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: 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 abcs, then cutting-and-pasting the highlighted notation into one of the many abc conversion programs available, or at incredibly handy ABC Convert-A-Matic at **Please note that the abcs in the Fiddlers Companion work fine in most abc conversion programs.
For 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 abcs will convert to standard notation nicely.
Or, get a copy of abc Navigator 2 its well worth it.
Cranford (Jerry Holland: The Second Collection), 2000; No.
Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009).
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Composed by the great Scottish fiddler-composer Niel Gow (1727-1807). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 1788‑1862) collection called the University MS., credited to Niel Gow. Francis Hogan of South Lodge, Brenormore, near Carrick‑on‑Suir, a good musician and a great entusiast in Irish music and songs" (Joyce). Gow (The First Collection of Niel Gows Reels), 1784 (revised 1801); pg. Source for notated version: "Sent to me...during 1884 by Mr. The name may also be familiar as the name of an American TV series in the 1960s, but vernacular use of the term Real Mc Coy started in America during prohibition, it is said, based on the reputation of the quality of Mc Coys bootleg liquor. Named for a pub in Mullaghbawn, the home of a session, originally owned by a Mc Coy and retaining the name despite the ownership change. While mostly traditional in his repertoire, Goodman regularly played several novelty or popular tunes. The title (as Reaper of Dunree) 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). Source for notated version: fiddler Paul Murphy, along with Josephine Keegan a member of the Ceol an Iubhair Ceili Band (Beesbrook, The sole source for this tune is Stepp, and the melody is unrelated to Rebel Raid  or to Haleys tune. Stepp (Salyersville, Magoffin County, Ky., 1937) [Titon]. Published versions appear in the melody was contained in Rileys Flute Melodies, vol. Robert Harrison (Brampton, Cumbria, 1820), James Winder (Wyresdale, Lancashire, 1835), George Spencer (Leeds, west Yorkshire, 1831), a manuscript from Carlisle (Cumbria, 1810), James Haslingden (Midlands, 1827), a manuscript from Aston-on-Carrant (Gloucestershire, copy of 1770 MS)and Miss Best (unknown, c. Barry Callaghan (2007) notes that in Manuscript 36 in the Vaughn Williams Music Library of EFDSS a note with the tune suggests the recovery referred to one of George IIIs. Ed Haley had a way of making up versions of tunes that only remotely resembled other people's although he probably played the other versions also.. He had different tunes he played in different parts of the country, remarks John Hartford. 1930s Beltone 78 RPM of Scottish fiddler Hiram Hosie/Hosey) [Phillips]. It also appears in the John Fife music manuscripts of 1780-1804, written in Perthshire, Scotland, and at sea, and in many other fiddlers manuscripts: John Clare (Helpston, Northants, 1820), the Rev.