The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
ALL - AMU |
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, 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] |
ALL ABOARD. American, Reel. D Major. Standard tuning. AABB. Similar to "Cuckoo's Nest." Cole (1000 Fiddle Tunes), 1940; pg. 32. Ryan’s Mammoth Collection, 1883; pg. 57.
X:1
T:All Aboard
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(F/G/) | A/F/D/F/ A/F/D/F/ |
A/G/F/E/ .D(E/F/) | G/E/C/E/ G/E/C/E/ | G/F/E/D/ .C(A/G/) |
F/E/F/D/ d/e/f/d/ | c/B/A/F/
.G(A/G/) | F/E/F/D/ C/D/E/G/ | FD D :|
|: A | .d.d .d(e/d/) | d/=c/A/B/ .=c.G
| .=c.c .c(d/c/) | B/A/G/B/ .A(A/G/) |
F/E/F/D/ d/e/f/d/ | =c/B/A/F/
G(A/G/) | F/E/F/D/ C/D/E/G/ | FD D :|
ALL ALIVE [1] (Lan Beoda). Irish, Double Jig. F Minor (Complete
Collection...): G Minor (O'Neill {1850}). Standard tuning. AABB. The tune is attributed
to blind Irish harper Turlough O'Carolan (1670-1738), thought Donal O’Sullivan,
in his definitive work on the bard could find no incontrovertible evidence of
its origin. Complete Collection of
Carolan's Irish Tunes, 1984; No. 181, pg. 127. O'Neill (Music of
Ireland: 1850 Melodies), 1979; No. 1105, pg. 208. O'Neill (Dance Music
of Ireland: 1001 Gems), 1986; No.
295, pg. 64.
X:1
T:All Alive [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
295
Z:AK/Fiddler’s Companion
K:Gmin
G/A/|BdB cAc|B<GG G2A|BdB
cdB|A<FF F2A|
B>AB cBc|d2g gfe|d>cB
A/B/cA|BGG G2:|
|:A|Bdg fdB|fdB fdB|Acf cAF|cAF
cAF|Bdg fdB|
bag fdB|c/d/ec A/B/cA|BGG G2:|
ALL ALIVE [2]. AKA and see "An La i ndiaidh an Aonaigh," "Billy Barlow," "The Day After the Fair [2],"
"His Home and (His)
Country," "I
know not whether to laugh or cry," "I would not give my Irish wife,"
"The Wheels of the World [2],"
"You're/Your Welcome to
Waterford." Irish, Jig. F Minor. Standard tuning. AB
(Stanford/Petrie): AABB (Levey). Source for notated version: “Tighe’s old M.S.
book” [Stanford/Petrie]. Levey (Dance
Music of Ireland, 2nd Collection), 1873; No. 42. Pg. 18.
Stanford/Petrie (Complete Collection),
1905; No. 450, pg. 113.
X:1
M:6/8
L:1/8
R:Jig
S:Stanford/Petrie (1905), No. 450
Z:AK/Fiddler’s Companion
K:Fmin
F/G/ | AcA BGB | A<FF F2G | AcA
BcA | GEE E2G | AcA BGB | Acf e2d |
cBA G/A/BG | AFF F2 || G | Acf ecA |
ecA ecA | Gbe BGE | BGE BGE |
Acf ecA | agf ecA | B/c/dB G/A/BG |
AFF F2 ||
ALL ALONE. Irish, Slow Air (4/4 time). F Major. Standard tuning. AB. "This
air...from Captain Pratt, C. Cork" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 658, pg. 331.
ALL ALONE, I'M SO ALL
ALONE. American, Waltz. "Popular at
Albuquerque in 1921" said Arizona fiddler Kenner C. Kartchner.
ALL ALONG THE RIVER
BANK. AKA and see “Tureengarbh Glen.”
ALL AROUND. AKA and see "The Cuckoo's
Nest [14]," "The Cuckoo
Hornpipe [10]," "Good Ax Elve,"
"The Yellow Heifer [1],"
"Jack and his Trousers,"
"Captain Moss's,"
"The Mountain Top [3],"
"Come
Ashore Jolly Tar and your Trousers On," "Jacky Tar," "The Mower."
ALL AROUND MY HAT. AKA and see "All Round My Hat."
ALL AROUND THE HOUSE. Old‑Time, Fiddle Tune. USA, Arkansas (Ozark Mountains).
ALL AROUND THE ROOM (Timpeall an tSeomra). AKA and see “The Light Horseman’s Reel.” Irish,
Reel. D Major. Standard tuning. AAB. Breathnach states that Grier has another
setting in the key of D with the note “All Around the Room, Reel for
Pipes.” Source for notated version:
fiddler and uilleann piper Stephen Grier (Farnaght, Co. Leitrim), who wrote his
manuscripts in the 1880's [Breathnach]. Breathnach (CRÉ IV), 1996; No. 106, pg. 55.
ALL AROUND THE
ROUNDHOUSE. Bluegrass, Breakdown. D Major. DDad
tuning. AA'BB'CC'DEDE. Composed by Byron Berline. Frets Magazine, October 1983, pg. 49. Sugar
Hill Records, "Berline, Crary, and Hickman."
ALL AROUND THE TOWN. American, Quadrille (12/8 time). A Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg.
32.
X:1
T:All Around the Town
M:12/8
L:1/8
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:A
c/d/|e2e (ec)f e2c A2c|B2B BAc A2F
E2c|e2e ecf [A2e2]c a3|
gfe (dc)B (A3 A
A)::(c/d/)|[Ae][Ae][Ae] f2e [Ae]cc c2d|[Ae][Ae][Ae] f2e [Ed][EB][EB] Bcd|
[Ae][Ae][Ae] f2e [Ae]ce a3|gfe dcB
(A3 A A):|
ALL AROUND THE WATER
HOLE. Old‑Time, Fiddle Tune. USA,
Arkansas (Ozark Mountains).
ALL
AROUND THE WORLD. AKA and see “Cooley’s (Reel) [2],” “The Connemara Rake,” “Doherty’s (Reel) [2],” “Grehan’s,” “John Doherty’s Reel [1],” “Johnny Doherty’s Reel [1],”
“Jolly Beggar,” “Matt Molloy’s [1],” “The Mistress,” “Mot Malloy,” “Tinker Doherty,” “The Wise Maid [1]." Irish, Reel. D
Major. Standard tuning. AABB (Mallinson): AA’BB (Taylor/Tweed). The tune is
generally known by the “Wise Maid” title in modern sessions. Source for notated
version: fiddler Sean McGuire [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974. vol. 1, No.
29, pg. 11. Mallinson (Essential),
1995; No. 72, pg. 31. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 13.
Gael-Linn CEF 115, Frankie Gavin (with Paul Brock) – “Tribute to Joe Cooley”
(1986). DMPCD
9401, Karen Tweed – “Drops of Springwater” (1994). Shanachie 79009, “Planxty” (1973). Shanachie 79073, Noel Hill – “The Irish Concertina” (1988).
ALL AROUND
THE WORLD AND BACK TO CITACO. AKA and see "Citaco" (probably). Old‑Time,
Breakdown. USA, Georgia tune.
ALL AWAY TO GALWAY. AKA and see "All the Way to Galway [1].”
ALL CHASSEZ. American?, Jig. C Major. Standard tuning. AABB. The title is a dance
call. Harding’s All Round Collection,
1905; No. 11, pg. 4.
X:1
T:All Chassez
M:6/8
L:1/8
R:Jig
S:Harding’s All Round Collection, No. 11 (1905)
Z:AK/Fiddler’s Companion
K:C
G|G2c cdB|c2g gaf|2f gec|cBc dBG|G2c
cdB|
c2g gaf|efe gec|GAB c2::e/f/|g2g
g2^f|g2a g2=f|
e2f gec|cBc def|g2g g2^f|g2a
g2=f|efe gec|GAB c2:|
ALL COVERED WITH MOSS (Falaigte Go Leir Le Caonac). AKA and see “Roger the Weaver.”
Irish, Double Jig. C Major ('A' part) & G Major ('B' part). Standard
tuning. AA'BB'. The original title for this tune was unknown, and when a member
of Francis O’Neill’s traditional Irish music circle, one Sergeant Early (of the
Chicago police force) remarked “with evident appreciation, ‘Ah, that’s well
covered with moss’—alluding to its ancient strains” O’Neill seized upon the
remark as a convenient title. O'Neill (Krassen), 1976; pg. 23. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 782, pg. 146. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 58, pg. 26.
X:1
T:All Covered with Moss
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 58)
Z:AK/Fiddler’s Companion
K:G
c2 E EDE|GED DED|c2E EDE|cBc dcA|GED
DED|
DED DEF|EDE GAB|1 c3 BAG:|2 c3 BAB||
|:G2A BGB|AGA BGTE|G2A BGB|c3 BAB|1
G2A BGB|
AGA BAB|ded dcB|c3 B2A:|2 GBd
gdB|ded dBA|GED GAB|cdc BAG||
ALL DA SHIPS IR SAILING. AKA and see "All the Ships are Sailing."
ALL FLOWERS IN (OF
THE) BROOME. The tune appears in William
Ballet's Lute Book of 1594. English,
Country Dance Tune (3/2 time). G Major. Standard. AA'BBCC'. Chappell (1859)
notes the tune is mentioned as a dance tune by Nicholas Breton in Works of a Young Wit (1577) and by Nashe
in Have with you to Saffron‑Walden
(1596). Chappell (Popular Music of the
Olden Time), vol. 1, 1859; pgs. 236‑237.
ALL FOR THE SAME. See "Tous les
Deux Pour la Meme."
ALL GONE NOW. Old‑Time, Song and Breakdown. Carryon
Records 002, "Ace Weems & the Fat Meat Boys."
ALL HANDS AROUND [1] (Gac Einne Gabail Timceall). Irish, Reel. G Major. Standard
tuning. AB (O'Neill/1850 & 1001): AABB (Cranitch, O'Neill/Krassen).
Cranitch (Irish Fiddle Book), 1996;
No. 73, pg. 153. O'Neill (Krassen), 1976; 93. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1188, pg. 224.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 467, pg. 90. Front Hall FHR‑024,
Fennig's All‑Star String Band ‑ "Fennigmania" (1980.
Learned from the Gallowglass Ceili Band).
X:1
T:All Hands Around
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 467
Z:AK/Fiddler’s Companion
K:G
G2 Be d2 Bd|gdBd cAFA|G2 Be d2
Bd|dcAB GDEF|
G2 Be d2 Bd|gdBd cAFA|GBAc (Bcd
eg|fdcA G3z:|
|:bagb a2 fa|gfeg fd d2|bagb a2
fa|gfef d2 ga|bagb a2 fa|
gfeg fdBA|GBAc (3Bcd eg|fdcA G3z:|
ALL
HANDS ROUND [2]. American (?), Reel. E Flat Major.
Standard tuning. AB. Source for notated version: the music c. 1840’s/50’s
manuscripts of painter William Sidney Mount (1807-1868), of Setauket, Long
Island.
X:1
T:All Hands
Round [2]
M:2/4
L:1/8
R:Reel
S:William Sidney Mount manuscripts, c. 1840-1850’s.
Z:AK/Fiddler’s Companion
K:Eb
B, |
(3E/E/E/E E>F | E/F/G/F/ E/C/C/B,/ | (3F/F/F/F F>G | F/E/F/G/ A/G/F/E/ |
(3B/B/B/B
B>c | B/G/B/c/ ee>f | g/f/e/c/ c/B/G/c/ | B/G/e/G/ F || G/A/ |
Be ec/B/ |
e/f/g/f/ e/c/c/B/ | (3f/f/f/f ff/g/ | a/g/f/e/ e/d/c/B/ |
g/b/f/g/
ee/c/ |B/G/B/c/ ee/f/ | g/f/e/c/ c/B/G/c/ | B/G/e/G/ F ||
ALL HANDS HIGH. AKA and see “All Hands Hoy.” English,
Hornpipe. The tune appears in the William Mittell collection (1799, New Romney,
Kent). Beautiful Jo BEJOCD-36, Dave Shepherd &
Becky Price – “Ashburnham.”
ALL HANDS HOY. AKA – “All Hands High.” English,
Reel. B Flat Major. Standard tuning. AABB. The titles “All Hands High” and “All
Hands Hoy” were contemporary. The “All Hands Hoy” title appears in Samuel, Ann and
Peter Thompson’s c. 1790 reprinting of Charles and Samuel Thompson’s Compleat
Collection of 200 Favourite Country Dances, vol. 2, first printed in London
in 1765. In the original 1765 volume the title was given as “All Hands High.”
As “All Hands High” it appeared in John Hinton’s periodical Universal
Magazine of Knowledge and Pleasure (London, 1759), and, as “All Hands Hoy”
in R. Baldwin’s London Magazine, or The Gentleman’s Monthly Intelligencer
(London, 1760). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 44.
X:1
T:All Hands Hoy
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
BdBG|AcA^F|G2 [G,2G2] [G,3G3]A
BGBd AFAc|B2 [B2b2][B3b3]B|BdBG A2F2|EGEC D2F2|
GEFG AFGA|[D2B2][D2B2][D4B4]::Bdfb fdBd|A3c2 c4|GBAc BcBG|
A2F2F2”tr”ED|EgcB|FAdc|GBed
cB A2|GBAc dBcA|F2A2 B4:||
ALL HANDS UPON DECK. AKA and see "Jimmy at the
Helm" (Shetland). English, Scottish; Reel. England, Northumberland. D
Major. Standard tuning. AAB. Bruce & Stokoe (Northumbrian Minstrelsy),
1882; pg. 160.
X:1
T:All Hands Upon Deck
M:C
L:1/8
R:Reel
S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:D
d2 fg a2 fd|cecA Aeef|defg ^gafd|edcB Ad d2:|
F2 ED DddF|G2 FE EeeG|GFED Dddf|ebag fd d2|
F2
ED DddF|G2 FE Eeeg|fagf gbag|faea fd d2||
ALL I GOT'S DONE GONE. See "All I've Got's Done Gone."
ALL I
WANT IS A DECENT BOY. Irish, Air (3/4 time). G Major.
Standard tuning. One part. O’Neill had the tune from O’Farrell’s Pocket Companion (1804-1810), and says: “The name
of a ballad sung to this air has been substituted for "The Young Man's
Dream" an obviously wrong title - as printed in O'Farrell's work.” O’Neill (Waifs and Strays of Gaelic Melody), .
X:1
T:All I Want is a Decent Boy
M:3/4
L:1/8
S:O'Farrell's Pocket Companion 1804-1810
Z:Paul Kinder
R:Air
K:G
"Andantino"D>E | G>A G>A Bd | e>f e>d B>e | dB/2A/2 G>A BA | AG E2 D>E |
G>A G>A B>d | e>f ed B>e | dB/2A/2 G>A BA | AG G2 z A|BB g2 B2 | gfed B2 |
dB/2A/2 G>A BA | AG E2 D>E | G>A GA Bd | e3/2f/2e/2d/2 B3 e | dB/2A/2 GA BA | AG G2 ||
ALL IN A GARDEN GREEN. AKA and see "Gathering Peascods," "The Maid in the Moon [1] (Morn)." English, Dance Tune (2/2 or 4/4 time). G Major (Johnson, Karpeles, Merryweather, Raven): D Major (Laufman): F Major (Chappell). Standard tuning. AB (Chappell): AABB (Johnson, Karpeles, Laufman, Merryweather, Raven). The earliest published version is usually given as that in John Playford's first edition of The English Dancing Master (1651). However, the melody appears earlier in William Ballet's Lute Book (1594), and therefore is probably older than the seventeenth century. In fact, it was already considered part of the established traditional repertoire in Playford's day (Pulver, 1923), the mid-17th century. A ballad was registered with the Stationers' Company (an early form of copyrighting, and mandatory at the time) in 1566 called "All in a garden green, between two lovers," which may or may not have been sung to the tune that later appeared in Ballet's MS and Playford. A further reference can be found in A Handefull of Pleasant Delites (1584) in which mention is made of "An excellent Song of an outcast Lover, to All in a Garden green." Whether these early references referred to the melody printed in Playford is not known, for the opening line, remarks Kines (1964), is common to many songs of the period. It begins:
***
All in a garden green two lovers sat at
ease,
As they could scare be seen among, among the
leafy trees.
***
Kines
attributes the marrying of the "All in a garden green" poem to the
air "Gathering Peascods" in William Ballet's book to the musicologist
Chappell in the mid-19th century. Merryweather (1989) notes that variants of
the tune appeared on the Continent, including the Dutch Unter den Linden Grune by Sweelinck, and Onder de Lindegroene by Vallet. Not only was the tune used for
ballads and country dancing, continues Merryweather, but it was also absorbed
into church hymnody, set, for example to psalm 47 ("All people clap your
hands, Sing laud unto the Lord"). Chappell (1859) also prints a version in
6/4 time from the Fitzwilliam Virginal
Book. Chappell (Popular Music of the
Olden Times), 1859, vol. 1; pgs. 79‑80. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th
Century), 1997; pg. 1. Karpeles & Schofield (A Selection of 100
English Folk Dance Airs), 1951; pg. 21 (appears under the dance
title "The Maid in the Moon"). Kines (Songs From
Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964;
pg. 74. Laufman (Okay, Let's Try a Contra, Men on the Right,
Ladies on the Left, Up and Down the Hall), 1973; pg. 27. Merryweather
(Merryweather’s Tunes for the English
Bagpipe), 1989; pg. 39. Raven (English
Country Dance Tunes), 1984; pg. 25. Dorian 90238, The Baltimore Consort – “A Trip to
Killburn.” Harmonia Mundi 907101, The King's
Delight - "17c. Ballads for Voice & Violin Band" (1992).
X:1
T:All in a Garden Green
M:6/4
L:1/8
S:William Byrd – Fitzwilliam
Virginal Book
B:Chappell – Popular
Music of the Olden Times (1859)
Z:AK/Fiddler’s
Companion
K:Ddor
D2|A4 G2F2E2D2|A3 D^CB, A4
A2|d6 d2c2B2|c3 DEF c6|c4 e2d2c2B2|
C4 A2 D4 Bc|d4 (B2B2)
A3G|^F3 G^FE ^F2 A4|c3 d e2d2c2B2|
C4 A2D2 zABc|d4 (B2B2)
A3G|^F6 A6||
X:2
T:All in a Garden Green
M:C
L:1/8
S:Playford – Dancing
Master
B:Chappell – Popular
Music of the Olden Times (1859)
Z:AK/Fiddler’s
Companion
K:F
c4 c2c2|A3B c2c2|d2c2B2A2|G6
A2|B3c de f2|F3G AB c2|B2A2 GF G2|F8||
c4 d2f2|f2e2 f4|A3A
B2A2|G2F2 G4|A3G FG A2|B3A GA B2|c3B AB c2|
d3c
B2A2|G2 F2 GF G2|F8||
ALL IN A GREEN WILLOW. English, Air (3/2 time). D Minor (?). Standard tuning. AAB. The air appears
in Thomas Dallis' Pipil's Lute Book, dated 1585. A song of the same title,
composed by John Heywood, is in the British Museum. Chappell (Popular Music of the Olden Time), vol.
1, 1859; pg. 110.
ALL IN/ON A MISTY
MORNING. AKA and see "The Friar and the Nun [1],"
"Wiltshire Wedding,"
"London 'prentice,"
"A Beggar Got a Beadle."
English, Air. Chappell (1859) finds early references to a ballad called
"Frere and the Nunne" in accounts dating from 1542 and 1592. John Gay
prints the tune under the title "Before the barn door crowing," from
a song in his Beggar's Opera (1729),
but the air also appears in other ballad operas. It appears in Pills to Purge Melancholy as "The
Wiltshire Wedding" (and twice with other names); and in Playford's Dancing Master (1650) and Musick's Delight on the Cithren (1666) as
"The Friar and the Nun." Raven (English
Country Dance Tunes), 1984; pg. 57.
ALL IN THE DOWNS. AKA and see "Sweet Williams
Farewell (to Black‑ey'd Susan)," "Black Eyed Susan [2]." English,
Air (3/4 time). This ballad appears in John Gay's ballad opera The Beggar's Opera (1729) under the
title "Thus when the swallow, seeking prey"; Gay also wrote another
set of lyrics to the tune called "Black‑ey'd Susan." The words
were by Gay, but the music was composed by Richard Leveridge. Kidson (1922),
however, says the air is by P.G. Sandoni, a maker of harpsichords and spouse of
the singer Cuzzoni. Raven (English
Country Dance Tunes), 1984; pg. 60.
ALL IN THE WRONG.
English, Jig. G Major. Standard tuning. AABB. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 112.
X:1
T:All in the Wrong
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
dBG
gfe|ddd dcB|cAF FAc|ccc cBA|dBG ggg|eee ^ceA|A^ce g2f|ed^c d3:|
|:dcB ccc|cBA BBB|BAG FAc|c2B “tr”A3|dBG gfe|ddd d2c|Bdg edc|BcA G3:||
ALL IRELAND, THE. AKA and see "The Burren," "Clematis,"
“The Star of Killkenny,” "Thady Casey's Fancy,” “The West
Clare.” Irish, Reel. E Minor. Standard tuning. AB. Source for notated version:
Tony Smith (County Cavan & Dublin) [Mulvihill]. Mulvihill (1st Collection), 1986; No.
52, pg. 14.
X:1
T:All Ireland, The
M:C|
L:1/8
R:Reel
S:Mulvihill – 1st Collection (1986), No. 52
K:Emin
B2 (3cBA Bded|(3Bcd Ad
BE{F}(3EDE|BAGA (3Bcd ef|gfed (3Bcd ed|
B2 (3cBA Bded|BdAd BE{F}(3EDE|BAGA
Bdef|gfed (3Bcd ef||
g3e dB{B}(3BAB|dg{a}(3gfg Bdef|{a}gfga
bgaf|gfed (3Bcd ef|
gage dB{c}(3BAB|dg{a}(3gfg
Bdef|{a}gfga bgaf|gfed (3Bcd ed||
ALL IS WELL THAT ENDS
WELL. English. England, Northumberland.
The title is Shakespeare's. One of the "lost tunes" from William
Vicker's 1770 Northumbrian dance tune MS.
ALL I'VE GOT'S DONE
GONE [1]. Old‑Time, Breakdown. USA;
Arkansas (Ozark Mountains), Kentucky. C Major. Standard tuning.
AA'BA"AA"'CDD'E. No relation
to “Done Gone.” Learned by Kentucky's Fiddlin' Doc Roberts (1897‑1978)
from African-American Madison County fiddler and bandleader Owen Walker (b.
1857) of whom he said, "He was the fiddlingest colored man that ever was
around Kentucky. He played like a white man, only he could beat a white
man" (Charles Wolfe). Gus Meade believes perhaps 70% of Robert's
repertoire was obtained from Walker. Roberts revised the tune from Walker's
original, and thought it an improvement. He recorded it in his first recording
session in 1925 and re‑recorded it again in Jan., 1930. Source for
notated version: Doc Roberts (Ky) [Phillips]. Phillips (Traditional American Fiddel Tunes), Vol. 2, 1995; pg. 15. Champion 16208 (78 RPM), Doc Roberts, 1930. County 412,
Fiddling Doc Roberts ‑ "Old Time Tunes" (1983). Gennett 3162
(78 RPM), Doc Roberts, 1925.
ALL I'VE GOT'S DONE
GONE [2]. Old‑Time. No relation to the
tune in version #1. It was recorded by Uncle Dave Macon and Ernest Stoneman.
ALL LITTLE INDIANS
DON'T GET DRUNK. Old‑Time, Fiddle Tune. USA,
Arkansas (Ozark Mountains).
ALL MY FRIENDS. Canadian, Reel. Canada, Cape Breton. B Minor. Standard tuning. AABBCD.
Composed by the late fiddler Jerry Holland (1955-2009, Inverness, Cape Breton).
Cranford (Jerry Holland’s), 1995; No.
58, pg. 17. Rounder Records, “Jerry Holland” (1976).
Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).
ALL OF THEM'S DONE GONE. Old‑Time, Fiddle Tune. USA, Arkansas (Ozark Mountains).
ALL ON A MISTY MORNING. See "All in a Misty Morning."
ALL OVER NOW. Old‑Time, Waltz. USA, Oklahoma. B Flat Major. Standard tuning.
AAB. Thede (The Fiddle Book), 1967;
pg. 147.
ALL PRAISE. AKA and see "Orange Lily."
American, Jig or Quadrille. USA, Pa. D Major. Standard tuning. AB. Bayard
(1981) identifies this as originally a Protestant Irish tune, based presumably
on the reference to 'orange', the Dutch ancestral house of William of Orange,
'King Billy'.. Bayard (Dance to the
Fiddle), 1981; No. 630, pgs. 552‑553.
ALL 'ROUND MY HAT [1]. AKA and see "Green Willow."
Irish, English; Air and Country Dance Tune (4/4 time). D Dorian. Standard
tuning. One part. As "Green Willow," the tune is used for an English
country dance, fashioned in 1932.
***
All round my hat I will wear the green willow:
All round my hat for a twelvemonth and a day;
And if anyone should ask me the reason that I wear it,
I'll tell him that my true‑love is gone far away. (Joyce).
***
Joyce (Old Irish Folk Music and Song), 1909; No. 90, pg. 47. Chrysalis CHR 1091, Steeleye Span ‑ "All Around
My Hat."
X:1
T:All around my hat
M:C
L:1/8
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G Dorian
G2 AF G2 f>e|d2 c>A G>F
D2|G2 A>F G2 Bc|dcBc d2 d>e|fedc f2 A>G|
GBAG G>F D>E|FEFG F>G
A/=B/c|d2 c>A G3z||
ALL 'ROUND MY HAT [2]. New England, Waltz. D Major. Standard tuning. One part. Front Hall Records 03, Dudley Laufman ‑ "Swinging
on a Gate."
ALL ROUND THE ROOM. Irish, Reel. Breathnach (CRÉ IV), 198 ; No. 106.
ALL-STAR BARN DANCE, THE. AKA and see "The Nova Scotia (Polka)." Canadian,
Irish; Polka. A Major. Standard tuning. AAB. The provenance for this barn dance
is unclear. A related, untitled, polka or barn dance appears in Breathnach’s CRÉ V (1999, No. 95), from an early 20th
century manuscript attributed to the Pigott family of east Kerry. In Canada, it
appears under the title "The Nova Scotia" in one of Don Messer's
anthologies, and, according to one source, made its way (back?) across the
Atlantic to Ireland via a Boston ceili band. The name “All-Star Barn Dance” is
from the early 1950’s Copley Record recording of the tune by that ceili band
who were called the Irish All Stars, consisting of accordion players Jerry
O’Brien and Joe Derrane, with Joe’s brother George on the banjo. Source for
notated version: The All‑Star
Ceili Band, Boston, Mass., via the Irish group Shaskeen (Co. Galway, Ireland)
[Taylor]. Taylor (Through the Half-Door),
1992; No. 65, pg. 50. GTD 072, Shaskeen ‑
"My Love is in America."
ALL
THE BLUE BONNETS ARE OVER THE BORDER. AKA and see "Blue Bonnets Over the
Border [1]," "Billy/Billie in the Low
Ground [1]."
ALL THE GALS IS GONE
AWAY. American, Reel. USA, Pa. F Major or
D Major. Standard tuning. ABB. A tune entirely in the pentatonic.
***
Down to the straw‑pile ready for play.
All the gals is gone away‑‑
Fetch them back and make them stay. (Bayard)
***
Bayard (Dance to the Fiddle), 1981; No. 14, pgs. 22‑23.
ALL THE FLOWERS OF THE BROOM. English, Air (3/2 time). G Major. Standard tuning. AA’BBCC’. From William Ballet’s Lute Book, where it appears as “All floures in broome.” Chappell (1855) records that the melody is mentioned as a dance tune by Nicholas Breton in a passage from his Works of a Young Wit (1757), and by Nashe in Have with you to Saffron-Walden (1596). Chappell (Popular Music of the Olden Times), 1859; pgs. 236-237.
X:1
M:3/2
L:1/8
R:Air
S:Chappell – Popular Music of the Olden Times (1859)
Z:AK/Fiddler’s Companion
K:G
F4 D4 E2F2 | G4 G4 F4 |1 G6 A2B4 :|2 G12 |: G6 c4 | d6 c2 B4 | e6d2c4 |
B4
G8 :: A2B2c2B2A2G2 | F4 D4 E2F2 | G4 G4 F4 |1 G6A2B4 :|2 G12 ||
ALL THE GO. AKA and see “Jenny’s Chickens,”
“Sleepy Maggy/Maggie.” Irish,
Scottish; Reel. B Minor. Standard tuning. AB. “All the Go” is two parts of the
Irish melody “Jenny’s Chickens,” and is known in Scotland as “Sleepy Maggie.”
Cole (1000 Fiddle Tunes), 1940; pg.
35. Ryan’s Mammoth Collection, 1883;
pg. 61.
X:1
T:All the Go [1]
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Bmin
f(B ~B2) fBde | f(B ~B2) eAce | f(B
~B2) fBde | f^gaf eAce | f(B ~B2) fBde |
f(B ~B2) eAce | f(B ~B2) fBde |
f^gaf eAce || (fb)zb fe^de | (fa)za eAce |
(fB)(bB) (aB)(fB) | fef^g aecA |
(fb)zb fe^de | (fa)za eAce | .fz.bz.az.=gz | fef^g aece ||
ALL THE GO [2]. English, Country Dance Tune (whole time). B
Flat Major. Standard tuning. AABB. Goulding (Twenty Four Country Dances for
the Year 1808), 1808; No. 13.
X:1
T:All the Go [2]
M:3/8
L:1/8
B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)
N:”With proper Tune & Directions to each Dance (as they may be
N:performed at Court, Bath, and all Public Assemblys.”
Z:Transcribed and edited by Flynn Titford-Mock
Z:abcs’s:AK/Fiddler’s
Companion
K:Bb
d|B2 FB DBFB|B2 (d/c/B) Accd|B2 FB
dBFB|(A/B/c) c>e dB B:|
|:d|BBdB fBdB|BBdB Accd|BBdB
fBdB|A/B/c ce dBBd|
BBdB fBdB|BBdB Accd|dbca Bg
BgAf|fgbf dB B:||
ALL THE LADS OF COPPER
ALLEY. English. England, Northumberland.
Appears in Henry Robson's list of Northumbrian song and dance tunes, c. 1800.
ALL THE NIGHT I LAY
AWAKE. English, Dance Tune (3/4 time).
England, Northumberland. G Major. Standard tuning. AABBCCDD. Bruce & Stokoe
(Northumbrian Minstrelsy), 1882; pg.
160.
X:1
T:All the Night I Lay Awake
M:3/4
L:1/8
S:Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:Ador
e>dBe d/B/A/G/|BggBdg|e>dBg d/B/A/G/|AeeA c2:|
|:Bd e/d/c/B/ d/B/A/G/|Bd e/d/c/B/ dg|Bd e/d/c/B/ d/B/A/G/|AeeA c2:|
|:G>ABg d/B/A/G/|BggBdg|G>Abg d/B/A/G/|AeeA c2:|
|:GbbG
e/f/g/e/|B/c/d/B/ gB d2|BggB e/f/g/e/|AeeA c2:|
ALL THE NIGHT I LAY WI' JACKY IN MY ARMS. AKA ‑ "All the Night I
Lay with Jockey." English, Air (3/4 time). England, Northumberland. G
Major (A Dorian). Standard tuning. AABBCCDDEEFF (includes variations). The
title appears in Henry Robson's list of Northumbrian song and dance tunes, c.
1800. Peacock's Tunes, 1980; No. 42,
pg. 19.
ALL
THE NIGHTS OF THE YEAR, THE CHAPMAN DRINKS NAE WATER. AKA and see "A' the
Nights of the Year..."
ALL THE RAGE [1]. American, Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 39. Ryan’s Mammoth Collection, 1883; pg. 66.
X:1
T:All the Rage [1]
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
d | g2 dB g2 dB | g2 fg afdf | g2 dB
g2dB | .e(gf)(a g2)z :|
|: BcdB cBAG | FGAB {d}c2 BA | BcdB
cBAG |1 (FA)DF G2d2 :|2 (FA)DF G2z ||
ALL THE RAGE [2]. American, Jig. E Major. Standard tuning. AABB. Composed by
Massachusetts contra dance musician Larry Unger, says Susan Songer (The Portland Collection), after playing
a dance in Madision, Wisconsin, with Seattle fiddler Ruthie Dornfeld, who kept
selecting tunes in E Major for dances (a rather unusual key for most dance
music). Unger questioned her and was told that E Major jigs “were all the
rage.” Songer (Portland Collection),
1997, pg. 19. Unger, The Curvey Road to
Corinth. Black Socks BS14, Larry Unger - “Uncle
Gizmo.”
ALL THE SHIPS ARE
SAILING. AKA‑ "A' da Ships ir
Sailin." Shetland, Reel. G Major. Standard tuning. AABB. "...composed
sometime about the first of the (20th) century, depicting the herring fleet
sailing out to the fishing grounds." Anderson (Ringing Strings), 1983; pg. 84. Boys
of the Lough, 1977, pg. 17. Topic 12TS379, Tom
Anderson & Aly Bain ‑ "Shetland Folk Fiddling, vol. 2"
(1978). Transatlantic TRA 311, Boys of the Lough, "Lochaber No More."
ALL THE WAY FROM PIKE. Old‑Time, Breakdown. USA, Arkansas (Ozark Mountains). The tune
sounds like "Paddy on the
Turnpike," says folklorist Vance Randolph. There is a Pike County in
Arkansas, the reputed home of "Sweet Betsy from Pike" who, according
to the song, went west with her husband Ike and assorted animals.
ALL THE WAY TO BARNA. Irish, March. D Major. Standard tuning. AB. Roche Collection, 1982; vol. II, pg. 58.
A'(LL) THE WAY TO GALLOWAY. AKA and see "All the Way to Galway" [1].
Scottish, Reel. E Minor. Standard tuning. AABB. A Scottish version of "All
the Way to Galway." Kerr (Merry
Melodies), vol. 3; No. 74, pg. 10.
X:1
T:A’ the Way to Galloway
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 74
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:E Minor
efge dBBd|cAAc dBBd|efge dBBd|cABG
E/E/E E2:|
|:BcBA BcdB|ABAG FGAc|BcBA Bcde|dBdF
E/E/E E2:|
ALL THE WAY TO GALWAY [1] ("An Bealach ar fad go
Gaillimh" or "An Botar Ar Fad Go Gaillim"). AKA and see "A' the Way to
Galloway," “Galway Girls,” “High Way to Galloway,” "The March of the Tribes to
Galway,” "The Road to
Lisdoonvarna [2]," "The Sarsfield
March," "Slash
Away the Pressing Gang." Irish (originally), Scottish, American; Reel,
March or Air. D Mixolydian. Standard tuning. AB (Cole, Harker/Rafferty,
Stanford/Petrie, Taylor, White): AAB (O'Neill): AABB (Breathnach). The air was
set to a Jacobite era (early 18th century) song and was the precursor to
"Yankee Doodle," which it resembles, particularly in the 'B' part.
Breathnach (1976) finds the first printing of the tune in Aird’s Selections (1780-1803) under the title
“The Galway Girls.” He quotes Crofton Crocker’s The Popular Songs of Ireland (1839) which states “’All the way from
Gallaway, early in the morning’ is the burden of a popular song descriptive of
the march of the Galway militia.” See also the Scots relatives "Ciorsdan Mhor", "Big Kirsty", "Miss Stewart Bun Rannoch"
and the strathspey "A(ll) the Way to
Galloway". “The Road to
Lisdoonvarna [2]" is a variant. Sources for notated versions: flute
and whistle player Micko Russell (Doolin, Co. Clare, Ireland) [Breathnach]; New
Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926
[Harker]. Breathnach (CRÉ II), 1976;
No. 282, pg. 144. Cole (1000 Fiddle Tunes),
1940; pg. 21. Harker (300 Tunes from Mike
Rafferty), 2005; No. 92, pg. 29. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 999, pg. 172.
Stanford/Petrie (Complete Collection),
1905; No. 849, pg. 212. Ryan’s Mammoth
Collection, 1883; pg. 45. White’s
Unique Collection, 1896; No. 77, pg. 14. Chieftains
– “Chieftains 3.” Green Linnet SIF 3005, The Bothy Band - “Old Hag You Have
Killed Me” (1981. A reissue of the 1976 Mulligan LP).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:All the Way to Galway [1]
M:C
L:1/8
R:March or Air
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
999
Z:AK/Fiddler’s Companion
K:D Mix
A|d>efd cAA>c|BGGA/B/
cAA>c|d>efd cAA>c|BGAF|D2D:|
G|A>BAG ABcA|G>AGF
EFGE|A>BAG ABcd|cAGE D2 DG|
A>BAG ABcA|G>AGF EFGE|A>BAG
AddB|cAGE D2D:|
X:2
T:Road to Lisdoonvarna, The [2]
T:All the Ways to Galway [1]
R:reel
Z:id:hn-reel-195
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
d2fd cA~A2|BG~G2 cA~A2|d2fd
cA~A2|BGAF D4:|
~A3G AB=cA|GAGF EFG2|ABAG
AB=cA|GE=cE D4|
DAAG AB=cA|GE~E2 =cEGE|DAAG
AB=cA|GE=cE D4||
ALL THE WAY TO GALWAY [2]. Irish, Single Jig. D Dorian. Standard tuning.
AB. This is the same tune as version #1, except in dotted rhythm or jig time. Roche Collection, 1982; vol. III, pg.
34.
ALL THE WAY TO GALWAY [3]. AKA - “All the ways to Galway.” AKA and see “An Bhó chiarraloch,” “The Kerry Cow,” “Yankee Doodle Dandy.” Irish,
American; Polka or March. USA; New England, Northwest. D Major (Songer): D
Mixolydian (Mallinson). Standard tuning. AABB. A simplified major-key variation
of the reel given in #1. Sources for notated versions: set dance music recorded
at Na Píobairí Uilleann, mid-1980’s [Taylor]; accordion player Dennis Rothrock
(Dallas, Oregon) via George Penk [Songer]. Mallinson (100 Polkas), 1997; No. 26, pg. 11. Miller & Perron (New England Fiddler’s Repertoire), 1983;
No. 66. O’Brien (Jerry O’Brien’s
Accordion Instructor), 1949. Songer (Portland
Collection), 1997, pg. 19. Taylor (Music
for the Sets: Yellow Book), 1995; pg. 33.
X:1
T:All the Way to Galway [3]
M:C
L:1/8
K:D
|:A>BAG|FAD2|EFG (3F/G/F/|EFG^G|A>BAG|FAd>d|cAGE|D2 D2:|
|:d>efd|cAA>c|BG G/A/ B/G/|BA A2|d>efd|cA A>a|bage|d2 d2:|
X:2
T:All the Way to Galway [3]
M:C|
L:1/8
S:Jerry O’Brien’s Accordion Instructor (1949)
Z:AK/Fiddler’s Companion
K:D
A3B A2G2 | F2A2d2 z2 | E2F2G2F2 | E2F2G2E2 | A3B A2G2 |
F2A2d2A2 | c2B2G2E2 | D4 D4 :: d3e f2d2 | c2A2A2d2 | c2B2G2c2 |
B2A2A4 | d3e f2d2 | c2A2A2d2 | c2B2G2E2 | D4 D4 :|
ALL THE WAY TO GALWAY [4]. Irish, Highland. Ireland, County
Donegal. A Dorian. Standard tuning. AABB'. This tune is related to “All the Way to Galway [1]." See also
Scots relatives "Ciorsdan Mhor",
"Big Kirsty", "Miss Stewart Bun Rannoch"
and "A'(ll) the Way to Galloway."
Source for notated version: fiddler Simon Doherty (County Donegal) [Feldman
& O’Doherty]. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 109 (appears as “Untitled Highland).
ALL THE WORLD LOVES ME (An Saol ar Fad i nGrá Liom). Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: the Madigan collection (County Louth), c. 1840's [Breathnach]. Breathnach (CRÉ IV), vol. 4, 1996; No. 122, pg. 62.
ALL THINGS BRIGHT AND
BEAUTIFUL. AKA and see "The Twenty Ninth of May." And
the name of a Joseph Heriot book.
ALL THOSE ENDURING
YOUNG CHARMS. See "My Lodging's in the
Cold, Cold Ground." The original title.
ALL THROUGH THE NIGHT
[1] (Ar Hyd Y Nos). AKA and see “Poor Mary Ann.” Welsh, Air. The most
famous Welsh composition. Flying Fish FF70610, Robin
Huw Bowen – “Telyn Berseiniol Fy Bgwlad/The Sweet Harp of My Land” (1996).
ALL THROUGH THE NIGHT
[2]. AKA and see "Toujours Apres Esperer."
ALL YOU THAT LOVE GOOD
FELLOWS. AKA and see "Nancy [2]," "Sir Edward Noel's Delight."
English, Air (4/4 time). A precursor of the famous march "British Grenediers," this
tune appears in Pills to Purge Melancholy
set to the ballad "The London Prentice."
ALL YOU THAT MUST TAKE A LEAP (IN THE DARK). English, Air. The tune was published by John
Gay in his Beggar's Opera (1729)
under the title "Would I might be hanged." The original, according to
Kidson (1922), refers to a song "upon the execution of two criminals by
Mr. Ramondon." Raven (English Country
Dance Tunes), 1984; pg. 70.
ALL WELL. English, Country dance (2/4). G Major. Standard tuning. AABB.
Huntington (William Litten's), 1977;
pg. 25.
ALL YOUNG. Old-Time, Breakdown. USA, West Virginia. A Mixolydian. Standard tuning.
AA'BB. Source for notated version: fiddler Melvin Wine (West Virginia)
[Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 14.
ALLAN “BIG ALEX” MACDONALD. Canadian, Strathspey. Canada, Cape Breton. A Major. ADae tuning. ABA.
Composed in the 1980’s by Cape Breton fiddler and baroque violinist David
Greenberg. Cranford (Jerry Holland: The Second Collection), 2000; No.
10, pg. 5. Odyssey ORCS 1051, Jerry Holland –
“Fiddler’s Choice” (1998).
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
ALLAN DEWAR’S JIG.
Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AABB.
Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009).
Cranford (Jerry Holland: The Second Collection), 2000; No. 249, pg. 91.
ALLAN
MACDONALD’S REEL. Scottish, Reel. Green Linnet GLCD 1108, The
Tannahill Weavers – “Cullen Bay” (1990).
ALLAN MACDONALD’S TRIP TO TOMINTOUL. Scottish, Reel. A Minor (‘A’ and ‘B’ parts) & A Major (‘C’ and ‘D’
parts). Standard tuning. ABCD. Composed by Allan Sutherland. Martin (Ceol na Fidhle), Vol. 4, 1991; pg. 10.
ALLAN RAMSAY. Scottish, Jig. A Mixolydian. Standard tuning. AAB. Allan Ramsay was the
renowned Scottish composer of several famous works, including the Tea Table Miscellany in the 18th
century. Carlin (The Gow Collection),
1986; No. 490. Gow (Complete Repository),
Part 2, 1802; pg. 26.
X:1
T:Allan Ramsay
L:1/8
M:6/8
S:Gow – 2nd Repsoitory
Z:AK/Fiddler’s Companion
K:A
f | e2A ~c2A | c/d/eA c2A | dB=G GBd
| =gdB G2f | e2A ~c2A | c/d/eA c2A |
ece eca | ecA A2 :| B | Ace ae=g |
fdf edc | (B/c/d)B =GBd | =gdB G2B |
Ace ae=g | fdf ecA | cde eca | ecA
A2B | Ace ae=g | fdf edc | (B/c/d)B =GBd |
=gdB G2f | e2A ~c2A | c/d/eA c2A |
c/d/ee eca | ecA A2 ||
ALLAN WATER. Scottish, Air. F Major (Bowie MS): G Major (McGibbon, D. Young's Set). Standard tuning. AA’BB’ (McGibbon): ABCD (Bowie MS): AABBCCDD (Young). The river Allan is a tributary of the Forth of Firth that flows through Perthshire and Stirlingshire before it empties into the Forth near Bridge of Allan. The air first appeared in Blaikie's Manuscript, 1692, and first seems to have been printed in Original Scotch Tunes, 1700, a collection of Scottish melodies issued by Playford. Early versions also appear in the Bowie MS., the McFarlane MS. (1740, in a setting by David Young), and in a c. 1705 fiddler's MS. book in the collection of Francis Collinson (one of the earliest fiddler's MS. books extent). Young's variations were written based on the tune that appears in the Bowie MS., and "are to be played rather slower than the simple set of the tune (in Bowie). For the work of a literate composer in 1740 they are extremely old‑fashioned, and keep the tune's pentatonic mode almost intact" (Johnson, 1983).
***
The title comes from a song set to the air, the words of which were given in Martha Brown's music‑book of 1714. It begins:
***
Allan Water's wide and deep,
And my dear Annie's very bonnie. (Johnson/Brown)
***
The fiddle tune, however, does not fit exactly these lyrics,
and needs be simplified and altered to fit. The Scots poet Robert Burns wrote a love song (appearing in Thomson’s Scottish Airs) to the tune “Allan Water”
that begins:
***
By Allan-side I chanc'd to rove,
While Phoebus sank beyond Benledi;
The winds were whispering thro' the grove,
The yellow corn was waving ready....
***
Burns told Thomson that he wrote his words for the air because the words to it in the Scots Musical Museum seemed unworthy. He added: 'I may be wrong, but I think it is not in my worst style.' Johnson, 1983; pg. 23 (from the Bowie MS.) and pg. 102 (from the McFarlane MS). McGibbon (Scots Tunes, book III), 1762; pg. 80.
X:1
T:Allan Water
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon
– Scots Tunes, book III, pg. 80 (1762)
Z:AK/Fiddler’s Companion
K:G
G3AB2 (g>e) | (dB)”tr”(AG) A2 (GE) | (DE)(GA) “tr”(B>AB)d |1 (e>B)(d>A) B2g2 :|2 (e>B)(d>A) B2 ga ||
|: (ba)(ge) d2 (ba) | (ge)(dB) A2 (GE) | g>age (dB)(ge) | dB”tr”AG B2 ga | (b/a/g) (a/g/e) (g/e/d) ba |
(ge)(dB) A2g2 | (dB)”tr”(AG) (DE)(GA) |1 “tr”B3A B2ga :|2 “tr”B3AB2g2 ||
ALLAN'S FARD (Ford?) BRIDGE. Northumbrian. One of the "lost tunes from
William Vickers 1770 Northumbrian dance tune MS.
ALLAN’S REEL. Canadian, Reel. Canada, Ontario. A Major (‘A’ part) & E Major (‘B’
part). Standard tuning. AA’BB’. Perhaps named for Ward Allen, a Canadian
fiddler most famous for his tune “Maple Sugar.”
Source for notated version: fiddler Dawson Girdwood (Perth, Ottawa Valley,
Ontario), who learned the tune from Canadian ‘Down East’ fiddling exponent Don
Messer [Begin]. Begin (Fiddle Music in
the Ottawa Valley: Dawson Girdwood), 1985; No. 37, pg. 49.
X:1
T:Allan’s
Reel
M:C|
L:1/8
S:Caremelle
Begin – from a transcription of Ontario fiddler Dawson Girdwood
K:A
(c>B) |:
A>ce>g a>ec>A | A>df>a e>cA2 | (E>G)B>e A>ce>a
| B>^df>b e2 (3efg |
a>f=d>f
e>(c>A>c)|d>BG>B A>(FD>F) | E>GB>e A>ce>a |1
g>ed>B
A2 [c>e>]B :|2 g>ed>B A3 A ||
K:E
[B2e2] GB
eeBe | gge>g b>ge>g | f2 (f>g) a>fd>f | ({g/}f>)ed>c B2
(GA) |
BBGB eeBe | ggeg bge>g | (f/g/f/e/)f>g afdf |1 ({g/}fe) e2 e2 (GA) :|2 ({g/}fe) e2 c<B ||
ALLAN’S RETURN. Irish, Air. F Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 506, pg.
128.
X:1
T:Allan’s Return
M:C
L:1/8
S:Stanford/Petrie (1905), No. 506
Z:AK/Fiddler’s Companion
K:F
F/G/ | AF Bd dc cE | (F4 F3) F | EF
Gf ef {e}d>c | c6 cd/e/ |
f2 Ac d2 GA | Bd cE F>E FG | AF
Bd dc cE | (F4 F3) ||
ALLASTOR. Scottish, Country Dance Tune. The melody appears in the Drummond Castle Manuscript, "A
Collection of Country Dances written for the use of his Grace the Duke of Perth
by Dav. Young, 1734." The MS was in the possession of the Earl of Ancaster
at Drummond Castle in the early 1970's.
ALLEGHENY COUNTY. American, Jig or Quadrille. G Major ('A' part) & D Major ('B'
part). Standard tuning. AABB. Bayard (Dance
to the Fiddle), 1981; No. 586, pg. 516.
ALLEGORY. Scottish. Topic 12T280, J. Scott Skinner “The Starthspey King.”
ALLEMAN WALTZ. AKA and see "Valse d'Alleman."
ALLEMAND DE GRACS. English (?), Country Dance Tune (2/4 time). D Major. Standard tuning.
AABBCCDD. McGlashan (Collection of Scots
Measures), c. 1780; pg. 19.
X:1
T:Allemand de Gracs
L:1/8
M:2/4
B:McGlashan – Collection of Scots Measures
Z:AK/Fiddler’s Companion
K:D
Dd/e/ dA|Df/g/ fd|A,e/g/ ec|Dd/e/
dA|Dd/e/ dA|Df/g/ fd|De/g/ ec|d2d2:|
f2 g/f/e/d/|e/A/B/c/ d/e/f/g/|f2
g/f/e/d/|e2 A,2|f2 g/f/e/d/|e/A/B/c/ d/e/f/g/|f2 g/f/e/d/|e2 A,2:|
|:a2 a/b/a/g/|f/e/f/g/ fd|a2
a/b/a/g/|f2 f2|a2 a/b/a/g/|f/e/f/g/ fd|a2 a/b/a/g/|f2 f2:|
|:Gg/b/ ge|Df/a/ fd|A,g/b/ ge|Fa/b/
af|Gg/b/ ge|Df/a/ fd|A,e/g/ ec|d2d2:|
ALLEMAND’S QUICKSTEP. English, Quickstep march (2/4
time). G Major. Standard tuning. AA’BBCCAA’BB. Gibbons originally set the tune
in the key of ‘C’ major in his ms. Source for notated version: the 1823-26
music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near
Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript),
1997; pg. 62.
ALLEMANDE SWISS. AKA - "Cotillon allemand Swiss." English, American; Country
Dance Tune. The music first appeared as "Cotillon allemand Swiss" in
the English publication The Compleat
Tutor for the Guitar (Thompson, London, 1770). A formerly well known
contra-dance tune in America, it appears in several musicians manuscripts of
the late 18th century. Dancing master John Griffiths published
directions for a dance to it in his 1794 Collection
(Northampton, Mass.), and Elizabeth Van Rensselaer included it in her 1782 music
copybook in Boston. It also appears in the music manuscript copybook of Henry
Livingston, Jr. Livingston purchased
the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23.
In 1775 he was a Major in the 3rd New York Regiment, which participated
in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from
British control. An important land-owner in the Hudson Valley, and a member of
the powerful Livingston family, Henry was also a surveyor and real estate
speculator, an illustrator and map-maker, and a Justice of the Peace for
Dutchess County. He was also a poet and musician, and presumably a dancer, as
he was elected a Manager for the New York Assembly’s dancing season of
1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief
Justice of Governor of New York. The first two phrases are musically identical
to the tune known as "The
Faithful Shepherd."
***
The Allemande, by George Cruickshank
(1797).
X:1
T:Allemande Swiss
M:4/4
L:1/8
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:D
B2 dB c2c2 | B2 dB “tr”c4 | dfdB
cecA | B2F2D2B,2 :: d2 fd e2e2 | d2 fd “tr”e4 |
dfdB cecA | B2F2D2B,2 :: b2bg a2af |
g2 g^e “tr”f4 | dfdB cecA | B2F2D2B,2 :|
|: d2d2e2e2 | d2d2 “tr”e4 | dfdB
cecA | B4B,4 :|
ALLEN A'ROON. See "Eileen Aroon [1]." Scottish (Irish
in origin), Air. D Major. Standard tuning. AABB. Carlin (The Gow Collection), 1986; No. 532.
ALLEN BROTHERS' RAG. AKA and see "Hy Patittian." Old‑Time, Country
Rag. The Allen Brothers were a Chattanooga, Tenn. white blues team who recorded
in the 1920's.
ALLEN WATER. See "Allan Water."
ALLEN'S HORNPIPE. AKA and see "Alfie's Hornpipe."
ALLEN'S
REEL [1]. AKA ‑ "Alfie's Hornpipe." Composed by
Canadian fiddler Webb Acheson.
ALLEN'S
REEL [2]. American (?), Jig. C Major.
Standard tuning. AABB. Howe (Complete
Preceptor for the Accordeon), 1843; pg. 30.
X:1
T:Allen’s Reel
M:6/8
L:1/8
R:Jig
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
A2A BAB | c2c c2 :: G | c2G E2G | e2c cde | f2d e2c |
ddd d2G | c2 G E2G | e2c cde | fag fed | ccc c2 :|
ALLENTOWN POLKA. American, Polka. G Major ('A' part) & A Major ('B' part). Standard
tuning. AABB. Source for notated version: Mark O'Connor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 332.
ALLENTOWN (WALTZ), THE.
English (?), Waltz. A Major. Standard. AABBCCDDEEFFGGHHIIGGKKLLMMNN.
Kennedy (Fiddler’s Tune-Book: Slip Jigs
and Waltzes), 1999; No. 93, pg. 22.
ALLEYN'S JIG. AKA and see "Gathering
Peascods." AKA ‑ "Johnson's Almaine."
ALLIE CROKER. AKA ‑ "Ally Croaker," “Ally Crocker,” "Alley
Crocker." AKA and see "Alas,
My Little Bag," “Hunters of
Kentucky,” "Stick the
Minister [1]," "The Shamrock
Cockade." Scottish, Irish,
English, American, Canadian; Reel, Country Dance. USA, New England. D Major.
Standard tuning. AB (Kerr's, Messer): ABB (Brody): AABB (Miller & Perron,
Sloanaker, Sweet). This song, as "Ally Croker," was written and music composed by Lawrence (Larry) Grogan of
Johnstown Castle, County Wexford, who was renowned as a "gentleman
piper" and composer of Irish airs (Grogan, by the way, was the first
performer on the improved version of the Irish pipes called the uilleann or
(archaically) Union pipes). It is his most famous composition. Both the air and
song date from 1725, according to Crofton Croker, with single sheet editions of
the song from c. 1730 and c. 1740 extent. The lyrics describe the vagrancies of
a disappointed suitor of Miss Alicia Croker, the sister of Edward Croker, High
Sheriff of County Limerick (for more on Larry Grogan and Alicia Croker see T.C.
Croker’s Popular Songs of Ireland).
It quickly found favor and was adopted by ballad singers, inform Flood (1906)
and O’Neill (1913), and was soon introduced into the play Love in a Riddle (1729), Sam Foote's comedy The Englishman in Paris (1753, in which the lyrics were slightly
revised and the tune called "Ally Croaker," by which spelling it
usually appears after this date), and Kane O'Hara's Midas (1760). Country dance versions were printed by London
publisher David Rutherford in 1750 in his Choice
Collection of 60 of the Most Celebrated Country Dances, John Hinton in his periodical Universal Magazine of Knowledge and Pleasure (London, 1754), John Johnson in his 200 Favourite Country Dances, vol. 7 (London, 1756), and by
Charles and Samuel Thomson in their Compleat
Collection of 200 Favourite Country Dances, vol. 1 (1757).
***
Who wanted a Wife to make him uneasy.
Long had he sigh’d for daear Ally Croaker,
And thus the gentle Youth bespoke her:
“Will you marry me, dear Ally Croaker,
Will you marry me, dear Ally, Ally Croaker?”
***
In 1803 the air was wedded by George
Colman to a song entitled “The Unfortunate Miss Bailey” and Tom Moore used it
for his lyric “The Shamrock.” The English musicologist Chappell claimed the air
was English because of its appearance in Love
in a Riddle, however, Flood asserts Larry Grogan is the author/composer due
to a reference to the tune by Pierce Creagh of County Clare in his 1730
"The County of Limerick Buck Hunt." Creagh may have been partisan
though, for he and Grogan were great friends (Creagh even named one of his race
horses after him-- "Larry Grogan" won at least one purse for its
owner). "Allie Crocker/Croaker" continued to be in vogue throughout
the century and was the air set to the song "The Shamrock Cockade,”
popular in Munster with the Irish Volunteers (1774‑1784). It is one of
the "lost tunes" from William Vicker's 18th century Northumbrian
dance tune manuscript. In America “Ally Croaker” appears in the music
manuscript of Henry Livingston, Jr.
Livingston purchased the estate of Locust Grove, Poughkeepsie, New York,
in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York
Regiment, which participated in Montgomery’s invasion of Canada in a failed
attempt to wrest Québec from British control. An important land-owner in the
Hudson Valley, and a member of the powerful Livingston family, Henry was also a
surveyor and real estate speculator, an illustrator and map-maker, and a
Justice of the Peace for Dutchess County. He was also a poet and musician, and
presumably a dancer, as he was elected a Manager for the New York Assembly’s
dancing season of 1774-1775, along with his 3rd cousin, John Jay,
later U.S. Chief Justice of Governor of New York. Brody (Fiddler’s Fakebook), 1983; pg. 21. Cole (1000 Fiddle Tunes), 1940; pg. 8 (appears as "Ally
Croaker"). Kerr (Merry Melodies),
vol. 1; No. 9, pg. 22. Messer (Way Down
East), 1948; No. 6. Messer (Anthology
of Favorite Fiddle Tunes), 1980; No. 26, pg. 26. Miller & Perron (New England Fiddlers Repertoire), 1983;
No. 135 (Appears as “Alice Crocker’s Reel”). Ryan’s Mammoth Collection, 1883; pg. 27. Sweet (Fifer’s Delight), 1964; pg. 47. Thompson
(Compleat Collection of 200 Favourite Country Dances, vol. 1),
1757; No. 79. Fretless 119, Rodney and Randy
Miller‑ "Castles in the Air."
X:1
T:Allie Crocker
L:1/8
M:C|
K:D
Ad dc d2df|ed cd ef ga|fd dc d2df|ed cB AG FE|
Dd dc d2df|ed cd ef ga|fd dc d2df|ed cd ef ge:|
|:fa a^g a3a|ba gf ef g2|Ag gf g2gb|ag fe de f2|
Ad dd dc cc|cB BB BA AA|Ag gf g3b|ag fe d2d2:|
X:2
T:Ally Croaker
M:2/4
L:1/8
R:Air
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:G
D | G2
G>G | G3G | AG FG | A>B cd | B>G GG | G3G | AG FG |
A>B c2 |
(B/c/}d2 dd | d3d | ed cB | A>B c2 | {A/B/}c2 cc | c3c |
dc BA |
G>A B2 | G>GGG | “tr”F3 G/F/ | “tr”E3 F/E/ |
D2D2 |
c>ccd | (c2B)A | BG cA | “tr”F2 G ||
X:3
T:Ally Croaker
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
D|G2 G>G|GGGG|AGFG|ABcd|BGGG|GGGG|A>GFG|A>Bcc|
{Bc}d2 dd|dddd|edcB|A>Bcc|{AB}c2 cc|cccc|dcBA|G>ABB|
GGGG|FFFG/F/|EEEF/E/|DD D2|c>ccd|{d}c2 BA|BGcA|”tr”F2G2||
ALLIE’S HORNPIPE. Canadian, Hornpipe. Composed by
fiddler Carl Elliot, born in 1928 in Pleasant Hills, Nova Scotia. As a teenager
Elliot played fiddle and guitar for dances in a family band, along with his
mother and brother. He has resided since the late 1940’s in Ontario.
ALLILU MO VAULEEN. AKA and see "Alas, My
Little Bag.”
ALLISTER MACALLISTER. AKA and see "Alasdair MacAlister.”
ALLISTER’S FRIENDSHIP. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB. Fiddler
Jerry Holland (Inverness, Cape Breton) composed this tune originally as a slow
air, “My Cape Breton Home,” and set the melody here as a jig. Cranford (Jerry Holland’s), 1995; No. 267, pg. 77.
ALLISTRUM'S MARCH [1]. AKA and see “MacAllisdrum’s March,” “MacDonnell’s March.” Irish, March (6/8
time). D Major. Standard tuing. AABB (Roche): ABCD (O'Neill). See notes for “MacAllisdrum’s March” and “Micky ‘Cumbaw’ O’Sullivan’s”
for more information on this marital tune. See also the related “Mairseail Alasdruim” tunes from
Willie Clancy and Brendan Breathnach’s collections. O'Neill (Music of Ireland: 1850 Melodies), 1903;
No. 1802, pg. 338. O’Neill (1913), pg. 124. Roche
Collection, 1927; vol. II, pg. 58, No. 332.
X:1
T:Allistrum’s March [1]
M:6/8
L:1/8
R:March
S:Roche – vol. II, No. 332 (1927)
Z:AK/Fiddler’s Companion
K:D
Fdd fee | fe(d d)BA | Fdd fee |
(fed/)B/ (B2A) | Fdd fee |
fe(d d)ef | gfe fga | gfe dBA :: FEE
FDD | FE(d d)BA | FEE FDD |
FEd B2 ({d/B/}A) | FEE FDD FE>d
def | gfe fga | gfe dBA :|
ALLISTRUM'S MARCH [2]. AKA and see “Máirseáil
Alasdroim – an Leagan Nua.” Irish, March. A Aeolian. Standard tuning. AABB.
Roche Collection, 1927; vol. II, pg.
58, No. 333.
X:1
T:Allistrum’s March [1]
M:6/8
L:1/8
R:March
S:Roche – vol. II, No. 333 (1927)
Z:AK/Fiddler’s Companion
K:C
Ecc Add | fdd cAG | Ecc Add | fdc
A2G | Ecc Add | fdd cAG |
ABc def | Edc A2 G :: (E/F/GE
{G}F)DD | EA(d c)AG | (E/F/GE {G}F)DD |
EA(d A2)G | (E/F/GE {G}F)DD | EA(d c)AG
| ABc def | edc A2G :|
ALLO, QUEBECOISES! (Hello, Quebec Girls). French-Canadian, Air (2/4 time). G
Major. Standard tuning. ABB'. Source for notated version: transplanted
French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.), who said,
"Everybody sang that, way back" [Miskoe & Paul]. Miskoe &
Paul (Omer Marcoux), 1994; pg. 43.
ALLOA HOUSE. AKA and see “Alloway House.”
ALLONS A LAFAYETTE (Lets Go to Lafayette). AKA and see "Lafayette." Cajun, Two‑Step. USA,
southwestern Louisiana. A Major. Standard tuning. AB. The Falcon/Breux 78 of
this tune, issued by Columbia in 1928, is accorded to be the first Cajun music
recording. Joseph Falcon is largely responsible for much of the popularity of
the accordian in Cajun music and was much imitated; previous to him the
fiddle-based string band was the dominant idiom. Lafayette was a small
southwestern Louisiana town until the oil industry ushered a period of growth.
Related songs, according to Raymond Francois (1990), are Aldus Roger's "Lafayette Two-Step" and Dennis
McGee's "Jeunes Gens
de la Campagne [2]." Source for notated version: accordion player
Joseph Falcon (La.) [Francois]. Francois (Yé
Yaille Chère!), 1990; pgs. 13-14. Arhoolie 5027,
Harry Choates ‑ "The Fiddle King of Cajun Swing: Original Recordings
1946‑1949." Columbia 15275 (78 RPM), 1928, Joseph Falcon and Cleona
Breaux (his wife, on gtr.). Old Timey Records OT-108, Joseph Falcon.
ALLONS DANSER COLINDA (Lets Dance Colinda). Cajun, Two-Step (4/4 time). USA, southwestern
Louisiana. A Major. Standard tuning. AABB(Vocal)AABB(Vocal)AABB. Recorded by
La. accordionist Joseph Falcon for Arhoolie Records, 1963, though the first to
record the song was Guidry and LeBlanc, in 1946. The tune is an old one, notes
Raymond Francois (1990), though "Doc" Guidry is credited with the
words. The name colinda in the title derives from an old dance called the
'calinda,' once known to the black population in New Orleans and environs.
"It consisted of a line of men and a line of women facing each other and
was, at one time, forbidden to be danced because of it's sexual style or its
association with voodoo." The melody is similar to fiddler Dennis McGee's
"Madame Young," though it differs
in the 'B' part or turn. Source for notated version: Oran "Doc"
Guidry and Leroy "Happy Fats" LeBlanc (La.) [Francois]. Francois (Yé Yaille Chère), 1990; pgs. 325-326. Flyright Records FLY-609, Leroy "Happy Fats"
LeBlanc (reissue).
ALLONS TUER LA TORTUE. See "La Queue d'Tortue."
ALLOW, THE.
Irish, Reel. Composed by Cork accordion player Jackie Daly. The Allow is the
name of a river flowing through his hometown of Kanturk.
ALLOWA KIRK. Scottish (originally), Canadian; Strathspey. Canada, Cape Breton. G
Major. Standard tuning. AABB. Composed by Joseph Lowe, who published a set of
collections in the 1840's. This strathspey has become his most famous
composition in Cape Breton, according to Paul Stewart Cranford (1995).
***
Alloway Kirk was built about the year 1516, and
survived for two hundred and fifty years as a place of worship, until 1756, by
which time it had fallen into disrepair. Its roof caved in soon thereafter, but
the grounds were maintained. Scots poet Robert Burns knew it well as it was the
burying place of his father William (whose original stone was chiped to pieces
by souvenier hunters), referring to it as ‘Alloway’s auld haunted kirk’. It was
the setting for his famous poem “Tam o’ Shanter’, based on local legends. Another
Scots literary great, Robert
Louis Stevenson, mentioned the church in his In the South Seas. He is on
one of the Gilbert Islands and records:
***
The night was very dark. There was service in
the church, and the building glimmered through all its crevices like a dim Kirk
Allowa'.
***
Cranford (Jerry Holland’s), 1995; No. 166, pg. 47. Ashley
MacIsaac – “Fine, Thank You Very Much.”
X:1
T:Allowa Kirk
L:1/8
M:4/4
R:Strathspey
C:Joseph Lowe
K:G
D|G>ed>B A/GE>A|G>ed>B d/Bg>a|b/2a/2g/2f/2 g>B A>GE/A|G>EF/D {D}G2 G:|
|:f|g>d g/2a/2b a/ee>f|g>d g/2a/2b e/gd>g|c>aB>g a>A AB/2A/2| G>EF>D {D}G2 Gf|
g>d g/2a/2b a/ee>f|(3gab (3agf (3efg (3dcB| (3cac
(3BgB a>A AB/2A/2|G>EF>D {D}G2 G:||
ALLOWAY HOUSE. AKA – “Alloa House.” Scottish, Air (3/4 time). G Minor. Standard
tuning. AABB. Composed by James Oswald (1710-1769). Alloway House was
near Oswald’s hometown of Dunfermline. McGibbbon (Scots Tunes, Book 1), c. 1762; pg. 25.
X:1
T:Alloa
House
M:3/4
L:1/8
R:Air
N:”Slow”
S:McGibbon
– Scots Tunes, Book 1 (c. 1762)
Z:AK/Fiddler’s Companion
K:Gmin
G>F |
D2G2A2 | B4 “tr”(A>G) | F2 (cB)”tr”(AG) | F4 B>A | G2D2 GA | B4 Bc |
d2 (e>d)(cd)
| B4 (B/c/d) | e2 (fe)”tr”(dc) | d2 (ed)”tr”(cB) | (ec)(dG)BD | F4 (B>A) |
G2 (g2f2) |
{e}d3 cBd | B2 “tr”(AG)(^F>A) | G4 :: (df) | g>agf(df) | g4 (f/a/b) |
(fd)(cd)(bg)
| f4 (df) | g>agf(df) | g4 (g/a/b) | “tr”(B>AB)d(ce) | {e}d4 (B/c/d) |
e2 (fe)”tr”(dc)
| d2 (ed)”tr”(cB) | (ec)(dG)BD | F4 B>A | G2g2f2 | {e}d3 cBd | B2
(AG)^F>A | G4 :|
ALL’S WELL [1]. English, Air (2/4 time). G
Major. Standard tuning. AAB. The air is actually a duet piece from a comic
opera entitled The English Fleet in 1342,
staged in London in 1805. It was published in America in New York publisher
John Paff’s Gentleman’s Amusement, No. 2 (1812), and in Utica (N.Y.) by
William Williams in New and Compleat Preceptor for the Fife (1826).
Mattson & Walz (Old Fort Snelling), 1974; pg. 47. Williams (Complete Preceptor for the Fife), 1826.
X:1
T:All’s Well [1]
M:2/4
L:1/8
K:G
D|G2G2|G3A|B2 {B}A>G|G2
zG|B2B2|B3c|dg ec|(B2 A):||B|A>BA>B|A>B cz/A/|B>AB>A|
B>c dz/G/|g2 {f}e>d|d3 z|z4|z2
z/>G/|g2 {f}e>d|d2 zB|dcB{B}A|G2 zG|cccc|
BBBB|eeee|dddd|ccBB|AABd|gdcB|B2
Az|z4||
ALL’S WELL [2].
English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB.
Originally published in Charles and Samuel Thompson’s Compleat Collection,
vol. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 3), 1773; No. 82.
X:1
T:All’s Well [2]
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
g2
dB|e2 cA|BdcB|A/G/F/E/ D2|g2 dB|e2 cA|Bd cB/A/|G2 [G,2G2]:|
|:(B/4c/<d) (B/4c/<d)|e2 gg|(e/4f/<g) (f/4g/<a)|(g/4a/<b)
g2|(B/4c/<d) (B/4c/<d)|ec c2|Bd cB/A/|G2 [G,2G2]:||
ALLT A’ GHOBHAINN (The Smith’s Burn). AKA and see “The Smith’s Burn.” Scottish, Reel. A
Major/Mixolydian. Standard tuning. AA’B (Shears): AABB’ (Stewart-Robertson).
Composed by editor James Stewart-Robertson. Source for notated version:
“Based on the setting played by the late Mike MacDougall of Ingonish,” Cape
Breton [Shears]. Shears (Gathering of the
Clans Collection, vol. 1), 1986; pg. 60 (pipe setting. Appears as “Allt a’
Ghobha”). Stewart-Robertson
(The Athole Collection), 1884; pg. 5.
X:1
T:Allt a’ Ghobhainn
T:Smith’s Burn, The
M:C|
L:1/8
C:James Stewart-Robertson
S:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
e|c2ec fddf|f>ec>A B=GGB|c2ec fddf|ecBc A/A/A A:|
|:g|a2ec
fddf|a2ec B/B/B ~B>f|1 a2 ec fddf|ecBc A/A/A A:|2afec fgaf|ecBc A/A/A A|]
ALLT-Y-CAETHIWED (Hillside of Captivity). AKA and see “Brochan Lom,” “Orange and Blue [1],” “Wood-bine Cottage.” Welsh, Hornpipe. G Major. Standard. AABB. A version of the Scottish melody “Orange and Blue,” from the Tro Llaw collection (National Library of Wales).
X:1
T:
Allt-y-Caethiwed
M: 4/4
L: 1/8
R: hornpipe
Z:Trevor
MacSheoinin
K: Gmaj
|:dc|BGGG DGGG|BGdB G3B|BAAA FGAB|ceed e2dc|
BGGG DGGG|BGdB G2cd|ecdB cABG|FADF G2:|
|:dc|Bcdc BGdc|BcdB G2ed|cdec cAed|cdec A2dc|
Bcdc BGdc|BcdB G2cd|ecdB cABG|FADF G2 :|
ALLTRI NA MNA. AKA and see "Cherish the Ladies."
ALLY CROAKER. AKA and see "Allie
Crocker."
ALMA, THE. AKA and see “The Heights of Alma.” Scottish, Pipe Tune.
The tune takes its name from the first pitched battle of the Crimean War.
ALMA WALTZ. Old-Time, Waltz. C Major (Silberberg): F Major. Standard tuning. One
part. Source for notated version: Mississippi Mud Steppers [Silberberg].
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 1.
ALMACK'S HORNPIPE. American, Hornpipe. A Major. Standard tuning. AABB. Can be used for a
clog dance, says a note in Ryan’s Mammoth
Collection. Although the origin of the tune’s name is unknown, it should be
noted that Almack’s Assembly Rooms (popularly known
as Almack’s), King Street, London, was one of the most exclusive establishments
of Regency society, and a center for fashionable popular dancing and
entertainments. The rules were strict and entry was as guarded as any exclusive
modern nightclub—the doors were manned by the manager and a well-known
doorkeeper, Willis, and they closed at eleven-thirty promptly. Admissions
vouchers had to be shown upon entry (Thompson, Dancing Through Time, 1998, pg. 131). The name Almack’s derived
from its owner, William Macall, who reversed the syllables of his last name
because he thought his real name sounded too Scottish, and thus unfashionable.
The rooms (which consisted of a ballroom, supper rooms and game rooms) opened
in 1765 and continued to be a center of social life through the mid-19th
century. The doors were finally closed in 1863. Cole (1000 Fiddle Tunes), 1940; pg. 112. Ryan’s Mammoth Collection, 1883; pg. 150. White’s Unique Collection, 1896; No. 140, pg. 25.
X:1
T:Almack’s Hornpipe
M:C|
L:1/8
S:White’s Unique Collection (1896), No. 140
Z:AK/Fiddler’s Companion
K:A
(cB) | A>cE>G A>ce>.c |
d>fB>d a>gb>g | a>ec>e f>dB>A | G>AB>c
d>Ec>B |
A>cE>G A>ce>c |
d>fB>d a>gb>g | (3agf (e>d) B>EF>G | A2c2 [C2A2] :|
|: (cd) | e>ac>e A>ce>a
| f>ad>f B>df>a | g>be>g B>eG>B | (3EGB (3egb e’2 (cd)
|
e>ac>e A>ce>a |
f>ad>f B>db>a | g>fe>d c>BF>G | A2c2 [C2A2] :|
ALMAN, ANON. English, Country Dance (2/2 time). G Major. Standard tuning. AABBCC.
The title is a derivative of the French "allemande", referring to a
supposedly German style dance characteristically moderate in tempo. Published
before 1730. Raven (English Country Dance
Tunes), 1984; pg. 7.
ALMANE DELORNE. Scottish. The title is a derivative of the French
"allemande," referring to a supposedly German style dance
characteristically moderate in tempo. From the Skene Manuscript, c. 1620. Flying Fish,
Robin Williamson ‑ "Legacy of the Scottish Harpers," vol. 2.
ALOE VERA REEL, THE. Irish, Reel. A modern composition by Cork
accordion player Eoghan O’Sullivan. Spin CD1001,
Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996).
ALONBY LASSES. AKA and see “The Flag(g)on,” "The Floggin'". AKA – “Allonby Lasses.”
English, Reel. G Major. Standard tuning. AABB. The melody appears in the c.
1825 music manuscripts of the Browne family of Troutbeck, in the old county of
Westmoreland in the English Lake District. It now is located in the relatively
new county of Cumbria. The manuscripts are apparently the work of different
individuals over time, with the Browne family the last owners of the book
before they were collected and donated to the Armitt Library, where they are
kept today.
X:1
T:Al(l)onby Lasses
O:England
M:2/4
L:1/8
R:Reel
S:Armitt MS
K:G
c|BGGc BGdG|BGGc Bdge|BGGc BGdG|cAAB
cdef:|
|:gage dBGB|gage dfaf|1 gage
dBGB|cAAB cdef:|2 gbeg dgBg|cAAB cdef:|
ALONG THE MOURNE SHORE. Irish, Air (6/8 time). E Flat Mixolydian. Standard tuning. AAB. The
melody is a variant of "A Spailpin a
Ruin," itself a variant of "The
Blackbird." Stanford/Petrie (Complete
Collection), 1905; No. 519, pg. 131.
X:1
T:Along the Mourne shore
M:6/8
L:1/8
S:Stanford/Petrie (1905), No. 519
Z:AK/Fiddler’s Companion
K:Eb
e/>f/ | ge_d c2 B/c/ | _dBA G2
E/F/ | GAB/G/ AGE | E3 E2 :|
E/F/ | GAG/F/ GBc | efe/_d/ cBA |
GAG/F/ GBd | e3 e2 e/f/ |
ge_d c2 B/c/ | _dBA G2 E/F/ | GAB/G/
AGE | E3 E2 ||
ALONG THE OCEAN SHORE. Irish, Slow Air (4/4 time). F Major. Standard tuning. AB. Joyce (Old Irish Folk Music and Songs), 1909;
No. 80, pg. 43.
X:1
T:Along the ocean shore
M:C
L:1/8
N:”Slow and tender”
S:Joyce – Old Irish Folk Music
Z:AK/Fiddler’s Companion
K:F
FG|A2 AG FGAB|c4 A2 fe|d2 cA GAGF|D4
C2 FG|A2 AG FGAB|
c4d2 fe|dcAG AGFE|F6||de|f2 ed
dfed|e3c A2 de|d2 cA cdeg|
f6 FG|A2 AG FGAB|c4 A2 fe|dedc
AGFE|F6||
ALONG THE RIVER BANKS. AKA and see “The Game Cock Reel.”
ALONG WITH MY LOVE
I'LL GO. Irish, Slow Air (3/4 time). D Minor
(O’Neill): E Flat Dorian (Stanford/Petrie). Standard tuning. AB. Source for
notated version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie].
O'Neill (Music of Ireland: 1850 Melodies),
1979; No. 118, pg. 21. Stanford/Petrie (Complete
Collection), 1905; Nos. 707 & 708, pgs. 177-178.
X:1
T:Along with my love I’ll go
M:3/4
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland
(1903), No. 118
Z:AK/Fiddler’s Companion
(D>E) | F2 cA FA | G>E C2 DE |
F2 cA G>E | ^CE D2 DE | F2 c>A FA |
GE C2 DE | F2 cA GE | D4 || DE |
F>E FG AF | (G>F) (GA) (BG) |
A2f2 (e>d) | d4 (3A=B^c | d2 Ad
cA | G>E C2 D>E | F2 cA GE | D4 ||
ALONG WITH THE GIRLS
I'D LIKE TO BE. AKA and see "The Butcher's March [1]."
ALOUETTE REEL. French Canadian, Reel. C Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 67, pg.
47.
ALPIN ROAD. Canadian, Reel. Canada, Cape Breton. B Flat Major. Standard tuning. AB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
10.
ALPIN SOTTIISI. Finnish, Schottische. D Minor. Standard tuning. AABB.
X: 1
T: Alpin sottiisi
R: shottish
B: Pelimannis\"avelmi\"a
III p.77 #87 (Fazer)
N: Kiikoisista. <<Alpi>>
oli sokea soittaja Albin Koivuniemi Kiikoisista.
N: From Kiikoisi. "Alpi"
was the blind musician Albin Koivuniemi from Kiikoisi.
Z: John Chambers
<jc@trillian.mit.edu>
M: 2/4
L: 1/16
K: Dm
|: "Dm"fed^c d2A2 |
"Gm"BcBA G2G2 | "A7"AAA^c e2e2 | "Dm"ABAG F2A2 |
|
"Dm"fed^c d2A2 | "Gm"BcBA G2G2 | "A7"AAA^c
egfe | "Dm"d2d2 d2z2 :|
|:
"F"c2c2 c2c2 | cBAB c2c2 | "Bb"d2d2 defd |
"F"cBAB c2c2 |
| "A7"eeef g2g2 |
"Dm"abag f2f2 | "A7"efed ^c2c2 | "Dm"ABAG F2A2 |
|
"Dm"fed^c d2A2 | "Gm"BcBA G2G2 | "A7"AAA^c
egfe | "Dm"d2d2 d2z2 :|
ALPINE RIDGE [1]. Canadian, Reel. Canada, Cape Breton. B Flat Major. Standard tuning. AB.
Composed by Cape Breton fiddler Dan R. MacDonald (1911-1976). Cameron, 1994;
pg. 8.
ALPINE RIDGE [2]. Canadian, Jig. Canada, Cape Breton. B Flat Major. Standard tuning.
AABB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald
(1911-1976). Cameron (Trip to Windsor),
1994; pg. 46.
ALSOP'S FANCY. English, Jig. England, Yorkshire. D Major. Standard tuning. AABB.
Source for notated version: a MS collection by fiddler Lawrence Leadley,
1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather
& Seattle (The Fiddler of Helperby),
1994; No. 75, pg. 46.
ALSTON FLOWER SHOW. English, Hornpipe. England, Northumberland. A Major (Dixon): G Major
(Northumbrian Pipers’). Standard tuning. AABB (Northumbrian Pipers’):
AABBCCDD’EEFF (Dixon). The tune is attributed to Robert Whinham (1814-1893), a
musician, teacher, composer, dancing master and fiddler originally from
Morpeth, Northumberland. Dixon (1995) says there is no direct evidence linking
the tune to Whinham, but older Northumbrian musicians maintain that it is
Whinham’s work. Supposedly Whinham
composed it while staying at the farm of a man named Armstrong, at Slaggyford,
south of Alston, when the annual Flower Show was in progress, says Dixon.
Source for notated version: editor, fiddler and Lowland piper Matt Seattle
(Northumberland) [Dixon]. Dixon (Remember
Me), 1995; pg. 64 (variations by Matt Seattle). Northumbrian Pipers’ Second Tune Book, 1981; pg. 31. Black Crow CRO210, Kathryn Tickell – “Borderlands.” BoK15,
Billy Pigg – “The Legendary Billy Pigg.” NPS1, Jane & Tristram Robson (et
al) – “New Horizon.” Topic 12TS227, Joe Hutton (et al) – “Wild Hills o’
Wannies.” Topic 12TS297, High Level Ranters – “Ranting Lads.”
X:1
T:Alston Flower Show
M:4/4
L:1/8
R:Hornpipe
K:G
dc|BdAd Ggfd|edef g2 dc|Bg (3edc
BGFG|Ad^cd A2 d=c|BdAd Ggfd|
edef g2 dc|Bg (3edc BG AF|G4
G2::cB|ADEF GFGc|(3BAG ce dGBd|
egfa gfed|fed^c (d2 d)=c|BdAd
Ggfd|edef g2 dc|Bg (3edc BGAF|G4 G2:|
ALSTON HORNPIPE, THE. AKA and see “The Lancaster and
Manchester Hornpipe.” English, Scottish; Hornpipe. F Major. Standard
tuning. AABB. A clog dance. Alston is a town in Northumberland, a market center
of the River South Tyne region, and, at 1,000 feet above sea level, is reputed
to be the highest such marketplace in England. Graham Dixon (1995) says that in
the 19th century Alston was an important center for the regional
lead and coal mining. Honeyman (Strathspey,
Reel and Hornpipe Tutor), 1898; pg. 49. Knowles (Northern Lass), 1995; pg. 42.
X:1
T:Alston Hornpipe
M:C
L:1/8
R:Hornpipe
S:Honeyman – Strathspey, Reel and
Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:F
c>B|A>c f4 a>f|e>g b4
g>a|b>ga>f g>ef>a|g>e c4 c>B|A>c f4 a>f|e>g B4
d>B|
A>FB>G A>FG>E|F2 f2 F2:|
|:c>B|A>cf>c
a>cf>A|d>BF>D B,2 d>c|=B>dg>d _b>dg>d|e>cG>E
C2 c>B|
A>c f4 a>f|e>g B4
d>B|A>FB>G A>FG>E|F2 A2 F2:|
ALTAMONT [1]. Old‑Time, Breakdown. C Major. Standard
tuning. AB. Altamont is a town on the Cumberland Plateau (Ky./Tenn. border
area). The tune was in repertoire of the African-American string band the John
Lusk Band. It was their version of that tune that was issued on the
Rounder CD "Altamont" and was from taken from a 1949 recording
session that Stu and Gloria Jamieson (and others) had with Lusk, Gribble, and
York, according to Kerry Blech. They also recorded the tune in a 1946 session
that was recorded onto instantaneous aluminum disks. The 1949 session was
recorded on a wire recorder (the version is noticeably different than their
1946 recording). Source for notated
version: Gren Canote [Silberberg]. Silberberg (Tunes I Learned at Tractor
Tavern), 2002; pg. 3. Cartunes 105, Bruce Molsky
and Bob Carlin – “Take Me as I Am” (2004. Sourced to Gribble, Lusk and York).
Rounder CD 0238, Gribble, Lusk & York - "Altamont ‑ Black String
Band Music From the Library of Congress."
ALTAMONT [2]. Old-Time, Breakdown. A different tune than John Lusk’s Altamont.
“Altamont” [2] is a member of the family of tunes that includes “Rocky Mountain Goat,” Jilson Setter’s “Damon’s Winder” and Jim Bowles “Railroading
Through the Rocky Mountains.” Bob Townsend – “Old
Time Fiddlin’ Tunes from the South Cumberland” (learned from fiddler Oscar
Overturf, b. 1900).
ALTERATIONS. English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB.
Barnes (English Country Dance Tunes),
1986.
ALTHEA. English, Country Dance Tune (6/8 time). B Flat Major. Standard tuning.
AABB. The melody was originally published by Playford in the 17th
century. Sharp (Country Dance Tunes),
1909/1994; pg. 30.
X:1
T:Althea
M:6/8
L:1/8
Q:120
K:Gm
d/2e/2| f2 f f2 f| f3 def| g2 g f2 e| d3 d2 d| c3 F2 d| c3 GAB| c B2 B2 A|B3 B2:|
|:
B|c3 c3 | Bcd e2 G| cdc c2 B| c3 c2 f|f3 f c2| d3 d G2| c B2 B2 A| B3 B2 B:|
ALTHOL BRAY. AKA and see "Atholl Brae."
ALTHOUGH HE IS YOUNG. AKA and see "My Love He is
Tall."
ALTRINGHAM ROUND. AKA and see “Knutsford Heath.” English, “Old” Hornpipe (9/4 time). An “old” or “triple-“ hornpipe from Thomas Marsden’s A Collection of Original Lancashire Hornpipes, Old and New. Containing Divisions upon each (London, 1705). The book was sold out of Henry Playford’s shop at the Temple Change, priced at one shilling. Altringham (now Altrincham) is a small town in north Cheshire (Chester), eight miles south-west of Manchester. The alternate title names Cheshire’s Knutsford Heath, the site of Knutsford Races, a horse-racing ground for some 200 years. It was thought the races did not begin until the 1720’s, however, Sir Thomas Mainwaring wrote in his diary for June 22nd, 1679:
***
At Knutsford Heath my cousin Mainwaring of Kermincham beat my cousin
Marbury and won the plate with his horse.
***
X:1
T:Altringham Round, or Knutsford Heath
M:9/4
L:1/4
S:Marsden
Z:Transcribed by Pete Stewart and posted at www.goodbagpipes.co.uk/pipetunes/
N:(reposted at Fiddler’s Companion by permission)
K:F
G2fe/f/gef3|A/B/cAF2BA/B/cA|G2fe>dcd3|D>EFG2BA/B/cA||
dcBA/B/cAG>cB|AFFF2BA/B/cA|d>cBA/B/cAGAB|DEFGABA/B/cA||
fdfec/d/ef3|cA/B/ c/A/F2BA/B/cA|fd/e/fec/d/edef|efggdfe/f/ge||
fd/e/fec/d/efdB|cA/B/ c/A/F2BA/B/cA|BfBA/B/cAG/A/BG|D>EFG2BA/B/cA||
d2cB2AG>cB|AFFF2BA/B/cA|d2cB2AG2B|D2GG2BA/B/cA||
cGBAFAG2c/B/|AFFF2BA/B/cA|cGBA>GFG2B|D2GG2BA/B/cA||
gd/e/fec/d/ef3|cA/B/ c/A/F2BA/B/cA|gd/e/fec/d/ed3|D>EFG2BA/B/cA||
agfgfefdB|A/B/cAF2BA/B/cA|agfgfedef|efggdge/f/ge||
f>afe/f/ged/e/fd|A/B/cAF/G/AFA/B/cA|B/c/dBA/B/cAG/A/BG|D>EFG2BA/B/cA||
d_e/d/c/B/cd/c/B/A/G2c/B/|AFFF2BA/B/cA|d_e/d/c/B/cd/c/B/A/G2B|D2GG2BA/B/cA||
a>gfe/f/gdf>dB|cA/B/ c/A/F2BA/B/cA|f>afe/f/ged/e/fd|D>EFG2BA/B/cA||
ab/a/g/f/ga/g/f/e/f3|cA/B/ c/A/F2BA/B/cA|ab/a/g/f/ga/g/f/e/d3|D2GG2BA/B/cA||
ALWAYS PLEASED. Scottish, Strathspey. D Major. Standard tuning. AABB. The melody first
appears in Alexander McGlashan's
Collection. McGlashan (Collection of Strathspey Reels), c.
1781; pg. 2.
X:1
T:Always Pleased
M:C|
L:1/8
R:Strathspey
S:McGlashan – Strathspey Reels (c. 1781)
Z:AK/Fiddler’s Companion
K:D
E|F<D D>B A>F EA | F<D
D>d A>F DE | F<D D>B A>F EA | F<D Dd A>df>d |
e>df>d e>FEA | F>D
D>d A>F D2 :: g | f<dfg a>feg | f<dfg af>df/g/ | a/g/f/e/
d/e/f/g/ a>feg |
f<d e>f d>df>d |
e>df>d e>FEA | F<D D>d A>F D :|
ALWAYS WELCOME (Failte A gComnuige). Irish, Hornpipe. A Major. Standard tuning.
AABBCC. The 'A' part of this tune is
nearly similar to the American tunes "The Darkey's Dream"
(Bayard) and "Old Yeller Hound"
(Ford). O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1755, pg. 327. O'Neill (Krassen), 1976; pg. 211.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 927, pg. 159.
X:1
T:Always Welcome
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 927
Z:AK/Fiddler’s Companion
K:A
AF|E2 EF A2 AB|cBAB ceeg|fefg
agaf|ecBc AFFA|
E2 EF A2 AB|CBAB ceeg|fefg agaf|ecBc
A2:|
|:c2|A2 Ac eccf|ecac eccd|B2 Bd
fefg|agaf edcB|
A2 Ac eccf|ecac ecce|fefg agaf|ecBc
A2:|
|:e2|a2 ga faea|faea fccB|E2 EF
AGAB|cBAc BFFe|
a2 ga faea|faea fcce|fefg agaf|ecBc
A2:|
ALY BAIN. Composed by New Hampshire accordion player and contra dance composer
Bob McQuillan in honor of Shetland fiddler Aly Bain.
ALY GROGAN. Welsh, Jig. G Major. Standard tuning.
X:1
T:Aly Grogan
M:6/8
L:1/8
K: G Major
dBG dBG|cAF cAF|B/2c/2dB c>AF|G2G
G3:|:
gag gfe|ded dBG|gag efg|A2A A3|gag
gfe|ded dBG|B/2c/2dB c>AF|G2G G3:||
ALY’S SOOND. Scottish. Composed by the late Shetland musician, collector, composer
and teacher Tom Anderson, in honor of Shetland fiddler Aly Bain. Tartan Tapes CDTT1004, Chris Stout – “Heat the Hoose”
(1998).
ALY’S WALTZ. American, Waltz. F Major. Standard tuning. Composed by Colorado
musician Terry Rasmussen for visiting teacher Shetland fiddler Aly Bain, while
attending the Valley of the Moon Fiddle School in California. Green Linnet, Aly Bain - “Lonely Bird” (1996). Green Linnet
GLCD 1151, Seamus McGuire - “The Wishing Tree” (1995).
AM BODACH
A CHIANAMH. Scottish, Jig (9/8 time). D Major. Standard
tuning. AABBCCDD. Petrie (Collection of Strathspey Reels and Country
Dances), 1790; pg. 18.
X:1
T:Am Bodach a chianamh
S:Petrie's Collection of
Strathspey Reels and Country Dances &c., 1790
Z:Steve Wyrick
<sjwyrick'at'astound'dot'net>, 3/19/04
N:Petrie's First
Collection, page 18
L:1/8
M:9/8
R:Jig
K:D
"^Slow"
A, | D>EF AFD E2B, |
D>EF AFE D2A, | D>EF AFD E2B, |
D>EF AFA f2d | e2B d2F E2B, |
D3/2(E/F/G/) AFD D2 :: f
| d>ef dfd e2B | d>ef dfe d2A | d>ef dfd e2B | d>ef dfd f2d |
e2B d2F E2B, | D/D/DF
D/D/DF D2 :: A, | D/D/DF D/D/DF E2B, | D/D/DF D/D/DF D2A, |
D/D/DF D/D/DF E2B, |
D/D/DF A/A/Ad f2d | e2B d2F E2B, | D3/2(E/F/G/) AFE D2 :: f/g/ |
afd afd e2B | afd aef
d2A | afd afd e2B | afd afd f2d | e2B d2F E2B, | D3/2(E/F/G/) AFE D2 :|
%Petrie left the final
repeat sign off the last part -SW
AM BODACH LUIDEACH
ODHAR. Scottish, Strathspey. D Major.
Standard tuning. AABBCCD. Stewart-Robertson (The Athole Collection), 1884; pg. 155.
X:1
T:Am Bodach Lúideach Odhar
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
D>DF>D A>DF>D | E/E/E
F>A B>AB>d | D/D/D F>D A>DF>D |
E>FE>D B,2 A,>B, ::
d>ed>c d>AA>d | B>cd>e f>BB>c | d>ed>B
A>Fd>B |
A>FE>D B,2 A,>B, ::
D>AF>A D>AF>A | E/E/E F>A B>AB>d | D>AF>A
A>DF>D |
A,>A G/F/E/D/ B,2 A,>B, :|
d>ed>c d>AA>d | B/A/B/c/ d/c/d/e/ f<B B>c |d>ed>B
A>Fd>B |
A>FE>D B,2 A,>B, |
d>ed>c d>AA>d|B>cd>e f>BB>c | d>fB>d A>dF>d
| E>FE>D B,2 A,>B ||
AM
BOTAL DUBH 'S AN T-SLIGE CHREACHANN. AKA and see "The Dram Shell."
AM COM HRA DUNN. Irish, Hornpipe. D Major. Standard tuning. AA'BB'. Source for notated
version: the Chieftains (Ireland) [Carlin]. Carlin (English Concertina), 1977; pg. 33.
AM FAIGHIR MUILEACH. See “Mull Fair.”
AM FASAN AIG UA
CAILEAGAN. AKA and see "The Fashion Which the Lasses
Have."
AM I
THE DOCTOR YOU WISHED FOR TO SEE? Irish, Air (4/4 time). E Flat
Major. Standard tuning. One part. Joyce suggests Donegal connections for this
song.
***
"Am I the doctor you wished for to see?
Am I the young man you sent for to me?"
"O, yes dearest Willie, you can kill or you can cure:
For the pain that I feel, my dear,
is hard to endure."
***
Joyce (Old Irish Folk Music and Song), 1909; No. 153, pg. 78.
X:1
T:Am I the doctor you wished for to see?
L:1/8
M:C
S:Joyce – Old Irish Folk Music
Z:AK/Fiddler’s Companion
K:E_
(3EFG|A2 GF GE CE|F2 E>E E2 GA|B2
cd eBGB|c2 BB B2 GA|
BBcd eBGB|cdec BGE F/G/|A2 GF GE
CE|F2 EE E2||
AMAC LEIS NA
BUACAILLIB. AKA and see "Out With the Boys."
AMADAN GÒRACH SAIGHDEAR (Silly fool of a
soldier). Scottish, Jig (9/8 time). The tune is the
air to a Gaelic puirt a beul song.
***
Amadan gòrach gòrach Amadan gòrach saighdear Amadan gòrach gòrach Chunna mi 'g òl a-raoir
thu Amadan gòrach gòrach Amadan gòrach saighdear Amadan gòrach gòrach Chunna mi 'g òl a-raoir
thu |
Silly, silly fool Silly fool of a soldier Silly, silly fool I saw you drinking last
night Silly, silly fool Silly fool of a soldier Silly, silly fool I saw you drinking last
night |
***
Wildcat Records WILDCD
101, Ronan Martin – “Ronan Martin” (2008).
AMAORA DOON. See “(An) Cora Donn.”
AMARANTH WALTZ. American, Waltz. A Major. Standard
tuning. AABB. Composed by Alstead, New Hampshire, fiddler and composer Randy
Miller. Miller (Fiddler’s Throne),
2004; No. 363, pg. 214. Jamie Gans – “Jersey
Lightning” (1993).
AMARILLIS/AMARYLLIS. English, Air or Country Dance Tune (4/4, 2/2 or cut time). E Flat Major
(Chappell): G Major (Barnes, Sharp, Watson). Standard tuning. AB (Chappel,
Sharp, Watson): AAB (Barnes). The tune appears in many works, including
Porter's play The Villain (1663), Merry Drollery Complete (1670), The New Academy of Compliments, and
Playford's Dancing Master (1665), Musick's Delight on the Cithern (1666),
and Apollo's Banquet (1670). A
popular tune, it was used following the convention of the period as the vehicle
for numerous 18th century ballads, according to Chappell (1859), including
"The Coy Shepherdess; or Phillis and Amintas" (Roxburghe Collection) {from which title the ballad was sometime
known as "Phillis (or Amintas) on the new‑made hay"};
"'Love in the blossom' or 'Fancy in the bud'" (Roxburghe);
"Fancy's Freedom' or 'True Lovers' bliss'" (Roxburghe); "'The
True Lovers' Happiness' or 'Nothing venture, nothing have, &c'" (Douce
Collection/Roxburghe): "The Cotsall (Cotswold) Shepherds" (Folly in
Print, or a Book of Rhymes" {1667}); "'The Virgin's Constancy' or
'The True Lovers' Happiness'" and "'The True Lovers' Happiness' or
'Nothing venture, nothing have'" (Pepys Collection). Barnes (English Country Dance Tunes), 1986.
Chappell (Popular Music of the Olden Time),
vol. 2, 1859; pgs. 12‑13. Sharp (Country
Dance Tunes), 1909/1994; pg. 25.
Watson, 1975; No. 8, pg. 9.
X:1
T:Amarillis
M:2/2
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:G
d3c B2 AG|A2D2 G4|dedc BABG|A2D2
G4|d2c B2 AG|A2D2 G4|dedc BABG|A2D2 G4||
A3B c2B2|c2d2 e3f|g2f2 ga f2|e4
d4|g3f e2d2|ed c2 B3c|d2 ed cB A2|G4 G4||
AMARILLO WALTZ. Old‑Time, Waltz. USA, Texas. G Major. Standard tuning.
AA'BB'AA'BB'CC' (Phillips). Eck Robertson claimed authorship of this melody
(Wolfe, 1997), recorded by him with his family band for Victor Records in 1929.
It was one of the most performed numbers at his live shows, according to
Blanton Owen. Stacy Phillips notes the first section is often played an octave
higher than the middle register. Source for notated version: Alexander
"Eck" Robertson (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 237. Victor 40398 (78 RPM), Eck Robertson (1929).
AMATEUR. American, Hornpipe. A Major. Standard tuning. AABB. Composition
credited to one J. Hand in Ryan’s Mammoth
Collection, possibly a bandleader or principal musician in the greater
Boston area. “Can be used as a Clog.” Cole (1000
Fiddle Tunes), 1940; pg. 90. Ryan’s
Mammoth Collection, 1883; pg. 123.
X:1
T:Amateur
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
(cd) | e>ae>c d>fd>B |
A>cE>C A,>CE>A | d>fd>B c>ec>A | F>AG>A B2 c>d
|
e>ae>c d>fd>B |
A>cE>C A,>CE>A | d>fe>d c>BA>G | A2c2A2 :: (GA) |
B>EG>B d>BG>E |
A>A,C>E | A>ce>c | d>fB>d c>eA>c | (3BcB (3AGF E2 (GA)
|
B>EG>B d>BG>E |
A>ce>c a>ec>A | d>fd>B c>EG>B | A2 ({g}a2) A2 :|
AMAZING GRACE. American, English, Scottish; Air. The song was written by one John
Newton, an 18th century English slave trader who had a religious conversion
and rejected his former trade. In Beyond
the Hebrides, edited by Donald Fergusson, it is stated: "Since the
melody is that of a bag-pipe tune and is a gapped-scale melody with a
distinctly modal, plain-song character, it is very probably that Newton's
composition was to an old Scottish melody. If not, early settlers may have
adapted the lyrics to an old Scottish melody they brought with them." The
words to “Amazing Grace” can be found in Olney
Hymns (1779), a collection of Newton's hymns made in collaboration with
William Cowper, however, the work contains no music and no tune direction was
given. The tune is attributed to J. Carrell and D. Clayton in the American
shape-note publication Virginia Harmony,
c. 1831. It has also been suggested the original title for the tune was “New
Britain.”
AMAZON. AKA and see “Gahan’s Hornpipe,”
“Jim Mullin’s Hornpipe.”
American, Hornpipe. G Major. Standard tuning. AABB. “Can be used as a Clog.”
There was a 19th century British steamship named Amazon, although what connection, if by
remote chance any, with this tune is unknown. Paul de Grae identifies it as a
version of O’Neill’s “Spellan’s Fiddle”
(MOI, No. 616). The beginning measures of the second part were incorporated
into the beginning of the second part of O’Neill’s “Star (Hornpipe) [1].” Cole (1000 Fiddle Tunes), 1940; pg. 97. Ryan’s Mammoth Collection, 1883; pg.
133.
X:1
T:Amazon Hornpipe
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
B>c | d>gd>B e>dc>A |
G>FG>A B>GD>C | B,>DG>F E>Gc>B | (3ABA (3GFE D2 B>c
|
d>gd>B e>dc>A |
G>FG>A B>GD>C | B,>DG>F E>cA>F | G2B2G2 :: F>G |
A>^GA>B c>Bc>d |
e>de>f g2 (3def | g>fe>d c>BA>G | A>d^c>e d2 e>f |
(3ggg d>B (3eee c>A | (3ddd
B>G (3ccc A>F | G>Be>d ^c>d=c>A | G2B2G2 :|
AMBELREE/AMBULREE. AKA – “Amulree.” Scottish; Reel. G Mixolydian. Standard tuning. AAB
(Athole, Gow): AABB'. Carlin (The Gow
Collection), 1986; No. 390. Gow (Complete
Repository), Part 3, 1806; pg. 18 (appears as “Ambelree”). Kerr (Merry Melodies), vol. 2; No. 129, pg.
16. Stewart-Robertson
(The Athole Collection), 1884; pg.
177.
X:1
T:Ambulree
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
A|B2BG c2cA|B2BG A=FFA|B2BG c2cA|B/c/d e/f/g BGG:|
g|e2 ec d2 dB|A/B/c =f2 A=FFf|e2 ec d2dc|B/c/d e/f/g BGG=f|e2 ec d2dB|
A/_B/c
=f2 A=FFf|eeec dddc|B/c/d e/f/g BGG||
AMBROSE MOLONEY'S. AKA and see “McCabe’s Reel [1],”
“The Tailor’s Fancy,” Irish, Reel. G Major.
Standard tuning. AABB. The tune is named for Ballinakill, County Galway, flute
player Ambrose Moloney (whose brother Eddie, also a flutist and fiddler, played
for a time with the band Shaskeen). Editor Taylor thinks the tune "vaguely
reminiscent" of "The
Ravelled Hank of Yarn." “The New
Policeman [3]” is a related reel in the first part. Source for notated
version: Tommy Hunt (b. 1908, Lissananny, Ballymote, Co. Sligo, Ireland)
[Flaherty]; Jim McElhone (Co. Derry) [Mulvihill]. Bulmer & Sharpley (Music
from Ireland), vol. 4, No. 27. Flaherty (Trip to Sligo), 1990; pg.
128. Mulvihill (1st Collection), 1986; No. 87, pg. 23. Taylor
(Crossroads Dance), 1992; No. 5, pg. 6. Green
Linnett SIF3082, Paddy O’Brien & Seamus Connolly- “The Banks of the
Shannon.” Shaskeen ‑ "The Mouse Behind the Dresser."
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Ambrose Moloney's
R:reel
D:Paddy O'Brien, Seamus Connolly & Charlie Lennon
Z:id:hn-reel-359
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:G
~B3G ABGE|DG~G2 ~A3c|BG~G2 A2ef|(3gfe dg eA~A2|
(3Bcd BG A2GE|DG~G2 A3c|BG~G2 A2ef|(3gfe dc BG~G2:|
|:dg~g2 ageg|gedB GA (3Bcd|ea~a2 agef|g2~g2 ageg|
dg~g2 ageg|gedB GA (3Bcd|eaag ~e3f|gedc BG~G2:|
AMEDE BREAUX'S
TWO-STEP. Cajun, Two-Step. USA, Louisianna. A
Major. Standard tuning. AAB. The melody is from Amede Breaux,
"unburied" (as he said) by Varise Connor for Raymond Francois. Source
for notated version: fiddler Varise Connor (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 16.
AMELIA, THE. AKA – “Amelia’s Jig.” Canadian, Jig. Canada,
Cape Breton. B Flat Major. Standard tuning. AABB’. Composed by Cape Breton
fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 46. CAT-WMR004, Wendy MacIssac - “The ‘Reel’ Thing” (1994.
Appears as “Amelia’s Jig”).
AMELIA'S WALTZ [1]. AKA – “Amelia.” American, Waltz. USA, New Hampshire. D Major. Standard
tuning. AB (Barnes): AA'BB'. This waltz was composed in 1981 by New Hampshire
accordionist and composer Bob McQuillen (Peterboro, N.H.) for then
three-and-a-half year old Amelia Stiles, daughter of Deana Stiles, a flute
player friend who played with Dudley Laufman's Canterbury Country Dance
Orchestra. McCutcheon relates that "current legend" has it that
Amelia was named because of the fact that her family lived in a house built
around a shipping crate for Amelia Earhart's plane. Deana Stiles has been a
member of Dudley Laufman’s Canterbury Country Orchestra and currently plays
with McQuillen in the trio “Old New England.” The tune has proved quite popular
at New England dances, an instant classic. McQuillen apparently prefers the
title to be simply “Amelia.” Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 74 (appears as “Leah’s Waltz”, the
name of a dance by Fried de Metz Herman composed in 1989 to the tune). Johnson
(The Kitchen Musician's Occasional:
Waltz, Air and Misc.), vol.
1, 1991; pg. 12. Matthiesen (Waltz Book I),
1992; pg. 11. McQuillen, Bob's Notebook
#5, 1981. Alcazar FR 2204, Rodney and Randy Miller
‑ "New England Chestnuts, vol. 2" (1981). BM-91, Buddy
MacMaster – “Glencoe Hall.” Great
Meadow Music CD 2008, Bob McQuillen and Friends – “Old New England” (1996).
Great Meadow Music GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance”
(2004). Greenhays GR 710, John McCutcheon ‑ "Fine Times at Our
House" (1982. Learned from Rodney and Randy Miller). Smithsonian Folkways
SFW CD 40126, Bob McQuillen & Old New England – “Choose Your Partners!:
Contra Dance & Square Dance Music of New Hampshire” (1999). Whistlers Music,
New England Tradition ‑ "Farewell to the Hollow."
X:1
T:Amelia's Waltz
M:3/4
L:1/8
C:Bob McQuillen (Peterborough, N.H.,
1981)
S:Gregory Taylor, Ir‑trad,
april 1997
K:D
"D"D3E3D2|"D"D2F3E|"Bm"D2F2BF|"F#m"A3FA2|\
"G"B2G3B|"D"A2F3E|"Bm"D2B3^A|"G"B4A2|
"D"D3ED2|"D"D2F3E|"Bm"D2F2BF|"G"B3cD2|\
"G"d2e2f2|"A"e2c2A2
:|"A"A3fag|"D"f2a3b|
"D"a2f2df|"A"e3cb2|"A"A3cfe|"Bm"d3cd|\
"Bm"f3ed2|"F#m"c3BA2|"F#m"F3EF2|"G"G2B3G|
"D"F2A2d2|"A"e3ce2|"D"f2d2f2|"G"g3fg2|\
"D"a2f2e2|"A"a2e2c2|"D"d4
|>|
AMELIA’S WALTZ [2]. Scottish, Waltz. Composed by Scottish index author Charles Gore in
honor of his granddaughter.
X:1
T:Amelia's Waltz
M:3/4
L:1/8
C:Charlie Gore
K:D
AG|F2A2d2|f2a2f2|g2e2d2|c2A2 Bc|d4 AF|G2
A2B2|A2F2D2|E4 DE|
F2A2F2|G2B2G2|A2c2e2|d2A2dc|B2G2ed|c2A2fe|d4ec|d2
AGFE|
F4 Ad|f4af|g2e2 ed|c2 cB A2|d2
fedc|B2 g2f2|e2B2d2|c4AG|
F2 FGAF|G2 GABG|A4
Bc|d2A2dc|B4ed|c4fe|d2 dece|d3 def|
g3 eag|f2d2ef|e2A2ce|f2d2dc|B3c
dB|A2d2f2|f2e2d2|c4AG|
F2 FGAF|d2 defd|gf e2d2|c2A2Bc|d2 AG
F2|B2 GF E2|A2e2c2|d4
AMERICA [1]. AKA and see "Null Thar Nan Eileanan."
AMERICA [2]. Scottish. A country dance witnessed by Samuel Johnson and James Boswell at Armadale in Skye in 1773 during their tour of Scotland and the Isles. Bowell records: "We had...in the evening a great dance. We made out five country squares without sitting down; and then we performed with much alacrity a dance which I suppose the emigration from Skye has occasioned. They call it 'America'. A brisk reel is played. The first couple begin, and each sets to one--then each to anther--then as they set to the next couple, the second and third couples are setting; and so it goes on till all are set a-going, setting and wheeling round each other, while each is making the tour of all in the dance. It shows how emigration catches till all are set afloat..."
AMERICA [3]. English, Country Dance Tune (cut time). D Minor. Standard tuning. AAB. The melody was first published in Henry Playford’s Apollo’s Banquet, 8th edition (London, 1701) and in John Young’s Dancing Master, 14th edition (London, 1709) and in subsequent editions through the 18th (1728). Young was heir to the Playford publishing concern. “America” was also published by Walsh in his Compleat Country Dancing Master (London, 1718). It can also be found in the 1790 music manuscript copybook of London musician Thomas Hammersley. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 5. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 187.
X:1
T:America [3]
M:C|
L:1/8
N:End with first strain of the Minuet.
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Dmin
A2|d2D2F2A2|(B2 AG)A2c2|(fe)(dc) (BA)(GF)|F6:||c2|G2B2A2d2|A2 (A/=B/c) =B2 AG|
c3d e2 (dc)|c6 e2|fefd ede^c|d^cd=B ^cBcA|d3e f2 (ed)|d6||
M:3/4
L:1/8
“Minuet”
fe d2 f2|e2a2A2|d2e2f2|edef e2|fe d2f2|e2a2A2|d2 e2 ^c2|d6:||
ag
f2 a2|g2c’2c2|f2g2a2|gfga g2|ag f2 a2|g2 c’2c2|f2g2e2|f6||
AMERICA LIES FAR AWAY. Irish, Air (6/8 time, "tenderly"). G Mixolydia/A Minor.
Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; 397, pg. 69.
X:1
T:America Lies Far Away
M:6/8
L:1/8
R:Air
N:”Tenderly”
S:O’Neill – Music of Ireland
(1903)
Z:AK/Fiddler’s Companion
K:Amin
e/>d/ | BAA ABG | Ad2 e/^f/ g2 |
a>gf/d/ B2A | (G3 G2) e/>d/ | BAA ABG |
A d2 e/^f/ g2 | a/g/ed B2A | (A3 A2)
|| e/f/ | ged eaa | g2b a/g/ e2 |
“tr”(a/g/e)d B2A | (G3G2) (e/>d/)
| BAA ABG | A d2 e/^f/ g2 | a/g/ed B2A | (A3 A2) ||
AMERICAN, THE. Scottish, Reel. G Major. Standard tuning. AAB.
Kerr (Merry Melodies), vol. 4; No.
99, pg. 13.
X:1
T:American, The
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 99
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
(GE) | DGBG AGge | dBAc BGEG | DGBG
AGge | dBAB G2 :|
|| (ge) | (3def (gf) geeg | dBcB
(AG) (3ABc | dfgf gedg | bgag (ab) g2 |
gabg egdg | BdcA BGAG | EGDG BGAG |
dBAB G2 ||
AMERICAN AIR. AKA and see "Jim
Dandy From Caroline," "Chicken Foot and Sparrow
Grass." Kerr (Merry
Melodies), vol. 1; pg. 29.
AMERICAN BOOT DANCE. American, Scottish; Hornpipe. F Major (‘A’ part) & D Minor (‘B’
part). Standard tuning. AABB. Kerr (Merry
Melodies), vol. 3; No. 358, pg. 39.
X:1
T:American Boot Dance
M:C
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 3, No. 358
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:F
(c>B) | (3Acf (3agf e>d^c>d
| g>da>d b2a2 | (3gag (3fed c>^cd>B | A>c=B>d c2 (c>_B) |
(3Acf (3agf e>d^c>d |
g>da>d b2a2 | c>Bc>d e>fa>g | f2a2f2 :: A2 | A>^GA>f
e>d^c>B |
A>^GA>B A2 a2 | (3aba e2 (3aba
e2 | (3fgf (3efe d2A2 | A>^GA>f e>d^c>B |
A>^GA>B A2a2 | (3aba (3gag
(3fgf (3efe | d2f2d2 :|
AMERICAN DWARF. AKA and see "The Frost
is All Over [1]," "The
Frost is All Gone," “Loughrea Jig,”
"The Masque," "Owl Creek," “The Praties are Dug, and the Frost is all
Over,” "Praties in the Bag."
English, Jig. D Major. Standard. AABB. Kennedy (Fiddlers Tune Book), vol. 1, No. 91, pg. 45.
AMERICAN EAGLE [1], THE.
American Veteran Fifer, 1902.
AMERICAN EAGLE [2], THE.
American, March (2/4 time). D Major. Standard tuning. AABB. A different
tune than “American Eagle [1],” this tune appears in Daniel Steele’s New and
Complete Preceptor for the German Flute (Utica, N.Y., 1815). Mattson &
Walz (Old Fort Snelling…Fife), 1974; pg. 84.
AMERICAN GODDESS. AKA and see "The Musette."
AMERICAN HORNPIPE [1]. Old‑Time, Hornpipe or Breakdown. USA (Arkansas?). D Major.
Standard tuning. AABB. Source for notated version: James Bryan (Ala.)
[Phillips]. Christeson (Old Time Fiddlers
Repertory, vol. 1), 1973; No. 95, pg. 67. Phillips (Traditional American
Fiddle Tunes), vol. 2, 1995; pg. 179. Cole (1000
Fiddle Tunes), 1940; pg. 114. Ryan’s
Mammoth Collection, 1883; pg. 152. Rounder 0215,
James Bryan ‑ "The First of May.”
X:1
T:American Hornpipe [1]
D:First of May by James Bryan
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
FG|ABAG F2AF|G2Bc dAFD|GABA
GFED|CDEF E2FG|ABAG F2AF|G2Bc dAFA|
dfeg (3fgf ec|dz dc d2::(3ABc|d2 d2
fedf|edef dAFA|dcde fgaf|
edef e2 (3ABc|dcde (3fgf df|edef
dAFA|(3B=CB GB Age^c|d2 d2 d2:|]
AMERICAN HORNPIPE [2]. American(?), Hornpipe. A Major. Standard tuning. AA'BB. Craig (The Empire Collection of Hornpipes), c.
1890’s; pg. 2. Kerr (Merry Melodies),
vol. 2; No. 345, pg. 38.
X:1
T:American Hornpipe [2]
M:C
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 2, No. 345
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
A2 (3ABc B2 (3Bcd | e>cd>B
c>A (3GFE | A2 (3ABc B2 (3Bcd |1 e>c (3dcB A2E2 :|2
(3efe (3dcB A2A,2 |: a2 (3fga g2e |
f2 g>a b>g e2 | a2 (fga g2e2 | f>ef>g a2 (3efg |
a2 (fga g2e2 | f>fg>a b>g
(3efg | a2 (3cde f2 (3Bcd | (3efe (3dcB A2A,2 :|
AMERICAN RIFLE TEAM. American, Hornpipe. D Major. Standard tuning. AABB. Composed by Edwin
Christie—not the blackface minstrel of 19th century Christie’s
Minstrel’s fame, but rather a “respected if not particularly successful
composer who probably worked in the Boston area.” (http://memory.loc.gov/ammem/smhtml/audiodir.html@7102334). Don Meade says American rifle
teams won victories against an Irish team in 1874 and 1875, and 1876. “The
American Rifle Team” honors the American rifle team led by Major Leech that won
an international match in 1874 held at the Creedmore Range, Long Island, finds
Don Meade, who notes that a number of melodies were inspired by the feat. As
the Americans won by only the slimmest of margins, a return match was held the
following year at Dolly Mount, Ireland (the team sailed on the Inman Line’s
City of Chester). Again the Americans were victors, and a final match in 1876
was held between teams of Ireland, Scotland, Canada, and Australia, for a final
American victory. The Wimbledon Cup, a silver trophy was presented to the 1875
winners at Wimbledon by Princess Louise on behalf of the riflemen of Great
Britain, has been ever since been the annual honor for the long range shooting
match. The country was ecstatic, and with a surge of national pride treated the
members of the team as conquering heroes upon their return. The second part of the tune begins in third position
on the violin. Cole (1000 Fiddle Tunes),
1940; pg. 102. Ryan’s Mammoth
Collection, 1883; pg. 137. Flying Fish FF 70572, Frank Ferrel – “Yankee Dreams: Wicked
Good Fiddling from New England” (1991).
X:1
T:American Rifle Team
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
A | d/e/d/B/ A/D/F/A/ | d/f/e/c/
de/f/| g/b/a/g/ f/a/g/f/ | e/a/f/d/ e/d/B/c/ | d/e/d/B/ A/D/F/A/ |
d/f/e/c/ de/f/ | g/b/a/g/ f/a/g/f/
|1 e/A/B/c/ d :|2 e/A/B/c/ d2 |: d’a/f/d’ c’/a/e/c’/ |
b/g/d/b/ a/f/d/a/ | g/e/B/g/
f/d/A/f/ | e/A/c/e/ g/a/c’/e’/ | d’/a/f/d’/ c’/a/e/c’/ |
b/g/d/b/ a/f/d/a/ | g/e/B/g/
f/d/A/f/ |1 e/a/c/e/ d2 :|2 e/a/c/e/ d ||
AMERICAN STAR. AKA and see "Johnny McGill,"
"Come Under My Plaidie."
AMHAINN MHOR, AN. AKA and see "The Owenmore."
AMHRÁN DOCHAIS (Song of Hope). Irish, Air (4/4 time). G Major. Standard.
ABB’. Composed by Osborn Ó bAimbeirgin (1872-1950) in the early half of the
20th century, it describes the desire for political and cultural freedom in
Ireland. Cranitch (Irish Fiddle Book),
1996; pg. 41. Columbia 35612, "The
Chieftains" (1978. Appears as part of the medley "Dochas"). RCA
09026-60916-2, The Chieftains - "An Irish Evening" (1991).
AMHRÁN NA bhFIANN (The Soldier’s Song). Irish, Air (2/4 time). D Major. Standard. AB.
The Irish national anthem, written by Peadar Kearney c. 1907.
***
Seo dhibh a cháirde duan Óglaigh, Cathréimeach briomhar ceolmhar, Ár dtinte cnámh go buacach táid, 'S an spéir go min réaltogach Is fonnmhar faobhrach sinn chun gleo 'S go tiúnmhar glé roimh thíocht do'n ló Fé chiúnas chaomh na hoiche ar seol: Seo libh canaídh Amhrán na bhFiann. *** Curfá: Sinne Fianna Fáil A tá fé gheall ag Éirinn, buion dár slua Thar toinn do ráinig chugainn, Fé mhóid bheith saor. Sean tír ár sinsir feasta Ní fhagfar fé'n tiorán ná fé'n tráil Anocht a théam sa bhearna bhaoil, Le gean ar Ghaeil chun báis nó saoil Le guna screach fé lámhach na bpiléar Seo libh canaídh Amhrán na bhFiann. *** Cois bánta réidhe, ar árdaibh sléibhe, Ba bhuachach ár sinsir romhainn, Ag lámhach go tréan fé'n sár-bhrat séin Tá thuas sa ghaoith go seolta Ba dhúchas riamh d'ár gcine cháidh Gan iompáil siar ó imirt áir, 'S ag siúl mar iad i gcoinne námhad Seo libh, canaídh Amhrán na bhFiann. *** A bhuíon nách fann d'fhuil Ghaeil is Gall, Sin breacadh lae na saoirse, Ta scéimhle 's scanradh i gcroíthe namhad, Roimh ranna laochra ár dtire. Ár dtinte is tréith gan spréach anois, Sin luisne ghlé san spéir anoir, 'S an bíobha i raon na bpiléar agaibh: Seo libh, canaídh Amhrán na bhFiann. |
We'll sing a song, a soldier's song, With cheering rousing chorus, As round our blazing fires we
throng, The starry heavens o'er us; Impatient for the coming fight, And as we wait the morning's
light, Here in the silence of the night, We'll chant a soldier's song. *** Chorus: Soldiers are we whose lives are pledged to
Ireland; Some have come from a land beyond the wave. Sworn to be free, No more our ancient sire land Shall shelter the despot or the
slave. Tonight we man the gap of danger In Erin's cause, come woe or weal 'Mid cannons' roar and rifles
peal, We'll chant a soldier's song. *** In valley green, on towering crag, Our fathers fought before us, And conquered 'neath the same old
flag That's proudly floating o'er us. We're children of a fighting race, That never yet has known disgrace, And as we march, the foe to face, We'll chant a soldier's song. *** Sons of the Gael! Men of the Pale! The long watched day is breaking; The serried ranks of Inisfail Shall set the Tyrant quaking. Our camp fires now are burning
low; See in the east a silv'ry glow, Out yonder waits the Saxon foe, So chant a soldier's song. |
***
Tubridy (Irish Traditional Music,
vol. 1), 1999; pgs. 43-44.
AMHRÁN NA LEABHAR (The Song of the Books). AKA and see “Cuan Bhéil Inse,” “Valentia Harbor,” "Valentia Lament." Irish, Air (4/4
time). E Dorian. Standard. One part (Cranitch): AAB (Ó Canainn). The song to
this air was written by Tomás Rua Ó Súilleabháin (1785-1848), a poet and
musician from Iveragh (Uibh Ráitheach) or Derrynane, County Kerry. Ó
Suilleabhain had been acting-schoolmaster at Caherdaniel and was forced to
transfer to Portmagee when another schoolmaster was appointed to the permanent
position. As he was leaving he placed his treasured and huge (for the times!)
library of leather-bound books for transport on a boat going from Derrynane to
Goleen (Goilin, Valentia Harbor), while he himself travelled by road. The boat
struck a rock and was lost, tragically along with the priceless collection of
books, prompting Ó Súlleabháin to seek solace in song. The air is known in
modern times as a slow tempo piper's tune. Tomas Ó Canainn’s translation
begins:
***
By Valentia harbour I happened once
Near sweet Goleen Dairbhre
Where ships set sail for the ocean deep.
Soon all had the sorrowful story then
Of the sturdy craft, lost at Owen Finn,
Sad was
my heart for the ship that failed;
Better
this land had it survived the gale.
***
The
melody is very popular as a slow air with pipers, though is usually known by
the titles "Valentia Lament" or "Cuan Bhéal Inse." Cranitch
(The Irish Fiddle Book), 1996; pg. 102. Ó Canainn (Traditional Slow Airs), 1995; No. 31,
pg. 31 (appears as “Cuan Bhéal Inse”). GN1, Joe Thoma ‑
"Up the Track: Traditional Music from Kenmare” (appears as “Valentia
Lament”). Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002).
Sceilig Records SRCD 002 Tim Dennehy - "Farewell to Miltown Malbay."
X:1
T:Amhrán Na Leabhar (The Song of the
Books)
M:4/4
L:1/8
Z:transcribed by Paul de Grae
K:Edor
B2|E2 EF G2 A2|Be (e4 e)f|e3 d B3
A|Bc d4 e2|
E3 F G3 F|GA B3 B2 A|G2 (E4 E)D|(E4
E)z B2|
E3 F G2 A2|Be (4 4e)e3 d B3 A|Bc (d4
d)z |
E2 EF G3 F|GA B3 B2 A|G2 F E4 D|(E4
E)z e2|
e2 ed e3 d|ef g4 f2|e3 d B3 A|(B4
B)z Bc|
d2 dc d3 c|dd e4 ed|B3 A G3 A|(B4 B)z B2|
E2 EF G2 A2|Be e4 ef|e3 d B3 A|Bc
(d4 d)e|
E2 EF G3 F|GA B4 BA|G2 F E4 D|E6 ||
AMHRÁN NA TAE (Song of the Tea). AKA and see “Tea Jig,”
“Coolea Jig,” “Cuil Aodha Jig.” Irish, Jig. Ireland, West
Cork. The jig is from Cul Aodha, West Cork. Green
Linnet SIF‑1083, Andy M. Stewart & Manus Lunny ‑ "Dublin
Lady" (1987. Played be Sean Og Potts on Uilleann Pipes).
AMHRÁN NA TRA BAINE. Irish, Air (3/4 time). D Major. Standard tuning. One part. Ó Canainn (Traditional
Slow Airs of Ireland), 1995; pg. 18.
AMONG THE HEATHER. Scottish, Strathspey. A Major. Standard tuning. AABB. Does not appear
to be "O'er the Moor Amang the Heather." Kerr (Merry Melodies),
vol. 3; No. 107, pg. 13.
X:1
T:Among the Heather
M:C
L:1/8
R:Strathspey
B:Kerr – Merry Melodies, vol. 3, No. 107
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
A,>B,C>D
E<C C>E|F>GA>F E<A A<c|A,>B,C>D E<C
C>c|d>Bc>A G<B B<c:|
|:A>ce>a
f<a e<a|f>ae>c d/c/B/A/ B<c|A>ce>a f<a
e<a|d>Bc>A G<B B<c:|
AMONG THE HOUGHS OF CROMDALE. AKA and see "Strathearn
Strathspey." Scottish (originally), Strathspey; New England, Polka. A
Dorian. Standard tuning. AABB. Miller & Perron (101 Polkas), 1978;
No. 12.
AMONG THE MEN COQUETS
WE FIND. AKA and see "Would fate to me Belinda give."
English, Air. The air appears under this title in John Gay's Beggar's Opera
(1728).
AMOS JOHNSON RAG. Old-Time. From the playing of Sam McGee.
AMOURS DU PRINTEMS, LES. French, Country Dance (2/4 time). G Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters. He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 42.
X:1
T:Amours du Printems, Les
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 42
Z:AK/Fiddler’s Companion
K:G
G2 GB | {B}A3c | Bgfa | gdBG | G3B | {B}A3c | Bg {b}ag/f/ | g2G2 :|
|: {c}B3^c | dAFD | Bd ^ce | {e}d2A2 | {c}B3^c | dAFD | Bd {f}ed/^c/ |
{e}d2D2
| =cf/g/ {b}a2 | BggB | {B}A2 F2 | g3d | cf/g/ {b}a2 | BgBA | G2G,2 :|
AMPHITRYON, OR THE TWO SOSIAS. AKA
and see “Enfield Common.”
AMSBAUGH'S SCHOTTISCHE. AKA and see "Meadow Schottishe." American,
Schottische. USA, Pa. D Major ('A' part) & G Major ('B' part). Standard
tuning. AB. "Meadow Schottishe" is a variant of this tune. Source for
notated version: Wilbur Neal (Pa.), 1948 [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 425, pg.
405.
AMSBURY. English, Jig. D Major. Standard
tuning. AABB’. Published by John Walsh in both his New Country Dancing Master, 3rd Book (London 1728) and
his Third Book of the Compleat Dancing
Master (London, 1735). Dance instructions were also published by Walsh in
his Twenty Four Country Dances for the
Year 1736 (London). Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 3.
X:1
T:Amsbury
M:6/8
L:1/8
S:Walsh – 3rd Book of the Compleat Dancing Master (1735)
K:D
F2A A2d|dcd B2A|G2F E2e|edc B2e|edc
B2e|edc dcB|cdB A3:|
|:ABc d2=c|=cBc B2B|Bcd e2d|dcd
A3|ABc d2G|1 FGE D2A:|2 FGE D3||
AMUIG AR AN FAIRGE. AKA and see "Out on the
Ocean."
AMULREE. Scottish,
Reel. G Major. Standard tuning. AB. Amulree is a scenic town in Dunkeld,
Perthshire, near the Sma’ Glen, honoured by Sir Walter Scott in the lines:
***
In this still place,
remote from men,
Sleeps Ossian in the
narrow Glen.
***
Surenne (Dance
Music of Scotland), 1852; pg. 38.
X:1
T:Amulree
M:C
L:1/8
R:Reel
S:Surenne – Dance
Music of Scotland, pg. 38 (1852)
Z:AK/Fiddler’s
Companion
K:G
A | B2 BG c2 cA | B2 BG AFFA | B2 BG c2 cA |
(B/4/c2<d) (e/4f/2<g) BGGA |
B2 BG c2 cA | B2 BG AFFA | B2 BG c2 cA | (B/4/c2<d)
(e/4f/2<g) BGG ||
=f | e2 ec d2 dB | (A/4B/2<c) =f2 A^FFf | e2 ec d2
dc | (B/4c/2<d) (e/4f/2<g) BGG=f |
e2 ec d2 dB | (A/4B/2<c) =f2 A^FF= | eeec dddc |
(B/4c/2<d) (e/4f/2<g) BGG ||
_______________________________
HOME ALPHABETICAL
FILES REFERENCES
© 1996-2010 Andrew Kuntz
Please help maintain the viability of the Fiddler’s
Companion on the Web by respecting the copyright.
For
further information see Copyright and
Permissions Policy or contact the author.
[COMMENT1]This was
Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.