Dick Sands’ hornpipe

Also known as Cranciuil Ristaird Mic Allastair, Cranciuil Ristaird Sands, Crannciuil Ristaird Mic Allastair, Crannciuil Ristaird Sands, Dick Sands, Dick Sands’ Clog Dance, Sand’s, Sands.

There is 1 recording of this tune.

Dick Sands’ appears in 2 other tune collections.

Dick Sands' has been added to 24 tunebooks.

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Four settings

X: 1
T: Dick Sands'
R: hornpipe
M: 4/4
L: 1/8
K: Gmaj
(3def|ggdB GBed|cBAG FADF|GABc dBGB|Ad^ce d2 (3def|
ggdB GBed|cBAG FADF|GBdB ecAF|G2 GF G2:|
|:cB|ABAG FDEF|GABc dBGB|cBcd edcB|Ad^ce d2 (3def|
(3gag dB (3efe cA|(3ded Bd cAFA|GBdB ecAF|G2 GF G2:|
X: 2
T: Dick Sands'
R: hornpipe
M: 4/4
L: 1/8
K: Amaj
|:(3efg|a>ae>c A>cf>e|d>cB>A G>BE>G|A>Bc>d e>cA>c|B>e^d>f e>ef>g|
a>ae>c A>cf>e|d>cB>A G>BE>G|A>ae>c f>dB>G|A2 c2 A2:|
|:d>c|B>cB>A G>EF>G|A>Bc>d e>cA>c|d>cd>e f>ed>c|B>e^d>f e>ef>g|
(3aba e>c (3fgf d>B|(3efd c>A (3ded B>G|A>ae>c f>dB>G|A2 c2 A2:|
X: 3
T: Dick Sands'
R: hornpipe
M: 4/4
L: 1/8
K: Gmaj
|:(3def|g>d (3Bcd G>Be>d|c>BA>G F>A (3DEF|G>AB>c ^c>de>d|A>d (3^cde d2 (3def|
g2 d>B G2 e>d|c2 (3BAG (3FGA D>F|G>Bd>B e>cA>F|G2 g2 G2:|
|:c>B|A2 (3BAG F2 (3DEF|G>AB>c ^c>de>d|c>Bc>G e>dc>B|A>d (3^cde d2 (3def|
(3gbg d>B (3ege (3cBA|(3d^cd B>G c>A (3FGA|G>Bd>g e>z (3cAF|1 Gz Dz G,z:|2 G2 d2 g2||
X: 4
T: Dick Sands'
R: hornpipe
M: 4/4
L: 1/8
K: Cmaj
edcB dcBA|G^FGE CEGc|AFAc BGAB|c z Bd c2:|
(3EFG|:A2 (3ABc E3c|AE (3ABc E3f|eEdE cEBE|cEBE AE^GB|
A2 (3ABc E2(3EFG|AE (3ABcE3f|(3efe (3ded (3cdc (3BcB|(3cdc (3BcB A2 a z:|

Nine comments

Likely American in origin. Performance and printed records predate the tune’s inclusion in O’Neill (1907).

Cole (p. 100) printed the tune in the key of “A”.
Tune #953 in O’Neills 1001 Jigs, Reels Hornpipes, Airs and Marches.

Consult the listing at
for interesting history and background about Sands and the tune.

Family member?

Sounds like a cousin of ‘Johnny will you marry me?’

A nice cousin though


Disregard the above, it was meant as a comment on ‘The Macroom Fling’


S: O’Neill’s ~ this transcription as given by hernesheir in G

S: “O’Neill’s Music of Ireland: 1850 Melodies, 1903, page 231, tune #1777

S: “O’Neill’s Dance Music of Ireland: 1001 Gems”, 1907, page 163, tune #953

“Dick Sands’ Clog Dance” ~ in A Major ~ more history

X: 2
T: Dick Sands’ Clog Dance
T: Dick Sands’ Hornpipe
B: “Howe’s 1000 Jigs and Reels”, 1867, page 31
B: “Ryan’s Mammoth Collection of Fiddle Tunes”, 1883, page 135
B: “O’Neill’s Music of Ireland: 1850 Melodies”, 1903, page 231, tune #1777
B: “Cole’s 1000 Fiddle Tunes”, 1940, page 100 (identical to Ryan’s)
M: 4/4
L: 1/8
R: hornpipe / clog
K: Amaj
|: (3efg |\
a>ae>c A>cf>e | d>cB>A G>BE>G | A>Bc>d e>cA>c | B>e^d>f e>ef>g |
a>ae>c A>cf>e | d>cB>A G>BE>G | A>ae>c f>dB>G | A2 c2 A2 :|
|: d>c |\
B>cB>A G>EF>G | A>Bc>d e>cA>c | d>cd>e f>ed>c | B>e^d>f e>ef>g |
(3aba e>c (3fgf d>B | (3efd c>A (3ded B>G | A>ae>c f>dB>G | A2 c2 A2 :|

All of these printed versions had it in A, and there was little or no difference between them, from one transcription to the next. A small example is to be found in some, such as with “O’Neill’s 1850”, where the only difference is in the final bar for both parts ~

~ | A2 (3.A.A.A A2 :|

Fiddler’s Companion ~ Andrew Kuntz ~ Dick Sands, musician & dancer



DICK SANDS’ HORNPIPE (“Crannciuil Ristaird Sands” or “Crannciuil Ristaird Mic Allastair”). AKA – “Dick Sand’s Clog Dance,” “Sand’s Hornpipe.”

American, Irish; Hornpipe; clog. USA; New York, Missouri. A Major; G Major ~

American sources appear to pre-date the tunes inclusion in O’Neill’s Music of Ireland (1903), and it appears likely that O’Neill gleaned the tune from either Howe’s or Ryan’s related publications. “Dick Sand’s Hornpipe” is one of the tunes listed by Lettie Osborn (New York Folklore Quarterly) as having been commonly played for dances in Orange County, New York, in the 1930’s. Howe notes that his source was Jimmy Norton, the ‘Boss Jig Player’, whom Don Meade believes was a mid-19th century stage performer and former child prodigy, who, among his many talents, played the violin. The tune was arranged for 9 parts—violins, clarionet, coronet, bass, flute, viola, trombone, cello and piano—in another of Howe’s publications, Howe’s Full Quadrille Orchestra (No. 262). It is on Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Likely original sources, again, are the Howe and Ryan volumes.
Dick Sands was a celebrated stage performer of step dancing in the United States during the latter half of the 19th century (1860’s on), who also sang and did ‘Irish character’ performances. A publication by J.F. Finn (New York, 1879/1880) bears his name: Dick Sands’ Irish Jig, Clog and Dance Book, being “a history of the personal, political and professional sentiments and peregrinations of Dick Sands with complete and practical instructions in the art of clog-dancing.” Edward Le Roy Rice, in his book Monarchs of Minstrelsy (New York, 1911), gives:
DICK SANDS (George R. Sands), famous for many years as (P.T.) Barnums’s “Old Woman in the Shoe,” was one of the world’s greatest clog dancers. His first appearance was made at Pierce’s Varieties in Providence, R.I., in 1857. Late that same year he joined Bryant’s Minstrels in New York, and in February, 1859, reappeared there. In 1866 he was associated with Jack Haverly in a minstrel company bearing their name. Mr. Sands played important engagements With the Morris Brothers, Pell and Trowbridge Minstrels in Boston, and many other high-class minstrel and circus companies. Dick Sands was born at Mill Bridge, England, May 2, 1840; he died in New York, March 28, 1900.
The reference to circus promoter P.T. Barnum is interesting, although I have not been able to find any further information regarding Sands’ employment with him. Barnum did have fairy-tale and nursery rhyme themes in his shows, however, and may have had skits that featured characters from them, in an effort to draw in families with young children (and to mitigate the impression that the circus was suspect entertainment for some classes). His circus parade featured floats based on these themes, including a mother goose float that perhaps Sands was associated with. Perhaps the earliest recording is from 1913 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford).

“Dick Sands’” ~ some other options in G ~ the sans > & (3 is already given 😉

X: 3
T: Dick Sands’
M: 4/4
L: 1/8
R: clog / hornpipe
K: Gmaj
(3def |\
gd (3Bcd GBed | cBAG FA (3DEF | GABc ^cded | Ad (3^cde d2 (3def |
g2 dB G2 ed | c2 (3BAG (3FGA DF | GBdB ecAF | G2 g2 G2 :|
|: cB |\
A2 (3BAG F2 (3DEF | GABc ^cded | cBcG edcB | Ad (3^cde d2 (3def |
(3gbg dB (3ege (3cBA | (3d^cd BG cA (3FGA | GBdg ez (3cAF |[1 Gz Dz G,z :|[2 G2 d2 g2 |]

Dick Sands’, X:4

I’m posting this basic version under the ‘Dick Sand’s’ listing since this tune has been recorded under that title originally I think by George Ross the Wexford accordionist and subsequently by Jackie Daly, Buttons and bows etc who used either George’s HMV recording or possibly in Jackie’s case a home recording done in George’s house in Wexford in the 1980s. Clearly this hornpipe is a different tune to Dick Sand’s as above (and in published form) so it was probably incorrectly named on George Ross’s original recording. Although the first part has some similarities to St. Anne’s reel, the rest of the tune is quite different. I’ve been working on the Wexford tune repertoire and so far, haven’t been able to locate this ‘Dick Sand’s’ anywhere else. I’m hoping someone may be able to shed some light on where this hornpipe comes from or possibly an earlier title for it. I have some vague memory of a French Canadian reel that I may have heard a long time ago that was similar?