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The Fiddler's Companion

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BILLY/BILLIE IN THE LOW GROUND. AKA and see "Beaus of Albany," "Billy in the Low Land," "Braes of Auchtertyre," "Fiddler's Drunk and the Fun's All Over," "Jinny in the Lowland," "Kerry Fulton's Schottishe," "The Kerryman's Daughter." Old-Time, Bluegrass; Breakdown. USA, known under this title throughout the American South, Midwest, and Southwest. C Major (most versions): D Major (Bayard-Marr). Standard. AABB. See also related tune "Apple Blossum" and the related part 'A' of "Shelvin Rock." Miles Krassen (1973) identifies an Irish version called "The Kerryman's Daughter" which may be cognate or ancestral, while R.P. Christeson suggests it can be traced to the Scottish "Braes of Auchentyre" in (Cole's 1001) {as John Hartford has supported} and "Beaus of Albany" in Howe. Samuel Bayard (1981) agrees with Stenhouse-Johnson in concluding that the tune originated in Britain as a slow 3/4 time song tune from c. 1710 or earlier, called "O Dear Mother (Minnie) What Shall I Do?" He sees the development of the tune as having then split into two branches, and that during the 1740's a 6/8 "giga" or jig form was composed called variously "All the Blue Bonnets Are Over the Border," "Blue Bonnets Over the Border," "Over the Border," or "Blue Bonnets." Later in the century the second branch was fashioned from the original 3/4 tune into a fast duple time (4/4) dancing air which went by several titles including "The Braes of Auchtertyre/ Auchentyre" (the oldest and most common title), "The Belles of Tipperary," and "The Beaus of Albany." These latter tunes are the immediate ancestor of the "Billy in the Lowground" group of tunes in America.
**
The melody is widely disseminated through the United States. Bayard (1944) writes that when he collected the melody it was "current as a marching tune in Greene County, Pennsylvania, and is known to its 'Billy' form of the title farther south (as the tune resembles another Pa. tune called 'Jinny in the Lowlands'). The resemblances between this tune and 'Jinny in the Lowlands' may be fortuitous; but they have at any rate attracted enough notice from the players to cause confusion of the titles..." Tom Carter and Blanton Owen (1976) maintain the tune and title are characteristic of the Franklin, Floyd and Patrick County area of southwestern Virginia, and represent an older fiddle repertoire which predates the later development of stringband or fiddle/clawhammer banjo tunes. "Billy in the Lowground" was played by Arizona fiddler Kenner C. Kartchner for dances in the Southwest at the beginning of the twentieth century (the piece was identified by him as having come to that region from the American South, and assessed it as "a good one"). It was recorded from the playing of an Ozark fiddler for the Library of Congress by musicologist/folklorist Vance Randolph who collected in the early 1940's, and, likewise, by Herbert Halpert (also for the Library of Congress) in 1939 from Tishomingo County, Mississippi, fiddler John Hatcher. Cauthen (1990) collected evidence from period newspapers and other accounts in Alabama and records that it was one of the tunes commonly played throughout every region of that state in the first part of the 20th century. The Marion Standard of April 30th, 1909, reported it was one of the tunes (along with "Miss McLeod") played at a housewarming in Perry County, Ala., in 1827. Elsewhere in the deep South, a Georgia fiddler named Ben Smith, serving with the 12th Alabama Infantry in the Civil War, played the tune in that conflict according to a memoir of the unit. It is also known to have been associated with Kentucky fiddlers (Wolfe, 1982). The famous Kentucky fiddler Dick Burnett related this improbable story about the origin of the tune and title:
**
You know how come them to make that? There was a man a goin'
through an old field one time and he had his fiddle with him and
he walked out on the bank of a sink hole and it broke off and he
fell down in that hole and couldn't get out. He just sat down there
and took his fiddle and played that tune. His name was Billy
something but I forgot his full name. (Charles Wolfe)
**
Early American printings of the piece can be found from the early 19th century onwards. The melody appears under the "Billy/Low Grounds" title in George P. Knauff 's Virginia Reels," volume III (Baltimore, 1839). Folklorist and fiddler Alan Jabbour finds that, in some sources, the title changed around 1800 to "Johnny in the Nether Mains."
**
The tune was in the repertories of Uncle Jimmy Thompson 1848-1931 (Texas, Tenn.), Fiddlin' Cowan Powers 1877-1952? (Russell County, southwest Virginia) [and recorded by him for Victor, though the side was unissued], Bob Wills (Texas), black Kentucky fiddler Cuje Bertram. and Alabama fiddlers Monkey Brown (1897-1972) and D. Dix Hollis. Sources for notated versions: black fiddler Bill Driver (Miller County, Missouri) [Christeson]; Charlie Higgins (Galax, Va.) [Krassen]; David P. Gilpin, 9/22/1943 (played at Connellsville, Fayette County, Pa. but learned at Dunbar, Pa., though Gilpin did not have the title) [Bayard, 1944]; Irvin Yaugher, John Meighen, Frank Lowry, John Filby & Wiley Jobes (from Greene or Fayette Counties, southwestern Pa.) [Bayard, 1981]; James Marr (Mo., age 93 in 1949) [Bayard]; Howdy Forrester via John Hartford [The Devil's Box]; Lowe Stokes (Ga.) [Kaufman]; Billy Baker & Forest Daugherty (Texas) [Phillips]; John Johnson [Phillips]; Clyde Davenport (Indiana) [Phillips]. Adam, 1938; No. 42. Bayard (Hill Country Tunes), 1944; No. 5 (appears as "Reel"). Bayard (Dance to the Fiddle), 1981; No. 234A-E, pgs. 192-194. Bayard (Dance to the Fiddle), 1981; Appendix No. 23, pg. 581. Brody (Fiddler's Fakebook), 1983; pg. 42-43. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; No. 54, pg. 41. The Devil's Box, pg.s 51-53. Fiddler Magazine, Vol. 3, No. 2, Summer 1996; pg. 30. Ford (Traditional Music in America), 1940; pg. 65 (as "Billy in the Low Land"). Kaufman (Beginning Old Time Fiddle), 1977; pgs. 68-69. Krassen (Appalachian Fiddle), 1973; pg. 74 (an irregular version with nine measure parts instead of eight). Lowinger (Bluegrass Fiddle), 1974; No. 21. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 65, pg. 39. Phillips (Fiddlecase Tunebook), 1989; pg. 6. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 25 (three versions). Ruth (Pioneer Western Folk Tunes), 1948; No. 74, pg. 27. Thede (The Fiddle Book), 1967; pg. 78. Welling (Welling's Hartford Tunebook), 1976; pg. 1. Brunswick 239 (78 RPM), Dr. Humphrey Bate and His Possum Hunters {1928) (Nashville, Tenn. Columbia 15209-D (78 RPM), Burnett and Rutherford (1927). Columbia 15620 (78 RPM), Lowe Stokes (1930). County 202, "Eck Robertson: Famous Cowboy Fiddler." County 507, Lowe Stokes (North Ga.) {1930} - "Old Time Fiddle Classics." County 512, The Fiddlin' Bootleggers - "A Day in the Mountains" (orig. rec. in 1928). County 703, Benny Thomasson - "Texas Hoedown." County 733, Clark Kessinger - "The Legend of Clark Kessinger." Davis Unlimited 33015, Doc Roberts (Ky.) - "Classic Fiddle Tunes" (One of the first tunes recorded by this fiddler). Folkways 2337, Clark Kessinger (Va.) - "Live at Union Grove." Gennet 3235 (78 RPM), Doc Roberts (1925). Gennet 6390 (78 RPM), Doc Roberts (1927). Library of Congress 1010A2, Jilson Setters, recorded for Alan Lomax and the Library of Congress in June, 1937. Marimac 9110, Dr. Humphrey Bate and his Possum Hunters - "It'll Never Happen Again: Old Time String Bands Vol. 1." Missouri State Old Time Fiddlers' Association, Casey Jones (1910-1967) - "Rocky Road to Jordon." Missouri State Old Time Fiddlers' Association, Cyrill Stinnett - "Plain Old Time Fiddling." Okeh 40020 (78 RPM), John Carson. Okeh 45397 (78 RPPM), Oscar and Doc Harper. Omac 1, Thomasson, Shorty, Morris, and O'Connor - "A Texas Jam Session." Rounder 0046, Mark O'Connor - "National Junior Fiddle Champion." Rounder 1004, "Ramblin' Reckless Hobo: The Songs of Dick Burnett and Leonard Rutherford." Rounder CD0262, Mike Seeger - "Fresh Oldtime String Band Music" (1988. Appears as part of "Billy in Waynesboro"). Sonyatone 201, Eck Robertson (Texas) - "Master Fiddler." Vanguard VSD 9/10, Doc Watson - "On Stage." Vetco 102, Jilson Setters (under the name Blind Bill Day) {b. 1860, Rowan County, Ky.}, originally recorded on Victor 21407 (78 RPM) in 1928 (as "Billy in the Low Land"). Victor 19372 (78 RPM), Eck Robertson (Texas) {1922}. Recorded by Burnett and Rutherford (Ky.), 78 RPM, and Uncle Am Stuart (b. 1856, Morristown, Tenn.) in 1924 for Vocalation. Voyager 309, Benny and Jerry Thomasson - "The Weiser Reunion: A Texas Jam Session" (1993).
T:Billy in the Lowground
L:1/8
M:C|
S:Jay Ungar
K:C
CA,|:G,A,CD EGAB|cBcd cAGB|ABAG EGAB|1 cAGE DCA,C:|2 cAGE D C3||
|:e g2 e g3 (g|g)age d c3|e a2 e a3 (a|a)bag edcd|e g2 e g3 (g|g)age d c3|ABAG EGAB|
cBGE D C3:|

BOYNE WATER, THE [1] (Briseadh na Bóinne). AKA and see "As Vanquished Erin," "The Battle of the Boyne Water," "Bayne Water" (W.Va.), "Barbara Allan" (Pa.), "The Bottom of the Punch Bowl," "Boyne Water Quickstep," "Cameronian Rant," "The Cavalcade of the Boyne," "Come Kiss Wi' Me, Come Clap Wi' Me," "Findlay," "King William's March," "Lass If I Come Near You," "Leading/Driving the Calves," "Leading the Calves in the Pasture," "Native Swords," "One Pleasant Morning Beside the Glen," "Playing Amang the Rashes," "Praises of Limerick," "The Rashes," "Rosc Catha na Mumhan," "Sheila Ni Gowna," "Song of the Volunteers," "Such a Parcel of Rogues in a Nation," "To Look for My Calves I Sent My Child," "The Wee German Lairdie" "Wha the Deil Hae We Gotten For a King," "When the King Came O'er the Water." Irish, Air or March (4/4 time). A Dorian (Breathnach, O'Neill, Perlman, Roche): E Minor (Joyce). Standard. AB (most versions): AA'BB (Breathnach). The name Boyne itself is derived from the name of the goddess Boinn, literally 'cow-white', "a name well suited to a pastoral people whose wealth was chiefly in cattle" (Matthews, 1972). The name of the tune, however, commemorates the Battle of the Boyne (named for the Boyne River in County Meath, eastern Ireland, though the battle itself was fought three miles west of Drogheda), fought July 1st, 1690, in which the English monarch King William III defeated the Irish forces under King James II. "It has always been, and still is, very popular among the Orangemen of Ulster (for it dashed the hopes of the Irish for religious freedom and the Stuarts for Kingship). The ballad follows the historical accounts of the battle correctly enough. The air is well known in the south (of Ireland) also, where it is commonly called Sebladh na n-gamhan, 'Leading the Calves,' A good setting is given by Bunting in his second collection: the Munster and Connaught versions are given by Petrie in his Ancient Music of Ireland, vol. II, p. 12. I print it here as I learned it in my youth from the singing of the people of Limerick, not indeed to 'The Boyne Water' of Ulster, but to other words (given below). My setting differs only slightly from that of Bunting; and it is nearly the same as I heard it played some years ago by a band on a 12th of July in Warrenpoint" (Joyce).
***
Samuel Bayard (1981) believes "Boyne Water" was composed in the seventeenth century, and thinks it has always been more of a vocal air rather than an instrumental tune. As witnessed by the myriad of titles in the beginning of this entry, it has been a popular air in the British Isles and, as Bayard states, "altogether, the forms suggest that it has undergone a long traditional development." He believes the second half may have been the original tune, with the first half being fashioned out of elements from earlier strains. Bronson discerns the origins of the whole tune family in a Scottish melody found in the Skene Manuscript of c. 1615. Flood (1913) dates the tune from c. 1645, long before the famous battle, though how he arrived at this date is obscure. Cowdery (1990) believes it may be from a reference to a melody published by Petrie (1855), called "To Seed for the Lambs I Have Sent My Child," in which the latter writer declared, "in its superior purity of expression, and in its passionate depth of feeling, affords intrinsic evidence of an original intention, and consequent priority of antiquity, which will not be found in that which I consider to be the derived from of it called 'The Boyne Water.'" O'Neill (1913) concludes the same Gaelic airs printed by Petrie are early antecedents of "Boyne Water," Nos. 1529 ("A Long mo Gamain" {To look for my calves I sent my child"}) and 1530 ("An Tuainirc na nGainna". Breathnach (1985), in CRE II (No. 124), gives a polka setting and remarks it was used for the last figure of the Clare polka set, and says that "Rosc Catha na Mumhan" (The Munster War-Cry) is sung to this air.
***
However old it actually is in oral tradition, Bayard (1991) finds the earliest printed appearances of the tune in William Graham's Lute Book of 1694 (as "Playing Amang the Rashes") and in D'Urfey's Pills to Purge Melancholy (where it appears as an untitled air). The melody remained in popular usage throughout the British Isles for well over two hundred years. Robert Burns set three songs to it in Johnson's Scots Musical Museum, and it was the vehicle for the Scots songs "The Wee, Wee German Lairdie" and "Andro and His Cutty Gun" (the latter from Alan Ramsay's 1740 edition of the Tea-Table Miscellany). In Ireland, Sir Thomas Moore used the melody for his c. 1825 song "As Vanquished Erin." The air was widespread in American usage, often heard as the tune the popular song "Barbara Allan" was sung to, which fact has been noted by several writers (Bayard, Cowdery, Cazden). It is, for example, identified by Cowdery (1990) as one of four tunes which carry the tale of "(Bonny) Barbara Allen" (the second strain of both Joyce's version and Bunting's "To seek for the Lambs..." is the portion of the Irish tune which corresponds to the America "Barbara Allen"). As "The Battle of the Boyne" it was included in a Philadelphia chapbook of 1805, and, under the title "The Buoying Water," as an instrumental piece in the 1790 Whittier Perkins Book (Cazden, et al, 1982). According to Bronner (1987), it was used for an 1815 hit American blackface minstrel song by Micah Hawkins called "The Siege of Plattsburgh" or "Backside Albany." Cazden prints it with the Catskill Mountain (N.Y.)-collected song "A Shantyman's Life," which he states can be found in most collections of lumber camp songs. O'Neill (1913) lists "Boyne Water" as one of the "splendid martial airs" of Irish music.
***
The political connotations of "The Boyne Water" long remained attached to the melody, even after it was imported to North America. Bayard (1981) relates that the mere playing of the tune in the presence of Catholic Irish in western Pennsylvania "could bring on a mass attack," and repeats the Fayette County story of an old Irishman digging potatoes in the garden while his wife followed along beside him picking the up in a sack. She absent-mindedly began singing the air, upon which he turned around and, incensed, brained her with one blow of his spade. In fact, Pennsylvania fifers declined to play the tune for Bayard at gatherings, fearing to destroy the harmony of the group with "political pieces." Sources for notated versions: George Strosnider (Greene County), Hiram Horner (Westmoreland County), Mrs. Sarah Armstrong (Westmoreland County) {All Southwestern Pa.} [Bayard]; flute and whistle player Micko Russell, 1969 (Doolin, Co. Clare, Ireland) [Breathnach]; Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident of Montague) [Perlman]. Bayard (Dance to the Fiddle), 1981; No. 317A-D, pgs. 271-273. Breathnach (CRE II), 1976; No. 124, pg. 66. Gow (Beauties), 1819. Joyce (Old Irish Folk Music and Songs), 1909; No. 151 and No. 377, pgs. 183-184. O'Neill (1850), 1903/1979; No. 204 & No. 260, pg. 45. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 208. Roche Collection, 1982; pg. 8, Vol. I, No. 4.
T:Boyne Water [1]
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:E Minor
ED|B,2 B2 B>cdB|AGFE D2 E>F|G2 FE BAGF|(E3D) B,2 E>D|B,2 B2 B>cdB|
AGFE D2 EF|G2 FE B>AGF|E4 E2||E>F|A2B2d2 e>f|e>d cB A3A|B2e2 e>def|
(e3d B2) Bc|dcde d2 cB|A>GFE D2 EF|G2 FE B>A GF|E4E2||

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:|

COME WEST ALONG THE ROAD (Bog Siar A Botar). AKA and see "Arboe," "The Monasteraden Fancy," "Over the Moor to Peggy." Irish, Reel. Ireland, County Sligo. G Major. Standard. AB. Philippe Varlet reports that the tune was recorded in 1925 by John McKenna and in the 1940's by the Aughrim Slopes and Moat ceili bands (who called it "The Monasteraden Fancy," Monasteraden being a town on the Roscommon/Sligo border). Sources for notated versions: flute player and piper Frankie Lavin (b. 1940, Cloonshanville, near Frenchpark, Co. Roscommon) [Flaherty]; set dance music recorded at Na Píobairí Uilleann, mid-1980's [Taylor]. Flaherty (Trip to Sligo), 1990; pg. 150. McNulty (Dance Music of Ireland), 1965; pg. 6. O'Neill (1001 Gems), 1907/1986; No. 793, pg. 137. Taylor (Music for the Sets: Yellow Book), 1995; pg. 31. Green Linnett GLCD 1155, Martin Hayes - "Under the Moon" (1995). Lochshore CDLDL 1215, Craob Rua - "The More That's Said the Less the Better" (1992).
T:Come West Along the Road
M:C|
L:1/8
Q:240
K:G
d2 BG dGBG | GABd efge | d2 BG dGBG |1 ABcd edBc :|2 ABcd ed (3Bcd ||
g2 bg egdg | egdg ed (3Bcd | g2 bg egdB | ABcd ed (3Bcd |
g2 bg egdg | egdg ed (3Bcd | gabg efge | dega bage ||

COME YE OWER FRAE FRANCE. AKA and see "The Keys of the Cellar," "The Marchioness of Tweed-dale's Delight." English, Old Hornpipe (3/2 time). G Dorian. Standard. One part. Note: The song is a satire of the Hanoverian King George I ("Geordie Whelps"), who became King of England and Scotland in the 18th century. George transplanted to England an assortment of mistresses and characters, the fromer being impoverished gentlewomen from Germany, providing Jacobite songwriters with a broad target and much ribald glee. Several of these imported characters come in for derision: Madame Kilmansegge, Countess of Platen, is referred to as "The Sow" in many Jacobite songs, while the King's favorite mistress, the lean and haggard Madame Schulemburg (afterwards named Duchess of Kendall) was given the name of "The Goose". She is the
"goosie" in "Come Ye Ower Frae France," while the "blade" is one Count Koningsmark. John, Earl of Mar, was nicknamed "Bobbing John," an interesting character in Scottish history. Mar (1675-1732) was a disaffected Tory minister who had served as one of the Scots commissioners during the Union negotiations (to unite the kingdoms of Scotland and England), however, once it was passed he came to understand it was a terrible mistake. To remedy this he raised the Jacobite standard at Braemar in 1715 on behalf of James, the Old Pretender and became one of the leaders of the rebellion. Opposed by the The Duke of Argyll with 35,000 government troops, Mar and his clansmen fought at Sheriffmuir near Stirling in November, 1715. Although at first it appeared that the 'Highland Charge' would carry the day, the Hanoverian professionals wavered but held and eventually gained the upper hand, driving the Highlanders back into the mountains. By February, 1716, the rebellion was quelled and Mar sailed with James for France and permanent exile.
***
CAM YE O'ER FRAE FRANCE
***
Cam ye o'er frae France?
Cam ye down by Lunnon? (Lunnon = London)
Saw ye Geordie Whelps
And his bonny woman?
Were ye at the place
Ca'd the Kittle Housie? (Kittle Housie = Cat House or Brothel)
Saw ye Geordie's grace
Riding on a goosie?
***
Geordie he's a man
There is little doubt o't;
He's done a' he can
Wha can do without it?
Down there came a blade
Linkin' like my lordie; (Linkin' = tripping along)
He wad drive a trade
At the loom o' Geordie.
***
Though the claith were bad, (claith = cloth)
Blythly may we niffer; (niffer = haggle)
Gin we get a wab, (wab = length of cloth)
It makes little differ.
We hae tint our plaid, (tint = lost)
Bannet, belt and swordie,
Ha's and mailins braid -- (ha's and mailins = houses and farmlands)
But we hae a Geordie!
***
Jocky's gane to France,
And Montgomery's lady;
There they'll learn to dance:
Madame, are ye ready?
They'll be back belyue (belyue = quickly)
Belted, brisk and lordly;
Brawly may they thrive (brawly = well)
To dance a jig wi' Geordie!
***
Hey for Sandy Don!
Hey for Cockolorum!
Hey for Bobbing John,
And his Highland Quorum!
Mony a sword and lance
Swings at Highland hurdie; (hurdie = buttock)
How they'll skip and dance
O'er the bum o' Geordie!
***
Loesberg (Traditional Folksongs and Ballads of Scotland, Vol. 1), No. 1. COOK 038, Ewan MacColl - "Black and White." HR 102, Tannahill Weavers - "The Old Woman's Dance." Ossian OSS 103, Ewan MacColl - "The Jacobite Rebellions." Shanachie 79045, Steeleye Span - "Parcel of Rogues." Dick Gaughan - "No More Forever."
T:Come Ye Ower Frae France
L:1/4
M:3/2
K:G Dorian
BG GD G2|BG GB A/B/c/A/|BG G>D G2|{cB}AF FA A/B/c/A/|
Gg g>^f g2|Gg ga b/a/g|Gg a/g/f/e/ f2|{d}cA FA d/c/B/A/:|

DANCE ALL NIGHT. AKA- "Danced All Night With a Bottle in My Hand," "Give the Fiddler a Dram," "Give Me a Bottle of I Don't Care What." Old-Time, Breakdown. USA: West Virginia, Virginia, western North Carolina, north Georgia, Alabama, Nebraska. G Major. Standard. AABB (Brody, Christeson, Phillips) or AABAACCB (Kuntz, Brody). Guthrie Meade thinks the tune has some relation to "Buffalo Gals." Rosenbaum (1989) points out that the recording by Gid Tanner and the Skillet Lickers for Columbia was very influential, especially in Georgia (in fact, the melody is known as a north Georgia tune). His source, Georgian Lawrence Eller, learned the tune/song from family tradition and Rosenberg concludes (apparently on the strength of the floating verse about hanging Jefferson Davis) from this that the lyrics bespeak Unionist loyalties in parts of the southern Appalachians.
***
Dance All Night with a bottle in my hand,
Bottle in my hand, bottle in my hand;
Dance All Night with a bottle in my hand,
Just before day give the fiddler a dram.
***
I left my jawbone sittin' on a fence,
I ain't seen nothin' of my jawbone since;
Walked on home and didn't get along,
In come Sally with her big boots on.
('big boots', 'red dress' or 'blue dress')
***
Who's been here since I been gone?
Pretty little girl with the red dress on;
She took it off and I put it on,
In come Sally with her big boots on. (Kuntz)
***
Dance all night with a bottle in your hand,
Bottle in your hand, bottle in your hand,
Dance all night with a bottle in your hand,
As we to marching along.
***
We'll hang Jeff Davis from a sour apple tree,
Sour apple tree, sour apple tree,
Hang Jeff Davis from a sour apple tree,
As we go marching along.
***
Old Aunt Peggy, won't you fill 'em up again,
Fill 'em up again, fill 'em up again,
Old Aunt Peggy, won't you fill 'em up again,
As we go marching along. (Eller/Rosenbaum)
***
Sources for notated versions: Highwoods String Band (Ithica, N.Y.) [Brody, Kuntz]; Bob Walters (Burt County, Nebraska) [Christeson]; Lawrence Eller (Towns County, Ga.) [Rosenbaum]; Clark Kessinger (W.Va.) [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 84. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 104. Kuntz (Ragged but Right), 1987; pg. 305-306. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 97 (appears as "Give the Fiddler a Dram"). Rosenbaum (Folk Visions and Voices: Traditional Music and Song in North Georgia), 1989; pg. 20. Alcazar Dance Series ALC-202, Sandy Bradley - "Potluck and Dance Tonite!" (1979). Columbia 15200 (78 RPM), Gid Tanner and the Skillet Lickers. County 401, "The Stripling Brothers" (Ala.). County 727, John Ashby (Va.) - "Old Virginia Fiddling." County 733, Clark Kessinger (Va.) - "The Legend of Clark Kessinger." County 778, Tommy Jarrell (N.C.) - "Pickin' on Tommy's Porch" (1984?). Folkways FA 2336, Clark Kessinger- "Fiddler." Gennett 6734 (78 RPM), Tweedy Brothers (Harry, George, Charles, from W.Va. who played twin fiddles and piano) {1928}. Marimac 9038, Dan Gellert & Brad Leftwich -"A Moment in Time." Rounder 0045, Highwoods String Band - "Dance All Night." Rounder Records, Gid Tanner and His Skillet Lickers - "The Kickapoo Medecine Show" (appears as the 2nd and 3rd tune of Kickapoo Medecine Show skit). Vocalation 5395 (78 RPM), Stripling Brothers (Ala.) {1929}.
T:Dance All Night
L:1/8
M:2/4
S:Kuntz - Ragged but Right
K:D
gg/a/ gd/c/|B/G/B/G/ [GB]B|A/G/F/E/ D/F/A/c/|B/[G/B/][G/B/][G/B/] [GB]>(f|
g/)a/g/g/ g/e/d/c/|B/G/B/[G/B/] [GB]B/G/|A/B/A/F/ D/F/A/c/|B/G/[G/B/][G/B/] [G2B2]:|
gg/a/ g/e/d/e/|g/f/g/a/ b>(e|f)f/g/ a/f/a/g/|f/e/f/g/ a/f/d/f/|gg/a/ g/e/d/e/|g/f/g/a/ b(b|
d')d' e<f|g>a g||
|:G/E/|D[B,/D/]D/ D/B,/D/G/|[C/E/]E/E/E/ [CE](A|A/)[A/B/][A/A/]F/ D/F/A/c/|
B/G/[G/B/][G/B/] [GB]G/E/|D[B,/D/]D/ D/B,/D/G/|E/[CE]C/ E(A|
A/)[A/B/][A/A/]F/ D/F/A/c/|B/[GB]G/ [GB}:|

DINGLE REGATTA. AKA and see "Jazzing with Meaig Leary," "Tom Billy's Favourite." English, Jig; Irish, Slide (12/8 time). Ireland, West Kerry. G Major. Standard. AABB (Cranitch, Mac Amhlaoibh & Durham): AABBCC (Kuntz, McNulty, Tubridy). The "Dingle Regatta" name comes from Seán Ó Riada, according to guitarist Paul de Grae, who used it as part of the score for his film The Playboy of the Western World. It was the signature tune for Ó Riada's band, Ceoltóirí Cualann, from which developed Ireland's most famous traditional band, the Chieftains, for their first radio appearances on Radio Éireann in the early 1960's (Glatt, The Chieftains, 1997). Unfortunately, the tune as played by the group was 'totally inaccurate':
***
Paddy Moloney smiles at the memory. 'I gave that tune to Seán
spontaneously at one of the rehearsals but unfortunately I mixed
up two tunes and got the second part of it wrong. It didn't matter
though because it blended beautifully and become our theme tune
that was played at the beginning of every show Ceoltóirí Cualann
ever did. (pg. 47).
***
"Dingle Regatta" has become a 'pub tune' if ever there was; one hearing and you think you've known it all your life. A pub session tradition has grown up around the tune in which the third part is sometimes sung with out words, though in many circles the 'ya-da-duh-da-da-da' singing is by now considered a hackneyed bore. Kevin Finnegan, formerly of the Liverpool Céilí Band has recently remarked that this 'dittying' to the melody originated as a joke. He says:
***
The members of the band got along famously and when playing at ceili's
etc. and did many strange things to enjoy the 'craic'. For example, it was
not unusual for us to suddenly start changing seats while in the middle of
a tune. It brought a great response from dancers when they'd look up to the
stage and see Eamon Coyne (fiddle) walking around to change chairs with
Frank Horan(button box) who was sitting behind him. Or to see Charlie
Lennon (fiddle) switching places with Sean Murphy(banjo). It brought a
great sense of camaraderie and fun to the group. Another favourite activity
of each of the players was to suddenly stand up and straight back down
again in sequence across the stage. This might be condemned by some
'purists' but it always added to the 'craic' and certainly didn't hurt the
musical ability of the band - we still won two All-Irelands and countless
other honours. As part of the craic the "hi-ho" stuff started in the early sixties
as just another part of the fun we had playing together. It was not confined to
the "Dingle Regatta" - as you will hear if you listen to the two LP's we made
in the mid-sixties with Decca Records. In fact, like changing chairs, we did
it fairly regularly with a number of tunes but I never heard another band
do it until after our records came out. When we were in London recording
the Lp's we started the Hi-Ho as a laugh during the recording session and
never intended for it to come out on the final record - but the producer
loved it and asked us to leave it on that particular track. That's the
story of the Hi-ho sound. Of course it was always enhanced by the fact
that most of us did partake of a few sups of the 'black milkshake'
throughout the night so I'm sure that the bobbing up and down, the
chair switching and the hi-ho were somewhat as a result of our love
of the 'porter' !!!
***
An untitled quadrille (no. 45b) in John Moore's c. 1837-1840 MS (Ashman, 1991) resembles parts of this tune. Cranitch (Irish Fiddle Book), 1996; No. 21, pg. 133. Kuntz, Private Collection. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 68, pg. 40. McNulty (Dance Music of Ireland), 1965; pg. 18. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 28. Topic, - "Kerry Fiddles" (appears as a two-part tune called "Tom Billy's Favourite").
T:Dingle Regatta, The
L:1/8
M:6/8
K:G
dBd e2d|BAB d2B|A2A AGA|B2A G2B|dBd e2d|BAB d2B|AGA B2A|G3 G2B:|
|:d2 d def|g3 gfg|a2a aga|b2a gfe|d2d def|g2g gab|a2g f2e|1 def g2e:|2 def g2d||
|:g3 ded|BdB G3|FGA DEF|G2B def|g3 ded|BdB G3|FGA DEF|1 G3 G2d:|2 G3 G2B||

GARRYOWEN (Garad-Eogan Le Atrugad). AKA - "Garry/Gary Owen." AKA and see "Auld Bessy," "Battle of Limerick," "The Bivouac (of the Dead)," "Bosom that Beats," "Daughters of Erin," "Finnegan's Dream," "Hurrah for the Women of Limerick," "Let Bacchus' sons not be dismayed," "O! Friendship will smile," "The Scotch Laddie," "We May Roam Thro' This World." Irish (originally), Scottish, English; Jig and (in England) North-West Morris Dance Tune. G Major (Cole, Ford, O'Neill, Phillips, Trim, Sweet, Wade): F Major (Gow, Harding): A Major (Kerr): D Major (Russell). Standard. One part (Russell): AAB (Gow): AABB (Cole, Ford, Harding, Kerr, O'Neill, Sweet, Wade): AABB' (Phillips). "Garryowen," the name of a suburb of Limerick, was written c. 1770-1780 supposedly in honor of the moneyed young hooligans who ran riot in the Irish county at the time. Garryowen translates as "Owen's garden." Samuel Bayard, however, finds the first printed appearance of the tune in Aird's 1787 Collection under the title "Auld Bessy." Another early Irish printing is in O'Farrell's Pocket Companion. After its use in a pantomime called Harlequin Amulet, produced in 1800, the jig gained great popularity as a fife and fiddle tune. It is sometimes (mistakenly) attributed to 'Jackson of Cork', a reference to the famous 18th century uilleann piper and composer Walter "Piper" Jackson. Doolin, north County Clare, tin whistle player Micho Russell described it as a "very old jig," often played for the dance called the 'plain set' in Clare and surrounding Irish counties.
***
In the United States it was adopted as a favorite marching air by General George Custer's 7th Cavalry, an association which helped to popularize the jig throughout country following Custer's demise. "It had been said that the 7th acquired the song through Captain Miles Keogh, an Irishman and a former member of the Papal Guard, but it seems unlikely that (its American use) can be ascribed to a particular person, since 'Garryowen' appeared in a number of Civil War songsters, and was therefore presumably well known to any number of American soldiers in 1861-1865 -- dates preceding Keogh's association with the 7th" (Winstock, 1970; pgs. 102-104).
***
The melody was cited as having commonly been played at Orange County, New York country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly) and it was used as a tune for a single step in the English North-West morris dance tradition. Queen Victoria requested the tune of piper Thomas Mahon (along with "St. Patrick's Day" and "Royal Irish Quadrilles") during her first visit to Ireland in 1849, and the piper was thus "surprised when he learned that not only the Queen, but the Prince Consort was familiar with the best gems of Irish music" (O'Neill, 1913). His performance pleased the Queen and she directed that he might thenceforth bear the title "Professor of the Irish Union Bagpipes to Her Most Gracious Majesty, Queen Victoria."
***
Words were set to the jig melody at some point, and go:
***
Let Bacchus' sons be not dismayed
But join with me, each jovial blade
Come, drink and sing and lend your aid
To help me with the chorus:
***
Chorus:
Instead of spa, we'll drink brown ale
And pay the reckoning on the nail;
No man for debt shall go to jail
From Garryowen in glory.
***
We'll beat the bailiffs out of fun,
We'll make the mayor and sheriffs run
We are the boys no man dares dun
If he regards a whole skin.
***
Our hearts so stout have got no fame
For soon 'tis known from whence we came
Where'er we go they fear the name
Of Garryowen in glory.
***
Adam, 1928; No. 26. Aird (Selections), Vol. 3, 1788; No. 600 (appears as "Auld Bessy"). American Veteran Fifer, 1927; No. 59. Carlin (The Gow Collection), 1986; No. 502 (appears as "Gary Owen"). Cole (1001 Fiddle Tunes), 1940; pg. 63. Ford (Traditional Music in America), 1940; pg. 118. Gow (Complete Repository), Part 2, 1802; pg. 30. Harding's Original Collection, 1928; No. 7. Harding's All-Round, 1905; No. 187, pg. 59. Howe (Diamond School for the Violin), 1861; pg. 49. Jarman (Old Time Fiddlin' Tunes), No. or pg. 16. Kerr (Merry Melodies), Vol. 1; No. 17, pg. 37. Old Fort Snelling Instruction Book for the Fife, 1974; pg. 61.O'Neill (1850), 1903/1979; No. 971, pg. 180. O'Neill (1001 Gems), 1907/1986; No. 1001, pg. 172 (includes variations). Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 365 (appears as "Gary Owens"). Robbins, 1933; No. 69. Russell (The Piper's Chair), 1989; pg. 23. Saar, 1932; No. 5. Sweet (Fifer's Delight), 1964/1981; pg. 22. Trim (Thomas Hardy), 1990; No. 52. Wade (Mally's North West Morris Book), 1988; pg. 4. Winstock (Music of the Redcoats), 1970; pg. 103. Edison 50870 (78 RPM), Joseph Samuels, 1919 (appears as 1st tune of "St. Patrick's Day Medley").
X:1
T:Cary Owen (sic)
L:1/8
M:6/8
S:Gow - 2nd Repository
K:F
f|~fcB ~AGF|A>BA A2f|~fcB ~AGF|GAG G2f|~fcB ~AGF|
ABA A2d|c>de f2A|GAG G2:|
A/B/|(A/B/c)A ~c2A|c2A c2f|d2B d2B|d2B d2e|f2g {fg}a2g|f2d c2A|
cde f2A|GAG G2 A/B/|{AB}c2A {AB}c2A|{AB}c2A c2f|d2B d2B|
d2B d2e|f2g {fg}a2g|f2d c2A|cde f2A GAG G2||
X:2
T:Garryowen
L:1/8
M:6/8
S:O'Neill - 1001 Gems (1001)
K:G
g/f/|edc BAG|B>cB Bgf|edc BAG|ABA Agf|edc BAG|B>cB B2 B/c/|def gdB|A>BA A2:|
|:B/c/|d2B d2B|dec dgf|e2c e2c|efd e2f|g2a b2a|gfe edB|def gdB|A>BA A2:|
|:g|e/f/ge dBG|BGB Bgf|e/f/ge dBG|AFA Agf|e/f/ge dBG|BGB BAB|def gdB|ABA A2:|
|:B/c/|dBg dBg|dBg d2g|ecg dcg|ecg e2f|g2a b2a|gfe dcB|def gdB|ABA A2:|
|:B/c/|d2B g2B|b3 bag|f2g a2b|c'ba gfe|d2B g2B|b3 bag|def gdB|ABA A2:|
|:c/B/|A2B c2c|B2c d2d|e/f/gd gbd|e/f/gd e2f|g2d b2d|gfe dcB|def gdB|ABA A2:|

GREENSLEEVES [2]. See "The Pirriwig," "Green Sleeves and Mutton Pies." English, Scottish; Song Air, Country and Morris Dance Tune (6/4 or 6/8 time). E Dorian (Chappell). Standard. AB. Williamson prints three tunes under the same name: tune A is in A Minor, form AABB; tune B is in C Major, in form AABB; tune C is in A Mixolydian, form AABB. Musically the melody is not so much a single specific tune, argues John M. Ward, as it is a tune type or descant which can be found in many variations and forms. All seem to conform, however, to the harmonically structured outline of a "ground" or bass progression known as the 'romanesca', which is similar to the 'passemezzo antico' though the initial tone is a third higher (Cazden, et al, 1982). Chappell (1859), Williamson and Alburger (1983) all note that a tune by this name was registered at the Stationer's Company in 1580 as "A New Northern Dittye of the Lady Greene Sleeves" (an early attempt at copyrighting). 'Northern Dittye' here means not Scotland but Northumberland and the Border regions along with the English Midlands; Kidson remarks that during his era (early 20th century) the melody was in the "cherished possession of countrymen in the Midlands, who execute a rustic dance to a traditional survival of it" (pg. 5). Shakespeare wrote in one of his plays, "Let it thunder to the tune of Greensleeves," and again, in The Merry Wives of Windsor when he has Mrs. Ford contrast it with the Hundredth Psalm -'they do no more keep pace together, than the Hundredth Psalm to the tune of Green Sleeves.' Indeed, the tune at the quick tempo Shakespeare suggests has been immensely popular since his time (Emmerson {1971} notes the slow version associated with Christmas scarcely predates the 1940's). Williamson's versions includes two early tunes which were used for a morris dance called "The Bacca Pipes Jig", a dance which features motions with elegant "churchwarden pipes". He says, "the tunes here go in a fast 2/4, which bars them from the category of jigs proper and puts them in the same class of tunes that were called gigs in Wales. The first has a similarity to a Scots tune called 'The Pirriwig.' It's based on the playing of William Kimber. The second tune has a closer resemblance to the well-known song 'Greensleeves'" (Williamson, 1976).
***
Country dance directions to the tune have been recovered from the Holmain MS. (c. 1710-50) from Dumfries-shire. The tune and dance were known in the American colonies in the 18th century (under the titles "Green sleeves" or "Green sleeves & mutton pies"), though there is no reason to believe either was particularly popular as it was not widely reproduced in either MS copy books or dance publications of the period. A American version with the usual 'A' part but quite a different 'B' part appears in Henry Beck's German flute MS of 1786. Kidson (1915) reports the tune was probably an "art-tune" in the 16th century, not a folk-tune, and that both melody and lyrics were immediately popular. It was frequently the vehicle for political dities and for the "scraps of verses that were employed in the early ballad operas" (pg. 27). It was such a common tune in the 17th century that the tune was mentioned by Sir John Hawkins, who recalled disdainfully:
***
...Fidlers and others, hired by the master of the house; such as
in the night season were wont to parade the city and suburbs
under the title of Waits...Half a dozen of fidlers would scrape
"Sellinger's Round," or "John, Come Kiss Me," or "Old Simon
the King" with divisions, till themselves and their audience were
tired after which as many players on the hautboy would in the
most harsh and discordant tones grate forth "Greensleeves,"
"Yellow Stockings," "Gillean of Croydon," or some such common
dance tune, and the people thought it fine music.
***
Kidson (1915) states the air was simplified through the years and that complete passages were eliminated over time. To illustrate he gives a "pure" early 16th century version as well as later "degraded" versions: one from a fiddle MS from 1838, and another from Playford's Dancing Master of 1716, called "Greensleeves and Yellow Lace" (other "degraded" versions mentioned are from The Beggar's Opera {1728}, and D'Urfey's Wit and Mirth). Yet another "degraded" version, devoid of all lilt, can be found on page 16 of violinist Whittier Perkins' Manuscript copybook (Massachusetts, 1790). Chappell (1859) finds the tune in William Ballet's Lute Book and Sir John Hawkins' transcripts of the early 17th century, but he asserts that the ballad had attained popularity before the 1580 date as there was another ballad registered with the Stationers at the same time entitled "A ballad, being the "Ladie Greene Sleeves Answere to Donkyn his frende." The ballad became even more popular immediately after its publication, probably on the strength of the engaging tune, for numerous attempts were made to improve upon the original words which "are neither remarkable for novelty of subject, nor for its treatment" (Chappell, pg. 240). It appears in the Gillespie Manuscript of Perth (1768) and in Walsh's Country Dancing Master or 1718. Breathnach (1963) mentions the tune in conjunction with "Pingneacha Rua agus Pras," "The Humours of Ennistymon," " The Waves of Tramore," "The County Limerick Buckhunt," "Larry Grogan," "The Lasses of Melross," "Little Fanny's Fancy," "The Humours of Miltown," "Lynn's Favourite," "Coppers and Brass," "Hartigan's Fancy", and "Finerty's Frolic." Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 239. Kidson (English Folksong and Dance), 1915; pg. 27. Merryweather (Merryweather's Tunes for the English Bagpipe), 1989; pg. 27. Raven (English Country Dance Tunes), 1984; pg. 69. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 33. Flying Fish FF-407, Robin Williamson - "Winter's Turning" (1986).

HASTE TO THE WEDDING [1] (Brostuig Go Dti An Posad). AKA and see "Carrickfergus," "Come, Haste to the Wedding," "Rural Felictiy," "The Long Eight," "Perry's Victory" (American), "Footprints," "Granny Plays the Fiddle," "Trip to the Dargle," "A Trip to the Gargle," "Let Brainspinning Swains," "The Small Pin Cushion." British Isles, New England, American, Canadian, Old-Time (fiddlers in the Appalachians seldom knew or played jigs - when they did this tune was one of the most frequently played.); Jig, Country Dance, Long Dance (Irish), Morris Dance Tune, or Quadrille (meaning 6/8 tunes from Midwestern USA). D Major (most versions): C Major (Harding's, Sharp): F Major (Bacon-Adderbury): G Major (Bacon-Brackley): A Major (Cranford). Standard. AB (Bacon-Adderbury, Bayard, Harding, Kerr): ABB, x4 (Bacon, Mallinson): AABB (most versions): AA'BB' (Cranford): ABCD (Bayard {Marr}). "The tune 'Come, Haste to the Wedding,' of Gaelic origin, was introduced in the pantomime, The Elopement, in 1767. This version is known as the Manx tune and was printed by the Percy Society in 1846. It is the basis of the Manx ballad, 'The Capture of Carrickfergusby,' written by Thurot in 1760" (Linscott, 1939). Samuel Bayard (1944, 1981) comments on the popularity of the air over the past two centuries as well as the tenacity of the main title to stick with the tune. When Chappell printed his well-known set in National English Airs (1840, I, No. 163; notes, II, 129; reprinted in JEFDSS, III, 210.), he traced the tune to the year 1767, when it was used in pantomime, to a song beginning 'Come, haste to the wedding, ye friends and ye neighbors!' This version of the air, continues Bayard, is still the earliest known, and it may be that the popularity of the song occasioned the fixed quality of the title. In his 1944 work Bayard posses the question as to whether the words were included in the original pantomime as a result of its associations, or whether the later uses of the tune secured it.
***
If it at first achieved popularity as a stage piece, it was soon after quickly disseminated, entering folk tradition. Chappell noted that the tune was "more frequently to be heard upon the chimes of country churches than any other, and usually played when a wedding is about to take place." Caoimhin Mac Aoidh (1994) reports that in County Donegal tradition a bride was 'hauled' (marched) from her house to the chapel along with her family and guests, led by a fiddler playing this tune. Morris dancers picked up the melody and morris dance versions have been collected from the villages of Adderbury (Oxfordshiere), Brackley (Northamptonshire), and Headington (Oxfordshire) in England's Cotswolds. The author of "English Folk-Song and Dance" found the melody in the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway between Churt and Tilbury in Surrey), who used, in younger days, to play at village dances. Tilbury learned his repertoire from an uncle, Fiddler Hammond, who died around 1870 and who had been the village fiddler before him. The conclusion was that "Haste to the Wedding" and other country dance tune of similar type had survived in English tradition (at least in southwest Surrey) well into the second half of the 19th century. In southern Ireland "Haste" is often the first tune played in a set (along with "Leslie's Hornpipe" and "The German Beau") for the set dance The Three Tunes, which dates to the ceili dance revival of the 1930's.
***
In America the piece was printed by Burchenal under the title "Green Mountain Volunteers" along with a New England contra dance by the same name. It was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's, and also was recorded by Herbert Halpert for the same institution in 1939 from the playing of a Lauderdale County, Mississippi, fiddler named Stephen B. Tucker. The title appears in a list of Maine fiddler Mellie Dunham's repertoire (the elderly Dunham was Henry Ford's champion fiddler in the late 1920's) and it was a favorite dance tune in western New York at the turn of the century (according to Bronner's source, Milo Kouf). As "Hasten to the Wedding" it was mentioned in an account of a fiddlers' convention at the Pike County Fairgrounds in the Troy Herald of July 6th, 1926. Winston Wilkinson ("Virginia Dance Tunes," Southern Folklore Quarterly, VI, 1, March, 1942) calls it "one of the best-loved tunes in Virginia." He collected it from Albermarle County fiddler James H. "Uncle Jim" Chisholm, who had played it and other tunes in the 1930's at the White House for President and Mrs. Roosevelt.
***
An odd alternate title called "A Trip to the Gargle" appears in O'Neill's 1001 Gems (probably a corruption of "A Trip to the Dargle") while as "Carrickfergus" it appears in Brysson's A Curious Selection of Favourite Tunes with Variations to which is appended Fifty Favourite Irish Airs (Edinburgh, 1790). The classical composer Camille Saint Saens used "Haste to the Wedding" in his opera Henry VIII, and John Powell employed a variant he collected from Mrs. John Hunter, a Virginia fiddler, in the last movement of his symphonic composition Set of Three (Wilkinson). The English novelist Thomas Hardy, himself an accordion player and fiddler, mentions "Haste to the Wedding" in Under the Greenwood Tree, as one of the tunes the wedding-guests danced to after the marriage of Dick and Fancy.
***
Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]: Smith Paine (Wolfeboro, N.H.) [Linscott, 1939]: Candace Woltz [Phillips]: Emery Martin, Dunbar, Pennslyvania, October 14, 1943 (learned from his father) [Bayard]; Milo Jouf, 1877 (New York State; learned from his father) [Bronner]; James Marr (elderly fidder from Missouri, 1949), and 21 southwestern Pa. fiddlers and fifers [Bayard]; Mrs. Ben Scott (Turlock, California) [Kaufman]; Blackwell via Dr. Kenworthy Schofield [Bacon]; Jehile Kirkhuff (Pa.) [Phillips/1995]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Adam, No. 15. Allan's Irish Fiddler, No. 15, pg. 5. The American Veteran Fifer, 1927; No. 49. Bacon (The Morris Ring), 1974; pgs. 12, 107, 189. Bayard (Hill Country Tunes), 1944; No. 22. Bayard (Dance to the Fiddle), 1981; Appendix No. 33, pgs. 585-586, and No. 447, pgs. 420-428. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 61, pg. 70. Brody (Fiddler's Fakebook), 1983; pg. 131. R.P. Bronner (Old Tyme Music Makers of New York State), 1987; No. 1, pg. 10. Burchenal (Rinnci na h-Eireann), pg. 104. Burchenal (American Country Dances, Vol. 1), 1918; pg. 42. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 121. Cole, 1940; pg. 53. Cranford (Jerry Holland's), 1995; No. 198, pg. 57. DeVille, No. 61. Ford (Traditional Music in America), 1940; pg. 53. Hardings All Round Collection, 1905; No. 190, pg. 60. Hardings Original Collection, 1928; No. 8. Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 13. JEFDSS, III, 208 (from a fiddler's book formerly the property of Thomas Hardy's father), 210 (see Bayard's note). JFSS, VIII, 220, 221 (a Manx vocal set). Jigs and Reels, pg. 22. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 8 (altered version appearing as "The Long Eight"). Kaufman (Beginning Old Time Fiddle), 1977; pg. 46. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 81, pg. 40. Kerr (Merry Melodies), Vol. 1; No. 4, pg. 27. Krassen (Appalachian Fiddle), 1973; pg. 86. Linscott (Folk Songs of Old New England), 1939; pg. 88 (appears as "Come, Haste to the Wedding"). MacDonald (The Skye Collection), 1887; pg. 168. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 30. Mulvihill (1st Collection), 1986; No. 19, pg. 122. O'Neill (Krassen), 1976; pg. 49. O'Neill (1850), 1903/1979; No. 987, pg. 184. O'Neill (1001 Gems), 1907/1986; No. 203, pg. 48. Phillips (Fiddlecase Tunebook), 1989; pg. 25. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 367. Raven (English Country Dance Tunes), 1984; pg. 102. Robbins, No. 5. Roche Collection, 1983, Vol. 2; No. 291, pg. 37 (listed as a Long Dance). Ruth (Pioneer Western Folk Tunes), 1948; No. 5, pg. 4. Saar, No. 44. Seventy Good Old Dances, pg. 6, No. 6. Sharp and Macilwaine, Morris Dance Tunes, pgs. 10-11 (as a handkerchief dance). Sharp (Country Dance Tunes), 1909/1994; pg. 10. Southern Folklore Quarterly, VI, pg. 8 (Wilkinson- "Virginia Dance Tunes"). Spandaro (10 Cents a Dance), 1980; pg. 45. Stewart-Robertson (The Athole Collection), 1884; pg. 145. Sweet (Fifer's Delight), 1965/1981; pg. 24. Thomas and Leeder (The Singin' Gatherin'), 1939; pg. 63 (appears as a waltz, "Footprints"). Trim (Thomas Hardy), 1990; No. 1. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 30. White's Excelsior Collection, 1907; pg. 76. Antilles (Island) AN-7003, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1974). Edison 50653 (78 RPM), John H. Kimmel (accordion player from N.Y.C.), 1920. F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band." Folkways FG 3531, Jean Carignan- "Old Time Fiddle Tunes." Folkways 8826, Per's Four--"Jigs and Reels." Front Hall 01, Fennigs All Stars- "The Hammered Dulcimer." Gennett 6088 (78 RPM), Uncle Steve Hubbard and His Boys (New England?), c. 1928. June Appal JA 029, Guy Carawan - "Jubilee" (1979). Library of Congress AFS L62, "American Fiddle Tunes." North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Rounder Records, "Jerry Holland" (1976). Victor 19940 (78 RPM), Mellie Dunham, 1926 (appears under the title "Mountain Rangers"). Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999. Learned from Missouri fiddling tradition).
X:1
T:Haste to the Wedding
L:1/8
M:6/8
B:Sharp - Morris Dance Tunes
K:D
DFA A2f|ede fdB|ABA AGF|GFG E2F|DFA A2f|ede fdB|AFA faf|ded d3:|
|:afa agf|gfg bag|fga agf|gfg efg|a3 f3|ede fdB|AFA faf|ded d3:|
X:2
T:Haste to the Wedding
L:1/8
M:6/8
K:D
DFA A2f|ede fdB|ABA AGF|GFG E2F|DFA A2f|ede fdB|AFA faf|ded d3:|
|:afa agf|gfg bag|fga agf|gfg efg|a3 f3|ede fdB|AFA faf|ded d3:|
X:3
T:Haste to the Wedding
L:1/8
M:6/8
R:Country Dance
B:The Athole Collection
K:D
B|AFA Aaf|ede fdB|AFA AdF|EFE E2A|AFA Aaf|ede fdB|AFA faf|ddd d2:|
|:f/g/|faf faf|bgb bgb|afa agf|efe e2f/g/|a3 f3|ede fdB|AFA faf|ded d2:|

HORSE CALLED ROVER, THE. AKA and see "Rooster in the Strawpile," "Cotton Eyed Joe." Old-Time, Breakdown. USA, southwestern Pa. G Major. Standard. ABB. A composite tune, perhaps fashioned in America. The 'A' part is quite old, asserts Bayard (1981), going back to the 16th century and appearing as "Malt's Come Down" (included in the Fitzwilliam Virginal Book arranged by William Byrd). The 'B' part is a common strain which can be found in collections from European countries (Germany), and in the chorus of the American minstrel ditty "Jim Along Josey" (1840). A version of the tune is found in Ford (1940, pg. 60) as "Cotton Eyed Joe", while the oldest set Bayard found was in Aird (Vol. 1, No. 155) as "The Virginian." The tune was collected in Pennsylvania with these words:
***
Had a little horse and I called him Rover,
When he lived, he lived in clover,
And when he died, he died all over.
***
Source for notated version: Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 10, pgs. 20-21.

MAID OF MOUNT KISCO (Gearrchaile Shliabh Cisco). Irish, Reel. A Dorian. Standard. AABCC (Tubridy): AA'BCC: AA'BB'CC' (Alewine). The tune is named after a woman who resided in Mount Kisco, a town of approximately 10,000 souls in Westchester County, north of New York City. Paddy Killoran has generally been credited with the composition of the tune, although there is some doubt about this. 'Tune lore' has it that Killoran either named or renamed an existing tune when playing near Mount Kisco when he was asked the name of the piece by either a young lady or a barmaid (depending on the version of the tale). Not knowing the correct title, on the spot he made up "Maid of Mount Kisco" in her honor. However, New York accordion player Jim Coogan says that Killoran wrote it for a friend, Ann Mulligan, who resided in Mount Kisco. Killoran recorded the tune for Decca in 1937, and Philippe Varlet could find no recorded version of the tune which predated it. He did find subsequent versions by another Decca Irish artist, Joe Maguire (1945), Leo Rowsome (London, 1947), and the Kincora Céilí Band, led by Kathleen Harrington (Dublin, 1952). Two relatively early versions can be found by older groups on the RTE compilation video "Come West Along The Road". The title is sometimes irritatingly misspelled "Mt. Cisco," perhaps from its appearance in Brendan Breathnach's Ceol Rince na hErineann where Kisco is spelled Cisco because in the Irish language there is no letter 'K'. In Ireland the name is pronounced as "Sisco" although name of the Westchester town in pronounced with a hard 'K'. Sources for notated versions: piper Mattthew Tiernan/Maitiu Mac Tighearnain (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Alewine (Maid that Cut Off the Chicken's Lips), 1987; pg. 23 (appears as "Maid of Mt. Cisco"). Breathnach (CRE I), 1963; No. 118, pg. 49. Mitchell (Dance Music of Willie Clancy), 1993; No. 93, pg. 82. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 21. Shanachie 79095, Arcady - "Many Happy Returns" (1995). Tommy Keane - "The Piper's Apron." Michael McGoldrick - "Morning Rory."
T:Maid of Mount Kisco, The
L:1/8
M:C|
K:A Dorian
AG|EA (3AAA BGAG|EA (3AAA BGAG|EG (3GGG BGAG|EG (3GGG EG D2|
EA (3AAA BGAG|EA (3AAA BABd|edef ~g3e|1 dBGB A2 AG:|2 dBGB A2 z2||
|:A3B dBAB|G2 BG EG B2|A3B d2 (3Bcd|1 efge dBGB:|2 efge d2 (3Bcd||
|:ea (3aaa bgag|{a}gedB GA (3Bcd|ea (3aaa bgag|{a}gede ~g3 z|
a3e ~g3e|dedB GA (3Bcd|eA (3AAA efge|1 dBGB A2 (3Bcd:|2 dBGB A2 z2||

OLD MOLLY HARE. AKA and see "Fisher Laddie," "Grandma Blair," "Molly Hare," "(Largo's) Fairy Dance," "Rustic Dance," "Fairy Reel" (Ire.). Old-Time, Breakdown. USA; Widely known. G Major (Brody): D Major (Ford, Krassen, Phillips, Reiner & Anick). ADAE (Clayton McMichen) or Standard. AABB (Brody, Ford, Krassen, Phillips): ABBA'BCA''B' (Reiner & Anick). "Old Molly Hare" is directly evolved from the Scottish melody "Largo's Fairy Dance," claimed by Nathaniel Gow (1763-1831). It is known as "The Fisher Laddie" in northern England (where it appears in a collection of Northern English sword dance tunes by Cecil Sharp). The "Old Molly Hare" song and title appears to be strictly American in origin-Charles Wolfe (1991) thinks it a minstrel piece that went into oral tradition among both blacks and whites-and various ditties or rhymes have been sung to it:
***
(You) country coon, you come here soon;
The girls won't be here till tomorrow afternoon (John Powell, quoted by Wilkinson)
***
Old Molly Hare, what you doin' there,
Diggin' out a post hole and scratchin' out yore hair? (Ford)
***
Old Molly Hare, whatcha doin' thar,
Running through the cotton patch, as far as I can tear.
***
Old Molly Hare, whatcha doin' thar,
Sittin' in the corner, smoking a cigar.
***
Old Molly Hare, watcha doin' there,
Run through the country, run like a hare. (Riley Puckett/Reiner & Anick)
***
African-American collector Thomas Talley, writing in his book Negro Folk Rhymes (reprinted in 1991, edited by Charles Wolfe), prints the following lyric:
***
Ole Molly har', whats you doin' thar?
"I'se settin' in de fence corner, smokin' seegyar."
***
Ole Molly har', what's you doin' thar?
"I'se pickin' out a br'or, settin' on a Pricky-p'ar."
***
Ole Molly har', what's you doin' thar?
"I'se gwine cross de Cotton Patch, hard as I can t'ar."
***
Molly har' today, so dey all say,
Got her pipe o' clay, jis to moke de time 'way.
***
"de dogs say 'boo!' An' dey barks too,
I hain't got no time fer to talk to you.
***
Ford (1940) relates an improbable story he had from a man who had been a noted caller of old-time dances when he was younger, around the 1870's or 1880's. According to him the settlers of the Missouri/Kansas prarie region plagued by rodent holes, especillay rabbits, which were a hazard to cattle or horses. There was a boon to the burrows, however, as they could by used for fence posts, saving the homesteader the arduous labor of digging another hole to set his post. Usually, says Ford, the settlers as a matter of pride took great pains to set their posts in a straight line. There was however, one character in the community, "whose ingenious efforts to avoid over-exertion were a constant source of amusement to his friends and neighbors."
***
When he built his fence he was not particular about a straight line.
He selected rows of rabbit holes, set his posts, strung the wire and
had his fencing done in no time at all. But the result was even more
erratic than he had anticipated. He was surveying the completed work
one day when several neighbors, coming in from the range, rode up.
They took one look at the fence and then had their usual laugh, to
poor old John's embarrassment. 'John', said one, in a voice of
suppressed amusement, 'how much liquor does it take to the mile,
to build a fence like that?' 'Well,' said John, scratching his head,
'I hadn't calculated fer it to be a worm fence. Reckon though, if I
had a still hitched to it and the neighbors pourin' cold water along,
like they do on all my honest endeavors, you fellers 'ud be down at
t'other end of the fence holdin' yer cups to ketch the whiskey!' As
soon as the laughter had subsided over John's turning the tables, the
neighbor added: 'Anyhow, you certainly did get your fencing done
in a hurry, John. Did you have any help?' 'Yes and no,' was the reply.
'I sort of took advantage of Mother Nature on part of the work. Old
Molly Hare dug the post holes -- but me and the mules had to set the
posts and string the wire!' It was shortly after this episode that the
above-mentioned verse appeared, and began to be used by callers
when the tune 'Old Molly Hare' was played.
***
The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's; also recorded for the Library of Congress in 1939 by Herbert Halpert from the playing of Tishomingo County, Mississippi, fiddler W.E. Claunch and Meridian, Mississippi, fiddler W.A. Bledsoe (who was originally from Tennessee). The tune/song appears in several older collections: Brown (3:211-13), collected mostly from black informants; Richardson (American Mountain Songs) and Randolph (2:359) contain versions from white sources, the latter from the Ozark Mountains. Sources for notated versions: New Lost City Ramblers [Brody]: Clayton McMichen (Atlanta, Ga) [Phillips]. Also in the repertoire of Uncle Eck Dunford (Galax, Va.) {See Library of Congress recording}. Brody (Fiddler's Fakebook), 1983; pg. 207. Kaufman (Beginning Old Time Fiddle), 1977; pg. 47. Krassen (Appalachian Fiddle), 1973; pg. 31. Phillips (Fiddlecase Tunebook), 1989; pg. 31. Reiner & Anick (Old Time Fiddling Across America), 1989; pgs. 110-111. Brunswick 291 (78 RPM), The Crockett Family (1928. A Kentucky group). Columbia 15295 (78 RPM), Riley Puckett & Clayton McMichen (1927). County 507, Clayton McMichen. County 527, Clayton McMichen- "Old Time Fiddle Classics, Vol. II." Folkways FA 2395, New Lost City Ramblers- "Vol. 5." Okeh 45268 (78 RPM), Fiddlin' Cowan Powers (1928. Powers, 1877-1952? was from Russell County, Va., and learned the tune from family tradition). Rounder 0058, Haywood Blevins- "Old Originals, Vol. II." Recorded for the Library of Congress, 1939, by W.A. Bledsoe (Meridian, Mississippi). Also in repertoire of the Kimble Family from Patrick County, S.W. Va.
T:Old Molly Hare
L:1/8
M:2/2
B:Winston Wilkinson, Southern Folklore Quarterly, Vol. VI, no. 1, pg. 5.
S:James H. "Uncle Jim" Chisholm (Greenwood, Albermarle County, Va.)
K:D
abaf b2b2|gage a4|fdfa gfed|1 cABc d2fg:|2 cABc d4||
|:fdfa g2eg|fafd B4|fdfa gfed|cABc d4|Ad2d d2a2|
gfed cdec|defa gfed|1 cdef d2d2:|2 cdef d4||

SAIL AWAY LADIES [1A]. Old-Time, Breakdown. USA; Kentucky, Tennessee. G Major. Standard. ABB (Brody, Ford): AABB (Spandaro): AABBCC (Phillips). The tune is related to the numerous versions of "Sally Ann" played in the keys of A and G Major. According to Guthrie Meade (1980), the tune is identified with the south central Kentucky and middle Tennessee locals. The title also appears in a list of the standard tunes in the square dance fiddler's repertoire, according to A.B. Moore in his 1934 book "History of Alabama." Southern Kentucky fiddler Henry L. Bandy recorded the tune for Gennett in 1928, though it was unissued, however, the earlest recordings were Uncle Bunt Stevens (1926-without words) and Uncle Dave Macon (1927-with words). Paul Wells (Middle Tennessee State University) states that the song was collected around the turn of the 20th century and seems to have been common to both black and white traditions. Tom Paley (former New Lost City Ramblers member) believes the verses of "Sail Away Ladies" to be typical floating verses, and go:
***
If ever I get my new house done,
(I'll) give my old one to my son.
***
Children, don't you grieve and cry.
You'll be angels, bye and bye.
***
Come along, girls, and go with me.
We'll go back to Tennessee.
***
(I) got the news from Shallow (or "Charlotte") Town.
Big St. Louis is a-burning down.
***
I chew my tobacco and I spit my juice.
I love my own daughter but it ain't no use.
(Paul Mitchell and others believe the words in Macon's last line sometimes heard as own daughter is really Dona, pronounced Dough-nee in the American South, a Spanish/Italian word for a mature love object, a woman.).
***
Another version of this last couplet goes:
***
I chew my tobacker and I swaller my juice
Sail away, ladies, sail away.
I'd like to go to Heaven, but it ain't no use.
Sail away, ladies, sail away.
***
African-American collector Thomas Talley, writing in his book Negro Folk Rhymes (reprinted in 1991, edited by Charles Wolfe), printed a similar but different text:
***
Sail away, ladies! Sail away!
Sail away, ladies! Sail away!
Nev' min' what dem white folks say,
May de Mighty bless you. Sail away!
***
Nev' min' what you daddy say,
Shake yo liddle foot an' fly away,
Nev' min' if yo' mammy say:
"De Devil'll git you." Sail away!
***
Kentucky fiddler H.L. Bandy sang the following lyric to "Sail Away Ladies", usually associated with the tune "Old Miss Sally":
***
I asked that girl to be my beau
She hacked at me with a garden hoe
***
I asked that girl to be my wife,
She took at me with a butcher knife
***
Uncle Dave Macon also included a chorus which went, "Don't she rock, Die-Dee-Oh?" but Paley notes that other old recordings have variants like "Don't she rock, Darneo?" and even "Don't she rock 'em, Daddy-O?" (which seems to harken to the beatnik era). Some unknown "revival" wag re-interpreted Macon's lines as:
***
Don't sheetrock the patio (x3)
Sail away, ladies, sail away
***
Wolfe (1991) finds the song in several older collections: Brown (1:153), Brewer (165) and a 1903 collection by William W. Newell, Games and Songs of American Children (170). It also appears in a modern collection of African-American songs and games, Jones and Hawes's Step It Down (174, as "Horse and Buggy"). Sources for notated versions: Highwoods String Band (N.Y.) [Brody]: Uncle Bunt Stevens (Tenn.) [Phillips, Spandaro]. See Journal of the Society for Ethnomusicology, #1, 1968; Linda Burman - "The Technique of Variation in an American Fiddle Tune (Sail Away Lady)." Brody (Fiddler's Fakebook), 1983; pg. 241. Ford (Traditional Music in America), 1940; pg. 35. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 207. Spandaro (10 Cents a Dance), 1980; pg. 32. Columbia 15071-D (78 RPM), "Uncle Bunt Stevens" (Tenn.) {1926}. County 521, "Uncle Dave Macon: Original Recordings 1925-1935." Folkways FA 2395, New Lost City Ramblers- "Vol. 5." Folkways FA-2951, Uncle Bunt Stevens - "Anthology of American Folk Music, Vol. 2, Social Music" (1952). Gennet Records, Master #14361, Henry L. Bandy (1928. Not released). Kicking Mule 213, Susan Cahill- "Southern Clawhammer Banjo." Morning Star 45004, H.L. Bandy (southern Ky.) - "Wish I Had My Time Again." Rounder 0074, Highwoods String Band- "No. 3 Special" (1976. Learned from Uncle Dave Macon's recording). Rounder 0193, Rodney Miller - "Airplang" (1985). Vocalation 5155 (78 RPM), Uncle Dave Macon (1927).
T:Sail Away Ladies
L:1/8
M:4/4
K:G
g2ga g2d2 | e3d e4 | g2g2 edB2 | d6 d2 | e2ed B2G2 | A3G G4 | B2BE D2E2 | G3G G4 :|
|: B2BG A2G2 | B3A G4 | B2GE D2E2 | G3G G4 :|

SOLDIER'S JOY [1] (Lutgair An Sigeadoir/t-Saigdiura). AKA and see "French Four" [3], "I Am My Mamma's Darlin' Child," "John White," "The King's Head," "The King's Hornpipe," "(I) Love Somebody," "Payday in the Army," "Rock the Cradle Lucy." Old-Time, Bluegrass, American, Canadian, English, Irish, Scottish; Breakdown, Scottish Measure, Hornpipe, Reel, Country Dance and Morris Dance Tune. D Major (almost all versions): G Major (Bacon, Bayard-Simmons). Standard or ADAE. AB (Athole, Bayard-Simmons, Shaw): AABB (most versions): ABCDE (Cooke {Ex. 54}). One of, if not the most popular fiddle tune in history, widely disseminated in North America and Europe in nearly every tradition; as Bronner (1987) perhaps understatedly remarks, it has enjoyed a "vigarous" life. There is quite a bit of speculation on just what the name 'soldier's joy' refers to. Proffered thoughts seem to gravitate toward money and drugs. In support of the latter is the 1920's vintage Georgia band the Skillet Lickers, who sang to the melody:
***
Well twenty-five cents for the morphene,
and fifteen cents for the beer.
Twenty-five cents for the old morphene
now carry me away from here.
***
Bayard (1981) dates it to "at least" the latter part of the 18th century, citing a version that has become standard in Aird's 1778 collection (Vol. 1, No. 109_) and Skillern's 1780 collection (pg. 21). John Glen (1891) and Francis Collinson (1966) maintain the first appearence in print of this tune is in Joshua Campbell's 1778 A Collection of the Newest and Best Reels and Minuets with improvements. It has been attributed to Campbell himself but Collinson notes it is hardly likely as it is a well known folk dance tune in other countries of Europe. There is also a dance by the same name which is "one of the earliest dances recorded in England, but no date of origin has been established. It is still done in Girton Village as part of a festival dance. The tune is also well known in Ireland" (Linscott, 1939). The melody was used in North-West England morris dance tradition for a polka step, and also is to be found in the Cotswold morris tradition where it appears as "The Morris Reel," collected from the village of Headington, Oxfordshire. The Scots national poet Robert Burns set some verses to the tune which were published in his Merry Muses of Caledonia. In the first song of Burns' cantata, The Jolly Beggars, by the soldier, is to the tune of "Soldier's Joy." Early versions of "Soldier's Joy" can be traced to a Scottish source as far back as 1781; variants can be found in Scandanavia, the French Alps, and Newfoundland (Linda Burman-Hall, "Southern American Folk Fiddle Styles," Ethnomusicology, Vol. 19, #1, Jan. 1975).
***
In America the melody is ubiquitous. It was cited as having commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly), and Bronner (1987) confirms it was a popular piece at New York square dances in the early 20th century. The title appears in a repertoire list of Norway, Maine, fiddler Mellie Dunham (the elderly Dunahm {b. 1853} was Henry Ford's champion fiddler in the late 1920's). Musicologist Charles Wolfe (1982) says it was popular with Kentucky fiddlers. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph, from the playing of Ozark Mountain fiddlers in the early 1940's, and, for the same institution by Herbert Halpert in 1939 from the playing of Mississippi fiddlers John Hatcher, W.E. Claunch and Stephen B. Tucker. It was also recorded by legendary Galax fiddler Emmett Lundy, and is listed as one of the tunes played at a fiddlers' convention at the Pike County Fairgrounds, Alabama (as recorded in the Troy Herald of July 6, 1926) {Cauthen, 1990}. Arizona fiddler Kenner C. Kartchner said: "Every fiddler plays this. Some not so good" (Shumway). Burchenal prints a New England contra dance of the same name with the tune. Tommy Jarrell, the influential fiddler from Mt. Airy, North Carolina, told Peter Anick in 1982 that it was a tune he learned in the early 1920's when he first began learning the fiddle, at which time it was known as "I Love Somebody" in his region. Soon after it was known in Mt. Airy as "Soldier's Joy" and, after World War II, as "Payday in the Army." Another North Carolina fiddler, African-American Joe Thompson, played the tune in CFGD tuning. Gerald Milnes (1999, pg. 12) remarks that tune origins were of significant value to West Virginia musicians who often tried to trace tunes to original sources. It was the first tune learned by Randolph County, W.Va., fiddler Woody Simmons (b. 1911). Braxton County fiddler Melvin Wine (1909-1999), says Milnes, used family lore to attribute the tune to his great-grandfather, Smithy Wine, of Civil War era. Smithy, it seems, had been detained by the Confederates in Richmond under charges of aiding Union soldiers. Although imprisoned, his captors found out he was a fiddler and made him play for a dance, and Smithy later associated the tune with this incident, calling it "Soldier's Joy." For further information see Bayard's (1944) extensive note on this tune and tune family under "The King's Head." During a Senate campaign in the 1960's the piece was played to crowds by Albert Gore Sr., the fiddling father of the Vice President during the Clinton administration (Wolfe, 1997).
***
In England, the title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. The novelist Thomas Hardy, himself an accordionist and fiddler, mentions the tune in his Far From the Madding Crowd:
***
'Then,' said the fiddler, 'I'll venture to name that the right
and proper thing is 'The Soldier's Joy' - there being a
gallant soldier married into the farm - hey, my sonnies,
and gentlemen all?' So the dance begins. As to the merits
of 'The Soldier's Joy', there cannot be, and never were,
two options. It has been observed in the musical circles
of Weatherbury and its vacinity that this melody, at the
end of three-quarters of an hour of thunderous footing,
still possesses more stimulative properties for the heel
and toe than the majority of other dances at their first opening.
***
At the turn into the 20th century the melody was in the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway between Churt and Thursley, Surrey), the last of a family of village fiddlers who had learned his repertoire from an uncle, Fiddler Hammond (died c. 1870), who had taught him to play and who had been the village musician before him. The author of English Folk-Song and Dance concludes that "Soldier's Joy" was enjoyed in the tradition of this southwest Surry village about 1870, and was one of a number of country dances which survived well into the second half of the 19th century (pg. 144).
***
Some of the lyrics which have been sung to the tune are:
***
Chicken in the bread tray scratchin' out dough,
Granny will your dog bite? No, child, no.
Ladies to the center and gents to the bar,
Hold on you don't go too far.
***
Grasshopper sittin on a sweet potato vine, (x3)
Along come a chicken and says she's mine.
***
I'm a-gonna get a drink, don't you wanna go? (x3)
Hold on Soldier's Joy.
***
Twenty-five cents for the malteen,
Fifteen cents for the beer;
Twenty-five cents for the malteen,
I'm gonna take me away from here.
***
Love somebody, yes I do, (x3)
Love somebody but I won't say who.
***
Refrain
Dance all night, fiddle all day,
That's a Soldier's Joy. (Kuntz)
***
In Newfoundland, it is sometimes known as "John White" and sung accompanied by the fiddle or accordion:
***
Did you see, did you see, did you see John White?
Did you see, did you see, did you see John White?
Did you see, did you see, did you see John White?
He's gone around the harbour for to stay all night.
He's gone around the harbour for to get a dozen beer.
He's gone around the harbour and he won't be coming here.
He's gone around the harbour for to get a cup of tea.
If you sees him will you tell him that I wants he?
***
Sources for notated versions: John Carson and The Skillet Lickers (North Georgia) [Kuntz]; J.S. Price (Pottawatomie County, Oklahoma) [Thede]; Ben Smith (Dixon, Missouri) [Christeson]; Willie Woodward (Bristol, N.H.) [Linscott]: Floyd Woodhull (1976), Woodhull's Old Tyme Masters (1941), Pop Weir (c. 1960) {three versions from central New York State} [Bronner]; Bobbie Jamieson (Cullivoe, Yell, Shetland) [Cooke]; George Sutherland (Bressay/Vidlin, Shetland) [Cooke]; Lorin Simmons (Prince Edward Island, Canada, 1930's), James Marr (elderly fiddler from Missouri, 1949), twenty southwestern Pa. fifers and fiddlers [Bayard]; Richard Greene with Bill Monroe and the Blue Grass Boys [Phillips]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; Elliot Wright (b. 1935, Flat River, Queens County, Prince Edward Island) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin].
Adam, 1928; No. 2. Ashman (The Ironbridge Hornpipe), 1991; No. 86b, pg. 35. Bacon (The Morris Ring), 1974; pg. 197. Bayard (Dance to the Fiddle), 1981; Appendix No. 1A-B, pgs. 571-572, and No. 332A-S, pgs. 303-310. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 47, pg. 56. Brody (Fiddler's Fakebook), 1983; pg. 262. R.P. Bronner (Old-Time Music Makers of New York State), 1987; No. 12, pgs. 71-72 and No. 25, pg. 110. Burchenal (American Country Dances, Vol. 1), 1918; pg. 6. Carlin (English Concertina), 1977; pgs. 40-411. Cazden (Dances from Woodland), 1945; pg. 19. Christeson (Old Time Fiddlers' Repertory, Vol. 2), 1984; pg. 61. Cole (1001 Fiddle Tunes), 1940; pg. 24. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 54, pg. 112 and Ex. 55, pg. 113. DeVille, 1905; No. 76. Ford (Traditional Music in America), 1940; pg. 49. Harding Collection (1915) and Harding's Original Collection (1928), No. 20. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 9. Howe (School for the Violin), 1851; pg. 37. Howe (Diamond School for the Violin), pg. 41. Jarman (Old Time Fiddlin' Tunes), No. or pg. 23. Kaufman (Beginning Old Time Fiddle), 1977; pg. 40. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 7. Kennedy (Fiddler's Tune Book), Vol. 1, 1951; No. 4, pg. 2. Kerr (Merry Melodies), Vol. 1; Set 1, No. 6, pg. 3. Krassen (Appalachian Fiddle), 1973; pg. 15 and 45 (latter includes a 'A' part variation by Charlie Higgins {Galax, Va}). Kuntz (Ragged but Right), 1987; pg. 295-296 (two versions). Lerwick (Kilted Fiddler), 1985; pg. 21. Linscott (Folk Songs of Old New England), 1939; pg. 110-111. Lowinger (Bluegrass Fiddle), 1974; pg. 22. McGlashan (Collection of Scots Measures), c. 1780; pg. 32. MacDonald (The Skye Collection), 1887; pg. 38. O'Neill (Krassen), 1976; pg. 183. O'Neill (1850), 1903/1979; No. 1642, pg. 305. O'Neill (1001 Gems), 1907/1986; No. 868, pg. 150. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 71. Phillips (Fiddlecase Tunebook), 1989{A}; pg. 38. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 227 (two versions). Raven (English Country Dance Tunes), 1984; pg. 166 (appears as "King's Head"). Reiner (Anthology of Fiddle Styles), 1979; pg. 37 (includes several variations). Robbins, No. 56. Roche Collection, 1982, Vol. 2; No. 216, pg. 12 (appears as a hornpipe). Ruth (Pioneer Western Folk Tunes), 1948; No. 7, pg. 4 (an alternate title is given as "King's Head"). Shaw (Cowboy Dances), 1943; pg. 383. Stewart-Robertson (The Athole Collection), 1884; pg. 150. Sweet (Fifer's Delight), 1964; No. or pg. 43. Sym, 1930; pg. 13. Thede (The Fiddle Book), 1967; pg. 118. Trim (Thomas Hardy), 1990; No. 43. Wade (Mally's North West Morris Book), 1988; pg. 17. White's Excelsior Collection, 1907; pg. 72. Bluebird 5658-B (78 RPM), Gid Tanner and His Skillet Lickers (North Ga.) {1934}. Caney Mountain Records CEP 210 (extended play LP, privately issued), Lonnie Robertson (Mo.), c. 1965-66. Columbia 191-D (78 RPM), Samantha Bumgarner {recorded as "I Am My Momma's Darlin' Child"). Columbia 15538 (78 RPM), Gid Tanner and His Skillet Lickers. County 405, "The Hillbillies." County 506, The Skillet Lickers- "Old-Time Tunes. County 514, Gid Tanner's Skillet Lickers- "Hell Broke Loo"se in Georgia" (Originally recorded in 1934). County 756, Tommy Jarrell- "Sail Away Ladies." Edison 52370 (78 RPM), 1928, John Baltzell (appears as "Soldier's Joy Hornpipe") {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888, poor, but later taught Baltzell to play the fiddle}. Flying Fish 102, New Lost City Ramblers - "20 Years/Concert Performances" (1978). Folk Legacy Records FSA-17, Hobart Smith - "America's Greatest Folk Instrumentalist." Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker" (1966). Folkways FA 2492, New Lost City Ramblers - "String Band Instrumentals" (1964. Learned from Hobart Smith). Fretless 132, "Ron West: Vermont Fiddler." June Appal 007, Tommy Hunter - "Deep in Tradition" (1976. Learned from his grandfather, fiddler James W. Hunter, Madison County, N.C.). Library of Congress (2738-B-2), 1939, recording by Herbert Halpert of the Houston Bald Knob String Band (Franklin County, Va.). Mississippi Department of Archives and History AH-002, Stephen B. Tucker - "Great Big Yam Potatoes: Anglo-American Fiddle Music from Mississippi" (1985). Morning Star 45003, Taylor's Kentucky Boys - "Wink the Other Eye: Old Time Fiddle Band Music from Kentucky" (1980. Originally recorded in 1927). Revonah RS-924, "The West Orrtanna String Band" (1976). Rounder 0070, The Kentucky Colonels- "1965-1967." Rounder 0073, The White Brothers- "Live in Sweden." Rounder 1003, Fiddlin' John Carson- "The Old Hen Cackled and the Rooster's Goin' to Crow." Tradition TLP 1007, Lacey Phillips - "Instrumental Music of the Southern Appalachians," 1956. United Artists 9801, "Will the Circle Be Unbroken." Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999). Bob Smith's Ideal Band - "Ideal Music" (1977). "Fiddlers Three Plus Two." "The Caledonian Companion" (1975).
X:1
T:Soldiers' Joy [1]
L:1/8
M:C|
R:Country Dances
B:The Athole Collection
K:D
dB|AFDF AFDF|A2d2d2cB|AFDF AFDF|G2E2E2FG|AFDF AFDF|
A2d2d2fg|afdf gece|d2D2D2||
ag|fdfg a2gf|ecef g2ag|fdfg a2 gf|edcB A2ag|fdfg a2gf|ecef g2fg|
afdf gece|d2D2D2||
X:2
T:Soldier's Joy
L:1/8
M:C|
S:Kuntz - Ragged but Right
N:From the playing of Fiddlin' John Carson
K:D
(3dcB|A2 FF D2 FF|A2 BA d2 dB|ABAG FGFD|E2 E4 (#G|
A2) FF DEFD|A2 BA d3 (e|f2) ff efec|d2 d4 (3dcB|A2 FF D2 FF|
ABAF dBAF|ABAG FGFD|E2 E4 (^G|A2) FE DEFD|A2 BA d3e|
f2 ff efdc|d2 d4||
|:A2|d2 f2 abaf|e2 ef g2 ge|d2 df abaf|edcB A3A|
d2f2 abaf|edef g2 ge|fafd egec|d2 d4:|

TATER PATCH. Old-Time, Breakdown. USA, North Carolina. A Mixolydian. Standard. AAB (Brody): AABBB (Phillips). A Blue Ridge Mountain regional dance piece. Mt. Airy, western North Carolina, fiddler Tommy Jarrell related to musician and folklorist Mike Seegar:
***
There was a fellow by the name of Ike Leonard...he was a working
in the potato patch and this tune come in his mind. And he just
throwed down what ever he was a doing and went to the house
and got his banjo and played it. It must have happened about
1910...before 1920. I got it through (his uncle) Charlie Barnett
Lowe...along in the '20's. Charlie Barnett's brother married Ike
Leonard's widow so I got the straight story to 'The Tater Patch
Tune'...the way it was told to me now.
***
In The Portland Collection the tune is directly attributed to Jarrell's frequent playing partner banjo player Charlie Lowe, with the same story (i.e. that the tune came to Charlie while he was out in the field digging potatoes and that he ran to the house, got out his banjo and played it). This latter attribution comes from Mt. Airy region fiddler Ernest East. Sources for notated versions: Ruthie Dornfeld (Seattle, Washington) [Phillips]; Paula Walters (Corvalis, Oregon) [Songer]. Brody (Fiddler's Fakebook), 1983; pg. 273. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 238. Songer (Portland Collection), 1997; pg. 192. County 778, Tommy Jarrell - "Pickin' on Tommy's Porch" (1984). Rounder 0045, Highwoods String Band- "Dance All Night."

TOD(D)LIN' HAME. AKA and see "Armstrong's Farewell," "Bacach," "An Cana Draigeann Eille," "Clinch Mountain," "The Cuckoo," "Days of 'Lang Syne," "Gage Fane," "Jack of Diamonds," "Johnnie Armstrong," "The Meeting of the Waters," "My Ain Fireside," "My Name is Dick Kelly," "Na Geadna Fiadaine," "O Whistle and I'll Come to Ye," "Old Ireland Rejoice," "The Old Head of Denis," "The Origin of the Harp," "Robi Donadh Gorrach," "Rye Whiskey," "The Wagoner's Lad," "The Wild Geese." Irish, English, Scottish, Jig. England, Northumberland. D Major. Standard. AABB. The air of "Johnnie Armstrong" has been identified with that of "Todlen Home" in Johnson-Stenhouse, pg. 336, and concurred in Glen, pg. 172. Cazden (et al, 1982) identifies it as a member of a large tune family used for numerous ballads, hymns and airs in the British Isles and North America, including "Rock Island Line," "The Old Head of Denis," and several cowboy ballads. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. Gow (1817) prints an "elegant accompaniment by the Immortal HAYDN" along with the tune in his 4th Repository.
***
My lassie and I we lay down to sleep
With two full pints by our bed's feet
And right when we wakened we drank them dry
Now what do you think of my lassie and I
***
CHORUS:
Todlin hame, oh todlin hame
Couldna my love come todlin hame
Todlin hame, oh todlin hame
Round as a neep come todlin hame
***
Gatherer (Gatherer's Musical Museum), 1987; pg. 17. Gow (Complete Repository), Part 4, 1817; pg. 19. Johnson, Scots Musical Museum(1793-1841). Dun Cregan in Paradise.
T:Todlen Hame
L:1/8
M:6/8
S:Gow - 4th Repository
N:"Slow"
K:A
A/>B/|c>BA F>GA|E>FA {c}B2 A/B/|c>BA F>GA|E?FA A2:|
|:A|d>ed c2c|B>c (d/c/) {c}B2 (A/B/)|c>BA F>GA|E>FA A2:|
A/B/|c>BA F>GA|E>FA B2 A/B/|c>BA F>GA|E>FA A2 A/B/|
C>BA F>GA|E>FA B2 A/B/|c>BA F>GA|E>FA A2||

WALK JAWBONE [2]. AKA and see "Alex Dice," "Bonnet/Jacket Trimmed in Blue," "Din Tarrant's" "I Have a Bonnet Trimmed with Blue," "I have a donkey, he wouldn't go," "Krakovienne" (Boehme), "Tá Boinéad agam," "Tarrant's." Old-Time, Breakdown. F Major. Standard. AABB. Apparently adapted by American black-face minstrels from an Irish melody. See Irish version in Roche Collection, Vol. 2, No. 302 (appears as "Set Dance").
***
Walk, jawbone, Jenny, come along.
In come Sally with her bootees on.
Walk, jawbone, Jenny, come along.
In come Sally with her bootees on.
***
Ford (Traditional Music in America), 1940; pg. 103. Minstrel Songs Old and New, 1879; pg. 210.

WHITE COCKADE, THE [1] (An Cnota Bán). AKA and see "The Duke of Buccleugh's Tune," "The Ranting Highlander/Highlandman," "Fiddler's Morris," "A Highland Lad My Love Was Born," "The Highland Laddie," "The Lad With the White Cockade," "O, An Ye Were Dead, Guidman," "The Rose in the Garden" (a Kings County, PEI title), "White Cock Head." Scottish (originally), Irish, English, Canadian, American; Scottish Measure, Reel, March, or Country Dance. USA; New England, New Hampshire, Maine, southwestern Pa., New York, Michigan. Canada, Prince Edward Island. G Major. Standard. AB (Bayard, O'Neill/1850, Skye): AAB (Linscott): AABB (Athole, Breathnach, Brody, Carlin, Hardie, Hunter, Johnson, Kennedy, Miller & Perron, Morrison, O'Neill/1915, Raven, Shaw, Sweet, Trim). The tune in its original form is properly catagorized a Scottish Measure. One of the first printings of the air is in Playford's Apollo's Banquet of 1687 where it was called simply a "Scots tune," and another early title seems to have been "The Duke of Buccleugh's Tune." Bayard (1981) dates the tune to the latter 17th century (apparently due to the Playford publication), but admits it might be older, although Flood (1906) more decisively (though without documentation) identifies it as a popular air and song of 1615-1630. Linscott (1939) finds a relatively late printing by Herd in 1776, by which time the air was thoroughly established.
***
A cockade was a ribbon in the shape of a rosette used as a decoration on hats, and thus was a convenient vehicle to display the wearer's loyalties in much the same manner as a button or a bumper sticker nowadays. It was used especially as a uniform decoration and to mark irregular troops in the 18th century and various colors represented different loyalties. A white cockade was associated with Jacobite rebels in 1715 and again for Bonnie Prince Charlie's uprising in 1745, in both Scotland and Ireland. The Americans, with a high percentage of both Scots-Irish and Irish in their ranks who identified with the earlier rebels, adopted the white cockade as their symbol during the Revolutionary War and when France entered the war they added the black cockade of that country's troops, forming the black and white "Alliance cockade" (Johnson, Scottish Fiddle Music in the 18th Century, 1984, and others). It is popularly though the title of the tune refers to a these Jacobite symbols. Jacobite associations to it dimmed by the end of the century, allowing the tune to be absorbed (like the Highlander's kilts) and used as a march in the British army in 1812 where it appears in a military musician's manuscript book of the period (Winstock). Other military citations include it as one of two stirring tunes (along with "St. Patrick's Day in the Morning") played by pipers attached to the Irish Brigade in the service of France which helped to turn the tide of battle against the English troops in the battle of Fontenoy on May 11, 1745 (O'Neill, 1913). Flood (1906) and O'Neill (1913) state it was probably the last appearance in battle of the Irish Piob mor (war pipes or great pipes, which did survive in Scotland) of any mention.
***
The title is from a Jacobite song from the 18th century written by Muiris mac Daibhi mac Gerailt (Maurice FitzDavid FitzGerald) perhaps after, it has been variously suggested, the fashion of wearing white ribboned plumes in men's hats of the time or possibly to the white cockade which Dublin ladies wore in their hair to show their support of the House of Stewart. Breathnach (CRE II) reports that Seán Ó Dálaigh wrote a note to this song stating that it refers not, as many think, to a military cockade but rather to bouquets of ribbons worn by the young women of Munster at weddings and other such occasions early in the 17th century. This custom is referred to in a verse Ó Dálaigh attributes to the period poet Muiris Mac Gearailt:
***
A chailín donn deas an chnota bháin,
Do bhuair is mheall mé le h-iomad grá;
Tair-se liom 's ná de/an me/ chrá,
Mar do thug mé greann dod' chnota bán.
***
Oh pretty brown girl of the white cockade,
Who grieved and charmed me with abundance of love;
Come with me and don't torment me,
Because I mocked your white cockade. [translation by Paul de Grae]
***
The Scots poet Robert Burns rewrote the lyrics as "A Highland Lad my Love was
Born," but the tune itself seems to have been more popular than even his song, and it was often used as a vehicle for various songs about love, topography, and drinking (see "The Ranting Highlander," "The Highland Laddie," "Fiddler's Morris"). {As an aside, Burn's originally specified his lyric be sung to the tune of the song "O, and ye were dead, Guidman," which was written to the melody of "Watson's Scotch Measure"}. "White Cockade" was commonly played at Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly). The tune is associated with a dance of the same name in New England, and one set appears in Linscott's Folk Songs of Old New England; Johnson also prints a Scottish contra dance to the tune. Burchenal (1918) gives the tune as commonly played in that region for the contra dance Camptown Hornpipe. It was listed in the repertoire of Maine fiddler Mellie Dunham (the elderly Dunham was Henry Ford's champion fiddler in the late 1920's). The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. The English novelist Thomas Hardy, himself an accordion player and fiddler, mentions the tune in scene notes to his drama The Dynasts:
***
It is a June Midnight at The Duke & Duchess of Richmond's. A band
of stringed instruments shows in the background. The room is crowded
with a brilliant assemblage of more than two hundred of the distinguished
people sojourning in the city on account of the war and other reasons, and
of local personages of State and fashion. The ball has opened with 'The
White Cockade.'
***
The author of English Folk-Song and Dance (pg. 144) found the tune in the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway between Chrut and Thursley in Surrey), who, in his young days, used to play the fiddle at village dances. Tilbury learned his repertoire from an uncle, Fiddler Hammond, who died around 1870 and who was the village musician before him. The conclusion was that "The White Cockade" and similar old country dance tunes survived in tradition (at least in southwest Surrey) well into the second half of the 19th century. A jig form of the tune is known as "A Hundred Pipers and A'."
***
Sources for notated versions: Dennis McClure (Willimantic, Conn.) [Linscott]; Clyde Lloyd (fifer from Indiana County, Pa., 1952), Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960), Hogg (Pa., 1948), George Strosnider (fiddler from Greene County, Pa., 1930's) [Bayard]; flute and whistle Micho Russell, 1973 (Doolin, Co. Clare) [Breathnach]; Francis MacDonald (b. 1940, Morell Rear, North-East Kings County, Prince Edward Island) [Perlman]; tin whistle player Micho Russell (Doolin, County Clare) [Breathnach]. Adam, 1928; No. 16. Aird (Selections), 1778 (1782?), Vol. 1, No. 1 (appears as "The Ranting Highlandman," a title G. Farquhar Graham thought Aird found more prudent than "The White Cockade" as sentiments from the rising of '45 were still strong). American Veteran Fifer, 1927; No. 13, pg. 7. Bayard (Dance to the Fiddle), No. 174A-D, pgs. 125-126. Blake (Ye Ancient Song and Fife), 1974; pg. 26. Breathnach (CRE II), 1976; No. 115, pg. 63. Brody (Fiddler's Fakebook), 1983; pg. 291. Burchenal (American Country Dances, Vol. 1), 1918; pg. 18 (appears as "Camptown Hornpipe"). Cahusac's Pocket Companion for the Flute, 1795?, Vol. 1, pg. 40. Carlin (Gow Collection), 1986; No. 466. Cazden, Jigs, Reels and Squares, Vol. 1, pg. 20. Creighton, 1933; No. 85, pg. 183. DeVille, 1905; No. 73. Emmerson (Rantin' Pipe and Tremblin' String), pg. 124. Ford (Traditional Music in America), 1940; pg. 109. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1816; No. 126. Gow (Vocal Melodies of Scotland), 1822; pg. 35. Gow (Complete Repository), Part 2, 1802; pg. 19. Graham, 1908; pg. 219. Hardie (Caledonian Companion), 1992; pg. 29. Harding Collection (1915) and Harding's Original Collection (1928), No. 18. Howe (School for the Violin), 1851, pg. 33. Hunter (Fiddle Music of Scotland), 1988; No. 313. Huntington, (William Litten's), 1977; pg, 17. Jarman (Old Time Fiddlin' Tunes); No. or pg. 22. JEFDSS, Vol. 1, pg. 94 (2nd half). JFSS, Vol. IV, pg. 159 (2nd half). Johnson (The Scots Musical Museum), 1787-1803, Vol. 3, No. 272 (apparently the first printing in Scotland). Johnson (Twenty-Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 10. Joyce (Ancient Irish Music), 1873, No. 80. Joyce (Old Irish Folk Music and Song), 1909; No. 112. Keller (Giles Gibbs Jr., His Book for the Fife...1777), 1974, pg. 28. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 60, pg. 29. Kerr (Merry Melodies), Vol. 1; No. 2, pg. 23 & pg. 40. Linscott (Folk Songs of Old New England), 1939; pgs. 117 & 120. MacDonald (The Skye Collection), 1887; pg 170. McDonald (The Gesto Collection), 1895; pgs. 6 & 126. McDonald (Highland Vocal Airs), 1784; pg. 33 (Dance No. 5). Miller & Perron (New England Fiddler's Repertoire), 1983; No. 105. Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 41. O'Daly, 1849, Vol. 1, pg. 50. O'Malley, 1919, pg. 41. O'Neill (1915 ed.), 1987; No. 108, pg. 61 (includes variations). O'Neill (1850), 1903/1979; No. 1803, pg. 328. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 155. Preston, 1796, pg. 127. Raven (English Country Dance Tunes), 1984; pg. 151. Ritson (Scottish Songs), Vol. II, pg. 430. Robbins, 1933, No. 82, pg. 26. Ruth (Pioneer Western Folk Tunes), 1948; No. 80, pg. 29. The Scottich Country Dance Book, 1930-57, No. 5 (tune 11). Shaw (Cowboy Dances), 1943; pg. 391. Smith (Scottish Minstrel), 1820-24, Vol. 1, pg. 21. Stewart-Robertson (The Athole Collection), 1884; pg. 147. Sweet (Fifer's Delight), 1965/1981; pg. 32. Thompson (Scottish Airs for the Voice), 1805, Vol. 4, No. 188. Tolman (Nelson Music Collection), pg. 168. Trim (Thomas Hardy), 1990; No. 6 (appears as "White Cock Head"). White's Excelsior Collection, 1907; pg. 72. Wilson (Companion to the Ballroom), 1840; pgs. 39 & 54. ALcazar Dance Series FR 204, Rodney Miller - "New England Chestnuts 2" (1981). Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker" (1966). Folkways FTS 31036, Roger Sprung- "Grassy Licks." North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Olympic 6151, The Scottish Festival orchestra- "Scottish Traditonal Fiddle Music" (1978). RCA 09026-60916-2, The Chieftains - "An Irish Evening" (1991). Transatlantic 337, Dave Swarbrick- "Swarbrick." Victor 20537 (78 RPM), Mellie Dunham (Me.), 1926 (appears as 2nd tune of "Medley of Reels").
T:White Cockade, The
L:1/8
M:C|
R:Country Dance
B:The Athole Collection
K:G
GA|B2B2B2 AB|G2B2B2 ge|d2B2B2 AG|B2A2A2 GA|B2 Bd cBAG|
A2B2g3a|bagf efge|d2B2B2:|
|:Bc|d2B2g2B2|d2d2d3e|d2B2g2fg|a2A2A2GA|B2Bd cBAG|A2B2g3a|
bagf efge|d2B2B2:|

YANKEE DOODLE DANDY. English (originally), American; Country Dance Tune (2/4 time) or March. D Major (Bayard, Kennedy, Kidson, Raven, Sweet): G Major (Linscott): C Major (Kerr). Standard. AB (Bayard, Johnson, Linscott): AAB (Kerr): AABB (Johnson, Kidson, Raven, Sweet): AABBA'A'B'B' (Kennedy). There is some mystery and controversy about the exact origins of one of the most famous tunes in American tradition, "Yankee Doodle." Elson (The National Music of America, 1899) finds that the first period of the melody was once quite familiar to Dutch musicians and "has been used in Holland from time immemorial as a children's song," however, the second part was not known. The Irish musicologist Flood (1906) maintains "Yankee Doodle" derives from a Jacobite era (early 18th century) song called "All the Way to Galway." Claims have also been made for Spanish and even Hungarian musical origins. The earliest appearance of the complete melody was claimed by Dr. Rimbault (1876) to have been a printing in Walsh's Collection of Dances for the year 1750 where it he said it appears as "Fisher's Jig" (a reference to the 'notorious lady', Kitty Fisher, who died in 1771). Rimbault later wrote that it was a country dance found under the title "Kitty Fisher's Jig," written in triple time, but that it was afterwards altered to common time, although the title remained the same (he printed what he said was the Walsh tune in the magazine Leisure Hour, see abc below). The problem is that no one has been able to locate the melody in either Walsh's publication or in any of Thompson's Country Dance Books of the same era. "Kitty Fisher" does exist in Thompson and Son's Twenty-four Country Dances for 1760 but it is a different, duple-time tune, unlike anything resembling what we know as "Yankee Doodle." A nursery rhyme exists that goes:
**
Lucy Locket lost her pocket,
Kitty Fisher found it,
Not a bit of money in it,
Only binding round it.
**
This contains Fischer's name (misspelled, while Lucy Locket was presumably a name taken from a character in The Beggars Opera of 1727) and scans to the "Yankee Doodle" tune, but any direct relationship remains speculative.
**
If one discounts Rimbault's claims, the earliest corroborated appearances of the "Yankee Doodle" tune are in James Aird's Selection of Scotch, English, Irish and Foreign Airs Selections Vol. 1 (1782, sometimes dated 1775-76), and George Colman's opera Two to One (1784) as a song entitled "Adzooks, Old Crusty, Why so Rusty?" The tune's mocking connotations with at least a portion of the American colonial population were apparently well-established somewhat before that time.
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Regarding the lyrics, there is little hard evidence for the derivation of the word Yankee, although it was in use as a term to identify New Englanders since the early 18th century. Doodle, on the other hand, has been traced to the Lancashire dialect, and means a trifler or shiftless individual. Of the song itself, Winstock (1970) writes "It is generally accepted that the words were written by (the Englishman) Dr. Richard Shuckburgh around 1755 in derision of the odd-looking colonials who had come to help the British regulars fight the French, and the redcoats continued to use it in contempt...". Elson (The National Music of America, 1899) traces this claim to an early 19th century publication called Farmer & Moore's Monthly Literary Journal, although there are other, separate attributions to Shuckburgh (whose name is spelled various ways). The good and witty doctor did not live to see his satire used in the war of rebellion for he died in August, 1773, the New York Gazetter reporting: "Died, at Schenectady, last Monday, Dr. Richard Shuckburgh, a gentleman of a very genteel family, and of infinite jest and humour." In October, 1768, the New York Journal gave the earliest notice of its performance:
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The British fleet was bro't to anchor near Castle William, in Boston Harbor,
and the opinion of the visitors to the ships was that the 'Yankey Doodle
Song' was the capital piece in the band of their musicians.
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Boorish British officers called for dancing after a concert in Boston on January 25, 1769, that had been performed by a group led by musician Stephen Deblois. "Yankee Doodle" was one of the tunes (along with "Wild Irishman") the Redcoats derisively demanded, according to a newspaper account of the time, and when Deblois was not forthcoming, the British rioted. Deblois cancelled further concerts, and did not reinstate them until the English general in command pledged his officers' good behavior. By 1775 the piece was played by British fifers and drummers as a way to taunt the colonial populace as, for example, they did that year when one "John Andrews complained of the field music of the (British) 4th Regiment playing that melody near a church during religious services to annoy the congregation" (Camus, 1976). Culprits were drummed out to the sound of the tune from British camps in the city of Boston.
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"Yankee Doodle's" rapid transformation from a vehicle of derision to a famed national tune occurred at the very onset of the Revolutionary War with the attack on Lexington and Concord by forces belonging to Colonel Smith and Major Pitcairn. "In 1775 the British troops who attacked Concord and Lexington needed rescuing by Lord Percy's troops. As Percy marched through Roxbury with his band jeeringly playing "Yankee Doodle," he good-naturedly asked a young American what there was to laugh about. 'To think that soon you will dance to 'Chevy Chase'', answered the boy, referring to the very old ballad about Otterbourne where Percy's great ancestor was defeated and captured" (Winstock, 1970; pg. 70). The British were indeed chased back to Boston with a one-sided loss of life, harassed much of the way by the 'minutemen.' The Americans immediately appropriated the tune, which for a long time after was called "The Lexington March." "Yankee Doodle" was played by both sides in the Battle of Bunker Hill, and thereafter continued to be performed by musicians in the American army as well as the British. Under the terms of the surrender agreement at Yorktown in 1782 the British were specifically prohibited from playing the tune. So powerful was the metaphor, that when they turned insultingly away from the Colonials to present themselves to the French forces as they piled their arms on the ground, Lafayette instructed the French bands to play it in solidarity with the Americans.
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Morrison (1976) states the air had a number of dance figures associated with it in Colonial times, and gives two examples. Johnson (1988) prints two contra dances to the tune.
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"Yankee Doodle" returned to Europe as an American anthem some years later. Elson (1899) relates that, in 1814, near the conclusion of the War of 1812, the American statesmen Henry Clay and John Quincy Adams met the British ambassador at Ghent to arrange the final points and to sign the treaty of peace between Great Britain and America. The burghers were proud their city was the site for so momentous an occasion and proposed a serenade to the two embassies. They knew the English tunes well enough, but were perplexed as to the American national anthem. The bandmaster was sent to Clay to inquire, and was told that, of course, America's chief melody was "Yankee Doodle." The musician begged Clay to hum it to him, that he might write it down. Clay attempted to do this but failed, as did the secretary of the legation. Attention then turned to Clay's African-American body-servant, called Bob, who was requested to whistle the tune. Bob complied, the bandmaster copied and harmonized, and the tune was heard in the serenade as planned.
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Stories involving tin-ears, "Yankee Doodle" and American leaders do not end with Clay. A famous story about General Ulysses Grant and his 'tin-ear' has it that in order to perform his martial duty the famous Union Army warrior required a horse that could distinguish and respond to bugle commands, for Grant himself acknowledged that he himself knew but two tunes-one was "Yankee Doodle"... and other wasn't.
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It is surprising to note that "Yankee Doodle" was used, along with "Edie Sammon's Tune," as part of the music for the ritual horn dance at Abbots Bromley, Staffordshire, England in late Victorian times (see "Edie Sammon's Tune"); the playing of "Yankee Doodle" thus emphasized the whimsical nature of the dance (which features, along with the horn dancers, the characters of the hobby horse, Robin Hood, the Maid and the Fool), which is performed with such dusky solemnity at modern 'Revels' stage productions in America. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). While mostly traditional Irish in his repertoire, Goodman regularly played several novelty or 'popular' tunes (he also played "Dixie," calling it "Dicksie's Land," and thus covered all bases for Irish veterans of both sides of the Civil War). Recorded by Alabama fiddler Dr. D. Dix Hollis (1961-1927) for the Silvertone (Sears) lable, 1924. Source for notated version: Mt. Pleasant Tablatures (a fife MS from Pa., 1950's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 19, pgs. 24-25. Huntington (William Litten's), 1977; pg. 27. JIFSS No. 15, pg. 18. Johnson, Vol. 8, 1988; pg. 9. Keller (Giles Gibbs Jr., His Book for the Fife...1777, 1974; pg. 31. Kennedy (Fiddler's Tune Book), Vol. 1, 1951; No. 53, pg. 26. Kerr (Merry Melodies), Vol. 2; No. 409, pg. 46. Kidson, 1890; pg. 13. Linscott (Folk Songs of Old New England), 1939; pg. 118. Morrison, 1976; pg. 43. O'Neill (Dance Music of Ireland), No. 999. O'Neill (Waifs and Stays of Gaelic Melody), No. 80. Stanford-Petrie (Complete Collection), No. 849 ("All the Ways to Galway"). Raven (English Country Dance Tunes), 1984; pg. 148. Reavy, No. 41. Sweet (Fifer's Delight), 1965/1981; pg. 12 (two versions, one labled "18th Century Version").
T:Yankee Doodle
L:1/8
M:2/4
S:Aird, Selection of Scotch, English, Irish and Foreign Airs, 1782
K:D
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|:dfeg|fdec|dfeg|f2 ed|dgeg|fdec|AABc|d2d2:|
|:d2BG|Bd=cB|ABAG|FGAB|=cdcA|Bd=cA|AB^cA|d2 d>g:|
|:fdec|dBAg|fdef|B2 Ag|fdec|dBAF|A2 Bc|d2 dg:|
|:FAAd|BAAG|FAAd|B2 AG|FAAd|cAAF|A2 Bc|d2d2:|
|:af eg|fdec|faeg|f2 ed|faeg|fdec|AABc|d2d2:|
|:d/c/d/e/ dA|BAAF|d/c/d/e/ dA|B2A2|d/c/d/e/ dA|BAAF|A2 Bc|d2d2:|
|:a2 af|gfed|a2 ag|f2e2|a2 af|gfef|A2 Bc|d2d2:|
|:B/A/B/c/ Bd|A/G/A/B/ Ad|B/A/B/c/ Bd|BAGF|B/A/B/c/ Bd|
A/G/A/B/ Ad|A2 Bc|d2d2:|
X:1
T:Kitty Fisher's Jig
L:1/8
M:6/8
S:Rimbault, Leisure Hour, pg. 90, 1876
N:Supposedly from Walsh's Collection of Dances for the Year 1750
K:C
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X:2
T:Return of Ulysses, to Ithaca
L:1/8
M:2/4
S:Musical Tour of C. Dibdin, pg. 342, 1788
K:C
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fefg|afdc|BGAB|czcz:|
|:G|ccde|ccBG|ccde|c2 BG|cc de|fe dc|BG AB|c2c2|AA GF|
GA _BB|BA GF|c2 GG|AAGF|GA _B =B/A/|BG AB|c2c2|
feff|afdc|BGAB|c2C2:|
X:3
T:Adzooks, old crusty, why so rusty
L:1/8
M:C
S:Arnold - Two to One (1784)
K:E
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|:B|ee fg ee dB|ee fg e2 dB|ee fg ag fe|BG cd e2 ez/f2e/2|
dBcd e2e2:|
|:c>d cA cd e2|B>c BA G2B2|c>d cA cd e2|
c>e df e2e2|c>edf e2E:|

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