The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
AN... The Gaelic word for "The...". See listing under the second
word of the title.
AN ALARCH. Breton. Archie Fisher adapted the tune for his version of the song “The
Twa Corbies,” although Jack Campin maintains it was a pairing first invented by
Morris Blythman.
AN DRO. Breton, Dance Tune.
X:1
T:An dro
M:4/4
L:1/4
Q:1/4=80
S:Jean-Michel Veillon
R:An dro
K:G
B B/c/ B B/G/ | A A/G/ F/G/F/E/ | B
B/c/ BB/G/|1 AG/A/ FE :|2 AG/A/
F>G|
|:E F/G/ A A/B/| A G/A/ B/c/B/G/ | E
F/G/ A B/A/ | G E/A/ A/G/F/G/|
E F/G/ A A/B/ | A G/A/ B/c/B/G/ | E
F/G/ A B/A/ | G/E/F/D/ EE:|
AN E DO TOIL E? AKA and see " Are You Willing."
AN ECHO FROM LEINSTER. Irish, Hornpipe. D Major/Mixolydian (O’Neill): D Major (Cranford).
Standard tuning. AABB. Source for notated version: Winston Fitzgerald (Cape
Breton), who according to Paul Cranford may have rearranged the tune from
O’Neill or from a Sean Ryan 78 RPM recording [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 29, pg.
11. O'Neill (Music of Ireland: 1850
Melodiess), 1903/1979; No. 1672, pg. 311.
AN HONOURABLE PEACE. Scottish, Medley. E Minor. Standard tuning. AAB. Composed by Donald Dow. Carlin (The Gow Collection), 1986; No. 394.
AN IRISH LILT. Irish, Double Jig. D Major. Standard tuning. AABB. O'Neill (1915 ed.), 1987;
No. 184, pg. 101.
AN IRISH LULLABY. Irish, Air (2/4 time). G Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 346, pg. 60.
X:1
T:An Irish Lullaby
M:2/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 346
Z:AK/Fiddler’s Companion
K:G
G|GA Bc/d/|ec dB|cd B2|cd B2|GA
Bc/d/|ed/c/ dB|GB A2|G{c}B A:|
|:de/f/ gf/g/|ag ed|BG A2|BG/B/
A2|de/f/ gf/g/|ag ed|DE G2|DE/F/ G:|
AN OLD MAN HE COURTED
ME (WILL YOU LOVE, CAN YOU LOVE; AN OLD MAN HE COURTED ME, TAKE ME AS I AM) [1]. Irish, Air (6/8 time). E Flat Major. Standard tuning. AB.
Stanford/Petrie (Complete Collection),
1902; No. 527, pg. 133.
X:1
T:An old man he courted me, will you
love, can you love;
T:An old man he courted me, take me
as I am. [1]
N:”Moderato”
M:6/8
L:1/8
S:Stanford/Petrie (1905), No. 527
Z:AK/Fiddler’s Companion
K:Eb
B, | B, EE FEE | B (c/B/)(A/F/) B
(A/F/)(E/D/) | B,EE FEE | E>FG/A/ B2 ||
G/A/ | Bec _dBA | GAF (ED).B, | B,AG
AB (3A/F/D/ | FEE E2 ||
AN OLD MAN HE COURTED
ME [2]. Irish, Air (3/4 time). F
Major/Mixolydian. Standard tuning. One part. Source for notated version: “From
(the Irish collector) Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 528, pg.
133.
X:1
T:An old man he courted me [2]
M:3/4
L:1/8
N:”Andante”
S:Stanford/Petrie (1905), No. 528
Z:AK/Fiddler’s Companion
K:F
F>G | A2A2A2 | B2G2G2 | F4 F2 |
B2G2 EF/G/ |
AN OLD MAN HE COURTED
ME [3]. Irish, Air (6/8 time). G Major.
Standard tuning. AB. “The setting I gave to Dr. Petrie long ago is in
Staford/Petrie with my name: but I think the following version better:
***
An old man he courted me fond and lovingly,
An old man he courted me—believe me if you can,
An old man he courted me—to my sorrow he married me,
So, maids, never while you live wed an old man.
***
Joyce (Old Irish Folk Music and Songs), 1909; No. 228, pg. 111.
X:1
T:An old man he courted me
M:6/8
L:1/8
R:Air
N:”Spirited”
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:G
GF|DGG AGG|de/d/c/A/ cd/c/A/F/|DGG
AGG|G/F/G/A/B/c/ d2||B/c/|
dge =fdc|BcA GFD|DdB cd (3c/A/F/|AGG
G2||
AN OLD MAN IS A BED
FULL OF BONES. English, Country Dance (Longways
for as man as will). The melody is quite old and was considered part of the traditional
repertoire in John Playford's day (Pulver, 1923). Playford, English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg.
44. Familiar Records FAM 47, Pyewackett ‑
"7 to Midnight" (1985).
AN OLD WOMAN CLOTHED IN GRAY. AKA and see "Unconstant Roger," "Let Oliver now be forgotten," "How unhappy is Phillis in love." English, Air (6/8 time). G Minor. Standard. One Part. According to Chappell (1859) the air appears in a manuscript of 1662, and also has appeared in Salter's Genteel Companion for the Recorder (1683), Lady Catherine Boyd's MS. Lyra Viol Book, Henry Carey's Musical Century (vol. ii), John Gay's Beggar's Opera (1728, where it appears as "Through all the employments of life"), Humours of the Court (1732), and Walsh's Dancing Master, among other publications (see Chappell {1859}). A popular tune, state Chappell (1859) and Pulver (1923), to which the number of appearances in period publications attests; it was used for numerous political ballads, especially around the turbulent year 1680, and appears under different titles in many ballad operas of the early 18th century. The original song begins:
***
An old woman clothed in gray
Whose daughter was charming and young,
But chanced to be once led astray
By Roger's false flattering tongue.
***
It appears in Playford's Dancing Master under the title "Unconstant Roger" after the Roger in the song. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 120‑121. Howe (1000 Jigs and Reels), c. 1867; pg. 152. Raven (English Country Dance Tunes), 1984; pg. 50.
X:1
T:An Old Woman Clothed in Gray
L:1/8
M:6/8
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:G Minor
B3|ABG ^F=EF|G3 B3|ABG
^F=EF|G3B3|ABG ^F=EF|G3B3|ABG ^F=EF|(G3G2)A/B/|
cBA cBA|(c3c2)B/A/|Bcd edc|(d3d2)
A/B/|cBA cBA|c3B3|ABG ^F=EF|G3||
AN OLD WOMAN POOR AND
BLIND. English, Air (6/8 time). C Minor.
Standard tuning. AB. Cappell has discovered the earliest printing of the tune
to be by W. Thackeray in the reign of Charles II, and later by Playford in
"Pills to purge Melacholy" (all editions), "The Village
Opera" (1729), and "The Fashionable Lady" (1730). Numerous other
ballads were written to the air, including the titles "The Cries of
London," "The Crafty Cracks of East Smithfield," "The
Toothless Bride," "'The Deptford Plumb Cake' or 'The Four Merry
Wives,'" and "Here's a Health to great Eugene." Chappell (Popular Music of the Olden Time), vol.
2, 1859; pg. 82.
X:1
T:An Old Woman Poor and Blind
M:6/8
L:1/8
R:Air
S:Chappell – Popular Music of the Olden Times
(1859)
Z:AK/Fiddler’s Companion
K:C Minor
G|c2c =B2B|c2c G2G|AGF G2G|C2z
z2G|c2c =B2B|c2c G2G|AGF G2G|(C3 C2)||
D|E2E E2E|B2B B2=B|c2d e2c|(=B3 B2)
c/d/|e2e d2d|c2c =B2G|AGF G2G|(c3 c2)||
AN OSSIANIC AIR. AKA ‑ "An Air to Which Ossian is Recited," "Fonn
gnathaichte do bhriathraibh Oisein." Scottish, Slow Air (6/8 time). A
Major. Standard tuning. AAB. The tune "is also a favourite Ossianic
measure, to which the editor has heard a great many fragments of the original
recited. He had, however, previously acquired the air, as handed form Alexander
Fraser of Leadclune, patronimically Alaster Mac Iluistein, who lived during the
last century, and was the progenitor of the present Alexander Fraser, Esq. of
Lincoln's Inn &c. He was a sterling reciter of Ossian, and a bard, whose
genius, sentiments, and principles (as appears from a beautiful poem to this
air, and many others), would have done honour to a more advanced stage of
society" (Fraser). Fraser, 1874; No. 28, pg. 10.
AN
THE KIRK WAD LET ME BE.
AKA and see “Bremner and the kirk would let me be,” “Blithesome Bridal,” “Come fy, let's a' to the
bridal,” “Come Let's A’ to the Bridal.” “Come to the Bridal,” “I’m the Boy for Bewitching
Them,” “Let us waa to the
wedding.” “The Jolly Pedler’s [4],”
“Silly Old Man [2].” Scottish, Air
(3/4 time). G Major. Standard tuning. AABBCCDDEEFF. McGibbon (Scots Tunes, Book 1), c. 1762; pgs.
18-19.
X:1
T:An the
Kirk wad let me be
M:3/4
L:1/8
R:Air
N:”Slow”
S:McGibbon
– Scots Tunes, Book 1 (c. 1762)
Z:AK/Fiddler’s Companion
K:G
G3AG2 |
B2d2e2 | {e}d2 (cB)(AG) | “tr”A4G2 | A2B2d2 | “tr”e4 (d/e/g) | G2B2d2 |
g2f2e2 | d2
(cB)(AG) | A2B2d2 | B2 (cB)(AG) | “tr”E4 D2 :: g2d2g2 | g3 aga |
“tr”f3ed2 |
(e2d2)B2 | g3 abc’ | “tr”{b}a4 g2 | g2d2g2 | b2a2g2 | “tr”f3ed2 | e2f2g2 |
{e}d2
(cB)(AG) | “tr”{B}A4G2 :: d6 | (ed)(cB)g2 | {e}d2 (cB)(AG) | “tr”{B}A4G2 |
“tr”a4 (gf)
| e2 “tr”(f2{e/f/}g2) | G2B2d2 | g2 (ag)”tr”(fe) | d2 (cB)(AG) | A2B2 (A/B/d) |
B2 (cB)(AG)
| “tr”E4D2 :: g>a b2g2 | d2g2b2 | {b}a2 (gf)(ed) | (e2d2)b2 | g>fg>ab
>c’ |
“tr”{b}a4
g2 | b 2 gabg | a2 fgaf | (gf)(ef)(ge) | (dcB)(cd)B | g2d2 B>c | “tr”{B}A4G2
:|
M:9/8
L:1/8
N:”Brisk”
G>AG Bde
dBG | “tr”A2G ABd “tr”e2g | GAB gfe dBG | ABd cAG “tr”E2D :|
|: gdg
g>ag “tr”fed | edB gab “tr”a2g | g>ag bag “tr”f>ed | (e/f/g)e dBG
“tr”A2G :|
AN THOU WERE MY AIN
THING. AKA and see "Gin thou wert mine awn thing,"
"A Scotch Song." Scottish, Air. A
Major. Standard tuning. AABBCCDDEE. The air appears under this title in "Orpheus
Caledonius" (1725‑6), and in John Gay's Beggar's Opera (1728) under the title "Oh what pain it is to
part." Thomson, in his first edition of Orpheus Caledonius, credits the tune to David Rizzio (who was Queen
Mary's secretary and a lutenist and singer of repute), but deletes this credit
in his second edition in 1733. Whether or not Rizzio wrote the tune, collected
it from popular tradition, or had nothing to do with it is conjecture. McGibbon
(Scots Tunes, book III), 1762; pg.
83.
X:1
T:Ann thou were my ain thing
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book III, pg. 83
(1762)
Z:AK/Fiddler’s Companion
K:A
F2 | E3F (A>B)(c>d) | “tr”B3A
F2cB | A2E3A2c>d | (e>d)”tr”(c>B) A2 ({c/d/}e2) | “tr”E3F (A>Bc)A |
“tr”B3A F2(fa) | ({f}e3)c
(dc)”tr”(B>A) | A4 ({A/B/}c2) :: (c>d) | ({c/d/}e2)E2E2(c>d) |
“tr”B3AF2EF |
A2e2”tr”e3f | e>fed
({d}c2”tr”(BA) | d>efd c>dec | (dc)”tr”(BA) F2 ({f/g/}a2) | ({f}e3c
(dc)”tr”(B>A) |
A4 ({A/B/}c2) :: F2 | (AFE)F (AGAB)
(ABcA) | B>c (Bc)(BA) F2 (cB) | A(FEF) (AB)(cd) |
e>d”tr”c>B A(c/d/ e/c/d/e/) |
(AFEF) (A/G/A/B/) (A/B/c/A/) | (B/A/B/c/) (B/c/”tr”B/A/) F2 (fg/a/) |
({f}e3)c (dc)”tr”(B>A) | A4
({A/B/}c2) :: c>d | (ecA)d (c/B/c/d/) ec | (B/A/B/c/) (B/c/”tr”B/A/) F2 (EF)
|
A(A/B/ c/B/c/d/) e3f | e>f
(e/f/)(e/d/) ce (cB/A/) | d/c/d/e/ f)d (c/B/c/d/ e)c | dc B/(c/”tr”B/A/) F(f/g/
a/f/g/a/) |
({f}e3)c (dc)”tr”(B>A) | A4
({A/B/}c2) :|
AN TRÍ IS A RIAN. Irish, Hornpipe. G Major.
Standard. AA’BB’. Source for notated version: County Kerry fiddler Denis Murphy
[Breathnach]. Breathnach (CRÉ V),
1999; No. 217, pg. 105. Capelhouse CD 896012, “James
Kelly.”
AN UGLY CUSTOMER. Irish, Reel. A Major. Standard. AB. Source for notated version: Kissane
[O’Neill]. O'Neill (Music of Ireland:
1850 Melodies), 1979; No. 1373, pg. 256. O'Neill (Krassen), 1976; pg. 127.
X:1
T:Ugly Customer, An
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland
(1903), No. 1373
Z:AK/Fiddler’s Companion
K:A
EAcA eAcA | EAce dB B2 | EAcA eAcA |
afed cABG | EAcA eAcA |
EAce dBBg | {b}agae faec | dBed cA A
|| e | {b}agae fefg | afec dBBe |
{b}agae faec | dBed cAAe | {b}agae
faec | {e}dBcA BF F2 | EFED EFAB | cdBd cA A2 ||
AN YE HAE BEEN WHERE I HA’E BEEN (YOU
WOULD NOT BEEN SO CANTY). AKA and see "If
You Had Been Where I Have Been." Scottish, Country Dance Tune; New
England, Polka. D Major. Standard. AABB. Aird
(Selection), vol. II, 1782; No. 57,
pg. 21. McGibbon (Scots Tunes, book II),
c. 1746; pg. 43. Miller & Perron (101
Polkas), 1978; No. 37.
X:1
T:An Ye Hae
Been Where I Ha’e Been
M:2/4
L:1/8
S:Aird,
vol. II (1782)
Z:AK/Fiddler’s Companion
K:D
(d/e/) | f2 (g/f/e/d/) | g2 (a/g/f/e/) | fe/f/ g/f/e/d/ |
fa z d/e/ | f2 {a}gf/e/ | g2 {a}gf/e/ | f/g/a e>d | B d2 :|
|: f/g/ | aA AB/=c/ | BA/B/ G(f/g/) | aA aA | fa z (f/g/ |
a)AAB/c/ | (d/c/)(B/A/) Gg | (fg/a/) e>d | B d2 :|
X:2
T:An ye had been where I have been you would not been so canty
M:C|
L:1/8
R:Air
N:”Lively”
S:McGibbon – Scots Tunes, book II, pg. 43 (c. 1746)
Z:AK/Fiddler’s Companion
K:D
(d/e/) | f2 ({g}f)(e/d/) g2
({a}g)(f/e/) | f(e/f/) (g/f/)(e/d/) fa z(d/e/) | f2 ({g}f)(e/d/) g2 ({a}g)f/e/
|
(f/g/a) “tr”e>d Bd2 :: (f/g/) |
aA A({A/B/}=c) BA/B/ G(f/g/ | a)AaA fa z(f/g/ | a)AA(B/=c) (d/c/(B/A) Gg |
(f/g/a) “tr”e>d Bd2 :: d/e/ |
(f/e/f/)g/ (f/e/f/)d/ (g/f/g/)a/ (g/f/g/)e/ | “tr”(f/e/f/)g/ (f/e/f/)d/ fa
z(d/e/) |
f(g/f/) (g/f/)(e/d/) g(a/g/)
(a/g/)(f/e/) | (f/g/a/)f/ “tr”e>d Bd2 :: f/g/ | aA A(B/=c/) (B/=c/)(B/A/)
G/(g/f/g/) |
(a/g/f/e/) (d/c/d/)e/ fa z(f/g/) |
({f/g/}a)A A/(=c/B/c/) (d/=c/)(B/A/) G/(g/f/e/) | (f/g/a/)d/ “tr”e>d Bd2 :|
ANACH CUAIN [1]. AKA – “Eanach Dhúin.” Irish, Double Jig. E Dorian. Standard tuning.
AAB. Jackie Small, in his notes to the tune in CRÉ V, says the tune was originally a song air, arranged as a dance
tune. Junior Crehan has one such reworking, which he called “The Sheep in the Boat.” The song was
composed by the poet Raiftearaí (Blind Rafferty), although Small thinks the air
probably predated it. It tells of a tragedy in which nine people were drowned
in the Corrib river, several miles from Galway City, in the year 1828. They had
departed from Eanach Dhúin, on the eastern shore of Lough Corrib. Sources for
notated versions: flute player Colm O'Donnell (b. 1962, Aclare, County Sligo,
Ireland) [Flaherty]; fiddler Martin “Junior” Crehan (Mullagh, County Clare)
[Breathnach] . Breathnach (CRÉ V),
1999; No. 49, pgs. 24-25. Flaherty (Trip
to Sligo), 1990; pg. 14.
ANACH CUAN [2]. Irish, Slow Air (4/4 time). A Dorian. Standard tuning. One part. Words
to the air were written by Blind Rafferty, the poet, born in 1784, and tell of
a boating tragedy. Ó Canainn (Traditional
Slow Airs of Ireland), 1995; No. 40, pg. 37. Paul
Dooley - “Rip the Calico.”
ANACH CUAIN [3]. Irish, Slow Air (3/4 time). E Dorian. Standard tuning.
X:1
T:Anach Cuain
R:Air
M:3/4
L:1/8
Q:70
Z:transcribed by Paul Keating
K:Edor
E EF|"Em"G2 "Bm"FE3/2
(3F/2E/2D/2|"Bm"d2 "Em"ef ed|
"Bm"B2 "D"AF
"Em"EF|"Bm"D3 D "Em"EF|!
"Em"G2 "Bm"FE
F(3F/2E/2D/2|"Bm"d2 "Em"e3/2(3f/2g/2f/2 e"Bm"d|
"Bm"{d}B2
"D"AF3/2 "Em"(3E/2F/2D/2 E|"Em"E3 B Be|!
"Em"e2 "Bm"fe
Bc|"Bm"d2 "Em"ef ed|
"Bm"B2 "D"(3AGF
"Em"EF|"Bm"D3 E "Em"EF|!
"Em"G2 "D"(3AGF
"Em"E3/2 (3F/2E/2D/2|"Bm"d2 "Em"e3/2 (3f/2g/2f/2
e"Bm"d|
"Bm"B2 "D"AF3/2
"Em"(3E/2F/2D/2 E|E3 ||!
ANACREON. English, Air (6/4 time). D Major. Standard tuning. One part. The model tune for the United States national anthem, “The Star Spangled Banner.” It was named after a popular gentleman’s club in London, the Anacreontic Society, itself named for Anacreon, a lyric poet who lived in Greece in the 5th century B.C., “a convivial bard.” Like many gentleman’s clubs of the era, it was dedicated to “wit, harmony, and the god of wine.” The lyrics to the song (the first stanza of which appears below) were written by a past president of the society, Ralph Tomlinson, although the tune appears to have been cobbled together by several members of the club. The music was probably polished by member John Stafford Smith (1750-1836), a court musician.
***
To Anacreon in Heaven, where he fat in full glee,
A few fons of Harmony fent a petition,
That He their Infpirer and Patron would be;
When this anfwer arrived from the Jolly Old Grecian
"Voice, Fiddle, and Flute,
"no longer be mute,
"I'll lend you my Name and infpire you to boot,
"And, befides, I'll infruct you like me to entwine
"The Myrtle of Venus with Bacchus's Vine.
***
American publications of the tune appeared as early as 1798, set to various words (such as “Adams and Liberty”), including an early effort of Francis Scott Key’s called “When the Warrior Returns,” honoring the successful American naval expedition to punish the Barbary pirates. Thus, Key was familiar with the melody as a song vehicle when, in 1814, he wrote his more famous lyric after the battle of Fort McHenry in Baltimore harbor. The melody (as “To Anacreon in Heaven”) 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. 86. O’Farrell (Pocket Companion, vol. III), 1808; pg. 25.
X:1
T:Anacreon
M:6/4
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:D
D2F2A2 d2d2 (fe) | d2F2G2A4 (ag) | f2e2d2 c4 Bc | d d3 A2F2D3d | f2g2a2 a4 (gf) |
e2e2f2g4 (fe) | f2e2d2 c3Bc2 | d2F2G2 A4A2 | d2d2d2B2B2B2 | ef (gf) ed {d}c4A2 |
d3 e(fg) a2f2d2 | f3g “tr”e2 d4 A2 | d2d2d2B2B2B2 | ef(gf)(ed) {d}c4A2 |
(dc)(de)(fg)
{b}a2 (gf)ed | {de}f3g “tr”e2 d4 ||
ANCIENT BARONS OF
KELRAVOCK, THE (Barain
Chulrabhaig).
Scottish, Slow Air (4/4 time). E Flat Major. Standard tuning. AB (Hunter): AAB
(Fraser). "This is complementary to the family of Colonel Rose of
Kilravock, one of the most ancient and respectable in the north; a family who
have for ages been celebrated not only as lovers of the science of music, but
for uncommon proficiency and polished taste" (Fraser). Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 183, pg. 75. Hunter (Fiddle Music of Scotland), 1988; No. 59.
X:1
T:Ancient Barons of Kilravock, The
T:Barain Chill-reathaig
M:C
L:1/8
R:Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:Eb
(3E/D/C/|B,>A,G,>A, B,AGe|G>FE>F GCC (3E/D/C/|B,>A,G,>A, B,AGe|
[Ac]>[GB][GB][B,D] [G,3E3] (3E/D/C/|B,>A,G,>A, B,AGe|G>FE>F GCC (B/C/)|
G,EA,F B,AG(e|[Ge]>)([Ac] [Ac]>)([GB] [GB]):|
(3B/c/d/|~e>fg>e B>AGe|G>FE>F GCC (3B/c/d/|~e>fg>e b>geB|
[Ge]>([Ac] [Ac]>)([GB] [G2B2]) (B/c/4d/4 e/4f/4g/4)a/4|
(b/a/)(a/g/) (g/f/)(f/e/) (e/d/)(d/c/)
(c/B/)(B/A/)|G>FE>F G>CC>D|EcDB CAB,G|A,FB,D [G,3E3]||
ANCIENT IRISH MARCH. Irish, March (4/4 time). D Major. Standard tuning. AABC. The tune was
originally published in the Hudson Mss. O’Neill (O’Neill’s Irish Music), 1915; No. 123, pg. 69.
X:1
T:Ancient Irish March
M:4/4
L:1/8
R:March
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:D
DAAD (FE/D/) (AGF) | DA(AG/F/) EC
(GF/E/) | DAAD (F/E/D/) (F/G/A/F/) | (Bc/d/)Ac EC (GF/E/) |
(Bc/d/) Ad FD (F/G/A/F/) | (Bc/d/)
Ac EC GF/E/ | Bc/d/ A2 B/c/d/c/ B/A/G/F/ | EGGc EC GF/E/ :|
d2 (fg/a/) fd (f/g/a/f/) | d2 (fg/a/)
ec ge | d2 (fg/a/) ef de | (Bc/d/) Ac EC (FF/E/) | D/D/D AD FD (AG/F/) |
D/D/D AD EC (GF/E/) | DD/D/ AD FD
(AG/F/) | (Bc/d/) Ac EC (GF/E/) || DAAd FD (F/G/A/F/ |
EAAc EC (GF/E/) | DA A2 B/c/d/c/
B/A/G/F/ | EGGc EC (GF/E/) | [.Dd][.Ee] [.Ff][.Dd] FD (F/G/A/F/) |
[.Dd][.Ee] [.Ff][.Dd] EC (GF/E/ |
[.Dd][.Ee][.Ff][.Dd] [.Ee][.Cc][.Dd][.B,B] | Bc/d/ Ac EC GF/E/ ||
ANCIENT SPORTS OF THE GLEN, THE (Sealg a’s Sùgradh nan gleann). Scottish, Slow Air (3/4 time). D Major. Standard tuning. AB. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1872; pg. 221.
X:1
T:Ancient sports of the glen, The
T:Sealg a’s Sùgradh nan gleann
M:3/4
L:1/8
R:Slow Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:D
d>c|(BA) F2A2|(f2 [ce]) z B>c|d2F2A2|B3z d>c|BA F2A2|(f2 [ce])z B>c|
d2F2A2|B3z||d>e|f2d2c2|(e2 [Ac])z d<e|f2d2B2|[A3c3]z a>e|f2B2c2|
([F2A2] B)z d>c|(BA) F2A2|B3 z||
AND
HER GOLDEN HAIR WAS HANGING DOWN HER BACK. See “Her Golden Hair (Was
Hanging Down Her Back) [2].”
AND I
CANNOT GET TO MY LOVE IF I SHOULD DEE. Northumbrian. Appears in Henry
Robson's list of Northumbrian song and dance tunes, c. 1800.
AND LET ME THE CANAKIN
CLINK. English, Air (6/8 time). F Major.
Standard tuning. One part. The tune is given by Caulfield and is assumed to be
the traditional tune to Iago's song in "Othello," Act II, Scene 3,
urging Cassio to drink. Kines (Songs From
Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964, pg. 36.
AND THE CAT CAME BACK. AKA - "The Cat Came Back." Old‑Time, Breakdown. USA;
Ky., Missouri. G Major (Phillips, Reiner & Anick): A Major (Christeson).
Standard, AEae, ADae tunings. AABBCC (Phillips): AA'BB'CC' (Reiner &
Anick). Christeson (1973) notes: "Played by a few Missouri fiddlers in ...
the early 1930's but is seldom heard any more." The tune was actually a
Tin-Pan-Alley song from the 1890’s, written by Harry S. Miller and popularized
by New York entertainer Tony Pastor. Sources for notated versions: Doc Roberts
(Ky.) [Reiner & Anick]; Kevin Wimmer [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1),
1973; pg. 8. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 15. Reiner & Anick (Old‑Time Fiddling Across America),
1989; pg. 98. Marimac AHS #3, Glen Smith – “Say Old
Man” (1990. Learned from Tommy Jackson). Morning Star 45005, Doc Roberts ‑
"Way Down South in Dixie" (Learned from Madison County, Ky.,
African-American fiddler Owen Walker {b. 1857), a well‑known local
entertainer).
AND THOU WERE MY ONLY DEAR.
English, Jig. C Major. Standard tuning. AABB. The melody is unique to
London publishers Charles and Samuel Thompson’s 1757 country dance collection.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1),
1757; No. 42.
X:42
T:And thou were mine only Dear
M:6/8
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:C
ge/f/g ceg|a3 g3|fef dgf|egB c3|ge/f/g ceg|a3 g2 (a/b/4c’/4)|bag “tr”a3|(g3 g3):|
|:ge/f/g
ceg|a/g/f/e f3|fd/e/f Bdf|gf/e/d e2g|a2f g2e|f2d e2a|gfe [G3d3]|”tr”[E3c3]
[E3c3]:||
AND WILL HE NOT COME
AGAIN. English, Air (6/8 time). A Minor.
Standard tuning. One part. The traditional stage melody to which Ophelia sings
the last of her "mad songs" in Act IV, Scene 5 of Hamlet. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time),
1964; pg. 34.
AND
WILL YOU BE. English(?), Jig. D Major. Standard
tuning. AABB. The melody also appears in the music manuscript collection of
musician John Rook (Waverton, Cumbria,1840). Aird
(Selections), vol. II, 1782; No. 147,
pg. 54.
X:1
T:And Will
You Be
M:6/8
L:1/8
S:Aird,
vol. II (1782)
Z:AK/Fiddler’s Companion
K:D
A | dcd D2d | ede E2e | fga agf | efd cBA | dcd D2d | ede E2e | fgf edc | dAF D2 :|
|: g | aga F2a | gfg E2g | fga agf | efd cBA | G2b F2a | D2g efg | fed ABc | dAF D2 :|
X:2
T:And will you be
M:6/8
L:1/8
R:Jig
S:John Rook music manuscript collection (Waverton, Cunbria,1840)
Z:AK/Fiddler’s Companion
K:D
A|dcd D2d|ede E2e|fga agf|efd
cBA|dcd D2d|
ede E2e|fgf edc|dAF D2::g|aga
F2a|gfg E2g|
fga agf|efd cBA|G2b F2a|E2g efg|fed
ABc|dAF D2:|
ANDERSON'S FAREWELL. Scottish. The tune first appears in
Robert Ross's 1780 collection (pg. 31).
ANDERSON'S RANT. Scottish, Reel. C Major. Standard
tuning. AAB (Glen): AABBC (Marshall). Composed by the great Scots fiddle‑composer
William Marshall (1748-1833), and first published in
his 1781 Collection, although, according to Glen (1895) it did not appear in
his collective and posthumous works. Susan Cowie, in her book The Life and Times of William Marshall (1999),
states the reel is dedicated to the Reverend John Anderson, a cleric who helped
educate Marshall when he came to Gordon Castle as a young lad (Marshall was
said to have only had six months of grammer school education prior to joining
the castle staff as house boy). Anderson at one time held both the post of
parish minister and commissioner upon the Gordon estates, but when this dual
role was challenged by the General Assembly Anderson in 1819 opted to remain
commissioner, the more lucrative of the two jobs. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 19.
Marshall, Fiddlecase Edition, 1978; 1781
Collection, pg. 7.
X:1
T:Anderson’s Rant
M:C|
L:1/8
S:Glen Collection
Z:AK/Fiddler’s Companion
K:C
CEGE c2 ce|GECE D2 DE|CEGE cdfa|gede
c/c/c c2:|
gecg ecge|gece d2d2|gecg ecge|fdge
c/c/c c2|
gecg ecge|gece d2d2|GcFc Ecfa|gede
c/c/c c2||
ANDERSON'S REEL [1]
(Ríl Mhic Aindriú). AKA and see “Pretty
Girls of the Village [2]," “Purring Girls of the Village.”
Irish, Reel. D Major (Armagh Pipers, Black, Bulmer & Sharpley, Taylor): D
Mixolydian (Breathnach). Standard tuning. AB (Breathnach): AAB (Black, Bulmer
& Sharpley, Taylor): AA’B (Armagh Pipers). Michael Anderson was a piper
from County Sligo. He was an early 20th century contemporary of the
renowned fiddler Michael Coleman (1891-1945 (himself originally from County
Sligo), who highly regarded Anderson’s playing, according to Harry Bradshaw in
his biography of Coleman). Editor David Taylor (1992) notes this tune is
frequently played starting on the 'B' part, "especially when coming from a
tune in 'G,'" and is sometimes noted that way (as in Irish Tin Whistle Legends, pg. 44). Sources for notated versions: accordion
player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; set dance
music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]. Armagh Piper’s
Club (Play 50 Reels), 1982 No. 7, pg.
5. Black (Music’s the Very Best Thing),
1996; No. 170, pg. 89. Breathnach (CRÉ I),
1963; No. 163, pg. 64. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 10. Taylor (Where’s the Crack?), 1992;
pg. 4. Taylor (Music for the Sets:
Yellow Book), 1995; pg. 33. Vallely (Play
50 Reels with the Armagh Pipers Club), 1982; 7. Shaskeen
‑ "The Joys of Life.” Shanachie 29015, Paddy O’Brien & James
Kelly - “Is It Yourself?” (1979). Shanachie 34014, James Kelly, Paddy O’Brien
& Daithi Sproule – “Traditional Music of Ireland” (1995). Conal O'Grada: The Top of Coom
X:1
T:Anderson's Reel [1]
R:Reel
M:C|
L:1/8
K:D
"D"ABdf "G"efdB|"D/F#"AF~F2 "D/A"EFDF|"D"ABdf "D/F#"efdf|"G"afeg "A"fd~d2|
"Bm"ABdf "Bm"efdB|"A"AF~F2 "A"EFDF|"G"ABdf "G"efdf|"A"afeg "D"fddf||
"E7/G#"a2fa "A"bafg|"F#7/A#"~a2fd "Bm"edBd|"G"A2FA "G"ABdf|"A"afef "D"~d3B||
ANDERSON’S (REEL) [2]. AKA and see "Miss Lane's Fancy,” “My Love is on the Ocean [1],”
"The New Mown Meadows," “Old Silver Spear,” “The Silver Spear,” "The Silver Tip [1]," "Sliabh Bana," “The Threepenny Bit,” "The Top of the Cliff."
ANDERSON’S (REEL) [3]. AKA and see “Don’t be Foolish,” “Flowers of Redhill [1],” “The Hod Carrier,” “Jilly Neary’s Favourite,” "The Wild Irishman [2]." Irish,
Reel. A Dorian. Standard tuning. AB.
X:1
T: Anderson's
S: J.Kelly - P.O'Brien
Q: 350
R: Reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: Ador
aged BG G2 | BGdG eGdG | aged BG G2 | BddB ABce |
aged BG G2 | BGdG eGdG | aged BG G2 | BddB A2 ae ||
eaaf g3 d | (3efg af gfed | eaaf g2 ba | gede BAAa |
eaaf
g3 d | (3efg af gfga | bgaf gedg | eBdB A4 ||
ANDRÉ À TOTO. French-Canadian, Jig. D Major. Standard tuning. AABB. The ‘B’ part is
‘crooked’. Guy Bouchard explains that large families were not unusual in Québec
until fairly recently and because of this naming needed to become more specific.
To identify a person often the first name was used along with the father and
even grandfather’s name. Thus this tune was from André, son ot Toto, son
of...an Acadian from New Brunswick. Source for notated version: Daniel Lemieux
(Mont-Louis, Gaspé peninsula, Québec), who learned it from Claude Méthé [Remon
& Bouchard]. Remon & Bouchard (25
Crooked Tunes, vol. 1: Québec Fiddle Tunes), vol. 1, 1996; No. 10. 30 Below TB 001CD, Les têtes de violon (Bouchard et al) –
“Airs Tordus/Crooked Tunes” (1998).
X:1
T:André à Toto
M:6/8
L:1/8
R:Jig
S:Fiddler Pascal Gemme (of the group
Genticorum) http://tradquebec.over-blog.com/archive-2-2007.html
K:D
fef d2B|AFA DFA|fed gfg|ecd e2a|fef
d2B|AFA DFA|
Bcd eag|1 fdc d2g:|2 fdc d2e||:fga
fga|fga afd|efg efg|
M:9/8
L:1/8
efg fef d2e|
M:6/8
L:1/8
fga fga|fga afd|
M:9/8
L:1/8
efg aba a2g:|
ANDRÉ ALAIN. French-Canadian, Jig. D Major.
Standard tuning. AA’BB’. The tune is sourced to Québec fiddler Andre Alain
(1931-2000) from St-Basile-de-Portneuf, near Québec City. Alain was influenced
by the playing of his uncle, Armand Chastenay, and itinerant fiddler William
«Quéteux» Tremblay, and his style has been much imitated by younger players.
X:1
T:André Alain
M:6/8
L:1/8
R:Jig
S:Transcribed by fiddler Pascal
Gemme (of the group Genticorum), who had the
S:tune from Pierre Laporte of the
Lanaudière region, who had it directly from Alain.
Z:AK/Fiddler’s Companion
K:D
DFA DFA|dcB B2A|DFA DFA|GFE A,CE|DFA
DFA|
dcB B2A|Ace Ace|1 gfe d2A:|2 gfe
d2e||:fef def|gfg efg|
fef def|edB B2A|fef def|gfg efg|fef
def|1 edc d2e:|2 edc d2A||
ANDREA BEATON’S MARCH. Canadian, March. Canada, Cape
Breton. Composed by fiddler Kinnon Beaton (Mabou, Cape Breton) for his daughter
Andrea, also a fiddler. Smithsonian Folkways Records,
SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music”
(2004).
ANDREA'S WALTZ. American, Waltz. USA, Pa. E Minor. Standard tuning. AB. Composed by Bob
Pasquarello in 1988 for Andrea Osgood. Matthiesen (Waltz Book II), 1995; pg. 1. Popcorn
Behavior – “Journeywork” (1997). Great Meadow Music GMM 2018, Frank Ferrel
& Joe Derrane – “Fiddledance” (2004).
ANDREW/ANDRO AND HIS CUTTIE GUN. AKA – “Andro’s Cutty Gun.”
Scottish, Strathspey. G Minor. Standard tuning. AABBCCDD. A ‘cuttie gun’ was a
‘pop-gun’, a toy, used by Burns as a reference to the male organ, however, ‘cutty
gun’ also was an alternate term for ‘cutty clay’—a short clay tobacco pipe. The
melody is a variant of "The Boyne Water" family of tunes (see
discussions for "The Boyne Water,"
"The Cameronian Rant,"
"The Wee, Wee German
Lairdie"). The song appears in Allan Ramsay's Tea Table Miscellany of 1740, and an amended version can be found
in Herd’s collection (1776). It was reworked by Robert Burns for his Merry Muses of Cealedonia (1798), albeit
changed from a tavern setting to rather bawdy lyrics. Burns did not include a
tune (which he described as “the work of a master”), but referenced one in the Scots Musical Museum (1797, No. 180),
where it appears as a slow strathspey. Bruce Olson says the tune was published
c. 1754. Burns’ bawdy lyric version (he also wrote a sanitized one) begins:
***
Cho:
Blythe, blythe, blythe was she,
Blythe was she but and ben,
An’ weel she lo’ed it in her neive,
But better when it slippit in.
***
When a’ the lave gaed tae their bed,
And I sat up to clean the shoon,
O wha think ye cam jumpin’ ben,
But Andrew and his cutty gun.
***
Carlin (The Gow Collection), 1986; No. 3. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg.
20.
X:1
T:Andrew and his Cuttie Gun
M:C
L:1/8
R:Strathspey
S:Gow – First Collection of Niel Gow’s Reels (1784)
Z:AK/Fiddler’s Companion
K:Gmin
(d2 c/).B/.A/G/ cFA.f|(d2
c/).B/.A/G/ (c/B/)(A/B/) G2::AF”tr”f>g fd (f/=e/(d/c/)|dG (g/f/)g/a/
{b}ag/f/ “tr”d2|
cF (f>g/2a/4) f>d
{d}cB/A/|”tr”B>cAf Ag G2::
(d/e/)(d/c/) {c}BA/G/ cFAf|(d/e/)(d/c/) (c/B/).A/.G/ AD G2:|
|:AFcC (f/=e/).f/.g/ (f/e/).d/.c/|dG
(g/f/).g/.a/ (b/a/)(g/f/) d2|cF (f>g/2a/4) f>d (d/c/).B/.A/|”tr”B>cAf
Ag G2:|
ANDREW CAREY [1]. AKA ‑ "Andy Carey," "Andrew Carr." AKA and see “Derby Carey,” “Hills of Tipperary,” "Tipperary Hills," "Scotland [1]," "The Yairds o' Finnigirth."
Irish, English, Scottish; Hop Jig, Jig and/or Air. England, Northumberland. D
Major (Athole, Cole, Gow, Kennedy, O’Farrell, Raven, Roche): G Major (Bruce
& Stokoe, Vickers). Standard tuning. AAB (Athole, Gow, Hunter): AABB
(O’Farrell): AABBCCDD’ (Kennedy). A tune popular enough to have been widely
disseminated. It first appears as a country dance called "Scotland"
in Playford (1709), then appears in Daniel Wright’s Collection of Scots Dances (1730, as “Andrew Kerr”), Wright’s Compleat Collection of Celebrated Country
Dances (London, 1740), Walsh’s Third
Book of the Compleat Country Dancing Master (London, 1735 & 1749), and
Simpson’s Compleat Tutor for the Flute
(London, 1745). Later it was published in Thompson (1777), James Aird’s Selection of Scotch, English, Irish and
Foreign Airs, vol. 5 (Glasgow, 1797), and the Gow’s Complete Repository, Part 1 (1799). The tune's title appears in
Henry Robson's list of popular Northumbrian song and dance tunes ("The
Northern Minstrel's Budget"), which he published c. 1800.
***
“Andrew Carey” and variant titles
appears in several British musicians’ manuscript collections, including William
Vickers (Northumberland, 1770), John Fife (Perthshire and at sea, 1780, where
it is noted as a “Retreat”), Joseph Crawhall (Northumberland, 1872), the Tiller
ms., and Thomas Hammersley (London, 1790). In North America the tune was
included by Henry Beck in his commonplace book for the flute (1786, pg. 68,
wherein it is noted in 6/8 time), Aaron Thompson (New Jersey, 1777-1782),
William Morris (Hunterdon County, New Jersey, 1776-1777), and by Thomas
Molyneaux in his flute copybook (Shelburne, Nova Scotia, 1788).
***
Bruce & Stokoe print lyrics to
the tune, beginning:
***
As I went to Newcastle, My journey was not far,
I met with a sailor lad, His name was Andrew Carr.
And hey for Andrew, Andrew, Ho for Andrew Carr,
And hey for Andrew, Andrew, Ho for Andrew Carr.
***
A slower version of the melody is
played in the Shetlands as "The Yairds o' Finnigirth.” Peter Kennedy gives
the alternate English title “Derby Carey.” It has survived in Irish tradition
as the slip jig “Hills of Tipperary” and “Tipperary Hills.”
***
Bruce & Stokoe, Northumbrian Minstrelsy, 1882; pg. 179
(appears as "Andrew Carr"). Callaghan (Hardcore English), 2007; pg. 80. Charlton Memorial Tune Book, 1956; pg. 17 (appears as "Andrew
Carey"). Cole (1000 Fiddle Tunes),
1940; pg. 78. Gow (Complete Repository),
Part 1, 1799; pg. 36. Hunter (Fiddle
Music of Scotland), 1988; No. 290. Johnson (A Further Collection of
Dances, Marches, Minuetts and Duetts of the Latter 18th Century),
1998; pg. 13 (Henry Beck’s ms. version in 6/8 time). Kennedy (The Fiddler’s Tune-Book: Slip Jigs and
Waltzes), 1999; pg. 3 No. 1. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 119. O'Neill (Dance
Music of Ireland: 1001 Gems), No. 430 (appears as "Tipperary
Hills"). Raven (English Country
Dance Tunes), 1984; pg. 130. Roche
Collection, 1982; vol. II, pg. 24. Stewart‑Robertson
(The Athole Collection), 1884; pg.
138 (appears as “Andrew Carr”). Seattle (William
Vickers), 1987, Part 2; No. 306. Wilson (Companion to the Ball Room), 1816. Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and
Caves” (2001).
X:1
T:Andrew Carr [1]
M:9/8
L:1/8
R:Jig
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D Major
F2(A A)FA AFD|G2B Bcd c2A|F2A AFA Bcd|A,2 D DEF E2D:|
d2A ABA AGF|E2e efg f2e|d2A AFA Bcd|A,2D DEF E2D|
d2A ABA AGF|E2e efg f2e|d>cB AFA Bcd|A,2D DEF E2D||
X:2
T:Andrew Carr [1]
M:9/8
L:1/8
S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
B2d dBd dBG|B2e efg f2d|B2d dBd def|g2G GAB A2G:|
|:g2e
dBG dBG|g2e ege f2d|gfe dBd def|g2G GAB A2G:|
ANDREW CAREY [2].
AKA and see "Andrew Carr".
ANDREW CARR. See "Andrew Carey."
ANDREW KERR. Probably "Andrew Carr/Carey." Printed by an anonymous
publisher around 1730.
ANDREW LA PLANTE’S.
Canadian, Reel. Canada, Maritimes. B Flat Major. Standard tuning. AABB.
The tune was an untitled reel played by fiddler Andrew La Plante, a friend of
Jerry Holland’s father. Cranford (Jerry Holland: The Second Collection), 2000;
No. 54, pg. 23.
ANDREW MACINTYRE. Canadian, Reel. Canada, Cape Breton. C Major. Standard tuning. AAB.
Composed July, 1936, by Cape Breton fiddler and composer Dan R. MacDonald
(1911-1976). Cameron (Trip to WindsorT),
1994; pg. 15.
ANDREW POLSON'S. Shetland, Shetland Reel. Named for the fiddler who played it. Front Hall 018, How to Change a Flat Tire ‑
"Traditional Music of Ireland and Shetland."
ANDREW’S SPRING. AKA and see “Foreheid
of the Sixereen.” Shetland, Reel. Composed by Andrew Polson (sometimes
Poleson). A ‘spring’ is Scots for ‘tune’.
ANDREA’S WALTZ.
American, Waltz. E Minor. Standard tuning. One part (Barnes): AA’BB’
(Pasquerello). A popular contra-dance waltz composed by Bob Paquarello in 1986
in honor of Andrea Osgood. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 3. Pasquarello (Colonel Mike’s Tune
Book), 1986; pg. 46.
ANDY (JIG). Canadian, Jig. C Major. Standard tuning. AABB. Messer (Way Down East), 1948; No. 72. Messer (Anthology of Favorite Fiddle Tunes),
1980; No. 130, pg. 87.
ANDY BOYLE’S. AKA and see “Cathy’s
Favourite,” “Kerry Polka [3],"
“Pat Horgan’s [1]," “Séamus
Cussen’s [2]." Irish, Polka.
ANDY
BROOKS REEL. Irish, Reel. D Dorian. Standard tuning. AABB.
Composed by Falmouth, Massachusetts, musician and writer Bill Black.
X: 1
T: Andy Brooks' Reel
C: B.Black
M: 4/4
L: 1/8
R: reel
K: D dor
DE | FDAD FDAD | FGAd cAGE | FDAD FAde | fdec
dcAG |
FDAD FDAD | FGAd cBcA | FEDA dcAG | EA,CE D2 :|
K: D
DE | FDAD BDAD | B2 dB fedB | Addc defg | afbf
a2 ag |
faaf
gfed | BdcB AFEG | FDAD BDAD | BABc d2 :|
ANDY BROWN’S REEL. Shetland, Reel. A modern
composition by Shetland fiddler Aly Bain, composed for the christening of a
friend’s son. Green Linnet GLCD 3105, Aly Bain -
“Lonely Bird” (1996).
ANDY CAREY. AKA and see "Andrew Carey."
ANDY DE JARLIS. AKA - “Cape Breton Jig.” Canadian, Jig. Canada, Cape Breton, Nova
Scotia. E Major. Standard. A popular tune for those rare times that an E Major
set is called for. Source for notated version: Northside fiddler Mike McDougall
(1928-1982, Ingonish, Cape Breton) via fiddler Jerry Holland (Inverness, Cape
Breton); the tune was untitled until fiddler Johnny Wilmot remembered that the
tune had been played by Manitoba fiddler and composer Andy De Jarlis (see
"Whiskey Before Breakfast"). Irish musician Karen Tweed calls the tune “Tom Trainor’s” after the individual
she learned it from. Cranford (Jerry
Holland’s), 1995; No. 244, pg. 70. Boot Records,
Jerry Holland - “Master Cape Breton Fiddler” (1982). Green Linnet GLD 1137,
Altan - "Island Angel" (1993. Learned by Ciaran Tourish from Jerry
Holland, Cape Breaton/Massachusetts fiddler). Kells Music 9501, Dervish -
“Playing with Fire” (appears as “Cape Breton Jig”).
X:1
T:Andy Dejarlis Jig
T:Tom Trainor's
S:Rosa's Session, 30/12/00
Z:Nigel Gatherer
M:6/8
L:1/8
K:E
z|EGB EGB|EGB c2 B|EGB EGB|=DFA B2
A|EGB EGB|
EGB c2 a|gfe Bcd|e3 e2::a|g2 g
efg|aga c2 e|f3 fge|
dcB c2 B|gbg efg|aga c2 e|fgf Bcd|e3
e2:|]
ANDY DUFFY’S. Irish, Jig. G Major. Standard tuning. AABB’. Composed by Yonkers, New York, uilleann piper Jerry O’Sullivan. Black (Music’s the Very Best Thing), 1996.
X:1
T: Andy Duffy's
C: Jerry O'Sullivan
Z: transcribed by B.Black
Q: 350
R: jig
M: 6/8
L: 1/8
K: G
z |: GED DEG | dge dBG | c2 A BAG | AGE E2 D |
GED DEG | dge dBG | c2 A BdB | AGF GBd :|
g3 GBd | g3 edB | c2 A BAG | AGE E2 D |
|1 g3 GBd | g3 edB | c2 A BdB | AGF GBd :|
|2
GED DEG | dge dBG | c2 A BdB | AGE G2 ||
ANDY IRVINE’S POLKA. See “Salmon Tails Up the Water,”
“Trip to Aberdeen.”
ANDY KERRIN’S
HORNPIPE. AKA and see “Duck’s Eyeball [2],” "Right Foot, Left Foot," “Stephen Baldwin’s Schottische,”
“Tom Bhetty’s Hornpipe,” "Winter(‘s) Night Schottische."
Irish, American, English; schottische, set dance, barn dance. G Major. Standard
tuning. AABB. A member of a wide-spread schottische family. In Ireland the tune
was sometimes called a hornpipe, although usually as a barn dance. The melody
was popularised by Boys of the Lough flute player Cathal McConnell, who had it
from a Derrylin, County Fermanagh, musician named Andy Kerrin. Flying Fish FF-058, Cathal McConnell – “On Lough Erne Shore”
(1978).
X: 1
T: Andy Kerrin's
D: Cathal McConnell "On the Lough Erne's Shore"
M: 4/4
L: 1/8
R: set dance
K: Gmaj
B2 | E2 ED EFGA | B2 BA B2 e2 | B2 e2 B2 A2 | GBFB E2 ED |
E2 ED EFGA | B2 BA B2 e2 | B2 e2 B2 A2 | GBFB E2 ||
(3def | g2 B2 dBGB | cABG EGFE | DEFG ABcd | ef/e/d^c d2 (3def |
g2 B2 dBGB | cABG EGFE | DEFG AcBA | G2 B2 G2:|
ANDY McGANN’S FANCY. AKA and see “The Leitrim Jig [1].” Irish, Jig. G Major. Standard tuning. AA’BB. “Andy McGann’s Fancy” was flute player Mike Rafferty’s name for the tune, although it goes by numerous titles (see note for “Leitrim Jig [1]”). Harker (2005) notes that flute player Mike Rafferty used to play this tune with fiddler McGann at the Bunratty in the Bronx. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 211, pg. 65. Larraga LR093098, Mike & Mary Rafferty – “The Old Fireside Music” (1998).
X: 1
T:Andy McGann's Fancy
M:6/8
L:1/8
R:jig
Z:Thomas A. Madden
N:Posted to the woodenflute mailing list November 2001
K:G
dcA ~G3|AGF G3|dcA G~G2|Ade fde|
dcA ~G3|AGF G2D|1 GBd g2f|ded cAF:|2 GBd ~g2f|dzd cAF||
|:GBd ~g3|agf g3|GBd g2f|dzd cAF|
GBd g3|agf gza|bag agf|ded cAF:|dcA ~G3||
ANDY McGANN'S (JIG)
[1]. Irish, Jig. G Major. Standard
tuning. AABB. The late Andy McGann (d. 2004) was a famous fiddler from New York
City, a member of the great New York Ceili Band (along with Paddy Reynolds and
Larry Redican) and heir to the legacy of the great Co. Sligo and New York City
fiddler Michael Coleman, who died in the mid-1940's. Source for notated
version: flute player Harry McGowan (b. 1937, Carrowmore, Co. Sligo)
[Flaherty]. Bulmer & Sharpley (Music
from Ireland), vol. 3, No. 65. Flaherty (Trip to Sligo), 1990; pg. 160 (appears as bottom “Unknown” tune). Danny O’Donnell – “Ón
tSean-Am Anall.”
ANDY McGANN’S (JIG)
[2].
Irish, Jig. D Major. Standard tuning. AA’B. McGann recorded the tune in
a medley with “Old Grey Goose.” Compare with “Road to the Glens.” Shaskeen Records OS‑360, Andy McGann (with Joe Burke
& Felix Dolan) ‑ "A Tribute to Michael Coleman."
T:Andy McGann’s
M:6/8
L:1/8
S:Brian Conway
Z:AK/Fiddler’s Companion
K:D
A,|D>EF EDB,|DFA dcd|edB AFD|({G}F)AF ECA,|[A,2D2]F EDB,|
DFA ~d3|edB AFE|1 ({G}F)DC D2:|2 ({F}E)DC DFA|| dc(d e)de|
fd(B AF)A|BdB AFD|({G}F)EE [C2E2]A|d/d/cd ede| fdB AFA|
BdB AFE|({G}FDC DFA|d2f ede|fdB AFA|dcB AFD|CEC A,CE|
ABc d2f|edB AFE|[F3A3] DEF|EDC D2||
ANDY McGANN’S REEL [1]. AKA - “Andy McGann’s No. 1.” Irish, Reel. C Major. Standard tuning. AB
(Black, Cranitch): AABB (McGuire & Keegan). The reel is associated with the
late New York City fiddler Andy McGann (d. 2004), who got it from New York
fiddler Lad O’Beirne (who may or may not have composed it). Bill Black (1996)
remarks that apparently this tune along with the “Humors of Scariff” were played
as “Gan Ainm” (untitled) on a tape made by McGann along with other New York
musicians, and, for want of a title were called “McGann’s #1 and #2" by the
Irish-American music community over the years. Source for notated version:
County Clare fiddler Paddy Canny [McGuire & Keegan]. Black (Music’s the Very Best Thing), 1996; No.
73, pg. 38. Cranitch (Irish Fiddle Book),
1996; No. 65, pg. 150. Cranitch (Irish
Session Tunes: Red Book), 2000; No. 65. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975;
No. 70, pg. 19. Nimbus NI5415, Martin O'Connor -
"Across the Waters." Viva
W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean
Maguire Plays,” the first recording of McGuire that Josephine Keegan
accompanied on piano).
X:1
T: Andy McGann's #1
S: Andy McGann
C: ? Lad O'Beirne
Z: transcribed by B.Black
Q: 350
R: reel
M: 4/4
K: C
gf || eccB cGEG | FEDC B,DGF | EFGE FAdc | Bg^fg agfg |
eccB cGEG | FEDC B,DGF | EF (3GFE FAdc | Bg^fg eccB ||
c2 gc ecgc | c2 ag ^fgdB | c2 gc ecgc | BG G2 BcdB |
c2
gc ecgc | c2 ag ^fgdB | cg (3g^fg eg (3g^fg | ag^fa g2 ||
ANDY McGANN’S (REEL)
[2]. AKA - “Andy McGann’s No. 2.” AKA and see “The Humours of Scariff.”
ANDY McGANN'S (REEL)
[3]. AKA and see “I’m Waiting for You [1].” Irish,
Reel. G Major. Standard timomg. AABB. Source for notated version: fiddler Peter
Horan (b. 1926, Kilavil, Co. Sligo, Ireland) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 62.
ANDY McGANN’S NO. 2.
AKA and see “John McGrath’s Composition.”
Irish, Reel. D Major. Standard tuning. AA’B. “Andy McGann’s No. 2" also
refers to “The Humours of
Scariff” due to its being famously recorded by the late McGann (d. 2004), a
New York City Irish-American fiddler, with “Andy McGann’s” (also known as “Andy
McGann’s No. 1”). Taylor (Traditional Irish Music: Karen Tweed’s Irish
Choice), 1994; pg. 27.
X:1
T:Andy McGann's No2
T:John McGrath’s Composition
M:4/4
L:1/8
R:Reel
K:D
d ~F3 AGFE|D2FD EDB,D|A,DFA (3Bcd
AF| ~E3 D E2FA|
1 d ~F3 AGFE|DEFD EDB,D|A,DFA (3Bcd
AF| EA,CE D2FA:|
2 ~d3 B ~c3 A|~B3 d AGFE|D2FA (3Bcd
AF|EA,CE D2FA||
d2 fd edfd|~B3 d AGFE|D2FA (3Bcd
AF|1 ~E3 D E2FA|
d2 fd edfd|~B3 d AGFE|D FA (3Bcd
AF|EA,CE D2FA:|
2 ~E3 D E2de|faba f ~d3| ~B3 d
AGFE|D2FA (3Bcd AF|EA,CE D3 ||
ANDY McGANN'S NO. 42
BUNRATTY REEL. AKA and see ,” “Drag Her Around the Road,”
"The Pullet and the Cock,” “Shores of Loch Graney.” Irish,
Reel. E Minor ('A' part) & G Major ('B' part). Standard tuning. AA’B. The
title is McGann's, but the reel was learned from Larry Redican without a name.
The Bunratty was an Irish bar in the Bronx. Source for notated version: New
York fiddler Andy McGann [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 105,
pg. 53 (appears as “Andy McGann’s”). Shanachie 29009,
"Andy McGann & Paul Brady" (the music is notated in the booklet
that comes with the album).
X:1
T:Andy McGann’s No. 42 Bunratty
M:4/4
L:1/8
K:G
GA|BE{F}ED E{F}EDE|GEDB, (3DED B,D|GE{F}ED E{F}EDE|
G2BG ABGA| B~E3 B,~E3|GEDB, (3DED B,D|GE{F}ED E{F}EDE| G2BG ADEF||
G2{A}GF GBdc|B2{c}BA BcBA|G{A}G GF GBdc|
(3ABA GB A2 (3DEF| G2{A}GF GBdc|(3BcB Ac ~B3A|G2GF GBdc| (3ABA GB A6||
ANDY McSHANE. Old‑Time, Breakdown. G Major. Standard tuning. AA'BB. Ford (Traditional Music in America), 1940; pg.
40.
X:1
T:Andy McShane
M:2/4
L:1/8
R:Reel
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:G
D|(D/2E/2F/2G/2 A BB|G/B/A/G/
EG|c/d/c/B/ AF|D/d/d/e/ d>D|
(D/2E/2F/2G/2) A BB|G/B/A/G/ EG|1
(e/f/)g/f/ ed|(B/c/)A/F/ [GB]:|2
(c/d/c/)B/ AF|(D/E/D/)B,/
G,||:(B/c/)|db b>f|e/f/e/d/ Bd|g/f/g/a/ bg|
(e<a)g/ a(B/c/)|db
b>f|e/f/e/d/ Bd|e/f/g/f/ ed|B/c/A/F/ [GB]:|
ANDY O’CALLAGHAN. AKA and see “Barney Brallaghan.” English, Slip Jig.
D Major. Standard tuning. AABBCC. A version of the well-known Irish slip Jig
“Barney Brallaghan.” Source for notated version: the 1845-47 music manuscript
of Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain
Brown]. Plain Brown Tune Book, 1997; pg. 16.
ANDY OVER THE WEAVING
SHED. Old‑Time, Fiddle Tune. USA,
Arkansas (Ozark Mountains).
ANDY PEADAR. Irish, Jig. A Dorian.
Standard tuning. ABC. Source for notated version: Joe Keegan, a flute player
from the Co. Laois side of Portartington, father of pianist and fiddler
Josephine Keegan [McGuire & Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975;
No. 12, pg. 3.
ANDY RENWICK’S FERRET. Irish, English; Pipe Reel. A Dorian. Standard tuning. AA’BB’. The
ferret of the title supposedly refers to a human being. Composer credits for
this modern melody are usually attributed to piper Gordon Duncan (Craob Rua),
although a United Kingdom musician named “Gordon Lincoln” is (erroneously)
credited by Perlman. Source for notated version: Paul MacDonald (b. 1974,
Charlottetown, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 105. Lochshore CDLDL 1215, Craob Rua - “The
More That’s Said the Less the Better” (1992). Lochshore CD, Ian Powrie –
“Legend of the Fiddle.”
X:1
T:Andy Renwick's Ferret
C:Gordon Duncan
R:reel
M:C|
L:1/8
K:Ador
cA~A2 ABcd|eaag agef|gd~d2 egde|degd
egdB|
cA~A2 ABcd|eaag agef|gd~d2 efgd|1
edgB A2AB:|2 edgB A2Bd||
eaag ageg|a2ag agef|gd~d2 egde|degd
egdg|
eaag ageg|a2ag agef|gd~d2 efgd|edgB
A2Bd|
eaag ageg|a2ag agef|gd~d2 egde|degd
egdB|
cA~A2 ABcd|eaag agef|gd~d2 efgd|edgB
A2AB||
|:cA~A2 ~A2cA|~A2cA agef|gd~d2
^cdcd|~d2^cd cddB|
cA~A2 ~A2cA|~A2cA agef|gd~d2 efgd|1
edgB A2AB:|2 edgB A2Bd||
eaag ageg|ageg ~a3f|gd~d2 eggd|^cdgd
eggd|
eaag ageg|ageg ~a3f|gd~d2 efgd|edgB
A2Bd|
eaag ageg|ageg ~a3f|gd~d2 eggd|^cdgd
eggd|
cA~A2 ~A2cA|~A2cA agef|gd~d2
efgd|edgB A2AB||
ANDY STEWART’S. Scottish, Reel. Phil
Cunningham (et al) – “The Big Squeeze.”
ANDY’S FAVORITE JIG. Canadian, Jig. Canada, Ontario. C Major. Standard tuning. AA’BB’.
Source for notated version: fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario)
[Begin]. Begin (Fiddle Music from the
Ottawa Valley), 1985; No. 75, pg. 84
X:1
T:Andy's Jig
R:jig
M:6/8
L:1/8
Z:Transcribed by Bruce Osborne
K:C
D|EDE CEG|FGF Ddc|BdB GAB|cBA G2F|
EDE CEG|FEF Ddc|BdB GAB|c3 c2:|
|:e|g^fa g2e|cBA G2G|cBc ABc|ed^c d2e|
g^fa g2e|cBA G2A|BdB GAB|c3 c2:|
ANDY'S REEL. AKA and see “The Earl
of Seafield’s Reel [3]." Cape Breton, Reel. Rounder
Records 7001, Joe Cormier ‑ "Scottish Violin Music from Cape Breton Island"
(1974).
ANE ALMAN MORELSS. Scottish. The title is derivative of the French term
"allemande," referring to a style of German dance, characteristically
moderate in tempo. Williamson suggests the title refers to an allemande used
among Scottish Morris dancers, and notes that Morris dancing in that country
was first referred to by James I (1406‑37) in his poem "Christkirk
on the Green." From the Skene MS,
c. 1620. Flying Fish, Robin Williamson ‑
"Legacy of the Scottish Harpers," Vol. 2.
ANE AN' TWENTY TAM. AKA and see “The Moudiewart.”
Scottish, Jig. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 1; No. 21, pg. 32.
ANE IRISH TUNE. Scottish, Old Hornpipe (?).
X:1
T:Ane Irish Tune
S:Andrew Adam's Music Book (ms) 1710
Z:Nigel Gatherer
M:6/4
L:1/8
K:G
DE G2 G2 G2 G2|A3 BAG E4 D2|DE G2 G2 Bc d2 G2|A4 G G6|
c2 dcBA B2 cBAG|A3 BAG E4 D|DE G2 G2 Bc d2 G2|A4 G G4|]
f4 f2 f4 g2|e3 deg e2 d2 B2|d2 e2 g2 d4 BA|G4 G2 G2 E2 D2|
fefg
f2 edef e2|dBde d2 G2 E2 D2|DE G2 G2 Bc d2 G2|A4 G G4|]
ANE SCOTTIS DANCE. Scottish. This melody appears in the Rowallan MS (c. 1612‑28), a lute manuscript.
ANGELINE THE BAKER. AKA and see "Angeline," "Angelina Baker," "Rocky Road [1]" (N.C.), "Coon Dog [2]" (Va.), "Georgia Row," "Walk up Georgia Row" (?). Old‑Time; Song, Breakdown. USA, Virginia. D Major. Standard or ADae tuning. AABB. This old time song and tune was derived from a sentimental song by Stephen Foster, called "Angelina Baker," whose lyrics tell about a slave who is parted from her lover when sold. Foster's original song can be heard played by the Critton Hollow Stringband on their album "Sweet Home" (Yodel‑Ay‑Hee 002). An early version of the tune was recorded by Uncle Eck Dunford for Victor (V-40060) in 1928 (backed with “Old Shoes and Leggings”). A similar tune, or an alternate title, is the Patrick County, Va., "Coon Dog," recorded, for example, by Spangler and Pearson. The main 'revival' version typically played today by old-time style musicians derives from a few sources. The County Records release of fiddler J.W. 'Babe' Spangler (1882‑1970), of Patrick County, Virginia, was one influential source. Independently, and predating the release of the County “Old Virginia Fiddlers” recording, revival fiddlers (such as Joel Shimberg) learned a similar version from West Virginia fiddler Franklin George. See also the related "Little Betty Brown" and "Cousin Sally Brown [1]." The following lyrics can be heard in various recorded versions of the piece:
***
Angeline the Baker, her age is twenty‑three (or 'forty‑three'),
Feed her candy by the peck but she won't marry me.
***
Tell how I took Angeline down to the county
fair,
Her father chased me halfway home and told me
to stay there.
***
Angeline the Baker, Angeline I say,
You caused me to weep, caused me to mourn, caused me to wear that (beat on the) old jawbone.
***
Angeline the Baker, She lived on the village
green;
And the way that I love her, beats all to be
seen.
***
Angeline in handsome, and Angeline is tall,
She broke her little ankle bone from dancing in the hall.
***
She won't do the baking because she is too
stout,
She makes cookies by the peck, throws the
coffee out.
***
Angeline the Baker, her age is forty-three,
Little children round her feet and a banjo
on her knee
***
John J. Sharp knows these lyrics to a melody more like the Foster original:
***
Angeline the baker lived near the village
green,
Way I always loved her, beats all you ever
seen.
Father was a baker, they called him Uncle
Sam,
I never can forget her, no matter where I am.
***
Chorus:
Angeline the baker, age of 43,
Gave her candy by the peck, but she won't
marry me.
Angeline the baker, left me here alone,
Left me here to weep a tear, and play on the
old jawbone.
***
Said she couldn't do hard work, because she
was not stout,
Baked her biscuits every day, before they
called me out.
***
Sixteen horses on my team, the old grey went
before,
Almost broke Angelines heart to hear the wagons roar.
Angeline the baker, Angeline I know,
Wished I married Angeline twenty years ago.
***
Bought Angeline a brand new dress, neither
black nor brown,
It was the color of a stormy cloud, before
the rain pours down.
Sixteen horses in my team, the leader he was
blind,
Came close to
dying, they sold my Angeline.
***
Sources for notated versions: J.W. Spangler (Virginia) [Reiner & Anick]; Wretched Refuse String Band (N.Y.C.) [Brody]; Stuart Duncan [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 22 (2 versions). Johnson (The Kitchen Musician's Occasional: Old-Timey Fiddle Tunes), vol. 2, 1988 (revised 2003); pg. 2. Krassen (Appalachian Fiddle), 1973; pg. 26‑27. Kuntz (Ragged but Right), 1987; pg. 341‑342. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 15. Reiner & Anick (Old‑Time Fiddling Across America), 1989; pg. 88. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 3. Bay 727, "Kenny Hall and the Sweet Mills String Band." Beet 7003, "Wretched Refuse." County 201, J.W. Spangler (Va.) ‑ "The Old Virginia Fiddlers." Old Homestead OHCS-199, “Ernest V. Stoneman Vol. III: The Sinking of the Titanic” (reissues, originally recorded 1928, with Eck Dunford). Rounder 0400, "Pickin' Around the Cookstove." Spudchucker Productions, Bert Edwards (N.C.) ‑ "Bert's Bombaree" (appears as "Rocky Road"). Rounder C‑11565, Stuart Duncan ‑ "Rounder Fiddle" (1990). Tennvale 002, Roaring Fork Ramblers‑ "Galax 73."
X:1
T:Angeline the Baker
M:2/4
L:1/8
B:Kuntz – Ragged but Right
K:D
(3B/d/B/|AB d>A|B(d d)(3B/d/B/|AB d/B/A|(B2 B)(B/d/B/|
AB d>(e|f)e d/c/d/(e/|f)e (3d/e/d/B|A>B A:|
|:(a|a)g f/g/e|f/g/f/e/ df|{^g}af (3e/f/e/d|B>d B(a|a)g f/g/e|
f/g/f/e/
d/c/d/e/|{=f}^f e (3d/e/d/B|A3:|
ANGEL'S SHARE, THE. Scottish, Slow Air. A modern composition by
Derek Richardson of Crieff, Scotland. On the Wagon.
ANGEL’S WHISPER, THE. Irish, Air (4/4 time). C Major. Standard
tuning. One part. O'Neill (Music of Ireland: 1850 Melodies), 1979; No.
625, pg. 110.
X:1
T:Angel’s Whisper, The
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 625
Z:AK/Fiddler’s Companion
K:C
D2|c2 cB A2 GE|GABd e2 cd/e/|g2 ed
e>fg>e|d>cB>c d2 de|
f2 edef g>f|ecdc A2 Ge/d/|c2 cB
A2 GE|GA ce/d/ c2||
ANGLER, THE. Irish, Air (4/4 time). G Major. Standard
tuning. One part. "There was a song to this air which was well known in
Limerick, about a young man who went our fishing, and met with better luck than
he expected. I have often heard the Limerick people sing to this air Byron's
two‑verse poem beginning 'I saw thee weep'" (Joyce). The first verse goes:
***
As I roved out one morning down by a river side,
To catch some trout and salmon where the stream did gently glide;
Down by the brook my way I took and there by chance did spy
A lovely maid all in the shade, who smiled and passed me by.
***
Joyce (Old Irish Folk Music and Song), 1909; No. 10, pg. 8.
X:1
T:Angler, The
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
D2|G2F2E2D2|D3f edBA|B2 G>B AGFG|E6F2|G2
F>G E2D2|d3f e3f|
G2f2 ed^ce|d6 B>d|e3f g2B2|g2 fg
e>dBA|G3B AGFG|
E6 (3DEF|G2F2E2D2|d3f edBA|G2 A>B
G2G2|G6||
ANGLEWORM WIGGLE. AKA – “Jumping Cactus.” Old‑Time,
Quadrille (4/4 time). USA; Arizona, Michigan. D Major. Standard tuning. AABB.
Source for notated tune: dulcimer player Donald Baker via his son (also named
Donald Baker and a dulcimer player) who taught it to dulcimer player Bob
Spinner when Spinner was age 17. Johnson (The
Kitchen Musician's No. 7: Michigan Tunes), 1986/87, No. 7; pg. 5. Ruth (Pioneer Western Folk Tunes), 1948; No.
44, pg. 16 (appears as “Jumping Cactus, or Angleworm Wiggle”).
X:1
T:Angleworm Wiggle
T:Jumping Cactus
M:2/4
L:1/8
S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:G
[d/b/][d/b/][d/b/][d/b/] [db][ca]|[B/g][B/g/][B/g/][B/g/] [Bg][df]|
[c/e/][c/e/][c/e/][c/e/] [ce][Fd]|cB A2|[c/a/][c/a/][c/a/][c/a/] [ca][Bg]|
[d3f3] (f/e/)|ddef|[B2g2][B2g2]:|
|:GABc|[F3d3] (B/c/)|d(B/c/) dB|[F3A3] AA|DFAc|[c3e3]d|
f>e
d(e/f/)|gg gz:|
ANGRY PEELER, THE (An Sitmoar Feargac). AKA and see "Buachailli Bhaile Mhic
Anndain,” “Carraig
an tSiop,” "Cook in the
Kitchen," "The
Drunken Gaugher [2],” “The Tromore Jig.”
Irish, Double Jig. G Major. Standard tuning. AABB. A 'peeler' was, and still
sometimes is, a slang term for a policeman in the British Isles, and in America
until about 1890. See also the related “Fardown
Farmer” in O’Neill’s DMI. Paul de
Grae says see also “Joe Cooley’s Jig”
and “Boys of Thomastown.” Source
for notated version: piper Seosamh Breathnach (Ireland) [Breathnach].
Breathnach (CRÉ I), 1963; No. 3, pg.
4 (appears as “Carraig an tSiop”). O'Neill (Krassen),
1976; pg. 59. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1041, pg. 195. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 251, pg. 56.
X:1
T:Angry Peeler, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems
(1907), No. 251
Z:AK/Fiddler’s Companion
K:G
B/c/BA GED|DED GED|BAB dBG|ABA A3|
B/c/BA GED|DED GED|BAB dBG|DEG G3:|
|:B/c/BA Bcd|ege dBG|BAB dBG|FAA
A3|B/c/BA Bcd|ege dBG|BAB GED|EGG G3:|
ANGUS ALLAN & DAN
J’S. Canadian, Strathspey. Canada, Cape
Breton. D Major. Standard tuning. AA’BB’. Source for notated version: Dan J. Campbell
and Angus Allan Gillis (Cape Breton) [Dunlay & Greenberg]. Dunlay &
Greenberg (Traditional Celtic Violin
Music from Cape Breton), 1996; pg. 73. ACC4-9270,
Howie MacDonald - “Live and Lively” (Appears as “Inverness County Strathspey”).
ACC-49394, Howie MacDonald and Natalie MacMaster - “Gift of Music” (Appears as
“Traditional Strathspey”). Celtic CX011, Dan J. Campbell and Angus Allan Gillis
(c. 1936). Nimbus NI 5383, Natalie MacMaster - “Traditional Music from Cape
Breton Island” (1993).
ANGUS AND SPANKY’S.
Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB.
Composed by the late Cape Breton fiddler and composer Jerry Holland. Cranford (Jerry
Holland: The Second Collection), 2000; No. 258, pg. 93.
ANGUS
CAMERON'S COMPLIMENTS TO ALEX WEBSTER. Scottish, Slow Air (6/8 time). D
Minor. Standard tuning. AAB (Hunter): AABB’ (Martin). Composed by Angus
Cameron. James Hunter relates that composer Cameron was a mathematics teacher
in Kirriemuir, and the son of a famous fiddling family, all of whom were pupils
of 'Dancie' Reid of Newtyle. The personage he composed the tune for was a
gamekeeper at Glenbucket in Strathdon who become "intensely
interested" in fiddle making, and who made some excellent instruments, one
of which he had presented to Mr. Cameron. Hunter (Fiddle Music of Scotland), 1988; No. 41. Martin (Taigh na Teud), 1990; pg. 16.
X:1
T:Angus Cameron’s Compliments to
Alex Webster
L:1/8
M:6/8
R:Air
K:Dmin
D/E/|F>ED A,2D|B,2D A,2D|E>FG
F>ED|(E3 E2) F/G/|A>GF C2F|B,2G A,2F|D>EF E<A^C|(D3 D2):|
|:C|F>GA/B/ c2f|e2 g c2
f/g/|a>gf f2 a/b/|(g3 g2) f/g/|1 a2 f/c/ A2 B/c/|d>BF DFB|
A>GF E<A,^C|(D3 D2:|2 c’af
bge|f2 c/B/ A2 A/G/|F>ED E<A,^C|(D3 D2)||
ANGUS CAMPBELL [GLASGOW]. Scottish (originally), Canadian, American;
Reel. USA; Missouri, Vermont, New York. Canada; Cape Breton, Prince Edward
Island. A Major. Standard tuning. AB (Skinner): AABB (most versions): AA’BB’
(Cranford/Holland). “Angus Campbell” is the product of Scottish composer and
fiddle virtuoso J. Scott Skinner (1842-1927), who
coined it a "concert reel" (tempo 136). Skinner turned the same
melodic motif into a strathspey called “The Laird o’ Drumblair.”
The melody quickly found its way into traditional repertory on both sides of
the Atlantic and can now even be heard played by American Mid‑West
fiddlers as well as Canadian and New England musicians. Illustrative of its
dissemination is that the title appeared in a list of dance tunes played in the
early/mid‑20th century by Arizona fiddler Kenner C. Kartchner, while at
approximately the same time Adirondack Mountains, N.Y., fiddler Vic Kibler
believed he had learned the tune in Vermont. It was recorded on 78 RPM by the
Cape Breton group The Inverness Serenaders. Sources for notated versions: Kelly
Jones (Missouri) [Phillips]; Francis MacDonald (b. 1940, Morell Rear,
North-East Kings County, Prince Edward Island) [Perlman]; fiddler Dawson
Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 26,
pg. 39. Bohrer (Vic Kibler), 1992;
No. 21, pg. 21. Brody (Fiddler’s Fakebook),
1983; pg. 23. Cranford (Jerry Holland: The Second Collection), 2000; No.
28, pg. 12. Hinds/Hebert (Grumbling Old
Woman), 1981; pg. 8. Hunter (The
Fiddle Music of Scotland), 1988; No. 224. Jarman (Old Time Fiddlin' Tunes), No. or pg. 23. Kerr (Merry Melodies), vol. 1; No. or pg. 22. Messer (Way Down East), 1948; No. 7 {Messer's
version is altered from the original}. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 27, pg. 26. Perlman
(The Fiddle Music of Prince Edward Island),
1996; pg. 104. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 15. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 4. Skinner (The Scottish Violinist); pg. 13. Skinner (Harp and Claymore), 1904; pg. 94.
American Heritage 516, Jana Greif‑
"I Love Fiddlin.'" Caney Mountain Records CLP 228, Lonnie Robertson
(Mo.) ‑ "Fiddle Favorites." Condor 977‑1489, "Graham
and Eleanor Townsend Live at Barre, Vermont." Fretless 101, "The
Campbell Family‑‑Champion Fiddlers." Fretless 200 A, Yankee
Ingenuity‑ "Kitchen Junket" (1977). Green Mountain 1026, Leo
Beaudoin‑ "Old Time Fiddler's Contest 7/30/77." Green Mountain
1050, Sonja Nordstrom‑ "Old Time Fiddler's Contest 7/26/75."
Missouri State Old Time Fiddlers' Association 002, Taylor McBaine ‑
"Boone County Fiddler." Missouri State Old Time Fiddlers'
Association, Cyril Stinnett (Stinnett epitomized the "North Missouri
Hornpipe Style of fiddling). Missouri State Old Time Fiddlers' Association,
Kelly Jones (b. 1947) - "Authentic Old-Time Fiddle Tunes." Philo
1040, Jay Ungar and Lyn Hardy‑ "Catskill Mountain Goose Chase"
(1977. Learned from Putnam County, N.Y. fiddler Bud Snow). Tradition 2118,
"Scottish Dances: Jigs, Waltzes and Reels" (1979).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:Angus Campbell
M:2/4
L:1/8
R:”Concert Reel”
S:Skinner – Scottish Fiddler
Z:AK/Fiddler’s Companion
K:A
E/ || A/4A/4A/ (c/A/) E/.A/.c/.e/ |
a(g/a/) f/a/e/c/ | d/4d/4d/ (B/d/) c/4c/4c/ (A/c/) |
B/F/B/A/ G/E/F/G/ | A/4A/4A/ (c/A/)
E/.A/.c/.e/ | a(g/a/) f/a/e/c/ | d/e/f/d/ c/e/a/f/ |
E/c/d/B/ A/.e/.f/.g/ || {g}a(e/a/)
.c/.a/.A/.a/ | {^a}b(f/b/) d/b/B/b/ | d/B/d/f/ b/B/d/b/ |
{g}a(e/a/) .c/.a/.A/.a/ |
{^a}b(f/b/) a/e/c/A/ | d/e/f/d/ c/e/a/f/ | e/c/d/B/ A/E/F/G/ ||
ANGUS CHISHOLM’S
FAVORITE. Canadian, Reel. Canada, Cape
Breton. C Major. Standard tuning. AAB. Angus Chisholm (1908-1979) was an influential
Cape Breton fiddler of the mid-20th century. Cranford (Jerry Holland’s), 1995; No. 65, pg. 19.
ANGUS CHISHOLM’S IRISH
HORNPIPE. Canadian, “Played as a Reel.”
Canada, Cape Breton. G Major. Standard tuning. AABB. A traditional tune,
popular on Cape Breton Island. Cranford (Jerry
Holland’s), 1995; No. 185, pg. 52. Flying Fish
FF70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England”
(1991).
ANGUS G. MACLEOD. Scottish, Pipe March or Slow Air. Composed by Pipe Major Donald
MacLeod. Pipe Major Donald MacLeod’s
Collection. Green Linnet GLCD 1182, The Tannahill
Weavers - “Choice Cuts” (1997).
ANGUS GILLIS, THE BOSTON STEPDANCER. Canadian, Reel. Canada, Cape
Breton. E Flat Major. Standard tuning. AABB’. The first part was composed by
the late fiddler and composer Jerry Holland (1955-2009, Inverness, Cape
Breton), while the second is by Dave MacIsaac. Cranford (Jerry Holland’s), 1995; No. 52, pg. 16.
ANGUS, IAN AND ALLAN.
Canadian, Pipe Jig. Canada, Cape Breton. A Minor. Standard tuning. AABB.
Composed by the late Cape Breton fiddler and composer Jerry Holland
(1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No.
241, pg. 88.
ANGUS JIG. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB’.
The title comes from a recording of the tune by Cape Breton fiddler Joe MacLean
(who learned it from Angus Chisholm). Source for notated version: Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald),
1997; No. 172, pg. 69.
ANGUS JOSEPH MACDONALD
JIG. Canadian, Jig. Canada, Cape Breton.
Composed by Donald Angus Beaton, Cape Breton, Nova Scotia. Rounder 7011, "The Beatons of Mabou: Scottish Violin
Music from Cape Breton" (1978).
ANGUS MACEACHERN’S.
AKA and see “Colberth’s
Hornpipe.”
ANGUS MACISAAC’S JIG. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB.
Composed by the late Cape Breton fiddler and composer Jerry Holland
(1955-2009), named for a friend and supporter of his music. Cranford (Jerry
Holland: The Second Collection), 2000; No. 291, pg. 104. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice”
(1998).
ANGUS MACKINNON. Scottish, March (6/8 time). B Minor. Standard tuning. AABBCCDD.
Composed by Pipe Major Donald Shaw Ramsay. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 27.
ANGUS MACLEAN
SHEARS.
Canadian, Reel. Canada, Nova Scotia. A Mixolydian. Standard tuning. AA’BB’.
Composed by piper Barry W. Shears in honor of his father, who was named for his
grandfather, “Red” Angus MacLean, after the latter died when the former was but
six days old. Shears (Gathering of the
Clans Collection, vol. 1), 1986; pg. 56.
ANGUS MACRAE. Scottish, Pipe Strathspey. A Mixolydian. Standard tuning. AAB. Composed
by J. Scott Skinner (1843-1927), the self-styled
‘Strathspey King’. Skinner (The Scottish
Violinist); pg. 13.
X:1
T:Angus MacRae
M:C
L:1/8
R:Pipe Strathspey
S:Skinner – Scottish Violinist
Z:AK/Fiddler’s Companion
K:A Mix
{f}e<e c>e A<{G}A c2 |
d<d B>d G>d B>d | e<e c>e A<A c2 | d/e/f B>e cAA [za]
:|
|| e | a>f e>a A<{G}A
c>e | g>e d>g G<{A}G B>g | a>f e>a A>a c>a |
d>aB>e c>A A>e |
a>f e>a A<{G}A c>e |
g>ed>g G<{A}(G B/c/d) | e<e c>e A/e/e c/e/e | d/f/f B/ee cAAz ||
ANGUS ON THE TURNPIKE. Canadian, Reel. Canada, Cape Breton. The Scots' answer to the Irish
"Paddy on the Turnpike." Atlantica Music 02
77657 50222 26, Natalie MacMaster - “Atlantic Fiddles” (1994). Canadian
Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle"
(1993).
ANGUS
RANALD'S/RONALD’S BIG TUNE STRATHSPEY
(Port Mor Aonghais Raonuill). AKA and see “Josie MacArthur’s Strathspey.” Canadian, Strathspey.
Canada, Cape Breton. A Major. Standard or AEae tunings. AAB (Dunlay &
Greenberg/Beaton): ABB’CC’BB’ (Dunlay & Greenberg/MacDonald). Mary
MacDonald’s is a ‘crooked’, or irregular-measured setting of this double-tonic
melody. Sources for notated versions: Donald Angus and Kinnon Beaton, and Mary
MacDonald (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape
Breton), 1996; pgs. 126-127. NQD-5447, Doug
MacPhee - “Cape Breton Master of the Keyboard” (appears as “Josie MacArthur’s
Strathspey”). Rounder 7011, "The Beatons of Mabou: Scottish Violin Music
from Cape Breton" (1978).
ANGUS RANKIN’S. Canadian, Strathspey.
Canada, Cape Breton Island. The tune, composed by Dan Hughie MacEachern, is in
his MacEachern's Collection: Cape Breton
Scottish Music for the Violin.
ANGUS ROBICHAUD'S REEL. Cape Breton, Reel. Alcazar Dance Series 201,
Jerry Robichaud ‑ "Maritime Dance Party" (1978).
ANGUS RONALD BEATON
STRATHSPEY. Cape Breton, Strathspey. Composed
by Donald Angus Beaton, Cape Breton, Nova Scotia. BM-91,
Buddy MacMaster – “Glencoe Hall.” Rounder 7011, "The Beatons of Mabou:
Scottish Violin Music from Cape Breton" (1978).
ANGUS SMILEY. Canadian, Reel. Canada, Cape Breton. B Minor. Standard tuning. AAB.
Composed by editor and fiddler Paul Stewart Cranford, who tends lighthouses on
the Canadian coast. Cranford (Brenda
Stubbert’s), 1994; No. 40, pg. 14.
ANLON McKINNEY. Irish, Jig. G Major. Standard
tuning. AA’BB’. Composed by Chicago Irish-American fiddler Liz Carroll. Miller
(Fiddler’s Throne), 2004; No. 2, pg.
14. Green Linnet GLCD 1220, Liz Carroll – “Lake
Effect” (2002).
AN(N)ISEED-WATER ROBIN. AKA and see "The Irish Lady [1],"
"Teague's Rambles." English, Country
Dance Tune (6/8 time). E Minor: D Minor (Johnson). Standard tuning. AB. The
tune was originally published by John Playford in the first edition of his English Dancing Master (1651). Aniseed is a member of the hemlock family
and its extract was particularly famed in olden times as a treatment for
digestive disorders, although since it was aromatic it was also utilized as a
perfuming agent (as well as a pest repellent!). Aniseed-Water Robin was a real
person who obtained his name from his profession, a peddler of aniseed water,
which was used as a carminative. He was a familiar figure in London (according
to Dr. Sthephen Orgel in Impersonations:
The Performance of Gender in Shakespeare’s England, 1996, Cambridge
University Press), about whom an “extraordinary mythology” grew up. “Frith’s
assumption,” writes Orgel, “that he was a genuine hermaphrodite was widely
shared; Horner in Wycherley’s The Country Wife is warned that if he declares
himself to be impotent he will be as noxious to women as Aniseed-water Robin
ws, and Charles Cotton’s epitaph for him credits him with twice impregnating
himself, and giving birth to a boy and a girl.” Perhaps as part of the ‘mythology’ around him Robin surfaces in
the tale of one John Cottington, a chimney sweeper, who, like many in the trade
(at least in popular prejudice of the time) was also a thief, murderer and
highwayman. Alexander Smith, in his book The
History of the Highwaymen, writes:
***
He no sooner ran away from his master but he was as soon called by the name
of Mull-Sack (though his real name was John Cottington) from his usually
drinking
mulled sack, morning, noon and night. And one night drinking at the
Devil Tavern,
in Fleet Street, a match was made up betwixt him and one he took to be a
real
woman. But when he was married at the Fleet Prison, the common place for
joining
all rogues and whores together, and came to be bedded at night, he found
his partner
to be a noted person, called Aniseed-Water Robin, who being a
hermaphrodite, that is
a person of both sexes, he soon found Nature’s impotence by reason of
her redundancy
in making the supposed bride both man and woman had, in effect, made the
party neither,
as having not the strength nor reason of the male, nor the fineness and
subtlety of the female.
***
Smith in part appears to quote from
a London pamphlet issued in 1662 (“printed for W. Gilbertson at the Bible in
Giltspur-street without Newgate”), titled “The Life and Death of Mrs. Mary
Frith. Commonly Called Mal Cutpurse,” purported to be the ‘diary’ of an
infamous Fleet street criminal (and as such, no less fascinating to the public
then, as now). Mal Cutpurse was also a
frequenter of the Devil Tavern, and was an infamous ‘fence’ or receiver of
stolen property, among other crimes. She says:
***
There was also a fellow contemporary of mine, as remarkable as my self,
called Aniseed-water
Robin: who was clothed very near my Antic Mode, being an Hermaphrodite,
a person of both
sexes; him I could by no means endure, being the very derision of
natures impotency, whose
redundancy in making him Man and Woman, had in effect made him neither,
having not the
strength nor reason of the Male, nor the fineness nor subtlety of the
Female: being but one step
removed from a Natural Changeling, a kind of mockery (as I was
upbraided) of me, who was
then Counded for an Artificial one. And indeed I think nature owed me a
spite in sending that
thing into the world to Mate and Match me, that nothing might be without
a peer; and the vacuum
of Society be replenished, which is done by the likeness and similitude
of manners: but contrariwise
it begot in me a natural abhorrence of him with so strange an Antipathy,
that what by threats and
my private instigating of the Boys to fall upon, and throw Dirt at him,
I made him quit my Walk and
Habitation, that I might have no further scandal among my Neighbours,
who used to say, here comes
Malls Husband.
***
***
Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th
Century), 1997; pg. 1.
X: 1
T:Anniseed Water Robin
M:6/8
L:1/8
Q:120
C:Playford
S:Manuscript
O:Playford
A:English
K:G
efg fga| d2 d d2 e| fgf/2e/2| def/2e/2|dBB B3| efg fga| d2 d d2 e |fgf /2e/2 def/2e/2|dBB B2||
A|GGG
GFE| ggg gfe| f2 g agf/2g/2|e2 B e2 A|GGG GFE| ggg gfe | f2 g agf/2g/2|e2 B
e3:|
ANN DO TINNEAS NE TAE
TA UAIT?
AKA and see "When
Sick is it Tea You Want? [1]"
ANN DRONEY’S. Irish, Reel. D Major. Standard tuning. AABB. Soucre for notated
version: concertina player Chris Droney (County Clare) [Black]. Black (Music’s the Very Best Thing), 1996; No.
307, pg. 164. Chris Droney - “The Fertile Rock.”
X:1
T: Ann Droney's
S: Chris Droney
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
F | Adcd B2 dB | A2 FD EGFE | D2 FA d3 d | Beed cABd |
Adcd fedc | A2 FD EGFE | DEFA dedB | AFEF D3 :|
e | faaf bfaf | gfed Bd (3dcd | fdad bdad | bafe d3 e |
fdad
bdad | gfed Bcde | fgfe dedB | AFEF D3 :|
ANN FRAZER MACKENZIE. AKA – “Anne Frazer MacKenzie.”
Scottish, English; Jig. England, Northumberland. A Major. Standard tuning.
AA’BB’. The tune was popularized by Northumbrian harmonica (mouthorgan) player
Will Atkinson. Callaghan (Hardcore
English), 2007; pg. 56. Bash CD 45, Pete Coe –
“Long Company” (1997). EFDSS CD13, Pete Coe – “Hardcore English” (2007. Various
artists). MWM Records 1031, Joe Hutton, Willy Taylor & Will Atkinson –
“Harthope Burn” (1983). Andrew Davison –
“Sharing a Good Tune.”
X:1
T:Ann Frazer MacKenzie
M:6/8
L:1/8
R:Jig
K:A
E|:A2A GAB|A2A BGE|c2c Bcd|edc
BAG|A2A GAB|
c2c dcd|edB EFG|1 (A3 A2)E:|2 (A3
A2)c/d/|
|:e2c aga|f2d Bcd|c2A edc|Bcd efg|
a2a gag|edc dcd|edB EFG|1 (A3
A2)c/d/:|2 (A3 A2)||
ANN FROM MONAGHAN. Irish, Reel. D Major/Mixolydian. Standard tuning. AABB. Composed by
County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Ann was a
favorite aunt of Reavy’s on his mother’s side. She was a great storyteller with
an affinity for children and her memory (and the memory of her tales) was a
lifelong inspiration for Reavy. Reavy (The
Collected Compositions of Ed Reavy), No. 25, pg. 26.
X:1
T:Ann From Monaghan
R:Reel
C:Ed Reavy
M:2/2
L:1/8
Z:Joe Reavy
N:Ed's favorite aunt on his mother's side. She was a
N:lively story teller who could capture the hearts of the children who heard
N:her speak. And she knew everyone who lived in her region. Ed never quite
N:finishes talking about this fascinating woman of the tradition. Much of
N:his musical inspiration has been kindled by recollections of what Aunt
N:Ann said many years ago.
K:D
c |: d2 fa gece | dged dAA=c | BGGB AFFA | GFED CDEF | D2 FA E2 GB |
ABce defg | afge fded | cAGE FD D :|| g |: faa^g afdc | dfa=g fdd=f |
egg^f
ge=cB | =ceg=f ecce | d2 eg ^f2af | g2 bg ecAf | (3agf (3gfe (3fde fded | cAGE
FD D :||
ANN GILLE DUBH CIAR
DUBH (Lad with the
jet-black-hair). Scottish, Air (6/8 time). B Flat Major.
Standard tuning. One part. Morison (Highland
Airs and Quicksteps, vol. 1). pg. 2, No. 4.
X:1
T:Ann Bille dubh ciar dubh
T:Lad with the jet-black-hair
M:6/8
L:1/8
N:”Slowly”
S:Morison – Highland Airs and Quicksteps, vol. 1
Z:AK/Fiddler’s Companion
K:B_
F | B>AG F2 D/E/ | F>G _A G/B/
F>F | dcB B2D | E>D C/B,/ G2F | BB c/d/ FF D/E/ |
Ffe d2 c/B/ | BAG F2E | DB, D/C/ B,2
F | B>c d/e/ fF f/e/ | dB d/c/ B4 ||
ANN GREEN. AKA and see "Hell on
the Potomac [1]," "Hell
on the Wabash [1]," "Wake
Up Susan [1]." Old‑Time, Breakdown. USA, central New York. A
Major. AEae tuning. AABB. Bronner (1987) says "Ann Green" is a
version of the tune usually known as "Wake Up Susan," "Hell on
the Wabash," and "Hell on the Potomac," which Jabbour (in American Fiddle Tunes) has ultimately
related to the Irish "Mason's Apron".
The second part of this tune is quite similar to the 'Hell' tunes, while the
first part is what Bayard called a "foreshortened,"
"condensed" or "telescoped" strain of the same tunes.
Source for notated version: Woodhull's Old Tyme Masters (New York State), 1949
(Bronner). Bronner (Old-Time Music Makers
of New York State), 1987; No. 14, pg. 77. Victor
28‑0439B (78 RPM), and Woodhull's Old Tyme Masters, 1949.
ANN MACNAMARA. Canadian, Strathspey. Composed by Cape Breton
fiddler Dan R. MacDonald. Paul Cranford says the tune was a popular one with Cape
Breton fiddlers in the 1960’s, and a favorite of Cameron Chisholm. He notes
that composer MacDonald was a frequent visitor to the Chisholm household. Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are
Showing” (2000).
ANN MACNEIL’S FAVORITE. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AAB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
63.
ANN MACQUARRIE REEL. Canadian, Reel. Canada, Cape Breton. Composed by Donald Angus Beaton,
Cape Breton, Nova Scotia. Rounder 7011, "The
Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).
ANN MARIE MACDONALD
JIG. Canadian, Jig. Canada; Cape Breton,
Prince Edward Island. A Major/Mixolydian. AABB’. Composed by Cape Breton
musician Joey Beaton. Source for notated version: Dennis Pitre (b. 1941, St.
Felix, West Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 140.
ANN MOIRS BIRTHDAY. Scottish, Strathspey. Composed by Charles Duff. Atlantica Music 02 77657 50222 26, Natalie MacMaster - “Atlantic Fiddles”
(1994). NMAS CE 1972, Natalie MacMaster - “Fit as a Fiddle” (1993).
ANN SHEEHY McAULIFFE. See “Terry 'Cuz' Teahan’s Polka [1].”
Irish, Polka. D Major. Standard. AA’BB’. The tune was written by Cuz Teahan,
often called by one or more variations of his name i.e. “Teahan’s Polka,” “Cuz
Teahan’s,” “Terry Cuz Teahan’s” etc.
X:1
T:Ann Sheehy McAuliffe
C:Cuz Teahan
B:Paul Deloughery, Sliabh Luachra on Parade
Z:Han Speek
R:polka
M:2/4
L:1/8
K:D
D/2E/2|:FA FA|d2 dG|FA FA|FE ED/2E/2|
FA FA|d2 d2|Bc/2B/2 AF|[1 EF DD/2E/2:|][2 EF De|]
|:fa/2f/2 ed|Bd A2|fa/2f/2 ed|fe ef|
dd/2e/2 fd|Bd A2|FE FA/2F/2|[1 EF De:|][2 EF D2|]
ANN SHEEHEY’S JIG. AKA and see “The Hag’s Purse.” Irish, Jig. D Mixolydian. Standard tuning. AABB. Ann Sheehy is a Kerry musician and a teacher of flute and accordion, married to fiddle player and teacher Nicky McAuliffe, notes Paul de Grae.
X:1
T:Ann Sheehey’s Jig
M:6/8
L:1/8
R:Jig
K:Dmix
FG|A2(D F)ED|A2(B c)AF|G2(E
{F}E)DE|c2d cAG|
A2(D F)ED|A2(B c)AF|GE(E c)EE|DED
D2:|
|:A|d2(e f)ed|e2(d c)AF|G2(E
{F}E)DE|c2d cA(G|
A)dd fed|e2(d c)AF|GE(E c)EE|DED
D2:|
ANN SMALL’S JIG. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
54.
ANNA BHAN. AKA and see "Fair‑Haired
Anna."
ANNA IS MY DARLING. See "Annie is My Darling.”
ANNA MAE GRANT. Canadian, Strathspey.
Canada, Cape Breton. A Major. Standard tuning. AB. Composed by Elmer Briand
(1922-1992). Briand was born to French-Acadian parents (his father was a piper
and his mother a Gaelic speaker) in the small community of L’Ardoise, Richmond
County, Cape Breton, and began playing fiddle at the age of 12. He was a shore
and deep-sea fisherman, and moved with his family to Halifax in 1936. Briand
served in the Merchant Marine in World War II (injured when his ship was
torpedoed off the coast of Russia) and upon his return he began playing over
the radio, where he caught the attention of Canadian fiddle great Don Messer.
Messer, always on the lookout for talent, played a number of Briand’s
compositions and invited him to play on his TV show several times. Cranford (Jerry
Holland: The Second Collection), 2000; pg. 1, No. 2. Celtic Records SCX-52, “The Cape
Breton Fiddle of Elmer Briand” (c. 1962).
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
ANNA MAE’S. Canadian, Reel. Canada, Cape Breton. Composed by Anna Mae
MacEachern. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou –
“Cape Breton Fiddle and Piano Music” (2004).
ANNA MARIA. English, Country Dance Tune (3/2 time). B Flat Major. Standard tuning.
AAB (Barlow): AABB (Barnes). The melody was first published in Henry Playford’s
Part II of the Dancing Master, 2nd
edition (London, 1698). Graham Christian (writing in CDSS News, issue #185, July/August 2005) believes the title refers
to Anna Maria Brudenell (1642-1702), daughter of the 2nd Earl of
Cardigan, a famous beauty. She married the 11th Earl of Shrewsbury
in 1659, but was not out of her twenties when she engaged in an affair with the
2nd Duke of Buckingham, George Villers. Shrewsbury and Buckingham
fought a duel over her, which ended with the former dying from wounds received.
It was rumoured that Anna Maria watched the deadly affair, albeit in the
disguise of a page, and held Buckingham’s horse. She continued her liaison with
Buckingham for another five years after Shrewsbury’s death in 1668, but
eventually broke it off after her son’s trustees petitioned the House of Lords
against her. Christian points out this was probably less due to family honor
than to the likelihood of her eating away at the family funds. After a
short-lived retreat to a Paris convent, Anna Maria returned to England and
married a George Rodney Bridges of Somerset in 1677. Barlow (Complete Country Dance Tunes from Playford’s
Dancing Master), 1985; No. 371, pg. 88. Barnes (English Country Dance Tunes), 1986.
X:1
T:Anna Maria
M:3/2
L:1/8
S:Playford – Dancing Master, Part II, 2nd edition (1698)
K:Bb
b4 f3 e/f/g4|f2 ed c2 cd e2
ef|g2e2f2d2 cd e2|d2B4 f2d2B2:||
e2g4 _ag f2 ed|e2 c4 cd e2c2|e2 g4
_ag f2 ga|b2 B4 c2d2B2||
ANNA NI h-EIDIN. AKA and see "Nancy Hynes."
ANNA THUG MI GRADH
DHUIT. AKA and see "Annie/Anna is my darling".
ANNA, THY CHARMS MY BOSOM FIRE. AKA and see "Bonny Mary."
ANNABLAHA SLIDE, THE. Irish, Slide (12/8 time). Ireland, West Kerry.
G Major. Standard tuning. AABB. Mac Amhlaoibh & Durham (An Pota Stoir: Ceol Seite Corca Duibne {The
Set Dance Music of West Kerry}), No. 65, pg. 39.
ANNADEENE’S WALTZ. Old-Time, Waltz. Composed by Denton, Ky., fiddler J.P. Fraley in memory
of his wife and long-time accompanist and collaborator, Annadeene Fraley. Rounder 0037, J.P. Fraley – “Wild Rose of the Mountain”
(1973). Rounder Heritage Series 1166-11592-2, J.P. Fraley (et al) – “The Art of
Traditional Fiddle” (2001).
ANNAGHBEG POLKA, THE. Irish, Polka. Ireland, Sliabh Luachra region
of the Cork-Kerry border. D Major. Standard tuning. AA’B. Annaghbeg is a
village in the Sliabh Luachra region of southern Ireland. The source for the
tune, Johnny O’Leary (recorded in Ballydesmond in February, 1973), usually
plays this and similar tunes at a fast hornpipe/slow polka tempo, though he
occasionally plays in faster. He said to Terry Moylan:
***
You want to play that very fast for the fourth part and it’s lovely.
They’ll dance grand for it. Above in Knocknagree now no problem
in the world when I’m playing that. By playing it fast they’d be flying
off the floor for it.
***
Source for notated version: Learned
by accordion player Johnny O’Leary (Sliabh Luachra) from Din Tarrant [Moylan].
Moylan (Johnny O’Leary), 1994; No.
18, pgs. 11-12.
ANNALESE BAIN. Shetland, Reel. Composed by Shetland fiddler Aly Bain for his daughter
Annalese “who, when she was young, ran around at high speed.” Green Linnet GLCD3105, Aly Bain - “Lonely Bird” (1996).
ANNAMACULEEN REEL (Ríl Eanach Mhic Coilín). Irish, Reel. E Minor. Standard
tuning. AB. Source for notated version: flute player W. Higgins, 1966 (Mohill,
Co. Leitrim, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 194, pg. 101.
ANNAN POLKA. Scottish, Polka. G Major ('A' and 'B' parts) & D Major ('C' part).
Standard tuning. AA'BBCC(Trio). Annan is located in Dumfries, Scotland. The
Bruces were Lords of Annandale from the time of David I (c. 1124) who conferred
the lands on Robert de Brus, who was the ancestor of Robert I, king of Scotland
in 1306. Edward Balliol was defeated at the battle of Annan in 1332. However,
the “Annan Polka” is not Scottish, but is derived from Johann Strauss Sr.’s
“Beliebte Annen Polka,” composed in 1842. Seattle fiddler Vivian Williams, who
discovered the connection, notes that the Straus piece should non be confused
with Johann Strauss Jr.’s “Annen Polka,” written in 1852. The melody appears in
the Browne Family music manuscripts, which are actually a collection of
different manuscripts in different hands that was in the possession of the
Brown Family (of Troutbeck, Lake District, Cumbria, England) prior to their
being secured by the Armitt Library in Ambleside. The particular manuscript
that contains the “Annan Polka” probably dates to c. 1850, according to Chris
Partington. Kerr (Merry Melodies),
vol. 3; No. 436, pg. 50. CDTRAX 242, Wendy Stewart –
“Standing Wave.”
X:1
T:Annan Polka
M:2/4
L:1/8
R:Polka
S:Kerr – Merry Melodies, vol. 3, No. 436 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
dgBg|fA/B/ c/B/A|caAa|gB/c/ d/c/B|dgBg|fA/B/
c/B/A|Fd Dd|1
gG/A/ B/A/G:|2
[Bg][Bg][Bg]z||:B/c/d/e/ d/B/c/A/ | BG G/F/G|
AEFD|GG G/F/G|B/c/d/e/ d/B/c/A/|BG
G/F/G|AEFD|GGGz:|
“Trio”
|:f/g/ f2a|aggA|e/f/ e2g|gffz|f/g/
f2a|aggA|e/f/ e2a|dddz :|
ANNE DAWSON’S JIG. English, Jig. F Major. Standard.
One part. The tune is dated to c. 1716 by its appearance in Anne Dawson’s music
manuscript book (now in the Manchester Library, England). Her book consists
primarily of harpsichord music, including some pieces attributed to the Italian
composer Vivaldi. Plain Brown Tune
Book, 1997; pg. 3.
ANNE GERMAINE
MACDONALD. Canadian, Strathspey. Canada, Cape
Breton. A Major. ADae tuning. AAB. A modern composition by Cape Breton fiddler
and baroque violinist David Greenberg. Cranford (Jerry Holland: The Second
Collection), 2000; No. 9, pg. 4. Odyssey ORCS
1051, Jerry Holland – “Fiddler’s Choice” (1998).
ANNE MACQUARRIE’S REEL. Canadian, Reel. Canada, Cape Breton. A Major/Mixolydian. Standard
tuning. AABB’. Composed by Cape Breton fiddler and composer Donald Angus Beaton
(Mabou, Cape Breton). Source for notated version: Paul MacDonald (b. 1974,
Charlottetown, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 91.
ANNE MARIE BARRY.
Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB.
Composed by Cape Breton fiddler Howie MacDonald. Cranford (Jerry Holland:
The Second Collection), 2000; No. 259, pg. 94.
ANNE MARIE MACINNIS
JIG. Canadian, Jig. Canada, Cape Breton.
Composed by Dan Hughie MacEachern, Cape Breton, Nova Scotia. Rounder 7011, "The
Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).
ANNE MARIE'S REEL. Canadian, American; Reel. Canada, Ontario. A Major ('A' part) & E
Major ('B' part). Standard tuning. AA'BB (Phillips): AABB’ (Begin). Sources for
notated versions: Don Cameron [Phillips]; 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. 36,
pg. 48. Phillips (American Traditional
Fiddle Tunes, vol. 1), 1994; pg. 16. 30 Below TB
001CD, Les têtes de violon (Bouchard et al) – “Airs Tordus/Crooked Tunes”
(1998. A “crooked” version learned from Lisa Ornstein).
X:1
T:Anne Marie’s Reel
L:1/8
M:C|
S:Caremelle Begin – from a
transcription of Ontario fiddler Dawson Girdwood
K:A
A2|:A,>CE>A
c>BA>c|e>ag>a f>ae>c|d>Bg>f e>dc>B|A>e^d>f
e2e2|
A,>CE>A
c>BA>c|e>ag>a f>ae>c|d>Bg>f e>dc>B|A>c(3BcB A2:|
K:E
|:(B>A)|GBeB ceBe|gebe gbeg|(3fgfdf afdf|egfe
dcBA|GBeB ceBe|
gebe gbeg|(3fgfdf afdf|1{g/}fe e2
e2:|2 {g/}fe e2 A,2||
ANNE WALSH’S. AKA and see “The Lady of
the House.” Recorded under this title by the Leitrim Ceili Band, 1960.
ANNEE DE
CINQUANTE-SEPT. See "L'Annee de Cinquante-sept."
ANNESBROOK HOUSE (Teach Annesbrook). Irish, Reel. D Dorian. Standard tuning. AABB. Source
for notated version: Jack Wade (County Monaghan), whose collection was gathered
in the 1960's [Breathnach]. Breathnach (CRÉ
IV), 1996; No. 123, pg. 62.
ANNIE DICKSON. Old‑Time, Fiddle Tune. USA, Arkansas (Ozark Mountains).
ANNIE HAYES. Old-Time. A tune in the repertoire of blind northeast Kentucky fiddler
Ed Hayley, as remembered by Lynn Davis and Molly O'Day.
ANNIE HUGHES' JIG. American, “Sand” Jig (2/4 time). B Flat Major. Standard tuning. AABB.
The composition is credited to one Eddie Fox in Ryan’s Mammoth Collection (1883), and is of the type often called
a ‘sand jig’, a kind of 2/4 syncopated vehicle for a stage dance that derived
its name from the practice of strewing sand on the floor to reduce friction and
facilitate brushing movements with the shoes.
Edward Le Roy Rice, in his book Monarchs
of Minstrelsy (New York, 1911), says this about Fox:
***
EDDIE FOX is known wherever minstrelsy is
spoken. Mr. Fox’s career began at the tender
age of five years, and continued up until about 1897, when he “laid down
the fiddle and the
bow”—not because “there was o more work for poor Uncle Ned”---no,
indeedy—for Mr.
Fox refuses to grow old, and he could have work aplenty if he so
desired. Newcomb and
Arlington’s Minstrels engaged him about 1867; subsequently he was with
Newcomb’s
Minstrels. When Simmons and Slocum opened their minstrel house in
Philadelphia in
1870, Eddie Fox was leader, and remained there several seasons. Likewise
was he
identified with Barlow, Wilson, Primrose and West’s Minstrels at their
inception in
1877, and continued with them during their existence as an organization,
terminating
in June, 1882. Other prominent minstrel engagements were Barlow, Wilson
Company,
George Wilson’s, Cleveland’s, and his last—Al. G. Field’s. Mr. Fox
composed some
of the most popular music in minstrelsy, notably the “Big Sunflower,”
immortalized
by Billy Emmerson; “Kaiser, Don’t You Want to But a Dog?” for Gus
Williams;
”Noreen Moreen,” “Goodbye, Liza Jane,” “Carry the News to Mary” and scores of
others. As a jig and reel player he is without a peer. Mr. Fox likewise
enjoys the dis-
tinction of having been always the highest salaried “leader” in
minstrelsy. Eddie Fox was
born in Glens Falls, N.Y., October 28, 1848; a letter addressed care of
any minstrel show
playing in Philadelphia will always reach him.
(pgs. 195 & 198).
***
Cole (1000 Fiddle Tunes), 1940; pg. 83. Ryan’s Mammoth Collection, 1883; pg. 116.
X:1
T:Annie Hughes’ Jig
M:2/4
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:B_
(d/>c/) | B/G/ z/A/ B(D/>E/) | F/>B/A/>(c/
{c}B/>)A/B/>c/ | d/>A/B/>d/ g/>f/e/>d/ | c/>=B/c/>B/
c/>e/d/>c/ |
B/G/zA/ BD/>E/ |
F/>B/A/>(c/ {c}B/>)A/B/>c/ | d/>A/B/>d/ g/>f/e/>d/ |
c/>B/A/>c/ B :|
|: (B/>.c/) | d/>f/g/>a/
b>f | (a/g/){a}g>^f/ gc/>d/ | e/G/z/e/ d/F/z/d/ | c/E/z/c/
B/>A/B/>c/ |
d/>f/g/>a/ b>f |
(a/g/){a}g/>^f/ gg/>a/ | g/>=f/a/>g/ f/>e/d/>c/ | (3Bde (3fga
b :|
ANNIE IN THE CABBAGE
PATCH. AKA and see "Sla Andulka do Zeli." American.
The melody, a once-popular children's dance in northern Wisconsin, is really
the Czech tune "Sla Andulka do Zeli" (Leavy).
ANNIE/ANNA IS MY
DARLING (Anna thug mi gradh dhuit). Scottish (originally), Canadian;
Reel. Canada; Cape Breton, Prince Edward Island. A Major. Standard or AEae
tunings. AAB. Composed by Captain Simon Fraser, compiler of the Fraser Collection, originally dated
1815. The editor of the 1986 edition, Paul Cranford of Cape Breton, says it is
a good tune for a "raised bass", or AEae tuning. The tune
"celebrates the beauty of a young lady, in terms which she thinks so very
far beyond her due, that she requested her name to remain uncommunicated"
(Fraser). Sources for notated versions: Allan MacDonald (b. 1950, Bangor,
North-East Kings County, Prince Edward Island) [Perlman]; Simon Fraser’s
collection [Henderson]. Fraser (The Airs
and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874;
No. 30, pg. 10. Henderson (Flowers of
Scottish Melody), 1935. Kerr (Merry
Melodies), vol. 2; No. 16, pg. 5. Lowe (A
Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 31 (as “Annie is my darling”).
Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 107. Stewart-Robertson (The Athole Collection), 1884; pg. 19. Canadian
Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle"
(1993).
X:1
T:Anna is My Darling
M:C|
L:1/8
S:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
c|A2AE CEAB|cdBc AFFG|A/A/A AE CEAe|cAec B2A:|
d|ce e2 cff2|ecBA BFFd|cee2 cefg|agfe fefg|agfe fgaf|ecdB cAFA|
GAEA
CEA,e|cAec B2A||
ANNIE LAURIE. Scottish, Air (4/4 time)
or Strathspey. D Major. Standard tuning. One part (Bain): AAB (Neil): AABB
(Kerr). Neil (1991) writes that the air and a portion words were written by
Lady Jane Scott (1810‑1890), after an old ballad composed by Douglas of
Fingland in honor of Annie, the youngest daughter of Sir Robert Laurie, 1st
Baronet of the Maxwelton family, whose seat of Maxwelton was located on the
banks of the valley of Bairn in Dumfriesshire, Scotland. Sir Robert and Annie
were lovers, though secret ones, who had met at a ball in Edingburgh; they
trysted often in the woods around Maxwelton, but Robert, committed to the
Jacobite cause, was eventually forced to flee the country. J. Murray Neil
(1991) informs us: "It is said the Annie was very slim and graceful. She
was a classic beauty with a longish face, large blue eyes and brown hair, which
she left un-powdered, contrary to the custom of the day. Her hands and feet were small so that the
reference in the ballad ("Like dew on the gowan lying, Is the fa' o;' her
fairy feet") would seem to be based in fact." Lady Scott's song
enjoyed great popularity, particularly in the Crimean War, which only waned
after World War II. She was the eldest daughter of her generation of the
Spottiswoode family and married John Scott, the third son of the Duke of
Buccleugh. He died in 1860, but ten years later Lady Jane inherited the estates
of her family of origin, near Lauder in Berwickshire, and, in accordance with
her father's will, returned to her maiden name, Alicia of Spottiswoode, when
she assumed the property. As a parlor song it was popular in the English
speaking world in the late Victorian era [Neil]. The great Scots composer William Marshall wrote a strathspey in her honor (see “Lady John Scott”). There have been
other adaptations of the melody as well; as a schottische and waltz, in
America, for example. Guthrie Meade (Country Music Sources, 2002) lists three
early commercial recordings of the melody: Billy Bishop (1927), Billy Boyd
& His Cowboy Ramblers (1938), and Cliff Bruner’s Texas Wanderers (1939).
Bain (50 Fiddle Solos),1989; pg. 41.
Kerr (Merry Melodies), vol. 4; No.
42, pg. 7. Neil (The Scots Fiddle), 1991; No. 35, pg. 45. Rounder
0089, "Oscar & Eugene Wright: Old Time Fiddle and Guitar Music from
West Virginia."
X:1
T:Annie Laurie
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 42 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
F|D<D d>c c<B B>d|A<F
E>D E3F|D<D d>c c<B B<d|A<F F>E D3:|
|:A| d<d e>A f2 (3ABc|d<d
e>A f2 f>e|d>c B<d A<F F>E|D<d F>E D3:|
ANNIE LAURIE
SCHOTTISCHE. American, Scottische. G Major.
Standard tuning. AABBCC. Ford (Traditional
Music in America), 1940; pg. 161.
ANNIE LAURIE (WALTZ).
Old-Time, Waltz. D Major. Standard tuning. AB. A waltz setting of the
4/4 “Annie Laurie” air. Source for notated version: Gary Johnston (1937-,
Nevada, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark
Fiddle Music), 2008; pg. 79. Gary Johnston –
“Johnston Fiddling” (2005).
ANNIE O'BRIEN. Irish, Slow Air ("A Lament," 6/8 time). A Major. Standard
tuning. One part. Joyce (Old Irish Folk
Music and Songs), 1909; No. 198, pg. 98.
X:1
T:Annie O’Brien
M:6/8
L:1/8
R:Air
N:”Slow and with feeling”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:A
E|A2A A<cc|d2e c2A|B2c A2A|(A3
A2)g|f2f ef g2|a2a e2e|B2A Bcd|(e3 e2)g|
f2f efg|a2a e2e|c2A Bcd|(e3 e2)c|A2A
ABc|d2f c2A|B2c A2A|(A3 A2)||
ANNIE O'NEILL. Irish, Reel. G Major. Standard
tuning. AB (O'Neill/1850): AA'B (O'Neill/Krassen). O'Neill (Krassen), 1976; pg.
106. O'Neill (Music of Ireland: 1850
Selections), 1903/1979; No. 1253, pg. 236.
ANNIE POKE. Old‑Time, Fiddle Tune. USA, Arkansas (Ozark Mountains).
ANNISEED WATER ROBIN. See "Aniseed Water Robin."
ANN’S GOSLING. Irish, Jig. D Major. Standard tuning. AA’BB’. The ‘c’ notes are natural
in the fourth and fifth measures of the ‘A’ part. Source for notated version:
fiddler Peter Turbit [Feldman & O’Doherty]. Bulmer & Sharpley (Music from Ireland, vol. 1); 197?; No.
62 (appears as untitled jig). Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 230 (appears as last “Untitled
Jig” on page).
ANNSA BAILE SEO
COMNAIDEANN AINDEAR (Within this Village
Dwells a Maid).
AKA and see "Within this
Village Dwells a Maid [2]."
ANODD YMADAEL. AKA and see “Loath to Depart
[1].”
ANONN 'R ANALL. AKA and see "Hither and
Thither."
ANOTHER JIG WILL DO (Deanfaid Port Eile). AKA and see "He didn't dance all day,"
"I whistled and called her
back," "That's the
time o' day," “Whiskey and Beer.”
Irish, Slip Jig. D Major. Standard tuning. AAB (Brody): AABB (O'Neill). A
common slip jig at modern sessions, popularized by the Boys of the Lough. Boys of the Lough, 1977, pg. 25. Brody (Fiddler’s Fakebook), 1983; pg. 23.
O'Neill (Krassen), 1976; pg. 86. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1163, pg. 219. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 437, pg. 85. Ryan’s
Mammoth Collection, 1883; pg. 87. Philo 1026,
"Boys of the Lough." Trailer LER 2090, Boys of the Lough,
"Second Album."
X:1
T:Another Jig Will Do
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 437
Z:AK/Fiddler’s Companion
K:D
ABA A2G F2G|ABA AGF G3|ABA A2G F2G|A2d d2c d3:|
||A2g f2d e2c|A2B =c2d c3|A2g f2d e2c|A2d d2c d3|A2g f2d e2c|
A2B =c2d c2^c|dcA A2G F2G|A2d d2c
d3||
ANOTHER NANCY’S FANCY (or THE LANG STAFF).
English, Triple Hornpipe (3/2 time). G Major. Standard tuning. AABB. A
modern musical composition and longways dance by English collector Pat Shaw
(1917-1977), albeit in an archaic form. The first part has 10 bars, while the
second has the usual eight. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 4.
ANOTHER ONE. American, Jig. G Major. Standard tuning. AABB. Sweet (Fifer’s Delight), 1964; pg. 41.
X:1
T:Another One
M:6/8
L:1/8
R:Jig
Z:AK/Fiddler’s Companion
K:G
d2c | B2G GFG | B2G GFG | ABA ABc |
d3d2c | B2G GFG | B2G GFG | A2A DEF | G3 :|
|: def | g2g gfe | d2d dcB | ABA ABc
| ded def | g2g gfe | d2d dcB | ABA DEF | G3 :|
ANOY'S JIG. AKA and see “Bride of the
Winds.” Canadian, Jig. Apex 1613, "Don Messer
and his Islanders, Vol. 6."
ANSACHT UÍ DHÚGÁIN. AKA and see “Dougan’s Fancy.”
ANSBORO’S REEL. See “Martin Ansboro’s Reel.”
ANSWER I GOT, THE. Irish, Jig. G Major. Standard tuning. AA’BB. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 160.
X:1
T:Answer I Got, The
M:6/8
L:1/8
R:Jig
S:Rice-Walsh manuscript
Z:Paul Kinder
K:G
dBG GDG|GDG B2 d|ecA ABA|ABA c2 e|
dBG GDG|GDG B2 d|efg dBd|1gba gfe:|2GGG G2 B/2c/2|
|:dBg dBg|ecg ecg|fdg fdg|aAA ABc|
dBg
dBg|ecg ecg|fdg fga|gba gfe:||
ANTHONY FRAWLEY'S JIG (Port Anoine Uí Fhreaghaile). Irish Jig. G Major. Standard. AABB.
Breathnach (1976) finds the tune related to “An
Seanduine Dóite” (The Burnt Old Man
[1]). Source for notated version: fiddler Patrick Kelly, 1967 (Cree, Co.
Clare, Ireland) [Breathnach]. Breathnach (CRE
II), 1976; No. 9, pg. 7
X:1
T:Anthony
Frawley's Jig
M:6/8
L:1/8
S:Tony Crehan, Miltown Malbay 1993 (who called it “Patrick Kelly’s Jig”)
R:jig
D:as Anthony Frawley's on Wind Among the Reeds by Keane & McCarthy
Z:Paul
Keating
K:G
A|:"G"GED GBA|"G"GED G2 A|"G"GED
GAB|"G"dBA B2 A|!
"G"GED GAB|"Bm"def "G"g2 a|"G"bag "Am"ege
|"G"dBA B2 A:|!
"G"d2 d "Em"edB|"Bm"def
"Em"gfe|"G"d2 d "Em"edB|"G"dBG
"Am"GAB|!
"G"d2 d "Em"edB|"Bm"def "G"g2
a|"G"bag "Em"ege|"G"dBA B2 A|!
"G"dBd "Em"edB|"Bm"def
"Em"gfe|"G"dBd "Em"edB|"G"dBG
"Am"GAB|!
"G"d2 d "Em"edB|"Bm"def "G"g2
a|"G"bag "Em"ege|"G"dBA B2||!
ANTHONY MURRAY'S REEL. See "Antony Murray's Reel."
ANTHONY’S BRIDGE. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AAB. Composed
by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 56.
ANTIETAM JIG, THE. American, Dance Tune. D Major. Standard
tuning. The melody appears in Frank B. Converse’s Method for the Banjo (1865).
X:1
T:Antietam Jig, The
M:C|
L:1/8
Z:Gary Chapin
K:D
DFzA d>AF2|EGzB e3c|d>ed>B
A>BA>F|d>BA>F E2z2|DFzA d>AF2|
EGzB e3c|d>ed>B
A>BA>F|E2A2D2z2||
EAzB A>FE>D|B,Bzc
d>ed>B|EAzB A>FE>D|d>BA>F E2z2|
EAzB A>FE>D|B,Bzc
d>ed>B|B>Ad>B A>BA>F|E2A2 D4||
ANTI-GALLICAN
PRIVATEER, THE. English, Air (6/8 time). England,
Northumberland. G Major. Standard tuning. AAB. A ballad tune to which Stokoe
(1882) prints the lyrics. He says: "In Sykes' Local Records, under the
date 1779, March 6th, appears the following record:‑‑'The Anti‑gallican
privateer, of Newcastle, sailed from Shields on a six months' cruise against
the enemies of Great Britain (i.e. France and America), being the first that
ever sailed from that port Completely fitted and manned.' This song and air
were popular at the time the privateer sailed, but the great expectations to
which they gave utterance were in this instance doomed to disappointment, as
the vessel returned at the end of her cruise without a prize of any kind to
reimburse the speculators in what has been called 'legalized piracy.'" The
title was included in Henry Hobson's list of Northumbrian songs and tunes
popular c. 1800. Bruce & Stokoe (Northumbrian
Minstrelsy), 1882; pgs. 122‑123.
X:1
T:Anti-Gallican Privateer
M:6/8
L:1/8
R:Air
S: Bruce & Stokoe – Northumbrian Minstrelsy
Z:AK/Fiddler’s Companion
K:G
B|d2B GAB|c2A F2A|d2B G2E|F2A d2:|
B|d2d d2d|e2f g2f/e/|d2B cBA|G2G G3|
A2B
c3|B2d g2f/e/|d2B cBA|G2G G2||
ANTIGUA. American, Air or March. D
Major. Standard tuning. AABB. A hymn tune employed by fiddler Randy Miller as a
march. Miller (Fiddler’s Throne),
2004; No. 327, pg. 193.
ANTONY MURRAY('S
REEL). AKA
and see “Hills of Cape Mabou”
(Cnuic Rudha Mhabou), “Lord
Murray Strathspey,” “Port ‘ic Artair”
(MacArthur’s Tune), "Tilly Plump"
(Shetland). Scottish, Reel; Cape Breton, Strathspey. A Major. AEae tuning. AB.
The tune was commonly played in scordatura tuning in Scotland in the 19th
century and earlier, and is currently played on Cape Breton in AEae tuning.
“Anthony Murray’s Reel” first appears in Alexander “King” McGlashan's collection (1780) On
Cape Breton the tune is sometimes known as “Christie’s Sister” because it was
often played following “Christie
Cambpell.” John Shaw, in the booklet for Topic 12TS354 writes: “According
to tradition in the Inverness-Mabou area (the tune) was associated with the
family of MacArtair Mor (Big MacArthur) of Mabou Coal Mines, whose father ws
born on the Isle of Canna, Inner Hebrides Scotland.” Source for notated
version: Buddy MacMaster and Mary MacDonald (Cape Breton) [Dunlay &
Greenberg]. Dunlay & Greenberg (Traditional
Celtic Violin Music from Cape Breton), 1996; pg. 125. Martin (Traditional Scottish Fiddling), 2002;
pg. 28. McGlashan (Collection of
Strathspey Reels), c. 1780/81; pg 15. ACR4-12940,
Buddy MacMaster (Appears as “Traditional Strathspey”). EMI E4 80683, John
Morris Rankin - “North Country”(1993. Appears as “Lord Murray Strathspey”).
Overton 1829-I-LM 88, Dwayne Cote - “Introduction” (1992. Appears as “Cnuic
Rudha Mhabou”). RLP 107, Joe MacLean - “And his Old Time Scottish Fiddle” (c.
1967). Rounder 7009, Doug MacPhee - “Cape Breton Piano”(1977. Appears as “Hills
of Cape Mabou”). Rounder Records , John L. MacDonald – “Formerly of Foot Cape
Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005.
Appears as “Hills of Cape Mabou”). Topic 12TS354, John Willie Campbell - “Cape
Breton Scottish Fiddle” (1978. Appears as “Port ‘ic Artair”). WRC1-1548, Carl
MacKenzie - “And his Sound is Cape Breton”(1981. Appears as “Strathspey”).
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Anthony Murray’s Reel
M:C|
L:1/8
R:Reel or Strathspey
S:McGlashan – Strathspey Reels (pg. 15)
Z:AK/Fiddler’s Companion
K:A
E|C>E A2 C>E A2|AFEB B,/B,/B, B,2|CD/E/AE FEAE|F>AEC A,/A,/A, A2:|
c/d/|e>cAe c<A e>c|d>fe>c B/B/B Bc/d/|e>cAe c<A e>c|d>fe>c A/A/A Ac/d/|
e>cAe
c<A e>c|egdf c/c/c c>B|FAEF DFCE|A/G/F/E/ Ac, A,/A,/A, A||
ANTIGONISH GATHERING.
Canadian, Pipe March (2/4 time). Canada, Nova Scotia. A Mixolydian. Standard
tuning. AABBCCDD’. Composed by Pipe Major Fraser Holmes, of Pictou County, Nova
Scotia, honoring the oldest continuous Highland Games in the Western
Hemisphere. Shears (Gathering of the
Clans Collection, vol. 1), 1986; pg. 28.
ANTIGONISH HIGHLAND CENTENNIAL
MARCH, THE. AKA – “Briley’s Brook.” Canadian, March
(whole time). Canada, Cape Breton. D Major. Standard tuning. AABB’CC’. Composed
by the late Arisaig, Cape Breton, fiddler Wilfred Gillis, one of the original
members of the Cape Breton Symphony (along with a young Jerry Holland and
Winston “Scotty” Fitzgerald). Cranford (Jerry Holland: The Second Collection),
2000; No. 79, pg. 32.
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
ANTIGONISH POLKA [1]. Canadian, Polka. Canada, Cape Breton. D Major. Standard tuning. AABB’. The
title refers to a town in Nova Scotia. Source for notated version: Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Fitzgerald), 1997; No. 209, pg. 82. Front
Hall FHR‑024, Fennig's All‑Star String Band ‑
"Fennigmania" (1980. Learned from a recording by Cape Breton fiddler
Winston 'Scotty' Fitzgerald, who himself learned the tune from a 78 RPM disc by
Antigonish fiddler Hugh A. MacDonald).
See also listing at: Alan Snyder’s Cape Breton Fiddle Recording
Index |
ANTIGONISH POLKA [2]. Canadian, Polka. Canada, Cape Breton. D Major. Standard tuning. AA’BB.
Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton)
[Cranford]. Cranford (Winston Fitzgerald),
1997; No. 210, pg. 82. Front Hall FHR‑024,
Fennig's All‑Star String Band ‑ "Fennigmania" (1980.
Learned from a recording by Cape Breton fiddler Winston 'Scotty' Fitzgerald,
who himself learned the tune from a 78 RPM disc by Antigonish fiddler Hugh A.
MacDonald).
See also listing at: Alan Snyder’s Cape Breton Fiddle Recording
Index |
ANTON A’BHEARNAIS (“Tony/Anton of the Gap”). AKA and see “This is My Love, Do You
Like Her?” “My Love in the
Morning,” “Kiss the
Maid Behind the Bier.” Recorded by Seamus Glackin on “An Fhidil vol. 1.”
ANTRIM HILLS. Irish, Polka. G Major. Standard. AABB. Source for notated version: Rod
Miller (New Hampshire) [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 1977;
Addenda. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 125.
ANTRIM LASSES, THE (Cailini Aontroma). Irish, Double Jig. A Mixolydian.
Standard tuning. AABB. Bayard identifies this tune as belonging to the "Bung Your Eye" tune family, and gives
extensive notes to this large relationship of melodies‑‑see "Lanigan's Ball." Levey (Dance
Music of Ireland, 2nd Collection), 1873; No. pg. (appears as
untitled jig). O'Neill (Krassen), 1976; pg. 41. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 911, pg. 170. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 154, pg. 40.
X:1
T:Antrim Lasses
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
154
Z:AK/Fiddler’s Companion
K:A
E|A2E Acd|ede ABA|=G2D G>Bc|dcd
=G2B|A2E ABd|e2f =gfg|edc Bcd|ecA A2:|
|:a|aga A2a|aga A2=g|=gfg =G2g|=gfg
G2B|c2c d2d|e2f =gfg|edc Bcd|ecA A2:|
X:2
T:Antrim Lasses
M:6/8
L:1/8
R:Jig
S:Levey - Dance Music of Ireland, 2nd Collection (1873)
N:Appears as untitled jig in Levey
Z:AK/Fiddler's
Companion
K:A Minor
E | A2E Acd | ede A>BA | G2D G>Bc | d>cd G2A | A2E ABc |
e2^f gfg | edc Bcd | e2A A2 :: a | a^ga A2a | a^ga A2=g | g^fg G2g |
g^fg G2B | c2c d2d | e2^f gfg | edc Bcd | e2A A2 :|
ANTRIM ROSE (Rós Aontroma). Irish, Reel. D Major. Standard tuning. AABB.
Composed by accordion player Paddy O’Brien. Source for notated versions:
fiddler James Kelly and accordion player Paddy O'Brien [Black, Breathnach].
Black (Music’s the Very Best Thing),
1996; No. 164, pg. 86. Breathnach (CRÉ
III), 1985; No. 147, pg. 69. Shanachie 29015,
Paddy O'Brien & James Kelly ‑ "Is it yourself?" (1979).
Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional
Music of Ireland” (1995).
X:1
T: Antrim Rose
S: J.Kelly - P.O'Brien
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
de | fd (3dcd edBd | Ad (3dcd AdBd | fd (3dcd edBd | Adgf e2 de |
fd (3dcd edBd | Ad (3dcd AdBd | eaaf gfeg | fedB A2 :|
cd | e3 f edBd | (3efe df efgf | egfd edBd | Addc d2 cd |
e3
f edBd | (3efe df efgf | eaaf gfeg | fedB A2 :|
ANTYCKE. See "Chase the Squirrel."
English. The melody is from a lute tablature MS. from 1570.
ANVIL, THE. Shetland, Reel. Similar to the Irish reel “Tam Lin” (Howling Wind) and “The Glasgow Reel.”
X:1
T:The Anvil
M:C|
L:1/8
R:Reel
O:Shetland
K:Am
E2AE EAAE|E2AB cBAE|F2AB cBAE|F2AB
cBAF|
G2Bc dcBc|dcBc dcBd|cBAB cBAB|cBAB
cBA2:|
|:edcB ABcd|edcB ABAE|F2AB cBAE|F2AB
cBAF|
G2Bc dcBc|dcBc dcBd|cBAB cBAB|cBAB
cBA2:|
|:eaed cBAe|eaed cBAE|F2AB cBAE|F2AB
cBAF|
G2Bc dcBc|dcBc dcBd|cBAB cBAB|cBAB
cBA2:|
ANWICK LODGE. Scottish, Scots Measure. B Flat Major. Standard tuning. AAB. “Very
slow” (Gow, 1817). Composed by the Earl of Eglinton. Gow (Complete Repository), Part 4, 1817; pg. 14.
X:1
T:Anwick Lodge
M:C
L:1/8
R:Scots Measure
S:Gow – 4th Repository
(1817)
Z:AK/Fiddler’s Companion
K:Bb
d2 d>e f2 f>f|(gf)(ed) c2B2|d2
d>e f2 f>f|(gf)(e>d) (d2c2):|
d2 d>d c3B|c>Bcd (e2c2)|d2
d>d dfed|c3B B4|d2 d>d {d}c3B|
{d}c>Bcd {f}e2c2|d2 d>d
(dfe)d|c3B B4||
ANY PRIVATION BUT THIS (Creach na ciadainn). Scottish, Air (3/4 time). G Major. Standard
tuning. AB. "The words to this air are in most collections of Gaelic
songs, ‑ and hearing these translated, will explain the occasion and
circumstances of 'the privation' to a poet who takes up the subject, better
than any recapitulation of the editor, ‑ his first provence being to
communicate the airs correctly and intelligibly, in order to establish thier
standard, before the poet attempts to attach verses" (Fraser). Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 85.
X:1
T:Any privation but this
T:Creach na Ciadainn
M:3/4
L:1/8
R:Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:G
G>=F|E2 Dz c2|B2 dz g>e|d2 Bz d>B|A2 Gz G>=F|E2 Dz c2|B2 dz g>e|
D2 Bz d>B|A2 Gz||G>A B2 Bz c>B|A2 Gz D>G|A2 Gz =f>g|a2 gz g>=f|
e2
dz B>c|d2 Bz B>c|d2 g2 d>B|A2 Gz||
ANY THING. English, Jig. F Major. Standard
tuning. AABB. Thompson (Compleat Collection of 200 Favourite Country
Dances, vol. 1), 1757; No. 138.
X:1
T:Any Thing
M:6/8
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:F
A2F
c2F|A2F cBA|B2G d2G|B2G dcB|A2F c2F|A2F f2g|agf cfe|f3 F3:|
|:fga agf|efg gfe|def fed|edc cBA|Bcd dcB|ABc f2B|AGF CFE|F3 f3:|
ANYTHING FOR JOHN JOE? (Rud ar bith do Seán Joe?). AKA- “Anything for Jonjo.” AKA and
see “Anything When You Die,” “Julia Cliffords (Reel),” "Ríl an Lisin." Irish, Reel. Ireland,
Sliabh Luachra region of the Cork-Kerry border. D Mixolydian (Breathnach,
Moylan): D Major (Cranitch, Tubridy). Standard tuning. AB (Cranitch, Tubridy):
AAB (Mallinson): AA'B (Breathnach, Moylan). Source Johnny O’Leary usually
paired this tune with “Johnny When You Die,” calling the pair “The Sliabh
Luachra Reels.” See also “The Lisheen
Reel [2]” (Ríl an Lisín). Source
for notated version: fiddlers Julia
Clifford & Denis Murphy (west Kerry, Ireland) [Breathnach]; accordion
player Johnny O’Leary (Gneevgullia, Kerry) [Moylan]. Breathnach (CRÉ III), 1985; No. 164, pg. 76.
Cranitch (Irish Fiddle Book), 1996;
pg. 82. Mallinson (Enduring), 1995;
No. 6, pg. 3. Moylan (Johnny O’Leary),
1994; No. 296. Tubridy (Irish Traditional
Music, Book Two), 1999; pg. 17. Cladagh Records
CC5, Denis Murphy & Julia Clifford ‑ "The Star above the
Garter" (1969).
X:1
T:Anything for John Joe
L:1/8
M:C|
K:D
AG|F2 AF G2 BG|F2 AF E2 DE|F2 AF G2
BG|ABcA d2 AG|
F2 AF G2 BG|F2 AF E2 DE|F2 AF
G2B2|ABcA d3||
e|f2 af e2 de|faaf e2 de|faaf
efed|cABc d3e|
f2 af e2 d2|faaf e2d2|defg a2a2|ABcA
d2||
ANYTHING WHEN YOU DIE. AKA and see “Anything for John Joe,”
“Julia Clifford’s.” Irish,
Reel. D Major. Standard tuning. AAB. Source for notated version: Dennis Murphy
and Julia Clifford
(Sliabh Luachra region of east Kerry) [Sullivan]. Sullivan (Session Tunes), vol. 3; No. 55, pg. 22.
ANYTHING YOU PLEASE. English, Air (2/4 time). A
Major. Standard tuning. AABB. 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. 83.
AOIBHNEAS AN
tSAIGHDIÚRA.
AKA and see “Soldier’s Joy [3].”
AOIBHNEAS ÉLLÍS NÍ
CHEALLAIGH (Elizabeth Kelly’s
Deligh). AKA
and see “Elizabeth Kelly’s
Delight” [1] and [2].
AOIBHNEAS LAURA. AKA and see “Laura’s Delight.”
AOIBHNEAS NA MÁTHAR. AKA and see "Mother's
Delight."
AOIBHNEAS PHILIP UÍ
BHEIRN (Philip O’Beirne’s
Delight). AKA
and see “Philip O’Beirne’s
Delight.”
AOIBNEASA AN DOCAIS. AKA and see "The
Pleasures of Hope."
AOIBNEASA UÍ h-AENGUSA. AKA and see "Hinchy's Delight."
AOIBHNEAS UÍ MHONGÁIN. AKA and see “Mangan’s Fancy.”
AOIFE’S REEL. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. Composed
by fiddler Jerry Holland for a young fiddler. Cranford (Jerry Holland’s), 1995; No. 2, pg. 1. Fiddlsticks
cass., Jerry Holland - “Fathers and Sons” (1992). Green Linnett, Jerry Holland
- “The Fiddlesticks Collection” (1995).
AONAC BEL-ATA-NA-SLUAIGEAD. AKA and see "Ballinasloe Fair."
AONAC ROGAIN, AN. AKA and see "The Fancy Fair."
AONACH BHÉAL ÁTHA NA
SLUAIGHE. AKA and see "The Ballinasloe Fair."
AON'S DO NA
PIOBAIREACDA. AKA and see "Ace and Deuce of Pipering."
AP HUW. Harp Air. Alan Stivell notes that this ancient sonata for bardic harp
was learned from a 17th century manuscript but that it had been transmitted
orally since the High Middle Ages. "It was scholarly music, sometimes
figurative, showing certain links with Piobaireachd (classical Scottish bagpipe
music)." Rounder 3067, Alan Stivell ‑
"Renaissance of the Celtic Harp" (1982).
AP SHENKIN. AKA and see "The Tempest [1],"
"Even and Odd,
Like Tom with His Hod," "The
Dear Little Island," "Mississippi."
English, Scottish; Jig. G Major. Standard tuning. AAB. Bayard (Dance to the Fiddle), 1981; No. 506, pg.
461 (appears as "Square Dance"). Goulding (Twenty Four Country
Dances for the Year 1808), 1808; No. 2. Kennedy (Fiddler’s Tune Book), vol. 1, No. 93, pg. 46. Kerr (Merry Melodies), vol. 3; No. 258, pg.
29. Riley's Flute Melodies, vol. I,
1814; pg. 58.
X:1
T:Ap Shenkin
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 258
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
d/c/|B2B Bgf|e2e efg|ded dcB|BAA
Adc|B2B Bgf|e2e efg|ded cBA|AGG G2:|
||g|b2g a2f|gfe dcB|cde dgB|BAA
A2g|b2g a2f|gfe agf|bag fge|dgf edc||
X:2
T:Ap Shenkin
M:6/8
L:1/8
R:Jig
B:Goulding – Twenty Four Country
Dances for the Year 1808 (London)
Z:Transcribed and edited by Flynn Titford-Mock
Z:abcs’s:AK/Fiddler’s
Companion
K:G
d/c/|B2B Bgf|{f}e2 e efg|ded dcB|BAA
A2 d/c/|B2B Bgf|e2 e efg|
ded cBA|G2G G2:||g/a/|b2g a2f|gfe
dcB|cde dgB|BAA A2 g/a/|
b2g a2f|gfe agf|bag fge|dgf edc|B2B
Bgf|{f}e2e efg|
ded dcB|BAA A2 d/c/|B2B Bgf|e2 e
efg|ded cBA|G2G G2||
APEX REEL. AKA and see "Gaspe Reel [1]."
This title for the "Gaspe Reel" comes from the record label, Apex,
for whom the tune was recorded, renamed only because the fiddler couldn't
remember the name of the tune but could picture the record label.
APLEY HOUSE. English, Dance Tune (2/2 time). G Major ('A' and 'C' parts) & D
Major ('B' part). Standard tuning. ABC (Sharp): AABBCC (Barnes, Karpeles, Raven). First published in 1703. Barnes
(English Country Dance Tunes), 1986.
Karpeles & Schofield (A Selection of
100 English Folk Dance Airs), 1951; pg. 23. Raven (English Country Dance Tunes), 1984; pg. 22. Sharp (Country Dance Tunes), 1909/1994; pg. 77.
X:1
T:Apley House
M:2/2
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:G
B2G2 Bc d2|e2d2A2c2|B2G2 g2G2|B4
d4|B2G2 Bc d2|e2dc2A2c2|B2G2 g2G2|
B2 d4||f2a2 bagf|e2g2 g2 fe|f2a2
bagf|e4 d4|f2a2 bagf|e2g2 g2 fe|f2a2 bagf|e4 d4||
e2=c2 cdec|d2B2 BcdB|g2 G2 G2A2|B4
d4|e2c2 cdec|d2B2 BcdB|g2G G2A2|B4 d4||
APOLLO 11. Canadian, Reel. Composed by
Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989); one of
several tunes he composed in honor of the c. 60’s-70’s space program. Durocher
was born the youngest of sixteen children, to a modest family of few resources.
He quit school in his young teens to help make family ends meet and remained a
factory worker for most of his life, not even possessing a drivers license.
John came to fiddling when he found a broken fiddle in the trash one day and
asked the owner for permission to retrieve it; with some repair work he had his
first instrument. A few lessons from a local teacher (which served to teach him
how to read and write music), were all the formal music education John
received. He was a prolific composer of fiddle tunes, however, and named them
for sports and current events, family and friends and topics of his day,
explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer,
who included many of his tunes in his broadcasts and printed collections,
helping Durocher to become quite influential in the Ontario scene for his over
400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted
Composer,” Fiddler Magazine, vol. 12,
No. 2, Summer 2005, pgs. 25-27].
APOLLO 12. Canadian, Reel.. Composed by John Durocher (see note for “Apollo 11”).
APOLLO CLUB. American, Hornpipe. A Major. Standard tuning. AABB. In the 18th
century, New York City’s Apollo Society was one of the first organizations to
devote itself to musical culture. Over time, Apollo Clubs, often devoted to
sponsoring male choruses, sprang up in many other cities, including Boston,
Chicago and Minneapolis, all existing when Ryan’s
Mammoth Collection was published. Similarly, Brooklyn’s Apollo Club was
established in 1878. At least one group called itself the Apollo Club Minstrels
(from an 1886 clipping in the Minstrel Show Collection, Harry Ransom Humanities
Research Center, Univ. of Texas). Given the Boston connections of many of the
Ryan titles, it may be a good guess the Boston organization is the one honoured
by the title (see note for “Hiawatha”). Cole (1000
Fiddle Tunes), 1940; pg. 109. Ryan’s
Mammoth Collection, 1883; pg. 146.
X:1
T:Apollo Club
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
(3E/F/G/ | AA A/B/c/d/ | e/c/e/a/
e/c/B/A/ | e/c/e/a/ e/c/B/A/ | f/e/d/c/ d/c/B/A/ |
G/A/B/c/ .B(3E/F/G/ | AA A/B/c/d/ |
e/c/e/a/ e/c/B/A/ | f/e/d/c/ B/A/G/B/ | AAA :|
|: (c/d/) | e/c/e/a/ e/c/e/a/ | f/d/f/a/
f/d/f/a/ | f/e/d/c/ d/c/B/A/ | G/A/B/c/ B(c/d/) |
e/c/e/a/ e/c/e/a/ | f/d/f/a/
f/d/f/a/ | f/e/d/c/ B/A/G/B/ | AAA :|
APPALACHIAN FIDDLER, THE. AKA and see "Big Cabin."
APPIN HOUSE [1]. AKA and see "Fit da
Gutters" (Shetland). Scottish, Reel. G Major. Standard tuning.
AABB'CCDD. There are two turnings of "Appin House" which correspond
to two turnings of "Fid da Gutters," from the Shetland island of Whalsay
and the playing of the Shetland Fiddle Band. MacDonald (The Skye Collection), 1887; pg. 94.
X:1
T:Appin House [1]
L:1/8
M:C|
K:G
E|(D<B,) DE G<D D2|D<B, DE
G<B, A2|D<B, DE G<D D2|DE DE FG G:|
|:c<B G/G/G BG G2|BA D/D/D (AD) D2|cB
G/G/G BG G2|1 BA D/D/D G2G2:|2 BA DE FG G2||
|:e<d B<g B<d B<g|B<A
a<a g<A a<a|e<d B<g B<d B<g|de de fg g2:|
|:e>d e>d c>B G<G|BA DD
BA DD|de dc B<G G2|BA DE FG G2:|
APPIN HOUSE [2]. Scottish, Reel. A Major. Standard tuning. AABBCCD. Although in four
parts like version #1 and having some rhythmic and sparse melodic similarities,
it does appear to be a different tune. The melody, which first appears in McGlashan's Collection, was commonly played in scordatura tuning in the 19th
century. Gow (Complete Repository),
Part 4, 1817; pg. 33. McGlashan (Collection
of Strathspey Reels), c. 1780/81; pg. 21. Stewart-Robertson (The Athole Collection), 1884; pg. 2.
X:1
T:Appin House [2]
M:C|
L:1/8
S:Reel
B:Stewart-Robertson
– The Athole Collection
(1884)
Z:AK/Fiddler’s Companion
K:A
e|c>A A/A/A cA cA|BF F/F/F BF Bd|cA A/A/A cAcA|B>FB.G A2A,:|
|:C|A,CDC ACDC|A,CDC B,CDF|A,CDC ACDC|DFEG A2A:|
|:d|ceAe ceAc|BF dF BFBd|ceAe ceAc|BFBG A2A:|
||c|A/B/c/d/ ec acec|A/B/c/d/ ec acBc|A/B/c/d/ ec acea|g/a/b ec a2ac|
A/B/c/d/ ec acec|B/c/d/e/ fd bdfd|A/B/c/d/ ec acec|defg a2a||
APPLE BLOSSUM [1]. Old‑Time, Texas Style. USA, Texas. D Major. Standard or ADae
tunings. ABB (Brody): AA'BB' (Phillips). Sources for notated versions: Byron
Berline [Brody]; Benny Thomasson (Texas) [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 24.
Phillips (American Traditional Fiddle
Tunes, vol. 1), 1994; pg. 16. American Heritage
24S, Lonnie Peerce‑ "Golden Fiddle Tones." County 707, Major
Franklin‑ "Texas Fiddle Favorites." Elektra EKS 7285, The
Dillards with Byron Berline‑ "Pickin' and Fiddlin.'" Voyager
301, Byron Berline‑ "Fiddle Jam Session." Voyager 309, Benny
and Jerry Thomasson‑ "The Weiser Reunion: A Jam Session"
(1993). Voyager 319S, Ace Sewell‑ "Southwest Fiddlin.'"
Unissued 78RPM recorded for Victor by Eck Robertson (Texas) {1929} who had
recorded it earlier as a duet with fiddler (and Confederate veteran Henry Gilliland)
in 1922--also unissued.
APPLE BLOSSOM [2]. Old‑Time, Breakdown. USA, Tennessee, south-central Kentucky. D
Major. ADae tuning. AB (Titon/Bowles): AABB (Phillips, Titon/Monday). The tune
was not widely known outside the northern Tennessee/south-central Kentucky area
known as the Cumberland Plateau. Bruce Greene finds the tune was sometimes sung
with banjo accompaniment as “Fished in the Pond” or “Never Catched a Nibble.”
Sources for notated versions: African-American fiddler John Lusk (Ky.)
[Phillips]; Isham Monday (Tomkinsville, Monroe County, Ky., 1959) [Titon]; Jim
Bowles (Rock Bridge, Monroe County, Kentucky, 1959) [Titon]. Phillips (Traditional American Fiddle Tunes, vol. 1),
1994; pg. 17. Titon (Old-Time Kentucky
Fiddle Tunes), 2001; Nos. 2-A & 2B, pg. 33. Carryon
Records 007, The Renegades - "I Need to Find." Marimac 9060, Jim
Bowles (b. 1903) - "Railroading Through the Rocky Mountains" (Learned
from local musicians). Rounder CD 0238, John Lusk Band – “Altamont ‑Black
String Band Music From the Library of Congress." Yodel-Ay-Hee 011, Bruce
Molsky.
APPLE BLOSSOM [3]. Old‑Time, Breakdown. D Major. Standard tuning. AB. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 4.
APPLE BLOSSOM TIME. American. In repertory of Union County Pa. fiddler Ralph Sauers. May be
one of the "Apple Blossom" versions.
APPLE IN THE ORCHARD. Old-Time, Breakdown. An old American tune.
APPLE JACK. G Major. From the playing of Vermont fiddler Pete Sutherland.
APPLE KNOCKER. Old-Time,
Breakdown. In the repertoire of the Volo Bogtrotters. Similarties to “Clinton”
and “Going to the Free State.”
APPLE PIE. English, Polka (4/4 time). G Major. Standard tuning. AB. Plain Brown Tune Book, 1997; pg. 3.
APPLE PRAITIES. Irish, Slow Air (4/4 time). A Dorian. Standard tuning. AAB. Kerr (Merry Melodies), vol. 1; pg. 41.
X:1
T:Apple Praities
M:4/4
L:1/8
R:Slow Air
S:Kerr – Merry Melodies, vol. 1, pg.
41 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Ador
(AB)|c3c B2A2|(Be3) (d2B2)|A3 A
B2c2|c3 c B2A2|(Be3) e2d2|B2 ({c/B/}A2) .A2.A2|A6:||
A2|A3B ^c2d2|e4 (^f2^g2)|a3 =g
^f2d2|e2 ^c2 A2A2|A3B ^c2d2|e4 (^f2^g2)|a3 =g^f2d2|e6 e2|
a3=g
^f2d2|=g2^f2e2d2|=c2A2=g2e2|d2B2G2 (AB)|=c3c B2A2|(Be3) e2d2|B2 ({c/B}A2).A2.A2|A6||
APPLE TREE, THE. Scottish, Reel. A Major. Standard tuning.
AA'BB'. Composed by Carl Volti,
born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many
tunes found in the Kerr’s collections and also published several tutors, albums
of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 2; No. 14, pg. 5.
Martin & Hughes (Ho-ro-gheallaidh),
1990; pg. 20.
X:1
T:Apple Tree, The
M:C
L:1/8
R:Reel
K:A
A2 a2 fecB|Aaga fedc|1 Bcde
fBBc|Bcde fefa:|2 Bcde fBBa|gefg a2 A2||
|:EAAB cBAF|EAAB cBAG|FBBc dcBA|1
GABc defe:|2 GEFG A2 e2||
APPLES IN WINTER [1] (Uballa I Geimread). AKA and see "General White's Jig," "Kennedy's Jig," "Joe Kennedy's Jig," "The Misfortunate Rake," "Next Sunday is My Wedding Day," "Rattle the Quilt (to Pieces)," "Reice an Mhi‑adha," "The Shamrock (Reel) [1]," "The Squint‑Eyed Piper," "Sunday is/was My Wedding Day," "The Unfortunate Rake [2]." Irish, Double Jig. E Minor (O’Neill, Taylor, Williamson): E Dorian (Moylan, Mulvihill). Standard tuning. AAB (O’Malley): AA'B (Taylor): AABB (O’Farrell, O'Neill): AABB' (Taylor, Williamson): AA’BCDD’ (Moylan). A setting of this tune named "Kennedy's Jig" appears in Joyce's Ancient Irish Music, Dublin 1890. David Taylor (1992) remarks that this tune follows a basic structure found in many minor key Irish tunes: two bars of melody built around the tonic, followed by two in the dominant chord, two more tonic, and finally a bar each of the dominant and tonic. He advances that this is why many tunes that follow this structure can sometimes be confused or mixed up, pointing out similarly sounding, though different tunes, such as "Over the Hills" are frequent. The melody is at least as old as the latter 19th century, for O’Neill (1913) records it was the first jig learned as a boy by Callinafercy, Kilcoleman, County Kerry fiddler and uilleann piper William F. Hanafin, born in 1875 (who later, as an adolescent, emigrated to Massachusetts). O’Neill (1922) remarks: “Known to the fiddlers and pipers on this side of the Atlantic in later years as ‘Apples in Winter’, it was printed under that name in the O'Neill collections, but no variant of the popular jig so far in circulation, displays the skill of that played by the versatile Billy Hanafin, proficient on both instruments.”
***
Williamson (1976) states anecdotally
that the apple was anciently known as 'the salvation of the poet', and relates
the tale of a Welsh bard named Sion Kent who was about to be taken by the
Devil. Just in time he managed to catch hold of an apple tree, thwarting the
evil one, though at the same time insuring fate, for though untouchable to hell
he is unsuitable for heaven and is thus doomed to wander the winds of the world
evermore. See also the different, though similar in some respects, tune
"Old Apples in Winter," while Paul de Grae finds related tunes in “Gillan’s Apples,” “Captain Holmes” and “Rattle the Quilt.”
Sliabh Luachra musicians, such as fiddler Denis Murphy and accordion player Johnny
O’Leary, played an extended version of the tune. Sources for notated versions:
accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry
border) [Moylan]; William Hanafin (Boston) [O’Neill]. Cotter (Traditional Irish Tin Whistle Tutor),
1989; No. 21. Flaherty (Trip to Sligo),
1990; No. 83. Joyce (Ancient Irish Music),
1890. Moylan (Johnny O’Leary), 1994;
No. 233, pgs. 134-135. Mulvihill (1st
Collection), 1986; No. 81, pg. 82. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. O’Farrell, c. 1800, Collection of National Irish Music for the
Union Pipes. O’Farrell (Pocket Companion for the Irish or
Union Pipes); c. 1805; pg. 69. O’Malley (Luke
O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 75, pg. 38.
O'Neill (Krassen), 1976; pg. 75. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1111, pg. 209. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 300, pg. 64.
O’Neill (Waifs and Strays of Gaelic
Melody), 1922; No. 179. Ryan’s
Mammoth Collection, c. 1883; pg. 80, 91. Taylor (Where’s the Crack?), vol. 1, 1989; pg. 21. Taylor (Where’s the Crack?), 1992; No. 58, pg.
41. Williamson (English, Welsh, Scottish
and Irish Fiddle Tunes), 1976; pg. 77. Green
Linnett SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter"
(1981). Kicking Mule KM216, Arm and Hammer String Band ‑ "New
England Contra Dance Music" (1977). Outlet 3002, Paddy Cronin‑
"Kerry's Own Paddy Cronin" (1977). Shaskeen Records OS‑360, Joe
Burke, Andy McGann, Felix Dolan ‑ "A Tribute to Michael
Coleman" c. 1965. Shaskeen ‑
"Atlantic Breeze."
X:1
T:Apples in Winter [1]
S:Gearóid Ó hAllmhuráin, Traditional Music from Clare and Beyond 11b
Z:Jerome Colburn
M:6/8
L:1/8
R:Jig
K:DDor
c | ADD cDD | AGF EFD | C3 ECE | GAB cdc |\
ADD ~AGA | cde fed | ecA GFE | FDD D2 :: A |\
~d3 dcA | f2 d ecA | ~cdc cGE | CEG cde |1\
~ded dcA | cde f2 g | afa geg | fdc d2 A :|2\
dcA cde | fag fed | ecA GFE | FDD D2 |]**
X:2
T:Apples in Winter [1]
M:6/8
L:1/8
R:Jig
S:Wm. F. Hanafin, Boston
Z:Paul Kinder
K:E Minor
d/2c/2|BEE dEE|BAG FEF|DED FDF|ABc ded|
BEE BAB|def gfe|fdB AdF|FEE E2:|
|:B|efe edB|e/2f/2ge fdB|ded dAF|DFA def|
1efe edB|ede g2 a|bag fga|bge e2:|
2edB
def|gba gfe|fdB AdF|FEE E2:||
APPLES IN WINTER [2]. AKA and see “Fruit for the Ladies,” "Gillan's Apples [1]" (Ullai Uí Ghiollain), “Gillian’s Apples,” “Jackson’s Growling Cat,” “The Longford Jig,” “Rise the Grouse,” “Rouse the Grouse.” Irish, Jig. D Major. Standard tuning. AABB (Kennedy): AABBCCDD (O’Farrell). Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 1, pg. 3. O’Farrell (Collection of National Irish Music for the Union Pipes), 1804; pg.22.
X:1
T:Apples in Winter [2]
M:6/8
L:1/8
R:Jig
S:O’Farrell – National Irish Music for the Union Pipes (1804)
Z:AK/Fiddler’s Companion
K:D
ABc | dAF FAF | FAF F2d | AFE EFE | EFE EFA | dAF FEF | DFA d2e | fed cdB | A3A2 :|
|: d | cAe cAe | cAe edc | dBf dBf | dBf fed | cAe cAe | cAe e2a | fed cdB | A3A2 :|
|: d | cBA BAF | dAF F2d | c{c}BA B{c}AF | AFE E2d | cBA BAF | DFA d2e | fed cdeB | A3A2 :|
|:
d | cAA eAA | f/g/af edc | dBB fBB | f/g/af fed | cAA eAA | fAA cea | fed cdB |
A3 A2 :|
APPLES IN WINTER [3]. Irish, Reel. A Dorian. Standard tuning. AAB. Kerr (Merry Melodies), vol. 1; No. 2, pg. 34.
X:1
T:Apples in Winter [3]
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 1, pg. 24 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A Dorian
e2 cA e2cA|G2 GE G2G2|A2 AB
cBcd|(ea)ag ed d2:||
egg^f eggf|eaag eaag|egg^f eggf|(ea)ag
ed d2|
egg^f eggf|eaag eaag|eddc
c2(cd)|(ea)ag ed d2||
APPLES IN WINTER [4]. Scottish, Hornpipe. G Major. Standard tuning. AA’AA’BB’. The ‘B’ part
modulates to the key of D Major. Sounds English. Kerr (Merry Melodies), vol. 4; No. 297, pg. 31.
X:1
T:Apples in Winter [4]
M:
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies vol. 4, No. 297
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
d2d2 efge|ded^c d2B2|=cdcB c2A2|BcBA
B2G2|d2d2 efge|ded^c d2B2|
=cdcB c2A2|G2B2G2z2::A2FD B2 GD|cdcB
A2A2|B2 GD c2AF|dedc B2B2|
^c2c2 efge|fgfe d2d2|efed ^cABc|1
d2f2d2z2:|2 d^cde d=cBc||
APPLES IN WINTER [5]. See “Winter Apples.” Irish,
Reel.
APPRENTICE BOY, THE (An Daoroglac). Irish, Air (6/8 time, "lively"). A
Major. Standard tuning. AB. Source for notated version: Chicago Police Sergeant
James O’Neill, a fiddler originally from County Down and O’Neill’s collaborator
[O’Neill]. O'Neill (Music of Ireland:
1850 Melodies), 1979; No. 421, pg. 73.
X:1
T:Apprentice Boy, The
M:6/8
L:1/8
R:Air
N:”Lively”
S:O’Neill – Music of Ireland (1903), No. 421
Z:AK/Fiddler’s Companion
K:A
e/d/|c2A d2B|G2A Bde|f>ed c2d|(e3
e2) e/d/|c2A d2B|G2A Bde|f>ed B2A|(A3 A2)||
d|efg a2f|g2e fec|efg f2d|(e3 e2)
e/d/|c2A d2B|G2A Bde|f>ed B2A|(A3 A2)||
APPRENTICE LADS OF
ALNWICK. See “Lads of Alnwick.”
APRIL WALTZ. American, Waltz. G Major. Standard tuning. AA'B. The tune was composed
by Selma Kaplan (Altamont, N.Y.) in 1982; "written for a friend, during a
huge unexpected snow storm in April '82." Matthiesen (Waltz Book), 1992; pg. 12. Flying Fish,
the Rude Girls ‑ "Rude Awakening.” Flying Fish FF 90468, Critton
Hollow String Band ‑ "Great Dreams" (1988). George Wilson &
Selma Kaplan ‑ "Off with the Good St. Nicholas Boat". David
Levine.
APRIL'S BREAKDOWN. New England, Contra Dance Tune. D Major. Standard tuning. AABB.
Composed by the late New England caller and musician Ralph Page. Page (Ralph Page Book of Contras), 1969; pg.
15.
APRIL’S FOOL. Irish, Jig. G Major. Standard tuning. AABB’. Composed by Chicago
accordion player Jimmy Keane, “to commemorate a dirty trick played on him by
Liz Carroll” (Black). Black (Music’s the
Very Best Thing), 1996; No. 134, pg. 70.
X:1
T: April's Fool
C: © Jimmy Keane
Q: 300
R: jig
M: 4/4
L: 1/8
K: G
D | GAB GAB | E2 E E2 D | GAB dBd | edB AGE |
GAB GAB | E2 E E2 D | BeB dBA | BGF G2 :|
A | Bdd dBd | egg gab | age dBG | BdB AGE |
|1 Bdd dBd | egg gab | age dBA | BAF G2 :|
|2
GAB GAB | E2 E E2 D | BeB dBA | BGF G2 :|
APRON MY DEAR, THE.
English, Country Dance Tune (2/4 time). F Major. Standard tuning. AABB.
The melody is unique to Charles and Samuel Thompson’s third country dance
collection (London, 1773). Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 3), 1773; No. 59.
X:1
T:Apron my Dear, The
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:F
fcBA|”tr”(fcBA)|[C2c2] B2|AG F2|fcBA|fcBA|B2 “tr”A2|G4:|
|:G2B2|AFEF|G2B2|Ac
f2|[C3c3] B|Aage|fB AG|F4:||
APRÚN AN TINCÉARA. AKA and see "The Tinker's
Apron."
_______________________________
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