Annotation:Cut and Dry Dolly
X:1 % T:Cut and Dry Dolly M:C| L:1/8 S:Robert Riddell’s “Collection of Scotch Galwegian Border Tunes“ (1794, p. 2) Z:AK/Fiddler’s Companion K:A (e/f/4g/4)|a2 ef/g/ a/g/f/e/ c/d/e/c/|d/c/B/A/ !trill!c2 Aeeg|a2 ef/g/ a/g/f/e/ c/d/e/c/|B/c/d/B/ !trill!c2 Bffg| a2 ef/g/ a/g/f/e/ c/d/e/c/|d/c/B/A/ !trill!c2 Ae f/e/d/c/|df g/f/e/d/ ce f/e/d/c/|B/c/d/B/ !trill!c2 Bffa|| d/c/B/A/ !trill!c2 Ae c/d/e/c/|d/c/B/A/ !trill!c2 Aeea|d/c/B/A/ !trill!c2 Ae c/d/e/c/|B/c/d/B/ !trill!Bffa| d/c/B/A/ !trill! c2 Ae c/d/e/c/|d/c/B/A/ !~trill!c2 Ae f/e/d/c/|df g/f/e/d/ ce f/e/d/c/|B/c/d/B/ !trill!c2 Bffg|| afge fdec|d/c/B/A/ !trill!c2 Aeeg|afge fdec|B/c/d/B/ !trill!c2 Bffg| afge fdec|d/c/B/A/ !trill!c2 Ae f/e/d/c/|df g/f/e/d/ ce f/e/d/c/|B/c/d/B/ !trill!c2 Bffa|| Aaca Aaca|d/c/B/A/ !trill!c2 Aeea|Aaca Aaca|d/c/B/A/ !trill!c2 Bffa| Aaca Aaca|d/c/B/A/ !trill!c2 Ae f/e/d/c/|df g/f/e/d/ ce f/e/d/c/|B/c/d/B/ !trill!c2 Bffa|| e/f/e/d/ c/d/e/c/ e/f/e/d/ c/d/e/c/|d/c/B/A/ !trill!c2 Aeea|e/f/e/d/ c/d/e/c/ e/f/e/d/ c/d/e/c/|B/c/d/B/ !trilL!c2 Bffa| e/f/e/d/ c/d/e/c/ e/f/e/d/ c/d/e/c/|d/c/B/A/ !trill!c2 Ae f/e/d/c/ |df g/f/e/d/ ce f/e/d/c/|B/c/d/B/ !trill!c2 Bffa|| A/a/a/a/ c/a/a/a/ A/a/a/a/ c/a/a/a/|d/c/B/A/ !trill!c2 Aeea|A/a/a/a/ c/a/a/a/ A/a/a/a/ c/a/a/a/|B/c/d/B/ c/d/e/c/ Bffa| A/a/a/a/ c/a/a/a/ A/a/a/a/ c/a/a/a/|d/c/B/A/ !trill!c2 Ae f/e/d/c/ |df g/f/e/d/ ce f/e/d/c/|B/c/d/B/ !trill!c2 Bffa|| A/B/c/A/ c/d/e/c/ A/B/c/A/ c/d/e/c/|d/c/B/A/ !trill!c2 Aeea|A/B/c/A/ c/d/e/c/ A/B/c/A/ c/d/e/c/|B/c/d/B/ !trill!c2 Bffa| A/B/c/A/ c/d/e/c/ A/B/c/A/ c/d/e/c/|dc/B/A/ !trill!c2 Ae f/e/d/c/|df g/f/e/d/ ce f/e/d/c/|B/c/d/B/ !trill!c2 Bffa|| P:"Variations (by) J. Clark" A,C/E/ Ac A,/A,/C/E/ Ac|d/c/B/A/ !trill!c2 A/a/!trill!a ac'|A,C/E/ Ac A,/A,/c/e/ Ac|B/c/d/B/ !trill!c2 Bb!trill!b .b.d'| A,C/E/ Ac A,/A,/C/E/ Ac|d/c/B/A/ !trill!c2 A/a/g/a/ f/e/d/c/|d/b/B/f/ =g/f/e/d/ c/A/A/e/|B/c/d/B/ !trill!c2 Bffg|| (a/g/).f/e/ (d/c/).B/./A (G/A/).E/.A/ (C/E/).A/.c/|d/c/B/A/ !trill!c2 Aeeg|(a/g/).f/.e/ (d/c/).B/.A/ (G/A/).E/.A/ (C/E/).A/.c/|B/c/d/B/ !trill!c2 Bffg| (a/e/).c/.e/ (f/d/).B/.e/ (c/A/).E/.A/ (C/E/).A/c/|(A,/B,/).C/.D/ (E/F/).G/.A/ (d/c/).B/.A/ (c/d/).e/.c/|d/b/B/f/ =g/f/e/d/ c/A/A/e/ f/e/d/c/|B/c/d/B/ !trill!c2 Bff||
CUT AND DRY DOLLY. English, Reel. England, Northumberland. G Major (Peacock, Bruce & Stokoe): A Major (Riddell). Standard tuning (fiddle). AABB (Bruce & Stokoe): ABCDEFGHI (Riddell): AABBCCDDEEFFGGHH (Peacock). The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. No one knows definitively what the title refers to, or if it belong to a lost song. One explanation proffered is that it refers to a "kirn-dolly", in agrarian tradition the last bit of grain to be cut which was then dressed as a female. Robert Riddell records in his Collection of Scotch Galwegian Border Tunes (1794):
This is a Border air, and from the spirit of the Tune, seems to have been composed for the Northumberland, or small bagpipe; very capital performers upon this instrument are to be found upon the English border chiefly owing to the partiality shewn to it, by the Duke of Northumberland, who grant to the Best performers, the liberty of wearing a silver crescent; which is called the Dukes Badge, and the Pipers who wear it, are called the Duke's pipers.