The Fiddler’s Companion

ƒD 1996-2009 Andrew Kuntz

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GEOGHEGAN’S FAVORITE . AKA and see ?Geogehan’s Reel.?

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GEOGEHAN'S REEL . AKA and see ?Eileen O’Callaghan('s Reel),? ?Geehan’s Reel,? “Geoghan’s Favorite,? ?Geoghegan’s Favorite,? ?Paddy Canny’s [2].? Irish, Reel. G Major. Standard. AABB. As “Geaghan’s Favorite? it was recorded in 1937 by the Aughrim Slopes Céil? Band, the earliest known recording of the melody. “Grogan’s Favorite? is the title on Paddy Canney and P.J. Hayes? famous 1960 recording (in honor of which it is sometimes called “Paddy Canney’s?). The tune is a version of ?Trim the Velvet.? The alternate spellings of the name Geoghegan come about through variations in its pronuncition, which is ‘Gay-g’n? (rhyming with pagan) in Ireland.

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Although it has no direct connection with the tune, living in New York and liking local history, I can’t play this tune without thinking of the story of Owney Geogheghan, a New York City saloon operator in the mid-1800’s. His establishment, “…at 103 Bowery?was one of the scurviest joints along that extensive and crowded avenue.? It was a hangout much esteemed by unprincipled beggars, who know they could discard their superfluous glasses and crutches in that understanding environment, and it was so regularly the scene of gang brawls that Geogheghan, a thoughtful host, kept a large supply of police clubs on hand, to pass out among his steady patrons in the event of a skirmish. This disorderly tradition was maintained right up to and throughout Owney’s funeral, a ceremony enlivened by the presence of two Mrs. Geogheghans, each of whom, unaware until then of the existence of the other, sought to assume what she though was her rightful spot in the funeral procession.? All the way from the Bowery to Calvary Cemetery, two hacks bearing the rival widow Geogheghans jockeyed for a position directly behind the hearse, while their tearful occupants exchanged ringing maledictions.? (E.J. Khan, Jr. The Merry Partners: The Age and Stage of Harrigan and Hart, Random House, 1955, pgs. 130-131).

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Source for notated version: flute player Colm O'Donnell (b. 1962, Aclare, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 16. Green Linnet SIF 1069, Joe Burke, Michael Cooney & Terry Corcoran ? “Happy to Meet & Sorry to Part? (1986. Appears as “Geoghegan’s?). Paul McGratten ? “The Frost is All Over? (1992. Appears as “Geehan’s?). Outlet 1010, Na Fil? ? “Farewell to Connacht? (1971. Appears as “Eileen O’Callaghan?). Joe Burke (et al) ? “The Big Squeeze.?

X:1

T:Geaghan's Fancy (sp?)

T:Eileen O'Callaghan's

T:Paddy Canny's

S:Buttons & Bows, 'Gracenotes'

Z:Nigel Gatherer

M:4/4

L:1/8

K:A

A2 cA EAcB|ABce dBGB|A2 cA EAce|efge dBGB|A2 cA EAcB|

ABce dBGB|Ac c/c/c ecAc|efge dBGB||eaag a2 ga|beee begf|

eaag a2 gf|efge dBGB|eaag a2 ga|b2 ba bagf|eaaa c'aag|efge dBGB|]

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GEORDIE AFFLECK . AKA and see ?Eamonn Coynes,? ?The Mint in the Corn.? Scottish, Reel. E Flat Major. Standard tuning. AAB. The tune is known among older fiddlers in County Donegal, Ireland, as “The Mint in the Corn? played variously in the key of D Major (Francie Dearg & Mickey ban O Beirn) or A Major (John Doherty & Danny O’Donnell). Hunter (Fiddle Music of Scotland), 1988; No. 276. Olympic 6151, Angus Cameron ‑ "Scottish Traditional Fiddle Music" (1978).

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GEORDIE JACK . Scottish, Reel. E Flat Major. Standard tuning. AA'BB'. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 3; No. 194, pg. 22.

X:1

T:Geordie Jack

M:C

L:1/8

R:Reel

S:Kerr ? Merry Melodies, vol. 3, No. 194

Z:AK/Fiddler’s Companion

K:Eb

e2 ge c2 ec | BcBA GF E2 | B,EDE CF=EF |1 DB=AB GEGB :|2 DAFD E2B2 ||

|: edef geBG | BAFD B,DFA |1 GBef geBG | BAFD B,DFA|1

GBef geBG | BAFD E2B2 :|2GEDE CF=EF | DAFD E2B2 ||

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GEORDIE MACLEISH . Scottish, Reel. D Major. Standard tuning. AAB. The tune has been recorded by Cape Breton musicians Dan R. MacDonald, Donald MacLellan and The Five MacDonalds, according to Paul Cranford. MacDonald (The Skye Collection), 1887; pg. 76. Martin (Traditional Scottish Fiddling), 2002; pg. 87. Olympic 6151, The Angus Strathspey and Reel Society ‑ "Scottish Traditional Fiddle Music" (1978). Rounder CD 1161-7033-2, Natalie MacMaster ? “My Roots are Showing? (2000). Rounder 7059, Alex Francis MacKay with Gordon MacLean ? “Gaelic in the Bow? (2005).

X:1

T:Geordie MacLeish

M:C|

L:1/8

R:Reel

K:D

c|d2 (cd) D/D/D AF|d2 (cd) Agfe|d2 cd D/D/D (AF)|EFGA B2B:|

c|dD D/D/D (FD)Dc|dD D/D/D Agfe|dD D/D/D (AF)dF|EFGA B2 (Bc)|

dD D/D/D (FD)Dc|dAFA Bgfe|dcBA BAGF|EFGA B2 B||z/[F,/D/]||[F,4D4 z||

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GEORGE AINLEY'S TUNE . AKA and see ?Crockett’s Honeymoon.? Old‑Time, Breakdown. Carryon Records 002, "Ace Weems and the Fat Meat Boys."

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GEORGE BAILLIE . Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by Dunkeld, Perthshire, fiddler-composer Niel Gow (1727-1807). Carlin (The Gow Collection), 1986; No. 63.

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GEORGE BOOKER [1] . AKA‑ "George Boker." AKA and see "The Marquis of Huntl(e)y's Farewell" (Marshall's Scottish Airs, 1822), "Keeper Hill" (O'Neill's Music of Ireland), "Georgia Town," "Camp Chase [2]." Old‑Time, Breakdown. USA; Virginia, Tennessee, Southern Ky., West Virginia, Arkansas. A Major/Mixolydian. Standard or AEae (Lon Jordan) tunings. AABB (Beisswenger & McCann, Brody, Krassen): AA'BB (Phillips). Guthrie Meade and Mark Wilson (1976) believe the piece was originally a Scots tune of the "Hurdle Race"/"Angus Campbell" variety, basing their opinion apparently on a rendition of "George Booker" by the Tennessee fiddler Uncle Am Stuart (Vo 14914). Stuart was born in Morristown, Tenn., in 1856 and recorded the tune in 1924 when he was quite elderly; he had an archaic style formed in the latter half of the 19th century, and thus was closer perhaps to the American origins of the melody. Alan Jabbour, however, says the tune is a derivation of a Scottish strathspey called “The Marquis of Huntly’s Farewell,? composed by the great strathspey composer William Marshall and appearing in his Collection of Strathspey Reels (c. 1781). The high part of this tune "is almost certainly a hornpipe," states Miles Krassen (1973) in another opinion, "but the low part is not. (West Virginia fiddler) Henry Reed played a version with a low part that is much more characteristic of hornpipes." Jabbour remarks that “George Booker? is “one of the classics of what Henry Reed called the ‘old East Virginia? repertory.

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The melody first appears under the "Booker" title in George P. Knauff's Virginia Reels, volume III (Baltimore, 1839), apparently in honor of a Revolutionary War leader and local hero from Virginia (according to Jabbour). Bruce Green thinks this tune may have been brought to the southern Kentucky region by a fiddler named John Gregory, originally from Virginia (in connection with similar Kentucky melodies, see Ed Hayley's "Grey Eagle Jig"). The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph in the early 1940's from Ozark Mountain fiddlers (including Lon Jordan in 1941), although Drew Beisswenger (2008) says it is not often played by Ozark fiddlers today. Alan Jabbour believes "George Booker" is similar to "Camp Chase" and speculates that the former may have been the tune originally played in the Civil War prison camp which gave West Virginia fiddler Solly Carpenter his freedom.

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Texas fiddle lore has yet another story. The article “The Origins of the Texas Style of Traditional Old Time Fiddling? (http://www.texasoldtimefiddlers.org/Monthly%20texas%20fiddle.htm), at the Texas Old Time Fiddling Association website records:

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Also, there is the story about a fiddler, George Booker, and a tune entitled "George Booker," that is occasionally performed by Texas fiddlers. George Booker was a well-known fiddler from Nacogdoches who was being held in jail there for murder. On the day before he was to be executed, he talked the sheriff into allowing him to play for a dance the night before with the sheriff as a chaperone. Booker performed well probably knowing this would his last time to play in the area. About three o’clock in the morning, Booker went out on the porch for some air and that was the last anyone had ever seen of him. The last tune he played at the dance was one of his favorites, "Fine Times at Our House," is now performed as "George Booker." This is a story that is told by J. B. Cranfill, (1858-1942) originally from Parker County who was a popular fiddler in the Dallas area. He was also a medical doctor, a leader in the Baptist Church and a newspaper writer. He wrote some very informative articles on old-time fiddling for Dallas and Houston news- papers that gave detailed accounts of fiddling activities of the period. The information also helped to support the idea that Texas fiddling was different from the other styles as early as the 1920’s? "George Booker," is not a tune used in contests but is still a favorite of Texas fiddlers. It is often played by Smokey Butler of Huntington, Carl Hopkins of Porter and has been recorded by the late Terry Morris, one of the great legends of Texas fiddling.

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“George Booker? was in the repertoire of fiddler S.S. Ransdell (Louisburg, Granville, County, N.C.) who competed in 1905 in the Raleigh, N.C., fiddler’s convention, and was also played by Confederate veteran Arnold A. Parish (Willow Spings, Wake County, N.C.) at the next gathering, in 1906, as recorded by the old Raleigh News and Observer. Drew Beisswenger (2008) notes similarities with the ?Green Corn? family of tunes (e.g. ?Doc Brown’s Dream?).

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Source for notated version: Am Stuart (Tennesse) [Krassen]: Henry Reed (Monroe County, West Virginia) [Krassen]: Alan Block with Ebenezer (Brody, Phillips); Lon Jordan (early 20^th century, Farmington, Arkansas) [Beissenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 86. Brody (Fiddler’s Fakebook), 1983; pg. 117. Krassen (Masters of Old Time Fiddling), 1983; pg. 19‑20 and pgs. 88‑90. Krassen (Appalachian Fiddle), 1973; pg. 84. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 95. Biograph 6007, Ebenezer‑ "Tell It to Me." Vocalion 14914, Uncle Am Stuart (1924). Recorded by Asheville N.C. (originally Tenn.) fiddler Dedrick Harris? (b. 1968?) for Broadway in 1924. CD, Alan Jabbour, James Reed, Bertram Levy ? “A Henry Reed Reunion? (2002).

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T:George Booker [1]

M:2/4

L:1/8

R:reel

B:George P. Knauff’s Virginia Reels, vol. 3 (Baltimore, 1839)

Z:AK/Fiddler’s Companion

K:A

A,A,/A,/ C/<E/E|A/>B/c/A/ B/A/B/c/|A,A,/A,/ C/<E/E|B/d/c/B/ A/F/F/<A/|

A,A,/A,/ C/<E/E|A/>B/c/A/ B/A/B/<c/|d/f/f/a/ c/e/e/a/|B/d/c/B/ A/<F/F/<A/:|
|:e/f/4g/4 a bg|e/f4/g/4 a/g/ f/e/d/c/|B/b/b/f/ b/f/f|f/g/4/a/4 b/a/ a/g/f/e/|

e/f/4g/4 a bg|e/f/4g/4 ag f/e/d/c/|B/b/a/g/ f/e/d/c/|B/d/c/B/ A/F/F/<A/:||

GEORGE BOOKER [2] . Old-Time, Breakdown. A Major. Standard tuning. AABB. A variation of version #1. Source for notated version: Ace Sewell [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 95. Voyager 319‑S, Ace Sewell‑ "Southwest Fiddlin.'"

GEORGE BRABAZON . See "Planxty George Brabazon."

GEORGE CANN'S JIG . English, Jig. G Major. Standard tuning. AABB. George Cann was a melodeon player from southern England. Carlin (Master Collection), 1984; No. 18, pg. 17.

GEORGE CANN'S WALTZ . English, Waltz. G Major. Standard tuning. AB. Carlin (Master Collection), 1984; No. 26, pg. 27.

GEORGE CARNEGIE’S STRATHSPEY .? AKA and see ?I Wish You Wou’d Marry Me Now,? ?Inverara Rant,? ?Lady Warkworth’s Reel [1],? ?Marry Me Now,? ?The Proposal [2],? and ?Morpeth Lasses.?

GEORGE CRASKE’S HORNPIPE NO. 1 .? English, Hornpipe. D Major. Standard tuning. AABB. A fast East Anglian step dance hornpipe, notes Barry Callaghan (2007), who thinks it may be a derivative of “Bang Up.? George Craske was a melodeon player from Sustead, near Cromer in Norfolk. Source for notated version: a 1977 field recording of Craske by Peter Clifton and Ann-Marie Hume [Callaghan]. Callaghan (Hardcore English), 2007; pg. 17.

GEORGE GORDON . Scottish, Strathspey. G Minor. Standard tuning. AAB. Composed by Alexander Walker in honor of the "late" (in 1866) George Gordon of Bucharn, Aberdeenshire. Paul Cranford says several of Walker's tunes are popular in Cape Breton, due to the practice in the 1940's, 50's and 60's of purchasing and circulating older collections among Cape Breton fiddlers. Walker (b. Rhynie, Strathbogie, Aberdeenshire, 1819) was employed by Sir Charles Forbes of Castle Newe as a gardener, and was probably the leader of the Castle Newe Band, surmizes Cranford. He emigrated to ?America in 1870 to join his brother. He continued composing in America, according to letter he wrote home to local newspapers, but that tantalizing bit (from George Emmerson) is all that seems to be known. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 191, pg. 66.

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T:George Gordon

M:C

L:1/8

S:Walker Collection

K:Gmin

F|D<G G>A B>cd>g|f>dc>B A<F F>A|D<G G>A B>c d>c|B>G (B/A/)G/^F/ G2G,:|

F|G<g g>f g>dB>G|F<f f>g f>dc>A|G<g g>f d>cB>A|(3BdB (3ABA (G2 G,)F|

G<g g>f g>dB>G|F<f f>g f>dc>A|G>BA>c B>dc>e|d>gf>a b<gg||

GEORGE GRANT . See ?Mr. George Grant’s Strathspey.?

GEORGE GREEN'S COLLEGE HORNPIPE . English, Hornpipe. C Major. Standard tuning. AB. George Green (1895-1975) was a melodeon player in the 20^th century who played for the Little Downham Molly Dancers. His photograph was taken playing with the dancers by W.H. Palmer on Plough Monday, 1932 (reproduced in Elaine Bradtke’s Truculent Rustics: Molly Dancing in East Anglia before 1940). The tune bears no resemblance to the familiar “College Hornpipe? that is also known as the “Sailor’s Hornpipe.? Raven (English Country Dance Tunes), 1984; pg. 156. Veteran VT150CD, George Green - “Heel & Toe? (various artists). Wild Goose WGS 320, Old Swan Band ? “Swan-Upmanship? (2004).
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T:George Green's College Hornpipe
R:hornpipe
C:Trad
M:4/4
L:1/8
Q:1/4=114
K:G %GRK:02150217
(3DEF|:G>BA>G F2 (3DEF|G>BA>G F2d2|c>BA>G F>DE>F|A>GF>E D2 (3DEF|!
G>BA>G F2 (3DEF|G>BA>G F2d2|c>BA>G F>DE>F|1 G2B2 G2 (3DEF:|2 G2B2G2G>A|!
|:B2d2 B2d2|e>dc>B c4|c>BA>G F>DE>F|A>GF>E D2 (3DEF|!
G>BA>G F2 (3DEF|G>BA>G F2d2|c>BA>G F>DE>F|1 G2B2 G2GA:|2 G2B2 G4||!

GEORGE GUBBIN'S DELIGHT (Taitneam Seorsi Gobain). AKA and see ?The Buckeen,? ?Cameron House,? ?Humors of Schull,? “Lord Kelly--Strathspey,? "Lord Kelly('s Rant/Reel)" "Mo Ceoil Sibh a Laochra" ?The Musical Priest,? "The New Bridge of Erin," ?The Old Grey Gander,? ?The Wedding Ring [2].? Irish, Slow Air (4/4 time). A Dorian. Standard tuning. AAB. Source for notated version: O’Neill obtained this tune from George Gubbins, a native of Hospital, County Limmerick, and night-jailer at the Harrison Street Police Station, where O’Neill was also stationed. Gubbins was a fiddler and played all his tunes, including dance tunes, in slow or singing time, “but as he was inclined to be unsociable on such occasions I failed to learn the name of it.? O’Neill named the tune after Gubbins but later discovered a version in Joyce (1909) under the title “The Wedding Ring,? collected only a few miles from where Gubbins was raised. He concluded it was a local air, and “had not penetrated beyond a limited district? (Old Irish Music, pg. 80).? O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 481, pg. 84.

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T:George Gubbin’s Delight

M:C

L:1/8

R:Air

N:”Slow?

S:O’Neill ? Music of Ireland (1903), No. 481

Z:AK/Fiddler’s Companion

K:Amin

G/F/|EAAB c2 Ac|B{c/B/}AGB dBGA|EAAB c2d2|e^f/g/ dB B{c/B/}A A:|

d|eaag e^fge|dBGB AG E2|eaag e^f^ga|bagb a2 ab|

c’bag e^fge|dBgd BGGF|EAAB c2d2|e^f/g/ dB BA A2||

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GEORGE I. TAYLOR STRATHSPEY . Scottish, Strathspey. B Flat Major (Welling): G Major (Carignan). Standard tuning. AB. Composed in 1931 by Aberdeen fiddler J. Murdoch Henderson (1902-1972), called “one of the greatest exponents of the Scottish fiddle in the 20th century.? The tune was named for Aberdeen musician Taylor, who was a “celebrated left handed fiddler.? Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 161, pg. 64. Henderson (Flowers of Scottish Melody), 1935. Welling (Hartford Collection), 1976; pg. 20. Philo 2001, "Jean Carignan" (Carignan learned the tune from an old recording by Cape Breton fiddler Angus Chisholm). WS 031703, Wendy MacIsaac ? “Timeline? (2003).

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GEORGE MACINNIS’S FAVOURITE . AKA and see ?Joe’s Favourite.?

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GEORGE MEL’S DREAM . Canadian, Slow Air (6/8 time). Canada, Pronce Edward Island. E Dorian. Standard tuning. ABA’B. Composed by Monticello, North-East Kings County, Prince Edward Island, fiddler George MacPhee (b. 1941). It was a tune remembered in a dream the night his father died, according to Ken Perlman (1996). Source for notated version: George MacPhee [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 209.

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GEORGE MEL’S REEL . Canadian, Reel. Canada, Prince Edward Island. E Dorian. Standard tuning. AABB. The ‘A? part is the same as the ‘B? part of the hornpipe ?Rights of Man.? The source’s nickname was ‘George Mel.? Source for notated version: George MacPhee (b. 1941, Monticello, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 111.?

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GEORGE PRIVETT'S POLKA . English, Polka. G Major. Standard tuning. AA'B. Carlin (Master Collection), 1984; No. 9, pg. 19.

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GEORGE REID . Scottish, Strathspey. E Minor. Standard tuning. AA'B. Composed by Alexander Walker for George Reid "of Messrs. B. Reid & Co., Aberdeen." Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 140, pg. 48.

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GEORGE REILLY . AKA and see ?The Plains of Waterloo [2].?

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GEORGE REYNOLDS . Irish, Planxty (6/8 time). F Major. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 157, pg. 107.

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T:George Reynolds

C:Turlough O'Carolan

M:6/8

L:1/8

R:Jig

K:D

D2D DED|FAA A3 |B/c/dc/B/ cde|dEE E2A|

FDF BAB|AFA f2e|de/d/c/b/ ABc|dDD D3||

f/g/af e/f/ge|dAd dAd|bg/a/b/g/ af/g/a/f/|eBe efg|

fg/f/e/d/ cde|AB/A/G FGA|B/c/dB cAc|dDD D3||

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GEORGE RIDDELL . Scottish. Reel. D Minor. Standard tuning. AB. Composed in 1934 by Aberdeen fiddler and composer J. Murdoch Henderson (1902-1972), in honor of George Riddell, "a musician and composer of repute" of the fishing village of Rosehearty, just east of Pennan. Hardie (Caledonian Companion), 1992; pg. 101. Henderson (Flowers of Scottish Melody), 1935.

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GEORGE ROSE WOOD . See "Tarland Memories."

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GEORGE ROWLEY’S HORNPIPE (Cornph?opa Sheoirse U? Roghallaigh). Irish, Hornpipe. A Dorian. Standard tuning. AABB. Source for notated version: George Rowley/Seoirse ƒ‚ Roghallaigh (Ireland) [Breathnach]. Breathnach (CRƒm I), 1963; No. 206, pg. 83.

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GEORGE S. FORBES OF ASLOWN . Scottish, Hornpipe. B Flat Major. Standard tuning. AABB'. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 48, pg. 18.

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GEORGE SKENE DUFF, OF MILTON . Scottish, Reel. C Major. Standard tuning. AB. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 13.

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GEORGE SQUARE . See "George's Square."

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GEORGE STEWART OF GRANTLEYS . Scottish, Slow Strathspey. A Major. Standard tuning. AAB. Carlin (Gow Collection), 1986; No. 65.

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GEORGE THE FIFTH’S ARMY . AKA - “George V’s Army.? AKA and see ?George’s Army March,? ?Kitchener’s Army [1]." Scottish, March (cut time). A Major. Standard tuning. AABBCC. Composed as a four part tune by Pipe Major George S. McLennan. Perlman (1996) notes that the version played in the Canadian Maritimes has only three parts. Paul Cranford writes that Cape Breton singer and musician John Allan Cameron popularized the tune, recording it on his album “Get There by Dawn? with Barry Ewen on pipes. Source for notated version: Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident of Montague) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 184.Scots Guards, vol. 1.Rounder 82161-7032-2, Bill Lamey ? “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977? (2000. Appears as “Kitcherer’s Army?).?

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GEORGE THE IV (Fourth). See "King George the IV." Scottish, Strathspey; Irish, Highland. Ireland, County Donegal. A Minor. Standard tuning. AA'B (Honeyman): AABC (Kerr). A popular highland in County Donegal. Donegal fiddler Mickey Doherty (d. 1970) played an influential version on “The Donegal Fiddle.? Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 16. Kerr (Merry Melodies), vol. 1; Set? 8, No. 1, pg. 7.

X:1

T:George the IV

M:C

L:1/8

R:Strathspey

B:Kerr ? Merry Melodies, vol. 1, pg. 7? (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

A|:E<A, A,>B, C>B,A,>A|E<A, A,>C B,>A,G,>B,|E<A, A,>B, C>DE>C|B,<D G>E D/C/B,/A,/ G,B,:||

c>eA>e c<e d/c/B/A/|c>eA>e d/c/B/A/ G<B|c>eA>e B>eA>^f|g>g a/g/^f/e/ d/c/B/A/ G<B|

c>eA>e c>e d/c/B/A/|c>eA>e d/c/B/A/ G<B|c<e B<d A<B E<A|G>A G>E D/C/B,/A,/ G,<B,||

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GEORGE THE FOURTH REEL . Scottish, Reel. A Minor. Standard tuning. AAB. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 17.

X:1

T:George the Fourth Reel

M:C|

L:1/8

R:Reel

B:Honeyman ? Strathspey, Reel and Hornpipe Tutor? (1898)

Z:AK/Fiddler’s Companion

K:Amin

B,|A,2 EA, (^FA,)EA,|A,2 ED (CA,)A,B,|A,2 EA, (^FA,)E^F|G2 DC (B,G,)G,:||B|

(c/B/A) eA aAeA|(c/B/A) eA cAAB|(c/B/A) eA (aA)d^f|g2 dc (BG)Ge|

(c/B/A) eA aAeA|(c/B/A) ed cAAB|c2 ec B2 dB|Agdg BGG||

GEORGE THE IVth'S WELCOME TO SCOTLAND . Scottish, Reel. B Flat Major. Standard tuning. ABB. "From Nicolson's Collection" (Skye). In 1822 king George IV visited Scotland, staying at Dalkeith for some days instead of the usual royal residence of Holyrood House. It was the first time a Hanoverian monarch visited the country. He was entertained by Walter Francis Montegu-Dougals-Scott, the 5^th Duke of Buccleuh who was only sixteen at the time (having held the dukedom since age 13).? It was not the last time the Duke entertained royalty, for twenty years later Queen Victoria also visited him at his seat. George IV’s visit inspired much notoriety and activity in Scotland, and Dalkeith was decorated and spotless. It is said that during his stay lamps lit the entire road from Dalkeith house to Edinburgh. Unfortunately, the king caught a cold while there, and after he left the main house entrance was closed and remodeled to cut down on draughts. MacDonald (The Skye Collection), 1887; pg. 133.

X:1

T:George the IVth’s Welcome to Scotland

M:C

L:1/8

R:Reel

S:MacDonald ? Skye Collection? (1887)

Z:AK/Fiddler’s Companion

K:B_

d|f2 dB f2 dB|A/B/c c>B AFF_A|GEEG FDDd|edcB AcF=e|f2 db f2dB|

A/B/c c>B AFF_A|GBAc Bdce|dfec B2B||

e|dfbf dfBd|Acfc AcF_A|GEEG FDDd|edcB AcFe|dfbf dfBd|Acfc AcF_A|

(B/A/B) (A/B/c) (B/c/d) (c/d/e)|(d/e/f) (e/f/g) (f/g/a) bg)=e||

GEORGE TREMAIN'S QUICKSTEP . English, Quickstep (6/8 time). G Major. Standard tuning. One part. Raven (English Country Dance Tunes), 1984; pg. 124.

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

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GEORGE WASHINGTON’S MARCH .See ?Washington’s March.?

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GEORGE WHITE’S . AKA and see ?George White’s Favorite.?

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GEORGE WHITE'S FANCY/FAVORITE (Rogha Sheoirse de Faoite). AKA and see "The Carrowcastle Lasses," “George White’s,? "The Lass of Carrowcastle [2].? Irish, Reel. E Minor ('A' part) & G Major ('B' part). Standard tuning. AABB. The tune is attributed by more than one source (according to David Taylor {1992}) to the great Co. Mayo and New York fiddler John McGrath (1900-1955), who called it "The Carrowcastle Lasses," although this attribution is in doubt. George White was born in County Longford in the late 19^th century and immigrated to the New York City area around the turn of the century. He taught music, wrote and composed in that city, although later relocated to Boston. Sometimes it is said White was a publican who so often requested “Carrowcastle Lasses? that it became associated with his name. This tune was famously recorded by south Sligo fiddler Paddy Sweeney {1894-1974} (who often partnered with Paddy Killoran) in New York in 1934. Piper Leo Rowsome recorded it under the title “George White’s Favorite.? Some see resemblances to the ?Old Maids of Galway? family of tunes. Sources for notated versions: Frank McCollam (Ballycastle, County Antrim) [Mulvihill]; accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRƒm I), 1963; No. 97, pg. 42. Harker (300 Tunes from Mike Rafferty), 2005; No. 105, pg. 32. Miller & Perron (Traditional Irish Fiddle Music), 1977; vol. 1, No. 30. Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 73. Mulvihill (1^st Collection), 1986; No, 19, pg. 5 (appears as “George White’s?). Coleman Center CD CC004, Paddy Ryan & Jim Corry ? “The Mountain Road? (1999. Various artists. “A Compilation of tunes popular in South Sligo?). Green Linnet Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985).

X:1

T:George White’s Favourite

T:Carrowcastle Lasses

R:reel

H:Also played in D, #789

D:Matt Molloy & Sean Keane: Contentment is Wealth

D:Kevin Crawford: ‘D? flute album

Z:id:hn-reel-472

Z: transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:G

eB~B2 eBdB|AGAB GEDE|GB~B2 eB~B2|eBdB A2Bd|

eB~B2 eBdB|AGAB GEDE|GABd gedB|1 AGAB G2Bd:|2 AGAB G4||

|:gede gaba|gfga gedB|dega bgag|eaag a2ga|

bgeg d2de|gede gaba|~g3d egdB|1 AGAB G4:|2 AGAB G2Bd||

“variations?

|:eB~B2 eBdB|~A3B GEDE|~G3A BGBd|gedB ABcd|

eB~B2 eBdB|AGAB GEDE|G2Bd egdB|1 AGAB G2Bd:|2 AGAB G4||

|:gede gaba|~g3a gedB|dega bgag|eaag a2ga|

bg~g2 egde|gede gaba|gd~d2 egdB|1 AGAB G4:|2 AGAB G2Bd||

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GEORGE’S ARMY MARCH . AKA and see ?George the Fifth’s March,? ?Kitchener’s Army [1].?

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GEORGE’S DELIGHT . Scottish, Reel. Composed in 1933 by Aberdeen fiddler and composer J. Murdoch Henderson (1902-1972), dedicated to George Wright, a violinist from Turriff. Henderson (Flowers of Scottish Melody), 1935.

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GEORGE'S SQUARE . Scottish, Reel. F Major. Standard. AABB. The melody was composed by William Marshall and appears fist in his 1781 collection (pg. 2). Marshall, Steward of the Household to the Duke of Gordon, dabbled in mathematics, clock making and surveying, in addition to his talents as a fiddler. George Square, Edinburgh, was laid out by the planner James Brown in 1763/64, and has been ever since been one of the most prestigious areas of the city. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 2.

X:1

T:George’s Square

M:C|

L:1/8

R:Reel

S:Marshall ? 1781 Collection

Z:AK/Fiddler’s Companion

K:F

(f|cF)cA cFfd|cFcA dGG(f|c)FcA fgag|dfcA G2:|

|:(e|f)gag fFF(A|f)gaf bgga|fgaf gefc|dfcA G3:|

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GEORGIA BELLE(S). Old‑Time, Breakdown. USA, Western North Carolina. C Major [Krassen]: G Major. Standard. ABA'CCA'C'. Source for notated version: Manco Sneed (Graham County, North Carolina) [Krassen]. Sneed learned the tune from J.D. Harris or Mac Hensley around 1897‑1903 (Krassen). In the repertoire of fiddler Osey Helton, from the same region as Sneed. J. Dedrick Harris was a legendary Tennessee fiddler who played with Bob Taylor while the latter was running for governor of the sate in the late 1800's. He moved to Western N.C. in the 1920's and influence a generation of fiddlers there: Osey Helton, Manco Sneed, Bill Hensley, Marcus Martin. The colony of Georgia was named in honor of King George II, in 1732. Krassen (Masters of Old‑Time Fiddling), 1983; pg. 126‑127.

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GEORGIA BLUES .Old‑Time, Breakdown. The melody was recorded in Atlanta, Georgia, for Victor Records by fiddler Bill Helms of Thomastown, a village south of the city. Helms was backed on the recordings by Grady Owens (fiddle), John Hogan (banjo, guitar) and Ty Cobb Hogan (guitar). Later, “in 1931, Helms recorded for Columbia with Riley Puckett and Gid Tanner as the Home Town Boys? (Wayne W. Daniel, Pickin? on Peachtree, 1990, pg. 81). County 514, Bill Helm's Upson County Band ‑ "Hell Broke Loose in Georgia" (orig. rec. 1928).

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GEORGIA BOOTLEGGER RAG . Old-Time, Breakdown. A Major. Standard. AABB. Source for notated version: Frank Maloy, who learned it from an old-time mandolin player performing with a traveling tent show in south Georgia in the early 1940’s [Devil’s Box]. The Devil’s Box, vol. 20, No. 3, Fall 1986, pg. 54.

X:1

T:Georgia Bootlegger Rag

M:2/4

L:1/8

S:The Devil’s Box (V.20, No.3)

K:A

A/B/|c/B/c/e/ c/B/A/F/|E/F/A/B/ c/A/B/c/|d/c/d/e/ f/e/d/c/|B/c/^d/c/ B/A/G/F/|

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

|:e/e/|f/g/^a/f/ g/a/f/g/|^a/f/g/f/ a/f/g/a/|f/g/=a/f/ g/a/f/g/|=a/f/g/f/ a/f/g/a/|

e/f/g/e/ f/g/e/f/|g/e/f/e/ g/e/f/g/|a/f/e/a/ f/e/c/f/|e/c/B/c/ A:|

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GEORGIA BOYS . AKA and see "Seneca Square Dance."

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GEORGIA BREAKDOWN . AKA and see "Georgia Bust Down," "Chinese Breakdown [1]."

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GEORGIA BUCK . Old‑Time, Breakdown. "Heard in many parts of the South, but relatively rare" (Kerry Blech). The tune is known as a black Southern banjo song, a prime example of what Cece Conway called in American Banjo Echoes in Appalachia (1995) the ‘banjo song genre.? She says these songs had five musical characteristics: rhythmic and syncopated playing throughout the performance, especially when singing; elaborated musical interludes; compressed vocal lines of two or more syllables per beat; occasional but irregular interruptions by instrumental interludes within the stanza; and varied repetition of instrumental elements The lyrics, as played by North Carolina banjo player John Snipes, go:

***

Where ya' goin' old rabbit

Where ya' goin' old crow

Goin' in the new-groun' to git my grubbin' hoe

***

Oh me, trouble do I see

Goin' in the new groun' to git my grubbin' hoe.

***

Georgie Buck, Georgie Buck... (John Snipes/Cecilia Conway)

***

Banjo player Dent Wimmer of Floyd, Floyd County, Virginia, sang:

***

Georgia Buck is dead,

Those words he said,

‘Don’t give a (?) when we die. Don’t give a (?) when we die.

***

Oh, Georgia Buck is dead, last word he said,

‘Come to my grave on a (sleigh?), come to my grave on a (sleigh?).

***

English folksong collector Cecil Sharp had a single verse (“Barbara Buck?) from Laura V. Donald of Dewey, Virginia, that had some similarities. The tune was also in the repertoire of Chapel Hill, North Carolina, guitarist and banjo player Elizabeth Cotten, and was played by African-American fiddler Joe Thompson in GDgd tuning. Document 8041, The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 3? (reissue of the 1927 original recording). Global Village C217, Joe and Odel Thompson ‑ "Old Time Music From the North Carolina Piedmont." Musical Traditions MTCD321-2, Dent Wimmer (et al) ? “Far in the Mountains, vols. 1 & 2? (2002). Rounder CD 0382, Marvin Gaster - “Uncle Henry’s Favorites.? Rounder CD 0439, Odell Thompson. Smithsonian Folkways SF CD 40079, Dick Roberts, Joe Thompson & Odell Thompson.

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GEORGIA BUST DOWN . AKA and see "Georgia Breakdown," "Chinese Breakdown [1]." Old‑Time, Breakdown. USA, North Georgia. A version of "Chinese Breakdown." Vocalion 5458 (78 RPM), Dilly and His Dill Pickles (North Georgia guitarist John Dilleshaw).

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GEORGIA CAMP MEETING .Old‑Time, Cake‑Walk. USA, Virginia. A cake walk, say Barry Poss and Tom Carter, is a type of tune associated with "a popular dance craze which probably entered southern tradition around the turn of the century. The original tune was the work of prolific composer Kerry Mills (1869-1948), who published it in 1897 to be played as a cakewalk, two-step or polka. Mills, say Carter & Poss, was "steeped in the strong march tradition of the 19th century", and others identify that he helped bridge the two-step dance and the emerging styles of cakewalk and early ragtime. The colony of Georgia was named in honor of King George II, in 1732. County 201, Tump Spangler ‑ "The Old Virginia Fiddlers:...Patrick County, Virginia." County 532, Leake County Revelers ‑ "Saturday Night Breakdown: 1927‑1930 Recordings" (1975). CD, Alan Jabbour, James Reed, Bertram Levy ? “A Henry Reed Reunion? (2002). Renovation 7003, “Cakewalks, Rags and Blues? (a 1908 version by John Phillip Sousa and band).

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GEORGIA CRACKER [1]. Bluegrass, Breakdown. Composition credited to bluegrass mandolin player Doyle Lawson. Doyle Lawson ? ?Tennessee Dream? (c. 1980).

GEORGIA CRACKERS [2]. American, Hornpipe. F Major. Standard tuning. AABB. Composed by Frank Livingston, who contributed several tunes to Ryan’s Mammoth Collection, most having titles that reference the South. The colony of Georgia was named in honor of King George II, in 1732. According to Stuart Berg Flexner (Listening to America, 1982), a Georgia Cracker “has nothing to do with the crackers we eat but is from corncracker, one who cracks or pulverizes corn to make hominy grits or corn meal. Such corn cracking was a common chore in all the colonies, and cracker meant a braggart or liar by 1766. Corn remained a basic cereal in the South long after the North had turned to other grains—that’s why cracker had come to mean a southern backwoodsman by 1836 and a poor white from Georgia or Florida by 1891 (Georgia has been called the Cracker State since soon after the Civil War). Thus the cracker in Georgia cracker literally means a person who still cracks corn because he is too countrified or too poor to buy cornmeal or to use wheat or other flour.? (pg. 286). Cole (1000 Fiddle Tunes), 1940; pg. 104. Ryan’s Mammoth Collection, 1883; pg. 140.

X:1

T:Georgia Crackers

R:Hornpipe

C:Frank Livingston

S:Cole's 1000 Fiddle Tunes

M:2/4

L:1/16

K:F

(3cde | fcAc fcAc | fefg agfe | fcAc fcAc | egec egec | fcAc fcAc | fefg afga |

bagf gfed | cbag f2 :||: ba | gfed cBAG | FCA,C FAcf | ecbg ecbg | fcc'a fcba |

gfed cBAG | FCA,C FAcf | ecbg ecBG | F2A2F2 :||

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GEORGIA FOX TROT . AKA and see ?Alabama Trot.? Old-Time, Breakdown. D Major. Standard tuning. AA’BB. The tune is on a home-recording of West Virginia fiddler Paul Yeaton. The Roane County Ramblers recorded the tune in 1929 as “Alabama Trot.? See note for “Alabama Trot.? Source for notated version: Peter Boveng [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 50.

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GEORGIA HORSESHOE . Old-Time, Breakdown. From North Carolina fiddler Osey Helton, who had the tune from Junalaska, a local Native-American fiddler.

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GEORGIA RAILROAD . AKA and see "Peter Went A‑Fishin [1].'" Old‑Time, Breakdown & Song; New England, Polka. USA. A Major. Standard tuning. AABB. The song was recorded in the 1920's by Gid Tanner and the Skillet Lickers.

***

Peter and I we went fishin'

Georgia Railroad I am bound;

Caught a big mud‑cat, put him in the kitchen,

Georgia Railroad, Georgia gal.

***

I led sheep up to the pasture,

Georgia Railroad I am bound;

But my gal said: "Sheep can't you go a little faster",

Georgia Railroad, Georgia gal.

***

Sheep said: "Cow, I have a sore toe",

Georgia Railroad I am bound;

Cow said: "Sheep, I did not know",

Georgia Railroad, Georgia gal.

***

Well I'm goin' down the road and the road's all muddy,

Georgia Railroad I am bound;

But I'm so drunk I can't stand steady,

Georgia Railroad, Georgia gal.

***

Sources for notated versions: Tom McCreesh [Brody and Kuntz]; Alan Block [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 118. Kuntz (Ragged but Right), 1987; pg. 319‑320. Miller & Perron (101 Polkas), 1978; No. 63. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 96. Front Hall 05, Fennigs All Stars‑ "Saturaday Night in the Provinces." Also recorded by the Skillet Lickers.

X:1

T:Georgia Railroad

L:1/8

M:2/4

B:Kuntz ? Ragged but Right

K:A

e/f/e||ag (3f/g/fe|e/f/e/d/ c/B/A|B>c B/A/B/A/|c/A/B/c/ A/B/c/A/|ag (3f/g/fe|e/f/e/d/ c/B/A|

B>c B/A/B/A/|c/A/B/c/ Ae/g/|ag (3f/g/f/e|e/f/e/d/ c/B/A|B>c B/A/B/A/|c2 B/A/B/A/|

ag (3f/g/f/e|e/f/e/d/ c/B/A|B>c B/A/B/A/|c/A/B/c/ A2||[Ac]>[Ad] c/B/A|[Ac]>[Ad] c/B/A|

BB/c/ B/A/F/D/|E/F/A/B/ c/A/B/A/|[Ac]>[Ad] c/B/A|[Ac]>[Ad] c/B/A|E/F/A/B/ c/A/B/A/|

c/A/B/c/ A2||

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GEORGIA ROW . AKA ? ?Georgia Road.? AKA and see "Angeline the Baker," "Walk up Georgia Row," "Coon Dog [2]." Old‑Time. USA, Northeastern Ky. A Major. AEae tuning. In the repertoire of Uncle Charlie Osborne, for one. Heritage Records, Young Fogies II. Rounder 0032, Buddy Thomas (northeast Ky.) ‑ "Kitty Puss: Old‑Time Fiddle Music From Ky."

X:1

T:Georgia Row

M:C| M:C
L:1/8

S:Bruce Molsky

N:DDae tuning

N:ABC’s from a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:D

AB|:c2e2e3c | B2A4AB|c2e2 efec | B2Bc B2AB|

c2e2e4|c3B c2AB | cBAF E2F2| A3B A2 AB||

cABc A2F2 | E3FE2AB | c2(3BcB A2F2 | A3B A2AB |

cBcB A2F2|E3F E2AB ||

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GEORGIA SHUFFLE . See "Hamilton County."

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GEORGIA SNOWBIRD . AKA and see "Snowbird on the Ashbank [1].? A tune by this name was recorded on July 28, 1964 by Glen Massey of the playing of elderly North Carolina fiddler Manco Sneed (the tune follows “The Lady Hamilton?, and precedes “Red Apple Rag? and “Boogerman?).

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GEORGIA STOMP . Old‑Time, Breakdown. Composed by African-American fiddler Jim Baxter. Harry Smith (Folkways FA2952, 1952) says the recording is “structurally intermediate between the early rural string band style and the syncopated urban style that was perfected about 1880." Interpolated near the end of the recording is the "Louisiana regional melody" variously called "Gatemouth," "Get it Right," "Mamm'a Baby Boy," or "Pork Chops Rag." Folkways FA2952, Andrew and Jim Baxter ‑ "Anthology of American Folk Music, vol. Two: Social Music" (1952. Orig. rec. 1929, Victor V-38002B).

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GEORGIA TOWN . AKA and see "George Booker [1]."

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GEORGIA WAGONER . AKA and see "Wagoner [1]," "Tennessee Wagoner." Old‑Time, Breakdown. This tune is a version of the well‑known breakdown "Wagoner" played by north Georgia fiddler Gid Tanner and his son Gordon, along with blind guitarist Riley Pucket over the radio in Covington, Ky., about 1930. See "Wagoner" and its versions. Bluebird 5433A (78 RPM), Gid Tanner and his Skillet Lickers (north Ga.) {1934}. Heritage 048, Lowe Stokes ‑ "Georgia Fiddle Bands" (Brandywine, 1982). Okeh Records 45040, Fiddlin? John Carson (north Ga.).

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GEORGIA WALTZ .Old-Time, Waltz. Bee Balm 302, “The Corndrinkers.?

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GEORGIA WILDCAT BREAKDOWN . Old-Time, Breakdown. USA, north Georgia. G Major. Standard tuning. AABB. Source for notated version: Clayton McMichen with the Georgia Wildcats (north Georgia) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 96.

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GEORGIANA . English, Jig. G Major. Standard tuning. AABB. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 51, pg. 14.

GEORGIANA MOON . AKA - "Dreamy Georgiana Moon." Bluegrass, Waltz. USA, Georgia. B Flat Major. Standard tuning. AA. Composed by fiddler Clayton McMichen (north Georgia) in the 1930's. Source for notated version: Kenny Baker [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 118. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 261. County 775, Kenny Baker‑ "Farmyard Swing." American Heritage 510, Jay Belt‑ "Fiddlin' Jay Belt." CMH 9006, Benny Martin‑ "The Fiddle Collection."

GER THE RIGGER . AKA and see ?Jer the Rigger.?

GERALD DILLON . Irish, Planxty (6/8 time). G Major. Standard tuning. AB. Composed by Turlough O'Carolan. Complete Collection of Carolan's Irish Tunes, 1985; No. 36, pg. 44.

GERALDINE'S DAUGHTER (Ingean U? Gearailt). Irish, Slow Air (3/4 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 189, pg. 33.

X:1

T:Geraldine’s Daughter

M:3/4

L:1/8

R:Air

N:”Slow?

S:O’Neill ? Music of Ireland (1903), No. 189

Z:AK/Fiddler’s Companion

K:G

D>E | G3A B>A | G4 G>A | B>c d2 d>c | B2 B2 e>f | gz g2 f>e | d2 d>c B>c |

d g3 g>a | g4 g2 || =f e3 d>c | B2 B2 d2 | e>f g>a b>a | g g3 e/d/c | B2 A2 G2 |

F2 G>A B>c | d2 c>B A>G | G G3 ||

GERALDINE’S REEL . Canadian, Reel. Canada, Cape Breton. Composed by Cape Breton fiddler Wendy MacIsaac. WS 031703, Wendy MacIsaac ? “Timeline? (2003).

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GERARD FAHY’S JIG .? Irish, Jig. G Major. Standard tuning. AABB. A slow jig. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 215, pg. 66.

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GERARD HEINTZMAN’S PIANO . Canadian, Reel. Canada; Cape Breton, Prince Edward Island. G Major. Standard tuning. AA’BB. Composed by Cape Breton musician Joey Beaton, of the famous musical family of Mabou, Cape Breton, Nova Scotia. Source for notated version: Carl and Jackie Webster (b. 2932 & 1938, Cardigan, central Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 54.

GERMAN . The generic name used in (northwest and central) County Donegal, Ireland, for a 4/4 time Barndance tune. The tempo is close to hornpipe speed. Caoimhin Mac Aoidh (1994) states the structural characteristic is groups of two or three crochets used to accent the dance. The name German for this genre is thought to have dervived from titles on sheet music covers of about a century ago, which identified tunes as “German Schottisches? or “Highland Schottisches? as the case may be. Mac Aoidh speculates that older musicians, lacking formal musical training, probably assumed that by implication the two were different. While the German often features triplets it does not employ the “Scottish snap? that has been retained in many Highlands; however, it appears that both forms are ultimately derived from the Scottish strathspey. Juergen Gier notes a related form on Continental Europe is the “R(h)einlander,? which may be the source of the term German. It will also be remembered the the term ‘schottische? is derived from Germanic attempts to mimic the conventions of Scottish music. See also “Highland.?

GERMAN BEAU , THE. English, American; Contra Dance Tune (cut time). G Major (Keegan): D Major (Laufman). Standard tuning. AABB. There is a set dance, known as a northern Irish dance, called The Three Tunes for which “The German Beau? is often played as the third accompaniment melody (preceded by ?Haste to the Wedding? and ?Leslie’s Hornpipe?). The figures are printed by Keegan (2002), while the set below is from Ten Irish Figure Dances (1947):

***

A. Sides (16 bars)

B. Rings (8 bars)

C. Lead Around (8 bars)

D. Stamp and Clap (2 x 8 bars)

E. See-Saw (16 bars)

F. Roly-Poly (2 x 12 bars)

G. Hook and Chain (16 bars)

H. Rings (16 bars)

I. Sides under Arms (8 bars)

J. Stamp and Clap (2 x 8 bars)

K. Thread the Needle (2 x 8 bars)

L. Roly-Poly (2 x 12 bars)

***

Keegan (The Keegan Tunes), 2002; pg. 111. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 27.

X:1

T:German Beau, The

M:C|

L:1/8

K:D

A2|d4 A2d2|e3c A2f2|g2f2 e2d2|cdec ABcA|

d4 A2d2|e3c A2g2|fafd egec|d6:|

|:A2|defg a2de|fgab a2a2|b3a b2c'2|d'4 c'2d'2|

b4 g2e2|a4 f2d2|g2f2 e2d2|cdec ABcA|

d4 A2d2|e3c A2g2|fafd egec|d6:|

GERMAN DANCE , THE. English, Dance Tune (4/4 time). F Major (Seattle): G Major (Thompson). Standard tuning. AABBCCDD. The melody appears in Charles and Samuel Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773), Straight & Skillern’s Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775), and Skillern’s Two Hundred and Four Favourite Reels?Country Dances (London, 1780). A few musicians? manuscripts also contain the tune: Northumbrian musician William Vickers' 1770 collection has it under the title "Jarmon" for German, and American fiddlers John and William Pitt Turner (Norwich, Conn.) entered it into their commonplace book (as they did several times for tune from the Thompson’s third country dance collection). Seattle (William Vickers), 1987, Part 3; No. 435. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 33.

X:1

T:German Dance, The

M:2/4

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:G

G2 G/F/G/A/|GB G2|A2 A/G/A/B/|Ac A2|B2c2|c2 ec|B2A2|G4::f2 af|g2 bg|f2 af|g2 bg|

e2 ge|d2 ec|B2A2|G4::d3d|dd d2|B3B|BB B2|AB c2|Bc d2|

cABG|A2D2::f3f|ff f2|g3g|gg g2|e2e2|d2 ec|B2A2|G4:||

GERMAN LAIRDIE , THE. Scottish. According to the poet Robert Burns, who had it from "somebody who had it of Marshall himself," this air provided the melodic material for three of the composer's most celebrated tunes, "The Marquis of Huntley's Reel," "His Farewell," and "Miss Admiral Gordon's Reel/Strathspey."

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GERMAN NICE . English, Polka. F Major. Standard tuning. AABA. The melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19^th century, and his manuscript dates from around 1820 onwards. The Joseph Kershaw Manuscript, 1993; No. 25.

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GERMAN POLKA . English, Scottische. England, Yorkshire. B Flat Major. Standard tuning. AABB. The "German Polka" was the name for the dance now known as the schottische, when it was first danced in England in 1848. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 103, pg. 57.

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GERMAN QUICK MARCH , A. German, QuickMarch (2/4 time). D Major. Standard tuning. AABBCC. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; pg. 2 No. 4.

X:1

T:German Quick March, A

M:2/4

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:D

f2 ef | de/d/ cA | Bdce | (d/c/d/e/) dd | f2 ef | de/d/ cA | Bdce | d2d2 :|

|: FAFA | G2 GG | FEDC | (D/C/D/E/) DD | FAFA | G2 Gg | fedc | d2d2 :|

|: (d2 d)f | (e2 e)g | fedc | d/c/d/e/ dd | d2 df | e2 eg | fedc | d2d2 :|

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GERMAN SCHOTTISCHE, A. AKA and see ?Curlew Hills .? Scottish. D Major. Standard tuning. The schottische melody appears as a 2^nd violin counter part to “Home Sweet Home,? presented as a “Duet for Two Violins.? Kerr (Merry Melodies), vol. 1, pg. 46.

X:1

T:German Schottische

M:C

L:1/8

R:Schottische

K:D

(Bc)|:d2b2c2a2|B2g2 gdBG|F2e2 edcA|(GB) (Ac) (Bd) (ce)|d2b2c2a2|

B2g2 gdBG|F2e2 edcA|G2B2G2||(AG)|FGAB cdef|g2B2 BA B2|

e2A2 AG A2|d2G2 G2 (AG)|FGAB cdef|g2B2 BA B2|e2A2 c2F2|G2B2G2||

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GERMAN SCHOTTISCHE, THE. American(?), Schottishce. USA, Central Pa. G Major. Standard tuning. AA'B. Source for notated version: Harry Daddario (Buffalo Valley, Pa.) [Guntharp]. Guntharp (Learning the Fiddlers Ways), 1980; pg. 107.

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GERMAN SPA . AKA and see "New German Spa." English, American; Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody originated in England, but was soon transported to America. The earliest printings appear on or around the year 1780; it appeared as "The new German spa dance" on page 24 of Longman and Broderip's New Instructions for the German Flute (London), and as "The German spaw minuet" on page 20 of a similarly entitled tutor New Instructions for the Common Flute (Originally published in London, though preserved by the Litchfield, Connecticut, Historical Society). The tune and a dance called the "German Spa" appeared in Twenty Four Country Dances for the Year 1788 (London; Saml. Ann and Peter Thompson), and Van Cleef and Keller (1980) believe it to have been known in New England shortly after its publication. A dance by the same name was copied into a MS by a Pepperell, Massachusetts, lass named Nancy Shepley around 1795, and though the tune was apparently the same, the dance figures differ from those found in Thompson's 1788 London publication. John Griffiths' A Collection of the Newest Cotillions and Country Dances (Northampton, Massachusetts, 1794) gives "German Spa" twice, as a cotillion and a country dance.? The tune as printed by Thompson is to be found in several MS sources of the late 18th and early 19th century in both England and America; Van Cleef and Keller note a version for two fifes is contained in Joshua Cushing's 1805 Fifer's Companion (Salem, Massachusetts). There were many German spas, as there were in other countries, including England. Petra Rau of the University of Portsmouth has written on the subject in her paper “Fun and Games? High Capitalism and the German Spa from Thackeray to Ford,? and sees the German spa as “not just a 19^th century cosmopolitan health resort but a international socio-sexual market place, affording the excitement of conspicuous waste (leisure and gambling) which affirms social status, and providing the opportunity for foreign erotic liaisons that do not threaten respectability at home.? She poses that the foreign spas were a Victorian flirting with “the margins and the reverse side? of English and Victorian ideals and mores; “vulgarity, vice, licentiousness, lack of style and restraint, and economic failure.? Further, she writes, the German-ness of the spas was linked to the pre-Bismarkian (Georgian?) idea of Germans as cousins of the British, cousins often seen as ‘romantic adventurers? or ‘learned high-minded intellectuals.? Sources for notated versions: Thompson's 1788 Collection (London, England) [Van Cleef & Keller]; 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]. McGlashan (A Collection of Reels), c. 1786; pg. 40. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 30 (set for three instruments). Van Cleef & Keller (Selected American Country Dances and Their English Sources, from Music in Colonial Massachusetts, vol. 1.), 1980; Fig. 30. Gourd Music 110, Barry Phillips ? “The World Turned Upside Down? (1992).

X:1

T:German Spaw (sic), The

L:1/8

M:2/4

S:McGlashan ? Reels?

Z:AK/Fiddler’s Companion (c. 1786)

K:A

c>d e/d/c/B/|AA B2|cc/A/ dd/B/|cc/A/ B2|c>d e/d/c/B/|AA B2|

cc/A/ dd/B/|c/B/A/G/ A2:||c>d ef|ga e2|aa/g/ ff/e/|dd/c/ B2|c>d ef|

ga e2|a>g fe|B/e/^d/f/ e2|c>d e/d/c/B/|AA B2|cc/A/ dd/B/|

cc/A/ B2|c>d e/d/c/B/|AA B2|cc/A/ dd/B/|c/B/A/G/ A2||

GERMAN WALTZ [1] . AKA and see "Goodbye Waltz." American, Waltz. D Major. Standard tuning. AA'BB'CC. Source for notated version: Dale Morris and Benny Thomasson (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 261.

GERMAN WALTZ [2] . American, Waltz. G Major ('A' and 'B' parts) & D Major ('C' part). Standard tuning. AABB'CC. Source for notated version: Lotus Dickey (Ind.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 262.

GERMANTOWN . American, March? (4/4 time). USA, southwestern Pa. C Major/Mixolydian. Standard tuning. AA'B. Source for notated version: John Tustin (Greene County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 91, pg. 55.

GERRY COMMANE'S REEL (R?l Ghear?id U? Chomáin). AKA ? “Gerry Cromane’s Reel.? Irish, Reel. D Mixolydian. Standard tuning. AABB. The late Gerard “Gerdy? Commane (c. 2005) was a concertina player from west Clare. Source for notated version: whistle player Mary Bergin (Ireland) [Breathnach]. Breathnach (CRƒm III), 1985; No. 203, pg. 90. Cranford (Jerry Holland: The Second Collection), 2000; No. 108, pg. 42. Harker (300 Tunes from Mike Rafferty), 2005; No. 116, pg. 35. Vallely (Armagh Pipers Club Play 50 Reels), 1982; pg. 18 (appears as “Gerry Cromane’s Reel?). Gael‑Linn CEF 071, Mary Bergin ‑ "Feadoga Stain" (1979). Rounder Easy Disc EDIS 9016, Mike Rafferty ? “Light Through the Leaves: Irish Piping, Flutes & Whistles.? Jerry Holland ? “Master Cape Breton Fiddler? (1982).

X:1

T:Gerry Commane’s Reel

M:C|

L:1/8

R:Reel

K:Dmix

fe|d2 ed cAGE|A2 AG ABcA|d2 ed cAFD|DGGF GBAG|DFEF DEFG|

Addc defg|af (3gfe fded |fdAF G2::fg|a2 ab agfg|abaf g2 fg|

a~d3 b~d3|agfe defg|a2 ag f2 ed|c~A3 f2 fg|a2 ag fded|fdAF G2 :|

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GERRY CONROY’S .? AKA and see ?Father Quinn’s.? Irish, Jig. E Dorian. Standard tuning. AA’BB?. Named for tin whistle player Gerry Conroy, the “Woodford Whistler,? of County Galway, southwest of Portumna. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 216, pg. 67. Larraga Records TR1103, Mary Rafferty ? “Hand Me Downs? (2002).

X:1

T:Gerry Conroy’s

M:6/8

L:1/8

R:Jig

K:Edor

FA|B2B BAF|A{c}d B BAF|?

GERRY CROMANE’S REEL . See ?Gerry Commane’s Reel.?

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GERRY CRONIN'S REEL (R?l Ghear?id U? Chr?in?n). AKA and see ?Forget Me Not [1],? ?Larry Redican’s [3],? ?Martin Rocheford’s [1].? Irish, Reel. C Major. Standard tuning. AABB. The tune is a Larry Redican composition called “Forget Me Not.? Source for notated version: fiddler Josephine Keegan (Ireland) [Breathnach]. Breathnach (CRƒm III), 1985; No. 114, pg. 56. Outlet Records SOLP 1040, Josephine Keegan ‑ "Irish Traditional Music" (1980). Sean Smyth - “Blue Fiddle.?

X:1

T:Gerry Cronin's Reel

M:2/2

L:1/8

R:Reel

D:Siona, "Launching the Boat"

K:C

c2ec AGED|C~A,3 G,A,CD|EGcd ecdc|Addc dfed| c2Bc AGED|C~A,3 G,A,CD|

EGce dBcA|1 GEDG EC,EG:|2 GEDB, C2EG| |:c2gc acgc|fcec dcBc|Gc~c2 Gcea|

gece d2eg| a~e3 gede|cdec dcAG|EGce dBcA|1 GEDG EC,EG:|2 GEDB, C2EG||

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GERTIE GIBB .? Scottish, Schottische. D Major. Standard tuning. AA’B. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927), who styled the tune a “nursery schottische,? presumably because of its simplicity. Skinner (Harp and Claymore), 1904; pg. 74.

X:1

T:Gertie Gibb

M:C

L:1/8

R:Schottische

C:J. Scott Skinner (1843-1927)

S:Skinner ? Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

A, | D2 F>D A2 F>D | D<G G>B A3A | B<(d c>)B (A2F) D |1 E>B,C>D (E2A) :|2 B,>DC>E (A,2D)z ||

(A2 F>)D .B2.G2 | B>E ^G>B c2A2 | d>fA>d F>A D2 | E>B,C>D (E2A)z | A>F D>d B>d G2 |

B>^G E>d c>eA>A | B>dc>B A>F D2 | B,>DC>E (A,2D) ||

GESTHEMANE WALTZ . Old-Time, Waltz. A Major. Standard? tuning. AB. Source for notated version: Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 51.

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GESTO REEL . Scottish, Reel. From MacDonald's Skye Collection (1887). Gesto is a place in the north west of the island of Skye. Green Linnet SIF‑1094, Capercaillie ‑ "Sidewaulk" (1989). Wildcat Records WILDCD 101, Ronan Martin ? “Ronan Martin? (2008).

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GET ALONG HOME (MISS) CINDY . AKA and see "Cindy [1]," "Git Along, Cindy (Gal)," "Git Along," "Liza Jane," "J'etais au Bal." Old‑Time, Breakdown and Song Tune. "Liza Jane" was sung to more than one tune, this is one. Recorded by Herbert Halpert for the Library of Congress (2739-A-1), 1939, from the playing of the Houston Bald Knob String Band of Franklin County, Va. Ford (Traditional Music in America), 1940; pg. 58. Thede (The Fiddle Book), pg. 38.

GET AWAY FROM THE FEDERALS . See note for ?Seneca Square Dance.? A variant of the title ?Running from the Federals? or ?Waiting for the Federals.?

GET HER BO(O). English, Dance Tune (3/4 time). England, Northumberland. D Mixolydian. Standard tuning. AABBCC. Appears in Vickers' original MS. as "Gett Hirr Boo" (?) in 6/8 time, though editor Seattle thought the groupings were more logically 3/4 time./ Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Seattle (William Vickers), 1987, Part 2; No. 371.

GET IT RIGHT . AKA and see "Gatemouth," "Mamma's Baby Boy," "Pork Chops Rag."

GET LOST JIG .? American, Jig. G Major. Standard tuning. AABB. Composed by Ralph Page (1903-1985, New Hampshire), the “dean of the contra dance callers,? and a seminal figure in New England traditional dance and music for 40 years (see www.izaak.unh.edu/nhltmd/pagehome.htm). Writing in his publication Northern Junket (vol. 6, No. 7, 1958), Page remarked (as quoted by Randy Miller, 2004): “It seems that every time we play in Weston we get lost before arriving at the hall.? Miller (Fiddler’s Throne), 2004; No. 49, pg. 40.

GET OFF YOUR MONEY . Old‑Time, Country Rag. USA, Alabama. C Major. Standard tuning. ABB'C. Source for notated version: Charlie Stripling [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 55. Vocalion 5441, Stripling Brothers (Alabama) {1929}.

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GET ON DE TRAIN . American, "Sand Jig" (4/4 or cut time). A Major (Cole/Ryan): A Major (Kerr). Standard tuning. AABBCC (Cole): AABBCC' (Kerr). Ryan’s Mammoth Collection credits composition of the melody to Frank Livingston, one of several under his name in the collection. A ‘sand jig? was a duple-time syncopated dance tune bearing no relation to the Irish jig. Rather, ‘jig? in this context is more in the English (morris) sense, meaning a solo dance. Cole (1000 Fiddle Tunes), 1940; pg. 81. Kerr (Merry Melodies), vol. 2; No. 420, pg. 47. Ryan’s Mammoth Collection, 1883; pg. 114.

X:1

T:Get on de Train

M:C|

L:1/8

R:Sand Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companon

K:A

.A2.G2.A2.E2 | A c2f ecBA | .B2.^A2.B2.F2 | Bg2f edcB | .A2.B2.A2.E2 | Ac2f ecBA |

.B2.^A2.B2.F2 | (f2e)z (=F2E)z ::? (3ccc (c>.f) ecBA | (3ccc c>f ecBA | aa2f a4 |

AA2F A4 | (3ccc c>f ecBA | (3ccc c>f ecBA | agae gfed | cedB A2z :: .A2.G2.A2.E2 |

(3A,CE (3Ace a4 | .B2.^A2.B2.F2 | (3EGB (3egb e?4 | .A2.G2.A2.E2 | .B2.^A2.B2.F2 |

dg2f edcB |1 Az (E2_F2E2) :|2 A2a2A2 z2 ||

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GET OUT OF MY SIGHT OR I’LL BOX YOUR EARS . Irish, Jig. A Minor. Standard tuning. AA’BB. Identified as a “Bagpipe Tune? in the Levey collection, to be played “Droningly.? Levey (Dance Music of Ireland, 2^nd Collection), 1873; No. 26, pg. 11.

X:1

T:Get Out of My Sight or I’ll Box Your Ears

M:6/8

L:1/8

R:Jig

S:Levey ? Dance Music of Ireland, 2^nd Collection (1873)

Z:AK/Fiddler’s Companion

K:Amin

(cdc) (ede) | c2A A2B | c2c ede | c2A AGE | G2G GFG | A2A A2f |

(efe) (aga) |1 e2A A2B :|2 e2A A2e |: e2e ege | e2e efd | c2c ede |

c2A A2A | G2G GEG | A2A A2f | efe aga | e2A A3 :|

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GET OUT OF THE WAY OF THE FEDERALS .? See ?Little Home to Go to [1].?

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GET UP EARLY ("Eirig Suas Ga Moc" or "Eirig Go Moc"). AKA and see "The Galbally (Cranbally) Farmer," "The Rakes of Kildare," "The (Old) Barndoor Jig," "Fagamaoid sud mar ata se" (Let Us Leave That As It Is), "First of May [1]." Irish, Single Jig. G Dorian. Standard tuning. AB (O'Sullivan/Bunting): AABB (O'Neill/Krassen & 1915): AABB' (O'Neill/1850 & 1001). The 'A' part of the tune is very similar to "Rakes of Kildare," a fairly common inclusion in collections of Irish music. O'Neill, who is convinced that “The Rakes of Kildare? derived from this tune, points out there is also a relationship with the hornpipe "First of May." See also Bayard's (1981) note to his Pennsylvania collected "Old March" (No. 603, pg. 533). Source for notated version: the Irish collector Edward Bunting noted the melody, which appears in his 1840 collection, from Richard Stanton, Westport, County Mayo, in 1802. Neill (O’Neill’s Irish Music), 1915; No. 205, pg. 110. O'Neill (Krassen), 1976; pg. 22. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 770, pg. 144. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 369, pg. 75. O’Neill (1913), pg. 134. O'Sullivan/Bunting, 1983; No. 51, pgs. 80-81.

X:1

T:Get Up Early

M:6/8

L:1/8

R:Single Jig

S:O’Neill ? Dance Music of Ireland: 1001 Gems (1907), No. 369

Z:AK/Fiddler’s Companion

K:Gmin

D|D2G G^FG|A2d d2=e|f2d cBA|B2G AFD|D2G G^FG|A2d d2e|

f2d cA^F|G3 G2:||:g|g2d g2d|g2b a2g|f2d f2d|f2d cAF|1 g2d g2d|

g2b a2g|f2d cA^F|G3 G2:|2g2d g2a|b2g a2g|f2d cA^F|G3 G2||

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GET UP IN THE COOL . Old-Time, Breakdown. From the playing of Texas fiddler Eck Robertson. Black Rose Productions, The Mando Mafia ? “Get Up in the Cool.? County Records, “Eck Robertson: Famous Cowboy Fiddler.?

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GET UP JOHN . Bluegrass, Breakdown. D Major. GDad or Standard tunings. ABBAACCA'A'B'B'A'A'CC. The fiddler on Bill Monroe’s recording played the tune id GDad tuning, according to Stacy Phillips. Monroe claims authorship of the melody, although it appears it was Monroe’s attempt at adapting his Uncle Pen Vandiver’s version of ?Sleepy Eyed John.? Monroe used an open D-tuning on his mandolin (F#A, DD, aa, ac#) for the piece, in imitation of the cross-tuning of Uncle Pen’s fiddle.? Source for notated version: Charlie Cline, Kenny Baker and Red Hayes with Bill Monroe [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 96.

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GET UP, MY DARLING, AND COME WITH ME . Irish, Slow Air (4/4 time). Ireland; Connemara (Joyce). E Minor. Standard tuning. AB. Source for notated version: Paddy Conneely, the Galway piper, via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 471, pg. 262.

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GET UP NAPOLEON . AKA and see "Giddy Up Napoleon," "Ebenezer Fry," "Joshua Ebenezer Fry." American, Song Tune. G Major. Standard tuning. One part. Bronner lists two versions of this tin‑pan‑alley song, one in cut time and one in 6/8 time. The song entered folk tradition soon after its writing, so that early country singer Bradley Kincaid commented "if ever there was a 'hillbilly' song, this is it. I don't know its origin." Bronner (1987) suggests that the tune could have relation to a British Isles "utility" tune used with a number of children's singing games or verses. Sources for notated versions: Dorrance Weir, 1976 (New York State) [Bronner]; Les Weir, 1976 (New York State) [Bronner]. Bronner (Old-Time Music Makers of New York State), 1987; No. 27, pgs. 115‑116. Fretless FR 144, Double Decker String Band ‑ "Giddyap Napoleon" (1980).

GET UP OLD WOMAN AND SHAKE YOURSELF (Eirig A Sean Bean's Corraig Tu Fein). AKA and see "Captain Thornton's Delight," "Conor O'Sullivan's Vision," "Donogh O'Sullivan's Reply," ?Go to the Devil and Shake Yourself [3],? "Growling Old Woman," "Irish Whim," "Last Night Amid Dreams," "O'Tuomy's Drinking Song," "O'Tuomy's Carousal,? ?Tickle Her Leg (with the Barley Straw.? Irish, Single Jig or Slide (12/8 time). E Minor. Standard tuning. AAB (O'Neill/Krassen): AABB (O'Neill/Krassen, 1915 & 1001). Not “Go to the Devil and Shake Yourself? despite being so miss-named in Haverty’s Three Hundred Irish Airs (New York, 1858) and Alday’s Pocket Volume of Airs, Duets, Songs, Marches, etc. (Dublin, 1800). One of the earliest tunes Francis O’Neill remembered hearing from his boyhood in County Cork. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 209, pg. 112. O'Neill (Krassen), 1976; pg. 69. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1091, pg. 205. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 394, pg. 79.

X:1

T:Get Up Old Woman and Shake Yourself

M:6/8

L:1/8

R:Single Jig

S:O’Neill ? Dance Music of Ireland: 1001 Gems (1907), No. 394

Z:AK/Fiddler’s Companion

K:Emin

E/F/|G2B BAB|G2E E2G|F2A AFA|F2D DEF|G2B BAB|def gfe|dcB BAB|G2E E2:|

|:B/c/|d2B BAB|d2B ABc|d2B BAB|G2E E2 B/c/|d2B BAB|def gfe|dcB BAB|G2E E2:|

GET UP OLD WOMAN AND SHAKE YOURSELF [2] .? Irish, Slide (12/8time). E Minor. Standard tuning. AB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Breathnach (CRƒm II), 1976; No. 91. Moylan (Johnny O’Leary), 1995; No. 216, pgs. 124-125.

GETT MY SUPPER I TROW . English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

GETTING READY TO SAIL. AKA and see "Bualadh Triaill Chum Tseoil."

GETTING GEORGE BUSH UPSTAIRS . Old-time, Breakdown. The tune and title (of which there are several variations) vastly predate the American Presidents of that name. Source for most versions is Kentucky fiddler Perry Riley, a cousin to another famous Kentucky fiddler, Buddy Thomas.

GETTIN? UP IN THE COOL .? Old-Time, Breakdown. The tune was mentioned in the Atlanta Journal as being “one of the best selections? of the group the Mud Creek Symphony, who broadcast in 1924 on WSB, the Atlanta station. The group, from Pea Ridge, Habersham County, Georgia, consisted of two pair of brothers, the older two uncles of the younger set. New and Ed Tench, both fiddlers, were in their sixties at the time and claimed to have been fiddling for forty-five years or more. The Journal wrote they had played so long that “harmony between the two is merely a matter of second nature? [see Wayne Daniel, Pickin? on Peachtree, 1990, pg. 54).

GETTING UPSTAIRS [1] . English, Morris Dance Tune (2/2 time). G Major (Carlin, Mallinson): A Major (Bacon). Standard tuning. AA’B (Sharp & Macilwaine), ABB, x4 (Mallinson): AABB (Carlin): AABA (Bacon‑Hinton): AA'BA (Bacon‑Headington). From the villages of Headington, Oxfordshire, and Hinton, Northamptonshire, in England's Cotswolds (the Hinton tune was actually from Leominster, imported to Hinton where the dance was finally collected). Winston Wilkinson (Southern Folklore Quarterly, VI, 1, 1942, “Virginia Dance Tunes?) suggests that the title derived from the Morris Processional Dance in which performers danced “down the street, into the village houses, up the stairs and down again.? Bacon (The Morris Ring), 1974; pg. 186. Carlin (Master Collection), 1984; No. 45, pg. 36. English Folk Song and Dance Society, Sept. 1950. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 49, pg. 24. Sharp & Macilwaine (Morris Dance Tunes), 1909; iii, 2. EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994).

X:1

T:Getting Upstairs

L:1/8

M:2/2

N:key transposed from original

B:Sharp & Macilwaine, Morris Dance Tunes

K:D

ag|f2d2 A2d2|cdef g2ag|f2d2 A2d2|1 cdec d2:|2 cdec d4||

f3g a2d2|f2g2a2d2|b3a g2f2|e2f2g2||

GETTING UPSTAIRS [2] . See "Such a Gettin? Upstairs [1]."

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GETTING UP THE STAIRS . AKA and see "Such a Gettin? Upstairs [1]."

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GETTYSBURG MARCH , THE. AKA and see "Bugle Horn," "The Lady in the Boat," "Fermanagh Quickstep," "The McCarthy March,? “McCarthy’s Quick Step.? American, March (6/8 time). USA, southwestern Pa. D Major. Standard tuning. AABB. Sources for notated versions: Hoge MS, Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1944), Clyde Lloyd (Indiana County, Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 609A‑C, pg. 539.

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GEUD MAN OF BALLANGIGH , THE. AKA and see "Hunt the Squirrel [1]." English, Country Dance Tune (6/8 time). A Major. Standard tuning. AABB. The tune dates to 1709 and was publishe by Playford. Barnes (English Country Dance Tunes), 1986. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg.? 10 (appears as "Hunt the Squirrel"). Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 23.

X:1

T:Geud Man of Ballangigh (Hunt the Squirrel)

M:6/8

L:1/8

K:A

A e2 e2 f|e3 c3|ABc B2 A|ABc B2 A|A e2 e2 f|e3 c3|ABc B2 A| A3 A2::\

d2 e fed| d2 e fed| d2 e f2 g|a3 a g/2f/2|e c2 e c2|e c2 e3|ABc B2 A| A3 A3:|

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GHAOTH... See also "Gaoth..."

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GHAOTH A BHOGANN AN EORNA , AN. See "The Wind That Shakes the Barley."

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GHAOTH ANIAR , AN. AKA and see ?The West Wind.?

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GHAOTH ANIAR ANDEAS , AN (The South-West Wind). AKA and see ?Aineen’s Double,? ?Bacach na Cleithe,? ?The Cherry Grove Jig,? ?Coffee and Tea [2],? ?Jimmy the Tailor,? "Maire Ni Eidhinn." Irish, Jig. D Dorian (‘A? part) & D Dorian/Major (‘B? part). Standard tuning. AABB. Petrie said the song “Máire Inis Toirc? was sung to this air, though Breathnach states it was not sung to it in Cois Fhairrge at the time he was writing. Petrie also published two setting of the tune, a jig called “Bacach na Cleithe? (obtained from Patrick Coneelly, a piper, in 1840) and a song called ?Banish Misfortune.? Source for notated version: piper Seán Potts [Breathnach]. Breathnach (CRƒm I), 1963; No. 29, pg. 13. Claddagh 4CC 32, Willie Clancy ? “The Pipering of Willie Clancy, vol. 1? (1980).

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GHAOTH ANES , AN. AKA and see "Southwind," "I have a secret to tell thee." Irish, Air (3/4 time). Ireland, Clare. The air is attributed by Bunting (who prints it under the title "I have a Secret to Tell Thee") to Clare musician Donall Meidhreach Mac Conmara. Hamish Henderson (1971) remarks that the tune is reminiscent of Sean O' Tuama's drinking song "Is Duine Me Chiolas Leann La", which he says is sometimes described as the first setting of the 'Limerick' verse‑form. Shanachie 79023, "Chieftains 3" (1971,1982).

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GHEARRCHAILE CHRƒwONA , AN. AKA and see ?The Wise Maid.?

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GHILE BEAG LE m’ANAM THƒŒ. Irish, Air. See also the same ‘A? part in ?O?che Nollag,? ?Strawberry Blossom [2],? ?Mill Stream? and Petrie’s (1905) untitled airs No. 154 and No. 258. Stanford/Petrie (Complete Collection), 1905; No. 1151.

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GHILLE... See also "Gille..." and "Gillie..."

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GHILLE CALLUM . See "Gillie Callum."

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GHILLE DHUINN IS TOIGH LEAM THU . AKA and see "Laddie, I Esteem You."

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GHOID IAD MO BHEAN UAM AN REIR (They stole my wife last night).? Scottish, Air (4/4 time). A Minor. Standard tuning. AB. This air was originally published in Patrick McDonald’s A Collection of Highland Vocal Airs (1784, No. 13). The tune has also been rendered as a strathspey and a Highland fling. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 15. Sona Gaia 155, Alasdair Fraser? & Paul Machlis ? “The Road North? (appears as “Gaelic Air?). Cynthia Cathcart ? “Alchemy of a Rose? (2002).

X:1

T:Ghoid iad mo bhean uam an reir

T:They stole my wife last night

M:4/4

L:1/8

S:Patrick McDonald ? Collection of Highland Vocal Airs (1784)

Z:AK/Fiddler’s Companion

K:A Minor

e3d c2d2|cA3 A4|c3A G2A2|GE3 E4|e3d c2d2|cA3 A4|G3D EG3|A8||

A4 A3G|A4A4|G3E D2E2|C3D E2G2|A4 A3G|A4A4|G3D EG3|A8|| m

GHOST OF BUNGLASS , THE. Irish, Air (6/8 time). Ireland, County Donegal. G Major. Standard tuning. AA’BB?. A version of the tune better-known in Donegal as “Taibhse Chonaill? (Conall’s Ghost), according to Caoimhin Mac Aoidh. Supposedly the tune is a fiddler’s rendition of a ghost’s sung lament. Source for notated version: John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 91.

GHRAIN AG DUL FAOI , AN.? AKA and see ?The Setting Sun.?

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