The Fiddler’s Companion

ƒD 1996-2010 Andrew Kuntz

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DEVALS DEAD . AKA and see "Braes of Mar [1]," "Some say the Devil's dead." English, Scottish. England, Northumberland. One of the "missing tunes" from Vickers' 1770 Northumbrian dance tune manuscript. The title comes from a ditty sung to the melody, which goes:

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Some say the Devil's dead,

The devil's dead, the devil's dead;

Some say the Devil's dead

And buried in Killarney.

***

Kerr (Merry Melodies), vol. 1; pg. 19.

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DEVANNEY'S GOAT (Gabhar an Dubhánaigh). AKA ? “Devanny’s.? Irish, Reel. D Mixolydian. Standard. AB (Flaherty): AABB (Breathnach, Harker/Rafferty, Miller). Bronx flute player Jack Coen attributes the composition of the tune to Tommy Whelan, a flute player and composer from the Woodford, east Galway, area; a member of the old Ballinakill Ceili Band. Devaney was a neighbour of Whelan’s, indeed, the owner of a goat who was nibbling on the vegetables in Whelan’s garden when the tune came to him. Sources for notated versions: fiddler Paddy Ryan, 1970 (Co. Roscommon, Ireland & Birmingham, England) [Breathnach]; flute player Harry McGowan (b. 1937, Carrowmore, County Sligo) [Flaherty]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRƒm II), 1976; No. 267, pg. 138. Flaherty (Trip to Sligo), 1990; pg. 157. Harker (300 Tunes from Mike Rafferty), 2005; No. 95, pg. 30. McGuire and Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 48, pg. 13 (appears as “Devanny’s?). Miller (Fiddler’s Throne), 2004; No. 145, pg. 95.Treoir, vol. 39, No. 4, 2007; pg. 30. BMG 09026 63377-2, Cherish the Ladies ? “At Home? (1999). Claddagh CCF21, Noel Hill ? “The Irish Concertina.? Gael-Linn CEF 103, Frankie Gavin ? “Croch Suas E/Up and Away? (1983. 1^st tune of “Eddie Moloney’s Set?). Green Linnet GLCD 1160, Patrick Street ? “Cornerboys? (1996). Skip Healy ? ?Farewell New England Shores.?

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T:Devanny’s

M:C|

L:1/8

R:Reel

K:D

FE | DFAB AFAB | defe dBAF | DF (3FFF BFAF | E2 ED EGFE |DF (3FFF ADFA|

defe dBAf | efdB AFdB | AFEF D2 :: eg | faab afdf |afef dB (3BBB | ABde fedf |

e3f edBd | Adcd fdcd | edfd edBd | A2 dB AFDF | AFEF D2 :|

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DEVANT TA PORTE (As I Passed Your Door). Cajun. From the playing of the late Cajun fiddler Louis Balfa. Green Linnet GLCD 3107, Aly Bain & Phil Cunningham ? “The Pearl? (1994).

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DEVER THE DANCER ("Cnuic Tiobraid-Arainn" or "Ua Duibir, an Rinnceoir"). AKA and see "The Humours of Whiskey [2]," "The Peeler's/Policeman's Return," "Deel of the Dance," "The Bridge of Athlone [1]," "Dillon's Fancy [2]," "The Crossroads Frolic," "Barranna mora Chlann Donncha," "Humours of Derry," "Plearaca an Fuisce." Irish, Slip Jig (9/8 time). E Dorian ('A' part) & D Major ('B' part). Standard. AAB (O'Neill/Krassen & 1001): AABB (O'Neill/1850, Tubridy). Flute player John McKenna (1880-1947) and banjo player Michael Gaffney (d. 1972), both originally from County Leitrim, made a famous recording of the tune for Decca in 1934, in which they paired the tune with the double jig ?Connie the Soldier.? McKenna and Gaffney were fast friends, remembers McKenna’s daughter Catherine, who told Harry Bradshaw and Jackie Small that she could not remember a week that Gaffney was not in her father’s house playing his banjo or rehearsing new numbers with the flutist for recordings, dances, weddings and other events they had booked. Breathnach (Folk Music and Dances of Ireland), 1971; No. 10. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 60. O'Neill (Krassen), 1976; pg. 83. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1148, pg. 216. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 431, pg. 85. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 41. Celtic Crossings CD0299-02, Gear?id ƒ‚ hAllmhuráin & Patrick Ourceau ? “Tracin? (1999). Decca Records (78 RPM), John McKenna & Michael Gaffney (1934). DREY 36192, Alan Stivell - "Live in Dublin." Kells Music 9507, Dervish ? “At the End of the Day? (appears as part of “Packie Duignan Set?).

X:1

T:Dever the Dancer

S:78 RPM recording by flute player John McKenna

Z:Transcribed by Frank Claudy

M:9/8

L:1/8

K:D

BEE BEF G2 A|BGE BAG FED|BEE BEF G2 A|

1 dcB ABG FED:|2 dcB ABG FGA||ded cAF ~G3|

Adc def gfe|fed cAF G2 A|1 Bdc ABG FGA:|2 Bdc ABG FED||

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DEVERON REEL . Scottish, Reel. D Major. Standard. AABB?. Composed by Iain MacFadyen, producer of The White Heather Club for the BBC. Martin credits the tune to Neil Grant. Martin (Ceol na Fidhle), Vol.3, 1988; pg. 37. White Heather Collection, 1961. Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979). Jimmy Shand ? “Guid Luck Go Wi? Ye? (appears in “Mrs. Cholomdeley’s Reel?). Ian Powrie Band ? “On Tour ? Scotland 1960.?

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DEVERONSIDE . Scottish, March (2/4 time). A Mixolydian. Standard. AABBCCDD?. Composed by Pipe Major J. Robertson. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 40.

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DEVIL... See also "Deal...," "Deval...," "Deil..."

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DEVIL AND HIS SISTER, THE. Irish, Double Jig. Ireland, County Donegal. Caoimhin Mac Aoidh? (1994) relates the story of a Donegal fiddler named Mooney who was in demand for house parties and other events in the northwestern part of the county. Mooney was an affable fellow who "while revelling in fiddle-playing was not the victim of any social excesses."? His wife, however, detested music and fiddle music in particular, as well as being a classic shrew who made Mooney's life miserable with her rants on his perceived shortcomings.??

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DEVIL AMONG THE MANTUA-MAKERS . Scottish, Reel. A Major. Standard. AAB. "Named so, at the request of a Lady in (Elgin) Moray‑Shire" (Marshall). Mantuas were a woman’s loose gown, called a mantie or mantua in the 17^th and 18^th centuries from the French word manteau. Alternately, it referred to a mantle fashionable in the second and third decade of the 19^th century, also for women, derived from the custom of wearing a “plaid."? However, since they were of open crochet or lace work, they didn't hide the face and thus were more stylish for dance assemblies.? A dictionary also equates the term ‘mantua-makers? with dressmakers, and says a mantua is a “woman’s loose outer skirt.? Mantuas were manufactured as an Edinburgh? women’s cottage industry in small workshops or at home. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 19.

X:1

T:Deil Among the Mantua-Makers

M:4/4

L:1/8

Z:Andrew Kuntz

K:A

|: ~c3d edcd | efga fedc| ~c3d edcd | fedc c2B2 :|

|| ~E3G BGEG | ABcd ecAc | E3G BGEA | cAec c2B2

| E3G BGEG | ABcd ecAc | dfdB cecA | dBAG A2A2 ||

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DEVIL/DIVEL/DE'IL AMONG THE TAYLORS/TAILORS [1] . AKA and see "Devil's Dream [1] " (New). Scottish, English, Irish, Canadian, Scotland, American; Reel. Canada, Prince Edward Island. England, Northumberland. A Major (most versions): D Major (Huntington). Standard. AB (Hardie, Honeyman, Hunter, Johnson, Kerr, Skinner, Surenne): ABB' (MacDonald, Emmerson): AABB (Bain, Cole, Huntington, Kennedy, Raven, Sumner): ABCB (Skye). A popular tune throughout the present and former English commonweatlh. It was performed on the concert stage as part of a set romantically entitled "Spey's Fury's" by J. Scott Skinner in 1921. “De’il Among the Tailors? is the name of a skittles game, according to Nigel Gatherer. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. David Johnson (1983), whose version is from Macgoun's Five fashionable Reels (c. 1800), states the tune was written c. 1790. The melody appears as an untitled hornpipe in the music manuscript copybook of John Burks, dated 1821. Unforunately, nothing is known of Burks, although he may have been from the north of England. Bayard collected a version resembling the "Devil's Dream" forms of the tune from a source raised on Prince Edward Island, Canada (Bayard, 1981; Appendix No. 2B, pg. 572). See also “Devil’s Dream? for another PEI collected version. In America the tune is almost invariably known by the Dream title, while in the British Isles it appears under the De'il/Devil title. Emmerson (1971) suggests the melody can be identified as belonging to a class of melodies with phrases based on a quarter note followed by two eighth notes; tunes in this class also include "Largo's Fairy Dance ," "Rachel Rae ," and "The Wind that Shakes the Barley ."

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Wright. c. 1840’s. The Devil comes to town, fiddle an? a? .

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English novelist Thomas Hardy mentions the tune in Absent Mindedness in a Parish Choir, a passage which bears repeating:

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"...Twas a very dark afternoon, and by the end of the sermon all you

could see of the inside of the church were the pa'son's two candles

alongside of him in the pulpit, and his spaking face behind 'em. The

sermon being ended at last, the pa'son gi'ed out the Evening Hymn.

But no quire set about sounding up the tune, and the people began

to turn their heads to learn the reason why, and then Levi Limpet, a

boy who sat in the gallery, nudged Timothy and Nicholas, and said,

"Begin! Begin!" "Hey? what?" says Nicholas, starting up; and the

church being so dark and his head so muddled he thought he was at

the party they had played at all the night before, and away he went,

bow and fiddle, at "The Devil among the Tailors," the favourite jig

of the neighborhood at that time. The rest of the band, being in the

same state of mind and nothing doubting, followed their leader with

all their strength, according to custom. They poured out that there

tune till the lower bass notes of "The Devil among the Tailors" made

the cobwebs in the roof shiver like ghosts; then Nicholas, seeing

nobody moved, shouted out as he scraped (in his usual commanding

way at dances when the folks didn't know the figures), "Top couples

cross hands! And when I make the fiddle squeak at the end every man

kiss his partner under the mistletoe!"

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"...Then the unfortunate church band came to their senses, and

remembered where they were; and 'twas a sight to see Nicholas

Puddingcome and Timothy Thomas and John Biles creep down

the gallery stairs with their fiddles under arms, and poor Dan'l

Hornhead with his serpent, and Robert Dowdle with his claionet,

all looking as little as ninepins; and out they went. The pa'son

might have forgi'ed 'em when he learned the truth o't, but the

squire would not. That very week he sent for a barrel-organ

that would play two-and-twenty new psalm-tunes, so exact

and particular that, however sinful inclined you was, you could

play nothing but psalm-tunes whatsomever. He had a really

respectable man to turn the winch, as I said, and the old players

played no more..."

***

One of the oddest appearances of the tune is on the barrel organ from the polar expedition of Admiral Parry of 1810. In place of a ship’s fiddler (common in those days), Parry introduced a mechanical barrel organ on board ship to provide entertainment and a vehicle to which the men could exercise (i.e. by dancing). “Devil Among the Tailors? was one of eight tunes on barrel no. 5. Perhaps the earliest non-mechanical sound recording is from 1906 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin? in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford). Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Bain (50 Fiddle Solos), 1989; pg. 8. Carlin (English Concertina), 1977; pg. 36. Cole (1000 Fiddle Tunes), 1940; pg. 18. Emmerson (Rantin? Pipe and Tremblin? String), 1971; No. 49, pg. 140. Giblin (Collection of Traditional Irish Dance Music), 1928; 50. Gow (Beauties), 1819. Hardie (Caledonian Companion), 1992; pg. 36. Honeyman (Stathspey, Reel and Hornpipe Tutor), 1898; pg. 7. Hunter (Fiddle Music of Scotland), 1988; No. 229. Huntington (William Litten's), 1977; pg. 14. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 75, pg. 225. Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No. 18, pg. 9. Kerr (Merry Melodies), vol. 1; Set 6, No. 2, pg. 6. Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 4. Raven (English Country Dance Tunes), 1984; pg. 170. Ryan’s Mammoth Collection, 1883; pg. 42. Skinner (The Scottish Violinist, with variations), pg. 29. Skinner (Harp and Claymore), 1904; pgs. 108-109 (includes variation sets). Stewart-Robertson (The Athole Collection), 1884; pg. 11. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 86 (appears as “Divel Amongst the Taylors?). Surenne (Dance Music of Scotland), 1852; pg. 28. Antilles (Island) AN-7003, Kirkpatrick and Hutchings - "The Compleat Dancing Master" (1973). Beltona BL2128 (78 RPM), The Edinburgh Highland Reel and Strathspey Society (1936). Saydisc SDL 234, Parry’s Barrel Organ (vol. 11 in the Golden Age of Mechanical Music). Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979). “The Caledonian Companion? (1975). “Bob Smith’s Ideal Band, Ideal Music? (1977).

X:1

T:Devil Among the Tailors [1]

M:C|

L:1/8

S:White’s Unique Collection (1896), No. 75, pg. 14

Z:AK/Fiddler’s Companion

K:A

|: e | {g}a2.e.a {g}a2.e.a | {g}a2.e.a (fe).d.c| dfBf dfBf | dfBa gabg |

{g}a2.e.a {g}a2.e.a | {g}a2.e.a (fe).d.c | .f(dc)”tr”B .e(cB).”tr”A? | E2”tr”G2 [C2A2]z ||

|: e | ceAe ceAe | ceAa fedc| dfBf dfBf | dfBa gabg | ceAe ceAe | ceAa (fe)(dc) |

.f(dc)”tr?.B .e(cB)”tr?.A | E2”tr”G2 [C2A2] z ||

X:2

T:Deil Amang the Tailors, The

M:C

L:1/8

R:Reel

S:Surenne ? Dance Music of Scotland, pg. 28? (1852)

Z:AK/Fiddler’s Companion

K:A

a2 eg a2 eg | a2 ea fedc | dfBf dfBf | dfBa gabg | a2 eg a2 eg | a2 ea fedc |

defd ecBA | E2G2A3 || e | ceAe ceAe | ceag fedc | dfBf dfBf | dfba gfed |

ceAe ceAe | ceag fedc | defd ecBA | E2G2 A3 z ||

DEVIL AMONG THE TAILORS [2] , THE. Closely related to "Devil's Dream ." Old‑Time, Breakdown. USA; Arkansas, Missouri. A Major. Standard tuning. AABB. The title appears in a list of traditional tunes played by Ozark Mountains fiddlers compiled by musicologist/folklorist Vance Randolph, published in 1954.? Source for notated version: Sam Eads (Dixon, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 2), 1984; pg. 3. Ford (Traditional Music in America), 1940; pg. 79.

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DEVIL AMONG THE TAILORS [3] , THE.? English, Jig. A Major. Standard tuning. AABABA. The melody appears under this title in Charles and Samuel Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773, No. 95). It also appears (as do many of the tunes in the Thompson’s 1773 collection) in the 1788 commonplace book of fiddlers John and William Pitt Turner (Norwich, Conn.). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 30.

X:1

T:Devil Among the Tailors [3], The

M:6/8

L:1/8

N:May also be played an octave higher

R:Jig

S:Thompson ? Compleat Collection of 200 Favourite Country Dances, vol. 3 (1773)

K:A

CB,|A,CA, CA,C|ECE AEA|FAF DFD|EAE CEC|DFD B,DB,|

CEC A,CA,|B,DB, G,B,G,|A,2A, A,::CD|EFE EFE|DED DED|CDC CDC|

B,CB, B,CD|EFE EFE|DED DED|CDC CDC|(B,3 B,2)E|A,CA, CA,C|

ECE AEA|FAF DFD|EAE CEC|DFD B,DB,|CEC A,CA,|B,DB, G,B,G,|A3 A,:||

X:95

T:Devil among the Taylors, The [3]

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:A

AcA cAc|ece aea|faf dfd|eae cec|dfd BdB|cec AcA| BdB GBG|A2A [A,3A3]:|
|:efe efe|ded ded|cdc cdc|BcB BcB|efe efe|ded ded|cdc cdc|{c}(B3 B3)|

AcA cAc|ece aea|faf dfd|eae cec|dfd BdB|cec AcA|BdB GBG|A3 [A,3A3]:||

DEVIL AMONG THE YEARLINGS . AKA and see "Hell Among(st) the Yearlings [1] ."

DEVIL AND HIS SISTER, THE. Irish,? Double Jig. Ireland, County Donegal. Caoimhin Mac Aoidh? (1994) relates the story of a Donegal fiddler named Mooney who was in demand for house parties and other events in the northwestern part of the county. Mooney was an affable fellow who "while revelling in fiddle-playing was not the victim of any social excesses."? His wife, however, detested music and fiddle music in particular, as well as being a classical shrew who made Mooney's life miserable with her rants on his perceived shortcomings.? Mooney

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DEVIL AND THE DIRK , THE. Scottish, Reel. D Major. Standard tuning. AB (Hardie): AAB (Skinner). Composed by J. Scott Skinner and first published in his Harp and Claymore collection where it is set with numerous variations and arranged by Gavin Greig. Hardie (Caledonian Companion), 1992; pg. 110. Skinner (Harp and Claymore), 1904; pgs. 84-85. Skinner (The Scottish Violinist), pg. 3.

X:1

T:Devil and the Dirk, The

M:C|

L:1/8

R:Reel

S:Skinner ? The Scottish Violinist

Z:AK/Fiddler’s Companion

K:D

{c}D | D/D/D FD AD {c}d2 | AD.F.D C(EE)F | D/D/D FD AD {c}d2 | AF .G.E F(DD) :|

|| c? | d’ddd? c’ccc? | bBBb aAAa | gGGg fFFf | eBed ceac? | d’ddd? c’ccc? |

bBBb aAAa | geag fae’b | (af).g.e fdd || [A,4D4] ||

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DEVIL ATE THE GROUNDHOG . See ?Devil Eat the Groundhog.?

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DEVIL EAT THE GROUNDHOG . AKA - “Devil Ate the Groundhog.? Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning. AB (Silberberg, Titon): AA'B (Phillips). Source Owen Chapman, who learned the tune from his father, George “Doc? Chapman (b. circa 1850) says it was inspired by a hunter who had a lapse and left his skinned day’s hunt in the same room with his dog, according to Jeff Titon (2001). When he returned he found the dog had devoured the game, leaving the hunter to vexedly sing:

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God almighty damned dog (x3)

The Devil’s eat the groundhog.

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Sources for notated versions: Owen “Snake? Chapman (Whitesburg, Letcher County, Ky., 1990) [Phillips, Titon]; Scott Marckx [Silberberg]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 68. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 34. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 33, pg. 67. June Appal 0061, Owen “Snake? Chapman ? “Fiddle Ditty? (1990). Rounder CD 0378, Snake Chapman ? “Up in Chapman’s Hollow? (1996). Rounder 0409, Paul Smith ? “Devil Eat the Groundhog.? Rounder Heritage Series 1166-11592-2, Paul Smith (et al) ? “The Art of Traditional Fiddle? (2001. Learned from Snake Chapman). 5 String Productions 5SP05002, The Hoover Uprights ? “Known for their Reputation? (2005).

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DEVIL CAUGHT A NIGGER . Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

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DEVIL CHASED ME ROUND THE STUMP . Old-Time, Breakdown. G Major. Standard tuning. AABB.

X:1

T:Devil Chased Me Round the Stump

L:1/8

M:C|

S:James Bryan

Z:AK/Fiddler’s Companion

K:G

(3GFE|D2 G2 BABG|D2 G2 B3G|D2 G2 BAGB|A2 G4 (3GFE|

D2 G2 BABG|A2 B2 e3d|e2 dA BAGB|A2 G2 G2:|

|:z(d|e2) d2 BABd|e2 f2 g3 f|e2 dA BAGB|A2 G2 G4|

e2 (3ded BABd|e2 f2 g3f|efed BAGB|A2 G4:|

DEVIL DOWN HILL . Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

DEVIL IN A BUSH , THE.? AKA and see ?Kincaldrum(‘s Reel),? “Kurcaldrum’s Reel,? ?Parson in the Suds [2].? English, Reel. G Major. Standard tuning. The melody appears in the 1770-1772 music manuscripts of William Vickers, a Northumberland musician about whom little is known. The title seems to be idiosyncratic to Vickers, as the tune can be found in several Scottish collections as “Kincaldrum.? See also the related ?England’s Glory.?

X:1

T:Devil in a Bush, The

M:C

L:1/8

R:Reel

S:William Vickers? manuscripts (pg. 21), 1770-1772

Z:AK/Fiddler’s Companion

K:G

g2 dc B2 AG|FGAB cAAB|g2 dc B2 AG|FGAc BGG:|

|:E|DGBG AGBG|DGBG cAAB|cdef gdcB|cAdc BGG:|

DEVIL IN A CANEBREAK , THE. Old‑Time, Breakdown. C Major. Standard tuning. AABB. Ford (Traditional Music in America), 1980; pg. 124.

DEVIL IN DUBLIN [1], THE. Irish, Jig. D Major. Standard tuning. AA'B. One of the airs "sent to me during the last seven or eight years by Mr. Patrick O'Leary of Graignamanagh, Co. Kilkenny, a good amateur musician with a great knowledge of the popular airs of that part of Ireland. Most of these he wrote down from his own memory" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 301, pg. 141.

DEVIL IN DUBLIN [2], THE (An Diabal 'San Baile-Ata-Cliat). Irish, Jig or March (6/8 time). G Major. Standard tuning. AABB. A variation of version #1. Kerr (Merry Melodies), vol. 4; No. 207, pg. 23. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1827, pg. 343.

X:1

T:Devil in Dublin, The [2]

M:6/8

L:1/8

R:Jig or March

S:O’Neill ? Music of Ireland (1903), No. 1827

Z:AK/Fiddler’s Companion

K:G

G2B d2B | e2c A3 | BdB GBG | FAF D3 | G2B d2B | e2c ABc |

dBG EAF | G3 G2 z || AGA FGA | BAB GAB | {d}cBc ABc |

dge d2B | cde ABc | Bcd GAB | {d}cAF DEF | G3 G2 z ||

DEVIL IN DUBLIN [3], THE. AKA and see ?Devils in Dublin.? Irish, Reel.

DEVIL IN GEORGIA [1], THE. AKA and see "Temperance Reel," "Teetotaler(‘s Reel)." Old‑Time, Breakdown. USA; eastern Ky., West Virginia. Doc Robert's cover title for "Temperence Reel." Charles Wolfe believes the tune to bear some resemblance to a familiar Kentucky tune called "Stoney Point" or "Buck Creek Gals," but others dispute this saying "Devil in Georgia" is not in fact in that tune family. Cassette C-7625, Wilson Douglas - "Back Porch Symphony." County 412, "Fiddling Doc Roberts" (1983). Gennett 6942 (78 RPM), Doc Roberts.

DEVIL IN GEORGIA [2], THE. Old-Time. A member of the tune family which includes ?Damon’s Window/Winder,? ?Grand Hornpipe [1],? ?Mud Fence,? ?Railroad(ing) Through the Rocky Mountains,? ?Ride the Goat Over the Mountains,? "Rocky Mountain Goat,? ?Swiss Chalet."

DEVIL IN IRELAND , THE.? English, Jig. G Major. Standard tuning. AABB. Original key ‘C? major, as “The Divel in Ireland? in Gibbons? manuscript. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 5.

X:1

T:Divel in Ireland, The

M:6/8

L:1/8

R:Jig

S:Joshua Gibbons ms (1823-26)

Z:AK/Fiddler’s Companion

K:C

G|c2d ede|c2A A2c|B2d ded|B2G G2B|c2d ede|ceg c’bc’|

agf ede|B2A A2::a|g2e ede|g2e e2a|g2e ede|c2A A2a|

g2e ede|ceg c’gc’|age ede|c2A A2:|

DEVIL IN THE BUSH .? See ?Walton Abbey.?

DEVIL IN THE HAYSTACK . Old-Time, Breakdown. USA; Indiana, Illinois. A Mixolydian. Standard tuning. AA'BB. Southern Illinois fiddler Gary Harrison does a version of the tune learned from Harvey “Pappy? Taylor of Effingham, Ill. Source for notated version: Bruce and Steve Green [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 69. Davis Unlimited DU 33024, Gary Harrison and the Indian Creek Delta Boys (1976). Marimac 9054, The Ill-Mo Boys - "Fine as Frog Hair" (1995).

DEVIL IN THE KITCHEN [1] , THE. AKA and see ?Calum Crubach,?? ?Devil Shake the Half-Breed [2],? ?Gurren’s Castle,? "Miss Sarah Drummond of Perth [1],? ?Miss Drummond of Perth [1],? ?Mountain Reel [4],? ?Our Highland Cousins,? "The Prince of Wales Jig,? ?The Titanic Highland,? ?Yorkshire Bite [1].? Scottish, Shetland, Canadian, Irish; (Pipe) Reel, Fling or Strathspey. Ireland, County Donegal. Canada; Prince Edward Island, Cape Breton. A Mixolydian. Standard tuning. AAB (Hunter): AA’B (Skinner/Harp): AABB (Martin): AABBA’A’BB (Perlman): AABCCD (Skinner/Violinist). Composed (according to J. Scott Skinner) as a pipe tune by William Ross, the Queen’s Piper. The melody was arranged (and popularized) by J. Scott Skinner (1843-1927) and appears as a two-part tune in his Harp and Claymore collection (1904). Skinner later expanded the melody to four parts (variations) in his Scottish Violinist; in Harp and Claymore he directs that the tune be played an octave lower the second time through. In pipe collections the tune is set as a strathspey is usually attributed to one John MacPherson and once to a Donald McPhedran (in his own collection). A distanced version of the “Devil in the Kitchen? is popular reel in County Donegal; the late Donegal fiddler Danny O’Donnell (1910-2001) recorded a version on his album entitled generically as “Highland Fling? (see ?Devil in the Kitchen [3]?). In Scotland the melody is often used to accompany the dance the Highland Fling. Christine Martin (2002) suggests the strathspey and reel settings of? “The Devil in the Kitchen? are a perfect vehicle for the dance Scotch (or Highland) reel, which is also known as the foursome reel. Sources for notated versions: Gus Longphie (b. 1914, Little Harbor, North-East Kings County, Prince Edward Island; now resident of Souris) [Perlman]; fiddler Ian Kennedy (Fort William, Scotland), who calls the tune “The Reel of Tulloch”—Christine Martin believes the tune may have been associated with the dance Reel of Tulloch in the Lochaber area [Martin/2002]. Hunter (The Fiddle Music of Scotland), 1988; No. 120. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 50 (strathspey setting). Martin (Traditional Scottish Fiddling), 2002; pg. 48 (both strathspey and reel settings). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 192 (strathspey). Skinner (Harp and Claymore), 1903/4. Skinner (The Scottish Violinist), pg. 11. Skinner (Harp and Claymore), 1904; pg. 115. Celestial Entertainment CECS001, Brenda Stubbert - “In Jig Time!? (1995). Culburnie Records CUL 102, Alasdair Fraser & Jody Stecher ? “The Driven Bow? (1988). Culburnie COL 113D, Aladair Fraser & Tony McManus ? “Return to Kintail? (1999). Green Linnet SIF 1139, “Eileen Ivers? (1994. Recorded in duet with Natalie MacMaster). Rodeo Banff RBS 1066, Dan Joe MacInnis - “The Cape Breton Fiddle of...? (1962). Rounder 7001, Joe Cormier ‑ "Scottish Violin Music from Cape Breton Island" (1974. Strathspey setting). Rounder RO7023, Natalie MacMaster - “No Boundaries? (1996). Rounder 82161-7032-2, Bill Lamey ? “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977? (2000). Rounder Records 7057, Jerry Holland ? “Parlor Music? (2005). ƒ‚n tSean-Am Anall? (Danny O’Donnell).

X:1

T:Devil in the Kitchen, The [1]

T:Prince of Wales Jig, The

M:C

L:1/8

R:Reel

S:Skinner ? Harp and Claymore

Z:AK/Fiddler’s Companion

K:Amix

f |: e>A A/A/A A/A/A c>A | e>A A/A/A ({a/g/f/}g2) e<a |

e>A A/A/A A/A/A c>A | B>G d/c/B ({a/g/f/}g2) f<g :|

|| a>A A/A?A e>A c>A | a>A A/A/A ({a/g/f/}g2) f<g | a>A .A/.A/.A .A/.A/.A c>A |

B>G d/c/B {a/g/f/}g2 f<g | a>A A/A/A e/A/A c>A | a>A A/A/A ({a/g/f/}g2) f<g |

a/g/f g>e e>f e>A | B>G d/c/B ({a/g/f/}g2) f<g ||

|: ({F}E>)A, A,/A,/A, A,/A,/A, C>A, | E>A, A,/A,/A, ({A/G/F/}G2) E<A |

E>A, A,/A,/A, A,/A,/A, C>A, | B>G, D/C/B, ({A/G/F/}G2) F<G :|

|| a>A A/A/A e>A c>A | a>A A/A/A {a/g/f/}g2 f<g | a>A .A/.A/.A .A/.A/.A c>A |

B>G d/c/B ({a/g/f/}g2) f<g | a>A A/A/A e/A/A c>A | a>A A/A/A ({a/g/f/}g2) f>g |

a/g/f g>e f>d e>A | B>G d/c/B ({a/g/f/}g2) f>g ||

X:2

T:Devil in the Kitchen [1]

C:trad., as played by Buddy MacMaster

M:C

R:Strathspey

A:Cape Breton

N:Transcribed by Kate Dunlay (dungreen@total.net)

L:1/16

Q:1/4=160

K:Amix

a2|:e3A AAAA e3Ag3d|e3A AAAA g4 f-a3|e3A AAAA e3Ag3d|B3G (dcB2) g4 [1fa3:|

[2f3g||a3A AAAA e3A AAAA|a3A AAAA g4 f-g3|a3A AAAA AAAA c3A|B3G (dcB2) g4 f3g|

a3A AAAA e3A AAAA|a3A AAAA g4 f-g3|(agf2) g3-e f3dg3d|B3G (dcB2) g4 fa3||

E3A, A,A,A,A, E3DG3D|E3A, A,A,A,A, G4 F3-A|E3A, A,A,A,A, E3DG3D|B,3G, (DCB,2) G4 FA3|

E3A, A,A,A,A, E3DG3D|E3A, A,A,A,A, G4 F3-A|E3A, A,A,A,A, A,A,A,A, C3A,|B,3G, (DCB,2) G4 F3A||

a3A AAAA e3Ac3A|a3A AAAA g4 f-g3|a3A AAAA AAAA c3A|B3G (dcB2) g4 f3g|

a3A AAAA e3A AAAA|a3A AAAA g4 f-g3|(agf2) g3-e f3dg3d|B3G (dcB2) g4 fa3|]

DEVIL IN THE KITCHEN [2] . Old‑Time, Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

DEVIL IN THE KITCHEN [3] . Irish, Highland Fling. A Mixolydian. Standard tuning. ABB?. O’Brien (Accordion Instructor), 1949.

X:1

T:Devil in the Kitchen [3]

M:C|

L:1/8

R:Highland Fling

S:Jerry O’Brien’s Accordion Instructor (1949)

Z:AK/Fiddler’s Companion

K:A Mix

A2 ed cdef|g3 dg BgdB|A2 ed cdef|gf gB BA A2|A2 ed cdef|g2 dg BgdB|

A2 ed cdef|gf gB BA A2||a2 ed cdef|g2 dg Bgdg|a2 ed cdef|gf gB BA A2|

A2 ed cdef|g2 dg Bgdg|1 afge fdef|gedB BA A2:|2 (3agf (3gfe (3fed (3edc|

(3def (3efg (3agf (3edB||

DEVIL IN THE STRAWSTACK . Old‑Time, Breakdown. USA, southwest Virginia, North Carolina. G Major (Jarrell): G Minor (Songer). Standard tuning. AB (Jarrell): AABB (Songer). Learned by Mt. Airy, N.C., fiddler Tommy Jarrell from Zack Payne (or Paine), fiddler, fifer and Civil War veteran who lived near Lambsburg, Va., and who died around 1930. Jarrell called this one of the "Civil War tunes" he learned from Payne. It was one of the few tunes he rendered in standard tuning. Tom Carter and Hal Cannon recorded Jarrell playing it in his home in North Carolina in 1971. On the tape Jarrell introduces the tune:

***

I learned ... this one I'm going to play from old Zek Paine. He was a

Civil War veteran. He set them fingers down on them strings and he was

just as clear as a bell and that bow was just as smooth as a butterfly. No!

Hell! He could use a fiddle bow any way he wanted to.

***

Songer (Portland Collection), 1997; pg. 60. County 756, Tommy Jarrell ‑ "Sail Away Ladies" (1976). Marimac 9031, Pete Sutherland (Vt.) - “Eight Miles From Town? (set in the key of G Minor).

X:1

T:Devil in the Strawsack

M:4/4

L:1/8

Z:Andrew Kuntz

K:G Dorian

GFDF GFDF | GFDF C4 | GFDF G2d2- | dcAc dcAc

| GFDF GFDF | GFDF C4 | GFDF G2d2 | dcA(D G4) |]

d2g2 g2g2- | gagf d4 | fAgA fAgf | dcAc d4

| d2g2 g2g2- | gagf d4 | fAgA a2gf | dcA(D G4) |]

....................... ???????????

DEVIL IN THE WHEAT PATCH . Old‑Time, Breakdown. USA, Ga. Tune played by Fiddlin' John Carson (North Ga.) in a 1914 Atlanta, Ga., fiddlers' contest.

DEVIL IN THE WOODPILE [1] . Old-Time, Breakdown. USA, West Virginia. D Major. Standard tuning. AABB. A story from the fiddling Hammons clan of Pocahontas County, West Virginia, tells of one member of the family, Old Pete Hammons, who made the mistake of continuing to fiddle for a Saturday night dance after midnight had struck. He returned home and put the fiddle on its peg on the wall, but later in the night heard the instrument playing “Devil in the Woodpile? by itself.? Hammons had to burn the instrument to cease the phenomenon and is said to never have touched a fiddle again (Milnes, 1999, pg. 9). Source for notated version: Melvin Wine (Braxton County, W.Va.) [Phillips, Silberberg]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 69. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 35.

DEVIL IN THE WOODPILE [2] . Old-Time, Breakdown. C Major. Standard tuning. AB. From J.D. MacFarlane and Daughters. Source for notated version: Kerry Blech (Seattle) [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 35.

DEVIL ON A/THE STUMP . Old-Time, Breakdown. USA, Kentucky. C Major. Standard tuning. ABB (Phillips/Stamper): AABB (Phillips/Jabbour). Some variations of this tune may go under the name “Devil in the Kitchen.? Sources for notated versions: Kentucky fiddler Art Stamper [Phillips]; Alan Jabbour with the Hollow Rock String Band (N.C.) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pgs. 69 & 70. County CD2712, Art Stamper - "The Lost Fiddler" (c. 1982).

DEVIL ON TWO STICKS , THE.? English, Jig. G Major. Standard tuning. One part. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. The title invokes the play The Devil on Two Sticks by dramatist Samuel Foote, which premiered at the Haymarket in 1768. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 164.

X:1

T:Devil on two Sticks, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

D2D B2B|ABc B2A|BdD G2G|ABc B2A|B2c ded|c2B A2D|

G2G F2F|E2E D2d|BdD G2G|ABc B2A|BdD G2B|cBA G3:||

DEVIL OR NO DEVIL . American (?), Jig. G Major. Standard tuning. AABB. The melody first appears in J. Hewitt’s Fashionable Repertory of Country Dances and Waltzes (New York, 1807-1810), and later in Wilson’s Companion to the Ballroom (London, 1816). Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 26, pg. 8.

DEVIL SHAKE THE HALF-BREED [1]. A version of ?Rickett’s Hornpipe? played by fiddler Jesse Gatten of Danbury, Wisconsin, c. 1950's (Paul Gifford).

DEVIL SHAKE THE HALF-BREED [2]. AKA and see “Calum Crubach,?? ?Devil in the Kitchen [1],? ?Gurren’s Castle,? "Miss Sarah Drummond of Perth [1],? ?Miss Drummond of Perth [1],? “Mountain Reel [4],? ?Our Highland Cousins,? "The Prince of Wales Jig,? ?The Titanic Highland,? ?Yorkshire Bite [1].? Paul Gifford finds this melody almost identical to Ryan’s (Mammoth Collection) ?Mountain Reel [4],? which belongs to the “Miss Drummond of Perth? family of tunes. It was played by Chippewa fiddler Bill Cameron (Brimley, Michigan).

DEVIL STICK THE MINISTER .? See ?De’il Stick the/da Minister.?

DEVIL TAKE A YALLER GAL . Old‑Time, Fiddle Tune. The title appears in a list of Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

DEVIL TAKE THE HINDMOST .

X:1

T:Devil Take the Hindmost

M:6/8

L:1/8

Z:Transcribed by Laurie Griffiths

K:A

efg |\"A"a3 a3 | "A"agf edc |\"E7"Bcd cBA | "E7"Bc\d efg | "A"a3 a3 |\

"A"agf edc | "E7"Bcd dcB \|1 "A"A3 :|2 "A"A6 |"E"Bcd dcB | "A"cde edc |\

"E"Bcd dcB | "A"cde e3 |\"D"fga agf | "A"edc Bcd |\"E7"efe dcB | "A"A6 |

"Bm"Bcd dcB | "C#m"cde edc |\"D"Bcd dcB | "E"cde "E7"efg |\

"A"a3 a3 | "A"agf edc |\"E7"Bcd efg | "A"a3 ||

???????????????????????

DEVIL TAKE THE WARS (Go m-Beiried an Dialial Na Cogad). Irish, Air (4/4 time, "animated"). D Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 543, pg. 95.

X:1

T:Devil Take the Wars

M:C

L:1/8

R:Air

N:”Animated?

S:O’Neill ? Music of Ireland (1903), No. 543

Z:AK/Fiddler’s Companion

K:D

d2 d>f fedc|dA Bc/d/ BAGF|FAAd d3e|fg/a/ gf f2 ez|d2 d>f fedc|dA Bc/d/ BAGF|

FAAd dfa>g|f2 e2 {d/4g/4e/4} d2 z||d|fdfa fd zd|ecea ec ze|f2 f>d e2 e>c|d>e f/e/d/c/ B3c|

A<BAF A3d|A>BAF A2 d>c|Beef e3f|gfed dcBA|A>BAF A2 a>g|f2 e2 {d/4f/4e/4}d2 z||

???????????????????????

DEVIL TO PAY , THE. Irish, Reel. A Major. Standard tuning. AB. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody),1922; No. 280.

X:1

T:Devil To Pay, The

M:4/4

L:1/8

S:Rice-Walsh manuscript

S:Paul Kinder

R:Reel

K:A

d2|ceAe ceAe|ceag fedc|dfBf dfBf|dfba gfed| ceAe ceAe|ceag fedc|dfBf dfBf|edcB A2||

E2|EBGB EBGB|ceAe ceAe|dfBf dfBf|gabg a2 aa| bagf edcB|cBAF E2 Bd|ceAe ceaf|edcB A2||

???????????????????????

DEVIL WANTS A WOODCHUCK . Old‑Time, Fiddle Tune. The title appears in a list of Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Perhaps it is "Devil Eat the Groundhog."

???????????????????????

DEVIL WAS A WHITTLER . Old‑Time, Fiddle Tune. The title appears in a list of Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published n 1954.

???????????????????????

DEVILISH MARY . Old-Time, Breakdown. USA, Missouri. A Mixolydian. Standard tuning. AB (Beisswenger & McCann): AA’BB? (Thede). Actually, there are several versions of this tune in circulation, some derived from the air to a song called “Devilish Mary,? and some rather distances. Modes for the tunes range from minor to mixolydian. See the related Illinois-collected “Jump in the Well, My Pretty Little Miss.? An early recorded version of “Devilish Mary? was by the north Georgia duo of Gid Tanner and Riley Puckett in 1924. Thede’s source gave the following lyric (sung to the first strain only):

***

The prettiest girl I ever saw

They called her Devilish Mary,

She says she’s mine, and that’s just fine,

And now we’re going to marry.

***

We hadn’t been married about six months

She got mean as the devil;

Ever? time I looked cross-eyed,

She’d hit me in the head with a shovel.

***

Sources for notated versions: Jubal Anderson (Pottawatomie County, Missour) [Thede]. Glenn Rickman (1901-1982, Hurley, Missouri), the first tune he learned to play [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 110. Thede (The Fiddle Book), 19, pg. 101. Copper Creek CCCD-0196, Tom, Brad & Alice ? “We’ll Die in the Pig Pen Fighting.?

???????????????????????

DEVILLIER('S) TWO-STEP. Cajun, Two‑Step. USA, La. D Major. Standard tuning. AB (Sing-Out): BB(Vocal)BBAAB(Vocal). A traditional Cajun dance tune. Devillier is a family rather than a place name, notes Raymond Francois (1990), who says related tunes include "Don't Bury Me," "The Cemetary," "Enterre-moi Pas" and "Enterre-moi Pas dans l'Cimetiere." Sources for notated versions: Michael Doucet (La.) [Sing Out]; Dennis McGee (La.) [Francois]. Francois (Y? Yaille), 1990; pgs. 114-115. Sing Out, vol. 35, No. 3, Fall 1990; pg. 9. Swallow Records SW-6030, Dennis McGee.

???????????

DEVIL’S BALL , THE.? AKA and see ?Whiskers,? ?Taney County Special.? Old-Time, Country Rag. The tune was called “The Devil’s Ball? by fiddler Raymond Campbell.

???????????

DEVIL'S DELIGHT . Canadian, Reel. Canada; Cape Breton, Prince Edward Island. A Major. Standard tuning. AABB. Composed by fiddler and composer Dan R. MacDonald (1911-1976, Cape Breton) who originally called it “The Dismal Reel.? It was renamed by Aberdeen fiddler J. Murdoch Henderson (1902-1972) who thought it a better tune than the first title deserved. Sources for notated versions: Tim Woodbridge (Hartford, Conn.) [Hinds]; Ervan Sonier {1920-1994} & Toussaint Arsenault {b. 1916} (Summerside, East Prince County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Fitzgerald), 1997; No. 86, pg. 37. Hinds/Hébert (Grumbling Old Woman), 1981; pg. 10. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 92. CX 17, Winston Fitzgerald (as “The Dismal Reel?). Glencoe GMI‑001, "Cape Breton Symphony.?

???????????????????????

DEVIL'S DREAM [1] (Aisling An Diabail). AKA and s see "The De'il Among the Tailors," "Satan's Nightmare." See note for "Parody." British Isles, Canadian, American, Old‑Time; Reel or Hornpipe. USA; Connecticut, New Hampshire, Maine, Pennsylvania, New Jersey, New York, Michigan, Tennessee, Mississippi, Arkansas, Missouri, Kentucky. England, Shropshire. Canada; Quebec, Prince Edward Island. A Major (most versions): G Major (Hardings, Shaw). Standard tuning. One part (Burchenal, Lowinger): AB (Silberberg): AABB (most versions): AABBCC (Kershaw, O'Neill/1001): AABCDEFG (Kerr). Despite its occasional appearance in the South, it is known as a Northern tune. Linscott (1939) thought the tune to be of Irish origins, but it has since been rather easily traced to a Scottish reel, "The De'il Among the Tailors," composed c. 1790, and it appears in the Scottish Kerr collection (vol. 4) as “Devil’s Dream.? In America it has almost invariably been known by the “Dream? title, while in the British Isles it is always found under the Tailor/Taylor title--notwithstanding its appearance in Kerr as “Devil’s Dream,? which may have been evidence of a transatlantic return of the piece.? Bayard (1981) notes that the tune, like "Soldier's Joy," has been transplanted to Scandinavia. It was of the tunes cited by Lettie Osborn (New York Folklore Quarterly) as having been commonly played for dances in Orange County, New York, in the 1930's. Linscott recorded a dance, also called "Devil's Dream," for which this tune was played in Hinsdale, N.H., and Howe (c. 1867) and Burchenal (1918) also printed New England contra dances of the same name to the tune.? It was in the repertoire of Arizona fiddler Kenner C. Kartchner, who said of it "plenty old and difficult to play properly." New Englanders Tolman and Page (The Country Dance Book) have this to say about the tune: "All fiddlers are jealous of their accomplishments, you know, and it is an absolute impossibility to be accepted into their clan unless one can perform both 'Devil's Dream' and 'Speed the Plow' in a creditable manner, preferably with home‑made variations. Old Theophilus (Parse) Ames used to say that a fiddler without his own version of 'Devil's Dream' was of 'as much account as a string of wampum in the Washington mint'" (pg. 112). Boone County, Missouri, fiddler Cyril Stinnet (1912-1986) probably didn't agree, for although it was the first tune he learned on the fiddle at age 8, he once later remarked he did not much care for the piece. The tune was rumoured (in New Jersey, for one place)? to have been composed by Satan himself (and played on the 'devil's box', or the fiddle) {Cauthen, pg. 202}. It was in the repertories of fiddlers Uncle Jimmy Thompson (1848‑1931) {Texas, Tenn.), Harry Daddario (Union County, Pa.), and Henry Ford's late 1920's champion Mellie Dunham (Maine). It was recorded in the early 1940's from Ozark Mountain fiddlers by musicologist/folklorist Vance Randolph for the Library of Congress, and recorded in 1951 by Malvin Artley for his eventual 1955 dissertation on the West Virginia Country Fiddler from the playing of Arden Wilson, of Harrisville, West Virginia (AFS 14,087).

***

Thomas Hardy, English novelist, fiddler and accordion player, mentions the tune in his novel The Return of the Native? (Book Second, chapter 5):

***

The air was now that one without any particular beginning,

middle, or end, which perhaps among all the dances which

throng an inspired fiddler's fancy, best conveys the idea of

the interminable ‑ the celebrated 'Devil's Dream'. The fury

of personal movement that was kindled by the fury of the

notes could be approximately imagined by these outsiders

under the moon, from the occasional kicks of toes and

heels against the floor, whenever the whirl round had been

of more than customary velocity.

***

Sometimes lyrics such as these have been attached to the tune:

***

Forty days and forty nights

The Devil was a‑dreaming,

Around the bark, old Noah's ark

The rain it was a‑streaming.

The monkey washed the baboon's face,

The serpent combed his hair,

And up jumped the Devil

With his pitchfork in the air. (Ford)

***

The title is among those mentioned in Patrick J. McCall’s 1861 poem “The Dance at Marley,? the first three stanzas of which goes:

***

Murtagh Murphy’s barn was full to the door when the eve grew dull,
For Phelim Moore his beautiful new pipes had brought to charm them;
In the kitchen thronged the girls - cheeks of roses, teeth of pearls -
Admiring bows and braids and curls, till Phelim’s notes alarm them.
Quick each maid her hat and shawl hung on dresser, bed, or wall,
Smoothed down her hair and smiled on all as she the bawnoge entered,
Where a shass of straw was laid on a ladder raised that made
A seat for them as still they stayed while dancers by them cantered.

***

Murtagh and his vanithee had their chairs brought in to see
The heels and toes go fast and free, and fun and love and laughter;
In their sconces all alight shone the tallow candles bright -
The flames kept jigging all the night, upleaping to each rafter!
The pipes, with noisy drumming sound, the lovers? whispering sadly drowned,
So the couples took their ground - their hearts already dancing!
Merrily, with toe and heel, airily in jig and reel,
Fast in and out they whirl and wheel, all capering and prancing.

***

“Off She Goes,? “The Rocky Road,? “The Tipsy House,? and “Miss McLeod,?
“The Devil’s Dream,? and “Jig Polthogue,? “The Wind that Shakes the Barley,?
“The First o’May,? “The Garran Bwee,? “Tatther Jack Welsh,? “The River Lee,? -
As lapping breakers from the sea the myriad tunes at Marley!
Reels of three and reels of four, hornpipes and jigs galore,
With singles, doubles held the floor in turn, without a bar low;
But when the fun and courting lulled, and the dancing somewhat dulled,
The door unhinged, the boys down pulled for “Follow me up to Carlow.?

***

Seattle fiddler and musicologist Vivian Williams writes: "’Devil’s Dream? was played by fiddler Jake Lake (originally from Cook County, Illinois) at the wedding of Henry Van Asselt and Catherine Jane Maple in a cabin on the Duwamish River, near Seattle, on Christmas Day, 1862, according to an account written by the bride's brother, John Wesley Maple. Other tunes played at that wedding: ‘’The Unfortunate Dog?, ‘Fishers Hornpipe?, ‘The King's Head?, ‘Gal on a Log?, ‘Arkansas Traveller?.?

***

Sources for notated (print) versions: Dennis McClure (Willimantic, Conn.) [Linscott]; John Dingler, 1977 (central New York State, learned from his father) [Bronner]; eight southwestern Pa. fiddlers [Bayard]; Bill Monroe (Ky.) [Lowinger]; Kelly Jones (Mo.) [Phillips]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; contained in the 19^th century Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles [Kershaw]; Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resides in Montague) [Perlman].

***

Print Sources: Adam, No. 68. Ashman (The Ironbridge Hornpipe), 1991; No. 26a, pg. 7. Bayard (Dance to the Fiddle), 1981; No. 334A‑H, pg. 314‑317. Brody (Fiddler’s Fakebook), 1983; pg. 85. Bronner (Old Time Music Makers of New York State), 1987; No. 41, pgs. 159‑160. Burchenal, 1918; pg. 14. Cazden, 1955; pg. 36. Cole (1000 Fiddle Tunes), 1940; pg. 30. DeVille, No. 77. Ford (Traditional Music in America), 1940; pg. 62. Hardings All‑Round Collection, 1905; No. 182, pg. 58. Howe (1000 Jigs and Reels), c. 1867; pg. 74. Jarman (Old Time Fiddlin' Tunes); No. or pg. 4. Kerr (Merry Melodies), vol. 4; No. 27, pg. 6. The Joseph Kershaw Manuscript, 1993; No. 57. Linscott (Folk Songs of Old New England), 1939; pg. Lowinger (Bluegrass Fiddle), 1974; pg. 18. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 119. O'Malley and Atwood (Seventy Good Old Dances), pg. 12. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1564, pg. 290 (listed as a hornpipe). O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 815, pg. 141. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 108. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 68. Raven (English Country Dance Tunes), 1984; pg. 163. Ruth (Pioneer Western Folk Tunes), 1948; No. 19, pg. 8. Ryan’s Mammoth Collection, 1883; pgs. 42 & 54. Shaw (Cowboy Dances), 1943; pg. 390. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 34. Sweet (Fifer’s Delight), 1964/1981; pg. 53. Syms, pg. 9. Trim (Thomas Hardy), 1990; No. 21. White's Excelsior Collection, pg. 42. White’s Unique Collection, 1896; No. 172 pg. 32.

***

Recorded Sources: American Heritage 516, Jana Greif‑ "I Love Fiddlen.'" Biograph RC6006, Bottle Hill‑ "A Rumor in Their Own Time." CCF2, Cape Cod Fiddlers ? “Concert Collection II? (1999). County 747, Clark Kessinger‑ "Sweet Bunch of Daisies." Decca 31540, Bill Monroe & the Bluegrass Boys." Edison 50653 (78 RPM), Joseph Samuels, 1919. Elektra 217, Eric Weisberg and Marshall Brickman‑ "Folk Banjo Styles." F&W Records 4, "The Canterbury Country Dance Orchestra Meets the F&W String Band." Folk Legacy FSA‑15, Lawrence Older ‑ "Adirondack Songs, Ballads and Fiddle Tunes" (1963). Folkways FTS 31036, Roger Sprung‑ "Grassy Locks." Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker (Grand Rapids, Michigan)" (1966). Folkways 8826, Per's Four‑‑"Jigs and Reels." Fretless Records 101, "The Campbell Family: Champion Fiddlers." Gennett 6121 (78 RPM, Uncle Steve Hubbard and His Boys, c. 1928. Legacy 120, Jean Carignan‑ "French Canadian Fiddle Songs." Recorded for the Library of Congress, 1938, by Patrick Bonner, St. James, Beaver Island, Michigan; on Library of Congress 1014A2 by Jilson Setters (Ky.), 1937; and, again for the Library of Congress in 1939 by eighty‑year‑old Lauderdale County, Mississippi fiddler Stephen B. Tucker. Philo 1040, Jay Ungar and Lyn Hardy‑ "Catskill Mountain Goose Chase" (1977. Learned from Putnam County, N.Y. fiddler Bud Snow). Rounder Records, Hobart Smith ? “Southern Journey, vol. 6: Sheep, Sheep, Don’t You Know the Road? (a reissue of Alan Lomax recordings). Smithsonian Folkways Recordings SFW 40116, Rod Miller - “Mademoiselle, voulez-vous danser?? (Various artists. Based on Montréal fiddler Jean Carignan’s version).

X:1

T:Devil’s Dream

M:C|

L:1/8

K:A

|: eg | agae agae | agae fedc | dfBf dfBf | dfBf gfeg |

agae agae | agae fedc | Bcde gfed | cABc A6 :|

|: ed | ceAe ceAe | ceAe fedc | dfBf dfBf | dfBf gfed |

ceAe ceAe | ceAe fedc | Bcde gfed | cABc A6 :|

DEVIL’S DREAM [2] . Scottish, Hornpipe. A Major. Standard tuning. AA’BB?. A curious and perhaps very distant variation of “Devil’s Dream [1]." Kerr (Merry Melodies), vol. 4; No. 270, pg. 29.

X:1

T:Devil’s Dream [2]

M:C
L:1/8

R:Hornpipe

S:Kerr ? Merry Melodies, vol. 4, No. 270? (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

(ed)|c2 Ac (BA)GB|Aaga fecA|1 GEEG Bcde|fcdB AGFE:|2

GABc defg|a2a2a2||:(cd)|eaga eaga|eaga fecA|1 GEEG Bcde|

fdcd B2:|2 GABc defg|a2a2a2||

DEVIL’S DREAM [3] . Old-Time, Breakdown. A version of ?John Brown’s Dream? or ?Brown’s Dream? recorded by Hobart Smith. Rounder CD 0032, Hobart Smith.

???????????????????????

DEVIL'S DREAM (Old) . English, Jig. G Dorian. AABB. Standard tuning. Published before 1730. Raven (English Country Dance Tunes), 1984; pg. 7.

???????????????????????

DEVIL’S GALLOP ROUND THE HOB , THE. Irish. The name of this tune is mentioned in an account by Crofton Croker of the playing of the blind uillean piper James Gandsey of County Kerry (1769-1857). A hob is a raised stone in a fireplace on which cookfires were built.

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DEVIL'S HICCOUGH . Old‑Time, Fiddle Tune. USA, northwest Alabama. The title is listed in a 1925 master's thesis by S.M. Taylor called "A Preliminary Survey of Folk‑Lore in Alabama."

???????????????????????

DEVIL'S HORNPIPE . Old-Time, Hornpipe. A Major. Standard tuning. AABB'. The melody is similar to "Speed the Plow [1]" and "Blanchard's Hornpipe [1]." It was in the repertoire of Missouri fiddler Roy Wooliver. The title appears in a list of tunes compiled by W.E.G. of Verbena (Chilton County), Alabama, in the Union Banner, September 29th, 1922. Source for notated version: John Hartford [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 189. Rounder 0442, John Hartford ? ?Hamilton Ironworks? (2001). Rounder CD-0388, Gene Goforth ? “Emminence Breakdown? (1997).

???????????????????????

DEVILS IN DUBLIN . AKA- "The Devils o'/of Dublin." AKA and see ?Merry Blacksmith,? ?Mist on the Loch,? ?Paddy on the Railroad.? Irish, Reel. D Major. Standard tuning. AABB. A variant of the well-known “Merry Blacksmith.? The second tune in Michael Coleman’s 1921 pair of tunes recorded under the single title “Boys of the Lough.? Irish flute player Séamus Tansey has also recorded the tune under the “Devils? title. In Cape Breton the tune is known as “Mist on the Loch.? See also the like-named jigs "Devil in Dublin." Sources for notated versions: fiddler Peter Horan (b. 1926, Kilavil, Co. Sligo) [Flaherty]; fiddler Michael Coleman (Co. Sligo/New York) [Miller & Perron]. Flaherty (Trip to Sligo), 1990; pg. 67. Lyth (Bowing Styles in Irish Fiddle Playing), vol. 1, 1981; 43, 44. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 9. Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 61. Coleman Center CD CC004, Peter Horan ? “The Mountain Road? (1999. Various artists. “A Compilation of tunes popular in South Sligo? (Appears as “The Devils of Dublin?). Coleman Music Center CHC 009, fiddler Pake Spellman (d. 1969, from Doocastle area) ? “The Coleman Archive, vol. 2: The Home Place? (2005. Various artists). Green Linnet GLCD 1200, Lunasa ? “Otherworld? (1999. Appears as “Devils of Dublin?). IRC Records, Michael Coleman - “The Musical Glory of Old Sligo? (1967).

X:1

T:Devil’s in Dublin, The

T:Devils of Dublin, The

M:C|

L:1/8

K:D

d2 dA BAGB|AFBF A~F3|A~d3 Adfd|e/f/e df e~B3|

deedB {c}BAFB|AFBF A~F3|ABde fdce|dBAG FD D2:|

|:a/g/f g/f/e ~f3e|dcBA BAFB|A~d3 Adfd|e~B3 e~B3|

abag ~f3e|defd BAFB|ABde fdce|dBAG FD D2:|

DEVIL’S IN DUBLIN [2] , THE.? English, Jig. G Major. Standard tuning. AABB. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 27, pg. 9.

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DEVIL'S IN THE KITCHEN , THE. See "Devil in the Kitchen."

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DEVIL’S MAGGOT , THE.? American, Jig. C Major (‘A? part) & C Dorian (‘B? part). Standard tuning. AABB. Composed in the English country dance style by pianist Jonathan Jensen in 1985. Jensen is also a bassist with the Baltimore Symphony. A ‘maggot? was an old term for a brief melody—a fancy, or trifle, from the Italian word magioletta meaning a plaything. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 31.

???????????????????????

DEVILS O' DUBLIN, THE. See "Devils in Dublin."

DEVIL'S OWN HORNPIPE . New England, Hornpipe. B Flat Major. Standard tuning. AABB. Composed by Ralph Page. Page (Ralph Page Book of Contras), 1969; pg. 13.

DEVIL'S OWN SHOT , THE. American, Jig. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 73. Ryan’s Mammoth Collection, 1883; pg. 104.

X:1

T:Devil’s Own Shot, The

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

d2A Bcd|edc d2e|fed fag|f2e d2A|d2A Bcd|edc d2e|fed fag|f2e d2z:|
|:def agf|gef g3|fag fed|gfg efg|def agf|gef (g2.a)|bag fed|ABc d2 z:|

DEVIL’S POLSKA . AKA and see ?Hins Polska.?

DEVIL'S PROGRESS , THE. English, Air (6/8 time). G Major. Standard tuning. AB. The ballad appears in Pills to Purge Melancholy of 1699, 1707 and 1719. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 75.

X:1

T:Devil’s Progress, The

M:6/8

L:1/8

R:Air

S:Chappell ? Popular Music of the Olden Times? (1859)

Z:AK/Fiddler’s Companion

K:G

D2D D2D|E2F G2B|A2G G2F|G6|D2D D2D|E2F G2B|A2G G2F|(G3 G2)||

A|B2B dG2|F(D2 D2)A|B2c A2G|A6|GD2 GD2|D2D D2D|EE2 F2F|G6||

DEVIL'S REEL . Old‑Time, Fiddle Tune. The tune was recorded in the early 1940's from Ozark Mountain fiddlers by musicologist/folklorist Vance Randolph for the Library of Congress.

DEVINE'S HORNPIPE . American, Hornpipe. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 114. McGee, Charles H. - Old Time Jigs & Reels for the Violin, 1906 (Oliver Ditson Co.). Ryan’s Mammoth Collection, 1883; pg. 152.

X:1

T:Devine’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

D/F/A/d/ B/d/A/d/|e/f/g/f/ e/d/B/d/|D/F/A/d/ B/d/A/d/|g/f/e/d/ c/e/A/c/|D/F/A/d/ B/d/A/d/|

e/f/g/f/ e/d/c/d/|g/b/a/g/ f/e/d/c/|ddd :: (f/g/)|a/f/d/f/ c/e/A/c/|d/c/d/A/ B/A/F/A/|

G/B/F/A/ E/G/D/F/|A/g/B/e/ d/c/B/A/|a/f/d/f/ c/e/A/c/|d/f/c/e/ D/F/A/D/|G/B/E/A/ g/f/e/c/|ddd:|

???????????

DEVIZES . ?American, Air or March (4/4 time). A Major. Standard tuning. AABB. Composed by Isaac Tucker. Miller, from the Bridgewater Collection of Sacred Music (Boston, 1812). Miller (Fiddler’s Throne), 2004; No. 334, pg. 197.

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DEVLIN’S . Irish, Jig. B Minor. Standard tuning. AABB. Songer (Portland Collection), 1997; pg. 61. Green Linnett SIF1144, Kevin Burke & Open House - “Second Story.?

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DEVONSHIRE GO , THE. English, Jig. B Flat Major. Standard tuning. AABB. Cahusac (Annual Collection of Twenty Four Favorite Country Dances for 1809), 1809; No. 15.

X:1

T:Devonshire Go, The

M:6/8

L:1/8

R:Jig

B:WM Cahusac ? Annual Collection of Twenty Four Favorite Country Dances for 1809, No. 15 (London)

N:”With proper Directions to each Dance as they are performed at

N:Court, Bath, and all Public Assemblies.?

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:Bb

b2f dBd|f2d f2d|b2f dBd|c2A c2A|b2f dBd|f2d f2d|gfe dcB|ABG FED:|

|:DFB DFB|EGB EGB|Ace ecA|Bdf fdB|DFB DFB|EGB EGB|Ace ecA|B3 b3:||

DEVONSHIRE HORNPIPE , THE. English? Irish?, Hornpipe. G Major. Standard tuning. AABB. Source for notated version: copied from Wilson’s Companion to the Ballroom (1816) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 318.

X:1

T:Devonshire Hornpipe, The [1]

M:4/4

L:1/8

S:Wilson's Companion to the Ballroom 1816

Z:Paul Kinder

R:Hornpipe

K:G

d2|g2 fe edcB|cecA GFED|B,DGD cBAG|F2 D2 D2 d2|

g2 fe edcB|cecA GFED|B,DGD EGcA|B2 G2 G2:|

|:d2|dcBc de=fd|egBd c2 z e|ed^cd e^fga|fa^ce d2 z d|

g2 g2 gdBd|g2 g2 gece|gdBG EGcA|B2 G2 G2:||

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DEVONSHIRE REEL [1], THE.AKA and see "Brian Boru’s March [1]," "Colonel McBain’s," "Dan Sullivan's Reel," "The Duke of Clarence Reel," "General McBean," "Sean Frank," "Sporting Molly."

DEVONSHIRE REEL [2], THE. English, Reel. C Major. Standard tuning. AAB. Source for notated version: the 1845-47 music manuscript of Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 14.

X:1

T:Devonshire Reel, The [2]

M:C

L:1/8

R:Reel

K:C

c2 ec dBAG | A/B/c GE FD D2 | c2 ec dBAG | A/B/c GF EC C2 :|

ecgtc dBgB | cAdc BG G2 | AfcF GEcE | FDGF EC C2 | egcg dgBg |

cAdc BG G2 | AcFc GcEc | Fagf ec c2 ||

???????????????????????

DEVONSHIRE WALTZ , THE. AKA and see "The Merry Masons."

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DEVY HORNPIPE . Scottish, Hornpipe. G Major. Standard tuning. AA’BB. Kerr (Merry Melodies), vol. 4; No. 293, pg. 31.

X:1

T:Devy Hornpipe

M:C|
L:1/8

R:Hornpipe

S:Kerr ? Merry Melodies, vol. 4, No. 293 (c.1880’s)

Z:AK/Fiddler’s Companion

K:G

(dc) | BGBd gdcB | Aaaf gdcB |1 BdBG AcAF | AGFE DFdc :|2 BdBG AcAF |

G2G2G2 ||: (Bc) | dcBA GBdg | e2c2c2 (cd) | edcB Aaag | f2d2d2 (ef) |

gage fgaf | efge dcBA | BdBG AcAF | G2G2G2 :|

???????????????????????

DEW DROP HORNPIPE . American, Hornpipe. A Major. Standard tuning. AABB. The ‘B? part of this melody appears in the tune "Brilliancy." There was a variety house called the Dew Drop In in New York in the Civil War years. Cole (1000 Fiddle Tunes), 1940; pg. 85. Ryan’s Mammoth Collection, 1883; pg. 119.

X:1

T:Dew Drop Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

?e | a/c?/a/e/ c/a/e/c/ | A/e/c/A/ .E.c | d/f/B/d/ c/e/A/c/ | B/E/G/B/ e/e/f/g/ | a/c?/a/e/ c/a/e/c/ |

A/e/c/A/ .E.c | d/f/B/d/ c/e/A/c/ | B/E/G/B/ A :: a | g/e/b/g/ e/g/b/g/ | a/e/c?/a/ e/a/c?/a/ |

d?/b/c?/a/ b/g/a/f/ | e/^d/e/f/ e/=d/c/B/ | A/c/e/c/ a/e/c?/e/ | b/e/g/e/ b/e/d?/c?/ | b/a/g/f/ e/d/c/B/ | AaA :|

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DEW DROP WALTZ . Irish? Waltz. D Major. Standard tuning. ABBCCD. Roche Collection, 1982; vol. 3, pg. 45, No. 142.

DEW ON THE GRASS , THE. Irish, Air (4/4 time, "moderately slow"). A Dorian. Standard tuning. AABB. Copied from one of "two very old well‑written manuscripts lent to me in 1873 by Mr. J. O'Sullivan, of Bruff, Co. Limerick" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 231, pg. 112.

X:1

T:Dew on the Grass, The

M:C

L:1/8

R:Air

N:”Moderately slow?

S:Joyce ? Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:Ador

G|A2 AB c2 BA|G2 de d2 cB|AGAB cedc | B2 AG B3E | A2 AB c2 BG | A2 ag a2a2 |

bagb eaed|B2 AG A2 :: d | efga gega | gega ge e2 | eaab agab | agab aged | efge gaba |

gega b2b2 | abaf geba | ged=f ed B2 | ABcd eaed | B2 AG A3 ||

???????????

DEWDROP . Old-Time, Waltz. From the playing of Kirk and Sam McGee.

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DEWDROPS ON THE CORN . AKA and see ?Australian Waters,? ?Vincent Campbell’s.? Irish, Jig. D Mixolydian. Standard tuning. AABB. Jerry O’Sullivan ? “The Invasion.?

X:1
T:Dewdrops on the Corn

T:Australian Waters
R:jig
Z:Bill Reeder & Roger Landes
M:6/8
L:1/8
K:D
A|d2D FED|=c3 ed^c|d=cA GEA|~D3 efe|d2D FED|=c3 ed^c|d=cA GEA|~D3 D2:||
|: dB/c/d efg|fed =cAG|dB/c/d efg|fed def|gbg afa|e^cA ABc|d^cA GEA|DD/D/D D2 A:||

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DEWEY, DEWEY DAY . Old‑Time, Waltz. USA, North Carolina. In the repertoire of Ashe County, N.C. stringband the Carolina Night Hawks in the late 1920's.

DEWY MORNING , THE. Irish, Air (3/4 time). F Minor/Dorian. Standard tuning. AB. Stanford (1902) refers the ?Molly Asthoreen? as a similar melody. Source for notated version: “Mr. MacDowell? [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 454, pg. 114.

X:1

T:Dewy Morning, The

M:3/4

L:1/8

R:Air

N:”Andante?

S:Stanford/Petrie (1905), No. 454

Z:AK/Fiddler’s Companion

K:Fmin

C/=E/ FF/G/ | B>A GE/F/ AB/d/ | cF FE/F/ A{A}c | B>A GA/G/ FF |

E3 C/=E/ FF/G/ | B>A GE/F/ AB/d/ | cF FE/F/ Ac | B>A GA/G/ FF | F3 ||

(A/B/) c=d/=e/ | f2 ee/d/ cd/f/ | e2 GA/B/ cc | B>A GA/G/ FF | E3 (C/=E/) FF/G/ |

BA GE/F/ AB/d/ | cF FE/F/ Ac | B>A GA/G/ FF | F3 ||

DH' FHAG THU MI FO BHRON . AKA and see "Thou Hast Left Me Melancholy."

DHƒ` ƒmAN AR AN CRANN . AKA and see "Two Birds in the Tree."

DHƒ` PHORT . AKA and see ?Lil’s Fancy.? Irish, Polka. D Major. Standard tuning. AABB. Source for notated version: set dance music recorded at Na P?obair? Uilleann, mid-1980’s [Taylor]. Taylor (Music for the Sets: Yellow Book), 1995; pg. 34.

DHOCHTUIR DHILIS , A. AKA and see "Uair beg/bheag roimh a' la."

DHOMHNUILL, A; A DHOMHNUILL .Scottish, Reel. G Major. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 161.

X:1

T:A Dh?mhnuill, A Dh?mnhuill

M:C|

L:1/8

R:Reel

B:Stewart-Robertson ? The Athole Collection? (1884)

Z:AK/Fiddler’s Companion

K:G

D|G2Gc Bdde|dBGB AFED|G2Gc Bdde|dBAB G/G/G G:|

f|gfed e/e/e g2|gfed eBBf|gfed e/e/e g2|dBAB G2Gf|

gfed e/e/e g2|gfed eBBf|gfed efga|bagf g2gb||

DHONAL NA GREINA . AKA and see "Daniel of the Sun."

DHU HILL , THE. Scottish, Jig. F Major. Standard tuning. AABBCC?. The key signature of the tune is D major in Kerr’s publication, though it makes little sense in that key. F major appears correct. Kerr (Merry Melodies), vol. 4; No. 254, pg. 27.

X:1

T:Dhu Hill, The

M:6/8

L:1/8

R:Jig

S:Kerr ? Merry Melodies, vol. 4, No. 254? (c. 1880’s)

Z:AK/Fiddler’s Companion

K:F

F2A cdc | BAG Bcd | c2c fed | cBc F3 :: cBc ABc | dcd B3 |

cBc f2f | cAF F3 :: f2d dcB | ABG FGA | B2B cBc |1 d3 A2A :|2 dcB ABG ||

_______________________________

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