it that way as a child in
the very early 1920s. Marshall reports that local speculation is that the third
part was inserted to relieve a square dance fiddler from the stress of keeping
the main part of the tune going through a long set. Gordon McCann (2008)
remembered that Missouri fiddler Bob Walsh, a respected entrepreneur who often
judged fiddle contests, would deduct points from a performance if the third
part was omitted. Drew Beisswenger (2008), however, remarks that the three-part
version of “Ragtime Annie” is seldom heard among Ozark fiddlers, and consigns
the longer version to northern Missouri fiddlers, and fiddlers west of the
Mississippi. Some feel the third part is reminiscent of “Little Brown Jug,” although there
can be considerable variation from fiddler to fiddler in the way third parts
are rendered.
***
“Ragtime Annie” was the first tune learned by itinerant West Virginia fiddler John Johnson (1916-1996), originally from Clay County, from fiddler Dorvel Hill who lived in a coal-mining town called Pigtown, not far from Clay, W.Va. Left handed fiddler Walter Melton played all three parts at square dances around Dunbar, W.Va., in the 1930s.
***
sit on the railroad
and listen to Dorvel play the fiddle at night. And I
learned most all of
Dorvel’s tunes. I just set down there and listened
to all his tunes and then go home and play
them. (Michael Kline, Mountains of
Music, John Lilly ed. 1999).
***
Other early sound recordings include
Al Hopkins (1926) and the Kessinger Brothers (1930). See the related
"Going Uptown." Arkansas Arkie Woodchooper calls the tune “Raggin
On.” Sources for notated versions: African-American fiddler Bill Driver (Miller
County, Missouri) [Christeson]; Hector Phillips [Reiner & Anick]; Alexander
Robertson [Phillips/1995]; transplanted French-Canadian fiddler Omer Marcoux
{1898-1982} (Concord, N.H.) who "played (the tune) way back in
Canada" [Miskoe & Paul]; Glenn Berry [Silberberg]; Bob Walsh
(1929-1990, Shannon County, Missouri) [Beisswenger & McCann]. Beisswenger
& McCann (Ozark Fiddle Music), 2008; pg. 160. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1),
1973; pg. 171‑172. Ford (Traditional
Music in America), 1940; pg. 44. Frets
Magazine, "Byron Berline: The Fiddle," July 1980; pg. 64
(includes variations). Jarman, 1944; pgs. 2‑3. Johnson, vol. 7, 1986‑87;
pg. 12. Krassen (Appalachian Fiddle),
1973; pg. 48‑49. Messer, 1980; No. 10, pg. 1 (appears as "Raggedy
Ann"). Miskoe & Paul, 1994; pg. 35. Phillips (Fiddlecase Tunebook), 1989; pg. 36. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 107. Reiner
& Anick (Old Time Fiddling Across
America), 1989; pg. 131. Ruth (Pioneer
Western Folk Tunes), 1948; No. 123, pg. 43. Silberberg (Tunes I Learned
at Tractor Tavern), 2002; pg. 123. Sweet (Fifer’s Delight),
1965/1981; pg. 75. Welling (Welling’s
Hartford Tunebook), 1976; pg. 5 (with variations). Caney
Mountain CEP 212 (privately issued extended play LP), Lonnie Robertson (Mo.).
Columbia 15127‑D (78 RPM), 1926, Charlie Poole and the North Carolina
Ramblers (Posey Rorer, fiddler). County 507, The Kessinger Brothers (Clark
Kessinger, fiddler) ‑ "Old Time Fiddle Classics." County 509,
"Charlie Poole and the
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An Index to Recorded Sources |
X:1
T:Ragtime Annie
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
FE|DFBF AFBF|DFBF A2FE|DEFG ABAF|A2c2c2cB|
ABcA B2cB|ABcA BAcB|ABcd egfe|d2dc d2:|]
fg|a2ab afd2|A6 fg|a2ab agf2|g6 ef|
gfef gfef|gagf e2ef|gagf edcB|A6 fg|
a2ab afdB|A2AB A2 AA|d4 =c4|B6 A2|B2 b2 b2ag|
f2a2 a2gf|A2ef gfec|d2=c2 B2A2||
K:G
|:G6 AB|c6 cB|A2f2 f2ef|gfga gedc|
D2B2 B2AB|E2 c2 c2cB|A2f2 f2ef|gfga g2:|
Variant of ‘C’ part from Dave Barton:
|: "G" B5AB2| "C" c3d cBAG| "D" F2fe fdef| "G" gage dBAG
| B5AB2| "C" c3d cBAG| "D" F2fe fdef|
gfga g4:|
RAGTIME ANNIE [2]. Old-Time, Breakdown. D Major.
Standard tuning. AA'B. Very similar to version #1. Source for notated version:
Kenny Baker [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 108.
RAGTIME DREAM. Adapted from an old ragtime
piece by George Lansing by John Hartford. Rounder
0042, John Hartford – “Hamilton Ironworks” (2001).
RAHEEN REEL [1]. AKA – “The Raheen.” Irish, Reel. G Major.
Standard tuning. ABB’: AA’BB’ (Taylor/Tweed). From the Murphy Family of County
Wexford, recorded with fiddler Kevin Burke (“Up Close”). Source for notated
version: Kevin Burke [Taylor/Tweed]. Taylor (Traditional Irish Music: Karen
Tweed’s Irish Choice), 1994; pg. 21. Green Linnet
SIF 1052, Kevin Burke – “Up Close” (1984)
X:1
T:Raheen Reel [1]
T:The Raheen
R:Reel
L:1/8
M:4/4
K:G
AB || cABG A3B | cABG AGEF | G2GF
GABc | dBGB d2AB |\
cABG A3B | cABG AGEG | e3f gage |
dBGB A4 |:a3b a3g |\
edef gedg |1 e3f g3f | edef gedg :|2
edef gage | dBGB A4 ||
X: 2
T: Raheen #1
M: 4/4
L: 1/8
S: Patrick Street
R: reel
D: "Live from Patrick Street"
Z: transcribed by "Barney"
K: G
AB | cABG A3 B | cABG AGED | G3 A BABc | dBGB d3 B |
cABG A3 B | cABG AGED | Aeef gage | dBGB A2 :|
AB | eaab a2 ag | edef gddd | edef g2 gf | edef
gedf |
eaab
a2 ag | edef gddd | edef gage | dBGB A2 :|
RAHEEN REEL [2]. AKA and see “Trip to Cullenstown.” Irish, Reel.
From the Murphy Family, recorded with fiddler Kevin Burke (“Up Close”, 1984).
The tune was composed by harmonica player Phil Murphy of Ballygow, Co. Wexford. Green Linnet SIF 1052,
Kevin Burke – “Up Close” (1984)
RAHEEN REEL [3]. AKA and see “Murphy’s (Reel) [3].” AKA – “The
Dingle Reel.” Irish, Reel. D Major. Standard tuning. AA’BB. From the Murphy
Family, recorded with fiddler Kevin Burke on “Up Close” (1984), as the third
tune of the “Raheen Reels”. Phil Murphy heard the tune at an early 1970’session
during the "Fleadh Ceol" in Listowel, Co. Kerry. Phil’s son John
believes that his father called the reel after the musicians whom he heard play
it, who were from the Dingle (Co. Kerry) area. Fiddler Séamus Connolly &
Laurel Martin print the tune in their book as “Murphy’s.” Green Linnet SIF 1052,
Kevin Burke – “Up Close” (1984)
X:1
T:Raheen Reel [3]
R:Reel
L:1/8
M:4/4
K:D
D3F EDB,A, | D3E FAA2 |1 Beed e2de |
f2ed BAFE :|2 Beed e2dB | AFEF D4 ::\
ABdg fedf | afdf edBd | ABdg fedf |
afdf e2dB|\
ABdg fedf | afdf edBc | d2dB ABAG |
FDEF D4 :|
X:2
T: Raheen #3
M: 4/4
L: 1/8
S: Patrick Street
R: reel
D: "Live from Patrick Street"
Z: transcribed by "Barney"
K: D
FE | D2 DF EDB,A, | D2 DE FA A2 | Beef e2 de |
f2 ed BAFE |
(3DED DF EDB,A, | D2 DE FA A2 | Beef e2 dB |1
AFEF D2 :|2 AFEF D2 ||
EF | ABde f2 fa | afdf edBA | ABde fedf | af df
e2 dB |
ABde
f2 fa | afdf edBA | dcdB AddB |1 AFEF D2 :|2 AFEF D4 ||
RAIBH TÚ AG AN gCARRAIG, AN. AKA and see "Were You at the Rock? [1]"
RAILROAD [1], THE. AKA and see "Railroad Piece."
RAILROAD [2], THE. AKA and see "The Merry
Blacksmith," "The
Corkonian," "Paddy
on the Railroad," "The Boys of the Lake [2],"
"The Peeler's Jacket [1],"
"The Police Jacket,"
"The Shepherd in/on the
Gap," "The
Peeler's/Policeman's Reel." The title is presumably simply a
shortened form of “Paddy on the Railroad.”
RAILROAD [3]. Old-Time. USA, North Carolina. Marimac 9064D,
Lauchlin Stamper & A.C. Overton - “Sally with the Run Down Shoes” (1996).
RAILROAD [4], THE (An Bóthar Iarainn). Irish, Reel. A Major. Standard
tuning. AB. Versions of this tune are “Miss
Cox [1]” and “Rose Mary.”
Source for notated version: the c. 1880's collection of fiddler and uilleann
piper Stephen Grier (Farnaght, County Leitrim) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 129, pg. 64.
RAILROAD HORNPIPE. Canadian, Hornpipe. Apex
RAILROAD PIECE. AKA ‑ "The Railroad [1]." American, Reel. USA,
southwestern Pa. G Major. Standard tuning. AA'BB'. Sources for notated
versions: The Hoge brothers (fiddlers from Greene County, Pa., 1944) and John
Tustin (Greene County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 155A‑B, pg. 91.
RAILROAD RUNS THROUGH GEORGIA. Old‑Time, Breakdown. USA, Oklahoma. A
Major. AEae tuning. AABB. The melody was in the repertoire of the Oklahoma
Collins family, whose modern-day representative, fiddler Earl Collins, recorded
several albums. Older members of the family contributed to Marion Thede's book.
Source for notated version: Walter Baker (McCurtain County, Oklahoma) [Thede].
***
Railroad runs through Georgia
Railroad and a canal
There never would've been no hell.
***
(To the second part of the melody)
There never would've been no hell, boys,
There never would've been no hell;
There never would've been no hell, boys,
There never would've been no hell.
***
Wrap up your troubles in your mind, boys,
Wrap up your troubles in your mind;
Wrap up your troubles in your mind, boys,
Wrap up your troubles in your mind. (Thede)
***
Thede (The Fiddle Book), 1967; pg. 42‑43. Yodel-Ay-Hee 008, One Eyed Dog - "Traditional Mountain
Tunes" (1993).
X:1
T:Railroad Runs Thru
M:C
L:1/8
R:Reel
N:AEae tuning
S:Tom Sauber
N:From a transcription by John Lamancusa,
by permission; see http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:A
cB|A2 c2e3A|c2(e4e)(e|f)afe d2f2|e3f
e2cB|A2c2e3e|c2(e4 e)(e|
f)afe defg|abaf e2c2|e3f e2cB||A2 Ac
BABA|c2(A2A2)EF|
A2 AcBc B2|A3B A2EF|A2 Ac
BABA|c2e2c2e2|efec B2c2|1 A3B A2EF:|2 A3BA2||
RAILROAD(ING) THROUGH THE ROCKY
MOUNTAINS. AKA and see “Cricket on
the Hearth,” “Damon’s
Window/Winder,” “The
Devil in Georgia [2],” “Grand
Honrpipe [1],” “Marmaduke’s
Hornpipe,” “Mud Fence,” “Ride the Goat Over the
Mountain,” "Rocky
Mountain Goat,” “Swiss Chalet."
Old‑Time, Breakdown. USA, Kentucky. D Major. Standard tuning. AB
(Silberberg): AABB (Phillips): AABCC (Titon). Source Jim Bowles (1903-1993) learned
the tune from his uncle, Wash Carter, who called it “Goin’ Down to Shirley’s,”
according to Jeff Titon (2001). Sources for notated versions: Jim Bowles (Rock
Bridge, Monroe County, Kentucky, 1959) [Phillips, Titon]; George Reynolds
[Silberberg]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 194. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 124. Titon (Old Time Kentucky Fiddle Tunes),
2001; No. 133, pg. 160. Marimac 9000, Dan Gellert
& Shoofly ‑ "Forked Deer" (1986. Learned from a field
recording of Ky. fiddler Jim Bowles). Marimac 9060, Jim Bowles -
"Railroading Through the
X:1
T:Railroading Through the
M:C
L:1/8
R:Reel
S:Woodshed AllStars
N:From a transcription by John
Lamancusa, by permission; see http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:D
(^G2||”D”A2)A2 (A=c)AG|FD2(D D3) (F|”A”E2)A,2
A,[A,E]A,A,|EA,2 (A, A,2)(A2|
“D”A2)A2 (A=c)AG|FD2(D
D3(F|”A”E2)A,2 [A,E]A, A,2|”D”D6 FG|
“D”A2 FG (A=c)AG|FD2(D D4)|”A”A4
A3F|GE2(
“D”A2)A2 (A=c)AG|FD2(D
D3)(F|”A”E2)[A,2E2] [A,E][A,E] A,2|”D”D6 ((3ABc|
|:”D”d2) de (fe) d2|”G”(ed)ef (gf)e2|”D”d2
de (fe)d2|”A”e(cB)(c A2 ((3ABc|
“D”d2) de (fe)d2|”G”(ed)e(f g2)
ga|”A”b2 ag (ed)c2|”D”d8:|
RAILWAY, THE. Scottish, Jig. G Major. Standard tuning. AABB.
Kerr (Merry Melodies), vol. 3; No.
262, pg. 29.
X:1
T:Railway, The
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 262
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D | G2G GBd | g2d dgf | e2d c2B |
ABG FED | G2 G GBd |
g2d dgf | edc BAG | A3 G2 :: d | b2b
b2a | g2g g2d | e2d efg |
a2 g fed | b2b b2a | g2g g2d | efg
dBG | A3 G2 :|
RAILWAY HORNPIPE [1]. Scottish, Hornpipe. D
Major/Mixolydian. Standard tuning. One part. Composed by Charles Grant (b.
Strondhu, Knockando, 1806). Grant, who became a schoolmaster in Banffshire, had
the distinction of being a violin pupil of William
Marshall's, and played for the great strathspey composer on his
deathbed. Later Marshall's family, who thought highly of Grant, bequeathed him
William's fiddle as a token of friendship. Later in life Grant also played with
another great Scottish fiddler, Scott Skinner,
becoming the link between two of the most outstanding fiddlers whose playing
spanned nearly a century and three‑quarters. Neil (The Scots Fiddle), 1991; No. 76, pg. 101.
RAILWAY HORNPIPE [2]. English, Hornpipe. England,
Shropshire. G Major. Standard tuning. AABB. Source for notated version: a c.
1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 43,
pg. 15.
RAIN A SUP. AKA and see “Bowna,” “Kiskeam (Slide).” Irish, Slide
(12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major.
Standard. AA’B. Rain a Sup means ‘rain a little’. Source for notated version:
accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded in
recital at Na Píobairi Uilleann, October, 1984 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 47, pg. 28.
Mulvihill (1st Collection),
1986; No. 16 in slide section (appears as untitled slide). Gael-Linn CEF 092, Julia and Billy Clifford - “Ceol as
Sluabh Luachra.”
RAIN BARREL. American, Schottishe. D Major.
Learned by Arizona fiddler Kenner C. Kartchner from mentor Pete Marker. Kartchner
said the name was "fictitious" and did not know the origin.
RAINBOW (HORNPIPE), THE. Irish, Hornpipe. G Major. Standard tuning.
AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of
Mullaghbawn, south County Armagh. Keegan (The
Keegan Tunes), 2002; pg. 70.
RAINBOW SCHOTTISCHE. AKA and see “Andy Kerrin’s
Hornpipe/Set Dance,” “Duck’s Eyeball
[2],” "Right Foot, Left
Foot," “Stephen
Baldwin’s Schottische,” “Tom
Bhetty’s Hornpipe,” "Winter(‘s) Night Schottische."
American, Schottische. USA, southwestern Pa. D Major ('A', 'B' and 'C' parts)
& G Major ('D' part) {Ford}: G Major ('A' part) & D Major?? ('B' part)
{Bayard}. Standard tuning. AA'B (Bayard): AABCDD (Ford). The “Rainbow
Schottische” title dates at least to the 1852 when it was published in New York
by Firth, Pond & Co. with composer credits to Henry Kleber. (Another
“Rainbow Schottische” was composed in 1878 by N.A. Bouse, but is a different
melody). It remained a popular title for more than 60 years, republished in
numerous versions for the pianoforte, in brass band arrangements, and for fife
and drum corps. In the 1890’s “Rainbow Schottische” was published in Australia
by John Snow and company http://nla.gov.au/nla.mus-vn932085).
***
Kleber was a mid-19th century
composer from Pittsburgh, who turned out popular music for the ballroom,
producing a variety of waltzes, schottisches, polkas, and quadrilles. He was also
a friend of songwriter Stephen Foster. Ken Emmerson, in his book on Foster
entitled Doo-dah! (1997) traces the long friendship of the pair. Kleber
(1816-1897) was a native of Darmstadt, Germany, who emigrated in 1832 to settle
in the Pennsylvania city, following his father who had settled there some years
earlier. An educated musician, Kleber soon found employment at an exclusive
girls’ academy run by a Mr. Lacy, although the school closed in the scandal
that ensued after a student eloped. He was a talented musician with an
entrepreneurial spirit, and performed in concerts as early as 1836 (he had a
pleasant tenor voice in addition to his instrumental skills) and was a church
organist and choirmaster. In addition he formed a male vocal group called the Troubadours
(which included his brother Augustus) and a brass band. Finally, Kleber was a
member of the Pittsburgh Philharmonic Society (a precursor to the Pittsburgh
Symphony), and sometimes accompanist with the group. Like many musicians Kleber
supplemented his income by giving music lessons and by hosting informal soirées
musicales, showcasing the talents of himself, his students and special
guests. At some point Kleber must have
realized that a more secure and steady income could be had in the retail market,
and he opened a music business in 1845, H. Kleber and Bro., partnering with his
brother Augustus. It thrived, and he moved to more spacious quarters in 1850 at
301 Third Street that he advertised as the “Sign of the Golden Harp.” He was
awarded the Pittsburgh franchise for the sale of Steinway Pianos, and he
competed with a rival music establishment run by rival John Mellor for the
right to sell Chickering pianos as well. He was the Pittsburgh agent for the
New York publisher Firth, Pond & Co., which not only published Kleber’s
compositions but also those of Stephen Foster’s. Meanwhile Kleber graduated
from the informal musical evenings to become an concert impresario, hosting
pianist Louis Moreau Gottschalk for one, a concert pianist aligned with Chickering
pianos. Kleber was a success in his profession, well-known in Pittsburgh, and
well-off due to his business acumen and musical talent. His house was handsome,
and he traveled comfortably in Pittsburgh society.
***
One gets a picture of Kleber, who was
rather short in stature, as a energetic individual at home with the capitalist
rough-and-tumble of a city rapidly expanding as a regional center of commerce
and culture. He could be irascible, and his passion could sometimes devolve
into irascibility. When a bad review appeared in print in 1850, Kleber borrowed
a cowhide whip from his brother Augustus and set out in search of his critic.
Upon finding him, Kleber thrashed the unfortunate writer, who only escaped
serious injury by running into his house and crying “Murder!” out the window
until assistance arrived. The brothers
Kleber were arrested and released on bail, and, while Henry seemed to feel his
honor was satisfied, Augustus now felt himself aggrieved. He found remedy in
thrashing the unfortunate critic once again, chasing him into a dry goods store
and whipping him again in the presence of several terrified women customers.
Augustus and Henry were both fined $100.00 plus court costs.
***
According to Morrison Foster,
Stephen’s brother, and the Pittsburgh Bulletin (March 9, 1896), Henry
Kleber taught Stephen music, specifically the piano (although Foster played the
flute as well). The Kleber and Foster families even lived near each other, in
Allegheny City. Kleber sold Foster’s songs from his Third St. establishment,
advertising ten of “Stephen C. Foster’s latest songs.” In 1850 Foster dedicated
one of his instrumental pieces, the “Village Bells Polka” to Kleber, who
returned the favor with his “Spirit Polka” in 1851. When Foster died Henry
conducted the choir (in Harwood’s setting of Alexander Pope’s poem “The Dying
Christian to His Soul”, then sang a solo (that the Pittsburgh Post said
had “never been excelled and rarely equalled”) an aria from Handel’s oratorio Joseph
and his Brethren. Kleber himself died in the winter of 1897, after a bout
with influenza. The Pittsburgh Bulletin remarking in his obituary: “His marked personality, his forceful
character, strong likes and dislikes; intense love of music, and a signal
ability as a singer, musician, composer and business man, were traits that
united to render him a conspicuous member of musical, social and business
circles for a period extending over more than three generations.”
***
See also Henry Reed’s “Kiss Waltz [2],” which uses the ‘A’
strain of “Rainbow Schottische.” Paul Mitchell informs that piedmont
County
777, Virgil Anderson – “On the Tennessee Line” (1980).
X:1
T:Rainbow Schottische
M:C
L:1/8
R:Schottische
B:Ford – Traditional Music in
Z:AK/Fiddler’s Companion
K:D
({a/b/c’/}d’2) f>g a2
d>e|f>ed>B A3^G|A>Bc>d e>fg>a|b2 a^g a3a|
d’2 f>g a2 d>e|f>ed>B
A3^G|A>Bc>d e>fg>c|d2 ({e}d>)c d2z2:|
B>cB>^A Bcde|f>gf^e
(f2b2)|f2b2f2e2|d>edc B2F2|
B>cB^A Bcde|f>gf^e (f2b2)|f2
ef decd|B2 z2 A4||
({a/b/c’/}d’2) f>g a2
d>e|f>ed>B A4^G|A>Bc>d e>fg>a|b2 a>^g a3a|
d’2 f>g a2 d>e|f>ed>B
A3^G|A>Bc>d e>fg>c|d2 ({e}d>)c d2z2||
K:G
g2 g>b2 d2 d>g|G>Bd>g
b4|a2 a>c’f2 f>a|A>df>a d’3f|
g2 g>b d>g B>d|G>Bd>g
b3g|f>ga>b c’>de>f|g2 ({a}g>f g2 z2:|
X:2
T:Rainbow Schottische 2
M:4/4
L:1/8
B:Bayard – Dance to the Fiddle
(1981), No. 409B
S: George Strosnider (elderly
fiddler from Greene County, Pa., 1930's)
K:G
g2B2d2G2|B>AG>E
D2z2|D>EF>G A2 B>c|e>dd>d d2z2|
g2B2d2G2|B>AG>E
D2z2|D>EF>G A>Bc>A|B2G2G2:|
|:E2 ({F}E)D E>F G>A|A2
({B}A)F A4|a2e2a2e2|d>d ^cA Bc/B/ A2|
g2 B2 d2G2|B>AG>E D2z2|DEFG
AABA|G2G2G2z2:|
X:3
T:Untitled schottische
M:4/4
L:1/8
R:Schottische
B:Bayard – Dance to the Fiddle
(1981), No. 409D
S:A Pennsylvania fiddler named Hogg
(1948), collected by Sam Bayard
K:G
e/f/||g2B2d2G2|BAGE D3E|DEFG
ABcd|(3efe d2 dedB|
[B2g2]B2 [D2d2]G2|BAGE D3E|DEFG
ABcA|B2G2G2 z2||
D2[D2B2][D3B3]c|BAGE D3E|DEFG
ABcd|(3efe d2 dedB|
D2B2B3c|BAGE D3E|DEFG ABcA|B2G2 G3
z||
RAINBOW TUNE, THE. AKA and see “Maggies Pancakes.”
X:1
T:The Rainbow Tune
T::Maggies Pancakes
M:4/4
L:1/8
K:D
fB B2 fgfe|dBAB GBdB|cAA dAA ec|afdB
ecAc|
dB B2 fgfe|dBAB GBdB|cA dc ec
A2|afec B4:|
f2 dB GBdB|caec dB B2|f2 dB
GBdB|caec Bcde|
fd d2 fgfe|dBAB GBdB|cA dA eA
A2|afec B4:|
RAINBOW TWO-STEP. Canadian, Two‑Step (2/4 time). D Major
('A' part) & G Major ('B' part).
Standard tuning. AABB. Source for notated version: fiddler Vic Kibler (Hamilton
County, New York) learned the tune from a recording by Canadian fiddler Rod
Dorman. Bohrer (Vic Kibler), 1992;
No. 2, pg. 2.
RAINBOW WALTZ. Cajun, Waltz. USA, southwestern Louisiana. D
Major. Standard tuning. One part. Related songs include Lawrence Walker's
"'Tits Yeux Noirs"
and "Country Waltz [1],"
and also the original "Valse
a' 'Tit 'Dam Hanks." The song is named for a nightclub, remarks
Raymond Francois (1990). Source for notated version: Austin Pitre (La.)
[Francois]. Francois (Yé Yaille, Chère!),
1990; pgs. 456-457. Swallow Records SW-LP6041, Austin
Pitre.
RAINCE PIOBAIRE. AKA and see "The Pipers
Dance."
RAINY DAY [1], A (La Baisteac). AKA and see "The Flowers of Limerick,"
"The Telephone," "The Mills Are Grinding [1],"
"Salt River [2],"
"Ducks on the Pond,"
"Pigeon on the Pies,"
"Molly Maguire [1],"
"Down the Hill,"
"Ewe Wi' the Crooked Horn" (floater). Irish, Reel. A Dorian. Standard
tuning. AB. Similar also to “Lovely
Anne [2]." Source for notated version: noted from the playing of
uilleann piper Séamus Ennis (
X:1
T:The Rainy Day
Z:Jerome Colburn
M:C|
L:1/8
R:Reel
K:ADor
G | EAAG A2 GA | Bded gedc | BGGF G2
dG | G2 dG eG dG |\
EAAG A2 GA | BA ~A2 Bdef | ~g3 e
dBGA | B2 dB A3 :: g |\
eaag ~a2 ga | ba ~a2 bgag | eggf ~g3
a | bg ~g2 bgag |\
eaag aged |
^cdef g2 ag | eaag egdG | B2 dB A3 :|**
RAINY DAY [2], THE. Old-Time, Breakdown. USA, West Virginia. A
Mixolydian. Standard tuning. AB. A modal tune in the repertoire of Braxton
County, W.Va., fiddler Melvin Wine. Variants include the Hammons family’s “Hell Against the Barn Door,”
RAINY DAY [3], THE (Lá na Báistí). Irish,
Jig. G Major. Standard tuning. AA’BB’. Source for notated version: P. Farrelly
[Breathnach]. Breathnach (CRÉ V),
1999; No. 50, pg. 25.
RAINY REEL. Canadian, Reel. Alcazar Dance Series ALC‑201,
Jerry Robichaud ‑ "Maritime Dance Party" (1978).
RAISIONA BHL'-A-HUBHLA. AKA and see "The Races of
Ballyhooly."
RAITEACHAS NA TAIRNGREACHT. Irish, Slow Air (6/8 time). D
Major. Standard tuning. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 115, pg. 98.
RAITLIN ISLAND. Irish, Reel. Tara
Records 4008, “Josephine Marsh” (1996).
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