The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
_______________________________
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RAK - RAN |
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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] |
RAKER'S HORNPIPE. AKA and see "Rickett's
Hornpipe." Old‑Time, Breakdown.
RAKE’S MARCH, THE. Irish, March (6/8 time). G Major. Standard. AABB. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 64.
X:1
T:Rakes March
M:6/8
L:1/8
S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s
Companion
K:G
(d/c/) | BGG DGG | BAB G2c | BGG DGG | ABG F2c | BGG DGG | BAB G2c |
dBd cAG | FDD D2 :: d | gdB BAG | GBB B2d | geB BAG | FAA A2d |
gdB
BAG | GBG c2A | BdB cAG | FDD D2 :|
RAKES OF ABBEY, THE. Irish,
Reel. The tune belongs to a large family of tunes (see note for “Youngest Daughter [1]”).
RAKES OF CASHELL. AKA – “Rakes of
Cashel.” Irish, Jig. G Minor. Standard. AABBCCDD. The tune first appears in
print in T. Skillern’s Twenty-Four
Country Dances, 1782 (
X:1
T:Rakes of Cashell
L:1/8
R:Jig
S:O’Farrell – Pocket Companion, vol. II (c. 1806)
Z:AK/Fiddler’s Companion
K:G Minor
D | G2g gdg | gdg fdc | B2g g/a/bg | fdd cAF | G2g gdg | gdg fdc | B2b abg | fdd cAF :|
|: B3c3 | d2g gab | B3c3 | d=ed cAF | B3c3 | d2g g>{a/g/}fe | fdd ecc | dBB cAA |
fed cAF :: B2G GDG | G2g gdc | B2G GDG | GBd cAF | B2G GDG | GBd ga/g/f/e/ |
fdd ecc | dBB cAA | fdf cAF :: G2g g/a/bgt | g/a/bg fdc | B2g g/a/bg | fdd cAF |
G2g g/a/bg g2e | fdd ecc | dBB cAA | fdf cAF :: BDD cDD | dDD gab | BDD cDD |
ded
cAF | BDD cDD | dDD ga/g/f/e/ | fdd ecc | dBB cAA | fed cAF :|
RAKES OF CASTLEBAR, THE. AKA and see “The
Black Hoe,” “Castlelan Races,” “The Castlebar Jig,” “Morrison’s Fancy,” “The Thrush in the Strand,” “The Thrush in the Straw [1].”
Irish, Jig.
RAKES OF CASTLEBAR [2], THE. Irish, Reel. A Mixolydian. Standard. AABB.
Kennedy (Traditional Dance Music of
RAKES OF CLONMEL [1]. AKA and see "Galloping
O'Hogan."
RAKES
OF CLONMEL [2] (Na Racairide Ua
Cluain-Meala).
AKA and see "Boys of the Lough,"
“Double Head,” "Take a kiss or let it alone,” “Tom Morrison’s Favourite."
Irish (originally),
***
O’Neill, in
Irish Folk Music (pg. 97), says about
“Rakes of Clonmel”: “(I) memorized it (from the playing of piper Delaney) and
dictated it to our scribe (fiddler James O’Neill). The latter, remembering a
third strain from an
***
Itinerant dancing masters in
***
Sources for notated versions:
X:1
T:Rakes of Clonmel
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance
Music of
Z:AK/Fiddler’s Companion
K:Ador
cBA BGE|EAA A2B|cBc ABc|BGG G2f|gfg ege|dBG Bcd|ecA dBG|EAA A2:|/
[|a|a^ga A2a|ecA A2f|gfg B2g|dBG GAB|cBc C2c|dcd D2d|edc Bcd|ecA A2a|
aea
aed|cBc A2f|gdg gdc|BAB GAB|cBc C2c|dcd D2d|edc Bcd|ecA A3|]
RAKES OF DRUMLISH [1], THE (Réiceanna Dhroim Lis). Irish, Slip Jig. E Minor (‘A’ part)
& G Major (‘B’ part). Standard. AAB. Drumlish is in
RAKES OF DRUMLISH [2], THE. Irish, Reel. G Major. Standard. AABB. Drumlish
is in
X:1
T: Rakes of Drumlish
S: Tony DeMarco
C: ? Paddy Reynolds
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
A | B2 AB GEDB, | DB,DG EA A2 | B2 AB GEDA | cAdc BGGA |
B2 AB GEDB, | DB,DG EA A2 | BGAF GFED | cAdc BG G :|
A | Bd d2 ed d2 | BddB cAAc | Bd d2 edge | dcAc BGGA |
B2
gB bBgB | BddB cAAc | Bdgb afge | dcAc BG G :|
RAKES OF IRISHMEN, THE. Scottish??, Jig. G Major. Standard. AABB. Kerr
(Merry Melodies), vol. 1; No. 48, pg.
40.
RAKES
OF KILDARE (Na
Racairaide/Racairi Ua Cill-Dara). AKA and see "Ailteoiri Na Cille," “Barndoor Jig,” "The Galbally (Cranbally) Farmer,"
"Get Up Early," "The (Old) Barn Door Jig," "Let Us Leave That As it Is"
(Fagamaoid sud mar ata se). Irish, Double Jig. A Dorian (Allan's, Johnson,
Kerr, O'Neill/Krassen): G Dorian (Roche, version #2): G Major/Mixolydian (Cole,
O'Neill, Williamson): G Major (Harker/Rafferty, Roche, first version).
Standard. AAB (Kerr): AABB (Cole, Johnson, O'Neill, Roche [#1], Williamson):
AABB' (Allan's, Harker/Rafferty). The word ‘Rakes’ in the title appears to be
short for ‘rakehell’, which itself stems from the Old Icelandic word
"reikall," meaning "wandering” or “unsettled." Popularly
rakes referred to stylish and spirited young men. The name Kildare means
‘Church of the Oaks’. O'Sullivan (1983) finds the tune (which appears in many
collections of Irish music) earliest in print (in this form) in Levey's Dance Music of Ireland (1858), where it
is called only "A jig." O’Neill (1913), however, is convinced the
tune was derived from an ancient march melody called “Get Up Early,” which the
Irish collector Edward Bunting obtained in 1802 from one R. Stanton at
***
American
versions have been collected in
***
Various
sets of words have been set to the tune, including the Irish song “Goidé sin
don té sin.”
***
Sources for notated versions:
fiddler Andy Keezer (Bear Lake, Michigan) [Johnson]; New Jersey flute player
Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 25, pg. 7.
Cole (1000 Fiddle Tunes), 1940; pg.
60. Giblin (Collection of Traditional
Irish Dance Music), 1928; 95. Harker (300
Tunes from Mike Rafferty), 2005; No. 235, pg. 72. Johnson (The Kitchen Musician's No. 7:
|
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:Rakes of Kildare, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
D|D2G GFG|ABc d2e|=fef ded\cAG F2D|DGG
GFG|ABc d2e|=fed cA^F|G3 G2:|
|:d|gfg def|gfg a2g|=fef ded|cAG
F2d|gfg def|gfg a2g|=fed cA^F|G3 G2:|
RAKES OF KILKENNY.
Irish, Slip Jig. D Major/Mixolydian. Standard. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 63, pg. 14. Levey (Dance Music
of
T:Rakes of Kilkenny
M:9/8
L:1/8
R:Slip Jig
S:Levey – Dance Music
of
Z:AK/Fiddler’s Companion
K:D
|: dcd DdB AGF | dcd dfa gfe | fdf edc dcB | AGF =cAc GFE :|
X:2
T:Rakes of Kilkenny
M:9/8
L:1/8
R:Slip Jig
S:O’Farrell – Pocket Companion, vol. IV (1810)
Z:AK/Fiddler’s Companion
K:D
|: aga (f/g/)af g2e | aga (f/g/)af ecA | aga (f/g/)af g2d | BGG gfe dBG :|
RAKES OF KINSALE, THE. Irish, Jig. E Minor. Standard. AABBCCDD. The
tune is a variant of O’Neill’s “The
Old Grey Goose [1],” with one of the parts being a duplicate of the first,
an octave higher. Source for notated version: "Copied from (a) very old
well‑written manuscript lent to me in 1873 by Mr. J. O'Sullivan, of
Bruff, Co.
X:1
T:Rakes of Kinsale, The
M:6/8
L:1/8
R:Jig
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:E Minor
E|GBG FAF|GEE E2F|GBG FAG|FDD
DEF|GFG AGA|Bde/f/ gfe|dBG AGF|GEE E2:|
|:D|G>AB/c/ dBG|BAB
dBG|A>Bc/d/ ecA|cBc/d/ ecA|G>AB/c/ dAd|egf/a/ gfe|
dBG AGF|GEE E2:|
|:f|gbg afa|gee e2f|gbg fag|fdd
def|g/a/bg f/g/af|egf/a/ gfe|dBG AGF|GEE E2:|
a|gdB AGF|GEE E2f|gdB ABG|FDD
DEF|GFG AGB/c/|def gfe|dBG AGF|GEE E2:|
RAKES OF MALL, THE. See “Rakes of Mallow.”
RAKES
OF MALLOW, THE (Na Racairide Ua
Mag-Ealla). AKA
and see “Jolly Sailor,” “Rakes of
***
In America
an early version appears in the music manuscript copybook of Henry Livingston,
Jr. Livingston purchased the estate of
Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was
a Major in the 3rd New York Regiment, which participated in
Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from
British control. An important land-owner in the Hudson Valley, and a member of
the powerful Livingston family, Henry was also a surveyor and real estate
speculator, an illustrator and map-maker, and a Justice of the Peace for
Dutchess County. He was also a poet and musician, and presumably a dancer, as
he was elected a Manager for the New York Assembly’s dancing season of
1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief
Justice of Governor of New York. Livingston included the following verse, a
drinking song attributed to Edward Lysaght, with the melody:
***
Beauxing, belling, dancing, drinking,
Breaking windows, damning, sinking,
Ever raking never Thinking
Lives the Rakes of Mallow.
Spending faster than it comes,
Beating Bawds, whores, and duns,
Bacchus’ true begotten sons,
Lives the Rakes of Mallow.
***
The tune
has apparently sometimes been linked in New England with the dance
"Morning Star," and can be used for either a polka or a single step
dance in the North‑West (England) morris dance tradition. The title
appears in a list of the repertoire of Maine fiddler Mellie Dunham. The elderly
Dunham was Henry Ford's champion fiddler in the late 1920's. “Rakes of Mallow”
was prominently featured in director John Ford’s film The Quiet Man, starring
John Wayne (filmed in the village of Cong, Ireland), as the theme for the fight
scene when the town comes alive. See also the tune under the name “Romping
Molly” in Shaw’s Cowboy Dances
(1943). Bruce Olson gives a good history of the song at the Digital
Tradition Mirror. Sources for notated versions: Lewis Jilson (Bernardstown,
Mass.) [Linscott]; Les Weir, 1976 (New York State) [Bronner]; seven
southwestern Pa. fifers and fiddlers [Bayard]; Bob Fleck (Michigan) [Johnson]. Aird (Selections),
vol. II, 1782; No. 21, pg. 8 (appears as “Rakes of Mall”). Arkie, pg. 46.
Bayard (Dance to the Fiddle), 1981;
No. 190A‑G, pgs. 145‑148. Bronner (Old Time Music Makers of New York State), 1987; No. 29, pg. 118.
Cazden, 1955; pg. 39. Cushing, No. 61. DeVille, 1905; No. 67. Jarman, 1951; pg.
73. S. Johnson (The Kitchen Musician No.
4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 13. S. Johnson
(The Kitchen Musician's No. 7: Michigan
Tunes), vol. 7, 1986‑87; pg. 10. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs),
1951; pg. 33 (appears as "Rigs O' Marlow" in an strathspey setting).
Keller (Giles Gibbs Jr. His Book For the
Fife...1777), 1974; pg. 11. Kennedy (Fiddlers
Tune Book), vol. 1, 1951; No. 54, pg. 27. Kerr (Merry Melodies), vol. 3; No. 371, pg. 41. Linscott (Folk Songs of Old New England), 1939;
pg. 99. Miller & Perron (New England
Fiddlers Repertoire), 1983; No. pg. Moffat (Minstrelsy of Ireland), 1897; pg. 21. Mulvihill (1st Collection), 1986; No.
33, pg. 125. O'Malley, 1919; pg. 39. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1814, pg. 341. Ostling,
1939; No. 22. Raven (English Country
Dance Tunes), 1984; pg. 169. Robbins, 1933; No. 133. Russell (The Piper’s Chair), 1989; pg. 17. Ruth (Pioneer Western Folk Tunes), 1948; No.
6, pg. 4. Seattle (William Vickers),
1987, Part 2; No. 204. Sweet (Fifer’s
Delight), 1965/1981; pg. 56. Sym, pg 25. Wade (Mally’s North West Morris Book), 1988; pg. 14. Wier, pg. 455. Folkways 8826, Per's Four‑‑"Jigs and
Reels." North Star NS0038, "The Village Green: Dance Music of Old
Sturbridge Village." Bob Smith’s Ideal Band – “Better than an Orchestra”
(1977).
|
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Rakes of Mallow
M:C|
L:1/8
R:Reel
K:G
|:G2B2G2B2|G2B2 cBAG|F2A2F2A2|F2A2 dcBA|G2B2G2B2|
G2B2d3B|cBAG FGAc|B2G2G4::g2fe d2c2|B2c2d4|g2fe d2c2|
B2d2A4|g2fe d2c2|B2c2d4|cBAG FGAc|B2G2G4:|
X:2
T:Rakes O Mellow, The
M:C|
L:1/8
R:Reel
S:William Vickers’ Northumbrian music manuscripts, pg. 49 (1770)
Z:AK/Fiddler’s Companion
K:G
gf/e/ dcBc d2|gfe dc Bg A2|gf/e/ dc BG c2|BGAF G2G2:|
|:GBGB GB dA/G/|FAFA FA cB/A/|GBGB GB dg|BGAF G2G2:|
RAKES OF MARLOW. See "Rakes of Mallow."
RAKES OF NEWCASTLE
WEST, THE. AKA and see "Repeal of the Union" [2],
"Ballai Lios Chearbhaill," "The Merry Old Woman [1],"
"The Walls of Enniscorthy,"
"The Walls of Liscarroll [2],"
"The Mouse in the Cupboard,"
"Tumble the Tinker," "Wollop the Potlid." Irish, Jig. G
Mixolydian. Standard tuning. AAB. ‘Rakes’ appears to be short for ‘rakehell’,
which itself stems from the Old Icelandic word "reikall," meaning
"wandering” or “unsettled." Source for notated version:
"Copied...from a MS. evidently written by a skilled fiddler with much
musical taste, from Limerick, but the name of the writer nowhere appears"
[Joyce]. Newcastle West is in the Co. Limerick. Joyce (Old Irish Folk Music and Songs), 1909; No. 348, pgs. 159‑160.
X:1
T:Rakes of Newcastle West, The
M:6/8
L:1/8
R:Jig
S:Joyce – Old Irish Folk Music and Songs (1909)
K:G Mix
B2c AGF|DGG AGA|B3 cAc|d2g fdc|B2c
AGF|DGG AGA|Bcd/B/ cAF|AGG G2z:|
BAB cBc|d2g fde|f3g3|a2g fdc|BAB
cBc|d2g fdc|Bcd/B/ cAF|AGG G2z|BAB cBc|
d2g fde|f3g3|a2g fdc|dgg agg|a2g
fdc|Bcd/B/ cAF|AGG G2z||
RAKES OF ROCHESTER. English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB.
The tune dates to c. 1750. Barnes (English
Country Dance Tunes), 1986.
RAKES OF RODNEY. AKA and see "Rhode Island march." English, American; Country
Dance Tune. The well-known tune was preserved in a chime clock made at the end
of the 18th century by New Windsor, Connecticut, clockmaker Daniel Burnap.
Rodney perhaps refers to Admiral Rodney, an 18th century British
naval hero.
RAKES OF SOLLOHOD, THE (Racairi Sulcoid). Irish, Slip Jig. G Major. Standard
tuning. AB. See also the variant “Lasses of
Solohod.” O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 454, pg. 88.
X:1
T:Rakes of Sollohod, The
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 454
Z:AK/Fiddler’s Companion
K:G
D2c A2G F2D|D2G G2A B2c|d2c A2G
F2D|G2B A2F G2B|
d2c A2G F2D|D2G G2A B2c|d2c A2G
F2D|G2B A2F G2A||
G2B d2B c2A|G2B d2c B3|G2B d2B
c2A|G2F G2A B3|
G2B d2B c2A|G2B d2c B3|def g2e
d2B|A2B A2B c2e||
RAKES OF STRAGNE, THE. Irish, Reel. D Major. Standard tuning. ABBCC.
Kerr (Merry Melodies), vol. 4; No.
170, pg. 20.
X:1
T:Rakes of Stragne, The
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 170
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
D2 (3FED (AD) (3FED | FAdc defd | D2
(3FED (AD) (3FED | BdAF FEEF |
D2 (3FED (AD) (3FED | FAdc defd |
(3agf (3gfe fdec | (3Bcd (AF)FEEF ||
|: dcdB ADFA | AFdF ADFA | dcdB ADFA
| (3Bcd (AF) FEEF :|
|: decd ABFA | BAFA Bcde | fdec dcBA
| (3Bcd (AF) FEEF :|
RAKES OF TERRYGOLDEN, THE (Rábairí Terrygolden). Irish, Reel. G Major. Standard
tuning. AA’B. Source for notated version: fiddler John Cathcart (County
Fermanagh) [Breathnach]. Breathnach (CRÉ
V), 1999; No. 165, pg. 81.
RAKES OF WESTMEATH [1], THE (Racairi Iarmide). AKA and see “(A) Blast of Wind,” “The Clout,” “The Cock in the Heath [2],” “Drops of Springwater,” “The Humours of Caledon,” “The Humours of Westmeath,” “Kiss in the Furz.” Irish, Slip Jig. D Major/D Mixolydian.
Standard. AAB (O'Neill): AABB (Cole, Kennedy, Ryan). ‘Rakes’ appears to be
short for ‘rakehell’, which itself stems from the Old Icelandic word
"reikall," meaning "wandering” or “unsettled." The oldest
of the tune family appears to be “The Clout,” printed by Neale in a collection
of country dances, Dublin, 1726. As “The Rakes of Westmeath” it appears in
several collections from the 18th and 19th
century, including Burke Thumoth’s c. 1745 collection, John Johnson’s (1748)
and The Hibernian Muse. Cole (1000 Fiddle Tunes), 1940; pg. 65. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 61. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 64, pg. 14. O'Neill
(Dance Music of Ireland: 1001 Gems),
1907/1986; No. 416, pg. 83. Ryan’s Mammoth
Collection, 1883; pg. 96.
|
See also listings at: Alan Ng’s Irishtune.info |
X:1
T:Rakes of Westmeath, The [1]
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
416
Z:AK/Fiddler’s Companion
K:D
d2d dAG FED|d2d dAF G2E|ABc dAG
FGA|=cBc E2F G2E:|
||d2g fdf ece|d2g fdf g2e|d2g fdf
ece|=cBc E2F G2E|
d2g fdf ece|d2g fdf g2e|afd gec
d2B|=cBc E2F G2E||
RAKES OF WESTMEATH [2], THE. Irish, Slip Jig. D Major. Standard. AABB. A
variation of version #1, but the first seems the more pleasing tune, says
O'Neill. Colclough (Tutor for the
Irish Union Pipes), c. 1830; pg. 17. O'Neill (O’Neill’s Irish Music),
1915; No. 228, pg. 122.
X:1
T:Rakes of Westmeath [2]
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:D
F/G/ | A2d FDF EGE | A2d FDF G2E |
A2d FDF EGE | c3 EFE G2E | A2d FDF EGE | A2d FEF G2E |
A2d FEF EGE | c3 EGE G2E | d2d fed
ecA | d2d fed g2e | d2d fed ecA | c3 EGE G2E :: ABc dAG FEF |
ABc dAF G2E | ABc dAG FEF | c3 EGE
G2E :|
RAKES OF WESTMEATH [3], THE. Irish, Slip Jig. D Major. Standard. AABBCC. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 81.
X:1
T:Rakes of Westmeath, The [3]
M:9/8
L:1/8
R:Slip Jig
S:O’Farrell – Pocket Companion, vol. IV (1810)
Z:AK/Fiddler’s Companion
F/G/ | A2d FDF EGE | A2d FDF G2E | A2d FDF EGE | c2 EGE G2E :|
|: d2d fed ecA | d2d fed g2e | d2d fed ecA | c3 EFE G2E :|
|:
ABc dAG FDF | ABc dAF G2E | ABc dAG FDF | c2 EFE G2E :|
RAKE'S RANT, THE. Scottish, Reel. ‘Rakes’ appears to be short
for ‘rakehell’, which itself stems from the Old Icelandic word
"reikall," meaning "wandering” or “unsettled." The melody
appears in the Drummond Castle Manuscript
(in the possession of the Earl of Ancaster at Drummond Castle), 1734, inscribed
"A Collection of the best Highland Reels written by David Young, W.M.
& Accomptant."
RAKING PAUDHEEN RUE. AKA and see "Raking Red‑Haired
Pat," "Bold and
Undaunted Fox," "McKenna's
Dream." Irish, Air (2/4 time). G Minor ('A' part) & G Major ('B'
part). Standard. AAB. O’Neill felt “Farmer
Hayes” was a cognate tune and that it must have had a common origin with
the “Raking Paudheen” tune. Source for notated version: “Big” John Ryan,
originally from Tramore, County Waterford, once champion “stone-thrower” and an
amateur on several musical instruments [O’Neill]. O’Neill (Music of Ireland:
1850 Melodies), 1903; No. 15, pg. 3. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 29, pg. 23.
X:1
T:Raking Paudheen Rue
T:Raking Red Haired Pat
M:2/4
L:1/8
R:Air
N:”Tenderly”
S:O’Neill – Music of Ireland (1903), No. 15
Z:AK/Fiddler’s Companion
K:G Minor
d/c/|B>B A{B/A/}G|A<d
c>A|G>G A<B|c>A F>G/2A/2|
B>B A{B/A/}G|A<d (3cAG|A>A
G>G|G3:|
||D|G>A B<c|d>=e
f<d|g>f e<c|d>B G>D|G>A B<c|d>=e f<d|g>f e<c|
d2 (3d=e^f|g>f =e<g|f>e
d<c|B>G A>B|c>A F>G/2A/2|B>B A{B/A/}G|
A<d (3cAG|A>A G>G|G3||
RAKING/RAKISH
RED-HAIRED PAT. AKA and see "Raking Paudheen Rue," "Bold and Undaunted Fox,"
"McKenna's Dream."
RAKISH HIGHLANDER, THE. AKA and see “The Mountain Lark [3]." Scottish,
Reel. E Minor. Standard. AB. The melody is the same as that of the Irish
“Mountain Lark [3]." Cole (1000
Fiddle Tunes), 1940; pg. 4. Ryan’s
Mammoth Collection, 1883; pg. 26.
X:1
T:Rakish Highlander, The
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:E Minor
D2 BA (Bd).e.f | deBd AFDF | E2 BA (Bd).e.f
| dBAF GE Ez | D2 BA (Bd).e.f |
deBd AFDF | E2 BA (Bd).e.f | dBAF GE
E || e | eB~B2 | efge | fdad bdad |
eB~B2 efge | fedf e2 ef | eB~B2 efge
| fdad bdad | gafg egfe | dBAF BE E2 ||
RAKISH PADDY
("Paidin An Racaire" or "Pádraig Réice").
AKA and see "Caber Féigh,"
"The Cameronian('s) Rant,"
"Caper Fey," "The Castle Street Reel," "The Deer's Horn(s)," "Glastertown's Downfall."
Irish, Reel. D Major (Williamson): C Major (Kennedy, Phillips): D Mixolydian/D
Major (Breathnach, Feldman & O'Doherty, Harker/Rafferty, Mallinson,
Mitchell, O'Neill, Roche). Standard. AB (Feldman & O'Doherty, Mitchell,
O'Neill/1850 & 1001, Roche): AABB (Kennedy, Phillips, Williamson): AA'BB'
(Harker/Rafferty, Mallinson): ABC (Breathnach, O'Neill/Krassen). Brendan
Breathnach (1963, 1971), Robin Williamson (1976) and other knowledgeable
musicians generally think the tune, a perennial favorite of performers,
originated in Scotland. O'Neill finds that Bremner published it under the title
"Caper Fey" (an English corruption of the Gaelic "Caber
Féigh," 'the deer's horns') in 1768 in his Second Collection of Scots Reels or Country Dances. "Rakish
Paddy" is cited by Cowdery (1990) as the title tune of a dance tune family
(including one march version) which includes the alternate titles given above.
There are three distinct versions of the tune, says Cowdery, the first and most
common of the three has its two strains corresponding to the Scots "Caber
Feidh." The second was recorded by fiddler John Doherty and appears to be
particular to his home County Donegal, and the third (recorded by County Clare
fiddler Bobby Casey and played by many) is a four-strain variation of
"Caber Feidh," though the last two strains appear to be variations of
the second. Sligo fiddlers Michael Coleman and James Morrison recorded the tune
in the 1930's in two and four parts, respectively (Morrison's parts 3 & 4
may have been variations on the 'B' part). Paddy Cronin also recorded the
four-part version. Caoimhin Mac Aoidh also states that the County Donegal
version is different than the "Rakish Paddy" played in the south of
Ireland. In fact, he traces an unusual version of "Rakish Paddy" from
Charlie Doherty, a member of the famous fiddling Doherty family of Donegal, who
brought the tune back to Ireland with him from his years in America. Although
Charlie’s death from a fall out a second-story window was untimely, the tune
was ultimately popularized by the playing of his younger brother John and now
is known throughout Donegal. Flute player Roger Sherlock remembers "Rakish
Paddy" was a favorite of uilleann piper Willie Clancy's (Miltown Malbay,
County Clare) in the 1950's and 1960's when Clancy joined Sherlock and other Irish
émigré musicians for a time in London. Breathnach (1963) states that O'Neill's
identification of "Sporting Pat [1]"
as a variant of "Rakish Paddy" is erroneous.
***
Sources for notated versions: James Morrison (Ireland) [Phillips] {"Morrison seems to randomly switch from the natural to the sharp species with several undefined categories in between. Then, when he repeats sections, he distributes them differently. Other fiddlers slide around on these notes" (Phillips, 1989).}; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Breathnach, Mitchell]; fiddler John Doherty (1895-1980, County Donegal) [Feldman & O'Doherty]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 145, pg. 58. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 73. Giblin (Collection of Traditional Irish Dance Music), 1928; 27. Harker (300 Tunes from Mike Rafferty), 2005; No. 128, pg. 39. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 166, pg. 39. Mallinson (Essential), 1995; No. 55, pg. 24. Mitchell (Dance Music of Willie Clancy), 1993; No. 63, pg. 66. O'Neill (Krassen), 1976; pg. 158. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1533, pg. 283. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 749, pg. 131. Phillips (Fiddlecase Tunebook), 1989{B}; pg. 40-41. Roche Collection, 1982, vol. 1; No. 133, pg. 54. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 69. A & M 4257, Fairport Convention - "Liege and Lief" (c. 1968). Bowhand 001CD, Danny Meehan – “The Navvy on the Shore” (2000). Claddagh 4CC 39, “The Pipering of Willie Clancy Vol. 2” (1983). Copely Records 9-116 (78 RPM), Paddy Cronin (195?). Gael-Linn 1891-45, Michael Coleman. Green Linnett GLCD 1117, Altan - "Harvest Storm" (1992. A Donegal version learned from the playing of Con Cassidy, James Byrne and John Doherty). Green Linnett GLCD 1155, Martin Hayes - "Under the Moon" (1995). Morning Star 45001, James Morrison - "The Wheels of the World." Rounder 3038, Pierre Bensusan - "Musiques" (1979). Shanachie 33001, James Morrison. Bobby Casey - "Taking Flight."
|
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources
Alan Ng’s Irishtune.info |
X:1
T:Rakish Paddy
B:Ceol
Rince na hÉireann I, no. 145
N:translation of note in Irish: "This is
originally Scottish. O'Neill says
N:that Bremner published it in the year 1768
under the name 'Caper Fey'
N:in the 'Second Collection of Scots Reels or Country
Dances' and that
N:it was usual for the correct version of the
name, 'Cabair Fe/igh' or
N:'The Deer's Horns', to be used in books of
music for the
N:pipes ['don phi'ob mho/r']. He is wrong in saying that a version of
N:this reel is 'Sporting Pat' [O'Neill's 'Irish
Music' no. 297]. That reel
N:is much closer to 'The Copperplate' than to
'Rakish Paddy' [O'Neill's
N:'Waifs & Strays...', no. 269]. Other names for this tune are 'The Castle
N:Street Reel' and 'Glastertown's
Downfall'."
S:Willie Clancy, pipes
R:reel
M:4/4
L:1/8
Z:transcribed by Paul de Grae
K:Dmix
c3 B c2 AB|(3cBA BG EG ~G2|Add^c d2 (3gfe|d^cAG
FD ~D2|
dAAB c3 e|dAAG FD ~D2|D2 ~D2 ABcA|d^cAG FD D2||
cAAB cAAB|cAGE ED D2|Ad (3efe d^cAd|d^cAG (3EFG
AB|
c3 B cBAB|(3cBA BG EG ~G2|D2 ~D2 AB (3cBA|d^cAG
FD D2||
eg ~g2 ag ~g2|eg ~g2 edcd|eaaa ba ~a2|ea ~a2 ed
(3B^cd|
eg ~g2 af (3gfe|fde^c defg|af (3gfe fde^c|d^cAG
FD D2||
eg ~g2 ag ~g2|eg ~g2 ed (3B^cd|ea ~a2 b2 ag|ea
~a2 ed (3B^cd|
eg ~g2 ea ~a2|gfe^c defg|a2 (3gfe fd
(3ed^c|d^cAG FD D2||
X:2
T:Rakish Paddy
M:C|
L:1/8
R:Reel
S:O’Neill – Dance
Music of
Z:AK/Fiddler’s
Companion
K:C
cBcd cBAB|cAGF
EFGc|Ad{e}dc defe|dcAG FGAB|cedB cBAB|cAGF EDCE|
DEFG ABce|dcAG FD
D2||eg ~g2 agfg|efgf ec ~c2|ea a2 bgag|eaag (3efg dg|
eg ~g2 agfg|efge
defg|afge fdec|dcAG FD D2||
RAKSTEJENTA AFTER
JOHANNES DAHLE. Norwegian, Springar (triple time
dance tune). A Major. ADae tuning. One part. Composed by the 20th century
Norwegian spelemann (hardranger fiddler) Johannes Dahle (1893-1981), whose
grandfather Knut Dahle, also a traditional harding fiddler, influenced the
Norwegian composer Edvard Greig. The story of the tune is related by Pandora
Hopkins (1986):
***
During World War II...Dahle (who had always been more interested
in fiddle playing than farming) realized that (like all Norwegians
who possessed property) he must make full use of his land. He sent
an urgent request to his friends, Elna and Oystein Odden, to help him
harvest the hay--which they began to do immediately, meeting at
sunrise every morning. But Elna Odden, who said she disliked this
kind of work above all others, always managed--unaccountably—
to break the handle of her pitch fork during the day's labor. She
kept silent about this matter, however; and, when the day's work
had been accomplished, she would leave the broken tool against
the wall of the barn. Every morning, curiously enough, it was in
its place, waiting for her and neatly mended. Dahle never
mentioned the incident either; but one day, long after the war