Duke Gordon

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X:1 T:Duke Gordon M:C L:1/8 R:Reel B:Stephen Grier music manuscript collection (Book 2, c. 1883, No. 35, p. 7) B: http://grier.itma.ie/book-two#?c=0&m=0&s=0&cv=6&z=-112.2439%2C232.5084%2C3516.6742%2C1230.1919 N:Stephen Grier (c. 1824-1894) was a piper and fiddler from N:Newpark, Bohey, Gortletteragh, south Co. Leitrim. Z:AK/Fiddler’s Companion K:D ADD/D/D ADFD|ADD/D/D BAFA|BEE/E/E BEGE|defd d2 AB/c/| dcdf ecdB|AFDF A2 Bc|dBcA BGAF|1 EFGA BcdB:|2 EFGA B2d2|| |:add/d/d adfd|add/d/d bafa|bee/e/e bege|defd g2 AB/c/| dcdf eceB|AFDF A2 Bc|dBcA BGAF|1 EFGA B2d2:|2 EFGA BcdB||



DUKE GORDON. AKA and see "Lord Gordon's Reel," "Tiarna Gordon," "Duke of Gordon's Favourite (2) (The)," "Duke of Gordon's Rant (The)," "Waterloo Reel (3) (The)," "Rocks of Antiluce (The)," "Pride of Kildare (3) (The)," "My Heart with Love is Breaking," "Scotch Rose (The)," "Scotch Patriot's Reel (The)," "Rakes of Drumlish (The)." Scottish, Irish, Reel. The melody was published in Glasgow, Scotland, in 1778 as "The Duke of Gordon's Rant"[1], however, an older title is "Bod 'Na Sheasamh/Bohd na Hesudh," published more than twenty years earlier by Scottish cellist-composer James Oswald. Uilleann piper Seamus Ennis played a version of the tune, says Neil Mulligan, which he had from his father, who learned it from the famous piper and reed-maker, Pat Ward of the Black Bill, Drogheda. Manuscript versions in Ireland can be found in the collections of County Leitrim musician Stephen Grier, c. 1883, and in the music manuscript collection in the possession of Rev. Luke Donnellan (1878-1952), south Armagh[2]


Additional notes
Source for notated version : - Rev. Luke Donnellan music manuscript collection (Oriel region, south Ulster) [O'Connor].

Printed sources : - O'Connor (The Rose in the Gap), 2018; No. 83, p. 60.

Recorded sources : - CCE Néillidh Mulligan - "The Leitrim Thrush."




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  1. The title "The Duke of Gordon's Rant" presumably refers to Alexander Gordon, 4th Duke of Gordon (1743 – 1827).
  2. Donnellan researcher Gerry O'Connor came to believe the ms. is not the work of the curate but rather was originally compiled by an unknown but able fiddler over the course of a playing lifetime, probably in the late 19th century. The ms. later came into the possession of Donnellan, who was also a fiddler.
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