The Fiddler’s
Companion
© 1996-2009 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] |
RAP HALFPENNY REEL, THE. Irish (?), Reel. G Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 64.
X:1
T:Rap Halfpenny Reel
M:2/4
L:1/8
R:Reel
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
d/c/ | B/G/F/G/ D/G/F/G/ | B/d/e/f/ g/e/d/c/ | B/G/A/G/ D/G/G | (3e/f/g/ d/B/ Ad/c/ |
“tr”ee/d/ e/d/B/A/ | B/d/e/f/ g/e/d/c/ | B/G/F/G/ (D/F/G/B/) | (3e/f/g/ d/B/ AB/d/ |
ee/^d/ e/=d/B/A/ | B/d/e/f/ gg/a/ | b/g/a/f/ g/e/f/d/ | (3e/f/g/ d/B/ A :|
RAPP-KALLE'S VALTZ. Swedish, Waltz. D Major. Standard. AA'BB'CC'. Source for notated
version: Matt Fichtenbaum, 3/1981. Private collection (circulated among
contra-dance musicians).
RAQUETTEURS, LES (The Snowshoers). French-Canadian, Reel. B Flat Major
('A' part) & G Minor ('B' part). Standard. AA'B. Learned by French-Canadian
fiddler Omer Marcoux from a record he found in
RÁSAÍ AN CHURRAIGH. AKA and see “Curragh Races [1].”
RÁSAÍ AN MHUILLINN
CHEARR. AKA and see "The Mullingar Races [1]."
RASAY
HOUSE. Scottish, Slow Reel. E Major. Standard tuning. AAB.
Composed by Mr. McLeod of Rasay (Gow, 1817). The
present Raasay House, home to Clan MacLeod of the Inner Hebredian Isle of
Raasay, west of Skye, was begun in 1746 and is located on heights above the
Sound of Raasay looking out to the mountains of Skye. The once-splendid walled
garden and house can be seen today, although with an added Georgian style and
sandstone frontage added in the 19th century. The structure which preceded it
was burned along with nearly every other house on the island after the
rebellion of 1745 in punishment for MacLeod support of Bonnie Prince Charlie.
***
The View from Raasay House
***
Dr. Johnson was entertained by the John MacLeod (d. 1786), the Laird of Raasay, at Raasay House in 1773, when, the carpets being rolled back, that worthy was persuaded to dance.
***
Gow (Complete Repository), Part 4, 1817; pg. 20.
X:1
T:Rasay House
M:C
L:1/8
R:Reel
N:”Slow”
S:Gow – 4th Repository
(1817)
Z:AK/Fiddler’s Companion
K:E
G|E>G e>B (c/B/A/G/)
(A/G/F/E/)|Ff f>g (a/g/)(f/e/) (e/d/)c/B/|
c>B (c/d/e/)d/ (c/B/)(A/G/)
(A/G/F/E/)|B,>CE>F {EF}GEE:|
a|{a}g/f/g/a/ b>g (a/g/f/e/)
ed/c/|B>ce>g aff g/f/|e2 {d’}e’2 c’>bc’>e’|
~B>c~e>f geea|(g/f/g/a/)
b>a g/f/g/a/ b>e|e’>b (c’/b/)(a/g/) gff>g|E2e2 cG B2|
~B>C E>F {EF}GEE||
RASAY’S FAVORITE. Scottish, Reel. A Minor. Standard tuning. AB. “Very Old,” states Gow
(1817). “Communicated by Himself.” “May be played slow when not danced.” Gow (Complete Repository), Part 4, 1817; pg.
36.
X:1
T:Rasay’s Favorite
M:C|
L:1/8
R:Reel
S:Gow – 4th Repository
(1817)
Z:AK/Fiddler’s Companion
K:C
e2 ee {f}e3d|c<c c>e d<d
d2|{cd}e2 ee {f}e3d|c>AB>^G A<A A2|e2 ee {f}e3d|
c<c c>e d<d d2|{cd}e2 ee
{f}e3d|c>A B>^G A<A A2||~c2 g>e e<e e2|
~c2 g>e ge d2|~c2 ge e<e
e>^g|ac e>d cA ~A>B|~c2 ge e<e e2|~c2 ge e<e d>e|
c<c g>e e<e e>~^g|a>c
{cd} e>d cA A2||
RASHES, THE. AKA and see "Playing Amang the Rashes,"
"Such a Parcel of
Rogues in a Nation," "The Wee(, Wee) German Lairdie,"
"Wha the Deil
Hae We Gotten for a King?" "The
Boyne Water [1]," "The
Cavalcade of the Boyne," "When the King
Came o'er the (Boyne) Water(s)." Scottish, Air (4/4 time). E Minor.
Standard tuning. AB. Gatherer (Gatherer’s
Musical Museum), 1987; pg. 26. Wood, Songs
of Scotland (1848‑49).
RASPBERRIES,
STRAWBERRIES. AKA and see "Fraises et les Framboises."
RASTUS. AKA and see "Rufus Rastus."
RASUS CAS GWENT. AKA and see “Doncaster Races.”
RAT CHEER. American, Reel. D Major.
Standard tuning. AABB. Composed in breakdown style by
RAT CHEESE UNDER THE
HILL. AKA and see "Pike's Peak," "Prosperity Special." Old-Time,
Breakdown. C Major. Standard tuning. AB. The title "Rat Cheese Under the
Hill" is thought to be a corruption of "Natchez under the Hill" (AKA
- "
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
RAT IN THE THATCH, THE. AKA and see “James Byrne’s (Reel) [2],” “The Maids of Tullyknockbrine.”
Irish, Reel. G Major. Standard tuning. AA’B. Paul
O'Shaughnessy and Paul McGrattan – “Within a Mile of Dublin.”
X:1
T:James Byrne's
T:Maids of Tullyknockbrine, The
T:Rat in the Thatch, The
R:reel
D:Paul McGrattan & Paul O'Shaughnessy: Within a Mile of Dublin
D:De Danann: Jacket of Batteries
Z:id:hn-reel-277
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:G
G2dG BdGB|dGBd ecAF|G2dG Bcde|1 dBcA BGAF:|2 dBcA BG~G2||
egfg egfe|d2fd Adfd|egfg efga|bgaf geed|
efga bge^c|defg afdB|~G3A Bcde|dBcA BGFA||
RAT UP A DRAINPIPE. Irish, Hornpipe. Learned by Donegal fiddler Caoimhin Mac Aoidh from an
in-law and good friend named Vincie McLaughlin of Ballymaguigan, Co
Derry.
RATCATCHER'S DAUGHTER, THE. English, Reel. C Major. Standard tuning. AABB.
Raven (English Country Dance Tunes),
1984; pg. 147.
RATCATCHER'S REEL. AKA and see "Wide Awake Reel,"
"Evansville Reel," "Clem Titus Jig," "Peggy Whiffle's." American (?),
Reel. A Major. Standard tuning. AABB. See also the related “Young Arthur Daly.” Cole (1000 Fiddle Tunes), 1940; pg. 17. Ryan’s Mammoth Collection, 1883; pg.
X:1
T:Ratcatcher’s Reel
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
E | .E(C/E/) A/c/e/c/ | f/c/e/c/ B/c/A/F/
| .E(F/G/) .A/.c/(3e/f/g/ | a/f/e/c/ B/c/A/F/ |
.E(c/E/) A/c/e/c/ | d/c/B/d/
c/A/F/A/ | .E(F/G/) .A/c/(3e/f/g/ | a/f/e/c/ A :|
|: (3e/f/g/ | a/g/a/b/ a/e/c/e/ |
e/c/a/c/ e/a/c/a/ | a/g/a/b/ a/e/c/e/ | g/b/e/g/ b/e/f/g/ |
a/g/a/e/ f/a/e/c/ | d/B/c/A/
B/A/F/A/ | E(F/G/) .A/.c/(3e/f/g/ | a/f/e/c/ A :|
RATCLIFT CROSS. English, (Old) Hornpipe (3/2 time). F Major. Standard tuning. AABBCC. The melody appears in Walsh’s third collection of Lancashire tunes (Lancashire Jiggs, Hornpipes, Joaks, etc.) published arount the year 1730.
X:1
T:Ratclift Cross
B:Walsh
M:3/2
L:1/8
K:F
f2 c4 Bc A2 F2| d2 Bd GB DF E2 C2|DGBA GFED C2 c2| AFEF CFEG F4::\
cfaf bagf e2 c2| Bdgd gfed c2 B2| Acfc fedc B2 c2| AFEF CFEGF4::\
f2 c2 _egfe dBAB| g2 d2 fagf =ecBc| a2 e2 fagf edcB| AFEF CFDG F4::\
afcf
Acfa d2 B2| bgdg Bdgb e2 c2| dBGB DFBd E2 c2| AFEF CFEG F4:\
RATHA FAIR. Scottish, Reel. D Minor/Dorian. Standard tuning. AB (Surenne): ABB
(Carlin/Gow, Gow): AABB (Bremner). John Glen (1891) finds the earliest appearance
of this tune in Robert Bremner's 1757
collection. Bremner (Scots Reels),
1757; pg. 1. Carlin (The Gow Collection),
1986; No. 513. Gow (Complete Repository),
Part 2, 1802; pg. 33. Surenne (Dance
Music of
X:1
T:Ratha Fair
M:C
L:1/8
R:Reel
S:Gow – 2nd Repository (1802)
Z:AK/Fiddler’s Companion
K:Dmin
f/g/ | adaf ecge | adag adag | adaf
ecge | afge d2 df/g/ | adaf ecge | adag adfa |
gbfa gceg|a>fg>e (d2d)||: e |
(cAA>)c GAcG | (cAA>)=B c>ded | (cAA>)c GAcG|(A/=B/c) Ec D3:|
RATHAWAUN. AKA and see “The Hare in the
Corn [6].” Irish, Double Jig. D Major. Standard tuning. AABB. Sources for notated
version: Planxty, Dennis Murphy and Julia Clifford (Co. Kerry) [Sullivan].
Sullivan (Session Tunes), vol. 3; No.
5, pg. 3.
RATHCROGHAN REEL. AKA and see “The Floating
Crowbar.” Irish, Reel. D Major. Standard tuning. AB. Source for notated
version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No.
80, pg. 21.
RATHER OLD WALTZ. Old‑Time, Waltz. USA. F Major. Standard tuning. AB. R.P.
Christeson (Old Time Fiddlers Repertory,
vol. 2), 1984; pg. 150.
RATHKEALE HUNT. AKA and see "Boil
the Kettle Early," "The
Brown Red Girl," "The Connachtman's Rambles [1],"
"The Kilfinane Reel,"
"Kitty
got a clinking (coming from the races) [1]," "The Ladies Tight Dress," “Ladies Top
Dress,” "The Lady on the
Railroad," "The Listowel
Lasses," "Love among
the Roses," "Maureen
Playboy," "McCaffrey's Reel,"
"Old Molly Ahern,"
"Piper's Lass," "Punch for the Ladies [2],"
"The Railway Station," "Roll her on the banks," "Rolling on the Ryegrass,"
"Shannon Breeze [1],"
"Sean‑Mhaire Ni
Eachthighearn," "Strac an mhuc an Ieine," "The Telegraph," "What the Devil Ails You/Him?"
Irish, Reel. D Major. Standard tuning. AABC. A three-part rendering of the
“Piper’s Lass”/”Rolling on the Ryegrass” tune family. Cole (1000 Fiddle Tunes), 1940; pg. 23. Ryan’s Mammoth Collection, 1883; pg. 49.
T:Rathkeale Hunt
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:D
(A/G/) | .F(A/F/) D/F/A/F/ | .G(B/G/) d/G/B/G/ | .F(A/F/) D/F/A/=c/ |
B/G/F/>G/ ED |
.F(A/F/) D/F/A/F/ | .G(3B/A/G/ d/G/B/G/ | F/G/A/F/ D/F/A/c/ |
B/G/F/>G/ ED ||
A/c/d/>e/ .f(f/a/) | g/e/{g}f/d/ e/d/B/d/ | A/c/d/>e/ {g}f/e/f/g/
| a/f/d/f/ ed |
A/c/d/>e/ {g}.f(f/a/) | g/e/{g}f/d/ e/d/B/d/ | A/c/d/>e/
{g}f/e/f/g/ | a/f/d/f/ ed ||
.A(A/c/) B/A/G/F/ | G/A/B/c/ d/B/A/G/ | F/A/A/c/ B/F/G/B/ | A/F/D/F/ ED
|
F/A/A/c/ B/A/G/F/ | G/A/B/c/ d/B/A/G/ | F/G/A/c/ B/F/G/B/ | A/G/F/G/ ED
||
X:1
T:Rathlin Island
C:Peter Browne?
R:reel
S:J\"orgen Fischer
D:Sharon Shannon: Each Little Thing
D:Michael McGoldrick: Morning Rory
D:Dervish: Playing with Fire
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:C|
K:Ador
e2dB eA~A2|e2dA AGBd|e2dB eA~A2|d2Bd
BA~A2:|
|:A2AB EGBG|~A3B de~e2|AGAB
dGBd|eged BA~A2:|
"variations"
|:egdB eA~A2|eBdB GABd|e2dB
eA~A2|dged BA~A2:|
|:~A3B EG~G2|AGAB dedB|AGAB dG
(3Bcd|eged BA~A2:|
|:e2dg eA~A2|eged BA (3Bcd|e2dg
eA~A2|1 dged BA (3Bcd:|2 dged BAGB||
|:AGAB EG~G2|AGAB dedB|AGAB ~E3d|1
eged BAGB:|2 eged BA (3Bcd||
RATHOLDRAN CASTLE.
Irish, Reel. G Major. Standard tuning. AABB’. Composed by Baltimore,
Md., B/C box player Billy McComiskey, originally from Brooklyn, taught by Sean
McGlynn. McComiskey composed the reel for his friend, Irish banjo-player Peter
Fitzgerald, originally from Ireland near the site of Rathaldran Castle. The
castle, long held by the Cusacks, is located near Navan, County Meath, and was
originally a 15th century tower incorporated into a 19th
century neo-medieval “castle”, or manor. It has been renovated and developed
for the tourist trade. Cranford (Jerry Holland: The Second Collection),
2000; No. 196, pg. 73. Green Linnet SIF 1159, Liz
Carroll, BillyMcComiskey, Dáithí Sproule - “Trian II” (1995).
See also listing at: Alan Ng’s Irishtune.info |
RATHSALLAGH HORNPIPE.
Irish, Hornpipe. D Major. Standard tuning. AABB. Composed by Falmouth,
Massachusetts, musician and writer Bill Black.
X: 1
T: Rathsallagh Hornpipe
M: 4/4
L: 1/8
C: © B. Black
N: “We were recently at a family wedding in
Ireland that was held at a
N: place called Rathsallagh House in Co.
Wicklow. Beautiful spot and
N: the folks in charge couldn't have been nicer.
This hornpipe was
N: more or less the unofficial wedding tune - it
sounded lovely in the
N: church (which overlooked the infamous
Dunlavin Green, peaceful
N: enough now).”
R: hornpipe
K: D
D2 | FGAB AFDF | Addc B2 Bc | defd efdB | Addc
BAFE |
FGAB AFDF | Addc d2 de | fagf edBG | Adce d2 :|
de | fedf edce | dcAG A2 AB | =cGEG cedB | AFEF
D2 de |
fedf
edce | defg a4 | bgaf (3efg dB | AFEF D2 :|
RATS GONE TO REST. Old-Time, Breakdown. USA, Kentucky. G Major. From Kentucky fiddler
George Lee Hawkins. Mark Wilson writes that Hawkins learned this Bath County,
Ky., tune as a boy around 1915 from an African-American farm worker named Bill
Trumbo. Hawkins was a good fiddler by all reports, and learned complicated
hornpipe pieces from fiddlers in Ohio and Indiana. When naming the tune he
always appended as an aside “…with D-Con” (a pesticide). Jeff Titon (2001)
notes the low part is similar to Lowe Stokes’ “Citaco.” Source for notated version: George Hawkins
(1904-1991, Bethel, Bath County, Ky., 1974) [Titon]. Titon (Old Time
Kentucky Fiddle Tunes), 2001; No. 134, pg. 161. Rounder
CD 0376, George Hawkins (et al) – “Traditional Fiddle Music of Kentucky, Vol.
1: Up the Ohio and Licking Rivers” (1997). Rounder Heritage Series
1166-11592-2, George Hawkins (et al) – “The Art of Traditional Fiddle” (2001).
RATS IN THE MEAL
BARREL. Old‑Time, Breakdown. USA,
Mississippi. G Major. GDgd tuning. AABB. Similar to another Alabama/Mississippi
tune, "Wolves a Howlin'." The
source for the tune,
RATS QUADRILLES, THE. English, Quadrilles (2/4 time). Group of three
dance figures, all in duple time.
1) D Major. ABACA.
2) L'Ete. D Major. AB
5) Finale. G Major. AABAA.
Trim (Thomas Hardy), 1990; No. 85.
RATTIGAN’S REEL [1]. AKA and see “Rags and Tatters,”
“Redican’s (Reel) [2].” Irish,
Reel. G Major. Standard tuning. AABB. The title refers to Dublin born
Irish-American musician Larry Redican (1908-1975). Bulmer & Sharpley (Music from
RATTIGAN’S REEL [2]. AKA and see “Lafferty’s,” Irish,
Reel. A Sean Ryan composition under the title “Lafferty’s.” Bulmer &
Sharpley (Music from
RATTIGAN’S REEL [3]. AKA and see “Micho
Russell’s Favorite [1].” Irish, Reel. G Major. Standard tuning. AB. Lesl
Harker says she has the title “Rattigan’s” from flute player L.E. McCullough.
Source for notated version:
RATTLE, THE.
English, Jig. G Major. Standard tuning. AABB. The melody was originally
published by Charles and Samuel Thompson in their Compleat Collection,
vol. 3 (London, 1773). “The Rattle,” along with numerous other tunes from the
Thompson’s 1773 collection, was entered into the 1788 music copybook of
fiddlers John and William Pitt Turner (Norwich, Conn.). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 145.
X:1
T:Rattle, 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
gdB
ecA|dBG AFD|c2e dBG|dcB A3|gdB ecA|ABG FED|EFG ABc|ADF G3:|
|:D2F A2c|BAG AFD|D2F A2c|dcB [A,3A3]|cac BgB|ABG AFD|EFG ABc|BDF G3:||
RATTLE DOWN THE ACORNS. See "Rattlin' Down the
Acorns."
RATTLE THE BOTTLES [1]. AKA and see “Captain O’Neill,”
“Lads and Lasses [2],” "Rowan Tree [1]," "Push About the Jorum [1],"
"McClellantown Hornpipe"
(
X:1
T:Rattle the Bottles [1]
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
e | dBAG FAAc | BGBd (ef/g/) (fe) |
dBAG FAAc | BdAc BGGe | dBAG FAAc |
BGBd (ef/g/) (fe) | dBAG FAAc | BdAc
BGG || d | g2 (fg) afdf | ggfg a2 (ga) |
bagf gfed | (eg)fa g2 gd | g2 (fg)
afdf | ggfg a2(ga) | bagf gfed | (eg)fa g2g ||
RATTLE THE BOTTLES [2]. Scottish, Jig. D Major. Standard tuning.
AABBCCDD. Petrie (Collection of Strathspey Reels and Country Dances), c. 1790; pg.
12.
X:1
T:Rattle
the Bottles [2]
C:Trad.,
Irish
S:Petrie's
Collection of Strathspey Reels and Country Dances &c., 1790
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's First Collection, page 12
L:1/8
M:6/8
R:Jig
K:D
(A/B/4c/4)|d2d cBA | BAG
FED | d>ed cBA | BAF ABc | dfd cec | {c}BAG TFEF |
D/D/DD
D/D/DD | (TBAF) E2 :: f | d2f a2f |
b2g afd | d2 f/g/ afa | cea ecA |
d3/2(e/f/g/
a)fa | bgb afa | gbf efd | ABc d2 :: A
| FAD FAD | GBD GBD | FED AFD |
EFD
ECA, | FAD FAD | GBD GBd | cba gfe | ddd d2 :: f/g/ | afd afd |
bag
fge | dfg agf | edc BcA | FAd Ace | dfa
dgb | agf gfe | d/d/dd d2 :|
RATTLE THE CASH. American, Irish, English; Slide or Jig. G Major. Standard tuning. AABB.
The tune was used for a single step dance in the North‑West (England)
morris dance tradition. Kerr identifies it as Irish. ‘Rattle the Cash’ was the
name of at least one bay stud, bequeathed in the will of Frances Wren in 1808,
late the resident of Wilkinson County, Mississippi Territory. Cole (1000 Fiddle Tunes), 1940; pg. 77. Kerr (Merry Melodies), vol. 2; No. 239, pg.
26. Ryan’s Mammoth Collection, 1883;
pg. 110. Wade (Mally’s North West Morris
Book), 1988; pg. 25.
X:1
T:Rattle the Cash
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 2, No. 239
Z:AK/Fiddler’s Companion
K:G
D | G2B BGB | c2c c2A | G2B BGB |
A2A A2D | G2B BGB | c2c c2A | dBG cAF | G2G G2 :|
|: d | g2g gec | c2c c2c | a2a afd |
d2d d2d | g2g gec | c2c c2c | BGB cAF | G2G G2 :|
RATTLE THE PEAS (Croith na Piseanna). Irish, Single Jig (12/8 time). D Major. Standard
tuning. AABB. 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. 72, pg. 35.
RATTLE THE QUILT (TO
PIECES) {Corraigh an Chuilt}. AKA and see "General White's Jig," "Kennedy's Jig," "The Misfortunate Rake," "(Next) Sunday is/was My Wedding
Day," "An Piobaire Caoch,"
"The Shamrock (Reel) [1],
"The Squint‑eyed Piper
"The Unfortunate Rake [2],"
"Apples in Winter [1]."
Irish, Jig. A Dorian. Standard tuning. AABB. “Apples in Winter” and “Katy is Waiting” are related tunes. Source
for notated version: Kerry fiddler Denis Murphy [Breathnach]. Breathnach (CRÉ V), 1999; No. 53, pg. 26. Treoir, vol. 2, No. 3; pg. 12 (appears
as “Tom Billy’s Jig [5]”). Whirling Discs WHRL001, Dervish – “Harmony Hill.”
RATTLER, THE. English, Reel. England, North‑West. D
Major ('A' part) & B Minor/A Major ('B' part). Standard tuning. AABB.
Knowles (Northern Frisk), 1988; No.
55.
RATTLER TREED A POSSUM. Old‑Time, Breakdown. USA, Arkansas. ADad tuning. Copper Creek CCCD-0196, Tom, Brad & Alice – “We’ll Die
in the Pig Pen Fighting.” County 519, Reaves
RATTLESNAKE. Old-Time, Breakdown.
USA; Missouri, Arizona. A Major. AEae tuning. ABB (Karchner): AA’BB’CC.
Kartchner identified the tune as "very old, from the South," and Mark
Wilson says it “pops up occasionally in the repertory of older fiddlers
elsewhere (i.e. other than
***
While perhaps not directly related to the tune, it should perhaps be mentioned here that it has been a custom among some old-time fiddlers to keep the rattle from a rattlesnake inside their fiddle. No one seems to know exactly why this tradition began, although there have been numerous speculations. One fiddler from Texas said that it stemmed from the denunciation of a preacher, who complained that fiddlers were collecting the spare money from the community for playing dances on Saturday night, leaving the Sunday collection plates dry. This to him was a sign that "the devil's in the fiddle." Fiddlers responded by placing the rattle inside the instrument to scare the devil off. Another fiddler maintains that the custom derived from a time when fiddles were kept in old feed or grain sacks that were prone to attracting mice and rats; the rattlesnake rattles would repel the rodents and protect the instrument from gnawing. Others speculate that the rattles bring good luck, or that they serve the purpose of collecting dust as they roll around inside the fiddle, or that they are kept because of a desirable buzzing sound that emanates from the soundbox when the instrument is played.
***
See
also the related "Hangman's Reel
[1]." Sources for notated versions: Arizona fiddler Kenner C.
Kartchner [Phillips, Shumway]; Bob Holt (1930-2004, Ava, Missouri), learned
from the banjo playing of his Uncle Noah, who had it from Charlie Deckard
(McClurg, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks
Fiddle Music), 2008; pg. 66. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 194. Shumway (Frontier Fiddler), 1990; pg. 269. Okehdodee OK75003,
RATTLESNAKE BIT THE
BABY. AKA and see "Katy Did [2],” "Boston Boy," “Ladies in the Ballroom [2],”
"Take Me Back to Georgia"
(Lowe Stokes). Old‑Time, Breakdown. USA. C Major. Standard tuning. AABB.
The title appears to be mandolinist Kenny Halls, but is better-known under the
name Lowe Stokes recorded it, “Take Me Back to Georgia.” See also the related
tunes "Pateroller (Song) [2],"
"Pat the Budgie," "Rocky Pallet," "Wild John” and Gene Goforth’s “Black River." Source for notated version:
Kenny Hall (California) [Kuntz].
***
Rattlesnake Bit the Baby, foreign girls drive me crazy,
Rattlesnake Bit the Baby, ha, ha, ha, the baby.
***
Frankie shot Albert, Frankie shot Albert,
Frankie shot Albert, ha, ha, ha, Albert.
***
Tadly shot Homer, Tadly shot Homer,
Tadly shot Homer, ha, ha, ha, Homer.
***
Tadly smashed Homer, Tadly smashed Homer,
Tadly smashed Homer, ha, ha, ha, Homer. (Kenny
Hall)
***
Kuntz (Ragged but Right), 1987; pg. 355‑356. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 195. County 727, John Ashby and the Free
State Ramblers – “Old Virginia Fiddling.” Marimac 9057, Vesta Johnson – “Blue Flame” (1994). Voyager
328, "Kenny Hall and the Long Haul String Band" (Learned from Hank
Bradley via Harry Liedstrand).
X:1
T:Rattlesnake Bit the Baby
L:1/8
M:2/4
B:Kuntz – Ragged but Right
K:C
[ee][ee] [c>e>][ce]|a(g
g>)(B|B/)c/B/A/ G>G|d(c c>)e|[ee][ee] [c>e>][ce]|
a(g g>)(B|B/)c/B/A/ G>G|d(c
c>)(e|e/)[d/e/][e/e/][d/e/] [c>e>][ce]|
a(g g<)(c’|c’/)a/g/e/
a/g/e|c>d c2||
CC/D/ E/C/D/E/|F/E/F/G/
A/c/B/A/|G/A/B/c/ d/c/B/d/|c/B/c/d/ c/A/G/E/|
C/B,/C/D/ E/C/D/E/|F/E/F/G/
A/c/B/A/|G/A/B/c/ d/c/B|1 [E>c>][Ec] [Ec](3G,A,B,:|2
[E>c>][Ed] [E2c2]||
RATTLESNAKE
DADDY. Old-Time, Breakdown. Played by the
Mississippi band Ming’s Pep Steppers, led by fiddler Hoyt Ming. Ming’s son,
Hoyt B. Ming, remembered that the band was asked to audition for a small part
in the 1975 movie Ode to Billy Joe:
***
In the movie, we
played ‘Rattlesnake Daddy’ so it could
be copyrighted. When
Dad heard the movie was going to
have nudity, he was
very upset. He told me that he prayed
they would not show
his scene. Dad was a Steward in the
Methodist Church, did
not drink, and did not curse. He was
very straight. They
cut out our scenes but left the tune. Anyway,
not only did the movie
have partial nudity, but the nudity was
shown with our tune as
background music. I saw the movie and
never told him. It
seems that no one else told him as he never
mentioned it as long
as he lived. (Old Time
Herald, Spring 2001;vol.7, No. 7, pg. 3).
RATTLESNAKE SHAKE. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published
in 1954.
RATTLIN' BOG, THE. AKA and see "The Bog Down in the Valley‑O."
Irish, Polka: English, Morris Dance Tune (4/4 time). G Major. Standard tuning.
AABB. There are some similarities between this tune and the Scots melody “John McAlpin(e).” The tune is used
for a polka step in the North‑West (England) morris dance tradition.
Tubridy (Irish Traditional Music,
vol. 1), 1999; pg. 10. Wade (Mally’s
North West Morris Book), 1988; pg. 13.
X:1
T:Rattlin’ Bog
M:2/4
L:1/8
R:Polka
K:D
d|:f2 fe|dB B2|Ad de|fe ed|f2 fe|dB
B2|Aa af|1 ed de:|2 ed d>e||
|:fd ed/e/|fd ed/e/|fa af|ed e2|fd
ed/e/|fd ed/e/|fa af|1 ed d2:|2 ed d2||
RATTLIN' DOWN THE
ACORNS [1]. AKA and see "Flattening the Acres,” “Shaking Down the Acorns [1]."
Old‑Time, Breakdown. USA, Kentucky. D Major. Standard tuning. AA'BB'.
Clyde Davenport (b. ) learned this tune from his father and is the sole source
for the melody. The title was mentioned in a 1931 account of a LaFollette,
northeast Tenn, fiddle contest and appears on the tune lists of the 1914 Berea,
Kentucky, fiddle contest. The are similar sounding titles, however, leading to
some confusion. “Shake Them Acorns Down,” for example is a title that also
appears in the Berea tune lists, and “Shaking Down the Acorns” is a frequently
played and recorded old-time title, but not necessarily the same tunes.
“Rattlin’ Down the Acorns” [1] is not related to “Shaking Down the Acorns” as
played by Burl Hammons, for example. Source for notated versions: Clyde
Davenport (Monticello, Wayne County, Ky., 1990) [Phillips, Titon]. Phillips (Traditional American Fiddle Tunes, vol.
1), 1994; pg. 195. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No.
135, pg. 161. County 786, "Traditional Music From
the
RATTLE/RATTLIN' DOWN
THE ACORNS [2]. Old‑Time, Breakdown. USA;
northeast Tenn., southeastern Ky. A Dorian.
RATTLING, ROARING
WILLIE. AKA and see "Rantin' Roarin' Willy," “Roaring Willie’s Jig,” "Mr. Robertson of Ladykirk's
Delight," "The Mitford
Galloway," "Tom Nokes' Jig,"
"Come Open the
Door, Sweet Betty". AKA – “Am Porst Crom” (The Curved Harbour).
Scottish, English; Slip Jig. England, Northumberland. A Mixolydian (Gow,
Hunter, Kerr): D Mixolydian (Alburger, Kennedy, Vickers): G Mixolydian (Martin,
Neil, Stokoe & Bruce). Standard tuning. One part (Alburger, Martin, Neil):
AB (Stokoe): AABB (Gow, Hunter, Kennedy, Kerr): AABBCC (Vickers). The tune is old, appearing in the Blakie Manuscript (1692). It was
supposed to have been composed by John Cowan, who, according to Robert Riddell (d. 1794) was : "a
very noted performer on the Fiddle, at Newton Stewart in
***
Rattlin' Roarin' Willie
O he held tae the fair
And buy some other ware
But partin wi' his fiddle
The salt tear blin't hie e'e
And rattlin roarin Willie
Ye're welcome hame tae me.
***
Old and New Edinburgh, vol. 2 (pg. 55) gives that Burns’ poem was inspired by a member of the
Crochallan Fencibles, a convivial society in Edinburgh that met at Dawney
Douglas’s tavern, to which Burns was introduced in 1787. The member’s name was
Wiliam Dunbar, W.S., and he was the “Colonel” of the club and a predominant
wit. A different tale has it that Rattlin' Willie was a wandering fiddler
famous as both a musician and as a brawler in the Jedburgh (Jeddart) area,
whose "sword‑hand was dreaded as much as his bowing arm was
admired". He fell out with another fiddler named Robin Rool (Robin of Rule
Water) after an argument over their respective musical abilities and in the
fight that ensued Robin was killed. His death was avenged at the hands of two
of the Elliots, who in turn slew Willie. Scott alludes to Rattlin' Roarin'
Willie (described as “the jovial harper”) in his The Lay of the Last Minstrel, noting that he was a real person.
Other accounts say that Willie, still a ‘rantin’, roarin’ lad, lived in the 17th
century and did business in the Hawick and Langholm districts, until, having
had the misfortune to murder a brother in trade who passed by the name of
'Sweet Milk', he was executed at Jedburgh. Neil (1991) quotes the following
verse:
***
The Lasses of Ousenam Water
Are rugging and riving their hair,
And a' for the sake O' Willie—
They'll hear his sangs nae mair,
Nae mair to his merry fiddle
Dance Teviot's maidens free;
My curses on their cunning
That gar'd sweet Willie dee!
***
The title ("Ranting Roaring
Willie") appears in Henry Robson's list of popular Northumbrian song and
dance tunes ("The Northern Minstrel's Budget"), which he published c.
1800, though Stokoe & Bruce (1882) say that the tune is better known to
Northumbrian pipers as "The Mitford Galloway". They continue:
"(The melody) is of English parentage, as it can be traced to the year
1669, where it appears in the first edition of Apollo's Banquet as 'Tom Noke's Jig'. Afterwards, it is to be found
in the ballad operas of Flora, 1729; The Cobbler's Opera, 1729; and Achilles, 1733, in each of which works
it is called 'Come Open the Door, Sweet Betty'. Under this title many popular
ballads were written to it. The time, indeed, is different‑‑it is
in 6/8 time; but it is virtually the same tune. The writer of the ballad, 'The
Mitford Galloway', was Thomas Whittle, an eccentric and ingenious poet, who
lived at Cambo in the beginning of last century [i.e. 18th]. The song is a
description of the adventures of a whirligig maker or wood turner in the
pursuit of a runaway galloway or pony, and the ingenious way in which the names
of the different localities are interwoven with the story reveal a marvellous
command of the rhyming faculty. Whittle died in indigent circumstances at East
Shaftoe, and was buried at Hartburn on the 19th April, 1731. His poetical works
were published in 1815 by William Robson, schoolmaster, Cambo" (Bruce
& Stokoe). Gow gives the alternated title “Mr. Robertson of Ladykirk’s
Delight” referencing William Robertson of Ladykirk, Berwickshire, a gentleman
farmer and livestock breeder. Alburger (Scottish
Fiddlers and Their Music), 1983; Ex. 86, pg. 139. Bruce & Stokoe (Northumbrian
Minstrelsy), 1882; pgs. 189‑190 (appears as "Rantin' Roarin'
Willie"). Carlin (Gow Collection),
1986; No. 371. Gow (Third Collection of Niel Gow’s Reels), 3rd
ed., originally 1792; pg. 36. Hunter (Fiddle
Music of Scotland), 1988; No. 302. Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 3. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 65, pg. 15. Kerr (Merry Melodies), vol. 3; No. 216, pg.
25. Martin (Traditional Scottish Fiddling),
2002; pg. 109. Neil (The Scots Fiddle),
1991; No. 29, pg. 37. Seattle (William
Vickers), 1987; No. 286 (appears as "Rantin' Roaring Willy"). Criona – “The Old Man’s Teeth.”
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Rantin’ Roarin’ Willie
T:The Mitford Galloway
M:9/4
L:1/8
S:Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
e2|dcBABG d4 G2 Bc d2e2|=f2 gfed f2c2A2 c4 e2|
dcBABG B4 G2 Bc d2 ef|efefge g2d2B2 d4 ef|
gfefge g2d2B2 d2c2B2|c2B2A2=f2c2A2 cBcdef|g4d2e4d2 gfefge|
dcBcdB c2A2F2G4||e2|G2 BcdB d2 BcdB G2 BcdB|
F2 ABcA =f2 c2A2 c4e2|G2 BcdB d2 BcdB G2 BcdB|
g2 BcdB d2 BcdB d4 ef|g2 BcdB d2 B cdB g2 BcdB|
c2 ABcA =f2 c2 A2 cBcdef|g4d2 e4d2 gfefge|dcBcdB c2A2F2 G4||
X:2
T:Rattling Roaring Willie.
M:9/8
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones, 2005
K:A
U:T=!trill!
%%graceslurs false
f | ecA ABA cef | (=g3 {fg}) BGB d2g | ecA ABA ceg | T(a3{ga}) ecA e2 f/g/ | {b}agf ecA cef | (T=g3{fg}) .B.G.B Td2B |
ABA Tc2 A cea | cAc BGB A2 :||: f | ecA acA ecA | B=GB gdB Td2 f | ecA bcA ecA | {b}agf ecA efg | {b}agf ecA cef |
{b}=gfg BGB Td2 B | ABA Tc2 A cea | cAc BGB A2 :|]
RATTVIKARNAS GANGLAAT. Swedish, Walking Tune {Ganglaat} (2/4 time). D Major. Standard tuning.
AA'BC. Thompson (Fiddler's Almanac),
pg. 56.
RAUGHTON HEAD HORNPIPE
[1]. English, Hornpipe. England,
Northumberland. B Flat Major. Standard tuning. AABB. The tune was verbally
attributed to Robert Whinham, a musician, teacher, composer, dancing master and
fiddler originally from Morpeth, Northumberland, by Northumbrian fiddler George
Hepple (whose grandfather was taught to dance by Whinham). Graham Dixon (1995)
notes that Raughton (pronounced Rafton)
is a district near Dalston, south west of Carlisle. Source for notated version:
the early 20th century manuscript of piper Jock “Kielder Jock”
Davidson, in the Morpeth Chantry Bagpipe Museum [Dixon]. Dixon (Remember Me), 1995; pg. 67. Knowles (A Northern Lass), 1995; pg. 19. Common Ground CGR005, Joe Hutton – “The Border Piper.” PB,
Neil Smith – “Northumbrian Gleanings.”
RAUGHTON HEAD HORNPIPE
[2]. English, Hornpipe. England,
Northumberland. G Major. Standard tuning. AABBCCDDEE. A version of “Raughton
Head Hornpipe [1].” Source for notated version: the early 20th
century manuscript of piper Jock “Keilder Jock” Davidson, in the Morpeth
Chantry Bagpipe Museum [Dixon]. Dixon (Remember
Me), 1995; pg. 67 (variations by Kielder Jock).
RAUIDRI UA NIALL. AKA and see "Rogers O'Neill."
RAVELLED HANK OF YARN
[1] (An Ceirtlín Snáithe
in Aimhréidh).
AKA and see “Ho! Awake,” "Kate Kelly's Fancy," “Killoran’s Reel [2],” “Michael Carney’s Reel,” "Nellie Donovan," “The Peeler’s Jacket [5],” “Twin Katy’s,” "The Cat that ate the Sidecomb,"
"An Ceirtlin Snaithe in Aimhreidh." Irish, Reel. G Major. Standard.
AB (Harker/Rafferty): AABB (Breathnach, Mitchell, Taylor). Captain Francis
O’Neill relates that an elderly uilleann piper, John Cummings, originally of
County Galway (b. 1828) but removed to San Francisco by way of England for
forty years, had his Boswell in a younger friend named Leech. Cummings would
play occasionally at the home of his daughter with whom he lived. Leech
overwrites: “One night I played ‘The Ravelled Hank of Yarn’ and the old man
shook his head reminiscently, remarking, ‘I had forgotten that tune and didn’t
play it for forty years.’ Gradually the smile came over his face, and he
commenced to pump the bag, and out came the tune, but with such grace notes,
embellishments, and variations, that I stood aghast, enraptured by the soul of
music which brought me back to the time when Erin was melodious with our own
dear strains” (O’Neill, 1913). Breathnach identifies “Kate Kelly’s Fancy,”
“Nellie O’Donovan” and the O’Neill printing of “Ravelled Hank of Yarn” in Waifs and Strays of Gaelic Melody (No.
233) as of the same stock as his reel. The Sliabh Luachra staple “The Doon
Reel” is a closely related tune (esp. the ‘A’ part), as is “Bonnie Bunch of
Ferns.” The alternate title “The Cat that ate the Sidecomb” is from O’Neill.
Philippe Varlet says (Irtrad 9/12/05) the earliest recording of the melody with
the “Ravelled” title appears to be on piper Willie Clancy’s 1957 album “Seoda
Ceoil,” although, “curiously, on a Gael-Linn 78 RPM of Clancy from the same
period the title is ‘Ril Mhichil Ui Cheithearnaigh,’ i.e. ‘Michael Carney’s’,
after the New York piper with whom (fiddler) James Morrison recorded the tune
as ‘The Peeler’s Jacket’.” Sources for notated versions: piper Willie Clancy
(1918-1973, Miltown Malbay, West Clare) [Breathnach, Mitchell]; set dance music
recorded at Na Píobairí Uilleann, late 1980’s [Taylor]; New Jersey flute player
Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 102, pg. 43. Harker (300 Tunes from Mike Rafferty), 2005; No.
114, pg. 35. Mitchell (Dance Music of
Willie Clancy), 1993; No. 2, pg. 29. Taylor (Music for the Sets: Blue Book), 1995; pg. 32. Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie
Clancy, vol. 1” (1980). Gael-Linn Records, Willie Clancy – “Seoda Ceoil”
(1957).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Ravelled Hank of Yarn, The [1]
R:reel
M:4/4
L:1/8
Z:transcribed by Mike Hogan
K:D
~B3d ~A3B|G~B3 G~B3|d~A3 d2eg|fd=cA
AGG2|
~B3G ~A3B|G~B3 G~B3|d~A3 d2eg|fd=cA
AGG2||
d~G3 dG(3Bcd|~g3a bgaf|d~G3
d2eg|fd=cA AGG2|
d~G3 dG(3Bcd|~g3a bgaf|~g3a
bgaf|ged=c BGG2|
RAVELLED HANK OF YARN [2]. AKA and see “Nellie Donovan.” Irish, Reel. G Major. Standard tuning. AB. O’Neill (1922) remarks: “A few years ago as Mr. Leech was fingering a stray reel on his flute, Prof. John Cummings (mentioned on page 282-4, Irish Minstrels and Musicians) remarked that's The Raveled Hank of Yarn and I had forgotten it for the last forty years. Although then in his 85th year he buckled on his pipes, and played the tune in a style which astonished his audience. It is a variant of No. 638, O'Neill's Dance Music of Ireland.” Source for notated version: flute player George Leech (San Francisco) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 216.
X:1
T:Raveled Hank of Yarn, The
M:4/4
L:1/8
S:Geo. A.M. Leech, San Francisco
R:Reel
K:G
B2 Bd cAAc|BGGB d2 cA|B2 Bd cAAB|d2 cA BG G2|
B2 Bd cAAc|BGGB d2 cA|BABc d2 cA|BdcA BG G2||
fgaf g2 fe|dcAB c2 de|fgaf g2 fe|d2 cA BG G2|
fgaf g2 fe|dcAB c2 de|fgaf bgag|fdcA BG G2||
RAVEN THROUGH THE BOG, THE. AKA and see “Bealltaine,”
“Butchers of Bristol [2],” “Geary’s Hornpipe,” “Mullingar Races [2],” “The Rover Through the Bog,” “Taylor’s (Hornpipe).” Irish, Hornpipe. G
Major. Standard. AABB. The title is a mishearing of “Rover Through the Bog.” Green Linnet GLCD 1184, Patrick Street – “Made in Cork”
(1997).
X:1
T:Raven Through the Bog
M:C|
L:1/8
R:Hornpipe
S:Dermie Diamond
Z:Michael McCullough
K:G
(3DEF|GABG AB (3cBA| defa (3gfe dc|
BABd cAG2|FGAG FDEF
GABG ABcA| defa (3gfe dc|BABd
cAFG|(3ABA GF G2:|
Bc|dggf d2ef|g2af (3gfe de|fefg
(3agf (3gfe|fde^c dcAF|
GABG AB (3cBA| defa (3gfe dc|BABd
cAFG|(3ABA GF G2:|
RAVEN'S GAP. Old-Time, Breakdown. USA, Tennessee. G Major ('A' part) & D Major
('B' part). Standard tuning. AA'BB'. Kerry Blech believes this tune akin to
"Brooksie." Source for notated
version: Charlie Acuff (Tenn.) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 195. CA-01, Charlie Acuff - "Left Handed Fiddler"
(1990. A privately issued cassette from 70 year old Charlie Acuff, of Alcoa, Tennessee).
RAVEN'S NEST, THE. Irish, Slow Air (4/4 time). G Mixolydian.
Standard tuning. AAB. Source for notated version: "Phil Gleeson of
Coolfree near Ballyorgan in the Co. Limerick, from whom I took down this air
(about 1852), had a memory richly stored with Irish airs, songs, and folklore.
He was a noted singer, and such an inimitable whistler that at some distance he
was able to puzzle the best ear as to what sort of musical instrument he
played" (Joyce). Joyce (Old Irish
Folk Music and Songs), 1909; No. 159, pgs. 80‑81.
X:1
T:Raven’s Nest, The
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
N:”Rather slow”
K:G
(3G/A/B/|c2 d/c/B/A/ B2 G/A/B|cd
c/>A/G/4E/4D/ E2 DE|GA A/G/E E2 DE|G2G2G3:|
B|cBcd e2 ee|dd dB {G}A2G2|cBcd|e2
=fe|d>cBc|d2 (3GAB|c2 d/c/B/A/ B2 GA/B/|
c>d c/>A/G/4E/4D/ E2 DE|GA
A/G/E E2 DE|G2G2G3||
RAVENSCROFT'S FANCY. English, Old Hornpipe (3/2 time). E Flat Major (Walsh): G Major
(Geoghegan). Standard tuning. ABCDEF (Geoghegan): AABBCCDDEEFF (Walsh). The
tune can be found in Walsh’s Lancashire
Jigs, Hornpipes, Joaks etc. (3rd Volume, c. 1730). The title
perhaps refers to the English composer Thomas Ravenscroft (c. 1590-c. 1633),
responsible for the preservation
of the largest collection of popular vocal music in his three printed catch
books: Pammelia (1609), Deuteromalia (1609), and Melismata (1611).
Geoghegan (Compleat Tutor for the
Pastoral or New Bagpipe), c. 1745-46; pg. 26.
X:1
T:Ravenscroft's Fancy
B:Walsh
M:3/2
L:1/8
K:E_
EGBe dcBA G4| cBAG AFGA D4| A,DFA GFED EcBA| GEDE B,EDG E4::\
gfed cBAG a4|fedc BAGF e4|edcB AGFE DcBA| GEDE B,EDF E4::\
EDCB,CA,G,A, C A,G,A,| FEDC FB,=A,B DB,=A,B| GFED EGFG DcBA| GEDE B,EDF E4::\
Bdfb fdBd fagf| edcB AGFD D2| B,DFA GFED GcBA| GEDE BEDF G4::\
B3 A GFED EGEC| c3 B AGFE FAFD| d3 c BAGF EcBA| GEDE B,EDF E2:: \
bgaf gefd f2 c2|BGAF GEFC D4|EGFA GBAc Bedc| BAGF FEFD E4:|
X:2
T:Ravencroft’s Fancy
M:3/2
L:1/8
S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)
Z:AK/Fiddler’s Companion
K:G
GBdg fedc ({c}B4) | edcB cABc
({G}F4) | DFAc BAGF Gedc | BGFG DGFA G4 ||
bagf edcB d2c2 | agfe dcBA c2B2 |
gfed cBAG Fedc | BGFG DGFA G4 ||
gfed ecBc ecBc | agfe fd^cd fd^cd |
BAGF GBAG Fedc | BGFG DGFA G4 ||
dfad’ afdf ac’ba | gfed cBAG ({G}F4)
| DFAc BAGF Gedc | BGFG DGFA G4 ||
d3c BAGF G/A/BGE | e3d cBAG A/B/cAF
| f3e dcBA Gedc | BGFG DGFA G4 ||
gefd ecdB c2B2 | ecdB cABG ({G}F4) |
GBAc Bdce dgfe | BGFG DGFA G4 ||
RAVENSCROFT'S HORNPIPE. English, Old Hornpipe (3/2 time).
England, North‑West. A Minor. Standard tuning. AABBCC. The tune is
originally found in the third volume of The
Dancing Master (Pearsona and Young), c. 1726. Knowles (Northern Frisk), 1988; No. 45.
RAVENSCROFT'S MAGGOT. English, “Old” Hornpipe (3/2 time). E Major. Standard tuning. AABBCCDD.
Maggot, from the Italian word maggioletta
meaning a plaything, a trifle. The tune appears in Walsh’s Lancashire Jiggs, Hornpipes, Joaks etc. (c. 1730).
X:1
T:Ravenscroft’s Maggot
B:Walsh
M:3/2
L:1/8
N:
K:E
E4 G2 B2 dgbg| edcB AGFE ^D2 B,2|E4 G2 B2 dgbg| egfg Bedf e4::\
dgbg edcB _c2 A2| _ceag fed^c B2 G2| Bdgf edef gaba |gfea fedf e4::\
B2 E2 c2 ^D2 B2 E2|cBAG FGEF ^D2 B,2|EGFA GBAB cBAG|FGEF G,2 ^D2 E4::\
e2
E2 _F2 E2 c2 E2| bfge fdeB _c2 B2| e2 E2 _F2 E2 _c2 F2| cBcA GEGB e4:|
RAW RECRUIT. AKA and see “Chapel Hill
Serenade,” "Coleman
Killed His Wife,” "Green Willis
[1](the Raw Recruit)," "The
New Rigged Ship [1]," “Old
Hickory.” American, March (6/8 time). USA; southwestern Pa., Michigan,
Missouri. D Major. Standard tuning. AB (Bayard, Christeson): AABB (Sweet).
Bayard (1981) calls it an "extrodinarily well‑known" tune, both
as a fife and fiddle piece, though primarily known to fifers in southwestern
Pa. Paul Gifford finds a version of the melody in northern Michigan used for
the ditty “Old Lady in the Haymow,” with ribald lyrics, and he thinks that it
is probably the “Two-Step Quadrille” recorded for Gennett Records (and
Silvertone) by Tommy Dandurand in 1927.
RAY MAC’S MARCH. Canadian, March (4/4 time). Canada, Cape Breton. G Major. Standard
tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton,
Nova Scotia). Cranford (Brenda Stubbert’s),
1994; No. 69, pg. 25. Brenda Stubbert - “Tamerack ‘er
Down” (1985).
RAYLAND'S HUMOURS. English, Reel. England, Northumberland. G Major. Standard tuning. AABB.
The melody appears in the 1770 music manuscript of Northumbrian musician
William Vickers, about who unfortunately little is known. Seattle (William Vickers), 1987, Part 2; No. 362.
X:1
T:Rayland’s Humours
M:C|
L:1/8
S:William Vickers’ music manuscript
copybook, pg. 100 (1770)
Z:AK/Fiddler’s Companion
K:G
GABc d2g2|fafd ecBA|GABc d2g2|faf^c
d2D2:|
|:dedB cdcA|BdBG AFED|GDEF G2c2|BdAF G2G,2:|
RAYMOND ROLANDS. Irish, Reel. D Dorian. Standard tuning. AB. Source for notated version:
Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 81, pg. 21.
RAYMOND THOMAS SOLDIER’S JOY. Rounder 0436, Bill
Mustain – “Traditional Fiddle Music of
the Ozarks, Vol. 2: On the Springfield Plain.”
RAYMOND’S FROLIC. Irish,
Jig. A Dorian. Standard tuning. AABB. Kennedy (Traditional Dance
Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours),
1997; No.161, pg. 39.
RAYMONDVILLE. AKA and see "Buffalo
Nickel [1]," “Cat Ate the
Handsaw,” "Chinky Pin," “My Love is But a Lassie Yet
[1],” “Old Mose,” "Richmond Blues," “Soapsuds Over the Fence [3],”
"Sweet Sixteen," "Ten Nights in a Bar Room,"
"Yellow Eyed Cat." Old-Time,
Breakdown. The title “Raymondville” is a local Missouri title, after a town in
the Missouri Ozark mountains in Texas County.
RAY’S CLASSIC. AKA – “The Race Classic,” “Roy’s Session.”
Scottish, Reel; Irish, Polka. A Major. Standard tuning. AA’BB’. The tune was
adapted from a reel by the late Shetland composer and fiddler Willie Hunter,
who is said to have called it “Ray’s Classic,” after a friend’s car. It has
been converted to a polka popular with Sliabh Luachra musicians and others. Verena Commins & Julie Langan – “Fonnchaoi.” North Cregg
– “Mi.da:za’” (learned from Derek Hickey
from Adare, County Limerick). At the Racket.
X:1
T:Race Classic, The
S:sessions in Kerry
R:polka
M:2/4
L:1/8
Z:Paul
de Grae
K:A
A>B AE | FA E2 | FB BA/B/ | cB Bc/B/ |
A>B AE | FA E2 | FB BA/B/ |1 cA Ac/B/ :|2 cA Ac/d/ |:
e>f eA | f4 | Bf Bf | g4 | cg cg | a2 gf |
eA c/B/A/B/ |1 cA Ac/d/ :|2 cA A2 ||
X:2
T: North Cregg
M: 2/4
L: 1/8
R: polka
Z:D.J.F.,
The Session 16.03.08
K: Amaj
| A2 A>E FAFE | FB BA/B/ cB B2 | A2 A>E FAFE | AA BA/B/ cA A2 :||
||: AeAe f2 f2 | BfBf g2 g2 | cgcg a2 g>f | ec BA/B/ cA A2 :|
RAZA'S REEL. AKA and see "John
Roy Stewart." Scottish. John Glen (1891) finds the earliest appearance
of this tune in Angus Cumming's 1780
collection (pg. 12).
[COMMENT1][COMMENT2][COMMENT3][COMMENT4][COMMENT5][COMMENT6][COMMENT7][COMMENT8]
RAZORBACK WALTZ. Old-Time,
Waltz. C Major. Standard tuning. AABB. Drew Beisswenger (2008) remarks that the
tune is sometimes credited to source Cotton Combs, although there seem to be
other tunes that go by the name “Razorback Waltz.” Combs’ version is identified
by Beisswenger as similar to Bill Monroe’s “Roxanna
Waltz,” while the ‘A’ part is similar to the ‘B’ part of the well-known “Tennessee Waltz [2].” A razorback is a
feral pig, introduced to the Americas in the 16th century; however,
more to the point of this Ozark waltz, it is also the nickname for the
University of Arkansas athletic teams. Source for notated version: fiddler
Cotton Combs (1921-1984, Fayetteville, Arkansas) [Beisswenger/McCann].
Beisswenger & McCann (Ozarks Fiddle Tunes), 2008; pg. 24.
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