The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

RAKER'S HORNPIPE. AKA and see "Rickett's Hornpipe." Old‑Time, Breakdown. USA, Mississippi. D Major. ADae. 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. 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 (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. 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). Standard. AABB (Flaherty, Tolman): AA’BB’ (Feldman & O’Doherty): AABC (Kerr): AABCC (O'Neill/1915): AABBCC (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, 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

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. 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.

 

RAKES OF DRUMLISH [2], THE. Irish, Reel. G Major. Standard. AABB. Drumlish is in County Longford, not far from the home of the tune’s composer, Paddy Reynolds. 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

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 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. 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. 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. 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: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 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. 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

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. 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 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