BURNING OF THE PIPER'S HUT, THE. Scottish, Reel; New England, Polka. B Minor. Standard. AABB. Williamson (1976) remarks that the English general Cumberland received the sobriquet 'Butcher' after the defeat of the Jacobite forces of Bonnie Prince Charlie at Culloden in 1746, such was the savagery of his reprisals and cruelty toward prisoners of the engagement. In the aftermath of the rising a series of laws were passed which aimed to suppress the Highland culture and break forever the power of the ancient clans in order to prevent any such rebellion from again happening. Thus, highland dress and the wearing of clan tartan was prohibited on pain of death, arms were banned, and, attesting to the power of traditional music to evoke emotion, pipers were outlawed (there is some dispute however, regarding whether the pipes were actually included in these bans). In fact, reports Williamson, the kilt continued to be prohibited until 1782, forcing the Highlanders to wear trews. "Any clergyman who did not pray in church expressly for George of Hanover could be transported for life, and those who attended such services were liable to fine and imprisonment. This was in force till 1792. The ("Burning of the Piper's Hut") probably refers to these times." Source for notated version: Bobby McLeod [Williamson]. Miller & Perron (Irish Traditional Fiddle Music), 1978; No. 35 (polka). Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 50. Beltona BL 2610 (78 RPM), Bobby McLeod.
CALLAHAN. AKA - "Callahan's Reel," "Callahan Rag," "Fiddler's Farewell," "Last of Callahan," "McClahan's March." AKA and see "Old Sport" [1]. USA; southwest Va., eastern Tenn., Kentucky, Arkansas, Missouri. Old-Time, Breakdown. A Major. Standard, AEAE. The piece is known simply as "Callahan" in Patrick County, southwestern Va., where it is regarded as one of the older pieces in the fiddler's repertoire and predates the "string band" genre tunes which featured banjo/fiddle combinations (Tom Carter & Blanton Owen, 1976). Bobby Fulcher (1986) concurs regarding the age of the melody and says it belongs to a group of archaic tunes characterized by cross tunings, elaborate bowings and eccentric melody lines: "These droning exotic, richly flavored tunes were not to be danced to, or accompanied by other instruments, but just made interesting listening." Clyde Davenport (b. 1921), of Monticello, Ky., had the tune from his father, who picked it and other similar tunes up from a man named Will Phipps, an "old-timer" from Rock Creek, Tennessee (who is remembered for being buried with his fiddle in his coffin). Farther west, the title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Mark Wilson (in the liner notes to Vol 1 of "Traditional Fiddle Music of Kentucky") points out that the tune "radically shifts" in fiddle versions from east to west across the state of Kentucky, until it seems that the only similarities between extremes are a similar ascending and descending lines over a drone 'A' chord.
***
A legend attached to the tune gives that it was written by a condemned man, one Callahan, just before he was executed by hanging; this is, of course, a centuries old tale primarily attached to the Scottish outlaw Macpherson (see "Macpherson's Farewell"), hanged in Banff in the year 1700. D. W. Wilgus, in his article "The Hanged Fiddler Legend in Anglo-American Tradition," extensively explores the "Callahan" legend, first collected in 1909 by Katherine Jackson French near Louden, Kentucky, from two boys who "played and sang 'Callahan's Confession.'" A report by E.C. Perrow in the Journal of American Folklore (25) in 1912 gave that "Some years ago an outlaw named Callahan was executed in Kentucky. Just before his execution he sat on his coffin and played and sang a ballad of his own composing, and, when he had finished, broke his musical instrument over his knee." This story, in almost exactly the same words, was related by elderly Bell County, Kentucky, fiddler Estill Bingham (1899-1990) to Bob Butler and Bruce Greene, also appearing in Suzy Jones Oregon Folklore (Bingham had moved to Oregon for a time before returning to Kentucky):
***
One I never have heard played nowhere only around amongst a few old
fiddlers there (i.e. Kentucky). It was called 'Callahan.' My dad played it, and they's a
story goes with it. Well, they had this man Callahan up to be hung. And he
had his casket made and brought there to the scaffold where they was aimin'
to hang him, and they asked him if he wanted any request, any last request-
and he was a fiddler so he said he'd like to play one more tune. So they
give him his fiddle and he set on the end of his casket and played that
tune. And he said, 'If they's anybody can play that tune any better 'n I
can, I'll give 'em my fiddle.' The story goes that nobody tried, and he
busted his fiddle over the end of his casket.
***
Elderly sources swear the Callahan story "really happened" in Clay County, Kentucky, though other locales also claim the honor. One such elderly source, one Oscar Parks of Deuchars, Indiana, recounted the story to Alan Lomax in 1938. Parks was originally from Livingston County, Kentucky, and had the tale from an old man in nearby Jackson County. According to this version John Callahan was being hanged for killing a man in the course of a feud. This Callahan offered his fiddle to anyone who would join him on the gallows and "sit down with him and play that tune1/4" and when no one dared for fear of being involved in the feud Callahan "busted that fiddle all to pieces overt that coffin" (Prior to his death Callahan supposedly married his sweetheart, Betty Larkin, and lived with her "for several months" in the jail in Manchester, Clay County, Kentucky--an interesting union of "Callahan" with the Southern play-party song "Betsy Larkin," "Betsy Diner" or "Rosa Betsy Lina"). Wilgus found there were Callahans (and indeed one John Abe Callahan) involved in feuds in Kentucky, albeit in Breathitt County, and none were recorded as having been hung.
***
Another version of the tale was supplied by a Mrs. Herman R. Staten of Paris, Kentucky, who wrote to the Archive of American Folksong soon after World War II to say that she was a Callahan descendent and that her fiddler-father and an elderly relative told her that the Callahan of the tale was an Isaac Callahan who died in the middle of the 19th century, and "knowing he was to hang, he built his coffin, and taking his fiddle he played while his sister danced upon his coffin." Similar to this is a note by A. Porter Hamblen which gives that Callahan was convicted of murdering a Jewish peddler and was hanged at Barbourville, Kentucky, on May 15, 1835--"At the hour of his execution he requested to be allowed to play a farewell on his violin. While seated on his coffin he played this tune which since has borne his name. He then handed the violin to the sherrif, was lead onto the gallows and the trap sprung, sending Callahan to his maker." Kentucky banjo player Pete Steele (living in Hamilton Ohio) told musicologist Alan Lomax in 1938 the Callahan tale with emphasis on the disposition of the fiddle. In this variant the condemed man sits on his coffin at the place of execution and declares as his last wish that he wants to play "Callahan," and further, that if anyone in the crowd can also play the tune then that individual will be given the fiddle. Someone does play "Callahan," the fiddle is transferred to a new owner and the event proceeds.
***
D.W. Wilgus says that some eastern Kentucky and West Virginia sources give the title as "Calloway" (see note below), and place the event in Madison, Boone County, W.Va., dated around 1850. Marion Thede published a version of the piece played by Oklahoma and Arkansas fiddlers as "The Last of Callahan" with the particularly western variant that Callahan was a horse thief caught by a posse and about to be summarily hung. While standing in a wagon underneath a tree limb with a noose around his neck, Callahan was asked for his last words. The outlaw requested instead to play the fiddle one more time, and with the noose still around his neck he played a tune, the likeness of which is remembered as "The Last of Callahan," and handed his fiddle down to one of the bystanders at the fateful event. See also notes for "MacPherson's Lament," "Coleman's March" and "Pennington's Lament." In the repertoire of Kentucky fiddler William H. Stepp, who recorded for the Library of Congress in 1937. Eastern Kentucky fiddler Luther Strong's version was transcribed for John and Allan Lomax's book Our Singing Country (1941).
***
Despite the assertion by Wilgus that "Calloway" is a variant of the "Callahan" title, it seems that most of the "Calloway" pieces are a family of (primarily) banjo tunes unrelated to "Callahan" (which itself has a wide variation in melodic contours). There is much variation in collected versions of both tunes, and perhaps a bit of overlap, however. Morgan Sexton (1911-1992) played a "Last of Callahan" in the banjo tuning associated with "Calloway" (eCGCD) that in fact resembles some of the "Calloway" tunes.
***
Source for notated version: Cyril Stinnet (Mo.) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 18. Columbia (15570, 78 RPM), Roane County Ramblers (eastern Tenn., as "Callahan Rag" {1929}). County 403, Roane County Ramblers. County 788, Clyde Davenport - "Clydescope: Rare & Beautiful Tunes from the Cumberland Plateau" (1986). Gennett 16087 (78 RPM), Fiddlin' Doc Roberts & Asa Martin (1930. An unrealeased master). Marimac 9009, Dave Spilkia - "Old Time Friends" (1987). Old Homestead OHCS191, Dykes Majic City Trio (eastern Tenn.), originally recorded for Brunswick/Vocalation 5181 (1927). Rounder CD-0376, George Lee Hawkins - "Traditional Fiddle Music of Kentucky, Vol. 1" (1997). Victor 19450 (78 RPM) {as "Callahan's Reel"} Fiddlin Cowan Powers (1877-1952?, Russell County, S.W. Va. {1924}).
CHICKEN REEL [1]. Old-Time, Breakdown. USA, Widely known. D Major. Standard or ADAE. AABB (Brody, Ford, Phillips, Ruth, Spandaro, Sweet, Thede): AABBC (Bayard {Ireland}): AABBAACC (Krassen {Higgins}): AABBCDDAABBC'C' (Krassen {Summers}). The first published version under the above title was a piano composition in 1910 by Joseph M. Daly, a nineteen year old from Boston, who may have either recorded an existing folk melody or "composed" it from folk strains (Fuld, 1966, 1971). Regarding those folk strains, Bayard (1981) vaguely states that the tune may have been of Scottish or Irish in origin, and makes general reference to tunes in O'Neill without citing them. Though the tune is usually played in two parts several fiddlers have added variations. Krassen says Indiana fiddler John Summers, whose roots were in the northern, New England tradition, had B and C parts which were probably composed by him and identifies the latter as a strain commonly found in hornpipes. Bayard collected another 'C' part from southwestern Pa. fiddler Walter Ireland and generally found the versions from that area of the country had little of the pronounced sliding that accompany the tune in the South. The melody was in the repertoire of Arizona fiddler Kenner C. Kartchner since the early 20th century and Bronner (1987) notes it was commonly played for dances in New York state at that time (often in combination with the tune "Black Cat"). It was also known to mid-20th century Pa. dance fiddler Harry Daddario (Buffalo Valley, Pa.) and was in the repertiore of African-American fiddler Cuje Bertram (Cumberland Plateau region, Ky.), recorded by him on a 1970 home recording, made for his family. The tune was recorded from Ozark Mountain fiddlers by musicologist/folklorist Vance Randolph for the Library of Congress in the early 1940's. Bronner (1987) states that the tune was a favorite in New York because of its instant recognizability and by the fact that it was easily used in combination with other tunes for variety or added length for dance sets. Beside dance band sources, the tune was used by martial bands in Pennsylvania and brass bands in central New York. Sources for notated versions: Charlie Higgins (Grayson County, Va.) [Krassen]; John Summers (Indiana) [Krassen]; George Unger (Oklahoma County, Oklahoma) [Thede]; Hornellsville Hillbillies (New York State) [Bronner]; Walter Ireland, Hogg, Amasiah Thomas, Marion Yoders (southwestern Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 327A-D, pgs. 292-293. Brody (Fiddler's Fakebook), 1983; pg. 66. Bronner (Old-Time Music Makers of New York State), 1987; No. 21, pg. 91. Cazden (Dances from Woodland), 1945; pg. 21. Cazden (Folk Songs of the Catskills), 1955; pg. 37. Ford (Traditional Music in America), 1940; pg. 41. Krassen (Masters of Old Time Fiddling), 1983; pg. 39-40 and 133-136. Phillips (Traditional American Fiddle Tunes), 1994; pg. 48. Ruth (Pioneer Western Folk Tunes), 1948; No. 117, pg. 39. Spandaro (10 Cents a Dance), 1980; pg. 13. Sweet (Fifer's Delight), 1964/1981; pg. 66. Thede (The Fiddle Book), 1967; pg. 116. American Heritage 19A, Loyd Wanzer- "Plain and Fancy Fiddlin.'" County 538, Charlie Monroe- "On the Noonday Jamboree." Edison 50653 (78 RPM), Joseph Samuels (appears as 2nd tune of "Devil's Dream Medley"). Folkways FA 2381, "The Hammered Dulcimer Played by Chet Parker" (1966). Gennett 7110 (78 RPM), Doc Roberts. Gennett (78 RPM), Tweedy Brothers (W.Va., 1924). Kicking Mule 206, The Cental Park Sheiks- "Kicking Mule's Flat Picking Guitar Festival." Marimac 9017, Vesta Johnson (Mo.) - "Down Home Rag." Point Records P-229, J.O. La Madeleine - "Canadian Jigs and Reels." Rounder 0194, John W. Summers - "Indiana Fiddler" (1984). String 801, The Tune Wranglers- "Beer Parlor Jive."
T:Chicken Reel [1]
L:1/8
M:C|
K:D
(=f|^f)dAF DFBF|AABF A3 (=f|^f)dAF DFBB|Addc d4:|
|:a>faf d3d|f2f2 e4|afaf dcBA|Addc d4:|
CUMBERLAND, THE. AKA and see "Miss Gibson" [2], "Miss Nancy Gibson," "The New Brig of Glasgow," "Una's Lock."
T:The Cumberland Reel or Una's Lock
S:Longman and Broderip's Second Selection of the Most Favorite
Country Dances, Reels, &c. [c 1790/91?]
Q:1/4=80
L=1/4
M:C|
K:Bb
F/|Bb/g/ f/d/c/B/|A/F/c/A/ d/F/c/F/|Bb/g/ f/d/c/B/|\
F/B/A/c/ d/B/B/::d/|B/G/F3/4E/4 D/E/F/D/| E/C/C/B/ B/G/F/A/|\
B3/4G/4F3/4E/4 D/E/F/D/|B,/B/A/B/ d/B/B/:|]
CUMBERLAND LONG EIGHT, THE. AKA and see "Within a Mile." English, Reel. D Major. Standard. AABB. The county of Cumberland is first mentioned in the 10th century and is derived from the name of its inhabitants: the ancient Celtic people called the Brittons who were driven into the hills of the West of England by the Anglo-Saxon invaders-they took to calling themselves the Cymry, or brotherhood, in their time of desperation. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 15, pg. 8.
CUMBERLAND RANT. English, Reel. B Flat Major. Standard. AABB. The county of Cumberland is first mentioned in the 10th century and is derived from the name of its inhabitants: the ancient Celtic people called the Brittons who were driven into the hills of the West of England by the Anglo-Saxon invaders-they took to calling themselves the Cymry, or brotherhood, in their time of desperation. Source for notated version: Preston's 24 Country Dances for the Year 1806 [Knowles]. Knowles (A Northern Lass), 1995; pg. 17.
CUMBERLAND REEL. AKA and see "Hilly-go, Filly-go All the Way," "King of the Cannibal Islands," "Nottingham Swing." Scottish, Country Dance Tune (6/8 time). D Major. Standard. AAB. Cumberland Reel is also the name of a favorite Scottish country dance. The county of Cumberland is first mentioned in the 10th century and is derived from the name of its inhabitants: the ancient Celtic people called the Brittons who were driven into the hills of the West of England by the Anglo-Saxon invaders-they took to calling themselves the Cymry, or brotherhood, in their time of desperation. Kerr (Merry Melodies), Vol. 1; No. 1, pg. 27.
HIGH ROAD TO FORT AUGUSTUS, THE (Coir'-a-Ghearraig). Scottish, Reel. B Minor. Standard. AB (Fraser, Neil): AAB (Athole). Captain Simon Fraser, compiler of the famous collection of Highland melodies, writes in his note to this tune: "The words associated with this air give annecdotes regarding that stupendous work, the road cut in traverses, by General Wade, down the face of a mountain, in forming a communication betwixt Fort Augustus and Garvamore. By this road old Lord Lovat was carried, when on his last journey to London, on a litter,--and here he was met by the late Governor Trapaud, of Fort Augustus, then in the Duke's army, who requested to have Lovat's face uncovered, that he might have a look of 'the old fox.' Lovat heard all this, but pretended to be sound asleep. Whenever he found Trapaud examining his phiz, he started up, and with the vigour of youth, made a snappish bark at him, like that of a terrier, which so thunderstruck the governor, that he fell backwards with terror, to the no small amusement of the party. Another anecdote, not less worthy of notice, occurs regarding this place. Hugh Fraser, Esq. of Dell, a most extensive drover and grazier, in returning from the southern markets, was benighted here, as he came on a fine frosty November evening to the foot of the traverses, when all of a sudden, as he ascended, a most furious driving of snow come on; he kept forward as long as he could, thinking it might cease,--but in vain,--he lost his way. He had an appointment for next day to pay large sums of money, in his custody,--which, if he was lost, would bring ruin on many persons. If he sat down, he knew he must have inevitably perished with cold. In this state, a thought occurred to him worthy of being universally known,-- and the cause of the present mention of it,--that he should make for the highest pinnacle of the hill and there form a circular path and ride and walk by turns round it till morning came. This he according did, and hailed the morning cry of the grouse as the sweetest music ever he heard. When day-light came, he could not distinguish one object known to him, nor find the road; and, even at sunset, in place of being near Fort Augustus, he reached a hut, entirely in a different direction, within three miles of his own house, unable to go further, and found he had rode over morasses and lakes that would have swallowed him up, but for the intenseness of the frost. He, however, perfectly recovered in a day or two. The presence of mind displayed by him, in preserving life during the night, as a lesson to others, will apologize for the length of this note."
***
The ancient name of Fort Augustus, "Kilchuimen" (sometimes Kilcumein), or 'Church of Saint Cumine.' It was named after Saint Cumine (sometimes Cumein), a monk of Iona who became 7th Abbot of the island and who gained fame for his life of Saint Columba. The Fort that gives Fort Augustus its name was one of a series of forts built by the Hanoverians to secure the Great Glen of Scotland. There was Fort George near Inverness, Fort Augustus in the heart of the Glen at Loch Ness, and Fort William at the southern end. All were named after members of the Hanover royal family; Augustus was the name of George II's son, William Augustus, the Duke of Cumerland. Cumberland is infamous for his part in the battle of Culloden and its aftermath, so much so he was known as 'Butcher Cumberland'. Following the defeat of the Highland forces of Bonnie Prince Charlie he took up residence in Fort Augustus, and remained oblivious to the depredations of his troops upon the local population and the suffering of the Highland people during the harsh winter of 1746. General Wade, referred to by Fraser in the passage above, built the fort in 1730 along with a network of roads and bridges, and he is recognized today as a great engineer. In later years Fort Augustus passed into the hands of Lord Lovat, who bought it in 1867 as a shooting lodge, and whose son donated it to monks in the mid-1870's. The old fort was transformed into a Benedictine Abbey which survived until the present day, although it recently has been closed.
***
HILLY-GO, FILLY-GO ALL THE WAY. AKA and see "King of the Cannibal Islands," "Cumberland Reel," "Nottingham Swing." English, Jig. D Major. Standard. AAB. Kennedy (Fiddler's Tune Book), Vol. 1, 1951; No. 86, pg. 42.
JOHN SHARP'S HORNPIPE. AKA and see "John Sharp's Tune," "Sharp's Hornpipe." Old-Time, Breakdown. A Major. Standard. AABB. AKA "John Sharp's Reel"?? John Sharp's band, the Kentucky Wildcats, was a popular Cumberland Plateau string band in the 1920's and 1930's. Sharp, born in 1894, recorded this tune and others in 1949 on a home disk cutter purchased by his neighbor, the decorated World War I veteran Alvin York. Source for notated version: Pete Sutherland (Vermont) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 127 appears as "John Sharp's Tune"). Songer (Portland Collection), 1997; pg. 113. County Records, John Sharp Band - "Five Miles Out of Town--Traditional Music from the Cumberland Plateau, Vol. 2."
KING OF THE CANNIBAL ISLANDS. AKA and see "Nottingham Swing," "Hilly-Go, Filly-Go All The Way," "Cumberland Reel," "Vulcan's Cave." English, Jig. England, Dorset. D Major. Standard. AAB. 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 in his repertoire, Goodman regularly played several novelty or 'popular' tunes. Trim (Thomas Hardy), 1990; No. 78 (includes harmony part. Only the harmony is original to Hardy's MS.).
MISS GIBSON [2]. AKA and see "The Cumberland," "Una's Lock." Scottish, Reel. B Flat Major. Standard. AABB. The tune was printed on a single sheet by Gow and Shepherd c. 1800 as "The Cumberland or Miss Nancy Shepherd." See also the derivative "The New Brig of Glasgow" in Ryan's Mammoth Collection/Cole's 1001. Carlin (Gow Collection), 1986; No. 507. Gow (Complete Repository), Part 2, 1802; pg. 31. Kerr (Merry Melodies), Vol. 2; No. 201, pg. 23. Stewart-Robertson (The Athole Collection), 1884; pg. 278.
T:Cumberland, The
T:Miss Gibson [2]
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:B_
F|B2 b>g fdcB|AFcF dFcF|B2 b>g fdcB|FBAc dBB:|
|:c|BGFE DEFD|ECC=B cGGA|BGFE D>EFD|B,BAc dBB:|
MY LOVE IS/SHE'S BUT A LASSIE YET [1]. AKA and see "Buffalo Nickel," "Chinky Pin," "Chinquipin," "Crumb Creek Posey," "The Cumberland Square Eight," "Darling Child," "The Duke of York," "Farmer Had a Dog," "Fourth of July," "Hair in the Butter," "I'm My Momma's Darling," "The King's Head" (floater-Pa.), "Lead Out," "Lindsay Munnell Tune" (Pa.), "Love Somebody(, Yes I Do!)," "Midnight Serenade," "Miss Farquharson's Reel," "Old Kingdom," "Richmond Blues," "Sweet Sixteen," "Ten Nights in a Bar Room," "Too Young to Marry," "The Virginia Reel" (floater-Pa.), "The White Cockade" (floating title, Pa.), "Yellow Eyed Cat." Scottish, English, American; Reel and Country Dance Tune. USA; New England, Southwestern Pa., New York. England, Northumberland. D Major (Bayard, Ford, Kennedy, Kerr, Neil, Sweet, Thede, Trim): C Major (Huntington). Standard. AB (Sweet): AABB (most versions). The title was fixed on the tune because of two songs composed to it, one by Robert Burns and the other by the "Ettrick Shepherd," James Hogg, although the tune seems to have first appeared in print in Bremner's Scots Reels" of 1757 as "Miss Farqharson's Reel." It was rumoured to appear in James Aird's collection (of Scottish tunes), but Samuel Bayard (1981) could find neither the title nor the music therein. The writer of Gems of Scottish Song asserts that the original title of the tune was "Lady Bodinscoth's Reel." Although of Scottish origin it soon became a popular tune south of the Tyne, as attested to the title's appearance in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. "My Love She's But a Lassie Yet" is also the name of a Scottish country dance, though a somewhat unusual one (Flett & Flett, 1964).
***
The melody also found currency across the ocean and Bayard deems it perhaps the most widespread instrumental folk tune in Pennsylvania tradition, and that it in fact seems mostly to have been known as an instrumental air among folk musicians in general. The tune was printed under the title "Richmond Blues" in George P. Knauff's Virginia Reels, volume II (Baltimore, 1839) and was still cited as commonly played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly). In the South, old-timey musicians know the tune under the title "Too Young to Marry". American Veteran Fifer, 1927; No. 61, pg. 31. Bayard (Dance to the Fiddle), 1981; No. 323A-V, pgs. 283-289. Bruce & Emmett (Drummers and Fifers Guide), 1880; pg. 24. Ford (Traditional Music in America), 1940; pg. 51. Gems of Scottish Song, pg. 160. Gow (Vocal Melodies of Scotland), 1822, 2nd ed. pg. 21. Graham, 1908; pg. 32. Howe (Diamond School for the Violin), 1981; pg. 60 (appears as a set of "Caledonian Quadrilles"). Jarman, Old Time Fiddlin' Tunes; No. or pg. 20. Johnson (Scots Musical Museum), 1787-1803, Vol. 3, No. 225, pg. 234. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 57, pg. 28. Kerr (Merry Melodies), Vol. 1; No. 10, pg. 22. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 60. Neil (The Scots Fiddle), 1991; No. 186, pg. 241. Ostling, 1939; pg. 21. Riley (Flute Melodies), 1820; Vol. 2, No. 22. Smith (Scottish Minstrel), 1820-24, Vol. 5, pg. 106. Sweet (Fifer's Delight), 1965/1981; pg. 56. Thede (The Fiddle Book), 1967; pg. 47. Trim (Thomas Hardy), 1990; No. 20. Wilson (Companion to the Ballroom), 1840; pg. 65. F&W Records 1, "F&W String Band."
T:My Love is But a Lassie Yet
L:1/8
M:C|
K:D
|:dc|d2D2F2A2|d2D2D2 dc|d2D2F2A2|e2E2E2 dc|
d2D2F2A2|B2g2f2e2|dc BA Bc de|f2d2d2:|
|:fg|a3f g3e|f2d2d2 fg|a3f g2a2|b2e2e2 fg|a2 fg g2 eg|
f2 df e2A2|dcBA Bcde|f2d2d2:|
NEW BRIG(E) OF GLASGOW, THE. AKA and see "Miss Gibson's." Scottish, Strathspey. G Minor. Standard. AB (Cole): AA'B (Gatherer). An anonymous tune commemorating the opening of a new bridge in Glasgow which was completed in 1768. Glen (1891) finds the earliest printing of this tune in Campbell's collection (pg. 24). Nigel Gatherer has discovered that Gow and Shepherd printed the tune under the title "The Cumberland Reel, or Miss Nancy Gibson" as a single sheet issued around 1800. Cole (1001 Fiddle Tunes), 1940; pg. 125. Gatherer (Gatherer's Musical Museum), 1987; pg. 35.
NOTTINGHAM SWING. AKA - "Hilly-Go, Filly-Go All the Way," "Cumberland Reel," "King of the Cannibal Islands." English, Jig. D Major. Standard. AAB. The Nottinghamshire town was much contested in the wars between the Danes and the Saxons. Two years after the Norman invasion William I established a castle here (1068). Prince John was left in charge at Nottingham when Richard I left on his Crusade, thus the close association of the town with John and Robin Hood. In 1642 Charles I raised his standard here, signalling the start of the English Civil War. The is an English ceilidh dance called the Nottingham Swing, from northern England. Kennedy (Fiddlers Tune Book, Vol. 1), 1951; No. 86, pg. 42 (appears as "hilly-Go, Filly-Go All the Way"). Raven (English Country Dance Tunes), 1984; pg. 107.
T:Nottingham Swing
T:Cumberland Reel
T:King of the Cannibal Islands
L:1/8
M:6/8
K:D
A|f2e d2c|d2B A2F|GFG EFG|F2G A2A|B2G d2B|A2F d2d|cde ABc|d3D2:|
e|f2f f2e|f2f f2e|f2f g2f|e2e e2c|d2d d2c|d2d d2c|d2B e2d|c2B ABc|
ded cBA|B2c d2A|ded cBA|B2c d2f|e2e e2e|e2e efg|a2A ABc|d3D2||
POP GOES THE WEASEL. English, American, Canadian; Reel or Country Dance Tune (6/8 time). USA; Maine, New Hampshire, New York State, Pennsylvania, Georgia, Alabama, Kentucky, Arizona. England, Shropshire. G Major (Ashman, Bronner, Jarman, Kennedy, Karpeles, Raven, Ruth, Shaw, Sweet): D Major (Burchenal). Standard. One part (Bronner, Burchenal, Shaw): AB (Kennedy, Raven, Sweet): ABB (Jarman): AABB (Ashman, Karpeles, Ruth, Sharp). The weasel was a metal tool used by hat makers in England; it was often 'popped', meaning pawned (Fuld, Randolph); the American words, however, clearly signify the weasel as an animal. Linscott (1939) maintains the tune was once an accompaniment to a dance or old English singing game and was popular with children as far back as the early 17th century. He claims the origin is unknown, but that it was introduced in New England as a contra dance and "remains a great favorite." In fact, although the melody is assumed to have some antiquity, it was possibly first published under the title "Pop Goes the Weasel" in London in March, 1853 (as an "old English dance"), though American versions have been found also published in 1853 (Fuld, 1971). Burchenal prints the dance of the same name in her New England collection along with the tune. Page and Tolman state in their Country Dance Book that "The Devil hates holy water no less than the Yankees hate the thought of Pop Goes the Weasel done as anything but a contry" (pg. 94). The melody has wide currency as a play-party song as well as a song and fiddle tune, and was known to the minstrel stage. It was whistled in the practice of the morris dance "All the Winds," though the dance is done to the rattle of the bones (Raven, 1984, pg. 92)./ Cited as having commonly been played for Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly), in Arizona at the turn of the century (Shumway, 1990), and by Buffalo Valley, Pa., region fiddler Harry Daddario./ "The tune was one that fiddlers across the South delighted in playing at contests. It was customary to begin with the violin held in a normal position, then, upon reaching the word 'Pop' in the song to pluck a string and shift the instrument to a radically different position, swiftly and smoothly, without losing a beat of the music. The more contorted the position, and the smoother the transition, the louder the applause" (Cauthen, pg. 137). The tune was listed in the Northwest Alabamian of August 29, 1929, as one of those likely to be played at an upcoming fiddlers' convention, and by the Tuscaloosa News of March 28, 1971 as a specialty of "Monkey" Brown of that city, who competed at fiddlers' contests in the 1920's and 30's (Cauthen, 1990). Listed in the repertoire of Maine fiddler Mellie Dunham. Dunham was Henry Ford's champion fiddler in the late 1920's. Bayard (1981) identifies his unusual Pennsylvania collected versions as being derived from a 19th century English popular ditty, though he demures in printing the standard sets he encountered saying "the printings of it must be innumerable." The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph, from Ozark Mountain fiddlers in the early 1940's. African-American fiddler Cuje Bertram (Cumberland Plateau region, Kentucky) recorded the tune on a home recording made in 1970 for his family; with interesting melodic variations. Sources for notated versions: Willie Woodward (Bristol, N.H.) [Linscott]: Floyd Woodhull, 1976 (New York State) [Bronner]: Joseph Pardee (Indiana County, Pa, 1952), Harry Kessler (Westmoreland County, Pa., 1944) and Edgar Work (Indiana County, Pa., 1949) [Bayard]; caller George Van Kleeck (Woodland Valley, Catskill Mtns, New York) [Cazden]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 37b, pg. 12. Bayard (Dance to the Fiddle), 1981; No. 631A-C, pg. 553. Bronner (Old Time Music Makers of New York State), 1987; No. 16, pg. 79. Burchenal (American Country Dances, Vol. 1), 1918; pg. 22. Cazden (Dances from Woodland), 1945; pg. 5. Cole (1001 Fiddle Tunes), 1940; pg. 24 (in 6/8 time). Ford (Traditional Music in America), 1940; pg. 40. Jarman, 1944; pg. 17. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 4. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 39, pg. 20. Linscott (Fold Songs of Old New England), 1939; pg. 108. Raven (English Country Dance Tunes), 1984; pg. 166. Ruth (Pioneer Western Folk Tunes), 1948; No. 3, pg. 3. Sharp (Country Dance Tunes), 1090/1994; pg. 5. Shaw (Cowboy Dances), 1943; pg. 393. Sweet (Fifer's Delight), 1965/1981; pg. 17. Thomas & Leeder (The Singin' Gathering), 1939; pg. 88.
T:Pop Goes the Weasel
L:1/8
M:2/4
S:Shaw - Cowboy Dances
K:G
D|G>G AA|(3BdB G>D|G>G A>c|B2 G>D|G>G A>A|(3BdB G2|ez A>c|
B2 G>d|g>f g>e|(3faf d>d|g>f g>e|f2 d>d|c>B c>d|e>f g2|ez A>c|G2G||
UNA'S LOCK. AKA and see "The Cumberland," "Miss Gibson" [2], "Miss Nancy Gibson," "The New Brig of Glasgow," "Oonagh's Waterfall." Scottish. Johnson (The Scots Musical Museum), No. 447.
T:The Cumberland Reel or Una's Lock
S:Longman and Broderip's Second Selection of the Most Favorite
Country Dances, Reels, &c. [c 1790/91?]
Q:1/4=80
L=1/4
M:C|
Z:Transcribed by Bruce Olson
K:Bb
F/|Bb/g/ f/d/c/B/|A/F/c/A/ d/F/c/F/|Bb/g/ f/d/c/B/|\
F/B/A/c/ d/B/B/::d/|B/G/F3/4E/4 D/E/F/D/| E/C/C/B/ B/G/F/A/|\
B3/4G/4F3/4E/4 D/E/F/D/|B,/B/A/B/ d/B/B/:|]
UP AND WAUR THEM A', WILLIE [1]. AKA- "Up and Worst them all Willy." AKA and see "Nae Good Luck Aboot the Hoose," "Washing Day," "Mind What You Do." Scottish, Reel and Strathspey: English, Shetland; Reel. England, Northumberland. A Major (Athole, Gow): G Major (Kerr). Standard. AB (Gow, Cole): AABB (Athole, Kerr, Vickers): AABB' (Kerr). Popular in both 6/8 and 4/4 time from the early 18th to the early 19th century (especially in Scotland), the tune was based on a chord progression originally created in the 18th century in Italy, called passamezzo moderno. This Whig tune was the choice of William Augustus, the Duke of Cumberland and victor at Culloden (1745), when he partnered at a dance the Jacobite Lady Anne Mackintosh, who had been brought to London during the rebellion. She went him one better by immediately inviting him to dance to her choice of tune, "The Old Stuart's Back Again" (Winstock, 1970). Surviving directions to the country dance to this tune were written down in 1752 by John McGill, a dancing master in Girvan, for his students. The tune appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734;" it also can be found in Robert Bremner's 1757 collection, and in the McLean Collection published by James Johnson in Edinburgh in 1772. Title appears (as "Up Willie, War Them A'") in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. Carlin (The Gow Collection), 1986; No. 416. Cole (1001 Fiddle Tunes), 1940; pg. 125. Gow (Complete Collection), Part 3, 1806; pg. 26. Kerr (Merry Melodies), Vol. 3; Nos. 53 & 54, pg. 8 (strathspey and reel versions). Mooney, Vol. 2; pg. 22. Northumbrian Piper's Tune Book, 1970; pg. 40. Stewart-Robertson (The Athole Collection), 1884; pg. 20. Seattle (William Vickers), 1987, Part 3; No. 445.
T:Up and Waur Them A' Willie
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:A
a|A/A/A cA d2df|A/A/A cA B2 Bc|A/A/A cA defa|edcB A2A:|
|:g|afec defg|afec B2Bg|afec defa|edcB A2A:|
VULCAN'S CAVE. AKA and see "King of the Cannibal Islands," "Cumberland Reel."
WADE HAMPTON'S HORNPIPE. American, Hornpipe. B Flat major. Standard. AABB. Composed by Frank Livingston, according to Ryan's/Cole's 1001. The title honors Wade Hampton, born in Charleston on March 28, 1818, into one of the richest families of the antebellum South. They owned and operated plantations not only in South Carolina but Mississippi as well. Hampton, who was married twice, had five children by his first wife, and when she died he wed again and had four more children. He was a politician before the war, rising to become a state senator in the years just prior to the hostilities. When war broke out he resigned and accepted a Colonel's commission in the Confederate army. Hampton proved to be an able soldier and received several promotions. He replaced Jeb Stuart as Lee's cavalry commander after the latter was slain, and was only the second cavalryman to rise to the rank of Lieutenant General (in 1865). After the war Hampton reentered politics and in 1876 narrowly defeated Daniel Chamberlain by 1,134 votes. Chamberlain protested the results and took the oath of office, but the South Carolina Supreme Court ruled in favor of Hampton (although Hampton was barred from the Statehouse by federal troops until April 10, 1877. He was reelected in 1878 as Governor but resigned to become a United States Senator and served two terms. He died in 1902.
***
WITHIN A MILE [1]. AKA and see "Within a Mile of Edinburgh (Toon)." AKA - "The Cumberland Long Eight." English (originally Scottish?), Reel. D Major. Standard. AABB. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 15, pg. 8. Raven (English Country Dance Tunes), 1984; pg. 176. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 56 (appears as "Within a Mile of Edinburgh" in Strathspey form).