The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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RI - RJ

 

 

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]

 

 

 

RÍ NA bPÍOB(AIRI). AKA and see "The King of the Pipers [1]."

 

RÍ NA bPORT. AKA and see “The King of Jigs.”

 

RÍ NA gCLANN. AKA and see "The King of the Clans."

 

RÍ NA SIDEOG. AKA and see "King of the Fairies."

 

RIALTO HORNPIPE. American, Hornpipe or Clog. B Flat Major. Standard. AABB. "Can be used as a Clog. As performed by G.L. Tracy” (Ryan)— George Lowell Tracy (1855-1921) was a young man who later composed light opera and composition books, according to musicologist Charles Wolfe. Tolman calls the tune a "degenerate period hornpipe," meaning one written in a highly ornamented and arpeggiated style typical of the latter 1800's. Cole (1000 Fiddle Tunes), 1940; pg. 99. Ryan’s Mammoth Collection, 1884; pg. 134. Tolman (Nelson Music Collection), 1969; pg. 22. White’s Unique Collection, 1896; No. 155, pg. 28 (appears as “Rialto Clog”).

X:1

T:Rialto Clog            

M:C|

L:1/8

R:Clog

S:White’s Unique Collection (1896), No. 155

Z:AK/Fiddler’s Companion

K:B_

(A>B) | (c>.A)(f>.d) (c>.A)(f>d) | (3cdc (3BAG F2 (G>A) | B>AB>c d>ef>d |

(a>g) (3fed c2 A>B | c>Af>d c>Af>d | (3cdc (3BAG F2 (G>A) | B>AB>c d>ef>g |

a>fc>A [A,2F2] :: (a>g) | (3faf (3dfd (3AdA (3FAF | (D>.F)(A>.d) f2 (e>d) |

g>fg>a b>ag>f | e>d^c>B A2 (a>g) | f>ed>^c d>f A2 | b>ag>f e>g ^C2 |

A>^ce>b a>gf>e | d2f2d2 :|

 

RIBBON DANCE. English, Country and Morris Dance Tune (2/2 or 4/4 time). England, North‑West. G Major. Standard. AB (Wade): ABB (Karpeles, Raven, Sharp). The tune is used for a polka step in the North‑West (England) morris dance tradition. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 1. Raven (English Country Dance Tunes), 1984; pg. 76. Sharp (Country Dance Tunes), 1909/1994; pg. 2. Wade (Mally’s North West Morris Book), 1988; pg. 19.

X:1

T:Ribbon Dance

L:1/8

M:3/2

K:G

d2|g3a g2fe|defg a3f|g2d2e2dc|B2G2G2d2|g2a g2fe|

defg a3f|g2d2e2dc|B2G2G2||

|:z2|c2e2e2dc|B2d2d2cB|A2e2d2c2|BcdB G2B2|

c2e2e2dc|B2d2d2g2|fgaf e2f2|g2g2g2:|

 

RIBBONMAN’S MARCH, THE. Irish, March (2/4 time). A Major/Mixolydian. Standard. AB. Source for notated version: “Set by W. Forde. From Mr. Pigot’s MS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 993, pg. 253.

 

RIBBONMEN. Irish, Double Jig. A Major. Standard. AABB. The Ribbonmen were perhaps morris dancers, whose costumes sometimes took the form of multitudes of ribbons pinned to their clothing. Kerr (Merry Melodies), vol. 4; No. 229, pg. 25.

 

RIBCHESTER BRIDGE HORNPIPE.  English, “Old” Hornpipe (triple time). G Minor. Standard. ABCDEF. From Thomas Marsden’s A Collection of Original Lancashire Hornpipes, Old and New. Containing Divisions upon each (London, 1705). The book was sold out of Henry Playford’s shop at the Temple Change, priced at one shilling. The Ribchester Bridge spans the river Ribble in Lancashire near the town of Clitheroe. The bridge was severly damaged in great flooding and was rebuilt as a three-arch stone structure in 1775-1776. The bridge is still in use today. 
X:1
T:Ribchester Bridge Hornpipe
M:3/2
L:1/4
S:Marsden
Z:Transcribed by Pete Stewart and posted at www.goodbagpipes.co.uk/pipetunes/   
Z:(reposted at Fiddler’s Companion by permission)
K:G min
FdEdD2|Cc2GA/B/ c/A/|FdEdD2|B,B2GA/B/ c/A/||
dB2FD2|Cc2GA/B/ c/A/|dB2FD2|B,B2GA/B/ c/A/||
Bgfe/d/ e/d/c/B/|A/B/ c/d/cG A/B/ c/A/| Bgfe/d/ g/f/g/a/|bB2G A/B/ c/A/|
|Bgfe/d/ e/d/c/B/|A/B/ c/d/cG A/B/ c/A/| FBEBD2|B,B2GA/B/ c/A/||
FBEBD/E/F/D/|CcGBA/B/c/A/|FBEBD/E/F/D/|B,AGBA/B/c/A/||
d/c/B/A/ B/A/G/F/ G/F/E/D/|CcGB A/B/c/A/|d/c/B/A/ B/A/G/F/ D/E/ F/D/|B,B
BGA/B/c/A/||dBBB,D/E/F/D/|CccGA/B/c/A/|dBBFD/E/F/D/|B,BGBA/B/c/A/||
dBFBdB|GcGBA/B/c/A/|dBFBe/d/c/B/|FBBGA/B/c/A/||

 

RIBHINN ALAINN EIBHINN OG. AKA and see "Beauty, Charming, Fair, and Young."

 

RIBS HENDERSON TWO-STEP. American, Two‑Step. USA, Arizona. C Major ('A' part) & A Minor ('B' part). Standard. Learned by Arizona fiddler Kenner C. Kartchner from Frank Dawson at Glove (Ariz.) in the fall of 1907. It was named for a cattle foreman near Pleasant Valley.

 

RICERCAR--BONNY SWEET ROBIN. English. The tune is attributed to Thomas Simpson (1582-1630). Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c. Ballads for Voice and Violin Band" (1992).

 

RICH MOUNTAIN. Old-Time, Breakdown. G Major. Standard. AABB. See the related tunes "Wild Horse," and "Rock, Jenny Rock." Source for notated version: Bill Shelor with the Shelor Family [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 198.

 

RICHARD BRENNAN'S DELIGHT. AKA and see "Richard Brennan's Favorite."


 

RICHARD BRENNAN'S FAVORITE. AKA – “Brennan’s Favourite,” "Richard Brennan's Delight," “Richard Brennan’s Jig.” AKA and see “Paddy O’Carrol{’s Jig} [1],” “Shaun Maguire’s,” “Tell Her I Am [3].” Irish, Jig. D Major. Standard tuning. AB (Miller & Perron): AABB (Flaherty, McGuire & Keegan, Perlman): AA’BB’ (Mulvihill, O’Malley). Dick Brennan (d. 1968) was a fiddler from Killavil, County Sligo, and has been called (by Gregory Daly and P. J. Hernon) one of the finest players of his generation. Killavil is called Coleman Country, as it was also the birthplace of the famous fiddler Michael Coleman. Brennan was a member of the Glenview Céilí Band with fiddlers Peter Horan (also a flute player, who was Brennan’s brother-in-law), Willie Coleman, Fred Finn, and other musicians. The tune, however, is a derivation of an older jig called “Paddy O’Carrol’s,” appearing in different forms throughout the Britain and Ireland. In fact, Luke O’Malley has it in his collection as “Paddy O’Carroll,” though clearly it is the “Richard Brennan” jig. Famed Sligo fiddler James Morrison often paired “Morrison’s Jig [1]” with this tune. Sources for notated versions: flute player Pat Meehan (b. 1960, Killaraght, south Sligo) [Flaherty]; Sterling Baker (b. Mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident of Montague) [Perlman]; Michael Coleman’s 1920’s Decca recording [Miller & Perron]; fiddler and accordion player John McGrath (d. 1955, New York) [O’Malley]. Cranitch (Irish Fiddle Book), 1996; No. 19, pg. 132 (appears as “Brennan’s Favourite”). Flaherty (Trip to Sligo), 1990; pg. 109. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 23, pg. 6. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 25. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 33. Mulvihill (1st Collection), 1986; No. 69, pg. 79 (appears as “Richard Brennan’s”). O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 80, pg. 40 (appears as “Paddy O’Carroll”). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 137. Bowhand Bow 0001, James Kelly – Capel Street” (1989). Copley Records EP9-20 (45 RPM), Paddy O’Brien (195?. Appears as “Brennan’s Favourite”). Decca Records (78 RPM), Michael Coleman (1922). Gael-Linn CEF 161, “Michael Coleman 1891-1945” (1992. Reissue).  Buddy MacMaster – “Judique on the Floor” (appears as “Richard Brennan’s Jig”).

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:Richard Brennan’s Favorite

M:6/8

L:1/8

R:Jig

K:D

D/E/|~F3 FED|FAF FEF|DFA dAF|A,CE A,CE| ~F3 FED | FAF FEF |

DFA dAF | A,CE D2 :: g | fed edc | dcB AFA | fed edc | dfb a2g |

fed edc | dcd AFA | dFA GFE | DCE D2 :|

           

RICHARD CUSACK. Irish, Planxty (6/8 time). D Major. Standard tuning. AB. The composition often credited to blind Irish harper Turlough O'Carolan (1670-1738). Donal O’Sullivan included the melody in his definitive work on O’Carolan, but noted that there was no incontroverable evidence that it was composed by him. Complete Collection of Carolan's Irish Tunes, 1984; No. 30, pg. 40.

           

RICHARD DWYER'S [1]. Irish, Reel. A Dorian. Standard tuning. AB. Played by Paddy Carty, the Galway flute player, but it is the namesake of the composer who in modern times moved from County Cork, Ireland, to the United States. Luke O’Malley says that Staten Island fiddler Paddy Reynolds used to play the tune in the key of G minor. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 51, pg. 26. Front Hall 018, How to Change a Flat Tire ‑ "Traditional Music of Ireland and Shetland." Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988).

X:1

T:Richard Dwyer’s [1]

M:C|

L:1/8

R:Reel

B:Luke O’Malley’s Collection of Irish Music, vol. 1, No. 52  (1976)

Z:AK/Fiddler’s Companion

K:A Minor

A2 EA cdea|gedB AEG^F|EAcA Bdg^f|ea{b}a^g a2 (3e^f=g|

abag eA~A2|cedc BcdB|AEcE dEcd|ecBG EA A2:|

|:3aba ea c’aea|(3gag dg bgdg|(3aba ed cded|cABG EA A2|

(3aba ea caea|(3gag eg dBGB|A2 (3Bcd ea~a2|gedg eA A2:|

 

RICHARD DWYER’S [2]. AKA and see “Fox on the Town,” “Finbar Dwyer’s (Reel) [4]." AKA – “Richie Dwyer’s.” Irish, Reel. G Major. Standard tuning. AA’BB’. The tune actually should be called “Finbar Dwyer’s” as it comes from the playing of Richard’s father, however the tune is often credited to Richie. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 8, pg. 3. Green Linnett SIF1142, Joanie Madden - “A Whistle in the Wind.” Carol 1108, Matt Molloy - “Shadows on Stone.”

X:1

T:Finbar Dwyer’s

T:Fox on the Town, The

T:Richard Dwyer’s

R:reel

C:Finbar Dwyer

H:See also #619 (different version)

Z:id:hn-reel-301

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:G

gdBd edBA|G2Bd edBd|gdBd edef|gefd efga|

bggd edBA|G2Bd edBd|efgb agef|1 gbaf g2 fg:|2 gbaf g2ga||

be~e2 edBd|e2Be dega|be~e2 edBd|efgb a2ef|

~g3d edBA|G2Bd edBd|efgb agef|1 gbaf g2ga:|2 gbaf g2gf||

 

RICHIE DWYER’S [3]. AKA – “Richard Dwyers.” Irish, Reel. A Dorian. Standard tuning. AABB. A different tune than “Richard Dwyer’s” [2]. Dwyer remarked that this was the first tune he ever composed (Miller, 2004). Source for notated version: Brendan Mulvihill (Baltimore, Md) [Mulvihill]. Bulmer & Sharpley (Music from Ireland), vol. 3; 31. Miller (Fiddler’s Throne), 2004; No. 241, pg. 147. Mulvihill (1st Collection), 1986; No. 238, pg. 64. O’Malley Collection, 1976; No. 52, pg. 26. Vallely (Play 50 Reels with the Armagh Pipers Club), 1982; No. 2, pg. 3. Cailroe Records, Richie Dwyer – “In a Creative Mood” (2002). Shanachie SHA 79083, Mary Bergin “Feadoga Stain II.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Richard Dwyer's [3]

M:4/4

L:1/8

Q:240

C:Richard Dwyer

S:Mary Bergin

R:reel

K:A Dor

~A2 EA (3Bcd ec | dGBG AE{A}GF | EAcA (3Bcd {a}gf | ea{b}ag a2 zg |

~e3 d cA~A2 | Bgdc BdcB | AEcE dEcd | ecBG EA~A2 :||

a2 ea c'afa | g/2a/2g dg {c'}bgdg | {b}aged (3Bcd ed | {d}cA{c}BG EA~A2 |

a2 zb c'afa | ~g3 a {b}agdg | {b}aged (3Bcd ed | {d}cA{c}BG EA~A2 :||

X:2

T:Richard Dwyer’s Reel [3]

M:C|

L:1/8

K:A Dorian

A2 EA cdeg | dcBG AEGF | EAcA Bdgf | eaag a2 ag | eged c~A3 |

Bgdc BdcB | AEcE dEcd | ecBG EA A2 :: a2 ea baea | g2 eg ba g2 |

aged cded | cABG E~A3 | a2 ea eaea | gfge dBGB | A2 Bd eaaf | gedg eA A2 :|

 

RICHIE DWYER’S [4]. Irish, Reel. E Minor. Standard tuning. AA’BB’.

X:1

T:Richie Dwyer's

S:Trian II, GLCD 1159, track 4c

Z:Jerome Colburn 01/09/1998

M:C|

L:1/8

R:Reel

K:Em

E2 BE E2 BE | E2 BE FDAF | EGFA GBAc | Bgfe dBAF |\

E2 BE E2 BE | E2 BE FDAF | G2 GF GAB^c |1 dBAG FdD^D |2 dBAG FdDd |:\

Beed e2 Be | e2 fd edBA | d2 fd bdfa | gfed Beef |\

gbeg fadf |1\

egce dafa | agaf gfed | Be^df e3 d :|2\

egce dABG | E2 BE E2 Be | dBAF D^CD^D |]**

                       

RICHARD H. BLYTH. English, Jig. B Minor. Standard tuning. AABBCC. A modern composition by Julie Preston. Knowles (A Northern Lass), 1995; pg. 34.

                       

RICHARD O’BRAN FROM THE PLAINS OF KILDARE. Irish, Air (3/4 time). G Major. Standard tuning. Stanford/Petrie (Complete Collection), 1905; No. 735, pg. 184.

X:1

T:Richard O’Bran from the plains of Kildare

M:3/4
L:1/8

R:Air

S:Stanford/Petrie (1905), No. 735

Z:AK/Fiddler’s Companion

K:G

GA/B/ | c2c2 dc | A2G2AB | c2c2dc | A4 GA | B>G AG ED |

D2E2 GA | B4A2 | G4 || GA(3B/c/d/ | e2e2 f>e | d2d2 (3def | 

g2 edcB | A4 GA | B2 G2 (3AGF | D2E2 GA | B4 {B}”tr”A2 | G4 || 

 

RICHARD SNARY. English, Jig. England, Northumberland. B Flat Major. Standard tuning. AABB. The melody appears in the 1770 music manuscripts of Northumbrian musician William Vickers, about whom unfortunately very little is known. The melody earlier appeared in Walsh’s Caledonian Country Dances (Second Book, 3rd ed., 1735, pg. 20), along with the attribution: “Compos’d by Mr. Bristow Doughty.” It also appears in J. Johnson’s Choice Collection of 200 Favourite Country Dances (vol. 3, 1744, pg. 64) and the Thomas Hammersley music manuscript copybook (c. 1790, pg. 37B). The latter is now housed in the British Library. The title of the tune appears to have been a kind of joke or rhyming slang, for Francis Grose’s Dictionary of the Vulgar Tongue (1811) gives the following: “Richard snary. A dictionary. A country lad, having been reproved for calling persons by their Christian names, being sent by his master to borrow a dictionary, thought to shew his breeding by asking for a Richard Snary.” Seattle (William Vickers), 1987, Part 2; No. 326.

X:1

T:Ritchard [sic] Snary

M:6/8

L:1/8

R:Jig

S:William Vickers’ Northumbrian music manuscript copybook, pg. 90   (1770)

Z:AK/Fiddler’s Companion

K:B Flat Major

B3 dcB|g2e d2c|B3 dcB|c2F c2F|B3 dcB|g2e d2c|def c2f|d3 B2:|

|:B3 dcB|b2B b2B|d3 dcB|c2F A2F|B3 dcB|g2e def|bfe dcB|c3 B3:|

 

RICHARD'S HORNPIPE. Irish, Hornpipe. D Major. Standard tuning. AB. Learned by the collector P.W. Joyce as a child in Limerick. Perhaps “Richer’s Hornpipe” or “Richar’s Hornpipe,” named after a famous stage dancer of hornpipes usually effecting a nautical character. Joyce (Old Irish Folk Music and Song), 1909; No. 109, pgs. 55‑56.

X:1

T:Richard’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:D

fg|afaf|d2 (3efg|ecec|A2 GF|GABc|defg|ecAc|

e2 fg|afaf|d2 ef|ecec|A2 GF|Ggbg|fdec|d2 dd|d2||

de|fedc|B2 ga|{g}b2e2|e2 cd|edcB|A2 fg|{f}a2d2|d2A2|

B>cdB|AFAF|B>cdB|AFAF|Ggbg|fdec|d2dd|d2||

 


RICHAR'S HORNPIPE. AKA – “Richer’s Hornpipe.” English, Hornpipe. A late 18th, early 19th century stage hornpipe named after a famous dancer of the time.

 

RICHE ONE-STEP. AKA and see "One-Step de Riche."

 

RICHE TWO-STEP. AKA and see "Two-Step de Riche."

 

RICHER'S HORNPIPE. AKA – “Ricker’s Hornpipe.” English, Scottish; Hornpipe. D Major. Standard tuning. AB (most versions): AABB (Sumner). The tune dates to around 1798. 1st strain hints at "Rickett's Hornpipe." Richer was a rope and circus dancer on the popular stage during the era when the character based (usually nautical) solo hornpipe was in vogue. He is said to have had some celebrity in his day. William Hazlett, in his essay “The Indian Jugglers” from Table Talk (1828), wrote:

***

It is a great many years since I saw Richer, the famous rope-dancer,

perform at Sadler's Wells. He was matchless in his art, and added

to his extraordinary skill exquisite ease, and unaffected natural

grace. I was at that time employed in copying a half-length picture

of Sir Joshua Reynolds's; and it put me out of conceit with it. How

ill this part was made out in the drawing! How heavy, how slovenly

this other was painted! I could not help saying to myself, 'If the

rope-dancer had performed his task in this manner, leaving so

many gaps and botches in his work, he would have broke his neck

long ago; I should never have seen that vigorous elasticity of nerve

and precision of movement!' - Is it then so easy an undertaking

(comparatively) to dance on a tight-rope? Let any one, who thinks

so, get up and try.

***

Sources for notated versions: copied from Wilson’s Companion to the Ballroom (1816) [O’Neill]; the 1823-26 music manuscript book of Lincolnshire musician Joshua Gibbons, originally in the key of ‘C’ major [Sumner]. Cole (1000 Fiddle Tunes), 1940; pg. 111 (appears as “Ricker’s Hornpipe”). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 331. Ryan’s Mammoth Collection, 1883; pg. 148. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 59 (appears as “Hornpipe No. 156”).

X:1

T:Richer’s Hornpipe

M:C

L:1/8

K:D

fg|afaf d2 fd|ecec A2 GF|GABc defg|ecAc e2 fg|afaf d2 fd|ecec A2 GF|

Ggbg fdec|d2d2d2||de|fdec B2 ga|b2e2e2 cd|ecdB A2 fg|a2 d2 d3A|

BcdB AFAF|BcdB AFAF|Ggbg fdec|d2d2d2||

X:1

T:Richer's Hornpipe

M:4/4

L:1/8

S:Wilson's Companion to the Ballroom 1816

Z:Paul Kinder

R:Hornpipe

K:D

fg|afaf d2 cd|ecec A2 GF|GABc defg|ecAc e2 fg|

afaf d2 cd|ecec A2 GF|Ggbg fdec|d2 dd d2:|

|:de|fdfd B2 ga|b2 e2 e2 cd|ecec A2 fg|a2 d2 d2 A2|

BcdB AFAF|BcdB AFAF|Ggbg fdec|d2 dd d2:||

           

RICHES DENIED. Scottish, “Pastoral” Air. Composed in 1927 by Aberdeenshire fiddler J. Murdoch Henderson in honor of the tragic but talented Peter Milne (1824-1908), one of J. Scott Skinner’s teachers and playing partners. Henderson (Flowers of Scottish Melody), 1935.

                                   

RICHIBUCTO REEL. AKA and see "Golden Wedding Reel [1]."

 

RICHIE’S HORNPIPE. Canadian, Hornpipe. Canada, Prince Edward Island. G Major. Standard tuning. AA’BB. Composed by young East Royalty, Queens County, Prince Edward Island, fiddler Richard Wood (b. 1978). Source for notated version: Richard Wood [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 59.

                       

RICHMOND [1]. Old‑Time, Breakdown. USA, Virginia. D Major ('A' part) & A Major ('B' part). Standard tuning. AABB. "Richmond Cotillion" is perhaps a related tune. Source for notated version: Kyle Creed (Western Virginia) [Brody]; Henry Reed (Glen Lyn, Va.) via Alan Jabbour [Kaufman]. Brody (Fiddler’s Fakebook), 1983; pg. 228. Kaufman (Beginning Old-Time Fiddle), 1977; pg. 73. County 705, Otis Burris‑ "Virginia Breakdown." Kanawha 311, "The Hollow Rock String Band." Mountain 301, Kyle Creed‑ "Blue Ridge Style Square Dance Time." Folkways FA 2325, Mike Seeger‑ "Old Time Country Music."

 

RICHMOND [2].  Old-Time, Breakdown. A Major. Standard tuning. AA’BB’. Source Milliner has been a Florida State fiddle champion. Source for notated version: Claire Milliner [Lamancusa].

X:1

T:Richmond [2]

M:C|

L:1/8

R:Reel

S:Clare Milliner

N:ABC’s from a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:A

|: e2c2e2c2 | efec A2 Ac | B2G2B2G2 | BcBG A2A2 |

ABcd e2a2 | =gefd efed | cABG EGBd |1 c2A2A2 (e2 :|2 c2A2A2 [A,2(A2] ||

|: [A,2A2)] ag a2a2 | c’4 e3f |

M:3/2

L:1/8

ef=ge fd [d2f2] d2 ef |

M:C|

L:1/8

edcB A2G2 | ABcd e2a2 | =gefd efed | cABG EGBd |1 c2A2A2 [A,2(A2]:|2 c2 A2 A4 ||

                       

RICHMOND BLUES. AKA and see "My Love is/she's but a Lassie Yet [1]," "Love Somebody [2]," "Too Young to Marry [1]," "Sweet Sixteen," "Yellow Eyed Cat," "Chinky Pin," "Midnight Serenade [1]," "Fourth of July," "Buffalo Nickel [1]," "Hair in the Butter," "Farmer Had a Dog," "Ten Nights in a Bar Room," "Lead Out," "Darling Child," "I'm My Momma's Darling (Child)." American, Reel. The melody appears under this title in George P. Knauff's Virginia Reels, volume II (Baltimore, 1839). The title commemorates an American militia unit of the period (based in Richmond, Virginia), although it is attached to a very popular Scottish melody which usually appears as  "My Love She's but a Lassie Yet" in British Isles and sources in Canada and the northern U.S. As an old-time melody it is popular under the titles “Too Young to Marry” and “Sweet Sixteen” in the southern Piedmont and elsewhere. Jim Taylor (1995) says the tune (under all of its various titles) was a favorite among military fifers in the Civil War. Jim Taylor – “The Civil War Collection” (1995).

                       


RICHMOND COTILLION. AKA and see "Green Mountain Polka," "Hanging Around the Kitchen (Till the Cook Comes Home)," "Jackson's Breakdown," “Little Boss,” "Old Richmond," "Plaza Polka," "Redman's Reel," "Richmond Polka," "Robert E. Lee Swing," "Rocky Road to Dublin [7]" (old‑time version in 2/4), "Run Them Coons in the Ground," “Stonewall Jackson,” "Wait in the Kitchen (Till the Cook Comes In)." See also "Richmond." Old‑Time, New England; Breakdown or Reel. USA, western North Carolina. D Major ('A' part) & A Major ('B' part). Standard tuning. AB (Silberberg): AABB (most versions): AABB’ (Songer). A story circulating in some areas has it that this tune acquired its name from being a mainstay at the debutantes’ ball called the Richmond Cotillion, though there seems to be little evidence to substantiate this. The title may have derived from “Richmond Polka” which is said to have been printed in the 1850's. It has been said by Kerry Blech and others that the tune’s original name was simply “Richmond” or “Richmond Polka” and that the ‘cotillion’ became appended by its appearance on some of the Gennett stencil labels of Da Costa Woltz’s 1920’s recording which read “Richmond” Cotillion. Blech and Gerry Milne take this to mean that the tune Richmond was a vehicle for the cotillion, an old dance form. Henry Ford’s dance orchestra recorded the tune for the dance Heel and Toe Polka, in a medley with “Jenny Lind Polka,” under the title “Richmond Polka.” 

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According to Paul Tyler, some Indiana fiddlers are reported to have called the melody by the name “Stonewall Jackson,” by which title Ashland, Kentucky, fiddler Ed Haley knew it. Indiana fiddler Lotus Dickey had two versions in his repertoire, one of which he called “Little Bess” (a title perhaps imported from Arkansas, says Tyler) The tune played by Galax fiddler Emmett Lundy called “Richmond Cotillion” is misnamed, according to Blech, although Lundy’s descendents said he did play a tune that closely resembles the Ben Jarrell (the fiddler with Da Costa Woltz) commercial recording. North Carolina banjo player and bandleader Charlie Poole recorded the tune in his 1930 session, in a medley after the tune “Honeysuckle [1]” (with Odell Smith on fiddle), although “Richmond Cottillion” does not appear on the track listing. Poole and his group also play “Richmond” at the beginning of their “Shootin’ Creek,” recorded in 1928 with fiddler Lonnie Austin. According to a Janet Kerr taped interview made with Austin (appearing as part of the Topic/Leader LP of Austin), “Richmond” (as well as “Flying Clouds”) was part of the standard repertoire around Spray, North Carolina, when Austin was growing up in the early 20th century. Austin himself learned the tunes from a prominent fiddler in the area by the name of Will Heffinger. See also the related tunes "Sally Put a Bug on Me” and “Duck’s Eyeball [1]," and Canadian fiddler Don Messer’s “Plaza Polka.” Source for notated version: Tony Mates [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 229. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 68 (listed as "Breakdown # 98"). Ford (Traditional Music in America), 1940; pg. 116 (appears as "Redman's Reel"). Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 198. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 129. Songer (Portland Collection), 1997; pg. 167. Spandaro (10 Cents a Dance), 1980; pg. 39. Biograph 6008, Delaware Water Gap‑ "Fox Hollow String Band Festival." County 524, "Da Costa Woltz's Southern Broadcasters: 1927 Recordings." Mountain 310, Tommy Jarrell ‑ "Joke on the Puppy" (1976. Learned from his father).

See also listing at:

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

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A|[D2d2] fd fgfd|c2F2A2ed|c2B2 A3c|ABAG FDEF|[D2d2] fd fgfd |

c2F2 A2ed|c2A2 BA c2|d6 :: A2|efed cdeg|a2c2 e2dc|B2c2d2 ed |

c2B2 ABcd|efed cdeg|A2c2e2 ba| g2e2f2g2|a2 ag a2:|

                       

RICHMOND COTILLION [2].  Old-Time, Breakdown. USA, Virginia. This tune, which is unrelated to “Richmond Cotillion [1],” was played by Galax fiddler Emmett Lundy and recorded for the Library of Congress. It was perhaps miss-named on the recording, but no-one knows what the original title might have been. 5 String Productions 5SP05002, The Hoover Uprights – “Known by their Reputation” (2005).

 

RICHMOND HILL [1]. English, Morris Dance Tune (4/4 time). England, North‑West. D Major. Standard tuning. ABC. Tune used for a polka step in the North‑West (England) morris dance tradition. Wade (Mally’s North West Morris Book), 1988; pg. 32.

 

RICHMOND HILL [2]. AKA and see "Perthshire Hunt." The melody appears under this title in George P. Knauff's Virginia Reels, volume II (Baltimore, 1839).

                       

RICHMOND POLKA. AKA and see "Green Mountain Polka," "Plaza Polka," “Richmond Cotillion.” American, Polka. D Major ('A' part) & A Major ('B' part). Standard tuning. AABB. The title for “Richmond” used by the Kessinger brothers. This is a polka version of "Richmond Cotillion." Paul Gifford notes that Henry Ford’s orchestra recorded the tune in a medley with “Jenny Lind Polka” for the dance Heel and Toe Polka.  The tune was recorded in the mid-20th century by Curly Herdman and His West Virginia Boys. Source for notated version: Clark Kessinger (W.Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 350.

                       

RICHMOND SQUARE. Paramount 3184 (78 RPM), 1929, Charlie Poole and the North Carolina Ramblers.

                       

RICHY RICH’S. AKA and see “McKnight’s Reel.” Canadian, Reel. Canada, Cape Breton. A Dorian. Standard tuning. AA’BB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton). Cranford (Brenda Stubbert’s), 1994; No. 31, pg. 11.

                       

RICKER'S HORNPIPE. AKA and see “Richer’s Hornpipe.”

                       

RICKET'S DANCE. American, Dance Tune (2/4 time). G Major. Standard tuning. AABBCC. The tune was published in Scotland around 1805 by John Clarkson Jr. in his American Tunes No. 1, Arranged for the Piano Forte. It was probably named for the promoter John Bill Ricketts, originally a Scot, who successfully ran a circus in the the 1790’s. See note for “Rickett’s Hornpipe.”

                       


RICKETT'S HORNPIPE. AKA and see "The Manchester Hornpipe [1]," "The New College Hornpipe" [1], "One Eyed Fiddler," "Raker's Hornpipe," "Sailor's Hornpipe [2],” Texarkana Hornpipe,” “Tomorrow Morning,” Yarmouth Hornpipe." English, Irish, American; Hornpipe, Breakdown. USA; Arizona, Oklahoma, Arkansas, Alabama, Mississippi, Kentucky, West Virginia, Michigan, Pennsylvania, New York, New England. Canada, Ontario. D Major (most versions): C Major (Hardings). Standard or ADae (some Southern versions, e.g. Tommy Jar