ART McBRIDE [2]. AKA - "Arthur McBride." Irish, Air or Jig. Ireland; Counties Limerick, Donegal. G Major. Standard. AB. P.W. Joyce's air "Arthur McBride," printed in his Old Irish Folk Music and Songs, is almost identical to Petrie's. Joyce collected his version in Limerick in the 1840's, while Petrie's air comes from County Donegal. John Loesberg (1980) states that several versions of the song have been found variously in Scotland, Suffolk and Devon, though the tunes in most cases differ slightly.
***
I had a first cousin called Arthur McBride, he and I took a stroll down by the seaside,
A-seeking good fortune and what might betide, 'twas just as the day was a dawning.
Then after resting we both took a tramp, we met Sergeant Harper and corporal Cramp,
Besides the wee drummer who beat up for camp, with his rowdy-dow-dow in the morning.
***
Stanford/Petrie (Complete Collection), 1905; No. 846, pg. 211.
COCK O' THE NORTH [1]. AKA and see "Auntie Mary" {Irish}, "Joan's Placket (Is Torn)" {English}, "Jumping John/Joan," "We Must All Wait Till My Lady Comes Hone." Scottish, English, Canadian; Jig, 6/8 March, and Morris Dance Tune. Canada; Cape Breton, Prince Edward Island. A Major (Hunter, Johnson, Kennedy, Miller & Perron, Perlman, Raven): G Major (Bayard, Bullen, Kerr, Sweet, Wade). Standard. AB (Bullen): AAB (Bayard, Hunter): AABB (Johnson, Kennedy, Miller & Perron, Raven, Sweet, Wade): AA'BB' (Kerr, Perlman). The 'Cock o' the North' was an honorary title of the (fifth and last) Duke of Gordon, who held sway over the northern part of the Scottish Highlands (from a note in a monograph on William Mashall printed in his 1845 Collection). Chappell alleges the earliest reference to the tune (under the title "Joan's Placket") is in an entry in Pepys' diary for June 1667. Bayard (1981) and Kidson (1915) both trace the tune to the 17th century, where they find the titles for this tune were "Jumping John/Joan" and "Joan's Placket (Is Torn)." It was published by Oswald (Vol. 10) c. 1758, by Feuillet in Recueil de Contredanses (1706) in Paris, and by Playford in the 1674 and 1686 editions (and all subsequent editions) of his Dancing Master, each time under the title "Jumping Joan." In fact, a Shetland reel version of the tune from the island of Whalsay collected in modern times still goes by the name "Jumping John" (Cooke, 1986).
***
The dance and ballad air was assumed into martial repertory, and it has been recorded that the melody helped win Gordon Highlander Piper George Findlater the Victoria Cross in 1897. It seems that while leading the charge storming Dargai Heights with other pipers, he was shot through both legs; "undaunted, he propped himself against a boulder, and continued to play" the stirring air to encourage the successful action (Winstock, 1970; pg. 212). Kidson (1915) relates another military story of its earlier use in the seige of Lucknow during the Indian Mutiny of 1857. The British were initially hard pressed and were for some time beseiged in various locations in the city by native Indians. Signals had been regularly sent between the forces defending parts of the beseiged town, and those under attack in the Residency quarters. A drummer boy named Ross, after the signalling was over, climbed to the high dome from which signals were sent and despite harrassing fire from the Sepoys he sounded "Cock o' the North" in defiance, rallying the English with his bravery (though being a drummer, exactly how he 'sounded' the tune remains a mystery, ed.)
***
In England, Andrew Bullen (Country Dance and Song, May 1987, Vol. 17, pg. 11). suggests there is some evidence to think that "Cock of the North" was the tune traditionally used in the famous horn dance of Abbots Bromley, Staffordshire (currently performed in most Christmas Revels pagents). "This standard version," he states, "taken from Pruw Boswell's 'Morris Dancing of the Lancashire Plain', is used in the Wigan St. John's Dance." Wade records that the tune is still used for a single step dance in the North-West Morris tradition.
***
Perlman (1996) notes that this tune was remembered by many Prince Edward Island fiddlers as the very first tune they tried to play.
***
Miscellaneous notes: The tune was used by the Scots poet Robert Burns for his song "Her Daddie Forbad and Her Minnie Forbad." In America, it was given to Bayard that there was an obscene New England song to the tune called "Chase Me, Charlie," but he did not hear it. It has been asserted that a trumpet version of the tune was played at the execution of Mary Queen of Scots in 1587, but this cannot be substantiated and it is not credited. It is not, as has been proposed by Johnson-Stenhouse, the progenitor of "Lillibulero." Sara Lee Johnson (1986-87) says the tune is often heard at the Old Michegan Fiddler's Association gatherings. Sources for notated versions: Hiram Horner (fifer from Fayette and Westmoreland Counties, Pa., 1960) [Bayard]; Elliot Wright (b. 1925, Flat River, Queens County, Prince Edward Island; now resident of North River) [Perlman]. Bayard (Dance to the Fiddle), 1981; No. 580, pg. 513. Bullen, Country Dance and Song, May 1987, Vol. 17, pg. 11. Hunter (Fiddle Music of Scotland), 1988; No. 299. Jarman (Old Time Fiddlin' Tunes); No. or pg. 19. Jarman, 1951; pg. 66. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), Vol. 7, 1986-87; pg. 6. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 36. Kerr (Merry Melodies), Vol. 2; No. 311, pg. 34. McDonald (Gesto), 1895; pg. 135. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 43. Page, Heritage Dances of Early America; No. or pg. 41. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 141. Raven (English Country Dance Tunes), 1984; pg. 105. Ross, 1934, Army Manuel of Bagpipe Tunes; Book 1, pg. 10. Sweet (Fifer's Delight), 1964/1981; pg. 21. Wade (Mally's North West Morris Book), 1988; pg. 14.-
T:Cock o' the North
L:1/8
M:6/8
K:A
cdc cBA|cde f2e|cdc cBA|B3 e2d|cdc cBA|Ace B=GB|A3 A3:|
|:a2e f2e|a2e f2e|cdc cBA|BcB B2e|a2e f2e|a2e f2e|cAc B=GB|A3 A3:|
COME TO THE BOWER. A love song that reportedly Sam Houston had his three fifers (or sometimes one fifer) and drummer play as a marching song at the Battle of San Jacinto. The song was considered somewhat risque at the time. See Abernathy (Singing Texas).
COOLER, THE. English, Reel. England, Northumberland. G Major or Mixolydian. Standard. AABBCCDD. "There is an alternative title (in the MS.) which looks like 'Lar Drummer Rant'(?) {Seattle}. Seattle (William Vickers), 1987, Part 2; No. 264.
DRUMMER, THE. AKA - "The Drummers." AKA and see "The Piper of Dundee." Scottish, English; Reel. A Dorian/Minor. Standard. AAB (Athole, Gow/Repository, Honeyman, Kennedy, Kerr, Skye & Raven): AABB (Gow/Carlin). "Very old" notes Gow in his Repository (1802) and MacDonald in The Skye Collection (1887). The melody appears in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740." This predates Glen's (1891) finding that the earliest printing occurs in Neil Stewart's 1761 collection. Carlin (Master Collection), 1984; pg. 90, No. 150. Carlin (The Gow Collection), 1986; No. 481. Gow (Complete Repository), Part 2, 1802; pg. 23. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 17. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 14. Kerr (Merry Melodies), Vol. 1; Set 9, No. 6, pg, 8. MacDonald (The Skye Collection), 1887; pg. 111. Raven (English Country Dance Tunes), 1984; pg. 164. Stewart-Robertson (The Athole Collection), 1884; pg. 43. "Fiddlers Three Plus Two."
T:Drummer, The
L:1/8
M:C|
R:Reel
B:The Athole Collection
K:Aminor
B|ABcA E2E^F|GABc dBGB|cABG E2Eg|edcB A2A:|
B|c2ce d2de|c2ce dBGB|c2ce d2dg|edcB A2AB|c2ce d2de|c2ce dBGB|
ccce dddg|edcB A2A||
DRUNKEN DRUMMER, THE. English, Jig. G Major. Standard. AABB. Raven (English Country Dance Tunes), 1984.
HOUSE O' DUNCAN. Scottish?. A variant of "O As I Was Kist Yestreen." Bruce-Emmett (The Drummer's and Fifer's Guide), 1862, 1880; pg. 61.
JOHNNY COPE [1] (Seanin Ua Copa). AKA and see "Fye to the Coals in the Morning," "General Coope." Scottish (originally), Canadian; Reel, Hornpipe or March: American, March (2/4) or Polka. Canada, Prince Edward Island. G Mixolydian/Minor (Gatherer, Johnson, O'Neill/1915): B Minor (Miller & Perron). Standard. AB (Bayard): AABB (Miller & Perron, O'Neill/1850, Perlman, Roche, Winstock): AABBCCDD (Gatherer): AABB'CCDDEEFFAABB' (Johnson). The tune is still played by Scottish regiments as their reveille. It is a satirical melody which commemorates the 1745 Jacobite rebellion when Sir John Cope (d. 1760) and the English were defeated by the Scots under Bonnie Prince Charlie at the Battle of Prestonpans, on the 22nd of September, 1745. In 1745, when Prince Charles landed in the highlands, Sir John was commander in chief in Scotland and he bravely resolved to march into the Highlands to oppose him. Cope was ill-prepared and outnumbered however, and soon retreated in the face of opposition in order to regroup. The rebels meanwhile secured Edinburgh and when they learned that Cope was marching to the city's relief they marched to meet him. Both armies neared each other at Prestonpans late in the day, separated by marshy ground, and it was resolved to wait until the next day to begin hostilities. During the night however, Prince Charlie was appraised by one of his troops that a passage or ford was to be had through the marshy ground and the rebels resolved to filter through at night and take the English forces by surprise in the morning. This was effected and the surprise was complete. Half awake and utterly bewildered, Cope's troops could make no effective resistance, and in a few minutes were in headlong flight. Only one round of ammunition was fired, and not one bayonet was stained with blood. Few except the cavalry made good their escape, the whole of the infantry being either killed or take prisoners. A later court of inquiry was convened to look into the debacle, though the result was that the common troops were blamed for the rout and Cope and all his officers were exhonerated.
***
The song lyrics and perhaps the music (the song is sung to the first two parts of the instrumental version) were written by Adam Skirving, an extremely literate East Lothian cultivator whose fields were tramped by the passage of the armies on the day of the battle. [There is a story that one of Cope's English officers took offense to Skirving's verses and desired to challenge him to a duel; Skiriving's comment on hearing the threat was "Let him come up here. If I can fecht him, I will. If not, I'll rin awa' just like he did."] Johnson (1983) notes the tune was unknown prior to 1750, but Bayard (1981) identifies "Johnny Cope" as a version of the older tune "Fye to the Coals in the Morning." The tune appears with variations by an anonymous but skilled local composer in the Gillespie Manuscript of Perth in 1768, and also in the McLean and Trotter manuscripts. A song by the title "Johnny Cope" is found in James Oswald's Caledonian Pocket Companion, published in London in 1760 with the alternate title "John Cope Trode the North Riding" (the North Riding is a section of Yorkshire). It appears in O'Farrell's, Vol. III (1810-20), pg. 51. O'Neill reports that a footnote in Wood's Songs of Scotland states that this old air originally consisted of one strain which was subsequently elaborated by the addition of a chorus or burden of a silly song; adapted to it was the first strain repeated an octave higher. Bayard (1981) agrees with Graham, and notes (similaryly with Wood) that the first part was the original strain added to in the second strain in instrumental versions by one melody, and in vocal versions usually by a strain resembling the Scots tune "Balquhidder Lasses." O'Neill snidely suggests that althought it was "claimed as Scotch, is in the Irish style and known all over Ireland;" the veracity of this is highly questionable for the tune closely follows "passamezzo antico" form, which was a particular style of stock chord progression imported from 16th century Italy and popular in England and Scotland in the 16th and 17th centuries. Bayard (1981) sees some resemblance between the first part of "Johnny Cope" and the second of the American tunes "Tennessee Wagoner," "Keep Off the Grass," and "Mississippi Sawyer;" he wonders if they are derivations. Similarly he sees resemblance between the second strain and the American collections of "Paddy on the Handcar." He also sees some resemblance between a "simple, fundamental strain" of Cope and some elaborated Irish hornpipe tunes, notably "The Groves" and "The Drunken Sailor" (they use the "Balquhidder" strain version plus some added parts). There is a legend that has been collected among Protestant Irish and fifers in Pennsylvania (Bayard, 1981) that has (falsely) the person of Johnny Cope a drummer boy in the Orange Irish forces who falls asleep on his watch on the very night of a surprise attack by the Catholic army. He was awakened just in time to sound the alarm by some birds pecking at some crumbs scattered on his drumhead--Bayard astutely points out that this story parallels the legend of the Capitoline geese, whose cackling awakened the Roman sentries in time to repel an ancient attack. As late as the mid-twentieth century these lyrics, based on the Scots words, were to be heard in American folk tradition sung to the tune:
***
Hey Johnnie Cope, are ye wakin' yet,
And are ye're drums a-beatin' yet? (Bayard)
The Scots chorus goes:
Hey Johnie Cope are ye wauking yet,
Or are ye sleeping I would wit;
O haste ye get up for the drums do beat,
Of fye Cope rise in the morning. (Robert Burns)
***
Beethoven arranged the melody for string quartet to accompany a vocal version of the tune around 1800. Sources for notated versions: McLean Collection (1772, pg. 23) [Johnson]; The Repository of Scots and Irish Airs (1799) [O'Neill]; Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 396, pg. 378. Buchan (101 Scottish Songs). Gatherer (Gatherer's Musical Museum), 1987; pg. 14. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 38, pg. 97. Kohler's Violin Repository (1881-1885). Miller & Perron (101 Polkas), 1978; No. 42. Oxford Song Book, Volume 2. Winstock (Songs and Music of the Redcoats), 1970.
X:1
T:Johnny Cope
Z:transcribed by Henrik Norbeck
M:2/4
L:1/8
K:Am
E | A>A cd | eA AA | G>G GB | dd BG |
cc dd | eg BB/B/ | Ae/e/ dB/B/ | A2 A:|
|: z | cc/c/ cc/c/ | ce g>c | Bc d>d | Bc d>d |
cc dd | eg B>B | Ae/e/ dB/B/ | A2 A:|
X:2
T:Johnny Cope
M:4/4
L:1/8
S:Doug MacPhee, piano
R:march
N:play slowly
B:Cape Breton's Magazine no. 43 (1980s)
Z:Paul S. Cranford
K:Ador
A4 A2 Bd|e2 eg B2 AB|G4 G2 Bc|d2 g2 B2 AG|
c2 cc d2 dd|e2 (3efg B2 AG|1AB g2 e2 dB|A4 A2 GE:|
2 A2 eg e2 dB|A4 A2||
eg|a4 a2 ga|b2 a2 a2 ge|g2 d2 g2 dg|b2 a2 a2 ge|
a4 a2 ga|b2 gb a2 ge|d2 Bd e2 gB|A4 A2:||
G2|E<AAB ABcd|edcB A2 Ac|B2 AB GABc|
dcBA G2 (3GAB|c2 cc d2 (3ddd|e2 g2 B2 AG|
1A<Be<g e2 dB|A4 A2:|2 AAA<g e2 dB|A4 A2||
eg|aga<b agab|c'bag a2 ef|gdg<b gdg<b|dgbg a2 eg|
aga<b agab|c'bag a2 ge|d2 Bd e2 gB|A4 A2:||
AB|cGE<G c>Bc<d|e<cgc B2 AB|GEG>E GABc|
dcBA G2 AB|cGE<G cBcd|e<cgc B2 AG|
AB g2 e2 dB|A4 A2:||
F2|EA,>CA, EA,A>A,|E<A,CA EA,A>A,|D<G,B,G, DG,GG,|
D<G,B,A, G,B,AG|E<A,CA, EA,AF|E<A,CA, EA,A>E|
FDFe d<BgB|A4 A2:||
AB|cBcd edc<e|gfg<a gedc|B<GdG B<GdG|cdef gfed|
c<Gcd edce|gfga gedc|1B<Gd>G edBG|A4 A2:|
2 Bdgd edBG|A4 A2||
MISSISSIPPI. American. A variant of "Even and Odd Like Tom With His Hod," "The Tempest," "Ap Shenkin," "The Dear Little Island," and a Pennsylvania-collected untitled square dance. Bayard (Dance to the Fiddle), 1981; No. 506, pg. 461. Bruce & Emmett (Drummer and Fifer's Guide), 1880; pg. 61.
MR. ALEXANDER WATTIE. Scottish, Reel. G Major. Standard. ABB'. Composed by Alexander Walker for Mr. Alexander Wattie who was a drummer in the Castle Newe band of musicians; Walker worked at Castle Newe as a gardener and probably the leader of "The Castle Newe Band." Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 171, pg. 59.
PIPER O' DUNDEE, THE. AKA and see "The Drummer."
ROGUE'S MARCH, THE [1]. AKA and see "Poor Old Robinson Crusoe." English, March. G Major. Standard. AAB. The tune was played in the British (and Colonial American) army when military and civil offenders and undesirable characters were drummed from camps and cantonments, sometimes with a halter about their necks, sometimes with the final disgrace of a farewell ritual kick from the regiment's youngest drummer. (Winstock, 1970). Camus (1976) says that the actual ceremony consisted of as many drummers and fifers as possible (to make it the more impressive) would parade the prisoner along the front of the regimental formation to this tune, and then to the entrance of the camp. The offender's coat would be turned inside out as a sign of disgrace, and his hands were bound behind him; like Winstock, he says the last ignomy was a kick from the youngest drummer, with instructions never to return to the vicinity. The sentance would then be published in the local paper. Winstock states the earliest version that can be found dates between 1793 and 1800, though Bayard (1981), citing Chappell, says it has been the "regulation drumming-out march since the 1750's." Kidson says "the writer, though he has made diligent search, cannot find traces of the tune before the middle of the 18th century, although there can be little doubt that the air, with its association, had been in use long before that time."
***
Music is found in many 18th century collections for fife and flute. About 1790 and later the air was adapted in vocal settings for several popular humorous songs, including "Robinson Crusoe," "Abraham Newland" and "Tight Little Island." The last mention, as "The Island," was written by Thomas Dibdin about 1798, and sung by a singer named Davies at Sadler's Wells that same year.
***
The tune and tradition found its way into the American army and was used in the Civil War (Winstock, 1970; pg. 97). Camus (1976) also states there was another informal or unofficial ceremony connected with the tune: when a soldier married the widow of a comrade he was "hoisted upon the shoulders of two stout fellows of his company, whith a couple of bayonets stuck in his hat by way of horns, and preceded by a drum and fife, playing the 'Rogue's March', he is paraded in front of his regiment" (pg. 113). Camus (Military Music of the American Revolution), 1976; Example 15, pg. 112. Winstock (Music of the Redcoats), 1970; pg. 95.
T:Rogue's March
L:1/8
M:2/4
S:Thompson and Sons' Compleat Tutor for the Fife, London 1759-60.
Q:240
K:G
BB (3Bcd|ee e2|dd de|d2 B2|BB (3Bcd|ee e2|dd (3dcB|A2 G2:|
g2 f2|e2 d2|g2 f2|e2 d2|BB (3Bcd|ee e2|dd de|d2 B2|BB (3Bcd|
ee e2|dd gB|A2 G2||
SOOR/SOUR PLOOMS (OF GALASHIELS). AKA and see "Squire Wood's Lamentation on the Refusal of His Halfpence." Scottish, Irish; Air (4/4 time). G Major/Mixolydian (Johnson, Neil): D Major (Gatherer). Standard. AAB (Gatherer): AABBCC (Neil): AABBCCDD (Johnson). Galashiels is a town in the Border region of Scotland, on the River Tweed. Robin Williamson observes it is "virtually" the same tune attributed to harper Turlough O'Carolan and called in Ireland "Squire Wood's Lamentation on the Refusal of His Halfpence" (though he points out the earliest ascription of the tune to that master was by Petrie, the Victorian collector). "Perhaps it was that O'Carolan wrote, to an existing tune, a song in which he satirized the scandal of 1722 involving the minting of excessive amounts of copper money by the aforementioned William Wood, a conniving copper mine owner" (Williamson). Gatherer identifies the air as a composition from the early 1700's by the Laird of Galashiels' piper. It was popular in the early years of the 19th century in the Borders. Scottish versions were printed by Oswald in the 1740's, and by Munro, who composed a variation sonata (air-allemand-largo-giga) on the tune (which appears in his Collection of Scots Tunes, 1732). It also appears in the Gillespie Manuscript of Perth (1768). Collinson says the tune was referred to as early as 1700 and was associated with the Border pipes, while Johnson (1984) dates the tune to 1710, on stylistic criteria. Neil (1991) remarks that thetitle is thought to originate from an episode in 1337 when an English army was retreating down the Gala Water from Edinburgh. The troop had thought to rest themselves in an area where wild plums grew in profusion on the riverbank, when, taken by surprise, they were nearly wiped out by the Scottish forces. A site called "The Englishman's Syke" or "Laid Stane" marks the location where the fight was fiercest."
**
Galashiels became a Burgh of Barony in 1599, when the Baron and
his baillie administered justice and where a number of privilages,
including the holding of markets and fairs were conferred. On
those occasions, a herald would make a proclamation from the
foot of the town cross. One of the most famous criers was Wattie
Blaikie, who made the proclamation holding any old piece of
'paper' in his hands and he would declare the fair open on behalf
of the Scott of Gala and his deputy the Baillie but 'prohibiting all
Egyptians, randy beggars and cutters of purses' from being present
and that no one was to be 'molestit for auld or new debt, auld feud
or new feud!' The cry was concluded by 'God Save the King' and a
roll of drums by the town drummer. (Neil)
**
Source for notated version: James Gillespie Manuscript (Perth, 1768) [Johnson]. Emmerson, 1971; No. 101, pg. 197. Gatherer (Gatherer's Musical Museum), 1987; pg. 28. G.F. Graham, Songs of Scotland, 1848. Johnson, 1984; No. 8, pg. 25. Neil (The Scots Fiddle), 1991; No. 43, pg. 57. Wood, Songs of Scotland (1848-49). Flying Fish FF358, Robin Williamson - "Legacy of the Scottish Harpers, Vol. 1."
SUGAR IN THE GOURD [2]. The tune is closely related to the Irish hornpipe tune "The Poor Old Woman" (An tSeanbhean Bhocht). Bruce and Emmett (The Drummer's and Fifer's Guide), 1880; pg. 57.
VINTON'S HORNPIPE. AKA and see "The Silver Box Hornpipe," "Vincent's Hornpipe," "St. Vincent's Hornpipe," "Lord St. Vincent," "O'Fenlon's Hornpipe." American, Hornpipe. USA; New England, southwestern Pa., Missouri. B Flat Major (Cole, Ford, Miller & Perron, Page, Phillips, Tolman): C Major: G Major (Bayard). Standard. AB (Bayard): AABB (Cole, Ford, Miller & Perron, Page, Tolman). The melody appears in "Old Familiar Tunes," published by Theodore Presser Co. of Philadelphia, Pa. Bayard thinks the "Silver Box Hornpipe," dated c. 1770, is a simple, perhaps early, version of the tune, and as "St. Vincent's Hornpipe" the tune appears in mid-nineteenth century English collections. The piece is in the repertoire of Missouri fiddler Kelly Jones (b. 1947) who, having the ability to read music, learned the melody from Coles 1000 Fiddle Tunes, as previous generations of sight-reading mid-western fiddlers had learned this and similar tunes from both Coles 1001 and its predecessor, Ryan's Mammoth Collection. Sources for notated versions: Walter Neal (fiddler from Armstrong County, Pa., 1952) [Bayard]; Kelly Jones (Mo.) [Phillips]; Winston Fitzgerald (Cape Breton) [Cranford]. Bayard (Dance to the Fiddle), 1981; No. 390, pg. 373. Bruce-Emmett (The Drummer's and Fifer's Guide), 1880' pg. 26. Cole (1001 Fiddle Tunes), 1940; pg. 90. Cranford (Winston Fitzgerald), 1997; No. 21, pg. 8. Ford (Traditional Music in America), 1940; pg. 109. Harding's Original Collection (1928) and Harding Collection (1915), No. 65. Howe (Diamond School for the Violin), 1861; pg. 45. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 118. Page (Ralph Page Book of Contras), 1969; pg. 9. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 231. Robbins, 1933; No. 105. Tolman (Nelson Music Collection), 1969; pg. 18. White's Excelsior Collection, 1907; pg. 49. Missouri State Old Time Fiddlers' Association, Kelly Jones (b. 1947) - "Authentic Old-Time Fiddle Tunes."
T:Vinton's Hornpipe
L:1/8
M:C|
K:B_
fd|d2B2 Bc dB|cB AG F2 FE|DF BF dB ed|cB AG F2fe|
d2B2B2gf|e2c2c2cB|Ac fa gb g=e|f2a2f2:|
|:fe|dB AB dB AB|GE DE GE DE|cd ec Bc dB|AB cA F2fg|
fB AB gB AB|aB AB bB AB|FG AB cd cA|B2d2B2:|