The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
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ROU - ROZ |
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] |
ROUALEYN'S PLAID. AKA and see "Bovaglie's
Plaid."
ROUDLEDUM [1]. Irish, Slip Jig. D Major ('A' part) & E Dorian ('B' part). Standard tuning. AABB. The title may come from the ribald Irish song “Whiskey Ó Roudeldum Row,” as sung, for example, by sean-nós singer Joe Heaney. The burden goes:
***
Whiskey ó roudeldum
row
Whiskey ó roudeldum cailleachaí
Whiskey ó roudeldum row
Bainne na ngabhar ‘s é a theannadh léi.
***
Whiskey
ó roudeldum row
Whiskey ó roudeldum old women
Whiskey ó roudledum row
Goat’s milk, and ply her with it.
***
O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1125, pg. 213.
X:1
T:Roudledum [1]
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Music of Ireland (1903), No. 1125
Z:AK/Fiddler’s Companion
K:D
Dzd dcB czA | ded fed fga | bge afd
cBA | BcB B{c/B/}A Bcd :|
|:BEE BzE FED | BEE BzE {e}dcd | BEE
BzE FED | AGF FED FGA :|
ROUDLEDUM [2]. AKA and see "Roll
'round the world as it will." Irish, Slip Jig. D Major ('A' part)
& E Minor ('B' part). Standard tuning. AA'BB'. O'Neill (Krassen), 1976; pg.
88. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1126, pg.
213. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 418, pg. 83.
X:1
T:Roudledum [2]
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
418
Z:AK/Fiddler’s Companion
K:D
Ddd dAG FGE|Ddd dcB cde|def gec
d2B|1 ABc dAG FGE:|2 BAF dAF EFA||
K:Emin
|:BEB BAG F2F|EBB BAF ABc|BEE BAG F2F|1
DED FDF ABc:|2 DED BAF EFA||
ROUDLUM [1]. Irish, Slip Jig. D Major. Standard tuning. AABB. The ‘A’ part is the same as O’Neill’s “Roudledum [1],” although the ‘B’ parts differ. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 70a, pg. 16. O’Farrell (Pocket Companion, vol. 1); c. 1805; pg. 73.
X:1
T:Roudlum
M:9/8
L:1/8
R:Slip Jig
S:O’Farrell – Pocket Companion, vol. 1 (c. 1805).
Z:AK/Fiddler’s Companion
K:D
A | d2d ded cBA | d2d fdd fga | fdd edc B2d | AGF EFE EFA :: Bcd ABG FED |
B2d AGF EFA | Bcd ABG FEF | DED AGF EFA :|
ROUDLUM [2]. Irish, Slip Jig. G Major. Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 70b, pg. 16.
ROUDLUM RANDY. AKA and see "Billy O'Rourke is the
Boy."
ROUEN REEL, THE. French‑Canadian, Reel. A Major. Standard
tuning. AA'BB'. Welling (Hartford
Tunebook), 1976; pg. 15.
ROUGH AND SMOOTH. English,
Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody is
unique to London publisher Charles and Samuel Thompson’s 1757 country dance
collection. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 34.
X:34
T:Rough and Smooth
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
d|e>de>f|g>GG>d|e>de>f|g>GG>g|f>ed>c|(3BAG (3G2A|B/G/B/d/ |{B}A3:|
|:g|f>de>f|g3
=f|e>cG>B|c3 g|f>dA>^c|d3
=c|(3Bdg (3agf|g3:||
ROUGH DIAMOND. AKA and see “Saddle the Pony
[1].” American, Jig. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 65. Ryan’s Mammoth Collection, 1883; pg. 95.
X:1
T:Rough Diamond
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
G(BA) G2B|def geB|A(BA) G2B|ABA
AFD|G(BA) G2B|
def gdB|ecA dBG|FDF G3::d3 dcB|def gdB|d3
dcA|
ABA AFD|d3 dcB|def gdB|ecA dBG|FDF
G3:|
ROUGH HEATHERY LITTLE HILL, THE (An Garbh
Chnoicín Fraoich). See “Rough Little Heathy Hill.”
ROUGH HEATHY LITTLE
HILL. See "Rough Little Heathy Hill."
ROUGH LITTLE HEATHY
HILL (An {Garbh-}Chnoicín
Fraoigh). AKA and see
"Fare You Well," "End of the Mission," "Sinner's Lament." Irish, Air (cut
time). D Major. Standard. AB. The air is the same basic melody as "Tatter Jack Walsh," "The Garden of Daisies [2],"
"The Palatine's Daughter,"
and "Savourneen Deelish."
See also minor versions under title “Little Heathy Hill.” The melody
appears 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. Source for notated
version: the 1861 manuscript collection of James Goodman [Shields].
Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 15, pg. 10.
X:1
T:Garbh Chnoicín Fraoich, An
T:The rough, heathery little hill
M:C|
L:1/8
R:Air
N:”Lively”
S:James Goodman manuscripts (mid-19th century)
B:Hugh Shields – Tunes of the Munster Pipers, No. 15
(1998)
K:D
(f/g/)|a>b(ga) f2 (ef)|(defe)
d>c)(AG)|(AB)(cA) G2 (FG)|(Ad) (de) f2 z f/g/|
(a>b)(ga) f2 ef|(defe)
(d>c)(AG)|(A>B)(c>A) (G2 FG)|(Ad) .d.d d2 z||(d/e/)|
(f>d)(f>g) a2 af|(gf)(ga)
(g>f) d (f/g/)|(a>b)(g>a) f2 (ed)|cA AA A2 z (f/g/)|
(a>b)(g>a) f2 (ef)|(defe)
(d>c)(AG)|(A>B)(c>A) G2 (FG)|(Ad) .d.d d2 z:|
ROUGH MOLLY. Irish, Highland. G Major. Standard tuning. AA’B.
X:1
T:Rough Molly
R:highland
C:trad.
S:Sharon Creasey playing the whistle
Z:Transcribed by Larry Sanger
M:4/4
K:Ador
"Am"EAAB
"Dm7"cBce|"Dm7"dB (3gab "Em7"(3agf g<{a}
g|"F"EAAB
"F"cBce|1 "G"dBgB "Am"{d}BAAG:|2
"G"dBgB "Am"{d}BAAg||
"Am"a{g}a (3gab
"Am"a<{g}aba|"Em"g<b gd "Em"g<b
gd|"Fmaj7"e<a g<b "Fmaj7"a
{b}aba|"G"{ga}gfgd
"Am"Ba a2|
"Am"a{g}a (3gab
"Am"(3aba (3gag|"Em"(3efe (3ded "Em"(3cdc {Bc}BG|
"Fmaj7"EAAB
"G"cBce|1 "Em7"dBgB "Am"{d}BAa2:|2
"Em7"dBgB "Am"{d}BAAG||
ROUGH ROAD, THE (An Bóthar Garbh). AKA and see “Bellharbour Reel [2],” "Joe Cooley's Reel [2],"
"Reynold's Reel," "Mulhaire's Reel," “New Town Bridge,” "The Sailor's Farewell/Return."
Irish, Reel. G Major. Standard tuning. AABB. The Leitrim Ceili Band recorded
the tune on a c. 1960 LP. It has been credited to Chris Droney, who called it
“The Bellharbour Reel.” Source for notated version: accordion player James Keane
(Ireland) [Breathnach]. Breathnach (CRÉ
III), 1985; No. 183, pg. 83. Green Linnet Records
SIF 1026, James Keane ‑ "Roll away the Reel World" (1978).
James Keane (et al) – “The Big Squeeze.”
ROUGH SCOTSMAN (THE). American,
Old-Time, Breakdown. A Major. Standard tuning. AABB. Grey Eagle Records 101,
Lyman Enloe – “Now That’s a Good Tune” (learned from his father in the 1930’s).
X:1
T:Rough Scotsman, The
M:C|
L:1/8
S:MSOTFA Quarterly, vol. 12, No. 1,
Spring 1994, p. 5
K:A
[A,2E2]-|[A,2E2][A,2E2] A,B,CD|[EA][FA][AA][AB]
[A4A4]|[AB][A2c2][Ac] [A2d2][A2c2]|BAGB AFEC|
[A,2E2][A,2E2] A,B,CD|[EA][FA][A2A2]
[A4A4]|[A2e2]fg aecA|EGBG A2:||
(3efg|\
M:3/4
L:1/8
a2g2 (3fgfe2 fgaf|\
M:C|
L:1/8
e[Ae][ce][ce] [c2e2]eg|b2e2 fgaf|
edcB A2(3efg|a2e2 fgaf|e[Ae][ce][ce]
[c2e2][ce][Be]|[c2e2]b2 gefg|a2[c2a2] [c2a2]:||
ROUND, THE. AKA and see "Mr. Lane's Maggot," “Polly for ever,” “Richmond Ball.” English, Country Dance Tune
(2/2 time). D Minor. Standard tuning. AABB. The tune was first published as
"Mr. Lane's Maggot" in 1695, but appeared as "The Round" in
1701. See also William Vickers’ major-mode version in his 1770 Northumbrian
music manuscript collection under the title “Richmond Ball.” Barnes (English Country Dance Tunes), 1986.
Sharp (Country Dance Tunes),
1909/1994; pg. 73.
X:1
T:Round, The
M:2/2
L:1/8
S:Sharp – Country Dance Tunes
(1909)
Z:AK/Fiddler’s Companion
K:Dmin
|: (a4 g4 | f2 gf e2A2) | (defg
e2A2) | (defg e2A2) |
(a2 ba g2 ag | f2 gf e2) (A2 | defg
e2 ^c2 | d6) z2 :|
|: (F2A2) (F2A2) | (F2A2) (F2A2) |
(A2 GA F2A2) |(A2 GA F2A2)|
(FGAG) (FGAG) | (FGAG) (FGA)f
|(e2d2e2^c2 | d6) z2 :||
ROUND ABOUT, THE. English,
Country Dance Tune (cut time). D Major. Standard tuning. AABB. The melody is
unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3
(London, 1773). Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 3), 1773; No. 146.
X:1
T:Round About, The
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
d2 (AG) F2 d2|fedc dcBA|d2 (AG) F2d2|A2c2 d4::a2 (gf) g2 (fe)|f2 ed e2 cA|
a2
gf g2 fe|fagf {f}e4|d2 AG F2d2|fedc dcBA|d2 AG F2 d2|afge d4:||
ROUND ABOUT FERRYHILL. English, Jig (12/8 time). England, Northumberland. D Mixolydian.
Standard tuning. AABB. Seattle (William
Vickers), 1987, Part 3; No. 262.
ROUND
AND ROUND THIS GREEN SUGAR TREE. AKA and see "Kate Lay Sleeping," "Kate's Laid in the Hay," "Whitewashed Kate." American, Song
Tune and Reel. USA, southwestern Pa. A Dorian. Standard tuning. AB. The tune is
familiar from playparty and sea shanty traditions, and seems to Bayard to have
been better known as a vocal than an instrumental air. Source for notated
version: Eben Patterson (elderly fiddler from Alegheny County, Pa., 1930's)
[Bayard]. Bayard (Dance to the Fiddle),
1981; No. 251A‑D, pgs. 214‑215.
ROUND O. English, Country Dance Tune (2/2 time). A Minor. Standard tuning.
AABCD. The melody dates to 1709. Barnes (English
Country Dance Tunes), 1986. Sharp (Country
Dance Tunes), 1909/1994; pg. 79.
X:1
T:Round O
M:2/2
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:Amin
|: ed | cBAc B2 ^G2 | A4 B4 | c2 dc
BcAc | B4 E2 ed |
cBAc B2 ^G2 | A4 B4 | c2 dc B3A | A6
:|
|| ag | a2e2f2g2 | f4 e2 fe | d2 c2
B2 c2 | c3B A2 ef |
g2 c2 g2 ag | f2 A2 f2 gf | e2 dc d2
B2 | c4 c2 || ed |
cBAc B2 ^G2 | A4 B4 | c2 dc BcAc |
B4 E2 ed | cBAc B2 ^G2 |
A4 B4 | c2 dc B3A | A6 || e2 | a2 ^g2
a2 ef | f3e d2 ef |
g2 e2 defg | e2 c4 fe | d2 ed c2 de
| fedc B2 c2 | A2 Bc B3A | ^G4 E2 ||
ROUND
THE BUTTON AND THROUGH THE HORN [1]. American, Quadrille (6/8 time).
USA, southwestern Pa. A Major. Standard tuning. ABB. Source for notated
version: James Bryner (Fayette County, Pa., 1946) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 628, pg.
552.
ROUND
THE BUTTON AND THROUGH THE HORN [2]. American, Quadrille (6/8 time). USA,
southwestern Pa. A Major. Standard tuning. AB. Source for notated version:
James Bryner (Fayette County, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 629, pg. 552.
ROUND THE CARTHOUSE. AKA and see "Ruaig an Mí‑ádh,"
"The (Little) Bag of Meal,"
"Humors of
Mullina(a)fauna [1]," "Máire Ní Eidhinn,” "Nancy Hynes," “Parish Girl [2]."
'ROUND THE HORN. American, Reel. G Major. Standard tuning. AABB (Phillips): AA’BB’
(Songer). Composed by New York fiddler and mandolin player Jay Ungar
(www.jayandmolly.com). Source for notated version: Jay Ungar (West Hurley,
N.Y.) [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 117. Songer (Portland Collection), 1997; pg. 170.
X:1
T:Round the Horn
M:2/4
L:1/16
C:Jay Ungar
N:©1978 by Swinging Door Music (used by permission)
Z:Dave Barton
K:Edor
D4||:"G"G2GA BAGA|Bd2ed4|
"C"cdef e2g2|"D"a6ga|
| "G"b2b2 "D"
agfa| "Em"gfed "G"BAG2| "D"A2D2
"Bm"GAG2| "Em"E6~2:||
||: "Em"e3f e2d2|
"G"Bd2e d4| "Am"A3A G2A2| "Bm"Bd2e d4|
| "Em"g3a gfe2|
"D"dedc "G"BAGB| "D"A2d2 "Bm"BAG2|
"Em"E6~2:||
ROUND THE MAY-POLE. English, Jig. B Flat Major.
Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s
third country dance collection (London, 1773). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 41.
X:1
T:Round the May-Pole
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
B>cB
d2f|B>cB d2f|bag fed|cdB AGF|G>cB d2f|B>cB d2b|agf cf=e|f3 F3:|
|:f2f f2g|_agf edc|e2e e2f|gfe dcB|BFB dBd|fdf bfe|dcB F>BA|B3 B,3:||
ROUND THE OLD CHURCH GROUND. Old-Time. F Major. Standard tuning.
In the repertoire of West Virginia fiddler Edden Hammons. Edden Hammons Collection II, Disc 1.
ROUND THE WORLD [1]. AKA and see “(A)round
the World for Sport [1].”
ROUND THE WORLD [2] (Mórthimpeall an Domhain). AKA and see “The Jolly Tinker [2].” Irish, Reel. E
Dorian. Standard tuning. ABC. A version of O’Neill’s “Jolly Tinker.” Source for
notated version: fiddler Tommy Gunn (Derrylin, County Fermanagh) via the
mid-20th century Liam Donnolly collection (County Tyrone & Belfast)
[Breathnach]. Breathnach (CRÉ IV),
1996; No. 187, pg. 87.
ROUND TOWN... See "Roundtown..."
ROUND UP THE YEARLINGS
[1]. AKA and see "Hell Among(st) the
Yearlings [1]." Old‑Time, Breakdown. USA; southwestern Pa.,
W.Va., Kentucky, Tennessee. D Major. Standard tuning. AB. The tune is well‑known
in the South under the alternate title. It was recorded in 1933 by Lisbon, Indiana,
fiddler Slim Miller (1898‑1962), an early member of the Kentucky group
the Cumberland Ridge Runners. Sources for notated versions: Harry Queer
(Westmoreland County, Pa., 1946) and Sanford Hall (Marshall County, W.Va.,
1930's) [Bayard]. Bayard (Dance to the
Fiddle), 1981; No. 277A‑B, pg. 232.
ROUND(ING) UP THE
YEARLINGS [2]. American, Reel. USA, southwestern
Pa. D Major ('A' part) & A Major ('B' part). Standard tuning. AB. Source
for notated version: Boden (fiddler from Pa., 1957) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 278, pg.
233.
ROUND
WITH A HEALTH TO GLORIOUS WELLINGTON,
&c. (Deoch Slainte do'n armailt tha Flannriose sa Ceannas). Scottish, Military Troop Air (6/8
time). F Major. Standard tuning. AABCCDD. This tune "will be recognized as
an air of the editor's, published as a patriotic song with his Waterloo March,
intended to commemorate the anniversary of that glorious day, and to be sung
with a solemnity suitable to the words. As it, however, makes a grand military troop
when performed a little quicker, it is here presented in that style"
(Fraser). The Gaelic title literally translates as "A health to the army
in Flanders and its commander(s)." Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the
Isles), 1874; No. 130, pg. 52. Hardie (Caledonian
Companion), 1992; pg. 113.
X:1
T:Round with a health to Glorious Wellington &c.
T:Deoch Slàinte do’n àrmailt
M:6/8
L:1/8
R:Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:F
C|F2 f/>d/ cAG/F/|F>G/A/G/ FDC|F2 f/d/ cAG/F/|Acc c2 f/g/|afd cAF|
F>G/A/G/ FDC|f/a/g/f/e/d/ c/d/c/B/A/G/|FFA F2:|
c|f2 c’ afc|dgf edc|f2 c’ a/b/c’f|ac’c’/b/ c’2a|b>c’d’ def|gaf edc|
df/d/f/d eg/e/g/e/|cfe f2 z/c/|f2 c’ afc|dgf e>d/c/B/|Acf d/c/B/A/G/F/|
Acc c2f|ega/b/ afc|d>B/f/d/ cAF|CBB CAA|G>F/G/A/ F3||
|:A2c BGE|F2A GEC|FFF GGG|AcA G3|A2c BGE|F2A GEC|
DDD EEE|FFA F2:|
|:(3c/d/e/|fc/f/a/f/ g/f/e/d/c/B/|A/c/f/c/a/f/ g/f/e/d/c/B/|A/F/c/A/g/e/ d/c/B/A/G/F/|
Acc c2 B/A/|Bd/B/d/B/ Ac/A/c/A/|d/c/B/A/G/F/ G/F/E/D/C/B,/|
A,/B,/C/F/A/B/ c/B/A/f/d/B/|ABG F2:|
ROUNDTOWN GIRLS. AKA and see "Buffalo Gals
[1]," "Alabama Gals Won't
You Come Out Tonight?," "Lubly Fan,"
"Midnight Serenade" [2].
Old‑Time, Breakdown. G Major. Standard tuning. AABB. See note for
"Buffalo Gals."
***
Roundtown girls, won't you come out tonight,
Won't you come out tonight,
Roundtown girls, won't you come out tonight,
And dance by the light oof the moon?
***
Kaufman (Beginning Old Time Fiddle), 1977; pg. 54. Krassen (Appalachian Fiddle), 1973; pg. 65. Recorded by Herbert Halpert for the Library of Congress from
the playing of the Houston Bald Knob String Band (Franklin County, Va.) in 1939
{appears as "Round Town Girl Won't You Come Out Tonight"}. County
405, "The Hill Billies." Document 8039, “The Hill Billies/Al Hopkins
and His Buckle Busters: Compoete Recorded Works in Chronological Order, Vol. 1”
(reissue). Gennett 6065 (78 RPM), Ernest Stoneman, c. 1928.
ROUSE IT. AKA and see “Connemara Jig,” “Top It Off.” Irish, Slip Jig. F Major. Standard tuning. AB (Levey): AABB (Kennedy). Levey earlier printed the tune in his 1st collection (1858) under the title “Connemara Jig,” set in the key of D. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 71, pg. 16. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 73, pg. 33.
X:1
T:Rouse It
M:9/8
L:1/8
R:Slip Jig
S:Levey – Dance Music of Ireland, 2nd Collection (1873)
Z:AK/Fiddler’s Companion
K:F
c2A A2c (f2c) | (def) (g2e) (f2d) | c2A A2c f2c | (ded) c2A F3 |
c2A A2c (f2c) | (def) (gfe) (fed) | c2A A2c f2c | (ded) c2A F2 ||
f | a2f f2e (f2a) | g2e e2^d (d2g) | f2d d2^c (d2f) | (edc) g2e (f2g) |
a2f
f2e (f2a) | g2e (e2^d) (e2g2) | f2d (d2^c) (d2f) | (edc) (gfe) (fed) ||
ROUSE THE GROUSE. AKA and see “Apples in Winter
[2]," “Fruit for the Ladies,”
"Gillan's Apples [1]"
(Ullai Uí Ghiollain), “Gillian’s Apples,” “Jackson’s Growling Cat,” “Jackson’s Stranger [2],” “The Longford Jig,” “Rise the Grouse.” Irish. The tune appears
in the Goodman manuscript, volume II, 120.
ROUSING OF THE DRINK, THE. Irish, Reel. G Major. Standard tuning. AABB.
Joyce (Old Irish Folk Music and Song),
1909; No. 702, pgs. 351‑352.
ROUSTABOUT. AKA and see "Shout Lu/Lulu,"
"Shout Little Lulu/Lulie." Old‑Time, Breakdown. USA; southwestern
Va, western N.C. C Major/G Major (Dent Wimmer): D Major (Dan Tate). GDgd
tuning. AABB. A roustabout was an
unskilled laborer, often itinerant, and has been used to refer specifically to
workers on oil rigs. The tune, according to Cece Conway (in notes to the
recording “Black Banjo Songsters”, Smithsonian Folkways SF CD 40079) “is one of
the most important showpieces in the Black banjo repertory,” although it
appears to be equally popular among white musicians (Mike Yates, 2002). The banjo player employs a special tuning
for this song. Yates is of the opinion that the tune probably originated in
Virginia and was originally called “Long Steel Rail.”
***
How can you be so mean to me,
Been so good to you.
Wish to the Lord I'd never been born,
Died when I was so young;
Never be here to eat this salty meat,
Or hear your lying tongue.
Who's Gonna shoe your pretty white foot,
Who's gonna glove your hand;
Who's gonna kiss your ruby red lips,
When I'm in a far off land.
Papa will shoe my pretty white feet,
Mama will glove my hand;
Nobody's gonna kiss my ruby red lips,
'Till you return again. (Tom Carter & Blanton Owen)
***
Dan Tate (b. 1896), of Fancy Gap,
Carrol County, Virginia, sang the following verses:
***
Roustabout, my bare-footed child,
Take your boat to the shore;
There’s a hundred dollar bill and I’ve got no change,
Oh don’t you want to go?
***
Walkabout, on Sunday my boys,
What pleasure can I see?
When I’ve got a woman in New Orleans,
And she won’t write to me.
***
So roustabout, my bare-footed bums,
Take your boat to the shore;
There’s a hundred pretty women on the other side,
Oh, don’t you want to go?
***
Source for notated version: Fuzzy
Mountain String Band (North Carolina), who had the tune from Gaither Carlton {d.
1972} (Deep Gap, N.C.) [Brody, Spandaro]. Brody (Fiddler’s Fakebook), 1983; pg. 236. Spandaro (10 Cents a Dance), 1980; pg. 32. Heritage
XXXIII, Dan Tate (Fancy Gap, Va.) ‑ "Visits" (1981). Kicking
Mule 213, Susan Cahill‑ "Southern Clawhammer Banjo." Musical
Traditions MTCD0231, Dan Tate – “Far on the Mountain, Vols. 1 & 2” (2002).
Rounder 0035, Fuzzy Mountain String Band‑ "Summer Oaks and
Porch" (1973). Rounder 0057, Dent Wimmer (Payne's Creek section, Floyd
County, Va.) ‑ "Old Originals, Vol. 1" (1978. Learned from the
Smith boys {John, Dink, and Dan} of Green Creek, Va.). Rounder CD 0439, Fred
Cockerham. Smithsonian Folkways SF CD 40079, Dink Roberts – “Black Banjo
Songsters.”
X:1
T:Roustabout
L:1/8
M:4/4
K:G
DEG2 AGE2 | DEG2 B4 | DEG2 AGE2 | D2E2 G4 :|
|:
B2BB d2d2 | B2d2 e4 | G2G2 AGE2 | D2E2 G4 :|
ROUSY MAGGIE. AKA and see "Drowsy Maggie."
Recorded for the Library of Congress, 1938, by Patrick Bonner, St. James,
Beaver Island, Michigan.
ROUT [1], THE. English, Jig. England, Northumberland. C
Major. Standard tuning. AABB. Seattle (William
Vickers), 1987, Part 3; No. 521.
M:6/8
L:1/8
R:Jig
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
B/c/ | d2g B2c | d2B G3 | A2B cBA | d2B G2 B/c/ | d2g B2c | d2B G3 |
AcB AGF | G3 G2 :| d | gag fef | gfe def | gag fef | gdB GBd | gag fef |
Gfe def | gag fef | g3 g2 ||
ROUTE, THE. AKA and see "Colonel Crocket," "Jenny on the Railroad." Old‑Time,
Breakdown. USA; Virginia, West Virginia. A Mixolydian. Standard tuning. AAB.
Charles Wolfe (1997) remarks that this tune was collected as early as 1839 as
the song “Col. Crocket’s Reel” by none other than the American frontiersman
Davy Crockett, who was a skilled fiddler and buck dancer (it is said he
entertained the defenders of the Alamo with his fiddle during lulls in the
action). A tune called “Colonel Crocket: A Virginia Reel” in Knauff’s 1839
collection Virginia Reels. Alan
Jabbour remarks that the tune does not seem to have Northern or British Isles
antecedents, but that it does sometimes appear outside of the western Virginia
and West Virginia region, where migrants from those regions are known to have
settled. For example, a version of the melody was recorded on 78 RPM as “Jenny
on the Railroad” by the Mississippi group Carter Brothers and Son (Vocalation
5297). Alan Jabbour finds a printed version in Hamblen’s A Collection of Violin Tunes Popular. There are obscene verses that are associated with the tune. See also the related Kentucky tune “Hickory Jack.” Paul Gifford does find an
Irish variant as “Katy Jones Reel”
recorded in the 78 RPM era by New York based fiddler Frank Quinn. Source for
notated version: Alan Jabbour and The Hollow Rock String Band learned the tune
from the playing of Henry Reed of Glen Lyn, Virginia, who himself had it from
an old man in Monroe County, West Virginia. Brody (Fiddler’s Fakebook), 1983; pg. 236. Rounder
0024, "Hollow Rock String Band" (1974).
X:1
T:Route,
The
L:1/8
M:4/4
S:From a
transcription of Henry Reed’s playing by Alan Jabbour
K:Ador
[AA]|[A/c/][A/A/][A/B/][A/A/]
[A/c/][A/A/][A/A/][A/A/] c/A/E/=F/ GG|
[G/B/]G/[G/A/]G/ [G/B/]G/[A/G/]G/ E/(G/A) [AA][AA]|
[AA]|[A/c/][A/A/][A/B/][A/A/]
[A/c/][A/A/][A/A/][A/A/] c/A/E/=F/ GG|
[G/B/]G/[G/A/]G/
[G/B/]G/[A/G/]G/ E/(G/A) [AA][AA]|
A/B/c/d/ eg
e/d/B/c/ df|(d/f/)(e/d/) B(A/G/) E/(G/A) [AA]A|
(A/B/)(c/d/) eg [A/e/](d/B/c/)
d(e/f/)|g/a/b/a/ g/d/e/d/|B/(G/A) [AA]||
ROUYN REEL (Le Reel Rouyn). French-Canadian, Reel. A Major. Standard
tuning. AA'BB'. Rouyn is a town in the Province of Quebec. Source for notated
version: transplanted French-Canadian fiddler Omer Marcoux (Concord, N.H.) who
learned it from a Bluebird 78 RPM recording by Fernand Thibault et ses
Pionniers [Miskoe & Paul]. Miskoe & Paul (Omer Marcoux), 1994; pg. 9.
ROVER [1], THE (Ho! 'se mo run an t-oigear). Scottish, Strathspey. E Minor.
Standard tuning. AB. "Prince Charles seems to be the hero of (this tune),
under the denomination of the Rover, whether from the voice of Flora MacDonald
or any other of his female admirers, is now uncertain. A number of fine airs
owe their origin to the extraordinary exertions of this lady in favouring his
escape, and her memorable defence, which implied that she would have done the
same for the reigning king if similarly circumstanced. Of these none appear
more interesting than the Scots air of 'Charlie, He Is My Darling', which does
not belong to this work, but is in the course of publication by Mr. Gow, and is
truly enchanting" (Fraser). Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 139, pg. 56. Stewart-Robertson (The
Athole Collection), 1884; pg. 254.
X:1
T:Rover, The
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
K:Emin
B|E<E B>F E2 E>F|E<E B>F D2 D<F|E<E B>F G>AB>e|
d>BA>d F<DD:|
f|b>e b/a/g/f/ b<e e>f|b>e b/a/g/f/ a<d d>f|1 b>e b/a/g/f/ g>ef>e|
d>BA>d
F<DD:|2 (3efg (3fga (3gab (3efg|B^c/d/ A>d F<DD||
X:2
T:Rover, The
T:Ho! ‘se mo rùn an t-òigear
L:1/8
M:C
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:Emin
B|E<E B>F [G,2E2] E>F|E<E B>F D2 D<F|E<E B>F G>AB>e|
d>B A<d F>DDB|E<E B>F [G,2E2] E>F|E<E B>F D2 D>F|
E<E B>F G>AB>e|d>G A<d F>DD||f|b>e b/a/g/f/ a<d d>f|
b>e b/a/g/f/ g>ef>e|d>B A<d F>D D<f|b>e b/a/g/f/ b<ee<f|
b>e
b/a/g/f/ a<dd<f|(3efg (3fga (3gab (3efg|B/^c/d A<d FDD||
ROVER [2], THE. AKA and see “Belle of the Kitchen [1],” “Kitty of Coleraine,” “New York Jig [3]," “Paddy’s Resource [1].” Irish, Jig.
D Major (Carlin): G Major (O’Neill). Standard tuning. AABB. O’Neill (1922)
remarks: “The Rover is another tune that is suggestive of certain
strains with which we are more or less familiar. It proves to be a variant of
‘Paddy's Resource’ - a rather stylish composition printed in former O'Neill
Collections.” Carlin (Master Collection), 1984; No. 241, pg.
140. O’Neill (Waifs and Strays of Gaelic
Melody), 1922; No. 155.
X:1
T:Rover, The
M:6/8
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
K:G
D|GAG EDB,|GBd "tr"e2 d|g>BB BAB|c>EE E2 F|
GAG EDE|GBd "tr"e2 d|g>BB BAB|cEF G2:|
|:D|GBd GBd|gfg dBG|GBd efg|fdd def|
geg
fdf|ece d2 B|cBc Adc|BGG G2:||
ROVER [3]. Scottish, Reel. G Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 4; No. 120, pg.
15.
X:1
T:Rover [3]
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 120
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
d | B2 (GB) GBdB | A2 (FA) FAdc | B2
(GB) GBdB | AFDF FEE :|
|| f | gfef gfge | BGAG B2E2 | gfef gfge
| eggb agef | gfef gfge |
d2 (BG) AGEG | cdcA BcBA | GBdf g3
||
ROVER [4], THE (An Fiaire Feá). Irish, Reel. G Dorian. Standard tuning. AABB.
Related to “Dowd’s Favorite”/“O’Dowd’s Favourite” and “The Tee Ree Reel.” Breathnach (1996) also finds
it related to O’Neill’s “Murtough Molloy”
(DMI, No. 741), “The Flowers in May,”
“The Ladies’ Pantaloons,” and “The Scotch Hunt.” Sliabh Luachra fiddler Denis
Murphy played a variant he called “Dublin
Lasses [2],” although it bears no relation to the “Dublin Lasses” as
printed by O’Neill. Source for notated version: the c. 1880's collection of
fiddler and uilleann piper Stephen Grier (Farnaght, County Leitrim)
[Breathnach]. Breathnach (CRÉ IV),
1996; No. 177, pg. 82.
ROVER [5]. Old-Time, Breakdown. USA,
Arkansas. A Major. AEae tuning. ABB’. Source for notated version: Kermit Moody (1909-1977,
Mountain View, Stone County, Arkansas) [Beisswenger & McCann]. Beisswenger
& McCann (Ozarks Fiddle Music), 2008; pg. 98.
ROVER REFORMED, THE. AKA and see “Bavania.”
English, Country Dance Tune (6/8 time). D Minor. Standard tuning. AAB. The
melody appears in several early 18th century collections. It is
printed in John Young, the Dancing
Master, or Directions for Dancing Country Dances (1718-1728, pg. 301),
published in London; in Walsh’s Second
Book of the Compleat Country Dancing Master (1719, pg. 323); and in
Playford’s Dancing Master (1726,
under the title “Bavania”). Williamson (English,
Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 34.
ROVER THROUGH THE BOGS, THE. AKA and see "Bealltaine," “Butchers of Bristol [2],” "Five Miles From Town [2]"
(Pa.), “Geary’s Hornpipe,” “May Day [2],” “The Mullingar Races
[2]," “Taylor’s (Hornpipe).”
Irish, Hornpipe. G Major. Standard tuning. AABB. Patrick Street recorded the
tune under the title “Raven Through
the Bog.” “Mullingar Races” is a related melody. Source for notated
version: Ann Sheehy (Castleisland, County Kerry) [Mulvihill]. Cotter (Traditional Irish Tin Whistle Tutor),
1989; 77. Mulvihill (1st
Collection), 1986; No. 42, pg. 101.
X:1
T:Rover Through the Bogs, The
T:Taylor’s
M:C
L:1/8
R:Hornpipe
B:Martin Mulvihill – 1st Collection (1976)
Z:AK/Fiddler’s Companion
K:G
(3DEF|G2 (BG) ABcA|defd
{a}gfdc|{c}BGBd c2 AF|G2 (3AGF DEFD|
G2 BG ABcA|defd {a}gfdc|{c}BGBd
(3cdc AF|G2 (3AGF G2:|
|:(Bd)|{a}gfga gfdf|gabg {b}afde|fd
(3efg (af){a}ge|fd (3edc {e}dcAF|
G2 (BG) ABcA|defd (gf)dc|{c}BGBd
(3cdc AF|G2 (3AGF G2||
ROVER'S RETURN, THE. AKA and see “Haugh’s
Jig,” “The Inverness Jig [2],” “MacGregor Jig,” “Mac’s
Fancy,” “March
of Donald Lord of the Isles to the Battle of Harlaw,” “O’Reilly’s Jig,” “The Victor’s Return.” Irish, Canadian; Jig.
Canada, Cape Breton. A Mixolydian. Standard tuning. AABB (Allan’s, Dunlay &
Reich): AABBA’A’B’B’ (Dunlay & Greenberg). Source for notated version:
Buddy MacMaster (Cape Breton) [Dunlay & Reich]. Allan's Irish Fiddler, No. 27, pg. 7. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape
Breton), 1996; pg. 111. Dunlay & Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 70. Atlantica Music 02 77657 50222 26, Donny LeBlanc - “Atlantic
Fiddles” (1994). Celtic CX 14, SCX 57, Dan Joe MacInnis‑ "The
Fiddlers of Cape Breton" (various artists).
ROVING BACHELOR, THE (An Diolaineac Fanac). AKA and see “A Sheamuis Bhig a’ bhFuil
Ocras Ort?” (Little Seamus are you hungry?), “Tommy Peoples’.” Irish, Reel.
G Major. Standard tuning. AB (O'Neill/1850): AAB (Cole/Ryan): AABB'
(O'Neill/Krassen). Bayard (1981) says this tune has some slight resemblance
(which may be accidental) to his Pennsylvania‑collected "Old Number
Third." The tune melody appears to have some currency in County Donegal.
It was recorded by Frankie Kennedy and Mairead Ní Mhaonaigh (“Tommy Peoples”),
and it appears in Feldman and O’Docherty’s Northern
Fiddler (1979, pg. 92) set as an ‘untitled barndance’ from fiddler John Doherty although it is
a common Highland in County Donegal called “A Sheamuis Bhig a bhfuil Ocras
Ort?” (Are you hungry little Seamus?). Cole (1000 Fiddle Tunes), 1940; pg. 10. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 92b
(appears as untitled barndance). O'Neill (Krassen), 1976; pg. 141. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1450, pg. 269. Ryan’s
Mammoth Collection, 1883; pg. 33. Frankie Kennedy
and Mairead Ní Mhaonaigh - “Ceol Aduaidh” (appears as one of two unnammed reels
at the beginning of the recording, from Donegal fiddler Tommy Peoples).
X:1
T:Roving Bachelor
R:Reel
M:C|
L:1/8
K:G
~B3A Bdge | ~d3e dBGA | ~B3A Bdge |1
dBAB G3A :|2 dBAB G3f ||
g2fg edBd | g{a}gfg ea{b}af | g2fd
efge | dBAB ~G3f |
g2fg edBd | g{a}gfg e~a3 | b~g3 agab
| gedB ~G3A ||
ROVING BLADE, THE. Irish, Slip Jig. A Major. Standard tuning. AABB. 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. 199.
X:1
T:Roving Blade, The
M:9/8
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
K:A
e3 edc edc|e3 edc a2 f|e3 edc edc|f2 B B2 f a2 f:|
|:e2
A A2 c cBA|e2 A Ace a2 f|e2 c c2 B cde|f2 B B2 f a2 f:||
ROVING GALWAY BOY, THE. AKA and see “Banks of Claudy.” AKA - “A
Mother’s Last Goodbye.” Irish, Air (3/4 time). G Major. Standard tuning. One
part. Source for notated version: “learned from the singing of Mick McCrossan
from Donegal, Northampton England, 1956" [Mulvihill]. Mulvihill (1st Collection), 1986; No.
10, pg. 120.
ROVING GAMBLER, THE. Old‑Time, Breakdown. Voyager VRLP 328‑S, "Kenny Hall and the Long Haul
String Band" (learned from Larry Hanks).
ROVING JACK OF ALL
TRADES. Irish, Air (4/4 time). F Major.
Standard tuning. AB. The song describes the rambles of a man who travelled
through the principal towns of Ireland and worked at a different trade in every
town.
***
In Lisburn he’s a weaver, a glazier in Lurgan town,
In Arma gh he’s a joiner, a smith in Portadown.
In Dungarvan he’s a fisherman and often ploughs the brine,
In Youghal a wool-comber, and makes his wool to shine.
***
Source for
notated version: learned by Joyce from his father, presumably in his childhood
in the 1840's in Limerick [Joyce]. Joyce (Ancient
Irish Music), 1890; No. 49, pg. 49.
X:1
T:Roving
Jack of All Trades
M:C
L:1/8
R:Air
N:”Andante”
S:Joyce – Ancient
Irish Music (1890)
Z:AK/Fiddler’s
Companion
K:F
(A/B/) |
cff_e d2 c>A | BABc {d}_e3c | cff_e d2 c>A | BAFF F3 || A/B/ |
cAFF {F}d2
c>A | BAB(c/d/) {d}_e3c | cff_e dec>A | BAFF F3 ||
ROVING PEDLAR [1], THE. Irish, Set Dance (cut time). G Major. Standard
tuning. AABB. McNulty (Dance Music of
Ireland), 1965; pg. 29.
ROVING PEDLAR [2], THE. AKA and see “The Red-Haired Man’s Wife.”
Irish, Air (3/4 time). B Flat Major (Stanford/Petrie): D Major (O’Farrell).
Standard tuning. One part. Stanford/Petrie (1902) notes: “The original air of
the ‘Boys of Kilkenny.’” See note for “The Enniskillen Dragoon(s) [1]”
for brief discussion of the structure of this melody and partial list of other
tunes in this class. O'Farrell, Pocket
Companion, vol. IV), 1810; pg. 90. Stanford/Petrie (Complete Collection), 1905; No. 360, pg. 91.
X:1
T:Roving Pedlar, The [2]
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 360
Z:AK/Fiddler’s Companion
K:B_
Bc | d2B2c2 | G4 BG | F4 F2 | G2B2B2
| B4B2 | B2c2d2 |
e3fe2 | d2B2c2 | d2f2d2 | c4B2 |
B2c2d2 | e2f2e2 | d2c2B2 |
d2f2d2 | c4 Bc | d2B2cB | G4 BG |
F4F2 | G2B2B2 | B4 ||
ROVING PIPER, THE. American, Reel. G Major. Standard tuning.
AA'BB'. Source for notated version: John Johnson [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol.
1, 1994; pg. 204.
ROVING SAILOR [1], THE. Irish, Air (4/4 time). G Major. Standard
tuning. AB. Source for notated version: Dr. Browne, Mayo (Joyce). Joyce (Old Irish Folk Music and Songs), 1909;
No. 444, pg. 250.
X:1
T:Roving
Sailor, The [1]
M:C
L:1/8
R:Air
B:Joyce – Old
Irish Folk Music and Songs, No. 444 (1909)
Z:AK/Fiddler’s
Companion
K:G
G>A|B>ABG E2 D>E|G2 G>A
B2g2|edBA GABG|
A4 G2||d2|g2 fg e3d|e2 dB d3d|d2 Bd
g2 GA|BG E4 G>A|
B>ABG E2 DE|G2 G>A B2g2|edBA
GABG|A4 G2||
ROVING SAILOR [2], THE. American, Reel or March (4/4 time).
USA, southwestern Pa. A Dorian. Standard tuning. ABB. The tune is used more for
songs than dancing, states Bayard (1981), and in Ireland is joined to the
ballad "William Taylor." In Pennsylvania it was a song and play‑party
tune, and was used as a dance tune by fiddlers. This ditty was sung to it:
***
Come, my little roving sailor,
Come, my little roving bee,
Come, my littl roving sailor,
Won't you ring around with me?
***
Chorus:
Granny will your dog bite? No, child, no, child,
Granny will your dog bite? No, child, no.
***
An alternative chorus was:
Little Betty Martin, tiptoe, tiptoe,
Little Betty Martin, tiptoe fine.
***
Source for notated version: Levi
Hall (Fayette County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 126, pg. 69.
ROVING SAILOR [3], THE. American (?), March or Polka. G Major/E
Dorian. Standard tuning. AABB. Source for notated version: the 1938 typewritten
manuscript of New Hampshire fiddler John Taggart (1854-1943), entitled
“Recollections of a Busy Life” (New Hampshire Historical Society, Concord,
N.H.). Taggart wrote in his ms. that the tunes “were all taught me during my
boyhood days in Sharon (N.H.), by the various fiddlers in that vicinity”
[Miller]. Miller points out that Sharon is in “the heart of the Monadnock
Region of southwestern New Hampshire, where fiddlers and contra dances abound
to this day” (pref. iv) [Miller]. Miller (Fiddler’s
Throne), 2004; No. 255, pg. 207. Sweet (Fifer’s
Delight), 1965/1981; pg. 41. New Hampshire
Fiddler’s Union, Miller & Peery – “The Music of John Taggart” (1989). North
Star Records NS0038, "The Village Green: Dance Music of Old Sturbridge
Village."
X:1
T:Roving Sailor [3]
M:2/4
L:1/8
Z:AK/Fiddler’s Companion
K:G
(3A/B/c/ | d>B GA | BB (3B/c/BA |
d>B GA | Be eg | d>B GA | BB (3B/c/B/A |
G>g fg | ed e :: z | d>g fg | ed (3B/c/B/A | G>g fg | af az | d>g
fg | e>d eg | d>B GA | Be e :|
ROW, THE. Scottish, Reel. D Major. Standard tuning.
AABB. Stewart-Robertson (The Athole
Collection), 1884; pg. 155.
X:1
T:The Row
M:C|
L:1/8
R:Reel
B:Stewart-Robertson
– The Athole Collection
(1884)
Z:AK/Fiddler’s Companion
K:D
A | d2dA
BdAF | Eeed cABc | dfce BdAF | Agfe fdd :|
|: f | ddfd adfd | Ag f/g/a feef |
gbfa ecBA | Bgfe fdd :|
ROW, DOW, DOW. English, Hornpipe?
X:1
T:Row Dow Dow
M:
L:1/8
S:John Rook manuscript (Wigton,
Cumbria, 1840)
K:G
d>c|B2 B>c .A>G.A>B|GBdg
d2 dB|.c>d.e>c .B>c.d>B|A>GA>B A2 d>c|B2 B>c A2
A>B|GBdg d2 c>B|
c>de>c BgdB|AGAB G2 B>c|d2 Bd
d2 gf|e2c2c ec|d2B2B2 dB|c2A2A2 dc|
d2 Bc d2 gd|B2 AB cBAG|A2 D>D
D3D|G2 G>G B>Abc|d2B2B3G|c>Bc>d e>de>f|
g2d d2 e=f|e2c2c2 d>e|d2B2B2
de|g4d4|cBAG FDGA|B2G2G2||
ROW POLKA, THE. English, Polka. D Major. Standard tuning. ABC.
By Jullien (1812‑1860), who had a Christian name from each of his thirty‑six
godfathers. A famed and flamboyant personality, he was a reknowned composer of
fashionable dance music, and also brought the classics to mass audiences.
"He conducted Beethoven with a jewelled baton handed to him on a silver
platter" (
ROW
THE BOAT ASHORE. American, Dance Tune (2/4 time). A
Major. Standard tuning. AAB. The tune was published in Edinburgh, Scotland, by
John Clarkson Jr. around 1805 in a single-sheet entitled American Tunes No. 1, Arranged for the Piano Forte.
ROW WELL YE MARINERS. English, Country Dance Tune (6/4 {Barlow, Chappell} or 6/8 time
{Barnes, Sharp}). G Major (Barlow, Barnes, Chappell): A Major (Sharp). Standard
tuning. ABCD (Sharp): ABCDE (Chappell): AABBCCDD (Barlow, Barnes). The air was
published in John Playford's English
Dancing Master (
X:1
T:Row Well Ye Mariners
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:A
(A | G2F G2A | B3 B2) (c | ded cBc |
B2A) A2 (A |
G2 F G2A | B3 B2) (c | ded cBc |
B2A) A2 || e | (efe B2) (c |
dec B2) (e | efe B2) c | dec B2 || A
| (ABA G2A | BGE A2) A |
(
c B2 A2) z | e3B3 | e3B3 | (e2f e2d | c B2 A2) ||
ROWAN AND THE ROSE, THE. English, Air or Waltz. E Minor. Standard
tuning. AABB. The title refers to the Scots and the English? Raven (English
Country Dance Tunes), 1984; pg. 200.
ROWAN TREE [1], THE. AKA and see "Captain O'Neill," "The McClellantown Hornpipe,"
"Push About the Jorum [1],"
"Rattle the Bottles [1]."
Scottish, Reel. G Major. Standard tuning. AB. The rowan tree in Scottish
tradition is believed to have supernatural powers, including the ability to
ward off witches and other evil spirits if planted near one's house. Cole (1000 Fiddle Tunes), 1940; pg. 12.
X:1
T:Rowan Tree, The [1]
M:C|
L:1/8
R:Reel
B:Ryan’s Mammoth Collection
(1883)
Z:AK/Fiddler’s Companion
K:G
g2||dGBG FAAc|BGBd (e/f/g)
f>e|dGBG FAAB|EGFA G3g|
dGBG FAAc|BGBd (e/f/g) (f>e)|dGBG
FAAB|EGFA G2 G||
d|g2 f>g afed|ggf>g
({f/g/}a2)d2|dgfg afed|(e/f/g) (f/g/a) g2 g>d|
g2 f>g afed|ggfg ({f/g/}a2)d2
dgfg afed|egfa gbeg||
ROWAN TREE [2], THE. Scottish, Air (4/4 time) or Highland
Schottische. A Major (Kerr): G Major (Sweet): E Flat Major (Neil). Standard
tuning. One part (Sweet): AABB (Kerr, Neil). Lady Nairne wrote celebrated
lyrics (published about 1840) to the tune that is thought to owe its present
form to Finlay Dunn.
***
Oh! rowan tree, oh rowan tree,
Thou'lt aye be dear to me,
O' hame and infancy.
Thy leaves were aye the first o' spring
Thy flow'rs the simmer's pride;
In a' the countrie side
Oh! Rowan tree.
***
Kerr (Merry Melodies), vol. 3; No. 199, pg. 23. Neil (The Scots Fiddle), 1991; No. 110, pg.
147. Sweet (Fifer’s Delight),
1965/1981; pg 74.
X:1
T:Rowan Tree
M:4/4
L:1/8
R:Air
Z:AK/Fiddler’s Companion
K:G
G>A | B4 B2A2 | B d3d2g2 | e3d
e2g2 | e2 d4 G>A | B4 B2A2 | Bd3e3d | dB3A3G | G6d2 |
d3gg3f | f2e2e2g2 | d3e ed cB | B4A2
G>A | B4B2A2 | Bd3e3d | dB3A3G | G6 ||
ROWE'S DIVISION. See "Rose Division."
ROWE’S JIG. AKA and see “A Thousand
Farewells.” Irish, Jig. D Major. Standard tuning. AABB. The melody is a Sean
Ryan composition called “A Thousand Farewells.” Source for notated version:
Brendan Mulvihill (
ROWING FROM ISLA TO
UIST (Iomramh eadar Il'a
a's Uist).
Scottish, Jig. A Minor. Standard tuning. One part (Johnson): AA'B (Fraser).
"The editor conceives the boat songs among the most interesting and
expressive of the airs peculiar to the
X:1
T:Rowing from Isla to Uist
T:Iomramh eadar Il’ a’s Uist
M:6/8
L:1/8
R:Jig
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:A Minor
E |: A2A c2d | B2A B2d | A2A e2e | fed e2B | c2c d2c | B2A B2d |1 c2A ^G^FE:|2
A2B c2 || G | E2E E2D | E2E c2d | B2A G2E | D2C D2F | E2E
E2D | E2E c2d | B2A ^G2B | (A3 A2) ||
ROWING TIME PIECE (Iorram iomraumh). Scottish, Jig. D Major. Standard tuning. AAB.
This tune "is another, which the editor's father always attributed to Mary
MacLeod, and is extremely like her style. Most of her other songs are printed,
but this one seems to belong to the sacred compilation, which would have
perished if not now brought forward" (Fraser). Fraser (The Airs and
Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No.
152, pg. 61.
X:1
T:A Rowing Time Piece
T:Iorram iomraimh
M:6/8
L:1/8
R:Jig
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:D
A|F2F F2A | G2F E2D | DFA d2e|f2e d2F | ABc d2e | fdf e2c | d>cB A2G |
d2F E2D :|| ADE D2C | [D2F2][DF] ABc | d>cB A2G | [A,2F2][A,F] ABc |
d>ef D2C | [D2F2][DF] ABc | dcB AGF | FdF E2D ||
ROWLAND. AKA and see "Lord Willoughby('s
Welcome Home)," "Lord Willoughby's March," "Soet
Robbert."
ROWLAND HORNPIPE. English, “Old” or Triple Hornpipe (3/2 time). D Major. Standard tuning.
AABBCCDD. Callaghan (Hardcore English),
2007; pg. 79. The tune is from the John Winder music manuscript (Wyresdale,
Lancashire, 1789). Callaghan (Hardcore
English), 2007; pg. 79.
ROWLEY BURN. English, Hornpipe. England, Northumberland. G Major. Standard tuning.
AABB'. Composed by J.F. Charlton. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 50.
ROWLING BET. English, Jig. G Major. Standard tuning. AABB. The tune is contained in
the 19th century Joseph Kershaw Manuscript. Kershaw was a fiddle
player who lived in the remote area of Slackcote, Saddleworth, North West
England, who compiled his manuscript from 1820 onwards, according to Jamie
Knowles. Knowles notes that the tune was “probably associated with the old
Nursery Rhyme ‘There was an old woman and what do you think, she lived upon
nothing but bottles of drink.” The Joseph Kershaw Manuscript, 1993; No.
40.
ROWLING EYE, THE. English, Jig. G Major. Standard tuning. AAB.
Published before 1730. Raven (English
Country Dance Tunes), 1984; pg. 18.
ROWLING HORNPIPE, THE. AKA – “Oldham Rowling Hornpipe.” English,
‘Old’ Hornpipe (3/2 time). D Major. Standard tuning. ABC (Kershaw): AABBC
(Callaghan, Knowles). Knowles remarks there is a slightly different version
from his source (William Higgott’s MS) in the Joseph Kershaw manuscript. Source
for notated version: William Higgott’s (Cumbria, c. 1800) manuscript [Knowles];
the music manuscript of Joseph Kershaw, a musician from Slackcote, Saddleworth,
North West England who began his entries around the year 1820 [Kershaw]..
Callaghan (Hardcore English), 2007;
pg. 79. Joseph Kershaw Manuscript, 1993; No. 73. Knowles (A Northern Lass), 1995; pg. 32. Orford (John of the Greeny Cheshire Way), 1985. Topic Records TSCD 536, Waterson/Carthy – “Broken Ground”
(1999).
ROW'S DIVISION. See "Rose Division."
ROXANNA WALTZ. Bluegrass, Waltz. C Major. Standard tuning (fiddle). AAB (Brody): AA'BA
(Phillips). Composed by Kentucky bluegrass mandolinist Bill Monroe, the 'Father
of Bluegrass', popularised by Kenny Baker (Monroe’s fiddler for many years).
Sources for notated versions: Kenny Baker [Brody]; Monte Gaylord [Phillips].
Brody (Fiddler’s Fakebook), 1983; p.
237. Phillips (Traditional American
Fiddle Tunes), vol. 2, 1995; p. 303. County 736,
Kenny Baker‑ "Kenny Baker Country." County 2705, Kenny Baker -
"Master Fiddler." Flying Fish FF‑247, "Fiddle Fever"
(1981). Rounder 0046, Mark O'Conner‑ "National Junior Fiddle
Champion."
ROXBOROUGH CASTLE. AKA and see "Blanchard's Hornpipe [1],"
“The Broken Hornpipe,” "Chester Castle [2]," “McCarthy’s Hornpipe.” AKA ‑
"Roxburgh Castle." Scottish, Irish,
English; Hornpipe and Reel. A Major (most versions): G Major (Miller). Standard
tuning (fiddle). AB (Hunter): AABB (Miller, Raven, Sweet): AABB' (Brody). This
popular hornpipe exists under several titles, including “Blanchard’s Hornpipe,”
“McCarthy’s,” “The Broken Hornpipe,”
and “Chester Castle Hornpipe,” as well as the alternate spelling “Roxburgh
Hornpipe.” Ryan’s Mammoth Collection
(1883) gives the “Blanchard” title, while “McCarthy’s” is from O’Niell’s Music of Ireland (1903). Although
Roxborough Castle is the name of a manor in Moy, County Tyrone, northern
Ireland, dating from 1738 (since vanished) it is likely this tune refers to
Roxborough Castle in the Borders area of Scotland. Shakespeare employed as the
fortress as a setting in his play Edward
III. Early printings appear in a printed collection dated 1799 by Thomas
Calvert, a musician from Kelso, Scotland, and the John Fife music manuscript
book of 1780 (Perthshire). A note with the collection states that Calvert also
supplied “a variety of music and instruments, instruments lent out, tun’d and
repaired.” In addition, Roxburgh Castle is also the name of a not-particularly-common
Scottish country dance. Ascribing a Borders provenance to the tune would seem
appropriate, although there is nothing particularly Scottish about the
character of the melody and it has long been popular in England, particularly
Northumberland. “Roxborough Castle Hornpipe” is occasionally employed by morris
dance musicians as a vehicle for steps in various regions of England. For
example, it is one of four tunes (along with “Drops of Brandy,” “Wonder
Hornpipe” and “Smash the Windows”) traditionally played for the Grenoside Sword
Dance, performed in the village of Grenoside, near Sheffield, on Boxing Day.
The second strain melodic material forms the second part of the American
minstrel tune "Jordan
is (am) a Hard Road to Travel," while Missouri fiddler Gene Goforth’s
“Devil’s Hornpipe” (on his “Emminence Breakdown” album) is a related tune.
Source for notated version: Graham Townsend (Canada) [Brody]. Brody (Fiddler’s Fakebook), 1983; pp. 237‑238.
Hunter (Fiddle Music of Scotland),
1988; No. 316 (appears as "Roxburgh Castle"). Karpeles (A Selection of 100 English Folk Dance Airs), 1951; p. 7
(appears as "Roxburgh Castle"). Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 22, p. 11 (appears as
"Roxburgh Castle"). Miller (Fiddler’s
Throne), 2004; No. 308, p. 182. Raven (English
Country Dance Tunes), 1984; p. 188. Sweet (Fifer’s Delight), 1965/1981; p. 59. Front
Hall 08, Alister Anderson‑ "Traditional Tunes" (1976. Appears
as "Roxburgh Castle"). Mawson & Wareham Music MWM 1033, Willie
Taylor & Kathryn Tickell – “From Sewingshields to Glendale” (1986). Park
Records PRKCD 42, Kathryn Tickell – “Northumberland Collection.” Rounder 7002,
Graham Townsend‑ "Le Violin/ The Fiddle."
See also listings at: Alan
Snyder’s Cape Breton Fiddle
Recording Index Jane
Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s
Irishtune.info |
X: 1
T:Roxburgh Caftle
M:C
L:1/8
Q:140
R:reel
Z:Transcribed by Philip Whittaker
B:Calvert Collection - Page 6
K:A
cB| AEAc ecec | d2 df ecBA | d2 fd c2 ec | B2 B2 B2 cB|
AEAc ecec | dfdf ecBA | fgaf edcB | A2 A2 A2||
ef/2g/2 | aece Aece | aece Aece | dfdf cece | B2 B2 B2 cB|
AEAc ecec | dfdf ecBA | fgaf edcB | A2 A2 A2||
ROXBURGH CASTLE. AKA and see "Roxborough Castle."
ROXBURY. Canadian, Hornpipe. Canada, Cape Breton. B Flat Major. Standard tuning
(fiddle). AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald
(1911-1976). Cameron (Trip to Windsor),
1994; p. 68.
ROXBURY RACES, THE. Irish, Polka. E Minor. Standard tuning
(fiddle). AABB. Composed by Falmouth, Massachusetts, musician and writer Bill
Black. Black (Music’s the Very Best Thing),
1996; No. 358, p. 190.
X:1
T: Roxbury Rces
C: © B. Black
Q: 325
R: polka
M: 4/4
L: 1/8
K: G
Beed B>dBG | Beed ef g2 | Beed B>dBA | GEDF G2 GA |
Beed B>dBG | Beed ef g2 | Beed B>dBA | GEDF G2 G2 :|
B>GEG A>FDF | B>GEG FA d2 | B>GEG A>FDF | GEDF G2 GA |
B>GEG
A>FDF | B>GEG FA d2 | B>GEG A>FDC | B,DEF G2 G2 :|
ROXIE ANN. See "Roaxie Ann."
ROYAL ABERDEENSHIRE
HIGHLANDERS, THE. Scottish, March (4/4 time). C
Major. Standard tuning. AB. Composed by Alexander Walker. According to Paul
Stewart Cranford (1991) the tune still has currency among Cape Breton fiddlers.
Walker (A Collection of Strathspeys,
Reels, Marches, &c.), 1866; No. 68, pg. 24.
ROYAL ALBERT. AKA – “Sicilian Dance [1].” Scottish, Jig. G Major. Standard tuning. The
Royal Albert is a Scottish dance described by the Fletts for a 40 bar melody. A
tune appears as an untitled 64 bar jig in the Sussex Tunebook, with
“Royal Albert” in parenthesis. However, it can be found in early 19th
century fiddler’s manuscripts as “Sicilian Dance.”
X:1
T:The Royal Albert
R:jig
S:Tune - Kohler's Violin Repository (1881-1885)
H:Dance described in "Traditional Dancing in Scotland" J.F. &
T.M. Flett
N:40 bar tune played ABC2D
A:Orkney?
B:Community Dances manual 7 (tune and dance)
O:Scottish
M:6/8
L:1/8
Q:1/4=100
K:G
D|G>AG B>AG|B<dd d2c|B>dgd2c|B>cA G2D|G>AG B>AG|B>dd
d2g|fgfed^c|edd d2|
f/2g/2|a2dc'2b|agf {a}gfg|a2dc'2b|agfg2d|ec'c' dbb|caa Bgg|cBAd2F|A<GG G2|
|:z|B3 A>GA|A>GG G3|D3 c>Bc|c>BBB2g|g2f f2e|e2dd2c|B>cd
d>cB|B<AA A2:|
d|ggggdB|edddfa|c'c'c'c'af|a<ggg2d|ec'c' dbb|caa Bgg|cBAd2F|A<GG G2|
ROYAL BELFAST. AKA and see "Belfast Hornpipe [1]," “Gray’s Opera House,” "Millicent's Hornpipe," "The Sweep's Hornpipe [1],"
"Millicen's Favourite."
ROYAL BLACKBIRD, THE. See "The
Blackbird" [4].
ROYAL BURLESQUE
HORNPIPE. English, Hornpipe. England, North‑West.
G Major. Standard tuning. AABB. Knowles (Northern
Frisk), 1988; No. 121.
ROYAL CHARLIE. AKA – “Royal Charley.” AKA and see "Behind the Bush in the
Garden [1]," "Fy Buckle
Your Belt," "I Sat in
the Valley Green," "More
Power to Ye," “Mulqueeney’s
(Jig),” "Over the River
to Charlie [2]," “Tiarna Waraga,”
"Times Are Mighty Hard,"
"We Prefer Our Own King"
(Se'n Righ atha aguin is fear linn), "Who'll Be King But
Charlie?" See note for “Behind the Bush in the Garden” for more about
this tune family. Kennedy (Traditional Dance Music of Britain and
Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 165, pg.
39. Smith (Scottish Minstrel), 1820‑24, vol.
6, pg. 86. Victor
Records, Packie Dolan (1928. Recorded in New York).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Royal Charley
S:Packie Dolan (1928)
R:single jig
M:6/8
L:1/8
Z:Anthony Buffery
K:G
B|c2A AGE|c2A AGE|G2G G2E|G3 GAB|
c2B c2d|ege e2d|c2A BAG|A3 A2:|]
B|c2B c2d|ege e2d|c2B c2d|e3 A2B|
c2B c2d|efg e2d|c2A BAG|A3 A2:|]
ROYAL CHARLOTTE, THE.
English, Jig. A Major. Standard tuning. AABB. The melody is unique to
Charles and Samuel Thompson’s 1765 country dance collection. The Royal
Caroline II was built in 1749 to replace the original royal yacht, but was
renamed in 1761 as The Royal Charlotte in honor of the marriage of King
George III and Princess Charlotte. Thompson (Compleat Collection of
200 Favourite Country Dances, vol. 2), 1765; No. 97.
X:1
T:Royal Charlotte, The
M:6/8
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:A
c/d/|ecA a2e|faf ecA|cea aec|BBB B2 c/d/|ecA a2e|faf ecA|def ecA|EAA A2:|
|:A|cAA
eAA fAA eAA|cAA ecc|dBB B2B|cAA eAA|fAA faa|aee ecc|cA[EA] [A,2A2]:||
ROYAL CIRCUS. AKA and see “Drury Lane.”
Scottish, Jig or March. F Major. Standard tuning. AABB (Gow, Howe): AA’BB’
(Cranford/Holland). A tune by this name appears in Gow’s 2nd Collection, probably named for the Royal Circus in
the New Town of Edinburgh, so called because of its shape complimentary to
Royalty. Perhaps the most famous use of the name Royal Circus dates to
1782 when a former member of Phillip Astley’s equestrian performance company,
Charles Hughes (1747-1797), struck out on his own. Astley’s performance hall
was called the Royal Amphitheater, while rival Hughes’ named his The Royal Circus, located on Black-friar’s Road at
St. George’s Fields, London (see also note for “Astley’s Ride”). Hughes, who opened his
entertainment in conjunction with the popular songwriter Charles Dibdin, is
credited with inventing the name ‘circus’ (in the context of a program
consisting of live acts), meaning circle, referring to the ring around which
the equestrians rode during their performances. Cranford (Jerry Holland: The
Second Collection), 2000; No. 286, pg. 102. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 34 (3rd
ed.). Howe (1000 Jigs and Reels), c. 1867; pg.
47. BM-91,
Buddy MacMaster – “Glencoe Hall” (the Gow version). RC2000, George Wilson –
“Royal Circus” (2000). Rounder Records 7057, Jerry Holland – “Parlor Music”
(2005). Jerry Holland – “Crystal Clear” (2000).
See also listings at: Alan
Snyder’s Cape Breton Fiddle Recording
Index Jane
Keefer’s Folk Music Index: An Index
to Recorded Sources |
T:Royal Circus
M:6/8
L:1/8
R:March
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:F
ROYAL COUNTRY, THE. Irish, Reel. G Major. Standard tuning. AABB.
Composed by banjo player Peter Fitzgerald, originally from County Meath and
late of Baltimore. Black (Music’s the Very
Best Thing), 1996; No. 244, pg. 130.
X:1
T: The
C: Peter Fitzgerald
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: G
BAGE DG G2 | ADFA G3 B | dG G2 cAAG | FGAG FD D2 |
BAGE DG G2 | ADFA G2 AG | FAde defe | dcAF G2 GA :|
Bd d2 edBA | Bded edBG | FA A2 ABAG | FGAG FD D2 |
Bd
d2 edBA | Bded efga | gabg gfdg | fdcA G2 GA :|
ROYAL CRADLE. English, Country Dance Tune
(cut time). F Major. Standard tuning. AABB. The melody is unique to London
publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson
(Compleat Collection of 200 Favourite Country Dances, vol. 2),
1765; No. 143.
X:1
T:Royal Cradle, The
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:F
a2 fd g2 e^c|d2 BG AF D2|f2 dB c2 Ac|B2 GE F4|a2 fd g2 e^c|d2 BG AF D2|
B(G/A/B)G c(A/B/c)A|Bgce f4::a(f/g/a)f (g/a/b) (g/a/b)|g(e/f/g)e (f/g/a) (f/g/a)|f(d/e/f)d (e/f/g) (e/f/g)|
(f/g/a)
(g/a/b) {f}e3d|d(B/c/d)B c(A/B/c)A|g(e/f/g)e {d}^c4|a(f/g/a)f g(e/f/g)e|fdA^c
d4:||
ROYAL DEUX-PONTS. American (?), March (6/8 and
4/4 time). A Major (‘A’ and ‘B’ parts) & D Major (‘C’ and ‘D’ parts).
Standard tuning. ABCD. The first two parts are in 6/8 time, the second in 4/4.
It was originally set in ‘C’ major. The Royal Deux-Ponts were a crack French
regiment dispatched by King Lous XVI as part of a French expeditionary force to
America in 1780. They united with Washington at White Plains and took part in
the Battle of Yorktown in 1781. Although they fought under the French banner,
the Deux-Ponts were recruited primarily from the lands of the Duke Christian
IVof Zweibrucken (Zweibrucken translates as ‘two bridges’, or, in French, deux ponts). Thus, it is interesting to
note that German mercenaries fought not only for the British (as did conscripts
from Hesse), but also for the American cause. Source for notated version:
General John Reid’s Marches, A Collection
(London, 1795) [Miller]. Miller (Fiddler’s
Throne), 2004; No. 94, pg. 66 (appears as “Royal Deux-Ports”).
ROYAL EDINBURGH
VOLUNTEERS. Scottish. John Glen (1891) finds
the earliest appearance of the tune in print in Joshua Campbell's 1778 collection (pg.
49).
ROYAL EXCHANGE. AKA and see "Adson's Saraband, New." AKA ‑ "New, New Exchange." Scottish, Reel. The melody appears in the Gillespie Manuscript of Perth (1768).
ROYAL EXCHANGE [2]. English, Jig. G Major. Standard tuning. AAB. Although there were other tunes by this title, “Royal Exchange [2]” appears to be unique to London publisher Charles and Samuel Thomson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 23.
X:1
T:Royal Exchange [2]
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
G3 d3|BAG FDF|G3 d3|BGB AFA|BGB AFA|BAG FE^C|D3 d3:||
d3 a3|fdf e^ce|d3 a3|fdf e^ce|(g2e) (f2d)|e^c2 d2b|agf ed^c|(d3 d/)=c/B/A/G/F/|
G3
d3|BGB AFA|G3 d3|BGB AFA|BGB AFA|BGB ABc|BAG DGF|G3 g3||
ROYAL GIFT, THE. Scottish. AKA and see "The Marquis of Huntly's
Snuff Mill," "Miss
Dallas('s Reel)."
ROYAL GLASGOW VOLUNTEERS. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in Joshua Campbell's 1778
collection (pg. 49).
ROYAL
HIGHLANDERS WELCOME FROM WATERLOO,
THE. Scottish,
March (4/4 time, “Slowly”). G Major. Standard tuning. AB. “Communicated by Mr.
McLeod of Rasa” (Gow, 1817). The battle of Waterloo was fought on June
18th, 1815, some two years prior to the printing of Gow’s 4th
Repository, and, in the context of
the times, the heroic event was still quite topical (see also the Gow’s “Lamentation
for the Fallen Heros of Waterloo”). Gow included two other tunes in the
same collection that refer to the battle, “Lamentation for the Fallen Heros of
Waterloo” and “The Highland
Brigade at Waterloo.” Gow
(Complete Repository), Part 4, 1817;
pg. 6.
X:1
T:Royal Highlanders Welcome from
Waterloo, The
M:C
L:1/8
R:March
S:Gow – 4th Repository (1817)
Z:AK/Fiddler’s Companion
N:”Slowly”
K:G
B|d2 d>B ~d>e d>B|e<e
e>d e3f|g>edB A>GAB|E<E E>D G3B|d2 d>B ~d>ed>B|
e<e e>^d e3f|g>edB
A>GAB|E<E E>D G3||d|[G,2D2B2g2] gb B>ABG|
EAA>B A(afa)|(g/f/)e/d/ Bg
dB|AG|(F/G/A) D>c BGGd|[G,2D2B2g2] g<b B>ABG|
EA A>B A(afa)|(g/f/e/d/) B>d
(e/d/c/B/ c/B/A/G/)|(6F/G/A/G/F/E/ D>)c BGG||
ROYAL HUNT, THE. English, Reel. D Major. Standard tuning. AABB.
Source for notated version: the music manuscript collection of ship’s fiddler
Willam Litten, compiled during a voyage to the Far East aboard a vessel of the
East India Fleet (which may have been a military or a cargo ship). The
manuscript was evidently brought to Martha’s Vineyard by a shipmate of
Litten’s. Unfortunately, nothing is known of Litten or his origins. Huntington
(William Litten's), 1977; pg. 9.
ROYAL HUNTERS [1], THE. English, Jig. England, North‑West. A
Major. Standard tuning. AABB. Knowles (Northern
Frisk), 1988; No. 108.
ROYAL HUNTERS [2], THE. English,
Country Dance Tune (2/2 time). G Minor. Standard tuning. AAB. The tune dates
was printed by Walsh in the Fourth Book
of the Compleat Country Dancing Master (London, 1747) and by Johnson in Choice Collection of 200 Favourite Country
Dances, vol. 4 (London, 1748). Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 111.
ROYAL IRISH JIG, THE. AKA and see "The Absent Minded Man," "The Hare in the Corn [3]," "The House in/on the Corner,"
"The Little
House (A)round the Corner [1]," "O as I was kiss'd Yestreen [2],"
"Fhiach an Mhada Rua."
ROYAL IRISH QUADRILLES. Irish. A tune(s) requested by Queen Victoria of piper Thomas Mahon
during her first visit to Ireland in 1849, who “was surprised
ROYAL LAMENT, THE. AKA and see “Caoineadh Rioghail.”
ROYAL MEETING, THE.
English, Country Dance Tune (2/4 time). F Major. Standard tuning. AAB.
The melody appears in Samuel, Ann & Peter Thompson’s Twenty Four Country Dances for the Year 1794 (London). Directions
for the country dance were printed in publisher James Evans’ New Ladies Memorandum Book for the Year 1794
(London), and a 1799 volume from Walpole, New Hampshire, entitled A Collection of Contradances. The title
refers to the (then) four days of the Royal Meeting at Ascot Races, a
racecourse founded in 1711 by Queen Anne. The Royal Meeting itself first took
place in 1768, and perhaps the title commemorates the first permanent building
erected on the site, in 1794, which held 1,650 people. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 112.
ROYAL MIDSHIPMAN, THE. Engish, Jig. G Major. Standard
Tuning. AABB. The melody originally appeared in John Hinton’s Universal
Magazine of Knowledge and Pleasure (London, 1759). The title refers to
Prince Edward Augustus (1739-1767) who was a midshipman in the Royal Navy, and
who at the time was the Duke of York. He was the younger brother of King George
III of Great Britain. Prince Edward was present at the taking of Cherbourg and
the defeat at St. Cas in 1758. However, he attained the rank of Captain the
next year, and Rear-Admiral in 1761. When he died in Monaco in 1767 he was Vice
Admiral of the Blue. Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 2), 1765; No. 37.
X:1
T:Royal Midshipman, The
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
f|gdB ecA|dBG AG/F/E/D/|gdB ecA|BAG d2:|
|:d|de=f
eBc|Aag fed|c/d/ec B/c/dB|Agf g2:||
ROYAL PRINCESS TWO-STEP. American, Two-Step. D Major. Similar, perhaps
related to “Little Princess
Footsteps.” Bob Woodcock remarks that the only person he ever heard play
this tune was an old fiddler from Lancaster County, Pennsylvania, by the name
of Roy Zimmerman. It may have derived
from the playing of Maritime fiddler Don Messer, however, the "Royal Princess Two-Step" was
written by Canadian champion fiddler, Graham Townsend, to commemorate the 1958
visit of Princess Margaret of England to Canada.
ROYAL QUICKSTEP, THE. English, March (6/8 time). G Major. Standard tuning. AAB. A harmony part to the tune was printed by Thomas Calvert in his 1799 collection. Calvert was a musician from Kelso, Scotland, and a note with the collection states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired.”
X: 1
T:A Second to the Royal Quickstep
M:6/8
L:1/8
B:The Calvert Collection (1799) - Page 21
Z:AK/Fiddler’s Companion
K:G
G/A/|”tr” B2e G2A|{G/A/}B2d B2G|(DFG) “tr”A2F|{A}B2G B2 G/A/|
“tr” B2e G2A|{G/A/}B2d B2G|(FAd) “tr” (cBA)|G/B/d/g/ b/g/ {d}B2:|
||B/d/|efe {b}aga|bag fed|efe {b}aga|(b/g/e/g/) (b/B/d/B/)|efe {b}aga|
bag fed|ege dfa|(b/g/e/g/) b b2 d/c/|”tr” B2e G2A|{G/A/}B2d B2G|
(DFG) “tr”A2F|{A}B2G B2 G/A/|”tr” B2e G2A|{G/A/}B2 d B2G|
(FAd)
(cBA)|G/B/d/g/ b/g/ {d}B2||
ROYAL RECOVERY, THE. AKA and see "Madam(e) Frederick," "Miss Rose, Blackhall,” “The Recovery [2]." Scottish, Slow
Strathspey. D Major (Williamson): A Major (Gow): B Flat Major (Surenne).
Standard tuning. AABB (Williamson): AB (Gow, Surenne). Williamson (1976) says
the title of the tune probably refers to the resumption of rule by the exiled
Stuart Kings. The tune appears as “Miss Rose Blackhall’s Strathspey” in Robert
Petrie’s Second Collection,
attributed to William Marshall. Carlin (The
Gow Collection), 1986; No. 210. Gow (Complete
Repository), Part 2, 1802; pg. 8. Surenne (Dance Music of Scotland), 1852; pgs. 32-33. Williamson (English, Welsh, Scottish and Irish Fiddle
Tunes), 1976; pg. 65.
X:1
T:Royal Recovery, The
M:C
L:1/8
R:Slow Strathspey
S:Gow – 2nd Repository (1802)
Z:AK/Fiddler’s Companion
K:A
A,>B, C>D E>FEC |
A,>CE>C E(AA>)c | A,>B, C>D E>F (F/E/)D/C/ |
B,B/c/ (d/c/)B/A/
G(BB>)c|A,>B, C>D E>F EC| A,>C EC E(AA) c/d/ |
{cd}e>c AE (Fd) f>e | d>c
{c}B>A G(BB) || c | A<A {AB}c>A eAcA |
E>Ac>A (f/e/)d/c/ B>c |
(AA)ca eAcA | (F>G/2A/2) (F/E/)d/c/ B,>BB>c |
A<A {AB}c>A eAcA | ~E>AcA
(f/e/)d/c/ B>c|~A>cAE ~F>AFD | {F}E>D {D}C>B, A,(AA)c||
X:2
T:Royal Recovery, The
M:C
L:1/8
R:Strathspey
S:Surenne – Dance Music of Scotland, pgs. 32-33 (1852)
Z:AK/Fiddler’s Companion
K:Bb
B,>CD>E F>GF>D |
B,>DF>D (F<B) Bd | B,>CD>E F>G (G/F/E/D/) | C(d/e/)
(e/d/c/B/) (A<c)cd |
B,>CD>E F>GF>D |
B,>DF>D (F<B) Bd/e/ | ({d/e/}f>)dB>F G>eg>f |
e>d({d}c>)B (A<c)c>d ||
B<B({B/c/}d>)B (f<B)d>B
| F>Bd>B (g/f/e/d/) c>d | B<Bd>B (f<B)d>B | G>A/2B/4
(G/F/E/D/) (C<c) c>d |
B<B({B/c/}d>B (f<B)d>B |
F>Bd>B (g/f/e/d/) c>d | B>dB>F G>BG>E | ({G}F>)ED>C
(B,<B) Bd ||
ROYAL REVIEW. English, Reel or March. D Major. Standard tuning. AABB. Source for
notated version: the music manuscript copybook of ship’s fiddler Willam Litten,
c. 1800-1802, who eventually settled in Martha’s Vineyard [Huntington]. Huntington
(William Litten's), 1977; pg. 10.
Miller (Fiddler’s Throne), 2004; No.
356, pg. 208 (set as a march).
X:1
T:Royal Review
M:C|
L:1/8
S:William Litten’s copybook (c.
1800-1802)
Z:AK/Fiddler’s Companion
K:D
FG Ad BG GB|AF FA GE EG|FG Ad BG
GB|ce Ac d2d2:|
|:fd df ec a2|dB Bd dc f2|BG GB AF
d2|ce Ac d2d2:|
ROYAL SCOTS “MARCH”. Canadian, March (cut time). Canada, Prince Edward Island. D Major.
Standard tuning. AABB’. This is a march setting of a polka called “The Royal
Scots Polka,” originally a four-part tune. Source for notated version: Sterling
Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island;
now resident of Montague) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 181.
ROYAL SCOTS POLKA. Scottish, Polka. A four-part polka composed by piper Donald Shaw
Ramsey. WMT002, Wendy MacIsaac – “That’s What You Get”
(1998?).
ROYAL VISIT TO NEWE,
1859, THE. Scottish, Reel. F Sharp Minor.
Standard tuning. AAB. Composed by Alexander Walker, who was the gardener for
the Forbes family at Castle Newe. Walker (A
Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 160, pg. 55.
ROYAL VOLUNTEERS, THE.
English, Jig. D Major. Standard tuning. AABB. The melody first appeared
in David Rutherford’s Compleat Collection of 200 Country Dances, vol. 2
(London, 1760). It may be a reference to the 85th Regiment of Foot,
the Royal Volunteers, raised in 1759. They served in Portugal in 1762 and were
disbanded in 1763. The regiment was raised again in 1776, and disbanded in
1786. Thompson (Compleat Collection of 200 Favourite Country Dances),
1765; No. 59.
X:1
T:Royal Volunteers, The
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
d2D d2D|BAG FED|FGA Bcd|efd {d}cBA|d2D d2D|BAG FED|FGA Bcd|egf {f}e3:|
|:A3 AB=c|Bd=c BAG|B3 B^cd|ced {d}cBA|a2A g2G|f2F e2E|d2D
FGA|Bdc d3:||
ROYAL WEDDING JIG. Canadian, Jig. Canada, Cape Breton. Composed by Brian Hebert. Atlantica Music 02 77657 50222 26, Tara Lynn Touesnard -
“Atlantic Fiddles” (1994).
ROY’S SESSION. Scottish, Polka. Scotland, Shetland Isles. A Major. Standard tuning. AA’BB’. Composed by the late Shetland fiddler and composer Willie Hunter.
X:1
T:Roy’s Session
M:2/4
L:1/8
R:Polka
C:Willie Hunter (Shetland)
K:A
|:A>BAE|FAFE|FBBA/2B/2|cBBc|
A>BAE|FAFE|FBBA/2B/2|1 cAAE:|2 cAAc|
|:e2eA|f2fc|BfBf|g2ge| BgBg|a2gf|1 ecBc|A2Ac:|2ecBA/2B/2|cAA2|
ROY'S WIFE. See "Roy's Wife of Aldivalloch."
ROY'S WIFE OF ALDIVALLOCH. AKA and see “Am Caimbeulach Dubh,” "Ruffian's Rant," "Lady Francis Wemys' Reel," "Coig na Scalan," "I'm Over/Owre Young to Marry Yet [1]," "Ben Nevis," "Old Virginia Reel [1]," "The Kilt is My Delight." Scottish, English; Air, Strathspey, Fling or Reel. England, Northumberland. F Major (Gow): G Major (Cole): D Major (Bayard, Cole, O’Farrell): A Major (Shears). Standard tuning. AB (Bayard, Cole, O’Farrell): AAB (Gow, Shears): AABB (Cole). "Roy's Wife of Aldivalloch" is the title of the song to the tune known as "Ruffian's Rant" and other titles, and was one of the favorite songs of the early 19th century, at least in Lowland centers, as mentioned by Peter Mackenzie, the "genial reminiscer of Glasgow" (Emmerson, 1971). It was written by a Mrs. Grant of Carron, whose maiden name was Grant, born, near Aberlour, about 1745; it was the only song she is known to have written. Mr. Grant of Carron, whose wife she became about 1763, was her cousin. After his death she married, a second time, an Irish physician practicing at Bath, of the name of Murray, and died in that city in 1814.
***
The music was composed by Robert Bremner (c. 1713‑89), famous for publishing the first collection of specifically Scottish dance music (1757‑61). Other 18th century titles (and dates of publication) are "Lady Francis Wemys' Reel" (1742), "The Ruffian's Rant (1759), and "Coig na Scalan" (1780). Samuel Bayard (1981) states there is some indication that the "Roy's Wife of Aldivalloch" group of airs belongs to an extended tune‑family, which collectively "have considerably more than a passing resemblance to the first strain of 'Moniemusk
...Ike
Benson and I played to a dance [at Hank Trafton's] Irish Trot
danced
for first time in the state I think. Mrs. Trafton called it. "Roy’s
wife"
an old Scotch ballad is the tune we played.
S:Ryan’s
Mammoth Collection (1883)
(A<F)”tr”(F>E)
{G}(F>E) (F<B) | (A<F) (F>D) “tr”(E>D (E<F) |
(A<F)
“tr”(E>D) {c}~(d>B) (A/B/d/F/) “tr”(E>D) (E<F) |
(A<F)”tr”(F>E)
{G}(F>E) (F<B) | (A<F) (F>D) “tr”(E>D (E<F) |
(A<F)
“tr”(E>D) {c}~(d>B) (A/B/d/F/) “tr”(E>D) (E<F) ||
(A<F)
(d>F) “tr”(B>A)(d>B) | (A<F) (d>A) “tr”(B>A) (B<d) |
(A<F)
(E>D) “tr”{c}~(d>e)(f>e) | {c}(D>B) (A/B/d/F/) “tr”(E>D)
(E<F) |
(A<F)
(d>F) “tr”(B>A)(d>B) | (A<F) (d>A) “tr”(B>A) (B<d) |
(A<F) (E>D) “tr”{c}~(d>e)(f>e) | {c}(D>B) (A/B/d/F/) “tr”(E>D) (E<B) |
X:2
T:Roy’s
Wife
M:C
L:1/8
N:”Slow”
B:Gow – 3rd Collection of Niel Gow’s
Reels, 3rd ed., pg. 13 (orig.
1792)
Z:AK/Fiddler’s Companion
K:F
c>AA>G
{B}”tr”AGA<d|c<AA>F G>FGA|c>A {A}G>F f>g
{f}a>g|{g}f>d c>{d/f/}A “tr”G>FG<A:||
“tr”c>dfa
{a}g/f/g/a/ f>c|cd/e/ f>A {A}G<FG<A|cd/e/ f>a g/f/b/a/
g>f|{f}a>gf>A “tr”A>G Af/d/|
c>AA>G
“tr”A>GA<d|c<AA>F “tr”G>FG<A|c>A {A}G>F f>g
{f}a>g|{g}f>dc>{d/f/}A “tr”GFGA||
_______________________________
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