BASHFUL BACHELOR, THE [2] (An Baitsiléir Cúthail). AKA and see "Don't bother me," "The Moving Bog of Allen," "The Moving Bogs" (Na Portaigh Chreathacha), "Obelisk Hornpipe," "Rachel Rae," "Shaw's Reel," "Where Did You Find Her?" "The Wily Old Bachelor." Irish (originally), Canadian; Hornpipe. Canada, Prince Edward Island. G Major. Standard. AABB. Sources for notated versions: fiddler Paddy Cronin (Ireland) [Breathnach]; Wilfred Gotell, b. 1927 (Georgetown, Central Kings County, Prince Edward Island) [Perlman]. Allan's Irish Fiddler, No. 83, pg. 21. Breathnach (CRE III), 1985; No. 214, pg. 98. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 60. Outlet Records OAS 3002, Paddy Cronin - "Kerry's Own Paddy Cronin" (1977).
COURTING THEM ALL ("Ag Suirid Iad Go Leir," "Ag Suirí Leo ar Fad" or "Da Siurad Go Leir"). AKA and see "The Bashful Bachelor Hornpipe," "Courting Them All," "Don't Bother Me," "The Moving Bogs (of Allen)," "Miss Rae's Reel," "Obelisk Hornpipe," "Rachel Rae," "Shaw's Reel," "Where Did You Find Her?" "The Wily Old Bachelor." Irish, English; Reel. D Major. Standard. AABB' (Breathnach, Kennedy, O'Neill/Krassen, Raven): AB (O'Neill/Krassen & 1001). Source for notated version: fiddler Kevin Burke & accordion player Jackie Daly (Ireland) [Breathnach]. Breathnach (CRE III), 1985; No. 199, pg. 58. Kennedy (Fiddler's Tune Book), Vol. 2, 1951; pg. 13 (appears as "Rachel Rae"). O'Neill (Krassen), 1976; pg. 149. O'Neill (1850), 1903/1979; No. 1489, pg. 275. O'Neill (1001 Gems), 1907/1986; No. 713, pg. 126. Raven (English Country Dance Tunes), 1984; pg. 178 (appears as "Rachel Rae"). Mulligan Records LUN 039, Keving Burke & Jackie Daly - "Eavesdropper" (1981).
T:Courting Them All
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (713)
K:D
F|DF (3ABc d2 (3ABc|d2 fd ecAc|d2 Ac BAGF|EFGE FDDE|DF (3ABc d2 (3ABc|
d2 fd ecAc|d2 Ac BAGF|EFGE FD D2||c|d2 fd (3fga fd|g2 bg ecAc|d2 fd (3fga fd|
efge fddc|d2 fd (3fga fd|g2 bgt ecAc|d2 Ac BAGF|EFGE FD D2||
CREEPING MOUSE, THE. AKA and see "Miss Thornton's (Reel)," "Don't Bother Me," "The Bashful Bachelor," "The Moving Bog," "Miss Rae's Reel," "Rachel Rae," "Courting Them All."
DEVIL/DIVEL/DE'IL AMONG THE TAYLORS/TAILORS [1]. AKA and see "Devil's Dream" (New). Scottish, English, Irish, Canadian, Scotland, American; Reel. Canada, Prince Edward Island. England, Northumberland. A Major (Bain, Cole, Emmerson, Hardie, Honeyman, Hunter, Johnson, Kennedy, Kerr, MacDonald, Skinner, Stwart-Robertson & Raven): D Major (Huntington). Standard. AB (Hardie, Honeyman, Hunter, Johnson, Kerr, Skinner): ABB' (MacDonald, Emmerson): AABB (Bain, Cole, Huntington, Kennedy, Raven): ABCB (Skye). A popular tune throughout the present and former English commonweatlh. It was performed on the concert stage as part of a set romantically entitled "Spey's Fury's" by J. Scott Skinner in 1921. "De'il Among the Tailors" is the name of a skittles game, according to Nigel Gatherer. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800./ Johnson (1983), whose version is from Macgoun's Five fashionable Reels (c. 1800), states the tune was written c. 1790./ Bayard collected a version resembling the "Devil's Dream" forms of the tune from a source raised on Prince Edward Island, Canada (Bayard, 1981; Appendix No. 2B, pg. 572). See also "Devil's Dream" for another PEI collected version. In America the tune is almost invariably known by the Dream title, while in the British Isles it appears under the De'il/Devil title. Emmerson (1971) suggests the melody can be identified as belonging to a class of melodies with phrases based on a quarter note followed by two eighth notes; tunes in this class also include "Largo's Fairy Dance," "Rachel Rae," and "The Wind that Shakes the Barley."
***
The English novelist Thomas Hardy mentions the tune in Absent Mindedness in a Parish Choir, a passage which bears repeating:
***
"...Twas a very dark afternoon, and by the end of the sermon all you
could see of the inside of the church were the pa'son's two candles
alongside of him in the pulpit, and his spaking face behind 'em. The
sermon being ended at last, the pa'son gi'ed out the Evening Hymn.
But no quire set about sounding up the tune, and the people began
to turn their heads to learn the reason why, and then Levi Limpet, a
boy who sat in the gallery, nudged Timothy and Nicholas, and said,
"Begin! Begin!" "Hey? what?" says Nicholas, starting up; and the
church being so dark and his head so muddled he thought he was at
the party they had played at all the night before, and away he went,
bow and fiddle, at "The Devil among the Tailors," the favourite jig
of the neighborhood at that time. The rest of the band, being in the
same state of mind and nothing doubting, followed their leader with
all their strength, according to custom. They poured out that there
tune till the lower bass notes of "The Devil among the Tailors" made
the cobwebs in the roof shiver like ghosts; then Nicholas, seeing
nobody moved, shouted out as he scraped (in his usual commanding
way at dances when the folks didn't know the figures), "Top couples
cross hands! And when I make the fiddle squeak at the end every man
kiss his pardner under the mistletoe!"
***
"...Then the unfortunate church band came to their senses, and
remembered where they were; and 'twas a sight to see Nicholas
Puddingcome and Timothy Thomas and John Biles creep down
the gallery stairs with their fiddles under arms, and poor Dan'l
Hornhead with his serpent, and Robert Dowdle with his claionet,
all looking as little as ninepins; and out they went. The pa'son
might have forgi'ed 'em when he learned the truth o't, but the
squire would not. That very week he sent for a barrel-organ
that would play two-and-twenty new psalm-tunes, so exact
and particular that, however sinful inclined you was, you could
play nothing but psalm-tunes whatsomever. He had a really
respectable man to turn the winch, as I said, and the old players
played no more..."
***
Bain (50 Fiddle Solos), 1989; pg. 8. Carlin (English Concertina), 1977; pg. 36. Cole (1001 Fiddle Tunes), 1940; pg. 18. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 49, pg. 140. Gow (Beauties), 1819. Hardie (Caledonian Companion), 1992; pg. 36. Honeyman (Stathspey, Reel and Hornpipe Tutor), 1898; pg. 7. Hunter (Fiddle Music of Scotland), 1988; No. 229. Huntington (William Litten's), 1977; pg. 14. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 75, pg. 225. Kennedy (Fiddler's Tune Book), Vol. 1, 1951; No. 18, pg. 9. Kerr (Merry Melodies), Vol. 1; Set 6, No. 2, pg. 6. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 4. Raven (English Country Dance Tunes), 1984; pg. 170. Skinner (The Scottish Violinist, with variations), pg. 29. Skinner - Harp and Claymore. Stewart-Robertson (The Athole Collection), 1884; pg. 11. Antilles (Island) AN-7003, Kirkpatrick and Hutchings - "The Compleat Dancing Master" (1973). Beltona BL2128 (78 RPM), The Edinburgh Highland Strathspey and Reel Society (1936). Tradition 2118, Jim MacLeod & His Band - "Scottish Dances: Jigs, Waltzes and Reels" (1979). "The Caledonian Companion" (1975). "Bob Smith's Ideal Band, Ideal Music" (1977).
T:De'il Among the Tailors
M:C
L:1/8
Z:Andrew Kuntz
K:A
|: e2 | a2eg a2eg | a2eg fedc| dfBf dfBf | dfba gefg | a2eg a2eg | a2ea
fedc | defe dcBA| E2G2 2A2 :|
|: ed| ceAe ceAe | ceAa fedc| dfBf dfBf | dfBb gfed | ceAe ceAe | ceAa f
edc | defe dcBA| E2G2 A2 :|
FAIRY DANCE (Rinnce Na Sideoga/Sideog). AKA and see "Fisher Laddie," "The Haymaker," "La Ronde des Vieux," "Largos Fairy Dance," "The Merry Dance" (New England), "Old Molly Hare" (Old-Time). Irish, English, Scottish, Shetlands, American, Canadian; Reel. D Major (most versions): G Major (Merryweather): A Major (O'Neill/1001). Standard. AB (Honeyman, Raven): AAB (O'Neill/1001): AABB (Ashman, Brody, Ford, Sweet, Taylor, Trim): AABB' (Kerr): AA'BB' (Athole, Merryweather): AABCCD (Roche): AABBCCDDEEF (Cranford/Fitzgerald). Often this tune is a "beginning tune" for fiddlers, and though simple, it seems to have retained its popularity through the years. It was one of 197 compositions claimed and published (in Fifth Collection,"1809) by Nathaniel Gow under the title "Largo's Fairy Dance," which dates it to the latter eighteenth or early nineteenth century. Breandan Breathnach states that it was composed by Niel Gow for the Fife Hunt Ball held in 1802, but this is only partly true, according to Nigel Gatherer, for it was actually a pair of tunes Gow wrote, the second being "The Fairies Advance." Both tunes together make up "Largo's Fairy Dance." Emmerson identifies this tune in a class of tunes defined by the rhythm 'quarter note-two eighths-quarter note-two eigths,' which includes "De'il Among the Tailors," "Rachel Rae," and "The Wind that Shakes the Barley" (which Emmerson {1971} says is substantially a set of "Fairy Dance").
***
In Ireland, it was learned by Joyce in his boyhood in County Limerick, c. 1840. He (1909) says a Donegal setting of this will be found in the 'Journal of the Irish Folk Song Society.' O'Neill (1913) records that a special dance was performed to the tune in that country. Under the title "The Fairy Reel" the tune features in stories of enchantment by the wee folk. A tale is told by Padraig Mac Aodh-O'Neillin in his 1904 book Songs of Uladh (Songs of Ulster) of the origins of the tune which stem from a fiddler of the Mac Fhionnlachs from Flacarragh:
***
There was a gathering of Bel-Taine on St. John's Day (23rd of June), around
the bonfire in Caislean-na-dThuath in northern Dun-na-nGall about 150-160
years ago (~1850).
***
"...the fire was wearing low, the dancing nearly over, and the sturdiest
steppers getting tired, a stranger came among the people, announcing himself
in the words: "Sonas, sonas--luck on all here! The music called me, and I
going to bed." He said no more.
***
He was attired only in his night-garments. Much consternation was
caused by his curious appearance and behaviour, the more so as he was quite
unknown to the festive-maker. He went around asking the young girls to
dance with him; but out of fifty or more assembled there, he found but one
(and she, happily, was not a native of the district) who expressed herself
willing to accept his invitation. There were three or four fidilers there
and one piper, and he called on them to turn on the "Fairy Reel." But not
one of them knew it; every man of them declared that the air and the name
was new to him. Whereupon the mysterious stranger snatched the fidil out of
the hands of mac Fhionnlaoich, the Falcarrach man, who was nearest him, and
flourishing his bow with the grace of a master, turned on the tune himself,
the people standing around with their mouths wide open in wonderment.
***
"Now," he said to mac Fhionnlaoich, when he had finished the wonderful
tune, "there's your fidil for you. Turn on the 'Reel.' Play it after me;
for you're the only man in the Five Kingdoms can do that same!"
***
So mac Fhionnlaoich complied--somewhat reluctantly, it must be said-and played the 'Fairy Reel: through from beginning to end without a break, while the weird stranger and his fair partner danced, all the people looking on. When he had finished dancing with the girl he slipped a gold peiece into her hand, and turning solemnly towards the people, said: "Remove the fire seven paces to the North, and enjoy yourselves till daybreak. A Sonas, sonas--luck with all here!"
***
And so saying, he strode off into the darkness, disappearing as
mysteriously as he had come.
***
I give this story pretty much as I got it from my friend Padraig mac
Aodh o Neill, who got it from Proinseas mac Suibhne, the schoolmaster of
Losaid, in Gartan
***
Another fairy tale collected (by Seamus Ennis) on Tory Island mentions the tune, is again related by Mac Aoidh, and has parallels in other cultures. It seems that an islander, while going to collect his sheep at Port Glas, overheard wonderful music emanating nearby and investigated. The fairy folk were playing the "Fairy Reel" and the man, being an avid and accomplished dancer, felt compelled to join in. The music and dancing lasted and lasted, and he danced and danced, unable to stop until by chance another islander came upon him. This second man heard no music, and saw nothing of the fairy celebration, and asked the first what he was doing. He got the reply that the dancer was enchanted and would not be able to stop until a mortal laid hand on him. This was done, and the dancer saved from his fate. Mac Aoidh translates: "The soles of his shoes and his socks were worn through and his feet were sore to the bone from the roughness of the place he was dancing on." A similar tale is told by Canadian storyteller Alan Mills (to the accompanying fiddling of Montreal musician Jean Carignan) collected from French-Canadian tradition, which he calls "Ti-Jean and the Devil" (with the Devil substituting for Fairies).
***
A Pennsylvania collected version appears in Bayard (1981) as "Rustic Dance" (No. 52, pg. 38), and, as "La Ronde des Vieux" it was recorded in the latter 1920's by French-Canadian fiddler Willie Ringuette.
***
The tune is associated with a traditional dance in the village of Askham Richard, which lies a few miles from York, England. The famous Dorset novelist Thomas Hardy, himself an accordion player and fiddler, mentioned the tune in The Fiddler of the Reels:
***
Then another dancer fell out - one of the men - and went into
the passage in a frantic search for liquor. To turn the figure into
a three-handed reel was the work of a second, Mop modulating
at the same time into 'The Fairy Dance,' as best suited to the
contracted movement, and no less one of those foods of
love which, as manufactured by his bow, had always intoxicated her.
***
Sources for notated versions: Dave Swarbrick (England) [Brody]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; Winston Fitzgerald (1914-1987, Cape Breton), who adapted J. Scott Skinner's variations [Cranford]. Ashman (The Ironbridge Hornpipe), 1991; NO. 30b, pg. 9. Bain (50 Fiddle Solos), 1989; pg. 7. Brody (Fiddler's Fakebook), 1983; pg. 100. Cranford (Fitzgerald), 1997; No. 129, pg. 53. Ford (Traditional Music in America), 1940; pg. 71. Honeyman (Secrets of the Gaelic Harp), 1898; pg. 8. Jarman (Old Time Fiddlin Tunes); No. or pg. 24. Joyce (Old Irish Folk Music and Song), 1909; No. 129, pgs. 65-66. Kerr (Merry Melodies), Vol. 1; Set 14, No. 2, pg. 10. Merryweather (Merryweather's Tunes for the English Bagpipe), 1989; pg. 53. O'Neill (1001 Gems), 1986; No. 986, pg. 170. Raven (English Country Dance Tunes), 1984; pg. 162. Roche Collection, 1982, Vol. 3; No. 138, pg. 43 (listed as a Long Dance). Skinner, Harp and Claymore, 1903. Stewart-Robertson (The Athole Collection), 1884; pg. 113. Sweet (Fifer's Delight), 1964/1981; pg. 61. Taylor (Where's the Crack), 1989; pg. 13 (appears as "Fairy Reel"). Trim (Thomas Hardy), 1990; No. 24. Edison 50653 (78 RPM), Joseph Samuels (appears as 4th tune of "Devil's Dream Medley"). Glencoe 001, Cape Breton Symphony- "Fiddle." Transatlantic 341, Dave Swarbrick- "Swarbrick 2." Fife Strathspey and Reel Society - "The Fiddle Sounds of Fife" (1980). "Bob Smith's Ideal Band, Ideal Music" (1977). "Fiddlers Three Plus Two." Ron Gonella- "A Tribute to Niel Gow."
X:1
T:Fairy Dance
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D
f2fd f2fd|f2fd cAeA|f2fd gfed|1 cABc d2de:|2 cABc defg||
|:a2af b2ba|gfge a2ag|1 fefd B2 e>d|cABc defg:|2 fefd Bged|
cABc d2D2||
X:2
T:Fairy Dance, The
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:D
f2fd f2fd|gfed cdeg|f2fd gfed|cABc d2d2|f2fd f2fd|gfed cdeg|fafd gfed|cABc defg||
a2af b2bf|g2ge a2 ag|f2fd gfed|cABc defg|a2af b2bf|g2ge a2 ag|fagf gfed|cABc d2d2||
X:3
T:Fairy Reel, The (Irish)
R:reel
Z:Transcribed by Philippe Varlet
M:C
L:1/8
K:G
~B3 A GBdB|{d}cBAG FGAc| BG~G2 cBAg|fdaf {a}gedc|
~B3 A GBdB|{d}cBAG FGAc| BG~G2 cBAG|1 FDEF G3 A :|2 FDEF GABc||
~d3 g e3 d|cA A/A/A d3 c|BG~G2 cBAg|fdaf {a}gfge|
~d3 g e3 d|cA A/A/A d3 c|BG~G2 cBAG|1 FDEF GABc :|2 FDEF G4||
FORKED DEER, (THE). AKA - "Forked Buck," "Forky Deer," "Forked-Horn Deer," "Forked Deer Hornpipe," "Long-Horned Deer." AKA and see "Deer Walk," "Bragg's Retreat," "Van Buren." Old-Time, Breakdown. USA, Widley known. D Major. Standard or ADAE. AABB (most versions): AA'BB (Phillips) {Many older versions have several more parts than the two that are commonly played in modern times. Clay County, W.Va., fiddler Wilson Douglas, heir to an older tradition, plays the tune in three parts, as did his mentor French Carpenter. Roscoe Parish of Coal Creek, Va., also had a third part. Blind northeastern Kentucky fiddler Ed Hayley played a five part version, as did Charlie Bowman and Kentuckian J.W. Day}. John Johnson, an itinerant man originally from West Virginia who had artistic talent in several areas, had a version that had six parts, played ABACCDEFDEF (son of a jailer, he was said to have "fiddled his way in and out of most jails from West Virginia to Abiline"). Johnson (1916-1996) visited Kanawha County, West Virginia, fiddler Clark Kessinger (1896-1975) just a week before he died, an encounter from which he remembered:
***
I went and played the fiddle for him, played The Forked Deer.
Clark said, "That's not The Forked Deer." "Well," I said, "I
don't know whether it's The Forked Deer or not, but I learned
it from a record Arthur Smith made when I was a kid, and I
know the tune's way older than I am." And Clark said, "That
ain't The Forked Deer." But you see, I play six parts of The
Forked Deer and he just played two. So I suppose that's the
reason why he said that wasn't The Forked Deer. I learned that
whole tune just like Arthur Smith played it. I've heard lots of
other fiddlers put just two parts to it. (Michael Kline, Mountains of Music, John Lilly ed. 1999).
***
R.P. Christeson (1973) notes that the tune bears considerable resemblance to a Scottish tune named "Rachel Rae," which can be found in some of the older Scottish tune collections (and which in America was printed in such collections as White's Solo Banjoist, Boston, 1896). He notes that some fiddlers play the first part of this tune differently than the Missouri version he gives, and use a portion of "The Forked Deer" as published in George Willig's or George P. Knauff's Virginia Reels (Vol. 1, No. 4, Baltimore, c. 1839)--which appears to be the first time the "Forked Deer" tune appears in print. It has been suggested (by William Byrne) that the title "Forked Deer" is a corruption of 'Fauquier Deer', referring to the name of a county in northern Virginia. Others believe it may have derived from association with the Forked Deer River in Tennessee. Apparently, it was asserted in a fictionalized traveller's account (published in the late 1880's by Dr. H.W. Taylor) entitled "The Cadence and Decadence of the Hoosier Fiddler" that the title referred to a Deer river and its tributaries (i.e. 'the forks of the Deer'). John Hartford and Pat Sky have speculated the original title may have been "Forked Air," meaning a crooked melody. Indeed, Paul Tyler reports the "Forked Air" title was used in a 1950 notebook in which A. Hamblen noted down tunes played by his grandfather and brought to Brown County, Indiana, from Virginia in 1857. The tune, as "Forkadair," appears in W. Morris's Oldtime Viloin Melodies: Book No. 1, and the "Forkedair Jig" is a title Gerry Milnes (1999) says was used in a minstrel-era version.
***
Miles Krassen (1973) remarks the tune is very popular through most of the southern Appalachians, though it was not played for the most part by Galax, Va., style bands. Tommy Jarrell, quintessential Round Peak (near Mt.Airy, N.C./Galax, Va.) fiddler learned the tune in Carroll County, southwestern Virginia, where he listened to his father-in-law, Charlie Barnett Lowe play it on the banjo with local fiddlers Fred Hawkes and John Rector. It is one of the tunes mentioned in the humorous dialect story "The Knob Dance," published in 1845, set in eastern Tenn. (C. Wolfe), and was also known before the Civil War in Alabama, having been recalled by Alfred Benners in Slavery and Its Results as played by slave fiddler Jim Pritchett of Marengo County. The tune was mentioned by William Byrne who described a chance encounter with West Virginia fiddler 'Old Sol' Nelson during a fishing trip on the Elk River. The year was around 1880, and Sol, whom Byrne said was famous for his playing "throughout the Elk Valley from Clay Courthouse to Sutton as...the Fiddler of the Wilderness," had brought out his fiddle after supper to entertain (Milnes, 1999). Charles Wolfe (1982) remarks it was popular with Kentucky fiddlers, especially in eastern Kentucky (a remark probably based on recordings of regional fiddlers Ed Hayley and J.W. Day). It was one of the few sides cut in the first recorded session of American fiddle music in June, 1922, for Victor--a duet between Texas fiddler Eck Robertson and Henry Gilliland (though unissued). The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph in the early 1940's from the playing of Ozark Mountain fiddlers. Alternate titles "Forked-Horn Deer" and "Forked Deer Hornpipe" appear in a list he compiled of traditional Ozark Mountain fiddle tunes.
***
Ira Ford's (1940) rather preposterous story of the origins of the title is as follows: "The old dance tune, 'Forked Deer', is easily traceable to the days of powder horns, bullet molds and coonskin caps. Like many other very old tunes of American fiddle lore, it had its origin on the isolated frontier and this one has been traced to the first settlers along the Big Sandy River, the border line of Virginia and Kentucky. In the family which preserved this tune, the story, handed down through several generations, credits the authorship to a relative, a noted fiddler of pioneer days. This kinsman was also a famous hunter. There was a spirit of friendly rivalry in the hunt, much the same as there were championships in other lines of activities, and he had established a reputation as a champion deer hunter by always bringing in a forked deer. The forked deer, or two-point buck, was considered prime venison. As a token of admiration for the hunter as well as the fiddler, his friends set the following words to this popular dance tune which comes down to us as 'Forked Deer'.
***
There's the doe tracks and fawn tracks up and down the creek
The signs all tell us that the roamers are near,
With the old flint-lock rifle Pappy's gone to watch the lick,
With powder in the pan for to shoot the forked deer.
***
Sources for notated versions: J.P. Fraley (Ky.) and The Highwoods String Band (N.Y.) [Brody]: Will Hinds (Haskell County, Oklahoma) [Thede]: George Helton (Dixon, Missouri) [Christeson]; Frank George and John Rector (W.Va., Va.) [Krassen]; Charlie Bowman (Ga.?) [Phillips/1989]. Brody (Fiddler's Fakebook), 1983; pg. 110. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 64. Ford (Traditional Music in America), 1940; pg. 45 (the first part is similar to some versions of "Grey Eagle"). Frets Magazine, Vol. 3, No. 7, July 1981. Johnson (The Kitchen Musician: Occasional Collection of Old-Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), No. 2, 1982/1988; pg. 5. Krassen (Appalachian Fiddle), 1973; pg. 43 (includes one 'B' part variation). Phillips (Fiddlecase Tunebook: Old Time), 1989; pg. 20. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 91. Thede (The Fiddle Book), 1967; pg. 135. Songer (Portland Collection), 1997; pg. 80. Cassette C-7625, Wilson Douglas - "Back Porch Symphony." Columbia 15387 (78 RPM), Charlie Bowman (1929). Condor 977-1489, "Graham & Eleanor Townsend Live At Barre, Vermont." County 202, "Eck Robertson: Famous Cowboy Fiddler." County 527, Charlie Bowman (East Tennessee) and His Brothers- "Old-Time Fiddle Classics, Vol. 2." County 707, Major Franklin- "Texas Fiddle Favorites." County 756, Tommy Jarrell- "Sail Away Ladies" (1976. Learned from Fred Hawks, though Tommy's father Ben Jarrell also played it). Flying Fish FF-009, Red Clay Ramblers - "Stolen Love" (1975). Flying Fish FF-055, Red Clay Ramblers - "Merchant's Lunch" (1977). Front Hall FHR-021, John McCutcheon - "Barefoot Boy with Boots On" (1981. "Inspired by" J.P. Fraley and Tommy Hunter). June Appal 007, Tommy Hunter- "Deep in Tradition" (1976. Learned from his grandfather, James W. Hunter of Madison County, N.C.). Kanawha 301, French Carpenter (W.Va.). Library of Congress (2742-A-3), 1939, by H.L. Maxey (Franklin County, Va.) {as "Forky Deer"}. Marimac 9000, Dan Gellert & Shoofly - "Forked Deer" (1986. Ed Haley's version, "without the 5th part"). Missouri State Old Time Fiddlers' Association, Cyrill Stinnett (1912-1986) - "Plain Old Time Fiddling." Morning Star 45003, Taylor's Kentucky Boys - "Wink the Other Eye: Old Time Fiddle Band Music from Kentucky, Vol. 1" (1980. Originally recorded in 1927 for Gennett). Ok 45496 (78 RPM), The Fox Chasers. Rounder 0037, J.P. and Annadeene Fraley- "Wild Rose of the Mountain." Rounder 0045, Highwoods String Band- "Dance All Night." Rounder 1010, Ed Haley- "Parkersburg Landing" (1976). Rounder 0047, Wilson Douglas- "The Right Hand Fork of Rush's Creek" (1975. Learned from French Carpenter, the tune appears as "Forked Buck"). Rounder 0058, John Rector (western Va.) - "Old Originals, Vol. II" (1978). Rounder 0194, John W. Summers - "Indiana Fiddler." Vetco 506, Fiddlin' Van Kidwell- "Midnight Ride." Vetco 102 (reissue), Jilson Setters (under the name Blind Bill Day). Victor 21407 (78 RPM), Jilson Setters (Blind Bill Day, b. 1860 Rowan Cty., Ky.), 1928. Voyager 340, Jim Herd - "Old Time Ozark Fiddling." Also recorded by Frank George and John Summers, French Carpenter and Uncle Am Stuart (b. 1856, Morristown, Tenn.){for Vocalation in 1924 under the title "Forki Deer"}.
T:Forked Deer
L:1/8
M:C|
K:D
|:(3ABc|defg a2fa|g2gb agfe|defg a2fa|gfed cABc|defg a2fa|g2gb agfe|
dAFD GBAG|FDEF D3:|
|:(A|A2)A2c4|ABAF E2 EF|A2AB c2cA|BAFE FD3|A2A2c4|ABAF E2FE|
D2ED FDGD|FDEF D3:|
JIMMY HOLMES' FAVORITE. AKA and see "Rachel Rae." Scottish, Reel. D Major. Standard. AB. A version of the famous Scots tune "Rachel Rae." Cole (1001 Fiddle Tunes), 1940; pg. 46.
LARGO'S FAIRY DANCE. AKA and see "Daunse ny Farishyn," "Fairy Dance," "The Jolly Banger," "La Ronde des Vieux." Scottish, Reel. C Major (Emmerson, Gow): D Major (Hardie, Hunter, Skinner). Standard. AB (Hardie): AAB (most versions). A piece for the eightsome reel composed by Nathaniel Gow (1763-1831) for the Fife Hunt in 1802, by which organization he was employed for their balls. Largo is a small parish in Fife containing two villages, Upper Largo and Lower Largo, and a hill, Largo Law. The original "Largo's Fairy Dance" was a medley consisting of two Gow-composed tunes, "The Fairy Dance" and "The Fairies Advance," according to Nigel Gatherer. According to David Johnson, Gow seems to have then set the melody as an introduction and march for keyboard in D Major, which was published on a single sheet about 1805 (such sheets often contained sets for dancing). It was again published in reel form in C Major in the Gow's Fifth Collection of Strathspey Reels of 1809. A tune "as popular today as the day it was written" (Collinson, 1966), it is Nathaniel's most famous reel (though modern fiddlers invariably play it in D Major, rather than the C Major of the 1809 printing). A famous set of variations were composed by J. Scott Skinner, appearing first in his Harp and Claymore collection. Emmerson (1971) identifies a sub-group of Scots reels with the characteristic quarter note/two eighths notes/quarter note/two eighths notes per measure rhythm, including this tune as well as "De'il Among the Tailors," "Rachel Rae," and "The Wind that Shakes the Barley" (he says this last tune is "substanitally" a set of "Fairy Dance." The Hardie family, notes Bill Hardie, "have traditionally played this reel as a follow-lup to 'The Smith's.'" The melody entered North American tradition and can be found in America under the title "Old Molly Hare" and similar variants, and in Canada as "La Ronde des Vieux." On the Isle of Man it is called "Daunse ny Farishyn." Breathnach (1985) believes it was composed "under the influence of " "The Wind that Shakes the Barley." Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 83, pgs. 133-134 (original tune), and Ex. 108, pg. 185 (Skinner variations). Carlin (The Gow Collection), 1986; No. 268. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 51, pg. 141. Gow, 5th Collection, 1809. Hardie (Caledonian Companion), 1986; pgs. 16-17 (includes J. Scott Skinner's variations). Hunter (Fiddle Music of Scotland), 1988; No. 219 (includes variations arranged by James Hunter, based on Scott Skinner's). Green Linnet GLCD 3105, Aly Bain - "Lonely Bird" (1996. Variations by the late Ronald Cooper and others by Scott Skinner).
T:Fairy Dance, The
C:Nathaniel Gow
S:Peter Hardie's MSS, via Scottish Country Dance Book 3
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
f2 fd f2 fd|f2 fd cAec|f2 fd gfed|1cABc d2 de:|]2cABc defg|]
a2 af b2 ba|gfge a2 ag|fefd B2 ge|cABc defg|
a2 af b2 ba|gfge a2 ag|fefd B2 ge|cABc d2 z2|]
MISS RAE'S REEL. AKA and see "Rachel Rae," "The Moving Bogs (of Allen)," "Courting them all," "Bashful Bachelor," "Don't Bother Me."
MOVING BOG(S), THE [2] (Na Portaigh Chreathacha). AKA and see Miss Rae's Reel," "Rachel Rae," "The Moving Bogs of Allen," "The Bashful Bachelor," "Don't Bother Me," "Courting them all." Irish, Reel. Ireland, Munster. E Flat Major (Carlin): D Major (Breathnach, Stanford/Petrie). Standard. AB (Stanford/Petrie): AABB (Carlin): AA'BB' (Breathnach). Not related to "Moving Bogs" [1]. Identified as a Munster reel by Stanford/Petrie (1905). Breathnach (1976) says that it appears that "Rachel Rae," composed by John Lowe around 1815, is the original title for the tune. Actually, "Rachel Rae" predates 1815, having been printed in 1794 in Archibald Duff's Collection. Sources for notated versions: fiddler John Doherty, 1965 (Co. Donnegal, Ireland) [Breathnach]; "from an MS music book" [Stanford/Petrie]. Breathnach (CRE II), 1976; No. 174, pg. 91. Carlin (Master Collection), 1984; No. 200, pg. 119. Stanford/Petrie (Complete Collection), 1905; No. 457, pg. 115.
OBELISK HORNPIPE. AKA and see "Bashful Bachelor Hornpipe," "Don't bother me," "The Moving Bog of Allen," "The Moving Bogs" (Na Portaigh Chreathacha), "Rachel Rae," "Shaw's Reel," "Where Did You Find Her?" "The Wily Old Bachelor." American, Hornpipe. G Major. Standard. AABB. Cole (1001 Fiddle Tunes), 1940; pg. 114.
PORTAIGH CHREATHACHA, NA. AKA and see "The Moving Bogs," "Courting them all," "Bashful Bachelor," "Don't Bother Me," "The Moving Bog of Allen," "Rachel Rae."
RACHEL RAE. AKA and see "The Bashful Bachelor Hornpipe," "Courting Them All," "Don't Bother Me," "Jimmy Holmes' Favorite," "The Moving Bogs (of Allen)," "Miss Rae's Reel," "Obelisk Hornpipe," "Shaw's Reel," "Where Did You Find Her?" "The Wily Old Bachelor." Scottish, Reel. D Major. Standard. AB (Honeyman): AAB (Athole, Kennedy, Kerr, Raven, Skye): ABB' (Hardie). Attributed often to John Lowe and appearing in his Collection, Book 1, though with the footnote: "This favourite reel has been published in many collections, but none have subscribed the Author's name; it was composed by Mr. Lowe's father, many years ago, when he was teaching Dancing in Marykirk, Kincardineshire." MacDonald, in his Skye Collection opines "This excellent reel is in Mr. (John) Lowe's best style and very popular." Lowe was a dancing master in Marykirk whose famous reel first appeared in Archibald Duff's Collection of 1794 as "Raecheal Rea's Rant." His son was the Joseph Lowe who published a collection of melodies in the 1840's. Emmerson (1971) poses a class of Scottish reels defined by the rhythm quarter note-two eight notes-quarter note-two eight notes per measure. Tunes in this catagory include "Rachel Rae," "The Wind that Shakes the Barley," "Largo's Fairy Dance," and "De'il amang the Tailors." It has been suggested that the melody of "Rachel Rae" is the basis for the American old-time tune "Forked Deer." Bill Hardie (1986) thinks it is a "particulary suitable" tune to follow the triplet close of "Stirling Castle." See also "Archie Menzies" and "Sir David Davidson of Cantry" for other famous John Lowe compositions. Cameron's Selection of Violin Music (Glasgow), 1859; pg. 15. Hardie (Caledonian Companion), 1986; pg. 23. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 7. Hunter (Fiddle Music of Scotland), 1988; No. 215. Kennedy (Fiddler's Tune Book), Vol 2, 1954; pg. 13. Kerr (Merry Melodies), Vol. 1; Set 2, No. 2, pg. 4. MacDonald (The Skye Collection), 1887; pg. 32. Raven (English Country Dance Tunes), 1984; pg. 178. Stewart-Robertson (The Athole Collection), 1884; pg. 89. Beltona 2103 (78 RPM), Edinburgh Highland Strathspey and Reel Society (1936). Fife Strathspey and Reel Society - "The Fiddle Sounds of Fife" (1980).
T:Rachel Rae
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:D
A,|D2FA d2Ac|d2fd fedc|d2Ad BAGF|E2AE FDD:|
A|defg a2fd|g2bg e2cA|defg a2fd|Agfe fddA|defg fafd|g2bg eecA|
D2Ad BAGF|E2 AD FDD||
SHAW'S REEL. AKA and see "Bashful Bachelor Hornpipe," "Don't bother me," "The Moving Bog of Allen," "The Moving Bogs" (Na Portaigh Chreathacha), "Obelisk Hornpipe," "Rachel Rae," "Where Did You Find Her?" "The Wily Old Bachelor." Old-Time, Breakdown. USA, Nebraska. G Major. Standard. AABB. Source for notated version: "Uncle" Bob Walters (Burt County, Nebraska) [Christeson]. Christeson (Old Time Fiddler's Repertory, Vol. 2), 1984; No. 137, pg. 85. Cole (1001 Fiddle Tunes), 1940; pg. 49.
WHERE DID YOU FIND HER? [2]. AKA and see "Bashful Bachelor Hornpipe," "Don't bother me," "The Moving Bog of Allen," "The Moving Bogs" (Na Portaigh Chreathacha), "Obelisk Hornpipe," "Rachel Rae," "Shaw's Reel," "The Wily Old Bachelor." Irish, Hornpipe. G Major. Standard. AB. Mulvihill (1st Collection), 1986; No. 7, pg. 89.