The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
_______________________________
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ROD - ROR |
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] |
ROD TO ESHANESS, DA. Shetland, Air (4/4 time). A Major. Standard tuning. AAB. "The tune
written (by Tom Anderson) in 1978 tries to describe the many twists and turns, hills
and dales, etc., on the road to Eshaness" (Anderson). Anderson (Ringing Strings), 1983; pg. 29.
RODD TA HOULL, DA. AKA ‑ "Da Road to Houll." Shetland, Shetland Reel. D
Major. Standard tuning. AA'B. Composed by Shetland fiddler and teacher Tom
Anderson in 1936 for a school prize‑giving in Haroldswick. Anderson &
Georgeson (Da Mirrie Dancers), 1970;
pg. 31. Olympic 6151, The Shetland Fiddlers' Society ‑
Scottish Traditional Fiddle Music (1978).
Philo 1051, Boys of the Lough ‑ "Good Friends, Good Music"
(1977).
RODDY JOE’S REEL. AKA and see “Pigeon on the
Gate [2]" and “Pride of the
Ball.” Perlman (1996) lists “Roddy Joes” as a North-East Kings County,
Prince Edward Island, title for “Pride of the Ball” and notes that there is
sometimes confusion with “Pigeon
on the Gatepost [2].”
RODDY/RODDIE
MACDONALD'S FANCY/FAVORITE. Scottish, Reel. Flying Fish FF‑299, The Battlefield Band ‑
"There's a Buzz" (1982). Green Linnet SIF 3031, The Tannahill Weavers
‑ "Passage" (1984).
RODDY McCORLEY. Irish, Air or March (cut time). D Major (Miller & Perron): G Major (Carlin). Standard tuning. One part (Miller & Perron): AABB (Carlin). While the tune is traditional, the lyrics are credited to Ethna Carberry and commemorate a martyr of the 1798 rebellion. They begin:
***
O see the fleet-foot host of men, who march with faces drawn,
From farmstead and from fishers' cot, along the banks of Ban;
They come with vengeance in their eyes. Too late! Too late are they,
For young Roddy McCorley goes to die on the bridge of Toome today.
***
Oh Ireland, Mother Ireland, you love them still the best
The fearless brave who fighting fall upon your hapless breast,
But never a one of all your dead more bravely fell in fray,
Than he who marches to his fate on the bridge of Toome today.
***
The song has been recorded by the Clancy
Brothers, the Kingston Trio and others. It is a frequently heard in march
medley’s played by Irish musicians and is considered a ‘grand old chestnut’ of
a tune. Carlin (Master Collection),
1984; No. 134, pg. 82 (appears as “Roddy McCorley’s March”). Miller &
Perron (New England Fiddler’s Repertoire),
1983; No. 62.
X:1
T:Roddy McCorley
M:C|
L:1/8
K:D
DE | F2EF A,2D(E | E F2 E D2A,2 | B,2D2D2C2 | D6 FG | A2A2A2FA |
B2B2A2FE | D2 B,D G2F2 | E6 FG | A2A2A2 FA | B2B2A2 FE|
D2 B,D G2F2 | E6 DE | F2 EF A,2 D(E | E F2 E D2A,2 |
B,2D2D2C2 | D6:|
RODDY
McCURLEY THAT WAS HANGED AT TUOME BRIDGE. Irish, Air (2/4 time). B Flat
Major. Standard tuning. AB. No apparent relation to the march named ‘Roddy
McCorley’. McCurley was a County Antrim rebel leader in the rising of 1798.
Stanford/Petrie (Complete Collection),
1905; No. 738, pg. 185.
X:1
T:Roddy McCurley that was hanged at
Tuome Bridge
M:2/4
L:1/8
S:Stanford/Petrie (1905), No. 737
Z:AK/Fiddler’s Companion
K:Bb
F/G/A/ | B>A BG | FG/F/ DF | GF/G/
BA | G2 FG/A/ | BA/c/ BG | FG/F/ DF |
GF/G/ BB | B3 || B/c/ | dc/d/ fd |
c>d cB/c/ | dc/d/ fd | c3 d/c/ | BG/A/ BG |
FG/F/ DF | GF/G/ BB | B3 ||
RODERICK CAMERON’S
STRATHSPEY. Canadian, Strathspey. Canada, Cape
Breton. G Major. Standard tuning. AAB. Composed by the late Inverness, Cape
Breton, fiddler and composer Jerry Holland (1955-2009) for his friend Roderick
Cameron, a baroque flute maker. Cranford (Jerry Holland: The Second
Collection), 2000; No. 198, pg. 74. Odyssey ORCS 1051,
Jerry Holland – “Fiddler’s Choice” (1999).
RODERICK DHU. Scottish, Reel. D Major.
Standard. AABB. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 174, pg.
41.
RODERICK DHU, THE
CLANALPIN CHIEF (Ruairi Dubh). Scottish, Slow Air (4/4 time). D
Minor. Standard tuning. AAB. "Mr. Scott's poem of The Lady of the Lake was
presented to the editor by some young ladies in Edinburgh, on condition of
furnishing this air from his ancient stock, to the Boat Song, beginning 'Hail
to the Chief,' &c." (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the
Isles), 1874; No. 76, pg. 28.
X:1
T:Roderick Dhu, the Clanalpin Chief
T:Ruairi Dubh
M:C
L:1/8
S:Fraser Collection
Z:AK/Fiddler’s Companion
K:Dmin
D>E|F2 E2 D2 F>G|A2 d>e d2 f>d|c<AGF E2 FD|A,2 CA, C2 D>E|
F2E2D2F>G|A2 d>e d2 f>d|c<AGF E2 F>D|A2 ~D>E D2:|
A>B|A>Bc>d c2 fc|A>Bc>d c2 f>e|d>ef>g a>^gac|A2 ~de d2 f>g|
a>gf>e
dcBA|F/E/F/G/ A/c/d/e/ f2 ag/4f/4e/4d/4|c<AGF E2 F>D|A,2 D>E D2||
RODERICK MACDONALD. Scottish (originally), Canadian; Strathspey. Canada, Cape Breton. A
Mixolydian. Standard tuning. AA’B. A pipe tune. Cranford (Jerry Holland’s), 1995; No. 21, pg. 7. A
& M Records 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992). Rounder
Records, Carl MacKenzie - “Welcome to Your Feet Again” (1976).
RODNEY. English, Morris Dance Tune (4/4 time). A Major (Bacon): G Major (Bacon,
Mallinson): C Major (Carlin). Standard tuning. AABB (x4), AA. Collected from
the village of Headington, Oxfordshire, in England's Cotswolds. It is perhaps
"Admiral Rodney"?? Bacon (The
Morris Ring), 1974; pgs. 176 & 179 (two versions). Carlin (Master Collection), 1984; No. 44, pg.
35. Mallinson (Mally’s Cotswold Morris
Book), 1988, Vol. 2; No. 27, pg. 14.
RODNEY MILLER’S. AKA - “In Christ There is No East or West.” American, Hymn Tune. Rounder Records, Rodney Miller - “Airplang” (appears as “In
Christ There is No East or West”).
X:1
T:Rodney Miller's
D:Mary Custy & Eoin O'Neill
D:With a lot of help from their
friends
M:4/4
L:1/8
Z:transcribed by Paul de Grae
K:Gmix
GB|d2 d2 d2 de|f2 f2 e3 d|eg‑g2
gede|g4‑g2 ga|
b2 g2 ed‑d2‑|d2 c2 B2
GA|Bdde ABA>G|E4‑E2||
RODNEY MILLER’S (REEL). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule –
“Traditional Music of Ireland” (1995).
RODNEY’S FANCY. Irish, Hornpipe.
RODNEY'S GLORY [1] (Gloire {Ui} Rodnaig). AKA and see "Irishman's Return from America,"
"My Name is Moll Mackey,"
"Praises of Limerick."
Irish, Air and Long or Set Dance (2/4 time). A Aeolian/Mixolydian
(O'Neill/1001, Welling): G Aeolian/Mixolydian (O'Neill/1915): A Dorian
(Mitchell, Mulvihill, O'Neill/1850 & Krassen). Standard tuning. AABB. The
tune is a set dance version of Turlough O'Carolan's air "Princess Royal [1]" or "Miss MacDermott." The title
"Rodney's Glory," explains O'Sullivan (1983), was derived from verses
by the poet Eoghain Rua Ó Súilleabháin in 1782, set to O’Carolan’s tune. The
song commemorates a naval battle fought that year in which George Rodney (d.
1792), then vice-admiral of Great Britain, encountered a French fleet under
Admiral Comte De Grasse. "The Battle of the Saints" or “Les Saintes”
(named after Les Isles des Saintes, in the West Indies between Guadeloupe and
Dominica), as the engagement was called, was one of the most important sea
battles in wooden-ship history. Rodney’s thirty-three ships broke in two places
the French line-of-battle of thirty-seven ships of the line, when, after the
fleets had nearly passed each other on opposite tacks, a change of wind favored
the British. The result was the capture of the French flagship and admiral
along with five other ships. It was to be the final battle of the War of the
American Revolution, and, strategically, although it did not negate
Washington’s victory at Yorktown it did preserve Britain’s West Indian
territories. Rodney was rewarded with a peerage although he came in for
criticism for not following up his initial victory with the destruction of the
remainder of the French fleet. Ó Súilleabháin served on The Formidable, a ship which saw some of the severest fighting and
thus “Rodney's Glory" is a first-hand account of the battle.
***
“Admiral George Rodney” painted by Sir Joshua Reynolds, ca. 1756, following
his promotion to Rear Admiral.
Courtesy of the Provincial Archives of Newfoundland and Labrador (PANL
VA27-9), St. John's, Newfoundland.
***
O’Neill (1913) believes the
long-dance to be simply a direct adaptation from the song (see “Rodney’s Glory” [2]). “Rodney’s Glory” is
included in a list of favorite set-dances in O’Keeffe and O’Brien’s Handbook of Irish Dance (O’Neill). See
also the closely related tune "The Gaelic League March."
***
Éamon Kelly (Foreword, Stone Mad for Music, 1999) states that
poet and folk hero Eoghan Rua (who died in 1784) is still an important figure
in the Sliabh Luachra region of County Kerry that was his home. His verses are
remembered, as was his voice which is said to have been sweet, melodious and
eloquent. Kelly recalls:
***
Though the neighbouring men sitting around my father’s fire when I
was small knew no Irish they had a wealth of stories about Eoghan Rua.
master picked up something from the road and said to Eoghan, ‘Look
at that, I am in luck for the day—I found a horseshoe.’
‘No doubt,’ Eoghan remarked, ‘education is a wonderful thing. I
wouldn’t know whether that was a horseshoe or a mare’s shoe.’
***
their dues enquired, ‘Where is Eoghan Ó Súilleabháin?’ Eoghan
answered and the priest asked, ‘Are you Eoghan a’ Dirrín?’ ‘Ní
mé,’ arsa Eoghan, ‘ach Eoghan a’ bhéil bhinn.’
***
Source for notated version: O’Neill
learned the tune as a boy in Bantry, west Cork, from the singing of his father
[O’Neill]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare)
[Mitchell]. Brody (Fiddler’s Fakebook),
1983; pg. 234. Cranitch (Irish Fiddle
Book), 1988; 80. Mitchell (Willie
Clancy), 1993; No. 138, pg. 109. Mulvihill (1st Collection), 1986; No. 7, pg. 110. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
393, pg. 188. O'Neill (Krassen), 1976; pg. 225. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1784, pg. 334 and
an air, No. 27. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986; No. 958, pg. 164. O’Neill (1913), pg. 132.
Welling (Hartford Tunebook), 1976;
pg. 24. Folkways FA 2475, "Old Reliable String
Band." Leader LEACD 2004, “Martin Byrnes” (1969).
X:1
T:Rodney’s Glory
M:2/4
L:1/8
R:Set Dance
S:O’Neill – Dance Music of Ireland: 1001 Gems (958)
Z:AK/Fiddler’s Companion
K:Ador
e/d/|cB/c/ A/B/c/A/|B/G/E/F/
Gc/d/|e/=f/e/d/ c/d/e/^f/|{a}g/e/d/c/ d/=f/e/d/|
cB/c/ A/B/c/A/|B/G/E/F/ Ge/d/|cB/c/
G/A/B/G/|A2 A:|
|:d|e/a/a/b/ a/g/e/d/|e/f/e/d/
c>A|gf/g/ a/g/e/c/|d/c/A/F/ GG|A/G/A/B/ c/B/c/d/|
e/d/e/g/ aa/b/|a/g/e/d/
c/d/e/f/|g/f/g/e/ d/=f/e/d/|(3cdc (3BcB A/B/c/A/|
B/G/E/F/ Ge/d/|cB/A/ G/A/B/G/|A2 A:|
RODNEY'S GLORY [2] (Gloire Rodnaig). Irish, Slow Air (4/4 time). A Dorian. Standard
tuning. AB. See also the close variant “An
Samhra Cruaig” (The hard summer) from the mid-19th century.
James Goodman manuscripts. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 27, pg. 5. O’Neill (1913), pg.
132.
X:1
T:Rodney’s Glory [2]
M:C
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 27
Z:AK/Fiddler’s Companion
K:Amin
e>d | c2 B>c A2 Ac | B2 B>A
G2 cd | e2 ed cde^f | gedc d2 ed |
c2 B>c A2 Ac | B2 B>A G2
e>d | c2A2 BAGB | A4 A2 || z d |
ede^f g2 ed | c2 d2 c2 cd | ede^f
g=fed | dcBA G3B | A2 A>B c2d2 |
e2e2 a3b | aged c2 Ac | B2 B>A G2
e>d | c2 B>c A2 A>c |
B2 B>A G2 e>d | c2 A2 BAGB |
A4 A2 ||
RODNEY’S GLORY [3]. Irish, Air (4/4 or 2/4 time). Ireland, Londonderry/Derry. D Major: E
Flat Major. Standard tuning. AB. “As sung in the county of Londonderry”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 407, pg. 103.
X:1
T:Rodney’s Glory [3]
M:C
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 407
Z:AK/Fiddler’s Companion
K:D
A | A2 Bc d2d2 | dcBc A2 AB | =c2 AF
G2 AG | F2D2D3 || A |
B3A G3F | G2 Ac d3c | A2 FA G2 FD |
D4 D2 ||
RODS OF RAIN, THE. English, Jig. E Minor. Standard tuning. AABB.
Newly composed by Hugh Blake, 1985. English
Dance and Song, vol. 48, No. 1,
Spring 1986.
RODY GREEN. Irish, Air (4/4 time). Ireland, County Kilkenny. G Major. Standard
tuning. One part. Stanford/Petrie (Complete
Collection), 1905; No. 843, pg. 210.
X:1
T:Rody Green
M:C
L:1/8
R:Air
N:”A County of Kilkenny air.”
S:Stanford Petrie (1905) – No. 843
Z:AK/Fiddler’s Companion
K:G
D | GFGA B2 AG | GEED D3 A/B/ | cBcd
e2 dB | AGAB d3B |
cBcd e2 ed | dBAB d2 e>d | dBAG
B2 B>A | AG ED D2 ||
AG | GFED D2 ed | dBAG B2 BA | AG EE
E2 ||
ROE HUNT, THE. Scottish, Reel. E Major. Standard tuning. AAB.
Composed by Alexander Walker. Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 110, pg. 38.
ROGA...(Fancy). See also "Rogha..."
ROGA AN ATAR DOLLAIRD. AKA and see "Father
Dollard's Favorite."
ROGA AN ATAR UI
FITCEALLAIG. AKA and see "Father Fielding's Favorite."
ROGA AN BAINTRIGE
CATMAEIL. AKA and see "The Widow Cantwell's Fancy."
ROGA AN TAOISAIG UI
NIALL. AKA and see "Chief O'Neill's Favorite."
ROGA CAIT-M CEALLAIG. AKA and see "Kate Kelly's
Fancy."
ROGA CAITILIN. AKA and see "Katie's Fancy."
ROGA CILLE-DARA. AKA and see "The Kildare
Fancy."
ROGA INGEAN BRUNAC. AKA and see "Miss
Brown's Fancy [1]."
ROGA INGEAN NI UISEMAN. AKA and see "Miss
Wiseman's Fancy."
ROGA INGEAN UI
BREATNAIG. AKA and see "Miss Walsh's Fancy."
ROGA INGEAN UI DOUNAIG. AKA and see "Miss
Downing's Fancy."
ROGA INGEAN UI FAITCE. AKA and see "Miss
Fahey's Fancy."
ROGA MAIRE NI NEILL. AKA and see "Mary
O'Neill's Fancy."
ROGA MAOR STAIC. AKA and see "Sergeant
Stack's Favorite."
ROGA MAOR UI CATAIL. AKA and see "Sergeant
Cahill's Favorite."
ROGA MIC CUAIRT. AKA and see "Courtney's
Favorite [1]."
ROGA MIC GIOLLA-EAIN. AKA and see "McLean's
Favorite/MacLean's Favorite."
ROGA MIC LAID. AKA and see "Lawson's
Favorite."
ROGA MIC PAIDIN. AKA and see "McFadden's Favorite."
ROGA MIC SEOIN. AKA and see "Jackson's Fancy."
ROGA MUIRIS UI
CATASAIG. AKA and see "Maurice Casey's Fancy."
ROGA PEADAR UI
CEINNEIDIG. AKA and see "Peter Kennedy's Fancy."
ROGA RISTARD UI
SUILLEABAIN. AKA and see "Dick Sullivan's Favorite."
ROGA SANT-AUBIN. AKA and see "Tobin's
Favorite."
ROGA SEAMUIS UI
BOULTOIN. AKA and see "Jim Boulton's Fancy."
ROGA SEAMUS UI
CEINNEIDIG. AKA and see "Jim Kennedy's Favorite."
ROGA SEAMUS UI MORDA. AKA and see "Jim Moore's
Fancy."
ROGA UÍ BUACALLA. AKA and see "Buckley's Fancy."
ROGA UÍ CONCOBAIR. AKA and see "O'Connor's Fancy,"
"O'Connor's Favorite."
ROGA UÍ CONNAGAIN. AKA and see "Cunningham's
Fancy."
ROGA UI DOCARTAIG. AKA and see "Doherty's Fancy."
ROGA UÍ DUBLAIDE. AKA and see "Dooley's Fancy."
ROGA UÍ h-ARTAGAIN. AKA and see "Hartigan's Fancy."
ROGA UÍ UITNIG. AKA and see "Whitney's Fancy."
RÓGAIRE DOILL, AN (The Rogue of a Blind Man). Irish, Air (3/4 time, “slow”). A Minor.
Standard tuning. One part. Source for notated version: a manuscript collection
dated 1861 of Rev. James Goodman, an Anglican cleric who collected primarily in
County Cork [Shields]. Shields (Tunes of the Munster Pipers), 1998; No.
7, pg. 7.
RÓGAIRE DUBH, AN (The Black Rogue). AKA and see "American Star," "The Bark is on the Swelling
Shore," "The Black Rogue [1],"
"Come Under My Plaidie,"
"Johnny McGill,"
"Life is all Chequered,”
“Paddy McNicholas." Irish, Jig.
See note under “The Black Rogue.” Shanachie 79093,
Paddy Glackin and Robbie Hannon – “Whirlwind” (1995).
RÓGAIRE ORAISTEAC, AN. AKA and see "The Orange Rogue."
ROGARA DUFF. See “Black Rogue [3].”
ROGER DE CALVERLEY. AKA and see "Roger of Coverly."
ROGER MACMUM. Irish, Hornpipe. F Major. Standard tuning. AB. There are stylistic
similarities to "Fishers
Hornpipe." Souce for notated version: from a manuscript lent by Mrs.
Woodroffe (of Cork?) [Joyce]. Joyce (Old
Irish Folk Music and Songs), 1909; No. 830, pg. 402.
X:1
T:Roger MacMum
M:C
L:1/8
R:Hornpipe
S:Joyce – Old Irish Folk Music
and Songs (830)
Z:AK/Fiddler’s Companion
K:F
BA | AcAc fcAc | BdBd fdBd | cegb agfe | gfed cdcB | AcAc fcAc |
BdBd fdBd | cegb agfe | f2f2f2 || ef
| gece gece | afcf afcf | gfga g2 ga |
gfed c4 | cege cege | cfaf cfaf |
bagf efga | f2f2f2 ||
ROGER OF COVERLY. AKA and see "Sir Roger De
Coverley," "Roger of Calverley,"
"Old Roger A Coverdill."
English, Country Dance Tune (9/8 time). D Major. Standard tuning. AB
(Chappell): AABBCC (Merryweather & Seattle). This very popular country
dance air appears in Playford's Division
Violin (1685), The Dancing Master (9th edition,
1695,d and later editions), and many ballad operas of the period. Chappell
(1859) says the tune is "at least as early as the reign of Charles
I," and the ballad was printed as early as 1648. The Roger referenced in
the ballad is an obscure character, but may have been a knight who lived in the
reign of Richard I, of the family of Calverly. Chappell prints a communication
by Sir Walter Calverley Trevelyan which goes "Roger, so named from the
Archbishop of York, was a person of renowned hospitality, since, at this day
Source for notated version: an MS collection by fiddler Lawrence Leadley,
1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Chappell (Popular Music of the Olden Time), vol.
2, 1859; pgs. 45‑46. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 84, pg. 49. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 192. Walsh (Compleat
Country Dancing Master), 1718; pg. 180 (also in editions of 1731 and 1754).
X:1
T:Roger of Coverly
M:9/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
A,2|:B,C D2 D2 D4 B2 A2F2D2|E6 E2B,2D2 C4A,2|B,CD2D2 D4B2 A2F2A2|d4D2 D3ED2 C4A,2||
A2F2A2
B2G2B2 A2F2A2|=c4E2 E3FD2 C4A,2|A2F2A2 B2G2B2 A2F2A2|d4D2 D3ED2 C4A,2:||
ROGER THE WEAVER. AKA and see “All Covered
with Moss.” Irish, Jig. G Major. Standard tuning. AAB. "From
memory" (Joyce). Joyce (Old Irish
Folk Music and Song), 1909; No. 68, pg. 37.
X:1
T:Roger the Weaver
L:1/8
M:6/8
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
c2E EFE|G2E EFE|c2E EFE|c2A dcA|GED
DED|EFE DED|EDE GAB|c3 cBA:|
~G2A BGG|dGG BGG|~G2A BGG|c3 cBA|~B2
A BGG|dGG BGG|Bcd ded|
c3 cBA|~G2A BGG|dGG BGG|~G3A BGG|c3
cBA|GBd gdB|ecA dBG|AGE GAB|c3 cBA||
ROGER TREAT’S STRATHSPEY. Canadian, Strathspey. Canada, Cape
Breton. A Major. Standard tuning. AB. Composed by Cape Breton fiddler,
composer, publisher, editor and lighthouse-keeper Paul Stewart Cranford.
Cranford (Jerry Holland: The Second Collection), 2000; No. 14, pg. 7.
ROGER WAS A PLOWBOY ("Bi Ruaidri 'Na Treabaire" or "Do Bi
Ruaidri Giolla Ceacta"). Irish, Hornpipe. G Major. Standard tuning. AABB. Emmerson (1971)
describes the tune as an example of the early lyrical 'variations' style Irish
hornpipe and believes it to be derived from the march form of the tune "Young Roger was a Plowboy."
In fact, O’Neill (1913) demonstrated the relationship between the two in his Irish Minstrels and Musicians. Emmerson
(Rantin’ Pipe and Tremblin’ String),
1971; No. 94, pg. 167. O'Neill (Krassen), 1976; pg. 212. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1760, pg. 328. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 931, pg. 159. O’Neill (1913), pg. 133.
X:1
T:Roger was a Plowboy
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
931
Z:AK/Fiddler’s Companion
K:G
GF|DGGF GABG|AFDE F2 (3ABc|defd
cAGF|DEFE FGAF|
DGGF GABG|AFDE F2 (3ABc|dfeg
fdcA|GBAF G2:|
|:(3ABc|dedB c2 Bc|dgfa g2 ga|bgag
fdde|fdcA GBAF|
DGGF GABG|AFDE F2 (3ABc|dfeg
fdcA|GBAF G2:|
ROGERO. AKA and see "Arise and Awake."
English, Country Dance Tune (4/4 or cut time). C Major (Merryweather): G Major
(Chappell). Standard tuning. One part. This melody dates to the late 16th
century. Merryweather (1989) says it was derived from an Italian air called
"Aria di Ruggiero," which consisted of a ground bass upon which
descants were improvised. Chappell (1859) states that "Rogero" seems
to have been a proverbial name for a young gallant, and this is perhaps the
origins of the old slang verb 'to roger' (her), or to fornicate. Simpson’s British
Broadside Ballads and Their Music gives: “'The Ruggiero air was one of a number of sixteenth century Italian
ground basses upon which a singer could extemporize a descant when chanting
epic poetry. the appearance of Ariosto's Orlando Fuioso in 1532
apparently gave new impetus to the practice, and the Ruggiero formula, named
from Cantos 44 beginning Ruggier, quad semre fui, tal esser voglio, was
perhaps the most widely used in instrumental pieces the air is occasionally
found in the superius, [top line], but it is properly a series of bass notes
with their implied harmonies, upon which melody can be freely invented. The
ballad tune 'Rogero' is not the original Italian formula, but is a descant
erected upon the Ruggiero bass with which it harmonizes. A good version of the
tune, set for cittern, is in Cambridge University MS Dd.4.23. fol.23.” "Rogero" became popular in
Elizabethan England and Merryweather finds it appearing in English arrangements
around 1580, often as the vehicle for ballads. It is mentioned in several works
of literature in the latter sixteenth century, set for instruments as well as
voice, the tune appears in William Ballet's Lute
Book of 1594, a lute MS in the University of Cambridge Library, and T.
Dallis' Pupil's Lute Book (1583). The
English composer William Byrd arranged it for keyboard. Chappell (Popular Music of the Olden Time), vol.
1, 1859; pg. 231. Merryweather
(Merryweather’s Tunes for the English Bagpipe), 1989; pg. 28.
X:1
T:Rogero
M:C|
L:1/8
S:Chappell
– Popular Music of the Olden Time
(1859)
Z:AK/Fiddler’s Companion
K:G
G2A2|B4 B4 c4 c4|B6 c2 B4 d4|c4 B4 A4 G4|F6 G2 F4 F2G2|
A4 A4 G4 F2E2|F3E F2G2 F4 B4|A4G4G4F4|G8||
X:2
T:Rogero
M:4/4
L:1/4
K:C
S:Simpson - BBBM
c/d/|eeff|e>feg|fedc|B>cBB/B/|ddcB/A/|B/>A/B/c/Be|dccB|c>cc||
ROGER'S FANCY. AKA and see "The
Cameronian Reel [1]," "Carey's
Dream."
ROGER'S FAREWELL. See note for "Auld Lang Syne."
ROGERS O'NEILL (Rauidri Ua Niall). Irish,
Hornpipe. A Major. Standard tuning. AABBCCDD. Composed by elderly Chicago fiddler Edward
Cronin, originally from Limerick Junction, County Tipperary, in honor of the
oldest of collector and compiler Captain Francis O’Neill’s sons, who while
still young showed promise as a fiddler and college student. Tragically, Rogers
died in 1904 at the age of 18 from spinal meningitis. See also “Lament for Rogers O’Neill.” O'Neill
(1915 ed.), 1987; No. 342, pg. 168. O'Neill (Krassen), 1976; pg. 181. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1634, pg. 303. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 862, pg. 149. O’Neill (O’Neill’s
Irish Music), 1915; No. 342, pg. 168.
X:1
T:Rogers O’Neill
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
862
Z:AK/Fiddler’s Companion
K:A
cB|AGAB AEFG|Ac (3efg a2 (3efg|aecA
dfgf|(3efe (3dcB eaec|
AGAB AEFG|Ac (3efg a2 (3efg|aecA dBGB|A2A2A2:|
|:(3efg|aece fdBG|AcEc AcEc|BdEd BdEd|ceAe ceAe|aece fdBG|
AcEc BABc|dfed cBAG|A2A2A2:||:cB|AGAB cEGB|cABc eAce|
fdge afdf|(3efe (3dcB AGFG|AGAB cEAc|BABc defg|agaf edcB|
A2A2A2:||:cd|efec ABcA|BEGB AGAB|cAce dcBA|
GABG
Edcd|efec ABcA|BABc defg|agaf edcB|A2A2A2:|
ROGHA AN CHOLLÓRA. AKA and see “Dowser’s
Favourite.”
ROGHA AN GHABHA. AKA and see “The Blacksmith’s Fancy.”
ROGHA AN FIR ROGMAN (The Fat Man's Fancy). AKA and see "The Fat Man's Fancy."
ROGHA AN PHÍOBAIRE. AKA and see “The Piper’s
Favourite.”
ROGHA AN TÁILLIÚRA. AKA and see "Taylor's Fancy."
ROGHA BHEAN UÍ
GHEALBHÁIN (Mrs. Galvin’s
Favourite). AKA
and see “Mrs. Galvin’s Favourite.”
ROGHA CHILL DARA. AKA and see "The Kildare
Fancy."
ROGHA DHÓNAILL UÍ
SHÚILLEABHÁIN.
AKA and see “Dan
Sullivan’s Favorite.”
ROGHA INION DE BRUN. AKA and see “Miss Brown’s Fancy [5].”
ROGHA INÍON UÍ
CHEALLAIGH. AKA and see "Miss Kelly's Favourite."
ROGHA INÍON UÍ
LIATHÁIN. AKA and see "Miss Lyon's Fancy."
ROGHA LIADROMA (The Leitrim Favourite). See “The Leitrim Favourite.”
ROGHA MHÁIRE NÍ
BHRAONÁIN (Mary Brennan’s
Favourite). AKA
and see “Mary Brennan’s
Favorite.”
ROGHA MHAINSTIR EIMHÍN. AKA and see “The Monasterevin Fancy.”
ROGHA MHIC AN TÁNAISTE. AKA and see "Tansey's
Favourite [1]."
ROGHA MHIC PHÁIDÍN. AKA and see "McCahill's
Reel" [2].
ROGHA MHIC SHAMHRÁIN. AKA and see "McGovern's
Favourite."
ROGHA MHÍCI UÍ
CHEALLACHÁIN (Micky O’Callaghan’s
Favourite). AKA
and see “Micky
O’Callaghan’s Favourite.”
ROGHA MHIG FHIONNAILE. AKA and see "Ginley's Fancy."
ROGHA PHÁDRAIG UÍ
THUATHAIGH (Patsy Tuohey’s
Favourite). AKA
and see “Patsy Twohey’s Favorite.”
ROGHA PHEAIT UÍ BHEIRN. AKA and see "Pat
Beirne's Favourite."
ROGHA SHEÁIN UÍ
CHEALLAIGH. AKA and see “John Kelly’s Favourite.”
ROGHA SHEOIRSE DE
FAOITE (George White’s
Favourite). AKA
and see “George White’s
Fancy/Favourite.”
ROGHA THAIDHG UÍ
CHATHASAIGH. AKA and see "Thady Casey's Fancy."
ROGHA THOMÁIS UÍ
DHUBHDA (Tom Dowd’s
Favourite). AKA
and see “Tom Dowd’s Favourite.”
ROGHA UÍ CHUILEANÁIN. AKA and see "Killannan's
Fancy."
ROGHA UÍ FHLOINN. AKA and see "O'Flynn's Fancy."
ROGA UÍ GADRA. AKA and see "Guiry's Favorite."
ROGHA UÍ MHAOLMHUAIDH. AKA and see "Molloy's
Favourite."
ROGHA UÍ MHAOLÁIN. AKA and see “Mullin’s Favorite [2].”
ROGOZ CLOCK, THE (Ceasul din Rogoz). Romanian. AEac#. The tune features
plucked (pizzicto) notes imitating a clock’s chimes.
ROGUE, THE. Irish, Slip Jig. D Major. Standard tuning. AAB. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 65.
X:1
T:Rogue, The
M:9/8
L:1/8
R:Slip Jig
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:D
A | FAF A2B AFD | E2e efd cBA | FAF A2B AFD | E2d dAG FED :|
dfd cec B3 | Bcd efd cBA | dfd cec B3 | ABc dAG FED | dfd cec B3 |
Bcd
efd cBA | fdB ecA B3 | ABc dAG FED ||
ROGUE IS MAD TO BE AT
HER, THE.
Irish, Hop Jig. From the Goodman manuscript. The tune bears some
resemblance to the Leitrim hop jig “Do it Fair.”
ROGUE OF A BLIND MAN, THE. See “(An) Rógaire
Doill.”
ROGUE'S MARCH [1], THE. AKA and see "Poor Old Robinson Crusoe."
English, March. G Major. Standard tuning. AAB. The tune was played in the
British (and Colonial American) army when military and civil offenders and
undesirable characters were drummed from camps and cantonments, sometimes with
a halter about their necks, sometimes with the final disgrace of a farewell
ritual kick from the regiment's youngest drummer. (Winstock, 1970). Camus
(1976) says that the actual ceremony consisted of as many drummers and fifers
as possible (to make it the more impressive) would parade the prisoner along
the front of the regimental formation to this tune, and then to the entrance of
the camp. The offender's coat would be turned inside out as a sign of disgrace,
and his hands were bound behind him; like Winstock, he says the last ignomy was
a kick from the youngest drummer, with instructions never to return to the
vicinity. The sentance would then be published in the local paper. Winstock
states the earliest version that can be found dates between 1793 and 1800,
though Bayard (1981), citing Chappell, says it has been the "regulation
drumming‑out march since the 1750's." Kidson says “the writer,
though he has made diligent search, cannot find traces of the tune before the
middle of the 18th century, although there can be little doubt that
the air, with its association, had been in use long before that time.”
***
Music
is found in many 18th century collections for fife and flute, as,
for example, in Thompson’s Compleat Tutor
for the Fife (c. 1756). The
melody also appears in the late 18th century manuscript copybook of
Henry Livingston, Jr. Livingston
purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the
age of 23. In 1775 he was a Major in the 3rd New York Regiment,
which participated in Montgomery’s invasion of Canada in a failed attempt to
wrest Québec from British control. An important land-owner in the Hudson
Valley, and a member of the powerful Livingston family, Henry was also a
surveyor and real estate speculator, an illustrator and map-maker, and a
Justice of the Peace for Dutchess County. He was also a musician and presumably
a dancer, as he was elected a Manager for the New York Assembly’s dancing
season of 1774-1775, along with his 3rd cousin, John Jay, later U.S.
Chief Justice of Governor of New York. About 1790 and later the air was
adapted in vocal settings for several popular humorous songs, including
“Robinson Crusoe,” “Abraham Newland” and “Tight Little Island.” The last mention, as “The Island,” was
written by Thomas Dibdin about 1798, and sung by a singer named Davies at Sadler’s
Wells that same year.
***
The tune and tradition found its way
into the American army and was used in the Civil War (Winstock, 1970; pg. 97).
This is confirmed by its appearance in Bruce and Emmetts Drummers’ and Fifers’
Guide, a manual printed in 1862 for training musicians for the Union Army. They
note: “This air and (drum) beat is used only to ‘Drum out’ of the service men
that have been guilty of desertion or any other misdemeanor.” Camus (1976) also
states there was another informal or unofficial ceremony connected with the tune:
when a soldier married the widow of a comrade he was "hoisted upon the
shoulders of two stout fellows of his company, with a couple of bayonets stuck
in his hat by way of horns, and preceded by a drum and fife, playing the
'Rogue's March', he is paraded in front of his regiment" (pg. 113). Bruce
& Emmett (Drummers’ and Fifers’ Guide),
1862; pg. 53. Camus (Military Music of
the American Revolution), 1976; Example 15, pg. 112. Winstock (Music of the Redcoats), 1970; pg. 95.
X:1
T:Rogue’s March
L:1/8
M:2/4
S:Thompson and Sons’ Compleat Tutor for the Fife, London 1759-60.
Q:240
K:G
BB (3Bcd|ee e2|dd de|d2 B2|BB (3Bcd|ee e2|dd (3dcB|A2 G2:|
g2 f2|e2 d2|g2 f2|e2 d2|BB (3Bcd|ee e2|dd de|d2 B2|BB (3Bcd|
ee e2|dd gB|A2 G2||
X:2
T:Rogue’s March
M:6/8
L:1/8
R:Slow March
S:Bruce & Emmett’s Drummers’ and Fifers’ Guide (1862)
Z:AK/Fiddler’s Companion
g3f3 | e3d3 | g3f3 | e3d2 |: F | B2B Bcd | e2e e3 | d2d d2e | d3B3 | B2B Bcd |
e2e e3 | def g2B | A3 G2 :|
X:3
T:Rogue’s March
M:4/4
L:1/8
R:Slow March
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:G
g2f2e2d2|g2f2e2d2|BB (3Bcd ee e2 |
dd (3ded d2B2|BB(Bcd ee e2 | defg d2c2 |
BB3B (3Bcd | ee e2d3d | (3ded
d2B2(B2 | B)B (3Bcd ee e2 | (3def g2B2A2 | G8 ||
ROGUE'S MARCH [2], THE. American, March. USA, southwestern Pa. D Major. Standard tuning. AB. Bayard thinks this title is a mistake by his source, who was "elderly, nervous, infirm, and a mediocre performer...who changed his mind about a few of them" (i.e. titles). Source for notated version: St. Clair (fifer from Greene County, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 274, pg. 230.
ROGUE'S WEDDING, THE. English, Jig. A Minor. Standard tuning. AABB.
A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 197.
ROIS BHEAG DUBH, AN (The Small Black Rose). AKA and see "Roisin Dubh [1]." Irish, Air (3/4 time).
Ireland, "set according to the version in the lower Glens of County of
Antrim" (Bunting). A Minor. Standard tuning. AB. A hexatonic variant of
"Roisin Dubh." Source for notated version: "a peasant of
Cushendall," County Antrim, 1804 [Bunting]. O'Sullivan/Bunting, 1983; No.
19, pgs. 31-33.
RÓISÍN DUBH [1] ("The Small/Little Black Rose" or "The
Dear Dark Rose"). AKA and see "Little
Black Rose" [3], "Black Rose Bud," "Little Black(-haired) Rose Bud,"
"Rois/Ros Bheag Dubh," "(An) Rois Gheal Dubh," "Mo Rois Bheag
Dhubh," “My Dark Rosaleen.”
Irish, Air (3/4 time). D Minor. Standard. One part. A harp tune of the Jacobite
period (late 16th century) written and composed, some have said, in praise of
Hugh Roe O'Donnell (Red Hugh O'Donnell) and in support of the Stuart kings. The
title is widely reported to have been an allegorical name for Ireland (Flood,
1906), at least at one time in history, but whether the song was political
allegory or an ode to love, it was probably the most widespread of Gaelic Irish
folk songs in the 18th century with words collected from all four provinces of
the country. O'Daly (1851) remarks that the original song was supposed to have
been composed in the reign of Elizabeth for the celebrated Aodh Ua Domhnaill,
Prince of Tir Chonaill (Tirconnell), and, while the allegorical allusions to
Ireland under the name of 'Roison' had long been forgotten, "Róisín
Dubh" by the time he wrote was known by the populace as "merely a
love song." O'Sullivan (1983) begs to differ, saying there is no reason to
believe the "original" song was composed in the Elizabethan era for
Red Hugh O'Donnell (who was Chief of Tirconnell, not Prince), and finds that
only three verses out of all those in a large number of variants have a
possible "political bearing." Parenthetically, as alluded to,
O'Donnell was one of the leaders of the native Irish in the war against the
Elizabethan English. In his struggle he
was assisted by troops from Catholic Spain, and on a visit to that country in
1602 to recruit further troops, he died and was buried in the Franciscan Church
at Valladolid.
***
Edward Bunting (1840) thought the
melody to have been "undoubtedly very ancient." His source sang the
tune and "played chords in the Arpeggion style with excellent effect. The
key note at the end of the strain, accompanied by the fifth and eighth, without
the third, has a wailing, melancholy expression, which imparts a very peculiar
effect on the melody." Cowdery (1990) finds the tune a member of "The Blackbird" family, and analyzes it
in his work "The Melodic Tradition of Ireland." Actually, there are
two melodies extent which carry the "Roisin Dubh" text. Sean nos
singer Joe Heaney identified that the Blackbird-family version is "the Connemara
version" while the "Roisin Dubh" melody more often heard is
"the Munster version" (as, for example, sung by another sean nos
singer, Paddy Tunney).
***
A Róisín, ná bíodh brón ort na cás anois,
Tá do phardún ón Róimh is ón bPápa 'gat,
Tá na bráithre 'teacht thar sáile is a' triall thar muir,
Is ní cheilfear fion Spáinneach ar mo Róisín Dubh.
***
Tá grá 'gam i m'lár duit le bliain anois
Grá cráite, grá cásmhar, grá ciap(a)tha,
Grá 'd'fhág mé gan sláinte, gan rian, gan rith,
'S go brách, brách, gan aon fháil agam ar mo Róisín Dubh.
***
Do shiúlfainnse an Mhumhain leat is ciumhais na gcnoc,
Mar shúil go bhfaighinn rún uait nó páirt le cion;
A chraobh chumhra, tuigtear dúinne go bhfuil grá agat dom,
'S gurb í plúrscoth na mban múinte mo Róisín Dubh.
***
Beidh an fharraige 'na tuilte dearga 's an spéir 'na fuil,
Beidh an saol 'na chogadh craorac de dhroim na gcnoc
Beidh gach gleann sléibhe ar fud Eireann is móinte ar crith,
Lá éigin sula n-éagfaidh mo Róisín Dubh.
***
O'Sullivan finds either lyrics or melody
and lyric in the following publications: Hardiman (Irish Minstrelsy), 1831, volume I, pg. 254; Hudson (The Citizen of Native Music of Ireland),
1842, Nos. 12 & 25 (appears as "Ros Bheag Dubh"); O'Daly (Poets and Poetry of Munster), 3rd
edition, 1851, pgs. 210-217 (appears as "Rois Gheal Dubh--Little
Black-haired Rose"); Petrie (Ancient
Music of Ireland), 1855, pgs. 93-95; Walsh (Irish Popular Songs), 2nd edition, 1888, pgs. 60-65 (appears as
"An Ros Gheal Dubh"); Joyce (Irish
Music and Song), 1888, pgs. 13-14 (appears as "An Ros Gheal
Dubh"); Stanford/Petrie (Petrie
Collection of Irish Music), Nos. 1240 & 1241; Source for notated
version: the melody was noted by the Irish collector Edward Bunting in 1796 (or
1792) from the playing of Irish harper Daniel Black. O'Sullivan/Bunting, 1983;
No. 18, pgs. 27-31. Tubridy (Irish
Traditional Music, vol. 1), 1999; pg. 42. Cherish
the Ladies – “Out and About.” MKM 7590, Mike McHale – “The Schoolmaster’s
House” (2000). Viva W103, Sean McGuire –
“Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire Plays,” the first
recording of McGuire that Josephine Keegan accompanied on piano).
X:1
T:Mo Róisín Dubh [1]
M:3/4
L:1/8
K:D
A>F|A D3 FA|(e2 f/e/d/e/ f2) e d
A>F|(E3 F/E/D/E/ F2) E|D6 d>e|
(ff/) g3 (f g/f/e/)|((dd/) e/f/)
((ee/) f/e/)d/ c A3 FA|(ee/) f/e/d/e/ f3 (e/f/e/)|d6 d>e|
(ff/) g3 (f g/f/)e/|((dd/) e/f/ e/3
f/e/d/ c) A3 FA|(e3 f/e/d/e/ f3 (e/f/e/)|d6|
B A>F|A D3 FA|(e2 f/e/d/e/ f2) e
d B2 A>F|(E3 F/E/D/E/ F2) (E/F/E/)|D6||
ROISIN DUB [2] (My Dark Rosaleen). Irish, Air (4/4 time). Ireland, West Kerry. D
Major. Standard tuning. One part. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The
Set Dance Music of West Kerry), No. 94, pg. 53. Ó Canainn (Traditional Slow Airs of Ireland), 1995;
No. 45, pg. 41.
ROISIN NI CUIRNIN (Rose O'Curnin). AKA and see "Rose Ward."
ROLAND. AKA and see "Kemp's Jig."
ROLAND AND CYNTHIA TAYLOR. English, Twostep. D Major. Standard tuning. AABB’. A modern composition by Bill Black.
X:1
T:Roland & Cynthia Taylor
C:Bill Black
Z:Phil Lucas/Noel Jackson
L:1/8
R:twostep
K:D
A | F>GE F>DD | d>ef edc | d2B AGF | G>EE E2A | F>GE
F>DD | d>ef edc|
d2B AGE | F>DD D2 :|| f | a>fa gfe | d>fe dBA | B2d AGF | G>EE E2f |
a>ga gfe | dfe dBA | B2d cde | f>dd d2 || a>fa gfe | d>fe dBA | B2d AGF |
G>EE
E2G | F>AA GAB | A>dd cde | d2B AGE : F>DD D2 ||
ROLAND'S RETURN. Irish, Double Jig. D Minor. Standard tuning. AAB. Roche Collection, 1982, vol. 1; No. 92, pg. 41.
ROLE THE RUMPOLE
SAWNEY. Irish. The tune appears under this
title in Aria di Camera (1747), and
is ancestral to “Humours
of Ballyconnell.” The title apparently means ‘roll your rump, Sandy’, says
Philippe Varlet.
ROLL 'EM UP SANDY. AKA and see "Forks of Sandy [1]," "Three Forks of Sandy."
ROLL HER IN THE
HAYSTACK (Tabhair Casadh di sa
Choca Féir).
AKA and see "Farewell to
Leitrim," "Fiddler's
Frolic [1]," "Hawthorn's
Reel," “Kennaw’s Reel,” "Lawson's Favorite," ”Maude Miller [1],” "Molloy's Favourite," “Reidy Johnson’s,” "Take Her Out and Air Her."
Irish, Reel. D Major/Mixolydian. Standard tuning. AB. O’Neill prints a version
of the tune as “Lawson’s Favorite.” Related tunes in O’Neill are “Maude Miller”
and “Fiddler’s Frolic,” and in earlier Breathnach publications as “Farewell to
Leitrim” and “Kennaw’s Reel.” Source for notated version: a recording of County
Leitrim fiddlers [Breathnach]. Breathnach (CRÉ
V), 1999; No. 139, pgs. 70-71.
ROLL HER IN THE RUSHES
[1]. AKA and see "Aisghairm na hAontachta,” "The Gurtaglanna Reel," "Kate Gaynor's Fancy." Irish, Reel. D
Mixolydian. Standard tuning. AABB’. Kerr presents the piece in two sharps,
though this is obviously a mistake. Kerr (Merry
Melodies), vol. 4; No. 1 73, pg. 20.
X:1
T:Roll Her in the Rushes [1]
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No.
173 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
AD D/D/D (AG)EF | (GE) cE (dE) cE |
AD D/D/D (AG)EF | GE=cE (ED) D2 :|
|: AddB c2 (ec) | AcGc AcGc |1 AddB
c2 (ec) | AcGA (ED) D2 :|2 dBcA BGAF | GE=cE (ED)D2 ||
ROLL HER IN THE RUSHES
[2] (Tabhair Casadh sa
Luachair Di).
AKA and see “Good
Morning to Your Nightcap [1],” “Over
the Waves [2].” Irish, Reel. A Dorian/D Mixolydian? Standard tuning. AABB.
This reel was recorded, untitled, in New York in 1927 by the renowned County
Sligo born fiddler Michael Coleman. Source for notated version: the late-19th
century James Madigan (County Louth) collection [Breathnach]. Breathnach (CRÉ IV), 1996; No. 204, pg. 93.
Shields/Goodman (Tunes of the Munster
Pipers), 1998; No. 386, pg. 153 (appears as untitled reel). Gael-Linn/Viva Voce CEFCD 161, “Michael Coleman 1891-1945.”
ROLL HER IN THE
RYE-GRASS. Irish, Reel. Philo 1051, Boys of the Lough ‑ "Good Friends,
Good Music" (1985).
ROLL HER ON THE BANKS. AKA and see "Boil
the Kettle Early," "The Connachtman's Rambles [1],"
"The Kilfinane Reel,"
"Kitty
Got a Clinking (Coming from the Races) [1]," "The Ladies Top/Tight Dress," "The Lady on the Railroad," "The Listowel Lasses," "Maureen Playboy," "McCaffrey's Reel,” "Old Molly Ahern," "The Piper's Lass," "The Railway Station," "The Rathkeale Hunt," "Rolling on the Ryegrass," "Sean‑Mhaire Ni Eachthighearn,”
"The Shannon Breeze,"
"Strac an mhuc an leine,"
"The Telegraph," "What the Devil Ails You
[2]?"
ROLL HER ON THE HILL. Scottish, Reel. D Major. Standard tuning. AAB. Related to “Roll Her on the Mountain” and “Rolling on the Ryegrass.” Kerr (Merry Melodies), vol. 1; Set 1, No. 2, pg. 3.
ROLL HER ON THE
MOUNTAIN ("Umpuig Air An
Sliab I" or "Corna an tSliabi"). Irish, Reel. D Major. Standard tuning. AB (O'Neill/1850
& 1001): AA'BB' (O'Neill/Krassen). See also the related “Roll Her on the Hill,” “Rolling on the Ryegrass.” O'Neill
(Krassen), 1976; pg. 115. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1309, ppg. 245. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 572, pg. 105.
X:1
T:Roll Her on the Mountain
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
572
Z:AK/Fiddler’s Companion
K:D
A2 FA A2 FD|B2 BA BcdB|A2 FA
DFAF|GABc dfdB|A2 FA A2 FD|
B2 BA BcdB|A2 FA dBAF|GBAG F2D2||d2
df edcB|ABcd efge|d2 df edcA|
BGFG E2 D2|d2 df edcB|ABcd efge|(3fga (3fga gece|dBAF E2D2||
ROLL IN THE HAYCOCK. English, Reel. England, Northumberland. D Major. Standard tuning. AABB.
Seattle (William Vickers), 1987, Part
3; No. 475.
ROLL OF THE DICE, A. Irish, Slip Jig. Composed by
Galway pianist and composer Carl Hession, and included in the show Rhythm of
the Dance, for which Hession composed the music. Cló
Iar-Chonnachta, CICD 148, Mick Conneely – “Selkie” (2001).
ROLL OUT THE BARREL. AKA – “Rolling in the Barrel.” AKA and see "The Blossom of the New Tree,"
"Fitzgerald's Reel,"
"Granshaw Glens," "The Ladies Tight Dress," "Lord Edward," "Miss Fargherson's New Reel,"
"The Rakes of Abbey," "A Short Way to Heaven," "The Scotch Bonnet," "Scotch Maggie," "The Tap Room," "Bhaintreach na
Radaireacht." Irish, Reel. Green Linnet SIF‑1110,
Kevin Burke & Dale Ross ‑ "My Love is in America: The Boston
College Irish Fiddle Festival" (1991).
ROLL ROUND THE WORLD
AS IT WILL. AKA and see "Roudledum [2]."
ROLLAND'S JIG. AKA and see "Fallon's Jig."
ROLLICKING BOYS OF
TANDARAGEE. AKA and see “Boys of Tandragee,” “Boys of Tandernagee,” “Burke’s Jig [2],” “The Hills of Glenorchy [1],” “Paddy McFadden [2],” “Paddy O’Carroll’s [2],” “Pat Burke’s.” Irish, Air (6/8 time). E
Minor. Standard tuning. AABB. See also cognate tunes “The Old Grey Cat,” “Smuggler’s Reel,” and the air “The Wild Hills of Wannie’s.” The
tune is known in Scotland as “The Hills
of Glenorchy [1].” Gordon Turnbull says it seems to be a jig version of the
reel known as “Smuggler’s Reel,” and, in Scotland, a reel and strathspey called
“The Grey Cat.” Great Meadow Music GMM 2018, Frank
Ferrel & Joe Derrane – “Fiddledance” (2004. Learned from the late west
Clare concertina player Tommy McCarthy).
X: 1
T: Rollicking Boys of Tandaragee
M:6/8
L:1/8
R:Jig
N:from Mary Logan during a session
Z:Julien Coupey
K:Em
BAB E2E|BAB d2B|BAF D3|~F3 FGA|
BAB E2E|BAB def|edB AFA BEE E3:|!
|:e2e efe|def afd|efe dBA|~B3 dBA|
Bee efe|def afd|edB AFA|BEE E3:|
X:2
T:Boys
of Tandernagee, The
T:Rollicking Boys around Tandernagee, The
R:jig
D:Arcady
D:Tommy Keane & Jacqueline McCarthy: The Wind among the Reeds
Z:id:hn-jig-152
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:6/8
K:Edor
~B3 ~E3|~B3 d2B|~A3 DED|AFD FGA|~B3 ~E3|BAB def|edB AFA|BEE E2A:|
Bee efe|def afd|edd dcd|Bcd dBA|Bee efe|def afd|edB AFA|BEE E2A:|
ROLLICKING IRISHMAN, THE. AKA and see "Father O'Flynn," "Top of Cork Road [1]," "Cork Road," "To Drink With the Devil,"
"Trample Our Enemies,"
"Yorkshire Lasses [1],"
"Bonny Green Garters [1]."
Irish, English; Jig. D Major. Standard tuning. AABB. Despite the title, Bayard
(1981) says that English versions in print anteceed Irish ones. Moffat can find
no earlier Irish printing than 1798, while Kidson finds the tune published in
England (as "The Yorkshire Lasses") in the latter 18th century (1779
and 1781). Allan's Irish Fiddler, No.
13, pg. 4. Kennedy (Fiddler’s Tune Book),
vol. 2, 1954; pg. 37. Kerr (Merry
Melodies), vol. 1; No. 24, pg. 38.
X:1
T:Rollicking Irishman, The
M:6/8
L:1/8
R:Jig
S:Allan’s Irish Fiddler, No. 13
Z:AK/Fiddler’s Companion
K:D
A | dAF DFA | ded cBA | dcd efg |
fdf ecA | dAF DFA |
ded cBA | dcd efg | fdd d2 :: d |
gfe d^cd | ecA Bcd | ecA dBG |
FAG FED | gfe d^cd | ecA Bcd | efg
fed | ed^c d2 :|
ROLLICKING SKIPPER, THE (An Caiptín Sultmhar). Irish, Jig. G Major. Standard
tuning. AABB. Source for notated version: a 1938 Decca Records recording of the
McNulty family, featuring the mother of the family, accordion player ‘Ma’
McNulty [Breathnach]. Breathnach (CRÉ V),
1999; No. 55 pg. 27. BG007, Bobby Gardiner – “The
Clare Shout.”
ROLLING DOWN THE HILL
[1]. English, Reel. D Major. Standard
tuning. AAB. Kennedy (Fiddler’s Tune Book),
vol. 1, 1951; No. 34, pg. 17. Raven (English
Country Dance Tunes), 1984; pg. 160.
ROLLING DOWN THE HILL
[2] (Ag Liatrad/Cornad
Sios An Cnuic/Cnoc). AKA and see "The Kerry
Lasses [3]," "I sat in
the Valley Green," “The
Mountain Lark [1],” “The
Old Wheels of the World,” "The Wind that Shakes/Shook
the Barley [1]." Irish, Reel. A Dorian. Standard tuning. AB
(O'Neill/1850): ABB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 152.
O'Neill (Music of Ireland; 1850 Melodies), 1903/1979; No. 1508, pg. 279.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 727, pg. 128.
X:1
T:Rolling Down the Hill [2]
M:C|
L:1/8
R:Reel
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
727
Z:AK/Fiddler’s Companion
K:Amin
e2 cA e2 cA|BGE^F G2 GB|A^GAB
cBcd|e^fge dgfg|e2 cA Acec|
dcBA G2 GB|A^GAB cBcd|eage d2
cd||e^f{a}gf ef{a}gf|ea{b}a^g ea{b}ag|
e^f{a}ge ef{a}gf|a^fge d2d2|e^f{a}gf
ef{a}gf|ea{b}a^g ea{a}ag|edcB cdef|g^fge dgfg||
ROLLING HORNPIPE.
English. From one of Daniel Wright’s collections. Similarities to the
Northumbrian “The sailors
are all at the bar,” and the “Drunken
Hornpipe” from the MacFarlane manuscript.
ROLLING IN THE BARREL (Ag Rolladh sa Bhairille). AKA – “Roll Out the Barrel.” AKA
and see "The Blossom of
the New Tree," "Fitzgerald's
Reel," "Granshaw Glens,"
"The Lady's Top Dress," "Lord
Edward," "Miss
Fargherson's New Reel," "The
Rakes of Abbey," "A
Short Way to Heaven," "The Scotch
Bonnet," "Scotch Maggie," "The Tap Room," "Bhaintreach na
Radaireacht." Irish, Reel. D Dorian: E Dorian (Breathnach,
Harker/Rafferty, O’Malley). Standard tuning. AB (O’Malley): AAB (Breathnach,
Harker/Rafferty). Often recorded by County Clare musicians. The tune is related
to “The Tap Room” (the title P.J. and Martin Hayes use) and “The Youngest Daughter.” Recorded by
Kevin Burke as “Roll Out the Barrel.” Sources for notated versions: the 1960
recording by Paddy Canney and P.J. Hayes [O’Malley]; a 1963 Radio Eireann
recording of Clare musicians Paddy Canny (fiddle) and Peadar O’Loughlin (flute)
[Breathnach]; fiddler Willie Kelly via New Jersey flute player Mike Rafferty,
born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ V), 1999; No. 111, pg. 57. Harker (300 Tunes from Mike Rafferty), 2005; No.
58, pg. 18. O’Malley (Luke O’Malley’s
Collection of Irish Music, vol. 1), 1976; No. 41, pg. 21. Belbridge 001, Bobby Casey – “Casey in the Cowhouse.”
Claddagh CC60CD, Mary McNamara – Traditional Music from East Clare.” Dublin
Records, “All-Ireland Champions—Violin: Meet Paddy Canny and P.J. Hayes”
(1960).Green Linnet SIF‑1110, Kevin Burke & Dale Ross ‑
"My Love is in America: The Boston College Irish Fiddle Festival"
(1991). Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The
Lonesome Touch” (1997). Green Linnet GLCD 1200, Lunasa – “Otherworld” (1999).
Shamrock LP, Paddy Canny & P.J. Hayes - “All-Ireland Champions: Violin.”
Spin CD 1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky
Chimney” (1996. Learned from East Clare fiddlers Paddy Canny and P.J. Hayes).
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Rolling in the barrel
D:The Smoky Chimney
N:played in B flat on album, on
tuned‑down fiddle
R:reel
M:4/4
Z:trascribed by Paul de Grae
L:1/8
K:Ddor
D2 ED ADED|A2 GE CEGE|D2 ED ADED|A2
GE ED D2:|
d2 ed aded|c3 e g3 e|d2 ed aded|cAGc
EDDA|
d2 ed aded|cBce g3 e|defe d2 cB|cAGc
ED D2|
X:
2
T:
Rolling in the Barrel
M:
4/4
L:
1/8
Q:
350
S:
Luke O'Malley vol 1
Z:
Transcribed by Bill Black
R:
reel
K:
Edor
E2
(3E^DE BE~E2 | dBAF DEFD | E2{F} (3E^DE BE~E2 | dBAd BEE2 |
E2
(3E^DE BE~E2 | (3BdB AF DEFD | B,E~E2 BE~E2 | (3BdB Ad BEE2 ||
e2
(3gfe be (3gfe | d^cdf (3aba fd | e2 (3gfe be (3gfe | dBAd BEE2 |
e2 (3gfe be (3gfe | de (3fed adfd | efgb (3aba fe | dBAd BEE2 ||
X:3
T:Rolling in the Barrel
M:C
L:1/8
R:Reel
K:E Minor
E2 FE BEFE|B2 AF DEFD|E2 FE BEFE|B2 AF FE E2|
E2 FE BEFE|B2 AF DEFD|E2 FE BEFE|B2 AF FE E2:|
|:e2 fd befe|~d3f ~a3f|e2 fe befe|dBAd BE E2|e2 fe befe|
~d3f ~a3f|efge f2 ed|BdAF FE E2:|
ROLLING IN THE GRASS. Old‑Time. The title appears in a list of Ozark Mountain fiddle
tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.
There is an Irish tune called "Rolling in/on the Ryegrass."
ROLLING IN THE
RYEGRASS. See "Rolling on the Ryegrass."
ROLLING OFF A LOG [1]. AKA and see “Up the River.” American,
Jig. C Major ('A' part) & G Major ('B' part). Standard tuning. AABB. The
tune was picked up (presumably from Cole’s 1000) by the Beaton family of
Mabou, and popularised among Cape Breton fiddlers. Cole (1000 Fiddle Tunes), 1940; pg. 73. Cranford (Jerry Holland: The
Second Collection), 2000; No. 252, pg. 91. Miller & Perron (New England Fiddlers Repertoire), 1983;
No. pg. Ryan’s Mammoth Collection, 1883; pg. 106.
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Rolling Off a Log [1]
L:1/8
M:6/8
K:C
g2^f a2f|gec cBc|dBG GAB|cd^d ef^f|g2^f a2f|gec cBc|dBG GAB|ced c3:|
K:G
|:Bdg
gfg|Bdg gfg|fga agf|age d2c|Bdg gfg|Bdg gfg|fga agf|1 g3 d2c:|2 g3 gef|]
ROLLING OFF A LOG [2]. AKA and see "The Green
Cockade [1]," "Sadler's
Balloon." American, Jig. D Major. Standard tuning. ABBC. Bayard (1944)
notes this is another tune that sounds like it came from the British Isles, yet
is difficult to trace. In his 1981 collection he thought his untitled march
(No. 467, pg. 444) a better version of the tune. Sources for notated version:
Mrs. Sarah Armstrong (Derry, Pa., 1943) [Bayard, 1944], Hiram Horner (fifer
from Westmoreland and Fayette Counties, Pa.) [Bayard, 1981]. Bayard (Hill Country Tunes), 1944; No. 14.
Bayard (Dance to the Fiddle), 1981;
No. 467, pg. 444.
ROLLING ON THE GROUND. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
ROLLING ON THE
RYEGRASS ("Ag Liatrad Air
An Seagal" or "Ag Cornad Ar an Braimfear"). AKA and see "Boil the Kettle Early,"
"The Connachtman's
Rambles [1]," "Kitty got a
Clinking (coming from the races) [1]," "The Ladies Tight Dress," “Ladies Top
Dress,” "The Lady on the
Railroad," "The Listowel
Lasses," "Love Among
the Roses," "Maureen
Playboy," "McCaffrey's Reel,"
"Old Molly Ahern,"
"Piper's Lass," "Punch for the Ladies [2],"
"The Railway Station," "Rathkeale
Hunt," "Roll Her on the Banks,"
"Sean‑Mhaire Ni Eachthighearn," "Shannon Breeze [1]," "Strac
an mhuc an leine," “The Telegraph,” "What the Devil Ails You [2]"
Irish, Reel. D Major (Roche, Moylan, Taylor): D Mixolydian (O'Neill/1915,
O'Neill/Krassen, Tubridy). Standard tuning. AB (Cranitch, Moylan, O’Malley,
O'Neill/1850, Tubridy): AAB (Roche): ABB' (O'Neill/Krassen): ABC (O'Neill/1915
& 1001): AABB (Taylor). The third part in O'Neill's is merely a variation
on the 'A' part. Francis O’Neill remarked in his book Irish Folk Music (pg. 141) that this reel was well-known in his
boyhood home of County Cork; this would have been in the mid-19th
century. Source O’Leary remembered that in his last year of life Kerry fiddler
Padraig O’Keeffe was often approached and asked for portions of his vast
repertoire. Even on his deathbed someone asked “Have you any few reels in your
pocket?” (perhaps to elicit one final rare gem of a tune). “Can’t think of a
bit,” he said, “only ‘Rolling in the Ryegrass,’” and died fifteen minutes later
(Moylan). Dermot Hanifan, in his book Padraig
O'Keeffe, The Man and His Music, states that O’Keeffe composed a great
number of tunes, one of which was “Rolling in the Ryegrass.” This is an
apparent impossiblity, in view of O’Neill’s having heard it in West Cork as a
boy, as stated above. See also the related “Roll
Her on the Hill,” “Roll Her on the
Mountain.” Church of Ireland cleric James Goodman included the tune in his
mid-19th century music manuscripts under the title “The Telegraph.” Sources for notated versions:
accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry
border), recorded in recital at Na Píobairí Uilleann, February, 1981 [Moylan];
fiddler and accordion player John McGrath (1900-1954) [O’Malley]. Cranitch (Irish Fiddle Book), 1996; pg. 96. Giblin
(Collection of Traditional Irish Dance
Music), 1928; 3.Moylan (Johnny
O’Leary), 1994; No. 178, pgs. 102-103. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 74,
pg. 37. O'Neill (Krassen), 1976; pg. 162. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1553, pg. 287.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 766, pg. 133. O’Neill (O’Neill’s Irish Music), 1915; No. 231, pg. 123. Roche Collection, 1982, vol. 1; No. 150,
pg. 60. Taylor (Through the Half-door),
1992; No. 39, pg. 27. Tubridy (Irish
Traditional Music, Vol. 1), 1999; pg. 17. Claddagh
CC5, Denis Murphy & Julia Clifford- “The Star Above the Garter.” Shaskeen -
"Shaskeen Live." Mick Coyne – “Both Sides of the Coyne.”
See also listings at: Jane Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Rolling in/on the Ryegrass
R:Reel
M:C|
L:1/8
K:D
|:"D"A2AF DFAF|"G"G2BG dGBG|"D"A2AF DFAF|"Em"GBAF E2D2:|
|:"D"ABde f2df|"Em"g2eg fedB|"D"ABd ef2df|"D"afdfe2d2:|
ROLLING ON THE RYEGRASS [2]. AKA and see “Sporting Paddy [1].” Irish, Reel. A
Dorian. Standard. AA’B. The
melody appears is in Church of Ireland cleric James Goodman’s mid-19th
century music manuscripts. Goodman (1828-1896) was an uilleann piper, and an
Irish speaker who collected locally in County Cork and elsewhere in Munster. He
also obtained tunes from manuscripts and printed collections. The tune is a
version of “Sporting Paddy [1],”
although Goodman did include the melody usually well-known today as “Rolling on
the Ryegrass,” albeit under the name “The Telegraph.”
Shield/Goodman (Tunes of the Munster
Pipers), 1998; No. 378, pg. 150.
X:1
T:Rolling on the Ryegrass [2]
M:C
L:1/8
R:Reel
S:James Goodman manuscripts (mid-19th
century)
B:Hugh Shields – Tunes of the Munster Pipers, No.
378 (1998)
K:A Dorian
AG|:EAAG AcBA|EAAB G2 ED|EAAG G2
Bd|1 efge dcBA:|2 efge d2 ef||
G2 eg fdBd|g2 ef g2 af|g2 eg
fdBd|efge d2z2|
G2 eg fdBd|g2 ef g2g2|bgaf gfed|efge
dcBA||
ROLLING REEL, THE. AKA and see “Humors of Schull.” Irish, Reel. G Major.
Standard tuning. AAB. Compare also with “Highway
to Limerick” and an untitled tune in Feldman & O’Doherty’s Northern Fiddler (1979; pg. 75). O’Neill
(Waifs and Strays of Gaelic Melody),
1922; No. 243. Green Linnet SIF‑1105, Patrick
Street ‑ "Irish Times" (1989).
X:1
T:Rolling Reel, The
M:4/4
L:1/8
S:Capt. F. O'Neill – Waifs and Strays of Gaelic Melody (1922)
Z:Paul Kinder
R:Reel
K:G
EA (3AAA cA (3AAA|BGGF GABd|(3efg dB A2 "tr"ge|dBGB cA A2:||
eaag a2 bg|a2 bg agef|g2 "tr"gf gaba|gedB BA A2|
eaag
a2 bg|a2 bg agef|gedB cdef|gedB cABG||
ROLLING RIVER. AKA and see "Tennessee Wagoner."
Old‑Time, Breakdown. USA. A Major. AEae tuning. AA'BB. A version of
"Tennessee Wagoner." Source for notated version: black string band
the John Lusk Band. Old Time Herald,
May‑July 1990, pg. 21. Folkways FTS 31062,
"Ship in the Clouds: Old Time Instrumental Music" (1978. Learned from
the John Lusk Band L or C recording). Rounder 0238, John Lusk Band ‑
"Black Stringband Music From the Library of Congress" (Originally
recorded in 1946).
ROLLING ROCKS OF GLAN, THE. AKA and see “Murphy’s Greyhound,” “O’Reilly’s Greyhound.” Irish, Reel.
One of the “big tunes” from Ma McNulty.
ROLLING SPEY, THE. Scottish, Strathspey. G Major. Standard
tuning. One part. Composed by J. Scott Skinner
(1843-1927), impressed by Scotland’s Spey river. Play it “with great force” he
directs. Skinner (The Scottish Violinist),
pg. 48.
X:1
T:Rolling Spey, The
M:Strathspey
L:1/8
N:”A strathspey study.”
S:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:G
{D/4E/4F/4}[G,2G2] D>G B,>G
G,>G | .G/.A/.B/.c/ .d/.e/.f/.g/ .d/.c/.B/.A/ [B,G>]^G |
{^G}[A2A2] E>A C>A A,>^G |
.A/.B/.c/.d/ .e/.f/^.g/.a/ .e/.d/.c/.B/ [EA]>B |
{F}[B,2G2] D>G B,>G G,>F |
.G/.A/.B/.c/ .d/.e/.f/g./ .d/.c/.B/.A/ [B,G]>^G |
Acdea .G.B.d.g | .A.d.^c.e
.d.=c/.a/.f/ | {d}[e2e2] B>e G>e E>e |
(E/e/)(.e/.e/) (F/e/)(.e/.e/)
(G/e/)(.e/.e/) (E/e/)(.e/.e/) | {^c}[D2d2] A>d F>d D>d |
.D/.d/.d/.d/ .E/.d/.d/.d/
.F/.d/.d/.d/ .D/.d/.d/.d/ | {f}g2 d>g B>g G>g |
(G,/G/).G/.G/ (A/G/).G/.G/
(B,/G/).G/.G/ (G,/G/.G/.G/ | (C>E) .A/.c/.e (B,>D) G/B/d |
f/g/a/b/ c’/b/a/g/ .f/.e/.d/.^c/
.d/.=c/.B/.A/ ||
ROLLING STONE BREAKDOWN.
Old-Time, Breakdown. USA, Missouri. A Major. Standard tuning. AA’BB’.
Composed by Missouri fiddler Lee Roy Stoneking (1907-1989), originally from
Henry County. Source for notated version: Lee Stoneking [Beisswenger &
McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 144. Big K Studio, Lee Stoneking – “Echoes of the Ozarks” (c.
1970’s).
ROLLING STREAM, THE. Irish,
Jig. Composed by the late County Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland), 14.
ROLLING WAVE(S) [1], THE. AKA and see “Humours of Glenflesk,” “The Limerick Lass/Lasses,” “The Lonesome Jig [1],” “Negus for Gentlemen,” “Maguire’s Kick,” “Punch for (the) Ladies [1].”
Irish, Double Jig. Petrie printed the tune as “The rebels’ march in 1798,” and
Joyce gave it as “Punch for Ladies,” “Negus for Gentlemen” and “The Humours of
Glenflesk.” O’Neill calls it “Maguire’s Kick” and “Ryan’s/Cole's” has it as
“The Limerick Lass.” Most recently, John Williams (on his self-titled solo
album) recorded it as “The Lonesome Jig. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 3,
No. 3.Green Linnet SIF 1041, Kevin Burke ‑
"Portland" (1982). Green Linnet SIF 1101, Kevin Burke ‑
"Playing with Fire: the Celtic Fiddle Collection" (1989).
X:1
T:The Rolling Waves
T:The Lonesome Jig (?)
C:Trad.
Z:Transcribed by Han Speek
Z:2nd title on John Williams' solo
album.
M:6/8
L:1/8
R:Jig
K:D
F2E EDE|~F2D DED|~F2E EFA|d2e fdA|\
F2E EDE|~F2D DED|AFE EFA|~B3 ~d3:|\
ABd e2f|d2c ~B2A|ABd e2f|d2A B3|\
ABd ede|fdB BAF|AFE EFA|~B3 d3:|
ROLLING WAVE [2], THE. AKA and see “Beattie’s Frolics,” “Humors of Trim,” Irish, Jig. D
Major. Standard tuning. AB. The title appears to have been Willie Clancy’s.
O’Neill gives it as “Humors of Trim.” Source for notated version: piper Willie
Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No.
42, pg. 54. Vallely (Learn to Play the
Tin Whistle with the Armagh Pipers Club), vol. 3, No. 4. Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie
Clancy, vol. 1” (1980). Green Linnet GLCD
1211, Kevin Crawford – “In Good Company” (2001). Chieftains 8 (appears
in the “Sea Image” set).
X:1
T:Rolling Wave, The
B:Dance Music of Willie Clancy
(Dublin 1976)
Z:Nigel Gatherer
N:rough transcription only
M:6/8
R:Jig
L:1/8
K:D
FEF D3 | D2 d cAG | FEF D3 | AAF GFE
|
FEF D3 | D2 d cAG | E F2 G3 | (4AcAF
GFE :|]
D2 d cAd | cAd cAG | F2 d cAG | A2 F
GFE |
D2 d cAc | ded cAG | (4FGAF GBG |
AAF GFE |
D2 d cAd | cAd cAG | F2 d cAG | FAF
GFE |
D2 d cde | (4gfed cAG | E F2 G3 | A2
F GFE |]
ROLLSTONE MOUNTAIN. New England, Contra Dance Tune (4/4 time). D Major. Standard tuning
(fiddle). AB. Composed by New England dance caller Ralph Page. Page (Ralph Page Book of Contras), 1969; pg.
15. Fretless 119, Rodney and Randy Miller‑‑
"Castles in the Air."
ROLY POLY. See “Martin Mulhare’s No. 9.” Irish,
Reel.
ROMAN WALL, THE. English, Two-Step. G Major. Standard tuning (fiddle). AABB. The jig is to be found in the repertoire of Northumbrian fiddler Adam Gray under the title “The Roman Wall,” from whom Peter Kennedy recorded it in 1954. It was either claimed by him or, perhaps more likely, attributed to him (it has also erroneously been attributed to Borders fiddler Willie Taylor). Gray was a policeman and fiddler from Haydon Bridge in the remote reaches of the Tyne Valley. Barry Callaghan (2007) points out the similarity with the Irish jig “The Eavesdropper.” Another take on the melody can be found in French-Canadian repertoire with Joseph Allard’s “Gigue de la débauche.” Callaghan (Hardcore English), 2007; pg. 64.
X:1
T:The Roman Wall
S:from Adam Gray via Pete Coe
M:6/8
R:two-step
L:1/8
Z:Noel Jackson
K:G
|: D | G2G BAG | Bdg dBG | c2e dBG | FAA A2D | G2G BAG
|
Bdg dBG | cde dBG AGF G2 :: d | G2g fed | efg dBG | cde dBG |
F2A
A2d | g2g fed | efg dbg | cde dBG | AGF G2 :||
ROMANCE OR SONG AIR (Fonn uirsgeaul no dan). Scottish, Air (3/8 time). B Minor.
Standard tuning (fiddle). AB. Attached to "MacDonald, Lord of the
Isles" in Fraser's collection; see note for that tune. Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 217, pg. 89.
ROMANTIC KERRYMAN, THE (An Ciarraigeac Finnsgeulac). Irish, Air (3/4 time, "with
spirit"). D Major. Standard tuning (fiddle). AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 320, pg. 55.
X:1
T:Romantic Kerryman, The
M:3/4
L:1/8
R:Air
N:”With spirit”
S:O’Neill – Music of Ireland (1903), No. 320
Z:AK/Fiddler’s Companion
K:D
AG|F2E2D2|F4 G2|A4
AG|A2B2c2|d2d2d2|c2d2c2|A2B2c2|d4 AG|F2E2D2|F4G2|
A4
AG|A2B2c2|d2f2d2|c2A2G2|F2D2D2|D4||AG|F2G2A2|A2B2c2|d4 e2|f2e2d2|
c2B2A2|A2B2c2|(d6|d4)
de|f2e2d2|c2A2G2|F2D2E2|F2G2A2|A2d2d2|c2A2G2|F2D2D2|D4||
ROMEO'S JIG. Canadian, Jig. D Major. Standard tuning. AABB. Composed by Canadain
fiddler Andy DeJarlis (who also composed "Whiskey Before Breakfast").
Source for notated version: learned by fiddler Vic Kibler (Hamilton County, New
York) from a Rod Dorman (Canada) recording [Bohrer]. Bohrer (Vic Kibler), 1992; No. 18, pg. 18.
ROMP AMONG THE WHINS. Scottish, Reel. A Major. Standard tuning. AABB. MacDonald (The Skye Collection), 1887; pg. 20.
Stewart-Robertson (The Athole Collection),
1884; pg. 37.
X:1
T:Romp Among the Whins
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
R:Reel
K:A
a|e2 dc eAAa|e2 dc fBBa|e2 dc ABcA|fdce fBB:|
|:c|A/A/A
ae feac|A/A/A ae fBBc|A/A/A ae feae|fedc fBB:|
ROMPING MOLLY. AKA and see “Rakes of Mallow.”
American, Country Dance Tune (4/4 time). D Major. Standard tuning. AABB. The
tune is the well-known Irish “Rakes of Mallow” with a name change. Shaw (Cowboy Dances),1943; pg. 381.
X:1
T:Romping Molly
L:1/8
M:4/4
S:Shaw – Cowboy Dances (1943)
Z:AK/Fiddler’s Companion
K:D
D2F2D2F2|D2F2 GFED|C2E2C2E2|C2E2
AGFE|D2F2D2F2|
D2F2 GFED|EDCB, CDEF|D2F2 D4:|
|:d2 cB A2G2|F2G2 A4|d2 cB A2G2|F2A2
E4|d2cB A2G2|
F2G2 A4|GFED CDEF|D4D4:|
RON GONELLA. Canadian, Jig. Canada, Cape Breton. B Flat Major. Standard tuning. AABB’.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Gonella is a champion traditional fiddler from Scotland. Cameron (Trip to Windsor), 1994; pg. 44.
RON GOODWIN'S HORNPIPE. Canadian, Hornpipe. C major. Standard tuning. AABB. Composed by Ron
Goodwin. Messer (Anthology of Favorite
Fiddle Tunes), 1980; No. 125, pg. 81.
RON MONK’S TWIDDLY
FINGERS. Scottish, Jig. D Major. Standard
tuning. AABB’CC’DD’. Composed by Willie Russell. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 47.
RONALD CRAWFORD. Scottish, "Very Slow" Strathspey. F Minor. Standard tuning.
AABCCD. Composed by Nathaniel
Gow (1763-1831). Carlin (Gow
Collection), 1986; No. 208.
RONAS VOE. Shetland, Waltz. G Major. Standard tuning. One part. Composed in the
1950's by Shetland accordion and piano player Ronnie Cooper, and recorded with
the group "Hamefarers," which included Scottish fiddler Willie
Hunter. Matthiesen (Waltz Book II), 1995;
pg. 54. Thule Records, The Hamefarers - "The
Hamefarers" (c. 1950's).
RONAYNE JIG. AKA and see “Punch for
(the) Ladies [1],” “Shandon Bells.”
RONDE DE LOUDÉAC. AKA – “Ronds de Loudéac.” Breton, Reel. B Minor. Standard tuning. Ronde
de Loudéac is the name of a traditional Breton dance, to which several tunes
are played. Thus, there are various “Ronde de Loudéac” tunes. The abc’s below
are currently in favour through the playing of fiddler Christian LeMaítre of
the Breton band Kornog and Celtic Fiddle Festival, and the Irish band Lunasa. Lunasa – “The Merry Sisters of Fate.” An Naër 404, “Kornog
4” (2001).
X:1
T:Ronde de Loudeac
M:4/4
L:1/8
R:Reel
K:Bmin
Bcde f2ff|gfef edcF|Bcde f2 ff|gfef
edc2|Bcde f2ff|afef edcF|
Bcde f2ff|gfef edc2||f2fe fdB2|(3Bcd
cB ABcd|efec d2B2|
dcB2 ABcd|efec d2B2|dcB2 ABc2|(3def
ec B2BB||
RONDE DES VIEUX, LA. AKA and see "Fairy Dance,"
"Largo's Fairy Dance."
French-Canadian, Reel. D Major. Standard tuning. AA'BAA'CC'. The main phrases
are reversed in Ringuette's version from the Scots original versions, and he
adds a third strain. Source for notated verison: fiddler Willie Ringuette
(Trois-Rivieres, Quebec) [Joyal]. Joyal (Danses
d'ici: Musique Traditionnelle du Québec), 1994; pgs. 57 & 106-107. Columbia 34278-F (78 RPM), Willie Ringuette (1927).
RONDE DES VOYAGEURS (Travelers’ round dance). French-Canadian, Reel. A Minor (‘A’
part) & A Major (‘B’ part). Standard tuning. AA’BB’. The tune was recorded
in New York in 1928 by Québec City fiddler and travelling salesman Fortunat
Malouin (1870-1935). Source for notated version: fiddler Vincent Ouellet of the
group Éritage [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 60, pg. 94. Fogarty’s
Cove Records, Éritage – “La ronde des voyageurs” (1982). Great Meadow Music GMM
2003, “Rodney Miller’s Airdance” (2000). Jean-Marie and Martin Verret –
“Reflets du passé” (1993).
RONDEAU DE LANDES. French, Rondeau (2/4 time). G Major. Standard tuning. AB. Stevens (Massif Central), vol. 1, 1987; No. 124.
RONDEAU DE LUGLON. French, Rondeau (2/4 time). G Major. Standard tuning. AB. Stevens (Massif Central), vol. 2, 1988; No. 108.
RONFLEUSE GOBEIL, LA. AKA and see "Snoring
(Mrs.) Gobeil," "Snoring Gobeil." French‑Canadian,
Reel. D Major. Standard tuning. AABB (Miller & Perron): AABBCC {40 bar
reel} (Begin, Carlin, Hinds). The 'A' and 'B' parts are French‑Canadian,
the 'C' part is the 'B' part of "Judy's
Reel" (AKA ‑ "The
Maid Behind the Bar [1]"), printed in Ryan’s Mammoth Collection/Cole's
1000. Hart & Sandell (2001) note the tune was first recorded in 1927 on
78 RPM by fiddler Willie Ringuette (1898-1969) of Trois-Rivières, one of the
great Montréal fiddler Jean Carignan’s teachers. According to the authors,
Ringuette composed two parts of the tune, then added the ‘B’ part of “Maid
Behind the Bar” (Judy’s Reel) as a third part. Jean Carignan further modified
the first part, but kept Ringuette’s second part and the adopted (“Maid Behind
the Bar”) third part. It was Carignon who first popularized the melody,
followed by la Bottine Souriante on their 1978 album “Ya bend u changement.”
Source for notated version: fiddler Dawson Girdwood (Perth, Ottawa Valley,
Ontario) [Begin]. Begin (Fiddle Music
from the Ottawa Valley: Dawson Girdwood), 1985; No. 49, pg. 58. Carlin (Master Collection), 1984; No. 78, pg.
52. Hart & Sandell (Dance ce Soir),
2001; pg. 74. Hinds/Hebert (Grumbling Old
Woman), 1981; pg. 17. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 154. Compo Records, Joseph Bouchard – “Reel carnaval” (1968.
Appears as “Saint-Siméon”). Folkways FG3531, "Jean Carignan, Old Time
Fiddle Songs" (1966). Folkways FTS 31098, Ken Perlman ‑
"Clawhammer Banjo and Fingerstyle Guitar Solos." Philo PH2001,
"Jean Carignan" (1973). Rounder 7002, Graham Townsend ‑
"Le Violon/The Fiddle." La Bottine souriante – “Y a ben du
changement” (1978).
X:1
T:Ronfleuse Gobeil
M:C|
L:1/8
R:Reel
K:D
a2fd Adfa|gece fddf|a2fd Adfa|gece
d4:|\
||A2f2 fef2|B2g2gfg2|A2c2 efec|dcde
(3fga fd|
A2f2 fef2|B2g2gfg2|A3c
efec|d2e2f4||\
|:faab afde|fdad bdfd|efga bgef|gebe
geeg|
fgaf bfaf|defd efde|fBBA BcdB|AFEF
D4:|
X:2
T:Ronfluese Gobeille, La
M:2/4
L:1/8
R:Reel
S:Fiddler Pascal Gemme (of the group
Genticorum)
K:D
f||af/d/ A/d/f/a/|g/e/c/e/
f/d/d/f/|af/d/ A/d/f/a/|g/e/c/A/ df|
af/d/ A/d/f/a/|g/e/c/e/
f/d/d/f/|af/d/ A/d/f/a/|g/e/c/A/ d2||
|:Af f/e/[Af]|Bg g/f/[Bg]|Ac
[Ec]A/c/|d/c/d/e/ f/a/f/d/|
Af f/e/[Af]|Bg g/f/[Bg]|Ac [Ec]A|de
[A2f2]:|
|:f/g/a/b/ a/f/d/e/|f/d/a/d/
ff/f/|e/f/g/a/ b/g/e/f/|g/e/b/e/ g/e/g/g/|
f/g/a/b/ a/f/d/e/|f/d/a/d/
ff/f/|e/B/B/A/ B/c/d/B/|1 A/F/E/F/ D2:|2 A/F/E/F/ Df||
RONNIE COOPER. Irish, Reel. D Major. Standard tuning. AABB. A
reel composed by fiddler and piano player Josephine Keegan, of Mullaghbawn,
South Armagh, in honor of the late Shetland piano and piano accordion player,
and composer, Ronnie Cooper (see his compositions “Miss Susan Cooper,” “Da Tushkar,” and “Mickie Ainsworth”). Keegan credits him
with helping her to improve her technique on the piano. Keegan (The Keegan
Tunes), 2002; pg. 21.
X:1
T:Ronnie Cooper
C:Josephine Keegan
R:reel
N:#007/I yellow
Z:Transcription Johannes Schiefner (jschiefner@web.de)
Z:id:js_1030
M:C|
L:1/8
K:D
c|dD ~D2 ADFA|gfed .B/.c/d ed|BE ~E2 gfed|cdec Agfe|
dAFA Bcdf|gfed Bcde|fg{a}gf gfed|ceag fdd:||
f|afdf ~a3 f|gece ~g3 e|fdAd fgaf|gece ~a3 g|
fdce dAFA|BGGF EFGE|FA ~A2 GBed|cAGE ED D2:|]
ROODMAN’S ROMP. English, Jig (9/8 time). E Minor.
Standard tuning. AABB. A modern tune (1991) composed by W.H. Myers and C.E.
Thomson in honor of dance choreographer Gary Roodman. Barnes (English Country
Dance Tunes, vol. 2), 2005; pg. 16 (appears as “Cadgers’ Caper”, the name of a
dance set to the tune by Gary Roodman).
ROOKERY [1], THE. AKA and see “O’Rourkes,”
"Port Ui Fhaolain," “Whelan’s Jig.” Rookery probably refers to an area where birds nest and raise
there young, but it is worth noting that the Irish word Rookaun meant great both ‘noisy merriment’ and also referred to a
drinking-bout, especially in use around Limerick (P.W. Joyce). Rookery also was
a term for the dense, slum-like housing in 19th century cities, particularly London, and home to a
large Irish population.
ROOKERY [2], THE. AKA and see "Bill Harte's Jig [1]."
Irish, Jig. D Mixolydian. Standard tuning. AABB. See also note for “Sonny Brogan’s [1].” Fiddler
Magazine, Fall 2008, vol. 15, No. 3; pg. 41. Jordan (Whistle and Sing), 1975; 47.
X:1
T:Rookery, The [2]
M:6/8
L:1/8
R:Jig
K:Dmix
“D”D3A3|”G”BAG “D”A2d|”D”D3
AGA|”G”BAG “C”EGC|”D”D3 A3|”G”BAG “D”ABc|
“Am”dcB c2A|”G”BAG “C”E2C::”D”DdB
“Am”c2A|”G”BAG “D”A2G|”D”AdB “Am”c2A|
“G”BAG “C”EGC|”D”DdB “Cc2A|”G”BAG
“D”ABc|”Am”ded c2A|”G”BAG “C”E2C:||
ROOK’S DISPLAY, THE. Irish,
Hornpipe. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 35.
ROOM FOR A ROVER. English, ‘Old’ Hornpipe (3/2 time). G Major. Standard tuning. AAB. The tune appears in D’Urfy’s Pills to Purge Melancholy, around the year 1700. Plain Brown Tune Book, 1997; pg. 37.
X:1
T:Room for a Rover
M:3/2
L:1/8
S:Pills to Purge Melancholy
K:G
G2d2d2cB A2G2 | G2d2e2 f2g4 | A2a2a2
gf e2A2 | A2d2d2^c2d4 :|
B2e2e2^d2e2B2 | B2e2e2^d2e4 |
A2d2d2^c2d2A2 | A2d2d2^c2d4 |
A2AB c2B2c2BA | GABc defd g2G2 | g2
fe defd g2G2 | g2 fe dcBA G4 ||
ROOM FOR COMPANY. English, Country Dance Air (6/4 time). G Minor. Standard. AABB. The air
appears in Musick's Recreation on the
Lyra‑Viol (1652), Pills to
Purge Melancholy (1707 & 1719); the original ballad dates to
Elizabethan times. Chappell (1859) says a later version of the air was known as
"Hunting the Hare."
Chappell (Popular Music of the Olden Time),
Vol. 1, 1859; pg. 316.
X:1
T:Room for Company
M:6/4
L:1/8
S:Chappell – Popular Music of the Olden Times (1859)
Z:AK/Fiddler’s Companion
K:Gmin
B4 F2 D3EF2 | e2c2B2 cBAG F2 | B4 F2
D3E F2 | d2c2B2 B6 :|
|: d2c2B2 cd c2B2 | d2c2B2 cBAG F2 |
B4 F2D3E F2 | d2c3 B B6 :|
ROOM FOR RAMBLERS. English, Country Dance Tune (cut time). D Major. Standard. AAB. The
tune dates to 1719. Barnes (English
Country Dance Tunes), 1986.
ROOM FOR THE CUCKOLDS. English, Morris Dance Tune (6/8 time). A Major (Bacon): G Major
(Mallinson). Standard. AABB (x3), AA. Collected from the village of Bucknell,
Oxfordshire, in England's Cotswolds. Bacon (The
Morris Ring), 1974; pg. 121. Mallinson (Mally’s
Cotswold Morris Book), 1988, vol. 2; No.59, pg. 28. EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of
Morris On" (1976/1994).
ROOM FOR THE CUCKOO. English, Morris Dance Tune (6/8 time). D Major. Standard. AABB. A
variation of "Room for the Cuckolds,"
collected from the village of Wheatley, Oxfordshire, in England's Cotswolds.
Bacon (The Morris Ring), 1974; pg.
308.
ROOMS OF DOOAH, THE. AKA and see “Banks of Glenoe,” “Con Carthy’s.” Irish, Jig. Gael-Linn CEF 068, Martin Hayes – “An Fhidil, vol. 1”
(1976). Green Linnet GLCD 1127, “Martin Hayes” (1993).
ROONEY'S REEL. AKA and see "The
Honeymoon (Reel) [2]."
ROOSTER IN THE
STRAWPILE. AKA and see "The Horse Called Rover."
ROOT HOG OR DIE. American, Dance Tune and Air (2/4 time). A Major (Cole/Ryan): G Major
(Ford). Standard. AB (Cole/Ryan): AABB (Ford). The phrase 'root hog or die,'
whose exact meaning is unknown but whose general meaning is 'to become
productive or perish,' first appears in the 1834 publication A Narrative Life of David Crockett. The
tune is listed as a 'jig' in Ryan’s
Mammoth Collection, referring not to the familiar Irish 6/8 time jig, but
rather to a type of 19th century American syncopated duple-time
banjo tune. These jigs were often called ‘straight’ or ‘sand’ jigs (the latter
derived from the practice of spreading sand on the stage to reduce friction and
facilitate foot movements). It was perhaps named for the type of dance to it
(i.e. jig‑dancing, a term borrowed from England) or perhaps from a
derogatory term for African‑Americans. It appears in a list of standard
tunes in the square dance fiddler's repertoire, according to A.B. Moore in History of Alabama, 1934. Charles Wolfe,
commenting in his 1991 edition of African-American collector Thomas Talley’s Negro Folk Rhymes (originally published
in 1922), says the song “has obscure origins in the pre-Civil War minstrel
stage.” Talley gave a stanza under the title “The Thrifty Slave”:
***
Jes wuk all day,
Den go huntin’ in de wood.
Ef you cain’t ketch nothin’
Den you hain’t no good.
Don’t look at Mosser’s chickens,
Caze dey’re roostin’ high.
Big pig, liddle pig, root hog or die!
***
Cole (1000 Fiddle Tunes), 1940; pg. 84. Ford (Traditional Music of America), 1940; pg. 60 (lyrics on pg. 424). Ryan’s Mammoth Collection, 1883; pg.
118.
X:1
T:Root Hog or Die
M:2/4
L:1/8
R:Clog dance tune
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
E | A/B/c/d/ e/c/z/e/ | e/c/a/c/
Bz/B/ | B/c/d/e/ f/d/z/f/ | f/d/b ez/e/ | e/f/g/a/ b/b/z/g/ |
a/g/f/e/ az/c/ | d/B/c/A/ B/e/z/e/ |
e/c/d/B/ A2 || (3a/a/aa (3g/g/g/g | (3f/f/f/f c/e/z/e/ |
E/A/F/A/ G/A/z/A/ | c/A/B/c/
F/A/z/A/ | .a.a .g.g | (3f/f/f/f c/e/z/e/ | E/A/F/A/ G/A/z/A/ | c/A/B/G/ A ||
ROPE DANCE [1], THE. Irish, Jig. G Major. Standard tuning. AABB. See note for “Richer’s Hornpipe” for more on rope dancing. Source for notated version: copied from James Aird’s Selections of Scotch, English, Irish and Foreign Airs (1782-97) [O’Neill].
***
The Rope Dance. Leonard DeFrance
(1735-1805), Flemish. Metropolitan Museum of Art, New York.
***
O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 91.
X:1
T:Rope Dance, The
M:6/8
L:1/8
S:Aird's Selections 1782-97
Z:Paul Kinder
K:G
B/2c/2|def gfg|d2 B Bcd|edc BAG|F2 D DBc|
def gfg|d2 B Bcd|edc BcA|G3 G2:|
|:B|c2 A ABA|B2 G GAG|c2 A ABA|B2 G GBd|
def gfg|d2 B Bcd|edc BcA|G3 G2:||
ROPE DANCE [2], THE. English, Jig. G Major. Standard tuning. AABB. No
relation to “Rope Dance” [1]. The
melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who
lived in Slackcote, Saddleworth, North West England, in the 19th
century, and his manuscript dates from around 1820 onwards. The Joseph
Kershaw Manuscript, 1993; No. 21.
ROPE WALTZ, THE. AKA and see “Orcadian Waltz.” Scottish, Waltz. D Major.
Standard tuning. One part. The tune may have originated in the Orkney Islands
(Christine Martin, for example, includes it in her section of Orkney melodies).
Scottish bandleader Jimmy Shand recorded it on a 78 RPM as “Orcadian Waltz.”
See also “The Perfect Cure” for a
similar melody. Martin (Traditional
Scottish Fiddling), 2002; pg. 104. Plain Brown Tune Book, 1997; pg.
38. Parlophone 78 RPM R4218, Jimmy Shand.
X:1
T:Rope Waltz, The
S:West Edinburgh Folk Group, circa
1995
O:Orkney
Z:Nigel Gatherer
M:3/4
R:Waltz
L:1/8
K:D
A2 G2|F3 G^GA|D4 d2|c3 d^de|A4 G2|F3
G^GA|D4 F2|E6-|E2 A2 G2|
F3 G^GA|D4 d2|c3 d^de|A4 G2|F3 G
F2|E3 F E2|D2 F2 A2|
d2 d2 e2|f4 e2|d4 c2|d2 c2 B2|A6|g4
f2|e4 d2|ce- e4-|e2 d2 e2|
f4 e2|d4 c2|d2 c2 B2|A4 G2|F3 G
F2|E3 F E2|D6-|D2 z4|]
X:2
T:Rope Waltz
M:3/4
L:1/4
K:G
d^c=c|:Bc ^c/2d/2|G2g|fg a/2f/2|d2c|Bc ^c/2d/2|G2B|A3|d^c=c|Bc ^c/2d /2|
G2g|fg a/2f/2|d2c|Bd B/2G/2|Ac A/2F/2|GA B/2A/2|1Gdc:|2Gga||
|:b2a|g 3|gfe|d3|c'2b|a2g|fg a/2f/2|dga|b2a|g3|gfe|dB G/2A/2|Bd B/2G/2|
Ac
A/ 2F/2|GBA|1Gga:|2G3|
ROR GEAL DUB. AKA ‑ "Bright
Black Rose." Irish, Air (3/4 time). D Dorian. Standard tuning. AB. Roche Collection, 1982, vol. 1; No. 27,
pg. 15.
RORY DALL'S PORT [1]. Scottish, Air (6/8 time). G Major (Johnson): E Major (Emmerson): F Major (Purser). Standard tuning. One part (Emmerson): AB (Purser): AABBCCDDEEFFGGHHIIJJKKLL (Johnson). The title may refer to Rory dall O'Cahan, a famous Irish harper who lived primarily in Scotland in the 17th century, or perhaps to Rory Dall Morison, a blind Scottish harper who worked the Highlands in the early 18th century. Johnson (1984) states the tune was, however, composed by James Oswald (in his London period), who published several of his compositions under pseudonyms and who originally titled the c. 1756 piece "A Highland Port (tune) by Rory Dall." (See "Port). Purser (1992) attributes the melody to Rory dall O'Cahan (who visited the court of James VI), and observes that the tune appears a decade or two later than this period in the lute book of Robert Straloch of Gordon, evidencing the fact that some harp (clarsach) tunes were translated to early lute manuscripts. "Rory Dall's Port" appears in the Skene Manuscript under the title "Port Ballangowne." In 1790 Robert Burns wrote his song "Ae fond kiss and then we sever" to this tune, and directed it be played "slow and tender." It appears in the Straloch Manuscript (1627‑29), Walsh's Country Dances of 1750, and Johnson's Scots Musical Museum (No. 347) of 1792. Source for notated version: Oswald's Collection of Scots Tunes with Variations, pg. 30. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 72, pg. 156. Johnson (Scottish Fiddle Music of the 18th Century), 1984; No. 22, pgs. 53‑55. Purser (Scotland’s Music), 1992; Example 7, pg. 117.
RORY DALL'S PORT [2]. Scottish. No relation to version #1. Appears in the Skene mandura‑book of c. 1620.
RORY DALL'S PORT [3]???
Irish, Air (6/8 time). Appears in Playford's Dancing Master. (Not the air in version #1??) Glen traced it only
to Oswald and Walsh (1757). Flood (1905) declares it was in print in 1670 and
attributes it unequivocally to the harper Rory Dall O'Cahan (O'Kane). Source
for notated version: Playford's Dancing
Master [Flood]. Flood (The Story of
the Harp), 1905; pg. 80.
RORY/RORIE DALL'S
SISTER'S LAMENT (Caome Dearbsiur
Ruaidri Daill).
Scottish, Irish; Air (3/4 time). E Minor/G Major. Standard tuning. AB. Composed
by the Ulster-born (d. 1653) Rory Dall (O'Caithean or O'Cahan), who was harper
to several Scottish noble families in the 17th century. The melody appears in Donald Dow's (1732‑1783) Collection of Ancient Scots Music and at
the end of Bruce Armstrong’s The Highland
Harp. See note for “Give Me Your
Hand.” Source for notated version: I.S. Dunning, former city engineer of
Aurora, Illinois [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1979; No. 47, pg. 9.
X:1
T:Rory Dall’s Sister’s Lament
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 47
Z:AK/Fiddler’s Companion
K:Emin
A3 BAB | G3 ABd | e2 E4 | edBdef |
g3a (3bag | e2 degd | e2d2B2 |
gede g2 | edBd e2 | G3 ABd | B4 A2
|| g3 efg | a3 fga | b3 aga | b3 d’ (3bag |
a3 gab | e’3 d’ba | g3a (3bag | g2f2
ed | d3 efg | g3 a2 (3bag | e3 def |
e>ged B/d/e/f/ | ge de g2 | ed Bd
eg | g3 ABd | B4 A2 ||
RORY MACLEOD. Scottish, Jig. A Mixolydian. Standard tuning. AA’BBCCDD. Green Linnet SIF 1077, Capercaille – “Crosswinds” (1987).
X:1
T:Rory MacLeod
M:6/8
L:1/8
R:Jig
K:Amix
|:c2A cee|fee faa|c2A cee|fcc
cBB|c2A cee|fee faa|fcc ecB|cAA [1 A3 :|
[2 A2 ||
|:e|Aee fee|aee fee|cee fee|aee
eff|Aee fee|aee fee|fcc ecB|cAA A2:|
|:a|Acc cdd|dcc c2B|Acc cdd|dcc
cBB|Acc cdd|dcc c2A|fcc ecB|cAA A2:|
|:g|faa a2f|fee e2c|cBB cff|fee
ecc|faa a2f|fee e2c|fcc ecB|cAA A2:|
RORY MACNAB. Scottish, Reel. E Minor. Standard tuning. AB (Surenne): AAB (Gow, Kerr,
Stewart-Robertson). See also Irish variants “The
Game of Love,” “Humors
of Ballinacarrig,” “Humors
of Rockstown,” “Paddy the Piper
[1],” “Piper’s Son,” “Pride of Rathmore.” Gow (Complete Repository), Part 1, 1799; pg.
18 (appears as “Roary Macnab”). Kerr (Merry
Melodies), vol. 1; Set 19, No. 4, pg. 12. Stewart-Robertson (The Athole Collection), 1884; pg. 257.
Surenne (Dance Music of Scotland),
1852; pg. 143. IONA 047, Barra MacNeils – “Traditional
Album” (1994. Appears as 2nd tune of “Clumsy Lover” set).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Rory MacNab
M:C|
L:1/8
R:Reel
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:E Minor
e|B2 EG/A/ BGEG|AFDF dFDF|BGEG efba|gef^d e/e/e e:|
B|egfe B/B/B eB|defe d/d/d fd|egfe dBAF|GBAF E/E/E EB|
egfe
B/B/B eB|defe d/d/d fd|egfg efde|BdAF E/E/E ~E||
RORY McNAB’S REEL. AKA and see “Lady McNabb’s.”
RORY McLEOD. AKA “Rory MacLeod.” Scottish, Jig. A Major. Standard tuning. AABBCCDD. Green Linnet SIF 1077, Capercaille – “Crosswinds” (1987).
X:1
T:Rory McLeod
R:Jig
M:6/8
L:1/8
K:A
c2-A cee|fee faa|c2-A cee|fcc cBB|!
c2-A cee|fee faa|aee fcB|cAA A3:||!
faa aff|fee ecc|cBB cee|fee ece|!
faa aff|fee ece|fcc ecB|cAA A3:||!
Acc cdd|dcc c2-B|Acc cdd|dcc c2-B|!
Acc cdd|dcc cde|fcc ecB|cAA A3:||!
Aee fee|aee fee|cee fee|aee eff|!
Aee fee|aee fee|fcc ecB|cAA A3:||
RORY OF THE HILLS (Ruaidri Na Cnoc). AKA and see "Rory
O'Mo{o}re," "March
of the King of Laois." Irish, March (6/8 time). D Mixolydian. Standard
tuning. AB. The title is perhaps associated with the O'Moore/O’More family,
states Johnson (1991), whose 16th century head of the family was Ruairí Óg Ó
Mórdha. The O’More family lands were in the County Leix, and, when the English
sought to usurp them by importing settlers, establishing a new goverenment and
renaming the county Queens, Rory and his followers waged a successful six year
guerilla war against them. Though Rory was killed while reconnoitering a force
brought against him, his soldiers avenged his death and routed the enemy.
O’More’s name became an inspiration and a rallying cry: “God, and Our Lady, and
Rory O’More!” (Seamus MacManus). Rory of the Hills has since come to mean the
eternal wanderer, the archetypical Irish homeless one. O’Neill (1913), whose
version seems identical to Bunting’s “March of the King of Laois,” printed in
his collection of 1809, mentions this tune as a “splendid martial air.”
***
A story, told by Ann Heymann in Secrets of the Gaelic Harp, describes an
event in 1599 when the Earl of Essex, the Queen’s representative, visited one
of the Lairds of Munster with his guide, a Mr. Delahide. They participated in a
great feast at which a harper appeared at the door and asked to entertain the
company, as was the custom. Delahide asked in Irish for a certain song he heard
the bard perform before and when he does there is consternation in the
audience, for he requested “The Lament of Ownry Rory O’More,” as he was More’s
seanachie. When Essex asks, he is told that Delahide asked the harper for
"The Lament of Ownry Rory O'More", as he was More's seanachie. The
natives are astonished to hear this tribute to a rebel played before the
Queen's representative, and their is some fear of a riot breaking out, as the
native Irish gather at both door and window to hear the harp. O'Neill (Music
of Ireland: 1850 Melodies), 1979; No. 1810, pg. 340. Essential ESM CD 434, Dave Swarbrick – “Smiddyburn Flittin’”
(1996. Originally recorded 1981).
X:1
T:Rory of the Hills
M:6/8
L:1/8
R:March
S:O’Neill – Music of Ireland (1903), No. 1810
Z:AK/Fiddler’s Companion
K:D
{A/B/}A2F {A/B/}A2E | {A/B/}A2F
{A/B/}A2D | {B/=c/}B2G {A/B/}A2E |
{G/A/}GzF E{F/E/}D | {A/B/}A2F
{A/B/}A2D |{A/B/}A2F {A/B/}A2D |
{B/=c/}B2d AdG | FdF E2 {F/E/}D |
{F/G/}F2D {G/A/}G2E | A3 AGF |
E<=cG E2 C | G<cG ECE |
D>ED D>ED D>ED D>ED || {B/=c/}B2G B<dG |
{B/=c/}B2G B<dG | {A/B/}A2e
{A/B/}A2F | {A/B/}A2e {A/B/}A2F |
{B/=c/}B2B A<dA | G<=cG E2C |
{F/G/}F2D {G/A/}G2E | A3 AGF |
E<=cG ECE | G<=cG ECE |
D>ED D>ED | D>ED D>ED ||
RORY O'MO{O}RE (“Ruaidri Ua Morda” or “Ruadhraí Ó Mórdha”). AKA and see "Good Omens," "I'll Follow You My Dear," “The King of Leix,” "March of the King of Laois," "Rory of the Hills." Scottish, Irish, New England; Double Jig and Country Dance Tune: English, Morris Dance Tune. A Major (Athole, Cole, Hardings, Kennedy, Kerr, Miller & Perron, Phillips, SweetSkye): G Major (Feldman & O’Doherty): G Major {'A' part} & E Minor {'B' part} (Mallinson, O'Neill, Sumner, Trim): F Major (Bacon): D Major (Winscott): C Major (Howe): B Flat Major (Stanford/Petrie). Standard tuning. One part (Stanford/Petrie): AB (Bacon): AAB (Skye): AABB (Athole, Cole, Kennedy, Kerr, Miller & Perron, Sumner, Sweet, Trim): AABB' (Hardings, O'Neill): AA’BB’ (Feldman & O’Doherty): AABB'BB' (Phillips): AB,x6 (Mallinson, Winscott). Colonel Roger “Rory” O’More (c. 1620-1655) was a minor Irish noble and the titular King of Laois, who rose to fame as the scourge of the English during the reign of Charles I. The jig was composed by Samuel Lover and became the "hit tune" of 1837. Although initially a dance tune (a popular Scottish country dance is called "Rory O'More"), it was absorbed as a common march in the Victorian era British army and can be found in martial manuscript books dating from the 1850's (Winscott). “Rory O’More” also appears in English fiddler’s manuscripts from the same era (see Ellis Knowles and Joshua Gibbons, referenced below). The melody was picked up by morris dancers from the village of Adderbury, Oxfordshire, in England's Cotswolds and used as a rural dance vehicle sometimes called by morris musicians as “Haste to the Wedding” and played in the key of ‘F’.
***
Overseas, in America, it also caught popular fancy and appeared in Elias Howe's 1858 collection, surviving and achieving some longevity in its initial genre, i.e. as a country dance tune, which was, for example, commonly played for country dances in Orange County, New York, as late as the 1930's (Lettie Osborn, New York Folklore Quarterly). Howe later (c. 1867) included it with dance instructions in his section of Contra Dances. The title appears in a repertoire list of Maine's Mellie Dunham, an elderly fiddler who was Henry Ford's champion on the instrument in the late 1920's. Perhaps the earliest recording is from 1904 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford). See note for “Rory of the Hills” for information on the Irish hero Rory O’More.
***
Despite the non-Irish provenance of the jig, “Rory O’More” was celebrated in the poem “The Ould Irish Jig,” by James McKowen (1814-1889):
***
***
Then a fig for your new-fashioned waltzes,
Imported from Spain and from France;
And a fig for the thing called the polka -
Our own Irish jig we will dance.
***
Famed County Clare concertina player Mrs. Crotty played the tune, learned probably from recordings as it was not part of the local repertoire.
***
Sources
for notated versions: “From Miss Ross” [Stanford/Petrie]; fiddler Pete
Sutherland (Vt.) [Phillips]; Francie and Mickey Byrne (County Donegal) [Feldman
& O’Doherty]; the 1845-47 music manuscript of musician Ellis Knowles
(Radcliffe, Lancashire) [Plain Brown];
the 1823-26 music mss of
papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market
Rasen, Lincolnshire Wolds) [Sumner]. Bacon (The Morris Ring), 1974; pg, 12.
Cole (1000 Fiddle Tunes),
1940; pg. 62. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 159. Hardings
All-Round Collection, 1905; No. 186, pg. 59. Howe (Complete Preceptor for the Accordeon), 1843; pg. 35. Howe (1000 Jigs and Reels), c. 1867; pg. 75.
Jarman (Old Time Fiddlin' Tunes), No.
or pg. 16. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs
& Quicksteps, Trips & Humours), 1997; No. 164, pg. 39. Kerr (Merry
Melodies), vol. 1; No. 18, pg. 37. MacDonald (The Skye Collection), 1887; pg. 167. Mallinson (Mally’s Cotswold Morris), 1988, vol. 2;
No. 23, pg. 13. Miller & Perron (New
England Fiddler’s Repertoire), 1983; No. 5. O'Neill (Krassen), 1976; pg.
34. O'Neill (Dance Music of Ireland: 1001
Gems), 1986; No. 116, pg. 34. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 377. Plain Brown Tune Book, 1997; pg. 17. Ryan’s Mammoth Collection, 1883; pg. 91. Stanford/Petrie (Complete Collection), 1905; No. 740, pg.
185. Stewart-Robertson
(The Athole Collection), 1884; pg.
144. Sumner (Lincolnshire Collections, vol. 1: The Joshua
Gibbons Manuscript), 1997; pg. 71. Sweet (Fifer’s Delight), 1965/1981; pg. 22. Trim (Thomas Hardy), 1990; No. 32. Winstock (Songs and Music of the Redcoats), 1970; pg. 217. Alcazar Dance Series FR 204, Rodney Miller ‑ "New
England Chestnuts" (1980). F&W Records 1, "F&W String
Band." Fretless 101, "The Campbell Family: Champion Fiddlers."
See also listings at: Jane Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Rory O’More
L:1/8
M:6/8
R:Country Dance
B:Stewart-Robertson
– The Athole Collection
(1884)
Z:AK/Fiddler’s Companion
K:A
f|eAA cAA|eAA Aaf|edc cBA|GBB B2f|eAA cAA|eAA f2e/d/|cde efg|aAA A2:|
|:a|agf fcc|dcB A2G|FGA ABc|cfe e2a|agf fcc|dcB A2 A/G/|FGA ABc|cfe e2:|
X:2
T:Rory O’More
L:1/8
M:6/8
K:A
eAA cAA|eAA F3|edc cBA|GBB Bcd|ecA cBA|ece fed|cde efg|a2A A3:|
|:agf fcc|dcB A2G|FGA ABc|Bee efg|agf f2c|dcB A2G|FGA ABc|Bee e2f:|
X:3
T:Rory O' More
D:Jimmy Shand 78: Beltona BL 2229 (1935)
Z:Nigel Gatherer
M:6/8
L:1/8
K:A
f|eAA
cBA|eAA A2 f|edc cBA|GBB B2 f|eAA cBA|
F2
G A2 B|cee efg|agf edc|dcB A2 G|F2 G A2 B|cee e2:|]
RORY THE BLACKSMITH
FROM
X:1
T:Rory the Blacksmith from
M:6/8
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
R:Song Air
N:”With spirit, time well marked”
K:D
F/E/|D>ED DEF|EDD D2F|A>Bc
dcB||
AB=c B2A|d>cB BAF|GFG A2A|Gdc
BAF|E3 D2||
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