The Fiddler’s Companion
© 1996-2010 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] |
REE RAW. AKA and see “The Butcher’s
March [1],” “Rub the Bag.” Irish, Jig
or March. G Major. Standard tuning. AABBCC. The title is an Anglicized
version of the Irish name Rí an Rátha (King of the Rath i.e. a fairy rath, or fort). Note the uneven length of
the respective parts. The melody also appears in vol. 1 of the Petrie
Collection (1855), and was one of those included in a manuscript sent to him by
one James Fogarty. The latter had
emigrated from Tibroghney, Kilkenny, to America in 1852, in the aftermath of
the Great Famine, and reported that the tune was peculiar to his native locale,
based on a war march air sung by those on their way to the once popular May
festivals in Fiddown. After the melody was sung, its tempo would be increased
to the jig below, until collapsing on itself; thus the once-a-time meaning of
‘ree raw’ as uproar, confusion or boisterous merriment. Petrie’s suggestion is that the tune was of
some antiquity, perhaps harkening back to when chieftains led clans in Ireland.
Levey (Dance Music of Ireland, 2nd
Collection), 1873; No. 41, pg. 18.
X:1
T:Ree Raw
M:6/8
L:1/8
R:Jig or
March
S:Levey – Dance Music of Ireland, 2nd
Collection (1883)
Z:AK/Fiddler’s Companion
K:A
c2e edc | BcB dcB | ABA A2e | edc dBG | c2e edc | BcB dcB | ABA A2e | edc dBG ||
c2c c2e | d2d d2f | e2e e2f | =g2g g3 | e2e e2f | d2d d2e | c2e (edc) | (BcB) (dcB) |
ccc c2e | ddd d2f | eee e2f | =g2g g3 | ccc c2e | (edc) (dBG) | ABA A2e | (edc) (dBG) ||
REED HOUSE. AKA – “Read House Rant,” “Reed House Rant.” AKA and see “Old Lancashire Hornpipe.”
English, “Old” or Triple Hornpipe (3/2 time). England, Northumberland. D Major.
Standard tuning. AABBCC (Vickers): AABBCCDDEEFFGGHH (Callaghan). The first two
parts of the tune appear in the 1770 music manuscript of Northumbrian musician
William Vickers, about whom unfortunately nothing is known. A similar title is
the "Reed House Rant," also in Vickers; as “Read House Rant” it
appears in the 1694 music manuscript book of Henry Atkinson (Morpeth,
Northumberland), where it includes six variation sets. Playford also printed a
version of the tune in Apollo’s Banquet.
“Reed House Rant” is a related tune to “Old Lancashire Hornpipe.” Source for
notated version: Henry Atkinson’s 1694 ms. (Morpeth, Northumberland)
[Callaghan]. Callaghan (Hardcore English),
2007; pg. 78.
X:1
T:Reed House Rant
M:6/8
L:1/8
R:”Old” or Triple Hornpipe
N:Vickers sets the tune in 6/8 time,
although Triple Hornpipes are
N:usually in 3/2 time.
S:William Vicker’s 1770 music
manuscript book (Northumerland)
K:D
B|AGFE Dg|fd eEEB|AGFE Df|ecdDD:|
|:B|AGFA GB|FA cEEB|AGFA GB|FA dDD:|
|:g|fafe df|ed ceeg|fafe df|ec dDD:|
REEDS, THE. Canadian, Reel. Canada, Cape Breton. C Major.
Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R.
MacDonald (1911-1976). Cameron (Trip to
Windsor), 1994; pg. 17.
REED'S FAVORITE. American, Reel or hornpipe. C Major. Standard tuning. AABB. Source for
notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 18.
Cranford (Winston Fitzgerald), 1997;
No. 119, pg. 49. Ryan’s Mammoth
Collection, 1883; pg. 42.
REEDY JOHNSON’S. See “Miss Johnston(’s) [1].”
REEFER'S HORNPIPE. AKA and see "Ned
Kendall's Hornpipe [2]." American, Hornpipe. D Major. Standard tuning.
AABB'. Source for notated version: Ken Campbell [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol.
2, 1995; pg. 220.
REEL. A duple-meter dance form common to the British Isles and North America.
Webster’s gives that the name ‘reel’ derives from the Middle-English word relent,
although the Oxford English Dictionary says it is from the Gaelic righil or ruithil,
probably from Lowland Scots. David Taylor (1992) says of the form "it is generally accepted
that reels in the main originated in Scotland". The first mention of a
dance called a reel in Scotland was in 1590, though Purser (1992) believes it
was well-established in the beginning of the 16th century. In fact,
the first mention of the dance form in print is in the 1591 publication Newes
from Scotland, in which is related that one Agnes Thompson confessed that on All-hallow E'en that she,
accompanied by two hundred other witches, "...daunced this reill or short
dance..." The unfortunate Agnes was convicted of witchcraft, strangled and
burnt. The movements of
the dance involve a setting step and a travelling figure (in the shape of a
figure eight) and have historically been performed by combinations of three,
four, six or eight dancers. Musically it is generally characterised by two
groups of eighth notes per measure. In Ireland one sometimes finds the term
‘single’ and ‘double’ reel, which means simply that in the former each part is
played only once, while in the later the parts are repeated. Scottish reels are
performed in the 216-240 beats per minute range. Although the range in Cape
Breton can be from 195-250 bpm, reels are typically played in the 216-232
range. The reel in Ireland does not seem to have been established until around
the 18th century.
REEL À BEDOU. AKA and see “Bedou’s Reel.”
REEL À BOUCHE (The Mouth Reel). French‑Canadian, Reel. Rounder 0216, John McCutcheon ‑ "Step by
Step" (1986).
REEL À CEDULIE, LE. French-Canadian, Ree. F Major. Standard tuning. AA’B. Composed by
fiddler Louis ‘Pitou’ Boudreault. Source for notated version: Louis Boudrealut
(Saguenay region, Québec) via Lisa Ornstein [Remon & Bouchard]. Remon &
Bouchard (25 Crooked Tunes, Vol. 1:
Québec Fiddle Tunes), 1996; No. 6. Sugar Hill SH
CD 1156, André Marchand & Grey Larsen - “The Orange Tree.”
REEL À CÉLINA. AKA - “Gigue à Célina.” French-Canadian, Reel. G Major. Standard tuning. AABB. Source for notated version: Louis Beaudreault (1905-1988), who had the tune from his father, Didace (1880-1939), via Lisa Ornstein [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 34, pg. 65. Voyager Records, Louis Boudreault: Old-Time Fiddler of Chicoutimi, Québec (1977. Appears as 2nd tune of medley called “Le Reel à Philibert”). Le Tamanoir Records, Louis Boudreault – “Musique traditionnelle du Québec: Violon” (1974/76). Fogarty’s Cove Records, Éritage – “La Ronde des Voyageurs” (1982). Raynald Ouellet & Daniel Poirier – “Québec Pure Laine” (1992). Manigance – “Album Souvenir, vol. 1” (1988).
REEL A DOWN A MEREKEN. Scottish, Reel. Country dance directions to this tune have been
recovered from the Holmain MS. (c.
1710‑50) from Dumfries‑shire. It is perhpas the same as "Reel don ne Marachan", or the Menzies' Rant, for which dance
instructions, but not the melody, appear in the Menzies Manuscript of 1749 (contained in the Atholl Collection of
the Sandeman Library, Perth).
REEL À JOE BIBIENNE. Canadian, Reel. Canada; Prince Edward Island, Quebec. C Major. Standard
tuning. AABB. The tune is titled after Joe Bibienne Arsenault, a fiddler of the
Evangeline region of Prince Edward Island, who fathered 15 children, most of
whom were themselves well-known in the region (Perlman). Source for notated
version: Louise Arsenault (b. 1956, Mont Carmel, East Prince County, Prince
Edward Island; now resides in Wellington) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 120.
REEL À NEUF, LE. AKA and see “(Les) Soeurs.” French-Canadian,
Reel. A punning title: i.e. "real enough." The tune is quite common
in the old repertoire of Québec fiddlers, though in widely different variants. Voyager 322, Louis Boudreault - "Old Time Fiddler of
Chicoutimi, Québec" (1977, 1993).
REEL À PÉPÉ (Grand-Pa’s Reel). AKA – “Reel à pépère.” AKA and see “Grandpa’s Reel,” “Reel du granpère.” French-Canadian, Reel. D Major
(‘A’ part) & G Major (‘B’ part). Standard tuning. AA’BB’. Source for
notated version: fiddler Louis Beaudoin (1921-1980, Burlington, Vt.) via Lisa
Ornstein [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 15, pg. 48. A-L
001, Lisa Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau
Samedi d’ été” (2009. Learned from Louis Beaudoin).
REEL À PÉPÈRE ITOU.
French-Canadian, Reel. From the repertoire of fiddler Louis
Beaudoin (1921-1980, Burlington, Vt.). A-L 001, Lisa
Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau Samedi d’
été” (2009. Learned from Louis Beaudoin).
REEL À PHILIBERT, LE. French-Canadian, Reel. Voyager 322, Louis
Boudreault - "Old Time Fiddler of Chicoutimi, Québec" (1977, 1993).
REEL À PHYLIAS.
French-Canadian, Reel. From the repertoire of Sherbrooke fiddler Phylias
Jetté. Talencourt Musique TM-2009, Lisa Ornstein,
Andre Marchand & Normand Miron – “Le Bruit Court Dans la Ville” (1997).
Gilles Veilleux – “Accordéons diatoniques: musicians du Québec” (Various
artists. Learned by Sherbrooke accordionist Veilleux from his father, a fiddle
player).
REEL À QUATRE, LE. See note for “Reel McDonnell.”
REEL À RAYMOND. French-Canadian, Reel. A Major. AEae tuning.
AABB. See note for “Grondeuse [3].”
Source for notated version: fiddler and storyteller Aimé Gagnon (1921-1997),
from St-Louis-de –Lotbinière, Québec, via Lisa Ornstein [Hart & Sandell].
Hart & Sandell (Dance ce Soir),
2001; No. 49, pg. 83. Lisa Ornstein – “Les Danseries
de Québec…de l’autre bord de l’eau” (1986). Nightingale – “The Coming Dawn”
(1994).
REEL À/DE RÉMI. AKA and see “The Chamberlain,”
“Reel de l’hôtelier.” French-Canadian, Reel.
D Major. Standard tuning. AABB. Songer (Portland
Collection), 1997; pg. 165. La Bottine Souriante –
“Chic & Swell.”
REEL À TI JEAN.
French-Canadian, Reel. The title, Ti-Jean, or Little John, a term of
affection, refers to the late great Montreal fiddler Jean Carignan. Voyager VRCD 342, Rodney Miller – “Rodney Miller’s All-Round
Collection of Jigs, Reels and Country Airs” (learned from Aimé Gagnon).
REEL À TOUT LE MONDE, LE (Everybody’s
reel). French-Canadian, Reel. A traditional reel in
the repertoire of Gaspésie musician Yvon Mimeault (b. 1928, Mont-Louis) and
older players. Yvon Mimeault – “Y’etait temps!/It’s
About Time.”
REEL AMERICAIN. French-Canadian, Reel.
REEL ANDRÉ ALAIN.
French-Canadian, Reel. From the repertoire or Saint-Vasile-de-Portneuf
fiddler André Alain. Éric Favreau & Mario Landry –
“Reel à Deux” (1998).
REEL ANTOINETTE. French-Canadian, Galope or Polka. D Major. Standard tuning.
AA'BB'A"A"'. Source for notated version: French-Canadian button
accordion player Philippe Bruneau (Québec) [Begin]. Begin (Philippe Bruneau), 1993; No. 32, pg. 47.
REEL ARCÈNE. AKA and see “Marche des Raquetteurs [2].” French-Canadian, Reel. Philo Records, Jean-Marie Verret – “La famille Verret, vol. 2” (1975).
REEL BÉATRICE. AKA - "Beatrice." French-Canadian, Reel or Galope. A Minor
{'A' and 'B' parts} & C Major {'C' part} (Begin, Hart & Sandell,
Phillips). Standard tuning. AABB'CC (Phillips): AA'BB'CC' (Begin, Hart &
Sandell, Songer). “Reel Béatrice” was popularized among Québec musicians by
fiddler Joseph Bouchard (to whom the tune is often attributed), who recorded it
on a 78 RPM record for Bluebird in 1938. According to Paul M. MacDonald, the
original reel began as a polka from the Ballo Liscio dance repertoire called
“Oggi Nevica” (which means ‘today it snows’), played by Riccardo Tesi, an
Italian accordion player. Begin (1993) points out that the structure of the
tune is that of a reel, although the melody approaches one considered suitable
for a Galop. However, it is in the style of the 19th century bal
musette, and many of these polkas, waltzes and mazurkas were characteristically
in three parts, two in minor keys, with a contrasting trio section in the
major. The tune called “Beatrice” in the Omer Marcoux collection is not “Reel
Béatrice” but apparently a tune entitled “Carnival,” although the tunes share
somewhat similar structures and chord patterns. Sources for notated versions:
French-Canadian button accordion player Philippe Bruneau (Québec) [Begin];
Ruthie Dornfeld (Seattle) [Phillips], La Bottine Souriante fiddler Martin
Racine [Hart & Sandell]. Begin (Phillipe
Bruneau), 1993; No. 38, pg. 57 (appears as "Piece de J.
Bouchard"). Hart & Sandell (Dance
ce Soir), 2001; No. 29, pg. 59. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 21 (appears
as "Beatrice"). Songer (Portland
Collection), 1997; pg. 25. Green Linnet SIF 1092,
Liz Carroll ‑ "Liz Carroll" (1988). Green Linnet 1101, Liz
Carroll ‑ "Playing with Fire: the Celtic Fiddle Collection"
(1989). Green Linnet GLCD 3127, Sharon Shannon – “The Best of Sharon Shannon:
Spellbound” (1999. Learned from Liz Carroll). Lisa Ornstein & Denis Pepin - “Dansieries de la Belle
Province.” Rounder RO7023, Natalie MacMaster - “No Boundaries” (1996. Learned
from Baltimore fiddler Jesse Smith). Le Tamanoir Records, Joseph Bouchard –
“Jos Bouchard, violoneux: Musique et dancse trandtionelle de Charlevoix”
(1978). Andre Alain – “Viloneux de St-Basile de Portneuf” (1986). La Bottine
Souriante – “Je voudrais changer d’chapeau” (1988). La Bottine Souriante – “En
spectacle” (1996).
X:1
T:Reel Béatrice
M:2/4
L:1/16
Q:100
K:Amin
A,3B,|:[A2C2]A,C EA,CE|AEEC E2AB|ccAc eAce|ae (3eee aeab|!
c'bag fedc|Bdd^c d4|e^def e=dcB|1A3 A, A,3 B,:|2A3 A, A,2 z2||!
|:a2 fa bf (3fff|fe^de ae (3eee|e^def e=ddB|cdcB A2 a2|!
aafa bf (3fff|fe^de ae (3eee|e^def e=dcB|1A2 z A, A,3 z:|2A2 z4 G>B||!
|:cG (3GGG EGce|cG (3GGG EGce|dB (3BBB GBdB|cc'ba gfed|!
cG (3GGG EGce|cG (3GGG EGce|dB (3BBB GBdB|1cBcd c2 GB:|2cBcd c2 z2||!
REEL BEAULIEU. French-Canadian, Reel. A
Mixolydian. Standard tuning. AA’BB’.
X:1
T:Reel Beaulieu
M:2/4
L:1/8
R:Reel
S:Pascal Gemme
K:Amix
e/d/|:cB A/c/B/A/|F/B/A/F/
EE/A/|B/A/B/c/ d/B/B|A/B/c/d/ e/f/e/d/|
cB A/c/B/A/|F/B/A/F/ EE/A/|B/A/B/c/
d/B/B|1 A/c/e/c/ A/f/e/d/:|2 A/c/e/c/ A2||
|:a>b a/f/e/d/|c/A/c/e/
ae/f/|gg/a/ g/e/d/B/|G/G/B/d/ gf/g/|
aa/b/ a/f/e/d/|c/A/c/e/
ae/e/|e/f/e/c/ d/c/B/d/|1 c/A/(3A/A/A/ Af/g/:|2 c/A/(3A/A/A/ Ae/d/||
REEL BLANCHETTE. French-Canadain, Reel. From the repertoire of Louis Beaudoin. Part of
this tune resembles the 'B' part of Omer Marcoux's "Haytime."
REEL BOULE DE NEIGE (Snowballs). AKA and see "Bachelor's Reel." French-Canadian,
Reel. G Major ('A' part) & D Major ('B' part). Standard tuning. AA'BB'.
From the repertoire of Québec fiddler Joseph Allard (1873-1947), who recorded
it in 1932. Allard, who worked for much of his life as a fisherman, lived for a
time in the United States, where he toured the northeast and was influenced by
Irish and Scottish-style fiddlers. He returned to Canada in 1917 and settled
near Montréal, later recording for the Bluebird label. Cuillerier (Joseph Allard), 1992; pg. 13. Bluebird B-4882-a (78 RPM), Joseph Allard.
(((♫))) Joseph Allard – Boule de Neige |
X:1
T:Reel Boule
de Neige
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
Bc|d2B2
g2B2|d2c2 cBAB|c2A2 d2A2|c2B2 BAGB|!
d2B2
g2B2|f2e2 edef|e2c2 a2f2|g2b2 g2:|!
K:D
d2|ABAG
F2A2|fefg f2d2|efed c2e2|a^gab a4|!
ABAG F2A2|fefg f2ed|c2e2 a2c2|e2d2
d2:|!
REEL CAJUN, THE. Cajun, Reel. USA, Louisianna. Arhoolie C‑334, Michael Doucet ‑ "Masters
of the Folk Violin" (1989).
REEL COMO. French-Canadian, Reel. G Major. Standard tuning. AA’BB’. An irregular (‘crooked’) tune from Louis Blanchette (1905-1969), whom Hart & Sandell note was a harmonica player hailing from Rivière-du-Loup, Québec, but who moved to Montréal around 1930. Blanchette recorded the tune on a 78 RPM record in 1938. Hart & Sandell (Dance ce Soir), 2001; No. 20, pg. 51. MCA Coral, Louis Blanchette - “Louis Blanchette: Héritage québécois” (1991 reissue). Lisa Ornstein & Denis Pépin - “Les Danseries de Quebec..de l’autre bord l’eau” (1986).
REEL DE BERGERVILLE. French-Canadian, Reel. D Major. Standard tuning.
AA’BB’.
X: 1
T:Reel de
Bergerville
M:4/4
L:1/8
K:D
e3e edef |
gfgab2B2 | e3e edef | gagfe2B2 | e3e edef | gfgab2B2 |
e3e edef |1
gagfe2B2 :||2 gagfe2d2 || d2edB2d2 | gfgab2d2 | d2edB2d2 |
gdBGA2d2
| d2edB2d2 | gfgab2d2 | d2ed B2d2 |1 agfag2d2 :||2 agfag4 ||
REEL DE CABANO. French-Canadian, Reel. G Major. Standard tuning. AA'BB'. Both parts are
in 'double-tonic' tonality. Cuillerier (Joseph
Allard), 1992; pg. 14. Bluebird 55-5230-b (78
RPM), Joseph Allard.
X:1
T:Reel de
Cabano
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
BGdG
BGGd|BGdG BGGB|A=Fc=F A=F=Fc|A=Fc=F A=F=Fc|!
BGdG
BGGd|BGdG A=F=F2|GFGA Bcde|fdAc BGG2:|!
|:gfga
gede|=fe=fg a=fd=f|g=fga gede|fdAd BGG2|!
gfga gede|=fe=fg a=fde|=fge=f
decd|BdcA BGG2:|!
REEL DE CHARNY. French-Canadian, Reel. G Major.
Standard tuning. AABB.
X:1
T:Reel de Charny
M:2/4
L:1/8
R:Reel
S:Fiddler Pascal Gemme (of the group
Genticorum)
K:G
D/G,B,/D/ G,/D/B,/D/|C/D/E/G/
c/G/B/G/|A/D/F/A/ D/A/F/A/|G/A/B/c/ d/d/d|
D/G,B,/D/ G,/D/B,/D/|C/D/E/G/
c/G/B/G/|A/D/F/A/ D/A/F/A/|G/B/A/F/ G/G/G:|
|:g/f/g/a/ b/g/d/g/|d/g/d/g/
B/d/e/f/|g/f/g/a/ b/g/d/g/|d/e/f/g/ aa/b/|
ag/a/ b/g/d/g/|d/g/d/g/
B/d/e/f/|g/B/B/c/ d/e/d/c/|B/G/A/F/ GG:|
REEL DE CHÂTEAUGUAY (Châteauguay Reel). AKA and see "Chateauguay Reel."
REEL DE CHEZ-NOUS. AKA and see "Quadrille Francais,"
"Reel du Canada."
REEL DE CHICOUTIMI. French Canadian, Reel. E Major.
Standard tuning. AABB. Chicoutimi is a town in the Saguenay region of the
Province of Québec. The tune was recorded by Québec accordion great Alfred
Montmarquette (1871-1944) in 1928. Carlin (Master
Collection), 1984; pg. 44, No. 60.
X:1
T:Reel de Chicoutimi
M:2/4
L:1/8
R:Reel
S:Pascal Gemme
K:Amix
z/f/|:e/c/c/c/ e/c/c/f/|e/c/c/c/
B/c/d/f/|e/c/(3c/c/c/ e/c/a/f/|1 e/c/B/d/ c/A/A/f/:|2 e/c/B/c/ AE/E/||
|:A/c/B/c/ A/E/E/E/|A/c/B/c/
AE/E/|A/E/A/B/ c(3/e/e/e/|1 e/c/B/c/ A/E/E/E/:|2 e/c/B/c/ A>f||
REEL DE COURVILLE. Cajun, Reel. Originally recorded by Cajun fiddler Dennis McGee in the
1920's, named for a Cajun musician (Sadie Courville?). Flying
Fish FF‑275, "Blue Flame Stringband" (1982).
REEL DE DRUMMONDVILLE.
French-Canadian, Reel. In the repertoire of Gaspésie musician Yvon
Mimeault (b. 1928, Mont-Louis), learned from Ti-Noir Joyal of Drummondvile. Yvon Mimeault – “Y’etait temps!/It’s About Time.”
REEL DE EBOULEMENTS. See “Reel des eboulements.”
REEL DE GASPÉ. AKA and see "Gaspé Reel [1]."
REEL DE LA BAIE ST.
PAUL. See "Set de la Baie St. Paul."
REEL DE LA BOURGEOISE
(Townswoman’s Reel). French-Canadian, Reel. G Major. Standard
tuning. AA’BB’. Source for notated version: fiddler and storyteller Aimé
Gagnon (1921-1997), from St-Louis-de –Lotbinière, Québec, via Lisa Ornstein [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 50, pg. 84. Lisa Ornstein – “Les Danseries de Québec…de l’autre bord de
l’eau” (1986).
REEL DE LA BROUE.
French-Canadian, Reel. D Major. Standard tuning. The reel is sourced to
Luc Veilleux from Sherbrooke, Québec, whose father played the tune on the harmonica.
When the elder Veilleux played the tune it was observed that froth formed on
the instrument. Éric Favreau & Mario Landry –
“Reel à Deux” (1998). April Verch –
“Verchuosity.”
X:1
T:Reel de la broue
M:C|
L:1/8
R:Reel
K:D
dcdB (3ABA FA|GABG A3c|d2 dB
ABAG|FD(3EFE D3c|
dcdB (3ABA FA|GABG A3c|d2 dB
ABAG|FD(3EFE D2:|
|:DE|[F2A2] [FA][DA] (3EFE [DA][EA]|FAFA (3EFE DE|FAdB ABAG|FDEA FEDE|
[F2A2] [FA][DA] (3EFE [DA][EA]|FAFA
(3EFE DE|FAdf edcB|AGFE D3:||
REEL DE LA CASA. French-Canadian, Reel. C Major. Standard
tuning. AABB.
X:1
T:Reel de la Casa
C:Trad Quebecois
M:4/4
L:1/8
Q:500
R:Reel
Z:Si Garbutt Feb 03
K:C
A3 B c2A2|B2 c2 B4|B2 cd e3 d|c2 B2 c2 A2|
A3 B c2A2|B2 c2 B4|B2 cd e3 d|c2 B2 A4:|
M:4/4
e2 fg a2 a2|g2 f2 e3 f|e2 d2 c2 B2|\
M:2/4
c2 A2|
M:4/4
e2 fg a3 a|g2 f2 e3 f|e2 d2 c2 B2|\
M:2/4
A4:|
REEL DE LA CASERNE. AKA and see "Chateauguay
Reel," "Reel de Chateauguay."
REEL DE LA CATALOGNE. AKA and see "Reel Saint-Jean."
French-Canadian, Reel. A Minor ('A' part) & C Major ('B' part). Standard
tuning. AA'BB'. Joyal (Danses d'ici:
Musique Traditionnelle du Quèbec), 1994; pgs. 43 & 99. Bluebird 55-5391-B (78 RPM), Joseph Bouchard.
REEL DE LA MALBAIE, LE. See note for “Big-Eyed Rabbit [2].”
REEL DE LA
MOBILISATION. AKA and see "Reel de Sorel," "Reel des noces d'or." Carnaval C-430, "Mes annees d'or--Isidore Soucy, vol.
2." Starr 16355 (78 RPM), Isidore Soucy.
REEL DE LA PISTROLI, LE. Canadian, Reel. Canada, Newfoundland. D Major. Standard tuning. AABB.
Composed by the late Newfoundland fiddler Emile Benoit.
X:1
T:Reel de la Pistroli, Le
R:reel
C:Emile Benoit
Z:Kelly Russell, ABC by Gerry Strong
M:C|
L:1/8
Q:120
K:D
D2 DE FAAB|d2 fd ed B2|A2 AB
dfaf|edef e2 e2|D2 DE FAAB|
d2 fd ed B2|A2 ABdfaf|edef d2 d2:|
|:faab afde|fdef dBAF|DEFA BABd|edfd
e2 e2|faab afde
|fdef dBAF|DEFABABd|edfe ed d2:|
REEL DE LA SORCIERE, LA. AKA and see “Julia Delaney [1].”
A version of the Irish reel “Julia Delaney” by the Québec band Barde.
REEL DE LA TUQUE BLEUE. See "Reel de Tuque Bleu."
REEL DE LA VEUVE. French-Canadian, Reel. G Major. Standard tuning. AA'BB'. Cuillerier (Joseph Allard), 1992; pg. 17. Bluebird B-4910-b (78 RPM), Joseph Allard.
X:1
T:Reel de la
Veuve
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
D2|G2Bd
gdBd|cBAB cBce|dBG2 Bddg|ecAF GFEF|!
G2Bd
gdBd|cBAB cBce|dBG2 Bddg|ecAF G2:|!
|:Bd|gfgb
agfd|efge dBG2|Bdgb agfd|efga bggf|!
gfgb agfd|efga bgga|bgaf gfed|egfa
g2:|!
REEL DE LAPIN (Rabbit's Reel). AKA and see “Saut du Lapin [2].” French‑Canadian,
Reel. G Major. Standard tuning. AABB. Source for notated version: the late
Manitoba fiddler Andy DeJarlis via Jack O'Connor of the band Yankee Ingenuity
[Hebert/Hinds]. Hinds/Hebert (Grumbling
Old Woman), 1981; pg. 9. Dancecraft DC123321 (Can‑Ed
Media), Andy DeJarlis.
REEL DE l’AVEUGLE (The Blind Man’s Reel). AKA and see “The Blind Man’s Reel [1].”
REEL DE L'ENFANT. French-Canadian, Reel. G Major. Standard tuning. AABB (Cranford,
Cuillerier): AA'B (Joyal). Similar to "Lord MacDonald('s Reel) [4]."
Source for notated version: Learned by Jerry Holland (Inverness, Cape Breton)
from fiddler Arthur Muise (Cheticamp, Cape Breton) who had learned it from a
tape of Montreal fiddler Jean Carignan [Cranford]. Cranford (Jerry Holland’s), 1995; No. 186, pg. 53.
Cuillerier (Joseph Allard), 1992; pg.
15. Joyal (Danses d'ici: Musique
Traditionnelle du Québec), 1994; pgs. 15 & 85. Victor
263548-b (78 RPM), Joseph Allard (1930).
X:1
T:Reel de L'Enfant
M:2/4
L:1/16
C:Trad.
S:The Schryer Triplets
R:Reel
K:G
d|gfgb afdg|ecdc BGBd|gfgb afdf|egfa g2d2|! gfgb afdg|ecdc BGBd|
bgaf gedB|ceAc BGG2||!
|GDB,D DGBG|cGBG AGAB|GDB,D DGBG|ceAc BGG2|! GDB,D DGBG|
cGBG
AGAB|GDB,D DGBG|ceAc BGG2||!
REEL
DE L'HÔTELIER. AKA and see “The Chamberlain,” “Gordon’s Reel,” “Reel a/de Rémi,” “Remi Laporte.” French-Canadian,
Reel. D Major. Standard tuning. AA'BB'. From the repertoire of highly
influential Québec fiddler Joseph Allard (1873-1947), of Woodland, near Montréal.
See also Don Messer’s version under the title “The Chamberlain.” The ‘A’ part
is shared with Shetland fiddler Arthur Scott Robertson’s “Laxo Burn.” Fiddler Louis Beaudoin
(1921-1980, Burlington, Vt.) played it simply as “Galope.” Carlin (Master
Collection), 1984; No. 57, pg. 43 (appears as “Gordon’s Reel”). Cuillerier (Joseph Allard), 1992; pg. 16. Bluebird
B-4894-a (78 RPM), Joseph Allard. La Bottine Souriante – “Chic & Swell”
(appears as “Reel à Rémi,” learned from fiddler Rémi Laporte). Cuillerier –
“Joseph Allard, Grand violoneux, Hommage.”
X:1
T:Reel de
l'Hotelier
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:D
AG|F2D2
DFAd|B2G2 GBed|c2A2 Aceg|fdAd fdAG|!
F2D2
DFAd|B2G2 GBed|c2A2 Aceg|f2d2 d2:|!
|:ef|g2gf
g2bg|abaf d2fa|gece Aceg|fdAd fdef|!
g2gf g2bg|abaf d2fa|gece Aceg|fddc
d2:|!
X:2
T:L’hôtelier
M:2/4
L:1/8
R:Reel
Z:Transcribed by Pascal Gemme
(http://tradquebec.over-blog.com/45-index.html)
K:D
A/G/|:F/D/(3D/D/D/ D/F/A/d/|B/G/G/F/
Ge/d/|c/A/(3A/A/A/ A/c/e/g/|f/d/A/d/ f/d/A/G|
F/D/(3D/D/D/ D/F/A/d/|B/G/G/F/
Ge/d/|c/A/(3A/A/A A/c/e/g/|1 f/d/e/c/ dA/G/:|2 f/d/e/c/ de/f/||
|:gg/f/ gb|a/b/a/f/ df/a/|g/e/c/e/
A/c/e/g/|f/d/A/d/ g/d/e/f/|gg/f/ gb/g/|
a/b/a/f/ d/f/a/f/|g/e/c/e/
A/c/e/g/|1f/d/e/c/ de/f/:|2 f/d/e/c/ dA/G/||
REEL DE LIMOILOU. French-Canadian, Reel. G Major. Standard tuning. AA'BB'. The 'A' part
is very similar to that of the old-time piece "Magpie." Cuillerier (Joseph Allard), 1992; pg. 17. Bluebird
B-1289-a (78 RPM), Joseph Allard.
X:1
T:Reel de
Limoilou
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
Bc|dedB
G2Bc|dedB G2Bc|d2g2 f2g2|A6AB|!
cdcA
F2AB|cdcA F2AB|c2e2 d2F2|G6:|!
|:g2|b2bb
b2a2|g6fg|a2g2 f2g2|e6e2|!
aaaa a2g2|ffff
f2e2|d2^cd e2d2|B6d2|!
b2bb
b2a2|g6fg|a2g2 f2g2|e6e2|!
aaaa a2g2|ffff f2e2|d2^cd
b2a2|g6:|!
REEL DE L'OUVRIER. AKA and see "Carpenters'
Reel."
REEL DE MA TANTE LYDIA.
French-Canadian, Reel. In the repertoire of fiddler Louis “Pitou”
Boudreault (1905-1988, Chicoutimi, Québec). A-L 001,
Lisa Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau Samedi
d’ été” (2009).
REEL DE MADAME RENAULT. AKA and see "Madame Renaud."
REEL DE MATTAWA. French-Canadian, Reel. E Dorian. Standard tuning. AABB. Songer (Portland Collection) notes the tune was
composed by Canadian fiddler Richard Forest in 1979 and named for Mattawa, a
small city in Ontario. Source for notated version: fiddle and tenor banjo
player Charli Meacham (Juneau, Alaska) [Songer]. Songer (Portland Collection), 1997; pg. 132. Great
Meadow CD 2007, Mary Cay Brass and Friends – “Green Mountain.” Kerry Elkin et
al - “Tradition Today.”
REEL DE MES P’TITES VACHES (Reel of my little
cows). French-Canadian, Reel. Composed by Gaspésie
musician Yvon Mimeault (b. 1928, Mont-Louis). The tune is named after one of
his hobbies—sculpting wooden cows. Yvon Mimeault –
“Y’etait temps!/It’s About Time.”
REEL DE MINUIT (Minuet Reel). French-Canadian, Reel. D Major. Standard
tuning. AA'BB'. Cuillerier (Joseph Allard),
1992; pg. 18. Victor 263613-a (78 RPM), Joseph Allard.
X:1
T:Reel de
Minuit
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:D
AG|F2D2
DFAF|G2E2 E3F|GFGA BGBd|ceAc dBAG|!
F2D2
DFAF|G2E2 E3F|GFGA BGEG|F2D2 D2:|!
|:de|f2df
edce|dfec dcBA|GBef gfgf|edcB Acde|!
f2df edce|dfed dcBA|GABc dBAG|F2D2
D2:|!
REEL DE MONTAGNE (Mountain Reel). French‑Canadian, Reel. A Major. Standard
tuning. AA'BB. Source for notated version: Joseph Allard (Montreal) via his
student Jean Carignan (Montreal) [Reiner & Anick]. Reiner & Anick (Old Time Fiddling Across America), 1989;
pg. 65. Philo 2012, "Jean Carignan rend hommage a
Joseph Allard."
REEL DE MONTEBELLO. American, Reel. Composed by Richard Forrest. Great
Meadow Music GMM 2003, “Rodney Miller’s Airdance” (2000).
RÉEL DE MONTRÉAL. French‑Canadian, New England; Reel. G Major ('A' part) & D
Major ('B' part). Standard. AABB (Miller & Perron): AA’BB’ (Songer). Source
for notated version: Deborah Lindsay [Songer]. Miller & Perron (New England Fiddlers Repertoire), 1983;
No. 164. Page (Ralph Page Book of Contras),
1969. Songer (Portland Collection),
1997; pg. 138. Fretless 200a, Yankee Ingenuity‑‑"Kitchen
Junket" (1977). Smithsonian Folkways SFW CD 40126, Northern Spy – “Choose
Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).
X:1
T:Réel de Montréal
L:1/8
M:C|
K:G
g2fe dcBA|GBDG B2AG|FADF A2GF|GDEF GABd|
g2fe dcBA|GBDG B2AG|FGAB cdef|g2b2g4:|
K:D
A2FA d2Ad|f2df a2ab|a2g2e2g2|b2a2f2d2|
A2FA d2Ad|f2df a2ab|a2g2e2c2|d8:|
X:2
T:Réel de Montréal
O:French Canadian
M:4/4
L:1/4
K:G
|: "G"gf/2e/2 d/2c/2B/2A/2 | G/2B/2D/2G/2 BA/2G/2 | "D"F/2A/2D/2F/2 A/2c/2B/2A/2 |
"G"G/2B/2D/2G/2 B/d/e/2f/2 | | "G"gf/2e/2 d/2c/2B/2A/2 | "G"G/2B/2D/2G/2 BA/2G/2 |
"D7"F/2G/2A/2B/2 c/2d/2e/2f/2 | "G"gg g2 :| [K:D] |: "D"AF/2A/2 dA/2d/2 | fd/2f/2 aa/2b/2 |
"A7"ag
eg | "D"ba fd | | "D"AF/2A/2 dA/2d/2 | fd/2f/2 aa/2b/2 |
"A7"ag ec | "D"d2- "(D7)"d2 :|
REEL DE NAPOLÉON (Napoleon's Reel). French-Canadian, Reel. C Major. Standard.
AA'BB'. Cuillerier (Joseph Allard),
1992; pg. 18. Bluebird B-1107-b (78 RPM), Joseph
Allard (1865-1947).
X:1
T:Reel de
Napoleon
C:Joseph
Allard
M:2/4
L:1/16
K:C
GF|EGGc
AFAF|EGed Bcdf|ecGc AFAF|EGBd cBc2|!
EGGc
AFAF|EGed Bcdf|ecAc AFAF|EGBd c2:|!
|:ef|gcac
gcea|g2ec Bddf|ecca gedc|BGAB cBce|!
gcac gcea|g2ec Bddf|ecGc AFAF|EGBd
c2:|!
REEL DE NORMANDIN.
AKA and see “Reel des sucres [3].”
French-Canadian, Reel. D Major. Standard tuning. AA’BB’. Irregular parts.
X:
1
T: Reel De Normandin
M: 4/4
L: 1/8
R: reel
S:The
Session 12/29/05 by Yukinoroh
K: Dmaj
Q:225
Ad |:\
M:4/4
fzgz f2d2 | B2d2 A2dd | fzgz f2d2 | B2d2 A2ee |
ezfz e2c2 | B2A2 e2ee | ezfz e2c2 |\
M:6/4
[1 B2A2 d4 dzAF :|[2 B2A2 d2FG A2GF ||
|:\
M:4/4
F4 F2A2 | d2e2 f2ze | fzb2 a4 | a2f2 d2ff |
e2d2 c4 | c2BB A2F2 |[1 g2e2 c4 | c2BB A2F2 |
M:6/4
e2d2 A4 A3G :|[2\
M:4/4
e2c2 c4 | c2BB AFAA |\
M:6/4
BFBc d4 d2dd |]
REEL DE/DU PÊCHEUR (Fisherman's Reel). French‑Canadian, Reel. B Flat Major.
Standard. AA'BB'. A creation of Lachine, Québec, fiddler Joseph Allard (1865‑1947),
who taught the tune to a young Jean Carignan, the famous Montreal fiddler. The
“Democratic Rage Hornpipe”
is a variant. Carlin (Master Collection),
1984; No. 74, pg. 50. Cuillerier (Joseph
Allard), 1992; pg. 27. Folkways RBF 110, Joseph
Allard. Folkways FG 3532, Alan Mills and Jean Carignan ‑ "Songs,
Fiddle Tunes and a Folk Tale from Canada."
X:1
T:Reel du
Pecheur
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:Bb
F2|B2Bc
BFDF|BcdB cBBd|f2fg fdBd|cAFA cedc|!
B2Bc
BFDF|BcdB cBBd|f2fg fdBd|cAFA B2:|!
|:de|f2fg
fdBd|gagf g2ga|bagf edcB|ABcA F2de|!
f2fg fdBd|gagf g2ga|bagf edcB|AFcA
B2:|!
REEL DE PERE LEON. French-Canadian, Reel. G Major. Standard tuning. AABB. Source for
notated version: Dave Trop and Ward Beebe (Seattle, Washington) [Songer].
Songer (Portland Collection), 1997;
pg. 159. Marimac 9012, Fish Family Dance Band - “Fluke
Hits” (1987).
REEL DE PÉRIBONKA. French-Canadian, Reel. G Major. Standard tuning. AA'BB'. Cuillerier (Joseph Allard), 1992; pg. 19. Bluebird 55-5225-b (78 RPM), Joseph Allard (1865-1947).
X:1
T:Reel de
Peribonka
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
GABA
GEED|FGAG FDD2|GABc dBge|dBAc BGEF|!
GABA
GEED|FGAG FDD2|GABc dBge|dcAc BGG2:|!
|:dBBA
dBBe|dBBA B2Be|dBBA Bdge|dcAc BGGB|!
dBBA dBBe|dBBA B2GB|dBBA Bdge|dcAc
BGG2:|!
REEL DE PIUS BOUDREAU. AKA and see "The Braes of
Mar [1]," "Reel des Noces,"
"La Belle Catherine" [2].
French-Canadian, Reel. In the repertoire of Montreal fiddler Jean Carignan, who
had the tune from Pius Boudreau, a French-Canadian fiddler from the Maritime
province of New Brunswick. Carmelle Begin, "La musique traditionnelle pour
violon: Jean Carignan," Ottawa, Canada, Musee national de 'Homme, 1981,
pg. 62.
REEL DE POINT-AU-PIC. French‑Canadian, Reel. D Major. Standard tuning. AB. Hart &
Sandell note the tune was originally a schottische recorded by Scottish
accordionist Pamby Dick in 1916, with the title “Four Little Blackberries.” The
melody was recorded by fiddler Isidore Soucy on a 78 RPM. Hart & Sandell (Dance ce Soir), 2001; No. 30, pg. 60. Graham Townsend – “Classics of Irish, Scottish and
French-Canadian Fiddling.” La Bottine Souriante – “Jusqu’aux p’tites heures.”
Joseph Bouchard – “Jos Bouchard, violoneux: Musique et danse traditionnelle de
Charlevoix.”
REEL DE PORTNEUF. French-Canadian, Reel. B Flat Major. Standard tuning. AA'BB'.
Cuillerier (Joseph Allard), 1992; pg.
19.
X:1
T:Reel de
Portneuf
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:Bb
(3fga|bfdB
FBdf|gecB AGFE|DFBc dBed|cf=eg f2ga|!
bfdB
FBdf|gecB AGFE|DFBd cBAc|Bbfd B2:|!
|:FD|B,DFB
dBFD|CEGc ecAc|Bdfd egce|dfBd cAFD|!
B,DFB dBFD|CEGc ecAc|Bdfd gecA|Bbfd
B2:|!
REEL DE RÉMI. AKA and see “Reel a/de Rémi.”
REEL DE RIMOUSKI. French-Canadian, Reel. G Major ('A' part), C Major ('B' part) & F
Major ('C' part). Standard tuning.
AA'BB'CC'A"A"'B"B"'C"C"'A""A""'.
The tune is attributed to Saint-Sauveur, Quebec, violinist Fortunat Malouin, an
influential musician who recorded in the 1920's. Rimouski is a town on the east
bank of the St. Lawrence River, above Quebec City. Source for notated version:
French-Canadian button accordion player Philippe Bruneau (Québec) [Begin].
Begin (Philippe Bruneau), 1993; No.
40, pgs. 60-61.
REEL DE SHERBROOKE. See “Glise de/a Sherbrooke.”
REEL DE SOREL. AKA and see "Reel des noces d'or,"
"Reel de la mobilisation."
French-Canadian, Reel. G Major. Standard tuning. AABB. The tune is usually
known in the tradition by the first alternate title. Joyal (Danses d'ici: Musique Traditionnelle du
Québec), 1994; pgs. 47 & 101. RCA Victor (Gala
Series) CGP-105, Isidore Soucy and His Band (1950).
REEL DE ST. AUGUSTIN.
French-Canadian, Reel. In the repertoire of Gaspésie musician Yvon
Mimeault (b. 1928, Mont-Louis), although composed by his friend, piano
accordion player Henry Grimard (St-Augustin-de-Desmaures). Yvon Mimeault – “Y’etait temps!/It’s About Time.”
REEL
DE ST. BLANDINE [1]. French‑Canadian, Reel. F
Major. Standard tuning. AAB. From the
repertoire of Montréal fiddler Isidore Soucy (1899-1962). Soucy, originally from
Ste-Blandine (near Rimouski), Québec, was a renowned fiddler in the mid-20th
century, famous for his radio and TV broadcasts, although he retained a rustic
playing style. Carlin (Master
Collection), 1984; No. 64, pg. 46.
REEL DE STE-BLANDINE [2].
AKA and see “Quadrille
de Québec, 5e partie.” French-Canadian, Reel. G Major. Standard tuning. From the
repertoire of Montréal fiddler Isidore Soucy (1899-1962), this is the 5th
part of a quadrille named for his home town of Ste-Blandine, near Rimouski,
Québec. Soucy recorded the entire quadrille two separate times on 78 RPM, in
1926 and 1932. Hart
& Sandell (Danse ce soir), 2001; No. 76, pg. 111. “Isidore Soucy: Héritage Québécois.”
REEL DE ST./SAINT-MALO. AKA and see "Reel des ouvriers."
REEL DE ST. SIMEONE. French‑Canadian, Reel. D Major. Standard tuning. AABB. Private
collection, A. Kuntz (from the playing of Lisa Ornstein).
REEL DE ST-TITE.
AKA and see “Old French.”
REEL DE TADOUSSAC (Tadoussac Reel). AKA and see "The Big Ship," “Bluebell Reel,” "Glise de/a Sherbrooke,"
"Quadrille de Chez Nous."
French-Canadian, Reel. G Major. Standard tuning. AA'BB'. Tadoussac is a town on
the west bank of the St. Lawrence river, above Quebec City. Editor Joyal points
out the interesting juxtaposition when one compares fiddler Joseph Allard's two
versions, recorded 18 years apart (when the violinist was aged 55 and 73,
respectively). He recorded the melody in 1928 under the title “Quadrille de
chez nous” (Our House/Home Quadrille) {Victor 263514}, and again in 1945 as
“Reel de Tadoussac” (Victor Bluebird 55-5225). It appears Allard's style of
playing remained remarkably consistent over the intervening years, as the two
versions are almost identical. “Reel de Tadoussac/Glise a Sherbrooke” is the
tune played for the dance La Grande Chaine. René Houlé recorded a “Reel
de Tadoussac” in 1931, but it is a different tune.
***
Fiddler Lisa Ornstein points out the
reel is an elaborate setting of the familiar song melody “Home Sweet Home,”
composed by Sir Henry Bishop (1786-1855), an operatic conductor, composer and
arranger. It first appeared in the play Clari, or the Maid of Milan, by
John Howard Payne, produced in London in 1823.
***
Cuillerier (Joseph Allard), 1992; pg. 20. Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pgs. 23
& 88. Bluebird 55-5225-a (78 RPM), Joseph Allard
(1946). Folkways RBF 110, "Masters of French Canadian Dances--Joseph
Allard, Violin" (a re-release of the Victor original). Le Tamanoir
TAM-511, "Joseph Allard, violoneux" on "Portrait du vieux Kebec,
volume 11." Victor 263514 (78
RPM), Joseph Allard (1928).
X:1
T:Reel de
Tadoussac
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
GA|B2B2
cBce|d2dc BGBd|cBcA FDFA|eddc BGDG|!
B2B2
cBce|d2dc BGBd|cBcA FDFA|G2GF G2:|!
|:Bd|gagf
ecge|d2dc BGBd|cBcA FDFA|eddc BGBd|!
gagf ecge|d2dc BGBd|cBcA FDFA|G2GF
G2:|!
X:2
T:Tadoussac
M:2/4
L:1/8
R:Reel
S:Transcribed by fiddler Pascal
Gemme (of the group Genticorum)
Z:AK/Fiddler’s Companion
K:G
G/A/|:BG/B/ c/B/c/e/|dd/c/
B/G/B/d/|c/d/c/B/ A/F/A/c/|d/e/d/c/ B/D/G/A/|
B>B c/B/c/e/|dd/c/
B/G/B/d/|c/d/c/B/ A/F/A/c/|1 B/G/A/F/ GD/G/:|2 B/d/A/F/ GB/d/||
|:g>f e/c/g/e/|dd/c/
B/G/B/d/|c/d/c/B/ A/F/A/c/|d/e/d/c/ BB/d/|
gg/f/ e/c/g/e/|d/e/d/c/
B/G/B/d/|c/d/c/B/ A/F/A/c/|1 B/G/A/F/ GB/d/:|2 B/G/A/F/ GD/G/||
REEL DE TI-JEAN. AKA and see "Liberty [1]."
French‑Canadian, New England; Reel. D Major. Standard tuning. AABB.
Miller & Perron (New England Fiddlers
Repertoire), 1983; No. 165.
X:1
T:Reel de Tí-Jean
L:1/8
M:C|
K:D
ag|f2A2f2A2|fgfe d2ef|g2B2g2B2|gagf e2ag|
f2A2f2A2|fgfe d2ef|g2e2cBA2|d4d2:|
|:B2|ABAG F2A2|d2e2f3f|g2e2cBA2|dcde f2d2|
ABAG
F2A2|d2e2f3f|g2e2cBA2|d4d2:|
REEL DE TI'PIT. French-Canadian, Reel. G Major. Standard tuning. AA'BB'. Cuillerier (Joseph Allard), 1992; pg. 20. Bluebird B-1108-b (78 RPM), Joseph Allard (1865-1947).
X:1
T:Reel de
Ti'Pit
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
g2dB
cBAB|ceag fdef|g2dB cBAB|ceAc BGBd|!
g2dB
cBAB|ceag fdef|g2dB cBAB|ceAc BGG2:|!
|:B2AG
BGEF|GABc d2gd|B2AG BGEF|GBAF G2GA|!
B2AG BGEF|GABc d2gd|B2AG BGEF|GBAF
G4:|!
REEL
DE (LA) TUQUE BLEU. AKA and see "Blue Cap Reel." “Tuque Bleue.” French‑Canadian, Reel. F
Major. Standard tuning. AABB (Carlin): AA'BB' (Begin, Cuillerier). According to
Anne Lederman (“Fiddling”, Encylcopedia
of Music in Canada, 1992), Joseph Allard’s version of this tune became
popular in English-speaking Canada as “Snowshoe(r’s) Reel.” See note for “Tuque Bleue.” Source for notated version: fiddler
Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson
Girdwood), 1985; No. 6, pg. 20. Carlin (Master
Collection), 1984; No. 70, pg. 49. Cuillerier (Joseph Allard), 1992; pg. 16. Victor
263674-a (78 RPM), Joseph Allard (1865-1947).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
Joseph Allard Virtual Gramaphone |
X:1
T:Reel de
la Tuque Bleue
L:1/8
M:C|
S:From a
transcription by Carmelle Begin of the playing of fiddler Dawson Girdwood.
K:F
({e/}f2) c>f a2 (gf)|eceg bg(eg)|f2 cf fagf|e>dc>B AFF>(e|f2) c>f f>a gf|
eceg bge(g|f2) cf fagf|1 e>dcB A>FF>e:|2 e>dc>B A>FF>c||
|:AFcF AFGA|BGdG BGGB|AFcF AFGA|B2 (cB) AF F>c|A>Fc>F A>FG>A|
BG
d2B2 c>B|Acd>e f>dc>B|1 AFGD F3 c:|2 A>FG>D F2 e2||
X:2
T:Reel de la
Tuque Bleue
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:F
f2cf
fagf|eceg bgge|f2cf fagf|edcB AFAc|!
f2cf
fagf|eceg bgge|f2ce fagf|edcB AFF2:|!
|:AFcF AFGA|BGdG
BGGB|AFcF AFGA|BdcB AFFB|!
AFcF AFGA|BGdG BGGB|AFcF AFGA|BdcB
AFF2:|!
REEL DE VALCOURT. French-Canadian, Reel. D Major.
Standard tuning. AABB. From the playing of harmonica player Jean-Ludger
Foucault. Raz de Marée/Tidal Wave – “Marche du
St-Laurent” (2010).
X:1
T:Reel de Valcourt
M:C|
L:1/8
S:Éric Favreau
K:D
D2 [FA]D EDCE|DDFA {de}d2 cd|edBc
dBAG|FAFD EDCE|
D2 [FA]D EDCE|DDFA {de}d2 cd|edBc
dBAG|FDEC D2:|
|d2 dc {Bc}B2 A2|ceed cBAF|D2 EF
GBAG|FAFD EDCE|
D2 [FA]EDCE|DDFA {de}d2 cd|edBc
dBAG|FDEC D2:||
“variations”
D2 FD ~E3G|FDFA{de}d2 cd|edBc
dBAG|FAFD EDCE|
[F4A4] [E3A3]G|FDFA {de}d2 cd|edBc
dBAG|FDEC D2:|
|:(3ABc|d2 dc Bc}B2 A2|ceed cBAF|D2
EF GBAG|FAFD EDCE|
D2 [FA]EDCE|DDFA {de}d2 cd|edBc
dBAG|(3FGF (3EFE D2:||
REEL DES
ACCORDEONISTES. French-Canadian, Reel. D Major.
Standard tuning. AABBCC (AABC for contra dances). Composed by Marcel
Messervier, an accordion player and maker from Montmagny, Québec, for the 1981
Mariposa Festival in Toronto. Source for notated version: Sara Hiebert
(Swathmore, Pa.) Via Dan Compton [Songer]. Songer (Portland Collection), 1997, pg. 18. Musicor
MP 2035, La Bottine Souriante - “Tout comme au jour de l’an” (appears as a
break in the song “La Parente”).
REEL DES BOTTES
SAUVAGES. French-Canadian, Reel. D Major.
Standard tuning. AA'BB'. Cuillerier (Joseph
Allard), 1992; pg. 21. Bluebird B-1123-b (78 RPM),
Joseph Allard (1865-1947).
X:1
T:Reel des
Bottes Sauvages
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:D
FG|ABAG
F2A2|f4 d4|ABAG F2A2|f4 d4|!
e2ef
g2ge|dcde fafd|c2c2 egec|d4 d2:|!
|:df|a2g2
e2ce|g2f2 d4|f2e2 B2c2|dcde f2df|!
a2g2 e2ce|g2f2 d2dc|B2g2 e2c2|d4
d2:|!
REEL DES BUCHERONS (Lumberjack’s Reel). AKA
and see “Pea Soup” (La soupe aux pois), “Woodchopper’s Reel.”
REEL DES CHANTIERS (Logging
Camps Reel). AKA
and see “Ned Kendall’s Hornpipe [2],”
"Reel du Chauffeur," “Swinging Around the Circle.”
French-Canadian, Reel. D Major. Standard tuning. AA’BB (Begin): AA'BB'
(Cuillerier). Originally “Ned Kendall’s Hornpipe.” Sources for notated
versions: fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin];
fiddler Joseph Allard (1873-1947, Woodland, Montréal, Québec) [Cuillerier, Hart
& Sandell]. Begin (Fiddle
Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 68, pg. 78. Cuillerier (Joseph
Allard), 1992; pg. 21. Hart
& Sandell (Dance ce Soir), 2001;
No. 11, pg. 45. Bluebird
B-1108-a (78 RPM), Joseph Allard (1865-1947). Raynald Ouellet & Daniel
Poirier – “Québec pure laine.” Jean-Pierre Joyal – “Danses d’ici.”
X:1
M:C|
L:1/8
R:Reel
F>G|:A(dcd) e(dcd)|e(dcd) fd B2|(G>B)f>B e>(dcd)|edcB AGFG|
Adcd Adcd|(e>cde) fdB2|(g<B)f<B edcd|1 e>d{e/}d>c d2 (F>G):|2
e>dd>c d2 (3FG^G||
|:A2 (A>G) F>DF>A|B>AB>c dcd>B|A>Fd>B A>F[D>A>]F|
[G2A2] (3EEE [F>A>]G|[D>A>]BA>G [F>A>]DF>A|
BAB>c d2 (cd)|efe>d c>AB>c|d2 [d2=f2] [d2^f2] (F>G):|
REEL DES COPEAUX DE
BOIS.
French-Canadian, Reel. D Major. Standard tuning. AB.
X:1
T:Reel des copeaux de bois
M:2/4
L:1/8
R:Reel
S:Fiddler Pascal Gemme (of the group
Genticorum) http://tradquebec.over-blog.com/archive-6-2007.html
K:D
f/g/|:a/f/a/f/ g/f/g|b/g/b/g/
ef/g/|a/f/a/f/ d/f/d/f/|e/g/e/c/ df/g/|
a/f/a/f/ g/f/g|b/g/b/g/
ef/g/|a/f/a/f/ d/f/d/f/|e/g/e/c/ d[df]||
A/c/d/f/ d/f/d/f/|e/g/e/c/
e/c/[ce]|A/c/d/f/ d/f/d/f/|e/g/e/c/ d[df]|
A/c/d/f/ d/f/d/f/|e/g/e/c/
e/c/[ce]|A/c/d/f/ d/f/d/f/|e/g/e/c/ df/g/||
REEL DES DEUX LISAS.
French-Canadian, Reel. D Major. Standard tuning. AA’BB’. Named by
Burlington, Vt., French-Canadian fiddler Louis Beaudoin (1921-1980), in honor
of Lisa Ornstein and his own daughter, also Lisa. La
Bottine Souriante – “Les Epousailles.” A-L
001, Lisa Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau
Samedi d’ été” (2009).
X:1
T:Reel des Deux Lisas
M:4/4
L:1/8
R:Reel
K:D
FG|:A2f2A2 FA|B2g2(3fgf ed|cdef
gece|defd A2 FG|
A2f2A2 FA|B2g2(3fgf ed|cdef gece|1
dfec d2 FG:|2 dfec defg||
|:abaf defd|efge B2 ed|cdef
gece|defd A2 fg|
abaf defd|efge B2 ed|cdef gece|1
dfec defg:|2 dfec d2 FG||
REEL DES EBOULEMENTS. French-Canadian, Reel. A Major. Standard tuning. AABBCC. Eboulements is
a French word meaning a ‘scree’ or ‘rock fall’, however, the name also refers
to a section of Quebec Province in the Charlevoix region of the St. Lawrence
river, east of Quebec City. Source for notated version: flute player Chris
Norman [Songer]. Songer (Portland
Collection), 1997; pg. 70. Richard Forest - “Les
pieds qui parlent.” Chris Norman - “The Beauty of the North.”
REEL DES ENFANTS. AKA and see “Reel de l’Enfant.”
REEL DES ESQUIMAUX [1] (Eskimos’ Reel).
French-Canadian, Reel. G Major. Standard tuning. AA’BB’. The tune is
irregular, alternating between measures of 6/4 and 4/4 in the first part. The
second part has a measure of 6/4 at the end of the last turn. Source for
notated version: fiddler André
Alain (1931-2000) of St-Basile-de-Portneuf, near Québec City [Hart &
Sandell]. Hart & Sandell (Dance ce
Soir), 2001; No. 1, pg. 42. André Alain: Violoneux
de St-Basile-de-Portneuf.”
REEL DES ESQUIMAUX [2] (Eskimos’ Reel).
French-Canadian, Reel. G Major. Standard tuning. AA’BB’. A ‘square’
version (8 bars of 4/4 per section) of the tune above. Source for notated
version: fiddler Isidore Soucy, who recorded it on a 78 RPM disc in 1939
[Hart & Sandell]. Hart
& Sandell (Dance ce Soir), 2001;
No. 1, pg. 42. Isidore Soucy – “Chez Isidore…Isidore
Soucy” (reissue). Isidore Soucy – “Isidore Soucy Héritage Québécois.”
X:1
T:Eskimos, Les
M:2/4
L:1/8
R:Reel
S:Transcribed by fiddler Pascal
Gemme (of the group Genticorum) http://tradquebec.over-blog.com/archive-9-2007.html
Z:AK/Fiddler’s Companion
K:G
GG/F/ G/E/D/B,/|C/B,/A,/C/
B,/G,/G,|B,/D/G/B/ c/B/A/G/|F/G/A/B/ A/c/B/A/|GG/F/ G/E/D/B,/|
C/B,/A,/C/ B,/G,/G,|B,/D/G/B/
c/B/A/G/|1 F/D/E/F/ G(3D/E/F/:|2 F/D/E/F/ GB/c/|:dd/e/ d/c/B/d/|
g/f/g/a/ g/e/d/c/|B/G/B/d/
c/B/A/G/|F/G/A/B/ A(3A/B/c/|dd/e/ d/c/B/d/|
g/f/g/a/ g/e/d/c/|B/G/B/d/
c/B/A/G/|1 F/D/E/F/ G/A/B/c/:|2 F/D/E/F/ G(3D/E/F/||
REEL DES FUSILLÉS. French-Canadian, Reel. G Major. Standard tuning. AABB. Cuillerier (Joseph Allard), 1992; pg. 22. Bluebird 55-5502-a (78
RPM), Joseph Allard (1865-1947).
X:1
T:Reel des
Fusilles
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
g3a
gfed|eaab agef|gfga gedB|fedc BGG2|!
g3a
gfed|eaab agef|gafg egdB|cedc BGG2:|!
|:DGBG
dGBG|FGAB cAFA|DGBG dGBG|cedc BGG2|!
DGBG dGBG|FGAB cAFA|DGBG dGBG|Aedc
BGG2:|!
REEL DES GAGNON. French-Canadian, Reel. C Major (with a sharped ‘f’ note). Standard
tuning. AABB. Source for notated version: an old family recording of Aimé
Gagnon (Lotbinière, Québec) [Remon & Bouchard]. Remon & Bouchard (25 Crooked Tunes, vol. 2: Québec Fiddle
Tunes), 1997; No. 11. Les Têtes de violon - “Le
Talencourt.”
REEL DES HABITANTS. French-Canadian, Reel. A Dorian. Standard tuning. AABB. Cuillerier (Joseph Allard), 1992; pg. 22. Bluebird B-4878-a (78 RPM), Joseph Allard (1865-1947).
X:1
T:Reel des
Habitants
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:Am
EAAB
AGAB|cded cBc2|DGGA G^FGA|BcdB cBAG|!
A4 DAAB|AGAB
cde^f|g^fge dBGB|cBAG A4:|!
|:eagb
age^f|g^fga g^fed|eaab age^f|gedB cAA2|!
eaab age^f|g^fga gedB|g^fge
dBGB|cBAG A4:|!
RÉEL DES JEUNES MARIÉS, LE. AKA and see “Newly Weds’ Reel.” French‑Canadian,
New England; Reel. D Major. Standard tuning. AABB (Miller & Perron):
AABBA'A'BB (Page). Miller & Perron (New
England Fiddlers Repertoire), 1983; No. 161. Page (Ralph Page Book of Contras), 1969; pg. 9. F&W
Records 5, Canterbury Country Orchestra‑‑"Mistwold."
Smithsonian Folkways SFW CD 40126, Northern Spy – “Choose Your Partners!:
Contra Dance & Square Dance Music of New Hampshire” (1999).
X:1
T:Reel des Jeunes Mariés
L:1/8
M:C|
K:D
D2FD FA de|fa fd A2ef|gf ed cA Bc|dc de fd AF|
D2FD FA de|fa fd A2ef|gf ed cA Bc|1 df ec d2 d2:|2 df ec d2 fg||
|:a2fd Ad fa|g2ec Ac ef|g2ec Ac eg|fe df eA df|
a2 fd Ad fa|g2 ec Ac ef|g2ec Ac eg|fd ec d2A2:||
X: 26
T: Reel des Jeunes Mariés
R: reel
Z: 1997 by John Chambers http://eddie.mit.edu/~jc/music/abc/
M: C|
L: 1/8
K: D
|: "D"D2F[AD] FAde | fafd A2ef | "A7"gfed cABc |1
"D"dcde fdAF :|2
"D"df"A7"ec "D"d2z2 :|
fg \
|: "D"a2fd Adfa | "A7"g2ec Acef | g2ec Aceg |1
"D"fedf "A7"eAdf :|2
"D"fd"A7"ec "D"d2z2 :|
REEL DES MOISSONNEURS. AKA and see "Irish‑American
Reel." French-Canadian, Reel. G Major ('A' part) & D Major ('B'
part). Standard tuning. AA'BB'. Cuillerier (Joseph
Allard), 1992; pg. 23. Bluebird B-1274-a (78 RPM),
Joseph Allard (1865-1947).
X:1
T:Reel des Moissonneurs
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
g2|bgdB
GBdg|ecAG FAd2|dcAF dcAF|GABc d2g2|!
bgdB
GBdg|ecAG FAd2|dcAF dcAF|G2B2 G2:|!
K:D
FG|ABAF
ABAG|FAde f2a2|agec agec|defg a2FG|!
ABAF ABAG|FAde f2a2|agec agec|d2f2
d2:|!
REEL DES MOULES. AKA and see “Mussel Breakdown.”
REEL DES NOCES. AKA and see "The Braes of
Mar [1]," "La Belle
Catherine [2],” "Reel de Pius
Boudreau>." French-Canadian, Reel. D Major. Standard tuning.
AA'BBA"A"CC. Source for notated version: fiddler Willie Ringuette
(Trois-Riveres, Québec) [Joyal]. Joyal (Danses
d'ici: Musique Traditionnelle du Québec), 1994; pgs. 59 & 108-109. Starr 15347-A (78 RPM), Willie Ringuette (1927).
REEL DES NOCES D'OR. AKA and see "Reel de Sorel,"
"Reel de la mobilisation."
French-Canadian, Reel. D Major. Standard tuning.
AA'BB'A"A"'B"B"'. The melody was recorded in 1931 by
harmonica player Louis Blanchette, and in 1935 was again waxed as "Reel de
la mobilisation." Sources for notated versions: French-Canadian button
accordion player Philippe Bruneau (Quebec) [Begin]. Begin (Philippe Bruneau), 1993; No. 5, pg. 13. Carnaval
C-427, "Reels--Musique a bouche--avec Louis Blancette et son
harmonica." Starr 15927 (78 RPM), Louis Blanchette.
REEL DES OIGNONS. French-Canadian, Reel. G Major (Cuillerier, Joyal): D Major (Songer).
Standard tuning. ABB (Joyal): AABB (Songer): AA'BB' (Cuillerier). Source for
notated version: accordion player Raynald Ouellet (Quebec) [Songer]. Cuillerier
(Joseph Allard), 1992; pg. 23. Joyal,
1994; pgs. 13 & 84. Songer (Portland
Collection), 1997; pg. 152 (appears as “Reel des Onions”). Philo FI-2012, Jean Carignan - "Hommage to Joseph
Allard." Victor 163926-A (78 RPM), Joseph Allard.
X:1
T:Reel des
Oignons
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
d2|gage
d2Bd|c2A2 A4|feee eddd|dccc c2B2|!
gage
d2Bd|c2A2 A4|fgfe dcBA|G2B2 G2:|!
|:Bc|d2g2
g2fg|a6Bc|d2a2 a2ga|b6Bc|!
d2g2 g2fg|a6Bc|d2a2 agba|g6:|!
REEL DES OISEAUX. French-Canadian, Reel. D Major (‘A’ and ‘B’ parts), D Minor (‘C’ part)
& A Major (‘D’ and ‘E’ parts). Standard tuning. AABCDE. Source for notated
version: fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin
(Fiddle Music from the Ottawa Valley),
1985; No. 64, pg. 73.
REEL DES ONIONS. See “Reel des Oignons.”
REEL DES OUVRIERS (The Laborer’s Reel). AKA and see “Carpenter’s Reel,” "Reel de Saint-Malo," “The Traveller [1],” “Walker Street.” French-Canadian, Reel. G
Major. Standard tuning. AA'BB'. The tune appears in O’Neill’s as “The
Traveller.” Comparing the titles, Kate Dunlay suggests that the
"Traveller" title may stem from the French travailler, to work
or labour. Cuillerier (Joseph Allard), 1992; pg. 24. Victor
263522-a (78 RPM), Joseph Allard (1865-1947).
X:1
T:Reel des
Ouvrieres
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
(3DEF|G2BG
dGBG|ABcd cBAG|Bdgd egdB|cBAG FADF|!
G2BG
dGBG|ABcd cBAG|Bdgd egdB|cAFA G2:|!
|:ef|g2dg
Bgdg|gabg agef|g2dg BgdB|cBAG Fdef|!
g2dg Bgdg|gabg agef|gfga gfed|egfa
g2:|!
REEL
DES PETITS POISSONS LAC KENOGAMI. French-Canadian, Reel. Voyager 322, Louis Boudreault - "Old Time Fiddler of
Chicoutimi, Québec" (1977, 1993).
REEL DES POILUS, LE. French-Canadian, Reel. A Major. AEae tuning. AA’BB. A ‘crooked’ tune;
both ‘A’ and ‘B’ parts have a measure with an extra beat. Source for notated
version: fiddler Isidore Soucy (1899-1963) [Remon & Bouchard]. Remon &
Bouchard (25 Crooked Tunes, vol. 2:
Québec Fiddle Tunes), 1997; No. 10. Lisa Ornstein
- “De l’autre bord de l’eau.”
REEL DES QUEUES DE
LAPINS. French-Canadian, "Reel
Gigue" (cut time). D Major. Standard tuning.
AA'BB'CC'A"A"'B"B"'C"C"'A""A""'.
Composed by French-Canadian button accordion player Philippe Bruneau (Québec)
[Begin]. Begin (Philippe Bruneau),
1993; No. 71, pg. 106.
REEL DES SIAMOIS (The
Siamese Reel). French-Canadian, Reel. The second tune of a
medley composed by André Marchand. Talencourt Musique
TM-2009, Lisa Ornstein, André Marchand & Normand Miron – “Le Bruit Court
Dans la Ville” (1997).
REEL DES SKIEURS (Skiers' Reel). AKA and see "Quadrille indien." French-Canadian,
Reel. G Major ('A' part) & C Major ('B' part). Standard tuning. AA'BB'.
Cuillerier (Joseph Allard), 1992; pg.
24. Bluebird 55-5230-a (78 RPM), Joseph Allard
(1865-1947).
X:1
T:Reel des
Skieurs
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
Bc|d2gd
B2dB|G2BG D2DF|A2AB cBcA|GFGA BABc|!
d2gd
B2dB|G2BG D2DF|A2AB cAFA|G2B2 G2:|!
K:C
|:GB|c2Gc
e2ce|g6gf|eceg fedc|BGAB cBAG|!
c2Gc e2ce|g6gf|eceg fedc|BGAB c2:|!
REEL DES SUCRES [1]. AKA and see “Portland Fancy.”
French‑Canadian, Jig. G Major. Standard tuning. AABB. The Québec name for
what is known in American contra dance circles as “Portland Fancy.” Carlin (Master Collection), 1984; No. 80, pg.
53.
REEL DES SUCRES [2]. French-Canadian, Reel. G Major.
Standard tuning. AA'BB'. Cuillerier (Joseph
Allard), 1992; pg. 25. Bluebird 55-5208-a (78
RPM), Joseph Allard (1865-1947).
X:1
T:Reel des
Sucres [2]
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
D2|GABc
dedB|dedB dedB|cdcA BcBG|ABAF GFED|!
GABc
dedB|dedB dedB|cdcA BcBG|ABAF G2:|!
|:Bd|gagf
gdBd|g2f2 e2d2|cdcA BdBG|ABAF GFED|!
GABc d2Bd|efge dBGB|cdcA BdBG|ABAF
G2:|!
REEL DES SUCRES [3].
AKA and see “Reel de Normandin.” French-Candian,
Reel. D Major. Standard tuning. AABB.
REEL DES VIEUX (Reel of the Old Ones), LE. French-Canadian, Reel. D Major.
ADae tuning. AA’B. A ‘crooked’ tune, irregular in the ‘B’ part. Sources for
notated versions: Lisa Ornstein, who had the tune from a 1955 field recording
by Mont-Louis, Gaspé, fiddler Firmin Francoeur (born c. 1913) [Remon &
Bouchard]; La Bottine souriante fiddler Martin Racine [Hart & Sandell].
Hart & Sandell (Dance ce Soir),
2001; No. 48, pg. 82. Remon & Bouchard (25
Crooked Tunes, vol. 2: Québec Fiddle Tunes), 1997; No. 20. Green Linnet GLCD3043, La Bottine Souriante - “La Traversée
de l’Atlantique” (1988).
X:1
T:Reel des vieux
M:2/4
L:1/8
R:Reel
S:Fiddler Pascal Gemme (of the group
Genticorum) http://tradquebec.over-blog.com/archive-2-2007.html
K:D
[DA>]B A/F/D/F/|d/e/f/e/
d/B/A/F/|A/D/[DA] [A,2D2]|AA/B/ A/F/D/F/|1 G/E/E/D/ E/F/G/B/:|2
G/E/E/D/ E>A||:A/c/d/e/
f/d/e/c/|A/c/d/e/ f/e/(3e/e/e/|A/c/d/e/ f/d/e/c/|B/d/A/F/ E/E/F/E/:||
A/c/d/e/ f/d/e/c/|A/c/d/e/
f/e/f/g/|a/f/f/e/ f/e/f/g/|a/f/f/e/ f/e/d/f/|
M:3/4
L:1/8
e/d/A/F/ EE/D/ E/F/G/B/||
REEL DES VOYAGEURS, LE (The Traveler's Reel). AKA - "Reel Du Voyageur." French‑Canadian,
Reel. A Major. AEae tuning. AA’B (Remon & Bouchard): AA’BB’ (Hart &
Sandell). A ‘crooked’ tune, with a measure of 6/4 at the end of the ‘B’ part.
The melody is a variant of O’Neill’s “The
Traveller [1]” and Ryan’s “Walker Street.”
Omer Marcoux's "Labrador" may be a
similar tune. One unrelated “Reel des Voyageurs” released in Québec in the 78
RPM era is simply a version of “Arkansas Traveller.” Source for notated
version: fiddler André Alain {1931-2001} (St-Basile-de-Portneuf, Québec) [Hart
& Sandell, Remon & Bouchard]. Hart & Sandell (Dance ce Soir), 2001; No. 8, pg. 43 (appears as “Le voyageur”).
Remon & Bouchard (25 Crooked Tunes,
Vol. 1: Québec Fiddle Tunes), 1996; No. 4. Folkways
FG 3531, Jean Carignan (Montreal, Canada) ‑ "Old Time Fiddle Tunes
played by Jean Carignan" (1968). Green Linnett GLCD 3042, La Bottine
Souriante - "Chic & Swell" (1988. Learned from André Alain). Green
Linnet GLCD 3127, Sharon Shannon – “The Best of Sharon Shannon: Spellbound”
(1999. Appears as second tune of “Woodchoppers” medley, learned from La Bottine
Souriante). André Alain – “Violoneux de St-Basile-de-Poartneuf.”
REEL d’ISSOUDUN. AKA – “Issoudun.” French-Canadian, Reel. A Major. Standard tuning.
AA’BB’. The tune was collected c. 1980 by Guy Bouchard from fiddler Joseph
Couture of Issodun, Québec. The tune is ‘crooked’ at the end of the ‘B’ part.
Source for notated version: Joseph Couture (Issoudun, Québec) [Remon &
Bouchard]. Remon & Bouchard (25
Crooked Tunes, Vol. 1: Québec Fiddle Tunes), 1996; No. 9. Midnight CD001, Nightingale - “Sometimes When the Moon is
High.” 30 Below TB 001CD, Les têtes de
violon (Bouchard et al) – “Airs Tordus/Crooked Tunes” (1998).
REEL d'ODILE. French-Canadian, Reel. Voyager 322, Louis
Boudreault - "Old Time Fiddler of Chicoutimi, Québec" (1977, 1993).
REEL DON ME MARACHAN. AKA and see "The Menzies'
Rant [1]," "Reel a Down a
Mereken."
REEL DU BATELIER, LE.
French-Canadian, Reel. In the repertoire of Gaspésie musician Yvon
Mimeault (b. 1928, Mont-Louis), although composed by his friend, piano
accordion player Henry Grimard (St-Augustin-de-Desmaures). Yvon Mimeault – “Y’etait temps!/It’s About Time.”
REEL DU
BONHOMME.
X:1
T:Reel du
Bonhomme
M:4/4
L:1/8
K:D
aa|abafd2aa|abaed2ab|a2g2f2e2|e2d2d2aa|abaed2aa|
abaed2ab|a2g2f2e2|1 d6:|2 d8||d2Bde2d=c|Bdgab2ab|=c'e'=c'a fdef|
gfgb e'd'bg|d2Bde2d=c|Bdgab2ab|=c 'e'=c'a fdef|1g2b2g2e2:|2 g2b2g2||
(3def|g2f2e2d2|B4B2(3GAG|FADFA2GF|GBDG B2 (3def|
g2f2e2d2|B4B2
(3GAG|FADFA2GF|GgdBG2:||
REEL DU BRAE, LA (The Brae Reel). Canadian, Reel. Canada, Prince Edward Island.
A Dorian. Standard. AABB. The tune was popularized on PEI by Eddie Arsenault.
Source for notated version: Learned by Edward P. Arsenault (b. 1938,
Wellington, East Prince County, PEI) from fiddler Preston MacKinnon who lived
in a Prince County district called The Brae [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 84. Atlantica Music 02 77657 50222 26, Eddy
Arsenault - “Atlantic Fiddles” (1994). Great Meadow Music GMM 2002, Rodney
Miller & David Surette – “New Leaf” (2000. Appears as “The Brae Reel”).
House Party Productions HPP 1, Eddy Arsenault - “Piling on the Bois Sec”
(1993). Rounder CD 7014, Eddy Arsenault – “Fiddlers of Western Prince Edward
Island” (1997).
REEL DU CANADA. AKA and see "Quadrille
Francaise," "Reel de chez-nous."
French-Canadian, Reel. G Major. Standard tuning. AABB.
X:1
T:Reel du
Canada
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
dg|b2g2
d2B2|e2c2 cBce|a2g2 f2c2|e2d2 d^cdg|!
b2g2
d2B2|e2c2 cBcA|FGAB cdef|g2gf g2:|!
|:Bc|d2B2
e2B2|d2B2 c3B|c2A2 f2c2|e2B2 d3d|!
d2B2 e2B2|d2B2 cBcA|FGAB cdef|g2gf
g2:|!
REEL DU CARNAVAL. AKA and see "Quadrille acadien."
French-Canadian, Reel. G Major. Standard tuning. AA'BB'. Cuillerier (Joseph Allard), 1992; pg. 25. Bluebird B-1123-a (78 RPM), Joseph Allard (1865-1947).
X:1
T:Reel du
Carnaval
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
dc|BcAB
G2Bd|gdBd c2Bc|dBcA FAdc|BGdB Aedc|!
BcAB
G2Bd|gdBd c2Bc|dBcA FAdc|BGAF G2:|!
|:GA|BGBd
g2gb|agbg agbg|eaag a2ab|agab g2dc|!
BGBd g2ga|bgdB c2Bc|dBcA FAdc|BGAF
G2:|!
REEL DU CHAUFFEUR. AKA and see "Ned
Kendall's Hornpipe [2]." French-Canadian, Reel. D Major. Standard
tuning. AABB. The phrases are reversed in this tune from "Ned Kendall's
Hornpipe [2]." A very similar melody is O'Neill's hornpipe "Swinging Around the Circle."
Joyal (Danses d'ici: Musique
Traditionnelle du Québec), 1994; pp. 19 & 87. Victor
263586-A (78 RPM), Joseph Allard (1930).
REEL DU CORDONNIER, LE (Cobbler’s Reel). AKA and see “Cobbler’s Reel [3].”
REEL DU CULTIVATEUR (Gardener's Reel). French-Canadian, Reel. C Major. Standard
tuning (fiddle). AA'BB'. Cuillerier (Joseph
Allard), 1992; p. 26. Victor 263570-a (78 RPM),
Joseph Allard.
X:1
T:Reel du
Cultivateur
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:C
EG|c2cc
cGce|d2dd dBdf|edce dcBd|cecA G2EG|!
c2cc
cGce|d2dd dBdf|edce dcBd|c2cB c2:|!
|:GF|EGcG
EcGE|FAcA FAcA|GBdB GBdB|cedc BAGF|!
EGcG EcGE|FAcA FAcA|GBdB GBdB|c2cB
c2:|!
REEL DU DIABLE. AKA and see "Devil's Dream
[1]," "De'il Amang
the Tailors." French‑Canadian, Reel. A Major. Standard tuning
(fiddle). AABB. The French‑Canadian version of the well‑known
"Devil's Dream." Source for notated version: Avila Leblanc (Magdalen
Islands, Gulf of St. Lawrence, Canada) via Lisa Ornstein [Reiner & Anick].
Reiner & Anick (Old Time Fiddling
Across America), 1989; p. 62.
REEL DU FAUBOURG. French-Canadian, Reel. G Major. Standard tuning (fiddle). AA’BB’. The tune was recorded by fiddler Isidore Soucy three times between 1930 and 1932 on 78 RPM, and was also recorded in 1951 by Joseph Bouchard. Source for notated version: Lisa Ornstein (Maine) [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 66, p. 100. Richard Forest & Yvon Cuillerier – “Québec pure laine” (1992).
REEL DU FESTIVAL (Festival Reel). French-Canadian, Reel. D Major. Standard
tuning (fiddle). AA'BB'A"A"'. Source for notated version:
French-Canadian button accordion player Philippe Bruneau (Quebec) [Begin].
Begin (Phillipe Bruneau), 1993; No.
41, pp. 62-63.
REEL DU FORGERON. AKA and see "Blacksmith's
Reel [2]," “(Le) Forgeron.”
REEL DU GAUCHER
(Left-Hander’s Reel). French-Canadian, Reel. A Mixolydian.
Standard tuning (fiddle). AABB. Source for notated version: fiddler Henri
Landry (Pontbriand, Québec, b. 1923), who learned it from an elderly fiddler
named Thomas «Quêteux» Pomerleau, “kindly, poor and eccentric”—and left-handed!
[Hart & Sandell]. Hart & Sandell (Dance
ce Soir), 2001; No. 56, p. 91. Philo Records 2002,
“Henri Landry” (1973). Lisa Ornstein & Denis Pépin – “Danseries de la Bell
Province” (1984). Daniel Roy – “Au tour du flageolet” (1996).
X:1
T:Reel du gaucher
M:2/4
L:1/8
R:Reel
K:A Mixolydian
e/g/a/g/ e/f/e/d/|c/d/e/f/ gf|e/a/a/e/ f/e/d/|c/e/B/e/ A(3e/e/e|
e/g/a/g/ e/f/e/d/|c/d/e/f/ gf|e/a/a/e/ fe/d/|c/e/B/e/ AE/A/||
Ac/A/ BA/G/|F/G/A/c/ B/G/G/A/|B/d/c/A/ BA/G/|F/G/A/B/ AE/A/|
Ac/A/ BA/G/|F/G/A/c/ B/G/G/A/|B/d/c/A/ BA/G/|F/G/A/B/ A(3e/e/e/||
REEL DU GOGLU. French-Canadian, Reel. D Major. Standard tuning. AA'BB'. Cuillerier (Joseph Allard), 1992; pg. 26. RC2000, George Wilson – “Royal Circus” (2000). Victor
263696-a (78 RPM), Joseph Allard (1865-1947).
X:1
T:Reel Du Goglu
M:4/4
L:1/8
C:Trad.
S:Arr. Chris Ricker
R:Reel
K:D
fg|afge dfed|(3cd^d ec ABAG|FAdf gfed|(3cd^d ec A2fg|! afge dfed|
(3cd^d ec ABAG|FAdf gecd|ed (3ddd d2:|!
cd|eA (3AAA Adfd|eA (3AAA Adfd|gfeg fedf|edcB AGFE|!
DFAc
d2cB|Ace^g a2^ga|(3bb^g af gecd|ed (3ddd d2:|!
REEL DU GOUVERNEMENT. French‑Canadian, Reel. D Major. Standard tuning. AABB. Sannella, Balance and Swing (CDSS).
REEL DU GRANPERE. See “Grandpa’s Reel,” “Reel à Pépé.”
REEL DU GUEUX. French-Canadian, Reel. D Major. Standard tuning. AA'BB'. Cuillerier (Joseph Allard), 1992; pg. 27. Bluebird B-1289-b (78 RPM), Joseph Allard (1865-1947).
X:1
T:Reel du
Gueux
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:D
A|d2dc
BGEF|GBEF GABc|d2dc BGEF|GBAG FDFA|!
d2dc
BGEF|GBEF GABc|d2dc BGEF|GBAG FDD:|!
|:d|Adfd
adfd|cdef gefd|Adfd adfd|cdeg fded|!
d2fd adfd|cdef gefg|afge fdec|dBAG
FDD:|!
REEL DU LIÈVRE (The Hare Reel). French-Canadian, Reel. G Major. Standard
tuning. AABB. From the repertoire of the late Quebec fiddler Aime Gagnon who
said it was one of the very oldest Quebec tunes, and thought it might have been
brought from Paris by immigrants in the 18th century. Part of the tune is
similar to the 'A' part of Omer Marcoux's "Haytime."
“Reel du lièvre” is sometime played without repeats, or AB. Source for notated
version: fiddler Lisa Ornstein (Maine) [Songer]. Songer (Portland Collection), 1997; pg. 125. ARL
7476, Andre & Regean Brunet - “Les Porteurs de Tradition.”
X:1
T:Reel du lièvre, Le (The Hare Reel)
M:2/4
L:1/8
R:Reel
O:Québec
S:Fiddler Pascal Gemme (of the group
Genticorum)
K:G
|:GB/G/ c/G/B/G/|D/G/B/G/
E/E/F/E/|D/G/B/G/ c/G/B/G/|D/F/A/F/ G(3D/E/F/|
GB/G/ c/G/B/G/|D/G/B/G/
E/E/F/E/|D/G/B/G/ c/G/B/G/|D/F/A/F/ G(3D/E/F/:|
|:g/a/g/e/ dB/d/|gf/g/
a/f/d|g/a/g/e/ dg/d/|c/B/A/c/ B/G/G|
g/a/g/e/ dB/d/|gf/g/ a/f/d|g/a/g/e/
dg/d/|c/B/A/F/ G2:|
REEL DU NORD. French-Canadian, Reel. B Minor.
Standard tuning. A favorite session tune.
X:1
T:Reel du Nord
M:2/4
L:1/8
R:Reel
K:Bmin
F/B/B/B/ F/B/B/B/|F/B/d/B/
c>B|F/B/B/B/ F/B/B/d/|f/e/d/c/ B>A|
F/B/B/B/ F/B/B/B/|F/B/d/B/
c>B|F/B/B/B/ F/B/B/d/|f/e/d/c/ BB/A/:|
|:A/c/e/c/ A/c/e/c/|d/c/d/f/
a2|A/c/e/c/ A/c/e/c/|d/e/f/d/ AB/{c}B/|
A/c/e/c/ A/c/e/c/|d/c/d/f/
a2|A/c/e/c/ A/c/e/c/|d/f/e/c/ dB/{c}B/:|
REEL DU PARC. French-Canadian, Reel. G Major. Standard tuning. AA'BB'. The 'A' part
of the tune is shared with an untitled hornpipe in Kerr's Merry Melodies for the Violin (vol. 1, pg. 44). Joyal (Danses d'ici: Musique Traditionnelle du
Québec), 1994; pgs. 17 & 86. Starr 16215, Les
trois copains (appears as "Clog Danse"). Starr 19059, Isidore Soucy
(appears as the first part of "Set d'en bas de Quebec"). Victor
263744-A (78 RPM), Joseph Allard (1930).
REEL DU PÊCHEUR. See "Reel de Pêcheur."
REEL DU PENDU. See "Hanged Man's Reel."
REEL DU PÈRE VERRET. French-Canadian, Reel. D Major.
Standard tuning (fiddle). AA’BB’. Fiddler Pascal Gemme remarks that the tune
comes from the Quebec City region and was a standard in Jule Verret’s (Lac St-Charles,
Québec) repertoire (father of fiddler Jean-Marie Verret). The elder Verret was
also an accomplished fly fisherman.
X:1
T:Reel du père Verret
M:2/4
L:1/8
R:Reel
S:Fiddler Pascal Gemme (of the group
Genticorum)
K:D
f/e/d/f/ e/d/B/c/|d/B/B/A/ B/A/F/D/|D/D/F/A/
c/B/A/G/|F/A/d/e/ f/e/d/e/|
f/e/d/f/ e/d/B/c/|d/B/B/A/
B/A/F/D/|D/D/F/A/ c/B/A/G/|1 F/A/E/A/ Dd/e/:|2 F/A/E/A/ DA/G/||
|:F/D/D/D/ F/D/A/F/|E/G/E/G/
=c/B/A/G/|F/D/D/D/ F/D/A/D/|B/D/c/D/ dA/G/|
F/D/D/D/ F/D/A/F/|E/G/E/G/
=c/B/A/G/|F/A/d/f/ e/d/c/e/|1 d/f/e/c/ dA/G/:|2 d/f/e/c/ dd/e/||
REEL DU PETIT MINOU. AKA and see "Set d'en
Bas de Quebec." French‑Canadain, Reel. A Major. Standard tuning
(fiddle). AABB. Sannella, Balance and
Swing (CDSS). RCA Victor 55-5436, Isidore Soucy
and His Band.
REEL DU PONT. French‑Canadian, Reel. A Major. Standard tuning (fiddle). AA'BB'.
Carlin (Master Collection), 1984; No.
69, p. 48.
REEL DU PRINTEMPS. French-Canadian, Reel. A Major. Standard tuning (fiddle). AA'BB'.
Cuillerier (Joseph Allard), 1992; p.
28. Bluebird 55-5209-a
(78 RPM), Joseph Allard (1865-1947).
X:1
T:Reel du
Printemps
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:A
eg|a2AA
cAec|Bcde fefg|a2AA cAeA|fAgA a2eg|!
a2AA cAec|Bcde
fefg|afge fdec|dfec A2:|!
|:ed|cAEA
Acec|Bcde f2ed|cAEA Acec|dfec dBBd|!
cAEA Acec|Bcde fefg|afge fdec|dfec
A2:|!
REEL DU RÉGIMENT. French-Canadian, Reel. C Major ('A' and 'C' parts) & G Major ('B'
part). Standard tuning (fiddle). AA'BB'C. Cuillerier (Joseph Allard), 1992; pg. 29. Bluebird
B-1255-a (78 RPM), Joseph Allard (1865-1947).
X:1
T:Reel du
Regiment
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:C
Gc|e2ed
cBcA|GAGF EGFE|DGBG dGBG|DGBd gagf|!
e2ed
cBcA|GAGF EGFE|DGBG dGBG|cedB c2:|!
K:G
|:Bc|d2dc
defg|d2dc defg|B2Bc BAGA|BABc BAGA|!
d2dc
defg|d2dc defg|abag fdef|g2gf g2:|!
K:C
AB|c2ec
gcea|g2ec BcdB|c2ec gcea|g2ec BcdB|!
c2ec gcea|g2ec BcdB|c2ec gcea|g2ec
Bcdf||!
REEL DU SEMEUR. French-Canadian, Reel. D Major. Standard tuning (fiddle). AABB. Pascal Gemme of the group Genticor says this tune is a popular accordion melody.
X:1
T:Reel
du Semeur
M:4/4
L:1/8
C:Trad?
S:Phillippe Bruneau (+Richard Smith in UK)
Z:Alison
Ellacott
R:Polka
O:Quebec
K:D
|:FG|ABAG F2A2|f4d4|ABAG F2A2|f2f2d2f2|e2efg2fe|d2de fafd|c2cd egec|d2:|
|:fg|a2g2e2ce|g2f2d4|f2e2 B2c2|dcde fefg|a2g2e2ce|g2f2d2c2|B2g2e2c2|d2:|
REEL DU TING TANG. French-Canadian, Reel. The first and second parts of the tune are 8-bar
phrases, though the ‘A’ part is in 4/4 time while the ‘B’ part is in ¾ time. Flying Fish FF70572, Frank Ferrel – “Yankee Dreams: Wicked
Good Fiddling from New England” (1991).
REEL DU TRICENTENAIRE (Tricentenial Reel). French-Canadian, Reel. A Major. Standard
tuning (fiddle). AA'BB'. Cuillerier (Joseph
Allard), 1992; p. 28. Bluebird B-1274-b (78 RPM),
Joseph Allard (1865-1947).
X:1
T:Reel du
Tricentenaire
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:A
ed|cAEA
cAec|dBGB dBed|cefg afed|cAec d2ed|!
cAEA
cAec|dBGB dBed|cefg afed|cABG A2:|!
|:eg|a2ab
agf2|fbb^a b2fg|afbf afeg|fe^df e2fg|!
a2ga fece|fBgB aece|fBgB afed|cABG
A2:|!
REEL DU VÉTÉRINAIRE. French-Canadian, Reel. F Major. Standard tuning (fiddle). AABB
(Cranford/Holland—includes ‘B’ variation measures): AA'BB' (Cuillerier/Allard).
Recorded under this title by Québec fiddler Joseph Allard in the 1930’s on 78
RPM. Source for notated version: fiddler Denis Lanctôt, who had it from a Jean
Carignan album [Cranford/Holland]. Cranford (Jerry Holland: The Second
Collection), 2000; No. 176, p. 66.
Cuillerier (Joseph Allard),
1992; p. 30. Bluebird B-4894-b (78 RPM), Joseph Allard
(1865-1947). Jean Carignan – “Tribute to Joseph Allard” (1973). Rounder Records
7057, Jerry Holland – “Parlor Music” (2005).
Joseph Allard: (((♫)))
– Virtual Gramaphone |
X:1
T:Reel du
Veterinaire
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:F
ce|fefa
gfga|fcfa gece|fefa gfga|bagf ecce|!
fefa
gfga|fcfa gece|fdcB AFAc|dfeg f2:|!
|:cB|AFFc
AFcF|dFcF BGGB|AFFc AFAc|dfeg fdcB|!
AFFc AFcF|dFcF BGGB|AFFc AFAc|dfeg
f2:|!
REEL DU VIN DE GADELLE.
French-Canadian, Reel. From the repertoire of fiddler Yvon Mimeault. Éric Favreau & Mario Landry – “Reel à Deux” (1998).
REEL DU VOYAGEUR. See "(Le) Reel des Voyageurs."
REEL DU WHISKY BLANC. French‑Canadian, Reel. D Major ('A' part) & A Major ('B'
part). Standard tuning (fiddle). AABB. Sannella, Balance and Swing (CDSS).
REEL d’YVON MIMEAULT. French-Canadian, Reel. D Major. Standard tuning (fiddle). AABB. A
‘crooked’ tune. Source for notated version: fiddler Yvon Mimeault (Matane,
Québec), learned from Adrien Allaire [Remon & Bouchard]. Remon & Bouchard
(25 Crooked Tunes, vol. 1: Québec Fiddle
Tunes), 1996; No. 17.
REEL EN LA (Reel in ‘A’). French-Canadian, Reel. A Major. Standard
tuning (fiddle). AA’BB’. Hart & Sandell note that source Beaulieu was a
member of the group Les Montagnards laurentiens (the Laurentian
Mountaineers—the Laurentians are a range of mountains in the Province of
Québec), joining them in 1946. The group had been popularly broadcast on radio
from 1934-1951. Source for notated version: accordion player Lévis Beaulieu (Québec
City) via Lisa Ornstein & Denis Pépin [Hart & Sandell]. Hart &
Sandell (Dance ce Soir), 2001; No.
17, p. 49. Lisa Ornstein & Denis Pépin – “Les
Danseries de Québec…de l’autre bord de l’eau” (1986).
REEL EN LA d’ISIDORE
SOUCY. French-Canadian, Reel. A Major.
Standard or AEae tuning (fiddle). AABB. A ‘crooked’ tune, with two measures
with an extra beat in the ‘A’ part and one in the ‘B’ part. Source for notated
version: Isidore Soucy [Remon & Bouchard]. Remon & Bouchard, vol. 2,
1997; No. 8. Les Têtes de violon - “le Talencourt.”
REEL EN RÉ d’ANDRÉ
ALAIN. French-Canadian, Reel. D Major.
Standard tuning. AA’BB. A ‘crooked’ tune with extraa beats in both ‘A’ and ‘B’
parts. Source for notated version: fiddler André Alain (St-Basile, Portneuf
area, Québec) [Remon & Bouchard]. Remon & Bouchard (25 Crooked Tunes, vol. 2: Québec Fiddle
Tunes), 1997; No. 7. André Alain - “Violoneux”
avec Pierre laporte et André Marchand.
REEL EN SOL [1]. French-Canadian,
Reel. G Major. Standard tuning. AABB’. The first of two reels from the
repertoire of fiddler Napthalie Billette (Valleyfield, Québec). Source for
notated version: Learned from Billette by harmonica player Robert Legault, who
recorded them with fiddler Lisa Ornstein [Hart & Sandall]. Hart &
Sandell (Dance ce Soir), 2001; No.
18, pg. 50. Lisa Ornstein & Denis Pépin - “Les
Danseries de Quebec..de l’autre bord l’eau” (1986).
REEL EN SOL [2]. French-Canadian, Reel.
G Major. Standard tuning. AA’B. The second of two reels (this one a bit
irregular in metre, or ‘crooked’) from the repertoire of fiddler Napthalie
Billette (Valleyfield, Québec). Source for notated version: Learned from
Billette by harmonica player Robert Legault, who recorded them with fiddler
Lisa Ornstein [Hart & Sandall]. Hart & Sandell (Dance ce Soir), 2001; No. 19, pg. 50. Lisa
Ornstein & Denis Pépin - “Les Danseries de Québec..de l’autre bord l’eau”
(1986).
REEL EN SOL d’ANDRÉ
ALAIN. French-Canadian, Reel. G Major.
Standard tuning. AA’BB. The ‘B’ part is crooked, with the third measure having
an extra beat. Source for notated version: André Alain (St-Basile, Portneuf
area, Québec), who probably had the tune from his uncle Armand Chastenay [Remon
& Bouchard]. Remon & Bouchard (25
Crooked Tunes, vol. 2: Québec Fiddle Tunes), 1997; No. 6. André Alain - “Violoneux.” RC2000, George Wilson – “Royal
Circus” (2000).
REEL EN RÉ DE JULES
VERRET. AKA and see “Reel a Bacon.”
French-Canadian, Reel. D Major. Standard tuning. AA’BB’. Source for notated
version: fiddler Jules Verret (Lac St-Charles, Québec) [Remon & Bouchard].
Remon & Bouchard (25 Crooked Tunes,
vol. 2: Québec Fiddle Tunes), 1997;
No. 23. Green Linnet GLCD3043, La Bottine Souriante -
“La Traversée de l’Atlantique” (1988).
REEL EUGÈNE. French-Canadian, Reel. B Minor
(‘A’ part) & D Major (‘B’ part). Standard tuning. AA’BB’.
X:1
T:Reel Eugène
M:2/4
L:1/8
R:Reel
S:Fiddler Pascal Gemme (of the group
Genticorum)
K:B Minor
F|:BB/c/ d/c/B|ee/f/ g/f/e/g/|ff/g/
f/e/d/e/|f/b/b/f/ bb|
BB/c/ d/c/B|ee/f/ g/f/e/g/|ff/g/
f/e/d/c/|1 B2 F2:|2 B2 A2||
|:ff/e/ d/B/B/B/|Ad/f/ bf|a>g
ec/B/|A/c/e/g/ fd|ff/e/ d/B/B/B/|
Ad/f/ bf|a>g e/c/e/g/|1f/d/e/c/
d>e:|2 f/d/e/c/ dF||
REEL FOR A PORTLAND
FANCY.
American, Reel. G Major. Standard tuning. ABC. Portland Fancy is the
name of a contra dance. Source for notated version: the 1938 typewritten
manuscript of fiddler John Taggart, entitled “Recollections of a Busy Life”
(New Hampshire Historical Society, Concord, N.H.) [Miller]. Miller (Fiddler’s Throne), 2004; No. 238, pg.
145. New Hampshire Fiddler’s Union, Miller & Peery
– “The Music of John Taggart” (1989).
REEL L’OISEAU BLEU
(The Bluebird Reel). AKA and see "Bluebird
Polka."
REEL McDONNELL. AKA – “Le reel à quatre.” French-Canadian, Reel. A version of “Lord MacDonald(‘s Reel) [4].”
Lisa Ornstein says the tune was widely played in Quebec as well as the
English-speaking provinces of Canada, although in Quebec, local titles
prevailed. “MacDonald” is the title given by fiddler Louis Boudreault (who
played a four-part version), although Ornstein notes that in his father’s
generation the tune was known locally as “Le reel à quatre,” from the grande danse with which it was
associated. Other Quebec titles cited by Ornstein are: Isidore Soucy’s “Gigue à
Ti-zoune,” harmonica player Cyrus Sufour’s “Le reel d’Amqui,” harmonica player
Wilbrod Boivin’s “Le Reel du Lac St-Jean,” fiddler Ferdinand Dionne’s “Galope
de l’Acadie,” and fiddler Jefrey Jobin’s “Le Petit Bûcheux.” Montreal fiddler
Jean Carignan recorded the tune as “Lord MacDonald Reel.”
REEL MADE WITH HILDA. Canadian, Reel. Canada, Cape Breton. E Major. Standard tuning. AA’BB.
Composed by fiddlers Jerry Holland (Inverness, Cape Breton) and Hilda Chiasson.
Cranford (Jerry Holland’s), 1995; No.
130, pg. 38. Fiddlesticks cass., Jerry Holland -
“Lively Steps” (1987).
REEL MANITOBAIN. French-Canadian, Reel. G Major. Standard tuning. AABB. A ‘crooked’
tune. Source for notated version: learned from a Native American fiddler from
Manitoba by Martine Racine of the group La Bottine Souriante [Remon &
Boucahrd]. Remon & Bouchard (25
Crooked Tunes, vol. 1: Québec Fiddle Tunes), 1996; No. 19.
REEL OF BOGIE, THE ("Seisd Bogac" or "Cor an
Bogaig").
AKA and see "The Castlebar Traveller,” "The Gossan that Beat His Father,"
"The Humours of Loughrea,"
"The Laurel Bush," "The Long Chase," “New Year’s Night,” "The Showman's Reel," "Spence's Reel [1]," “Style of Ballylanders,” "Tuehey's Reel," "The West Gale," "The Yeoman's Reel." Irish, English;
Reel. England, Northumberland. E Dorian (Mulvihill, O’Neill): A Dorian (Howe).
Standard tuning. AB. As "Real o' Bogee," it is one of the
"missing tunes" from William Vickers' 1770 Northumbrian dance tune
manuscript. Brian Conway plays a Sligo setting of the reel. In liner notes to
his album, says the tune is sometimes known as “The
Tramps,” and was recorded in New York by Paddy Killoran and by Michael
Coleman, both originally from County Sligo. Coleman called it “Maun’s Fancy” on an unreleased side from
his last recording session in 1944. “Mountain
Rose,” “New Year’s Night” and “Style/Stile of Ballylanders” are related
tunes. Source for notated version: Chicago police patrolman, piper and
flute player John Ennis, originally from County Kildare [O’Neill]. Howe (1000 Jigs and Reels), c. 1867; pg. 63
(appears as “Reel of Boggie”). Mulvihill
(1st Collection), 1986;
No. 215, pg. 58. O'Neill (Krassen), 1976; pg. 141. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1449, pg. 268. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986;
No. 683, pg. 121. Smithsonian Folkways SFW CD 40481,
Brian Conway – “First Through the Gate” (2002). Talcon Records KG240, Paddy Cronin – “The House in the Glen”
(197?).
X:1
T:Reel of Bogie, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland:
1001 Gems (1907), No. 683
Z:AK/Fiddler’s Companion
K:Emin
dc|BE {F}(3EDE BAFA|BFAF DEFA|BE
{F}(3EDE BAFA|d^cdf e2 dc|
BE {F}(3EDE BAFA|BFAF DEFA|d^cde
fdec|dBAF E2||FE|D2 (3AB^c dcdA|
(3B^cd AF BFAF|D2 (3AB^c dcde|fdcA
BFAF|D2 (3AB^c dcdf|edef g2 fg|
afge fde^c|dBAF E2||
X:2
T:Reel of Boggie [1]
M:2/4
L:1/8
R:Reel
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:Ador
g/f/ | e/>A/ (3A/B/A/ .e/(g/f/g/)
| e/>A/ (3A/B/A/ ed/>B/ | e/A/ (3A/B/A/ e/>g/f/>a/ |
g/>e/d/>B/ A/>A/(g/>f/) |
e/>A/ (3/A/B/A/ .e/(g/f/g/) |
e/>A/ (3/A/B/A/ ed/>B/ | e/>A/ (3A/B/A/ (e/g/)(f/a/) |
g/>e/d/>B/ AA/B/ ||
GB/d/ g/a/g/e/ | (d/e/).d/.B/
(d/e/).d/.B/ | .G/.G/.B/.d/ (g/a/).g/.e/ | d/e/d/B/ AB | GB/d/ g/a/g/e/ |
d/e/d/B/ d(g/a/) | b/a/a/f/ e/g/f/a/
|1 g/e/d/B/ A/c/B/A/ |2 g3 ||
X:3
T:Reel of Bogie [1]
M:C|
L:1/8
R:Reel
S:Brian Conway
Z:AK/Fiddler’s Companion
K:Edor
dc||:B(~E3 d2)cd|B(FA)F (DE)FA|B~E3
dBcA|B(FA)F (EF)GA|
B(~E3 d2) cd|B(FA)F (DE)FA|~B3 (c
d)fec|1 dBAF EFGA:|2 dBAF EGFE||
|:DEF(A d)cdB|AF (3FFF B(FA)F|DEFA
dfe(c|dBAF DGFE|
DEFA d2 eg|f(d{e}dc) def(a|{b}a)fec
d ~B3|1 dBAF EGFE:|2 dBAF EFGA||
REEL OF BOGIE [2], THE.
Scottish, Reel. C Major. Standard tuning. AB. The “Reels of Bogie” in
Robert Burns’ song (MMC 158) were a euphemism for fornication:
***
The lads ne’er think it is amiss,
To bang the holes whereout they
piss,
And that’s the reels o’ Bogie. [Gordon Williams: Dictionary of Sexual Language and
Imagery in Shakespearean and Stuart Literature, 1994]
***
Surenne (Dance Music of Scotland), 1852; pg. 47.
X:1
T:Reel of Bogie [2]
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 47
(1852)
Z:AK/Fiddler’s Companion
K:C
A || cdcA cGGA | cdcA G3c | Add>c
defa | gedc A2 GA | cdcA cGGA |
cdcA G3c | Add>c defa | gedc A2
GA || c2 eg c2 eg | cdcA G3c | Add>c defa |
gedc A3B | cege cege | cdcA GAcG |
Add>c defa | gedc AcGA ||
REEL OF CLUNY, THE. Scottish, Reel. A Major. Standard tuning.
AABB'. Composed by Joseph Lowe. Kerr (Merry
Melodies), vol. 3; No. 88, pg. 11. Rounder 7059,
Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).
X:1
T:Reel of Cluny, The
M:C
L:1/8
R:Reel
C:Josephy Lowe
S:Kerr – Merry Melodies, vol. 3, No. 88
Z:AK/Fiddler’s Companion
K:A
E|A2 (c/B/A) aAcA|aAce fBBc|A2
(c/B/A) aAcA|dfec A/A/A A:|
|:g|aece dfec|aece fBBg|1 aece
dfec|dBec A/A/A A:|2 afge fdec|dfec A/A/A A||
REEL O’ CORSE. Scottish, Reel. Credited to Peter Milne, a mentor and sometime playing
partner of J. Scott Skinner’s, in Charles
Middleton’s Selection of Strathspeys
& Reels, etc., arranged Expressly . . . by Peter Milne,
Violinist late of Aberdeen . . .":
REEL OF DARRAGH, THE (Ríl Dharach). Irish, Reel. D Major. Standard tuning. AABB.
Very similar to O’Neill’s (DMI) “Mullingar
Races.” Source for notated version: the mid-20th century collection of Liam
Donnolly (County Tyrone & Belfast), collected from fiddler William Jones
(County Fermanagh), who composed it [Breathnach]. Breathnach (CRÉ IV), 1996; No. 149, pg. 72.
REEL OF FETTERCAIRN, THE. AKA and see "Newburn
Lads."
REEL OF KILWINNING, THE. English, Reel. England, Northumberland. E
Minor. Standard tuning. AABBCC. Seattle (William
Vickers), 1987, Part 2; No. 480.
REEL OF MULLINAVAT [1], THE ("Seisd/Cor Muilleann A'Bata," or
"Ríl Mhuileann an Bhata"). AKA and see "Paddy Breen's Reel." Irish,
Reel. E Dorian/Minor. Standard tuning. AB (Breathnach): AA'B (O'Neill/Krassen):
AABB (Miller): AA'BB' (O'Neill/1850, 1001 & 1915). Mullinavat is in County
Kilkenny. Bayard (1981) sees his Pennsylvania collected "Running Through
the Rain to Keep Your Hair Dry" as a form of this composition. See
also the related “Hills of Old.” Sources
for notated versions: fiddler Bobby Casey (County Clare, Ireland) [Breathnach];
Chicago fiddler James Kennedy, who O’Neill believed had the tune from Adam
Tobin, a native of Kilkenny [O’Neill]; Kerry fiddler Paddy Cronin [Miller].
Breathnach (CRÉ III), 1985; No. 153,
pg. 71. Lyth (Bowing Styles in Irish
Fiddle Playing, vol. 1), 1981; 35. Miller (Fiddler’s Throne), 2004; No. 239, pg. 146. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
241, pg. 127. O'Neill (Krassen), 1976; pg. 117. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1316, pg. 247.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 578, pg. 106. Reavy (The Collected Compositions of Ed Reavy), No. 69. Comhaltas Ceoltoiri Eireann Records CL17, Bobby Casey ‑
"Ceol an Chlair vol. 1" (1979). Intrepid Records, Michael Coleman -
“The Heyday of Michael Coleman” (1973). Shanachie SH 29009, "Andy McGann
& Paul Brady." Shanachie 79006, Mary Bergin – “Feadog Stain”
(originally released by Gael-Linn, 1979).
See also listings at: Jane
Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s
Irishtune.info |
X:1
T:Reel of Mullinavat, The [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No. 5
78
Z:AK/Fiddler’s Companion
K:E Minor
ef|gfed BAGF|GBAF E3F|1 GBAF
GABc|dB{c}BA Beef:|2 GBAF GABA|Bee^d e2||
ef|:gfef gebe|gebe afdf|1 gfef
gebe|afde feef:|2 gebe g2 fg|afdf e2||
REEL
OF MULLINAVAT [2], THE. Irish, Reel. E Minor. Standard
tuning. AABB. Armagh Piper’s Club (Play
50 Reels), 1982; No. 6, pg. 5. Taylor (Traditional Irish Music: Karen
Tweed’s Irish Choice), 1994; pg. 31.
X:1
M:C|
L:1/8
R:Reel
K:E Minor
f | gafg
edBA | GEFD EDB,D | G~E3 GABd | eBBA Bdef | g2 ag edBA |
GBFB ~E3F |
G~E3 GFGA | Beed e3 :: f | g~B3 gabg | afde f~a3 |
g~B3 gabg | agfg e3f | g2 ef gbag |
fdde fg a2 | bgaf gfed | Bgfg e3 :|
REEL OF RIO, THE. AKA and see “The
Rocky Road [3],” “The Road to Rio.”
Irish, Reel. G Major. Standard tuning. AB (O’Malley): AABB (Mallinson, Miller
& Perron): AABB' (Flaherty): AA’BB’ (Harker/Rafferty). Composed by County
Tipperary fiddler Seán Ryan (d. 1985). According to Seán’s son Brian the tune
suggested a Latin beat, hence the title’s reference to the Brazilian city,
although the title is also a pun on the name of the grain (rye). Seán Ryan’s
nickname was ‘Rio’ (pronounced ‘rye-o’), and thus another layer of word-play in
the title. Sources for notated versions: flutist Seamus Tansey (Miller &
Perron); flute player James Murray (b. 1947, Ougham, outside Tubbercurry,
County Sligo) [Flaherty]; a recording by George Wilson [O’Malley]; New Jersey
flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].
Bulmer & Sharpley (Music from Ireland),
vol. 1, No. 42 (appears as “Road to Rio”). Flaherty (Trip to Sligo), 1990; pg. 169. Harker (300 Tunes from Mike Rafferty), 2005; No. 57, pg. 18. Mallinson (Enduring), 1996; No. 17, pg. 7. Miller
& Perron (Irish Traditional Fiddle
Music), 1977; vol. 1, No. 38. Miller &
Perron (Irish Traditional Fiddle Music),
2nd Edition, 2006; pg. 100. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 21,
pg. 11. Ryan (The Hidden Ireland),
25. Shanachie 29006, John Vesey.
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:Reel of Rio, The
M:C|
L:1/8
R:Reel
S:O’Malley Collection
K:G
DEGA BABd | eg~g2 agea | gedg edBd |
c2 Bc AGEG | DEGA BABd |
efge agea | gd~d2 edBG | AcBA G2 Bc
|| dg~g2 ag~g2 | bg~g2 edBe |
dB~B2 GA (3Bcd | gedB AGEG | DEGA BA
(3Bcd | efgb ae~e2 |
gedg edBG | AcBA G2 z2 ||
X:2
T:Reel of Rio, The
R:reel
C:Sean Ryan (-1985)
D:Fintan Vallely
Z:id:hn-reel-305
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
K:G
DEGA ~B3d | eg~g2 agef | gede gedB | c2BA GE~E2 | DEGA ~B3d | eg~g2 agef |
gede gedB |1 cABA G2GE:|2 cABA GABc || dg~g2 ag~g2 | bgag edBd | eBBA GABd |
gedB ABGE | DEGA ~B3d | eg~g2 agef | gede gedB |1 cABA GABc :|2 cABA G2GE ||
REEL OF SCEACH, THE. AKA and see “Siobhan O’Donnell’s (Reel).”
Irish Reel. Composed by County Offaly flute player John Brady in the 1980’s. Longridge Ceili Band – “The Beauties of Autumn” (1983).
REEL OF STUMPIE. AKA and see "Stumpie,"
"No Man's Jig," Buttered Peas(e) [1]."
REEL OF THE BLINDMEN. AKA and see "Blind
Man's Reel [1]."
REEL OF THE HANGED ONE. See "Hanged Man's Reel."
REEL O' THUILLEACHAN. Scottish, Reel. A Mixolydian. Standard tuning (fiddle). AB (Surenne):
AABBCCDD (Skinner). Skinner (Harp and
Claymore) notes: “’Hoolichan’ is danced in Reel time, and the steps used
are not Strathspey or Highland Fling steps, but all cutting and shuffling—quick
time throughout, and no Figure 8.” The melody is similar to “Reel of Tulloch,”
below. Skinner also prints a long poem by Robert Ford, entitled “The Reel o’
Hoolichan,” whose refrain is:
***
The auld reel o’ Hoolichan,
The bauld reel o’ Hoolichan;
They need be fleet upo’ the feet
That dance the reel o’ Hoolichan.
***
Skinner (The Scottish Violinist), p. 25. Skinner (Harp and Claymore), 1904; p. 118. Surenne (Dance Music of Scotland), 1852; p. 90.
X:1
T:Reel of Thulichan
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 90
(1852)
Z:AK/Fiddler’s Companion
K:A
f | e2 A>c/2/d/\4 ecAa | e2
A>B/2c/4 dB=GB | e2 A>c/2d/4 eAce | dE (c/4d/2<e) dB=GB |
e2 A>c/2/d/\4 ecAa | e2
A>B/2c/4 dB=GB | e2 A>c/2d/4 eAce | dE (c/4d/2<e) dB=GB ||
cA (c/4d/2<e) cAAB | cA
(c/4d/2<e) dB=GB | cA (c/4d/2<e) cAcA | BE (c/4d/2<e) dB=GB |
cA (c/4d/2<e) cAAB | cA
(c/4d/2<e) dB=GB | cA (c/4d/2<e) cA c/4d/2>e | BE (c/4d/2<e) dB=GB
||
REEL OF TRALISHLANE. AKA and see “The Sailor’s
Cravat.” Irish, Reel. Ireland, County Sligo. D Major. Standard tuning
(fiddle). AABB. Source for notated version: tin whistle player Jimmy McGettrick
(b. 1909, Aughris, Rathmullen, Ballymote, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; p. 135.
REEL O'/OF TULLOCH, THE ("Ridhle Thulichun" or "Ruighle Thulaichean"). Scottish; Reel and Strathspey. A Major/A Mixolydian. Standard tuning (fiddle). AB (Athole, Kennedy, Martin): AAB (Hunter, Martin/2002, Neil, Skinner, Skye): AABB (Bremner, Emmerson, Kerr): AABB’ (Gow): ABCDEFGHIJKLMNO (Johnson). The tune was originally a very popular 17th century bagpipe piece, probably by an unknown composer. However, in MacGregor's collection it is confidently stated that the tune was composed by John Dubh Gear, a MacGregor of Glen Lyon. J. Scott Skinner as well, in Harp and Claymore (1904), remarks: “There is a tradition that this wild effusion was composed and danced by John Macgregor, Castle Grant, about 1640.” MacDonald once remarked that this reel was composed at Tulloch in Aberdeenshire, and this assertion has survived in tradition. Legend has it, remarks Nigel Gatherer, that the reel was improvised on the spot by a MacGregor who had just emerged victorious from a fight with a Robertson for the hand of the Laird o’ Tulloch’s daughter. O’Neill (1922) declined to print stories of the tunes origins as “too unreliable,” and remarks that they include “A wild orgy of dancing under improbable circumstances in one case, and a desperate encounter with swords in another, are given as the inspiration of what has been termed ‘the maddest of all Highland reels’". Its earliest appearance is in David Young's 1734 Duke of Perth Manuscript (AKA the Drummond Castle Manuscript, where it appears with 160 bars of variations) and it was later reprinted in his 1740 MacFarlane Manuscript (volume 2, No. 115). Purser (1992) states that it was adapted for the violin “with superb rhythmic pointing and syncopations, mostly composed by David Young in 1740.” The piece subsequently appears in Robert Bremner's 1757 collection (Curious Collection of Scots Tunes), the Gillespie Manuscript of Perth (1768), and Davie's 1829 Caledonain Repository (with some pizzicato variations). It also appears in the music 1770 manuscript collection of Northumbrian musician William Vickers, about whom unfortunately nothing is known. Johnson (1984) is of the opinion that Young probably composed the three finest sections of the version given in the former’s 1984 volume (parts 'F', 'L', and 'O'). This important melody, which at one time was known as 'Righ na' m Port,' or 'King of Airs', has retained its popularity through the ages and is still part of the pipe repertory today.
***
“The Reel of Tulloch” has for several centuries been used in Scotland for a specific dance for males which is always performed to the tune, and it has been quite dominant at Highland dances for several centuries. Instructions for the popular dance, but not the melody, appear in the Menzies Manuscript (contained in the Atholl Collection of the Sandeman Library, Perth), 1749, which carries the alternate title "The Mighty Pretty Valley.” J. Scott Skinner, the celebrated violinist who was also dancing master, routinely taught the dance to his students throughout the latter 19th century. He states in Harp and Claymore (1904): “The ‘Reel of Tulloch’ is practically the same tune (as “Reel o’ Thuilleachan’), but requires two different sets of steps. First the four kilted Highlanders, by whom it is properly danced, go through the Figure 8, after the usual style of a reel, and dancing Highland Fling and Strathspey steps; then they break into the quick time of the Hoolichan.” Another "Reel of Tulloch" (Ruidhleadh Thulachain), a country dance for two mixed couples, was composed around 1800, and appears in dance literature in 1844 (in The Ballroom Annual), though it was mentioned in accounts of dances from the year 1819 onward. Flett & Flett conclude the dance was originally a 'society' dance which was developed at the Breadalbane Balls, although Christine Martin (2002) says the dance is also said to have been composed by parishioners waiting for their minister who was late. Some exercise helped to pass the time, the story goes, and lead to the formation of the dance. Martin says that “it was originally a popular dance in its own right, but by the late 19th century it was almost always danced immediately after the Foursome Reel.” It was a particular favorite of Queen Victoria, states Hunter (1979), who first witnessed its performance at a ball at Taywouth Castle given by the Marquis of Breadalbane (the dancers on the occasion were the Marquis of Abercorn, the Hon. Fox Maule, Cluny Macpherson and Davidson of Tulloch). In most parts of Scotland the dance was performed to the tune "The Reel of Tulloch" but in Roxburghshire and Berwickshire, where the dance was often known as "The Hullachan Jig," a double jig such as "The Irish Washerwoman" was played. For an extensive discussion of the dance and its origins see Flett & Flett (Traditional Dancing in Scotland), 1964, pgs. 132-155.
***
"The
'Reel of Tulloch' should be played first as a Strathspey and then as a Reel
followed by 'Stumpie' and 'The Deil
Among the Tailors,' a welcome combination to enthusiastic dancers” notes
MacDonald in his Skye Collection.
Paul Stewart Cranford (1995) remarks that versions of this reel vary in late
20th century Cape Breton, from a simple reel setting to J. Scott Skinner’s
elaborate strathspey variations. Emmerson (1971) finds that the tune on close
examination reveals itself to be a rant. Peter Kennedy gives “Hullichan Reel” as an alternate title.
Sources for notated versions: Bremner's Scots
Tunes, pg. 4 (Bremner clearly meant that parts were only to be repeated
once, stated Johnson) [Johnson]; fiddler Mike MacDougall (Ingonish, Cape
Breton, 1928-1982), whose style was greatly influences by the highland pipes
[Cranford]. Bremner (Scots Reels), c.
1757; pg. 84. Cranford (Jerry Holland's),
1995; No. 3, pg. 2. Emmerson (Rantin’
Pipe and Tremblin’ String), 1971; No. 42, pg. 136. Gow (Complete Collection), Part 1, 1799; pg.
25. Hunter (Fiddle Music of Scotland),
1988; No. 250. Johnson (Scottish Fiddle Music in the 18th Century),
1984; No. 30, pgs. 82‑83. Kennedy
(Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 169, pg. 40. Kerr (Merry Melodies), vol. 1; Set 5, No. 4, pg.
5. MacDonald (The Skye Collection),
1887; pg. 3. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 40.
Martin (Traditional Scottish Fiddling),
2002; pgs. 49 & 55. Neil (The
Scots Fiddle), 1991; No. 132, pg. 171. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 101. Purser (Scotland’s Music), 1992; Ex. 2, pg. 174.
Skinner (The Scottish Violinist, with
seven variations by the author), pg. 24‑25. Skinner (Harp and Claymore), 1904; pgs. 116-117 (with numerous variation
sets). Stewart-Robertson
(The Athole Collection), 1884; pg. 6.
Cranford Publications CP-R2, “Jerry Holland Solo”
(1988). Green Linnet GLDC 1108, The Tannahill Weavers – “Cullen Bay.” Maggies
Music MM220, Hesperus – “Celtic Roots.” “The Caledonian Companion” (1975).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Reel of Tulloch
M:C|
L:1/8
S:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
a/f/|e2 A>c e>cA>a|e2 A>c d>B=G>f|e2 A>c e>Ac>A|B>E c/d/e d>B=G>f|
e2 e>c ecAa|e2 e>c dB=Gf|e2 e>a e>Ac>A|Bece d>B=G>B|]
c>A c/d/e cAAB|c>A c/d/e dB=GB|cA c/d/e cAcA|BEBe dB=GB|
cA c/d/e cAAB|cA c/d/e dB=GB|cA c/d/e c2 c>e|Bece d>B=G>f|]
X:2
T:Reel of Tulloch, The
M:4/4
L:1/8
S:Neil Gow & Sons Complete Repository c.1805
Z:Paul Kinder
K:D
f|!trill!e2 Ac/2d/2 ecAa|"tr"e2 AB/2c/2 dBGB|{B}e2 Ac/2d/2 eAce|
dE cd/2e/2 dBGB:||:"tr"cA cd/2e/2 "tr"c>AAB|cA cd/2e/2 dBGB|
cA d/2e/2f cAcA|BE c/2d/2e dBGB|"tr"cA c/2d/2e "tr"cAAB|
cA c/2d/2e dBGB|cA c/2d/2e cA c/2d/2e|BE c/2d/2e dBGB||
X3
T:Real of Tullack [sic]
M:C|
L:1/8
R:Reel
S:William Vickers’ 1770 music manuscript (Northumberland)
K:D
f|e2 AB/c/ ecAf|e2 AB/c/ dBGf|e2 AB/c/ eAcA|BE E/E/E dB G:|
|:B|cA cd/e/ cAAB|cA cd/e/ BGGB|cA cd/e/ cAcA|BE E/E/E dBG:|
REEL OF TULLOCHGORUM. AKA and see “Jamie Allen,” “Jimmy Allen.” Scottish, Reel. D Major.
Standard tuning. AABB. See note for “Jamie Allen.”
X:1
T:Reel of Tullochgorum, The
T:Jimmy Allan
B:Ian Powrie's Selection (Glasgow,
n.d.)
Z:Nigel Gatherer
M:2/4
L:1/8
K:D
D>E|FD DE|F2 DE/F/|GE EF|G2 FE|Dd
dc/B/|A2 F>G|AA GE|D2:|]
G>E|Dd dc|BA GF|Ee ed|cA
Bc|d>e dc/B/|A2 FA|B>A GF/E/|D2:|]
REEL POLO. French-Canadian, Reel. G Major. Standard tuning. AABB. Cuillerier (Joseph Allard), 1992; pg. 31. Bluebird B-1133-b (78 RPM), Joseph Allard (1865-1947).
X:1
T:Reel Polo
C:Joseph
Allard
M:2/4
L:1/16
R:Reel
Z:Transcribed
by Bruce Osborne
K:G
FGAB
c2e2|d2G2 BABc|d2ed c2A2|G2B2 B2G2|!
FGAB
c2e2|d2G2 BABc|d2ed c2A2|F2A2 G4:|!
|:c2e2 gage|d2G2
BABc|d2ed c2A2|G2B2 BAB2|!
c2e2 gage|d2G2 BABc|d2ed c2A2|F2A2
G4:|!
REEL ROUYN, LE. AKA and see "Rouyn Reel."
REEL SAINT-ANTOINE. See “Reel St. Antoine, Le.”
REEL SAINT-JEAN. AKA and see "Reel de la Catalogne."
French-Canadian, Reel. A Minor ('A' part) & C Major ('B' part) {Joyal}: B
Minor (‘A’ part) & D Major (‘B’ part) {Hart & Sandell). Standard
tuning. AA'BB'. Fiddler Joseph Bouchard recorded this reel for Bluebird as
"Reel de la Catalogne" while his long-time playing partner, diatonic
accordionist Théodore Duguay (1904-1950) recorded it under the above title.
Both musicians were in the seminal and influential band "Montagnards
Laurentiens" (Laurentian Mountaineers) which played traditional
French-Canadian dance music for Montreal audiences in the mid-20th century
(Joyal). The second strain can be played low or high. Source for notated
version: Martin Racine & Yves Lambert of the group La Bottine souriante
[Hart & Sandell]. Hart & Sandell (Dance
ce Soir), 2001; No. 46, pg. 80. Joyal (Danses
d'ici: Musique Traditionnelle du Québec), 1994; pgs. 45 & 100. Folkways RBF 114, Théodore Duguay - "Masters of
French-Canadian Music 4." Vox A-103 (78 RPM), Théodore Duguay (1945). La
Bottine souriante – “La traversée de l’atlantique” (1986). Richard Forest &
Yvon Cuillerier – “Québec pure laine” (1992).
X:1
T:Reel St. Jean
M:2/4
L:1/8
R:Reel
K:Bmin
f/e/||:d/B/B/B/ F/B/d/B/|f/B/d/f/ Be/d/|c/A/A/A/
E/A/c/A/|e/A/c/e/ Af/e/|
d/B/B/B/ F/B/d/B/|f/B/d/f/
Bc/B/|A/B/c/A/ ef/e/|1 d/f/d/c/ Bf/e/:|2 d/f/d/c/ B>A||
|:dd/e/ d/e/f/g/|a>b a/f/e/d/|d’b
a/f/d/e/|f/d/e/f/ e/c/B/A/|
dd/e/ d/e/f/g/|aa/b/ a/f/e/d/|d’b
a/f/d/e/|1 f/d/e/c/ d>A:|2 f/d/e/c/ d||
“Alternate B”
|:D/C/D/E/ D/E/F/G/|AA/B/ A/F/E/D/|dB/d/ A/F/D/E/|F/D/E/F/ E/C/B,/A,/|
D/C/D/E/ D/E/F/G/|AA/B/
A/F/E/D/|dB/d/ A/F/D/E/|1 F/D/E/C/ D>A,:|2F/D/E/C/ Df/e/||
REEL SAINT-JOSEPH. AKA and see “La Bellechasse,” “La Bistringue.” French-Canadian, Reel. D
Major. Standard tuning. AABB. Source for notated version: accordion player
Laurie Andres and John Culhane (Seattle/Olympia, Washington) [Songer];
Jean-Marie Verret [Hart & Sandell]. Hart & Sandell (Dance se soir!), 2001; pg. 115, No. 80.
Songer (Portland Collection), 1997;
pg. 172. Katz Acoustic Services 1, Salmonberry - “New
England Contra Dance Music” (1991).
REEL SAINT-MICHEL. French-Canadian, Reel. G Major. Standard tuning. AA'B. Joyal's source,
Edouard Giroux, was a Québec fiddler who played in an Irish style and whose
playing reflected a nineteenth century repertoire since he was born in 1865. He
recorded this piece on a cylinder disk in 1918. Editor Joyal believes the
melody to be Irish in origin and notes a similarity with the reel "Dillon Brown" printed in O'Neill's
Dance Music of Ireland (1907). Source
for notated version: Edouard Giroux [Joyal]. Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pgs. 75
& 118.
REEL SAINT-SAUVEUR. French-Canadian, Reel. G Major. Standard tuning. AA'BB'. Cuillerier (Joseph Allard), 1992; pg. 31. Bluebird 55-5209-b (78 RPM), Joseph Allard (1865-1947).
X:1
T:Reel
Saint-Sauveur
C:Joseph
Allard
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
GA|BGFG
Bdgd|BgdB cAAc|BGFG Bdgd|egfa gedc|!
BGFG
Bdgd|BgdB cAAc|BGFG Bdgd|egfa g2:|!
|:BA|BGFG
DGBG|FGAB cedc|BGFG DGBG|cedc BGGA|!
BGFG DGBG|FGAB cedc|BGFG DGBG|cedB
G2:|!
REEL ST. ANTOINE, LE. See “Reel Saint-Antoine.”
French-Canadian, Reel. G Major (Begin): A Major (Songer). Standard tuning. AABB
(Songer): AABB’CC’ (Begin/Girdwood):
AA'BB'CC'A"A"'B"B"'C"C"' (Begin/Bruneau). Sources
for notated versions: French-Canadian button accordion player Philippe Bruneau
(Québec) [Begin]; Québec fiddler Richard Forest [Songer]; fiddler Dawson
Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley:Dawson Girdwood), 1985; No. 59,
pg. 68. Begin (Philippe Bruneau),
1993; No. 57, pgs. 84-85. Songer (Portland
Collection), 1997; pg. 172. Richard Forest et al -
“Québec Pure Laine” RC2000, George Wilson – “Royal Circus” (2000).
X:1
T:Reel
St-Antoine
M:C|
L:1/8
S:Begin –
from a transcription of the playing of Ottawa fiddler Dawson Girdwood
K:A
e2|:a3 a
aece|a2 aa (ae)ce|agfe dcBA|GABc defg|
a2 aa
(ae)ce|a2 aa (ae)ce|agfe dcBA|GABc A4:|
|:[c3e3]
[ce] [ce]Ace|dcBA G>AB>c|d2 (d>c) d>fe>d|c>dB>c
A>AE>A|
[c2e2]
[c>e>]c [c>e>]Ac>e|d>cB>A G>AB>c|d>ef>g
a>fe>d|1 c>AB>c A2A2:|2 A>cB>c A2 z2||
[c>e>]AA>A
c>AA>A|c>AA>A G>AB>c|d>BB>B d>BB>B|b>ag>f
edcB|
cAAA
cAAA|cAAA GABc|defg afed|1 cABc A2A2:|2 cABc A2 e2||
REEL ST. HUBERT. AKA
and see “Cache tes Fesses.”
REEL TI-MÉ. French-Canadian, Reel. D Major. Standard tuning. AABB. Composed by
Montmagny, Québec, accordion maker and player Marcel Messervier, in honor of
his father-in-law, a fiddler now in his 90's. Source for notated version:
fiddler Lisa Ornstein (Maine) [Songer]. Songer (Portland Collection), 1997; pg. 193. Jigsaw
- “Cut Up the Floor” (1996).
REEL WITH THE BERYLE, THE. AKA - “Reel with the Burl/Birl.” AKA and see “Tom Clair’s Maggie.” Irish, Reel.
Ireland, County Clare. E Dorian. Standard tuning. The title was the one used by
the source, concertina player Mrs. Crotty of Kilrush,
Clare (Michael Tubridy’s aunt), a favorite tune of hers. The Crotty family had
a pub in the south Clare town, where great sessions were to be heard. The word
‘burl’ or ‘birl’ is a pipers term to describe a musical ornament (a hard
triplet on the low ‘A’ note of the Highland pipes, and a feature of the
instrument), but it also can mean to play rousingly as in “give it some birl”
or “give it some life!” The tune is related to “Drowsy Maggie” (the
first parts are very similar), the Scots “Sleepy Maggie” and probably to “Toss the Feathers.” O’Neill
published it as “Tom Clair’s Maggie,” thought to be a shorthand title for his
source and a reference to its similarity to “Drowsy Maggie.” Columbia Legacy CK 48693, "The Best of the
Chieftains" (1992). Green Linnett GLCD 1181, Martin Hayes & Dennis
Cahill - “The Lonesome Touch” (1997). RTE 225CD, Elizabeth Crotty – “Concertine
Music from West Clare.” Mary MacNamara - “Traditional Music from East Clare.”
John Williams, 1st Album (the last of three tunes in a set played
with Micho Russell).
X:1
T:Reel with the Beryle, The
S:Chieftains, from Mrs. Crotty
Z:Jerome Colburn
N:The Kilrush version of the tune,
represented by Michael Tubridy,
N:Martin Hayes, and Mrs. Crotty
M:C|
L:1/8
K:EDor
E2 BE dEBE | E2 BE AFDF | E2 BE dEBE
| ~d3 B AFDF |\
E2 BE dEBE | E2 BE AFDF | E2 BE dEBE
| d3 B A4 ||\
BABd e2 de | fdde d2 ef | g3 f g2 eg
| fa~a2 afed |\
dbba bafe | faab afed | B2 dB BAFA |
~dedB AFDF ||**
X:2
T:The Reel with the Birl
S:John Williams with Micho Russell
N:The Doolin version of the tune
M:4/4
L:1/8
K:D
~E2 BE dEBE|~E2 BE AFDF|~E2 BE dEBE|~B3 c dAFD|
~E2 BE dEBE|~E2 BE AFDF|GBAF ~G3 B|~d3 B AFDF|
~E2 BE dEBE|~E2 BE AFDF|~E2 BE dEBE|e2 dB AFDF|
~E2 BE dEBE|~E2 BE AFDF|GBAF ~G3 B|~d3 B A2 A2||
BA (3Bcd e2 e2|f ~d3 fd (3Bcd|~g3 f ~g3 a|faab afef|
g2 bg faaf|eafe edBA|GBAF GABc|1~d3 B A2 A2:|2~d3 B AFDF:|
REELFOOT REEL. Bluegrass, Breakdown. Composed by Kentucky mandolin player Bill Monroe, the "Father of
Bluegrass." Rounder 0175, James Bryan ‑
"Lookout Blues" (1983).
REELIN BRIDGE, THE. Irish, Reel. C Major. Standard tuning. AABB.
Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn,
south County Antrim. There is an inn by this bridge over the River Finn in
County Donegal, the site of some of Keegan’s favourite sessions. She notes that the bridge is mentioned in
the song “Johnson’s Motor Car.” Keegan (The Keegan Tunes), 2002; pg. 30.
REESTIT MUTTON. Shetland, Reel. D Major. Standard tuning. AB. Composed by Gideon Stove.
Anderson & Georgeson (Da Mirrie
Dancers), 1970; pg. 29.
REEVY'S. Irish, Reel. The first part is similar to "John McFadden's Favorite."
The tune is printed in Ed Reevy's book "Where the River Shannon
Flows." Shanachie SH 29009, "Andy McGann
& Paul Brady."
REFORM QUICK STEP. English, Quadrille (6/8 time). England, Shropshire. D Major. Standard
tuning. AABB. Source for notated version: a c. 1837-1840 MS by Shropshire
musician John Moore [Ashman]. Ashman (The
Ironbridge Hornpipe), 1991; No. 86a, pg. 35.
REFORMATION, THE.
English, Hornpipe. D Major. Standard tuning. AABB. From the 1840 music
manuscript book of John Rook (Multum in
Parvo, or A Collection of Old English, Scotch, Irish, Welsh Tunes), a
musician from Warerton, England. Rook was a multi-instrumentalist, judging from
the cover picture of his collection, and played what appears to be the
Northumbrian small-pipes, bugle, flute, fife and fiddle, among others, as he
indicates the collection is “for his
amusement on the above instruments.” Rook attributed the melody to one
“A.M. Hope.”
X:1
T:Reformation, The
M:C|
L:1/8
R:Hornpipe
S:John Rook mansuscripts, 1840,
Warerton, England
N”By A.M. Hope”
Z:AK/Fiddler’s Companion
K:D
a2|d’c’c’b afdf|gfed cBAG|FAdB
GBef|fege dcBA|d’c’d’b afdf|
gfed cBAG|FAdf gedc|d2d2d2::AG|FAdA
FAdA|GBdB GBdB|
FAdA FAdA|BAGF E2 ab/c’/|d’c’d’b
afdf|gfed cBAG|FAdf gedc|d2d2d2:|
REG BANKS’ TUNE. Canadian, Two-Step (cut time). G Major. Standard tuning. AABB. Source
for notated version: Reg Banks (b. 1923, Poplar Point, Central Kings County,
Prince Edward Island) [Perlman]. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 151.
REGAN'S JIG (Port an Riaganaigh). Irish, Double Jig. D Major. Standard tuning.
AABB. Source for notated version: accordion player Sonny Brogan (County
Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 35, pg.
15.
REGAN’S (REEL).
Irish, Reel. G Major. Standard tuning. AABB. O’Malley Collection, 1976; No. 36,
pg. 18 (Source unknown).
X: 1
T: Regan's
M: 4/4
L: 1/8
Q: 350
S: Luke O'Malley, vol 1
Z: Transcribed by Bill Black
R: Reel
K: G
GEDE GFGA | (3Bcd gd BG~G2 | AGEG A^GAB | ^ceag
fdd2 |
GEDE GFGA | (3Bcd gd BG~G2 | Bd~d2 (3Bcd ge |
(3ded cA BGG2 :|
|: gede gfga | bgaf ge d2 | ageg a^gab | c'abg
ag e2 |
gede
gfga | bgaf ge d2 | Bdd2 (3Bcd ge | (3ded cA BGG2 :|
REGED. Welsh. See "Jockey
Went to the Wood."
REGENT’S WALTZ. English, Waltz (3/8 time). F Major. Standard tuning. ABBCC. The melody
appears (as “Regent Waltz”) in the music manuscript copybook of fiddler John
Burks, dated 1821. Unfortunately nothing is known of Burks, although he may
have been from the north of England. A “Regent’s Waltz” appears in the
Allen Ash music manuscript of. c. 1818. Ash (1800-1889) was a farmer in
Hamilton township, Northumberland County, Ontario, and built a crude threshing
machine, one of the first in his part of the country. He was also a fiddler and
luthier who built 7 violins and a dulcimer, although only one violin and his
music manuscript survive today. There is no way of determining at this time if
it is the same as Burks’ tune.
The title honors King George IV (1762-1830), son of George III, who had been
Prince of Wales, then Prince Regent since 1811 when it was apparent that his
father’s mental instability no longer allowed him to govern. In 1820, at the
age of 59, George became King George IV, when his father died blind and insane.
George was affectionately (and derisively) known as “Prinny” to his subjects
and “managed simultaneously to be a national scandal, a national disaster, a
national achievement, and a national entertainment” (Bryant, Age of Elegance, 109).
REGGIE’S CIGAR. See
“Reg’s Cigar.”
REGINA STUBBERT. Canadian, Jig. Canadap; Cape Breton, Prince Edward Island. D Major.
Standard tuning. AA’BB’. Composed by fiddler Brenda Stubbert (b. 1959, Point
Aconi, Cape Breton, Nova Scotia). Source for notated version: Johnny Joe &
Foncey Chaisson (b. 1918 & 1929, Souris, North-East Kings County, Prince
Edward Island) [Perlman]. Cranford (Brenda
Stubbert’s), 1994; pg. 39. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 131. Brenda Stubbert - “Tamerack ‘er Down” (1985).
REGINALD’S WALTZ. Canadian, Waltz. D Major. A popular “contest” waltz in the Western
United States and in Canada where it was popularised by both Don Messer and
Andy DeJarlis. The tune was composed in the mid-1960’s by Canadian fiddler Reg
Bouvette.
REG'S CIGAR. AKA – “Reggie’s Cigar.” New England, Jig. G Major. Standard tuning.
AABB. 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).
Page (The Ralph Page Book of Contras),
1969; pg. 11. Miller (Fiddler’s Throne),
2004; No. 91, pg. 64 (appears as “Reggie’s Cigar”). Northern Junket, vol. 9,
No. 3, 1968.
REICE AN MHI-ADHA. AKA and see "The Unfortunate
Rake [1]."
RÉICEANNA DHROIM LIS. AKA and see “The Rakes of
Drumlish [1].”
REICHSWALL FOREST. AKA and see “The Rae Reel.”
Canadian, Reel. Canada, Cape Breton. F Major/Mixolydian. Standard tuning. AB.
Composed by Cape Breton, Nova Scotia, fiddler and composer Dan R. MacDonald
(1911-1976), who enlisted in World War II and was posted overseas to the
forestry battalion to work in European forests. Cameron (Trip to Windsor), 1994; pg. 36. Canadian
Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle"
(1993). Culburnie CUL 1130, Alasdair Fraser & Tony McManus – “Return to
Kintail” (1999).
RÉIDH CHNOC MNÁ DUIBHE (The Smooth Hill
Where the Dark Woman Lives). Irish, Air (3/4 time). G Major. Standard tuning. One part. Source for
notated version: the James Goodman manuscript, vol. 1, 1861 [Sheilds]. Sheilds
(Tunes of the Munster Pipers), 1998; No. 2, pg. 5.
REIDTEACT, AN. AKA and see "The
Reconcilliation."
REIDY JOHNSON’S [1]. AKA and see "Lawson’s
Favorite,” “Patsy Campbell."
Irish, Reel. The second of two tunes in a medley recorded by Sligo/New York fiddler
Michael Coleman for the Shannon/Metro label. The name honors his source, Mrs.
Reidy Johnson, a melodeon player.
REIDY JOHNSON’S [2]. AKA and see “Drogheda
Lass/Lasses [1],” "The Drogheda
Reel," "The Dangerous Reel,"
“Hand Me Down the Tackle,” “Hielanman’s Kneebuckle,” "The Pure Drop [2]," "The Road to Drogheda,” “Tom(m) Steele." Irish, Reel. D Major.
County Cavan/Philadelphia fiddler and composer Ed Reavy esteemed this tune,
which, according to his son Ed, he called “the holy ground of that vein of
tunes.” Philippe Varlet finds the tune on a Gennett 78 RPM recorded in 1923 by
Mrs. Reidy (or Redie) Johnston, playing melodeon with piano backing (paired
with "The Boys of the Lough"). Varlet also gives that Sligo/New York
fiddler Michael Coleman recorded the tune on his first record with the Shannon
label with “Lawson’s Favorite” as
the second tune, a pairing that was repeated on record in 1924 by John
McCormick, fiddler with Ed Lee's Four Provinces Orchestra, of Philadelphia, on
one solo side he made with Lee at the piano. Shannon/Metro
(78 RPM), Michael Coleman.
REIDY'S REEL. Irish, Reel. G Major (‘A’ part) & D Major (‘B’ part). Standard
tuning. AB. The tune is printed by Breathnach (1963) identifies it as a variant
of “The Spike Island Lasses [1]”
family of tunes, though he thinks the second phrase of the ‘B’ part belongs to
“The Bank of Ireland [1].”
O’Neill (1922) remarks: “’Reidy's Reel’ is named after a North Kerry
fiddler from whose playing our liberal contributor Mr. Stack learned it in his
youth. Altho' reminiscent of other tunes in certain phrases, ‘Reidy's Reel’ was
until recently a stranger to Chicago musicians.” Source for notated version: Patrick Stack
(Chicago) [O’Neill]. O’Neill (Waifs and
Strays of Gaelic Melody), 1922; No. 287.
X:1
T:Reidy's Reel
M:4/4
L:1/8
S:Patrick Stack, Chicago
Z:Paul Kinder
R:Reel
K:G
d2||cAGB AD (3DDD|FDAD FDAB|cAGB AGFG|Adde fefd|
cAGB AD (3DDD)|FDAD FDAB|cAGB AGFG|Add^c d2||
K:D
de|f2 fd ecAc|d2 ed cA A2|gfgd edcd|eaag ed d2|
eaag efge|fefd cAGB|Ad (3dcd Ad (3dcd|Adde fefd||
REILLY FROM COUNTY
CAVAN. Irish, Air (4/4 time). C Major.
Standard tuning. AB. Darley & McCall note "this old love‑song
was at one time known all over Ireland." Source for notated version: piper
Daniel Markey (Drogheda, Ireland) [Darley & McCall]. Darley & McCall (The Darley & McCall Collection of
Traditional Irish Music), 1914; No. 24, pg. 10.
REILLY OF THE WHITE
HILL. Irish, Reel. D Major. Standard
tuning. AABB (Miller): AA’BB’ (Reavy). Composed by County Cavan/Philadelphia
fiddler and composer Ed Reavy (1898-1988). Reilly was one of the “White Hill
people” from the region north of the Reavy family farmland in Cavan. Though his
first name is not remembered, he himself had a reputation as a wild volitile
man, wont to cheat at cards. Miller (Fiddler’s
Throne), 2004; No. 240, pg. 146. Reavy (The
Collected Compositions of Ed Reavy), No. 20, pg. 21.
X:1
T:Reilly Of The White Hill
M:2/2
L:1/8
C:Ed Reavy
R:Reel
N:Reilly had a wild look and a fondness for
N:cheating at cards. Before the night was finished you could bet your
N:last skin of a potato that Reilly would be stirring up trouble. No one
N:knew his first name. He was one of the "White Hill people" from a
N:region beyond the northern borders of Ed's farmland.
Z:Joe Reavy
K:D
FG ||: Agfe dcdA | B2 (3dcB AFDF | GFGB AFDF | EA,CE DEFG |
Agfe dcdA | B2 (3dcB AFDF | GFGB AFDF |1 EA,CE DEFG:|2
EDCE D2 g || fdAd fgaf | bged cdeg | fdAd fgaf | bgeg fdde | fgfe dfaf |
gfed cdef | dcdA (3Bcd AF |1 EDCE D3 g :|2 EDCE DEFG :||
REILLY’S (HORNPIPE). AKA and see “Across the Fence,”
“Cross the Fence.” Irish, Hornpipe.
Bulmer & Sharpley (Music from Ireland),
vol. 4, No. 71. Mulligan LUN 033, Dolores Keane, with
Eamonn Currann and Kieran Crehan - "Broken Hearted I'll Wander"
(1979).
REILLY'S OWN. AKA and see "The Tullamore Piper,"
"The Bummer's Reel [1],"
"In June" (Pa.). Canadian, Reel. G
Major. Standard tuning. AABB. Messer (Way
Down East), 1948; No. 38. Messer (Anthology
of Favorite Fiddle Tunes), 1980; No. 59, pg. 35. Sweet (Fifer’s Delight), 1965/1981; pg. 49.
X: 1
T:Reilly's
Own Reel
R:Reel
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:G
D2|DGGG
G2GG|G2ed ^cdBG|DFAA A2AA|A2ed ^cdBG|
DGGG
G2GG|G2ed ^cdBG|FADF A2FA|G2B2 G2:|
|:d2|e2f2
g2fe|ed^cd B2AG|FADF A2FA|G2ed ^cdBG|
e2f2
g2fe|ed^cd B2AG|FADF A2FA|G2B2 G2:|
REILLY'S REEL (Ríl Uí Raghallaigh). Irish, Reel. E Minor. Standard tuning. AB. A
version of this reel appears as an untitled tune from Donegal fiddler John
Doherty in Feldman & O’Doherty’s Northern
Fiddler (pg. 75). The title is from Ryan’s
Mammoth Collection (Breathnach’s source played it as an untitled tune).
Source for notated version: accordion player Charlie Mulvihill (New York)
[Breathnach]. Breathnach (Ceol Rince Na
hÉirreann, vol 5), 1999; No. 175. Cole (1000
Fiddle Tunes), 1940; pg. 10. Ryan’s
Mammoth Collection, 1883; pg. 33.
X:1
T:Reilly’s Reel
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:E Minor
B,/EF/ G(F/E/) | D(F/D/)
(A/D/)(F/D/) | B,/EF/ GA | B(3c/B/A/ (B/G/)E | B,/EF/ G(F/E/) |
D(F/D/) (A/D/)(F/D/) | B,/EF/ GA |
B(3c/B/A/ (B/G/)E || ((B{c}B)A) (B/e/)e | ((B{c}B)A) (B/G/)E |
(B{c}B/A/) (B/e/(e/f/) |
(g/e/)(f/^d/) e2 | ((B{c}B)A) (B/e/)e | ((B{c}B)A) (B/G/)E |
(B{c}B/A/) (B/e/(e/f/) | (g/e/)(f/^d/)
ez ||
REINE DE MON COEUR. See "Jol(i)e Blonde."
REINLANDER. Norwegian, Dance Tune {Polka??} (4/4 time). D Major ('A' part) & A
Minor ('B' part). Standard tuning. AA'BB'. Thompson (Fiddler's Almanac), pg. 55.
REINLENDER ETTER
GODTFRIED. Scandinavian, Dance Tune (4/4
time). D Minor. Standard tuning. AABB. A Reinländer is Swedish name for a
schottische, which is the German name for ‘Scottish’ because they believed the
form developed in Scotland. Private collection, A. Kuntz.
X:1
T:Reinlender Etter Godtfried
M:C
L:1/8
K:Dmin
A>^c d<e f2f2|”tr”f>e
e<^c A2A2|A>=B A<G F>E D<F|A2 (G<=B) A2 A2|
A>^c d<e f2f2|”tr”f>e
e<^g a2a2|a>^g e<=g f>e d<f|e2A2 {ABc}d4:|
|:f>e f<g f>e d2|d>e
f<d e2A2|F>A G<A F>A G<A|F>A (G<=B) A2A2|
A>^c d<e f2f2|f>e e<^g
a2a2|a>^g e<=g f>e d<f|e2A2 {ABc}d4:||
RÉJEAN FERGUSON.
French-Canadian, In the repertoire of Gaspésie musician Yvon Mimeault
(b. 1928, Mont-Louis). The title honors Gaspésie fiddler Réjean Ferguson, past
president of the Association québécoise du loisir folklorique. Yvon Mimeault – “Y’etait temps!/It’s About Time.”
REJECTED LOVER [1], THE (Fhear Nan Casun Caola). AKA - “The Rejected Suitor.”
Scottish, Reel. A Major. Standard tuning. AA'BB'C. Pipe Tune. MacDonald (The Skye Collection), 1887; pg. 10. Rounder RO7023, Natalie MacMaster - “No Boundaries” (1996. Learned from
guitarist/fiddler Dave MacIsaac, who had it from the playing of Donald and
Theresa MacLellan).
X:1
T:Rejected Lover, The [1]
T:Fhear nan casun caola
M:C
L:1/8
R:Reel
S:MacDonald – The Skye Collection (1886)
Z:AK/Fiddler’s Companion
K:A
d|ceAa gffa|efeA cAAd|ceAa gffa|B<BcA BGGd|ceAa gffa|efeA cAAB|
d2 fd c2 ac|B<BcA BG G||B|efed c2
Ae|fAeA cAAc|1 efed c2 Aa|B<BcA BGG:|2
d2 fd c2 ac|B<BcA BGG||B|A<A
a2 ge a2|efeA cAAB|1 A<A a2 ge g2|B<BcA BGG:|2
dfdf cece Bgdg BGG||g|faea c2
Ae|fAeA cAAg|faea c2 Ac|Bgdg BGGg|faea c2 Ae|
fAeA cAAB|dfdf cece|Bgdg BGG||
REJECTED LOVER [2], THE (An Graduigteoir Treigre). Irish, Air (3/4 time, "very
slow and plaintive"). G Major (O'Neill): E Flat Major
(O'Sullivan/Bunting). Standard tuning. AB (O'Neill): AABB (O'Sullivan/Bunting).
Beginning "In Innisfallen's Fairy Isle," the air was set by Stanford
with words by A.P. Graves. Source for notated version: the melody was noted by
the Irish collector Edward Bunting in 1792 from Dr. William Stokes. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 313, pg. 54. O'Sullivan/Bunting, 1983; No. 55, pg. 85.
X:1
T:Rejected Lover, The [2]
M:3/4
L:1/8
R:Air
N:”Very slow and plaintive”
S:O’Neill – Music of Ireland (1903), No. 313
Z:AK/Fiddler’s Companion
K:G
F|GB A>F|Ge d3c|BG A3F|GG G2
z||d|dd d3e|ee e3d|dg g3d|de/f/ g2 z||
REJECTED SUITOR. See “Rejected Lover [1]."
REJOICEMENT OF THE
FIAN LADIES, THE. Irish, Air (3/4 time). E Flat
Major. Standard. One part. “An Ossianic air.” Stanford/Petrie (Complete Collection), 1905; No. 566, pg.
143.
X:1
T:Rejoicement of the Fian Ladies: an
Ossianic air.
M:3/4
L:1/8
S:Stanford/Petrie (1905), No. 566
Z:AK/Fiddler’s Companion
K:Eb
G/A/ Bd | e2 e>e ef | e2 B>B
eB | A2 B>G EE | E3 ||
E/F/ GA | B2 c>B cd | ef ge _dB |
A2 B>G EE | E3 :|
RELEVEUR, LE (The Meter Reader). French-Canadian, Reel. E Minor (‘A’
part) & G Major (‘B’ part). Standard tuning (fiddle). AABB. Composed by
Montreal fiddler Richard Forest. Source for notated version: Dan Compton
(Portland, Oregon) [Songer]. Songer (Portland
Collection), 1997; p. 164. Richard Forest -
“Inédit” (1991).
RELISHING BIT, THE. English, Reel. England, Northumberland. F
Major. Standard tuning (fiddle). AABB. Seattle (Great Northern/William Vickers), 1987, Part 2; No. 349.
REMEMBER LOVE REMEMBER.
X:1
T:Remember, Love, Remember
M:C|
L:1/8
R:Air
S:The 1840 music manuscript
collection of John Rook (Waverton, Cumbria)
K:D
A|d3d cBcA|d2f2A2A2|B2 e2 edcB|f2e2
z2A2|
d3d cBcA|d2f2A2A2|B2e2dcBA |f2d2
z2||
A2|e3c A2A2|f2d2 A2A2|g3e
f3d|e2c2A2A2|d3d cBcA|
d2f2A2A2|B3B cBcA|d2B2A2G2|FA df
fegc|e d3z2||
REMEMBER ME HORNPIPE. AKA – “Carrycoats Hall Hornpipe.”
English, Hornpipe. England, Northumberland. G Major. Standard tuning (fiddle).
AABB. A popular Northumbrian tune composed by Robert Whinham (1814-1893), a
musician, fiddler, dancing master, teacher and composer originally from
Morpeth. Dixon (1995) notes that the tune given by Hall & Stafford was
compressed in the 3rd bar to accommodate the range of the
Northumbrian pipe chanter. Source for notated version: the 20th
century T. Carruthers manuscript (Beamish Museum), where the tune is called
“Carrycoats Hall” [Dixon]. Dixon (Remember
Me), 1995; p. 16. Hall & Stafford (Charlton
Memorial Tune Book), 1974; p. 40. Black Crow
CRO220, Kathryn Tickell – “Common Ground.” EAR015-2, Keith Davidson & Neil
Smith – “Big Men – Small Pipes.” FROOT 001, Kathryn Tickell & Rory McLeod
(et al) – “Square Roots.” NMW1024, Joe Hutton – “Of Coquetdale.” PCCD001,
Pauline Cato – “The Wansbeck Piper.” Topic 12TS227, George Atkinson (et al) –
“Wild Hills o’ Wannies.” Topic 12TS371, Allistair Anderson – “Corby Craig.”
REMEMBER
THE GLORIES OF BRIAN THE BRAVE. Irish, Air (4/4 time). A Minor.
Standard tuning (fiddle). AB. A version of “Poll
Ha'penny,” “Molly MacAlpin,” etc. See also “Carolan’s Dream” and “O’Carolan’s Farewell to Music.”
Roche Collection, 1912/1982, vol. 1;
No. 51, p. 26.
X:1
T:Remember the Glories of Brian the
Brave
M:C
L:1/8
R:Air
S:Roche – vol. 1, No. 51 (1912)
Z:AK/Fiddler’s Companion
K:Amin
(ed) | {B}c2 (B{d}c) A2 (3ABc |
(ecA>)G G2 (cd) | (edce) (d~cA>A) |
A6 (D/4E/4F/4G/4A/4B/4c/4d/4e/4) |
f2 {a}(gf) e2 {e/g/}(fe) | (dc)(d>e) {e}g2 {a}(a>g) |
(ged>)e (dcA>)A | A6 ||
(D/4E/4F/4G/4A/4B/4c/4d/4e/4) | (g>e)(g{b}a) g2 (A/4B/4c/4d/4e/4) |
{a}(ged>)e g3g | (a>g)(ab)
(age)d | {e}(a2 ~a)b a2 (ag) | f2 {a}(gf) e2 {g}(fe) |
(dc)e(e/g/ a) {c’}(b>a) |
(age>)d (edc A>)A | A6 ||
REMEMBER THE PEASE
STRAW. Irish, Air (2/4 time). E Flat
Major. Standard tuning. One part. “As sung by Dublin ballad singers, 1810.” See
also the variant “David Foy.”
Stanford/Petrie (Complete Collection),
1902; No. 682, pg. 171.
X:1
T:Remember the Pease Straw
M:2/4
L::1/8
S:Stanford/Petire (1905), No. 682
Z:AK/Fiddler’s Companion
K:Eb
G/B/ | c/d/e fg | eBcA | GA/F/ EE |
E3 z | ee/f/ ga | fd Be | d>e cB | B3A |
G/F/E G/A/B | ED EF | G/A/B cA/G/ |
{G}F3 G/B/ | c/d/e fg | eB cA |
GA/F/ EE | E3 ||
REMEMBER THE POOR. Irish, Air (4/4 time). C Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 681, pg.
171.
X:1
T:Remember the Poor
M:C
L::1/8
S:Stanford/Petire (1905), No. 681
Z:AK/Fiddler’s Companion
K:C
GB | c2 cd e2 de | cB AB G2 GA |
_BAGE G2 AB | c6 :|
ef | g2 fe f2 gf | ecdc Bdef | g2 fe
f2g2 | G6 GB | c2 cd e2 de |
cBAB G2 GA | _BAGE G2 A=B | c6 ||
REMEMBRANCE OF DUBLIN. AKA and see “Norton’s Favorite.”
Irish (‑American?), Clog. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 118. Ryan’s Mammoth Collection, 1883; pg.
156.
X:1
T:Remembrance of Dublin
M:C|
L:1/8
R:Clog
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
(3def | (g>.d)(B>.d)
e>cA>F | G>FG>B A>FD>C | B,>DG>F E>cA>G |
F>d^c>e d>de>f |
g>dB>d e>cA>F |
G>FG>B A>FD>C | B,>DG>F E>cA>F | G2B2G2 :|
|: G2 | A>GA>B c>Bc>d |
e>de>f g2d2 | g>fe>d c>BA>G | F>d^c>e d>de>f |
g>dB>d e>cA>F |
G>FG>B A>FD>C | B,>DG>F E>cA>F |1 G2B2G2 :|2
G>BA>c B>e (3def ||
REMEMBERING REAVY. Irish, Reel. G Major/Mixolydian. Standard tuning. AABB. Composed by
Falmouth, Massachusetts, musician and writer Bill Black in honor of the late
Philadelphia/County Cavan composer and fiddler Ed Reavy. Black (Music’s the Very Best Thing), 1996; No.
151, pg. 79.
X:1
T: Remembering Reavy
C: © B. Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: Gmix
G2 dc BcdB | F2 cB ABcA | G2 dc Bcde | fgag fdcA |
G2 dc BcdB | F2 cB ABcA | G2 dc BcdB | cA^FA BG G2 :|
d2 Bd gdBd | c2 Ac fcAc | d2 Bd gaba | gd^cd =cAFA |
d2
Bd gdBd | c2 Ac fcAc | Bd (3dcd cf (3fef | cA^FA BG G2 :|
REMI'S REEL. French-Canadian, Reel. Green Linnett GLCD
3042, La Bottine Souriante - "Chic & Swell" (1988. Learned from
Remi Laporte, who is, as his brother Pierre, a fiddler).
RENDEZVOUS, THE (A' Choisir). Scottish, Reel. G Major. Standard tuning. AAB
(Athole, Fraser): AABB' (Kerr). This tune and "The North Hunt (Medley)"..."form a medley,
complimentary to the Northern Meeting, which becomes, in every month of
October, the rendezvous of all the beauty and fashion in the north of
Scotland" (Fraser). Alburger says it is likely Capt. Fraser wrote the
tune. Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874, No. 173, pg.
70. Kerr (Merry Melodies), Vol. 2; No. 135, pg. 16. Stewart-Robertson
(The Athole Collection), 1884; pg.
177.
X:1
T:Rendezvous, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
B|G2GD B,DGF|EAAG FGAB|G2GD B,DGF|EGFA BGG:|
c|B/c/d dg Bdgd|^c/d/e ea ceae|B/c/d dg Bdgd|egdg BGGc|
B/c/d
dg Bdgd Bdgd|^c/d/e ea ceae|dbfa gdBG|EGFA BGG||
RENE'S SPECIAL. Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major.
Standard tuning. AABABABABAABABAA. A Cajun instrumental probably named for one
of Austin Pitre's daughters. Raymond Francois used to use this tune as the
theme song for his Saturday radio hour (the "Church Point Hour") over
KEUN, Eunice, Louisiana, in the early 1960's. Source for notated version:
Austin Pitre (La.) [Francois]. Francois (Yé
Yaille Chère), 1990; pg. 458. Swallow Records
SW-LP6041, Austin Pitre.
RENFLEUSE GORBEIL, LA. AKA and see "Ronfleuse
Gorbeil."
RENFREWSHIRE MILITIA, THE. Scottish, March. Renfrew has been absorbed
into greater Glasgow. It was an ancient Celtic site upon which David I built a
castle in 1130’s. Greentrax CDTRAX 9009, Hugh Inkster
(Orkney, Scotland)- “Scottish Tradition 9: The Fiddler and his Art” (1993).
RENNY’S FANCY.
English, Jig. A Major. Standard tuning. AABB. Kennedy (Traditional
Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours),
1997; No. 162, pg. 39.
RENO WALTZ. Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard tuning.
One part. The song is named for a nightclub between Kaplan and Abbeville,
Louisiana, remarks Raymond Franocois (1990). Source for notated version:
Lawrence Walker (La.) [Francois]. Francois (Yé
Yaille Chère!), 1990; pgs. 459-460. La Louisiane
Records LL-LP126, Lawrence Walker.
REPASZ BAND MARCH. Brunswick 361 (78 RPM), Lonnie Austin (1929).
REPAZ BAND. Old‑Time, Breakdown. USA, West Virginia. One of five cuts
recorded for Gennett records in 1924 by the West Virginia string band the
Tweedy Brothers.
REPEAL OF THE UNION
[1] ("Aisgairm Na Aonacda" or "Aisghairm na hAontachta"). AKA and see "Kate Gaynor's Fancy," "The Gurtaglanna Reel," "Roll Her in the Rushes [1],"
"The Emyvale." Irish, Reel.
Ireland, Donegal. D Mixolydian (Breathnach, O'Neill/Krassen): D Major (Cole,
O'Neill/1001). Standard tuning. AB (Breathnach, Coles, O'Neill/Krassen &
1001): AABB' (O'Neill). Widely played by County Donegal fiddlers, and a
particular favorite with the famous Donegal fiddling brothers John and Mickey Doherty. The
title commemorates over a century of political events arising from the Act of
Union (1800) in which the Irish Parliament was merged with the British
legislature. The Home Rule League finally gained momentum in the 1870’s,
following the work of Daniel O’Connell (1775-1847) and his earlier victory of
Catholic Emancipation.
***
Dennis “Dinny” Delaney (1836-1919)
was a blind piper and character from Ballinasloe, east Galway, whose playing
was recorded on an Edison cylinder at the Feis Ceol of 1898. He played “Kid on
the Mountain,” “The Repeal of the Union” and “The Woman of the House” as well
as “The Hag in the Kiln.” Breathnach says: “Delaney it seemed was not one whit
overawed by the occasion” (Ceol VIII,
1986):
***
When ‘The Repeal
March’ was named, Dr. Joyce (the famous collector acting
as one of the
adjudicators for the event) jocularly asked the player if Repeal
were abandoned. “No”,
said Delaney, “until it is carried.” “But”, a spectator
interposed, “it was
rejected.” “Not rejected,” retorted the piper, “it was half
passed. Did you ever
meet a cow that gave all her milk at once?” and the
discussion ended in laughter.
***
Source for notated version: piper
Seán Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 129, pg. 52. Cole (1000 Fiddle Tunes), 1940; pg. 50. O'Neill (Krassen), 1976; pg. 92.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1179, pg. 222. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 459, pg. 89. Ryan’s Mammoth Collection, 1883; pg. 78.
Columbia 35612, "The Chieftains" (1978. The
setting "would have been near to those of {piper Sean Potts'} grandfather
{John Potts} and uncle Tommy," both Dublin pipers). Green Linnet SIF 3067, Jack and Charlie Coen – “The Branch
Line” (1992. Reissue of Topic 12TS337. Learned from County Galway flute player
Jim Conroy). Shanachie 78015, James Keane – “With Friends Like These” (1998). Shanachie 79093, Paddy
Glackin and Robbie Hannon – “Whirlwind” (1995). Topic
12TS337, Jack and Charlie Coen – “The Branch Line” (1977).
X:1
T:Repeal of the Union [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
459
Z:AK/Fiddler’s Companion
K:D
A2 (3FED AD (3FED|(3GFE cE dEcE|AD
(3FED ADFD|GEdE (3DDD D2|
A2 (3FED AD (3FED|GEcE dEcE|AD (3FED
A2 (3FED|GEcE D2D2||
Adde fdec|ABcA dBcA|Adde fdec|GEcE
(3DDD D2|Adde fdec|ABcA dBcA|
(3agf (3gfe (3fed (3cBA|GEcE D2D2||
REPEAL OF THE UNION
[2]. AKA
and see "The Merry Old Woman [1],"
"The Walls of Enniscorthy,"
"Ballai Lios Chearbhaill," "The Mouse in the Cupboard,"
"Wollop the Potlid," "The Walls of Liscarroll [2],"
"Tumble the Tinker," "The Rakes of Newcastle West."
Irish, Double Jig. G Major. Standard tuning. AABB. Roche Collection, 1982, vol. 1; No. 80, pg. 37.
REPEAL OF THE UNION
[3]. Irish,
Double Jig. G Major. Standard tuning. AABB. Closely related to version #2. Roche Collection, 1982, vol. 2; No. 81,
pg. 37.
REPEAL THE POLL TAX. Scottish, Reel. A Major. Standard tuning. AABB. Composed by Sandy
Mathers. Martin & Hughes (Ho-ro-gheallaidh),
1990; pg. 18.
REPLEY'S DELIGHT. AKA and see "The Drunken
Parson." The melody is printed in Rutherford's Country Dances, vol. 1. The tune is similar to the 'B' strain of
"The Drunken Parson."
REPUBLICAN SET, THE. AKA and see "Doc Boyd's Jig," "Old Jubiter." American, Jig or
March. USA, southwestern Pa., Michigan. D Major (Bayard‑King): G Major
(Bayard‑Horner). Standard tuning. AB. Paul Gifford notes the tune has
been collected from Michigan sources. Sources for notated versions: Frank King
(fiddler and fifer from Westmoreland County, Pa., 1960) and Old Amzi Eccles via
Hiram Horner (fifers from Westmoreland and Fayette Counties, Pa., 1960)
[Bayard]. Bayard (Dance to the Fiddle),
1981; No. 526A‑B, pgs. 471‑472.
REPUBLICAN SPIRIT. AKA and see "Missouri
Hornpipe," "Folding
Down the Sheets." American, Reel. The tune appears under this title in
George P. Knauff's Virginia Reels,
volume I (1839). See note for “Folding Down the Sheets.” PearlMae Muisc 004-2, Jim Taylor – “The Civil War
Collection” (1996).
X:1
T:Republican Spirit
X:2/4
L:1/8
R:Reel
B:George P. Knauff –
Virginia Reels
N:Published in
Baltimore by Geo. Willig n.d. (1839?)
Z:AK/Fiddler’s Companion
K:D
D/(F/A/d/)|f/a/f/d/
c/A/B/c/|(d/A/F/A/) (D/F/A/F/)|(E/G/B/G/) (A/F/D/F/)|EE D/(F/A/d/)|
(f/a/f/d/) c/(A/B/c/)|d/A/F/A/
D/(F/A/F/)|E/(G/B/G/) (A/c/e/c/)|d2:|
|:(F/A/e/f/)|(g/f/g/e/) (A/d/f/g/)|(a/^g/a/f/) d>A|(B/c/d/e/) f>g|f/e/d
(A/c/d/e/)|
(f/d/A/F/) (E/G/B/e/)|(g/f/g/e/)
(d/c/B/A/)|(B/A/G/F/) G/B/E/c/|[F2d2]:||
RESCUE MAN, THE. Shetland, Reel. A Major. Standard tuning. AAB.
"Composed for Malcolm Green at the first Heritage of Scotland Summer
School at Stirling University in 1978. Malcolm managed to find a laundry when
things were becoming desperate for Tom (Anderson). Malcolm presented him with clean
laundry the next day" (Anderson). Anderson (Ringing Strings), 1983; pg. 95.
RESOLUTION CUTTER, THE.
English, Jig. D Major. Standard tuning. AABB. Possibly the name of a
ship (there have been several Resolutions). In 1783 Sir Israel Pellew
(1761-1832), when still a young officer, captured a 14-gun Dutch privateer in
the cutter Resolution, of 12 guns. Kennedy (Traditional Dance
Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours),
1997; No. 163, pg. 39.
REST ASSURED. English, Jig. G Major. Standard
tuning. AA’B. Composed by Brian Jenkins. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 108.
RESTING CHAIR, THE. Scottish, Slow Air. Scotland, Shetlands.
Composed by Shetland fiddler, teacher, composer and collector Tom Anderson,
originally as “Da Auld Rockin’ Chair.” BM-91, Buddy
MacMaster – “Glencoe Hall.”
RESTORATION MARCH. English, March (cut time). D Major. Standard tuning. AABB. A popular
march that appears in numerous publications during the late 18th
century, beginning with Robert Bremner’s Collection
of Airs and Marches (1761, pg. 96). It was presumably heard often on the
fife, judging from the number of publications for that instrument in which the
tune appears: Longman’s Entire New and
Compleat Instructions for the Fife (1780), T. Skillern’s Compleat Instructions for the Fife
(1780), Clementi’s Entire New and Compleat Instructions for the Fife (1815), and
Preston’s Marches, Airs and Minuets
(1804). It also appears in a several manuscript copybooks or the era, including
those of George Bush (c. 1779-1789), Elizabeth Van Rensselaer (1782), and Henry
Livingston, Jr.; George and Henry both fought in the American Revolution.
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 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.
X:1
T:Restoration March
M:C|
L:1/8
R:March
S:The late 18th century
copybook manuscript of Henry Livingston
Z:AK/Fiddler’s Companion
K:D
D>D | F4A4 | d3e d2D2 |
F>GA>B A2 GF | E6A2 | B>cd>e d2 cB |
A4G4| F>ED>E E3D | D6 :: f2 |
e2d2 cd e2 | A4G4|F2GF E2D2 | A6A2 |
BABc B2B2|”tr”B6c2|d2cB
B3B|A6F2|G2F2E2D2|G6A2|B2A2G2F2|
E6A2|B>cd2 c>de2|A4G4|FEDE
“tr”E3D|D4z2 :|
RESTORATION OF KING
CHARLES. AKA and see "The Twenty Ninth of May," "The Jovial Crew."
RESTORATION SPRING GARDEN HORNPIPE. English, “Old Hornpipe” (3/2 time). G Minor. Standard tuning. AABB. The melody appears in Walsh’s Lancashire Jigs, Hornpipes, Joaks, etc (c. 1730). The title probably refers to one of London’s numerous pleasure gardens of the 18th century, Spring Garden, in the north of the city.
X:1
T:Restoration Spring Garden Hornpipe
B:Walsh
M:3/2
L:1/8
K:Gm
ga b2 a2 a^f g2 d2| cde2 d2 cB c2 A2| Bc d2 c2 BA B2 AB| G2 ed cBAG ^F4| \
ga b2 a2 g^f g2 d2| cd e2 d2 cBc2 A2| Bc d2 c2 BA B2 AG| D2 G2 ^FGAF G4::\
de f2 f2 ed e2 c2| CD E2 D2 C=B, C4| cd e2 e2 dc d2 c2| B,C D2 C2 B,A, B,4|\
b2
ag a2 f^f g2 d2 | e2 dc d2 c=B c4| bagf edcB AGFE| DCB,A, B,G A,^F G4||
RESURECTION. Irish. An O'Carolan composition composed for a Mass on Easter Sunday at
Belanagare.
RETICULE, THE.
Scottish, Reel. F Major. Standard tuning. AB. A reticule was a woman’s
drawstring handbag used in the 18th and 19th centuries,
often made of net or beading or brocade. Netting reticules and covering screens
was a suitable pastime for a young lady of the era, akin to needlepoint.
Surenne (Dance Music of Scotland),
1852; pg. 59.
X:1
T:Reticule, The
M:C
L:1/8
R:Reel
S:Surenne – Dance Music of Scotland, pg. 59
(1852)
Z:AK/Fiddler’s Companion
K:F
B || AFFG AFFG AF (A/B/c/B/) AFFB |
AFfd cAGF | EFGF ECCB | AFFG AFFG |
AF (A/B/c/B/) AFFB | AFfd cAGF |
EFGF ECC || B | A2 cd cAAB | c>dcf cAGF |
EFGF ECCB | A2 cd cAAB | cAdB cAAB |
cAfd cAaf | e2 (e/f/g/f/) eccB ||
RETOUR DES HIRONDELLES (The Swallows Return) . French, Waltz. C Major. Standard
tuning. A French musette accordion waltz composed in 1935 by Robert Trognée and
B. Pagano. Philo 1153, Sharon Shannon (learned from
accordion player Dermot Byrne).
RETREAT, THE. AKA and see "The Pretender's March," "A Rock and the/a Wee Pickle Tow,"
"The Scotch March [1]," "Painneach na nUbh [1],"
"The Carawith Jig," "The Onehorned Cow [2]," "Green Goose Fair [1]." Irish,
March (2/4 time). D Major. Standard tuning. AABBCCDD. A retreat march, in the
military sense, has its origins in the 16th century when it was
possibly the same ceremony as Tattoo: “ye retrete to beat att 9 att night and
take it from ye garde.” In 1698 it was printed that “ye Drumme Major wil
advertise (by beate of Drum) those require for watch,” while in the 17th
century drummers were “to beate the Retreat through the large street and to be
answered by all the drummerrs of ye Gardes.” Similar connotations last today in
military use, when Retreat, a ceremony usually performed at sunset, denotes the
end of the working day. In America the melody 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.
***
O'Farrell, Pocket Companion, vol. IV), 1810; pg. 89. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
106, pg. 60.
X:1
T:Retreat, The
M:2/4
L:1/8
R:March
S:O’Farrell – Pocket Companion, vol. IV (1810)
Z:AK/Fiddler’s Companion
K:D
A | d2 {f}ed/e/ | fd d>f | gf
e>d | c/d/e/c/ AA | dd ed/e/ | fd d(f/g/) | a>b ag | fd d2 :|
|: f | a/b/a/f/ d/f/a/f/ | bg g2 |
g/f/e/d/ c/d/e/c/ | (d/f/a/b/) a/g/f/e/ | dd e(d/e/) |
fd d/e/f/g/ | a2 a/b/a/g/ | fd d2 ::
A | dAeA | fa/f/ dd | B/d/B/d/ g/f/e/d/ | c/d/e/c/ A/B/A/G/ |
Fd GB | Ad Bb | ad c/d/e/g/ | fd d2
:: f | a/b/a/f/ d/f/a/f/ | g/b/g/b/ g/b/g/b/ |
g/f/e/d/ c/d/e/c/ | d/f/(a/b/)
a/g/f/e/ | d/f/d/f/ e/g/e/g/ | f/a/f/a/ d/e/f/g/ | a>b ag | fd d2 :||
RETREAT [2], THE. English, Jig. D Major. Standard tuning. AABB. This melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 152.
X:1
T:Retreat, The [2]
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
f/e/|d2D FED|EFE cBc|d2A GFE|FDD D2::A|dcd Bcd|efd cBA|
dcd
efg|fdd d2f|gfg Bcd|efd cBA|d2A GFE|FDD D2:||
RETREAT FROM THE
PHEASANT PATCH, THE. American, Reel. USA, southwestern
Pa. D Major. Standard tuning. AAB. Source for notated version: Harry Waugh
(elderly fiddler from Jefferson County, Pa., 1949) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 212,
pgs. 167‑168.
RETURN FROM FINGAL, THE (An Casad Ua Fine-Gall). AKA and see “The Battle of Aughrim [3],” “March
to the Battle of Aughrim.” AKA – “Fingal(’s) March.” Irish, Air or March. E
Minor. Standard tuning. AABB. O’Neill (1913) states this air was learned by the
Irish collector Dr. Petrie from the playing of Munster pipers, and was supposed
to have been the march played or sung by Brian Boru’s Munster troops on their
return home from their triumph over the Danes at Clontarf in 1014 (in which
Boru was killed). Fingal, or in Irish Fine
Gall or ‘foreigner’s territory’, is another name for Clontarf, located just
north of Dublin. Bulmer & Sharpley (Music
from Ireland), vol. 2, No. 80 (listed as a march). Johnson (The Kitchen Musician No. 5: Mostly Irish
Airs), 1985 (revised 2000); pg. 11. O’Neill (Music of Ireland: 1850
Melodies), 19903/1979; No. 1816, pg. 341. Folkways
FTS 31098, Ken Perlman ‑ "Clawhammer Banjo and Fingerstyle Guitar
Solos" (appears as “Return of Fingal”).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Return from Fingal, The
M:2/4
L:1/8
R:March
S:O’Neill – Music of Ireland
(1903), No. 1816
S:AK/Fiddler’s Companion
K:Emin
BG/F/ E/F/G/A/ | BG/F/ E2 | A/G/F/A/
dA | BA B/^c/^d/e/ | BG/F/ E/F/G/A/ |
BG/F/ E2 | A/G/F/A/ dA | FE E z ::
fe ed/c/ | BA dA | BA dA |
BA B/^c/^d/e/ | fe ed/c/ | BA d2 |
AGFA dA | FE Ez :|
RETURN FROM INDIA, THE. Scottish, Canadian; Reel. Canada, Cape Breton.
Canada, Cape Breton. A Major. Standard tuning. AA'B (Kerr): ABB (Shears): AABB'
(Phillips). The tune was in the repertoire of the Cape Breton Symphony. Source
for notated version: Winston 'Scotty' Fitzgerald (Cape Breton, Nova Scotia)
[Phillips]. Cranford (Jerry Holland’s),
1995; No. 19, pg. 6. Kerr (Merry Melodies),
vol. 1 (c. 1880); Set 10, No. 4, pg. 8. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 198. Shears
(Gathering of the Clans Collection, vol.
1), 1986; pg. 44 (pipe setting). Glencoe 001, “The Cape Breton Symphony” (1976).
Rounder Records, “Jerry Holland” (1976). Rounder CD 11661-7033-2, Natalie
MacMaster – “My Roots are Showing” (2000).
T:Return
from India, The
M:C|
L:1/8
R:Reel
Z:AK/Fiddler’s Companion
e | agae agae | dcBA GBBg | agae
agae | fefg a2 (3efg | afge fdec | dBcA GBBd |
ceAe dfBa | gefg a3 |: e | dcBA cAce
| dcBA GBBe | dcBA cAeA | fAgA a3 :|
RETURN HOME [1], THE. AKA and see "The Funny Tailor."
RETURN HOME [2], THE. Composed by Skip Healy.
Skip Healy – “Farewell New England Shores.”
Shanachie 78002, “Solas.”
RETURN OF SPRING, THE. AKA and see “Mountain Pathway.” Irish, Polka or
Barndance. According to collector and fiddler Philippe Varlet, the tune was
recorded by south County Sligo fiddlers Paddy Killoran (1904-1965) along with
Paddy Sweeney (1894-1974) in the 1930's as "The Decca Polka"--Decca
being their recording company at the time. Paired with "The Mountain Polka" the tune was
recorded by
X:1
T:The Return Of Spring
M:2/4
L:1/16
S:Desi Wilkinson
R:Barndance
Z:Juergen.Gier@post.rwth-aachen.de
K:G
G4|:d3e d2B2|G6 D2|G2Bd e2d2|c6
B2|c3d c2A2|F6 D2|\
DGBd e2d2|d2c2 B2c2|d3e d2B2|G6
D2|G2Bd e2d2|d2c2 B4|\
A2f2 e4|G2B2 e4|d2B2
c2A2|G2F2G4:|g3a g2e2|f2f2 f3d|\
e2d2 ^c2e2|d6 Bd|G2Bd e2d2|F6
Bc|d2^cd e2d2|\
B6 (3Bcd|g3g g2e2|f2f2 f3d|e2d2
^c2e2|d6 Bd|G2Bd e2d2|\
F6 (3Bcd|g3f e2f2|g2g2 g4|:d2d2
efgf|e2e2 a3g|\
f2e2 e3f|e2d2 B3c|d2d2 efgf|e2e2
a3g|f2d2 e2f2|g8:|
X:2
T:Return of Spring, The
M:2/4
L:1/8
R:Polka
S:Treoir, vol. 36, No. 2, 2004
Z:AK/Fiddler’s Companion
K:G
B | d>d dB | G>G GD | G>B
ed | dc cB | (c2c) A | (F2F) D | FA ed |
dc Bc | d>d dB | G>G GD |
G>B ed | dc c>B | Af f>f | Ae e^c |
dB c/B/A | GF G2 || g>g ge | ff
f>d | ee eB | d2 dB | GB/d/ ed |
F3D | F>A ed | G3 B/d/ | g>g
ge | ff f>d | ee eB | d3B | GB/d/ ed |
F3 e/f/ | gf ef | g2 g>e |: dB
g>f | ee ag | f def | ed BG/B/ | dB g>f |
ee a>g | f def | g2g2 :|
RETURN OF THE WILD
GEESE, THE (Teacht na
n-geana fiadhaine). AKA and see "Sean Buidhe."
RETURN
TO CAMDEN TOWN. Irish, Reel. A Minor. Standard
tuning. AABB. Caoimhin Mac Aoidh associates this tune with the playing of
Brendan McGlinchey in London in the 1970’s, although it was popularized by Joe
Burke who recorded the tune in the 1960’s after a visit to that city. Camden
Town is in the north of London and was a hotbed of Irish music driven by Irish
émigrés in the mid-20th century. The tune has been attributed to
Clare fiddler Bobby Casey by older musicians in the area. Return to Camden Town
is also now the name of a famous week-long Irish music and heritage festival
sponsored by the London Irish Center at Camden Square. Source for notated
version: fiddler Jim McHugh [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 41.
Mulvihill (1st Collection),
1986; No. 224 (appears as unknown reel). Joe Burke –
“Galway’s Own Joe Burke.” Gerald Trimble – “First Flight.” Green Linnet SIF
3075, Martin Carthy & Dave Swarbrick – “Skin & Bones.” Shanachie 78015,
James Keane – “With Friends Like These” (1998). Tara Records 4008, “Josephine
Marsh” (1996).
X:1
T:Return to
M:C
L:1/8
S:Mulvihill - 1st Collection (1986), No. 224
R:Reel
K:Amin
E2 DE CA, (3A,G,A,|EDCD EGAB|cBcd
edeg|aged cABG|E2 DE CA, (3A,G,A,|
EDCD EGAB|cBcd edeg|1 aged cA A2:|2
aged cAAB||
|:c2 gc acgc|c2 gc BAGB|cBcd
edeg|aged cAAB|c2 gc acgc|
c2 gc BAGB|A^GAB cdea|gedB cABG:|
X:2
T:Return to
M:4/4
L:1/8
R:reel
K:Am
E2 DE CA,A,F|EDCD EGAB|cBcd
edeg|aged (3cBA BG|
DEGE CA,A,D|EDCD EGAB|cBcd edeg|aged
cA A2:|
~c2 gc acge|cdec dBGB|cBcd edeg|aged
cAAB|
c2 gc acge|cagc dBGB|A2 AB cdea|gedB
cA A2:|
"variation, bar 1 or 5 of 2nd
part"
|c2 Gc EcGB|
X:3
T:Return to
M:4/4
L:1/8
R:Reel
S:Patrick Ourceau – Workshop 10/’03
Z:AK/Fiddler’s Companion
K:Amin
D2 |: E2 DE C ~A,3 | ED(CD) (3EFG AB
| ~c3d eceg | aged cABG | E2 DE C ~A,3 | ED(CD) (3EFG AB |
~c3d eceg |1 aged (3cBA BG :|2 aged cAAB
||: ~c2 gc acgc | ~c2 gc BAGB | ~c3d eceg | aged cAAB |
~c2 gc acgc | ~c2 gc BAGB | AGAB
~c3e |1 aged cAAB :|2 aged (3cBA BG ||
RETURN TO COROFIN. Irish, Reel. D Major. Standard tuning. AABB. Composed by Falmouth,
Massachusetts, musician and writer Bill Black, in remembrance of Corofin, a
County Clare town west of Ennis. Black (Music’s
the Very Best Thing), 1996; No. 57, pg. 30.
X:1
T: Return to Corofin
C: © B. Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
FGAB AFDF | GABc d3 A | F2 BF dFBF | gfed BcdB |
FGAB AFDF | GBAF D3 A | Bgge cded | cAGE FD D2 :|
fdfa gb b2 | afdB BA A2 | FGAB AFDF | GABc d3 e |
fdfa
gb (3bab | afdB BA A2 | Bgge cded | cAGE FD D2 :|
RETURN TO INDIA. See "Return
from India." Canadian, Reel. The tune was in the repertoire of the
Cape Breton Symphony. Rounder CD 11661-7033-2, Natalie
MacMaster – “My Roots are Showing” (2000).
RETURN TO KINTAIL (Theidh mi dhachaigh). Scottish, Slow Air (3/4 time). G
Major. Standard. One part. The air has many variants, and the song several sets
of words. It may have been composed by a wounded soldier at Sherrifmuir,
fearful that he might never get back to the “cattle-fold” of Kintail, an area
of Kintail encircles by hills. See also a pipe lament called “I will return to Kintail” composed by
William Ross, appearing in the Seaforth Highlanders tunebook, and Morison’s “I’ll return to Kintail.” Martin (Ceol
na Fidhle), Vol. 4, 1991; pg. 23 (appears as “Theid mi Dhachaigh”). Culburnie COL 113D, Aladair Fraser & Tony McManus –
“Return to Kintail” (1999).
RETURN TO MILLTOWN. AKA and see “The
Glorious Return to Milltown,” “Tap the
Barrel,” “Tommy Peoples’
(Reel) [6].” Irish, Reel. D Minor (‘A’ part) & D Major (‘B’ part).
Standard. AABB (Flaherty, Songer): AA’BB’ (Taylor/Tweed). The tune is
associated with Donegal fiddler Tommy Peoples who recorded an influential
version. However, the source for the tune is Donegal fiddler John Doherty, who
called it “The Glorious Return to Milltown,” and from whom a generation of
Donegal fiddlers learned it. While popular in this version in Donegal, its
provenance is unknown and it may not be a Donegal reel per se, for the melody
is one variant of a family of tunes including “Tap the Barrel,” “The Tap Room,”
and “Roll Out the Barrel,” found
in the Roche and Hardebeck Collections among others (Roche collected primarily
in his home county of Limerick). Although the Milltown of the title is
sometimes associated with Miltown Malbay in County Clare, due to the popularity
of the huge yearly traditional music festival held there, Caoimhin Mac Aoidh
points out that there are Milltowns in nearly every county in Ireland as a
result of the ‘industrial revolution’ factories of the 19th century.
Source for notated version: fiddler Tommy Peoples (Co. Donegal) who had it from
John Doherty) [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2; No.
30 (appears as untitled tune). Flaherty (Trip
to Sligo), 1990; pg. 36 (appears as unknown reel). Songer (Portland Collection), 1997; pg. 165.
Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg.
33.
X:1
T:Return to Milltown
R:Reel
Z:id:hn-reel-318
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Ddor
D2AD EDDB,|C2EC FCEC|D2AD EDDB,|CDEG AEGE| D2AD EDDB,|
C2EC FCEC|F2FD E2ED|CDEG AEGE:| K:Dmix |:d2de f2ed|(3B^cd ef gfge|
d2de f2ed|=cAGE EDD2| d2de f2ed|(3B^cd ef gfge|fafd eged|=cAGE EDD2:|
K:Ddor
"Variations:"
|:D2A,D DFED|C2~C2 FCEC|DA,~A,2 EDAD|CDEG cGEC| D2A,D FDA,D|
C2G,C ECG,C|F2FD E2ED|1 CDEG cGEC:|2 CDEG cGEG||
K:Dmix
|:Adde fded|(3B^cd ef ~g3e|d2de fded|=cAGE ED~D2| Adde
fded|(3B^cd ef g2fg|afge dfed|=cAGE EDD2:|
RETURN TO THE BRANDYWINE. American, Waltz. E Major. Standard. AA'B. Composed by guitarist Russ
Barenberg in 1987. Matthiesen (The Waltz
Book II), 1995; pg. 48. Rounder Records, Russ
Barenberg - "Moving Pictures."
RETURNED YANK, THE. AKA and see “Jerry’s Beaver Hat,” “Paddy Get Up.” The tune under this title is
from the Kilfenora Ceili Band. Cotter’s
Collection.
REUBAIREAN, NA. Scottish. Rounder 3067, Alan Stivell ‑
"Renaissance of the Celtic Harp" (1982).
REUBAN('S TRAIN). AKA ‑ "Old Reuban." Old‑Time, Song and Breakdown.
USA, North Carolina. D Major/Mixolydian. One part. A banjo tune and song which
Frank Proffitt pronounced as "one of the oldest simple banjo tunes...it
was the first tune generally learned...There are about fifty different verses
to this, as everybody added them all along" [Warner]. It was the first
tune that Mt. Airy, North Carolina, fiddler and banjo player Tommy Jarrell
learned, from a hired-hand named Cockerham on his father's farm. In 1982 he
told interviewer Peter Anick that Cockerham played the tune, handed Jarrell the
banjo and invited him to play it. Jarrell at first demurred saying he couldn't
play the instrument, upon which the hand replied, "Well, it ain't but one
string to note and I'll show you that." Jarrell, familiar with the song
from the singing of other family members, worked it out in a few minutes.
Laurel Bloomery, Tennessee, fiddler Gilliam Banmon Grayson's (1887-1930,
originally from Ashe County, North Carolina) 1927 tune "Train
Forty-Five" derived from “Reuban’s Train.” The old‑timey song
"Keep My Skillet Good and Greasy" is also a related tune.
***
Old Reuban's comin' down the track,
He has got the throttle back,
The rails are a‑carryin' me from home. (Frank Proffitt)
***
Source for notated version: North
Carolina banjoist Frank Proffitt [Warner]. Warner (Traditional American Folk Songs), 1984; pgs. 309‑310. Global Village C‑302, Chicken Chokers ‑
"New York City's 1st Annual String Band Contest ‑ November
1984." Rounder 0129, Gaither Carlton – “The Watson Family Tradition.”
Rounder 02327, Osey and Ernest Helton (1941) ‑ "The Library of
Congress Banjo Collection."
REUBEN’S REEL. Old-Time, Breakdown. A Major. Standard. AB. Source
for notated version: Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned
at Tractor Tavern), 2002; pg. 129.
REUBEN’S RIDGE. Old-Time, Breakdown. G Major. Standard. AB.
Source for notated version: Jack Link [Silberberg]. Silberberg (Tunes I Learned
at Tractor Tavern), 2002; pg. 129.
REULT NA MAIDNE. AKA and see "The Morning
Star [3]."
REUNION JIG. American, Jig. A Major (‘B’ part largely in E Major). Standard. AA’BB’.
Composed by guitarist Russ Barenberg (Nashville, Tenn.). Source for notated
version: Rodney Miller (Antrim, N.H.) via George Penk (Portland, Oregon)
[Songer]. Songer (Portland Collection),
1997; pg. 166. Sage Arts 1301, Rodney Miller - “Greasy
Coat” (1990).
RE-UNION REEL. American, Reel. C Major. Standard. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 37. Ryan’s Mammoth Collection, 1883; pg. 64.
RÊVE d’AIMÉ GAGNON, LE (Aimé Gagnon’s Dream). French-Canadian, Reel. A Major.
Standard. AA’BB. Similar to the reel “Le Rêve du
diable” (Devil’s Dream), though it is a ‘crooked’ tune with the ‘A’ part
having 10 measures and the ‘B’ part 11. Source for notated version: Aimé Gagnon
(Lotbinière, Québec) via fiddler Claude Mêthé [Remon & Bouchard]. Remon
& Bouchard (25 Crooked Tunes, Vol. 2:
Québec Fiddle Tunes), 1997; No. 13. Dent-de-lion -
“Les beaux yeux bleus.” Les Têtes de violon - “Le talencourt.”
RÊVE DE SOULARD (Drunkard's Dream). Cajun, Waltz. USA, southwestern Louisiana. A
Mixolydian. Standard. One part. A Cajun standard which tells of a drunkard’s
dream. Source for notated version: Cleveland Crochet's band with Vorris
"Shorty" LeBlanc on accordion (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 461-462. Goldband Records GB-1106 & GB-7749, the Sugar Bees
(Cleveland Crochet, violin). Swallow SW-6131, The Tracy Schwarz Trio - “Mes
Amis!”
RÊVE DU DIABLE, LE. AKA and see “Devil’s Dream [1].”
RÊVE DU LAC, LE (Dream of the Lake). French-Canadian, Reel. G Major.
Standard tuning. AA'BCC'. Source for notated version: M. Therrien (St-Damien,
Quebec) via transplanted French-Canadian fiddler Omer Marcoux (Concord, N.H.)
[Miskoe & Paul]. Miskoe & Paul (Omer
Marcoux), 1994; pg. 16.
RÊVE DU QUÊTEUX
(TREMBLAY), LE (Beggar
Tremblay’s Dream). French-Canadian, Reel. F Major. Standard tuning. AA’BB. A ‘crooked’
tune. The source, William Tremblay, was known as the ‘queteux Tremblay’, and
was an itinerant fiddler and character who would wander from village to village
throughout Québec Province, trading his music for room and board. Hart &
Sandell (2001) identify the tune as a version of Joseph Lowe’s “Archie Menzie’s Reel.” The ‘B’ part is
entirely in 6/4 time. Source for notated version: William Tremblay via André
Alain {1931-2001} (Portneuf, Québec), via Lisa Ornstein & La Bottine
Souriante [Hart & Sandell, Remon & Bouchard]. Hart & Sandell (Dance ce Soir), 2001; No. 10, pg. 44.
Remon & Bouchard (25 Crooked Tunes,
vol. 1: Québec Fiddle Tunes), 1996; No. 3. MP
2036, La Bottine Souriante - “Je voudrais changer d’chapeaux.”
Reve dy Queteux Tremblay de Aime
Gagnon [2]
X:1
T:Rêve du quêteux Tremblay de Aimé
Gagnon [2]
M:2/4
L:1/8
C:quêteux Tremblay
R:Reel
S:Fiddler Pascal Gemme (of the group
Genticorum) http://tradquebec.over-blog.com/archive-6-2007.html
K:D
f/a/a/a/ b/a/a/a/|f/a/a/f/
g/f/e/g/|f/a/a/a/ b/a/a/f/|g/f/e/a/ f/e/d/e/|f/a/a/a/ b/a/a/a/|
f/a/a/f/ g/f/e/g/|f/a/a/a/
b/a/a/f/|g/f/e/c/ d[df]||A/d/f/d/ Bg/f/|e/a/a/a/ f/d/f/d/|
A/d/f/d/ Bg/f/|e/c/e/c/
d[df]|A/d/f/d/ Bg/f/|e/a/a/a/ f/d/f/d/|A/d/f/d/ Bg/f/|e/c/e/c/ d2||
REVEILLÉE, LA. French, Country Dance (2/4 time). D Major. Standard tuning. AABB. 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. 54.
X:1
T:Reveillée, La
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 54
Z:AK/Fiddler’s Companion
K:D
A(dd)c | Bade | f2d2 | efgf | edec | d2d2 :: f2f2 | f>edc |
B2B2
| e2e2 | e>dcB | Adec | ddec | d2d2 :|
REVELATION. English, Waltz. A Major.
Standard tuning. AABBCCDD. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 168, pg. 44.
REVENGE. English, Country Dance Tune (2/4 or 4/4 time). D Major. Standard
tuning. AABB. The tune dates to ca. 1790 and was possibly associated with The Revenge, a burlesque burletta after
the fashion of Midas, written by
Chatterton, and performed in London at Maryleborne Gardens in 1770. Morrison
also prints a country dance of the same name to the tune. Barnes (English Country Dance Tunes), 1986.
Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the
Latter 18th Century), 1998; pg. 4. Morrison (Twenty-Four Early American Country Dances,
Cotillions & Reels, for the Year 1976), 1976; pg. 37.
X:1
T:Revenge, The
M:4/4
L:1/8
S:Whittier Perkins’ commonplace book
(Mass., 1790)
K:D
D2|D3 E D2d2|A3B
A2D2|F2E2E2D2|F2E2E2F2|D3E D2d2|
A3B A2F2|D2B2B2D2|D2B,2B,2::d2|d3e
f2 ed|c2e2e2 de|
f2e2e2 de|fedc BcdB|A2F2G2A2|B2D2
D3E|D2B,2B,2:||
REVEREND BROTHER'S JIG, THE. AKA and see “The
Monk’s Jig,” “Port an Bhráthar,”
“Sonny Brogan’s [2],” “Sonny Brogan’s Fancy.” Irish, Jig. A
Minor. Standard tuning. AABB. Breathnach (CRÉ
I), 1963; No. 21, pg. 10 (appears as “Port an Bhráthar”). Songer (Portland Collection), 1997; pg. 166.
Sullivan (Session Tunes), vol. 3; No.
1, pg. 1. Green Linnet CSIF 3010, Kevin Burke &
Michael O'Domhnaill - "Promenade" (1981).
REVEREND HUGH A.
MACDONALD.
Canadian, Reel. Canada, Cape Breton. Rev. MacDonald is the composer of “," "Mr. Nairne's Strathspey," "Gloomy Winter('s Now Awa)."
Scottish, Strathspey. A Minor. Standard tuning. AAB. The tune was claimed and
published by Alexander Campbell (who published Captain Fraser's collection) in Albyn's Anthology (1815), but his claim
to it was undermined by the Gows who published the same melody in Fourth Collection (1800), calling it
"Lord Balgonie's Favourite" with a note that it was "A very Old
Highland Tune." The air was used by Tannahill for his popular song
"Gloomy winter's now awa.'" The Reverend Patrick Macdonald was born
in the Manse of Durness, Sutherlandshire, in 1729, the son of a musically
inclined father and grandfather. As a child he and his brother were tutored in
the violin by the excellent musician Kenneth Sutherland of Cnocbreac, and their
sister was reputed to have equalled if not excelled her brothers as an
instrumentalist. Brother Joseph, also a skilled bagpiper, left for a post in
India but succombed a few years after his arrival to fever, leaving behind a
collection of 86 original airs, but Patrick was educated at the University of
Aberdeen and licensed as a preacher. He
became the nimister of the parish of Kilmore which he headed for 69 years,
married and with his wife Barbara raised a large family, dying in 1824. John
Glen (1891) remarks:
***
His ministerial office appears to have deterred him from
becoming a bagpipe player like his brother Joseph, but in
his handling of the violin, he is acknowledged to have
been unexcelled among his presbyterial brethren. An
annecdote is related of him, that being in
one occasion as a member of the General Assembly of
the Church, he was urged by Stabilini (who was indisposed)
to act as his substitute for the evening. He agreed to do so,
and it is said that he executed his part so well that his
audience were charmed and delighted. It is also said that
there was some talk of his clerical brethren taking him
to task for this performance in a playhouse, but that the
general esteem in which he was held saved him from
being brought to book.
***
Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 95, pg. 156.
REVERIE. English, Country Dance Tune
(4/4 time). G Dorian. Standard tuning. AB. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 109.
REVIEW [1], THE. English, Reel.
REVIEW [2], THE. AKA and see "Bellisle's March," "Monk's March," "General Monk's Goosestep."
English, Country Dance Tune (cut time). G Major. Standard tuning. AAB. The tune
originally appears in London publishers Charles and Samuel Thompson’s 1765 country
dance collection. See note for “Belle Isle’s March” for more. Barnes (English Country Dance Tunes), 1986.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2),
1765; No. 161.
X:1
T:Review, The, or Bellisle March
M:C
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
D2|G2 G>B A2 A>c|B2 g>e {e}”tr”d3 c|B2 (3dBG A2 (3cAF|G2 G>G G2::D2|d>edc B2B2|c>dcB {B}”tr”A4|
d>ed>c
B>cB>c|de d(c/B/) {B}”tr”A3D|G2 G>B A2 A>c|B2 g>e {e}d3c|B2
(3dBG A2 (3cAF|G2 G>G G2:||
REVIEW QUICKSTEP. American, Quickstep (6/8 time). A Major ('A', 'B' and 'C' parts) &
D Major ('D' part). Standard tuning. ABCCD. Ford (Traditional Music in
REYNARD ON THE
MOUNTAIN HIGH. Irish, Air (2/4 time). G Major.
Standard tuning. AB. The melody is a variant of “Reynardine
[1]." Source for notated version: “
X:1
T:Reynard on the mountain high
M:2/4
L:1/8
N:”Lento”
N:”
S:Stanford/Petrie (1905), No. 644
Z:AK/Fiddler’s Companion
K:G
B/>c/ | d>e c/B/A/G/ | E<G
{E}DB, | D>E GA/B/ | c3 B/c/ | d>e c/B/A/G/ |
E<G DB, | D>E GG | G3 || d/B/ | (G>A G/A/B/c/) | d>e d/<g/ z/e/
|
d>B G/B/d/B/ | c2 zB/c/ | (d>e
c/B/A/G/) | {G}G>E DB, | D>E GG | G3 ||
REYNARD THE FOX [1]. AKA and see "Hunter's
Hornpipe [2]," "First
Day of Spring."
REYNARD THE FOX [2]. Irish, Air (4/4 time). F Major. Standard tuning. AB. "A hunting song...We
have in Ireland several hunting songs, each describing the events of some
particular chase; such as 'The Kilruddery Hunt' (Graves, 'Irish Song Book', pg.
72) and the 'County Limerick Buck‑Hunt', and I have copies of others. The
song of 'Reynard the Fox' has long been a favourite. The old people of the
midland counties still retain some traditions of this great hunt, which,
according to my version of the song, took place in 1793. I learned the air and
words from my father; but the version now commonly printed on sheets is a
little different, for both date and names are altered to suit a later time. The
fox making his will is a piece of drollery which has its parallel elsewhere;
for they have in England 'The Hunting of the Hare, With Her Last Will and
Testament' (Chappell, Popular Music of
the Olden Time, p. 321)" {Joyce}.
***
Andy Irvine recorded the song with
the group Sweeney’s Men in the 1960’s. His words go:
***
On the first day of March in the year ninety-three
The first recreation was in this country
The King’s County gentlemen o’er hills dales and rocks
They rode out so joyfully in search of the fox
***
Chorus:
Tally-ho, hark away
Tally-ho, hark away
Tally-ho, hark away me boys
Away, hark away!
***
When Reynard was started, he faced Tullamore
And Arklow and Wicklow along the sea shore
We kept his brush in view every yard of the way
And it’s straight he made his course through the streets of Roscrea
***
But Reynard, sly Reynard, he hid there that night
And we swore that we’d watch him until the daylight
Next morning early, the hills did resound
With the sweet smell of horses and the sweet cry of hounds
***
Where none but the footmen and hounds they could follow
The gentlemen cried "Watch him! Watch him! What will we do?
If the rocks do not stop him he will cross Killaloe!"
***
When Reynard was captured, his wishes to fulfill
He sent for pen and paper and ink to write his will
For he gave us a check on the national bank!
***
"Oh, to you Mr Casey, I leave my whole estate
And to you Mr Johnson, my money and my plate
I give to you, Sir Monnigan, my whip, spurs and cap
For you jumped hedge and ditches and ne’er looked
for a gap!"
***
Howe (1000 Jigs and Reels), c. 1867; pg. 27.
Joyce (Old Irish Folk Music and Songs),
1909; No. 414, pg. 225.
X:1
T:Reynard
the Fox [2]
M:C
L:1/8
R:Air
S:P.W.
Joyce - Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:F
(cB) | A2 FA c2 cd | _e2 dc d3c | f2 cB A2 FA | G2 G>G G3c | cdec fccA |
B2 G>B A2 (GF) | (FAcf) dBGE | F2 F>F F2 cA | F2 F>F F2 BA | G2 G>G G2 ef |
f2
A>B c>BGA | F2 A>G F2 ||
REYNARDINE [1]. Irish, Air 4/4 time). B Flat Major. Standard tuning. AB. Source for
notated version: “From Father Walsh’s MS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 642, pg.
161.
X:1
T:Reynardine [1]
M:C
L:1/8
S:Stanford/Petrie (1905), No. 642
Z:AK/Fiddler’s Companion
K:B_
de | f3d edcB | G3F GABG | F2G2B2 cd
| e4 d2e2 | f3d edcB | G2 GF GABG |
F3G B2B2 | B6 || G2 | BGF>G Bcde
| f2 fd edcB | e3f gefd | e33 d3e |
f3d edcB | G2 (GF) GABG | F3G B2
(B{d}c) | B6 ||
REYNARDINE [2]. Irish, Air (6/8 time). A Major. Standard tuning. One part. A variant of
“Reynardine [1]." Source for notated version: “From a ballad singer at
Rathmines, Nov., 1852" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 643, pg.
161.
X:1
T:Reynardine [2]
M:6/8
L:1/8
S:Stanford/Petrie (1905), No. 643
Z:AK/Fiddler’s Companion
K:A
c/d/ | e2c B>AB | A2F E2C | E2F
A2A| (A3A2)E | A2B c2d | e3f2e | e2c cBA |
(B3 B2)E | A2B c2d | e2e fga | e2c
cBA | (B3B2) c/d/ | e2c B>AB | A2F E2C |
E2F A2A | (A3A2) ||
REYNARDINE [3]. Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated version: manuscripts in the possession of Chicago Police Sergeant James O’Neill, originally from County Down—many from the playing of his father [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 315.
X:1
T:Reynardine
M:4/4
L:1/8
S:Sergt. James O'Neill manuscripts
Z:Paul Kinder
R:Hornpipe
K:G
Bc|dedB cBAG|F2 ED EAGF|D2 DE GABG||cBcd A2 Bc|
dedB cBAG|F2 ED EAGE|D2 DE GBAB|G2 GA G2:|
|:BA|GEDE GABc|d2 dd d2 cd|edcB cBAB|cBAB c2 B2|
dedB
cBAG|F2 ED EAGE|D2 DE GBAB|G2 GA G2:||
REYNOLD'S REEL. AKA and see "The
Sailor's Return [2]," "The
Sailor's Farewell," "Joe
Cooley's Reel [2]," "The Rough
Road," "Mulhaire's Reel."
Named after Staten Island, New York, fiddler Paddy Reynolds?
RHATTIGAN'S. AKA and see “Larry
Redigan's/Redican’s (Reel) [1].”
RHIF WYTH. AKA and see "Figure of Eight."
Welsh, Country Dance Tune (4/4 time). F Major. Standard tuning. AABB. Source
for notated version: Mrs. Gryfydd Richards, Llanover, Wales, 1926 [Mellor].
Mellor (Welsh Dance Tunes), 1935; pg.
10.
RHINE HORNPIPE. American (?), Hornpipe. B Flat Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 62.
X:1
T:Rhine Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:B_
(F/D/) | B,/D/F/B/ d/B/F/D/ |
C/E/A/c/ e/c/A/F/ | B,/D/F/B/ D/F/B/d/ | (3c/d/c/ (3B/A/G/ (3F/G/F/ .E/.C/ |
B,/D/F/B/ d/B/F/D/ | C/E/A/c/
e/c/A/F/ | B/A/B/d/ f/e/c/A/ | BbB :: (3f/g/a/ | b/f/d/f/ g/f/d/f/ | b/f/d/f/
g/f/d/f/ |
e/d/g/f/ e/d/c/B/ | A/c/B/G/
F/e/d/c/ | B/F/G/E/ D/F/G/A/ | B/F/G/E/ Ef | {a}g/f/g/a/ b/f/g/e/ | dBB :|
RHINE WALTZ. Austrian, Waltz. G Major. Standard tuning. AABB. Composed by Strauss.
Kerr (Merry Melodies), vol. 3; No.
430, pg. 49.
X:1
T:Rhine Waltz
M:3/4
L:1/8
R:Waltz
S:Kerr – Merry Melodies, vol. 3, No. 430
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D2 | GFGABc | dgfgfg | GFGABc |
dgfgfg | A4 fg | a4g2 | f2 gfge | d4 :|
|: (Bc) | d2b2a2 | g2f2e2 | d2 d^cdc
| (d4B2) | c2 cccc | (c4A2) | B2 BBBB |
B4 Bc | d2b2a2 | g2f2e2 | d2 dddd |
d4 Bc | d2b2a2 | d2b2a2 | [Bg][Bg] [B2g2][B2g2] | [B4g4] :|
RHODE ISLAND MARCH. AKA and see "Rakes of Rodney."
________________________________________
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