The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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

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

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation, 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

T:All Alive [2]

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.

***

All the gals is gone away

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

T:All the flowers of the broom

M:3/2

L:1/8

R:Air

S:Chappell – Popular Music of the Olden Times (1859)

Z:AK/Fiddler’s Companion

K:G

A2B2c2B2A2G2 | F6 E2 D4 | B2c2d2e2d2c2 | B6 A2 G4 | A2B2c2B2A2G2 |

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.

                       

ALLBENA.  See “Albina.”

 

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

G | c2c cBc | d2B G2G | A2A BAB | cGF EDC | c2c cBc | d2B G2G |

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).

***

There lived a Man in Baleno, crazy

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

R:Hornpipe

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

Z:Transcribed into ABC format by Larry Warren with permission

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

To be the master in Portmagee

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 ||

 

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