BABBITY BOWSTER/BOLSTER. AKA - "Bee-Ba-Babbity." AKA and see "Country Bumpkin," "Who learned you to dance and a towdle." Scottish, Jig. This common Scottish melody (which Emmerson {1972} states is "yet on the lips of every Lowland child") first appears in the Skene Manuscript (1620) under the title "Who learned you to dance and a towdle," and later was printed by Stewart in his Reels (c. 1768) as "Country Bumpkin" and by Aird in Airs (1782) as "Bab at the Bowster." A tune by this title shows up as a fugue theme in Barsanti's overture in G, op. IV no. 9, c. 1750. Flett & Flett (1964) explain that "Babbity Bowster" is the name of a kissing dance once widely performed as the last dance at country dances in Scotland, though the name changed from region to region. In the Borders and Aberdeenshire it was known as "Babbity Bowster," a corruption of "Bob at the Bolster," in Fife and Lanarkshire as "Bee Bo Bobbity," in the Highlands and the Isles under the Gaelic titles "Ruidhleadh nam Pog" (The Kissing Reel), "Dannsadh nam Pog" (The Kissing Dance), and also by the English names "Blue Bonnets," "The Bonnet Dance," "The Bonny Lad," "Pease Strae" and "The White Cockade." In Orkney (where it was danced as late as 1925) it was called the "Lang Reel," "The Swine's Reel", "The Reel of Barm" or as "Babbity Bowster." The dance began with a man displaying a twisted handkerchief who then selected a woman, spread the handkerchief on the floor and both knelt and kissed. Then it was her turn to join the dance and to select another from the audience to kiss and join the dance. There were many variations of steps and endings, and in some regions it was customary for the man to escort the woman home whom he had chosen during the dance. A poetic description is given in Alexander Fordyce's piece A Country Wedding (1818):
***
...but custom is pressing
That Bob at'e Bowster be danced ere you go
We must close in the door, tho' constraint be distressing,
Bestman, let us see where the napkin you'll throw:
***
That's plenty o' capers, come, kiss and be done, Sir,
Another, another, and round, round you go
The circle increases; that squeak in the tune, Sir,
Is meant, by the fiddler, more kissing to show.
***
Flett & Flett make the connection of this dance with an earlier and very similar dance called "The Cushion Dance" or "Joan Sanderson," which was danced at court at the time of the Restoration. The 'bolster' of the Scottish title was in fact the 'cushion' referred to in the English name, and refers to the small pillow that was used at one time before the handkerchief was substituted.
BATTLE OF CREMONA, THE. AKA and see "The Lea Rig." Irish, March. At the Battle of Cremona in 1702 the píob mhór of the Irish Brigade was heard to play this older air during their struggle against the Germans. Afterwards the tune was only known by this name (Collinson, 1975). The Irish Brigade played it again (along with "St. Patrick's Day in the Morning" and "White Cockade") in 1745 at the Battle of Fontenoy when, as part of the French forces, they fought the English. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 1, No. 81.
BLUE BONNETS OVER THE BORDER [1]. AKA and see "All the Blue Bonnets are Over the Border," "Over the Border," "Blue Bonnets Jig," "Blue Bonnets," "Scotch Come Over the Border" (Pa.). Scottish, Slow Air (6/8 time), Jig, Country Dance Tune or March. B Flat Major (Athole, Skye): D Major (Neil). Standard. AAB. Samuel Bayard thinks this tune was fashioned in the 1740's into a quick dance piece in 6/8 from a slow 3/4 time song tune from about 1710 or earlier called "O Dear Mother (Minnie) What Shall I Do?" This "Blue Bonnets Over the Border" was in turn the basis for a 4/4 version called "Braes of Auchtertyre/Auchentyre," "Belles of Tipperary" and "Beaus of Albany;" out of this group of tunes came "Billy in the Lowground/Low Land." Michael Diack's, on the other hand, has written in his Scottish Country Dances that "Blue Bonnets" is derived from a 17th-century
Scottish tune called "Lesley's March to Scotland." If this is the "Leslie's March" printed by Oswald (1755) and Watts' Musical Miscellany (1731), then the resemblance seems obscure and based on a few motifs. The tune, correctly classified a jig, often appears under the label 'country dance tune' because of its long association with the dance. Neil's (1991) version is an adaptation of one appearing in Uilleam Ross's Collection of Pipe Music (1869), and the piece is said to be a quickstep march of the Black Watch. 'Blue bonnets' is a euphemism for the Scots, stemming from the custom of Jacobite troops to identify themselves with a white cockade worn on a blue bonnet. The white cockade emblem is said to have originated when Bonnie Prince Charlie plucked a wild rose and pinned it to his hat. Lyrics to the tune were written by Sir Walter Scott, who based them on an old Cavalier song (Scott also mentions the song in his novel The Monastery).
***
March! march! Ettrick and Leviotdale,
Why, my lads dinna ye march forward in order?
March! march! Eskdale and Liddesdale,
All the blue bonnets are over the Border.
Come from the hills where your hirsels (i.e. sheep) are grazing,
Come from the glen of the buck and the roe,
Come with the buckler, the lance and the bow
Trumpets are sounding, war-steeds are bounding
Stand to your arms and march in good order
England shall many a day tell of the bloody frey
When the blue bonnets come over the Border.
***
MacDonald (The Skye Collection), 1887; pg. 162. Neil (The Scots Fiddle), 1991; No. 25, pg. 34. Stewart-Robertson (The Athole Collection), 1884; pg. 145. A & M Records 79602 2000-2, Ashley MacIsaac - "Close to the Floor" (1992). Culbernie Records CUL 102, Alasdair Fraser & Jody Stecher - "The Driven Bow" (1988). Rounder RO 7023, Natalie MacMaster - "No Boundaries" (1996. A jig setting learned from her uncle, fiddler Buddy MacMaster).
T:Blue Bonnets Ow'r the Border
L:1/8
M:6/8
R:Country Dance
B:The Athole Collection
K:B_
B,3 B,>CD|B>cd B2F|BGG G2g|g>fd c2B|B,3 B,>CD|B>(3c/d/c/) BGF|
G3 FDF|FBD C2B:|
|:Bdf fdB|gfd c2B|Bdf g>ab|B>(3c/d/e/) c2B|Bdf fdB|gfd cBc|G3 FDF|
FBD C2B:|
BURNT OLD MAN [1] ("An Seanduine Doit/Doighte" or "Sean Duine Dóite"). AKA - "Burdened Old Man." AKA and see "Georgie, the Dotard," "Hob or Nob." Irish, Air (6/8 time). D Major. Standard. AAB. Bayard (1981) believes this tune to be a cognate of the tunes "Miss McLeod's Reel" and "The Campbells are Coming", and that all three are "recognizable cognates of 'The White Cockade' as well." The song (which features bawdy lyrics on the 'maids never wed an old man' motif) can be found in Peter Kennedy's Folksongs of Britain and Ireland and was recorded by Relativity on their first album of the same name (Green Linnet SIF 1059). Caoimhin Mac Aoidh remarks that most older Irish fiddlers (even English-speaking ones) know the tune by the Gaelic name, "Sean Duine Dóite" (pronounced "shaan din-uh doy-chuh"), but that the English name is prevailing among the younger players. While the Irish word dóite does mean burnt, the title would be more meaningfully translated as "The Withered Old Man." The alternate title "The Burdened Old Man" is not used in Ireland. Breathnach's "Anthony Frawley's Jig" is a related tune. Baoill (Ceolta Gael), pgs. 84-85. O'Neill (1850), 1979; No. 90, pg. 17.
CAMPBELLS ARE COMING, THE [1]. AKA and see "The Burnt Old Man," "Campbell's Frolic," "Hob or/A Nob," "I was at a Wedding in Inverara Town," "O Tommy Come Tickle Me" (Pa.), "The Old Man," "An Seanduine." Scottish (originally), American; Jig, March and Air (6/8 time). USA; Arkansas, New York, southwestern Pa. G Major (Ford, Gow, Harding, Kerr, Mitchell, Sweet): F Major (Emmerson). Standard. One part (Ford): AB (Emmerson): AA'B (Gow, Mitchell): ABB (Harding): AABB (Kerr, Sweet). The melody is punctated like a Scotch Measure in jig time--tunes like this are classified by Oswald and others as "Scotch Jigs." Grattan-Flood, typically and without much evidence, claims the tune is Irish. Another claim is that the tune was composed for a song on or about the period of Mary Queen of Scots' imprisonment in Loch Leven Castle. "The Campbells are Coming" was known as a Whig tune and as such was played by the vanguard of the loyalist Scottish troops, many Clan Campbell, as they marched in opposition to the ill-fated Jacobite rebels of 1715 led by the Earl of Mar (knicknamed 'Bobbing John') [Winstock, 1970]. The Robert Wodrow Correspondence records that in 1716 each of three companies of Argyle's Highlanders entered Perth and Dundee led by a piper playing "The Campbells are Coming," "Wilt thou play me fiar play, Highland Laddie," and "Stay and take the breiks with thee."{see also notes for those tunes}. James J. Fuld in The Book of World Famous Music (1966) notes the tune was mentioned in a letter (probably the one by the aforementioned Wodrow) dated 1716, although it was not printed until 1745 when it appeared in a Scottish collection. Despite mention of the existance of a melody by that name early in the 18th century, Glen (1891) finds the first printed version of the melody not to have been until Robert Bremner's 1757 collection Scots Reels (pg. 83), although it also is said to appear in James Oswald's Caledonian Pocket Companion (c. 1750). Another printing with the "Campbell" title appears somewhat later in the 1768 Gillespie Manuscript from Perth. Further to the south in Britain, the title was included in Henry Robson's list of popular Northumbrian songs and tunes, which he published c. 1800.
**
The melody is to be found as a country dance called "Hob or Nob" in collections earlier than Bremner. It can be found, for example, in Walsh's Caledonian County Dances (4th book) of c. 1745, in Johnson's Collection of 200 Favourite Country Dances (1748), and other contemporary dance books.
**
"The Campbells are Coming" was transplanted to American country dance tradition and appears in repertories of dance fiddlers in New York and Pennsylvania (Harry Daddario, Union County, Pa.). Musicologist/folklorist Vance Randolph recorded the tune for the Library of Congress from Ozark Mountain fiddlers in the early 1940's. Samuel Bayard (1981) also collected the tune from Pennsylvania fiddlers. He notes that the cadences of the 'A' parts are different in modern versions from those in the 18th and 19th century where the tune ended on the major third. He sees the American versions, which end on the tonic, as a "rebellion" against the 'circular' or 'endless' tunes from the British Isles. The cognates of the tune family that "The Campbells Are Coming" belongs to include "The Baldooser," "The Burnt Old Man" and "The Field of Hay," but more importantly Bayard speculates that the popular dance tunes "Miss McLeod's Reel" and "The White Cockade" also derive from the same source. Other writers have also noted the connection with "Miss McLeod's Reel;" Breathnach (1977) and O'Neill (in his introduction to The Dance Music of Ireland) both point out that "The Campbells Are Coming" is the same air as "Miss McLeod" only played in jig time. The Pennsylvania version, altered in the 'B' part, takes its alternate title from the ditty sung to it:
**
O Tommy come tickle me, I'll tell you where;
Just under my navel there's a big bunch of hair. (Bayard).
**
Sources for notated versions: Floyd Woodhull, 1976 (New York State) [Bronner]; Amasiah Thomas (Jefferson County, Pa., 1952) [Bayard]; Irvin Yaugher (Fayette County, Pa., 1946) [Bayard]; Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Bayard (Dance to the Fiddle), 1981; No. 539A-C, pgs. 478-480. Bronner (Old Time Music Makers of New York State), 1987; No. 15, pg. 78. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 81, pg. 160. Ford (Traditional Music in America), 1940; pg. 110. Gow (Complete Repository), Part 1, 1799; pg. 15. Harding's All Round Collection, 1905; No. 189, pg. 60. Jarman (Old Time Fiddlin' Tunes), No. or pg. 17. Johnson (Scots Musical Museum), 1790; No. 299. Kerr (Merry Melodies), Vol. 1; No. 16, pg. 32. Mitchell (Willie Clancy), 1993; No. 90, pg. 80. O'Malley and Atwood (Seventy Good Dances), pg. 11. Sweet (Fifer's Delight), 1964/1981; pg. 18. Tyson (Twenty-Five Old Fashioned Dance Tunes), No. 10. Gennett 6121 (78 RPM), Uncle Steve Hubbard and His Boys, c. 1928. Victor 20537 (78 RPM), Mellie Dunham (appears as last tune of the improbably named "Medley of Reels").
CAMPTOWN HORNPIPE [1]. AKA and see "White Cockade." New England, Country Dance Tune (cut time). G Major. Standard. One part. Burchenal also prints a contra dance of the same name with the tune. Burchenal (American Country Dances, Vol. 1), 1917; pg. 18.
CAMPTOWN HORNPIPE [2]. AKA and see "Granny Will Your Dog Bite" (Pa.). Old-Time, Reel. USA, Pa. D Major. Standard. AABB. Not the "Camptown Hornpipe" in Burchenal, which is really the "White Cockade" married to the name of the dance. See also notes for "Harry Cooper" and "Granny Will Your Dog Bite." Bayard (1981) collected several versions of this tune with the same or similar 'A' parts, but varying 'B' parts. Bayard (Dance to the Fiddle), 1981; No. 58, pg. 40.
CNOTA BAN, AN. AKA and see "The White Cockade."
CRUMB CREEK POSEY. AKA and see "My Love She's But a Lassie Yet," "The Kings Head," "Lindsay Munnell Tune," "The Virginia Reel," "The White Cockade." American, Reel. USA, southwestern Pa. D Major. Standard. AB (irregular time). Except for the first, the alternate titles were local southwestern Pa. titles, however, all versions of the tune were derived from the Scottish original "My Love She's But a Lassie Yet." Source for notated version: James Bryner (Fayette County, Pa., 1946) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 323D, pgs. 283-284.
DUKE OF BUCCLEUGH'S TUNE, THE. AKA and see "The White Cockade," "The Ranting Highlander/Highlandman," "The Highland Laddie," "Fiddler's Morris." Scottish, Country Dance Tune (4/4 time). E Minor. Standard. AABB. The melody appears in John Playford's Apollo's Banquet (Fifth Ed., 1687 {No. 114} and Sixth Ed., 1690) and is an early version of "Watson's Scotch Measure." Fuld (1966) finds the "germ of the melody" of the modern air to the song "Old Lang Syne" in this tune. Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 27, pg. 128.
T:The Duke of Buccleugh's Tune
B:Apollo's Banquet, 1990, via...
B:The Popular Songs and Melodies of Scotland
Z:Nigel Gatherer
M:2/4
L:1/8
K:G
G<EG<E|A>GAB|G<EG>A|B2 d z|
GE/F/ GE|A>GAB|G<EG>A|B2 d z|]
FIDDLER'S MORRIS. AKA and see "Highland Laddie," "The Ranting Highlander/Highlandman," "The White Cockade," "The Duke of Buccleugh's Tune."
FIELD OF HAY, THE. Irish, Jig. E Flat Major. Standard. AB. Resembles both "The Campbells Are Coming" and "The White Cockade"--Bayard (1981) wonders if they all are indeed related and from some common ancestor. Source for notated version: noted from the whistling of Philip Gleeson, Coofree, county Limerick [Joyce]. Joyce (Ancient Irish Music), 1873/1890; No. 89, pg. 82.
HIGHLAND LAD MY LOVE WAS BORN, A. AKA and see "White Cockade," "Watson's Scotch Measure." This lyric by burns was originally set to "Watson's Scotch Measure," but is now commonly associated with the similar melody "White Cockade."
HIGHLAND LADDIE, THE [3]. AKA and see "White Cockade," "Fiddler's Morris," "The Ranting Highlander/Highlandman."
HOB OR/A NOB.. AKA and see "The Campbells Are Coming," "The Burnt Old Man," "The Old Man," "An Seanduine" (The Old Man), "Robi Down/Donn." English, Scottish, American; Country Dance Tune (6/8 time). England, Northumberland. USA, Connecticut, Pennsylvania. G Major. Standard. AABB. The melody is recognizable to modern ears as the Scots air "The Campbells are Coming." The melody first appears in collections in England, including Walsh's Caledonian Country Dances (4th book, c. 1745) and Johnson's Collection of 200 Favourite Country Dances (1748). Flood (1906) identifies the melody, which he claims was originally Irish, as a Jacobite era song (early 18th century) annexed by the Scots and used as the vehicle for the song "The Campbells are Coming." An American, Daniel Burnap, included it in several of his chime clocks, which he manufactured in the late 18th century at East Windsor, Connecticut. The melody under the "Hob" title is also contained in Timothy Swan's Suffield, Connecticut, MS of 1777. A related air, which Bayard (1981) says is "doubtless a descendant of the original melody," is "Robi Down/Donn." When played in duple time several writers have noticed similarities with "Miss McLeod's Reel" and even "The White Cockade." Aird (Selections), Vol. 1, 1778; No. 21. American Veteran Fifer, 1927; No. 58. Ford (Traditional Music in America), 1940; pg. 110. Gow (Complete Respository), Vol. 1, 1784; pg. 15. Graham, 1908; pg. 169. Harding's Original Collection, 1928, and Harding Collection, 1915; No. 186. Harding's All-Round Collection, 1905; No. 189. Howe (School for the Violin), 1851; pg. 35. Howe (Diamond School for the Violin), 1861; pg. 41 and pgs. 60-61 (as part 2 of Caledonian Quadrilles). Jarman, 1951; pg. 63. Kerr (Merry Melodies), Vol. 1; pg. 32. Johnson (Scots Musical Museum), Vol. 2, 1788; No. 299. O'Malley, 1919; pg. 11. Oswald, (Caledonian Pocked Companion), Vol. 2, 1780?; pg. 24. Robbins, 1933; No. 32. Seattle (William Vickers), 1987, Part 3; No. 443. Smith (Scottish Minstrel), Vol. 1, 1820; pg. 32. Sweet (Fifer's Delight), 1964; pg. 37. White's Excelsior Collection, 1907; pg. 74.
INNOCENT MAID. American?, Jig. A Major. Standard. AABB. From the diary of Elizabeth Bancroft (Groton, Mass.), April, 1794, which reads: "Tuesd 15 Went to the dancing school danced a number of set dances, a room full of spectators. Wed 16 Was at the dancing, a number of spectators. we danced the soldiers Joy, York Fuzilier, Innocent Maid, White Cockade, Rural Felicity, &c." (Morrison, 1976). Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 27.
HURRAH FOR THE BONNETS OF BLUE. English, Jig. England, Northumberland. G Major (Hall & Stafford, Raven): D Major (Sweet). Standard. AB (Hall & Stafford, Raven): AABB (Sweet). 'Blue Bonnets' is a euphemism for the Scots, steming it is said from the custom of Jacobite troops identifying themselves with a white cockade worn on a blue bonnet, the only thing that passed for a uniform in those days. The white cockade emblam is said to have originated when Bonnie Prince Charlie plucked a wild rose and pinned it to his hat. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 14. Raven (English Country Dance Tunes), 1984; pg. 112. Sweet (Fifer's Delight), 1964/1981; pg. 21.
T:Hurrah for the Bonnets of Blue
L:1/8
M:6/8
K:G
D|GAG Bcd|DED DEF|G2e dBG|A3 zBA|GAG Bcd|DED D2e|dc<B AGA|G4z||
G|FGA ABA|D3 D2A|FGA AB^c|d3 d2c|BBA GEF|G2A B2^d|eBA GAF|E3 E2F|
GAG BdB|G3 G2D|GGe dBG|A3 A2A|BBA GAB|cde d2c|d>cB AGA|G3G2||
LAD WITH THE WHITE COCKADE, THE. AKA and see "White Cockade."
MY LOVE IS/SHE'S BUT A LASSIE YET [1]. AKA and see "Buffalo Nickel," "Chinky Pin," "Chinquipin," "Crumb Creek Posey," "The Cumberland Square Eight," "Darling Child," "The Duke of York," "Farmer Had a Dog," "Fourth of July," "Hair in the Butter," "I'm My Momma's Darling," "The King's Head" (floater-Pa.), "Lead Out," "Lindsay Munnell Tune" (Pa.), "Love Somebody(, Yes I Do!)," "Midnight Serenade," "Miss Farquharson's Reel," "Old Kingdom," "Richmond Blues," "Sweet Sixteen," "Ten Nights in a Bar Room," "Too Young to Marry," "The Virginia Reel" (floater-Pa.), "The White Cockade" (floating title, Pa.), "Yellow Eyed Cat." Scottish, English, American; Reel and Country Dance Tune. USA; New England, Southwestern Pa., New York. England, Northumberland. D Major (Bayard, Ford, Kennedy, Kerr, Neil, Sweet, Thede, Trim): C Major (Huntington). Standard. AB (Sweet): AABB (most versions). The title was fixed on the tune because of two songs composed to it, one by Robert Burns and the other by the "Ettrick Shepherd," James Hogg, although the tune seems to have first appeared in print in Bremner's Scots Reels" of 1757 as "Miss Farqharson's Reel." It was rumoured to appear in James Aird's collection (of Scottish tunes), but Samuel Bayard (1981) could find neither the title nor the music therein. The writer of Gems of Scottish Song asserts that the original title of the tune was "Lady Bodinscoth's Reel." Although of Scottish origin it soon became a popular tune south of the Tyne, as attested to the title's appearance in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. "My Love She's But a Lassie Yet" is also the name of a Scottish country dance, though a somewhat unusual one (Flett & Flett, 1964).
***
The melody also found currency across the ocean and Bayard deems it perhaps the most widespread instrumental folk tune in Pennsylvania tradition, and that it in fact seems mostly to have been known as an instrumental air among folk musicians in general. The tune was printed under the title "Richmond Blues" in George P. Knauff's Virginia Reels, volume II (Baltimore, 1839) and was still cited as commonly played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly). In the South, old-timey musicians know the tune under the title "Too Young to Marry". American Veteran Fifer, 1927; No. 61, pg. 31. Bayard (Dance to the Fiddle), 1981; No. 323A-V, pgs. 283-289. Bruce & Emmett (Drummers and Fifers Guide), 1880; pg. 24. Ford (Traditional Music in America), 1940; pg. 51. Gems of Scottish Song, pg. 160. Gow (Vocal Melodies of Scotland), 1822, 2nd ed. pg. 21. Graham, 1908; pg. 32. Howe (Diamond School for the Violin), 1981; pg. 60 (appears as a set of "Caledonian Quadrilles"). Jarman, Old Time Fiddlin' Tunes; No. or pg. 20. Johnson (Scots Musical Museum), 1787-1803, Vol. 3, No. 225, pg. 234. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 57, pg. 28. Kerr (Merry Melodies), Vol. 1; No. 10, pg. 22. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 60. Neil (The Scots Fiddle), 1991; No. 186, pg. 241. Ostling, 1939; pg. 21. Riley (Flute Melodies), 1820; Vol. 2, No. 22. Smith (Scottish Minstrel), 1820-24, Vol. 5, pg. 106. Sweet (Fifer's Delight), 1965/1981; pg. 56. Thede (The Fiddle Book), 1967; pg. 47. Trim (Thomas Hardy), 1990; No. 20. Wilson (Companion to the Ballroom), 1840; pg. 65. F&W Records 1, "F&W String Band."
T:My Love is But a Lassie Yet
L:1/8
M:C|
K:D
|:dc|d2D2F2A2|d2D2D2 dc|d2D2F2A2|e2E2E2 dc|
d2D2F2A2|B2g2f2e2|dc BA Bc de|f2d2d2:|
|:fg|a3f g3e|f2d2d2 fg|a3f g2a2|b2e2e2 fg|a2 fg g2 eg|
f2 df e2A2|dcBA Bcde|f2d2d2:|
O, AN YE WERE DEAD, GUIDMAN. AKA - "O Gin ye were dead Gudeman." AKA and see "The White Cockade," "Watson's Scotch Measure." Scottish, Country Dance (cut time) or Air. F Major. Standard. AABB. The tune is "Watson's Scotch Measure" associated with a song called "O, an ye were dead gudeman" which appears in Gude and Godlie Ballates (1567). Stewart-Robertson (The Athole Collection), 1884; pg. 151.
T:O Gin Ye Were Dead Gudeman
L:1/8
M:C|
R:Country Dances
B:The Athole Collection
K:F
CD/E/|F2F2c2F2|A2G2 GBAG|F2F2c2F2|A2f2c3f|
fefc ABcA|fdcA G2AG|F2f2 cdBc|A2F2F2:|
|:c/d/e|fefg fgaf|gfga agfd|cdfg fgag|fgfc ABcA|
defc ABcA|fdcA G2AG|F2f2 cdBc|A2F2F2:|
O DEAR MOTHER MY TOES ARE SORE [2]. AKA and see "Monongahela March" (Pa.), "Clicksticks" (Pa.), "Jinny O Jinny My Toes Are Sore" (Pa.), "The White Cockade" (Pa. floating title). American, Jig or March. USA, southwestern Pa. D Major. Standard. AB. Bayard (1981) groups several variants because of the common first strain, which he believes is "rather old," while the second strains are often distantly or not at all related. Other tunes sharing this first strain are: "Rustic Reel," "Virginia Reel," "Libby Prison Quickstep," "First Western Change," and "City Guards." Sources for notated versions: 11 southwestern Pa. fiddlers and fifers [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 453A-K, pgs. 435-438.
OLD WHITE COCKADE, THE. Irish, Air (2/4 time). C Major. Standard. AB. Carlin (Master Collection), 1984; No. 192, pg. 115.
PRESIDENT'S MARCH, THE [1]. American, March. Identified by 93 yr. old Benjamin Smith of Needham, Mass. in 1853 as one of the most popular tunes of the Americans in the Revolutionary War, until their musicians learned "Yankee Doodle" and "The White Cockade" from hearing the British playing them in the distance (Winstock, 1970; pg. 71). The distinguished Shaker Issachar Bates, who served as a fifer boy at Bunker Hill, used this melody as the basis for his hymn "Rights of Conscience," expressing his pacifist views. Shakers who had served in the Revolution declined all soldiers' benefits bestowed by the United States government and 'consienciously objected' to further military service.
RANTING HIGHLANDER/HIGHLANDMAN, THE. AKA and see "White Cockade," "Highland Laddie," "Fiddler's Morris," "The Duke of Buccleugh's Tune." Scottish, Reel. A Mixolydian. Standard. AABB'. The tune appears as "A Ranting Highland Man" in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." It also can be found contained in James Aird's 1782 collection (pg. 1), and in the Gillespie Manuscript of Perth (1768). The tune was later retitled "The White Cockade" and has enjoyed considerable fame under that title. Gow (Complete Repository), Part 1, 1799; pg. 23. Kerr (Merry Melodies), Vol. 2; No. 42, pg. 7.
T:Ranting Highlandman, The
L:1/8
M:C|
S:Gow - 1st Repository
K:A
e|A/A/A ed c>dec|(d/=c/B/A/) =GB gBBa|A/A/A ed c>dec|dBgB aAA:|
g|(a/g/f/e/) fd c>dec|(d/=c/B/A/) =GB =gBBg|(a/g/f/e/) fd c>dec|dBgB aAAg|
(a/g/f/e/) f>d c>dec|(d/=c/B/A/) =GB gBBg|af=ge fdec|Bagb aAA||
RIFLEMAN, THE. English, Reel. B Minor ('A' part) & D Major ('B' part). Standard. AABB. There is a country dance called The Rifleman which was danced in the Scottish Border counties as late as 1926, report Flett & Flett (1964). The dance was quick and incorporated the whole first figure of The First Set of Quadrilles; it was performed to the tune "The Rifleman" or sometimes to "The White Cockade." Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 49, pg. 24. Raven (English Country Dance Tunes), 1984; pg. 170.
ROAD TO BOSTON. AKA and see "On the Road to Boston," "Boston March," "Road to London." American, Reel. USA; New England, Pennsylvania. D Major. Standard. AABB (most versions): AA'BB' (Phillips). "This old fifers' march is known by the above name in the Northeast as well as in Pennsylvania. A New England game song beginning:
***
It's a long road to Boston, boys, (ter)
Oh when shall we get there?
***
may possibly account for this title; if so, the fact emphasizes the close connection between playparty and dance tunes to which we have already referred (see Introduction). Mr. Devan stated that there were words known to the tune in Fayette County, but he could not recall them. They may or may not have included those just quoted" (Bayard, 1944). In his 1981 collection Bayard calls the tune international, at least the first strain, and probably quite old. Close variants from the Continent appear in Bouillet, Album Auvergnat, pg. 30, as "Bourree d'Aigueperse," and in Quellien, "Chansons et Danses des Bretons," (p. 287, No. 9) {Ed.--This bourree also appears in Stevens Massif collection, collected in the Auvergne region of Central France); while the second part of an Irish tune described as a 'quadrille' corresponds to the first part of "Road to Boston" (see Joyce 1909, No. 277). A southern variant appears in Ford, p. 174, as "Exhibition March No. 2."./ One of the tunes identified by 93 yr. old Benjamin Smith of Needham, Mass., in 1853 as the most popular American army tunes of the Revolutionary War; until their musicians learned "Yankee Doodle" and "The White Cockade" from hearing the British playing them in the distance (Winstock, 1970; pg. 71). Sources for notated versions: whistled by J.W. Devan (Connellsville, Pa., 1943; as he formerly played it on the fife) [Bayard, 1944]; Wilbur Neal (Jefferson County, Pa., 1948), James Morris (elderly fiddler from Greene County, Pa., 1930's), Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960), Samuel Wiltrout (Fayette and Westmoreland Counties, Pa., 1944), Marion Yoders (fifer and fiddler from Greene County, Pa., 1960) [Bayard, 1981]; Rodney Miller (N.H.) [Phillips]. American Veteran Fifer, 1927; No. 56. Bayard (Hill Country Tunes), 1944; No. 19. Bayard (Dance to the Fiddle), 1981; No. 197, pgs. 153-154. Cazden, 1955; pg. 26. Cushing, 1805; No. 35. Hazeltine, 1820; pg. 35. Messer (Way Down East), 1939; No. 32. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 53. Ostling, pg. 21. Phillips (Traditional American Fiddle Tunes), 1994; pg. 199. Sweet (Fifer's Delight), 1965/1981; pg. 79. Alcazar Dance Series FR 204, Rodney Miller - "New England Chestnuts 2" (1981). North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village."
T:Road to Boston
L:1/8
M:C|
K:D
Ade|f4 f2ef|g2f2e2e/f/d|c2d2e2f2|d2A2F2A2|f6 ef|g2f2e2d2|c2d2e2c2|d6:|
|:fg|a4 a2^ga|b2a2gaf2|g6 fg|a2g2f2e2|f4 f2ef|g2f2e2d2|c2d2e2c2|d2A2d2:|
ST. PATRICK'S DAY (IN THE MORNING) {"La Feile Naoim Patraic," "La Feile Padraig" or "La Gheile Paidric"}. AKA and see "Barbary Bell," "The Kerry Dance" (Roche), "Patrick's Day," "Sheelah's Wedding," "Though Dark Be Our Sorrow," "The Old Woman Tossed Up" (Sharp). Irish, English, Scottish, American; Air, Set Dance (6/8 time) and Jig. USA; Maine, New York, Pennsylvania. England, Shropshire. G Major (most versions): D Major (Ashman). Standard. AAB (Kerr, O'Neill/1850 & 1001, Sweet): AABB (most versions): AA'BB' (Miller & Perron). The first mention of the tune is that it was one of two tunes (with "The White Cockade") played by the pipers of the Irish Brigade attached to the French forces which helped turn the tide of battle against the English troops at the battle of Fontenoy on May 11, 1745. Flood (1906) and O'Neill (1913) believe was probably the last appearance in battle of the Irish Piob mor (war pipes or great pipes, which survived only in Scotland) of which there is any mention. Rutherford's 200 Country Dances, volume 1, 1756, contains the first country dance printing of the tune, which also appears in English collections as a jig by the name "Barbary Bell." Typically for popular melodies of the time, it also became the vehicle for many songs, including air 35, "A plague of these wenches," in the opera Love in a Village by T.A. Arne and I. Bickerstaffe (London, 1762). As song, country dance or quickstep it remained popular for many years. In later military tradition it was played on December 31, 1811 by the 87th Regiment band as a French attack became a rout at Tarifa, and Winstock (1970) remarks it was a favourite quickstep of the Napoleonic era Peninsular War in the British army. Queen Victoria requested the melody from piper Thomas Mahon when she and the Prince Consort visited Ireland for the first time in 1849. Mahon was surprised to learn that she and the Prince were familiar "with the best gems in Irish music," and he also played "The Royal Irish Quadrilles" and "Garryowen" at their behest. The Queen must have been impressed with his playing, for she directed that henceforth Mahon have the title "Professor of the Irish Union Bagpipers to Her Most Gracious Majesty, Queen Victoria" (O'Neill, 1913).
***
The melody has been danced to in the United States for some two hundred years, and appears earliest in this country in Giles Gibbs' 1777 Connecticut fife MS. Clement Weeks, of Greenland, New Hampshire, copied dance directions to the melody in his MS copybook of 1783. In relatively modern times it has been cited as having commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly), and it was in the repertoire of Maine fiddler Mellie Dunham (The elderly Dunham was Henry Ford's champion fiddler in the late 1920's).
***
Samuel Bayard (1981) observes there are two main sets of the tune which have coexisted; a standard form and an extension form (having extra measures). He notes references under the given title above date back to 1748 and 1762 (see Moffat, pg. 272). Another form also has also existed for over 150 years to which Thomas Moore wrote his song "When in death I shall calm recline;" this form often appears in older collections under the title "The Legacy." Bayard collected both the standard and extension forms of the tune in southwestern Pennsylvania (he also collected a 2/4 version {No. 225, pg. 183} the source called by the floating title "The Drunken Sailor").
***
Sources for notated versions: six southwestern Pa. fiddlers and fifers [Bayard]; the Irish collector Edward Bunting noted the tune from Patrick Quinn the harper in 1792; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Aird (Selections), 1778, Vol. 1, No. 50. Allan's Irish Fiddler, No. 117, pg. 30. Ashman (The Ironbridge Hornpipe), 1991; No. 79, pg. 32. Bayard (Dance to the Fiddle), 1981; No. 633, pgs. 555-557. Carlin (The Gow Collection), 1986; No. 391. Bunting, 1840; pg. 67. Cole (1001 Fiddle Tunes), 1940; pg. 76. Cranitch (Irish Fiddle Book), 1996; No. 95, pg. 164. Crosby's Irish Music Repository, pg. 41 (appears as "Sheelaghs Wedding"). Ford (Traditional Music in America), 1940; pg. 63. Gow (Complete Repository), Part 3, 1806; pg. 18. Harding's All-Round Collection, 1905; No. 185, pg. 59. Harding Collection (1915) and Harding's Original Collection (1928), No. 41. Howe (Diamond School for the Violin), 1861; pg. 44. Howe (School for the Violin), 1851; pg. 32. JWFSS, Vol. 4, pg. 64. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 80, pg. 39 (appears as "Barbary Bell"). Kerr (Merry Melodies), Vol. 1, No. 35, pg. 39. MacFadyen's Selection of Scotch, English, Irish and Foreign Airs(??), Vol. II, No. 18. Miller & Perron (New England Fiddler's Repertoire), 1983; No. 48. O'Malley, 1919; pg. 8. O'Neill (1850), 1903/1979; No. 298, pg. 52. O'Neill (1001 Gems), 1907/1986; No. 975. O'Sullivan/Bunting, 1983; No. 91, pgs. 135-136. Oswald (Caledonian Pocket Companion), 1780?, Vol. 2, pg. 132. Raven (English Country Dance Tunes), 1984; pg. 106 (appears as "Barbary Bell"). Robbins, 1933; No. 43. Roche Collection, 1982, Vol. 3, No. 191, pg. 67 (appears as the set dance "Patrick's Day") and Vol. 2, No. 293 (appears as "The Kerry Dance"). Rutherford (200 Country Dances), Vol. I, 1756; No. 1, pg. 1. Saar, 1932; No. 7. Spandaro (10 Cents a Dance), 1980; pg. 44. Sweet (Fifer's Delight), 1965/1981; pg. 26. Sym, 1930; pg. 15. Thompson (Hibernian Muse), 1786; pg. 32. Tubridy (Irish Traditional Music), 1999; pg. 16. Walker's Irish Bards, pg. 33. White's Excelsior Collection, 1907; pg. 80. Wier, pg. 413. Edison 51381 (78 RPM), Jasper Bisbee, 1923 (appears as 2nd tune of "Girl I Left Behind Me" medley). Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker" (Michigan, 1966). John Edwards Memorial Foundation JEMF-105, L.O. Weeks - "New England Traditional Fiddling" (1978).
X:1
T:St. Patrick's Day in the Morning
L:1/8
M:6/8
K:G
GAG GBc|ded dBG|AGA BGD|EFE E2D|GAG GBc|ded dBG|AGA BGD|E2F G2D:|
|:def g2g|fed edB|def gag|fed e3|def g2g|fed edB|def gag|fed efg:|
X:2
T:St. Patrick's Day in the Morning
M:6/8
K:G Major
D|GAG GAB|ded dBG|AGA BGD|EFE E2D|
GAG GAB|ded dBG|AGA BGD|E2F G2:|
B|def gag|fed edB|def gag|fed e2d|
def gag|fed efg|dBG GAB|ded dBG|
AGA BGD|EFE E2D|GAG GBd|gfe dBG|
AGA BGD|E2F G2:|
THERE WAS A LAD (WAS BORN IN KYLE). AKA and see "Watson's Scottish Measure." Scottish, Air and Scots Measure. G Major. Standard. AB. The tune was first published as "Watson's Scottish Measure" associated today with Robert Burns's (1759-96) autobiographical lyric "There was a Lad" (though Burns originally used that air for "A Highland Lad my Love was Born," which is now associated with "The White Cockade"). Gow, Repository (Part 1), 1799. Hardie (Caledonian Companion), 1992; pg. 30.
UAILL-CHUMHA NA FEINNE. AKA and see "The White Cockade."
WALLS OF LIMERICK, THE [1]. Irish, Set Dance (3 parts, consisting of the tunes "The White Cockade," "Soldier's Joy," and "Rakes of Mallow"). G Major, D Major, G Major. Standard. AABBCCDDEEFF. The Walls of Limerick is the name of a céilí dance, to which, in modern times reels are the preferred vehicle (though polkas appear in older collections). The tunes printed in Allan's under the "Walls of Limerick" title (which refers to the dance) are "The White Cockade", "The Soldier's Joy" and "The Rakes of Mallow/Rigs of Marlow." Allan's Irish Fiddler, No. 119, pg. 31.
WATSON'S SCOTCH MEASURE. AKA and see "A Highland Lad my Love was Born," "O, An Ye were Dead," "There was a Lad was born i Kyle," "The White Cockade." Scottish, Scottish Measure. F Major. Standard. AABB. Emmerson (1971) thinks that Watson must have been a dancer or musician, else the honorific 'Mr.' would have been inserted. "There was a lad born I Kyle" is a title and line from a Robert Burns song set to the melody of "Watson's." Gow (1799) calls it "A very old tune." Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 26, pg. 128. Gow (Complete Repository), Part First, 1799; pg. 5. Henderson (Flowers of Scottish Melody), 1935 (appears as "There was a lad born in Kyle"). McGlashan, Collection of Scotch Measures, 17--. McGlashan (Collection of Strathspey Reels), 1778; pg. 7.
T:Watson's Scots Measure (sic)
L:1/8
M:C|
B:McGlashan - Collection of Strathspey Reels
K:F
CD|F2F2c2F2|A2G4CD|F2F2c2F2|A3fc3f|defc ABcA|dcBA G2FD|
F2f2 cdcB|A2F2F2:|
|:cd|fefg fgaf|gfga gagf|cdfg fgag|fgfc ABcA|defc ABcA|fdcA G2FD|
F2f2 cdcB|A2F2F2:|
WHITE COCKADE, THE [1] (An Cnota Bán). AKA and see "The Duke of Buccleugh's Tune," "The Ranting Highlander/Highlandman," "Fiddler's Morris," "A Highland Lad My Love Was Born," "The Highland Laddie," "The Lad With the White Cockade," "O, An Ye Were Dead, Guidman," "The Rose in the Garden" (a Kings County, PEI title), "White Cock Head." Scottish (originally), Irish, English, Canadian, American; Scottish Measure, Reel, March, or Country Dance. USA; New England, New Hampshire, Maine, southwestern Pa., New York, Michigan. Canada, Prince Edward Island. G Major. Standard. AB (Bayard, O'Neill/1850, Skye): AAB (Linscott): AABB (Athole, Breathnach, Brody, Carlin, Hardie, Hunter, Johnson, Kennedy, Miller & Perron, Morrison, O'Neill/1915, Raven, Shaw, Sweet, Trim). The tune in its original form is properly catagorized a Scottish Measure. One of the first printings of the air is in Playford's Apollo's Banquet of 1687 where it was called simply a "Scots tune," and another early title seems to have been "The Duke of Buccleugh's Tune." Bayard (1981) dates the tune to the latter 17th century (apparently due to the Playford publication), but admits it might be older, although Flood (1906) more decisively (though without documentation) identifies it as a popular air and song of 1615-1630. Linscott (1939) finds a relatively late printing by Herd in 1776, by which time the air was thoroughly established.
***
A cockade was a ribbon in the shape of a rosette used as a decoration on hats, and thus was a convenient vehicle to display the wearer's loyalties in much the same manner as a button or a bumper sticker nowadays. It was used especially as a uniform decoration and to mark irregular troops in the 18th century and various colors represented different loyalties. A white cockade was associated with Jacobite rebels in 1715 and again for Bonnie Prince Charlie's uprising in 1745, in both Scotland and Ireland. The Americans, with a high percentage of both Scots-Irish and Irish in their ranks who identified with the earlier rebels, adopted the white cockade as their symbol during the Revolutionary War and when France entered the war they added the black cockade of that country's troops, forming the black and white "Alliance cockade" (Johnson, Scottish Fiddle Music in the 18th Century, 1984, and others). It is popularly though the title of the tune refers to a these Jacobite symbols. Jacobite associations to it dimmed by the end of the century, allowing the tune to be absorbed (like the Highlander's kilts) and used as a march in the British army in 1812 where it appears in a military musician's manuscript book of the period (Winstock). Other military citations include it as one of two stirring tunes (along with "St. Patrick's Day in the Morning") played by pipers attached to the Irish Brigade in the service of France which helped to turn the tide of battle against the English troops in the battle of Fontenoy on May 11, 1745 (O'Neill, 1913). Flood (1906) and O'Neill (1913) state it was probably the last appearance in battle of the Irish Piob mor (war pipes or great pipes, which did survive in Scotland) of any mention.
***
The title is from a Jacobite song from the 18th century written by Muiris mac Daibhi mac Gerailt (Maurice FitzDavid FitzGerald) perhaps after, it has been variously suggested, the fashion of wearing white ribboned plumes in men's hats of the time or possibly to the white cockade which Dublin ladies wore in their hair to show their support of the House of Stewart. Breathnach (CRE II) reports that Seán Ó Dálaigh wrote a note to this song stating that it refers not, as many think, to a military cockade but rather to bouquets of ribbons worn by the young women of Munster at weddings and other such occasions early in the 17th century. This custom is referred to in a verse Ó Dálaigh attributes to the period poet Muiris Mac Gearailt:
***
A chailín donn deas an chnota bháin,
Do bhuair is mheall mé le h-iomad grá;
Tair-se liom 's ná de/an me/ chrá,
Mar do thug mé greann dod' chnota bán.
***
Oh pretty brown girl of the white cockade,
Who grieved and charmed me with abundance of love;
Come with me and don't torment me,
Because I mocked your white cockade. [translation by Paul de Grae]
***
The Scots poet Robert Burns rewrote the lyrics as "A Highland Lad my Love was
Born," but the tune itself seems to have been more popular than even his song, and it was often used as a vehicle for various songs about love, topography, and drinking (see "The Ranting Highlander," "The Highland Laddie," "Fiddler's Morris"). {As an aside, Burn's originally specified his lyric be sung to the tune of the song "O, and ye were dead, Guidman," which was written to the melody of "Watson's Scotch Measure"}. "White Cockade" was commonly played at Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly). The tune is associated with a dance of the same name in New England, and one set appears in Linscott's Folk Songs of Old New England; Johnson also prints a Scottish contra dance to the tune. Burchenal (1918) gives the tune as commonly played in that region for the contra dance Camptown Hornpipe. It was listed in the repertoire of Maine fiddler Mellie Dunham (the elderly Dunham was Henry Ford's champion fiddler in the late 1920's). The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. The English novelist Thomas Hardy, himself an accordion player and fiddler, mentions the tune in scene notes to his drama The Dynasts:
***
It is a June Midnight at The Duke & Duchess of Richmond's. A band
of stringed instruments shows in the background. The room is crowded
with a brilliant assemblage of more than two hundred of the distinguished
people sojourning in the city on account of the war and other reasons, and
of local personages of State and fashion. The ball has opened with 'The
White Cockade.'
***
The author of English Folk-Song and Dance (pg. 144) found the tune in the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway between Chrut and Thursley in Surrey), who, in his young days, used to play the fiddle at village dances. Tilbury learned his repertoire from an uncle, Fiddler Hammond, who died around 1870 and who was the village musician before him. The conclusion was that "The White Cockade" and similar old country dance tunes survived in tradition (at least in southwest Surrey) well into the second half of the 19th century. A jig form of the tune is known as "A Hundred Pipers and A'."
***
Sources for notated versions: Dennis McClure (Willimantic, Conn.) [Linscott]; Clyde Lloyd (fifer from Indiana County, Pa., 1952), Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960), Hogg (Pa., 1948), George Strosnider (fiddler from Greene County, Pa., 1930's) [Bayard]; flute and whistle Micho Russell, 1973 (Doolin, Co. Clare) [Breathnach]; Francis MacDonald (b. 1940, Morell Rear, North-East Kings County, Prince Edward Island) [Perlman]; tin whistle player Micho Russell (Doolin, County Clare) [Breathnach]. Adam, 1928; No. 16. Aird (Selections), 1778 (1782?), Vol. 1, No. 1 (appears as "The Ranting Highlandman," a title G. Farquhar Graham thought Aird found more prudent than "The White Cockade" as sentiments from the rising of '45 were still strong). American Veteran Fifer, 1927; No. 13, pg. 7. Bayard (Dance to the Fiddle), No. 174A-D, pgs. 125-126. Blake (Ye Ancient Song and Fife), 1974; pg. 26. Breathnach (CRE II), 1976; No. 115, pg. 63. Brody (Fiddler's Fakebook), 1983; pg. 291. Burchenal (American Country Dances, Vol. 1), 1918; pg. 18 (appears as "Camptown Hornpipe"). Cahusac's Pocket Companion for the Flute, 1795?, Vol. 1, pg. 40. Carlin (Gow Collection), 1986; No. 466. Cazden, Jigs, Reels and Squares, Vol. 1, pg. 20. Creighton, 1933; No. 85, pg. 183. DeVille, 1905; No. 73. Emmerson (Rantin' Pipe and Tremblin' String), pg. 124. Ford (Traditional Music in America), 1940; pg. 109. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1816; No. 126. Gow (Vocal Melodies of Scotland), 1822; pg. 35. Gow (Complete Repository), Part 2, 1802; pg. 19. Graham, 1908; pg. 219. Hardie (Caledonian Companion), 1992; pg. 29. Harding Collection (1915) and Harding's Original Collection (1928), No. 18. Howe (School for the Violin), 1851, pg. 33. Hunter (Fiddle Music of Scotland), 1988; No. 313. Huntington, (William Litten's), 1977; pg, 17. Jarman (Old Time Fiddlin' Tunes); No. or pg. 22. JEFDSS, Vol. 1, pg. 94 (2nd half). JFSS, Vol. IV, pg. 159 (2nd half). Johnson (The Scots Musical Museum), 1787-1803, Vol. 3, No. 272 (apparently the first printing in Scotland). Johnson (Twenty-Eight Country Dances as Done at the New Boston Fair), Vol. 8, 1988; pg. 10. Joyce (Ancient Irish Music), 1873, No. 80. Joyce (Old Irish Folk Music and Song), 1909; No. 112. Keller (Giles Gibbs Jr., His Book for the Fife...1777), 1974, pg. 28. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 60, pg. 29. Kerr (Merry Melodies), Vol. 1; No. 2, pg. 23 & pg. 40. Linscott (Folk Songs of Old New England), 1939; pgs. 117 & 120. MacDonald (The Skye Collection), 1887; pg 170. McDonald (The Gesto Collection), 1895; pgs. 6 & 126. McDonald (Highland Vocal Airs), 1784; pg. 33 (Dance No. 5). Miller & Perron (New England Fiddler's Repertoire), 1983; No. 105. Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 41. O'Daly, 1849, Vol. 1, pg. 50. O'Malley, 1919, pg. 41. O'Neill (1915 ed.), 1987; No. 108, pg. 61 (includes variations). O'Neill (1850), 1903/1979; No. 1803, pg. 328. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 155. Preston, 1796, pg. 127. Raven (English Country Dance Tunes), 1984; pg. 151. Ritson (Scottish Songs), Vol. II, pg. 430. Robbins, 1933, No. 82, pg. 26. Ruth (Pioneer Western Folk Tunes), 1948; No. 80, pg. 29. The Scottich Country Dance Book, 1930-57, No. 5 (tune 11). Shaw (Cowboy Dances), 1943; pg. 391. Smith (Scottish Minstrel), 1820-24, Vol. 1, pg. 21. Stewart-Robertson (The Athole Collection), 1884; pg. 147. Sweet (Fifer's Delight), 1965/1981; pg. 32. Thompson (Scottish Airs for the Voice), 1805, Vol. 4, No. 188. Tolman (Nelson Music Collection), pg. 168. Trim (Thomas Hardy), 1990; No. 6 (appears as "White Cock Head"). White's Excelsior Collection, 1907; pg. 72. Wilson (Companion to the Ballroom), 1840; pgs. 39 & 54. ALcazar Dance Series FR 204, Rodney Miller - "New England Chestnuts 2" (1981). Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker" (1966). Folkways FTS 31036, Roger Sprung- "Grassy Licks." North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Olympic 6151, The Scottish Festival orchestra- "Scottish Traditonal Fiddle Music" (1978). RCA 09026-60916-2, The Chieftains - "An Irish Evening" (1991). Transatlantic 337, Dave Swarbrick- "Swarbrick." Victor 20537 (78 RPM), Mellie Dunham (Me.), 1926 (appears as 2nd tune of "Medley of Reels").
T:White Cockade, The
L:1/8
M:C|
R:Country Dance
B:The Athole Collection
K:G
GA|B2B2B2 AB|G2B2B2 ge|d2B2B2 AG|B2A2A2 GA|B2 Bd cBAG|
A2B2g3a|bagf efge|d2B2B2:|
|:Bc|d2B2g2B2|d2d2d3e|d2B2g2fg|a2A2A2GA|B2Bd cBAG|A2B2g3a|
bagf efge|d2B2B2:|
WHITE COCKADE, THE [2]. American, Reel. USA, southwestern Pa. G Major. Standard. AABB'. Source for notated version: Levi Hall (Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 175, pg. 127.