The Fiddler’s Companion

_______________________________

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 tuning. 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:Bb

(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 tuning. 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

g2a g2fe|defg a3f|g2d2e2dc|B2G2G2||

c2e2e2dc|B2d2d2g2|fgaf e2f2|g2g2g2:|

RIBBONMAN’S MARCH, THE. Irish, March (2/4 time). A Major/Mixolydian. Standard tuning. 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 tuning. 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.

X:1

T:Ribbonmen

M:6/8

L:1/8

R:Jig

B:Kerr – Merry Melodies, vol. 4, No. 229 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

efe cAc|e3 efg|a2e edc|BcB Bcd|efe cAc|e3 efg|a2e dcB|(A3 A2)e:|
|:ece ece|agf agf|efe edc|cBB Bcd|ece ece|agf agf|efe dcB|A3 A2e:||

RIBCHESTER BRIDGE HORNPIPE.  English, “Old” Hornpipe (triple time). G Minor. Standard tuning. 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 severely 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:Gmin

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. In England, an early version can be found in the c. 1847 music manuscript collection of Ellis Knowles (Radcliffe, Lancashire, north-west England) under the title “[[Dennis McCaster]].” 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), 2^nd Edition, 2006; pg. 33. Mulvihill (1^st 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

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:Amin

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 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 (1^st 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:Ador

~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:Ador

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

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 |\

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

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, 3^rd 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:Bb

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

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||

RICHARD’S REMINDER. English, Country Dance Tune (3/2 time). E Minor. Standard tuning. AABB. Composed by Debbie Jackson in 1998. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 141 (appears as “Whately Barn”, the title of a country dance by Gary Roodman, set to the tune).

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

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

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

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

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 BALL. AKA and see “Mr. Lane’s Maggot,” “Polly for ever,” "The Round." English, Reel. D Major. Standard tuning. AABB. The melody appears in the 1770 music manuscript collection of Northumbrian musician William Vickers. Minor mode versions (“Mr. Lane’s Maggot,” “The Round”) were published by Henry Playford in his Dancing Master series beginning in 1695 and in Thomas D’Urfey’s Wit and Mirth, or Pills to Purge Melancholy, vol. 2 (1719-1720). Publisher John Young (who took over Playford’s series) gives “Richmond Ball” as an alternate title to “Mr. Lane’s Maggot” in the 17^th and 18^th editions of the Dancing Master (London, 1721 & 1728).

X:1
T:Richmond Ball

M:C

L:1/8

R:Reel

S:William Vickers’ music manuscript collection (Northumberland, 1770)

K:D

a2g2 fe/d/ eA|d/e/f/d/ eA d/e/f/d/ eA|gb/a/ ga/g/fg/f/ ef/g/|fe/d/ ed/c/ d2D2:|

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 probably commemorates the Richmond Light Infantry Blues, of Richmond, Virginia, and not the mounted militia unit the Richmond Blues, based in Augusta, Georgia. The former was also called the Richmond Blues, for short. The unit from Richmond, Virginia, (“the Pride of Richmond and the glory of Virginia,” as one newspaper hailed them) were formally commissioned in 1789, and saw service in every conflict war since then, although the elite company was usually absorbed into larger units during wartime (in the Civil War they were with Wise’s Brigade). The melody, however, is that of a very popular Scottish melody usually appearing 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. PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996).

X:1

T:Richmond Blues

M:2/4

L:1/8

R:reel

B:George P. Knauff – Virginia Reels, vol. II (Baltimore, 1839)

Z:AK/Fiddler’s Companion

K:D

{e}(d/c/)|dDFA|d(D/C/ D) {e}(d/c/)|dDFA|e(E/^D/ E) {e}(d/c/)|dDFA|

Bgfe|d/c/B/A/ B/d/c/e/|d(D/C/ D) {e}(d/c/)|dD (F/D/F/A/)|d(D/C/ D) {e}(d/c/)|dD (F/A/d/f/)|

EE/^D/ E {e}d/c/|(d/A/F/A/) (d/A/F/A/)|Bgfe|d/c/B/A/ B/d/c/e/|d D/C/ D||(f/g/)|

a/g/f/a/) (g/f/e/g/)|(fd/c/) (d/e/f/g/)|(a/g/f/a/) (g/f/g/a/)|be/^d/ (ef/g/)|

(a/g/f/a/) (g/f/e/g/)|(f/e/d/f/) a/ge|d/c/B/A/ (B/d/c/e/)|d(D/C/ D)||

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.”

***

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 20^th 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 listings at:

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

Alan Ng’s Irishtune.info

X:1

R:Rickett’s Hornpipe

M:C|

L:1/8

K:D

dc dA FA df|ed cB A2g2|fa fd eg ec|d2f2d2:|

dc dA FA df|ed cB A2g2|fa fd eg ec|d2f2d2:|

RICKEY’S RAMBLES. English, Reel. D Major. Standard tuning. AABB. Not the similarly entitled “Rick’s Rambles.” Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 170, pg. 40

RICK’S HORNPIPE. AKA and see “Rick’s Rambles.”

RICK'S RAMBLES (Triallta Padraig). AKA – “Rick’s Hornpipe.” AKA and see “John Joe Gannon’s Hornpipe.” Irish, Hornpipe. G Major. Standard tuning. AABB. The “Rick’s Hornpipe” title comes from a 1931 recording by the Ballinakill Ceili Band. 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’s. 250 & 251, pg. 77 (two settings, “the old setting” and the Ballinakill setting). O'Neill (Dance Music of Ireland:1001 Gems), 1986; No. 940, pg. 161. Kells Music 9509, Mike and Mary Rafferty – “The Dangerous Reel.” Tara 3037, Liam O’Flynn – “The Piper’s Call” (1998).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Rick's Hornpipe

T:Rick’s Rambles

M:4/4

L:1/8

R:Hornpipe

D:Mike and Mary Rafferty: The Dangerous Reel

Z:Tracy Kingsley

K:G

G2 GF GBdB|cBAG FG A2|dgfe dBDF|AGGF G2:|

GDEF GBdB|cBAG FG A2|dgfe dBDF|AGGF G2:|

RIDDING RACES. Scottish (English?), Country Dance Tune (6/8 time). D Major. Standard tuning. AABBCC. McGlashan (Collection of Scots Measures), c. 1780; pg. 17.

X:1

T:Ridding Races

M:6/8

L:1/8

B:McGlashan – Collection of Scots Measures (c. 1780)

Z:AK/Fiddler’s Companion

K:D

Bcd edc|d3 d2:||:A|A2A A2A| A3 A2 d|ccd ccd|c3 c2A|d2d d2d|

RIDDLE, THE. English, Reel. England, Northumberland. A Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 460.

RIDDRIE. Scottish (originally), Canadian; Strathspey. Canada, Cape Breton. A Major. Standard tuning. AABB’. Nigel Gatherer identifies Riddrie as an area of Glasgow near to Alexander Park (the name of another tune in the Kerr collections). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 74, pg. 33. Kerr (Merry Melodies), vol. 4; No. 28, pg. 6. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 17). Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton) - “In Jig Time!” (1995).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Ride a Mile

T:Riding a Mile [1]

M:9/8

L:1/8

R:Slip Jig

K:A

ecA ABA cBA | ecA ABA fga | fcA ABA cBA | fdB BcB dcB :|

RIDE(ING) A MILE [2] ("Ag Marcuigeade Mile" or "Dean Marcaigeact Mile"). AKA and see “Cummilum,” “Fairest put on awhile,” “The First Slip,” “Hey, my kitten,” “I don’t care,” “Is cuma liom,” “Mad Moll [1],” “(A) Mile to Ride,” “Stamfordham Hopping,” “Stanhope in Weardale,” “Stannerton Hopping,” “Walk a Mile.” AKA – “Ride a Mule,” “Rise a Mile.” Irish, Slip Jig. G Major. Standard tuning. AABB (Cole, Kennedy, O'Neill/1850): ABC (O'Neill/1915 & 100M1). The jig is an old one and known throughout Britain and Ireland. A version appears in Henry Playford's collection of Scottish dance tunes published in the year 1698 (as “Mad Moll”). Northumbrian small-pipers knew it by several titles, including “A Mile to Ride,” "Stannerton (or Stamfordham) Hopping,” “Stanhope i' Weardale” and “The Fleet's a Coming.” Northumbrian musician William Vickers printed it three times in his 1770 music manuscript (as “A Mile to Ride,” “Stanhope in Weardale,” and “Stannerton Hopping”). Source for notated version: set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Cole (1000 Fiddle Tunes), 1940; pg. 61. Giblin (Collection of Traditional Irish Dance Music), 1928; 65. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 67, pg. 15. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 221, pg. 118. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1158, pg. 218. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 453, pg. 88. Ryan’s Mammoth Collection, 1883; pg. 92. Taylor (Music for the Sets: Blue Book), 1995; pg. 18. Green Linnet GLCD 1184, Patrick Street – “Made in Cork” (1997. Learned from fiddler Andy McGann).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Ride a Mile [2]

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 453

Z:AK/Fiddler’s Companion

K:G

dBG GAG Bcd|e2A A2B c2e||def g2g fed|g2B B2c d2e|def gag fed|e2A A2B c2e|

def g2g fed|g2B B2c d2e|def gfe afd|e2A ABd gfe||BBB g2B g2B|BBB g2B b2B|

BBB g2B g2B|AAA A2B c2A|BBB g2B g2B|BBB g2B b2B|BBB b2g a2f|gfg e2f gfe||

RIDE A MILE. AKA and see “Time o' Day.” Irish, Slip Jig. E Minor.

RIDE A MILE [4]. English, Slip Jig. G Major. Standard tuning. AABB. London Dancing Master Thomas Wilson (Companion to the Ball Room, 1816) gives the provenance of the melody as Irish, and indeed, it is a distanced variant the Irish slip jig “Ride(ing) a Mile [2]” in O’Neill. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 122. Wilson (Companion to the Ball Room), 1816; pg. 30.

X:1

T:Ride a Mile [4]

M:9/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

e|dBd gag fed|gdB BdB d2e|dBd gag fed|a2A ABA c2:|
|:e|dBG G2B dBG|(d/c/B/A/G) GAB d2g|dBG G2B dBG|ecA ABA c2:||

RIDGE, THE. American, Reel. A Major. Standard tuning. AB. The melody was printed by publisher George Willig in Baltimore, c. 1839, in George Knauff’s Virginia Reels.

X:1

T:Ridge, The

M:C

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:A

c|A2 EA FAEA|DACA B,BBc|A3 EA Ffed|ceBd cAA||

aece dfBd|ceAc BEE e|fefg afed|ceBd cAA||

RIDING IN AN OLD MODEL 'T'. Old‑Time, Breakdown. County 548, The Dixie Ramblers - "Ridin' in an Old Model 'T'". Marimac 9110, The Dixie Rambler ‑ "It'll Never Happen Again: Old Time String Bands, vol. 1" (orig. rec. 1937).

RIDING ON A HANDCAR. AKA and see “Eavesdropper.” American, Jig. G Major. Standard tuning. AABB. O’Neill prints the tune as “The Eavesdropper.” Cole (1000 Fiddle Tunes), 1940; pg. 74. Ryan’s Mammoth Collection, 1883; pg. 105.

X:1

T:Riding on a Handcar

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

RIDIN' ON A HUMPBACKED MULE. Old‑Time, Breakdown. Decca 5173 (78 RPM), Curly Fox (Ga.) {1936}.

RIDING ON A LOAD OF HAY. AKA and see “Mrs. Ramsay of Barnton [2].” Irish, Polka. E Dorian. Standard tuning. AAB (Silberberg): AABB' (Carlin). A West Kerry polka, called “Port Dalaig [4]" after the musician who played it, is similar, especially in the ‘A’ part. The tune was in the repertoire of Kerry fiddler Denis Murphy. It appears to be an adaptation of the Scottish strathspey “Miss Ramsay of Barnton [2],” printed in the Athole Collection (1884). Source for notated version: Laurie Andres [Silberberg]. Carlin (Master Collection), 1984; No. 274, pg. 154. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 130.

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:Riding on a Load of Hay

M:2/4

L:1/8

R:Polka

K:Edor

E>F GA|Be ef/2e/2|dB AG|F/2G/2F/2E/2 DF|!

E>F GA|Be e>f|ge B^d|1e2 e2:|2e2 e>f|]!

ge fd|ed B>c|dB AG|F/2G/2F/2E/2 Df|!

ge fd|ed B>c|dB AF|E2 E>f||!

ge fd|ed B>c|dB AG|F/2G/2F/2E/2 DF|!

EG FA|GB e>f|ge B^d|e2 e2|]!

RIDOTTO AL FRESCO. English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody was published by Charles and Samuel Thompson in their Compleat Collection, vol. 3 (London, 1773). It was entered into the 1790 manuscript commonplace book of fiddler George White (Cherry Valley, N.Y.). According to Sir John Hawkins in his General History of Music (1776), the term Ridotto al Fresco refers to the name of an event in the early history of Vauxhall, then known as Spring Garden:

***

About the year 1730, Mr. Jonathan Tyers became the occupier of [a house], and, there being

a large garden belonging to it, planted with a great number of stately trees, and laid out

in shady walks, it obtained the name of Spring Gardens; and the house being converted

into a tavern, or place of entertainment, was much frequented by the votaries of pleasure.

Mr. Tyers opened it with an advertisement of a Ridotto al Fresco, a term which the people

of this country had till that time been strangers to. These entertainments were repeated in

the course of the summer, and numbers resorted to partake of them. This encouraged the

proprietor to make his garden a place of musical entertainment, for every evening during

the summer season. To this end he was at great expense in decorating the gardens with

paintings; he engaged a band of excellent musicians; he issued silver tickets at one guinea

each for admission, and receiving great encouragement, he set up an organ in the orchestra,

and, in a conspicuous part of the garden, erected a fine statue of Mr. Handel.

***

Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 109.

X:1

T:Ridotto al Fresco

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

f/a/f/d/ f/a/f/d/|f/a/g/b/ eg|f/a/f/d/ e/g/e/c/|d3:||

RIEFIELD LODGE. Scottish, Strathspey. G Minor. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 303.

X:1

T:Riefield Lodge

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Gmin

A|B<d d>c B>AB>G|A>FA>B c/B/A/G/ F>A|B<d d>c B>AB>G|

e/d/c/B/ A/B/c/d/ ~B<G G>A|~B>dfb g>ed>B|A>FA>B c/B/A/G/ F>A|~B>dfb g>ef>d|e/d/c/B/ d/c/B/A/ B<GG||

RIFLEMAN, THE. English, Reel. B Minor ('A' part) & D Major ('B' part). Standard tuning. AABB. There is a country dance called The Rifleman which was danced in the Scottish Border counties as late as 1926, report Flett & Flett (1964). The dance was quick and incorporated the whole first figure of The First Set of Quadrilles; it was performed to the tune "The Rifleman" or sometimes to "The White Cockade." Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 49, pg. 24. Raven (English Country Dance Tunes), 1984; pg. 170.

X:1

T:Rifleman, The

M:C|

L:1/8

K:D

RIG-A-JIG. English, Jig. G Major. Standard tuning. AABB. The tune is used for a dance in the Northwest (England) morris dance tradition. Barry Callaghan (2007) notes the tune is “a favourite jig widespread throughout East Anglia.” The tune was recorded by the English traditional “revival” band Oak (Rod and Danny Stradling, Tony Engle, Peta Webb) in the early 1970’s, at the beginning of the resurgance of interest in English traditional dance music played for English dances. Callaghan (Hardcore English), 2007; pg. 63. Raven (English Country Dance Tunes), 1984; pg. 125. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993). Musical Traditions MTCD327-8, Oak _ “Coutnry Songs and Music.” Old Hat Records OH-1, Old Hat Band - "Old Hat Concert Party." Topic 12TS212, Oak – “Welcome to Our Fair” (1971). Topic TSCD752, Oak – “Stepping Up” (2004. Compilation CD).

X:1

T:Rig-a-jig (-jig)

M:6/8

L:1/8

R:Jig

K:G

B2G A2c|B2d cBA|G3 G3::B3d3|e2d B3|

ABA E2F|A2F E2D|B3d3|e2d B3|ABA E2F|(G3 G3):|

RIGADON BRESSAN. French, Polka. D Major. Standard tuning. AABB. Stevens (Massif Central), vol. 1, 1987; No. 115.

RIGADOWN. Scottish. The melody appears in the Gillespie Manuscript of Perth (1768).

RIGGED SHIP, THE. English, Jig. E Minor. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 126.

RIGHIL THULAICHEAN. Scottish, Reel. A Mixolydian. Standard tuning. AAB. A bagpipe set of the tune composed by James Logan appears in The Scottish Gael (1831). Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 44, pg. 137.

RIGHT FOOT, LEFT FOOT. AKA and see “Duck’s Eyeball [2],” "Rainbow Schottische" (Pa.), “Stephen Baldwin’s Schottische,” "Winter(‘s) Night Schottische." American, Reel. G Major. Standard tuning. AA'BB'. The title comes from the rhyme associated with the piece:

***

Right foot, left foot, any foot at all,

Kitty lost her slipper going to the ball.

***

In Bayard's sets all the 'B' parts are different. Sources for notated versions: Thomas Patterson (Elizabeth, Pa., 1930's), George Strosnider (elderly fiddler from Greene County, Pa., 1930's), John Meighen (elderly fiddler from Greene County, Pa., 1930's), Hogg (Pa., 1948) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 409A‑D, pgs. 388‑389.

X:1

T:Right Foot, Left Foot

M:4/4

L:1/8

B:Bayard – Dance to the Fiddle (1981), No. 409A

S:Thomas Patterson (Elizabeth, Pa.) c. 1930’s

K:G

g2 Bc d2G2|BAGE D2z2|DEFG ABAF|G2G2G2 z2||

c2 ce G2 GE|CE Gc e4|d2 dg A2B2|cBce G2|

c2 ce G2 GE|CE Gc e4|d2 dg A2B2|c2 cB c2||

RIGHT HONOURABLE EARLE OF BRADALBINES STRATHSPEY, THE. Scottish, Strathspey. D Major. Standard tuning. AABB. Composed by Malcolm MacDonald, the tune appears in his first collection (c. 1788), dedicated to Mrs. Baird of Newbyth. MacDonald (A Collection of Strathspey Reels, vol. 1), c. 1788; pg. 23.

X:1

T:Right Hon. Earle of Bradalbines Strathspey, The

M:C|
L:1/8

R:Strathspey

S:MacDonald – Collection of Strathspey Reels, vol.1 (c. 1788)

Z:AK/Fiddler’s Companion

K:D

RIGHT WAY TO DUBLIN. AKA and see “(A) Draught of Ale,” "Farrell's Pipes," "The Fourpenny Girl,” “Grania’s Welcome Home [2],” “Highway to Dublin,” “Langstrom’s Pony,” “The Priest’s Leap [3],” “Saddle the Pony [3],” “Sweet Tibby Dunbar.” American, Jig. A tune in Giles Gibbs’ 1777 American flute MS. The first part is similar to the Irish melody “Langstrom’s Pony.”

RIGHTS OF MAN (Ceart Na Cine Daona). Irish, Scottish, English; Hornpipe. E Aeolian (Em) {most settings}: D Minor {Williamson}. Standard tuning. AB (S. Johnson, Moylan): AABB (most settings): AA’BB’ (Cranford, Kerr, O’Malley). Williamson (1976) says the tune was popular in both Scotland and Ireland, though Hunter (1979) believes it was Irish in origin. The Northumbrian composer and fiddler James Hill (who was born in Scotland) is sometimes credited as having composed the tune, apparently on the strength of one assignation to him in an older collection; it remains doubtful he is the author. Tom Paine's (1737-1809) book, The Rights of Man, was written to refute Burke's Reflections on the Revolution in France, and sold a phenomenal (for the time) 200,000 copies in England while causing a furor for its support of the revolution. Paine was burned in effigy on English village greens, and his book was consigned to the flames. The printer who published the book was arrested and a Royal proclamation prohibited the sale of the book, though it continued to enjoy a wide underground circulation, particularly in Scotland and Ireland where it gave support to those who found themselves oppressed. Influenced by Paine’s work, a later document called "Declaration des droits de l'homme" was drafted by the first National Assembly during the French Revolution of 1789 to be incorporated into the new constitution of France. The next year the constitution was approved by the captive Bourbon king, Louis XVI, although he was executed soon afterward.

***

Francis O’Neill, the great late 19th/early 20th century Irish collector and musicologist, remarked on the tune in his work Irish Music: A Fascinating Hobby, and remembered that, when first introduced to Chicago Irish musicians at the middle of the first decade of the 20th century, “Rights of Man” was thought to be a new composition which had recently gained currency in Ireland, as it was not in the repertoire of any Irish musicians then playing in that city (though O’Neill’s collaborator, Sergeant James O’Neill, recalled a version had been played by his father in Belfast some decades prior). O’Neill included the tune in his 1907 work Dance Music of Ireland, though it was not in Music of Ireland (1903). “A florid setting of this favourite,” states O’Neill, “was played by Mrs. Kenny, a noted violinist of Dublin was brought to Chicago by Bernie O’Donovan, the ‘Carberry Piper’, but in that style it gains no advantage for the dancer.”

***

Perhaps the earliest sound recording of the tune was in January, 1910, by the Scottish melodeon player Frederick James (Fred) Cemeron, for the Gramaphone Company in London. Cameron was a tailor by trade, who was a popular musician for local weddings, Harvest Homes, concerts and dance halls before World War I. Like so many of his generation, he enlisted in the army, and (like so many!) was badly wounded in the war with an arm so badly damaged it had to be amputated. It put an end to his melodeon playing, however, when he recovered the undaunted Cameron taught himself to play the cornet. He died in 1949.

***

Sources for notated versions: Sligo‑style fiddler Paddy Reynolds [DeMarco & Krassen]; Mr. Matthew Archdeacon, National School, Banteer Co. Cork, 1875 [Joyce]; accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Allan's Irish Fiddler, No. 86, pg. 22. Brody (Fiddler’s Fakebook), 1983; pg. 230. Carlin (Master Collection), 1984; No. 290, pg. 163 (arranged by John Rea). Ceol, vol. V, No. 1. Cranford (Winston Fitzgerald), 1997; No. 41, pg. 15. DeMarco & Krassen (Trip to Sligo), 1978; pgs. 33, 47, & 61. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 42 (3 versions notated in Honeyman's three hornpipe styles‑‑'Sand Dance', 'Sailor's', and 'Newcastle'). Hunter (Fiddle Music of Scotland), 1988; No. 328. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Airs), 1983 (revised 1991, 2001); pg. 16. Joyce (Old Irish Folk Music and Song), 1909; No. 221 & 294, pgs. 107 (No. 294 is simply labled “Hornpipe”). Kerr (Merry Melodies), vol. 4; No. 292, pg. 31. Lerwick (Kilted Fiddler), 1985; pg. 55. Mallinson (Enduring), 1995; No. 80, pg. 33. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 40. Martin (Traditional Scottish Fiddling), 2002; pg. 18. Miller (Fiddler’s Throne), 2004; No. 306, pg. 181. Moylan (Johnny O’Leary), 1994; No. 30, pgs. 18-19. Mulvihill (1^st Collection), 1986; No. 11, pg. 91. O’Malley (Luke O’Malley Collection of Irish Music, vol. 1), 1976; No. 134, pg. 67. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 306, pg. 152. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 811, pg. 141. Peoples (Fifty Irish Fiddle Tunes), 1986; 27. Roche Collection, 1982, vol. 2; No. 202, pg. 7. Skinner (Harp and Claymore), 1904; pg. 145. Spandaro (10 Cents a Dance), 1980; pg. 42. Taylor (Music for the Sets: Yellow Book), 1995; pg. 19. Treoir, vol. 35, No. 2, 2003; pg. 23. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 13. Welling (Hartford Tunebook), 1976; pg. 24. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 59. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 59). Claddagh 20, The Chieftains ‑ "Bonapart's Retreat." Copely Records 9-115 (78 RPM), Paddy Cronin (195?). Flying Fish 051, "Ken Bloom." Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer.” Globestyle Irish CDORBD 085, Padraig O’Keeffe - “The Rushy Mountain” (1994. Reissue of Topic recordings). Gourd Music 110, Barry Phillips and Friends – “The World Turned Upside Down” (1992). Green Linnet SIF3040, De Dannan - "Ballroom" (1987). Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976). Living Folk LFR‑104, Alan Block ‑ "Alive and Well and Fiddling.” Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995). Shanachie 34016, Joe Burke, Andy Mc Gann and Felix Dolan – “The Funny Reel” (1995). Sonet 764, Dave Swarbrick and Friends‑ "The Ceilidh Album." Topic 12T309, Padraig O’Keeffe, Denis Murphy, Julia Clifford - “Kerry Fiddles.”

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:Rights of Man, The

S:Mickey Doherty

Z:Juergen.Gier@post.rwth-aachen.de

M:C|

L:1/8

K:Edor

BBBA GBGE|DEGA Bdef|gfed Bdgf|eE{G}ED EFGA|\

BdAB GBFB|EFGA (3Bcd ef|gafg efdf|cfBc (3ABA GA|\

BdAB GBFB|EFGA (3Bcd ef|gfed Bdgf|e2E2 E2|]\

e^def gfga|b^gbg e2ba|gfed B=cdg|e2E2 E2^ga|\

b^gbg ef=ga|b^geg b2ag|abaf defg|afdf a2gf|\

e^def gfga|bb (3a_ba gfef|gfed Bdgf|e2E2 EFGA|]

X:2

T:Rights of Man, The

M:C

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:Emin

EFGA B2 ef|(3gfe (3fed (3Bgf (3edf|e2 E>E E2||ga|babg efga|baab b2 ag|

agaf defg|agab a2 ga|bc’ab gafg|EFGA B2 ef|(3gfe (3fed (3Bgf (3edf| e2 E>E E2||

RIGMY REEL. AKA - “Rigney’s.” Irish, Reel. A Dorian. Standard tuning. AA’BB’. Attributed to Paddy O’Brien (Tipperary). Source for notated version: Jim McElhone (Co. Derry) [Mulvihill]. Mulvihill (1^st Collection), 1986; No. 86, pg. 23. Green Linnett SIF 3082, Paddy O’Brien & Shamus Connolly - “The Banks of the Shannon.” Green Linnett SIF 1119, Cherish the Ladies - “The Back Door” (appears as “Youghal Harbour”).

X:1

T:Rigmy Reel

M:4/4

L:1/8

R:Reel

K:Ador

cdef g ~c3|g2 (3efg dBGB| c2 (3ABc BAGE|DEGA BA A2:|

RIGNEY’S. AKA and see “Rigmy Reel.”

RIGS O' MARLOW. AKA and see "Rakes of Mallow." English, Morris Dance Tune (4/4 time). A Major (Bacon): G Major (Mallinson): C Major (Karpeles). Standard tuning. AABB, x4. Originally Irish. The English morris dance version was collected from the village of Headington, Oxfordshire, in England's Cotswolds. Bacon (The Morris Ring), 1974; pg. 176. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 33. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 18, pg. 10. EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994).

RÍL A’ SEAN NOS (The Old Style Reel). AKA and see “Killarney Boys of Pleasure.”

RÍL ACHADH AN MHEASA. AKA and see “The Aghavas Reel [1].”

RÍL AIBHISTIN UÍ THIARNAIGH. AKA and see "Austin Tierney's."

RÍL AN ATHAR UÍ CHEALLAIGH. AKA and see “Father Kelly’s (Reel) [3].

RÍL AN BHÁICÉARA. AKA and see “The Baker’s Reel.”

RÍL AN BHREATHNAIGH (Walsh’s Reel). AKA and see “Walsh’s Reel.”

RÍL AN CHABHÁIN. AKA and see "The Cavan Reel."

RÍL AN CHÁRTHAIGH. AKA and see "Carty's Reel."

RÍL AN CHINNEDIGH. AKA and see “Kennedy’s Reel.”

RÍL AN CONSPÓIDE. AKA and see “The Controversial Reel.”

RÍL AN CHLÁIR. AKA and see "The Clare Reel."

RÍL AN DOIRE MHÓIR. AKA and see “The Derrymore Reel.”

RÍL AN DÚNA. AKA and see "The Doon Reel [1]."

RÍL AN FHATHAIGH. AKA and see "Fahy's Reel [1]."

RÍL AN FHIR DHÉIRCE. AKA and see “The Beggarman’s Reel.’

RÍL AN GHABHA (The Blacksmith’s Reel). AKA and see “The Blacksmith’s Reel.”

RÍL AN GHABHA UÍ RAGHALLAIGH. AKA and see “The Blacksmith Reilly’s Reel.”

RÍL AN GHLASLOCHA. AKA and see “The Glasslough Reel.”

RÍL AN GHLEANNTÁIN. AKA and see “The Gleanntán Reel [3].”

RÍL AN LASCTHA. AKA and see "The Flogging Reel."

RÍL AN LISÍN. AKA and see "The Lisheen Reel."

RÍL AN LOINSIGH (Lynch’s Reel). AKA and see “Lynch’s Reel.”

RÍL AN MADRA UISCE. AKA and see “The Otter’s Holt,” “The Aughdarra.” Irish, Reel. Matt Molloy & Donal Lunny.

RÍL AN MHÁISTIR MHIC ANNRAOI. AKA and see "Master Henry's Reel."

RÍL AN MHÁISTIR MHIC DHIARMADA. AKA and see “Master McDermott’s Reel.”

RÍL AN MHÁISTIR RINCE. AKA and see "The Dancing Master's Reel."

RÍL AN STÁITSE. AKA and see “The Stage Reel.”

RÍL AN TIARNA BANFF. AKA and see “Lord Banff’s Reel.”

RÍL AN TINCÍARA. AKA and see “The Tinker’s Reel [3].”

RÍL AN TÍ-RÍ. AKA and see “The Tee Ree Reel.”

RÍL AN tSLIPÉIR AIRGID. AKA and see “Silver Slipper Reel.”

RÍL ATH THREASNA (The Wide Ford).

RÍL BHEAN UÍ CHROIDHEÁIN. AKA and see "Mrs. Crehan's Reel."

RÍL BHEARA. AKA – “The Beare Island Reel.” Irish, Reel. Composed by Finbar Dwyer, whose family comes from the Beare Island area of County Cork. Source for notated version: Jimmy McHugh [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), vol. 1; No. 43. Mulvihill (1^st Collection), 1986; No. 184, pg. 50 (appears as “Fahy’s Reel”). Shanachie Shan‑79017, John & Phil Cunningham ‑ "Against the Storm" (1980).

RÍL BHRÍD NÍ FHLOINN. AKA and see "Bridget Flynn's Reel."

RÍL CAM, AN (The Crooked Reel). AKA and see “The Crooked Reel.”

RÍL CHAOIMHÍN UÍ MHATHÚNA. AKA and see “Kevin Mahon’s Reel.”

RÍL CHIARAIN UÍ RATHALLAIGH. AKA and see “Martin Mulhare’s No. 9.” Irish, Reel. From the repertoire of Donegal fiddler Tommy Peoples, who learned it from Ciaran Rathallaigh. The Fiddle Music of Donegal, vol. 2.

X:1

T:Ril Chiarain U\'i Rathallaigh

S:Stephen Campbell

C:Martin Mulhaire?

Z:Juergen.Gier@post.rwth-aachen.de

L:1/8

M:C|

K:D

~F2AF FFAF|GB~B2 DGBd|cAec Acec|dgeg fdAG|\

EFAF DFAF|GB~B2 dB~B2|Acea gece|fdec dBAG||\

EFAF DFAF|GBBA ~B3d|cAec Acec|dgeg fdAG|\

(3FFF AF DFAF|GBBA BcdB|cAaf gece|afge defg|:\

aAfA aAfA|aAfa fedf|e^def gfga|bge^d efge|\

RÍL CHIARRAÍ. AKA and see “The Kerry Reel [3].”

RÍL DHARACH. AKA and see “The Reel of Darragh.”

RÍL DHONNCHA UÍ BHRIAIN. AKA and see "Dinny O'Brien's Reel [1]."

RÍL DICÍ SCARLÓG. AKA and see "Dicky Sherlock's Reel."

RILEY'S FAVORITE. AKA and see “An Cathasadh Muintre,” “Mary Scott [1],” “More Luck to Us,” “Whiskey Before Breakfast.” American (?), Reel. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 37. Ryan’s Mammoth Collection, 1883; pg. 64.

X:1

T:Riley’s Favorite

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

D2(DF) A2(AB) | AFdB AFDF | G2 (BG) F2(AF) | GABc d2 :|

dcde dAFA | dcdB AFDF | G2(BG) F2(AF) | GABc d2 :|

RILEY’S JIG [1]. American, Schottische. D Major. Standard tuning. AABB. Howe lists the tune in the schottische section. Howe (1000 Jigs and Reels), c. 1867; pg. 54.

X:1

T:Riley’s Jig

M:2/4

L:1/8

R:Schottische

S:Howe – 1000 Jigs and Reels

Z:AK/Fiddler’s Companion

K:D

A/>D/F/>A/ E/>F/D/>F/ A/>D/F/>A/ B/>G/E/>G/ | A/>D/F/>A/ E/>D/F/>D/ |

A,/>D/E/>D/ F/>D/D/>F/ :: A/>B/d/>e/ f/d/z/d/ | f/>e/f/>d/ d/>e/f/>d/ | A/>B/d/>e/ f/d/z/d/ |

RILEY’S JIG [2]. See “Michael Riley’s Jig.”

RILEY’S REEL (Ríl Uí Raghallaigh). Irish, Reel. E Minor. Standard tuning. AB. Source for notated versions: collected from fiddler William Jones by Liam Donnelly (County Tyrone & Belfast) in the mid-20th century [Breathnach, Mulvihill]. Breathnach (CRÉ IV), 1996; No. 182, pg. 84. Mulvihill (1^st Collection), 1986; No. 159, pg. 43.

RILLE CAJUN, LE (The Cajun Reel). Cajun, Quadrille. In repertoire of fiddlers Dennis McGee and Ernest Fruge (La.) {1930}. Morning Star 45002, "The Early Recordings of Dennis McGee (La.) 1929‑1930."

RIMEAD AR CHASTAIL. AKA and see "Happy to Meet {and Sorry to Part}."

RINETTAN'S DAUGHTER (Nighean Bodach an Roainaitinn). Scottish, Strathspey. C Major/A Minor. Standard tuning. AAB (Athole, Fraser): AABB' (Kerr). "The name of this air bespeaks it a native of the Highlands of Aberdeenshire, where many of our best strathspeys have their origin. The present set of it was communicated to the editor's father by the late General Fraser of Lovat, whose particular favourite it was" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 48, pg. 17. Kerr (Merry Melodies), vol. 2; No. 57, pg. 9. Stewart-Robertson (The Athole Collection), 1884; pg. 46.

X:1

T:Rinettan’s Daughter

M:C

L:1/8

R:Strathspey

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

K:Amin

g<e e>a g<e e>d|c>GG>B c>G E2|G>Ac>G A/A/A A>B|c>de>g d<ec>G||

X:2

T:Rinettan’s Daughter

T:Nighean Bodach an Roainaitinn

M:C

L:1/8

R:Strathspey

S:Fraser Collection (1874)

K:C

g>e e<a g>ee>d|e>GG>B c>G E2|G>A~c>G A/A/A A>B|c>d e<g d<e c>G||

RING, THE. Shetland, Scottish; Reel or Shetland Reel. Shetland, Whalsay. John Glen (1891) finds the earliest appearance of the tune in Neil Stewart's 1761 collection (pg. 32).

RING AROUND THE MOON. Irish, Reel. A composition of East Galway musician Vincent Broderick, published in his Turoe Stone Collection.

RING O' BELLS. English, Morris Dance Tune (2/4 tune). G Major. Standard tuning. ABABAABB. Collected from the village of Lichfield, Staffordshire, England. The dance from that village is performed with sticks and is descriptive of bell‑ringing. Bacon (The Morris Ring), 1974; pg. 235. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 109. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 3, pg. 9. EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994).

X:1

T:Ring o’ Bells

M:2/4

L:1/8

N:Lichfield morris dance

K:G

B2A2|Gc B2|AG FG|B2A2|B2A2|Gc B2|Ad d^c|d4||

d2c2|Bg e2|d2c2|Bg e2|dG c2|BF Gc|B2 A>G|G4||

RING THE BANJO. American, Country Dance Tune (2/4 time). G Major. Standard tuning. AA'BB'. Kerr (Merry Melodies), vol. 3; No. 396, pg. 43.

X:1

T:Ring the Banjo

M:2/4

L:1/8

B:Kerr – Merry Melodies, vol. 3, No. 396 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

d|dBGA|B d2 d|edBG|A3B|G>ABc|d g2e|d>cAB|1 g3:|2 G/D/E/F/ G/A/B/c/||

|:d2 d>d|B d2 d|edBG|A3 D|G>ABc|d g2e|d>cAB|1 G/D/E/F/ G/A/B/c/:|2 G3||

RINGING POST, THE. English, Jig. England, Northumberland. E Flat Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 474.

RINGS ON THE GLASS. Australian, Reel. D Major. Standard tuning. AABB. A modern composition by Peter Holmes.

X:1

T:Rings on the Glass

R:reel

C:Peter Holmes

Z:Andrew Le Blanc

M:4/4

L:1/8

K:D

||:f2df afdf| edef edBA| DFAd BABd| edea fede|

f2df afdf| edef edBA| DFAd BABd| edef d4 :||

gagf efed| cdBc A2AF| DFAd BABd| DFAd BA (3Bcd|

gagf efed| cdBc A2AF| DFAd BA (3Bcd| edef d4 :||

RINN M' EUDAIL MO MHEALLADH. AKA and see "My Darling Has Deceived Me."

RINNCE FADA. Irish, Long Dance. This generic name has become a title in the corruption of the Gaelic to English: thus "Rinnce Fada" becomes "The Fading."

RINNCE MOR, AN. Irish, Long Dance. A Major & D Major. Standard tuning. Seven parts (last two in D). Roche Collection, 1982; vol. III, pg. 41.

RINNCE NA OIDCE. AKA and see "The Night Dance."

RINNCE NA SIDEOG. AKA and see "The Fairy Dance."

RIO GRANDE. Old-Time, Breakdown. C Major. Standard tuning. AABBC. Source for notated version: Brad Leftwich [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 199. County 790, Leftwich & Higginbotham - "No One to Bring Home Tonight" (1984).

RIOBLACA, NA. AKA and see "The Rivals."

RIONDINA. English, Waltz. D Major (‘A’ part) & A Major (‘B’ part). Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 169, pg. 44.

RIOTERS, THE. English, Country Dance Tune (whole time). G Major. Standard tuning. AABBCC. The melody is unique to London publishers Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 165.

X:1

T:Rioters, The

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

GABc defg|dBAG AFED|GABc defg|dBcA G2 [G,2G2]:|

|:gdcB gdcB|ecBA ecBA|gdcB gdcB|AcDF G2 [G,2G2:||

RIP THE CALICO. See “Tear the Calico [2].”

RIP VAN WINKLE. Old-Time, Breakdown. C Major. Standard tuning. 5 String Productions 5SPO5002, Hoover Uprights – “Known for their Reputation” (2006. Learned from a tape of Kentucky fiddler Columbus Williams).

RIPON SQUADRON. English, Country Dance Tune (2/4 time). England, Yorkshire. G Major ('A' part), E Minor ('B' part) & D Major ('C' part). Standard tuning. ABC. Ripon is a town in Yorkshire. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 114, pg. 62.

RIPPLE, THE. American. The title appears in a repertoire list of Maine fiddler Mellie Dunham. The elderly Dunham was Henry Ford's champion fiddler in the late 1920's. It is perhaps "Rippling Waves Waltz"??

RIPPLE OF THE TEIGN. English, Jig. G Major. Standard tuning. AB. Composed by melodeon player Bob Cann. Barry Callaghan (2007) notes that source Cann used to alternate between the keys of G and D when playing the tune. He also explains that Cann did not write down the ‘B’ part until some considerable time after the first part, and that in the interim other ‘B’ part sections had been appended to the first. Callaghan (Hardcore English), 2007; pg. 63. Topic, Bob Cann – “Stepping Up” (2004. Various artists). Veteran VT138CD, Bob Cann – “Proper Job: Melodeon playing from Dartmoor recorded 1952-1988” (). X-Tradition TMM1927CD, The Posh Band – “English” (1999).

RIPPLING WATER(‘S JIG). Canadian, American; Jig or Quadrille. USA, northern New York, Arkansas. Canada, Prince Edward Island. G Major ('A' part) & D Major ('B' part){Bayard}: E Major (‘A’ part) & A Major (‘B’ part) {Perlman}. Standard tuning. AB (Bayard): AABB’ (Perlman). Maritime fiddler Don Messer popularized the tune, which is associated with him. The 'B' part is reminiscent of "Portland Fancy." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Sources for notated versions: Bradley Grimshaw (fiddler from northern N.Y., 1958) [Bayard]; Leonard MacDonald (b. 1933, Emyvale, Queen’s County, Prince Edward Island) [Perlman]. Bayard (Dance to the Fiddle), 1981; No. 570, pgs. 508‑509. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 145. Rounder CD7014, Leonard McDonald – “Fiddlers of Western Prince Edward Island” (1997).

T:Rippling Water

M:6/8

L:1/8

R:Jig

Z:AK/Fiddler’s Companion

K:G

DFA cBA | GAG G2z :|

K:D

gag f2e |1 ded d2f :|2 ded =cBA ||

RIPPLING WAVES. Old‑Time. USA, Arkansas. The title appears in a list of traditional Ozark Mountain fiddle tune compiled by musicologist/folklorist Vance Randolph, published in 1954.

RIPPLING WAVES WALTZ. American, Waltz. The tune appears in a list of the repertoire of Maine fiddle Mellie Dunham; the elderly Dunham (b. 1853) was Henry Ford's champion fiddler in the late 1920's. Dunham composed the tune and dedicated it to his wife. It appears in a small tunebook of his compositions and standards published by Carl Fischer.

***

Mellie Dunham. Photograph courtesy of David Sanderson, Maine

Victor 20001 (78 RPM), Mellie Dunham (Maine), 1926.

RIPPY TOE RAG. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. It is perhaps "Rippytoe Ray."

RIPPYTOE RAY. American, Fiddle and Song Tune (3/8 time). A Major. Standard or AEae tunings. One part. The 'recalcitrant fiddle' theme belongs to the "Twa Sisters" family of ballads collected in America and England, and can be referred to in most of the ballad collections.

***

And a damn good fiddler was he.

But all the tune that he could play

Was Tippytoe Ray, oh, Rippytoe Ray,

Oh, Rippytoe Ray, oh, ree‑e‑e.

Oh, Rippytoe Ray.

***

Ford (Traditional Music in America), 1940; pg. 41 and pg. 127 (discord version).

RIPSAW. American, Breakdown. USA, northern New York. D Major. Standard tuning. AABB. Source for notated version: a "family tune" of fiddler Vic Kibler (Hamilton County, New York), "all my uncles and my grandpa used to play that" [Bohrer/Kibler]. Bohrer (Vic Kibler), 1992; No. 1, pg. 1.

RIRO'S HOUSE. AKA and see "Ryro's House>."

RISE EARLY IN DA MOARNING. AKA and see "Fair Field House." Shetland, Shetland Reel. Shetland, Unst.

RISE LAZY LUBBER. AKA and see “Rise Ye/You Lazy Fellow.” Scottish, Strathspey. A Minor. Standard tuning. AAB (Gow): AABB (Glen, Johnson). John Glen (1891) finds the earliest appearance of the tune in print in Angus Cumming's 1780 collection (pg. 8). “Very Old” notes Gow (1802). Glen (Glen Collection of Scottish Music), vol. 1, 1891; pg. 24. Gow (Complete Repository), Part 2, 1802; pg. 22. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 43.

X:1

T:Rise Lazy Lubber

M:C

L:1/8

R:Strathspey

S:Glen Collection, Vol. 1 (1891)

Z:AK/Fiddler’s Companion

K:Amin

RISE THE GROUSE. AKA and see "Apples in Winter [2],” “Fruit for (the) Ladies,” "Gillan's Apples [1]" (Ullai Uí Ghiollain), “Gillian’s Apples,” “Jackson’s Growling Cat,” “Jackson’s Stranger [2],” “The Longford Jig,” “Rouse the Grouse.” Irish.

RISE UP JOCK. New England, Polka. C Major. Standard tuning. AABB'. Miller & Perron (101 Polkas), 1978; No. 89.

RISE UP MY LOVELY MOLLY. Irish, Air (4/4 time). E Flat Major. Standard tuning. AB. Source for notated version: “From Mr. Fitzgerald” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 511, pg. 129.

X:1

T:Rise up my lovely Molly

M:C

L:1/8

S:Stanford/Petrie (1905), No. 511

Z:AK/Fiddler’s Companion

K:Eb

B>e ef g2 fe | e>d ef B2 B>A | (G2 F>)E FB (3AGF | (E4 E2) ||

GE GA B2 Bc/d/ | e>d ef g2 fe | Be d/B/A GB A/G/F | (E4 E2) ||

RISE UP YOUNG WILLIAM REILLY. Irish, Air (2/4 time). F Minor. Standard tuning (fiddle). One part. Stanford/Petrie (Complete Collection), 1905; No. 510, p. 129.

X:1

T:Rise up young William Reilly

M:2/4

L:1/8

S:Stanford/Petrie (1905), No. 510

Z:AK/Fiddler’s Companion

K:F Minor

c/>B/ | BA FF | A>B cc | BA FF | F3 || F/G/ | AB cd/e/ | ff B>c | de cB | c3 || F/G/ |

AB cd/e/ | ff Bc | de/d/ cB | c3 || e/>c/ | BA FF | A>B cc | BA FF | F3 ||

RISE YE/YOU LAZY FELLOW. AKA and see “Rise Lazy Lubber.” Scottish, Reel. A Minor. Standard tuning (fiddle). AABB'. John Glen (1891) finds the earliest appearance of the tune in print in Angus Cumming's 1780 collection (as the strathspey “Rise Lazy Lubber,” p. 8). As “Rise Ye Lazy Lubber” it was included in the 1840 music manuscript collection of Waverton, Cumbria, musician John Rook (p. 189). Kerr (Merry Melodies), vol. 2; No. 67, p. 10. Stewart-Robertson (The Athole Collection), 1884; p. 49.

X:1

T:Rise Ye Lazy Fellow

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Amin

aegd edca|gedc A3g|aegd edce|dega A3||

RISING OF THE LAMPREY. American, Reel. “The tune is an original composition by Sarah Hydorn. It commemorates the flood of 1987, when Sarah, her husband, and their six month old baby were forced to leave their home via canoe when the Lamprey River overflowed its banks.” Smithsonian Folkways SFW CD 40126, Lamprey River Band – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

RISING OF THE LARK. AKA and see "The Evergreen," “Evergreen Lasses,” “The Fowling Piece,” "Monongahela College" (Pa.), "Mother Carey's," "Old Temple House Reel,” “Pretty Maids of Bulgaden,” “Pretty Girls of Bulgaden,” “Rising of the Lark,” “Templehouse (Reel),” “The Tipsy House." Irish, Reel.

RISING OF THE MOON, THE (Eirge Na Re). Irish, Air (4/4 time, "with animation"). A Major (sometimes A Dorian). Standard tuning (fiddle). AB. The song, with words by John Keegan Casey (1846-1870), was set to the air of “The Wearing of the Green” some sixty years after the Irish rebellion of 1798. Casey was in prison at the time for the crime of being a Fenian, and died in prison at the tender age of twenty-three as a result of his sufferings. According to a review of "A Wreath of Shamrocks" which appeared in The Nation in February, 1867, the “Rising of the Moon” was said to have been written for circulation on ballad sheets around fairs and Markets. Redfern Mason wrote in his Song Lore of Ireland (1910):

***

There is, in true national poetry an accent of sincerity which goes straight

to the heart and cannot be imitated...nowhere does it ring with a more

pathetic thrill than in "Wearing of the Green". The writer was a lad when

he first heard it sung in Boucicault's Arrah na Pogue (1865)...Because it

was sung in Boucicault's drama, many people have imagined that the clever

playwright wrote it. But nobody can claim its authorship. It is an inspired

street ballad, born of the sorrow and bitterness of the people.

***

In Ireland the song “Rising of the Moon” is always sung to the tune of “Wearing of the Green.” Many Americans recognize the song as popularized by the folk group Peter Paul and Mary in the late 1960’s, who sung it to a different air. Terry Moylan tracks the origin of this air to an article called “Four County Clare Tunes” by Edith Wheeler, contributed in 1905 to volume 3 of the Journal of Irish Folk Song Society. All were collected by herself, including a version of "The Foggy Dew" and "The Rising of the Moon,” to which she appended a note that the tunes had little in common with the usual tunes to which the songs were sung. Colm O Lochlainn preferred the JIFSS tune for the song (and also said his grandfather had sung the song to her air) and published it with “The Rising of the Moon” in his book More Irish Street Ballads (1965). It was his opinion that “The Wearing of the Green” tune was a clumsy match for the words. The O’ Lochlainn book was very influential during the folk song revival of the mid-20^th century, and Moylan feels confident this was the source used by Peter, Paul and Mary.

***

There have been still more melodic vehicles for the song. The late guitarist Tony Cuffe wrote a melody for it in the 1970’s.

O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 158, pg. 28.

X:1

T:Rising of the Moon, The

L:1/8

S:O’Neill

M:C

K:D

D3 E F2 G2|A2 d2 c A3|F3 A G2 E2|D2 D2 [E4C4]|\

D3 E F2 G2|A2 d2 c A3|F3 A G2 E2|E2 D2 D4||

A2 B2 c2 d2|e2 d2 c A3|F3 G A2 B2|c2 d2 A4|\

A2 B2 c2 d2|e2 d2 c A3|F3 A G2 E2|E2 D2 D4||

X:2

T:The Rising of the Moon

M:2/4

L:1/8

K:D

X:3

T:Rising of the Moon

S:O'Lochlainn, More Irish Street Ballads, p. 134

Z:Jerome Colburn

N:C.O'L. has it in Cm, in 2/4 (his eighth = my quarter)

N:and bars it a half-measure off.

M:4/4

K:Em

E3 F G2 A2 | B2 e2 d B3 | A2 F2 B2 AF |1 E2 E2 E4 :|2 E3 E E4 ||\

B2 e2 e3 d | f3 e d2 B2 | A2 B2 d B3 | d2 f2 e4 |\

B2 e2 e2 d2 | f3 e d B3 | A2 F2 B2 AG | E3 E E4 |]**

RISING OF THE SON. Irish, Hornpipe. D Major. Standard tuning. AABB'. Roche Collection, 1982, vol. 2; No. 221, pg. 14.

RISING OF THE SUN, THE. AKA and see "The Rising Sun [2]," "Inch of Garth," "Clear the Road," "The Blackthorn Stick [4]," "The Irishman's Blackthorn Stick," "The Jolly Clam-Diggers," “Old Blackthorn," “An Sean‑draighnean."

RISING OF THE YEAR 1715, THE (Tha tighinn fodham Éiridh). Scottish, Strathspey or Air. E Flat Major (Fraser): G Major (Morison). Standard tuning. AABB. "The chorus of this air, and its name, are well known to allude to the rising of the year 1715; but the baccanalian song attached to it is in compliment to Allan Macdonald of Clanranald, slyly instigating him and his followers to rise in what theyt called 'the rightful cause.' It is extraordinary to find that this little ancient air embraces the subject of two favourite Scots tunes, which seem to have been built upon it, viz., 'O'er the Muir among the Heather,' and 'Peggy Now the King's Come,' ‑‑ while the original, in the Highlands, is in as great request as ever" (Fraser). Morison notes: “Song of the time of the (Rising of 17)45.” Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 225, pg. 92. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 15, pg. 8.

X:1

T:Rising of the year 1715, The

T:Tha tighinn fodhan Éiridh

M:C

L:1/8

R:Air or Strathspey

S:Fraser Collection (1874)

Z:AK/Fiddler’s Companion

K:E_

B,<E E>D E>C E<B,|C<F ~F>G A>GFE|G<B ~B>c B<a g>f|e>c B>G F2E2:|

X:1

T:Tha tighiun fodham èiridh

T:I think of rising

M:C

L:1/8

R:Air

N:”Slowly”

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 15 (c. 1882)

Z:AK/Fiddler’s Companion

K:G

D<G G<G G>A G<D | E<G A<A B>A A>G | D>E G<G G<G g>d | eg d>B A2G2 :|

|: B>G G>G A>G ED | BA AA B>A G<E | {G}D>E GG g>d eg | d>B AG A2G2 :|

RISING STEP, THE. Irish, Jig. G Major. Standard tuning. AABB’. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 170.

X:1

T:Rising Step, The

M:6/8

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

K:G

dcd BAG|BdG BAG|ABc "tr"B2 A|GED D2:|2 dcd efg|afd edB|cdc "tr"B2 A|GED D2||

RISING SUN [1], THE (Éirí na Gréine). AKA and see “The Master’s Return.” Irish, Reel. D Major. Standard tuning. AB. See note for “The Master’s Return.” Source for notated version: flute player James Murray (b. 1947, Ougham, outside Tubbercurry, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 167.

X:1

T:The Rising Sun

M:4/4

L:1/8

R:Reel

D:Session tape - Mullach, Clare 1985

Z:Bernie Stocks

K:D

RISING SUN [2], THE ("Éirí na Gréine" or "An Grianract"). AKA and see "The Blackthorn Stick [4]," “Brightest Eyes,” "Clear the Road," “Countess of Lothean’s Reel,” “Countess of Louden(’s Reel),” "Inch of Garth," "The Irishman's Blackthorn Stick," “The Jolly Clam-Digger’s,” “Mahon’s Reel,” “The Old Blackthorn,” "The Rising of the Sun," "An Sean‑draighnean." Irish, Reel. D Major. Standard tuning. AB (Breathnach): ABC (O'Neill). See also variants “Sweeney’s Dream” and “Girl with the Laughing Eyes.” The tunes “The Old Blackthorn” and “The Jolly Clamdiggers” are also versions, although with different ‘B’ parts. Donegal fiddler Francie Byrne’s “Rising Sun” printed in An Ceol VBreathnach (CRÉ II), 1976; No. 260, pg. 134 (Breathnach (1976) took the title from Goodman’s manuscript as source Russell had no name for it). ol. 3 is a version of this tune. Sources for notated versions: fiddler Denis Murphy, (Gneeveguilla, Co. Kerry, Ireland) [Breathnach]; tin-whistle player Micko Russell (Doolin Co. Clare, Ireland) [Breathnach]. Allan's Irish Fiddler, No. 54, pg. 13. Breathnach (CRÉ II), 1976; No. 214 [1], pg. 111. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 608, pg. 110.

X:1

T:Rising Sun [2]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 608

Z:AK/Fiddler’s Companion

K:D

(3Bcd eg fdBc | dcdB AGFD | (3EFG FE D2 || Ac | defg f | gfed cd (3efg |

afbf afdf | abag fd (3efg | afbg afdf | gfed fdBc |d2 FG A2 de | faef d2 ||

RISING SUN [3]. AKA and see “Guiry’s Reel,” “Lady Montgomery [3],” “Miss Montgomery,” “Phelim’s Frolic(s).” Irish, Reel. D Major. Standard tuning. AAB. A variation of the above versions. 78 RPM-era fiddler Hugh Gillespie (originally from County Donegal). See also P.W. Joyce’s “Guiry’s Reel.” Source for notated version: “As played by Jimmy Norton, the Boss Jig Player,” notes Howe. Norton, according to NYC writer, musician and researcher Don Meade, was a child prodigy on the mid-19^th century stage, and performed a variety of talents, including fiddling) [Howe]. Breathnach (CRÉ II), 1976; No. 260, pg. 134 (Breathnach (1976) took the title from Goodman’s manuscript as source Russell had no name for it). Cole (1000 Fiddle Tunes), 1940; pg. 18. Howe (1000 Jigs and Reels), c. 1867; pg. 49. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 171, pg. 40. Ryan’s Mammoth Collection , 1883; pg. 41.

X:1

T:Rising Sun Reel [3]

M:2/4

L:1/8

R:Reel

S:Howe – 1000 Jigs and Reels (c. 1867)

N:”As played by Jimmy Norton, the Boss Jig Player.”

Z:AK/Fiddler’s Companion

K:D

d2 dA | FGAc | d2 dA | cdef | d2 dA | FGAF | Eeed | cdef :|

|: d2 ad | fdad | d2 ad | cdef | d2 ad | fdad | gfed | cdef | d2 ad |

fdad | d2 ad | cdef | bgaf | gefd | edcB | Agfe ||

RISING SUN [4]. AKA and see "The Sons of William," "Come (Let Us) Dance and Sing," "Inkle and Yarico," "(La) Belle Catharine [1]." American, Reel. USA, southwestern Pa. D Major. Standard tuning. AB. Bayard (1981) thinks this a dance tune daing from some time in the 18th century, commonly appearing then with the title "La Belle Catherine" in earlier collections. Moffat & Kidson (Dances of the Olden Time, 1912) date it from 1780 and call it an "allemand." Some of the titles denote to Bayard its use as an Orange Irish (northern Protestant) tune. Source for notated version: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 375, pg. 364.

RISING SUN [5]. AKA and see “The Galway Rambler.” Irish, Reel. G Major. Standard tuning. AB. The tune appears under this name in Luke O’Malley’s collection, although almost always called by the “Galway Rambler” title. Source for notated version: Joe Flynn [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 7, pg. 4.

X:1

T:Rising Sun [5]

T:Galway Ramber, The

M:C|

L:1/8

R:Reel

S:O’Malley Collection

K:G

G2 dG eGdG | ~G2 dB AGEF | G2 {A}GF GA (3Bcd | gedB AGEG ||

ga (3bag a2 ga | (3bag ag ea~a2 | gedB AGEF ||

RISING SUN [6]. AKA and see “The Boys of Ballinahinch,” “Mullin’s Fancy,” “The Strawberry Blossom [1].” Irish. The tune was recorded as “The Rising Sun” around 1924 by Galway flute player Tom Morrison.

RISING SUN [7]. English, Country Dance Tune (6/4 time). D Major. Standard. AB. Plain Brown Tune Book, 1997; pg. 36.

X:1

T:Rising Sun [7]

M:6/4

L:1/8

K:D

A2F2D2 E2C2A,2 | B,C D2D2 D4 ED || CD E2C2 A2E2G2 | F2D2d2 cd e2D2 |

CD E2E2 E4 F2 | G2B2G2B2G2B2 | e3 fed c2 cd e2 | f6 d2 d4 ||

RIT SUAS NA STAIGRIDE. AKA and see "Trip it Up Stairs [1]."

RITA KEANE’S. AKA and see “Ballinasloe Fair.”

RITA’S TEAROOM. Canadian, Jig. Canada, Cape Breton. D Major. Standard. AAB. A modern composition by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 99, pg. 36. Celestial Entertainment CECS001, Brenda Stubbert - “In Jig Time!” (1995).

RIVAL HORNPIPE, THE. AKA ‑ "Rival Reel." Scottish, New England; Hornpipe or Reel. G Major. Standard. AA'B (Kerr): AABB (Cole, Page). Al Smitley suggests the tune could possibly have been named for the clipper ship Rival, a name that appears in American Clipper Ships 1833-1858 by Howe and Matthews. Cole (1000 Fiddle Tunes), 1940; pg. 30 (appears as "Rival Reel"). Kerr (Merry Melodies), Vol. 2; No. 360, pg. 39. Page (Ralph Page Book of Contras), 1969; pg. 23. Ryan’s Mammoth Collection, 1883; pg. 55.

X:1

T:Rival Hornpipe

M:2/4

L:1/8

R:Reel

N:Also played as a hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

G/D/G/B/ d/G/B/d/ | g/f/e/d/ c/B/A/G/ | A/B/c/d/ e/c/A/F/ | GGG :: (F/G/) |

A/D/F/D/ A/D/F/D/ | c/D/B/D/ A(G/A/) | B/D/G/D/ B/D/G/D/ | d/D/c/D/ BD |

G/D/G/B/ d/G/B/d/ | g/f/e/d/ c/B/A/G/ | A/B/c/d/ e/c/A/F/ | GGG :|

RIVAL REEL, THE. See "Rival Hornpipe."

RIVALS, THE (Na Rioblacide/Rioblaca). Irish, Double Jig. A Major/Mixolydian (O’Neill/1850): A Dorian (O’Neill/1001). Standard. AABBCC (O'Neill/Krassen, 1001 & 1850): AAB (O'Neill/1915). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 134, pg. 77. O'Neill (Krassen), 1976; pg. 70. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1103, pg. 208. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 294, pg. 63.

X:1

T:Rivals, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland (1907), No. 294

Z:AK/Fiddler’s Companion

K:A Dorian

RIVER BEND, THE. Canadian, Jig. Canada, Cape Breton. A Mixolydian. AABB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Editor John Donald Cameron remarks that the tune is a “Cape Breton square dance favorite,” written to commemorate a successful day’s fishing in a small trout river that flows through his childhood home of Judique South. Source for notated version: Andrew Jones (b. 1918, Roseville, Prince Edward Island; now resident of Pleasant View) [Perlman]. Cameron (Trip to Windsor), 1994; pg. 43. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 140.

RIVER CREE, THE. AKA and see “Humours of Donnybrook.” Irish (originally), Scottish, Jig. G Major. Standard. AA’BB. The River Cree is a dance, set to the tune of “Humours of Donnybrook.” Dance and tune names become interchangeable through association. Martin (Ceol na Fidhle), Vol. 4, 1991; pg. 46.

RIVER JOHN SUNSET WALTZ. Canadian, Waltz. Canada, Prince Edward Island. D Major. Standard. AABB. Composed by Nova Scotia musician Florence Killen, the tune was popularized by New Brunswick fiddler Ivan Hicks. Central New York fiddler Chad Miller reports that the tune has become somewhat of a ‘standard’ in his region, learned from visiting Canadian fiddlers. Source for notated version: Archie Stewart (b. 1917, Milltown Cross, South Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 172.

RIVER LINN, THE. Irish, Slow Air (2/4 time). E Minor. Standard. AB. Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, c. 1846, via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 608, pg. 314.

RIVER OF PONDS. Canadian, Jig. Canada, Newfoundland. D Major. Standard. AA’BB’. Composed by the late Newfoundland musician Rufus Guinchard, from the northern peninsula.

X:1

T:River of Ponds

R:Jig

Z:From Rufus Guinchard

M:6/8

L:1/8

K:D

Bcd f2 e|1d3 d3:|2d3d2 e|

Bcd e2 c|1d3 d2 e:|2d3d3||

RIVER ROAD [1]. Old-Time, Breakdown. A Major. Standard. AABB. Source for notated version: Benny Thomasson (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 112.

RIVER ROAD [2]. Old-Time, Breakdown. B Flat Major. Standard. ABB'. Source for notated version: Matthew Hartz [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 113.

RIVER ROE, THE. AKA and see "Patrick Sheehan." Irish, Air (6/8 time). E Minor/G Major. Standard. One part. "Written from memory. I have a copy of the song all about a lady who went 'a‑bathing in the Roe'. The air is also called 'Henry the Sailor Boy', about whom there was a song:‑‑

***

The captain gave him fifty pounds the moment he did land;

'And that day young Henry married was unto his Mary Ann.'

***

The River Roe is in Derry county; and this is an Ulster air" (Joyce). In County Derry the river flows through Dungiven, not far from Slieve Gallen (Gallen's Mountain). Cazden (et al, 1982) collected the tune in the Catskill Mountains of New York, married several lyrics, especially one entitled "As I Went Down to Port Jervis," a song about two sons' leavetaking for the Civil War that was itself derived from an earlier Irish song about the Crimean War. Peggy Seegar calls it a 'general-purpose' air distributed widely among English speaking peoples and, in fact, upon reviewing pertinent musical literature Cazden finds the melody the vehicle for several songs, among them William Allingham's "The Winding Banks of Erne," and an Irish struggle song from the latter 19th century called "A New Song on the Manchester Martyrs, or The Smashing of the Van." In lumbercamps in the American Northeast and the Canadian Maritimes the melody was heard sung as "Driving Saw Logs on the Plover" and "John Ladner," and it has been used for songs in Australia. Joyce (Old Irish Folk Music and Song), 1909; No. 13, pgs. 9‑10. Roche Collection, 1982, vol. 1; No. 79, pg. 36.

X:1

T:River Roe, The

M:6/8

L:1/8

R:Air

S:Joyce – Old Irish Folk Music

Z:AK/Fiddler’s Companion

K:E Minor

G/A/|B2 B G2B| A3 G2E|D2E G2G|(G3 G2)c|B2A Bcd|

e2e d2e|G2G AGF|(E3 E2)c|B2 A|Bcd|e2e d2e|G2G AGF|

E3 G2A|B2B G2B|A3 G2E|D2E G2G|(G3 G2)||

RIVER STAY 'WAY FROM MY DOOR. Old-Time, Breakdown. G Major. From West Virginia fiddler and folklorist Gerry Milnes.

RIVERSIDE [1]. Canadian, Strathspey. Canada, Cape Breton. D Minor. Standard tuning. ABC. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 23.

RIVERSIDE [2]. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB’. Composed June 17, 1966, by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 40.

RIVERSIDE WALK>, THE. Irish, Hornpipe. F Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 76.

RIVIERE-DU-LOUP, LA. French-Canadian, Reel. D Major. Standard tuning. ABB'. Riviere-du-Loup is a town located on the east bank of the St. Lawrence river, above Quebec City. Source for notated version: Fortunat Malouin (Saint-Sauveur, Québec) [Joyal]. Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pgs. 69 & 116. Columbia 34149-F (78 RPM), Fortunat Malouin (1928).

RJUKANFOSSEN. Norwegian, Slatt. Composed by Knut Dahle of Tinn, Telemark district, Norway. The melody came to him in a dream while he rested by the side of the great waterfall at Rjukan, Telemark.

______________________________________

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