The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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ROS - ROTT

 

 

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]

 

 

 

RÓS AN t-SLEIBE. AKA and see "The Mountain Rose."

 

RÓS AONTROMA. AKA and see "The Antrim Rose."

 

RÓS BHEAG DUBH. AKA and see "Rois Bheag Dhubh."

 

RÓS DEARG, AN. AKA and see "The Red Rose."

 

RÓS FHIADHAICH NAM BEANN. AKA and see "The Wild Rose of the Mountain [3]."

 

RÓS GAN AIRMEALAC (Rose Without Rue). AKA and see "The Rose Without Rue."

                       

RÓS SA bhFRAOCH, AN. AKA and see “The Rose in the Heather.”  Irish, Double Jig.

                       

RÓS SAN GARRDA. AKA and see "The Rose in the Garden [1]."

                       


ROSA, DEMAIN C'EST PAS DIMANCHE (Rosa, Tomorrow isn't Sunday). See "Demain C'est Pas Dimanche." Cajun, Two-Step. USA, southwestern Louisiana. D Major. Standard. Recorded by fiddler Dennis McGee in the late 1970's. Raymond Francois (1990) states that the tune and tempo were influenced by early Zydeco music. Source for notated version: Dennis McGee (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 112-113. Swallow Records SW-6030, Dennis McGee.

                       

ROSABELL. Scottish, "Very Slow" Strathspey. C Major. Standard. AAB. Composed by Miss Murray. Carlin (The Gow Collection), 1986; No. 209.

                       

ROSALIE, LA.  French, Country Dance (6/8 time). F Major. Standard. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 14.

X:1

T:Rosalie, La

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 14

Z:AK/Fiddler’s Companion

K:F

f/g/ | afc afc | gec gec | bag agf | e3 c2(d/e/) | fdB fdB | cBA GAB | AGF CFE | (F3F2) :|

|: A/B/ | cAF cAF | fdB Bdf | dBG GBd | gba g3f | c3 B3 | Acf Acf | Acf agf | g3f2 :|

                       

ROSALIA, LA. French (?), Country Dance Tune (6/8 time). G Major. Standard. AABB. Aird (Selections), Vol. II, 1782; No. 100, pg. 37.

X:1

T:Rosalia, La

M:6/8

L:1/8

S:Aird, Vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

G | BdB GBd | gfe d3 | edc BAG | F2G A2D |

BeB GBd | gfe d^cd | efg agf | ed^c d2 :|

|: d | dBd dBd | dcB c2A | cAc cAc | cBA B2G |

BdB GBd | gfe d^cd | edc BAG | AGF G2 :|

                       

ROSALIE DE BON MATIN. French, Valse (3/4 time). G Major. Standard tuning. AA'BB'. Stevens (Massif Central), 1988; No. 51.

                       

ROSALIE THE PRAIRIE FLOWER. AKA – “Northumbrian Schottische.” English, Schottische. D Major. Standard tuning. AB. The melody was composed by songsmith George F. Root (1820-1985), a prolific composer in Massachusetts and New York of minstrel songs, patriotic anthems (“The Battle Cry of Freedom,” “Tramp, Tramp, Tramp”) and heart songs. He penned “Rosalie the Prairie Flower” in 1855, prior to the Civil War, under the name G.F. Wurzel (wurzel is the German name for ‘root’) about the passing of a child. It was popularized on the minstrel stage by Christy’s Minstrels, and eventually sold 100,00 copies. It ends.

***

But the summer faded, and a chilly blast

O’er that happy cottage swept at last,

When the autumn song-birds woke the dewy morn,

Little prairie flower was gone;

For the angels whispered softly in her ear,

“Child, they Father calls thee, stay not here,”

And they gently bore her, robed in spotless white,

To their blissful home of light.

***

Of this period of his career Root himself said in this autobiography The Story of a Musical Life (1891):

***

I saw at once that mine must be the “people’s song,” still, I am ashamed to say, I

shared the feeling that was around me in regard to the grade of music. When Stephen

C. Foster’s wonderful melodies (as I now see them) began to appear, and the

famous Christy’s Minstrels began to make them known, I “took a hand in” and

wrote a few, but put “G. Freidrich Wurzel” to them instead of my own name. “Hazel

Dell” and “Rosalie, the Prairie Flower” were the best known of those so written. It

was not until I imbibed more of Dr. Mason’s spirit, and went more among the people

of the country, and was thankful when I could write something that all the people

would sing.

***

Callaghan (Hardcore English), 2007; pg. 90. Topic TSCD 669, Billy Ballantine & Jimmy Hunter (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Piccolo player Billy Ballantine {born c. 1890’s} and harmonica player Jimmy Hunter were both from Northumberland).

X:1

T:Rosalie the Prarie Flower
T:Northumbrian Schottische
M:C
L:1/8
K:Dmajor
f3/2e/d3/2c/ d2 B2|A3/2B/ A/F3/2 A4|f3/2e/d3/2c/ d2 f2|e2 B2 e4|
f3/2e/d3/2c/ d2 B2|A3/2B/ A/F3/2 A4|B3/2c/d3/2e/ f2 e2|d4d4||
e2d3/2e/ f2a2|e2 d3/2e/f4|d2 c3/2d/ e2 f2|d2 c3/2d/ e2 A2|
f3/2e/d3/2c/ d2 B2|A3/2B/ A/F3/2 A4|B3/2c/d3/2e/ f2 e2|d4d4|]

 

ROSAMOND. English, Ballad Air (cut time). A Minor. Standard tuning. AB. The air appears in a University of Cambridge lute MS, though Chappell (1859) had to remove a great deal of ornamentation to uncover it. Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 163‑164.

 

ROSA'S WALTZ (La Valse de la Rosa). AKA and see "Ma Chere 'Tite Fille."

 

ROSASOLIS. AKA and see "Morris Off," "Black Eyed Susie [1]," "Three Jolly Sheepskins [1]," "Alas, My Little Bag." English. Bayard (1981) states the tune is one of the earliest traceable folk‑airs, going back to the Fitzwilliam Virginal Book (1610) where it was set by Giles Farnaby (c. 1560‑c. 1600). It also appears in Jehan Tabourot's "Orchesographie" of 1588 in much the same form as it has today when used in English morris dances, where it is called "Morris Off" (it is called by Kidson and Moffat the earliest recorded morris tune). A variant of the Fitzwilliam version appears as a Welsh harp tune in Bennett's "Alawon Fy Ngwlad" (vol. 2, pg. 136, 3rd tune). Later, from the early 17th century and throughout the 18th, in England a derivative of the tune was called "Three (Jolly) Sheepskins," and in Ireland it can be found in collections as "Aillilliu mo Mhailin" (Alas My Little Bag). The American derivative of the air is "Black‑Eyed Susie."

 

ROSC CATHA NA MUMHAN (The Battle Cry of Munster). AKA - "Marchechaid na Buinne." AKA and see "The Boyne Water [1]." Irish, Slow Air (4/4 time). E Dorian. Standard. One part. Ciaran Carson (Last Night's Fun, 1996) proclaims it the Catholic version of the tune Irish Protestants call "The Boyne Water." John Moulden believes its use for the Protestant song “Boyne Water” predates its use as the tune for “Rosc Catha na Mumhan.” The same melody is employed by English morris dancers as the vehicle for the dance The Three Musketeers. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 118, pg. 100.

X:1

T:Rosc Catha na Mumhan (The Battle Cry of Munster)

L:1/8

M:4/4

S:Ó Canainn - Traditional Slow Airs of Ireland

K:E Dorian

E2B2 B>cdB|A>BAF D2 EF|G2 FE BAGF|E2 E>F E2 GF|

E2B2 B>cdB|A>BAF D2 EF|G2 FE BAGF|E2 E>F E4|

B e2 e e2 f2|e2d2B2A2|B e3 e3f|e2d2B3c|d2 d>d d3B|

A>BAF D2 EF|G2 FE BAGF|E2 E>F E4||

                       

ROSCOE. Old-Time, Breakdown. G Major. Standard. AB (Silberberg): AA'BB (Phillips). The tune was in the repertoire of Kyle Creed. Source for notated version: Jere Canote (Seattle) [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 202. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 133.

X:1

T:Roscoe

M:C

L:1/8

Z:Transcribed by Carl Barron

K:G

e(g | g2) gg edBA | dB A2G2 (g2 | g2) g2 e g3 | a3b a2 (b2 | b)aba gedB |

c3 d c2 A(B | B)dBB A F3 | G3A G2 :: DF | G2B2 A B3 | c3d c2 (B2 |

B)cBA G F3 | D3 E D2 DF | G2B2 A B3 | c3 d c2 (B2 | B)dBB A F3 | G3A G2 :|

                       

ROSCOE PARISH WALTZ. See “Roscoe’s Waltz.”

                       

ROSCOE PARISH’S TUNE. Old-Time, Breakdown. D Major. Every phrase ends on the subtonic chord (G).

                       

ROSCOE TRILLION. Old‑Time, Breakdown. G Major (‘A’ part) & D Major (‘B’ part). A Georgia title for (AKA and see) "Flop-Eared Mule [1]," "Karo." The melody was recorded in Atlanta, Georgia, for Victor Records by fiddler Bill Helms of Thomastown, a village south of the city. Helms was backed on the recordings by Grady Owens (fiddle), John Hogan (banjo, guitar) and Ty Cobb Hogan (guitar). Later, “in 1931, Helms recorded for Columbia with Riley Puckett and Gid Tanner as the Home Town Boys” (Wayne W. Daniel, Pickin’ on Peachtree, 1990, pg. 81). 

                       

ROSCOE’S GONE. Old-Time, Breakdown. D Major. Written by Seattle musician Hank Bradley in 1981 in honor of traditional musician Roscoe Parish. The tune appears in his book Counterfeiting, Stealing, and Cultural Plundering -- a Manual for Applied Ethnomusicologists.

                       

ROSCOE’S WALTZ. AKA – “Roscoe Parish Waltz.” Old-Time, Waltz. AAB. Recorded by Hart & Blech and Bruce Molsky, learned from Roscoe Parish. The tune is a crooked waltz-time version of the Scottish jig “Muckin’ o' Geordie’s Byre.” Kerry Blech notes that he later found an almost note-for-note verson of “Muckin’” in Samuel Bayard’s book Dance to the Fiddle, March to the Fife.  Bruce Molsky – “Warring Cats.” Hart & Blech – “A Devil of a Row.”

                       

ROSCOMMON AIR. Irish, Air (3/4 time). D Major. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 489, pg. 123.

X:1

T:Roscommon Air

M:3/4

L:1/8

S:Stanford/Petrie (1905), No. 489

Z:AK/Fiddler’s Companion

K:D

A | d>cde f>e | e2 ee e2 | fefa af/e/ | d2 ed B2 | d>cde fe |

dcBA d>c | BAFE AF | E2 EE E2 ||

 

ROSCOMMON HUNT. Irish, Reel. A Dorian. Standard. AAB. A tune by this title was popular in 1779, as Berringer noted the title in an account of a "cake" dance (a dance in which a prize of a cake was awarded) he attended in Connacht. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 175, pg. 41.


 

ROSCOMMON JIG. AKA and see “Bobby Casey’s Jig [2],” “Diamond [2],” “The Hag’s Purse,” “Little Black Pig." D Mixolydian/Major. Standard. AABB. Source for notated version: Anne Sheehy (Castleisland, County Kerry) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 40, pg. 73.

X:1

T:Roscommon Jig, The

M:6/8

L:1/8

R:Jig

K:D

FG | A2D FED | A2B =cAF | G2E EDE | =c2d cAG | D3 FED | A2B =cAF |

GEE cEE | DED D2  :: A2 | d2e fed | e2d =cAF | G2E EDE | =c2d cAG |

Ade fed | e2d =cAF | GEE =cEE | DED D2 :|

 

ROSCOMMON REEL (Ríl Roscomain). AKA and see "Miss Patterson's Slipper." Irish, Reel. E Minor (Breathnach): E Dorian (Cranitch). Standard tuning. ABC. The tune is sometimes heard in a medley called "Miss Patterson's Slipper" paired with the reel “Miss Patterson” (AKA - "Master Crowley's”), which has led to some name confusion between the tunes. Sources for notated versions: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; set dance music recorded at Na Píobairí Uilleann in the late 1980’s [Taylor]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 202, pg. 78. Cranitch (Irish Fiddle Book), 1996; No. 72, pg. 153. Harker (300 Tunes from Mike Rafferty), 2005; No. 41, pg. 13. Taylor (Music for the Sets: Blue Book), 1995; pg. 5. Nimbus NI5415, Martin O'Connor - "Across the Waters" (miss-labelled as "Master Crowley's").

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index 

Alan Ng’s Irishtune.info

X:1

T:Roscommon Reel, The

T:Master Crowley's

T:Crowley's Reel

R:reel

D:The Gathering (Matt Molloy)

D:Paddy Glackin: Ceol ar an bhFidil le Paddy Glackin.

Z:id:hn‑reel‑180

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

M:C|

L:1/8

K:Edor

EFGA BAGB|AF~F2 dFAF|EFGA ~B3d|1 AFDE FEED:|2 AFDE FEEf||

eB~B2 efge|fa~a2 bfaf|eB~B2 efge|faaf efgf|

eB~B2 GBeg|fa~a2 bgag|faaf egfe|dBAF EFGA||

~B3A B2dB|AF~F2 dFAF|EBBA ~B3d|AFDE FEED|

EBBA BcdB|AF~F2 dFAF|EBBA ~B3d|AFDE FEED||

           

ROSCOMMONS HORNPIPE. Irish (?), Hornpipe. B Minor. Standard. AABB. From the music manuscripts of Setauket, Long Island, painter and fiddler William Sydney Mount (1807-1868). Mount had evidently copied it from a book or ms. in the possession of Mr. S. Wheeler, perhaps a musical acquaintance or friend.

X:1

T:Roscommons Hornpipe

M:C|

L:1/8

R:Hornpipe

S:William Sydney Mount manuscript copybook, c. 1840, with the notation: “From Mr. S:Wheeler’s collection.”

Z:AK/Fiddler’s Companion

K:B Minor

BA | F2 B2B3d | cdBd cdBd | F2A2A3c | BdAc BcAc | F2B2 BABc | d2d2e2 de |

a2a2 fedc | dBcA B2 :: F2b2b2 ag | fefg a3z | A2a2 agfe | defg agfe | F2b2b2 ag |

fefg a3z | A2 ag fedc | dBcA B2 :|

                       

ROSE [1]. French, Valse (3/4 time). G Major. Standard. AA'BB'. Composed by Jean‑Claude Blanc. Stevens (Massif Central), 1988; No. 54.

 

ROSE [2], LA. Canadian, Waltz. Canada, Prince Edward Island. A Major. Standard. AABB. Source for notated version: Louise Arsenault (b. 1956, Mont Carmel, East Prince County, Prince Edward Island; now resident of Wellington) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 174.

 

ROSE [3], THE. English, Morris Dance Tune (6/8 time). A Major (Bacon): G Major (Mallinson). Standard. AABBCBBCBB (Mallinson): AABBCC'BBCC'BB (Bacon). Collected from the village of Leafield, Oxfordshire, in England's Cotswolds. Leafield was called Fieldtown by the English collector Cecil Sharpe, and the group of dances from the village are known commonly among morris dance circles as Fieldtown dances. The music was largely collected from a fiddler of Sharpe's acquaintance from the village by the name of Frank Butler. Bacon (The Morris Ring), 1974; pg. 155. Mallinson (Mally’s Cotswold Morris Book), 1988, Vol. 2; No. 60, pg. 29. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993).

 

ROSE [4], THE. English?, Reel. B Flat Major. Standard. AABB. Harding’s All-Round Collection, 1905; No. 92, pg. 29.

X:1

T:Rose, The [4]

M:2/4

L:1/8

R:Reel

S:Harding’s All Round Collection (1905), No. 92.

Z:AK/Fiddler’s Companion

K:B_

d/c/|Bd/B/ ce/c/|d/b/a/g/ fe/d/|eg/e/ db/d/|c/B/c/d/ cd/c/|

Bd/B/ ce/c/|d/b/a/g/ fd/f/|g/e/f/g/ ag/f/|bBB::d/e/|f/d/f/d/ fb/f/|

g/e/g/e/ gb/g/|f/d/f/d/ fb/d/|c/=B/c/d/ cd/c/|Bd/B/ ce/c/|

d/b/a/g/ fd/f/|g/e/f/g/ ag/f/|b/B/B/B/ B:|

           

ROSE [5], LA.  French, Country Dance (2/4 time). A Major. Standard. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. In this case the title “La Rose” appears to be named after a female, as it is included in a section of tunes called by the first names of various women or girls. Daubat (Cent Contredanses en Rond), 1757; No. 12.

X:1

T:Rose, La [5]

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 12

Z:AK/Fiddler’s Companion

K:A

(ec)(dB)|(cA)(BG)|(A/B/c/d/) ec|(Ac) (GB)|(ec) {e}(dB)|(ce) {b}(ac)|A2 A,2:|

|:eaga|b/a/g/f/ ge|eaga | b/a/g/f/ e2|.e/(a/g/a/) .f/(a/g/a/)|.e/(a/g/a/) .f/(a/g/a/)|{g}f/e/d/c/ B2|A4:|

                       

ROSE ACRE. Scottish, Air (4/4 time). A Major. Standard tuning. AAB. Composed by the great Scots fiddler and composer J. Scott Skinner (1843-1927). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 215, pg. 85. Hunter (Fiddle Music of Scotland), 1988; No. 37.

 

ROSE ALMA POLKA. French‑Canadian, Polka. A Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 92, pg. 59.

 

ROSE AMONG THE HEATHER [1], THE. AKA and see "The Lad with/wi' the Plaidie.” Scottish, Highland Schottische. D Major. Standard tuning. AABB'. Pipers generally call the tune by this title. Kerr (Merry Melodies), vol. 1; No. 18, pg. 20.

X:1

T:Rose Among the Heather, The [1]

M:C

L:1/8

R:Highland Schottische

B:Kerr – Merry Melodies, vol. 1, pg. 20  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

G|F<A A>F G<B B>G|F>A D>F E3G|F<A A<F G>Bd>B|A<F G>E (D2D):|

|:A|d>e d>B (A<f) d>B|A<F d>f e3d|1 f>gf>e d<B d>B|c<d e>c (d2d):|2

f>ed>B A<F d>B|A<F G>E (D2 D)||

 

ROSE AMONG THE HEATHER [2], THE. AKA and see “The Corofin,” “(An) Ros sa bhfraoch,” "The Rose in the Heather."

 

ROSE AND COLIN. English, Country Dance Tune (6/8 time). England, Yorkshire. G Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 60, pg. 43.

 

ROSE ANNE’S. Irish, Polka. A Major. Standard tuning. AABB. Jackie Small (CRÉ V) says the tune is reminiscent of “Comin’ thro the Rye.” Source for notated version: fiddler Mollie Murphy (ne Myers), Glencollins, County Cork [Breathnach]. Breathnach (CRÉ V), 1999; No. 106, pg. 53 (appears as untitled polka). Gael-Linn CEF176, Jackie Daly - “Many’s a Wild Night” (from  Maurice O'Keeffe, one of the earliest tunes Maurice remembers learning from his teacher and neighbor John Lenihan).

X:1

T:Rose Anne's

D:Jackie Daly, "Many's a Wild Night", track 12(a)

M:2/4

L:1/8

R:polka

Z:Paul de Grae

K:A

E ||: "A" A>G Ac | "E" B>A Bc | "A" A>G Ac | ea "D" a2 |

"A" A>G Ac | "E" B>A Bc | "A" AF EF | "D" D2 D2 :||

||: "A" eA Ac | "Bm" B/c/B/A/ Bc | "A" eA Ac | ea "D" a>f |

"A" eA Ac | "Bm"B/c/B/A/ Bc | "A" AF EF | "D" D2 D2 :||

***

A / | E / | A / | / D | A / | E / | A / | D / :||

||: A / | Bm (or E, bass B) | A / | / D | A / | Bm / | A / | D / :||

alternative end to either part:

bass run on 5th & 6th strings (6th = D) ‑  |AF#EF# | D D |

 


ROSE BUD OF ALLENVALE, THE. AKA and see "Rose of Sharon Waltz," "Rose of Allendale," "Rose(bud) of Avonmore," “Rosebud of Allenvale.” Scottish (originally), Canadian; Air (6/8 time) or Waltz. A Major. Standard tuning. AB. Composed by the great Scots fiddler and composer J. Scott Skinner (1843-1927), originally published in the 1920's in his Cairngorn Series #9. The title sometimes appears as "The Rose of Allendale" and similar variants, and can be found in America under the title "Rose of Sharon Waltz." (“The Rose of Allendale” is also the name of another famous melody, in common time). Missouri fiddler Howard Marshall writes: “we call this "Rose of Sharon" (for those of us who may have learned it off Howdy Forester's old LP) or "Rosebuds of Aviemore" (there is a town in the Scottish Highlands south of Inverness named Aviemore; I've been there), or "Rosebuds of Avamore" (maybe a reference to the Ozark town of Ava MO where fiddler Bob Holt lives).” Source for notated version: George MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]. Hunter (Fiddle Music of Scotland), 1988; No. 38. Matthiesen (Waltz Book II), 1995; pg. 49. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 174.

X:1

T:Rose Bud of Allenvale, The

M:6/8

L:1/8

R:Air

C:J. Scott Skinner

Z:AK/Fiddler’s Companion

K:A

(e/d/) | c>dc BAB | (A3 A2)c | d>ef ecA | (B3B2) e/d/ | c>de ABc |

d2e f2 g/a/ | eAd c2B | (A3 A2) || c/d/ | e>f=g f2e | (d3d2)e | f>ga g2f |

(e3e2) f/g/ | aec A2=G | FAd f^gf | eAd c2B | (A3A2) ||

 

ROSE BUD/ROSEBUD REEL. AKA ‑ "Mountain Ranger Hornpipe [1]." New England, Old‑Time; Reel and Breakdown. USA, Nebraska. B Flat Major. Standard tuning. AABB (Christeson, Cole, Kerr, Page): AA'BB (Phillips). A reel-time setting of the “Mountain Hornpipe.” Seattle fiddler Vivian Williams discovered the tune in George Saunders’ Complete Violin Tutor (1847), set in the key of ‘C’ major. In the publication, ‘Professor’ Saunders attributes himself as composer of the tune. Vivian writes: “I think Saunders probably did compose the tunes he claimed. In his book he seems quite conscientious about marking his tunes with his initials, and leaving the rest unmarked. He comments that he wrote all the cotillion sets himself, and they are all initialled…On the other hand, he didn’t initial any of the standard ‘Contra, Spanish and Fancy Dances’ in the book, including his very idiosyncratic version of ‘Durang’s Hornpipe’, which is very different from the usual ‘book’ versions.” Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Becky Miller [Phillips]. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 2), 1984; No. 38, pg. 26‑27. Cole (1000 Fiddle Tunes), 1940; pg. 10. Kerr (Merry Melodies), vol. 2; pg. 44. Page (Ralph Page Book of Contras), 1969; pg. 21. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 203. Ryan’s Mammoth Collection, 1883; pg. 33. Sweet (Fifer's Delight), No. or pg. 48. Front Hall 03, Dudley Laufman‑‑"Swinging on a Gate."

X:1

T:Rose Bud

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

F/E/ |  D/F/B/c/ dc/d/ | e/d/c/B/ GF/E/ | D/F/B/c/ d/B/A/B/ | g/f/d/B/ cF/E/ |

D/F/B/c/ dc/d/ | e/d/c/B/ GF/E/ | D/F/B/d/ c/B/A/c/ | BdB :: B/c/ | d/B/A/B/ G/B/F/B/ |

D/F/B/c/ d/B/A/B/ | g/B/F/B/ e/d/c/B/ | G/c/c/B/ A/B/c/e/ | d/B/A/B/ G/B/F/B/ |

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

           

ROSE BUSH. Irish (?), Jig. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 66. Ryan’s Mammoth Collection, 1883; pg. 97.

X:1

T:Rose Bush

M:6/8

L:1/8

S:Ryan’s Mammoth Collection (c. 1883)

Z:AK/Fiddler’s Companion

K:G

D | GAB AGE | ceg dBG | GAB AGE | FDD DEF |

GAB AGE | ceg dBG | cAc BGB | AEF G2 :: B | d^ce def |

Gfe dBG | {a}gfg eag | fdd def | gbg faf | ege def | gdB AGA | BGG G2 :|

           

ROSE BY THE DOOR. American, Waltz. D Major. Standard tuning. AA'BB'. Composed by Andrea Hoag (Maryland), in 1985. Matthiesen (The Waltz Book), 1992; pg. 41.

           

ROSE CONNOLLY. AKA and see "Rosey Connolly," "The Fair at Dungarvan," "Alas, My Bright Lady," "Lament for Kilcash," "Nelly, My Love, and Me," "There is a Beech‑tree Grove," "Were You Ever in Sweet Tipperary?" Irish, Air (6/8 time). E Major. Standard tuning. One part. The tune was noted by the Irish collector Edward Bunting from an unknown source in Coleraine in 1811.

***

All you young men and Maidens I pray you take warning by me,

And never court your true love anunder a Hozier Tree.

The devil and his temptations it was that came over me,

And I murdered my Rosey Connolly anunder a Hozier Tree.

***

O'Sullivan notes that "ozier," a form of willow, is meant for "Hozier" in the lyric.

***

Joel Shimberg points out that the American old-time duo Grayson and Whitter recorded a song called "Down In The Willow Garden" in the 78 RPM era, a reworking of the “Rose Connolly” theme. However, John Moulden says that “Down in the Willow Garden” was not very widespread in pre-Ralph Peer (the seminal 78 RPM recording engineer of the 1920’s) Appalachia. It goes:

***

Down in the willow garden, where me and my love did meet,

It's there we sat a-courting, my love dropped off to sleep.

I had a bottle of burgundy wine, which my true love did not know,

And there I murdered that dear little girl, down under the banks below.

***

I stabbed her with my dagger, which was a bloody knife,

Threw her into the river, with was a dreadful sight.

My father often had told me that money would set me free,

If I would murder that dear little girl, whose name was Rose Connolly.

***

Now he sits in his own cabin door, a-wiping his tear-dimmed eyes.

Watching as his only son climbs up the scaffold high.

My race is run beneath the sun, and hell now waits for me,

because I murdered that dear little girl, whose name was Rose Connolly.

***

The “Down in the Willow” tune made its way into bluegrass repertoire from the Grayson/Whitter recording. O'Sullivan/Bunting, 1983; No. 14, pg. 21.

           


ROSE DIVISION. AKA‑ "Rowe's Division," "Row's Division." Old‑Time, Breakdown. USA, North Carolina. C Major (Brody, Krassen): B Flat Major (Phillips). Standard tuning. AABB. Fennig's describes the melody as "an old fife and drum march." It is possible, although not in any way substantiated, that the title refers to the Confederate army division of Robert Rodes, who commanded it at the Battle of Gettysburg in 1863. It was one of the first units on the field. Source for notated version: Alan Jabbour via Dave Milefsky [Krassen]; Bill Christopherson and Tom Phillips [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 234. Krassen (Appalachian Fiddle), 1973; pg. 77. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 221 (appears as "Rowe's Division"). Front Hall FHR‑024, Fennig's All‑Star String Band ‑ "Fennigmania" (1981. Learned from fiddler Bill Hinckley). Rounder 0024, "Hollow Rock String Band" (1974. Learned from Joh Lewis of Walnut Cove, North Carolina).

           

ROSE FOR POLLY, A. Old‑Time, Breakdown. USA, North Carolina. G Major. Standard tuning. AABB'CC'. The melody is vaguely like J.P. Fraley’s “Wild Rose of the Mountain,” according to Tony Russell. Source for notated version: Glen Smith (Galax, Va.) & Tommy Hunter (N.C.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 115. June Appal 007, Tommy Hunter ‑ "Deep In Tradtion" (1976. Learned from his grandfather, fiddler James W. Hunter, Madison County, N.C.). Marimac AHS #3, Glen Smith – “Say Old Man” (1990. Learned from Tommy Hunter).

           

ROSE GARDEN, THE. Irish, Reel. G Major. Standard tuning. AA’B. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 236.

X:1

T:Rose Garden, The

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:G

EFGA BE E2|GBAG FDEF|GFEF GABc|1dfe^c dBAF:|2dBAF GE E2||

e2 ee (3efg fe|fedc defg|afgf efga|bgaf ge e2|

efga bgaf|(3efg fe defg|(3fgf (#efe dfe^c|dBAF GE E2||

                       

ROSE HILL. English, Jig. England, Northumberland. A Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 567.

 

ROSE IN FULL BLOOM. AKA and see “Jackson’s Babes,” “Leanbh Mo Chroi.”

 

ROSE IN THE GAP, THE.  Irish, Jig. E Dorian. Standard tuning. AABBCC. Vertical Records, John McSherry & Donal O’Connor – “Tripswitch.”

X:1

T:Rose in the Gap, The

M:4/4

L:1/8

R:Hornpipe

K:Edor

|:(3FGA|B3c B2AF|B2E2E2 (3FGA|B3c B2AF|A2D2D2 (3EFG|

B3c B2AF|AF ABd3e|fedB (3Bcd AF|B2E2E2:|

|:Bd|fedB BdBA|B2E2E2Bd|fedB BdBA|B2D2D2Bd|

fedB BdAF|AFAB d3e|fedB (3Bcd AF|B2E2E2:|

|:Bd|e3g f2eg|f2e2e2Bd|e3g f2eg|f2d2d2Bd|