ID	Title	Title change notes	Performer(s)	Notes	Key	Meter	Strains	Rendition	Phrase structure	Compass	Stylistic features	Alternate Title(s)	Related Tune(s)	Related Audio	Transcription	Transcription for another rendition	Composer(s)	Genre(s)	Spoken	Collector(s)	Created/Published	Location	Format	Call Number	Aggregate	Chronology	Audio not transcribed	Author/Transcriber	Handwritten	Pages	985	Display requirements
<reedt024>	[Rocky Mountain Goat] [transcription]	The title appears on the transcription as "Unnamed."		This tune is well-known in America but not clearly traceable beyond its shores. Henry Reed neither named it nor assigned it a genre, but it is a tune sometimes known as "Rocky Mountain Goat," and the slightly slower pace suggests a connection with the hornpipe genre. <i>Shaking Down the Acorns</i> (Rounder 0018) contains a performance of the tune by Mose Coffman from Greenbrier County, West Virginia.<p>Henry Reed performed this tune on three occasions. In one performance (AFS 13705b07, recorded on July 17, 1967), he inserted a third strain between the usual first and second strains that leaps up dramatically to a high D in third position on the E-string. This extra strain seems to be unique to Henry Reed.</p>	D	4/4	2 (high-low, 4-4)	1r-2r-1r-2r	ABAC QRQS (abcd abce qrst qrsu)	15				[Rocky Mountain Goat] [AFS 13033b23]%13033b23				Hornpipes%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:67	afcreed		[Rocky Mountain Goat] [AFS 13703b16]%13703b16|[Rocky Mountain Goat] [AFS 13705b07]%13705b07	Jabbour, Alan; from a performance by Henry Reed	Played twice thru. 1st time misses 2 1/2 measures at beginning. 2nd time transcribed above.<br>This is fr. memory, played for me later & unrecorded. Inserted betw. 2 above strs.	2 pages	afc/afcreed/ms	Pageturner
<reedt004>	[Schottische in C] [transcription]	The title appears on the transcription as "Unnamed schottische."		Henry Reed called this tune a schottische, and he plays it in a style similar to that of other schottisches in this collection. This tune is variously described as a schottische or a clog in scattered versions from the Appalachians and beyond. A Canadian set was published in Messer, <i>Original Old Tyme Music</i> (p. 23, "Clog in C Major"). A West Virginia version is Burl Hammons's banjo set of "Wilson's Clog" (<i>The Hammons Family</i>, Library of Congress, AFS L65-66). Another published recording, called "Schottisch," appears on <i>Rural Rhythm</i> (Repeat RS 300-4), and an unpublished set in the American Folklife Center's collections is "German Waltz" by Bev Baker of Hazard, Kentucky (AFS 1538b3).<p>The uncertainty about assigning a genre to the tune suggests that, in the South at least, such tunes were often played as instrumental set pieces rather than for dancing. An interesting technical feature of Henry Reed's performance is his use of an extended fourth finger twice in the third strain, both for a high C on the E-string and for an F on the A-string.</p>	C	4/4	3 (low-high-higher, 4-4-4)	1-2-1-3r-1-2-1	ABAC QBQC UVUW (abcd abce qrcd qrce uvwx uvwy)	12	Schottische-style, jerky long-short alternations (triplets more than dotted-eighths and sixteenths), mostly separate bowstrokes.		Nightingale Clog%Wilson's Clog%German Waltz	[Schottische in C] [AFS 13034b33]%13034b33				Schottisches%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:46	afcreed			Jabbour, Alan; from a performance by Henry Reed	Now repeat 1st str.<br>Now repeat 1st, 2nd, & again 1st strs.<br>(See card:  "Nightingale Clog")	1 page	afc/afcreed/ms	Pageturner
<reedt003>	Love Somebody [transcription]			This is a widely distributed song and dance tune, often occurring with this title in the Upper South and points west. Scottish sets are often called "My Love She's But a Lassie Yet," which appeared in the well-distributed eighteenth-century publication <i>Scots Musical Museum</i> (1853 edition), vol. 2, 234 (#225). Sharp recorded it from Mrs. Stella Reynolds along the Blue Ridge in Meadows of Dan, Virginia, as "I'm Seventeen Come Sunday" (<i>English Folk Songs from the Southern Appalachians</i>, vol. 2, 158, #127-D), and other instrumental sets have titles echoing the same song, such as "Sweet Sixteen." Various manuscript sets show that the instrumental tune was in America by the late eighteenth century, and Knauff has a version called "Richmond Blues" in <i>Virginia Reels</i> (1839).<p>Henry Reed's performance is cut short by a problem he was having with the fiddle he had been lent; its bridge was rounded too much for him, causing his bow to hit the fiddle when he played on the G-string (which he called "the bass").</p>	D	4/4	2 (high-low, 4-4)	1r-2r-1r-2	ABA'C QRST (aba'c ab'de qeqr q'stb)	15 (11 plus low A)	Slurs in bowing.	My Love She's But a Lassie Yet%I'm Seventeen Come Sunday%Sweet Sixteen%Richmond Blues		Love Somebody [AFS 13034b31]%13034b31				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:45	afcreed		Love Somebody (fragment) [AFS 13705b29]%13705b29	Jabbour, Alan; from a performance by Henry Reed	Played thru once more (but 2nd str. not repeated) w. some variations in notes & bowing.	1 page	afc/afcreed/ms	Pageturner
<reedt002>	Ducks in the Pond [transcription]			This tune seems to be a variant of "Lady of the Lake," which is also a name used for a dance. Note the possible connection of "lake/pond" in the two titles. "Lady of the Lake" appears in Knauff's <i>Virginia Reels</i> (1839), vol. 3, #7, which seems to situate it firmly in early nineteenth-century Virginia tradition, and Winston Wilkinson recorded a version before 1936 from J. H. Chisholm of Greenwood, Virginia (see Wilkinson, "Virginia Dance Tunes," p. 10). Both these versions begin with the low strain, but Henry Reed's set recasts the tune with the high strain first, reflecting the widespread taste in the Appalachian South for instrumental tunes that begin with the high strain.	A	4/4	2 (high-low, 4-4)	tag-1r-2r-1r-2r-1r-2r-tag	ABA'C QRQ'C (abcd ab'ef qbrr qb'ef)	15 (11 plus low A)	Lively pace, slurs predominate in bowing. On a couple of occasions, he begins the second strain with the low first-finger E, not the even lower drone A. Note the failure to use the open G and D strings; he probably either learned this tune with the fiddle tuned EAEA, or learned it melodically from fiddlers tuned that way.		Lady of the Lake	Ducks in the Pond [AFS 13034b30]%13034b30				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:44	afcreed		Ducks in the Pond [AFS 13037a20]%13037a20	Jabbour, Alan; from a performance by Henry Reed	Played thru 3 times; 2nd transcribed.	1 page	afc/afcreed/ms	Pageturner
<reedt001>	[West Virginia Gals] [transcription]	The title appears on the transcription as "Unnamed."		The tune appears to be an instrumental version of a song known in older Appalachian tradition (see Sharp, <i>English Folk Songs from the Southern Appalachians</i>, vol. 2, 6, #75-A, "If You Want to Go A-Courting") and recorded on early hillbilly records. Though Henry Reed gave the tune no title, the Hollow Rock String Band recorded it as "West Virginia Gals" (Rounder 0024), the title which is adopted here. The song typically repeats the final phrase, making a five-phrase tune. The high strain of the fiddle tune corresponds to the song, though it eliminates the repeated fourth phrase, and the low strain is a kind of arpeggiated filler.	A	4/4	2 (high-low, 4-4)	tag-1r-2r-1r-2r-1r-2r-tag	AAAB QRQ'B' (abab abcd qrst qr'c'd')	15	Lively tempo, slurs in bowing. On the third time through, second strain, his bow catches on the fiddle instead of the G-string, causing a momentary blank space. He complained about this later. Someone picks up a guitar and trying it out in the background.	West Virginia Girls%If You Want to Go A-Courting		[West Virginia Gals] [AFS 13034b29]%13034b29				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:43	afcreed		[West Virginia Gals] [AFS 13037a08]%13037a08	Jabbour, Alan; from a performance by Henry Reed	card: If You Want to Go A-courting. Played thru 3 times w. minor variations in notes and slurring.--1st time transcribed.	1 page	afc/afcreed/ms	Pageturner
<reedt068>	Rye Straw [transcription]			The title "Rye Straw" is a shortened form of "Dog in the Rye Straw," which in turn is bowdlerized, for it refers to a cycle of vulgar jingles that conjure up a dog excreting fantastical things. The piece appears in at least one nineteenth-century collection, <i>George H. Coes' Album of Music</i>, p. 51, entitled "A Whoop from Arkansas."  Part of the humor seems to reside in coy titles that allude to the true meaning while appearing innocent enough to the uninitiated. Henry Reed himself gave an alternative title in this vein, "The Dog in Difficulty."  Hence Morris, <i>Old Time Violin Melodies</i>, #28 "Acrobat"; Thede, <i>The Fiddle Book</i>, p. 98 "Preacher's Favorite," or "Ladies Fancy"; Archive of Folk Culture AFS 3047b3 "The Joke on the Puppet," played by Stephen B. Tucker, Meridian, Mississippi (probably an error for "Puppy"); AFS 3044a2 "Alabama Waltz," played by Charles Long with Sam Neal beating on straw, near Quitman, Mississippi; AFS 2634a2 "<a href="/cgi-bin/query/r?ammem/lomaxbib:@field(DOCID+@lit(l2634a2))">Unfortunate Puppy</a>," played by Elmo Newcomer, Bandera County, Texas. Published recorded sets include "Run Boy Run!" on <i>North Carolina Boys</i>, played by Gray Craig, Kinney Rorer, and Doug Rorer (Leader LEA 4040).<p>A characteristic oddity of the tune is the way it usually oscillates between keys, usually A and D, so that one is often uncertain which key is the true tonal center. In this respect, though it has the A-D oscillation, Henry Reed stays more closely anchored in A than some sets. Versions of the tune often have three strains, and Henry Reed's third strain is a recasting in the upper octave of the first strain. His set has an interesting detail not found in most sets: it reaches ("squeals," perhaps) up to the high C-sharp on the E-string.</p>	A	4/4	3 (low-high-high octave, 4-4-4)	1-2-3-2-1-2-3-2-1	ABAC QRQ'S UVUV (abac abad qrqs qr'td uvud uvud)	13		Dog in the Rye Straw%The Dog in Difficulty%A Whoop from Arkansas%Acrobat%Preacher's Favorite%Ladies Fancy%The Joke on the Puppet (Puppy)%Alabama Waltz%Unfortunate Puppy%Run Boy Run!		Rye Straw [AFS 13703b01]%13703b01				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #4, p. 5	afcreed			Jabbour, Alan; from a performance by Henry Reed	Whole thing plus bars 1-4 repeated. 1st time thru transcribed.	1 page	afc/afcreed/ms	Pageturner
<reedt021>	Irish Washerwoman [transcription]			"Irish Washerwoman" is known in both the British Isles and North America, though in America it has achieved a sort of popular culture notoriety unknown in the British Isles. It first appears almost simultaneously in Scottish and Irish publications in the Old World and in American manuscript tune collections around 1800. Most nineteenth-century tunebooks include it, and it has been well-represented in twentieth-century books and recordings. It is not unknown in the South but seems more common elsewhere in the country, due possibly to the unfamiliarity of 6/8 time in the South. Henry Reed plays it more slowly than the normal pace for either jigs or quicksteps, and the tune has something of the appearance of a set piece rather than a dance tune in his repertory.	G	6/8	2 (low-high, 4-4)	1r-2r-1	ABAC QRSC' (abcd abc'e qrst uvc"e)	12				Irish Washerwoman [AFS 13033b20]%13033b20				Jigs%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:64	afcreed			Jabbour, Alan; from a performance by Henry Reed		1 page	afc/afcreed/ms	Pageturner
<reedt033>	British Field March [transcription]	This tune is transcribed after "Georgia Camp Meeting" on the page.		This and the following tune ("Santa Anna's Retreat," AFS 13035a33) are both marches that Henry Reed learned from Quince Dillion, an elderly fiddler and fife player from whom Henry Reed acquired many tunes as a boy. These two were specifically identified as fife tunes, and a trill at one juncture--not a normal feature of Henry Reed's fiddling--must be an echo of the fife original. In calling this piece "British Field March," he said that it was the march used by the British to retreat in the Battle of New Orleans, where Andrew Jackson and his American forces routed the British contingent. The tune is in fact an old British air that crops up in various forms, particularly from Irish sources; for instrumental sets, see for example Petrie, <i>The Complete Collection of Irish Music</i>,  #397 "Take Her Out and Air Her"; <i>O'Neill's Music of Ireland</i> #1388 "Touch Me If You Dare--2nd Setting" and #1593 "Kit O'Mahony's Hornpipe"; Joyce, <i>Old Irish Folk Music and Songs</i> (1909) #42 "Miss Redmond's Hornpipe"; "Manuscript Collection of Dance Tunes [ca. 1775-1800]" (Newberry Library, Chicago), p. 63 "Lovely Molly"; Ford, <i>Traditional Music of America</i> p. 43 "Gilderoy."	A	4/4	2 (high-low, 4-4)	1-2-1r-2-1r-2	ABAC QRQC (abac abde qrse qrde)	11	Slurred bowing, somewhat slower pace; lots of use of fourth finger.	Take Her Out and Air Her%Touch Me If You Dare%Kit O'Mahony's Hornpipe%Miss Redmond's Hornpipe%Lovely Molly%Gilderoy		British Field March [AFS 13035a32]%13035a32				Marches%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 11b	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played times thru, with the 1st str. repeated except for 1st. time.--1st time thru transcribed.--The tune seems to be a version of card "Take Her Out & Air Her"--Tendency toward<br>See card "Take Her Out & Air Her"	1 page	afc/afcreed/ms	Pageturner
<reedt023>	Ricketts' Hornpipe [transcription]	The title appears on the transcription as "Ricket's Hornpipe."		John Bill Ricketts was an early circus entrepreneur who brought a circus from England to America in the last decade of the eighteenth century. Circuses in an earlier era usually included fancy dancing, and the circuses of Ricketts included dancers such as Pennsylvanian John Durang, who became famous in early America. Both Ricketts and Durang had hornpipes named for them that have endured in American tradition, in both the North and the South, right up through the twentieth century. The tune makes its appearance before 1800; it is included in "William O. Adams's Musick Book [1795]," a music manuscript book in the Library of Congress. Nineteenth and twentieth-century American tunebooks generally include "Rickett's Hornpipe" (the apostrophe is usually misplaced); see for example <i>One Thousand Fiddle Tunes</i>, p. 89, with dance directions, or Fillmore, <i>American Veteran Fifer</i>, #111. Other hornpipes from the tunebook tradition, such as "Texarkana Hornpipe" (<i>One Thousand Fiddle Tunes</i>, p. 98), seem by their similarity to "Ricketts" to honor its popularity. Modern tune collections also regularly feature it, such as Ford, <i>Traditional Music of America</i>, p. 50; Thomas, <i>Devil's Ditties</i>, p. 151. The Northern sets tend to be close to the sets from print tradition and to begin, like printed sets, with the lower strain, while some Southern sets vary more from the printed sets and even begin with the high strain (a Southern predilection).<p>Henry Reed's performance agrees with Northern and print tradition in beginning with the low strain, but its melody departs in several particulars from the standard printed sets. Either because of the complexity of the tune or because of continuing ties to the older tradition of using hornpipes for fancy dancing, the pace of his performance is a bit slower than most of his breakdown tunes.</p>	D	4/4	2 (low-high, 4-4)	1r-2r-1r-2	ABAC QRSC (abcd abc'e qrq's tuve)	12			Texarkana Hornpipe	Ricketts' Hornpipe [AFS 13033b22]%13033b22				Hornpipes%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:66	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played thru 1 3/4 times (i.e., 2nd str. not repeated 2nd time). 1st time transcribed. Some variations below:<br>-- I heard Mr .Reed play this tune on another occasion, & he began with what is here the 2nd str. The style is notable for sometimes leaning toward the triplet pattern.	1 page	afc/afcreed/ms	Pageturner
<reedt007>	Leather Britches [transcription]			"Leather Britches," a well-known reel in British and American tradition, is probably Scottish in origin. An eighteenth-century Scottish version in Gow's <i>Collection of Slow Airs, Strathspeys and Reels</i> (ca. 1795) is called "Lord Macdonald's Reel," the name under which it usually appears (with or without "lord") in nineteenth-century tune collections. <i>One Thousand Fiddle Tunes</i>, p. 22, is a typical set. The title "Leather Britches" (or "Breeches") is primarily an American title; it appears in sets from Pennsylvania (Bayard, <i>Hill Country Tunes</i>, #1) and West Virginia (Artley, "The West Virginia Country Fiddler," p. 38) to points west and is now widely distributed on the contest fiddle circuit. But there may be an Irish connection to the title; see Roche, <i>Collection of Irish Airs, Marches, and Dance Tunes</i> vol. 2, 20 (#240) "O the Breeches Full of Stitches" and Petrie, <i>The Complete Collection of Irish Music</i> #473 "The Breeches on."<p>In the Appalachian South the term "Leather Britches" is also used to describe string beans strung on strings and hung up on porches to dry. Fiddlers are attracted to the rolling arpeggios of the tune, which involve bowing as well as fingering challenges, and think of "Leather Britches" as a lively showpiece. Most printed versions have two strains, but Henry Reed's version is not alone in adding a third strain that essentially repeats the low strain an octave higher; see also Ford, <i>Traditional Music of America</i>, p. 48; Thomas, <i>Devil's Ditties</i>, pp. 134-5; Adam, <i>Old Time Fiddlers' Favorite Barn Dance Tunes</i>, #33.</p>	G	4/4	3 (low-middle-high, 4-4-4)	1r-2-3-2-1r-2-3-2-1	ABAC QRQS A'B'A'C' (abac abde qrqs qrts a'b'a'c' a'b'd'e')	16	Separate and slurred strokes in bowing.	Lord MacDonald's Reel%MacDonald's Reel%Leather Breeches%O the Breeches Full of Stitches%The Breeches on		Leather Britches [AFS 13034b36]%13034b36				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:49	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played thru twice plus the 1st str. (4 measures) w. a special ending. Several minor variations.	1 page	afc/afcreed/ms	Pageturner
<reedt025>	[Breakdown in G] [transcription]	The title appears on the transcription as "Unnamed."		Henry Reed played this tune twice but had no name for it. (A more complete version was recorded on November 26, 1966, as AFS 13037a01.) He seemed to have a little trouble sorting out its melodic features from those of some similar tunes in G, conflating it in both performances with melodies he had previously played. A related tune in his repertory, cast in the key of D, has the same first strain but an entirely different second strain; see "Quince Dillion's High-D Reel."	G	4/4	2 (low-high, 4-4)	1r-2r-[different tune]	ABAC QRQS (abcd abef qrst qruf)	12			[Quince Dillion's High-D Reel]	[Breakdown in G] [AFS 13033b25]%13033b25		[Breakdown in G] [transcription]%reedt055		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:68	afcreed			Jabbour, Alan; from a performance by Henry Reed	1st str. not recorded 1st time thru. On 2nd time thru 2nd str. he got off onto another tune.	1 page	afc/afcreed/ms	Pageturner
<reedt026>	[Witch of the Wave Reel]  [transcription]	The title appears on the transcription as "Unnamed."		Henry Reed gave this tune no name. Its first strain appears often, under various names, in the nineteenth-century tunebook tradition. One such set, "Witch of the Wave Reel," is in <i>One Thousand Fiddle Tunes,</i> p. 3; for similar tunes, compare "New York Reel," <i>One Thousand Fiddle Tunes</i>, p. 38; "Western Gem Reel," <i>One Thousand Fiddle Tunes</i>, p. 49; "St. Botolph's Hornpipe," <i>One Thousand Fiddle Tunes</i>, p. 99; "Buckley's Fancy," <i>O'Neill's Music of Ireland</i>, #1211; "Comely Jane Downing," <i>O'Neill's Music of Ireland</i>, #1461; "The Lakeside Road," <i>O'Neill's Music of Ireland</i>, #1699.<p>The Hollow Rock String Band, having learned this tune from Henry Reed, noticed its similarity to "Witch of the Wave Reel" and began calling it that. The tune is now occasionally played by other fiddlers using that title, and the title is adopted here as a way of distinguishing it from other unnamed tunes in G.</p><p>The second strain in Henry Reed's performance does not reflect any of the print sets. It is a kind of filler or extender, only half as long as the first strain, which is made up of musical elements of the last phrase of the first strain.</p>	G	4/4	2 (low-high, 4-2)	1r-2r-1	ABAC QC' (abac abde dqde')	12	Henry Reed was trying to play the full version of the second tune into which he had verged in his previous performance (Breakdown in G, AFS 13033b25), but instead plays yet another tune.		New York Reel%Western Gem Reel%St. Botolph's Hornpipe%Buckley's Fancy%Comely Jane Downing%The Lakeside Road	[Witch of the Wave Reel] [AFS 13033b26]%13033b26				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:69	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played once thru plus the 1st str. unrepeated. Slight tendency toward triplet rhythm, esp. in 2nd str.	1 page	afc/afcreed/ms	Pageturner
<reedt027>	George Booker [transcription]			This tune began life, so far as can be told, as a Scottish strathspey entitled "The Marquis of Huntly's Farewell," the title it was given in William Marshall's <i>Collection of Strathspey Reels</i> (ca. 1781). By the early nineteenth century it already had taken hold in rural Virginia, now named "George Booker" in honor of a Virginia Revolutionary War leader; a set under that name appears in Knauff's <i>Virginia Reels</i> (1839). The tune in that set, as in Henry Reed's, retains the melodic structure and circular form of the Scottish sets. Henry Reed's performance is also notable for the inclusion of sixteenth-note triplets and thirty-second notes, a feature of left-hand technique on the fiddle that is often associated with British fiddling but here appears to have a toehold in Virginia as well.<p>"George Booker" has an interesting history on the old frontier of the Upper South, having been recast as "Camp Chase" to celebrate the escape from Camp Chase, Ohio, during the Civil War by West Virginian Sol Carpenter. French Carpenter plays a set and tells the story on the LP recording <i>Old-Time Music from Clay County, West Virginia</i> (Folk Promotions 11567-11568), and another version of tale and tune performed by Burl Hammons appears on <i>The Hammons Family</i> (Library of Congress, AFS L65-66), which cites additional variants.</p>	A	4/4	2 (low-high, 4-4)	1r-2r-1r-2	ABAC QRQC (abac abdc' qrst qrdc')	15	Circular tune (each strain ends on note other than tonic).	Marquis of Huntley's Farewell%Camp Chase		George Booker [AFS 13033b27]%13033b27				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:70	afcreed		George Booker [AFS 13035b06]%13035b06	Jabbour, Alan; from a performance by Henry Reed	Played thru 1 3/4 times (i.e., 2nd strain not repeated 2nd time). Occ. tendency toward triplet rhythm on 16ths. A few of the variations:<br>*uneven, bowing?	1 page	afc/afcreed/ms	Pageturner
<reedt029>	The Route [transcription]			"The Route" has a well-established history in Virginia, having appeared in Knauff's <i>Virginia Reels</i> (1839) under the title "Colonel Crocket: A Virginia Reel." It seems not to be known in the North or the British Isles, but it turns up here and there in areas affected by westward migration from Virginia, such as "Jenny on the Railroad" by the Carter Brothers and Son (Vocalion 5297), from Mississippi, and Hamblen, <i>A Collection of Violin Tunes Popular During the Early 1800's</i>, p. 39, "The Jolly Blacksmith (She wouldn't come at all)," from Texas by way of Indiana but ultimately from family tradition in Lee County, Virginia. Another West Virginia set is Burl Hammons's "The Route," in <i>The Hammons Family</i> (Library of Congress, AFS L65-66), which includes additional citations.<p>This fiddle tune is associated with some vulgar jingles. It is of a form that appears occasionally in Henry Reed's repertory, where the strains seem to be half the usual length but are often varied on repetition (compare, for example, his "Paddy on the Turnpike"). Henry Reed played "The Route" twice in his usual fashion, learned from an old man in Monroe County, West Virginia, and once (AFS 13033b30) in a manner he described as like his uncle's version of the tune. Comparison of the two is interesting, for it reveals how conscious he was of the principle and practice of variation in tradition.</p>	A	4/4	2 (low-high, 4-4)	1-2-1-2-1-2-1	ABAB QRQS (abcd abcd qrsd qrtd)	11		Colonel Crocket%Jenny on the Railroad%The Jolly Blacksmith (She wouldn't come at all)		The Route [AFS 13033b29]%13033b29		The Route [transcription]%reedt030		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 1a	afcreed		The Route [AFS 13037a13]%13037a13	Jabbour, Alan; from a performance by Henry Reed	Played 3 1/2 times thru (beginning of 1st time missed). The C-flats are often in triple high, esp. in measures 1 & 3, but always closer to natural than to sharp. Measure 6 above perh. intended to include C-flat, as in var.	1 page	afc/afcreed/ms	Pageturner
<reedt031>	Pop Goes the Weasel [transcription]	A transcription of Ed Hall's rendition of "Cumberland Gap" appears at the bottom of page.		"Pop Goes the Weasel" is widely distributed in the English-speaking world and has especially broad popularity in America, probably because it sustains itself as a song for children--often, actually, for adults to sing or play for the entertainment of children. It also has been used for dancing, though not necessarily for jigs, despite its 6/8 meter. Typical sets are Sharp, <i>Country Dance Tunes</i>, vol. 1, pp. 10-11; Linscott, <i>Folk Songs of Old New England</i>, p. 108; Randolph, <i>Ozark Folksongs</i>, vol. 3, p. 368; Ford, <i>Traditional Music of America</i>, p. 40; <i>Winner's Collection of Music for the Violin</i>, p. 79; <i>One Thousand Fiddle Tunes</i>, p. 24 (with dance directions); Ruth, <i>Pioneer Western Folk Tunes</i>, p. 3 (with left-hand picking directions).<p>On the fiddle, it is a perennial favorite with a special feature: the "pop" is played by picking the E-string with the left hand. Henry Reed's version is in G, which is customary and indeed required to make the "pop" come out on the open E-string; but in his version the "pop" is actually "pop goes"--that is, it is two picked strings, the open E-string followed by the open A-string.</p>	G	6/8	2 (high-low, 4-4)	1r-2r-1	AA'BC QQ'BC (aba'b' cdef qrqr' cdef)	12	Noticeable tendency toward 2/4. If Henry Reed has a normal jig speed and style, this is perhaps it. Note that he appears to begin on high strain.			Pop Goes the Weasel [AFS 13033b32]%13033b32				Jigs%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 2a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Not played fully thru on tape: begins in middle of 2nd str., <strike>1st time</strike>, then 1st <strike>time</strike> str. twice, again 2nd str. without repeat. Occ. tendency toward duplet rhythm even where not indicated above.	1 page	afc/afcreed/ms	Pageturner
<reedt032>	Georgia Camp Meeting [transcription]			"Georgia Camp Meeting" was originally published in 1897 by Kerry Mills as "At a Georgia Camp Meeting" and became a turn-of-the-century classic. It was intended originally for the "cake-walk," a popular dance of the period; see Spaeth, <i>A History of Popular Music in America</i>, p. 284. Henry Reed's performance preserves the original emphasis of this and other ragtime-era tunes on a particular "snappy" syncopated pattern: (eighth note-quarter note-eighth note) or (sixteenth note-eighth note-sixteenth note).	D	4/4	2 (high-low, 4-8)	1r-2	ABAC QRQSR'TC	8	Syncopation patterns interesting. Recorded beginning with second strain, which sounds like a chorus in a ragtime song.	At a Georgia Camp Meeting		Georgia Camp Meeting [AFS 13035a31]%13035a31			Kerry Mills, words & music, 1897	Rags%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 11a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Recorded only once thru, w. strs. in reverse order.	1 page	afc/afcreed/ms	Pageturner
<reedt022>	[Walking in My Sleep] [transcription]	The title appears on the transcription as "Unnamed."		Henry Reed did not give a name for this lively rag-like tune, but it sounds like "Walking in My Sleep," which has become a standard tune in modern country and bluegrass fiddling repertory.	G	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-tag	ABCD QRST (abcd ee'fb qrst ue"fb)	18	A couple of bluesy inflections.			[Walking in My Sleep] [AFS 13033b21]%13033b21				Breakdowns%Rags%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:65	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played twice thru + 1-measure ending. 1st time thru transcribed.	1 page	afc/afcreed/ms	Pageturner
<reedt014>	[French Tune] [transcription]	The title appears on the transcription as "Unnamed schottische."		Henry Reed called this "a French tune," but he neither named it nor classified it by genre. He plays it at a tempo and in a style not dissimilar from the way he plays schottisches. No variants of the tune have been located.	G/D	4/4	3 (low-high-low, 2-2-2)	1r-2r-3r-1r-2r-3r	ABAB' QRQR UBUB' (abcd abcd' qrst qrst uvcd uvcd')	16	High D on E-string.			[French Tune] [AFS 13033b10]%13033b10				Schottisches%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:56	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played thru twice. Called "a French tune." Tendency toward triplet rhythm.	1 page	afc/afcreed/ms	Pageturner
<reedfn01>	Fieldnotes			Alan Jabbour's notes about his visits to Henry Reed, including recording logs and information gleaned from unrecorded interviews with Henry Reed, are presented here.																	[Between 1966 and 1968]		manuscript	LWO 5031 pp. 33-35, 44-46, 58-61; LWO 5379 pp. 3-6, 27-31	afcreed			Jabbour, Alan		19 pages	afc/afcreed/ms	SGML
<reedt069>	Birdie [transcription]			"Birdie" is a rag-like country tune well-known in West Virginia. But Henry Reed's three-strain version of it seems to have come about from conflating the customary strains of "Birdie" (appearing here as the third and second strains, in that order) with another tune sometimes called "Fourteen Days in Georgia" (here the first strain). The unusual phrase structure as well as the key of C signal connections to the amorphous but characteristic class of tunes here described as "rags." They seem to be of late nineteenth-century or turn-of-the-century origin and presumably have African-American associations, but they are not all derived from the ragtime repertory of popular music at the turn of the century, and they perhaps provide a glimpse into the country rags of folk tradition which may have preceded and certainly coexisted with the ragtime genre in cosmopolitan popular music.	C	4/4	3 (high-low-higher, 8-4-8)	1r-2-3-2-1-2-3	ABACABDE QRQE' TUVWTUVX (aa'bc aa'de aa'bc fghi qqh'h' qqh'i' rr'st uvwx rr'st uvyy')	11	Separate bowstrokes, especially in second strain.		Fourteen Days in Georgia	Birdie [AFS 13034b32]%13034b32			White, Smith, and Perry, 1870	Rags%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #4, pp. 6-7	afcreed			Jabbour, Alan; from a performance by Henry Reed	Total recorded: <u>AABCB</u>ABC	2 pages	afc/afcreed/ms	Pageturner
<reedt020>	Billy in the Low Land [transcription]			Henry Reed called this tune "the old Franklin County Billy in the Low Land." Franklin County, Virginia, lies along the Blue Ridge in an area from which not only his mother's family but some of his fiddling Monroe County neighbors had come in the nineteenth century. His musical lineage for the tune is borne out by the fact that it appears in Knauff's <i>Virginia Reels</i> (1839), called "Billy in the Low Grounds: A Virginia Reel," which reflects Southside Virginia tradition in the earlier nineteenth century. Another Virginia-North Carolina set with the same title is Person, <i>A Collection of Popular Airs</i> (1889), p. 14, and modern sets were documented by Jabbour from Joe Anglin in Martinsville, Virginia, and by Malvin Artley, <i>The West Virginia Country Fiddler</i>, p. 45, from central West Virginia. The Hollow Rock String Band recorded a version of this tune learned from Henry Reed (Rounder 0024), which has given the tune a bit of renewed contemporary circulation. The tune has the feel of an old British-American tune, but it cannot be traced clearly beyond its roots in the American Upper South. It always seems to be played in the key of G, and Henry Reed's comments cited above reflect in part his awareness that there is another "Billy," usually played in C, with wide circulation in America. In fact, he himself played a version of that other tune, calling it "Shelving Rock."	G	4/4	2 (low-high, 4-4)	1r-2r-1r-2r	ABCD QB'QR (abcd aefg qb'cd qb'f'g)	12	Slurred bowing.	Billy in the Lowland%Billy in the Low Ground%Billy in the Lowground%Billy in the Low Grounds	Shelving Rock	Billy in the Low Land [AFS 13033b18]%13033b18				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:63	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played thru twice: 2nd time transcribed, 1st has some variations recorded below.	1 page	afc/afcreed/ms	Pageturner
<reedt019>	Kitchen Girl [transcription]			"Kitchen Girl" is a striking tune, but though other tunes can be found with a general resemblance, no clear variant has been found. It was recorded by the Hollow Rock String Band (Kanawha 311) in a version learned from Henry Reed, and from there the tune has found its way into the repertories of other fiddlers.	A	4/4	2 (high-low, 4-4)	(1)-2r-1r-2r-1r-2	ABAC QRQS (abcd abef qrst qruv)	11	Slurred bowing.			Kitchen Girl [AFS 13033b17]%13033b17				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:62	afcreed		Kitchen Girl [AFS 13037a18]%13037a18	Jabbour, Alan; from a performance by Henry Reed		1 page	afc/afcreed/ms	Pageturner
<reedt018>	Paddy on the Turnpike [transcription]			This three-part tune is well-known through the Upper South and seems to have as many titles as localities--"John Brown's Dream," "Little Rabbit," "Jimmy Johnson Bring the Jug around the Hill," and others. See <i>The Hammons Family</i> (Library of Congress, AFS L65-66) for another West Virginia set ("Jimmy Johnson") and citations of other variants. It is of a form that appears occasionally in Henry Reed's repertory, where the strains seem to be half the usual length but are often varied on repetition (compare, for example, his sets of "The Route"). This tune has turned up elsewhere in West Virginia with this title, but "Paddy on the Turnpike" is usually the name of a famous Irish and American reel that has no musical resemblance to this tune.	A	4/4	3 (high-middle-low, 4-4-4)	1-2-3-1-2-3-(break)-2-3-1-2-3	ABAB' QRQ'R UVUR' (abac aba'c qq'qr qq'qr uvuw uvqr)	12	Slurs predominate in bowing; extended fourth finger to high C# on E-string.	John Brown's Dream%Little Rabbit%Jimmy Johnson Bring the Jug around the Hill%Jimmy Johnson		Paddy on the Turnpike [AFS 13033b16]%13033b16				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:61	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played thru twice. In 3rd str. duple rhythm tends to give way to triple, but this is not absolute. Besides variations recorded below there were minor bowing variations. <br>Other variations in a replaying of the tune after a tape pause, not yet recorded.	1 page	afc/afcreed/ms	Pageturner
<reedt017>	Stony Point [transcription]			This is a widely circulated American fiddle tune, but, unlike most tunes that are widely known, it seems to go by many titles in various localities. Northern sets are often called "Pigtown Fling," but in the South there are many titles. Henry Reed's title "Stony Point" has been recorded from others as well in his region--but so have other titles such as "Wild Horse" or "Old Dad." The third strain that he inserts between the two usual strains is also known from others in the Upper South. "Stony Point" as a title may refer to any number of localities, and Henry Reed did not localize it. But it also happens to be the name of a well-known battle in the Revolutionary War, when Mad Anthony Wayne and his Pennsylvania troops surprised and defeated the British at Stony Point on the Hudson River in New York. This tune can be traced back to the early nineteenth century in America, and it resembles certain British instrumental tunes, but no clear derivation has been shown beyond American borders. The notes to "Old Dad" in <i>American Fiddle Tunes</i> (Library of Congress, AFS L62) contain additional notes and citations.	G	4/4	3 (low-middle-high, 2-2-2)	1r-3r-1r-2r-3r-1r-2r-3r-1r-2r-tag	AB QR UV (abab qrq's uvuw)	11	Slurs, many variations in bowing.	Pigtown Fling%Wild Horse%Old Dad		Stony Point [AFS 13033b15]%13033b15				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:60	afcreed			Jabbour, Alan; from a performance by Henry Reed	Total played: AC<u>ABC</u>ABCAB + 1-measure ending. Underlined strains transcribed. Bowing not easy to follow.<br>Many little variations in bowing.	1 page	afc/afcreed/ms	Pageturner
<reedt005>	Folding Down the Sheets [transcription]	The title appears on the transcription as "Foldin' Down the Sheets."		This tune is so musically singular that it would not be surprising to find that it was unique, but in fact another set with the same title is in the American Folklife Center's collections (AFS 10,894a), recorded in 1954 by Wyatt Insko from Floyd Burchett in Pike County, Kentucky. They are somewhat similar to an unusual reel that appears in Knauff's <i>Virginia Reels</i> (1839), vol. 1, #2, called "Republican Spirit," and in Canadian sets such as Messer, <i>Way Down East Fiddlin' Tunes</i> (1948), p. 9, #25 "The Mackilmoyle." A special feature of Henry Reed's set is the modified version of the first strain that alternates with the version he plays initially. He says he learned it from "Old Man Quince Dillion and John Dillion, and [fellow?] Falls, all of 'em played it."	D	4/4	2 (high-low, 2-2)	1r-2r-1'r-2r-1r-2r-1'r-2r-1r	AB QR alternating with A'B QR (abcd qrqs alternating with a'bcd qrqs)	14	Slurs in bowing.		Republican Spirit%The Mackilmoyle	Folding Down the Sheets [AFS 13034b34]%13034b34				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:47	afcreed		Folding Down the Sheets [AFS 13705a44]%13705a44	Jabbour, Alan; from a performance by Henry Reed	Played thru 1 1/4 times more w. some <strike>minor</strike> variations. <br>*Intended C#<br>Var:<br>From memory on another occasion	1 page	afc/afcreed/ms	Pageturner
<reedt015>	Hop Light Lady [transcription]			Henry Reed here makes a four-part tune out of two classic reels from British and American tradition. Apparently, during a period of his youth when he was trying to learn to read music, he saw the two tunes combined in medley fashion on a piece of sheet music he encountered. The first he knew from local tradition as "Hop Light Lady" or "Hop Light Ladies," and his performance of it is in the style of that tune as it is usually played in the Upper South. The second is a separate tune known as "Speed the Plow," which is a standard tune in nineteenth-century tunebooks and in the American North and Midwest, but is hardly ever found in the South. See <i>One Thousand Fiddle Tunes</i>, p. 21, "Speed the Plough," for a typical set, though in the key of A. Both performances of the tune by Henry Reed show a different bowing style for the "Speed the Plow" section of the tune, with more separate bowstrokes and less slurring, reflecting its print origin.<p>Both tunes date back to the British Isles at the beginning of the nineteenth century, if not before. "Hop Light Lady"/"Hop Light Ladies" is a Southern American title, however, associated with some playful verses that have gained wider currency through having been published in the Lomax collection <i>Our Singing Country</i>. That set is from the playing and singing of Fields and Wade Ward of Galax, Virginia, and Aaron Copland took the tune from the Lomax book (as Ruth Crawford Seeger had transcribed it) to use as the second instrumental tune in the "Hoedown" of Aaron Copland's music for <i>Rodeo</i>. The tune was also used in the world of popular music for another song, "Uncle Joe" ("Do you want to go to heaven, Uncle Joe?"), so some fiddlers know it by that title. Outside of the South, the tune is usually called either "McLeod's Reel" or "Miss McCloud's Reel" (see, for example, Stewart-Robertson, <i>Athole Collection</i>, p. 6; <i>One Thousand Fiddle Tunes</i>, p. 29). British sets, print tradition, and some North American sets make it a circular tune, with both strains devolving directly into one another instead of coming to rest after a cadence at the end. But Henry Reed's set is typical of Southern sets in coming to rest on the tonic at the end of each strain.</p>	G	4/4	2 (low-high-low-high, 4-4-4-4)	1r-2r-1r-3r-4-2	ABAC QRQC (abac abde qbqr qbde)--"Hop Light Ladies"<br>ABAC QRQC (abcd abce qrst qruv)--"Speed the Plow"	12		Hop Light Ladies%McLeod's Reel%Miss McCloud's Reel%Uncle Joe	Speed the Plow%Speed the Plough	Hop Light Lady [AFS 13033b11]%13033b11				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:[57-8]	afcreed		Hop Light Ladies [AFS 13703b11]%13703b11	Jabbour, Alan; from a performance by Henry Reed		3 pages	afc/afcreed/ms	Pageturner
<reedt006>	Shelving Rock [transcription]	The title appears on the transcription as "Shelvin' Rock."		This is a well-known and widely circulated American reel that usually goes by the title "Billy in the Low Ground" or "Billy in the Low Land"; see, for example, Bayard, <i>Hill Country Tunes</i>, #5; Thomas, <i>Devil's Ditties</i>, p. 130; Ford, <i>Traditional Music of America</i>, p. 65; Adam, <i>Old Time Fiddlers' Favorite Barn Dance Tunes</i>, #42; Morris, <i>Old Time Violin Melodies</i>, #37. The published and recorded versions seem to cluster in a broad swath from Pennsylvania and Virginia through Missouri, Arkansas, Oklahoma, and Texas. By the later twentieth century it had moved into the general American fiddling repertory and can be heard in contests and jam sessions from coast to coast. It is similar and perhaps related to British instrumental tunes such as the reel "Braes of Auchentyre." The title appears elsewhere in the Appalachian South and refers to the shelf rocks or sheltered outcroppings in the Appalachian mountains that local people often use as campsites and as markers for finding one's way in the forest.	C	4/4	2 (low-high, 4-4)	1-2r-1r-2r-1r-2	ABA'C QRQ'C (abcd ab'ef qrst qref)	16	Slurs predominate in bowing.	Billy in the Low Ground%Billy in the Low Land%Billy in the Lowland	Braes of Auchentyre	Shelving Rock [AFS 13034b35]%13034b35				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:48	afcreed			Jabbour, Alan; from a performance by Henry Reed	Recorded 3 times thru (2nd str. not repeated 3rd time).  Transcription from 2nd time thru.<br>Some notable variations:	1 page	afc/afcreed/ms	Pageturner
<reedt013>	[Schottische in G] [transcription]	The title appears on the transcription as "Unnamed schottische."		No kin of this tune have been located, though the three eighth notes ending each strain remind one of the hornpipes and clogs of the nineteenth century. Henry Reed played it twice. The first time (AFS 13033b03) he called it a polka and played it at a fairly lively pace; he called this performance of it a schottische, made the pace slower, and used more of a dotted-eighth-and-sixteenth rhythm.	G	4/4	2 (low-high, 4-4)	1r-2r	ABAC QRQS (abcd abce qrst qrue)	16	A number of cases of 2/3 and 4/1 slurring pairs, which are not typical of his playing on breakdowns.		This tune was also played as a polka. See "Polka in G."	[Schottische in G] [AFS 13033b09]%13033b09		[Polka in G] [transcription]%reedt009		Schottisches%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:55	afcreed			Jabbour, Alan; from a performance by Henry Reed	Same tune as #51, but in different time & rhythm. Repeats contain several variations. He pattered & repeated 1/2 measure at letter a).	1 page	afc/afcreed/ms	Pageturner
<reedt012>	Fisher's Hornpipe [in G] [transcription]	The title appeared on the transcription as "Fisher's Hornpipe."		The hornpipe seems to have developed in the later eighteenth century as a solo fancy dance, with the dancer typically accompanied by a 4/4 tune played on the newly democratized violin at a somewhat slower tempo than a reel. (The hornpipe of earlier British tradition in 3/2 time is a different genre with the same name.) One of the earliest and most widely circulated of all modern hornpipe tunes is "Fisher's Hornpipe." Its name is sometimes taken as a tribute to fishermen as an occupational group, but in fact it is the name of the original composer; the tune first appears in J. Fishar's <i>Sixteen Cotillons, Twelve Allemands and Twelve Hornpipes</i> (London, ca. 1780), p. 48. Fishar was, as the title page explains, "Principal Dancer and Ballet Master at the Theatre Royal, Covent Garden."<p>By the beginning of the nineteenth century the tune was already appearing in manuscript tunebooks from America, and it has appeared in countless published tunebooks since then, often set in the key of F. <i>American Fiddle Tunes</i> (Library of Congress, AFS L62) contains further discussion and citations. Henry Reed's sets illustrate nicely the two keys in which traditional sets are usually played--either in G (here) or in D (AFS 13037a03). A comparison of the two illustrates how a tune varies to fit the range and fingering patterns dictated by the key. Yet another set in this collection, played on a C-harmonica (AFS 13705a49), is something of a harmonica <i>tour de force</i>.</p>	G	4/4	2 (low-high, 4-4)	1r-2r-1r-2	ABAC QRST (abbc abde qrq's tuvw)	13	Slower pace, appropriate in old hornpipe style. Uses slurs and separate strokes in bowing. Once he reaches up for a high C on E-string.			Fisher's Hornpipe [in G] [AFS 13033b07]%13033b07		Fisher's Hornpipe [in D] [transcription]%reedt057		Hornpipes%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:54	afcreed		Fisher's Hornpipe [on harmonica] [AFS 13705a49]%13705a49	Jabbour, Alan; from a performance by Henry Reed	Played thru twice, but 2nd str. not repeated 2nd time. Some of bowings need checking.	1 page	afc/afcreed/ms	Pageturner
<reedt011>	Round Town Gals [transcription]	The title appears on the transcription as "Round Town Gals, or Buffalo Gals."		This well-known tune is usually called "Buffalo Gals," though in parts of southwestern Virginia and West Virginia the oldtimers prefer the title Henry Reed gave, "Round Town Gals." It is associated with verses to the effect "Buffalo gals won't you come out tonight and dance by the light of the moon." The title invites localization, and a number of other towns are commemorated in various sets of the song and tune. "Alabama Gals" appeared on an early hillbilly record, influencing its subsequent naming and circulation among some fiddlers. The notes to "Buffalo Girls" in <i>American Fiddle Tunes</i> (Library of Congress, AFS L62) contain additional notes and citations.<p>Accounts of the history of American popular song often cite the composer of the song and tune as a minstrel performer, Cool White, whose song "Lubly Fan" was published in 1843. But a set in Knauff's <i>Virginia Reels</i> (1839), vol. 4, #8, bearing the title "Midnight Serenade: Varied," suggests that it was already in circulation, with similar verses, before it found its way onto the minstrel stage. Indeed, it may be international in origin, for similar tunes have turned up in central Europe (see Bayard, <i>Hill Country Tunes</i>, #1a and 1b).</p>	G	4/4	2 (low-high?, 4-4)	2-1-2r-1r-2r-1 (but may have started on high strain)	ABAC QBQC (abcb abcd qbcb qbcd)	12	Slurs predominate in bowing.	Buffalo Gals%Lubly Fan%Alabama Gals%Midnight Serenade		Round Town Gals [AFS 13033b06]%13033b06				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and harmonica			[Between 1966 and 1968]		manuscript	Notebook #2:53	afcreed			Jabbour, Alan; from a performance by Henry Reed		1 page	afc/afcreed/ms	Pageturner
<reedt010>	Richmond [transcription]			"Richmond" is a well-known tune in the Upper South but seems to have limited distribution beyond that area. Like "Flop-Eared Mule," it modulates from the first strain to the second--in this case, from D to A. Such tunes are occasionally called "cotillions" in this general region, especially in southwestern Virginia, but Henry Reed simply called it "Richmond," the name it usually goes by.	D/A	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1r-2r-1	ABAC QRQS (abcd abc'e qrst qruv)	12	Slurs predominate in bowing. Lots of interesting variation in his performance.	Green Mountain Polka%Richmond Cotillion		Richmond [AFS 13033b04]%13033b04				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:52	afcreed			Jabbour, Alan; from a performance by Henry Reed		1 page	afc/afcreed/ms	Pageturner
<reedt009>	[Polka in G] [transcription]	The title appears on the transcription as "Unnamed--called a polka."		No kin of this tune have been located, though the three eighth notes ending each strain remind one of the hornpipes and clogs of the nineteenth century. Henry Reed played it twice. This performance, called a polka and played at a fairly lively pace, came first; the second time (AFS 13033b09) he called it a schottische, made the pace slower, and used more of a dotted-eighth-and-sixteenth rhythm.	G	4/4	2 (low-high, 4-4)	1r-2r-1r-2r-1	ABAC QRQS (abcd abce qrst qrue)	16	Short bowstrokes or simple paired slurs.		This tune was later played as a schottische. See "Schottische in G."	[Polka in G] [AFS 13033b03]%13033b03		[Schottische in G] [transcription]%reedt013		Breakdowns%Polkas%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:51	afcreed			Jabbour, Alan; from a performance by Henry Reed	Tape missed part of 1st time thru, 2nd time thru complete (transcribed), then ends w. 1st str. unrepeated, w. special ending.	1 page	afc/afcreed/ms	Pageturner
<reedt008>	Flop-Eared Mule [transcription]			This is a widely diffused instrumental tune throughout America. Nineteenth-century printed sets call it "Detroit Schottische," and one early printing, Howe's <i>Leviathan Collection</i> (1858), p. 110, indicates the composer as A. Couse and notes, "By permission of Amsdem and Carkill, proprietors of the copyright." Twentieth-century sets usually call the tune "Flop-Eared Mule" (see Ford, <i>Traditional Music of America</i>, p.121) or "Lop-Eared Mule" (see Bayard, <i>Hill Country Tunes</i>, #56; Artley, "West Virginia Country Fiddler," pp. 48, 50), but other titles also crop up.<p>The tune, which modulates from the key of G in the first strain to the key of D in the second, is one of a class of tunes having strains set in different keys. In this respect it may be compared with "Richmond" in this collection, which is also in the general "breakdown" category, as well as various schottisches and waltzes. Henry Reed is joined here by his son Neal with a few tentative bars on a G-harmonica.</p>	G/D	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1r-2r-1r-2r-1	ABAC QRQS (abcd abce qrst qrsu)	12	Slurs predominate in bowing. It is interesting how many times through he played this (4 1/2 times through, which is more than his usual). His playing is also clean, as if he had a moment unhampered by physical impediments so kept going, or kept going in hopes that Neal would join in fully on harmonica.	Detroit Schottische%Lop-Eared Mule		Flop-Eared Mule [AFS 13033b02]%13033b02				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:50	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played 4 times thru plus 1st str. once at end. Transcription from 2nd time thru (1st run of each str.). The style is lilting, w. the 1st of each pair of 16th notes longer than the 2nd.	1 page	afc/afcreed/ms	Pageturner
<reedt030>	The Route [transcription]	The title appears on the transcription as "The Route (H. Reed - uncle's version) - a fragment." It is below the transcription for "The Route" on the page.		"The Route" has a well-established history in Virginia, having appeared in Knauff's <i>Virginia Reels</i> (1839) under the title "Colonel Crocket: A Virginia Reel." It seems not to be known in the North or the British Isles, but it turns up here and there in areas affected by westward migration from Virginia, such as "Jenny on the Railroad" by the Carter Brothers and Son (Vocalion 5297), from Mississippi, and Hamblen, <i>A Collection of Violin Tunes Popular During the Early 1800's</i>, p. 39, "The Jolly Blacksmith (She wouldn't come at all)," from Texas by way of Indiana but ultimately from family tradition in Lee County, Virginia. Another West Virginia set is Burl Hammons's "The Route," in <i>The Hammons Family</i> (Library of Congress, AFS L65-66), which includes additional citations.<p>This fiddle tune is associated with some vulgar jingles. It is of a form that appears occasionally in Henry Reed's repertory, where the strains seem to be half the usual length but are often varied on repetition (compare, for example, his "Paddy on the Turnpike"). Henry Reed played "The Route" twice in his usual fashion, learned from an old man in Monroe County, West Virginia, and once in this manner, which he described as like his uncle's version of the tune. Comparison of the two is interesting, for it reveals how conscious he was of the principle and practice of variation in tradition.</p>	A	4/4	2 (low-high, 4-4)	1-2	ABAC QRQR (where ABAC is the high strain and QRQR the low strain)	11	A "plain" version of Henry Reed's uncle's--not fully recorded.	Colonel Crocket%Jenny on the Railroad%The Jolly Blacksmith (She wouldn't come at all)		The Route [AFS 13033b30]%13033b30		The Route [transcription]%reedt029		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 1b	afcreed			Jabbour, Alan; from a performance by Henry Reed	(uncle's version) - a fragment<br>Not fully recorded, but enough to see the differences. Note esp. G#.	1 page	afc/afcreed/ms	Pageturner
<reedt016>	Turkey in the Straw [transcription]			"Turkey in the Straw" is by now close to universal as an American fiddle tune, being played not only in the Upper South but in every region of the country. It may have originated in the Upper South, but it is by now so well-circulated that it is not easy to reconstruct its original epicenter. In the nineteenth century it competed with a close cousin, "Old Zip Coon," that had the advantage of minstrel stage promotion, as well as a more distant cousin, "Natchez under the Hill," that was associated with the frontier riverboat scene on the Mississippi and its tributaries. "Old Zip Coon" seems not to have survived the minstrel stage, but "Natchez under the Hill" seems to have lingered well into the twentieth century, despite the competition with "Turkey in the Straw," perhaps because "Natchez under the Hill" is usually in the key of A, while sets of "Turkey in the Straw" are typically in either D or G. Henry Reed's version of "Natchez under the Hill," which he called "Natchez," appears elsewhere in this collection (AFS 13705a35, AFS 13035b07). All these American cousins, together with others such as the play-party song "Jolly Is the Miller," seem to be derived from an eighteenth-century British air often called "The Rose Tree." This lineage is discussed, and many variants are listed, in the notes to <i>American Fiddle Tunes</i> (Library of Congress, AFS L62).	D	4/4	2 (low-high, 4-4)	1r-2r-1r-2r-1	ABAC QRSC (abcd abc'e c"c"qq' rsc'e)	12	Slurred bowing, high D on E-string.		Natchez under the Hill%Natchez%Old Zip Coon%Jolly is the Miller%The Rose Tree	Turkey in the Straw [AFS 13033b13]%13033b13				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:59	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played 2 1/4 times thru. 1st time transcribed. Low D in 1st measure & C flat in 5th measure prob. irregular.	1 page	afc/afcreed/ms	Pageturner
<reedt066>	Lost Indian [transcription]			"Lost Indian" is not traceable as a tune, because it is not a typical British-American tune in the first place. It is imitative, and what it purports to imitate is a call of an American Indian--perhaps a communication call for use in the woods. Songs or tunes that imitate or evoke American Indians are long established in the culture of the Upper South; see, for example, "Indian War Whoop" in Knauff's <i>Virginia Reels</i> (1839). Various other songs or tunes titled "Lost Indian" can be encountered in both print and recorded sources in the twentieth century; see for example Ford, <i>Traditional Music of America</i>, p. 124. Henry Reed played this tune because he had been discussing the practice of tuning the fiddle in different tunings, and the fiddle had been placed in the tuning C#AEA. He had abandoned the practice of retuning the fiddle at some point as a young man, and though he found ways to convert most tunes to standard tuning that had been previously played in other tunings, a few specialty pieces such as "Lost Indian" seem to have been lost along the way. But when presented with this tuning, he ran his fingers over the strings to remind himself of the fingering patterns, and the tuning literally reminded him of the tune.	A	4/4 (but not steady in its beat)	3 (middle-middle-middle, 2-2-2)	1r-2r-3	AB QB UB (aba'c a"ra'c uva'c)	11 (7 plus drone notes)				Lost Indian [AFS 13037a11]%13037a11				Airs%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 33a	afcreed			Jabbour, Alan; from a performance by Henry Reed	This is all he played. Tuned C#AEA	1 page	afc/afcreed/ms	Pageturner
<reedt034>	Santa Anna's Retreat [transcription]			Antonio Lpez de Santa Anna (1794-1876) was both general of the army and president of Mexico when Texas declared its independence from Mexico. He led the expeditionary force in 1836 that fought at the Alamo, and he was subsequently defeated and captured by Sam Houston, interviewed by U.S. President Andrew Jackson, and returned to Mexico. During the Mexican War in 1846-7, he again led the Mexican forces and was defeated by the United States.<p>Henry Reed said--presumably on the authority of his fiddling and fifing mentor Quince Dillion, who was a fifer in the Mexican War--that this march was used by Santa Anna's army to retreat from the American forces during the Mexican War. Since the tune is a venerable British air, it seems more likely that it was played by the American contingent, though there were in fact Irish (or Irish-American) participants in the Mexican army.</p><p>See the "Manuscript Collection of Dance Tunes [ca. 1775-1800]" (Newberry Library, Chicago), p. 54 "Shay's March"; <i>Riley's Flute Melodies</i> (ca. 1814), p. 47 "Quick March"; <i>O'Neill's Music of Ireland</i> #1812 "Johnny Cope--Irish version"; Roche, <i>Collection of Irish Airs</i> (1909), vol. 3, 74 (#196, Part 4, Section 3) "Nights of Gladness Quadrille," vol. 3, 78 (#202) "Jonny Cope" (in a group of marches). An American hymn setting is Carden, <i>Missouri Harmony</i> (1825), p. 113, "Spring."</p>	A	4/4	2 (high-low, 4-2)	1r-2r-1r-2r	ABAC QR (abcd abef qrst)	11	Slurred bowing, somewhat slower pace.	Shay's March%Quick March%Johnny Cope%Nights of Gladness Quadrille%Spring		Santa Anna's Retreat [AFS 13035a33]%13035a33				Marches%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 12a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played thru twice. 2nd time transcribed. Tendency toward	1 page	afc/afcreed/ms	Pageturner
<reedt054>	Money Musk [transcription]			Henry Reed recorded "Money Musk" four times; it was a project of sorts for him to get it assembled in all its possible parts. The tune--or at least its first two strains--is a Scottish reel from the end of the eighteenth century. Francis O'Neill (<i>Irish Folk Music</i>, p. 204) mentions a set, entitled "Sir Archibald Grant of Moniemusk's Reel," published ca. 1800, and it is in the Northumbrian small pipes collection <i>Peacocks Tunes</i> (ca. 1801), p. 2. It is a standard feature of nineteenth-century tunebooks; see for example Knauff, <i>Virginia Reels</i> (1839), vol. 1, #1 "Killie Krankie"; <i>Winner's Collection of Music for the Violin</i>, p. 55 "Highland Fling"; <i>One Thousand Fiddle Tunes</i>, p. 31 "Money Musk--Reel" and p. 128 "Money Musk--Strathspey." Twentieth-century sets show the tune to be well-established in Northern American tradition; see for example Linscott, <i>Folk Songs of Old New England</i>, p. 98; Burchenal, <i>American Country-Dances, Volume I</i>, p. 55; Ford, <i>Traditional Music of America</i>, p. 52.<p>Henry Reed's version is a rarity in the Upper South, and it is all the more extraordinary for adding extra strains that turn the piece into a complex and challenging set piece. His first two strains are always the usual strains of "Money Musk," but following Upper South predilections he begins with the highest strain, and his second strain (the usual first strain) is distinctive in rising to the octave rather than descending to the lower tonic. His third and fourth strains (in AFS 13705b17) are unique to his performance. Note how at one point in that four-part performance he accidentally hits the open G and D-strings for the first note of the third strain, instead of using the first finger to play A and E; this may be an echo of his early years, when he tuned the violin EAEA for tunes in the key of A, thus playing those notes with an open string. In his first performance of "Money Musk" (here), he conflates the tune with another old British and American reel, "The Devil's Dream," well-known in the tunebooks and in Northern American tradition but less usual in the South, and in his second performance (AFS 13037a06) other third strains seem to compete for his imagination. His third performance (AFS 13705b16) contains three parts, and the final performance (AFS 13705b17) contains four.</p><p>A performance of "Money Musk" including four strains, learned from Henry Reed, appeared on the Hollow Rock String Band's first album (Kanawha 311), whence it has had some circulation among musicians in the old-time music revival.</p>	A	4/4	3 (high-low-(high), 2-2-(4)), where ( ) = first strain of "Devil's Dream"	1r-2r-(1r)-2r-1r-2r-1r-2, where ( ) = first strain of "Devil's Dream"	AB QR (ABAC) (aba'c qrqs (abcd abef)), where ( ) = first strain of "Devil's Dream"	8		Sir Archibald Grant of Moniemusk's Reel%Killie Krankie%Highland Fling	Devil's Dream	Money Musk [AFS 13035b11]%13035b11				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, pp. 25-6	afcreed		Money Musk [AFS 13037a06]%13037a06|Money Musk [AFS 13705b16]%13705b16|Money Musk [AFS 13705b17]%13705b17	Jabbour, Alan; from a performance by Henry Reed	Played once thru, then 1st str. of "Devil's Dream" by accident, then 2nd str. of <u>MM</u> again, then twice thru again (last str. not repeated last time). First time thru transcribed.<br>Var. More like straight 16th notes this time<br>The following is a 3rd part, added at a later playing of "Money Musk":<br>Again, after AB str. repeated:	2 pages	afc/afcreed/ms	Pageturner
<reedt028>	Shady Grove [transcription]			"Shady Grove" is usually known in the Upper South as a song with a floating assemblage of lyrics. But Henry Reed's "Shady Grove" is not just a instrumental version of a song; it is a classic instrumental tune. Its first strain is a variant of an old and widespread British and American air, showing up in such disparate places as the British "Boyne Water" march and some Appalachian variants of the ballad "Barbara Allen." "Boyne Water" refers to the Battle of the Boyne in 1690, and the tune appears in America as early as 1786, in "Henry Beck's Flute Book," a manuscript tunebook in the Library of Congress. For typical sets, see Johnson, <i>Scots Musical Museum</i> (1853 edition), vol. 2, 363 (#351) and vol. 4, 325; Joyce, <i>Old Irish Folk Music and Songs</i> (1909), #377; <i>O'Neill's Music of Ireland</i>, #260. A related set in <i>Old Irish Folk Music and Songs</i>, #58, "The Foggy Dew," may offer a clue to the "Shady Grove" connection, for a set fiddled by J. H. Chisholm of Greenwood, Virginia, is shaped more like Henry Reed's set and is entitled "The Foggy Dew." Henry Reed's second strain is also an old air and corresponds to the usual Appalachian song "Shady Grove," though his instrumental set does not begin the low strain on the tonic as the song normally does. A notable feature of Henry Reed's set is its beginning with the high strain (which is also true of Chisholm's "Foggy Dew"). The British "Boyne Water" march typically begins with a low strain and goes on to the high strain corresponding to Henry Reed's. But Henry Reed begins with the high strain, a stylistic choice that is particularly characteristic of the old Upper South frontier.	A	4/4	2 (high-low, 4-4)	1r-2r-1r-2	ABCD QRC'D (abac a'def d'd"qr a'def )	9	Lively pace; Oscar Wright played it slower and more plaintively.		Boyne Water%Barbara Allen%The Foggy Dew	Shady Grove [AFS 13033b28]%13033b28				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #2:71	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played 1 3/4 times thru.	1 page	afc/afcreed/ms	Pageturner
<reedt056>	Natchez [Christmas Morning] [transcription]	The title appears on the transcription as "Natchez." It is transcribed after "Unnamed," near the bottom of the page.		This is not the usual "Natchez" (for which see AFS 13705a35), but another tune. The title became attached to the present tune by accident as Henry Reed continued to try to recollect the tune he usually called "Natchez." It is a tune in A with a consistently minorish cast that appears in sets widely but thinly distributed across the Upper South. There is no consistency to its title, and its low strain is variable and has something of the character of filler. An apparent nineteenth-century example is Coes, <i>George H. Coes' Album of Music</i>, p. 3 "Watermelon Jig." Twentieth-century examples are Morris, <i>Old Time Violin Melodies</i> #40 "The Lonesome Road"; Thede, <i>The Fiddle Book</i>, p. 76 "Dust in the Lane, or Cotton Pickin' Time"; and "Shelvin' Rock," a 1960s recording fiddled by French Carpenter on the LP record <i>Old-Time Music from Clay County, West Virginia</i> (Folk Promotions 11567-11568). Burl and Sherman Hammons of Pocahontas County, West Virginia, played a version that they called "Christmas Morning." Henry Reed, in searching for the title, once remarked that it might have been something about "Brown's Dream"; that is one of the names of another tune from the Upper South, represented in this collection under the title "Paddy on the Turnpike."	A	4/4	2 (high-low, 2-4)	(1)-2-1r-2-1r-2-1r-2-1r-2	AB QR (abac qrst qrsc)	15 (or 11 plus low A drone on G-string)		Christmas Morning%The Lonesome Road%Dust in the Lane%Cotton Pickin' Time%Shelvin' Rock	Brown's Dream%Paddy on the Turnpike	Natchez [Christmas Morning] [AFS 13037a02]%13037a02				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, pp. 27b-28a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played thru 5 times (minus 1st str of 1st time). Other var. (in bowing) not noted below.	2 pages	afc/afcreed/ms	Pageturner
<reedt057>	Fisher's Hornpipe [in D] [transcription]	The title appears on the transcription as "Fisher's Hornpipe." It is transcribed after the continuation of "Natchez [Christmas Morning]" on the page.		The hornpipe seems to have developed in the later eighteenth century as a solo fancy dance, with the dancer typically accompanied by a 4/4 tune played on the newly democratized violin at a somewhat slower tempo than a reel. (The hornpipe of earlier British tradition in 3/2 time is a different genre with the same name.) One of the earliest and most widely circulated of all modern hornpipe tunes is "Fisher's Hornpipe." Its name is sometimes taken as a tribute to fishermen as an occupational group, but in fact it is the name of the original composer; the tune first appears in J. Fishar's <i>Sixteen Cotillons, Twelve Allemands and Twelve Hornpipes</i> (London, ca. 1780), p. 48. Fishar was, as the title page explains, "Principal Dancer and Ballet Master at the Theatre Royal, Covent Garden."<p>By the beginning of the nineteenth century the tune was already appearing in manuscript tunebooks from America, and it has appeared in countless published tunebooks since then, often set in the key of F. <i>American Fiddle Tunes</i> (Library of Congress, AFS L62) contains further discussion and citations. Henry Reed's sets illustrate nicely the two keys in which traditional sets are usually played--either in G (AFS 13033b07) or in D (here). A comparison of the two illustrates how a tune varies to fit the range and fingering patterns dictated by the key. Yet another set in this collection, played on a C-harmonica (AFS 13705a49), is something of a harmonica <i>tour de force</i>.</p>	D	4/4	2 (low-high, 4-4)	1r-2r-1r-2	ABAC QRST (abbc abde qrq's tuvw)	14				Fisher's Hornpipe [in D] [AFS 13037a03]%13037a03		Fisher's Hornpipe [in G] [transcription]%reedt012		Hornpipes%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 28b	afcreed		Fisher's Hornpipe [on harmonica] [AFS 13705a49]%13705a49	Jabbour, Alan; from a performance by Henry Reed	Played 1 3/4 times thru. Called the older key for "Fisher's." Slurs more pairs in 2nd time thru.	1 page	afc/afcreed/ms	Pageturner
<reedt058>	The Girl I Left behind Me [transcription]	This tune is transcribed after  the continuation of "Natchez [Christmas Morning]" and "Fisher's Hornpipe," near the bottom of the page.		"The Girl I Left behind Me" has a history in both the British Isles and America as a song and a march, but it has become an item of general repertory for many fiddlers. For typical examples on both sides of the Atlantic, see "A. Shattuck's Book [ca. 1801]," p. 18; Howe, <i>Leviathan Collection</i>, p. 10; Fillmore, <i>American Veteran Fifer</i>, #64; Linscott, <i>Folk Songs of Old New England</i>, pp. 79-80; Ford, <i>Traditional Music of America</i>, p. 116; Randolph, <i>Ozark Folksongs</i>, vol. 3, 352; Ruth, <i>Pioneer Western Folk Tunes</i>, p. 2. For sets with different titles but some similarity, see Joyce, <i>Old Irish Folk Music and Songs</i> (1909), #443, #648.<p>Henry Reed played "The Girl I Left behind Me" on this occasion in the usual melodic form for the tune. On another occasion, he played a very unusual version of the tune with an irregular phrase structure (AFS 13703b20). The sequence of tune associations that called forth that unusual version from Henry Reed's imagination is fascinating. The preceding song, "I've Got to Leave You," though quite different melodically, has an almost identical phrase within it that may have been the musical bridge or trigger leading to the unusual set of "The Girl I Left behind Me." Compare a different title in this collection, "I'm Going Away to Leave You, Going to Tennessee," which seems to be yet another scion of this cluster of musical ideas. Though we think of Henry Reed's tradition as a memory-based tradition that retains tunes as separate artifacts preserved in their entirety, examples such as this remind us of the musical flux that underlies tunes in the imagination and the capacity of the artist, either involuntarily or at will, to conflate or creatively reassemble the musical building blocks. Henry Reed's children, though in awe of his memory and his vast repertory, also believe that he made periodic alterations in tunes, sometimes from forgetting and sometimes from a conscious impulse to recast a tune in a fresh way.</p>	G	4/4	2 (high-low, 4-4)	2-1-2-1-2	ABAC QRAC (abcd abef qrqs abef)	10	Lack of repeats for strains make it sound like a long marching song rather than an ordinary instrumental tune.		I've Got to Leave You%I'm Going Away to Leave You, Going to Tennessee	The Girl I Left behind Me [AFS 13037a05]%13037a05				Breakdowns%Reels%Marches%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 28c	afcreed		The Girl I Left behind Me [AFS 13703b20]%13703b20	Jabbour, Alan; from a performance by Henry Reed	Played 2 1/2 times thru (B<u>AB</u>AB).<br>Other bowing variations	1 page	afc/afcreed/ms	Pageturner
<reedt052>	Granny [transcription]	The title appears on the transcription as "Granny." It is transcribed after "Texas," near the bottom of the page.		This tune can not be clearly traced, though it bears some very general resemblances to tunes like "Fire on the Mountain," which is represented elsewhere in this collection (AFS 13035a43). The second strain is short and has the character of filler, eked out of the melodic material in the first strain. Henry Reed supplied the title "Granny" in a quite tentative way, and single-word titles (other than place names) are not normal. Henry Reed learned this tune from a Mr. Drummond(s) from Texas.	A	4/4	2 (high-low, 4-2)	1r-2r-1r-2r	ABAC QC' (abcd abef egef)	11				Granny [AFS 13035b09]%13035b09				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, pp. 23b-24a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played twice thru; 2nd time transcribed. Note at <strike>star</strike> asterisk was actually G# on E string, but C# undoubtedly intended. Triplet in next to last meas. prob. not intended. First time thru had hesitations & stops.	2 pages	afc/afcreed/ms	Pageturner
<reedt059>	Betsy [transcription]	The title appears on the transcription as "Betsy."		Henry Reed played this tune on three occasions, suggesting that it occupied an important place in his repertory, and his comments suggested that it was a good dance tune. But no variant of it has been identified. It is one of a number of tunes unique to Henry Reed's repertory that are in A and have melodies with a distinctly minor cast, using a scale with lowered third (C) and seventh (G) degrees. The high strain, oscillating between a phrase centered on A and another centered on G, has a flow and phrasing somewhat similar to the high strain of Henry Reed's "Frosty Morning." In this performance, he introduced a major alteration to the high strain, leaping to a high C-sharp instead of B on the E-string.	A	4/4	2 (low-high, 4-4)	1r-2r-1(pause)-1r-2r-1r-2	ABAC QRQC (abcd abef qrst qref)	10			Frosty Morning	Betsy [AFS 13037a10]%13037a10				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 29	afcreed		[Betsy] [AFS 13035b12]%13035b12|[Betsy] [AFS 13703b03]%13703b03	Jabbour, Alan; from a performance by Henry Reed	Played in 2 batches, strains as follows: <u>ABBA</u>, ABBAAB. Or rather, that's all the tape caught. The first ABBA are re-arranged as AABB above. He said, "They used to play that for 'em to square dance." He couldn't recall the full title, but it was something about "Betsy."--C# seems to be the intended high note.	1 page	afc/afcreed/ms	Pageturner
<reedt053>	Bill Cheatham [transcription]	This tune is transcribed after "Granny" on the page.		"Bill Cheatham" has been popular for much of the twentieth century in the Upper South, and it has been recorded periodically by country and bluegrass fiddlers as a fiddling set piece. Henry Reed's version is similar to the usual version of the tune but differs consistently from it in the treatment of the first few notes of the lower strain. Representative early recordings of "Bill Cheatham" include a set by Texan Eck Robertson and Family as the middle part of his "Brilliancy Medley," and "Bill Cheathem," recorded by Arthur Smith and the Delmore Brothers; both are reissued on <i>Old-Time Fiddle Classics</i> (County 507).	A	4/4	2 (low-high, 4-4)	1-2-1r-2r-1	ABAC QRQS	17		Bill Cheathem	Brilliancy Medley	Bill Cheatham [AFS 13035b10]%13035b10				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 24b	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played: ab<u>aabb</u>a. Tendency toward, esp. in 2nd str. Note var. in C-C#, G-G#.	1 page	afc/afcreed/ms	Pageturner
<reedt067>	Bonaparte's Retreat [transcription]	This tune is transcribed after "Lost Indian" on the page.		"Bonaparte's Retreat" is a well-known march among fiddlers of the Upper South, and by now it has moved into general circulation as a specialty fiddle tune. The tune is a scion of an old Irish air, "The Eagle's Whistle." Bayard, <i>Hill Country Tunes</i>, #87 gives a Pennsylvania set of "Bonaparte's Retreat" and excellent comparative notes. Petrie, <i>The Complete Collection of Irish Music</i>, #305 and #306 are good Irish examples, and the <i>Journal of the Folk Song Society</i> 2 (1905-6), 88-89 provides two song versions of "The Island of St. Helena" ("Boney's in St. Helena") using the same tune, so clearly the tune was associated with Bonaparte in the British Isles as well as in the American South. For American sets, both published and recorded, see the notes to the performance by Kentuckian W. H. Stepp on the documentary Library of Congress recording <i>American Fiddle Tunes</i> (Library of Congress, AFS L62). The Stepp recording has a special niche in American musical history, since it became the basis for the "Hoedown" in Aaron Copland's music for <i>Rodeo</i> (see "Copland's Kentucky Muse" in <i>Civilization</i> (June/July 1999: 110)).<p>The tuning Henry Reed uses is the old special tuning favored in the Upper South for "Bonaparte's Retreat," transcribed in this collection as EBEE (high to low) and often described in fiddling literature as DADD. Henry Reed's performance is actually tuned somewhere between E and D by current standards. Like Stepp, he uses the lowest string exclusively as a drone. He played this tune because he had been discussing the practice of tuning the fiddle in different tunings, and the fiddle had been placed in the tuning EBEE. He had abandoned the practice of retuning the fiddle at some point as a young man, and though he found ways to convert most tunes to standard tuning that had been previously played in other tunings, a few specialty pieces such as "Bonaparte's Retreat" seem to have been lost along the way. During this session he was experimenting with recovering some of these old specialty pieces.</p>	E	4/4	3 (low-high-high octave, 4-4-4)	1r-2r-3r-2r-1	ABCD QRQC A"B"A"D" (abcd aeb'f qrst qrb'f a"b"c"d" a"b"gf')	11 (18 counting lower drone)	Tuned E-B-E'-E"	The Eagle's Whistle%The Island of St. Helena%Boney's in St. Helena		Bonaparte's Retreat [AFS 13037a12]%13037a12				Marches%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, pp. 33b-34a	afcreed			Jabbour, Alan; from a performance by Henry Reed	*fingering confused here (in 1st & 2nd beats)<br>**possibly a mistake in 4th beat--actually a false start at 1st beat<br>***a confused fingering mistake<br>This is all he played, & he evidently considered this a unit. Tuned EBEE	2 pages	afc/afcreed/ms	Pageturner
<reedt060>	Sweet Sunny South [transcription]			"Sweet Sunny South" is a sentimental song about the South that seems to have struck the right chord with Southerners, for it has turned up often in the repertory of traditional singers in the twentieth century. Perhaps what made it compelling is the combination of the sentiments and the beautiful old folktune through which they are expressed. The tune is akin to the older "Hicks's Farewell" tune that appears in nineteenth-century shape-note hymnals. For twentieth-century sets, see Sharp, <i>English Folk Songs from the Southern Appalachians</i>, vol. 2, 262 (#186 "The Sunny South"), vol. 2, 142-143 (#122 "Hicks's Farewell"). A well-known hillbilly recording of the song and tune from the 1920s is by Charlie Poole and the North Carolina Ramblers, reissued on County 505.	A	4/4	1 (8)	1-1	ABCD (abcdcbef)	7		The Sunny South%I Remember You, Love, in My Prayers	Hicks's Farewell	Sweet Sunny South [AFS 13037a14]%13037a14				Airs%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 30a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played twice thru. 2nd time tr.<br>Other bowing var.	1 page	afc/afcreed/ms	Pageturner
<reedt061>	House Carpenter [transcription]	This tune is transcribed after "Sweet Sunny South," midway down the page.		This is an old traditional ballad widely circulated in the British Isles and the United States (see Child #243 "James Harris (The Daemon Lover")). Henry Reed's tune is the preferred tune for the ballad in the Upper South, and indeed it is probably the favored melody throughout the ballad's range; see Bronson, <i>The Traditional Tunes of the Child Ballads</i>, for a full survey of variant versions. The repetition of the last two phrases, which Henry Reed reproduces here, occurs with some frequency in sung versions of the ballad. His style here is typical of the older fiddle style for playing airs, and it captures the looser rhythm of unaccompanied singing as well as some of the details of vocal ornamentation.	A	4/4	1 (12)	1-1-1-1 (last time interrupted)	ABCDCD (abcdefghefgh)	9	Third and fourth phrases of tune (and presumably the text) repeated.	James Harris, or The Demon Lover		House Carpenter [AFS 13037a15]%13037a15				Airs%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 30b	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played 2 1/2 times thru (3rd time interrupted somewhere in middle by tape). 2nd time tr.	1 page	afc/afcreed/ms	Pageturner
<reedt062>	[Breakdown in A/Frosty Morning] [transcription]	The title appears on the transcription as "Unnamed Frag." It is transcribed after "Sweet Sunny South" and "House Carpenter," near the bottom of the page.		This performance combines a strain of an unnamed breakdown in A with "Frosty Morning," which is performed elsewhere in this collection. Henry Reed said that this tune came from East Virginia. Alan Jabbour began playing the initial low strain heard here with the high strain of Henry Reed's tune "Betsy," so that combination of strains by now has a life of its own in the old-time music revival. What Henry Reed actually would have used as a high strain is not knowable.	A	4/4	3 (medley of two pieces)	low strain of "Breakdown in A," then low and high strain of "Frosty Morning"	ABCD (abcd a'efg)--ABAC QRST (abcd abef qrst uvef)	9 + 15			Frosty Morning	[Breakdown in A/Frosty Morning] [AFS 13037a16]%13037a16		Frosty Morning [transcription]%reedt035|Frosty Morning [transcription]%reedt049		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and guitar			[Between 1966 and 1968]		manuscript	Notebook #3, p. 30c	afcreed			Jabbour, Alan; from a performance by Henry Reed	Continues w. "Frosty Morning." Acc. by Watha on guitar.	1 page	afc/afcreed/ms	Pageturner
<reedt063>	Cluck Old Hen [transcription]			"Cluck Old Hen" is a well-known tune and song through the Appalachian South, quite distinct from another barnyard evocation, "Cackling Hen," which is played in G. The song "Cluck Old Hen" consists of a series of playful verses. As an instrumental tune, it is popular on both fiddle and banjo. On the fiddle, one of the tune's special features is the "cluck" made by left-hand picking of the strings. In Henry Reed's second performance (AFS 13703b26), the "cluck" is the open E-string, though other fiddlers use both the E and A-strings, or even the E, A, and D-strings. In this, his first performance, he does not do the left-hand picking, but the set shows interesting variation among the repetitions of the second strain. It seems clear here that the variation is a matter of conscious creative modification, not unconscious changes.	A	4/4	2 (high-low, 2-2)	1r-2r-1r-2r-1r-2r-1r-2r	AB QR (aba'c qrq'c)	10				Cluck Old Hen [AFS 13037a17]%13037a17				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and guitar			[Between 1966 and 1968]		manuscript	Notebook #3, p. 31a	afcreed		Cluck Old Hen [AFS 13703b26]%13703b26	Jabbour, Alan; from a performance by Henry Reed	Played 4 times thru. (1st 1 1/2 meas. of 1st time missed). 2nd & 4th times tr. above. Note interesting vars.	1 page	afc/afcreed/ms	Pageturner
<reedt064>	[Sandy River Belle] [transcription]	The title appears on the transcription as "Unnamed" [= O.W.'s "Stony Ridge Stomp"]. It is transcribed after "Cluck Old Hen," near the bottom of the page.		Henry Reed gave no name for this fine old tune. It was played along the Blue Ridge, and there was a 1928 hillbilly record of it with the name "Sandy River Belle," played by Blue Ridge fiddler Joseph "Dad" Blackard (Victor 21130). Modern Blue Ridge fiddler Buddy Pendleton, who learned it from Dad Blackard, his great-uncle, plays it on <i>Virginia Breakdown</i> (County 705). Another early recording was by Dad Massey and His Family, from near Roswell, New Mexico, as part of a medley called "Tugboat and Pineywoods." Oscar Wright of Princeton, West Virginia, also played it but called it "Stony Ridge Stomp." The title may be the name of a boat, for steamboats often bore names such as "Sandy River Belle."	G	4/4	2 (high-low, 4-4)	1r-2r-1r-2	ABAC QRQC (abac abde qrqs qrde)	12		Stony Ridge Stomp	Tugboat and Pineywoods	[Sandy River Belle] [AFS 13037a26]%13037a26				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, pp. 31b-32a	afcreed			Jabbour, Alan; from a performance by Henry Reed	[=O.W.'s "Stony Ridge Stomp"]<br>Recorded: abbaab. Tendency occ. toward triplet lilt. Note lack of 4th.	2 pages	afc/afcreed/ms	Pageturner
<reedt065>	Shooting Creek [transcription]	The title appears on the transcription as "Shootin' Creek." It is transcribed after the continuation of "Sandy River Belle" on the page.		Shooting Creek rises at the Blue Ridge, along the Floyd County-Franklin County line, and flows down the eastern flank of the mountain into Franklin County in the Virginia Piedmont. The hollow along Shooting Creek had a reputation for moonshining in the earlier twentieth century. Another tune entitled "Shooting Creek" has been recorded along the creek itself and in other locales in Virginia and West Virginia. Both strains of this tune end on the fifth degree; see Person, <i>A Collection of Popular Airs</i> (1889), p. 15, "Walk Around"; J. W. (Peg) Hatcher, Ferrum, Virginia, AFS 2740a2; Oscar Wright, Princeton, West Virginia, AFS 13034b19. Henry Reed's "Shooting Creek" is similar enough to be compared to the other tune, but different enough that it cannot be flatly called a variant. His two sets of "Shooting Creek" vary between themselves; this one ends by descending to a low D on the D-string in the second strain, while the other (AFS 13037b01) ends the second strain on a D on the A-string, an octave higher. The tune is of that simpler variety, lending itself to performance on the banjo, that seems especially popular with musicians along the Blue Ridge.	D	4/4	2 (high-low, 2-2)	(2)-(spoken)-1r-2r-1r-2r	AB QR (aba'c qrqs)	12			Walk Around	Shooting Creek [AFS 13037a27]%13037a27				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 32b	afcreed		Shooting Creek [AFS 13037b01]%13037b01	Jabbour, Alan; from a performance by Henry Reed	Played twice. 2nd time tr.--Note lack of 4th, & only 2 uses of 7th as passing note.	1 page	afc/afcreed/ms	Pageturner
<reedt049>	Frosty Morning [transcription]	This tune is transcribed after the continuation of "Forked Deer" on the page.		"Frosty Morning" sounds like a classic fiddle tune of the old frontier, but no clear variants of it can be cited from elsewhere. The title crops up elsewhere (sometimes as "Cold Frosty Morning"), but not for this tune. Henry Reed played it twice, and both times he began it with the high strain, showing the predilection of fiddlers in the Upper South for beginning their tunes with the upper strain, often at or near the top of the tune's compass. In both sets of "Frosty Morning" he tended to conflate the high strain with other tunes--once with the high strain of the tune presented elsewhere in this collection under the title "Betsy," and, on this occasion, with the low strain of "West Virginia Gals," which he had just played. On yet another occasion (AFS 13037a16), he began with another tune, the "Breakdown in A," then conflated  it with "Frosty Morning."	A	4/4	2 (high-low, 4-4)	1-(conflation)-2-(pause)-1r-2r-1r-2	ABCD QRQD (abcd efgh qrst qrgh)	15	A little different from previous performance of "Frosty Morning." Henry Reed commented, "It's got a lonesome sort of sound."		West Virginia Gals	Frosty Morning [AFS 13037a09]%13037a09		Frosty Morning [transcription]%reedt035|[Breakdown in A/Frosty Morning] [transcription]%reedt062		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 22b	afcreed			Jabbour, Alan; from a performance by Henry Reed	2nd rendition.	1 page	afc/afcreed/ms	Pageturner
<reedt039>	Jump Jim Crow [transcription]			"Jump Jim Crow" has its origins in the minstrel stage, where the tune was used for an often extravagant or elaborate set dance. The song and dance were created by Thomas ("Daddy") Rice in the later 1830s. The published versions show connections to Henry Reed's set, but they are also different in many respects--frequently a bit rough and angular--suggesting that the folk process has extracted some grace from the angularity of the minstrel originals. The pace in this set is slower than in typical breakdown tunes, suggesting its use in a clog or other slower-paced fancy dance.	D	4/4	2 (high-low, 4-2)	1r-2r-1r-2r-1	ABAC QR (abac abde qrsc)	11 (14 including drone on the low A on the G-string)				Jump Jim Crow [AFS 13035a39]%13035a39			Thomas ("Daddy") Rice, 183-?	Clogs%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 15a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Recorded: aab<u>aab</u>a.<br>[mistake]	1 page	afc/afcreed/ms	Pageturner
<reedt035>	Frosty Morning [transcription]	This tune is transcribed after "Santa Anna's Retreat" on the page.		"Frosty Morning" sounds like a classic fiddle tune of the old frontier, but no clear variants of it can be cited from elsewhere. The title crops up elsewhere (sometimes as "Cold Frosty Morning"), but not for this tune. Henry Reed played it twice, and both times he began it with the high strain, showing the predilection of fiddlers in the Upper South for beginning their tunes with the upper strain, often at or near the top of the tunes compass. In both sets of "Frosty Morning" he tended to conflate the high strain with other tunes--on this occasion,  with the high strain of the tune presented elsewhere in this collection under the title "Betsy," and once with the low strain of "West Virginia Gals," which he had just played. On yet another occasion (AFS 13037a16), he began with another tune, the "Breakdown in A," then conflated  it with "Frosty Morning."	A	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1r-2r	ABCD (or ABAC) QRQD (abcd efgh (or abcd abef) qrst qrgh)	15	Shifts handling of third phrase after first time through. Long bow.		Betsy	Frosty Morning [AFS 13035a34]%13035a34		Frosty Morning [transcription]%reedt049|[Breakdown in A/Frosty Morning] [transcription]%reedt062		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 12b	afcreed			Jabbour, Alan; from a performance by Henry Reed	Recorded: BAB<u>AB</u>A. The variation is so considerable that memory is undoubtedly a factor, esp. in 2nd str.	1 page	afc/afcreed/ms	Pageturner
<reedt036>	Hell among the Yearlings [transcription]	The title appears on the transcription as "Hell among the Yearlin's."		"Hell among the Yearlings" (sometimes known in bowdlerized forms such as "Rounding Up the Cattle") is a tune of the Upper South. It was recorded by West Virginian Clark Kessinger on an early hillbilly record with an irregular first strain that lingers on the high A and requires two extra beats. Nearly all current versions in bluegrass style or in contest fiddling circles perpetuate this irregularity, but Henry Reed's set has the normal number of bars and beats.	D	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1r-tag	ABCD QRQS (abac defg qrst qrs'u)	17		Hell amongst the Yearlings	Rounding Up the Cattle	Hell among the Yearlings [AFS 13035a35]%13035a35				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 13	afcreed		Hell among the Yearlings [AFS 13705b21]%13705b21	Jabbour, Alan; from a performance by Henry Reed	Recorded: AB<u>AB</u>A. Triplet tendency.	1 page	afc/afcreed/ms	Pageturner
<reedt037>	Salt River [transcription]			"Salt River" probably refers to the river of that name in Kentucky. Bill Monroe and His Bluegrass Boys recorded this fiddle tune in 1964 under the title "Salt Creek" (Decca 31596), modifying the original name in honor of the creek in Indiana near where Monroe held his annual Bean Blossom Festival. Monroe's banjoist, Bill Keith, apparently got the tune originally from West Virginia banjoist Don Stover. The Monroe recording has given the tune a new lease on life on the bluegrass circuit.<p>Henry Reed's set is melodically fairly simple, suggesting the possibility that the tune was usually played as a banjo tune. He begins on the high strain, as does Hobart Smith of Saltville, Virginia, in a 1956 recording called "The Pateroller Song" (on <i>Instrumental Music of the Southern Appalachians</i>, Tradition TLP 1007) that sounds similar. The tune's distribution seems to have been limited to Virginia and West Virginia before its bluegrass diffusion in the later decades of the twentieth century.</p><p>See additional discussion and citations under "Muddy Roads" in <i>The Hammons Family</i> (Library of Congress, AFS L65-66). As a tune, "Salt River" is a scion of the large family of tunes best represented by the Irish and American reel "Paddy on the Turnpike" (see Bayard, <i>Hill Country Tunes</i>, #31 for comparative references).</p>	A	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1r-2	ABAC QRQS (abcd abef qrst qruf)	12	Fewer sixteenth notes, more eighth notes.	Salt Creek	The Pateroller Song%Paddy on the Turnpike%Muddy Roads	Salt River [AFS 13035a36]%13035a36				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 14a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played thru 3 times. First notes missed at beginning, & last str. not repeated last time. 2nd time recorded.	1 page	afc/afcreed/ms	Pageturner
<reedt055>	[Breakdown in G] [transcription]	The title appears on the transcription as "Unnamed."		Henry Reed played this tune twice but had no name for it. This is a more complete version than the one performed on June 18, 1966 (AFS 13033b25). He seemed to have a little trouble sorting out its melodic features from those of some similar tunes in G, conflating it in both performances with melodies he had previously played. A related tune in his repertory, cast in the key of D, has the same first strain but an entirely different second strain; see "Quince Dillion's High-D Reel."	G	4/4	2 (low-high, 4-4)	2-(1)-(pause)-1r-2r-1r-2r	ABAC QRQS (abcd abef qrst qruf)	12			[Quince Dillion's High-D Reel]	[Breakdown in G] [AFS 13037a01]%13037a01		[Breakdown in G] [transcription]%reedt025		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 27a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Previously transcribed fr. an incomplete version. Here, 2nd str. recorded, then break, then twice thru (1st time thru here transcribed).	1 page	afc/afcreed/ms	Pageturner
<reedt038>	[I'm Going Away to Leave You, Going to Tennessee] [transcription]	The title appears on the transcription as "Unnamed." It is transcribed after "Salt River" on the page.		This tune has striking resemblances to "The Girl I Left behind Me" (see AFS 13703b20), and the title, though different, does not contradict that possible connection. But the first strain rises to the octave instead of descending to the lower tonic, and the second strain is not the usual "Girl I Left behind Me" strain but sounds instead like a filler strain. See also "I've Got to Leave You" (AFS 13703b19) for a slow air with possible title connections. Henry Reed plays this tune twice; the second time (AFS 13705a43), it is slowed down slightly, which alters his style somewhat. More slurred triplet patterns appear in the noting, and the second strain shows an interesting melodic alteration in the second time through.	G	4/4	2 (low-high, 4-4)	1-2r-1r-2r-1r-2	ABAC QRQS (abcd abef qrqs qrtf)	12			The Girl I Left behind Me%I've Got to Leave You	[I'm Going Away to Leave You, Going to Tennessee] [AFS 13035a37]%13035a37				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 14b	afcreed		I'm Going Away to Leave You, Going to Tennessee [AFS 13705a43]%13705a43	Jabbour, Alan; from a performance by Henry Reed	Recorded: abb<u>aabb</u>aab--Many variations	1 page	afc/afcreed/ms	Pageturner
<reedt051>	Texas [transcription]			No variants can be cited for this irregular and beautiful tune. Henry Reed here called it "Texas," and said he learned this tune from a Mr. Drummond(s) from Texas, but during a later performance (AFS 13705b15) he was certain that the title was "New Castle," after the county seat of nearby Craig County, Virginia.<p>The discussion preceding Henry Reed's later performance ("New Castle," AFS 13705b15) contains interesting comments on "Jawbones," "Shoes and Stockings," and Quince Dillion, as well as a discussion of Henry Reed's role as a participant in these tune-teaching sessions and reflections on how he recalls tunes.</p>	A	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1r-2r	ABA'C QRA'C (abcd ab'ef qrr'b'ef)	8		New Castle		Texas [AFS 13035b08]%13035b08				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 23a	afcreed		New Castle [AFS 13705b15]%13705b15	Jabbour, Alan; from a performance by Henry Reed	Played thru 3 times. 3rd time transcribed. Slur w. dot in measure 10 imposs. to be certain about.	1 page	afc/afcreed/ms	Pageturner
<reedt040>	Shoo Fly [transcription]	This tune is transcribed after "Jump Jim Crow" on the page.		"Shoo Fly" is the tune associated with the "Shoo fly don't bother me" lyrics. It has the feel of a lively dance tune in the melodic style of the later nineteenth century. One hallmark of the style is the implied chord shift from tonic to dominant at the end of the first phrase, remaining in the dominant till the cadence at the end of the second phrase. For instrumental sets of the tune, see Person, <i>A Collection of Popular Airs</i> (1889), p. 9; <i>White's Excelsior Collection</i>, p. 71. Another tune in this collection with a tantalizing resemblance to "Shoo Fly" is "Ladies Won't You Marry" (AFS 13705a54), which Henry Reed played on harmonica.	D	4/4	2 (low-high, 4-4)	1-2r-1r-2r-1r	ABCD QRQS	13	Fast tempo, simple noting (lots of eighth notes), syncopation.		Ladies Won't You Marry	Shoo Fly [AFS 13035a40]%13035a40				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 15b	afcreed			Jabbour, Alan; from a performance by Henry Reed	Recorded: abb<u>aabb</u>a	1 page	afc/afcreed/ms	Pageturner
<reedt041>	Red Fox [transcription]			"Red Fox" is an unusual, and so far untraceable, tune in Henry Reed's repertory. It may be that some of these fiddle tunes of the old frontier began life as jigs and were converted to the prevailing reel-breakdown meter in the Upper South. Compare, for example, <i>Longman & Broderip's Fifth Selection of the Most Admired Dances, Reels, Minuets & Cottilons</i> (1780), p. 11 "The Welsh Jig"; <i>Riley's Flute Melodies</i> (ca. 1814), p. 6 "The Priest in His Boots"; <i>One Thousand Fiddle Tunes</i>, p. 52 "The Priest in His Boots--Jig," p. 60 "Tivoli--Jig." The oscillation between tonal centers in D (most of the first strain) and G (the second strain) is known in British tradition but less familiar in the Upper South.	G	4/4	2 (high-low, 4-4)	tag-1r-2r-1r-2r-1r-2	ABAC QRQC (abcb abde qrst qrd'e')	12	Slurred bowing.		The Welsh Jig%The Priest in His Boots%Tivoli--Jig	Red Fox [AFS 13035a41]%13035a41				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 16a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Recorded: aabb<u>aabb</u>aab	1 page	afc/afcreed/ms	Pageturner
<reedt048>	Old Joe Clark [transcription]	This tune is transcribed after "Unnamed" ["Ebenezer"] on the page.		"Old Joe Clark" seems, from the vantage point of the later twentieth century, to be one of the most widely known of all Southern fiddle tunes. Indeed, it is one of those Southern tunes that has to a degree become part of the national repertory. One may hear it in bluegrass jam sessions, old-time fiddle sessions, and country dances throughout the United States. But though it may date back into the nineteenth century, one cannot find sets older than the turn of the century. It is possible that it circulated first in children's tradition and in play-parties--which might account for its playful and sometimes outlandish verses--then erupted into the fiddle and banjo world. Henry Reed's set shares with most old-time fiddlers from the Upper South the movement of the melody to the high octave (A) by the third phrase of the high strain, and the drop of the melody to the lower dominant (E) in the second phrase of the low strain.<p>For other song and instrumental sets, compare Perrow, "Songs and Rhymes from the South," <i>Journal of American Folklore</i> 25, p. 152 ("sung by E. Tenn. Whites, 1905"); Brown, <i>The Frank C. Brown Collection of North Carolina Folklore</i> vol. 5, pp. 65-66 (#89 and 990); Bennett, "A Study in Fiddle Tunes from Western North Carolina", p. 72, played by Fiddlin' Bill Hensley, near Asheville, North Carolina; Sharp, <i>English Folk Songs from the Southern Appalachians</i>, vol. 2, 259 (#183), Beechgrove, Virginia; Thede, <i>The Fiddle Book</i>, pp. 28-29; Lomax, <i>American Ballads and Folk Songs</i>, p. 277; Thomas, <i>Devil's Ditties</i>, pp. 106-107. Additional discussion and citations may be found with a Louisiana set in <i>American Fiddle Tunes</i> (Library of Congress, AFS L62).</p>	A	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1	ABAC QRQC (abac abde qrst urde)	11	Slurs in bowing.			Old Joe Clark [AFS 13035b04]%13035b04				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, pp. 20b-21a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played thru 2 1/4 times; 2nd time transcribed. Note variation & distribution of C# & G#. C# consistent, tho' usually low, in 2nd str. G# only at cadence leading into A.	2 pages	afc/afcreed/ms	Pageturner
<reedt043>	Fire on the Mountain [transcription]	This tune is transcribed after the continuation of "Hog-Eyed Man" on the page.		Henry Reed's "Fire on the Mountain" is a fine set of a tune that is well-documented from early America down to the present, yet seems not traceable to the British Isles. It is thus (along with a number of other tunes in this collection) evidence that by the late eighteenth century there was already a distinctly American repertory of fiddle tunes. The tune seems to be associated with a cluster of playful rhymes and jingles used in children's songs, play-party songs, and courting songs across the early frontier. The jingles in turn give rise to many of the bewildering array of titles that have turned up for this tune. Some representative examples are "A. Shattuck's Book [ca. 1801]," p. 59 "I Betty Martin--tipto fine"; <i>Riley's Flute Melodies</i> (ca. 1814), p. 87 "Free on the Mountains"; <i>Winner's Choice Gems</i>, p. 66 "Granny Will Your Dog Bite. (Jig.)"; Brown, <i>The Frank C. Brown Collection of North Carolina Folklore</i> vol. 5, 119 (#158) "Chicken in the Bread Tray"; Wilkinson, "Virginia Dance Tunes," p. 9 "Fire on the Mountains," played by J. H. Chisholm, Greenwood, Virginia; Ford, <i>Traditional Music of America</i>, p. 58 "Tip Toe, Pretty Betty Martin"; Adam, <i>Old Time Fidders' Favorite Barn Dance Tunes</i> #62 "The Butchers' Dog"; Moser, "Instrumental Music of the Southern Appalachians," pp. 5-6 "Old Daddy Bowback (Fire on the Mountain)," played by Marcus Martin, Swannanoa, North Carolina. As in Henry Reed's case, Southern sets are inclined to begin with the high strain, while Northern or Midwestern sets (and hence most printed sets) begin with the low strain.	A	4/4	2 (high-low, 4-2)	1r-2r-1r-2r-1r-2r	ABAC QR (abac ab'de dqd'e)	9		Granny Will Your Dog Bite%I Betty Martin--tipto fine%Free on the Mountains%Chicken in the Bread Tray%Tip Toe, Pretty Betty Martin%The Butcher's Dog%Old Daddy Bowback		Fire on the Mountain [AFS 13035a43]%13035a43				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 17b	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played 3 times thru. 2nd time transcribed. Note frequently (always to some degree) raised 4th degree (D), & corresponding raised 7th only on D string--i.e., both 3rd finger. G# not always very high.--Only a few variants are recorded below.<br>[before 1st meas.--irreg.]<br>[<u>a</u> barely detectable]	1 page	afc/afcreed/ms	Pageturner
<reedt045>	Cabin Creek [transcription]			Cabin Creek, from which this three-part tune takes its name, is a creek that flows into the Kanawha River above Charleston, West Virginia. It was the site of a famous strike in the annals of West Virginia coal, but this tune may evoke the creek generally rather than the battles fought there. It is of that variety of tune, popular in West Virginia, which begins at the top of the tune's compass and cascades downward by degrees--like a creek, one might think. Another name for this tune is "Barlow Knife," and it is often played under that title as a banjo piece with some associated lyrics. Henry Reed said he learned this tune from Mr. Underwood, who had moved from Franklin County to Monroe County, and described it as an old Franklin County piece.	G	4/4	3 (high-middle-low, 2-2-2)	1r-2r-3r-1r-2r-3r-1r-2r-3r-1r-2r-3r-tag	AB QR UV (abcd qrq's uvus)	9		Barlow Knife		Cabin Creek [AFS 13035a44]%13035a44				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 18a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played thru 4 times. 2nd time transcribed. Note hexatonic scale (-4). 1st 2 notes missed 1st time. Ending untranscribed.	1 page	afc/afcreed/ms	Pageturner
<reedt046>	[Rochester Schottische] [transcription]	The title appears on the transcription as "Schottische" ["Rochester"]. It is transcribed after "Cabin Creek," near the bottom of the page.		Henry Reed gave no name for this schottische, but it is one of the best-known American schottisches, with circulation in both North and South. It was composed by W. H. Rulison and published in the 1850s. Rulison was apparently a music master from upstate New York, for in one sheet music edition he dedicates the piece to his students in Buffalo and Rochester. For other nineteenth-century printed sets, see <i>Winner's Excelsior Collection</i>, p. 23; <i>Winner's Dance Music</i>, p. 52; Howe, <i>Leviathan Collection</i>, p. 108. Modern sets sometimes preserve the title "Rochester Schottische," but just as often they offer new titles; see, for example, Adam, <i>Old Time Fiddlers' Favorite Barn Dance Tunes</i>, #61 "Hi-Lo Schottische"; Bayard, <i>Hill Country Tunes</i>, #39 "What the Devil Ails You"; Ford, <i>Traditional Music of America</i>, p. 160; Ruth, <i>Pioneer Western Folk Tunes</i>, p. 11 "Blue Bird Schottische."<p>Henry Reed's performance is interesting for its regular inclusion of a grace-like thirty-second note figure, and for its use of slurs connecting the second and third and the fourth and first notes in each group of four sixteenths.</p>	D/A	4/4	2 (low-high, 4-4)	1-2-1-2-1	ABAC QRQS (aa'bc aa'de qrss' qrtu)	12		Hi-Lo Schottische%What the Devil Ails You%Blue Bird Schottische		[Rochester Schottische] [AFS 13035b01]%13035b01			W. H. Rulison	Schottisches%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, pp. 18b-19a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played 2 1/2 times thru (ends of course after 1st str.). Triplet rhythm fairly consistent, but sometimes lapses into duplet, (or rather, almost duplet: the 1st note is always a little longer). 1st time recorded.	2 pages	afc/afcreed/ms	Pageturner
<reedt044>	Ragged Bill [transcription]	This tune is transcribed after the continuation of "Rochester Schottische" on the page.		"Ragged Bill" is a turn-of-the-century ragtime composition that has gained a modest niche in Southern tradition. Henry Reed's set omits the implied beats in the phrase finals. Some of his children play the tune with an extra two beats in the last bar of the first phrase, thus making it like the last bar of the third phrase (e'u), and they claim that he used to include those extra beats himself. His performance is notable for using mostly separate bowstrokes in the first strain, giving the piece a rag-like quality quite different from his usual tunes. The second strain shifts to a different style, with more slurs and several repeated ragtime rhythmic figures.	C	4/4	2 (high-low, 8-8)	1-2-1-2-1-2	ABCD ABCE QRCD' SRTU (aa'bb'cde aa'bb'cdf qrstcde'u vrstwxy)	12	Includes extended fourth finger to high C on E-string.			Ragged Bill [AFS 13035b02]%13035b02				Rags%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 19b	afcreed			Jabbour, Alan; from a performance by Henry Reed	Played 3 times thru; 2nd time transcribed.	1 page	afc/afcreed/ms	Pageturner
<reedt047>	[Alabama Girls Give the Fiddler a Dram] [transcription]	The title appears on the transcription as "Unnamed" ["Ebenezer"].		Henry Reed did not name this tune when he first played it, and the second time (AFS 13037a22) he called it "Alabama Girls Give the Fiddler a Dram." The tune is not widespread, but it has some distribution in Virginia and West Virginia. See for example the hillbilly record by Blue Ridge fiddler Kahle Brewer entitled "West Virginia Highway" (Victor 20237), and the set entitled "Ebenezer" played by West Virginian W. Franklin George on <i>31st Annual Old Fiddlers Convention, Galax, Virginia</i> (Justice JLP 1002, 1966). The tune has the feel of a country rag; note in the first strain the implied shift from tonic to dominant at the end of the second phrase, then back to tonic at the end of the fourth phrase. It shares some melodic elements with the late nineteenth-century popular tune "Climbing up the Golden Stairs."	G	4/4	2 (low-high, 4-4)	1r-2r-1r-2r	ABCD QQRD (aabc ddef qrqr ssef)	10		West Virginia Highway%Ebenezer	Climbing up the Golden Stairs	[Alabama Girls Give the Fiddler a Dram] [AFS 13035b03]%13035b03				Rags%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, p. 20a	afcreed		Alabama Girls Give the Fiddler a Dram [AFS 13037a22]%13037a22	Jabbour, Alan; from a performance by Henry Reed	Played thru twice; first time transcribed. Note occ. slightly raised 4th degree.	1 page	afc/afcreed/ms	Pageturner
<reedt050>	Forked Deer [transcription]	This tune is transcribed after the continuation of "Old Joe Clark" on the page.		"Forked Deer" is a quintessential fiddle tune of the old frontier. It is old and widely distributed, yet it cannot be traced to the Old World or the northern United States. "Forked Deer" begins with and gives greatest emphasis to the high strain of the tune. And it is fiddled with a fluid bowing style using slurs to create complicated rhythmic patterns, in the manner of the old Upper South. Its title both evokes the forest and (though few fiddlers in the Appalachians realize this) names a river in West Tennessee. An 1839 printed set from Southside Virginia (Knauff, <i>Virginia Reels</i>, vol. 1, #4 "Forked Deer") establishes the tune's longevity under that title in Virginia.<p>It found its way onto the nineteenth-century stage and into tune collections as a "jig": see <i>Brother Jonathan's Collection of Violin Tunes</i> (1862), p. 26 "Gas Light Jig"; Coes, <i>George H. Coes' Album of Music</i>, p. 6 "Forkedair Jig," pp. 34-35 "Come and Kiss Me."  But that did not give it circulation beyond its home region in the Upper South, where it turned up in many twentieth-century sets; see Thomas, <i>Devil's Ditties</i>, pp. 131-133 (compare Victor 21407B, played by Jilson Setters (James Day)); Ford, <i>Traditional Music of America</i>, p. 45 "Old Pork Bosom"; Morris, <i>Old Time Violin Melodies</i>, #31 "Forkadair"; Thede, <i>The Fiddle Book</i>, p. 135 (Oklahoma).</p><p>Henry Reed plays a third strain, as do some other fiddlers, composed of the low strain recast an octave higher. He once mentioned that another old title for "Forked Deer" was "Hounds in the Thorn Bush," but he considered "Forked Deer" its proper name. He also mentioned it as one of the tunes in Quince Dillion's repertory.</p>	D	4/4	3 (high-low-high octave, 4-4)	1r-2r-1r-3-1-2	ABA'C QRQ'S Q"R"Q"S" (abac ab'de qrqs qtue--Q"R"Q"S": octave higher)	17	Low strain repeated in upper octave, requiring third position on E-string.	Hounds in the Thorn Bush%Gas Light Jig%Forkedair Jig%Come and Kiss Me%Old Pork Bosom		Forked Deer [AFS 13035b05]%13035b05				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, pp. 21b-22a	afcreed			Jabbour, Alan; from a performance by Henry Reed	1st str. repeated. Then:<br>Recorded: <u>aabb</u>aa<u>b'b'</u>ab.<br>The b'b' strain contains several parentheses ( ), indicating the note intended, tho' the shift of position caused serious faults of intonation. The high C#'s and D's were reached simply by pushing the 4th finger up the fingerboard.	2 pages	afc/afcreed/ms	Pageturner
<reedt042>	Hog-Eyed Man [transcription]	This tune is transcribed after "Red Fox," near the bottom of the page.		"Hog-Eyed Man" is a well-known fiddle tune in the older repertory of the Upper South. A nineteenth-century set in <i>Winner's Collection of Music for the Violin</i>, p. 75 "Hog Eye--Jigg" suggests that the song may have had some circulation on the popular stage. "Jigs" of this sort were a mid-nineteenth-century American genre in 2/4 time often associated with the minstrel stage or other popular entertainment. Modern song and fiddle versions suggest, however, that it is widespread in Southern tradition and may have gone from there to the popular stage, not the other way around.<p>For comparison, see Bayard, <i>Hill Country Tunes</i>, #75 "Hog Eye an' a 'Tater"; Sharp, <i>English Folk Songs from the Southern Appalachians</i>, vol. 2, 360 (#250) "The Hog-eyed Man" (Clay County, Kentucky), 361 (#251) "The Jackfish" (Callaway, Virginia); Brown, <i>The Frank C. Brown Collection of North Carolina Folklore</i> vol. 5, 133 (#194-D) "Old Bob Ridley" (Watauga County, North Carolina); Sandburg, <i>American Songbag</i>, p. 380 "Hog-Eye" ("A lusty and lustful song developed by negroes of S.C."). A hillbilly recording is by Crockett Mountaineers on "Old-Time Medley." Additional discussion and citations may be found for "The Hog-Eyed Man" in <i>American Fiddle Tunes</i> (Library of Congress, AFS L62).</p><p>There may be an African-American connection to the song; it is certain that a sailor's shanty, with associated lyrics but a different tune, turns up in older sea shanty collections. The words to the song are typically bawdy.</p>	A	4/4	2 (low-high, 4-4)	1r-2r-1r-2r-1r	ABAC QRST (abac abad qrq's qtuv)	12	Slurred and separate bowing; note how he ends first strain first time through on fifth instead of tonic.	Hog Eye an' a 'Tater%The Jackfish%Old Bob Ridley		Hog-Eyed Man [AFS 13035a42]%13035a42				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle			[Between 1966 and 1968]		manuscript	Notebook #3, pp. 16b-17a	afcreed			Jabbour, Alan; from a performance by Henry Reed	Recorded: AB<u>AB</u>A.--G#/G-natural is a problem, & others might mark the arrows dif. from above.	2 pages	afc/afcreed/ms	Pageturner
<13034b29>	[West Virginia Gals]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	The tune appears to be an instrumental version of a song known in older Appalachian tradition (see Sharp, <i>English Folk Songs from the Southern Appalachians</i>, vol. 2, 6, #75-A, "If You Want to Go A-Courting") and recorded on early hillbilly records. Though Henry Reed gave the tune no title, the Hollow Rock String Band recorded it as "West Virginia Gals" (Rounder 0024), the title which is adopted here. The song typically repeats the final phrase, making a five-phrase tune. The high strain of the fiddle tune corresponds to the song, though it eliminates the repeated fourth phrase, and the low strain is a kind of arpeggiated filler.	A	4/4	2 (high-low, 4-4)	tag-1r-2r-1r-2r-1r-2r-tag	AAAB QRQ'B' (abab abcd qrst qr'c'd')	15	Lively tempo, slurs in bowing. On the third time through, second strain, his bow catches on the fiddle instead of the G-string, causing a momentary blank space. He complained about this later. Someone picks up a guitar and trying it out in the background.	West Virginia Girls%If You Want to Go A-Courting		[West Virginia Gals] [AFS 13037a08]%13037a08	[West Virginia Gals] [transcription]%reedt001			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>ALAN JABBOUR: How about that first tune. Do you remember it yet? . . . It was in A and it was sort of minor.<p>[after tune]<br>ALAN JABBOUR: Oh, that's a good tune. You never could think of the name of it, you say?<br>HENRY REED: No, I don't know.</p>	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 4B, AFS 13034B:29	afcreed	001					afc/afcreed/rs	audio
<13034b30>	Ducks in the Pond		Reed, Henry; fiddle	This tune seems to be a variant of "Lady of the Lake," which is also a name used for a dance. Note the possible connection of "lake/pond" in the two titles. "Lady of the Lake" appears in Knauff's <i>Virginia Reels</i> (1839), vol. 3, #7, which seems to situate it firmly in early nineteenth-century Virginia tradition, and Winston Wilkinson recorded a version before 1936 from J. H. Chisholm of Greenwood, Virginia (see Wilkinson, "Virginia Dance Tunes," p. 10). Both these versions begin with the low strain, but Henry Reed's set recasts the tune with the high strain first, reflecting the widespread taste in the Appalachian South for instrumental tunes that begin with the high strain.<p>Henry Reed's spoken comments refer to Oscar and Eugene Wright, whom Alan and Karen Jabbour had visited earlier. Oscar Wright had learned "Ducks in the Pond" from Henry Reed, and he played it at a slower pace with a slightly different second strain opening.</p>	A	4/4	2 (high-low, 4-4)	tag-1r-2r-1r-2r-1r-2r-tag	ABA'C QRQ'C (abcd ab'ef qbrr qb'ef)	15 (11 plus low A)	Lively pace, slurs predominate in bowing. On a couple of occasions, he begins the second strain with the low first-finger E, not the even lower drone A. Note the failure to use the open G and D strings; he probably either learned this tune with the fiddle tuned EAEA, or learned it melodically from fiddlers tuned that way.		Lady of the Lake	Ducks in the Pond [AFS 13037a20]%13037a20	Ducks in the Pond [transcription]%reedt002			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: Is that the way they played it?<br>ALAN JABBOUR: More or less, not quite, though.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 4B, AFS 13034B:30	afcreed	002					afc/afcreed/rs	audio
<13034b31>	Love Somebody		Reed, Henry; fiddle	This is a widely distributed song and dance tune, often occurring with this title in the Upper South and points west. Scottish sets are often called "My Love She's But a Lassie Yet," which appeared in the well-distributed eighteenth-century publication <i>Scots Musical Museum</i> (1853 edition), vol. 2, 234 (#225). Sharp recorded it from Mrs. Stella Reynolds along the Blue Ridge in Meadows of Dan, Virginia, as "I'm Seventeen Come Sunday" (<i>English Folk Songs from the Southern Appalachians</i>, vol. 2, 158, #127-D), and other instrumental sets have titles echoing the same song, such as "Sweet Sixteen." Various manuscript sets show that the instrumental tune was in America by the late eighteenth century, and Knauff has a version called "Richmond Blues" in <i>Virginia Reels</i> (1839).<p>Henry Reed's performance is cut short by a problem he was having with the fiddle he had been lent; its bridge was rounded too much for him, causing his bow to hit the fiddle when he played on the G-string (which he called "the bass").</p>	D	4/4	2 (high-low, 4-4)	1r-2r-1r-2	ABA'C QRST (aba'c ab'de qeqr q'stb)	15 (11 plus low A)	Slurs in bowing.	My Love She's But a Lassie Yet%I'm Seventeen Come Sunday%Sweet Sixteen%Richmond Blues		Love Somebody (fragment) [AFS 13705b29]%13705b29	Love Somebody [transcription]%reedt003			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: That bass right there bothers me.<br>ALAN JABBOUR: Yeah, that's alright.<br>HENRY REED: I can't hardly get over on it.<br>ALAN JABBOUR: Yeah, I know. That's alright.<br>HENRY REED: I can't hardly get over on it. Feels too round.<br>ALAN JABBOUR: Yeah. What do you call that tune?<br>HENRY REED: That's "Love Somebody."	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 4B, AFS 13034B:31	afcreed	003					afc/afcreed/rs	audio
<13034b32>	Birdie		Reed, Henry; fiddle	"Birdie" is a rag-like country tune well-known in West Virginia. But Henry Reed's three-strain version of it seems to have come about from conflating the customary strains of "Birdie" (appearing here as the third and second strains, in that order) with another tune sometimes called "Fourteen Days in Georgia" (here the first strain). The unusual phrase structure as well as the key of C signal connections to the amorphous but characteristic class of tunes here described as "rags." They seem to be of late nineteenth-century or turn-of-the-century origin and presumably have African-American associations, but they are not all derived from the ragtime repertory of popular music at the turn of the century, and they perhaps provide a glimpse into the country rags of folk tradition which may have preceded and certainly coexisted with the ragtime genre in cosmopolitan popular music.	C	4/4	3 (high-low-higher, 8-4-8)	1r-2-3-2-1-2-3	ABACABDE QRQE' TUVWTUVX (aa'bc aa'de aa'bc fghi qqh'h' qqh'i' rr'st uvwx rr'st uvyy')	11	Separate bowstrokes, especially in second strain.		Fourteen Days in Georgia		Birdie [transcription]%reedt069		White, Smith, and Perry, 1870	Rags%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: What do you call that again?<br>HENRY REED: "Birdie."	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 4B, AFS 13034B:32	afcreed	004					afc/afcreed/rs	audio
<13034b33>	[Schottische in C]	The title appeared in the fieldnotes as "Unnamed schottische."	Reed, Henry; fiddle	Henry Reed called this tune a schottische, and he plays it in a style similar to that of other schottisches in this collection. This tune is variously described as a schottische or a clog in scattered versions from the Appalachians and beyond. A Canadian set was published in Messer, <i>Original Old Tyme Music</i> (p. 23, "Clog in C Major"). A West Virginia version is Burl Hammons's banjo set of "Wilson's Clog" (<i>The Hammons Family</i>, Library of Congress, AFS L65-66). Another published recording, called "Schottisch," appears on <i>Rural Rhythm</i> (Repeat RS 300-4), and an unpublished set in the American Folklife Center's collections is "German Waltz" by Bev Baker of Hazard, Kentucky (AFS 1538b3).<p>The uncertainty about assigning a genre to the tune suggests that, in the South at least, such tunes were often played as instrumental set pieces rather than for dancing. An interesting technical feature of Henry Reed's performance is his use of an extended fourth finger twice in the third strain, both for a high C on the E-string and for an F on the A-string.</p>	C	4/4	3 (low-high-higher, 4-4-4)	1-2-1-3r-1-2-1	ABAC QBQC UVUW (abcd abce qrcd qrce uvwx uvwy)	12	Schottische-style, jerky long-short alternations (triplets more than dotted-eighths and sixteenths), mostly separate bowstrokes.		Nightingale Clog%Wilson's Clog%German Waltz		[Schottische in C] [transcription]%reedt004			Schottisches%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: I don't know if I know that one at all.<br>HENRY REED: I don't either--don't know the name of it.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 4B, AFS 13034B:33	afcreed	005					afc/afcreed/rs	audio
<13034b34>	Folding Down the Sheets	The title appeared in the fieldnotes as "Foldin' Down the Sheets."	Reed, Henry; fiddle	This tune is so musically singular that it would not be surprising to find that it was unique, but in fact another set with the same title is in the American Folklife Center's collections (AFS 10,894a), recorded in 1954 by Wyatt Insko from Floyd Burchett in Pike County, Kentucky. They are somewhat similar to an unusual reel that appears in Knauff's <i>Virginia Reels</i> (1839), vol. 1, #2, called "Republican Spirit," and in Canadian sets such as Messer, <i>Way Down East Fiddlin' Tunes</i> (1948), p. 9, #25 "The Mackilmoyle." A special feature of Henry Reed's set is the modified version of the first strain that alternates with the version he plays initially. He says he learned it from "Old Man Quince Dillion and John Dillion, and [fellow?] Falls, all of 'em played it."	D	4/4	2 (high-low, 2-2)	1r-2r-1'r-2r-1r-2r-1'r-2r-1r	AB QR alternating with A'B QR (abcd qrqs alternating with a'bcd qrqs)	14	Slurs in bowing.		Republican Spirit%The Mackilmoyle	Folding Down the Sheets [AFS 13705a44]%13705a44	Folding Down the Sheets [transcription]%reedt005			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: See, that bass is bothering me.<p>[after tune]<br>HENRY REED: [Laughs]<br>ALAN JABBOUR: Whoa, that's a good tune.<br>WOMAN: Is this your cat . . . ?</p>	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 4B, AFS 13034B:34	afcreed	006					afc/afcreed/rs	audio
<13034b35>	Shelving Rock	The title appeared in the fieldnotes as "Shelvin' Rock."	Reed, Henry; fiddle	This is a well-known and widely circulated American reel that usually goes by the title "Billy in the Low Ground" or "Billy in the Low Land"; see, for example, Bayard, <i>Hill Country Tunes</i>, #5; Thomas, <i>Devil's Ditties</i>, p. 130; Ford, <i>Traditional Music of America</i>, p. 65; Adam, <i>Old Time Fiddlers' Favorite Barn Dance Tunes</i>, #42; Morris, <i>Old Time Violin Melodies</i>, #37. The published and recorded versions seem to cluster in a broad swath from Pennsylvania and Virginia through Missouri, Arkansas, Oklahoma, and Texas. By the later twentieth century it had moved into the general American fiddling repertory and can be heard in contests and jam sessions from coast to coast. It is similar and perhaps related to British instrumental tunes such as the reel "Braes of Auchentyre." The title appears elsewhere in the Appalachian South and refers to the shelf rocks or sheltered outcroppings in the Appalachian mountains that local people often use as campsites and as markers for finding one's way in the forest.	C	4/4	2 (low-high, 4-4)	1-2r-1r-2r-1r-2	ABA'C QRQ'C (abcd ab'ef qrst qref)	16	Slurs predominate in bowing.	Billy in the Low Ground%Billy in the Low Land%Billy in the Lowland	Braes of Auchentyre		Shelving Rock [transcription]%reedt006			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 4B, AFS 13034B:35	afcreed	007					afc/afcreed/rs	audio
<13034b36>	Leather Britches		Reed, Henry; fiddle	"Leather Britches," a well-known reel in British and American tradition, is probably Scottish in origin. An eighteenth-century Scottish version in Gow's <i>Collection of Slow Airs, Strathspeys and Reels</i> (ca. 1795) is called "Lord Macdonald's Reel," the name under which it usually appears (with or without "lord") in nineteenth-century tune collections. <i>One Thousand Fiddle Tunes</i>, p. 22, is a typical set. The title "Leather Britches" (or "Breeches") is primarily an American title; it appears in sets from Pennsylvania (Bayard, <i>Hill Country Tunes</i>, #1) and West Virginia (Artley, "The West Virginia Country Fiddler," p. 38) to points west and is now widely distributed on the contest fiddle circuit. But there may be an Irish connection to the title; see Roche, <i>Collection of Irish Airs, Marches, and Dance Tunes</i> vol. 2, 20 (#240) "O the Breeches Full of Stitches" and Petrie, <i>The Complete Collection of Irish Music</i> #473 "The Breeches on."<p>In the Appalachian South the term "Leather Britches" is also used to describe string beans strung on strings and hung up on porches to dry. Fiddlers are attracted to the rolling arpeggios of the tune, which involve bowing as well as fingering challenges, and think of "Leather Britches" as a lively showpiece. Most printed versions have two strains, but Henry Reed's version is not alone in adding a third strain that essentially repeats the low strain an octave higher; see also Ford, <i>Traditional Music of America</i>, p. 48; Thomas, <i>Devil's Ditties</i>, pp. 134-5; Adam, <i>Old Time Fiddlers' Favorite Barn Dance Tunes</i>, #33.</p>	G	4/4	3 (low-middle-high, 4-4-4)	1r-2-3-2-1r-2-3-2-1	ABAC QRQS A'B'A'C' (abac abde qrqs qrts a'b'a'c' a'b'd'e')	16	Separate and slurred strokes in bowing.	Lord MacDonald's Reel%MacDonald's Reel%Leather Breeches%O the Breeches Full of Stitches%The Breeches on			Leather Britches [transcription]%reedt007			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: You want to try, try a little bit of that?<br>ALAN JABBOUR: Alright.<br>HENRY REED: My arm gives out on me.<br>ALAN JABBOUR: I know.<br>HENRY REED: I hurt that arm one time, right in the shoulder.<br>ALAN JABBOUR: Oh really?<br>HENRY REED: And it gives out on me. Can't play but a little while at a time.<br>ALAN JABBOUR: That's alright.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 4B, AFS 13034B:36	afcreed	008					afc/afcreed/rs	audio
<13033b01>	[Harmonica Piece]	The title appeared in the fieldnotes as "Fragment on harmonica."	Reed, Henry; harmonica	Henry Reed had no name for this harmonica piece. It has the pace and arpeggiation of some of the nineteenth-century clogs, but he assigned it neither a name nor a genre. This performance is fragmentary, as if he were warming up for other harmonica performances; the performance recorded as AFS 13705a47, though also brief, is a fuller version of the tune.	G	4/4	1 (fragmentary)	1 time through	ABAC (fragmentary)	8 (fragmentary)				[Harmonica Piece] [AFS 13705a47]%13705a47				Clogs%Instrumentals--harmonica		Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:01	afcreed	009					afc/afcreed/rs	audio
<13033b02>	Flop-Eared Mule		Reed, Henry; fiddle	This is instrumental tune is widely diffused throughout America. Nineteenth-century printed sets call it "Detroit Schottische," and one early printing, Howe's <i>Leviathan Collection</i> (1858), p. 110, indicates the composer as A. Couse and notes, "By permission of Amsdem and Carkill, proprietors of the copyright." Twentieth-century sets usually call the tune "Flop-Eared Mule" (see Ford, <i>Traditional Music of America</i>, p.121) or "Lop-Eared Mule" (see Bayard, <i>Hill Country Tunes</i>, #56; Artley, "West Virginia Country Fiddler," pp. 48, 50), but other titles also crop up.<p>The tune, which modulates from the key of G in the first strain to the key of D in the second, is one of a class of tunes having strains set in different keys. In this respect it may be compared with "Richmond" in this collection, which is also in the general "breakdown" category, as well as various schottisches and waltzes. Henry Reed is joined here by his son Neal with a few tentative bars on a G-harmonica.</p>	G/D	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1r-2r-1r-2r-1	ABAC QRQS (abcd abce qrst qrsu)	12	Slurs predominate in bowing. It is interesting how many times through he played this (4 1/2 times through, which is more than his usual). His playing is also clean, as if he had a moment unhampered by physical impediments so kept going, or kept going in hopes that Neal would join in fully on harmonica.	Detroit Schottische%Lop-Eared Mule			Flop-Eared Mule [transcription]%reedt008			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	NEAL REED: Off-key.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:02	afcreed	010					afc/afcreed/rs	audio
<13033b03>	[Polka in G]	The title appeared in the fieldnotes as "Unnamed--called a polka."	Reed, Henry; fiddle	No kin of this tune have been located, though the three eighth notes ending each strain remind one of the hornpipes and clogs of the nineteenth century. Henry Reed played it twice. This performance, called a polka and played at a fairly lively pace, came first; the second time (AFS 13033b09) he called it a schottische, made the pace slower, and used more of a dotted-eighth-and-sixteenth rhythm.<p>Henry Reed complains in his spoken comment about having trouble reaching the "bass," meaning the G-string, with his bow, and instead hitting the bow on "that thing," the wooden tip of the violin's concave side indentation.</p>	G	4/4	2 (low-high, 4-4)	1r-2r-1r-2r-1	ABAC QRQS (abcd abce qrst qrue)	16	Short bowstrokes or simple paired slurs.		This tune was later played as a schottische. See "Schottische in G."	[Schottische in G] [AFS 13033b09]%13033b09	[Polka in G] [transcription]%reedt009	[Schottische in G] [transcription]%reedt013		Breakdowns%Polkas%Fiddle tunes%Instrumentals--fiddle	HENRY REED: I strike that thing instead of striking the bass.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:03	afcreed	011					afc/afcreed/rs	audio
<13033b04>	Richmond		Reed, Henry; fiddle	"Richmond" is a well-known tune in the Upper South but seems to have limited distribution beyond that area. Like "Flop-Eared Mule," it modulates from the first strain to the second--in this case, from D to A. Such tunes are occasionally called "cotillions" in this general region, especially in southwestern Virginia, but Henry Reed simply called it "Richmond," the name it usually goes by.	D/A	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1r-2r-1	ABAC QRQS (abcd abc'e qrst qruv)	12	Slurs predominate in bowing. Lots of interesting variation in his performance.	Green Mountain Polka%Richmond Cotillion			Richmond [transcription]%reedt010			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: I can't think of it now. That one's a good one, I thought I wouldn't forget it.<p>[after tune]<br>ALAN JABBOUR: That's a good tune.<br>HENRY REED: Yeah, that's a pretty good one.</p>	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:04	afcreed	012					afc/afcreed/rs	audio
<13033b05>	[The Prisoner's Song]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle%Reed, Neal; harmonica	Neither Henry Reed nor his son Neal, who joined him here on the G-harmonica, gave a name for this piece. It is "The Prisoner's Song," which became popular in the South and elsewhere after it was recorded as the B-side of "The Wreck of the Old 97" in 1924 by Vernon Dalhart (Marion Try Slaughter II).	G	4/4	1 (8)	1r	ABAC (abcd abce)	7								Airs%Fiddle tunes%Instrumentals--fiddle and harmonica		Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:05	afcreed	013					afc/afcreed/rs	audio
<13033b06>	Round Town Gals		Reed, Henry; fiddle%Reed, Neal; harmonica	This well-known tune is usually called "Buffalo Gals," though in parts of southwestern Virginia and West Virginia the oldtimers prefer the title Henry Reed gave, "Round Town Gals." It is associated with verses to the effect "Buffalo gals won't you come out tonight and dance by the light of the moon." The title invites localization, and a number of other towns are commemorated in various sets of the song and tune. "Alabama Gals" appeared on an early hillbilly record, influencing its subsequent naming and circulation among some fiddlers. The notes to "Buffalo Girls" in <i>American Fiddle Tunes</i> (Library of Congress, AFS L62) contain additional notes and citations.<p>Accounts of the history of American popular song often cite the composer of the song and tune as a minstrel performer, Cool White, whose song "Lubly Fan" was published in 1843. But a set in Knauff's <i>Virginia Reels</i> (1839), vol. 4, #8, bearing the title "Midnight Serenade: Varied," suggests that it was already in circulation, with similar verses, before it found its way onto the minstrel stage. Indeed, it may be international in origin, for similar tunes have turned up in central Europe (see Bayard, <i>Hill Country Tunes</i>, #1a and 1b).</p>	G	4/4	2 (low-high?, 4-4)	2-1-2r-1r-2r-1 (but may have started on high strain)	ABAC QBQC (abcb abcd qbcb qbcd)	12	Slurs predominate in bowing.	Buffalo Gals%Lubly Fan%Alabama Gals%Midnight Serenade			Round Town Gals [transcription]%reedt011			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and harmonica	HENRY REED: [Laughs]<br>NEAL REED: Hmm, that's, uh . . . .<br>ALAN JABBOUR: "Buffalo Gals"?<br>WOMAN: "Round Town Gals."<br>NEAL REED: "Buffalo Gals."<br>HENRY REED: Yeah.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:06	afcreed	014					afc/afcreed/rs	audio
<13033b07>	Fisher's Hornpipe [in G]	The title appeared in the fieldnotes as "Fisher's Hornpipe."	Reed, Henry; fiddle	The hornpipe seems to have developed in the later eighteenth century as a solo fancy dance, with the dancer typically accompanied by a 4/4 tune played on the newly democratized violin at a somewhat slower tempo than a reel. (The hornpipe of earlier British tradition in 3/2 time is a different genre with the same name.) One of the earliest and most widely circulated of all modern hornpipe tunes is "Fisher's Hornpipe." Its name is sometimes taken as a tribute to fishermen as an occupational group, but in fact it is the name of the original composer; the tune first appears in J. Fishar's <i>Sixteen Cotillons, Twelve Allemands and Twelve Hornpipes</i> (London, ca. 1780), p. 48. Fishar was, as the title page explains, "Principal Dancer and Ballet Master at the Theatre Royal, Covent Garden."<p>By the beginning of the nineteenth century the tune was already appearing in manuscript tunebooks from America, and it has appeared in countless published tunebooks since then, often set in the key of F. <i>American Fiddle Tunes</i> (Library of Congress, AFS L62) contains further discussion and citations. Henry Reed's sets illustrate nicely the two keys in which traditional sets are usually played--either in G (here) or in D (AFS 13037a03). A comparison of the two illustrates how a tune varies to fit the range and fingering patterns dictated by the key. Yet another set in this collection, played on a C-harmonica (AFS 13705a49), is something of a harmonica <i>tour de force</i>.</p>	G	4/4	2 (low-high, 4-4)	1r-2r-1r-2	ABAC QRST (abbc abde qrq's tuvw)	13	Slower pace, appropriate in old hornpipe style. Uses slurs and separate strokes in bowing. Once he reaches up for a high C on E-string.			Fisher's Hornpipe [in D] [AFS 13037a03]%13037a03|Fisher's Hornpipe [on harmonica] [AFS 13705a49]%13705a49	Fisher's Hornpipe [in G] [transcription]%reedt012	Fisher's Hornpipe [in D] [transcription]%reedt057		Hornpipes%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's the "Fisher's"?<br>HENRY REED: Did Oscar and them play that for you?	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:07	afcreed	015					afc/afcreed/rs	audio
<13033b08>	[Air in A]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	This slow air has the sound of a spiritual or other such song that has been transformed into an air on the fiddle. Henry Reed says that it came "from North Carolina, from the colored folks," and it may indeed be of African-American origin, but nothing more is known about it.	A	4/4	2 (high-low, 8-8)	1-2-1	ABAC QRQR (abcd abef qrst qrst)	16	Uses extended finger for high C on E-string.							Airs%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: Here's a piece that--some people like it, I don't care much about it.<p>[after tune]<br>ALAN JABBOUR: Boy, I don't know what it is, but I like it alright.<br>HENRY REED: I don't know what it is either. It's a--that piece come from North Carolina, from the colored folks down there.<br>ALAN JABBOUR: Is that a fact?<br>HENRY REED: Yeah, yeah it did.<br>ALAN JABBOUR: Hmm.</p>	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:08	afcreed	016					afc/afcreed/rs	audio
<13033b09>	[Schottische in G]	The title appeared in the fieldnotes as "Unnamed schottische."	Reed, Henry; fiddle	No kin of this tune have been located, though the three eighth notes ending each strain remind one of the hornpipes and clogs of the nineteenth century. Henry Reed played it twice.The first time (AFS 13033b03) he called it a polka and played it at a fairly lively pace; he called this performance of it a schottische, made the pace slower, and used more of a dotted-eighth-and-sixteenth rhythm.	G	4/4	2 (low-high, 4-4)	1r-2r	ABAC QRQS (abcd abce qrst qrue)	16	A number of cases of 2/3 and 4/1 slurring pairs, which are not typical of his playing on breakdowns.		This tune was also played as a polka. See "Polka in G."	[Polka in G] [AFS 13033b03]%13033b03	[Schottische in G] [transcription]%reedt013	[Polka in G] [transcription]%reedt009		Schottisches%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: Do you know the name of that one?<br>HENRY REED: No. It's a schottische, but I don't know the name of it.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:09	afcreed	017					afc/afcreed/rs	audio
<13033b10>	[French Tune]	The title appeared in the fieldnotes as "Unnamed schottische."	Reed, Henry; fiddle	Henry Reed called this "a French tune," but he neither named it nor classified it by genre. He plays it at a tempo and in a style not dissimilar from the way he plays schottisches. No variants of the tune have been located.	G/D	4/4	3 (low-high-low, 2-2-2)	1r-2r-3r-1r-2r-3r	ABAB' QRQR UBUB' (abcd abcd' qrst qrst uvcd uvcd')	16	High D on E-string.				[French Tune] [transcription]%reedt014			Schottisches%Fiddle tunes%Instrumentals--fiddle	HENRY REED: That's a French song, tune. I don't know just what the name of it is.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:10	afcreed	018					afc/afcreed/rs	audio
<13033b11>	Hop Light Lady		Reed, Henry; fiddle	Henry Reed here makes a four-part tune out of two classic reels from British and American tradition. Apparently, during a period of his youth when he was trying to learn to read music, he saw the two tunes combined in medley fashion on a piece of sheet music he encountered. The first he knew from local tradition as "Hop Light Lady" or "Hop Light Ladies," and his performance of it is in the style of that tune as it is usually played in the Upper South. The second is a separate tune known as "Speed the Plow," which is a standard tune in nineteenth-century tunebooks and in the American North and Midwest, but is hardly ever found in the South. See <i>One Thousand Fiddle Tunes</i>, p. 21, "Speed the Plough," for a typical set, though in the key of A. Both performances of the tune by Henry Reed show a different bowing style for the "Speed the Plow" section of the tune, with more separate bowstrokes and less slurring, reflecting its print origin.<p>Both tunes date back to the British Isles at the beginning of the nineteenth century, if not before. "Hop Light Lady"/"Hop Light Ladies" is a Southern American title, however, associated with some playful verses that have gained wider currency through having been published in the Lomax collection <i>Our Singing Country</i>. That set is from the playing and singing of Fields and Wade Ward of Galax, Virginia, and Aaron Copland took the tune from the Lomax book (as Ruth Crawford Seeger had transcribed it) to use as the second instrumental tune in the "Hoedown" of Aaron Copland's music for <i>Rodeo</i>. The tune was also used in the world of popular music for another song, "Uncle Joe" ("Do you want to go to heaven, Uncle Joe?"), so some fiddlers know it by that title. Outside of the South, the tune is usually called either "McLeod's Reel" or "Miss McCloud's Reel" (see, for example, Stewart-Robertson, <i>Athole Collection</i>, p. 6; <i>One Thousand Fiddle Tunes</i>, p. 29). British sets, print tradition, and some North American sets make it a circular tune, with both strains devolving directly into one another instead of coming to rest after a cadence at the end. But Henry Reed's set is typical of Southern sets in coming to rest on the tonic at the end of each strain.</p>	G	4/4	2 (low-high-low-high, 4-4-4-4)	1r-2r-1r-3r-4-2	ABAC QRQC (abac abde qbqr qbde)--"Hop Light Ladies"<br>ABAC QRQC (abcd abce qrst qruv)--"Speed the Plow"	12		Hop Light Ladies%McLeod's Reel%Miss McCloud's Reel%Uncle Joe	Speed the Plow%Speed the Plough	Hop Light Ladies [AFS 13703b11]%13703b11	Hop Light Lady [transcription]%reedt015			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: I'll play what you started to while ago. You can play it better than I can, but I'll play all of it, now there's a lot.<br>ALAN JABBOUR: Alright.<br>HENRY REED: Nearly, all people don't play that.<br>ALAN JABBOUR: No, they don't.<p>[after tune]<br>ALAN JABBOUR: I never heard those other parts. That's something on me!</p>	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:11	afcreed	019					afc/afcreed/rs	audio
<13033b12>	[Waltz in C]	The title appeared in the fieldnotes as "Unnamed waltz."	Reed, Henry; fiddle	Henry Reed said that he learned this tune from Henry Ford's string band. Henry Ford's Orchestra did indeed make some records in the 1920s, but we have not been able to locate the source for this tune.	C	3/4	3 (low-high-middle, 16-16-16)	1-2-3-1	ABAC QRQ'S UVWC (abcd abef qrqs qr'tf uvwx uvef)	17	Extended finger for high C on E-string and for F on A-string.			[Waltz in C] [AFS 13037a07]%13037a07				Waltzes%Fiddle tunes%Instrumentals--fiddle	HENRY REED: I like that piece.<br>ALAN JABBOUR: That is--is it a waltz?<br>HENRY REED: Yeah, that's a waltz.<br>ALAN JABBOUR: Do you know the name of it?	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:12	afcreed	020					afc/afcreed/rs	audio
<13033b13>	Turkey in the Straw		Reed, Henry; fiddle	"Turkey in the Straw" is by now close to universal as an American fiddle tune, being played not only in the Upper South but in every region of the country. It may have originated in the Upper South, but it is by now so well-circulated that it is not easy to reconstruct its original epicenter. In the nineteenth century it competed with a close cousin, "Old Zip Coon," that had the advantage of minstrel stage promotion, as well as a more distant cousin, "Natchez under the Hill," that was associated with the frontier riverboat scene on the Mississippi and its tributaries. "Old Zip Coon" seems not to have survived the minstrel stage, but "Natchez under the Hill" seems to have lingered well into the twentieth century, despite the competition with "Turkey in the Straw," perhaps because "Natchez under the Hill" is usually in the key of A, while sets of "Turkey in the Straw" are typically in either D or G. Henry Reed's version of "Natchez under the Hill," which he called "Natchez," appears elsewhere in this collection (AFS 13705a35, AFS 13035b07). All these American cousins, together with others such as the play-party song "Jolly Is the Miller," seem to be derived from an eighteenth-century British air often called "The Rose Tree." This lineage is discussed, and many variants are listed, in the notes to <i>American Fiddle Tunes</i> (Library of Congress, AFS L62).	D	4/4	2 (low-high, 4-4)	1r-2r-1r-2r-1	ABAC QRSC (abcd abc'e c"c"qq' rsc'e)	12	Slurred bowing, high D on E-string.		Natchez under the Hill%Natchez%Old Zip Coon%Jolly is the Miller%The Rose Tree		Turkey in the Straw [transcription]%reedt016			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: You know that, don't you?<br>ALAN JABBOUR: Yeah, I know.<br>WOMAN: "Turkey in the Straw."	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:13	afcreed	021					afc/afcreed/rs	audio
<13033b14>	Absence Makes the Heart Grow Fonder		Reed, Henry; fiddle	This is a sentimental song from the late nineteenth century, and it is played in a carefully noted style quite at variance with his fiddle style for playing traditional songs such as "House Carpenter."	C	4/4	1	1-1-1	ABC (abcd efcd aghi)	10	Lots of use of fourth finger instead of open string.							Airs%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>WOMAN: Daddy . . . .<br>HENRY REED: Huh?<br>WOMAN: Play "The Beautiful Ohio."<br>HENRY REED: This here's better than that, though.<p>[after tune]<br>ALAN JABBOUR: So, what did you call it?<br>HENRY REED and WOMAN: "Absence Makes the Heart Grow Fonder."<br>ALAN JABBOUR: [Laughs]. Okay.</p>	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:14	afcreed	022					afc/afcreed/rs	audio
<13033b15>	Stony Point		Reed, Henry; fiddle	This is a widely circulated American fiddle tune, but, unlike most tunes that are widely known, it seems to go by many titles in various localities. Northern sets are often called "Pigtown Fling," but in the South there are many titles. Henry Reed's title "Stony Point" has been recorded from others as well in his region--but so have other titles such as "Wild Horse" or "Old Dad." The third strain that he inserts between the two usual strains is also known from others in the Upper South. "Stony Point" as a title may refer to any number of localities, and Henry Reed did not localize it. But it also happens to be the name of a well-known battle in the Revolutionary War, when Mad Anthony Wayne and his Pennsylvania troops surprised and defeated the British at Stony Point on the Hudson River in New York. This tune can be traced back to the early nineteenth century in America, and it resembles certain British instrumental tunes, but no clear derivation has been shown beyond American borders. The notes to "Old Dad" in <i>American Fiddle Tunes</i> (Library of Congress, AFS L62) contain additional notes and citations.	G	4/4	3 (low-middle-high, 2-2-2)	1r-3r-1r-2r-3r-1r-2r-3r-1r-2r-tag	AB QR UV (abab qrq's uvuw)	11	Slurs, many variations in bowing.	Pigtown Fling%Wild Horse%Old Dad			Stony Point [transcription]%reedt017			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's a good tune.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:15	afcreed	023					afc/afcreed/rs	audio
<13033b16>	Paddy on the Turnpike		Reed, Henry; fiddle	This three-part tune is well-known through the Upper South and seems to have as many titles as localities--"John Brown's Dream," "Little Rabbit," "Jimmy Johnson Bring the Jug around the Hill," and others. See <i>The Hammons Family</i> (Library of Congress, AFS L65-66) for another West Virginia set ("Jimmy Johnson") and citations of other variants. It is of a form that appears occasionally in Henry Reed's repertory, where the strains seem to be half the usual length but are often varied on repetition (compare, for example, his sets of "The Route"). This tune has turned up elsewhere in West Virginia with this title, but "Paddy on the Turnpike" is usually the name of a famous Irish and American reel that has no musical resemblance to this tune.	A	4/4	3 (high-middle-low, 4-4-4)	1-2-3-1-2-3-(break)-2-3-1-2-3	ABAB' QRQ'R UVUR' (abac aba'c qq'qr qq'qr uvuw uvqr)	12	Slurs predominate in bowing; extended fourth finger to high C# on E-string.	John Brown's Dream%Little Rabbit%Jimmy Johnson Bring the Jug around the Hill%Jimmy Johnson			Paddy on the Turnpike [transcription]%reedt018			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[middle of performance]<br>HENRY REED: You never heard it played like that?<br>ALAN JABBOUR: Sure haven't. No, I never heard that. That's a good tune, though.<br>HENRY REED: That's the old-time "Paddy on the Turnpike."<p>[after tune]<br>HENRY REED: I ain't played that for so long, it's about as new to me as it would be [to you].</p>	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:16	afcreed	024					afc/afcreed/rs	audio
<13033b17>	Kitchen Girl		Reed, Henry; fiddle	"Kitchen Girl" is a striking tune, but though other tunes can be found with a general resemblance, no clear variant has been found. It was recorded by the Hollow Rock String Band (Kanawha 311) in a version learned from Henry Reed, and from there the tune has found its way into the repertories of other fiddlers.	A	4/4	2 (high-low, 4-4)	(1)-2r-1r-2r-1r-2	ABAC QRQS (abcd abef qrst qruv)	11	Slurred bowing.			Kitchen Girl [AFS 13037a18]%13037a18	Kitchen Girl [transcription]%reedt019			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: Good tune.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:17	afcreed	025					afc/afcreed/rs	audio
<13033b18>	Billy in the Low Land		Reed, Henry; fiddle	Henry Reed called this tune "the old Franklin County Billy in the Low Land." Franklin County, Virginia, lies along the Blue Ridge in an area from which not only his mother's family but some of his fiddling Monroe County neighbors had come in the nineteenth century. His musical lineage for the tune is borne out by the fact that it appears in Knauff's <i>Virginia Reels</i> (1839), called "Billy in the Low Grounds: A Virginia Reel," which reflects Southside Virginia tradition in the earlier nineteenth century. Another Virginia-North Carolina set with the same title is Person, <i>A Collection of Popular Airs</i> (1889), p. 14, and modern sets were documented by Jabbour from Joe Anglin in Martinsville, Virginia, and by Malvin Artley, <i>The West Virginia Country Fiddler</i>, p. 45, from central West Virginia. The Hollow Rock String Band recorded a version of this tune learned from Henry Reed (Rounder 0024), which has given the tune a bit of renewed contemporary circulation. The tune has the feel of an old British-American tune, but it cannot be traced clearly beyond its roots in the American Upper South. It always seems to be played in the key of G, and Henry Reed's comments cited above reflect in part his awareness that there is another "Billy," usually played in C, with wide circulation in America. In fact, he himself played a version of that other tune, calling it "Shelving Rock."	G	4/4	2 (low-high, 4-4)	1r-2r-1r-2r	ABCD QB'QR (abcd aefg qb'cd qb'f'g)	12	Slurred bowing.	Billy in the Lowland%Billy in the Low Ground%Billy in the Lowground%Billy in the Low Grounds	Shelving Rock		Billy in the Low Land [transcription]%reedt020			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: Okay, let's see how this goes, now. I ain't never played this since I played it for Eugene.<p>[after tune]<br>ALAN JABBOUR: Whew! That goes like the dickens!<br>KAREN JABBOUR: [Laughs]</p>	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:18	afcreed	026					afc/afcreed/rs	audio
<13033b19>	[Dean Reed's Favorite]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed gave no title for this tune. It is an unusual tune in his repertory and seems like a musical composition from the world of late nineteenth-century popular music. His son Dean Reed is so fond of the piece that it is named here in his honor.	C	4/4	1 (16)	1-1	ABACDEFG (abcb abc'd efe'g hijk)	10								Rags%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: What's that?<br>HENRY REED: Well, I don't know the name of it.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:19	afcreed	027					afc/afcreed/rs	audio
<13033b20>	Irish Washerwoman		Reed, Henry; fiddle	"Irish Washerwoman" is known in both the British Isles and North America, though in America it has achieved a sort of popular culture notoriety unknown in the British Isles. It first appears almost simultaneously in Scottish and Irish publications in the Old World and in American manuscript tune collections around 1800. Most nineteenth-century tunebooks include it, and it has been well-represented in twentieth-century books and recordings. It is not unknown in the South but seems more common elsewhere in the country, due possibly to the unfamiliarity of 6/8 time in the South. Henry Reed plays it more slowly than the normal pace for either jigs or quicksteps, and the tune has something of the appearance of a set piece rather than a dance tune in his repertory.	G	6/8	2 (low-high, 4-4)	1r-2r-1	ABAC QRSC' (abcd abc'e qrst uvc"e)	12					Irish Washerwoman [transcription]%reedt021			Jigs%Fiddle tunes%Instrumentals--fiddle	HENRY REED: Do you know that?<br>ALAN JABBOUR: I believe that's "Irish Washerwoman," isn't it?<br>HENRY REED: Yeah.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:20	afcreed	028					afc/afcreed/rs	audio
<13033b21>	[Walking in My Sleep]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed did not give a name for this lively rag-like tune, but it sounds like "Walking in My Sleep," which has become a standard tune in modern country and bluegrass fiddling repertory.	G	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-tag	ABCD QRST (abcd ee'fb qrst ue"fb)	18	A couple of bluesy inflections.				[Walking in My Sleep] [transcription]%reedt022			Breakdowns%Rags%Fiddle tunes%Instrumentals--fiddle	HENRY REED: It's an old one.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:21	afcreed	029					afc/afcreed/rs	audio
<13033b22>	Ricketts' Hornpipe	The title appeared in the fieldnotes as "Ricket's Hornpipe."	Reed, Henry; fiddle	John Bill Ricketts was an early circus entrepreneur who brought a circus from England to America in the last decade of the eighteenth century. Circuses in an earlier era usually included fancy dancing, and the circuses of Ricketts included dancers such as Pennsylvanian John Durang, who became famous in early America. Both Ricketts and Durang had hornpipes named for them that have endured in American tradition, in both the North and the South, right up through the twentieth century. The tune makes its appearance before 1800; it is included in "William O. Adams's Musick Book [1795]," a music manuscript book in the Library of Congress. Nineteenth and twentieth-century American tunebooks generally include "Rickett's Hornpipe" (the apostrophe is usually misplaced); see for example <i>One Thousand Fiddle Tunes</i>, p. 89, with dance directions, or Fillmore, <i>American Veteran Fifer</i>, #111. Other hornpipes from the tunebook tradition, such as "Texarkana Hornpipe" (<i>One Thousand Fiddle Tunes</i>, p. 98), seem by their similarity to "Ricketts" to honor its popularity. Modern tune collections also regularly feature it, such as Ford, <i>Traditional Music of America</i>, p. 50; Thomas, <i>Devil's Ditties</i>, p. 151. The Northern sets tend to be close to the sets from print tradition and to begin, like printed sets, with the lower strain, while some Southern sets vary more from the printed sets and even begin with the high strain (a Southern predilection).<p>Henry Reed's performance agrees with Northern and print tradition in beginning with the low strain, but its melody departs in several particulars from the standard printed sets. Either because of the complexity of the tune or because of continuing ties to the older tradition of using hornpipes for fancy dancing, the pace of his performance is a bit slower than most of his breakdown tunes.</p>	D	4/4	2 (low-high, 4-4)	1r-2r-1r-2	ABAC QRSC (abcd abc'e qrq's tuve)	12			Texarkana Hornpipe		Ricketts' Hornpipe [transcription]%reedt023			Hornpipes%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:22	afcreed	030					afc/afcreed/rs	audio
<13033b23>	[Rocky Mountain Goat]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	This tune is well-known in America but not clearly traceable beyond its shores. Henry Reed neither named it nor assigned it a genre, but it is a tune sometimes known as "Rocky Mountain Goat," and the slightly slower pace suggests a connection with the hornpipe genre. <i>Shaking Down the Acorns</i> (Rounder 0018) contains a performance of the tune by Mose Coffman from Greenbrier County, West Virginia.<p>Henry Reed performed this tune on three occasions. In one performance (AFS 13705b07, recorded on July 17, 1967), he inserted a third strain between the usual first and second strains that leaps up dramatically to a high D in third position on the E-string. This extra strain seems to be unique to Henry Reed.</p>	D	4/4	2 (high-low, 4-4)	1r-2r-1r-2r	ABAC QRQS (abcd abce qrst qrsu)	15				[Rocky Mountain Goat] [AFS 13703b16]%13703b16|[Rocky Mountain Goat] [AFS 13705b07]%13705b07	[Rocky Mountain Goat] [transcription]%reedt024			Hornpipes%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's a good tune.<br>HENRY REED: Yeah, that's a pretty good piece, that.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:23	afcreed	031					afc/afcreed/rs	audio
<13033b24>	Little Lap Dog		Reed, Henry; fiddle	This is the popular song "Oh Where Oh Where Has My Little Dog Gone." It is a German piece, "The Lauterbach Waltz," and its recasting with English words first appeared in a publication by Septimus Winner in 1864. Henry Reed plays it in waltz time.	G	3/4	2 (low-high, 16-16)	1-2-1	ABAC QRQS (abcd abce qrst qrue)	12		Oh Where Oh Where Has My Little Dog Gone?%Lauterbach Waltz					Septimus Winner, words, 1864; German folk tune	Waltzes%Fiddle tunes%Instrumentals--fiddle	HENRY REED: You know that, don't you?<br>ALAN JABBOUR: Yeah.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:24	afcreed	032					afc/afcreed/rs	audio
<13033b25>	[Breakdown in G]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed played this tune twice but had no name for it. (A more complete version was recorded on November 26, 1966, as AFS 13037a01.) He seemed to have a little trouble sorting out its melodic features from those of some similar tunes in G, conflating it in both performances with melodies he had previously played. A related tune in his repertory, cast in the key of D, has the same first strain but an entirely different second strain; see "Quince Dillion's High-D Reel."	G	4/4	2 (low-high, 4-4)	1r-2r-[different tune]	ABAC QRQS (abcd abef qrst qruf)	12			[Quince Dillion's High-D Reel]	[Breakdown in G] [AFS 13037a01]%13037a01	[Breakdown in G] [transcription]%reedt025	[Breakdown in G] [transcription]%reedt055		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: I got two mixed up there, didn't I? Ah, law! [unintelligible]<br>ALAN JABBOUR: Hmm.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:25	afcreed	033					afc/afcreed/rs	audio
<13033b26>	[Witch of the Wave Reel]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed gave this tune no name. Its first strain appears often, under various names, in the nineteenth-century tunebook tradition. One such set, "Witch of the Wave Reel," is in <i>One Thousand Fiddle Tunes</i>, p. 3; for similar tunes, compare "New York Reel," <i>One Thousand Fiddle Tunes</i>, p. 38; "Western Gem Reel," <i>One Thousand Fiddle Tunes</i>, p. 49; "St. Botolph's Hornpipe," <i>One Thousand Fiddle Tunes</i>, p. 99; "Buckley's Fancy," <i>O'Neill's Music of Ireland</i>, #1211; "Comely Jane Downing," <i>O'Neill's Music of Ireland</i>, #1461; "The Lakeside Road," <i>O'Neill's Music of Ireland</i>, #1699.<p>The Hollow Rock String Band, having learned this tune from Henry Reed, noticed its similarity to "Witch of the Wave Reel" and began calling it that. The tune is now occasionally played by other fiddlers using that title, and the title is adopted here as a way of distinguishing it from other unnamed tunes in G.</p><p>The second strain in Henry Reed's performance does not reflect any of the print sets. It is a kind of filler or extender, only half as long as the first strain, which is made up of musical elements of the last phrase of the first strain.</p>	G	4/4	2 (low-high, 4-2)	1r-2r-1	ABAC QC' (abac abde dqde')	12	Henry Reed was trying to play the full version of the second tune into which he had verged in his previous performance (Breakdown in G, AFS 13033b25), but instead plays yet another tune.		New York Reel%Western Gem Reel%St. Botolph's Hornpipe%Buckley's Fancy%Comely Jane Downing%The Lakeside Road		[Witch of the Wave Reel]  [transcription]%reedt026			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: I can't think of the other one.<p>[after tune]<br>ALAN JABBOUR: That's the one that you got on to while ago.<br>HENRY REED: Yeah, I got onto it.</p>	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:26	afcreed	034					afc/afcreed/rs	audio
<13033b27>	George Booker		Reed, Henry; fiddle	This tune began life, so far as can be told, as a Scottish strathspey entitled "The Marquis of Huntly's Farewell," the title it was given in William Marshall's <i>Collection of Strathspey Reels</i> (ca. 1781). By the early nineteenth century it already had taken hold in rural Virginia, now named "George Booker" in honor of a Virginia Revolutionary War leader; a set under that name appears in Knauff's <i>Virginia Reels</i> (1839). The tune in that set, as in Henry Reed's, retains the melodic structure and circular form of the Scottish sets. Henry Reed's performance is also notable for the inclusion of sixteenth-note triplets and thirty-second notes, a feature of left-hand technique on the fiddle that is often associated with British fiddling but here appears to have a toehold in Virginia as well.<p>"George Booker" has an interesting history on the old frontier of the Upper South, having been recast as "Camp Chase" to celebrate the escape from Camp Chase, Ohio, during the Civil War by West Virginian Sol Carpenter. French Carpenter plays a set and tells the story on the LP recording <i>Old-Time Music from Clay County, West Virginia</i> (Folk Promotions 11567-11568), and another version of tale and tune performed by Burl Hammons appears on <i>The Hammons Family</i> (Library of Congress, AFS L65-66), which cites additional variants.</p>	A	4/4	2 (low-high, 4-4)	1r-2r-1r-2	ABAC QRQC (abac abdc' qrst qrdc')	15	Circular tune (each strain ends on note other than tonic).	Marquis of Huntley's Farewell%Camp Chase		George Booker [AFS 13035b06]%13035b06	George Booker [transcription]%reedt027			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: Whew! You're getting a lot of notes in that.<br>HENRY REED: [Laughs]	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:27	afcreed	035					afc/afcreed/rs	audio
<13033b28>	Shady Grove		Reed, Henry; fiddle	"Shady Grove" is usually known in the Upper South as a song with a floating assemblage of lyrics. But Henry Reed's "Shady Grove" is not just a instrumental version of a song; it is a classic instrumental tune. Its first strain is a variant of an old and widespread British and American air, showing up in such disparate places as the British "Boyne Water" march and some Appalachian variants of the ballad "Barbara Allen." "Boyne Water" refers to the Battle of the Boyne in 1690, and the tune appears in America as early as 1786, in "Henry Beck's Flute Book," a manuscript tunebook in the Library of Congress. For typical sets, see Johnson, <i>Scots Musical Museum</i> (1853 edition), vol. 2, 363 (#351) and vol. 4, 325; Joyce, <i>Old Irish Folk Music and Songs</i> (1909), #377; <i>O'Neill's Music of Ireland</i>, #260. A related set in <i>Old Irish Folk Music and Songs</i>, #58, "The Foggy Dew," may offer a clue to the "Shady Grove" connection, for a set fiddled by J. H. Chisholm of Greenwood, Virginia, is shaped more like Henry Reed's set and is entitled "The Foggy Dew." Henry Reed's second strain is also an old air and corresponds to the usual Appalachian song "Shady Grove," though his instrumental set does not begin the low strain on the tonic as the song normally does. A notable feature of Henry Reed's set is its beginning with the high strain (which is also true of Chisholm's "Foggy Dew"). The British "Boyne Water" march typically begins with a low strain and goes on to the high strain corresponding to Henry Reed's. But Henry Reed begins with the high strain, a stylistic choice that is particularly characteristic of the old Upper South frontier.	A	4/4	2 (high-low, 4-4)	1r-2r-1r-2	ABCD QRC'D (abac a'def d'd"qr a'def )	9	Lively pace; Oscar Wright played it slower and more plaintively.		Boyne Water%Barbara Allen%The Foggy Dew		Shady Grove [transcription]%reedt028			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: Do you know that?<br>ALAN JABBOUR: Yeah, I sure do. My grandmother from East Tennessee used to sing that to me.<br>HENRY REED: "Shady Grove."<br>ALAN JABBOUR: "Shady Grove."<br>HENRY REED: [Laughs]	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:28	afcreed	036					afc/afcreed/rs	audio
<13033b29>	The Route		Reed, Henry; fiddle	"The Route" has a well-established history in Virginia, having appeared in Knauff's <i>Virginia Reels</i> (1839) under the title "Colonel Crocket: A Virginia Reel." It seems not to be known in the North or the British Isles, but it turns up here and there in areas affected by westward migration from Virginia, such as "Jenny on the Railroad" by the Carter Brothers and Son (Vocalion 5297), from Mississippi, and Hamblen, <i>A Collection of Violin Tunes Popular During the Early 1800's</i>, p. 39, "The Jolly Blacksmith (She wouldn't come at all)," from Texas by way of Indiana but ultimately from family tradition in Lee County, Virginia. Another West Virginia set is Burl Hammons's "The Route," in <i>The Hammons Family</i> (Library of Congress, AFS L65-66), which includes additional citations.<p>This fiddle tune is associated with some vulgar jingles. It is of a form that appears occasionally in Henry Reed's repertory, where the strains seem to be half the usual length but are often varied on repetition (compare, for example, his "Paddy on the Turnpike"). Henry Reed played "The Route" twice in his usual fashion, learned from an old man in Monroe County, West Virginia, and once (AFS 13033b30) in a manner he described as like his uncle's version of the tune. Comparison of the two is interesting, for it reveals how conscious he was of the principle and practice of variation in tradition.</p>	A	4/4	2 (low-high, 4-4)	1-2-1-2-1-2-1	ABAB QRQS (abcd abcd qrsd qrtd)	11		Colonel Crocket%Jenny on the Railroad%The Jolly Blacksmith (She wouldn't come at all)		The Route [AFS 13033b30]%13033b30|The Route [AFS 13037a13]%13037a13	The Route [transcription]%reedt029	The Route [transcription]%reedt030		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's a good tune.<br>HENRY REED: Yeah.<br>ALAN JABBOUR: Now what's that named?<br>HENRY REED: Well, they call that "The Route." I don't rea--"The Route" is all I . . . .	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:29	afcreed	037					afc/afcreed/rs	audio
<13033b30>	The Route		Reed, Henry; fiddle	"The Route" has a well-established history in Virginia, having appeared in Knauff's <i>Virginia Reels</i> (1839) under the title "Colonel Crocket: A Virginia Reel." It seems not to be known in the North or the British Isles, but it turns up here and there in areas affected by westward migration from Virginia, such as "Jenny on the Railroad" by the Carter Brothers and Son (Vocalion 5297), from Mississippi, and Hamblen, <i>A Collection of Violin Tunes Popular During the Early 1800's</i>, p. 39, "The Jolly Blacksmith (She wouldn't come at all)," from Texas by way of Indiana but ultimately from family tradition in Lee County, Virginia. Another West Virginia set is Burl Hammons's "The Route," in <i>The Hammons Family</i> (Library of Congress, AFS L65-66), which includes additional citations.<p>This fiddle tune is associated with some vulgar jingles. It is of a form that appears occasionally in Henry Reed's repertory, where the strains seem to be half the usual length but are often varied on repetition (compare, for example, his "Paddy on the Turnpike"). Henry Reed played "The Route" twice in his usual fashion, learned from an old man in Monroe County, West Virginia, and once in this manner, which he described as like his uncle's version of the tune. Comparison of the two is interesting, for it reveals how conscious he was of the principle and practice of variation in tradition.</p>	A	4/4	2 (low-high, 4-4)	1-2	ABAC QRQR (where ABAC is the high strain and QRQR the low strain)	11	A "plain" version of Henry Reed's uncle's--not fully recorded.	Colonel Crocket%Jenny on the Railroad%The Jolly Blacksmith (She wouldn't come at all)		The Route [AFS 13033b29]%13033b29|The Route [AFS 13037a13]%13037a13	The Route [transcription]%reedt030	The Route [transcription]%reedt029		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's the way the uncle played?<br>HENRY REED: Um-hmm.	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:30	afcreed	038					afc/afcreed/rs	audio
<13033b31>	[Air in G]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed says there was a second part to this air, but he could not remember it. The song sounds as if it comes from nineteenth-century popular music. In fact it is similar to his own set of "In My Boyhood down on the Farm" (AFS 13035b13), and it may be that the similarity is what is confusing him here. Another rather similar tune is "Within a Mile of Edinburgh Town." Imbedded in all these tunes is the "Scotch snap" that became a favored trait in nineteenth-century popular music. Note Henry Reed's execution of the Scotch snap in the rhythm of the notes in the second measure and elsewhere.	G	4/4	1--he can't remember second strain	1-(spoken)-1	ABAC (abac abef)	8			In My Boyhood down on the Farm%Within a Mile of Edinburgh Town					Airs%Fiddle tunes%Instrumentals--fiddle	HENRY REED: [unintelligible] You know it, don't you?<br>ALAN JABBOUR: I recognize it, I can't remember the name of it.<br>HENRY REED: I forgot a part of it.<p>[Plays again]<br>HENRY REED: Hmm, I forget . . . .<br>ALAN JABBOUR: [Laughs]. What was the name of it?</p>	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:31	afcreed	039					afc/afcreed/rs	audio
<13033b32>	Pop Goes the Weasel		Reed, Henry; fiddle	"Pop Goes the Weasel" is widely distributed in the English-speaking world and has especially broad popularity in America, probably because it sustains itself as a song for children--often, actually, for adults to sing or play for the entertainment of children. It also has been used for dancing, though not necessarily for jigs, despite its 6/8 meter. Typical sets are Sharp, <i>Country Dance Tunes</i>, vol. 1, pp. 10-11; Linscott, <i>Folk Songs of Old New England</i>, p. 108; Randolph, <i>Ozark Folksongs</i>, vol. 3, p. 368; Ford, <i>Traditional Music of America</i>, p. 40; <i>Winner's Collection of Music for the Violin</i>, p. 79; <i>One Thousand Fiddle Tunes</i>, p. 24 (with dance directions); Ruth, <i>Pioneer Western Folk Tunes</i>, p. 3 (with left-hand picking directions).<p>On the fiddle, it is a perennial favorite with a special feature: the "pop" is played by picking the E-string with the left hand. Henry Reed's version is in G, which is customary and indeed required to make the "pop" come out on the open E-string; but in his version the "pop" is actually "pop goes"--that is, it is two picked strings, the open E-string followed by the open A-string.</p>	G	6/8	2 (high-low, 4-4)	1r-2r-1	AA'BC QQ'BC (aba'b' cdef qrqr' cdef)	12	Noticeable tendency toward 2/4. If Henry Reed has a normal jig speed and style, this is perhaps it. Note that he appears to begin on high strain.				Pop Goes the Weasel [transcription]%reedt031			Jigs%Fiddle tunes%Instrumentals--fiddle	HENRY REED: You know that?<br>ALAN JABBOUR: Yeah, "Pop Goes the Weasel."<br>HENRY REED: [Laughs]	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:32	afcreed	040					afc/afcreed/rs	audio
<13033b33>	[Humoresque Medley]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	This medley begins and ends with the first part of Anton Dvorak's 1894 composition "Humoresque." In between are two other airs. The first air after "Humoresque" switches keys to D and has the "Scotch" flavor of some nineteenth-century popular music. Henry Reed says he learned this medley from sheet music in Red Sulphur Springs, West Virginia.	G/D/G/G	4/4	3 one-strain airs (medley)	Medley played once	(Medley)	12							Anton Dvorak, "Humoresque," 1894	Airs%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: What's that?<br>HENRY REED: I forget now what . . . .	Jabbour, Alan%Jabbour, Karen Singer	1966/06/18	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 3B, AFS 13033B:33	afcreed	041					afc/afcreed/rs	audio
<13035a31>	Georgia Camp Meeting		Reed, Henry; fiddle	"Georgia Camp Meeting" was originally published in 1897 by Kerry Mills as "At a Georgia Camp Meeting" and became a turn-of-the-century classic. It was intended originally for the "cake-walk," a popular dance of the period; see Spaeth, <i>A History of Popular Music in America</i>, p. 284. Henry Reed's performance preserves the original emphasis of this and other ragtime-era tunes on a particular "snappy" syncopated pattern: (eighth note-quarter note-eighth note) or (sixteenth note-eighth note-sixteenth note).	D	4/4	2 (high-low, 4-8)	1r-2	ABAC QRQSR'TC	8	Syncopation patterns interesting. Recorded beginning with second strain, which sounds like a chorus in a ragtime song.	At a Georgia Camp Meeting			Georgia Camp Meeting [transcription]%reedt032		Kerry Mills, words & music, 1897	Rags%Fiddle tunes%Instrumentals--fiddle	HENRY REED: That's the "Georgia Camp Meeting."	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:31	afcreed	042					afc/afcreed/rs	audio
<13035a32>	British Field March		Reed, Henry; fiddle	This and the following tune ("Santa Anna's Retreat," AFS 13035a33) are both marches that Henry Reed learned from Quince Dillion, an elderly fiddler and fife player from whom Henry Reed acquired many tunes as a boy. These two were specifically identified as fife tunes, and a trill at one juncture--not a normal feature of Henry Reed's fiddling--must be an echo of the fife original. In calling this piece "British Field March," he said that it was the march used by the British to retreat in the Battle of New Orleans, where Andrew Jackson and his American forces routed the British contingent. The tune is in fact an old British air that crops up in various forms, particularly from Irish sources; for instrumental sets, see for example Petrie, <i>The Complete Collection of Irish Music</i>,  #397 "Take Her Out and Air Her"; <i>O'Neill's Music of Ireland</i> #1388 "Touch Me If You Dare--2nd Setting" and #1593 "Kit O'Mahony's Hornpipe"; Joyce, <i>Old Irish Folk Music and Songs</i> (1909) #42 "Miss Redmond's Hornpipe"; "Manuscript Collection of Dance Tunes [ca. 1775-1800]" (Newberry Library, Chicago), p. 63 "Lovely Molly"; Ford, <i>Traditional Music of America</i> p. 43 "Gilderoy."	A	4/4	2 (high-low, 4-4)	1-2-1r-2-1r-2	ABAC QRQC (abac abde qrse qrde)	11	Slurred bowing, somewhat slower pace; lots of use of fourth finger.	Take Her Out and Air Her%Touch Me If You Dare%Kit O'Mahony's Hornpipe%Miss Redmond's Hornpipe%Lovely Molly%Gilderoy			British Field March [transcription]%reedt033			Marches%Fiddle tunes%Instrumentals--fiddle	HENRY REED: Do you want that march?<br>ALAN JABBOUR: Yeah, I'd sure . . . .	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:32	afcreed	043					afc/afcreed/rs	audio
<13035a33>	Santa Anna's Retreat	The title appeared in the fieldnotes as "Santy Anna's Retreat."	Reed, Henry; fiddle	Antonio Lpez de Santa Anna (1794-1876) was both general of the army and president of Mexico when Texas declared its independence from Mexico. He led the expeditionary force in 1836 that fought at the Alamo, and he was subsequently defeated and captured by Sam Houston, interviewed by U.S. President Andrew Jackson, and returned to Mexico. During the Mexican War in 1846-7, he again led the Mexican forces and was defeated by the United States.<p>Henry Reed said--presumably on the authority of his fiddling and fifing mentor Quince Dillion, who was a fifer in the Mexican War--that this march was used by Santa Anna's army to retreat from the American forces during the Mexican War. Since the tune is a venerable British air, it seems more likely that it was played by the American contingent, though there were in fact Irish (or Irish-American) participants in the Mexican army.</p><p>See the "Manuscript Collection of Dance Tunes [ca. 1775-1800]" (Newberry Library, Chicago), p. 54 "Shay's March"; <i>Riley's Flute Melodies</i> (ca. 1814), p. 47 "Quick March"; <i>O'Neill's Music of Ireland</i> #1812 "Johnny Cope--Irish version"; Roche, <i>Collection of Irish Airs</i> (1909), vol. 3, 74 (#196, Part 4, Section 3) "Nights of Gladness Quadrille," vol. 3, 78 (#202) "Jonny Cope" (in a group of marches). An American hymn setting is Carden, <i>Missouri Harmony</i> (1825), p. 113, "Spring."</p>	A	4/4	2 (high-low, 4-2)	1r-2r-1r-2r	ABAC QR (abcd abef qrst)	11	Slurred bowing, somewhat slower pace.	Shay's March%Quick March%Johnny Cope%Nights of Gladness Quadrille%Spring			Santa Anna's Retreat [transcription]%reedt034			Marches%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:33	afcreed	044					afc/afcreed/rs	audio
<13035a34>	Frosty Morning		Reed, Henry; fiddle	"Frosty Morning" sounds like a classic fiddle tune of the old frontier, but no clear variants of it can be cited from elsewhere. The title crops up elsewhere (sometimes as "Cold Frosty Morning"), but not for this tune. Henry Reed played it twice, and both times he began it with the high strain, showing the predilection of fiddlers in the Upper South for beginning their tunes with the upper strain, often at or near the top of the tune's compass. In both sets of "Frosty Morning" he tended to conflate the high strain with other tunes--on this occasion,  with the high strain of the tune presented elsewhere in this collection under the title "Betsy," and once with the low strain of "West Virginia Gals," which he had just played. On yet another occasion (AFS 13037a16), he began with another tune, the "Breakdown in A," then conflated  it with "Frosty Morning."	A	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1r-2r	ABCD (or ABAC) QRQD (abcd efgh (or abcd abef) qrst qrgh)	15	Shifts handling of third phrase after first time through. Long bow.		Betsy	Frosty Morning [AFS 13037a09]%13037a09|[Breakdown in A/Frosty Morning] [AFS 13037a16]%13037a16	Frosty Morning [transcription]%reedt035	Frosty Morning [transcription]%reedt049|[Breakdown in A/Frosty Morning] [transcription]%reedt062		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:34	afcreed	045					afc/afcreed/rs	audio
<13035a35>	Hell among the Yearlings		Reed, Henry; fiddle	"Hell among the Yearlings" (sometimes known in bowdlerized forms such as "Rounding Up the Cattle") is a tune of the Upper South. It was recorded by West Virginian Clark Kessinger on an early hillbilly record with an irregular first strain that lingers on the high A and requires two extra beats. Nearly all current versions in bluegrass style or in contest fiddling circles perpetuate this irregularity, but Henry Reed's set has the normal number of bars and beats.	D	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1r-tag	ABCD QRQS (abac defg qrst qrs'u)	15		Hell amongst the Yearlings	Rounding Up the Cattle	Hell among the Yearlings [AFS 13705b21]%13705b21	Hell among the Yearlings [transcription]%reedt036			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: My shoulder gives out on me.	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:35	afcreed	046					afc/afcreed/rs	audio
<13035a36>	Salt River		Reed, Henry; fiddle	"Salt River" probably refers to the river of that name in Kentucky. Bill Monroe and His Bluegrass Boys recorded this fiddle tune in 1964 under the title "Salt Creek" (Decca 31596), modifying the original name in honor of the creek in Indiana near where Monroe held his annual Bean Blossom Festival. Monroe's banjoist, Bill Keith, apparently got the tune originally from West Virginia banjoist Don Stover. The Monroe recording has given the tune a new lease on life on the bluegrass circuit.<p>Henry Reed's set is melodically fairly simple, suggesting the possibility that the tune was usually played as a banjo tune. He begins on the high strain, as does Hobart Smith of Saltville, Virginia, in a 1956 recording called "The Pateroller Song" (on <i>Instrumental Music of the Southern Appalachians</i>, Tradition TLP 1007) that sounds similar. The tune's distribution seems to have been limited to Virginia and West Virginia before its bluegrass diffusion in the later decades of the twentieth century.</p><p>See additional discussion and citations under "Muddy Roads" in <i>The Hammons Family</i> (Library of Congress, AFS L65-66). As a tune, "Salt River" is a scion of the large family of tunes best represented by the Irish and American reel "Paddy on the Turnpike" (see Bayard, <i>Hill Country Tunes</i>, #31 for comparative references).</p>	A	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1r-2	ABAC QRQS (abcd abef qrst qruf)	12	Fewer sixteenth notes, more eighth notes.	Salt Creek	The Pateroller Song%Paddy on the Turnpike%Muddy Roads		Salt River [transcription]%reedt037			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:36	afcreed	047					afc/afcreed/rs	audio
<13035a37>	[I'm Going Away to Leave You, Going to Tennessee]	The title appeared in the fieldnotes as "Unnamed reel."	Reed, Henry; fiddle	This tune has striking resemblances to "The Girl I Left behind Me" (see AFS 13703b20), and the title, though different, does not contradict that possible connection. But the first strain rises to the octave instead of descending to the lower tonic, and the second strain is not the usual "Girl I Left behind Me" strain but sounds instead like a filler strain. See also "I've Got to Leave You" (AFS 13703b19) for a slow air with possible title connections. Henry Reed plays this tune twice; the second time (AFS 13705a43), it is slowed down slightly, which alters his style somewhat. More slurred triplet patterns appear in the noting, and the second strain shows an interesting melodic alteration in the second time through.	G	4/4	2 (low-high, 4-4)	1-2r-1r-2r-1r-2	ABAC QRQS (abcd abef qrqs qrtf)	12			The Girl I Left behind Me%I've Got to Leave You	I'm Going Away to Leave You, Going to Tennessee [AFS 13705a43]%13705a43	[I'm Going Away to Leave You, Going to Tennessee] [transcription]%reedt038			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: Go ahead.	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:37	afcreed	048					afc/afcreed/rs	audio
<13035a38>	[Cowboy Waltz]	The title appeared in the fieldnotes as "Unnamed waltz."	Reed, Henry; fiddle	Henry Reed gave no name to this waltz, but it is usually known as the "Cowboy Waltz" and has been a standard in folk and popular song and dance repertory throughout the twentieth century. Like the waltz in C he performed twice in this collection (AFS 13033b12, AFS 13037a07), Henry Reed learned this tune from recordings of Henry Ford's Orchestra.	G	3/4	2 (high-low, 16-16)	1-2-1-2-1-2	ABCD ABC'E QRST QRS'U	15	Stretches to high C on E-string.							Waltzes%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:38	afcreed	049					afc/afcreed/rs	audio
<13035a39>	Jump Jim Crow		Reed, Henry; fiddle	"Jump Jim Crow" has its origins in the minstrel stage, where the tune was used for an often extravagant or elaborate set dance. The song and dance were created by Thomas ("Daddy") Rice in the later 1830s. The published versions show connections to Henry Reed's set, but they are also different in many respects--frequently a bit rough and angular--suggesting that the folk process has extracted some grace from the angularity of the minstrel originals. The pace in this set is slower than in typical breakdown tunes, suggesting its use in a clog or other slower-paced fancy dance.	D	4/4	2 (high-low, 4-2)	1r-2r-1r-2r-1	ABAC QR (abac abde qrsc)	11 (14 including drone on the low A on the G-string)					Jump Jim Crow [transcription]%reedt039		Thomas ("Daddy") Rice, 183-?	Clogs%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:39	afcreed	050					afc/afcreed/rs	audio
<13035a40>	Shoo Fly		Reed, Henry; fiddle	"Shoo Fly" is the tune associated with the "Shoo fly don't bother me" lyrics. It has the feel of a lively dance tune in the melodic style of the later nineteenth century. One hallmark of the style is the implied chord shift from tonic to dominant at the end of the first phrase, remaining in the dominant till the cadence at the end of the second phrase. For instrumental sets of the tune, see Person, <i>A Collection of Popular Airs</i> (1889), p. 9; <i>White's Excelsior Collection</i>, p. 71. Another tune in this collection with a tantalizing resemblance to "Shoo Fly" is "Ladies Won't You Marry" (AFS 13705a54), which Henry Reed played on harmonica.	D	4/4	2 (low-high, 4-4)	1-2r-1r-2r-1r	ABCD QRQS	13	Fast tempo, simple noting (lots of eighth notes), syncopation.		Ladies Won't You Marry		Shoo Fly [transcription]%reedt040			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: That's one I ain't played for many years.<br>ALAN JABBOUR: What's the name of it?<br>HENRY REED: "Shoo Fly."<br>ALAN JABBOUR: "Shoo Fly."	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:40	afcreed	051					afc/afcreed/rs	audio
<13035a41>	Red Fox		Reed, Henry; fiddle	"Red Fox" is an unusual, and so far untraceable, tune in Henry Reed's repertory. It may be that some of these fiddle tunes of the old frontier began life as jigs and were converted to the prevailing reel-breakdown meter in the Upper South. Compare, for example, <i>Longman & Broderip's Fifth Selection of the Most Admired Dances, Reels, Minuets & Cottilons</i> (1780), p. 11 "The Welsh Jig"; <i>Riley's Flute Melodies</i> (ca. 1814), p. 6 "The Priest in His Boots"; <i>One Thousand Fiddle Tunes</i>, p. 52 "The Priest in His Boots--Jig," p. 60 "Tivoli--Jig." The oscillation between tonal centers in D (most of the first strain) and G (the second strain) is known in British tradition but less familiar in the Upper South.	G	4/4	2 (high-low, 4-4)	tag-1r-2r-1r-2r-1r-2	ABAC QRQC (abcb abde qrst qrd'e')	12	Slurred bowing.		The Welsh Jig%The Priest in His Boots%Tivoli--Jig		Red Fox [transcription]%reedt041			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: What's that?<br>HENRY REED: That's "Red Fox."<br>ALAN JABBOUR: "Red Fox," that's right.<br>HENRY REED: [Laughs]	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:41	afcreed	052					afc/afcreed/rs	audio
<13035a42>	Hog-Eyed Man		Reed, Henry; fiddle	"Hog-Eyed Man" is a well-known fiddle tune in the older repertory of the Upper South. A nineteenth-century set in <i>Winner's Collection of Music for the Violin</i>, p. 75 "Hog Eye--Jigg" suggests that the song may have had some circulation on the popular stage. "Jigs" of this sort were a mid-nineteenth-century American genre in 2/4 time often associated with the minstrel stage or other popular entertainment. Modern song and fiddle versions suggest, however, that it is widespread in Southern tradition and may have gone from there to the popular stage, not the other way around.<p>For comparison, see Bayard, <i>Hill Country Tunes</i>, #75 "Hog Eye an' a 'Tater"; Sharp, <i>English Folk Songs from the Southern Appalachians</i>, vol. 2, 360 (#250) "The Hog-eyed Man" (Clay County, Kentucky), 361 (#251) "The Jackfish" (Callaway, Virginia); Brown, <i>The Frank C. Brown Collection of North Carolina Folklore</i> vol. 5, 133 (#194-D) "Old Bob Ridley" (Watauga County, North Carolina); Sandburg, <i>American Songbag</i>, p. 380 "Hog-Eye" ("A lusty and lustful song developed by negroes of S.C."). A hillbilly recording is by Crockett Mountaineers on "Old-Time Medley." Additional discussion and citations may be found for "The Hog-Eyed Man" in <i>American Fiddle Tunes</i> (Library of Congress, AFS L62).</p><p>There may be an African-American connection to the song; it is certain that a sailor's shanty, with associated lyrics but a different tune, turns up in older sea shanty collections. The words to the song are typically bawdy.</p>	A	4/4	2 (low-high, 4-4)	1r-2r-1r-2r-1r	ABAC QRST (abac abad qrq's qtuv)	12	Slurred and separate bowing; note how he ends first strain first time through on fifth instead of tonic.	Hog Eye an' a 'Tater%The Jackfish%Old Bob Ridley			Hog-Eyed Man [transcription]%reedt042			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:42	afcreed	053					afc/afcreed/rs	audio
<13035a43>	Fire on the Mountain		Reed, Henry; fiddle	Henry Reed's "Fire on the Mountain" is a fine set of a tune that is well-documented from early America down to the present, yet seems not traceable to the British Isles. It is thus (along with a number of other tunes in this collection) evidence that by the late eighteenth century there was already a distinctly American repertory of fiddle tunes. The tune seems to be associated with a cluster of playful rhymes and jingles used in children's songs, play-party songs, and courting songs across the early frontier. The jingles in turn give rise to many of the bewildering array of titles that have turned up for this tune. Some representative examples are "A. Shattuck's Book [ca. 1801]," p. 59 "I Betty Martin--tipto fine"; <i>Riley's Flute Melodies</i> (ca. 1814), p. 87 "Free on the Mountains"; <i>Winner's Choice Gems</i>, p. 66 "Granny Will Your Dog Bite. (Jig.)"; Brown, <i>The Frank C. Brown Collection of North Carolina Folklore</i> vol. 5, 119 (#158) "Chicken in the Bread Tray"; Wilkinson, "Virginia Dance Tunes," p. 9 "Fire on the Mountains," played by J. H. Chisholm, Greenwood, Virginia; Ford, <i>Traditional Music of America</i>, p. 58 "Tip Toe, Pretty Betty Martin"; Adam, <i>Old Time Fidders' Favorite Barn Dance Tunes</i> #62 "The Butchers' Dog"; Moser, "Instrumental Music of the Southern Appalachians," pp. 5-6 "Old Daddy Bowback (Fire on the Mountain)," played by Marcus Martin, Swannanoa, North Carolina. As in Henry Reed's case, Southern sets are inclined to begin with the high strain, while Northern or Midwestern sets (and hence most printed sets) begin with the low strain.	A	4/4	2 (high-low, 4-2)	1r-2r-1r-2r-1r-2r	ABAC QR (abac ab'de dqd'e)	9		Granny Will Your Dog Bite%I Betty Martin--tipto fine%Free on the Mountains%Chicken in the Bread Tray%Tip Toe, Pretty Betty Martin%The Butcher's Dog%Old Daddy Bowback			Fire on the Mountain [transcription]%reedt043			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: Been so long since I played them pieces I mighty nigh get tangled up with them.	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:43	afcreed	054					afc/afcreed/rs	audio
<13035a44>	Cabin Creek		Reed, Henry; fiddle	Cabin Creek, from which this three-part tune takes its name, is a creek that flows into the Kanawha River above Charleston, West Virginia. It was the site of a famous strike in the annals of West Virginia coal, but this tune may evoke the creek generally rather than the battles fought there. It is of that variety of tune, popular in West Virginia, which begins at the top of the tune's compass and cascades downward by degrees--like a creek, one might think. Another name for this tune is "Barlow Knife," and it is often played under that title as a banjo piece with some associated lyrics. Henry Reed said he learned this tune from Mr. Underwood, who had moved from Franklin County to Monroe County, and described it as an old Franklin County piece.	G	4/4	3 (high-middle-low, 2-2-2)	1r-2r-3r-1r-2r-3r-1r-2r-3r-1r-2r-3r-tag	AB QR UV (abcd qrq's uvus)	9		Barlow Knife			Cabin Creek [transcription]%reedt045			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: There, you got it now.	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:44	afcreed	055					afc/afcreed/rs	audio
<13035a45>	Little Stream of Whisky		Reed, Henry; fiddle	"Little Stream of Whisky" is a turn-of-the-century popular song that has managed to gain a toehold in Southern tradition--sometimes as a simple instrumental, as is the case here.	G	4/4	1 (8)	1-1-1-1-1	ABCDABCE	12	Played in strict time.							Airs%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: What did you call it again?<br>HENRY REED: "Little Stream of Whisky."<br>ALAN JABBOUR: "Little Stream of Whisky."<br>HENRY REED: "Comes Trickling Down . . . ."	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5A, AFS 13035A:45	afcreed	056					afc/afcreed/rs	audio
<13035b01>	[Rochester Schottische]	The title appeared in the fieldnotes as "Unnamed schottische."	Reed, Henry; fiddle	Henry Reed gave no name for this schottische, but it is one of the best-known American schottisches, with circulation in both North and South. It was composed by W. H. Rulison and published in the 1850s. Rulison was apparently a music master from upstate New York, for in one sheet music edition he dedicates the piece to his students in Buffalo and Rochester. For other nineteenth-century printed sets, see <i>Winner's Excelsior Collection</i>, p. 23; <i>Winner's Dance Music</i>, p. 52; Howe, <i>Leviathan Collection</i>, p. 108. Modern sets sometimes preserve the title "Rochester Schottische," but just as often they offer new titles; see, for example, Adam, <i>Old Time Fiddlers' Favorite Barn Dance Tunes</i>, #61 "Hi-Lo Schottische"; Bayard, <i>Hill Country Tunes</i>, #39 "What the Devil Ails You"; Ford, <i>Traditional Music of America</i>, p. 160; Ruth, <i>Pioneer Western Folk Tunes</i>, p. 11 "Blue Bird Schottische."<p>Henry Reed's performance is interesting for its regular inclusion of a grace-like thirty-second note figure, and for its use of slurs connecting the second and third and the fourth and first notes in each group of four sixteenths.</p>	D/A	4/4	2 (low-high, 4-4)	1-2-1-2-1	ABAC QRQS (aa'bc aa'de qrss' qrtu)	12		Hi-Lo Schottische%What the Devil Ails You%Blue Bird Schottische			[Rochester Schottische] [transcription]%reedt046		W. H. Rulison	Schottisches%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's it.	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:01	afcreed	057					afc/afcreed/rs	audio
<13035b02>	Ragged Bill		Reed, Henry; fiddle	"Ragged Bill" is a turn-of-the-century ragtime composition that has gained a modest niche in Southern tradition. Henry Reed's set omits the implied beats in the phrase finals. Some of his children play the tune with an extra two beats in the last bar of the first phrase, thus making it like the last bar of the third phrase (e'u), and they claim that he used to include those extra beats himself. His performance is notable for using mostly separate bowstrokes in the first strain, giving the piece a rag-like quality quite different from his usual tunes. The second strain shifts to a different style, with more slurs and several repeated ragtime rhythmic figures.	C	4/4	2 (high-low, 8-8)	1-2-1-2-1-2	ABCD ABCE QRCD' SRTU (aa'bb'cde aa'bb'cdf qrstcde'u vrstwxy)	12	Includes extended fourth finger to high C on E-string.				Ragged Bill [transcription]%reedt044			Rags%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:02	afcreed	058					afc/afcreed/rs	audio
<13035b03>	[Alabama Girls Give the Fiddler a Dram]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed did not name this tune when he first played it, and the second time (AFS 13037a22) he called it "Alabama Girls Give the Fiddler a Dram." The tune is not widespread, but it has some distribution in Virginia and West Virginia. See for example the hillbilly record by Blue Ridge fiddler Kahle Brewer entitled "West Virginia Highway" (Victor 20237), and the set entitled "Ebenezer" played by West Virginian W. Franklin George on <i>31st Annual Old Fiddlers Convention, Galax, Virginia</i> (Justice JLP 1002, 1966). The tune has the feel of a country rag; note in the first strain the implied shift from tonic to dominant at the end of the second phrase, then back to tonic at the end of the fourth phrase. It shares some melodic elements with the late nineteenth-century popular tune "Climbing up the Golden Stairs."	G	4/4	2 (low-high, 4-4)	1r-2r-1r-2r	ABCD QQRD (aabc ddef qrqr ssef)	10		West Virginia Highway%Ebenezer	Climbing up the Golden Stairs	Alabama Girls Give the Fiddler a Dram [AFS 13037a22]%13037a22	[Alabama Girls Give the Fiddler a Dram] [transcription]%reedt047			Rags%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's it alright.	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:03	afcreed	059					afc/afcreed/rs	audio
<13035b04>	Old Joe Clark		Reed, Henry; fiddle	"Old Joe Clark" seems, from the vantage point of the later twentieth century, to be one of the most widely known of all Southern fiddle tunes. Indeed, it is one of those Southern tunes that has to a degree become part of the national repertory. One may hear it in bluegrass jam sessions, old-time fiddle sessions, and country dances throughout the United States. But though it may date back into the nineteenth century, one cannot find sets older than the turn of the century. It is possible that it circulated first in children's tradition and in play-parties--which might account for its playful and sometimes outlandish verses--then erupted into the fiddle and banjo world. Henry Reed's set shares with most old-time fiddlers from the Upper South the movement of the melody to the high octave (A) by the third phrase of the high strain, and the drop of the melody to the lower dominant (E) in the second phrase of the low strain.<p>For other song and instrumental sets, compare Perrow, "Songs and Rhymes from the South," <i>Journal of American Folklore</i> 25, p. 152 ("sung by E. Tenn. Whites, 1905"); Brown, <i>The Frank C. Brown Collection of North Carolina Folklore</i> vol. 5, pp. 65-66 (#89 and 990); Bennett, "A Study in Fiddle Tunes from Western North Carolina," p. 72, played by Fiddlin' Bill Hensley, near Asheville, North Carolina; Sharp, <i>English Folk Songs from the Southern Appalachians</i>, vol. 2, 259 (#183), Beechgrove, Virginia; Thede, <i>The Fiddle Book</i>, pp. 28-29; Lomax, <i>American Ballads and Folk Songs</i>, p. 277; Thomas, <i>Devil's Ditties</i>, pp. 106-107. Additional discussion and citations may be found with a Louisiana set in <i>American Fiddle Tunes</i> (Library of Congress, AFS L62).</p>	A	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1	ABAC QRQC (abac abde qrst urde)	11	Slurs in bowing.				Old Joe Clark [transcription]%reedt048			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's it.	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:04	afcreed	060					afc/afcreed/rs	audio
<13035b05>	Forked Deer		Reed, Henry; fiddle	"Forked Deer" is a quintessential fiddle tune of the old frontier. It is old and widely distributed, yet it cannot be traced to the Old World or the northern United States. "Forked Deer" begins with and gives greatest emphasis to the high strain of the tune. And it is fiddled with a fluid bowing style using slurs to create complicated rhythmic patterns, in the manner of the old Upper South. Its title both evokes the forest and (though few fiddlers in the Appalachians realize this) names a river in West Tennessee. An 1839 printed set from Southside Virginia (Knauff, <i>Virginia Reels</i>, vol. 1, #4 "Forked Deer") establishes the tune's longevity under that title in Virginia.<p>It found its way onto the nineteenth-century stage and into tune collections as a "jig": see <i>Brother Jonathan's Collection of Violin Tunes</i> (1862), p. 26 "Gas Light Jig"; Coes, <i>George H. Coes' Album of Music</i>, p. 6 "Forkedair Jig," pp. 34-35 "Come and Kiss Me." But that did not give it circulation beyond its home region in the Upper South, where it turned up in many twentieth-century sets; see Thomas, <i>Devil's Ditties</i>, pp. 131-133 (compare Victor 21407B, played by Jilson Setters (James Day)); Ford, <i>Traditional Music of America</i>, p. 45 "Old Pork Bosom"; Morris, <i>Old Time Violin Melodies</i>, #31 "Forkadair"; Thede, <i>The Fiddle Book</i>, p. 135 (Oklahoma).</p><p>Henry Reed plays a third strain, as do some other fiddlers, composed of the low strain recast an octave higher. He once mentioned that another old title for "Forked Deer" was "Hounds in the Thorn Bush," but he considered "Forked Deer" its proper name. He also mentioned it as one of the tunes in Quince Dillion's repertory.</p>	D	4/4	3 (high-low-high octave, 4-4)	1r-2r-1r-3-1-2	ABA'C QRQ'S Q"R"Q"S" (abac ab'de qrqs qtue--Q"R"Q"S": octave higher)	17	Low strain repeated in upper octave, requiring third position on E-string.	Hounds in the Thorn Bush%Gas Light Jig%Forkedair Jig%Come and Kiss Me%Old Pork Bosom			Forked Deer [transcription]%reedt050			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:05	afcreed	061					afc/afcreed/rs	audio
<13035b06>	George Booker		Reed, Henry; fiddle	This tune began life, so far as can be told, as a Scottish strathspey entitled "The Marquis of Huntly's Farewell," the title it was given in William Marshall's <i>Collection of Strathspey Reels</i> (ca. 1781). By the early nineteenth century it already had taken hold in rural Virginia, now named "George Booker" in honor of a Virginia Revolutionary War leader; a set under that name appears in Knauff's <i>Virginia Reels</i> (1839). The tune in that set, as in Henry Reed's, retains the melodic structure and circular form of the Scottish sets. Henry Reed's performance is also notable for the inclusion of sixteenth-note triplets and thirty-second notes, a feature of left-hand technique on the fiddle that is often associated with British fiddling but here appears to have a toehold in Virginia as well.<p>"George Booker" has an interesting history on the old frontier of the Upper South, having been recast as "Camp Chase" to celebrate the escape from Camp Chase, Ohio, during the Civil War by West Virginian Sol Carpenter. French Carpenter plays a set and tells the story on the LP recording <i>Old-Time Music from Clay County, West Virginia</i> (Folk Promotions 11567-11568), and another version of tale and tune performed by Burl Hammons appears on <i>The Hammons Family</i> (Library of Congress, AFS L65-66), which cites additional variants.</p>	A	4/4	2 (low-high, 4-4)	1r-2r-1	ABAC QRQC (abac abdc' qrst qrdc')	15		Marquis of Huntley's Farewell%Camp Chase		George Booker [AFS 13033b27]%13033b27		George Booker [transcription]%reedt027		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: Hard to get over on the fiddle there.<p>[after tune]<br>ALAN JABBOUR: That's "George Booker," isn't it?<br>HENRY REED: Yeah. You've got that on the other tape.</p>	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:06	afcreed	062					afc/afcreed/rs	audio
<13035b07>	[Natchez]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed made several attempts to recall "Natchez," which foundered because he was beginning in the wrong keys (as in this performance). He finally realized that it belonged in the key of A and produced a complete performance in AFS 13705a35. He plays it as a set piece at a leisurely pace, almost like a hornpipe. The tune is an independent scion of the large family of tunes descended from the British tune "The Rose Tree," of which "Turkey in the Straw" is the most famous American branch (see discussion of that tune under AFS 13033b13 in this collection).<p>"Natchez" is usually called "Natchez under the Hill," referring to the rough but lively waterfront neighborhood of Natchez, Mississippi, along the bank of the Mississippi River. The town proper is on a bluff overlooking the river, but the waterfront area "under the hill" was the port, roustabout neighborhood, and red-light district. Variants of "Natchez" date back at least to the 1830s, when it was already associated with riverboat traffic and commerce on the Mississippi frontier. See Knauff, <i>Virginia Reels</i> (1839), vol. 1, #11, "Natchez on the Hill," and discussion and citations for the Arkansas set of "Natchez under the Hill" in <i>American Fiddle Tunes</i> (Library of Congress, AFS L62).</p>	D/G	4/4	2 (low-high, 5-4)	1-(pause)-1-2r-1	First performance fragmentary; second performance (in G): ABACD QRCD (abcd abefcg qq'rr' efcg)	15	Henry Reed begins this rendition in D, forcing tune to high D on E-string, then stops and plays it in G. "Natchez" was supposed to be in A.	Natchez under the Hill%Natchez on the Hill	Turkey in the Straw%Old Zip Coon%Jolly is the Miller%The Rose Tree	Natchez [AFS 13705a35]%13705a35				Hornpipes%Fiddle tunes%Instrumentals--fiddle	[middle of performance]<br>HENRY REED: That ain't "Natchez" yet.<p>[after tune]<br>ALAN JABBOUR: Is that it?<br>HENRY REED: Nope.<br>ALAN JABBOUR: I didn't think so.<br>HENRY REED: That's not "Natchez"--that's another one, now I don't know the name of it.</p>	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:07	afcreed	063					afc/afcreed/rs	audio
<13035b08>	Texas		Reed, Henry; fiddle	No variants can be cited for this irregular and beautiful tune. Henry Reed here called it "Texas," and said he learned this tune from a Mr. Drummond(s) from Texas, but during a later performance (AFS 13705b15) he was certain that the title was "New Castle," after the county seat of nearby Craig County, Virginia.<p>The discussion preceding Henry Reed's later performance ("New Castle," AFS 13705b15) contains interesting comments on "Jawbones," "Shoes and Stockings," and Quince Dillion, as well as a discussion of Henry Reed's role as a participant in these tune-teaching sessions and reflections on how he recalls tunes.</p>	A	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1r-2r	ABA'C QRA'C (abcd ab'ef qrr'b'ef)	8		New Castle		New Castle [AFS 13705b15]%13705b15	Texas [transcription]%reedt051			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: Boy. Is that the one they call, you call "Texas"?<br>HENRY REED: Yeah.	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:08	afcreed	064					afc/afcreed/rs	audio
<13035b09>	Granny	The title appeared in the fieldnotes as "Granny."	Reed, Henry; fiddle	This tune can not be clearly traced, though it bears some very general resemblances to tunes like "Fire on the Mountain," which is represented elsewhere in this collection (AFS 13035a43). The second strain is short and has the character of filler, eked out of the melodic material in the first strain. Henry Reed supplied the title "Granny" in a quite tentative way, and single-word titles (other than place names) are not normal. Henry Reed learned this tune from a Mr. Drummond(s) from Texas.	A	4/4	2 (high-low, 4-2)	1r-2r-1r-2r	ABAC QC' (abcd abef egef)	11					Granny [transcription]%reedt052			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: That'd be good enough . . . .<br>ALAN JABBOUR: Is that the one that was "Granny"--something about "Granny"?	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:09	afcreed	065					afc/afcreed/rs	audio
<13035b10>	Bill Cheatham	The title appeared in the fieldnotes as "Bill Cheetham."	Reed, Henry; fiddle	"Bill Cheatham" has been popular for much of the twentieth century in the Upper South, and it has been recorded periodically by country and bluegrass fiddlers as a fiddling set piece. Henry Reed's version is similar to the usual version of the tune but differs consistently from it in the treatment of the first few notes of the lower strain. Representative early recordings of "Bill Cheatham" include a set by Texan Eck Robertson and Family as the middle part of his "Brilliancy Medley," and "Bill Cheathem," recorded by Arthur Smith and the Delmore Brothers; both are reissued on <i>Old-Time Fiddle Classics</i> (County 507).	A	4/4	2 (low-high, 4-4)	1-2-1r-2r-1	ABAC QRQS (abcd abef qrqs qrtu)	15		Bill Cheathem	Brilliancy Medley		Bill Cheatham [transcription]%reedt053			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's good.<br>HENRY REED: My arm is giving out on me.<br>ALAN JABBOUR: Is it tiring out?	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:10	afcreed	066					afc/afcreed/rs	audio
<13035b11>	Money Musk		Reed, Henry; fiddle	Henry Reed recorded "Money Musk" four times; it was a project of sorts for him to get it assembled in all its possible parts. The tune--or at least its first two strains--is a Scottish reel from the end of the eighteenth century. Francis O'Neill (<i>Irish Folk Music</i>, p. 204) mentions a set, entitled "Sir Archibald Grant of Moniemusk's Reel," published ca. 1800, and it is in the Northumbrian small pipes collection <i>Peacocks Tunes</i> (ca. 1801), p. 2. It is a standard feature of nineteenth-century tunebooks; see for example Knauff, <i>Virginia Reels</i> (1839), vol. 1, #1 "Killie Krankie"; <i>Winner's Collection of Music for the Violin</i>, p. 55 "Highland Fling"; <i>One Thousand Fiddle Tunes</i>, p. 31 "Money Musk--Reel" and p. 128 "Money Musk--Strathspey." Twentieth-century sets show the tune to be well-established in Northern American tradition; see for example Linscott, <i>Folk Songs of Old New England</i>, p. 98; Burchenal, <i>American Country-Dances, Volume I</i>, p. 55; Ford, <i>Traditional Music of America</i>, p. 52.<p>Henry Reed's version is a rarity in the Upper South, and it is all the more extraordinary for adding extra strains that turn the piece into a complex and challenging set piece. His first two strains are always the usual strains of "Money Musk," but following Upper South predilections he begins with the highest strain, and his second strain (the usual first strain) is distinctive in rising to the octave rather than descending to the lower tonic. His third and fourth strains (in AFS 13705b17) are unique to his performance. Note how at one point in that four-part performance he accidentally hits the open G and D-strings for the first note of the third strain, instead of using the first finger to play A and E; this may be an echo of his early years, when he tuned the violin EAEA for tunes in the key of A, thus playing those notes with an open string. In his first performance of "Money Musk" (here), he conflates the tune with another old British and American reel, "The Devil's Dream," well-known in the tunebooks and in Northern American tradition but less usual in the South, and in his second performance (AFS 13037a06) other third strains seem to compete for his imagination. His third performance (AFS 13705b16) contains three parts, and the final performance (AFS 13705b17) contains four.</p><p>A performance of "Money Musk" including four strains, learned from Henry Reed, appeared on the Hollow Rock String Band's first album (Kanawha 311), whence it has had some circulation among musicians in the old-time music revival.</p>	A	4/4	3 (high-low-(high), 2-2-(4)), where ( ) = first strain of "Devil's Dream"	1r-2r-(1r)-2r-1r-2r-1r-2, where ( ) = first strain of "Devil's Dream"	AB QR (ABAC) (aba'c qrqs (abcd abef)), where ( ) = first strain of "Devil's Dream"	8		Sir Archibald Grant of Moniemusk's Reel%Killie Krankie%Highland Fling	Devil's Dream	Money Musk [AFS 13037a06]%13037a06|Money Musk [AFS 13705b16]%13705b16|Money Musk [AFS 13705b17]%13705b17	Money Musk [transcription]%reedt054			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:11	afcreed	067					afc/afcreed/rs	audio
<13035b12>	[Betsy]	The title appeared in the fieldnotes as "Unnamed reel."	Reed, Henry; fiddle	Henry Reed on one occasion said that this tune's title was something about Betsy. The Hollow Rock String Band took that as a cue and assigned it the simple title "Betsy," which is used here. He played it on three occasions, suggesting that it occupied an important place in his repertory, and his comments suggested that it was a good dance tune. But no variant of it has been identified. It is one of a number of tunes unique to Henry Reed's repertory that are in A and have melodies with a distinctly minor cast, using a scale with lowered third (C) and seventh (G) degrees. The high strain, oscillating between a phrase centered on A and another centered on G, has a flow and phrasing somewhat similar to the high strain of Henry Reed's "Frosty Morning." On one occasion (AFS 13037a10) he introduced a major alteration to the high strain, leaping to a high C-sharp instead of B on the E-string.	A	4/4	2 (low-high, 4-4)	1r-2r-1	ABAC QRQC (abcd abef qrst qref)	9			Frosty Morning	Betsy [AFS 13037a10]%13037a10|[Betsy] [AFS 13703b03]%13703b03		Betsy [transcription]%reedt059		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: Tried to do that "Natchez," but I swear I can't.<br>ALAN JABBOUR: Yeah.<p>[after tune]<br>HENRY REED: You know that?<br>ALAN JABBOUR: What's that, now? That sounded awfully close to the "Frosty Morning" that you played before.<br>HENRY REED: No. It goes a whole lot like it, but it's a different piece.<br>ALAN JABBOUR: Yeah.</p>	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:12	afcreed	068					afc/afcreed/rs	audio
<13035b13>	In My Boyhood down on the Farm		Reed, Henry; fiddle	This old popular song is cast in what might be called the generic Scottish fashion, which was enormously popular in nineteenth-century America. The first strain has features such as large melodic leaps (an octave in one case), pentatonic-sounding melodic phrases, and use of the "Scotch snap" as a rhythmic device (a short and long note such as a sixteenth and dotted eighth, with the beat falling on the short note). The second strain characteristically begins on a chord other than the tonic (here the subdominant is implied), but the third and fourth phrases return to a recapitulation of the third and fourth phrases in the first strain. Many of Stephen Foster's songs follow this general recipe. Henry Reed often seemed to play such pieces when there were women in the audience, as if they were a class of musical pieces that women would find attractive. A similar air is the "Air in G" found elsewhere in this collection (AFS 13033b31); both my be compared to another popular nineteenth-century melody, "Within a Mile of Edinburgh Town."	G	4/4	2 (high-low, 8-8)	(2)-1-2	ABCD ABCE QRSD ABCE	9	Regular meter, lots of Scotch snaps.		[Air in G]%Within a Mile of Edinburgh Town					Airs%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:13	afcreed	069					afc/afcreed/rs	audio
<13035b14>	Bully of the Town		Reed, Henry; fiddle	This rag-like tune from the turn of the century turns up in both Black and White tradition in the Upper South. The bluesy six-bar phrase structure of the low strain is consistent in sets of the tune. "Bully of the Town" is a song as well as instrumental tune--a characteristic of African-American tradition--but it is often played simply as an instrumental piece, particularly among White musicians. An interesting North Carolina African-American set from 1956 is Mrs. Etta Baker's guitar version on the LP record <i>Instrumental Music of the Southern Appalachians</i> (Tradition TLP 1007).	G	4/4	2 (low-high, 6-8)	1-2-1r-2	ABCDEF QRSTUD'EF	10	Note blues-like six-bar strain.						Charles E. Trevathan, 1896/Will Carleton, words, and J. W. Cavanaugh, music, 1896	Rags%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: You call it . . . .<br>HENRY REED: "Bully of the Town."	Jabbour, Alan	1966/08/27	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 5B, AFS 13035B:14	afcreed	070					afc/afcreed/rs	audio
<13037a01>	[Breakdown in G]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed played this tune twice but had no name for it. This is a more complete version than the one performed on June 18, 1966 (AFS 13033b25). He seemed to have a little trouble sorting out its melodic features from those of some similar tunes in G, conflating it in both performances with melodies he had previously played. A related tune in his repertory, cast in the key of D, has the same first strain but an entirely different second strain; see "Quince Dillion's High-D Reel."	G	4/4	2 (low-high, 4-4)	2-(1)-(pause)-1r-2r-1r-2r	ABAC QRQS (abcd abef qrst qruf)	12			[Quince Dillion's High-D Reel]	[Breakdown in G] [AFS 13033b25]%13033b25	[Breakdown in G] [transcription]%reedt055	[Breakdown in G] [transcription]%reedt025		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: Plays right there.<p>[middle of performance]<br>HENRY REED: That ain't what we were playing.<br>ALAN JABBOUR: No, we got off . . . .</p><p>[after tune]<br>HENRY REED: That's a hard piece to play. My fingers don't . . . .</p>	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:01	afcreed	071					afc/afcreed/rs	audio
<13037a02>	Natchez [Christmas Morning]	The title appeared in the fieldnotes as "Natchez."	Reed, Henry; fiddle	This is not the usual "Natchez" (for which see AFS 13705a35), but another tune. The title became attached to the present tune by accident as Henry Reed continued to try to recollect the tune he usually called "Natchez." It is a tune in A with a consistently minorish cast that appears in sets widely but thinly distributed across the Upper South. There is no consistency to its title, and its low strain is variable and has something of the character of filler. An apparent nineteenth-century example is Coes, <i>George H. Coes' Album of Music</i>, p. 3 "Watermelon Jig." Twentieth-century examples are Morris, <i>Old Time Violin Melodies</i> #40 "The Lonesome Road"; Thede, <i>The Fiddle Book</i>, p. 76 "Dust in the Lane, or Cotton Pickin' Time"; and "Shelvin' Rock," a 1960s recording fiddled by French Carpenter on the LP record <i>Old-Time Music from Clay County, West Virginia</i> (Folk Promotions 11567-11568). Burl and Sherman Hammons of Pocahontas County, West Virginia, played a version that they called "Christmas Morning." Henry Reed, in searching for the title, once remarked that it might have been something about "Brown's Dream"; that is one of the names of another tune from the Upper South, represented in this collection under the title "Paddy on the Turnpike."	A	4/4	2 (high-low, 2-4)	(1)-2-1r-2-1r-2-1r-2-1r-2	AB QR (abac qrst qrsc)	15 (or 11 plus low A drone on G-string)		Christmas Morning%The Lonesome Road%Dust in the Lane%Cotton Pickin' Time%Shelvin' Rock	Brown's Dream%Paddy on the Turnpike		Natchez [Christmas Morning] [transcription]%reedt056			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: It was in A, I know that.<br>HENRY REED: I know.	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:02	afcreed	072					afc/afcreed/rs	audio
<13037a03>	Fisher's Hornpipe [in D]	The title appeared in the fieldnotes as "Fisher's Hornpipe."	Reed, Henry; fiddle	The hornpipe seems to have developed in the later eighteenth century as a solo fancy dance, with the dancer typically accompanied by a 4/4 tune played on the newly democratized violin at a somewhat slower tempo than a reel. (The hornpipe of earlier British tradition in 3/2 time is a different genre with the same name.) One of the earliest and most widely circulated of all modern hornpipe tunes is "Fisher's Hornpipe." Its name is sometimes taken as a tribute to fishermen as an occupational group, but in fact it is the name of the original composer; the tune first appears in J. Fishar's <i>Sixteen Cotillons, Twelve Allemands and Twelve Hornpipes</i> (London, ca. 1780), p. 48. Fishar was, as the title page explains, "Principal Dancer and Ballet Master at the Theatre Royal, Covent Garden."<p>By the beginning of the nineteenth century the tune was already appearing in manuscript tunebooks from America, and it has appeared in countless published tunebooks since then, often set in the key of F. <i>American Fiddle Tunes</i> (Library of Congress, AFS L62) contains further discussion and citations. Henry Reed's sets illustrate nicely the two keys in which traditional sets are usually played--either in G (AFS 13033b07) or in D (here). A comparison of the two illustrates how a tune varies to fit the range and fingering patterns dictated by the key. Yet another set in this collection, played on a C-harmonica (AFS 13705a49), is something of a harmonica <i>tour de force</i>.</p>	D	4/4	2 (low-high, 4-4)	1r-2r-1r-2	ABAC QRST (abbc abde qrq's tuvw)	14				Fisher's Hornpipe [in G] [AFS 13033b07]%13033b07|Fisher's Hornpipe [on harmonica] [AFS 13705a49]%13705a49	Fisher's Hornpipe [in D] [transcription]%reedt057	Fisher's Hornpipe [in G] [transcription]%reedt012		Hornpipes%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: That string don't sound good, does it?<br>ALAN JABBOUR: No.<p>[after tune]<br>ALAN JABBOUR: Who-o! That goes, doesn't it?</p>	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:03	afcreed	073					afc/afcreed/rs	audio
<13037a04>	Fragment	The title appeared in the fieldnotes as "Unnamed fragment."	Reed, Henry; fiddle		C/G	4/4	Fragmentary	Fragmentary	Fragmentary	Fragmentary								Airs%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: What was that?<br>HENRY REED: Nah, I never got it right. That's a piece I used to play, and I never got it right.	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:04	afcreed	074					afc/afcreed/rs	audio
<13037a05>	The Girl I Left behind Me		Reed, Henry; fiddle	"The Girl I Left behind Me" has a history in both the British Isles and America as a song and a march, but it has become an item of general repertory for many fiddlers. For typical examples on both sides of the Atlantic, see "A. Shattuck's Book [ca. 1801]," p. 18; Howe, <i>Leviathan Collection</i>, p. 10; Fillmore, <i>American Veteran Fifer</i>, #64; Linscott, <i>Folk Songs of Old New England</i>, pp. 79-80; Ford, <i>Traditional Music of America</i>, p. 116; Randolph, <i>Ozark Folksongs</i>, vol. 3, 352; Ruth, <i>Pioneer Western Folk Tunes</i>, p. 2. For sets with different titles but some similarity, see Joyce, <i>Old Irish Folk Music and Songs</i> (1909), #443, #648.<p>Henry Reed played "The Girl I Left behind Me" on this occasion in the usual melodic form for the tune. On another occasion, he played a very unusual version of the tune with an irregular phrase structure (AFS 13703b20). The sequence of tune associations that called forth that unusual version from Henry Reed's imagination is fascinating. The preceding song, "I've Got to Leave You," though quite different melodically, has an almost identical phrase within it that may have been the musical bridge or trigger leading to the unusual set of "The Girl I Left behind Me." Compare a different title in this collection, "I'm Going Away to Leave You, Going to Tennessee," which seems to be yet another scion of this cluster of musical ideas. Though we think of Henry Reed's tradition as a memory-based tradition that retains tunes as separate artifacts preserved in their entirety, examples such as this remind us of the musical flux that underlies tunes in the imagination and the capacity of the artist, either involuntarily or at will, to conflate or creatively reassemble the musical building blocks. Henry Reed's children, though in awe of his memory and his vast repertory, also believe that he made periodic alterations in tunes, sometimes from forgetting and sometimes from a conscious impulse to recast a tune in a fresh way.</p>	G	4/4	2 (high-low, 4-4)	2-1-2-1-2	ABAC QRAC (abcd abef qrqs abef)	10	Lack of repeats for strains make it sound like a long marching song rather than an ordinary instrumental tune.		I've Got to Leave You%I'm Going Away to Leave You, Going to Tennessee	The Girl I Left behind Me [AFS 13703b20]%13703b20	The Girl I Left behind Me [transcription]%reedt058			Breakdowns%Reels%Marches%Fiddle tunes%Instrumentals--fiddle	HENRY REED: That's "The Girl I Left . . . ."<br>ALAN JABBOUR: "The Girl I Left . . . ."	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:05	afcreed	075					afc/afcreed/rs	audio
<13037a06>	Money Musk		Reed, Henry; fiddle	Henry Reed recorded "Money Musk" four times; it was a project of sorts for him to get it assembled in all its possible parts. The tune--or at least its first two strains--is a Scottish reel from the end of the eighteenth century. Francis O'Neill (<i>Irish Folk Music</i>, p. 204) mentions a set, entitled "Sir Archibald Grant of Moniemusk's Reel," published ca. 1800, and it is in the Northumbrian small pipes collection <i>Peacocks Tunes</i> (ca. 1801), p. 2. It is a standard feature of nineteenth-century tunebooks; see for example Knauff, <i>Virginia Reels</i> (1839), vol. 1, #1 "Killie Krankie"; <i>Winner's Collection of Music for the Violin</i>, p. 55 "Highland Fling"; <i>One Thousand Fiddle Tunes</i>, p. 31 "Money Musk--Reel" and p. 128 "Money Musk--Strathspey." Twentieth-century sets show the tune to be well-established in Northern American tradition; see for example Linscott, <i>Folk Songs of Old New England</i>, p. 98; Burchenal, <i>American Country-Dances, Volume I</i>, p. 55; Ford, <i>Traditional Music of America</i>, p. 52.<p>Henry Reed's version is a rarity in the Upper South, and it is all the more extraordinary for adding extra strains that turn the piece into a complex and challenging set piece. His first two strains are always the usual strains of "Money Musk," but following Upper South predilections he begins with the highest strain, and his second strain (the usual first strain) is distinctive in rising to the octave rather than descending to the lower tonic. His third and fourth strains (in AFS 13705b17) are unique to his performance. Note how at one point in that four-part performance he accidentally hits the open G and D-strings for the first note of the third strain, instead of using the first finger to play A and E; this may be an echo of his early years, when he tuned the violin EAEA for tunes in the key of A, thus playing those notes with an open string. In his first performance of "Money Musk" (AFS 13035b11), he conflates the tune with another old British and American reel, "The Devil's Dream," well-known in the tunebooks and in Northern American tradition but less usual in the South, and in his second performance (here) other third strains seem to compete for his imagination. His third performance (AFS 13705b16) contains three parts, and the final performance (AFS 13705b17) contains four.</p><p>A performance of "Money Musk" including four strains, learned from Henry Reed, appeared on the Hollow Rock String Band's first album (Kanawha 311), whence it has had some circulation among musicians in the old-time music revival.</p>	A	4/4	3 (high-low-middle, 2-2-2)	1r-2r-1r-2r-3(?)-1-(pause)-1r-2r-3r-1r-3r	AB QR UV (aba'c qrqs uvus)	11	In three parts, with the third part not used in other renditions.	Sir Archibald Grant of Moniemusk's Reel%Killie Krankie%Highland Fling		Money Musk [AFS 13035b11]%13035b11|Money Musk [AFS 13705b16]%13705b16|Money Musk [AFS 13705b17]%13705b17		Money Musk [transcription]%reedt054		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[middle of performance]<br>HENRY REED: My fiddle bow's too loose . . . . <p>[later]<br>HENRY REED: Now I've got it.<br>ALAN JABBOUR: What do you call that?<br>HENRY REED: Yeah, it's hard to play it.</p><p>[after tune]<br>ALAN JABBOUR: And you call that what?</p>	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:06	afcreed	076					afc/afcreed/rs	audio
<13037a07>	[Waltz in C]	The title appeared in the fieldnotes as "Waltz."	Reed, Henry; fiddle	Henry Reed said that he learned this tune from Henry Ford's string band. Henry Ford's Orchestra did indeed make some records in the 1920s, but we have not been able to locate the source for this tune.	C	3/4	3 (low-high-middle, 16-16-16)	1r-2-3-1	ABAC QRQ'S UVUC (abcd abef qrqs qr'tf uvwx uvef)	17	Extended fourth finger on both E and A strings.			[Waltz in C] [AFS 13033b12]%13033b12				Waltzes%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: Did [unintelligible]?<br>HENRY REED: No, [unintelligible], he didn't play it.	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:07	afcreed	077					afc/afcreed/rs	audio
<13037a08>	[West Virginia Gals]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	The tune appears to be an instrumental version of a song known in older Appalachian tradition (see Sharp, <i>English Folk Songs from the Southern Appalachians</i>, vol. 2, 6, #75-A, "If You Want to Go A-Courting") and recorded on early hillbilly records. Though Henry Reed gave the tune no title, the Hollow Rock String Band recorded it as "West Virginia Gals" (Rounder 0024), the title which is adopted here. The song typically repeats the final phrase, making a five-phrase tune. The high strain of the fiddle tune corresponds to the song, though it eliminates the repeated fourth phrase, and the low strain is a kind of arpeggiated filler.	A	4/4	2 (high-low, 4-4)	2-1r-2	AAAB QRQ'B' (abab abcd qrst qr'c'd')	15		West Virginia Girls%If You Want to Go A-Courting		[West Virginia Gals] [AFS 13034b29]%13034b29		[West Virginia Gals] [transcription]%reedt001		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's a good tune. You did play that for me once--the first time I was here. I, and I really like that tune.<br>HENRY REED: Yeah.<br>ALAN JABBOUR: What's the name of it?	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:08	afcreed	078					afc/afcreed/rs	audio
<13037a09>	Frosty Morning		Reed, Henry; fiddle	"Frosty Morning" sounds like a classic fiddle tune of the old frontier, but no clear variants of it can be cited from elsewhere. The title crops up elsewhere (sometimes as "Cold Frosty Morning"), but not for this tune. Henry Reed played it twice, and both times he began it with the high strain, showing the predilection of fiddlers in the Upper South for beginning their tunes with the upper strain, often at or near the top of the tune's compass. In both sets of "Frosty Morning" he tended to conflate the high strain with other tunes--once with the high strain of the tune presented elsewhere in this collection under the title "Betsy," and, on this occasion, with the low strain of "West Virginia Gals," which he had just played. On yet another occasion (AFS 13037a16), he began with another tune, the "Breakdown in A," then conflated  it with "Frosty Morning."	A	4/4	2 (high-low, 4-4)	1-(conflation)-2-(pause)-1r-2r-1r-2	ABCD QRQD (abcd efgh qrst qrgh)	15	A little different from previous performance of "Frosty Morning." Henry Reed commented, "It's got a lonesome sort of sound."		[West Virginia Gals]	Frosty Morning [AFS 13035a34]%13035a34|[Breakdown in A/Frosty Morning] [AFS 13037a16]%13037a16	Frosty Morning [transcription]%reedt049	Frosty Morning [transcription]%reedt035|[Breakdown in A/Frosty Morning] [transcription]%reedt062		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: That's the way she goes.<br>ALAN JABBOUR: Yeah. Go ahead. Play it through again. I really like that one.<br>HENRY REED: Yeah.	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:09	afcreed	079					afc/afcreed/rs	audio
<13037a10>	Betsy	The title appeared in the fieldnotes as "Betsy...."	Reed, Henry; fiddle	Henry Reed played this tune on three occasions, suggesting that it occupied an important place in his repertory, and his comments suggested that it was a good dance tune. But no variant of it has been identified. It is one of a number of tunes unique to Henry Reed's repertory that are in A and have melodies with a distinctly minor cast, using a scale with lowered third (C) and seventh (G) degrees. The high strain, oscillating between a phrase centered on A and another centered on G, has a flow and phrasing somewhat similar to the high strain of Henry Reed's "Frosty Morning." In this performance, he introduced a major alteration to the high strain, leaping to a high C-sharp instead of B on the E-string.	A	4/4	2 (low-high, 4-4)	1r-2r-1(pause)-1r-2r-1r-2	ABAC QRQC (abcd abef qrst qref)	10			Frosty Morning	[Betsy] [AFS 13035b12]%13035b12|[Betsy] [AFS 13703b03]%13703b03	Betsy [transcription]%reedt059			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: They used to play that for them to square dance.<br>ALAN JABBOUR: What's the name of that?	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:10	afcreed	080					afc/afcreed/rs	audio
<13037a11>	Lost Indian		Reed, Henry; fiddle	"Lost Indian" is not traceable as a tune, because it is not a typical British-American tune in the first place. It is imitative, and what it purports to imitate is a call of an American Indian--perhaps a communication call for use in the woods. Songs or tunes that imitate or evoke American Indians are long established in the culture of the Upper South; see, for example, "Indian War Whoop" in Knauff's <i>Virginia Reels</i> (1839). Various other songs or tunes titled "Lost Indian" can be encountered in both print and recorded sources in the twentieth century; see for example Ford, <i>Traditional Music of America</i>, p. 124. Henry Reed played this tune because he had been discussing the practice of tuning the fiddle in different tunings, and the fiddle had been placed in the tuning C#AEA. He had abandoned the practice of retuning the fiddle at some point as a young man, and though he found ways to convert most tunes to standard tuning that had been previously played in other tunings, a few specialty pieces such as "Lost Indian" seem to have been lost along the way. But when presented with this tuning, he ran his fingers over the strings to remind himself of the fingering patterns, and the tuning literally reminded him of the tune.	A	4/4 (but not steady in its beat)	3 (middle-middle-middle, 2-2-2)	1r-2r-3	AB QB UB (aba'c a"ra'c uva'c)	11 (7 plus drone notes)					Lost Indian [transcription]%reedt066			Airs%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: That, that ain't right yet.<br>ALAN JABBOUR: The tuning?<br>HENRY REED: No, this is tuned wrong.<p>[after tune]<br>HENRY REED: [Laughs]<br>ALAN JABBOUR: That's the "Lost Indian"?<br>HENRY REED: Yeah.</p>	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:11	afcreed	081					afc/afcreed/rs	audio
<13037a12>	Bonaparte's Retreat		Reed, Henry; fiddle	"Bonaparte's Retreat" is a well-known march among fiddlers of the Upper South, and by now it has moved into general circulation as a specialty fiddle tune. The tune is a scion of an old Irish air, "The Eagle's Whistle." Bayard, <i>Hill Country Tunes</i>, #87 gives a Pennsylvania set of "Bonaparte's Retreat" and excellent comparative notes. Petrie, <i>The Complete Collection of Irish Music</i>, #305 and #306 are good Irish examples, and the <i>Journal of the Folk Song Society</i> 2 (1905-6), 88-89 provides two song versions of "The Island of St. Helena" ("Boney's in St. Helena") using the same tune, so clearly the tune was associated with Bonaparte in the British Isles as well as in the American South. For American sets, both published and recorded, see the notes to the performance by Kentuckian W. H. Stepp on the documentary Library of Congress recording <i>American Fiddle Tunes</i> (Library of Congress, AFS L62). The Stepp recording has a special niche in American musical history, since it became the basis for the "Hoedown" in Aaron Copland's music for <i>Rodeo</i> (see "Copland's Kentucky Muse" in <i>Civilization</i> (June/July 1999: 110)).<p>The tuning Henry Reed uses is the old special tuning favored in the Upper South for "Bonaparte's Retreat," transcribed in this collection as EBEE (high to low) and often described in fiddling literature as DADD. Henry Reed's performance is actually tuned somewhere between E and D by current standards. Like Stepp, he uses the lowest string exclusively as a drone. He played this tune because he had been discussing the practice of tuning the fiddle in different tunings, and the fiddle had been placed in the tuning EBEE. He had abandoned the practice of retuning the fiddle at some point as a young man, and though he found ways to convert most tunes to standard tuning that had been previously played in other tunings, a few specialty pieces such as "Bonaparte's Retreat" seem to have been lost along the way. During this session he was experimenting with recovering some of these old specialty pieces.</p>	E	4/4	3 (low-high-high octave, 4-4-4)	1r-2r-3r-2r-1	ABCD QRQC A"B"A"D" (abcd aeb'f qrst qrb'f a"b"c"d" a"b"gf')	11 (18 counting lower drone)	Tuned E-B-E'-E"	The Eagle's Whistle%The Island of St. Helena%Boney's in St. Helena			Bonaparte's Retreat [transcription]%reedt067			Marches%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's it.<br>HENRY REED: I can't . . . .	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:12	afcreed	082					afc/afcreed/rs	audio
<13037a13>	The Route		Reed, Henry; fiddle	"The Route" has a well-established history in Virginia, having appeared in Knauff's <i>Virginia Reels</i> (1839) under the title "Colonel Crocket: A Virginia Reel." It seems not to be known in the North or the British Isles, but it turns up here and there in areas affected by westward migration from Virginia, such as "Jenny on the Railroad" by the Carter Brothers and Son (Vocalion 5297), from Mississippi, and Hamblen, <i>A Collection of Violin Tunes Popular During the Early 1800's</i>, p. 39, "The Jolly Blacksmith (She wouldn't come at all)," from Texas by way of Indiana but ultimately from family tradition in Lee County, Virginia. Another West Virginia set is Burl Hammons's "The Route," in <i>The Hammons Family</i> (Library of Congress, AFS L65-66), which includes additional citations.<p>This fiddle tune is associated with some vulgar jingles. It is of a form that appears occasionally in Henry Reed's repertory, where the strains seem to be half the usual length but are often varied on repetition (compare, for example, his "Paddy on the Turnpike"). Henry Reed played "The Route" twice in his usual fashion, learned from an old man in Monroe County, West Virginia, and once (AFS 13033b30) in a manner he described as like his uncle's version of the tune. Comparison of the two is interesting, for it reveals how conscious he was of the principle and practice of variation in tradition.</p>	A	4/4	2 (low-high, 4-4)	1-2-1	ABAB QRQS (abcd abcd qrsd qrtd)	11	Note that he introduces into this single set some variants he previously described as different versions from different people.	Colonel Crocket%Jenny on the Railroad%The Jolly Blacksmith (She wouldn't come at all)		The Route [AFS 13033b29]%13033b29|The Route [AFS 13033b30]%13033b30		The Route [transcription]%reedt029|The Route [transcription]%reedt030		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: Now you can play that.<br>ALAN JABBOUR: Yeah.	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:13	afcreed	083					afc/afcreed/rs	audio
<13037a14>	Sweet Sunny South		Reed, Henry; fiddle	"Sweet Sunny South" is a sentimental song about the South that seems to have struck the right chord with Southerners, for it has turned up often in the repertory of traditional singers in the twentieth century. Perhaps what made it compelling is the combination of the sentiments and the beautiful old folktune through which they are expressed. The tune is akin to the older "Hicks's Farewell" tune that appears in nineteenth-century shape-note hymnals. For twentieth-century sets, see Sharp, <i>English Folk Songs from the Southern Appalachians</i>, vol. 2, 262 (#186 "The Sunny South"), vol. 2, 142-143 (#122 "Hicks's Farewell"). A well-known hillbilly recording of the song and tune from the 1920s is by Charlie Poole and the North Carolina Ramblers, reissued on County 505.	A	4/4	1 (8)	1-1	ABCD (abcdcbef)	7		The Sunny South%I Remember You, Love, in My Prayers	Hicks's Farewell		Sweet Sunny South [transcription]%reedt060			Airs%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's great. No, you didn't play that.	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:14	afcreed	084					afc/afcreed/rs	audio
<13037a15>	House Carpenter		Reed, Henry; fiddle	This is an old traditional ballad widely circulated in the British Isles and the United States (see Child #243 "James Harris (The Daemon Lover")). Henry Reed's tune is the preferred tune for the ballad in the Upper South, and indeed it is probably the favored melody throughout the ballad's range; see Bronson, <i>The Traditional Tunes of the Child Ballads</i>, for a full survey of variant versions. The repetition of the last two phrases, which Henry Reed reproduces here, occurs with some frequency in sung versions of the ballad. His style here is typical of the older fiddle style for playing airs, and it captures the looser rhythm of unaccompanied singing as well as some of the details of vocal ornamentation.	A	4/4	1 (12)	1-1-1-1 (last time interrupted)	ABCDCD (abcdefghefgh)	9	Third and fourth phrases of tune (and presumably the text) repeated.	James Harris%The Daemon Lover			House Carpenter [transcription]%reedt061			Airs%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:15	afcreed	085					afc/afcreed/rs	audio
<13037a16>	[Breakdown in A/Frosty Morning]	The title appeared in the fieldnotes as "Unnamed--contam. w. 'Frosty Morning'."	Reed, Henry; fiddle%Reed, Watha; guitar	This performance combines a strain of an unnamed breakdown in A with "Frosty Morning," which is performed elsewhere in this collection. Henry Reed said that this tune came from East Virginia. Alan Jabbour began playing the initial low strain heard here with the high strain of Henry Reed's tune "Betsy," so that combination of strains by now has a life of its own in the old-time music revival. What Henry Reed actually would have used as a high strain is not knowable.	A	4/4	3 (medley of two pieces)	low strain of "Breakdown in A," then low and high strain of "Frosty Morning"	ABCD (abcd a'efg)--ABAC QRST (abcd abef qrst uvef)	9 + 15			Frosty Morning	Frosty Morning [AFS 13035a34]%13035a34|Frosty Morning [AFS 13037a09]%13037a09	[Breakdown in A/Frosty Morning] [transcription]%reedt062	Frosty Morning [transcription]%reedt035|Frosty Morning [transcription]%reedt049		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and guitar		Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:16	afcreed	086					afc/afcreed/rs	audio
<13037a17>	Cluck Old Hen		Reed, Henry; fiddle%Reed, Watha; guitar	"Cluck Old Hen" is a well-known tune and song through the Appalachian South, quite distinct from another barnyard evocation, "Cackling Hen," which is played in G. The song "Cluck Old Hen" consists of a series of playful verses. As an instrumental tune, it is popular on both fiddle and banjo. On the fiddle, one of the tune's special features is the "cluck" made by left-hand picking of the strings. In Henry Reed's second performance (AFS 13703b26), the "cluck" is the open E-string, though other fiddlers use both the E and A-strings, or even the E, A, and D-strings. In this, his first performance, he does not do the left-hand picking, but the set shows interesting variation among the repetitions of the second strain. It seems clear here that the variation is a matter of conscious creative modification, not unconscious changes.	A	4/4	2 (high-low, 2-2)	1r-2r-1r-2r-1r-2r-1r-2r	AB QR (aba'c qrq'c)	10				Cluck Old Hen [AFS 13703b26]%13703b26	Cluck Old Hen [transcription]%reedt063			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and guitar	HENRY REED: You know that one?	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:17	afcreed	087					afc/afcreed/rs	audio
<13037a18>	Kitchen Girl		Reed, Henry; fiddle%Reed, Watha; guitar	"Kitchen Girl" is a striking tune, but though other tunes can be found with a general resemblance, no clear variant has been found. It was recorded by the Hollow Rock String Band (Kanawha 311) in a version learned from Henry Reed, and from there the tune has found its way into the repertories of other fiddlers.	A	4/4	2 (low-high, 4-4)	1r-2r-1r-2r-1	ABAC QRQS (abcd abef qrst qruv)	11				Kitchen Girl [AFS 13033b17]%13033b17		Kitchen Girl [transcription]%reedt019		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and guitar	HENRY REED: You know that one don't you?<br>WATHA REED: Yeah.	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:18	afcreed	088					afc/afcreed/rs	audio
<13037a19>	Peekaboo	The title appeared in the fieldnotes as "Pickyboo."	Reed, Henry; fiddle%Reed, Watha; guitar	"Peekaboo" is a well-known waltz among American fiddlers. It was published in 1883 by W. J. Scanlan as a sheet music edition, entitled <i>Peek-a-Boo Waltz</i>. Twentieth-century examples include Adam, <i>Old Time Fiddlers' Favorite Barn Dance Tunes</i>, #39; Owens, <i>American Square Dances</i>, p. 34; Ruth, <i>Pioneer Western Folk Tunes</i>, p. 48. Most sets consist of the first two strains that Henry Reed plays here, but he adds a third strain. The tempo is lively, as is usual for waltzes in the playing of older fiddlers such as Henry Reed--not quite as fast as Viennese waltzes, perhaps, but noticeably faster than the slow waltz tempo of modern country music.	D	3/4	3 (middle-middle-middle, 16-16-16)	1-2-3-1r-2	ABACABDE QRSTQRDE UVWXUVYE	10 (13 including the high D ending on E-string)		Peekaboo Waltz%Peek-a-Boo Waltz					W. J. Scanlan, 1883	Waltzes%Fiddle tunes%Instrumentals--fiddle and guitar		Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:19	afcreed	089					afc/afcreed/rs	audio
<13037a20>	Ducks in the Pond		Reed, Henry; fiddle%Reed, Watha; guitar	This tune seems to be a variant of "Lady of the Lake," which is also a name used for a dance. Note the possible connection of "lake/pond" in the two titles. "Lady of the Lake" appears in Knauff's <i>Virginia Reels</i> (1839), vol. 3, #7, which seems to situate it firmly in early nineteenth-century Virginia tradition, and Winston Wilkinson recorded a version before 1936 from J. H. Chisholm of Greenwood, Virginia (see Wilkinson, "Virginia Dance Tunes," p. 10). Both these versions begin with the low strain, but Henry Reed's set recasts the tune with the high strain first, reflecting the widespread taste in the Appalachian South for instrumental tunes that begin with the high strain.	A	4/4	2 (high-low, 4-4)	1r-2r	ABA'C QRQ'C (abcd ab'ef qbrr qb'ef)	15 (11 plus low A)			Lady of the Lake	Ducks in the Pond [AFS 13034b30]%13034b30		Ducks in the Pond [transcription]%reedt002		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and guitar		Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:20	afcreed	090					afc/afcreed/rs	audio
<13037a21>	West Virginia Rag		Reed, Henry; fiddle%Reed, Watha; guitar	This fine country rag is in the spirit of and follows a chord progression similar to other rags. But it is not possible to cite a clear variant. The Hollow Rock String Band learned it from Henry Reed and recorded it (Rounder 0024), giving the tune some renewed circulation among contemporary fiddlers.	G	4/4	2 (high-low, 8-4)	1-2r-1-2r-1-2	ABCD QR (abac adef qrqs)	12								Rags%Fiddle tunes%Instrumentals--fiddle and guitar	HENRY REED: I don't know what . . . .<br>WATHA REED: That's it. That's good, [unintelligible].<br>HENRY REED: I don't know what it is, but I can play it.	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:21	afcreed	091					afc/afcreed/rs	audio
<13037a22>	Alabama Girls Give the Fiddler a Dram		Reed, Henry; fiddle%Reed, Watha; guitar	Henry Reed did not name this tune when he first played it (AFS 13035b03), and the second time he called it "Alabama Girls Give the Fiddler a Dram." The tune is not widespread, but it has some distribution in Virginia and West Virginia. See for example the hillbilly record by Blue Ridge fiddler Kahle Brewer entitled "West Virginia Highway" (Victor 20237), and the set entitled "Ebenezer" played by West Virginian W. Franklin George on <i>31st Annual Old Fiddlers Convention, Galax, Virginia</i> (Justice JLP 1002, 1966). The tune has the feel of a country rag; note in the first strain the implied shift from tonic to dominant at the end of the second phrase, then back to tonic at the end of the fourth phrase. It shares some melodic elements with the late nineteenth-century popular tune "Climbing up the Golden Stairs."	G	4/4	2 (low-high, 4-4)	1r-2r	ABCD QQRD (aabc ddef qrqr ssef)	10		West Virginia Highway%Ebenezer	Climbing up the Golden Stairs	[Alabama Girls Give the Fiddler a Dram] [AFS 13035b03]%13035b03		[Alabama Girls Give the Fiddler a Dram] [transcription]%reedt047		Rags%Fiddle tunes%Instrumentals--fiddle and guitar		Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:22	afcreed	092					afc/afcreed/rs	audio
<13037a23>	Lake County Blues		Reed, Henry; fiddle	This should properly be titled "Leake County Blues," the title under which it was recorded by the Leake County Revelers in 1930. Leake County is in Mississippi. The recording must have struck a responsive chord among fiddlers, for the tune is now widely diffused across and beyond the South. The blues as an instrumental genre was already embedded in the playing of younger White fiddlers by the 1920s, and tunes such as this were as popular as rags had been in the preceding generation. They are one more piece of evidence of the continuing cultural interchange between Blacks and Whites in the creation and performance of Southern music.	D	4/4	2 (high-low, 4-4)	1-(spoken)-1r-2	ABCD QRST (aab ccde qrst uvw)	15		Leake County Blues						Blues%Fiddle tunes%Instrumentals--fiddle	[middle of performance]<br>HENRY REED: You ever hear the "Lake County Blues"?<br>ALAN JABBOUR: Uh-uh.<br>HENRY REED: [Laughs]<p>[after tune]<br>HENRY REED: That doggone bass is just over there so far I can't get it.</p>	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:23	afcreed	093					afc/afcreed/rs	audio
<13037a24>	Haste to the Wedding (fragment)		Reed, Henry; fiddle	"Haste to the Wedding" is a vintage British and American tune, of eighteenth-century origin and widely distributed in most of the English-speaking world, where it has been used both as a jig for dancing and as a quickstep for marching. An extensive discussion and comparative citations are in the notes to <i>American Fiddle Tunes</i> (Library of Congress, AFS L62). The tune is rare in the American South, however, and Henry Reed's set is a tentative and dimly remembered fragment.	D	6/8	1 + fragment of second strain (low-high, 8-?)	1 + fragment	ABAC (abac abde q???)	12	Halting, as if remembering as he plays.							Jigs%Quicksteps%Fiddle tunes%Instrumentals--fiddle	HENRY REED: That's the way it . . . .	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:24	afcreed	094					afc/afcreed/rs	audio
<13037a25>	The Campbells Are Coming		Reed, Henry; fiddle	"The Campbells Are Coming" is well-known in the printed tune collections, appearing in Johnson, <i>Scots Musical Museum</i> (1853 edition), vol. 2, 309 (#299) and in early American manuscript collections such as "Henry Beck's Flute Book [1786]" and "A. Shattuck's Book [ca. 1801]," as well as numerous nineteenth-century collections and twentieth-century volumes such as Ford, <i>Traditional Music of America</i>, p. 110, and Ryan, <i>Dances of Our Pioneers</i>, p. 8.  But it seems not to have had much Southern circulation. Henry Reed struggled to recall this tune, which he declared was a good piece. He seemed to conclude that it had an addition part in the key of D, but he could not recall it clearly. Most published sets are in G and have two strains. A common alternate title for the tune is "Hob or Nob." Henry Reed thought that this was a tune of the War of 1812.	G/D	6/8	2 (fragmentary)	Fragmentary	Fragmentary	Fragmentary		Hob or Nob						Jigs%Quicksteps%Fiddle tunes%Instrumentals--fiddle	[middle of performance]<br>HENRY REED: I never got it all.<br>ALAN JABBOUR: Yeah.<p>[after next strain]<br>HENRY REED: That's the way she goes.<br>ALAN JABBOUR: Yeah.</p><p>[later]<br>HENRY REED: There's another part to that.</p><p>[after tune]<br>HENRY REED: It's been so long I nearly forgot that. That's a good piece.</p>	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:25	afcreed	095					afc/afcreed/rs	audio
<13037a26>	[Sandy River Belle]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed gave no name for this fine old tune. It was played along the Blue Ridge, and there was a 1928 hillbilly record of it with the name "Sandy River Belle," played by Blue Ridge fiddler Joseph "Dad" Blackard (Victor 21130). Modern Blue Ridge fiddler Buddy Pendleton, who learned it from Dad Blackard, his great-uncle, plays it on <i>Virginia Breakdown</i> (County 705). Another early recording was by Dad Massey and His Family, from near Roswell, New Mexico, as part of a medley called "Tugboat and Pineywoods." Oscar Wright of Princeton, West Virginia, also played it but called it "Stony Ridge Stomp." The title may be the name of a boat, for steamboats often bore names such as "Sandy River Belle."	G	4/4	2 (high-low, 4-4)	1r-2r-1r-2	ABAC QRQC (abac abde qrqs qrde)	12		Stony Ridge Stomp	Tugboat and Pineywoods		[Sandy River Belle] [transcription]%reedt064			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: [Laughs]<br>HENRY REED: I don't know when I've ever played that.<br>ALAN JABBOUR: What's the name of it?	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:26	afcreed	096					afc/afcreed/rs	audio
<13037a27>	Shooting Creek		Reed, Henry; fiddle	Shooting Creek rises at the Blue Ridge, along the Floyd County-Franklin County line, and flows down the eastern flank of the mountain into Franklin County in the Virginia Piedmont. The hollow along Shooting Creek had a reputation for moonshining in the earlier twentieth century. Another tune entitled "Shooting Creek" has been recorded along the creek itself and in other locales in Virginia and West Virginia. Both strains of this tune end on the fifth degree; see Person, <i>A Collection of Popular Airs</i> (1889), p. 15, "Walk Around"; J. W. (Peg) Hatcher, Ferrum, Virginia, AFS 2740a2; Oscar Wright, Princeton, West Virginia, AFS 13034b19. Henry Reed's "Shooting Creek" is similar enough to be compared to the other tune, but different enough that it cannot be flatly called a variant. His two sets of "Shooting Creek" vary between themselves; this one ends by descending to a low D on the D-string in the second strain, while the other (AFS 13037b01) ends the second strain on a D on the A-string, an octave higher. The tune is of that simpler variety, lending itself to performance on the banjo, that seems especially popular with musicians along the Blue Ridge.	D	4/4	2 (high-low, 2-2)	(2)-(spoken)-1r-2r-1r-2r	AB QR (aba'c qrqs)	12	This and the next cut [AFS 13037b01] are both "Shooting Creek," but there are interesting differences between the two performances, particularly in the second strain.		Walk Around	Shooting Creek [AFS 13037b01]%13037b01	Shooting Creek [transcription]%reedt065			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: Is that the way he played it?<br>ALAN JABBOUR: No. Go ahead, play that again.<br>HENRY REED: That's "Shooting Creek."<br>ALAN JABBOUR: Let's hear it. No, he didn't play it like that at all. Go ahead.<br>NETTIE REED: . . . recorder on, Henry.<br>HENRY REED: Huh?<br>NETTIE REED: Go ahead and play . . . recording.<br>HENRY REED: Do what?<br>ALAN JABBOUR: No, that's alright.<p>[after tune]<br>HENRY REED: Well . . . .<br>ALAN JABBOUR: I'll be darn.</p>	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7A, AFS 13037A:27	afcreed	097					afc/afcreed/rs	audio
<13037b01>	Shooting Creek	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Shooting Creek rises at the Blue Ridge, along the Floyd County-Franklin County line, and flows down the eastern flank of the mountain into Franklin County in the Virginia Piedmont. The hollow along Shooting Creek had a reputation for moonshining in the earlier twentieth century. Another tune entitled "Shooting Creek" has been recorded along the creek itself and in other locales in Virginia and West Virginia. Both strains of this tune end on the fifth degree; see Person, <i>A Collection of Popular Airs</i> (1889), p. 15, "Walk Around"; J. W. (Peg) Hatcher, Ferrum, Virginia, AFS 2740a2; Oscar Wright, Princeton, West Virginia, AFS 13034b19. Henry Reed's "Shooting Creek" is similar enough to be compared to the other tune, but different enough that it cannot be flatly called a variant. His two sets of "Shooting Creek" vary between themselves; one (AFS 13037a27) ends by descending to a low D on the D-string in the second strain, while this one ends the second strain on a D on the A-string, an octave higher. The tune is of that simpler variety, lending itself to performance on the banjo, that seems especially popular with musicians along the Blue Ridge.	D	4/4	2 (high-low, 2-2)	1r-2r-1r-2r-1r-2r-1r-2r	AB QR (aba'c qrqs)	10	This and the preceding cut [AFS 13037a27] are both "Shooting Creek," but there are interesting differences between the two performances, particularly in the second strain.		Walk Around	Shooting Creek [AFS 13037a27]%13037a27		Shooting Creek [transcription]%reedt065		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7B, AFS 13037B:01	afcreed	098					afc/afcreed/rs	audio
<13037b02>	[Rag in C]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed offered no title for this ragtime tune in C. Its first strain characteristically runs through a series of short arpeggiated phrases that imply a chord progression (A7-D7-G-C), while its second phrase has an opening gambit in F before resolving back through G to C. Both strains are composed of eight bars broken down into two similar four-bar sections, the first ending on the dominant and the second on the tonic. The first strain ends with a shortened, one-note phrase. Compare Henry Reed's "Ragged Bill," a quite different tune that has structural characteristics similar to this rag. No other versions of this tune have been located.	C	4/4	2 (high-low, 8-8)	1-2	ABAC QBQC (abcd abce qqcd qqce)	12								Rags%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: So what's the name of that?<br>HENRY REED: I forget.	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5031 reel 7B, AFS 13037B:02	afcreed	099					afc/afcreed/rs	audio
<13037b03>	[San Antonio Rose] <i>[Audio not reproduced due to copyright restrictions]</i>	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	The audio is not reproduced here due to copyright restrictions. This is a fiddle version of the popular song "San Antonio Rose," originally recorded by Bob Wills and His Texas Playboys, that has become a Western Swing and country classic especially popular in fiddling circles.	C/G	4/4	2 (low-high, 8-8)	1-2-(cuts off)	ABAB' QRRS	11							Bob Wills, words & music, 1940; renewed	Airs%Fiddle tunes%Instrumentals--fiddle	HENRY REED: No, that's right, I can play it.	Jabbour, Alan	1966/11/26	Reed family home, Glen Lyn, Virginia (Giles County)		LWO 5031 reel 7B, AFS 13037B:03	afcreed	100					afc/afcreed/rs	audio
<13703b01>	Rye Straw		Reed, Henry; fiddle	The title "Rye Straw" is a shortened form of "Dog in the Rye Straw," which in turn is bowdlerized, for it refers to a cycle of vulgar jingles that conjure up a dog excreting fantastical things. The piece appears in at least one nineteenth-century collection, <i>George H. Coes' Album of Music</i>, p. 51, entitled "A Whoop from Arkansas."  Part of the humor seems to reside in coy titles that allude to the true meaning while appearing innocent enough to the uninitiated. Henry Reed himself gave an alternative title in this vein, "The Dog in Difficulty."  Hence Morris, <i>Old Time Violin Melodies</i>, #28 "Acrobat"; Thede, <i>The Fiddle Book</i>, p. 98 "Preacher's Favorite," or "Ladies Fancy"; Archive of Folk Culture AFS 3047b3 "The Joke on the Puppet," played by Stephen B. Tucker, Meridian, Mississippi (probably an error for "Puppy"); AFS 3044a2 "Alabama Waltz," played by Charles Long with Sam Neal beating on straw, near Quitman, Mississippi; AFS 2634a2 "<a href="/cgi-bin/query/r?ammem/lomaxbib:@field(DOCID+@lit(l2634a2))">Unfortunate Puppy</a>," played by Elmo Newcomer, Bandera County, Texas. Published recorded sets include "Run Boy Run!" on <i>North Carolina Boys</i>, played by Gray Craig, Kinney Rorer, and Doug Rorer (Leader LEA 4040).<p>A characteristic oddity of the tune is the way it usually oscillates between keys, usually A and D, so that one is often uncertain which key is the true tonal center. In this respect, though it has the A-D oscillation, Henry Reed stays more closely anchored in A than some sets. Versions of the tune often have three strains, and Henry Reed's third strain is a recasting in the upper octave of the first strain. His set has an interesting detail not found in most sets: it reaches ("squeals," perhaps) up to the high C-sharp on the E-string.</p>	A	4/4	3 (low-high-high octave, 4-4-4)	1-2-3-2-1-2-3-2-1	ABAC QRQ'S UVUV (abac abad qrqs qr'td uvud uvud)	13		Dog in the Rye Straw%The Dog in Difficulty%A Whoop from Arkansas%Acrobat%Preacher's Favorite%Ladies Fancy%The Joke on the Puppet (Puppy)%Alabama Waltz%Unfortunate Puppy%Run Boy Run!			Rye Straw [transcription]%reedt068			Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: Do you want to play on your own fiddle? Maybe it would be easier for you.<br>HENRY REED: No, it don't make any difference.<br>HENRY REED: What do you want me to try to play?<br>ALAN JABBOUR: "Rye Straw." Want to do the "Rye Straw"?<br>HENRY REED: Didn't I play that for you once?<br>ALAN JABBOUR: Not on the tape recorder, no.	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:01	afcreed	101					afc/afcreed/rs	audio
<13703b02>	[Breakdown in A]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed had no name for this tune, and no clear variants of it have been found. But he played it on two different occasions, so it must have been a standard feature of his repertory. It is metrically irregular, having a two-bar low strain and a three-bar high strain. He reversed the order of the strains on the two occasions when he played this piece. Its use of the first-finger double-stop A-E on the G and D strings is a trait that appears elsewhere in his playing; compare, for example, "George Booker." The fact that these notes are played as a double-stop, and that he never plays the open G-string, probably indicates that it was originally conceived for a fiddle tuned up E-A-E-A for tunes in the key of A; in such a situation the double-stop would actually be the two low strings played as open strings.	A	4/4	2 (low-high, 2-3)	1r-2r-1r-2r-1r-2r-1r	AB QQ'R (abac qrq'rsb)	15				[Breakdown in A] [AFS 13705a46]%13705a46				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: Boy, that's a good tune. You don't remember the name of it?<br>HENRY REED: No. No, I don't.	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:02	afcreed	102					afc/afcreed/rs	audio
<13703b03>	[Betsy]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed on one occasion said that this tune's title was something about Betsy. The Hollow Rock String Band took that as a cue and assigned it the simple title "Betsy," which is used here. He played it on three occasions, suggesting that it occupied an important place in his repertory, and his comments suggested that it was a good dance tune. But no variant of it has been identified. It is one of a number of tunes unique to Henry Reed's repertory that are in A and have melodies with a distinctly minor cast, using a scale with lowered third (C) and seventh (G) degrees. The high strain, oscillating between a phrase centered on A and another centered on G, has a flow and phrasing somewhat similar to the high strain of Henry Reed's "Frosty Morning." On one occasion (AFS 13037a10) he introduced a major alteration to the high strain, leaping to a high C-sharp instead of B on the E-string.	A	4/4	2 (low-high, 4-4)	1r-2r-1	ABAC QRQC (abcd abef qrst qref)	9	Henry Reed's two other versions of this tune contain distinctive variations. On this one, the high strain does not jump to high C#.		Frosty Morning	[Betsy] [AFS 13035b12]%13035b12|Betsy [AFS 13037a10]%13037a10		Betsy [transcription]%reedt059		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:03	afcreed	103					afc/afcreed/rs	audio
<13703b04>	Somebody Else is Getting It Where the Chicken Got the A-X-E	The title appeared in the fieldnotes as "Somebody Else is Gettin' It Where the Chicken Got the A-X-E."	Reed, Henry; fiddle	This jaunty air was a popular song first published in 1892, as "Where the chicken got the axe."	D	4/4	2 (high-low, 8-2)	1-(pause)-1-2-(pause)-1-2	ABAC QAC (abcd abef eqabef)	9		Where the Chicken Got the Axe					Harry Mayo, words, William B. Glenroy, music, 1892	Airs%Fiddle tunes%Instrumentals--fiddle	[beginning of tune]<br>HENRY REED: I ain't played that for thirty years.<p>[middle of performance]<br>HENRY REED: [Laughs]<br>ALAN JABBOUR: What was that?<br>HENRY REED: That was--do you know the name of it?</p><p>[after tune]<br>HENRY REED: [Laughs]<br>ALAN JABBOUR: "Somebody Else Is Getting It . . . ."</p>	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:04	afcreed	104					afc/afcreed/rs	audio
<13703b05>	[High Yellow]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	This tune is of a class in the Upper South that seem to be touched by the idiom of ragtime without being derived from the world of popular music. They are perhaps evidence that ragtime developed as a country style parallel to--or even prior to--its development as a cosmopolitan popular style around the turn of the century. Henry Reed said that he learned this tune from a mulatto fiddler from Texas (on another occasion he suggested that this fiddler was from Cabell County, West Virginia), who also taught him the schottische-like "French Tune" (AFS 13033b10) that he played in his first recording session. The Hollow Rock String Band performed this tune under the title "High Yellow," which is adopted here for cross-referencing purposes, but Henry Reed gave no title for it.	C	4/4	2 (high-low, 4-4)	1r-2r-(pause)-2r-1r-2r	ABCD QRST (aaab ccde qrst uvwx)	12	Extends to high C on E-string.							Rags%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: Could you play it once more? Because I didn't turn it on until right toward the end--I didn't get the tape recorder on.<br>HENRY REED: [Laughs]<br>ALAN JABBOUR: I hate to make you do it more, I know.	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:05	afcreed	105					afc/afcreed/rs	audio
<13703b06>	Soldier's Joy		Reed, Henry; fiddle	"Soldier's Joy" is one of the oldest and most widely distributed tunes in the English-speaking world. The earliest printings of the tune are in the later eighteenth century, and its appearance in manuscript tunebooks such as "Henry Beck's Flute Book [1786]" shows that it was already in circulation before 1800 on both sides of the Atlantic. Nineteenth-century printed sets abound, as do twentieth-century printed and recorded versions. See the extensive comparative citations in Bayard, <i>Hill Country Tunes</i>, #11 "The King's Head," and for the title "French Four" in <i>American Fiddle Tunes</i> (Library of Congress, AFS L62).<p>Some American sets seem to have an arpeggiated first strain, while others are more scalar or linear in their melodic style. Henry Reed's set is of the arpeggiated variety. He played it at a fast and lively pace and described it as a good tune for dancing. Some fiddlers add a third strain by recasting the low strain in the upper octave. This set by Henry Reed lacks that feature, but he may have added it on another occasion when he was not being recorded.</p>	D	4/4	2 (low-high, 4-4)	1r-2r-1r-2r-1-tag	ABAC QRQC (aba'c a'bde qrqs qrde)	12	Slurred bowing pairs in second strain. Sounds fast and lively, as if designed for dancing. Henry Reed may have played the low strain up an octave on another occasion.	The King's Head%French Four						Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:06	afcreed	106					afc/afcreed/rs	audio
<13703b07>	Greasy String		Reed, Henry; fiddle	"Greasy String" is known by that title in versions scattered across southwestern Virginia and West Virginia. But under other titles the tune has turned up across an even wider swath of the country, from Virginia to Texas and Missouri. Some typical multiple versions are in Ford, <i>Traditional Music of America</i>, p. 122 "Seneca Square Dance," p. 62 "Old Raccoon," p. 7 "Running from the Federals," and p. 101 "Hell among the Yearlin's"; Adam, <i>Old Time Fiddlers' Favorite Barn Dance Tunes</i> #14, "Raccoon's Tail"; Thede, <i>The Fiddle Book</i>, p. 127 "Coon Dog" (or "Raccoon's Tail"), p. 136 "Heel Flies" (or "Rock Along John to Kansas"); Ruth, <i>Pioneer Western Folk Tunes</i>, p. 7 "Get Away from the Federals, or Fall of Paris"; "Shoot the Turkey Buzzard," played by J. E. Mainer's Mountaineers (King 819). It is but a small step to a yet wider circle of related tunes, such as the "Liza Jane" of Southern Piedmont, minstrel stage, and jazz band circulation, or another tune in Henry Reed's repertory, set in the key of A, that he called "Dinah." In short, the tune is cut of a cloth so common in the Upper South, and in musical domains touched by the influence of the Upper South, that it could be described as a paradigmatic Southern tune, appearing in so many related versions, allied forms, and modified guises that it almost defies genetic tracing.	G	4/4	2 (high-low, 4-2)	1r-2r-1r-2r-1r-2r-1r-2r-1r-tag	ABA'C QC (abcd a'bef qb'ef)	12	Syncopated.	Seneca Square Dance%Old Raccoon%Running from the Federals%Hell among the Yearlin's%Raccoon's Tail%Coon Dog%Heel Flies%Rock Along John to Kansas%Get Away from the Federals, or Fall of Paris%Shoot the Turkey Buzzard	Dinah%Liza Jane					Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:07	afcreed	107					afc/afcreed/rs	audio
<13703b08>	Over the Waterfall		Reed, Henry; fiddle	Henry Reed distinctly calls this "Over the Waterfalls" on microphone, but he used the singular on other occasions, because that is how the fieldnotes from both of his performances record it. He said he learned it when he was a young boy from performers in a traveling show, Teets's Show (probably a circus or medicine show).<p>The tune has a long history on both sides of the Atlantic as an instrumental tune. It is also used as a melody for the widespread British and American song "Eggs and Marrowbones" (see Laws, <i>American Balladry from British Broadsides</i>, Q2). This humorous song involves an old man pushing his old wife into the water, so the title "Over the Waterfall" may show a close link between the song and the instrumental tune. Fuller notes on the song and on other instrumental versions appear under "Mercian Tittery-Ary-A" in <i>The Hammons Family</i> (Library of Congress, AFS L65-66).</p><p>The fiddle tune was recorded under this name (in the singular) by the Hollow Rock String Band (Kanawha 311). Through that recording, and in parallel radiation through live performances and tapes, Henry Reed's tune has been widely recirculated across the country, appearing now in the repertories of perhaps thousands of musicians. This is only the most dramatic example of the direct influence of Henry Reed's repertory on the old-time music revival in the later twentieth century. Henry Reed plays another tune, "Chinchbug," that has a similar first strain to "Over the Waterfall."</p>	D	4/4	2 (high-low, 4-4)	1-2-1r-2-1-2-1r-2	ABAC QRQ'S (abac abde qrsc qr'tu)	11	Henry Reed corrects himself on a note at the end.	Eggs and Marrowbones%Mercian Titterary-Ary-A%The Job of Journeywork	Chinchbug (Bedbug Has No Wings at All, But He Gets There Just the Same)	Over the Waterfall [AFS 13705a45]%13705a45				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: "Over the Waterfalls."<br>ALAN JABBOUR: "Over the Waterfalls."<br>HENRY REED: Yeah, at the--I heard that at Teets's Show when I was just a little thing, about five or six years old.<br>ALAN JABBOUR: To the what?<br>HENRY REED: Teets's Show.<br>ALAN JABBOUR: What is that?<br>HENRY REED: It's like a show that come around through the country.<br>ALAN JABBOUR: Oh.	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:08	afcreed	108					afc/afcreed/rs	audio
<13703b09>	[Quince Dillion's High-D Reel]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle%Reed, Gene; guitar	Henry Reed gave no name to this tune, though he played it twice and also played two sets of a tune in G with the same first strain (see "Breakdown in G," AFS 13037a01, AFS 13033b25). This tune cannot be traced to other sources. It somehow came to be thought of as a tune Henry Reed learned from Quince Dillion, though there is no concrete evidence of this in the fieldnotes from the 1960s, and it has gone back into circulation among some performers in the old-time music revival under the title "Quince Dillion's High-D Reel," the title used here.<p>The guitar accompaniment by Henry Reed's son Gene is interesting in that he uses a minor-seven chord (here a C chord in the key of D). By the testimony of all his children, Henry Reed was a stickler for "the right chords," so we can assume that the chords represent Henry Reed's own musical choices. It is sometimes thought that such chords as minor-seventh chords are "untraditional" among older musicians; this is evidence to the contrary.</p><p>Henry Reed's son James plays "Quince Dillion's High-D Reel" with four parts and explains that his father used to play the two extra strains but had omitted them in the recordings presented here.</p>	D	4/4	2 (high-low, 4-4)	1r-2r-1r-tag	ABAC QRQC (abcd abef qrst qref)	14 (17 including grace-note run on G-string)			[Breakdown in G]	[Quince Dillion's High-D Reel] [AFS 13705b20]%13705b20				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and guitar	HENRY REED: You done?	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:09	afcreed	109					afc/afcreed/rs	audio
<13703b10>	Sally Ann Johnson		Reed, Henry; fiddle%Reed, Gene; guitar	The name "Sally Ann Johnson" is sometimes associated with a tune in G in the Upper South, also known as "Katy Hill," but Henry Reed's "Sally Ann Johnson" in D is another tune that is widespread in British and American instrumental tradition. Irish variants appear with some regularity as "The Boys of Bluehill"; see <i>O'Neill's Music of Ireland</i>, #1700, Roche, <i>Collection of Irish Airs, Marches, and Dance Tunes</i>, vol. 3, 64 (#183). A related Irish piece is <i>O'Neill's Music of Ireland</i> #1815 "Freedom for Ireland"; Roche, vol. 3, 74 (#196) "Nights of Gladness Quadrille." Compare also "Banks of Inverness" (<i>One Thousand Fiddle Tunes</i>, p. 11, and other titles and versions). American variants include "Beaus of Oake Hill" in Howe, <i>Musician's Companion</i> (1844), vol. 3, p. 54; "The Beaux of Oak Hill Reel," <i>One Thousand Fiddle Tunes</i> p. 28; Knauff, <i>Virginia Reels</i> (1839), "The Two Sisters"; Ford, <i>Traditional Music of America</i>, p. 57, "Lonesome Katy." A cognate Blue Ridge tune is Taylor Kimble's "Old Ark A-Moving" (<i>Blue Ridge Barn Dance</i>, County 746).<p>Many printed sets are cast as hornpipes with the characteristic three eighth notes ending each strain. Henry Reed's tune has the feel of an American breakdown, but its circular structure for the melody leading from the second strain back to the first is unusual.</p>	D	4/4	2 (low-high, 4-2)	1r-2r-1r-2r-1r-2r-1r-2r-1	ABAC QB'QB' (abcd abc'e qrc'd qrc'd)	10		Boys of Bluehill	Freedom for Ireland%Nights of Gladness Quadrille%Banks of Inverness%Beaus of Oake Hill%The Beaux of Oak Hill Reel%The Two Sisters%Lonesome Katy%Old Ark A-Moving					Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and guitar	ALAN JABBOUR: That's a good one. Not a Sally Goodin, but uh, still a good one.<br>HENRY REED: Yeah.	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:10	afcreed	110					afc/afcreed/rs	audio
<13703b11>	Hop Light Ladies		Reed, Henry; fiddle%Reed, Gene; guitar	Henry Reed here makes a four-part tune out of two classic reels from British and American tradition. Apparently, during a period of his youth when he was trying to learn to read music, he saw the two tunes combined in medley fashion on a piece of sheet music he encountered. The first he knew from local tradition as "Hop Light Lady" or "Hop Light Ladies," and his performance of it is in the style of that tune as it is usually played in the Upper South. The second is a separate tune known as "Speed the Plow," which is a standard tune in nineteenth-century tunebooks and in the American North and Midwest, but is hardly ever found in the South. See <i>One Thousand Fiddle Tunes</i>, p. 21, "Speed the Plough," for a typical set, though in the key of A. Both performances of the tune by Henry Reed show a different bowing style for the "Speed the Plow" section of the tune, with more separate bowstrokes and less slurring, reflecting its print origin.<p>Both tunes date back to the British Isles at the beginning of the nineteenth century, if not before. "Hop Light Lady"/"Hop Light Ladies" is a Southern American title, however, associated with some playful verses that have gained wider currency through having been published in the Lomax collection <i>Our Singing Country</i>. That set is from the playing and singing of Fields and Wade Ward of Galax, Virginia, and Aaron Copland took the tune from the Lomax book (as Ruth Crawford Seeger had transcribed it) to use as the second instrumental tune in the "Hoedown" of Aaron Copland's music for <i>Rodeo</i>. The tune was also used in the world of popular music for another song, "Uncle Joe" ("Do you want to go to heaven, Uncle Joe?"), so some fiddlers know it by that title. Outside of the South, the tune is usually called either "McLeod's Reel" or "Miss McCloud's Reel" (see, for example, Stewart-Robertson, <i>Athole Collection</i>, p. 6; <i>One Thousand Fiddle Tunes</i>, p. 29). British sets, print tradition, and some North American sets make it a circular tune, with both strains devolving directly into one another instead of coming to rest after a cadence at the end. But Henry Reed's set is typical of Southern sets in coming to rest on the tonic at the end of each strain.</p>	G	4/4	4 (low-high-low-high, 4-4-4-4)	1r-2r-1r-3r-4-2	ABAC QRQC (abac abde qbqr qbde)--"Hop Light Ladies"<br>ABAC QRQC (abcd abce qrst qruv)--"Speed the Plow"	12		Hop Light Lady%McLeod's Reel%Miss McCloud's Reel%Uncle Joe	Speed the Plow%Speed the Plough	Hop Light Lady [AFS 13033b11]%13033b11		Hop Light Lady [transcription]%reedt015		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and guitar	GENE REED: . . . know that.<br>ALAN JABBOUR: I reckon I do, yeah.<br>GENE REED: I say I don't.	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:11	afcreed	111					afc/afcreed/rs	audio
<13703b12>	[Grover Jones's Waltz]	The title appeared in the fieldnotes as "Waltz."	Reed, Henry; fiddle%Reed, Gene; guitar	Henry Reed gave no title for this waltz, and no other versions of it have been located. He associated it with another musician from that community, Grover Jones, and Henry Reed's children have occasionally referred to it as Grover Jones's waltz, which earned it the name given here. The Hollow Rock String Band learned it from Henry Reed and circulated it in the old-time music revival by including it on their original record (Kanawha 311).	C	3/4	2 (low-high, 4-4)	1-2-1-2-1	ABAC QRQC (abcd abce qrcd qrce)	17	Extension to C on E-string.			[Grover Jones's Waltz] [AFS 13705a40]%13705a40				Waltzes%Fiddle tunes%Instrumentals--fiddle and guitar	ALAN JABBOUR: What's the name of it?<br>HENRY REED: I don't know.<br>GENE REED: I did know the name of it. It's a waltz, but . . . .<br>HENRY REED: Grover Jones knows the name of it.<br>ALAN JABBOUR: Is he the one--you got it from him?	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:12	afcreed	112					afc/afcreed/rs	audio
<13703b13>	Hell up Cole Holler		Reed, Henry; fiddle%Reed, Gene; guitar	"Hell up Cole Holler" is a local favorite of the last generation in Monroe County and environs. Ross Miller of Monroe County played a similar tune called "Devil up a Stump," which was recorded by the Hollow Rock String Band (Kanawha 311). The tune may have wider ramifications, but none can be shown here. It is of a type that sounds like a breakdown, but also has a touch of the country rag in it, underscored by its choice of the key of C and its alternations between (implied) tonic and dominant chords. A fragment of this tune appears again on AFS 13705b14, followed by a full performance of "Fiddler's Drunk and the Fun's All Over."	C	4/4	3 (high-low-middle, 4-4-4)	1r-2r-3r-1r-2r-3r-1r	ABAC QRQC A'RA'C (abcd abef qq'rr' qq'r'f abrr' sbr'f)	18		Devil on a Stump						Breakdowns%Reels%Rags%Fiddle tunes%Instrumentals--fiddle and guitar	ALAN JABBOUR: What's the name of that?<br>HENRY REED: "Hell up Cole Holler."<br>ALAN JABBOUR: What?<br>HENRY REED: "Hell up Cole Holler."<br>GENE REED: "Hell up Cole Holler."	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:13	afcreed	113					afc/afcreed/rs	audio
<13703b14>	Chinchbug (Bedbug Has No Wings at All, But He Gets There Just the Same)	The title appeared in the fieldnotes as "Chinchbug."	Reed, Henry; fiddle%Reed, Gene; guitar	Off microphone Henry Reed called this tune "Chinchbug." Its first strain is quite similar to the first strain of "Over the Waterfall." The second strain is different and has the feel of musical filler. The wordy title points to the existence of humorous verses associated with this tune, but none can be cited. The second performance of the tune (AFS 13703b15) is slower and unaccompanied. It is interesting to observe how the slower pace induces certain elaborations of the tune that are missing at the quicker pace.	D	4/4	2 (high-low, 4-2)	1r-2r-1r-2r-1	ABAC QC' (abac abdc qrdc)	11			Over the Waterfall	Chinchbug (Bedbug Has No Wings at All, But He Gets There Just the Same) [AFS 13703b15]%13703b15				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and guitar	ALAN JABBOUR: That's a good tune. I never heard that before.<br>GENE REED: What do you call that?<br>HENRY REED: "Bedbug has no wings at all but he gets there just the same."<br>ALAN JABBOUR and HENRY REED: [Laugh].<br>ALAN JABBOUR: "Bedbug . . . . "<br>HENRY REED: "Bedbug has no wings at all but he gets there just the same." [Laughs]	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:14	afcreed	114					afc/afcreed/rs	audio
<13703b15>	Chinchbug (Bedbug Has No Wings at All, But He Gets There Just the Same)	The title appeared in the fieldnotes as "Chinchbug."	Reed, Henry; fiddle	Off microphone Henry Reed called this tune "Chinchbug." Its first strain is quite similar to the first strain of "Over the Waterfall." The second strain is different and has the feel of musical filler. The wordy title points to the existence of humorous verses associated with this tune, but none can be cited. This, the second performance of the tune, is slower and unaccompanied. It is interesting to observe how the slower pace induces certain elaborations of the tune that are missing at the quicker pace.	D	4/4	2 (high-low, 4-2)	1-2r	ABAC QC' (abac abdc qrdc)	11			Over the Waterfall	Chinchbug (Bedbug Has No Wings at All, But He Gets There Just the Same) [AFS 13703b14]%13703b14				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>ALAN JABBOUR: Could you play it through once just alone so that I could hear the notes on it?<br>HENRY REED: Alright, alright.<br>ALAN JABBOUR: Play it through . . . .<p>[after tune]<br>ALAN JABBOUR: Thank you.</p>	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:15	afcreed	115					afc/afcreed/rs	audio
<13703b16>	[Rocky Mountain Goat]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle%Reed, Gene; guitar	This tune is well-known in America but not clearly traceable beyond its shores. Henry Reed neither named it nor assigned it a genre, but it is a tune sometimes known as "Rocky Mountain Goat," and the slightly slower pace suggests a connection with the hornpipe genre. <i>Shaking Down the Acorns</i> (Rounder 0018) contains a performance of the tune by Mose Coffman from Greenbrier County, West Virginia.<p>Henry Reed performed this tune on three occasions. In one performance (AFS 13705b07, recorded on July 17, 1967), he inserted a third strain between the usual first and second strains that leaps up dramatically to a high D in third position on the E-string. This extra strain seems to be unique to Henry Reed.</p>	D	4/4	2 (cuts off)	1-2-(cuts off)	ABAC UVUW (abcd abc'e uvc'd uvc'e)	17	This take includes the usual first strain and the high-D strain, but not the usual second strain.			[Rocky Mountain Goat] [AFS 13033b23]%13033b23|[Rocky Mountain Goat] [AFS 13705b07]%13705b07		[Rocky Mountain Goat] [transcription]%reedt024		Hornpipes%Fiddle tunes%Instrumentals--fiddle and guitar	ALAN JABBOUR: That's it, yeah.	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:16	afcreed	116					afc/afcreed/rs	audio
<13703b17>	Farewell My Dear Brother		Reed, Henry; fiddle%Reed, Gene; guitar	"Farewell My Dear Brethren" is, as Henry Reed says, a hymn. The author of the words seems not to be known, according to the compilers of the 1971 edition of the <i>Original Sacred Harp</i>, where the words appear with the tune "Imandra." The link with "Imandra" goes back to William Walker's <i>Southern Harmony</i>, p. 34. But "Imandra" is in fact a different tune from Henry Reed's air. It may be that the present tune is only fragmentary, for it covers only the span of a half-verse. Compare the tune sung by Maggie Hammons Parker for "In Scotland Town" (Child 17) on the album <i>The Hammons Family</i> (Library of Congress, AFS L65-66), which is a similar shortened tune.<p>Henry Reed thought of this song as sung by "General Jackson" when he died in battle. He later adds "Andrew Jackson," but it better fits the profile of Stonewall Jackson, who died in 1863 after being wounded in battle.</p>	A	4/4	1	1-1	AB (abcd)	9		Fare Thee Well My Dear Brother%Farewell My Dear Brethren%Imandra	In Scotland Town	Fare Thee Well My Dear Brother [AFS 13705b28]%13705b28				Airs%Fiddle tunes%Instrumentals--fiddle and guitar	GENE REED: I know where it goes, but I can't get [unintelligible] enough to follow.<br>HENRY REED: On the three keys, there.<br>GENE REED: Yeah, I know where it goes.<br>ALAN JABBOUR: What is that? What's the name of it?<br>HENRY REED: What's the name of it, Nettie?<br>NETTIE REED: "Farewell My Dear Brothers."<br>HENRY REED: "Farewell My Dear Brother." That's a hymn.<br>ALAN JABBOUR: Yeah, I thought it was. It sounded familiar.	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:17	afcreed	117					afc/afcreed/rs	audio
<13703b18>	Down in Mexico		Reed, Henry; fiddle%Reed, Gene; guitar	No variants can be cited for this air. It sounds like a through-composed piece from popular music.	A/C	4/4	Through-composed	Played twice through	ABACDEDF (aabc aadc' efgh efij)	9								Airs%Fiddle tunes%Instrumentals--fiddle and guitar	ALAN JABBOUR: I don't know what I would do with that.<br>HENRY REED: [Laughs]<br>ALAN JABBOUR: That's the "Down in Mexico."<br>HENRY REED: Um-hmm.	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:18	afcreed	118					afc/afcreed/rs	audio
<13703b19>	I've Got to Leave You	The title appeared in the fieldnotes as "I've got to leave you."	Reed, Henry; fiddle%Reed, Gene; guitar	This air must be drawn from a song, but the only words Henry Reed could recall are "I've Got to Leave You." The tune is the old British and American "Boyne Water" air, also related to Henry Reed's "Shady Grove." "Boyne Water" refers to the Battle of the Boyne in 1690, and the tune appears in America as early as 1786, in "Henry Beck's Flute Book," a manuscript tunebook in the Library of Congress. For typical sets, see <i>Scots Musical Museum</i> (1853 edition), vol. 2, 363 (#351) and vol. 4, 325; Joyce, <i>Old Irish Folk Music and Songs</i> (1909), #377; <i>O'Neill's Music of Ireland</i> #260.	A	4/4	1 (6)	(1)-1-1-1	ABCDCD (abab' cdef)	9		Boyne Water	Shady Grove%Barbara Allen%The Foggy Dew%The Girl I Left behind Me%I'm Going Away to Leave You, Going to Tennessee					Airs%Fiddle tunes%Instrumentals--fiddle and guitar	ALAN JABBOUR: That's it. What was the name of it?<br>HENRY REED: Something about "I've Got to Leave You," or something. I don't know what, something like that.	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:19	afcreed	119					afc/afcreed/rs	audio
<13703b20>	The Girl I Left behind Me		Reed, Henry; fiddle%Reed, Gene; guitar	"The Girl I Left behind Me" has a history in both the British Isles and America as a song and a march, but it has become an item of general repertory for many fiddlers. For typical examples on both sides of the Atlantic, see "A. Shattuck's Book [ca. 1801]," p. 18; Howe, <i>Leviathan Collection</i>, p. 10; Fillmore, <i>American Veteran Fifer</i>, #64; Linscott, <i>Folk Songs of Old New England</i>, pp. 79-80; Ford, <i>Traditional Music of America</i>, p. 116; Randolph, <i>Ozark Folksongs</i>, vol. 3, 352; Ruth, <i>Pioneer Western Folk Tunes</i>, p. 2. For sets with different titles but some similarity, see Joyce, <i>Old Irish Folk Music and Songs</i> (1909), #443, #648.<p>Henry Reed played "The Girl I Left behind Me" on one occasion (AFS 13037a05) in the usual melodic form for the tune. But on this occasion, he played a very unusual version of the tune with an irregular phrase structure. The sequence of tune associations that called forth this unusual version from Henry Reed's imagination is fascinating. The preceding song, "I've Got to Leave You," though quite different melodically, has an almost identical phrase within it that may have been the musical bridge or trigger leading to the unusual set of "The Girl I Left behind Me." Compare a different title in this collection, "I'm Going Away to Leave You, Going to Tennessee," which seems to be yet another scion of this cluster of musical ideas. Though we think of Henry Reed's tradition as a memory-based tradition that retains tunes as separate artifacts preserved in their entirety, examples such as this remind us of the musical flux that underlies tunes in the imagination and the capacity of the artist, either involuntarily or at will, to conflate or creatively reassemble the musical building blocks. Henry Reed's children, though in awe of his memory and his vast repertory, also believe that he made periodic alterations in tunes, sometimes from forgetting and sometimes from a conscious impulse to recast a tune in a fresh way.</p>	G	4/4	2 (low-high, 4-5)	(1)-2r-1-2	ABAC QQ'RBRC (abcd abef qrqr' sbcd sbcd)	11			I've Got to Leave You%I'm Going Away to Leave You, Going to Tennessee	The Girl I Left behind Me [AFS 13037a05]%13037a05		The Girl I Left behind Me [transcription]%reedt058		Breakdowns%Reels%Marches%Fiddle tunes%Instrumentals--fiddle and guitar	HENRY REED: That's "The Girl I Left behind Me."	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:20	afcreed	120					afc/afcreed/rs	audio
<13703b21>	Old Molly Hare		Reed, Henry; fiddle	"Old Molly Hare" is the Southern branch of a tune well-known in both the British Isles and America. As is typical of Southern tune preferences, the strains in "Old Molly Hare" are arranged beginning with the high strain, while all other branches of this widespread tune normally begin with the low strain.<p>Two sets appear in "Henry Beck's Flute Book [1786]," entitled "Anson's Voyage" and "Farewell to Country Friends." The more common title in Irish collections and in American tunebook tradition is "The Fairy Dance." Typical sets are Joyce, <i>Old Irish Folk Music and Songs</i> (1909), #129; <i>Robbins Collection of 200 Jigs, Reels, and Country Dances</i>, #94 "Fairy Reel (Irish)"; Gill, <i>Manx National Music</i> (1898), p. 119; <i>One Thousand Fiddle Tunes</i>, p. 8; Ford, <i>Traditional Music of America</i>, p. 71. Sets with other titles include "Quick Scotch" in Fillmore, <i>American Veteran Fifer</i>, #6; "Jigg Cotillion" in <i>Winner's Collection of Music for the Violin</i> (1851), p. 5; "The Spider Dance Reel" in Bowman, <i>The J. W. Pepper Collection</i> #181. A related tune is the New England favorite "On the Road to Boston," for which see "A. Shattuck's Book [ca. 1801]," p. 34 (seconds to the melody); Fillmore, #56; Bayard, <i>Hill Country Tunes</i>, #19; Ford, p. 174 "Exhibition March No. 2." Versions of "Old Molly Hare" which seem to be either Southern or Southern-derived include Ford, p. 30; Brown, <i>The Frank Brown Collection of North Carolina Folklore</i> vol. 5, 123 (#170); Wilkinson, "Virginia Dance Tunes," p. 5 "Old Molly Hyar."</p>	D	4/4	2 (high-low, 2-2)	1r-2r-1	AB QB (abcd c'ecd)	8		Old Molly Hyar%Anson's Voyage%Farewell to Country Friends%The Fairy Dance%Fairy Reel (Irish)%Quick Scotch%Jigg Cotillion%The Spider Dance Reel	On the Road to Boston%Exhibition March No. 2					Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: Well, that's the thing.<br>ALAN JABBOUR: That's it. That's "Old Molly Hare."<br>NETTIE REED: [unintelligible]	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:21	afcreed	121					afc/afcreed/rs	audio
<13703b22>	Jenny Put the Kettle On		Reed, Henry; fiddle	"Jenny Put the Kettle On" is an old favorite in the British Isles and America. American sets are usually entitled "Molly (or Polly) Put the Kettle On." An eighteenth-century Scottish version appears in Johnson, <i>Scots Musical Museum</i> (1853 edition), vol. 3, 512 (#496), entitled "Jenny's Bawbie." Similar sets are <i>Davie's Caledonian Repository</i>, p. 83; Stewart-Robertson, <i>Athole Collection</i>, p. 88; <i>One Thousand Fiddle Tunes</i>, p. 19 "Jenny's Baby-Reel." American sets include <i>Gentleman's Amusement . . . for the Clarionet</i> (ca. 1825), No. 3, p. 5 "Polly put the kettle on"; Ford, <i>Traditional Music of America</i>, p. 85 "Polly, Put the Kettle On"; <i>O'Neill's Music of Ireland</i> #1363 "Molly Put the Kettle On."<p>Henry Reed conflated this performance of this tune with "Old Molly Hare," which he had just played previously, and was cut off abruptly; his second performance of it (AFS 13705b02) is fuller and more representative, and in it he makes a third strain by reproducing the high strain an octave lower. George Will White, whom he goes on to describe as playing this piece "half the night," was an African-American fiddler whom he knew in his younger days in Monroe County, West Virginia. According to Henry Reed, the only other piece Mr. White played was "Sally Ann," which Henry Reed performed next in this recording session.</p>	D	4/4	2 (low-high, 2-2)	1r-2-(spoken)	AB QB' (abac qra'c')	8		Jinny Put the Kettle On%Polly Put the Kettle On%Molly Put the Kettle On%Jenny's Bawbie%Jenny's Baby-Reel	Old Molly Hare	Jinny Put the Kettle On [AFS 13705b02]%13705b02				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]ALAN JABBOUR: How do you do the "Jenny Put the Kettle On?"<br>HENRY REED: Oh well, oh well.<p>[after tune]<br>HENRY REED: Mighty nigh the same.<br>ALAN JABBOUR: Yeah, it is. It's very close.<br>HENRY REED: Old George Will White would play that half the night. He couldn't play but two pieces, and that was one of them.</p>	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:22	afcreed	122					afc/afcreed/rs	audio
<13703b23>	Sally Ann		Reed, Henry; fiddle%Reed, Gene; guitar	"Sally Ann" is a popular tune in the Upper South, especially along the Blue Ridge and elsewhere in the Appalachians, but is hard to trace beyond its Southern distribution. And though everyone who plays it thinks of it as an old tune, it is hard to document beyond twentieth-century recordings. A set is published in Sharp, <i>English Folk Songs from the Southern Appalachians</i>, vol. 2, 351, from Burnsville, North Carolina. The typical fiddle and banjo versions from along the Blue Ridge are set in the key of D, but Henry Reed, after beginning in D, concludes that he is in the wrong key and switches to A.<p>Henry Reed learned this tune from George Will White, an African-American fiddler from Monroe County, West Virginia, about whom Henry Reed said that his only other piece was "Jenny Put the Kettle On."</p>	A	4/4	2 (high-low, 4-2)	1r-2r-1r-2	ABCD QD (abcd efgh ifgh)	11								Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and guitar	[before tune]<br>HENRY REED: That was one of them.<br>ALAN JABBOUR: And the other one was what?<br>HENRY REED and OTHERS: [unintelligible].<p>[middle of performance]<br>HENRY REED: I'm playing that in the wrong key.<br>ALAN JABBOUR: What is that? I don't know that.</p><p>[after tune]<br>HENRY REED: Make up the change on that.<br>ALAN JABBOUR: What do you call that--"Sally Ann"?<br>HENRY REED: That's "Sally Ann."</p>	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:23	afcreed	123					afc/afcreed/rs	audio
<13703b24>	[Breakdown in A]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle%Reed, Gene; guitar	Ralph Stanley has recorded an instrumental tune, "Clinch Mountain Backstep," that sounds like a version of this tune; see for example <i>Ralph Stanley and the Clinch Mountain Boys Play Requests</i> (Rebel-SLP-1514). Henry Reed plays it accompanied by his son Gene (here) and unaccompanied (AFS 13703b25).	A	4/4	2 (high-low, 4-4)	(1)-2r-1r-1	ABAC QRQC (abac ab'db qbqr qb'db)	10			Clinch Mountain Backstep	[Breakdown in A] [AFS 13703b25]%13703b25				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle and guitar	ALAN JABBOUR: What is that?<br>HENRY REED: I forget the name of it, it's as old as the mountains.<br>ALAN JABBOUR: It is? That's a pretty tune.	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:24	afcreed	124					afc/afcreed/rs	audio
<13703b25>	[Breakdown in A]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Ralph Stanley has recorded an instrumental tune, "Clinch Mountain Backstep," that sounds like a version of this tune; see for example <i>Ralph Stanley and the Clinch Mountain Boys Play Requests</i> (Rebel-SLP-1514). Henry Reed plays it accompanied by his son Gene (AFS 13703b24) and unaccompanied (here).	A	4/4	2 (high-low, 4-4)	1r-2r-1r	ABAC QRQC (abac ab'db qbqr qb'db)	10			Clinch Mountain Backstep	[Breakdown in A] [AFS 13703b24]%13703b24				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: Could you play it once through more?<br>HENRY REED: Huh?<br>ALAN JABBOUR: Could you play it once through alone?<br>GENE REED: They was making noise, they didn't know you had it on.<br>ALAN JABBOUR: Yeah.<br>NETTIE REED: They didn't know you had it on.<br>GENE REED: Play it for him.<br>ALAN JABBOUR: Yeah. Could you play it through just once alone?<br>HENRY REED: No, I don't know it.<br>ALAN JABBOUR: Huh?<br>HENRY REED: I don't know it.<br>GENE REED: That one you just now played.<br>ALAN JABBOUR: The one you just played.<br>HENRY REED: What's that?<br>ALAN JABBOUR: Could you play that through again once?<br>HENRY REED: Yeah.<br>ALAN JABBOUR: Go ahead. It's on.	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:25	afcreed	125					afc/afcreed/rs	audio
<13703b26>	Cluck Old Hen		Reed, Henry; fiddle	"Cluck Old Hen" is a well-known tune and song through the Appalachian South, quite distinct from another barnyard evocation, "Cackling Hen," which is played in G. The song "Cluck Old Hen" consists of a series of playful verses. As an instrumental tune, it is popular on both fiddle and banjo. On the fiddle, one of the tune's special features is the "cluck" made by left-hand picking of the strings. In this, Henry Reed's second performance, the "cluck" is the open E-string, though other fiddlers use both the E and A-strings, or even the E, A, and D-strings. In his first performance (AFS 13037a17), he does not do the left-hand picking, but the set shows interesting variation among the repetitions of the second strain. It seems clear here that the variation is a matter of conscious creative modification, not unconscious changes.	A	4/4	2 (high-low, 2-2)	1r-2r-1r-2r-1r-2r-1r-2	AB QR (aba'c qrq'c)	10				Cluck Old Hen [AFS 13037a17]%13037a17		Cluck Old Hen [transcription]%reedt063		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>MAN: . . . Keep going, get the keys.<br>ALAN JABBOUR: Get the keys.<p>[after tune]<br>HENRY REED: Quit before I miss it. Eh?</p>	Jabbour, Alan	1967/05/06	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 1B, AFS 13703B:26	afcreed	126					afc/afcreed/rs	audio
<13705a32>	[Breakdown in D]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed did not give the name for this tune, but he said it came from "East Virginia," and he probably acquired it during a period of his life when he was working in Floyd County, Virginia. Compare the tune he played immediately after this one, "Poplar Pole," which is similar but distinct. The simple melodic style, the tendency to assemble the tune cumulatively by varying similar phrases, and the heavy and consistent syncopation suggest African-American influence on this whole class of tunes.	D	4/4	2 (low-high, 4-4)	(2)-1-2r-1-2-1-2r-1-2r-1	ABAB' QRQ'B (abcd abc'd qrcb qrcd)	7	A lot of syncopation.		Poplar Pole					Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: [Laughs]	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:32	afcreed	127					afc/afcreed/rs	audio
<13705a33>	Poplar Pole		Reed, Henry; fiddle	It is not clear what "Poplar Pole" refers to, but the tune resembles and may be kin to a number of well-known Southern songs, all of which typically end on the dominant rather than the tonic. "Angeline the Baker," which was first published by Stephen Foster in 1850 and had some currency on the nineteen-century minstrel stage, is still played in the Appalachians. "Handsome Molly," as recorded by Blue Ridge hillbilly artists Grayson and Whitter (Gennett 6304, Victor 21189), is essentially the same tune. Sharp includes two allied melodies in <i>English Folk Songs from the Southern Appalachians</i>: "The Derby Ram" from Sevier County, Tennessee (vol. 2, 184, #141-A), and "Liza Anne" from Lee County, Kentucky (vol. 2, 355, #243). Two hymns in White, <i>Original Sacred Harp (Denson Revision)</i> use the tune: "The Converted Thief" (p. 44) and "The Church's Desolation" (p. 89).<p>Henry Reed learned it in "East Virginia" when he was working in Floyd County, Virginia, and it is in the melodically simple and rhythmically complex style of tunes he learned there.</p>	D	4/4	3 (low-high, 4-4-4)	(1)-2-3-1r-2-3-1r-2-3-1r	ABCD QRCD (alternating with UVCD) (aba'c defg qrq'c defg uvwc defg)	8			Angeline the Baker%Handsome Molly%The Derby Ram%Liza Anne%The Converted Thief%The Church's Desolation%[Breakdown in D]					Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's it.	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:33	afcreed	128					afc/afcreed/rs	audio
<13705a34>	Dinah		Reed, Henry; fiddle	This tune continues the trend in this recording session for Henry Reed to play simpler tunes--often instrumental versions of song tunes or highly rhythmic but melodically simpler tunes of the sort that he had not foregrounded in his earlier recording sessions. Many of these tunes are hard to trace but have connections to the Piedmont and Blue Ridge repertory, to the minstrel stage, or to African-American tradition.	A	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-tag	ABAC QRQC (aba'c abde qrqs qrde)	10			Greasy String					Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: [Laughs]	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:34	afcreed	129					afc/afcreed/rs	audio
<13705a35>	Natchez		Reed, Henry; fiddle	Henry Reed made several attempts to recall "Natchez," which foundered because he was beginning in the wrong keys (see AFS 13035b07). He finally realized that it belonged in the key of A and produced a complete performance here. He plays it as a set piece at a leisurely pace, almost like a hornpipe. The tune is an independent scion of the large family of tunes descended from the British tune "The Rose Tree," of which "Turkey in the Straw" is the most famous American branch (see discussion of that tune under AFS 13033b13 in this collection).<p>"Natchez" is usually called "Natchez under the Hill," referring to the rough but lively waterfront neighborhood of Natchez, Mississippi, along the bank of the Mississippi River. The town proper is on a bluff overlooking the river, but the waterfront area "under the hill" was the port, roustabout neighborhood, and red-light district. Variants of "Natchez" date back at least to the 1830s, when it was already associated with riverboat traffic and commerce on the Mississippi frontier. See Knauff, <i>Virginia Reels</i> (1839), vol. 1, #11, "Natchez on the Hill," and discussion and citations for the Arkansas set of "Natchez under the Hill" in <i>American Fiddle Tunes</i> (Library of Congress, AFS L62).</p>	A	4/4	2 (high-low, 4-5)	(1)-2r-1r-2r-1r	ABCD QRQC'D (aa'bb' cdef qfer qfcdef)	13		Natchez under the Hill%Natchez on the Hill	Turkey in the Straw%Old Zip Coon%Jolly is the Miller%The Rose Tree	[Natchez] [AFS 13035b07]%13035b07				Hornpipes%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR and HENRY REED: [Laugh]	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:35	afcreed	130					afc/afcreed/rs	audio
<13705a36>	[Slow Breakdown in G]		Reed, Henry; fiddle	No variants can be cited for this unnamed tune. Henry Reed begins it as if it were a schottische, then gains speed as he moves forward till he is approaching breakdown pace toward the end. He also seem to conflate the tune with another tune in G on which he is equally vague about genre (see "Polka in G," AFS 13033b03 and "Schottische in G," AFS 13033b09).	G	4/4	2 (high-low, 4-4)	(1)-2r-1	ABAC QBQC (abcd abef qrcd qref)	12			[Schottische in G]%[Polka in G]%[Breakdown in G]					Breakdowns%Reels%Schottisches%Fiddle tunes%Instrumentals--fiddle	HENRY REED: I don't know when but it's been a long time since I tried to play it.<br>ALAN JABBOUR: I thought the way you started it out the first time was different from the way you played it when you got back around to it again.<br>HENRY REED: I know it was.<br>ALAN JABBOUR: What's the name of it?<br>HENRY REED: I don't know--played it way back when I was a little boy.<br>ALAN JABBOUR: [Laughs]	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:36	afcreed	131					afc/afcreed/rs	audio
<13705a37>	Schottische	The title appeared in the fieldnotes as "Unnamed Schottische."	Reed, Henry; fiddle	This unnamed schottische cannot be traced but probably has been published in a nineteenth-century tunebook. Henry Reed's style can be compared to his style for other schottisches--fairly slow and using dotted eighths and sixteenths as the dominant rhythmic pattern.	G	4/4	2 (low-high, 4-4)	1r-2r-1r-2r-1	ABAC QRQS (abcd abce qrst qrst')	16								Schottisches%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: It sounds like a schottische.<br>HENRY REED: It is.<br>ALAN JABBOUR: What's the name of it?<br>HENRY REED: You'll have to tell me.<br>ALAN JABBOUR: [Laughs]	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:37	afcreed	132					afc/afcreed/rs	audio
<13705a38>	It's a Long Way Back to Tipperary		Reed, Henry; fiddle	"It's a Long Way to Tipperary" was composed by Jack Judge and Harry H. Williams in 1912, and has been part and parcel of American popular music since then.	C	4/4	2 (middle-middle, 8-16)	(2)-1-2-1-2	ABACABA'C' QRSTQRUVQRWXYZ	8							Jack Judge and Harry H. Williams, words and music, 1912	Airs%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: No, that ain't it.<p>[after tune]<br>HENRY REED: Did you never hear that?<br>ALAN JABBOUR: Uh-uh.</p>	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:38	afcreed	133					afc/afcreed/rs	audio
<13705a39>	[Sugar in the Gourd?]	The title appeared in the fieldnotes as "Fragment."	Reed, Henry; fiddle	This fragment is instructive if one is trying to understand the roles of memory and imagination in a tradition such as Henry Reed's. Here he is trying to recall a tune, and what comes out is a fragment sounding a bit like both "Sugar in the Gourd" and "Cumberland Gap." He remembers the former but declares that he has not recalled the tune correctly.	G	4/4	2	Fragmentary	Fragmentary	Fragmentary			Cumberland Gap					Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: That, that sounds just like what I used to play "Sugar in the Gourd" but I ain't got it right.<br>ALAN JABBOUR: [Laughs]<br>HENRY REED: I know that.<br>KAREN JABBOUR: [Sneezes]	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:39	afcreed	134					afc/afcreed/rs	audio
<13705a40>	[Grover Jones's Waltz]	The title appeared in the fieldnotes as "Waltz."	Reed, Henry; fiddle	Henry Reed gave no title for this waltz, and no other versions of it have been located. He associated it with another musician from that community, Grover Jones, and Henry Reed's children have occasionally referred to it as Grover Jones's waltz, which earned it the name given here. The Hollow Rock String Band learned it from Henry Reed and circulated it in the old-time music revival by including it on their original record (Kanawha 311).	C	3/4	2 (low-high, 4-4)	1-2-1-2-1	ABAC QRQC (abcd abce qrcd qrce)	17	Extension to high C on E-string.			[Grover Jones's Waltz] [AFS 13703b12]%13703b12				Waltzes%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: Do you know the name for that?<br>HENRY REED: No.<br>ALAN JABBOUR: Just a waltz?<br>HENRY REED: Just a waltz.	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:40	afcreed	135					afc/afcreed/rs	audio
<13705a41>	Kiss Waltz		Reed, Henry; fiddle	"Kiss Waltz" is not a waltz at all, but a schottische that modulates from key to key between its strains. Henry Reed played it twice, once beginning in G (here) and once beginning in D (AFS 13705b26). The second performance, beginning in the key of D and reaching up to the high D on the E-string, seems to be more definitive, for it permits adding a fourth strain, which could not be played in a set beginning in G. He remembers some parts of the tune more clearly than others, so these musical ventures become (among other things) opportunities to glimpse his imagination at work.<p>The tune--or at least its high strain--can be found in published collections. See "Rainbow Schottische," Ford, <i>Traditional Music of America</i>, p. 156; "Right Foot Left Foot," Morris, <i>Old Time Violin Melodies</i>, #14; "Arizona's Pioneer Schottische," Ruth, <i>Pioneer Western Folk Tunes</i>, p. 45. The third strain appears to be an insertion of another schottische, usually known as "Crystal Schottische"; an example appears in <i>American Fiddle Tunes</i> (Library of Congress, AFS L62), "Two-Step Schottische [Crystal Schottische]."</p>	G/C	4/4	3 (low-high-middle, 4-4-4)	(1)-2-1-2-1-3-2-tag	ABAB' QRQS (UVWX?)	14			Rainbow Schottische%Right Foot Left Foot%Arizona's Pioneer Schottische%Crystal Schottische%Two-Step Schottische	Kiss Waltz [AFS 13705b26]%13705b26				Schottisches%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: [Laughs]	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:41	afcreed	136					afc/afcreed/rs	audio
<13705a42>	Mississippi Sawyer		Reed, Henry; fiddle	"Mississippi Sawyer" is one of the most widely distributed Southern fiddle tunes in America, being known today not just in the South but in all regions of the country. It appears in Knauff, <i>Virginia Reels</i> (1839), vol. 4, #4, entitled "Love from the Heart." Curiously, the same collection has the earliest appearance of the title "Mississippi Sawyer," but it is to a quite different tune. The title refers to a frightening phenomenon during floods on the Mississippi. Great trees would be wrenched from the bank by flood waters and would be dragged underwater in the raging torrent, only to impale themselves in the bottom and rise like monsters from the deep to threaten the paths of boats struggling to navigate the flood. This was the dread Mississippi sawyer. Folklorist Roger Welsch once suggested that the rocking of the fiddle bow required to play this tune simulated bobbing along in a Mississippi river flood.<p>Sets of "Mississippi Sawyer" may be found in Ford, <i>Traditional Music of America</i>, p. 32; Brown, <i>The Frank C. Brown Collection of North Carolina Folklore</i> vol. 5, 413-414 "Mississippi Lawyer"; Adam, <i>Old Time Fiddlers' Favorite Barn Dance Tunes</i> #8; Ruth, <i>Pioneer Western Folk Tunes</i>, p. 13. A related tune is "Downfall of Paris," for which see <i>O'Neill's Music of Ireland</i> #1562, Thomas and Leeder, <i>Singin' Gatherin'</i>, p. 59.</p>	D	4/4	3 (high-low-lower octave, 4-4-4)	1r-2r-1r-2r-3r-2	ABCD QRQS (aa'bb' cdef qq'rr' qq'ef)	12	Plays a strain an octave lower for variation. Henry Reed's comments about the fourth part indicate that after playing the first strain an octave lower (comprising the third strain), he should have gone on to play the second strain an octave lower as well, thus making a fourth strain.	Love from the Heart%Mississippi Lawyer	The Downfall of Paris					Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>ALAN JABBOUR: Go ahead.<p>[after tune]<br>ALAN JABBOUR: That's it.<br>HENRY REED: I never got--never got that fourth part just like it ought to be. But you can get--you can finish that.<br>ALAN JABBOUR: Oh yeah.</p>	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:42	afcreed	137					afc/afcreed/rs	audio
<13705a43>	I'm Going Away to Leave You, Going to Tennessee	The title appeared in the fieldnotes as "Goin' Away to Leave You, Goin' to Tennessee."	Reed, Henry; fiddle	This tune has striking resemblances to "The Girl I Left behind Me" (see AFS 13703b20), and the title, though different, does not contradict that possible connection. But the first strain rises to the octave instead of descending to the lower tonic, and the second strain is not the usual "Girl I Left behind Me" strain but sounds instead like a filler strain. See also "I've Got to Leave You" (AFS 13703b19) for a slow air with possible title connections. Henry Reed plays this tune twice; this, the second time, is slowed down slightly, which alters his style somewhat. More slurred triplet patterns appear in the noting, and the second strain shows an interesting melodic alteration in the second time through.	G	4/4	2 (low-high, 4-4)	(1)-2r-1r-2r-1-tag	ABAC QRQS (abcd abef qrqs qrtf)	12			The Girl I Left behind Me%I've Got to Leave You	[I'm Going Away to Leave You, Going to Tennessee] [AFS 13035a37]%13035a37		[I'm Going Away to Leave You, Going to Tennessee] [transcription]%reedt038		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: What's the name of that?<br>HENRY REED: Ah . . . . Something--"Going Away to Leave You, Going to Tennessee," I think is the name of it.<br>ALAN JABBOUR: [Laughs]	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:43	afcreed	138					afc/afcreed/rs	audio
<13705a44>	Folding Down the Sheets	The title appeared in the fieldnotes as "Foldin' Down the Sheets."	Reed, Henry; fiddle	This tune is so musically singular that it would not be surprising to find that it was unique, but in fact another set with the same title is in the American Folklife Center's collections (AFS 10,894a), recorded in 1954 by Wyatt Insko from Floyd Burchett in Pike County, Kentucky. They are somewhat similar to an unusual reel that appears in Knauff's <i>Virginia Reels</i> (1839), vol. 1, #2, called "Republican Spirit," and in Canadian sets such as Messer, <i>Way Down East Fiddlin' Tunes</i> (1948), p. 9, #25 "The Mackilmoyle." A special feature of Henry Reed's set is the modified version of the first strain that alternates with the version he plays initially. He says he learned it from "Old Man Quince Dillion and John Dillion, and [fellow?] Falls, all of 'em played it."	D	4/4	2 (high-low, 2-2)	1-2r-1'r-2r-1r	AB QR alternating with A'B QR (abcd qrqs alternating with a'bcd qrqs)	14			Republican Spirit%The Mackilmoyle	Folding Down the Sheets [AFS 13034b34]%13034b34		Folding Down the Sheets [transcription]%reedt005		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[beginning of tune]<br>ALAN JABBOUR: Why, I like it too.<p>[after tune]<br>HENRY REED: [Laughs]<br>ALAN JABBOUR: That's one of my favorites. Who did you learn that from?<br>HENRY REED: Old Man Quince Dillion and John Dillion, and fellow Falls, all of them played it.<br>ALAN JABBOUR: [Laughs]. Well that's . . . . You called it "Folding Down the Sheets"?<br>HENRY REED: That's what they called it.</p>	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:44	afcreed	139					afc/afcreed/rs	audio
<13705a45>	Over the Waterfall		Reed, Henry; fiddle	Henry Reed distinctly calls this "Over the Waterfalls" on microphone on another occasion (AFS 13703b08), but he used the singular here, and that is how the fieldnotes from both of his performances record it. He said he learned it when he was a young boy from performers in a traveling show, Teets's Show (probably a circus or medicine show).<p>The tune has a long history on both sides of the Atlantic as an instrumental tune. It is also used as a melody for the widespread British and American song "Eggs and Marrowbones" (see Laws, <i>American Balladry from British Broadsides</i>, Q2). This humorous song involves an old man pushing his old wife into the water, so the title "Over the Waterfall" may show a close link between the song and the instrumental tune. Fuller notes on the song and on other instrumental versions appear under "Mercian Tittery-Ary-A" in <i>The Hammons Family</i> (Library of Congress, AFS L65-66).</p><p>The fiddle tune was recorded under this name (in the singular) by the Hollow Rock String Band (Kanawha 311). Through that recording, and in parallel radiation through live performances and tapes, Henry Reed's tune has been widely recirculated across the country, appearing now in the repertories of perhaps thousands of musicians. This is only the most dramatic example of the direct influence of Henry Reed's repertory on the old-time music revival in the later twentieth century. Henry Reed plays another tune, "Chinchbug," that has a similar first strain to "Over the Waterfall."</p>	D	4/4	2 (high-low, 4-4)	1-(pause)-r-2-1r-2r-1	ABAC QRQ'S (abac abde qrsc qr'tu)	11		Eggs and Marrowbones%Mercian Titterary-Ary-A%The Job of Journeywork	Chinchbug (Bedbug Has No Wings at All, But He Gets There Just the Same)	Over the Waterfall [AFS 13703b08]%13703b08				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[beginning of tune]<br>ALAN JABBOUR: Well, go ahead. I'd like to hear it again.<br>HENRY REED: [Laughs]<p>[after tune]<br>HENRY REED: I, I like that old piece, too.<br>ALAN JABBOUR: I do too.<br>HENRY REED: That's "Over the Waterfall."<br>ALAN JABBOUR: "Over the Waterfall."</p>	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:45	afcreed	140					afc/afcreed/rs	audio
<13705a46>	[Breakdown in A]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed had no name for this tune, and no clear variants of it have been found. But he played it on two different occasions, so it must have been a standard feature of his repertory. It is metrically irregular, having a two-bar low strain and a three-bar high strain. He reversed the order of the strains on the two occasions when he played this piece. Its use of the first-finger double-stop A-E on the G and D strings is a trait that appears elsewhere in his playing; compare, for example, "George Booker." The fact that these notes are played as a double-stop, and that he never plays the open G-string, probably indicates that it was originally conceived for a fiddle tuned up E-A-E-A for tunes in the key of A; in such a situation the double-stop would actually be the two low strings played as open strings.	A	4/4	2 (high-low, 3-2)	1r-2r-1r-2r	AA'B QR (aba'bcd qdqr)	15	Played slower than normal, which affects bowing patterns.			[Breakdown in A] [AFS 13703b02]%13703b02				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's a good one.<br>HENRY REED: Yeah, that's one . . . . I like that a lot.<br>ALAN JABBOUR: I do too. But you don't recollect the name?<br>HENRY REED: Huh?<br>ALAN JABBOUR: You don't recollect the name?<br>HENRY REED: No, I don't know the name now.<br>ALAN JABBOUR: Old Man Sturgeon played it, you say?<br>HENRY REED: Yeah, all them old fellows did, every one I ever told you about played that.	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:46	afcreed	141					afc/afcreed/rs	audio
<13705a47>	[Harmonica Piece]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; harmonica	Henry Reed had no name for this harmonica piece. It has the pace and arpeggiation of some of the nineteenth-century clogs, but he assigned it neither a name nor a genre. This performance, though brief, is a fuller version of the tune than the performance recorded as AFS 13033b01.	C	4/4	2 (high-low, 4-4)	1r-2r-1	ABAC QRQS (abcd abef qrst qruf)	10				[Harmonica Piece] [AFS 13033b01]%13033b01				Clogs%Breakdowns%Instrumentals--harmonica	ALAN JABBOUR: I'll be darned. What is that?<br>HENRY REED: I don't know the name of it. Still, I've played it enough--I've played it ever since I was a little kid.<br>ALAN JABBOUR: Do you play it on the fiddle too?<br>HENRY REED: I don't know if I ever tried it on the fiddle.<br>ALAN JABBOUR: Just play it on the French harp.<br>HENRY REED: Yeah.	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:47	afcreed	142					afc/afcreed/rs	audio
<13705a48>	Shortning Bread	The title appeared in the fieldnotes as "Shortnin' Bread."	Reed, Henry; harmonica	"Shortning Bread" emerged from Southern folk tradition into national popular music at some point at the beginning of the twentieth century. Modern print and recorded versions are widespread, but it is hard to document before the turn of the century. Henry Reed plays it on both harmonica (here) and fiddle (AFS 13705a56), and his version of the tune on both instruments ends the first phrase of each strain on the sixth degree, not the usual fifth.	C	4/4	2 (high-low, 2-2)	1r-2r	AB QR (abac qrq'c)	7		Shortening Bread		Shortning Bread [AFS 13705a56]%13705a56				Breakdowns%Reels%Instrumentals--harmonica	ALAN JABBOUR: What's that?<br>HENRY REED: "Shortning Bread."<br>ALAN JABBOUR and HENRY REED: [Laugh]<br>HENRY REED: I used to play anything I got a hold of, from a Jew's harp up to a horn.<br>ALAN JABBOUR: What sort of horn?<br>HENRY REED: I played the alto horn in the Peterstown band, the first one they ever had over there.<br>ALAN JABBOUR: [Laughs]	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:48	afcreed	143					afc/afcreed/rs	audio
<13705a49>	Fisher's Hornpipe [on harmonica]	The title appeared in the fieldnotes as "Fisher's Hornpipe."	Reed, Henry; harmonica	The hornpipe seems to have developed in the later eighteenth century as a solo fancy dance, with the dancer typically accompanied by a 4/4 tune played on the newly democratized violin at a somewhat slower tempo than a reel. (The hornpipe of earlier British tradition in 3/2 time is a different genre with the same name.) One of the earliest and most widely circulated of all modern hornpipe tunes is "Fisher's Hornpipe." Its name is sometimes taken as a tribute to fishermen as an occupational group, but in fact it is the name of the original composer; the tune first appears in J. Fishar's <i>Sixteen Cotillons, Twelve Allemands and Twelve Hornpipes</i> (London, ca. 1780), p. 48. Fishar was, as the title page explains, "Principal Dancer and Ballet Master at the Theatre Royal, Covent Garden."<p>By the beginning of the nineteenth century the tune was already appearing in manuscript tunebooks from America, and it has appeared in countless published tunebooks since then, often set in the key of F. <i>American Fiddle Tunes</i> (Library of Congress, AFS L62) contains further discussion and citations. Henry Reed's sets illustrate nicely the two keys in which traditional sets are usually played--either in G (AFS 13033b07) or in D (AFS 13037a03). A comparison of the two illustrates how a tune varies to fit the range and fingering patterns dictated by the key. This version, played on a C-harmonica, is something of a harmonica <i>tour de force</i>.</p>	C	4/4	2 (low-high, 4-4)	1r-2	ABAC QRST (abb'c abde qrq's tuvw)	14				Fisher's Hornpipe [in G] [AFS 13033b07]%13033b07|Fisher's Hornpipe [in D] [AFS 13037a03]%13037a03		Fisher's Hornpipe [in D] [transcription]%reedt057|Fisher's Hornpipe [in G] [transcription]%reedt012		Hornpipes%Instrumentals--harmonica	ALAN JABBOUR: "Fisher's Hornpipe."<br>HENRY REED: That's hard to play on the harp, you know?<br>ALAN JABBOUR: I [know].	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:49	afcreed	144					afc/afcreed/rs	audio
<13705a50>	[Clog in C]	The title appeared in the fieldnotes as "Clog."	Reed, Henry; harmonica	Henry Reed called this a clog, and said he learned this tune from Zell, a man from Pennsylvania, but nothing more can be told about it. Compare similar pieces elsewhere in this harmonica session ("Harmonica Piece," AFS 13705a47 and "Fragment," AFS 13705a52).	C	2? (fragmentary)	2 (high-low, 4-4)	(2?)-1r-2	Fragmentary	Fragmentary			[Harmonica Piece]%Fragment					Clogs%Instrumentals--harmonica	HENRY REED and ALAN JABBOUR: [Laugh]	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:50	afcreed	145					afc/afcreed/rs	audio
<13705a51>	[Love Song]		Reed, Henry; harmonica	No other versions of this song have been identified.	G	4/4	2 (middle-middle, 8-8)	Played twice through, beginning with second half of first strain	ABCD ABEF QRST UVEF	9								Airs%Instrumentals--harmonica	ALAN JABBOUR: What's that?<br>HENRY REED: That's a love song. I dont know the name of it. Old-fashioned.	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:51	afcreed	146					afc/afcreed/rs	audio
<13705a52>	Fragment		Reed, Henry; harmonica	Compare similar pieces elsewhere in this harmonica session ("Harmonica Piece," AFS 13705a47 and "Clog in C," AFS 13705a50).	C	4/4	Fragmentary	Fragmentary	Fragmentary	Fragmentary			[Harmonica Piece]%[Clog in C]					Clogs%Instrumentals--harmonica	ALAN JABBOUR: It wasn't picking you up as well as on the fiddle. You know, I can tell from this little thing.	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:52	afcreed	147					afc/afcreed/rs	audio
<13705a53>	Swanee River		Reed, Henry; harmonica	Composed by Stephen Foster in 1851, "Old Folks at Home" (or "Swanee River," as it is often known) has become virtually universal in American culture. Henry Reed here "varies" it by first playing it on the harmonica, then repeating it with extra graces and flourishes.	C	4/4	2 (low-high, 8-8)	1-2-1-2	ABCDABEF QRSTABEF	8		Old Folks at Home%Suwanee River					Stephen Foster, 1851	Airs%Instrumentals--harmonica	ALAN JABBOUR and HENRY REED: [Laugh]	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:53	afcreed	148					afc/afcreed/rs	audio
<13705a54>	Ladies Won't You Marry		Reed, Henry; harmonica	This tune cannot be traced, but the title suggests its association with floating verses on the subject of courting. It bears some resemblance to "Shoo Fly," as well as to the song "Take Me back to Tulsa (I'm Too Young to Marry)," which was recorded by Bob Wills and His Texas Playboys and has become a Western Swing and country music favorite.	G	4/4	2 (low-high, 4-4)	(1)-2r-1r-2	ABCD QRQS (abcd defg qrst qrsg)	8			Shoo Fly%Take Me back to Tulsa (I'm Too Young to Marry)					Airs%Instrumentals--harmonica	ALAN JABBOUR: What's the name of that?<br>HENRY REED: "Ladies Won't You Marry."<br>ALAN JABBOUR: [Laughs]	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:54	afcreed	149					afc/afcreed/rs	audio
<13705a55>	[Shoes and Stockings]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	Henry Reed said that "Shoes and Stockings" was a tune of Quince Dillion's (see his discussion preceding the performance of "New Castle," AFS 13705b15). The title may possibly link the tune to the song "His Old Shoes and His Leggings," some Southern versions of which resemble this tune, but no clear correlation can be made. This tune bears some resemblance to another tune in Henry Reed's repertory, usually known by the title "Jordan Is a Hard Road to Travel" (AFS 13705b24). It is an interesting performance, played in what might be called a spare melodic style with few sixteenth notes and a lot of quarter and eighth notes. A recording of the tune, learned from Henry Reed, on the album <i>Sandy's Fancy</i> (Flying Fish FF-260) gave "Shoes and Stockings" some renewed circulation in the old-time music revival.<p>The first fifty seconds of this tune were recorded on the 2/3 track, then the machine was switched to the 1/4 track mid-tune. Note that a small portion of the tune was not recorded during the switching of the tracks.</p>	G	4/4	2 (low-high, 4-4)	1r-2r-1r-2-(switch)-r-1r-2r-1r-2	ABAC QRQS (abac abde qrsc qrs't)	12			Jordan Is a Hard Road to Travel	Shoes and Stockings [AFS 13705b25]%13705b25				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: What's the name of that?	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:55	afcreed	150					afc/afcreed/rs	audio
<13705a56>	Shortning Bread	The title appeared in the fieldnotes as "Shortnin' Bread."	Reed, Henry; fiddle	"Shortning Bread" emerged from Southern folk tradition into national popular music at some point at the beginning of the twentieth century. Modern print and recorded versions are widespread, but it is hard to document before the turn of the century. Henry Reed plays it on both harmonica (AFS 13705a48) and fiddle (here), and his version of the tune on both instruments ends the first phrase of each strain on the sixth degree, not the usual fifth.	G	4/4	2 (high-low, 2-2)	1r-2r-1r-2r-1r-2r-1r-2r	AB QR (abac qrq'c)	8		Shortening Bread		Shortning Bread [AFS 13705a48]%13705a48				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: [Laughs]	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:56	afcreed	151					afc/afcreed/rs	audio
<13705a57>	Liza Jane		Reed, Henry; fiddle	This is among the many tunes carrying the title "Liza Jane" that have turned up in Southern tradition. Most are from the grassroots, but this one has a rag-like turn-of-the-century, Tin Pan Alley quality about it.	C	4/4	2 (high-low, 8-6)	1-2-1-2	ABCD ABCE QRSTUV	8								Airs%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3A, AFS 13705A:57	afcreed	152					afc/afcreed/rs	audio
<13705b01>	Granny Put the Kettle On		Reed, Henry; fiddle	Henry Reed was hesitant about the title to this striking old tune, for he recorded it twice and came up with a different title each time. Nothing is known about the tune's history, but it was learned by the Hollow Rock String Band and entered the modern old-time music revival under the title "Betty Likens" through their recording (Kanawha 311).	A	4/4	2 (high-low, 2-4)	1r-2-1r-2r-1r-2r	AB QRQS (abac qras qrac)	10		Betty Likens%Henry Reed's Favorite		Betty Likens [AFS 13705b18]%13705b18				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>ALAN JABBOUR: Okay, go ahead.<p>[after tune]<br>ALAN JABBOUR: And the name of it was?<br>HENRY REED: Yeah.<br>ALAN JABBOUR: Was . . . .<br>HENRY REED: Something about "Granny Put the Kettle On," I forget now what it was.<br>ALAN JABBOUR: Where'd you learn it from?<br>HENRY REED: I don't know, it's way back on the--I don't know.<br>ALAN JABBOUR: Yeah.<br>HENRY REED: [Laughs]<br>ALAN JABBOUR: Well, it's a good one.<br>HENRY REED: Yeah.</p>	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:01	afcreed	153					afc/afcreed/rs	audio
<13705b02>	Jinny Put the Kettle On		Reed, Henry; fiddle	"Jinny (or Jenny) Put the Kettle On" is an old favorite in the British Isles and America. American sets are usually entitled "Molly (or Polly) Put the Kettle On." An eighteenth-century Scottish version appears in Johnson, <i>Scots Musical Museum</i> (1853 edition), vol. 3, 512 (#496), entitled "Jenny's Bawbie." Similar sets are <i>Davie's Caledonian Repository</i>, p. 83; Stewart-Robertson, <i>Athole Collection</i>, p. 88; <i>One Thousand Fiddle Tunes</i>, p. 19 "Jenny's Baby-Reel." American sets include <i>Gentleman's Amusement . . . for the Clarionet</i> (ca. 1825), No. 3, p. 5 "Polly put the kettle on"; Ford, <i>Traditional Music of America</i>, p. 85 "Polly, Put the Kettle On"; <i>O'Neill's Music of Ireland</i> #1363 "Molly Put the Kettle On."<p>Henry Reed's first performance of this tune (AFS 13703b22) was conflated with "Old Molly Hare," which he had just played previously, and was cut off abruptly; this, his second performance of it, is fuller and more representative, and in it he makes a third strain by reproducing the high strain an octave lower. George Will White, whom he described as playing this piece "half the night," was an African-American fiddler whom he knew in his younger days in Monroe County, West Virginia. According to Henry Reed, the only other piece Mr. White played was "Sally Ann."</p>	D	4/4	3 (high-low-lower octave, 2-2-2)	1r-2r-1r-2r-3r-(1)	AB QR (abac qbqc)	8		Jenny Put the Kettle On%Polly Put the Kettle On%Molly Put the Kettle On%Jenny's Bawbie%Jenny's Baby-Reel		Jenny Put the Kettle On [AFS 13703b22]%13703b22				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: Let's see, doggone, I'm trying to think about that "Jinny Put the Kettle On." [Laughs]<br>ALAN JABBOUR: [Whistles]<br>HENRY REED: I played that for you.<br>ALAN JABBOUR: I believe you did but you just played a bit of it. You just, you hardly got through it once, once.<br>HENRY REED: Yeah.<p>[after tune]<br>HENRY REED: No, I missed it there. That'll be enough of it, you think?<br>ALAN JABBOUR: Yeah that . . . .</p>	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:02	afcreed	154					afc/afcreed/rs	audio
<13705b03>	Rabbit Sitting on the Corner of the Fence	The title appeared in the fieldnotes as "Rabbit Sittin' on the Corner of the Fence."	Reed, Henry; fiddle	This is a tune widely played in the Upper South, especially along the Blue Ridge. It is popular as both a fiddle and a banjo tune, and it has attracted to itself a number of floating lyric verses. Common titles include "Blue-Eyed Gal," "Fly Around My Pretty Little Miss," and "Susananna Gal." As Henry Reed moves into the high strain, he seems to conflate the tune with another tune, probably "Poplar Pole" (see AFS 13705a33).	D	4/4	2 (low-high, 4-4)	1-(hesitation)-1r-2-?	ABAC QRST? (abcd abce qrsd tuvw?)	10		Blue-Eyed Gal%Fly Around My Pretty Little Miss%Susananna Gal	Poplar Pole					Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle		Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:03	afcreed	155					afc/afcreed/rs	audio
<13705b04>	Old Dan Tucker		Reed, Henry; fiddle	"Old Dan Tucker" appears on the American popular music scene in 1843, when it was published by Dan Emmett, an important performer on the minstrel stage. It is possible that all modern versions stem from the minstrel stage, but the tune has an African-American feel about it, particularly in its use of simple melodic material that is modified, expanded, and turned into a musically evolving tune. A nineteenth-century print version is included in <i>Howe's School for the Violin</i> (1851), p. 43. Twentieth-century sets include Fillmore, <i>American Veteran Fifer</i> #112; Ford, <i>Traditional Music of America</i> p. 55; Brown, <i>The Frank C. Brown Collection of North Carolina Folklore</i> vol. 5, 59-60 (#81); Ames, "The Missouri Play-Party," p. 309; Thede, <i>The Fiddle Book</i>, p. 74; and Ruth, <i>Pioneer Western Folk Tunes</i>, p. 15 ("Used for March for Dan Tucker Waltz"). It is widely played by Southern fiddlers--perhaps out of the mountains more than in them--and is associated with square dancing throughout the country.<p>Alan Jabbour's conversation with Henry Reed before he played this tune reveals that he had caught the spirit of these recording sessions as an effort to collect all the tunes he knew.</p>	D	4/4	2 (low-high, 2-2)	1r-2r-1r-2	AB QB' (abcd qrsd)	7							Daniel Emmett, 1843	Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>[Dog barks]<br>ALAN JABBOUR: [Laughs]<br>HENRY REED: Well, I don't know of anything but what I've played for you.<br>ALAN JABBOUR: Well, you mentioned "Old Dan Tucker" while ago.<br>HENRY REED: [Laughs]. Well, you know that.<br>ALAN JABBOUR: I, I'd like to hear it the way you play it. There's not much to it, but . . . .<br>HENRY REED: No, there ain't much to it. Not much on the fiddle.<p>[after tune]<br>HENRY REED: There ain't much to that, is there?</p>	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:04	afcreed	156					afc/afcreed/rs	audio
<13705b05>	Cindy		Reed, Henry; fiddle	"Cindy" is a hardy perennial in Southern folk music. It is popular both in the Appalachians and in the Lowland South and as both a fiddle and banjo tune, associated with an assortment of playful lyrics. It may have once had circulation in African-American tradition, though its current distribution seems to be mainly among white musicians. Henry Reed's version agrees with most old-time musicians in the Upper South in beginning the second strain on the downbeat ("GET along home, Cindy, Cindy") rather than on the upbeat ("Get along HOME, Cindy, Cindy").	D	4/4	2 (high-low, 4-4)	1r-2r-1r-2	ABAC QRQC (abcd abef qrst qref)	8								Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: Is that they way they played it?<br>ALAN JABBOUR: Yeah.	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:05	afcreed	157					afc/afcreed/rs	audio
<13705b06>	John Brown's a-Hanging on a Sour Apple Tree	The title appeared in the fieldnotes as "John Brown's a-Hangin' on a Sour Apple Tree."	Reed, Henry; fiddle	Henry Reed's air is evidence of the folksongs in circulation about John Brown that became the basis for Julia Ward Howe's patriotic hymn "The Battle Hymn of the Republic." His version implies a verse and refrain using essentially the same melodic material, as is the case with "The Battle Hymn of the Republic."	D	4/4	2 (middle-middle, 4-4)	1-2-1	ABAC A'B'A'C (abcd abef a'b'c'd' abef)	9		The Battle Hymn of the Republic						Airs%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: [Laughs]<br>HENRY REED: You know that, don't you?<br>ALAN JABBOUR: Yeah, I don't know what you call it, though.<br>HENRY REED: "John Brown's a-Hanging on a Sour Apple Tree" is what we always called it. What do you call it?<br>ALAN JABBOUR: That's it.	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:06	afcreed	158					afc/afcreed/rs	audio
<13705b07>	[Rocky Mountain Goat]	The title appeared in the fieldnotes as "Unnamed."	Reed, Henry; fiddle	This tune is well-known in America but not clearly traceable beyond its shores. Henry Reed neither named it nor assigned it a genre, but it is a tune sometimes known as "Rocky Mountain Goat," and the slightly slower pace suggests a connection with the hornpipe genre. <i>Shaking Down the Acorns</i> (Rounder 0018) contains a performance of the tune by Mose Coffman from Greenbrier County, West Virginia.<p>Henry Reed performed this tune on three occasions. In this performance, he inserted a third strain between the usual first and second strains that leaps up dramatically to a high D in third position on the E-string. This extra strain seems to be unique to Henry Reed.</p>	D	4/4	3 (high-middle-low, 4-4-4)	1r-2-3r-1r	ABAC QRQS UVUW (abcd abce qrst qrse utvw utvx)	17	High D on E-string, slow hornpipe-like tempo.			[Rocky Mountain Goat] [AFS 13033b23]%13033b23|[Rocky Mountain Goat] [AFS 13703b16]%13703b16		[Rocky Mountain Goat] [transcription]%reedt024		Hornpipes%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: Yeah, but you never told me the name of it.<br>HENRY REED: No. [Laughs]. I don't know it.	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:07	afcreed	159					afc/afcreed/rs	audio
<13705b08>	Jawbones [Military Schottische]	The title appeared in the fieldnotes as "Jaw Bones."	Reed, Henry; fiddle	Henry Reed used the name "Jawbones" for two different tunes on different occasions, perhaps because of melodic similarities between them. One is the tune usually known as "Jordan Is a Hard Road to Travel." The other is this tune, part of which appears to be a tune sometimes called "Military Schottische," cast as a breakdown. For other sets, see Ford, <i>Traditional Music of America</i>, p. 160 "Military Schottische"; Adam, <i>Old Time Fiddlers' Favorite Barn Dance Tunes</i> #21 "Snyder's Clock"; Lovett, <i>"Good Morning"</i> p. 145 "Heel and Toe Polka"; <i>Winner's Collection of Music for the Violin</i>, p. 18 "Fashionable Schottisch"; Howe, <i>Leviathan Collection</i>, p. 65 "National Schottisch."	G	4/4	2 (low-high, 4-4)	1-2r-1r-2r-1r-(spoken)-(1)-2-1r	ABAC QRQS (abcd abef qrst qruv)	14			Jawbones [Jordan is a Hard Road to Travel]%Snyder's Clock%Heel-and-Toe Polka%Fashionable Schottisch%National Schottisch					Breakdowns%Schottisches%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: What's the name of that?<br>HENRY REED: That's "Jawbones."<br>ALAN JABBOUR: "Jawbones."<br>HENRY REED: The Old Man Carr tickled me. He said, "Bill," said, "play the 'Old Jawbones.'" He had on a pair of them cowhide boots, you know, come up there. He was an old man, he was in his seventies. Said, "Bill, play me 'Old Jawbones,'" said, "danged if I don't dance it." And he, him--Frank was playing the guitar, and I was playing the five-string banjo, and he got out there with them cowhide boots on, you never seen an old man dance like he did. Now he just . . . .<br>JAMES REED: Who was that?<br>HENRY REED: Old Man Carr.<br>JAMES REED: What Carr?<br>NETTIE REED: Is that machine cut off?<br>ALAN JABBOUR: Well, I thought I'd get a good story while I was at it.<p>[after tune]<br>HENRY REED: It's pretty hard to play.<br>ALAN JABBOUR: Yeah.<br>NETTIE REED: . . . it's hard?<br>JAMES REED: Yes.</p>	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:08	afcreed	160					afc/afcreed/rs	audio
<13705b09>	When Sweet Marie Was Sweet Sixteen		Reed, Henry; fiddle	This was a popular song of the turn of the century.	C	4/4	1 (8)	1-1-1	ABCD AEFG	8							Ernest R. Ball and Raymon Moore, 1907	Airs%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: What's that?<br>HENRY REED: "Sweet Marie"--"When Sweet Marie Was Sweet Sixteen."<br>ALAN JABBOUR: [Laughs]. I believe that was a song.<br>HENRY REED: Huh?<br>ALAN JABBOUR: I believe that was a song. It sounded like there was a song to it.<br>HENRY REED: Yeah, there is.	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:09	afcreed	161					afc/afcreed/rs	audio
<13705b10>	Cripple Creek		Reed, Henry; fiddle	"Cripple Creek" is so widespread in the twentieth century that it seems as if it must be very old, and its occurrence as a song, in play-parties, and in dance music reinforces the sense of antiquity and ubiquity. In addition to the original distribution of the tune, bluegrass banjo versions in the last half of the twentieth century have recycled it to new audiences. But the tune may not be so old. There was a gold strike in Cripple Creek, Colorado, in the 1890s, and since there seem to be no versions of the song or tune antedating the gold strike, it is reasonable to presume that it inspired the song. Henry Reed's story of first hearing it from a Texan in the coal country along Tug Fork, where he and his brother were working around 1900, fits neatly with the presumption that the song and tune arrived around then from further west.	A	4/4	2 (high-low, 4-2)	1-2r-1r-2r-1r-2r	ABA'C QC' (abac a'bde qrde)	11								Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>ALAN JABBOUR: Well, now I know a tune that I've heard you play, but I never bothered to--never got around to recording it; that's "Cripple Creek." Maybe you . . . .<br>HENRY REED: [Laughs]. Nettie used to dance that when I played it.<br>NETTIE REED: Oh, you all don't believe him.<br>[General laughter]<br>JAMES REED: I did dance a few times up yonder so I quit that. I got in trouble every time I start.<br>KAREN JABBOUR: Why's that?<br>JAMES REED: Somebody gets mad, they start fighting, so I quit.<br>[General laughter]<br>HENRY REED: I was another place . . . .<p>[after tune]<br>JAMES REED: When it goes like that, it sounds pretty.<br>ALAN JABBOUR: It does.<br>JAMES REED: Yeah.<br>ALAN JABBOUR: What was the occasion?<br>HENRY REED: Well, me and my brother was a-doing the blacksmith work at--can't tell you the name of the place, it was right, right, right next to Tug River.<br>JAMES REED: Tug River?<br>HENRY REED: It was right next to the Hatfields. And the fellow, fellow come from Texas, who played that. That's the first time I ever heard it.<br>ALAN JABBOUR: Who was that? Who was it? Do you remember his name?<br>HENRY REED: No, I don't remember his name. He didn't stay long enough. He just stayed two or three days, and he was gone. I don't know where he went to.<br>ALAN JABBOUR: When was it?<br>HENRY REED: I was sixteen years old. Long time ago.<br>ALAN JABBOUR: Let's see, what year would that have been?<br>JAMES REED: Sixteen, that would've been seventy, no, sixty-eight [years ago].</p>	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:10	afcreed	162					afc/afcreed/rs	audio
<13705b11>	Anecdote about a woman who pulled a gun on him		Reed, Henry; spoken															Anecdotes%Narratives	HENRY REED: Well, uh, some of them said "Let's go down to Sam Bradley's," that was over here midway between Peterstown and Rich Creek. And we come on down to Sam's. Well I was sitting there, there was a boy playing the guitar, I was picking the banjo, sitting there, everybody was getting along I thought fine. And Sam's wife, I knowed her, she married Gore, Lucy Gore. First thing I knowed, why, something punched me in the side of the head, I looked around, it was a 32-Special, of blue steel. And she said, "Don't you believe this damn thing will shoot?" I just quit playing the banjo, looked up and "Gosh," I said, "looks like a pretty good one, looks like it'll shoot." I said, "Lucy, you'd better take that thing in there and hide it somewhere before somebody gets shot." And she said, "What's the matter, Henry Reed," said, "ain't you afraid of nothing?" And I said, "No, not when the danger shouldn't [unintelligible], I ain't afraid."	Jabbour, Alan%Jabbour, Karen Singer	1967/07/17	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:11	afcreed	163					afc/afcreed/rs	audio
<13705b12>	[Waltz in D]	The title appeared in the fieldnotes as "Waltz."	Reed, Henry; fiddle	This is an old waltz-time piece, but no variants can be cited.	D	3/4	2 (high-low, 16-16)	1-2-1-2-1	ABAC QRQS (abcd abef qrst qrsf')	12								Waltzes%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: How does it go, the piece? I done forgot it.<br>ALAN JABBOUR: [Whistles]<br>HENRY REED: Yeah.<br>ALAN JABBOUR: [Laughs]<p>[after tune]<br>ALAN JABBOUR: Who'd you learn that from?<br>HENRY REED: Oh, I knowed that ever since I used to--me and my brother used to play it on the banjo and guitar.<br>ALAN JABBOUR: Uh-huh.</p>	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:12	afcreed	164					afc/afcreed/rs	audio
<13705b13>	[Clog in D]	The title appeared in the fieldnotes as "Clog."	Reed, Henry; fiddle	No variants can be cited for this clog, but it is of a form and melodic character of the other clogs Henry Reed played on fiddle and harmonica. This one was learned from him by the Hollow Rock String Band, which recorded it on their first LP record (Kanawha 311).	D	4/4	2 (high-low, 4-4)	1r-2-1r-2-(spoken)-1r-2-1r-2-(spoken)-2r (slower)	ABAC QRQC (abcd abce b'qcd b'qce)	12								Clogs%Fiddle tunes%Instrumentals--fiddle	[after first part]<br>ALAN JABBOUR: [Laughs]<br>HENRY REED: That's a sharp one, ain't it?<br>ALAN JABBOUR: It is. What's the name of it?<br>HENRY REED: Well, it's a clog, but I don't know what the name of it is.<br>ALAN JABBOUR: Yeah. I never heard you play that one before.<br>HENRY REED: Nope. I . . . .<br>ALAN JABBOUR: Could you play it once more through?<br>HENRY REED: Yeah. I'll play it a little better shape. [Laughs]<p>[after second part]<br>ALAN JABBOUR: [Laughs]<br>HENRY REED: It's hard to play, I know.<br>ALAN JABBOUR: Yeah, I see that.<br>HENRY REED: You've got to, you got to get that bow . . . .</p><p>[after third, fragmentary part]<br>HENRY REED: That's the way she goes.</p><p>[after fourth, slow part]<br>HENRY REED: Then I got it! [Laughs]<br>ALAN JABBOUR: Yeah. How fast are clogs supposed to go?<br>HENRY REED: Huh?<br>ALAN JABBOUR: How fast are clogs supposed to go?<br>HENRY REED: About like I was playing it.<br>ALAN JABBOUR: About--originally?<br>HENRY REED: You can't do it much faster than that, if you do they can't, can't . . . ."<br>ALAN JABBOUR: Can't keep up with it.<br>HENRY REED: Can't keep up with it.</p>	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:13	afcreed	165					afc/afcreed/rs	audio
<13705b14>	Fiddler's Drunk and the Fun's All Over		Reed, Henry; fiddle	Henry Reed describes playing this with his brother as a dancing piece. As one photograph in this presentation illustrates, he was usually the banjo player when they played together. "Fiddler's Drunk and the Fun's All Over" is a tune cut of the same general melodic cloth as the usual "Billy in the Low Ground" in C (see "Shelving Rock," AFS 13034b35), but it has a narrower compass and is more dance-like. The title evokes the end of a dance party. Fiddlers sometimes have had "last tunes" that were official party-enders. Once they had played such a tune, they would refuse to play any more music.<p>Before beginning this tune, Henry Reed plays a fragment of "Hell up Cole Holler" (see AFS 13703b13 for a more complete version).</p>	C	4/4	2 (low-high, 4-4)	1r-2-(spoken)-1r-2r-r-2r-1	ABAC QRQC (abcd abc'e qrst qrc'e)	14	Slurs in bowing.		Shelving Rock%Billy in the Low Ground					Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: Let's see, I used to play one, now, that . . . .<p>[after first part]<br>HENRY REED: You ever hear of that one?<br>ALAN JABBOUR: Go ahead. Let me hear it. I think I have.</p><p>[after second part]<br>HENRY REED: Don't believe I ever played that one for you.<br>ALAN JABBOUR: No, you never did. What do you call it?<br>HENRY REED: That's "Fiddler's Drunk and the Fun's All Over."<br>ALAN JABBOUR: [Laughs]. Play it again, I'd love to hear it.<br>HENRY REED: "Fiddler's Drunk and the Fun's All Over." I'll have to play it a little, because I ain't played it for years. I ain't picked it . . . . The last time I, the last time I played that to amount to anything was when I was at Crumpler, at that place. Me and my brother used to play it, he'd play it on the fiddle and I'd pick it on the banjo.</p><p>[after tune]<br>HENRY REED: Pretty good dancing piece.<br>ALAN JABBOUR: It sure is. And so you and your brother played that?<br>HENRY REED: Yeah.<br>ALAN JABBOUR: So you've known that for a long time?<br>HENRY REED: Yeah, that's, now it's, before I was married. Before I was married.</p>	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:14	afcreed	166					afc/afcreed/rs	audio
<13705b15>	New Castle	The title appeared in the fieldnotes as "Newcastle."	Reed, Henry; fiddle	No variants can be cited for this irregular and beautiful tune. Henry Reed once called it "Texas" (AFS 13035b08), but during this later performance he was certain that the title was "New Castle," after the county seat of nearby Craig County, Virginia. The Hollow Rock String Band learned the tune from Henry Reed under the title "Texas," and gave the tune some wider circulation in the old-time music revival in the later twentieth century.<p>The discussion preceding Henry Reed's performance contains interesting comments on "Jawbones," "Shoes and Stockings," and Quince Dillion, as well as a discussion of Henry Reed's role as a participant in these tune-teaching sessions and reflections on how he recalls tunes.</p>	A	4/4	2 (high-low, 4-3)	1r-2r-1r-2r-1r-2	ABA'C QRC (abcd ab'ef qrr'b'ef)	8		Texas		Texas [AFS 13035b08]%13035b08		Texas [transcription]%reedt051		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: . . . play it on the fiddle and I had to pick it on the banjo and there wasn't a banjo picker in the bunch.<br>ALAN JABBOUR: Who was it?<br>HENRY REED: Carr boys.<br>ALAN JABBOUR: In Monroe?<br>HENRY REED: Yeah. There was three of them: Ballard Carr, and Harvey and Bill all played the fiddle, Frank played the guitar--they didn't have a banjo picker in the bunch.<br>ALAN JABBOUR: So that was you.<br>HENRY REED: I had to pick the banjo. [Plays a few notes.] Whatever it is, it's an old piece they call "Jawbones."<br>ALAN JABBOUR: You played that for me last time, I believe.<br>HENRY REED: Did I? The old fellow jumped out and danced with his boots on?<br>ALAN JABBOUR: Does it go like this? [Plays a strain.]<br>HENRY REED: No, that's "Shoes and Stockings."<br>ALAN JABBOUR: "Shoes and Stockings"?<br>HENRY REED: Yeah.<br>ALAN JABBOUR: Oh! You played that one for me. You might have called that "Jawbones" and got me to thinking that was.<br>HENRY REED: Yeah, there's "Jawbones" but that ain't it, that's "Shoes and Stockings." That's the old man, old man Quincy Dillion's piece he used to play.<br>ALAN JABBOUR: What, the "Shoes and Stockings"?<br>HENRY REED: Yeah.<br>ALAN JABBOUR: [Laughs]<br>HENRY REED: He's a good fiddler, he could play a fife, [unintelligible]. Could play most anything he picks up.<br>ALAN JABBOUR: Yeah?<br>HENRY REED: He was an old man when I knowed him, he was in his seventies.<br>ALAN JABBOUR: You play a lot of his tunes, though, don't you?<br>HENRY REED: Yeah.<br>ALAN JABBOUR: A lot of his pieces.<br>HENRY REED: I can't, uh . . . . Maybe I'll be out here walking around and that piece will crop right in my mind.<br>ALAN JABBOUR: Yeah.<br>HENRY REED: That's the way I am.<br>ALAN JABBOUR: Yeah, I know.<br>HENRY REED: I just thought of a couple of pieces the other day that I'd like for you to know but I don't know that I'll ever think of them again. Let's see.<br>ALAN JABBOUR: [Clears throat]<br>HENRY REED: This piece was named after "New Castle."<br>ALAN JABBOUR: What is that?<br>HENRY REED: I don't know whether I've ever played it for you or not.<p>[after tune]<br>ALAN JABBOUR: Yeah, you played that once for me before. What's the name of it?<br>HENRY REED: "New Castle."<br>ALAN JABBOUR: What is that named after?<br>HENRY REED: New Castle, uh . . . .<br>ALAN JABBOUR: Up in . . . .<br>HENRY REED: That's the county seat of Craig County.<br>ALAN JABBOUR: Yeah. Right. Who'd you learn it from?<br>HENRY REED: Oh, I don't know. Them old fiddlers over there in the bushes. I don't know what their name was.</p>	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:15	afcreed	167					afc/afcreed/rs	audio
<13705b16>	Money Musk		Reed, Henry; fiddle	Henry Reed recorded "Money Musk" four times; it was a project of sorts for him to get it assembled in all its possible parts. The tune--or at least its first two strains--is a Scottish reel from the end of the eighteenth century. Francis O'Neill (<i>Irish Folk Music</i>, p. 204) mentions a set, entitled "Sir Archibald Grant of Moniemusk's Reel," published ca. 1800,  and it is in the Northumbrian small pipes collection <i>Peacocks Tunes</i> (ca. 1801), p. 2. It is a standard feature of nineteenth-century tunebooks; see for example Knauff, <i>Virginia Reels</i> (1839), vol. 1, #1 "Killie Krankie"; <i>Winner's Collection of Music for the Violin</i>, p. 55 "Highland Fling"; <i>One Thousand Fiddle Tunes</i>, p. 31 "Money Musk--Reel" and p. 128 "Money Musk--Strathspey." Twentieth-century sets show the tune to be well-established in Northern American tradition; see for example Linscott, <i>Folk Songs of Old New England</i>, p. 98; Burchenal, <i>American Country-Dances, Volume I</i>, p. 55; Ford, <i>Traditional Music of America</i>, p. 52.<p>Henry Reed's version is a rarity in the Upper South, and it is all the more extraordinary for adding extra strains that turn the piece into a complex and challenging set piece. His first two strains are always the usual strains of "Money Musk," but following Upper South predilections he begins with the highest strain, and his second strain (the usual first strain) is distinctive in rising to the octave rather than descending to the lower tonic. His third and fourth strains (in AFS 13705b17) are unique to his performance. Note how at one point in that four-part performance he accidentally hits the open G and D-strings for the first note of the third strain, instead of using the first finger to play A and E; this may be an echo of his early years, when he tuned the violin EAEA for tunes in the key of A, thus playing those notes with an open string. In his first performance of "Money Musk" (AFS 13035b11), he conflates the tune with another old British and American reel, "The Devil's Dream," well-known in the tunebooks and in Northern American tradition but less usual in the South, and in his second performance (AFS 13037a06) other third strains seem to compete for his imagination. His third performance (here) contains three parts, and the final performance (AFS 13705b17) contains four.</p><p>A performance of "Money Musk" including four strains, learned from Henry Reed, appeared on the Hollow Rock String Band's first album (Kanawha 311), whence it has had some circulation among musicians in the old-time music revival.</p>	A	4/4	3 (high-middle-low, 2-2-4)	1r-2r-3-1r-2r-(pause)-3	AB QR UV (aba'c qrqs uvuw uvxy)	11		Sir Archibald Grant of Moniemusk's Reel%Killie Krankie%Highland Fling		Money Musk [AFS 13035b11]%13035b11|Money Musk [AFS 13037a06]%13037a06|Money Musk [AFS 13705b17]%13705b17		Money Musk [transcription]%reedt054		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[beginning of tune]<br>HENRY REED: I played that for you, too.<br>ALAN JABBOUR: "Money Musk"?<br>HENRY REED: Yeah.<br>ALAN JABBOUR: Yeah, though I never got straight about the different parts of it. Once you played it with two parts, and once you played it with three parts.<br>HENRY REED: Yeah. I can't get that string right. Might be a-going to break.<p>[after tune]<br>HENRY REED: Is that the way you heard those other parts?<br>ALAN JABBOUR: Yeah, except how did, how did that third part go, that you put in there? [Whistles]</p>	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:16	afcreed	168					afc/afcreed/rs	audio
<13705b17>	Money Musk		Reed, Henry; fiddle%Jabbour, Alan; fiddle	Henry Reed recorded "Money Musk" four times; it was a project of sorts for him to get it assembled in all its possible parts. The tune--or at least its first two strains--is a Scottish reel from the end of the eighteenth century. Francis O'Neill (<i>Irish Folk Music</i>, p. 204) mentions a set, entitled "Sir Archibald Grant of Moniemusk's Reel," published ca. 1800, and it is in the Northumbrian small pipes collection <i>Peacocks Tunes</i> (ca. 1801), p. 2. It is a standard feature of nineteenth-century tunebooks; see for example Knauff, <i>Virginia Reels</i> (1839), vol. 1, #1 "Killie Krankie"; <i>Winner's Collection of Music for the Violin</i>, p. 55 "Highland Fling"; <i>One Thousand Fiddle Tunes</i>, p. 31 "Money Musk--Reel" and p. 128 "Money Musk--Strathspey." Twentieth-century sets show the tune to be well-established in Northern American tradition; see for example Linscott, <i>Folk Songs of Old New England</i>, p. 98; Burchenal, <i>American Country-Dances, Volume I</i>, p. 55; Ford, <i>Traditional Music of America</i>, p. 52.<p>Henry Reed's version is a rarity in the Upper South, and it is all the more extraordinary for adding extra strains that turn the piece into a complex and challenging set piece. His first two strains are always the usual strains of "Money Musk," but following Upper South predilections he begins with the highest strain, and his second strain (the usual first strain) is distinctive in rising to the octave rather than descending to the lower tonic. His third and fourth strains (in this performance) are unique to his performance. Note how at one point he accidentally hits the open G and D-strings for the first note of the third strain, instead of using the first finger to play A and E; this may be an echo of his early years, when he tuned the violin EAEA for tunes in the key of A, thus playing those notes with an open string. In his first performance of "Money Musk" (AFS 13035b11), he conflates the tune with another old British and American reel, "The Devil's Dream," well-known in the tunebooks and in Northern American tradition but less usual in the South, and in his second performance (AFS 13037a06) other third strains seem to compete for his imagination. His third performance (AFS 13705b16) contains three parts, and the final performance (here) contains four.</p><p>A performance of "Money Musk" including four strains, learned from Henry Reed, appeared on the Hollow Rock String Band's first album (Kanawha 311), whence it has had some circulation among musicians in the old-time music revival.</p>	A	4/4	4 (high-low-lower-higher, 2-2-2-2)	3-1r-2r-2-4r-(spoken)-4r-3-4r-(spoken)-4-(spoken)-4-3-4r-1-3-4r	AB GH QRQS VW (aba'c ghgi qrqs qrtu vwxy)	15		Sir Archibald Grant of Moniemusk's Reel%Killie Krankie%Highland Fling		Money Musk [AFS 13035b11]%13035b11|Money Musk [AFS 13037a06]%13037a06|Money Musk [AFS 13705b16]%13705b16		Money Musk [transcription]%reedt054		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[after first part]<br>ALAN JABBOUR: Now, could you just play that extra part one more time? [Moves microphone] It's about time we set up again.<p>[middle of performance]<br>ALAN JABBOUR: And didn't, once when you played it, didn't you go . . . . [Plays fiddle] Or didn't you do that? [Plays fiddle again]<br>HENRY REED: Yeah, I did.<br>ALAN JABBOUR: I didn't think you did that the last time.<br>HENRY REED: No, I didn't.<br>ALAN JABBOUR: [Laughs]<br>HENRY REED: No. [Plays fiddle] That's the way it goes.<br>ALAN JABBOUR: Alright.</p>	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:17	afcreed	169					afc/afcreed/rs	audio
<13705b18>	Betty Likens	The title appeared in the fieldnotes as "Betty Likins."	Reed, Henry; fiddle	Henry Reed was hesitant about the title to this striking old tune, for he recorded it twice and came up with a different title each time. Nothing is known about the tune's history, but it was learned by the Hollow Rock String Band and entered the modern old-time music revival through their recording (Kanawha 311).	A	4/4	2 (high-low, 2-4)	1-2r-1r-2r	AB QRQS (abac qrst qrsc)	11		Granny Put the Kettle On%Henry Reed's Favorite		Granny Put the Kettle On [AFS 13705b01]%13705b01				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's a nice tune.<br>HENRY REED: Yeah. I don't know the name of it. It's old, though.<br>WOMAN: Ma'am. Okay. Daddy, you all want to be washed up for supper.<br>HENRY REED: Huh?	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:18	afcreed	170					afc/afcreed/rs	audio
<13705b19>	My Little Girl		Reed, Henry; fiddle	Henry Reed was "noodling" (free-associating on the fiddle), when out popped this turn-of-the-century popular song.	D	4/4	1 (16)	(Fragmentary) 1-1	ABCD EFGH ABIJ KLMN	10							Will Dillon, words, Albert von Tilzer, music, 1915	Airs%Fiddle tunes%Instrumentals--fiddle	[after first part]<br>HENRY REED: Aw, dang it.<p>[middle of performance]<br>HENRY REED: Do you know that?<br>ALAN JABBOUR: What do you call it?<br>HENRY REED: "My Little Girl."<br>ALAN JABBOUR: "My Little Girl"?<br>HENRY REED: Yeah.<br>ALAN JABBOUR: Uh-uh, I don't know it.<br>WOMAN: "My Little Girl," yeah.<br>HENRY REED: That's it. "My Little Girl."<br>ALAN JABBOUR: No, I never heard you play it.</p><p>[after tune]<br>ALAN JABBOUR: Where'd you learn that one?<br>HENRY REED: I--oh, I don't know. I don't know where that come from.<br>ALAN JABBOUR: Is it an old tune or a newer tune?<br>HENRY REED: Yeah, it's old.<br>ALAN JABBOUR: I never heard it before.<br>HENRY REED: I expect about 1900, that come out.</p>	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:19	afcreed	171					afc/afcreed/rs	audio
<13705b20>	[Quince Dillion's High-D Reel]	The title appeared in the fieldnotes as "Unnamed reel."	Reed, Henry; fiddle	Henry Reed gave no name to this tune, though he played it twice and also played two sets of a tune in G with the same first strain (see"Breakdown in G," AFS 13037a01, AFS 13033b25). This tune cannot be traced to other sources. It somehow came to be thought of as a tune Henry Reed learned from Quince Dillion, though there is no concrete evidence of this in the fieldnotes from the 1960s, and it has gone back into circulation among some performers in the old-time music revival under the title "Quince Dillion's High-D Reel," the title used here.<p>The guitar accompaniment by Henry Reed's son Gene in the previous performance of this tune (AFS 13703b09) is interesting in that he uses a minor-seven chord (here a C chord in the key of D). By the testimony of all his children, Henry Reed was a stickler for "the right chords," so we can assume that the chords represent Henry Reed's own musical choices. It is sometimes thought that minor-seventh chords are "untraditional" among older musicians; this is evidence to the contrary.</p><p>Henry Reed's son James plays "Quince Dillion's High-D Reel" with four parts and explains that his father used to play the two extra strains but had omitted them in the recordings presented here.</p>	D	4/4	2 (high-low, 4-4)	(1)-2r-1	ABAC QRQS (abcd abef qrst qref)	14 (16 including grace note run on G-string)			[Breakdown in G]	[Quince Dillion's High-D Reel] [AFS 13703b09]%13703b09				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: That ain't no bad piece, is it?<br>ALAN JABBOUR: It's not, not bad at all. What's the name of it?<br>HENRY REED: I, I don't know, but it's old.<br>ALAN JABBOUR: Yeah. I heard you play that before. In fact, I think I taped it.<br>HENRY REED: Yeah.<br>ALAN JABBOUR: And I heard you play it--once you played it in G, and had a different second part to it. Do you remember that?<br>HENRY REED: No, it must've been something else in G that looked--sounded like it. It wasn't that. You can't play that so well . . . .<br>ALAN JABBOUR: No, no.	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:20	afcreed	172					afc/afcreed/rs	audio
<13705b21>	Hell among the Yearlings	The title appeared in the fieldnotes as "Hell among the Yearlin's."	Reed, Henry; fiddle	"Hell among the Yearlings" (sometimes known in bowdlerized forms such as "Rounding Up the Cattle") is a tune of the Upper South. It was recorded by West Virginian Clark Kessinger on an early hillbilly record with an irregular first strain that lingers on the high A and requires two extra beats. Nearly all current versions in bluegrass style or in contest fiddling circles perpetuate this irregularity, but Henry Reed's set has the normal number of bars and beats.	D	4/4	2 (high-low, 4-4)	1r-2r-1	ABCD QRQS (aba'c defb qrss' qrst)	15		Hell amongst the Yearlings	Rounding Up the Cattle	Hell among the Yearlings [AFS 13035a35]%13035a35		Hell among the Yearlings [transcription]%reedt036		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: I know what that is.<br>HENRY REED: Yeah. You remember that one.<br>ALAN JABBOUR: Yeah, "Hell amongst . . ."<br>HENRY REED: "Hell among the Yearlings."	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:21	afcreed	173					afc/afcreed/rs	audio
<13705b22>	Louise		Reed, Henry; fiddle	This was a popular song from the turn-of-the-century with a few "Scotch snaps" as a melodic feature.	G	4/4	2 (low-high, 8-8)	1	ABCDABC'D QRSTUVC"D	10								Airs%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: What is that?<br>HENRY REED: That's . . . .<br>WOMAN: I like that.<br>HENRY REED: Huh?<br>WOMAN: I like that.<br>ALAN JABBOUR: What is it?<br>HENRY REED: Uh . . . .<br>ALAN JABBOUR: It's pretty.<br>HENRY REED: "Louise."<br>ALAN JABBOUR: "Louise."<br>WOMAN: Yeah.<br>HENRY REED: "Louise." We used to play that on the fiddle and guitar.<br>WOMAN: In the apartment we . . . .	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:22	afcreed	174					afc/afcreed/rs	audio
<13705b23>	Such a Getting Upstairs	The title appeared in the fieldnotes as "Such a Gettin' Upstairs."	Reed, Henry; fiddle	Henry Reed says he used to hear George Terry play this piece, including a low "chorus" that Henry Reed could no longer remember. "Such a Getting Upstairs" is well-documented as a Virginia tune, appearing in Knauff's <i>Virginia Reels</i>, vol. 4, #4 "Sich a Gittin Up Stars: Varied" and in Wilkinson, "Virginia Dance Tunes," p. 4, played by James S. Chisholm of Greenwood, Virginia. Another nineteenth-century print set is <i>Howe's School for the Violin</i>, p. 43. The tune seems to be akin to a tune in children's song and play-party tradition ("This Old Man").	D	4/4	2 (high-low, 2-2)	2-(spoken)-1-2r-1r-2r-(spoken)	AB QR	8		Sich a Gittin Up Stars	This Old Man					Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>ALAN JABBOUR: Did you ever play "Such a Getting Upstairs"?<br>HENRY REED: Huh?<br>ALAN JABBOUR: Did you ever play "Such a Getting Upstairs"?<br>HENRY REED: [Laughs]. I don't know whether I . . . . [Plays fiddle] Is that it?<br>ALAN JABBOUR: I think that's it, yeah.<br>HENRY REED: [Laughs]<br>ALAN JABBOUR: Go ahead. Let me hear how you do it.<br>HENRY REED: It's been so long, I don't know any of it.<br>ALAN JABBOUR: That's it, alright.<p>[after tune]<br>HENRY REED: Now, there's a chorus to it, but I don't know it. Yeah, there's a chorus to it.<br>ALAN JABBOUR: That may be. I don't know the piece well enough. I just heard it once or twice.<br>HENRY REED: Well, now, there's a chorus to it and I don't know it. It's been so long since I told you that I used to hear George Terry play that.<br>ALAN JABBOUR: Would it be the same part down, you know?<br>HENRY REED: No, no, it's a . . . .<br>ALAN JABBOUR: It's a different, it's a new . . . .<br>WOMAN: I like "Down Yonder."<br>ALAN JABBOUR: [Laughs]<br>WOMAN: Do you know that?<br>HENRY REED: What?<br>WOMAN: I like "Down Yonder." That's pretty.<br>NETTIE REED: . . . coffee . . . .<br>WOMAN: Ma'am, do you know how much coffee I drank today? I told you, when I drink coffee, it's right down here. I got up and went to work this morning, never drank a cup of coffee, and I drank just one of those little old ten cent cups for dinner, and that's every bit of coffee I've had. [Henry Reed plays fiddle] You think I drink a lot of coffee, but I don't . . . . and I've been reading, I drink . . . .</p>	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:23	afcreed	175					afc/afcreed/rs	audio
<13705b24>	Jawbones [Jordan Is a Hard Road to Travel]	The title appeared in the fieldnotes as "Jawbones."	Reed, Henry; fiddle	This is one of two different tunes that Henry Reed called "Jawbones." Both are in G, and they have some similarities in melodic phrasing. This one is the tune often called "Jordan Is a Hard Road to Travel" or related titles. It had some currency on the nineteenth-century minstrel stage under that title, having been published by Dan Emmett in 1853, and the title connection is maintained in Ford, <i>Traditional Music of America</i>, p. 82, where the tune is entitled "T'Other Side of Jordan." Indeed, this set may also maintain a thread of connection, for bones (even jawbones) were often used as a rhythm instrument on the minstrel stage. A recorded set is "Johnson City Rag," played by the Roane County Ramblers on an early hillbilly record (reissued on LP, County 403 and County 507). Henry Reed follows this set with a rendition of "Shoes and Stockings" (AFS 13705a25), which is a tune that has tantalizing melodic similarities with "Jordan Is a Hard Road to Travel."	G	4/4	2 (high-low, 4-4)	1-2-1-(spoken)-1r-2-(spoken)-1r-2r-1r-2	ABA'C QRQS (abcd a'b'ef qrqs qrtf)	12		T'Other Side of Jordan%Johnson City Rag	Shoes and Stockings%Jawbones [Military Schottische]				Daniel Emmett, 1853	Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[after a few strains]<br>HENRY REED: Yeah, you've got that on the tape, there.<br>ALAN JABBOUR: No.<br>HENRY REED: Huh?<br>ALAN JABBOUR: I don't know that I do. What do you call that?<br>HENRY REED: Well, I don't know.<br>ALAN JABBOUR: No? I thought you were playing something I knew, but then it went off a different direction. Do it again, let me hear it.<br>HENRY REED: That's the one I'm trying to think of, that them Carrs played.<br>ALAN JABBOUR: Oh.<p>[middle of performance]<br>HENRY REED: It's been so long, I mighty nigh forgot it.<br>ALAN JABBOUR: [Laughs]<br>HENRY REED: But that's what it is, that's . . . .<br>ALAN JABBOUR: "Jawbones."<br>HENRY REED: That's "Jawbones."<br>ALAN JABBOUR: Yeah.<br>HENRY REED: Yeah. Says, "Bill, play me old 'Jawbones' and I'll show you how to dance it." He get out there, them cowhide boots on, and just knocked the whey out of them. [Laughs]</p><p>[after tune]<br>HENRY REED: Takes a little more bow than I can get there. [Laughs]</p>	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:24	afcreed	176					afc/afcreed/rs	audio
<13705b25>	Shoes and Stockings		Reed, Henry; fiddle	Henry Reed said that "Shoes and Stockings" was a tune of Quince Dillion's (see his discussion preceding the performance of "New Castle," AFS 13705b15). The title may possibly link the tune to the song "His Old Shoes and His Leggings," some Southern versions of which resemble this tune, but no clear correlation can be made. This tune bears some resemblance to another tune in Henry Reed's repertory "Jawbones," usually known by the title "Jordan Is a Hard Road to Travel" (AFS 13705b24). It is an interesting performance, played in what might be called a spare melodic style with few sixteenth notes and a lot of quarter and eighth notes. A recording of the tune, learned from Henry Reed, on the album <i>Sandy's Fancy</i> (Flying Fish FF-260) gave "Shoes and Stockings" some renewed circulation in the old-time music revival.	A	4/4	2 (low-high, 4-4)	2-(spoken)-1r-2r-1	ABAC QRQS (abac abde qrsb qrst)	12			Jordan Is a Hard Road to Travel	[Shoes and Stockings] [AFS 13705a55]%13705a55				Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: That's the way that one plays.<br>ALAN JABBOUR: Oh! You did it in G the other time.<br>HENRY REED: I know, but it plays in D.<br>ALAN JABBOUR: Do it, I'd like to hear it.<br>HENRY REED: [Laughs]<p>[after tune]<br>HENRY REED: That's the way it's supposed to be played. It's hard to play that, too.<br>ALAN JABBOUR: Yeah, I know. I see why you switched to G.<br>HENRY REED and ALAN JABBOUR: [Laugh]<br>ALAN JABBOUR: So that's "Shoes and Stockings," now?<br>HENRY REED: Yeah.<br>ALAN JABBOUR: And the other one's "Jawbones"? Alright, I'm all straight now. [Laughs]. Did you ever play a tune called "Jaybird"?<br>HENRY REED: No sir, but I heard some old fiddler one time play that, and I don't know whether that . . . .<br>ALAN JABBOUR: You don't remember it, do you?<br>HENRY REED: No, I don't remember that, now.<br>WOMAN: I like "Chicken Reel" on there. Do you ever play "Chicken Reel"?<br>ALAN JABBOUR: Oh, I hack at it sometimes.</p>	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:25	afcreed	177					afc/afcreed/rs	audio
<13705b26>	Kiss Waltz		Reed, Henry; fiddle	"Kiss Waltz" is not a waltz at all, but a schottische that modulates from key to key between its strains. Henry Reed played it twice, once beginning in G (AFS 13705a41) and once beginning in D (here). This, the second performance, beginning in the key of D and reaching up to the high D on the E-string, seems to be more definitive, for it permits adding a fourth strain, which could not be played in a set beginning in G. He remembers some parts of the tune more clearly than others, so these musical ventures become (among other things) opportunities to glimpse his imagination at work.<p>The tune--or at least its high strain--can be found in published collections. See "Rainbow Schottische," Ford, <i>Traditional Music of America</i>, p. 156; "Right Foot Left Foot," Morris, <i>Old Time Violin Melodies</i>, #14; "Arizona's Pioneer Schottische," Ruth, <i>Pioneer Western Folk Tunes</i>, p. 45. The third strain appears to be an insertion of another schottische, usually known as "Crystal Schottische"; an example appears in <i>American Fiddle Tunes</i> (Library of Congress, AFS L62), "Two-Step Schottische [Crystal Schottische]."</p>	D/G/C	4/4	4 (high-low-higher-lower)	1-2-3-4-1-2-3-4	ABAC GHGI QRQ'S UVUW (fourth strain = second strain a fifth lower)	15			Rainbow Schottische%Right Foot Left Foot%Arizona's Pioneer Schottische%Crystal Schottische%Two-Step Schottische	Kiss Waltz [AFS 13705a41]%13705a41				Schottisches%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>NETTIE REED: Didn't he start that up?<br>ALAN JABBOUR: That's alright. No, no. Don't anybody worry about anything.<p>[later]<br>HENRY REED: I played that one for you.<br>ALAN JABBOUR: We got that one.<br>HENRY REED: Yeah, it's a pretty good piece.</p><p>[after tune]<br>ALAN JABBOUR: [Laughs]. What in the world is that?<br>HENRY REED: That's what they call the "Kiss Waltz."<br>ALAN JABBOUR: "Kiss Waltz"?<br>HENRY REED: Yes.<br>ALAN JABBOUR: Seems to me I heard you play that before.<br>HENRY REED: Yeah, yeah, I think I--you got it somewhere on these strips.<br>ALAN JABBOUR: I never learned it, though.<br>HENRY REED: Didn't you learn that?<br>ALAN JABBOUR: I didn't pick that one up.<br>HENRY REED: [Laughs]. Yeah, you ought to.<br>ALAN JABBOUR: Yeah.</p>	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:26	afcreed	178					afc/afcreed/rs	audio
<13705b27>	Johnny Comes Marching Home		Reed, Henry; fiddle	This air belongs, as Henry Reed says, to an old war song called "Johnny Comes Marching Home." It is a scion of an ancient and widespread air used for other songs in British and American tradition, including the "Two Crows" ("Twa Corbies") ballad (Child 26 "The Three Ravens"; see Bronson, <i>The Traditional Tunes of the Child Ballads</i>). This song was sung by Nettie Reed's uncle by marriage, Sam Ross, a teamster in the Civil War and a wounded veteran.	A	4/4	1 (8)	1-1	ABAC DEFA'	7		The Two Crows%The Twa Corbies%The Three Ravens						Airs%Fiddle tunes%Instrumentals--fiddle	HENRY REED: That's the old war song.<br>ALAN JABBOUR: What do you call it?<br>HENRY REED: Something about "Johnny Come Marching Home."<br>ALAN JABBOUR: Uh-huh.<br>HENRY REED: I used to hear her uncle there by marriage singing it, old uncle Sam Ross, and he could sing it, you could hear him two miles.<br>ALAN JABBOUR: Oh really?<br>HENRY REED: Yeah, he knowed every bit of it.<br>ALAN JABBOUR: When was that--when you were a kid?<br>HENRY REED: Yeah, when me and her was first married. He didn't live long after we was married. He was a [unintelligible]. He was knocked down with a saber in the hip, you know. He walked with the left leg bent away under that way all the time. And this hand here, he was hit with a saber over that, that hand set up like that. And there was places half as long as that fiddle bow in his back where they swiped him with them sabers. He hauled a cannon, you know, as a teamster--hauled a cannon in the time of the War between the States. They just hacked him all to pieces.<br>ALAN JABBOUR: Good gracious.<br>HENRY REED: One ear flopped over where they hit him. Then he got on a horse and got out. They never captured him.<br>ALAN JABBOUR: Had that song to show for it.<br>HENRY REED: Yeah. Yeah, that was it.<br>ALAN JABBOUR: What other war pieces do you have? My grandmother used to use that same tune for a different song, not about the war. She used to sing it about three crows.<br>HENRY REED: Yeah. I never . . . .<br>ALAN JABBOUR: I don't know if you ever heard that.<br>HENRY REED: No, I never heard that.<br>ALAN JABBOUR: Same exact tune, though, you know.<br>HENRY REED: Yeah.<br>ALAN JABBOUR: In fact, I suspect they took the tune from the three crows song and applied it, you know, to the war.	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:27	afcreed	179					afc/afcreed/rs	audio
<13705b28>	Fare Thee Well My Dear Brother		Reed, Henry; fiddle	"Farewell My Dear Brethren" is, as Henry Reed says, a hymn. The author of the words seems not to be known, according to the compilers of the 1971 edition of the <i>Original Sacred Harp</i>, where the words appear with the tune "Imandra." The link with "Imandra" goes back to William Walker's <i>Southern Harmony</i>, p. 34. But "Imandra" is in fact a different tune from Henry Reed's air. It may be that the present tune is only fragmentary, for it covers only the span of a half-verse. Compare the tune sung by Maggie Hammons Parker for "In Scotland Town" (Child 17) on the album <i>The Hammons Family</i> (Library of Congress, AFS L65-66), which is a similar shortened tune.<p>Henry Reed thought of this song as sung by "General Jackson" when he died in battle. He later adds "Andrew Jackson," but it better fits the profile of Stonewall Jackson, who died in 1863 after being wounded in battle.</p>	A	4/4	1 (4)	1-1	AB (abcd)	9		Fare Thee Well My Dear Brother%Farewell My Dear Brethren%Imandra	In Scotland Town	Farewell My Dear Brother [AFS 13703b17]%13703b17				Airs%Fiddle tunes%Instrumentals--fiddle	[before tune]<br>HENRY REED: There's a, an old sacred song . . . . Let's see.<p>[after first performance of tune]<br>ALAN JABBOUR: What's the name of it?<br>HENRY REED: "Fare Thee Well, My Dear Brother, I'm Leaving for Awhile," or something. Now that there is what General Jackson sung after his men shot him, you know, and he sung that as he died.<br>ALAN JABBOUR: Is that a fact?<br>HENRY REED: As he died, yeah. General Andrew Jackson. That's a pretty old piece, ain't it?<br>ALAN JABBOUR: It is.<br>WOMAN: Play it again, Daddy.<br>HENRY REED: Huh?<br>WOMAN: Play it again . . . . Go ahead.</p><p>[after second performance of tune]<br>HENRY REED: Yeah.<br>ALAN JABBOUR: That's pretty.<br>HENRY REED: Yeah, that's a pretty piece.<br>ALAN JABBOUR: Did you pick up any other fife tunes from Old Man Dillion? Besides the, uh--you played a couple of them for me. One of them . . . .<br>HENRY REED: Who?<br>ALAN JABBOUR: From Quincy Dillion. Didn't you say he played the fife?<br>HENRY REED: Yeah, he played . . . .<br>ALAN JABBOUR: You played two fife pieces that you learned from him before. Did you--were there any more that you knew? One of them you call "Santa Anna's Retreat" and the other one you said was a British field march.<br>HENRY REED: Yeah, yeah I got them. He used to play them on his fife. Yeah, I got them from him. Yes. That "Forked Deer" come from him too.<br>ALAN JABBOUR: Is that a fact? On the fiddle, though?<br>HENRY REED: [Laughs]</p>	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:28	afcreed	180					afc/afcreed/rs	audio
<13705b29>	Love Somebody (fragment)		Reed, Henry; fiddle	This is a widely distributed song and dance tune, often occurring with this title in the Upper South and points west. Scottish sets are often called "My Love She's But a Lassie Yet," which appeared in the well-distributed eighteenth-century publication <i>Scots Musical Museum</i> (1853 edition), vol. 2, 234 (#225). Sharp recorded it from Mrs. Stella Reynolds along the Blue Ridge in Meadows of Dan, Virginia, as "I'm Seventeen Come Sunday" (<i>English Folk Songs from the Southern Appalachians</i>, vol. 2, 158, #127-D), and other instrumental sets have titles echoing the same song, such as "Sweet Sixteen." Various manuscript sets show that the instrumental tune was in America by the late eighteenth century, and Knauff has a version called "Richmond Blues" in <i>Virginia Reels</i> (1839).<p>Henry Reed's earlier performance (AFS 13034b31) is more complete than this performance.</p>	D	4/4	1	Fragmentary	Fragmentary	Fragmentary		My Love She's But a Lassie Yet%I'm Seventeen Come Sunday%Sweet Sixteen%Richmond Blues		Love Somebody [AFS 13034b31]%13034b31		Love Somebody [transcription]%reedt003		Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	HENRY REED: That's a snappy old piece!<br>ALAN JABBOUR: It is. Yeah. I like that. I play that one. I guess I learned it from you.<br>HENRY REED: Get--Try her. That's "Love Somebody."	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:29	afcreed	181					afc/afcreed/rs	audio
<13705b30>	Arkansas Traveler		Reed, Henry; fiddle	"Arkansas Traveler" seems to be American in origin and appeared in many nineteenth-century publications, both as a tune and in association with a comic skit popular on the stage, in which the lost traveler in Arkansas encounters a squatter playing half a tune and exchanges one-liners of stage banter ("You seem pretty stupid, fellow." "Well, I ain't lost.") before finally supplying the other half of the tune and gaining a full welcome. Some typical sets are <i>Winner's Collection of Music for the Violin</i>, p. 30; <i>Winner's Dance Music</i>, p. 26 (with dialogue) and p. 52; and <i>One Thousand Fiddle Tunes</i>, p. 4. Twentieth-century sets include Morris, <i>Old Time Violin Melodies</i> #1 "Arkansas"; Fillmore, <i>American Veteran Fifer</i> #29; Ford, <i>Traditional Music of America</i>, p. 46; Linscott, <i>Folk Songs of Old New England</i>, p. 83; and Randolph, <i>Ozark Folksongs</i> vol. 3, 22 (with dialogue). Henry Reed follows the Upper South predilection for beginning with the high strain. His third strain is the low strain raised to the upper octave, a variation that appears in some other sets (see for instance the Morris set).	D	4/4	3 (high-low-higher octave)	1r-2r-1r-3-2-(break)-1-3-1	ABAC QRQC UVUC (abcd abef qrss' uvwx uvef)	15								Breakdowns%Reels%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR and HENRY REED: [Laugh]<br>HENRY REED: That there is hard to play.<br>ALAN JABBOUR: It is.<br>HENRY REED: Do you play it?<p>[after second performance]<br>ALAN JABBOUR: Which part did you mean, for the shuffle?<br>HENRY REED: Right over there in that chorus part of it, there.<br>ALAN JABBOUR: Uh-huh.<br>HENRY REED: There's a kind of a roll you get in, there.<br>WOMAN: You didn't get it, though.<br>HENRY REED: No, I ain't got it yet. [Laughs]<br>ALAN JABBOUR: Neither one of us did.<br>HENRY REED: No, no. I ain't got it . . . .</p>	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:30	afcreed	182					afc/afcreed/rs	audio
<13705b31>	Christmas Song		Reed, Henry; fiddle	Henry Reed said this was a Christmas song that was about the Savior being born, and confessed that he did not like it.	D	4/4	Fragmentary	Fragmentary	Fragmentary	8								Airs%Fiddle tunes%Instrumentals--fiddle	HENRY REED: I never liked that.<br>ALAN JABBOUR: [Laughs]. What's the name of it?<br>HENRY REED: That's, there, some song about the Savior being born, you know.<br>ALAN JABBOUR: Um-hmm.	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:31	afcreed	183					afc/afcreed/rs	audio
<13705b32>	Poor Ellen Smith		Reed, Henry; fiddle	Henry Reed called this air "Poor Ellen Smith," and it is the usual tune to the American murder ballad of that name (see Laws, <i>Native American Balladry</i>, p. 196, F11). The tune is a secular adaptation of an old hymn tune, used for "How Firm a Foundation." An interesting feature of Henry Reed's playing on this air is his use of the flattened third (F on the E-string)--almost like a vocal grace note.	D	4/4	2 (high-low, 4-4)	1r-2r-1r-2r-1	ABCD QB'CD (abcd efgh qbq'd efgh)	8			How Firm a Foundation					Airs%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: That's pretty.<br>WOMAN: I always liked that.<br>HENRY REED: "Ellen Smith," it is a pretty tune.<br>ALAN JABBOUR: Do you know the words?<br>HENRY REED: No, I never--I expect I have knowed some of them, but I don't know a bit of them now.<br>NETTIE REED: I used to know them all.	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:32	afcreed	184					afc/afcreed/rs	audio
<13705b33>	Barbara Allen		Reed, Henry; fiddle	This is the most widespread tune in the Appalachian region (and perhaps in America) for the ballad "Barbara Allen" (Child 84). Bertrand Harris Bronson's <i>Traditional Tunes of the Child Ballads</i> provides many variants, and Charles Seeger analyzed the variants in the lengthy booklet accompanying a documentary LP record from the Library of Congress, <i>Versions and Variants of "Barbara Allen"</i> (Library of Congress, AFS L54). Henry Reed plays "Barbara Allen" in the metrically loose style reserved for unaccompanied songs, with a conspicuous hold on the note corresponding to the first syllable of the heroine's name. The first phrase of the melody varies after the first time through the tune.	D	3/4	1 (8)	3 times through, plus stray note	ABCD	9	As a performance, this is a good example of Henry Reed's air style, and indeed is typical of playing airs throughout the Upper South; note the regular doubling of open-string notes at the phrase-end.		Shady Grove%Boyne Water%The Foggy Dew					Airs%Fiddle tunes%Instrumentals--fiddle	ALAN JABBOUR: Do you play "Barbara Allen" too? Or sing it, or either one?<br>HENRY REED: Well, I--it wouldn't be no use to ask me to sing it, because I couldn't do that, and I don't know whether I can play it or not.<br>WOMAN: Go ahead, play it . . . .<br>HENRY REED: Do you know it?<br>ALAN JABBOUR: That's alright, no hurry.	Jabbour, Alan	1967/10/28	Reed family home, Glen Lyn, Virginia (Giles County)	sound recording	LWO 5379 reel 3B, AFS 13705B:33	afcreed	185					afc/afcreed/rs	audio