The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

ABERARDER RANT. AKA and see “The Farmer’s Daughter.” Scottish, Reel. D Major. Standard tuning. AABB'. A pipe tune, better known in the 20th century as “The Farmer’s Daughter,” under which title it first appears in The Seaforth Highlanders (1936). MacDonald (The Skye Collection), 1887; pg. 70.

X:1

T:Aberarder Rant

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

B|d2 ag f2 ef|d2 dB d2 de|d2 ag f2 ef|A<AeA cAA:|

|:B|d2 fd B<BfB|dBfB dBB>c|1 d2 [fg]B B<BfB|c<AeA cAA:|2 dcde faef|A<AeA cAA||

                       

ABERCAIRNEY HOUSE [1]. Scottish, Strathspey. G Minor. Standard tuning. AAB. Composed by Niel Gow (1727-1807). See note for “Abercairney House [2]”, below and "Niel Gow's Lamentation for James Moray, Esq., of Abercairny” for more. Carlin (The Gow Collection), 1986; No. 1. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 7.

X:1

T:Abercairney House [1]

M:C

L:1/8
R:Strathspey

C:Niel Gow (1727-1807)

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:Gmin

B/c|d<GB>G dGBg|c<FA>F cFA<f|d<GB>G dGBg|f>d {d}cB/A/ {A}G2 G:||

d|g>dgb g<af<g|fadf cF {d}cB/A/|gdgb gafg|f>c {d}cB/A/ {A}G2 Gd|

g>dgb g<af<g|fadf c>F {d}cB/A/|d<GB>G dGB<g|f>d {d}cB/A/ {A}G2G||

 

ABERCAIRNY HOUSE [2]. Scottish, Strathspey. C Minor. Standard tuning. AB. The melody appears in Malcolm MacDonald of Dunkeld’s 3rd Collection, dedicated to Miss Drummond of Perth. Regarding Abercairny, a pipe pibroch called “Abercairney’s Salute” was composed by Charles MacArthur in honor of a special event. James Murry (Morey) of Abercairny (a lovely property about four miles from Crief, Perthshire, on the borders of the Highlands) married Lady Christian Montgomery, daughter of the Earl of Eglinton. Lady Christian’s sister, Lady Margaret, married Sir Alexander MacDonald of the Isles. The sisters and their spouses became quite close and visited back and forth, and Abercairny eventually became so fond of the Highland pipes that he extended repeat invitations to his brother-in-law’s piper, MacArthur, who visited him at Abercairny. The pibroch was composed on the completion of Abercairny’s new and spacious dining-room, the occasion of a grand dinner. Murray spoke: “The room and entertainment are not altogether complete; one thing is wanting to render them so, to some of us perhaps—Charles MacArthur, to animate the feast with his presence, and with the stirring notes of his great Pipe.” Scots fiddler-composer composed one of his finest laments for Murray, “Auld Abercairney,” when he died (see both note and tune "Niel Gow's Lamentation for James Moray, Esq., of Abercairny”). MacDonald (A Third Collection of Strathspey Reels), c. 1792; pgs. 4-5. Stewart-Robertson (The Athole Collection), 1884; pg. 272.

X:1

T:Abercairny House

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection   (1884)

Z:AK/Fiddler’s Companion

K:Cmin

C|C<c c>G c>d ed/c/|B>cB>G F/E/D/C/ B,>D|C<c c>G c>d ed/c/|BF/B/ G/F/E/D/ E<C C>G,|

C<c c>G c>d ed/c/|B>cB>G F/E/D/C/ B,>D|C<c c>B c>d ed/c/|d>B g/f/e/d/ e<cc||
|:G|c>de>c g>ce>c|B>df>b f/e/d/c/ B>d|1 c>de>c g>ce>c|d>B g/f/e/d/ e<cc:|2

e>cd>=B c/B/c/d/ ed/c/|B/G/F/E/ D/E/F/G/ E<CC||

X:2

T:Abercairney House

M:C|

L:1/8

R:Strathspey

N:”Slow”

S:MacDonald – 3rd Collection of Strathspey Reels (c. 1792)

Z:AK/Fiddler’s Companion

K:Eb

C | CccG c>d ed/c/ | B>cBG F/E/D/C/ B,>D | CccG c>d ed/c/ | BF/B/ G/F/E/D/ ECCG, |

C(cc)G c>d ed/c/ | BcBG F/E/D/C/ B<D | CccB c>d ed/c/ | dB g/f/e/d/ ecc |: G | “tr”c>dec gcec |

Bdfb f/e/d/c/ Bd |1 “tr”c>dec gcec | dB g/f/e/d/ eccG :|2 e>cd>=B c/B/c/d/ ed/c/ | B/G/F/E/ D/E/F/G/ ECC ||

                       

ABERCARNEY'S REEL. Scottish, Reel. A Dorian. Standard tuning. AAB. The melody first appears in McGlashan's Collection. McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 25.

X:1

T:Abercarney’s Reel

M:C|

L:1/8

R:Reel

S:McGlashan – Strathspey Reels  (c. 1780-81)

Z:AK/Fiddler’s Companion

K:Ador

e | A<A c>(e e)A/B/ ce | G<G B>A G2 GB | A<A c>(e e)A/B/ ce | ae/f/ gB A2 A :|

e | ^c>B Af/g/ a>egB | G<G B>A G2 GB | ^c>B Af/g/ aegB | ae/f/ gB A2 Ae |

^c>B Af/g/ ae/f/ gB | G<G B>A G>ABG | A>Bc>e d>eg>a | g<e g>B A2 A ||

           

ABERDEEN.  AKA – “The De’il’s Dead.” English, Country Dance Tune (cut time). F Major. Standard tuning. AABB. The tune was published in John and William Neal’s Choice Collection of Country Dances (Dublin, 1726). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 1.

X:1

T:Aberdeen, or The De’il’s Dead

M:C|

L:1/8

S:John & William Neal – Choice Collection of Country Dances (Dublin, 1726)

K:F

F3G A2c2|f4 e2d2|f4 e2d2|ef g2G2A2|F3G A2c|

f3g a2g2|f2d2c2A2|G4 d4::F3G A2B2|c2F2 ABcA|

c2F2 ABcA|dcBA G2A2|F3G A2c2|f3g a2g2|f2d2c2A2|G4 d4:|

           


ABERDEEN HUNT. Scottish, Strathspey. G Dorian. Standard tuning. AAB. The Aberdeen Hunt was one of the numerous aristocratic hunt clubs in Scotland in the 18th and 19th centuries which patronized musicians (who, if they were astute, composed tunes in their honor) for their balls and gatherings. The name Aberdeen comes from the Brittonic prefix ‘Aber-‘, meaning ‘mouth’, coupled with a river name, Don, for a word meaning ‘mouth of the Don’, over time becoming Aberdeen (Matthews, 1972). Aberdeen was a Pictish village in the 4th century and expanded in the 6th century around the church of St. Machar. Old Aberdeen was made a royal burgh in 1154 by the Scottish king David I. Petrie (Collection of Strathspey Reels and Country Dances), 1790; pg. 3. Stewart-Robertson (The Athole Collection), 1884; pg. 197.

X:1

T:Aberdeen Hunt

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection   (1884)

Z:AK/Fiddler’s Companion

K:Gmin

D<G G>A B>de>=e | f<d c>B A<fA<F | D<G G>A B>c d<^f | g<d f>A G2G :|

d | g/a/b g>d B<dg<b | a/b/f/=e/ f<c A>cf>a | g/a/b f>d B<d b>g |f<d f>A G2 G>d |

g/a/b g>d B<dg<b | a/g/f/=e/ f>c A>c f<a |g<b^f>a g>=ed>c | d>D d/c/B/A/ B<GG ||

X:2

T:Aberdeen Hunt

C:Robert Petrie (?)

S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 3/5/04

N:Petrie's First Collection, page 3

L:1/8

M:C

R:Strathspey

K:Bb

D<GG>A B>cd>=e | f<dc>B A<fA<F | D<GG>A B>cd<^f | gd=fA {A}G2Gd :|

%The original doesn't have a repeat sign at the end of the above line -SW

(g/a/b) g>d B<dg<b | (a/g/f/=e/) f>c A>cf<a | (g/a/b) g>d B<db>g | f<df>A G2Gd |

(g/a/b/a/) gd B<dg<b | (a/g/f/=e/) fc  A>cf<a | g<b^f<a  g>ed>c | dD d/c/B/A/ BGG |]

                       

ABERDEEN LASSES. AKA and see "The Game of Love," “Humours of Rockstown,” “Paddy the Piper [1].”

                       

ABERDEEN’S SCOTS MEASURE. See note for “Scots Measure.”

                       

ABERDEENSHIRE VOLUNTEERS. Scottish, Strathspey. D Major. Standard tuning. AB. Composed by J. Scott Skinner. MacDonald (The Skye Collection), 1887, pg. 53.

X:1

T:Aberdeenshire Volunteers, The

M:C

L:1/8

R:Strathspey

S:MacDonald - Skye Collection   (1887)

Z:AK/Fiddler’s Companion

K:D

A,|D<D F>B A<F F>A|B/c/d/c/ B/A/G/F/ G/F/E/D/ C<E|D<D F>B A<F F>A|

(3Bec (3ABc (3dAG (3FGE|D<D F>B A<F F>A|B/c/d/c/ B/A/G/F/ G/F/E/D/ C<E|

D<D F>B A<F F>A|(3Bec (3ABc (d2d)||A|d<d d>g f/g/a/f/ d<f|g<B e>d c<A A>c|

d<d d>g f/g/a/f d>f|(3efg (3ABc d2 d>A|d<d d>g f/g/a/f/ d<f|g<B e>d c<A A>c|

(3dfd (3cec (3BdB (3AGF|(3GAB (3ABc [F2d2] [Fd]||

                       

ABERDEIN'S CURRANT. Scottish.  The title likely refers to the dance currant, named for Aberdeen. The name Aberdeen is multi-cultural in origin, with the Brittonic prefix ‘Aber-‘, meaning ‘mouth’, coupled with a river name, Don, for a word meaning ‘mouth of the Don’, over time becoming Aberdeen (Matthews, 1972). The tune was composed by James Lauder in 1584.

                       

ABERGELDIE BRIDGE. Canadian, Hornpipe. Canada, Cape Breton. B Flat Major. Standard tuning. AB. The Brittonic prefix ‘Aber-‘ means ‘mouth’, and was attached to names of rivers. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 68.

                       

ABERGELDIE CASTLE [1]. Scottish, Reel. A Major. Standard tuning (or ADae, a la Allie Bennett). AABB. Composed by Alexander Walker. The Brittonic prefix ‘Aber-‘ means ‘mouth’, and was attached to names of rivers. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 16, pg. 6. Allie Bennett – “Its About Time” (2004).

 

ABERGELDIE CASTLE [2]. Canadian, Slow Strathspey. Canada, Cape Breton. C Minor. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 19.

                       

ABERGENNY. English, Welsh; Country Dance Tune (2/2 time). G Minor. Standard tuning. AB (Mellor): AABB (Barnes, Raven). The Welsh or Brittonic prefix ‘Aber-‘ means ‘mouth’, and was attached to names of rivers. Thus Abergenny means the ‘mouth of the Genny,’ but probably refers to Abergavenny in Monmouth according to Kidson, “which is sufficiently Welsh county in manner and customs to be musically included.” Kidson also points out the tune bears a strong resemblance to “Cold and Raw.” The tune appears in the 1665 and later editions of Playford’s Dancing Master. Barnes (English Country Dance Tunes), 1986. Mellor (Welsh Dance Tunes), 1935; pg. Raven (English Country Dance Tunes), 1984; pg. 18.

                       

ABERLOUR'S SQUEEZE. Scottish, Strathspey. C Major. Standard tuning. AAB (Marshall, Skye): AABB' (Kerr). Composed by William  Marshall (1748-1833). The town of Aberlour is a town founded in 1812 by Charles Grant of Wester Elchies, located at the mouth of the Lour Burn (the prefix ‘aber’ is a Brittonic word meaning ‘mouth’), a tributary of the River Spey. Today it is the site of the Walker Shortbread Factory, in an area known for whisky and tourism. Kerr (Merry Melodies), Vol. 2; No. 104, pg. 13. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 44. MacDonald (The Skye Collection), 1887; pg. 118. Stewart-Robertson (The Athole Collection), 1884; pg. 82.

X:1

T:Aberlour’s Squeeze

M:C

L:1/8

R:Strathspey

B: Stewart-Robertson - The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:C

d|c2 c>e d>B c2|G<c c>e ~d>ef>g|e<c c>e e/d/c/B/ c<A|A<c G>E D>EF:|

e/f/|g>ce>c g>c e2|g>ce>g a>df>a|g<ce<g c<g e>g|c>A G<E D>E Fe/f/|

g>ce>c g>c e2|~g>c e<g a>df>a|(3efg (3def (3edc (3dcB|(3ABc (3GFE E>EF||

                       

ABER-NANT WALTZ, THE. Welsh, Waltz. From the manuscript of ‘Llewelyn Alaw’, Aberdâr (held at the National Libarary at Aberystwyth). Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy Ngwlad/The Sweet Harp of My Land” (1996).  

                       

ABERYSTWYTH CASTLE. AKA and see "Castell Aberystwyth."

                       


ABE'S RETREAT. AKA and see "The Battle of Bull Run," "Manassas Junction." Old‑Time, Breakdown. USA, W.Va. A Mixolydian. Standard, AEae or GDgd (Harvey Sampson) tunings. AABB. The alternate title makes it clear that the Abe referred to is Abraham Lincoln, who, as President, was Commander in Chief of the Union army which met a disastrous defeat at the Battle of Bull Run (or, in the South, the Battle of 1st Manassas), Virginia, July 21st, 1861. The tune was in the repertoire of Wilson Douglas (1922-1999), a fiddler from Clay County, West Virginia. Another famous West Virginia fiddler, Burl Hammons, plays a similar tune, according to Bill Hicks (1975), and remembers a song connected with the tune having to do with Noah's Ark, with the refrain "forty days and forty nights." Sources for notated versions: collected in the 1950's from W.Va. fiddler Emory Bailey (Calhoun County, W.Va.) by Dr. Malvin Artley of Elon College, N.C., via the Red Clay Ramblers (N.C.) [Spandaro]; Paul Kotapish (Berkeley, CA, c. 1970's) [Songer]. Songer (Portland Collection), 1997, pg. 17. Spandaro (10 Cents a Dance), 1980; pg. 47. Appleseed Records, Cordelia’s Dad – “Spine” (1998). Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned by Calhoun County, W.Va., fiddler Sampson from his father and brother Homer). Cassette C-7625, Wilson Douglas - "Back Porch Symphony." Wilson Douglas – “Fiddle Tunes from Central West Virginia.” Flying Fish 009, Red Clay Ramblers ‑ "Stolen Love" (1975). New Lost City Ramblers – “There Ain’t No Way Out.” Rafe Stefani – “Hell and Scissors” (based on Emory Bailey’s version). PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996).

X:1

T:Abe’s Retreat

M:C|

L:1/8

K:A Mix

AdBG A2 cd|efgd e4|A2BA GABA|G E2 G E4|

AcBG A2 cd|efgd e3a|B2a2g2 ed|c A2 B A4:|

|:a3g agef|g2f2 e4|agba gaba|g e2 g e4|

a3g agef|g2f2 e3a|b2a2g2 ed|c A2 B A4:|

X:2

T:Abe’s Retreat

R:Reel

M:4/4

L:1/8

N:Transcribed by Bruce Thomson from Laurie Phillips

K:A

||z4 z2 cB|:”A”ABcB ABcd|ef=gf edcB|A2A2 B3A|”E”GE3 E2cB|

“A”ABcB ABcd|ef=gf eAaA|”E”bAaA =g2ed|1 “A”cA3 A2cB:|2 “A”cA3 A4||

|:”A”a3b a=gef|=g2f2 e4|a4 b3a|”E”=ge3 e4|

”A”a3b a=gef|=g2f2e2aA|”E”bAaA =g2ed|”A”cA3 A4:|

                                   

ABHRAN BUADHA. AKA and see "Song of Victory."

                       

ABHRAN SHLIGIGH. AKA and see "Sligo Tune."

                       

ABHRAN SHLOIN. AKA and see "Sloans Lamentation."

                       

ABIGAIL JUDGE. Irish, March or Air (4/4 time). G Minor. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). O'Neill (Krassen), 1976; pg. 232. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 649, pg. 116.

X:1

T:Abigail Judge

M:C

L:1/8

R:Air

N:”Animated”

S:O’Neill – Music of Ireland (1903), No. 649

Z:AK/Fiddler’s Companion

K:Gmin

GF|D2G2G2B2|A3G ^F2d2|d2c2 cBAG|G2^F2D2 zD|

G3A B2c2|d2 dc B2A2|G2 AB D2 dc|B2A2G2||

d2|g2d2d2g2|f3d G2d2|c2 BA G2c2|B2A2G2^F2|

G2A2 B2^c2|d2d2g2d2|edcB dcBA|G3 B/A/ G2||

                       

ABITHA MUGGINS FAVORITE. American?, Reel. Loosely in G Major. Standard tuning. AABA. Cole (1000 Fiddle Tunes), 1940; pg. 8. Ryan’s Mammoth Collection, 1883; pg. 31.

X:1

T:Abitha Muggins’ Favorite

M:2/4

L:1/8

R:Reel

B:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(d/B/)~B A/B/d/B/|G/B/d/f/ gf/g/|e/c/d/B/ A/B/c/d/|d/f/g/^g/ a=g/e/|
(d/B/)~B A/B/d/B/|G/B/d/f/ gg/b/|b/g/a/f/ g/f/e/d/|e/f/g/^g/ a=g/e/:|

d/g/g/g/ ga/f/|g/b/a/f/ g/f/e/d/|e/a/a/a/ c/a/a/a/|B/a/c/a/ a/g/e/d/|

B/g/g/g/ g/f/a/f/|{a}g/f/e/ {a}g/f/g/a/|b/g/a/f/ g/f/e/d/|e/f/g/^g/ a=g/e/||

                       

ABOUT/ABOOT THE BUSH, WILLY. English, Air (6/4 time). England, Northumberland. B Flat Major. Standard tuning. AB. Bruce & Stokoe (1882) print the words, beginning:

***

Aboot the bush Willy, Aboot the beehive,

Aboot the bush Willy, I'll meet the belyve.

Then to my ten shillings, Add you but a groat,

I'll go to Newcastle, And buy a new coat.

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 110.

X:1

T:Aboot the Bush, Willy

M:6/4

L:1/8

R:Air

S: Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:Bb

c2|d2B2c2A2F2c2|d2B2c2 A4c2|d2B2c2A2F2f2|e2c2A2 B4||

c2|d2e2f2A2F2c2|d2e2f2A4c2|d2e2f2A2F2f2|e2c2A2 B4||

                       

ABOUT SHE GOES. English, Jig. England, North‑West. B Flat Major ('A' part) & F Major ('B' part). Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 22.

                       

ABOYNE CASTLE [1]. Scottish, Slow Air (2/4 time). D Major. Standard tuning. AAB. Composed by Alexander Walker. Aboyne Castle is the seat of the present-day Gordon clan (the home of the Marquis of Huntly), but has been a stronghold of the clan since the 13th century. Originally a motte and bailey castle, over time a stone keep was added, then a towerhouse in the 17th century, and finally was converted to a mansion in the 19th. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 83, pg. 29.

 

ABOYNE CASTLE [2]. AKA and see "The Marchioness of Huntly." Scottish, Strathspey. A Major. Standard tuning. One part. Composed by Peter Milne, a Scottish fiddler (1824-1908), one of J. Scott Skinner’s teachers and, later, fiddling partner. Milne managed to make a living playing theater venues all over Scotland, but became addicted to opium in the drug laudanum, which he originally took as a pain-killer. Milne ended his life in reduced circumstances, busking on the ferry that crossed the Firth of Forth. Hunter (The Fiddle Music of Scotland), 1988; No. 138.

 

ABOYNE CASTLE [3].  Scottish, Country Dance Tune. E Flat Major. Standard tuning. AABBCCDD. Petrie (Collection of Strathspey Reels and Country Dances), c. 1790; pg. 21.

X:1

T:Aboyne Castle  [3]

S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 3/20/04

N:Petrie's First Collection, page 21

L:1/8

M:2/4

K:Eb

"^Allegro"

(E//F//G//A//) | B3 G | EEEG | CF/G/ A/G/F/E/ | D/E/F/E/ B,(E//F//G//A//) | BBBG |

EEEG | CA G/F/E/D/ | EEE :: B | ee/e/ eg | fBTB2 | ff/f/ f/g/a/f/ | ge e2 | bggb |

aff>a | ge f/e/f/g/ | [Ge][Ge][Ge] :|

K:Cm

"^Minore Pia."

|: G | c3d | edge | fedc | =B3G | "^cres:"  g3a | f3g | "^For."edc=B | ccc :|

K:Eb

"^Maggiore"

|: (c//B//c//d//) | "^Pia"[Ge] [G/e/] [G/e/] [Be][GB] | [Ac] [A/c/][A/c/][Ac][Ac] |

"^For."[=Af][=A/f/][=A/f/][cf][ce] | [Fd]   [F/d/][F/d/][Bd][Bd] | [Be] [B/e/] [B/e/] [Ge][GB] |

[Ac] [Bd] [Be][Ac] | [GB] [FA] [EG][DF] | [G,B,E][G,B,E] [G,B,E] :|

%The original does not note the return to major -SW

                       


ABRAHAM BROWN [1]. English, Morris Dance Tune (6/8 time). D Major. Standard tuning. AAB. The dance and tune are from the village of Bidford, Warwickshire, just down the river Avon from Shakespeare's birthplace of Stratford‑on‑Avon. Bacon (The Morris Ring), 1974, pg. 67.

 

ABRAHAM BROWN [2]. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AAB. An alternate tune for the dance from Bidford, different from version #1. Bacon (The Morris Ring), 1974, pg. 67.

                       

ABRAISEAC, AN. AKA and see "The Flaxdresser."

 

ABRAM CIRCLE DANCE, THE. English, Country Dance Tune (2/2 time). England, Lancashire. G Major. Standard tuning. AABBCCDEFFGG’. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 1.

                       

ABRAN-GRAD DOIRE-CALGAIC. AKA and see "Londonderry Love Song."

                       

ABSENT MINDED MAN, THE (An Fear Dearmadac). AKA and see "The House in/on the Corner," "The Little House (A)round the Corner [1]," "The Royal Irish Jig," "O as I was kiss'd Yestreen [2]," "The Hare in the Corn [3]," "The Hare in the Corner," "Fhiach an Mhada Rua." Irish, Double Jig. A Major. Standard tuning. AABB. Old Scottish variants can be found in the Trotter Manuscript of 1780 and the Skene Manuscript of c. 1630-1640 under the “Hare in the Corn” title. O'Neill (Krassen), 1976; pg. 21. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 758, pg. 141. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 254, pg. 56.

X:1

T:Absent Minded Man, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 254

Z:AK/Fiddler’s Companion

K:A

d|cAc efg|aed c2A|dfd cec|dBB B2d|cAc efg|aed c2A|Bba gfg|aAA A2:|

|:c|ecc Acc|ecc Acc|dBB GBB|dBB GBB|ecc fdd|gee aff|ecc dBG|ABA A2:|

                       

ABSENT-MINDED (WALTZ), THE.  English (?), Waltz. D Major (‘A’ and ‘B’ parts) & B Minor (‘C’ and ‘D’ parts). Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 92, pg. 21.

 

ABSENTMINDED WOMAN, THE (An Bean Dearmadac). Irish, Reel. G Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915/1987; No 268, pg. 137. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 772, pg. 134.

X:1

T:Absent-Minded Woman, The

L:1/8

M:C|

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 772

Z:AK/Fiddler’s Companion

K:G

G2 GA BGBd|edgd edBA|G2 GA BABd|(3efg dB AGEF|G2 GA BGBd|edgd e2 dB|

dega bage|d2 BG AGED||g2 bg agbg|g2 bg aged|g2 bg agbg|{a}gedB AGED|g2 bg agbg|

g2 bg aged|bgaf {a}gedB|{d}cABG AGED||

 

ACACIA. American, Reel. G Major. Standard tuning. AABB. An acacia is a tree or shrub of the mimosa family, often cultivated as an ornamental. Cole (1000 Fiddle Tunes), 1940; pg. 40. Ryan’s Mammoth Collection, 1883; pg. 67.

X:1

T:Acacia

M:2/4

L:1/8

R:Reel

B:Ryan’s Mammoth Collection, pg. 67  (1883)

Z:AK/Fiddler’s Companion

K:G

(3D/E/F/|GG/A/ B/c/d/B/|{d}c/B/c/d/ .e(3d/e/f/|{a}g/f/g/e/ d/B/G/B/|c/B/A/G/ F/A/D/F/|

GG/A/ B/c/d/B/|{d}c/B/c/d/ e/d/e/f/|g/f/g/e/ d/B/G/A/|B/G/A/F/ G:|

|:(3d/e/f/|{a}g/f/g/a/ b/g/d/B/|{d}c/B/c/d/ e/d/e/f/|{a}g/f/g/a/ b/c’/a/g/|f/d/e/f/ g/f/g/a/|

b/a/g/b/ a/g/f/a/|{a}g/f/g/e/ d/B/G/B/|d/g/f/g/ e/c/A/F/|GGG:|

 

ACADEMY JIG, THE. Scottish (?), Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. Composed by J. Rule, according to Kerr’s. Although the title probably refers to a dancing academy, an ‘academy’ was also early 19th century slang for a brothel [Grose, 1811 Dictionary of the Vulgar Tongue]. Kerr (Merry Melodies), vol. 1; No. 28, pg. 30.

X:1

T:Academy Jig, The

M:6/8

L:1/8

R:Country Dance Tune

B:Kerr – Merry Melodies, vol. 1, pg. 30  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

E|D2G GAB|c2A d2c|B2g dcB|A2E GFE|D2G GAB|

c2A d2c|Bgf edc|B2G G2::B|d2B gfe|d2g B2d|c2a B2g|

A2d cBc|d2B gfe|d2g B2d|c2a Adc|B2G G2:|

 

ACADIAN BREAKDOWN. Canadian, Reel. Canada; Maritimes, Prince Edward Island. D Major. Standard tuning. AA’BB’. Source for notated version: Edward P. Arsenault (b. 1938, Wellington, Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 72.

 

ACADIAN REEL, THE. Canadian, Reel. Canada, Prince Edward Island. A Major. Standard tuning. AABB. Composed by Edward P. Arsenault, from Wellington, now one of the most popular fiddle tunes in Prince County, PEI, and known throughout the island. Source for notated version: Edward P. Arsenault (b. 1938, Wellington, Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 84. Rounder CD 7014, Eddy & Peter Arsenault – “Fiddlers of Western Prince Edward Island” (1997. The Eddy Arsenault, of St. Chrysostom, on the record is not the composer, who is a different fiddler with the same name).

 


ACADIAN(A) TWO-STEP. Cajun, Two‑Step. USA, southwestern Louisianna. A Major. Standard. One part. A Cajun instrumental. Source for notated version: Aldus Mouton [Francois]. Francois (Yé Yaille Chère!), 1990; pg. 318. Arhoolie C‑334, Michael Doucet ‑ "Master of the Folk Violin" (1989). Heritage 054, Dewey Balfa's Cajun Band ‑ "Brandywine 83: Music of French America" (1984). La Louisiane Records LL-8147, Aldus Mouton.

 

ACCOMPLISHED MAID, THE. English, Country Dance Tune (6/8 time). G Major. Standard tuning. AAB. First published around 1790. Barnes (English Country Dance Tunes), 1986.

 

ACCURSED KERRYMAN, THE (An Ciarraioch Mallaithe). Irish, Air (3/4 time). G Major. Standard tuning. AAB. The melody appears in Bunting’s second collection of Irish tunes (1809). Ó Canainn (1978) bemoans Joyce’s cavalier treatment of the text of this famous song in the latter’s Ancient Irish Music (1875) wherein he writes:

***

Of the Irish song I retain only a few fragments, which are not

worth preserving. Perhaps the reader will be better pleased if

I give instead a song of my brother’s, composed to suit the air.

***

Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 76, pg. 67.

 

ACE AND DEUCE OF PIPERING [1], THE (“Aon's Do Na Piobaireacda” or “A hAon sa dó na píobaireachta”). Irish, Set or Long Dance (cut time). G Major/Mixolydian. Standard tuning. AB (Joyce): AABB (Mulvihill, O’Neill). The title means the highest quality of performance on the Uillean pipes, and the tune was considered “the perfection of music when well played on the bag-pipes, and its correct performance was believed to be a sufficient test of the instrumental skill of a piper” {Joyce). Joyce (1873) specifies hornpipe time for the melody. Source for notated version: noted in 1853 from the whistling of John Dolan, Glenosheen, County Limerick [Joyce]. Cotter (Traditional Irish Tin Whistle), 1989; 89. Howe (1000 Jigs and Reels), c. 1867; pg. 26. Joyce (Ancient Irish Music), 1873/1890; No. 14, pg. 15. Mulvihill (1st Collection), 1986; No. 8, pg. 111. O'Neill (Krassen), 1976; pg. 224. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1781, pg. 333. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 956, pg. 164. Reavy (The Music of Corktown). Vallely (Learn to Play Tin Whistle with the Armagh Pipers Club), vol. 3; 30. Columbia 35612, "The Chieftains" (1978. Piper Sean Keane incorporates "remnants of what is thought to be an old version of the tune as played by Gareth Barry"). Gael-Linn CEF 045, “Paddy Keenan” (1975).

X:1

T:Ace and Deuce of Pipering, The [1]

M:C|

L:1/8
R:Set Dance

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 956

Z:AK/Fiddler’s Companion

K:G

dc|B2 cA BGcA|BdcA B2 AG|d2 ec d2 ec|dfec dcBA|e2 fd edcA|

Adde dcBA|BgcA B2 AG|FGAB cBcA|G2 ge fdcA|FGAB {d}cAFG|

AG{A}GF G2 FG|AG{A}GF G2:|

|:GF|G2 =f2 e2f2|G2 =fg fdcA|G2 g2f2g2|d2 ga gfdc|

A2=f2e2f2|d^cde fefg|agfa gfdc|BgcA B2 AG|G2 ge fdcA|

FGAB {d}cAFG|AG{A}GF G2 FG|AG{A}GF G2:|

 

ACE AND DEUCE OF PIPERING [2], THE. Irish, Long Dance (cut time). A Major. Standard. AA'BB'CC'. Source for notated version: Hartnett [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1782, pg. 333.

X:1

T:Ace and Deuce of Pipering, The [2]

M:C|

L:1/8
R:Set Dance

S:O’Neill – Music of Ireland (1903), No. 1782

Z:AK/Fiddler’s Companion

K:A

c>B | B>AA>G A2 A>A | B>AA>G A2 A>B | (3cBA d>B (3cBA d>B | (3cBA d>B c2 (3Bcd | e>ef>d e>ef>d |

e>gf>d edBf | ~(g2 g)e ~(f2 f>)d | e2 f>d e>dB>d | c>Ad>B c2 B>A | G>AB>c d2 c>B | A2a2 g>ed>B |1

G>AB>c d2 :|2 A2 AA A2 |: c>B | B>AA>G A2 A>A | B>AA>G A2 A>c | B2g2f2g2 | B2 g>a g>fe>d |

e2a2 (a/b/a/g/) a>g | e2  a>b a>ge>d | B2g2f2 g>f | e>ag>b a2 a>b | c’>ab>g a2 e>d | c>Ad>B c2 B>A |

G>AB>c d>cd>B | A2 a>f g>ed>B |1 G>AB>c d2 :|2 A2 A>A A2 |: c>B | B>AA>G A2 A>A |

B>AA>G A2 A>c | B2g2 f>ed>B | (3cBA d>B c2 (3Bcd | e2f2 e>dB>d | (3cBA d>B c2 B>A |

g2 g>e f>ed>f | e>gf>d e>dB>d | (3cBA d>B c2 B>A | G>AB>c d>cd>B | A2 a>f g>ed>B |1 G>AB>c d2 :|2 A2 A>A A2 ||

           

ACE OF DIAMONDS. American, Contra Dance Tune (4/4 time). F Major. Standard tuning. AABBC. Laufman seems indicates the dance, and presumably the tune, are from Scandinavia. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 21.

           

ACE OF SPADES. AKA and see "Billy Wilson [1]." American, Schottische. A Major. Standard tuning. AABB. Although perhaps not the meaning of the title, an ‘ace of spades’ referred to a widow in early 19th century slang [Grose, 1811 Dictionary of the Vulgar Tongue]. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 1.

           

ACHARNAC. AKA and see "Lady Mary Menzies." The melody appears in Angus Cumming's collection (pg. 2).

           


ACHIL AIR (Fonn Aicle). Irish, Slow Air (3/4 time). D Mixolydian (O'Neill): B Flat Minor {?} (O'Sullivan/Bunting). Standard tuning. AB. Achill Island is the largest island off the west coast of Ireland, part of County Clare. The name is derived from the Latin word aquila, or ‘eagle’. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 274, pg. 48. O'Sullivan/Bunting, 1983; No. 145, pgs. 202-203.

X:1

T:Achil Air (Fonn Aicle)

M:3/4                                                                                                                            

L:1/8

R:Slow Air

S:O’Neill – Music of Ireland (1903), No. 274

Z:AK/Fiddler’s Companion

K:D

Add|d3 ded|c3 ccB|A3 GAB|c3 Add|d3 ded|c3 ccB|A3 G E>D|(D2 D)||

AAA|A4 ABA|d3 AAA|B3 ABc|d3 ddd|=f3 ffe|ed dcBG|A3 G E>D|(D2 D2)||

           

ACHNACARY CASTLE. American, Slow Air (6/8 time). C Major. Standard tuning. AABB&Coda. Composed in Cape Breton Scottish style by piper Heather Cameron, originally from Maryland but now a student at Acadia University in Wolfville, Nova Scotia. Cook (Night in the Kitchen Collection), 1986; pg. 28.

 

ACHONRY LASSES (Gearrchailiú Achadh Conaire). Irish, Reel. G Major. Standard tuning. AB. Source for notated version: fiddler Sonny McDonagh, 1966 (Bunanadden, Co. Sligo, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 158, pg. 84. Tacar Port, i.

 

ACHORACHAN. Scottish, Strathspey. F Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). Moyra Cowie (The Life and Times of William Marshall, 1999) finds that Achorachan is the name of a farm situated on a steep slope with views to the River Livet and the Glen Livet distillery. In Marshall’s time the farm was occupied by a friend, William Grant, a tenant farmer. Incidently, Achorachan was also the site of an illicit whisky still, says Cowie, one of many in the area and an important economic factor in the sustenance of the small farms of the time. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 53.

X:1

T:Achorachan

L:1/8

M:C

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:F

f|c>BA>G FCC(D/E/)|FF B/A/G/F/ dGGf|c>BA>G FCC(D/E/)|FFFd c2 A:|

c|fffa cAAc|dB B/A/G/F/ EGGe|f/e/f/g/ fa cAAc|dcAc f2 (fc)|fcfa cAAc|

dB c/A/G/F/ E(GG)A/B/|cABG FCA,C|FFFd c2A||

 

A COLD FROSTY MORNING. See "Cold Frosty Morning."

 

ACORN HILL (BREAKDOWN). Old‑Time, Bluegrass; Breakdown. D Major. Standard tuning. AB. Composed by fiddler Tommy Jackson, named for the town his wife's family came from. The tune appears to be a variant of "Soppin' the Gravy [1]." Source for notated version: Cathy Cisco [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg.1. Bee Balm 302, “The Corndrinkers.”

 

ACORN STOMP. Old‑Time, Country Ragtime. F Major. Standard tuning. ABCD (Silberberg): ABBCCDD (Phillips). This two-tune medley has been attributed to East Texas Serenaders' fiddler Huggins Williams in the early 20th century, recorded in Dallas, Texas, on October 25th, 1928. However, variants of the 2nd melody were earlier printed as “Essence of Sugar Cane” in Ryan’s Mammoth Collection (1883), and also as “Darky’s Dream.” See also the Irish barndance derivative “Offally Favorite.” Phillips (Traditional American Fiddle Music), vol. 2, 1995; pg. 13. Silberberg (Tunes I Learned at Tractor Tavern), 2002, pg. 2. County 410, "The East Texas Serenaders, 1927‑1936" (1977). DOCD 8031, The East Texas Serenaders. Marimac 9008, The Lazy Aces String Band ‑ "Still Lazy After All These Years" (1986). Run of the Mill String Band - "Along the Way."

 

ACROBAT, THE. See "Acrobat's Hornpipe [1]."

 

ACROBAT'S HORNPIPE [1]. AKA ‑ "Acrobat's Clog," "The Nightingale." American, Irish; Hornpipe. B Flat Major ('A' part) & F Major ('B' part). Standard tuning. AABB (Cole, McNulty, Mulvihill): AA’BB (Cranford). This tune was called "The Nightengale" until P.T. Barnum began using an adapted version as a theme for his circus acrobats. The attribution "As performed by G.L.Tracy" appears in Ryan’s/Cole’s. George Lowell Tracy (1855-1921) was a young man who later composed light opera and composition books, according to musicologist Charles Wolfe. Evidently Tracy arranged music as well, for one publication from the 1880’s indicates a Sir Arthur Sullivan (of Gilbert and Sullivan fame) work was arranged by him. "Can be used as a Clog" (Cole). Perhaps the earliest recording is from 1905 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). Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 97. Cranford (Winston Fitzgerald), 1997; pg. 4. McNulty (Dance Music of Ireland), 1965; pg. 23. Mulvihill (1st Collection), 1986; No. 35, pg. 99 (appears as “The Acrobat”). Ryan’s Mammoth Collection, 1883; pg. 133.

X:1

T:The Acrobat [1]

R:Hornpipe

M:4/4

L:1/8

K:Bb

F>E|D>FB>c d>Bg>f|(3ecA (3ecA a2a>g|f>=e_e>c A>ag>f|=e>fg>f d>BF>E|

D>FB>c d>Bg>f|(3ecA (3ecA a2a>g|f>=e_e>c A>ag>A|B2b2B2:|

c>B|A>cd>c a>f=e>f|d>Bd>g b>g^f>g|=e>c=B>c ^c>d=ef|(3gf=e (3f=ed c2c>B|

A>cd>c a>f=e>f|d>Bd>g b>g^f>g|=e>c=B>c ^c>d=ef|f2a2f2:|

 

ACROBAT'S HORNPIPE [2]. Scottish, Hornpipe. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 350, pg. 38.

X:1

T:Acrobat’s Hornpipe [3]

M:C

L:1/8

R:Hornpipe

B:Kerr – Merry Melodies, vol. 3, No. 350  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

e2|a2 ed (cB)Ac|(BA)GB A2 AF|EFGA BcdB|cBAc B2e2|a2 ed (cB)Ac|

(BA)GB A2 AF|EFGA BcdB|cABG A2::(ef)|e(cAc) ecfc|e(cAc) ecac|

e(cAc) ecfc|EFGA Bcd^d|e(cAc) ecfc|e(cAc) ecac|agfe dcBA|GABc d2:|

 

ACROBAT'S REEL. AKA and see “Baker’s Reel,” "Spit-Fire Reel," “The Whistler and His Dog.” This title was recorded for His Master's Voice in the 1930's by the Canadian group George Wade and his Cornhuskers.

 

ACROSS THE BRIDGE TO CONNAUGHT. Irish, Jig and Air. C Major. Standard tuning. AAB. Joyce (Old Irish Folk Music and Song), 1909; No. 203, pgs. 100‑101.

X:1

T:Across the Bridge to Connaught

M:6/8

L:1/8

R:Jig and Air

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:C

g/f/|ecc dcA|Gcc dcA|Gcc cBc|def agf|ecc dcA|Gcc dcA|Gee dcB|c3 c3:|

|:cd|edc edc|Bgf g2f|edc cBc|Bcd G2 c/d/|edc edc|Bgf g2f|edc dcB|c3 [c2c’2]:|


                       

ACROSS THE DIVIDE. AKA and see “Eileen ní Riordan.”

                       

ACROSS THE FENCE. AKA - “Cross the Fence,” “Reilly’s (Hornpipe).” Irish, Hornpipe. G Major. Standard tuning. AABBCC (Mulvihill): AABBCC’ (Cranitch). Composed by Brendan McGlinchy. The tune is in Bulmer & Sharpley as “Reilly’s Hornpipe.” Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Cranitch (Irish Fiddle Book), 1996; No. 91, pg. 162. Mulvihill (1st Collection), 1986; No. 45, pg. 102. Mulligan LUN 033, Dolores Keane, with Eamonn Currann and Kieran Crehan - "Broken Hearted I'll Wander" (1979).

                       

ACROSS THE PLAINS. AKA and see “Old Red Rooster.” Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning. ABB’. Source Phelps played the tune at a moderate tempo, slower that dance timing. Jeff Titon (2001) notes that Phelps learned his repertoire from other Todd County fiddlers, including Will Stegall (born c. 1869), a fiddler who had much of his own repertoire from the Purchase section of western Kentucky. According to Bruce Greene, the title “Across the Plains” was more common among fiddlers in the western part of Kentucky, while the alternate title “Old Red Rooster” was more common in the south-central part of the state. Greene notes the similarity of the tune with the better known “Fort Smith [1].” See also related melodies “Grey Cat on a Tennessee Farm” and “Big-Footed Man in the Sandy Lot.” Source for notated version: field recorded in 1974 by Bruce Greene from the playing of W.L. “Jake” Phelps (Elkton, Todd County, Ky.) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 1, pg. 32. BG-CD1, Bruce Greene.

                       

ACROSS THE RIVER. Old‑Time, Quadrille (6/8 time). C Major. Standard tuning. AABB. Bayard (1944) prints a tune (#26) collected around Dunbar, Western Pa., which is similar to the 'A' part. Bayard's (1981) No. 512, pg. 464, untitled tune also resembles "Across the River" in Ford. Ford (Traditional Music in America), 1940; pg. 49.

 

ACROSS THE SEA. AKA ‑ "Goin' Across the Sea." Old‑Time; Breakdown. USA; Oklahoma, Cumberland Plateau (Ky./Tenn border region). D Major. ADae tuning. One part. The tune was also recorded by Lusk, Gribble and York. Source for notated version: Billy Evans (Kiowa County, Okla.) [Thede]. Thede (The Fiddle Book), 1967; pg. 106. County 787, Clarence Ferrill Band ‑ "Five Miles Out of Town: Traditional Music From the Cumberland Plateau."

 

ACTIVE OLD MAN, THE. Irish, Double Jig. G Major. Standard tuning. One part. O'Neill (Krassen), 1976; pg. 37. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 882, pg. 164.

X:1

T:Active Old Man, The

M:6/8

L:1/8

R:Jig

B:O'Neill – Music of Ireland (1903), No. 882

Z:AK/Fiddler’s Companion

K:G

(G~GG) GBG|(G~GG) AFD|(G~GG) (G~GG)|GcA {B}AFA|(G~GG) GBG|

(G~GG) AFD|G2g {a}gfe|dcB AFA|G2d {e}dAc|BGB AFA|G2d {e}dAc|

(B~BB) AFD|G2d dAc|BGB AFA|G2g {a}gfe|dcB AFA|G2g {a}gdc|BGB AFA|

G2g {a}gdc|(B~BB) AFD|G2g {a}gdc|BGB AFA|G2g {a}gfe|dcB AFA|def gdf|

dfg (G~GG)|efg {a}gd=f|efg| A2g|geg =fd=f|ece dBd|dcB gfe|dcB AFA||

_______________________________

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