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.

It seems he was one day going to Cork and outside Millstreet a school-

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.’

***

The parish priest calling out the names of those who hadn’t paid

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

K:G

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):

***

An ould Irish jig, too, was danced by
The kings and the great men of yore,
King O’Toole could himself neatly foot it
To a tune they called “Rory O’More”.
And oft in the great hall of Tara,
Our famous King Brian Boru,
Danced an ould jig with his nobles ,
And played his own harp to them too.

***

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|

ede fed|cee efg|aAA A2::e|agf edc|dcB A2 G|

F2 G A2 B|cee efg|agf edc|dcB A2 G|F2 G A2 B|cee e2:|]

                       

RORY THE BLACKSMITH FROM IRELAND. Irish, Air (6/8 time, "with spirit"). D Major. Standard tuning. AB. Joyce (Old Irish Folk Music and Song), 1909; No. 93, pgs. 48‑49.

X:1

T:Rory the Blacksmith from Ireland

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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