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Played by: Joey Abarta
Source: Soundcloud
Image: 19th century Scottish coggie, a drinking vessel.
According to Blue Ridge Mountain local history the tune was known in the Civil War era. Geoffrey Cantrell, writing in the Asheville Citizen-Times of Feb., 23, 2000 relates the story of the execution of three men by the Confederate Home Guard on April 10th, 1865, the day after Lee's surrender at Appomattox Courthouse.
That news would not have been known to them, given the difficulty with communications at that time. It is documented that Henry Grooms, his brother George and his brother-in-law Mitchell Caldwell, all of north Haywood County, North Carolina, were taken prisoner by the Guard under the command of one Captain Albert Teague-no one knows why, but the area had been ravaged by scalawags and bushwackers, and the populace had suffered numerous raids of family farms by Union troops hunting provisions.
One theory is that the men were accused of being Confederate deserters who, perhaps knowing the war was nearly over, had aided the Union cause in some way. There was much back-and-forth guerilla warfare, however, and the village of Waynesville had been burned two months earlier (by Unionists), and the citizenry was beleaguered and anxious. Caldwell and the Grooms brothers were captured in the Big Creek section of Haywood County, close to the Tennessee border.
Cantrell writes: "The group traveled toward Cataloochee Valley and Henry Grooms, clutching his fiddle and bow, was asked by his captors to play a tune. Realizing he was performing for his own firing squad Grooms struck up Bonaparte's Retreat," his favorite tune.
When he finished the three men were lined up against an oak tree and shot, the bodies left where they fell. Henry's wife gathered the bodies and buried them in a single grave in the family plot at Sutton Cemetery No. 1 in the Mount Sterling community, the plain headstone reading only "Murdered."
The original source for the story is George A. Miller, in his book Cemeteries and Family Graveyards in Haywood County, N.C.
...more at: Jackson's Coggie - full Score(s) and Annotations
X:1 T:Jackson's Coge in the Morning M:6/8 L:1/8 S:O'Farrell's Pocket Companion Z:Paul Kinder K:Amin V:1 clef=treble name="0." [V:1] A|:E2 A A2 B|c2 A BGE|GAG AGE|G2 B GED| E2 A A2 c|BAG Bcd|ege dBG|A3 A3:| |:e2 a a2 b|c'2 g age|g2 d g2 a|b2 a ged| e2 a abc'|bag a2 e|g^fe dBG|A3 A3:||
Played by: Francis O'Neill - Ward Irish Music Archive
Source: Soundcloud
Image: The Francis O'Neill Cylinders - Thirty-two Recordings of Irish Traditional Music in America, circa 1904.
Brendan Breathnach (1963, 1971), Robin Williamson (1976) and other knowledgeable musicians generally think the tune, a perennial favorite of performers, originated in Scotland. O'Neill finds that Bremner published it under the title "Caper Fey" (an English corruption of the Gaelic "Caber Féigh/Cabar Féidh," 'the deer's horns') in 1768 in his Second Collection of Scots Reels or Country Dances. "Rakish Paddy" is cited by Cowdery (1990) as the title tune of a dance tune family (including one march version) which includes the alternate titles given above.
There are three distinct versions of the tune, says Cowdery, the first and most common of the three has its two strains corresponding to the Scots "Caber Féigh/Cabar Féidh." The second was recorded by fiddler John Doherty and appears to be particular to his home County Donegal (see O'Halloran's), and the third (recorded by County Clare fiddler Bobby Casey and played by many) is a four-strain variation of Caber Féigh/Cabar Féidh, though the last two strains appear to be variations of the second. Caoimhin Mac Aoidh also states that the County Donegal version is different than the "Rakish Paddy" played in the south of Ireland.
In fact, he traces an unusual version of "Rakish Paddy" from Charlie Doherty, a member of the famous fiddling Doherty family of Donegal, who brought the tune back to Ireland with him from his years in America. Although Charlie’s death from a fall out a second-story window was untimely, the tune was ultimately popularized by the playing of his younger brother John and now is known throughout Donegal.
Flute player Roger Sherlock remembers "Rakish Paddy" was a favorite of uilleann piper Willie Clancy's (Miltown Malbay, County Clare) in the 1950's and 1960's when Clancy joined Sherlock and other Irish émigré musicians for a time in London. Breathnach (1963) states that O'Neill's identification of "Sporting Pat (1)" as a variant of "Rakish Paddy" is erroneous. See also the related Donegal reel O'Halloran's, New Copperplate (The) as well as Coveny's Reel<div class="mw-ext-score noresize" data-midi="/w/images/lilypond/8/j/8jrlda2e9dkv391o4l978c0objr21c1/8jrlda2e.midi"><img src="/w/images/lilypond/8/j/8jrlda2e9dkv391o4l978c0objr21c1/8jrlda2e.png" width="697" height="95" alt="
X:1
T:Coveny’s Reel
M:C|
L:1/8
K:Amin
d3c|:Ad{e}dc Addc|A/c/A GF ECCE|AD{e}dc Ad e/^fg|^fdEA ^FDDA|
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...more at: Rakish Paddy - full Score(s) and Annotations
X: 5 T:Rakish Paddy R:reel H:The tune comes from the Scottish tune "Cabar Feidh" (The Deer's Antlers). H:It is related to "The Copperplate", #308. H:This is the standard version with variations. H:See also #54 (4-part version), #647 (Donegal version) Z:id:hn-reel-53 M:C| K:Dmix V:1 clef=treble name="5." [V:1] c3B c2AB|cBAG EG~G2|Add^c de=fe|dcAG FGAB| c3B c2AB|cBAG EFGE|DEFG ABcA|1 dcAG FGAB:|2 dcAG FDD2|| |:eg~g2 ag~g2|eg~g2 edBd|ea~a2 bgag|eaag edBd| eg~g2 ag~g2|egge defg|afge fde^c|1 dcAG FDD2:|2 dcAG FGAB|| P:"Variations:" cAAB cAAB|cAAG EG~G2|Add^c de^fe|dcAG FGAB| cAAB cAAB|cAAG EFGE|D2 (3EFG ABcA|dcAG FGAB| c2AB cded|cABG EG~G2|Add^c d2 (3g^fe|dcAG FGAB| c2AB cded|cABG EFGE|FD (3EFG ABcA|dcAG FDD2|| |:eg~g2 ag~g2|eg~g2 eA (3Bcd|eaag ~a3g|ea~a2 eA (3Bcd| efge afge|fde^c defg|afge fde^c|1 dcAG FDD2:|2 dcAG FGAB||
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 Who Builds the TTAAlthough we are not trained musicologists and make no pretense to the profession, we have tried to apply such professional rigors to this Semantic Abc Web as we have internalized through our own formal and informal education.
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 | Some of items in the Traditional Tune Archive may contain offensive language or negative stereotypes.
Such materials should be seen in the context of the time period and as a reflection of the attitudes of the time. |
 | Some of items in the Traditional Tune Archive may contain offensive language or negative stereotypes.
Such materials should be seen in the context of the time period and as a reflection of the attitudes of the time. |