Ceolas: The Fiddler's Companion

Result of search for "Bride":

AN OLD WOMAN POOR AND BLIND. English, Air (6/8 time). C Minor. Standard. AB. Cappell has discovered the earliest printing of the tune to be by W. Thackeray in the reign of Charles II, and later by Playford in "Pills to purge Melacholy" (all editions), "The Village Opera" (1729), and "The Fashionable Lady" (1730). Numerous other ballads were written to the air, including the titles "The Cries of London," "The Crafty Cracks of East Smithfield," "The Toothless Bride," "'The Deptford Plumb Cake' or 'The Four Merry Wives,'" and "Here's a Health to great Eugene." Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 82.

ANOY'S JIG. AKA and see "Bride of the Wind." Canadian, Jig. Apex 1613, "Don Messer and his Islanders, Vol. 6."

ASHLEY'S FLAG. AKA - "Astley's Flag," "Distillery Hay." English, Reel. England, North-West. B Flat Major. Standard. AABB. The tune first appears in Longman, Lukey & Broderips's Bride's Favourite Collection of 200 Select Country Dances, Cotillions and Allemands (London, 1776). Transported to America it appears as "Astley's Flag" in Joshua Cushing's Fifer's Companion (pg. 49) printed in 1805 in Salem, Massachusetts, and in the Elisha Belknap manuscript, compiled in Framingham, Massachusetts, in 1784 as "Distillery Hay" (a title which refers probably to the circle-eight dance figure called a 'hey' or 'hay'). Knowles (Northern Frisk), 1988; No. 100.

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

BANKS OF THE ILEN, THE. AKA and see "Banks of the Ilen," "The Barrack St. Boys," "Birnie-boozle," "Braes of Tullymet," "Brides Away," "The Bride to Bed," "Brides to Bed," "The British Naggon," "Caledonean Hunt," "Cheese It," "Corney is Coming," "Crawford's Reel," "Crockett's Honeymoon," "D. Dick's Favourite," "Fahy's Reel" [4], "The Honeymoon," "I saw her," "Kelly's Reel," "The Lumberjack," "Miss Grant of Grant," "Miss Wilson," "Merry Bits of Timber," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge." Irish, Reel or Hornpipe. D Major. Standard. AABB. O'Neill prints the tune as a hornpipe, though it is most often heard now-a-days as a reel. It is known in the Sliabh Luachra region of the Cork/Kerry border as "Seanbhean na gCartaí" or "Tom Billy's." Rendered as a double jig, the tune appears under the title "Humours of Drinagh." O'Neill (1915 ed.), 1987; No. 334, pg. 165. O'Neill (Krassen), 1976; pg. 90 (reel). O'Neill (1850), 1903/1979; No. 1592, pg. 295 (hornpipe). O'Neill (1001 Gems), 1907/1986; No. 837, pg. 144. Paddy Taylor - "The Boy in the Gap" (reel version). Denis Murphy and Julia Clifford - "The Star Above the Garter." Shanachie 79044, Tommy Peoples - "The Iron Man."
T:Banks of the Ilen
L:1/8
M:C|
R:Hornpipe
S:O'Neill - 1001 Gems (837)
K:D
AG|FDFA d2 fe|d2 fd ecAG|FDFA d2 fd|ecAF GBAG|
FDFA d2 fe|d2 fd ecAG|FDFA d2 fd|ecAF G2:|
|:de|f2 fd g2 ge|abag fdde|f2 fd g2 ge|abaf g2 fg|abaf gage|
fgfd ecAG|FDFA defd|ecAF G2:|

BARNESS GAP. AKA and see "The Bride's Favourite," "King of the Pipers."

BARRACK STREET BOYS, THE. AKA and see "The Barrack St. Boys," "Birnie-boozle," "Braes of Tullymet," "Brides Away," "The Bride to Bed," "Brides to Bed," "The British Naggon," "Caledonean Hunt," "Cheese It," "Corney is Coming," "Crawford's Reel," "D. Dick's Favourite," "The Honeymoon," "I saw her," "Kelly's Reel," "The Lumberjack," "Miss Grant of Grant," "Miss Wilson," "Merry Bits of Timber," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge."

BEAN NA BAINNSE. AKA and see "The Bedding of the Bride."

BESIDE THE RIVER BRIDE. Bride is a river which runs through the Irish counties of Cork and Waterford. AKA and see "The Soft Deal Board."

BLACK AND THE BROWN, THE/DA [1]. Shetland, Shetland Reel. Shetland, Whalsay. AEAE (tuning). One of the tunes played by Shetland fiddler John Irvine for the "bedding of the bride" ceremony in the islands around the turn of the century (see also "Grieg's Pipes" and "But the House, Ben the House"). Cooke (1986) prints the following text to this dance tune, in oral tradition in the Shetlands in the 1970's:
The black and the brown gaed oot o the town
and John Paterson's mare gaed foremost.

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

BONNY BREAST KNOT(S), THE. AKA and see "The Breast Knot," "Bonny Breist Knots," "Daddy Shot a Bear" (Pa.), "Jaybird" (Pa.), "Lady's Breast Knot," "Looking Glass," "The Pennsylvania Fifers" (Pa.). English, Reel or Country Dance Tune (2/2 time). England, Northumberland. D Major. Standard. AAB (Barnes): AABB (Kennedy, Raven). The country dance "Bonny Breast Knots" has been known since about 1770, according to Flett & Flett (1964), and long had a special place at Scottish weddings. Up until about 1900 in Roxburghshire and West Berwickshire, Scotland, it was always performed as the first dance after the wedding supper, with the bride and groom leading off with the best man and bridesmaid. Its status in the wedding rituals may be what is referred to in the song "The Briest Knots," quoted by Flett & Flett:
***
'Syne off they got a' wi' a fling,
Each lass unto her lad did cling,
And a' cry'd for a different spring,
The bride she sought the breast-knot.
***
Barnes (English Country Dance Tunes), 1986. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 47, pg. 23. Raven (English Country Dance Tunes), 1984; pg. 166. Antilles (Island) AN-7003, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1973).
T:Bonny Breast Knot
L:1/8
M:C|
K:D
|:D|GBBG FAAF|Ee ed =c2 BA|GBBG FAAc|dAAG F2 D:|
|:g|fdfd fa ag/f/|ecec eg gf/e/|fdfd faac|dAAG F2 D:|

BRAES OF TULLYMET, THE. AKA and see "The Barrack St. Boys," "Birnie-boozle," "Braes of Tullymet," "Brides Away," "The Bride to Bed," "Brides to Bed," "The British Naggon," "Cheese It," "Corney is Coming," "Crawford's Reel," "D. Dick's Favourite," "The Honeymoon," "I saw her," "Kelly's Reel," "Miss Grant of Grant," "Miss Wilson," "Merry Bits of Timber," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge." Scottish, Strathspey or Highland Schottische. G Minor/Dorian (Alburger, Gow, Honeyman, Kerr/Vol. 2, Skye, Williamson): E Minor (Kerr Vol 1). Standard. AAB (Athole, Cranford, Gow, Honeyman, Hunter, Kerr, Skye): AABB (Williamson): AABB' (Kerr, Vol. 2): ABCDEFF (McGlashan). The braes, or hillsides, referred to in the title lie in Perthshire. Robert Petrie (1767-1830) is often credited with the composition of this tune, though he himself did not claim it. Alburger (1983), doubting the ascription, notes that it was published before his birth. Petrie was born in Kirkmichael in Perthshire, where he garnered the local reputation as a profligate and fiddler (a not uncommon combination). As a young man he won either a prized silver bow in a fiddle contest at Edinburgh or a cup at a competition in Aberdeen in 1822, or both. He published four collections of reels and strathspeys and country dances between 1790 and 1796. "It is an interesting aside that (Petrie's birthplace) Kirkmichael was famous for the number of its ghosts, spirits, and fairies. Many places with the word "michael" in the name were so noted, probably because the early Christians were in the habit of building churches to that saint on the site of the confluence of ancient druidical lines of force. These were called "ley lines" or "dragon lines," and St. Michael was often represented with his foot on a dragon's neck. The Spauldings, the lairds of Ashintully at Kirkmichael, died out entirely from the effects of a death curse put upon them by a tinker they had hanged for trespassing" (Williamson, 1976). Glen (1891) finds the earliest appearence of the tune in print in Neil Stewart's 1761 collection (pg. 64), and another early printing is in McGlashan's 1780 Collection. The Braes of Tulliemet is the name of a Scottish country dance from Selkirkshire, one of the fifteen or so either wholly or in part in strathspey tempo (Flett, 1964). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 36, pgs. 59-60. Cranford (Winston Fitzgerald), 1997; No. 159, pg. 63. Gow (Complete Repository), Part 1, 1799; pg. 8. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 26. Hunter (Fiddle Music of Scotland), 1988; No. 167. Kerr (Merry Melodies), Vol. 1; No. 2, pg. 19 (Highland Schottische, appears as "Braes of Tulimet"). Kerr (Merry Melodies), Vol. 2; No. 210, pg. 23. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 29. MacDonald (The Skye Collection), 1887; pg. 134. Stewart-Robertson (The Athole Collection), 1884; pg. 185. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 64 (appears as "Braes of Tullimet"). Greentrax CDTRAX 9009, John 'Dancie' Reid (1869-1942) - "Scottish Tradition 9: The Fiddler and his Art" (1993). Rounder RO7023, Natalie MacMaster - "No Boundaries" (1996).
T:Braes of Tullymet, The
L:1/8
M:C
R:Strathspey
B:The Athole Collection
K:G Minor
c|A<d d>c d>c d<f|A>Fc>F d>Fc>F|A<d d>c d>cd>g|f>d cB/A/ G2G:|
d|g>d g<b g>d g<b|f>c f<a f>c f<a|g>d g<b g>d g<b|f>d cB/A/ g2 g>d|
g>dg>b dg/a/ b>g|f>c f<a cf/g/ a>f|g<d d>=e f>ga>g|f>d d/c/B/A/ G2G

BRIDE, THE. Scottish. Glen (1891) finds the earliest appearance of the tune in print in Angus Cumming's 1782 collection (pg. 9).

BRIDE HAS A BONNY THING. Scottish. A bawdy title from the 18th century.

BRIDE IN CAMP. AKA and see "Brighton Camp."

BRIDE IS A BONNY THING, THE. See "Bride's a Bonny Thing."

BRIDE NEXT. AKA and see "My Wife's a Wanton Wee Thing." Scottish, Jig (6/8 or 6/4). D Mixolydian. Standard. AB. A "double-tonic" (e.g. G Major-A Major) tune. Printed in Henry Playford's 1700 collection of Scottish dance airs, Original Scotch-Tunes. In the 18th century it acquired the alternate title "My Wife's a Wanton Wee Thing," still current. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 10, pg. 27. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 10, pg. 26.

BRIDE OF KILDARE. Irish, Reel. D Major. Standard. ABC. Cole (1001 Fiddle Tunes), 1940; pg. 10.

BRIDE OF MALAHIDE, THE. Irish, Air (3/4 time). G Major. Standard. AAB. O'Neill (1850), 1979; No. 249, pg. 43.

BRIDE OF THE WINDS. AKA and see "Anoy's Jig." Canadian, Jig. C Major. Standard. AABB (Jarman): AA'AA'BB'BB' (Phillips). Composition credited to Jim Magill in Jarman's 1944 (Anglo-)Canadian publication; however, the tune had been recorded by French-Canadian fiddler Joseph Bouchard as the first part of his "Lancier Bouchard" in 1938. Even earlier, in 1924, it was recorded by John A. Pattee as the 1st change in his "Old Cat Quadrille," according to Paul Gifford, who also finds it as "Anoy's Jig" in Don Messer's repertoire. It is related (set in 2/4 time) to "Whalen's Breakdown" which Messer popularized durign his career. Versions of the melody appear in R.P. Christeson's Fiddler's Repertory, Vol. 1 (No. 182) and in Bayard's Dance to the Fiddle, March to the Fife (No. 523), Gifford further reports. Source for notated version: Stuart Williams [Phillips]. Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 1. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 360.

BRIDEOG SGEINEAC, AN. AKA and see "The Runaway Bride."

BRIDE'S A BONNIE THING, THE. AKA and see "Scotland." Shetland, Scottish; March or Jig. A Major. AEAE or Standard. AABB (Brody, Cooke): AAB (Gow). A Scottish tune played on the Shetland Island of Unst as a march; it is a variation of the tune of the same name printed in early Scottish collections. John Stickle played the tune in the key of G; Tom Anderson in A (AEAE). It was the traditionally played to welcome the bride into the ben (best) room after the wedding. The piece appears in James Oswald's collection, but Glen finds it first printed by Robert Bremner in his 1757 collection (pg. 34). Sources for notated versions: Tom Anderson and Aly Bain (Shetland) [Brody]; John Stickle (Unst, Shetland) [Cooke]. Brody (Fiddler's Fakebook), 1983; pg. 57. Carlin (The Gow Collection), 1986; No. 413. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 31, pg. 84. Gow (Complete Repository), Part 3, 1806; pg. 25. Philo 2019, Tom Anderson and Aly Bain- "The Silver Bow." Shanachie 79002, "The Boys of the Lough" (1973). Trailer LER 2086, Boys of the Lough- "First Album."
T:Bride's a Bonnie Thing, The
L:1/8
M:6/8
S:Gow - 3rd Repository
K:A
eAA ecc|fBB Baf|eAA ecc|eAA ecc|fdd ecc|fBB Baf|eAA ecc|eAA Aaf:|
e2d (f/g/a)f|-g2B Bcd|e2e (f/g/a)f|ece ae=g|fdf ece|f2(B Bc)d|e2e (f/g/a)f|
e2A A2c/d/|e2e (f/g/a)f|(=g2B) Bcd|e2e (f/g/a)f|ece ae=g|fdf ece|f2B Bcd|
e2d (f/g/a)f|e2A Aaf||

BRIDES AWAY. AKA and see "Banks of the Ilen," "The Barrack Street Boys," "The Bride to Bed," "Brides Away," "Brides to Bed," "The British Naggon," "Cheese It," "Corney is Coming," "Crawford's Reel," "Girl From the Country," "Ha'Penny Reel," "The Honeymoon," "I Saw Her," "Kelly's Reel," "Knit the Pocky," "Lumberjack's Reel," "Merry Bits of Timber," "Miss Grant of Grant," "Miss Wilson," "My Love in is America," "My Love is in the House," "Rooney's Reel," "Shannon Breeze," "Six Mile Bridge."

BRIDE'S FAVOURITE. AKA and see "Barness Gap," "The King of the Pipers." Irish, Jig. G Major. Standard. AA'BB'CC. This three-part jig is the composition of the great Co. Mayo/New York fiddler John McGrath (1900-1955). Source for notated version: sessions from the Regent Hotel, Leeds, England [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 60. Mallinson (Enduring), 1995; No. 37, pg. 16. Taylor (Music for the Sets: Blue Book), 1995; pg. 10. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 36.
T:Bride's Favourite, The
R:jig
L:1/8
M:6/8
K:G
D|~G3 BAB|GBd gdB|AFD cBA|GBd gdB|~G3 ~B3|
GBd gdB|AFD cBA|1 BGF G2:|2 BGF GBd||
|:g2a f2a|gdB GBd|~g3 fed|egf e2f|
~g3 gaf|gdB GBd|AFD cBA|1 BGF GBd:|2 BGF G2D||
|:GBd ~g3|edc BcA|GBd g2g|faf g2a|bgb afa|~g3 fdf|ed^c def|gaf gdB:|

BRIDE'S MARCH, THE. AKA and see "A Scottish March." Shetland, Air (3/4 or 12/8 time). Shetland, West side. G Major. Standard. AAB. Cooke (1986) finds that Stickle's version of "The Bride's March" is similar to the Northumbrian song air called "The Rock and the Wee Pickle Tow." According to Stickle (who related the story to the collector Pat Shuldham-Shaw), the melody was a processional tune used to accompany the wedding party from the kirk after the marriage. "From almost every house passed on the way," related Stickle, "there would come a fiddler on the doorstep who would play this tune as the procession passed." Cooke remarks that if the locals were aware of the traditional text of the song, it must have been the cause for some levity, "and, at the same time, could serve as a warning to future young wives, for it takes the form of an 'auld wife's' lament of the difficulties of learning the wifely art of spinning." John Playford published the tune in his Musick's Handmaid (1678) under the title "A Scottish March," which suggests to Cooke that the piece may well have been used as a bridal march in Scotland at an earlier time. Source for notated version: John Stickle (Shetland) [Cooke]; Peter Fraser (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 11. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 32 (b), pg. 84.

BRIDE'S REEL, THE [1]. AKA and see "Mrs. Scott Skinner." Scottish, Reel. D Major. Standard. AB (Hunter, Skinner/Harp & Claymore): AABB (Cranford/Fitzgerald). Composed by the Scottish composer and violinist J. Scott Skinner (1842-1927) on the occasion of his wedding. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 125, pg. 51 (includes variations). Hunter (Fiddle Music of Scotland), 1988; No. 206. Skinner (The Scottish Violinist), pg. 7. Skinner, Harp and Claymore, 1881 (includes variations). Skinner, The Scottish Music Maker (includes variations). Tradition 2118, Jim MacLeod & His Band - "Scottish Dances: Jigs, Waltzes and Reels" (1979). Altan - "Runaway Sunday" (from Donegal fiddler John Doherty who played it in a medley he called "Flood on the Holm" which included the tunes "Spinning Wheel" and "The Auld Wheel").

BRIDE'S REEL, A [2]. Shetland, Slow Air (9/8 time). D Dorian. Standard. ABB. "...It is interesting that so many of the Shetland and Scottish wedding tunes are in slow jig time. One could hazard the guess that such tunes derive from old Scottish dance-songs used for circle dancers (or possibly dances of the Faroese chain type) and that, as in the case of bride's reels today, their close attachment to the wedding rite ensured their survival into the present century" (Cooke, 1986). Source for notated version: John Fraser (Papa Stour {Island}, Shetlands) [Cooke] {Fraser learned the tune from his father, but did not know the name}. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 35, pg. 88.

BRIDE(S) TO BED, THE. AKA and see "Bride Away."

BRIDE'S WELCOME HOME, DA. AKA and see "Jeanie Shock Da Bairn."

BRIGHTON CAMP. AKA and see "Girl I Left Behind Me," "Blyth Camps," "Bride in Camp," "Spalpeen/Spailpin Fanac/Fanach." English; Air, Morris Dance (Polka Step), March, or Country Dance Tune (2/2 time). England; North-West, Sussex. G Major (most versions): E Flat Major (Chappell, Scott). Standard. One part (Chappell, Scott): ABB' (Sharp): AABB (most versions). The name Brighton is derived from a compound Saxon name (Beorhthelm's tun, or 'Beorhthelm's farm or village') in which the first part is reduced to one syllable. The town of Brighton is in east Sussex and was originally a fishing village that became very popular in the 1760's with the growing fashion for bathing. While still a prince, George IV visited the spa starting in 1783 and purchased an estate nearby, engaging architect John Nash to transform it into the elegant oriental Pavilion which is today a tourist attraction. William IV also stayed there but Queen Victoria found it vulgar and sold it to the Brighton Corporation in 1850 for £50,000.
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The English musicologist William Chappell (1859) dates the song to 1758, deducing its year from the fact that there were encampments on the coast of England in 1758 and 1759 to watch for the French fleet which had been threatening invasion of the island. When the English navy defeated the French later in 1759, the fears which established the watch camps dissipated and then were ridiculed in pantomime and farce in London. The air was printed in a MS. of c. 1770 once in the possession of a Dr. Rimbault, but also appears in march form in MS. collections of military music of that time. Kidson (Groves) says he can only reliably date it to 1797, from a manuscript collection then in his possession. The English novelist Thomas Hardy, himself an accordionist and fiddler, mentions the tune in scene notes to The Dynasts:
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A June sunrise; the beams struggling through the window curtains.
A canopied bed in a recess on the left. The quick notes of 'Brighton
Camp' or 'The Girl I Left Behind Me,' strike sharply into the room
from fifes and drums without.
***
Perhaps because the tune was so commonly found throughout English musical tradition it was collected from morris dance musicians from many Cotswold villages, including Adderbury, Bampton, Bidford, Eynsham, and Headington. The Eynsham tune is a bit different than the usual (in the very early 20th century collector Cecil Sharp thought the Eynsham team was the most vigorous morris team he witnessed, and was impressed by their speed and high kicks). It should be noted that Irish claims for provenance of the tune are quite robust (see note for "Girl I Left Behind Me").
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I'm lonesome since I crossed the hill,
And o'er the moor and valley,
Such heavy thought my heart do fill
Since parting with my Sally.
I seek no more the fine and gay,
For each does but remind me
How swift the hours did pass away
With the girl I left behind me,
With the girl I left behind me.
***
Source for notated version: Joe Trafford (Headington) [Bacon & the Carey MSS]. Bacon (The Morris Ring), 1974; pgs. 34, 62, 143, 197a. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 187-188. Scott (English Song Book), 1926; pg. 8. Sharp (Country Dance Tunes), 1994; pg. 1. Trim (Thomas Hardy), 1990; No. 42. Wade (Mally's North West Morris Book), 1988; pg. 4. Topic TSCD458, John Kirkpatrick - "Plain Capers" (1976).

BUT THE HOUSE AND BEN THE HOUSE. AKA and see "Black Jock" (Black Joke). Shetland, Jig or Air. A Major. AEAE. AA'B. This is the Whalsay Island (Shetlands) title of the tune commonly known as "Black Jock" (Joke) on the mainland. It was one of the tunes played by John Irvine and Andrew Poleson for the Shetland ritual of "bedding the bride."
But your house and ben your house
This house is like a bridal house.
Sources for notated versions: Andrew Poleson and John Irvine (Whalsey, Shetland) [Cooke]. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 34, pg. 87.

CAILÍNÍ IN FHACTORY (The Girls of the Factory). Irish. At Chieftains' piper Paddy Moloney's wedding, the music was performed by Seán Ó Riada, who arrived late carrying the wedding present of a huge rug. Paddy had asked Ó Riada to play the organ and had paid off the church's regular organist in anticipation, and despite the lateness Ó Riada sat down to play as the bride was escorted into the church by her father to the rousing strains of...not the "Wedding March" but "Cailíní in Fhactory" (The Girl of the Factory). Moloney was the only one who knew the title, and said of Ó Riada, "That terrible man just looked at me and winked" (Glatt, The Chieftains, 1996).

CHEESE IT! AKA and see "The Barrack Street Boys," "The Bride to bed," "Brides Away," "Brides to Bed," "The British Naggon," "Corney is Coming," "Crawford's Reel," "The Honeymoon," "Kelly's Reel," "Knit the Pocky," "Merry Bits of Timber," "Miss Wilson," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge." American?, Reel. D Major. Standard. ABBA. Cole (1001 Fiddle Tunes), 1940; pg. 30.

CORNEY IS COMING ("Tá Crotuir Ag Teacd" or "Tá Cornaí ag Teacht). AKA and see "The Barrack St. Boys," "The Bride to Bed," "Brides to Bed," "Brides Away," "The British Naggon," "Cheese It," "Crawford's Reel," "The Honeymoon," "I Saw Her," "Kelly's Reel," "Knit the Pocky," "Merry Bits of Timber," "Miss Wilson," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge," "Tom Fitzmaurice's Reel." Irish, Reel. D Major. Standard. AB (O'Neill): AA'B (Breathnach, Mitchell). Goodman gives the tune as "The Bride to Bed," "Brides to Bed" and "My Love is in America." Joyce has it as "Brides Away" and "My Love is in the House." Breathnach (1985) says the tune was first printed by Bremner as "Knit the Pocky" in his Collection of Scots Reels (1751-61). Source for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, West Clare, Ireland) [Breathnach, Mitchell]. Breathnach (CRE III), 1985; No. 173, pg. 79. Mitchell (Dance Music of Willie Clancy), 1993; No. 8, pg. 33. O'Neill (1850), 1903/1979; No. 1548, pg. 286. O'Neill (1001 Gems), 1907/1986; No. 762, pg. 133. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980).
T:Corney is Coming
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (762)
K:D
c|Addc defd|cAGF EFGE|Dddc defa|gece fdec|Addc defd|
cAGF EFGE|Dddc defa|gecd edd||c|defg afdB|cdef gecA|
defg agfa|gecd eddf|afdf afdf|gece gfge|defg abaf|gecd edd||

CRAWFORD'S REEL [1]. AKA and see "The Barrack St. Boys," "The Bride to Bed," "Bride to Bed," "Brides Away," "The British Naggon," "Cheese It," "Corney is Coming," "The Honeymoon," "I Saw Her," "Kelly's Reel," "Knit the Pocky," "Merry Bits of Timber," "Miss Wilson," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge."

CRODH CHAILEIN (Colin's Cattle). Scottish, Slow Air (3/4 time). D Major (Martin): E Major (Neil). Standard. One part. The melody is though to have been composed by Isabel Cameron of Mull. One of the Gaelic fairy songs (Orain Shidhe), it tells the story of the beautiful bride of Colin who was enchanted by fairies on her wedding day. Her fate was for one year's time to be allowed home each day to milk the cows, and though Colin could hear her singing, she was forced to remain invisible to him. After the specified period the spell was broken and she was restored. Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 14. Neil (The Scots Fiddle), 1991; No. 172, pg. 223.

CUTTYMUN/CUTTYMAN AND TRE(E)LADLE. AKA and see "Bedding of the Bride." Scottish, Reel. A Mixolydian. Standard. AAB (Athole, Gow, Kerr): AABB (Honeyman). Gow gives in Part Second of the Complete Repository of Original Scots Tunes (c. 1802, 1810-1820) that "This is the tune mentioned in the old Poem entitled Christ's Kirk on the Green, Canto 2nd, line 96." Carlin (The Gow Collection), 1986; No. 491. Gow (Complete Repository), Part 2, 1802; pgs. 26-27. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 20. Kerr (Merry Melodies), Vol. 1; Set 30, No. 4, pg. 18. Stewart-Robertson (The Athole Collection), 1884; pg. 27.
T:Cuttymun and Treeladle
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:A
e2ea e2cA|e2e=g d2B=G|e2ea ceae|=gbeg d2B=G:|
e2cA eAcA|e2cA d=GBG|e2cA eAcA|=gbeg d2B=G|
e2cA eAcA|e2cA d=GBG|e2cA ceae|=gbeg d2B=G||

DAIRYMAID, THE [4] (Bean an Bhainne). AKA and see "Kiss the Bride in the Bed," "Maids of Tipperary," "The Milkmaid." Irish, Reel. Ireland, the Sliabh Luachra region of the Cork-Kerry border. D Mixolydian (Breathnach): D Major (Moylan, Sullivan). Standard. AB. Sources for notated versions: fiddler Tommy Peoples (Donegal, Ireland) [Breathnach]; recorded in Ballydesmond, February, 1973, from the playing of accordion player Johnny O'Leary (Sliabh Luachra) who associates the tune with box-player John Brosnan [Moylan]; Planxty [Sullivan]; fiddler Sean McGuire [Bulmer & Sharpley]. Breathnach (CRE III), 1985; No. 191, pg. 86. Bulmer & Sharpley (Music from Ireland), Vol. 3, No. 38. Moylan (Johnny O'Leary), 1994; No. 21, pg. 13. Sullivan (Session Tunes), Vol. 3; No. 54, pg. 22. Shanachie 29003, Tommy Peoples - "The High Part of the Road" (1979).

DIDN'T YOU PROMISE YOUR OWN SWEET BRIDE I WOULD BE? Irish, Air (3/4 time). C Major. Standard. One part. "Mr. McKenzie of Newtownards, a great lover of Irish Music and of the corresponding folk songs, sent me (this air) about 30 years ago" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 321, pg. 130.
T:Didn't you promise your own sweet bride I would be?
L:1/8
M:3/4
S:Joyce - Old Irish Folk Music
K:C
G2|c4 Bc|A4 GE|D2 DE GF|ED C2C2|C4 zF|E2 DCDE|G2G2 (3ABc|
d3 ced|cA GE D2|D4 zF|E2 DCDE|G2 G2 (ABc|d3 ced|cA G2F2|
E4 (3GAB|c4 Bc|A4 GE|D2 DE GF|ED C2C2|C4||

DU'S BON LANG AWA AND A'M TOCHT LAND TO SEE DEE. Shetland, Wedding Tune (3/4 time). Shetland, West side. D Mixolydian. Standard. AABB. One of the five tunes required in the old wedding rituals of the island of Papa Stour, Shetland, according to local fiddler Peter Fraser. This tune was played by the fiddler as the groom's party walked to the bride's house, upon arrival. "The alternations between C and D tonality in the tune could belong equally to Scandinavian or Scottish musical styles, though the large skips involving rapid string crossing is somewhat suggestive of the Aald Reel structures. The tune is known nowhere else in Shetland" (Cooke, 1986). Purser (1992) notes "The melodic outline could as easily be from the mainland as from Shetland, but the rhythm and phrase lengths are much less regular in effect than the bar lines suggest and it could as well be notated with two as opposed to three beats in the bar. The effect is one of an odd jauntiness." Source for notated version: Peter Fraser (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 11. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 28, pg. 82. Purser (Scotland's Music), 1992; Ex. 3, pg. 230.

FA(R)DER BEN DA WELCOMER, DA. Shetland, Listening Tune (2/4 time). Shetland, Walls. D Major. Standard. AABB (Cooke {version B}): AABBC (Anderson & Georgeson, Cooke {version A}): AA'BBC (Carlin). The tune was played in Walls as a welcome on the return from the kirk of the bridal party to the Bride's home (in Unst "Da Bride is a Boannie Ting" was played instead). It was also occasionally played as a listening tune at the wedding dance, state Anderson & Georgeson (1970). The tune was listed in Hoseason's 1863 MS. "Neither Stickle nor Fraser gave any hint that it may have been danced, but the title appears in a list of 'Names of Reels or Dance Music collected in the Island of Unst' in the Notes section of the Old Lore Miscellany (vol. 4, 1913). Its asymmetrical phrasing and internal repetitions lead one to think it is not of Scottish origin" (Cooke, 1986). Francis Collinson also suggests the tune may be of Norwegian origin. Sources for notated versions: John Stickle (Unst, Shetland) [Cooke, version B], Peter Fraser (Shetland) [Cooke {version A}, Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; ppg. 10. Carlin (English Concertina), 1977; pgs. 48-49. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 30a and 30b, pgs. 82-83. Shetland Folklore Society - "Shetland Folk Book."

GENERAL BURGOINE'S MINUET. AKA and see "Mrs. Grant of Arndilly's Minuet." Scottish. Dedicated to two people: originally to Mrs. Grant, chatelaine of Arndilly House on northern Scotland's River Findhorn, c. 1767, and then General John ("Gentleman Johnny") Burgoine (or Burgoyne), the army general who later surrendered to the Americans at Saratoga, 1777. The dedication to Burgoyne came about in 1774 when he was one of the principal guests in the wedding of Lord Stanley and Lady Betty Hamilton in Surrey in that year. Thomas Erskine, Earl of Kelly (b. Fife, 1732), had been commissioned to write a new set of minuets for the bride and groom and some honored guests, but he was "thoroughly bored" with the style and tried to revamp or retitle some old minuets, hoping no one would notice.

GREIG'S PIPES (Píopaí Greig). AKA and see "Cobbler's Hornpipe," "Connolly's Reel," "Craig's Pipes," "The Fiddler is Drunk," "The Foxhunters," "Greg's Pipe Tune," "Gregg's Pipes," "Gun Do Dhuit Am Bodach Fodar Dhomh" (The Old Man Wouldn't Give Me Straw), "The Kerry Huntsman," "Kregg's Pipes," "The Manchester," "Píopaí Greig," "Willy Wink(ie)'s Testament," "Willy Wilky." Scottish, Shetland, Canadian, Irish; Reel. Shetland, Whalsay. Canada; Cape Breton, Prince Edward Island. G Major (Breathnach, Mulvihill, Taylor, Tubridy): A Major (Athole, Cranford, Hardie, Perlman). Standard, AEAE or AEAC#. AABB (Taylor): ABC (Feldman & O'Doherty, Tubridy): ABBC (Mulvihill): AABBCC' (Perlman): ABBCCDD (Cranford/Fitzgerald): AABBCCDD (Athole, Gow, Hardie): AABB'CDE (Breathnach). AEAC# tuning was preferred for "Greig's Pipes" in the 18th century (Johnson, 1983) as it is set, for example in Neil Stewart's 1761 collection, but it is also played in ADAE tuning. Played in AEAE tuning, the tune was employed on the island of Whalsay, Shetland, by fiddlers John Irvine and Andrew Polson as one of the tunes for the "bedding the bride" ritual (Cooke, 1986). AEAE is also a common tuning for the piece on Cape Breton Island, especially with the early-mid 20th century generations of fiddlers, such as Mary Hughie MacDonald and Donald MacLellan (Paul Cranford, 1997) {Winston Fitzgerald, however, played it in standard tuning}. "Greig's Pipes" is a double-tonic tune that is also in the pentatonic scale; a characteristic now-a-days recognized as Scottish, but the double-tonic was also common in English music prior to 1700 when it dropped out of favor in that part of the island. To avoid the need to tune up and retune after playing the piece, it was, according to Charles Milne of Dufftown, the last item of an evening's program (Collinson, 1966). The melody appears in the Gillespie Manuscript of Perth, 1768, and Joshua Campbell's 1778 Collection of Newest and Best Reels (pg.11), though John Glen (1891) finds the earliest printing in Neil Stewart's 1761 collection (pg. 44). A Cape Breton bagpipe setting was printed by Barry Shears in his Gathering of the Clans Collection (1991) under the title "Gun Do Dhuit Am Bodach Fodar Dhomh" (The Old Man Wouldn't Give Me Straw), and Perlman (1996) adds that another Cape Breton title is "Greg's Pipe Tune." A dorian setting of the tune also goes by the name "Gregg's Pipes" in Kerr's 4th. Several Irish versions are found as "Craig's Pipes."
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In Ireland the tune appears in print in O'Farrell's Pocket Companion, a setting reprinted by O'Neill in Waifs and Strays of Gaelic Melody (288, 1922). O'Neill printed the tune elsewhere under the title "Limber Elbow" (a poor version, says Breathnach), and the first part of the tune appears in his "Edenderry Reel." Other Irish names include "The Kerry Huntsman" and "Connolly's Reel."
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Sources for notated versions: accordionist Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; Mary MacDonald (Cape Breton) [Dunlay & Greenberg]; John Clancy (Bronx, New York) [Mulvihill]; Hughie McPhee (b. 1924, Elmira, North-East Kings County, Prince Edward Island; now resident of Priest Pond) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; set dance music recorded live at Na Píobairí Uilleann, mid-1980's [Taylor]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O'Doherty]. Breathnach (CRE I), 1963; No. 96, pg. 41. J. Campbell, Newest and Best Reels (c. 1778). Cranford (Winston Fitzgerald), 1997; No. 100, pg. 42. Dunlay & Greenberg (Violin Music of Cape Breton), 1996; pg. 136. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 169. Gow (Complete Repository), Part 1, 1799; pg. 24. Hardie (Caledonian Companion), 1992; pg. 122. Lowe, Collection of Reels and Strathspeys, 1844. Mulvihill (1st Collection), 1986; No. 6, pg. 2. O'Neill (Waifs and Strays of Gaelic Melody); No. 288. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 104. Stewart-Robertson (The Athole Collection), 1884; pg. 16. Taylor (Music for the Sets: Yellow Book), 1995; pg. 20. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 24. Celtic SCX 57, Dan R. MacDonald et al - "The Fiddlers of Cape Breton." Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - "The Morning Dew" (1993). Rodeo RLP 107, Joe MacLean - "And His Old Time Scottish Fiddle" (c. 1967. Appears as "Athole Reel"). Rodeo RLP 59, Dan R. MacDonald - "Fiddling to Fortune with..." Rounder 7009, Doug MacPhee - "Cape Breton Piano" (1977).
X:1
T:Greig's Pipes
L:1/8
M:C|
S:Reel
B:The Athole Collection
K:A
f|eAcA eAAf|eAcA BFFf|eAcA eAcA|B/B/B (cA BFF:|
|:B|cAcA cAAB|cAcA BFFB|cAcA EacA|B/B/B (cA BFF:|
|:A|EA,CA, EA,A,F|EA,CA, FB,B,F|EA,CA, EA,CA,|B,/B,/B, (CE FB,B,:|
|:G|A2 A>E CA,A,E|A2 (AE FB,B,G|A2 A>E CA,EC|B,/B,/B, (CE FB,B,:|
X:2
T:Greig's Pipes
L:1/8
M:C|
K:G
B3 B BAGA|B2 GB AGEG|B3 B BAGB|A2BG AGEG|B3B BAGA|
B2 dB AGEG|B~d3 eBdB|AcBG AGEG||DG G2 DGBG|DGBG AGEG|
DG G2 DGBG|dBAc BGGE|DG G2 DGBG|DGBG AGEG|DG G2 DGBG|
DBAc BGGB||d2 Bd egge|d2 BG AGEG|d2 Bd eg g2|agbg ageg|
D2 Bd egge|d2 BG AGEG|d2 Bd eg g2|a2 bg aged||

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.
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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.
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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:|

HONEYMOON, THE [1]. English, Scottish; Reel. G Major ('A' part) & E Minor ('B' part). Standard. AABB. It is said that the term 'honeymoon' derives from ancient Babylonia and is some 4,000 years old. It was the accepted custom in those days for the bride's father to supply his new son-in-law with all the mead he could drink for a month after the wedding. Mead, a honey-based alcoholic brew, and because the Babylonian calender was lunar based the month long period came to be known as the 'honey-moon.' See also the American old-time tune "Crocket's Honeymoon." Cole (1001 Fiddle Tunes), 1940; pg. 17. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 33, pg. 17. Kerr (Merry Melodies), Vol. 2; No. 303, pg. 33. Raven (English Country Dance Tunes), 1984; pg. 174.

HONEYMOON (REEL), THE [5] (Cor Mi Na Bpog). AKA and see "The Barrack Street Boys," "The Bride to Bed," "Brides Away," "Brides to Bed," "The British Naggon," "Cheese It," "Corney is Coming," "Crawford's Reel," "Girl From the Country," "Ha'Penny Reel," "I Saw Her," "Kelly's Reel," "Knit the Pocky," "Lumberjack's Reel," "The Maid Who Left the Country," "Merry Bits of Timber," "Miss Wilson," "My Love in is America," "My Love is in the House," "Rooney's Reel," "Shannon Breeze," "Six Mile Bridge." Irish (originally), Canadian; Reel. Ireland, County Sligo. Canada, Prince Edward Island. G Major. Standard. AB (Flaherty, O'Neill): AABB (Perlman). Ken Perlman (1996) notes that this tune was widely played on PEI in from around 1920 to 1950. An alternate PEI title, from south Kings County, is "The Lumberjack's Reel." American old-time musicians know it as "Crockett's Honeymoon." Sources for notated versions: flute player James Murray (b. 1947, Ougham, outside Tubbercurry, Co. Sligo) [Flaherty]; Archie Stewart (b. 1917, Milltown Cross, south Kings County, Prince Edward Island) [Perlman]. Flaherty (Trip to Sligo), 1990; pg. 170. O'Neill (1001 Gems), 1907/1986; No. 791, pg. 137. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 67. Globestyle Irish CDORBD 085, Billy Clifford - "The Rushy Mountain" (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians).
T:The Maid Who Left The County
T:The Honeymoon Reel
R:reel
P:1
M:4/4
L:1/8
Z:Tacey Deyrup
Q:100
K:G
dc|BG~G2 DG~G2|Bded gedc|BG~G2 DG~G2|BedB A2dc|
BG~G2 DG~G2|Bded ~g3a|bgaf gfed|gedB A2dc|
BG~G2 DG~G2|Bded gedc|BG~G2 DG~G2|BedB A2dc|
BG~G2 DG~G2|Bded ~g3a|bgaf gfed|gedB A2Bd|
~e3f edBA|Bdef gedc|BG~G2 DG~G2|BedB A2Bd|
~e3f edBA|Bdef ~g3a|bgaf gfed|gedB A2Bd|
~e3f edBA|Bdef gedc|BG~G2 DG~G2|BedB A2Bd|
~e3f edBA|Bdef ~g3a|bgaf gfed|gedB A3||

I AM A WIDOW AND A MAID (Is Baintreabhach Agus Maighdean Me). Irish, Slow Air (3/4 time). C Mixolydian. Standard. AB. This widow and maid was the bride of O'Reilly, who was drowned when crossing the Shannon on his wedding day: see "Lamentation of O'Reilly's Bride." Source for notated version: Hugh O'Beirne, professional fiddler from Ballinamore, Co. Leitrim, 1846. Joyce (Old Irish Folk Music and Songs), 1909; No. 630, pg. 321.

I SAW HER. AKA and see "Six Mile Bridge," "The Honeymoon," "Crawford's Reel," "Kelly's Reel," "Miss Wilson," "The Barrack St. Boys," "Cheese It," "Shannon Breeze," "Merry Bits of Timber," "The British Naggon," "Knit the Pocky," "My Love is in the House," "Brides Away," "My Love is in America," "The Bride to Bed," "Brides to Bed," "Corney is Coming."

JEAN(N)IE CHOCK/SHOKE (Shocked) DA BAIRN. AKA and see "Da Bride's Welcome Hame." Shetland, Shetland Reel. Shetland, Unst and North Mainland districts. G Major/A Dorian. Standard. One part (Bain): AABB (Anderson). Traditional, but origin of title is unknown. Source for notated version: from the playing of "the late" Henry Thomson (Vidlin, Shetland, who moved to Ollaberry) [Anderson]; the late Tom Anderson (Lerwick, Shetland) [Flett & Flett]. Anderson (Ringing Strings), 1983; pg. 41. Bain (50 Fiddle Solos), 1989; pg. 39. Flett & Flett, 1964; pg. 219 (appears as "Jeannie Shock da Bairn"). Front Hall 018, How To Change a Flat Tire - "Traditional Music of Ireland and Shetland" (learned from Tom Anderson. Mistitled as "Jeannie Choke da Bairn"). Topic 12TS379, Aly Bain & Tom Anderson - "Shetland Folk Fiddling, Vol. 2" (1978).

KELLY'S REEL. AKA and see "Banks of the Ilen," "The Barrack St. Boys," "Birnie-boozle," "Braes of Tullymet," "Brides Away," "The Bride to Bed," "Brides to Bed," "The British Naggon," "Caledonean Hunt," "Cheese It," "Corney is Coming," "Crawford's Reel," "D. Dick's Favourite," "The Honeymoon," "I saw her," "Kelly's Reel," "The Lumberjack," "Miss Grant of Grant," "Miss Wilson," "Merry Bits of Timber," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge." Irish, Reel.

KILDARE FANCY, THE ("Roga Cille-Dara" or "Rogha Chill Dara"). AKA and see "Cincinatti Hornpipe," "Cliff Hornpipe," "Cork Hornpipe," "Dundee Hornpipe," "Fred Wilson's Clog," "Harvest Home," "Higgin's Hornpipe," "Kephart's Clog" (Pa.), "The Liverpool Hornpipe" (Bayard's No. 2), "Ruby Lip," "Snyder's Jig" (Pa.), "Standard Hornpipe," "Union Hornpipe," "Wilson's Clog," "Zig-Zag Clog." Irish, Hornpipe. D Major. Standard. AABB. 'Kildare', derived from the Gaelic cill dara, means 'Church of the Oaks' or "the 'cell' by the oak' (referring to a monastery founded by St. Bride). The melody was first recorded under this title by piper Patsy Tuohy, and if fact is a favorite of pipers in general. Sources for notated versions: Chicago police patrolman, piper and flute player John Ennis, originally from County Kildare [O'Neill]; piper Jim Brophy, 1972 (Dublin, Ireland) [Breathnach]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; fiddler Peter Turbut [Feldman & O'Doherty]. Breathnach (CRE II), 1976; No. 298, pg. 153. Cranitch (Irish Fiddle Book), 1996; pg. 78. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 245. Moylan (Johnny O'Leary), 1994; No. 265, pg. 151. O'Neill (1915 ed.), 1987; No. 320, pg. 158. O'Neill (Krassen), 1976; pg. 164. O'Neill (1850), 1903/1979; No. 1559, pg. 283. O'Neill (1001 Gems), 1907/1986; No. 809, pg. 140. Alcazar Dance Series FR 203, Rodney Miller - "New England Chestnuts" (1980. Learned from the playing of Adirondack fiddler Larry Older). Flying Fish FF-055, The Red Clay Ramblers - "Merchants Lunch" (1977).
T:Kildare Fancy
L:1/8
M:C|
R:Hornpipe
S:O'Neill - 1001 Gems (809)
K:D
(3DEF|G>DB>D G2 (3gag|f>ee>d e>cA>G|(3FAF D>G F>GA>c|
(3BAG (3AGF G>FE>D|G>DB>D G2 (3gag|f2e>d e>cA>G|
F>Ad>B c>AD>F|A>G{A}A>F G2:|
|:B>c|d>cB>d g>dB>d|(3gag b>f g>dB>d|(3gag f>g e>dc>d|
(3efe d>c d2 (3def|(3gag d>c (3BdB G>c|e>cA>G (3FAF D>D|
G>Bd>B c>AD>F|A>G{A}G>F G2:|

KILDARE HORNPIPE, THE. Irish, Hornpipe. D Major. Standard. AABB. 'Kildare', derived from the Gaelic cill dara, means 'Church of the Oaks' or "the 'cell' by the oak' (referring to a monastery founded by St. Bride). Allan's Irish Fiddler, No. 94, pg. 24.

KILDARE QUICKSTEP, THE. Irish, Quickstep. D Major. Standard. AABB. 'Kildare', derived from the Gaelic cill dara, means 'Church of the Oaks' or "the 'cell' by the oak' (referring to a monastery founded by St. Bride). O'Neill (1915 ed.), 1987; No. 113, pg. 64.

KISS THE BRIDE (Pog An Brideog/Brideac). Irish, Reel. G Major. Standard. AA'B (O'Neill/1850 & 1001): AABB (Cole): AA'BB' (O'Neill/Krassen). Cole (1001 Fiddle Tunes), 1940; pg. 19. O'Neill (Krassen), 1976; pg. 150. O'Neill (1850), 1903/1979; No. 1496, pg. 277. O'Neill (1001 Gems), 1907/1986; No. 720, pg. 127.
T:Kiss the Bride
L:1/8
M:C|
R:Reel
S:O'Neill - 1001 Gems (720)
K:G
D2|GBAG FGAc|BGBd g2 dg|ecAG FGAc|1 BGAF GFED:|2 BGAF G2||
d2|g2 fg a2 ga|bagf g2 dg|ecAG FGAc|BGAF GFED|g2 fg a2 ga|
bagf g2 dg|ecAG FGAc|BGAF G2||

KISS THE BRIDE IN THE BED (Tabhair póg don Bhrídeoig sa Leaba). AKA and see "Bumper Allen's Delight," "The Dairymaid" [4], "Kiss the Maid in Bed," "Tom the Fisherman," "The Maids of Tipperary." Irish, Reel. D Mixolydian. Standard. AABB. Not O'Neill's "Kiss the Bride." Source for notated version: piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 150, pg. 60.

KISS THE MAID IN BED. AKA and see "Kiss the Bride in the Bed."

KNIT THE POCKY. AKA and see "The Barrack St. Boys," "Birnie-boozle," "Braes of Tullymet," "Brides Away," "The Bride to Bed," "Brides to Bed," "The British Naggon," "Cheese It," "Corney is Coming," "Crawford's Reel," "D. Dick's Favourite," "The Honeymoon," "I saw her," "Kelly's Reel," "Miss Wilson," "Merry Bits of Timber," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge." Scottish, Reel. D Minor. Standard. AAB. John Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection (pg. 84). 'Pocky' commonly refers to a bag (esp. a beggar's bag for collecting meal), a hat or a hood, and has been used to mean a fishing net. According to Chamber's Scots Dictionary, knit was sometimes used to mean 'overfill' or 'burst', thus the title may mean 'burst the bag'. Glen (The Glen Collection of Scottish Dance Music), Vol. 1, 1891; pg. 20.
T:Knit the Pocky
L:1/8
M:C|
S:Glen Collection
K:D Minor
D(dd)^c defd|cBAG FGEC|D(dd)^c d>ef>g|ed^ce d/d/d d2:|
defg afdg|e>dcg ecge|defg afdg|ecge d/d/d d2|defg a>fdg|
e>dcg ecge|defg afgf|ecge d/d/d d2||

LANCIER BOUCHARD (premiere partie). AKA and see "Bride of the Winds." French-Canadian, Jig. D Major. Standard. AA'BB'. The whole piece was in five parts, issued on Bluebird recordings B-1138, B-1139 and B-1140. Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pgs. 39 & 98. Bluebird B-1138-A (78 RPM), Joseph Bouchard (1938).

LEEZIE LINDSAY. Scottish, Waltz. D Major. Standard. AA. The tune was first published in Johnson's Scot's Musical Museum. A song was written to the tune, of which the poet Robert Burns contributed four lines, and the whole was published by Jamieson in his Popular Ballads (1806). It relates the tale of Ronald MacDonald, the heir of Kingcausie, who went to Edinburgh to seek a wife. He first had to seek permission of his mother, who consented if only he went clothed as a poor man.
***
Will ye gang wi' me Leezie Lindsay
Will ye gang to the Highlands wi' me?
Will ye gang wi' me Leezie Lindsay
My bride and darling to be?
To gang to the Highlands wi' you, sir
I dinna ken how that may be,
For I ken nae the land that you live in,
Nor ken I the lad I'm gaun wi'.
O Leezie, lass, ye maun ken little
If sae ye dinna ken me;
For my name is Lord Ronald MacDonald,
A chieftan o' high degree.
She has kilted her cots o' green satin,
She has kilted them up to the knee
And she's off wi' Lord Ronald MacDonald
The bride and darling to be.
***
Neil (The Scots Fiddle), 1991; No. 185, pg. 241.

LOCH LOMOND [1]. AKA - "The Bonny Bonny Banks o' the Lomond," "Yellow is the Rose." Scottish, Air. Apart from "Auld Lang Syne" it is the most famous and recognized Scottish melody ("Oh!, Ye'll tak' the high road and I'll tak' the low road..."). Although there allusions to older origins for the song, it apparently was first published in W. Christie's "Traditional Ballad Airs" (Edinburgh, 1881). Nevertheless, there are legends attached to the tune, one which has a Jacobite (sometimes un-named, sometimes identified as Donald McDonnell of Clan Keppoch) who, in 1746 and about to be executed for his role in the rising, said to his sweetheart (who had come from Scotland to say good-bye to him): "Ye'll take the high road, and I'll take the low road (i.e., the grave), and I'll be in Scotland afore ye." Some versions of the tale have McDonnell (or MacDonald) composing the song in Carlisle Castle, where he is imprisoned awaiting execution for his Moira who is safe in the highlands. After death, his spirit visits her a final time, and he makes love to her, though she can tell he is gone. A variant of the legend has two imprisoned Jacobites bidding farewell, one to be released to struggle home over the Highlands, one to be executed whose spirit will take the 'low road.' Lady John Scott and her husband are also supposed to have heard the piece sung by a boy in the street, and that it was she who popularized it about 1845. Fuld (1971) finds phrases in the tune similar to phrases in "The Bonniest Lass in A' the World" (Thompson, Orpheus Caledonius, 1733) and "Robin Cushie" (MacGibbon, A Collection of Scots Tunes, 1742), but believes "Loch Lomond" sufficiently different to be considered a distinct song. In America it was in the repertory of Buffalo Valley, Pa., region dance fiddler Archie Miller.
***
By yon bonnie banks
And by yon bonnie braes,
Where the sun shines bright
On Loch Lomond
Oh we twa ha'e pass'd
Sae mony blithesome days,
On the bonnie, bonnie banks
O' Loch Lomond.
Chorus:
Oh ye'll tak' the high road
And I'll tak' the low road,
An' I'll be in Sctoland before ye',
But wae is my heart until we meet again
On the Bonnie, bonnie banks
O' Loch Lomond.
***
I mind where we parted
In yon shady glen
On the steep, steep side
O' Ben Lomon'
Where in purple hue
The highland hills we view
And the morn shines out
Frae the gloamin'
***
An' weel may I weep
For yestreen in my sleep
We stood bride and bridegroom together,
But his face and his breath
Were as cold as the death,
And his heart's blood ran red in the heather.
***
The wee bird may sing
An' the wild flowers spring;
An' in sunshine the waters are sleepin'
But the broken heart
It sees nae second spring,
And the world does na ken
How we're greetin'
***
Chrysalis Records, Run Rig (1988). The Corries - "Silver Collection."

LOVE IN A VILLAGE [1]. AKA and see "New Bath whim," "Trip to Bedford House." English, American; Country Dance Tune (4/4 time). C Major. Standard. AABB. The title "Love in a Village" may have derived from a popular 1762 ballad opera of the same name by T.A. Arne and Isaac Bickerstaff (London). The tune appears under this title in American musician Henry Beck's German flute MS of 1786, though it was originally an English dance tune called "New Bath whim" in John Johnson's Twenty Four Country Dances for the Year 1765 (London) and "Trip to Bedford House" in Twenty Four Country Dances for the Year 1766 (London: R. Bride). Various dances to the tune appear in American copybooks of the late 18th century; a similar one in both Nancy Shepley's (Pepperell, Mass., c. 1795) and Asa Willcox's (Hartford County, Conn., 1793), while a different dance is contained in the Gentleman's and Lady's Companion (Norwich, Conn., 1798). Harding's All Round Collection, 1905; No. 14, pg. 5. Gourd Music 110, Barry Phillips and Friends - "The World Turned Upside Down" (1992).

MADAME COLE. Irish, Air (4/4 time). A Minor. Standard. AB. The air was supposedly composed by the blind Irish harper Turlough O'Carolan (1670-1738) for the wedding of Jean Cole, in County Fermanagh in the year 1719. Carolan described the bride thus: "Striking Jean is my type of woman: pleasant, agreeable, joyful each day, the flower of happiness." Petrie (1855) calls it "one of Carolan's finest airs." Stanford/Petrie (Complete Collection), 1905; No. 716, pg. 180. RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993).

MERRY BITS OF TIMBER. AKA and see "Corney is Coming," "My Love in in America," "My Love is in the House," "Knit the Pocky," "Cheese It," "I Saw Her," "The Honeymoon," "Six Mile Bridge," "Crawford's Reel," "Kelly's Reel," "Miss Wilson," "The Barrack St. Boys," "Shannon Breeze," "The British Naggon," "Brides Away," "The Bride to Bed," "Brides to Bed."

MILLER AND HIS SONS, THE. English, Air (4/4 time). England, Northumberland. D Major. Standard. One part. "The miller of the olden time was deemed fair game for the satirist. Chaucer, describing the miller, says:
***
'A thief he was, forsooth, of corn and meal,
And that a sly, and usant for to steal.'
***
This ballad is one of the most popoular of the numerous songs written in ridicule of the trade. Many different versions of it are in existence; the tune also varies in different localities. The present air is evidently a slightly varied set of the old tune called 'The Oxforshire Tragedy', which Mr. Chappell believes to have been one of the old ditties used by the minstrels of the fifteenth and sexteenth centuries in chanting their lengthty narratives at Christmas dinners and bride-ales" (Stokoe).
***
There was a jolly miller, and he
Had lusty sons, one, two, and three;
He called them all and asked their will,
If that to them he left his mill.
***
The song has indeed been collected in myriad versions; see, for example, the old-timey versions called "The Miller's Will" as played by the Gypsy Gyppo String Band (Bay 209) and the New Lost City Ramblers (Folkways). Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 94-95.
T:Miller and his sons, The
L:1/8
M:C
S:Bruce & Stokoe - Northumbrian Minstelsy
K:D
FE|D2D2d2 AG|FF E2D2c2|d2d2e2A2|B2^G2A2 de|f2e2d2D2|
F2A2d2 dc|B2B2B2 dB|A2G2F2 DE|F2A2d2AG|F2E2D2||

MISS WILSON. AKA and see "Kelly's Reel," "Crawford's Reel," "The Honeymoon," "Six Mile Bridge," "The Barrack St. Boys," "I Saw Her," "Cheese It," "Shannon Breeze," "Merry Bits of Timber," "The British Naggon," "Knit the Pocky," "My Love is in the House," "Brides Away," "My Love is in America," "The Bride to Bed," "Brides to Bed," "Corney is Coming."

MISS ADMIRAL GORDON'S REEL/STRATHSPEY. AKA and see "Glasgow Flourish," "Of a' the airts the wind can blaw." Scottish, Slow Strathspey ("Slow when not danced"). A Major. Standard. AB (most versions): ABCD (McGlashan). One of the first composed and most famous tunes (c. 1775) by Scots fiddler William Marshall (1748-1833) in honor of Margaret Gordon, daughter and only surviving child of Admiral William Gordon (d. 1769), Carmelite House, Banff; four other children died before adulthood. Margaret survived to marry Mr. Forbes-Seton of Aberdeen, and their daughter married Lord James Hay. Moyra Cowie (1999) points out that Banff was a social hub for the well-to-do of North East Scotland in the 18th century, many of whom retained town-houses there and who spent the season socializing. Cowie believes Marshall would have met many through his position as the 4th Duke of Gordon's Steward of the Household. The Admiral's Carmelite house, which he built, survives today and has been converted into a small hotel.
***
"Miss Admiral Gordon" was first published in Marshall's Strathspey Reels (1781, pg. 3). As was not uncommon, it was republished afterwards by Joshua Campbell, although unattributed and renamed "Glasgow Flourish" after that city's motto (Alburger, 1983). Niel Gow wrote a tune called "Major Graham (of Inchbrakie)," which has a similar motif, and there have been accusations by some (e.g. John Glen) of plagerism; it appears derivative in any case (as is the Gows' "Sir John Whitefoord's Strathspey," both published in their 1784 First Collection). Its popularity is due in part to the fact that Robert Burns wrote one of his best songs to it which begins: "Of a' the airts the wind can blaw." Burns' manuscript notes for the Scots Musical Museum contain the following -- "I have been told by somebody who had it from Marshall himself, that he took the idea of his three most celebrated pieces, 'The Marquis of Huntley's Reel,' 'His Farewell,' and 'Miss Admiral Gordon's Reel' from the old air, 'The German Lairdie'" (Emmerson, 1971). William Stenhouse maintains that Marshall fashioned the tune from the old melody of "The Lowlands of Holland" (by adding a second part), but John Glen (1891 & 1895) disputes this, saying that Stenhouse was in error and that "The Lowlands of Holland," especially as published by James Oswald in the Caledonian Pocket Companion, bears no resemblance. Nor does Glen credit Johnson (Scots Musical Museum) or Urbani (2nd Volume, 1794) who also published "The Lowlands of Holland" with originating "Miss Adimiral" for they were both published after Marshall published his tune. Burns wrote his lyric in honor of his bride-to-be, Jean Armour, while he was at Ellisland awaiting her arrival from Mauchline in Ayrshire, where he had first met her.
***
O a' the airts the wind can blaw,
I dearly lo'e the west
For there the bonnie lassie lives,
The lass that I lo'e best.
Tho' wild woods grow an' rivers tow,
Wi' mony a hill between,
Baith day and nicht, my fancy's flicht,
Is ever wi' my Jean.
***
The melody has been used for other songs, including a Canadian folksong, "The Scarborough Settlers' Lament" and a Scottish song "The Scottish Settlers' Lament" (see Stan Rogers' album "For the Family" and the Tannahill Weavers' album "Land of Light,", respectively.
***
Source for notated version: Marshall's Strathspey Reels, 1781; pg. 3 [Johnson]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 64, pgs. 104-105. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 61, pg. 150. Gow (Complete Repository), Part 1, 1799; pg. 5. Hunter (Fiddle Music of Scotland), 1988; No. 147. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 80, pg. 227. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 3. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 16. McGlashan (A Collection of Reels), c. 1786; pg. 4. Neil (The Scots Fiddle), 1991; No. 62, pg. 86.
T:Miss Admiral Gordon's Reel
L:1/8
M:C|
S:McGlashan - Reels
K:A
E|A/A/A A<A A>E A<f|e<c B>A F2 F2|A/A/A A<A A>E A<f|
e>f a<c (e2 e>)f|e>f a<c e<cB<A|Bc d/c/B/A/ F2 F2|A/A/A A<A AE A<f|
e<c B>c A2 A||E|C>E A<E F<EA<E|c>e d/c/B/A/ F2 FE|C>E A<E F<EA<E|
c>d e/f/g/a/ (e2 e>)g|a>g f<e f<e d<c|B>c d/c/B/A/ F2 F2|A/A/A A<A A>E A<f|
e<c B>c A2 A||E|A/A/A A/A/A A<E A<f|f/e/d/c/ d/c/B/A/ F2 F2|
A/A/A A/A/A AE A<f|e>f a<c e2 e>f|e>fa>b e<cB<A|B/A/B/c/ d/c/B/A/ F2F2|
A/A/A A/A/A A<E A<f|e<c B>c A2A||E|C/E/D/E/ A/E/D/E/ F/E/D/E/ A/E/D/E/|
c/B/c/e/ d/c/B/A/ F2 F>E|C/E/D/E/ A/E/D/E/ F/E/D/E/ A/E/D/E/|
c/B/c/d/ e/f/g/a/ e2 df/g/|a<gf<e fed<c|B>c d/c/B/A/ F2F2|A/A/A A/A/A A>E A<f|
e<cBc A2 AE|C/E/D/E/ A/E/D/E/ F/E/D/E/ A/E/D/E/|c/B/c/e/ d/c/B/A/ F2 FE|
C/E/D/E/ A/E/D/E/ F/E/D/E/ A/E/D/E/|c/B/c/d/ e/f/g/a/ e2 e>g|
(3agf (3gfe (3fed (3edc|(3dcB (3cBA F2 F2|A/A/A A<A AE a<f|e<cB<c A2A2||

MISS GRANT OF GRANT [1]. AKA and see "Banks of the Ilen," "The Barrack St. Boys," "Birnie-boozle," "Braes of Tullymet," "Brides Away," "The Bride to Bed," "Brides to Bed," "The British Naggon," "Caledonean Hunt," "Cheese It," "Corney is Coming," "Crawford's Reel," "D. Dick's Favourite," "The Honeymoon," "I saw her," "Kelly's Reel," "The Lumberjack," "Miss Grant of Grant," "Miss Wilson," "Merry Bits of Timber," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge." Scottish. Glen (1891) finds the earliest appearance of a tune by this name in print in Cumming's 1780 collection (pg. 16).

MORSIAMEN HYVASTIJATTO (The Bride's Farewell). Finnish, Waltz. Dorian Discovery DIS-80103, Helicon - "Horizon" (1992. Learned from the kantele playing of Martii Poleka).

MRS. SCOTT SKINNER [2]. AKA and see "The Bride's Reel."

MY LOVE IS IN AMERICA ("Tá Mo Gradsa Ann America," "Tá mo Ghrá I Meiriceá," "Tá Mo Muirnin in America" or "I Meiriceá atá mo Ghrá-sa"). AKA and see "Dandy Apron," "Jenny Lind's Reel," "Corney is Coming," "The Bride to Bed," "Brides to Bed," "My Love is in the House," "The Honeymoon," "Six Mile Bridge," "Crawford's Reel," "Kelly's Reel," "Miss Wilson," "The Barrack St. Boys," "I Saw Her," "Cheese It," "Shannon Breeze," "Merry Bits of Timber," "Knit the Pocky," "The British Naggon." Irish, Reel. D Major (Allan, Cole, Kerr, Roche): D Mixolydian (O'Neill): D Mixolydian {'A' part} & D Major {'B' part} (Breathnach, Mitchell, Taylor). Standard. AB (Allan, Mitchell, O'Neill, Roche): AAB (Kerr): AABB (Breathnach, Cole, Taylor). Philippe Varlet finds the earliest printing of the tune to be in Levey's 2nd collection (1873), set as a hornpipe. A similar melody is "The Colliers' Reel." O'Sullivan (1983) notes a curious relationship with another reel called "The Dunmore Lasses;" they are nearly mirror images of each other, save one is transposed down one step though in the same key signature. The tune is popular among uilleann pipers who like to slide up to the beginning f sharp note. Sources for notated versions: piper Seamus Ennis, 1959 (Dublin, Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Allan's Irish Fiddler, No. 48, pg. 12. Breathnach (CRE II), 1976; No. 271, pg. 140. Cole (1001 Fiddle Tunes), 1940; pg. 10. Kerr (Merry Melodies), Vol. 1; No. 10, pg. 35. Levey (The Dance Music of Ireland), 2nd Collection (listed as a hornpipe). Mitchell (Dance Music of Willie Clancy), 1993; No. 83, pgs. 76-77. O'Neill (Krassen), 1976; pg. 119. O'Neill (1850), 1903/1979; No. 1327, pg. 248. O'Neill (1001 Gems), 1907/1986; No. 586, pg. 107. Roche Collection, 1982, Vol. 1; No. 160, pg. 63. Taylor (Crossroads Dance), 1992; No. 22, pg. 17. Claddagh 4CC 32, Willie Clancy - "The Pipering of Willie Clancy, Vol. 1" (1980). Gael-Linn CEF 045, "Paddy Keenan" (1975). Green Linnet SIF-1110, "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Shaskeen - "My Love is in America." Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - "The Lonesome Touch" (1997).
T:My Love is in America
S:Paul O'Shaughnessy
Z:Juergen.Gier@post.rwth-aachen.de
M:C|
L:1/8
K:DDor
A,DDE|FEFG (3AcA Gc|Addc AddE|FEFG ABcA|GcAG FDEC|\
A,DDE ^FGAB|Add^c de^fg|(3ag^f ge fdAF|1GcAG FDEC:|2GcAG ^FDDg|:\
K:D
fd (3efg faec|Addc Adda|fd (3efg fdAF|G=cAG FDDg|\
fd (3efg faec|Addc defg|(3agf ge fdAF|1G=cAG FDDg:|2G=cAG =FDEC|]

MY LOVE IS IN THE HOUSE [1]. AKA and see "The Barrack St. Boys," "Birnie-boozle," "Braes of Tullymet," "Brides Away," "The Bride to Bed," "Brides to Bed," "The British Naggon," "Caledonean Hunt," "Cheese It," "Corney is Coming," "Crawford's Reel," "D. Dick's Favourite," "The Honeymoon," "I saw her," "Kelly's Reel," "The Lumberjack," "Miss Grant of Grant," "Miss Wilson," "Merry Bits of Timber," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge." Irish, Reel. D Major. Standard. AAB. The first strain is shared with "The Caledonian Hunt." Source for notated version: "...copied from (a) very old well-written manuscript lent to me in 1873 by Mr. J. O'Sullivan, of Bruff, Co. Limerick" [Joyce]. Joyce (Old Irish Folk Music and Song), 1909; No. 230, pgs. 111-112.
T:My Love is in the House [1]
L:1/8
M:C
S:Joyce - Old Irish Folk Music
K:D
FAdA BdAF|GBAF GE E2|FAdA BdAF|GBAG FD D2:|
dfaf bgaf|dfaf ge e2|d/e/f/g/af bgaf|dfag fd d2|dfaf bgaf|
d/e/f/g/af geeg|fafd ecAF|GBAG FD D2||

MY WIFE'S A WANTON WEE THING [1]. AKA - "My Wife's a Winsome Wee Thing." AKA and see "Bride Next." Scottish, Jig. D Mixolydian (Athole, Gow, Hall & Stafford, Kennesy, Kerr/Vol. 2, Raven, Sweet): A Mixolydian (Kerr/Vol. 3): G Mixolydian (Cranford). Standard. AAB (Kennedy, Kerr, Raven, Sweet): AABCCD (Athole, Gow, Hall & Stafford, Hardie). The melody was published by Henry Playford as "Bride Next" in his 1700 collection of Scottish dance music. John Glen (1891) finds the earliest printing of the tune under the above title in Neil Stewart's 1761 collection (pg. 30), and also as "My Wife..." in the Gillespie Manuscript of Perth (1768). Hardie (1992) and Cranford (1994) state it earlier appears in James Oswald's Caledonian Pocket Companion (Book 6) of c. 1751 or 1755. Directions for the country dance were written down in 1752 by John McGill, a dancing master in Girvan, for his students. The tune was adapted by Robert Burns for one of his songs, called "My Wife's a Winsome Wee Thing," who, though fond of "the light horse gallop of the air," complained that its peculiar rhythms presented the poet with "almost insuperable difficulties," like many Scottish tunes. Variations appeared to the tune in the two-part melody by the Gow's, who printed it as a four-part piece. Most Cape Breton fiddler's play the melody in a two-part setting in the key of 'D', according to editor Paul Cranford, though the Confiant/Stubbert setting is in 'G'. Source for notated version: Northside Cape Breton fiddler Joe Confiant (c. 1900-1980) via fiddler Robert Stubbert via his daughter, Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert's), 1994; No. 127, pg. 44. Gow (Complete Repository), Part 1, 1799; pg. 35. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 32. Hardie (Caledonian Companion), 1992; pg. 41. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 41. Kerr (Merry Melodies), Vol. 2; No. 318, pg. 35. Kerr (Merry Melodies), Vol. 3; No. 227, pg. 26. Mackenzie, Dance Music of Scotland (Book II), 1845. Raven (English Country Dance Tunes), 1984; pg. 107. Stewart-Robertson (The Athole Collection), 1884; pg. 135. Sweet (Fifer's Delight), 1965/1981; pg. 25. "The Fiddler's Companion" (1980).
T:My Wife's a Wanton Wee Thing
L:1/8
M:6/8
R:Jig
B:The Athole Collection
K:D Major
f/d/|d2A dfe|d3 A2B|=cdc cGE|=c3 E2^c|d2A dfe|d3 A2G|FDF ECE|D3 D2:|
F/G/|ABA FDF|A3 =c3|G=cG ECE|G3 B3|AdA FDF|A3 g3|fdf ece|d3 D2 F/G/|
ABA FDF|AdA FDF|GAG E=CE|G=cG ECE|ABA FDF|AFA aeg|fga gfe|d3 D2||
|:f/g/|d2g faf|d3 A2B|=cdc cGE|=c3 E2^c|d2A dfe|d3 A2G|FDF ECE|D3 D2:|
f/g/|aba fdf|a3 g2f|gag e=ce|g3 efg|aba fdf|a3 g2 f/g/|fdf ece|d3 D2 f/g/|aba fdf|
aba fdf|gag e=ce|gag e=ce|aba fdf|aba gab|fga gfe|d3 D2||

OLD CATVILLE QUADRILLE. Paul Gifford notes the first change of this quadrille is a variant of the tune known as "Whalen's Breakdown" (in 2/4 time) and "Bride of the Winds" (in jig time). It was recorded by "Col." John A. Pattee for Columbia in 1923--"Catville" was the former name of Pattee's hometown, New Boston, Michigan.

ÓRÓ, WELCOME HOME! AKA - "Óró, 'Sé Do Bheatha a Bhaile." Irish, Air (2/4 time, "with great spirit"). E Minor. Standard. AABB. "A hauling home song. The 'hauling home' was bringing home the bride to her husband's house after marriage. It was usually a month or so after the wedding, and was celebrated as an occasion next only in importance to the wedding itself. The bridegroom brought home his bride at the head of a triumphal procession--all on cars or on horseback. I well remember one where the bride rode on a pillion behind her husband. As they enter the house the bridegroom is supposed to speak or sing:--
***
Oro, se do bheatha a bhaile, is fearr liom tu na cead bo bainne:
Oro, se do bheatha a bhaile, tha tu maith le ratha.
(Oro, welcome home, I would rather have you than a hundred milch cows:
Oro, welcome home, 'tis you are happy with prosperity [in store for you]).
***
Here is Mr. Hogan's note on this air:--'This song used to be played at the 'Hauling Home', or the bringing home of a wife. The piper, seated outside the house at the arrival of the party, playing 'hard' (i.e. with great spirit): nearly all who were at the wedding a month previous being in the procession. Oh, for the good old times!' This tune is called in Stanford-Petrie an 'ancient clan march': and it is set in the Major, with many accidentals, but another setting is given in the Minor. I give it here as Mr. Hogan wrote it, in its proper Minor form. In several particulars this setting differs from Dr. Petrie's two versions. It was a march tune, as he calls it: but the March was home to the husband's house. Dr. Petrie does not state where he procured his two versions" (Joyce). See Bayard's (1944) extensive note for "Bonaparte Crossing the Alps" for more on this tune family. Bayard maintains that the tune was used for a number of purposes, and not only the ones that Joyce identified. Words by Padraic Pearse (see below) refer to a welcome home to Irish exiles who might take part in the 1916 uprising, according to John Loesberg.
***
'Se do bheatha, 'bhean ba leanmhar!
Ba e ar greach tu bheith I ngei-bheann,
Do dhuiche bhrea I seilibh meirleach,
Stu diolta leis na Galla.
***
Oro, se do bheatha 'bhaile
B'fhear liom tu na cead bo bhainne,
Oro, se do bheatha 'bhaile,
'Nois ar threacht an tsamhraidh (Loesberg, Folksongs & Ballads Popular in Ireland, 1979).
***
See also "Bringing Home the Bride." Joyce (Old Irish Folk Music and Song) 1909; No. 275, pgs. 130-131.
T:Oro, Welcome Home
T:Oro, 'se do bheatha a bhaile
L:1/8
M:2/4
N:"With great spirit"
S:Joyce - Old Irish Folk Music
K:E Minor
e2 ed/e/|fedB|AFdF|AFFE|e2 ed/e/|fedB|AFdF|E2E2:|
|:G>FGE|F/E/D/E/ FA|BAdF|A/G/F/E/ DB,|G>FGA|
B/A/B/c/ dB|AFdF|E2E2:|

OUR BRIDE IS NO MAID. English, Slip Jig. England, Northumberland. G Major. Standard. AABB. Seattle (William Vickers), 1987, Part 2; No. 205.

PINCH OF SNUFF, THE/A [1] (An Pinsín Snaoisín). AKA and see "The Humours of Swanlinbar," "The Wise Maid." Irish, Reel. Ireland, Donegal. D Mixolydian. Standard or AEAE. ABCDEC (Breathnach/Doherty): AABBCCDDEEFF (Sullivan): AABBCCDDEEFFGGHHII (Mallinson). Known as a northern Irish reel, and especially one from County Donegal where it is particularly popular. Caoimhin Mac Aoidh (1994) recounts the origins of the tune in the faerie folklore of Donegal. It seems that the fairies were trying to abduct a bride at a wedding in the Teelin, southwest Donegal, area by trying to trick her into uttering the magic words which would bind her to them and seal her fate. As luck would have it, hiding in the rafters was a young man who had been her suitor, but whom had lost in the bid for her hand. He saw what was about to happen to his still-beloved (who was dancing below), and from his high hiding place he thought to shake down some snuff upon her. The bride breathed it in, sneezed, and was greeted with a polite chorus of "Dia agus Muire dhuit" (God and Mary bless you) from members of the wedding party. This was anathema to the fairies, who took flight. The tune the fiddlers were playing while the bride was dancing at the time of her rescue was dubbed "The Pinch of Snuff." Sliabh Luachra regional(County Kerry, south Ireland) fiddler Patrick O'Keeffe played a tune he called simply "A Pipe Reel" whose two parts correspond to the first two of "A Pinch of Snuff." According to Mac Aoidh, he played the tune in AEAE tuning with the first four bars on a single double stopping down bow and the second four bars on a double stopping up bow; this pattern in repeated on the 'B' part. In some versions a part is/parts are an octave transposition of another part; for example, John Doherty's 'D' and 'E' parts are the 'A' and 'B' parts played an octave higher. Sources Sources for notated versions: fiddlers Micky and John Doherty, 1965 (Stranorlar, Co. Donnegal, Ireland) [Breathnach]; Breathnach (CRE II), 1976; No. 182, pg. 95. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 2, No. 8. Mallinson (Essential), 1995; No. 37, pg. 17. Sullivan (Session Tunes), Vol. 2; No. 2, pg. 2. Front Hall 018, How To Change a Flat Tire - "Traditional Music of Ireland and Shetland." Gael-Linn CEF060, "Paddy Glackin." Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978). Island ILPS 9501, "The Chieftains Live" (1977). Nimbus NI 5320, Ciaran Touish, Dermot McLaughlin, Seamus Glackin, Kevin Glackin - "Fiddle Sticks: Irish Traditional Music from Donegal" (1991).

POG AN BRIDEAC. AKA and see "Kiss the Bride."

PRINCE EDWARD ISLAND WEDDING REEL, THE. Canadian, Reel. Canada, Prince Edward Island. A Major. Standard. AA'BCAA'B. Perlman (1996) notes that a few generations ago the bride and groom stepdanced to this tune at the beginning of Prince Edward Island wedding festivities. Perlman thinks the tune originated in the eastern part of PEI. Source for notated version: Peter Chaisson, Sr. (B. 1929, Bear River, North-East Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 83.

ROCK AND THE/A WEE PICKLE TOW, THE/A. AKA and see "Captain Collins," "The Carawath Jig," "Green Goose Fair," "The Highlanders March," "Montrose's March," "The Onehorned Cow," "O'Sullivan Mor's March," "Painneach na nUgh," "Pickle Tow," "The Pretender's March," "The Retreat," "Scottish March," "The Scotch March," "Tadeen the Fiddler," "Wee Pickle Tow." Shetlands, English, Irish, Scottish; Air or Jig. England, Northumberland. Ireland, Donegal. A Major. Standard. AABB. Regarding the title, a rock is a distaff, a device that holds the flax strick or the fiber for spinning. It is called a rock because the weight, or whorl, was frequently a shaped and pierced rock. A 'wee pickle tow' is short flax fibers combed from longer fibers called "line". Thus is was a spinning song, the tune of which proved popular and served many purposes over the years. It was used as a march tune under many different titles, and was one of the favorite songs of the early 19th century in Lowlands Scotland, according to Peter Mackenzie, "the genial reminiscer of Glasgow" (Emmerson, 1971). John Glen, in his Early Scottish Melodies (pg. 197), traces the tune to the 1663 edition of Playford's Musicks Hand-Maid where it appears under the title "A Scotish March." Playford later printed the same tune as "Montrose's March" in this 1669 Musick's Recreation. The title "A Rock and a Wi Pickle Tow" first appears with the melody in Oswald's Curious Collection of Scots Tunes (1740), finds Glen. A similar air exists in Shetland as "The Bride's March" as played by John Stickle of Unst. As "Rock and Pickal o' Taw" it is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript, and elsewhere the title appears as the name of a Scottish country dance. In Northern Ireland the tune is current in traditional repertoire under the title "Wee Pickle Tow." Other related tunes include the Irish jig "Out on the Ocean," the Shetland "Doon da Rooth" (in 21/8 time!), as well as a pipe march, "Iain Caimbeul a Banca." Bayard (in "A Miscellany of Tune Notes") reports that Irish traditional versions are sometimes associated with the rhyme "There was an old woman tost up in a basket (blanket)," which rhyme is also associated with the tune "Lilliburlero." Aird (Selections), 1778; Vol. 1, No. 194. Gale, pg. 24. Gow (Complete Repository), Part 4, 1817; pg. 17. Gow (Vocal Melodies of Scotland), 2nd ed., 1822; pg. 27. Johnson (Scots Musical Museum), 1787-1803; Vol. 4, No. 439. Kennedy (Fiddler's Tune Book), Vol. 2, pg. 31. Kerr (Merry Melodies), Vol. 1; No. 10, pg. 31. McGibbon (Collection of Scots Tunes), 1769?, pg. 55. McGibbon (Collection of Scots Tunes), c. 1795; Vol. 3, pg. 18. Mooney, 1982, Vol. 1 (Choicest Scots Tunes/Bagpipe); pg. 15. Oswald (Caledonian Pocket Companion), c. 1780, Vo. 1, pg. 8. Smith (Scottish Minstrel), 1820-24; Vol. 6, pg. 62. Thompson (A Select Collection of Original Scottish Airs) 1805; Vol. 4, No. 199. Culburnie COL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988).
T:Rock and wee pickle Tow, The
L:1/8
M:6/8
N:"Slow"
S:Gow - 4th Repository
K:F
C|C/D/FF (AF)A|(cf)A G2 c/B/|(AF)G A2~G|AFF F2:|
f|d(df) ~d2f|d(df) (dc)A|c(cd) c2d|(cf)A G2A|B>cd dBd|
{d}cBA G2B|(AF)G A2~G|AFF F2f|(f/e/)dd ~d2f|(f/e/)dd {de}f2d|
(d/c/)cc c2a|{ga}b2a {a}g2 (f/4g/4a/)|bag fed|(cf)A G2 (f/4g/4b/)|
afg a>bg/b/|aff f2||

RUNAWAY (JIG), THE [1] (Port an Reata). Irish, Single Jig. D Major. Standard. AABB (Carlin): AA'BB' (O'Neill). Not O'Neill's "Runaway Bride." Carlin (Master Collection), 1984; No. 237, pg. 138. O'Neill (1001 Gems), 1907/1986; No. 399, pg. 80.
T:Runaway Jig, The [1]
L:1/8
M:6/8
R:Single Jig
S:O'Neill - 1001 Gems (399)
K:D
A2F F2A|d3 cBA|B2G G2A|B2A Bcd|A2F F2A|d3 cBA|Bcd ecA|1 d3 ecB:|2 d3 d2||
|:A|d2e f2d|g2e f2d|ecA AcA|ecA AcA|d2e f2d|g2e f2d|ecA ABc|1 d3 d2:|2 d3 dcB||

SHAKING OF THE SHEETS, THE [2]. AKA and see "Dance After My Pipe," "The Nightpiece." English, Country Dance Tune (6/4 time). G Major. Standard. AB or One part. This version of the air, which supplanted version #1 by the mid-seventeenth century, appears in Playford's Dancing Master of 1650. Chappell (1859) says it became very popular and "was still in favour in 1783, when it appeared in a publication called The Vocal Enchantress." It's popularity may be attributed to its association with weddings in the 18th century, for the guests of the wedding party were known to have led the bride and groom to the bridal chamber dancing to the melody, no doubt enjoying the bawdy reference of the title. That the tune was used early for dances is attested to by a reference in Roxburghe Ballads in which it is mentioned with several other dance tunes (7, pgs. 342-44):
***
The Piper he stuck up and Merrily he did play,
The shakeing of the sheets, and eke the Irish hay
Then up with Aley, Aley, Up with Priss and Prue;
In came wanton Willy, amongst the jovial crew.
***
To a merry Scotch tune, or Up with Aley, Aley, & c.
***
The alternate title "Dance After My Pipe" seems to have been a proverbial expression, states the musicologist, as this quote from Vox Borealis (1641) illustrates:
***
I would teach them to sing another song, and make
them dance after my pipe, ere I had done with them.
***
Francis Collinson (The Bagpipe, 1975, pg. 110) finds "Dance After My Pipe" mentioned by Ben Jonson in Every Man out of his Humour. Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 229. Raven (English Country Dance Tunes), 1984; pg. 11.

SHANNON BREEZE [2]. AKA and see "The Banks of the Ilen," "The Barrack St. Boys," "The Bride to Bed," "Brides to Bed," "Brides Away," "The British Naggon," "Cheese It," "Corney is Coming," "Crawford's Reel," "The Honeymoon," "I Saw Her," "Kelly's Reel," "Knit the Pocky," "The Lumberjack," "Merry Bits of Timber," "Miss Grant of Grant," "Miss Wilson," "My Love is in America," "My Love is in the House," "Six Mile Bridge."

SIR GUY. English, Air (3/4 time). F Major. Standard. AB. The song appears in the ballad opera Robin Hood (1730). Songs of Sir Guy are quite old and are mentioned in chronicles of the 16th and even 15th century. Chappel (1859) quotes William of Nassyngton who, writing around 1480, mentions stories of Sir Guy as usually sung by minstrels at feasts, and Puttenham, who wrote in 1589 that they were "commonly sung by harpers at Christmas dinners and bride-ales for the recreation of the lower classes." Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 156-157.

SIX MILE BRIDGE. AKA and see "Banks of the Ilen," "The Barrack St. Boys," "Birnie-boozle," "Braes of Tullymet," "Brides Away," "The Bride to Bed," "Brides to Bed," "The British Naggon," "Caledonean Hunt," "Cheese It," "Corney is Coming," "Crawford's Reel," "D. Dick's Favourite," "The Honeymoon," "I saw her," "Kelly's Reel," "The Lumberjack," "Miss Grant of Grant," "Miss Wilson," "Merry Bits of Timber," "My Love is in America," "My Love is in the House," "Shannon Breeze," "Six Mile Bridge." Irish, Reel. D Major. Standard. AABB. Kerr (Merry Melodies), Vol. 1; No. 15, pg. 35.

SLIABH NA mBAN [1] (The Mountain of the Women). Irish, Air (4/4 time). G Major. Standard. AABCCD. This Munster song is from 1798, and words can be found in Ar gCeol Feinig (1927), by Fr. Padraig Breathnach, noted from Nioclas Toibin's singing by Aine Ni Raghallaigh. The name "Mountain of the Women" comes from a legend about the famous Irish hero Fion MacCumhaill, who, having advanced in years, determined it was time to marry. To help him select a suitable bride he decided that he would call for a race to be run to the peak and down again of a local mountain in County Tipperary, with declared his betrothed. A beautiful maiden named Deirdre won, but apparently found the hero a bit too advanced in years and so ran off with his younger colleague Diarmuid. The mountain's name commemorates the event. Accordion player Brendan Begley, a native of Baile na mBoc, Ballyferriter, County Kerry, remembered hearing this song sung at summer house parties when he was young, the sounds drifting into his bedroom. For his family "singing was the main thing...even milking the cows we might be singing" (Blooming Meadows, 1998).
***
SLIEVENAMON
Alone all alone by the wave washed strand
All alone in a crowded hall
The hall it is gay and the waves they are grand
But my heart is not here at all
It flies far away by night and by day
To the times and the joys that are gone
And I never will forget the sweet maiden I met
In the valley near Slievenamon.
***
It was not the grace of her queenly air
Nor her cheek of the roses glow
Nor her soft black eyes, nor her flowing hair
Nor was it her lily white brow
But the soul of truth and of melting ruth
And the smile like a summer dawn
That stole my heart away on a soft summer day
In the valley near Slievenamon
***
In the festive hall by the star washed shore
Or wherever my restless spirit flies
My love oh my love shall I neer see you more
And my land will you never uprise
By night and by day I ever ever pray
While lonely my life flows on
To see our flag unfurled and my true love to enfold
In the valley near Slievenamon.
In the valley near Slievenamon
***
Roche Collection, 1982, Vol. 3; No. 54, pg. 15.

SMILING BRIDE, THE. Irish, Jig. D Major. Standard. One part (Black): AA'BB'. Composed by Long Island pianist Charlie Lennon for the band De Dannan as part of a 1986 collection of tunes entitled "An Island Wedding." The starting chord is an 'A' Major chord, the dominent of the key. Black (Music's the Very Best Thing), 1996; No. 17, pg. 9. Green Linnet SIF3040, De Dannan - "Ballroom" (1987).
T: Smiling Bride
C: C. Lennon
S: De Danann
Z: transcribed by B.Black
Q: 350
R: jig
M: 6/8
L: 1/8
K: D
E3 FDD | FEE cde | dcA GEA, | CDE GAG |
E3 FDD | FEE cde | dcA GEC | EDC DAF |
E3 FDD | FEE cde | dcA GED | CDE GAB |
cAG EFG | FdF GFG | AdB cAG | EDC D2 g |
fgf fdA | fda agf | efe ecA | cde gag |
fgf fda | fda afd | Bef gab | aec d2 e |
fag fdA | daa agf | e2 e ecA | cde g3 |
gfa baf | fge dAF | GAB Ace | dgf ecA | d6 ||

SOFT DEAL BOARD, THE (An Clar Bog Del/Deil). AKA - "Claur Bug Dale." AKA and see "Caiseal Mumhan/Mhumhan," "Cois na Brighde," "The Bog Deal Board." Irish, Slow Air (3/4 time). A Minor (Joyce): A Mixolydian (O Canainn): F Dorian (Stanford/Petrie). Standard. One part. "Also called by two other names--Caiseal Mhumhan, 'Cashel of Munster;' and Cois na Brighde (Cush na Breeda), 'Beside the river Bride' (Bride a river in Cork and Waterford). In the Stanford-Petrie collection there are six settings of this beautiful air, scattered through the book; but the one I give here fidders from all. It is the characteristic Munster version, as I heard it scores of times in my youth, played by the best fiddlers and pipers, and sung by the accomplished traditional singers. The original Irish song of Clar bog del, better known in Munster by the name of Caiseal mhumhan, will be found in Edward Walsh's Irish Popular Songs, p. 168. It was a universal favourite sixty or seventy years ago. Another song to the same air, which held as high a place in popular estimation, was one composed by a well-known Gaelic poet, the Rev. William English, beginning with--'Cois na Brighde, seal do bhiossa, go sugach samh'--'While I dwelt by the (river) Bride, pleasantly and tranquilly.' This will be found in O'Daly's 'Poets and Poetry of Munster,' second series, p. 120. I once heard 'Cashel of Munster' sung under peculiarly pleasant and characteristic circumstances, when I was a mere child. The people of the village had turned out on a sunny day in June to 'foot' the half-dry turf in the bog at the back of Seefin mountain which rises straight over Glenosheen: always a joyuous occasion for us children. Dinner time came--about 1 o'clock: each family spread the white cloth on a chosen spot on the dry clean bog-surface. There might have been half a dozen groups in that part of the bog, all near each other, and all sat down to dinner at the same time: glorious smoking-hot floury savoury potatoes, salt herrings (hot like the potatoes), and good wholesome blathach, i.e. skimmed thick milk slightly and pleasantly sour--a dinner fit for a hungry king. After dinner there was always a short interval for rest and diversion--generally rough joyous romping. On this occasion the people, with one accord, asken Peggy Moynahan to sing them a song. Peggy was a splendid girl, noted for her singing: and down she sat willingly on a turf bank. In a moment the people clustered round; all play and noise and conversation ceased; and she gave us the Clar bog del in Irish with intense passion, while the people--old and young, including myself and my little brother Robert--sat and listened, mute and spellbound. I have good reason to fear that the taste for intellectual and refined amusements--singing, music, dancing, story-telling, small informal literary clubs and meetings, etc.--once so prevalent among the people of my native district, which often expressed itself in scenes such as I describe here, is all gone; and we shall never witness the like again. Is muar an truagh e: more's the pity!" (Joyce). A Donegal version was recorded by Mairead Ni Mhaonaigh and Frankie Kennedy in 1983 (Green Linnett 3090). Source for notated version: "From Father Walsh" [Stanford/Petrie]. Joyce (Old Irish Folk Music and Song), 1909; No. 127, pgs. 64-65. Stanford/Petrie (Complete Collection), 1905; No. 581, pg. 147.
T:Soft Deal Board, The
L:1/8
M:3/4
S:Joyce - Old Irish Folk Music
N:"Slowly and tenderly"
K:A Minor
fd|e>d cA AA|d>c AG (3^FEF|G4 A2|A3B cA|G2A2 AB|c2A2 (A/B/c/d/e/)|
f3a gf|e3g (6f/d/c/A/G/^F/|G2A2 AB|c2A2 de|f4g2|a3g fg|e>d cA {G}AA|
d>c AG (3^FEF| G4 A2|A4||

STAR OF KILKENNY, THE ("An Realt Cill-Cainnig" or "Realtan Cill Cainnic"). AKA and see "The All-Ireland," "The Burren," "Clematis," "Thady Casey's Fancy." Irish, Reel. E Minor. Standard. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). A song written by Egan O'Rahilly on the occasion of the marriage of the Jacobite Lady Iveagh's second daughter to Lord Kenmore in 1720, the Kilkenny star being, of course, the bride. O'Neill (Krassen), 1976; pg. 123. O'Neill (1850), 1903/1979; No. 1349, pg. 252. O'Neill (1001 Gems), 1907/1986; No. 604, pg. 110.
T:The Star of Kilkenny
M:C
R:Reel
K:Em
BcAF G2GA | B2Ac Beed | BcAF G2ef | gefd Beef :|
g2ga gdBd | gefd Beef | g2ga bgaf |1 gefd Beef :|2 gefd Beed ||

TABHAIR PÓG DON BHRÍDEOIG SA LEABA (Kiss the Maid in Bed). AKA and see "Kiss the Bride in Bed," "Kiss the Maid in Bed."

WEDDERBURN HOUSE. Scottish, Reel. D Minor (Glen): D Mixolydian (Little). Standard. AAB (Glen): AABB' (Little). Composed by Abraham MacIntosh. Wedderburn Castle, a Scottish Georgian country mansion, is located in the south east Borders region near the town of Duns. Both the structure and lands have been held of the Home family from the 14th century to the present day, although the building has evolved from the original fortified tower. Mary Queen of Scots stayed there on her journey to survey the English defensive walls at Berwick-upon-Tweed.
**
The story of the Home family is a tragic tale. The present-day Wedderburn House was commissioned by Patrick Home of Billie, whose mother, a rich widow, had been the victim of a gruesome murder in 1751 at her home in Linthill, Berwickshire, in the Borders region of Scotland. The crime's perpetrator really was the butler in this case, roused to the deed with the widow's discovery of her employee, one Norman Ross, in the act of stealing from her. He cut her throat and escaped by jumping out a window, but before the Mrs. expired she was able to ring a bell and raise an alarm. Mr. Ross broke his leg during the escape and was soon caught by the servants. He was subsequently tried and hanged for his crime. The widow was victimized yet one more time; her funeral cortege set out from Lintill for Bunkle church without her coffin, and the party had to return to the house for it.
**
Patrick was sent to University on the Continent, at Leipzig, after which he moved to Berlin and frequented the court of Frederick the Great. There, he fell under the spell of Sophie de Brandt, a lady-in-waiting to the Queen of Prussia, and he determined to have her hand in marriage. Trusting that this would happen, he returned to Berwickshire and commenced building a magnificent classical home near the river Tweed, employing the finest architects and artisans he could find (the interior was designed by the famous Robert Adam). Upon its completion around 1760 Paxton House, as it was called, was reckoned the finest country house of the time. Unfortunately, Patrick's intentions to marry Sophie met with objections in her homeland, and Patrick was unable to be granted her hand in marriage.
**
After some time he tried his hand in love again, and met another lady of quality whom he courted and this time did marry. Not wanting to reside in Paxton House, Patrick commissioned yet another fabulous mansion, again commissioning Robert and James Adam as designers. He wanted no part in the building, however, and left that to his nephew George Home, while he and his bride departed for a fashionable Grand Tour of the Continent. The tour took six years, with George supplying letters to update Patrick on the progress of his home. The high point of any Continental trip was Rome, and it was there that the couple befriended a Mr. Moore, also on a Grand Tour, but whose interest in architecture was not what Patrick's was. The new Mrs. Home was by this time not so keen on ruins either, and saw that other amusements were possible. When Patrick returned early from one of his outings he found his wife and Mr. Moore in bed together. The couple, still husband and wife, returned to Scotland.
**
Wedderburn House, or Wedderburn Castle as it came to be called because of the crenelations just becoming popular in the mid-18th century, was justly willed to George Home, the builder. The last additions were made to the structure in the 1820's; a front porch and two-story stair hall, where guests ascend the grand sweeping steps to the reception rooms.
**

WEDDING JIG, THE. Irish, Jig. Ireland, County Donegal. ABC. Caoimhin Mac Aoidh (1994) reports that in County Donegal tradition this jig was played for an Irish bride as she was 'hauled' from her home to the chapel, or as she was 'hauled home' to the bride's house for the wedding dinner and dancing (see also notes for the tunes it substituted for: "Haste to the Wedding" and "Ta do Mhargadh Deania"). Green Linnet SIF-1109, Altan - "The Red Crow" (1990. Learned from the late Frank Cassidy, fiddler from Teelin, County Donegal). Nimbus NI 5320, Dermot McLaughlin - "Fiddle Sticks: Irish Traditional Music from Donegal" (1991).
T:Wedding Jig, The
M:6/8
L:1/8
K:G
G2 B, G,A,B, | DEF G2 E | EB,E G2 A | BGE E2 F |
G2 B, G,A,B, | DEF G2 E| DA,D F2 d | AFD DEF :||:
GAG {A}GFG | ABA {B}AGA | BGB GBc | def ~g3 |
ded {e}dcB | ~c3 {d}cAG | FGA {d}BAG |1 FGE DEF :|2 FGE DB^c ||:
{e}d^ce d^ce | dAF G2 E | EB,E G2 A | BGE EB^c |
{e}d^ce d^ce | dAF G2 E | DA,D F2 d |1 AFD DB^c :|2 AFD DEF ||

WEDDING MARCH FROM UNST. AKA - "Unst Bridal/Wedding March." Shetland, March (irregular time). G March. Standard. AAB. With this tune the fiddler led the wedding couple from the church to the bride's house for the party. Wedding marches were a common Scandinavian practice, imported to the Shetlands during the Scandinavian colonization period. Source for notated version: Boys of the Lough (Ireland/Shetland) [Brody]. Brody (Fiddler's Fakebook), 1983; pg. 287. Front Hall FHR-021, John McCutcheon - "Barefoot Boy with Boots On" (1981. Learned from fiddler Aly Bain). Philo 2019, Anderson and Bain- "The Silver Bow." Shanachie 79002, "The Boys of the Lough" (1973). Trailer 2086 - "Boys of the Lough."

WHALEN'S BREAKDOWN. Canadian, Reel. C Major. Standard. AA'BB. The tune was popularized by the great Canadian radio and TV fiddler Don Messer, originally from New Brunswick, Canada. A jig time variant is "Bride of the Winds." Source for notated version: Vivian Williams (Seattle) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 254. Alcazar Dance Series FR 204, Rodney Miller - "New England Chestnuts 2" (1981).

WIDOWED BRIDE, THE (An Ceile Baintreabac). Irish, Air (4/4 time, "plaintively"). E Minor. Standard. AB. O'Neill (1850), 1903/1979; No. 156, pg. 27.

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The Fiddler's Companion

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