The Fiddler’s Companion

© 1996-2007 Andrew Kuntz

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

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

 

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

 

 

 

ROCDAIRE GRANDA. AKA and see "(An) Ugly Customer."

                       

ROCHDALE COCONUT DANCE. English, Country Dance and Morris Dance Tune (4/4 time). E Minor ('A' part) & G Major ('B' part). Standard tuning. AAB {The parts and repeats are reversed in Raven's and Wade's versions, and the tune is heard beginning on either part in various sessions}. Tune used for a polka step in the North‑West (England) morris dance tradition. The “Rochdale Coconut Dance” was published by Anne Gilchrist in her article “The Lancashire Rush-Cart and Morris Dance” in the Journal of the English Folk Dance Society in 1927. It had been sent to her by Dr. Henry Brierley, a native of the cotton-mill town of Rochdale, Lancashire, who said the tune was used to accompany the Rochdale rush-cart in the 1850’s. “The dancers held half a coco-nut shell in each hand,” writes Gilchrist, “a half-shell also being strapped to each knee, and clapped the shells rhythmically to the following unvarying tune, played by the band. The dance was stationary, but according to his recollection the coco-nut dancers preceded the drawing-team of young men, ‘prancing’ in the procession. The tune has a general resemblance to Mr. Cecil Sharp’s traditional versions of both Country Gardens and Hunt the Squirrel. I have seen no other record of this dance.” Simpson & Roud (Dictionary of English Folklore, 2000) identify Coconut Dancers as performing in the Lancashire town of Bacup on Easter Saturday. Bacup is a mill town, and the ‘coconuts’ employed by the dancers are bobbin tops from the mill which the dancers strap onto their hands, knees and waist. There are eight male dancers in the group, with a ‘whipper-in’ to help with clearing the space for the performance at each stop in the procession through the town. The dance itself is in the garland dance genre, performed with decorated semi-circular whoops, with dancers in costume and with blackened faces. Simpson and Roud date the tradition as starting at least as far back as 1857, although folklore investigations into the tradition date only from the 1920’s.  The melodies (there are a half-dozen or so Bacup tunes, as well as the Nut Dance) have been popularized in modern times through the playing of the New Victory Band, Brass Monkey, and others. Raven (English Country Dance Tunes), 1984; pg. 158. Townsend (English Dance Music, vol. 1), 1993. Wade (Mally’s North West Morris Book), 1988; pg. 16.  BASH CD47, New Victory Band – “One More Dance and Then.” Fellside RECD 161, John Spiers & Jon Boden – “Through & Through.” Topic TSCD531, Brass Monkey – “Going and Staying” (2001).

X:1

T:Rochdale Coconut Dance

M:4/4

L:1/8

K:E Minor

EFGF E2B2|EFGF E2B2|c2 Ac B2GB|1 AG F2 E2 D2:|2 AG F2E4:|

G2 BB G2B2|AGFG A2dd|G2BB G2B2|agfe d2D2|

G2BB G2B2|AGFG A2dd|BdcB AcBA|G2F2G2D2||

                       

ROCHE HORNPIPE. Scottish, Hornpipe. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 323, pg. 35.

X:1

T:Roche Hornpipe

M:C

L:1/8

R:Hornpipe

S:KerrMerry Melodies, vol. 3, No. 323  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

(AG) | FDFD d2 (de) | fdfd BcdB | AFdF GFED | CEEE E2 (DE) |

FDGE AFBG | ABcd efge | fafd egec | d2d2d2 :|

|: (fd) | cABc d2 (fd) | cABc d2 (AG) | FAdA GFED | CEEE E2 (DE) |

FDGE AFBG | ABcd efge | fafd egec | d2d2d2 :|

                       

ROCHELLE, LA. French, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. Aird (Selections), vol. II, 1782; No. 151, pg. 55.

X:1

T:Rochelle, La

M:2/4

L:1/8

S:Aird, Vol. II (1782)

Z:AK/Fiddler’s Companion

K:D

a | affa | affa | bgec | d/c/d/e/ da | affa | affa | bgec | d2d :|

|: e/d/ | cccc | dd de/f/ | gggg | f/e/f/g/ ff | cccc | dd de/f/ | gedc | d2 d :|

                       

ROCHES FAVOURITE. Irish, Set Dance. RCA 5798-2-RC, "James Galway and the Chieftains in Ireland" (1986).

                       


ROCHESTER SCHOTTISCHE [1]. AKA and see "Patrick County Blues," "Walking in the Parlor [2]." Old‑Time, Breakdown. USA; North Carolina, Virginia. D Major. ADae or Standard tuning. AB (Silberberg): AABB (most versions). Irregular parts (each has 10 measures rather than the usual eight), and it is played as a breakdown. Tommy Jarrell's "Rochester Schottische" is not a schottische at all, much less the "Rochester Schottishe" found in older collections in North America (which even some Southern fiddlers have occasionally picked up from these sources). Barry Poss (1976) suggests that "Rochester Schottische" was played at one time in the Round Peak (N.C.) area, but that the title became detached from the melody, and, as a "floater," became attached to this tune. Similarly, the alternate title, "Walkin' in the Parlor," can be found in the South in numerous versions, though all seem dissimilar to this tune of Tommy Jarrell's. Sources for notated versions: Becky Miller [Phillips]; Kerry Blech (Seattle) [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 232. Johnson (Kitchen Musician No. 2: Old Timey Fiddle Tunes), 1982 (revised 1988 & 2003); pg. 10. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 200. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 131. Songer (Portland Collection), 1997; pg. 169. Spandaro (10 Cents a Dance), 1980; pg. 16. County 756, Tommy Jarrell‑ "Sail Away Ladies" (1976).

See also listing at:

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

X:1

T:Rochester Schottische

L:1/8

M:C|

K:D

f>(d e)>d d2 d>d|d>(B A)>G F2 F>F|f>(d e)>d d2 B>B|A3 A A4|

f>(d e)>d d2 d>d|d>(B A)>G F2 F>G|A>(BA)>(G F)>DE>F|D8:|

|:A>(BA)>(G F)>DD>D|E>(DE)>F G2 B>B|A>(BA)>(G F)>DD>D|E>(DE)>F G2 B>B|

A>(BA)>(G F)>DD>D|E>(DE)>F G2 F>G|A>(BA)>(G F)>DE>F|D8:|

 

ROCHESTER SCHOTTISCHE [2]. AKA and see "Cat Clumb Up the Plum Tree." "Helvetia Polka," "Hi Lo Schottische," "Jack Clumb Up the Plum Tree Schottische," "Poor Uncle Davy," "The Sparrow in the Treetop,” “Birdy in the Treetop," "What the Devil Ails You [2]." American, Schottische. USA; southwestern Pa., Michigan. D Major ('A', 'B' and 'C' parts) & G Major ('D' part) {Ford}: D Major {Bayard}: D Major ('A' part) & G Major ('B' part) {Bayard}: D Major ('A' part) & A Major ('B' part) {Bayard}. Standard tuning. AB (Bayard): ABC (Bayard): AABCD (Ford). A very popular schottische from the mid-19th century. Known from tradition to Buffalo Valley, Pa., region dance fiddler Harry Daddario in the mid-20th century, and to Michigan fiddlers around the same time (some of whom called it “Cat Clumb Up the Plum Tree” and “What the Devil Ails You?”). Sources for notated versions: eight southwestern Pa. fiddlers and fifers [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 424A‑H, pg. 402‑404. Ford (Traditional Music in America), 1940; pg. 160. (Olde Michigan) Ruffwater Stringband (Michigan) ‑ "Michigan Winter" (198‑).

 

ROCHESTER SCHOTTISCHE [3]. Canadian, Schottische. C Major. Standard tuning. AABB. Messer (Way Down East), 1948; No. 94. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 181, pg. 125.

X: 1

T:Rochester Schottische

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:C

g/a/g/^f/|a>ge>d c>B (3cde|d2A2 A3c|B2F2 F>EF>B|A2G2 G2g/a/g/^f/|

a>ge>d c>B (3cde|d2A2 A3c|B>G^F>G e>dB>G|c2e2 c2:|

|:E>F|(3G^FG (3cBc (3e^de (3g^fg|f2A2 A3c|B2F2 F>EF>B|A2G2 G2E>F|

(3G^FG (3cBc (3e^de (3g^fg|f2A2 A2A>c|B>G^F>G e>dB>G|c2e2 c2:|

 

ROCHESTER SCHOTTISCHE [4]. American. Unlike versions 1,2 and 3. June Appal 028, Wry Straw ‑ "From Earth to Heaven" (1978).

                       

ROCK ABOUT MY SARO JANE. Old‑Time, Song Tune. County 521, Uncle Dave Macon and His Fruit Jar Drinkers ‑ "Original Recordings 1925‑1935."

                       

ROCK ALONG JOHN TO KANSAS. See "Heel Flies."

                       

ROCK AND RYE POLKA. American, Polka. USA, Pa. In the repertory of Buffalo Valley, Pa., region dance fiddler Ralph Sauers.

                       

ROCK AND RYE RAG. Related to "I Don't Love Nobody."

                       


ROCK AND THE/A WEE PICKLE TOW, THE/A. AKA and see "Captain Collins," "The Carawith Jig," "Green Goose Fair [1]," "The Highlander's March," "Montrose's March," "The Onehorned Cow [2]," "O'Sullivan Mor(e's March) [1]," "Painneach na nUbh [1]," "Pickle Tow," "The Pretender's March," "The Retreat," "Scottish March," "The Scotch March [1]," "Tadeen the Fiddler," "Wee Pickle Tow." Shetlands, English, Irish, Scottish; Air or Jig. England, Northumberland. Ireland, Donegal. A Major. Standard tuning. AABB. Regarding the title, a rock is a distaff, a device that holds the flax strick or the fiber for spinning. It is called a rock because the weight, or whorl, was frequently a shaped and pierced rock. A ‘wee pickle tow’ is a small piece of prepared short flax fibers combed from longer fibers called "line". Thus it was a spinning song, the tune of which proved popular and served many purposes over the years. Christine Martin (2002) notes that “rocking meets” were held in some parts of Scotland, in which all spinners gathered in one house in the village to spin. It was used as a march tune under many different titles, and was one of the favorite songs of the early 19th century in Lowlands Scotland, according to Peter Mackenzie, "the genial reminiscer of Glasgow" (Emmerson, 1971). John Glen, in his Early Scottish Melodies (pg. 197), traces the tune to the 1663 edition of Playford’s Musicks Hand-Maid where it appears under the title “A Scotish March.” Playford later printed the same tune as “Montrose’s March” in this 1669 Musick’s Recreation. The title “A Rock and a Wi Pickle Tow” first appears with the melody in Oswald’s Curious Collection of Scots Tunes (1740), finds Glen. A similar air exists in Shetland as "The Bride's March" as played by John Stickle of Unst. As "Rock and Pickal o' Taw" it is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript, and elsewhere the title appears as the name of a Scottish country dance. In Northern Ireland the tune is current in traditional repertoire under the title “Wee Pickle Tow.” Other related tunes include the Irish jig “Out on the Ocean [1],” the Shetland “Doon da Rooth” (in 21/8 time!), as well as a pipe march, "Iain Caimbeul a Banca.” Bayard (in “A Miscellany of Tune Notes”) reports that Irish traditional versions are sometimes associated with the rhyme “There was an old woman tost up in a basket (blanket),” which rhyme is also associated with the tune “Lilliburlero.” The melody is still quite popular with bagpipers and fiddlers. Source for notated version: Ian Kennedy (Fort William, Scotland) [Martin/2002]. Aird (Selections), 1778; vol. 1, No. 194. Gale, pg. 24. Gow (Complete Repository), Part 4, 1817; pg. 17. Gow (Vocal Melodies of Scotland), 2nd ed., 1822; pg. 27. Johnson (Scots Musical Museum), 1787‑1803; vol. 4, No. 439. Kennedy (Fiddler’s Tune Book), vol. 2, pg. 31. Kerr (Merry Melodies), vol. 1; No. 10, pg. 31. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 48. Martin (Traditional Scottish Fiddling), 2002; pg. 81. McGibbon (Collection of Scots Tunes), 1769?, pg. 55. McGibbon (Collection of Scots Tunes, book II), c. 1746; pg. 55. Mooney, 1982, vol. 1 (Choicest Scots Tunes/Bagpipe); pg. 15. Oswald (Caledonian Pocket Companion), c. 1780, vol. 1, pg. 8. Smith (Scottish Minstrel), 1820‑24; vol. 6, pg. 62. Thompson (A Select Collection of Original Scottish Airs) 1805; vol. 4, No. 199. Culburnie COL 102, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988).

X:1

T:Rock and wee pickle Tow, The

M:6/8

L:1/8

N:”Slow

S:Gow4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:F

C|C/D/FF (AF)A|(cf)A G2 c/B/|(AF)G A2~G|AFF F2:|

f|d(df) ~d2f|d(df) (dc)A|c(cd) c2d|(cf)A G2A|B>cd dBd|

{d}cBA G2B|(AF)G A2~G|AFF F2f|(f/e/)dd ~d2f|(f/e/)dd {de}f2d|

(d/c/)cc c2a|{ga}b2a {a}g2 (f/4g/4a/)|bag fed|(cf)A G2 (f/4g/4b/)|afg a>bg/b/|aff f2||

X:2

T:Rock & a wi pickle Tow, A

M:3/4

L:1/8

R:Air

N:”Slow

S:McGibbonScots Tunes, book II, pg. 55 (c. 1746)

Z:AK/Fiddler’s Companion

K:G

D2 | E2G2A2 | B4d2 | (e>fg)B2 | A4 “tr”(f>e/2f/4) | g2G2A2 | “tr”B3A (B/c/d) | B2G2(GA) | G4 :|

|: (gf) | e2e2g2 | e2 efg2 | “tr”(e>de)fgf | “tr”e3dB2 | d3ed2 | d2e2f2 | g2fedc | ({c}”tr”B2) AB G2 |

c2B2c2 | d2e2f2 | (gf)(ed)(cB) | “tr”A4 “tr”(f>e/2f/4) | g2G2A2 | “tr”B2 (A<G) G>A) G4 :|

                       

ROCK ANDY. AKA – “I’ll Learn You How to Rock Andy.” AKA and see “Rock Candy.” Old‑Time, Breakdown. A Mixolydian. Standard tuning. AA’B. From Pike County, eastern Kentucky, fiddler Owen “Snake” Chapman, a retired coal-miner, learned from his father, G.W. “Doc” Chapman, born in 1853. Family lore has it that Owen’s grandfather split rails with Abraham Linclon. “Doc” Chapman sang these words to the tune, according to his son:
***

Massy he bought me

Then Massy he sold me

Then they took me down by the riverside

And learned me how to rock Andy.

***
Cho.:

You can rock them ladies but you can’t rock me (x3)

I’ll learn you how to rock Andy.

***

The title is a corruption of ‘Rock Candy’, the name of a now-forgotten dance form, explains Mark Wilson, which makes more sense than Owen Chapman’s story that involves a farmer who took his slave down to the river to practice throwing rocks at Yankee soldiers. Titon (2001) identifies the tune as being in the “Paddy on the Turnpike” family, related to “Ducks on/in the Pond” and the high part of “June Apple.” Source for notated version: Owen “Snake” Chapman (Canada, Pike County, Ky., 1995) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 66, pg. 95. Rounder 0378, Owen “Snake” Chapman – “Up in Chapman’s Hollow” (1996). Rounder Heritage Series 1166-11592-2, Owen “Snake” Chapman (et al) – “The Art of Traditional Fiddle” (2001). Pearl Mae 001B, Jim Taylor & Bruce Greene – “Falls of Richmond” (1989). Jim Taylor – “The Civil War Collection“ (1996).

                       

ROCK CANDY. Old‑Time, Breakdown. USA, Mississippi. A Major. See also “Rock Andy.” Recorded in 1939 by Herbert Halpert for the Library of Congress from the playing of Clarke County, Mississippi, fiddler Charles Long (who was originally from Choctaw County, Alabama). Rock Candy, sometimes given as Rock Andy, is the name of a now-forgotten dance form, according to Mark Wilson.

                       

ROCK, JENNY ROCK. Old-Time, Breakdown. G Major. Standard tuning. AABB. The 'B' part accompaniment is basically an 'E' Minor chord until the ending 'G' chord. See the related tunes "Wild Horse" and "Rich Mountain." Source for notated version: Red Herron [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 201.

                       

ROCK, LITTLE JULIE. Old‑Time, Breakdown. USA, Kentucky. A driving banjo tune recorded by eastern Kentucky musicians in the 1920's.

                       

ROCK OF CASHEL. See "Rocks of Cashel."

                       

ROCK OF MUFF. AKA - “Star of Munster”? Irish. Ireland, Co. Cavan. O’Neill (1913) relates it was a great favorite in County Cavan, and was named after the high plateau-topped rock near Kingscourt, on which an annual Feis was held.

                       

ROCK ON THE CLYDE, THE. Irish, Jig. G Major. Standard tuning. AABB. The town of Dumbarton was known to the ancient Britons as Alcluith, the ‘rock on the Clyde’, and to the Scots in Dalriada, who spoke Gaelic, as Dun Breatann - the fort of the Britons. It takes its name from a rocky outcrop on the Clyde that was once a fortress of the Britons of Strathclyde. The rock sits at the end of the River Leven which flows from Loch Lomond.
***

Dumbarton, the rock on the Clyde.

***

McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 18, pg. 5.

                       


ROCK THE CRADLE. AKA and see "The Humours of the Priest's House," "Miss Johnson [2]," "Miss Johnson of Houghton Hall," "The Muster Bank," "The Mountainy Man, “Rocking the Cradle."

                       

ROCK THE CRADLE JOE [1]. See also related part 'B' of "Sally Ann [2].” Old‑Time, Breakdown. USA; Patrick & Franklin Counties, Virginia; North Carolina, West Virginia. D Major. Standard tuning. AABB. Most modern “revival” versions of the tune come from the playing of J.W. “Babe” Spangler of Meadows of Dan, Virginia, who recorded it in the late 1940’s. The following ditty is sometimes sung to the tune in old-time tradition:

***

('B') Rock the cradle Lucy, rock the cradle low,

Rock the cradle Lucy, Rock the Cradle Joe.

***

Rock the cradle Lucy, rock the cradle high,

Rock the cradle Lucy, don't let that baby cry. (Kuntz)

***

('A') Can't get up, can't get up,

Can't get up in the morning;

What we gonna do if the baby cries?

Rock the cradle Joe.

***

('B') Rock the cradle, rock the cradle,

Rock the cradle Joe;

Rock the cradle, rock the cradle,

Rock it nice and slow.               (Johnson)

***

What’ll we do when the baby cries

I don’t know;

What’ll we do when the baby cries

Rock that cradle Joe.

***

Variations of the words, however, were in tradition as “Uncle Joe Cut Off His Toe,” a nursery rhyme which has variants with verses which also resemble some of the “Old Joe Clark” verses:

***

Uncle Joe cut off his toe

And hung it up to dry;

The ladies began to laugh

And Joe began to cry.

***

Chorus:

Rock the cradle, rock the cradle,

Rock the cradle, Joe.

'I will not rock, I shall not rock,

For the baby is not mine.'    (Version ‘C’, Number 97, The Frank C. Brown Collection Of North Carolina Folklore, Volume 3)

***

Lani Herrmann finds a similar verse in the biography of Jennie Devlin (1865-1952) by her granddaughter Katharine D. Newman (Urbana, IL: Univ of Illinois Press, 1995; "an Illini Book"). Allan Lomax recorded this version as a recitation by “Grandma Deb,” one of the names by which Jennie Devlin was known. It seems to echo the North Carolina version:
***

O, rock the cradle, John,

O, rock the cradle, John,

There's many a man

Rocks another man's child

When he thinks he's rocking his own.

***

Apparently a "Rocke the Cradle, John" "was licensed by Laurence Price in 1631 in England, and there is an Irish song called "The Old Man Rocking the Cradle." Sources for notated versions: Alan Block (N.H.) [Spandaro]; Jay Ungar (West Hurley, New York) [Kuntz]; Babe Sengler (Va.) [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 232. Johnson (The Kitchen Musician No. 2: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc), 1982 (revised 1988 & 2003); pg. 10. Kuntz (Ragged but Right), 1987; pg. 333‑334. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 132. Sing Out, vol. 36, No. 2, August 1991; pg. 77. Songer (Portland Collection), 1997; pg. 169. Spandaro (10 Cents a Dance), 1980; pg. 16. Tennvale 004, James Leva and Bruce Molsky‑ "An Anthology.” County 201, The Old Virginia Fiddlers‑ "Rare Recordings 1948‑49.” June Appal 015, Plank Road String Band‑ "Vocal and Instrumental Blend.” Kicking Mule 213, David Winston‑ "Southern Clawhammer Banjo.”

See also listing at:

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

X:1

T:Rock the Cradle Joe [1]

M:2/4

L:1/8

B:KuntzRagged but Right

K:D

f/g/|aa/g/ f/e/f/g/|aa/g/ f/e/f/g/|aa/b/ a/g/e|[Af]>[Ag] [Af][Ae]|[Af]f/e/ d/e/g/e/|

ff/e/ de/f/|g/f/e/d/ c/A/B/c/|d>e d::c/B/|A[A/e/][A/e/] c[c/e/][c/e/]|d/c/d/e/ [d/f/]d/e/f/|g/f/g/f/ g<a|

f>g f/e/d/B/|A[A/e/][A/e/] c[c/e/][c/e/]|d/c/d/e/ [d/f/]d/e/f/|g/f/e/d/ c/A/B/c/|d>e d:|

 

ROCK THE CRADLE JOE [2]. Old-Time, Breakdown. A version of  Rock the Cradle Joe [1].” From the playing of West Virginia fiddler Franklin George, who learned the tune from Jim Farthing, originally from Franklin County, Va. Gerry Milnes says this version “maintains much more character and melody” than the “watered-down” version that has long been a staple of “revival” fiddlers’ conventions. Shanachie Records 6040, Gerry Milnes & Lorriane Lee Hammond – “Hell Up Coal Holler” (1999).

 

ROCK THE CRADLE JOE [3]. New England, Polka. D Major. Standard tuning. AABB. Similar to version #1. Miller & Perron (101 Polkas), 1978; No. 14.

                       

ROCK THE/THAT CRADLE LUCY. AKA   "Rock That Baby, Lucille.” Old‑Time, Breakdown. USA; north Georgia, Oklahoma. D Major. ADae tuning. AABB + Coda. Some see similarities to "Soldier's Joy [1]."

***                            

Rock that cradle Lucy, rock that cradle long,

Rock that cradle Lucy, keep that baby warm.

***

Rock that cradle Lucy, rock that cradle spry,

Rock that cradle Lucy, don't let that baby cry.

***

Rock that cradle Lucy, rock it Lucy Long,

Rock that cradle Lucy, keep that baby warm. (Kuntz)

***

The tune was recorded by the Georgian string band the Cofer Brothers (Joseph Scott gives that Leon Coffer’s wife was seven months pregnant with Leon Jr. at the time). Sources for notated versions: Max Collins (Pottawatomie County, Oklahoma) [Thede]; The Skillet Lickers (Atlanta, Georgia) [Kuntz]; Mark Gaponoff [Silberberg]. Kuntz (Ragged But Right), 1987; pg. 331‑332. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 132. Thede (The Fiddle Book), 1967; pg. 21‑22. County 506, The Skillet Lickers‑ "Old Time Tunes Recorded 1927‑1931."

X:1

T:Rock the Cradle Lucy

M:2/4

L:1/8

B:KuntzRagged but Right

K:D

(=f|f/)a/f/e/ dB|c(e e>)e|g/a/g/e/ Bc|d>(e d(=f|f/)a/f/e/ dB|c(e e2)|g/a/g/e/ Bc|d>d d(B||

A)[df] [d/f]d/[d/f/]d/|A[df] [d/f/][d/f/][d/f/][d/f/]|A[ce] [c/e/][c/e/][c/e/][c/e/]|

A[ce] [c/e/][c/e/][c/e/][c/e/]|A[df] [d/f/]d/[d/e/]d/|A[df] [d/f/][d/f/][d/f/][d/f/]|

g/f/e/c/ Ac|d>e d||

 

ROCK THAT BABY, LUCILLE. AKA and see "Rock the Cradle, Lucy." Old‑Time, Breakdown. USA, Alabama. In the repertory of Alabama fiddler Monkey Brown (1897‑1972).

 

ROCK VALLEY. Canadian (originally), American; Jig. USA, New England. Canada, Ontario, Prince Edward Island. C Major. Standard tuning. AABB (Jarman, Miller & Perron): AA'BB' (Begin, Phillips). Composed by John Burt (Canada) [Jarman]. Sources for notated versions: Clem Myers [Phillips]; Sidney Baglole (b. 1912, Southwest Lot 16, West Prince County, Prince Edward Island; now resident of Freetown) [Perlman]; Dawson Girdwood (Perth, Ottawa). Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 4, pg. 18. Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 14. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 26. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 146. Phillips (Traditional American Fiddle Music), vol. 2, 1995; pg. 377. Fretless 103, "Clem Myers: Northeast Regional Old Time Fiddle Champion 1967 & 1970. Fretless 119, Rodney and Randy Miller‑‑"Castles in the Air." Smithsonian Folkways SFW CD 40126, Rodney Miller – “Choose Your Partners: Contra Dance & Square Dance Music of New Hampshire” (1999).

X:1

T:Rock Valley

M:6/8

L:1/8

K:C

C2E GFE|D2E F2A|GAG GBd|cBc AGE|C2E GFE|D2E F2A|GAG GBd|cdc c3:|

|:gag gag|e2c cBA|G2c B2c|e2d d^cd|gag gag|e2c cBA|G2c B/c/dB|cdc c3:|