The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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RAK - RAN

 

 

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. USA, Mississippi. D Major. ADae tuning. The tune is the fairly common "Rickett's Hornpipe". Mississippi Department of Archives and History AH‑002, Stephen B. Tucker (b. 1859) ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985. Originally recorded for the Library of Congress in 1939).

           

RAKE’S MARCH, THE.  Irish, March (6/8 time). G Major. Standard tuning. 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 tuning. AABBCCDD. The tune first appears in print in T. Skillern’s Twenty-Four Country Dances, 1782 (London, 1782). O’Farrell (Pocket Companion, vol. II), c. 1806; pgs. 110-111.

X:1

T:Rakes of Cashell

M:6/8

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 tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 165, pg. 39.

           

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), New England; Double Jig. A Minor/Dorian: A Dorian (Flaherty, Kennedy). Standard tuning. AABB (Flaherty, Tolman): AA’BB’ (Feldman & O’Doherty): AABC (Kerr): AABCC (O'Neill/1915): AABBCC (Kennedy, O’Farrell): AABB'CC (O'Neill/1850, 1001 & Krassen). The word ‘Rakes’ nowadays usually refers to a dissolute person and appears to be short for ‘rakehell’, which itself stems from the Old Icelandic word reikall, meaning "wandering” or “unsettled." Clonmel is an administrative center located in southern County Tipperary on the River Suir in the valley of the Sliabh na mBan, surrounded by the Commeragh and Knockmealdown mountains. The name derives from the Irish and means ‘meadow of honey’. Its walls were begun by the Normans in the year 1298, and it was once a stronghold of the powerful Anglo-Norman Butler family. Oliver Cromwell ended his campaign by capturing it in 1650.

***

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 Ulster setting, called ‘The Boys of the Lough,’ annexed it.” The tune was first recorded in 1923 on a 78 RPM by the Flanagan Brothers; Joe on accordion, Mike on tenor banjo and Louis on a hybrid harp-guitar.

***

Itinerant dancing masters in Ireland held territories or districts of ten miles or so in which they plied their trade, and had friendly rivalries with neighboring dancing masters, according to Brendan Breathnach (The Man & His Music, 1996). When they met at fairs or sporting events they would vie with each other by dancing in public, to the pleasure of the spectators and the honor of the moment. Often the outcomes of these contests were moot, however, “occasionally the event demanded a victor as when a Kerry dancing master vanquished a Cork dancing master in a contest as to who should ‘own’ Clonmel” (pg. 2). Perhaps the rakes were in attendance.

***

Sources for notated versions: Chicago piper Bernard Delaney [O’Neill]; fiddler Johnny Henry (b. 1922, Cloonlairn, Doocastle, County Sligo) [Flaherty]; fiddler Con Cassidy (County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 151 (appears as “Untitled Jig”). Flaherty (Trip to Sligo), 1990; pg. 144. Keegan (The Keegan Tunes), 2002; pg. 119, Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 158, pg. 38. Kerr (Merry Melodies), vol. 1; No. 29, pg. 38. Miller & Perron (New England Fiddlers Repertoire), 1983; No., pg. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 48. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 131, pg. 76. O'Neill (Krassen), 1976; pg. 40. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 902, pg. 168. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 149, pg. 39. Ryan’s Mammoth Collection, 1883; pg. 97. Tolman (Nelson Music Collection), 1969; pg. 6. Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew” (1993). Topic TSCD 604, The Flanagan Brothers – “Past Masters of Irish Dance Music.” “The Pipering of Patsy Tuohey.” Patty Furlong – “Traditional Irish Music on the Button Accordion” (1999. Learned from the playing of P.J. Hernon).

X:1

T:Rakes of Clonmel  [2]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 149

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 tuning. AAB. Drumlish is in County Longford. ‘Rakes’ appears to be short for ‘rakehell’, which itself stems from the Old Icelandic word "reikall," meaning "wandering” or “unsettled." See also the related first part of “The Swaggering Jig [2].” Source for notated version: fiddler and uilleann piper Stephen Grier (Farnaght, Co. Leitrim), who wrote his manuscripts in the 1880's [Breathnach]. Breathnach (CRÉ IV), 1996; No. 47, pg. 23.

X: 1

T: Rakes of Drumlish [1]

T: R\'eiceanna Dhroim Lis

S: B.Breathnach:"Ceol Rince na hEireann" IV/47

Z: B.Black

L: 1/8

M: 9/8

R: slipjig

F:http://www.qmcorp.net/webabc/r/181671.abc

K: Ador

BAG EGG EGG|BAG EGG c2A|BAG EGG EGG|AGE GAB c2A :|

BAB dBG dBG|BAB dBG c2A|BAB dBG dBG|AGE GAB c2A|

BAB dBG dBG|BAB dBG c2A|GBd gfe dBG|AGE GAB c2A ||

 

RAKES OF DRUMLISH [2], THE. Irish, Reel. G Major. Standard tuning. AABB. Drumlish is in County Longford, not far from the home of the tune’s composer, Paddy Reynolds. According to NY writer, multi-instrumentalist and music historian Don Meade, it was the only reel composed by Reynolds (who was long a resident of Staten Island, N.Y., and very influential in the mid-20th century Irish music scene in New York City). Some hear in it a reworking of the slip jig of the same name (“Rakes of Drumlish [1]”), but if so it is quite distanced. Source for notated version: New York fiddler Tony DeMarco [Black]. Black (Music’s the Very Best Thing), 1996; No. 75, pg. 39.

X:1

T: Rakes of Drumlish [2]

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 DRUMLISH [3].  "The Pride of Kildare [3]," Brendan Breathnach identified this title as an alternate title for "Lord Gordon’s Reel" although further information is lacking.

 

RAKES OF IRISHMEN, THE. Scottish??, Jig. G Major. Standard. AABB. Kerr (Merry Melodies), vol. 1; No. 48, pg. 40.

X:1

T:Rakes of Irishmen, The

M:6/8

L:1/8

R:Jig

B:Kerr – Merry Melodies, vol. 1, No. 48, pg. 40  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

B/A/|G>AG G2g|dBd dBd|ege dBd|ABA ABA|G>AG G2g|

dBd dBd|ege dBd|G>AG G2::G/B/|d3 e3|d>ed dBG|cdc BdB|

A>GA BGE|d3 B3|{B}AGA Bge|dBd gdB|G>AG G2:|

 


RAKES OF KILDARE (Na Racairaide/Racairi Ua Cill-Dara). AKA and see "Ailteoiri Na Cille," “Arthur McBride,” “Barndoor Jig,” “The Fair of Drumlish,” "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, Kennedy, Kerr, O'Neill/Krassen): G Dorian (Roche, version #2): G Major/Mixolydian (Cole, O'Neill, Williamson): G Major (Harker/Rafferty, Roche, first version). Standard tuning. AAB (Kennedy, 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 Westport, County Mayo.

***

American versions have been collected in New England and Michigan. It is sometimes used as a tune for morris dancing in England.

***

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: Michigan Tunes), 1986‑87; pg. 11. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 159, pg. 38. Kerr (Merry Melodies), vol. 1; No. 21, pg. 37. Moffat (202 Gems of Irish Melody), pg. 1. O'Neill (Krassen), 1976; pg. 32. Ó Lochlainn, 1939; No. 42. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 847, pg. 157. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 108, pg. 33. Robbins, 1933; No. 184. Roche Collection, 1982, vol. 1; No. 87, pg. 39 (appears as "The Galbally Farmer"). Roche Collection, 1982, vol. 3; No. 103, pg. 32. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 70. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Folkways 8826, Per's Four‑‑"Jigs and Reels." Fretless 122, "Oldtime Fiddling, Vol. 10." Angus Cameron – “Strings to the Bow” (1977). Pibroch MacKenzie – “The Mull Fiddler” (1969). Bob Smith’s Ideal Band – “Better than an Orchestra” (1977). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995). Topic TSCD 669, Davie Rogerson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Northumbrian fiddler Rogerson was born in 1901). WMT002, Wendy MacIsaac – “That’s What You Get” (1997?).

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 Ireland: 1001 Gems (1907), No.108

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 tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 63, pg. 14. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 43, pg. 19. O’Farrell (Pocket Companion for the Union Pipes, vol. IV), 1810; pg. 78.

X:1

T:Rakes of Kilkenny

M:9/8

L:1/8

R:Slip Jig

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:D

DDD DBG FAF | DDD DBG Acd | DD DBG FAF | GEG =cGc BG^C :|

|: 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

AAA dfd cec | AAA dfd fga | AAA dfd cec | BGG gfe dBG :|

|: 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 tuning. 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. Limerick" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 232, pgs. 112‑113.

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:Emin

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 London,” "Rigs o' Marlow," “Romping Molly.” AKA – “Rakes of Malta,” “Rakes of Mellow.” Irish (originally), English, American; Polka, Reel or March. England; North‑West, Northumberland. USA; Michigan, Pennsylvania, New York State, Massachusetts, Maine. G Major. Standard tuning. AB (Bronner, O'Neill): AABB (Aird, Johnson/1983, Kerr, Linscott, Russell, Ruth, Sweet, Seattle/Vickers, Wade): AABBCC (Johnson, Karpeles, Kennedy, Raven). Bayard (1981) identifies the name as apparently stemming from the 18th century when the town of Mallow, County Cork (on the river Blackwater between Limerick and Cork City), was a well‑known spa. Russell (1989) calls it a “prosperous little town” today, and one which has attracted industry and population because of the good land nearby. Mallow is located at the western end of the ‘Golden Vale’ which stretches across Ireland into Meath and Dublin. ‘Rakes’ appears to be short for ‘rakehell’, which itself stems from the Old Icelandic word "reikall," meaning "wandering” or “unsettled." One of the early printings of the tune is in the collection of Burke Thumoth, 1745 (as “Rakes of Marlow”), and Paul Gifford has found it in a manuscript of Danish hakkebraet (dulcimer) tablature under the title "Rakes of London,” dated 1753. However, the earliest appearance of “Rakes of Mallow” is in Walsh’s London-published Caledonian Country Dances of 1733 (pg. 34). The melody is still heard in English sessions in modern times, although considered a ‘beginner’s tune’.

***

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. A very popular English country dance. The melody was first printed by John Walsh in his Fourth Book of the Compleat Country Dancing Master (London, 1747), followed by John Johnson in Choice Collection of 200 Favourite Country Dances, vol. 4 (London, 1748). “Rakes of Rochester” also appears in the music manuscript copybooks of London fiddlers Walter Rainstorp (1747) and Thomas Hammersley (1790), and English musician John Shepherd (1787). Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 3, 1788; pg. 203. Barnes (English Country Dance Tunes), 1986. Rutherford (Complete Collection of 200 of the Most Celebrated Country Dances), 1756; pg. 15. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 172.

X:172

T:Rakes of Rochester, The

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:A

(e/d/)|c A2 E|”tr”F2 EA|GA dc|(B/A/G/F/) Ee/d/|c A2 E|F2 EA|GA (c/B/A/G/)|A3:|
|:B|”tr”c2 Be|”tr”c2 Be|{d}cB/A/ GA|(B/A/G/F/) EB|”tr”c2 Be|”tr”c2 Be|{d}cB/A/ (c/B/A/G/)|A3:||

 

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 tuning. 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 tuning. 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 tuning. 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

K:D

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 tuning. 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:Gmin

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 tuning. 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:Emin

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 HIGHLANDMAN, THE. Scottish, Jig. E Dorian. Standard tuning. AABB. The Rakish Highlandman is the name of a Scottish Country Dance, composed by dancing master Thomas Wilson (1816). Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 3, 1788; pg. 175. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 160, pg. 38. Wilson (Companion to the Ball Room), 1816; pg. 96.

X:1

T:Rakish Highlandman, The

M:6/8

L:1/8

K:Edor

E2B B2A| GBG E3| FAF D2G| FAF D3|\

E2B B2A| GBG E2G| FAF D2F| E3 E3::

B2A B2c| d2c d3| FAF D2G| FAF D3| \

B2A B2c| d2c d3| FAF D2F| E3 E3:|

                       


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 Highland

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 Ireland: 1001 Gems (1907), No. 749

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

was over, he called Elna Odden to come and listen to a new

piece he had composed especially for her. It was called Rakstejenta

(the Hay Maid) and is based on the uneven beat of the Telemark springar.

***

Source for notated version: Johannes Dahle (Tinn, Telemark, Norway) [Hopkins]. Hopkins, 1986; Ex. 4, pg. 110.

                       

RALEIGH AND SPENCER. AKA and see "Riley and Spencer," "Rylan(d) Spencer." Old‑Time, Breakdown. USA; western North Carolina, southwestern Virginia. D Major. Standard or DDad tunings. One part. This tune was learned in the early 1920's by source Tommy Jarrell from his brother‑in‑law, guitarist Jim Gardner, who learned it from a black guitarist named Jim Raleigh). The tune had some currency among white musicians, especially guitarists, in the Galax (Va.)/Mt. Airy (N.C.) region. There are two towns in North Carolina, Raleigh and Spencer, however, the tune may refer to a defunct rail line named Raleigh and Spencer that ran in central North Carolina, absorbed by the Southern Railway Company. In fact, the town of Spencer, North Carolina, was a rail hub with extensive rail facilities (the Spencer Shops) and a large roundhouse, once the Southern Railway Company's largest steam locomotive facility. The Raleigh was also the name of one of the first steam locomotives in the region, built in 1836. The lyrics may refer to a barrel house (a make-shift bar fashioned of boards on top of barrels) or similar establishment along the line, perhaps in the town of Spencer.

***

So old Raleigh and Spencer's done and gone dry

Cause there ain't no more whiskey in this town

No, there ain't no whiskey in this town.

***

I can eat more chicken than a pretty girl can fry

And I'll tell her all them doggone lies

Yes, I'll tell her all them doggone lies.

***

You can tromp down them flowers all round my grave

But they'll rise and bloom again

Yes, they'll rise and bloom again. (Tommy Jarrell)

***

Source for notated version: Laurie Lewis [Fiddler Magazine]. Fiddler Magazine, Spring 1994; pg. 32. Biograph 6002, Fields Ward (Galax, Va.). Copper Creek CCCD 0199, James Leva – “Memory Theatre.” County 756, Tommy Jarrell (Mt. Airy, N.C.) ‑ "Sail Away Ladies" (1976). Flying Fish 515, Laurie Lewis - "Singin' My Troubles Away" (1990). Marimac 9000, Dan Gellert & Shoofly ‑ "Forked Deer" (1986. Learned from Tommy Jarrell and Mike Seeger). CD2001, “The Rough Deal Stringband.”

                                               

RALPH PAGE JIG. New England, Jig. D Major. Standard tuning. AABB. Composed by Ken Hillyer, it honors the late New England dance caller Ralph Page. Page (The Ralph Page Book of Contras), 1969; pg. 3.

           

RALPH PAGE’S BREAKDOWN [1].  American, Reel. A Major. Standard tuning. AAB. Composed by Ralph Page (1903-1985, New Hampshire), the “dean of the contra dance callers,” and a seminal figure in New England traditional dance and music for 40 years (see www.izaak.unh.edu/nhltmd/pagehome.htm). Miller (Fiddler’s Throne), 2004; No. 235, pg. 144. Page (Northern Junket, vol. 9, No. 6), 1968.

                       

RALPH PAGE'S BREAKDOWN [2]. AKA – “Oh Brother Breakdown.” American, Reel. G Major. Standard tuning. AAB (Miller): AABB' (Page). Composed by Ralph Page (1903-1985, New Hampshire), the “dean of the contra dance callers,” and a seminal figure in New England traditional dance and music for 40 years (see www.izaak.unh.edu/nhltmd/pagehome.htm). Miller (Fiddler’s Throne), 2004; No. 236, pg. 144. Page (The Ralph Page Book of Contras), 1969; pg. 19. Page (Northern Junket, vol. 10, No. 12), 1972.

           

RALPH’S REEL.  Canadian, Reel. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009), as an Irish-style tune. Cranford (Jerry Holland: The Second Collection), 2000; No. 206, pg. 76.

 

RALPH’S WATCH. American, Waltz. F Sharp Minor. Standard tuning. One part. Composed by New York state fiddler Judy Hyman, in memory of her father-in-law, Ralph Claus, who passed in 2002. His gold pocket watch, a family heirloom, was passed to his son, Jeff. Fiddler Magazine, vol. 11, No. 3, Fall 2004; pg. 9.

 

RAMBERT, LA.  French, Country Dance (2/4 time). A Major. Standard tuning. AABBAA. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 18.

X:1

T:Rambert, La

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 18

Z:AK/Fiddler’s Companion

K:A

A2 (A/B/c) | B2 (B/c/d) | cecA | BGFE | A2 (A/B/c) | B2 (B/c/d) | ceEG | A2A2 :|

|: cde=g | fdcB | BcdB | ecBA | GB Ed | cde=g | fdcB | A2A2 :: A2 (A/B/c) |

B2 (B/c/d) | cecA | BGFE | A2 (A/B/c) | B2 (B/c/d) | ceEG | A2A2 :|

                       

RAMBLE, THE.  English, Jig. G Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 136.

X:1

T:Ramble, The

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G2G d2d|e2f g3|gag f2f|e2e d3::def g2d|d2c B2A|

BcB AGA|BcB A2G|def g2d|d2c B3|c2c B2B|AGA G3:||

           


RAMBLER [1], THE. Irish, Air (3/4 time). G Mixolydian. Standard tuning. One part. Source for notated version: "Mr. J. M'Kenzie of Newtownards, a great lover of Irish Music and of the corresponding folk songs," c. 1879 (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 332, pg. 154.

X:1

T:Rambler, The [1]

M:3/4

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:Gmix

Bc|d2 D2E2|F2G2A2|A2G2G2|G4 A2|G2G2G2|f3ff2|e2d2c2|d4c2|

B2A2 GF|G2B2 de|f2d2B2|c4 Bc|d2D2E2|F2G2A2|A2G2G2|G4||

 

RAMBLER [2], THE (An Fánaí). AKA and see "Father Hanley's Jig." Irish, Jig. A Mixolydian. Standard tuning. AABB. The tune was originally recorded by renowned fiddler James Morrison (1893-1947), originally from South Sligo, in New York in 1926. See also Johnny O’Leary’s slide version of the melody, called “House in the Glen [3].” Source for notated version: fiddler James Morrison (Lackagh, Drumfin, County Sligo, Ireland/New York) [Breathnach]. Breathnach (CRÉ III), 1985; No. 31, pg. 14. Treoir, vol. 35, No. 1, 2003; pg. 30. Green Linnet SIF 1052, Kevin Burke & Matt Molloy – “Up Close.” Green Linnet SIF 3051, Frankie Gavin – “Frankie Goes to Town.” Shanachie Records 33004, "The Pure Genius of James Morrison" (1978). Shanachie 79018, De Dannan – “Star Spangled Molly.”

X:1

T:Rambler, The [2]

M:6/8

L:1/8

R:Jig

S:Treoir, vol. 35, No. 1, 2003

K:Amix

F | ECE E2A | FEC E2e | fec ABc | BAF FAF |

ECE E2A | FEC E2e | fec ABc | BAA A2 :|

|: ecA Ace | aff faf | ece fec | BcB Bcd |

ecA Ace | aff faf | ecA BAB | cAA A2 :|

 

RAMBLER FROM CLARE [1], THE (An Triallaire Ua Tuat-Mumain). 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 Raffle Jig,” "The Stonecutter's Jig," "Tom Billy's {Jig} [1]," “Winter Apples [2],” "Young Tom Ennis." Irish, Double Jig. A Minor/Dorian. Standard tuning. AABB. A member of a rather insubstantial Irish tune family with the most common names (usually floaters) given above, which tunes sometimes have stronger resemblance to each other in the first, second, or both parts, according to Bayard (1981). See also the related “Old John’s Jig.” Cole (1000 Fiddle Tunes), 1940; pg. 58. Miller (Fiddler’s Throne), 2004; No. 90, pg. 64. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1009, pg. 188. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 223, pg. 51. Ryan’s Mammoth Collection, 1883; pg. 88.

X:1

T:Rambler from Clare, The [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 223

Z:AK/Fiddler’s Companion

K:A Minor

A/B/|cAB GAE|DEG GAB|cBA GED|EAA A2B|cAB GAE|DEG GAB|cde fed|cAA A2:|

|:B|c>de/^f/ gef|gea ged|e^f^g aba|ge^f ged|c>de/^f/ ge^g|aba ged|cde =fed|cAA A2:|

 

RAMBLER FROM CLARE [2], THE. Irish, Air (6/8 time). C Mixolydian. Standard tuning. One part. "This is a Ninety‑eight song which tells its own story. It was very popular in Munster sixty years ago; and I picked up the air from hearing it among the people. I also retained in memory part of the words; but I subsequently found the whole song printed on a ballad‑sheet, though greatly corrupted. So far as I know, air and words are now published for the first time" (Joyce).

***

The first of my journeys is very well known;

I straight took my way to the County Tyrone,

Where the young men and maidens they used me well there,

And they called me the stranger and the Rambler from Clare.
***

Joyce (Old Irish Folk Music and Songs), 1909; No. 387, pgs. 194‑195.

X:1

T:Rambler from Clare, The [2]

M:6/8

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:Cmix

ED|CEG _BAG/E/|DCC C2 E/D/|CEG Gfe/d/|cB/A/G/E/ D2 E/D/|

CEG Gfe/d/|ec/B/A/G/ c>d e/d/|cEG _BAG/E/|DCC C2||

 

RAMBLER FROM CLARE [3], THE. Irish, Air (3/4 time). F Mixolydian. Standard tuning. One part. A note in Petrie suggests the title may be “Rambler from O’Connell.” Source for notated version: “From P. MacDowell, Esq.” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 395, pg. 100.

X:1

T:Rambler from Clare, The [3]

M:3/4

L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905), No. 395

Z:AK/Fiddler’s Companion

K:Fmix

FG/A/ | B2B2 ed | c2B2AF | E2F2F2 | F4 cd/e/ | f2f2 af | e2e2 fe | d2c2BA |

F4 || cd/e/ | f2f2 af | e3 gfe | d>c cB BA | F4 FG/A/ | B2B2 ed | c2B2 AF | E2F2F2 | F4 ||

                       

RAMBLER FROM ROSS, THE. Scottish?, March (6/8 time). G Major. Standard tuning. AB. The title is O’Neill’s, as his source had no title for it. Source for notated version: obtained from William McLean, a Highland piper and native of Ross, Scotland, who lived in Chicago in the latter 19th century [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 76.

X:1

T:Rambler from Ross, The

M:6/8

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

K:G

G|DEG "tr"B2 G|AGA "tr"B2 G|DEG "tr"B2G|"tr"AGE E2 G|

DEG "tr"B2 G|AGA "tr"B2 G|DEG GBA|GED D2||

G|"tr"BAB "tr"dBG|"tr"AGE "tr"AGE|"tr"BAB "tr"dBG|"tr"AGE "tr"E2 D|

"tr":BAB "tr"dBG|"tr"AGE "tr"GED|DEG GBA|"tr"GED D2||

%

% This marching tune above was another of McLean's favorites

% which seems to be unknown to the pipers of this generation.

% The original name not being ascertained, a suggested title

% is here presented. McLean was a native of Ross, Scotland.

                       

RAMBLER IN CORK, THE (An Reatuide I Corcaig). AKA and see “Cork Rambler.” Irish, Reel. G Major. Standard tuning. AB. See also the related “Sword in Hand.” O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 777, pg. 135.

X:1

T:Rambler in Cork, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 777

Z:AK/Fiddler’s Companion

K:G

G2 BG FGAc|B2 BA BEEF|G2 BG FAB^c|dBAG FDEF|G2 BG FGAc|B2 BA BEEF|

G2 BG FAB^c|dBAc BE E2||g2 fg edBA|G2 GA Bdef|g2 fg edB^c|dBAG FDDf|

G2 fg edBA|G2 GA Bdef|gfed efge|dBAG FDEF||

 

RAMBLER'S HORNPIPE. AKA and see “Little Old Man,” "Old French." Canadian, American; Hornpipe or Reel. USA, northern N.Y. Canada, Ontario. D Major ('A' part) & A Major ('B' part). Standard tuning. AB. The alternate title “Little Old Man” was given by Carmelle Begin, from Ontario fiddler Dawson Girdwood. The tune has been popular at American contra-dances as “Old French.” Sources for notated versions: Bradley Grimshaw (northern N.Y., 1958) [Bayard]; Dawson Girdwood (Perth, Ontario) [Begin]. Bayard (Dance to the Fiddle), 1981; No. 362, pg. 357. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 16, pg. 29.

X:1

T:Rambler’s Hornpipe

T:Old French

T:Little Old Man

M:C|

L:1/8

R:Hornpipe or Reel

S:From a transcription by Carmelle Begin of the playing of fiddler Dawson Girdwood.

K:D

(AB/c/)|:d2 (c>d) B>dA>F|D>FA>d f2 (e>d)|c>de>f (3gfe c>A|1

d2 [d2f2] [d2f2] (3ABc:|2 d2 [d2f2] [d2f2] (c>d)||

|:e>fe>d (3cdc A2|A>EA>c e2 (d>c)|(B>G)(B>d) g>fe>d|

(3cBA (c>e) a2 (c>d)|e>fe>d c2 A2|A>EA>c e2 (d>c)|

B>GB>d g>fe>d|1 (3c>BA A2 A2 (c>d):|2 (3cBA A2 A2 (3ABc||                   

X: 2

T:Rambler's Hornpipe

R:Reel

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:D

(3ABc |d2cd BdAF|DFAd f2ed|cdef gece|defd A2(3ABc |

d2cd BdAF|DFAd f2ed|cdef gece|d2f2 d2:|

K:A

|:cd|efec c2A2|AEAc e2dc|B=GBd =gfed|cAce a2cd|

efed c2A2|AEAc e2dc|B=GBd =gfed|c2A2 A2:|

                       

RAMBLER'S RAG. Old-Time, Country Rag. D Major. Standard tuning. AABB. Source for notated version: Ruthie Dornfeld [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 109.


                       

RAMBLER'S REST, THE (Suaimneas An Aisdrigteac). AKA and see "Jenny Tie Your Bonnet," "Tie the Bonnet," "Down with the Mail," "Upstairs in a Tent [1]," "The Cottage in the Grove [2]," “The Faraway Wedding [1],” "The Gravelled Walks to Granny," "The Highland Man that Kissed His Grannie [1]," "In and Out (of) the Harbour," "Jenny Lace Your Tight," “Lady Clare’s,” "Lassie(s) tie your Bonnet(s)." Irish, Reel. A Dorian/Mixolydian. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1415, pg. 263.

X:1

T:Rambler’s Rest

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1415

Z:AK/Fiddler’s Companion

K:Ador

B | A2 (Ag) fde^c | A2 (Ac) BGGB | A2 (Ag) fdef | {a}gfgd BG G :|

|| f | eaaf gfed | cA eA cdef | eaaf gfef | gfgd BGGf |

eaaf gfed | ^cAeA cdef | afge fdef | gfge BG G ||

           

RAMBLES OF JOE BURKE.  AKA and see “Madam If You Please.”

           

RAMBLES OF KITTY. AKA and see "Kitty's Ramble{s}," "An Chailleach is a Ceag ar a Gualainn," "Kitty's Rambles to Youghal," "Murray's Maggot," "Dan the Cobbler," "The Cobbler [2]," "Strop the Razor [1]," "Linehan's Rambles," "The Heart of My Kitty," "Young Ettie Lee," "I'm a man in myself like Oliver's Bull," "The Ladies Triumph [3]," "The Heart of my Kitty (for me)," "The Heart of my Kitty still warms to me."

           

RAMBLES WITH RORY.  AKA and see “Scatter the Mud [2].”

           

RAMBLING BOY. AKA - "I'm/I am a poor Rambling Boy" ("Is buachaill goidhaisteach me" or "Is Buacaill Boct Fanac Me"). AKA and see "There Was a Young Lady". Irish, Air (3/4 time, "plaintive"). A Aeolian (Bunting): G Minor (O'Neill, Stanford/Petrie). Standard tuning. One part. Petrie (1855) remarks Bunting’s version is “badly set.” Source for notated version: the Irish collector Edward Bunting gives two sources for this tune; in the index to his 1840 collection he states it was obtained from "W. Sloane, Esq., Belfast, 1799," while his MS version gives the harper Charles Byrne. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 144, pg. 25. O'Sullivan/Bunting, 1983; No. 96, pgs. 140-141. Stanford/Petrie (Complete Collection), 1905; No. 668, pg. 167.

X:1

T:Rambling Boy, The

M:3/4

L:1/8

S:Stanford/Petrie (1905), No. 668

Z:AK/Fiddler’s Companion

K:Gmin

d/>c/ BA | G>F DF GG | G3A BB | B>c df ed/c/ | d3 G/A/ BB | B>c df ec |

d3 d/>c/ BA | G>F D^F GG | G3 G/A/ BB | Bc df ec | d3 d/>c/ BA | G>F D^F GG | G3 ||

                       

RAMBLING LABORER, THE (An Spailpin/Spalpeen Fanach).  AKA and see "The Girl I Left Behind Me [1]," "Brighton Camp,” “Spailpin Fanac(h) [1]." Irish, Air  (2/4 time) or Long Dance (4/4 time). G Major. Standard tuning. AAB (Joyce): AABB (O'Neill/1001). The name comes from one of the songs written in Gaelic to the air. See notes for alternate for more information on this popular melody. Source for notated version: "Mr. Flattely of Mayo," via Forde (Joyce). Henebry 1928; No. 95, pg. 295 and pg. 301. Joyce (Old Irish Folk Music and Songs), 1909; No. 494, pg. 272. Ó Lochlainn, 1939; No. 18. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 299. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 972, pg. 167 (appears as "The Spalpeen Fanach").

X:1

T:Rambling Laborer, The

M:2/4

L:1/8

R:Air

N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 299

Z:AK/Fiddler’s Companion

K:G

e|dB c/B/A/G/|AG EE/F/|GG G/A/B/c/|d2 Be|dB c/B/A/G/|AG EF/G/|FA DE/F/|G2G||

d|Bd ef|gd BG|Bd ef|g2 fg|ed BG|B/A/G/F/ EF/G/|FA DE/F/|G2 G||

                       

RAMBLING PITCHFORK, THE (Ab Gabhal siúlach). AKA and see “Baxter’s Big,” “Fisherman’s Jig,” "The Fisherman's Widow,” “The Friendly Neighbor,” “St. Patricks Day in the Evening.”  Irish, Double Jig. D Major (most versions): G Major (Kerr). Standard tuning. AAB (Kerr): AABB (Cranitch, Mallinson, Taylor/Tweed): AABB' (Allens): AA'BB' (Alewine). The title “Rambling Pitchfork” refers to an itinerant farm laborer, in the same sense that ‘hired gun’ refers to a mercenary—-in other words, the main implement of one's occupation stands for the individual. An early recording of the tune, under the title “Lambert’s,” was by the Ballinakill (Co. Galway) Traditional Dance Players, in London, 1931. The renowned County Sligo fiddler Michael Coleman recorded it in New York in the 78 RPM era. The tune was famously paired with “The Sporting Pitchfork” on the 1978 Paddy Glackin/Paddy Keenan album (Doublin’), the medley being known as The Pitchforks. Kilmaley, County Clare, fiddler, flute player and uilleann piper Peader O’Loughlin remembers that the famous Milltown Malbay, County Clare, piper Willie Clancy loved to dance the “Rambling Pitchfork.” “Willie was one of them, Willie Clancy that could do the step great.”  Clancy played the tune “in his mouth” (i.e. by mouth-music) as he danced it, and always incorporated the rolls and triplets which corresponded to the dance steps. “Peader understood that when Clancy played the “Rambling Pitchfork” on the pipes that he imagined himself dancing out the steps simultaneously” (Charlie Piggott, Blooming Meadows, 1998, pg. 170). Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 30. Allan's Irish Fiddler, No. 22, pg. 6. Cranitch (Irish Fiddle Book), 1996; pg. 56. Giblin (Collection of Traditional Irish Dance Music), 1928; 69. Kerr (Merry Melodies), vol. 1; No. 38, pg. 39. Mallinson (Enduring), 1995; No. 45, pg. 19. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 6. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996). Gael-Linn CEF 045, “Paddy Keenan” (1975). Great Meadow Music GMM 2003, “Rodney Miller’s Airdance” (2000). Green Linnet SIF 3018, Matt Molloy, Sean Keane & Tommy Peoples – “Molloy, Keane & Peoples.” Shanachie 79093, Paddy Glackin & Robbie Hannan – “The Whirlwind” (1995. Learned from the McLaughlin brothers, piper Joe and fiddler Dermot, of Derry). Tara 2007, Paddy Glackin & Paddy Keenan - “Doublin’” (1978). Mary Custy – “After 10:30.” Topic TSCD 602, Ballinakill Traditional Dance Players – “Irish Dance Music” (1995. A reissue of the 1931 original, titled “Lambert’s” on the recording).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Rambling Pitchfork, The

M:6/8

L:1/8

R:Jig

K:D
EFF AFF | dFF AFD | GFG ABc | ded cAG | EFF AFF | dFF AFD |

GFG BAG |1 AFD D2E :|2 AFD D2A ||

|: dcd fed | ecA {c}AFA | dcd efg | f/g/af gfe | ~d3 fed |

ecA {c}AGF | ~G3 BAG |1 AFD D2A :|2 AFD D3 ||

                       


RAMBLING RAKE [1], THE (An Racaire Fanac). Irish, Long or Set Dance (cut time). A Minor (Roche): A Dorian (Mulvihill, O'Neill). Standard tuning. AAB (O'Neill/1850 & 1001): AABB (Mulvihill, O'Neill/Krassen, Roche). "From O'Neill, with corrections" (Roche). Cotter (Traditional Irish Tin Whistle Tutor), 1989; 91. Mulvihill (1st Collection), 1986; No. 3, pg. 109. O'Neill (Krassen), 1976; pg. 220. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1785, pg. 334. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 959, pg. 165. Roche Collection, 1982, Vol. 3; No. 188, pg. 66.

X:1

T:Rambling Rake, The

M:C

L:1/8

R:Set Dance

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 959

Z:AK/Fiddler’s Companion

K:Ador

E2|AGAB cBcd|efec d2 ge|(3ddd ge (3ddd ge|dcBA G2G2|

AGAB cBcd|efec d2 ge|dBGB dedB|c2A2A2:|

||d2|efec d2g2|efec d2g2|(3ffg af dg g2|(3ffg af d2 ga|

bagf efga|bagf efga|baga bagf|edef g2 fg|efec d2g2|

efed c2 Bc|ABcd gfge|dcBA G2G2|AGAB cBcd|efec d2 ge|

dBGB dedB|c2A2A2||

 

RAMBLING RAKE [2], THE. Irish, Reel. E Minor. Standard tuning. AB. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 288.

X:1

T:Rambling Rake, The

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:Emin

D2|E2 EF GFGA|BcBA GBdB|AGFE DFAF|EFEB (3cdc) AF|

E2 EF GFGA|BcBA GBdB|AGFE DFAF|E2 EE E2||

d2|efed B2 g2|efed B2 ef|agfe defg|agfe defg|

bagf efga|bagf efga|bggb affa|gefd edBd||

efed B2 g2|efed B2 BA|GBdB AGFE|DFAF dBAF|

E2 EF GFGA|BcBA GBdB|AGFE DFAF|E2 EE E2||

                       

RAMBLING REAPER, THE. AKA and see "One Day in My Rambles," "The Habit Shirt."

                       

RAMBLING SAILOR [1], THE (An Loingseoir Siutarras). Irish, Reel. D Major (O’Neill): C Major (Mulvihill). Standard tuning. ABC (O'Neill/1850): AABB (Mulvihill): ABB'C (O'Neill/Krassen). Source for notated version: Jim McElhone (County Derry) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 134, pg. 36. O'Neill (Krassen), 1976; pg. 152. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1502, pg. 278.

X:1

T:Rambling Sailor [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1502

Z:AK/Fiddler’s Companion

K:D

(Ac) | dB (3BBB (cB)cA | dcdA FDFA | (3ddd (Bd) cBAF | AGFD EFAc | dcBd cBcA |

dcdA GFEF | (3DDD (FE) DFAF | GABc dcBc || dcde fefg | a2 (ab) agfe | dcde fegf |

efed cABc | d2 (de) fefg | a2 ab agfe | dB (3BBB (cB)cA | dAFD GABc || defe dcdA |

BdAF GABc | (3ddd (fe) defg | agab agfe | defe dcdA | BdAF GFEF | (3DDD (FE) DFAF | GABc d2 ||

 

RAMBLING SAILOR [2], THE. Irish, Polka. A Major. Standard tuning. AABB. Gael Linn CEF 176, Jackie Daly - “Many’s a Wild Night” (learned from Maurice O’Keeffe, closely related to a polka of the same name played by Scartaglin, Kerry, musicians Ned and Dan O'Connor).

X:1

T:The Rambling Sailor

D:Jackie Daly, "Many's a Wild Night", track 12(c)

M:2/4

N:The quick A‑D‑A change in bar 6 of the first part can be

N:done mainly as a bass run on the 5th string if you prefer:

N:A‑C#‑D‑C#. The D can be on the open 4th string or on the

N:5th fret, 5th string.

L:1/8

R:polka

Z:Paul de Grae

K:A

"A" c>B cA | ce "D" fe | "A" c>B ce | "F#m" c/B/A "E" B2 |

"A" c>B cA | ce "D" f "A"e | "D" f/g/a/f/ "A" ec | "E" BA "A" A2 :||

||: "A" A>B ce | ae "D" fe | "A" A>B ce | "F#m" fc "E" e2 |

"A" A>B ce | "D" ae "A" fe | "D" f/g/a/f/ "A" ec | "E" BA "A"A2 :||

***

A / | / D | A / | F#m (optional) E | A/ | / D/A | D A | E A :||

||: "A" / | / D | A / | F#m E | A / | D A | D A | E A :||

                       

RAMELLI'S ROUT. English, Country Dance Tune (3/4 time). G Major. Standard tuning. AABB. 18th century origin. Raven (English Country Dance Tunes), 1984; pg. 216.

                       

RAMONA WALTZ. American, Waltz. G Major. Standard tuning. AA'B. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 298.

                       


RAM'S HORNS. Scottish, Reel or Country Dance Tune (4/4 time). D Dorian. Standard tuning. AABB. The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734". Bremner (Scots Reels), c. 1757; pg. 30.

X:1

T:Rams Horns

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:Ddor

A/A/A A2 C>EFC | A,(DD)F “tr”E2 Dc | (d/c/B/A/) cE CDEC | A,(DD)F “tr”E2D2 :|

|: A(dd)f e>dcG | A(dd)f egdg | egdg e>dcG | A/A/A ag “tr”e2d2 :|

                       

RAMSGATE ASSEMBLY. English, Country Dance Tune (3/4 time). F Major. Standard tuning. AABBCC. The melody dates to the year 1795. Barnes (English Country Dance Tunes), 1986.

                          

RAN TAN TINDERBOX. English. The tune was specified as one for a Mummer’s play from the west of England. Ran Tan was apparently an event. This from a website on Lincolnshire history (http://www.lincsheritage.org/vt/washingborough/route.html):

***

In 1918, Number 59 Main Road was the home of Danny Fitton, an organ builder. Accused of wife beating, he was "Ran Tanned" by the villagers. They banged drums, kettles, pots and pans, processing around the village singing the Ran Tan rhyme:

***

Ran tan tan, ran tan tan; to the sound of this pan.
This is to give notice that Fitton has beaten his good woman
For what and why? 'Cause she ate when she was hungry
And she drank when she was dry. He beat her, he beat her indeed
For spending a penny when she had need.
He beat her black, he beat her blue; When Old Nick gets him
He'll give him his due. Ran tan tan, ran tan tan ...
We'll send him there in his frying pan."

***

On the last night, they burnt Danny's effigy and the whole process was seemingly legal so long as it was carried out on three consecutive nights. The last recorded Ran Tanning in Lincolnshire was carried out in Scamblesby in 1930.

           

RANAHAN'S MARCH [1]. AKA and see "Bonaparte Crossing the Rhine [1]," "The Freemason's March."

 

RANAHAN'S MARCH [2]. American, March (4/4 time). D Major. Standard tuning. AA'BB. Played along with version #1 as a medley. Source for notated version: Mrs. Sarah Armstrong, (near) Derry, Pennsylvania, November 18, 1943 [Bayard]. Bayard (Hill Country Tunes), 1944; No. 91.

 

RÁNAÍ, AN (The Ranger). AKA and see “The Ranger.”

 

RANCHO GRANDE. American, Two‑Step (?). Known to Arizona fiddler Kenner C. Kartchner, who played the tune with another fiddler in the 30's.

 

RANDALL'S HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. Source for notated version: Benny Thomasson (Texas) [Phillips]. Cole (1000 Fiddle Tunes), 1940; pg. 95. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 217. Ryan’s Mammoth Collection, 1883; pg. 131.

X:1

T:Randall’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

(F/D/) | B,/B/A/B/ F/B/A/B/ | d/B/f/d/ b/(B/A/B/) | G/B/F/B/ E/B/D/B/ | c/d/e/c/ B/A/G/F/ |

B,/B/A/B/ F/B/A/B/ | d/B/f/d/ b/(B/A/B/) | G/B/F/B/ E/B/D/B/ | G/e/A/c/ B :|

|: (f/g/) | d/f/B/d/ F/B/D/B/ | d/B/F/D/ E/c/D/B/ | C/F/A/c/ e/c/A/F/ | B/b/f/d/ c(f/g/) |

d/f/B/d/ F/B/D/B/ | d/B/F/D/ E/c/D/B/ | C/F/A/c/ e/c/A/c/ | B2b2B2 :|

 

RANDOLPH FAREWELL.  American, Waltz. G Major. Standard tuning. AB. Composed in 1991 by Tom Siess. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 106.

 

RANDOM NOTES. English, England, Northumberland. Composed in the mid‑19th century by Gateshead fiddler James Hill. Front Hall FHR‑08, Alistair Anderson ‑ "Traditional Tunes" (1976).

 

RANDY MILLER'S REEL. New England, Reel. A Minor. Standard tuning. AABB. Composed in 1977 by accordion player, pianist and composer Bob McQuillen (Peterborough, New Hampshire) for fiddler Randy Miller. Miller & Perron (Irish Traditional Fiddle Music), 1977; Addenda. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 100. Songer (Portland Collection), 1997; pg. 163.

 

RANDY WIVES OF GREEN LAW, THE. Scottish, Reel. D Major. Standard tuning. AAB. Greenlaw is located near Dunse, Scotland. Northumbrian concertina wizard Alistair Anderson helped popularize the tune in modern times. Cole (1000 Fiddle Tunes), 1940; pg. 43 (appears as "The Randy Wife of Greenlaw"). Raven (English Country Dane Tunes), 1984; pg. 215. Ryan’s Mammoth Collection, 1883; pg. 71. Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005).

X:1

T:Randy Wife of Greenlaw

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

c | d2 (AG) F2 (Dc) | d2(fd) eBBc | d2 (AG)F2(DF) | GBAG FDDc | d2(AG) F2 (Dc) |

d2(fd) eBBc | d2(AG) F2(DF) | GBAG FDD :: c | d2(df) abaf | gefd eBBc |

d2(df) abaf | geaf (3ddd dz | d2(df) abaf | gefd eBBc | df(ce) Bd(AF) | GB(AF) (3DDD D :|

 

RANDY’S REEL. Canadian, Reel. Canada, Prince Edward Island. A Major. Standard tuning. AABB. Composed by Bear River, North-East Kings County, Prince Edward Island bred fiddler Kenny Chaisson (b. 1947, now resident of Rollo Bay). Source for notated version: Kenny Chaisson [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 103.

 

RANGER, THE (An Ránaí). Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 209, pg. 84.

 


RANGER WALTZ, THE. Old‑Time, Waltz. USA; North West, Missouri. D Major ('A' part), G Major('B' part). Standard tuning. AB. The “Rangers Waltz” was written by Quentin Ratliffe, the sax player for the Mom and Dads, a four-piece dance band (drums, saxophone, piano and accordion) from Spokane, Washington, who recorded in the 1950’s. Vivian Williams says the group “played the basic ‘Grange Hall Dance’ repertoire of  waltzes, schottisches, varsouvienne, three-step, foxtrots, and two steps, and their records were very popular regionally and in Canada in the 1970's.” It is now one of the ‘100 essential Missouri fiddle tunes’ according to Missouri fiddler Charlie Walden. Source for notated version: Charlie Walden (Columbia, Missouri) [Christeson]; LeRoy Haslag (b. 1940, Loose Creek, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 187. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; No. 204, pg. 157.

X:1

T:Ranger Waltz, The

L:1/8

M:3/4

K:D

(3fg^g|a6|f6|A3 BAF|D3 FED|A,2 C2 E2|A2 c2 B2|AA ^GA BA|F4 a2|

a6|f6|A3 BAF|D3 FED|A,2 C2 E2|=G2 F2 E2|[D3F3] [DF] [D2F2]|[D6F6]||

K:G

B,2 C2 ^C2|D2 G2 A2|B2 A2 G2|dd ^cd gd|B3 B=cB|A3 BcA|F3 GAF|G3 GBG|

D3 B,C^C|D2G2A2|B2A2G2|dd ^cd gd|B3 B=cB|A3 BcA|F3 GAF|G3||

 

RANGER’S FROLICK.  AKA – “Ranger’s Fancy.” AKA and see “Whip Her and Gird Her.” English, Country Dance Tune (6/4 time). G Major. Standard tuning. AABBCC. The melody first appears in David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances (London, 1756). It also appears in the 1770 music manuscript collection of Northumbrian musician William Vickers under the title “Whipper and Girder” (Whip Her and Gird Her), while “Ranger’s Frolick” is given as an alternate title. The melody also was included by Perthshire fiddler John Fife in his c. 1780 collection (part of which may have been entered at sea), under the title “Ranger’s Fancy.” Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. 1, 1782; pg. 62.  Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 189.

X:1

T:Ranger’s Frolick

M:6/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G4G2 G4d2|B2G2B2 ‘tr”c4B2|G4G2 G4(3Bcd|A2F2A2 “tr”c4A2|G4G2 G4(3Bcd|B2G2B2 g4d2|

e2c2e2 d2B2d2|A2F2A2 “tr”c4A2::g3fg2 d2e2f2|g3fg2 d3cB2|g3fg2 d2e2f2|g3fg2 d3cB2|

(cd)e2c2 (de)f2d2|A2F2A2 “tr”c4A2::B2G2G2 A2D2D2|B2G2G2 c2B2A2|B2G2G2 A2D2D2|

A2F2A2 c4A2|B2G2G2 A2D2D2|g3fg2 d2c2B2|(cde2)c2 (Bcd2)B2|A2F2A2 c4A2:||

 

RANGER'S HORNPIPE [1]. AKA and see "Durham Rangers." English, Hornpipe. England, Yorkshire. D Major. Standard tuning. AABB. The melody appears to be a variant in the "Bonaparte Crossing the Rhine" tune family. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (Lawrence Leadley, the Fiddler of Helperby), 1994; No. 13, pg. 31.

 

RANGER'S HORNPIPE [2]. Old‑Time, Breakdown. D Major (‘A’ part) & A Major (‘B’ part). Standard tuning. Similar to "Flop-Eared Mule [1]," with an irregular ‘B’ part. County 401, "The Stripling Brothers." Vocalion 5453 (78 RPM), Stripling Brothers (Ala.) {1929}.

 

RANGS DE "SOYBEAN", LES (Soybean Rows). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. G Major. Standard tuning. AABB(Vocal)AAAABB(Vocal)AABB. Related tunes, according to Raymond Francois (1990), are Leopold Francois' "Plus Tu Tournes Plus J' t'aime," Shirley and Alphee Bergeron's "Fais Do-do" and "Mignonne" (in Irene Whitfield's book). Source for notated version: Shorty Sonnier (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 269-270.

 

RANNIE MACLELLAN(‘S). Canadian, Reel. Canada, Cape Breton, Nova Scotia. D Major. Standard tuning. AABB. Composed by Port Aconi, Cape Breton, fiddler Brenda Stubbert (b. 1959) for friend and fiddler Rannie MacLellan of Southwest Margaree, Cape Breton. See “Brenda at Southwest Margaree” for one of MacLellan’s compositions for Stubbert. The tune has gathered some currency among modern Cape Breton fiddlers. Cranford (Brenda Stubbert’s), 1994; No. 53, pg. 19. Fiddler Magazine, vol. 3, No. 2, Summer 1996; pg. 18. Celestial Entertainment CECS001, Brenda Stubbert - “In Jig Time!” (1995). Rounder RO 7023, Natalie MacMaster - “No Boundaries” (1996).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

 

RANNIE MACLELLAN’S JIG.  Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 277, pg. 99.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

 

RANNOCH LODGE. Scottish, Strathspey. A Major. Standard tuning. AAB (Athole): AABB (Kerr). James Stewart-Robertson credits William MacLeish with the composition in his Athole Collection. Kerr (Merry Melodies), vol. 2; No. 19, pg. 5. Stewart-Robertson (The Athole Collection), 1884; pg. 21.

X:1

T:Rannoch Lodge

M:C|

L:1/8

R:Strathspey

C:William MacLeish

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

Z:AK/Fiddler’s Companion

K:A

d|c>de>c f>de>d|c>de>c f/e/d/c/ Bd|c>de>c f>de>c|d/c/B/A/ GB c>AA:|

E|C>EA>E FEAE|C>EA>c B<B, B,>D|C>EA>E F>EA>E|(3cde (3Bcd c<A A>E|

C>EA>E FEAE|C>EA>c B<B, B,>D|C>EA>c D>FB>c|d/c/B/A/ GB c<AA:|

 

RANT. The rant is a Scottish tune form built on a four-bar phrase structure and is merely a relatively simple reel played at very great speed.

 

RANT, THE. AKA amd see "Have You Heard of a Frolicsome Ditty," "Give Ear to a Frolicsome Ditty," "The City Ramble," "Jolly Gentleman's Frolic," "How happy could I be with either." English, Air. G Major. Standard. One part. The melody appears in Appolo’s Banquet (1690) and in many ballad operas, including the Beggar’s Opera (1729) where it was the vehicle for the song “How happy could I be with either”. Many ballads were sung to the air, which appears to originally have been sung as “The Jolly Gentleman’s Frolic; or, The City Ramble.” Chappell (Popular Music of the Olden Times), 1856; pg. 63.

X:1

T:Rant, The

L:1/8

M:9/8

S:Chappell – Popular Music of the Olden Times

Z:AK/Fiddler’s Companion

K:G

D|G>AG GFE FDD|G>FG AGA B2 B/c/|d>ed dBG AFD|EFG AFD G2:|

 


RANTING DOG, THE DADDIE O'T, THE. Northumbrian. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

 

RANTING HIGHLANDER/HIGHLANDMAN, THE. AKA and see "White Cockade [1]," "Highland Laddie [3]," "Fiddler's Morris," "The Duke of Buccleugh's Tune." Scottish, Reel. A Mixolydian. Standard tuning. AABB'. The tune appears as “A Ranting Highland Man” in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." It also can be found contained in James Aird's 1782 collection (pg. 1), and in the Gillespie Manuscript of Perth (1768). The tune was later retitled "The White Cockade" and has enjoyed considerable fame under that title. Gow (Complete Repository), Part 1, 1799; pg. 23. Kerr (Merry Melodies), Vol. 2; No. 42, pg. 7.

X:1

T:Ranting Highlandman, The

M:C|

L:1/8

R:Reel

S:Gow – 1st Repository  (1799)

Z:AK/Fiddler’s Companion

K:A

e|A/A/A ed c>dec|(d/=c/B/A/) =GB gBBa|A/A/A ed c>dec|dBgB aAA:|

g|(a/g/f/e/) fd c>dec|(d/=c/B/A/) =GB =gBBg|(a/g/f/e/) fd c>dec|dBgB aAAg|

(a/g/f/e/) f>d c>dec|(d/=c/B/A/) =GB gBBg|af=ge fdec|Bagb aAA||

 

RANTING LADS OF SUNDERLAND, THE. English. The tune appears in a late 19th century music magazine called Kohler's Violin Repository. Front Hall FHR‑08, Alistair Anderson ‑ "Traditional Tunes" (1976).

 

RANTING RAKE, THE (An Racaire Bagarac/Bladmannac). Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (Music of Ireland; 1850 Melodies), 1979; No. 916, pg. 170. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 303, pg. 65.

X:1

T:Ranting Rake, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 303

Z:AK/Fiddler’s Companion

K:G

B/A/|G>AG G2g|dBd dBd|ege dBd|ABA ABA|G>AG G2g|dBd dBd|ege dBd|G>AG G2:|

|:G/B/|d3 e3|d>ed dBG|cdc BdB|AGA BGE|d3 B3|AGA Bge|dBd gdB|G>AG G2:|

 

RANTIN' ROARIN' HIGHLANDMAN. Scottish, Reel. A Mixolydian. Standard. AAB. John Glen (1891) finds the earliest appearance of this tune in Robert Bremner's 1757 collection. Bremner (Scots Reels), c. 1757; pg. 31.

X:1

T:Rantan Roaran Highland-man (sic)

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:Amix

e | A/A/A ed c>dec | (d/=c/B/A/ G)B gBBa | A/A/A ed cdec | dB^gB aA A :|

^g | aefd c>dec | (d/=c/B/A/ G)B gBBg | aefd cdec | dB^gB aA A^g |
aefd cdec | (d/=c/B/A/ G)B gBBg | afge fdec | dB^gB aA A ||

 

RANTIN' ROARING WILLY. AKA and see "Rattling, Roaring Willie."

 

RANTIN’ ROVIN’ ROBIN.  AKA and see “Dainty Davie (was a Lad).”

 

RANTING WIDOW, THE (Baintreach na Radaireacht). AKA and see "The Tap House," "In the Tap Room," "Banrion Bhealtaine," "The Blossom of the New Tree," "Captain Murray's Reel," "Cock your pistol, Charley/Charlie [2]," "Fitzgerald's Reel," "Granshaw Glens," "Hopetoun House," "The Lady's Tight Dress," "Lord Edward," "Miss Fargherson's New Reel," "The Mountain Lark [7]," "Polly's Reel," "The Rakes of Abbey,"  "Roll out the Barrel," "Scotch Maggie," "The Scotch Bonnet," "A Short Way to Heaven," "Sweet Molly [4],” "The Tap Room," "The Youngest Daughter [1]." Irish, Reel. E Minor. Standard. AB. Breathnach (1963) finds that O’Neill prints versions of the tune under the titles “The Mountain Lark,” “The Youngest Daughter,” and “Hopetoun House.” The last tune is published in Waifs and Strays of Gaelic Melody (1922, No. 320) where he notes the tune was first published by Robert Bremner in c. 1760. “Sweet Molly” is O’Farrell’s title in his Pocket Companion, and the name in the Goodman Manuscripts in the Library of Trinity College, Dublin, is “Cock Your Pistol, Charlie.” Hardebeck has the melody listed as “The Tap Room” and “The Tap House,” though Breathnach finds his has the wrong turn in the first setting and an incorrect ending in the second. The tune appears as an untitled reel in E Minor in Breathnach (CRÉ II), 1976, No. 292. He finds a version of the CRÉ II melody printed in Rutherford’s Complete Collection of 200 Country Dances (c. 1775) as “Miss Fargherson’s New Reel,” and by Goodman as “The Scotch Bonnet” and “A Short Way to Heaven.” Source for notated version: piper Seán Potts (1871-1956, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 177, pg. 70.

 

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