ALL IN A GARDEN GREEN. AKA and see "Gathering Peascods," "The Maid in the Moon (Morn)." English, Dance Tune (2/2 or 4/4 time). G Major (Karpeles, Merryweather, Raven): D Major (Laufman): F Major (Chappell). Standard. AB (Chappell): AABB (Karpeles, Laufman, Merryweather, Raven). The earliest published version extant can be found in John Playford's first edition of The English Dancing Master (1651), though the tune appears earlier in William Ballet's Lute Book (1594), and therefore is probably older than the seventeenth century. In fact, it was already considered part of the established traditional repertoire in Playford's day (Pulver, 1923), the mid-17th century. A ballad was registered with the Stationers' Company (an early form of copyrighting, and mandatory at the time) in 1566 called "All in a garden green, between two lovers," which may or may not have been sung to the tune that later appeared in Ballet's MS and Playford. A further reference can be found in A Handefull of Pleasant Delites (1584) in which mention is made of "An excellent Song of an outcast Lover, to All in a Garden green." Whether these early references referred to the melody printed in Playford is not known, for the opening line, remarks Kines (1964), is common to many songs of the period. It begins:
***
All in a garden green two lovers sat at ease,
As they could scare be seen among, among the leafy trees.
***
Kines attributes the marrying of the "All in a garden green" poem to the air "Gathering Peascods" in William Ballet's book to the musicologist Chappell in the mid-19th century. Merryweather notes that variants of the tune appeared on the Continent, including the Dutch Unter den Linden Grune by Sweelinck, and Onder de Lindegroene by Vallet. Not only was the tune used for ballads and country dancing, continues Merryweather, but it was also absorbed into church hymnody, set, for example to psalm 47 ("All people clap your hands, Sing laud unto the Lord"). Chappell (1859) also prints a version in 6/4 time from the Fitzwilliam Virginal Book. Chappell (Popular Music of the Olden Times), 1859, Vol. 1; pgs. 79-80. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 21 (appears under the dance title "The Maid in the Moon"). Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 74. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 27. Merryweather (Merryweather's Tunes for the English Bagpipe), 1989; pg. 39. Raven (English Country Dance Tunes), 1984; pg. 25. Harmonia Mundi 907101, The King's Delight - "17c. Ballads for Voice & Violin Band" (1992).
AP HUW. Harp Air. Alan Stivell notes that this ancient sonata for bardic harp was learned from a 17th century manuscript but that it had been transmitted orally since the High Middle Ages. "It was scholarly music, sometimes figurative, showing certain links with Piobaireachd (classical Scottish bagpipe music)." Rounder 3067, Alan Stivell - "Renaissance of the Celtic Harp" (1982).
ARCHIBALD MACDONALD OF KEPPOCH. Scottish, Slow Air (6/8 time). D Minor. Standard. AAB. See "Keppoch A Wilderness" for related history of the MacDonalds of Keppoch. The tune was first published by the Scots fiddler, collector and composer Captain Simon Fraser (1773-1852) of Ardachie, near Fort Augustus. Fraser's work The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles contained many works collected from vaious sources during the period 1715-1745. The MacDonalds of Keppoch were a distinguished branch of Clan MacDonald, who supported the Stewart monarchs in the 17th century, culminating with their participation in the Jacobite risings of the 18th century. They fought entry on the side of Bonnie Prince Charlie in the Jacobit Archibald MacDonald lived from 1678 to 1745, dying just prior to the entrance of the MacDonald's of Keppoch on the side of Bonnie Prince Charlie in his ill-fated attempt to gain the crown of Scotland and England. The MacDonalds of Keppoch are a very distinguished branch of the Clan Macdonald who played vital roles in providing support for the Stewart monarchs in the 17th century and then wholeheartedly supported the Jacobite risings in the 18th century. As a result of their support for the Jacobite cause they lost their lands in Lochaber/ Roy Bridge and they are currently without an officially recognised clan chief.
Lerwick (Kilted Fiddler), 1985; pg. 71. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 20 (includes a harmony part). Matthiesen (Waltz Book II), 1995; pg. 2. Green Linnet SIF 1047, Johnny Cunningham - "Fair Warning" (1985). Elke Baker & Liz Donaldson - "Terpsichore."
ASHOKAN FAREWELL. American, Air or Waltz (3/4 time). D Major. Standard. AA'B. The tune was chosen by Ken Burns as the theme for 1992's celebrated PBS series "The Civil War." However, rather than a melody from that era it is a 1983 Grammy winning composition by fiddler Jay Ungar (West Hurley, New York), and the "goodbye" tune composed in 1982 for the music and dance camp run by he and Molly Mason at Ashokan, New York. The name Ashokan first appears in Dutch records from the 17th century and may be a corruption of an Indian word. The town of Ashokan itself was largely inundated by the vast Ashokan Reservoir, one of New York City's watersheds in the Catskill Mountains. The 'folk process' has yielded several titles based on miss-hearings of the word Ashokan, including "The Choking Farewell," and "I'm Choking, Farewell." Various sets of words have been attached to the tune, including ones by Grian MacGregor, written in 1991 and sung by Priscilla Herdman, on her Flying Fish Records CD "Forever & Always." Matthiesen (The Waltz Book), 1992; pg. 14. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 238. Flying Fish, "The Best of Fiddle Fever."
T:Ashokan Farewell
M:3/4
C:Jay Ungar, 1983.
K:D
Ac || d3 c BA | F4 EF | G3 F ED | B,2 D3 B,|A,2 D2 F2 | A2 d2 f2 | f3 g f2 | e4 Ac|
d3 c BA | F4 EF | G3 F ED | B,2 D3 B,|A,2 D2 F2 | A2 d2 f2 | A2 c2 e2 | d4 FG|A3 F D2 |
d4 A2 | B3 c d2 | A F3 E2 | F3 E D2 | B,4 G,2 | A,6 | A4 FE | D2 F2 A2 | =c6 | B3 c d2 |
A2 F2 D2 | A,2 D2 F2 | A2 d2 F2 | E3 D C2 | D4 ||
BACK SIDE OF ALBANY. AKA - "Backside Albany." AKA and see "Boyne Water," "The Seige of Plattsburg." American, Air and Reel. The melody, an adaptation of that used for a 17th century Irish ballad about the Battle of the Boyne Water (1690) {see "Boyne Water}, was used for a dialect song written by an American, Michael Hankins. Hankins included it as a part of a play called The Battle of Lake Champlain, performed in Albany, New York, in 1815, a patriotic work that described a military event in the recently concluded War of 1812. The tune was widely popular until at least the 1840's (according to William J. Mahar, American Music, Vol. 6, No. 1, Spring 1988). It was learned by 'revival' musician John McCutcheon from fiddler Lotus Dickey (Paoli, Indiana), who learned it from a brother who in turn claimed to have gotten it through a book from a Sears and Roebuck catalogue. The city of Albany, by the way, was originally settled as Willemstadt by the Dutch and renamed Albany by the English when they gained control of the Hudson, in honor of James, Duke of York and Albany. Greenhays GR 710, John McCutcheon - "Fine Times at Our House" (1982).
BAFFLED KNIGHT, THE. English, Country Dance Tune and Air (6/8 time). E Flat Major. Standard. One part (Chappell): AABB (Barnes). The air appears in "Youth's Delight on the Flagelet" (9th and 11th editions, 1697), and, as was common in the period the tune was written, is the vehicle for other songs of the early 17th century.
***
It was a Knight was drunk with wine,
A riding along the way, Sir;
And there he met with a lady fine,
Among the cocks of hay, Sir.
***
Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 69.
T:Baffled Knight, The
L:1/8
M:6/8
S:Chappell - Popular Music of the Olden Time
K:E_
E|E2B B>cB|G2F E2d|e2d c>de|d3 c2d|e>dc _B>AG|c2F F>GA|B>AG E2D|E3B2||
BASTRINGUE, LA. Canadian (originally), American; Air and Reel. Canada; Quebec, Prince Edward Island. USA, New England. D Major ('A' part) & D Mixolydian ('B' part). Standard. AABB (Miller & Perron, Perlman, Sweet): AABB' (Brody). "La Bastringue" has its origins in an old French tune from the 17th or 18th century. In French Canada it became a "party song" which tells of an older man who wants to dance "La Bastringue" with a girl. He soon finds he isn't up to the pace, however, and to save face tries to beg off by feigning concern for the woman's stamina. She proves equal to the task, though, and he finally just has to give up. The first verse goes:
***
Mademoiselle, voulez-vous danser La Bastringue,
Mademoiselle, voulez-vous danser,
La Bastringue est commencee.
***
The song has become as close to being an unofficial French-Canadian national folk anthem as any, though it is perhaps better known now as a dance tune. Transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.) recalled it as one of the first dance tunes he learned, and related that his father played it for the first tune of the evening, to get everyone moving in the house. Sources for notated versions: Jean Carignan (Montreal, Canada) [Brody]; Omer Marcoux (Concord, N.H.) [Miskoe & Paul]; Louise Arsenault (b. 1956, Mont Carmel, East Prince County, Prince Edward Island; now resident of Wellington) [Perlman]. Brody (Fiddler's Fakebook), 1983; pg. 36. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 141. Miskoe & Paul (Omer Marcoux), 1994; pg. 37. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 152. Sweet (Fifer's Delight), 1964/1981; pg. 59. Welling (Welling's Hartford Tunebook), pg. 12. Folkways FG 3532, "Alan Mills and Jean Carignan." Green Linnet SIF-1051, Jackie Daly, Seamus & Manus McGuire - "Buttons and Bows" (1984). Legacy 120l, Jean Carignan- "French Canadian Fiddle Songs." Philo 2002, "Beaudoin Family." Varrick VR-038, Yankee Ingenuity - "Heatin' Up the Hall" (1989). Voyager 320-S, Frank Ferrel- "Fiddle Tunes."
T:La Bastringue
L:1/8
M:C|
K:D
f2ff f2gf|e2c2d3d|c2d2efec|d2e2f2d2|f2ff f2gf|e2c2d2A2|
g3fe2d2|B2c2d2A2:|
|:d2fd ad fd|=c2ec gc ec|d2fd ad fd|bg ec dc BA|
d2fd ad fd|=c2ec gc ec|d2fd ad fa|bg ec d2 (3ABc:|
BLUE BONNETS OVER THE BORDER [1]. AKA and see "All the Blue Bonnets are Over the Border," "Over the Border," "Blue Bonnets Jig," "Blue Bonnets," "Scotch Come Over the Border" (Pa.). Scottish, Slow Air (6/8 time), Jig, Country Dance Tune or March. B Flat Major (Athole, Skye): D Major (Neil). Standard. AAB. Samuel Bayard thinks this tune was fashioned in the 1740's into a quick dance piece in 6/8 from a slow 3/4 time song tune from about 1710 or earlier called "O Dear Mother (Minnie) What Shall I Do?" This "Blue Bonnets Over the Border" was in turn the basis for a 4/4 version called "Braes of Auchtertyre/Auchentyre," "Belles of Tipperary" and "Beaus of Albany;" out of this group of tunes came "Billy in the Lowground/Low Land." Michael Diack's, on the other hand, has written in his Scottish Country Dances that "Blue Bonnets" is derived from a 17th-century
Scottish tune called "Lesley's March to Scotland." If this is the "Leslie's March" printed by Oswald (1755) and Watts' Musical Miscellany (1731), then the resemblance seems obscure and based on a few motifs. The tune, correctly classified a jig, often appears under the label 'country dance tune' because of its long association with the dance. Neil's (1991) version is an adaptation of one appearing in Uilleam Ross's Collection of Pipe Music (1869), and the piece is said to be a quickstep march of the Black Watch. 'Blue bonnets' is a euphemism for the Scots, stemming from the custom of Jacobite troops to identify themselves with a white cockade worn on a blue bonnet. The white cockade emblem is said to have originated when Bonnie Prince Charlie plucked a wild rose and pinned it to his hat. Lyrics to the tune were written by Sir Walter Scott, who based them on an old Cavalier song (Scott also mentions the song in his novel The Monastery).
***
March! march! Ettrick and Leviotdale,
Why, my lads dinna ye march forward in order?
March! march! Eskdale and Liddesdale,
All the blue bonnets are over the Border.
Come from the hills where your hirsels (i.e. sheep) are grazing,
Come from the glen of the buck and the roe,
Come with the buckler, the lance and the bow
Trumpets are sounding, war-steeds are bounding
Stand to your arms and march in good order
England shall many a day tell of the bloody frey
When the blue bonnets come over the Border.
***
MacDonald (The Skye Collection), 1887; pg. 162. Neil (The Scots Fiddle), 1991; No. 25, pg. 34. Stewart-Robertson (The Athole Collection), 1884; pg. 145. A & M Records 79602 2000-2, Ashley MacIsaac - "Close to the Floor" (1992). Culbernie Records CUL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988). Rounder RO 7023, Natalie MacMaster - "No Boundaries" (1996. A jig setting learned from her uncle, fiddler Buddy MacMaster).
T:Blue Bonnets Ow'r the Border
L:1/8
M:6/8
R:Country Dance
B:The Athole Collection
K:B_
B,3 B,>CD|B>cd B2F|BGG G2g|g>fd c2B|B,3 B,>CD|B>(3c/d/c/) BGF|
G3 FDF|FBD C2B:|
|:Bdf fdB|gfd c2B|Bdf g>ab|B>(3c/d/e/) c2B|Bdf fdB|gfd cBc|G3 FDF|
FBD C2B:|
BLACK HEADED DEARIE ("Ceann Dubh Dilis" or "Cean Dub Oilir"). AKA - "Black Haired Darling." AKA and see "The Auld Jew," "The Old Jew," "Love and the Novice," "The Irish Round," "Kennington Wells." Irish, Air or March (3/4 or 6/8 {"airily"} time). D Mixolydian (O'Sullivan/Bunting): D Major (O'Neill): D Minor/Dorian (O'Neill). Standard. AB (most air versions): AAB (O'Neill--march version). This beautiful air is thought to have been composed in Ireland during the first decade of the 17th century or earlier, and early versions were often set in a minor key (though the great Irish collector Edward Bunting maintains "it was sung by the peasantry to this day" {i.e. around 1840} in the mixolydian mode). In England it was known as "The Irish Round" or "Kennington Wells" and was printed by Playford in the 1713 edition of his Dancing Master (pg. 146); in Scotland it was called "The Auld Jew." In addition to the printed sources listed below, Bunting finds the tune in a "small collection of Irish airs, published about 1726 by Neal, of Christ Church Yard, Dublin...and by Burke Thumouth as well as Oswald in his Caledonian Pocket Companion." O'Neill (1850 collection) prints the air in major and minor keys and then renders the tune as a major key march. Source for notated version: the index to the Irish collector Edward Bunting's 1840 collection states the piece was noted from "T. Conlan in 1831." Brysson (Curious Selection of Favourite Tunes), No. 19{a} (appears as "The Old Jew"). D'Urfey (Pills to Purge Melancholy), volume II, No. 14 (appears as "A Consolatory Ode to Her Majesty"). Holden (Collection of Old-Established Irish Slow and Quick Tunes), volume II, No. 13 (appears as "Ceann Dubh Deelish"). McFadden (Repository of Scots and Irish Airs), c. 1796. Neal (Collection of the most Celebrated Irish Tunes), pg. 16 (appears as "Can dubh dilish"). O'Neill (1850), 1903/1979; Nos. 453, 454 & 1836, pgs. 79 & 345. O'Sullivan/Bunting, 1983; No. 101, pgs. 146-148. Stanford-Petrie (Compete Collection), 1905; No. 1062. Thompson (Hibernian Muse), No. 20 (appears as "Curri Kown Dilich"). Walker (Historical Memoires of the Irish Bards), No. 31 (appears as "Cur do cheann dilis -- Lay the dear head"). Wright (Aria di Camera), No. 62 (appears as "Can dubh dilich"). RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993).
BONNY KATHERINE OGGY. AKA and see "Katherine/Catherine Oggie." Scottish, Irish. The air is by Irish harper Rory dall O'Cahan, who lived primarily in Scotland in the early 17th century. It was printed in 1686.
BROOM, THE BONNY, BONNY BROOM. AKA - "Broom of the Cowdenknowes," "Cowden Knowes," "Cowdenknowes," "The Lovely Northerne Lass," "O My King," "O, the Broom." English, Scottish; Air and Country Dance Air (2/2 time). England; Northumberland, Shropshire. F Major (Barnes, Karpeles, Raven, Sharp, Williamson): G Major (Ashman). Standard. One part (Ashman, Karpeles, Raven, Sharp, Williamson): AABB (Barnes). This very old Northumbrian air has been set to various words, but most famously appears as "The Broom of the Cowdenknows." Broom is a bush with brilliant yellow flowers that grows all over England and Southern Scotland on hillsides. Stems of the plant were at one time bundled together and bound to sticks for use as sweepers, hence the name 'broom' for the common implement. Cowdenknowes itself, with its famous broom, is situated on the east bank of the River Leader, five miles northeast of Melrose.
***
Williamson (1976) states that the piece can be traced back to the mid-17th century and believes it was probably one of those introduced into England after 1603 with the advent of the Stuart monarchy. The tune was popular, widely known in Britain, and frequently used as the vehicle for numerous lyrics; it appears, for example, set for four different songs in the Tea Table Miscellany, though the earliest English appearance seems to have been in the first edition of Playford's English Dancing Master (1651). Scots versions predate English ones with the melody used for broadside ballads at least as early as 1632; later Scots versions of the song are to be found in Orpheus Caledonius (1725) and The Scots Musical Museum (1787). The song was mentioned in the text of the very first ballad opera, The Gentle Shepherd (1725), written by Allan Ramsay (although his work was not performed before Gay's 1729 Beggar's Opera became a hit), and subsequently in the ballad operas Beggar's Opera, The Highland Fair and The Decoy. Even the German composer J.C. Bach (son of the more famous Johan Sebastian) penned a setting of this melody.
***
The name of the tune appears in a 1721 poetic address by Allan Ramsay addressed to the Edinburgh Musical Society.
***
While vocal tubes and consort strings engage
To speak the dialect of the Golden Age,
Then you whose symphony of souls proclaim
Your kin to heaven, add to your country's fame,
And show that musick may have so good fate
In Albion's glens, as Umbria's green retreat:
And with Corelli's soft Italian song
Mix Cowden Knows, and Winter Nights are long.
***
Playford, The English Dancing Master (1651) {appears as "The Bonny Bonny Broome"}. Ashman (The Ironbridge Hornpipe), 1991; No. 66-67, pg. 26. Barnes (English Country Dance Tunes), 1986. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 16. John Gay, The Beggar's Opera (1729) {appears as "O, the Broom"}, Raven (English Country Dance Tunes), 1984; pg. 55. Raven (English Country Dance Tunes), 1984; pgs. 45 & 76. Sharp (Country Dance Tunes), 1909/1994; pg. 34. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 28. Flying Fish Records FF358, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 1." Green Linnet SIF 3037, Silly Wizard - "Golden, Golden" (1985). Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c. Ballads for Voice and Violin Band" (1992. Appears as the tune for the song "The Lovely Northerne Lass").
T:Broom, the Bonny, Bonny Broom
L:1/8
M:2/2
K:F
c3dc3d|cBAG F4|f2fg agfe|d6e2|f3ga2ga|f2FG A2GF|G2G2d3B|G8||
BUFF COAT HAS NO FELLOW, THE. AKA and see "Buff Coat," "The Dukes Dang Ower His Daddy," "Excuse Me." English, Air (6/8 time). B Flat Major. Standard. AAB. The air appears in the 4th and all later editions of Playford's Dancing Master, and, attesting to its popularity, in numerous ballad operas of the 18th century. In later editions of the Dancing Master it appears under the title "Excuse Me" or simply as "Buff Coat." Chapell (1859) claims the air, especially in its original form, as English, though it is also claimed by the Scots and Irish. A buff coat was a distinguishing mark of a soldier of the 17th century. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg. 1.
CAPTAIN COLLINS. AKA and see "Bob Ridley" (Pa.), "The Bell Cow" (Pa.), "Fifer's March" (Pa.), "The Belling Tune" (Pa.), "Montrose's March" (Playford), "Rock and a Wee Pickle Tow, A" (Stokoe), "The Old Woman Tossed Up in a Blanket" (O'Neill), "The Highlander's March" (Oswald), "O'Sullivan Mor's March" (Roche), "The Ribbels (Rebels) March" (Dovey), "The Cowboy's Jig" (Cole), "Blackeyed Biddy" (O'Neill), Untitled "Air" (Joyce, 1909; No. 836). American, Jig. USA, southwestern Pa. G Major. Standard. AB. Bayard (1981) says the tune is in the standard repertory of fifers in southwestern Pa., and one of the older tunes to be found there, having its origins in the 17th century. It can be found in Playford's Musick's Hand-Maid, editions of 1663 and 1678, his Musick's Recreation of 1669 (where it appears as "Montrose's March"), and in Oswald's 1740 collection. Beside's "Montrose's March" other titles for this tune, well and widely known in the British Isles, have been "The Rock and the Wee Pickle Tow" (Northumbria, Scotland) and "The Old Woman Tossed Up in a Blanket" (Ireland, England), which latter title Bayard says is derived from the nursery rhyme beginning:
***
There was an old woman tossed up in a blanket,
Seventy times as high as the moon.
***
One southwestern Pennsylvania title, "The Belling Tune," derived from the custom of well-known local fifer Sam Palmer to play the tune tune for "serenades," or the welcoming home of the newlyweds "with a hellish din of fife-and-drum, bells, gunshots, beaten metal tubs, firecrackers, etc." (Bayard, 1981). Source for notated versions: Bayard collected the tune from nine southwestern Pa. fifers and fiddlers. Bayard (Dance to the Fiddle), 1981; No. 567A-I, pgs. 504-507.
CAOINEADH EOGHAIN RUA (Lament for Owen Roe). Irish, Slow Air. E Minor. Standard. AB. "There is some dispute over who this air is named for. Some argue for Owen Roe O'Neill, nephew of "the Great O'Neill" and commander of the Irish army which drove out the English in the mid-17th century. Others claim the lament is for Owen Roe O'Sullivan (Eoghain of the sweet month) the great 18th century poet from the province of Munster." Source for notated version: Philip O'Leary, a fiddler from County Cork. Boys of the Lough, 1977; pg. 3. Green Linnet SIF 091, Paddy O'Brien - "Stranger at the Gate." MDG CD1, Nollaig Casey - "Lead the Knave" (1989). Shanachie 79002, "Boys of the Lough" (1973). Trailer LER 2086, "Boys of the Lough."
CAOINEADH UÍ NÉILL (O'Neill's Lament). Irish, Air. The title may refer to Hugh O'Neill, who took part in the Battle of Kinsale and the Flight of the Earls at the beginning of the 17th century. RTE Records, "Denis Murphy: Music from Sliabh Luachra".
CEAPACH NA GASACH (Keppoch a Wilderness). Scottish, Slow Air (9/8 time). E Minor. Standard. AA. "Ceapach na Gasach" was composed by the Reverend Patrick Macdonald of Kilmore, Argyllshire, who was the compiler of the first setting for Highland pipe tunes for the violin and piano (according to Josephine Macdonell), though his brother Joseph, who was also an accomplished musician, may have been responsible for the work. Neil (1991) relates the story the tune commemorates (also the theme of a poem entitled "Murt Na Ceapaich" by one Iain Lom), regarding an infamous 17th century murder in which the next in line of the family of Macdonell of Keppoch conspired to slay his two brothers, in order to inherit both lands and clan title. The title comes from the fact that the fields of Inverlair (the area the murderers inhabited) had their field sowed and harrowed, while the acreage of the murdered men in Keppoch lay fallow and desolate, there being none to manage. Iain Lom was a contemporary of the Highlandmen involved in the crime and was tireless in his pursuit of justice, resting only when the murderers were caught and executed. Another melody inspirated by the same poem was Simon Fraser's 1816 "Cheapuich Na Fasoch" (Keppoch Desolate), and Neil thinks both airs may have been written as the music for Lom's work. Neil (The Scots Fiddle), 1991; No. 159, pg. 205.
CEASE YOUR FUNNING [1]. AKA and see "Lofty Mountains," "Constant Billy." English, Air (6/8 time). The song appears in John Gay's Beggar's Opera (1729) and The Fashionable Lady (1730). Chappell reminds us that the tune is, as are all the tunes in Gay's famous work, older than the opera. Kidson (1922) dates the tune to the late 17th century where he finds it on half-sheet music attached to the song "Constant Billy." In fact, the air appears as "Constant Billy" in the third volume of Playford's Dancing Master. Sharp (1907) explores the relationship between "Constant Billy" and "Cease Your Funning," and points out that Gay was not a musician himself and employed the services of a German, Pepusch, by name, to note down and arrange the airs which Gay sang to him. "It needs but a cursory examination of this opera to see that the airs are anything but faithful transcriptions of genuine peasant-tunes..." and concludes that Gay or Pepusch, or both, were guilty of alterations or 'improvements.' "The rhythm of the fine old melody 'Constant Billy' is changed that it might fit the metre of the new words of 'Cease Your Funning', and the tune adorned with a dominant modulation at the middle cadence."
***
The first two lines of Gay's song go:
***
When the hills and lofty mountains
And the vales were hid in snow.
***
There have been some claims that "Cease Your Funning" was derived ('stolen') from the Welsh tune "The Ash Grove," despite the fact that the latter first appeared in print in the Bardic Museum of 1802. As above, it clearly derives from "Constant Billy," and the claim for Welsh provenance has no merit, according to Kidson (Groves).
***
Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 119-120. Raven (English Country Dance Tunes), 1984; pg. 61. Sharp (English Folk-Song), 1907; pg. 113.
T:Cease Your Funning [1]
L:1/8
M:6/8
S:Sharp - English Folk-Song (1907)
K:B_
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||B2b b2f|B2g g2e|A2f fBA|Gf =e f3|B2f dB2|e2c AF2|d2B GEG|cFA B3||
CHEVY CHASE. English, Air (3/4 time). England, Northumberland. G Major. Standard. One part. The ballad is referred to as far back as Elizabethan times. As to the 'correct' music for "Chevy Chase," Chappell (1859) states that several tunes were printed to the ballad of that name; these tunes themselves had alternate names in many cases, and, further confusing the issue, later ballads were directed to be sung to the tune of "Chevy Chase" so that often it is not known exactly which of the many tunes is being referred to. See Chappell's note for the tune for a detailed explanation. A "Chevy Chase" air was published by John Gay in his The Beggar's Opera (1729). Williamson's recorded version is from a mid-17th century manuscript from the Edinburgh University Library, printed by Ritson, 1783 (Williamson repeats each half of the printed melody, as it seemed to him a more likely fit for the ballad tune). Historically, Chevy Chase refers to the Battle of Otterburn (1388), the scene of a Border affray between Percy, Lord of Newcastle and the Border chieftain Douglas, in which Percy was defeated. The battle is also called the Chase of the Cheviot, because the plunder raid on England which Douglas jokingly described as a hunt (or chase) involved crossing the Cheviot Hills in northern England, hence the title. "This melody has been played by Northumbrian small-pipe players from time immemorial as the air to which the old ballads of Chevy Chase were sung. It is regarded as 'the gathering tune' of the ancient and noble house of Perry, and is played by the Duke of Northumberland's piper on all public and festive occasions. Tradition is certainly in its favour as the correct Chevy Chase melody and an original small-pipe tune" (Bruce & Stokoe). Raven (English Country Dance Tunes), 1984; pg. 69. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 145. Flying Fish FF358, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 1."
T:Chevy Chase
L:1/8
M:3/4
S:Bruce & Stokoe - Northumbrian Minstelsy
N:"Slowly and smoothly"
K:G
zA|BA G3A|BA G3B|ce d3B|B2A2 zB|ce d3B|dB G3d|eg B3A|G4||
COBBLER THERE WAS, A. AKA - "The Cobbler's End," "Derry Down," "Abbott of Canterbury," "Death and the Cobbler." English, Air. The air was set by Richard Leveridge to the words "A Cobbler There Was" and published by John Gay in the third and later editions of The Beggar's Opera (1729), under the title "Ourselves, like the great, to secure a retreat." It also appears in Watts' Musical Miscellany (1731) and in many ballad operas throughout the 18th century. Kidson (1922) identifies it as a "Derry down" air from the 17th century, which has been used for a number of songs through the ages; in fact, Claude Simpson notes that more than a hundred adaptations of the tune were contrived in the 18th century alone. In the 19th century it appears as "The Queer Little Man," "Dennis Bulgruddery" and others. Raven (English Country Dance Tunes), 1984; pg. 68.
COCK O' THE NORTH [1]. AKA and see "Auntie Mary" {Irish}, "Joan's Placket (Is Torn)" {English}, "Jumping John/Joan," "We Must All Wait Till My Lady Comes Hone." Scottish, English, Canadian; Jig, 6/8 March, and Morris Dance Tune. Canada; Cape Breton, Prince Edward Island. A Major (Hunter, Johnson, Kennedy, Miller & Perron, Perlman, Raven): G Major (Bayard, Bullen, Kerr, Sweet, Wade). Standard. AB (Bullen): AAB (Bayard, Hunter): AABB (Johnson, Kennedy, Miller & Perron, Raven, Sweet, Wade): AA'BB' (Kerr, Perlman). The 'Cock o' the North' was an honorary title of the (fifth and last) Duke of Gordon, who held sway over the northern part of the Scottish Highlands (from a note in a monograph on William Mashall printed in his 1845 Collection). Chappell alleges the earliest reference to the tune (under the title "Joan's Placket") is in an entry in Pepys' diary for June 1667. Bayard (1981) and Kidson (1915) both trace the tune to the 17th century, where they find the titles for this tune were "Jumping John/Joan" and "Joan's Placket (Is Torn)." It was published by Oswald (Vol. 10) c. 1758, by Feuillet in Recueil de Contredanses (1706) in Paris, and by Playford in the 1674 and 1686 editions (and all subsequent editions) of his Dancing Master, each time under the title "Jumping Joan." In fact, a Shetland reel version of the tune from the island of Whalsay collected in modern times still goes by the name "Jumping John" (Cooke, 1986).
***
The dance and ballad air was assumed into martial repertory, and it has been recorded that the melody helped win Gordon Highlander Piper George Findlater the Victoria Cross in 1897. It seems that while leading the charge storming Dargai Heights with other pipers, he was shot through both legs; "undaunted, he propped himself against a boulder, and continued to play" the stirring air to encourage the successful action (Winstock, 1970; pg. 212). Kidson (1915) relates another military story of its earlier use in the seige of Lucknow during the Indian Mutiny of 1857. The British were initially hard pressed and were for some time beseiged in various locations in the city by native Indians. Signals had been regularly sent between the forces defending parts of the beseiged town, and those under attack in the Residency quarters. A drummer boy named Ross, after the signalling was over, climbed to the high dome from which signals were sent and despite harrassing fire from the Sepoys he sounded "Cock o' the North" in defiance, rallying the English with his bravery (though being a drummer, exactly how he 'sounded' the tune remains a mystery, ed.)
***
In England, Andrew Bullen (Country Dance and Song, May 1987, Vol. 17, pg. 11). suggests there is some evidence to think that "Cock of the North" was the tune traditionally used in the famous horn dance of Abbots Bromley, Staffordshire (currently performed in most Christmas Revels pagents). "This standard version," he states, "taken from Pruw Boswell's 'Morris Dancing of the Lancashire Plain', is used in the Wigan St. John's Dance." Wade records that the tune is still used for a single step dance in the North-West Morris tradition.
***
Perlman (1996) notes that this tune was remembered by many Prince Edward Island fiddlers as the very first tune they tried to play.
***
Miscellaneous notes: The tune was used by the Scots poet Robert Burns for his song "Her Daddie Forbad and Her Minnie Forbad." In America, it was given to Bayard that there was an obscene New England song to the tune called "Chase Me, Charlie," but he did not hear it. It has been asserted that a trumpet version of the tune was played at the execution of Mary Queen of Scots in 1587, but this cannot be substantiated and it is not credited. It is not, as has been proposed by Johnson-Stenhouse, the progenitor of "Lillibulero." Sara Lee Johnson (1986-87) says the tune is often heard at the Old Michegan Fiddler's Association gatherings. Sources for notated versions: Hiram Horner (fifer from Fayette and Westmoreland Counties, Pa., 1960) [Bayard]; Elliot Wright (b. 1925, Flat River, Queens County, Prince Edward Island; now resident of North River) [Perlman]. Bayard (Dance to the Fiddle), 1981; No. 580, pg. 513. Bullen, Country Dance and Song, May 1987, Vol. 17, pg. 11. Hunter (Fiddle Music of Scotland), 1988; No. 299. Jarman (Old Time Fiddlin' Tunes); No. or pg. 19. Jarman, 1951; pg. 66. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), Vol. 7, 1986-87; pg. 6. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 36. Kerr (Merry Melodies), Vol. 2; No. 311, pg. 34. McDonald (Gesto), 1895; pg. 135. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 43. Page, Heritage Dances of Early America; No. or pg. 41. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 141. Raven (English Country Dance Tunes), 1984; pg. 105. Ross, 1934, Army Manuel of Bagpipe Tunes; Book 1, pg. 10. Sweet (Fifer's Delight), 1964/1981; pg. 21. Wade (Mally's North West Morris Book), 1988; pg. 14.-
T:Cock o' the North
L:1/8
M:6/8
K:A
cdc cBA|cde f2e|cdc cBA|B3 e2d|cdc cBA|Ace B=GB|A3 A3:|
|:a2e f2e|a2e f2e|cdc cBA|BcB B2e|a2e f2e|a2e f2e|cAc B=GB|A3 A3:|
COLD AND RAW. AKA - "Cold and Rought." AKA and see "Stingo," "Oil of Barley," "Lulle Me Beyond Thee," "The Farmer's Daughter." English, Scottish, Irish; Country Dance and song tune. The air was published by Playford in his Dancing Master (1651) under the title "Stingo, or Oyle of Barley," and it carried that title through all editions until 1690, when the name is changed to "Cold and Raw." The Dancing Master kept the latter until the last, 1728, edition. Kidson (Groves) thinks the "Stingo" title may have originated with a ballad called "A Cup of Old Stingo" printed in Merry Drollery Complete. The "Cold and Raw" title comes from D'Urfy and is the beginning of a song called "The Farmer's Daughter."
***
As with many popular ballad tunes, many songs were set to it, leading to a variety of titles. In different editions of D'Urfy's Pills to Purge Melancholy it appears as the aformentioned "The Farmer's Daughter," a song whose first appearance was in D'Urfy's Comes Amores (1688). John Gay printed the tune under his song title "If any wench Venus's girdel wears," from The Beggar's Opera (1729). Emmerson {1971} claims Gay's song is a parody of the 'Scottish' song "Cold and Raw," however, Sharp (1907) declines to believe the Beggar's Opera version is a parody, and points out that Gay was not a musician but rather employed the services of a German, Pepusch, by name, to note down and arrange the airs which Gay sang to him. "It needs but a cursory examination of this opera to see that the airs are anything but faithful transcriptions of genuine peasant-tunes...'Cold and Raw' is converted to a minor tune with a minor 6th and a sharpened leading tone..." Scottish versions are usually called "Cold and Raw," but it can also be found as "Up in the Morning Early." Grattan Flood (1906) characteristically identifies the melody as an Irish bagpipe tune of the mid-17th century, though Kidson (1922) and most writers ascribe Anglo-Scottish origins.
***
The English composer Henry Purcell used the tune as a bass part for a Royal Birthday Ode in 1692. Kidson refers to the "well-known" anecdote related by Sir John Hawkins who recalled that Queen Mary asked Mrs. Arabella Hunt, in composer Purcell's presence, if she could not sing "Cold and Raw," one of her favorite melodies. This was seen (by Hawkins) as an affront to Purcell and an indication that the Queen was tired of Purcell's compositions. His response was to use the tune in her next, 1692, birthday ode.
***
One of the "lost tunes" from William Vickers 1780 Northumbrian dance tune manuscript is called "Cauld and Raw the Wind Doth Blaw," and is presumably this tune (see note for "Up in the Morning Early"). Raven (English Country Dance Tunes), 1984; pg. 50 ("Cold and Raw"), pg 37 ("Stingo"). Flying Fish FF-407, Robin Williamson - "Winter's Turning" (1986).
CORN RIGGS (ARE BONNY). Scottish (originally), Irish, English; Reel. Scotland, Lowland region. England; Northumberland, northwest England. Ireland, County Donegal. D Major (Hall & Stafford, Kerr, Lerwick, Kennedy, Miller & Perron, Raven, Sweet): G Major (Athole, Emmerson, Wade, Williamson). Standard. AAB (Athole, Emmerson): AABB (Hall & Stafford, Kennedy, Kerr, Lerwick, Miller & Perron, Raven, Sweet, Wade, Williamson): AABBCCDDEEFFGGHHIIJJ (Hall & Stafford {includes variations). The 'riggs' referred to in the title specifically are furrows of a newly plowed field, though the title is taken to mean fields of grain.
**
This tune, a Scottish Measure, dates from the 17th century and has had currency in both "old" and "new" sets. The new set has words written to it by the Scottish national poet Robert Burns, and is still popular, while an "old set" of the tune was printed in the Panmure 9454 MS, Seventy-Seven Dances, Songs and Scots Airs for the Violin (c. 1675). Munro wrote a variation sonata based on the tune published in 1732 (Collection of Scots Tunes) and it was his idea to combine the Scottish air-jig form with the Italian sonata da camera. The melody was ascribed to Robert McIntosh by Mr. John Glen who added it in hand in his copy soon after it was published (in the McLean Collection by James Johnson in Edinburgh in 1772).
**
Chappell (1859) asserts that the melody was taken from an English tune called "Sawney was tall and of noble race," a song in Thomas D'Urfey's play The Virtuous Wife. Emmerson (1971) also suggests the prototype for "Corn Riggs" is the melody "Sawney," which he says can be found in John Playford's Appolo's Banquet (Fifth Ed., 1687), and he prints both tunes together. Similarly, it was the opinion of G. Farquhar Graham, writing in The Popular Songs and Melodies of Scotland (Glasgow 1893), that "...setting aside historical evidence, of which there is plenty, whoever will look at the air without prejudice, must see that it has no Scottish characteristics whatever, and that its flowing English style is apparent from the first bar to the last." John Glen in Early Scottish Melodies (1900, pg. 51), admits the tune is "somewhat of an English character." Along with the previously mentioned sources, other stage works incorporated the melody, and it was used, for example, by Allan Ramsay in his ballad opera The Gentle Shepherd (1725), which was published three years before Gay's Beggar's Opera made the genre famous. Also in England the piece was used as a vehicle for a polka step in the North-West Morris tradition (Wade), and the title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. It is one of the "missing tunes" from William Vickers' 1770 manuscript of Northumbrian melodies. Corn Rigs is also the name of a country dance frequently taught by country dance masters in Scotland in the 19th century. Caoimhin Mac Aoidh (1994) remarks that the tune and dance were well-known in County Donegal, and states "its popularity may be inferred by the existence of at least three versions of the tune which is widespread throughout the county including a very masterful one by (fiddler) Mickey Doherty."
**
Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 22, pg. 126. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 22. Jarman, Old Time Fiddlin' Tunes; No. or pg. 20. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 14, pg. 7. Kerr (Merry Melodies), Vol. 1; No. 1, pg. 24. Lerwick (Kilted Fiddler), 1985; pg. 9. Miller & Perron (101 Polkas), 1978; No. 92. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 79. Northumbrian Pipers' Tune Book, Vol. 2; pg. 2. Raven (English Country Dance Tunes), 1984; pg. 165. Stewart-Robertson (The Athole Collection), 1884; pg. 148. Sweet (Fifer's Delight), 1964/1981; pg. 63. Wade (Mally's North West Morris Book), 1988; pg. 19. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 47. Topic 12TS382, New Victory Band - "One More Dance and Then" (1978, learned from Yorkshire melodeon player George Tremain).
X:1
T:Corn Riggs are Bonny
L:1/8
M:C|
K:D
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Bc dB ed cB|A2d2d2A2:|
X:2
T:Corn Rigs
L:1/8
M:C|
R:Country Dance
B:The Athole Collection
K:G
D|G3A cBAG|FEFG A2D2|G3A BcAB|G2de d2D2|G3A cBAG|
FEFG A2D2|EFGE AGFE|D2G2G3:|
D|G2d2 BcdG|FEFG A2D2|G2dc BcAB|G2de d2D|G2d2 edcB|
cBAG F2D2|EFGE AGFE|D2G2G3D|G2d2 BcdG|FEFG A2D2|
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D2G2G3||
CRIOGAL CRIDHE (Glenlyon Lament). Scottish, Slow Air (4/4 time). G Mixolydian. Standard. AB. After the hanging of Macgregor of Glenstrae by the Campbell of Glenorchy, his widow composed this sad air. Neil (1991) relates the sad fate of the once strong and honorable Clan MacGregor, the traditional enemies of the Campbells, who went into decline before the beginning of the 17th century. By the early 1600's the MacGregors were nearly landless and most of their members had scattered to the estates of others, notably their old enemies the Campbells, and the Menzies. Desperate, individuals in the clan formed themselves into maurauding, lawless bands and became freebooters, finding haven in hiding places of Lannoch Moor. In 1602 they managed to annihilate the Colquhouns at the battle of Glenfruin (which became known as the 'Slaughter of Lennox') but for the next twenty-five years they themselves were hounded, repressed and nearly exterminated by the vengeful government and personage of King James VI, who only relented in 1627, when a new chief was able to bring the clansmen under his authority and exercise the peace. Neil (The Scots Fiddle), 1991; No. 152, pg. 195.
CUMHA AN DE-BHEAN SI (Lament of the Fairy Goddess). Irish, Air (4/4 time). G Major. Standard. AABC. The piece was composed by either John or Harry Scott, two brothers born in the County of Westmeath and both eminent composers and performers on the harp. The brothers, who lived at the end of the 16th century and beginning of the 17th century, were particularly reknowned for their "Caoinans," or dirge pieces; "In this line they have produced pathetic movements for Purcell, Baron of Loughmoe, and O'Hussey, Baron Galtrim" (Bunting, 1840). O'Sullivan (1983) provides extensive musical analysis of the piece. Source for notated version: the Irish collector Edward Bunting noted the melody from Dominic O'Donnell, a harper at Foxford, County Mayo, in 1802. O'Sullivan/Bunting, 1983; No. 122, pgs. 171-174.
DAWNING OF THE DAY [1] (Fáine Geal an Lae). AKA - "Dawn of Day." AKA and see "Enchanted Glen," "The Golden Star." Irish, Air (4/4 time). G Major (Heymann, O'Neill/Krassen & 1850): F Major (O'Neill/1915). Standard. AB. The air, one of a supposed seven or eight hundred, was reputed to have been composed by Thomas O'Connellan (see note for "The Breach of Aughrim"), a 17th century harper from County Sligo who spent considerable time in Scotland. Others, notably O'Neill, credit the composition of the tune to Turlough O'Carolan, though it is not known by what authority and thus O'Neill's accreditation is very much in doubt. It was one of the tunes played in competition by 95 year old Irish harper known variously as Denis O'Hansey, O'Hampsey, Henson or Hampson (Donnchadh a Haimpsuigh) at the last great meeting of the ancient Irish harpers in July, 1792, at the Belfast Harp Festival. O'Hampsey lived to the age of 110. Heymann (Secrets of the Gaelic Harp), 1988; pgs. 80-81 & 82-83. O'Neill (1915 ed.), 1987; No. 54, pg. 35. O'Neill (Krassen), 1976; pg. 231. O'Neill (1850), 1979; No. 643, pg. 115.
T: The Dawning of the Day
Z: 1997 by John Chambers <jc@ecf-guest.mit.edu > http://eddie.mit.edu/~jc/music/abc/
N: "Moderate"
M: C
L: 1/8
K: G
D \
| (G>AGF) (~E2D2) | ({B}d>edc) B2(AB/A/) | GDGA B2(ge/c/) | B2A2 G2zD |
| (GAGF) (~E2D2) | ({B}d>edc) B2(A(B/A/)) | GDGA B2(ge/c/) | B2~A2 G2z ||
(g/f/) \
| (edef) (g2fg) | (a>bgf) ed2(g/f/) | (edef) (g2fg) | (a2gf) e2ze |
| (fdef) (g2-g/f/e/d/) | (BgBg) cBAz | GDGA B2(ge/c/) | B2~A2 G2z |]
DRIVE THE COLD WINTER AWAY. English, Country Dance Tune (6/4 or 6/8 time). D Minor. Standard. AAB (Watson): ABB (Sharp): AABB (Barnes): AABC (Chappell). The song was originally called "When Phoebus Addrest" and went to another, older air. The new air of "Drive the Cold Winter Away" (which name is derived from the burden of the old song) appears in Playford's The English Dancing Master of 1650 and all later editions, the 1666 and all later editions of Musick's Delight on the Cithren, Walsh's Dancing Master, and both editions of D'Urfey's Pills to Purge Melancholy. Numerous ballads were written to the song in the latter 17th century. Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 173. Raven (English Country Dance Tunes), 1984; pg. 41 (a facsimile copy of Playford's version). Sharp (Country Dance Tunes), 1909/1994; pg. 68. Watson (A Rollick of Recorders or Other Instruments), 1975; No. 3, pg. 4. Flying Fish FF-407, Robin Williamson - "Winter's Turning" (1986).
DOWN IN THE NORTH COUNTRY. AKA - "Farmer's Daughter of Merry Wakefield." English, Air. The air appears in John Gay's Beggar's Opera (1729) under the title "What gudgeons are we men." Kidson (1922) says it was a popular 17th century tune that appears under various names as the vehicle for numerous songs. Raven (English Country Dance Tunes), 1984; pg. 221.
DULCINA. English, Air (4/4 and 3/4 time). C Major. Standard. ABCD. The ballad, which is sometimes attributed to William Brade (1560-1630), appears in Giles Earle's Song Book of 1626. Chappell (1859) finds the earliest reference to the tune from the May, 1615, records of the Stantioners' Company, when it was transferred from one printer to another. Numerous songs were written for the tune throughout the 17th century, including "As att noone Dulcina rested." Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pgs. 160-161. Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c Ballads for Voice and Violin Band" (1992).
FAIN I WOULD. AKA and see "Parthenia," "The King's Complaint." English, Country Dance Tune (6/4 time). D Minor (Chappel, Raven): G Minor (Barnes, Sharp). Standard. AB (Chappell, Raven): AABB (Barnes, Sharp). The air appears in Playford's English Dancing Master of 1650 and Elizabeth Rogers' Virginal Boo (where it is called "The King's Complaint"). The tune dates to at least the mid-17th century, and, according to Chappell (1859), it was probably originally a dance tune adapted to a ballad whose words were lost. In later editions of the Dancing Master the tune is also called "Parthenia," though the ballad that that title came from has also been lost. Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 293. Raven (English Country Dance Tunes), 1984; pg. 41 (a facsimile copy of Playford's printing). Sharp (Country Dance Tunes), 1909/1994; pg. 29.
FAREWELL TO LOCHABER. English, Irish, Scottish; Air (3/4 time). G Major. Standard. AB. The tune appears in Johnson's Compleat Tutor for the Flute, published before 1740. O'Neill (1913) credits the composition of the tune to the ancient Irish harper Thomas O'Connellan, born in the mid-17th century at Cloonmahon, County Sligo, and remarks that it was a prelude to the piece "Breach of Aughrim." When Thomas died in 1698 his younger brother Laurence, also a harper, though reportedly with a different style, popularized this and other of his brother's pieces in Scotland. Watson (A Rollick of Recorders or Other Instruments), 1975; No. 12, pgs. 14-15.
FLYING FAME. AKA and see "When Flying Fame." English, Air (6/8 time). G Major. Standard. One part. According to Chappell (1859), this 17th century air had already been popular for more than one hundred years under this name when it was used for the ballad "Chevy Chase" in Pills to Purge Melancholy (1707 and IV,1,1719), and the ballad operas The Beggars' Opera (1728) and Trick for Trick (1735). Samuel Bayard (in his article "A Miscellany of Tune Notes") asks comparison with versions in Alton Morris's Folksongs of Florida (1950, air to "Sir Hugh"), George Korson's Pennsylvania Songs and Legends (1949, air to "Sir Hugh"), and Sharp and Karpeles' English Folk Songs from the Southern Appalachians (1932, air to "Lord Thomas and Fair Annet"), and discovers "an old timbre living on in oral tradition, getting re-created by folk singers." Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 91.
FROM THE FAIR LAVINIAN SHORE. English, Air (4/4 time). G Major. Standard. One part. The song appears in Academy of Compliments (1664). Jackson thought the words to have been by Shakespeare, on manuscript evidence, while the setting was by John Wilson. Kines (1964) says, "it is an early example of many pseudo-pedlar songs which became popular in the 17th century." Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 62.
GILDEROY [1]. Scottish (originally), English, Irish; Reel and Air. A Minor. Standard. AABB. An earlier, minor key, relative of what was later called "The Red Haired Boy" family of tunes. Caoimhin Mac Aoidh explains that the name 'Gilderoy' is an English corruption of the Gaelic words 'Giolla Ruaidh'; giolla is generally taken to mean a servant or a young person, while ruaidh literally means red, though when used in conjunction with a person it refers to red hair. Interestingly, he mentions that in modern Scotland and Ireland hunting and fishing stalkers or guides are still referred to in anglicised form as 'Gilles'. The hero of the ballad "Gilderoy" was a historical personage, a Scottish freebooter of the notorious Clan MacGregor, seven of whose gang were taken by the Stewarts of Athol and hanged in Edinburgh in July, 1638. Robin Williamson maintains the ballad was well known as far away as England by the middle of the 17th century, a decade or two later. An early printing appears in the Gillespie Manuscript of Perth, 1768. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 28, pg. 14. Raven (English Country Dance Tunes), 1984; pg. 188. Flying Fish FF 358, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 1."
GOSSIP JOAN. AKA and see "Good Morrow, Gossip Joan." English, Country Dance Tune (cut time) and Air. F Major. Standard. One part. The tune appears in John Gay's The Beggar's Opera (1729) under the title "Why how now, Madam Flirt." It also appears in Pills to Purge Melancholy, Vol. IV, and on half-sheet music. Kidson (1922) dates the song "Good morrow, Gossip Joan" to the late 17th century. Barnes (English Country Dance Tunes), 1986.
GRAY'S INN MASKE. AKA and see "Poor Tom," "Mad Tom," "New Mad Tom of Bedlam." English, Air and Country Dance Tune (4/4 and 6/4 time). G Dorian/G Major. Standard. AABCDEF. Gray's Inn was one of the four great Inns of the Temple Barr to which lawyers allied themselves in 17th century England. Prior to the Commonwealth, Grays Inn, along with Inner Temple, Lincoln's Inn and Middle Temple, held annual revels which included music and dancing. During the reign of James I the inns, singly or in pairs, presented masques at the royal court. Chappell (1859) remarks that the air was used, as the name implies, as accompaniment to a suite of dances in a Masque, though he admits there is no way of knowning whether it was written for that purpose or rather as a song. He does believe it to be "considerably older" than the 1650 Dancing Master date because one of the ballads was directed to be sung to the tune of "Mad Tom" which was "lately sung at the Curtain, Holywell;" the Curtain Theatre was all but closed by 1625, and "Mr. Collier, in a note to Heber's catalogue, even gives the date of one of the performances of the tune at that theatre as 'about 1610.'" He further states that the air has been ascribed variously to Purcell and to Henry Lawes, however, these assertions are speculative and, in fact, the music was in print before Purcell was born. Lawes was said by Sir J. Hawkins to have been mentioned as the composer in Choice Ayres and Antidote against Melancholy, however Chappell finds no reference to him in those works. The air appears in Playford's English Dancing Master (1650), Antidote against Melancholy (1669), and his Choice Ayres (1675). It also appears in the ballad operas Penelope (1720) and The Bay's Opera (1730). Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pg. 179. Raven (English Country Dance Tunes), 1984; pg. 47. Familiar Records 59, Pyewackett - "The Man in the Moon Drinks Claret" (1982).
GREEN GROW THE RUSHES O. AKA - "Green Grow the Rashes." AKA and see "The East Neuk of Fife," "Grant's Rant," "Irish Whiskey," "Over the Hills and Far Away," "Paddy Caught/Got a Rat," "Paddy Killed the/a Rat," "Paddy Run the/a Rat." Scottish (originally), Irish, English, American; Strathspey, Hornpipe, Barndance, Highland, Highland Schottische, Fling, Slide (12/8 time), March or Reel. G Major. Standard. AB (Cole, Moylan, Tubridy): AAB (Athole, Ford, Gow): AABB (Ashman, Bayard, Hardings, Johnson, Kerr, Miller & Perron, Raven, Sullivan, Taylor): AABB' (Skye): AA'BB' (Flaherty). The air first appears in early lute manuscripts of the 17th century; a note in Graham (1908) claims the first strain of the tune occurs twice in the Straloch Manuscript of 1627. It appears in the Panmure Collection of c. 1705, a fiddler's MS repertory book. Johnson (1984) states the whole tune was recorded in fiddle manuscripts from the 1680's and was already ancient when printed in Stewart's Reels (1761-5, pg. 13) and the Gillespie Manuscript of Perth (1768). The present title is from Robert Burns's reworking of the poem sung to a tune called "Grant's Rant"--in the transition the rant form was dropped and a strathspey rhythm was substituted, a not uncommon fate of rants. Burns' version is somewhat more polite, states Robin Williamson, for the tune seems originally to have been linked to lyrics satirizing the proflicacy of priests. Johnson (1984) confirms the Scottish song (first mentioned in The Complaint of Scotland in 1549) originally was a rude or risque text.
***
The American collector Ford (1940) relates the following tale, a superficially plausible and thus repeated yarn, though unfortunately completely untrue: "'Green Grow the Rushes O' was a popular melody of American soldiers at the time of the Mexican war, to which they set many verses. The following verse is descriptive of their associations in the land of the senorita:
***
Green grow the rushes, O!
Red are the roses, O!
Kiss her quick and let her go,
Before you get the mitten, O!
***
The deviltry of the American soldier boys was very much resented by the Mexicans. Any American who attempted to kiss a senorita was certain to have his face slapped by her. They called this to 'get the mitten.' Whereever Americans were would also be heard verses of 'Green Grow the Rushes, O.' The Mexicans, in mockery, gave the name 'green grow' to their tormenters, their pronunciation being 'gingo.' After the war 'Gringo' became the sobriquet for all Americans." Another source gives the similar assertion that the song which gives rise to the word "gringo" is "Green Grow the Lilacs." Ford, at any rate, has a poor reputation for veracity.
***
Accordion player Johnny O'Leary, of the Sliabh Luachra region of the Cork-Kerry border, plays the tune as a 12/8 time slide. In other parts of Ireland the tune is played as a barndace, highland and/or hornpipe.
***
Bayard's thirteen Pennsylvania collected versions of the tune are divided into two groups, corresponding with two main British Isles variants. One is called in America the "Over the Hills and Far Away" (a floating title) group, corresponding to "The East Neuk of Fife" in the British Isles; the other retains the British "Green Grow the Rushes" title. One of Bayard's sources (1981, Appendix No. 11, pg. 576) was a Massachusetts Irish-American born near Cork, a Mrs. Anastasia Corkery, who knew in the 1930's the following quatrain to the first strain:
***
Green grow the rushes O,
Blackbirds and thrushes O,
The piper kissed the fiddler's wife
Behind the bunch of rushes O.
***
Sources for notated versions: Chieftains (Ireland) [Miller & Perron]; Johnny O'Leary (Slibah Luachra, Co. Kerry), recorded at Ballydesmond in February, 1973 [Moylan]; 13 southwestern Pa. fiddlers, fifers and manuscripts [Bayard]; Gillespie MS. [Johnson]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; flute player Noel Tansey (b. 1940, Cuilmore, County Sligo) [Flaherty]; Castle Ceili Band [Sullivan]. Aird (Selections), Vol. 6, 1903?; No. 37. Ashman (The Ironbridge Hornpipe), 1991; No. 74b, pg. 31. Bayard (Dance to the Fiddle), 1981; No. 206A-M, pgs. 158-162. Breathnach, 1971; No. 4. Cole (1001 Fiddle Tunes), 1940; pg. 21 (Reel). Emmerson (Rantin' Pipe and Tremblin String), 1971; Nos. 30 & 31, pgs. 130-131. Ford (Traditional Music in America), 1940; pg. 72. Flaherty (Trip to Sligo), 1990; pg. 95. Gow (Complete Repository), Part 1, 1799; pg. 12. Graham, 1908; pg. 37. Hardings All-Round Collection, 1905; No. 86, pg. 27. Jarman, 1951; pg. 76. JEFDSS, Vol. 9; pg. 147 (Shetland variant). Johnson, Vol. 1, 1787-1803; No. 77. D. Johnson, 1984; No. 70, pg. 223. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 17. Kerr (Merry Melodies), Vol. 1; No. 5, pg. 19. Kerr (Merry Melodies), Vol. 2; No. 117, pg. 14. MacDonald (The Skye Collection), 1887; pg. 80. McGibbon (A Collection of Scots Tunes), c. 1795; Vol. 1; pg. 12. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 15 (hornpipe version). Moylan (Johnny O'Leary), 1994; No. 25, pg. 16. Oswald (The Caledonian Pocket Companion), Vol. 1, 1780?; pg. 18. Petrie-Stanford (Complete Collection), 1903-06; No. 1427. Raven (English Country Dance Tunes), 1984; pg. 173. Saar, 1932; No. 18. Scottish Country Dance Book, Book 12, 1930; No. 2. Sharp (Sword Dance Tunes), Book 2, 1911-13; pg. 3. Smith (The Scottish Minstrel), Vol 4, 1820-24; pg. 91. Stewart-Robertson (The Athole Collection), 1884; pg. 157. Sullivan (Session Tunes), Vol. 3; No. 30, pg. 12. Taylor (Where's the Crack), 1989; pg. 4. Thompson (A Select Collection...Scottish Airs), 1, Vol. 4, 1805; No. 155. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 12. Walsh (Caledonian Country Dances), Vol. 2, 1737; pg. 25. White's Unique Collection, 1896; No. 72. Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2". Front Hall 018, How to Change a Flat Tire - "Traditional Music From Ireland and Shetland" (learned from Kathleen Collins). Green Linnet GLCD 1175, Cherish the Ladies - "New Day Dawning." Green Linnet GLCD 1187, Cherish the Ladies - "One and All: the best of Cherish the Ladies" (1998). Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976).
T:Green Grow the Rashes O!
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:C
D|G2 BA BGGB|A/A/A ed eAAB|c2 ce dBGB|A/B/c BA GEE:|
A|G/G/G gf gddg|eaa^g aeef|gage dcBG|A/B/c BA GEEA|
Gggf gddg|eaa^g aeef|gbeg dgBG|A/B/c BA GEE||
GREENSLEEVES [2]. See "The Pirriwig," "Green Sleeves and Mutton Pies." English, Scottish; Song Air, Country and Morris Dance Tune (6/4 or 6/8 time). E Dorian (Chappell). Standard. AB. Williamson prints three tunes under the same name: tune A is in A Minor, form AABB; tune B is in C Major, in form AABB; tune C is in A Mixolydian, form AABB. Musically the melody is not so much a single specific tune, argues John M. Ward, as it is a tune type or descant which can be found in many variations and forms. All seem to conform, however, to the harmonically structured outline of a "ground" or bass progression known as the 'romanesca', which is similar to the 'passemezzo antico' though the initial tone is a third higher (Cazden, et al, 1982). Chappell (1859), Williamson and Alburger (1983) all note that a tune by this name was registered at the Stationer's Company in 1580 as "A New Northern Dittye of the Lady Greene Sleeves" (an early attempt at copyrighting). 'Northern Dittye' here means not Scotland but Northumberland and the Border regions along with the English Midlands; Kidson remarks that during his era (early 20th century) the melody was in the "cherished possession of countrymen in the Midlands, who execute a rustic dance to a traditional survival of it" (pg. 5). Shakespeare wrote in one of his plays, "Let it thunder to the tune of Greensleeves," and again, in The Merry Wives of Windsor when he has Mrs. Ford contrast it with the Hundredth Psalm -'they do no more keep pace together, than the Hundredth Psalm to the tune of Green Sleeves.' Indeed, the tune at the quick tempo Shakespeare suggests has been immensely popular since his time (Emmerson {1971} notes the slow version associated with Christmas scarcely predates the 1940's). Williamson's versions includes two early tunes which were used for a morris dance called "The Bacca Pipes Jig", a dance which features motions with elegant "churchwarden pipes". He says, "the tunes here go in a fast 2/4, which bars them from the category of jigs proper and puts them in the same class of tunes that were called gigs in Wales. The first has a similarity to a Scots tune called 'The Pirriwig.' It's based on the playing of William Kimber. The second tune has a closer resemblance to the well-known song 'Greensleeves'" (Williamson, 1976).
***
Country dance directions to the tune have been recovered from the Holmain MS. (c. 1710-50) from Dumfries-shire. The tune and dance were known in the American colonies in the 18th century (under the titles "Green sleeves" or "Green sleeves & mutton pies"), though there is no reason to believe either was particularly popular as it was not widely reproduced in either MS copy books or dance publications of the period. A American version with the usual 'A' part but quite a different 'B' part appears in Henry Beck's German flute MS of 1786. Kidson (1915) reports the tune was probably an "art-tune" in the 16th century, not a folk-tune, and that both melody and lyrics were immediately popular. It was frequently the vehicle for political dities and for the "scraps of verses that were employed in the early ballad operas" (pg. 27). It was such a common tune in the 17th century that the tune was mentioned by Sir John Hawkins, who recalled disdainfully:
***
...Fidlers and others, hired by the master of the house; such as
in the night season were wont to parade the city and suburbs
under the title of Waits...Half a dozen of fidlers would scrape
"Sellinger's Round," or "John, Come Kiss Me," or "Old Simon
the King" with divisions, till themselves and their audience were
tired after which as many players on the hautboy would in the
most harsh and discordant tones grate forth "Greensleeves,"
"Yellow Stockings," "Gillean of Croydon," or some such common
dance tune, and the people thought it fine music.
***
Kidson (1915) states the air was simplified through the years and that complete passages were eliminated over time. To illustrate he gives a "pure" early 16th century version as well as later "degraded" versions: one from a fiddle MS from 1838, and another from Playford's Dancing Master of 1716, called "Greensleeves and Yellow Lace" (other "degraded" versions mentioned are from The Beggar's Opera {1728}, and D'Urfey's Wit and Mirth). Yet another "degraded" version, devoid of all lilt, can be found on page 16 of violinist Whittier Perkins' Manuscript copybook (Massachusetts, 1790). Chappell (1859) finds the tune in William Ballet's Lute Book and Sir John Hawkins' transcripts of the early 17th century, but he asserts that the ballad had attained popularity before the 1580 date as there was another ballad registered with the Stationers at the same time entitled "A ballad, being the "Ladie Greene Sleeves Answere to Donkyn his frende." The ballad became even more popular immediately after its publication, probably on the strength of the engaging tune, for numerous attempts were made to improve upon the original words which "are neither remarkable for novelty of subject, nor for its treatment" (Chappell, pg. 240). It appears in the Gillespie Manuscript of Perth (1768) and in Walsh's Country Dancing Master or 1718. Breathnach (1963) mentions the tune in conjunction with "Pingneacha Rua agus Pras," "The Humours of Ennistymon," " The Waves of Tramore," "The County Limerick Buckhunt," "Larry Grogan," "The Lasses of Melross," "Little Fanny's Fancy," "The Humours of Miltown," "Lynn's Favourite," "Coppers and Brass," "Hartigan's Fancy", and "Finerty's Frolic." Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 239. Kidson (English Folksong and Dance), 1915; pg. 27. Merryweather (Merryweather's Tunes for the English Bagpipe), 1989; pg. 27. Raven (English Country Dance Tunes), 1984; pg. 69. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 33. Flying Fish FF-407, Robin Williamson - "Winter's Turning" (1986).
HAUGHS O' CROMDALE, THE. AKA and see "Barrack Hill," "Lady Catherine Stewart/Stuart," "Merry Maids Meeting," "Merry Maid's Wedding," "New Killiecrankie," "O'Neill's March," "Sid mar chaidh n' Cal a gholaigh" (That is How the Cabbage Was Boiled), "The Spilling of the Kale," "Tralee Gaol." Scottish, Canadian; Strathspey, Air or Polka. Canada; Cape Breton, Prince Edward Island. E Minor/Dorian (Dunlay & Greenberg/MacMaster, Perlman): A Dorian (Dunlay & Greenberg/Campbell): D Minor (Lowe, Surenne). Standard. AAB (Honeyman): AABB (Athole, Dunlay & Greenberg/MacMaster, Emmerson, Kerr, Perlman, Skye): AA'BB' (Dunlay & Greenberg/Campbell). 'Haughs' are the low-lying ground along a river, in this case the Cromdale. The melody is an example of a strathspey of the schottisch structure, states Emmerson (1971); two accents to the bar {on the first and third beats of the measure} instead of one. Dunlay & Greenberg point out there are two main strains of the tune: both have similar 'A' parts, but the 'B' parts differ, one beginning on the tonic/I chord and one beginning on the VII chord. They speculate that the tune originally had only one part, as many ballads did, but that differing second turns were added to it later. John Glen (1891) finds the earliest printing of the tune in Angus Cumming's 1780 Scottish collection (A Collection of Strathspeys or Old Highland Reels, pg. 15), though it also appeared in print the same year in Alexander McGlashan's Collection of Reels as "Merry Maid's Wedding." Creighton and Calum MacLeod (1979) find it earlier in Scotland in the Margaret Sinclair Manuscript (c. 1710) under the title "New Killiecrankie," and Dunlay and Greenberg report it was said to be in an older manuscript under the title "Wat ye how the play began."
***
A Scottish country dance also goes by the name of "Haughs of Cromdale," one of the relatively few that go in strathspey tempo. Flett and Flett (1964) date the dance from somtime after 1855, the date of the introduction of the Highland Schottische, for Haughs incorporates the Highland Schottische's movements. In the Dalbeattie district of Kirkcudbrightshire before 1914 the dance was very popular, according to an informant (Mrs. Margaret Patterson of Auchencairn) who danced it as a young girl. Mrs. Patterson remembered the dance always was accompanied by a briskly played schottische such as "Kafoozalum," "Orange and Blue" or "Wha's a' the steer, kimmer."
***
During the battle of the Haughs of Cromdale in the 17th century a piper in the routed Jacobite army under the inept General Buchan bravely attempted to rally his comrades. Though badly wounded, he clambered atop a rock and continued to play until he expired; the very rock can be seen today and is still named Clach a Phíobair, the Piper's Stone (Collinson, 1975). Perhaps in memory of this feat of bravery, "Haughs of Cromdale" was one of the pipe tunes played by the British 92nd Regiment at the battle of Maya, 1813, which served to so inflame the Highlanders that they charged the French, who became so panic stricken at their audacity that they turned and ran (Winstock, 1970; pg. 139). David Glen (in his bagpipe Tutor) states the tune was the "charge and double post of the Gordon Highlanders." Dunlay & Greenberg find the tune set as both a march and a strathspey in various bagpipe collections, including Logan's Complete Tutor for the Bagpipes and The Scots Guards Collection (set as a four-part march).
***
As with many popular British Isles tunes, there were various sets of words attached to it. "As I came in by Auchindown" is one common ballad sung to the air (which tells of a battle with the English on the haughs) and can be found in James Hogg's Jacobite Relics of Scotland (Vol. 1, 1819). "Birniebouzle" is another song set to "Haughs". In Cape Breton there was a Gaelic song entitled "Sid mar chaidh an cal a dholaigh" (That is How the Kale/Cabbage Was Ruined/Spoiled) that tells the amusing story of a meeting between Scottish Highlanders and Lowlanders at an inn and how the kale broth was ruined while the lady of the house was dancing (Dunlay & Greenberg). Bayard identifies this as one of the tunes from the large "Welcome Home" tune family. See "Cape North Jig" for a 6/8 time setting of "Haughs" and the A Minor Irish variant "Tralee Gaol." Sources for notated versions: John Campbell (Cape Breton) [Dunlay & Greenberg]; Kevin Chaisson (b. 1950, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pgs. 36 & 85. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 65, pg. 153. David Glen (Bagpipe Tutor), 1876-1901 (two settings). Gow (Beauties of Niel Gow), 1819. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 14. Kerr (Merry Melodies), Vol. 1; Set 7, No. 1, pg. 6. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 85. MacDonald (The Gesto Collection). Middleton's, 1870. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 198. Stewart-Robertson (The Athole Collection), 1884; pg. 249. Surenne (Dance Music of Scotland), 1852. ACC-49290, Natalie MacMaster - "Road to the Isle." ACC-4925, Tara Lynne Touesnard - "Heritage." Kicking Mule KM-327, "Scartaglen" (1984. Played as a march). RCC-102, Ian McKinnon & Rawlins Cross - "Crossing the Border" (1991). RMD-CAS1, Rodney MacDonald - "Dancer's Delight" (1995). Rounder 7003, John Campbell - "Cape Breton Violin Music"(1976. Appears as "Traditional Strathspey," side two).
T:Haughs of Cromdale
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:E Minor
e|B<E E>F B>A F<A|B>E E>F D>EF>A|B<E E>F B>AF>A|
d>BA>F ~E2 E:|
|:F|D<d d>e d/^c/B/A/ d2|F<A A>B A<F A2|B<e e>f g>fe>d|
B<d B/A/G/F/ E2E:|
HAVE YOU HEARD OF A FROLICSOME DITTY. AKA - "The City Ramble," "Jolly Gentleman's Frolick," "Give Ear to a Frolicsome Ditty," "The Rant." English, Air. The air appears in John Gay's Beggar's Opera (1729) under the title "How happy could I be with either." Kidson (1922) dates it to the 17th century, and says a number of songs were written to it. Raven (English Country Dance Tunes), 1984; pg. 60.
HAWTHORNE TREE OF CAWDOR (Freumh a's Craobh Taigh Challadair). AKA and see "Cawdor Fair," "Cock a Bendie," "Go on Lads and Give a Tune." Scottish, Strathspey or Slow Air. A Minor. Standard. AABB. "This popular air is mentioned as old, by Mr. Gow. The editor discovering it under the mane now given in MS. of Mr. Campbell of Budyet, formerly mentioned, corroborates that truth. This gentleman was a cadet of the family of Lord Cawdor, and a celebrated composer and modeller of our best strathspeys. The hawthorne tree is still visible in Cawdor Castle, and is so venerated as the roof-tree of the family, that, on an annual meeting of his lordship's tenants and other friends, usually held on the day of Cawdor Fair, to drink 'the hawthorne tree',-- hence the probability of its having been composed by Mr. Campbell for the occasion" (Fraser).
***
Although Cawdor is known as the seat of the powerful Campbell clan, it was not originally built by them, and has a long history. The first Thane of Cawdor was appointed by the Scottish king Alexander II in 1236; the third Thane was murdered by a neighbor, Sir Alexander Rait of Rait Castle. Cawdor Castle itself started as a 14th century tower, to which were added parapets, an upper story and a massive iron yett in 1454-1455. The ranges were added in the 16th and 17th centuries. The Campbells obtained control of the fortification by capturing the twelve-year-old heiress in 1511 and marrying her to the Earl of Argyll's son, at which time the clan retained the castle. During Bonnie Prince Charlie's Jacobite Rising of 1746, the Campbells gave refuge to Lord Lovet there. Legend has it that Cawdor Castle is inhabited by, not one but two ghosts; one is a lady in blue velvet and the other is John Campbell, the first Lord of Cawdor
***
HAY NOW THE DAY DAWES. AKA and see "The Day Dawes/Dawns." Scottish, Dance Tune and Air. The song appears in the early publication "Gude and Godlie Ballates." According to Emmerson (1971), in the early 17th century the tune was in the repertoire of Habbie Simpson, the piper of Kilbarchan--
Now who shall play 'The day it daws',
Or 'Hunt's up when the cock he craws'?
HOW HAPPY COULD I BE WITH EITHER. AKA and see "Have you heard of a frolicsome ditty?" "Give an ear to a frolicsome ditty," "The Rant," "The City Ramble." The air appears in Gay's Beggar's Opera of 1729, however it is a 17th century air to which a number of songs were sung (Kidson, 1922).
I'LL NEVER LOVE THEE MORE [1]. AKA and see "My Dear and Only Love Take Heed." Irish, Scottish, English; Harp and Song Air (6/4 time). G Major. Standard. AB (Flood): ABCD (Chappell). An Irish harp melody adapted to a song which was picked up by some Puritan troops in Ireland, states Flood (1905), in claiming that Isle as ancestral for the air. The title is John Gamble's, but Flood believes it was previously adapted to other words by (Scottish) James Graham, Marquis of Montrose, who was executed in 1650. The alternate title given above is the first line of the words given by Gamble. Chappell (1859), of course, sees the tune as English, and finds the early English references to it in the Pepys Collection and others, leading him to believe that the tune, in its original form, was from the time of James I, in the early 17th century. He notes Graham's version of the lyrics, but, as far as ascribing the tune to him, says: "This is obviously a mistake: we have seen that the ballad was printed in the early years of the (17th) century, and the Marquis of Montrose was not born till 1612. He does conceed that Montrose's words made the tune popular in Scotland, but that, strictly speaking, the tune is erroneously contained in collections of Scottish music. Source for notated versions: John Gamble's MS, 1659 [Chappell & Flood]. Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pgs. 1909-191. Flood (The Story of the Harp), 1905, pg. 95.
´IM BÓ AGUS UM BÓ. AKA and see "Burns's March," "Huggad de gadda freed a mony" ("Chugad a'gadaidhe fríd a'mónaidh"), "Pretty Peggy," "Steal a Cow and Eat a Cow." Irish, Air (4/4 time). The Gaelic title is a nonsense refrain. Ann Heymann (1988) states it was common to many songs with various tunes, "and was popular enough in the 17th century to be used by a poet from County Kerry in a composition about a favorite dog which had choked to death on a mouse." At the beginning of the 19th century the ancient harper Denis Hempson gave the collector Bunting a translation of two verses he knew of one song which used the refrain about a celebrated harper he said lived "250 years ago:"
***
Here lies Lappin, harpers' king,
Whose fingers deserve a golden string.
His body lies here, his soul flies high,
Serenading David in the sky.
Siombo agus uambo
***
Here we spend our days
Giving Kate and Lappin praise
Now we quit and bid adieu
To Royal Kate and Lappin too.
Is iombo is uambo
***
(Heymann, 1988).
IN SAD AND ASHY WEEDS. English, Air (3/2 time). C Major. Standard. AABC. This air appears in Sir J. Hawkins' transcripts of 17th century virginal music. Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pg. 156.
I WISH I WERE WHERE HELEN LIES. Scottish, Slow Air or Lament (3/2 time). D Major. Standard. AB. The words indicate that the place Helen lies is a grave, not a bed, and it is therefore a lament rather than a love song, states Johnson (1983). It has some characteristics of the 17th century French sarabande. The tune appears in the Leyden lyra-viol manuscript (c. 1695) which contains two settings for gamba, the first of which is a slow air and the second a jig. Johnson says the two appear consequitively and appear to be intended to be played one after the other in a short suite in air-jig form. Source for notated version: The Bowie MS. [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century), 1983; No. 2, pg. 22.
HUNTER IN HIS CAREER, THE. AKA and see "Basse's Career," "Mr. Basse, His Career," "The Falconer's Hunting." English, Country Dance Tune (4/4 time). F Major. Standard. AAB. The air appears in the Gordon Lute Book (Straloch MS) of 1627. As with many popular airs, several songs to it were written in the 17th century. The tune is alluded to in Walton's "Angler," according to Chappell (1859), where Piscator says:
***
I'll promise you I'll sing a song that was lately made at
my request by Mr. William Basse, one that made the
choice songs of 'The Hunter in his Career', and 'Tom
of Bedlam', and many others of note.
***
Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 198. Raven (English Country Dance Tunes), 1984; pg. 11.
IRISH WASHERWOMAN, THE (An Bhean Niochain Eireannach). AKA and see "Corporal Casey," "Country Courtship," "Dargason," "Irishwoman," "The Irish Wash-Woman," "Irish Waterman," "Jackson's Delight," "Paddy McGinty's Goat," "The Wash Woman," "The Scheme," "The Snouts and Ears of America," "Star at Liwis," "Sedany." Irish, English, Scottish, American; Double Jig. USA; Very widely known. G Major ('B' part is in G Mixolydian in some Scottish versions). Standard. AA'B (Breathnach): AABB (most versions): AA'BB' (Gow, Perlman): AABBCC (Ashman). Although the tune has popularly been known as an old, and perhaps quintessential Irish jig, it has been proposed by some writers to have been an English country dance tune that was published in the 17th century and probably known in the late 16th century. Samuel Bayard (1981), for example, concludes it probably was English in origin rather than Irish, being derived from the air called "Dargason," or "Sedany" as it is sometimes called. Fuld (1966) disagrees, believing "Dargason" (which he gives under the title "Scotch Bagpipe Melody") and "The Irish Washerwoman" developed independently. "Dargason" was first printed in Ravenscroft's Pammelia (1609) and appears in the Playford's Dancing Master editions from 1651 to 1690, but subsequently the "folk process" melded the strain to other parts, thus making other tunes (see "The Green Garters" for example) including the precursors to the Washerwoman tune. One of these precursors was the English tune "Country Courtship" which dates from at least 1715 and probably to 1688, in which latter mentioned year it was first entered at Stationers' Hall. "The Irish Washerwoman" appears to have developed from "The Country Courtship," which was extremely popular in the 19th century, as the tune under the "Washerwoman" title was to become a little later. The ending of the jig is the same as the endings of "In Bartholemew Fair" and "The Free Masons." Breathnach (1976) finds the second part identical to that of "Star at Liwis or The Scheme" printed by Walsh in Caledonian Country Dances (c. 1730, pg. 59).
The melody was found by the author of English Folk-Song and Dance (pg. 144) in the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway between Churt and Thursley in Surrey), who used, in his younger days, to play at village dances. Tilbury learned his repertoire from an uncle, Fiddler Hammond, who died around 1870 and who was the village fiddler before him. The conclusion was that "Haste to the Wedding" and melodies of similar type survived in English tradition (at least in southwest Surrey) well into the second half of the 19th century.
***
A variant of the modern version of the tune appears as air 13 in Samuel Arnold's stage piece The Surrender of Calais, report Van Cleef and Keller (1980), which was first performed in London in 1791. It was sung by the character O'Carrol, and Irish soldier, and the song became known as "Corporal Casey:"
***
When I was at home I was merry and frisky
My Dad kept a pig and my mother sold whiskey.
My Uncle was rich but he would never be easy
'Til i was enlisted by Corporal Casey.
Oh, rub a dub, row de dow Corporal Casey,
My dear little Sheelah I thought would run crazy,
Oh when I trudged away with tough Corporal Casey.
***
As "Corporal Casey," the tune appears in Instructions for the Fife (London, 1795). The melody also found its way into various broadsides and similar 'low' publications, such as the latter 18th century "Irishman's Epistle to the Officer's and Troups at Boston" (sic). Later the song "Paddy McGinty's Goat" was set to the tune of "Irish Washerwoman." Shropshire musician John Moore penned a version in his notebook of c. 1837-1840 which has a third part in 3/8 time, breaking the pattern of the rhythm--perhaps, thinks editor Gordon Ashman, it was used in an introductory mode for "setting" or "step to your partner."
***
Fuld (1966) finds the earliest printings of the tune under the title "Irish Washerwoman" to be in Neil Gow's A Third Collection of Strathspey Reels &c for the Piano-forte, Violin and Violoncello (1792) and James Aird's A Selection of Scotch, English, Irish and Foreign Airs (1794). Breathnach noted Dublin publication of "The Wash Woman" by Henry Mountian, c. 1785 and Ó Canainn (1978) finds it printed in Brysson's A Curious Selection of Favourite Tunes with Variations to which is appended "Fifty Favourite Irish Airs" (Edinburgh, 1790) under the title "Irish Waterman." Fuld also finds the melody under the title "The Melody of Cynwyd" in Edward Jones' Musical and Poetical Relicks of the Welsh Bards (London, 1794). Bruce Olson suggests that "The Wash Woman" was probably the original title, with 'Irish' being prefixed to the title outside of Ireland as an identifier--he thinks there were probably many tunes with 'Irish' in the title that identified place of origin and that were not part of the original title.
***
By the end of the 18th century the tune was identified with Ireland, and it is not surprising that that country also has laid claim to the tune. It has been reported that it was written by 19th century piper, fiddler and composer "Piper" Jackson, who was from either County Limerick or County Monaghan (according to the Boys of the Lough). Breathnach (1976) reports that Henry Mountain, No. 20 White Friar Street, Dublin, printed the melody in about the year 1785, calling it "The Wash Woman," a favourite New Country Dance. A few years later is appeared in Lee's New Collection of Irish Country Dances for the year 1788. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). In modern times in Ireland the tune is rarely played, remarks Caoimhin Mac Aoidh, as it is considered trite and hackneyed, though it does retain strong currency among County Donegal fiddlers who play several elaborate versions. Doolin, County Clare, whistle player Micho Russell called it "The Big Jig."
***
American versions with the "Washerwoman" title appear toward the end of the 18th century. It was contained in A Collection of Contra Dances (Stockbridge, Massachusetts, 1792) under the title "Irish Wash Woman," and several American dance copybooks contain various dances to the melody, including Nancy Shepley's Manuscript (Pepperell, Massachusetts, c. 1795) and different figures in Asa Wilcox's MS (Hartford County, Conecticut, 1793). A third dance can be found in Gentleman and Lady's Companion (Norwich, Connecticut, 1798), while A Collection of Contra Dances (Stockbridge, Massachusetts, 1792) gives a dance similar to that copied by Shepley. Van Cleef and Keller (1980) state the name changes from "Irish Wash Woman" to "Irish Washerwoman" around 1795. The tune retained its popularity, at least for contra dancing, and was cited as having commonly been played for Orange County, New York country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly), by 20th century Arizona fiddler Kenner C. Kartchner for dances in the Southwest, and by contemporary Buffalo Valley, Pa., dance fiddlers Ralph Sauers and Harry Daddario. Viola "Mom" Ruth, in her collection Pioneer Western Folk Tunes (1948) appends to the "Irish Washer Women" that it was what she played when she "Won the state's (Arizona) championship 1926." Other than for dancing, it was popular as a vehicle for "American stage Yankees," and according to Bronner (1987) it was included in the music to the "Federal Overture" (published by B. Carr in 1795) which played to theatres in Philadelphia and New York just prior to and at the beginning of the 1800's. Outside of the east coast Musicologist/folklorist Vance Randolph recorded the tune for the Library of Congress from Ozark Mountain fiddlers in the early 1940's and it was recorded as having been predicted by a local southwest Alabama paper (the Clarke County Democrat) in May, 1929, that it would by played at an upcoming fiddlers' contest. It appears in the repertoire list of Maine fiddler Mellie Dunham (the elderly Dunham was Henry Ford's champion fiddler in the 1920's). Referred to by Bayard (1944) in his note for "The Snouts and Ears of America," and Breathnach (1976) regards it as a "stain on the honour of washer women" that the tune was used for that song and "Paddy McGinty's Goat" in the United States. Bayard reports that in Pennsylvania the following rhymes were collected with the tune:
***
Jim Doodle, he dramp that his father was dead,
And his father he dramp that Jim Doodle was dead. (x2)
Chorus:
Jim Doodle, Jim Daddle, Jim Doodle, Jim Daddle,
Jim Doodle he gramp that his father was dead;
Jim Doodle he dramp that his father was dead,
And his father he dramp that Jim Doodle was dead.
or:
Jim Doodle didn't know that his father was dead,
And his father didn't know that Jim Doodle was dead,
And they both lay dead on the same damn' bed,
And neither one knew that the other was dead. (Bayard)
***
I have heard nearly the same rhyme with the name "McTavish" substituted for "Jim Doodle." Also from Pennsylvania:
***
We've plenty of horses, the best to be got,
The ones that can canter, the ones that can trot-- (Bayard).
***
Introduced to the Shetland islands "by Scots girls (in the last decade of the 19th century) who came up in their hundreds during the herring season to live and work as gutters and packers at the numerous fishing stations which mushroomed each year around the Shetland shoreline" (Cooke, 1986).
***
Perlman (1996) notes that, unlike Ireland, the tune is one of the most widely played by fiddlers on Prince Edward Island. At the beginning of the 20th century in Cape Breton a solo dance called The Irish Washerwoman was in the repertoire of Donald Beaton, an itinerant tailor and an influential dancer and fiddler in the region around Mabou. It originally consisted of 12 steps.
***
Sources for notated versions: John Bennett (Cimarron County, Oklahoma) [Thede]: Edson Cole (Freedom, N.H.) [Linscott]; {1} Floyd Woodhull, 1976 and {2} Hornellsville Hillbillies, 1943 (New York State) [Bronner]; 13 southwestern Pa. fiddlers and fifers [Bayard]; fiddler Paddy Fahy, 1970 (Ballinasloe, Co. Galway, Ireland) [Breathnach]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; Attwood O'Connor (b. 1923, Milltown Cross, South Kings County, Prince Edward Island) [Perlman]. Adam, 1928; No. 3. Allan's Irish Fiddler, No. 14, pg. 4. American Veteran Fifer, 1902 & 1927; No. 11. Ashman (The Ironbridge Hornpipe), 1991; No. 1, pg. 1. Bayard (Dance to the Fiddle), 1981; No. 446A-M, pgs. 415-419. Breathnach (CRE II), 1976; No. 19, pg. 12. Brody (Fiddler's Fakebook), 1983; pg. 140. Bronner (Old-Time Music Makers of New York State), 1987; No. 9, pg. 55 and No. 19, pg. 89. Carlin (The Gow Collection), 1986; No. 336. Cazden (Dances from Woodland), 1945; pg. 12. Cazden, 1955; pg. 23. Cole (1001 Fiddle Tunes), 1940; pg. 57. Ford (Traditional Music in America), 1940; pg. 43. Harding's All-Round, 1905-1932; No. 201. Harding Collection (1915) and Harding's Original Collection, 1928; No. 187. Howe (Diamond School for the Violin), 1861; No. pgs. 44 & 62. Jarman, Old Time Fiddlin' Tunes; No. or pg. 8. Johnson, Vol. 8, 1988; pg. 5. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 10 (appears as "Circassian Cirle"). Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 94; pg. 46. Kerr (Merry Melodies), Vol. 1; No. 8, pg. 36. Linscott (Folk Songs of Old New England), 1939; pg. 117. O'Malley, 1919; pg. 3. O'Neill (1915 ed.), 1987; No. 164, pg. 91 (appears as "The Irishwoman"). O'Neill (1001 Gems), 1986; No. 317, pg. 67. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 129. Phillips (Fiddlecase Tunebook), 1989; pg. 30. Raven (English Country Dance Tunes), 1984; pg. 108. Reavy, 1979; No. 38. Reavy, No. 90, pg. 100 (an idiosyncratic version). Ruth (Pioneer Western Folk Tunes), 1948; No. 22, pg. 9. Stewart-Robertson (The Athole Collection), 1884; pg. 139. Sweet (Fifer's Delight), 1964/1981; pg. 32. Thede (The Fiddle Book), 1967; pg. 118-119. Trim (Thomas Hardy), 1990; No. 46. White's Excelsior Collection, 1907; pg. 73. Flying Fish FF70610, Robin Huw Bowen - "Telyn Berseiniol fy Ngwlad/Welsh Music on the Welsh Triple Harp" (1996. Appears as "Yr Hen Olchyddes/The Washerwoman"). Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker (Michigan)" (1966). Fretless 122, Emile Boilard- "Old Time Fiddling 1976". North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." RCA Victor LCP 1001, Ned Landry and His New Brunswick Lumberjacks - "Bowing the Strings with Ned Landry." Supertone 9169 (78 RPM), Doc Roberts (Ky.). Victor 20537 (78 RPM), Mellie Dunham, 1926. Pibroch MacKenzie - "The Mull Fiddler" (1969). Bob Smith's Ideal Band - "Better than an Orchestra" (1977).
T:Irish Washerwoman
L:1/8
M:6/8
R:Jig
B:The Athole Collection
K:G Major
d/c/|BGG DGG|BGB dcB|cAA EAA|cAc edc|BGG DGG|BGB dcB|cBc Adc|
BGG G2:|
|:d|gdg gdg|gdg bag|=fcf fcf|=fcf agf|egg dgg|cgg Bgg|cBc Adc|BGG G2:|
JOHN ANDERSON MY JO. Scottish, Air and Country Dance Tune (4/4 time). A Minor. Standard. AABB'. Kidson (1915) asserts the tune comes from "remote antiquity," meaning in the case the 16th or 17th century. Alburger (1983) finds "John Anderson" in the Agnes Hume MS (1704), which includes "the earliest Scottish descriptions of a country dance with music, (in which the tune) in the original is written out completely four times," but Emmerson and others find earlier, prototype, versions in lute manuscripts such as the Rowallan (c. 1612-28) and Skene (1615-20).
***
Mary W. Stuart dates the words and tune to about 1560, and relates that the hero of the ditty was traditionally supposed to "have been the town-piper of Kelso and a very gay dog." "John Anderson" is called for twice as the vehicle for songs in Allan Ramsay's Tea-Table Miscellany (1724), however, many different sets of lyrics were set to it including some famously bawdy songs as well as Robert Burns' famous lyrics, contributed to James Johnson's Scots Musical Museum (vol. iii, 1790). The melody retained its popularity and became a favorite song of the early 19th century, at least in Lowland Scots centers, records Emmerson (1971), who notes it (probably with the Burns lyrics attached) was among those selected by Queen Victoria for John Wilson's recital during her 1842 visit to Taymouth Castle (Wilson was the foremost professional singer of Scots songs of the time). There are reportedly some forty variants of the tune, which can be found in England (e.g. "Pauls' Steeple," "I am the Duke of Norfolk"), in Wales to Welsh words ("Yn Nyfrfryn Clwyd" {The Vale of Clyde}), in Ireland and Scotland with Gaelic and English lyrics ("Cruiskeen Lawn"), in Sweden (see Macfarlane), and in America as "When Johnnie Comes Marching Home Again." Cazden (et al, 1982) points out that writers differ greatly on which tunes should be considered related to each other and which should be considered as separate and distinct melodies. Lyrics to the tune generally depict attempts to entice or a frustrated complaint with the protagonist:
***
John Anderson, my jo, cum in as ze gae by,
And ze sall get a sheip's heid well baken in a pye;
Well baken in a pye, and the haggis in a pat;
John Anderson, my jo, cum in, and ze's get that.
***
From the Merry Muses:
***
John Anderson, my jo John, I wonder what you mean,
Ye're goin' on the spree John, and stayin' oot at e'en.
***
Ye're going to Lucky Fill the Stoups, ye meet wi' Cooper Will,
Ye sit and booze like silly gowks, and aye the other gill.
***
David Herd's collection of Scottish Songs and Heroic Ballads (1776) gives the verse:
***
When I was a wee thing, and just like an elf,
All the meat that e'er I gat, I laid upon the shelf.
The rottens and the mice, they fell into a strife,
They wadnae let my meat alane till I gat a wife.
***
Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 13, pg. 34.
JOHN COME KISS ME NOW. English, Scottish; Air and Country Dance Tune (4/4 or cut time). England, Northumberland. G Major (Chappell): F Major (Emmerson, Johnson). Standard. One part (Chappell): AB (Emmerson, Johnson). Originally an English tune appearing in the Cuming Manuscript (a fiddle book from Edinburgh, 1723-4), the McFarlane Manuscript, 1740, (in an experimental air-jig-allegro form by William McGibbon), and the Gillespie Manuscript of Perth (1768), the title also appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. "John Come Kiss Me Now" is structured on an imported Italian 16th century form called "passamezzo moderno" (which involved stock chord progressions) and was the most popular tune in that form in both England and Scotland in the 16th and 17th centuries (Johnson, 1984). Despite several Scottish appearances, Simpson (in British Broadside Ballads) traces the tune in England to a lute-tablature mansucript of c. 1570. Both a once-popular French tune known as "(Les) Bouffons/Buffons/Buffens" and the morris dance tune "Shepherd's Hey" equal the first (and sometimes sole) part of "John Come Kiss Me Now." The French variant was traced by Ward through European manuscripts back to the year 1552. Bayard notes that the tune was part of the Welsh harpers' tradition under the name "Pen Rhaw" (The Spade Head), but that second strains differ in nearly all sets of the tune he reviewed, and he concludes that the first strain formed the nucleus of the tune with other strains being independently joined. Chappell (1859) prints the first strain, which he finds (with fifteen variations) in The Fitzwilliam Virginal Book (c. 1650, therein credited to the famous English composer William Byrd), Robinson's New Citharen Lessons (1609), Airs and Sonnets, and a MS in the British Museum; another 16th century version appears in a MS book of "Airs and Sonnets" at Trinity College, Dublin, accompanied by verses in 16th century Scots. The first strain appears with a second in several more publications, including Playford's Introduction to the Skill of Music (1654), Musick's Delight on the Cithren (1666), A Book of Lessons for the Cithern & Gittern (1652), Apollo's Banquet for the Treble Violin, D'Urfey's Pills to Purge Melancholy, McGibbon's Scots Tunes (1768), and others. Emmerson (1971) reports that "John Come Kiss Me Now" survives in the second strain of the well-known country dance jig "New Rigg'd Ship;" reviewing the common-time version presented by Johnson, however, leads him to say the jig is best described as "a set of the old air." Robin Williamson's version is from Robert Edwards' Music Commonplace Book of 1650. Edwards was minister of Murroes Church in Angus, near Panmure House. Williamson explains that a number of airs were adapted in 16th century to lyrics which satirized the old church, so much so, in fact, that an act of Parliament was passed in 1552 condemning printers of "Ballattis, sangis, blasphematiounis, rymes" whether in Latin or English. The new Church of Scotland was quick to adopt the airs of songs popular at the time for religious purposes, even though many of the original lyrics were bawdy in nature (though what that nature might have been is apparently unknown. Chappell {1859} printed the first four lines but stated that nothing more remained of the original song, at least in English, though, as previously noted Scots versions do exist). The Church's first publication of these rewritten songs was in "Gude and Godlie Ballatis" (see also "Scots Wha Hae") in which "John Come Kiss Me Now" appears in what (to Williamson's mind) is a curiously sanitized version:
***
Johne cum kis me now
Johne cum kis me now
Johne cum kis me by and by
And mak no mair adow
***
which continues in the Church version:
***
The Lord, Thy God, I am
That Johne dois the call,
Johne representit man
Be grace celestiall etc.
***
Chappell finds several references to the tune in the literature throughout the 17th century, and deduces from these that it was used more as a dance than a song. In Thomas Heywood's A Woman killed with kindness, 1600, the tune is mentioned by Sisley, who says, "I love no dance so well as 'John, come kiss me now;" and in Tis Merry when Gossips Meet (1609), by Samuel Rowlands, can be found "Not an old daunce, but 'John, come kisse me now.'" John Hawkins writes disdainfully of the air in Cromwellian times:
***
...Fidlers and others, hired by the master of the house; such as
in the night season were wont to parade the city and suburbs
under the title of Waits...Half a dozen of fidlers would scrape
"Sellinger's Round," or "John, Come Kiss Me," or "Old Simon
the King" with divisions, till themselves and their audience were
tired, after which as many players on the hautboy would in the
most harsh and discordant tones grate forth "Greensleeves,"
"Yellow Stockings," "Gillean of Croydon," or some such
common dance tune, and the people thought it fine music.
***
Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 268. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 2, pg. 14. Johnson, Scots Musical Museum, 1792; No. 305. Flying Fish Records, Robin Williamson - "Legacy of the Scottish Harpers." Maggie's Music MMCD216, Hesperus - "Early American Roots" (1997).
T:John Come Kiss Me Now
L:1/8
M:2/4
S:Chappell - Popular Music of the Olden Times
K:F
F>G AG/F/|GD GA/G/|F>G A/G/A/B/|cC c2|F>G AG/F/|B/A/B/c/ dc/B/|
A/B/c/A/ G>F|F4||
T:John Come Kiss Me Now
L:1/8
M:C
S:Jones - Relicks (1794)
K:F
F3G AGAF|B3A BABG|F>G AGAB|cCEG cBAG|F3G AGAF|B2 B>B BcdB|
c3d cBAG|F2 E2 F4||
JOHN DORY [1]. English, Air (6/4 time). C Major. Standard. One part. This version is set as a canon by Ravenscroft in "Deuteromelia" (1609). Chappell (1859) believes that by the date 1600 there were already two distinct versions of this Elizabethan air extent, but that the original tune has not been definitely identified, though it could perhaps be this version, which he sees as the more archaic on stylistic grounds. Chappell finds many references to the tune in 17th century literature, including the following from a lampoon by Dryden, indicating its hackneyed status in his time:
***
But Sunderland, Godolphin, Lory,
These will appear such chits in story,
'Twill turn all politics to jest,
To be repeated, like 'John Dory',
When fiddlers sing at feasts.
***
Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pg. 93.
JOHNNY COPE [1] (Seanin Ua Copa). AKA and see "Fye to the Coals in the Morning," "General Coope." Scottish (originally), Canadian; Reel, Hornpipe or March: American, March (2/4) or Polka. Canada, Prince Edward Island. G Mixolydian/Minor (Gatherer, Johnson, O'Neill/1915): B Minor (Miller & Perron). Standard. AB (Bayard): AABB (Miller & Perron, O'Neill/1850, Perlman, Roche, Winstock): AABBCCDD (Gatherer): AABB'CCDDEEFFAABB' (Johnson). The tune is still played by Scottish regiments as their reveille. It is a satirical melody which commemorates the 1745 Jacobite rebellion when Sir John Cope (d. 1760) and the English were defeated by the Scots under Bonnie Prince Charlie at the Battle of Prestonpans, on the 22nd of September, 1745. In 1745, when Prince Charles landed in the highlands, Sir John was commander in chief in Scotland and he bravely resolved to march into the Highlands to oppose him. Cope was ill-prepared and outnumbered however, and soon retreated in the face of opposition in order to regroup. The rebels meanwhile secured Edinburgh and when they learned that Cope was marching to the city's relief they marched to meet him. Both armies neared each other at Prestonpans late in the day, separated by marshy ground, and it was resolved to wait until the next day to begin hostilities. During the night however, Prince Charlie was appraised by one of his troops that a passage or ford was to be had through the marshy ground and the rebels resolved to filter through at night and take the English forces by surprise in the morning. This was effected and the surprise was complete. Half awake and utterly bewildered, Cope's troops could make no effective resistance, and in a few minutes were in headlong flight. Only one round of ammunition was fired, and not one bayonet was stained with blood. Few except the cavalry made good their escape, the whole of the infantry being either killed or take prisoners. A later court of inquiry was convened to look into the debacle, though the result was that the common troops were blamed for the rout and Cope and all his officers were exhonerated.
***
The song lyrics and perhaps the music (the song is sung to the first two parts of the instrumental version) were written by Adam Skirving, an extremely literate East Lothian cultivator whose fields were tramped by the passage of the armies on the day of the battle. [There is a story that one of Cope's English officers took offense to Skirving's verses and desired to challenge him to a duel; Skiriving's comment on hearing the threat was "Let him come up here. If I can fecht him, I will. If not, I'll rin awa' just like he did."] Johnson (1983) notes the tune was unknown prior to 1750, but Bayard (1981) identifies "Johnny Cope" as a version of the older tune "Fye to the Coals in the Morning." The tune appears with variations by an anonymous but skilled local composer in the Gillespie Manuscript of Perth in 1768, and also in the McLean and Trotter manuscripts. A song by the title "Johnny Cope" is found in James Oswald's Caledonian Pocket Companion, published in London in 1760 with the alternate title "John Cope Trode the North Riding" (the North Riding is a section of Yorkshire). It appears in O'Farrell's, Vol. III (1810-20), pg. 51. O'Neill reports that a footnote in Wood's Songs of Scotland states that this old air originally consisted of one strain which was subsequently elaborated by the addition of a chorus or burden of a silly song; adapted to it was the first strain repeated an octave higher. Bayard (1981) agrees with Graham, and notes (similaryly with Wood) that the first part was the original strain added to in the second strain in instrumental versions by one melody, and in vocal versions usually by a strain resembling the Scots tune "Balquhidder Lasses." O'Neill snidely suggests that althought it was "claimed as Scotch, is in the Irish style and known all over Ireland;" the veracity of this is highly questionable for the tune closely follows "passamezzo antico" form, which was a particular style of stock chord progression imported from 16th century Italy and popular in England and Scotland in the 16th and 17th centuries. Bayard (1981) sees some resemblance between the first part of "Johnny Cope" and the second of the American tunes "Tennessee Wagoner," "Keep Off the Grass," and "Mississippi Sawyer;" he wonders if they are derivations. Similarly he sees resemblance between the second strain and the American collections of "Paddy on the Handcar." He also sees some resemblance between a "simple, fundamental strain" of Cope and some elaborated Irish hornpipe tunes, notably "The Groves" and "The Drunken Sailor" (they use the "Balquhidder" strain version plus some added parts). There is a legend that has been collected among Protestant Irish and fifers in Pennsylvania (Bayard, 1981) that has (falsely) the person of Johnny Cope a drummer boy in the Orange Irish forces who falls asleep on his watch on the very night of a surprise attack by the Catholic army. He was awakened just in time to sound the alarm by some birds pecking at some crumbs scattered on his drumhead--Bayard astutely points out that this story parallels the legend of the Capitoline geese, whose cackling awakened the Roman sentries in time to repel an ancient attack. As late as the mid-twentieth century these lyrics, based on the Scots words, were to be heard in American folk tradition sung to the tune:
***
Hey Johnnie Cope, are ye wakin' yet,
And are ye're drums a-beatin' yet? (Bayard)
The Scots chorus goes:
Hey Johnie Cope are ye wauking yet,
Or are ye sleeping I would wit;
O haste ye get up for the drums do beat,
Of fye Cope rise in the morning. (Robert Burns)
***
Beethoven arranged the melody for string quartet to accompany a vocal version of the tune around 1800. Sources for notated versions: McLean Collection (1772, pg. 23) [Johnson]; The Repository of Scots and Irish Airs (1799) [O'Neill]; Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 396, pg. 378. Buchan (101 Scottish Songs). Gatherer (Gatherer's Musical Museum), 1987; pg. 14. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 38, pg. 97. Kohler's Violin Repository (1881-1885). Miller & Perron (101 Polkas), 1978; No. 42. Oxford Song Book, Volume 2. Winstock (Songs and Music of the Redcoats), 1970.
X:1
T:Johnny Cope
Z:transcribed by Henrik Norbeck
M:2/4
L:1/8
K:Am
E | A>A cd | eA AA | G>G GB | dd BG |
cc dd | eg BB/B/ | Ae/e/ dB/B/ | A2 A:|
|: z | cc/c/ cc/c/ | ce g>c | Bc d>d | Bc d>d |
cc dd | eg B>B | Ae/e/ dB/B/ | A2 A:|
X:2
T:Johnny Cope
M:4/4
L:1/8
S:Doug MacPhee, piano
R:march
N:play slowly
B:Cape Breton's Magazine no. 43 (1980s)
Z:Paul S. Cranford
K:Ador
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JOCKEY DRUCKEN BABBLE. Scottish, Air. From the Skene Collection c. 1615, collected by or for John Skene of Hallyards in Midlothian, set in tablature for the mandora. "Perhaps it is a wry comment by one of the jockeys on the way their ancient learning was disregarded. The word 'jockey' is a corruption of 'joculator', a type of travelling minstrel. They are described in this manuscript extract (quoted by Dauney) from 'Reliquae Divi Andeae', by one Martine, secretary to the Archbishop of St. Andrews, Archbishop Sharpe, in the latter part of the 17th century: 'The bards at length degenerated in degrees into common ballad makers for they gave themselves up to the making of mystical rhymes and to magic and necromancy. To our fathers' times and to ours something remained of this ancient order and they are called by others and by themselves as 'jockies' who go about begging and use still to recite the sluggornes of most of the true ancient surnames of Scotland; from old experience and observation, some of them I have discoursed and found to have reason and discretion. One of them told me there were not above twelve of them in the whole isle but he remembered the time when they abounded so as at one time he was one of five that usuallie met at St. Andrews.' (Williamson)." Flying Fish FF358, Robin Williamson - "Legacy of the Scottish Harpers."
JOG ON (JOG ON THE FOOTPATH WAY). AKA and see "Hanskin," "Eighty-Eight." English, Country Dance Tune (6/4 or 6/8 time, with one bar in the part receiving an extra beat). G Major (Chappell, Kines): A Major (Sharp). Standard. One part. The air was published in Playford's English Dancing Master (1650), The Antidote against Melancholy (1661, set to the tune of "Hanskin"), and many other 17th century song collections, attesting to its popularity at the time. Shakespeare, in his play The Winter's Tale (act IV, scene 3), has Autolycus make his exit with one stanza of the song.
***
Jog on, jog on, the footpath way
And merrily bent the stile-a;
Your merry heart goes all the day,
Your sad tires in a mile-a.
***
Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pg. 159. Kines (Songs from Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 27. Raven (English Country Dance Tunes), 1984; pg. 42 (a facsimile copy of the Playford original). Sharp (Country Dance Tunes), 1909/1994; pg. 54. Harmonia Mundi 907101, The King's Delight - "17c. Ballads for Voice & Violin Band" (1993).
KATHARINE OGGLE/OGIE/OGGY. AKA and see "Catherine Logie," "Katherine Loggy," "Lady Catherine Ogle," "Ketrin Ogie," "Bonny Katherine Oggy." Scottish. The air, named after an unknown woman, was composed by Irish harper Rory dall O'Cahan, who lived in Scotland in the early 17th century. It appears earliest in the Scottish Panmure Manuscript #9454, c. 1675, Seventy Seven Dances, Songs and Scots Airs for the Violin, and was printed under this title in the Appendix to Playford's Dancing Master of 1686 (a note called it "a new dance"). On the strength of the Playford in his Dancing Master, 1686 edition, the English collector Chappell (1859) disputes the claim of Scottish ancestry. Chappell (1859), in fact, takes virulent exception to Stenhouse's scholarship regarding this tune after the latter claimed that the air was Scottish and dated it from the year 1680 (when it was sung by Mr. John Abell at a concert in Stationers' Hall). Chappell found that the only date Abell could possibly have sung it was in 1702, and he states that the earliest printing was in the Appendix to Playford's Dancing Master of 1686 (where it appears under the title "Lady Catherine Ogle"); Chappell, who claimed many Irish and Scottish airs as English, was evidently unaware of the version in the Panmure Manuscript when he accused Stenhouse of being deliberately misleading regarding its national origin. John Glen (1891) also disagrees with Chappell, noting that Chappell's own source, John Playford, published the tune a year before it was mentioned in The Dancing Master's appendix (1688) in Appollo's Banquet (5th edition, 1687) where it is called a "Scotch Tune" in footnotes and in fact appears under the title "A Scotch Tune" only. It appears in one of the earliest Scottish fiddler's manuscript repertory books, c. 1705, in the private collection of Frances Collinson (1971). Early Scottish printed versions include the Guthrie Manuscript (c. 1675), the Leyden Manuscript (c. 1692) and it is included in the Gillespie Manuscript of Perth (1768). Later Scottish printings were in Orpheus Caledonius (1725 and 1733 editions). A popular song to the air was written (or rather reworked) by Thomas D'Urfey in his Pills to Purge Melancholy (1719-20) entitled "Bonny Kathern Loggy." Later versions of the air appear in The Merry Musician; or, A Cure for the Spleen (1716) and Ramsey's The Tea Table Miscellany. Published editions of ballad operas which include the tune are The Quaker's Opera (1731), Polly (1729), The Beggar's Wedding (1729), Pattie and Peggie (1730), The Lover's Opera (1730) and The Highland Fair (1731). Later it was used by the poet Robert Burns as the vehicle for his song "Highland Mary" and appears in the Scots Musical Museum (No. 164). Flying Fish, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 2."
T:Katrin Ogie
L:1/4
M:4/4
K:Am
F|DGGG|AGG/2A/2c|AGA2|F3/2G/2AF|DGGG|AGGc|ddcA|G2A||\
c|dddA|cccG|AAAG|FGAF|DGGG|AGGc|ddcA|G2A|]
LAN(N)IGAN'S BALL (Feis-Rince Ui Lannagain). AKA and see "At the Side of the Road," "Flannigan" (Pa.), "When I Was a Young Man." Irish (originally), American; Double Jig. USA; New England, Maine, southwestern Pa. E Minor/Dorian (most versions): D Minor (Welling). Standard. AABB. The title comes from the comic song by one George or D.K. Gavan set to music by John Candy, according to a note in J. Diprose's songster of 1865 (Cazden, et al, 1982). The song appears in several publication of the 1860's and later decades and appears to be the most wide-spread of this tune genre. Bayard (1981) gives extensive notes on this tune, which he asserts is part of "a British traditional tune-family of widely varying developments and of probable considerable antiquity." He likens this tune family to a family of languages and their cross-currents of relationships of elements, forms, and structures. This family may or may not have developed from a single air. He divides many of the variant airs in this family into groups of related versions, of which the "Lannigan's Ball" tunes resemble all the others in one or more ways. The tune groups are 1) "Lannigan's Ball" (including "Dribbles of Brandy," "Young Francis Mooney," and two untitled jigs in Joyce's 1909 collection {Nos. 824 & 837}). 2) "Lumps of Pudding," which dates from the 17th century (including "Contentment is Wealth," "I'm Content With My Lot" {Ta Me Sasta lem' Staid}, and "The Day After the Fair"). 3) "Bung Your Eye" (including "Off to the Hunt," "The Antrim Lasses," "Tatter Jack," "The Boys of Carrigallen," "Mount Your Baggage," and "Bonnie Strathmore"). 4) "Kitty Alone". 5) "O As I Was Kist Yestreen" (including "House o' Duncan," "My Love is Lost to Me"). 6) Muirland Willie (including "The Northern Lass," "The Auld Maid of Fife," "The Shepherd's Wife," "My Boy Tammy" and "Forty Miles" {In Bayard's 1944 collection he thought "Forty Miles" was similar to "Lannigan's Ball," but in his 1981 collection he reconsidered it as a version of "Muirland Willie"}). The title appears in a list of Maine fiddler Mellie Dunham. The elderly Dunham was Henry Ford's champion fiddler in the mid-1920's. "At the Side of the Road" is given as an alternate title in O'Neill's 1001 Gems, while a set dance, "Hurry the Jug," appears to be an earlier form. Mulvihill (1986) gives the tune as an alternate for the dance The Bridge of Athlone. There was a céilí dance called Lannigan's Ball which was once quite popular. Sources for notated versions: Eben Patterson (elderly fiddler from Allegheny County, Pa., 1930's); Walter Neal (Armstrong County, Pa., 1952); Fred Miller & Glenn Gelnette (Jefferson County, Pa., 1949); Hoge MS (Pa., 1944) [Bayard]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Bayard (Dance to the Fiddle), 1981; No. 541A-D, pgs. 481-484. Cole (1001 Fiddle Tunes), 1940; pg. 68. Cranford (Winston Fitzgerald), 1997; No. 194, pg. 76. Jarman (Old Time Fiddlin' Tunes); No. or pg. 17. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 43. Kerr (Merry Melodies), Vol. 1; No. 9, pg. 36. Mallinson (Essential), 1995; No. 88, pg. 38. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 45. Mulvihill (1st Collection), 1986; No. 20, pg. 123. O'Lochlainn, 1939; No. 52. O'Neill (Krassen), 1976; pg. 34. O'Neill (1850), 1979; No. 858, pg. 159. O'Neill (1001 Gems), 1986; No. 118, pg. 35. Raven (English Country Dance Tunes), 1984; pg. 104. Roche Collection, 1983, Vol. 1; No. 105, pg. 45. Ryan's Mammoth Collection. Spaeth (Weep Some More, My Lady), 1927; pg. 222. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 29. Welling (Welling's Hartford Tunebook), 1976; pg. 22. White's Excesior Collection, 1907; pg. 10. White's Unique Collection, 1896; No. 16. Folkways 8826, Per's Four--"Jigs and Reels." Victor 20537 (78 RPM), Mellie Dunham (appears as one of tunes in "Medley of Reels"), 1926.
T:Lanigan's Ball
L:1/8
M:6/8
K:E Minor
E2F G2A|B2A B^cd|DED F2G|AdB AFD|E2F G2A|B2A B^cd|edB cBA|BGE E3:|
|:e2f g2e|fag fed|e2f g2e|fdB B2B|e2f g2e|fag fed|edB cBA|BGE E3:|
LEADER HAUGHS AND YARROW. Scottish. 'Haugh' (rhymes with loch) means the low ground by a river. Composition of the melody is attributed to the 17th century Border minstrel Nichol Burne (who was born c. 1650 according to Stenhouse and c. 1750 by Laing), also called 'Minstrel Burne' or 'Burne the Violer', whose portrait once hung in Thirlestane Castle, "a douce old man leading a cow by a straw rope". Collinson (1966) identifies it as a "pleasant and innocuous song air" that has no particular characteristics which would identify it as fiddle music. Some of the words of the song are but place-names, though "these fall as music on the Border ear -- 'Wanton-wa's', 'Whitslaid Shaws', "Braidwoodshiel', "Kaidslie Birds', etc." Williamson relates a story which has become attached to the tune:
***
A beauty named Midside Maggie lived with her husband, Thomas
Hardie, on their sheep farm high in the hills of Lauder parish. Tollishill
the farm was called. So Beautiful was she that their landlord, the Laird
of Thirlestane Castle, known as a hard hearted blackguard, was willing
to forego their rent, one year of terrible hardship, in exchange for a kiss.
This she spiritedly refused him, and he with a guffaw, suggested instead
that if the winters up in Tollishill were as cold as she claimed, let her
bring him a snowball next June for her rent. She packed snow in a high
cleft in the hills and brought it to him the following June, and he was
as good as his word. But Thirlestane, a Royalist, lost his lands after the
Civil War and found himself prisoned in the Tower of London. During
those years, Maggie and her husband set aside all rent due him. They
baked it into a bannock and set off to walk the 400 miles to London,
Maggie disguised as a man. Arriving at the Tower, they were admitted
as simple ballad singers, and sang beneath the gaol bars an air their
landlord would be sure to recognize. When he peered through the bars,
they tossed him the bannock full of money, with which he was able to
purchase his freedom. This gave rise to the saying "every bannock has
its maik (equal) but the bannock of Tollishill." The air they whistled
was Leader Haughs and Yarrow.
***
Flying Fish, Robin Williamson- "Legacy of the Scottish Harpers, Vol. 2."
LILLIBULERO. AKA - "Lilly Bullery." AKA and see "Bumpers Are Flowing," "Carawath Jig," "De bheatha ad' shlainte, Ui Shuilleabhain Mhoir," "Gogai o gog," "Green Goose Fair," "Irlandais (Jig)," "Jolly Companions," "The modes of the Court so common have grown," "Montrosse's March," "My Lord Mayor's Delight," "Old Woman Wither So High," "The Onehorned Cow," "Orange and Green Will Carry the Day," "The Pretender's March," "Protestant Boys," "The Retreat," "A rock and a wee pickle tow," "The Scotch March." English, Irish; Air (6/8 time) or Jig.