The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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RAA - RAJ

 

 

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. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 169, pg. 58.

           

R.P. HALE.  American, Reel. D Major. Standard tuning. AABB. Composed by Peterborough, New Hampshire, keyboard player and composer Bob McQuillen. Miller (Fiddler’s Throne), 2004; No. 234, pg. 143. McQuillen (Bob’s Note Book #9), 1993.

           

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. USA, Kentucky. D Major (‘A’ part) & D Mixolydian (‘B’ part). GDad tuning. AB. Jeff Titon (2001) says the tune is related to two other Kentucky fiddle tunes, “Russian Rabbit” and “Indian Squaw.” Source for notated version: Estill Bingham (1899-1990, Pineville, Bell County, Ky., recorded c. 1986) [Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 132, pg. 159.  

                       

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, Bluegrass; Song. The Monroe Brothers (Charlie and Bill) recorded the tune around 1935 under the title “Feast Here Tonight,” but probably learned it from the Prairie Ramblers who broadcast on the WLS program National Barn Dance and recorded the tune on a Bluebird 78 RPM.  The Ramblers’ version was quite a bit slower. According to Peter Feldman, the tune is essentially the same as the Carter Family’s “Gospel Ship” (also recorded by the Monroe Brothers.

***

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 Monroe Brothers – “Feast Here Tonight” (1975. Reissue appears as “Have a Feast Here Tonight”). Folkways FA2399, New Lost City Ramblers –“New Lost City Ramblers, vol. 4” (1962. Appears as “Have a Feast Here Tonight”). Marimac 9013, Ross County Farmers – “Farmer’s Frolic” (1987. Appears as “Feast Here Tonight”). Prestige International INT13038, Jeanie West – “Roamin’ the Blue Ridge” (appears as “Have a Feast Here Tonight”). RCA (Victor) LPM-2472, Walter Forbes – “Ballads and Bluegrass” (1962. Appears as “Feast Here Tonight”). Rebel SLP1495, The Stanley Brothers – “Legendary Stanley Brothers, vol. 2.” Union Grove SS-9, “Union Grove 50” (1974).

                                   

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 Patrick County, southwestern Va., according to Tom Carter and Blanton Owen (1976).  Frank Maloy remembers Tommy Magness playing the tune in the 1940's over WSM, and a 78 RPM version was recorded by fiddler Tommy Jackson, both of which did much to popularise the melody so that it has wide currency in the South. “Rachel” is frequently heard in informal Missouri jam sessions (Maloy), and it is played by influential fiddlers from that state such as central Missour fiddlers Taylor McBaine and Charlie Walden (Beisswenger). There is great similarity with “Texas Quickstep [1],” to the point that the only differences in some versions are the reversal of parts from each other (see note for that tune). In addition to “St. Louis Quickstep,” Beisswenger (2008) also reports links with West Va. Fiddler Sam Hacker’s “California Quickstep” and Ky. fiddler Buddy Thomas’s “Short’s Addition.”  Gary Harrison finds Illinois versions under the titles “Gypsies in the Wood” and “Little Rock,” while Jeff Titon remarks that a similar Kentucky tune is “Smokey Hornpipe.” Still other melodies that bear resemblance to “Rachel” are James “Skeeter” Walden’s “Tom Hickey” (Beisswenger), “Cowboy’s Dream” (Meade), and the first strain of “The Old Homestead” (Jarman).

***

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 Scotland), 1852; pg. 143. Beltona 2103 (78 RPM), Edinburgh Highland Reel and Strathspey Society (1936). Fife Strathspey and Reel Society – “The Fiddle Sounds of Fife” (1980).

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

T:Racketty Jack’s Reel

M:2/4

L:1/8

R:Reel

S:White’s Unique Collection (1896), No. 68

Z:AK/Fiddler’s Companion

K:G

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 village of Shepton Mallet, Somerset, where he was a clerk in the local Co-operative Society, and Radstock was a nearby mining town. There is some thought, although no evidence, that the tune may have been in the repertoire of the Radstock Band, an old village band. However, the melody appears to be a close relation of the relatively common Irish hornpipe “Poll Ha’penny.” Maude Karpeles, another English collector, published the tune in a book of tunes to accompany Northwest morris dances. Howard Mitchell writes that because of the modulation the tune is somewhat difficult to play on the melodeon and it is not heard played for morris dances often—one modern English dance band included it in a band tune book with the annotation: ‘do not finish on this tune…do not start on this tune…in fact do not play this tune.’  Raven (English Country Dance Tunes), 1984; pg. 184. Home Service – “Alright Jack.”

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 Britain and Ireland: Reels and Rants), 1997; No. 164, pg. 39.

 

RAGG, THE.  English, Jig. England, Northumberland. D Major. Standard tuning. AABB. The melody appears in the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom, unfortunately, little is known.

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 Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. The melody is in schottische form, with a characteristic key change. John Hartford says he does not know where the tune came from, but that Missouri fiddlers Gene Goforth and Roy Wooliver both played it. “The fine part is in one of the ‘Redbirds’,” said John, “of which there are several.” Source for notated version: Gene Goforth (1921-2002, High Ridge, near St. Louis, Mo.), learned from Roy Wooliver [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 47. Rounder 0442, John Hartford – “Hamilton Ironworks” (2001. Appears as “Ragged Bill,” learned from Gene Goforth & Roy Wolliver).

           

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, Oxford), inscribed " A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740," and, around the same year, in Walsh’s Caledonian Country Dances (vol. 3).  Subsequently it appeared in John Johnson’s Choice Collection of 200 Favourite County Dances (vol. 3, 1744), Walsh’s Compleat Country Dancing Master (4th Book, c. 1747), and the Caledonian Pocket Companion (c. 1745, Book 2nd). It also appears in a few music manuscript copybooks, such as the Browne Family book in England and the music manuscript copybook of Henry Livingston, Jr., in the United States.  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. In North America a ‘ragged sailor’ is a name for the cornflower plant.

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 Texas fiddler Eck Robertson (along with Henry C. Gilliland) in 1923, and a few years later by the Texas duo Solomon and Hughes. Robertson’s release was backed with “Turkey in the Straw.” “Ragtime Annie” was later recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's.

***

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.

***

I was bashful back then and wouldn’t go in anybody’s house hardly. I’d

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 North Carolina Ramblers, vol. 2." County 725, "The Riendeau Family: Old‑Time Fiddling from Old New England." County 733, "The Legend of Clark Kessinger." Document DOC-8012-CD, “The Kessinger Brothers, vol. 3.” Document DOC-8038-CD, “Texas Fiddle Bands.” Document 8040, “The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 2” (reissue. Appears as “Ragged Annie”). Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker" (1966). Folkways 8826, Pers Four‑‑"Jigs and Reels." Fretless 200a, Yankee Ingenuity‑‑"Kitchen Junket" (1977). Front Hall 01, Bill Spence and Fennigs All‑Stars‑‑"The Hammered Dulcimer." Heritage 048, Gordon Tanner ‑ "Georgia Fiddle Bands" (Brandywine 1982). Marimac 9110, Floyd County Ramblers ‑ "It'll Never Happen Again" (orig. rec. 1930). Missouri State Old Time Fiddlers Association 002, Taylor McBaine ‑ "Boone County Fiddler" (played in three parts). Missouri State Old Time Fiddlers' Association, Cyril Stinnett - "Plain Old Time Fiddling." Rounder 0100, Byron Berline ‑ "Dad's Favorites." Vanguard VSD 79170, "Doc Watson and Son." Victor LPV 552, Eck Robertson ‑ "Early Rural String Bands" (a reissue of the original 1922 recording). Victor 19149 (78 RPM), Eck Robertson (1922). Victor Vi V-40244 (78 RPM), {Ervin} Solomon & {Joe} Hughes (1929. A twin fiddler version). Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999). Voyager, Benny Thomasson – “Say Old Man Can You Play the Fiddle?”

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 AL 1613, "The Best of Don Messer and his Islanders, vol. 6."

           

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

If it hadn't been for Liza Jane

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 Georgia

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 Rocky Mountains." Meriweather 1001-2, Jim Bowles (et al) – “I Kind of Believe it’s a Gift“ (c. 1986).

X:1

T:Railroading Through the Rockies

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(E E2)(A2|

“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 North Carolina fiddler Lauchlin Shaw played the tune under the title “Duck’s Eyeball [2].” Virgil Craven called the tune “Rainbow Schottische.” Paul also connects the melody with an Irish tune played by south Ulster native Gerry O’Connor, who called it “Tommy Bheaty’s Hornpipe,” a nod to Tommy McCarthy. There were two Tommy McCarthys, relates Paul, Tommy “Puck” McCarthy, and Tommy, son of Betty (and hence “Tom Bhetty”). Allan’s Ballroom Companion, 19??; pg. 23. Bayard (Dance to the Fiddle), 1981; No. 409B, pg. 388. Ford (Traditional Music in America), 1940; pg. 156.

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 America (1940)

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 (Dublin), who learned them from his father, a piper taught by Nicholas Markey who in turn had been taught by the renowned Billy Taylor of Drogheda and later Philadelphia [Breathnach]. Breathnach (Ceol V, No. 2), 1982. Breathnach (The Man and His Music), 1997; No. 1, pg. 71. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 473, pg. 91. Seamus Tansey – “Jigs, Reels and Airs.”

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,” Braxton County fiddler Ernie Carpenter’s “Dan Friend’s Piece” and a unnamed variant in the repertoire of Pendleton County fiddler Rob Probst (Milnes, 1999). Source for notated version: Melvin Wine [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 124. Reed Island Rounders – “Goin’ Home” (2002).

 

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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