ALLAN WATER. Scottish, Air. F Major (Bowie MS): G Major (D. Young's Set). Standard. ABCD (Bowie MS): AABBCCDD (Young). The tune is listed in a collection of Scottish melodies by Playford printed in 1700. Early versions also appear in the Bowie MS., the McFarlane MS. (1740, in a setting by David Young), and in a c. 1705 fiddler's MS. book in the collection of Francis Collinson (one of the earliest fiddler's MS. books extent). Young's variations were written based on the tune that appears in the Bowie MS., and "are to be played rather slower than the simple set of the tune (in Bowie). For the work of a literate composer in 1740 they are extremely old-fashioned, and keep the tune's pentatonic mode almost intact" (Johnson, 1983). The title comes from a song set to the air, the words of which were given in Martha Brown's music-book of 1714. It begins:
***
Allan Water's wide and deep,
And my dear Annie's very bonnie. (Johnson/Brown)
***
The fiddle tune, however, does not fit exactly these lyrics, and needs be simplified and altered to fit. Johnson, 1983; pg. 23 (from the Bowie MS.) and pg. 102 (from the McFarlane MS).
ALLEN WATER. See "Allan Water."
ANDREW/ANDRO AND HIS CUTTIE GUN. Scottish, Strathspey. G Minor. Standard. AABBCCDD. The melody is a variant of "The Boyne Water" family of tunes (see discussions for "The Boyne Water," "The Cameronian Rant," "The Wee, Wee German Lairdie"). The melody appears in Allan Ramsay's Tea Table Miscellany of 1740. Carlin (The Gow Collection), 1986; No. 3.
ATHOLE BROSE. AKA and see "Buckingham House," "The Dogs Amongst the Bushes," "Niel Gow's Favorite." Scottish, Canadian; Reel or Strathspey. Canada; Prince Edward Island, Cape Breton. D Mixolydian or D Mixolydian/Major (Dunlay & Greenberg, Perlman). Standard. ABB (Skye): AABB (Gow, Kerr): AA'BB (Athole): AA'BB' (Perlman). "Athole Brose is, according to one recipe, a drink made from the water in which oatmeal has been soaked, mixed with honey and whisky. Stirred with a silver spoon, it is bottled and kept until needed" (Alburger, 1983). Alburger (1983) and Collinson (1966) credit composition to Abraham MacIntosh {b. 1769} (whose father was Robert 'Red Rob' Macintosh, also a fiddler and composer of notable ability), who first published it under the title "Buckingham House," first appearing in his father's Third Book. Glen (1891) and Emmerson (1971) remark that such belief is largely based on an ascription to 'Mackintosh, junior' in his father's third book, though it could refer to Abraham's brother Robert (though the latter did not publish any collection). Since the sub-title was "Niel Gow's Favourite," and it appears in Gow's Third Collection of Strathspey Reels (Edinburgh, 1792), it has often been mistakenly credited to that famous fiddler. The following lines appear in Alexander Whitelaw's Book of Scottish Song (1844):
***
You've surely heard o' the famous Niel,
The man that played the fiddle weel;
I wat he was a canty chiel,
And dearly loved the whisky, O
And aye sin' he wore tartan hose,
He dearly lo'ed the Athole Brose;
And wae was he, yu may suppose,
To bed 'farewell to whisky', O.
***
Cape Breton fiddlers play it as a strathspey in the key of D, where it is often the vehicle for stepdancing. It is also often the practice on the island to play the reel "General Stewart" (AKA "Lady Muir MacKenzie") following it (Dunlay & Greenberg, 1996). Cape Breton fiddler Jackie Dunn, in her thesis "Tha Bals na Gaidhlig air a h-Uile Fidhleir" (The Sound of Gaelic is in the Fiddler's Music), 1991, remarks that there is known to have been Gaelic words to "Athole Brose." In Ireland the melody is known as "The Dogs Amongst the Bushes." Sources for notated versions: Fr. Angus Morris (Cape Breton) [Dunlay & Greenberg]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 73, pg. 111. Carlin (The Gow Collection), 1986; No. 5. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 75. Gow (Collection), 1792. Kerr (Merry Melodies), Vol. 2; No. 148, pg. 17. MacDonald (The Skye Collection), 1887; pg. 73 & 74. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 189. Stewart-Robertson (The Athole Collection), 1884; pg. 118. ATL 8835, Dave MacIsaac & Scott MacMillan - "Live" (1993). CAT-WMR004, Wendy MacIsaac - "The 'Reel' Thing" (1994). Decca 14030, CX 005, Angus Allan Gillis (c. 1936). DMP6-27-2-4, Doug MacPhee - "The Reel of Tulloch" (1985). Nimbus NI 5383, Buddy MacMaster - "Traditional Music from Cape Breton Island" (1993). Paddledoo Music PAD 105, Alasdair Fraser - "Scottish Fiddle Rally, Concert Highlights 1985-1995" (1996).
T:Athole Brose
L:1/8
M:C|
R:Strathspey
B:The Athole Collection
K:D
A|:F>D D/D/D A,>DD>G|F>D D/D/D G<B A>G|1 F>D D/D/D A,<D D>=F|
E/=F/G C>E c>GE>G:|2 F>D D/D/D A,<D D>=F|E/=F/G C>E c<G E>C||
|:D<d d>c d>ed>c|A<d d>e =f>de>c|dd=f>d e>df>d|=c>dc>G E<C G>E:|
BANTRY BAY HORNPIPE (Cuain Beantraige). AKA and see "Union Hornpipe." Irish, Hornpipe. G Major. Standard. ABB (Miller & Perron, Moylan): AABB (Allan's, O'Neill {4 versions}, Tubridy). Collector and compiler Captain Francis O'Neill was quite taken by the tune, calling it "one of the most delightful traditional hornpipes in existence." The name Bantry is derived from the Gaelic ben, meaning 'horn' and refers to mountains. Thus Bantry is 'the peaks by the sea shore.' Sources for notated versions: learned off an old 78 RPM recording of Michael Hanafin by accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; Source for notated version: O'Neill learned the tune from an accomplished West Clare flute player (and Chicago police patrolman) named Patrick "Big Pat" O'Mahony, a man of prodigious physique of whom he said: "the 'swing' of his execution was perfect, but instead of 'beating time' with his foot on the floor like most musicians he was never so much at ease as when seated in a chair tilted back against a wall, while both feet swung rhythmically like a double pendulum" [O'Neill, Irish Folk Music]. Allan's Irish Fiddler; No. 108, pg. 27. Miller & Perron (Irish Traditional Fiddle Music), 1977; Vol. 1, No. 66. Moylan (Johnny O'Leary), 1994; No. 290, pg. 168. O'Neill (1915 ed.), 1987; No. 309, pg. 153 {an altered version to that which appears in O'Neill/Krassen}. O'Neill (Krassen), 1976; pg. 168. O'Neill (1850), 1903/1979; No. 1573, pg. 292. O'Neill (1001 Gems), 1907/1986; No. 823, pg. 142. Phillips (Fiddlecase Tunebook), 1989; pg. 10. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 25. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993). Flying Fish FF70572, Frank Ferrel - "Yankee Dreams: Wicked Good Fiddling from New England" (1991). Leader LEACD 2004, "Martin Byrnes" (1969). Revonah Records RS-932, the West Orrtanna String Band (Pa.) - "An Orrtanna Home Companion" (1978. Learned from Martin Byrnes and Kevin Burke).
T:Bantry Bay
L:1/8
M:4/4
R:Hornpipe
K:G
A|BGAG EGDE|G2 GF GBAG|EAAB cBAG|A/B/A GB A3B|
cece BdBd|ABAG E/G/E D2|BGAG EGDE|G2 GF G3:|
|:B|d2 eB dBGB|e2 ed e3f|gfed BGBd|g/a/g fa g2 ef|gbgf eged|
BGAG E/G/E D2|BGAG EGDE|G2 GF G3:|
BARBARA ALLAN [2]. AKA and see "The Boyne Water." Sean O Boyle (1976) remarks that "Barbara Allan" is a Scottish or English song which, like "The Ploughboy," "Young and Growing" and others, was transplanted to Ireland, where they often were sung to Irish airs.
BOYNE WATER, THE [1] (Briseadh na Bóinne). AKA and see "As Vanquished Erin," "The Battle of the Boyne Water," "Bayne Water" (W.Va.), "Barbara Allan" (Pa.), "The Bottom of the Punch Bowl," "Boyne Water Quickstep," "Cameronian Rant," "The Cavalcade of the Boyne," "Come Kiss Wi' Me, Come Clap Wi' Me," "Findlay," "King William's March," "Lass If I Come Near You," "Leading/Driving the Calves," "Leading the Calves in the Pasture," "Native Swords," "One Pleasant Morning Beside the Glen," "Playing Amang the Rashes," "Praises of Limerick," "The Rashes," "Rosc Catha na Mumhan," "Sheila Ni Gowna," "Song of the Volunteers," "Such a Parcel of Rogues in a Nation," "To Look for My Calves I Sent My Child," "The Wee German Lairdie" "Wha the Deil Hae We Gotten For a King," "When the King Came O'er the Water." Irish, Air or March (4/4 time). A Dorian (Breathnach, O'Neill, Perlman, Roche): E Minor (Joyce). Standard. AB (most versions): AA'BB (Breathnach). The name Boyne itself is derived from the name of the goddess Boinn, literally 'cow-white', "a name well suited to a pastoral people whose wealth was chiefly in cattle" (Matthews, 1972). The name of the tune, however, commemorates the Battle of the Boyne (named for the Boyne River in County Meath, eastern Ireland, though the battle itself was fought three miles west of Drogheda), fought July 1st, 1690, in which the English monarch King William III defeated the Irish forces under King James II. "It has always been, and still is, very popular among the Orangemen of Ulster (for it dashed the hopes of the Irish for religious freedom and the Stuarts for Kingship). The ballad follows the historical accounts of the battle correctly enough. The air is well known in the south (of Ireland) also, where it is commonly called Sebladh na n-gamhan, 'Leading the Calves,' A good setting is given by Bunting in his second collection: the Munster and Connaught versions are given by Petrie in his Ancient Music of Ireland, vol. II, p. 12. I print it here as I learned it in my youth from the singing of the people of Limerick, not indeed to 'The Boyne Water' of Ulster, but to other words (given below). My setting differs only slightly from that of Bunting; and it is nearly the same as I heard it played some years ago by a band on a 12th of July in Warrenpoint" (Joyce).
***
Samuel Bayard (1981) believes "Boyne Water" was composed in the seventeenth century, and thinks it has always been more of a vocal air rather than an instrumental tune. As witnessed by the myriad of titles in the beginning of this entry, it has been a popular air in the British Isles and, as Bayard states, "altogether, the forms suggest that it has undergone a long traditional development." He believes the second half may have been the original tune, with the first half being fashioned out of elements from earlier strains. Bronson discerns the origins of the whole tune family in a Scottish melody found in the Skene Manuscript of c. 1615. Flood (1913) dates the tune from c. 1645, long before the famous battle, though how he arrived at this date is obscure. Cowdery (1990) believes it may be from a reference to a melody published by Petrie (1855), called "To Seed for the Lambs I Have Sent My Child," in which the latter writer declared, "in its superior purity of expression, and in its passionate depth of feeling, affords intrinsic evidence of an original intention, and consequent priority of antiquity, which will not be found in that which I consider to be the derived from of it called 'The Boyne Water.'" O'Neill (1913) concludes the same Gaelic airs printed by Petrie are early antecedents of "Boyne Water," Nos. 1529 ("A Long mo Gamain" {To look for my calves I sent my child"}) and 1530 ("An Tuainirc na nGainna". Breathnach (1985), in CRE II (No. 124), gives a polka setting and remarks it was used for the last figure of the Clare polka set, and says that "Rosc Catha na Mumhan" (The Munster War-Cry) is sung to this air.
***
However old it actually is in oral tradition, Bayard (1991) finds the earliest printed appearances of the tune in William Graham's Lute Book of 1694 (as "Playing Amang the Rashes") and in D'Urfey's Pills to Purge Melancholy (where it appears as an untitled air). The melody remained in popular usage throughout the British Isles for well over two hundred years. Robert Burns set three songs to it in Johnson's Scots Musical Museum, and it was the vehicle for the Scots songs "The Wee, Wee German Lairdie" and "Andro and His Cutty Gun" (the latter from Alan Ramsay's 1740 edition of the Tea-Table Miscellany). In Ireland, Sir Thomas Moore used the melody for his c. 1825 song "As Vanquished Erin." The air was widespread in American usage, often heard as the tune the popular song "Barbara Allan" was sung to, which fact has been noted by several writers (Bayard, Cowdery, Cazden). It is, for example, identified by Cowdery (1990) as one of four tunes which carry the tale of "(Bonny) Barbara Allen" (the second strain of both Joyce's version and Bunting's "To seek for the Lambs..." is the portion of the Irish tune which corresponds to the America "Barbara Allen"). As "The Battle of the Boyne" it was included in a Philadelphia chapbook of 1805, and, under the title "The Buoying Water," as an instrumental piece in the 1790 Whittier Perkins Book (Cazden, et al, 1982). According to Bronner (1987), it was used for an 1815 hit American blackface minstrel song by Micah Hawkins called "The Siege of Plattsburgh" or "Backside Albany." Cazden prints it with the Catskill Mountain (N.Y.)-collected song "A Shantyman's Life," which he states can be found in most collections of lumber camp songs. O'Neill (1913) lists "Boyne Water" as one of the "splendid martial airs" of Irish music.
***
The political connotations of "The Boyne Water" long remained attached to the melody, even after it was imported to North America. Bayard (1981) relates that the mere playing of the tune in the presence of Catholic Irish in western Pennsylvania "could bring on a mass attack," and repeats the Fayette County story of an old Irishman digging potatoes in the garden while his wife followed along beside him picking the up in a sack. She absent-mindedly began singing the air, upon which he turned around and, incensed, brained her with one blow of his spade. In fact, Pennsylvania fifers declined to play the tune for Bayard at gatherings, fearing to destroy the harmony of the group with "political pieces." Sources for notated versions: George Strosnider (Greene County), Hiram Horner (Westmoreland County), Mrs. Sarah Armstrong (Westmoreland County) {All Southwestern Pa.} [Bayard]; flute and whistle player Micko Russell, 1969 (Doolin, Co. Clare, Ireland) [Breathnach]; Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident of Montague) [Perlman]. Bayard (Dance to the Fiddle), 1981; No. 317A-D, pgs. 271-273. Breathnach (CRE II), 1976; No. 124, pg. 66. Gow (Beauties), 1819. Joyce (Old Irish Folk Music and Songs), 1909; No. 151 and No. 377, pgs. 183-184. O'Neill (1850), 1903/1979; No. 204 & No. 260, pg. 45. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 208. Roche Collection, 1982; pg. 8, Vol. I, No. 4.
T:Boyne Water [1]
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:E Minor
ED|B,2 B2 B>cdB|AGFE D2 E>F|G2 FE BAGF|(E3D) B,2 E>D|B,2 B2 B>cdB|
AGFE D2 EF|G2 FE B>AGF|E4 E2||E>F|A2B2d2 e>f|e>d cB A3A|B2e2 e>def|
(e3d B2) Bc|dcde d2 cB|A>GFE D2 EF|G2 FE B>A GF|E4E2||
MONEY MUSK/MONYMUSK. AKA and see "The Countess of Airly (early 18th century)," "Sir Archibald Grant of Monymusk('s Strathspey)." Scottish (originally), English, Irish, Canadian, Old-Time, American; Reel, Strathspey, Highland, Breakdown. USA; New York State, Ohio, Michigan, Arkansas, Missouri, Nebraska, Maine, New Hampshire, Alabama. England; Shropshire, Northumberland. Ireland, Donegal. A Major (Ashman, Brody, Bronner, Christeson, Cole {reel}, Kennedy, Miller & Perron, O'Neill, Phillips, Raven, Sweet): G Major (Athole, Cole {strathspey}, Cuillerier, Ford, Gow, Honeyman, Hunter, Peacock, Phillips). Standard. One part (Burchenal): AB (Cole {strathspey version}, O'Neill/1850 & 1001): AAB (Gow, Hunter): AA'B (O'Neill/Krassen): AABB (Ashman, Brody, Ford, Kennedy, Linscott, Miller & Perron, Peacock, Raven, Sweet): AABB' (Athole, Kerr, Skye): AA'BB' (Cuillerier): ABC (Honeyman): AABBCC (Christeson): ABCCDD (Cole): AABBCCDD (Brody): AA'BB'CC'DD (Phillips/Block): AA'BCAA'BC' (Phillips/Miller). A pipe tune (written within the range of nine notes, with double tonic tonality) and the name of an Aberdeenshire, Scotland, estate. 'Moneymusk' is the English for the Gaelic 'Muine Muisc' meaning a noxious weed or bush. It was composed by Daniel (sometimes Donald) Dow (1732-1783) in 1776 and first appeared in his Thirty Seven New Reels, c. 1780, as "Sir Archibald Grant of Monymusk's Strathspey." Linscott (1939) says it was called "The Countess of Airly" in the early 18th century, and came from the village of Monymusk, in Aberdeenshire, Scotland." Bayard (1981) states that if Dow did "compose" the tune then he certainly had access to earlier models for it, for both "The Ruffian's Rant" and "Roy's Wife of Aldivalloch" are cognate. Alburger (1983) also identifies Daniel Dow (1732-83) as the composer of "Sir Archibald Grant of Monemusk's Reel," but says when the Gows published it in their 1799 Repository, Part First, they altered it rhythmically (by adding more 'Scots snaps' and smoothing out some dotted patterns for variety) and shortened the name to "Monymusk, A Strathspey." Dow was born in Kirkmichael, Perthshire, and became a music teacher in Edinburgh where he taught, among other instruments, the guitar. His compositions were well received in his lifetime and survive today. When he died at the age of 51 in the winter of 1783 he was buried in the Canongate Churchyard; a concert to benefit his widow and children was given shortly after his death in St. Mary's Hall, Niddry's Wynd, where he had often given his own concerts over the years.
***
Cape Breton, Nova Scotia, fiddlers, who retained the old Scottish tradition, play the tune as a strathspey in G Major, as set in older collections. There were some Scottish fiddlers, skilled enough on their instruments to vary the playing of such tunes and venture further afield musically than the usual 'fiddle keys'. When Jamie Duncan tried it, however, he was taken to task by a fiddling tailor:
***
I've keepit dacent company a' my days and I'm nae gaun to change my
ways noo. At this moment Jamie Duncan's playing 'Mony Musk' in
four flats, and I say that the man that wad do that is fit for ony kin' o'
rascality.
***
Caoimhin MacAoidh (1997) has remarked that "Moneymusk" was absorbed into Irish tradition through the Ulster counties, but was played as far south as Clare and Cork. In Donegal (in the north of Ireland) this and other strathspeys were converted into a form called the 'highland,' similar to a strathspey but with a less pronounced rhythm. Donegal fiddlers play the tune in the key of 'A' Major. Fintan Vallely, in his book Blooming Meadows (1998), writes that in Donegal "Moneymusk" was "strikingly converted from a strathspey to the high-rhythm, house-dance variant, The Highland."
***
Paul Gifford reports that Money Musk (called "manimasca") was one of the dances at a nobleman's ball in Moldavia sometime after 1812, and that the music was not unlikely
played by Jewish musicians.
***
In America the tune was published in 1796 by B. Carr in Evening Amusements (Philadelphia), and soon became a staple of the dance circuit. A country dance called "Money Musk," danced in New England, has remained the same for two centuries, though one phrase has been dropped from the tune while the dance measures stayed the same, thus "cramming 32 measures of dance in to 24 measures of music" (Tony Parkes/Steve Woodruff). In some New England dance circles this dance was traditionally danced immediately after the break, and, for example, presumably this was so when it was danced in August, 1914, at the 150th anniversary celebration of the founding of the town of Lancaster, N.H. (where it was listed on a playbill). Peter Yarensky remembers that it used to be the first dance after the break for years at New Hampshire dances, and that "some people would line up for Money Musk before the break even began..." By the 1970's the tune dance was considered a "chestnut" and it is rarely performed today in New England. Ford also prints a version of the contra dance (pg. 214), though without a source reference. Paul Gifford remembers seeing the dance on the card at Lincoln's Inaugural Ball. The melody appears in George P. Knauff's Virginia Reels, volume I (1839) under the title "Killie Krankie," which title was actually the title of the dance "Money Musk" was associated with at the time. The melody was cited as having commonly been played for Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly), and it appears in a repertoire list of Mainer Mellie Dunham (an elderly fiddler who was Henry Ford's champion fiddler in the late 1920's). In contrast to New England, in the Southern Appalachians the tune is very rare (Krassen, 1973), though not unknown. It was recorded as one of the tunes played by fiddler Ben Smith, a Georgian in the Twelfth Alabama Infantry in the Civil War (as listed by Robert Emory Park in Sketch of the Twelfth Alabama Infantry, 1906) {Cauthen, 1990}. In the Midwest "Moneymusk" was much more common and the title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Missouri fiddlers still play the tune (it was known as a difficult piece and a "big tune" in Mo. fiddle contests up until the 1970's, according to Howard Marshall, though its popularity has waned in recent years). Interestingly, Marshall notes "Moneymusk" is known as an "Irish" tune, a thought perhaps derived from its transmission through Scots-Irish immigrants to the mid-South American highlands, and thence to the Mid-West. Early-recorded American versions include that by Jasper Bisbee (for Edison), who was born in 1843, Col. John Pattee (for Columbia), born in 1844, Henry Ford's Orchestra, and North Carolina fiddler Dad Williams.
***
Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Highwoods String Band (N.Y.) and Delaware Water Gap [Brody]; Lewis L. Jillson (Bernardston, Mass.) [Linscott]; Henry Reed (W.Va) [Krassen]; John Baltzell (Ohio, 1923) [Bronner]; Archie Thorpe, c. 1940 (Hornell, N.Y.) [Bronner]; Steffy (Pa., 1949), William Shape (Greene County, Pa., 1944), James Morris (Greene County, Pa., 1944), and Samuel Losch (Juniata County, Pa., 1930's) [Bayard]; Alan Block and Ron West (Vt.) [Phillips]; Rodney Miller (N.H.) [Phillips]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; Joshua Campbell's 1788 Collection [RSCDS]. Adam, 1928; No. 59. Ashman (The Ironbridge Hornpipe), 1991; No. 40a, pg. 14. Bayard (Dance to the Fiddle), 1981; No. 343A-D, pgs. 329-331. Brody (Fiddler's Fakebook), 1983; pg. 194-195 (two versions). Bronner (Old-Time Music Makers of New York State), 1987; No. 5, pgs. 32-33 (includes variations), and No. 18, pg. 87. Burchenal (American Country Dances, Vol. 1), 1918; pg. 55. Cahusac (Pocket Companion...Flute), Vol. 2, c. 1798, pg. 35. Cazden (Dances from Woodland), 1945; pg. 15. Cazden, 1955; pg. 31. R.P. Christeson (Old Time Fiddlers Repertory), Vol. 1, 1973; pg. 15. Cole (1001 Fiddle Tunes), 1940; pg. 31 & pg 128. Cuillerier (Joseph Allard: Cinquante airs traditionnels pour violon), 1992; pg. 11. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 63, pg. 153. Ford (Traditional Music in America), 1940; pg. 52. Gow (Complete Repository), Part 1, 1799; pgs. 10-11. Harding Collection (1905, 1932) and Harding Original Collection (1928); No. 44. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 13 (Strathspey). Howe (School for the Violin), 1851; pg. 21. Howe (Diamond School for the Violin), 1861; pg. 41. Hunter (Fiddle Music of Scotland), 1988; No. 84 (two settings). Jarman (Old Time Fiddlin' Tunes), No. or pg. 28. Kennedy (Fiddler's Tunebook), Vol. 2, 1954; pg. 17. Kerr (Merry Melodies), Vol. 2; No. 116, pg. 14. Kimball, Sackett's Harbor. Krassen (Appalachian Fiddle), 1973; pg. 70-71. Linscott (Folk Songs of Old New England), 1939; pg. 98. MacDonald (The Skye Collection), 1887; pg. 12. McGlashan, 1781; pg. 19. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 107. O'Neill (Krassen), 1976; pg. 125. O'Neill (1850), 1903/1979; No., 1361, pg. 254. O'Neill (1001 Gems), 1907/1986; No. 614, pg. 111 ("Irish style"). Peacock (Peacock's Tunes), c. 1805/1980; No. 8, pg. 2. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 155 (two versions). Raven (English Country Dance Tunes), 1984; pg. 171. Robbins, 1933; Nos. 120 and 177. Robinson (Massachusetts Collection of Martial Music), 2nd ed., 1820; pg. 53. Royal Scottish Country Dance Society, Book 11, No. 2. Ruth (Pioneer Western Folk Tunes), 1948; No. 20, pg. 9. Stewart-Robertson (The Athole Collection), 1884; pg. 158. Surenne (Dance Music of Scotland), 1852; pg. 8. Sweet (Fifer's Delight), 1965/1981; pg. 61. Sym, 1930; pg. 5. White's Unique Collection, 1896; No. 54. White's Excelsior Collection, 1907; pg. 27. Adelphi 2004, Delaware Water Gap- "String Band Music." Alcazar Dance Series FR 203, Rodney Miller - "New England Chestnuts" (1980). Celtic CX022 (78 RPM), "Little" Jack MacDonald. CLM 1006, Carl MacKenzie (appears as "Sir Archibald Grant of Mony Musk Strathspey"). Decca 14023 (78 RPM), Alex "Alick" Gillis/The Inverness Serenaders. Edison 51354 (78 RPM), John Baltzell (Ohio), 1923. Edison 51381 (78 RPM), Jasper Bisbee (Michigan), 1923. F & I 001, Fiddlesticks & Ivory - "Ghillies On The Golden Gate." F&W Records 3, "Canterbury Country Dance Orchestra." Folkways RBF 115, Joseph Guilmette - "Masters of French Canadian Music, Vol. 4" (originally recorded 1931). Fretless 118, Marie Rhines- "The Reconcilliation." John Edwards Memorial Foundation JEMF-105, Ron West - "New England Traditional Fiddling" (1978). June Appal 007, Tommy Hunter- "Deep in Tradition" (1976. Learned from a Library of Congress recording). Living Folk LFR-104, Allan Block - "Alive and Well and Fiddling." Missouri State Old Time Fiddlers' Association, Cyril Stinnett - "Plain Old Time Fiddling." Philo 1010, Jean Carignan- "Hommage a Joseph Allard." Rodeo RLP 75, John A MacDonald - "Marches, Strathspeys, Reels and Jigs of the Cape Breton Scot." Rounder 0045, Highwoods String Band- "Dance All Night." RTE Records, Jimmy Lyons - "The Donegal Fiddle." Rounder, Walt Koken - "Finger Lakes Ramble." Smithsonian Folkways SFW CD 40126, Bob McQuillen & Old New England - "Choose Your Partners: Contra Dance & Square Dance Music of New Hampshire" (1999). TAC002, Don Bartlett & The Scotians - "Play Favourites" (as Sir Archibald Grant Of Monymusk). Victor 263527-b (78 RPM), Joseph Allard.
X:1
T:Money Musk
L:1/8
K:G
e|"G"d<GB>G d>Gc>e|"G"d<GB>G "D"A/B/A c>e|
"G"d<GB>G "G/B"B/c/d d>g|"C"e>c"D"A>d "G"B<G G:|!
f|"G"g2d>g B>gd>f|"G"g>d"Am"c>g "G/B"B>g"D"A>f|
"G"g>de>g "G/B"d>gB>g|"C"e>c"D"A>d "G"B<GG>f|!
f|"G"g>dd>g B>gd>f|"G"g>d"Am"c>g "G/B"B>g"D"A>f|
"G/B"g>d"C"e>g "G/B"d>g"Am"c<g|"G/D"B<g"D"A>c "G"B<G G|!
|:g|"G"G/G/G B>G B/dG/ c<e|"G"G/G/G B<g "D"A/A/A c<e|
"G"G/G/G B<G "G/B"B/c/d d<g|{de}"F"=f>c A/B/c "G"B<G G:|!
z/d/|"G"g>d B<g d<gB>d|"G"g>d "Am"c<g "G/B"B<g"D"A>d|
"G"g>d B<g "G/B"d<gB<g|"C"e/f/g "D"A/B/c "G"B<GG>d|!
"G"g>d B<g d<gB>d|"G"g/f/e "G/B"d<g "G"B<g"D"A>d|
"G"g>d "C"e<g "G/B"d<g"Am"c<g|"G/D"B<g"D"A<g "G"B<G G|]
X:2
T:Monymusk
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:C
e|d<G B>G d>G c<e|d<G B>G (3ABA c>e|d<G B>G B<d d>g|
e>cA>d ~B<GG:|
|:f|g>dB>g d>gB>g|g>dB>g c>gA>f|1 g>de>g d>gB>g|e>cA>d B<GG:|2
g>de>g d<bc<a|B<gA<g B<GG||
X:3
T:Money Musk
M:2/4
L:1/16
Q:122 C:Trad.
S:from Cyril Stinnett
R:Reel
A:Missouri
B:transcribed in OTFR as #18
D:taken from the playing of Cyril Stinnett
Z:B. Shull, trans.; R. P. LaVaque, ABCs
K:A (
e2|:e)Acf ecdf|eAc(A Bc)d(f|e)(Ac)d eag(e|f)dBe cAAe|! eAcf ecdf|eAc(A Bc)d(f|e)(Ac)d eaf(e|f)dBe cAAA|! |Aeae (fg)ae|ceae B(Bc)(B|A)cae (fg)ae|fdBe cAAA|! Aeae (fg)ae|ceae B(Bc)(B|A)cae (fg)ae|fdBe cAAe-|! |a-e)(fa) (ea)ce|aedb caBe|(aef)a (ea)ce|fdBe cAAe|! (ae)(fa) (ea)ce|aedb caBe|(aef)a (ea)ce|fdBe cAAA|! |a2c'(a ba)c'b|(ae)ac' (bc')d'b)|a(ec')a f(ad)(c'|bd')bg a2c'(b-|! -a-e)ac' (ba)c'b|(ae)ac' (bc')(d'b)|a(ec')a f(ad')(c'|bd')bg a2(c'a):|
X:4
T:Moneymusk
M:4/4
L:1/8
O:Probably a version from Teelin, County Donegal.
K:A
af || eAcA e2 (3agf | eAdc BEGB | eAcA e3a | fdBa (3gfe (3agf | eAcAe2(3agf |\
eAcA Bcdf | eccB cdea | fdBc defg || a2ea ceA2 | aAce fBB2 | a2ea ceA2 |\
dcBc defg | a2ea ceA2 | aAce fBBe | (3agf (3gfe (3fed (3cBA | (3fga (3gfe fgaf ||
ROCKY ROAD TO DUBLIN [1] ("An Botar Sgreagmar Go Baile-Ata-Cliat" or "An Bothar Carrach go Baile Atha Cliath"). AKA and see "Black Burke," "Black Rock," "The Rocky Road." Irish, Slip Jig or Air (9/8). A Dorian (Breathnach, Kerr, Stanford/Petrie, Tubridy): A Mixolydian (O'Neill/1915 & 1001). Standard. One part (Stanford/Petrie): AAB (Allan, O'Neill/Krassen): AABB (Cole, Hardings, Kerr, Tubridy): AABB' (Brody, Roche): ABC (Breathnach): AABC (O'Neill/1850, 1001 & 1915). Breathnach (1985) identifies the rocky road of the title as a road in the neighborhood of Clonmel, and says that nurses in south Munster had a saying used "as a qualification for hiring: 'They can sing and dance the baby to the Rocky Road.' O'Neill (1913) states a special dance was performed to this melody. 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). "Rocky Road to Dublin" was also made into a song and distributed in an anonymous broadside of the 19th century. It goes:
**
In the merry month of May from my home I started
Left the girls of Tuam nearly broken-hearted
Saluted Father dear, kissed my darlin' Mother
Drank a pint of beer my grief and tears to smother
Then off to reap the corn, and leave where I was born
I cut a stout blackthorn to banish ghost and goblin,
In a bran'new pair of brogues I rattled o'er the bogs
And frightened all the dogs on the rocky road to Dublin,
**
Chorus:
One, two, three, four five, hunt the hare and turn her
Down the rocky roaad, and all the ways to Dublin
Whack fol-lol-de-ra.
**
In Mullingar that night I rested limbs so weary,
Started by daylight next morning light and airy,
Took a drop of the pure, to keep my heart from sinking,
That's an frishman's cure, whene'er he's on for drinking,
To see the lasses smile, laughing all the while,
At my curious style, 'twould set your heart a-bubbling,
They ax'd if I was hired, the wages I required,
Till I was almost tired of the rocky road to Dublin.
**
In Dublin next arrived, I thought it such a pity,
To be so soon deprived a view of that fine city,
Then I took a stroll out among the quality,
My bundle it was stole in a neat locality;
Something crossed my mind, then I looked behind,
No bundle could I find upon me stick a-wobblin',
Enquiring for the rogue, they said my Connaught brogue
Wasn't much in vogue on the rocky road to Dublin.
**
From there I got away my spirits never failing,
Landed on the quay as the ship was sailing,
Captain at me roared, said that no room had he,
When I jumped aboard, a cabin found for Paddy
Down among the pigs, I played some funny jigs
Danced among the rigs, the water round me bubblin'
When off to Holyhead I wished myself was dead,
Or better far, instead, on the rocky road to Dublin.
**
The boys of Liverpool, when we safely landed,
Called myself a fool, I could no longer stand it;
Blood began to boil, temper I was losin'
Poor old Erin's isle they began abusin'
"Hurrah my soul!" says I, my shillelagh I let fly,
Some Galway boys were by, saw I was a hobble in,
Then with a loud Hurrah, they joined in the affray,
We quickly cleared the way, for the rocky road to Dublin.
**
Source for notated version: piper Seamus Ennis (Ireland) [Breathnach]. Allan's Irish Fiddler, No. 36, pg. 9. Breathnach (CRE III), 1985; No. 58, pg. 29. Brody (Fiddler's Fakebook), 1983; pg. 233. Cole (1001 Fiddle Tunes), 1940; pg. 64. Hardings All Round Collection, 1905; No. 180, pg. 57. Kerr (Merry Melodies), Vol. 2; No. 221, pg. 25. Levey. (Dance Music of Ireland). O'Neill (1915 ed.), 1987; No. 219, pg. 117. O'Neill (Krassen), 1976; pg. 79. O'Neill (1850), 1903/1979; No. 1116, pg. 211. O'Neill (1001 Gems), 1907/1986; No. 411, pg. 82. Roche Collection, 1982, Vol. 2; No. 257, pg. 25. Spandaro (10 Cents a Dance), 1980; pg. 26. Stanford/Petrie (Complete Collection), 1905; No. 548, pg. 139 (appears as "The Rocky Road"). Tara Records TA 1002, Seamus Ennis - "The Pure Drop" (1973). Transatlantic 341, Dave Swarbrick- "Swarbrick 2."
T:Rocky Road to Dublin [1]
L:1/8
M:9/8
K:A Dorian
ege d2B A2G|E2A A2B c2d|ege d2B A2c|B2G G2A Bcd:|
|:e2a a2f g3|e2a a2f ged|e2a a2f g2e|d2B G2A Bcd:|
WIND THAT SHAKES/SHOOK THE BARLEY, THE [1] ("An Ghaoth a Bhogann," "An Ghaoth/Gaot a Chroitheann/Corruideann an Eorna" or "An Gaot A Biodgeas An T-Orna"). AKA and see "Duncan Davidson," "(An) Gaoth A Chroitheanna an Eorna," "I Sat (with)in the Valley Green," "The Kerry Lasses," "Rolling Down the Hill." Irish, Scottish, Shetland, American, New England; Reel. D Major (most versions): G Major (Hardings): D Mixolydian (Carlin). Standard. AB (Allan's, Breathnach, Cole, Honeyman, Mallinson, O'Neill/1850, Stanford/Petrie, Sweet, Tubridy): AAB (Athole): AA'B (O'Neill/Krassen, 1915): AAB (Brody, Carlin, Flaherty, Hunter, Kerr, Neil, Skye): ABB (Phillips): AABB (Hardings, Miller & Perron). The Irish musicologist Father Henebry considered this tune originally Scottish (as did Breathnach), but Bayard (1981) finds almost no Scottish traditional forms; he found numerous versions in Irish and Irish-American currency. Emmerson (1971), however, states the tune is "substantially a set of the 'Fairy Dance,'" which is definately Scottish and whose full title is "Largo's Fairy Dance," composed by Nathaniel Gow.
***
"The Wind that Shakes the Barley" was cited as having commonly been played for Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly)./ "The (Provance) version...contains a feature common enough in old-country reels, but seldom encountered in American variants: namely, the 'circular' construction, which provides for the tune's going on indefinitely without coming to a complete cadence. F.P. Provance stated that he learned this set 'among the Dutch' in eastern Fayette and western Somerset Counties--an interesting evidence of how the German settlers have adopted the tradition of the Irish whom they encountered on their arrival in Pennyslvania" (Bayard, 1944).
***
The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.
***
The tune was the vehicle for the Donegal house-dance the Barnas Mór Reel, writes Fintan Vallely in his book Blooming Meadows (1998), interviewing Donegal fiddler Vincent Broderick of the townland of Tangaveane in the Croaghs (Blue Stack Mountains). Broderick remembered: "They would let hands to, d'you see, every other bar or so...and they done this step dance every one of them on their own and then they would join hands again, go around again."
***
A romantic song to the tune with words by Robert Dwyer Joyce (1830-1883) commemorating the uprising of 1798 led by the Society of United Irishmen was originally published c.1880 in Ballads of Irish Chivalry. It is also called "The Wind That Shakes the Barley" and goes:
***
I sat within a valley green
I sat there with my true love
My sad heart strove the two between
The old love and the new love
The old for her, the new
That made me think on Ireland dearly
When soft the wind blew down the glen
And shook the golden barley.
***
'Twas hard the woeful words to frame
'Twas worse the tide that bound us
But harder still to bear the shame
Of foreign chains around us
And so I said "The Mountain glen
I'll seek it morning early
And join the bold United Men
While soft wind shakes the barley"
***
While sad I kissed away her tears
My fond arms 'round her flinging
The foeman's shot burst on our ears
From out the wild wood ringing
The bullet pierced my true love's side
In life's young spring so early
And on my breast in blood she died
While soft wind shakes the barley.
***
I bore her to some mountain stream
And many's the summer blossom
I placed with branches soft and green
About her gore-stained bosom
I wept and kissed her clay-cold corpse
Then rushed o'er vale and valley
My vengeance on the foe to wreak
While soft wind shook the barley
***
Then blood for blood without remorse
I've taken to Oulard Hollow
I've laid my true love's clay cold corpse
Where I full soon will follow
And 'round her grave I wander here
Now night and morning early
With a breaking heart when e'er I hear
The wind that shakes the barley.
***
Oulart Hill, referred to in the song as "Oulard Hollow," is located in County Wexford and was the site of the United Irish rebels' first significant success. On Whit Sunday, the 27th of May, 1798, they ambushed and annihilated a body of Government troops-the infamous North Cork Militia-numbering around one hundred. There are said to have been but three survivors, despite the fact that the militia was Irish to a man. Another song set to the tune is called "The Little Bag of Tailors." O'Neill prints the tune as "Wind that Shakes the Barley" and "I sat in the Valley Green."
***
Sources for notated versions: Kevin Burke (Co. Clare) [Phillips]; Michael Kennedy (Ireland) [Carlin]; F.P. Provance (Point Marion, Pa., 1943; learned from fiddlers playing it in eastern Fayette and western Somerset Counties, Pa.) [Bayard, 1944]: J Bryner (Pa., 1946), F King (Pa., 1960), and Shape (fiddler from Pa., 1944) [Bayard, 1981]; fiddler Sean Keane (Ireland) [Breathnach]; fiddler Michael Lennihan (b. 1917, Kilnamanagh, in the Frenchpark area of County Roscommon) [Flaherty]; S. O'Daly [Stanford/Petrie]. Allan's Irish Fiddler, No. 68, pg. 17. Bayard (Hill Country Tunes), 1944; No. 23. Bayard (Dance to the Fiddle), 1981; No. 162A-C, pgs. 99-100. Breathnach (CRE III), 1985; No. 202, pg. 90. Brody (Fiddler's Fakebook), 1983; pg. 293. Burchenal (Rinnce na h-Eireann), pg. 120. Carlin (Master Collection), 1984; No. 195, pg. 116. Cole (1001 Fiddle Tunes), 1940; pg. 22. DeVille, 1905; No. 74. Flaherty (Trip to Sligo), 1990; pg. 91. Greenleaf, No. 186. Hardings All-Round Collection, 1905; No. 129, pgs. 40-41. Harding's Original Collection, 1928; No. 130. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 9. Hunter (Fiddle Music of Scotland), 1988; No. 223. Jarman (Old Time Fiddlin' Tunes); No. or pg. 15. JFSS, VII, 172 (a Manx vocal set, "Crag Willee Syl"). Kerr, Vol. 1; Set 3, No. 2, pg. 4. Levey, No. 49. MacDonald (The Skye Collection), 1887; pg. 35. Mallinson (Essential), 1995; No. 24, pg. 11. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 92. Neil (The Scots Fiddle), 1991; No. 188, pg. 243. O'Neill (Krassen), 1976; pg. 155. O'Neill (1915 ed.), 1987; No. 257, pg. 133. O'Neill (1850), 1903/1979; No. 1518, pg. 280. O'Neill (1001 Gems), 1907/1986; No. 737, pg. 129. Phillips (Fiddlecase Tunebook), 1989; pg. 52. Robbins, 1933; No. 25. Roche Collection, 1982, Vol. 1; No. 199, pg. 75. Stanford/Petrie (Complete Collection), 1905; Nos. 320 & 321, pgs. 80-81. Stewart-Robertson (The Athole Collection), 1884; pg. 89. Surenne, 1852; pg. 41. Sweet (Fifer's Delight), 1965/1981; pg. 64. Sym's Old Time Dances, pg. 27. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 24. Welling (Hartford Tunebook), 1976; pg. 26. White's Excelsior Collection, pg. 35. Columbia C 33397, Dave Bromberg Band - "Midnight on the Water" (1975). Columbia Legacy CK 48693, "The Best of the Chieftains" (1992). Front Hall 014, John McCutcheon - "The Wind that Shakes the Barley" (1977. Learned from the Smathers Family). Front Hall 015, Jake Walton and Roger Nicholson- "Bygone Days." Gael-Linn Records CEF 022, Seamus Ennis, John Joe Gannon, Sean Keane - "Seoda Ceoil II" (1969). Ghe Records GR1001, Mike Cross - "Child Prodigy" (1979). Green Linnet SIF1110, Tony DeMarco - "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Homespun Tapes, Kevin Burke. Shanachie 79006, Mary Bergin- "Traditional Irish Music." Shanachie 79011, Planxty- "Cold Blow the Rainy Night." Shanachie 78010, Solas - "Sunny Spells and Scattered Showers." Bob Smith's Ideal Band - "Ideal Music" (1977). "Fiddlers Three Plus Two."
X:1
T:Wind that Shakes the Barley
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D
A|F(AA)B AFED|B2BA B2d2|F(AA)B AFED|gfed B2d:|
e|f2fd g2ge|f2fd Bcde|f2fd g2gb|afed B2 d>e|f2fd g2ge|
f2fd Bcde|fafd gbge|afed B2d||
X:2
T:Wind that Shakes the Barley
L:1/8
M:C|
K:D
A2 AB AF ED| B BA Bc d2|A2 AB AF ED|gf ed Bc dB|
A2 AB AF ED|B2 BA Bc dB|A2 AB AF ED|gf ed B2 d2:|
|:f2 fd g2 ge|f2 fd ed BA|f2 fd g2 ge|af ed B2 de|f2 df g2 eg|
f2 fd ed BA|de fg af ba|gf ed B2 d2:|