The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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

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

 

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

 

 

[COMMENT7] [COMMENT8] 

R. P. CUMMINGS WELCOME. Shetland, Pipe March. A Major. Standard tuning. AABB'CCDD'. Anderson (1983) states this four-part pipe march was written for Ronnie Cumming, Surgeon Consultant for Shetland, when he was made President of the Shetland Fiddler Society. “Ronnie comes from a long tradition of piping, and is an excellent piper himself.” Anderson (Ringing Strings), 1983; pg. 83.

 

RU' GLEN LUMS. Scottish, Strathspey. F Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 159, pg. 19.

X:1

T:Ru’ Glen Lums

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 159  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:F

c>dc>A (G<F) F>G | C>DF>G A<c d<f | c>dc>A (G<F) F>A | D>G F/E/D/E/ F3A:|

|: c>dc<A c<f d<f | c>dc<A A<G G<A | c>dc<A c<f d<f | D>G F/E/D/E/ F3A :|

 

RUADHRAÍ Ó MÓRDHA. AKA and see “Rory O’Mo{o}re.”

 

RUAIDRI UA MÓRDA. AKA and see "Rory O'Mo{o}re."

 

RUAIG AN MÍ-ÁDH (Banish Misfortune). AKA and see “Banish Misfortune [1].”

 

RUATAR UELLINGTON. AKA and see "Wellington's Advance."

 

RUB THE BAG (“Cumuil an Mala” or “Cumail an Mhailin”). Irish, Jig, Long or Set Dance (6/8 time). C Major (Cole, Joyce): D Major (O'Neill). Standard. AAB (Cole, Joyce): AABB (O'Neill/Krassen): AA'BB (O'Neill/1850 & 1001). Joyce notes the tune was well known in Cork and Limerick, and that Petrie gives a Kilkenny version of this tune under the title “Ree Raw.” Joyce notes that in Munster the phrase ‘cumail a’ mhailin’ (like “Ree Raw”) signifies “confusion or uproarious merriment.” Source for notated version: “I learned it when a boy (in the 1840's in Limerick) from fiddlers and pipers, who used to play it as a set dance. I remember seeing a man dance it one time on a table” [Joyce]. Cole (1000 Fiddle Tunes), 1940; pg. 73. Joyce (Ancient Irish Music), 1873/1890; No. 52, pg. 52. O'Neill (Krassen), 1976; pg. 223. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1795, pg. 336. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 968, pg. 166. Ryan’s Mammoth Collection, 1883; pg. 104 (appears as a jig).

X:1

T:Rub the Bag

L:1/8

M:6/8

R:Set Dance

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 968

Z:AK/Fiddler’s Companion

K:D

d2d fed|cBA cec|BcB fdB|dcB fdB|d2d fed|cBA cec|

ABA ecA|1 A/B/cA ecA:|2 A/B/cA d2z||

|:ded def|efe efg|fgf f2^g|aba a2g|fgf fga|gfe efe|~d3 fed|cBA cec|

BcB fdB|B/c/dB fdB|dcd fed|cBA cec|ABA ecA|A/B/cA d2||

 

RUBAN BLEU, LE. French, Bourree A Deux Temps (2/4 time). G Major. Standard. AABB'. Traditional tune from central France. Stevens (Massif Central), vol. 1, 1987; No. 90.

 


RUBBER DOLLY (BREAKDOWN) [1]. AKA ‑ "Rubber Dolly Rag." AKA and see "Back Up and Push [1]." Old‑Time, Breakdown. USA; Texas, Arkansas, North Carlolina, Virginia, New York State. C Major (Phillips): A Major (Bronner). Standard or AEAE (for A Major version). AA (Bronner): AA'BB' (Phillips). The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. According to Bronner (1987), "Rubber Dolly" was first collected as a Anglo‑American children's game with the following words or variants (which may have come from a music‑hall song of the 1890's):

***

My Mommy told me, she's going to buy a rubber dolly,

If I was good, So don't you till her I kissed a feller/soldier

Or she won't buy me a rubber dolly.

***

Bronner also says the tune has a similarity to an older British Isles melody called "Lord Alexander's Reel/Hornpipe," though he must have consulted other versions of the melody for his sources' version is somewhat obscure. It has been a favorite Texas or western swing piece in the 1930's and 40's, and has also been collected in the northeast. Source for notated version: Charley Hughes (New York State, 1973) [Bronner]. Bronner (Old-Time Music Makers of New York State), 1987; No. 40, pgs. 146‑147 (includes variations). Phillips (Fiddlecase Tunebook), 1989; pg. 37. CMH Country Classics 9027, Johnny Gimble‑ "Texas Fiddle Collection," 1981. Disc D110, Woody Guthrie‑ "Hard Travellin.'" Old‑Timey LP‑101, Uncle Bud Landress "Old Time Southern Dance Music." Old‑Timey LP‑105, Harry Choates‑ "Western Swing."

 

RUBBER DOLLS [2]. American, Two-Step (?). USA, southwestern Pa. G Major. Standard. AA'BB'. The 'B' part is recognizably the main phrase of the standard "Rubber Dolly" tune. Source for notated version: John Filby (elderly fiddler from Greene County, Pa., 1947; learned from fiddler "Tunge" Everly, Greene County) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 125, pg. 69.

 

RUBBER DOLLY [3]. Canadian, Reel. A Major. Standard. AA'BC. A mish-mash of a tune incorporating "Fireman's Reel" ('A' part), the first phrase of "Rubber Dolly" ('B' part), and a tune similar to the 'B' part of "Woodchoopers Reel" ('C' part). Source for notated version: transplanted French-Canadian fiddler Omer Marcoux (Concord, N.H.), learned from his brother in Montreal [Miskoe & Paul]. Miskoe & Paul (Omer Marcoux), 1994; pg. 8.

                       

RUBBER FACE. Canadian, Reel. Canada, Cape Breton. Composed by Inverness, Cape Breton, fiddler Jerry Holland (b. 1955) in honor of musician and comedian Howie MacDonald, nicknamed ‘Rubber Face’. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998).

                       

RUBEN. See "Reuban('s Train)." Old-Time. Marimac 9038, Dan Gellert & Brad Leftwich - "A Moment in Time."

                       

RUBEN’S RIDGE. Old-Time. G Major. From Pete McMahan.

                       

RUBY HORNPIPE. AKA and see "Ruby Lip," "Cliff Hornpipe."

                       

RUBY LIP. AKA and see "Cliff Hornpipe," "Harvest Home [1]," "Fred Wilson's Clog," "Cincinnati Hornpipe [1]," "Kildare Fancy," "Standard Hornpipe," "Zig-Zag Hornpipe/Clog," "Cork Hornpipe [1]," "Higgins' Hornpipe," "Dundee Hornpipe," "Kephart's Clog" (Pa.), "Snyder's Jig" (Pa.).

                       

RUD AR BITH DO SHEÁN JOE?  AKA and see "Anything for John Joe?"

                       

RUDE RING REEL. Irish, Reel. D Minor. Standard tuning. AA’B. Composed by Ciarán O'Grady.

X:1
T:Rude Ring Reel, The
R:reel
C:Ciarán O'Grady
D:Sin É, 1c
Z:Jeff Lindqvist
M:C|
L:1/8
K:Dm
G||AzDE FAdA|BGAF GECE|FDA,D (3FFG AB|Ad{e}d^c deag|
fdec dcBc|(3BBA GB AFDC|A,DFD (3EFG cA|1 GECE D2 (3AA^G:|2 GECE D2 (3EFG||
Ad{e}dA Bfec|dABG AFDC|A,DFD EGcG|Ad{e}d^c defg|
afga fdcA|(3FFG AG FDCA,|B,DFD CEcA|GECE D2 (3EFG|
Ad{e}dA Bfec|dABG AFDC|A,DFD (3EFG cG|Ad{e}d^c deag|
fdec dcBc|(3BBA GB AFDC|A,DFD (3EFG cA|1 GECE D2 (3AAG||
"2nd time:"
AzDE FAdA|BGAF GECE|FDA,D (3FFG AB|Ad{e}d^c deag|
fdec dcBc|(3BBA GB AFDC|A,DFD (3EFG cA|GECE DEFG|
AzDE FAdA|BGAF GECE|FDA,D FGAB|Ad{e}d^c deag|
fdec dcBc|(3BBA GB AFDC|A,DFD (3EFG cA|GECE D2 (3EFG||
Ad{e}dA Bfec|dABG AFDC|A,DFD (3EEG cG|Ad{e}d^c defg|
afga fdcA|(3FFG AG FDCA,|B,DFD CEcA|GECE D2 (3EFG|
Ad{e}dA Bfec|dABG AFDC|A,DFD (3EFG cG|Ad{e}d^c deag|
fdec dcBc|(3BBA GB AFDC|A,DFD (3EFG cA|GECE D2z2||

                       

RUE AND THYME. AKA and see "The Willow Tree [3]."

 

RUFÉE, LA.  French, Country Dance (6/8 time). G 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. 48.

X:1

T:Rufée, La

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 48

Z:AK/Fiddler’s Companion

K:G

GDG BGB | {e}d2B3 | {e}dcB AGF | FGA D3 | GDG BGB | d3e3 | dcB AGF | FEF G2G, :: BdB ceA | BAG FED | BdB ceA | B3A3 | GDG BGB | {e}d3e3 |

{e}dcB AGF | FGA D3 | GDG BGB | d3 g3 | edc BAG | FEF G3 :|

                       


RUFFIAN'S RANT. AKA and see "Ben Nevis," "Coig na Scanlan," “Down on yon Bank,” "I'm Over/Owre Young to Marry Yet [1]," "The Kilt is My Delight,” "Lady Francis Wemys' Reel," "Old Virginia," "Roy's Wife (of Aldivalloch)." Scottish, English; Strathspey or Rant. England, Northumberland. D Major. Standard. AABB (Hall & Stafford): AABBCCD (Gow): AABBCCDD (Aird, Bremner, Huntington, Kennedy): AABBCCDEEFF (McGlashan). Composed by Robert Bremner (c. 1713-89), who published the first collections of specifically Scottish dance music between 1757-1761. John Glen (1891) traced the tune back to 1742, and says it first was printed by Bremner in his 1757 collection. Aird (Selection of Scotch, English Irish and Foreign Airs), Vol. II, 1782; No. 114, pg. 42. Bremner (A Collection of Scots Reels), c. 1757; pg. 43. Campbell, 12th Book of New and Favorite Country Dances, pg. 1. Gow (Complete Repository), Part 1, 1799; pg. 33. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 10. Huntington (William Litten's), 1977; pg. 9. Johnson (The Scots Musical Museum), 1787-1803, vol. 2, No. 156. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 176, pg. 41. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 22. Preston, A Collection of Scots Reels and Country Dances, pg. 43.

X:1

T:Ruffian’s Rant, The

M:C

L:1/8

S:McGlashan – Strathspey Reels

Z:AK/Fiddler’s Companion

K:D

B | A<F F>E F>E F<B | A>F F>D E>DEB | A<F F>D d>ef>e | d>BA>F E>D E :|

|: B | A<F d>A B>Ad>B | A<F d>A B>AB>d | G<F F>D d>ef>d | B>dA>F E<D E :|

|: b | a<f f>e f>e f<b | a<f f>d e>d e<b | a<f f>e d>gf>e | d>B d/B/A/F/ E>D E :|

|| B | A<Fd<F A<Fd<F | A<Fd<F BABd | A<F E>D d>ef>e | f/e/d/B/ d/B/A/F/ E>DEB |

A/F/E/F/ d/F/E/F/ A/F/E/F/ d/F/E/F/ | A/F/E/F/ d/F/E/F/ B>A A<d | AFE>D Defd |

EBdF E>DEB ||

|: A<F F>E F>E F<d | A<F F>DE>D EB | A<F F>A d>ef>e| F<F F>A E<DE :|

|: B | A<F d>A d>Ad>B | A<F d>A B>ABd | A<F F>D d>efd | B>dA>F E>DE :|

                       

RUFFLE THE OLD HAG IN THE CORNER. Irish, Slip Jig. G Major. Standard. AABB. Roche Collection, 1982, vol. 2; No. 268, pg. 28.

                       

RUFFLED DRAWERS. AKA and see "New Five Cents [1].” Old-Time, Breakdown. D Major. Standard. AABB. See also related tune “Robinson County.” This ditty was sung to the ‘A’ part of the tune (collected by John Hartford from Roy Acuff):

***

City gal she wears ruffled drawers, country gal she wears plain;

My gal she wears no drawers at all, but the gets there just the same.

***

When I saw her ruffled drawers, her ruffled drawers so fine,

When I saw her ruffled drawers, I knew I'd make her mine.

***

The Devil’s Box, Vol. 23, No. 1, Spring 1989, pg. 21. Songer (Portland Collection), 1997; pg. 170. County 787, Clarence Ferrill Band ‑ "Five Miles Out of Town: Traditional Music From the Cumberland Plateau."

X:1

T:Ruffled Drawers

T:New Five Cents

L:1/8

M:2/4

N:The last part is the vocal melody

S:Howdy Forrester and Roy Acuff; transcribed by John Hartford

Z:AK/Fiddler’s Companion

K:D

F/G/|Af f/g/f/e/|dB/d/ A/G/F/E/|D/F/A/d/ f/a/f/d/|e4|Af f/g/f/e/|dB B/c/B/c/|

AF/D/ E/F/E/F/|D3:|

|:F/G/|A/G/F/E/ DF/G/|A/F/E DD|D/F/A/G/ F/D/F/A/|E3 F/G/|A(3A/F/E/ DF/G/|

AF/E/ DF/G/|AF/D/ E/F/E/F/|D3:|

A/A/A fe|dB B2|A/A/A fd|e3A|AA fe|dB Bd/B/|AF EC|D3||

 

RUFTY TUFTY. English, Country Dance Tune (2/2 time). G Major. Standard. ABC (Sharp): ABCC (Barnes, Karpeles, Raven). The melody was first published by John Playford in his English Dancing Master (1651). The ‘C’ part consists of six bars, repeated, while the ‘A’ and ‘B’ parts contain eight each. Barnes (English Country Dance Tunes), 1986. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 12. Raven (English Country Dance Tunes), 1984; pg. 25 & 44 (the latter page is a reprint of the Playford MS). Sharp (Country Dance Tunes), 1909/1994; pg. 18. Familiar Records FAM 47, Pyewackett ‑ "7 To Midnight" (1985). Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

X:1

T:Rufty Tufty

M:2/2

L:1/8

S:Sharp – Country Dance Tunes

Z:AK/Fiddler’s Companion

K:G

d4 (d2e2 | f4) (e2f2 | g2)g2 (f3e | d8) | d4 (d2e2 | f4) (e2f2 | g2)g2 (f3e | d6) ||

(ef | g2f2e2d2 | d2c2B3c) | (d2d2c2B2 | A4 G2) (ef | g2f2e2d2 | d2c2B3c |

d2d2c2B2 | A4 G4) || (B3c) .d2.d2 | .e2 .c2 d4 | (B3c) .d2.d2 | .e2.c2.d2 (Bc |

d2) .d2.c2B2 | (A4 G4) | (B3c) .d2.d2 | .e2.c2 d4 | (B3c) .d2.d2 |

.e2.c2.d2 (Bc | d2) .d2 c2B2 | A4 G4 ||

                       

RUFUS. Old‑Time. Bluebird 5434‑A (78 RPM), Gid Tanner and His Skillet Lickers (North Ga.) {1934}.

                       

RUFUS RASTUS. Old‑Time, Breakdown. USA, Mississippi. C Major. Standard tuning. AABB. The tune was derived from Sterling and Von Tilzer's Tin-Pan-Alley song "Whatcha Gonna Do When the Rent Comes 'Round.” It is said that the Mississippi Possum Hunters (Avalon, Miss.) were friends with bluesman Mississippi John Hurt. Source for notated version: fiddler John Holloway with the Mississippi Possum Hunters (Miss.) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 117. County 528, Mississippi Possum Hunters ‑ "Mississippi Breakdown: Traditional Fiddle Music of Mississippi, Vol. 1." Document 8028, The Mississippi Possum Hunters – “Mississippi String Bands, Vol. 2” (reissue). Victor 23644 (78 RPM), Mississippi Possum Hunters (1930).

                       

RUGGED ROAD. Old-Time, Breakdown. G Major. Standard tuning. AB. The tune was in the repertoire of Oklahoma fiddler Lymon Enloe. Source for notated version: Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 134.

                       

RUGGED SAYLOR, THE. AKA and see "A Wedding What Ever Comes Out."

                       

RUIDHLE NA MARAGAN DUBH (Reel of the Black Puddings). AKA and see “Kiss the Lass Ye Like/Love the Best [1].” Scottish, Reel. D Major. Standard tuning. AABB. The tune appears in other Scottish collections (such as Bremner, c. 1751-61) as “Kiss the Lass Ye Like Best” (see note for). The black pudding of the title is in both Scottish and Irish Gaelic marag dubh, a name derived from the Norse word mörr, for suet, or blóõ-mörr (blood pudding). It is made from the blood of cattle and generally stuffed into sausage casings, served fried with foods like bacon and eggs. Marag is also used as a term for a shapeless, obese person. Stewart-Robertson (The Athole Collection), 1884; pg. 95.

X:1

T:Ruidhle na Maragan Dubh

T:Reel of the Black Puddings

M:C|

L:1/8

R:Reel

S:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

R:Reel

K:D

B | {c/B/}A2 (FA) BEEB | {c/B/}A2 (FA) {c}defd | (ef/g/) (fg/a/) AFEF |

A/A/A “tr”(fe) {c}dDD :: f | (ab)af beef | (ab)(af) {c}defd | (ef/g/) (fg/a/) AFEF |

A/A/A “tr”(f2) {c}dDD :|

 

RUIDHLEADH MOR. See "Babbity Bowster."


 

RUIDHLEADH NAN COILEACH DUBHA (Reel of the Blackcocks). Shetland, Reel. D Dorian. Standard. AABB. Each section of the tune consists of only four measures, repeated. Two different two-couple dances called Ruidhleadh nan Coileach Dubha were collected from the Shetland Islands. One was learned in 1956 in South Uist from one Mrs. Margaret MacAskill, then aged 80, who used to perform the reel at gatherings in the crofts in Smerclett, southern South Uist; the second is from Neil MacNeil and is from Barra. Both are performed to the same tune, which also is the vehicle for a Gaelic dance-song which begins:

***

Ruidhleadh nan coileadch dubha            Reeled the blackcocks

's dannsaidh na tunnagan,                       And danced the ducks,

Ruidhleadh nan coileach dubha              Reeled the blackcocks

Air a' bhruthaich shios ud.                       On the banks up there.

***

Flett and Flett (1964) remark: "A number of the older Gaelic dances contained a certain amount of miming, and we believe that this miming was largely determined by the words of the appropriate dance-song. The dance Ruidhleadh nan Coileach Dubha is a case in point--here the kneeling couple represent the ducks, while the dancing couple are the blackcocks."  Flett & Flett (Traditional Dancing in Scotland), 1964; pg. 169.

                       

RUIDHLEADH NAM POG. See "Babbity Bowster/Bolster."

                       

RUIGHLE THULAICHEAN. AKA and see "Reel o'/of Tulloch."

                       

RUINS OF KILLMALLOCK, THE (Fotarac Cill-Moceallog). Irish, Double Jig. A Major. Standard tuning. AABB. Killmallock was once, in the middle ages, the third largest town in Ireland (after Dublin and Kilkenny), and was later the seat of the powerful Earls of Desmond between the 14th and 17th centuries. There are famous ruins of a Dominican Friary at Killmallock, County Limerick, built in the 13th century but sacked by Cromwell’s forces in 1648.

***

Killmallock Abbey

***

McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 31, pg. 8. O'Neill (Krassen), 1976; pg. 57. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 242, pg. 54.

X:1

T:Ruins of Killmallock, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (242)

Z:AK/Fiddler’s Companion

K:A

A/B/|cBc dcd|ecA AGE|cBd cBA|GEF GAB|cBc dcd|ecA Bcd|cBA BGE|EAA A2:|

|:e|aga ece|agf edc|dcd BGB|Acd efg|aga ece|agf edc|Bcd efg|aAA A2:|

                       

RUISG, A BHEAN NA TABHAIRNE. Irish. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987).

                       

RULE, BRITANNIA. “Smile America.” English, Air (cut time). G Major. Standard. One part. The music was composed by Dr. Thomas Augustine Arne for his masque of Alfred (some sources say the opera was The Judgement o’ Paris), first performed as the end of an entertainment before Frederick, Prince of Wales, at Clivedon House, near Maidenhead, August, 1740, under the title “When Britain First.” The opera was revived in 1759 and the song was printed in Clio an Euterpe’s Of British Harmony, Vol. 1 (1758) under the “Rule, Britannia” title. Lyrics were the work of Scottish poet James Thomson. Emmerson (1972) states the song was inspired by imperialistic fervor engendered by the so-called War of Jenkins' Ear, in which England vied with Spain in dispute of access to the South American continent. As a nationalistic song it was a favorite of British troops in the American Revolution, who also used the titles “When Britain First by Heav’ns Come” and “Hail Britain, Hail thou Glory’s Pride.” As with several popular British songs, the tune was co-opted by the Americans with new lyrics, and appears in the Henry Beck Manuscript (pg. 9) of 1786 as “Smile America.” Transported to America the tune was renamed, becoming “Smile America.” For more, see Chappell (1859). Peter Mackenzie, "the genial reminiscer of Glasgow" (Emmerson, 1971), mentions the tune as one of the favorite songs of the early 19th century in Lowlands Scots centers. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pgs. 191‑192.


 

RULL. Norwegian, Halling Dance Tune (2/4 time). D Major. ADae tuning. AA'BCDD'EE'. Hallings belong to the oldest repertory of duple‑time dance tunes in the Hardanger fiddle tradition of western Norway. A related form in the "Muckle" reels of Shetland. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 6, pg. 57.

 

RUM AND ONIONS. American, Jig (irregular time: two measures of 2/4 time at end of each part). G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 71. Tolman (Nelson Music Collection), 1969; pg. 3. Ryan’s Mammoth Collection, 1883; pg. 102.

X:1

T:Rum and Onions

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

({B/c/}d)GG GFG | Bcd dBG | ({A/B/}c)AA FGA | ABc cBA | ({B/c/}d)GG GFG | Bcd dBG |

M:2/8

L:1/8

.A.A/.A/ .A/.d/.c/.A/ | .G.B.Gz :|

M:6/8

L:1/8

({e/f/}g)ee e^de | bee efg | ({d/e/}f)dd d^cd | add def | ({e/f/}g)ee e^de | bee efg |

M:2/4

L:1/8

ff/f/ f/e/e/g/ | egez :|

 

RUMBLING BRIDGE, THE. Scottish, Reel. A Mixolydian. Standard tuning. AAB. The melody appears in John and Andrew Gow’s A Collection of Slow Airs, Strathspeys and Reels (London, c. 1795). Andrew (1760-1803) and younger brother John (1764-1826) established a publishing business in London in 1788 and were the English distributors for the Gow family musical publications. The Rumbling Bridge is in Perth and Kinross, Scotland