The Fiddler’s Companion

ƒD 1996-2009 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called ?abc notation.? They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1? through to the end of the abc’s, then “cutting-and-pasting? the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic? at

http://www.concertina.net/tunes_convert.html ?

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 ? its well worth it.?? [AK]

ROCDAIRE GRANDA . AKA and see "(An) Ugly Customer."

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ROCHDALE COCONUT DANCE . English, Country Dance and Morris Dance Tune (4/4 time). E Minor ('A' part) & G Major ('B' part). Standard tuning. AAB {The parts and repeats are reversed in Raven's and Wade's versions, and the tune is heard beginning on either part in various sessions}. Tune used for a polka step in the North‑West (England) morris dance tradition. The “Rochdale Coconut Dance? was published by Anne Gilchrist in her article “The Lancashire Rush-Cart and Morris Dance? in the Journal of the English Folk Dance Society in 1927. It had been sent to her by Dr. Henry Brierley, a native of the cotton-mill town of Rochdale, Lancashire, who said the tune was used to accompany the Rochdale rush-cart in the 1850’s. “The dancers held half a coco-nut shell in each hand,? writes Gilchrist, “a half-shell also being strapped to each knee, and clapped the shells rhythmically to the following unvarying tune, played by the band. The dance was stationary, but according to his recollection the coco-nut dancers preceded the drawing-team of young men, ‘prancing? in the procession. The tune has a general resemblance to Mr. Cecil Sharp’s traditional versions of both Country Gardens and Hunt the Squirrel. I have seen no other record of this dance.? Simpson & Roud (Dictionary of English Folklore, 2000) identify Coconut Dancers as performing in the Lancashire town of Bacup on Easter Saturday. Bacup is a mill town, and the ‘coconuts? employed by the dancers are bobbin tops from the mill which the dancers strap onto their hands, knees and waist. There are eight male dancers in the group, with a ‘whipper-in? to help with clearing the space for the performance at each stop in the procession through the town. The dance itself is in the garland dance genre, performed with decorated semi-circular whoops, with dancers in costume and with blackened faces. Simpson and Roud date the tradition as starting at least as far back as 1857, although folklore investigations into the tradition date only from the 1920’s.? The melodies (there are a half-dozen or so Bacup tunes, as well as the Nut Dance) have been popularized in modern times through the playing of the New Victory Band, Brass Monkey, and others. Raven (English Country Dance Tunes), 1984; pg. 158. Townsend (English Dance Music, vol. 1), 1993. Wade (Mally’s North West Morris Book), 1988; pg. 16.? BASH CD47, New Victory Band ? “One More Dance and Then.? Fellside RECD 161, John Spiers & Jon Boden ? “Through & Through.? Topic TSCD531, Brass Monkey ? “Going and Staying? (2001).

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T:Rochdale Coconut Dance

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K:Emin

G2 BB G2B2|AGFG A2dd|G2BB G2B2|agfe d2D2|

G2BB G2B2|AGFG A2dd|BdcB AcBA|G2F2G2D2||

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ROCHE HORNPIPE . Scottish, Hornpipe. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 323, pg. 35.

X:1

T:Roche Hornpipe

M:C

L:1/8

R:Hornpipe

S:Kerr ? Merry Melodies, vol. 3, No. 323? (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

FDGE AFBG | ABcd efge | fafd egec | d2d2d2 :|

FDGE AFBG | ABcd efge | fafd egec | d2d2d2 :|

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ROCHELLE , LA. French, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. Aird (Selections), vol. II, 1782; No. 151, pg. 55.

X:1

T:Rochelle, La

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L:1/8

S:Aird, Vol. II (1782)

Z:AK/Fiddler’s Companion

K:D

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ROCHES FAVOURITE . Irish, Set Dance. RCA 5798-2-RC, "James Galway and the Chieftains in Ireland" (1986).

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ROCHESTER SCHOTTISCHE [1]. AKA and see "Patrick County Blues," "Walking in the Parlor [2]." Old‑Time, Breakdown. USA; North Carolina, Virginia. D Major. ADae or Standard tuning. AB (Silberberg): AABB (most versions). Irregular parts (each has 10 measures rather than the usual eight), and it is played as a breakdown. Tommy Jarrell's "Rochester Schottische" is not a schottische at all, much less the "Rochester Schottishe" found in older collections in North America (which even some Southern fiddlers have occasionally picked up from these sources). Barry Poss (1976) suggests that "Rochester Schottische" was played at one time in the Round Peak (N.C.) area, but that the title became detached from the melody, and, as a "floater," became attached to this tune. Similarly, the alternate title, "Walkin' in the Parlor," can be found in the South in numerous versions, though all seem dissimilar to this tune of Tommy Jarrell's. Sources for notated versions: Becky Miller [Phillips]; Kerry Blech (Seattle) [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 232. Johnson (Kitchen Musician No. 2: Old Timey Fiddle Tunes), 1982 (revised 1988 & 2003); pg. 10. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 200. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 131. Songer (Portland Collection), 1997; pg. 169. Spandaro (10 Cents a Dance), 1980; pg. 16. County 756, Tommy Jarrell‑ "Sail Away Ladies" (1976).

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources ?

X:1

T:Rochester Schottische

L:1/8

M:C|

K:D

f>(d e)>d d2 d>d|d>(B A)>G F2 F>F|f>(d e)>d d2 B>B|A3 A A4|

f>(d e)>d d2 d>d|d>(B A)>G F2 F>G|A>(BA)>(G F)>DE>F|D8:|

A>(BA)>(G F)>DD>D|E>(DE)>F G2 F>G|A>(BA)>(G F)>DE>F|D8:|

ROCHESTER SCHOTTISCHE [2]. AKA and see "Cat Clumb Up the Plum Tree." "Helvetia Polka," "Hi Lo Schottische," "Jack Clumb Up the Plum Tree Schottische," "Poor Uncle Davy," "The Sparrow in the Treetop,? ?Birdy in the Treetop," "What the Devil Ails You [2]." American, Schottische. USA; southwestern Pa., Michigan. D Major ('A', 'B' and 'C' parts) & G Major ('D' part) {Ford}: D Major {Bayard}: D Major ('A' part) & G Major ('B' part) {Bayard}: D Major ('A' part) & A Major ('B' part) {Bayard}. Standard tuning. AB (Bayard): ABC (Bayard): AABCD (Ford). A very popular schottische from the mid-19^th century. Seattle fiddler and musicologist Vivian Williams writes: ?’Rochester Schottische? was written in 1852 by William Rulison, who went to California for the Gold Rush, actually made some money (unlike most!), returned to his hometown of Rochester, NY, and opened up a music store.? Known from tradition to Buffalo Valley, Pa., region dance fiddler Harry Daddario in the mid-20^th century, and to Michigan fiddlers around the same time (some of whom called it “Cat Clumb Up the Plum Tree? and “What the Devil Ails You??). Sources for notated versions: eight southwestern Pa. fiddlers and fifers [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 424A‑H, pg. 402‑404. Ford (Traditional Music in America), 1940; pg. 160. (Olde Michigan) Ruffwater Stringband (Michigan) ‑ "Michigan Winter" (198‑).

ROCHESTER SCHOTTISCHE [3]. Canadian, Schottische. C Major. Standard tuning. AABB. Messer (Way Down East), 1948; No. 94. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 181, pg. 125.

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T:Rochester Schottische

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L:1/8

Z:Transcribed by Bruce Osborne

K:C

a>ge>d c>B (3cde|d2A2 A3c|B>G^F>G e>dB>G|c2e2 c2:|

(3G^FG (3cBc (3e^de (3g^fg|f2A2 A2A>c|B>G^F>G e>dB>G|c2e2 c2:|

ROCHESTER SCHOTTISCHE [4]. American. Unlike versions 1,2 and 3. June Appal 028, Wry Straw ‑ "From Earth to Heaven" (1978).

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ROCK ABOUT MY SARO JANE . Old‑Time, Song Tune. County 521, Uncle Dave Macon and His Fruit Jar Drinkers ‑ "Original Recordings 1925‑1935."

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ROCK ALONG JOHN TO KANSAS . See "Heel Flies."

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ROCK ALL THE BABIES TO SLEEP .? Old-Time, Waltz. USA, Missouri. G Major. Standard tuning. AA’BB. A waltz derived from a song of the same name that was recorded by a number of early country music stars, including Jimmie Rodgers (1932), Uncle Dave Macon (1926), and the Leake County Ramblers (1928). The lyrics depict a man who stays at home ‘rocking all the babies to sleep?, deserted by a wife who has left to enjoy the nightlife of the town. Source Robertson learned it in Shenandoah, Iowa, during a stint playing for a radio station there. The tune is known in Yorkshire as ?Fire Burning Bright.? Source for notated version: Lonnie Robertson (1908-1981, Springfield, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 125. Rounder CD 0375, Lonnie Robertson ? “Lonnie’s Breakdown? (1996. Originally recorded 1978).

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

ROCK AND RYE POLKA . American, Polka. USA, Pa. In the repertory of Buffalo Valley, Pa., region dance fiddler Ralph Sauers.

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ROCK AND RYE RAG . Related to "I Don't Love Nobody."

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ROCK AND THE/A WEE PICKLE TOW , THE/A. AKA and see "Captain Collins," "The Carawith Jig," "Green Goose Fair [1]," "The Highlander's March," "Montrose's March," "The Onehorned Cow [2]," "O'Sullivan Mor(e's March) [1]," "Painneach na nUbh [1]," "Pickle Tow," "The Pretender's March," "The Retreat," "Scottish March," "The Scotch March [1]," "Tadeen the Fiddler," "Wee Pickle Tow." Shetlands, English, Irish, Scottish; Air or Jig. England, Northumberland. Ireland, Donegal. A Major. Standard tuning. AABB. Regarding the title, a rock is a distaff, a device that holds the flax strick or the fiber for spinning. It is called a rock because the weight, or whorl, was frequently a shaped and pierced rock. A ‘wee pickle tow? is a small piece of prepared short flax fibers combed from longer fibers called "line". Thus it was a spinning song, the tune of which proved popular and served many purposes over the years. Christine Martin (2002) notes that “rocking meets? were held in some parts of Scotland, in which all spinners gathered in one house in the village to spin. It was used as a march tune under many different titles, and was one of the favorite songs of the early 19th century in Lowlands Scotland, according to Peter Mackenzie, "the genial reminiscer of Glasgow" (Emmerson, 1971). John Glen, in his Early Scottish Melodies (pg. 197), traces the tune to the 1663 edition of Playford’s Musicks Hand-Maid where it appears under the title “A Scotish March.? Playford later printed the same tune as “Montrose’s March? in this 1669 Musick’s Recreation. The title “A Rock and a Wi Pickle Tow? first appears with the melody in Oswald’s Curious Collection of Scots Tunes (1740), finds Glen. A similar air exists in Shetland as "The Bride's March" as played by John Stickle of Unst. As "Rock and Pickal o' Taw" it is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript, and elsewhere the title appears as the name of a Scottish country dance. In Northern Ireland the tune is current in traditional repertoire under the title “Wee Pickle Tow.? Other related tunes include the Irish jig ?Out on the Ocean [1],? the Shetland ?Doon da Rooth? (in 21/8 time!), as well as a pipe march, "Iain Caimbeul a Banca.? Bayard (in “A Miscellany of Tune Notes?) reports that Irish traditional versions are sometimes associated with the rhyme “There was an old woman tost up in a basket (blanket),? which rhyme is also associated with the tune ?Lilliburlero.? The melody is still quite popular with bagpipers and fiddlers. Source for notated version: Ian Kennedy (Fort William, Scotland) [Martin/2002]. Aird (Selections), 1778; vol. 1, No. 194. Gale, pg. 24. Gow (Complete Repository), Part 4, 1817; pg. 17. Gow (Vocal Melodies of Scotland), 2nd ed., 1822; pg. 27. Johnson (Scots Musical Museum), 1787‑1803; vol. 4, No. 439. Kennedy (Fiddler’s Tune Book), vol. 2, pg. 31. Kerr (Merry Melodies), vol. 1; No. 10, pg. 31. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 48. Martin (Traditional Scottish Fiddling), 2002; pg. 81. McGibbon (Collection of Scots Tunes), 1769?, pg. 55. McGibbon (Collection of Scots Tunes, book II), c. 1746; pg. 55. Mooney, 1982, vol. 1 (Choicest Scots Tunes/Bagpipe); pg. 15. Oswald (Caledonian Pocket Companion), c. 1780, vol. 1, pg. 8. Smith (Scottish Minstrel), 1820‑24; vol. 6, pg. 62. Thompson (A Select Collection of Original Scottish Airs) 1805; vol. 4, No. 199.Culburnie COL 102, Alasdair Fraser & Jody Stecher ? “The Driven Bow? (1988).

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T:Rock and wee pickle Tow, The

M:6/8

L:1/8

N:”Slow?

S:Gow ? 4^th Repository? (1817)

Z:AK/Fiddler’s Companion

K:F

{d}cBA G2B|(AF)G A2~G|AFF F2f|(f/e/)dd ~d2f|(f/e/)dd {de}f2d|

(d/c/)cc c2a|{ga}b2a {a}g2 (f/4g/4a/)|bag fed|(cf)A G2 (f/4g/4b/)|afg a>bg/b/|aff f2||

X:2

T:Rock & a wi pickle Tow, A

M:3/4

L:1/8

R:Air

N:”Slow?

S:McGibbon ? Scots Tunes, book II, pg. 55 (c. 1746)

Z:AK/Fiddler’s Companion

K:G

D2 | E2G2A2 | B4d2 | (e>fg)B2 | A4 “tr?(f>e/2f/4) | g2G2A2 | “tr”B3A (B/c/d) | B2G2(GA) | G4 :|

|: (gf) | e2e2g2 | e2 efg2 | “tr?(e>de)fgf | “tr”e3dB2 | d3ed2 | d2e2f2 | g2fedc | ({c}”tr”B2) AB G2 |

c2B2c2 | d2e2f2 | (gf)(ed)(cB) | “tr”A4 “tr?(f>e/2f/4) | g2G2A2 | “tr”B2 (A<G) G>A) G4 :|

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ROCK ANDY . AKA ? “I’ll Learn You How to Rock Andy.? AKA and see ?Rock Candy.? Old‑Time, Breakdown. A Mixolydian. Standard tuning. AA’B. From Pike County, eastern Kentucky, fiddler Owen “Snake? Chapman, a retired coal-miner, learned from his father, G.W. “Doc? Chapman, born in 1853. Family lore has it that Owen’s grandfather split rails with Abraham Linclon. “Doc? Chapman sang these words to the tune, according to his son:
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Massy he bought me

Then Massy he sold me

Then they took me down by the riverside

And learned me how to rock Andy.

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Cho.:

You can rock them ladies but you can’t rock me (x3)

I’ll learn you how to rock Andy.

***

The title is a corruption of ‘Rock Candy?, the name of a now-forgotten dance form, explains Mark Wilson, which makes more sense than Owen Chapman’s story that involves a farmer who took his slave down to the river to practice throwing rocks at Yankee soldiers. Titon (2001) identifies the tune as being in the ?Paddy on the Turnpike? family, related to ?Ducks on/in the Pond? and the high part of ?June Apple.? Source for notated version: Owen “Snake? Chapman (Canada, Pike County, Ky., 1995) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 66, pg. 95. Rounder 0378, Owen “Snake? Chapman ? “Up in Chapman’s Hollow? (1996). Rounder Heritage Series 1166-11592-2, Owen “Snake? Chapman (et al) ? “The Art of Traditional Fiddle? (2001). Pearl Mae 001B, Jim Taylor & Bruce Greene ? “Falls of Richmond? (1989). Jim Taylor ? “The Civil War Collection? (1996).

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ROCK CANDY . Old‑Time, Breakdown. USA, Mississippi. A Major. See also ?Rock Andy.? Recorded in 1939 by Herbert Halpert for the Library of Congress from the playing of Clarke County, Mississippi, fiddler Charles Long (who was originally from Choctaw County, Alabama). Rock Candy, sometimes given as Rock Andy, is the name of a now-forgotten dance form, according to Mark Wilson.

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ROCK, JENNY ROCK . Old-Time, Breakdown. G Major. Standard tuning. AABB. The 'B' part accompaniment is basically an 'E' Minor chord until the ending 'G' chord. See the related tunes "Wild Horse" and "Rich Mountain." Source for notated version: Red Herron [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 201.

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ROCK, LITTLE JULIE . Old‑Time, Breakdown. USA, Kentucky. A driving banjo tune recorded by eastern Kentucky musicians in the 1920's.

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ROCK OF CASHEL . See "Rocks of Cashel."

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ROCK OF MUFF . AKA - “Star of Munster?? Irish. Ireland, Co. Cavan. O’Neill (1913) relates it was a great favorite in County Cavan, and was named after the high plateau-topped rock near Kingscourt, on which an annual Feis was held.

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ROCK ON THE CLYDE , THE. Irish, Jig. G Major. Standard tuning. AABB. The town of Dumbarton was known to the ancient Britons as Alcluith, the ‘rock on the Clyde?, and to the Scots in Dalriada, who spoke Gaelic, as Dun Breatann - the fort of the Britons. It takes its name from a rocky outcrop on the Clyde that was once a fortress of the Britons of Strathclyde. The rock sits at the end of the River Leven which flows from Loch Lomond.
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Dumbarton, the rock on the Clyde.

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McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 18, pg. 5.

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ROCK THE CRADLE . AKA and see "The Humours of the Priest's House," "Miss Johnson [2]," "Miss Johnson of Houghton Hall," "The Muster Bank," "The Mountainy Man, ?Rocking the Cradle."

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ROCK THE CRADLE JOE [1] . See also related part 'B' of "Sally Ann [2].? Old‑Time, Breakdown. USA; Patrick & Franklin Counties, Virginia; North Carolina, West Virginia. D Major. Standard tuning. AABB. Most modern “revival? versions of the tune come from the playing of J.W. “Babe? Spangler of Meadows of Dan, Virginia, who recorded it in the late 1940’s. The following ditty is sometimes sung to the tune in old-time tradition:

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('B') Rock the cradle Lucy, rock the cradle low,

Rock the cradle Lucy, Rock the Cradle Joe.

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Rock the cradle Lucy, rock the cradle high,

Rock the cradle Lucy, don't let that baby cry. (Kuntz)

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('A') Can't get up, can't get up,

Can't get up in the morning;

What we gonna do if the baby cries?

Rock the cradle Joe.

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('B') Rock the cradle, rock the cradle,

Rock the cradle Joe;

Rock the cradle, rock the cradle,

Rock it nice and slow.?????????????? (Johnson)

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What’ll we do when the baby cries

I don’t know;

What’ll we do when the baby cries

Rock that cradle Joe.

***

Variations of the words, however, were in tradition as “Uncle Joe Cut Off His Toe,? a nursery rhyme which has variants with verses which also resemble some of the ?Old Joe Clark? verses:

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Uncle Joe cut off his toe

And hung it up to dry;

The ladies began to laugh

And Joe began to cry.

***

Chorus:

Rock the cradle, rock the cradle,

Rock the cradle, Joe.

'I will not rock, I shall not rock,

For the baby is not mine.'??? (Version ‘C?, Number 97, The Frank C. Brown Collection Of North Carolina Folklore, Volume 3)

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Lani Herrmann finds a similar verse in the biography of Jennie Devlin (1865-1952) by her granddaughter Katharine D. Newman (Urbana, IL: Univ of Illinois Press, 1995; "an Illini Book"). Allan Lomax recorded this version as a recitation by “Grandma Deb,? one of the names by which Jennie Devlin was known. It seems to echo the North Carolina version:
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O, rock the cradle, John,

There's many a man

Rocks another man's child

When he thinks he's rocking his own.

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Apparently a "Rocke the Cradle, John" "was licensed by Laurence Price in 1631 in England, and there is an Irish song called "The Old Man Rocking the Cradle." Sources for notated versions: Alan Block (N.H.) [Spandaro]; Jay Ungar (West Hurley, New York) [Kuntz]; Babe Sengler (Va.) [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 232. Johnson (The Kitchen Musician No. 2: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc), 1982 (revised 1988 & 2003); pg. 10. Kuntz (Ragged but Right), 1987; pg. 333‑334. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 132. Sing Out, vol. 36, No. 2, August 1991; pg. 77. Songer (Portland Collection), 1997; pg. 169. Spandaro (10 Cents a Dance), 1980; pg. 16. Tennvale 004, James Leva and Bruce Molsky‑ "An Anthology.? County 201, The Old Virginia Fiddlers‑ "Rare Recordings 1948‑49.? June Appal 015, Plank Road String Band‑ "Vocal and Instrumental Blend.? Kicking Mule 213, David Winston‑ "Southern Clawhammer Banjo.?

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources ?

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T:Rock the Cradle Joe [1]

M:2/4

L:1/8

B:Kuntz ? Ragged but Right

K:D

ROCK THE CRADLE JOE [2] . Old-Time, Breakdown. A version of? “Rock the Cradle Joe [1].? From the playing of West Virginia fiddler Franklin George, who learned the tune from Jim Farthing, originally from Franklin County, Va. Gerry Milnes says this version “maintains much more character and melody? than the “watered-down? version that has long been a staple of “revival? fiddlers? conventions. Shanachie Records 6040, Gerry Milnes & Lorriane Lee Hammond ? “Hell Up Coal Holler? (1999).

ROCK THE CRADLE JOE [3] . New England, Polka. D Major. Standard tuning. AABB. Similar to version #1. Miller & Perron (101 Polkas), 1978; No. 14.

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ROCK THE/THAT CRADLE LUCY.AKA ?? "Rock That Baby, Lucille.? Old‑Time, Breakdown. USA; north Georgia, Oklahoma. D Major. ADae tuning. AABB + Coda. Some see similarities to "Soldier's Joy [1]."

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Rock that cradle Lucy, rock that cradle long,

Rock that cradle Lucy, keep that baby warm.

***

Rock that cradle Lucy, rock that cradle spry,

Rock that cradle Lucy, don't let that baby cry.

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Rock that cradle Lucy, rock it Lucy Long,

Rock that cradle Lucy, keep that baby warm. (Kuntz)

***

The tune was recorded by the Georgian string band the Cofer Brothers (Joseph Scott gives that Leon Coffer’s wife was seven months pregnant with Leon Jr. at the time). Sources for notated versions: Max Collins (Pottawatomie County, Oklahoma) [Thede]; The Skillet Lickers (Atlanta, Georgia) [Kuntz]; Mark Gaponoff [Silberberg]. Kuntz (Ragged But Right), 1987; pg. 331‑332. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 132. Thede (The Fiddle Book), 1967; pg. 21‑22. County 506, The Skillet Lickers‑ "Old Time Tunes Recorded 1927‑1931."

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T:Rock the Cradle Lucy

M:2/4

L:1/8

B:Kuntz ? Ragged but Right

K:D

(=f|f/)a/f/e/ dB|c(e e>)e|g/a/g/e/ Bc|d>(e d(=f|f/)a/f/e/ dB|c(e e2)|g/a/g/e/ Bc|d>d d(B||

A)[df] [d/f]d/[d/f/]d/|A[df] [d/f/][d/f/][d/f/][d/f/]|A[ce] [c/e/][c/e/][c/e/][c/e/]|

A[ce] [c/e/][c/e/][c/e/][c/e/]|A[df] [d/f/]d/[d/e/]d/|A[df] [d/f/][d/f/][d/f/][d/f/]|

g/f/e/c/ Ac|d>e d||

ROCK THAT BABY, LUCILLE . AKA and see "Rock the Cradle, Lucy." Old‑Time, Breakdown. USA, Alabama. In the repertory of Alabama fiddler Monkey Brown (1897‑1972).

ROCK VALLEY . Canadian (originally), American; Jig. USA, New England. Canada, Ontario, Prince Edward Island. C Major. Standard tuning. AABB (Jarman, Miller & Perron): AA'BB' (Begin, Phillips). Composed by John Burt (Canada) [Jarman]. Sources for notated versions: Clem Myers [Phillips]; Sidney Baglole (b. 1912, Southwest Lot 16, West Prince County, Prince Edward Island; now resident of Freetown) [Perlman]; Dawson Girdwood (Perth, Ottawa). Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 4, pg. 18. Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 14. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 26. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 146. Phillips (Traditional American Fiddle Music), vol. 2, 1995; pg. 377. Fretless 103, "Clem Myers: Northeast Regional Old Time Fiddle Champion 1967 & 1970. Fretless 119, Rodney and Randy Miller‑‑"Castles in the Air." Smithsonian Folkways SFW CD 40126, Rodney Miller ? “Choose Your Partners: Contra Dance & Square Dance Music of New Hampshire? (1999).

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T:Rock Valley

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K:C

ROCKEBY . AKA and see ?Captain White(‘s Jig) [1],? ?Lady Pert’s Reel.?

ROCKET [1] , THE. Scottish, Hornpipe. D Major (Kerr): F Major (Cranford/Holland). Standard tuning. AABB. A 19^th century hornpipe written in the ?Newcastle? style, according to Nigel Gatherer, with similarities to ?The Newcastle Hornpipe [1]? composed by the principal proponent of the style, James Hill. Gatherer thinks the tune likely named in honor of Stephenson’s Rocket, an early steam locomotive of 1829-30. Another explanation might possibly be that in Ireland (and in Scotland?), especially in Limerick, a rocket was a little girls? frock, adapted from the English-French rochet (P.W. Joyce). It was recorded by Shetland fiddler Arthur Scott Robertson (preceded by ?The College Hornpipe?). Cranford (Jerry Holland’s), 1995; No. 147, pg. 42. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 50. Kerr (Merry Melodies), vol. 1, c. 1870’s; pg 30 (appears as untitled hornpipe in D Major). Kerr (Collection of Merry Melodies Arranged for the Pianoforte), c. 1870’s; pg. 27 (appears as untitled hornpipe in D Major). Rounder Records, “Jerry Holland? (1976).

X:1

T:Rocket Hornpipe, The [1]

M:C|

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:F

A2 G2 G2 cB | Afcf afcA | Bfdf bfdB | bagf afge | f2 f2 f2 :||

ROCKET [2] , THE.? English, Country Dance Tune (whole time). D Major. Standard tuning. AABB. The melody was first published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). It is one of numerous melodies from the Thompson collection that were entered into the 1788 music manuscript copybook of fiddlers John and William Pitt Thompson (Norwich, Conn.). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 92.

X:1

T:Rocket, The? [2]

M:C

L:1/8

N:The ‘G? note in measure four may be played sharp.

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:D

f|e>de>c d A2B|AG/F/ EA/G/ F D2 f|e>de>d c a2 d|cB/A/ BA/G/ A3:|
|:g|f>ga>f g b2 g|e>fg>e f a2f|dABF G E2g|faAc d3:||

ROCKEY ROAD , THE. AKA and see ?The Reel of Rio,? ?The Road to Rio.?

ROCKFIELD COTTAGES , THE (Teach?n? Ghort na gCloch). Irish, Reel. G Major. Standard tuning. AAB. The title is a reference to a place very near source Grier’s house, called “Newpark,? in Gort Leitreach, Farnaught, County Leatrim. Source for notated version: fiddler and uilleann piper Stephen Grier, who wrote his manuscripts in the 1880's?? [Breathnach]. Breathnach (CRƒm IV), 1996; No. 102, pg. 54.

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ROCKFIELD REEL . Irish, Reel. B Minor. Standard tuning. AB. Composed by Lunasa member Donogh Hennessy.

X:1

T:Rockfield Reel
C:Donogh Hennessy
Z:Philippe Varlet
S:Lunasa - Redwood (2003)
L:1/8
M:4/4
R:reel
K:Bm
FBBA B2dB | AF~F2 dFAF | DBBA Bcdf | e2ef edBA |
FBBA B2dB | AF~F2 dFAF | DBBA Bcde | fgfe dBBA |
FBBA B2dB | AF~F2 dFAF | DBBA Bcde | fbaf gfef |
dBBA B2dB | AF~F2 dFAF | DBBA ~B3 A | (3Bcd BA Bcde ||
~f3 b bafb | af~f2 fedf | eBBA ~B3 f | edBA Bcde |
~f3 b bafb | af~f2 fedf | e2ba bafa | (3efe eb bafe |
~f3 b bafb | af~f2 fedf | eBBA ~B3 f | edBA (3Bcd BA |
~F3 A Bcde | ~f3 g fedf | edBf edBf | edef edBA ||

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ROCKFORD . English?, Hornpipe. C Major. Standard tuning. AABB. Hardings All-Round, 1905; No. 95, pg. 30.

X:1

T:Rockford

M:C

L:1/8

R:Hornpipe

S:Harding’s All Round Collection, No. 95? (1905)

Z:AK/Fiddler’s Companion

K:C

ROCKING A BABY THAT’S NONE OF MY OWN . Irish, Lament.

ROCKING HORSE OF REELIG , THE.? Scottish, Strathspey. A Major. Standard tuning. AABB. Composed by Dr. John Turner; musician, teacher, performer, composer and director of the Jink and Diddle School of Scottish Fiddling, held yearly in Valle Crucis, North Carolina. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 5. Turner (Melodies in the Scottish Style), 1984.

ROCKING IN A WEARY LAND . Old‑Time, Breakdown. USA; southwestern Virginia, western North Carolina. D Major. Standard tuning. AB. In the repertoire of Luther Davis, Galax, Va., Bertie Mae Dickens of Ennice, North Carolina, and others from the region. The title comes from the Old Testament:

***

Isaiah 32:1-2? Behold, a king shall reign in righteous and a prince

shall rule in judgment. And a man shall be as a hiding place from the

wind, and a covert from the tempest; as rivers of water in a dry place,

as a shadow of a great rock in a weary land.

***

Jesus was referred to by American Christians as the ‘rock in a weary land.? Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 131.

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ROCKING STEP , THE.? See ?Scott Skinner’s Rockin? Step.?

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ROCKING MY SUGAR LUMP . AKA ? “Who’s Been Rocking My Sugar Lump?? Old-Time, Breakdown. Lowe Stokes? variation of the old standard ?Boil The(m) Cabbage Down [1],? recorded in 1930 with his band The Swamp Rooters, which included Bert Layne on fiddle and Arthur Tanner on banjo, among others. A 1952 recording in the John Quincy Wolf Folklore Collection at Lyon College, Batesville, Arkansas, of the singing of W.P. Detherow (Batesville, Arkansas) reveals that a play-party song called “Ladies Rocking? is also based on the “Bile Them Cabbage? tune. The words go, in part:

***

All around this ring, my sweet sugar lump,
All around this ring we go.
All around this ring, my sweet sugar lump,
All around this ring we go.
***
Ladies rocking, my sugar lump,
Oh, ladies rocking, my sugar lump.
Ladies rocking, my sugar lump,
Oh, turn back, sinners, turn.
***
Rock a little faster, my sugar lump,
Oh, rock a little faster, my sugar lump,
Rock a little faster, my sugar lump,
Oh, turn back, sinners, turn.

Document DOCD8045, Lowe Stokes in Chronological Order, vol. 1: 1927-1930 (1999 reissue).

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ROCKING PONY . AKA and see "Rackin' Pony." Old‑Time, Breakdown. Mentioned in a news account as having been played at the 1922 Georgia Old Time Fiddlers' Association state championship held in Atlanta.

ROCKING THE CRADLE (Luasgugad an Cliaban). AKA ?? ?Rocking a Baby that’s none of my Own.? AKA and see "I Sat in the Vale." Irish, Slow Air (6/8 time). D Mixolydian/Major. A piece in which the cry of a baby is mimicked by the fiddle. O’Neill found the song and air almost entirely forgotten and had an imperfect setting himself. The one he printed in Music of Ireland was taken from an American publication of c. 1850, though he found a “fair version? in Smith’s Irish Minstrel (Edinburgh, 1825). O’Neill included two versions of this tune in his Waifs and Strays of Irish Melody where he remarks upon performance peculiarities among Irish fiddlers:

***

To bring out the tones approaching human expression the fiddle

is lowered in pitch, and the fiddler holding a long old-fashioned

door key firmly between the teeth lightly touched the bridge of

his instrument with it at appropriate passages. Those expert

In manipulation produced very amusing if not edifying results.

***

A good description of “Rocking the Cradle,? remarks O’Neill (1913), can be found in the biography of John Coughlan, the Australian piper. According to Caoimhin Mac Aoidh, the great Sliabh Luachra fiddler player Padraig O’Keeffe employed the technique (which can be heard recorded on his album “Kerry Fiddles?), though it was also known and used in Donegal by John Doherty and references were even made regarding it in Scotland. The technique is apparently becoming an anachronism, and is seldom seen among modern fiddlers. Source for notated version: Sergeant James O’Neill (Chicago, originally from County Down, northern Ireland) [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 547, pg. 96. O’Neill (Waifs and Strays of Gaelic Melody), 1922. Arty McGlynn ? “Music at Matt Molloy’s.?

X:1

T:Rocking the Cradle

B:Music of Ireland, F. O'Neill, no. 547

N:slow

M:6/8

Z:Transcribed by Paul de Grae

L:1/8

K:D

A/B/|=c>dc B>^cd|AA/B/A/G/ FDD|=c>dc BAF|

A>B^c d2 d|d>ef d>ef|AA/B/A/G/ FDD/E/|

F/G/F/E/D/F/ EAG|EDD D2||

X:2

T:Rocking the Cradle

M:6/8

L:1/8

B:Waifs and Strays

S:Sergt. James O'Neill

Z:Paul Kinder

R:Air

K:D

"Andante"D/2E/2|FFF GGA/2G/2|FFD EDD/2E/2|FFF GAG|FED D2:||!

d>ef d>ef|AA/2B/2A/2G/2 FDD/2E/2|F/2G/2F/2E/2D/2F/2 EAG|FDD D2||!\\

ROCKING THE CRADLE [2] . AKA and see "Bounce upon Bess," "Come all you good fellows," ?Kissing and Drinking [3],? "Larry O Lashem," ?Love and Hospitality,? "The Parson in/on his Boots," ?The Priest and/in His Boots [1],? "Paddy's Trip from Dublin," "There are Sounds of Mirth," "The Tivoli," "Sagart na mBuataisi." Irish, Jig.

ROCKINGHAM CINDY . AKA and see "I Get My Whiskey from Rockingham." Old‑Time, Breakdown & Song. D Major: G Major (Silberberg). Standard or ADae (Tommy Jarrell) tuning. AABC. Source for notated version: Greg Canote (Seattle) [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 132. Cartunes 105, Bruce Molsky and Bob Carlin ? “Take Me as I Am? (2004. Sourced to Tommy Jarrell). County Records, Tommy Jarrell ? “Banjo Album.? Marimac 9009, Chad Crumm ‑ "Old Time Friends" (1987).

ROCKIT GALOP . American, Galop. G Major ('A' part) & E Flat Major ('B' part). Standard tuning. AA'BB'. The Rockit Galop was a combination of steps, including redowa, glissade, waltz and galop, but starting with a rocking movement (hence, no doubt, the name). Ford (Traditional Music in America), 1940; pg. 154.

ROCKMILLS HORNPIPE . Irish, Hornpipe. A Major. Standard tuning. AB. "Copied from an old Cork music book. Rockmills (is) near Mitchelstown, Co. Cork" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 157, pgs. 79‑80.

X:1

T:Rockmill’s Hornpipe

M:C

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:A

EAAA Acec|cBBA Bceg|agae fece|eccA BFAF|

EAAA Acec|cBBA Aceg|agae fece|edBG A2A2||

Beed ceag|fgfe ceag|agae fece|eccA BFAF|

EAAA Acec|cBBA Bceg|agae edcf|edBG A2A2||

ROCKS HORNPIPE . AKA and see "Prime's Hornpipe," "O'Dwyer's Hornpipe [1]." American, Breakdown. D Major. Standard tuning. AB. "Fiddlers spell the local title of this Irish tune as we give it here; but they always pronounced it 'Jirrock's', stressing the last syllable. It has long been quite popular in Fayette County, but has not thus far turned up elsewhere in western Pennsylvania. Other variants are O'Neill, Music of Ireland, No. 1597; Joyce 1909, No. 63 {Prime's Hornpipe}" (Bayard, 1944). Source for notated version: Irvin Yaugher Jr., Mt. Independence, Pennsylvania, October 19, 1943 (learned from his great‑uncle) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 93.

ROCKS OF ANTILUCE . AKA and see "The Pride of Kildare," "My Heart with Love is Breaking," "The Waterloo Reel [5]," "The Scotch Patriot's Reel," "The Scotch Rose," "The Rakes of Drumlish," "The Duke of Gordon's Favourite," "Duke Gordon," "The Duke of Gordon's Rant," "Lord Gordon’s Reel."

ROCKS OF BAWN , THE. Irish, Slow Air. Claddagh 4CC 32, Willie Clancy ? “The Pipering of Willie Clancy, vol. 1? (1980).

ROCKS OF BRAE . AKA and see "Doon the Brae," ?Down the Brae.?

ROCKS OF CASHEL [1] , THE. AKA and see ?Carrigaline,? ?The Milestone [2],? "Steeplechase [2]." Irish, Reel. C Major. Standard tuning. AB. Versions were recorded by Sligo fiddler Paddy Killoran as “The Steeplechase,? and printed by O’Neill under the title “Carrigaline.?? Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Cole (1000 Fiddle Tunes), 1940; pg. 48. Mulvihill (1^st Collection), 1986; No. 117, pg. 31 (appears as “The Rock of Cashel?). Ryan’s Mammoth Collection, 1883; pg. 75. White’s Unique Collection, 1896; No. 91, pg. 16.?

X:1

T:Rocks of Cashel [1]

M:2/4

L:1/8

R:Reel

S:White’s Unique Collection (1896), No. 91

Z:AK/Fiddler’s Companion

K:C

((3G,/A,/B,/ | C/)B,/C/D/ (E/G/)G | A/d/d/e/ d/c/A/B/ | {d}c/B/c/A/ G/E/c/A/ |

(G/F/).E/.D/ E((3G,/A,/B,/ | C/)B,/C/D/ (E/G/)G | A/d/d/e/ d/c/A/B/ |

{d}c/B/c/A/ G/E/c/A/ | G/F/E/D/ Cz || “tr”c(e/c/) g/c/e/c/ | a/g/f/e/ B/c/d/B/ |

“tr”c(e/c/) g/c/e/c/ | a/g/f/d/ c/G/A/B/ | “tr”c(e/c/) g/c/e/c/ | a/g/f/e/ B/c/d/B/ |

“tr”c(e/c/) g/c/e/c/ | (a/g/)f/d/ c ||

ROCK(S) OF CASHEL [2] , THE (Carraig Na G-Caiseal). Irish, March (cut time). G Major (O’Neill/1850): D Major (O’Neill/1913). Standard tuning. AABB (O’Neill/1913): AABBC (O’Neill/1850). Cashel is a town in County Tipperary famous for the huge outcropping of limestone rock which looms nearby, upon which can be found the ruins of both the town's ancient fortress and a cathedral—the Rock of Cashel. It was early the seat of the kings of Munster, the Eoghanachta, and Brian Boru was crowned there in AD 977. In 1101 Muircheartach O’Brien ceded the Rock of Cashel to the Church, and it was a religious center until sacked by Cromwellian forces in 1647. At least one version of the tune was known in the mid‑18th century for it was a favourite tune of the Reverend Dr. Campbell (a friend of Edmund Burke, Johnson, Boswell and Goldsmith) who stated it was danced to at Cashel in 1775. It “was a tune which seemed to inspire particular animation,? he wrote in his 1778 work A Philosophical Survey of the South of Ireland (O’Neill, 1910 & 1913). Bunting publishes in his third collection a version of? “Rocks of Cashel? under the title ?The Chorus Jig.? The melody appears in the music manuscript copybook of Ann Winnington, c. 1810, a resident of New York. Aird (Selection of Scotch, English, Irish and Foreign Airs) vol. 4 (c. 1793). McGoun (Repository of Scots and Irish Airs), c. 1800. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1819, pg. 342. O’Neill (1913), pg. 420.

X:1

T:Rocks of Cashel, The [2]

M:C|

L:1/8

R:March

S:O’Neill ? Music of Ireland (1903), No. 1819

Z:AK/Fiddler’s Companion

K:G

.G.B d2 e/d/c/B/ d2 | .G.B d2 e/d/c/B/ A2 | .G.B d2 e/d/c/B/ d2 | gedB cAAB :|

|: .G.B c/B/A/B/ .g.B c/B/A/B/ | .G.B c/B/A/B/ cAAB | .G.B c/B/A/c/ .d.B c/B/A/B/ |

.G.B c/B/A/B/ c/B/A/B/ c/B/A/B/ | .G.B c/B/A/B/ cAAB |

.G.B c/B/A/B/ c/B/A/B/ c/B/A/B/ | gedB cAAB ||

X:1

T:Rock of Cashel [2]

M:2/4

L:1/8

R:March

S:O’Farrell ? National Irish Music for the Union Pipes (1804)

Z:AK/Fiddler’s Companion

K:D

DF A2 | AG/F/ A2 | DF A2 | AG/F/ EF | DF A2 | AG/F/ A2 | dB AG/F/ | GE EF :|

X:3

T:Rocks of Cashel [2]

M:C|

L:1/8

S:The music manuscript copybook of Ann Winnington, New York, c. 1810

Z:AK/Fiddler’s Companion

K:D

DF A2 B/A/G/F/ A2 | DF A2 B/A/G/F/ (ED) | DF A2 B/A/G/F/ Ac | dB AF GEEF |

DF dd/c/B/A/ d2 | DF d2 d/c/B/A/ df | DF d2 d/c/B/A/ d2 | dB AF GEEF :|

|: DF G/F/E/F/ G/F/E/F/ G/F/E/F/ | DF G/F/G/F/ GEEF | DF G/F/E/F/ G/F/E/F/ G/F/E/F/ |

dB AF GEEF :|

ROCKS OF CASHEL [3] , THE. Scottish (originally Irish), Strathspey. D Major. Standard tuning. AABBCCDD. Some similarity to version #2. Carlin (The Gow Collection), 1986; No. 516. Gow (Complete Repository), Part 2, 1802; pg. 24.

X:1

T:Rocks of Cashel, The [3]

M:C

L:1/8

R:Strathspey

S:Gow ? 2^nd Repository

Z:AK/Fiddler’s Companion

K:D

F|D>FAB (B/A/)G/F/ A2|D>FA>F GEE>F|D>FA>B {B}AG/F/ A>c|{c}d>B AF GEE:|

{Bc}d>B AF GEE:|

|:F/D/|DA df (f/e/d/)c/ d2|DA df (f/e/d/)c/ d2|DA df ge~e>f|DA df f/e/d/c/ {c}(d2|

d>)B AF GEE:|

ROCKS OF CONNEMARA , THE. Irish, Reel. D Dorian. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 81, pg. 42.

X:1

T: Rocks of Connemara

C: ƒD B. Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: C

FDGE FDCA, | DEFG AcBc | A2 GA FAEA | CDEC D2 :|

F2 DE FGAB | c2 eg agfe | d3 e f2 ed | cAGE D2 :|

???????????

ROCKS OF DUNAMAISE , THE.? Irish, Hornpipe. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 30.

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ROCKWOOD , THE. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 26.

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ROCKY FORD . Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning. AB. Source for notated version: Darley Fulks (1895-1990, Compton, Wolfe County, Ky., 1977) [Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 137, pg. 163.

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ROCKY ISLAND . Old-Time. AEac#. Yodel-Ay-Hee 008, One Eyed Dog - "Traditional Mountain Tunes" (1993).

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ROCKY MOORLAND , THE (Riasc Na Carraige). Irish, Air (4/4 time, "tenderly"). G Dorian. Standard tuning. One part. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 344, pg. 60.

X:1

T:Rocky Moorland, The

M:C

L:1/8

R:Air

N:”Tenderly?

S:O’Neill ? Music from Ireland (1903), No. 344

Z:AK/Fiddler’s Companion

K:G Minor

f2 dc Bcd=e|^f2 a2 g2 =fd|c3B G2G2|(G4 G2)||

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

ROCKY MOUNTAIN [1] Old‑Time, Breakdown. D Major. Standard tuning. AABB. A tune by this name was mentioned in the humorous dialect story "The Knob Dance," published in 1845, set in eastern Tennessee. See also Art Galbraith’s ?Rocky Mountain Hornpipe? for a variant of this tune, as well as ?Zack Wheat’s Piece.? Source for notated version: Marcus Martin ?(western North Carolina) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 201.?

ROCKY MOUNTIAN [2] . American, Reel. USA, southwestern Pa. G Major. Standard tuning. AB. The tune is not "Rocky Mountain" [1] or "Rocky Mountain Goat." Source for notated version: M. Musser (elderly melodeon player from Centre County, Pa., 1945; learned from her brother and fiddler Bill Garner, Centre County) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 68, pg. 46.

ROCKY MOUNTAIN FIDDLE CAMP .? Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABBCCDD. Composed by the late Cape Breton fiddler and composer Jerry Holland, in memory of the Rocky Mountain Fiddle Camp, a summer music tutoring week where he was an instructor. Cranford (Jerry Holland: The Second Collection), 2000; No. 273, pg. 98.

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

ROCKY MOUNTAIN GOAT . AKA and see "Railroad(ing) Through the Rocky Mountains," "Damon's Window/Winder," ?Devil in Georgia [2],? "Drunken Billy Goat," ?Grand Hornpipe [1],? "Mud Fence,? ?Ride the Goat Over the Mountains,? and ?Swiss Chalet." Old‑Time, Breakdown. USA; Texas, Missouri, Virginia, Kentucky, West Virginia. D Major. Standard tuning. AABB. The first part of this piece resembles "The Jenny Lind Polka," while the second part is similar to the second of an untitled Pennsylvania‑collected reel in Bayard (1981; No. 356). At least one version is well‑known as a West Virginia tune, while Charles Wolfe (1983) states it was a popular Kentucky tune. It was in fact recorded by a number of Kentucky fiddlers, including Jilson Setters (AKA Blind Bill Day), Ted Gossett, Charlie Wilson. and Cliff Gross. It was recorded for Paramount in 1927 by Doc Roberts and his band the Kentucky Thoroughbreds ("Dick" Parman and "Ted" Chestnut), and later redone by him for Gennett (1929). Roberts claimed to have learned the tune from "an 80 year old fiddler named Dude Freeman from Beattieville on the Kentucky River. 'Daddy (says his son James Roberts) claimed Dude was one of the best hornpipe players he ever heard in his life‑‑Daddy ran into him at a fiddle contest when he was young'" (Charles Wolfe). Sources for notated versions: Ardell Christopher (El Paso, Texas) [Christeson]: John Ashby (Virginia) [Brody]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 66. Brody (Fiddler’s Fakebook), 1983; pg. 233. County 745, John Ashby‑ "Down on Ashby's Farm." County 412, Doc Roberts ‑ "Fiddling Doc Roberts" (1983). Gennett 6942 (78 RPM), Doc Roberts. Rounder 0018, Mose Coffman‑ "Shaking Down the Acorns." Spr 2731 (78 RPM), Buddy Young’s Kentuckians (Sept., 1930. The group name was an alias for Ted Gossett’s band, from western Kentucky).

ROCKY MOUNTAIN HORNPIPE [1] . American, Hornpipe. D Major. Standard tuning. AABB. Galbraith family lore has it that this was the oldest piece in their repertoire, dating back to the 1829’s. Similarities to ?Zack Wheat’s Piece.? Source for notated version: Art Galbraith (1909-1993, near Springfield, Mo.), learned from his fiddling uncles, Tobe and Mark [Beisswenger & McCann, Phillips]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 41. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 221.?

ROCKY MOUNTAIN HORNPIPE [2] . Old‑Time, Breakdown. D Major. Standard tuning. AABB. Samuel Bayard (1944) remarks that the apparent "inspiration" of his source's (Emery Martin) tune is a common Pennsylvania melody called "Sweet Ellum."? Bayard notes that such adaptations are not at all uncommon in traditional music, that similar re-combinings and re-workings of strains of music may be one of the important factors in American folk fiddle repertories.

***

"No doubt some such re-combinations have been further modified and ended up as entirely new melodies; others, like this one, bear with them the traces of their development. However, another explanation of this tune, and one not at all outside the bounds of probability, might be advanced. 'Sweet Ellen' is not a rare tune in south western Pennsylvania. It is quite possible that a form of its first half was running through Mr. Martin's head, but the second half was unknown to him, or had been forgotten. In order to have a well‑rounded and complete tune, therefore, he composed (adapted?) the present second half of No. 3; and came quite naturally to the belief that the entire melody was original with him. Although worn‑down versions of many folk song tunes‑‑reduced to their first or second halves‑‑meet us everywhere in our traditional music, the cases in which an instrumental tune remains current in such an abbreviated form are quite rare. It would seem that our folk instrumentalists cannot be content to play a half‑tune, but feel the need of completing a dance air which they may have learned in an imperfect state. The simplest and most obvious ways to do this are either to compose a new strain, or to press into service an old, familiar one in order to fill the gap. No doubt both methods have often been resorted to in the past" (Bayard, 1944). Source for notated version: Emery Martin, Dunbar, Fayette County, Pennsylvania, September 29, 1943 (composed by himself) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 3.

ROCKY PALACE . AKA and see "Rocky Pallet." Old-Time, Breakdown. C Major. Standard tuning. From the playing of Georgia fiddler Earl Johnson (b. 1886), and, although a distanced version, it is related to the Skillet Licker’s “Rocky Pallet.? Document Records Doc-8006, “Earl Johnson, vol. 2 1927-1931? (2005. Reissue).

ROCKY PALLET . AKA and see "Peas and Cornbread," "Rocky Palace." Old‑Time, Breakdown. USA; north Georgia, North Carolina. C Major. Standard tuning. AABBA'A"BB (Phillips): AA'BB (Kaufman). Sometimes played with a 'C' part. See also the related "Wild John" and "Rattlesnake Bit the Baby." Most modern versions stem from the Skillet Lickers? 78 RPM recording. ?Rocky Palace? is Georgia fiddler Earl Johnson’s (b. 1886) somewhat distanced version of the tune. Similarities to the "Billy in the Lowground" family of tunes. Source for notated version: the Skillet Lickers (Ga.) and Manco Snead (N.C.) [Phillips]. Kaufman (Beginning Old Time Fiddle), 1977; pg. 70. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 202. Bee Balm 302, “The Corndrinkers.? County 526, "The Skillet Lickers, vol. 2" (1973. Reissue).

X:1

T:Rocky Pallet

L:1/8

M:C|

S:Jay Ungar

Z:AK/Fiddler’s Companion

K:C

dedc A B3|c3d c2:||GF|E [C2E2] (D [C2E2]) c(e|e)efg e2c2|dedc A c3|

(e3 [eg] e2) GF| E [C2E2] (D [C2E2]) c(e|e)efg e2c2|dedc A B3|(c3 d) c2||

(CB,)CE (GE)CE|(FE)FG (AB)cA|(GA)cA (Bc)dB|(c3d) c2:|

ROCKY RIDGE . Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AA’BB?. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 56.

ROCKY ROAD [1] . AKA and see "Angeline the Baker." Spudchucker Productions, Bert Edwards (N.C.) ‑ "Bert's Bombaree."

ROCKY ROAD [2] . AKA and see "Rocky Road to Dublin."

ROCKY ROAD [3] . AKA and see ?The Reel of Rio,? ?The Road to Rio.?

ROCKY ROAD CINDY . AKA and see "I Get My Whiskey from Rockingham." Old‑Time, Breakdown. USA, north Georgia. A Major. Standard tuning. AAB. Source for notated version: Jay Ungar (New York) [Kuntz].

***

Where'd you get your whiskey, where'd you get your dram?

I got it from a little girl way down in Rockingham.

***

Refrain

Rocky Road Cindy, rocky road to town,

Rocky Road Cindy, way down in Rockingham.

***

I went down to Rockingham, I did not go to stay,

I fell in love with a pretty girl and I could not get away.

***

Lips as red as a red rose, her hair was huckleberry brown,

The sweetest girl I ever saw, way down in Rockingham.

***?

First I kissed Cindy once and then I kissed her twice,

I'll tell you where I kissed her, gonna kiss her there tonight.? (Kuntz)

Kuntz (Ragged but Right), 1987; pg. 335‑336. County 507, Earl Johnson and His Clodhoppers‑ "Old‑Time Fiddle Classics." Philo 1023, Jay Ungar and Lyn Hardy‑ "Songs, Ballads and Fiddle Tunes" (1975. Learned from Earl Johnson's late 1920's recording).

X:1

T:Rocky Road Cindy

T:I Get My Whiskey from Rockingham

L:1/8

M:2/4

B:Kuntz ? Ragged but Right

K:A

[c/e/][B/e/][A/e/][B/e/]|[Ae][F/A/][F/A/] [Ae][F/A/][F/A/]|

[Ae][F/A/][F/A/] [A/e/][B/e/][ce]|[c/e/][B/e/][A/e/][c/e/] [B/e/][A/e/]F/A/|

f/e/c/d/ e/c/A|cA E/F/A/B/|A2:|

ROCKY ROAD THROUGH GEORGIA . Old-Time, Breakdown. Merriweather Records, Pat Kingery ? “I Kind of Believe it’s a Gift.?

ROCKY ROAD TO DENVER . AKA and see ?Oh My Foot,? ?Where is My Other Foot?? Old-Time, Breakdown. USA, Ozarks. G Major. Standard tuning. AA’BB?. A relative of the familiar British Isles tune ?Temperance Reel.? The tune is sometimes mistakenly called “Rocky Road to Dublin.? Source for notated version: Gene Goforth (1921-2002, High Ridge, Mo.), learned from Roy Wooliver [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 48. Rounder CD-0435, “Traditional Fiddle Music of the Ozarks, vol. 1.? Rounder CD-0388, Gene Goforth ? “Emminence Breakdown? (1997).

ROCKY ROAD TO DINAH'S HOUSE . Old‑Time, Breakdown and Song. Recorded by Fiddlin' John Powers {b. 1877} and his family band (Russel County, southwest Va.) in August, 1924 for Victor, however, the side was not issued by the company. The family re-recorded the song for Edison in October, 1925.

ROCKY ROAD TO DUBLIN [1] ("An Botar Sgreagmar Go Baile-Ata-Cliat" or "An Bothar Carrach go Baile Atha Cliath"). AKA and see "Black Burke," "Black Rock [3],? "The Rocky Road [2]." Irish, Slip Jig or Air (9/8). A Dorian (most versions): A Mixolydian (O'Neill/1915 & 1001). Standard tuning. One part (Stanford/Petrie): AB (Harker/Rafferty): AAB (Allan, O'Neill/Krassen): AABB (Cole, Hardings, Kerr, Tubridy): AABB' (Brody, Roche): ABC (Breathnach, Kennedy): AABC (O'Neill/1850, 1001 & 1915). Breathnach (1985) identifies the rocky road of the title as a road in the neighborhood of Clonmel, and says that nurses in south Munster had a saying used “as a qualification for hiring: ‘They can sing and dance the baby to the Rocky Road.? O’Neill (1913) states a special dance was performed to this melody. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). “Rocky Road to Dublin? was also made into a song and distributed in an anonymous broadside of the 19^th century. It goes:

***

In the merry month of May from my home I started

Left the girls of Tuam nearly broken‑hearted

Saluted Father dear, kissed my darlin' Mother

Drank a pint of beer my grief and tears to smother

Then off to reap the corn, and leave where I was born

I cut a stout blackthorn to banish ghost and goblin,

In a bran'new pair of brogues I rattled o'er the bogs

And frightened all the dogs on the rocky road to Dublin,

Chorus:

One, two, three, four five, hunt the hare and turn her

Down the rocky roaad, and all the ways to Dublin

Whack fol‑lol‑de‑ra.

***

In Mullingar that night I rested limbs so weary,

Started by daylight next morning light and airy,

Took a drop of the pure, to keep my heart from sinking,

That's an frishman's cure, whene'er he's on for drinking,

?To see the lasses smile, laughing all the while,

At my curious style, 'twould set your heart a‑bubbling,

They ax'd if I was hired, the wages I required,

Till I was almost tired of the rocky road to Dublin.

***

In Dublin next arrived, I thought it such a pity,

To be so soon deprived a view of that fine city,

Then I took a stroll out among the quality,

My bundle it was stole in a neat locality;

Something crossed my mind, then I looked behind,

No bundle could I find upon me stick a‑wobblin',

Enquiring for the rogue, they said my Connaught brogue

Wasn't much in vogue on the rocky road to Dublin.

***

From there I got away my spirits never failing,

Landed on the quay as the ship was sailing,

Captain at me roared, said that no room had he,

When I jumped aboard, a cabin found for Paddy

Down among the pigs, I played some funny jigs

Danced among the rigs, the water round me bubblin'

When off to Holyhead I wished myself was dead,

Or better far, instead, on the rocky road to Dublin.

***

The boys of Liverpool, when we safely landed,

Called myself a fool, I could no longer stand it;

Blood began to boil, temper I was losin'

Poor old Erin's isle they began abusin'

"Hurrah my soul!" says I, my shillelagh I let fly,

Some Galway boys were by, saw I was a hobble in,

Then with a loud Hurrah, they joined in the affray,

We quickly cleared the way, for the rocky road to Dublin.

***

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.?

***

Sources for notated versions: piper Seamus Ennis (Ireland) [Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 36, pg. 9. Breathnach (CRƒm III), 1985; No. 58, pg. 29. Brody (Fiddler’s Fakebook), 1983; pg. 233. Cole (1000 Fiddle Tunes), 1940; pg. 64. Giblin (Collection of Traditional Irish Dance Music), 1928; 64. Hardings All Round Collection, 1905; No. 180, pg. 57. Harker (300 Tunes from Mike Rafferty), 2005; No. 301, pg. 101. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 69, pg. 16. Kerr (Merry Melodies), vol. 2; No. 221, pg. 25. Levey (Dance Music of Ireland). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 219, pg. 117. O'Neill (Krassen), 1976; pg. 79. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1116, pg. 211. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 411, pg. 82. Roche Collection, 1982, vol. 2; No. 257, pg. 25. Ryan’s Mammoth Collection, 1883; pg. 95. Spandaro (10 Cents a Dance), 1980; pg. 26. Stanford/Petrie (Complete Collection), 1905; No. 548, pg. 139 (appears as “The Rocky Road?). Tara Records TA 1002, Seamus Ennis ‑ "The Pure Drop" (1973). Transatlantic 341, Dave Swarbrick‑ "Swarbrick 2."

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources ?

ROCKY ROAD TO DUBLIN [4]. AKA and see "Loch Erroch Side," “Loch Ericht Side,? "I'm O'er Young to Marry Yet [3]," "Over the Hills to Glory," "The Lass of Gowrie," ?Lass o? Gowrie [1],? "The Lakes of Sligo," ?Tom Billy’s (Polka) [2].? American, Reel. USA, southwestern Pa. D Major. Standard. AB. Bayard (1981) thinks the tune is descended from an air that has seen service as a reel, strathspey, and song air, in several versions with several titles (listed as alternates above). Source for notated version: Emery Martin (fiddler from Pa., 1946; learned from Max Hohl, a "soldier in the Spanish War") [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 304, pg. 258.

ROCKY ROAD TO DUBLIN [5]. Old-Time, Breakdown. USA, Missouri. D Major. Standard. AABB. Does not appear to be any of the previous versions. Source for notated version: Casey Jones (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 202.

ROCKY ROAD TO DUBLIN [6]????. Misc. listings: The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Rounder 0047, Wilson Douglas‑ "The Right Hand Fork of Rush's Creek."

ROCKY ROAD TO DUBLIN [7]. Old-Time, Two-Step. Appears as "Breakdown #98" in Christeson (1973, pg 68), known under this title by Cy Kines but better known under the titles "Richmond Cotillion," "Richmond Polka," "Robert E. Lee Swing," and "Redman's Reel."

ROCKY ROAD TO DUBLIN [8]. Old-Time, Breakdown. Recorded by Allan Sisson in the beginning of the 78 RPM era.? It appears to be a modal tune.

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

ROCKY ROAD TO JORDAN . Old-Time, Breakdown. D Major. From the playing of Dwight “Red? Lamb. “Rocky Road to Jordon? is one of ?100 essential Missouri tunes? listed by Missouri fiddler Charlie Walden.

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ROCKY ROAD TO TEXAS . Old‑Time. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's.

ROCKY RUN . Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by folklorist/musicologist Vance Randolph, published in 1954.

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