Ceolas: The Fiddler's Companion

Result of search for "By the Way":

ACORN STOMP. Old-Time, Country Ragtime. F Major. Standard. ABBCCDD. The tune was written by East Texas Serenaders' fiddler Huggins Williams. Phillips (Traditional American Fiddle Music), Vol. 2, 1995; pg. 13. County 410, "The East Texas Serenaders, 1927-1936" (1977). Marimac 9008, The Lazy Aces String Band - "Still Lazy After All These Years" (1986). Run of the Mill String Band - "Along the Way."

ALBANY BEEF. AKA and see "Buckley's Favorite/Fancy," "After the Sun Goes Down," "From Night Till Morn," "Lord St. Clair's Reel." The city of Albany, New York, 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. The name Albany itself is a northern English variant of the ancient name Albion, referring to Britain.

ALL-STAR BARN DANCE, THE. AKA and see "The Nova Scotia." Canadian, Irish; Polka. A Major. Standard. AAB. This Canadian tune appears under the title "The Nova Scotia" in one of Don Messer's anthologies, and made its way across the Atlantic to Ireland (by one route, at least) via a Boston ceili band. Source for notated version: The All-Star Ceili Band, Boston, Mass., via the Irish group Shaskeen (Co. Galway, Ireland) [Taylor]. Taylor (Through the Half-Door), 1992; No. 65, pg. 50. Shaskeen - "My Love is in America."

ALLIE CROKER. AKA - "Ally Croaker," "Ally Crocker," "Alley Crocker." AKA and see "Alas My Little Bag," "Stick the Minister," "The Shamrock Cockade." Scottish, Irish, English, American, Canadian; Reel, Country Dance. USA, New England. D Major. Standard. AB (Kerr's, Messer): ABB (Brody): AABB (Miller & Perron, Sloanaker, Sweet). This song, as "Ally Croker," was written and music composed by Lawrence (Larry) Grogan of Johnstown Castle, County Wexford, who was reknowned as a "gentleman piper" and composer of Irish airs (Grogan, by the way, was the first performer on the improved version of the Irish pipes called the uilleann or (archaically) Union pipes). It is his most famous composition. Both the air and song date from 1725, according to Crofton Croker, with single sheet editions of the song from c. 1730 and c. 1740 extent. The lyrics describe the vagarancies of a disappointed suitor of Miss Alicia Croker, the sister of Edward Croker, High Sheriff of County Limerick (for more on Larry Grogan and Alicia Croker see T.C. Croker's Popular Songs of Ireland). It quickly found favor and was adopted by ballad singers, inform Flood (1906) and O'Neill (1913), and was soon introduced into the play Love in a Riddle (1729), Sam Foote's comedy The Englishman in Paris (1753, in which the lyrics were slightly revised and the tune called "Ally Croaker," by which spelling it usually appears after this date), and Kane O'Hara's Midas (1760). The tune was printed by Rutherford c. 1754 in his Choice Collection of 60 Country Dances.
***
In 1803 the air was wedded by George Colman to a song entitled "The Unfortunate Miss Bailey" and Tom Moore used it for his lyric "The Shamrock." The English musicologist Chappell claimed the air was English because of its appearence in "Love in a Riddle," however, Flood asserts Larry Grogan is the author/composer due to a reference to the tune by Pierce Creagh of County Clare in his 1730 "The County of Limerick Buck Hunt." Creagh may have been partisan though, for he and Grogan were great friends (Creagh even named one of his race horses after him-- "Larry Grogan" won at least one purse for its owner). "Allie Crocker/Croaker" continued to be in vogue throughout the century and was the air set to the song "The Shamrock Cockade," popular in Munster with the Irish Volunteers (1774-1784). It is one of the "lost tunes" from William Vicker's 18th century Northumbrian dance tune manuscript. Brody (Fiddler's Fakebook), 1983; pg. 21. Cole (1001 Fiddle Tunes), 1940; pg. 8 (appears as "Ally Croaker"). Kerr (Merry Melodies), Vol. 1; No. 9, pg. 22. Messer (Way Down East), 1948; No. 6. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 26, pg. 26. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 135 (Appears as "Alice Crocker's Reel"). Sweet (Fifer's Delight), 1964; pg. 47. Fretless 119, Rodney and Randy Miller- "Castles in the Air."
T:Allie Crocker
L:1/8
M:C|
K:D
Ad dc d2df|ed cd ef ga|fd dc d2df|ed cB AG FE|
Dd dc d2df|ed cd ef ga|fd dc d2df|ed cd ef ge:|
|:fa a^g a3a|ba gf ef g2|Ag gf g2gb|ag fe de f2|
Ad dd dc cc|cB BB BA AA|Ag gf g3b|ag fe d2d2:|

AND THE CAT CAME BACK. AKA - "The Cat Came Back." Old-Time, Breakdown. USA; Ky., Missouri. G Major (Phillips, Reiner & Anick): A Major (Christeson). Standard, AEAE, ADAE. AABBCC (Phillips): AA'BB'CC' (Reiner & Anick). Christeson (1973) notes: "Played by a few Missouri fiddlers in ... the early 1930's but is seldom heard any more." Sources for notated versions: Doc Roberts (Ky.) [Reiner & Anick]; Kevin Wimmer [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 8. Phillips (Traditional American Fiddle Tunes), 1994; pg. 15. Reiner & Anick (Old-Time Fiddling Across America), 1989; pg. 98. Marimac AHS #3, Glen Smith - "Say Old Man" (1990. Learned from Tommy Jackson). Morning Star 45005, Doc Roberts - "Way Down South in Dixie" (Learned from Madison County, Ky., African-American fiddler Owen Walker {b. 1857), a well-known local entertainer).

ANDERSON'S REEL [1] (Ríl Mhic Aindriú). AKA and see "The Flowers of Redhill," "Michael Anderson's," "The Queen of May," "Pretty Girls of the Village" [2], "The Wild Irishman." Irish, Reel. D Major: D Mixolydian (Breathnach). Standard. AB (Breathnach): AAB. Michael Anderson was a piper from County Sligo and an early 20th century comtemporary of the renowned fiddler Michael Coleman (1891-1945, who highly regarded Anderson's playing, according to Harry Bradshaw in his biography of Coleman). Editor David Taylor (1992) notes this tune is frequently played starting on the 'B' part, "especially when coming from a tune in 'G,'" and is sometimes noted that way (as in Irish Tin Whistle Legends, pg. 44). Sources for notated versions: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; set dance music recorded at Na Píobairí Uilleann, mid-1980's [Taylor]. Black (Music's the Very Best Thing), 1996; No. 170, pg. 89. Breathnach (CRE I), 1963; No. 163, pg. 64. Bulmer & Sharpley (Music from Ireland), Vol. 4, No. 10. Taylor (Where's the Crack?), 1992; pg. 4. Taylor (Music for the Sets: Yellow Book), 1995; pg. 33. Shaskeen - "The Joys of Life." Shanachie 29015, Paddy O'Brien & James Kelly - "Is It Yourself?" (1979).
T: Anderson's
S: J.Kelly - P.O'Brien
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: Ador
aged BG G2 | BGdG eGdG | aged BG G2 | BddB ABce |
aged BG G2 | BGdG eGdG | aged BG G2 | BddB A2 ae ||
eaaf g3 d | (3efg af gfed | eaaf g2 ba | gede BAAa |
eaaf g3 d | (3efg af gfga | bgaf gedg | eBdB A4 ||

ANGELINE THE BAKER. AKA and see "Angeline," "Angelina Baker," "Rocky Road" (N.C.), "Coon Dog" (Va.), "Georgia Row," "Walk up Georgia Row" (?). Old-Time; Song, Breakdown. USA, Virginia. D Major. Standard or ADAE. AABB. This old time song and tune was derived from a sentimental song by Stephen Foster, called "Angelina Baker," whose lyrics tell about a slave who is parted from her lover when sold. Foster's original song can be heard played by the Critton Hollow Stringband on their album "Sweet Home" (Yodel-Ay-Hee 002). A similar tune, or an alternate title, is the Patrick County, Va., "Coon Dog." The 'revival' version commonly played today by old-time style musicians comes from fiddler J.W. 'Babe' Spangler (1882-1970), of Patrick County, Virginia. See also the related "Little Betty Brown" and "Cousin Sally Brown." The following lyrics can be heard in various recorded versions of the piece:
***
Angeline the Baker, her age is twenty-three (or 'forty-three'),
Feed her candy by the peck but she won't marry me.
***
Tell how I took Angeline down to the county fair,
Her father chased me halfway home and told me to stay there.
***
Angeline the Baker, Angeline I say,
You caused me to weep, caused me to mourn, caused me to wear that (beat on the) old jawbone.
***
Angeline the Baker, She lived on the village green;
And the way that I love her, beats all to be seen.
***
Angeline in handsome, and Angeline is tall,
She broke her little ankle bone from dancing in the hall.
***
She won't do the baking because she is too stout,
She makes cookies by the peck, throws the coffee out.
***
Angeline the Baker, her age is forty-three,
Little children round her feet and a banjo on her knee
***
John J. Sharp knows these lyrics to a melody more like the Foster original:
***
Angeline the baker lived near the village green,
Way I always loved her, beats all you ever seen.
Father was a baker, they called him Uncle Sam,
I never can forget her, no matter where I am.
*** Chorus:
Angeline the baker, age of 43,
Gave her candy by the peck, but she won't marry me.
Angeline the baker, left me here alone,
Left me here to weep a tear, and play on the old jawbone.
***
Said she couldn't do hard work, because she was not stout,
Baked her biscuits every day, before they called me out.
***
Sixteen horses on my team, the old grey went before,
Almost broke Angelines heart to hear the wagons roar.
Angeline the baker, Angeline I know,
Wished I married Angeline twenty years ago.
***
Bought Angeline a brand new dress, neither black nor brown,
It was the color of a stormy cloud, before the rain pours down.
Sixteen horses in my team, the leader he was blind,
Came close to dying, they sold my Angeline.
***
Sources for notated versions: J.W. Spangler (Virginia) [Reiner & Anick]; Wretched Refuse String Band (N.Y.C.) [Brody]; Stuart Duncan [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 22 (2 versions). Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), Vol. 1, 1991; pg. 2. Krassen (Appalachian Fiddle), 1973; pg. 26-27. Kuntz (Ragged but Right), 1987; pg. 341-342. Phillips (Traditional American Fiddle Tunes), 1994; pg. 15. Reiner & Anick (Old-Time Fiddling Across America), 1989; pg. 88. Bay 727, "Kenny Hall and the Sweet Mills String Band." Beet 7003, "Wretched Refuse." County 201, J.W. Spangler (Va.) - "The Old Virginia Fiddlers." Rounder 0400, "Pickin' Around the Cookstove." Spudchucker Productions, Bert Edwards (N.C.) - "Bert's Bombaree" (appears as "Rocky Road"). Rounder C-11565, Stuart Duncan - "Rounder Fiddle" (1990). Tennvale 002, Roaring Fork Ramblers- "Galax 73."
T:Angeline the Baker
L:1/8
M:2/4
B:Kuntz - Ragged but Right
K:D
(3B/d/B/|AB d>A|B(d d)(3B/d/B/|AB d/B/A|(B2 B)(B/d/B/|
AB d>(e|f)e d/c/d/(e/|f)e (3d/e/d/B|A>B A:|
|:(a|a)g f/g/e|f/g/f/e/ df|{^g}af (3e/f/e/d|B>d B(a|a)g f/g/e|
f/g/f/e/ d/c/d/e/|{=f}^f e (3d/e/d/B|A3:|

ANGLER, THE. Irish, Air (4/4 time). G Major. Standard. One part. "There was a song to this air which was well known in Linerick, about a young man who went our fishing, and met with better luck than he expected. I have often heard the Limerick people sing to this air Byron's two-verse poem beginning 'I saw thee weep'" (Joyce). The first verse goes:
***
As I roved out one morning down by a river side,
To catch some trout and salmon where the stream did gently glide;
Down by the brook my way I took and there by chance did spy
A lovely maid all in the shade, who smiled and passed me by.
***
Joyce (Old Irish Folk Music and Song), 1909; No. 10, pg. 8.
T:Angler, The
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:G
D2|G2F2E2D2|D3f edBA|B2 G>B AGFG|E6F2|G2 F>G E2D2|d3f e3f|
G2f2 ed^ce|d6 B>d|e3f g2B2|g2 fg e>dBA|G3B AGFG|E6 (3DEF|G2F2E2D2|
d3f edBA|G2 A>B G2G2|G6||

ANGUS CAMPBELL [GLASGOW]. Scottish (originally), Canadian, American; Reel. USA; Missouri, Vermont, New York. Canada; Prince Edward Island. A Major. Standard. AABB. "Angus Campbell" is the product of Scottish composer and fiddle virtuoso J. Scott Skinner (1842-1927), who coined it a "concert reel" (tempo 136). Skinner turned the same melodic motif into a strathspey called "The Laird o' Drumblair." The melody quickly found its way into traditional repertory on both sides of the Atlantic and can now even be heard played by American Mid-West fiddlers as well as Canadian and New England musicians. Illustrative of its dissemination is that the title appeared in a list of dance tunes played in the early/mid-20th century by Arizona fiddler Kenner C. Kartchner, while at approximately the same time Adirondack Mountains, N.Y., fiddler Vic Kibler believed he had learned the tune in Vermont. Sources for notated versions: Kelly Jones (Missouri) [Phillips]; Francis MacDonald (b. 1940, Morell Rear, North-East Kings County, Prince Edward Island) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 26, pg. 39. Bohrer (Vic Kibler), 1992; No. 21, pg. 21. Brody (Fiddler's Fakebook), 1983; pg. 23. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 8. Hunter (The Fiddle Music of Scotland), 1988; No. 224. Jarman (Old Time Fiddlin' Tunes), No. or pg. 23. Kerr (Merry Melodies), Vol. 1; No. or pg. 22. Messer (Way Down East), 1948; No. 7 {Messer's version is altered from the original}. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 27, pg. 26. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 104. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 15. Skinner (The Scottish Violinist); pg. 13. Also appears in Skinner's collection Harp and Claymore. American Heritage 516, Jana Greif- "I Love Fiddlin.'" Caney Mountain Records CLP 228, Lonnie Robertson (Mo.) - "Fiddle Favorites." Condor 977-1489, "Graham and Eleanor Townsend Live at Barre, Vermont." Fretless 101, "The Campbell Family--Champion Fiddlers." Fretless 200 A, Yankee Ingenuity- "Kitchen Junket" (1977). Green Mountain 1026, Leo Beaudoin- "Old Time Fiddler's Contest 7/30/77." Green Mountain 1050, Sonja Nordstrom- "Old Time Fiddler's Contest 7/26/75." Missouri State Old Time Fiddlers' Association 002, Taylor McBaine - "Boone County Fiddler." Missouri State Old Time Fiddlers' Association, Cyril Stinnett (Stinnett epitomized the "North Missouri Hornpipe Style of fiddling). Missouri State Old Time Fiddlers' Association, Kelly Jones (b. 1947) - "Authentic Old-Time Fiddle Tunes." Philo 1040, Jay Ungar and Lyn Hardy- "Catskill Mountain Goose Chase" (1977. Learned from Putnam County, N.Y. fiddler Bud Snow). Tradition 2118, "Scottish Dances: Jigs, Waltzes and Reels" (1979).

ATLANTIC ROAR, THE. AKA and see "Atlantic Hornpipe," "Atlantic Wave," "Tuam na Farraige." Irish, Hornpipe. Ireland, County Donegal. G Major. Standard. ABB. A County Donegal hornpipe popularized by fiddler John Doherty and recorded by him on a CCE LP. Caoimhin Mac Aoidh, a Donegal musicologist who has studied Doherty, states that the translation is Doherty's but that the Irish title translates loosely as "The Roar of the Sea." He records that at different times Doherty credited the tune to the travelling fiddle masters Anthony Helferty (of the Inishowen and Ardara areas) and John Mhosai McGinley (a native of Glencolmcille). The evidence would seem to award compostion of the tune to Helferty, who may have called it "The Roar of Loughros Mor" (a peninsula near Ardara). According to Mac Aoidh, the inspriation for the melody arose from the circumstance of Helferty finding himself too fatigued and inebriated while making his way home from playing all night for a dance--he stopped for a nap near the seacliffs and the rhythm of the waves heard in his sleep formed the basis of the tune. Mac Aoidh maintains it is important to play the melody with G string double stops to get the effect of the droning of the waves, and also points out that most Donegal musicians play the tune at a slower tempo than a hornpipe, almost as a slow march, rendering it a listening piece rather than a dance tune. Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O'Doherty]. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 83.

AULD FOULA REEL, DA. AKA and see "Foula Reel," "Da Auld Reel," "Shaalds o' Foula." Shetland, Reel. A Major. AEAE. AAB. The melody is the traditional accompaniment for a special dance from the Island of Foula, in the Shetlands. On the Island of Yell, also in the Shetlands, the tune in known as "Da Auld Reel," according to Alastair Hardie. Flett & Flett (1964) state that The Auld Reel was a Shetland dance for three couples (in Whalsay) traditional to the isles which, by 1900, had almost disappeared as a separate dance and survived in combination only with the Shetland Reel, having been supplanted by dances from the mainland of Scotland. The traditional Shetland wedding incorporated the Auld Reel and was performed into the last decade of the 19th century; these first Auld Reels were known as the Bride's Reels and were performed by the womenfolk present who danced them in turn. These were followed by the Bridegroom's Reels, with the men taking the place of the women and danced again in turn. "At the end of each of the Bride's Reels, the 'married woman' collected the 'fiddler's money' from the dancers. The bride and the other dancers in the first Reel usually gave a shilling, those in the next Reel gave a sixpence, and so on, descending to threepence from the last dancers of all...in the same way the 'married man' collected...from the men at the end of each of the Bridegroom's Reels. This 'fiddler's money' was the only payment which the fiddler received in those days, but with a big company it was a more than sufficient reward" (Flett & Flett, 1964). The whole series of dances could take up to two hours. In later years the Auld Reel was supplanted by Shetland Reels for most of the ritual, though it still was featured for a portion of the dancing. For an extensive and thorough treatise on the subject see Flett & Flett pgs. 70-74. Source for notated version: Tom Anderson (Shetland) [Hunter]. Hardie (Caledonian Companion), 1992; pg. 123.

AULD LANG SYNE. Scottish, Air (2/4 time) or Strathsepy. F Major (Neil): A Major (Stewart-Robertson). Standard. AABB. Robert Burns (1759-1796) had the air to which he wrote his famous lyrics from an old man's singing, and immediately wrote it down upon hearing as he thought it "exceedingly expressive" and which he later remarked "has often thrilled through my soul." The song was sent by him to Johnson for inclusion in the Scots Musical Museum with a note that it was an old song with additions and alterations (Neil, 1991). Fuld (1966) states that the extent of Burns' responsibility for the words and tune has always been controversial, and states that it is "generally agreed that he was not the author of the words of the first verse," which he points out is the only one everyone knows. According to Robert Chambers [Scottish Songs Prior to Burns, 1890], the earliest printing of a song called "Old-Long-Syne" [sic] with the famous opening line is in James Watson's Scots Poems, Part III, pg. 71 (Edingburgh, 1711). Chambers wrote that he song appears "as early as the reign of Chas. I, its associations conveyed in a song of many (10) stanzas", finally "brought together (in Watson's book) in a song of many stanzas." In fact, there were ten stanzas given in Scots Poems. These early printings, including Burns' version, were to melodies other than the air famous in modern times (interestingly, Burns wrote another song to the "Auld Lang Syne" melody that is substantially the one we know today, which he called "O Can Ye Labor Lea, Young Man," also known as "I Fee'd a Man at Martinmas," found in the Scots Musical Museum [Edinburgh, 1792-1793]).
***
Fuld finds identifying motifs for the modern melody for "Auld Lang Syne" in Playford's "The Duke of Bucclugh's Tune" in Appolo's Banquet (1687), and subsequently and more elaborately as "The Miller's Wedding" (in Bremner's Scots Reels, c. 1765), "The Miller's Daughter," "The Lasses of the Ferry," "Sir Alexander Don's Strathspey," "Roger's Farewell," and the "Overture" to William Shield's opera Rosina (London, 1783). The words and the present melody were first printed together in 1799 in George Thompson's A Select Collection of Original Scottish Airs (London), but, Fuld states, "it is not clear whether Thomson or Burns brought the words and melody together," and it is not clear exactly which air Burns heard the aforementioned old man singing.
***
Stewart-Robertson prints a strathspey version of the tune arranged by John MacAlpin of Killin, for dancing. Ludwig van Beethoven arranged a setting of "Auld Lang Syne" early in the 19th century.
***
As a young man Mark Twain thought to learn music and tried first one instrument, then another, before finally settling down with an accordion. After determining its rudiments, he learned the popular air "Auld Land Syne," and for about a week he continued to torture his unwilling listeners with the melody, when he, being of an ingenious turn of mind, endeavored to improve upon the original melody by adding some variations of his own device. Just as he finished the tune with a suitable flourish, his landlady stepped into his room and said, "Do you know any other tune but that, Mr. Twain?" He told her meekly he did not. "Well then," said she, "stick to it just as it is; don't put any variations on it; because it is rough enough on the boarders the way it is now." As it happened, half the boarders left anyway, while the other half would have had not the landlady discharged Twain first. The aspiring musician went from house to house, but none would undertake to keep him after one night's music, so, at least, in sheer desperation he went to board with an Italian lady--Mrs. Murphy, by name. He says:
***
The first time I stuck up the variations, a haggard care-worn,
cadaverous old man walked into my room and stood beaming
upon me a smile of ineffable happiness. Then he placed his hand
upon my head, and looking devoutly aloft, he said with feeling
unction: "God bless you, young man! God bless you! for you
have done that for me which is beyond all praise. For year I
have suffered from an incurable disease, and knowing my doom
was sealed, and that I must die, I have striven with all my power
to resign myself to my fate, but in vain--the love of life was too
strong within me. But heaven bless you, my benefactor! For since
I heard you play that tune and those variations, I do not want to
live any longer--I am willing to die--in fact, I am anxious to die."
And then the old man fell upon my neck and wept a flood of happy
tears. I was surprised at these things, but I could not help giving the
old gentleman a parting blast, in the way of some peculiarly lacerating
variations, as he went out of the door. They doubled him up like a
jackknife, and the next time he left his bed of pain and suffering he
was all right, in a metallic coffin.
***
At last Twain gave up the instrument, and from then on gave amateur musicians a wide berth. Ashman (The Ironbridge Hornpipe), 1991; No. 72b, pg. 30. Neil (The Scots Fiddle), 1991; No. 189, pg. 244. Stewart-Robertson (Athole Collection), 1884; pg. 1.
T:Auld Lang Syne
L:1/8
M:C
N:"As arranged by John McAlpin, Killen"
B:The Athole Collection
S:Strathspey
K:A
E|A2A>c B>AB>c|AAA>a f2f>a|e<cc>A B>AB>c|A>FE>F A2A:|
|:a|e<cc>A B>AB>c|e<cc>e f>ga>f|e>cc>A B>AB>c|A>FE>F A2A:|

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).

BACKSTEP CINDY. AKA - "Backstep." AKA and see "Step Back Cindy," "Old Time Back Step Cindy," "Hollyding." Old-Time, Breakdown. USA; southwestern Va., western N.C. D Major. ADAE. AABBCC' (Brody): ABBCC (Krassen). The tune, called "Step Back Cindy" by the late North Carolina fiddler Tommy Jarrell, is a medley of the 'old' way of playing the melody (called "Hollyding") coupled with the 'new' way made up by Tommy's father, fiddler Ben Jarrell, along with his musical partners Tony and Charlie Lowe. Jarrell thought the tune came to the Round Peak, N.C., area from "the back side of the mountain" (i.e. from Virginia). Sources for notated versions: The Fuzzy Mountain String Band (Durham, N.C.), who learned the tune from Fred Cockerham (Low Gap, N.C.) [Brody]; Uncle Charlie Higgins (Galax, Va.) [Krassen]; Tommy Jarrell (Mt. Airy, N.C.) [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 30. Krassen (Appalachian Fiddle), 1973; pg. 47. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994;pg. 18. County Records 748, Tommy Jarrell- "Come and Go With Me." County 756, Tommy Jarrell - "Sail Away Ladies" (1976). County CO-CD-2711, Kirk Sutphin - "Old Roots and New Branches" (1994. Appears as "Old Time Back Step Cindy"). Heritage XXIV, Tommy Jarrell - "Music of North Carolina" (Brandywine 1978), 1979. Rounder Records 0035, The Fuzzy Mountain String Band- "Summer Oaks and Porch" (1973). Rounder 0197, Bob Carlin - "Banging and Sawing" (1985).

BARWICK BILLY. AKA and see "Go to Berwick Johnnie," "Berwick Johnny," "Berwick Jockey," "The New Road to Berwick." English, Double Hornpipe (3/4 time). England, Northumberland. F Major. Standard. AABBCCDD. Double hornpipes are generally from Lancashire and Cheshire. "Barwick is an old spelling of Berwick (as in Berwick-On-Tweed). Time signature 6/8 (in William Vicker's original) but notes grouped in 3/4 throughout. This would appear to have been one of the most popular Double Hornpipes to judge by its many surviving versions; only the 'Dusty Miller' rivals it in this respect. Vicker's setting is the only one I have seen with four strains, others having two or three" (Seattle). Seattle (William Vickers), 1987, Part 2; No. 254. Stokoe & Bruce, Northumbrian Minstrelsy, 1882; pg. 18 (appears as "Go to Berwick, Johnnie"). Mooney, Choicest Scots Tunes, 1982; pg. 1 (appears as "Go to Berwick, Johnnie"). Seattle, Bewick's Pipe Tunes, 1986; No. 34 (appears as "Berwick Johnny"). Offord, John of the Greeny Cheshire Way, 1985; pg. 3 (appears as "Berwick Jockey").

BIG FISH. Old-Time, Breakdown. This Clay County, West Virginia, tune is a version of "Rye Straw." Gerry Milnes (Play of a Fiddle, 1999) records that the tune was learned from legendary fiddler Lewis Johnson "Uncle" Jack McElwain (1856-1938) of White Oak (a tributary of Laurel Creek, near the village of Erbacon, Webster County, West Virginia) in a unique way by fiddler Dewey Hamrick. It seems that Hamrick's father, who did not fiddle, walked forty miles to and from McElwain's house to hear him play, and remembered and whistled the tunes (among them "Big Fish") when he got home for Hamrick to learn.

BLAKE'S HORNPIPE [2]. AKA and see "The Brewer's Horse." English, Hornpipe. England, Northumberland. B Flat Major. Standard. AABB. "In his excellent study of James Hill's music (The Lads Like Beer, Random, 1987), Graham Dixon points out the similarity between the respective 1st parts of 'Stony Steps Hornpipe', attributed to Hill in Kohler's Violin Repository, and 'The Brewer's Horse', from a collection published by Chappell. Vickers' somewhate quirky 'Blake's Hornpipe' [2] is a version of the same tune, and the 2nd part follows that of 'The Brewer's Horse' closely (I am indebted to Mr. Dixon for a copy of the latter.). The attribution of the tune to Hill can be accounted for by a conjectural scenario: W.B. Laybourn, the editor of Kohler's, got the tune from Hill, who had it froma printed or aural source (versions of Stoney Steps are in Offord (John of the Greeny Cheshire Way), 1985, pg. 94, near identical to Kohler's, but in G Major, and A Sussex Tune Book, EFDSS, 1982), and, if he had not heard it elsewhere, assumed it to be Hill's, as it is stylistically like Hill's own compositions" (Seattle). Seattle (William Vickers), 1987, Part 2; No. 387.

BLOWZABELLA. AKA - "Blouzabella," "Blousy Bella." English, Jig and Air. England, Northumberland. G Major. Standard. AA'BB'CC'DD (Merryweather): AABBCCDDEE (Vickers). The title was taken as a name by a Northumbrian "revival" band of the late 20th century. Merryweather (1989) prints the words to the song which about a bagpiper and his wife, who is affectionately known as "Blowzabella, my bouncing doxie;" they banter about their respective livlihoods but come to agreement in the end, confirming their marital bliss. The song was apparently an 18th century elaboration of a 16th century Italian popular theme, according to Merryweather, and appears in Thomas D'Urfy's 1719 Wit & Mirth or Pills To Purge Melancholy under the title "The Italian Song Call'd Pastorella; made into an English Dialogue." As "Blousy Bella" it appears in a c. 1708 manuscript in the British Museum by G. B. Buononcini, for unaccompanied flute. John Walsh, who published the melody in his Caledonian Country Dance volumes of the mid-18th century, identifies the melody as "Scotch." Merryweather, 1989; pg. 49. Seattle (William Vickers), 1987, Part 2; No. 392. Offord (John of the Greeny Cheshire Way), 1985; pg, 99.

BLACK JOKE [1]. AKA and see "Black Joker," "Black Jack," "Black Jock," "The Black Joak," "But the House and Ben the House" (Shetland), "Sprig of Shillelah" [1]. English, Scottish, Shetlands; Country Dance, Jig and Morris Dance Tune (6/8 time). England; Northumberland, Yorkshire. G Major (Bacon, Carlin, Cooke, Mallinson, Raven, Vickers): A Major (Bacon, Gow, Merryweather & Seattle). Standard or AEAE (McLean). AB (Bacon {Stanton Harcourt}, Gow): AAB {x6} (Bacon {Ilmington}, Carlin, Cooke (two versions), Mallinson {Adderbury version}): AABB {x4} (Hall & Stafford, Mallinson {Bledington version}, Merryweather & Seattle, Raven, Vickers). "The Black Joke" was a widely popular, vulgar and bawdy street song in England in the early 1700's, though its popularity continued into the 19th century in that country and its colonies (including America). Irregular in form in many versions, its opening phrase has six measures, while the second has ten. It was heard in London as early as 1734 in Henry Carey's burlesque stage piece Chrononhotonthologos where it was called "that lowbrow little tune that has been used as an interval tune for years," referring to the music for dances performed in the entr'acte interval at the playhouses. Early English collections which contain the tune are Johnson's Wrights Collection (London, c. 1742) and Thompson 200 Country Dances Volume II. John Kirkpatrick (1976) dates the tune to 1715 without citing his source.
**
It is played today as the tune for the Lichfield Morris Dance The Barefooted Quaker, and for dances from other morris traditions. Mallinson's morris dance tune versions, for example, are from the Adderbury and Bledington areas of England's Cotswolds, while Bacon's are from the Adderbury, Ascot-under-Wychwood, Bledington, Ilmington, and Stanton Harcourt. A version of the tune from Badby, Northhamptonshire, is known as "Old Black Joe" [1], and lacks the distinctive two measure ending to both parts typical of most "Black Joke" versions. John Kirkpatrick (1976) is of the opinion that the Badby dance "flows more perfectly than any in the Cotswold Morris. No jumps, no jerky backwards movements, no need to fiddle the feet to get them right. An absolute joy." The tune collected with the dance in Bucknell (under the title "Old Black Joe") is perhaps nearest the original.
**
The tune is known as "But the House and Ben the House" in Shetland, and Cooke says some informants gave the first lines as:
But your house and ben your house
This house is like a bridal house.
The tune played by his source from the islands was the one commonly known throughout Britain and Ireland during the 18th century as "The Black Joke" (or Jock). A variety of songs were set to it, all of them bawdy and all concerned with sexual intercourse. "Some of the texts are the creations of music-hall hacks, such as the earliest published verses, entitled 'The Original black Joke, Sent from Dublin', which begin: 'No mortal sure can blame ye man/Who prompted by nature will act as he can'...(song sheet, c. 1720 Mitchell Library, Glasgow). Simple and more direct 'folk' versions were known in Scotland. Burns wrote a parody beginning 'My girl she's airy...'" (Cooke, 1986). The lyrics which appear below are taken from Andrew Crawford's 1826-28 Collection of Ballads and Songs:
**
A wee black thing sat on a cushion
Was hairy without and toothless within
Wi' her black Jock and her belley so white
**
A piper and twa little drummers came there
To play wi the wee thing well covered o'er wi hair
**
The piper went in and he jigged about
The twa little drummers stood ruffling without
**
But when he came out he hang doon his head
He look'd like a snail that was trodden to dead
**
Say's he thay wa'd need to hae something to spare
That meddle wi you or your wee pickle hair. (Cooke)
**
Cooke's informant, John Irvine, played it as a middle tune between two reels for the ceremony of the "bedding of the bride" around the turn of the century. This ceremony, in which the women of the community escorted the bride to her bed, was performed to fiddle music. "The use of the 'Black Joke' in this context is intriguing, Robert Irvine's knowledge of part of the chorus suggests that in earlier days the whole song might have been known and, unless the fiddler was having his own private joke by playing this piece, possibly even sung by the bride's attendants. Genuine bawdry is often found in such situations elsewhere in the world. According to Legman (1964), 'the purpose of such songs...was and is evidently apotropaic, being intended to ward off the evil eye...dangerously present at all moments of happiness, or of success and victory' (The Horn Book, 1964, p. 388). It is likely, too, that such humour served to release anxiety on the part of the young initiate. Finally, if the text were anything like the Crawfurd text, the explicit detail could have served also as a piece of last-minute sex education--an example of how music is sometimes used in a situation that allows one to sing what might be too embarrassing to say" (Cooke, 1986).
**
The Scotch versions are based on an English tune which was known as "Black Jock" in Scotland from about 1735 (Johnson). Johnson thinks the name was changed either on purpose, to 'Scottisize' it (it was known as "Black Jack" in Northumberland), or to distance it from the extremely obscene lyrics. If the latter, the distancing was largely hypocriphal, for the lyrics were well-known throughout the country. The Scots poet Robert Burns (who was no stranger to ribaldry) penned to the melody, in September, 1784, the words "My girl she's airy, she's buxom and gay," one of his earliest bawdy songs:
Her slender neck, her handsome waist,
Her hair well buckl'd, her stays well lad'd,
Her taper white leg with an et, and a, c,
For her a,b,e,d, and her c,u,n,t,
And Oh, for the joys of a long winter night!!!
The tune appears in the McFarlane Manuscript (1740) in a long variation set (18 strains) by Charles McLean, in Bremner's Scots Tunes (1759) in 30 strains, the Gillespie Manuscript (1768), the Sharpe Manuscript (c. 1790) with 18 strains, and a flute MS. of c. 1770; all have basically the same variations, though in different order.
**
In Ireland, Flood (1906) reports that Madame Violante set off a furor in Dublin's Smock-Alley Theatre in December, 1729, when Cummins danced the "White Joke," a set off to the then-popular "Black Joke."
**
American audiences heard the melody as the tune for air 13 in Andrew Barten's ballad opera The Disappointment (New York, 1767).
**
Sources for notated versions: Bremner (Scots Tunes, 1759) [Johnson]; John Mason via Cecil Sharpe (Stow on the Wold, England) [Bacon]; a MS by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Bacon (The Morris Ring), 1974, pgs. 15, 95, 210, 295. Carlin (The Master Collection of Dance Music for Violin), 1984; No. 47, pg. 37. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; pgs. 86-87. Gow (Complete Collection), Part 4, 1817; pg. 10 (appears as "Black Jock"). Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 20 (appears as "Black Jack"). Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 32, pgs. 86-89. Mallinson (Mally's Cotswold Morris Book), 1988; No. 1, pg. 8 and No. 35, pg. 24. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 81, pgs. 48-49 (includes six sets of variations). Offord (John of Greeny Cheshire Way), 1985; pg. 107. Raven (English Country Dance Tunes), 1984; pg. 116 (Black Jack), 81 & 95. Seattle (William Vickers), 1987, Part 2; No. 206. Gourd Music 110, Barry Phillips - "The World Turned Upside Down" (1992). Topic TSCD458, John Kirkpatrick - "Plain Capers" (1976).
T:Black Jock
L:1/8
M:6/8
S:Gow - 4th Repository
K:A
E|E2A AGA|BcB BAB|c>dc cBA|BcB BAF|A3 F2E|EFA A2 E/D/|
(CE)A AGA|(Bd)c BAG|(Ac)e edc|Bdc {c}BAG|~A>Bc ~F>GA|
EFG A2||d|(c2d e2)e|fdf {f}e2d|c2d e>fe|f>ga edc|d2b c2a|BcB {c}BAB|
~c>dc cBA|B>cB BAF|A3 ~F2E|EFA A2d|(cA)c (ec)e|(fd)f e2d|
(cA)c (ec)e|(fd)f {f}e2c|ddd ccc|Bdc B2A|(Ac)e (ed)c|(Bd)c {c}BAG|
~A>Bc ~F>GA|EFG A2||

BLACKBERRY QUADRILLE. Canadian, American, New England; Quadrille (6/8 time). USA; Central New York State, New England, Arizona. D Major (most versions): G Major (Ruth). Standard. AABB. The tune is related to "Off She Goes" and "Rustic Reel;" there is also a "Blackberry Reel" that is quite close to the tune, collected by Cazden (1955) in New York's Catskill Mountain region. It has been reported that there is/was a dance called the Blackberry Quadrille danced at barn and contra-dances in New England and New York. The tune was even known as far afield as Arizona, where it was played by champion fiddler Viola "Mom" Ruth in the mid-20th century. Transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.) played a version of this tune mixed up with "Little Burnt Potato" called "Burning Potatoes" (see "Little Burnt Potato"). Source for notated version: Woodhull's Old Tyme Masters, 1941 (New York State) [Bronner]. Bronner (Old Time Music Makers of New York State), 1987; No. 13, pg. 76. Cazden, 1955; pg. 13. Messer (Way Down East), 1948; No. 75. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 133, pg. 87. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 20. Ruth (Pioneer Western Folk Tunes), 1948; No. 107, pg. 37. Sweet (Fifer's Delight), 1964; pg. 27. Victor 36403A (78 RPM), Woodhull's Old Tyme Masters, 1941 (released 1948).
T:Blackberry Quadrille
L:1/8
M:6/8
K:D
A2a ba^g|a2f d2f|e2c Afg|fdB Afg|a2a ba^g|a2f d2f|e2c ABc|dfe d3:|\
|:FG|A2B G2A|F2A def|g2e c2e|dfe dcB|A2B G2A|F2A def|g2e ABc|d2f d:|
T:Blackberry Quadrille
L:1/8
M:6/8
S: Viola "Mom" Ruth - Pioneer Western Folk Tunes (1948)
K:G
d2d ed^c|d2B G2B|A2F D2D|B2A G2 (B/c/)|d2d ed^c|d2B G2B|
A2A DEF|G3 G3 (B/c/}:|
|:d2d e2d|B2d b2b|c'2d def|g2a b2 (B/c/)|d2d e2d|B2d b2b|c'2d def|g3g2:|

BOATMAN [1] (Boate Man). English, Country Dance Tune (6/8 or 6/4 time). D Major (Fleming-Williams): C Major (Barnes, Chappell, Karpeles, Sharp). Standard. AB (Chappell): ABB (Sharp): AABB (Barnes, Fleming-Williams, Karpeles). The air was first published by Playford in The English Dancing Master (1650) and again in his Musick's Recreation on the Vio., Lyra-way (1661). Barnes (English Country Dance Tunes), 1989. Chappell (Popular Music of the Olden Times), Vol. 1, 1859; pgs. 308-309. Fleming- Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 7. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 18. Raven (English Country Dance Tunes), 1984; pg. 37. Sharp (Country Dance Tunes), 1994; pg. 43.

BOAT(S)MAN [2]. AKA and see "Sailing Down the River on the O-hi-o," "Ohio River," "Boatman Dance" [1]. Old-Time, Breakdown. USA; W.Va., Pa. A Major (Krassen, Phillips): D Major (Johnson): G Major (Spandaro). Standard. AABBC: ABCC (Johnson): AABBCC (Phillips). The fiddle tune is derived from the minstrel piece credited to Dan Emmett called "De Boatmen Dance" or "Dance, Boatman, Dance;" the tune (words below), according to some accounts, was first heard in performance in Boston in 1843. Emmett published it in that year, advertising it as "An Original Banjo Melody." The tune appears in many American and even English songsters of the 19th and early 20th centuries; Scott (1926) prints it as "Sung by the Ethiopian Serenaders." Both Nathan and Cauthen (1990) assert the melody was in folk currency before the minstrel era, and that it made its way back to folk currency in the fiddle tradition after popularization by minstrels; this is probably true, for it was in print (as "Ohio River") in George P. Knauff's Virginia Reels, volume IV (Baltimore, 1839) -- associated with Ohio River boatmen -- before it was played on the minstrel stage. See also "Boatman's Dance" for version of the tune in the morris dance tradition and "Little Rabbit" for a related old-time version.
***
The Boatsman dance, the Boatsman sing,
The Boatsman do most everything.
And when the Boatsman get on shore,
Spends all his money and he work for more.
Cho:
Dance, Boatsman, dance. Dance, Boatsman, dance,
Stay out all night, 'til the broad daylight,
Coming home with the girls in the morning.
Hey, ho, the boatmen row,
Sail down the river on the Ohio.
Hey, ho, the Boatmen row,
Sail down the river on the Ohio.
***
Well, I never saw a pretty girl in my life,
But what she'd been some boatsman's wife.
When the Boatsman blows his horn,
Look out, men, your daughter's gone! (Johnson)
***
The boatmen whistle and the boatmen sing,
And the boatmen tell me some good thing.
Way, oh, boatmen row,
Sailing down the river on the O-hi-o. (Bayard)
***
Sources for notated versions: Debbie McClatchey (Spandaro), George Strosnider (an elderly Greene County, Pa., when collected in the 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 21, pgs. 25-26 (appears as "Sailing Down the River on the O-hi-o"). Johnson (The Kitchen Musician: Occasional Collection of Old-Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc), No. 2, 1988; pg. 3. Krassen (Appalachian Fiddle), 1973; pg. 69 (appears as "Boatsman"). Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 32. Scott (English Song Book), 1926; pg. 78. Spandaro (10 Cents a Dance), 1980; pg. 28. Folk-Legacy FSI-38, "Sara Grey with Ed Trickett" (1970). Kanawha Records 307, Frank George - "Traditional Music for Banjo, Fiddle, and Bagpipes." Rounder CD0262, Mike Seeger - "Fresh Oldtime String Band Music" (1988). Rounder CD 0382, Marvin Gaster - "Uncle Henry's Favorites."

BREAKING UP CHRISTMAS (See "Old Breaking Up Christmas"). Old-Time, Breakdown. USA; western North Carolina, western Va. A Major. AEAE or DGDG. AABB. "A popular tune in the Galax/Meadows of Dan/Mt. Airy triangle," say Tom Carter and Blanton Owen (1978), who quote 82 yr. old Meadows of Dan fiddler Lawrence Bolt on the origin of the title:
***
Through this country here, they'd go from house to house almost -
have a dance at one house, then go off to the next one the following
night and all such as that. The week before Christmas and the week
after, that's when the big time was. About a two-week period, usually
winding up about New Year. I wasn't into any of this, but used to
laugh about it. They'd play a tune called BREAKIN' UP CHRISTMAS,
that was the last dance they'd have on Christmas, they'd have Wallace
Spanger play BREAKIN' UP CHRISTMAS. There's an old feller by
the name of Bozwell, he'd cry every time.
***
There are verses associated with the tune which goes:
***
Hoo-ray Jake and Hoo-ray John,
Breakin' Up Christmas all night long.
***
Way back yonder a long time ago
The old folks danced the do-si-do
***
Way down yonder alongside the creek
I seen Santy Claus washin' his feet.
***
Santa Claus come, done and gone,
Breaking up Chrismas right along.
***
Source for notated version: the Fuzzy Mountain String Band (N.C.) [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 55. County 713, Tommy Jarrell. County 723, Cockerham, Jarrell and Jenkins- "Back Home in the Blue Ridge." County 790, Leftwich & Higginbotham - "No One to Bring Home Tonight" (1984). County CD 2702, "Tommy & Fred." Davis Unlimited 33002, Norman Edmonds (southwest Va.). Front Hall 017, Micheal and McCreesh- "Dance, Like a Wave of the Sea" (1978) {learned from Tommy Jarrell}. Kicking Mule 213, Fred Cockerham- "Southern Clawhammer Banjo." Rounder 0057, The Kimble Family- "Old Originals, Vol. I." Rounder 0035, The Fuzzy Mountain String Band- "Summer Oaks and Porch" (1973. Learned from Tommy Jarrell, Mt. Airy, N.C.). Rounder 0192, John McCutcheon- "Winter Solstice" (1984).
T:Breakin' Up Christmas
L:1/8
M:C|
S:Pete Sutherland
K:A
efed c2 cc|BABA c2 cc|efed c2 cc|BcBA F2 FF|efed c2 cc|
BABA c2 cc|e2 fe afed|cABc A2 AA:|
E2 FE A2 AA|BABA c2 cc|E2 FD A2 AA|BcBA F2 FF|
E2 FE A2 AA|BABA c2 cc|e2 fe afed|cABc A2:|

BUFFALO GALS [3]. Old-Time, Breakdown. A Major. Recorded by Herbert Halpert in the field in 1939 for the Library of Congress, from the playing of Mississippi fiddler John Hatcher. The tune has some small similarity to "Buffalo Gals" [1]. Unusual is that it starts on the high or fine part of the two parts. Hatcher told Halpert that "Buffalo Gals" [1] was the 'modern' way to play the tune.

BUY BROOM BUZZEMS. English, Scottish; Country Dance and Song Tune (3/4 time). England, Northumbria. G Major. Standard. AB. "This unique little ballad, quaint and simple alike in music and words, is popularly attributed to William Purvis, commonly called 'Blind Willie', one the the most worthy and famous of the Newcastle eccentrics. He was the son of John Purvis, waterman, and born about the beginning of 1752, having been baptized at All Saints Church on the 16th February of that year. This eccentric character never enjoyed the faculty of sight, and many still living remember the sosy, contented, and sightless face of Willie as he trudged along the streets without a covering on his head. Several attempts were made by presenting him with a hat to induce him to wear one; but after having borne the infliction for a day or two, it was thrown aside, and the 'Minstrel', as he was called, again appeared uncovered, preferring the exposure of his hoary but well-thatched pate to the pelting of the pitiless storm. Blind Willie was perfectly acquainted with all the streets, lanes, and chares of his native town, and made his way everywhere without a guide, only using a long stick. His happy, contented nature made him a universal favourite with all ranks of society; and he had his regular places of call, where he was always welcome and duly served. At the inns and public houses of the town Blind Willie's presence in the taproom was a sure attraction, and his voice and fiddle in harmony, singing some quaint local ditty, gave never failing delight to his appreciative audiences. 'Buy Broom Buzzems' was usually considered to be Willie's chef-d'oeure, and he was in the habit of adding new verses, either made by himself or made for him, having no connection with the original theme. They have, therefore, been omitted here. Blind Willie died in All Saint's Poorhouse on 20th July, 1832, upwards of eighty years of age" (Bruce & Stokoe). Raven (English Country Dance Tunes), 1984; pg. 134. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 118. Welling (Welling's Hartford Tune Book), 1976; pg. 18.
T:Buy Broom Buzzems
L:1/8
M:3/4
S: Bruce & Stokoe - Northumbrian Minstrelsy
K:G
GB de cA|GB de c2|GB de cA|BG GE c2||
A2A2 FD|GG GB c2|A2 AG FD|GB cA G2||

CAPTAIN JINKS/JINX. AKA and see "Down the Ohio." American (originally), Canadian; Single Jig and Air. USA; Pa., New York State: Canada, Ottawa Valley. G Major (Bronner, Ford, Guntharp, Roche, Shaw): D Major (Bayard, Begin, Phillips, Sweet). Standard. AB (Begin, Shaw, Sweet): AAB (Guntharp, Phillips): ABB (Bayard): AABB (Bronner, Ford, Roche). The title is taken from a popular song of the 19th century, "Captain Jinks of the Horse Marines," which Sigmund Spaeth (A History of Popular Music in America) states was composed by an English music hall singer named William Horace Lingard who came to America in 1871. Confirming that Lingard wrote the lyrics, Denes Agay (Best Loved Songs of the American People, pgs. 156-157) however, credits the music to a T. Maclagan. Musicologist Sam Bayard (1991) traces the tune "ultimately (and indirectly)" back to a piece called "The Mill Mill O," a commonly printed and played duple time march from the 18th and early 19th centuries, and to the jig "Merrily Danced the Quaker('s Wife)," one of which was derived from the other. Another researcher cited by Bayard traces the melodic material in these tunes all the way back to 14th century plain-chant, although Bayard himself does not confirm or deny that line of thinking. He does believe that the mid-19th century tune known as "Captain Jinks" (and also the melody "Hundred Pipers") is an offshoot of the first part of the Mill air, via "The Quaker's Wife." It was listed as having been commonly played in the Orange County, N.Y. area for dances in the 1930's (Lettie Osborn, New York Folklore Quarterly, pgs. 211-215), about the same time Bayard collected the melody from western Pennsylvania sources, and Norman Cazden collected it from Catskill Mountian, N.Y. dances of the era. The original words to the song begin:
***
I'm Captain Jinks of the Horse Marines,
I feed my horse on corn and beans,
And often live beyond my means,
Tho a captain in the army.
***
Bronner (1987) notes that the lyrics reinforce the tune's connection to dancing:
***
I teach young ladies how to dance,
How to dance, how to dance,
I teach young ladies how to dance,
For I'm the pet of the army.
***
Bruce E. Baker communicates that he finds reference to the tune in WPA-collected narratives from 1937 with former slaves in South Carolina (reprinted in Edmund L. Drago's Hurrah For Hampton: Black Red Shirts in South Carolina During Reconstruction, Fayetteville: University of Arkansas Press, 1998, pg.100). One interviewee, Charley Barber, born near Winnsboro, Fairfield County, South Carolina, remembered the piece from his slavery days. He recalled "Captain Jenks" (sic) thus:
***
A tune was much sung by de white folks on de place and took wid de
niggers. It went lak dis:
'I'm Captain Jenks of de Horse Marines
I feed my horse on corn and beans.
Oh! I'm Captain Jenks of de Horse Marines
And captain in de army!'"
***
Sources for notated versions: Floyd Woodhull, 1976 (New York State) [Bronner]; Archie Miller (Lewisburg, Pa.) [Guntharp]; Walter Neal (Armstrong County, Pa., 1952) [Bayard]; Don Woodcock [Phillips]; caller George Van Kleek (Woodland Valley, Catsekill Mtns., New York) [Cazden]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Adam, No. 11. Bayard (Dance to the Fiddle), 1981; No. 596, pg. 523-524. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 69, pg. 79. Bronner (Old Time Music Makers of New York State), 1987; No. 17, pg. 80. Cazden (Dances from Woodland), 1945; pg. 16. Cazden, 1955; pg. 15. Ford (Traditional Music in America), 1940; pg. 120. Guntharp (Learning the Fiddler's Ways), 1980; pg. 77. Kraus, pg. 65. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 361. Roche Collection, 1982; Vol. 2, pg. 23, No. 249. Shaw (Cowboy Dances), 1943; pg. 379. Sweet (Fifer's Delight), 1964/1981; pg. 19. Victor 36401A (78 RPM), Woodhull's Old Tyme Masters, 1941.
X:1
T:Captain Jinks
L:1/8
M:6/8
S:Shaw - Cowboy Dances
K:G
B2D D^CD|E2D G2B|A2c E2F|G2A B3|B2D D^CD|E2D G2B|
A2c E2F|G3G3||c2c ccc|c2B B3|B2A A3|A2G G3|c2c ccc|
c2B B3|B2A AB^c|d3 d3||
X:2
T:Captain Jinks
L:1/8
M:6/8
K:D
f2d ABA|{B/c/}(B2A) [D2d2]f|efg (B2c)|(d2e)(f2g)|aba A>AA|
[D2B2]A d2 (3fgf|efg (B2c)|e2[Dd] [Dd]Ad||[B3g3] [Bg]ag|
(f2d) Adf|e^de ede|fdB B/c/BA|[B3g3] gag|(f2d) f>gf|e>^de e>f^g|
a>ba (ag)||

CAPTAIN WITH HIS WHISKERS, THE. AKA and see "The Month of May," "The Captain and His Whiskers." English, Morris Dance Tune (4/4 or 2/2 time). G Major. Standard. AB x7, A. A comic music hall song by Hayness Bayly that found its way into traditional dance accompaniment and military use. The morris version is from the village of Brackley, Northamptonshire, England. The following ditty was sung by the morris dancers during the performance of the dance:
***
Oh! I wish he'd do it now,
Oh! I wish he'd do it now,
Oh! the captain with his whiskers,
Oh! I wish he'd do it now.
***
The above appears to come from a bawdy song to the same tune called "I Wish They'd Do it Now," which begins "I was born of Geordie parents, one day when I was young..."
The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by folklorist/musicologist Vance Randolph, published in 1954. Source for notated version: Cecil Sharpe, and Dr. Kenworthy Schofield from Blackwell & Giles, 1937 [Bacon]. Bacon (The Morris Ring), 1974; pgs. 100 & 104. Howe (Diamond School for the Violin), 1861; pg 78. Journel of the English Folk Dance and Song Society, Dec. 1955. Mallinson (Mally's Cotswold Morris Book), 1988; No. 27, pg. 19. Raven (English Country Dance Tunes), 1984; pg. 81.

CARROLL COUNTY BLUES. Old-Time, Country Blues or Two-Step. USA; Mississippi, Missouri. A Major (Brody, Phillips): G Major (Reiner & Anick). Standard. AAB (Brody, Reiner & Anick): AA'B (Phillips). "Carroll County Blues" was the Mississippi fiddle and guitar duo Narmour and Smith's biggest hit recording. The original melody was composed by fiddler Will Narmour (1889-1961) and was named for his home county, Carroll County, north-central Mississippi. Narmour recorded it with a man named Shell (Sherril) Smith, and it was Smith's wife who recalled that Narmour may have heard the tune either being whistled by a black farmer (according to David Freeman), or hummed by a black field hand (remembers Henry Young). This farmer claimed authorship and called the tune "Carroll County Blues." Narmour and Smith then "worked the tune out," presumably meaning that they arranged it for fiddle and guitar. Narmour is known to have been friendly with black bluesman Mississippi John Hurt, who lived in nearby Avalon. It has also been maintained, ostensibly by folks in Avalon, that Narmour's mentor, Gene Clardy, an older local fiddler, was the one who composed "Carroll County Blues."
***
Gary Stanton, in his article "All Counties Have Blues: County Blues as an Emergent Genre of Fiddle Tunes in Eastern Mississippi" (North Carolina Folklore Journal, vol. 28, no. 2, Nov. 1980), points out that the tune is not what one would consider to be in conventional twelve or sixteen bar blues, but was rather built on several 'riffs' (melodic statements) separated by long held notes or a contrasting musical figure. This results in a piece which has alternations of motion and repose, that Stanton contrasts with Anglo-American fiddling, which is almost constant melodic and rhythmic motion. In addition the tune features 'blues notes', flattened thirds and sevenths slurred into the natural note. The timing is rather odd (ten measures in the 'A' part instead of the usual eight, among other irregularities) with respect to the majority of fiddle tunes, but despite this Freeman (1975) says it has become one of the most famous fiddle tunes in the United States. He notes it was mentioned in Talking Machine World, an old trade paper, as having been one of the biggest selling records of 1929. Narmour recorded other "Carroll County Blues" tunes (see abc's below) attempting to ride the popularity of "Carroll County Blues #1" but they never achieved such widespread acclaim as the first. Due to its popularity #1 was covered by a great many fiddlers, including Kentuckian Doc Roberts (it appears that the Gennett company gave a copy of Narmour's recording to Roberts and told him to learn it for their next recording session). Subsequently, it has been found in local fiddlers' repertoires throughout the South and Mid-West. As previously mentioned, the 'A' part is irregular, though Phillips notes that Narmour sometimes omits the 2/4 time measures (in an otherwise 4/4 tune) or adds two beats to them, so that his performance can be considered inconsistent as well, a not uncommon phenomenon among traditional fiddlers who seldom play a tune the same way twice. Sources for notated versions: Highwoods String Band (Ithica, N.Y.) [Brody], W.T. Narmour (Miss.) [Philips]. Brody (Fiddler's Fakebook), 1983; pg. 63. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 29. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 115. Arhoolie 5001, Hodges Brothers- "Watermelon Hangin' On the Vine." Arhoolie 2001-2002, Hodges Brothers- "The Roots of America's Music." Caney Mountain Records CLP 228, Lonnie Robertson (Mo.), c. 1971-72. Conqueror 8104 (78 RPM), Doc Roberts. County 511, Narmour and Smith- "Mountain Blues." County 528, Narmour and Smith- "Traditional Fiddle Music of Missippi, Vol. 1." Flying Fish 065, Buddy Spicher- "Me and My Heroes." Okeh 45317 (78 RPM), William Narmour & Sherril Smith (3/11/1929). Rounder 0045, Highwoods String Band- "Dance All Night." Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999. Learned from Johnny Bruce, with whom the tune is identified in northern Missouri).
T:Carroll County Blues [2]
M:2/4
L:1/8
S:From a transcription by Gary Stanton of Narmour and Smith OK 45377
K:G
B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/(d/ d2)|
B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/G/ E<G|G [G,/D/]G/E/G/ G|
B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/(d/ d2)|[ee>][ef] ed|
B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/G/ E<G|G/D/[B,/D/][A,/E/] [B,2G2]|
B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/(d/ d2)|B/A/B/G/ E<G|
B/A/B/G/ E<G|G/G/ D/G/E/(G/ G2|G/ g e<g d/|eg e/d/[D/d/]g/|
f/d/f/d/ A/^c/e/g/|f/(d/[d/f/])g/ ed|f/d/f/d/ A/^c/e/g/|
f/(d/[d/f/])g/ ed|g/e/a/(e/ [B/b/]) [Bb]a/|fd e[Bg]||
T:Carroll County Blues [3]
M:2/4
L:1/8
S:From a transcription by Gary Stanton of Narmour and Smith OK 45459
K:D
F/E/F/(A/ A2)|([B,2G2] G/) AE/|F>A F>E|DA, B,(D|D2 D>)B,|
DE DB,|DE DB,|(D2 F2)|(F2 D2|D4|D)D E/ [A,F] [B,/G/]|
[B,2G2] F>G|AG (FE)|D2 F2|[F2d2] (ef)|[F2d2] (ef)|[F2d2] (ef)|
[F2d2] (ef)|[F2d2]A B([F2d2]|[F4d4]|[Fd])(A B)([Fd]|[F2d2]) d2|
dd [Fe]([Fd]|[F4d4]|[F2d2]) (ef)|[F2d2] (ef)|[F2d2] (ef)|
[F2d2](A B)([Fd]|[F4d4]|[fd])(A B)([Fd]|[F2d2])[F2d2]|
[Fd][Fd][Fe][F((d]|[F4d4)]|[Fd)](e f)(a|a)(ec)(A|A)(ef)(a|
a)(ec)(A|A)BB(d|d4|d)A BA|[F2d2] [F2d2]|[Fd][Fd] [Fe][Fd]|[F4d4]||

CARVE DAT POSSUM [1]. See "'Possum Pie" and "Bile Them Cabbage Down." Old-Time, Song. USA; Tennessee, Oklahaoma. G Major. Standard. One part. Charles Wolfe (1991) identifies this as a piece written and performed by black minstrel Sam Lucas about 1870, that appears in a few collections of minstrel songs. Thede printed the following stanza with the tune, collected from Oklahoma fiddlers:
***
Carve dat 'possum Hannah,
Carve dat 'possum soon;
For de pan am ready,
An here am de spoon.
***
African-American collector Thomas Talley, in his book Negro Folk Rhymes (reprinted in 1991, edited by Charles Wolfe), gave the title as "An Opossum Hunt" and printed the text:
***
Possum meat is good an' sweet Carve him to de heart,
I always finds it good to eat, Carve him to de heart
Cho:
Charve dat possum!
Charve dat possum!
Charve dat possum!
Oh charve 'im to de heart!
***
My dog tree, I went to see Carve him to de heart,
A great big possum up dat tree Carve him to de heart,
I retch up an' pull him in, Carve him to de heart,
Dat ol' possum 'gin to grin, Carve him to de heart,
***
I tuck him home an' dressed him off Carve him to de heart,
Dat night I laind him in de' fros', Carve him to de heart,
De way I cooked dat possum sound, Carve him to de heart,
I fust parboiled, den baked him brown Carve him to de heart,
I put sweet taters in de pan, Carve him to de heart,
'Twas de bigges' eatin' in de lan' Carve him to de heart.
***
Thede (The Fiddle Book), 1967; pg. 69. Vocalation 5151 (78 RPM), Uncle Dave Macon (1927).

CACKLIN' HEN [1]. See "Old Hen Cackled," "Old Hen She Cackled," "Hen Cackled," "Cluck Old Hen," "Cackling Pullet," "Chicken in the Barnyard," "Old Man Depression Get On Your Way." Bluegrass, Old Time; Breakdown. USA, widely known. G Major. Standard. AABB (Brody, Ruth, Shumway); AA'BB (Phillips): ABBCDD (Thede). Many variants of this widely known tune appear under titles which include the adjective "cluck" or "cackling," often with the word "old" also appendaged (see alternate titles above). It has been a fiddle contest standard, and is often still heard at fiddler's gatherings; for example, it is mentioned in a 1931 account of LaFollette, northeast Tenn., fiddlers' contest, and, in 1899 in a contest in Gallatin, Tenn., "Cackling Hen" was one of the 'catagory' tunes (where each fiddler would play the same tune with the winning version winning a prize {Charles Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80}). The piece was reworked by the early 20th century Georgia group called the Skillet Lickers, and was recorded by them in the early 30's as "Old Man Depression Get On Your Way." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Sources for notated versions: Chubby Wise (Brody), Jubal Anderson (Pottawatomie County, Ok.) [Thede]; Kenner C. Kartchner (Arizona) [Shumway]; Robert Wise [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 60. Ford (Traditional Music in America), 1940; pg. 92. Phillips (Traditional American Fiddle Tunes), 1994; pg. 43. Ruth (Pioneer Western Folk Tunes), 1948; No. 94, pg. 34. Shumway (Frontier Fiddler), 1990; pg. 266. Thede (The Fiddle Book), 1967; pg. 123. Briar 4206, "Scotty Stoneman." Flying Fish 102, New Lost City Ramblers- "20 Years Concert Performances" (1978. Learned from Joe Stewart's Folkways album). Folkways FA2314, Joe Stewart - "American Banjo Scruggs Style." Kicking Mule, Reed Martin- "The Old-Time Banjo in America." Rounder C11565, Fred Price (northeastern Tenn.) - "Rounder Fiddle" (1990). Rounder 0009, Clint Howard, Fred Price & Sons - "The Ballad of Finley Preston." Rounder CD 0383, Mike Seegar and Paul Brown - "Down in North Carolina." Stoneway 104, Chubby Wise- "Chubby Wise and His Fiddle." Stoneway 148, Chubby Wise- "Fiddle Hoedown." Martin, Bogen and Armstrong- "Barnyard Dance." Recorded for OKeh in 1925 by Dedrick Harris (b. 1868) {Tenn., Asheville N.C.}, one of only two fiddle solos he made.

CAMP CHASE [2]. Old-Time, Breakdown. A Major. AEAE, DGDG (Harvey Sampson) or Standard. AABB. No relation to version #1. The legend attached to the tune has been related by several writers (with slight variations) but most versions begin at the point that Solly "Devil Sol" Carpenter (fiddler French Carpenter's grandfather and himself one of the most influential fiddlers in West Virginia history) is imprisoned during the Civil War at a Union prison in Camp Chase, located near the west side of Columbus, Ohio, where the present-day Fort Hayes is situated. Little remains of the prison camp save for a cemetary on West Sullivan Ave., and a small stone retaining wall on West Broad Street, Columbus.
**
The story goes that while he was incarcerated the commandant held fiddler's contest to give the best player a chance to fiddle his way to freedom, or, as some versions go, to win a reprieve from a death sentance. Devil Sol, a man named Bowie and others played and apparently all the fiddlers played the same tune. Solly won by adding some unusual new notes to the tune according to his fancy (or perhaps, as one writer suggests, in desperation). West Virginia fiddler Wilson Douglas, a protege of French Carpenter, relates "There was quite a few who played in the contest; but Saul put these two high notes in. That tune, he called it 'Camp Chase.' It was some kind of a tune before but they hadn't named it yet. And when he got out of there he called it 'Camp Chase,' and it's gone by that name ever since." Although Sol gained his freedom in the contest he had to sign a parole, pledging not to take up arms against the Union; as the story goes, he ignored this and headed south to join another Confederate unit.
**
Alan Jabbour notes a similarity between one of the versions of "Camp Chase" and "George Booker," and suspects it may be the latter that was played in the contest; the name "Camp Chase" may then have been applied to the tune by W.Va. fiddlers who were familiar with the legend and Solly's Carpenter's music (Bill Hicks {1972}; Krassen {1983}). "George Booker" seems related, notes Jabbour, to the 18th century Scottish strathspey "The Marquis of Huntly's Farewell."
**
It will be noted that there are similar such legends in British Isles and other traditions in which a fiddler tries to play his way to freedom (or plays a masterpiece just before he is executed). Perhaps the oldest, and certainly one of the most famous, is the myth of the Greek harper Orpheus, who played his way out of Hades. See also the tunes "MacPherson's Farewell," "Last of Callahan," "Callahan" and the Cajun "Guilbeau's Waltz" and "Valse a Napoleon" which have similar tales attached.
**
Sources for notated versions: French Carpenter (WVa) [Krassen]; Bruce Molsky [Phillips]. Krassen (Masters of Old Time Fiddling), 1983; pg 58-59. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 44. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band - "Flat Foot in the Ashes" (1986/1994. Learned by Calhoun County, W.Va., fiddler Harvey Sampson, probably from one of the Carpenter family). Shanachie Records 6040, Gerry Milnes & Lorraine Lee Hammond - "Hell Up Coal Holler" (1999).

CAMPBELL'S FAREWELL TO REDCASTLE. See "Campbell's Farewell to Red Gap," "Steph's Reel." Scottish, March (2/4 time). A Mixolydian. Standard. AABB' (Gatherer, Martin). The Campbell referred to in the title may by the Captain Robert Campbell of Glenlyon, who led troops in the massacre of Glencoe Pass in 1692. Redcastle is a village on the north side of Beauty Firth approximately 100 miles from Glencoe, whose castle was built in 1179 (it claims to be the oldest inhabited castle in Scotland). The Scots Guards Standard Pipe Settings suggests that "The Sweet Maid of Glendaruel" follow "Campbell's Farewell to Redcastle." Glendaruel is on the way to Tighnabruaich from Glencoe and is nearly as far to the south as Redcastle is to the north. Gatherer (Gatherer's Musical Museum), 1987; pg. 46. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 1. Ross, William Ross's Collection of Pipe Music (1875).
T:Campbell's Farewell to Redcastle
T:Campbell's Farewell to Red Gap
S:Various books & records
Z:Nigel Gatherer
M:2/4
L:1/8
K:A
E|AA/B/ cc/d/|ea e>d|cA AB/c/|dd/B/ =GE|
AA/B/ cc/d/|ea e>d|cB/A/ =G/A/B/G/|A2 A:|]
=g/f/|ea a=g/f/|ea e>d|cA AB/c/|1 dd/B/ =G g/f/|
ea a=g/f/|ea e>d|cB/A/ =G/A/B/G/|A2 A:|2
dd/B/ =GE|A/B/c/d/ c/d/e/f/|e/f/g/a/ e>d|cB/A/ =G/A/B/G/|A2 A|]

CEASE NOT TO ROW BRAVE BOYS (Fhearaibh mo rùin na diultaibh iomairt). Scottish, Jig. C Major. Standard. AAB. This tune "was acquired from Dr. Morison, formerly mentioned as a native of Lews; the words describe a boat or vessel in imminent hazzard, and the hands overpowered with fatigue, whilst one of the number strikes up this ditty to cheer them up, and keep time,-- alluding to the knowledge and skill of their steersman, and the power of Providence to send them instant relief,-- the sure way to obtain which, was by every man performing his duty" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 197, pg. 82.
T:Cease not to row, brave Boys
T:Fhearaibh mo rùin na diultaibh iomairt
L:1/8
M:6/8
S:Fraser Collection
K:C
C|CEE E2G|(EG)F EDC|(CE)E E2c|B>A^G A2c|(CE)E E2G|E(GF) EDC|
CEE Ece|dcB A2c:|
c>eg ceg|(c/B/c/d/)e/f/ gec|cec' (a/g/)f/e/d/c/|deg ~a2 c'|
c>eg ceg|(c/B/c/d/e/f/) gec|(f/e/)d/c/B/A/ GF/E/D/C/|DEG A2e|c>eg ceg|
(c/B/c/d/e/f/) gec|cec' (a/g/)f/e/d/c/|deg ~a2c'|ceg (e<c)e|(d<B)d c>de|
(CE)E (EA)c|B>A^G A2c||

CHEER, BOYS, CHEER. English, Air and March (4/4 time). F Major. Standard. One part. The most celebrated of the compositions by Henry Russell in conjuction with lyricist Charles Mackay. It was introduced into one of Russell's musical entertainments, the "The Emigrant's Progess," and steadily gained popularity. Unfortunately, Russell is said to have sold the rights to the song for five Pounds, later learning the printer needed twenty-nine presses to meet the demand for it. For obvious reasons, the song was popular in the British army in Victorian times, from Crimea to the Boer War.
***
Cheer! boys, cheer! no more if idle sorrow
Courage, true hearts, shall bear us on our way.
Hope points before--shows the bright to-morrow,
Let us forget the darkness of to-day.
So farewell, England, much as we may love thee,
We'll dry the tears that we have shed before,
Why should we weep to sail in search of Fortune?
So farewell, England, farewell for evermore.
***
Scott (1926) notes the melody is reminiscent of the French folk-song "Joli Tambour." Scott (English Song Book), 1926; pg. 86.

CINDY [1]. AKA and see "Cindy in the Summertime," "Cindy in the Meadows," "Get Along Home (Miss) Cindy," "Git Along Cindy," "J'etais au Bal," "Old Time Cinda," "Run Along Home, Cindy," "Whoop 'Em Up Cindy," Old-Time, Song and Breakdown. USA; Arkansas, North Carolina, Tennessee, Kentucky, Georgia, Mississippi. D Major (most versions): G Major (John Brown). Standard or ADAE. AB (Brody): AABB (Phillips/1989 {the 'B' part is 'crooked' in Phillip's version}): AA'BB (Phillips, 1994). A widely known frolic tune, appearing in many folk music collections and even old elementary school songbooks. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954, and was recorded for the Library of Congress in 1939 by Mississippi fiddler John Brown. A very popular Cajun version of the tune, probably borrowed from the American song, is "J'etais au Bal" (I Went to the Dance Last Night). Verses set to the tune are many, including several "floaters":
***
Cindy in the summertime, Cindy in the fall,
Can't have Cindy all the time, don't want Cindy at all.
Chorus
Get along home, get along home,
Get along home, Cindy, fare you well.
***
You ought to see my Cindy, she lives way down South,
She's so sweet the honey bees all swarm around her mouth.
***
Wish I had a needle as fine as it could sew,
I'd sew that gal to my coat-tail, and down the road I'd go.
***
Went upon the mountain, to give my horn a blow,
Hollered back to Cindy, oh yander she go. (Rosenbaum)
***
When I was a little lad, about six inches high,
I used to court the pretty girls to hear the old folks cry;
Get a-long down, down Big Sandy, Get a-long down, down Big Sandy,
Get a-long down, down Big Sandy, that's the place for you. (Thomas & Leeder)
***
The Big Sandy River, referred to in Thomas & Leeder's lyric, forms the border between Kentucky and West Virginia and flows into the Ohio River at Catlettsburg, Ky. It was a flat-boat trade route before the advent of the railroads. See also similar stanzas printed by African-American collector Thomas Talley in Negro Folk Rhymes (1922) under the title "She Hugged Me and Kissed Me." Sources for notated versions: New Lost City Ramblers [Brody]; Alan Block [Phillips]; Fox Fraley (Lawrence County, Ky., 1911) [Thomas & Leeder]. Brody (Fiddler's Fakebook), 1983; pg. 69. Phillips (Fiddlecase Tunebook), 1989; pg. 10. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 53. Rosenbaum (Folk Visions and Voices: Traditional Music and Song in North Georgia), 1989; pgs. 12-13. Thomas and Leeder (The Singin' Gathering), 1939; pg. 23. County 405, "The Hill-Billies." County 518, Pope's Arkansas Mountaineers- "Echoes of the Ozarks, Vol. I" (appears as "Get Along Home Miss Cindy"). County 544, Clayton McMichen- "Georgia Fiddle Bands, Vol. 2." Folk Legacy Records FSA-17, Hobart Smith - "America's Greatest Folk Instrumentalist" (appears as 1st tune of "Banjo Group #2"). Folkways FA 2399, New Lost City Ramblers- "Vol. 4."

CLUCK OLD HEN [1]. AKA and see "Cackling Hen," "Chicken in the Barnyard," "Cluckin' Hen," "Hen Cackled," "Old Hen Cackled." Old-Time, Breakdown. USA; West Virginia, southwest Virginia, western North Carolina, Kentucky. A Dorian or A Mixolydian (Phillips). Standard, DGDG (Harvey Sampson) or AEAE. ABB (Phillips): AABB. Charles Wolfe (1982) states the tune was popular with Kentucky fiddlers. Mt. Airy, North Carolina, fiddler Tommy Jarrell tells us that "Cluck Old Hen" is in the "old-timey tuning of A" also called the "sawmill key" (AEAE). Jarrell was inspired to learn the tune from a distant relative and musical contemporary of his father (fiddler Ben Jarrell), named Tony Lowe, who enphused the tune with an intricate routine which combined pizzicato "clucks" on the fiddle with elaborate gestures: "He'd swing the whole fiddle way out, and when he started back he'd pluck it in again and hit that with the bow, and all the while he'd never miss his time," said Jarrell (quoted by Barry Poss, 1976). It so happened that Russel County, southwest Virginia, musician Fiddlin' Cowan Powers was playing this tune on stage with the Stanley Brothers (Carter & Ralph) in Saltville, Virginia, when he had a fatal heart attack in the early 1950's.
***
My old hen's a good old hen,
She lays eggs for the railroad men;
Sometimes one, sometimes two,
Sometimes enough for the whole damn crew.
***
First time she cackled, she cackled in the lot,
Next time she cackled she cackled in the pot;
Cluck Old Hen, cluck and squall,
Ain't laid an egg since late last fall.
***
Cluck old hen, cackle and sing,
You ain't laid an egg since way last spring.
Cluck old hen, cackle and squall,
You ain't laid an egg since late last fall. (Johnson)
***
My old hen's a good old hen,
She lays eggs for the railroad men;
Sometimes one, sometimes two,
Sometimes three and sometimes four.
Sometimes five, sometimes six,
Sometimes seven and sometimes eight;
Sometimes nine, sometimes ten,
And thats enough for the railroad men.
***
My old hen's a good old hen,
She lays eggs for the railroad men;
Sometimes one, sometimes two,
Sometimes enough for the whole damn crew.
First time she cackled she cackled in the lot,
Next time she cackled she cackled in the pot;
Cluck Old Hen, cluck and sing,
Ain't laid and egg since late last spring.
***
My old hen, she won't do,
She lays eggs and 'taters too; (Frank Proffitt)
***
The old hen she cackled,
She cackled in the morn;
She cackled for the rooster
To come get his pecker warm. (Tom P. Smith, W.Va.)
***
Cluck old hen, cluck for your corn,
Cluck old hen, your winter's all gone.
***
Cluck old hen, cluck in a lot,
The next time you cluck, you'll cook in a pot.
***
I had a little hen, she had a wooden leg,
The best danged hen that ever laid eggs.
***
Laid more eggs than the hens around the barn,
Another little drink wouldn't do me no harm. (Tommy Jarrell)
***
Cluck Old Hen, cluck I tell you,
Don't lay an egg, I'm a-gonna sell you. (Joel Shimberg)
***
My old hen died, what'll I do
Guess I'll have some chicken stew (Neal Walters)
***
Cluck old hen, cluck all night,
Soon you will be Chicken Delight
***
Probable, possible. my fat hen.
She lays eggs in the relative when.
She might lay eggs in the positive now,
If only she could postulate how.
***
Cluck old hen, cluck I say,
The Dow-Jones average is down today.
Cluck old hen, cluck six-ten,
The Dow-Jones average is down again. (Neil Rossi)
***
Possible, probable my black hen
She lays eggs in the relative when
She can't lay eggs in the positive now
For she's unable to postulate how. (Spark Gap Wonder Boys)
***
Sources for notated versions: Jay Unger (West Hurley, New York) [Kuntz]: Charlie Higgins and Wade Ward (Va.) [Krassen]. Ken Kosek [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 70. Ford (Traditional Music in America), 1940; pg. 92 (appears as "Cackling Hen"). Johnson (The Kitchen Musician: Occasional Collection of Old-Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), No. 2, 1982/1988; pg. 2. Krassen (Appalachian Fiddle), 1973; pg. 35. Kuntz (Ragged But Right), 1987; pg. 219-220. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 32. Warner (Traditional American Folk Songs), 1984; pgs. 292-293. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band - "Flat Foot in the Ashes" (1986/1994. Learned by Calhoun County, W.Va., fiddler Harvey Sampson from his father and others). Bay 204, The Arkansas Sheiks- "Whiskey Before Breakfast." Carryon Records 007, The Renegades - "I Need to Find." Cassette C-7625, Wilson Douglas - "Back Porch Symphony." County 405, "The Hill-Billies." County 701, Kyle Creed & Fred Cockerham - "Clawhammer Banjo." County 745, John Ashby- "Down on Ashby's Farm." County 756, Tommy Jarrell- "Sail Away Ladies" (1976). Folk Legacy FSA 1, Frank Proffitt (1962). Folkways Records, Vester Jones - "Music of Carroll and Grayson Counties" (c. 1964). Gennett 6436 (78 RPM), 1928, G.B. Grayson (Va.). Heritage 080, Enoch Rutherford - "Old Cap'n Rabbit." In the repertoire of Fiddlin' Cowan Powers 1877-1952? (Russell County, Va.) and recorded by him for Edison in 1925. Recorded on a 78 by Grayson and Whitter. Rounder Records, "Spark Gap Wonder Boys" (1970). Voyager Records, Vivian Williams - "Winter Moon."
T:Cluck Old Hen
L:1/8
M:2/4
B:Kuntz - Ragged but Right
K:A
[Ae]a =g/a/g/f/|e/d/e/e/ df|[Ae]a =g/a/g/f/|e/c/B A2|[Ae]a =g/a/g/f/|e/d/e//e/ df|
[Ae]a =g/a/g/f/|e/c/B A2||
[Ae][Ae] [c>e>][ce]|[A/e/][B/e/][Ae] [=G>A>][GA]|[Ae][A/e/][B/e/] [c/e/][B/e/][c/e/]d/|
e/c/B A2|[Ae][Ae] [c>e>][ce]|[A/e/][B/e/][Ae] [=G>A>][GA]|
[Ae][A/e/][B/e/] [c/e/][B/e/][c/e/]d/|e/d/B A2||

COGAD/COGADH/CIGAUDG NA SITH (Peace or War/War or Peace). Scottish, Pipe Air. Played to inspire the troops by gallant Kenneth Mackay piper to the Grenedier Company of the 79th Regiment (Cameron Highlanders) at Waterloo, when he bravely stepped outside the protection of his comrades' traditional square formation (formed to receive the charge of the French cavalry), walking too and fro before the enemy. O'Neill (1913) relates its similar use in India, when a piper in Lork McLeod's regiment, seeing the British army giving way before superior numbers, played "War or Peace" which inspired the Highlanders with such spirit that they rallied and cut through their enemies. For this circumstance Sir Eyre Coote, filled with admiration, presented the regiment with fifty pounds to buy a stand of pipes. Still another military anecdote has pipers of the 92nd Gordon Highlanders playing the tune at St. Piere during the Peninsular War. The first lines of the song set to it go:
**
War or peace, peace or war, its all the same to me,
In war I might be killed, in peace I might be hanged!

COLORED ARISTOCRACY. AKA and see "Southern Aristocracy." Old-Time, Breakdown. USA, West Virginia. G Major. Standard. AA'BB'. This late 19th century or c. 1900 tune is more correctly categorized as a cakewalk (which suggests ragtime from its syncopated rhythms) rather than a fiddle tune though the popularized version apparently comes from old-time fiddler Sanford Rich, a resident of Arthurdale, West Virginia in August of 1936. Arthurdale, according to Kerry Blech and Gerald Milnes, was a resettlement camp for displaced persons during the depression, a project of Elanor Roosevelt's, and it was there at a festival of folk heritage that musicologist Charles Seeger (father of New Lost City Ramblers member Mike Seeger) recorded the Rich Family for the Library of Congress (AFS 3306 B2). Gerald Milnes has located Sanford's son, Elmer Rich, an elderly man who still fiddles and who remembers the event. Mike Seegar learned the tune at a young age by playing the aluminum recordings in his parent's house. It became one of the first tunes recorded by his group the New Lost City Ramblers in the early 1960's, and introduced the song to "revival" era fiddlers.
***
The second chord in the accompaniment has been variously played as both an E minor and an E major. The origin of the title remained obscure, although it was speculated that it derived from Reconstruction sentiments (or resentments) about the perceived attitude (either within or without the black community) of some African-Americans (i.e. that "Colored Aristocracy" was a gentrification of "Uppity Nigger"). However, Peter Shenkin tracked the title to a piece of sheet music from a 1902 revue entitled "In Dahomey," which starred the famous African-American vaudeville duo Williams and Waltker. The music (entitled "Leader of the Colored Aristocracy") is credited to Will Marion Cook, words by James Weldon Johnson (later of Harlem Renaissance fame), published by Harry Von Tilzer. Another "Coloered Aristocarcy" dates from 1899 credited to one Gus W. Bernard (published by the Groene Co.); it is listed as a "Cake-walk" on the cover. Neither the Bernard tune or the one published by Tilzer is the "Colored Aristocracy" played by fiddlers, however. Bob Buckingham reports that a fiddling preacher of his aquaintance named Buck Rife (originally from the Beckley WV area) calls the tune "The Young Man Who Wouldn't Hoe Corn" and gave that he had it as a youngster learning clawhammer banjo from an uncle. Brody (Fiddler's Fakebook), 1983; pg. 72. Phillips (Fiddlecase Tunebook), 1989; pg. 11. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 33. Columbia GP18, Taj Mahal - "De Old Folds at Home." Folkways FA 2396, New Lost City Ramblers- "Vol. 1." Folkways 2494, New Lost City Ramblers - "Sing Songs of the New Lost City Ramblers" (1978. Learned from a Library of Congress recording of the Riche Brothers at the 1936 Athurdale, W.Va. fiddler's Convention). Fretless FR 200A, Yankee Ingenuity - "Kitchen Junket" (1977). Front Hall FHR-01, Bill Spence & Fennig's All Stars - "The Hammered Dulcimer." Rounder 0002, Spark Gap Wonder Boys- "Cluck Old Hen." Rounder 0075, Richard Greene- "Duets." Smithsonian/Folkways SF CD 40098, New Lost City Ramblers - "There Ain't no Way Out" (learned from the Library of Congress field recording of Sanford Rich).

COOLEY'S REEL [1]. AKA and see "Joe Cooley's Reel" [2], "Lutrell Pass," "Reynold's Reel," "Ríl na Tulai," "Tulla Reel." Irish, Reel. E Dorian. Standard. AAB (Carlin, Laufman): AABB (Brody, Mallinson, McNulty, Mulvihill, Songer, Taylor): AA'BB (Miller & Perron, Moylan): AA'BB' (Alewine). The tune is associated with the renowned button accordion player Joe Cooley (1924-1973), originally from Peterswell, County Galway, near the northern boundary of the Sliabh Aughty mountians. Cooley spent much of his later life in an itinerant lifestyle in various cities in America, and back and forth to Ireland. He was a member for a time of the famous Tulla Céilí Band in Ireland.
**
Peter Wood, in his book The Living Note: the Heartbeat of Irish Music (1996), had this to say about Cooley:
**
Cooley's accordion playing made a great impression on all those
who heard him. He had great energy and style. Everything for
him was wrapped up in emotion. There was at the time, and
there have been since, technically better players, faster players,
players who know their way round the box better than Joe did,
but it was always about Joe that you'd find the crowd gathered,
looking at him, watching him drive his whole body behind his
box. You could be standing at the back of a place when Cooley
came to play, the place emptied out into the corners, but when
he strapped on the box and launched into a tune the crowds
would start toward him, even if they didn't know who he was.
He inspired people. Oh, they'd say, can't he make it talk.
**
There are several stories circulating regarding the origins of this extremely popular tune. According to David Taylor (1992) the reel was the composition of Co. Mayo and New York fiddler John McGrath (1900-1955). Philippe Varlet maintains it was the invention of accordion player Joe Mills of the Aughrim Slopes Céilí Band, who originally entitled it "Lutrell Pass." Charlie Piggott, writing in his book co-authored with Fintan Vallely, Blooming Meadows (1998), has yet another version, related to him by Joe's brother Séamus. Its origins date to the 1940's when the teenaged brothers attended a house session in the neighboring county of Clare. There they listened to an old man with a battered concertina playing in front of an open fire (Séamus remembers some of the buttons had been replaced by cigarette ends!), and one tune in particular caught their attention. On returning home the brothers tried their best to remember what the old man had played, staying up through the night working and worrying the remembered fragments until finally the reel took shape. Séamus credits Joe with the first part of their refashioned piece, while himself taking credit for the turn.
**
Sources for notated versions: Jay Ungar (West Hurley, New York) [Brody]; accordion player Johnny O'Leary (Slaibh Luachra region of the Cork-Kerry border), recorded in recital at Na Píobairí Uilleann, November, 1990 [Moylan]; Jim Bly (Co. Roscommon/Northampton, England) & Frank McCollam (Ballycastle, Co. Antrim) [Mulvihill]; set dance music recorded live at Na Píobairí Uilleann, mid-1980's [Taylor]. Alewine (Maid that Cut Off the Chicken's Lips), 1987; pg. 13. Brody (Fiddler's Fakebook), 1983; pg. 74. Carlin (Master Collection), 1984; pg. 117, No. 197. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 35. Mallinson (Essential), 1995; No. 27, pg. 12. McNulty (Dance Music of Ireland), 1965; pg. 7. Miller & Perron (Irish Traditional Fiddle Tunes), 1977; Vol.1, No. 33. Moylan (Johnny O'Leary's), 1994; No. 170, pg. 98. Mulvihill (1st Collection), 1986; No. 7, pg. 2. Songer (Portland Collection), 1997; pg. 54. Taylor (Music for the Sets: Yellow Book), 1995; pg. 21. Avoca 139, Sean Maguire--"Music of Ireland." Fretless 118, Marie Rhines- "The Reconciliation." Gael-Linn Records, Frankie Gavin & Paul Brock - "Tribute to Joe Cooley." Green Linnet 1009, Patricia Conway and Mick Moloney- "Irish Music: The Living Tradition" (appears as "Joe Cooley's Reel"). Greenhays GR 710, John McCutcheon - "Fine Times at Our House" (1982). Philo 1040l, Jay Ungar and Lynn Hardy- "Catskill Mountain Goose Chase" (1977. Appears as third tune of "Four Reels"). Rounder 0111, Russ Barenberg- "Cowboy Calypso." Tara Records, Tony Linnane & Noel Hill. Voyager 320-S, Frank Ferrel- "Fiddle Tunes."
T:Cooley's Reel
L:1/8
M:C|
K:E Minor
EBBA (B2 B)A|~B2 AB dBAG|FDAD BDAG|FDFA dAFD|
EBBA (B2 B)A|~B2 AB defg|afef dBAF|1 DEFD E2 z2:|2 DEFD E2 zf|
|:eB ~B2 eBfB|eB ~B2 gedB|A2 FA DAFA|~A2 FA defd|eB ~B2 eBgf|
eB ~B2 defg|afef dBAF|DEFD E2 z2:|

COTTEN-EYED JOE [1]. See "Citaco." Old-Time, Breakdown. USA, widely known, but may have originally been a Texas tune. A Major (most versions): G Major (Ford, Kaufman): D Major (Zenith String Band). Standard, AEAE, ADAE, GDAD (Thede, John Dykes). AABB (Perlman): AABBA: AA'BB' (Kaufman). Charles Wolfe has called this tune "a Texas dance-hall anthem" but it has had such widespread currency in the United States that the tune is really a pastiche of melodies using interchangable phrases, the most recognizable of which usually is associated with the verses:
***
Where did you come from, where will you go?
Where did you come from Cotten-Eyed Joe.
***
Marion Thede believes 'cotten-eyed' may refer to a person with very light blue eyes, while Alan Lomax suggests it was used to describe a man whose eyes were milky white from Trachoma. Charles Wolfe (1991) writes that African-American collector Thomas Talley, in his manuscript of stories, Negro Traditions, relateed a story entitled "Cotton-Eyed Joe, or the Origin of the Weeping Willow." The story includes a stanza from the song, "but more importantly details a bizarre tale of a well-known pre-Civil War plantation musician, Cotton Eyed Joe, who plays a fiddle made from the coffin of his dead son."
***
The tune was a favorite of John Dykes (Magic City Trio {Eastern Tenn.}) and it was in the repertoire of Arizona fiddler Kenner C. Kartchner (in the key of G Major) who said a fellow fiddler named Youngblood brought it to the territory from Mississippi around 1890. It was one of the tunes played at the turn of the century by Etowah County, Alabama, fiddler George Cole, according to Mattie Cole Stanfield in her book Sourwood Tonic and Sassafras Tea (1963), and was mentioned in accounts of the DelKalb County Annual (Fiddlers) Convention, 1926-31. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Some verisons are similar to Lowe Stokes (N.Ga.) popular "Citaco." Ken Perlman (1996), who collected the tune on Prince Edward Island, believes Canadian versions probably derived from the playing of radio and TV Maritime fiddler Don Messer (the 'B' part is played with a strong Acadian flavor). See also Bayard's (1981) note to a related tune "The Horse Called Rover" (No. 10, pgs. 20-21).
***
Where'd you come from, where'd you go?
Where'd you come from Cotten-Eyed Joe.
I'd-a been married a long time ago,
If it hadn't a-been for Cotten-Eyed Joe.
***
Cornstalk fiddle and shoestring bow,
Come down gals on Cotten Eyed Joe.
Wanna go to meeting and wouldn't let me go,
Had to stay home with Cotten Eyed Joe.
***
Come a little rain and come a little snow,
The house fell down on Cotten Eyed Joe. (Thede)
***
Hold my fiddle and hold my bow,
'Till I knock the devil out of cotton-eyed Joe. (Ford)
***
I'll make me a fiddle and make me a bow,
And I'll learn to play like Cotten-eyed Joe.
I tun'd up my fiddle, I went to a dance,
I tried to make some music, but I couldn't get a chance.
***
You hold my fiddle and you hold my bow,
Till I whip old Satan out of Cotten-eyed Joe.
I've make lot of fiddles and made lot of bows,
But I never learned to fiddle like Cotten-eyed Joe. (Thomas & Leeder).
***
Thomas Talley gives the following in Negro Folk Rhymes:
***
Hol' my fiddle an' hol' my bow,
Whilst I knocks ole Cotton Eyed Joe.
***
I'd a been dead some seben years ago,
If I hadn' a danced dat Cotton Eyed Joe.
***
Oh, it makes dem ladies love me so,
W'en I comes 'roun' pickin' ole Cotton Eyed Joe.
***
Yes, I'd a been married some forty years ago,
If I hadn' stay's home wid Cotton Eyed Joe.
***
I hain't seed ole Joe, sonce way las' Fall;
Dey say he's been sol' down to Guinea Gall.
***
Sources for notated versions: Highwoods String Band (New York) [Brody]; John Hendricks (Bates, Arkansas) [Thede]; Tommy Magness [Phillips/1994]; Steve Hawkins (Rowan County, Kentucky, 1911) [Thomas & Leeder]; Louise Arsenault (b. 1956, Wellington, East Prince County, Prince Edward Island) [Perlman]. Brody (Fiddler's Fakebook), 1983; pg. 74. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 20. Ford (Traditional Music in America), 1940; pg. 60. Frets Magazine, "Byron Berline: The Fiddle," September 1981; pg. 64. Kaufman (Beginning Old Time Fiddle), 1977; pg. 50. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 86. Phillips (Fiddlecase Tunebook), 1989; pg. 12. Phillips (Traditional American Fiddle Tunes), 1994; pgs. 56 & 57 (two versions). Thede (The Fiddle Book), 1967; pg. 26-27. Thomas & Leeder (The Singin' Gatherin'), 1939; pg. 60. Bay 209, "The Gypsy Gyppo String Band" (1977. Learned from Paul Ermine of Prince Albert, Saskatchewan). Bay 727, "Kenny Hall and the Sweets Mill String Band." Briar 0798, Earl Collins- "That's Earl." Caney Mountain Records CEP 213 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965-66. Cassette C-7625, Wilson Douglas - "Back Porch Symphony." County 506, The Skillet Lickers- "Old Time Tunes, 1927-1931." County 518, Pope's Arkansas Mountaineers- "Echoes of the Ozarks, Vol. 1." County 520, Carter Brothers and Son- "Echoes of the Ozarks, Vol. 3." County 528, Carter Bros. & Son - "Mississippi Breakdown, Traditional Fiddle Music of Mississippi, Vol. 1." County 544, Fiddlin' John Carson- "Georgia Fiddle Bands, Vol. 2." County 756, Tommy Jarrell- "Sail Away Ladies" (1976. Learned after 1925 from a friend, Charlie Lowe, a clawhammer banjoist who heard the tune broadcast on Nashville radio). Fretless 201, Gerry Robichaud--"Maritime Dance Party." Gusto 104, Tommy Jackson- "30 Fiddler's Greatest Hits." Heritage XXIV, Dave Holt - "Music of North Carolina" (Brandywine, 1978). Heritage XXXIII, Zenith String Band (Conn.) - "Visits" (1981. Learned from the Carter Brothers via Vermont/Ohio fiddler Pete Sutherland). June Appal JA 028, Wry Straw - "From Earth to Heaven" (1978. Version learned from Creed Power {Dungannon, VA} and Byard Ray {Shelton Laurel, N.C.}). Mercury SRW 16261, Tommy Jackson- "Instrumentals Country Style." Marimac 9000, Dan Gellert & Shoofly - "Forked Deer" (1986. Version learned from Carter Bros. & Son recording). Marimac 9009, Doris Kimble & Dave Spilkia - "Old Time Friends" (1987). Old Homestead OHCS191, "Dykes Magic City Trio" (Eastern Tenn.) {originally recorded in 1927 on a Brunswick 78}. Rounder 0074, Highwoods String Band- "No. 3 Special" (1977). Rounder 0047, Wilson Douglas- "The Right Hand Fork of Rush's Creek" (1975). Rounder 0193, Rodney Miller - "Airplang" (1985). Rounder CD0262, Mike Seeger - "Fresh Oldtime String Band Music" (1988. With the Ithica, N.Y., group Agents of Terra). Stoneway 143, Ernie Hunter- "All About Fiddling." Tennvale 004, Bruce Molsky- "An Anthology."
T:Cotton Eyed Joe
L:1/8
M:2/4
S:Howdy Forrester, learned from his Uncle Bob; originally transcribed by John Hartford
K:G
A/|B/d/d d>d|f/d/e/f/ d>d|B/A/G/B/ A/G/E/G/|B/A/B D>:|
|:E/|D/E/G/B/ A/G/E/F/|G/A/B/d/ cd/c/|B/A/G/B/ A/G/E/G/|B/A/B D>:|

COUNTRY DANCE. A purely English dance style, of no particular form but rather distinguished by its steps and manner of performance. Its origins are very early: "it was, in its original state, the merry frolic of the countryman and his lass, free in performance and gay in character" (Pulver, 1923), and may have taken some of its conventions from the varied forms of the Branle. Country Dance reached its early peak in mid-17th century in England, where John Playford and others published numerous collections of both tunes and steps, and where the various forms ("Longways for 6," "Longways for as many as will," "a square-dance for eight," etc.) were danced by nobility and populace alike. Many of the tunes Playford published were already old in his day and part of the traditional repertoire, melodies such as "Dargason," "Blew Cap," "All in a Garden Green," "Bobbing Joe" and others. Pulver reminds us that Playford published during the period of Cromwell's Commonwealth, and remarks "it will be realized how little the Puritan regime interfered with the innocent pastimes of the masses." During the Restoration a fad for things imported included dance forms from the Continent, however, after the Pavanes, Branles, Galliards and such were danced, the evening still ended with jigs and Country Dances. Later, as the country dance was superseded at court altogether, the forms reverted to the populace who kept them alive for centuries, importing them to the various English colonies. The country dance took root especially in the American and Canadian colonies where it was an extremely popular recreation, engendering strong dance traditions which survive to this day. It is interesting to note that the origins of this quintissentially English dance were blurred due to the mania for things foreign, and at one time it was maintained (and still is, in some sources) to have derived from the French 'Contredanse', rather than the other way 'round.

COVER THE BUCKLE. AKA and see "The Blooming Meadows," "The Hag in Her Praskeen." Irish. O'Neill (1913) finds references to this title confusing as to whether it was a tune or a dance. It is mentioned by Charles Lover in his song "Darby the Blast," a part of which goes:
***
As he plays 'Will I Send for the Priest?'
Or a jig they call 'Cover the Buckle.'
***
Hall's Ireland, of about the same date, relates an infatuated swain telling of his observing the object of his affections, Kate Leary, "covering the buckle, and heel on toe on the flure" opposite his rival in a dance. O'Neill cites a source, a respected County Leitrim piper born in the beginning of the 19th century named James Quinn, who lived near Chicago for many years, played a double jig he called "Cover the Buckle" or "The Hag and Her Praskeen" (which O'Neill states is generally known as "The Blooming Meadows"). O'Keefee and O'Brien's A Handbook of Irish Dance lists "Cover the Buckle" with figure or set dances which are irregular in structure. O'Neill finally quotes Shelton Mackenzie, born at Mallow, County Cork, in 1809. In an article on dancing masters Mackenzie describes:
***
...that wonderful display of agility known in my time as 'Cover the Buckle'-a
name probably derived from the circumstance that the dancing master, while
teaching, always wore large buckles in his shoes, and, by the rapidity of motion
with which he would make his 'many twinkling feet' perpetually cross, would
seem to 'cover' the appendages in question.
***
Furthermore, while instructing his students the dancing master would encourage them by saying, "That's the way," "Now a double cut," "Cover the buckle, ye divel," "Oh then, 'tis he that handles his feet nately" etc.

CROOKED ROAD TO DUBLIN. AKA and see "Lady's Panteletts." Irish, Reel. G Major. Standard. AB (Mitchell, Mulvihill): AABB (Phillips). Daniel Michael Collins, in liner notes to Shanachie 29009, says this is a fairly common session tune which stresses triplets in the 'A' part and rolls in the 'B' part. It is not either of the "Crooked Way to Dublin" versions in Roche. Sources for notated versions: fiddler Andy McGann (New York) [Phillips]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; (Jr.) Cronin [Mulvihill]. Mitchell (Dance Music of Willie Clancy), 1993; No. 81, pg. 76. Mulvihill (1st Collection), 1986; No. 27, pg. 7. Phillips (Fiddlecase Tunebook), 1989; pg. 13. Shanachie 29009, "Andy McGann & Paul Brady" (learned by fiddler McGann from Michael Coleman. Liner notes to the album say McGann "remembers Coleman writing the Crooked Road for him").

CUMBERLAND REEL. AKA and see "Hilly-go, Filly-go All the Way," "King of the Cannibal Islands," "Nottingham Swing." Scottish, Country Dance Tune (6/8 time). D Major. Standard. AAB. Cumberland Reel is also the name of a favorite Scottish country dance. The county of Cumberland is first mentioned in the 10th century and is derived from the name of its inhabitants: the ancient Celtic people called the Brittons who were driven into the hills of the West of England by the Anglo-Saxon invaders-they took to calling themselves the Cymry, or brotherhood, in their time of desperation. Kerr (Merry Melodies), Vol. 1; No. 1, pg. 27.

CUSHION DANCE, THE [1]. Scottish, Jig. A Major. Standard. AABB. The cushion dance is a kissing game/dance. The dance was mentioned by a lawyer and antiquary named Selden (d. 1654) in his "Table Talk": "...the court of England is much altered. At a solemn dancing you had the grave measures, then the corantoes and galliards, and this kept up with ceremony, at length to the Trenchmore and the Cushion Dance then all the company dances, lord and groom, lady and kitchen maid, no distinction. So in our court in Queen Elizabeth's time gravity and state were kept up. In King James' time, things were pretty well, but in King Charles' time there has been nothing but the Cushion Dance, omnium gatherum, tolly polly, hoity come toity" (Robin Williamson). Chappell (1859) describes the dance fully, quoting from Playford's Dancing Master, and quotes references to it from Elizabethan times to a political parody of 1704 called "The Cushion Dance at Whitehall, by way of Masquerade. To the tune of 'Joan Sanderson.'" See also the note for "Babbity Bowster." Carlin (The Gow Collection), 1986; No. 417. Gow (Complete Repository), Part 3, 1806; pg. 27.
T:Cushion Dance, The [1]
L:1/8
M:6/8
S:Gow - 3rd Repository
K:A
e3 f3 {ef}|edc B2A|~F>GA E2c|{c}d2c B2A|
e3f3 {ef}|edc B2a|ecA F2E|~F3 A2:|
|:e|(ac')e (ac')e|bd'e bd'e|ac'e ac'e|gbe gbe|
ac'e ac'e|bd'e bc'd'|c'ba f2e|(f3 {ef} a2):|

CUTTIN' AT THE PINT/POINT. AKA and see "Knock Around the Kitchen 'Til the Cook Comes In." Old-Time, Breakdown. USA, Kentucky. G Major. ADAE. AABB. The tune is played in Trimble, Henry and Carroll Counties in central Kentucky as "Knock Around the Kitchen 'Til the Cook Comes In." Sources for notated versions: Liz Slade (Yorktown, New York) [Kuntz]; Tom Carter and Ron Kane with the Deseret String Band [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 64. Gennett Records (78 RPM), Charlie Wilson and His Hillbillies (1932. The ensemble was from Montgomery County, Kentucky). Morining Star 45005, Charlie Wilson and His Hayloft Boys (Ky.) - "Way Down South in Dixie."
T:Cuttin' at the Pint
L:1/8
M:C|
S:Liz Slade
Z:Transcribed by Andrew Kuntz
N:ADAE tuning
K:D
(e|f)(A d)(e f3)e|fe d(e fe f)f|ee ff gf ed|BA [GB] [G3B3]:|;
|:(A|B2) [GB]B Bc dB|AG [F2A2] [F3A3] (D|D)(E F)G A4|dB BA [GB] [G2B2]:|

DEVIL/DIVEL/DE'IL AMONG THE TAYLORS/TAILORS [1]. AKA and see "Devil's Dream" (New). Scottish, English, Irish, Canadian, Scotland, American; Reel. Canada, Prince Edward Island. England, Northumberland. A Major (Bain, Cole, Emmerson, Hardie, Honeyman, Hunter, Johnson, Kennedy, Kerr, MacDonald, Skinner, Stwart-Robertson & Raven): D Major (Huntington). Standard. AB (Hardie, Honeyman, Hunter, Johnson, Kerr, Skinner): ABB' (MacDonald, Emmerson): AABB (Bain, Cole, Huntington, Kennedy, Raven): ABCB (Skye). A popular tune throughout the present and former English commonweatlh. It was performed on the concert stage as part of a set romantically entitled "Spey's Fury's" by J. Scott Skinner in 1921. "De'il Among the Tailors" is the name of a skittles game, according to Nigel Gatherer. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800./ Johnson (1983), whose version is from Macgoun's Five fashionable Reels (c. 1800), states the tune was written c. 1790./ Bayard collected a version resembling the "Devil's Dream" forms of the tune from a source raised on Prince Edward Island, Canada (Bayard, 1981; Appendix No. 2B, pg. 572). See also "Devil's Dream" for another PEI collected version. In America the tune is almost invariably known by the Dream title, while in the British Isles it appears under the De'il/Devil title. Emmerson (1971) suggests the melody can be identified as belonging to a class of melodies with phrases based on a quarter note followed by two eighth notes; tunes in this class also include "Largo's Fairy Dance," "Rachel Rae," and "The Wind that Shakes the Barley."
***
The English novelist Thomas Hardy mentions the tune in Absent Mindedness in a Parish Choir, a passage which bears repeating:
***
"...Twas a very dark afternoon, and by the end of the sermon all you
could see of the inside of the church were the pa'son's two candles
alongside of him in the pulpit, and his spaking face behind 'em. The
sermon being ended at last, the pa'son gi'ed out the Evening Hymn.
But no quire set about sounding up the tune, and the people began
to turn their heads to learn the reason why, and then Levi Limpet, a
boy who sat in the gallery, nudged Timothy and Nicholas, and said,
"Begin! Begin!" "Hey? what?" says Nicholas, starting up; and the
church being so dark and his head so muddled he thought he was at
the party they had played at all the night before, and away he went,
bow and fiddle, at "The Devil among the Tailors," the favourite jig
of the neighborhood at that time. The rest of the band, being in the
same state of mind and nothing doubting, followed their leader with
all their strength, according to custom. They poured out that there
tune till the lower bass notes of "The Devil among the Tailors" made
the cobwebs in the roof shiver like ghosts; then Nicholas, seeing
nobody moved, shouted out as he scraped (in his usual commanding
way at dances when the folks didn't know the figures), "Top couples
cross hands! And when I make the fiddle squeak at the end every man
kiss his pardner under the mistletoe!"
***
"...Then the unfortunate church band came to their senses, and
remembered where they were; and 'twas a sight to see Nicholas
Puddingcome and Timothy Thomas and John Biles creep down
the gallery stairs with their fiddles under arms, and poor Dan'l
Hornhead with his serpent, and Robert Dowdle with his claionet,
all looking as little as ninepins; and out they went. The pa'son
might have forgi'ed 'em when he learned the truth o't, but the
squire would not. That very week he sent for a barrel-organ
that would play two-and-twenty new psalm-tunes, so exact
and particular that, however sinful inclined you was, you could
play nothing but psalm-tunes whatsomever. He had a really
respectable man to turn the winch, as I said, and the old players
played no more..."
***
Bain (50 Fiddle Solos), 1989; pg. 8. Carlin (English Concertina), 1977; pg. 36. Cole (1001 Fiddle Tunes), 1940; pg. 18. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 49, pg. 140. Gow (Beauties), 1819. Hardie (Caledonian Companion), 1992; pg. 36. Honeyman (Stathspey, Reel and Hornpipe Tutor), 1898; pg. 7. Hunter (Fiddle Music of Scotland), 1988; No. 229. Huntington (William Litten's), 1977; pg. 14. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 75, pg. 225. Kennedy (Fiddler's Tune Book), Vol. 1, 1951; No. 18, pg. 9. Kerr (Merry Melodies), Vol. 1; Set 6, No. 2, pg. 6. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 4. Raven (English Country Dance Tunes), 1984; pg. 170. Skinner (The Scottish Violinist, with variations), pg. 29. Skinner - Harp and Claymore. Stewart-Robertson (The Athole Collection), 1884; pg. 11. Antilles (Island) AN-7003, Kirkpatrick and Hutchings - "The Compleat Dancing Master" (1973). Beltona BL2128 (78 RPM), The Edinburgh Highland Strathspey and Reel Society (1936). Tradition 2118, Jim MacLeod & His Band - "Scottish Dances: Jigs, Waltzes and Reels" (1979). "The Caledonian Companion" (1975). "Bob Smith's Ideal Band, Ideal Music" (1977).
T:De'il Among the Tailors
M:C
L:1/8
Z:Andrew Kuntz
K:A
|: e2 | a2eg a2eg | a2eg fedc| dfBf dfBf | dfba gefg | a2eg a2eg | a2ea
fedc | defe dcBA| E2G2 2A2 :|
|: ed| ceAe ceAe | ceAa fedc| dfBf dfBf | dfBb gfed | ceAe ceAe | ceAa f
edc | defe dcBA| E2G2 A2 :|

DRUNKEN HICCUPS [1]. AKA- "Drunkard's Hiccups," "Drunken Hiccoughs." AKA and see "Rye Whiskey," "Jack of Diamonds," "Way Up on Clinch Mountain," "Clinch Mountain," "The Mocking Bird" (Pa.), "My Name is Dick Kelly" (Ire.), "The Lame Beggar" (Ire.), "The Cuckoo" (Ford). Old-Time, Texas Style; Air, Waltz, Jig, and Song Tune (3/4 time). USA; Pennsylvania, North Carolina, Alabama, Mississippi, Arkansas, Texas, Arizona. A Major. AEAC# (Brody, Jarrell, Reiner & Anick, Shumway): AEAE (Ford). AABCC (Brody, Ford, Thede): AA'BB'CC'DD' (Reiner & Anick, Shumway). Paul Clayton identifies the tune as "old and of English origin." Arizona fiddler Kartchner called it a "favorite from the South." The tune was recorded for the Library of Congress from Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist Vance Randolph. It was listed by the Tuscaloosa News of March 28, 1971, as one of the specialty tunes of Tuscalosa, Alabama, fiddler "Monkey Brown," who frequently competed in fiddlers' contests in the 1920's and 30's (Cauthen, 1990), and it was recorded by Herbert Halpert for the Library of Congress in 1939 on two separate occasions by Mississippi fiddlers Charles Long and W.E. Claunch. Mt. Airy, North Carlolina, fiddler Tommy Jarrell knew the melody as a show piece in a repertoire heavy with dance tunes, having learned it from his father, Ben Jarrell (who recorded it with Frank Jenkins in 1927). Ben Jarrell, according to Tommy, had the tune from "old man" Houston Galyen at Low Gap, North Carolina. Bayard (1981) states it was a vocal piece before it was an instrumental one, and identifies the following songs from the British Isles and America as using the tune: "Johnnie Armstrong," "Todlen Hame," "Bacach," "Robi Donadh Gorrach," "The Wagoner's Lad," "Clinch Mountain," "The Cuckoo," "Rye Whiskey," "Jack of Diamonds," "Saints Bound for Heaven," "Separation," "John Adkins' Farewell." Instrumental variations from the British Isles he has identified include "Drunk at Night and Dry in the Morning" (noted variously in 3/4 and 6/8 time) and "Lude's Lament." Two and a half pages of the song can be found in "The Oxford Book of Light Verse." In Pennsylvania, reported Bayard, it was customary for fiddlers to sing the repeated line:
***
Oh, I will never get drunk anymore!
***
to the first (or sometimes second) strain. Most American versions include a part that is supposed to suggest hiccups.
***
I'm a rambler and a gambler a long ways from home,
And them that don't like me can leave me alone.
***
I'll take up my fiddle and rosin my bow,
I'll make myself welcome wherever I go.
***
I'll eat when I'm hungry and drink when I'm dry,
If a tree don't fall on me I'll live till I die.
***
Its beefsteak when I'm hungry and whiskey when I'm dry,
Money when I'm hard up, sweet heaven when I die.
***
I'll cross the wide ocean my fortune to try,
And when I get over I'll sit down and cry.
***
It isn't the long journey that troubles me so,
Its leavin' the darlin' I've courted so long.
***
Hic-cough, O Lawdy, how bad do I feel,
Hic-cough, O Lawdy, how bad do I feel.
***
Rye whiskey, rye whiskey, you're no friend to me,
You killed my poor daddy, goddam you try me.
***
Raw whiskey, raw whiskey, raw whiskey, I cry,
Sweet heaven, sweet heaven, whenever I die. (Thede)
***
Rye Whiskey, rye whiskey, rye whiskey I crave,
If I don't get rye whiskey I'll go to my grave.
***
I eat when I'm hungry, and drink when I'm dry,
And if whiskey don't kill me I'll live till I die. (Ford)
***
Way out on Clinch Mountain I wander alone,
Drunk as the devil and can't find my home.
***
Oh Lordy, how drunk I do feel {Hic}
Oh Lordy how sleepy I feel. (Clayton)
***
Played cards in England, I've gambled in Spain,
Goin' back to Rhode Island, Gonna' play my last game.
***
I'll tune up my fiddle, and rosin the bow,
Make myself welcome, wherever I go.
***
Jack o' diamonds, jack o' diamonds, I know you from old,
Robbed by poor pockets of silver and gold.
***
Corn whiskey and pretty women, they've been my downfall,
Beat me and they bang me, but I love them for all.
***
My shoes is all tore up, my toes're stickin out,
Don't get some corn whiskey, I'm agoin' up the spout.
***
Gonna' beat on the counter, or I'll make the glass ring,
More brandy, more brandy, more brandy to bring.
***
Gonna' drink I'm gonna' gamble, my money is my own,
Them that don't like me can leave me alone. (T. Jarrell)
***
Sources for notated versions: Benny Thomasson (Texas) [Brody]; 'old man' Houston Galyen (Low Gap, N.C.) via Ben Jarrell via his son Tommy Jarrell (Mt. Airy, N.C.) [Reiner & Anick]; Louise and W.S. Collins (Pottawatomie County, Oklahoma) [Thede]; Kenner C. Kartchner (Arizona) [Shumway]; Emery Martin (Dunbar, Pa., 1946) [Bayard]; John Wolford (elderly fiddler from Fayette County, Pa., 1944) [Bayard]; Mary Ann Rogers (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 646, pgs. 566-567. Brody (Fiddler's Fakebook), 1983; pg. 92. Ford (Traditional Music in America), 1940; pg. 126. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 93. Ruth (Pioneer Western Folk Tunes), 1948; No. 17, pg. 8. Thede (The Fiddle Book), 1967; pg. 54-55. County 519, Reaves White County Ramblers - "Echoes of the Ozarks, Vol. 2." County 723, Tommy Jarrell - "Down at the Cider Mill" (appears as "Jack of Diamonds"). County 756, Tommy Jarrell (N.C.) - "Sail Away Ladies" (1976). Rounder 0421, Bruce Molsky - "Big Hoedown" (1997. Appears as "Clyde's Hiccups" as version was from Clyde Davenport). Voyager 304, Ora Spiva- "More Fiddle Jam Sessions" (appears as "Rye Whiskey"). County 724, Benny Thomasson (Texas) - "Country Fiddling." Tradition Records TLP1007, Hobart Smith - "Instrumental Music of the Southern Appalachians" (1956). Recorded for Victor in 1928 by Jilson Setters (as Blind Bill Day) {b. 1860, Rowan County, Ky.} under the title "Way Up on Cinch Mountain."
T:Drunkard's Hiccoughs
T:Rye Whiskey
L:1/8
M:3/4
S:Viola "Mom" Ruth - Pioneer Western Folk Tunes (1948).
K:G
(GA)|:B2G2 (GE)|D2B,2D2|E2G2G2|B4(GA)|B2G2 (GE)|D2B,2D2|
E2G2A2|G4 (GA):|
|:G2A2 (Bc)|d2G2A2|B2c2B2|A4 (GA):|
B2G2(GE)|D2B,2D2|E2G2A2|G4 B,2||
|:C[CE] [CE][CE][CE][CE]|B,[B,D] [B,D][B,D][B,D][B,D]|
E[B,G [B,2G2] [B,2G2]|[G4B4] B,2|C[CE] [CE][CE][CE][CE]|
B,[B,D] [B,D][B,D][B,D][B,D]|E2G2A2|[B,4G4]:|

DOWN THE WAGON WAY [2]. English, Country Dance Tune (4/4 time). England, Northumberland. D Minor/F Major. Standard. AABB. Kidson (1890) identifies this as a Northumbrian pipe tune which he had from a MS collection dated about 1816 "by some person residing at Darlington or in the north. Some resemblance to "Down the Wagon Way" [1]. Kidson (Old English Country Dances), 1890; pg. 21.

DILL PICKLE RAG. AKA - "Dill Pickles." Texas Style, Old-Time; Country Rag. USA; Texas, Tennessee, Virginia, Arkansas, Missouri. G Major ('A' and 'B' parts) & C Major ('C' part): sometimes then goes to F Major. Standard. AABBCCAA (Brody): AA'BB'AA'CAA'BB'AA'C'AA' (Phillips). A Kansas City novelty rag composed by Charles L. Johnson (1907), which found its way into the old-time repertoire. The title appears in a list of "traditional" Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.
***
"Dill Pickle" was learned by itinerant West Virginia fiddler John Johnson (1916-1996), originally from Clay County, from fiddler Dorvel Hill who lived in a coal-mining town called Pigtown, not far from the town of Clay, W.Va.
***
I was bashful back then and wouldn't go in anybody's house hardly. I'd
sit on the railroad and listen to Dorvel play the fiddle at night. And I
learned most all of Dorvel's tunes. I just set down there and listened
to all his tunes and then go home and play them. (Michael Kline, Mountains of Music, John Lilly ed. 1999).
***
Source for notated version: Lewis Franklin (Texas) [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 86. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pgs. 40-41. Brunswick 243 (78 RPM) {1928}, Dr. Humphrey Bate and His Possum Hunters (Nashville, Tenn.). Brunswick Records (78 RPM), Kessinger Brothers (1929). Caney Mountain Records DEP 211 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965-66. County 548, McLaughlin's Old Time Melody Makers - "Ridin' in an Old Model 'T'". County 707, Lewis Franklin- "Texas Fiddle Favorites." Fiddler FRLP 001, Tom Doucet (Nova Scotia/eastern Mass.) - "The Down East Star." Folkways FA 2337, Clark Kessinger- "Live At Union Grove." Folkways FA 2371, Roger Sprung- "Ragtime Bluegrass 2." June Appal 028, Wry Staw - "From Earth to Heaven" (1978). RBF 18, Kessinger Brothers- "Ragtime 2." Rounder 0002, Spark Gap Wonder Boys- "Cluck Old Hen." Rounder 0099, Dan Crary- "Lady's Fancy."

DIRGE OF MULL, THE (An Crònan Muileach). Scottish, Slow Air (4/4 time). A Minor. Standard. AABB. "The editor had great delicacy in presenting the dirge of Mull to the public, having never heard it sung but once by a Roman Catholic priest, who died before this work was undertaken; fortunately, however, Colonel Stewart of Garth procured a set of it, no way diferent, in the central Highlands of Perthshire, and was good enough to hand it, with many others, all of which the editor previously knew, one only excepted, which is universally thought the finest air in this volume. Vide note 202 ('Prince Charles's Last View of Scotland')" {Fraser}. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 199, pg. 82-83.
T:Dirge of Mull, The
T:An Crònan Muileach
L:1/8
M:C
S:Fraser Collection
K:C
A4 ^G2E2|c4 d2B2|c3d e4|e2d2 (d2c2)|c3d e3g|e2A2 ^G2E2|A4 ^G3B|
(c3 d/c/) (B2A2):|
|:A3B e4|A4 ^G2E2|A3 B e3g|(c3 d/c/) [G2B2] z2|A3 B e4|A4 ^G2E2|
e3 ^d e2 ^G2|A3 (3^G/A/B/ A4:|

DIXIE. American, Air or March (2/4 time). D Major (Phillips): G Major (Sweet). Standard. AAB (Sweet): AABB' (Phillips). Composition of the tune is usually credited to 19th century black-face minstrel Daniel Decatur Emmett, however, Howard and Judith Rose Sacks in their 1993 book Way Up North in Dixie (Smithsonian Institution Press) make a compelling case for its origin within the African-American community. Their thesis is that it was a black folk song taught to Emmett by African-Americans Ben and Lew Snowdon, fiddler, banjoist and entertainers from Emmett's home town, Mt. Vernon, Ohio. Another plausible explanation the Sacks report is that the tune derived from a collaborative process in the friendship and musical cross-fertilization of the Snowden family and Dan Emmett. Though the exact date of composition is unknown, the melody appears listed in a playbill of April 4, 1859 for a performance of Bryant's Minstrels in New York City, which predates its first Southern performance in New Orleans on April 9, 1860. In a program from a later performance by Bryant's Minstrels (1861) it is explained that "As many inquiries have been made in regard to the meaning of 'Dixie Land', and as to its location, it may be well to remark that, with the Southern Negroes, Dixie Land is but another name for home" (Fuld, 1966). Regarding the origin of the word 'Dixie', Fuld speculates that it is of English origin as it is a family name dating back to the 14th century or earlier, some of whose members emigrated to both the Massachusetts and Carolina colonies as far back as 1629 (in the first great migration from England, mostly of East Anglia Puritans). See Fuld, The Book of World-Famous Music, 1966/1971, pgs. 196-199 for a comprehensive discussion of the early printing history of the tune.
***
Whatever the origins of title and music, the tune became fused with the secessionist cause in the American Civil War, to the extent that over one hundred years later it was banned in a number of schools in deference to African-American students who felt that it still carried racist associations. Having been popularized during that 19th century conflict, it was disseminated into tradition through discharged soldiers (Cauthen, 1990) and could be regularly heard throughout the South for many decades following that conflict. It was, for example, in the repertory of Alabama fiddler D. Dix Hollis and Civil War fiddler Ben Smith (a Georgian in the Twelfth Alabama Regiment), a

Ceolas > Tunes > Fiddler's Companion

The Fiddler's Companion